Poetry to the use of interlocking stanzas is their use to separate thematic parts of a poem. For example, the strophe, antistrophe and epode of the ode form are often separated into one or more stanzas. In some cases, particularly lengthier formal poetry such as some forms of epic poetry, stanzas themselves are constructed according to strict rules and then combined. In skaldic poetry, the dróttkvætt stanza had eight lines, each having three "lifts" produced with alliteration or assonance. In addition to two or three alliterations, the odd numbered lines had partial rhyme of consonants with dissimilar vowels, not necessarily at
Sapphic stanza in Polish poetry Sapphic stanza in some poems. Olbrycht Karmanowski, a minor poet, employed it in the poem "O śmierci" ("On Death"). Lenart Gnoiński used Sapphic stanzas in the tenth poem of a sequence named "Łzy smutne" ("Sorrowful Tears"). Daniel Naborowski, a Calvinist poet, employed the Sapphic stanza in "Lament I" from "Laments on Death of Duke Radziwiłł, Castellan of Vilnius". The poem consists of eleven strophes. Jan Andrzej Morsztyn, whose poetry (influenced strongly by Giambattista Marino) is most typical for Baroque, used Sappho's stanza in "Do lutnie" ("To a Lute") from "Lutnia" ("The Lute") and in "Wiejski żywot" ("Life in a Village"