the following table is a somewhat simplified rendition of these scansion systems. Attridge (1982) and Groves scan ictus/nonictus on a separate line. Tarlinskaja, Attridge, and Groves each exhibit distinct conceptions regarding the dispositions of ictus and nonictus. Marina Tarlinskaja Tarlinskaja uses scansion as a basis for statistical analysis of verse. She has used several versions of the scansion levels shown above, some more and some less fine-grained, and some reduced to numerical values; but all relate to this basic 3 × 2 structure. In the metrical component of her scansion, she (like Jespersen) marks the ictic and nonictic positions of the meter, not of the line. This allows her to compare patterns across hundreds or thousands of verse lines statistically, using a consistent matrix of positions. Thus in the line ∈ – ∪ ⊥ ∪ – ∈ ⊥ ∪ ⊥ When to the sessions of sweet silent thought where both Attridge and Groves (and most prosodists, for that matter) would say that the first syllable is ictic, Tarlinskaja rigidly keeps the ictus in the second position, which is its "average" position across iambic pentameter. Derek Attridge Attridge's scansion is intended to be broadly applicable, using a few symbols and rules to describe a wide range of English lines consistently, without a priori reducing them to one metrical system. Like Tarlinskaja, he considers that ictus and nonictus (in his notation B for "beat" and o for "offbeat") always alternate, but matches beats to prominent syllables by allowing offbeat positions to be filled by 0, 1, or 2 syllables (represented by ô, o, and ǒ respectively). The top line represents his "single-line" scansion from 1995, and the lower lines uses his original two-line system of 1982 (these are theoretically identical, only graphically different). / x x / x x / [x]/ x / When to the sessions of sweet silent thought +s -s -s +s -s -s +s +s -s +s B ǒ B ǒ B ô B o B Peter L. Groves To date, Groves has put forward his system only as an explanation of iambic pentameter (or "the English heroic line" as he prefers to call it), though elements may be applicable to other accentual-syllabic meters. He begins his rhythmic scansion with a three-level label for all syllables, but goes much further by elaborating rules describing how contiguous syllables impinge upon each other. The result is a map of the