Richard Morris

This e-text is based on the 1869 (second) edition of the Alliterative Poems. A few apparent misprints were checked against the 1864 edition, but the texts as a whole were not closely compared.

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.

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All brackets are in the original.

Typographical errors are shown with mouse-hover popups. Quotation-mark errors—especially orphaned open quotes—are similarly marked. 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.

Full Contents
Preface
The Pearl (separate file)
Cleanness (separate file)
Patience (separate file)
Glossarial Index (separate file)
Sidenotes
Details of Text and Layout

EDITED FROM
THE UNIQUE MANUSCRIPT
BRITISH MUSEUM MS. COTTON
NERO A. x

BY

RICHARD MORRIS

 
 

Published for
THE EARLY ENGLISH TEXT SOCIETY
by the
OXFORD UNIVERSITY PRESS
LONDON   NEW YORK   TORONTO

---

FIRST PUBLISHED 1864
SECOND EDITION 1869
REPRINTED (1869 VERSION) 1965

 
 

Original Series, No. 1

ORIGINALLY PRINTED BY STEPHEN AUSTIN, HERTFORD
AND NOW REPRINTED LITHOGRAPHICALLY IN GREAT BRITAIN
AT THE UNIVERSITY PRESS, OXFORD
BY VIVIAN RIDLER, PRINTER TO THE UNIVERSITY

---

Contents
(added by transcriber)

Items in italics do not have headings in the body text.

Preface		v
Introduction to The Pearl		[xi]
Introduction to Cleanness		[xiii]
Introduction to Patience		[xviii]
General Introduction		[xix]
Remarks Upon the Dialect and Grammar		xxi
Grammatical Details		xxviii
I.	Nouns	xxxiii
II.	Adjectives	xxxiii
III.	Pronouns	xxx
IV.	Verbs	xxxiii
V.	Adverbs	xl
VI.	Prepositions	xl
VII.	Conjunctions	xl
Description of the Manuscript		xli
Contractions Used in the Glossary		xliv
The Pearl (separate file)		1
Notes to The Pearl		105
Cleanness (separate file)		37
Notes to Cleanness		[108]
Patience (separate file)		89
Notes to Patience		[115]
Glossarial Index (separate file)		117
Collected Sidenotes (section added by transcriber)

This e-text is based on the 1869 (second) edition of the Alliterative Poems. A few apparent misprints were checked against the 1864 edition, but the texts as a whole were not closely compared.

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.

---

All brackets are in the original.

Typographical errors are shown with mouse-hover popups. Quotation-mark errors—especially orphaned open quotes—are similarly marked. 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.

Full Contents
Preface
The Pearl (separate file)
Cleanness (separate file)
Patience (separate file)
Glossarial Index (separate file)
Sidenotes
Details of Text and Layout

EDITED FROM
THE UNIQUE MANUSCRIPT
BRITISH MUSEUM MS. COTTON
NERO A. x

BY

RICHARD MORRIS

 
 

Published for
THE EARLY ENGLISH TEXT SOCIETY
by the
OXFORD UNIVERSITY PRESS
LONDON   NEW YORK   TORONTO

---

FIRST PUBLISHED 1864
SECOND EDITION 1869
REPRINTED (1869 VERSION) 1965

 
 

Original Series, No. 1

ORIGINALLY PRINTED BY STEPHEN AUSTIN, HERTFORD
AND NOW REPRINTED LITHOGRAPHICALLY IN GREAT BRITAIN
AT THE UNIVERSITY PRESS, OXFORD
BY VIVIAN RIDLER, PRINTER TO THE UNIVERSITY

---

Contents
(added by transcriber)

Items in italics do not have headings in the body text.

Preface		v
Introduction to The Pearl		[xi]
Introduction to Cleanness		[xiii]
Introduction to Patience		[xviii]
General Introduction		[xix]
Remarks Upon the Dialect and Grammar		xxi
Grammatical Details		xxviii
I.	Nouns	xxxiii
II.	Adjectives	xxxiii
III.	Pronouns	xxx
IV.	Verbs	xxxiii
V.	Adverbs	xl
VI.	Prepositions	xl
VII.	Conjunctions	xl
Description of the Manuscript		xli
Contractions Used in the Glossary		xliv
The Pearl (separate file)		1
Notes to The Pearl		105
Cleanness (separate file)		37
Notes to Cleanness		[108]
Patience (separate file)		89
Notes to Patience		[115]
Glossarial Index (separate file)		117
Collected Sidenotes (section added by transcriber)

Note that I and J are listed separately, while all initial U except the one-letter word “u” are listed under V. As explained in the editor’s List of Abbreviations, the letters A, B, C refer respectively to The Pearl, Cleanness and Patience. Except for cross-references (“See...”), all links are to these external files.

 A   B   C   D   E   F   G   H   I   J   K   L   M 
 N   O   P   Q   R   S   T   U   UV   W   Y   Ȝ 

A

Abate, lessen, put an end to, A. 123; B. 1356.

Abate, abode, A. 617.

Abayst, downcast, abashed, B. 149, pret. of abaisse or abash, Fr. esbahir.

Able, A. 599.

Abof, above, A. 1023.

Abominacione, B. 1173.

Abroched, commenced, A. 1123.

Abyde, (a) await, A. 436, 486; (b) endure, B. 7. A.S. abidan.

Abydyng, sb. C. 419.

Abyme, abyss, A. 363; B. 143.

Abyt, habit, dress, B. 141.

Achaped, escaped, B. 970.

Achaufe, kindle, B. 1143.

Acheue, accomplish, A. 475.

Acroche, encroach, A. 1069, Fr. accrocher, to hook on; from croc, a hook.

Adaunt = daunt, A. 157.

Adoun, down, A. 988; B. 953.

Adreȝ, aside, aback, B. 71. The word is used by Gower under the form adrigh. O-dreghe, one-dreghe, 117b are other forms of the word. Sc. on-dreich.

Adyte, A. 349.

Affraye, sb. fear, A. 1174; vb. frighten, B. 1780; Fr. effrayer, to scare, affright; effroi, terror. Cf. fray, to scare birds.

Affyen, trust, C. 331.

Agayneȝ, towards, B. 611.

Agayn-tote, sb. a looking back, B. 931. Tote, look, peep, as a 118 verb or a noun, is common in Old English writers.

Age, A. 412, B. 426.

Aglyȝte, slipped from, A. 245. Glyȝt, as a verb, signifies not only to slip but to glance, look. Cf. leme = gleam, glance, slip.

Alabaunderynes, B. 1470.

Alarom, alarm, B. 1207.

Al-bare, clearly, A. 1025.

Alce = als, also, B. 1377.

Alder = elder, A. 621, Aldest, A. 1042, B. 1333.

Alder-men, elders, A. 887.

Alegge, alledge, A. 703.

Aliche, alike, B. 1477.

Alkaran = alkatran, B. 1035.

Alle-kynneȝ, all kinds of, A. 1028.

Allyt = a lyt = ? a little, B. 599.

Almyȝt, almighty, A. 498.

Alofte, on high, B. 1183.

Al-one, A. 933.

Al-only, except, A. 779.

Alosed, destroyed, B. 274. See lose.

Alow, approve, praise, reward, A. 634. O.Fr. louer. Lat. laudare.

Aloynte, removed, far from (from O.E. aloigne, alogne, to remove, carry off. O.Fr. aloigner).

Aloȝ, alow, softly, B. 670.

Als, also, A. 253, 827, B. 516.

Also, as, B. 984, 1045, 1792.

Al-Þaȝ, although, A. 759.

AlÞer-fayrest, fairest of all, B. 1379.

AlÞer-fynest, finest of all, B. 1637.

AlÞer-rychest, richest of all, B. 1666.

AlÞer-swettest, sweetest of all, B. 699.

Alum, B. 1035.

Amaffised, B. 1470.

Amaraunȝ, B. 1470.

Amatyst, amethyst, A. 1016.

Ame, (1) vb. place, A. 698; (2) sb. purpose, B. 128. Germ. ahmen. Bavarian, amen, hÄmen, to guage a cask, fathom, measure.

Amended, B. 248.

Amesyng, sb. moderation, C. 400. See mese.

Amoneste, admonish, B. 818.

Amounted, B. 395.

Amoynt, company, A. 895.

And = an, if, B. 864.

An-ende (on-ende), lastly, finally, A. 186.

An-ende = anente, opposite, A. 1136; respecting, A. 697.

An-endeȝ = anentes, opposite, A. 975. Sc. anens.

Anger, A. 343, B. 572.

AngrÉ, bitter, B. 1035.

Anguych, anguish, C. 325.

Ankreȝ, anchors, A. 418, B. 103.

Anon, at once (= anane, onane, in one moment), A. 584.

Anournement, ornament, B. 1290.

Anoynted, B. 1446.

Answar, answer, A. 518.

Anter, peril, C. 242. To aunter, put a thyng in daunger, or adventure, adventurer (Palsgrave).

An-vnder, under, A. 1081. Sc. anonder. Cf. down and adown, low and alow.

Aparaunt, B. 1007.

Apassed, past, A. 540.

Apert, openly, A. 589.

Apparaylmente, ornaments, A. 1052.

Apparement, ornaments, B. 1270. Fr. appareiller, to fit, suit.

Appose, vb. question, A. 902. Fr. apposer, to lay or set on, or near to.

Aproche, A. 686, B. 8, 167. Fr. approcher, draw near. Lat. prope, near.

Apyke, adorn, B. 1479, 1637.

Aquyle, demand, ask, obtain, A. 690, 966. O.Fr. aquillir, to gather.

Arayned, arraigned, C. 191. O.Fr. arraisonner, arraigner.

Are, before, previously, B. 438, 1128.

Arende, errand, message, C. 72, A.S. aerend, aerende.

Arest, sb. abode, resting place, B. 906.

Areset, vb. stop, cease, A. 766, remain, B. 144. Fr. arrester. Lat. arestare.

Arewarde, apostate, B. 208. Sc. areird, backward.

Aryue, A. 447.

Aryȝt, aright, A. 112.

Arȝe, terrify, frighten, fear, B. 572, 119b 713. Provincial arfe, arghe, afraid. Cf. “Arwe or ferefulle (arwhe, K. arowe or ferdfulle P.). Timidus, pavidus, formidolus.” (Prompt. Parv.) The original notion is that of laziness, inertness, and hence timidity, fear, etc. A.S. earg, inert, timid, weak. Ger. arg, bad. Du. erg. Icel. argr, lazy, cowardly. Sc. argh, arch, to hesitate, be reluctant.

Ar, are, B. 1725.

Are ? ane, one, A. 711.

As, also, B. 179.

As-bare, ? al bare, clearly, openly, A. 836.

Asayl, B. 1188.

Ascape, escape, B. 569.

Ascry, sb. cry, outcry, A. 1784. vb. B. 195. Swed. anskri, outcry, scream. O.N. skri, cry.

Askeȝ, ashes, B. 626.

Askry, shout, cry, B. 1206. See ascry.

Aslypped, escaped, lost, C. 218.

Aspaltoun, asphalt, B. 1038.

Asperly, sharply, C. 373.

Assayl, C. 301.

Asscaped, escaped, B. 1776.

Asscry, cry, shout. See ascry.

Assemble, B. 1364, 1769.

AssemblÉ, A. 760.

Asspye, espy, see, A. 704, 1035.

Astate, state, A. 393.

Astraye, A. 1162.

Astel, stole from, B. 1524.

As-tyt, immediately, at once, A. 645, B. 935.

Asure, B. 1411.

Aswage, A. 3.

At, that, A. 672.

Atlyng, purpose, B. 688. Sc. ettle, to endeavour. N.Prov.E. ettle, attle, intend. Icel. aetla.

AÞel, noble, A. 258, 411, 940, gracious, A. 761, fine, B. 1276, A.S. aeÞele, noble, excellent.

Atount, so much (?), A. 179.

At-slyke, slip away, A. 575.

Atteny, attain, reach, A. 548.

Attled, endeavoured. See atlyng.

Attled, endowed, B. 207. It sometimes occurs under the form aghteld. N.Prov.E. ettle, to deal out, distribute. A.S. aeht, possession.

At-wappe, escape, B. 1205. See Wap.

Atyre, B. 114.

Augoste, august, A. 39.

Auncetereȝ, auncestors, B. 258.

Aunte, A. 233.

Aunter, adventure, marvel, B. 1600. See T. B. 1899.

Auter, altar, B. 10.

Autly, noble, B. 795. A.S. ÁhtlÍce, courageously, manfully.

Avaunt, sb. promise, B. 664.

Avayment, show, B. 1358. F. avoier.

Auaye, show, B. 1311.

Auenture, adventure, A. 64. O.Fr. aventure.

Auise, advise, B. 1365.

Avow, B. 664.

Avoy, away! B. 863.

Avyle, defile, B. 1151, 1713.

Avysyoun, vision, A. 1184.

Awayed, shown, A. 710.

Awayle, avail, B. 408.

Awowe, avow, C. 333.

Ay, always, ever, A. 33, 720. A.S. Áva, a, all, ever. O.Fris. a. Germ. je, ever.

Ayre, heir, B. 650, 1709.

AyÞer, each, A. 831.

Aywhere, everywhere, B. 228.

Aȝer = asure, B. 1457.

Aȝly = awly, fearfully, B. 874, 937. Dan. ave, fear. Eng. awe. O.Eng. agh. Cf. A.S. aglÁc, misery, grief.

Aȝt, eight, A. 357, B. 11, 29.

Aȝt-sum, sorrowful, B. 411.

AȝtÞe, eighth, A. 1011.

B

Baboyne, baboon, B. 1409.

Babtem, A. 627. See Baptem.

Bachlereȝ, batchelors, young men not yet raised to the order of knighthood, B. 86.

Baft, abaft, C. 148. A.S. baefta, the hinder part.

Bagge, baggage. C. 158. 

Bale, bales, C. 157. Sw. bal. Fr. balle, bal, a ball or pack.

Bale, sorrow, woe; also misery, calamity, A. 18, 373; A. 1243, 1256; baleȝ, A. 123, 807. O.Fris. bale. A.S. bealu, torment, destruction. Icel. bÖl. Phrases: “bodyly bale” (pain), A. 478; “bale (torment) of helle,” A. 651, “bale-stour,” death pang, B. 426.

Baleleȝ = baleless, innocent, C. 227.

Balke, ridge of land, balk, A. 62. Icel. balkr, the division between the stalls in a cow-house. Sw. balka, to partition off.

Balleful = baleful, wretched, wicked, B. 979.

Balter, hop, jump, skip, C. 459.

Balterande, halting, limping, B. 103. Sc. balter, to dance.

Etymologically it is connected with palter and falter, and is applicable either to the unsteady gait of the lame or faltering steps of the blind.

Baly = bayly, authority, jurisdiction, dominion, A. 1083.

Baneres, B. 1404.

Banne, proclamation, decree, B. 95, 1361.

Banne, curse, B. 468, 885. Sw. bann, excommunication; banna, to reprove, chide, curse.

Banne, comfort, strengthen, B. 620. O.Sc. bawne.

Bantel, A. 991, 1017; B. 1459, posts, pillars.

Baptem, baptism, A. 627, 653.

Baptysed, A. 818.

Barayn, barren, B. 659.

Bare, adj. naked, B. 452; sb. 791.

Bare, only, B. 1573. Sw. bara.

Bared, disclosed, B. 1149.

Bare-heued, bare-headed, B. 633.

Barme, bosom, C. 510. A.S. bearm. “Barme gremium.” (Prompt. Parv.)

Perle plesaunte to prynces paye,

To clanly clos in golde so clere,

Oute of oryent I hardyly saye,

4 Ne proued I neuer her precios pere,

So rounde, so reken in vche araye,

So smal, so smoÞe her sydeȝ were.

Quere-so-euer I Iugged gemmeȝ gaye,

8 I sette hyr sengeley in synglure;

Allas! I leste hyr in on erbere,

Þurȝ gresse to grounde hit fro me yot;

I dewyne for-dolked of luf daungere,

12 Of Þat pryuy perle with-outen spot.

A FATHER VISITS HIS CHILD’S GRAVE,

SyÞen in Þat spote hit fro me sprange,

Ofte haf I wayted wyschande Þat wele,

Þat wont watȝ whyle deuoyde my wrange,

16 & heuen my happe & al my hele,

Þat dotȝ bot Þrych my hert Þrange,

My breste in bale bot bolne & bele.

Ȝet Þoȝt me neuer so swete a sange,

20 As stylle stounde let to me stele,

For-soÞe Þer fleten to me fele,

To Þenke hir color so clad in clot;

O moul Þou marreȝ a myry mele.

24 My priuy perle with-outen spotte,

Blomeȝ blayke & blwe & rede,

28 Þer schyneȝ ful schyr agayn Þe sunne.

Flor & fryte may not be fede,

Þer hit doun drof in moldeȝ dunne,

For vch gresse mot grow of grayneȝ dede,

32 No whete were elleȝ to woneȝ wonne;

Of goud vche goude is ay by-gonne.

So semly a sede moȝt fayly not,

Þat spryngande spyceȝ vp ne sponne,

36 Of Þat precios perle wyth-outen spotte.

To Þat spot Þat I in speche expoun

I entred in Þat erber grene,

In augoste in a hyȝ seysoun,

40 Quen corne is coruen wyth crokeȝ kene.

On huyle Þer perle hit trendeled doun,

Schadowed Þis worteȝ ful schyre & schene

Gilofre, gyngure & gromylyoun,

44 & pyonys powdered ay by-twene.

Ȝif hit watȝ semly on to sene,

A fayr reflayr ȝet fro hit flot,

Þer wonys Þat worÞyly I wot & wene,

48 My precious perle, wyth-outen spot.

AND THERE FALLING ASLEEP, HE DREAMS.

Bifore Þat spot my honde I spenn[e]d,

For care ful colde Þat to me caȝt[e];

A denely dele in my hert denned,

52 Þaȝ resoun sette my seluen saȝt[e].

I playned my perle Þat Þer watȝ spenned

Wyth fyrte skylleȝ Þat faste faȝt[e],

Þaȝ kynde of kryst me comfort kenned,

56 My wreched wylle in wo ay wraȝte.

I felle vpon Þat floury flaȝt[e],

Suche odour to my herneȝ schot;

I slode vpon a slepyng slaȝte,

60 On Þat prec[i]os perle with-outen spot.

II.

Fro spot my spyryt Þer sprang in space,

My body on balke Þer bod in sweuen,

My goste is gon in godeȝ grace,

64 In auenture Þer meruayleȝ meuen;

I ne wyste in Þis worlde quere Þat hit wace,

Bot I knew me keste Þer klyfeȝ cleuen;

Towarde a foreste I bere Þe face,

68 Where rych rokkeȝ wer to dyscreuen;

Þe lyȝt of hem myȝt no mon leuen,

Þe glemande glory Þat of hem glent;

For wern neuer webbeȝ Þat wyȝeȝ weuen,

72 Of half so dere adubmente.

HE SEES A BEAUTIFUL FOREST,

Dubbed wern alle Þo downeȝ sydeȝ

With crystal klyffeȝ so cler of kynde,

Holte-wodeȝ bryȝt aboute hem bydeȝ;

76 Of bolleȝ as blwe as ble of ynde,

As bornyst syluer Þe lef onslydeȝ,

Þat Þike con trylle on vch a tynde,

Quen glem of glodeȝ agaynȝ hem glydeȝ,

80 Wyth schymeryng schene ful schrylle Þay schynde.

Þe grauayl Þat on grounde con grynde

Wern precious perleȝ of oryente;

Þe sunne bemeȝ bot blo & blynde,

84 In respecte of Þat adubbement.

The adubbemente of Þo downeȝ dere

Garten my goste al greffe for-ȝete

So frech flauoreȝ of fryteȝ were,

88 As fode hit con me fayre refete.

Fowleȝ Þer flowen in fryth in fere,

Of flaumbande hweȝ, boÞe smale & grete,

Bot sytole stryng & gyternere,

92 Her reken myrÞe moȝt not retrete,

For quen Þose bryddeȝ her wyngeȝ bete

Þay songen wyth a swete asent;

96 As here & se her adubbement.

So al watȝ dubbet on dere asyse;

Þat fryth Þer fortwne forth me fereȝ,

Þe derÞe Þer-of for to deuyse

100 Nis no wyȝ worÞe Þat tonge bereȝ.

I welke ay forth in wely wyse,

No bonk so byg Þat did me dereȝ,

Þe fyrre in Þe fryth Þe feier con ryse,

104 Þe playn, Þe plontteȝ, Þe spyse, Þe pereȝ,

& raweȝ & randeȝ & rych reuereȝ,

As fyldor fyn her b[o]nkes brent.

I wan to a water by schore Þat schereȝ,

108 Lorde! dere watȝ hit adubbement!

The dubbemente of Þo derworth depe

Wern bonkeȝ bene of beryl bryȝt;

Swangeande swete Þe water con swepe

112 Wyth a rownande rourde raykande aryȝt;

In Þe founce Þer stonden stoneȝ stepe,

As glente Þurȝ glas Þat glowed & glyȝt,

A stremande sterneȝ quen stroÞe men slepe,

116 Staren in welkyn in wynter nyȝt;

For vche a pobbel in pole Þer pyȝt

Watȝ Emerad, saffer, oÞer gemme gente,

Þat alle Þe loȝe lemed of lyȝt,

120 So dere watȝ hit adubbement.

WHICH CAUSES HIS GRIEF TO ABATE.

III.

The dubbement dere of doun & daleȝ,

Of wod & water & wlonk playneȝ,

Bylde in me blys, abated my baleȝ,

124 For-didden my [dis]tresse, dystryed my payneȝ.

Doun after a strem Þat dryȝly haleȝ,

I bowed in blys, bred ful my brayneȝ;

Þe fyrre I folȝed Þose floty valeȝ,

128 Þe more strenghÞe of ioye myn herte strayneȝ,

As fortune fares Þer as ho frayneȝ,

WheÞer solace ho sende oÞer elleȝ sore,

Þe wyȝ, to wham her wylle ho wayneȝ,

132 Hytteȝ to haue ay more & more.

More of wele watȝ in Þat wyse

Þen I cowÞe telle Þaȝ I tom hade,

For vrÞely herte myȝt not suffyse

136 To Þe tenÞe dole of Þo gladneȝ glade;

For-Þy I Þoȝt Þat paradyse

Watȝ Þer oÞer gayn Þo bonkeȝ brade;

I hoped Þe water were a deuyse

140 By-twene myrÞeȝ by mereȝ made,

By-ȝonde Þe broke by slente oÞer slade,

I hope[de] Þat mote merked wore.

