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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:53:28 -0700 |
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line-height: 1.2em;} +table.paradigm tr.header td {padding-top: .5em; padding-bottom: .5em;} +table.paradigm td.class {padding-right: 0;} +table.paradigm p {margin-top: 0em; margin-left: 1em; text-indent: -1em; +line-height: normal;} + +td.center {text-align: center;} +td.middle {vertical-align: middle;} +td.right {text-align: right;} + +td.item {text-align: right; width: 3em; padding-right: .25em;} +td.footnote div.verse p {line-height: 1.1em;} + + +span.footnote {float: right; clear: right; width: 25%; +margin-left: 1em; font-size: 92%;} + +span.locked {white-space: nowrap;} + +span.firstword {font-variant: small-caps; font-style: normal;} + +.smaller {font-size: 88%;} +.smallest {font-size: 75%;} +span.larger {font-size: 112%;} + +span.smallroman {text-transform: lowercase; font-variant: small-caps; +font-style: normal;} + +span.pagenum {right: auto; left: 2%; text-align: left;} + +</style> + +</head> + +<body> + +<pre> + +The Project Gutenberg EBook of Early English Alliterative Poems, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Early English Alliterative Poems + in the West-Midland Dialect of the Fourteenth Century + +Author: Various + +Editor: Richard Morris + +Release Date: October 19, 2009 [EBook #30282] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK EARLY ENGLISH ALLITERATIVE POEMS *** + + + + +Produced by Louise Hope, David Starner and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + +<div class="mynote"> + +<p><a name="start" id="start">This e-text</a> is based on the 1869 +(second) edition of the <i>Alliterative Poems</i>. A few apparent +misprints were checked against the 1864 edition, but the texts as a +whole were not closely compared.</p> + +<p>The text includes characters that will only display in UTF-8 +(Unicode) +text readers, primarily Ȝ ȝ (yogh). There are also a few Greek words in +the Index, and a handful of letters with overline or macron, such as ī. +If these characters do not display properly, or if the quotation marks +in this paragraph appear as garbage, you may have an incompatible +browser or unavailable fonts. First, make sure that your browser’s +“character set” or “file encoding” is set to Unicode (UTF-8). You may +also need to change the default font.</p> + +<hr class="small"> + +<p>All brackets are in the original.</p> + +<p>Typographical errors are shown with <ins class="correction" title="like this">mouse-hover popups</ins>. Quotation-mark +errors—especially orphaned open quotes—are <ins class="quotation" title="like this">similarly marked</ins>. In some cases it +may be possible to guess where the missing quotation mark belongs, but +it seemed safer to leave the text as printed. No quotation marks +disappeared between the 1864 and 1869 editions.</p> + +<p class="center"> +<a href="#contents">Full Contents</a><br> +<a href="#preface">Preface</a><br> +<a href="poems.html#pearl"><i>The Pearl</i></a> (<i>separate +file</i>)<br> +<a href="poems.html#cleanness"><i>Cleanness</i></a> (<i>separate +file</i>)<br> +<a href="poems.html#patience"><i>Patience</i></a> (<i>separate +file</i>)<br> +<a href="glossary.html">Glossarial Index</a> (<i>separate +file</i>)<br> +<a href="#sidenotes">Sidenotes</a><br> +<a href="#endnote">Details of Text and Layout</a></p> + +</div> + +<p class="illustration"> +<img src="images/titlepage.png" width="306" height="218" +alt="Early English Alliterative Poems in the West-Midland Dialect of the Fourteenth Century" +title="Early English Alliterative Poems in the West-Midland Dialect of the Fourteenth Century"> +</p> + +<h5>EDITED FROM<br> +THE UNIQUE MANUSCRIPT<br> +BRITISH MUSEUM MS. COTTON<br> +NERO A. x</h5> + +<h6>BY</h6> + +<h4>RICHARD MORRIS</h4> + +<p> <br> </p> + +<h5><i>Published for</i><br> +<span class="smaller">THE EARLY ENGLISH TEXT SOCIETY</span><br> +<i>by the</i><br> +<span class="larger">OXFORD UNIVERSITY PRESS</span><br> +<span class="smallest">LONDON NEW YORK +TORONTO</span></h5> + +<hr class="page"> + +<h6>FIRST PUBLISHED 1864<br> +SECOND EDITION 1869<br> +REPRINTED (1869 VERSION) 1965</h6> + +<p> <br> </p> + +<h5><b>Original Series</b>, No. 1</h5> + +<h6>ORIGINALLY PRINTED BY STEPHEN AUSTIN, HERTFORD<br> +AND NOW REPRINTED LITHOGRAPHICALLY IN GREAT BRITAIN<br> +AT THE UNIVERSITY PRESS, OXFORD<br> +BY VIVIAN RIDLER, PRINTER TO THE UNIVERSITY</h6> + +<hr class="page"> + +<div class="contents"> + +<h4><a name="contents" id="contents"> +<b>Contents</b></a><br> +<span class="smaller">(added by transcriber)</span></h4> + +<p class="center"> +Items in <i>italics</i> do not have headings in the body text.</p> + +<table class="toc" summary="contents"> +<tr> +<td colspan="2"> +<a href="#preface">Preface</a></td> +<td class="number"><a href="#pagev">v</a></td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="#pref_intro_pearl"><i>Introduction to <b>The +Pearl</b></i></a></td> +<td class="number">[xi]</td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="#pref_intro_clean"><i>Introduction to +<b>Cleanness</b></i></a></td> +<td class="number">[xiii]</td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="#pref_intro_patience"><i>Introduction to +<b>Patience</b></i></a></td> +<td class="number">[xviii]</td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="#pref_intro"><i>General Introduction</i></a></td> +<td class="number">[xix]</td> +</tr> +<tr> +<td class="inset" colspan="2"> +<p><a href="#pref_dialect">Remarks Upon the Dialect and +Grammar</a></p></td> +<td class="number"><a href="#pagexxi">xxi</a></td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="#pref_grammar">Grammatical Details</a></td> +<td class="number"><a href="#pagexxviii">xxviii</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_noun">I.</a></td> +<td>Nouns</td> +<td class="number"><a href="#pagexxxiii">xxxiii</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_adj">II.</a></td> +<td>Adjectives</td> +<td class="number"><a href="#pagexxxiii">xxxiii</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_pron">III.</a></td> +<td>Pronouns</td> +<td class="number"><a href="#pagexxx">xxx</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_verb">IV.</a></td> +<td>Verbs</td> +<td class="number"><a href="#pagexxxiii">xxxiii</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_adv">V.</a></td> +<td>Adverbs</td> +<td class="number"><a href="#pagexl">xl</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_prep">VI.</a></td> +<td>Prepositions</td> +<td class="number"><a href="#pagexl">xl</a></td> +</tr> +<tr> +<td class="item"><a href="#pref_gram_conj">VII.</a></td> +<td>Conjunctions</td> +<td class="number"><a href="#pagexl">xl</a></td> +</tr> +<tr> +<td colspan="2"> +<p><a href="#manuscript">Description of the Manuscript</a></p></td> +<td class="number"><a href="#pagexli">xli</a></td> +</tr> +<tr> +<td colspan="2"> +<p><a href="#contrac">Contractions Used in the Glossary</a></p></td> +<td class="number"><a href="#pagexliv">xliv</a></td> +</tr> +<tr> +<td colspan="3"> +<hr class="mid"> +</td> +</tr> +<tr> +<td colspan="2"> +<a href="poems.html#pearl">The Pearl</a> (<i>separate file</i>)</td> +<td class="number"><a href="poems.html#page1">1</a></td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="poems.html#pearl_notes">Notes to <i>The Pearl</i></a></td> +<td class="number"><a href="poems.html#page105">105</a></td> +</tr> +<tr> +<td colspan="2"> +<a href="poems.html#cleanness">Cleanness</a> (<i>separate +file</i>)</td> +<td class="number"><a href="poems.html#page37">37</a></td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="poems.html#clean_notes">Notes to <i>Cleanness</i></a></td> +<td class="number">[108]</td> +</tr> +<tr> +<td colspan="2"> +<a href="poems.html#patience">Patience</a> (<i>separate file</i>)</td> +<td class="number"><a href="poems.html#page89">89</a></td> +</tr> +<tr> +<td class="inset" colspan="2"> +<a href="poems.html#patience_notes">Notes to <i>Patience</i></a></td> +<td class="number">[115]</td> +</tr> +<tr> +<td colspan="3"> +<hr class="mid"> +</td> +</tr> +<tr> +<td colspan="2"> +<a href="glossary.html">Glossarial Index</a> (<i>separate +file</i>)</td> +<td class="number"><a href="glossary.html#page117">117</a></td> +</tr> +<tr> +<td colspan="3"> +<p><i><a href="#sidenotes">Collected Sidenotes</a> (section +added by transcriber)</i></p> +</td> +</tr> +</table> + +</div> + +<div class="maintext"> + +<div class="intro"> + +<span class="pagenum">v</span> +<a name="pagev" id="pagev"> </a> + +<h3><a name="preface" id="preface">PREFACE.</a></h3> + +<p class="mynote"> +All page references in Arabic numerals refer to the main text, located +in a separate file. Parenthetical Roman numerals <i>do not</i> +correspond to the editor’s section headings, but the text summary is +generally similar to the appropriate headnote.</p> + +<hr class="micro"> + +<p><span class="firstword">The</span> following poems are taken from a +well known manuscript in the Cottonian collection, marked Nero +A. x, which also contains, in the same handwriting and dialect, +a metrical romance,<a class="tag" name="tag1" id="tag1" href="#note1">1</a> wherein the adventures of Sir Gawayne with the “Knight +in Green,” are most ably and interestingly described.</p> + +<p>Unfortunately nothing can be affirmed with any certainty concerning +the authorship of these most valuable and interesting compositions. The +editor of “Syr Gawayn and the Green Knight” considers that Huchowne, +a supposed<a class="tag" name="tag2" id="tag2" href="#note2">2</a> Scotch <i>maker</i> of the fourteenth century, has the +best claims to be recognised as the author, inasmuch as he is specially +referred to by Wyntown as the writer of the <i>Gret gest of Arthure</i> +and the <i>Awntyre of Gawayne</i>.</p> + +<p>I do not think that any certain conclusions are to be drawn from the +Scotch historian’s assertion. It is well known that more versifiers than +one during the fourteenth century attempted romance composition in the +English language, having for their theme the knightly deeds of Arthur or +Sir Gawayne. These they compiled from French originals, from which they +selected the most striking incidents and those best suited to an +Englishman’s taste for the marvellous. We are not surprised, +<span class="pagenum">vi</span> +<a name="pagevi" id="pagevi"> </a> +then, at finding so many romance poems treating of the exploits of the +same hero, and laying claim to be considered as original productions. In +Scotland, Huchowne’s works might no doubt have been regarded as the +standard romances of the period, but that they were the only English +<i>gests</i> is indeed very doubtful.</p> + +<p>The Early English alliterative romance, entitled the <i>Morte +Arthure</i>, published from a manuscript in Lincoln Cathedral by Mr. +Halliwell,<a class="tag" name="tag3" id="tag3" href="#note3">3</a> is considered by Sir F. Madden to be the veritable +<i>gest of Arthure</i> composed by Huchowne. An examination of this +romance does not lead me to the same conclusion, unless Huchowne was a +Midland man, for the poem is not written in the old Scotch dialect,<a +class="tag" name="tag4" id="tag4" href="#note4">4</a> but seems +to have been originally composed in one of the Northumbrian dialects +spoken <i>South</i> of the Tweed.<a class="tag" name="tag5" id="tag5" href="#note5">5</a></p> + +<p>The manuscript from which Mr. Halliwell has taken his text is not the +original copy, nor even a literal transcript of it. It exhibits certain +orthographical and grammatical peculiarities unknown to the Northumbrian +dialect which have been introduced by a Midland transcriber, who has +here and there taken +<span class="pagenum">vii</span> +<a name="pagevii" id="pagevii"> </a> +the liberty to adapt the original text to the dialect of his own +locality, probably that one of the North Midland counties, where many of +the Northumbrian forms of speech would be intelligible.<a class="tag" +name="tag6" id="tag6" href="#note6">6</a></p> + +<p>A comparison of the Arthurian romance with the following poems throws +no light whatever upon the authorship of the poems. The dialect of the +two works is altogether different, although many of the terms employed +are common to both, being well known over the whole of the North of +England. The grammatical forms (the best test we can have) in the poems +are quite distinct from those in the <i>Morte Arthure</i>, and of course +go far to prove that they do not proceed from the pen of the same +writer.</p> + +<p>The Editor of “Syr Gawayn and the Green Knight” acknowledges that the +poems in the present volume, as now preserved to us in the manuscript, +are not in the Scottish dialect, but he says “there is sufficient +internal evidence of their being <i>Northern</i>,<a class="tag" name="tag7" id="tag7" href="#note7">7</a> although the manuscript +containing them appears to have been written by a scribe of the Midland +counties, which will account for the introduction of forms differing +from those used by writers beyond the Tweed.”</p> + +<p>Now, with regard to this subsequent transcription of the poems from +the Scotch into a Midland dialect,—it cannot be +<span class="pagenum">viii</span> +<a name="pageviii" id="pageviii"> </a> +said to be improbable, for we have abundant instances of the +multiplication of copies by scribes of different localities, so that we +are not surprised at finding the works of some of our popular Early +English writers appearing in two or three forms; but, on the other hand, +a comparison of the original copy with the <i>adapted +transcriptions</i>, or even the reading of a transcribed copy, always +shows how the author’s productions have suffered by the change. Poetical +works, especially those with final rhymes, of course undergo the +greatest amount of transformation and depreciation. The changes incident +upon the kind of transcription referred to are truly surprising, and +most perplexing to those who make the subject of Early English +<i>dialects</i> a matter of investigation.</p> + +<p>But, in the present poems, the uniformity and consistency of the +grammatical forms is so entire, that there is indeed no internal +evidence of subsequent transcription into any other dialect than that in +which they were originally written. However, the dialect and grammatical +peculiarities will be considered hereafter.</p> + +<p>Again, in the course of transcription into another dialect, any +literary merit that the author’s copy may have originally possessed +would certainly be destroyed. But the poems before us are evidently the +work of a man of birth and education; the productions of a true poet, +and of one who had acquired a perfect mastery over that form of the +English tongue spoken in his own immediate locality during the earlier +part of the fourteenth century. Leaving out of consideration their great +philological worth, they possess an intrinsic value of their own as +literary compositions, very different from anything to be found in the +works of Robert of Gloucester, Manning, and many other Early English +authors, which are very important as philological records, but in the +light of poetical productions, cannot be said to hold a very +distinguished place in English literature. The poems in the present +volume contain many +<span class="pagenum">ix</span> +<a name="pageix" id="pageix"> </a> +passages which, as Sir F. Madden truly remarks, will bear comparison +with any similar ones in the works of Douglas or Spenser.</p> + +<p>I conclude, therefore, that these poems were not transcribed from the +Scotch dialect into any other, but were written in their own +West-Midland speech in which we now have them.</p> + +<p>Mr. Donaldson, who is now editing for the Early English Text Society +the Troy Book, translated from Guido di Colonna, puts forward a plea for +Huchowne as its author, to whom he would also assign the <i>Morte +Arthure</i> (ed. Perry) and the Pistel of Sweet Susan.<a class="tag" +name="tag8" id="tag8" href="#note8">8</a> But Mr. Donaldson seems +to have been misled by the similarity of vocabulary, which is not at all +a safe criterion in judging of works written in a Northumbrian, West or +East Midland speech. The dialect, I venture to think, is a far safer +test. A careful examination of the Troy Book compels me to differ in +toto from Mr. Donaldson, and, instead of assigning the Troy Book to a +Scotchman, say that it cannot even be claimed, in its present form, by +any Northumbrian south of the Tweed; moreover, it presents no appearance +of having been tampered with by one unacquainted with the dialect, +though it has perhaps been slightly modernised in the course of +transcription.</p> + +<p>The work is evidently a genuine West-Midland production,<a class="tag" name="tag9" id="tag9" href="#note9">9</a> having most of the +peculiarities of vocabulary and inflexions that are found in these +<i>Alliterative Poems</i>.<a class="tag" name="tag10" id="tag10" +href="#note10">10</a> I feel greatly inclined to claim this English +Troy Book as the production of the author of the <i>Alliterative +Poems</i>; for, leaving out identical and by no means common +expressions, we find the same power of +<span class="pagenum">x</span> +<a name="pagex" id="pagex"> </a> +description,<a class="tag" name="tag11" id="tag11" href="#note11">11</a> and the same tendency to inculcate moral and religious +truths on all occasions where an opportunity presents itself.<a class="tag" name="tag12" id="tag12" href="#note12">12</a> Without +dwelling upon this topic, which properly falls to the Editor of the Troy +Book, it may not be out of place to ask the reader to compare the +following description of a storm from the Troy Book, with that selected +from the present volume on pp. 14 and 18.</p> + +<table> +<tr><td> +<h6>A TEMPEST ON ÞE SEE.</h6> + +<div class="verse"> +<div class="indent"> +<p>There a tempest <i>hom</i> toke on þe torres hegh:—</p> +<p>A <i>rak</i> and a royde wynde rose in <i>hor</i> saile,</p> +<p>A myst & a <i>merkenes</i> was mervell to se;</p> +<p>With a <i>routond</i> rayn ruthe to be-holde,</p> +<p>Thonr<i>et</i><a class="tag" name="tag13" id="tag13" href="#note13">13</a> full <i>throly</i> with a thicke haile;</p> +<p>With a leuenyng light as a <i>low</i> fyre,</p> +<p>Blas<i>et</i> all the brode see as it bren wold.</p> +<p>The flode with a felle cours flow<i>et</i> on hepis,</p> +<p>Rose uppon rockes as any <i>ranke</i> hylles.</p> +<p>So wode were the waghes & þe wilde <i>ythes</i>,</p> +<p>All was like to be lost þat no lond hade</p> +<p>The ship ay shot furth o þe <i>shire waghes</i>,</p> +<p>As qwo clymbe at a clyffe, or a clent<a class="tag" name="tag14" +id="tag14" href="#note14">14</a> hille.</p> +<p>Eft <i>dump</i> in the depe as all drowne wolde.</p> +<p>Was no <i>stightlyng</i> with stere ne no stithe ropes,</p> +<p>Ne no sayle, þat might serue for <i>unsound</i> wedur.</p> +</div> +<p>But all the buernes in the bote, as <i>hom</i> best liked, +<p>Besoght unto sainttes & to sere goddes; (p. 65) +</div> +</td></tr> +</table> + +<table> +<tr><td> +<h6>A STORME ON THE SE.</h6> + +<div class="verse"> +<p>All the company enclin<i>et</i> cair<i>yn</i> to ship;</p> +<p>Cach<i>yn</i> in cables, knyt up <i>hor</i> ancres,</p> +<p>Sesit vp <i>hor</i> sailes in a sad hast;</p> +<p><i>Richet</i> þere rapes, rapit unto see.</p> + +<span class="pagenum">xi</span> +<a name="pagexi" id="pagexi"> </a> + +<p>Hokit out of hauyn, all the hepe somyn,</p> +<p><i>Hade bir at hor bake</i>, blawen to þe depe;</p> +<p>Sail<i>yn</i> forthe <i>soberly</i>, somyn but a while,</p> +<p>Noght fyftene forlong fairly to the end.</p> +<p class="gap"> ...........</p> +<p>When sodenly the softe aire <i>unsoberly</i> rose;</p> +<p>The cloudis overcast, <i>claterrit</i> aboute;</p> +<p>Wyndes full wodely <i>walt</i> up the ythes;</p> +<p>Wex <i>merke</i> as the mydnighte mystes full thicke:</p> +<p>Thunret in the <i>thestur throly</i> with all;</p> +<p>With a <i>launchant laite</i> lightonyd the water;</p> +<p>And a <i>ropand</i> rayne <i>raiked</i> fro the heuyn.</p> +<p>The storme was full stithe with mony stout windes,</p> +<p>Hit <i>walt</i> up the wilde se vppon wan hilles.</p> +<p>The ffolke was so ferd, that <i>on flete</i> were,</p> +<p>All drede for to drowne with dryft of the se;</p> +<p>And in perell were put all the proude kynges.<br> +—(p. 150.)</p> +</div> +</td></tr> +</table> + +<p>The poems in the present volume, three in number, seem to have been +written for the purpose of enforcing, by line upon line and precept upon +precept, Resignation to the will of God; Purity of life as manifested in +thought, word, and deed; Obedience to the Divine command; and Patience +under affliction.</p> + +<p>In <a name="pref_intro_pearl" id="pref_intro_pearl">the first +poem</a>, entitled by me “<i>The Pearl</i>”, the author evidently gives +expression to his own sorrow for the loss of his infant child, +a girl of two years old, whom he describes as a</p> + +<div class="verse"> +<p>Perle plesaunte to prynces paye</p> +<p><i>Pearl pleasant to princes’ pleasure,</i></p> +<p>To clanly clos in golde so clere</p> +<p><i>Most neatly set in gold so clear.