so called, in Langland, either doctrinal or constitutional; and even the anti-clerical spirit of his poetry is not more decided than what is found in the writings of Chaucer, and the other popular literature of the time. In all ages, indeed, it is the tendency of popular literature to erect itself into a power adverse to that of the priesthood, as has been evinced more especially by the poetical literature of modern Europe from the days of the Provençal troubadours. In the Canterbury Tales, however, and in most other works where this spirit appears, the puritanism (if so it is to be called) is merely one of the forms of the poetry; in Piers Ploughman the poetry is principally a form or expression of the puritanism. The rhythm or measure of the verse in this poem must be considered as accentual rather than syllabical-that is to say, it depends rather upon the number of the accents than of the syllables. This is, perhaps, the original principle of all verse; and it still remains the leading principle in various kinds of verse, both in our own and in other languages. At first, probably, only the accented syllables were counted, or reckoned of any rhythmical value; other syllables upon which there was no emphasis went for nothing, and might be introduced in any part of the verse, one, two, or three at a time, as the poet chose. Of course it would at all times be felt that there were limits beyond which this licence could not be carried without destroying or injuring the metrical character of the composition; but these limits would not at first be fixed as they now for the most part are. The elementary form of the verse in Piers Ploughman demands a succession of four accented syllables-two in the first hemistich or short line, and two in the second; but, while each of those in the first line is usually preceded by either one or two unaccented syllables, commonly only one of those in the second line is so preceded. The second line, therefore, is for the most part shorter than the first. And they also differ in regard to the alliteration: it being required that in the first both the accented or emphatic syllables, which are generally initial syllables, should begin with the same letter, but that in the second only the first accented syllable should begin with that letter. This is the general rule; but, either from the text being corrupt or from the irregularity of the composition, the exceptions are very numerous. The poem begins as follows: In a summer season, When soft was the sun, I shoop me into shrowds1 Of fairy me thought. A marvellous sweven," Wist I never where: And, as I beheld into the east I seigh1 a tower on a toft13 A deep dale beneath, And dreadful of sight. A fair field full of folk The mean and the rich, 1 I put myself into clothes. A shepherd. 3 Whitaker's interpretation is, "in habit, not like an anchorite who keeps his cell, but like one of those unholy hermits who wander about the world to see and hear wonders." He reads, "That went forth in the worl," &c. 4 And. 7 Broad. 10 Meet. 6 Worn out with wandering. 5 Wonder. 11 Dream. 14 Handsomely built. 13 An elevated ground. 16 Put them. 15 Working. Laboured. In setting and sowing With gluttony destroyeth.2 In prayers and penances Liveden full strait," In hope to have after As anchors and heremites? That holden hem in hir cells, For no likerous liflode Hir likame to please." Ac japers and jaugellers1 And fools hem maketh, 2 Wan that which wasters with gluttony destroy. 3 Came disguised. Whitaker reads, "In countenance and in clothing." 4 Many put them, applied themselves to, engaged in. 5 Lived full strictly. The bliss of the kingdom of heaven. 7 Anchorites and eremites or hermits. 11 Achieved their end. 8 Hold them in their. 10 Merchandise. 12 That such men thrive. 13 And some are skilled to make mirths, or amusements, as minstrels. 14 And get gold with their minstrelsy. 16 But jesters and jugglers. 19 Whoso speaketh ribaldry. 17 Have their. 15 Believe. 18 Will not prove. 20 Our modern hind, or servant. 1 Petitioners. Bidders' and beggars Fast about yede,2 With hir bellies and hir bags Tho Roberd's knaves; Plighten hem togider All hir life after. I seigh some that seiden" They had y-sought saints: It seemed by hir speech. And hir wenches after; To be knowen from other, All the four orders, Preaching the people For profit of hem selve 4 Rise with ribaldry. 5 Those Robertsmen-a class of malefactors mentioned in several statutes of the fourteenth century. The name may have meant originally Robin Hood's men, as Whitaker conjectures. 6 Sloth. 8 Gather them together. 10 To lie. 7 Pursue. 9 They went forth on their way. 11 I saw some that said. 15 Made themselves. 12 In every tale that they told their tongue was trained to lie. 13 In a crowd. 14 Labour. Glosed the gospel As hem good liked ;1 Construed it as they would. Now clothen hem at liking,3 For sith charity hath been chapman, In a few years: The most mischief on mould With many bishops' seals, Of falsehede of fasting,? Of avowes y-broken. Lewed men leved it well, And liked his words; Comen up kneeling To kissen his bulls: He bouched 10 hem with his brevet," And bleared hir eyen,' 12 And raught with his ragman139 Ringes and brooches. Here it will be admitted, we have both a well-filled canvas and a picture with a good deal of life and stir in it. The satiric touches are also natural and effective; and the expression clear, easy, and not deficient in vigour. Stopped their mouths. 2 Covetousness of copes or rich clothing. 8 Ignorant. 11 Little brief. 13 Reached, drew in, with his catalogue or roll of names? |