He further regarded the _Heliand_ verse as a metre regulated by strict time, and not as a measure intended for free recitation and depending only on the number of accented syllables. A few other more recent attempts at solving the problem must be mentioned before we pass on to explain and discuss Sievers's system in the next paragraph. The views of Prof. Möller of Copenhagen[25] have found an adherent in Lawrence, from whose book[26] we may quote the following summary of Möller's theory. According to Prof. Möller the hemistich consists theoretically of two measures (_Takte_), each of four _morae_ ×́ × ×̀ × (a _mora_, ×, being the time required for one short syllable), and therefore the whole verse of four measures, thus: ×́ × ×̀ × | ×́ × ×̀ × || ×́ × ×̀ × | ×́ × ×̀ × ||. Where, in a verse, the _morae_ are not filled by actual syllables, their time must be occupied by rests (represented by r*) in reciting, by holding on the note in singing.[27] A long syllable, ——, is equivalent to two _morae_. Thus v. 208 of _Beowulf_ _súnd-wùdu. sṓhtè. sécg. wī́sàde_. would be symbolically represented as follows: –́ ×̀ × | –́ ×̀ r || –́ rr | –́ ×̀ ×. According to this system the pause at _secg_ will be twice as long as that at _sōhte_, whilst at _wudu_ there will be no real pause and the point will merely indicate the end of the measure. Others reverted to the view of Bartsch and Schubert that there could be hemistichs with only three accents alongside of the hemistichs with the normal number of four. Among these may be mentioned H. Hirt,[28] whose view is that three beats to a hemistich is the normal number, four being less usual, the long line having thus mostly six beats, against the eight of Lachmann's theory; K. Fuhr,[29] who holds that every hemistich, whether it stands first or second in the verse, has four beats if the last syllable is unaccented (_klingend_; in that case the final unaccented syllable receives a secondary rhythmical accent, for example, _fḗond máncýnnès_) and has three beats if it is accented (_stumpf_, for example, _fýrst fórð gewā́t_, or _múrnénde mṓd_, &c.); and B. ten Brink,[30] who calls the hemistichs with four beats full or 'complete' (e.g. _hȳ́ràn scóldè_, but admits hemistichs with three beats only, calling them 'incomplete' from the want of a secondary accent (e.g. _twélf wíntra tī́d, hā́m gesṓhte_, &c.). The four-beat theory was reverted to by M. Kaluza, who endeavours to reconcile it with the results of Sievers and others.[31] A somewhat similar view is taken by R. Kögel.[32] Trautmann[33] takes Amelung's view that certain words and syllables must be lengthened in order to get the four accented syllables necessary for each hemistich. Thus, according to Trautmann's scansion, _sprécað fǽgeré befóran_ would run ×́ × | ×́ × | ×́ × | ⏑́ × and _ónd þú him méte sýlest_ would also have the formula ×́ × | ×́ × | ×́ × | ⏑́ ×,