Scottish poet Robert Henryson consistently used the stanza throughout his two longest works, the Morall Fabillis and Testament of Cresseid. A few fifteenth-century Middle English romances use the form: Generides, Amoryus and Cleopes, and the Romans of Partenay. Rhyme royal was employed in drama in the later fifteenth-century Digby Conversion of Saint Paul. Early-modern uses In the early sixteenth century rhyme royal continued to appear in the works of poets such as John Skelton (e.g. in The Bowge of Court), Stephen Hawes (Pastime of Pleasure), Thomas Sackville (in the Induction to The Mirror for Magistrates), Alexander Barclay (The Ship of Fools), William Dunbar (The Thrissil and the Rois) and David Lyndsay (Squyer Meldrum). Sir Thomas Wyatt used it in his poem "They flee from me that sometime did me seek". The seven-line stanza began to be used less often during the Elizabethan era, but it was still deployed by John Davies in his Orchestra and by William Shakespeare in The Rape of Lucrece. The later sixteenth-century poet Edmund Spenser wrote his Hymn of Heavenly Beauty using rhyme royal, but he also created his own Spenserian stanza, rhyming ABABBCBCC, partly by adapting rhyme royal. The Spenserian stanza varies from iambic pentameter in its final line, which is a line of iambic hexameter, or in other words an English alexandrine. In the seventeenth century, John Milton experimented by extending the seventh line of the rhyme royal stanza itself into an alexandrine in "On the Death of a Fair Infant Dying of a Cough" and for the introductory stanzas of On the Morning of Christ's Nativity. Like many stanzaic forms, rhyme royal fell out of fashion during the later seventeenth-century Restoration, and it has never been widely used since. Revivals In the eighteenth century, Thomas Chatterton used Milton's modified rhyme royal stanza with a terminal alexandrine for some of his forged faux-Middle English poems, such as "Elinoure and Juga" and "An Excelente Balade of Charitie". The Romantic writers William Wordsworth and Samuel Taylor Coleridge, both figures who were influenced by Chatterton, adopted Milton's modified rhyme royal stanza in some works, such as Wordsworth's "Resolution and Independence" and Coleridge's "Psyche". In the later nineteenth century William Morris, strongly influenced by Chaucer, wrote many parts of The Earthly Paradise with the related rhyme scheme ABABBCBCC. In the United States, Emma Lazarus wrote some short sections of her cycle poem "Epochs" in rhyme royal. Notable twentieth-century