_Fetching fude for to feid it fast furth of the Farie._" The following specimen is one of the latest examples of fairly regular alliterative verse, written in England, that has come down to us. It is from a ballad of the battle of Flodden Field (1513). Archers uttered out their arrowes, and egerlie they shotten. They proched us with speares, and put many over, That the blood outbrast at there broken harnish. There was swinging out of swords, and swapping of headds; We blanked them with bills through all their bright armor, That all the dale dunned of their derfe strokes. (_Scotishe Ffielde_, from Percy's Folio MS. In FLÜGEL'S _Neuenglisches Lesebuch_, vol. i. p. 156.) iii. _Rime_ (_i.e. end-rime_) Full rime, or end-rime, involves the principally stressed vowel in the riming word, and all that follows that vowel. When there is an entire unstressed syllable following, the rime is called double, or feminine. Triple rime is also recognized, though rare.[11] End-rime being a stranger to the early Germanic languages, its appearance in any of them may commonly be taken as a sign of foreign influence. In general, of course, rime and the stanza were introduced together into English verse, under the influence of Latin hymns and French lyrics. The functions of rime in English verse may perhaps be grouped under three heads: the function of emphasis, the function of forming beautiful or pleasurable sounds, and the function of combining or organizing the verses. It is with reference to the first of these that Professor Corson speaks of rime as "an enforcing agency of the individual verse." Under the second head rime is considered simply as a form of tone-color, and as furnishing a part of the melody of verse. The third function, by which individual verses are bound into stanzas, is, in a sense, the most important. On the subject of the æsthetic values of rime, see the chapter on "poetic unities" in Corson's _Primer of English Verse_, and Ehrenfeld's _Studien zur Theorie des Reims_ (Zürich, 1897). The problem of the relative values of rimed and unrimed verse will come up in connection with the history of the heroic couplet and of blank verse. The objection always urged against rime is that its demands are likely to turn the poet aside from the normal order of his ideas. Herder, as Ehrenfeld points out, thought that this was particularly true of English verse, the uninflected language not providing so naturally for cases where thought and sound are parallel. A recent protest against the tyranny of rime is found in the article by Mr. Larminie, cited on page 115, where it is claimed that undue attention to form is thinning out the substance of modern poetry, and that the demands of rime should be relaxed. See also Ben Jonson's "Fit of Rhyme against Rhyme," for a humorous complaint against the requirements of rime upon the poet.