þe al her aquelde! quic þat he funde, but also after a strongly stressed word e.g. An preost wes on leoden: Lagamon wes ihoten. In the poem we find double alliteration in the second half-line, crossed alliteration (ab: ab) and alliteration in the form (aa: bb) etc. Compare the examples in Schipper, EM. I, 151 f.: He is one monne: mildest mayster. ut of ban leode to uncuđe londe. be king to pan castle ford mid his ferde etc. § 110. Rime in Lagamon's Brut. The poem also contains rime. This is clearest in vv. 18-20: an oper he nom on latin pe makede seinte Albin. ond be feire Austin þe fulluht broute hider in boc he nom þe pridde leide per amidden. Verse-endings, too, such as aquel de funde ihoten writen comen - weoren: - Engle[n] tellen mode: ponke Radestone radde : Sem Cham are to be looked on as rimes, and boc nom flode com must be regarded at least as assonance. The rime is sometimes found with alliteration, and sometimes alone. In the latter case the fuller disyllabic rime pridde: amidden; latin: Albin (assonance of penultimate) seems to be preferred. Compare extracts in Schipper's Übungsbuch 2 ed. p. 95 ff. preo scipen gode gif heo grid sohten comen mid an flode 13791 ond of his freondscipe rohten 13803 Sone swa heo hine imetten: fæire heo hine igrætten 13819 bi dæie no bi nihtes: ne sæh ich swulche cnihtes 13829 Whether this holds good for the whole poem, whether, as the poem proceeds, alliteration gives way more and more to rime, and the rime becomes better, has not yet been ascertained. The number of verses, which have neither alliteration nor rime, is at any rate very small. Some such verses may be due to text-corruption. § 111. Rhythmical Structure of Lagamon's Verse: a) Schipper. There are various opinions with regard to the rhythmical structure of Lagamon's verse, especially with regard to the number of beats to be assigned to it. Schipper, who assigns two beats to CE. alliterative verse, consistently scans Lagamon's verse with two beats (EM. I, 146 ff., Grdr. 65 ff.): An préost wes on léoden: Lázamon wes ihóten. He wes Léouenađes sóne: líde him beo dríhten. Still it is difficult to read verses such as he nom pa Englisca boc - pe fulluht broute hider in etc. with two beats only. He assumes, therefore "pure alliterative verses with two hebungen", also "extended verses of this kind with senkungen slightly stressed", further "riming and riming-alliterative verses, which have generally one strongly stressed senkung, when the ending is feminine, and two, when the ending is masculine". Thus he assumes a mixture of two, three and four beats (Grdr. p. 70). § 112. b) Trautmann. Trautmann, on the other hand, Über den Vers Lazamons (Anglia 2, 153–173) gave Lagamon's verse four beats, although at the time (1878) he assumed two beats for OE. alliterative verse. He assumed that Brut and some other early ME. poems were directly influenced by Otfrid's verse. This unprovable hypothesis has become unnecessary for Trautmann "since he recognizes OE. verse as one of four bars" now (Angl. 18, 96). He can now look on the verse of Lagamon as a direct continuation of OE. verse with four beats. § 113. c) Luick. Luick is guilty of the same inconsistency, of which Trautmann was earlier guilty, when he looks on Lagamon's verse as containing four beats (Paul's Grundriss, Metrik2, 145 ff.), although with Sievers and Schipper he assumes two beats for OE. verse. Luick, it is true, tries to explain the fourbeat theory for Brut by looking on it as a continuation of the sung verse (Gesangsvers) assumed by Saran and Sievers. But this Gesangsvers, as already stated (§ 36, 55), has absolutely no foundation. The OE. songs, which we have, e.g. Cædmon's hymn and Bede's death song are in no way different from the verse of the epic poetry, and could be in no way different from it. If the OE. sung verse had four beats, then OE. epic verse must also have had four. Moreover it would be strange if the epic verse of Lagamon should be a continuation of OE. sung verse, and not, as one would naturally expect, a continuation of OE. epic verse. Whoever, therefore, finds four beats in Lazamon, must also find four in OE. verse. The parallel development in Otfrid shows us that in the same way in OHG. a rimed verse with four beats resulted from an alliterative verse with four beats. Compare Paul, Deutsche Metrik in Paul's Grdr. p. 53, note. § 114. Lagamon's Verse has four Members. We shall, therefore, best preserve the historical connection by looking on Lagamon's verse as a direct development of OE. verse, and by explaining it as a verse with four strong or weak beats — or let us say members here, too, -, which by variety in grouping give definite rhythmical series or types. For the rhythmical structure of Lazamon's verse the laws of OE. alliterative verse hold to a great extent. At the beginning of the verse, as said above, the 'filling' is stronger than that usual in the OE. period. A monosyllable at the end of the verse composes one member, e.g. and biwon pa ædela | boc - pa he to bisne | nom. A disyllabic word with a short root-syllable (u or ux) composes one member only at the verse-end, i.e. the last member of B and D2: he wes Leouenades | sone upon Seuarne stape etc., and is not used, as in OE., for the last two members of shortened C and D1 verses. A disyllabic word with a long root-syllable (_×) at the end of the verse always composes two members, as in Otfrid and in OE., e.g. leoden, mode, londe, ahten, radde etc. So, too, within the verse generally, type B, e.g. bisne, drihtne, more rarely at the beginning of the verse, e.g. ærest | ahten. Here these words fill only the first member generally, whilst the second member is composed of one or two other syllables, e.g. lide him beo drihten after pan | flode wide zond pas leode etc. A word of three syllables of the form (ux) composes two members at the end of the verse, but is used as one member at the beginning of the verse, e.g. ond he hoe zaf þare | ædelen - pa ædælen tellen - but: at ædelen are | chirechen pa makede seinte | Albin ond wonene heo | comen etc. | A word of three syllables (-_-) or of four (uu_x) counts as three members at the end of the verse, as in Otfrid and in OE., e.g. neowe || tidenden || faire | wimmonnen || onfest || Radestone || etc., whilst at the beginning of and within the verse it can compose two members only: vmbe | fiftene | 3er he wes | Leouenades | sone to | uncuđe | |