Chapter V: Tripartite Stanzas

I. ISOMETRICAL STANZAS.

§ 267. Six-lined stanzas 326
268. Seven-lined stanzas; the Rhyme Royal stanza 327
269. Eight-lined stanzas 329
270. Nine-lined stanzas 330
271. Ten-lined stanzas 331
272. Eleven-, twelve-, and thirteen-lined stanzas 332

II. ANISOMETRICAL STANZAS.

273-4. Six-lined stanzas 333
275. Seven-lined stanzas 335
276-8. Eight-lined stanzas 337
279. Nine-lined stanzas 339
280-1. Ten-lined stanzas 341
282. Eleven-lined stanzas 343
283. Twelve-lined stanzas 344
284. Thirteen-lined stanzas 345
285. Fourteen-lined stanzas 346
286. Stanzas of fifteen to twenty lines 347

=PART III. MODERN STANZAS AND METRES OF
FIXED FORM ORIGINATING UNDER THE INFLUENCE
OF THE RENASCENCE, OR INTRODUCED LATER=

CHAPTER VI

STANZAS OF THREE AND MORE PARTS CONSISTING OF
UNEQUAL PARTS ONLY

§ 287. Introductory remark 348
288. Six-lined stanzas 349
289. Seven-lined stanzas 351
290-2. Eight-lined stanzas; the Italian _ottava rima_ 352
293. Nine-lined stanzas 355
294. Ten-lined stanzas 355
295. Eleven-lined stanzas 356
296. Twelve-lined stanzas 356

CHAPTER VII

THE SPENSERIAN STANZA AND THE FORMS DERIVED FROM IT

§ 297. First used in the _Faerie Queene_ 358
298-300. Imitations and analogous forms 359

CHAPTER VIII

THE EPITHALAMIUM STANZA AND OTHER ODIC STANZAS

§ 301. The Epithalamium stanza 363
302. Imitations of the Epithalamium stanza 365
303-5. Pindaric Odes, regular and irregular 366

CHAPTER IX

THE SONNET

§ 306. Origin of the English sonnet 371
307. The Italian sonnet 371
308. Structure of the Italian form illustrated by
Watts-Dunton 373
309. The first English sonnet-writers, Surrey and Wyatt 373
310. Surrey's transformation of the Italian sonnet, and
the form adopted by Shakespeare 374
311. Another form used by Spenser in _Amoretti_ 375
312. The form adopted by Milton 375
313. Revival of sonnet writing in the latter half of the
eighteenth century 376
314. The sonnets of Wordsworth 377
315. The sonnet in the nineteenth century 379