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Computational Prosodics: The Decasyllabic Line From Chaucer To Skelton
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Computational Prosodics: The Decasyllabic Line From Chaucer To Skelton
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COMPUTATIONAL PROSODICS : THE DECASYLLABIC LINE FROM CHAUCER TO SKELTON by Karen Lynn A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (English) June 1973 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this docum ent have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or “target" for pages apparently lacking from the docum ent photographed is “ Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication th a t the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from “ photographs" if essential to the understanding of the dissertation. Silver prints of “ photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road A nn A rbor, M ichigan 48106 73-31,369 LYNN, Karen, 1943- CCMPUTATIONAL PROSODICS: THE DECASYLLABIC LINE FRCM CHAUCER TO SKELTON. University of Southern California, Ph.D., 1973 Language and Literature, general University Microfilms, A X ERO X Company, Ann Arbor, Michigan © 1973 Karen Lynn ALL RIGHTS RESERVED UNIVERSITY O F SOUTHERN CALIFORNIA THE GRADUATE SCHOOL UNIVERSITY PARK LOS ANGELES, CALIFORNIA 9 0 0 0 7 This dissertation, written by under the direction of h..§X.. Dissertation Com mittee, and approved by all its members, has been presented to and accepted by The Graduate School, in partial fulfillment of requirements of the degree of D O C T O R OF P H IL O S O P H Y KAREN LYNN t- o Dean Date...!^6dLJL..il7.3. DISSERTATION COMMITTEE (aAa.(U.‘oua4 H ‘ Jt . Chairman C / c * - £ \ cm) Am/M t Tn-e or nor io To me tRome N'»'i ;■» .•<*»■■•* 11 TABLE OF CONTENTS Page FRONTISPIECE .......................................... ii Chapter I. THE BACKGROUND AND INTENTIONS OF THIS STUDY . . 1 II. METHODOLOGY AND ENCODING..................... 2 5 III. CHAUCER AS EVALUATED THROUGH THE HALLE- KEYSER THEORY ............................... 50 IV. THOMAS HOCCLEVE................................ 91 V . JOHN LYDGATE.................................... 118 VI. WILLIAM DUNBAR.................................. 143 VII. JOHN SKELTON.................................... 163 VIII. SUMMARY AND CONCLUSIONS..........................185 APPENDIXES Appendix A: Computer Printouts for Chaucer Sample . 2 01 Appendix B: Computer Printouts for Hoccleve Sample . 245 Appendix C: Computer Printouts for Lydgate Sample . 277 Appendix D: Computer Printouts for Dunbar Sample . . 307 Appendix E: Computer Printouts for Skelton Sample . 339 SELECTED BIBLIOGRAPHY....................................369 CHAPTER I THE BACKGROUND AND INTENTIONS OF THIS STUDY The fate of the decasyllabic line following the death of Chaucer is one of the continuing enigmas of medieval English literature. Praise of Chaucer is a commonplace of later medieval verse; Chaucer is a master poet, the "flour of eloquence," the "rose of rhetoris all."^ The many acco lades on the part of Lydgate, Hoccleve, Dunbar, Skelton, and others would seem, as Thomas Tyrwhitt claimed in 1775, "to implie their admiration of [Chaucer's] metrical skill, 2 as well as his other poetic talents." As logical as Tyrwhitt's assumption may be, however, this supposed ad miration for Chaucer's metrics did not seem to manifest itself in any obvious imitation of Chaucer's verse-form during the later Middle Ages . Whether these later poets attempted unsuccessfully to perpetuate Chaucer's form or simply ignored it, they tended to write verse in which the 1 2 manner and even the existence of Chaucer's metrical influ ence is anything but apparent. Even with all possible allowances for license and variation, the later verse differs so greatly from Chaucer's metrical pattern that critics have invoked new labels — "broken-backed, " "four- stress," "fifteenth-century heroic," "tumbling," and "verses of pause," to name a few— in an effort to characterize verse types that clearly do not continue an iambic penta- 3 meter tradition. The critical problems lie not only in investigating and describing the versification of the later medieval poets, but also, of course, in discovering why Chaucer's tremendously popular works failed to inspire a recognizable metrical tradition among his contemporaries and his immedi- 4 ate successors. Scholars have set forth a variety of explanations for this apparent hiatus in the iambic penta meter tradition at the close of the Middle Ages. The most frequent and most traditional are the linguistic explana tions, dealing principally with the much-debated "optional -e_, " or, as Albert Licklider expresses it, "the chaos of the 5 final -;e." According to this argument, the syllabic final -e_ was pronounced in Chaucer's time or at least existed as a possible poetic archaism, but then disappeared in 3 subsequent decades. Thus Chaucer's successors, unaware as they were of this important linguistic change, would have had no comprehension of Chaucer's metrics from studying his manuscripts; whatever the verse-pattern they might have discovered in Chaucer's poetry, it could not have been the one Chaucer intended. Again in Licklider's words, they "failed to fathom the mystery of his versification; and, with the entire English language tumbling into ruins around them, wrote lines suitable to the general confusion" (p. 4). Critics such as Pollard, Skeat, and Saintsbury have also sought the source of metrical confusion within the rapidly changing language of the fourteenth and fifteenth centuries; Saintsbury states that he "gives up as hopeless the assignment of any thoroughly satisfactory reason for this chaos, except the supposition, which is indeed all but a certainty, that English pronunciation had got itself into g a hopeless muddle." In addition to the loss of the -e, Maurice Evans suggests aureate diction and anglicization of French words as two forces which "threw pronunciation into 7 confusion and disrupted the traditional patterns of verse." More recent scholars have bluntly challenged the logic of these explanations. Both Hoccleve and Lydgate were, presumably, 30 years old or so when Chaucer died, and it is 4 difficult to believe that they were so isolated from the language of the preceding generation that they could no longer discern Chaucer's metrical pattern. "Anyone with a grain of linguistic sense," says James Southworth, "knows 8 that language does not change so rapidly." And C. S. Lewis assails the critics who have assumed that Chaucer's iambic pentameter form was somehow inseparable from the syllabic -e_ of his language : It is a commonplace of literary history that English metre is bad from the age of Chaucer to the age of Surrey. At one time this was popularly attributed to the changing state of the language, and specially to the loss of that final -e_on which the syllabic pattern of Chaucer's verse seems to depend. But this is an explanation which presupposes part of the phenomenon to be explained. If a man understands a metre he can fit it to the language he hears spoken in his own time. ... If the explanation of fifteenth- and early sixteenth-century verse is to be found at all, it must not be sought in the history of the language .9 Thus even though the argument of the final -e_ is backed by the authority of respected scholars, recent critics have shown that the linguistic explanation alone fails to account satisfactorily for the metrical confusion following Chau cer's death, especially in the writings of those authors whose life spans partially overlapped that of Chaucer. In addition to the linguistic explanations for the disappearance of the iambic pentameter pattern, historical 5 explanations have been advanced that see the post-Chaucerian poets as continuing, to a greater or lesser degree, the accentual tradition of William Langland or the Gawain poet, a "patriotic revival of Old English accentual verse which had begun in the previous [fourteenth] century and probably helped to deflect poetry from the Chaucerian mode" (Evans, p. 40). According to this view, some of the later poets opted for the alliterative long line of the Old English verse form: two haIf-lines, with each haIf-line consisting 9 usually of two stresses . Readers m subsequent centuries have been misled into believing the poet was attempting iambic pentameter only because, as Robert Lee Ramsay points out in his introduction to the EETS edition of Skelton's Maqnyfycence, the unstressed syllables in a line of accen tual verse can occupy any position, perhaps by chance sort ing themselves into feet, so "it naturally often happens that a line of ten or eleven syllables can be easily read as an iambic pentameter . " In Ramsay's opinion "the principal verse of Magnifi cence is that which forms the staple of the drama up to and until long after its time, the rimed native long line of four stresses" (p. li). Though Ramsay believes Skelton was working entirely in the older tradition, it more frequently 6 happens that a modern critic examining the work of a late medieval poet discovers a mixed verse-form of feet and stresses, as does Tom Scott in the poetry of Dunbar11' and 12 Jerome Mitchell in Hoccleve's verse. In either case the point is the same: if the reader can divorce himself from his iambic pentameter expectations, he will then be able to avoid "severe deprecation of the poet's metrical ability" (Ramsay, p. lii). Since most lines of nine to 14 syllables can be seen as belonging to at least one of the two verse types, the assumption that a poet is working in a double tradition of foot-verse and stress-verse is, of course, a strong defense against accusations of metrical incompetence. In this brief summary of the main critical attempts to solve the riddle of what Licklider calls "the peculiar metric of the Chaucerians" (p. 13), two related explanations remain to be considered. Although this suggestion is less popular than the linguistic or historical explanations, some critics feel that the insufficient talents and sensitivities of Chaucer's successors account at least in part for the lapse of the iambic pentameter pattern. No one else's verse could match Chaucer's in either content or meter, they reason, simply because no post-Chaucerian writer possessed his master's phenomenal gifts. "The power to control 7 material," states Eleanor Hammond, "can be received only by those mentally capable of receiving it; and the resettlement of the stereotype on English society just after [Chaucer's] death, the increasing lack of educational opportunity of the early fifteenth century in England, smothered the growth of any such mentality" (p. 27) . Albert Licklider, too, is critical of the later poets, but for their excesses rather than their "smothered mentality." He maintains that "the post-Chaucerian system is not a misapprehension but an exaggeration of Chaucer's system." He speaks of the later poets as "not artistic enough to observe Chaucer's temper ance," having "neither intelligence nor good taste" (pp. 11- 12) . All three of the schools of thought summarized above— particularly the explanations based on the influence of the alliterative tradition in the writings of later poets and on their possible exaggerations of Chaucer's variants— are limited or hampered to a degree by the lack of concrete data. It is not difficult to find examples, in the vast body of late Middle English verse, of lines which seem to be influenced by the alliterative tradition, or lines which show an inartistic use of a Chaucerian license . What is difficult is to determine the frequency and the placement 8 of such phenomena. By what standard, what exact dividing line, is four-stress verse to be distinguished from variant iambic pentameter verse? To what degree does alliterative practice show evidence of the influence of the alliterative revival? If an author is working in a double tradition, are the two traditions assimilated to form a single verse- system? If not, what are the relative percentages of his use of each tradition, and are the lines mixed at random? Which of Chaucer's variations were used by later authors, to what degree, and in what position in the line? What later variants are not to be found originally in Chaucer? These kinds of specific, often quantitative questions pre clude any critical suggestions less vague than those cited in the foregoing summaries. However correct these critical intuitions may be, they are generally corroborated by noth ing more than a handful of examples . Anyone who wishes to evaluate these critical opinions or to carry on further research in late Middle English prosody is handicapped by the lack of a prepared groundwork for his study in the form of an objective, large-scale analysis of prosodic features and their frequency. The present study is concerned only secondarily with explaining why the fifteenth- and early sixteenth-century 9 poets did not establish an obvious tradition of Chaucerian pentameter. The primary goal is to accomplish a task which must certainly precede any explanation of the cause of the phenomenon: a detailed and careful description, though on a limited scale, of the phenomenon itself— English deca syllabic verse of the late Middle Ages . Except for scat tered remarks within their verse, these poets unfortunately did not write about their craft, or at least no treatise on poetic— as distinguished from a treatise on rhetoric— has 13 come down to us from the Middle Ages . The actual verse is therefore the only evidence we have for the metrical models and intentions of any medieval poet. It is impera tive, consequently, that the verse be examined with care and then described according to a consistent and valid system. In College English for December 1966, Morris Halle and Samuel Jay Keyser presented a study that proposed to characterize the accentual-syllabic meter known as iambic pentameter in the form in which is was first used by Geoffrey Chaucer. . . . In the verse of interest here the pattern consists in the regulation of two linguistically given properties, the number of syllables in a line and the placement in a line of syllables bearing linguisti cally given stress greater than that of the adjacent syllables.^ Though Halle and Keyser employ new terminology, basically they suggest a simple iambic pentameter pattern along with 10 general rules or "conditions" embodying most of the familiar variations on the fundamental line— elision, apocope, cata- 15 lexis, the reversed initial foot, and others. In two respects, however, their theory is significantly different from traditional descriptions of the iambic pentameter scheme. First, instead of working with five decasyllabic feet, Halle and Keyser hypothesize a line of 10 positions, each of which contains a syllable or syllables according to certain principles and conditions . Second, rather than talking of stress or the lack of it on any word or syllable, Halle and Keyser introduce the concept of the "stress maxi mum, " a syllable that bears greater lexical stress than that of the syllables on either side of it. The convenience offered by these two proposals, and their significance for such concepts as metrical regularity and complexity, will become clear in later chapters . Halle and Keyser state their theory as follows : Principle 1. The iambic pentameter verse consists of ten positions to which may be appended one or two extra-metrical syl lables . Principle 2. A position is normally occupied by a single syllable, but under certain conditions it may be occupied by more than one syllable or by none. Condition 1. Two vowels may constitute a single position provided 11 that they adjoin, or are separated by a liquid or a nasal or by a word boundary which may be followed by -h, and provided that one of them is a weakly stressed or unstressed vowel. Condition 2. An unstressed or weakly stressed monosyllabic word may constitute a single metrical position with a preceding stressed or unstressed syllable. Principle 3. A stress maximum may only occupy even positions within . a verse, but not every position need be so occupied. Definition. A stress maximum is constituted by a syllable bearing linguistically determined stress that is greater than that of the two syllables adjacent to it in the same verse. (p. 197) The theory as originally expressed turned out to be unnecessarily complex in some of its phrasing. It also failed to account for the nullifying effect of a syntactic break upon a potential stress maximum. In 1971 Halle and Keyser published English Stress; Its Form. Its Growth, and 16 Its Role xn Verse. m which they offered a simplified articulation of the same theory and included a slightly more sophisticated definition of the stress maximum. The simpler revision is as follows: (a) ABSTRACT METRICAL PATTERN (W)S WS WS WS WS (X) (X) where elements enclosed in parentheses may be omitted and where each X position may be occupied only by an unstressed syllable. (b) CORRESPONDENCE RULES (i) A position (S, W, or X) corresponds to a single syllable______________________________________________ 12 OR to a sonorant sequence incorporating at most two vowels (immediately adjoining or separated by a sonorant consonant) . DEFINITION: When a fully stressed syllable occurs be tween two unstressed syllables in the same syntactic constituent within a line of verse, this syllable is called a "stress maximum." (ii) Fully stressed syllables occur in S positions only and in all S positions OR Fully stressed syllables occur in S positions only but not in all S positions OR Stress maxima occur in S positions only but not in all S positions. (p. 169) In their original article Halle and Keyser make an important distinction between lines which are complex and lines which are irregular. The order of the conditions is significant because the first alternative within each principle represents what we shall consider the most neutral actualization of the metrical pattern. The subsequent alternatives yield lines which are perfectly regular in that they violate no rule. However, they represent a more complex actualization of the metrical pattern. ("Chaucer and the Study of Prosody," p. 197) Critics have compared the Halle-Keyser theory to linguistic rules of competence, with the lines of actual poetry analo gous to linguistic performance. Like rules of competence, the verse pattern is employed "perhaps only in part con sciously," and Halle and Keyser themselves suggest that 13 their abstract pattern permits a variety of poetic actuali zations "in the same way that rules of syntax yield a large variety of syntactic patterns" ("Chaucer and the Study of Prosody," p. 191) . Just as a highly complex sentence may be perfectly grammatical, so may a line of verse be highly complex and at the same time metrical or regular according to the principles and conditions of the theory. In their later discussion of the theory, Halle and Keyser are more specific concerning the analysis of metrical complexity. In determining the complexity of a line, the alternatives under (i) and (ii) above are applied in order to the line in question. Each violation of these possibili ties adds one to the complexity count. For example, a fully stressed syllable in a W position would return a complexity count of two because the syllable had violated both the first and second possibilities under (ii) . If in violation of the third alternative under (ii) a stress maximum appears in a W position, the line is then considered unmetrical. Halle and Keyser acknowledge that the assigning of the com plexity value "one" to the violation of any alternative, from the least general to the most general, is arbitrary and perhaps less than ideal since it is perfectly conceivable that the increase in 14 complexity due to the need to invoke the third rather than the second alternative of the correspondence rule [ii] should be a fraction of that resulting from the invocation of the second alternative. Such questions, however, can be answered only when a massive body of verse has been subjected to the type of analysis pro posed . One writer has referred to the "seminal character" of the Halie-Keyser article because of the many responses it 18 has motivated. Investigators have suggested various minor changes in the theory and have discussed its application to 19 verse other than Chaucer's. Though modifications will undoubtedly continue to be made, the strength of the origi nal suggestion remains the same: a theory which structures so concisely and uniformly the metrical and non-metrical possibilities for each position can provide a convenient means of concisely and uniformly describing a single line of verse. The resulting descriptions have the additional advantage of being in part numerical— the numbers of the stress maxima syllables, for example, or the number of the complexity level— so that the data for the original lines may be combined or averaged in order to arrive at general characterizations of an entire poem or a large segment of an author's corpus. The subtleties of Chaucer's style can not, of course, be distilled in a series of numbers, but at the same time it is well to keep in mind that many important 15 stylistic elements can be counted and quantified as a step toward useful critical insights. Because of at least two of its elements, the Halle - Keyser theory may be expected to offer some distinct advan tages over traditional methods of analysis. The Correspon dence Rules, first of all, distinguish sharply between metrical and unmetrical lines. These rules offer in addi tion not only a succinct list of possible variations on the basic pattern, but also a list which, as a summary of the circumstances under which Chaucer allowed a stressed syl lable to appear in an odd-numbered position and an un stressed syllable to appear in an even-numbered position, supersedes the old and seemingly unrelated categories of spondaic, pyrrhic, and trochaic substitutions for the regu lar iambic feet, and helps to explain why these particular variants and not others— a double trochee within the same syntactic constituent, for example— were used by Chaucer. Within the liberal but definite limits of the Halle-Keyser theory, a great many iambic pentameter variants are admitted as metrical, and these variants are shown to be linked in ways which had not previously been observed. And the Cor respondence Rules may be conveniently expanded or altered to show the nature of another poet's divergence from 16 Chaucer's system as described by Halle and Keyser. The Halle-Keyser definition of stress maximum also holds the promise of some new perspectives in metrical analysis . The concept of the stress maximum allows the definition of the metrical or regular line to be expanded to allow more flexible placement of stressed syllables, since no W-position stress can render the line unmetrical as long as this stress is accompanied on either side by a syntactic break, another primary stress, or silence. This theory of stress by contrast rather than stress as a lexical absolute exposes not only a certain consistency within Chaucer's realizations of the basic pattern but also within the metrical relationships between poets whose practices have heretofore been classified under the discrete labels of various liberties and deviations. Spondaic and trochaic substitutions, for example, are shown by the definition of stress maximum to be related variations, both dependent upon their environment for cancellation of the contrastive W- position stress. A further possibility offered by the Halie-Keyser theory is that of new stylistic points of reference— the pattern of stress maxima, for example— which again may reveal certain kinships which have been obscured by previous methods of analysis. 17 Thus we have on the one hand some new suggestions for ways of talking about the patterns upon which a poet creates a line of verse; on the other hand we have the baffling metrics of English poetry in the fifteenth and early six teenth centuries. It seems to me that the new prosodic abstraction and the old enigma combine to lead irresistibly toward an obvious and important question: if an efficient system is now available for characterizing the manner in which Chaucer's lines tended to represent the abstraction "iambic pentameter," how do these actualizations compare with the verse of the poets who were so long referred to as "Chaucerians"? The scope of this question encompasses others— whether the later poets worked wholly or partly within an entirely different verse tradition, for example; to what degree these poets can be treated as a group having similar metrical intentions; or whether the conditions governing elision and variation became increasingly arti ficial as the poetry of each succeeding decade was intended more and more for readers rather than listeners. The purpose of this study, then, is twofold: to arrive at a general description of Chaucer's iambic pentameter actualization within the framework of the Halle-Keyser theory, and to compare with Chaucer's norm the same kinds of 18 data from selected post-Chaucerian poets. Several of the most important elements of verse management and poetic vari ation will be examined within each poet's sample for the frequency and location of their occurrence. In this way a comparative analysis of the prosody of these poets, and a discussion of possible poetic influences, may focus on the most important similarities and distinctions, with a numer ical indication of the extent of these significant relation ships and idiosyncrasies. In carrying out this project I was fortunate in having access to three computer programs developed by Robert Dilligan at the University of Wisconsin in 1970, and now operative, in much more sophisticated form, at the University of Southern California. These programs are structured on the Halle-Keyser system and are capable of gathering from prepared samples a great deal of informa tion concerning the stress maxima, elisions, and syntactic breaks which are of concern in the Halle-Keyser analysis, and other prosodic data as well. The programs and the preparation of the samples will be discussed more fully in Chapter II. It is important to realize that even though the prin ciples and conditions proposed by Halle and Keyser accommo date what has historically been seen as the iambic 19 pentameter line, the system also serves as a means of meas uring departure from the regular or metrical norm. The number and location of stresses, stress maxima and syntactic breaks are important items of prosodic data even if the line in question is written in accentual verse, for example. Thus, although Halle and Keyser have already stated that their system can be applied to Chaucer's verse with mean ingful results, this study does not begin with the assump tion that any of the verse samples are necessarily best described by the term "iambic pentameter." The conclusions of this project must be only tentative. Any final judgments are precluded by the small size of the samples, the small number of poets represented, and the uncertainties necessarily attendant upon the phonetic en coding of Middle English, Middle Scots, and Tudor verse. But even within these limitations the study is, I believe, a useful initial step in the direction of understanding late medieval prosody and in indicating questions for further study. Halle and Keyser themselves look toward a study of later poets in terms of their Chaucerian system, not because they wish to see the scheme applied in rigid fashion to poet after poet, but because they feel that "one of the things which a study of later poets would show is the way that 20 these principles have been modified by a given poet ("Chaucer and the Study of Prosody NOTES Thomas Hoccleve, "Regement of Princes," Hoccleve's Works, ed. Frederick J. Furnivall, EETS (London: K. Paul, Trench, Trtibner Ltd., 1897), LXXII, 71; William Dunbar, "The Goldyn Targe," The Poems of William Dunbar, ed. W. Mackay Mackenzie (London: Faber and Faber, Ltd., 1970), p. 119. Other familiar accolades occur in John Skelton's "Phyllyp Sparowe" and "The Garlande of Laurell" and are scattered throughout the works of Lydgate. These references are lo cated most conveniently in Caroline F. E. Spurgeon, Five Hundred Years of Chaucer Criticism and Allusion, 1357-1900 (Cambridge: Cambridge Univ. Press, 1925). 2 The Canterbury Tales of Chaucer (London, 1775), IV, 2; as quoted in Spurgeon, I, 443. 3 See, for example, C. S. Lewis, "The Fifteenth-Century Heroic Line," in Selected Literary Essays, ed. Walter Hooper (Cambridge: Cambridge Univ. Press, 1969), pp. 45-57; Eleanor Hammond, English Verse between Chaucer and Surrey (Durham, N. C.: Duke Univ. Press, 1927), pp. 83-85. Though the term "iambic pentameter" will be used in this introduc tion as a convenience to refer to Chaucer's practice, the nature of Chaucer's decasyllabic line is a matter of dis pute. See, for example, James G. Southworth, Verses of Cadence (Oxford: B. Blackwell, 1954). As will be discussed later in this chapter and in Chapter II, this project does not begin with the assumption that Chaucer's verse was necessarily iambic pentameter in form. The investigative procedure to be used will.measure departure from this norm as well as adherence to it. 4 As D. W. Harding has stated in "Rhythmical Intention in Wyatt's Poetry," Scrutiny. 14 (December 1946), 90: "It is not always realized what an extraordinary psychological 21 22 problem is suggested by the conviction of literary histo rians that the English post-Chaucerians lost the art of metrical writing and lapsed into a kind of prose chopped up into lines. Such-a complete and sudden loss of a social skill would, if it had really occurred, have been a remark able challenge to psychological explanation. Rather rapid changes took place in the language, it is true, and there were serious political disturbances during the fifteenth century, but something cataclysmic, linguistically and politically, would have been needed to make such a loss of skill reasonably understandable." 5 Chapters on the Metric of the Chaucerian Tradition (Baltimore: J. H. Furst and Co., 1910), p. 4. 0 George Saintsbury, A History of English Prosody (Lon don: Macmillan, 1906), I, 2 36; see also Saintsbury, The Earlier Renaissance (New York: Charles Scribner's Sons, 1901), pp. 234-235; Cambridge History of English Literature (New York, 1908), II, 269; A. W. Pollard, Introduction to Fifteenth-Century Prose and Verse (New York, n.d.), pp. ix- xi; Walter W. Skeat, The Chaucer Canon (Oxford: Clarendon Press, 1900), pp. 4-6. 7 English Poetry in the Sixteenth Century (New York: Hutchinson's Universal Library, 1967), p. 40. Q The Prosody of Chaucer and His Followers: Supplemen tary Chapters to Verses of Cadence (Oxford: B. Blackwell, 1962), p. 28. Q Though the writers under discussion here suggest that later poets departed from the Chaucerian model in writing stress-verse, the view has recently been revived which con siders that Chaucer himself wrote stress-verse we today try mistakenly to read as iambic pentameter. See especially James G. Southworth, Verses of Cadence, and Ian Robinson, Chaucer's Prosody (Cambridge: Cambridge Univ. Press, 1971). Most critics, however, continue to agree with the flat statement of Albert Baugh: "All of Chaucer's verse is iambic in movement (w '), most of it with either four or five stresses to the line" (Chaucer's Major Poetry [New York: Appleton-Century-Crofts, 1963], p. xl). 23 ■^(London: K. Pau'l, Trench, Trtibner and Co., 1908), p. lii. Examples of lines considered four-stress by Ramsay (see p. lv) but which would be admitted as iambic pentameter by most traditional prosodists are the following: Xll that ye say is as trewe as the Crede; But yf therof the soner amendys be made; (Magnyfycence, 220, 228) Ramsay's reading would presumably be All that ye say is as trewe as the Crede; But yf therof the soner amendys be made; The lines move easily from one category to the other. 11 Dunbar: A Critical Exposition of the Poems (Edin burgh: Barnes and Noble, 1366). 17 Thomas Hoccleve; A Study in Early Fifteenth-Century English Poetic (Chicago: Univ. of Illinois Press, 1968). •^For a discussion of rhetoric vs. poetic in the Middle Ages, see C. S. Baldwin, Renaissance Literary Theory and Practice (New York: Columbia Univ. Press, 1939), p. 15. "Chaucer and the Study of Prosody, " CE, 28 (December 1966), 187-219. ■^A recent discussion of traditional metrical varia tions appears in Pauli Baum, Chaucer's Verse (Durham, N. C.: Duke Univ. Press, 1961), pp. 13-14. (New York: Harper and Row, 1971). "Chaucer and the Study of Prosody," pp. 176-177. Halle and Keyser offer the following example of the proce dure for determining the metrical complexity of a regular line: Batter my heart, three-person'd God, for you W S W S W S W S WS "The first and last S violate the first alternative of (52bii) but not the second; and the first and third W vio late the second alternative but are allowed by the third alternative; the word three does not constitute a stress maximum because it is not located between two unstressed 24 syllables in the same syntactic constituent; it may there fore occupy a W position" (pp. 170-171). Each violation is underlined, and the number of violations equals the com plexity count. Thus the line has a complexity of six. 18 Dudley Hascall, "Some Contributions to the Halle- . Keyser Theory of Prosody," CE. 30 (February 1969), 357. 19 See Joseph Beaver, "A Grammar of Prosody," CE, 29 (January 1968), 310-321; Donald C. Freeman, "On the Primes of Metrical Style," Linguistics and Literary Style. ed. Donald C. Freeman (New York: Holt, Rinehart and Winston, 1970), pp. 448-491; Karl Magnuson and Frank G. Ryder, "The Study of English Prosody: An Alternative Proposal," CE, 31 (May 1970), 789-820; William K. Wimsatt, "The Rule and the Norm: Halle and Keyser on Chaucer's Meter," CE, 31 (May 1970), 774-788. CHAPTER II METHODOLOGY AND ENCODING The data for this study were obtained by a procedure consisting of two parts: the phonetic encoding of the lexi con of the original verse text, done by hand; and the ex amination of the text for such specific prosodic features as stress, stress maximum, alliteration, and punctuation, done by computer . An explanation of the methodology of the project will help to clarify the particular role of the computer as well as the advantages of computer assistance. A scholar unfamiliar with the computer-based literary / studies of the past few years might feel that in a poetry study such as the present one, a machine has trespassed on an investigation more appropriately left to human experience and intuition, and that it is only such tasks as concordan ces, indexes, and cross-referenced bibliographies that are logically assignable to the computer. As the following explanation will show, however, a metrical study like this 25 ?6" one is in fact fully as amenable to computer assistance as work that on first consideration seems more mechanical. The computer accomplished nothing that a human investigator could not have done alone, and it considered many of the same questions of Middle English versification— the foot, syllable-count, placement of stress, elision, the optional -12, and many others— that scholars were discussing long before the invention of the computer. But the computer offers speed and accuracy far beyond that of the human in vestigator, and has in addition the advantage of disinter estedness; it examines each line without a predisposition toward finding iambic pentameter or any other particular verse type, and without regard for the non-prosodic content of the line . In seeking a significant yet manageable body of repre sentative verse, I took selections from the poetry of five late medieval authors: Geoffrey Chaucer (13407-1400), Thomas Hoccleve (13707-14507), John Lydgate (13707-14507), William Dunbar (14707-15157), and John Skelton (14607- 1 5 2 9 ) One thousand lines of Chaucer's verse were proc- 2ssed in order to establish a norm by means of which to compare the versification of the four later poets . Five hundred lines were drawn from each of the other four 27 authors, with samples from any one poem limited to 250 2 lines. The selection of samples was in no way linked to an assumption that any one of the four later poets neces sarily tried to model his metrics on Chaucer's verse, or in fact that any of the poets attempted to write iambic penta meter at all. The only requirement for the lines chosen was that they appeared to be basically decasyllabicj the only advance judgment was in the rejection of those lines— octosyllabic or alexandrine, for example— that were obvi ously unsuitable as samples in an investigation of deca syllabic verse. Blocks of 50 or more consecutive lines were used in preference to single lines drawn from throughout the author's entire corpus. In this way the data produced by the study could allow comparisons between two or more seg ments by the same author— to show, for example, that within the first 100 lines of their respective tales, Chaucer's Prioress speaks in sentences almost half again as long as those spoken by the Miller. The editions from which the verse samples were taken are as follows: The Works of Geoffrey Chaucer, ed. F. N. Robinson, 2nd ed. Boston: Houghton Mifflin, 1957. Hoccleve1s Works. ed. Frederick J. Furnivall. EETS LIX, LXXII. London: K. Paul, Trench, TrUbner, 1897. 28 John Lydgate: Poems, ed. John Norton-Smith. Oxford: Clarendon Press, 1966. The Poems of William Dunbar, ed. W. Mackay Mackenzie. London: Faber and Faber, 1970. "The Garland of Laurell," The Poetical Works of John Skelton, ed. Alexander Dyce. 2 vols. London: T. Rodd, 1843. "The Bowge of Court," John Skelton: Poems, ed. Robert S. Kinsman. Oxford: Clarendon Press, 1969. Each author's verse was maintained and run as a separate sample throughout the study. The first task in preparing the selected lines was to key-punch each line of verse onto a key-punch card. Also included on this card was an 11-column identifier field indicating author, poem, book or section if relevant, and line number. Except for orthographic substitutions in the case of archaic letters, each line was key-punched just as it appeared in the standard modern edition of the author's work. The editorial punctuation in each edition was retained since it is necessary in the Halle-Keyser scheme to know the location of syntactic breaks. The first program to operate on the key-punched samples was a concordance program which printed an alphabetical listing of the entire vocabulary in each sample and punched each word onto a separate card. Chaucer's total word-count 29 for 1,000 lines was 2,112 words, including variant spell ings, articles, and conjunctions. The totals for the 500- line samples were Hoccleve, 1,388 words; Lydgate, 1,345 words; Dunbar, 1,423 words; and Skelton, 1,361 words. Though the investigator could conceivably bypass the tran scription phase entirely by putting each line into phonetic form, a line-by-line transcription would cost a great deal of additional time. The 7,623-word Chaucer sample, for instance, yielded a concordance of only 2,112 words. Each 3 spelling variation was treated as a separate word. The next step was to obtain from the original lines of verse a new text in a form that was acceptable to the com puter— in other words, to substitute for the Middle English orthography a system of unique correspondence between sound and symbol, and a uniform indication of stress . A phonetic encoding of each word was key-punched onto the card con taining the original spelling of the word. This group of cards then constituted a dictionary giving the pronunciation of each word in the vocabulary. As will be explained more fully in a later section of this chapter, substitutions were made for the standard phonetic characters which did not appear in the computer character set, and allowance had to be made for words whose stress was not uniform from sentence 30 to sentence. Diphthongs were indicated by a = or * follow ing the vowel, stress by a plus sign following the vowel or diphthong. A transcription program designed to correlate the pho netic encoding of each word with its appearance in the original text then printed out a double version of the text, with the phonetic transcription of each line appearing immediately below the original. Thereafter the original lines served no further purpose; the programs which did the actual metrical investigation treated only the phonetic lines. The transcription described above and the actual metri cal scanning were accomplished by means of computer programs developed by Robert Dilligan. The first of the scanning programs, called PRSKAN, is designed to gather a body of information onto computer tape for investigation by a second program, called SKAN. The taped information compiled by PRSKAN includes the following: 1. Number of syllables per line. 2 . Number of words per line . 