The Amra Choluim Chilli of Dallan Forgaill (from Lebor na hUidre)

It is common in this context that other words are interposed between them, as in this example:

There is also "doubling" original: adíabul, that is, a folding or gemination, as in this example:

There are two varieties of this in this foreword—the alteration of the usual voice, and the "difficult mode" original: ainnsi-mod. However, it is only the "difficult mode" that is found in the body of the hymn.

GOD, GOD—I HAVE BESOUGHT HIM BEFORE I GO INTO HIS PRESENCE original: DIA, DIA—DORROGUS RIA TIAS INN A GNÚIS. That is: I fear God, or I pray to God, before I should go into His presence, or at the time, or the season, that I go.

BACKS THROUGH BATTLES original: CÚLU TRÍA NEIT.—There is a "concealment" original: for-tched or an "extolling" here. And so that there might not be forms of concealment, he uses "beheading" original: díchned; loss of a final syllable, "deforming" original: dochned; loss of an initial syllable, and "head-at-the-end" original: cenn-ac-ror; a metrical term for adding a syllable, as some say. Néit also means "wounding" or "slaying," as it is said:

That is: Just as a manly chariot goes through a battle, so may my soul go through the battle of demons toward heaven.

BACKS original: CÚLU.—There is a "concealment" here in the word in-con-dí-lio, for cul is the usual word, but the poet added a "u" here to fill out the meter; or, to make the words more poetic through subtraction, addition, and contraction performed upon them. And there are three types of this: "beheading" loss of final syllable, "deforming" loss of initial syllable, and "head-at-the-end" addition of a syllable.