A full anapestic metre with feminine ending gives somewhat the effect of anacrusis, since a third light syllable must be crowded in between the stresses.
This restatement of the Mother's opening chord provides the vehicle for a sudden shift of tonality to B-flat major and Edward's final answer at the anacrusis to measures 44 and following.
The Old English poem contains only about eighty instances of anacrusis, for example.
The first subphrase is a modified inversion of the first measure of the Mother's theme, motives a and b and the first note of motive c, excluding the anacrusis but including the grace note.
