ALLITERATIVE VERSE

early verse of the Germanic languages in which alliteration, the repetition of consonant sounds at the beginning of words or stressed syllables, is a basic structural principle rather than an occasional embellishment. Although alliteration is a common device in almost all poetry, the only Indo-European languages that used it as a governing principle, along with strict rules of accent and quantity, are Old Norse, Old English, Old Saxon, Old Low German, and Old High German. The Germanic alliterative line consists of two hemistichs (half lines) separated by a caesura (pause). There are one or two alliterating letters in the first half line preceding the medial caesura; these also alliterate with the first stressed syllable in the second half line. Alliteration falls on accented syllables; unaccented syllables are not effective, even if they begin with the alliterating letter. The introduction of rhyme, derived from medieval Latin hymns, contributed to the decline of alliterative verse. In Low German, pure alliterative verse is not known to have survived after 900; and, in Old High German, rhymed verse was by that time already replacing it. In England, alliteration as a strict structural principle is not found after 1066 (the date of the Norman-French conquest of Britain), except in the western part of the country. Although alliteration was still very important, the alliterative line became freer: the second half line often contained more than one alliterating word, and other formalistic restrictions were gradually disregarded. The early 13th-century poetry of Layamon and later poems such as Piers Plowman, Sir Gawayne and the Grene Knight, and The Pearl use end rhyme extensively. Sometimes all the verses rhyme; sometimes the succession of alliterative verses is broken by rhymed verses grouped at roughly regular intervals. The last alliterative poem in English is usually held to be Scottish Fielde, which deals with the Battle of Flodden (1513). Later Norse poets (after 900) also combined many forms of rhyme and assonance with alliteration in a variety of stanzaic forms. After 1000, Old Norse alliterative verse became practically confined to the Icelanders, among whom it continues to exist. In Celtic poetry, alliteration was from the earliest times an important, but subordinate, principle. In Welsh poetry it gave rise to the /a>cynghanedd (q.v.), an intricate bardic verse.