Bot Þe water watȝ depe I dorst not wade

144 & euer me longed a more & more.

More & more, & ȝet wel mare,

Me lyste to se Þe broke by-ȝonde,

For if hit watȝ fayr Þer I con fare,

148 Wel loueloker watȝ Þe fyrre londe.

Abowte me con I stote & stare

To fynde a forÞe, faste con I fonde,

Bot woÞeȝ mo i-wysse Þer ware,

152 Þe fyrre I stalked by Þe stronde,

& euer me Þoȝt I schulde not wonde

For wo, Þer weleȝ so wynne wore.

Þenne nwe note me com on honde

156 Þat meued my mynde ay more & more,

THE FATHER SEES HIS LOST CHILD DRESSED IN WHITE ROBES.

More meruayle con my dom adaunt;

I seȝ by-ȝonde Þat myry mere,

A crystal clyffe ful relusaunt,

160 Mony ryal ray con fro hit rere;

At Þe fote Þer-of Þer sete a faunt,

A mayden of menske, ful debonere;

Blysnande whyt watȝ hyr bleaunt,

164 (I knew hyr wel, I hade sen hyr ere)

As glysnande golde Þat man con schere,

So schon Þat schene an vnder schore;

On lenghe I loked to hyr Þere,

168 Þe lenger I knew hyr more & more

The more I frayste hyr fayre face.

Her fygure fyn, quen I had fonte,

Suche gladande glory con to me glace,

172 As lyttel byfore Þerto watȝ wonte;

To calle hyr lyste con me enchace,

Bot baysment gef myn hert a brunt,

I seȝ hyr in so strange a place,

176 Such a burre myȝt make myn herte blunt

Þenne vereȝ ho vp her fayre frount,

Hyr vysayge whyt as playn yuore,

Þat stonge myn hert ful stray atount,

180 & euer Þe lenger, Þe more & more.

IV.

More Þen me lyste my drede aros,

I stod ful stylle & dorste not calle,

Wyth yȝen open & mouth ful clos,

184 I stod as hende as hawk in halle;

I hope Þat gostly watȝ Þat porpose,

I dred on ende quat schulde byfalle,

Lest ho me eschaped Þat I Þer chos,

188 Er I at steuen hir moȝt stalle.

Þat gracios gay with-outen galle,

So smoÞe, so smal, so seme slyȝt,

Ryseȝ vp in hir araye ryalle,

192 A prec[i]os pyece in perleȝ pyȝt.

Perleȝ pyȝte of ryal prys,

Þere moȝt mon by grace haf sene,

Quen Þat frech as flor-de-lys,

196 Doun Þe bonke con boȝe by-dene.

Al blysnande whyt watȝ hir beau uiys,

200 Þat euer I seȝ ȝet with myn yȝen;

Wyth lappeȝ large I wot & I wene,

Dubbed with double perle & dyȝte,

Her cortel of self sute schene,

204 With precios perleȝ al vmbe-pyȝte.

A pyȝt coroune ȝet wer Þat gyrle,

Of mariorys & non oÞer ston,

Hiȝe pynakled of cler quyt perle,

208 Wyth flurted flowreȝ perfet vpon;

To hed hade ho non oÞer werle,

Her here heke al hyr vmbe-gon;

Her semblaunt sade, for doc oÞer erle,

212 Her ble more blaȝt Þen whalleȝ bon;

As schorne golde schyr her fax Þenne schon,

On schyldereȝ Þat leghe vnlapped lyȝte;

Her depe colour ȝet wonted non,

216 Of precios perle in porfyl pyȝte,

Pyȝt watȝ poyned & vche a hemme,

At honde, at sydeȝ, at ouerture,

Wyth whyte perle & non oÞer gemme,

220 & bornyste quyte watȝ hyr uesture.

Bot a wonder perle with-outen wemme,

In myddeȝ hyr breste watȝ sette so sure;

A manneȝ dom moȝt dryȝly demme,

224 Er mynde moȝt malte in hit mesure;

I hope no tong moȝt endure

No sauerly saghe say of Þat syȝt,

So watȝ hit clene & cler & pure,

228 Þat precios perle Þer hit watȝ pyȝt,

THE MAIDEN ADDRESSES HER FATHER.

Pyȝt in perle Þat precios p[r]yse.

On wyÞer half water com doun Þe schore,

No gladder gome heÞen in to grece,

232 Þen I, quen ho on brymme wore;

Ho watȝ me nerre Þen aunte or nece,

236 Enclynande lowe in wommon lore,

Caȝte of her coroun of grete tresore,

& haylsed me wyth a lote lyȝte.

Wel watȝ me Þat euer I watȝ bore,

240 To sware Þat swete in perleȝ pyȝte!

V.

“O perle,” quod I, “in perleȝ pyȝt,

Art Þou my perle Þat I haf playned,

Regretted by myn one, on nyȝte?

244 Much longeyng haf I for Þe layned,

SyÞen into gresse Þou me aglyȝte;

Pensyf, payred, I am for-payned,

& Þou in a lyf of lykyng lyȝte

248 In paradys erde, of stryf vnstrayned.

What wyrde hatȝ hyder my iuel vayned,

& don me in Þys del & gret daunger?

Fro we in twynne wern towen & twayned,

252 I haf ben a Ioyleȝ Iuelere.”

SHE TELLS HIM OF HER BLISS.

That Iuel Þenne in gemmyȝ gente,

Vered vp her vyse with yȝen graye,

Set on hyr coroun of perle orient,

256 & soberly after Þenne con ho say:

“Sir ȝe haf your tale myse-tente,

To say your perle is al awaye,

Þat is in cofer, so comly clente,

260 As in Þis gardyn gracios gaye,

Here-inne to lenge for euer & play.

Þer mys nee mornyng com neuer here,

Her were a forser for Þe in faye,

264 If Þou were a gentyl Iueler.

Bot Iueler gente if Þou schal lose

268 & busyeȝ Þe aboute a raysoun bref,

For Þat Þou lesteȝ watȝ bot a rose,

Þat flowred & fayled as kynde hyt gef;

Now Þurȝ kynde of Þe kyste Þat hyt con close,

272 To a perle of prys hit is put in pref;

& Þou hatȝ called Þy wyrde a Þef,

Þat oȝt of noȝt hatȝ mad Þe cler;

Þou blameȝ Þe bote of Þy meschef,

276 Þou art no kynde Iueler.”

A Iuel to me Þen watȝ Þys geste,

& iueleȝ wern hyr gentyl saweȝ, 

“I-wyse,” quod I, “my blysfol beste,

280 My grete dystresse Þou al to-draweȝ,

To be excused I make requeste;

I trawed my perle don out of daweȝ,

Now haf I fonde hyt I schal ma feste,

284 & wony with hyt in schyr wod schaweȝ,

& loue my lorde & al his laweȝ,

Þat hatȝ me broȝ[t] Þys blys ner;

Now were I at yow by-ȝonde Þise waweȝ,

288 I were a ioyfol Iueler.”

“Iueler,” sayde Þat gemme clene,

“Wy borde ȝe men, so madde ȝe be?

Þre wordeȝ hatȝ Þou spoken at ene,

292 Vn-avysed, for soÞe, wern alle Þre,

Þou ne woste in worlde quat on dotȝ mene,

Þy worde byfore Þy wytte con fle.

Þou says Þou traweȝ me in Þis dene,

296 By cawse Þou may with yȝen me se;

AnoÞer Þou says, in Þys countre

Þy self schal won with me ryȝt here;

Þe Þrydde, to passe Þys water fre,

300 Þat may no ioyfol Iueler.

VI.

I halde Þat iueler lyttel to prayse.

Þat loueȝ wel Þat he seȝ wyth yȝe,

& much to blame & vn-cortoyse,

304 Þat loueȝ oure lorde wolde make a lyȝe,

Þat lelly hyȝte your lyf to rayse,

Þaȝ fortune dyd your flesch to dyȝe;

Ȝe setten hys wordeȝ ful westernays

308 Þat loueȝ no Þynk bot ȝe hit syȝe,

& Þat is a poynt o sorquydryȝe,

Þat vche god mon may euel byseme

To leue no tale be true to tryȝe,

312 Bot Þat hys one skyl may dem[e].

DEATH IS THE ROAD TO PARADISE.

Deme now Þy-self, if Þou con, dayly

As man to god wordeȝ schulde heue.

Þou saytȝ Þou schal won in Þis bayly;

316 Me Þynk Þe burde fyrst aske leue,

& ȝet of graunt Þou myȝteȝ fayle;

Þou wylneȝ ouer Þys water to weue,

Er moste Þou ceuer to oÞer counsayl,

320 Þy corse in clot mot calder keue,

For hit watȝ for-garte, at paradys greue

Oure ȝore fader hit con mysseȝeme;

Þurȝ drwry deth boȝ vch ma dreue,

324 Er ouer Þys dam hym dryȝtyn deme.”

“Demeȝ Þou me,” quod I, “my swete

To dol agayn, Þenne I dowyne;

Now haf I fonte Þat I for-lete

328 Schal I efte for-go hit er euer I fyne?

Why schal I hit boÞe mysse & mete?

My precios perle dotȝ me gret pyne,

What serueȝ tresor, bot gareȝ men grete

332 When he hit schal efte with teneȝ tyne?

Now rech I neuer forto declyne,

Ne how fer of folde Þat man me fleme,

336 Bot durande doel what may men deme?”

ALL MUST ABIDE GOD’S DOOM.

“Thow demeȝ noȝt bot doel dystresse,”

Þenne sayde Þat wyȝt “why dotȝ Þou so?

For dyne of doel, of lureȝ lesse,

340 Ofte mony mon for-gos Þe mo;

Þe oȝte better Þy seluen blesse,

& loue ay god & wele & wo,

For anger gayneȝ Þe not a cresse.

344 Who nedeȝ schal Þole be not so Þro;

For Þoȝ Þou daunce as any do

Braundysch & bray Þy braÞeȝ breme,

When Þou no fyrre may, to ne fro,

348 Þou moste abyde Þat he schal deme.

Deme dryȝtyn, euer hym adyte,

Of Þe way a fote ne wyl he wryÞe,

Þy mendeȝ mounteȝ not a myte,

352 Þaȝ Þou for sorȝe be neuer blyÞe;

Stynst of Þy strot & fyne to flyte,

& sech hys blyÞe ful swefte & swyÞe,

Þy prayer may hys pyte byte,

356 Þat mercy schal hyr crafteȝ kyÞe;

Hys comforte may Þy langour lyÞe,

& Þy lureȝ of lyȝtly leme,

For marre oÞer madde, morne & myÞe,

360 Al lys in hym to dyȝt & deme.”

THE BEREAVED PARENT ASKS HIS CHILD’S PITY.

