but admitted that the Anglo-Saxon line was a departure from the type in the direction of fewer accents. Ten Brink, however, found the full number of accents in the typical Anglo-Saxon line. "It is based upon a measure which belonged to the antiquity of all Germanic races, namely, the line with eight emphatic syllables, divided into equal parts by the cesura." (_English Literature_, trans. Kennedy, vol. i. pp. 21, 22.) The principal representative of the two-accent theory is Sievers, whose conclusions have been pretty generally accepted by English and American scholars. He admits that very many, perhaps most, Anglo-Saxon lines can be read with eight accents, but shows that there is still a large proportion (some eleven hundred in _Beowulf_) which cannot be so read without wrenching the natural reading. On this subject, see Westphal's _Allgemeine Metrik_, Sievers's _Altgermanische Metrik_, Kaluza's _Der Altenglische Vers_, and the articles by Sievers, Luick, and ten Brink in Paul's _Grundriss der Germanische Philologie_. Aside from the two-part structure of the long line, the number of accents, and the alliteration, Anglo-Saxon verse is marked by the usual coincidence of the principal accents with long syllables. The unaccented parts of the line vary in both the number and length of the syllables. In general, each half-line is divided into two feet, or measures; and, according to the structure of these feet, the ordinary half-lines of Anglo-Saxon verse have been reduced by Sievers to five fundamental types. Type A is represented by such a half-line as "stiðum wordum." Type B inverts the rhythm of A, as in the half-line "nē winterscūr." Type C is characterized by the juxtaposition of the two accents, as in the half-line "and forð gangan." Type D commonly has only the accented syllable in the first foot, while the second foot is characterized by a sort of dactylic rhythm, as in the half-lines "sǣlīðende" and "flet innanweard." Type E inverts the rhythm of D, as in the half-line "gylp-wordum spræc."[16] In all the types many variations are found. The beginning of the line may show anacrusis, and two short syllables may take the place of a long syllable; while an indeterminate number of light syllables may often be introduced before or after the principal accents. Hafað ūs ālȳfed _lucis auctor_, þæt wē mōtun hēr _merueri_ gōddǣdum begietan _gaudia in celo_, þǣr wē mōtun _maxima regna_ sēcan and gesittan _sedibus altis_, lifgan in lisse _lucis et pacis_, āgan eardinga _almæ letitæ_, brūcan blǣddaga _blandem et mitem_ gesēon sigora Frēan _sine fine_, and him lof singan _laude perenne_ ēadge mid englum _Alleluia_. (From the Anglo-Saxon _Phœnix_. ab. 700 A.D.)