</i></p> +</div> + +<p>Of her death he says:</p> + +<div class="verse"> +<p>Allas! I leste hyr in on erbere</p> +<p><i>Alas! I lost her in an arbour,</i></p> +<p>Þurȝ gresse to grounde hit fro me yot</p> +<p><i>Through grass to ground it from me got.</i> —(<a class="pageref" href="poems.html#page1">p. 1</a>.)</p> +</div> + +<p>The writer then represents himself as visiting his child’s grave (or +arbour) in the “high season of August,” and giving way to his grief (<a +class="pageref" href="poems.html#page2">p. 2</a>). He falls +asleep, and in a dream is carried +<span class="pagenum">xii</span> +<a name="pagexii" id="pagexii"> </a> +toward a forest, where he saw rich rocks gleaming gloriously, hill sides +decked with crystal cliffs, and trees the leaves of which were as +burnished silver. The gravel under his feet was “precious pearls of +orient,” and birds “of flaming hues” flew about in company, whose notes +were far sweeter than those of the cytole or gittern (guitar) (<a class="pageref" href="poems.html#page3">p. 3</a>). The dreamer +arrives at the bank of a stream, which flows over stones (shining like +stars in the welkin on a winter’s night) and pebbles of emeralds, +sapphires, or other precious gems, so</p> + +<div class="verse"> +<p>Þat all the loȝe lemed of lyȝt</p> +<p><i>That all the deep gleamed of light,</i></p> +<p>So dere watȝ hit adubbement</p> +<p><i>So dear was its adornment.</i> —(<a class="pageref" href="poems.html#page4">p. 4</a>.)</p> +</div> + +<p>Following the course of the stream, he perceives on the opposite side +a crystal cliff, from which was reflected many a “royal ray” (<a class="pageref" href="poems.html#page5">p. 5</a>).</p> + +<div class="verse"> +<p>At þe fote þer-of þer sete a faunt</p> +<p><i>At the foot thereof there sat a child,</i></p> +<p>A mayden of menske, ful debonere</p> +<p><i>A maiden of honour, full debonnair;</i></p> +<p>Blysnande whyt watȝ hyr bleaunt</p> +<p><i>Glistening white was her robe,</i></p> +<p>(I knew hyr wel, I hade sen hyr ere)</p> +<p><i>(I knew her well, I had seen her before)</i></p> +<p>At glysnande golde þat man con schore</p> +<p><i>As shining gold that man did purify,</i></p> +<p>So schon þat schene an-vnder schore</p> +<p><i>So shone that sheen (bright one) on the opposite shore;</i></p> +<p>On lenghe I loked to hyr þere</p> +<p><i>Long I looked to her there,</i></p> +<p>Þe lenger I knew hyr more & more</p> +<p><i>The longer I knew her, more and more.</i> —(<a class="pageref" href="poems.html#page6">pp. 6, 7</a>.)</p> +</div> + +<p>The maiden rises, and, proceeding along the bank of the stream, +approaches him. He tells her that he has done nothing but mourn for the +loss of his Pearl, and has been indeed a “joyless jeweller” (<a class="pageref" href="poems.html#page8">p. 8</a>). However, now that he +has found his Pearl, +<span class="pagenum">xiii</span> +<a name="pagexiii" id="pagexiii"> </a> +he declares that he is no longer sorrowful, but would be a “joyful +jeweller” <!-- medieval for “happy camper”? --> were he allowed to cross +the stream (<a class="pageref" href="poems.html#page8">p. 8</a>). The maiden blames her father for his +rash speech, tells him that his Pearl is not lost, and that he cannot +pass the stream till after death (<a class="pageref" href="poems.html#page10">p. 10</a>). The dreamer is in great grief; he +does not, he says, care what may happen if he is again to lose his +Pearl. The maiden advises him to bear his loss patiently, and to abide +God’s doom (<a class="pageref" href="poems.html#page11">p. 11</a>). She describes to him her blissful +state in heaven, where she reigns as a queen (<a class="pageref" href="poems.html#page12">p. 12</a>). She explains to him that Mary is +the Empress of Heaven, and all others kings and queens (<a class="pageref" href="poems.html#page13">p. 13</a>). The parable of the +labourers in the vineyard<a class="tag" name="tag15" id="tag15" +href="#note15">15</a> (<a class="pageref" href="poems.html#page15">pp. 15-18</a>) is then rehearsed at length, to prove +that “innocents” are admitted to the same privileges as are enjoyed by +those who have lived longer upon the earth (<a class="pageref" href="poems.html#page18">p. 18</a>). The maiden then speaks to her +father of Christ and his one hundred and forty thousand brides (<a class="pageref" href="poems.html#page24">p. 24</a>), and describes +their blissful state (<a class="pageref" href="poems.html#page26">p. 26</a>)<ins class="correction" title="text has , for .">. </ins>She points out to him the heavenly Jerusalem, +which was “all of bright burnished gold, gleaming like glass” (<a class="pageref" href="poems.html#page29">p. 29</a>). Then the dreamer +beholds a procession of virgins going to salute the Lamb, among whom he +perceives his “little queen” (<a class="pageref" href="poems.html#page33">p. 33</a>). On attempting to cross the stream +to follow her, he is aroused from his dream (<a class="pageref" href="poems.html#page35">p. 35</a>), laments his rash curiosity in +seeking to know so much of God’s mysteries, and declares that man ever +desires more happiness than he has any right to expect (<a class="pageref" href="poems.html#page35">p. 35</a>).</p> + +<p>The <a name="pref_intro_clean" id="pref_intro_clean">second +poem</a>, entitled “<i>Cleanness</i>,” is a collection of Biblical +stories, in which the writer endeavours to enforce Purity of Life, by +showing how greatly God is displeased at every kind of impurity, and how +sudden and severe is the punishment which falls upon the sinner for +every violation of the Divine law.</p> + +<p>After commending cleanness and its “fair forms,” the author relates +(I.) The Parable of the Marriage Feast (<a class="pageref" href="poems.html#page39">p. 39</a>); +<span class="pagenum">xiv</span> +<a name="pagexiv" id="pagexiv"> </a> +(II.) the Fall of the Angels (<a class="pageref" href="poems.html#page43">p. 43</a>); (III.) The wickedness of the +antediluvian world (<a class="pageref" href="poems.html#page44">p. 44</a>),</p> + +<div class="verse"> +<p>He watȝ famed for fre þat feȝt loued best</p> +<p><i>He was famous as free that fight loved best,</i></p> +<p>& ay þe bigest in bale þe best watȝ halden</p> +<p><i>And ever the biggest in sin the best was held;</i> (<a class="pageref" href="poems.html#page45">p. 45</a>.)</p> +</div> + +<p>(IV.) The destruction of mankind by the Flood. When all were safely +stowed in the ark,</p> + +<div class="verse"> +<p>Thenne sone com þe seuenþe day, when samned wern alle</p> +<p><i>Then soon came the seventh day when assembled were all,</i></p> +<p>& alle woned in þe whichche þe wylde & þe tame.</p> +<p><i>And all abode in the ark (hutch), the wild and the tame.</i></p> +<p>Þen bolned þe abyme & bonkeȝ con ryse</p> +<p><i>Then swelled the abyss and banks did rise,</i></p> +<p>Waltes out vch walle-heued, in ful wode stremeȝ</p> +<p><i>Bursts out each well-head in full wild streams,</i></p> +<p>Watȝ no brymme þat abod vnbrosten bylyue</p> +<p><i>There was no brim (stream) that abode unburst by then,</i></p> +<p>Þe mukel lauande loghe to þe lyfte rered</p> +<p><i>The much (great) flowing deep (loch) to the loft (sky) +reared.</i></p> +<p>Mony clustered clowde clef alle in clowteȝ</p> +<p><i>Many a clustering cloud cleft all in clouts (pieces),</i></p> +<p>To-rent vch a rayn-ryfte & rusched to þe vrþe</p> +<p><i>Rent was each a rain-rift and rushed to the earth;</i></p> +<p>Fon neuer in forty dayeȝ, & þen þe flod ryses</p> +<p><i>Failed never in forty days, and then the flood rises,</i></p> +<p>Ouer-walteȝ vche a wod and þe wyde feldeȝ</p> +<p><i>Over-flows each wood and the wide fields;</i></p> +<p class="gap">..............</p> +<p>Water wylger ay wax, woneȝ þat stryede</p> +<p><i>Water wildly ever waxed, abodes that destroyed,</i></p> +<p>Hurled in-to vch hous, hent þat þer dowelled</p> +<p><i>Hurled into each house, seized those that there dwelt.</i></p> +<p>Fyrst feng to þe flyȝt alle þat fle myȝt</p> +<p><i>First took to flight all that flee might,</i></p> +<p>Vuche burde with her barne þe byggyng þay leueȝ</p> +<p><i>Each bride (woman) with her bairn their abode they leave,</i></p> +<p>& bowed to þe hyȝ bonk þer brentest hit wern</p> +<p><i>And hied to the high bank where highest it were,</i></p> + +<span class="pagenum">xv</span> +<a name="pagexv" id="pagexv"> </a> + +<p>& heterly to þe hyȝe hilleȝ þay [h]aled on faste</p> +<p><i>And hastily to the high hills they rushed on fast;</i></p> +<p>Bot al watȝ nedleȝ her note, for neuer cowþe stynt</p> +<p><i>But all was needless their device, for never could stop</i></p> +<p>Þe roȝe raynande ryg [&] þe raykande waweȝ</p> +<p><i>The rough raining shower and the rushing waves,</i></p> +<p>Er vch boþom watȝ brurd-ful to þe bonkeȝ eggeȝ</p> +<p><i>Ere each bottom (valley) was brim-ful to the banks’ edges,</i></p> +<p>& vche a dale so depe þat demmed at þe brynkeȝ</p> +<p><i>And each dale so deep that dammed at the brinks.</i> —(<a +class="pageref" href="poems.html#page47">pp. 47, 48</a>).</p> +</div> + +<p>The ark is described as “heaved on high with hurling streams.”</p> + +<div class="verse"> +<p>Kest to kyþeȝ vncouþe þe clowdeȝ ful nere</p> +<p><i>Cast to kingdoms uncouth the clouds ful near,</i></p> +<p>Hit waltered on the wylde flod, went as hit lyste</p> +<p><i>It tossed on the wild flood, went as it list,</i></p> +<p>Drof vpon þe depe dam, in daunger hit semed</p> +<p><i>It drove upon the deep dam, in danger it seemed,</i></p> +<p>With-outen mast, oþer myke, oþer myry bawe-lyne</p> +<span class="footnote"> +<i>mike</i>] See Glossary.</span> +<p><i>Without mast, or <span class="texttag">mike</span>, or merry +bow-line,</i></p> +<p>Kable, oþer capstan to clyppe to her ankreȝ</p> +<p><i>Cable or capstan to clip to their anchors,</i></p> +<p>Hurrok, oþer hande-helme hasped on roþer</p> +<p><i>Oar or hand-helm hooked on rudder,</i></p> +<p>Oþer any sweande sayl to seche after hauen</p> +<p><i>Or any swinging sail to seek after haven,</i></p> +<p>Bot flote forthe with þe flyt of þe felle wyndeȝ</p> +<p><i>But floated forth with the force of the fell winds.</i></p> +<p>Wheder-warde so þe water wafte, hit rebounde</p> +<p><i>Whither-ward so (as) the water waft, it rebounded,</i></p> +<p>Ofte hit roled on-rounde & rered on ende</p> +<p><i>Oft it rolled around and reared on end,</i></p> +<p>Nyf our lorde hade ben her lodeȝ-mon hem had lumpen harde</p> +<p><i>Had our Lord not been their (pilot) leader hardship had befallen +them.</i> —(<a class="pageref" href="poems.html#page49">p. 49</a>.)</p> +</div> + +<p>(V.) The Visit of Three Angels to Abraham (<a class="pageref" href="poems.html#page54">p. 54</a>).</p> + +<p>(VI.) The destruction of Sodom and Gomorrah (<a class="pageref" +href="poems.html#page64">pp. 64, 65</a>), including a description of +the Dead Sea, the tarn (lake) of traitors (<a class="pageref" href="poems.html#page66">p. 66</a>).</p> + +<span class="pagenum">xvi</span> +<a name="pagexvi" id="pagexvi"> </a> + +<p>(VII.) The invasion of Jerusalem by Nebuchadnezzar (<a class="pageref" href="poems.html#page71">p. 71</a>), and the captivity +of Judah (<a class="pageref" href="poems.html#page74">p. 74</a>).</p> + +<p>The following is a paraphrase of the fourth and fifth verses in the +twenty-fifth chapter of the second book of Kings.<a class="tag" name="tag17" id="tag17" href="#note17">17</a></p> + +<div class="verse"> +<p>Þenne þe kyng of þe kyth a counsayl hym takes</p> +<p><i>Then the king of the kingdom a counsel him takes,</i></p> +<p>Wyth þe best of his burnes, a blench for to make</p> +<p><i>With the best of his men a device for to make;</i></p> +<p>Þay stel out on a stylle nyȝt er any steuen rysed</p> +<p><i>They stole out on a still night ere any sound arose,</i></p> +<p>& harde hurles þurȝ þe oste, er enmies hit wyste</p> +<p><i>And hard hurled through the host, ere enemies it wist,</i></p> +<p>Bot er þay at-wappe ne moȝt þe wach wyth oute</p> +<p><i>But ere they could escape the watch without,</i></p> +<p>Hiȝe skelt watȝ þe askry þe skewes an-vnder</p> +<p><i>High scattered was the cry, the skies there under,</i></p> +<p>Loude alarom vpon launde lulted was þenne</p> +<p><i>Loud alarm upon land sounded was then;</i></p> +<p>Ryche, ruþed of her rest, ran to here wedes,</p> +<p><i>Rich (men) roused from their rest, ran to their weeds,</i></p> +<p>Hard hattes þay hent & on hors lepes</p> +<p><i>Kettle hats they seized, and on horse leap;</i></p> +<p>Cler claryoun crak cryed on-lofte</p> +<p><i>Clear clarion’s crack cried aloft.</i></p> +<p>By þat watȝ alle on a hepe hurlande swyþee</p> +<p><i>By that (time) was all on a heap, hurling fast,</i></p> +<p>Folȝande þat oþer flote, & fonde hem bilyue</p> +<p><i>Following that other fleet (host), and found them soon,</i></p> +<span class="footnote"> +<i>as tyd</i>] Immediately.</span> +<p>Ouer-tok hem, <span class="texttag">as tyd</span>, tult hem of +sadeles</p> +<p><i>Over-took them in a trice, tilted them off saddles,</i></p> +<p>Tyl vche prynce hade his per put to þe grounde</p> +<p><i>Till each prince had his peer put to the ground;</i></p> +<p>& þer watȝ þe kyng kaȝt wyth calde prynces</p> +<p><i>And there was the king caught with crafty princes,</i></p> + +<span class="pagenum">xvii</span> +<a name="pagexvii" id="pagexvii"> </a> + +<p>& alle hise gentyle for-iusted on Ierico playnes</p> +<p><i>And all his nobles vanquished on Jericho’s plains.</i> —(<a +class="pageref" href="poems.html#page71">pp. 71, 72</a>.)</p> +</div> + +<p>(VIII.) Belshazzar’s impious feast (<a class="pageref" href="poems.html#page76">pp. 76-80</a>), and the handwriting upon the wall +(<a class="pageref" href="poems.html#page80">pp. +80, 81</a>).</p> + +<div class="verse"> +<p>In þe palays pryncipale vpon þe playn wowe</p> +<p><i>In the palace principal upon the plain wall,</i></p> +<p>In contrary of þe candelstik þat clerest hit schyned</p> +<p><i>Opposite to the candlestick that clearest there shone.</i></p> +<p>Þer apered a paume, with poyntel in fyngres</p> +<p><i>There appeared a palm with a pointel in its fingers,</i></p> +<p>Þat watȝ grysly & gret, & grymly he wrytes</p> +<p><i>That was grisly and great, and grimly it writes,</i></p> +<p>None oþer forme bot a fust faylaynde þe wryst</p> +<p><i>None other form but a fist failing the wrist</i></p> +<p>Pared on þe parget, purtrayed lettres</p> +<p><i>Pared on the plaister, pourtrayed letters.</i></p> +<p>When þat bolde Baltaȝar blusched to þat neue</p> +<p><i>When that bold Belshazzar looked to that fist,</i></p> +<p>Such a dasande drede dusched to his hert</p> +<p><i>Such a dazzling dread dashed to his heart.</i></p> +<p>Þat al falewed his face & fayled þe chere</p> +<p><i>That all paled his face and failed the cheer;</i></p> +<p>Þe stronge strok of þe stonde strayned his ioyntes</p> +<p><i>The strong stroke of the blow strained his joints,</i></p> +<p>His cnes cachcheȝ to close & cluchches his hommes</p> +<p><i>His knees catch to close, and he clutches his hams,</i></p> +<span class="footnote"> +<i>lers</i>] ? feres.</span> +<p>& he with plat-tyng his paumes displayes his <span class="texttag">lers</span></p> +<p><i>And he with striking his palms displays his fears,</i></p> +<p>& romyes as a rad ryth þat roreȝ for drede</p> +<p><i>And howls as a frightened hound that roars for dread,</i></p> +<p>Ay biholdand þe honde til hit hade al grauen,</p> +<p><i>Ever beholding the hand till it had all graven,</i></p> +<p>& rasped on þe roȝ woȝe runisch saueȝ</p> +<p><i>And rasped on the rough wall uncouth saws (words).</i></p> +</div> + +<p>(IX.) The story of Nebuchadnezzar’s pride and its punishment (<a +class="pageref" href="poems.html#page84">pp. 84, 85</a>), and +the interpretation of the handwriting by Daniel (<a class="pageref" +href="poems.html#page86"><ins class="correction" title="text has , for .">p. </ins>86</a>).</p> + +<span class="pagenum">xviii</span> +<a name="pagexviii" id="pagexviii"> </a> + +<p>(X.) The invasion of Babylon by the Medes (<a class="pageref" href="poems.html#page87">pp. 87, 88</a>).</p> + +<div class="verse"> +<p>Baltaȝar in his bed watȝ beten to deþe</p> +<p><i>Belshazzar in his bed was beaten to death,</i></p> +<p>Þat boþe his blood & his brayn blende on þe cloþes</p> +<p><i>That both his blood and his brains blended on the clothes;</i></p> +<p>Þe kyng in his cortyn watȝ kaȝt by þe heles</p> +<p><i>The king in his curtain was caught by the heels,</i></p> +<p>Feryed out bi þe fete & fowle dispysed</p> +<p><i>Ferried out by the feet and foully despised;</i></p> +<p>Þat watȝ so doȝty þat day & drank of þe vessayl</p> +<p><i>He that was so doughty that day and drank of the vessels,</i></p> +<p>Now is a dogge also dere þat in a dych lygges</p> +<p><i>Now is as dear (valuable) as a dog that in a ditch lies.</i> +—(<a class="pageref" href="poems.html#page88">p. 88</a>.)</p> +</div> + +<p>The <a name="pref_intro_patience" id="pref_intro_patience">third +poem</a>, entitled “<i>Patience</i>,” is a paraphrase of the book of +Jonah. The writer prefaces it with a few remarks of his own in order to +show that “patience is a noble point though it displease oft.”</p> + +<p>The following extract contains a description of the sea-storm which +overtook Jonah:—</p> + +<div class="verse"> +<p>Anon out of þe norþ est þe noys bigynes</p> +<p><i>Anon out of the north east the noise begins,</i></p> +<span class="footnote"> +<i>boþe breþes</i>]<br> +Eurus and Aquilo.</span> +<p>When <span class="texttag">boþe breþes</span> con blowe vpon blo +watteres</p> +<p><i>When both breezes did blow upon blue waters:</i></p> +<p>Roȝ rakkes þer ros with rudnyng an-vnder</p> +<p><i>Rough clouds there arose with lightning there under,</i></p> +<p>Þe see souȝed ful sore, gret selly to here</p> +<p><i>The sea sobbed full sore, great marvel to hear;</i></p> +<p>Þe wyndes on þe wonne water so wrastel togeder,</p> +<p><i>The winds on the wan water so wrestle together,</i></p> +<p>Þat þe wawes ful wode waltered so hiȝe</p> +<p><i>That the waves full wild rolled so high,</i></p> +<p>& efte busched to þe abyme þat breed fyssches</p> +<p><i>And again bent to the abyss that bred fishes;</i></p> +<p>Durst nowhere for roȝ arest at þe bothem.</p> +<p><i>Durst it nowhere for roughness rest at the bottom.</i></p> +<p>When þe breth & þe brok & þe bote metten</p> +<p><i>When the breeze and the brook and the boat met,</i></p> + +<span class="pagenum">xix</span> +<a name="pagexix" id="pagexix"> </a> + +<p>Hit watȝ a ioyles gyn þat Ionas watȝ inne</p> +<p><i>It was a joyless engine that Jonah was in,</i></p> +<p>For hit reled on round vpon þe roȝe yþes</p> +<p><i>For it reeled around upon the rough waves.</i></p> +<p>Þe bur ber to hit baft þat braste alle her gere</p> +<p><i>The bore (wave) bear to it abaft that burst all her gear,</i></p> +<p>Þen hurled on a hepe þe helme & þe sterne</p> +<p><i>Then hurled on a heap the helm and the stern,</i></p> +<span class="footnote"> +<i>to murte, marred</i>]<br> +? = to-marte.</span> +<p>Furste <span class="texttag">to murte</span> mony rop & þe mast +after</p> +<p><i>First <span class="texttag">marred</span><ins class="correction" title="duplicate footnote tag misprinted ‘2’ for ‘1’">* +</ins>many a rope and the mast after.</i></p> +<p>Þe sayl sweyed on þe see, þenne suppe bihoued</p> +<p><i>The sail swung on the sea, then sup behoved</i></p> +<p>Þe coge of þe colde water, & þenne þe cry ryses</p> +<p><i>The boat of the cold water, and then the cry rises;</i></p> +<p>Ȝet coruen þay þe cordes & kest al þer-oute</p> +<p><i>Yet cut they the cords and cast all there-out.</i></p> +<p>Mony ladde þer forth-lep to laue & to kest</p> +<p><i>Many a lad there forth leapt to lave and to cast,</i></p> +<p>Scopen out þe scaþel water, þat fayn scape wolde</p> +<p><i>To scoop out the scathful water that fain escape would;</i></p> +<p>For be monnes lode neuer so luþer, þe lyf is ay swete</p> +<p><i>For be man’s lot never so bad, the life is aye sweet.</i> +—(<a class="pageref" href="poems.html#page93">p. 93</a>.)</p> +</div> + +<p>The writer, in concluding the story of Jonah, exhorts his readers to +be “patient in pain and in joy.”</p> + +<div class="verse"> +<p>For he þat is to rakel to renden his cloþeȝ,</p> +<p>Mot efte sitte with more vn-sounde to sewe hem togeder.</p> +<p><i>For he that is too rash to rend his clothes,</i></p> +<p><i>Must afterwards sit with more unsound (worse ones) to sew them +together.</i> (<a class="pageref" href="poems.html#page104">p. 104</a>.)</p> +</div> + +<p>This <a name="pref_intro" id="pref_intro">brief outline</a> of +the poems, together with the short extracts from them, will, it is +hoped, give the reader stomach to digest the whole. It is true that they +contain many “uncouth” terms; but this will be their highest merit with +the student of language, as is shown, by Dr. Guest’s testimony, that +they are “for several reasons curious, and especially so to the +philologist.”<a class="tag" name="tag22" id="tag22" href="#note22">22</a> To those readers who do not appreciate the importance +<span class="pagenum">xx</span> +<a name="pagexx" id="pagexx"> </a> +of such a very large addition to the vocabulary of our Early Language as +is made by these treatises, let Sir Frederic Madden’s opinion of their +literary merit suffice. That distinguished editor says, of the author’s +“poetical talent, the pieces contained in the MS. afford unquestionable +proofs; and the description of the change of the seasons, the bitter +aspect of winter, the tempest which preceded the destruction of Sodom +and Gomorrah, and the sea storm occasioned by the wickedness of Jonas, +<i>are equal to any similar passages</i> in Douglas or Spenser.”<a class="tag" name="tag23" id="tag23" href="#note23">23</a> Moreover, as +to the hardness of the language—inasmuch as the subject matter of +the poem will be familiar to all who may take up the present volume, the +difficulty on the word-point will not be such as to deter the reader +from understanding and appreciating the production of an old English +poet, who—though his very name, unfortunately, has yet to be +discovered—may claim to stand in the foremost rank of England’s +early bards.</p> + +<p>The Editor of the present volume has endeavoured to do justice to his +author by giving the text, with some few exceptions, as it stands in the +manuscript.<a class="tag" name="tag24" id="tag24" href="#note24">24</a> The contractions of the scribe have been expanded and +printed in italics, a plan which he hopes to see adopted in every +future edition of an early English author.</p> + +<p>The <a href="glossary.html">Glossary</a> has been compiled not only +for the benefit of the reader, but for the convenience of those who are +studying the older forms of our language, and who know how valuable a +mere index of words and references sometimes proves.</p> + +<p>In conclusion, I take the present opportunity of acknowledging the +kind assistance of Sir Frederic Madden and E. A. Bond, Esq., of the +British Museum, who, on every occasion, were most ready to render me any +help in deciphering the manuscript, in parts almost illegible, from +which the poems in the present volume are printed.</p> + + +<span class="pagenum">xxi</span> +<a name="pagexxi" id="pagexxi"> </a> + +<h4><a name="pref_dialect" id="pref_dialect"> +REMARKS UPON THE DIALECT AND GRAMMAR.</a></h4> + +<p>Higden, writing about the year <span class="smallroman">A.D.</span> +1350, affirms, distinctly, the existence of three different forms of +speech or dialects, namely, Southern, Midland, and Northern;<a class="tag" name="tag25" id="tag25" href="#note25">25</a> or, as they +are sometimes designated, West-Saxon, Mercian, and Northumbrian. Garnett +objects to Higden’s classification, and considers it certain “that there +were in his (Higden’s) time, and probably long before, five distinctly +marked forms, which may be classed as follows:— 1. Southern +or standard English, which in the fourteenth century was perhaps best +spoken in Kent and Surrey by the body of the inhabitants. +2. Western English, of which traces may be found from Hampshire to +Devonshire, and northward as far as the Avon. 3. Mercian, vestiges +of which appear in Shropshire, Staffordshire, and South and West +Derbyshire, becoming distinctly marked in Cheshire, and still more so in +South Lancashire. 4. Anglian, of which there are three +sub-divisions—the East Anglian of Norfolk and Suffolk; the Middle +Anglian of Lincolnshire, Nottinghamshire and East Derbyshire; and the +North Anglian of the West Riding of Yorkshire—spoken most purely +in the central part of the mountainous district of Craven. +5. Northumbrian,” spoken throughout the Lowlands of Scotland, +Northumberland, Durham, and nearly the whole of Yorkshire.</p> + +<p>Garnett’s division is based upon peculiarities of pronunciation, +which will be found well marked in the <i>modern</i> provincial +dialects, and not upon any essential differences of inflexion that are +to be found in our Early English manuscripts.<a class="tag" name="tag26" id="tag26" href="#note26">26</a></p> + +<p>The distinction between Southern and Western English was not at all +required, as the Kentish Ayenbite of Inwyt (<span class="smallroman">A.D.</span> +<span class="pagenum">xxii</span> +<a name="pagexxii" id="pagexxii"> </a> +1340) exhibits most of the peculiarities that mark the Chronicles of +Robert of Gloucester (Cottonian MS. Calig. A. xi.) as a Southern +(or West-Saxon) production. The Anglian of Norfolk, Lincolnshire, and +Nottinghamshire may be referred to one group with the Mercian of +Lancashire, as varieties of the Midland dialect.</p> + +<p>A careful examination of our early literature leads us to adopt +Higden’s classification as not only a convenient but a correct one.</p> + +<p>There is, perhaps, no better test for distinguishing these dialects +from one another than the verbal inflexions of the plural number in the +present tense, indicative mood.</p> + +<p>To state this test in the briefest manner, we may say that the +Southern dialect employs <i>-eth</i>, the Midland <i>-en</i>, and the +Northumbrian <i>-es</i> as the inflexion for all persons of the plural +present <span class="locked">indicative:<a class="tag" name="tag27" id="tag27" href="#note27">27</a>—</span></p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td></td> +<th>Southern.</th> +<th>Midland.</th> +<th>Northern.</th> +</tr> + +<tr> +<td>1st pers.</td> +<td>Hop-<i>eth</i>.</td> +<td>Hop-<i>en</i>.</td> +<td>Hop-<i>es</i>. (we) hope.</td> +</tr> +<tr> +<td>2nd „</td> +<td>Hop-<i>eth</i>.</td> +<td>Hop-<i>en</i>.</td> +<td>Hop-<i>es</i>. (ye) hope.</td> +</tr> +<tr> +<td>3rd „</td> +<td>Hop-<i>eth</i>.</td> +<td>Hop-<i>en</i>.</td> +<td>Hop-<i>es</i>. (they) hope.</td> +</tr> +</table> + +<p>It is the constant and systematic employment of these inflexions, and +not their occasional use that must be taken as the criterion of +dialectical varieties.</p> + +<p>In a pure specimen of the Southern dialect, we never find the +Northumbrian <i>-es</i>. We do occasionally meet with the Midland +<i>-en</i>, but only in those works written in localities where, from +their geographical position, Southern and Midland forms would be +intelligible.<a class="tag" name="tag28" id="tag28" href="#note28">28</a> We might look in vain for the Southern plural +<i>-eth</i> in a pure Northumbrian production, but might be more +successful in finding the Midland <i>-en</i> in the third person plural; +as, “thay <i>arn</i>” for “they <i>ar</i>”, or “thay <i>er</i>.”</p> + +<span class="pagenum">xxiii</span> +<a name="pagexxiii" id="pagexxiii"> </a> + +<p>In a work composed in Lincolnshire, Nottinghamshire, or Lancashire, +we should be sure to find the occasional use of the Northumbrian plural +<i>-es</i>.<a class="tag" name="tag29" id="tag29" href="#note29">29</a></p> + +<p>The inflexions of the verb in the singular are of value in enabling +us to discriminate between the several varieties of the Midland +dialect.<a class="tag" name="tag30" id="tag30" href="#note30">30</a> The Southern and Midland idioms (with the exception of +the West-Midland of Lancashire, Cheshire, etc.) conjugated the verb in +the singular present indicative, as <span class="locked">follows:—</span></p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td>1st pers.</td> +<td>hope</td> +<td>(I) hope.</td> +</tr> +<tr> +<td>2nd „</td> +<td>hop-<i>est</i></td> +<td>(thou) hopest.</td> +</tr> +<tr> +<td>3rd „</td> +<td>hop-<i>eth</i></td> +<td>(he) hopes.</td> +</tr> +</table> + +<p>The West-Midland, corresponding to Garnett’s Mercian, instead of +<i>-est</i> and <i>-eth</i> employs the inflexions that are so common in +the so-called Northumbrian documents of the ninth and tenth <span class="locked">centuries:—</span></p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td>1st pers.</td> +<td>hope</td> +<td>(I) hope.</td> +</tr> +<tr> +<td>2nd „</td> +<td>hop-<i>es</i></td> +<td>(thou) hopest.</td> +</tr> +<tr> +<td>3rd „</td> +<td>hop-<i>es</i></td> +<td>(he) hopes.</td> +</tr> +</table> + +<p>The Northumbrian dialect takes <i>-es</i> in all three persons; but +mostly drops it in the first person.</p> + +<p>The peasantry of Cheshire and Lancashire still preserve the verbal +inflexions which prevailed in the fourteenth century, and conjugate +their verbs in the present indicative according to the following <span +class="locked">model:—</span></p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td></td> +<th>Singular.</th> +<th>Plural.</th> +</tr> +<tr> +<td>1st pers.</td> +<td>hope</td> +<td>hopen.</td> +</tr> +<tr> +<td>2nd „</td> +<td>hopes</td> +<td>hopen.</td> +</tr> +<tr> +<td>3rd „</td> +<td>hopes</td> +<td>hopen.</td> +</tr> +</table> + +<p>Inasmuch as the poems in the present volume exhibit the +<span class="pagenum">xxiv</span> +<a name="pagexxiv" id="pagexxiv"> </a> +systematic use of these forms, we cannot but believe that they were +originally composed in one of those counties where these verbal +inflexions were well known and extensively used. We have to choose +between several localities, but if we assign the poems to Lancashire we +are enabled to account for the large number of Norse terms employed. It +is true that the ancient examples of the Lancashire dialect contained in +Mr. Robson’s Metrical Romances,<a class="tag" name="tag31" id="tag31" href="#note31">31</a> the Boke of Curtasye,<a class="tag" +name="tag32" id="tag32" href="#note32">32</a> and Liber Cure +Cocorum,<a class="tag" name="tag33" id="tag33" href="#note33">33</a> present us with much broader forms, as <i>-us</i> for +<i>-es</i> in the plural number and possessive case of nouns, <i>-un</i> +for <i>-en</i> in the plural present indicative mood, in passive +participles of irregular (or strong) verbs, <i>-ud</i> (<i>-ut</i>) for +<i>-ed</i> in the past tense and passive participle of regular (or weak) +verbs, and the pronominal forms <i>hor</i> (their), <i>hom</i> (them), +for <i>her</i> and <i>hem</i>.<a class="tag" name="tag34" id="tag34" href="#note34">34</a></p> + +<p>These forms are evidence of a broad pronunciation which, at the +present time, is said to be a characteristic of the northwestern +division of Lancashire, but I think that there is good evidence for +asserting that this strong provincialism was not confined, formerly, to +the West-Midland dialect, much less to a division of any particular +county. We find traces of it in Audelay’s Poems (Shropshire), the +Romance of William and the Werwolf,<a class="tag" name="tag35" id="tag35" href="#note35">35</a> and even in the Wickliffite version of +the Scriptures.</p> + +<p>Formerly, being influenced by these broad forms, I was led to select +Cheshire or Staffordshire as the probable locality where the poems were +written; but I do not, now, think that either of these counties ever +employed a vocabulary containing so many Norse terms as are to be found +in the Lancashire dialect. But although we may not be able to fix, with +certainty, +<span class="pagenum">xxv</span> +<a name="pagexxv" id="pagexxv"> </a> +upon any one county in particular, the fact of the present poems being +composed in the West-Midland dialect cannot be denied. Much may be said +in favour of their Lancashire origin, and there are one or two points of +resemblance between our poems, the Lancashire Romances, and Liber Cure +Cocorum, that deserve especial notice.</p> + +<p>I. In Sir Amadace,<a class="tag" name="tag36" id="tag36" href="#note36">36</a> lxviii. 9, there occurs the curious form <i>miȝtus</i> += <i>miȝtes</i> = <i>mightst</i>.<a class="tag" name="tag37" id="tag37" href="#note37">37</a> As it appears only once throughout the +Romances we might conclude that it is an error of the scribe for +<i>miȝtest</i>, but when we find in the poems before us not only +<i>myȝteȝ</i> = <i>myȝtes</i> (mightst), but <i>woldeȝ</i> = +<i>woldes</i> (wouldst), <i>coutheȝ</i> = <i>couthes</i> (couldst), +<i>dippteȝ</i> (dippedest), <i>travayledeȝ</i> (travelledst), etc., we +are bound to consider <i>miȝtus</i> as a genuine form.<a class="tag" +name="tag38" id="tag38" href="#note38">38</a> In no other Early +English works of the fourteenth century have I been able to find this +peculiarity. It is very common in <i>the Wohunge of Ure Lauerd</i> +(xiiith cent.). See O.E. Homilies, p. 51. The Northumbrian dialect +at this period rejected the inflexion in the second person preterite +singular, of regular verbs,<a class="tag" name="tag39" id="tag39" +href="#note39">39</a> and in our poems we find the <i>-es</i> often +dropped, +<span class="pagenum">xxvi</span> +<a name="pagexxvi" id="pagexxvi"> </a> +so that we get two conjugations, which may be called the inflected and +the uninflected form.</p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td></td> +<th>Inflected.</th> +<th>Uninflected.</th> +</tr> +<tr> +<td>1st pers.</td> +<td>hopede</td> +<td>hoped</td> +<td>(I) hoped.</td> +</tr> +<tr> +<td>2nd „</td> +<td>hoped<i>es</i></td> +<td>hoped</td> +<td>(thou) hopedest.</td> +</tr> +<tr> +<td>3rd „</td> +<td>hopede</td> +<td>hoped</td> +<td>(he) hoped.</td> +</tr> +</table> + +<p>Originally the inflected form may have prevailed over the whole of +the North of England, but have gradually become confined to the +West-Midland dialect.</p> + +<p>II. The next point of resemblance is the use of the verb <span class="smallroman">SCHIN</span> or <span class="smallroman">SCHUN</span> = +schal = shall. It is still preserved in the modern dialect of Lancashire +in combination with the adverb <i>not</i>, as schunnot<a class="tag" +name="tag40" id="tag40" href="#note40">40</a> = shall not. The +following examples will serve to illustrate the use of this curious +<span class="locked">form:—</span></p> + +<table class="inline" summary="two columns of text"> +<tr> +<td> +<div class="verse"> +<p>“—— þay <i>schin</i> knawe sone,</p> +<p>Þere is no bounté in burne lyk Baltaȝar þewes.”<a class="tag" name="tag41" id="tag41" href="#note41">41</a><br> +—(B. l. 1435.)</p> +</div> + +<p class="verse"> +“& þose þat seme arn & swete <i>schyn</i> se his face.”<a class="tag" name="tag42" id="tag42" href="#note42">42</a><br> +—(<i>Ibid.</i> l. 1810.)</p> + +<p class="verse"> +“Pekokys and pertrikys perboylyd <i>schyn</i> be.”<a class="tag" name="tag43" id="tag43" href="#note43">43</a><br> +—(Liber Cure Cocorum, p. 29.)</p> + +<p class="verse"> +<ins class="quotation" title="text has double ““">“For</ins> þer +bene bestes þat <i>schyn</i> be rost.”<a class="tag" name="tag44" id="tag44" href="#note44">44</a><br> +—(<i>Ibid.</i> p. 34.)</p> + +<p class="verse"> +“Alle <i>schun</i> be draȝun, Syr, at þo syde.”<a class="tag" name="tag45" id="tag45" href="#note45">45</a><br> +—(<i>Ibid.</i> p.& 35.)</p> + +<p class="verse"> +“Seche ferlies <i>schyn</i> falle.”<a class="tag" name="tag46" id="tag46" href="#note46">46</a><br> +—(Robson’s Met. Rom. p. 12, l. 4.)</p> +</td> +<td class="footnote"> +<p><a name="note41" id="note41" href="#tag41">41.</a> +They <i>shall</i> know soon there is no goodness in man like +Belshazzar’s virtues.</p> + +<p><a name="note42" id="note42" href="#tag42">42.</a> +And those that seemly are and sweet <i>shall</i> see His (God’s) +face.</p> + +<p><a name="note43" id="note43" href="#tag43">43.</a> +Peacocks and partriches parboiled <i>shall</i> be.</p> + +<p><a name="note44" id="note44" href="#tag44">44.</a> +For þer are beasts þat <i>shall</i> be roasted.</p> + +<p><a name="note45" id="note45" href="#tag45">45.</a> +All <i>shall</i> be drawn (have the entrails removed), Sir, at the +side.</p> + +<p><a name="note46" id="note46" href="#tag46">46.</a> +Such marvels <i>shall</i> happen.</p> +</td> +</tr> +</table> + +<p>III. Nothing is more common in the present poems than the use of +<i>hit</i> as a genitive = its, which is also found in the Lancashire +romances.</p> + +<table class="inline" summary="two columns of text"> +<tr> +<td> +<span class="pagenum">xxvii</span> +<a name="pagexxvii" id="pagexxvii"> </a> +<div class="verse"> +<p>“Forþy þe derk dede see hit is demed ever more,</p> +<p>For <i>hit</i> dedeȝ of deþe duren þere ȝet.”<a class="tag" name="tag47" id="tag47" href="#note47">47</a><br> +—(Patience, l. 1021.)</p> +</div> + +<div class="verse"> +<p>“And, as hit is corsed of kynde & <i>hit</i> coosteȝ als,</p> +<p>Þe clay þat clenges þer-by arn corsyes strong.”<a class="tag" name="tag48" id="tag48" href="#note48">48</a><br> +—(<i>Ibid.</i> l. 1033.)</p> +</div> + +<div class="verse"> +<p>“For I wille speke with the sprete,</p> +<p>And of <i>hit</i> woe wille I wete,</p> +<p>Gif that I may <i>hit</i> bales bete.”<a class="tag" name="tag49" +id="tag49" href="#note49">49</a><br> +—(Robson’s Met. Romances, p. 5, ll. 3, 4.)</p> +</div> +</td> +<td class="footnote"> + +<div class="verse"> +<p><a name="note47" id="note47" href="#tag47">47.</a> +Wherefore the dark dead sea it is called ever more.</p> +<p>For <i>its</i> deeds of death endure there yet.</p> +</div> + +<div class="verse"> +<p><a name="note48" id="note48" href="#tag48">48.</a> +And as it is cursed of kind and <i>its</i> properties also,</p> +<p>The clay that clings thereby are corrosives strong.</p> +</div> + +<div class="verse"> +<p><a name="note49" id="note49" href="#tag49">49.</a> +I will speak with the spirit,</p> +<p>And of <i>its</i> woe will I wit (know),</p> +<p>If that I may <i>its</i> bales (grief) abate.</p> +</div> +</td> +</tr> +</table> + +<p>The present dialect of Lancashire still retains the uninflected +genitive:—</p> + +<p class="quotation"> +“So I geet up be strike o’ dey, on seet eawt; on went ogreath tilly +welly coom within two mile oth’ teawn; when, os tha dule woud height, o +tit wur stonning ot an ale heawse dur; on me kawve (the dule bore eawt +<i>it</i> een for me) took th’ tit for <i>it</i> mother, on woud +seawk her.”<a class="tag" name="tag50" id="tag50" href="#note50">50</a> (Tummus and Meary).</p> + +<p>Thus much for the dialectical peculiarities of our author. The scanty +material at our disposal must be a sufficient excuse for the very meagre +outline which is here presented to the reader. As our materials +increase, the whole question of Early English dialects will no doubt +receive that attention from English philologists which the subject +really demands, and editors of old English works will then be enabled to +speak with greater confidence as to the language and peculiarities of +their authors. Something might surely be done to help the student by a +proper classification of our manuscripts both as to date and place of +composition. We are sadly in want of unadulterated +<span class="pagenum">xxviii</span> +<a name="pagexxviii" id="pagexxviii"> </a> +specimens of the Northumbrian and East-Midland idioms during the twelfth +and thirteenth centuries. There must surely be some records of these +dialects in our university libraries which would well repay editing.<a +class="tag" name="tag51" id="tag51" href="#note51">51</a></p> + + +<h4><a name="pref_grammar" id="pref_grammar"> +GRAMMATICAL DETAILS.</a></h4> + +<h5><a name="pref_gram_noun" id="pref_gram_noun">I.</a> +Nouns.</h5> + +<p>(1) <i>Number.</i>—The plurals generally end in <i>-es</i> +(<i>eȝ</i>), <i>-s</i>. <i>Yȝen</i> (eyes), <i>trumpen</i> (trumpets), +are the only plurals in <i>-en</i> that occur in the poems. In Robson’s +Metrical Romances we find <i>fellun</i> (fells, hills,), <i>dellun</i> +(dells), and <i>eyren</i> (eggs), in Liber Cure Cocorum. The plurals of +<i>brother</i>, <i>child</i>, <i>cow</i>, <i>doȝter</i> (daughter), are +<i>brether</i>, <i>childer</i>, <i>kuy</i>, and <i>deȝter</i>.</p> + +<p>(2) <i>Gender.</i>—The names of inanimate things are in the +neuter gender, as in modern English. The exceptions are <i>deep</i> +(fem.), <i>gladnes</i> (fem.), and <i>wind</i> (masc.).</p> + +<p>(3) <i>Case.</i>—The genitive singular (masc. and fem.) ends in +<i>-es</i> (<i>-eȝ</i>), <i>-s</i>, but occasionally the inflexion is +dropped; as, “Baltaȝar thewes,” the virtues of Balshazzar.<a class="tag" name="tag52" id="tag52" href="#note52">52</a> If +“<i>honde</i> myȝt,” “<i>honde</i> werk,” “<i>hellen</i> wombe,” are not +compounds, we have instances of the final <i>-e</i> (<i>en</i>) which +formed the genitive case of <i>feminine</i> nouns in the Southern +English of the fourteenth century.</p> + +<p>In the phrases “<i>besten</i> blod” (blood of beasts), +“<i>blonkken</i> bak” (back of horses), “<i>chyldryn</i> fader” (father +of children), “<i>nakeryn</i> noyse” (noise of nakers), we have a trace +of the genitive plural <i>-ene</i> (A.S. <i>-ena</i>).</p> + +<h5><a name="pref_gram_adj" id="pref_gram_adj">II.</a> +Adjectives.</h5> + +<p>(1) <i>Number.</i>—The final <i>e</i>, as a sign of the plural, +is very frequently dropped. <i>Pover</i> (poor), <i>sturn</i> (strong), +make the +<span class="pagenum">xxix</span> +<a name="pagexxix" id="pagexxix"> </a> +plurals <i>poveren</i> and <i>sturnen</i>. In the phrase, “þo syȝteȝ so +<i>quykeȝ</i>”<a class="tag" name="tag53" id="tag53" href="#note53">53</a> (those sights so living), the <i>-eȝ</i> (= <i>-es</i>) +is a mark of the plural, very common in Southern writers of the +fourteenth century, and employed as a plural inflexion of the adjective +until a very late period in our literature.</p> + +<p>The Article exhibits the following forms:</p> + +<table class="paradigm" summary="paradigm"> +<tr class="smaller"> +<th colspan="2">SINGULAR.</th> +<th>PLURAL.</th> +</tr> +<tr> +<th>Masc.</th> +<th>Fem.</th> +</tr> +<tr> +<td>The.</td> +<td>tho.