[11]. Various forms of stanza may be combined in one poem (though most usually in the ode only), provided regard be had to harmony and unity, so that the metres be not varied unsuitably or violently.
[12]. In couplets, the two lines, in triplets (with two exceptional forms) the three, rhyme together. In quatrains usually the alternate lines rhyme. As the lines of the stanza increase in number, the methods of rhyming of course vary.
[13]. See also Shelley's "Queen Mab."
[14]. This is the simple decasyllabic, the peculiarity being a division into stanzas of three lines.
[15]. It is a curious confirmation of my theory about the Cockney grounds for objection to this rhyme, that the author of a handbook who condemns "heart" and "art" as a rhyme, fails to see any fault in "dawn" and "morn," or in "applaud" and "aboard" as rhymes. Of course, where the "h" is mute as in "hour," it cannot rhyme with the simple vowel as in "our," sound being the test of rhyme, and the ear the only judge. A "rhyme to the eye" is an impossibility.
[16]. This does not apply to the generous use of a rhyme at the half-line to mark the cæsural pause, as in this line—
"'Twas in the prime of summer time."
Nor is there any objection—but rather the contrary—to the use of two rhyming words in a line, provided they are not identical with the final rhymes, as for example—
"That thrice the human span
Through gale and hail and fiery bolt