Note 1.—It is impossible to tell how many of these synonymous expressions had already become stereotyped, and were used, like many of the epithets in the Iliad and Odyssey, purely as padding. When, for example, the poet tells us that at the most critical moment Beowulf’s sword failed him, adding in the same breath, īren ǣr-gōd (matchless blade), we conclude that the bard is either nodding or parroting.
(b) Meter.
[Re-read [§ 10, (3)].]
Primary Stress.
Old English poetry is composed of certain rhythmically ordered combinations of accented and unaccented syllables. The accented syllable (the arsis) is usually long, and will be indicated by the macron with the acute accent over it (–́); when short, by the breve with the same accent (˘́). The unaccented syllable or syllables (the thesis) may be long or short, and will be indicated by the oblique cross (×).
Secondary Stress.
A secondary accent, or stress, is usually put upon the second member of compound and derivative nouns, adjectives, and adverbs. This will be indicated by the macron with the grave accent, if the secondary stress falls on a long syllable (–̀); by the breve with the same accent, if the secondary stress falls on a short syllable (˘̀). Nouns:
Hrōðgāres (–́–̀×), fēondgrāpum (–́–̀×), frēomǣgum (–́–̀×), Ēast-Dęna (–́˘̀×), Helminga (–́–̀×), Scyldinga (–́–̀×), ānhaga (–́˘̀×), Ecgþēowes (–́–̀×), sinc-fato (–́˘̀×).
Adjectives:[1]
ǣghwylcne (–́–̀×), þrīsthȳdig (–́–̀×), gold-hroden (–́˘̀×), drēorigne (–́–̀×), gyldenne (–́–̀×), ōðerne (–́–̀×), gǣstlīcum (–́–̀×), wynsume (–́˘̀×), ǣnigne (–́–̀×).