Motif I has some resemblance to measure 4 in the first example. As you can see from the comparison, both the upper and lower motifs agree on the beat 1, the “a” of beat 1, and in the use of a tie. In many ways, the lower rhythmic motif looks like a repackaging of the upper one. Looking at both comparisons, a case can be made that every measure in verse two is related in some way, rhythmically speaking.
Of course, Sir Paul probably didn’t think all this when he wrote the melody. According to him, he literally dreamed it up while sleeping. He wrote a fantastic song using unifying rhythmic motifs, but it all happened at the subconscious level. However, it does show how the ear naturally craves unity, at least to an extent. (To learn how to pull a melody out of your lyrics, click here.)