The best known work in trochaic octameter is Edgar Allan Poe's "The Raven", which uses five lines of trochaic octameter followed by a "short" half line (in reality, 7 beats).
By the end of the poem, the latter half line takes on the qualities of a refrain.
[citation needed] Another well-known work is Banjo Paterson's "Clancy of the Overflow", which uses four lines of trochaic octameter for each verse throughout.
Other examples are Robert Browning's A Toccata of Galuppi's,[1] Alfred Tennyson's Locksley Hall,[2] and Rudyard Kipling's Mandalay.
We can notate the scansion of this as follows: It becomes more important in another section of the chorus, in which words are repeated so as to maintain the meter.