On the other hand, some of the new Teutonic tongues which were thus brought into contact with Latin, and with which Latin was brought into contact, had systems of prosody of their own, based on entirely different principles. The most elaborate of these probably, and the only one from which we have distinct remains of undoubtedly old matter in considerable quantities, is Anglo-Saxon, though Icelandic runs it close. A detailed account of the peculiarities of this belongs to the previous volume: it is sufficient to say here that its great characteristic was alliteration, and that accent played a large part, to the exclusion both of definite quantity and of syllabic identity or equivalence. [Sidenote: _Romance prosody._] While these were the states of things with regard to Latin on the one hand, and to the tongues most separated from Latin on the other, the Romance languages, or daughters of Latin, had elaborated or were elaborating, by stages which are almost entirely hidden from us, middle systems, of which the earliest, and in a way the most perfect, is that of Provencal, followed by Northern French and Italian, the dialects of the Spanish Peninsula being a little behindhand in elaborate verse. The three first-named tongues seem to have hit upon the verse of ten or eleven syllables, which later crystallised itself into ten for French and eleven for Italian, as their staple measure.[101] Efforts have been made to father this directly on some classical original, and some authorities have even been uncritical enough to speak of the connection--this or that--having been "proved" for these verses or others. No such proof has been given, and none is possible. What is certain, and alone certain, is that whereas the chief literary metre of the last five centuries of Latin had been dactylic and trisyllabic, this, the chief metre of the daughter tongues, and by-and-by almost their only one, was disyllabic--iambic, or trochaic, as the case may be, but generally iambic. Rhyme became by degrees an invariable or almost invariable accompaniment, and while quantity, strictly speaking, almost disappeared (some will have it that it quite disappeared from French), a syllabic uniformity more rigid than any which had prevailed, except in the case of lyric measures like the Alcaic, became the rule. Even elision was very greatly restricted, though caesura was pretty strictly retained, and an additional servitude was imposed by the early adoption in French of the fixed alternation of "masculine" and "feminine" rhymes--that is to say, of rhymes with, and rhymes without, the mute _e_. [Footnote 101: _Vide_ Dante, _De Vulgari Eloquio_.] [Sidenote: _English prosody._] [Sidenote: _The later alliteration._]