As a tenth ( span: Décima ) is called in the literature a zehnzeilige verse.
The tenth was maintained, especially in Spanish literature. Of the three forms of the decima espinela Spanish tenth is the most successful - this was named by Lope de Vega by Vicente Espinel so. The ten verses of eight syllables of the Spanish tenth divided into two quartets, which are connected by two bridge verses in the middle.
Your rhyme scheme is abba ac CDDC. Thus, the two quartets do not fall apart in two five Zeiler, it is possible to bridge the verses rhyme in reverse order - to the structure to fold better ( rhyme scheme abba ca CDDC ). Cervantes also wrote tenths of the form abab ac CDDC.
Example 1: ( Pedro Calderon de la Barca )
Example 2: ( Rumba - text, Cuba )
Eight syllable verses were used in the Spanish as early as the sixth century after Christ. Arab poets in Spain wont continue this - and in the 15th century Kurzvers was also common in the Castilian troubadour poetry. The octosyllabic quatrains existed before the Décima already in romances ( rhyme scheme: abcb ) or in redondillas ( rhyme scheme: abba ). The Spanish tenth has probably developed from it: it can be seen as two redondillas, which are connected by a " bridge couplet ". The bridge couplet used it the last rhyme of the first Redondilla and the first rhyme from the second ( rhyme scheme: abba a / a abba ).
In contrast to other forms of poetry the Décima survived to this day in Spain and particularly in Latin America continue - especially as part of the music ( as in the Cuban Son) or in the peasant poetry.
Many modern poets of Latin America have their first exercises with decimas made that are sometimes improvised - so similar to the southern German Gstanzl or in Limerick, Ireland. The Spanish Generación del 27 (Generation of 1927) as Jorge Guillén or poet Gerardo Diego had a special fondness for them.
In the German literature, the tenth was used primarily as a verse form of the glosses in the romance, as Ludwig Tieck and Joseph von Eichendorff ( Night celebration, poet Spring).
This is based on a mostly borrowed from a foreign source quatrain, then successively always form its individual verses the final verse of all four stanzas. However, the rhythmic actually very varied Achtsilbler were transferred in German on a rigid Versschema of four trochees.