In other passages the alliterative long lines pass into Septenaries, as, for instance, ll. 273-98: _ðe =m=íre =m=úneð us | =m=éte to tílen, =l=óng =l=ívenoðe, | ðis =l=ítle wíle ðe we on ðis =w=érld =w=únen: | for ðanne we óf =w=énden, ðánne is ure =w=ínter: | we sulen =h=únger =h=áuen and =h=árde súres, | buten we ben wár =h=ére. Do wé forðí so dóð ðis dér, | ðánne wé be dérue Ón ðat dái ðat dóm sal bén, | ðát ít ne us hárde réwe_: * * * * * _þe córn ðat gé to cáue béreð, | áll ge it bít otwínne, ðe láge us léreð to dón gód, | ánd forbédeþ us sínne_, &c. In a third instance (ll. 628-35) Septenary and four-foot lines run into one another: _Hú he résteð him ðis dér, ðánne he wálkeð wíde, hérkne wú it télleð hér, for hé is ál unríde. A tré he sékeð to fúligewís ðát is stróng and stédefast ís, and léneð hím tr+o+stl+í+ke ðerbí, ðánne he ís of wálke w+e+r+í+._ In many passages in the poem one or other of these different types of verse occurs unmixed with others. Thus we have short couplets in the section 444-5; in ll. 1-39 alliterative rhymeless verse, occasionally of marked archaic construction, concluding with a hemistich (39) which rhymes with the preceding hemistich so as to form a transition to the following section (ll. 40-52), which again consists of four-foot and Septenary verses. These are followed by a section (ll. 53-87) in which four-foot and three-foot lines (that is to say, Alexandrines) rhyming in couplets are blended; and this is succeeded by a further section (ll. 88-119) mostly consisting of Septenaries resolved by the rhyme into short lines. (Cf. _Metrik_, i, §§ 79-84.) Hence we may say that the poet, in accordance with his Latin model (likewise composed in various metres), has purposely made use of these different metrical forms, and that the assertion made by Trautmann and others,[147] that the Septenary of the _Ormulum_ and the _Moral Ode_, which is contemporary with Layamon, represents the final result of the development of Layamon's verse (the freer alliterative long line), must be erroneous. § =143.= In _On god Ureison of ure Lefdi_, on the other hand, the alliterative long lines play only an insignificant part, a part which is confined to an occasional use of a two-beat rhythm in the hemistichs and the frequent introduction of alliteration. Septenaries and Alexandrines here interchange _ad libitum_. The following short passage (ll. 23-34) will suffice to illustrate these combinations of metres: