CHAPTER II

THE MIDDLE ENGLISH PERIOD

THE HISTORICAL BACKGROUND (1050–1350)

The extensive period covered by this chapter saw many developments in the history of England: the establishment of Norman and Angevin dynasties; the class-struggle between king, nobles, clergy, and people; and the numerous wars against France, Scotland, and Wales. But, from the literary point of view, much more important than definite events were the general movements of the times: the rise of the religious orders, their early enthusiasm, and their subsequent decay; the blossoming of chivalry and the spirit of romance, bringing new sympathy for the poor and for womankind; the Crusades, and the widening of the European outlook which was gradually to expand into the rebirth of the intellect known as the Renaissance. All these were only symptoms of a growing intelligence that was strongly reflected in the literature of the time.

STATE OF THE ENGLISH LANGUAGE

This period witnesses the disappearance of the pure Old English language and the emergence of the mixed Anglo-French or Middle English speech that was to be the parent of modern English. As a written language Old English disappears about 1050, and, also as a written language, Middle English first appears about the year 1200. With the appearance of the _Brut_ about 1200 we have the beginning of the numerous Middle English texts, amply illustrating the changes that have been wrought in the interval: the loss of a great part of the Old English vocabulary; a great and growing inrush of French words; the confusion, crumbling, and ultimate loss of most of the old inflections; and the development of the dialects. There are three main dialects in Middle English: the Northern, corresponding to the older Northumbrian; the Midland, corresponding to Mercian; and the Southern, corresponding to the Old English Kentish or Southern. None of the three can claim the superiority until late in the period, when the Midland gradually assumes a slight predominance that is strongly accentuated in the period following.

LITERARY FEATURES OF THE AGE

The latter part of the three hundred years now under review provides a large amount of interesting, important, and sometimes delightful works. It is, however, the general features that count for most, for there is hardly anything of outstanding individual importance.

=1. The Transition.= The period is one of transition and experiment. The old poetical methods are vanishing, and the poets are groping after a new system. English poets had two models to follow--the French and the Latin, which were not entirely independent of each other. For a time, early in the period, the French and Latin methods weighed heavily upon English literature; but gradually the more typically native features, such as the systematic use of alliteration, emerge. It is likely that all the while oral tradition had preserved the ancient methods in popular songs, but that influence was slight for a long period after the Norman Conquest.

=2.= The =anonymous= nature of the writing is still strongly in evidence. A large proportion of the works are entirely without known authors; most of the authors whose names appear are names only; there is indeed only one, the Hermit of Hampole, about whom we have any definite biographical detail. There is an entire absence of any outstanding literary personality.

=3. The Domination of Poetry.= The great bulk of the surviving material is poetry, which is used for many kinds of miscellaneous work, such as history, geography, divinity, and rudimentary science. Most of the work is monastic hack-work, and much of it is in consequence of little merit.

Compared with poetry of the period, the prose is meager in quantity and undeveloped in style. The common medium of the time was Latin and French, and English prose was starved. Nearly all the prose consists of homilies, of the nature of the _Ancren Riwle_; and most of them are servile translations from Latin, and destitute of individual style.

POETRY

For the sake of convenience we can classify the different poems into three groups, according to the nature of their subjects.

=1. The Rhyming Chronicles.= During this period there is an unusual abundance of chronicles in verse. They are distinguished by their ingenuous use of incredible stories, the copiousness of their invention, and in no small number of cases by the vivacity of their style.

(_a_) _The Brut._ This poem was written by a certain =Layamon= about the year 1205. We gather a few details about the author in a brief prologue to the poem itself. He seems to have been a monk in Gloucestershire; his language certainly is of a nature that corresponds closely to the dialect of that district. The work, thirty thousand lines in length, is a paraphrase and expansion of the Anglo-Norman _Brut d’Angleterre_ of Wace, who in turn simply translated from Geoffrey of Monmouth’s Latin history of Britain. In the _Brut_ the founder of the British race is Brutus, great-grandson of Æneas of Troy. Brutus lands in England, founds London, and becomes the progenitor of the earliest line of British kings. In style the poem is often lifeless, though it has a naïve simplicity that is attractive. The form of the work, however, is invaluable as marking the transition from the Old English to the Middle English method.