<a class="tag" name="tag54" id="tag54" href="#note54">54</a></td> +<td>tho.</td> +</tr> +</table> + +<p><i>This</i> forms the plural <i>thise</i> and <i>thes</i> +(<i>these</i>). <i>That</i> is always used as a demonstrative, and never +as the neuter of the article; its plural is <i>thos</i> (those).<a class="tag" name="tag55" id="tag55" href="#note55">55</a> The older +form, <i>theos</i> = <i>these</i>, shows that the <i>e</i> is not a sign +of the plural, as many English grammarians have asserted.</p> + +<p>(2) <i>Degrees of Comparison.</i>—The comparative degree ends +in <i>-er</i>, and the superlative in <i>-est</i>.</p> + +<p>Adjectives and adverbs terminating in the syllable <i>-lyche</i> form +the comparative in <i>-loker</i> and the superlative in <i>-lokest</i>; +as, positive <i>uglyche</i> (= ugly), comp. <i>ugloker</i>, superl. +<i>uglokest</i>. The long vowel of the positive is often shortened in +the comp. and superl., as in the modern English <i>late</i>, +<i>latter</i>, <i>last</i>.</p> + +<table class="paradigm" summary="paradigm"> +<tr> +<th>Positive.</th> +<th>Comparative.</th> +<th>Superlative.</th> +</tr> + +<tr> +<td>Brade (broad),</td> +<td>bradder,</td> +<td>braddest.</td> +</tr> +<tr> +<td>Dere (dear),</td> +<td>derrer,</td> +<td>derrest.</td> +</tr> +<tr> +<td>Lyke (like),</td> +<td>lykker,</td> +<td>lykkest.</td> +</tr> +<tr> +<td>Swete (sweet),</td> +<td>swetter,</td> +<td>swettest.</td> +</tr> +<tr> +<td>Wayke (weak),</td> +<td>wakker,</td> +<td>wakkest.</td> +</tr> +<tr> +<td>Wode (mad),</td> +<td>wodder,</td> +<td>woddest.</td> +</tr> +</table> + +<p>The following irregular forms are occasionally met with:</p> + +<table class="paradigm" summary="paradigm"> +<tr> +<th>Positive.</th> +<th>Comparative.</th> +<th>Superlative.</th> +</tr> + +<tr> +<td>Fer (far),</td> +<td>ferre (fyrre),</td> +<td>ferrest.</td> +</tr> +<tr> +<td>Heȝe (high),</td> +<td>herre,</td> +<td>heȝest (hest).</td> +</tr> +<tr> +<td> +<span class="pagenum">xxx</span> +<a name="pagexxx" id="pagexxx"> </a> +Neȝe (nigh, near)</td> +<td>nerre,</td> +<td>nerrest (nest).</td> +</tr> +<tr> +<td>Sare (sore),</td> +<td>sarre,</td> +<td>sarrest.</td> +</tr> +<tr> +<td>Forme (first),</td> +<td></td> +<td>formast.</td> +</tr> +<tr> +<td>Mikelle (great),</td> +<td>mo</td> +<td>most.</td> +</tr> +<tr> +<td>Yvel, ill (bad),</td> +<td>wers (worre),</td> +<td>werst.</td> +</tr> +</table> + +<p><i>Numerals.</i>—<i>Twinne</i> and <i>thrinne</i> occur for two +and three. The ordinal numbers <span class="locked">are—</span></p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td colspan="2">first (fyrste), the forme,</td> +</tr> +<tr> +<td colspan="2">secunde, that other, tother,</td> +</tr> +<tr> +<td class="bracket" style="width: 3em"> +thryd,<br> +thrydde,</td> +<td> </td> +</tr> +<tr> +<td colspan="2">furþe,</td> +</tr> +<tr> +<td colspan="2">fyfþe,</td> +</tr> +<tr> +<td colspan="2">sexte,</td> +</tr> +<tr> +<td colspan="2">sevenþe,</td> +</tr> +<tr> +<td colspan="2">aȝtþe,</td> +</tr> +<tr> +<td colspan="2">nente,</td> +</tr> +<tr> +<td class="bracket"> +tenþe,<br> +tyþe.</td> +<td> </td> +</tr> +</table> + +<p>The Northumbrian numerals corresponding to <i>sevenþe</i>, +<i>aȝtþe</i>, <i>nente</i>, <i>tenþe</i>, are <i>sevend</i>, +<i>aghtend</i>, <i>neghend</i>, <i>tend</i>. The Southern forms end in +<i>-the</i>, as <i>sevenþe</i>, <i>eiȝteoþe</i>, <i>nyþe</i>, +<i>teoþe</i> (<i>tyþe</i>).</p> + +<h5><a name="pref_gram_pron" id="pref_gram_pron">III.</a> +Pronouns.</h5> + +<p>In the following poems we find the pronoun <i>ho</i>, she, still +keeping its ground against the Northumbrian <i>scho</i>.<a class="tag" +name="tag56" id="tag56" href="#note56">56</a> <i>Ho</i> is +identical with the modern Lancashire <i>hoo</i> (or <i>huh</i> as it is +sometimes written), which in some parts of England has nearly the same +pronunciation as the accusative <i>her</i>.</p> + +<p>The Northumbrian <i>thay</i> (they) has displaced the older Midland +<i>he</i>, corresponding to the Southern pronoun <i>hii</i>, <i>hi</i> +(A.S. <ins class="correction" title=") missing"><i>hí</i>)</ins>. +<i>Hores</i> and <i>thayreȝ</i> (theirs) occasionally occur for +<i>here</i>.<a class="tag" name="tag57" id="tag57" href="#note57">57</a> The genitives in <i>-es</i>, due no doubt to +Scandinavian influence, are very common in Northumbrian writers of the +fourteenth century, but are never found in any Southern work of the same +period.</p> + +<span class="pagenum">xxxi</span> +<a name="pagexxxi" id="pagexxxi"> </a> + +<p><i>Hit</i> is frequently employed as an indefinite pronoun of all +genders, and is plural as well as singular. It is, as has been +previously shown, uninflected in the genitive or possessive case.</p> + +<p><i>Me</i> in Southern writers is used as an indefinite pronoun of the +<i>third</i> person, and represents our <i>one</i>, but in the present +poems it is of all persons, and seems to be placed in apposition with +the subject of the sentence corresponding to our use of myself, thyself, +himself, etc.; as,</p> + +<p class="quotation center"> +“<i>He</i> swenges <i>me</i> þys,” etc. = He himself sends this, etc.<a +class="tag" name="tag58" id="tag58" href="#note58">58</a></p> + +<p class="quotation center"> +“Now sweȝe <i>me</i> þider swyftly” = Now go (thou) thyself thither +swiftly.<a class="tag" name="tag59" id="tag59" href="#note59">59</a></p> +<p class="quotation center"> +“<i>He</i> meteȝ <i>me</i> þis good man” = He himself meets this good +man.<a class="tag" name="tag60" id="tag60" href="#note60">60</a></p> + +<p>Sturzen-Becker (“Some Notes on the leading Grammatical +Characteristics of the Principal Early English Dialects, Copenhagen, +1868”) thinks that I have been led astray with regard to this use of +<i>me</i>, which he says is nothing more than the <i>dativus +ethicus</i>.</p> + +<p>The <i>me</i> in these examples may be merely an expletive, having +arisen out of the general use of the dative ethicus, but the context +does not satisfy me that it has the force of a dative. Dr. Guest +(Proceedings of Philolog. Soc., vol. i. p. 151-153, 1842-1844) has +discussed this construction at some length, and he carefully +distinguishes the dative of the 1st person from the indeterminate (or +indefinite) pronoun <i>me</i> = Fr. one. He says that in Old Frisian the +indefinite pronoun has two forms, <i>min</i> and <i>me</i>, “the latter +of which seems to be always used as a suffix to the verb, as +<i>momme</i>, one may; <i>somme</i>, one should,” etc. <ins class="quotation" title="text has open quote">The</ins> same construction +was occasionally used in our own language, and it no doubt gave rise to +those curious idioms which are noticed by Pegge in his “Anecdotes of the +Eng. Lang.,” p. 217. This writer, whose evidence to a <i>fact</i> +we may avail ourselves of, whatever we think of his criticism or his +scholarship, quotes the following as forms of speech then prevalent +among the +<span class="pagenum">xxxii</span> +<a name="pagexxxii" id="pagexxxii"> </a> +Londoners: “and so says <i>me</i> I;” “well what does <i>me</i> I;” “so +says <i>me</i> she;” “then away goes <i>me</i> he;” “what does <i>me</i> +they?” Here it is obvious that <i>me</i> is the indeterminate pronoun, +and represents the <i>subject</i>, while the personal pronoun is put in +apposition to it, so that “says <i>me</i> I” is equivalent to “<i>one +says, that is I</i>,”<a class="tag" name="tag61" id="tag61" href="#note61">61</a>. These idioms are not unknown to our literature.</p> + +<p class="quotation"> +(1) ‘But as he was by diverse principall young gentlemen, to his no +small glorie, lifted up on horseback, <i>comes me a page</i> of +Amphialus, etc.’ Pembr. Arcad. B. iii.</p> + +<p>Other idioms, which have generally been confounded with those last +mentioned, have the indeterminate pronoun preceded by a nominative +absolute.</p> + +<p class="quotation"> +(2) ‘<i>I</i>, having been acquainted with the smell before, knew it was +Crab, and—<i>goes me</i> to the fellow, who whips the dogs,’ etc. +Two Gent. of Verona, 4. 4.</p> + +<p class="quotation"> +(3) ‘<i>He thrusts me</i> himself into the company of three or four +gentlemanlike dogs under the Duke’s Table.’ <i>Ib.</i> See B. Jons. +Ev. Man in his Humour, 3, 1.</p> + +<p>Johnson considers the <i>me</i> in examples 2 and 3 to be the oblique +case of the first pers. pron., and treats it as “a ludicrous expletive.” +It is difficult to say how he would have parsed example 2 on such a +hypothesis.</p> + +<p>With these instances of the use of <i>me</i> (indef. or reflexive), +the reader may compare the following:</p> + +<div class="verse"> +<p>(1) “Suche a touche in that tyde, <i>he</i> taȝte (Gauan) hym in +tene</p> +<p>And <i>gurdes me</i>, Sir Gallerun, evyn grovelonges on grounde.”<br> +(The Anturs of Arther at the Tarnewathelan, p. 22.)</p> +</div> + +<p class="verse"> +(2) There at the dore he (the Fox) cast <i>me</i> downe hys pack.<br> +Spenser’s Shep. Cal. ed. Morris, p. 460, l. 243.</p> + +<p>Cp. <i>Cut me</i>, i. Hen. IV. Act 4. Sc. 4; <i>steps me</i>, Ib. +Act 4, Sc. 3; <i>comes me, runs me</i><ins class="correction" title="text has . for ,">, </ins>Ib. Act 3, +Sc. 1.</p> + +<div class="verse"> +<p>(3) “Juno enraged, and fretting thus,</p> +<p><i>Runs me</i> unto one Æolus.”<br> +(Virgile Travestie, 1664.)</p> +</div> + +<span class="pagenum">xxxiii</span> +<a name="pagexxxiii" id="pagexxxiii"> </a> + +<p>The indefinite <i>me</i> = one is not uncommon in Elizabethan +writers. Cf. “<i>touch me</i> his hat;” “<i>touch me</i> hir with a pint +of sack,” etc.; “and <i>stop me</i> his dice you are a villaine” +(Lodge’s Wit’s Miserie).</p> + +<p>The following table exhibits the declension of the personal and +relative <span class="locked">pronouns:—</span></p> + +<table class="paradigm" summary="paradigm"> +<tr> +<th class="smaller" colspan="7">SINGULAR.</th> +</tr> + +<tr> +<td>Nom.</td> +<td>I,</td> +<td colspan="2">thou,</td> +<td><ins class="correction" title=", missing">he,</ins></td> +<td>ho,</td> +<td>hit.</td> +</tr> +<tr> +<td>Gen.</td> +<td>My, myn,</td> +<td colspan="2">thy, thyn,</td> +<td>his,</td> +<td>hir, her,</td> +<td>hit.</td> +</tr> +<tr> +<td>Dat.</td> +<td>Me,</td> +<td colspan="2">the,</td> +<td>him,</td> +<td>hir, her,</td> +<td>hit.</td> +</tr> +<tr> +<td>Acc.</td> +<td>Me,</td> +<td colspan="2">the,</td> +<td>him,</td> +<td>hir, her,</td> +<td>hit.</td> +</tr> + +<tr class="header"> +<th class="smaller" colspan="7">PLURAL.</th> +</tr> +<tr> +<td>Nom.</td> +<td colspan="2">We,</td> +<td>ȝe,</td> +<td colspan="2">thay,</td> +<td>hit.</td> +</tr> +<tr> +<td>Gen.</td> +<td colspan="2">Oure,</td> +<td>yor, youre,</td> +<td colspan="2">her (here), hor,</td> +<td>hit.</td> +</tr> +<tr> +<td>Dat.</td> +<td colspan="2">Vus (= uus),</td> +<td>yow, you,</td> +<td colspan="2">hem, hom,</td> +<td>hit.</td> +</tr> +<tr> +<td>Acc.</td> +<td colspan="2">Vus (= uus),</td> +<td>yow, you,</td> +<td colspan="2">hem, hom,</td> +<td>hit.</td> +</tr> + +<tr> +<td colspan="7"> </td> +</tr> +<tr> +<td>Nom.</td> +<td colspan="3">Who (quo).</td> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td>Gen.</td> +<td colspan="3">Whose (quos).</td> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td class="middle">Dat.</td> +<td class="bracket" colspan="2"> +Whom,<br> +Wham</td> +<td class="middle">(quom).</td> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td class="middle">Acc.</td> +<td class="bracket" colspan="2"> +Whom,<br> +Wham</td> +<td class="middle">(quom).</td> +<td></td> +<td></td> +<td></td> +</tr> +</table> + + +<h5><a name="pref_gram_verb" id="pref_gram_verb">IV.</a> +Verbs.</h5> + +<p><i>Infinitive Mood.</i>—The <i>-en</i> of the infinitive is +frequently dropped, without even a final <i>-e</i> to mark its omission. +Infinitives in <i>-y</i>, as <i>louy</i> (love), <i>schony</i> (shun), +<i>spotty</i> (spot, defile), <i>styry</i> (stir), <i>wony</i> (dwell), +occasionally occur, and probably owe their appearance to the author’s +acquaintance with Southern literature.<a class="tag" name="tag62" id="tag62" href="#note62">62</a></p> + +<p><i>Indicative Mood.</i>—The final <i>e</i> often disappears in +the first and third persons of the preterite tense, as I <i>loved</i>, +he <i>loved</i>, instead of I <i>lovede</i>, he <i>lovede</i>.</p> + +<span class="pagenum">xxxiv</span> +<a name="pagexxxiv" id="pagexxxiv"> </a> + +<p>The <i>-en</i> in the plural of the present and preterite tenses is +frequently dropped. The pl. present in <i>-eȝ</i> occasionally +occurs.</p> + +<p><i>Imperative Mood.</i>—The imperative plural ends in +<i>-es</i> (<i>eȝ</i>), and not in <i>-eth</i> as in the Southern and +ordinary Midland dialects.</p> + +<p><i>Participles.</i>—The active or imperfect participle ends in +<i>-ande</i><a class="tag" name="tag63" id="tag63" href="#note63">63</a> and never in <i>-ing</i>.</p> + +<p>The participle passive or perfect of regular verbs terminates in +<i>-ed</i>; of irregular verbs in <i>-en</i>. Occasionally we find the +<i>n</i> disappearing, as <i>bigonn-e</i>, <i>fund-e</i>, <i>runn-e</i>, +<i>wonn-e</i>, where perhaps it is represented by the final +<i>-e</i>.</p> + +<p>The prefix <i>-i</i> or <i>-y</i> (A.S. <i>-ge</i>) occurs twice only +in the poems, in <i>i-chose</i> (chosen), and <i>i-brad</i> (extended); +but, while common enough in the Southern and Midland dialects, it seems +to be wholly unknown to the Northumbrian speech.</p> + +<p>The verb in the West-Midland dialect is conjugated according to the +following <span class="locked">model:—</span></p> + +<h5>I.—Conjugation of Regular Verbs.</h5> + +<table class="paradigm" summary="paradigm"> +<tr> +<td colspan="2"> +<h6>INDICATIVE MOOD.</h6> +<p class="center smallest"> +PRESENT TENSE.</p> +</td> +</tr> +<tr> +<th>Singular.</th> +<th>Plural.</th> +</tr> +<tr> +<td>(I) hope,</td> +<td>(We) hopen.</td> +</tr> +<tr> +<td>(Thou) hopes,</td> +<td>(Ȝe) hopen.</td> +</tr> +<tr> +<td>(He) hopes,</td> +<td>(Thay) hopen.</td> +</tr> +<tr class="header"> +<td class="center smallest" colspan="2"> +PRETERITE TENSE<ins class="correction" title=". missing">. </ins></td> +</tr> +<tr> +<td>(I) hopede<a class="tag" name="tag64" id="tag64" href="#note64">64</a> (hoped),</td> +<td>(We) hopeden<ins class="correction" title="text has , for .">. </ins></td> +</tr> +<tr> +<td>(Thou) hopedes (hoped),</td> +<td>(Ȝe) hopeden.</td> +</tr> +<tr> +<td>(He) hopede<a class="tag" href="#note64">64</a> (hoped),</td> +<td>(Thay) hopeden.</td> +</tr> +<tr> +<td colspan="2"> +<h6>IMPERATIVE MOOD.</h6> +</td> +</tr> +<tr> +<td>Hope (thou).</td> +<td>Hopes (ȝe).</td> +</tr> +<tr> +<td colspan="2"> +<span class="pagenum">xxxv</span> +<a name="pagexxxv" id="pagexxxv"> </a> +<h6>PARTICIPLES.</h6> +</td> +</tr> +<tr> +<th>Imperfect or Active.</th> +<th>Perfect or Passive.</th> +</tr> +<tr> +<td class="center">Hopande.</td> +<td class="center">Hoped.</td> +</tr> +</table> + +<h5>II.—Conjugation of Irregular Verbs.</h5> + +<table class="paradigm" summary="paradigm"> +<tr> +<td colspan="4"> +<h6>INDICATIVE MOOD.</h6> +<p class="center smallest"> +PRESENT TENSE.</p> +</td> +</tr> +<tr> +<th colspan="4">Singular.</th> +</tr> +<tr> +<td>(I) kerve,</td> +<td>renne,</td> +<td>smite,</td> +<td>stonde.</td> +</tr> +<tr> +<td>(Thou) kerves,</td> +<td>rennes,</td> +<td>smites,</td> +<td>stondes.</td> +</tr> +<tr> +<td>(He) kerves,</td> +<td>rennes,</td> +<td>smites,</td> +<td>stondes.</td> +</tr> + +<tr> +<th colspan="4">Plural.</th> +</tr> +<tr> +<td>(We) kerven,</td> +<td>rennen,</td> +<td>smiten,</td> +<td>stonden.</td> +</tr> +<tr> +<td>(Ȝe) „</td> +<td class="center">„</td> +<td class="center">„</td> +<td class="center">„</td> +</tr> +<tr> +<td>(Thay) „</td> +<td class="center">„</td> +<td class="center">„</td> +<td class="center">„</td> +</tr> +<tr class="header"> +<td class="center smallest" colspan="4"> +PRETERITE TENSE.</td> +</tr> +<tr> +<th colspan="4">Singular.</th> +</tr> +<tr> +<td>(I) carf,</td> +<td>ran,</td> +<td>smot,</td> +<td>stod.</td> +</tr> +<tr> +<td>(Thou) carve,</td> +<td>ranne,</td> +<td>smote,</td> +<td>stode.</td> +</tr> +<tr> +<td>(He) carf,</td> +<td>ran,</td> +<td>smot,</td> +<td>stod.</td> +</tr> +</table> + +<p>Very frequently the <i>e</i> in the second person is dropped,<a class="tag" name="tag65" id="tag65" href="#note65">65</a> as in the +Northumbrian dialect, but we never meet with such forms as carves +(= carvedest), rannes (= ranst), smotes (= smotest), +etc.</p> + +<table class="paradigm" summary="paradigm"> +<tr> +<th colspan="4">Plural.</th> +</tr> +<tr> +<td>(We) corven,</td> +<td>runnen,</td> +<td>smiten,</td> +<td>stonden.</td> +</tr> +<tr> +<td>(Ȝe) „</td> +<td class="center">„</td> +<td class="center">„</td> +<td class="center">„</td> +</tr> +<tr> +<td>(Thay) „</td> +<td class="center">„</td> +<td class="center">„</td> +<td class="center">„</td> +</tr> +<tr> +<td colspan="4"> +<h6>PASSIVE PARTICIPLES.</h6> +</td> +</tr> +<tr> +<td>Corven,</td> +<td>runnen,</td> +<td>smiten,</td> +<td>stonden.</td> +</tr> +</table> + +<p>The Northumbrian dialect does not preserve any separate form for the +preterite plural, and this distinction is not always observed in the +present poems.</p> + +<span class="pagenum">xxxvi</span> +<a name="pagexxxvi" id="pagexxxvi"> </a> + +<h5>Table of Verbs.</h5> + +<table class="paradigm" summary="paradigm"> +<tr> +<td colspan="4"> +<h6>A.—SIMPLE ORDER.</h6> +</td> +</tr> +<tr> +<td></td> +<th>Present.</th> +<th>Preterite.</th> +<th>Passive Participle.</th> +</tr> + +<tr> +<td class="class">Class I.</td> +<td>Hate,</td> +<td>hatede,</td> +<td>hated.</td> +</tr> + +<tr> +<td class="class">Class II. (<i>a</i>)</td> +<td>Bede (offer),</td> +<td>bedde,</td> +<td>bed.</td> +</tr> +<tr> +<td></td> +<td>Dype (dip),</td> +<td>dypte,</td> +<td>dypt.</td> +</tr> +<tr> +<td></td> +<td>Kythe (show),</td> +<td>kydde,</td> +<td>kyd.</td> +</tr> +<tr> +<td></td> +<td>Lende,</td> +<td>lende,</td> +<td>lent.</td> +</tr> +<tr> +<td></td> +<td>Rende,</td> +<td>rende,</td> +<td>rent.</td> +</tr> +<tr> +<td></td> +<td>Sende,</td> +<td>sende,</td> +<td>sent.</td> +</tr> +<tr> +<td class="class right">(<i>b</i>)</td> +<td>Clothe,</td> +<td>cladde,</td> +<td>clad.</td> +</tr> +<tr> +<td></td> +<td>Dele (deal),</td> +<td>dalte,</td> +<td>dalt.</td> +</tr> +<tr> +<td></td> +<td>Lede,</td> +<td>ladde,</td> +<td>lad.</td> +</tr> +<tr> +<td></td> +<td>Leve,</td> +<td>lafte,</td> +<td>laft.</td> +</tr> +<tr> +<td></td> +<td>Rede (advise),</td> +<td>radde,</td> +<td>rad.</td> +</tr> +<tr> +<td></td> +<td>Sprede (spread),</td> +<td>spradde,</td> +<td>sprad.</td> +</tr> +<tr> +<td></td> +<td>Swelt (die),</td> +<td>swalte,</td> +<td>——</td> +</tr> +<tr> +<td></td> +<td>Swette (sweat),</td> +<td>swatte,</td> +<td>——</td> +</tr> +<tr> +<td></td> +<td>Threte (threaten),</td> +<td>thratte,</td> +<td>thrat.</td> +</tr> + +<tr> +<td class="class">Class III.</td> +<td>Byye (buy),</td> +<td>boȝte,</td> +<td>boȝt</td> +</tr> +<tr> +<td></td> +<td>Bringe,</td> +<td>broȝte,</td> +<td>broȝt.</td> +</tr> +<tr> +<td></td> +<td>Cache (catch),</td> +<td>caȝte,</td> +<td>caȝt.</td> +</tr> +<tr> +<td></td> +<td>Lache (seize),</td> +<td>laȝte,</td> +<td>laȝt.</td> +</tr> +<tr> +<td></td> +<td>Reche (reck),</td> +<td>roȝte,</td> +<td>——</td> +</tr> +<tr> +<td></td> +<td>Reche (reach),</td> +<td>raȝte,</td> +<td>——</td> +</tr> +<tr> +<td></td> +<td>Selle,</td> +<td>solde,</td> +<td>sold.</td> +</tr> +<tr> +<td></td> +<td>Worche (work),</td> +<td>wroȝte,</td> +<td>wroȝt.</td> +</tr> +<tr> +<td colspan="4"> +<h6>B.—COMPLEX ORDER.</h6> +</td> +</tr> +<tr> +<td class="center" colspan="4"> +<span class="smaller smallcaps">Division I.</span> +</td> +</tr> +<tr> +<td></td> +<th>Present.</th> +<th>Preterite.</th> +<th>Passive Participle.</th> +</tr> +<tr> +<td class="class">Class I.</td> +<td>Bere (bear),</td> +<td>ber,</td> +<td>born.</td> +</tr> +<tr> +<td></td> +<td>Bete (beat),</td> +<td>bet,</td> +<td>beten.</td> +</tr> +<tr> +<td> +<span class="pagenum">xxxvii</span> +<a name="pagexxxvii" id="pagexxxvii"> </a> +</td> +<td>Breke (break),</td> +<td>brek,</td> +<td>broken.</td> +</tr> +<tr> +<td></td> +<td>Chese (choose),</td> +<td>ches (chos),</td> +<td>chosen.</td> +</tr> +<tr> +<td></td> +<td>Cleve (cleave),</td> +<td>clef,</td> +<td>cloven.</td> +</tr> +<tr> +<td></td> +<td>Ete (eat),</td> +<td>ette (<i>for</i> et),</td> +<td>eten.</td> +</tr> +<tr> +<td></td> +<td>Forȝete (forget),</td> +<td>forȝet,</td> +<td>forȝeten.</td> +</tr> +<tr> +<td></td> +<td>Frese (freeze),</td> +<td>fres,</td> +<td>frosen.</td> +</tr> +<tr> +<td></td> +<td>Gife (give),</td> +<td>gef,</td> +<td>given, geven.</td> +</tr> +<tr> +<td></td> +<td>Heve (heave),</td> +<td>hef,</td> +<td>hoven.</td> +</tr> +<tr> +<td></td> +<td>Ligge (lie),</td> +<td>leȝ,</td> +<td>leyen, leȝen.</td> +</tr> +<tr> +<td></td> +<td>Lepe (leap),</td> +<td>lep,</td> +<td>lopen.</td> +</tr> +<tr> +<td></td> +<td> +<table class="inner" summary="bracketed words"> +<tr> +<td class="bracket">Nemme<br> +Nimme</td> +<td class="middle"> (take),</td> +</tr> +</table> +</td> +<td class="middle">nem (nam),</td> +<td class="middle">nomen.</td> +</tr> +<tr> +<td></td> +<td>Schere (shear),</td> +<td>scher,</td> +<td>schorn.