These different kinds of caesura strictly correspond to their French models. The Epic caesura, which to some extent disturbs the regular rhythmic flow of a verse, is by far the least frequent in metres of equal feet. In the alliterative line, on the other hand, as this metre does not consist of equal feet, the feminine caesura, which is, from a rhythmical point of view, identical with the Epic, is commonly used both in the Old English and in the Middle English period, being produced by the natural quality of the types A, C, D, and by the resolution of the last accented syllable in the types B and D (of the Old English verse). For this reason it also occurs more frequently than the other kinds of caesura in the Modern English four-beat line. This may be illustrated by the following examples: Epic caesura: _To Cáunterbúry | with fúl devóut couráge._ Chaucer, Prol. line 22. _He knóweth how gréat Atrídës | that made Troy frét._ Wyatt, p. 152. _And yét there ís anóther | between those héavens twó._ Wyatt, p. 161. _Witóuten grúndwall | to bé lastánd: stand._ Cursor Mundi, line 125. Lyric caesura: _Þer hé was fóurty dáwes | ál withúte méte._ Passion, line 29. _Se séttled hé his kíngdom | ánd confírmd his ríght._ Spenser. Faerie Queene, II, x. 60. _And wél we wéren ésed | átte béste._ Chaucer, Prol. 29. _Þat álre wúrste | þát hi wúste._ Owl and Night., line 10. _And Í should háve it | ás me líst._ Wyatt, p. 30. All three kinds of caesura will have to be treated systematically later on in connexion with the iambic rhyming verse of five measures, the character of which they affect very much.