Alliteration, the basis of the earlier types, survives in a casual manner; at irregular intervals there are rudely rhyming couplets, suggesting the newer methods; the lines themselves, though they are of fairly uniform length, can rarely be scanned; the basis of the line seems to be four accents, occurring with fair regularity. The following extract should be scrutinized carefully to bring out these features:

To niht a mine slepe, At night in my slepe Their ich læi on bure, Where I lay in bower [chamber] Me imæette a sweuen; I dreamt a dream-- Ther oure ich full sari æm. Therefore I full sorry am. Me imætte that mon me hof I dreamt that men lifted me Uppen are halle. Up on a hall; Tha halle ich gon bestriden, The hall I gan bestride, Swulc ich wolde riden As if I would ride; Alle tha lond tha ich ah All the lands that I owned, Alle ich ther ouer sah. All I there overlooked. And Walwain sat biuoren me; And Walwain sate before me; Mi sweord he bar an honde. My sword he bare in hand. Tha com Moddred faren ther Then approached Modred there, Mid unimete uolke. With innumerable folk.

(_b_) =Robert of Gloucester= is known only through his rhyming history. From internal evidence it is considered likely that he wrote about 1300. From his dialect, and from local details that he introduces into the poem, it is probable that he belonged to Gloucestershire. Drawing largely upon Layamon, Geoffrey of Monmouth, and other chroniclers, he begins his history of England with Brutus and carries it down to the year 1270. The style of the poem is often lively enough; and the meter, though rough and irregular, often suggests the later “fourteener.” As a rule the lines are longer than those of the _Brut_, and the number of accents is greater.

(_c_) =Robert Manning (1264–1340)= is sometimes known as Robert of Brunne, or Bourne, in Lincolnshire. In 1288 he entered a Gilbertine monastery near his native town. His _Story of Ingelond_ (1338) begins with the Deluge, and traces the descent of the English kings back to Noah. The latter portion of the book is based upon the work of Pierre de Langtoft, and the first part upon Wace’s _Brut_. The meter is a kind of chaotic alexandrine verse; but an interesting feature is that the couplet rhymes are carefully executed, with the addition of occasional middle rhymes.

Manning’s _Handlyng Synne_ (1303) is a religious manual based on a French work, _Manuel des Pechiez_. The poem, which is thirteen thousand lines in length, is a series of metrical sermons on the Ten Commandments, the Seven Deadly Sins, and the Seven Sacraments. The author knows how to enliven the work with agreeable anecdotes, and there are signs of a keen observation. The meter is an approximation to the octosyllabic couplet.

Manning’s language is of importance because it marks a close approach to that of Chaucer: a comparative absence of old words and inflections, a copious use of the later French terms, and the adoption of new phrases.

(_d_) =Laurence Minot=, who probably flourished about 1350, appears as the author of eleven political songs, which were first published in 1795. The pieces, which sing of the exploits of Edward III, are violently patriotic in temper, and have a rudely poetical vigor. Their meters are often highly developed.

=2. Religious and Didactic Poetry.= Like most of the other poetry of the period, this kind was strongly imitative, piously credulous, and enormous in length.

(_a_) The _Ormulum_, by a certain =Orm=, or =Ormin=, is usually dated at 1200. As it survives it is an enormous fragment, twenty thousand lines in length, and composed in the East Midland dialect. It consists of a large number of religious homilies addressed to a person called Walter. Of poetical merit the poem is destitute; but it is unique in the immense care shown over a curious and complicated system of spelling, into which we have not the space to enter. Its metrical form is noteworthy: a rigidly iambic measure, rhymeless, arranged in alternate lines of eight and seven syllables respectively. This regularity of meter is another unique feature of the poem, which we illustrate by an extract:

An Romanisshe Kaserrking A Roman Kaiser-king Wass Augusstuss [gh]ehatenn Was called Augustus And he wass wurrthenn Kaserrking And he became Kaiser-king Off all mannkinn onn eorthe, Of all mankind on earth, And he gann thenkenn off himmsellf And he gan think of himself And off hiss micle riche. And of his muckle kingdom, And he bigann to thenkenn tha, And he began to think Swa summ the goddspell kithethth Just as the gospel tells Off thatt he wollde witenn wel Of what he would well know Hu mikell fehh himm come, How much money [fee] would come to him [GH]iff himm off all hiss kinedom. If to him of all his kingdom Illc mann an penning [gh]æfe. Each man a penny gave.

