But the prosody of the Romance tongues is perfectly simple and intelligible, except in the one crux of the question how it came into being, and what part "popular" poetry played in it. We find it, almost from the first, full-blown: and only minor refinements or improvements are introduced afterwards. With English prosody it is very different.[102] As has been said, the older prosody itself, with the older verse, seems to have to a great extent died out even before the Conquest, and what verse was written in the alliterative measures afterwards was of a feeble and halting kind. Even when, as the authors of later volumes of this series will have to show, alliterative verse was taken up with something like a set purpose during the fourteenth and fifteenth centuries, its character was wholly changed, and though some very good work was written in it, it was practically all literary exercise. It frequently assumed regular stanza-forms, the lines also frequently fell into regular quantitative shapes, such as the heroic, the Alexandrine, and the tetrameter. Above all, the old strict and accurate combination of a limited amount of alliteration, jealously adjusted to words important in sense and rhythm, was exchanged for a profusion of alliterated syllables, often with no direct rhythmical duty to pay, and constantly leading to mere senseless and tasteless jingle, if not to the positive coining of fantastic or improper locutions to get the "artful aid." [Footnote 102: What is said here of English applies with certain modifications to German, though the almost entire loss of Old German poetry and the comparatively late date of Middle make the process less striking and more obscure, and the greater talent of the individual imitators of French interferes more with the process of insensible shaping and growth. German prosody, despite the charm of its lyric measures, has never acquired the perfect combination of freedom and order which we find in English, as may be seen by comparing the best blank verse of the two.] [Sidenote: _The new verse._] Meanwhile the real prosody of English had been elaborated, in the usual blending fashion of the race, by an intricate, yet, as it happens, an easily traceable series of compromises and naturalisations. By the end of the twelfth century, as we have seen, rhyme was creeping in to supersede alliteration, and a regular arrangement of elastic syllabic equivalents or strict syllabic values was taking the place of the irregular accented lengths. It does not appear that the study of the classics had anything directly to do with this: it is practically certain that the influence on the one hand of Latin hymns and the Church services, and on the other of French poetry, had very much. [Sidenote: _Rhyme and syllabic equivalence._]