Andrew Lang, Austin Dobson, Edmund Gosse, W. E. Henley, John Payne, and others. The earliest sestina of this period is Algernon Charles Swinburne's "Sestina". It is in iambic pentameter rhyming ABABAB in the first stanza; each stanza begins by repeating the previous end-words 6 then 1, but the following 4 lines repeat the remaining end-words ad lib; the envoi is (1) 4 / (2) 3 / (5) 6. In the same volume (Poems and Ballads, Second Series, 1878) Swinburne introduces a "double sestina" ("The Complaint of Lisa") that is unlike Sidney's: it comprises 12 stanzas of 12 iambic pentameter lines each, the first stanza rhyming ABCABDCEFEDF. Similar to his "Sestina", each stanza first repeats end-words 12 then 1 of the previous stanza; the rest are ad lib. The envoi is (12) 10 / (8) 9 / (7) 4 / (3) 6 / (2) 1 / (11) 5. From the 1930s, a revival of the form took place across the English-speaking world, led by poets such as W. H. Auden, and the 1950s were described as the "age of the sestina" by James E. B. Breslin. "Sestina: Altaforte" by Ezra Pound and "Paysage moralisé" by W. H. Auden are distinguished modern examples of the sestina. The sestina remains a popular closed verse form, and many sestinas continue to be written by contemporary poets; notable examples include "The Guest Ellen at the Supper for Street People" by David Ferry and "IVF" by Kona Macphee. Form Although the sestina has been subject to many revisions throughout its development, there remain several features that define the form. The sestina is composed of six stanzas of six lines (sixains), followed by a stanza of three lines (a tercet). There is no rhyme within the stanzas; instead the sestina is structured through a recurrent pattern of the words that end each line, a technique known as "lexical repetition". In the original form composed by Daniel, each line is of ten syllables, except the first of each stanza which are of seven. The established form, as developed by Petrarch and Dante, was in hendecasyllables. Since then, changes to the line length have been a relatively common variant, such that Stephanie Burt has written: "sestinas, as the form exists today, [do not] require expertise with inherited meter ...". The pattern that the line-ending words follow is often explained if the numbers 1 to 6 are allowed to stand