(_b_) _The Owl and the Nightingale_, the date of which is commonly given as 1250, is attributed to =Nicholas of Guildford=. The poem consists of a long argument between the nightingale, representing the lighter joys of life, and the owl, which stands for wisdom and sobriety. The poem is among the most lively of its kind, and the argument tends to become heated. In meter it is rhyming octosyllabic couplets, much more regular than was common at the time.

(_c_) The _Orison to Our Lady_, _Genesis_ and _Exodus_, the _Bestiary_, the _Moral Ode_, the _Proverbs of Alfred_, and the _Proverbs of Hendyng_ are usually placed about the middle of the thirteenth century. Of originality there is little to comment upon; but as metrical experiments they are of great importance. The _Proverbs_ show some regular stanza-formation, and the _Moral Ode_ is remarkable for the steadiness and maturity of its measure, a long line coming very close to the fourteener.

(_d_) The _Cursor Mundi_ was composed about 1320. It is a kind of religious epic, twenty-four thousand lines long, composed in the Northern dialect. The author, who divides his history into seven stages, draws upon both the Old and the New Testaments. The meter shows a distinct advance in its grip of the octosyllabic couplet.

(_e_) =Richard Rolle of Hampole=, who died in 1349, is one of the few contemporary figures about whom definite personal facts are recorded. He was born in Yorkshire, educated at Oxford, and ran away from home to become a hermit. Subsequently he removed to Hampole, near Doncaster, where he enjoyed a great reputation for sanctity and good works.

He wrote some miscellaneous prose and a few short poems, but his chief importance lies in his authorship of the long poem _The Pricke of Conscience_. This work, which is based upon the writings of the early Christian Fathers, describes the joys and sorrows of a man’s life as he is affected in turn by good and evil. The meter is a close approximation to the octosyllabic couplet, which shows extensions and variations that often resemble the heroic measure. It has been suggested that Hampole is the first English writer to use the heroic couplet; but it is almost certain that his heroic couplets are accidental.

(_f_) _The Alliterative Poems._ In a unique manuscript, now preserved in the British Museum, are found four remarkably fine poems in the West Midland dialect: _Pearl_, _Cleannesse_, _Patience_, and _Sir Gawain and the Green Knight_. There is no indication of the authorship, but judging from the similarity of the style it is considered likely that they are by the same poet. The date is about 1300. The first three poems are religious in theme, and of them _Pearl_ is undoubtedly the best. This poem, half allegorical in nature, tells of a vision in which the poet seeks his precious pearl that has slipped away from him. In his quest he spies his pearl, which seems to be the symbol of a dead maiden, and obtains a glimpse of the Eternal Jerusalem. The poem, which contains long discussions between the poet and the pearl, has some passages of real, moving beauty, and there is a sweet melancholy inflection in some of the verses that is rare indeed among the fumbling poetasters of the time. The meter is extraordinarily complicated: heavily alliterated twelve-lined stanzas, with intricate rhymes arranged on a triple basis (see p. 149). _Cleannesse_ and _Patience_, more didactic in theme, are of less interest and beauty, but they have an exultation and stern energy that make them conspicuous among the poems of the period. They are composed in a kind of alliterative blank verse. _Sir Gawain and the Green Knight_ is one of the most captivating of the romances. Its meter also is freely alliterated and built into irregular rhyming stanzas which sometimes run into twenty lines.

=3. The Metrical Romances.= The great number of the romances that now appear in our literature can be classified according to subject.

(_a_) The romances dealing with early English history and its heroes were very numerous. Of these the lively _Horn_ and _Havelock the Dane_ and the popular _Guy of Warwick_ and _Bevis of Hampton_ were among the best. Even contemporary history was sometimes drawn upon, as in the well-known _Richard Cœur-de-Lion_.

