As a rule, however, for these too the same level-stress accentuation must be assumed as for the rhyme-words of the first stanza of Golagras quoted above (p. 102)
§ 63. This is all the more probable because, in these alliterative-rhyming poems, there are many sectional verses corresponding to the old types C and C1, these answering best the combined requirements of alliteration and of end-rhyme, for which frequently one and the same Germanic or Romanic word had to suffice in the second hemistich, as e.g. in the following sectional verses rhyming together:—What is þi góod réde: for his kníȝthéde: (by crósse and by créde) Awnt. of Arth. 93–7; (and bláke to þe bóne): as a wómáne ib. 105–7; enclósed with a crowne: of the trésóne ib. 287–91; of ane fáir wéll: téirfull to téll: with ane cástéll : kéne and crúèll, or, as Prof. Luick scans, kéne and cruéll (but l. 92 crúel and kéne) Gol. 40–6; at the mýddáy: (wént thai thar wáy) Howl. 665–7. &c.
Also in the even-beat metres the influence of this type is still perceptible; cf. rhymes like
Súmwhat óf his clóþíng
Fór þe lóue of héuene kýng. Rob. Mannyng, Handl. Sinne, 5703–4.
which are of frequent occurrence.
For the rest both in these alliterative-rhyming poems and in the poems with alliteration only the types A and A1, B C and B C1 are frequent. These alliterative-rhyming lines have this feature in common with the pure alliterative lines, that the first hemistich differs materially from the second in having often an anacrusis of several syllables (initial theses) and somewhat lengthened theses in the middle of the line, and in permitting such theses with only a secondary accent to take part in the alliteration. All this tends to give a somewhat heavy rhythmic cadence to the whole line.
§ 64. The same difference is perceptible, as Prof. Luick was the first to show (Anglia, xii, pp. 438 ff.), in the single two-beat lines of the cauda, the three first (ll. 10–12 of the whole stanza) having the looser structure of the extended first hemistichs of the long lines, while the last two-beat line (line 13 of the whole stanza) has the normal structure (commonly type A, A1, as e.g. Birnand thrétty and thré Gol. 247; Of góld that wes cléir ib. 1) of second sections of the long line, as is evident from the first stanza of Golagras and Gawane quoted above (p. 102). In this concluding line, however, other types of verse peculiar to the second hemistich of long lines may also be met with, as e.g. C, C1, BC, BC1, e.g.: For thi mánhéde Awnt. of Arth. 350; Withoutin dístánce Gol. 1362; As I am tréw kníght Gol. 169; Couth na léid sáy ib. 920; In ony ríche réime ib. 1258, Quhen he wes líghtit dóun ib. 130.
In other poems the group of short lines rhyming according to the scheme a a a b and forming part of the cauda is preceded neither by a long alliterative line nor by a one-beat half section of it (as in Susan), but by a complete two-beat sectional verse, which then, in the same way as the last verse rhyming with it, corresponds in its structure to that of the second hemistich of the long line; as e.g. in The Tournament of Tottenham (Ritson’s Ancient Songs, i. 85–94), rhyming on the scheme A A A A b c c c b (the capitals signifying the long lines), and in The Ballad of Kynd Kittok, possibly by W. Dunbar (Laing, ii. 35, 36; Small, i. 52, 53; Schipper, 70).
In Sayne John the Euaungelist the ‘cauda’ has the structure of a complete tail-rhyme-stanza, the order of rhymes of the whole stanza being A B A B A B A B c c d c c d