3. Occurrences of each vowel, including the number of final -e's encoded in each line. 4 . Stress pattern for each line. 31 5. Number of one-, two-, three-, etc. syllable words in each line . 6. For each line of more than 10 syllables, the vari ous possibilities for distributing the syllables over the 10 positions, with elisions linking vowels and also operating over the boundaries "S," "N, " "M, " "R, " and "H. 7. The punctuation pattern of each line. 8. The initial consonant clusters. In addition to the taped information, PRSKAN prints out at the end of each poem sample the following information: 1. Title of the poem. 2. Number of sentences in the poem. 3. Number of words in the poem. 4. Number of syllables in the poem. 5. The average sentence length in words to four deci mal places. 6. The average sentence length in syllables to four places . 7. The average word length in syllables to four places . 8. The number of one-, two-, three-, etc. syllable sentences. 32 9. The number of one-, two-, three-, etc. syllable words in the poem. 10. The number of one-, two-, three-, etc. word sen tences in the poem. At the end of the entire sample PRSKAN again prints out the information listed above, but this time as cumulative totals, along with three additional pieces of data: 1. The line numbers of lines for which the program 5 could provide no satisfactory elision. 2. The number of times zero, one, two, three, etc. possible assignments of syllable to position were provided for a single line, up to a possible total of 900. 3. The number of the line for which the greatest number of possible elisions were found. The syllables in each line are numbered from left to right. If there are 10 syllables, and if Position 10 is occupied by a stressed syllable, a one-to-one correspondence of syllable to position is assumed. If there are more than 10, the program checks for a possible weak ending, the extra-metrical syllable allowed in the verse-final position under the Halle-Keyser scheme. For each extra-metrical line, PRSKAN prints all the possible assignments of syllable to position— that is, all the ways in which the possible 33 elisions in the line can be utilized to yield 10 syllables. If, for example, an 11-syllable line has three possible combinations of elidable syllables, the program lists the three alternative ways in which the one necessary elision may be obtained. Certain ambiguities and problems in the sequence of investigative steps in the Halle-Keyser theory will be dis cussed at some length in Chapter III. So that a methodical examination of the lines for metricality and regularity could be carried out, the steps were listed in the following explicit and programmable order: 1. Number the syllables from left to right. 2. If the number of syllables is greater than 10, check for an extra-metrical syllable in the verse-final position. 3. If the number still does not equal 10, list every possible assignment of extra-metrical syllables and sonorant sequences that reduce or increase the number of syllables to the permitted one. 4. If the number of syllables equals the permitted number and the final position is occupied by an unstressed syllable, consider the possibility that Position 1 is va cant . 34 5. If it is impossible to adjust the number of posi tions to the permitted number, the line is unmetrical. 6. Evaluate all possible assignments for degree of complexity against (52bii) of the Halle-Keyser theory. 7. Test the occurrence of stress maxima for metri- cality. 8. A line is metrical if there is at least one pos sible assignment of syllables to the 10 positions which £ passes the test for metricality in step 7. If after the incorporation of all possible elisions the line still has more than 10 syllables, the program prints a statement to that effect. For each line that contains fewer than 10 syllables, the program prints an indication that the line will be considered catalectic. The following line and its possible elision combinations from The Prior ess 's Tale are typical. The first line printed is the original Middle English spelling, second is the phonetic transcription, and following them the six ways in which the line can be read as a 10-syllable line. The X's under the first phonetic line indicate the four possible elisions. Since this is potentially a 12-syllable line, only two eli sions are required, and the computer lists the six alterna tive combinations of two elisions. j r 35 LINE 1 10042 CONTAINS 4 El.IOABLf SYLLABLES* THERE ARE 6 POSSIBLE ASSIGNMENTS SYLLABLES TO positions: FUL OFTEN TYMF. UPON HIS FUL l+FTEN TI/+MC UP|+N xxxx x KMOWES BARF.* H I Z K N 0 * + > 5 X BA+PC* X F L X )+ F TEN TI/+M X UP| + N HI Z KN0*+>S BA+RC* F L X )+ FTEN TI/ + MC UP 1+ N H I Z KN0*+_S X BA+RC* F L X |+ F TEN T I / + MC U P | + N HI Z KN0*+>S 0A+R_. X FUL |+F TEN TI / + M X UP| + M HI Z KN0* + S X BA+RC* FUL J +FTEN T I / + M X U P | + N HIZ KNG*+>S BA+R • X FUL |+ F TEN Tl/+MC U P | + N HI Z KNC * + S X OA + P » X ' ! The final scanning program, called SKAN, takes its in- put from the tapes created by PRSKAN. The printed output i i jincludes a listing of the elision alternative for each line which SKAN has selected as having the lowest complexity indicator. If two or more of the alternatives created in PRSKAN have the same complexity and there-is no less complejk alternative, SKAN lists the lines having identical complex- jity. The texts of all samples, showing the version of each j j iline selected in the program, are included in the Appendix. For each sample, SKAN prints a table containing the following information: i t I 1. Number of syllables. i i — I 36 2 . Number of stress maxima. 3 . Percentage of stress maxima. 4. Number of lines. 5 . Percentage of stress maxima lines . 6. Number of lines without stress maximum. 7 * Number of iambic lines. 8. Percentage of iambic lines. 9. Number of ambiguous lines (i.e., lines with three or more successive stresses with no intervening syntactic break). 10. Percentage of ambiguous lines. 11. Number of assonating syllables. 12 . Percentage of assonating syllables. 13. Number of assonating lines. 14. Percentage of assonating lines. 15. Number of assonating patterns. 16 . Percentage of alliterating syllables. 17 . Number of alliterating lines. 18. Percentage of alliterating lines. 19. Number of alliterating patterns. 20. Number of lines with coincident assonance and alliteration. 21. Percentage of lines with coincident assonance and 37 alliteration. 22 . Number of syllables with coincident assonance and alliteration. 23. Percentage of syllables with coincident assonance and alliteration. 24. Number of lines exceeding specified complexity. 25. Percentage of lines exceeding specified complex- ity. 26 . Average complexity. 27. Number of ametrical lines. 28. Percentage of ametrical lines. 29. Number of lines to be elided. 30. Number of lines shorter than specified length. 31. Average number of words per line. 33. Number of possible assignments of syllables to positions • 34. Syllable adjustment ratio. 35 . Number of elidable adjustments. 36. Number of catalectic adjustments. 37 . Number of optional -e. 38. Number of optional -e^ after elision. 39. Percentage of optional -e_. The same table is printed at the end of the program j giving information for the combined samples of the author j ! ' I II • . I being studied. These tables for all samples are included in i! the Appendix. I | I PRSKAN also prints six small graphs as convenient i I illustrations of certain prosodic features. The graphs ii i' ’ show, syllable by syllable, the occurrence of line stress, i j 'stress maximum, assonance, alliteration, coincident as so- I ■ ■ ■ nance, and punctuation. The stress maximum graph for The i: i; Prioress 1 s Tale is as follows: STRESS MAXIMUM CHAUCER SAMPLE 5 MAXIMUM VALUE! 65 SCALE lil GRAPH IN PERCENTAGE OF TOTAL TOTAL 263 PCS VALUE PERCENT 1 0 0.0000 “...2 62 23.5724 XXXXXXXXXXXXXXXXXXXXXXX 3 1 0.3e02 4 54 20.5308 xxxxxxxxxxxxxxxxxxxx 5 2 0.7604 .. 6 65 24.7130 XXXXXXXXXXXXXXXXXXXXXXXX 7 1 0.3002 8 45 17.109C XXXXXXXXXXXXXXXXX 9 4 1•52 0 8 X 10 27 10.2654 xxxxxxxxxx 11 2 0.7604 12 0 0.0000 I The graph shows that stress maximum occurs most frequently > : i t I ion syllable 6, with 65 out of 263 instances or more than 24 i i ' I percent of all the instances in the sample. Again, graphs ! i at the end of the pr ogram give the same information for the 39 author's entire sample, and all graphs are included in the Appendix. In addition, SKAN prints in separate lists all lines having no stress maxima, all lines with weak endings, all ametrical lines, and all lines exceeding the specified com plexity. Also printed are the line numbers of all iambic lines in the corpus, all lines upon which the elision rou tines operated, lines shorter than the specified length, lines with three successive stresses, and lines with coin cident assonance and alliteration. The extensive store of information on the SKAN tapes may now be sorted, grouped, and rearranged with respect to any prosodic feature or combination of features recorded by the program. Since the stress maximum patterns of the five authors were of particular interest, the computer produced, by means of a brief sorting progam, a table which listed together all lines having identical stress maximum patterns and also the frequency for each pattern in the sample. An investigator who wishes to obtain a phonetic tran scription of a Modern English vocabulary list has before him a time-consuming but relatively straightforward task: he simply looks up each word in the dictionary of his choice and copies the phonetic pronunciation. Unfortunately, no 40 reference work exists which gives, for any time period or dialect of Middle English, a general vocabulary with accom panying pronunciation. It is therefore necessary to base the encoding upon the best philological helps available. In transcribing the vocabulary for this project I relied upon F. N. Robinson's introductory material to his The Works of Geoffrey Chaucer and upon Helge Kokeritz's Chaucer1s 7 Pronunciation. The Kokeritz work was especially helpful because of its greater detail, its prescriptiveness, and its extensive examples. Though reference has heretofore been made to a phonetic transcription, in actual fact the phonetic tables given by Robinson and Kokeritz were simplified somewhat for purposes of the encoding. Since this study in no way deals with rhyme, it was possible to reduce these phonetic tables slightly and still have a satisfactory list of sounds, a complete or nearly complete chart of phonemes. There seemed to be no need to distinguish the open and close long e or the open and close long o. The assonance figures are, of course, higher than if these sounds had been encoded with separate symbols, but since Chaucer occasionally allowed 0 them to rhyme, it seemed justifiable to count them as assonating vowels. The symbol [x] represents the velar 41 spirant spelled gh, whether the sound follows a back or a front vowel. The simplified sound table contains 11 vowels instead of Robinson's 13 and Kokeritz's 18, and seven diph thongs instead of Robinson's nine and Kbkeritz's eight. The consonant list remains fairly standard. As has been men tioned, it was necessary to substitute available keypunch characters for standard phonetic symbols which did not exist on the keyboard. Since the colon was used as a punctuation mark in the edited texts of the poems, the virgule was sub stituted as a mark of phonetic length. Symbols for the con sonants were standard except for five substitutions: # to represent [q], $ for [s], Q for [£], ) for [0], and ( for [3] • The table shows two symbols as phonetic representations for the schwa: a C for all e^'s appearing at the end of a word, and the > for all other schwa-sounds. Except to in dicate the unstressed e^, the > was used sparingly in encod ing Chaucer, Lydgate, and Hoccleve, in accordance with Kbkeritz's statement that "it seems likely that in reading aloud the unstressed vowels were still pronounced like their fully stressed equivalents" (p. 17). The complete list of vowels and diphthongs with their corresponding symbols is as follows: 42 Approximate Phonetic Equivalent Corresponding Symbol ME Example [a] A can, that [a:] 1/ caas, name [e] E tendre [e:] E/ sweete [i] I this, thyng [i:] 1/ riden, shyres [o] 0 good, bote [o] 1 oft, lot [u] u but, yong [u:] U/ fowles, droghte [e] c (final -e only) [a] > (unstressed non final vowel) [®i] A* vein [ei] E* wey [au] A= cause [iu] I* vertu [Eu] E lewed [ 0 U ] 0* growen [Oi] 0= coy 43 The use of a unique symbol to encode the much-debated optional -e. is in no way meant to imply that this syllable must have existed in either the speech or the poetic con ventions of any of the authors. It is simply a means of being able to keep track of how often this -e, if it did exist as a separate syllable, would have been significant in rendering the line metrical according to the iambic pentameter scheme devised by Halle and Keyser. All final -e/s allowed by the editors were encoded; no distinction was made between organic and inorganic -e_'s, or historic and non-historic -e/s.^ In general, monosyllabic nouns and verbs were marked as stressed, and words which were members of minor lexical categories were not encoded as having stress . In the case of words such as had which could appear as either a princi pal verb and therefore stressed, or as an auxiliary verb and therefore unstressed, a new word— the auxiliary HADl— was added to the phonetic dictionary and encoded without stress, and the original orthographic text was changed to read HADl instead of HAD for each use of the auxiliary. The principal verb remained HA+D. If a normally unstressed word appeared in a special context in which it bore stress— the preposi tions in the expression to and fro, for example— the same 44 double encoding system was used to distinguish the stressed and unstressed versions of the word. Chaucer's use of stress doublets, particularly in proper names, foreign words, and present participle forms, is a familiar subject of scholarly discussion and has been treated most recently by Halle and Keyser in English Stress (p. 103). In deciding between nature and nature, Custance and Custance, cornynge and comynge, and many other pairs, I referred with the help of the printed alphabetical concor dance to the line in which the word appeared in order to see if one stress pattern or the other was indicated by the metrics. Admittedly, this practice demonstrates the kind v of circularity cited by Ian Robinson: "the metre is regular therefore some words are of variable stress; some words are of variable stress therefore the metre is regularj therefore the metre is regular and some words are of variable stress. But a decision one way or the other had to be made, and reference to the line was preferable to a blind guess. If more than one stress pattern was indicated for any word, the alternative form was entered in the dictionary as a separate word, just as was done with the auxiliary HAD. After each word had been encoded for the dictionary, the transcription program, as described previously, looked jup the pronunciation corresponding to each word in the i j 'original poetry text and printed the phonetic transcription j j Idirectly below each line. Following is a sample from the opening of The Prioress's Tale: 795 S $ 796 ** i797 S S |798 ** j799 $$ 80 0 A* !801 ss 1802 ** 180 3 ss 8 04 A* 1805 ss 5806 ** (807 *$ i808 A* 809 ss 810 A* 811 ss 812 A * 813 $$ 814 AA 81 5 ss 816 AA .817 ss :81 8 AA |8 1 9 ss 82 0 AA 821 ss 822 AA 823 ss |824 * A 8 25 $$ 1826 A A |827 ss •828 A A 82 9 $$ 830 A A :8 31 ss 832 AA 833 ss 834 AA 835 ss 836 AA THER WAS IN ASYE, IN A GREET CITEE. )ER WAZ IN A+ZI=, IN A GRE/+T SI/TE/+, AMONGES CRISTENE FOLK* A JEWERYE, AM|+ G>S KRI+ST> N FO+LK, A DQU/+FRI/+C, SUSTENED BY A LORD OF THAT CONTREE SUSTE/+N>D □I A LO+RD |V )AT KONTRE/+ FOR FOULE USURE AND LUCRE OF VILEYNYEI ,• FOR FU/+LC USU/+RC AND LU/+KR> |V VI+LE*NI/+C, HATEFUL TO CRIST AND TO HIS COMPAIGNYE\ H | / +T>FUL TO KRI/+ST AND TO HIZ KQ+MPAAN I /+C S AND THURGH THE STRETE MEN MYGHTE RIDE OR WENDE, AND )URX )> STRE/+TC ME+N MI/+XTC RI/+DC OR WE+NDC FOR IT WAS FREE AND OPEN AT EYT HER ENDE. FOR IT WAZ FRE/+ AND O+PEN AT E*+(ER E+NDC. A LITEL SCOLE OF CRISTEN FOLK THER STOOD A LI+TEL SKO+LC |V KRl+ST>N FO+LK )ER STO+D DOUN AT THE FERTHER ENDE, IN WHICH THER WERE DU/N AT )> FE+R(ER E+NDC, IN HWITS )ER WE+RC CHILDREN AN HEEP, YCOMEN OF CRISTEN BLOOD. . T$I+LDREN AN HE/+P, IKO + M>N |V KRI + ST>N BLO+D, THAT LERNED IN THAT SCOLE VEER BY Y5RE )AT LE+RN>D IN )AT SKO+LC JE/+R BI JE/+RC SWICH MANERE1 DOCTRINE AS MEN USED THERE, SWITS MANE+RC1 D|KTRI/+NC AZ ME+N U/+S>D )E+RC, THIS IS TO SEYN, TO SYNGEN AND TO REDE, )IS IZ TO SEA + N, TO 5I+0G>N AND TO RE/+DC« AS SMALE CHILDREN DOON IN HIRE CHTLDHEDE. AZ SMA+LC T$ I+LDREN DON IN HI/+RC TS ILDHE/ + DC. AMONG THISE CHILDREN WAS A WYDWES SONE, AM|+/7G ) I + ZC TSI+LDREN WAZ A WI+DW>S SO + NC, A LITEL CLERGEON, SEVEN YEER OF AGE, A LI+TEL KLE+RDO1/|N, SE+VEN JE/+R jv |/+DQC, THAT DAY BY DAY TO SCOLE WAS HIS WONE, )AT DE*+ 91 DE*+ TO SKO + LC WAZ HIZ W|+NC, AND EEK ALSO, WHERE AS HE SAUGH THYMAGE AND E/K ALSO+, HWE+RC AZ HE I SA = + X )IM|/+DQC OF CRISTES MOOOER, HADDE HE IN USAGE, |V KRI/+ ST>S MO+OER, HA + DC HEI IN U/S|/+DQC, AS HYM WAS TAUGHT, TO KNELE ADOUN AND SEYE AZ HIM WAZ TA=+XT, TO KNE/+LC ADU/+N AND SE*+C HIS AVE MARIE, AS HE GOTH BY THE WEYE. HIZ A + VE/ MA+RI=♦ AZ HE I GO+) BI )> WE*+C. j The verse samples from Hoccleve and Lydgate were en- j coded in the same manner as Chaucer's verse. For Dunbar and j Skelton, however, it was necessary to alter the encoding ’ . i jslightly in an attempt to update the pronunciation according 46 to dialectal and historical changes. The transcription of Dunbar's verse took into account the following suggestions 11 from G. Gregory Smith's Specimens of Middle Scots: 1. The addition of i or ^ to a vowel in Middle Scots is often an orthographic device to indicate a long vowel. 2. The after and o is unsounded, merely an ortho graphic device to indicate a long vowel. 3. Word-initial guh and qwh indicate a guttural. 12 E. J. Dobson's English Pronunciation 1500-1700 deals for the most part with the speech habits of a later day than that of Skelton, who died in 1529. But Dobson indicates two changes which it seemed appropriate to incorporate into the encoding of Skelton's poetry: 1. "It can be proved that in the everyday speech of the sixteenth and seventeenth centuries the vowel [9] was freely used in unstressed syllables in place of the ME short vowels" (p. 827). Thus all unstressed vowels were encoded as >. 2. "By the fifteenth century the English inflexions had come to have two forms, the older one consisting of un stressed -e_plus a consonant (or two consonants) and a newer one which consisted of the consonant(s) alone" (p. 880). Inflectional endings in Skelton's poetry were encoded as 47 syllabic or non-syllabic according to the indications of the line . NOTES For the sake of convenience, "Middle English" has been intended in the previous chapter to include the language of Dunbar and Skelton, and "medieval" to include Skelton. I dc not mean to suggest any judgment or classification, and I use these groupings only because it would have been awkward to be more precise in the general discussion. 2Any conclusions drawn on the evidence of a sample as small as 500 lines are, of course, at best only tentative. At the same time, I hope that an interpretation of such complete statistics, though drawn from small samples, will point toward some rewarding and important questions for future study. There is considerable value, moreover, in the fact that these programs have now been worked through with Middle English data and have been modified to provide in formation concerning the optional -e_. 3 The variant spellings of Middle English greatly reduce the vocabulary overlap and would certainly add to the task of compiling a general Middle English pronouncing diction ary. If an investigator had a dictionary for computer use consisting of Chaucer's entire concordance and wished to update it to accommodate the works of Hoccleve, for example, he would have to add not only proper names, possible nonce- words, and a certain number of unusual words, but also many common words in spelling variations which Chaucer's scribes had not happened to use or his editor had not happened to select. 4 Though Halle and Keyser do not hypothesize elision across "H," the. inclusion of this boundary in the programs is made in accordance with the suggestion of F. N. Robinson, p. xxxv. 48 49 5 In no sample were there more than three such lines. They will be discussed in the chapters devoted to the in dividual authors. g This algorithm is presented by Robert Dilligan in Robert Dilligan and Karen Lynn, "Computers and the History of Prosody," CE_ (forthcoming). 7 Helge Kdkeritz, A Guide to Chaucer's Pronunciation (Stockholm and New Haven: Whitlock, 1954). g For a discussion of long < 2, long o, and their use in rhyme see Albert Baugh, pp. xxv-xxvi. 9 The most exhaustive discussion of these distinctions in the -e^ is Ruth Buchanan McJimsey, Chaucer1s Irregular -E: A Demonstration among Monosyllabic Nouns of the Exceptions to Grammatic and Metrical Harmony (New York: King's Crown Press, 1942). ■^Ian Robinson, Chaucer's Prosody (Cambridge: Cam bridge Univ. Press, 1971), p. 110. 11(Edinburgh: W. Blackwood, 1902), pp. xviii-xix. 12 (Oxford: Clarendon Press, 1957). CHAPTER III CHAUCER AS EVALUATED THROUGH THE HALLE-KEYSER THEORY If a verse sample from Hoccleve, Lydgate, Dunbar, or Skelton were to be examined individually, each as an iso lated unit and from no other point of reference than the Halle-Keyser system, the results would undoubtedly be of interest within themselves. The same data, however, assume additional value when placed in the perspective of the question suggested in Chapter I: that of the metrical link — or lack of it— between these later poets and their "mais- ter Chaucer." In order to deal with the verse on a com parative basis, it is first necessary to establish a de scription of Chaucer's verse management to serve as a norm. An adequate analysis of a poet's handling of any one verse form must fulfill two requirements: it must give a satis factory description of the underlying verse pattern, and it must provide an account of the variations and alternatives 50 51 within the prosodic craft of the particular author which to him constitute the acceptable actualizations of this pat tern. The data provided by the computer programs described in Chapter II are helpful in examining Chaucer's decasyl labic line with regard to both these questions . Scholarly opinion concerning the first issue— Chaucer's underlying metrical pattern— has generally been both brief and unanimous. Bernhard Ten Brink asserted in 1884 that "Chaucer's heroic verse always contains 10 syllables when it has a masculine ending, 11 (or 12 when the eleventh is slurred) when the ending is feminine," and that deviations in Chaucer's heroic verse from the iambic pentameter scheme are so rare that "they may fairly be treated as instances of 'level stress.'"^ Most recent investigators have thought it unnecessary to modify this description in any fundamental respect. The words of Pauli Baum are typical: "However he may have come to it, Chaucer's line is a series of five iambs" (p. 11) . And Halle and Keyser's (W)S WS WS WS WS (X) (X) is just a rephrasing of Ten Brink's description through a 2 different sort of representation. The nature of Chaucer's variations upon this pattern has almost always warranted a much lengthier critical 52 discussion. The simple "five iambs" description alone does not accommodate a satisfactorily large percentage of Chau cer ' s lines, and the investigator must consequently append a list of acceptable variations and exceptions without which the initial description of the regular line would be of little value. The principal variants suggested are usually those which deal with the resolution of extra unstressed syllables — "slurring," "elision," or "contraction." Other important liberties are that of the reversed foot and the omitted initial syllable. Most of the allowable deviations traditionally cited by Chaucer scholars over the years are subsumed in some way under the rules and definitions of the 3 Halle-Keyser system. Elision rules, for example, would be part of Section (b)(i), the Correspondence Rules, of the revised version of the theory as quoted in Chapter I, and the option of the omitted initial syllable is expressed by the parentheses around the first W of the abstract pattern. Halle and Keyser stated in their original article that their iambic pentameter scheme accommodated an impressively large percentage of their sample: "a random selection of one thousand lines in Chaucer yielded less than 1.0% ex ceptional lines. Such a percentage of exceptional lines seems tolerable in view of the exigencies of manuscript 53 transmission, scribal error and, finally, the possibility of poetic oversight" (p. 214) . Halle and Keyser make no claim concerning the inclusiveness of their revised theory in English Stress. but presumably the percentage of excep tional lines under the rules and definitions of their second theory would be even less because of two important modifica tions . The first of these revisions is in the definition of stress maximum: the definition in the second version of the theory specifies that a stressed syllable is a stress maximum only if it occurs "between two unstressed syllables in the same syntactic constituent" (p. 169). Since accord ing to the Halle-Keyser theory a metrical line may not have a stress maximum in a W position, any convention which re duces the number of syllables which must be termed stress maxima will thereby increase the number of lines which may be admitted as metrical. The second revision of their original views in "Chaucer and the Study of Prosody" has to do with Halle and Keyser's views on Middle English stress rather than with their theory of iambic pentameter. In their original article, a line such as Ful weel she soong the service dyvvne (GenProl I, 122)^ 54 would have been termed unmetrical because the only alterna tives permitted for the stress of service were that it be initially stressed and disyllabic, resulting in a stress maximum on Position 9 (dyvyne) , or penultimately stressed and trisyllabic, placing a stress maximum on Position 7 (service) . In English Stress, however, Halle and Keyser modify their position, and acknowledge the possibility that words such as service were "shifted from the Romance to the unmarked Germanic category" and might be pronounced service (p. 105) . This pronunciation would, of course, give a per fectly metrical reading for the line. Thus a second group of lines— a rather large group because participial forms such as cornynge are treated in the same way as service— would no longer fall within this exceptional 1 percent. Unfortunately, Halle and Keyser do not list the lines which made up the unmetrical 1 percent under the specifications of their original theory, and it is therefore impossible to know whether all of these lines may now be admitted as met rical in the light of these two modifications. The examination of prosody by the Halle-Keyser yard stick offers the possibility of new insights into Chaucer's metrics and also some useful categories and limitations which permit numerical analysis of certain important 55 features. The Halle-Keyser system focuses only on those features which bear on the metricality of the line, elimi nating from direct consideration any characteristics which, though they might be distinctive prosodic traits of great stylistic interest— patterns of alliteration, for example— are not relevant to the question of metricality. On the other hand, the Halle-Keyser system shows the immediate metrical importance of the caesura or syntactic break, here tofore viewed only as a stylistic element which may inci dentally provoke certain prosodic phenomena in the writings of an author such as Lydgate, for example. Following the suggestions of Ten Brink, Jespersen, and others, Halle and Keyser are the first prosodists to de scribe in concrete terms the importance of the environment as well as lexical accent in determining the presence of stress; basic to their theory is the idea that stress must arise comparatively, distinguishing itself from lesser stress on either side. Furthermore, Halle and Keyser's isolation and definition of the 10 events in each line called "positions" greatly simplifies the description of just what happens, and how often, in each of the five feet. Of course the significance of such a description ultimately goes far beyond mere metrical testing. Though metricality 56 is the first question* the various realizations of the metrical framework provide interesting stylistic data as n 5 well. The 1*000-line verse-sample used in this study for the analysis of Chaucer's verse-sample was made up of the first 100 lines from each of the following works: Anelida and Arcite. The Parliament of Fowls. The General Prologue, The Miller's Tale, The Man of Law's Tale, The Wife of Bath1s Tale, The Prioress's Tale, and Books I, III* and V of Troilus and Criseyde. Out of this sample the SKAN program listed a total of 64 lines which it could not resolve as metrical according to the Halle-Keyser scheme. This number is of course much greater than Halle and Keyser's 1 percent* but for several important reasons* all of which will be discussed below in considerable detail* the majority of these lines can ultimately be admitted as metrical. The fact that nine lines out of the entire sample apparently cannot in any obvious way be classified as metrical is very much in keeping with Halle and Keyser's original claim of "less than 1.0% exceptional lines." The breakdown of these 64 problematical lines points up several considerations* some simply having to do with the human vicissitudes of the encoding process* and others bearing directly upon some 57 important questions concerning the Halle-Keyser theory. Before discussing these unresolved lines, it would be well to acknowledge the probable objections of scholars who are outside the mainstream of critical opinion regarding Chaucer's fundamental meter. James G. Southworth has argued at some length that Chaucer had no intention of writing iambic pentameter in any of his works, and that his verse form was, instead, based upon the accentual tradition of g Old English verse. Even though the extremely small per centage of exceptional lines, both in the original Halle- Keyser investigation and in the present study, would seem to be strong corroboration of the validity of the Halle- Keyser theory, a follower of Southworth would scarcely consider the argument forever ended. He would, on the con trary, undoubtedly be quick to point out two facts which in his eyes would greatly weaken this supposed proof of Chaucer's iambic pentameter intentions. First, the verse samples for Halle and Keyser's work and for this project were taken from the edition of F . N. Robinson, whose choice of variants from the manuscripts at his disposal could not help but be influenced by his avowed belief that Chaucer 7 wrote iambic pentameter. Thus the evidence was slanted in the direction of the desired results before the investiga 58 tion ever commenced. Second, the Halle-Keyser system is by any standard a liberal theory, with current modifications tending to make it even more inclusive. A certain percent age, perhaps a rather large one, of random 10- or 11- syllable segments of English prose would undoubtedly fit this theory's description of regular iambic pentameter, and certainly the three- or four-stress accentual line, which Southworth feels is Chaucer's fundamental pattern, could frequently be made to conform to this system through appli cation of the correspondence rules and definitions. This same critic would point out further that even though a line such as "Why, lat be," quod she, "lat be, Nicholas" (MillT I, 3285) qualifies under the Halle-Keyser system as a regular iambic g pentameter line with a complexity count of 12, this char acterization seems elaborate almost to the point of being devious when the line can be read so simply as accentual 9 with a caesura after she. Among the 64 lines which the computer evaluated as unmetrical, three groups of examples suggest some important considerations regarding the Halle-Keyser theory. The first category includes 27 lines, all of which can so easily be 59 apprehended as iambic pentameter that a reader anticipating an iambic pentameter meter would pass them by without a thought as to their difficulty. All these lines were never theless classified as irregular by the computer because of stress maxima in Position 9, and frequently in other odd- numbered positions as well. In following Halle and Keyser's suggestion that "we shall take the conservative (and no doubt artificial) position that simple words are supplied with only a single stressed syllable" ("Chaucer and the Study of Prosody," p. 200), the encoding for this study marked the stress only on the initial syllable of such words as bacheler, ceriously, doutelees, innocent, and prively. We shall consider what happens when a line of 11 potential syllables ends with such a three-syllable word and also contains elsewhere within it at least one elidable syllable. The following lines will serve as examples: Hadde in his hous a lusty bacheler (WBT III, 883) So greet noblesse in ernest, ceriously (MLT II, 185) Custance, I wol be cristned, doutelees (MLT II, 226) "Of Cristes mooder?" seyde this innocent (PrT VII, 538) 60 His felawe taughte him homward prively (PrT VII, 544) Halle and Keyser's instructions are that "if the number of syllables is more than ten, a check is made to determine whether the line contains,any extra-metrical syllables or whether two adjacent syllables may be assigned to a single position in accordance with the second alternative of (52bi)." If these steps are applied in their stated order to the lines above, the answer to the first question— whether there are extra-met: leal syllables— is yes, since any final unstressed syllable in an 11-syllable line can constitute a weak endingj this condition would not be true only if the final syllable bore stress, in which case it could not be extra-metrical according to (52a) . So, since the syllables have been numbered from left to right to establish a one-to-one assignment of syllable to position, the five examples above are all 11-syllable lines with weak endings. No elision is therefore necessary, and there is no alternative but to consider all five lines unmetrical because of stress maxima in Position 9, and in Position 7 as well in all but the fourth example. The question of false weak endings is not limited to three-syllable words of the kind cited above. Final words 61 such as conclusiouns, statut tho, and dilitacioun also appeared in this group of 27 lines. A line such as Ye in my naked herte sentement (Tr III, 43) does not, by the way, represent the same issue, even though it ends with two unstressed syllables. Since this line con tains only 10 syllables, the final syllable, whether stressed or unstressed, is automatically considered as coinciding with Position 10. Thus the stress maxima appear only in even-numbered positions, and the line is regular. Reversing the order of Halle and Keyser's instructions — that is, checking first for elidable syllables and then for a weak ending— would not solve the problem under dis cussion. As an illustration, the 12-syllable line And heeld hire harde by the haunchebones (MillT I, 3279) contains the possibility of a syllabic plural, a true weak ending. Because haunchebones is a compound, it is encoded with two stressed syllables. If as the first step the final -e/s on hire and harde were omitted to make this a 10- syllable line, then a check for stress maxima would show that Position 9 corresponded with the stress maximum bon, and Position 7 coincided with the stress maximum haunch. 62 Again, a potentially regular line has been judged irregular because of the ordering of the investigative steps. It is important to realize that this issue of the false weak endings is not just a "machine" question, a problem which arose only because the investigation was carried out by computer. On the contrary, the computer's inability to classify these lines as regular points up an important prob lem in the precise ordering of the steps in the Halle-Keyser system. It is vital that the investigator know whether his first check should be to count the syllables or to begin carrying out the permissible elisions. Halle and Keyser's instructions are that the syllables should be counted first to determine the possible presence of an extra-metrical syllable, but in neither the theory itself nor in the pre liminary material in their work do they presently demon strate any method for distinguishing a verse-final syllable in yore, ferre, or bones from that in bacheler, bokeler, or mencioun. Halle and Keyser apparently assume an awareness of secondary stress without in any way dealing directly with its role in their theory. If the investigator invokes this awareness on his own initiative, all 27 lines are, of course, easily seen to be metrical. If the problem is to be solved without a consideration of secondary stress, the 63 investigator is faced with the necessity of testing every possible assignment of syllable to position for metricality before he can decide whether the line contains a catalectic onset or a weak ending. The necessity for generalizing the investigative algorithm to include this multiple testing for metricality is discussed at length by Robert Dilligan, in "Computers and the History of Prosody," an article accepted for publication by College English and to appear in a forth coming issue of that journal.