(_b_) Allied to the last group are the immense number of Arthurian romances, which are closely related and often of high merit. _Sir Tristrem_, one of the earliest, is by no means one of the worst; to it we may add the famous _Arthur and Merlin_, _Ywain and Gawain_, the _Morte d’Arthure_, and _Sir Gawain and the Green Knight_.

(_c_) There was also a large number of classical themes, such as the exploits of Alexander the Great and the siege of Troy. _King Alisaunder_ is very long, but of more than average merit. Further examples are _Sir Orpheo_ and _The Destruction of Troy_.

(_d_) The group dealing with the feats of Charlemagne is smaller, and the quality is lower. _Rauf Coilyear_, an alliterative romance, is probably the best of them, and to it we may add _Sir Ferumbras_.

(_e_) A large number of the romances deal with events which are to some extent contemporary with the composition. They are miscellaneous in subject, but they are of much interest and some of them of great beauty. _Amis and Amiloun_ is a touching love-story; _William of Palerne_ is on the familiar “missing heir” theme; and _The Squire of Low Degree_, who loved the king’s daughter of Hungary, is among the best known of all the romances.

It would take a volume to comment in detail upon the romances. The variety of their meter and style is very great; but in general terms we may say that the prevailing subject is of a martial and amatory nature; there is the additional interest of the supernatural, which enters freely into the story; and one of the most attractive features to the modern reader of this delightful class of fiction is the frequent glimpses obtainable into the habits of the time.

PROSE

=1.= The =Ancren Riwle=, or _Rule of Anchoresses_, is one of the earliest of Middle English prose texts, for it dates from about 1200. The book, which is written in a simple, matter-of-fact style, is a manual composed for the guidance of a small religious community of women which then existed in Somersetshire. Nothing certain is known regarding the author. Its Southern dialect shows some traces of Midland. As in some respects the text is the forerunner of modern prose, we give an extract:

Uorþi was ihoten a Godes Therefore it was ordered on half iðen olde lawe þet put the part of God in the old law were euer iwrien; & [gh]if eni that a pit should be ever unwrie covered, put were, & best feolle and if there were any uncovered þerinne, he hit schulde [gh]elden pit, and a beast fell þet þene put unwrieh. Ðis is a therein, he should pay for it, swuðe dredlich word to wummen that uncovered the pit. This is þet scheaweð her to wep-monnes a very dreadful saying for a eien. Heo is bitocned woman that shows herself to a bi þe þet unwrieð þene put: þe man’s eyes. She is betokened put is hire veire neb, & hire by the person that uncovers the hwite swire, & hire hond, [gh]if pit; the pit is her fair face, hes and halt forð in his eihsihðe. her white neck, and her hand, if she holds it forth in his eyesight.

=2.= The =Ayenbite of Inwyt= was written by Dan Michel of Northgate, who flourished about 1340. The book is a servile translation of a French work, and is of little literary importance. To the philologist it is very useful as an example of the Southern dialect of the period.

THE DEVELOPMENT OF LITERARY FORMS

=1. Poetry.= (_a_) _Meter_. The most interesting feature of this period is the development of the modern system of rhymed meters, which displaced the Old English alliterative measures. Between the Old English poems of Cynewulf (about 950) and the Middle English _Brut_ (about 1205) there is a considerable gap both in time and in development. This gap is only slightly bridged by the few pieces which we proceed to quote.

A quatrain dated at about 1100 is as follows:

Merrie sungen the muneches binnen Ely, Tha Cnut chining[3] reu[4] ther by; “Roweth, cnichtes, noer the land, And here we thes muneches sang.”

In this example we have two rough couplets. The first pair rhyme, and in the second pair there is a fair example of assonance. The meter, as far as it exists at all, is a cross between octosyllables and decasyllables.

A few brief fragments by Godric, who died in 1170, carry the process still further. The following lines may be taken as typical:

Sainte Nicholaes, Godes druth, Tymbre[5] us faire scone[6] hus, At thy burth,[7] at thy bare,[7] Sainte Nicholaes, bring us wel thare.

