Whether words of these classes, standing in the first arsis of the first hemistich along with another alliterating word, were intended also to alliterate is somewhat uncertain, but it is probable that they were so, as in _mid þȳ =m=ǣ́stan =m=ǽgenþr[`y]mme cýmeð._ Crist 1009. These laws of accentuation are strictly observed only in the older poetry; by the end of the tenth century, in Byrhtnoth, the Metres of Boethius and the Psalms, they are frequently neglected. § =36. Arrangement and relationship of verse and sentence.= The following rules hold good in general for the distribution of the sentence or parts of the sentence between the hemistichs of the verse. Two distinct pauses occur in every alliterative line, one (commonly called the caesura) between the first and second hemistichs, the other at the end of the line, and these pauses are determined by the syntactical construction; that is to say, they coincide with the end of a clause or lesser member of the sentence. The hemistich must contain such parts of the sentence as belong closely together; and such coherent parts, as, for example, a pronoun and noun to which it refers or adverb with adjective, must not be separated from one another by the caesura, unless the pronoun or adverb is placed in the second arsis of the hemistich, as _=w=ýrd æfter þíssum =w=órdgeméarcum._ Gen. 2355. _gif ge wíllað =m=ī́nre =m=íhte gelḗfan._ Sat. 251. In Beowulf this separation of closely connected words is permitted only if the word standing in the arsis alliterates at the same time. Longer parts of a sentence may be separated both by the caesura and the pause at the end of the line. The syntactical connexion between the parts of a sentence thus broken up makes the unity of the parts clear, and when the division occurs in the caesura between the two halves of the verse, the alliteration common to both hemistichs serves further to emphasize this unity. The single alliterative lines are connected with one another by the prevailing usage of ending the sentence not at the end of the completed line, but at the end of the first hemistich or in the middle of the line, and of beginning a new sentence with the second hemistich. The great variety of expression, and the predilection for paraphrase by means of synonyms which is so characteristic of OE. poetry, contribute to make such breaks in the line easy. Whatever may be the explanation, it is certainly the fact that in the OE. poetry the metrical and syntactical members do sometimes coincide, but at other times overlap in a way which does not admit of being reduced to rule.[86] The Lengthened Verse.