VII.

Thenne demed I to Þat damyselle,

Ne worÞe no wrath Þe vnto my lorde,

If rapely raue spornande in spelle.

364 My herte watȝ al with mysse remorde,

As wallande water gotȝ out of welle;

I do me ay in hys myserecorde.

Rebuke me neuer with wordeȝ felle,

368 Þaȝ I forloyne my dere endorde,

Bot lyÞeȝ me kyndely your coumforde,

Pytosly Þenkande vpon Þysse;

Of care & me ȝe made acorde,

372 Þat er watȝ grounde of alle my blysse;

My blysse, my bale ȝe han ben boÞe,

Bot much Þe bygger ȝet watȝ my mon,

Fro Þou watȝ wroken fro vch a woÞe.

376 I wyste neuer quere my perle watȝ gon;

Now I hit se, now leÞeȝ my loÞe,

& quen we departed we wern at on,

God forbede we be now wroÞe,

380 We meten so selden by stok oÞer ston;

Þaȝ cortaysly ȝe carp con,

I am bot mol & marereȝ mysse,

Bot crystes mersy & mary & Ion,

384 Þise arn Þe grounde of alle my blysse.

In blysse I se Þe blyÞely blent

& I a man al mornyf mate,

Ȝe take Þer-on ful lyttel tente,

388 Þaȝ I hente ofte harmeȝ hate.

Bot now I am here in your presente,

I wolde bysech wythouten debate,

Ȝe wolde me say in sobre asente,

392 What lyf ȝe lede, erly & late,

For I am ful fayn Þat your astate

Is worÞen to worschyp & wele I wysse,

Of alle my Ioy Þe hyȝe gate

396 Hit is in grounde of alle my blysse.” 

“Now blysse burne mot Þe bytyde;”

Þen sayde Þat lufsoum of lyth & lere,

“& welcum here to walk & byde,

400 For now Þy speche is to me dere;

Maysterful mod & hyȝe pryde

I hete Þe arn heterly hated here;

My lorde ne loueȝ not forto chyde,

404 For meke arn alle Þat woneȝ hym nere,

408 Þat is Þe grounde of alle my blysse.

SHE DESCRIBES HER MODE OF LIFE.

A blysful lyf Þou says I lede,

Þou woldeȝ knaw Þer-of Þe stage;

Þow wost wel when Þy perle con schede,

412 I watȝ ful ȝong & tender of age,

Bot my lorde Þe lombe, Þurȝ hys god-hede,

He toke my self to hys maryage,

Corounde me quene in blysse to brede,

416 In lenghe of dayeȝ Þat euer schal wage,

& sesed in alle hys herytage

Hys lef is, I am holy hysse;

Hys prese, hys prys & hys parage,

420 Is rote & grounde of alle my blysse.”

MARY IS THE EMPRESS OF HEAVEN.

VIII.

“Blysful,” quod I, “may Þys be trwe,

Dyspleseȝ not if I speke errour;

Art Þou Þe quene of heueneȝ blwe,

424 Þat al Þys worlde schal do honour?

We leuen on marye Þat grace of grewe,

Þat ber a barne of vyrgyn flour,

Þe croune fro hyr quo moȝt remwe,

428 Bot ho hir passed in sum fauour?

Now for synglerty o hyr dousour,

We calle hyr fenyx of arraby,

Þat freles fleȝe of hyr fasor,

432 Lyk to Þe quen of cortaysye.”

“Cortayse quen” Þenne s[a]yde Þat gaye,

Knelande to grounde, folde vp hyr face,

“Makeleȝ moder & myryest may,

436 Blessed bygynner of vch a grace!”

Þenne ros ho vp & con restay,

440 Bot supplantoreȝ none with-inne Þys place;

Þat emperise al heuenȝ hatȝ,

& vrÞe & helle in her bayly;

Of erytage ȝet non wyl ho chace,

444 For ho is quen of cortaysye.

ALL OTHERS ARE KINGS OR QUEENS.

The court of Þe kyndom of god alyue,

Hatȝ a property in hyt self beyng;

Alle Þat may Þer-inne aryue

448 Of alle Þe reme is quen oÞer kyng,

& neuer oÞer ȝet schal depryue,

Bot vchon fayn of oÞereȝ hafyng,

& wolde her corouneȝ wern worÞe Þo fyue,

452 If possyble were her mendyng.

Bot my lady of quom Iesu con spryng,

Ho haldeȝ Þe empyre ouer vus ful hyȝe,

& Þat dyspleseȝ non of oure gyng,

456 For ho is quene of cortaysye.

Of courtaysye, as saytȝ saynt poule,

Al arn we membreȝ of ihesu kryst,

As heued & arme & legg & naule,

460 Temen to hys body ful trwe & t[r]yste;

Ryȝt so is vch a krysten sawle,

A longande lym to Þe mayster of myste;

Þenne loke what hate oÞer any gawle,

464 Is tached oÞer tyȝed Þy lymmeȝ by-twyste,

Þy heued hatȝ nauÞer greme ne gryste,

On arme oÞer fynger, Þaȝ Þou ber byȝe;

So fare we alle wyth luf & lyste,

468 To kyng & quene by cortaysye.”

“Cortayse,” quod I, “I leue

& charyte grete be yow among,

Bot my speche Þat yow ne greue,

472  .....

Þy self in heuen ouer hyȝ Þou heue,

476 Þat hade endured in worlde stronge,

& lyued in penaunce hys lyueȝ longe,

With bodyly bale hym blysse to byye?

What more worschyp moȝt ho fonge,

480 Þen corounde be kyng by cortayse?

IX.

That cortayse is to fre of dede,

Ȝyf hyt be soth Þat Þou coneȝ saye,

Þou lyfed not two ȝer in oure Þede,

484 Þou cowÞeȝ neuer god nauÞer plese ne pray,

Ne neuer nawÞer pater ne crede,

& quen mad on Þe fyrst day!

I may not traw, so god me spede,

488 Þat god wolde wryÞe so wrange away;

Of countes damysel, par ma fay,

Wer fayr in heuen to halde asstate

AÞer elleȝ a lady of lasse aray,

492 Bot a quene, hit is to dere a date.”

All page references in Arabic numerals refer to the main text, located in a separate file. Parenthetical Roman numerals do not correspond to the editor’s section headings, but the text summary is generally similar to the appropriate headnote.

The 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,1 wherein the adventures of Sir Gawayne with the “Knight in Green,” are most ably and interestingly described.

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 supposed2 Scotch maker 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 Gret gest of Arthure and the Awntyre of Gawayne.

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, vi 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 gests is indeed very doubtful.

The Early English alliterative romance, entitled the Morte Arthure, published from a manuscript in Lincoln Cathedral by Mr. Halliwell,3 is considered by Sir F. Madden to be the veritable gest of Arthure 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,4 but seems to have been originally composed in one of the Northumbrian dialects spoken South of the Tweed.5

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 vii 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.6

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 Morte Arthure, and of course go far to prove that they do not proceed from the pen of the same writer.

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 Northern,7 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.”

Now, with regard to this subsequent transcription of the poems from the Scotch into a Midland dialect,—it cannot be viii 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 adapted transcriptions, 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 dialects a matter of investigation.

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.

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 ix passages which, as Sir F. Madden truly remarks, will bear comparison with any similar ones in the works of Douglas or Spenser.

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.

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 Morte Arthure (ed. Perry) and the Pistel of Sweet Susan.8 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.

The work is evidently a genuine West-Midland production,9 having most of the peculiarities of vocabulary and inflexions that are found in these Alliterative Poems.10 I feel greatly inclined to claim this English Troy Book as the production of the author of the Alliterative Poems; for, leaving out identical and by no means common expressions, we find the same power of x description,11 and the same tendency to inculcate moral and religious truths on all occasions where an opportunity presents itself.12 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.

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.

In the first poem, entitled by me “The Pearl”, 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

Of her death he says:

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 (p. 2). He falls asleep, and in a dream is carried xii 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) (p. 3). 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

Following the course of the stream, he perceives on the opposite side a crystal cliff, from which was reflected many a “royal ray” (p. 5).

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” (p. 8). However, now that he has found his Pearl, xiii he declares that he is no longer sorrowful, but would be a “joyful jeweller” were he allowed to cross the stream (p. 8). 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 (p. 10). 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 (p. 11). She describes to him her blissful state in heaven, where she reigns as a queen (p. 12). She explains to him that Mary is the Empress of Heaven, and all others kings and queens (p. 13). The parable of the labourers in the vineyard15 (pp. 15-18) 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 (p. 18). The maiden then speaks to her father of Christ and his one hundred and forty thousand brides (p. 24), and describes their blissful state (p. 26). She points out to him the heavenly Jerusalem, which was “all of bright burnished gold, gleaming like glass” (p. 29). Then the dreamer beholds a procession of virgins going to salute the Lamb, among whom he perceives his “little queen” (p. 33). On attempting to cross the stream to follow her, he is aroused from his dream (p. 35), 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 (p. 35).

The second poem, entitled “Cleanness,” 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.

After commending cleanness and its “fair forms,” the author relates (I.) The Parable of the Marriage Feast (p. 39); xiv (II.) the Fall of the Angels (p. 43); (III.) The wickedness of the antediluvian world (p. 44),

(IV.) The destruction of mankind by the Flood. When all were safely stowed in the ark,

The ark is described as “heaved on high with hurling streams.”

(V.) The Visit of Three Angels to Abraham (p. 54).

(VI.) The destruction of Sodom and Gomorrah (pp. 64, 65), including a description of the Dead Sea, the tarn (lake) of traitors (p. 66).

(VII.) The invasion of Jerusalem by Nebuchadnezzar (p. 71), and the captivity of Judah (p. 74).

The following is a paraphrase of the fourth and fifth verses in the twenty-fifth chapter of the second book of Kings.17

(VIII.) Belshazzar’s impious feast (pp. 76-80), and the handwriting upon the wall (pp. 80, 81).

(IX.) The story of Nebuchadnezzar’s pride and its punishment (pp. 84, 85), and the interpretation of the handwriting by Daniel (p. 86).

(X.) The invasion of Babylon by the Medes (pp. 87, 88).

The third poem, entitled “Patience,” 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.”

The following extract contains a description of the sea-storm which overtook Jonah:—

The writer, in concluding the story of Jonah, exhorts his readers to be “patient in pain and in joy.”

This brief outline 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.”22 To those readers who do not appreciate the importance xx 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, are equal to any similar passages in Douglas or Spenser.”23 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.

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.24 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.

The Glossary 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.

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.

REMARKS UPON THE DIALECT AND GRAMMAR.

Higden, writing about the year A.D. 1350, affirms, distinctly, the existence of three different forms of speech or dialects, namely, Southern, Midland, and Northern;25 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.

Garnett’s division is based upon peculiarities of pronunciation, which will be found well marked in the modern provincial dialects, and not upon any essential differences of inflexion that are to be found in our Early English manuscripts.26

The distinction between Southern and Western English was not at all required, as the Kentish Ayenbite of Inwyt (A.D. xxii 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.