</td> +</tr> +<tr> +<td></td> +<td>Slepe (sleep),</td> +<td>slep,</td> +<td>slepen.</td> +</tr> +<tr> +<td></td> +<td>Speke (speak),</td> +<td>spek,</td> +<td>spoken.</td> +</tr> +<tr> +<td></td> +<td>Stele (steal),</td> +<td>stel,</td> +<td>stolen.</td> +</tr> +<tr> +<td></td> +<td>Swere (swear),</td> +<td>swer,</td> +<td>sworen.</td> +</tr> +<tr> +<td></td> +<td>Wepe (weep),</td> +<td>wep,</td> +<td>wopen.</td> +</tr> +<tr> +<td></td> +<td>Wreke (avenge<ins class="correction" title=", missing">), +</ins></td> +<td>wrek,</td> +<td>wroken.</td> +</tr> + +<tr> +<td class="class">Class II.</td> +<td>Falle,</td> +<td>fell,</td> +<td>fallen.</td> +</tr> +<tr> +<td></td> +<td>Fonge (take),</td> +<td>feng,</td> +<td>fongen.</td> +</tr> +<tr> +<td></td> +<td>Growe,</td> +<td>grew,</td> +<td>growen.</td> +</tr> +<tr> +<td></td> +<td>Hange, honge,</td> +<td>heng,</td> +<td>hangen, hongen.</td> +</tr> +<tr> +<td></td> +<td>Knowe, knawe,</td> +<td>knew,</td> +<td>knawen, knowen.</td> +</tr> +<tr> +<td></td> +<td>Schape (make),</td> +<td>schep,</td> +<td>schapen.</td> +</tr> +<tr> +<td></td> +<td>Walke,</td> +<td>welk,</td> +<td>walken.</td> +</tr> +<tr> +<td></td> +<td>Wasche,</td> +<td>wesch,</td> +<td>waschen.</td> +</tr> + +<tr> +<td class="class">Class III.</td> +<td>Drawe, draȝe,</td> +<td>droȝ,</td> +<td>drawen,<ins class="correction" title=". missing">. </ins></td> +</tr> +<tr> +<td></td> +<td>Fare (go),</td> +<td>for,</td> +<td>faren.</td> +</tr> +<tr> +<td></td> +<td>Laȝe (laugh),</td> +<td>loȝ,</td> +<td>laȝen.</td> +</tr> +<tr> +<td></td> +<td>Stande, stonde,</td> +<td>stod,</td> +<td>standen.</td> +</tr> +<tr> +<td></td> +<td>Slaye,</td> +<td>slow, slew,</td> +<td>slayn.</td> +</tr> +<tr> +<td> +<span class="pagenum">xxxviii</span> +<a name="pagexxxviii" id="pagexxxviii"> </a> +</td> +<td>Take,</td> +<td>tok,</td> +<td>tane, tone.</td> +</tr> +<tr> +<td></td> +<td>Wake,</td> +<td>wok,</td> +<td>waken.</td> +</tr> + +<tr class="header"> +<td class="center" colspan="4"> +<span class="smaller smallcaps">Division II.</span> +</td> +</tr> +<tr> +<td></td> +<th>Present.</th> +<th>Preterite.</th> +<th>Passive Participle.</th> +</tr> +<tr> +<td class="class">Class I.</td> +<td>Biginne,</td> +<td>bigon,</td> +<td>bigonnen, bigunnen.</td> +</tr> +<tr> +<td></td> +<td>Breste,</td> +<td>brast, borst,</td> +<td>brusten, bursten.</td> +</tr> +<tr> +<td></td> +<td>Climbe,</td> +<td>clamb, clomb,</td> +<td>clumben.</td> +</tr> +<tr> +<td></td> +<td>Drinke,</td> +<td>dronk, drank,</td> +<td>drunken, dronken.</td> +</tr> +<tr> +<td></td> +<td>Finde,</td> +<td>fand, fond,</td> +<td>funden.</td> +</tr> +<tr> +<td></td> +<td>Fiȝte,</td> +<td>faȝt, feȝt,</td> +<td>foȝten.</td> +</tr> +<tr> +<td></td> +<td>Helpe,</td> +<td>halp,</td> +<td>holpen<ins class="correction" title="text has , for .">. </ins></td> +</tr> +<tr> +<td></td> +<td>Kerve (cut),</td> +<td>carf,</td> +<td>corven.</td> +</tr> +<tr> +<td></td> +<td>Melte,</td> +<td>malt,</td> +<td>molten.</td> +</tr> +<tr> +<td></td> +<td>Renne (run),</td> +<td>ran,</td> +<td>runnen.</td> +</tr> +<tr> +<td></td> +<td>Ringe,</td> +<td>rong,</td> +<td>rungen, rongen.</td> +</tr> +<tr> +<td></td> +<td>Singe,</td> +<td>song, sang,</td> +<td>sungen.</td> +</tr> +<tr> +<td></td> +<td>Steke,</td> +<td>stac,</td> +<td>stoken.</td> +</tr> +<tr> +<td></td> +<td>Sterve (die),</td> +<td>starf,</td> +<td><ins class="correction" title="text reads ‘storveu’">storven</ins>.</td> +</tr> +<tr> +<td></td> +<td>Werpe (throw),</td> +<td>warp,</td> +<td>worpen.</td> +</tr> +<tr> +<td></td> +<td>Win,</td> +<td>wan, won,</td> +<td>wonnen, wunnen.</td> +</tr> +<tr> +<td></td> +<td>Ȝelde (yield),</td> +<td>ȝald,</td> +<td>ȝolden.</td> +</tr> + +<tr> +<td class="class">Class II.</td> +<td>Bide (abide),</td> +<td>bod,</td> +<td>biden.</td> +</tr> +<tr> +<td></td> +<td>Bite,</td> +<td>bot,</td> +<td>biten.</td> +</tr> +<tr> +<td></td> +<td>Drive,</td> +<td>drof,</td> +<td>driven.</td> +</tr> +<tr> +<td></td> +<td>Fine (cease),</td> +<td>fon,</td> +<td>——</td> +</tr> +<tr> +<td></td> +<td>Glide,</td> +<td>glod,</td> +<td>gliden.</td> +</tr> +<tr> +<td></td> +<td>Ride,</td> +<td>rod,</td> +<td>riden.</td> +</tr> +<tr> +<td></td> +<td>Rise,</td> +<td>ros,</td> +<td>risen.</td> +</tr> +<tr> +<td></td> +<td>Schine,</td> +<td>schon,</td> +<td>——</td> +</tr> +<tr> +<td></td> +<td>Slide,</td> +<td>slod,</td> +<td>sliden.</td> +</tr> +<tr> +<td></td> +<td>Smite,</td> +<td>smot,</td> +<td>smiten.</td> +</tr> +<tr> +<td></td> +<td>Trine (go),</td> +<td>tron,</td> +<td>——</td> +</tr> + +<tr> +<td class="class"> +<span class="pagenum">xxxix</span> +<a name="pagexxxix" id="pagexxxix"> </a> +Class III.</td> +<td>Fly,</td> +<td>fleȝ, flegh, flaȝ,</td> +<td>flowen.</td> +</tr> +<tr> +<td></td> +<td>See,</td> +<td>seȝ, segh, syȝ,</td> +<td>seen.</td> +</tr> +<tr> +<td></td> +<td>Stiȝe, steȝe,</td> +<td>steȝ</td> +<td>——</td> +</tr> +</table> + + +<table class="paradigm" summary="paradigm"> +<tr class="header"> +<td class="center smallcaps" colspan="2"> +Anomalous Verbs. +</td> +</tr> +<tr> +<td>Can,</td> +<td>pret. couthe.</td> +</tr> +<tr> +<td>Dare,</td> +<td> „ dorste.</td> +</tr> +<tr> +<td>May,</td> +<td> „ miȝte.</td> +</tr> +<tr> +<td>Mot,</td> +<td> „ moste.</td> +</tr> +<tr> +<td>Oȝe (owe),</td> +<td> „ oȝte.</td> +</tr> +<tr> +<td>Schal,</td> +<td> „ scholde, schulde<ins class="correction" title=". missing">. </ins></td> +</tr> +<tr> +<td>Thar,</td> +<td> „ thurte.</td> +</tr> +<tr> +<td>Wote,</td> +<td> „ wiste.</td> +</tr> +<tr> +<td>Wille,</td> +<td> „ wolde.</td> +</tr> +</table> + +<p><i>Schal</i> (shall) in the second person singular is <i>schal</i> or +<i>schalt</i>; so, too, we occasionally find <i>wyl</i> for +<i>wylt</i>.</p> + +<p>The present plural of <i>schal</i> is <i>schul</i>, <i>schulen</i>, +or <i>schyn</i>.</p> + +<p>The verb <i>to be</i> is thus conjugated:—</p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td colspan="2"> +<h6>INDICATIVE MOOD.</h6> +</td> +</tr> +<tr> +<td class="center smallest"> +PRESENT TENSE.</td> +<td class="center smallest"> +PAST TENSE.</td> +</tr> +<tr> +<th colspan="2"> +Singular.</th> +</tr> +<tr> +<td>(I) am.</td> +<td>(I) was, watȝ.</td> +</tr> +<tr> +<td>(Thou) art.</td> +<td>(Thou) was, watȝ.</td> +</tr> +<tr> +<td>(He) is, bes, betȝ.</td> +<td>(He) was, watȝ.</td> +</tr> +<tr> +<th colspan="2"> +Plural.</th> +</tr> +<tr> +<td>(We) arn, are, ar.</td> +<td>(We) wern, were.</td> +</tr> +<tr> +<td>(Ȝe) arn, are, ar.</td> +<td>(Ȝe) wern, were.</td> +</tr> +<tr> +<td>(Thay) arn, are, ar.</td> +<td>(Thay) wern, were.</td> +</tr> +</table> + +<p>The verbs <i>be</i>, <i>have</i>, <i>wille</i>, have negative forms; +as, <i>nam</i> = am not; <i>nar</i> = are not; <i>nas</i> = was not; +<i>naf</i> = have not; <i>nade</i> = had not; <i>nyl</i> = will not.</p> + +<p>The following contractions are occasionally met with: <i>bos</i> = +behoves; <i>byhod</i> = behoved; <i>ha</i> = have; <i>ma</i> = make; +<i>man</i> = make (pl.) <i>matȝ</i> (<i>mas</i>) = makes; <i>ta</i> = +take; <i>tatȝ</i> (= <i>tas</i>) = takes; <i>tane</i>, <i>tone</i> = +taken.</p> + +<span class="pagenum">xl</span> +<a name="pagexl" id="pagexl"> </a> + +<h5><a name="pref_gram_adv" id="pref_gram_adv">V.</a> +Adverbs.</h5> + +<p><ins class="correction" title="text reads ‘Ths’">The</ins> Norse +forms <i>hethen</i>, <i>quethen</i> (<i>whethen</i>),<a class="tag" +name="tag66" id="tag66" href="#note66">66</a> and <i>thethen</i>, +seem to have been known to the West-Midland dialect as well as the Saxon +forms <i>hence</i> (<i>hennes</i>, <i>henne</i>), <i>whence</i> +(<i>whennes</i>), <i>thence</i> <ins class="correction" title="( missing">(<i>thennes</i>)</ins>, <ins class="correction" title="text has italic {t} for .">etc.</ins><a class="tag" name="endtagA" id="endtagA" href="#endnoteA">A</a> The adverbs <i>in-blande</i> +(together), <i>in-lyche</i> (alike), <i>in-mydde</i> (amidst), +<i>in-monge</i> (amongst), are due, perhaps, to Scandinavian +influence.</p> + + +<h5><a name="pref_gram_prep" id="pref_gram_prep">VI.</a> +Prepositions.</h5> + +<p>The preposition <i>from</i> never occurs in the following poems; it +is replaced by <i>fro</i>, <i>fra</i> (Northumbrian), O.N. +<i>frá</i>.</p> + + +<h5><a name="pref_gram_conj" id="pref_gram_conj">VII.</a> +Conjunctions.</h5> + +<p>The conjunction <i>if</i> takes a negative form; as, <i>nif</i> = if +not, unless.</p> + + +<span class="pagenum">xli</span> +<a name="pagexli" id="pagexli"> </a> +<h3><a name="manuscript" id="manuscript"> +DESCRIPTION OF THE MANUSCRIPT<br> +USED IN THE PRESENT VOLUME.</a><a class="tag" name="tag67" id="tag67" href="#note67">67</a></h3> + +<hr class="micro"> + +<p><span class="smallcaps">Cotton MS. Nero A. x.</span> A small quarto +volume, consisting of three different MSS. bound together, which +originally had no connection with each other. Prefixed is an imperfect +list of contents in the hand-writing of James, the Bodley Librarian.</p> + +<p>The first portion consists of a panegyrical oration in Latin by +Justus de Justis, on John Chedworth, archdeacon of Lincoln, dated at +Verona 16th July, 1468. It occupies thirty-six folios, written on +vellum, and is the original copy presented by the author.</p> + +<p>The second portion is that we are more immediately concerned with. It +is described by James as “<i>Vetus poema Anglicanum, in quo sub insomnii +figmento multa ad religionem et mores spectantia explicantur</i>,” and +this account, with some slight changes, is adopted by Smith and Planta, +in their catalogues; both of whom assign it to the fifteenth century. It +will appear, by what follows, that no less than four distinct poems have +been confounded together by these writers.</p> + +<p>This portion of the volume extends from fol. 37 to fol. 126, +inclusive, and is written by one and the same hand, in a small, sharp, +irregular character, which is often, from the paleness of the ink, and +the contractions used, difficult to read. There are no titles or +rubrics, but the divisions are marked by large initial letters of blue, +flourished with red, and several illuminations, coarsely executed, serve +by way of illustration, each of which occupies a page.</p> + +<p class="inset"> +1. Four of these are prefixed to the first poem. In the first the Author +is represented slumbering in a meadow, by the side of a streamlet, clad +in a long red gown, having falling sleeves, turned up with white, and a +blue hood attached round the neck.<br> + +<span class="pagenum">xlii</span> +<a name="pagexlii" id="pagexlii"> </a> +In the second the same person appears, drawn on a larger scale, and +standing by the stream. In the third he occurs nearly in the same +position, with his hands raised, and on the opposite side a lady dressed +in white, in the costume of Richard the Second’s and Henry the Fourth’s +time, buttoned tight up to the neck, with long hanging sleeves. Her hair +is plaited on each side, and on her head is a crown. In the fourth we +see the author kneeling by the water, and beyond the stream is depicted +a castle or palace, on the embattled wall of which appears the same +lady, with her arm extended towards him.</p> + +<p>The poem commences on fol. 39, and consists of one hundred and one +twelve-line stanzas,<a class="tag" name="tag68" id="tag68" href="#note68">68</a> every five of which conclude with the same line, and +are connected by the iteration of a leading expression. It concludes on +fol. 55<i>b</i>.</p> + +<p class="inset"> +2. Then follow two more illuminations; in the first of which Noah and +his family are represented in the ark; in the second the prophet Daniel +expounding the writing on the wall to the affrighted Belshazzar and his +queen. These serve as illustrations to the second poem, which begins at +fol. 57, and is written in long alliterative lines. It concludes on fol. +82.</p> + +<p class="inset"> +3. Two illuminations precede, as before; one of which represents the +sailors throwing the prophet Jonas into the sea, the other depicts the +prophet in the attitude of preaching to the people of Nineveh. The poem +is in the same metre as the last, and commences at fol. 83.</p> + +<p>It is occupied wholly with the story of Jonas, as applicable to the +praise of meekness and patience; and ends on fol. 90.</p> + +<p class="inset"> +4. The Romance intitled <i>Sir Gawayne and the Grene Knyȝt</i> follows, +fol. 91. Prefixed is an illumination of a headless knight on horseback, +carrying his head by its hair in his right hand, and looking benignly at +an odd-eyed bill-man before him; while from a raised structure above, +a king armed with a knife, his queen, an attendant with a sabre, +and another bill-man scowling looks on. Here and elsewhere the only +colours used are green, red, blue, and yellow. It ends on fol. +124<i>b.</i>, and at +<span class="pagenum">xliii</span> +<a name="pagexliii" id="pagexliii"> </a> +the conclusion, in a later hand, is written “Hony soit q̃ mal penc,” +which may, perhaps, allude to the illumination on the opposite page, +fol. 125, representing the stolen interview between the wife of the +Grene Knyȝt and Sir Gawayne. Above the lady’s head is written:</p> + +<div class="verse"> +<p>Mi mind is mukel on on, þ<i>a</i>t wil me noȝt amende,</p> +<p>Sum time was trewe as ston, & fro schame couþ<i>e</i> hir +defende.</p> +</div> + +<p>It does not appear very clearly how these lines apply to the +painting. Two additional illuminations follow; in the first of which +Gawayne is seen approaching the <i>Grene Chapel</i>, whilst his enemy +appears above, wielding his huge axe; and in the second Sir Gawayne, +fully equipped in armour, is represented in the presence of king Arthur +and queen Guenever, after his return to the court.</p> + +<p>The third and concluding portion of the Cotton volume extends from +fol. 127 to fol. 140<i>b</i>, inclusive, and consists of theological +excerpts, in Latin, written in a hand of the end of the thirteenth +century. At the conclusion is added <i>Epitaphium de Ranulfo, abbate +Ramesiensi</i>, who was abbot from the year 1231 to 1253, and who is +erroneously called <i>Ralph</i> in the <i>Monasticon</i>, vol. ii. +p. 548, new ed.</p> + + +<span class="pagenum">xliv</span> +<a name="pagexliv" id="pagexliv"> </a> +<h3><a name="contrac" id="contrac"> +CONTRACTIONS USED IN THE GLOSSARY.</a></h3> + +<hr class="micro"> + +<p>The letters A. B. C. refer severally to the poems, entitled by me, +“The Pearl,” “Cleanness,” and “Patience.”</p> + +<table class="paradigm" summary="paradigm"> +<tr> +<td>A.S.</td> +<td>Anglo-Saxon.</td> +</tr> +<tr> +<td>Dan.</td> +<td>Danish.</td> +</tr> +<tr> +<td>Du.</td> +<td>Dutch.</td> +</tr> +<tr> +<td>E.</td> +<td>English.</td> +</tr> +<tr> +<td>O.E.</td> +<td>Old English.</td> +</tr> +<tr> +<td>Prov.E.</td> +<td>Provincial English.</td> +</tr> +<tr> +<td class="bracket">N.Prov.E.<br> +<ins class="correction" title="this abbreviation is never used">N.P.E.</ins></td> +<td class="middle">North Provincial English.</td> +</tr> +<tr> +<td>Fr.</td> +<td>French.</td> +</tr> +<tr> +<td>O.Fr.</td> +<td>Old French.</td> +</tr> +<tr> +<td>Prov. Fr.</td> +<td>Provincial French.</td> +</tr> +<tr> +<td>Fris.</td> +<td>Frisian.</td> +</tr> +<tr> +<td>G. Doug.</td> +<td><p>Gawin Douglas’s Æneid, published by the Bannatyne Club, +2 vols.</p></td> +</tr> +<tr> +<td><ins class="correction" title="the abbreviations O.H.G. and M.H.G. are not listed">Ger.</ins></td> +<td>German.</td> +</tr> +<tr> +<td>Goth.</td> +<td>Gothic.</td> +</tr> +<tr> +<td>Icel.</td> +<td>Icelandic.</td> +</tr> +<tr> +<td>Jam.</td> +<td><p>Jamieson’s Scottish Dictionary.</p></td> +</tr> +<tr> +<td>K. Alex.</td> +<td><p>King Alexander, Romance of (Ed. Stevenson).</p></td> +</tr> +<tr> +<td>Met. Hom.</td> +<td><p>Metrical Homilies (Ed. Small).</p></td> +</tr> +<tr> +<td>O.N.</td> +<td>Old Norse.</td> +</tr> +<tr> +<td>O.S.</td> +<td>Old Saxon.</td> +</tr> +<tr> +<td><ins class="correction" title="text reads ‘Prampt.’">Prompt.</ins> Parv. </td> +<td><p>Promptorium Parvulorum (Ed. Way).</p></td> +</tr> +<tr> +<td>Sc.</td> +<td>Scotch.</td> +</tr> +<tr> +<td>O.Sc.</td> +<td>Old Scotch.</td> +</tr> +<tr> +<td>S.Sax.</td> +<td>Semi-Saxon.</td> +</tr> +<tr> +<td>Sw.</td> +<td>Swedish.</td> +</tr> +<tr> +<td>O.Sw.</td> +<td>Old Swedish.</td> +</tr> +<tr> +<td>Town. Myst.</td> +<td>Townley Mysteries.</td> +</tr> +<tr> +<td>T. B.</td> +<td><p>Troy Book (Ed. Donaldson).</p></td> +</tr> +</table> + +<div class="footnote"> + +<p class="mynote"> +Gaps in numbering represent notes that were shown inline, with or +without visible numbers.</p> + +<p><a name="note1" id="note1" href="#tag1">1.</a> +Edited by Sir Frederic Madden for the Bannatyne Club, under the title of +“Syr Gawayn and the Grene Knyȝt,” and by me for the Early English Text +Soc., 1865.</p> + +<p><a name="note2" id="note2" href="#tag2">2.</a> +Wyntown nowhere asserts that Huchowne is a Scotchman.</p> + +<p><a name="note3" id="note3" href="#tag3">3.</a> +Edited for E. E. T. Soc. by Rev. G. G. Perry, M.A.</p> + +<p><a name="note4" id="note4" href="#tag4">4.</a> +This is evident from the following particulars:—</p> + +<p class="continue"> +I. In old Scotch manuscripts we find the guttural <i>gh</i> (or ȝ) +represented by <i>ch</i>; thus, <i>aght</i>, <i>laght</i>, <i>saght</i>, +<i>wight</i>, are the English forms which, in the Scotch orthography, +become <i>aucht</i> (owed), <i>laucht</i> (seized), <i>saucht</i> +(peace), <i>wicht</i> (active). It is the former orthography, however, +that prevails in the Morte Arthure.</p> + +<p class="continue"> +II. We miss the Scotch use of (1) <i>-is</i> or <i>-ys</i>, for +<i>-es</i> or <i>-s</i>, in the plural number, and of possessive cases +of nouns, and in the person endings of the present tense indicative mood +of verbs; (2) <i>-it</i> or <i>-yt</i>, for <i>-ed</i> or <ins class="correction" title="hyphen missing"><i>-d</i></ins>, in the preterites +or passive participles of regular verbs.</p> + +<p class="continue"> +III. There is a total absence of the well-known Scotch forms +<i>begouth</i> (began), <i>sa</i> (so), <i>sic</i> (such), +<i>throuch</i>, <i>thorow</i> (through). Instead of these <i>bigan</i>, +<i>so</i>, <i>syche</i>, <i>thrughe</i> (<i>thurgh</i>) are employed. +See Preface to Hampole’s Pricke of Conscience, pp. vii<ins class="correction" title="text has . for ,">, </ins>viii.</p> + +<p><a name="note5" id="note5" href="#tag5">5.</a> +This is shown by the frequent employment of <i>-es</i> as the person +ending of the verb in the present tense, plural number. The +corresponding Southern verbal inflexion <ins class="correction" title="text has -eth."><i>-eth</i></ins> <i>never</i> occurs; while the +Midland <i>-en</i> is only occasionally met with in the third person +plural present, and has been introduced by a later copyist. There are +other characteristics, such as the predominance of words containing the +A.S. long <i>a</i>; as <i>hame</i> (home), <i>stane</i> (stone), +<i>thra</i> (bold), <i>walde</i> (would), etc.; the frequent use of +<i>thir</i> (these), <i>tha</i> (the, those), etc.</p> + +<p><a name="note6" id="note6" href="#tag6">6.</a> +The peculiarities referred to do not appear to be owing to the copyist +of the Lincoln manuscript (Robert de Thornton, a native of +Oswaldkirk in Yorkshire), who, being a Northumbrian, would probably have +restored the original readings. The non-Northumbrian forms in the Morte +Arthure are— 1. The change of <i>a</i> into <i>o</i>, as +<i>bolde</i> for <i>balde</i>, <i>bote</i> for <i>bate</i>, <i>one</i> +for <i>ane</i>, <i>honde</i> for <i>hande</i>, <i>londe</i> for +<i>lande</i>; 2. <i>they</i>, <i>theyre</i>, <i>them</i>, +<i>theym</i>, for <i>thay</i>, <i>thaire</i>, <i>tham</i>; +3. <i>gayliche</i>, <i>kindliche</i>, <i>semlyche</i>, etc., for +<i>gayly</i>, <i>kindly</i>, <i>seemly</i>, etc. (the termination +<i>lich</i>, <i>liche</i>, was wholly unknown to the Northumbrian +dialect, being represented by <i>ly</i> or <i>like</i>); +4. <i>churle</i>, <i>churche</i>, <i>iche</i>, <i>mache</i>, +<i>myche</i>, <i>syche</i>, <i>wyrche</i>, etc., for <i>carle</i>, +<i>kirke</i>, <i>ilk</i>, <i>make</i>, <i>mykelle</i>, <i>swilk</i>, +<i>wyrk</i>, etc.; 5. infinitives in <i>-en</i>, as +<i>drenschen</i>, <i>schewenne</i>, <i>wacchenne</i>, etc.; 6. the use +of <i>eke</i>, <i>thos</i>, for <i>als</i> (<i>alswa</i>), <i>thas</i>; +7. the employment of <i>aye</i> for <i>egg</i>. The former word +<i>never</i> occurs in any pure Northumbrian work, while the latter is +seldom met with in any Southern production.</p> + +<p><a name="note7" id="note7" href="#tag7">7.</a> +The poems are <i>Northern</i> in contradistinction to <i>Southern</i>, +but they are not Northern or Northumbrian in contradistinction to +<i>Midland</i>.</p> + +<p><a name="note8" id="note8" href="#tag8">8.</a> +Printed by Mr. D. Laing in his “Inedited Pieces,” from a MS. of Mr. +Heber’s. Other copies are in the Vernon MS., and Cotton Calig. +A. ii.; the latter imperfect.</p> + +<p><a name="note9" id="note9" href="#tag9">9.</a> +Other specimens of this dialect will doubtless turn up. Mr. Brock has +found a MS. in British Museum (Harl. 3909) with most of the +peculiarities pointed out by me in the preface to the present work, and +I believe that this dialect was probably a flourishing one in the 13th +century. See O.E<ins class="correction" title=". missing">. +</ins>Homilies, p. li.