xi. 404), distinguishes between two forms of this type with

anacrusis (× –́ × × –́) and without (–́ × × –́), which he calls A1 and A2, a distinction he has rightly now abandoned (Paul's _Grundriss_, ed. 2, II. ii. p. 165).

[113] Also printed in Ritson's _Ancient Songs_, i, p. 12; Wright's _Pol. Songs_, p. 69; Mätzner's _Altenglische Sprachproben_, i, p. 152; Böddeker's _Altenglische Dichtungen, Pol. Lieder_, no. i.

[114] Paul's _Grundriss_, ed. 2, II. ii, p. 158.

[115] Cf. _Metrik_, ii. 146; and Luick, _Anglia_, xii. 450, 451.

[116] See G. Gascoigne, _Certayne Notes of Instruction concerning the making of verse or ryme in English_, 1575, in Arber's _Reprints_, together with _The Steele Glas_, &c., London, 1868, 8vo, p. 34.

[117] Bürger's version _Der Kaiser und der Abt_ introduces a regular alternation of masculine and feminine couplets not observed in the original metre which he is copying.

[118] Cf. the chapter on the four-foot iambic verse.

[119] Recognized by Bishop Percy (1765) as rhythmically equivalent to

_In a sómer séason, | when sóft was the sónne I shópe me into shróudes, | as I a shépe wére_ (Piers Plowman). and

_Hā́m and hḗahsetl | héofena rī́ces_ (Gen. 33).

_Scḗop þā and scýrede | scýppend ū̀re_ (ibid. 65).

[120] This alliterative-rhyming long line is scanned by the contemporary metrist King James VI in the manner indicated by the accents.

[121] The second of these lines is thus marked by Gascoigne as having four stresses.

[122] We retain the MS. reading; see Sievers, _Altgerm. Metrik_, p. 17.