A careful examination of our early literature leads us to adopt Higden’s classification as not only a convenient but a correct one.

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.

To state this test in the briefest manner, we may say that the Southern dialect employs -eth, the Midland -en, and the Northumbrian -es as the inflexion for all persons of the plural present indicative:27—

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.

In a pure specimen of the Southern dialect, we never find the Northumbrian -es. We do occasionally meet with the Midland -en, but only in those works written in localities where, from their geographical position, Southern and Midland forms would be intelligible.28 We might look in vain for the Southern plural -eth in a pure Northumbrian production, but might be more successful in finding the Midland -en in the third person plural; as, “thay arn” for “they ar”, or “thay er.”

In a work composed in Lincolnshire, Nottinghamshire, or Lancashire, we should be sure to find the occasional use of the Northumbrian plural -es.29

The inflexions of the verb in the singular are of value in enabling us to discriminate between the several varieties of the Midland dialect.30 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 follows:—

The West-Midland, corresponding to Garnett’s Mercian, instead of -est and -eth employs the inflexions that are so common in the so-called Northumbrian documents of the ninth and tenth centuries:—

The Northumbrian dialect takes -es in all three persons; but mostly drops it in the first person.

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 model:—

Inasmuch as the poems in the present volume exhibit the xxiv 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,31 the Boke of Curtasye,32 and Liber Cure Cocorum,33 present us with much broader forms, as -us for -es in the plural number and possessive case of nouns, -un for -en in the plural present indicative mood, in passive participles of irregular (or strong) verbs, -ud (-ut) for -ed in the past tense and passive participle of regular (or weak) verbs, and the pronominal forms hor (their), hom (them), for her and hem.34

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,35 and even in the Wickliffite version of the Scriptures.

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, xxv 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.

I. In Sir Amadace,36 lxviii. 9, there occurs the curious form miȝtus = miȝtes = mightst.37 As it appears only once throughout the Romances we might conclude that it is an error of the scribe for miȝtest, but when we find in the poems before us not only myȝteȝ = myȝtes (mightst), but woldeȝ = woldes (wouldst), coutheȝ = couthes (couldst), dippteȝ (dippedest), travayledeȝ (travelledst), etc., we are bound to consider miȝtus as a genuine form.38 In no other Early English works of the fourteenth century have I been able to find this peculiarity. It is very common in the Wohunge of Ure Lauerd (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,39 and in our poems we find the -es often dropped, xxvi so that we get two conjugations, which may be called the inflected and the uninflected form.

II. The next point of resemblance is the use of the verb SCHIN or SCHUN = schal = shall. It is still preserved in the modern dialect of Lancashire in combination with the adverb not, as schunnot40 = shall not. The following examples will serve to illustrate the use of this curious form:—

III. Nothing is more common in the present poems than the use of hit as a genitive = its, which is also found in the Lancashire romances.

The present dialect of Lancashire still retains the uninflected genitive:—

“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 it een for me) took th’ tit for it mother, on woud seawk her.”50 (Tummus and Meary).

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 xxviii 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.51

GRAMMATICAL DETAILS.

I. Nouns.

(1) Number.—The plurals generally end in -es (eȝ), -s. Yȝen (eyes), trumpen (trumpets), are the only plurals in -en that occur in the poems. In Robson’s Metrical Romances we find fellun (fells, hills,), dellun (dells), and eyren (eggs), in Liber Cure Cocorum. The plurals of brother, child, cow, doȝter (daughter), are brether, childer, kuy, and deȝter.

(2) Gender.—The names of inanimate things are in the neuter gender, as in modern English. The exceptions are deep (fem.), gladnes (fem.), and wind (masc.).

(3) Case.—The genitive singular (masc. and fem.) ends in -es (-eȝ), -s, but occasionally the inflexion is dropped; as, “Baltaȝar thewes,” the virtues of Balshazzar.52 If “honde myȝt,” “honde werk,” “hellen wombe,” are not compounds, we have instances of the final -e (en) which formed the genitive case of feminine nouns in the Southern English of the fourteenth century.

In the phrases “besten blod” (blood of beasts), “blonkken bak” (back of horses), “chyldryn fader” (father of children), “nakeryn noyse” (noise of nakers), we have a trace of the genitive plural -ene (A.S. -ena).

II. Adjectives.

(1) Number.—The final e, as a sign of the plural, is very frequently dropped. Pover (poor), sturn (strong), make the xxix plurals poveren and sturnen. In the phrase, “Þo syȝteȝ so quykeȝ”53 (those sights so living), the -eȝ (= -es) 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.

The Article exhibits the following forms:

This forms the plural thise and thes (these). That is always used as a demonstrative, and never as the neuter of the article; its plural is thos (those).55 The older form, theos = these, shows that the e is not a sign of the plural, as many English grammarians have asserted.

(2) Degrees of Comparison.—The comparative degree ends in -er, and the superlative in -est.

Adjectives and adverbs terminating in the syllable -lyche form the comparative in -loker and the superlative in -lokest; as, positive uglyche (= ugly), comp. ugloker, superl. uglokest. The long vowel of the positive is often shortened in the comp. and superl., as in the modern English late, latter, last.

The following irregular forms are occasionally met with:

Numerals.—Twinne and thrinne occur for two and three. The ordinal numbers are—

The Northumbrian numerals corresponding to sevenÞe, aȝtÞe, nente, tenÞe, are sevend, aghtend, neghend, tend. The Southern forms end in -the, as sevenÞe, eiȝteoÞe, nyÞe, teoÞe (tyÞe).

III. Pronouns.

In the following poems we find the pronoun ho, she, still keeping its ground against the Northumbrian scho.56 Ho is identical with the modern Lancashire hoo (or huh as it is sometimes written), which in some parts of England has nearly the same pronunciation as the accusative her.

The Northumbrian thay (they) has displaced the older Midland he, corresponding to the Southern pronoun hii, hi (A.S. hÍ). Hores and thayreȝ (theirs) occasionally occur for here.57 The genitives in -es, 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.

“He swenges me Þys,” etc. = He himself sends this, etc.58

“Now sweȝe me Þider swyftly” = Now go (thou) thyself thither swiftly.59

“He meteȝ me Þis good man” = He himself meets this good man.60

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 me, which he says is nothing more than the dativus ethicus.

The me 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 me = Fr. one. He says that in Old Frisian the indefinite pronoun has two forms, min and me, “the latter of which seems to be always used as a suffix to the verb, as momme, one may; somme, one should,” etc. The 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 fact 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 xxxii Londoners: “and so says me I;” “well what does me I;” “so says me she;” “then away goes me he;” “what does me they?” Here it is obvious that me is the indeterminate pronoun, and represents the subject, while the personal pronoun is put in apposition to it, so that “says me I” is equivalent to “one says, that is I,”61. These idioms are not unknown to our literature.

(1) ‘But as he was by diverse principall young gentlemen, to his no small glorie, lifted up on horseback, comes me a page of Amphialus, etc.’ Pembr. Arcad. B. iii.

Other idioms, which have generally been confounded with those last mentioned, have the indeterminate pronoun preceded by a nominative absolute.

(2) ‘I, having been acquainted with the smell before, knew it was Crab, and—goes me to the fellow, who whips the dogs,’ etc. Two Gent. of Verona, 4. 4.

(3) ‘He thrusts me himself into the company of three or four gentlemanlike dogs under the Duke’s Table.’ Ib. See B. Jons. Ev. Man in his Humour, 3, 1.

Johnson considers the me 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.

With these instances of the use of me (indef. or reflexive), the reader may compare the following:

All page references in Arabic numerals refer to the main text, located in a separate file. Parenthetical Roman numerals do not correspond to the editor’s section headings, but the text summary is generally similar to the appropriate headnote.

The 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,1 wherein the adventures of Sir Gawayne with the “Knight in Green,” are most ably and interestingly described.

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 supposed2 Scotch maker 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 Gret gest of Arthure and the Awntyre of Gawayne.

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, vi 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 gests is indeed very doubtful.

The Early English alliterative romance, entitled the Morte Arthure, published from a manuscript in Lincoln Cathedral by Mr. Halliwell,3 is considered by Sir F. Madden to be the veritable gest of Arthure 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,4 but seems to have been originally composed in one of the Northumbrian dialects spoken South of the Tweed.5

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 vii 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.6

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 Morte Arthure, and of course go far to prove that they do not proceed from the pen of the same writer.

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 Northern,7 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.”

Now, with regard to this subsequent transcription of the poems from the Scotch into a Midland dialect,—it cannot be viii 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 adapted transcriptions, 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 dialects a matter of investigation.

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.

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 ix passages which, as Sir F. Madden truly remarks, will bear comparison with any similar ones in the works of Douglas or Spenser.

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.

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 Morte Arthure (ed. Perry) and the Pistel of Sweet Susan.8 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.

The work is evidently a genuine West-Midland production,9 having most of the peculiarities of vocabulary and inflexions that are found in these Alliterative Poems.10 I feel greatly inclined to claim this English Troy Book as the production of the author of the Alliterative Poems; for, leaving out identical and by no means common expressions, we find the same power of x description,11 and the same tendency to inculcate moral and religious truths on all occasions where an opportunity presents itself.12 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.

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.

In the first poem, entitled by me “The Pearl”, 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

Of her death he says:

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 (p. 2). He falls asleep, and in a dream is carried xii 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) (p. 3). 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

Following the course of the stream, he perceives on the opposite side a crystal cliff, from which was reflected many a “royal ray” (p. 5).

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” (p. 8). However, now that he has found his Pearl, xiii he declares that he is no longer sorrowful, but would be a “joyful jeweller” were he allowed to cross the stream (p. 8). 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 (p. 10). 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 (p. 11). She describes to him her blissful state in heaven, where she reigns as a queen (p. 12). She explains to him that Mary is the Empress of Heaven, and all others kings and queens (p. 13). The parable of the labourers in the vineyard15 (pp. 15-18) 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 (p. 18). The maiden then speaks to her father of Christ and his one hundred and forty thousand brides (p. 24), and describes their blissful state (p. 26). She points out to him the heavenly Jerusalem, which was “all of bright burnished gold, gleaming like glass” (p. 29). Then the dreamer beholds a procession of virgins going to salute the Lamb, among whom he perceives his “little queen” (p. 33). On attempting to cross the stream to follow her, he is aroused from his dream (p. 35), 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 (p. 35).

The second poem, entitled “Cleanness,” 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.

After commending cleanness and its “fair forms,” the author relates (I.) The Parable of the Marriage Feast (p. 39); xiv (II.) the Fall of the Angels (p. 43); (III.) The wickedness of the antediluvian world (p. 44),

(IV.) The destruction of mankind by the Flood. When all were safely stowed in the ark,

The ark is described as “heaved on high with hurling streams.”

(V.) The Visit of Three Angels to Abraham (p. 54).

(VI.) The destruction of Sodom and Gomorrah (pp. 64, 65), including a description of the Dead Sea, the tarn (lake) of traitors (p. 66).

(VII.) The invasion of Jerusalem by Nebuchadnezzar (p. 71), and the captivity of Judah (p. 74).