</p> + +<p><a name="note10" id="note10" href="#tag10">10.</a> +(1) <i>en</i> as the inflexion of the pres. tense pl., indic. mood of +verbs; (2) <i>s</i> in the second and third pers. sing. of verbs; +(3) <i>ho</i> = she; (4) <i>hit</i> = its; (5) <i>tow</i> += two<ins class="correction" title="text has : for ;">; +</ins>(6) <i>deȝter</i> = daughters, etc.</p> + +<p><a name="note11" id="note11" href="#tag11">11.</a> +See p. 36, ll. 1052-1066; p. 37, ll. 1074-1089; pp. 161-162, ll. +4956-4975.</p> + +<p><a name="note12" id="note12" href="#tag12">12.</a> +See pp. 25, 26 (Jason’s unfaithfulness); pp. 74, 75, ll. 2241-2255; +p. 75, ll. 2256-2263; p. 69, ll. 2267-2081; p. 158, ll. +4839-4850; p. 189, ll. 4881-4885; p. 165, ll. 5078-5086, +etc.</p> + +<p><a name="note13" id="note13" href="#tag13">13.</a> +In the Harl. MS. 3909, nearly all the p. part. and preterites end in +<i>-et</i> (<i>-ut</i> and <i>-et</i> occur in Romances ed. by +Robson).</p> + +<p><a name="note14" id="note14" href="#tag14">14.</a> +This seems to furnish an etymology for <i>Clent</i> Hills, +Worcestershire—<i>brent</i> is the term employed in +Alliterative.</p> + +<p><a name="note15" id="note15" href="#tag15">15.</a> +Matthew, chapter xx.</p> + +<p><a name="note17" id="note17" href="#tag17">17.</a> +“4. And the city was broken up, and all the men of war fled by night by +the way of the gate between two walls, which is by the king’s garden: +(now the Chaldees were against the city round about:) and the king went +the way toward the plain.</p> + +<p class="continue"> +“5. And the army of the Chaldees pursued after the king, and overtook +him in the plains of Jericho: and all his army were scattered from +him.”</p> + +<p><a name="note22" id="note22" href="#tag22">22.</a> +History of English Rhythms, vol. i. p. 159.</p> + +<p><a name="note23" id="note23" href="#tag23">23.</a> +Syr Gawayn, ed. Madden, p. 302.</p> + +<p><a name="note24" id="note24" href="#tag24">24.</a> +Wherever the Text has been altered, the reading of the MS. will be found +in a foot-note.</p> + +<p><a name="note25" id="note25" href="#tag25">25.</a> +Polychronicon R. Higdeni, ap. Gale, p. 210, 211. See Garnett’s +Philological Essays, p. 43, and Specimens of Early English, +p. 338.</p> + +<p><a name="note26" id="note26" href="#tag26">26.</a> +It is to be regretted that Garnett did not enter upon details, and give +his readers some tests by which to distinguish the “five distinctly +marked forms.”</p> + +<p><a name="note27" id="note27" href="#tag27">27.</a> +In English works of the fourteenth century the <i>-en</i> of the +Midland, and the <i>-es</i> of the Northumbrian is frequently dropped, +thus gradually approximating to our modern conjugation.</p> + +<p><a name="note28" id="note28" href="#tag28">28.</a> +We are here speaking of works written in the thirteenth and fourteenth +centuries.</p> + +<p><a name="note29" id="note29" href="#tag29">29.</a> +Robert of Brunne, in his “Handlyng Synne,” often employs it instead of +<i>-en</i>, but only for the sake of the rhyme.</p> + +<p><a name="note30" id="note30" href="#tag30">30.</a> +The Midland dialect is a very difficult one to deal with, as it presents +us with no uniform type; and, moreover, works written in this idiom are +marked by Northern or Southern peculiarities, which have led many of our +editors altogether astray in determining the locality of their +composition.</p> + +<p><a name="note31" id="note31" href="#tag31">31.</a> +Published by the Camden Society, 1842.</p> + +<p><a name="note32" id="note32" href="#tag32">32.</a> +Edited by Mr. Halliwell for the Percy Society.</p> + +<p><a name="note33" id="note33" href="#tag33">33.</a> +Edited by me for the Philological Society, 1862.</p> + +<p><a name="note34" id="note34" href="#tag34">34.</a> +<i>-us</i> and <i>-ud</i> for <i>-es</i> and <i>-ed</i>, as well as +<i>hom</i>, <i>hor</i>, do occasionally occur in the MS. containing our +poems.</p> + +<p><a name="note35" id="note35" href="#tag35">35.</a> +The Romance of William and the Werwolf is written in the West-Midland +dialect as spoken probably in Shropshire.</p> + +<p><a name="note36" id="note36" href="#tag36">36.</a> +Robson’s Metrical Romances, p. 54, l. 9.</p> + +<p><a name="note37" id="note37" href="#tag37">37.</a> +<i>Woldus</i> = <i>woldes</i> = <i>wouldst</i>, appears in Audelay’s +poems (in the Shropshire dialect of the fifteenth century), p. 32, +l. 6.</p> + +<p><a name="note38" id="note38" href="#tag38">38.</a> +The so-called Northumbrian records of the ninth and tenth centuries +frequently use <i>-es</i> instead of <i>-est</i>, in the 2nd pers. +preterite of regular verbs, <i>e.g.</i>,</p> + +<p class="continue"> +<i>ðu forcerdes usic on-bec</i> = Thou turnedst us hindward. —(Ps. +xliii. 11.)</p> + +<p class="continue"> +<i>ðu saldes usic</i> = Thou gavest us. —(Ps. xliii. 12.)</p> + +<p class="continue"> +<i>ðu bi-bohtes folc ðin butan weorðe</i> = Thou soldest thy folk +without price. —(Ps. xliii. 12.)</p> + +<p class="continue"> +ðu <i>ge-hiowades</i> me & <i>settes</i> ofer me hond ðine = Thou +madest me and settest over me thy hand. —(Ps. +cxxxviii. 5.)</p> + +<p class="continue"> +ðu <i>ðreades ða</i> ofer-hygdan = Thou hast rebuked the proud. +—(Ps. cxviii. 21.)</p> + +<p class="continue"> +Ic ondeto ðe fader drihten heofnes forðon ðu <i>gedeigeldes</i> ðas ilco +from snotrum & hogum & <i>ædeaudes</i> ða ðæm lytlum = I thank +thee, O father, Lord of heaven and earth, because thou hast hid these +things from the wise and prudent, and hast revealed them unto babes. +—(Matt. xi. 25).</p> + +<p><a name="note39" id="note39" href="#tag39">39.</a> +Þou <i>torned</i> us hindward. —(Early English Nn. Psalter, +xliii. 11.)</p> + +<p class="continue"> +Þou <i>salde</i> þi folk. —(<i>Ibid.</i> xliii. 12.)</p> + +<p class="continue"> +Þou <i>meked</i> us. —(<i>Ibid.</i> xliii. 20.)</p> + +<p class="continue"> +Þou <i>made</i> me and set þi hand over me. —(<i>Ibid.</i> +cxxxviii. 5.)</p> + +<p class="continue"> +Þou <i>snibbed</i> proude. —(<i>Ibid.</i> cxviii. 21.)</p> + +<p><a name="note40" id="note40" href="#tag40">40.</a> +I am informed by a Shropshire friend that it prevails in his county +under the form <i>shinneh</i>.</p> + +<p class="continue"> +<i>Win</i> = will, in <i>winnot</i>, <i>wunnot</i> = will not, is still +heard in the West-Midland districts. It is found in Robson’s Romances +and in Liber Cure Cocorum.</p> + +<p><a name="note50" id="note50" href="#tag50">50.</a> +So I got up by break of day and set out; and went straight till I well +nigh came within two miles of the town, when, as the devil would have +it, a horse was standing at an ale-house door; and my calf (the +devil bore out <i>its</i> eyes for me) took the horse for +<i>its</i> mother, and would suck her.</p> + +<p><a name="note51" id="note51" href="#tag51">51.</a> +Three specimens of the East-Midland dialect have come to light since +writing the above. Harl. MS. 3909; Troy Book, ed. Donaldson, E. E. +T. Soc.; The Lay-folks Mass-Book, ed. Simpson, E. E. +T. Soc.</p> + +<p><a name="note52" id="note52" href="#tag52">52.</a> +In the romance of “Syr Gawayn and the Grene Knyȝt” we find “<i>blonk</i> +(horse) sadele,” “<i>fox</i> felle” (skin). In <i>blonk</i> an <i>e</i> +has probably been dropped.</p> + +<p><a name="note53" id="note53" href="#tag53">53.</a> +The feminine form is seldom employed.</p> + +<p><a name="note54" id="note54" href="#tag54">54.</a> +The Northumbrian plural article is <i>tha</i>.</p> + +<p><a name="note55" id="note55" href="#tag55">55.</a> +The Northumbrian corresponding form is <i>thas</i>.</p> + +<p><a name="note56" id="note56" href="#tag56">56.</a> +<i>Scho</i> occurs <i>once</i> in the present poems.</p> + +<p><a name="note57" id="note57" href="#tag57">57.</a> +<i>Yowreȝ</i> (yours) sometimes takes the place of <i>youre</i> in the +romance of “Sir Gawayne and the Grene Knyȝt.”</p> + +<p><a name="note58" id="note58" href="#tag58">58.</a> +Page 92, l. 108.</p> + +<p><a name="note59" id="note59" href="#tag59">59.</a> +Page 91, l<ins class="correction" title="text has , for .">. +</ins>72.</p> + +<p><a name="note60" id="note60" href="#tag60">60.</a> +Syr Gawayn, l. 1932.</p> + +<p><a name="note61" id="note61" href="#tag61">61.</a> +I would say that <i>says me I</i> = I myself say. —R. M.</p> + +<p><a name="note62" id="note62" href="#tag62">62.</a> +<i>Schonied</i> occurs for <i>schoned</i>. No Southern writer would +retain, I think, the <i>i</i> in the preterite.</p> + +<p><a name="note63" id="note63" href="#tag63">63.</a> +Garnett asserts that the present participle in <i>-ande</i> is “a +<i>certain criterion</i> of a Northern dialect subsequent to the +thirteenth century.” It is never found in any Southern writer, but is +common to many Midland dialects. Capgrave employs it frequently in his +Chronicles. It is, however, no safe criterion by itself.</p> + +<p><a name="note64" id="note64" href="#tag64">64.</a> +The final <i>e</i> is often dropped.</p> + +<p><a name="note65" id="note65" href="#tag65">65.</a> +In <i>The Wohunge of Ure Lauerd</i> the <i>e</i> is constantly +omitted.</p> + +<p><a name="note66" id="note66" href="#tag66">66.</a> +“Syr Gawayn and the Grene Knyȝt.”</p> + +<p><a name="note67" id="note67" href="#tag67">67.</a> +Taken with some few alterations from Sir F. Madden’s “Syr Gawayn.”</p> + +<p><a name="note68" id="note68" href="#tag68">68.</a> +A line, however, is missing from the MS. on fol. 55<i>b</i>. See page +15.</p> + +</div> + +</div> +<!-- end div intro--> + +<div class="sidenotes"> + +<hr class="mid"> + +<h3><a name="sidenotes" id="sidenotes"> +Collected Sidenotes</a></h3> + +<div class="mynote"> +<p>This section was added by the transcriber. It contains the editor’s +summaries as given in his sidenotes, and can be read as a condensed +version of the full text. Headings in Roman numerals link to sections of +the poem.</p> + +<p class="center"> +<a href="#side_pearl">The Pearl</a><br> +<a href="#side_clean">Cleanness</a><br> +<a href="#side_patience">Patience</a></p> +</div> + +<h4><a name="side_pearl" id="side_pearl"> +<i>The Pearl</i>: Sidenotes</a></h4> + +<h5><a href="poems.html#pearl_I">I.</a></h5> + +<p>Description of a lost pearl (<i>i.e.</i> a beloved child).</p> +<p>The father laments the loss of his pearl.</p> +<p>He often visits the spot where his pearl disappeared, and hears a +sweet song.</p> +<p>Where the pearl was buried there he found lovely flowers.</p> +<p>Each blade of grass springs from a dead grain.</p> +<p>In the high season of August the parent visits the grave of his lost +child.</p> +<p>Beautiful flowers covered the grave.</p> +<p>From them came a delicious odour.</p> +<p>The bereaved father wrings his hands for sorrow, falls asleep upon +the flowery plot, and dreams.</p> + +<h5><a href="poems.html#pearl_II">II.</a></h5> + +<p>In spirit he is carried to an unknown region, where the rocks and +cliffs gleamed gloriously.</p> +<p>The hill sides were decked with crystal cliffs.</p> +<p>The leaves of the trees were like burnished silver.</p> +<p>The gravel consisted of precious pearls.</p> +<p>The father forgets his sorrow.</p> +<p>He sees birds of the most beautiful hues, and hears their sweet +melody.</p> +<p>No tongue could describe the beauty of the forest.</p> +<p>All shone like gold.</p> +<p>The dreamer arrives at the bank of a river, which gave forth sweet +sounds.</p> +<p>In it, stones glittered like stars in the welkin on a winter +night.</p> + +<h5><a href="poems.html#pearl_III">III.</a></h5> + +<p>His grief abates, and he follows the course of the stream.</p> +<p>No one could describe his great joy.</p> +<p>He thought that Paradise was on the opposite bank.</p> +<p>The stream was not fordable.</p> +<p>More and more he desires to see what is beyond the brook.</p> +<p>But the way seemed difficult.</p> +<p>The dreamer finds new marvels.</p> +<p>He sees a crystal cliff, at the foot of which, sits a maiden clothed +in glistening white.</p> +<p>He knows that he has seen her before.</p> +<p>He desires to call her but is afraid, at finding her in such a +strange place.</p> + +<h5><a href="poems.html#pearl_IV">IV.</a></h5> + +<p>So he stands still, like a well trained hawk.</p> +<p>He fears lest she should escape before he could speak to her.</p> +<p>His long lost one is dressed in royal array—decked with +precious pearls.</p> +<p>She comes along the stream towards him.</p> +<p>Her kirtle is composed of ‘sute,’ ornamented with pearls.</p> +<p>She wore a crown of pearls.</p> +<p>Her hair hung down about her.</p> +<p>Her colour was whiter than whalebone.</p> +<p>Her hair shone as gold.</p> +<p>The trimming of her robe consisted of precious pearls.</p> +<p>A wonderful pearl was set in her breast.</p> +<p>No man from here to Greece, was so glad as the father, when he saw +his pearl on the bank of the stream.</p> +<p>The maiden salutes him.</p> + +<h5><a href="poems.html#pearl_V">V.</a></h5> + +<p>The father enquires of the maiden whether she is his long-lost pearl, +and longs to know who has deprived him of his treasure.</p> +<p>The maiden tells him that his pearl is not really lost.</p> +<p>She is in a garden of delight, where sin and mourning are +unknown.</p> +<p>The rose that he had lost is become a pearl of price.</p> +<p>The pearl blames his rash speech.</p> +<p>The father begs the maiden to excuse his speech, for he really +thought his pearl was wholly lost to him.</p> +<p>The maiden tells her father that he has spoken three words without +knowing the meaning of one.</p> +<p>The first word. The second. The third.</p> + +<h5><a href="poems.html#pearl_VI">VI.</a></h5> + +<p>He is little to be praised who loves what he sees.</p> +<p>To love nothing but what one sees is great presumption.</p> +<p>To live in this kingdom (<i>i.e.</i> heaven) leave must be asked.</p> +<p>This stream must be passed over by death.</p> +<p>The father asks his pearl whether she is about to doom him to sorrow +again.</p> +<p>If he loses his pearl he does not care what happens to him.</p> +<p>The maiden tells her father to suffer patiently.</p> +<p>Though he may dance as any doe, yet he must abide God’s doom.</p> +<p>He must cease to strive.</p> +<p>All lies in God’s power to make men joyful or sad.</p> + +<h5><a href="poems.html#pearl_VII">VII.</a></h5> + +<p>The father beseeches the pearl to have pity upon him.</p> +<p>He says that she has been both his bale and bliss.</p> +<p>And when he lost her, he knew not what had become of her.</p> +<p>And now that he sees her in bliss, she takes little heed of his +sorrow.</p> +<p>He desires to know what life she leads.</p> +<p>The maiden tells him that he may walk and abide with her, now that he +is humble.</p> +<p>All are meek that dwell in the abode of bliss.</p> +<p>All lead a blissful life.</p> +<p>She reminds her father that she was very young when she died.</p> +<p>Now she is crowned a queen in heaven.</p> + +<h5><a href="poems.html#pearl_VIII">VIII.</a></h5> + +<p>The father of the maiden does not fully understand her.</p> +<p>Mary, he says, is the queen of heaven.</p> +<p>No one is able to remove the crown from her.</p> +<p>The maiden addresses the Virgin.</p> +<p>She then explains to her father that each has his place in +heaven.</p> +<p>The court of God has a property in its own being.</p> +<p>Each one in it is a king or queen.</p> +<p>The mother of Christ holds the chief place.</p> +<p>We are all members of Christ’s body.</p> +<p>Look that each limb be perfect.</p> +<p>The father replies that he cannot understand how his pearl can be a +queen.</p> +<p>He desires to know what greater honour she can have.</p> + +<h5><a href="poems.html#pearl_IX">IX.</a></h5> + +<p>She was only two years old when she died, and could do nothing to +please God.</p> +<p>She might be a countess or some great lady but not a queen.</p> +<p>The maiden informs her father that there is no limit to God’s +power.</p> +<p>The parable of the labourers in the vineyard.</p> +<p>The lord of the vineyard hires workmen for a penny a day.</p> +<p>At noon the lord hires other men standing idle in the market +place.</p> +<p>He commands them to go into his vineyard, and he will give them what +is right.</p> +<p>At an hour before the sun went down the lord sees other men standing +idle.</p> +<p>Tells them to go into the vineyard.</p> + +<h5><a href="poems.html#pearl_X">X.</a></h5> + +<p>As soon as the sun was gone down the “reeve” was told to pay the +workmen.</p> +<p>To give each a penny.</p> +<p>The first began to complain.</p> +<p>Having borne the heat of the day he thinks that he deserves more.</p> +<p>The lord tells him that he agreed only to give him a penny.</p> +<p>The last shall be first, and the first last.</p> +<p>The maiden applies the parable to herself.</p> +<p>She came to the vine in eventide, and yet received more than others +who had lived longer.</p> +<p>The father says that his daughter’s tale is unreasonable.</p> + +<h5><a href="poems.html#pearl_XI">XI.</a></h5> + +<p>In heaven, the maiden says, each man is paid alike.</p> +<p>God is no niggard.</p> +<p>The grace of God is sufficient for all.</p> +<p>Those who live long on the earth often forfeit heaven by sinning.</p> +<p>Innocents are saved by baptism.</p> +<p>Why should not God allow their labour.</p> +<p>Our first father lost heaven by eating an apple.</p> +<p>And all are damned for the sin of Adam.</p> +<p>But there came one who paid the penalty of our sins.</p> +<p>The water that came from the pierced side of Christ was baptism.</p> + +<h5><a href="poems.html#pearl_XII">XII.</a></h5> + +<p>Repentance must be sought by prayer with sorrow and affliction.</p> +<p>The guilty may be saved by contrition.</p> +<p>Two sorts of people are saved, the <i>righteous</i> and the +<i>innocent</i>.</p> +<p>The words of David.</p> +<p>The innocent is saved by right.</p> +<p>The words of Solomon.</p> +<p>David says no man living is justified.</p> +<p>Pray to be saved by innocence and not by right.</p> +<p>When Jesus was on earth, little children were brought unto him.</p> +<p>The disciples rebuked the parents.</p> +<p>Christ said, “Suffer little children to come unto me,” etc.</p> + +<h5><a href="poems.html#pearl_XIII">XIII.</a></h5> + +<p>No one can win heaven except he be meek as a child.</p> +<p>The pearl of price is like the kingdom of heaven, pure and clean.</p> +<p>Forsake the mad world and purchase the spotless pearl.</p> +<p>The father of the maiden desires to know who formed her figure and +wrought her garments.</p> +<p>Her beauty, he says, is not natural.</p> +<p>Her colour passes the fleur-de-lis.</p> +<p>The maiden explains to her father that she is a bride of Christ.</p> +<p>She is without spot or blemish.</p> +<p>Her weeds are washed in the blood of Christ.</p> +<p>The father asks the nature of the Lamb that has chosen his daughter, +and why she is selected as a bride.</p> + +<h5><a href="poems.html#pearl_XIV">XIV.</a></h5> + +<p>The Lamb has one hundred and forty thousand brides.</p> +<p>St. John saw them on the hill of Sion in a dream, in the new city of +Jerusalem.</p> +<p>Isaiah speaks of Christ or the Lamb.</p> +<p>He says that He was led as a lamb to the slaughter.</p> +<p>In Jerusalem was Christ slain.</p> +<p>With buffets was His face flayed.</p> +<p>He endured all patiently as a lamb.</p> +<p>For us He died in Jerusalem.</p> +<p>The declaration of St. John, “Behold the Lamb of God,” etc.</p> +<p>Who can reckon His generation, that died in Jerusalem?</p> +<p>In the New Jerusalem St. John saw the Lamb sitting upon the +throne.</p> + +<h5><a href="poems.html#pearl_XV">XV.</a></h5> + +<p>The Lamb is without blemish.</p> +<p>Every spotless soul is a worthy bride for the Lamb.</p> +<p>No strife or envy among the brides.</p> +<p>None can have less bliss than another.</p> +<p>Our death leads us to bliss.</p> +<p>What St. John saw upon the Mount of Sion.</p> +<p>About the Lamb he saw one hundred and forty thousand maidens.</p> +<p>He heard a voice from heaven, like many floods.</p> +<p>He heard the maiden sing a new song.</p> +<p>So did the four beasts and the elders “so sad of cheer.”</p> +<p>This assembly was like the Lamb, spotless and pure.</p> +<p>The father replies to the maiden.</p> +<p>He says he is but dust and ashes.</p> +<p>He wishes to ask one question, whether the brides have their abode in +castle-walls or in manor.</p> + +<h5><a href="poems.html#pearl_XVI">XVI.</a></h5> + +<p>Jerusalem, he says, in Judea.</p> +<p>But the dwelling of the brides should be perfect.</p> +<p>For such “a comely pack” a great castle would be required.</p> +<p>The city in Judæa, answers the maiden, is where Christ suffered, and +is the Old Jerusalem.</p> +<p>The New Jerusalem is where the Lamb has assembled his brides.</p> +<p>Jerusalem means the city of God.</p> +<p>In the Old city our peace was made at one.</p> +<p>In the New city is eternal peace.</p> + +<h5><a href="poems.html#pearl_XVII">XVII.</a></h5> + +<p>The father prays his daughter to bring him to the blissful bower.</p> +<p>His daughter tells him that he shall see the outside, but not a foot +may he put in the city.</p> + +<h5><a href="poems.html#pearl_XVIII">XVIII.