^ A much smaller number of instances among the unresolved lines points up what nevertheless appears to be a second important problem in the Halle-Keyser theory. Halle and Keyser deal with elision from a purely phonological point of view, stating in their correspondence rules under (52)(bi) that a single syllable may be assigned "to a sonorant sequence incorporating at most two vowels (immedi ately adjoining or separated by a sonorant consonant)." But the following two lines from the unmetrical list seem to require morphological considerations as well as phonological ones before the best elisions can be chosen: What should I seyn? She loved Arcite so ( Anel 92) That wyde-where senten hir spicerye _________________________________ (MLT II. 136)________________ 64 The first example is an 11-syllable line if loved is ini tially considered a disyllable, as it almost certainly is in To riden out, he loved chivalrie (GenProl I, 45) Thus one elision is needed in order to have a 10-syllable line. If the final -e^ on Arcite is dropped as the extra syllable, then Arcite‘s stress falls as a stress maximum on Position 9. But an alternative which immediately suggests itself, and which would yield a comfortable and metrical line, is of course to read loved as a monosyllable. How ever, this elision is not justified in terms of (52)(bi). In the second example the elision of the verb ending in senten seems to be preferable because it would provide a metrical line with a complexity of one, whereas the omission of the -e^ after wyde or where would give complexity levels of seven and four respectively. The problem of the morphological endings is illustrated also by two of the three lines from the Chaucer sample for which PRSKAN was unable to find a sufficient number of elidable syllables. In And taketh his leve, and wendeth forth his weye (WBT III, 918) the computer correctly noted the weak line-ending and then 65 looked for two elidable syllables in order to establish an 11-syllable line. Only one elision, the final -e_ in leve, could be located. The answer again seems to lie in the elision of a morphological ending, the verb ending on tak- eth, and again this elision is not phonologically permis sible. The same problem is evident in For she was wis, and loved hym nevere the lasse (Tr III, 86), a line containing 14 potential syllables. In seeking the three necessary adjustments to arrive at an 11-syllable line, the computer could find only two— the elisions over the r in nevere and over the 1_ in lasse. The third neces sary elision again appears to be the verb ending. The issue of the inconsistent syllabic status of these verb morphemes is peculiar to the encoding of Middle Eng lish. In Modern English usage we have reached more or less unquestioning agreement as to the syllabic or non-syllabic character of these endings according to their environment, and the usage as indicated by the context will usually help to distinguish such alternatives as blessed /'blGst/ and blessed /'blSsed/. If an author wishes an exceptional pro nunciation, then he must so indicate as Hopkins did in words such as whorled and laced. 66 The computer has no way of distinguishing word func tions or parts of speech unless these lexical differences are made explicit in the encoding of the samples. The -en ending in aprochen or stonden, for example, is for the com puter's purposes the same ending as in aboven or Cristen ("Christian"). Since morphological endings in their syl labic form are often essential to the metrical reading of a Middle English line, the solution to the problem of en coding these endings seems to be to represent the vowels of all such syllables by means of a unique symbol, and then to adjust the computer programs to include a recognition of this symbol as a possible elision regardless of its con sonantal environment. The programming solution, however, is still not the theoretical solution. Even though a specification within the Correspondence Rules concerning morphological elisions would .be superfluous when the theory was applied to modern verse, the Halle-Keyser system was initially intended to represent "the meter known as iambic pentameter in the form in which it was first used by Geoffrey Chaucer," and it is in the analysis of Chaucer's verse that the lack of such a specification shows up most disturbingly. The morphological addition to the elision rules might 67 be included most conveniently under (52)(bi), which speci fies the conditions under which the abstraction "position" may correspond to one or more syllables. The flexibility of "position" could be extended to permit morphological con siderations under certain conditions to overrule the phono logical requirements set forth under (52)(bi). This modi fication appears simpler and more inclusive than the version suggested by Dudley Hascall,11 in which unstressed affixes are treated as monosyllables under Condition II. In addi tion, a redefinition of position seems preferable because it would represent more accurately the nature of the modifica tion. It is evident that position must be considered mor phologically as well as phonologically, and a rephrasing of (52)(bi) could state precisely the morphological nature of the syllables which may be assigned to positions already occupied. Condition II could then apply uniquely to mono syllables of minor lexical categories . In the breakdown of the 64 lines listed by the computer as unmetrical, a third category, containing three headless lines each with more than nine syllables, again reflects the problem of the precise ordering of the steps in the Halle- Keyser procedure. The following examples can all be read as metrical catalectic lines, but at the same time all 68 contain sufficient lexical syllables to be evaluated as unmetrical non-catalectic lines: Horn to Surrye been they went ful fayn ( MLT II, 173) Of which mayde anon, maugree her head (WBT III, 887) Blessynge halles, chambres, kichenes, boures (WBT II, 868) Halle and Keyser add a footnote to their syllable-counting instructions which warns that "it is important to keep in mind that . . . the missing first syllable in headless lines must be counted" ( English Stress, p. 169). Presumably a reader learning to apply the Halle-Keyser system would soon learn to recognize a stressed first syllable, or even a stressed third syllable, as a cautionary signal indicating a possibly unoccupied Position 1, would then attempt both a catalectic and a non-catalectic scansion, and would select the metrical or the less complex of the two readings. Nevertheless, an explicit statement as to the means of recognizing a catalectic line of more than nine syllables, and also as to the point within the procedure at which such I a decision should be made, would seem to be a useful addi tion to the theory. Of the 31 unresolved lines yet to be accounted for, 69 22 are of only minimal interest because the source of their apparent unmetricality lies within certain alterations which should have been made during the encoding process but did not show up until the SKAN phase . The evident irregularity of these lines, therefore, has no bearing at all on the Halle-Keyser theory and reveals nothing of significance regarding Chaucer's metrics. Briefly, these encoding diffi culties seem to divide themselves into three classifica tions . First, if a pronoun subject and its verb appeared in reverse order, the resulting stress pattern in the transcription output seemed to be inappropriate. Just as the stress pattern in Shakespeare's line Where the bee sucks, there suck I would remain the same if the line were changed to read Where the bee sucks, there I suck, so the underlined words in Al this mene I by love, that my felynge (PF 4) To the clepe I, thow goddesse of torment (Tr I, 8) For wel wiste he by sort that Troye sholde (Tr I, 76) seem to require the pattern w ', just as if the word order 70 had been pronoun-subject. As explained in Chapter XI, how ever, pronouns were encoded without stress and verbs were encoded with stress, resulting in the incorrect stress pat tern of /w for the underlined groups and producing a stress maximum in Position 3. In addition, although most stress doublets were noted and encoded according to the system described in Chapter II, a few lines contained stress doub lets that did not call attention to themselves until their respective lines were listed as unmetrical by SKAN: lesson instead of lesson (Tr III, 51), for example, and myrakles instead of myrakles (PF 11). In each case, the alternative stress provided a metrical line. The third classification threatens to open the vast and much-debated argument of stress according to sense. While such a discussion is fun damentally outside the scope of this study, the stress-by sense justification seems to be the only logical answer in such cases as the contrastive requirements of the second line in For bothe I hadde thyng which that I nolde, And ek I nadde that thyng that I wolde. (PF 90-91) or the Wife of Bath's disdainful But that tale is not worth a rake-stele (WBT III, 941) 71 The encoding had, of course, supplied that thyng and that tale. It appears wrong to term these lines unmetrical even though the stress-by-sense explanation is potentially an unlimited catch-all for any metrical irregularity which the investigator finds personally unsatisfying. All three types of encoding problems discussed above could be eliminated through distinctive stress-entries in the pronouncing dic tionary for each word in question. The nine unmetrical lines, their stress patterns, and the characteristics which make them irregular are as fol lows : (1) And she sproong as a colt doth in the trave (MilIT I, 3282) (2) As he goth in his limitacioun (WBT III, 877) (3) As he sat in the scole at his prymer . (PrT VII, 517) (4) At regard of the hevenes quantitee (PF 58) (5) But ye loveres, that bathen in gladnesse (Tr I, 22), all with stress maxima on Position 3; (6) As brood as is the boos of a bokeler ( MilIT I, 3266), with a stress maximum on Position 9; 72 (7) And ek for me preieth to God so dere (Tr I, 32), with a stress maximum on Position 5j and (8) Took purpos ful this forknowynge wise (Tr I, 79) (9) As to my doom, in al Troies cite (Tr I, 100) with stress maxima on Position 7. Several of these lines suggest some interesting con siderations . In (1) the word sproong invites again the justification of unusual handling of stress by means of the emphasis it gives to the sense. Though the line is tech nically unmetrical, the word sproong in Position 3, itself almost leaping from the line because of its unexpected placement, might better be termed a stroke of artistry than a blunder in metrics. From a purely objective point of view, however, the version of the line given in the Petworth manuscript is worth noting:'*' And she spronge as a colt in trave. Though this line is undoubtedly inferior to (1), it is met rical if read as catalectic with a weak ending. Lines (2) and (3) together present a question regarding their verbs. Pauli Baum describes (2) as "peculiar, putting 73 all of the weight of the line on one word [limitaciounl" (p. 95) . In the same way that Baum envisions no stress upon goth, so Helge Kokeritz marks no stress upon sat in his phonetic transcription of (3) (p. 27) . It is possible that goth and sat are both such common and unemphatic verbs that the pronoun-verb groups in both (2) and (3) should follow Ten Brink's suggestion of "level stress/' thus relieving these stress maxima on Position 3. Both lines could be admitted as metrical if this concession were made. Condition 2 of the original Halle-Keyser theory speci fied that "an unstressed or weakly stressed monosyllabic word may constitute a single metrical position with a pre ceding stressed or unstressed syllable." The status of this very liberal condition in the revised theory is not quite 13 clear, though it is evidently still under consideration. Under the allowances of Condition 2, the words of and the in (4) could together be assigned to Position 5. If the genitive syllable of hevenes is then elided, a metrical catalectic reading is possible. Out of the six manuscripts reprinted in the Chaucer Society parallel-text edition, three give the non-syllabic -s_ form of the genitive of heven. The same Condition 2, if it operates over syntactic boundaries, permits a catalectic metrical reading of (5), 74 with a disyllabic form postulated for loveres and the fourth and fifth syllables together assigned to Position 5. Simi larly, if of_ and the are both assigned to Position 7 in (6), the line then contains 10 syllables and is metrical. The Harleian and St. Johns College manuscripts of Troilus and Criseyde both give eke rather than elc in (7) . If eke were to occupy both Positions 2 and 3, preieth in its monosyllabic form would shift to Position 6 and the line would be metrical. The CCCC manuscript of Troilus gives this perfectly metrical version of (8): Took purpos ful in this for knowynge wise. Line (9) in W. W. Skeat's edition of the Troilus, based upor the Harleian and Campsall manuscripts, gives dome rather than dom. Thus a monosyllabic version of Troies could be shifted to Position 8 to give a metrical line. The possible metrical readings set forth above are in many instances as unlikely as they are difficult, and the suggested alternatives are in no way meant to dispense with the exceptional lines or to imply that there are no unmet rical lines in the sample corpus . The nine evidently un metrical lines will be considered exceptional for purposes 75 of comparison in subsequent chapters. Searching the various manuscript versions for an unexceptional line is of course a questionable practice; non-metrical versions to replace many of Robinson's metrical lines could be adduced by the same means. But it is worth taking note of some of the consider ations which arise when an investigator attempts to assign a label of metrical or non-metrical to an enigmatic line. It is necessary, moreover, to determine rather carefully the number of lines which can be accommodated by the Halle - Keyser theory, since a large number of exceptional lines would cast doubts on its validity. But whether some or all of the nine lines discussed above are ultimately metrical for one or another of the reasons cited, or whether they are all exceptional, the evidence derived from this 1,000-line sample seems to be a strong corroboration of the correctness of the Halle-Keyser theory as a description of Chaucer's decasyllabic line. Perhaps an even stronger verification of the Halle- Keyser theory than the sheer number of metrical lines is the graph of the stress maximum frequency for each syllable in the sample. Halle and Keyser postulate that Chaucer con ceived of the iambic pentameter line basically as 10 sylla bles with stress maxima in some or all of the even-numbered 76 positions. The graph is a remarkable confirmation of their theory: STRESS MAXIMUM TOTALS FOR ENTIRE CHAUCER SAMPLE MAXIMUM VALUE : 566 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 2542 POS VALUE PERCENT 1 0 0.0000 2 560 22 .0080 XXXXXXXXXXXXXXXXXXXXXX 3 20 0.7860 4 502 19 .7286 xxxxxxxxxxxxxxxxxxx 5 16 0.6288 6 566 22 .2438 XXXXXXXXXXXXXXXXXXXXXX 7 26 1.0218 ' X 8 536 21.0648 xxxxxxxxxxxxxxxxxxxxx 9 36 1.4148 X 10 270 10.6110 xxxxxxxxxx 11 4 0.1572 12 5 0.1965 13 1 0.0393 14 0 0.0000 This evidence is even more striking when it is recalled that the graph incorporates the odd-numbered stress maxima which appeared in the lines with false weak endings and unsus pected stress variants. In the final analysis, the nine exceptional lines contained only nine stress maxima in W pos itions. Though the differing elision practices of the later poets will be treated in more detail in the chapters to follow, it is sufficient at this time to note that Halle and Keyser's allowance for elision between vowels and over 77 single sonorant consonants appears to be an adequate de scription of Chaucer's practice if H is added to the list of 14 consonants. Elision over vowels is often indicated by the manuscript orthography, as shown in several instances in this sample: t 1expounden (PrT VII, 526), th'ymage (PrT VII. 5 05), th'assay (PF^2), and t'endite (Tr I, 6), among others. Though elisions as prosodic convention have no necessary basis in pronunciation, the elisions in Chaucer's verse, operating as they do over the least obtrusive consonants in our language, are generally comfortable in pronunciation. Examples of elision over L, R, M, and N show that Chaucer's elisions are as adequate to the demands of actual perform ance as they are to those of silent scansion: Than in the Tour the noble"yforged newe (MilIT I, 3256) For to been holden stab/le^"'and eek secree (WBT III, 946) And sikerly she hadde a likerous ye (MillT I, 3244) Now maystow syngen, folwynge evere^in oon (PrT VII. 578) As wel in cristendonTas in hethenesse (GenProl I, 49) But comen hemself to Rome, this is the ende (MLT II, 145) 78 To rekene as wel hir goodnesse as beautee (MLT II, 158) Which that men clepe the hevene ywriten was (MLT II, 191) If Condition 2 were formally restored to the theory, elision would be possible in some instances in which the boundary consists of two of the permissible consonants to gether: Condition 2 would also permit elision of of a and as a as described previously with regard to exceptional lines (1) and (6), but /v/ and /z/ in other contexts do not seem to be among the boundaries over which Chaucer is willing to elide vowels. Eleanor Hammond has noted that one of the character istics of Chaucer as a narrative writer is what she calls the "undeinveighting" of his verse, his tendency to include only a small number of grammatically important words in any one line (English Verse, p. 19). Though Chaucer had five potential stresses at his disposal in each iambic pentameter line, the number of principal lexical stresses, especially Wedden his child under oure lawe sweete (MLT II, 223) Of every thyng; I may nat rek , , im alie (MillT I, 3198) 79 in lines serving a merely connective function, is most often four, three, or even two, with other W and S positions filled with lightly stressed or unstressed syllables . Such lines move forward naturally and quickly, seldom calling attention to themselves through heavy description or through the actualization of stress maxima in all five S positions. "The existence of this vowel sound [-ej . . Miss Hammond points out, enabled Chaucer to manage the transitional parts of his narrative with a smaller proportion of the partially stressed pronouns and connectives than is possible for us when we try to modernize him. We must in rendering him either increase the amount of such words,— words rarely in themselves musical,— or increase his emphasis by using adjectives and adverbs not in his swift fluid narrative Pauli Baum also speaks of Chaucer's "practice of allowing in the place of the normal five stresses four, three, or even two rhetorical emphases" (p. 77). The listing of stress maximum patterns obtained from the sorting program tends to support the suggestion that Chaucer did not feel compelled to fill every S position with a stress maximum. A chart of the patterns occurring most frequently in the sample shows that the seven most common patterns actualize only two or three stress maxima in S positions: STRESS MAXIMUM PATTERNS OCCURRING 2 0 TIMES IN CHAUCER SAMPLE 80 MORE THAN Number of Pattern Rank Occurrences in 1,000 Lines 2 6 8 1 76 4 6 2 60 2 6 3 55 2 4 8 4 54 4 6 8 (4) 54 2 8 6 47 4 8 (6) 47 2 4 6 8 8 45 2 4 6 9 42 6 10 38 8 11 33 6 8 (ID 33 2 4 12 30 2 6 8 10 13 29 2 6 10 14 28 4 8 10 15 25 2 16 24 2 6 10 17 23 4 (17) 23 2 4 6 10 (17) 23 81 The stress maximum pattern alone, however, does not determine the light or heavy character of a line . A look at some examples will quickly demonstrate that to consider only the stress maxima is to oversimplify the analysis of line weight. As an example of a weighty couplet, Miss Hammond cites Dryden's version of the opening lines of The Knight1s Tale; In days of old there liv'd, of mighty fame, A valiant Prince, & Theseus was his name. This version is obviously much heavier than Chaucer's Whilom, as olde stories tellen us, Ther was a duk that highte Theseus . (KnT I, 859-860) Yet in spite of the more ponderous impression of Dryden's verse, each of the four lines above contains exactly three 16 stress maxima. Conversely, the lack of stress maxima does not neces sarily signify a "weightless" line. As shown by the stress maxima chart, Halle and Keyser are correct in stating that Chaucer avoided writing lines which actualize no stress 17 maxima in Positions 2 and 4. But the reason which they postulate— that Chaucer sensed the "weak onset imparted to such lines"— is difficult to accept ("Chaucer and the Study of Prosody," p. 203). The following lines have no stress 82 maxima before Position 6, yet they seem to begin rather strongly: Clothes of gold, and satyns riche of hewe (MLT II, 137) Whit was her smok, and broyden al bifoore (MillT I, 3238) God loveth, and to love wol nought werne (Tr III, 12) Up swal, and seide, "0 Hebrayk peple, alias" (PrT VII. 560) Furthermore, some of the slowest and most emphatic lines in the sample are those which have no stress maxima at all, or stress maximum on Position 10 only: Citees, burghes, castels, hye toures (WBT III, 870) Mordre wol out, certeyn, it wol not faille (PrT VII, 576) "Mafay," thoughte he, "thus wol I sey, and thus" (Tr III, 52) "Why, lat be," quod she, "lat be, Nicholas" ( MillT I, 3285) The four lines above demonstrate clearly the reason that line weight is not simply proportional to stress maximum count: the effect of a stress in a W position or a syntac tic boundary marked by punctuation is to add weight to the line at the same time that it neutralizes any adjacent 83 stress maximum. In spite of Chaucer's apparently conservative use of strongly stressed syllables, as pointed out by Pauli Baum and Eleanor Hammond, the lightness of his line cannot be traced to the ratio of his stressed syllables, whether these stresses are maxima or not, to his total syllable count. Chaucer employs one lexically stressed syllable for every three he writes, in almost exactly the same proportion as Hoccleve. However, a comparison of Chaucer's stressed syllable graph with his stress maxima graph in Appendix A indicates a tendency which, as we shall see in later chap ters, in this degree is unique to Chaucer. The figures to be compared are these: The stress maxima totals come remarkably close to equalling the stress totals. In other words, the evidence of this sample shows that one characteristic of Chaucer's handling of stress was his extreme caution in the use of stressed syllables in S positions except as stress maxima. For ex ample, out of 618 stressed syllables appearing in Position STRESS STRESS MAXIMUM Position 2 618 666 661 568 560 502 566 536 4 6 8 84 2, only 58 were not actualized as stress maxima; in Position 6, only 96 out of 661 instances of stress were neutralized by adjacent stress or punctuation. In this evidence may lie, at least in part, the real nature of Chaucer's much- discussed "lightness." When a stress maximum occurs the expected stress does not combine with the actual lexical stress to throw the word into greater relief; rather, the reader's or hearer's anticipation of the stress lessens the obtrusiveness of the stressed syllable, and the line is therefore lighter. It appears that Chaucer achieved his flowing and forward-moving line not through using fewer stresses or stress maxima but through actualizing a very large percentage of his S-position stresses as stress max ima. Whether conscious or unconscious, his realization that the features which neutralize stress maxima are the same features which load weight upon the line was possibly very influential in his artistic handling of the iambic penta meter form. This chapter has focused heavily on the mechanics of the Halle-Keyser theory itself. But an examination of the extent to which Halle and Keyser's proposed description can account for the various forms which Chaucer allowed his iambic pentameter form to take is, in the last analysis, an 85 examination of Chaucer's metrical practice. The position- by-position computer analysis according to the Halle-Keyser system would also seem to be of value because of the sta tistical reality it gives to some of the possibilities allowed by Halle and Keyser, especially since Halle and Keyser themselves have not discussed the frequency with which the various alternatives are likely to occur. Since the theory has been shown to be 99 percent effective as a description of this particular sample, it is now possible to consider other samples and the manner in which applica tion of the same theory can illuminate the differences in verse management which characterize different authors. Elements of Chaucer's prosody not discussed in this chapter, including alliteration and placement of punctuation, will be referred to for purposes of comparison in later chapters. All graphs from SKAN, as well as tables of the most sig nificant data from PRSKAN, are collected in Appendix A, "Computer Printouts for Chaucer Sample." NOTES ^The Language and Metre of Chaucer, trans . M. B. Smith from 2nd ed. of F . Kluge (London: Macmillan and Co., Ltd., 1901), pp. 214-217. 2 Though Ten Brink continued to use the word "syllable," he anticipated Halle and Keyser in their concept of metrical position: "Here again 'syllable' is used in the metrical sense of the term, to which the grammatical definition— at any rate in cases of slurring— approximates, but does not wholly correspond" (pp. 214-215). 3 Halle and Keyser's own list in English Stress of the standard allowable deviations is as follows (p. 166): (a) unstressed foot (pyrrhic) (b) heavy foot (spondee) (c) initial foot inverted (trochee) (d) verse-medial foot inverted (trochee) (e) extra slack syllable inserted verse-medially (f) dropping of verse-initial slack syllable (headless) 4 Quotatxons from Chaucer are taken from the edition of F. N. Robinson. Citations include the work (as given in Robinson's list of abbreviations on p. 647), the Roman num eral designation of the fragment, and the line number. 5 Tauno Mustanoja, writing soon after the publication of the original Halle-Keyser article, lodges two complaints ("Chaucer's Prosody," in A Companion to Chaucer Studies, ed. Beryl Rowland .[London: Oxford Univ. Press, 1968], p. 71): the Halle-Keyser theory "requires a complicated terminology" and "gives the impression of being rather rigid." Since "position" and "stress maximum" are the only two terms coined by Halle and Keyser especially for the presentation of their theory, Mustanoja presumably refers to the 86 87 formalized notation which concludes "Chaucer and the Study of Prosody." The understanding of this notation is not necessary to the understanding of the theory itself, and this formalization plays no role at all in English Stress . As for being "rather rigid, " the preciseness with which the metrical pattern and its possible variations are defined is the very quality which makes the theory so useful for the discussion of particular metrical features, their frequency, and the differences in their use by two or more authors . g See James G. Southworth, Verses of Cadence and The Prosody of Chaucer and His Followers. 7 On p. xxxv Robinson mentions Chaucer's "iambic move ment," and his specimen scansion on p. xxxvi is certainly iambic pentameter. 0 The complexity count increases by one for each viola tion of Fully stressed syllables occur in S positions only and in all S positions and each violation of Fully stressed syllables occur in S positions only but not in all S positions (English Stress. p. 169). Thus each violation, and for this line there are 12 in all, is represented by an underlining: Why, lat be, quod she, lat be, Nicholas 1 2 3 4 5 6 7 8 9 10 9 The comparative validity of Southworth's view could be effectively examined only after a carefully structured in vestigation, based on the expectation of an accentual verse- form rather than an iambic pentameter form, had been carried out on a significant number of Chaucer's lines. There would be no necessity for such an investigation to be computer- assisted; Halle and Keyser's original checking was done by hand, for example. But computer programs could be con structed according to suggestions in S. J. Keyser's 1969 article "Old English Prosody" (CE_, 30 [February 1969], 331- 336) and the subsequent sections on Old English Alliterative Verse in English Stress (pp. 147-164) . Because of the freer 88 distribution of unstressed syllables in accentual verse, the problem of variation and complexity would have to be ap proached in a somewhat different way, but the computer could tabulate very efficiently the instances of the 35 accentual line-types listed in English Stress (pp. 161-164). The accentual scanning program could probably be shorter and simpler in structure than the iambic pentameter programs used in this study since it would require nothing akin to the involved and lengthy elision sequences. The preparation of data would be essentially the same as described in Chap ter II except that the lines would presumably be taken from another source than Robinson— perhaps exclusively from a single good manuscript (see Southworth, "Chaucer: A Plea for a Reliable Text," CE, 26 [January 1964], 173-179)— and at least one caesura, having of course nothing directly to do with editorial punctuation, would be marked in each line. However, whereas Halle and Keyser's abstract accentual pat terns specify the placement of alliterative and non-alliter ative stressed syllables, there would be little meaning to this distinction within the stressed syllables of verse such as Chaucer's, in which alliteration does not play a consis tent and fundamental metrical role. The two schools of modern Chaucer criticism have their roots in earlier scholarship. G. F. Nott, in The Works of Henry Howard. Earl of Surrey, and of Sir Thomas Wyatt, the Elder (1815), suggested that the evidence of the Chaucer manuscripts, particularly in their punctuation, indicate a line structure based not on feet or number of syllables but on a system of two line-segments, almost always separated by a medial caesura. Though this theory lay dormant for many years, it has recently been taken up, as cited previously, by J. G. Southworth and Ian Robinson. The iambic theory was proposed by Thomas Tyrwhitt in "An Essay on the Language and Versification of Chaucer" (1775) and defended by F . J. Child in "Observations on the Language of Chaucer" (1863). It is with this second view that the majority of modern scholars agree. The controversy regarding Chaucer's metrics is neces sarily bound up with manuscript questions. In Southworth's words, "no Chaucer poem in manuscript could be scanned as iambic decasyllables without considerable emendation ("Chau cer: A Plea for a Reliable Text," p. 175). Chaucer's mod ern editors, including F. N. Robinson, have generally taken two liberties: they have selected readings of single lines from among several manuscripts, and they have employed the 89 final -e wherever necessary to fill out the assumed iambic pentameter form of the line. Southworth has objected to both these practices and has debated the subject of the final -e in a series of articles: "Chaucer's Final -e_ in Rhyme," PMIA. 62 (December 1947), 910-935j and "Chaucer's Final -^Continued," PMIA. 64 (June 1949), 601-610. His opponent was E. Talbot Donaldson, "Chaucer's Final -e," PMIA. 63 (December 1948), 1101-1124. In the tradition of Thomas Tyrwhitt, F. J. Child, A. J. Ellis, Bernhard Ten Brink, and W. W. Skeat, most mod ern scholars continue in the belief that Chaucer wrote iam bic pentameter. As C. S. Lewis has remarked, "there are hundreds of lines in Chaucer that demand pure decasyllabic reading . . . and the pleasure which not a few generations have had in Chaucer thus read is strong, though not conclu sive, evidence that they have read him correctly." Scholars do disagree, however, concerning the existence in Chaucer of some of the minor "allowable deviations"— the broken-back line, for example. Again, manuscript considerations play a role as the investigators endeavor to distinguish scribal variations from true Chaucerian ones. An extensive bibliog raphy of studies of Chaucer's metrics appears in Tauno Mustanoja, "Chaucer's Prosody," pp. 58-84. ■^The problem of the false weak endings exists in the present form of the Halle-Keyser theory. Since this study, however, Robert Dilligan has revised the programs according to the algorithm given in this article, and such lines therefore no longer appear on the list of unmetrical lines in the computer printout. ‘ ' ’ ■''"The Prosody of John Lydgate," Language and Style, 3 (Spring 197 0), 130. 12 Manuscript variants cited in this study are from the Six-Text Edition of the Chaucer Society, ed. Frederick J. Furnivall (London: N. TrUbner and Co., 1878-1885). 13 See English Stress, footnote on p. 172. 14 This phonological statement excludes, of course, the morphological requirements discussed previously. 15 Chaucer: A Bibliographical Manual (New York: Mac millan Co., 1908), p. 490. 90 16 Miss Hammond was of course not concerned with any such entity as the stress maximum when quoting these lines . They are simply useful examples of light and heavy lines whose respective weight does not depend on stress maximum count. 17 It is difficult, however, to know what to make of the absoluteness of Halle and Keyser's statement: "The combina tions for which we have been unable to find examples in a sample of 1,000 lines are: (a) lines without stress maximum in positions 2, 4, 6, and 8; (b) lines without stress maxima in positions 2, 4, and 6; (c) lines without stress maxima in positions 2 and 4" ("Chaucer and the Study of Prosody," p. 2 02) . As can be seen from the list of patterns, the eighth- ranked and both the ninth-ranked patterns actualize no stress maxima on Positions 2 and 4, and the first ninth- ranked actualizes no stress maximum on Position 6. There are dozens of such lines in the sample: Sholde han ben slayn; lo, this was al his care (TrV, 54) God loveth, and to love wol nought werne; (Tr III, 12) And, shortly of this matiere for to pace (MLT 2 05) See also Anel 33, 34, 78; PF 32, 36; MillT 3226, 3238, 3271, 3285; MLT 137, 223; WBT 870, 913, 930; PrT 497, 500, 560, 576; Tr. I, 10; III, 10, 12, 52, 55, 57, 67; V, 82. CHAPTER IV THOMAS HOCCLEVE Critical comment upon Thomas Hoccleve has for the most part dealt only incidentally with his metrics . Interest has centered instead on Hoccleve's content, so different in its self-revelation from Chaucer's generally impersonal choice of subject matter. Scholarly debate continues as to the truthfulness of Hoccleve's claim to personal acquaintance with Chaucer, his confessions of his own wretched life, and the many other supposedly personal details about which he writes. However, whether they are autobiography or merely convincing fiction, Hoccleve's versified accounts of his daily experiences, his conversations, and his friendships are of tremendous human and historical interest and are of a sort duplicated nowhere else in Middle English poetry. As Ian Robinson has remarked of The Compleynt. "[it] is just a first-person account of mental breakdown and gradual re covery, and I know nothing else at all like it in medieval 91 92 literature" (p. 197) . Though critics have without exception noted the great interest of Hoccleve's subject-matter, his reputation as a metrist has not fared as well. Furnivall's comment upon Hoccleve's versification is a brief and well-known dismis sal: "so long as he can count ten syllables by his fingers, he is content" (Hoccleve's Works, p. xl). Eleanor Hammond's agreement with Furnivall focuses as well on what she be lieves to be Hoccleve's carelessness in the placing of lexical accent; he "manages pentameter badly," she states, "and is insensitive to the weave of stressed and unstressed syllables, so long as their number is constant at ten" (English Verse, p. 55) . And Jacob Schipper further accuses Hoccleve of rigidity in form and monotony in the placement of the caesura: Occleve und Lydgate standen als Dichter weit hinter ihrem groBen Vorbilde zurllck, sowohl an Genie, als auch an VirtuositSt in der Behandlung der dichter is chen Form. Ihre Inferioritat zeigt sich namentlich darin, zumal bei Occleve, daB sie sich mdglichst eng an das Haupt- schema des flinftaktigen Verses, mit der CSsur nach der zweiten Hebung (vorwiegend mSnnliche oder weibliche lyrische CSsur), anzuschlieBen trachten . . Two critics, however, have recently come to the defense of Hoccleve as a metrist . Jerome Mitchell contends that Hoccleve's verse is metrical if (1) scanned according to the 93 usual method of determining iambic pentameter, which recog nizes inversion and substitution within the iambic penta meter framework; (2) scanned according to Schick's fivefold Lydgatean line system; or (3) read "rhythmically" as the "verse of cadence" described by Southworth. He concludes that the only obstacle to an understanding of Hoccleve's metrics is a presupposition that "the poet wrote iambic decasyllables with an invariable pattern of stresses" (pp. 108-109). Mr. Mitchell has allowed Hoccleve a great many alternatives; it is possible that the multiple verse- scansion which he proposes is so vast and inclusive that it is simply a description or a grouping rather than a metrical system upon which a poet might build a unified and aestheti cally pleasing work. As H. S. Bennett has remarked of Schick's study of Lydgate's versification, no poet's lines 2 are the more pleasing for having been classified. Mr. Mitchell's goal seems to be to account for Hoccleve's line- systems without considering in any detail the artistic implications of his views; he says only that under this threefold system, all of Hoccleve's lines can be seen to be "metrical." Ian Robinson also considers Hoccleve a competent met rist, but he approaches the problem from a different 94 perspective than does Mitchell, whose analysis he finds too "easy." The thesis of Robinson's work, Chaucer's Prosody, is that Chaucer should be read as "balanced pentameter, . . . in half-lines as well as feet" (p. 153). He suggests balanced pentameter— essentially a combination of the first and third methods of scansion suggested by Jerome Mitchell, though Robinson does not so state— as the appropriate scan sion for Hoccleve as well, although Hoccleve "hasn't the naturalness of Chaucer's rhythmic control and one feels that the poet is pushing his metre hard, being too much of a metrical specialist." Even so, if Hoccleve is read as balanced pentameter, "again and again one finds in Hoccleve rhythms thoroughly reminiscent of Chaucer" (pp. 193-194). Other critics by no means agree with Robinson that the pattern of Chaucer's verse management can be easily detected in Hoccleve. The metrical parallels of the two poets are evidently much greater when they are read as balanced pen tameter than when both are assumed to be working within the iambic pentameter form; in Eleanor Hammond's opinion, "his verse shows, indeed, less of Chaucer metrically than does the verse of Lydgate." In testing the relationship of Hoccleve's verse-sample to the iambic pentameter theory of Halle and Keyser, the scanning programs, by means of the 95 lines which the theory could not account for as well as those it could, provided some helpful insights regarding several important points of comparison between Chaucer and Hoccleve. The 500-line sample upon which the computer oper ated consisted of the first 200 lines from La Male Regie, the first 200 lines from Reqement of Princes, and the first 100 lines from the Compleynt. A brief examination of the graphs collected in Appendix B will show that the most striking difference between Chau cer and Hoccleve manifested in the data is in their response to what is perhaps the most fundamental of all metrical questions— the author's placement of lexical stress within the line. Hoccleve has been faulted particularly for his placement of unstressed syllables in even-numbered or S positions, the practice that Schipper calls "schwebende Betonung" (p. 148). The graphs showing placement of stressed syllables verify this generalization to the extent that in every S-position Hoccleve's stressed-syllable count, as a percentage of the total number of stressed syllables in all positions, averaged about 2 percent less than Chau cer's; and furthermore, that his use of stressed syllables in W-positions was, on a percentage basis, approximately double that found in the Chaucer sample: 96 CHAUCER LINE STRESS TOTALS FOR ENTIRE CHAUCER SAMPLE MAXIMUM VALUE: 866 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 