The following is a paraphrase of the fourth and fifth verses in the twenty-fifth chapter of the second book of Kings.17

(VIII.) Belshazzar’s impious feast (pp. 76-80), and the handwriting upon the wall (pp. 80, 81).

(IX.) The story of Nebuchadnezzar’s pride and its punishment (pp. 84, 85), and the interpretation of the handwriting by Daniel (p. 86).

(X.) The invasion of Babylon by the Medes (pp. 87, 88).

The third poem, entitled “Patience,” 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.”

The following extract contains a description of the sea-storm which overtook Jonah:—

The writer, in concluding the story of Jonah, exhorts his readers to be “patient in pain and in joy.”

This brief outline 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.”22 To those readers who do not appreciate the importance xx 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, are equal to any similar passages in Douglas or Spenser.”23 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.

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.24 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.

The Glossary 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.

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.

REMARKS UPON THE DIALECT AND GRAMMAR.

Higden, writing about the year A.D. 1350, affirms, distinctly, the existence of three different forms of speech or dialects, namely, Southern, Midland, and Northern;25 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.

Garnett’s division is based upon peculiarities of pronunciation, which will be found well marked in the modern provincial dialects, and not upon any essential differences of inflexion that are to be found in our Early English manuscripts.26

The distinction between Southern and Western English was not at all required, as the Kentish Ayenbite of Inwyt (A.D. xxii 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.

A careful examination of our early literature leads us to adopt Higden’s classification as not only a convenient but a correct one.

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.

To state this test in the briefest manner, we may say that the Southern dialect employs -eth, the Midland -en, and the Northumbrian -es as the inflexion for all persons of the plural present indicative:27—

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.

In a pure specimen of the Southern dialect, we never find the Northumbrian -es. We do occasionally meet with the Midland -en, but only in those works written in localities where, from their geographical position, Southern and Midland forms would be intelligible.28 We might look in vain for the Southern plural -eth in a pure Northumbrian production, but might be more successful in finding the Midland -en in the third person plural; as, “thay arn” for “they ar”, or “thay er.”

In a work composed in Lincolnshire, Nottinghamshire, or Lancashire, we should be sure to find the occasional use of the Northumbrian plural -es.29

The inflexions of the verb in the singular are of value in enabling us to discriminate between the several varieties of the Midland dialect.30 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 follows:—

The West-Midland, corresponding to Garnett’s Mercian, instead of -est and -eth employs the inflexions that are so common in the so-called Northumbrian documents of the ninth and tenth centuries:—

The Northumbrian dialect takes -es in all three persons; but mostly drops it in the first person.

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 model:—

Inasmuch as the poems in the present volume exhibit the xxiv 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,31 the Boke of Curtasye,32 and Liber Cure Cocorum,33 present us with much broader forms, as -us for -es in the plural number and possessive case of nouns, -un for -en in the plural present indicative mood, in passive participles of irregular (or strong) verbs, -ud (-ut) for -ed in the past tense and passive participle of regular (or weak) verbs, and the pronominal forms hor (their), hom (them), for her and hem.34

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,35 and even in the Wickliffite version of the Scriptures.

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, xxv 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.

I. In Sir Amadace,36 lxviii. 9, there occurs the curious form miȝtus = miȝtes = mightst.37 As it appears only once throughout the Romances we might conclude that it is an error of the scribe for miȝtest, but when we find in the poems before us not only myȝteȝ = myȝtes (mightst), but woldeȝ = woldes (wouldst), coutheȝ = couthes (couldst), dippteȝ (dippedest), travayledeȝ (travelledst), etc., we are bound to consider miȝtus as a genuine form.38 In no other Early English works of the fourteenth century have I been able to find this peculiarity. It is very common in the Wohunge of Ure Lauerd (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,39 and in our poems we find the -es often dropped, xxvi so that we get two conjugations, which may be called the inflected and the uninflected form.

II. The next point of resemblance is the use of the verb SCHIN or SCHUN = schal = shall. It is still preserved in the modern dialect of Lancashire in combination with the adverb not, as schunnot40 = shall not. The following examples will serve to illustrate the use of this curious form:—

III. Nothing is more common in the present poems than the use of hit as a genitive = its, which is also found in the Lancashire romances.

The present dialect of Lancashire still retains the uninflected genitive:—

“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 it een for me) took th’ tit for it mother, on woud seawk her.”50 (Tummus and Meary).

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 xxviii 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.51

GRAMMATICAL DETAILS.

I. Nouns.

(1) Number.—The plurals generally end in -es (eȝ), -s. Yȝen (eyes), trumpen (trumpets), are the only plurals in -en that occur in the poems. In Robson’s Metrical Romances we find fellun (fells, hills,), dellun (dells), and eyren (eggs), in Liber Cure Cocorum. The plurals of brother, child, cow, doȝter (daughter), are brether, childer, kuy, and deȝter.

(2) Gender.—The names of inanimate things are in the neuter gender, as in modern English. The exceptions are deep (fem.), gladnes (fem.), and wind (masc.).

(3) Case.—The genitive singular (masc. and fem.) ends in -es (-eȝ), -s, but occasionally the inflexion is dropped; as, “Baltaȝar thewes,” the virtues of Balshazzar.52 If “honde myȝt,” “honde werk,” “hellen wombe,” are not compounds, we have instances of the final -e (en) which formed the genitive case of feminine nouns in the Southern English of the fourteenth century.

In the phrases “besten blod” (blood of beasts), “blonkken bak” (back of horses), “chyldryn fader” (father of children), “nakeryn noyse” (noise of nakers), we have a trace of the genitive plural -ene (A.S. -ena).

II. Adjectives.

(1) Number.—The final e, as a sign of the plural, is very frequently dropped. Pover (poor), sturn (strong), make the xxix plurals poveren and sturnen. In the phrase, “Þo syȝteȝ so quykeȝ”53 (those sights so living), the -eȝ (= -es) 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.

The Article exhibits the following forms:

This forms the plural thise and thes (these). That is always used as a demonstrative, and never as the neuter of the article; its plural is thos (those).55 The older form, theos = these, shows that the e is not a sign of the plural, as many English grammarians have asserted.

(2) Degrees of Comparison.—The comparative degree ends in -er, and the superlative in -est.

Adjectives and adverbs terminating in the syllable -lyche form the comparative in -loker and the superlative in -lokest; as, positive uglyche (= ugly), comp. ugloker, superl. uglokest. The long vowel of the positive is often shortened in the comp. and superl., as in the modern English late, latter, last.

The following irregular forms are occasionally met with:

Numerals.—Twinne and thrinne occur for two and three. The ordinal numbers are—

The Northumbrian numerals corresponding to sevenÞe, aȝtÞe, nente, tenÞe, are sevend, aghtend, neghend, tend. The Southern forms end in -the, as sevenÞe, eiȝteoÞe, nyÞe, teoÞe (tyÞe).

III. Pronouns.

In the following poems we find the pronoun ho, she, still keeping its ground against the Northumbrian scho.56 Ho is identical with the modern Lancashire hoo (or huh as it is sometimes written), which in some parts of England has nearly the same pronunciation as the accusative her.

The Northumbrian thay (they) has displaced the older Midland he, corresponding to the Southern pronoun hii, hi (A.S. hÍ). Hores and thayreȝ (theirs) occasionally occur for here.57 The genitives in -es, 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.

“He swenges me Þys,” etc. = He himself sends this, etc.58

“Now sweȝe me Þider swyftly” = Now go (thou) thyself thither swiftly.59

“He meteȝ me Þis good man” = He himself meets this good man.60

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 me, which he says is nothing more than the dativus ethicus.

The me 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 me = Fr. one. He says that in Old Frisian the indefinite pronoun has two forms, min and me, “the latter of which seems to be always used as a suffix to the verb, as momme, one may; somme, one should,” etc. The 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 fact 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 xxxii Londoners: “and so says me I;” “well what does me I;” “so says me she;” “then away goes me he;” “what does me they?” Here it is obvious that me is the indeterminate pronoun, and represents the subject, while the personal pronoun is put in apposition to it, so that “says me I” is equivalent to “one says, that is I,”61. These idioms are not unknown to our literature.

(1) ‘But as he was by diverse principall young gentlemen, to his no small glorie, lifted up on horseback, comes me a page of Amphialus, etc.’ Pembr. Arcad. B. iii.

Other idioms, which have generally been confounded with those last mentioned, have the indeterminate pronoun preceded by a nominative absolute.

(2) ‘I, having been acquainted with the smell before, knew it was Crab, and—goes me to the fellow, who whips the dogs,’ etc. Two Gent. of Verona, 4. 4.

(3) ‘He thrusts me himself into the company of three or four gentlemanlike dogs under the Duke’s Table.’ Ib. See B. Jons. Ev. Man in his Humour, 3, 1.

Johnson considers the me 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.

With these instances of the use of me (indef. or reflexive), the reader may compare the following:

“He fond Horn in arme

On Rymenhilde barme.”

(K. Horn, p. 294.)

Barnage, childhood, B. 517.

Barne, child, son, A. 426; barneȝ, A. 1040; B. 1085. Sc. bairn. A.S. bearn.

Baronage, nobility, B. 1424. See T. B. 211.

Barouneȝ, barons, B. 82, 1398.

Barst, burst, B. 963.

Bassyn, basin, B. 1145, 1278.

Bastele, B. 1187. “Bastyle of a castelle or cytye. Fascennia.” (Prompt. Parv.)

Basyng, base, A. 992.

Bated, abated, B. 440.

Bater, B. 1416.

Batelment, B. 1459.

BaÞe, dip, plunge, B. 1248.

Bausen, badger, B. 392. “Bawstone or bawsone, or a gray, Taxus, melota.” (Prompt. Parv.)

Bawelyne, bow-line, B. 417.

Bay, recess, B. 1392. The original meaning seems to be opening of any kind. Cf. bay, space in a building between two main beams (Forby).

Bayly, dominion, A. 315, 442.

Bayn, adv. readily, willingly, A. 807, A. 1511; ready, B. 136. N.Prov.E. bane, near, convenient. “Beyn or plyaunte. Flexibilis.” (Prompt. Parv.) Bainly, readily, T. B. 135.

Baysment, abasement, A. 174.

Bayte, B. 55. O.N. beita.

Baytayled, fortified, B. 1183.

BeautÉ, A. 749.

Beke, beak, B. 487.

Bekyrande, sb. bikering, fighting, B. 1474. “Bekyryn or fyghtyn (bikkeringe), Pugno, dimico.” (Prompt. Parv.)

Bele, vb. boil, A. 18. N.Prov.E. bele.

Bem, beam, ray, “bem of Þe brode heuen,” B. 603.

Bem, tree, A. 814.

Bench, seat, B. 130, 854.

Bene, fair, A. 198.

Bene, adj. kind, merciful, C. 418.

Bent, field, plain, B. 532, 1675. See T. B. 1192.

Ber, bore, pret. of bere, to bear, A. 426, B. 1480.

Berdles, beardless, B. 789.

Bereste, breast, A. 854.

Berfray, watch tower, B. 1187. O.F. berfroi, beffroit. Fr. beffroir. M.Lat. belfredum. The modern English belfry is a corruption of berfray.

Beryl, A. 110, 1011.