</a></h5> + +<p>The maiden then tells her father to go along the bank till he comes +to a hill.</p> +<p>He reaches the hill, and beholds the heavenly city.</p> +<p>As St. John saw it, so he beheld it.</p> +<p>The city was of burnished gold.</p> +<p>Pitched upon gems, the foundation composed of twelve stones.</p> +<p>The names of the precious stones.</p> +<div class="inset"> +<p>i. Jasper.</p> +<p>ii. Sapphire.</p> +<p>iii. Chalcedony.</p> +<p>iv. Emerald.</p> +<p>v. Sardonyx.</p> +<p>vi. Ruby.</p> +<p>vii. Chrysolite.</p> +<p>viii. Beryl.</p> +<p>ix. Topaz.</p> +<p>x. Chrysoprasus.</p> +<p>xi. Jacinth.</p> +<p>xii. Amethyst. +</div> +<p>The city was square.</p> +<p>The wall was of jasper.</p> +<p>Twelve thousand furlongs in length and breadth.</p> + +<h5><a href="poems.html#pearl_XIX">XIX.</a></h5> + +<p>Each “pane” had three gates.</p> +<p>Each gate adorned with a pearl.</p> +<p>Such light gleamed in all the streets, that there was no need of the +sun or moon.</p> +<p>God was the light of those in the city.</p> +<p>The high throne might be seen, upon which the “high God” sat.</p> +<p>A river ran out of the throne; it flowed through each street.</p> +<p>No church was seen.</p> +<p>God was the church; Christ the sacrifice.</p> +<p>The gates were ever open.</p> +<p>There is no night in the city.</p> +<p>The planets, and the sun itself, are dim compared to the divine +light.</p> +<p>Trees there renew their fruit every month.</p> +<p>The beholder of this fair city stood still as a “dased quail.”</p> + +<h5><a href="poems.html#pearl_XX">XX.</a></h5> + +<p>As the moon began to rise he was aware of a procession of virgins +crowned with pearls, in white robes, with a pearl in their breast.</p> +<p>As they went along they shone as glass.</p> +<p>The Lamb went before them.</p> +<p>There was no pressing.</p> +<p>The “alder men” fell groveling at the feet of the Lamb.</p> +<p>All sang in praise of the Lamb.</p> +<p>The Lamb wore white weeds.</p> +<p>A wide wound was seen near his breast.</p> +<p>Joy was in his looks.</p> +<p>The father perceives his little queen.</p> + +<h5><a href="poems.html#pearl_XIX">XIX.</a></h5> + +<p>Great delight takes possession of his mind.</p> +<p>He attempts to cross the stream.</p> +<p>It was not pleasing to the Lord.</p> +<p>The dreamer awakes, and is in great sorrow.</p> +<p>He addresses his pearl; laments his rash curiosity.</p> +<p>Men desire more than they have any right to expect.</p> +<p>The good Christian knows how to make peace with God.</p> +<p>God give us grace to be his servants!</p> + + +<h4><a name="side_clean" id="side_clean"> +<i>Cleanness</i>: Sidenotes</a></h4> + +<h5><a href="poems.html#clean_I">I.</a></h5> + +<p>Cleanness discloses fair forms.</p> +<p>God is angry with the unclean worshipper, and with false priests.</p> +<p>The pure worshipper receives great reward.</p> +<p>The impure will bring upon them the anger of God, Who is pure and +holy.</p> +<p>It would be a marvel if God did not hate evil.</p> +<p>Christ showed us that himself.</p> +<p>St. Matthew records the discourse.</p> +<p>The clean of heart shall look on our Lord.</p> +<p>What earthly noble, when seated at table above dukes, would like to +see a lad badly attired approach the table with “rent cockers,” his coat +torn and his toes out?</p> +<p>For any one of these he would be turned out with a “big buffet,” and +be forbidden to re-enter, and thus be ruined through his vile +clothes.</p> +<p>The parable of the “Marriage of the King’s Son.”</p> +<p>The king’s invitation.</p> +<p>Those invited begin to make excuses.</p> +<p>One had bought an estate and must go to see it.</p> +<p>Another had purchased some oxen and wished to see them “pull in the +plough.”</p> +<p>A third had married a wife and could not come.</p> +<p>The Lord was greatly displeased, and commanded his servants to invite +the wayfaring, both men and women, the better and the worse, that +hispalace might be full.</p> +<p>The servants brought in bachelors and squires.</p> +<p>When they came to the court they were well entertained.</p> +<p>The servants tell their lord that they have done his behest, and +there is still room for more guests.</p> +<p>The Lord commands them to go out into the fields, and bring in the +halt, blind, and “one-eyed.”</p> +<p>For those who denied shall not taste “one sup” to save them from +death.</p> +<p>The palace soon became full of “people of all plights.”</p> +<p>They were not all one wife’s sons, nor had they all one father.</p> +<p>The “brightest attired” had the best place.</p> +<p>Below sat those with “poor weeds.”</p> +<p>All are well entertained “with meat and minstrelsy.”</p> +<p>Each with his “mate” made him at ease.</p> + +<h5><a href="poems.html#clean_II">II.</a></h5> + +<p>The lord of the feast goes among his guests.</p> +<p>Bids them be merry.</p> +<p>On the floor he finds one not arrayed for a holyday.</p> +<p>Asks him how he obtained entrance, and how he was so bold as to +appear in such rags.</p> +<p>Does he take him to be a harlot?</p> +<p>The man becomes discomfited.</p> +<p>He is unable to reply.</p> +<p>The lord commands him to be bound, and cast into a deep dungeon.</p> +<p>This feast is likened to the kingdom of heaven, to which all are +invited.</p> +<p>See that thy weeds are clean.</p> +<p>Thy weeds are thy works that thou hast wrought.</p> +<p>For many faults may a man forfeit bliss.</p> +<p>For sloth and pride he is thrust into the devil’s throat.</p> +<p>He is ruined by covetousness, perjury, murder, theft, and strife.</p> +<p>For robbery and ribaldry, for preventing marriages, and supporting +the wicked, for treason, treachery, and tyranny, man may lose eternal +bliss.</p> + +<h5><a href="poems.html#clean_III">III.</a></h5> + +<p>The high Prince of all is displeased with those who work +wickedly.</p> +<p>For the first fault the devil committed, he felt God’s vengeance.</p> +<p>He, the fairest of all angels, forsook his sovereign, and boasted +that his throne should be as high as God’s.</p> +<p>For these words he was cast down to hell.</p> +<p>The fiends fell from heaven, like the thick snow, for forty days.</p> +<p>From heaven to hell the shower lasted.</p> +<p>The devil would not make peace with God.</p> +<p>Affliction makes him none the better.</p> +<p>For the fault of one, vengeance alighted upon all men.</p> +<p>Adam was ordained to live in bliss.</p> +<p>Through Eve he ate an apple.</p> +<p>Thus all his descendants became poisoned.</p> +<p>A maiden brought a remedy for mankind.</p> + +<h5><a href="poems.html#clean_IV">IV.</a></h5> + +<p>Malice was merciless.</p> +<p>A race of men came into the world, the fairest, the merriest, and the +strongest that ever were created.</p> +<p>They were sons of Adam.</p> +<p>No law was laid upon them.</p> +<p>Nevertheless they acted unnaturally.</p> +<p>The “<i>fiends</i>” beheld how fair were the daughters of these +mighty men, and made fellowship with them and begat a race of +giants.</p> +<p>The greatest fighter was reckoned the most famous.</p> +<p>The Creater of all becomes exceedingly wroth.</p> +<p>Fell anger touches His heart.</p> +<p>It repents Him that He has made man.</p> +<p>He declares that all flesh shall be destroyed, both man and +beast.</p> +<p>There was at this time living on the earth a very righteous man: Noah +was his name.</p> +<p>Three bold sons he had.</p> +<p>God in great anger speaks to Noah.</p> +<p>Declares that He will destroy all “that life has.”</p> +<p>Commands him to make “a mansion” with dwellings for wild and +tame.</p> +<p>To let the ark be three hundred cubits in length, and fifty in +breadth, and thirty in height, and a window in it a cubit square.</p> +<p>Also a good shutting door in the side, together with halls, recesses, +bushes, and bowers, and well-formed pens.</p> +<p>For all flesh shall be destroyed, except Noah and his family.</p> +<p>Noah is told to take into the ark seven pairs of every clean beast, +and one of unclean kind, and to furnish the ark with proper food.</p> +<p>Noah fills the ark.</p> + +<h5><a href="poems.html#clean_V">V.</a></h5> + +<p>God asks Noah whether all is ready.</p> +<p>Noah replies that all is fully prepared.</p> +<p>He is commanded to enter the ark, for God tells him that he will send +a rain to destroy all flesh.</p> +<p>Noah stows all safely in the ark.</p> +<p>Seven days are passed.</p> +<p>The deep begins to swell, banks are broken down, and the clouds +burst.</p> +<p>It rains for forty days, and the flood rises, and flows over the +woods and fields.</p> +<p>All must drown.</p> +<p>The water enters the houses.</p> +<p>Each woman with her bairns flees to the hills.</p> +<p>The rain never ceases.</p> +<p>The valleys are filled.</p> +<p>People flock to the mountains.</p> +<p>Some swim for their lives.</p> +<p>Others roar for fear.</p> +<p>Animals of all kinds run to the hills.</p> +<p>All pray for mercy.</p> +<p>God’s mercy is passed from them.</p> +<p>Each sees that he must sink.</p> +<p>Friends take leave of one another.</p> +<p>Forty days have gone by, and all are destroyed.</p> +<p>All rot in the mud, except Noah and his family, who are safe in the +ark.</p> +<p>The ark is lifted as high as the clouds, and is driven about, without +mast, bowline, cables, anchors, or sail to guide its course.</p> +<p>At the mercy of the winds.</p> +<p>Oft it rolled around and reared on end.</p> +<p>The age of the patriarch Noah.</p> +<p>Duration of the flood.</p> +<p>The completeness of the destruction.</p> +<p>God remembers those in the ark.</p> +<p>He causes a wind to blow, and closes the lakes and wells, and the +great deep.</p> +<p>The ark settles on Mount Ararat.</p> +<p>Noah beholds the bare earth.</p> +<p>He opens his window and sends out the raven to seek dry land.</p> +<p>The raven “croaks for comfort” on finding carrion.</p> +<p>He fills his belly with the foul flesh.</p> +<p>The lord of the ark curses the raven, and sends out the dove.</p> +<p>The bird wanders about the whole day.</p> +<p>Finding no rest, she returns about eventide to Noah.</p> +<p>Noah again sends out the dove.</p> + +<h5><a href="poems.html#clean_VI">VI.</a></h5> + +<p>The dove returns with an olive branch in her beak.</p> +<p>This was a token of peace and reconciliation.</p> +<p>Joy reigns in the ark.</p> +<p>The people therein laugh and look thereout.</p> +<p>God permits Noah and his sons to leave the ark.</p> +<p>Noah offers sacrifice to God.</p> +<p>It is pleasing to Him that “all speeds or spoils.”</p> +<p>God declares that He will never destroy the world for the sin of +man.</p> +<p>That summer and winter shall never cease.</p> +<p>Nor night nor day, nor the new years.</p> +<p>God blesses every beast.</p> +<p>Each fowl takes its flight.</p> +<p>Each fish goes to the flood.</p> +<p>Each beast makes for the plain.</p> +<p>Wild worms wriggle to their abodes in the earth.</p> +<p>The fox goes to the woods.</p> +<p>Harts to the heath, and hares to the gorse.</p> +<p>Lions and leopards go to the lakes.</p> +<p>Eagles and hawks to the high rocks.</p> +<p>The four ‘frekes’ take the empire.</p> +<p>Behold what woe God brought on mankind for their hateful deeds!</p> +<p>Beware of the filth of the flesh.</p> +“One speck of a spot” will ruin us in the sight of God. +<p>The beryl is clean and sound,—it has no seam.</p> + +<h5><a href="poems.html#clean_VII">VII.</a></h5> + +<p>When God repented that he had made man, he destroyed all flesh.</p> +<p>But afterwards He was sorry, and made a covenant with mankind that He +would not again destroy all the living.</p> +<p>For the filth of the flesh God destroyed a rich city.</p> +<p>God hates the wicked as “hell that stinks.”</p> +<p>Especially harlotry and blasphemy.</p> +<p>Nothing is hidden from God.</p> +<p>God is the ground of all deeds.</p> +<p>He honours the man that is honest and whole.</p> +<p>But for deeds of shame He destroys the mighty ones.</p> + +<h5><a href="poems.html#clean_VIII">VIII.</a></h5> + +<p>Abraham is sitting before his house-door under a green oak.</p> +<p>He sees three men coming along, and goes toward them.</p> +<p>He entreats them to rest awhile, that he may wash their feet, and +bring them a morsel of bread.</p> +<p>Abraham commands Sarah to make some cakes quickly, and tells his +servant to seethe a tender kid.</p> +<p>Abraham appears bare-headed before his guests.</p> +<p>He casts a clean cloth on the green, and sets before them cakes, +butter, milk, and pottage.</p> +<p>God praises his friend’s feast, and after the meat is removed, He +tells Abraham that Sarah shall bear him a son.</p> +<p>Sarah, who is behind the door, laughs in unbelief.</p> +<p>God tells Abraham that Sarah laughs at His words.</p> +<p>Sarah denies that she laughed.</p> +<p>Abraham’s guests set out towards Sodom, two miles from Mamre.</p> +<p>The patriarch accompanies them.</p> +<p>God determines to reveal to Abraham his secret purposes.</p> + +<h5><a href="poems.html#clean_IX">IX.</a></h5> + +<p>He informs him of the destruction about to fall upon the cities of +the plain, for their great wickedness, in abusing the gifts bestowed +upon them.</p> +<p>The ordinance of marriage had been made for them, but they foully set +it at nought.</p> +<p>The flame of love.</p> +<p>Therefore shall they be destroyed as an example to all men for +ever.</p> +<p>Abraham is full of fear, and asks God whether the “sinful and the +sinless” are to suffer together.</p> +<p>Whether he will spare the cities provided fifty righteous are found +in them?</p> +<p>For the sake of fifty the cities shall be spared.</p> +<p>The patriarch beseeches God to spare the city for the sake of +forty-five righteous.</p> +<p>For the lack of five the cities shall not be destroyed.</p> +<p>For forty the cities shall be spared.</p> +<p>Abraham entreats God’s forbearance for his speech.</p> +<p>Thirty righteous, found in the cities, shall save them from +destruction.</p> +<p>For the sake of twenty guiltless ones God will release the rest.</p> +<p>Or if ten only should be found pure.</p> +<p>The patriarch intercedes for Lot.</p> +<p>Beseeches Him to “temper His ire,” and then departs weeping for +sorrow.</p> + +<h5><a href="poems.html#clean_X">X.</a></h5> + +<p>God’s messengers go to Sodom.</p> +<p>Lot is sitting alone at the “door of his lodge.”</p> +<p>Staring into the street he sees two men.</p> +<p>Beardless chins they had, and hair like raw silk.</p> +<p>Beautifully white were their weeds.</p> +<p>Lot runs to meet them.</p> +<p>Invites them to remain awhile in his house, and in the morning they +may take their way.</p> +<p>Lot invites them so long that at last they comply.</p> +<p>The wife and daughters of Lot welcome their visitors.</p> +<p>Lot admonishes his men to prepare the meat, and to serve no salt with +it.</p> +<p>Lot’s wife disregards the injunction.</p> +<p>The guests are well entertained.</p> +<p>But before they go to rest the city is up in arms.</p> +<p>With “keen clubs” the folk clatter on the walls, and demand that Lot +should deliver up his guests.</p> +<p>The wind yet stinks with their filthy speech.</p> +<p>Lot is in great trouble.</p> +<p>He leaves his guests and addresses the Sodomites.</p> +<p>He offers to give up to them his two daughters.</p> +<p>The rebels raise a great noise, and ask who made him a justice to +judge their deeds, who was but a boy when he came to Sodom.</p> +<p>The young men bring Lot within doors, and smite those outside with +blindness.</p> +<p>In vain they try to find the door of Lot’s house.</p> + +<h5><a href="poems.html#clean_XI">XI.</a></h5> + +<p>Early in the morning the angels command Lot to depart from Sodom, +with his wife and two daughters, and to look straight before him, for +Sodom and Gomorrah shall be destroyed.</p> +<p>Lot asks what is best to be done, that he may escape.</p> +<p>He is told to choose himself a dwelling which shall be saved from +destruction.</p> +<p>He chooses Zoar.</p> +<p>The angels command Lot to depart quickly.</p> +<p>He wakes his wife and daughters.</p> +<p>All four are hastened on by the angels, who “preach to them the +peril” of delay.</p> +<p>Before daylight Lot comes to a hill.</p> +<p>God aloft raises a storm.</p> +<p>A rain falls thick of fire and sulphur.</p> +<p>Upon the four cities it comes, and frightens all folks therein.</p> +<p>The great bars of the abyss do burst.</p> +<p>Cliffs cleave asunder.</p> +<p>The cities sink to hell.</p> +<p>Such a cry arises that the clouds clatter again.</p> +<p>Lot and his companions are frightened, but continue to follow their +face.</p> +<p>Lot’s wife looks behind her, and is turned to a stiff stone “as salt +as any sea.”</p> +<p>Her companions do not miss her till they reach Zoar.</p> +<p>By this time all were drowned.</p> +<p>The people of Zoar, for dread, rush into the sea and are +destroyed.</p> +<p>Only Zoar with three therein (Lot and his daughters) are saved.</p> +<p>Lot’s wife is an image of salt for two faults:</p> +<div class="inset"> +<p>1. She served salt before the Lord at supper.</p> +<p>2. She looked behind her.</p> +</div> +<p>Abraham is up full early on the morn.</p> +<p>He looks towards Sodom, now only a pit filled with pitch, from which +rise smoke, ashes and cinders, as from a furnace.</p> +<p>A sea now occupies the place of the four cities.</p> +<p>It is a stinking pool, and is called the Dead Sea.</p> +<p>Nothing may live in it.</p> +<p>Lead floats on its surface.</p> +<p>A feather sinks to the bottom of it.</p> +<p>Lands, watered by this sea, never bear grass or weed.</p> +<p>A man cannot be drowned in it.</p> +<p>The clay clinging to it is corrosive, as alum, alkaran, sulphur, +etc., which fret the flesh and fester the bones.</p> +<p>On the shores of this lake grow trees bearing fair fruits, which, +when broken or bitten, taste like ashes.</p> +<p>All these are tokens of wickedness and vengeance.</p> +<p>God loves the pure in heart.</p> +<p>Strive to be clean.</p> +<p>Jean de Meun tells how a lady is to be loved.</p> +<p>By doing what pleases her best.</p> +<p>Love thy Lord!</p> +<p>Conform to Christ, who is polished as a pearl.</p> +<p>By how comely a contrivance did he enter the womb of the virgin!</p> +<p>In what purity did he part from her!</p> +<p>No abode was better than his.</p> +<p>The sorrow of childbirth was turned to joy.</p> +<p>Angels solaced the virgin with organs and pipes.</p> +<p>The child Christ was so clean that ox and ass worshipped him.</p> +<p>He hated wickedness, and would never touch ought that was vile.</p> +<p>Yet there came to him lazars and lepers, lame and blind.</p> +<p>Dry and dropsical folk.</p> +<p>He healed all with kind speech.</p> +<p>His handling was so good, that he needed no knife to cut or carve +with.</p> +<p>The bread he broke more perfectly than could all the tools of +Toulouse.</p> +<p>How can we approach his court except we be clean?</p> +<p>God is merciful.</p> +<p>Through penance we may shine as a pearl.</p> +<p>Why is the pearl so prized?</p> +<p>She becomes none the worse for wear.</p> +<p>If she should become dim, wash her in wine.</p> +<p>She then becomes clearer than before.</p> +<p>So may the sinner polish him by penance.</p> +<p>Beware of returning to sin.</p> +<p>For then God is more displeased than ever.</p> +<p>The reconciled soul God holds as His own.</p> +<p>Ill deeds rob Him of it.</p> +<p>God forbids us to defile any vessels used in His service.</p> +<p>In Belshazzar’s time, the defiling of God’s vessels brought wrath +upon the king.</p> + +<h5><a href="poems.html#clean_XII">XII.</a></h5> + +<p>Daniel in his prophecies tells of the destruction of the Jews.</p> +<p>For their unfaithfulness in following other gods, God allowed the +heathen to destroy them, in the reign of Zedekiah, who practised +idolatry.</p> +<p>Nebuchadnezzar becomes his foe.</p> +<p>He besieges Jerusalem, and surrounds the walls.</p> +<p>The city is stuffed full of men.</p> +<p>Brisk is the skirmish.</p> +<p>Seven times a day are the gates assailed.</p> +<p>For two years the fight goes on, yet the city is not taken.</p> +<p>The folk within are in want of food.</p> +<p>Meager they become.</p> +<p>For so shut up are they that escape seems impossible.</p> +<p>But on a quiet night they steal out, and rush through the host.</p> +<p>They are discovered by the enemy.</p> +<p>A loud alarm is given.</p> +<p>They are pursued and overtaken.</p> +<p>Their king is made prisoner.</p> +<p>His chief men are presented as prisoners to Nebuchadnezzar.</p> +<p>His sons are slain.</p> +<p>His own eyes are put out.</p> +<p>He is placed in a dungeon in Babylon.</p> +<p>All for his “bad bearing” against the Lord, who might otherwise have +been his friend.</p> +<p>Nebuchadnezzar ceased not until he had destroyed Jerusalem.</p> +<p>Nebuzaradan was “chief of the chivalry.”</p> +<p>The best men were taken out of the city.</p> +<p>Nevertheless Nebuzaradan spared not those left.</p> +<p>Brains of bairns were spilt.</p> +<p>Priests pressed to death.</p> +<p>Wives and wenches foully killed.</p> +<p>All that escaped the sword were taken to Babylon, and were made to +drag the cart or milk the kine.</p> +<p>Nebuzaradan burst open the temple, and slew those therein.</p> +<p>Priests, pulled by the poll, were slain along with deacons, clerks, +and maidens.