3652 POS VALUE PERCENT 1 7 2 .1021 XX 2 618 16.8714 XXXXXXXXXXXXXXXX 3 39 1.0647 X 4 666 18.1818 xxxxxxxxxxxxxxxxxx 5 46 1.2558 X 6 661 18.0453 xxxxxxxxxxxxxxxxxx 7 45 1.2285 X 8 568 15 .5064 xxxxxxxxxxxxxxx 9 52 1.4196 X 10 866 23.6418 xxxxxxxxxxxxxxxxxxxxxxx 11 7 0.1911 12 6 0.1638 13 1 0.02 73 14 0 0.0000 HOCCLEVE LINE STRESS TOTALS FOR ENTIRE HOCCLEVE SAMPLE MAXIMUM VALUE: 405 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1900 POS VALUE PERCENT 1 70 3 .6820 XXX 2 283 14 .8858 xxxxxxxxxxxxxx 3 54 2 .8404 XX 4 320 16.8320 XXXXXXXXXXXXXXXX 5 56 2.9456 XX ■ 6 310 16.3060 XXXXXXXXXXXXXXXX 7 64 ' 3.3664 XXX 8 281 14 .7806 XXXXXXXXXXXXXX 9 44 2.3144 XX 10 405 21.3030 xxxxxxxxxxxxxxxxxxxxx 11 9 0.4734 12 4 0.2104 13 0 0.0000 97 The issue of unstressed syllables in even-numbered positions is an interesting example of how the same metrical phenomenon can either flatter an author's reputation or else do it great damage, depending upon the critical light in which it is later viewed and the critical terms in which it is described. It is possible to say, on the one hand, that by avoiding lexical stress in all five S-positions, Hoccleve was able to write lines of marvelous lightness and forward movement, entirely appropriate to his narrative purposes. This was the very argument, it will be recalled from Chapter III, advanced by Eleanor Hammond, H. S. Bennett, and Pauli Baum in accounting for the charm and "weightlessness" of much of Chaucer's verse. On the other hand, Hoccleve can be described as a poet who constantly disappoints our ex pectations of stress and fails at the same time to reinforce his underlying iambic pentameter pattern by habitually filling his S-positions with secondary stresses and words from minor lexical categories, thereby forcing stress upon words which do not deserve it. This is the charge which, curiously enough, Pauli Baum levels at Chaucer as he notes with dismay a stanza of Troilus and Criseyde in which "there are forced stresses on for, of, ben, were. was, in: one in nearly every line." The trouble here is that he has pre- 98 viously praised Chaucer's weightlessness, "primarily . . . the practice of allowing in place of the normal five stress es four, three, or even two rhetorical emphases" (pp. 85, 77). "Forced stresses" and "weightlessness" appear to be one and the same: both terms describe the presence of un stressed syllables in S-positions. But the same practice has been called a demerit, especially when it occurs in Hoccleve, and a skillful verse technique, except in the one grievance of Baum noted above, especially when it occurs in Chaucer. Further study might, of course, uncover some very significant differences in the kinds of secondary stresses and unstressed syllables used by each author in his S- positions, especially with respect to their lexical cate gory. The Halle-Keyser theory's inclusion of all unstressed syllables in one classification perhaps obscures a very real difference, heretofore undefined, between "weightlessness" 3 and "forced stress." In accounting for the coincidence or non-coincidence of lexical and metrical stress, the Halle-Keyser theory operates on the premise that a poet will not violate the linguistic givens of his language— in other words, that no stress configuration for any word or phrase in a line of verse is to be considered except those which are possible 99 for the same word or phrase in a prose reading. Albert Licklider, on the other hand, has argued that "prose-weak words" in positions of metrical stress should be read with increased duration and elevated pitch so as to "mark the ictus with a stress as distinct as the other stresses in the line, but differing from them in quality." Licklider at tempts to show further that Hoccleve's use of unstressed syllables in stress positions is a deliberate and praise worthy metrical device, conveying the "exaltation of the grand style" (p. 112) . As an example of how Hoccleve's "lines in the elevated strain are remarkable for the uplift secured by pitch-accent," he proposes for a line from Balade to Lord of York a rather rigid reading: Of the mighty Prince of famous honour. Licklider notes with admiration that in this line "each of the five stresses falls on a syllable weak in prose. Of these five, two, the and of. are elevated by pitch-accent, and the relational idea is thus emphasized rather than sup pressed" (pp. 142-143). It is no matter, then, if Hoc- cleve's verse technique extended no further than the count ing of 10 syllables on his fingers; under Licklider's as tounding argument, the iambic pentameter framework can be 100 superimposed on any 10-syllable line and the resulting read ing accounted not only satisfactory but probably skillful as well. Because they feel that a poet works within the stric tures of his linguistic givens in actualizing a metrical pattern, Halle and Keyser, as a preliminary to their theory of meter, are concerned with the history of English stress in Romance and Germanic polysyllables (English Stress, pp. 97-109) . They feel that any variant stress indicated by the meter must have justification in linguistic history as well. Not so with Albert Licklider, however, who singles out Hoccleve as the chief representative of what he calls the "arsis-thesis variation." Licklider maintains a rigid iambic pentameter reading at all costs, even when it means shifting the lexical stress within a word or phrase from the W-position or thesis to the S-position or arsis. Though many of the examples which he cites involve words which have long been recognized as historical stress doublets— rich- esse. resount plesaunce, and a host of proper names— others clearly show the use of a lexical primary stress in an odd- numbered position: O, herkneth now, herkneth now alle yee. (Lerne to Die' LXI, 421) 101 ffruytless past sauf with bitter fruyt of synne (Lerne to Die LXI* 185) Yis, Thomas, yis, thow hast a good entente (Dialogue with a Friend LXI, 295) If thei wol have pees, pees perpetual (RP LXXII, 5389)4 Whereas Licklider has no misgivings about proposing such readings as herkneth and ffruytless in order to read these lines as metrical (pp. 2 02-212), it is a noteworthy corro boration of the Halie-Keyser system that it can accommodate such lines as metrical without resorting to linguistic fic tions . Even though Licklider and others have argued at length over possible trochaic feet and the relationship of lexical stress to metrical foot, the greater sophistication of the stress-maximum concept may come closer to describing what Hoccleve sensed were the stress prescriptions of his metrical ideal. It was noted in Chapter III that Chaucer, if he used a lexical stress in an S-position, tended to a remarkable degree to allow this stress to become actualized as a stress maximum. Chaucer and Hoccleve both employed approximately one primary-stress syllable for every two unstressed syl- 5 lables in their verse samples. We have seen, however, that Hoccleve consistently places more of these stresses in 102 W-positions and fewer in S-positions. Moreover, Hoccleve actualizes a lower percentage of the S-position stresses as stress maxima, in each case, than does Chaucer. The per centage comparison is as follows: STRESS MAXIMA AS A PERCENTAGE OF STRESSED SYLLABLES Chaucer Hoccleve Pos 2 90% 88% 4 75% 66% 6 86% 78% 8 94% 87% Many of Hoccleve's potential stress maxima in these posi tions are, of course, cancelled by his relatively large g number of W-position stresses . In addition, adjacent syn tactic breaks seem to be significant in this low stress maximum actualization. In 500 lines Hoccleve's editor had placed 656 marks of verse-medial punctuation, proportionally a much larger number than Chaucer's 1,003. Each of these syntactic breaks eliminates the possibility of stress maxi mum in the adjacent positions . Interestingly, a comparison of Chaucer's punctuation graph in Appendix A with that of Hoccleve in Appendix B shows that the percentage distribu tion of punctuation marks for these two poets is so similar as to make the graphs virtually interchangeable. Hoccleve's pattern-frequency table shows that his most 103 STRESS MAXIMUM PATTERNS OCCURRING MORE THAN 10 TIMES IN HOCCLEVE SAMPLE Pattern Rank Number of Occurrences in 500 Lines 2 6 8 1 28 8 2 27 ' 2 6 3 23 4 6 4 21 2 4 8 (4) 21 6 8 (4) 21 2 4 6 8 (4) 21 4 6 8 8 20 4 8 (8) 20 2 4 8 10 10 19 6 (10) 19 4 6 10 (10) 19 2 8 13 18 4 6 o i —i 00 14 17 6 10 15 15 2 4 6 16 14 4 10 17 13 2 18 13 2 10 19 12 2 4 6 10 20 11 104 common stress maximum pattern— with stress maxima actualized on Positions 2, 6, and 8— is the same as Chaucer's. The choice of patterns throughout shows considerable similarity with Chaucer's except that Hoccleve's second most frequent line pattern, with a stress maximum on Position 8 only, is used by Chaucer much less frequently. The table of patterns occurring more than 10 times in the Hoccleve sample is given on p. 103. In an interesting article, "A Grammar of Prosody," which appeared in College English in 1968, Joseph C. Beaver coined the term "stress-maximum density" to describe the frequency of stress maximum occurrence as a percentage of the total number of respective positions. He feels that these percentages are an important key to the understanding of style in poetry and also to the definition of the char acteristic differences between iambic pentameter and shorter lines of verse. After checking by hand a 140-line iambic pentameter sample from Shakespeare and the same number of lines from Donne, he presents the following statistics: STRESS MAXIMA AS A PERCENTAGE OF TOTAL POSITIONS Shakespeare Donne Pos 2 37% 46% 4 54% 36% 6 46% 33% 8 59% 53% 105 On the basis of this information, Beaver further suggests tentatively that the typical line structures for these two poets could be represented in the following way: 2 4 6 8 Shakespeare | f 37% 54% .46% 59% 2 4 6 8 Donne " | f 46% 36% 33% 53% He hypothesizes that Donne's line, when viewed in this man ner, can be seen to be solidly supported at either end with greater opportunity for metrical variation in the middle portion. The stress-maximum density for Chaucer and Hoccleve may be obtained from the information gatherr^ in the present study. The percentages are as follows: STRESS MAXIMA AS A PERCENTAGE OF TOTAL POSITIONS Chaucer Hoccleve Pos 2 56% 48% 4 50% 42% 6 56% 49% 8 53% 49% Though the difference in Chaucer's density percentages is not as marked, his density pattern is more like Shake speare's, with stronger definition of two separated posi tions, and Hoccleve's is more like that of Donne. Hoc cleve's density is slightly below the 50 percent average 106 which Beaver found to be characteristic of iambic penta meter, whereas Chaucer tends to exceed this average some what. Beaver found, incidentally, that this 50 percent average for iambic pentameter contrasted strikingly with a 75 percent average occupancy of S-positions by stress maxima in shorter verse forms, both trochaic and iambic. As was discussed in Chapter III, Chaucer's frequency of stress maxima in W-positions was so low as to make it clear that his intention seemed to be to reserve this fea ture for exclusive use in S-positions. In 500 lines, how ever, Hoccleve.shows 107 instances of stress maximum in Positions 3, 5, 7, and 9, proportionally more than twice as many as in the Chaucer sample. It would be possible to say simply that Hoccleve was a less sensitive and careful met- rist, a poet who was unwilling to be bound by a metrical system or perhaps just unwilling to take the trouble to refine the versification of each line. But such a large number of W-position stress maxima inevitably suggests the possibility that they were deliberate. In this light it is interesting to consider whether the lines in the Hoccleve sample which the computer could not evaluate as regular have, as a group, any metrical system which seems to unite them, or whether they are perhaps examples of the mere 107 syllable-counting of which Hoccleve has so often been ac cused . The entire process of elision and resolution was more problematical in the computer scansion of the Hoccleve sam ple than it was in the Chaucer sample. Though a greater percentage of Chaucer's lines were found to require elision — 84 percent, in fact, as opposed to 77.4 percent of Hoc cleve's lines— Chaucer's lines were much more amenable to . . 7 elision and resulted in much less complex lines. The aver age metrical complexity of Chaucer's lines, computed accord ing to the Halle-Keyser system, was a low 1.8, compared with a considerably higher complexity count of 2.66 for Hoccleve. Most significantly, the computer listed 79 lines which it could not admit as metrical, more than twice as large a percentage as it was unable to resolve, for various reasons, in the scansion of the Chaucer sample. A breakdown of these 79 lines includes representatives of four categories which will be mentioned only briefly here since they were explained in some detail in Chapter III. Pourteen of these lines were in fact metrical but were sorted into the ametrical list because of the problem of false weak endings, the absence of secondary stress to in dicate that the final syllable should occupy Position 10 108 instead of Position 11. Three catalectic lines of more than nine potential syllables, again because of theoretical ambiguities in the ordering of the steps in the Halle-Keyser theory, appeared on the ametrical list, including Went to pley, as for a certayne space (Comp LXI, 51) The presence on the list of a third group of lines, 23 in all, can be traced to the encoding process, particularly the problems of the unsuspected stress doublets and reversed word order of pronoun subject and verb, both discussed in Chapter III. And finally, the Hoccleve sample produced one instance illustrating the apparent morphological short comings of the Halle-Keyser elision rules: As me thinketh, thi gyse is douteless (RP LXXII, 197) Elision of the verb ending of thinketh. together with the assumption of a catalectic onset, gives a rather easy metri cal reading for this line. Thus, from a sample only half as large, Hoccleve's verse yields a remainder of 39 lines which appear to be exceptional, in contrast with Chaucer's nine exceptional lines. Furthermore, whereas some of Chaucer's nine lines were amenable to a metrical reading through some means, 109 however fanciful, only a few of Hoccleve's unmetrical lines can be coaxed into some sort of iambic pentameter form through the invoking of Condition 2, a catalectic reading, or a hypothetical expanded elision environment. For exam ple, a catalectic onset, usually considered a rather rare occurrence in Hoccleve's verse, would permit a metrical reading of these lines: Tho I of hir have no benefice (MR LXI, 103) That his eres avayle hym nat a pere (RP LXXII, 103) How he spak to me, as ye herd me seye (RP LXXII, 136) In the last-quoted example it would be necessary under Con dition 2 to assign as_ and ye_ together to Position 7 in order to obtain a metrical reading. Two of the lines in Hoccleve's ametrical list bring to mind a suggestion made by Dudley Hascall in "Some Contribu tions to the Halle-Keyser Theory of Prosody," particularly interesting because, while it proposes a modification for the Halle-Keyser theory which is essentially a very minor one, this same modification contradicts Halle and Keyser's assumption that a poet will always work within his linguis tic givens. After finding in Lydgate's poetry such rhyming 110 pairs as pursuying : dependyng and idilnesse : gladnesse, Hascall proposes a Rhyming Rule: "If a word is rhymed, the syllable which carries the rhyme is considered to have full stress, whether or not it has linguistic stress." Though this addition to the theory would be unnecessary in treating Chaucer's verse, two lines from Hoccleve's Regement of Princes show that it might refer to Hoccleve's practice as well as to Lydgate's: The place eschewit he where as joye is (RP LXXII, 94) Al wrong is wrestid, by oght that I se can (RP LXXII, 130) If stress is placed on the rhyming words is. and can, the only additional adjustment necessary to reading these lines as metrical is the perfectly ordinary elision of b£ and ought in line 130. The question was raised earlier as to whether any group of lines among those that could not be resolved seemed to suggest any system of its own. The answer is that 10 lines appear to indicate an undeniable metrical pattern of four stresses, with varying numbers of lighter stresses separat ing them. Though such a metrical pattern seems to be remi niscent of Anglo-Saxon accentual verse, these lines, as does Ill a section from Skelton's Garlande of Laurell to be discussed in Chapter VII, invite a reading in triple meter rather than duple meter. Unlike Skelton's lines, they are scattered singly throughout the verse rather than appearing in a group. From La Male Regie; Thus han me gyded, and broght in servage (LXI, 116) Of hire that werreieth every age (LXI, 117) At shorte wordes, the profyt is this (LXI, 162) That ay of strookes impressid the wighte (LXI, 175) From Regement of Princes: ffor wele I wote, that hir brotel constaUnce (LXXII, 61) But I no wordj for my seekly distresse (LXXII, 124) Which that me thinketh is fer fro the went (LXXII, 153) ✓ After thi childissh mysruled conceyt (LXXII, 195) From the Compleynt: The grefe abowte, my harte so swal (LXI, 29) God yelde it them, to get me bote (LXI, 49) 112 Twenty-nine lines remain which are not obviously four- stress lines and cannot be evaluated in any way as iambic pentameter of any sort under the Halle-Keyser system. No amount of catalectic juggling or special elisions will make them metrical. Though some have a definite medial caesura, others do not, and it is difficult to see how these lines as a group could represent the intrusion of an accentual tra dition. It is meaningless, furthermore, to speak of expand ing the Halle-Keyser theory in some way to accommodate all of Hoccleve's lines, since a sufficiently expanded version would finally have to accept any 10- or 11-syllable line, thus describing a "system" which could indeed be represented by Hoccleve's 10 fingers. Some examples of such lines are as follows: A man to have been weelfull or this (RP LXXII, 56) That my life was but a dedly gladnesse ( RP LXXII, 70) That grene had bene, and in lusty fresshnesse (Comp LXI, 4) What fall shall, what men so deme or gesse (Comp LXI, 99) Numbers of other lines in this category are La Male Regie. LXI, 13, 28, 53, 103, 139, 147j Regement of Princes, LXXII, 28, 30, 34, 46, 64, 136, 155; and the Compleynt, LXI, 11, 27, 28, 34, 39, 46, 50, 52, 53, 60, 99. A final opinion of Hoccleve as a metrist becomes, then, a matter of drawing the line. If an investigator wishes, he can say simply that even Hoccleve nods— that Hoccleve was an iambic pentameter writer who fit 92 percent of the lines he wrote into the pattern he had learned from Chaucer, and the rest of the time was less than exacting in the form he al lowed his lines to take. Or, if the 39 exceptional lines seem to the investigator to represent a second verse system, he can claim that Hoccleve was consistently metrical under a two- or threefold tradition of the kind suggested by Jerome Mitchell. But whatever the final opinion, the evidence presented in this chapter has undercut three critical sug gestions regarding Hoccleve's metrics, or at least has in dicated the need for modification of these opinions. First, the fact that more than 92 percent of Hoccleve's lines can be accommodated by the Halle-Keyser theory just as the theory presently stands would seem to indicate that South- worth's suggested accentual reading was not, at least for the most part, the reading intended by Hoccleve. The same 92 percent would indicate further that to see Chaucer's metrical system as based upon nothing more than the number 114 of syllables is an unjust oversimplification. And finally, even with such a preponderance of iambic pentameter lines it would appear to be an overstatement to assert without quali fication that any metrical manifestation in Hoccleve can be found to be exemplified in Chaucer— that "Hoccleve's rhyth mic manner derives straight from Chaucer's, differing only in some exaggeration, the occasional reduction of Chaucer's manner to mannerism" (Ian Robinson, p. 194), or that "Chau cer's disciples did not violate the principles of his pro sody, but abused them by over-use" (Licklider, p. 25). Perhaps the most interesting results of this portion of the study are the clues as to how Hoccleve's iambic penta meter lines, though based on a Chaucerian pattern, are yet so different in their impression. Hoccleve had good reason to call Chaucer "maister"] as indicated by this study, he worked within the same metrical rules for 92 percent of the time, even though his method of keeping the rules was quite different. Several characteristics of Hoccleve's iambic pentameter actualization have been pointed out which, taken in the aggregate, account for a significant divergence in metrical technique: Hoccleve uses fewer stresses in S- positions and more in W-positions, he cancels S-position stress-maximum actualization through adjacent stress and 115 syntactic breaks more frequently than does Chaucer, he has a consistently lower stress maximum density, and he places stronger stress maximum support at the ends of his line rather than focusing, as Chaucer does, on Positions 2 and 6. In addition, the ease with which almost all of Chaucer's lines can be admitted as metrical stands in sharp contrast to the many lines in Hoccleve for which a metrical reading, if it reveals itself at all, is much more complex and is therefore evident only after close examination. NOTES ~ * ~ Englische Metrik (Bonn: E. Strauss, 1881-1888), I, 448. 2 Chaucer and the Fifteenth century (Oxford: Clarendon Press, 1947), p. 145. 3 In this respect Joseph C. Beaver (p. 312) has offered an interesting suggestion based on the syllable classifica tions of Seymour Chatman. All syllables fall into one of five groups: (a) full-voweled monosyllabic words with non reducible vowels, (b) reducible full-voweled monosyllabic words (the coloring of these vowels can usually reduce to /i/),(c) stressed syllables within polysyllables, (d) full- voweled unstressed syllables in polysyllables, and (e) un stressed syllables with reducible vowels in polysyllables . By this terminology, a stress maximum can be defined as the middle brace in the following sequence: Syll Syll Syll Further investigation might help to clarify the distinction between "forced stress" and "lightness" by investigating the effects of b-, d-, and e- syllables as the environment for stress maxima and examining the frequency of their occur rence in different poets. 4 References to Hoccleve quotations indicate name of poem, EETS volume, and line number. Abbreviations used are La Male Regie, MR; Regement of Princes, RP; and Compleynt, Comp. 116 117 5 Expressed another way, Chaucer uses 34 percent stressed syllables and actualizes 24 percent of his total syllables as stress maxima; Hoccleve uses 37 percent stressed syllables and actualizes 22 percent of his total syllables as stress maxima. g Hoccleve's preference for a syntactic break following Position 4 is reflected in the relatively low stress maxima percentage for this position. 7 These high percentages are partially accounted for by the fact that they incorporate each instance of -e as a weak ending. CHAPTER V JOHN LYDGATE Since the turn of the twentieth century, virtually every critical discussion of the metrics of John Lydgate has made reference in some way to Schick's introduction to the EETS edition of Temple of Glas.^~ In this .analysis Professor Schick sets forth the five line types which in his view constitute Lydgate's variations on what can roughly be called the iambic pentameter form. The A-type is the series of five regular iambs, the D-type is the catalectic line, and the B- and E-types each add an extra unstressed syl lable, the B-type at the caesura and the E-type at the be ginning of the line. The C-type lacks the unstressed syl lable after the second foot. Also called the "Lydgatean" or "broken-back" line, it has engaged much critical atten tion because of what has seemed to many critics its poetic awkwardness, and because of the uncertainty of a precedent for such a variant in the works of Chaucer. 118 119 Some of Lydgate's investigators have agreed that Schick's description of the five line types is accurate and 2 3 complete; others have suggested extensive modification. Whatever the response of the more recent critics, however, they have tended to agree with Schick's assertion that "Lydgate is entirely dependent on Chaucer in the choice of all his principal metres" (p. liv) . Eleanor Hammond, for example, finds more of Chaucer's metrical influence in Lyd gate than in Hoccleve, and Derek Pearsall states that it is "only fair to Lydgate to point out that he was trying to . . 4 imitate Chaucer." The critical problem, then, is to explain how a metri cal scheme which was supposedly derived from the poetry of Chaucer could have manifested itself in a system so pecu liarly Lydgatean as to require a special set of descriptive categories for his poetry alone. The usual answer is to blame Lydgate for his failure, in the words of Eleanor Hammond, "to discriminate between Chaucer's use of a variant and his own mass-manufacture of a staple" (English Verse. p. 85) . The data gathered by the computer for this study are helpful in distinguishing some of the important deriva tive components of Lydgate's verse from those which are indigenous, and in measuring the extent of certain of these 120 elements. The Lydgate sample consisted of 100 lines from Defense of Holy Church, 100 lines from Complaynt of a Loveres Lyfe, and 300 lines from Temple of Glas. Three important groups of evidence gathered from the Lydgate sample all underline in various ways the fact pointed out by Eleanor Hammond: Lydgate 1s was a mind "thinking in half-lines" (English Verse, p. 85). The first body of evidence which shows Lydgate's contrasting manage ment of the two ha If-lines is that of the distribution of stressed syllables . Though the incidence of stress in Positions 1 through 5 looks very much like that of Hoccleve, with approximately twice as many W-position stresses as in the Chaucer sample, Lydgate's stress distribution in the second half-line is quite distinctive. The seventh and ninth positions each contain approximately 5 percent of his stressed syllables, comparatively a very high percentage. Though no odd-numbered position in the Chaucer sample— except for Position 1, which by definition cannot be a stress maximum— contains more than 1 percent of his stresses, almost one-fifth of Lydgate's lines have a stressed syllable in Pos ition 9. Lydgate's distribution of syntactic breaks, as shown by his punctuation graph, is further demonstration of his 121 penchant for half-line structure. Whereas 10.5 percent of Chaucer's punctuation and 11.1 percent of Hoccleve's punc tuation had occurred before Position 4, only 4.7 percent of Lydgate's punctuation followed Positions 1, 2, or 3. Thus Lydgate's syntactic breaks, as can be seen from his chart, tend to cut his line in half: PUNCTUATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 187 SCALE: 1:1 GRAPHS IN PERCENTAGE OF TOTAL TOTAL 569 POS VALUE PERCENT 1 4 .7 0 2 9 2 11 1 .9 1 3 8 X 3 12 2 .1 0 8 9 XX 4 72 1 2 .6 5 3 7 x x x x x x x x x x x x 5 106 1 8 .6 2 9 1 x x x x x x x x x x x x x x x x x x 6 4 8 8 .4 3 5 6 x x x x x x x x 7 17 2 .9 8 7 7 XX 8 11 1 .9 1 3 8 X 9 19 3 .3 3 9 2 XXX 10 187 3 2 .8 6 4 8 XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 11 72 12 .6537 XXXXXXXXXXXX 12 7 1 .2 3 2 3 X 13 2 .3515 A comparison of this chart with those of Chaucer and Hoc cleve also shows the greater flexibility of these two au thors in their placement of syntactic breaks . In addition, Lydgate's sample is by far the most heavily end-stopped. Another of Lydgate's metrical characteristics which seems to work in half-lines is that of stress maximum "12T density. According to Donald Freeman's assessment of the effects of stress maximum density, the first half of Lyd gate's line is more stable than the second, and less prone to metrical variation. Lydgate's stress maximum density, compared with those of Chaucer and Hoccleve, is as follows: STRESS MAXIMUM DENSITY (STRESS MAXIMA AS A PERCENTAGE OF TOTAL POSITIONS) Chaucer Hoccleve Lydgate Pos 2 56% 48% 54% 4 50% 42% 57% 6 56% 49% 42% 8 53% 49% , 47% In the type of graphic representation used by Joseph C. Beaver to compare Shakespeare and Donne, Lydgate's stress maximum density scheme would be as follows : 2 4 6 8 Lydgate ] ] 54% 57% 42% 47% Lydgate's half-line structure might, of course, have been influenced by Anglo-Saxon verse types. It is interest ing, however, that this possibility is unsupported by any evidence of concomitant influence on Lydgate's use of al literation. Chaucer's and Hoccleve's alliteration, though unobtrusive, seems to have been a definite marker of their S-positions, whereas Lydgate's appears to be almost entirely at random. As can be seen from a comparison of their 123 ALLITERATION TOTALS FOR ENTIRE CHAUCER SAMPLE MAXIMUM VALUE : 233 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1899 POS VALUE PERCENT 1 216 11.3616 XXXXXXXXXXX 2 233 12 .2558 XXXXXXXXXXXX 3 164 8.6264 xxxxxxxx 4 217 11.4142 XXXXXXXXXXX 5 173 9.0998 xxxxxxxxx 6 218 11.4668 XXXXXXXXXXX 7 156 8 .2056 xxxxxxxx 8 219 11.5194 XXXXXXXXXXX 9 147 7 .7322 XXXXXXX 10 146 7 .6796 xxxxxxx 11 7 0.3682 12 3 0.1578 13 0 0.0000 14 0 0.0000 ALLITERATION TOTALS FOR ENTIRE LYDGATE SAMPLE MAXIMUM VALUE : 106 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 779 POS VALUE PERCENT 1 106 13 .5998 xxxxxxxxxxxxx 2 87 11.1621 XXXXXXXXXXX 3 80 10.2640 xxxxxxxxxx 4 84 10.7772 xxxxxxxxxx 5 55 7.0565 xxxxxxx 6 95 12.1885 xxxxxxxxxxxx 7 72 9 .2376 xxxxxxxxx 8 70 8.9810 xxxxxxxx 9 62 7 .9546 xxxxxxx 10 64 8.2112 xxxxxxxx 11 2 0.2566 12 1 0.1283 13 1 0.1283 14 0 0.0000 124 charts (p. 123), Chaucer employs more alliteration and em ploys it more consistently in S-positions. The table of Lydgate's most frequent stress maximum patterns shows somewhat of a preference for line structures with stress maxima in the first half of the line. Whereas Chaucer's and Hoccleve's most frequently used pattern was 2, 6, 8, this series of maxima is seventh-ranked in the Lydgate table. The complete table appears on p. 12 5. Donald C. Freeman ("On the Primes of Metrical Style") has presented some interesting data showing how certain "primes of metrical style," including stress maxima pat terns, reversed initial feet, strong or weak onset, enjamb- ment, and number per line of actualized stress maxima, can be useful in discussing the historical changes in stylistic and poetic preferences of the Tudor and early Renaissance periods. One of his "primes" is incidence of stress maximun neutralization, or the number of times an adjacent syntactic break or stressed syllable interfered with the actualizatior of an S-position stressed syllable as a stress maximum. As has been pointed out in Chapter III of this study, the sty listic consequences of an unactualized stress maximum depend largely upon the reasons for the missing stress maximum: there: may have been no stressed syllable in the position in 125 STRESS MAXIMUM PATTERNS OCCURRING 10 TIMES IN LYDGATE SAMPLE MORE THAN Pattern Rank Number of Occurrences in 500 Lines 2 4 8 1 36 4 6 8 2 29 2 4 6 3 28 2 4 4 23 4 8 5 21 2 4 6 8 6 20 4 6 7 19 2 6 8 (7) 19 2 6 9 14 4 8 10 (9) 14 2 8 11 12 6 8 12 11 4 (12) 11 2 4 8 10 (12) 11 126 the first place, or there may have been a stress the effects of which have been neutralized by syntactic breaks or stresses in the surrounding positions. Chaucer's unactual ized stress maxima tend to be attributable to the first of these reasons; on a comparative basis, at least, it may be said that he avoids neutralization. Working with samples from much later verse, Freeman goes so far as to call neutralization a "crudity." He found, for example, that even though the more sophisticated poetry of Marlowe con sistently showed less stress maximum actualization than that of someone like Nicholas Grimald, there is clear evidence at the same time of less frequent stress maximum neutrali zation in Marlowe's poetry. Like Chaucer, Marlowe tended to keep stressed syllables out of S-positions unless they were to be actualized as stress maxima. Freeman does not distinguish in his investigation be tween neutralization by adjacent stress and neutralization by adjacent syntactic break. As Hoccleve's typical stress maxima neutralizations were compared with those of Chaucer, however, an indication arose— to be further and even more strongly supported by the Lydgate evidence— that these two kinds of neutralization are in fact quite different, and that neutralization by syntactic break is distinctly less 127 of a "crudity" than frequent W-position stress. It is pos sible, then, that Freeman has oversimplified the investiga tion of this particular prime by beginning with the assump tion that the neutralizing stresses and the neutralizing syntactic breaks have similar effects and should therefore be counted as part of the same quantity. In support of this suggestion that the two kinds of neutralization should be considered separately, the follow ing tables show some significant contrasts in the neutrali zation management of Chaucer and Lydgate. These percentages can rapidly be computed by hand or by calculator from the computer data in this study. The first table shows what I shall refer to as Neutralization Potential (Adjacent Syn tactic Break). It is simply the number of syntactic breaks, as indicated by the punctuation, surrounding each even- numbered position, with the number of syntactic breaks given as a percentage of the total occurrences of that position. Expressed another way, it shows to what degree the environ ment of the particular S-position is designed to neutralize a stressed syllable occurring in that position. For exam ple, Chaucer's 38 punctuation marks after Position 1, plus his 65 punctuation marks after Position 2, each of which would neutralize a stress maximum in Position 2, equal 128 approximately 10 percent of the 1,000 occurrences of this position in his sample. In the same way, the second table, Neutralization Potential (Adjacent Stress), shows a per centage version of the stressed syllables surrounding each even-numbered position: NEUTRALIZATION POTENTIAL (ADJACENT SYNTACTIC BREAK) Chaucer Lydgate Pos 2 10% 3% 4 32% 17% 6 41% 15% 8 15% 5% NEUTRALIZATION POTENTIAL (ADJACENT STRESS) Chaucer Lydgate Pos 2 12% 19% 4 9% 24% 6 9% 31% 8 10% 36% Lydgate's divergence is sizable and consistent, when these tables are given separately, the significance of the data is obvious, even though these data treat environments rather than actual instances of neutralization. The indications are that Chaucer's neutralization was more often by means of adjacent syntactic break and Lydgate's by means of adjacent stresses. The number and kinds of neutralizing elements which 129 each author calls upon may be important elements in the consideration of style, complexity, and metricality. If in accordance with Freeman's system the neutralization totals had been combined, however, Lydgate and Chaucer would have been shown to have an approximately equal incidence of stress maximum neutralization, and this important technical difference would not have been apparent. Chaucer and Lyd gate do, in fact, actualize an approximately equal percent age of their stresses as stress maxima: STRESS MAXIMA. AS A PERCENTAGE OF STRESSED SYLLABLES In their original article Halle and Keyser specify that "under certain conditions" a position "may be occupied by more than one syllable or by none" (Principle 2). In the discussion which follows the statement of their theory, there is no example of the occupation of any position by zero phonetic material except for Position 1. The paren thetical (W) which begins the abstract position pattern in the revised version of the theory indicates that Halle and Keyser still do not hypothesize the possible non- Pos 2 4 6 8 Chaucer 90% 75% 86% 74% Lydgate 93% 80% 82% 87% 130 actualization of any other position in a metrical iambic pentameter line. If the Halle-Keyser system were to be expanded to describe the iambic pentameter notions of Lyd gate, the special Lydgatean variation of the theory would probably have to include the option of a catalectic second half-line as well as a catalectic line-beginning— in other words, the option of zero phonetic material in Position 5 as well as Position 1. Schick's C-type would be expressed in Halle-Keyser terms as WS WS (W)S WS W S The other four of Schick's line types would be repre sented as follows: A-type: W S W S WS W S WS B-type: WS W S (W)WS W S D-type: (w )S WS WS WS W S E-type: (W)WS WS W S W S WS The present Halle-Keyser pattern incorporates the A-type and the D-type. Though the representation (W) (W)S WS (W) (W)S WS WS encompasses in one statement all five line types, this pat tern does not accurately represent Schick's description. 