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 53 and 54 of the poem Lokasenna, after pouring Loki a crystal cup of mead during his series of insults towards the gods, Sif states that there is nothing Loki can say only in regard to her.

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.

The poem, which is in 495 lines in 55 Spenserian stanzas, was composed in the spring of 1821 immediately after April 11, when Shelley heard of Keats ' death ( seven weeks earlier ).

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.

Among the visions which the Völva sees and describes in the prophecy known as the Völuspá is one of the fatal mistletoe, the birth of Váli and the weeping of Frigg ( stanzas 31-33 ).

For example stanzas 9-16 of Völuspá, the " Dvergatal " or " Catalogue of Dwarfs ", is considered to be an interpolation.

In Völuspá, Mímir is mentioned in two stanzas.

In the Poetic Edda, Naglfar is solely mentioned in two stanzas found in the poem Völuspá.

According to the interpolated group of stanzas known as the Short Völuspá in Hyndluljóð, Þjazi is further described as " the giant who loved to shoot ".

The poem Völuspá ( stanzas 40 – 41 in most editions ) speaks of a giantess dwelling in Járnvid (' Iron-wood ') whom commentators usually identify with Angrboða ( and the Iárnvidia of the list of troll-wives ):

In the Poetic Edda, Urðarbrunnr is mentioned in stanzas 19 and 20 of the poem Völuspá, and stanza 111 of the poem Hávamál.

In 1982 Sveinbjörn released an album, Eddukvæði ( Songs from The Poetic Edda ), in which he recites in rímur style 75 stanzas from Hávamál, Völuspá and Sigrdrífumál.

It is preserved in its entirety only in Flateyjarbók but some stanzas are also quoted in the Prose Edda where they are said to come from Völuspá hin skamma.

Of its four stanzas, Housman tells us that two were ' given ' him ready made ; one was coaxed forth from his subconsciousness an hour or two later ; the remaining one took months of conscious composition.

Odin rides to Hel and awakens a seeress, who tells him Höðr will kill Baldr but Vali will avenge him ( stanzas 9, 11 ).

The raven expresses surprise that the valkyrie seems unfamiliar with the deeds of Harald, and tells her about his deeds for several stanzas.

It is possible that the following stanzas of the Hyndluljód down to stanza 24 cover otherwise unknown members of the Dögling lineage since stanza 23 at least returns to the Dödlings, providing the names of the twelve sons of Arngrím and the following stanza tells of their birth to Arngrím and Eyfura.

" Dulce et Decorum est " is written in form of a french ballade ; the first part tells the story ( broken into three stanzas ) and the second draws a lesson from the first.

Taking place in 15th Century South Zealand, written in Nibelungenlied stanzas and probably inspired by Byron ’ s Mazeppa it tells about young love, demonic forces and witchcraft with a running stag as the reappearing motive of the untamed forces of Nature.

He often commented on the literary life: the first edition of his autobiography came out with the title A Mug's Game, a quotation from T. S. Eliot, whom Hamburger greatly admired, and to whose sixtieth-birthday biblio-symposium he contributed an eponymous poem of four stanzas which tells its own story.