These lines are almost regular, and the rhyme in the second couplet is perfect.

The _Brut_, with its ragged four-accented and nearly rhymeless lines, shows no further advance; but the _Ormulum_, though it does without rhyme, is remarkable for the regularity of its meter. Then during the thirteenth century there comes a large number of poems, chiefly romances and homilies. Much of the verse, such as in _Horn_, _Havelock the Dane_, and the works of Manning, is in couplet form. It is nearly doggerel very often, and hesitates between four and five feet. This is the rough work that Chaucer is to make perfect. The following example of this traditional verse should be carefully scanned:

For Engelond ys ful ynow of fruyt and of tren, Of wodes and of parkes, that joye yt ys to sen. Of foules and of bestes of wylde and tame also. Of salt fysch and eche fresch, and fayr ryueres ther to. Of welles swete and colde ynow, of lesen and of mede. Of seluer or and of gold, of tyn and of lede. ROBERT OF GLOUCESTER

During the fourteenth century, with the increase of dexterity, came the desire for experiment. Stanzas in the manner of the French were developed, and the short or _bobbed_ line was introduced. The expansion of the lyric helped the development of the stanza. Thus we pass through the fairly elaborate meters of Minot, the _Proverbs of Hendyng_, and the romances (like _The King of Tars_) in the Romance sestette, to the extremely complicated verses of _Sir Tristrem_, _Sir Gawain and the Green Knight_, and _Pearl_. We add a specimen of the popular Romance sestette, and a verse from a popular song of the period.

(1) The King of Tars came also The Soudan battle for to do, With many a Christian Knight; Either host gan the other assail, There began a strong battail That grisley was of sight. _The King of Tars_

(2) Sitteth alle stille, ant herkneth to me: The kyn of Alemaigne,[8] bi mi leaute[9] Thritti thousent pound askede he For te make the pees[10] in the countre Ant so he dude more. Richard, thah thou be euer trichard,[11] Trichten shalt thou neuer more.

(_b_) _The Lyric._ The most delightful feature of the period is the appearance of the lyric. There can be little doubt that from Old English times popular songs were common, but it is not till the thirteenth century that they receive a permanent place in the manuscripts. We then obtain several specimens that for sweetness and lyrical power are most satisfying.

Apart from its native element, the lyric of the time drew its main inspiration from the songs of the French _jongleurs_ and the magnificent, rhymed Latin hymns (such as _Dies Iræ_ and _Stabat Mater_) of the Church. These hymns, nobly phrased and rhymed, were splendid models to follow. Many of the early English lyrics were devoutly religious in theme, especially those addressed to the Virgin Mary; a large number, such as the charming _Alysoun_, are love-lyrics; and many more, such as the cuckoo song quoted below (one of the oldest of all), are nature-lyrics. In the song below note the regularity of the meter:

Sumer is i-cumen in, Summer is coming, Lhude sing cuccu: Loud sing cuckoo: Groweth sed, and bloweth med, Groweth seed and bloweth mead, And springth the wde nu. And springeth the wood now. Sing cuccu, cuccu. Sing cuckoo, cuckoo.

Awe bleteth after lombe, Ewe bleateth after lamb, Lhouth after calue cu; Loweth after calf the cow; Bulluc sterteth, bucke verteth; Bullock starteth, buck verteth[12] Murie sing cuccu, Merry sing cuckoo: Cuccu, cuccu. Cuckoo, cuckoo. Wel singes thu, cuccu; Well sing’st thou, cuckoo; Ne swik thu nauer nu. Nor cease thou ever now. Sing cuccu nu, Sing cuckoo now, Sing, cuccu. Sing, cuckoo.

(_c_) _The Metrical Romances._ A romance was originally a composition in the Romance tongue, but the meaning was narrowed into that of a tale of the kind described in the next paragraph. Romances were brought into England by the French minstrels, who as early as the eleventh century had amassed a large quantity of material. By the beginning of the fourteenth century the romance appears in English, and from that point the rate of production is great. Romantic tales are the main feature of the literature of the time.

TABLE TO ILLUSTRATE THE DEVELOPMENT OF LITERARY FORMS

+----+---------------------------------+--------------------------+ | | POETRY | PROSE | |YEAR+----------+-----------+----------+------------+-------------+ | | Lyrical | Narrative | Didactic | Narrative | Didactic | +----+----------+-----------+----------+------------+-------------+ | | | _Beowulf_ | | | | | | | | | | | | 700| | Cædmon | | | +----+----------+-----------+----------+------------+-------------+ | | | | | | | | | | | | | | | 800| | | | | | +----+----------+-----------+----------+------------+-------------+ | | | | | | | | | | | | | | | 900| | | | | Alfred | +----+----------+-----------+----------+------------+-------------+ | | | | | A.S. | | | | | Cynewulf | CHRONICLE | | |1000| | | | | Ælfric | +----+----------+-----------+----------+------------+-------------+ | | | | | | Wulfstan | | | | | | | | |1100| | | | | | +----+----------+-----------+----------+------------+-------------+ | | | | | | | | | | |_Ormulum_ | | | |1200| | | | | | +----+----------+-----------+----------+------------+-------------+ | | | _Brut_ | | |_AncrenRiwle_| | | | | | | | |1300| | | Manning | | | +----+----------+-----------+----------+------------+-------------+ | |_Alysoun_,| THE | Hampole | | | | | etc. | ROMANCES | | | | | | | | | | | |1400| | _Cursor Mundi_ | | | +----+----------+-----------+----------+------------+-------------+

The chief features of the romance were: a long story, cumulative in construction, chiefly of a journey or a quest; a strong martial element, with an infusion of the supernatural and wonderful; characters, usually of high social rank, and of fixed type and rudimentary workmanship, such as the knightly hero, the distressed damsel, and the wicked enchanter; and a style that was simple to quaintness, but in the better specimens was spirited and suggestive of mystery and wonder. In meter it ranged from the simple couplet of _The Squire of Low Degree_ to the twenty-lined stanza of _Sir Tristrem_. In its later stages, as Chaucer satirized it in _Sir Thopas_, the romance became extravagant and ridiculous, but at its best it was a rich treasure-house of marvelous tales.

=2. Prose.= The small amount of prose is strictly practical in purpose, and its development as a species of literature is to come later.

THE DEVELOPMENT OF STYLE IN POETRY

With poetry in such an immature condition, it can be easily understood that style is of secondary importance. The prevailing, almost the universal, style is one of artless simplicity. Very often, owing chiefly to lack of practice on the part of the poet, the style becomes obscure; and when more ambitious schemes of meter are attempted (as in _Pearl_) the same cause leads to the same result. Humor is rarely found in Middle English, but quaint touches are not entirely lacking, as facts revealed in the life of Hampole show. Pathos of a solemn and elevated kind appears in the _Moral Ode_, and the romance called _The Pistyl of Susan_ and the _Pearl_, already mentioned, have passages of simple pathos.

EXERCISES

1. The following extracts show the development of English poetry from Old English to Chaucerian times. Trace the changes in meter (scansion, rhyme, and stanza-formation), alliteration, and style. Are there any traces of refinements such as melody and vowel-music?

(1) Swá íú wætres thrym When of old the water’s mass Ealne middan-geard, All mid-earth, Mére-flód, theáhte When the sea-flood covered Eorthan ymb-hwyrft, The earth’s circumference, Thá [`s]e æthela wong Then that noble plain Æg-hwæs án-súnd In everything entire With yth-fare Against the billowy course Gehealden stód, Stood preserved, Hreóhra wæga Of the rough waves Eádig unwemmed, Happy, inviolate, Thurh áest Godes; Through favour of God. Bídeth swá geblówen It shall abide thus in bloom, Oth bæles cyme Until the coming of the funeral fire Dryhtnes dómes. Of the Lord’s judgment. _The Phœnix_, 900

(2) And ich isæh thæ vthen And I saw the waves I there sæ driuen; In the sea drive; And the leo i than ulode And the lion in the flood Iwende with me seolue. Went with myself. Tha wit I sæ comen, When we two came in the sea, Tha vthen me hire binomen. The waves took her from me; Com ther an fisc lithe, But there came swimming a fish; And fereden me to londe. And brought me to land. Tha wes ich al wet, Then was I all wet And weri of soryen, and seoc. And weary from sorrow, and sick. Tha gon ich iwakien When I gan wake Swithe ich gon to quakien. Greatly I gan quake. LAYAMON, _Brut_, 1200

(3) Ich am eldre þan ich wes. a winter and ek on lore. Ich welde more þan ich dude. my wyt auhte beo more. Wel longe ich habbe child ibe[`s]. a werke and eke on dede. Þah ich beo of wynter old. to yong ich am on rede. Vnneð lif ich habbe ilad. and yet me þinkþ ich lede. Hwenne ich me biþenche. ful sore ich me adrede. Mest al þat ich habbe idon. is idelnesse and chilce. Wel late ich habbe me bi-þouht. bute god do me mylce. Veole idel word ich habbe ispeke. seoþþe ich speke cuþe. And feole yonge deden ido. þat me of-þincheþ nuþe. _Moral Ode_, 1250

(4) Herknet to me, gode men, Wiues, maydnes, and alle men, Of a tale that ich you wile telle Wo so it wile here, and ther to duelle The talk is of Hauelok i-maked; Wil he was litel he yede ful naked; Havelok was a ful god gome, He was ful god in eueri trome, He was the wicteste man at nede That thurte riden on ani stede That ye mouen nou y-here, And the tale ye mowen y-lere. At the beginning of vre tale Fille me a cuppe of ful god ale. _Havelock the Dane_, 1300

(5) Byteuene Mershe & Aueril When spray biginneþ to springe, Þe lutel foul haþ hire wyl On hyre lud to synge; Ich libbe in louelonginge For semlokest[13] of alle þynge, He may me blisse bringe, Icham in hire baundoun.[14] An hendy[15] hap[16] ichabbe yhent Ichot[17] from heuene it is me sent From alle wymmen mi loue is lent & lyht on Alysoun. _Alysoun_, 1300

(6) In Nauerne be [gh]unde the In Avergne beyond the sea see In Venyse a gode cyte, In Venice a good city Duellyde a prest of Ynglonde, Dwelled a priest of England, And was auaunsede, y And was advanced I understand. understonde. Every [gh]ere at the Every year at the flourishing florysyngge When the vynys shulde spryngge When the vines should spring A tempest that tyme began to A tempest then began to fall falle And fordede here vynys alle; And ruined all their vines. Every [gh]ere withouten fayle Every year without fail And fordyde here grete trauayle. And ruined their great labour. Therfor the folk were alle sory Therefore the folk were all sorry Thurghe the cyte comunly: Through the city commonly. Thys prest seyde, y shal [gh]ou This priest said, “I shall you telle tell What shall best thys tempest What shall best this tempest felle; fell; On Satyrday shal [gh]e ryngge On Saturday shall ye ring noon noun And late ne longer ne werke be And let no longer work be doun. done.” _Handlyng Synne_, 1350

(7) Ther faure citees wern set, nov is a see called, That ay is drouy[18] and dym and ded in hit kynde, Blo[19] blubrande[20] and blak, vnblythe to ne[gh]e[21] As a stynkande stanc that stryed[22] synne That euer of synne and of smach,[23] smart is to fele; Forthy the derk dede see hit is demed ever more, For hit dede[gh] of dethe duren there [gh]et. For hit is brod and bothemle[gh] and bitter as the galle, And no[gh]t may lenge in that lake that any lyf bere[gh], And all the coste[gh] of kynde hit combre[gh][24] vchone[25] For lay ther-on a lump of led and hit on loft flete[gh], And folde ther-on a ly[gh]t fyther and hit to founs synkke[gh], And ther water may walter to wete any erthe, Shal neuer grene ther-on growe, gresse ne wod nawther. _Cleannesse_, 1350

2. Account for the poor quality of English prose during this period.

3. What were the effects of the Norman Conquest upon English literature?

4. Describe the main features of the romance.

##