131 He acknowledged that "more than one line-type may seem to have equal claim to a line" (p. lix), he evidently intended that at least some of his types be mutually exclusive— he would not expect a combination E-type and B-type line, for example— and the above pattern would allow for a line of the form (W) (W)S WS S WS WS But it is interesting that since Schick's B-type and E-type are actually lines with an extra unstressed syllable rather than an extra W-position, many of the lines falling within these two types could be evaluated as metrical if Condition 2 were invoked. Thus, the present Halle-Keyser theory and Condition 2 together appear very nearly to do the work of Schick's line-type categories except in accommodating the "Lydgatean" C-type. The SKAN program sifted from the Lydgate sample some representatives of the B-type: Was hurt unwar li thurugh casting of an eyghe (TG 105) But eld is grucching and malencolious (TG 187) of the E-type: Even at the poynt of hir destruccioun (DHC 9) 132 and, naturally, many instances of the famous C-type: That stoode in way of perdicioun (DHC 37) Whos joy and he 1th lith in thi persoone (DHC 72) Her shadow cast, closyng the wel rounde (Comp 83) TG 105 and 187 and DHC 9 above all show the way in which Condition 2 tends to include Schick's B- and E-types within Halle and Keyser's definition of the basic iambic penta meter pattern: if and and thurugh in the first two lines and a± in the second were each to be assigned to the same position as the preceding syllable, they would all three be regular actualizations of the Halle-Keyser abstract pattern. In general, Condition 2 seems to describe Lydgate's practice much more frequently than it does Chaucer's. The C-type, however, still remains unaccounted for; Halle and Keyser provide several means of shrinking a line with extra syl lables so that it may fall within their description, but, except for the catalectic provision, include no means of lengthening a line with a deficient number of syllables . Dudley Hascall has discussed at length the possible ways in which the Halle-Keyser iambic pentameter theory would require modification in order to describe the verse 133 management of Lydgate. Instead of a second pattern WS WS (W)S WS WS to supplement with regard to the C-type Halle and Keyser's present (W)S WS WS WS WS, he proposes that the theory be amended to include two Dele tion Rules: D2a An odd (weak) position can be filled by 0 [zero phonetic material] between two even (strong) positions filled by stressed syllables. D2b An odd (weak) position may be filled by 0 follow ing the word boundary at the caesura. ("The Prosody of John Lydgate," pp. 136, 138) Thus, without altering the description of the positions and their order, the Deletion Rules provide not only for the C-type but also for The best taught, and therto of plesaunce (TG 292), listed by SKAN as unmetrical because of 0 in Position 3. Because so many varieties of line types cj.nd metrical problems have been explained in this and preceding chapters, it will be possible, in discussing the lines listed as ametrical from the Lydgate sample, to be quite brief in treating some of the categories. In all, 105 lines were 134 listed as ametrical, and the final average complexity for the entire sample was a high 3.0. Of the 39 lines on the ametrical list which could not appropriately be evaluated as exceptional, 2 5 represented problems in the initial encod- 5 ing, 10 came under the heading of false weak endings, and five were catalectic lines with 11 syllables . All these categories were discussed in Chapter III. The Lydgate sample thus yields a total of 63 lines which cannot be evaluated as unmetrical under the Halle- Keyser system as it presently stands. At least one group of these lines, however, constitutes its own system. Twenty-nine lines were of the C-type or "broken-back." This finding of almost 6 percent C-type lines is in approximate agreement with Hascall's statement that, after all allowable emendations under the Halle-Keyser theory, 7.5 percent of the lines in his sample were c-type. As mentioned pre viously, the list included two B-type lines and one E-type. In the two preceding chapters, lines were cited from both the Chaucer and Hoccleve samples which seemed to indi cate the need for morphological as well as phonological considerations in the possible assignment of two syllables to one position. The previous examples, however, related cnly to verb morphemes which fell outside the phonological 135 requirements of the Halle-Keyser theory. Though no other types of morphemes seemed to be problematical in the first two samples, the Lydgate sample emphasizes the need for the probable redefinition of position to include plural mor phemes as well. Each of the following lines from the Lyd gate sample was listed by SKAN as unmetrical, but in each case, if the underlined syllable is assigned with the pre ceding syllable to a single position, the result is a metri cal reading: Thoruh the straytis to holden the passage ( DHC 54) Maugre the rokkis of vengeaunce mercilesse (DHC 58) Smale briddys that thynke on noon affraye ( DHC 67) And for to splayen out her leves on brede (Comp 33) Thurugh wikkid tungis and fals suspecioun (TG 153) g That rose and lileis togedir were so meint (TG 276) Dudley Hascall's Rhyming Rule, shown in Chapter IV to be probably relevant to Hoccleve's practice, covers three instances which occur on Lydgate's unmetrical list. All three lines end in -yng, a suffix usually spelled -ynqe in 136 Middle English if it is intended to carry stress . Under the Rhyming Rule— "If a word is rhymed, the syllable which car ries the rhyme is considered to have full stress, whether or not it has linguistic stress"— these syllables may be stressed simply because of their rhyming function, and thus a metrical reading is possible for A1 solitair and trist in compleynyng (DHC 16) Almost fordrownyd with teerys in weepyng (DHC 18) The dewe also lyk sylver in shynyng (Comp 26) Of the 25 lines remaining, three show Lydgate's in sistence upon a liberty of the sort described by Condition 2: That was for-wrynkled bi craft of Dedalus (TG 84) List of his godhode his fourme to transmwe (TG 120) The water so holsom and so vertuous (Comp 85) Though for-wrynkled in TG 84 seems to call for the assign ment of a verb morpheme to the preceding position, this in stance is somewhat problematical because the stem itself has lost a syllable in the assumption of the suffix. The 137 assignment of -led and bi_ to the same position seems to be the easier solution. Five of the remaining 22 lines are deficient in the number of syllables. Under the present Halle-Keyser system, there is no means by which a non-catalectic nine-syllable line— much less one of eight syllables— can be read as reg ular. The lines in question are as follows: For noon but thow myht tho socour (DHC 52) Wherfor I rede, both nyght and day (DHC 68) VJher so covertly he did hide (Comp 89) And causles on hem ilaid a lak (TG 150) Of womanhed or of lowlynes (TG 288) A few lines, including perhaps some of those listed immediately above, suggest the same conclusion as that reached by Dudley Hascall after examining his supposedly iambic pentameter Lydgate sample: "Some of these cannot be accounted other than regular octosyllables" ("Prosody of John Lydgate," p. 139). Like the 10 four-stress lines in the Hoccleve sample, these lines appeared at random throughout the selections: 138 Upon the herbes in grene mede (Comp 30) Out of my slombre and sodenly stert (Comp 16) To yif us hope their frute shal take (Comp 62) Through myght of erbes grouyng beside (Comp 86) Nor lyke the we lie of chastite (Comp 94) For love, at laarge and liberte (TG 213) The remaining lines, for example this group of three from Complaynt of a Loveres Lyfe, appear to defy any clas sification : And softe as velvet the yonge gras That therupon lustely cam spryngyng. The sute of trees about compassyng (Comp 80-82) It would be interesting at this point to bring together in a formal statement the many revisions which have seemed obligatory in constructing an iambic pentameter theory to describe Lydgate's prosodic practices. This theory is limited to Lydgate and is thus more of a curiosity than a theoretical suggestion. At the same time, however, a com parison of this version with the original Halle-Keyser theory, quoted in Chapter II, is perhaps the most efficient 139 means of understanding the differences in the two authors 1 handling of the iambic pentameter form. The theory as stated below would accommodate 97 percent of the lines in the sample, generally all lines except the deficient, the octosyllabic, and the amorphous groups described above. Condition 2, the Deletion Rules, and the Rhyming Rule are 7 quoted from Dudley Hascall. (a) ABSTRACT METRICAL PATTERN (W)S WS WS WS WS (X) (X) where elements enclosed in parentheses may be omitted and where each X position may be occupied only by an unstressed syllable (b) CORRESPONDENCE RULES (i) A position (S, W, or X) corresponds to a single syllable OR to a sonorant sequence incorporating at most two vowels (immediately adjoining or separated by a sonorant consonant) DEFINITION: When a fully stressed syllable occurs between two unstressed syllables in the same syn tactic constituent within a line of verse, this syllable is called a "stress maximum." (ii) (Condition 2) A monosyllabic word or formative not dominated by noun, adjective. or verb may constitute a single metrical position with the preceding stressed or unstressed syllable . (c) DELETION RULES (i) An odd (weak) position can be filled by ^ between two even (strong) positions filled by stressed syllables. (ii) An odd (weak) position may be filled by } 6 follow ing the word boundary at the caesura. (d) RHYMING RULE If a word is rhymed, the syllable which carries the 140 rhyme is considered to have full stress, whether or not it has linguistic stress. This revised theory, then, defines to a large degree Lydgate's divergence from the Chaucerian norms as described originally by Halle and Keyser but shows at the same time the ways in which Lydgate's prosody was derivative. Lydgate carried to greater lengths two liberties whose germ he found in Chaucer's system: the filling of a position by more than one syllable, and the filling of a position by zero phonetic material. An expansion of the Halle-Keyser theory according to these two indications, as seen in (b) and (c) above, re sults in a system which will accommodate better than 95 per cent of the Lydgate sample. Other significant characteris tics of Lydgate's verse management treated in this chapter include stress maximum density, the potential stress neu tralization, and the placement of the syntactic break. NOTES ■''Josef Schick, ed., Temple of Glas, EETS IX (London: K. Paul, Trench, TrObner and Co., 1891), lvi-lx. 2 See, for example, Derek Pearsall, John Lydgate (Char lottesville, Va.: Univ. of Virginia Press, 1970), pp. 60- 61, and Hammond, English Verse. p. 83. 3 See, for example, Bennett, p. 146. 4 "English Chaucerians, " in Chaucer and Chaucerians : Critical Studies in Middle English Literature, ed. D . S. Brewer (University: Univ. of Alabama Press, 1966), p. 207. 5 The small number of secondary stresses in Position 10 marks in itself an interesting stylistic difference between Chaucer and Lydgate. Lydgate used such words as innocent and lustily much less frequently than Chaucer and seems to have been indifferent to the effective diminuendo which the final secondary stress affords to the line-ending. g Abbreviations are TG, Temple of Glas; DHC, Defense of Holy Church: and Comp, Complaynt of a Loveres Lyfe. 7 Hascall, "The Prosody of John Lydgate, 1 1 pp. 132, 135, 138. Hascall's complete "Summary of Rules" (pp. 140-141) is as follows: 1. The Metrical Line (a) A line in Lydgate's poetry consists of 10 metrical positions plus one or two optional extrametrical syllables . (b) A caesura can and usually does occur in the middle of the line. It follows a word boundary which fol lows Position 4 or Position 5 or Position 6. 141 142 (c) A stress maximum is defined as "a position occupied by a syllable bearing greater linguistic stress than the syllables filling the adjacent positions (in cluding syllables realized as 0) ." Only even posi tions can be stress maxima. 2 . The Poetic Line Realization rules specify how lines are constructed to con form to the meter. (a) One syllable can fill one position. Syllables can be created or eliminated for metrical purposes by two phonetic conventions which both operate in the same environment, adjacent to sonorants. It is not implied that such syllables are created or elimi nated in the phonetic realization. (b) PC 1— A syllabic sonorant (i.e., /n, m, 1, r/ pre ceded or followed by /e/) can be reduced, for metri cal purposes, to non-syllabic status. (c) PC 2— A non-syllabic sonorant may be raised, when meter requires it, to syllabic status in a weak position. Two syllables can fill one position under two conditions of substitution. (d) Condition 1— "Two vowels may constitute a single position provided that they adjoin, or are separated by a liquid or nasal or by a word boundary which may be followed by h- and provided that at least one of the vowels is a weakly stressed or unstressed vow el" (Chaucer and the Study of Prosody, p. 2 09). (e) Condition 2— A monosyllable which is not dominated by noun, adjective. or verb. or an unstressed pre fix, may constitute a single position with an adja cent syllable. Under certain conditions, a position may be filled by noth ing . (f) D 1— Position 1 may be filled by 0. (g-h) D 2— A position may also be filled by 0 if the position in question is odd, and either surrounded by syllables bearing linguistic stress or adjacent to the caesura. 3. Rhyme If unstressed syllables carry the rhyme, they are considered to have metrical stress. [Original italics] CHAPTER VI WILLIAM DUNBAR The brief glance in previous chapters at the existing critical assessments of three Middle English poets has shown that a given body of works can call forth distinctly contra dictory analyses of its metrical structure. The evidence of Middle English manuscripts, pronunciation, contemporary response, and poetic intentions is often so tenuous that such critics as Pauli Baum and James G. Southworth, for example, can each examine Chaucer's metrics at great length, present an elaborate array of evidence, and in the end reach very dissimilar conclusions regarding Chaucer's underlying prosodic pattern. This same sort of critical dichotomy is nowhere so apparent as in the scholarship devoted to the metrics of William Dunbar. Insisting on the one hand that Dunbar wrote stress- verse with no thought of any such thing in mind as iambic pentameter are H. Bellyse Baildon and J. Sibbald. Sibbald 143 144 states categorically that it is as unlikely that the iambic pentameter form controlled the verse management of any Middle Scots poet as "that a modern musician should compose a piece of music in which the bars should uniformly consist of five crochets." He views the Middle Scots nine- to 14- syllable line as written in an isochronous system, with the segments marked by lexical stresses : "The measure seems . . . to be regulated by the division of the time required for recitation of the line, into portions like musical phrases; not necessarily equal in the number of syllables, but requiring an equal period of time for their pronuncia tion."^ Baildon, though he sees Dunbar's longer line as a representative ancestor of our "five-stress or five-foot line," warns that "the principle of stress rather than quantity must always be considered when scanning his „2 verse." On the other side of the argument are aligned G. P. M'Neill and John Thompson, both of whom discern a definite and clear iambic pentameter pattern in Dunbar's verse. Thompson states simply that "the iambic pentameter line was 3 certainly used by Dunbar and others in Scotland." M'Neill speaks of Dunbar's use of five-foot lines in various stro- phic arrangements and adds that in all probability Dunbar 145 4 adopted the rhyme royal stanza from Lydgate. Finally, Tom Scott represents the critical position with regard to Dunbar which Ian Robinson has set forth in his analysis of Chaucer's metrics and which Jerome Mitchell has suggested as a description of Hoccleve's practice: he views Dunbar's metrics as a compromise, a bringing together of both accentual and iambic pentameter influences. His impression of the metrics of such works as The Golden Targe is that "what emerges from Dunbar's practice may be misin terpreted as 'iambic,' but that what he is actually doing is combining elements of the Teutonic stress system with 5 elements of the Romance syllabic one." In discussing Dunbar's relationship to Chaucer, recent critics have consistently stressed that the label "Scottish Chaucerian"— when applied to such poets as Henryson and Douglas as well as to Dunbar— is both oversimplified and fundamentally incorrect. H. Harvey Wood has suggested g "Scots Lydgatean" as a more accurate and informative term, and John Speirs, speaking specifically of Dunbar, suggests that "an examination of his poetry reveals that as a poet he is in fact as different from Chaucer as it was possible 7 for another mediaeval poet to be." Denton Fox, however, while claiming that "it is a desperate endeavour to trace 146 Dunbar's relationship to Chaucer," goes so far as to say that "on the technical level, Dunbar's sophisticated met rics, rhetorical devices and diction surely descend, in part, from Chaucer," and that also "borrowed from Chaucer" 8 are "Dunbar's prevailingly syllabic metrics." The Dunbar sample for this study was made up of the first 251 lines from The Golden Targe, the first 150 lines of The Thrissil and the Rois, all of Birth of Antichrist, totalling 50 lines, and all of Quhone He List to Feyne, totalling 49 lines . If the first task in describing an author's verse management is to ascertain the underlying pattern, the information derived from the computer scansion of these lines, as will be shown in the discussion of the list of unmetrical lines from the Dunbar sample, points to a single convincing answer. As for the second task— that of describing the range of variations which within the poet's practice constitutes acceptable actualizations of these patterns— the evidence indicates that in some impor tant respects Dunbar is in fact the most "Chaucerian," metrically speaking, of the poets yet discussed. Dunbar's penchant for alliteration has evidently marked him in the eyes of some critics, including Baildon, as a poet who is working in an older, non-syllabic tradition. 147 Both Baildon (p. xl) and Fox (p. 166) have compared the line structure of The Tua Mari it Wemen and the Wedo with that of Piers Plowman, and undoubtedly alliteration is a structural device, rather than just decorative, in such lines as I hard, under ane holyn hevinlie grein hewit, An hie speiche, at my hand, with hautand wourdis (The Tua Mariit Wemen and the Wedo. 11-12) Of course, no poem made up of alliterative long lines was incorporated as part of the sample for this study. Never theless, the alliteration graph for the Dunbar sample shows clearly that Dunbar did not abandon his alliterative habits when writing verse which was structurally non-alliterative — that is, verse in which the pattern of the lines does not depend on the presence of alliteration. Even though the Halle-Keyser definition of iambic pentameter appears to describe Dunbar's line form almost as completely as it does Chaucer's, as will be discussed later in this chapter, this same form in Dunbar's hands retains from the older tradition the distinctive alliteration in stress positions. Though it is conceivable that the heavy alliteration is simply the result of Dunbar's tastes rather than traditional influ ences, the presence in the Dunbar corpus of such a poem as The Tua Mariit Wemen and the Wedo. obviously a work both 148 accentual and alliterative, argues against this possibility. Furthermore, as Denton Fox has pointed out, "the pre- Chaucer ian tradition was more available to Dunbar . . . than it was to his English contemporaries" (p. 166) . A comparison of Dunbar's alliteration graph with that of Chaucer (p. 149) will show that like Chaucer, he tended to mark his even-numbered positions with alliteration. He differs from Chaucer in degree, however, with his allitera tions outlining the S-positions much more strongly. Pauli Baum has discussed Chaucer's alliterative prac tices in some detail, showing that Chaucer's alliteration, whether occurring in a stock phrase, as a deliberate imita tion of the Anglo-Saxon long line, or as mere decorative artifice, is always "ornament, not a regulative principle" (p. 55). Though Dunbar's alliteration is anything but offensive, it is certainly, by comparison with Chaucer's, nore contrived and artificial as well as more frequent. A reader of Chaucer would be surprised to find any three lines with their alliteration worked out to the extent of Dunbar's Doune throu the ryce a ryvir ran wyth stremys, So lustily agayn thai lykand lemys, That all the lake as lamp did leme of licht. (GT 2 8-30) 9 Yet such sequences are commonplace in Dunbar's writings. If 149 ALLITERATION TOTALS FOR ENTIRE CHAUCER SAMPLE MAXIMUM VALUE : 233 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1899 POS VALUE PERCENT 1 216 11.3616 XXXXXXXXXXX 2 233 12 .2558 XXXXXXXXXXXX 3 164 8.6264 xxxxxxxx 4 217 11.4142 XXXXXXXXXXX 5 173 9.0998 xxxxxxxxx 6 218 11.4668 XXXXXXXXXXX 7 156 8.2 056 xxxxxxxx 8 219 11.5194 XXXXXXXXXXX 9 147 7 .7322 xxxxxxx 10 146 7.6796 xxxxxxx 11 7 0.3682 12 3 0.1578 13 0 0.0000 14 0 0.0000 ALLITERATION TOTALS FOR ENTIRE DUNBAR SAMPLE MAXIMUM VALUE : 118 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 806 POS VALUE PERCENT 1 78 9 .6720 XXXXXXXXX 2 102 12 .6480 XXXXXXXXXXXX 3 45 5.5800 xxxxx 4 118 14 .632 0 xxxxxxxxxxxxxx 5 50 6.2000 xxxxxx 6 118 14 .632 0 xxxxxxxxxxxxxx 7 44 5.4560 xxxxx 8 105 13.02 00 xxxxxxxxxxxxx 9 51 6 .3240 xxxxxx 10 94 11.6560 XXXXXXXXXXX 11 1 0.1240 12 0 0.0000 13 0 0.0000 150 an investigator should doubt the plausibility of the com puter's alliteration totals, or if he should consider that they could not possibly represent Dunbar's general practice, he need only read the verse with particular attention to the frequent, though in general skilfully unobtrusive, allitera tion throughout Dunbar's decasyllabic verse. Possibly the most striking feature of the table of stress maximum patterns occurring most frequently in the Dunbar sample is the nature of the first-ranked pattern. The line which actualizes stress maxima in all four medial S-positions occurs 43 times in Dunbar, twice as often as in the samples from Chaucer, Hoccleve, or Lydgate. Further more, whereas each of the other authors has a pattern of three stress maxima as his first-ranked, Dunbar is the only author to have a pattern of four stresses ranked in first place. This information assumes added significance in the light of Donald Freeman's findings regarding the stress maximum patterns of Renaissance verse. He has shown the pattern 2, 4, 6, 8 to be characteristic of such writers as Grimald and Gascoigne, a "too-perfect actualization of the ideal metrical pattern," which seems "mechanical, stiff, and choppy" (pp. 470-471). Whereas Grimald and Gascoigne had 40 percent and 52 percent such lines respectively, Freeman 151 demonstrates that later poets, particularly Kyd and Marlowe, no longer insisted upon such a perfectly realized line — after all the ultimately "metrical" blank verse line accord ing to the Halle-Keyser theory— as their poetic ideal. In a development which Freeman considers to be of signal im portance in the history of English poetry, the later poets introduced more flexibility by incorporating as their norm the line with only three stress maxima. The data gathered in the present study coincide inter estingly with the trends noted by Freeman. If Surrey, Grimald, and Gascoigne represent a rising curve for the frequency of the line of four stress maxima, from the high point of which the later poets will then taper off in their usage, it is possible that the starting point of this curve could be extended to commence at a lower and historically earlier point. The curve could begin with Chaucer, whose frequency of such lines is less than 5 percent, and show the increasing use of the 2, 4, 6, 8 pattern by Dunbar and possibly by other poets as well. As we shall see in Chapter VII, the 2, 4, 6, 8 line is Skelton's second-ranked pattern. It should be mentioned that for purposes of comparison with Freeman's data, it is appropriate to add to the 2, 4, 6, 8 tally the number of lines which actualize these four stress 152 maxima and Position 10 as well, since neither Freeman nor Halle and Keyser distinguish these two line patterns . Thus for Dunbar the 43 occurrences of 2, 4, 6, 8 would be added to seven instances of 2, 4, 6, 8, 10, showing a 10 percent occurrence of such lines. In compiling from the computer printouts the tables of most frequent stress maxima patterns, the cutoff line for a significant number of occurrences was arbitrarily drawn at 2 percent, that is, 20 instances for the Chaucer sample and 10 for each of the others. It is noteworthy that Dunbar's list of patterns is the shortest— in other words, Dunbar makes greater use of fewer patterns. Whereas Hoccleve's list of 2 0 patterns accounts for 382 of his lines, Dunbar's list of only 12 patterns includes 306 of his lines . And Dunbar's first-ranked pattern— the 2, 4, 6, 8 line discussed above— has the highest occurrence of any pattern for any author in this study. The table of most frequently occur ring patterns for the Dunbar sample is given on p. 153. The figures for Dunbar's stress maximum density are further demonstration of his stable and strongly patterned verse. In each position, the density is higher than the 50 percent average which Beaver found to be characteristic of iambic pentameter. Though the percentages are higher even 153 STRESS MAXIMUM PATTERNS OCCURRING 10 TIMES IN DUNBAR SAMPLE MORE THAN Pattern Rank Number of Occurrences 500 Lines in 2 4 6 8 1 43 2 4 6 2 36 2 6 8 (2) 36 2 4 8 3 31 4 6 4 29 6 8 5 26 2 6 6 22 2 8 7 20 8 8 18 4 8 (S) 18 . 2 4 9 15 2 6 8 10 10 12 154 than the figures for Chaucer, they are in approximately the same proportion to one another and would result in the same stress maximum density diagram, with supports on Positions 2 and 6. The figures are as follows: STRESS MAXIMUM DENSITY (STRESS MAXIMA AS A PERCENTAGE OF TOTAL POSITIONS) Chaucer Dunbar Pos 2 56% 57% 4 50% 55% 6 56% 61% 8 53% 54% Though both Hoccleve and Lydgate, as we have seen, actualized a much lower percentage than did Chaucer of their stressed syllables as stress maxima, Dunbar is as reluctant as Chaucer to use a stressed syllable in an even-numbered position and then allow the stress maximum to be neutralized by means of an adjacent stress or syntactic break. For no position does Dunbar's percentage of actualization differ from Chaucer's by more than 1 percent: STRESS MAXIMA AS A PERCENTAGE OF STRESSED SYLLABLES Chaucer Dunbar Pos 2 90% 90% 4 75% 74% 6 86% 85% 8 94% 95% 155 Dunbar's stress neutralization potential is slightly lower than Chaucer's with regard to adjacent punctuation, slightly higher in potential neutralization by adjacent stress . Even though the margin separating these percentages for Chaucer and Lydgate was much greater, it is interesting that Lydgate, too, had a lower potential of neutralization by punctuation and a higher potential of neutralization by adjacent stress, again suggesting that the two kinds of neutralization are quite different in their effect and that perhaps it is only the excessive neutralization by adjacent stress that is properly called, in Freeman's term, a "cru dity." The high percentage of potential neutralization by punctuation for Positions 4 and 6 in the figures for Dunbar reflects his tendency toward syntactic breaks after Positions 4 and 5. It is worth remarking further that Dunbar's punc tuation graph could almost be mistaken for Chaucer's except that it is more heavily end-stopped. The stress neutrali zation figures are as follows: NEUTRALIZATION POTENTIAL (ADJACENT SYNTACTIC BREAK) Pos 2 4 6 8 Chaucer 10% 32% 41% 15% Dunbar 9% 29% 38% 13% 156 NEUTRALIZATION POTENTIAL (ADJACENT STRESS) Pos 2 4 6 8 Chaucer 12% 9% 9% 10% Dunbar 18% 14% 17% 18% The list of Dunbar's lines which for various reasons the SKAN program could not admit as metrical contained only 56 lines, as contrasted with 79 for Hoccleve and 105 for Lydgate. The average complexity for the entire sample was a low 2.0, comparable to Chaucer's complexity level of 1.8. Eleven of the lines were termed ametrical because of errors in the encoding process. Accounting for the presence on the list of 25 of the remaining 45 lines were the verse-final secondary stresses, the "false weak endings" discussed at some length in Chapter III. Since these 25 lines constitute 5 percent of the Dunbar sample, and since the instances on the ametrical list include only those lines which happen also to have 11 syllables, the Dunbar sample appears to have a strikingly large percentage of such lines . Dunbar evi dently enjoyed the gentle line ending produced by the place ment of a lesser stress in a position which in any case would not be actualized as a stress maximum. Among his trisyllabic verse-final words are fantasy, lustely, mychtely, 157 redolent. incubus, archery, and chevalry. Of the 2 0 lines remaining, three require elision over /v/ as suggested by Hascall in his investigation of Lyd- gate’s metrics and also by Donald Freeman for the verse of the early Renaissance. The particular environments of these elisions are familiar throughout the history of English poetry— hevin twice, never once: Depaynt war brycht, quhilk to the hevyn did glete (GT 66) Off eviry hew under the hevin that bene (GT 89) Mercie is never put out of meik intent (GT 40) Four instances demonstrate the need for syntactic as well as phonetic allowances when assigning two adjacent syllables to a single position. The examples below include two instances of a plural morpheme, one of a verb morpheme, and one of a genitive morpheme, all of which, if the lines are to be read as metrical, must be assigned with a stem-syllable to the preceding position: Be this the lord of wyndis, wyth wodenes (GT 229) Yit nocht incresis thy curage to indyt (TR 26) 158 To bring in beistis of all conditioun (TR 79) And preiche in erth the antechrystis impyre (TR 37) The minor category words in and ane in the lines And the cheif protector in woddis and schawis (TR 104) and He sail ascend as ane horrebble grephoun (BA 26) show that Condition 2, either in its original form or as stated by Dudley Hascall, is perhaps useful in obtaining a metrical reading of an occasional line from Dunbar's verse. Eleven apparently exceptional lines remain. With such a small number of problematical instances, it is difficult to know whether it might not be best simply to enumerate the lines, bear in mind Halle and Keyser's reminder of "the exigencies of manuscript transmission, scribal error, and, finally, the possibility of poetic oversight, " and let them stand as a 2 percent exception to the Halle-Keyser theory. Some of these 11 lines may of course represent infrequent but acceptable actualizations of the iambic pentameter pat tern in Dunbar's particular verse system, we have seen in Chapter V how the Halie-Keyser theory might be expanded to 159 accommodate broken-back lines, such as And Appryll had, with hir silver schouris (TR 2); lines with a missing unstressed syllable, such as 'Quhois gilt tressis schone so wondir cleir (TR 53); and lines with an extra syllable at the caesura, such as Seing thir taikinis, quahirfoir thow mark thame rycht (BA 20) Levefell company, and honest besynes (GT 166) The list of remaining exceptional lines is as follows: There saw I nature present hir a goune (GT 87) As thay that had lufe in thair hertis grene (GT 105) All thir bure ganyeis to do me grevance (GT 168) Thair scharp assayes mycht do no dures (GT 170) • , . • And that no schouris, nor blastis cawld (TR 67) And makis aIs mony full law to doun licht (BA 17) It is clear, then, that the results of the Dunbar scansion point to some very different conclusions from those 160 discussed in the chapters on Lydgate and Hoccleve. Though Dunbar was an amazingly versatile poet who could certainly write accentual verse when he chose, he was, to state the case simply, the most "Chaucerian" of the poets discussed so far in his handling of the iambic pentameter form. Whether he had a better intuitive sense of the elements of Chaucer's verse management, whether he referred more consistently and conscientiously to Chaucer as a metrical model, whether he was more enumerative in his examination of exactly how Chaucer wrote, or whether by mere personal preference he stayed more rigidly within the pattern established by Chau cer, is impossible to know. But it is evident that cautions such as Baildon's against reading any of Dunbar's verse as iambic pentameter have little relation to the facts of Dunbar's prosody. The same Halle-Keyser theory which can accommodate 99 percent of Chaucer's verse can account for Dunbar's verse to the extent of 98 percent. The one pro sodic feature for which Dunbar's usage differed widely from Chaucer's was that of alliteration; however, though Dunbar employed alliteration to strengthen the outlines of his stress pattern, alliteration is of course not a metrical feature within the iambic pentameter structure. Thus Dun bar 's more frequent alliteration does not within itself 161 directly define a difference between his and Chaucer's actualizations of the Halle-Keyser iambic pentameter system. Stylistic features mark some significant differences in the verse of the two poetsj metrical ones, in general, do not. NOTES ^Chronicle of Scottish Poetry from the Thirteenth Cen tury to the Union of the Crowns (Edinburgh: c. Stewart and Co., 1802), pp. liv, xlvi. 2 The Poems of William Dunbar (Cambridge: Cambridge Univ. Press, 1907), pp. xl-xli. 3 The Founding of English Metre (London: Routledge and Paul, 1961), p. 2. 4 "Note on the Versification and Metres of Dunbar," m The Poems of William Dunbar, ed. John Small (Edinburgh: W. Blackwood, 1884-1893), p. clxxx. 5 Dunbar: A Critical Exposition of the Poems (Edin burgh: Barnes and Noble, 1966), p. 312. g Two Scots Chaucerians (London: Longmans, 1967), p. 7. 7 The Scots Lxterary Tradition (London: Chatto and Windus, 1940), p. 35. g "The Scottish Chaucerians," in Chaucer and Chauceri- ans: Critical Studies in Middle English Literature, ed. D. S. Brewer (London: Univ. of Alabama Press, 1966), p. 186. 9 Abbrevxations are GT. The Goldyn Targe; TR. The Thrissil and the Rois; BA, The Birth of Antichrist. 162 CHAPTER VII JOHN SKELTON Recent critics have devoted a great deal of scholarly discussion to the question of the meter and source of John Skelton's vigorous and characteristic "Skeltonic" line. At the same time, however, investigators who have considered the metrics of his rhyme royal stanzas have not by any means found this line form very much easier to describe. Although rhyme royal is traditionally made up of iambic pentameter lines, this stanzaic form does not always seem to correspond to an attempt, in Skelton's poems, to realize an iambic pentameter verse form. Alan Swallow, in his article "The Pentameter Lines in Skelton and wyatt,"'*' cites only short passages as examples of Skelton's "good pentameters." He speaks further of Skelton's "disconcerting variations from the normal pattern," and finally notes that of the first 126 lines of The Bowge of Court. 89 percent are "iambic penta meter or common variations," with most of the other lines 163 164 coming under the heading of "four-beat doggerel." Swallow's conclusion is that "certainly Skelton . . . felt no great qualms in mixing, upon impressionistic or whatever^grounds, the two traditions [the epic-accentual and the lyric- syllabic] in one composition" (pp. 1, 8) . Though similar suggestions have been put forth by Ian Robinson, Jerome Mitchell, and Tom Scott in reference to the verse, respec tively, of Chaucer, Hoccleve, and Dunbar, we shall see in this chapter that the possibility that the poet drew simul taneously upon two prosodic systems can perhaps be raised with more justification in the case of Skelton. The most informative results of the computer's scansion of the Skel ton sample— the first 2 00 lines of The Bowge of Court and the first 300 lines from The Garlands of Laurell— turned out to be not so much the numerical data as the lines that were finally listed as unmetrical, especially when these lines are examined within the context of the original poems. Alan Swallow discovered further that 28 of the 126 lines which he investigated were 11-syllable lines with the extra syllable placed verse-medially rather than verse- finally. Skelton's tendency to place more than one un stressed syllable between the stresses in his line— in other words, his penchant for the frequent and sometimes multiple 165 use of the liberty described by the Halle-Keyser Condition 2— has led at least one critic other than Swallow to the assumption that Skelton occasionally wrote in isochronous verse units, with these individual units variously divided into one, two, three, or even four segments, depending upon the number of unstressed words between the points of stress . Nan Cook Carpenter falls naturally into musical terminology to describe this phenomenon: It is everywhere obvious in his poetry that Skelton thinks in musical rhythms. Even in his rhyme-royal poetry . . . his lines often sing themselves musically in a basic four-beat meter, rather than in the conven tional pentameter of that verse form . . . exactly as though one were setting the words to music in quarter notes and eighth notes.^ Just as John C. Pope found musical notation to be the most convenient symbol system for the expression of his theories 3 of the probable rhythms of Beowulf, so any reader familiar with the conventions of time signatures and note values thinks immediately of how well certain of Skelton's lines could be represented by musical notation: MU' } iIJi llii }\}} Some trem-blid, some gir-nid, some gas-pid, some gas-id, As peo- pie halfe peu-ysshe, or men that were mas-yd. (GL 265-266)4 166 Stanley E. Fish emphasizes the transitional elements of Skelton's prosody and the importance of the particular time period in which Skelton wrote, pointing out, in much the same way as Denton Fox did for Dunbar, the presence of con flicting prosodic traditions and the lack of a prescribed metrical norm. "Skelton's poetry," he states, gives us neither the old made new nor the new made old. . . . This, perhaps, explains why Skelton seems neither to fit a pattern nor to establish one. The conditions which produce him, to which he responds, do not exist before or after him.^ Characteristic of Skelton as well as Dunbar, and perhaps indicative of a gradual moving away, during this metrically unstable era, from the Chaucerian norm of the line which actualizes only three stress maxima, is one stylistic hall mark noted.in the preceding chapter— that of the frequency of the line actualizing stress maxima on Positions 2, 4, 6, and 8. The four-stress-maximum line reached its high point in the early Renaissance, as Donald C. Freeman has shown, and from this apex its use again diminished as the line with only three stress maxima became more and more frequent dur ing the Elizabethan period (p. 470). The 2, 4, 6, 8-line, sixth-ranked for Chaucer and Lydgate, first-ranked for Dun bar, is second on the list of Skelton's most frequent pat terns : 167 STRESS MAXIMUM PATTERNS OCCURRING 10 TIMES IN SKELTON SAMPLE MORE THAN Pattern Rank Number of Occurrences in 500 Lines 2 4 8 1 36 2 4 6 8 2 27 4 3 26 6 4 24 8 5 23 4 8 6 22 2 6 8 (6) 22 4 6 8 21 2 4 (8) 21 2 6 10 20 6 8 11 19 2 4 6 12 15 4 6 8 13 13 2 8 14 11 168 A remarkable feature of Skelton's chart of stress maxi mum patterns is the frequency of lines which actualize only a single stress maximum. The patterns ranked third, fourth, and fifth actualize Positions 4, 6, and 8 respectively. This fact may be correlated with Skelton's graph of syntac tic breaks: PUNCTUATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE : 193 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL: 734 POS VALUE PERCENT 1 34 4.6307 XXXX 2 59 8.0381 XXXXXXXX 3 45 6.1308 XXXXXX 4 71 9.6594 XXXXXXXXX 5 93 15 .6703 XXXXXXXXXXXX 6 63 8.5831 xxxxxxxx 7 38 5.1773 xxxxx 8 27 3.6703 XXX 9 23 3.1323 XXX 10 193 26 .2942 xxxxxxxxxxxxxxxxxxxxxxxxxx 11 49 6 .6757 xxxxxx 12 18 2.4536 XX 13 12 1.6212 X 14 6 .8106 15 3 .4053 It will be noted that an unusually large number of Skelton's lines— almost 12 percent— contain a syntactic break after Position 2. Thus the high incidence of lines with a single stress maximum may be in part accounted for by the realiza- bion that three common patterns of actualization, all of 169 which appear elsewhere on Skelton's table of preferred pat terns'— Positions 2 and 4, Positions 2 and 6, and Positions 2 and 8— in some cases lost the stress maximum on the second position because of neutralizing punctuation and so became patterns with only a single stress maximum, even though Position 2 may contain in some cases a stressed syllable surrounded by syllables of lesser stress. In addition, though the line which actualizes a stress maximum only on Position 2 might initially be expected to appear on the table of most frequent patterns along with the other single- stress-maximum lines, the heavy punctuation after the second position explains in part the absence of this pattern on Skelton's list. Of the five tables of stress maximum patterns discussed so far, Skelton's is the only one which does not include one or more patterns with stress maximum of Position 10. Though the computer programs used in this study take into account the possibility of a stress maximum on the tenth position, the Halle-Keyser theory, and several of the studies based on it, do not. The frequent occurrence of this stress maximum lends support to William K. Wimsatt's accusation that the Halle-Keyser theory does not deal adequately with the pos- g sibility of tenth-position stress . He feels that both the 170 theory and the subsequent discussion glibly ignore the tenth position, and that it is "curious reasoning indeed" when Halle and Keyser state that the occurrence of a stress maximum in the tenth position will depend on whether there is an extra-metrical syl lable added since Chaucer normally places a stress bear ing syllable in the tenth position. This is related to Chaucer's rhyming practice which requires that only syllables bearing some degree of stress may rhyme . As a consequence the stress maximum in the tenth position is without interest, and we shall ignore it in all subsequent scansions. ("Chaucer and the Study of Prosody," p. 198) In choosing to ignore the occurrence of stress maximum on Position 10, Halle and Keyser rule out of their consid eration a phenomenon which may potentially be of great sty listic interest. Although a stressed syllable by definition cannot be a stress maximum if it is followed by silence, it is obvious that if the first (X) of the Halle-Keyser ab stract pattern is filled— that is, if the line has a weak anding— then the syllable in Position 10 can and very likely does meet all requirements for a stress maximum. The occur rence of stress maximum on Position 10, though slightly jreater in the Hoccleve sample than in the Chaucer sample, appears to represent a decreasing trend and may therefore be of prosodic significance— a stylistic "prime," though not a 7 metrical one. The percentages of tenth-position stress 171 maximum are as follows: PERCENTAGE OF LINES WITH STRESS MAXIMUM IN POSITION 10 Chaucer 27% Hoccleve 28% Lydgate 21% Dunbar 19% Skelton 17% Skelton's table of stress maximum density shows that in no position does he reach the 50 percent average which Joseph C . Beaver found to be characteristic of iambic pen tameter . perhaps more important is the fact that the out lines of the pattern contrast sharply with Chaucer's: Position 4 contains Chaucer's lowest percentage of stress maximum actualization and Skelton's highest, whereas in Position 6, the position of Skelton's lowest density, Chau cer reaches a high 56 percent. The table of stress maxima as a percentage of stressed syllables is fairly close to Chaucer's percentages, indicating that the lower stress maximum density is due to a lower number of stressed syl lables in Skelton's S-positions. The widest divergence, occurring in Position 2, again reflects Skelton's strong tendency to include a syntactic break following Position 2. 