On the whole, then, we see that the language of King Horn is much less influenced, than one would expect, by older English models. The language of the second growth of story seems to have fallen into new conventional moulds quite independent of the older tradition.
As we have seen, the phraseology of King Horn shows relatively little trace of influence by the older English traditional stereotyped forms of expression. In this respect if Layamon is the link connecting native English poetry with the past, King Horn is the link joining to the newer traditions of poetry, which were forming. For, as we have seen, if King Horn has some phrases in common with Layamon, these are the modern forms of expression more often than the phrases rooted in the older English tradition. And, as we have seen, while King Horn has relatively little of phraseology inherited from the past, it has a multitude of stereotyped phrases in common with the poetry of contemporary and later composition (cf. Notes). In the same way in versification, if Layamon is the link connecting with the Anglo-Saxon mode of versification, King Horn is the link connecting with the newer mode, of Romance or mediæval Latin origin.
The exact theory of the versification of King Horn remains yet to be established. Luick in his article in Paul’s Grundriss offers the very ingenious hypothesis that in the ‘beginnings of English as well as of German rimed verse, we have before us the coming to light again of the primitive Teutonic measured song verse.’ This hypothesis, though ingenious and plausible, does not admit of verification, and it is perhaps safer to adhere to the view of Schipper (Grundriss der englischen Metrik), who sees in Layamon’s verse the direct traditional descendants of the OE. types, and in King Horn a further development of the versification of Layamon.
We see then, probably, in the versification of King Horn a transitional stage in the development of native English metre, connecting, as we have seen, more closely with the future than with the past. It was probably the occurrence in each verse of two syllables marked from the other syllables by a stronger stress, that gave rise to a feeling of uniformity in rhythm. This tendency toward uniformity in rhythm was fostered by the regular introduction of rime, for since the riming syllable naturally bore one of the two verse accents, and since the riming syllables in two riming verses would occupy the same relative position, hence in a riming verse the second of the two verse accents must balance with that in the other verse of the pair, and the balance established between the second pair of accents would naturally lead to a complete balance between the two verses. In other words the two verses would be levelled to the same rhythm.