–́ × –̀
Some computers will instead show them after (to the right of) the macron. “Resolved stress” (two short syllables acting as one long) is shown with a double breve below the syllables:
˘́͜×
If your computer does not have this character, it will probably display a box or question mark between the two syllables.
[I. HISTORY.]
(a) Old English Poetry as a Whole.
Northumbria was the home of Old English poetry. Beginning with Cædmon and his school A.D. 670, Northumbria maintained her poetical supremacy till A.D. 800, seven years before which date the ravages of the Danes had begun. When Alfred ascended the throne of Wessex (871), the Danes had destroyed the seats of learning throughout the whole of Northumbria. As Whitby had been “the cradle of English poetry,” Winchester (Alfred’s capital) became now the cradle of English prose; and the older poems that had survived the fire and sword of the Vikings were translated from the original Northumbrian dialect into the West Saxon dialect. It is, therefore, in the West Saxon dialect that these poems[1] have come down to us.
Old English poetry contains in all only about thirty thousand lines; but it includes epic, lyric, didactic, elegiac, and allegorical poems, together with war-ballads, paraphrases, riddles, and charms. Of the five elegiac poems (Wanderer, Seafarer, Ruin, Wife’s Complaint, and Husband’s Message), the Wanderer is the most artistic, and best portrays the gloomy contrast between past happiness and present grief so characteristic of the Old English lyric.
Old English literature has no love poems. The central themes of its poets are battle and bereavement, with a certain grim resignation on the part of the hero to the issues of either. The movement of the thought is usually abrupt, there being a noticeable poverty of transitional particles, or connectives, “which,” says Ten Brink, “are the cement of sentence-structure.”