2. _What schúlde he stúdie, | and máke himsélven wóod?_ ib. 184.
3. _But thílke téxt | held hé not wórth an óystre._ ib. 182.
4. _To Cáunterbúry | with fúl devóut coráge._ ib. 22.
5. _Úpon whích | he wíl auénged bé._ Lydgate, Story of Thebes, 1086.
6. _Óf the wórdes | that Týdeús had sáid._ ib. 1082.
7. _Fró the kíng | he gán his fáce tóurne._ ib. 1068.
8. _Nát astónned, | nor ín his hért aférde._ ib. 1069.
III. With Internal Truncation after the caesura.
9. _A stérne pás | thórgh the hálle he góth._ ib. 1072.
10. _And whích they wéren, | ánd of whát degré._ Chaucer, Prol. 40.
11. _And yét therbý | sháll they néuer thrýve?_ Barclay, Ship of Fooles, p. 20.
12. _And máde fórward | érly fór to rýse._ Chaucer, Prol. 33.
IV. With Initial Truncation and Truncation after the caesura.
13. _Ín al hást | Týdeús to swé._ Lydgate, Story of Thebes, 1093.
14. _Twénty bókes, | clád in blák and réed._ Chaucer, Prol. 294.
15. _Spáred nát | wómen gréet with chýlde._ Lydgate, Guy of Warwick, 16.
16. _Fór to délen | wíth no súch poráille._ Chaucer, Prol. 247.
In this five-foot metre all the Germanic licences of the even-beat rhythm may occur in the same way as in the other even-beat metres. The caesura, for instance, may occur in both (or all three) varieties in the five-foot verse of Chaucer and of many other poets, either after or within any of the remaining feet. Hence the structure of this metrical form gains to an extraordinary degree in complexity.
By the mere fact that the variations adduced above may also occur after the first, third, and fourth foot, the number of verse-forms produced by the above-mentioned types of caesura in combination with initial truncation and the different kinds of verse-ending rises to sixty-four, to say nothing of the other metrical licences due to inversion of accent, level stress, and the presence of hypermetrical unaccented syllables at the beginning, or in the middle and the end of the line. At any rate, the varieties of even-beat metres, especially of the five-foot verse, resulting from these metrical licences, are much more numerous than those connected with the five main types of the alliterative hemistich. The great diversity of rhythm allowed by this metrical theory has, indeed, been objected to, but evidently without sufficient reason, and, as it seems, only because of the unfamiliarity of the idea.