Byron had first adopted the stanza in his translation of Pulci's Morgante Maggiore, which is itself in ottava rime.
From Italy have come, besides the ottava rima and the sonnet, two other metrical forms, the sestina and the terza rima.
Poliziano's Rispetti are written for the most part in ottava rima.
The poem is written in ottava rima, but, very singularly, there is not one double rhyme from beginning to end.
There are two ottava rime in Lycidas, one at the close of the Blind Mouths passage and one at the end of the poem.
The piece is written in a mixture of ottava and terza rima, with a variety of lyrics introduced.
That the ottava rima on the one hand, and the sonnet on the other, may have suggested the idea of it is quite possible.
This is a single stave of the ottava rima, at the close of the varying metrical forms of Lycidas.
But terza rima, ottava rima, and sonnets are an insufficient disguise for the formlessness of their matter.
Up to the date of the Selve the ottava rima had, so far as I know, been only used for semi-epical poems and short love-songs.