172 STRESS MAXIMUM DENSITY (STRESS MAXIMA AS A PERCENTAGE OF TOTAL POSITIONS) Pos 2 4 6 8 Chaucer 56% 50% 56% 53% Skelton 47% 49% 41% 46% STRESS MAXIMA AS A PERCENTAGE OF STRESSED SYLLABLES Pos 2 4 6 8 Chaucer 90% 75% 86% 94% Skelton 83% 74% 82% 94% Skelton's lower stress maximum percentages in both the above tables appear to be attributable more to surrounding W-position stress than to any general use of neutralizing punctuation. In fact, in three positions out of four, Skelton surrounds his W-positions with fewer syntactic breaks than does Chaucer. The two tables are as follows: NEUTRALIZATION POTENTIAL (ADJACENT STRESS) Pos 2 4 6 8 Chaucer 12% 9% 9% 10% Skelton 23% 23% 23% 20% 173 NEUTRALIZATION POTENTIAL (ADJACENT SYNTACTIC BREAK) Chaucer Skelton Pos 2 10% 19% 4 32% 23% 6 41% 31% 8 15% 13% Only 63 lines from the entire Skelton sample required no elision at all, and the average overall complexity was 3.0, higher than that of any of the other four poets except Lydgate. In discussing the lines which the SKAN program listed as unmetrical, it is convenient to discuss separately the lines from Bowqe of Court and those from Garlande of Laurell. The results from the two poems differed suffi ciently to indicate a probable change in Skelton's metrical intentions. Thirty lines from the 200-line Bowqe of Court sample were listed as unmetrical. Seven of these lines may be dispensed with as owing their presence on the list to prob lems in the encoding process, two were 10-syllable catalec- tic lines, and four represented the problem of the false weak ending discussed in detail in Chapter III. Four more lines may be read as metrical if a morphological ending is assigned with its stem to the preceding position. All such endings in this particular sample were -eth verb morphemes (BC 11, 12, 115, 117) .8________ __________________ 174 Of the remaining 13 lines, two appear to be Lydgatean or broken-back lines, lacking the extra syllable at the caesura: The sayle is up, Fortune ruleth our helme (BC 127) Fortune to you gyftes of grace hath lente (BC 152) Seven lines are of Schick's B-type, with an extra syllable at the caesura; for example, Marchauntes her horded to see what she had lode (BC 40) Of golde of tessew the fynest that myghte be (BC 59) Though Condition 2 could of course account for these two lines, three of the seven B-type lines would require Condi tion 2 to operate rather awkwardly over a strong syntactic break, for example: As of your connynge, that is so excellent (BC 149) One of the remaining four lines from the Bowqe of Court sample indicates that Dudley Hascall's suggestion regarding Lydgate's rhyming practice may occasionally apply to Skelton as well. The line The seconde was Suspecte, which that dayly _____________________________________(BC 136)__________ 175 may be read as metrical only if the pronunciation dayly is assumed. Since the rhyming pair in this instance is flatery : dayly, the rhyme seems to come on the last syl lable. It is possible that, in violation of linguistic givens and in accordance with Hascall's Rhyming Rule, the second syllable of dayly should be read as bearing stress 9 because it carries the rhyme. The three lines remaining would undoubtedly come under Swallow's heading of "four-beat doggerel." They are Yet have I knowen suche er this (BC 25) In a trone which fer clerer dyde shyne (BC 60) What though our charrer be never so dere (BC 89) These lines appear at random in Bowqe of Court just as Hoc- cleve's four-stress lines did in his sample. There is left over, however, no list of amorphous unmetrical lines as was the case with Hoccleve. The list of unmetrical lines from Garlande of Laurell raises several interesting questions. Sixty-seven lines are listed; the 12 lines with false weak endings, the 12 lines on the list because of problems in the encoding, and the two 10-syllable catalectic lines reduce this number to 41. 176 Though there are a few examples of B-type lines, C-type lines, E-type lines, and lines which are metrical if ad justed according to Condition 2, almost all of the remaining lines seem unquestionably to be four-stress lines in triple meter. An examination of these lines in the context of their original stanzas suggests two differences between Skelton's use of a four-stress meter in Garlande of Laurell and any other occurrence of this meter examined so far, including that in Bowqe of Court. First of all, the lines tend to appear in groups rather than singly. Though fewer than 40 such lines are listed by the computer as outside the iambic pentameter norm, the count, when the groups of lines are noted in context, is actually higher, since many of the lines most effectively read as four-stress can of course be squeezed into an iambic pentameter pattern. For example, the couplet The huge myghty okes them selfe dyd auaunce, And lepe frome the hylles to lerne for to daunce (GL 279-280) was accepted as metrical by the computer in the form The huge myghty”okes them selfS dyd auaunce, And lepe frome th^hylles to lernS for to daunce. 177 In all, I count 68 four-stress lines among the first 300 of Garlande of Laurell. They are lines 34-35, 76-77, 83-84, 102-105, 132-154, 159-161, 174-175, 188-203, 249-259, 265- 266, 279-280, 286-287. The placing of these lines in groups of at least two argues, of course, against their accidental or careless use. In eight of the stanzas, a four-stress couplet finishes off an otherwise iambic pentameter stanza, for example Whos heuenly armony was so passynge sure, So truely proporsionyd, and so well did gree, So duly entunyd with euery mesure, That in the forest was none so great a tre But that he daunced for ioye of that gle; The huge myghty okes them selfe dyd auaunce, And lepe frome the hylles to lerne for to daunce. (GL 274-280) Adding to the evidence of Skelton's distinctly pur poseful interposition of four-stress line groups is the frequent difference in the subject matter of the iambic pentameter and four-stress lines. Both Robert L. Ramsay and W. H. Auden‘ S have referred to Skelton's skillful and sensi tive altering of meter for dramatic effect and character delineation in Magnyfycence, and in much the same way the varying meter seems to serve a particular artistic purpose in Garlande of Laurell. The opening stanzas are character istic in their content of the medieval dream allegory, with 178 the familiar astronomical references and the description of the poet's pensive and disturbed state as he drifts into sleep. In these highly traditional verses Skelton writes iambic pentameter lines almost entirely within the prescrip tions of the Halle-Keyser system. In later stanzas, how ever, especially when he speaks of crowding, rushing, and great movement and confusion, Skelton writes lines in the more informal lyric meter. These are lines of great activ ity, sometimes naming items in a series, sometimes speaking of music and dancing: The gander, the gose, and the hudge oliphaunt, Went with the pecok ageyne the fesauntj The lesarde came lepyng, and sayd that he must, With helpe of the ram, ley all in the dust. (GL 102-105) Some lidderons, some losels, some noughty packis$ Some facers, some bracers, some make great crackis; (GL 188-189) Some tremblid, some girnid, some gaspid, some gasid, As people halfe peuysshe, or men that were masyd. (GL 265-266)11 There are several considerations which could help to explain the abundance of four-stress lines in Garlande of Laurell as contrasted with their relatively infrequent ap pearance in the Bowqe of Court sample. Garlande of Laurell ivas written some 24 years after Bowqe of Court, though the 179 data are of course much too limited to show a definite move ment in Skelton's prosody toward the alternating use rather than the hybridization of the two systems . There is con siderable difference, also, in the tone and purpose of the two poems. Garlande of Laurell is lighter and more infor mal— Robert Graves has gone so far as to describe it as a joke or comic fantasy— and H. S. Bennett notes that "perhaps . . . Skelton realizes the unsuitable nature of the [rhyme royal] stanza for his Garland, and in places bursts out into a tripping, singing measure that offers the reader much 12 needed relief." The more metrical and exact stanzas of Bowqe of Court, on the other hand, may be more suitable to its serious and didactic purposes. In addition, Garlande of Laurell is more than twice as long as Bowqe of Court, and it is possible that Skelton sought to add variety through a combining of meters, on a smaller scale than Garlande of Laurell's famous short and separately titled lyrics to the seven women but serving to break the stanzaic monotony in the same way (GL 906-1085). It is rather pointless, then, to speak of the Halle- Keyser theory as accommodating a certain percentage of the Skelton sample. The percentage of accommodation depends on the poem and even the section of the poem under 180 investigation. Obviously, if the sample included more lines from Bowqe of Court and fewer lines from Garlande of Lau rell , the percentage of iambic pentameter lines would in crease correspondingly. Over 96 percent of the lines in the Bowqe of Court sample, in fact, fall within the description outlined by the original Halle-Keyser theory with the in clusion of Condition 2, a high percentage in comparison with the Hoccleve and Lydgate samples. The occurrence of all five of Schick's Lydgatean line types in the Skelton sample indicates that in the writing of an iambic pentameter line Skelton had in mind a somewhat expanded version of the Halle-Keyser strictures, with the modifications virtually identical to those described at the conclusion of Chapter V. The analysis of the unmetrical list from the Skelton sample shows, instead of the puzzling and apparently hap hazard mixture of iambic pentameter, four-stress, and amor phous lines represented by the Hoccleve sample, a deliberate and artistically conscious metrical variation. The rela tionship of these variations to the short Skeltonic line and to the possible metrical influence of Lydgate is a promising area for further study. The frequent alternation of metri cal patterns is the product of a metrically unsettled age and is necessarily foreign to modern tastes . But regardless 181 of the preference of our century, the evidence shows that Skelton undoubtedly intended Garlande of Laurell, at least, to be read as dual-system verse in which he changed line forms according to the indications of subject matter and the need for variety. NOTES ~ ^ MP, 48 (August 1950), 1-11. ^John Skelton (New York: Twayne, 1967), pp. 214-215. 3 The Rhythm of Beowulf (New Haven: Yale Univ. Press, 1942) . 4 Nan Carpenter's reference to quarter and eighth-notes indicates that she conceives of a duple meter within the isochronous lines rather than a triple meter. Robert L. Ramsay in his introduction to the EETS Maqnyfycence (London, 1908), p. li) speaks of the "anapestic or dactylic charac ter" of such lines in Skelton, thus agreeing with my intui tions . The question is not an important one except that if the iambic pentameter form is thought of as a duple rhythm, a triple-meter four-beat line would serve as even more of a contrast. Since musical notation provides a means of showing various divisions of time over the framework of an unvarying pulse, many prosodists have had recourse to musical notation to illustrate rhythmic systems. I feel strongly, however, that musical notation as it is employed in this chapter— as a convenient means of expressing the way in which varying numbers of light syllables may be fit between isochronous strong beats— is the only justifiable use of musical nota tion in a discussion of English prosody. It is useful, for example, in showing the isochronous rhythms of I J. | J.\J J J | J . See, saw, mar-ge-ry daw or the William Allingham poem to which C. S. Lewis refers in "The Fifteenth-Century Heroic Line," 182 183 f J J J J| J J —- Up the ai- ry moun-tain j j j j ij * Down the rush- y glen. And the work of Pope makes good use of musical notation for the simple reason that Pope is expressing, through musical conventions, variations on a system that he believes is truly isochronous, based upon the virtually metronomic strumming of a harp. It is difficult, on the other hand, to understand what is gained by musical notation as used by Southworth (The Prosody of Chaucer and His Followers, p. xi) : J I J J 'J M J J IJ J I J1 . J\. ffor sor-ow he wolde have sene his hert blode J I J. I Ji I «M J J* IJ J l J . with hert sore and ful of be-sy peyne. Musical notation is isochronous; most English verse is not. Southworth does not claim that Chaucer wrote perfectly iso chronous verse, and the bar lines— if they are bar lines — in the second example do not divide equivalent segments of time according to the note values. If, as I suspect, the notes are meant to represent Southworth's performance of the lines (there are numerical pitch indications as well), the use of notation in no way helps to show how these readings are, as Southworth claims, "satisfactory." The use of nota tion with no time signature assumed is not an organization of the rhythm at all. Furthermore, any group of words in prose or verse may be fit somehow to any time signature; the mere assigning of words to note values is not a proof of any system or underlying rhythmic framework. Notation provides a means of explanation, but not a means of argument. See further Calvin S . Brown, "Can Musical Notation Help English Scansion?" Journal of Aesthetics and Art Criticism, 2 3 (1965), 329-334. 5 John Skelton's Poetry (New Haven: Yale Univ. Press, 1965), p. 249. g "The Rule and the Norm: Halle and Keyser on Chaucer's Meter," CIS, 31 (May 1970), 774-788. 184 7 The differing actualizations of the tenth position and its environment seem to offer several possible directions for further investigation: the frequency and effect of end- stopped lines, enjambment, correspondence of weak endings and ensuing catalectic onsets, possible elisions between lines, the effects of secondary stress in Position 10, and the effect of rhyme requirements on diction. In addition, Jiri Levy in an essay entitled "Mathematical Aspects of the Theory of Verse" (Statistics and Style, ed. Lubomir Dolezel [New York: American Elsevier Publishing Co., 1969]) has shown that if a new word begins in Position 9, only 74 per cent of the English vocabulary is at the poet's disposal to fill this position; if a new word begins in Position 10, the poet has only 69 percent of his vocabulary to choose from. 0 Abbreviations are GL. Garlande of Laurell; BC. Bowqe of Court. g See also Phyllyp Sparowe, 11. 246-247: "sermony : cry"; 11. 272-273: "hardely : crye." "^Robert Lee Ramsay, ed., Magnyfycence, EETS LXLVIII (London: K. Paul, Trench, Trhbner and Co., 1908), 6; W. H. Auden, "John Skelton," The Great Tudors, ed. Katharine Gar vin (New York: E. P. Dutton and Co., 1935), p. 61. Auden states that "Skelton's use of Rhyme Royal is in some ways the best proof of his originality. . . . Few stanzas of Skelton's can be confused with those of anyone else. . . . In Chaucer the prevailing number of accents per line is five; in Skelton it is four." ■^Though it would be unwise to make too much out of what is probably just a pleonasm, it is interesting, with respect to Skelton's apparently dual meter, to speculate upon what his distinction between "meter" and "verse" might have been in the line There was counteryng of carollis in meter and verse (GL 705) The line is inescapably reminiscent of Chaucer's In ryme, or elles in cadence (HF^623) cited by Southworth in his Verses of Cadence. ^Robert Graves, The Crowning Privilege (London: Cas sell, 1955), p. 101; Bennett, Chaucer and the Fifteenth Century. p. 142 . _____________________________________ CHAPTER VIII SUMMARY AND CONCLUSIONS Thomas Hoccleve, John Lydgate, William Dunbar, and John Skelton all professed their admiration for Chaucer after his death, and all were familiar with a significant portion of his works. ^ The intent of this study is to assess the pos sible metrical relationship between Chaucer and these four later poets by providing a comparative description, in con crete terms, of the way in which each of these authors tended to actualize the decasyllabic line in his poetry. For this purpose, verse samples were selected from the deca syllabic writings of Chaucer, Hoccleve, Lydgate, Dunbar, anc Skelton. A series of computer programs based on the theory of iambic pentameter proposed by Morris Halle and Samuel Jay Keyser then listed the lines from each sample which could not be reconciled as metrical according to the Halle-Keyser theory. The programs also compiled numerical data to indi cate the frequency of certain metrical and stylistic 185 186 features, including stress, stress maxima, alliteration, and syntactic breaks . In establishing the nature of the norm represented by Chaucer, the data gathered by the computer gave a certain amount of statistical reality to the Halle-Keyser theory, showing, for example, the frequency of stress maximum inci dence for each position in the line. Since the theory was shown to be 99 percent inclusive in accounting for Chaucer's variations on the iambic pentameter pattern, the investiga tion of the Chaucer sample with relation to the Halle-Keyser theory also served basically as a vindication of that theory The Halle-Keyser system can thus be accepted as a descrip tion of Chaucer's fundamental decasyllabic pattern and the range of his variations upon it. Although none of the other samples fit the Halle-Keyser description to the extent of 99 percent, the theory served as a useful point of departure in characterizing the post- Chaucerian verse, since the theory, or an expanded version of it, encompassed at least 90 percent of the verse samples of each of the later poets . This fact alone suggests a more extensive metrical relationship between Chaucer and the later poets than some critics had previously supposed, and also tends to weaken the claims of scholars who maintain 187 that Chaucer, Hoccleve, and Lydgate wrote with no such pat tern in mind as iambic pentameter. Furthermore, the Halle- Keyser definition of a regular or metrical line, encompas sing as it does the concept of the stress maximum, allows more latitude in the placement of stressed syllables and in this way admits as metrical a greater number of lines than did most of the previous lists of allowable deviations. Thus the Halle-Keyser theory exposes certain metrical rela tionships, for example in the patterns of stress maxima, which until now had been obscured by lists of random and apparently unrelated deviations and liberties. This study has suggested some important modifications of the Halle-Keyser theory itself. As shown in Chapter III, the present order of investigative steps will produce con siderable confusion if the line in question is a potentially 11-syllable line without a stress in Position 10, or a 10- syllable catalectic line with a weak ending. We have also seen the rather obvious need, in the samples from each of the five poets, for a redefinition of "position" in somewhat different terms, to include genitive, plural, and verb morphemes, when necessary, within the same position as a stem syllable, in addition, all five samples appeared to demand the inclusion in the theory of Halle and Keyser's 188 original Condition 2, in some form, in order to account for words of minor lexical categories which are not intended to occupy a full position. All four of the post-Chaucerian samples demonstrate the potential usefulness of the Rhyming Rule proposed by Dudley Hascall, which considers that all rhyming syllables, what ever their linguistic status, should be read as stressed. The Hoccleve sample shows, in addition, a number of lines apparently written in four-stress rather than iambic penta meter meter, but an additional group of amorphous lines undercuts the suggestions of those who have seen Hoccleve as working clearly within a dual metrical system. Lydgate's personal conception of the iambic pentameter form is some what easier to discern since his deviant lines manifest within themselves more consistency than those of Hoccleve. Lydgate seems to have carried to greater lengths two liber ties which he found in Chaucer's variation on the basic iambic pentameter pattern: the filling of a position by zero phonetic material, and the filling of a single position by more than one syllable . Among the four post-Chaucerian poets, Dunbar stands out as the author whose verse management most closely parallels that of Chaucer. The Halle-Keyser theory in its original 189 form accounts for 98 percent of the Dunbar sample . The most notable stylistic difference between the two poets is Dun bar's more frequent alliteration. Although the expanded version of the Halle-Keyser theory which serves for Lydgate appears to account for a handful of lines in both the Dunbar and Skelton samples as well, neither of the later poets used B-type, C-type, and E-type lines as frequently as did Lyd gate. When it suits his purposes, Skelton abandons the iambic pentameter form altogether and includes within his rhyme royal stanzas lines which are distinctly four-stress. We have seen that certain similarities link Hoccleve and Lydgate on the one hand and Dunbar and Skelton on the other. After making all possible allowances for lines which may have been written according to a more liberal notion of Chaucer's pattern, for what appeared to be four-stress lines in the Hoccleve sample, and for the Schick line types in the Lydgate sample, there remain from both these selections a puzzling group of lines, sometimes deficient in the number of syllables, which seem to bear no relationship to any metrical pattern. The Dunbar and Skelton samples, however, have no significant number of such lines . The verse of Dunbar and Skelton shows, furthermore, a higher degree of alliteration than that of Hoccleve and Lydgate, and a marked 190 preference for the line which actualizes stress maxima in all of the first four S-positions. If Dunbar and Skelton wished to look to Chaucer as a metrical model, the addi tional decades separating them from Chaucer's language habits do not seem to have made them any less able than Hoccleve and Lydgate to apprehend his metrical patterns. Throughout the study, line charts of the sort suggested by Joseph C. Beaver have been useful in comparing the stress maximum density of the various authors. When these graphs and their corresponding stress maximum percentages are 53% 49% 47% 54% 46% 59% _ _ .2 53% ?irst of all, the balanced spacing of higher-than-average viewed as a group, several points deserve mention. Chaucer Hoccleve Lydgate Dunbar Skelton Shakespeare Donne 2 4 6 8 2 4 6 8 H 6 8 2 4 6 8 2 4 6 8 2 4 6 8 2 4 6 8 56% 50% 56% 48% 42% 49% 54% 57% 42% 57% 55% 61% 47% 49% 41% 37% 54% 46% 46% 36% 33% (over 50 percent) points of density characterizes Chaucer, Dunbar, and Shakespeare . we have seen that of the five authors discussed in this study, Chaucer and Dunbar repre sent the greatest conformity to the Halle-Keyser system and also have the highest overall stress maximum density. Al though Hoccleve and Skelton each have three points of greater density rather than two, all densities are under the 50 percent average which Beaver found to be typical of iam bic pentameter. The line of Lydgate can be seen from these data to exhibit a significant falling off in stability in the second half. In company with the names of Chaucer and Gower, Lyd gate 's name was frequently mentioned by later poets. Dunbar praises him in The Goldyn Targe (11. 262-270), and in Phyl- lyp Sparowe (11. 804-812) Skelton claims that even though some would hold that Lydgate wrote "to haute," there is still "no man that can amend" his verse, it is appropriate, then, to consider briefly the evidence of this study with regard to another possible line of metrical descent: the influence of Lydgate, rather than the direct influence of Chaucer, on Dunbar and Skelton. In the words of Derek Pearsall, Lydgate's influence in the fifteenth century "is considerably greater than that of Chaucer, and the century's 192 understanding of Chaucer was largely filtered through Lyd- 3 gate's understanding of him." P. H. Nichols has shown in two articles (see note 1) that Dunbar's vocabulary and choice of genre were influenced more by Lydgate than by Chaucer. Parallel phrases in the works of Dunbar and Lydgate indicate, in fact, that Dunbar often kept a Lydgate poem close at hand as he composed. The analysis of Dunbar's verse in Chapter VI, however, has shown Dunbar's highly Chaucerian verse form, and, by impli cation, his minimal response to Lydgate as a metrical model. Fully 98 percent of the Dunbar sample fell within Halle and Keyser's description of Chaucer's versification, and several lines among the remaining 2 percent, the non-conforming lines, bore no relation at all to the expanded version of the Halle-Keyser theory which accommodated the metrical pattern of more than 1 percent of the lines in the Dunbar sample. Skelton's exceptional lines, on the other hand, show characteristics which may well have been derived from Lyd- jate. Dudley Hascall has pointed out the presence of four- ceat lines in Lydgate ("Prosody of John Lydgate," p. 139), and the four-beat line, as we have seen, plays an important role in Skelton's otherwise iambic pentameter verse. Other 193 Lydgatean line types, particularly the B-type, C-type, and E-type, form a significant portion of those lines from the Skelton sample which the computer could not admit as metri cal. In addition, the graphs for stress maximum density show that Skelton's strongest support, like Lydgate's, lies in the first two even-numbered positions, although the den sity of Skelton's Position 8 is almost as high as that of Pos ition 2. A study based on a small number of short samples cannot hope to approach any final conclusions. The results of this project are only a beginning and are useful in their implied suggestions for further investigation. Additional samples from these and other authors, from Gower to the Renaissance, could fill in the tentative outlines of sequences and trends. The use of the four-stress-maxima line, for exam ple, seems to show an upward curve, while the use of the tenth-position stress maximum appears to go down. This study has also been useful in showing which prosodic and stylistic elements— for example, stress maximum density and the frequency of specific stress maximum patterns— are likely to mark important differences, and which, like the percentage of syllables with primary stress, do not appear to be particularly significant. 194 Other potentially fruitful areas of study have been cited throughout the project. New considerations for Middle English metrical study may perhaps be suggested by an in vestigation of the kinds of syllables occupying S-positions which are not filled by stressed syllables. Perhaps further investigation of manuscripts or language may provide clues to help to account for the apparently ametrical group of lines from the Hoccleve and Lydgate samples. And the tenth position of the iambic pentameter line has seemed throughout the study to elicit very different handling, in several ways, on the part of the various authors. Many such ques tions must be answered before a complete description of Middle English metrics can be obtained to serve as a spring board for the investigation of specific historical and per sonal metrical influences and of shifting literary tastes. The value of this particular study, however, can be seen in several areas of contribution: the problem of the operation of these extremely useful computer scanning programs on Middle English data have now been worked throughj the re sults of the programs have indicated at least three areas of the Halle-Keyser study which demand reconsiderationj and most important, this project, especially through the in vestigation of patterns of stress and stress maximum, of 195 stress maximum density and stress maximum neutralization, has pointed up areas of metrical and stylistic contrast which had not been dealt with in detail in any previous study. NOTES ^Though the acknowledgment of Chaucer as a model or "master, " usually in company with Gower and Lydgate, was a topos which in itself did not necessarily indicate a famili arity with Chaucer's works, the verse of the later poets gives evidence, in addition to the mere mention of Chaucer’s name, which indicates a knowledge of at least part of the Chaucer canon. Jerome Mitchell (pp. 118-122), though cau tioning against seeing Hoccleve as "a mere imitator of Chaucer," points out allusions in Hoccleve's verse to Legend of Good Women and The Wife of Bath's Tale and also discusses Chaucer's probable influence on Hoccleve's choice of stan- zaic forms. In his article "The English Chaucerians" (pp. 202-222), Derek Pearsall discusses at length Lydgate's debt to The House of Fame. The Book of the Duchess, The Parlia ment of Fowls. Troilus, and portions of The Canterbury Tales . Pierrepont H. Nichols, in "William Dunbar as a Scot tish Lydgatean," PMIA, 46 (1931), 214-224, and "Lydgate's Influence on the Aureate Terms of the Scottish Chaucerians," PMIA, 47 (1932), 516-522, has shown Dunbar's debt to Chau cer's vocabulary, and Denton Fox, in "The Scottish Chau cerians" (pp. 184-186), further discusses Chaucer's evident influence on Dunbar . The fact that Skelton individualizes Chaucer and distinguishes his literary contributions from those of Gower and Lydgate in Phyllyp Sparowe (11. 788-803) takes this reference beyond mere convention and argues for a certain degree of familiarity with the poets in question. Several of the Canterbury Tales, in addition, are named in Phyllyp Sparowe. Stanley Fish discusses Skelton's debt in Garlande of Laurell to House of Fame (pp. 50-55) j see also Ian Gordon, John. Skelton: Poet Laureate (New York: Octagon Books, 1970), pp. 50-61, and Maurice Pollet, John Skelton: Poet of Tudor England (Lewisburgh, Pa.: Bucknell Univ. Press, 1971), pp. 32, 107, 179. 196 198 NOTE Each Appendix includes the computer printout from one poem within the sample, and from the author's total sample, 199 APPENDIX A COMPUTER PRINTOUTS FOR CHAUCER SAMP IE 200 C H A U C E R S A M P L E 5 NUMBER OF SYLLABLES . . . . • . • • •• •« •• •• • • 1036 N U M B E R O F S T R E S S M A X I M A . < > . « « . . « « . . « • « . . 2 6 3 P E R C E N T A G E O F S T R E S S M A X I M A ........................................... • • • • 2 5 N U M B E R O F L I N E S 1 0 0 D E R C E N T A G E O F . S T R E S S M A X I M A L I N E S • 1 0 0 N U M B E R O F L I N E S W I T H O U T S T R E S S M A X I M U M . . « . « • • « . 0 N U M B E R O F I A M B I C L I N E S , e . a . P E R C E N T A G E O F I A M B I C L I N E S . . . • • • • • • • • • • • • *** N U M B E R O F T R O C H A I C L I N E S . • • « « • « * « . * « . . « « 0 P E R C E N T A G E O F T R O C H A I C L I N E S . 0 N U M B E R O F I R R E G U L A R L I N E S . . . . . . • • • • • • • • • 0 P E R C E N T A G E O F I R R E G U L A R L I N E S • • • « . . . . . . . . . 0 N U M B E R O F A M B I G U O U S L I N E S 0 P E R C E N T A G E O F A M B I G U O U S L I N E S • • • • • « . . • . . . « . 0 N U M B E R O F A S S O N A T I N G S Y L L A B L E S . • • • • • . . . . . . . 6 8 1 P E R C E N T A G E O F A S S O N A T I N G S Y L L A B L E S . . . • • • • • • - . . 6 5 N U M B E R O F A S S O N A T I N G L I N E S . . o . » . . . . . . . o . . 9 7 P E R C E N T A G E O F A S S O N A T I N G L I N E S . • . • • • • • • . . » . 9 7 N U M B E R O F A S S O N A T I N G P A T T E R N S « . o - . . . . . . . . . . 1 9 3 N U M B E R O F A L L I T E R A T I N G S Y L L A B L E S . • • • • • . . « . « . 205 P E R C E N T A G E C F A L L I T E R A T I N G S Y L L A B L E S . • • • • « • • • • 1 9 N U M B E R O F A L L I T E R A T I N G L I N E S # • • • • • • • # • • • • • 7 0 P E R C E N T A G E O F A L L I T E R A T I N G L I N E S # • • • • • • • • • • • 7 0 N U M B E R O F A L L I T E R A T I N G P A T T E R N S « • • • • • # • • « • * 94- N U M B E R C F L I N E S W I T H C O I N C I D E N T A S S O N & A L L I T • • • • • 5 5 P E R C N T O F L I N E S W I T H C O I N C I D E N T A S S O N 6- A L L I T # • # « • 5 5 N U M B E R O F S Y L L A B L E S W I T H C O I N C I D E N T A S S O N & A L L I T # • • 1 0 6 P E R C N T O F S Y L L A B L E S W I T H C O I N C I D E N T A S S O N & A L L I T # • # 1 0 N U M B E R O F L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y # • . # • 7 P E R C N T O F L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y # • • • • . 7 AVERAGE COMPLEXITY# • « • • • « • # 2 N U M B E R O F A M E T R I C A L L I N E S • • * • • # • • • o o • » • • 6 PERCNT O F A M E T R I C A L L I N E S • • # ........................................ • » • • • • • 6 N U M B E R O F L I N E S T O B E E L I D E D # • • • • • # • • • • • • # 8 7 N U M B E R O F L I N E S S H O R T E R T H A N S P E C I F I E D L E N G T H • • • « • 7 A V E R A G E N U M B E R O F W O R D S P E R L I N E . # # • • • • • • # • « 7 7 5 0 N U M B E R O F P p S S l S L e A S S I G N M E N T S O F S Y L L A B L E S T O P O S I T I O N S 4 2 2 S Y L L A B L E A D J U S T M E N T R A T I O « # • # • • • • • • • # • # • 4 2 2 N U M B E R O F E L I D A E L E A D J U S T M E N T S # • • • • • • • • • • • • 4 0 9 N U M B E R O F C A T A C L E C T I C A D J U S T M E N T S a # # # # # # # # # # 7 N U M B E R O F O P T I O N A L E . # o # # # # > # # o # # # # . # # # 1 4 1 N U M B E R O F O P T I O N A L E A F T E R E L I S I O N # # # # o # # # # # # 6 2 P E R C E N T A G E O F O P T I O N A L E # # • # • « • • • • • • o # • • 43 2031 T H E P R I O R E S S ' S T A L E N U M B E R O F S E N T E N C E S N U M B E R O F W O R D S N U M B E R O F S Y L L A B L E S A V S E N T L E N G T H I N W O R D A V S E N T L E N G T H I N S Y AV W O R D L E N G T H I N S Y 2 3 7 9 2 1 1 8 5 3 4 , 4 3 4 ! 5 1 . 5 2 1 7 1 . 4 9 6 2 T H E P R I O R E S S ' S T A L E NUM O F 1 , 2 . 3 E T C . 5 Y L W O R D S 4 7 6 1 7 0 2 3 3 0 0 4 2 • C 0 I 0 0 0 T H E P R I O R E S S ' S T A L E NUM O F 1 . 2 . 3 E T C . W O R D S E N T E N C E S 0 ..............o o — ............. 0........ 0 0 2 2 0 0 0 1 G 0 0 0 2 0 0 0 0.....- - • -0 .. ------------- - 0 ------------------ 0... .....0 0 0 0 0 1 0 0 1 c 0 0 2 0 0 0 0 ....1 - - - . ----- .0 0 0 0 c I 0 0 0 c 0 n 0 0 0 o 0 0 0 ....0 1 ----- — .... o......— G 1 0 0 0 0 1 c 1 0 0 1 0 1 0 0 0 0 ... ... 0 ....... 0 0 1 0 I 0 0 0 0 0 0 0 0 1 0 0 0 THE PRIORESS'S TALE OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOCOOOOOOOOOOOOO'OOOOCOOOOOOOOOOO v ) ; UJOOOOOOOOOOOCOOOOCOOOO-OOOOCOOOOOOOCOOOOOOOOOOOOOOOOOCOOOCOOO u : i 1 ‘ ; ■ i , . I : i 1 ! I I . . . . . . . . . . . . . . . . . . . ' • ^ i i • : i • z i I ; I : . i i i uj ; i f ) >0 0 0 0 0 0 -<0 0 0 c 0 c' 0 0 «0 <"''-c0 0 -0 0 0 0 0 0 0 c>0 0 0 0 0 0 0 0 0 0 0 0 6 co0 0 0 c>0 0 0 0 0 0 0 0 c 1 / 5 , i | i • £ : ! a : : ■ r . • • n o o o o o o o o o o o o o o o o o o o o 6 o '‘h No o o o o o h o h (\|h o o o o o o o c i ,i o o o o o o o o o o o o n - o - i i ! ; ! i : ! i . i ; i : ; l i . i ^ O • ; I LINE STRESS CHAUCER SAMPLE 5 MAXIMUM VALUE: 85 SCALE 1M G R A P H I N P E R C E N T A G E O F POS VALUE PERCENT 1 6 1*6344 2 64 17#4336 3 1 0«2724 4 75 20# 4300 --5 ■ .....6 1*6344 6 75 20*4300 7 1 0.2724 8 45 12* 2580 ..9 ..- 6 1*6344 10 85 23*1540 1 1 3 0* 8172 12 0 0* 0000 TOTAL TOTAL 3 6 7 X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X xxxxxxxxxxxx X ................................................ X X X X X X X X X X X X X X X X X X X X X X X STRESS MAXIMUM CHAUC.ER SAMPLE 5 MAXIMUM VALUE! 65 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 263 POS VALUE PERCENT 1 0 0*0000 2 62 23*5724 3 1 0*3802 4 54 20* 530 8 5 2 0*7604 6 65 24*7130 7 1 0* 3802 8 45 17*1090 9 4 1*5208 10 27 10*2654 1 1 2 0* 7604 12 0 0* 0000 X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X xxxxxxxxxxxxxxxxxxxxxxxx X X X X X X X X X X X X X X X X X X _ X X X X X X X X X X 20$ A S S O N A N C E C H A U C E R S A M P L E 5 M A X IM U M V A L U E : 5 3 S C A L E 1 : 1 G R A P H I N P E R C E N T A G E O F T O T A L T O T A L P O S V A L U E P E R C E N T - ......1 4 9 1 0 * 3 3 4 1 X X X X X X X X X X 2 5 1 1 0 . 7 5 5 9 X X XX X XX XX X* 3 4 3 9 , 0 6 8 7 X X X X X X X X X 4 4 8 1 0 * 1 2 3 2 X X X X X X X X X X 5 4 1 8 * 6 4 6 9 xxxxxxxx 6 5 3 1 1 . 1 7 7 7 x.xxxxxxxxxx 7 4 1 0 * 6 4 6 9 xxxxxxxx 8 5 2 1 0 * 9 6 6 8 X X X X X X X X X X 9 4 5 9 * A 9 0 5 X X X X X X X X X 1 0 4 1 8 * 6 4 6 9 xxxxxxxx 1 1 1 0 2 * 1 0 9 0 XX 1 2 0 0 * 0 0 0 0 A L L I T E R A T I O N C H A U C E R S A M P L E 5 MA X IM U M V A L U E : 3 2 S C A L E 1 1 1 G R A P H I N P E R C E N T A G E O F T O T A L T O T A L P O S V A L U E P E R C E N T 1 1 7 8 c 2 9 2 6 X X X X X X X X 2 2 2 1 0 * 7 3 1 6 - X X X X X X X X X X 3 1 5 7 * 3 1 7 0 xxxxxxx 4 2 9 1 4 * 1 4 6 2 xxxxxxxxxxxxxx 5 1 7 8 . 2 9 2 6 xxxxxxxx 6 2 2 1 0 . 7 3 1 6 X X X X X X X X X X 7 1 5 7 . 3 1 7 0 X X X X X X X 8 3 2 1 5 . 6 0 9 6 xxxxxxxxxxxxxxx 9 2 1 1 0 . 2 4 3 0 X X X X X X X X X X 1 0 1 5 7 . 3 1 7 0 xxxxxxx 11 0 0 . 0 0 0 0 1 2 0 0 . 0 0 0 0 4 7 A 2 0 5 207 I | I COINCIDENCE OF ASSONANCE AND ; MAXIMUM VALUE: 19 SCALE | GRAPH IN PERCENTAGE OF TOTAL I POS VALUE PERCENT 1 4 3* 7732 2 13 12.262 9 ! 3 7 6.6031 4 16 15.0928 ! ----- 5 7 6.6031 6 11 10.3763 7 9 8.4897 8 19 17.9227 i 9 13 12.2629 i 10 7 6.6031 ; 11 0 0.0000 12 0 0.0000 PUNCTUATION CHAUCER SAMPLE 5 MAXIMUM VALUE: 51 SCALE i:i GRAPH IN PERCENTAGE OF TOTAL TOTAL. 174 POS VALUE PERCENT I 3 1.7241 X 2 3 1.7241 X 3 7 4.0229 XXXX 4 24 1 3.7928 XXXXXXXXXXXXX ... 