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 =th=rétty and =th=ré_ 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_. § =65.= In connexion with this it is particularly interesting to note that such two-beat sections of the alliterative line are also used by themselves for whole poems written in tail-rhyme-stanzas (as was first shown by Prof. Luick, _Anglia_, xii, pp. 440 ff.); cf. e.g. the translation of the _Disticha Catonis_ (E.E.T.S. 68), the two first stanzas of which may be quoted here: _If þóu be made wíttenèsse, For to =s=áy þat =s=óþ ìs, =S=áue þine honóur, Als míkil, as þou may fra bláme, Lame þi fréndis sháme, And sáue fra dishonóur._