This combination of alliteration and rhyme, however, only becomes conspicuous to a considerable extent for the first time in the above-mentioned passage of the _Saxon Chronicle_, and in another passage of the year 1087.[96] The chief difference between these verses and those of the _Rhyming Poem_ is this, that the former have not such a symmetrical structure as the latter, and that rhyme and alliteration are not combined in all of them, but that regular alliterative lines, rhyming-alliterative lines, and lines with rhyme only occur promiscuously, as e.g. in the following lines (4-7) of the above-mentioned passage of the _Chronicle_ of the year 1036: _=s=úme hī man =b=énde, | =s=úme hī man =b=lénde, =s=úme man =h=ámelode | and =s=úme =h=ḗanlīce =h=ǽttode; ne wearþ =d=rḗorlīcre =d=ǣ́d | ge_=d=ṓn on þisan éarde, siððan Déne cṓmon | and hēr frýð nā́mon. The verses of the year 1087 of the _Saxon Chronicle_ have a similar but on the whole less rhythmical structure. In some of the lines the hemistichs are neither joined by alliteration, nor by end-rhyme, but merely by the two-beat rhythm of each of them; cf. 11. 1-5: _Castelas he let wyrcean | and earme men swiðe swencean. Se cyng wes swa swiðe stearc | and benam of his under-þeoddan manig marc goldes | and ma hundred punda seolfres; þat he nam be wihte | and mid mycelan unrihte of his =l=and=l=eode | for =l=itelre neode._[97] On the other hand, the poetical piece of the _Saxon Chronicle_ on Eadweard of the year 1065 is written in perfectly regular alliterative lines. These two ways of treating the old alliterative line which occur in the latter part of the _Saxon Chronicle_, and which we will call the progressive and the conservative treatment, indicate the course which this metre was to take in its further development. Out of the long alliterative line, separated by the caesura into two hemistichs, again connected by rhyme, there sprang into existence a short rhyming couplet. This was by no means identical with the three-beat couplet evolved from two rhyming hemistichs of a line on the model of the French Alexandrine, nor with the short four-beat couplets modelled on the French _vers octosyllabe_, but had points of similarity enough to both, especially to the former one, to be easily used in conjunction with them, as several Early English poems show. The conservative treatment of the old alliterative line, which probably at no time was altogether discontinued, was revived in the thirteenth and especially in the fourteenth and fifteenth centuries, when it degenerated again in the same way as the progressive line had done several centuries before. =B. The 'Proverbs of Alfred' and Layamon's 'Brut'.=