5 29 16.6663 xxxxxxxxxxxxxxxx 6 15 0.6205 xxxxxxxx 7 7 4.0229 XXXX 8 3 1.7241 X " 9 3 1.7241 X 10 51 29.3097 XXXXXXXXXXXXXXXXXXXXXXxxxxxxx 1 1 27 15.5169 xxxxxxxxxxxxxxx 12 2 1.1494 X XXX XXXXXXXXXXXX xxxxxx xxxxxxxxxxxxxxx xxxxxx XXXXXXXXXX xxxxxxxx XXXXXXXXXXXXXXXXX XXXXXXXXXXXX xxxxxx ALLITERATION CHAUCER SAMPLE E l : l TOTAL 106 TOTALS FOR ENTIRE CHAUCER SAMPLE N U M B E R O F P O E M S . . . . . . o a o . • • » « • • • « . . 1 0 NUMBER OF SYLLABLES 10350 NUMBER O F STRESS MAXIMA 2 5 4 2 PERCENTAGE O F STRESS MAXIMA . . . . a o . . * . . . . . 2 4 N U M B E R O F L I N E S a 9 . . . « . • ? • • • • « « « . . . . 1 0 0 0 PERCENTAGE OF STRESS MAXIMA LINES • • • • • • « • • • • 100 N U M B E R O F L I N E S W I T H O U T S T R E S S M A X IM U M ® » • • • • • . . 0 NUMBER OF IAMBIC LINES. . . » • « • 932 PERCENTAGE OF IAMBIC LINES. • 93 NUMBER OF TROCHAIC LINES. .. .4.. • • • • . . . . . • 0 P E R C E N T A G E O F T R O C H A I C L I N E S . • . . . • • • • • • • « • 0 NUMBER OF IRREGULAR LINES . . . . . o . . . . . . . . . 0 PERCENTAGE OF IRREGULAR LINES •<•*•••». ..o«. - 0 NUMBER OF AMBIGUOUS LINES . . . . . a . « • • • •« .. 5 PERCENTAGE OF AMBIGUOUS LINES . • • • • • • . . « « • • 0 N U M B E R O F A S S O N A T I N G S Y L L A B L E S * . » » « . . • • • • • * « 6 7 5 3 PERCENTAGE OF ASSONATING SYLLABLES- • 65 N U M B E R O F A S S O N A T I N G L I N E S * • 9 7 8 PERCENTAGE OF ASSONATING LINES. • . ••• •• •• • •• 97 N U M B E R O F A S S O N A T I N G P A T T E R N S * . 2 0 0 2 NUMBER OF ALLITERATING SYLLABLES, a . . . . . . . . . . ' 1899 ............. ......... ..... - ---------... ---------— ------ --------- --------------- P E R C E N T A G E O F A L L I T E R A T I N G S Y L L A 3 L E S . o . • 1 8 6 6 0 6 6 N U M Q E P O F A L L I T E R A T I N G P A T T E R N S » . . • • • » 873 N U M B E R O F L I N E S W I T H C O I N C I D E N T A S S O N & A L L I T • 5 1 8 P E R C N T O F L I N E S W I T H C O I N C I D E N T A S S O N & A L L I T • • . . 5 1 N U M B E R O F S Y L L A B L E S W I T H C O I N C I D E N T A S S O N & A L L I T « . . 9 2 5 P E R C N T O F S Y L L A B L E S W I T H C O I N C I D E N T A S S O N & A L L I T . . « 8 N U M B E R O F L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y . • • . . 9 2 P E R C N T . O F L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y . 9 2 0 1 8 0 6 8 6 8 4 0 N U M B E R O F L I N E S S H O R T E R T H A N S P E C I F I E O L E N G T H • • . . « 7 0 1 0 9 9 N U M B E R O F P O S S I B L E A S S I G N M E N T S O F S Y L L A B L E S TO P O S I T I O N S 4 5 1 3 4 5 1 4 3 5 3 N U M B E R C F C A T A C L E C T I C A D J U S T M E N T S • * • • • 7 0 J 1 4 9 7 N U M B E R O F O P T I O N A L E A F T E R E L I S I O N . • • • . 6 4 3 P E R C E N T A G E O F O P T I O N A L E . . • • • • • • • • 64 209 TOTALS FOR ENTIRE CHAUCER SAMPLE — N U M B E R O F S E N T E N C E S — ' f 250 N U M B E R O R . W O R D S . ?7623 N U M B E R O F S Y L L A B L E S • 11383 I i . AV S E N T L E N G T H I N WOR D 30.49 AV S E N T L E N G T H I N S Y 45.53 AV WOR D L E N G T H I N S Y L.49 NUM OF 1, 2, 3t ETC. SYL WORDS 4739 166 0 0 2247 14 0 0 486 . 1 0 0 L I N E S T R E S S T O T A L S F O R E N T I R E C H A U C E R S A M P L E M A XI M UM V A L U E : 0 6 6 S C A L E 1 ! 1 G R A P H I N P E R C E N T A G E O F T O T A L T O T A L 3 6 5 2 P O S V A L U E P E R C E N T 1 7 7 2 * 1 0 2 1 2 6 1 8 1 6 * 8 7 1 4 3 3 9 1 * 0 6 4 7 4 6 6 6 1 8 * 1 8 1 8 5 . 4 6 1* 2 5 5 8 6 6 6 1 1 8 * 0 4 5 3 7 4 5 1 * 2 2 8 5 8 5 6 8 1 5 * 5 0 6 4 .............9 5 2 1 * 4 1 9 6 1 0 8 6 6 2 3 * 6 4 1 8 1 1 7 0 * 1 9 1 1 1 2 6 0 * 1 6 3 8 1 3 1 0 * 0 2 7 3 1 4 0 0 * 0 0 0 0 XX X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X S T R E S S M A X IM U M T O T A L S F O R E N T I R E C H A U C E R S A M P L E MAXIMUM V A L U E : 5 6 6 S C A L E i : i G R A P H I N P E R C E N T A G E O F T O T A L T O T A L 2 5 4 2 P O S V A L U E P E R C E N T 1 0 0 * 0 0 0 0 2 5 6 0 2 2 * 0 0 8 0 3 2 0 0 * 7 8 6 0 4 5 0 2 1 9 * 7 2 8 6 5 1 6 0 * 6 2 8 8 6 5 6 6 2 2 * 2 4 3 8 7 2 6 1 * 0 2 1 8 8 5 3 6 2 1 * 0 6 4 8 9 3 6 1 * 4 1 4 8 1 0 2 7 0 1 0 * 6 1 1 0 1 1 4 0 . 1 5 7 2 1 2 5 0 * 1 9 6 5 1 3 1 0 . 0 3 9 3 1 4 0 0 * 0 0 0 0 X X X X X X X X X X X X X X X X X X X X X X XXXXXXXXXXXXxxxxxxx X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X / . X X X X X X X X X X X -------------------------------- 2 1 2 ASSONANCE TOTALS FOR ENTIRE CHAUCER SAMPLE MAXIMUM VALUE: 559 SCALE 1S1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 4854 P O S VALUE PERCENT 1 559 11.5154 X X X X X X X X X X X 2 503 10*3618 X X X X X X X X X X 3 418 8* 6108 xxxxxxxx 4 502 10*3412 X X X X X X X X X X ..5 438 9*0228 X X X X X X X X X 6 518 10*t 08 X X X X X X X X X X 7 395- 8*1370 xxxxxxxx 8 517 10*6502 X X X X X X X X X X 9 431 8* 8786 xxxxxxxx 1.0 465 • 9* 579.0 X X X X X X X X X 1 1 97 1 *9982 X 12 7 0*1442 13 3 0*0618 .............. - . . .... 14 1 0* 02 06 A L L I T E R A T I O N T O T A L S F O R E N T I R E C H A U C E R S A M P L E MAX IM UM V A L U E : 2 3 3 S C A L E 1 1 1 G R A P H I N P E R C E N T A G E O F T O T A L T O T A L 1 8 9 9 P O S VALUE P E R C E N T 1 216 11•3616 X X X X X X X X X X X 2 233 12.2558 xxxxxxxxxxxx 3 164 8*6264 xxxxxxxx 4 217 11*414? X X X X X X X X X X X 5 173 9* 0998 X X X X X X X X X 6 218 1 1 * 4668 X X X X X X X X X X X 7 156 8*2056 xxxxxxxx 8 219 1 1*5194 X X X X X X X X X X X 9 147 7* 7322 xxxxxxx 10 146 7*6796 xxxxxxx 1 1 7 0*3682 12 3 0*1578 13 0 0* 0000 14 0 0*0000 ------- 213 TOTALS FOP ENTIRE CHAUCER SAMPLE COINCIDENCE OF ASSONANCE AND ALLITERATION MAXIMUM VALUE: 120 SCALE 1S1 GRAPH I N PERCENTAGE OF TOTAL TOTAL 925 POS VALUE PERCENT 1 110 11*8910 X X X X X X X X X X X 2 116 12.5396 xxxxxxxxxxxx 3 67 7.2427 xxxxxxx 4 116 12.5396 xxxxxxxxxxxx ..- 5 79 8.5399 xxxxxxxx 6 120 12.9720 xxxxxxxxxxxx 7 60 6.4860 xxxxxx 8 120 12.9720 X X X X X X X X X X X X ------------g -...64 6. 9184 xxxxxx 10 69 7.4589 xxxxxxx 11 3 0.3243 12 1 0.1081 1 3 0 0.0000 .. .. ....- 1 4 0 0.0000 PUNCTUATION TOTALS FOPv ENTIRE CHAUCER SAMPLE MAXIMUM VALUE: 526 SCALE 1:1 GRAPHS IN PERCENTAGE OF TOTAL TOTAL 1792 POS VALUE PERCENT 1 38 2.1200 XX 2 65 3.6272 XXX 3 87 4.8549 XXXX 4 234 13.0580 xxxxxxxxxxxxx 5 265 14.7897 xxxxxxxxxxxxxx 6 141 7.8628 xxxxxxx 7 98 5.4687 xxxxx 8 50 2.7902 XX 9 25 1.3951 x . 10 526 29.3526 xxxxxxxxxxxxxxxxxxxxxxxxxxxxx 11 255 14.2299 xxxxxxxxxxxxxx 12 4 .2232 13 4 .2232 G E N E R A L P R O L O G U E WHAN T H A T A P R I L L W I T H H I S S H O U R E S S O O T E C HWAN ) A T I / + P R I L W I ( H I Z $ 0 * + R > S S O + T _ T H E D R O G H T E O F M A R C H H A T H P E R C E D T O T H E R O O T E . >> D R O + X T _ | V MA f R T $ H A ) P E + R S > D T O >> R O + T _ , AND B A T H E D E V E R Y V E Y N E I N S W I C H L I C O U R AND B | / + O D E + V _ R I V E * + N _ I N S W I T S L I K U / + R O F W H I C H V E R T U E N G E N D R E D I S T H E F L O U R J | V H W I T S V E R T I * + E N D O E + N D R > D I Z ) > F L U / f R J WHAN Z E P H I R U S E E K W I T H H I S S W E E T E B R E E T H HWAN Z E + F E R U / S E / K W I ( H I Z S W E / + T C B R E / + ) I N S P I R E D H A T H I N E V E R Y H O L T A N D H E E T H I N S P I / + R > D H A ) I N E ♦ V > R _ H O + L T AND H E / + ) T H E T E N D P E C R O P P E S . A N D T H E Y O N G E S O N N E ) > T E + N D R > K R | + P > S , A N D ) > J | G C S O + N C H A T H I N T H E RA M H I S H A L V E C O U R S Y R O N N E * H A ) I N ) > R A + M H I Z H | / + L V C K U / + R S I R | + N C . AND S M A L E F O W E L E S M A K E N M E L O D Y E , AND S M A 4 - L C F U / + L > S M | / K > N M E + L O D I / + C . T H A T S L E P E N A L T H E N Y G H T W I T H O P E N Y E ) A T S L E / + P > N AL ) > N I / + X T W I ( O + P E N J E / ( S O P R I K E T H HE M N A T U R E I N H I R C O R A G E S ) ; ‘ ( S O P R I H-K> ) HEM N A T I * + R C I N H I R K _ R | / + D Q _ S ; T H A N N E L O N G E N F O L K T O G O O N ON P I L G R I MAGE S « ) _ N C L O + < / G > N P O t L K T O G O + N [ N P I + L G R I M | / + D Q _ S . A N D P A L M E R E S F O R . T O S E K E N S T R A U N G E S T R O N O E S , ' AN D P A + L M E R Z F O R TO S E / + O N S T R A = +-NDQC S T R | . + N D > S T O F F R N E H A L W E S , K O W T H c I N S O N D R Y L O N D E S 5 TO F E + R N C H | / 4-L W> S « K U / + ) _ I N S O + N D R I L O + N D _ S i AND S P E C I A L L Y F R O M E V E R Y S H I R E S E N D E A N D S P E + $ J A L I F R O M E + V R I S I / + R > S E + N D _ O F E N G E L O N D T O C A U N T E R B U R Y T H E Y W E N D E . | V E t # G E L | N D T O K A = + N T E R 3 R I + ) E * W E + N D C , T H E H O O L Y B L I S F U L M A R T I R F O R T O S E K E , ) > HO + L I R L I + S F U L M A + R T I R F O R T O S E / + K C , T H A T HEM H A T H H O L P E N W HA N T H A T T H E Y W E R E S E E K E b ) A T HE M H A ) H O + L P > N H W AN ) A T ) E * W _ R C S E / + K _ * B I F I L T H A T I N T H A T S E S O N ON A D A Y * B I F I + L ) AT I N ) A T S E / + Z O N | N A D E * + - , - I N S O U T H W F R K A T T H E T A B A R D A S I L A Y I N S O + - M E R K A T ) > T A + E3A9D A Z 1 / L A * + R E D Y T O W E N D E N ON MY P I L G R Y M A G E R E + D I T O W E + N D > N I N M I P I + L G R I M | / + D Q C T O C A U N T E R B U R Y W I T H F U L D E V O U T C O R A G E » TO K A = + N T E R B R I + W I ( F U L D E V U / + T K O R | / + D Q C , AT N Y G H T WAS C O M E I N T O T H A T H O S T E L R Y E AT N I / + X T WAZ K O + M _ I N T O * ) A T | + S T E L R I / + _ - WEL N Y N E A N D T W E N T Y I N A C O M P A I G N Y E « WEL N I / + N _ A N D T W E + N T l I N A K O + M P A * N l / + _ • OF S O N D R Y F O L K , BY A V E N T U P E Y F A L L E | V SO H - N D R I F O + L K , B I A * V E N T U / + R _ I F ) / F L _ I N F E L A W E S H I P E , AND P I L G R I M E S W E R E T H E Y A L L E , I N F E + L A = U I + P _ , AND P I + - L G R I M Z W ER I E * | / + L _ * T H A T T O W A R D C A U N T E R B U R Y I W O L D E N R Y D E * ) AT T O * + ARD K A = + N T E R B U + R I W O + L D > N R I / + D C . T H E C H A M R R E S AN D T H E S T A B L E S W E R E N W Y D E , ) > T 4> | / + MBR > S AND ) > S T | / + e L > S WE + R > N W I / + D C , AND WEL WE W E R E N E S E D A T T E B E S T E . AND W EL W E / WE + R > N E /- * - Z > D A + T C B E + S T C . AND S H O R T L Y , WHAN T H E SONN E. W A S TO R E S T E , A ND S O + R T L I * HWAN ) > S O + NC WA Z T O R E + S T C . S O H A D D E I S P O K E N W I T H HEM EVERt CHON S O HA + D _ 1 / S P O + K > N W I ( HEM E + V _ R I T * 0 + N T H A T I WAS O F H I R F E L A W E S H I P E A N O N . ) A T 1 / WAZ | V H I R F E + L A = * I + P _ A N | + N » A N D MAD E F O R W A R D E R L Y F O R T O P Y S E . AND M | / + D C F O + R W A R D E + R L I F O R T O R I / + Z C , T O T A K E Ol /R E WEY T H E R A S I YOW D E V Y S E . T O T | / + K _ 0 * R _ W E * + ) E R AZ 1 / J O * D E V I / + Z • B U T N A T H E L E E S . W H I L I H A V E T Y M E A N D S P A C E * BU T N A + ( E L E / + S * H W _ / L 1 / H A V C T I / + M _ AN D S P | / + S E R T H A T I F E R T H E R I N T H I S T A L E P A C E . ER ) A T 1 / F E + R ( E R I N M S T | / + L C P j / + S C , ME T H Y N K E T H TT A C O R D A U N T T O R E S O U N 1 ME M + W K > ) I T A K O + R O A = N T T O R E / Z U / + N T O T F L L E YOW AL T H E C O N D I C I O U N TO T E + L C J O * AL ) > K O N D I + S I / U / N O F E C H O F H E M , S O A S I T S E M E D M E . | V E / T * | V H E M , S O AZ I T S E / + M > D M E , AND W H I C H E T H E Y W E R E N , AND O F W H A T D E G R E E . AND H W I + T $ _ ) E * W E + R > N . AND | V H W A T D E G R E / + , AND E E K I N WH AT A R R A Y T H A T T H E Y W E R E I N N E 5 AND E / K I N H W AT A R E * + » AT ) E * W E R _ I + N _ J AND A T A K N Y G H T T H A N WOL I F I R S T B I G Y N N E . AND AT A K N I / + X T ) AN WOL 1 / F H - R S T B I G I + N C . A K N Y G H T T H E P W A S . A N D T H A T A W O R T H Y M A N . A K N I / + X T ) E R W A Z , AN D I A T A W O + R ( I M A + N , T H A T F R O T H E T Y M E T H A T H E F I R S T B I G A N ) AT F R O ) > T I / + M C ) AT H E / F I + R S T B l GA + N T O R I D E N O U T , H E L O V E D C H I V A L R I E , T O R I / + D > N U / T , H E / L O + V > D T $ I + V A L R I / + C , T R O U T H E AND H O N O U R 1 , F R E D O M A N D C U R T E I S I E . T R U / + ) C AND O + N U / R , F R E / + D _ M AND K U + R T E + S I / + * F U L W O R T H Y WA S H E I N H I S L O R O E S W E R R E , F U L W O + R ( I WAZ H E / I N H I Z L O + R D > S W E + R C , AN D T H E R T O H A D D E H E R I D E N , N O MAN F E R R E , AND ) E + R T 0 H A + DC H _ / R I / + D > N , N _ M A + N F E + R C , A S WEL I N C R I S T E N D O M A S I N H E T H E N E S S E , AZ WEL I N K R I + S T E N O _ M AZ I N H E / + ( > N E + S _ . AND E V E R F H O N O U R E D F O R H I S W O R T H Y N E S S E * AND E + V _ R C O + N U / R D F O R H I Z W O + R ( I N E + S _ 0 AT A L I S A U N D R E HE WAS WHAN I T WAS W O N N E * AT A + L I S A = + N D R _ H E / WAZ HW AN I T WAZ W | + N , F U L O F T E T Y M F HE H A D D E T H E S O R D B I G O N N E F U L l + F T C T I / + M _ H E / H A + D _ ) > B O + R D B I G O + N _ A B O V E N A L L E N A C I O N S I N P R U C E J A B O + V > N | / + L C NA + S I / l N Z I N P R U / + S C ? I N L E T T O W H A D D E HE R E Y S F D A N D I N R U C E , . I N L E + T O * HA + D _ H E / R E * + Z > D A N D I N R U / + S _ , NO C R I S T E N MAN S O O F T E O F H I S D E G R E E * NO K R I + S T > N MA + N SO | + F T _ | V H I Z D E G R E / + * - I N G E P N A D E A T T H E S E E G E E E K H A D D E H E B E I N G E + R N A D AT ) > S E / + D Q _ E / K H A + D C H E / B _ / O F A L G E Z T R , A N D R I D E N I N B E L M A R Y E . | V A + L D Q E Z I / + R , A N D R I / + D _ N I N B E + L M A R I / + _ • AT L Y E Y S WAS HE AND AT S A T A L Y E , A T L I / + E * Z WAZ H E / A N D AT S A T A + L I / C . WHAN T H E Y W E R E W O N N E I AND I N T H E G R E T E S E E H WA N I E * W E P _ W | + N _ ; AND I N ) > G P E / + T C S E / + AT MANY A N O B L E AR M EE H ADDE H E B E . AT MA4-N A N O + B L _ A R M E / + HA + DC H E / B E / o AT M O R T A L B A T A I L L E S H A D D E H E B E E N 1 F I F T E N E , AT M O + R T A L B A + T A + L Z H A + D _ H E / B E / + N F I F T E / + N _ , AND F O U G H T E N F O P O U R F F E I T H AT T R A M Y S S E N E AND F U / + X T _ N F O R 0 * R C F E * + l A T T R A + M I S E / + N _ I N L Y S T F S T H R I E S , A N D AY S L A Y N H I S F O O . I N L I * S T > S » P I + > S , AND A* S L A * + N H I Z F O + . T H I S I L K E W O R T H Y K N Y G H T H A D D E B E E N 1 A L S O M S I + L K E W O + R ( I K N I / + XT HA + D _ R E / + N A L S O * S O M T Y M E W I T H T H E L O R D O F P A L A T Y E S O M T I / + M C W I ( ) > L O + R D | V P A L A T T / + C " 215 A G A Y N A N O T H E R H E T H E N " l N “ T U R K Y E * -------------- — —--------— 2 1 6 A G E * + N A N | + O R H E / + O N I N T U R K I / + C * A N D E V E R E M O O R E HE H A D D E A S O V E R E Y N P R Y S J AND E + V > R _ M O + R _ H E / H A + D _ A S O + V _ R E * N P R I / + S 5 A N D T H O U G H T H A T HE W E R E W O R T H Y , HE WAS W YS • AND ) U / ) A T H E / W E R _ W O + R ( I , H E / WAZ W I / + S , AND. O F H I S P O R T A S M E E K E A S I S A M A Y D E * A ND | V H I Z P O + R T AZ M E / + K C A Z I Z _ M A * + D _ * H E N F . V E R E Y E T NO V I L E Y N Y E N E S A Y D E H E / N E + V E R J E T NO V I + L E * N I / + N E S A * + D _ I N AL H I S L Y F U N T O NO M A N E R W I G H T * I N AL H I Z L I / + F U N T O + NO M A + N E R W I / + X T * . H E WAS A V E R R A Y , P A R F I T G E N T I L K N Y G H T * H E / WA Z A V F + R A * , P A + R F I T D Q E + N T I L K N I / + X T * R U T , F O R T O T E L L E N YOW OF H I S A R R A Y , B U T , F O R T O T E + L > N J O * | V H I Z A R E * * ♦ H I S H O R S W E R E G O O D E , B U T H E WAS N A T G A Y * H I Z H O + R S W E R _ G O + D C , B U T H E / WAZ N A T G E * + * O F F U S T I A N H E W E RE D A G Y P O N | V F U + S T I / A N H E / W E + R > D A D Q I P | + N AL B I S M O T E R E D W I T H H I S H A B E R G E O N , C AL B I S M | + T > R D W I ( H I Z H A + B E R D O J O N , F O R H E WA S L A T E Y C O M E F R O M H I S V I A G E , F O R H E / WAZ L | / + T I K O + M C F R O M H I Z V _ _ / A + D Q _ , AND W E N T E F O R TO D O O N H I S P I L G R Y M A G E * AND WE + N T C F O R T O D O N H I Z P I + L G R I M | / + D Q C • W I T H HYM T H E R WAS H I S S O N E , A Y O N G S O U I E R , W I ( H I M ) E R WAZ H I Z S O + N _ , A J | + 0 G S K W I / E + P., - A L O V Y E R E AND A L U S T Y B A C H E L E R , .................. A L O + V J E R AND A L U + S T I B A + T S E L E R , W I T H L O K K E S C R U L L E A S T H E Y W E R E L E Y D I N P R E S S E * W I ( L O + K > S K R U + L _ AZ ) E * W E R _ L F * + D I N P R E + S _ * OF T W E N T Y Y E E R OF A G E H E W A S , I G E S S E * | V TWE + N T I J E / + R | V | / + D Q _ H E / W A Z , 1 / GE + S _ * O F H I S S T A T U R E HE WAS O F E V E N E L E N G T H E , | V H I Z S T AT I * + R _ H E / WAZ | V E / + V E N L E + # G ) _ , . AND W O N D E R L Y D E L Y V E R E , AND O F G R E E T S T R E N G T H E * AND W I + N O E R L I D E L I + V _ R , AND | V G R E / T S T R E + t f G > _ * AND H E H A D D E ' B E E N 1 S O M T Y M E I N C H Y V A C H I E AND H _ / H A + D C F3E/ + N S O M T I / + M_ I N T S I + V A T S I / + _ I N F L A U N D R E S , I N A R T O Y S , AN D P Y C A R D I E , I N F L A = + N D R > S , I N A R T O = + Z , AND P I + K A R D I / + C , A N D B O R N HYM W E E L . AS O F S O L I T E L S P A C E , AND B O + R N H I M W E L , AZ | V S O L I + T E L S P | / + S C , . I N H O P E T O S T O N D E N IN H I S L A D Y G R A C E * I N H O + P _ T O S T O + N Q > N I N H I Z L | / + D I G R | / + S _ * E M B R O U D E D WAS H E , A S I T WE RE A M E E D E E M B R U / + D > D WAZ H E / , A Z I T W _ R C A M E / + D _ A L F U L O F F R E S S H E F L O U R E S , W H Y T E AND R .E ED E • AL F U L | V F R E + S C F L U / + R > S , H W I / + T _ AND R E / + D _ * S Y N G Y N G E H E W A S , OR F L O Y T Y N G E , A L T H E D A Y ! S I + t f G I t f G H E / W A Z . OR F L 0 = + T I V G _ , AL ) > D E * + ; H E WAS A S F R E S S H AS I S T H E M O N T H O F MAY 1 • H E / WAZ A Z F R E + ® AZ I Z >> M O + N I | V M A * + * S H O R T WAS H I S G O W N E ♦ W I T H S L E V E S L O N G E AN D W Y D E* S O + R T WAZ H I Z G U / + N _ , . W I ( S L E / + V > S L O + # G _ AND W l / + D _ W EL K O U D E HE S I T T E ON H O R S AN D F A I R E R Y O E , WEL K U / D _ H E / S I + T _ | N H O + R S AN D F A * + R C R I / + D _ * H E K O U D E S C N G E S MAK E AND WEL E N D I T E » H E / K U / D C S | + # G > S M | / + K C AN D W _ L E N D I / + T _ . J U S T E AND E E K D A U N C E , A N D W E E L P U R T R E Y E A N D WR I'TE* D Q U / + S T _ AN D E / K D A = + N T S _ , AN D W E L P U R T R E * + _ AN D W R I / + T S O H O O T E H E L O V E D E T H A T BY N Y G H T E R T A L E S O H | + T _ H E / L O + V D C ) A T B I N I / + X T E R T | / + L _ H E S L E E P N A M O O R E T H A N D O O T H A N Y G H T Y N G A L E • I------ H E / S L E / + P NAMO + R _ JA N D O ) A N I / + XT I VG j / + L _ * C U R T E I S H E W A S , L O W E L Y . AND S E R V Y S A B L E . K U + R T F + S H E / W A Z , L O = + L I , A N D S E + R V I S A + B L > , ANO C A R F B I F O R N H I S F A D E R A T T H E T A B L E * A N D K | / + R F B I F C + RN H I Z F | / + D E R AT >> T A + B L > • . CHAUCER SAMPLE 2 WHILOM THER WAS DWELLYNGE AT OXENFORD HWI/+LOM )ER WAZ DWELI + 0GC AT |+ KSENFORD A RICHE GNOP, THAT GESTES HEELD TO 90R0* A R I / + T S C G N O + F , ) A T G E + S T > S H E / + L D T O B O + R D , AND O F H I S C R A F T H E WA S A C A R P E N T E R * AND | V H I Z K R A + F T H E / WAZ A K A + R P E N T E R * WITH HYM THER WAS DWELLYNGE A POURE SCOLER, WI( HIM )ER WAZ DWELI+ G_ A PU/+RC SK_LE+R, H A D D E L E R N E D A R T , B U T AL H I S F A N T A S Y E - HA + D _ L E + R N > D A + R T , B U T AL H I Z F A + N T A S l / + _ WAS T U R N E D F O R T O L E R N E A S T R O L O G Y E * WAZ TU+RN>D FOR TO LE+RN_ ASTRO+L|GI/+_, AND K O U D E A C E R T E Y N C O N C L U S I O U N S « AN D K U / D C A S E + R T E / N | V K O W K L U / + S I / U / N Z , T O D E M E N B Y I N T E R R O G A C I O U N S , TO DE/ + M>N BI • INTE/+ROGA + SIU/ + NZ» I F T H A T MEN A S K E D HYM I N C E R T E I N H O U R E S I F ) A T M E N A + S K > D H I M I N S E + R T E / N U / + R > S WHAN T H A T MEN S H O L D E H A V E D R O G H T E OR E L L E S S H O U R E S HWAN ) A T MEN S O L D _ H A V _ D R O + X T _ OR E + L > S $ 0 * + R _ S . OR I F MF N A S K E D HYM WHAT S H O L D E B I F A L L E O R I F MEN A + S K > D H I M HW AT $ O L D _ B I F | / + L _ O F E V E R Y T H Y N G ; I MAY N A T R E K E N E HEM A L L E * | V E + V _ R I ) I + # G ; 1 / M A t N A T R E + K E N _ H _ M | / + L _ * THIS CLERK WAS CLEPED HENDE NICHOLAS* » I S K L E + R K WA Z K L E / + P > D H E + N D C N I + K O L A S . O F D E E R N E L O V E H E K O U D E A N D O F S O L A S ! | V D E / + R N C L O + V C H E / K U / D _ A N D | V S _ L | / + S 5 AND T H E R T O H E WAS S L E I G H AND F U L P R I V E E 1 , AND I E + R T O H E / WAZ S L E * + AN D F U L P R I V E / + , AND L Y K A M A Y D E N MEKE F O R T O S E E * AND L I / + K A M A * + D > N M E / + K C F O R T O S E / + * A CHAMBRE HADDE HE IN THAT HOSTELRYE A T$|/+MRR> HA+D_ HE/ IN )AT |+STELRI/+_. A L L O N E , W I T H O U T E N A N Y C O M P A I G N Y E * ALO+N_, WI(U/+T>N A + NI KO + MPA*NI/+_ « F U L F E T I S L Y Y D I G H T W I T H H E R B E S S W O O T E ! FUL FE + TISLI IDI/+XT WI( HE + R B>S SWO+TC? AND HE HYMSELF AS SWEETE AS IS THE ROOTE AND HE/ HIMSE+LF AZ SWE/+TC AZ IZ )_ RO + T_ O F L Y C O R Y S , O R ANY C E T E W A L E * | V L I + K O R I S , OR A + N I S E + T E W | / + L C * HIS ALMAGESTE* AND 3O0KES GRETE AND SMALE, H I Z A + L M > G E + S T _ , AND R O + K > S G R E / + T _ AND SMA + L _ , HIS ASTRELABIE, LONGYNGE FOR HIS ART, H I Z A + S T R E L A + B I = , L O + W G I t f G F O R H I Z A + R T , HIS AUGRYM STONES LAYEN FAIRE APART, H I Z A = + G R I M S T | + N > S L A * + > N F A * + R _ A P A + R T , O N S H E L V E S C O U C H E D AT- H I S B E D D E S H E E D ! | N $ E + L V > S K U / + T $ > 0 A T H I Z B E + D > S H E / + D J H I S P R E S S E Y C O V E R E D W I T H A F A L D Y N G R E E D ! H I Z P R E + S _ I K O + V E R D W I ( A F | / t L D H G R E / + D J AND A L A B O V E T H E R L A Y A GAY S A U T R I E , AND Al. A B O + V ) E R L A * + A G E * + S A = T R I / + _ , ON WHICH HE MADE A-NYGHTES MELODIE |N HWITS HE/ Mj/+D_ ANI/+XT>S ME+LODI/+ SO SWETELY THAT ALL THE CHAMBRE RONG « S O S W E / + T E L I ) AT AL » > T ? | / + M 3 R > R | + * G ? AND A N G E L U S A D V I R G I N E M H E S O N G ? A ND A + N D Q E L U / S AD V I + R G E N E M H E / S | + W G * . 2 AN D A F T E R T H A T H E S O N G T H E K Y N G E S N O O T E * AN D A + F T > R ) A T H E / S | + # G ) > K I t # G > S N O + T C * F U L O F T E N B L E S S E D WAS H I S M Y R I E T H R O T E * F U L l + F T E N B L E + S > D WAZ H I Z M I + R I = J P O + T C * AND T H U S T H I S S W E E T E C L E R K H I S T Y M E S P E N T E AND > U S I I S S W E / + T C K L E + R K H I Z T I / + M C S R E + N T C A F T E R H I S F R E E N D E S F Y N D Y N G AND H I S R E N T E * A + F T > R H I Z F R E + N D > S F I / + N D I W G A N D H I Z R E + N T C * T H I S C A R P E N T E R H A D D E W E D D E D N E W E A W Y F . I I S K A + R P E N T E R H A + 0 _ W E + D > D N E = + _ A W I / + F , W H I C H T H A T H E L O V E D E MOO RE T H A N H I S L Y F i H W I T S I A T H E / L O + VDC M O + R C I A N H I Z L I / + F J O F E I G H T E T E E N E Y E E R S H E WAS O F A G E * | V E * + T E T E / + N C J E / + R S E / WAZ | V | / + D Q C * J A L O U S H E W A S . AND H E E L O H I R E N A R W E IN C A G E . D Q A L U / + S H E / W A Z , AND H E / + L D H / R C N A + R W _ I N K | / + D Q _ F O R S H E WAS W Y L D E AN D Y O N G , AND H E W A S . O L D . F O R S E / WAZ WI / + L D _ AND J | + # G , A N D H E / W AZ O + L O , AND D E M E D H Y M S E L F B E E N L I K A C O K E W O L D * AND D E / + M> D H I M S E + L F B E / N L I / + K A K O + K E W O L D . H E KN EW N A T C A T O U N , F O R H I S W I T WAS R U D E . H E / K N E = + N A T K A + T U / N , F O R H I Z W I + T WAZ R U / + D C . T H A T B A D MAN S H O L D E WE DD E H I S S I M Y L I T U D E • I AT B A + D MA + N S O L D C WE + D _ H I Z S I + M _ L I T U / + D _ * MEN S H O L D E WED D F.N A F T E R H I R E E S T A A T , MEN S O L D C W E + D > N A + F T _ R H I / R C E S T | / + T , F O R Y O U T H E A N D E L D E I S O F T E N AT D E B A A T * F O R J U / + ) _ A N D E + L D _ I Z l + F T E N A T D E B | / + T • B U T S I T H T H A T HE WAS F A L L E N I N T H E S N A R E . B U T S I I ) A T H E / WAZ F | / + L > N I N ) > S N | / + R C . H E M O S T E E N D U R E , AS O O T H E R F O L K . H I S C A R E * H E / M O + S T _ E N D U / + R _ , AZ O + I E R F O + L K , H I Z K | / + R _ * F A I R WAS T H I S Y O N G E W Y F , AND T H E R W I T H A L F A * + R WAZ I I S J | + f f G C W I / + F , A N D I E + R W I I A L A S ANY W E Z E L F H I R B O D Y G E N T AND S M A L * AZ A + N _ W E / + Z E L H I R B | + D I G E + N T AND S M A + L * A C E Y N T S H E W E R E D E , B A R R E D A L O F S I L K , A S E / + NT S E / WE + R > D , BA + R > 0 AL | V S I + L K , A B A R M C L O O T H E E K AS W H I T AS M O R N E M I L K A B A + R M _ L O ) E / K AZ H W I / + T AZ M O + R N C M I + L K U P O N H I R L E N D E S , F U L OF MANY A G O O R E * U P | + N H I R L E + N D > S , F U L | V M A + N _ A G O + R _ * W H I T WAS H I R S M O K , A N D B R O Y D E N A L B I F O O R E H W I / + T WAZ H I R S M | + K , AN D B R O = + D > N A L B I F O + RC A N D E E K B I H Y N D E , O N H I R C O L E R A B O U T E , AND E / K B I H I / + N D _ , | N H I R K O L E + R A R U / + T _ , O F C O L - B L A K . S I L K , W I T H I N N E A N D E E K W I T H O U T E * | V KO + L B L A K S I + L K , W I ( I + N_ AND E / K W I ( U / + T _ , T H E T A P E S O F H I R W H I T E V O L U P E R ) > T | / + ° > S | V H I R H W I / + T C V O + L U P E R W E RE O F T H E S A M E S U Y T E O F H I R C O L E R ! W _ R C | V ) > S I / + M C S U * + T _ | V H I R K O L E + R J H I R F I L E T B R O O D O F S I L K , AND S E T F U L H Y E * H I R F I + L E T B R O + D | V S I + L K , AND S E + T F U L H I / + C * AN D S I K E R L Y S H E H A D D E A L I K E R O U S Y E J AND S I + K E R L I HA + D _ A L I + K _ R U / S J E /I F U L S M A L E Y P U L L F D W E RE H I R E B R O W E S T W O , F U L S M A + L _ I P U + L _ D W E R _ H I / R C B R C * + > S T W O + , AND T H Q W E RE B E N T AND B L A K E A S AN Y S L O O * AND ) 0 W E R _ B E + NT AND B L A + K _ AZ. A + N I S L O + * S H E WA S F U L M O O R E B L I S F U L ON TO S E E S E / WAZ F U L M O + R C B L I + S F U L | N T O S E / + T H A N I S T H E N E W E P E R E - J O N E T T E T R E E , ) A N I Z ) > N E = + C P E + r > d Q O + N E T T R E / + , AN D S O F T E R T H A N T HE W O L L E I S O F A W E T H E R * A N D S | + F T > R ) AN ) > W O + L _ I Z | V A W E + ( _ R * AND BY H I R G I R D E L H F E N G A P U R S O F L E T H E R , A N D 9 1 H I R G I + R D E L H E / + 0 G A P U + R S | V L E + ( ) R , T A S S E L E D W I T H S I L K , AND P E R L E D W I T H L A T O U N * TA + S E L D WI ( S I + L K , A N D P E + R L > D W I ( L A T U / + N * ---------------------- I N A L T H I S W O R L D . T O S E K E N U P AN D D O U N , I N AL ) I S W O + R L D , T O S E / + K > N U P A N D D U / N , T H E R E N Y S NO MAN S O W YS T H A T K O U D E T H E N C H E ) E R N I S NO M A + N SO W I / + S ) AT K U / D C ) E + N T $ S O GA Y A P O P E L O T E OR S W I C H A W E N C H E * S O G E * + A P O + P E L | + T _ OR S W I T S A W E + N T $ _ * F U L B R I G H T E R WAS T H E S H Y N Y N G O F H I R H E W E F U L 3 R I / + X T E R WAZ ) > S I / + N I * G | V H I P H E = + E T H A N I N T H E T O U R T H E N O B L E Y F O R G E D N E W E * ) AN I N ) > T U / + R ) > N O + B L _ I F O + R D O > D N E = - f _ * B U T O F H I R S O N G , I T WAS AS L O U D E AND Y E R N E B U T | V H I R S | + # G , I T WAZ AZ L U / + D _ AN D J E + R N _ A S ANY S W A W L E S I T T Y N G E ON A B E R N E * AZ A + N I S W A = + L C S I + T I * G | N A B E / + R N C * T H E R T O S H E K O U D E S K I P P E AND MAK E G A M E . > E + R T O t E / K U / D C S K I + P _ AND M | / + K C G | / + M , A S AN Y K Y D E O R C A L F F O L W Y N G E H I S GA M E* AZ A + N I K I / + 0 _ O P K _ A + L F F | + L W I G H I Z D | / + M _ * H I R M O U T H WAS S W E E T E A S FJRAGOT O R T H E M E E T H , H I R M U / + ) WAZ S W E / + T _ AZ B R A + G | T OR ) > M E / + ) , OR H O O R D O P A P P L E S L E Y D I N H E Y OR H E E T H * O R H O + R D | V A + P L > S L E * + D I N H E / * OR H E / + > « W Y N S Y N G E S H E W A S , A S I S A J O L Y C O L T , W I N S I + 0 G C S E / W _ Z , A Z I Z A D Q O + L I K O + L T , L O N G A S A M A S T , AN D U P R I G H T A S A B O L T * LO+<CG AZ A M A + S T , AN D U P R I / + X T A Z A BO + L T * A B R O O C H S H E B A A R U ° O N H I R L O W E C Q L E R , A B R O + T S * F / B | / + R U P | + N H I R L O = + C K _ L E + R . A S B R O O D A S I S T H E B O O S O F A B O K E L E R * AZ B R O + D AZ I Z .) > BO + S | V A BO + K E L E R * H I R S H O E S WE RE L A C E D ON H I R L E G G E S H Y E * H I R S O + Z W E R _ L | / + S > D | N H I R L E + G > S H I / + _ * S H E WAS A P R Y M E R O L E , A P I G G E S N Y E . . $ E / WAZ A P R I / + M E R O + L _ . A P I + G E S N I / + _ , F O R ANY L O R D T O L E G G F N I N H I S B E D D E . FOR A+NI LO+RD TO LE+G>N IN HIZ BE+DC, O R Y E T F O R A N Y GO OD Y E M A N TO W E D D E . . ................................... OR J E T F O R A + N I G O + D J E / + M A N TO W E + D C * N O W . S I R E , A N D E F T , S I R E , S O B I F E L T H E C A S , N U / , S I / + R _ , AND _ F T , S I / + R C , SO B I F E + L ) > K | / + T H A T O N A DAY T H I S H E N O E N I C H O L A S ) AT I n A D E * + M S H E + NDC N I + K O L A S F I L W I T H T H I S Y O N G E WYF T O R A G E A N D P L E Y E , F I + L W I ( > I S J l + t f G C W I / + F T O R | / + D Q _ AND P L E * + _ W H I L T H A T H I R H O U S B O N D E WAS A T O S E N E Y E . H W I / L ) AT H I R H U / + S B | N D WAZ A T 0 + S E N E * + C . A S C L E R K E S B E N F U L S U B T I L E A N D F U L Q U E Y N T E I AZ KL E + R K > S B E N F U L S U + B T I L AND F U L K W E / + N T C i AN D P R I V I L Y HE C A U G H T E H I R E BY T H E Q U E Y N T E . AN D P R I + V I L I H E / K A = + X T _ H _ / R C B I ) > K W E / + N T _ . A N D S E Y D E " Y W I S , BU T I F I C H H A V E MY W I L L E , AND S E * + D _ » I W I + S , B U T I F I T S H A V _ MI W I + L _ , F O R D E E R N E L O V E O F T H E E , L E M M A N , I S P I L L E * " FOR DE/+RNC LO+VC |V > E/, LE+M_N, 1/ SPI+L_" AND H E E L D H I R E H A R D E BY TH E H A U N C H E B O N E S . AND H F / + L D H _ / R C H A + R D C B I ) > H A = + N T S > B O N _ S , A ND S E Y D E , " L E M M A N , L O V E ME AL A T O N E S , A N D S E * + D C , " L E + M A N , L O + VC M _ AL A T O + N _ S . OR I WOL DYEN, ALSOl GOD ME SAVE " O R 1 / WOL D I / + > N , A L + S O G O + D ME S | / + V C " AND S H E S P R O O N G A S A C O L T D O O T H I N T H E T R A V E , AND S E / S P R O + # G AZ A K O + L T D O ) I N ) > T R J / + V E , A N D W I T H H I R H E E D S H E WRYE D F A S T E A W E Y , AND W I < H I R H E / + D S E / W R I / + > D F A + S T A W E * + , A N D S E Y D E , " I WOL NAT K I S S E T H E E , BY MY F E Y AND S E * + D _ . " 1 / WOL NAT K I + S C ) / , B I M I F E * + W HY , L A T B E . " OU OD S H E . " L A T B E , ~ N I C H O L A S , H W I / + . L A T B E / " K W O + D . S E / , " L A T B E / , N I + K O L A S , OR I WOL CR T E * O U T , H A R R O W ' AND ' A L L A S * OR I / . W O L K R I / + C • / T , H A + R O * A N D • A L A + S C H A U C E R S A M P L E 3 I N S U R P Y E W H I L O M O W E L T E A C O M P A I G N Y E I N S U + R / C H W I / + L O M DWE + L T _ A KO + M P A * N I / + _ O P C H A P M E N R I C H E . A N D T H E R T O S A O D E A N D T P E W E . | V T S A + P M E N R I / + T S , AND ) E + R T O S A + D _ A N D T R E = + _ T H A T W Y D E - W H E R E S E N T E N H I R ‘ S P I C E R Y E • ) AT W I / + D > H W F R S E + N T > N H I R S P I / + S E R I / + C . C L O T H E S O F G O L D . AN D S A T Y N S R I C H E O F H E W E * K L O + O S | V G O + L D , AND S A + T I N Z R I / + T $ _ | V H E = + _ * H I R C H A F F A R E WAS S O T H R I F T Y AN D S O N E W E H I R T $ A + F AR WAZ S O ) R I + C T I AND S O N E = +C T H A T E V E R Y W I G H T H A T H D E Y N T E E T O C H A F F A R E 1 ) AT E + V P I W I / + X T H A ) D E * + N T F / T O T $ A F A + P _ W I T H H E M . AND E E K T O S E L L E N HEM H I R E W A RF*' W I ( H E M , A N D E / K T O S E + L > N HEM H _ / R C W | / + R _ * NOW F I L I T T H A T T H E M A I S T R E S OF T H A T S O R T N U / F I + L I T ) A T ) > M A * + S T R E S | V ) AT S O + R T H A N S H A P E N HE M T O R O M E F O R TO W E N D E ? HA N $ | / + P > N H E M T O R O + M C F O R T O W E + N D C I W E R E I T F O R C H A P M A N H O D O R F O R D I S P O R T , W E R _ I T F O R T S A + P M A N H O D O P F O R D I S P Q + R T . NO O N O O T H E R M E S S A G E W O L D E T H E Y T H I D E R S E N D E , NON 0 + ( E R M E + S A D Q W O L D _ > E * I I + O E R S E + N D _ , R U T C O M E N H E M S E L F T O R O M E , T H I S I S T H E E N D E ? B U T K O + M _ N H E M S E + L F T O R O + M _ , ) I S I Z ) > E + N D _ ; AN D I N S W I C H P L A C E AS T H O U G H T F H E M A V A N T A G E AND I N S W I T S P L | / + S _ AZ ) C * + X T C H _ M A + V ANT A + D Q _ F O R H I R E E N T E N T E , T H E Y T A K E H I R H E R B E R G A G E « F O R H I / R _ E N T E + N T _ , > E * T | / + K _ H I R H E + R B E R G | / + D 0 S O J O U R N E D HA N T H I S E M E R C H A N T Z I N T H A T T O U N S O D Q U / + R N > Q H A N ) I / Z _ M E + R T ^ A N T Z I N ) A T T U / + N A C E R T E I N T Y M E . A S F I L T O H I R E P L E S A N C E * A S E + R T E / N T I / + M _ , AZ F I + L T O H _ / R C P L E Z | / + N T Z _ , AN D S O B I F E l . T H A T T H E X C E L L E N T R E N O U N A N D S O 3 I F E + L ) A T ) E + K S E L E N T P E N U / + N OF T H E E M P E R O U R E S D O G H T E R , DAM E C U S T A N C E , | V ) _ E + M P E R U / + R > S D l + X T E R , D | / + M _ K U S T A + N T S _ , R E P O R T E D W A S , W I T H E V E R Y C I R C U M S T A N C E , R E P O + R T > D W A Z , WT{ E + V _ R I S I + R K U M S T A + N T Z _ , U N T O T H I S E S U R P Y E N M A R C H A N T Z I N S W I C H W Y S E * U N T O + ) I / Z _ S U + R I / _ ; N M A + R T S A N T Z I N S W I T S W I / + Z _ « F R O D A Y T O D A Y , A S I S H A L YOW D E V Y S E o F R O D E * + TO D E + + , AZ 1 / 5 A L J O * D E V I / + Z C * T H I S W AS T H E CO M MU NE V O Y S O F E V E R Y M A N! I I S WA Z ) > K O + M U / N V O = + S | V E + V > R _ M A + N I " O U R E E M P E R O U R O F R O M E — GOD HYM S E E — " 0 * R _ E + M P E P U / P | V R O + M C - G O + D H I M S E / + A D O G H T E R H A T H 1 T H A T , S Y N TH E W OR LD B I G A N , A D l + X T E R H A + ) ) A T , S I N ) > WO + R L D B I G A + N , T O R E K E N E A S WEL H I R G O O D N E S S E A S B E A U T E E , T _ R E + K _ N _ AZ WEL H I R G O D N E + S C AZ D E = T E / + . N A S N F V E P E S W I C H A N O T H E R A S I S S H E E * N A S N E + V E R S W I T T A N | + ( > R A Z I Z $ E / , I P R E Y T O GOD I N H O N O U R 1 H I R E S U S T E E N E . 1 / P R F + + TO G O + D I N O + N / R H I / R C S U S T E / + N _ . AND W O L D E S H E W E P E O F AL E U R O P E T H E Q U E E N E * A N D W O L D _ * E / W F R _ | V AL E = R O + P _ >> K W E / + N _ * " I N H I R E I S H E I G H B E A U T E E , W I T H O U T E P R I D E , •• I N H _ / R C I Z H E * + X B E = T E / + . WI ( U / + T C P R I / + D_. Y O W T H E . W I T H O U T E G R E N E H E D E O R F O L Y E J J U / + ) C , W IC U / + TC GRF/+N_HED OR F O L I / + _ ; TO ALLE HIRE WERKES VERTU1 IS HIR GYDE? TO | / + L C H _ / R _ WE + R K> S VE+RTI* IZ H I R G I / + D _ ; HUMBLESSE HATH SLAYN IN HIRE AL TIRANNYE* UMBLE+ S_ HA) SLA*+N N HI/P.C AL T I + R AN I / +_• SHE IS MIROUR OF ALLE CURTEISYEI S E / IZ M IR U /+ R |V j / + LC K U + R T F * S I / + C J HIR HERTE IS VERRAY CHAMBRE OF HOOLYNESSE, HIR HE +R T_ IZ VE+RA* T $ | / + M S R _ |V H O + L I N E + S _ , HIR HAND, MI N IST R E OF FREDAM FOR A L M E S S E ." HIR HA+ND, M I N l + S T R _ |V FRE/+DAM FOR AL ME + S _ ” AND AL T H I S VOYS WAS S O OTH ,’ AS GOO I S TREWE* AND AL ) IS VO = + S WAZ SO + ) , AZ GO +D IZ T R E = t C , BUT NOW TO PURPOS LAT US TURNE AGAYN* BUT NU/ TO PU+RPOS LAT US TU+RN_ AGE++N* T H I S E MAPCHANTZ HAN DOON FRAUGHT HIR S H I P P E S NEWE, ) I / Z _ MA+RT$ANTZ HAN DON FPA=+XT HIR S I + P > S N E = + _ , AND WHAN THEY HAN T H I S BL ISF U L MAYOEN SAYN, AND HWAN )E * HAN ) I S 8 L I + S F U L MA*+D>N S A * + N , HOOM TO SURRYE BEEN THEY WENT FUL FAYN, HO+M TO S U + R I / C B F / N )E* WE + NT FUL F E * + N , AND DOON HIR NEDES AS THEY HAN DOON YOORE, AND DON HIR N E / + D > S AZ >E* HAN DON J O R C , AND LYVEN IN WELE? I KAN SEY YOW NAMOORE* AND L t / + V _ N IN WE + LC; 1 / KA+N S E * f J O * N_MO+R • NOW F I L IT THAT T H I S E MARCHANTZ STODE IN GRACE NU/ F I + L IT ) AT ) I / Z _ MA+RTSANTZ STO+D_ IN G R | / + S _ OF HYM THAT WAS THE. SOWDAN OF SURRYE15 jV HIM ) AT WAZ )> SO*+DAN |V S U R I / + C J FOR WHAN THEY CAM1 FROM ANY STRANGE PLACE, FOR HWAN )E * KA+M FROM A+NI S T R | / + N D Q C P L | / + S C , HE WOLDE, OF H I S BENIGNF CU RT EISY E, H E / WOLDC, |V H I Z R _ N I / + N C KU+RTE*S I / + _ , MAKE HEM GOOD CHI ERE, AND 8 I S I L Y ESPYE . M | / + KC HEM GO+D T S I / + R C , AND B I + S _ L _ E S P I / + _ TIDYNGES OF SONDRY REGNES, FOR TO LEERE T I / D I / + » G > S |V SO+NOR_ R E / + G N E S , FOR TO L E / + R _ THE WONDRES THAT THEY MYGHTE SEEN OR HEERE* ) > W | + NOR >S ) AT ) E* MI/+XTC S E / + N OR H E / + R C * AMONGES OTHERE THYNGES, S P ECIA LLY , A M J + // G > S Cl+IER ) I +tf G> S * S P E + S J A L I , TH IS E MARCHANTZ HAN HYM TOOLD OF DAME CUSTANCE )\/7._ MA+RT*ANTZ HAN HIM TO+LD |V D|/+M__ KUSTA+NTS SO GREET NOBLESSE IN ERNEST, CERIOUSLY, SO G RE /T NODLE+SC IN EARNEST, S E + R J O * S L I . THAT T H I S SOWDAN HATH CAUGHT SO GREET PLESANCE ) AT ) r s SO* + D AN HA) KA=+XT SO G P E / T P L E Z 1 / + NTZE TO HAN 1 HIR FIGURE IN H I S REMEMBRANCE, TO HA + N HIR F I +G I *R IN HIZ RF + MEM.3R | / + N T Z E , THAT AL H I S LUST AND AL HIS BISY CURE ) AT AL H I Z LU+ST AND AL HIZ BI + ZI KU/ + RC WAS FOR TO LOVF HIR E WHILE H I S LYF MAY DUREo WAZ FOR TO LO+V_ H /RC H W I / + L _ H I Z L I / + F MA* D U /+ R PARAVENTURE IN THILKE LARGE BOOK PARA+VENT I * + R _ IN ) I+LKC LA+ROQC 30+K WHICH THAT MEN CLEPE THE HEVENE YWRITEN WAS HWITS ) AT MEN K L E / + P )> HE+V_N IW RI+T>N WAZ WITH ST E R R E S , WHAN THAT HE H IS RIRTHE TOOK, WII STE+R > S , HWAN ) A T H E / H IZ B H R I C TOK, THAT HE FOR LOVE SHOLDE HAN 1 HIS DEETH, ALLAS ) AT H E / FOR LO+V_ $OLD_ HA+N HIZ D E / + ) , ALA+S “ FOR IN THE S T E R R E S , CLERER THAN IS GLAS, FOR IN )> STE + R > S , KLE/ + RER ) AN IZ GLA + S , I S WRITEN, GOD WOOT, WHOSO KOUDE IT REDE, IZ W R I / + T > N , GO+D WO+T. HO+SO K U/ D_ IT R E / + D , THE DEETH OF EVERY MAN, WITHOUTEN DREDE, )> D E / + ) |V E + V_R I MA+N, W I ( U / + T > N D R E / + D _ « IN S T E R R E S , MANY A WYNTER T HERB I F Q R N « IN STE + R > S , MA+NI A WI+NTER )E + RB IF O R N , WAS WPITEN THE DEETH OF ECTOR, A C H I L L E S , WAZ W R I / + T_N )> O E / + ) |V E + K T | R , A + K I L E + S , 2201 OF P O M P E I . J U L I U S # ER THEY WERE 3 0 R N ?' 