Beryng, condition, state, behaviour, B. 1060, 1228.

Best, beast, B. 288, 351.

Beste, sb. best (one), A. 279.

Besten, of beasts, B. 1446.

Bete, (the fire) mend, repair, kindle, A. 627, p.p. bet, B. 1012. Prov.E. beat, to mend, repair. A.S. bÉtan, (1) to improve, repair; (2) joined with fyr to mend a fire, to light or make a fire, to kindle.

Bete, save, A. 757. A.S. bÉtan, to remedy. Du. boeten, mend, fine, expiate.

Betȝ = bes, shall be, A. 611. Present tense with future signification.

Beuerage, drink, liquor, B. 1433, 123 1717. Fr. beuvrage, from Lat. bibere.

Bewar, beware, B. 292.

BewtÉ, A. 765.

Beyng, sb. being, existence, A. 446.

Bibbe, sip, drink, B. 1499. Prov.E. beb. Du. biberen, to drink much.

Bicalt, becalled, called from, A. 1163.

Bi-cnv, acknowledged, B. 1327.

Bidde, bide, abide. C. 51.

Biden, p.p. of bide = abide, B. 616.

Bifore, before, A. 49.

Bigge, build, B. 1666. A.Sax. byggan. Icel. byggia. O.Sw. bygga, build, also inhabit.

Bigly, strongly, C. 321. See T. B. 904.

Bigonne, began, B. 123.

Bihynde, behind, B. 918.

Biholde, behold, B. 150.

Bihyȝt, promised, C. 29.

Bikenne, give, hand over, B. 1296.

Bilde, built, B. 1392.

Bileue, remain, B. 1549.

Bilooghe, below, B. 116.

Birle, pour out, B. 1511. Prov.E. burl. A.S. byrelian, to give to drink.

Birolled, berolled, B. 959.

Biseche, beseech, B. 614.

Bisoȝten, besought, C. 375.

Bispeke, speak, C. 169.

Bisyde, beside, B. 926.

Bi-talt, aroused, A. 1161. A.S. tealtian, tealtrian; (1) to tilt, shake; (2) to be in danger. William of Shoreham uses one form of this word:

Biteche, give up to, entrust to, B. 871; pret. bitaȝt.

Bited, bit, C. 373.

BiÞoȝt, bethought, B. 125.

Bityde, betide; pret. bitydde, C. 61. 

Bityde, befall, B. 1804.

Blade, B. 1105.

Blake, black, A. 945; B. 747, 1449.

Blame, vb. A. 275; A. 877, 1661; sb. B. 43.

Blande, “in blande,” together, B. 885. See blende.

Blayke, yellow, A. 27. Brockett has blayke with the sense of yellow, of a golden colour. “Bleyke of coloure.” Pallidus, subalbus. (Prompt. Parv.)

Blaȝt, white, A. 212, p.p. of bleach, just as raȝt is of reach. Sc. blaucht.

Ble, colour, complexion, A. 76, 212; B. 791, 1759. Prov.E. ble, bly. A.S. bleo.

Bleaunt, a robe of fine linen, A. 163. O.Eng. bliant, fine linen, W. llian, linen. The bl is merely an imitation of the Celtic ll.

Blench, stratagem, device, B. 1202. O.N. blekkia.

Blemyst, blemished, B. 1421. O.Fr. blesmir.

Blo = bla, blue, livid, pale. A. 1017; B. 134. O.H.G. blao, N.Fris. bla. O.Sc. bla.

Blober,
Bluber,

= blubber, waves, C. 221, 266. Prov.E. blubber, bubble; blob, bleb, a bubble. “Blobure (blobyre, P.) Burbulium.” (Prompt. Parv.) “Blober upon water (or bubble) bouteillis.” (Palsg.) “The water blubbers up.” (Baker, Northamptonshire Glossary.)

Blod, a child, B. 686. Supposing the bl to represent ll we might refer it to the W. llawd, a youth, 124b lad. O.Sw. g-lott. Cf. bliant, bleant, from W. llian.

Blod, blood, A. 650.

Blok, space, C. 272.

Blomeȝ, blooms, flowers, A. 27.

Blonk, horse, pl. blonkeȝ, B. 87, 1392. See T. B. 2371.

Blonkken, gen. pl. of horses, B. 1412.

Blosched, looked, C. 343. See Blusch.

Blose = blese, blaze, flame. A. 911. Icel. blossi, a flame. A.S. blaese, a torch. Dan. blus.

Blot, spot, blemish, defilement, A. 782.

“Ye ben worthy, he saide, to be blottede and spottede, foulede and defoulede with fenne (mire) and with drit of water (luto inquinari), and of blode, that in tyme of werre ne were nat be bespreynt, ne be wette with ennemyes blode.” (Quoted by Way, from Roy. MS. 18, A. xii. B. iii. c. 10.)

Blubrande = blubbering, bubbling, foaming, B. 1017. See blobber.

Blunt, rushed, C. 272.

Blunt, faint, A. 176. Icel. blunda, to sleep. Sw. blunda, to close the eyes. Dan. blende, to dazzle. Cf. “Blunt of wytte. Hebes.” (Prompt. Parv.)

Blusch,
Blusche,

look, glance, A. 980, 1083, B. 904, 998, 1537. N.Prov.E. blush, resemblance. Cf. “At the first blush,” at the first appearance, at first sight. Dan. blusse, to blaze, flame, glow. There seems to be an etymological connection with words signifying to look, glow, blaze, shine, etc.

Bluster, B. 886, to wander or stray about.

Blwe, blue, A. 423.

Blwe, blew, B. 885.

Blykked, shone, B. 603. A.S. blican, glitter, dazzle. Ger. blicken, shine, glance, look. Du. blicken, glitter; blick, a flash.

Blyknande, shining, B. 1467.

Blykned = blaykned, became black, B. 1759.

Blynde, to become faded, dull, B. 1126.

Blynne, cease, A. 729, B. 440, 1661, 1812. A.S. blinnan (for be-linnan).

Blysnande, shining, A. 163. See blusnande.

Blysned, shone, A. 1048.

BlyÞe, joy, A. 354. Blythe is still used as a noun in the North of England.

BlyÞely, joyfully, A. 385.

Bobaunce, boasting, Fr. bobance, B. 179, 1712.

Bod = abode, pret. of bide = abide, A. 62; A. 982; wait for, B. 467.

Bodworde, message, B. 473. See T. B. 6262.

Bodyly, A. 478.

Boffet, blast, B. 885.

Boffeteȝ, buffets, blows, A. 809; boffet, B. 43.

Bok-lered, book-learned, B. 1551.

Bold, bad, A. 806. A.S. bÁld, audacious. Sw. bÅld, proud, haughty, warlike. In early English writers the term was applied indifferently to men and women of bad character.

Bol, bull, A. 1682; pl. boleȝ, B. 55.

Bole, the round stem of a tree, A. 622. It enters also into composition in the word throte-bolle. Pl. bolleȝ, B. 76. Icel. bolr. Dan. bul. Sw. bÅl, trunk of a man’s body. See T. B. 4960.

Bolle, bowl, B. 1145, 1511. A.S. bolla. Icel. bolli.

Bolled, embossed, B. 1464.

Bolnande, swelling, B. 179.

Bolne, swell, A. 18; B. 363. Icel. bolgna. Sw. bulna, to swell. In some early English works we find bollen (ibolȝe) the p.p. of a verb bolȝe = bulge, swell. “Bolnyn, Tumeo, turgeo, tumesco.” (Prompt. Parv.)

Bonc, bank, A. 907.

Bone, prayer, petition, command (= boon). A. 912, 916; B. 826. A.S. ben. S.Sax. bone. O.N. bÓn rogatio. “Bone or graunte of prayer (boone P.) Precarium, peticio.” (Prompt. Parv.)

Bone, good, B. 28.

BonertÉ, goodness, A. 762.

Bongre, willingly, agreeably to, C. 56. See Gre.

Bonk, bank, hill, A. 931, B. 379. Ger. bank, bench, bank of a river, etc.

Bor, bower, chamber, dwelling, A. 964. A.S. bur, a chamber. Icel. bur. N.Prov.E. boor, a parlour.

Bore, born, A. 239, B. 584.

Borde, table, B. 1433, 1717.

Borde, board of a vessel, A. 470; B. 211.

Boreȝ, boars, B. 55.

Borges, burgess; sometimes written burgeise, C. 366. O.Fr. bourgeois, from Lat. burgensis.

Borgoun, to burgeon, bud forth, B. 1042. Fr. bourgeon, bourjon, young bud or sprig. Prov. Fr. boure, bud. Fr. abourioner, to bud or sprout forth. See T. B. 4964.

Borlych, burly, B. 1488.

Borne = burne, stream, water, A. 482; borneȝ heued, head of the stream, source, B. 974. A.S. burne. Goth. brunna. Icel. brunnr. G. born, brunnen, well, spring.

Bornyst, burnished, A. 77, 220, B. 554. Fr. brunir, to polish.

Boroȝt = broȝt, brought, A. 628.

Bos = bus = behoves, B. 687.

Bosk, take, A. 351; boske to, go to, B. 834. See Busk.

Boskeȝ, bushes, B. 322. Icel. buskr.

Bosum, bay, C. 107. Cf. N.Prov.E. bosom, the eddy.

(1) “Suche a touche in that tyde, he taȝte (Gauan) hym in tene

And gurdes me, Sir Gallerun, evyn grovelonges on grounde.”
(The Anturs of Arther at the Tarnewathelan, p. 22.)

(2) There at the dore he (the Fox) cast me downe hys pack.
Spenser’s Shep. Cal. ed. Morris, p. 460, l. 243.

Cp. Cut me, i. Hen. IV. Act 4. Sc. 4; steps me, Ib. Act 4, Sc. 3; comes me, runs me, Ib. Act 3, Sc. 1.

IV. Verbs.

Infinitive Mood.—The -en of the infinitive is frequently dropped, without even a final -e to mark its omission. Infinitives in -y, as louy (love), schony (shun), spotty (spot, defile), styry (stir), wony (dwell), occasionally occur, and probably owe their appearance to the author’s acquaintance with Southern literature.62

Indicative Mood.—The final e often disappears in the first and third persons of the preterite tense, as I loved, he loved, instead of I lovede, he lovede.

Participles.—The active or imperfect participle ends in -ande63 and never in -ing.

The participle passive or perfect of regular verbs terminates in -ed; of irregular verbs in -en. Occasionally we find the n disappearing, as bigonn-e, fund-e, runn-e, wonn-e, where perhaps it is represented by the final -e.

The prefix -i or -y (A.S. -ge) occurs twice only in the poems, in i-chose (chosen), and i-brad (extended); but, while common enough in the Southern and Midland dialects, it seems to be wholly unknown to the Northumbrian speech.

The verb in the West-Midland dialect is conjugated according to the following model:—

I.—Conjugation of Regular Verbs.

II.—Conjugation of Irregular Verbs.

Very frequently the e in the second person is dropped,65 as in the Northumbrian dialect, but we never meet with such forms as carves (= carvedest), rannes (= ranst), smotes (= smotest), etc.

The Northumbrian dialect does not preserve any separate form for the preterite plural, and this distinction is not always observed in the present poems.

