(ii) A*2 -´ × `× | -´ × may possibly occur in _m[=á]ððumf[`æ]t m[=æ´]re_ Beow. 2405, _wúldorl[=è]an wéorca_ Cri. 1080; with resolution of the thesis with secondary accent, _mórðorbèalo mága_ Beow. 1079. Possibly, however, the syllables _um_ in _m[=a]ððum_ and _or_ in _wuldor_ and _morðor_ are to be written _m_ and _r_, so that the scansion of the hemistich would be A2 -´ `- | -´ × and -´ >`) ×< | -´ ×.[77]
=Type B*= `× × -´ | × -´ does not seem to occur in O.E. poetry, though it does in Old Norse.
=Type C*= in the forms `× × -´| -´ ×, `× × )´ × | -´ ×, × × -´ | )´ × are also not found in O.E.
=Type D*= on the other hand does occur, but almost exclusively in the first hemistich. It has three sub-types: (i) D*1 -´ × | -´ × ×, _s[=í]de s[=æ´]n[`æ]ssas_ Beow. 223, _áldres órw[=è]na_ Beow. 1002; with resolution of the first arsis, _[æ´]ðeling [=á]nh[`=y]dig_ Beow. 2668; more commonly with resolution of the second arsis, _m[=æ´]ton mérestr[`æ]ta_ Beow. 514; with resolution of both, _lócene léoðos[`y]rcan_ Beow. 1506. (ii) D*2 -´ × | -´ `) ×, _m[=æ´]re méarcstàpa_ Beow. 103, _éaldor Éastdèna_ Beow. 392; with resolution of the first arsis, _[æ´]ðele órdfrùma_ Beow. 263; with resolution of the second arsis, _m[=ó]dges mérefàran_ Beow. 502, _B[=é]owulf máðelòde_ Beow. 505, &c. (iii) D*3 -´ × | )´ `× × is not found. (iv) D*4 -´ × | -´ × `× is rare, _gr[=é]tte G[=é]ata l[=è]od_ Beow. 625, _þr[=ý]ðl[=i]c þégna h[=è]ap_ Beow. 400; with resolution of first arsis, _éaforan éllors[=ì]ð_ Beow. 2452; with resolution of the second, _[=ý]ðde éotena c[`y]n_ Beow. 421; with resolution of the secondarily accented syllable, _w[=í]n of wúndorfàtum_ Beow. 1163; this type is varied by anacrusis, _ongínneð g[=é]omorm[=ò]d_ Beow. 2045, and by anacrusis together with disyllabic thesis in the second foot, _oferswám þ[=a] síoleða bigòng_ Beow. 2368.
=Type E*= does not occur in O.E. poetry.[78]
§ =31.= To assign the different hemistichs of a poem to these various types we have to follow as a regulating principle the natural word accent and syntactical accent of each sentence. In some cases the similarity or relation with one another of the types renders it a matter of difficulty to determine exactly to what particular type a hemistich may belong. Systematic investigations as to the principles which govern the combinations of the five types in pairs to form the long line have not yet been made. From such observations as have been made it would appear that by preference hemistichs of different rhythmical structure (ascending and descending) were combined with a view to avoid a monotonous likeness between the two halves of the verse.[79]