</p> +<p>The enemy pillages the temple of its pillars of brass, and the golden +candlestick from off the altar.</p> +<p>Goblets, basins, golden dishes, all are taken by Nebuzaradan, and +hampered together.</p> +<p>Solomon had made them with much labour.</p> +<p>The temple he beats down, and returns to Babylon.</p> +<p>Presents the prisoners to the king, among whom were Daniel and his +three companions.</p> +<p>Nebuchadnezzar has great joy, because his enemies are slain.</p> +<p>Great was his wonder when he saw the sacred jewelry.</p> +<p>He praises the God of Israel.</p> +<p>Such vessels never before came to Chaldea.</p> +<p>They are thrust into the treasury.</p> +<p>Nebuchadnezzar reigns as emperor of all the earth, through the “doom +of Daniel,” who gave him good counsel.</p> +<p>Nebuchadnezzar dies and is buried.</p> +<p>Belshazzar succeeds him.</p> +<p>He holds himself the biggest in heaven or on earth.</p> +<p>He honours not God, but worships false phantoms.</p> +<p>He promises them rewards if good fortune befal.</p> +<p>If they vex him he knocks them in pieces.</p> +<p>He has a wife, and many concubines.</p> +<p>The mind of the king was fixed upon new meats and other vain +things.</p> + +<h5><a href="poems.html#clean_XIII">XIII.</a></h5> + +<p>Belshazzar, to exhibit his vainglory, proclaims throughout Babylon, +that all the great ones should assemble on a set day, at the Sultan’s +feast.</p> +<p>Kings, dukes, and lords were commanded to attend the court.</p> +<p>To do the king honour many nobles came to Babylon.</p> +<p>It would take too long to name the number.</p> +<p>The city of Babylon is broad and big.</p> +<p>It is situated on a plain, surrounded by seven streams, a high wall, +and towers.</p> +<p>The palace was long and large, each side being seven miles in +length.</p> +<p>High houses were within the walls.</p> +<p>The time of the feast has come.</p> +<p>Belshazzar sits upon his throne: the hall floor is covered with +knights.</p> +<p>When all are seated, service begins.</p> +<p>Trumpets sound everywhere.</p> +<p>Bread is served upon silver dishes.</p> +<p>All sorts of musical instruments are heard in the hall.</p> +<p>The king, surrounded by his loves, drinks copiously of wine.</p> +<p>It gets into his head and stupifies him.</p> +<p>A cursed thought takes possession of him.</p> +<p>He commands his marshal to bring him the vessels taken from the +temple by Nebuchadnezzar, and to fill them with wine.</p> +<p>The marshal opens the chests.</p> +<p>Covers the cupboard with vessels.</p> +<p>The Jewels of Jerusalem deck the sides of the hall.</p> +<p>The altar and crown, blessed by bishop’s hands, and anointed with the +blood of beasts, are set before the bold Belshazzar.</p> +<p>Upon this altar were noble vessels curiously carved, basins of gold, +cups arrayed like castles with battlements, and towers with lofty +pinnacles.</p> +<p>Upon them were pourtrayed branches and leaves, the flowers of which +were white pearls, and the fruit flaming gems.</p> +<p>The goblets were ornamented with flowers of gold.</p> +<p>The candlestick was brought in, with its pillars of brass, and +ornamental boughs, upon which sat birds of various hues.</p> +<p>Lights shone bright from the candlestick, which once stood before the +“Holy of Holies.”</p> +<p>The pollution of the sacred vessels is displeasing to God.</p> +<p>For “a boaster on bench” drinks from them till he is as “drunken as +the devil.”</p> +<p>God is very angry.</p> +<p>Before harming the revellers He sends them a warning.</p> +<p>Belshazzar commands the sacred vessels to be filled with wine.</p> +<p>The cups and bowls are soon filled.</p> +<p>Music of all kind is heard in the hall.</p> +<p>Dukes, princes, concubines, and knights, all are merry.</p> +<p>Drinking of the sweet liquors they ask favours of their gods, who, +although dumb, are as highly praised “as if heaven were theirs.”</p> +<p>A marvel befals the feasters.</p> +<p>The king first saw it.</p> +<p>Upon the plain wall, “a palm with pointel in fingers” is seen +writing.</p> +<p>The bold Belshazzar becomes frightened.</p> +<p>His knees knock together.</p> +<p>He roars for dread, still beholding the hand, as it wrote on the +rough wall.</p> +<p>The hand vanishes but the letters remain.</p> +<p>The king recovers his speech and sends for the “book-learned;” but +none of the scholars were wise enough to read it.</p> +<p>Belshazzar is nearly mad.</p> +<p>Commands the city to be searched throughout for the “wise of +witchcraft.”</p> +<p>He who expounds the strange letters, shall be clothed in “gowns of +purple.”</p> +<p>A collar of gold shall encircle his throat.</p> +<p>He shall be the third lord in the realm.</p> +<p>As soon as this cry was upcast, to the hall came clerks out of +Chaldea, witches and diviners, sorcerers and exorcists.</p> +<p>But after looking on the letters they were as ignorant as if they had +looked into the leather of the left boot.</p> +<p>The king curses them all and calls them churls.</p> +<p>He orders the harlots to be hanged.</p> +<p>The queen hears the king chide.</p> +<p>She inquires the cause.</p> +<p>Goes to the king, kneels before him, and asks why he has rent his +robes for grief, when there is one that has the Spirit of God, the +counsellor of Nebuchadnezzar, the interpreter of his dreams, through the +holy Spirit of God.</p> +<p>The name of this man is Daniel, who was brought a captive from +Judæa.</p> +<p>The queen tells the king to send for Daniel.</p> +<p>Her counsel is accepted.</p> +<p>Daniel comes before Belshazzar.</p> +<p>The king tells him that he has heard of his wisdom, and his power to +discover hidden things, and that he wants to know the meaning of the +writing on the wall.</p> +<p>Promises him, if he can explain the text of the letters and their +interpretation, to clothe him in purple and pall, and put a ring about +his neck, and to make him “a baron upon bench.”</p> +<p>Daniel addresses the king, and reminds him how that God supported his +father, and gave him power to exalt or abase whomsoever he pleased.</p> +<p>Nebuchadnezzar was established on account of his faith in God.</p> +<p>So long as he remained true, no man was greater.</p> +<p>But at last pride touches his heart.</p> +<p>He forgets the power of God, and blasphemes His name.</p> +<p>He says that he is “god of the ground,” and the builder of +Babylon.</p> +<p>Hardly had Nebuchadnezzar spoken, when God’s voice is heard, saying, +“Thy principality is departed.</p> +<p>Thou, removed from men, must abide on the moor, and walk with wild +beasts, eat herbs, and dwell with wolves and asses.”</p> +<p>For his pride he becomes an outcast.</p> +<p>He believes himself to be a bull or an ox.</p> +<p>Goes “on all fours,” like a cow, for seven summers.</p> +<p>His thighs grew thick.</p> +<p>His hair became matted and thick, from the shoulders to the toes.</p> +<p>His beard touched the earth.</p> +<p>His brows were like briars.</p> +<p>His eyes were hollow, and grey as the kite’s.</p> +<p>Eagle-hued he was.</p> +<p>At last he recovered his “wit,” and believed in God.</p> +<p>Then soon was he restored to his seat.</p> +<p>But thou, Belshazzar, hast disregarded these signs, and hast +blasphemed the Lord, defiled his vessels, filling them with wine for thy +wenches, and praising thy lifeless gods.</p> +<p>For this sin God has sent thee this strange sight, the fist with the +fingers writing on the wall.</p> +<p>These are the words: “Mene, Tekel, Peres.</p> +<div class="inset"> +<p>Mene.— God has counted thy kingdom and finished it.</p> +<p>Tekel.—Thy reign is weighed and is found wanting in deeds of +faith.</p> +<p>Peres.— Thy kingdom is divided, and given to the Persians.</p> +</div> +<p>The Medes shall be masters here.”</p> +<p>The king commands Daniel to be clothed in a frock of fine cloth.</p> +<p>Soon is he arrayed in purple, with a chain about his neck.</p> +<p>A decree is made, that all should bow to him, as the third lord that +followed Belshazzar.</p> +<p>The decree was made known, and all were glad.</p> +<p>The day, however, past.</p> +<p>Night came on.</p> +<p>Before another day dawned, Daniel’s words were fulfilled.</p> +<p>The feast lasts till the sun falls.</p> +<p>The skies become dark.</p> +<p>Each noble hies home to his supper.</p> +<p>Belshazzar is carried to bed, but never rises from it, for his foes +are seeking to destroy his land, and are assembled suddenly.</p> +<p>The enemy is Darius, leader of the Medes.</p> +<p>He has legions of armed men.</p> +<p>Under cover of the darkness, they cross the river.</p> +<p>By means of ladders they get upon the walls, and within an hour enter +the city, without disturbing any of the watch.</p> +<p>They run into the palace, and raise a great cry.</p> +<p>Men are slain in their beds.</p> +<p>Belshazzar is beaten to death, and caught by the heels, is foully +cast into a ditch.</p> +<p>Darius is crowned king, and makes peace with the barons.</p> +<p>Thus the land was lost for the king’s sin.</p> +<p>He was cursed for his uncleanness, and deprived of his honour, as +well as of the joys of heaven.</p> +<p>Thus in three ways has it been shown, that uncleanness makes God +angry.</p> +<p>Cleanness is His comfort.</p> +<p>The seemly shall see his face.</p> +<p>God give us grace to serve in His sight!</p> + + +<h4><a name="side_patience" id="side_patience"> +<i>Patience</i>: Sidenotes</a></h4> + +<h5><a href="poems.html#patience_I">I.</a></h5> + +<p>Patience is often displeasing, but it assuages heavy hearts, and +quenches malice.</p> +<p>Happiness follows sorrow.</p> +<p>It is better to suffer than to be angry.</p> +<p>Matthew tells us of the promises made by Christ: Blessed are the +poor, for theirs is the kingdom of heaven.</p> +<p>Blessed are the meek, for they shall “wield the world.”</p> +<p>Blessed are the mourners, for they shall be comforted.</p> +<p>Blessed are the hungry, for they shall be filled.</p> +<p>Blessed are the merciful, for mercy shall be their reward.</p> +<p>Blessed are the clean of heart, for they shall see the Saviour.</p> +<p>Blessed are the peace-makers, for they shall be called God’s +sons.</p> +<p>Blessed are they that live aright, for theirs is the kingdom of +heaven.</p> +<p>These blessings are promised to those who follow poverty, pity, +penance, meekness, mercy, chastity, peace and patience.</p> +<p>Poverty and patience are to be treated together.</p> +<p>They are “fettled in one form,” and have one meed.</p> +<p>Poverty will dwell where she lists, and man must needs suffer.</p> +<p>Poverty and patience are play-fellows.</p> +<p>What avails impatience, if God send affliction?</p> +<p>Patience is best.</p> +<p>Did not Jonah incur danger by his folly?</p> + +<h5><a href="poems.html#patience_II">II.</a></h5> + +<p>Jonah was a prophet of the gentiles.</p> +<p>God’s word came to him, saying, “Rise quickly, take the way to +Nineveh.</p> +<p>Say that which I shall put in thine heart.</p> +<p>Wickedness dwells in that city.</p> +<p>Go swiftly and carry my message.”</p> +<p>Jonah is full of wrath.</p> +<p>He is afraid that the shrews will put him in the stocks, or put out +his eyes.</p> +<p>He thinks that God desires his death.</p> +<p>He determines not to go near the city, but fly to Tarshish.</p> +<p>Grumbling, he goes to port Joppa.</p> +<p>He says that God will not be able to protect him.</p> +<p>Jonah reaches the port, finds a ship ready to sail.</p> +<p>The seamen catch up the cross-sail, fasten the cables, weigh their +anchors, and spread sail.</p> +<p>A gentle wind wafts the ship along.</p> +<p>Was never a Jew so joyful as was Jonah then.</p> +<p>He has, however, put himself in peril, in fleeing from God.</p> +<p>The words of David.</p> +<p>Does He not hear, who made all ears?</p> +<p>He is not blind that formed each eye.</p> +<p>Jonah is now in no dread.</p> +<p>He is, however, soon overtaken.</p> +<p>The wielder of all things has devices at will.</p> +<p>He commands Eurus and Aquilo to blow.</p> +<p>The winds blow obedient to His word.</p> +<p>Out of the north-east the noise begins.</p> +<p>Storms arose, winds wrestled together, the waves rolled high, and +never rested.</p> +<p>Then was Jonah joyless.</p> +<p>The boat reeled around.</p> +<p>The gear became out of order.</p> +<p>Ropes and mast were broken.</p> +<p>A loud cry is raised, Many a lad labours to lighten the ship.</p> +<p>They throw overboard their bags and feather beds.</p> +<p>But still the wind rages, and the waves become wilder.</p> +<p>Each man calls upon his god.</p> +<p>Some called upon Vernagu, Diana, and Neptune, to the sun and to the +moon.</p> +<p>Then said one of the sailors: “Some lawless wretch, that has grieved +his God, is in the ship.</p> +<p>I advise that we lay lots upon each man.</p> +<p>When the guilty is gone the tempest may cease.”</p> +<p>This is agreed to.</p> +<p>All are assembled, from all corners of the ship, save Jonah the Jew, +who had fled into the bottom of the boat.</p> +<p>There he falls asleep.</p> +<p>Soon he is aroused, and brought on board.</p> +<p>Full roughly is he questioned.</p> +<p>The lot falls upon Jonah.</p> +<p>Then quickly they said: “What the devil hast thou done, doted +wretch?</p> +<p>What seekest thou on the sea?</p> +<p>Hast thou no God to call upon?</p> +<p>Of what land art thou?</p> +<p>Thou art doomed for thy ill deeds.”</p> +<p>Jonah says: “I am a Hebrew, a worshipper of the world’s Creator.</p> +<p>All this mischief is caused by me, therefore cast me overboard.”</p> +<p>He proves to them that he was guilty.</p> +<p>The mariners are exceedingly frightened.</p> +<p>They try to make way with their oars, but their endeavours are +useless.</p> +<p>Jonah must be doomed to death.</p> +<p>They pray to God, that they may not shed innocent blood.</p> +<p>Jonah is cast overboard.</p> +<p>The tempest ceases and the sea settles.</p> +<p>The stiff streams drive the ship about.</p> +<p>At last they reach a bank.</p> +<p>The seamen thank God, and perform solemn vows.</p> +<p>Jonah is in great dread.</p> + +<h5><a href="poems.html#patience_III">III.</a></h5> + +<p>Jonah is shoved from the ship.</p> +<p>A wild whale swims by the boat.</p> +<p>He opens his swallow, and seizes the prophet.</p> +<p>It is not to be wondered at that Jonah suffered woe.</p> +<p>The prophet is without hope.</p> +<p>Cold was his comfort.</p> +<p>Jonah was only a mote in the whale’s jaws.</p> +<p>He entered in by the gills, and by means of one of the intestines of +the fish, came into a space as large as a hall.</p> +<p>The prophet fixes his feet firmly in the belly of the whale.</p> +<p>He searches into every nook of its navel.</p> +<p>The prophet calls upon God.</p> +<p>He cries for mercy.</p> +<p>He sits safely in a recess, in a bowel of the beast, for three days +and three nights.</p> +<p>The whale passes through many a rough region.</p> +<p>Jonah makes the whale feel sick.</p> +<p>The prophet prays to God in this wise:</p> + +<h5><a href="poems.html#patience_IV">IV.</a></h5> + +<p>“Lord! to thee have I cried out of hell’s womb.</p> +<p>Thou dippedst me in the sea.</p> +<p>Thy great floods passed over me.</p> +<p>The streams drive over me.</p> +<p>I am cast out from thy sight.</p> +<p>The abyss binds me.</p> +<p>The rushing waves play on my head.</p> +<p>Thou possessest my life.</p> +<p>In my anguish I remembered my God, and besought His pity.</p> +<p>When I am delivered from this danger, I will obey thy commands.”</p> +<p>God speaks fiercely to the whale, and he vomits out the prophet on a +dry space.</p> +<p>Jonah has need to wash his clothes.</p> +<p>God’s word comes to the prophet.</p> +<p>He is told to preach in Nineveh.</p> +<p>By night Jonah reaches the city.</p> +<p>Nineveh was a very great city.</p> +<p>Jonah delivers his message; “Yet forty days and Nineveh shall come to +an end.</p> +<p>It shall be turned upside down, and swallowed quickly by the black +earth.”</p> +<p>This speech spreads throughout the city.</p> +<p>Great fear seizes all.</p> +<p>The people mourn secretly, clothe themselves in sackcloth, and cast +ashes upon their heads.</p> +<p>The message reaches the ears of the king.</p> +<p>He rends his robes, clothes himself in sackloth, and mourns in the +dust.</p> +<p>He issues a decree, that all in the city, men, beasts, women and +children, prince, priest, and prelates, should fast for their sins.</p> +<p>Children are to be weaned from the breast.</p> +<p>The ox is to have no hay, nor the horse any water.</p> +<p>Who can tell if God will have mercy?</p> +<p>Though He is mighty, He is merciful, and may forgive us our +guilt.</p> +<p>All believed and repented.</p> +<p>God forgave them through his goodness.</p> + +<h5><a href="poems.html#patience_V">V.</a></h5> + +<p>Much sorrow settles upon Jonah.</p> +<p>He becomes very angry.</p> +<p>He prays to God and says: “Was not this my saying, when Thy message +reached me in my own country?</p> +<p>I knew Thy great goodness, Thy long-suffering, and Thy mercy.</p> +<p>I knew these men might make their peace with Thee, therefore I fled +unto Tarshish.</p> +<p>Take my life from me, O Lord!</p> +<p>It is better for me to die than live.”</p> +<p>God upbraids Jonah, saying: “Is this right to be so wroth?”</p> +<p>Jonah, jangling, uprises, and makes himself a bower, of hay and +ever-fern, to shield him from the sun.</p> +<p>He slept heavily all night.</p> +<p>God prepared a woodbine.</p> +<p>Jonah awakes, and is exceedingly glad of the bower.</p> +<p>The prophet, under its gracious leaves, is protected from the sun’s +rays.</p> +<p>Jonah wishes he had such a lodge in his own country.</p> +<p>God prepared a worm, that made the woodbine wither.</p> +<p>Jonah awakes and finds his woodbine destroyed.</p> +<p>The leaves were all faded.</p> +<p>The sun beat upon the head of Jonah.</p> +<p>He is exceedingly angry, and prays God that he may die.</p> +<p>God rebukes the prophet.</p> +“Dost thou well,” He says, “to be angry for the gourd?” +<p>Jonah replies, “I would I were dead.”</p> +<p>God asks if it is to be wondered at that He should help His handy +work.</p> +<p>Is not Jonah angry that his woodbine is destroyed, which cost him no +labour?</p> +<p>God is not to be blamed for taking pity upon people that He made.</p> +<p>Should He destroy Nineveh the sorrow of such a sweet place would sink +to His heart.</p> +<p>In the city there are little bairns who have done no wrong.</p> +<p>And there are others who cannot discern between their right hand and +their left hand.</p> +<p>There are also dumb beasts in the city incapable of sinning.</p> +<p>Judgment must be tempered with mercy.</p> +<p>He that is too hasty to rend his clothes must afterwards sit with +worse ones to sew them together.</p> +<p>Poverty and pain must be endured.</p> +<p>Patience is a noble point, though it displeases oft.</p> + +</div> +<!-- end div sidenotes --> + +<div class="endnote"> +<h4><a name="endnote" id="endnote">Text and Layout</a></h4> + +<p>The text is intended to replicate the layout of the printed book as +closely as possible.</p> + +<p><b>Headnotes</b>, printed at the top of each page, have been moved to +the most appropriate sentence break. Some shorter headnote pairs may be +merged into one. <b>Sidenotes</b> giving plot summary are placed close +to their original location.</p> + +<p>The <b>Notes</b> were originally printed as a short (12 pages) +section before the Glossarial Index. For this e-text they have been +distributed among their respective texts. Links to the Notes are +intended to be visible but not distracting.</p> + +<p><b>Text-Critical Notes</b> such as variant readings have been handled +differently than in the printed book, where they appeared either as +footnotes (numbered) or sidenotes (sometimes but not always marked). +Here, the word they refer to is <span class="texttag">underlined</span> if necessary, and the note itself will +generally have this form:</p> + +<p class="inset"> +<i>leak</i>] the <i>t</i> of the MS. has a <i>k</i> over it.</p> + +<p>Where a single word has both an endnote and a marginal note, the link +to the endnote is shown.</p> + +<hr class="small"> + +<p><a name="endnoteA" id="endnoteA" href="#endtagA">A.</a> +An unusual typographical error, shown with beginnings of adjoining +lines:</p> + +<p class="inset"> +<img src="images/page_xl.png" width="170" height="78" +alt="page image"></p> + +<hr class="small"> + +<p class="center"> +<a href="#start">Back to Top</a><br> +<a href="#preface">Preface</a><br> +<a href="poems.html#pearl"><i>The Pearl</i></a> (<i>separate +file</i>)<br> +<a href="poems.html#cleanness"><i>Cleanness</i></a> (<i>separate +file</i>)<br> +<a href="poems.html#patience"><i>Patience</i></a> (<i>separate +file</i>)<br> +<a href="glossary.html">Glossarial Index</a> (<i>separate +file</i>)<br> +<a href="#sidenotes">Sidenotes</a><br> +</p> +</div> + +</div> +<!-- end div maintext --> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Early English Alliterative Poems, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK EARLY ENGLISH ALLITERATIVE POEMS *** + +***** This file should be named 30282-h.htm or 30282-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/0/2/8/30282/ + +Produced by Louise Hope, David Starner and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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