_ond_ being protracted to two units. Another instance of this lengthening would, on this theory, occur in the final syllable of the word _radores_ in the hemistich _únder rádorès rýne_, while in a section like _gūð-rinc monig_, or _of fold-grǽfe_, the words _rinc_ and _of_ would be extended to two, and _gūð_ and _fold_ would each be extended to four units, in order to fit in with the scansion ×́ × | ×́ × | ×́ × | ⏑́ ×. Most of the partisans of the four-beat theory for the hemistich agree in making two of these beats primary, and two secondary; Trautmann, however, does not seem to recognize any such difference in the force of the four accents. All the supporters of the four-beat theory have this in common, that the rhythm of the verse is assumed to be based on time (_taktierend_), but in other respects differ widely from each other; Hirt, for example, in his last discussion of the subject,[34] claiming that his own view is fundamentally different from that of Kaluza, which again he looks on as at variance with those of Möller and Heusler. § =17. The two-beat theory=, on the other hand, is that each of the two hemistichs of the alliterative line need have only two accented syllables. In England this view was taken by two sixteenth-century writers on verse, George Gascoigne[35] who quotes the line, _No wight in this world, that wealth can attain_, giving as the accentual scheme ` ´ ` ` ´ ` ´ ` ` ´; and by King James VI, whose example is-- _Fetching fude for to feid it fast furth of the Farie._[36] In 1765, Percy, in his _Essay on Pierce Plowman's Visions_, pointed out 'that the author of this poem will not be found to have invented any new mode of versification, as some have supposed, but only to have retained that of the old Saxon and Gothick poets, which was probably never wholly laid aside, but occasionally used at different intervals'. After quoting[37] two Old Norse, he gives two Old English verses:-- _Sceop þa and scyrede scyppend ure_ (Gen. 65), _ham and heahsetl heofena rices_ (ib. 33); he continues: 'Now if we examine the versification of Pierce Plowman's Visions' (from which he quotes the beginning-- _In a somer season | when softe was the sonne I schop me into a schroud | a scheep as I were, &c._) 'we shall find it constructed exactly by these rules', which are, in his own words, 'that every distich [i.e. complete long line] should contain at least three words beginning with the same letter or sound; two of these correspondent sounds might be placed either in the first or second line of the distich, and one in the other, but all three were not regularly to be crowded into one line.' He then goes on to quote further specimens of alliterative verse from _Pierce the Ploughman's Crede_, _The Sege of Jerusalem_, _The Chevalere Assigne_, _Death and Liffe_ and _Scottish Fielde_, which latter ends with a rhyming couplet: