This table at the same time also contains the formal exposition, and indeed possibly the actual explanation (by suppression of the thesis following the epic caesura), of such lines as may be regarded as lines with lyric caesura, and are identical with these in regard to rhythm and number of syllables. To this class belong the forms given under 10, 12, 14, and 16. The following examples will serve to illustrate these sixteen types: I. Principal Types. 1. _A kníght ther wás, | and thát a wórthy mán._ Prol. 43. 2. _What schúlde he stúdie, | and máke himsélven wóod?_ ib. 184. 3. _But thílke téxt | held hé not wórth an óystre._ ib. 182. 4. _To Cáunterbúry | with fúl devóut coráge._ ib. 22. II. With Initial Truncation. 5. _Úpon whích | he wíl auénged bé._ Lydgate, Story of Thebes, 1086. 6. _Óf the wórdes | that Týdeús had sáid._ ib. 1082. 7. _Fró the kíng | he gán his fáce tóurne._ ib. 1068. 8. _Nát astónned, | nor ín his hért aférde._ ib. 1069. III. With Internal Truncation after the caesura. 9. _A stérne pás | thórgh the hálle he góth._ ib. 1072. 10. _And whích they wéren, | ánd of whát degré._ Chaucer, Prol. 40. 11. _And yét therbý | sháll they néuer thrýve?_ Barclay, Ship of Fooles, p. 20. 12. _And máde fórward | érly fór to rýse._ Chaucer, Prol. 33. IV. With Initial Truncation and Truncation after the caesura. 13. _Ín al hást | Týdeús to swé._ Lydgate, Story of Thebes, 1093. 14. _Twénty bókes, | clád in blák and réed._ Chaucer, Prol. 294. 15. _Spáred nát | wómen gréet with chýlde._ Lydgate, Guy of Warwick, 16. 16. _Fór to délen | wíth no súch poráille._ Chaucer, Prol. 247. In this five-foot metre all the Germanic licences of the even-beat rhythm may occur in the same way as in the other even-beat metres. The caesura, for instance, may occur in both (or all three) varieties in the five-foot verse of Chaucer and of many other poets, either after or within any of the remaining feet. Hence the structure of this metrical form gains to an extraordinary degree in complexity.