In stanzas 51 and 53 of Vafthrúdnismál, Vafþrúðnir states that Víðarr and his brother Váli will both live in the " temples of the gods " after Surtr's fire has ceded and that Víðarr will avenge the death of his father Odin by sundering the cold jaws of Fenrir in battle.

The work starts out with a lengthy prose section describing the circumstances leading up to Grímnir's monologue, which comprises 54 stanzas of poetic verse.

In stanzas 54 and 55 of the poem Völuspá, a völva tells Odin that his son Víðarr will avenge Odin's death at Ragnarök by stabbing Fenrir in the heart.

In the initial stanzas of the poem Asagarth is the capital of Asaland, a section of Asia to the east of the Tana-kvísl or Vana-Kvísl river ( kvísl is " fork "), which Snorri explains is the Tanais, or Don River, flowing into the Black Sea.

The poem was written in Sapphic stanzas, a verse form popularly associated with his compatriot, Sappho, but in which he too excelled, here paraphrased in English to suggest the same rhythms.

There were probably another three stanzas in the original poem but only nine letters of them remain.

In one of two stanzas in the poem Grímnismál that mentions the bridge, Grímnir ( the god Odin in disguise ) provides the young Agnarr with cosmological knowledge, including that Bilröst is the best of bridges.

Fenrir is mentioned in three stanzas of the poem Völuspá, and in two stanzas of the poem Vafþrúðnismál.

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 appears in both prose and the first six stanzas of the poem Reginsmál.

The stanzas of the poem then begin: Loki mocks Andvari, and tells him that he can save his head by telling Loki where his gold is.

Loki is referenced in two stanzas in Völuspá hin skamma, found within the poem Hyndluljóð.

The original lyrics authored by Wybicki were a poem consisting of six stanzas and a chorus repeated after all but last stanzas, all following an ABAB rhyme scheme.

Further in the poem, Njörðr is again mentioned as the father of Freyr in stanzas 38, 39, and 41.

In the late flyting poem Lokasenna, an exchange between Njörðr and Loki occurs in stanzas 33, 34, 35, and 36.

Shelley's Ode to the West Wind, written in fourteen line terza rima stanzas, is a major poem in the form, but perhaps the greatest odes of the 19th century were Keats's Five Great Odes of 1819 which included Ode to a Nightingale, Ode on Melancholy, Ode on a Grecian Urn, Ode to Psyche, and To Autumn.

Related to the use of interlocking stanzas is their use to separate thematic parts of a poem.

One of the most common manifestations of stanzaic form in poetry in English ( and in other Western European languages ) is represented in texts for church hymns, such as the first three stanzas ( of nine ) from a poem by Isaac Watts ( from 1719 ) cited immediately below ( in this case, each stanza is to be sung to the same hymn tune, composed earlier by William Croft in 1708 ):

A sestina ( ; or ; also known as sestine, sextine, sextain or sesta rima ) is a structured 39-line poem consisting of six stanzas of six lines each, followed by a three-line stanza, known either as an envoi or tornada.

In this variant the standard end-word pattern is repeated for twelve stanzas, ending with a three-line envoi, resulting in poem of 75 lines.

Although the poem has four stanzas, only the first is commonly sung today.

Valhalla is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, the Prose Edda, written in the 13th century by Snorri Sturluson, Heimskringla, also written in the 13th century by Snorri Sturluson, and in stanzas of an anonymous 10th century poem commemorating the death of a Eric Bloodaxe known as Eiríksmál as compiled in Fagrskinna.

Valhalla is referenced at length in the Poetic Edda poem Grímnismál, and Helgakviða Hundingsbana II, while Valhalla receives lesser direct references in stanza 33 of the Völuspá, where the god Baldr's death is referred to as the " woe of Valhalla ", and in stanzas 1 to 3 of Hyndluljóð, where the goddess Freyja states her intention of riding to Valhalla with Hyndla, in an effort to help Óttar, as well as in stanzas 6 through 7, where Valhalla is mentioned again during a dispute between the two.

