_ǣ́fre embe =s=túnde | he =s=éalde sume wúnde, þā h=w=ī́le þe hē =w=ǣ́pna | =w=éaldan mṓste._ Byrhtnoth, 271-2. Ninth Century: _=w=ýrmum be=w=únden, | =w=ítum gebúnden, =h=éarde ge=h=ǣ́fted | in =h=élle brýne._ Judith, 115-16. Eighth Century: _=h=ā́m and =h=ḗahsètle | =h=éofena rī́ces._ Genesis, 33. _=w=úldre bi=w=únden | in þǣre =w=lítigan býrig. háfað ūs ā=l=ȳ́fed | =l=ū̀cis áuctor þæt wē =m=ṓtun hḗr | =m=éruḗrī[122] =g=ṓddǣdum be=g=íetan | =g=áudia in cǣ́lō._ Phoenix, 666-9. _on=f=ḗngon =f=úlwihte | and =f=réoðowǣ́re =w=úldres =w=édde | wī́tum āspḗdde._ Andreas, 1632-3. _þǣr wæs =b=órda ge=b=réc | and =b=éorna geþréc =h=éard =h=ándgeswìng | and =h=érga gríng, sýððan hēo =é=arhfære | =ǣ́=rest mḗtton._ Elene, 114-16. _=b=úgon Þā tō =b=énce | =b=lǣ́d-ā́gènde =f=ýlle ge=f=ǣ́gon. | =f=ǽgene geþǣ́gon =m=édofull =m=ánig | =m=ā́gas þā́ra._ Beowulf, 1013-15. Seventh Century: _nu scýlun =h=érgan | =h=éfænrīcæs uárd, =m=étudæs =m=ǽcti | end his =m=ṓdgidanc._ Cædmon's Hymn. § =75.= The evidence contained in this chapter, with regard to the continuous survival, in its essential rhythmical features, of the Old English native verse down to modern times, may be briefly summed up as follows:-- 1. In the oldest remains of English poetry (_Beowulf_, _Elene_, _Andreas_, _Judith_, _Phoenix_, &c.) we already find lines with combined alliteration and rhyme intermixed with, and rhythmically equivalent to, the purely alliterative lines, exactly as we do in late Old English and early Middle English poems such as _Byrhtnoth_, _Be Dōmes Dæge_, _Oratio Poetica_, _Chronicle_ an. 1036, _Proverbs of Alfred_, and Layamon's _Brut_. 2. In some of these poems, viz. the _Phoenix_ and the _Oratio Poetica_, Latin two-beat hemistichs are combined with English hemistichs of similar rhythm to form regular long lines, just as is done in Bale's play of _Kinge Johan_ (sixteenth century). 3. The lines of this play agree in the general principle, and frequently in the details of their rhythmical structure, with alliterative-rhyming long lines which occur in lyric and epic poems of the same period, and which two contemporary metrists, Gascoigne and King James VI, recognized (independently of each other) as lines of four accents. 4. The rhythm of these sixteenth-century lines is indistinguishable from that of a four-accent metre which is popular in English and German poetry down to the present day.