A few variations of this metre remain to be mentioned, which occur as early as Tusser. The first variety arises from interlaced rhyme, by which the two four-beat verses are broken up into four two-beat verses rhyming in the order _a b a b_. _If húsbandry brággeth To gó with the bést, Good húsbandry bággeth Up góld in his chést._ On the model of these stanzas others were afterwards formed by Tusser consisting of three-beat verses of the same rhythm. The same verse was used for eight-line stanzas rhyming _a b a b c d c d_ by Nicholas Rowe, Shenstone, Cowper, and in later times by Thackeray in one of his burlesque poems (_Malony's Lament_ in _Ballads_, _the Rose and the Ring_, &c., p. 225). For examples of these variations see the sections treating of the iambic-anapaestic verses of three and two measures. § =73.= In modern times a few attempts have been made to revive the old four-beat alliterative line without rhyme, but also without a regular use of alliteration. These attempts, however, have never become popular. The following passage from William Morris's dramatic poem _Love is enough_ may give an idea of the structure of this kind of verse: _Fáir Master =Ó=liver, | thóu who at =á=ll times Mayst =ó=pen thy héart | to our lórd and máster, =T=éll us what =t=ídings | thou hást to delíver; For our =h=éarts are grown =h=éavy, | and whére shall we túrn to, If thús the king's =g=lóry, | our =g=áin and salvátion, Must =g=ó down the wínd | amid =g=lóom and despáiring._ The rhythm, together with the irregular use of alliteration, places these four-beat alliterative lines on the same level with those of the dramatic poems of the fifteenth and sixteenth centuries. The same kind of versification is found in Longfellow's translation of the late Old English poem on _The Grave_, and in James M. Garnett's translations of _Beowulf_ and Cynewulf's _Elene_. On the other hand, George Stephens, in his translation of the Old English poem on _The Phoenix_, published 1844, not only adheres strictly to the laws of alliteration, but confines himself to Germanic words, sometimes even using inflexional forms peculiar to Middle English. § =74.= We shall conclude this survey of the development of the four-beat alliterative line by giving a series of examples in reversed chronological order, beginning with writers of the present day and ending with the earliest remains of Old English poetry, in order to illustrate the identity in rhythmic structure of this metre in all periods of its history. Nineteenth Century, End: _For níne days the kíng | hath slépt not an hóur And táketh no héed | of soft wórds or beseéching._ W. Morris. Nineteenth Century, Beginning: