In Edmund Spenser's Faerie Queene 8 lines of pentameter are followed by an alexandrine, the eponymous Spenserian stanza.

Then Crapsey decided to make the criterion a stanza of five lines of accentual-syllabic verse, in which the lines comprise, in order, 1, 2, 3, 4, and 1 stresses and 2, 4, 6, 8, and 2 syllables.

In various poems from the Poetic Edda ( stanza 2 of Lokasenna, stanza 41 of Hyndluljóð, and stanza 26 of Fjölsvinnsmál ), and sections of the Prose Edda ( chapter 32 of Gylfaginning, stanza 8 of Haustlöng, and stanza 1 of Þórsdrápa ) Loki is alternately referred to as Loptr, which is generally considered derived from Old Norse lopt meaning " air ", and therefore points to an association with the air.

The discussion of the Onegin stanza contains the poem On Translating " Eugene Onegin ", which first appeared in print in The New Yorker on January 8, 1955, and is written in two Onegin stanzas.

Another common adaptation of the Common Metre is the Common Metre Double, which as it sounds, is the Common Meter repeated twice in each stanza, or 8. 6. 8. 6. 8. 6. 8. 6.

Ideas from stanza 8 were made an aria ( 5 ), and movement 3 is not derived directly from the chorale, but intensifies the conclusion of the first recitative.

The eddic poem Grímnismál describes twelve divine dwellings beginning in stanza 5 with:

Modern commentators speculate ( or sometimes state as fact ) that Álfheim was one of the nine worlds ( heima ) mentioned in stanza 2 of the eddic poem Völuspá.

In stanza 17 of the Poetic Edda poem Völuspá, the völva reciting the poem states that Hœnir, Lóðurr and Odin once found Ask and Embla on land.

In stanza 40 of the poem Völuspá, a völva divulges to Odin that, in the east, an old woman sat in the forest Járnviðr, " and bred there the broods of Fenrir.

Towards the end of the poem, a stanza relates sooner will the bonds of Fenrir snap than as good a king as Haakon shall stand in his place:

The same story is referenced in one stanza of the poem, Lokasenna, in which Loki insults Frigg by accusing her of infidelity with Odin's brothers:

The title Mitchell finally chose is from the first line of the third stanza of the poem Non Sum Qualis Eram Bonae sub Regno Cynarae by Ernest Dowson:

He tells the prince about Odin's wolves Geri and Freki, and, in the next stanza of the poem, states that Huginn and Muninn fly daily across the entire world, Midgard.

In the first stanza of the poem, the undead völva reciting the poem calls out for listeners to be silent and refers to Heimdallr:

The final stanza of the poem contains a mention of Hel, though not by name:

* In the 2012 game Mass Effect 3 the second stanza of the poem is cited by one of the main characters: Ashley Williams, lieutenant-commander of the Alliance

The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain.

The second stanza of the poem is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again.

The first lines of the poem follow iambic tetrameter with the initial stanza relying on heavy stresses.

There also is strong a break following line 36 in the poem that provides for a second stanza, and there is a transition in narration from a third person narration about Kubla Khan into the poet discussing his role as a poet.

The poem expands on the gothic hints of the first stanza as the narrator explores the dark chasm in the midst of Xanadu's gardens, and describes the surrounding area as both " savage " and " holy ".

According to some critics, the second stanza of the poem, forming a conclusion, was composed at a later date and was possibly disconnected from the original dream.

In stanza 35 of the Poetic Edda poem Völuspá, a völva tells Odin that, among many other things, she sees Sigyn sitting very unhappily with her bound husband, Loki, under a " grove of hot springs ".

The poem Lokasenna ( Old Norse " Loki's Quarrel ") centers around Loki flyting with other gods ; Loki puts forth two stanzas of insults while the receiving figure responds with a single stanza, and then another figure chimes in.

Loki is mentioned in stanza 14, the final stanza of the poem, where the völva tells Odin to ride home, to be proud of himself, and that no one else will come visit until " Loki is loose, escaped from his bonds " and the onset of Ragnarök.

In the poem Fjölsvinnsmál, a stanza mentions Loki ( as Lopt ) in association with runes.

In the poem, Fjölsviðr describes to the hero Svipdagr that Sinmara keeps the weapon Lævateinn within a chest, locked with nine strong locks ( due to significant translation differences, two translations of the stanza are provided here ):

Engraved on his headstone is a stanza from Thomas Gray: The plowman homeward plods his weary way / And leaves the world to darkness and to me, ( from " Elegy Written in a Country Churchyard ," 1751 ).

But " wish-son " in stanza 16 of the Lokasenna could mean " Odin's son " and is translated by Hollander as Odin's kin.

If Bragi's mother is Frigg, then Frigg is somewhat dismissive of Bragi in the Lokasenna in stanza 27 when Frigg complains that if she had a son in Ægir's hall as brave as Baldr then Loki would have to fight for his life.

Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.

The first, fundamental form is a stanza of five lines of accentual verse, in which the lines comprise, in order, 1, 2, 3, 4, and 1 stresses.

The song is also well known by the opening words and refrain of the first stanza, "" ( literally, " Germany, Germany above all "), but this has never been its title.

In chapter 13 of the Prose Edda book Gylfaginning, Fenrir is first mentioned in a stanza quoted from Völuspá.

In a stanza from Ynglingatal recorded in chapter 72 of the Heimskringla book Saga of Harald Sigurdsson, " given to Hel " is again used as a phrase to referring to death.

Another form of hendecasyllabic verse is the " Sapphic " ( so named for its use in the Sapphic stanza ), with the pattern:

In one stanza, the bravery of a warrior who slew 300 enemies is praised, but it is then noted that despite this " he was no Arthur ", that is to say his feats cannot compare to the valour of Arthur.

The second stanza is not necessarily part of the original dream and refers to the dream in the past tense.

Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza.

In the second stanza, Khan is able to establish some order in the natural world but he cannot stop the forces of nature that constantly try to destroy what he made.

The unusually heavy stresses and abrupt masculine rhymes impose a slow and sonorous weightiness upon the movement of the iambic octosyllabics which is quite in contrast, say, to the light fast metre of the final stanza where speed of movement matches buoyancy of tone.