V. Adverbs.

The Norse forms hethen, quethen (whethen),66 and thethen, seem to have been known to the West-Midland dialect as well as the Saxon forms hence (hennes, henne), whence (whennes), thence (thennes), etc.A The adverbs in-blande (together), in-lyche (alike), in-mydde (amidst), in-monge (amongst), are due, perhaps, to Scandinavian influence.

VI. Prepositions.

The preposition from never occurs in the following poems; it is replaced by fro, fra (Northumbrian), O.N. frÁ.

VII. Conjunctions.

The conjunction if takes a negative form; as, nif = if not, unless.

DESCRIPTION OF THE MANUSCRIPT
USED IN THE PRESENT VOLUME.67

Cotton MS. Nero A. x. 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.

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.

The second portion is that we are more immediately concerned with. It is described by James as “Vetus poema Anglicanum, in quo sub insomnii figmento multa ad religionem et mores spectantia explicantur,” 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.

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.

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.
xlii 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.

The poem commences on fol. 39, and consists of one hundred and one twelve-line stanzas,68 every five of which conclude with the same line, and are connected by the iteration of a leading expression. It concludes on fol. 55b.

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.

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.

It is occupied wholly with the story of Jonas, as applicable to the praise of meekness and patience; and ends on fol. 90.

4. The Romance intitled Sir Gawayne and the Grene Knyȝt 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. 124b., and at xliii 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:

CONTRACTIONS USED IN THE GLOSSARY.

The letters A. B. C. refer severally to the poems, entitled by me, “The Pearl,” “Cleanness,” and “Patience.”

“Þer is no date of hys god-nesse,”

Þen sayde to me Þat worÞy wyȝte,

“For al is trawÞe Þat he con dresse,

496 & he may do no Þynk bot ryȝt,

As mathew meleȝ in your messe,

In sothfol gospel of god al-myȝt

In sample he can ful grayÞely gesse,

500 & lykneȝ hit to heuen lyȝte.”

“My regne, he saytȝ, is lyk on hyȝt,

To a lorde Þat hade a uyne I wate,

Of tyme of ȝere Þe terme watȝ tyȝt,

504 To labor vyne watȝ dere Þe date,

THE PARABLE OF THE LABOURERS IN THE VINEYARD.

Þat date of ȝere wel knawe Þys hyne;

508 & fyndeȝ Þer summe to hys porpos,

Into acorde Þay con de-clyne,

For a penÉ on a day & forth Þay gotȝ,

WryÞen & worchen & don gret pyne,

512 Keruen & caggen & man hit clos;

Aboute vnder, Þe lorde to marked totȝ

& ydel men stande he fyndeȝ Þer-ate,

“Why stande ȝe ydel” he sayde to Þos,

516 Ne knawe ȝe of Þis day no date?

“Er date of daye hider arn we wonne,”

So watȝ al samen her answar soȝt;

“We haf standen her syn ros Þe sunne,

520 & no mon byddeȝ vus do, ryȝt noȝt.”

“Gos in-to my vyne, dotȝ Þat ȝe conne.”

So sayde Þe lorde & made hit toȝt.

“What resonabele hyre be naȝt be runne,

524 I yow pray in dede & Þoȝte.”

Þay wente in to Þe vyne & wroȝte,

& al day Þe lorde Þus ȝede his gate,

& nw men to hys vyne he broȝte;

528 Wel neȝ wyl day watȝ passed date,

At Þe day of date of euen-songe,

On oure byfore Þe sonne go doun

He seȝ Þer ydel men ful stronge

532 & sa[y]de to hem with sobre soun;

“Wy stonde ȝe ydel Þise dayeȝ longe.”

Þay sayden her hyre watȝ nawhere boun.

“Gotȝ to my vyne ȝemen ȝonge

536 & wyrkeȝ & dotȝ Þat at ȝe moun.”

Sone Þe worlde by-com wel broun,

Þe sunne watȝ doun & hit wex late;

To take her hyre he mad sumoun;

540 Þe day watȝ al apassed date.

X.

The date of Þe daye Þe lorde con knaw,

Called to Þe reue “lede pay Þe meyny,

Gyf hem Þe hyre Þat I hem owe,

544 & fyrre, Þat non me may repreue,

Set hem alle vpon a rawe,

& gyf vchon in-lyche a peny.

Bygyn at Þe laste Þat standeȝ lowe,

548 Tyl to Þe fyrste Þat Þou atteny;”

& Þenne Þe fyrst by-gonne to pleny

& sayden Þat Þay hade trauayled sore,

Þese bot an [h]oure hem con streny,

552 Vus Þynk vus oȝe to take more.

More haf we serued vus Þynk so,

Þat suffred han Þe dayeȝ hete,

Þenn Þyse Þat wroȝt[e] not houreȝ two,

556 & Þou dotȝ hem vus to counterfete.

Þenne sayde Þe lorde to on of Þo,

“Frende no wrang I wyl Þe ȝete,

Take Þat is Þyn owne & go;

560 & I hyred Þe for a peny a grete,

Quy bygynneȝ Þou now to Þrete;

Watȝ not a penÉ Þy couenaunt Þore?

Fyrre Þen couenaunde is noȝt to plete,

564 Wy schalte Þou Þenne ask more?

More weÞer louyly is me my gyfte

To do wyth myn quat so me lykeȝ?

OÞer elleȝ Þyn yȝe to lyÞer is lyfte,

568 For I am goude & non by-swykeȝ.”

“Þus schal I,” quod kryste, “hit skyfte,

Þe laste schal be Þe fyrst Þat strykeȝ,

& Þe fyrst Þe laste, be he neuer so swyft,

572 For mony ben calle[d] Þaȝ fewe be mykeȝ.”

Þus pore men her part ay pykeȝ,

Þaȝ Þay com late & lyttel wore,

& Þaȝ her sweng wyth lyttel at-slykeȝ,

576 Þe merci of god is much Þe more.

THE APPLICATION OF THE PARABLE.

“More haf I of ioye & blysse here-inne,

Of ladyschyp gret & lyueȝ blom,

Þen alle Þe wyȝeȝ in Þe worlde myȝt wynne

580 By Þe way of ryȝt to aske dome.

WheÞer wel nygh[t] now I con bygynne,

In euentyde in-to Þe vyne I come,

Fyrst of my hyre my lorde con mynne,

584 I watȝ payed anon of al & sum;

Ȝet oÞer Þer werne Þat toke more tom,

Þat swange & swat for long ȝore,

Þat ȝet of hyre no Þynk Þay nom,

588 Paraunter noȝt schal to ȝere more.”

Then more I meled & sayde apert,

“Me Þynk Þy tale vnresounable,

Goddeȝ ryȝt is redy & euer more rert,

592 OÞer holy wryt is bot a fable;

In sauter is sayd a verce ouerte

Þat spekeȝ a poynt determynable,

‘Þou quyteȝ vchon as hys desserte,

596 Þou hyȝe kyng ay pretermynable,’

Now he Þat stod Þe long day stable,

& Þou to payment com hym byfore,

Þenne Þe lasse in werke to take more able,

600 & euer Þe lenger Þe lasse Þe more.”

GOD IS NO NIGGARD.

XI.

“Of more & lasse in godeȝ ryche,”

Þat gentyl sayde “lys no Ioparde,

For Þer is vch mon payed inliche,

604 WheÞer lyttel oÞer much be hys rewarde,

For Þe gentyl cheuentayn is no chyche,

QueÞer-so-euer he dele nesch oÞer harde,

He laueȝ hys gyfteȝ as water of dyche,

608 OÞer goteȝ of golf Þat neuer charde;

612 For Þe grace of god is gret I-noghe.

Bot now Þou moteȝ me for to mate

Þat I my peny haf wrang tan here,

Þou sayȝ Þat I Þat com to late,

616 Am not worÞy so gret lere.

Where wysteȝ Þou euer any bourne abate

Euer so holy in hys prayere,

Þat he ne forfeted by sumkyn gate,

620 Þe mede sum-tyme of heueneȝ clere;

& ay Þe ofter, Þe alder Þay were,

Þay laften ryȝt & wroȝten woghe

Mercy & grace moste hem Þen stere,

624 For Þe grace of god is gret in-noȝe.

Bot in-noghe of grace hatȝ innocent,

As sone as Þay arn borne by lyne

In Þe water of babtem Þay dyssente,

628 Þen arne Þay boroȝt in-to Þe vyne,

Anon Þe day with derk endente,

Þe myȝt of deth dotȝ to en-clyne

Þat wroȝt neuer wrang er Þenne Þay wente;

632 Þe gentyle lorde Þenne payeȝ hys hyne,

Þay dyden hys heste, Þay wern Þere-ine,

Why schulde he not her labour alow,

Ȝy[rd] & pay hem at Þe fyrst fyne

636 For Þe grace of god is gret in-noghe?

PARADISE WAS LOST THROUGH AN APPLE.

Inoȝe is knawen Þat man-kyn grete,

Fyrste watȝ wroȝt to blysse parfyt;

Oure forme-fader hit con forfete,

640 Þurȝ an apple Þat he vpon con byte;

Al wer we dampned for Þat mete,

To dyȝe in doel out of delyt,

& syÞen wende to helle hete,

644 Þer-inne to won with-oute respyt;

Bot Þer on com a bote as-tyt.

Ryche blod ran on rode so roghe,

& wynne [&] water, Þen at Þat plyt

648 Þe grace of god wex gret in-noghe.

Innoghe Þer wax out of Þat welle,

Blod & water of brode wounde;

Þe blod vus boȝt fro bale of helle,

652 & delyuered vus of Þe deth secounde;

Þe water is baptem Þe soÞe to telle;

Þat folȝed Þe glayue so grymly grounde,

Þat wascheȝ away Þe gylteȝ felle,

656 Þat adam wyth inne deth vus drounde.

Now is Þer noȝt in Þe worlde rounde

Bytwene vus & blysse bot Þat he with-droȝ

& Þat is restored in sely stounde,

660 & Þe grace of god is gret in-nogh.

XII.

Grace in-nogh Þe mon may haue,

Þat synneȝ Þenne new, ȝif hym repente,

Bot with sorȝ & syt he mot hit craue,

664 & byde Þe payne Þer-to is bent,

Bot resoun of ryȝt Þat con not raue,

Saueȝ euer more Þe innossent;

Hit is a dom Þat neuer god gaue,

668 Þat euer Þe gyltleȝ schulde be schente.

Þe gyltyf may contryssyoun hente

& be Þurȝ mercy to grace Þryȝt;

Bot he to gyle Þat neuer glente,

672 At in-oscente is saf & ryȝte.

INNOCENTS ARE SAVED BY RIGHT.

Ryȝt Þus I knaw wel in Þis cas,

Two men to saue is god by skylle;

Þe ryȝt-wys man schal se hys face,

676 Þe harmleȝ haÞel schal com hym tylle,

Þe sauter hyt satȝ Þus in a pace:

“Lorde quo schal klymbe Þy hyȝ hylleȝ

680 Hymself to on-sware he is not dylle;

“Hondelyngeȝ harme Þat dyt not ille,

Þat is of hert boÞe clene & lyȝt,