The ancient quantitative metric learned in school was often practised in such occasional verse as Baudry de Bourgeuil’s.[44] Both his elegiacs and his partially rimed verses are literary exercises. More significant is the tentative use of rime in the same eleventh century by Fulbert. Verbum Dei Spiritumque legifer in Genesi, Rex David secundo psalmo post tricenum cecin_it_; Sic uterque Trinitatem unitatis prodid_it_. Sapiens cum genitore sancto suo Salomon Plane verbo declaravit esse Deo Fili_um_, Verbum scilicet æternum corde ejus genit_um_: PL 141: 342.[45] Heribert, Bishop of Eichstätt in 1021, rimed more confidently, but still without insistence. Salve, crux sancta, salve mundi gloria, Vera spes nostra, vera ferens gaudia, Signum salutis, salus in periculis, Vitale lignum, vitam portans omnium.... AH 50: 291. The danger of insistence in rimed stress verse was already evident in many accentual hexameters riming the end of the verse with the middle. How easily the combination lapses into doggerel appears in a common seven-stress verse with marked cæsura (4 + 3). Gratiæ millesimo ducentesimoque Anno sexagesimo quarto quarta quoque Feria Pancratii post sollempnitatem Valde gravis prelii tulit tempestatem Anglorum turbatio castroque Lewensi, Nam furori ratio, vita cessit ensi.... _The Battle of Lewes_ (in Wright’s _Political Songs_, Camden Society, 1839, page 72). Such mechanical versifying merely makes obvious that stress rhythm was the established habit.[46] By the twelfth century anything else was merely literary exercise, quite out of the literary current; and the danger of obtruding the stress pattern of failing to fuse it with the other means of suggestion, was more and more expertly avoided. How far even a very marked pattern of stress and rime could be carried was demonstrated in the famous _De contemptu mundi_ of Bernard of Cluny.[47] Though its arraignment of his age soon faded, its detail of doom and redemption, its realization of eternal life, showed poetic vitality. Bernard’s failure in organizing the movement of the whole is thus forgotten in the striking success of these parts.[48] Nescio, nescio quæ jubilatio, lux tibi qualis, Quam socialia gaudia, gloria quam specialis. Laude studens ea tollere, mens mea victa fatiscit. O bona gloria, vincor; in omnia laus tua vicit. Stant Sion atria conjubilantia, martyre plena, Cive micantia, Principe stantia, luce serena.