Other terms used to refer to the events surrounding Ragnarök in the Poetic Edda include aldar rök (" end of the world ") from stanza 39 of Vafþrúðnismál, tíva rök from stanzas 38 and 42 of Vafþrúðnismál, þá er regin deyja (" when the gods die ") from Vafþrúðnismál stanza 47, unz um rjúfask regin (" when the gods will be destroyed ") from Vafþrúðnismál stanza 52, Lokasenna stanza 41, and Sigrdrífumál stanza 19, aldar rof (" destruction of the world ") from Helgakviða Hundingsbana II stanza 41, regin þrjóta (" end of the gods ") from Hyndluljóð stanza 42, and, in the Prose Edda, þá er Muspellz-synir herja (" when the sons of Muspell move into battle ") can be found in chapters 18 and 36 of Gylfaginning.

Beyla is mentioned in stanzas 55, 66, and the prose introduction to the Poetic Edda poem Lokasenna.

The only surviving mention of Byggvir appears in the prose beginning of Lokasenna, and stanzas 55 through 56 of the same poem, where he is referred to as one of Freyr's servants and as the husband of Beyla.

* They preferred quite short, metrically simple stanzas or ' strophes ' which they re-used in many poems-hence the ' Alcaic ' and ' Sapphic ' stanzas, named after the two poets who perfected them or possibly invented them.

The belief in eternal life after death is expressed in stanzas five and six: ' when this flesh and heart shall fail ', ' I shall possess ' ' A life of joy and peace ', and ' God, who call'd me here below, Will be for ever mine '.

In stanzas 16, 17, and 18, dialog occurs between Loki and Iðunn after Loki has insulted Bragi.

The stanzas of The Prophecy of Berchán covering Constantine III give him a mostly negative assessment: " A king will take sovereignity, who will not be king ; after him, Scotland will be nothing.

Douglas Hofstadter published a translation in 1999, again preserving the Onegin stanzas, after having summarised the controversy ( and severely criticised Nabokov's attitude towards verse translation ) in his book Le Ton beau de Marot.

The Norse poets tended to break up their verses into stanzas of from two to eight lines ( or more ), rather than writing continuous verse after the Old English model.

* John Brunner's 1968 novel Bedlam Planet prefaces each chapter with entire stanzas from the poem, titling the chapter after the subject of the stanza.

These stanzas were probably added cumulatively sometime between late 13th century and after the founding of the People's Republic of China.

Priyadas ' work was composed around a hundred years after the death of Tulsidas and had eleven additional stanzas, describing seven miracles or spiritual experiences from the life of Tulsidas.

It has been preserved as separate stanzas interspersed among the text in Hervarar saga ok Heiðreks ( chapters 13 and 14, the stanzas are numbered 1 to 32, after their arrangement within the prose ).

( He would then have to add enough credit and restriction stanzas to balance the beneficial effects, such as a high Stamina cost to perform the action, or a moderate cost but the limitation that it can only be used after parrying an enemy blow ).

Then the pattern as well as the music changes, going up a half step in the key of the song, after two stanzas, first from A flat minor, to A minor, and, then, finally, to B flat minor, and verses for the years 7510, 8510 and 9595 follow.

Psalm 119, which is the longest in the psalter, is generally sung with a change of chant after every 8 of its 176 verses, corresponding to the 22 stanzas of the original Hebrew text.

A younger brother named Gutthorm ( Gutþormr ) take on the role of Sigurd's slayer, after being egged on by Gunnar and Högni in the eddic poems Brot af Sigurðarkviðu ( stanza 4 ), in Sigurðarkviða hin skamma ( stanzas 20 – 23 ), and in the Völsunga saga ( as well as being mentioned in the eddic poems Grípisspá and Guðrúnarkviða II ).

Jarman explains this by suggesting that Scribe B started by partially modernising the orthography as he copied the stanzas, but after a while tired of this and copied the remaining stanzas as they were in the older manuscript.

The interpolations are thought to have been added to the poem after it had been written down, these stanzas first being written down where there was a space in the manuscript, then being incorporated in the poem by a later copier who failed to realise that they did not belong.

The first ( two-part ) episode of Series 12 of the BBC series Silent Witness is named " Death has no dominion " after the poem, and included several stanzas of the poem read aloud at a memorial service.

He was a talented poet but killed two poets after he found their stanzas to be superior to his own.