2 2 2 |V PO+MPE*, D Q U / + L _ / U / S , ER I E * WERC BO+RNJ THE S T R I F OF T H E B E S « AND OF ER C U L E S « l > S T R I / + F | v ) E / + B > S ; ANO |V E + R K I + L I / S , OF SAMPSON, TURNUS, AND OF SOCRATES |V SA+MPSON, T U fR N U S , AND |V S O + K R A T I / Z THE .DEETH; BUT MENNES WITTES BEN SO DULLE )> D E / + I ? BUT ME+N>S WI+T>S BEN SO DU+LC THAT NO WIGHT KAN WEL REDE I T ATTE FULLE* IAT NO WI/+X T KA+N WEL R E / + D _ IT A+TC FU+L_* T H I S SOWDAN FOR H IS P R I V E E CONSEIL S E N TE, ) I S SO*+DAN FOR H I Z P R I + V E / K04-NSE*L S E+ N TC , ANO, SHORTLY OF T H I S MAT I ERE FOR TO P ACE , AND, SO+ RTL I |V I I S MA+TJER FOR TO P | / + S C , HE HATH TO HEM DECLARED H IS ENTENTE, H E / HA) TO HEM D E K L | / + R > D HIZ ENTE+N TC, AND SYDE HEM, C E R T E I N , BUT HE MYGHTE HAVE GRACE AND S I / + O C H_M, S E + R T _ / N , BUT H _ / M I/+ X T C HAVC G R | / + S _ TO HAN 1 CUSTANCE WITHINNE A L I T E L S P A C E , TO HA+N KUSTA + N TS _ W I I I + N C _ L I + T E L S P | / f S _ . HE NAS BUT DEED*, AND CHARGED HEM IN HVE H E / NAS BUT D E / + D _ I AND T $A+RDQ>D HEM IN H I / + _ TO SHAPEN F O R . H I S LYF SOM REMEDYE* TO $ | / + P > N FOR H I Z L I / + F SQM RE +M ED I/+ C* D IV E R S E MEN DIVER SE THYNGES SEYDEN? D I / V E / + R S C MEN D I / V E / + R S C ) I + # G > S SE*+D>N? THEY ARC.UMENTEN, CASTEN UP AND DOUNI IE * A+ RG I*M F+N T>N, KA+ST>N UP AND DU/N? MANY A SUB TI L RESOUN FORTH THEY LEYDEN? MA + NI A SU + B T I L R E / + Z U / N FO + R I I E * LE* + D>N? THEY SPEKEN OF MAGYK AND ABUSIOUN, IE * S P E / + K>N |V MA + DOIK AND A B I + + S I U / N * BUT F I N A L L Y , AS IN CONCLUSIOUN, ................................... BUT F I / + N A L I . AZ IN K O t f K L U / + Z I / U / N , THEY KAN NAT SEEN IN THAT NOON AVANTAGE, I E * KA + N NAT S E / + N IN ) AT NON A +V ANT A+DQC, NE IN NOON OOTHER WEY, SAVE MARI AGE* ..................... NE IN NON 0 + ( ER WE*+» S | / + V _ M A + R I / | / + D O . THANNE SAWE THEY THERINNE SWICH D I F F ICULTEE )_NC SA = + _ IE * ) _ R I + N C S WIT $ D I F I + K U L T E / + BY WEY OF RESON, FOR TO SPEKE AL PLAYN, BI WE* + |V R E / + Z O N , FOR TO S P E / + K _ AL PL A*+ N, BY CAUSE THAT THER WAS SWICH DIVERSI TEE BI KA=+Z_ ) AT IER WAZ SWIT$ D I / V E / + R S _ I T E / + BITWENE HIR BOTHE LAWES, THAT THEY SAYN BI T WE/+N_ HIR BO+IC L A= + >S , I AT IE * SA* + N THEY TROWE, "THAT NO CRISTEN PRINCE WOLDE FAYN I E * TRO = + C , " I AT NO K RI+ST >N P R I + N T Z E WOLDC F E * + N WEDDEN H I S CHILD UNDER OURE LAWE SWEETE WE+D_N H I Z T S I / + L D U+NDER O+RC LA=+C S W E / f T _ THAT US WAS TAUGHT BY MAHOUN. OURE P R O P H E T E * " ) AT US WAZ TA=+XT RI MA+H_/N, 0 * R C P R O F E + T _ " AND HE ANSWERDE, "RATHER THAN I LESE AND H E / ANSWE+RDC, " RA+IER IAN 1/ L E / + Z C CUSTANCE, I WOL BE C P I S T N E D , DOUTELEES* KUSTA + NTSC, 1 / WOL P E / KR1+ ST N>D, D U /+ TE L E S * I MOOT BEEN H I R E S , I MAY NOON OOTHER CHESE* 1 / MOT B E / N H I / + R > S , _ / MA* NON O+ IE R T $ E / + Z _ * I PREY YOW HOOLD YOURE ARGUMENTZ IN P E E S\ 1 / PRE + + JO* HO + LD J_RC A+R GI*ME +NT S IN P E / + SJ SAVETH MY L Y F , AND BETH NOGHT RECCHELEES S | / + V > ) MI L I / + F , AND BE) NOXT RE+KELES TO GETEN HIRE THAT HATH1 MY LYF IN CURE? TO GE + T>N H _ / P C I AT HA+) MI L I / + F IN KU/ + R _ i FOR IN T H IS WO I MAY NAT LQNGE ENDURE*" FOR IN I I S W0+ 1 / MA* NAT LO+^G E N D U /+ R _ " WHAT NEDETH GRETTER O ILATACIOUN? HWAT N E /+ D E > GRE/+TER D I + L I T A + S I / U / N ? I S E Y E , BY TRETYS AND E M8ASSA DR I E , 1 / S E * + , BI T R E / + T I S AND EMBA + SADR I / + _ , CHAUCER SAMPLE 4 IN THOLOE OAYES OF THE KYNG ARTHOUR, IN IO+LDC D E *> S |V )> KI+tfG A R I U / + R , OF WHICH THAT BRITONS SPEKEN GREET HONOUR.* |V HWITS ) AT B R I + T | N Z S P E / + K > N GRE /T O N U / + R , AL WAS T H I S LAND FU L FI L O OF FAYERYE* AL WAZ ) I S LA+ND F U L F I + L D |V F A * + E R I / + C * THE E L F - Q U E E N E . WITH HIR JOLY COMPAIGNYE, )> E + L F K W _ / N C , WI( HIR DQO+LI K O + M P A * N I / + _ , DAUNCED FUL OFTE IN MANY A GRENE MEOE* DA= +NTS>D FUL I + F T _ IN MA + N_ A GRE/+NC ME/+ D_* T H I S WAS THE OLDE O P I N I O N , AS I REDEJ I I S WAZ )> | +LD_ O P I + N I / _ N , AZ 1 / RE/+D;_; I SPEKE OF MANYE HUNDRED YERES A GO* 1 / S P E / + K _ |V MA + NI HU+NDRED J E / + R _ S AGO + * BUT NOW KAN NO MAN SE NONE ELVES MO, BUT N U / KA+N NO MA+N S E / + NO+NC E+LV>S MO, FOR NOW THE GRETE CHARI TEE AND PRAYERES FOR N U / ) > G R E /+ TC T S A + R I T E / + AND P R A * + E R > S OF LYMYTOURS AND OTHERE HOOLY F R E R E S , |V L I + M I T U / R Z AND 0+<E R HO+LI F R E + R > S , THAT SERCHEN EVERY LOND AND EVERY STREEM, ) AT SE +R T $>N E + V_RI LO+ND AND E + V _ R I S T R E / + M, AS THIKKE AS MOTES IN THE SONNE-BEEM, AZ I I + K C AZ MO+T>S IN )> SO+N>BE/M, BLESSYNGE H A L L E S , CHAM3RES. K IC H E N E S , BOURES BLE + S I #G H | / + L > S , T $ | / + M B R > S . K I + T * E N > S , S U / + R C I T E E S , BURGHES, CA S T E L S , HYE T O U R E S , C S I / T E / + S , 3U + RT $ > S , KA + S T E L Z , H I / + C T U / + P._S THROPES, BERNES, S H I P N E S , DAYERYES ---- C ) R | + P > S , D E /+ R N > S, $ I + PN> S , D E * + E R I / + _ S - T H I S MAKETH THAT THER BEN NO FAYERYES* I I S M | / + K > ) t AT ) ER BEN NO F A * + E R I / + > S . FOR THER AS WONT TO WALKEN WAS AN E L F , FOR I ER AZ. W | +NT TO WA + LK>N WAZ AN E + L F , THER WALKETH NOW THE LYMYTOUR HYMSELF IER WA +LK> I N U / )> L I + M I T U / R HI MS E+L F IN UNDERMELES AND IN MORWENYNGES, IN U+NDEPME + L > S AMD. IN MO+ R WE N I + tf NG> S , AND SEYTH H I S MATYNS AND H I S HOOLY THYNGES AND S E * + ) HIZ MA+TINZ AND H I Z HO+LI ) I + # G > S AS HE GOOTH IN H I S LYMYTACIOUN. AZ H E / GO + I IN HIZ L I+M IT A + S I / U / N • WOMMEN MAY GO NOW SAUFLY UP AND DOUNo • WO+ M>N MA* GO + NU/ SA = + F L I UP AND D U / N . IN EVERY BUSSH OR UNDER EVERY TREE IN F+V_RT BU+S OR U+NDER E +V _R I T R E / + THER I S NOON OOTHER INCUBUS BUT HE, IER IZ NON 0 + ( E R I+ N K T * B U /S BUT H E / , AND HE NE WOL DOON HEM BUT DISHONOUR* AND H E / NE WOL DON HEM BUT D I+ S O N U /+ R * AND SO B I F E L IT THAT THIS KYNG ARTHOUR AND SO B I F E + L I T ) A T I I S KI+tfG A R I U / + R HADDE IN HIS HOUS A LUSTY 9 ACHELER, HA+DC IN HIZ HU/ + S A LU +STI 9A+T $ E L E R » . THAT ON A DAY CAM RIDYNGE FRO RYVERJ ) AT |N A DE*+'KAM RT /+ DIWG FRO RIV E+R J AND HAPPED THAT, ALLONE AS HE WAS BORN, AND HA +P>D ) A T , ALO + N_ AZ H E / WAZ BO + RN, .... HE SAUGH A MAYDE WALKYNGE HYM B IF O R N , H E / SA = + X A MA*+DC WAH.KItfG HIM B I F O + R N , OF WHICH MAYOE ANON, M A U GRE EHIR HEED, |V HWITS MA* 4- DC AN | +N , M A=GRE/+ HIR H E / + D , BY VERRAY FORCE, HE RAFTE H IR E MAYDENHEDJ BI VE+RA* F O + R S _ , H E / RA+FTC H _ / R _ MA*+DENHED; FOR WHICH OPPRESS IOUN WAS SWICH CLAMOUR FOR HWITS O P R E + S I / U / N WAZ SWITS KLAMU/+R AND SWICH PURSUTE UNTO THE KYNG ARTHOUR, AND SWITS P U R S U / + T _ UNTO + )> KI + *G A R I U / + R , THAT DAMPNED WAS T H IS KNYGHT FOR TO BE DEED, ) AT DA*MPN>D WAZ U S KN I/+ X T FOR TO B E / D E / + D C , BY COURS OF LAWE, AND SHOLDE HAN LOST H I S HEED ---- BI KU/ + RS |V LA= + , AND $OLD_ HAN L | + S T H I Z H E / + D PARAVENTURF. SWICH WAS THE STATUT THO — PARA + VENT I*+R C SWITS WAZ )> ST A+ TU /T >0 - BUT THAT THE QUEENE AND OTHERE LADYES MO BUT )AT )> KWE/+NC AND 0+<ER L | / + D I = S MO SO LONGE PREYEDEN THE KYNG OF GRACE, SO LO+#GC PRE*+ED>N )> K I+ # G |V G R | / + S C . T I L HE H I S LYF HYM GRAIJNTED IN THE PLACE, T I L H E / HIZ L I / + F HIM GRA=+NT>D IN )> P L | / + S C , AND YAF HYM TO THE OUEENE, AL AT HIR WILLE, ANO JA+F HIM TO >■> KWE/4NC, _ L AT HIR W I + L _ , TO CHESE WHEITHER SHE WOLDE HYM SAVE OR S P I L L E * TO T $ E / + Z _ HWE*+(ER $ E / WOLD_ HIM S | / + V _ OR S P I + L THE QUEENF THANKETH THE KYNG WITH AL HIR MYGHT, >> KWE/+N_ >A+«K>> )> KI+tfG WI( AL HIR M I / + X T , AND AFTER T H IS THUS SPAK SHE TO THE KNYGHT, AND A+PT>R U S ) US S P | / + K S E / TO )> K N I / + X T , WHAN THAT SHE SAUGH HIR TYME, UPON A DAY: HWAN ) AT S E / SA= + X H IR T I / + M _ , U P | + N A DE* + : ••THOU STANDEST Y E T , " QUOD S H E , " I N SWICH ARRAY •• ! U / STA+ND>ST J E T " KWO + D S E / , " IN SWITS ARE*+ THAT OF THY LYF YET HASTOW NO SURETEE* ) AT |V 1 1 / L I / + F J E T HA+STU/ NO SURTEZ+o I GRANTE THEE L Y F , IF THOU KANST TELLEN ME 1 / GRA4-NTC ) E / L I /-t-F« I F )U / KA + NST TE + L>N ME WHAT THYNG IS IT THAT WOMMEN MOOST DESI REN© HWAT ) I+tfG IZ IT ) AT WO+M>N MOST O E S I / + R > N o BE WAR, AND KEEP THY NEKKE-300N FROM IREN B E / WA+R, ANO K E / + ° > 1 / NE*K>BO+N FROM I / + R E N AND I F THOU KANST NAT TELLEN IT ANON, AND IF ) U / KA + NST NAT TE +L>N IT A N | + N , YET WOL I YEVE THEE LEVE FOR TO GCIN JET WOL 1 / JE+VC )'_/ LE/+VC FOR TO GO + N A TWELF-MONTH AND A DAY, TO SECHE AND LEERE A TWE + L F M | N ) AND A DE* + , TO S E / + K_ AND L E / + R _ AN ANSWEPE SU FFI SANT IN THIS MATEEREI AN A+NSWER S U + F IS A + N T IN ) I S M ATE/ +R C, AND SURETEE1 WOL I HAN1, ER THAT THOU PA CE, AND S U + R T E / WOL 1 / HA+N, ER ) AT ) U/ P | / + S C , THY BODY FOR TO YELDEN IN T H I S P L A C E * " U / B | + D I FOR TO J E / + L D > N IN ) I S P L J / + S C " WO WAS T H I S KNYGHT, AND SORWEFULLY HE SI K E T H I W0+ WAZ ) IS K N I / + X T , AND SO + RWFULI H E / S I / + K > U BUT WHAT HE MAY NOT DO AL AS HYM LIKETH# BUT HWAT H E / MA* NOT DO AL AZ HIM L I / + K > ) o AND AT THE LASTF. HE CHEES HYM FOR TO WENDE , AND AT )> LA + ST_ H E / T S E / + Z HIM FOR TO WE + ND_, AND COME AGAYN,. RIGHT AT THE YERES ENDE, AND KO+M_ AGE*+N, R I / + X T AT »> J E / + R > S E + N D _ , WITH SWICH AN SWF RE I AS GOD WOLDE HYM PURVEYE; W I( SWITS ANSWE + R_ AZ GO+D WOLD HIM PURVE*+ I WITH SWICH ANSWERE1 AS GOD WOLDE HYM PURVEYEI WI( SWITS ANS WE + R_ AZ GO + D WOLD_ HIM PURVE*+ , HE SFKETH EVERY HOUS AND FVERY PLACE “ H E / S E / + K > ) E+V >R _ H U / + S AND E+V Rl P L I / + S WHERE AS HE HOPETH FOR TO FYNDE GRACE, ” HWF+R_ AZ HE/ HO + P> ) FOR TO F I / + NOC G R | / + S , TO LERNF WHAT THYNG WOMMEN LOVEN MOOST1 J ~ TO LE + RNC HWAT ) I + #G WO+M>N LO +V> N -M 0 +ST-J - - - _____ BUT HE NE KOUDE ARRYVEN IN NO COOST BUT H E / NE KU/D _ A R I / F V > N IN NO K | + S T WHER AS HE MYGHTE FYNDE IN T H I S MATEERE HWER AZ H E / M I/+ X TC F I / * N D _ IN I I S MATE/+R TWO CREATURES ACCORDYNGE IN-F EERE * ” TWO + K R E / + A T I * + R > S A+KOROI+#G_ I N F E / + R • SOMME SEYDE WOMMEN LOVEN BEST R ICH ESS ET SOM^ SE*+DC WO+M>N LO+V>N 0E+S T R I / T S E + S _ . SOMME SEYDE HONOUR1♦ SOMME SEYDE HOLYNESSE. SOM_ SE+ + DC O -f N _ / R , SOM_ SE* + DC H O + L I N E + S _ , SOMME RICHE ARRAY« SOMME SEYDEN LUST ABEDDE. SOM_ R I / + T $ _ A R E * + . SOM_ SET +D>N LU + ST ABETD_• AND OFTETYME TO BE WYDWE AND WEDDE* AND I + F T E T I / + M C TO B E / WT+DW_ AND WE+D_* SOMME SEYDE THAT OURE HERTES BEEN MOOST ESED S_MC SE* + D_ ) AT 0*RC HE + RT>S BE /N MOST E / + Z _ D WHAN THAT WE BEEN YFLATERFD AND YPLESED* HWAN ) AT WE/ B E / N IFLAFTERD AND I P L E / + Z > D * HE GOOTH FUL NY THE SOTHE. I WOL NAT LYE* H E / GO+) FUL N I / )> S O + > _ , 1 / WOL NAT L I / + _ . A MAN SHAL WYNNE US BEST WITH FLA TER YE I A MA4-N SAL WI+N_ US BE+ST WI( FL A+TE R I /■»•_ { AND WITH ATTENDANCE. AND WITH B I S Y N E S S E . • AND WI< ATF+NDANTS * AND WI( B H - Z I N E + SC, BEEN WE YLYMED. BOTHE MOORE AND LES SE* ......... B E / N WE/ I L I / + M > D , B O f I C MO + R_ AND’ LE + Sj_* AND SOMME SEYEN THAT WE LOVEN BEST AND SOMC SE*-«->N ) At WE/ LO + V>N BE+ST FOR TO BE F R E E , AND DO RIGHT AS US L E S T , C FOR TO B E / F R E / + . AND DO R I / + XT AZ US L _ S T , AND THAT NO MAN R E P R E V E US OF OURE V I C E , AND I AT NO MA+N REPRE / + V_ US |V 0 * R _ V I / + S _ , BUT SEYE THAT WE BE W IS E , AND NO THYNG NYCE* BUT S E * + _ ) AT WE/ B E / W I / * Z _ , AND NO >H-#G N I / + S _ FOR TREWELY THER IS NOON OF US ALLE, FOR T R E= + EL I IER IZ NON |V US | / + L C , IF ANY WIGHT WOL CLAWE US ON THE GALLE, IF A+NI W I /+ X T WOL KLA=+_ US |N )> G | / + L _ , THAT WE NEL K f K E , FOR HE SEI TH US SOOTH* ) A T WE/ NEL KI + KC, FOR H E / SE+'+I US SO +)* ASSAY, AND HE SHAL FYNDE IT THAT SO DOOTHi; A S E * + , AND H E / SAL F I / + N D _ IT ) AT SO DO+)J FO R , BE WE NEVER SO VICIO US WITHINNE, FOR, B E / WE/ NE + VER SO V I S J O + + S W K I + N C , WE WOL BEEN HOLDEN WISE AND CLENE OF SYNNE* WE/ WOL B E /N HO+LD>N W I / + Z _ ANO K L E / + N _ |V S I + N > AND SOMME SEYN THAT GREET DELIT HAN WE ANO SOMC SE* + N » AT GRE/T DEL I / *T HAN WE/ FOR TO BEEN ’HOLDEN STABLE, AND EEK SEC REE, FOR TO BE /N HO + L D>N S T | / + B L _ , AND E / K S EK R E/ + , AND IN O PURPOS STEDEFASTLY TO DWELLE, AND IN 0 PU4-PPOS STE+DFASTLI t o DWE+LC, AND NAT BIWREYE THYNG THAT MEN US TELLE* AND NAT BIWRE* + JC. ) I ♦ #G ) AT MEN US TE+LC* BUT THAT TALE IS NAT WORTH A RAKE-STELE* BUT I A T T | / + LC IZ NAT WO+RI A R | / + K > S T E /+ L C * PAR DEE, WE WOMMEN KONNE NO THYNG HELE5 P A R D E / F . WE/ WO+M>M KO+NC NO I I + ^ G H E / + L C I WITNESSE ON MYDA , — WOL YE HEERE THE TALE? WIT NE + S_ |N M I / + D A , - WOL J E / H E / + R_ )> T | / + L _ ? OVYDE, AMONGES OTHEPE THYNGES SMALE, O V I / F D . AM|FWG>S 0 + ( E R > I+ * G > S SMA+LC, SEYDE MYOA HA D D F , UNDER HIS LONGE HERES, S E * F O _ MI/+DA H A *D _, U+NDER H I Z LO+tfGC HE+R S, GROWYNGE UPON H I S HEED TWO ASSES E R E S , G R U / F I 0 G U P l + N HIZ HE/+D TWO+ A+3>Z E + R > S , THE WHICHE VICE HE HYDDE. AS HE BEST MYGHTE, )> HWI+TSC V I / + S C H _ / H I + D _ , AZ H E / BE+ST M I/+ X T FUL SUBTILLY FROM EVERY MANNES S I G H T E . FUL S U + B T I L I FROM E+V_ RI MA*N>S S I / + X T , “ 2 2 5 CHAUCFR SAMPLE 5 THER WAS IN AS YF « IN A GREET C I T E E t ) ER WAZ IN A + Z I = , IN A G RE /T S I / T E / + . • AMONGES C RI ST EN E FOLK. A JEWERYE. A M |+ « G > S K R I+ S T > N F O + L K . A D G U / + E R I / + C . SUSTENED BY A LORO OF THAT CONTREE S U S T E / + N > D BI A LO + RD |V ) AT KONTRE/ + FOR FOULE USURE AND LUCRE OP VILEYNYE1. FOR F U / + L _ U S U / + R _ ANO L U / + K R „ |V V I+ L E * N I / + _ . HATEFUL TO C R I S T ANO TO H I S COMPAIGNYEJ H | / + T>PUL TO K R I / + S T AND TO HIZ KO+MPA*NI / +C » AND THURGH THE STRFTE MEN MYGHTE RIDE OR WENOE. AND ) UR X ) > S T R E / + T _ MEN M I / + X T C R I / + D._ OR WE + ND FOR IT WAS FREE AND OPEN AT EYTHER ENDE# FOR IT WAZ F R E / + AND 0 + P _ N AT E * + ( E R F+ND_# A L I T E L SCOLE OF CRISTEN FOLK THER STOOD A L I + T E L SKO+L_ |V KRI +ST>N FO+LK I ER STO+D DOUN AT THE FERTHER E N D E . IN WHICH THER WERE DU/N AT )> F E + R ( ER E+NDC. IN HWITS ) ER W_R_ CHILDREN AN H F E P . YCCMEN CF CR IS TE N BLOOD. T S I + L D R E N AN H E / + P . IKO+M_N |V K R I+ S T > N BLO^D . THAT LERNED IN THAT SC OLE- YEER BY YERE ) AT LE +RN>D IN ) AT SKO+LC J E / + R BI J E / + RC SWICH MANFRE1 DOCTRINE AS MEN USED THERE. SWITS MA+NER 0 | + K T R I / N AZ MEN U / + S > D )ERC. T H I S I S TO SEYN, TO SYNGEN AND TO REDE. I I S IZ TO S E * + N . TO S I + # G > N AND TO R E / + D C . AS SMALE CHILDREN DOON IN HI RE CHILOHED E• AZ SMA+LC TS I+ LDR EN D_N IN H I / R C T $ I L D H E / + D _ # AMONG T H I S E CHILDREN WAS A WYDWES SONE. AM|+ *G ) I / Z TSI+ LDR EN WAZ A WI+DW>S SO + N_. - A L I T E L CLERGEON, SEVEN YEER OF AGE, A L I + T E L K L E + R D Q _ / | N . SE+VEN J E / + R j v | / + D Q _ . THAT DAY BY DAY TO SCOLE WAS H IS WONE, ) AT DE* + BI DE++ TO SKO + LC WAZ HIZ W | + N C « AND EEK ALSO, WHERE AS HE SAUGH THYMAGE AND E / K A L S O + , HWE+R_ AZ H E / SA=+X ) I M | / + D O _ OF C R I S T E S MOODER. HADDE HE IN USAGE, |V K R I / + S T > S MO+DER. HA+D_ HE/ IN U / S | / + D Q _ , AS HYM WAS TAUGHT,- TO KNELE ADOUN AND SEYE AZ HIM WAZ TA=+XT, TO K N E / + L _ ADU/+N AND S E * + _ H I S AVE MARIE, AS HE GOTH BY THE WEYE• HIZ A + VE / MA+RI=» AZ HE / G O + ) BI >> WE*+C» THUS HATH T H I S WYDWE HIR L I T E L SONE YTAUGHT IUS HA) ) IS WI+DW_ HIR L I + T E L SO+M_ ITA=+XT OURE B L I S F U L LADY, C R I S T E S MOODER DEERE, 0 * R _ B L I + S F U L L | / + D I » K R I / + S T > S MO+DER D E / + R _ . TO WORSHIPS AY, ANO HE FORGAT IT NAUGHT. TO WO+RSIP A * , AND HE/ FORGA+T IT NA=+XT, FOR SELY CHILD WOL ALDAY SOONE L E E R E . FOR S E + L I T S I / + L D WOL A+LDE* SO+NC L E/+ R C # BUT AY, WHAN I REMEMBRE ON T H I S MATEERE, BUT A * . HWAN 1 / REME + M3R_ |N ) I S MAT E / + R _ , S E IN T NICHOLAS STANT EVERE IN MY PRESENCE. SE* NT N I + K _ L A S . ST A + NT E + VER_ IN MI PREZE + N T Z _ , _ FOR HE SO YONG TO C R IS T DIDE REVERENCE# FOR H E / SO J |+ W G TO K R I / + S T D r / D _ R E + VERE+NTZ_# T H I S L I T E L C H I L D . H I S L I T E L DOOK LERNYNGE, ) I S L I + T E L T S I / + L D , HIZ L I + T E L BO+K LERNI+VGC, AS HE SAT IN THE SCOLE AT H I S PRYMER. AZ H E / SA«-T IN )> SKO + LC AT H I Z PR IM E+R. HE ALMA REDEMPTORIS HERDE SYNGE* HE / A + LMA RE+DEMPTO+RIS HE+RDC S I + # GC. AS CHILDREN LERNED HIRE ANT IPHONER• AZ T S I+ LD R EN LE + RN>0 H I / R _ ANT I + F | N E / + RJ AND AS HE DORSTE. HE DROUGH HYM NER AND N E R . AND AZ H E / DO+RST • H E / DRU/+X HIM NE+R AND NE+R* AND HERKNED AY THE WORDES AND THE NOOTE« AND HE+RKN>D A* »> WO+RD>S AND >> NO+TC* T I L HE THE E I R S T E VERS KOUDE AL BY ROTE* T I L H E / >> F I + R S T C VE+RS K U /D _ AL BI RO+” _* NOGHT WISTE HE WHAT T H I S LATYN WAS TO S E Y E . NOXT W I + S T _ H E / HWAT M S L A+T IN WAZ TO S E * + _ , FOR HE SO YONG AND TENORE WAS OF AGE* FOR H E / SO J j + #G AND TE+ NDR> WAZ |V | / + D Q C * BUT ON A DAY H IS FELAWE GAN HE PREYE BUT |N A DE*+ HIZ FE+LA= GAN H E / PRE*+C TEXPOUNDEN HYM T H IS SONG IN H I S LANGAGE. TEKSPU /+ND>N HIM U S S | + 0 G IN HIZ L A W G | / + DOC. OR TELLE HYM WHY THIS SONG WAS IN USAGE! OR TE + L _ HIM HW I/+ ) I S S | + * G WAZ IN U / S | / + DQ_J T H I S PREYDE HE HYM TO CONSTRUE AND DECLARE M S PRE* + DC H _ / HIM TO KO + NSTRU/ AND D E K L | / + R _ FUL OFTEN TYME UPON H I S KNOWFS BARE* FUL l + F T E N T I / + M _ U P | + N HIZ KNO*+>S BA+R_* H I S FELAWE* WHICH THAT ELDER WAS THAN H E . HIZ FE +LA = , HWITS ) AT E+LDER WAZ ) A N H E / . ANSWERDE HYM THUS*. ••THIS SONG. I HAVE HERD .SEYE. ANSWE + RDC HIM I _ S ! •• M S S| + W G . 1 / H AV_ HE+RD S E * + _ WAS MAKED OR OUR BLI SFU L LADY FR E E , WAZ M | / + K>D |V 0* R BLI + SFUL L | / + D I F R E / + . HIRE TO SALUE, AND EEK HIRE FOR TO PREYE H I / R C TO S _ L I * + . AND E/K H_/RC 'FOR TO P R E * + _ • TO BEEN1 OURF: HELP AND SOCOUR WHAN WE DEYE* TO B E / + N 0 * P _ HE+LP AND SO+KU/R HWAN WE/ DE *+_* I KAN NAMOORE EXPOUNDE IN T H I S MATFERF! 1 / KA + N NAMOfR_ E K S P U / + ND_ IN I I S MAT E / + R_ » I LERNE SONG, I KAN 1 BUT SMAL GRAMMEERE." 1 / LE + RNC. S l + f f G , 1 / KAN BUT SMA+L GRAME/+RC" ••AND I S T H I S SONG MAKED IN REVERENCE •• AND IZ M S S|+WG M | / + K >D IN RE+VERE+NTZE OF C R I S T E S MOODER?" SEYDE T H I S INNOCENT* fV K R I / + ST>S MO+DER" SE*+DC M S I+NOSENT* ••NOW, CE RT ES, I WOL DO MY DILIGENCE •• N U / , SE + R T I / Z , IV WOL DO MI D I+L I OQE + NTS E TO KONNE IT AL ER CPISTEMASSE BE WENT* TO KO+N_ IT AL ER KRI +STEMA+ S_ B E / WE+NT* THOUGH THAT I FOR MY PRY MER1 SHAL BE S H E N T . )U/ ) A T 1 / F’OR MI PRI+MER SAL O F / S E + N T , AND SHAL BE BETEN THRIES IN AN HOURE, ANO SAL B E / B E / + T > N > R I+ > S IN AN U / + R C , I WOL IT KONNE OURE LADY FOR to HONOURE " 1 / WOL IT KO+N _ * R C L | / + D I FOR T_ O N U / + R _ " H I S FELAWE TAUGHTE HYM HOMWARO P R I V E L Y , HIZ F E+ LA= TA=+XTC HIM HO+MWARD P R I + V E L I . FRO DAY TO DAY, T I L HE KOUDE IT BY ROTE, FRO DE*+ TO DE* + . T I L H E / KU/DC IT 9 _ R O + T _ , AND THANNE HE SONG IT WEL AND BOLDELY. AND ) A NC H E / S | + # G IT WEL AND RO + L D E L I , FRO WORD TO WORD. ACORDYNGE WITH THE NOTE* FRO WO+RD TO WO+RD, AKO+RDI#G WI( )> NO+TCo TWIES A DAY IT PASSED THURGH H I S THROTE, T W I / + >S A DE* + IT PA + S>D )IJRX HIZ IRO + T C , TO SCOLEWARD AND HOMWARD WHAN HE WENTEJ TO SKO+LEWARD AND HO+MWARD HWAN H E / WE + NTC*, ON C R I S T E S MOODER SET WAS H IS ENTENTE. IN K R I / + ST>S MO+DER SE+T WAZ HIZ ENTE + NTC* AS I HAVE SE Y D , THUPGHQUT THE J U E R I E . AZ _ / HAVC SE* +D , IURXU/+T )> DOU/ + E R I / + . T H I S L I T F L C H I L D , AS HE CAM TO AND FRO, M S L I + T E L T S I / + LD, AZ H E / KAM TO AND F R O , FUL MURILY THAN WOLDE HE SYNGE AND CR IE FUL MU+RILI ) AN WOLD_ H E / S I + #G AND K R I / + _ O ALMA REDEMPTORIS EVEREMO* 0 A+LMA RE+DEMPTO+RIS E+V_REMO+* ■THE SWETNESSE HATH H I S HERTE PERCED SO )> SWE/+TNES HA) HI Z HE+RTC PE+RS>D SO OF C R I S T E S MOODER THAT* TO HIRE TO PRE YE, |V K R I / + S T > S MO+DER ) AT , T_ H I / R C TO P R E * + _ , HE KAN NAT STYNTE OF SYNGYNG BY THE WEYE* H E / KA+N NAT S T I + N T _ |V S I + * G I * G BI )> WE*+_* OURE F I R S T E FOO. THE SERPENT SATHANAS, 0*R F I + R S T C FO+. )> SE+RPENT SA+TANA+S. THAT HATH 1 IN J U E S HERTE H I S WASPES NE ST, ) AT HA +) IN DQU/+>S HE + RT_ HIZ WA + S P > S NE + S T , UP SWAL, AND S E I D E , " 0 HE BRAYK P E P L E . ALLAS UP SWA+L, AND SE*+D , •• O H E / + ORA*K P E / + P L C , _L A + S I S T H I S TO YOW A THYNG THAT I S HONEST, IZ >IS TO JO* A ) I + #G ) AT IZ |NE + ST , THAT SWICH A BOY SHAL WALKEN AS HYM LEST ) AT SWITS A B0= + SAL WA+LK>N AZ HIM LEST IN YOURE D E S P I T , ANO SYNGE OF SWICH SEN TENCE, IN JO R_ D E S P I / + T , AND SI+<*G_ |V SWITS SENTE + N T Z _ . WHICH IS AGAYN YOURE LAWES REVERENCE?" HWITS IZ AGE*+N J_RC LA=+>S RE+ VER E+ NT Z_" ^ FRO THENNES FORTH THE JU E S HAN CONSPIRED FRO ) E + N> S FO + R) )> DQU/ + >S HAN Ki3 N S P I / + R > D T H I S INNOCENT OUT OF T H IS WORLD TO CHACF.* I I S I+NOSENT U/T |V ) I S WO+RLD TO T $ | / + S C * AN HOMYCIDE THERTO HAN THEY HYRED. AN HO + M I S I / + DC ) E + RTO HAN ) E * H I / + R>D, THAT IN AN ALEYE HA DDE A P RI V EE PLACE? )AT IN AN A+LE* HA+0_ A P R I f V E / P L | / + S _ ? AND AS THE CHILD GAN FORBY FOR TO P ACE, AND AZ )> T S I / + L D GAN F O + R B I / FOR TO P | / + S C , T H I S CURSED JEW HYM HENTE , AND HEELD HYM F A S T E , I I S KU+RS>D D Q U / + HIM HE +N T_, AND H E /+ L D HIM FA+ST AND K I T T F H I S THROTE, AND IN A P I T HYM CASTE* AND K I + T_ HIZ ) RO + T C , AND __N A P I +T HIM KA+ST_* 1 SEYE THAT IN A WARDROBE THEY HYM THREWE 1 / SF *+ C ) AT _N A WA+RDROB » E* HIM ) RE=+_ WHERE AS T H I S E JEWES PURGEN HIRE E N T R A I L L E • HWE +R_ AZ ) I / Z _ D QU/+>S PU/+RG_N H I / R C ENTRA + +L_* O CURSED FOLK OF HEPODES AL NEWE, O KU + RS>D FO+LK |V HE+RODES AL NE = + C , WHAT MAY YOURE YVEL ENTENTE YOW AVAILLE? HWAT MA* JOR_ I / + V _ L FNTE+NTC JO * A V F * + L _ ? MORDRF WOL OUT, CEPTEYN, IT WOL NAT F A I L L E , MO+RDRC WOL U / T , S E + R T E / N , IT WOL NAT F A * + L C , AND NAMELY THER T HONOUR OF GOD SHAL SPREDE? AND N | / + ML I ) ER )ONU/ + R |V GO + D SAL SPRE + DC? THE BLOOD OUT CRIETH ON YOURE.CURSED DEDE* >> BLO+D U/T K R I / + > ) |N J_RC KU + RS>D DE/ + D_* O MARTIR, SOWDED TO V I R G I N I T E E , O MA + R T I R , S U / + D>D TO V I R D Q I + N I T E / , NOW MAYSTOW SYNGEN, FOLWYNGE1 EVERE IN OCN NU/ MA * + STOW SI + #G>N, FO+LWItfG E+ V_R _ IN 0 + N THE WHITE LAMB C ELF ST IAL — QUOD SHE — )> H W I/+ TC LA+MB S E L E + S T I / A L - KWO+D S E / - OF WHICH THE GRETE FVAUNGELIST, S EIN T JO H N , |V HWITS )> G R E / + T _ E V A =+ NDQ ELIS T, SE*NT DQO+Nu IN PATHMOS WROOT, WHICH S E I T H THAT THEY THAT GOON IN PA + ) MOS WRO + T, HWITS SE* + > ) AT )E * ) AT GO + N BIFORN T H I S LAMB, AND SYNGE A SONG AL NEWE, B I F O + RN ) T S LA + MB, AND S I + »G_ A S | + # G AL N E = + _ , THAT NEVERE, FLESS HLY, WOMMEN THFY NE KNEWE* ) AT NE+VER, F L E + S L I , WO+M>N ) E * NE KNE=+C* T H I S POURE WYDWE AWAITETH AL THAT NYGHT > IS P U / + RC WI+DW_ A WE* + T > ) AL ) A T N I / + X T AFTER HIR L I T F L C H IL D , BUT HE CAM NOGHT? A + FT>R HIR L I + T E L T S I / + L D , BUT H E / KAM NOXT? 228 CHAUCER SAMPLE 6 THE LYF SO SHORT, THE CRAFT SO LONG TO LERNE , ) > L I / + F SO SO+RT, )> KRA+FT SO LO + 0G TO L E + R N C , THASSAY SO HARD, SO SHARP THE CONQUERYNGE, IASA*+ SO HA4-RD, SO *A + RP )> K | + WKER I #GC , THE DREDFUL J O Y E , ALWEY THAT S L I T SO YERNE: )> DRE/+DFUL DQO=+_, ALWE++ I AT SLI + T SO J E + R N _ : AL T H I S MENE I BY LOVE, THAT MY FELYNGE AL U S ME/+NC 1 / BI LO+VC, ) AT MI F E L I + # G C ASTONYETH WITH H I S WONDERFUL WERKYNGE AST J + N _ / > 1 WI( H I Z W | +NDERFUL WERKI+#G_ SO S O R E , I W I S , THAT WHAN I ON HYM THYNKE, SO SO+R , I W I + S , ) AT HWAN 1 / |N HIM >I+WK_. NAT WOT"l WEL WHER THAT I FLETE OR SYNKE. NAT W | +T 1 / WEL HWER ) AT 1 / FLE ++T OR S I + # K _ . - FOR AL BE THAT I KNOWE NAT LOVE IN DEDE, FOR AL B E / IAT 1 / KNO*+_ NAT LO+V_ IN D E / + D , NE WOT HOW THAT HE OUITETH FOLK HERE H Y R E , . NE W | + T . H U / ) AT HE/ K W I / + T > ) FO+LK HE+R_ H l / + R _ , . . Y I T HAPPETH ME FUL OFTE IN BOKES REEDE J I T HA +P> ) ME FUL | + F T _ IN BO + K>S R E / + D_ OF H I S MYRAKLES ANO HTS CREWEL YRE. |V H I Z M I/+ R A K L > S AND H I Z KRE=+EL I / + R C o THERE REDE I WEL HE WOL BE LORD AND SYREJ ) RC R E / + D_ 1 / WEL H E / WOL B E / LO+RD AND S I / + R _ * , I DAR NAT SEYN, H I S STROKES BEEN SO SORE, 1 / D I / +R NAT SE* + N • HIZ STRO+K>S OE/N SO SO +R C, BUT "GOO SAVE SWICH A LORD " — I CAN NA MOORE. BUT " GO+D S | / + V _ S W I T I A LO+RD" - 1 / KAN NA MO+ OF USAGE — WHAT FOR LUST AND WHAT FOR LORE ---- IV U / S | / + DO - HWAT FOR LU+ST AND HWAT FOR LO + R_ ON BOKES REDE I . O F T E , AS I YOW TOLDE. | N BO + K> S R E / + D_ 1 / I + F T _ , AZ 1 / JO* TO +L D_. BUT WHERFORE THAT I SPEKE AL T H I S ? NAT YOORE BUT HWE + RFOR I AT 1 / S P E / + K_ AL ) I S ? NAT J_ R C AGON, IT HAPPEDE ME FOR TO BEHOLDE A G | + N , I T HA+ P>D ME FOR TO BEHO + LDC UPON A BOK, WAS WRITE WITH LETTRES OLDE, U P | + N A BO+K, WAZ W R I / + T _ WI( LE+TR>S | + L D _ , AND THERUPON, A CFRTEYN THING TO LERNE, AND ) E + R U P | N , A S E + R T E /N >l + #G TO LE+RNC, THE LONGE DAY FUL FASTE I PCDDE AND YERNE. I> LO+tfGC OE*+ FUL F A + S T _ 1 / RE + D_ AND J E + R N _ . FOR OUT OF OLDE FE LD ES, AS MEN SEYTH, FOP U / T |V l+LDC F E / + LD> S , AZ MEN S E * + ) , COMETH AL T H I S NEWE CORN FRDM YER TO YERE, KO+M ) AL ) I S NE=+C KO+RN FROM J E / + P TO J E / + R _ , AND OUT OF OLDE BOKES, IN GOOD FEYTH, AND U / T |V l+LDC DO+K>S, IN GO+D F E * + > , AND OUT OF OLDE BOKES, IN GOOD FEYTH AND U/T |V l+LDC B O+ K>S , IN GO+D F E * + I BUT NOW TO PURPQS AS OF T H I S MATEREI BUT N U / TO PU+RPOS AZ |V I I S MATE/+RC* TO REDE FORTH H IT GAN ME SO D E L I T E , TO RE /+ D C F O + R I . H I T GAN ME SO D E L I / + T C , THAT AL THAT DAY ME THOUGHTE BUT A LYTE, ) AT AL ) A T DE*+ ME IO*+XTC BUT A L I / + T C . T H I S BOK OF WHICH I MAKE MENCIOUN I I S BO + K |V HWITS 1 / M | / + K C M E + N S I / U / N E N T IT L E D WAS AL THUS AS I SHAL TELLEJ E N T I / + T L > D WAZ AL )US AZ 1 / SAL T E + L C : “ TULLYUS OF THE OREM OF S C I P I O U N . " •« T U + L I / U / S |V )> DRE/+M |V S I + P I / U / N " C H A P IT R E S SEVENS IT HADDE, OF HEVENE AND HELLE T SAP I / + T P >S SE+V_N IT HA+D _, |V HE+V_N AND HE + L AND E RTH E, AND SOULES THAT THERINNE DWELLE. AND E + R > _ . AND S U / + L > S > AT I E R I + N C DWE+L_. OF WHICHF, AS SHORTLY AS I CAN IT T R E T E * |V H W I + T S _ . AZ SO+RTLI AZ 1 / KAN IT T R E / + T _ , OF H I S SENTENCE I WOL YOW SEYN THE GREETE. |V HIZ SENTE +NT Z_ 1 / WOL J O * SE * + N ) > G R E / + T _ . FYRST TELLETH I T , WHAN S C I P I O N WAS COME F I 4-RST TFM_>) I T , HWAN S I + P I / O N WAZ KO+MC IN A F F R I K E , HOW HE METETH M A S S Y N I S S E , IN A + F R I K C , H _ / H E / M E / + T > ) M A + S I N I + S _ . THAT HYM FOR J O I E IN ARMES HATH INOMEJ ) AT HIM FOR DOO=+C _N A+RM>S HA) INO+M_5 THANNE TELLETH IT HERE SPECHE AND AL THE BLYSSE )_NC TE+L ) IT HE + RC S P E / + T $ _ AND AL )> B L I + S _ THAT WAS BETWIX HEM T I L THE DAY GAN MYSSE, ) AT WAZ BETWI+KS HEM T I L ’ )> DE* + GAN M l + S C , AND HOW HIS AUNCESTRE, AFFRYCAN SO D EERE, AND H _ / HIZ A=NSE+STRC, A +F RIKA + N SO D E / + R _ , GAN IN H I S SLEP THAT NYGHT TO HYM APE RE . GAN IN H I Z S L E / + P ) AT N I / + X T TO HIM A P E / + R C . THANNE TELLETH IT THAT, FROM A STERRY PLACE, ) NC TE + L >) IT ) A T , FROM A S T E + R I P L l / + S _ , HOW AFFRYCAN HATH HYM CARTAGE SHEWED, HU/ A + F R I KA + N HA) HIM KARTA+DQC $ E = + > D , AND WARNEDE HYM REFORN OF AL H I S GRACE, AND WA + RN>D HIM BEFO+RN |V AL HIZ G R | / + S C , AND SEYDE HYM WHAT MAN, LERED OTHER LEWED AND SE *+ D C HIM HWAT MA+N, L E + R _ D 0+ {ER L E = + _ D THAT LOVEDE COMMUNE PROFYT, WEL ITHEWED, ) AT LO+VDC KO+MU/N PR | 4-F I T , WEL I > E = + > D , HE SHULDE INTO A BLYSFUL PLACE WENDE , H E / SULD_ INTO* A B L I + S F U L P L | / + S C WE+ND_« THERE AS JOYE IS THAT LAST WITHOUTEN ENDE. ) R_ AZ DQO=+C IZ ) AT LA + ST W I ( U / + T > N E + N D _ . THANNE AXEDE HE I F FOLK THAT HERE BEEN DEDE ) AN_ A+KS>D H E / IF FO+LK ) AT HE +R _ B E / N D E / + D_ HAN LYF AND DWELLYNGE1 IN ANOTHER P LA C E. HAN L I / + F AND DWE+LIWG IN A N | + O R P L | / + S C . AND AFFRICAN SEYDE, " Y E , WITHOUTEN D R E D E , " AND A + F R I KA + N S E * + D _ , " J E / , W I ( U / + T > N DR E/ + D •• AND THAT OURE PRESENT WORLDES LYVES SPACE AND ) AT 0 * R _ PRE+ZENT WO+RLD>S L I / + V > S S P | / + S N I S BUT A MANER DETH, WHAT WEY WE TRACE, N I S BUT A MA+NER D E / + ) , HWAT WE*+ WE/ T R | / + S C , AND RIGHTFUL FOLK SHUL GON, AFTER THEY DYE, AND R I / + XTFUL FO + LK SUL GO+N, A + FT>R ) E * D I / + C , TO HEVENE; AND SHEWEDE HYM THE GALAXYE. TO HE + V_NJ AND SE= +>D HIM )> GA + L A K S I / + _ . THANNE SHEWEDE HE HYM THE LYTFL ERTHE THAT HER ) AN SE = + > D H _ / HIM )> L I + T E L E + R ) _ ) AT HER _ Z , AT REGARD OF THE HEVENFS QUANTITE J AT REGA+RD |V )> HE+V>N>S KW A +N T IT E /+ 5 AND AFTER SHEWEDE HE HYM THE NYNE S P E R E S , AND A+FT>R SE=+>D H _ / HIM )> N I / + N C S P E / + R _ S , AND AFTER THAT THE MELODYE HERDE HE AND A+FT>R ) A T )> ME+LODI/ + C HE + RDC HE / THAT COMETH OF THILKE SP ERE S THRYES THRE, )AT KO+M_) |V ) I+LK C S P E / + R>S ) R I / + > S I R E / + , THAT WELLE IS OF MUSIK AND MELODYE )AT WE +L._ IZ |V M U / Z I / + K AND M E + L O D I / + ' IN. T H I S WORLD HERE, AND CAUSE OF ARMONYEo IN ) I S WO + RLD HE + R _ , AND K A =+ Z_ |V A+RMONI/+ . THAN BAD HE HYM, SYN ERTHE WAS SO L Y T F , IAN BA+D HE/ HIM, S I N E + R ) C WAZ SO L I / + T C , AND FUL OF TORMENT AND OF HARDE GRACE, AND FUL |V TO+RMENTAND | V HA+RDC G R | / + S C , --------------- THAT “HE"NE SHOLOE"HYM I N~ THE WORtO^DEtrYTE*-------------------- ) AT H _ / NE SULDC HIM IN )> WO+RLD D E L I / + T _ , THANNE TOLDE HE HYM* IN CERTEYN YERES SPACE >AN_ TO+LDC H _ / H I M , IN S E + R T E / N J F / + R > S S P | / + S _ THAT EVERY STERRE SHULDE COME INTO H I S PLACE ) AT E f V _ P I STE+R SULD KO+M_ INTO + H I Z P L | / + S _ THER IT WAS F I R S T . ANO~AL SHULDE OUT OF MYNDE )ER IT WAZ F I + R S T , ANO AL $ULD _ U /T |V M I /+ N D _ THAT IN T H I S WORLD IS DON OF AL MANKYNDE, ) AT IN M S WO+RLD I Z DO + N |V AL MANKI/+NDC, THANNE PREYEOE HYM SC I P ION TO TELLE HYM AL !AN_ P R E * + D _ HIM S I + P I / O N TO TE+LC H_M AL THE WEY TO COME INTO THAT HEVENE B L I S S E * )> WE*+ TO KO+M_ IN TO + ) AT HE+V>N B L I + S _ * AND HE SEYDE, "KNOW THYSELF F I R S T IMMORTAL, AND H E / S E * + D _ , " KNO* + M / S E + L F F I + R S T I + M O R T | / + L i AND LOKE AY BESYLY THOW WERCHE AND WYSSE AND LO+K_ A T ' B E + S I L I >U / WE+RK_ AND W I+ S _ TO COMMUNE P R O F I T . AND THOW SHALT NOT MYSSE TO KO+MU/N P R | + F I T , AND ) U / SALT NOT MI+SC TO COMEN SWIFTLY TO THAT PLACE DEERE. TO KO + M>N S W I + F T L I TO ) AT P L | / + S C D E / + RC THAT FUL OF BLYSSF IS AND OF S O U L E S • CL EERE• ) AT FUL |V B L I + S _ IZ AND |V S U / + L > S K L E / + R _ , "BUT BREKERS OF THE LAWE, SOTH TO SEYNE. " BUT B R E / + KE RZ lV )> LA=+C, S O + ) TO SE + + NC. AND LIKEROUS FOLK, AFTER THAT THEY BEN DEDE, AND L I + K E R U / S F O+ LK , A+FT_R ) AT ) E* BEN DE/+D , SHUL WHIPLE ABOUTE THERTHE ALWEY IN PEYNE. SUL HWI+RL_ ABU/+TC ) E + R ) _ ALWE++ IN P E * + N , TYL MANY A WOPLD BE P A S S E D , OUT OF DREDE, TIL MA+N_ A WO + RLD B E / PA + S > D , U /T |V DR E/ +D_ » AND THAN, FORYEVEN AL HIR WIKKED DEDE, AND JAN, F OP J E+V > N AL HIR WI+K>D D E /+ D C , THAN SHUL THEY COME INTO TH IS BLYSFUL PLAC E, ) AN SUL ) E * KO+M_ INTO+ M S B L I+ S F U L P L | / + S__, TO WHICH TO COMEN GOD THE SENDE HIS G R A C F ." TO HWITS TO KQ +M>N GO + D )> SE+ ND_ H I Z G R | / + S _ " THE DAY GAN FAYLEN. AND THE DFRKE NYGHT, )> DE*+ GAN F A * + L > N . AND )> DE+RKC N I / + X T , THAT REVETH BE STES FROM HERE BESYN ESSE, J AT R E / + V > ) B E + ST>S FROM HF + R_ B E + S I N E + S _ , BERAFTE ME MY BOK FOR LAK OF LYGHT, BERA+FTC ME MI BO+K FOR LA+K |V L I / + X T , AND TO MY BED I GAN ME FOR TO DRESS E. ANO TO MI BE+D 1 / GAN ME FOR TO DRF+SC, FULFYLD OF THOUGHT AND BUSY HEVYNESSE; FU LFI + LD |V ) 0 * + XT AND B I + Z I HE + VINE + SCI FOR BOTHF I HADDE THYNG WHICH THAT I NOLDE, FOR B0+ ) C _ / HA + DC M+WG HWITS ) AT 1 / NO+LD_, AND EK I NADDE THAT THYNG THAT I WOLDE, AND E / K 1 / NA + DC ) A T ) I +VG ) A T 1 / WOLDCo BUT FYNALLY, MY S P I R I T AT THF LA ST E, BUT F I / + N A L I , MI S P I + P I T AT ) > L A +S TC, FOR WERY OF MY LABOUR AL THE DAY, FOR WE+RI |V MI L | / +B U /R AL )> DE *+, TDK R E S T E . THAT MADE ME TO SLEPE PA S T E , TO+K RE+ST , ) AT M | / + D C ME TO S L E / + P C F A + S T _ , AND IN MY SL E P I METT F, AS THAT I LAY, AND IN MI S L E / + P 1 / M E+T_ , AZ ) AT 1 / L A * + , HOW AFF RICAN, RYGHT IN THE SELVE ARAY HU/ A + F R I K A + N . R I / + X T IN )> SE+LVC _ R E * + THAT S C I P I ON HYM SAY BYFORE THAT TYDE, ) AT S I + P I / O N HIM SA *+ B I F 0 + R_ ) AT T I / + D , WAS COME AND STOD RIGHT AT MY BEDDES SYDE# WAZ KO+M_ AND STO+D R I / + X T AT MI BE+D>S S I / + D _ , THE WERY HUNTERE. SLEPYNGF IN H I S BED, )> WE+RI HU+NTER. S L E / + P I t f G IN HIZ BE+D, TO WODE AYEYN H IS MYNDE GOTH ANON 5 TO W0+D_ A * J E * + N H I Z MI/+ NDC G 0 + ) A N |+ N J CHAUCER SAMPLE 7 THOU FE R S E GOD OF ARMES, MARS THE RED E. ) U / FE + RS C GO+D |V A+RM>S, MA+RZ )> R E / + DC * THAT IN THE FROSTY CONTRE CALLED TRACE* > AT IN )> F R | + S T I K O +N TR E/ K | / + L > D T R | / + S C , V * kTHIN THY GR ISL Y TEMPLE FUL OF DREDE W K I + N > 1 / G R I + Z L I TE+MPL> FUL |V DR E/+ DC HONOURED ARTi AS PATROUN OF THAT PLACE; C O+NU/RD A + RT, AZ PA+ TRU/N |V ) AT P L | / + S _ J WITH THY BELLONA, PALLAS* FUL OF GRACE. WI( ) I / BELO+NA. P A + LA S, FUL |V G R | / + S C . 8 E P R E S E N T . AND MY SONG CONTYNUE AND GUYE J B E / PRE+ZENT* AND MI S | + # G KONTI+N_* AND G I / + I AT MY 3EGYNNYNG THUS TO THE I CRYE* AT MI BEG I + N I tfG ) US TO )> 1 / K R I / + C * FOR HIT FUL DEPE IS SONKEN IN MY MYNDE, FOR HIT FUL D E / + P _ IZ S |+ N K > N IN MI M I / + N D _ , WITH P I T O U S HEPT IN ENGLYSSH TO ENDYTE WI( P I + T U / S HE+RT IN E+tfGLIS TO E N D I / + T C T H I S OLDE S T O R I E , IN LATYN WHICH I FYNDE, > I S |+LDC S T O + R _ / * IN L A + T I N HWITS 1 / F I / + N D _ . OF QUENE ANELIDA AND FALS ARC I TE * |V KWE/+NC _ N E + L I DA AND F | / + L S A R S I / + T , THAT E LDE . WHICH THAT AL CAN FRETE AND B I T E , ) AT E+ LD C, HWITS ) AT AL KAN FR E + T _ AND 6 I / + T _ , AS HIT HATH FRETEN MONY A NOBLE S T O R I E , AZ HIT HA) FRE + T > N MO + N_ A NO + BL> STO + R _ / , HATH NY GH DEVOURED OUT OF OURE MEMO R I F , HA) N I / + X DEVU/+R>D U / T |V _+RC MEMO+R = • BE FAVORABLE EKE, THOU POL YM Y A, B E / F | / + VORA + B>L E / + K _ , ) U / P Q + L I M I / + _ , ON PARNASO THAT WITH THY SUSTRES Gi_ADF, | n p a r n a + s o j a t w k ) 1/ s u + s t r > s g l a + d c , BY ELYCON, NOT FER FROM CI R R E A , BI E + L I K O + N , NOT FE+R FROM S I R E / + A , S IN G E S T WITH VOIS MEMORIAL IN THE SHADE* ' SI+ tfG>ST WI( VO= + S ME MO + R _ / A L IN )> s|/ + D _ , UNDER THE LAURER WHICH THAT MAY NOT FADE, U.+ NDER )> LA= +RER HWITS ) AT MA* NOT F | / + DC, AND DO THAT I MY S H I P TO HAVEN WYNNE* AND DO ) AT 1 / MI S I + P TO HA+V>N WI+NC* F I R S T FDLCWE I ST ACE. AND AFTER HIM CORYNNE* F I + R S T F | + L _ + 1 / S T | / + S _ , AND A +FT> R HIM KORI+N_ WHEN T H E S E U S . WITH WERRES LONGE AND GRETE, HWEN ) F / + S E / U / S « WI( WE + R>S LO + «G_ AND G R E / + T _ , THE ASPRE FOLK OF CITHE HAD OVERCOME, )> A+SPRC FO+LK |V S I + ( _ HAD 0+VERKO+M_, WITH LAURER COROUNED. IN HIS CHAR GOLD-BETE. WI( LA=+RER KO+RU/MD, IN HIZ TSA+R G O LD B E/+TC , HOM TO H I S CONTPE-HOUSES IS HE COME I H O + M T O H I Z KO+NTR>HU/+ZES IZ HE/ KO+MC5 FOR WHICH THE P E P L E , B L I S F U L AL AND SOMME,--------------- FOR HWITS )> P E / + PL C , B L I + S F U L AL AND SOMC, SO CRYEDEN THAT TO THE STERRES HIT WENTE. SO K R I / + E D > N ) AT TO >> S T E + R _ S HIT WE+NT_, AND HIM TO HONOUREN DIDE AL HER ENTENTE* AND HIM T _ ONU/+ R>N D I / D _ AL HER ENTE + NT_* BEFORN T H I S DUK, IN SIGNE OF V I C T O R I E , BEFO+RN ) I S D U / + K , IN S I / + G N |V V I + K T O R I / + _ , THE TROMPES COME, AND IN HIS~BANER LARGE ) > TRO + MP>S KO+M ' , AND IN H I Z 9A4-NER^CA+RDQ_------------ ------ THE YMAGE OF MARS• AND. IN TOKEN OF G L O R I E . >_ I M f / + D O _ J V MA+RZJ _N D • IN TO+K>N |V G L O R I / + _ . -MEN MYGHTE SEN OF TRESOUR MANY A CHARGE. MEN M I / + X T C SEN |V TRE+SU/R MA+N_ A T$A+RDQ . MANY A BRIGHT HELM. AND MANY A SPERE AND TARGE. MA+N A B R I / X T HE+LM, AND MA + N_ A S P E / + R _ AND TA+RG. MANY~A FRESH KNYGHT. AND MANY A BLYSFUL RO UTE. MA+N A FR E S K N I / + X T , AND MA + N A B L I + SFUL R U / + T _ , ON HORS, ON F O T E , IN AL THE FELD ABOUTE. In h o+r s , |n f o+t c, n al )> fe/+ld abu/+t_. I P O L I T A H I S W I F , THE HARDY QUENE IP O+ LT TA H I Z W I / + F , )> HA+RDI KWE/+NC OF C I T H I A . THAT HE CONQUERED HADDE. C |V S I l I / t A , ) AT H E / K | + .VKERD HA+D_. WITH EMELYE. HER YONGE SUSTER S H E N E . WI( E + MEL I / » HER J|+ WGC SU+STER S E /+ N C , F A I R E IN A CHAR OF GOLD HE WITH HIM LADDE, FA* +RC N A TSA + R |V GO+LD H E / WI( HIM L A + D _ . THAT AL~THE GROUND ABOUT HER CHAR SHE SPRADDE ) AT AL )> GRU/+ND AQU/+T HER TSA+R $ E / SPRA+DC WITH BRIG HTN ESS E OF THE BEAUTE IN HER F A C E , WI( B R I / X T N E + S C |V )> B E = + T E / IN HER F | / + S C , F U L F I L L E D OR LARGESSE AND OF ALLE GRACE. F U L F I + L > D |V LARDQE+SC AND |V | / + L C G R | / + S C . WITH H I S TRYUMPHE. AND LAURER-COROUNED THUS, WI( H I Z T R T / U / + M F C , AND L A=+RERKO+RU/ND >U S. IN AL THE FLOUR OF FORTUNES YEVYNGE, IN AL >> F L U / + R |V F O + R T I * N > S J E V I+ tf G C , LFT I T H I S NOBLE PRINCE THESEUS L E + T 1 / ) I S NO+BL> PR I+ NTZ E ) E / + S E / U / S TOWARD ATHENES IN H I S WEY RYDINGE. TO++ARD A ) E / + N > S IN HIZ WE* + P l / D I + « G C , AND FOUNDE I WOL IN SHORTLY ^OR TO BR INGE AND FU /+ N D C 1 / W_L IN SO+RTLI FOR TO B R I + # G _ THE SLYE WEY OF THAT I GAN TO WRITE )> S L I / + C WE* + |V ) AT 1 / GAN TO WRI/+TC OF QUENE ANELIDA AND FALS A R C IT E . |V KWE/+NC _NE+L IDA AND F | / + L S A R S I / + T _ . MARS, WHICH THAT THROUGH H I S FURIOUS COURS OF IR E , MA+RZ, HWITS ) A T ) R U / + HIZ FU + R J U / S KU/ + RS |V I / + RC THE OLDE WRATHE OF JUNO TO FULFT LLE, )> l+LDC. WRA+)_ |V DQU/ + NO TO F U L F I + L _ , HATH SET THE P E P L E S HERTES BOTHE ON FI RE HA I SE + T )> P E / + P L> S HE + RT>S B O + ) _ |N F I / + R_ HATH SET THE PE PL ES HERTES BOTHE ON F IR E HA) SE + T ) > P E / + P L > S HE +RT>S B O + ) _ |N F I / + R_ WITH BLODY S P E R E S , NE RESTED NEVER S T I L L E , WI( BLO + DI S P E / + R > S , N_ RE + ST>D NE + VER ST I + L _ , BUT THRONG NOW HER. NOW THER, AMONG HEM BOTHE, BUT > R | + # G NU/ HER, NU/ ) E R , AM|+tfG HEM B O + ) C , THAT EVEPYCH OTHER SLOUGH, SO WERE THEY WROTHE. ) AT E + V _ R I T S 0 + ( E R SLO*+X, SO WER_ )E * W R O + ( _ . FOR WHEN AMPHIORAX AND TYDEUS, FOR HWEN AMFI/ + |RA + KS AND T I / + DE U S , IPOMEDON, PARTHONOPE ■ ALSO IP O + ME DON, PA + R)ONO+PC ALSO + WERE DED, AND SLAYN PROUDE CAMPANEUS, WERC O E / + D , ANO SLA++N PRU/+DC K A M P A + N F / U / S , AND WHEN THE WRECCHED THEBANS, BRETHEREN TWO, AND HWEN )> WRE + T S>D >E/+BANZ, BRE + ( R >N TWO+, WERE SLA YN, AND KYNG ADRASTUS HOM AGO, WER SLA* + N , AND K I + 0 G A D R | / + S T U / S HO + M AGO+, SO DESOLAT STOD THEBES AND SO BARE, SO DE+SOLAT STO+D ) E / + B > S AND SO OA+RC, THAT NO WIGHT COUDE REMEDIE Oc H I S CARE. ) AT NO w r / + X T KU/+DC RE+M_DI/ | V HIZ K | / + R _ . AND WHEN THE OLDE CREON GAN ESPYE ANO HWEN )> l+LDC K R E / + | N GAN E S P I / + C HOW THAT THE BLOOD RO I AL WAS RROGHT A-DOUN. ' HU/ ) AT... ) > BLO+D RO=A+L WAZ. BRO+XT ADU/ + N . 233 t HE HELD THE C I T E BY H IS TVRANNYE', ~ ~ 234] H E / HE+LD )> S I / + T C BT H I Z T I + R A N I / + C , AND DYDE THE GENTILS OF THAT REGIOUN AND DI+DC )> DOE+NTILZ |V ) AT RE+DQ I / U / N -TO BEN H I S FRENDES, AND DWELLEN IN THE TOUN* TO BEN H I Z FRE + NO _S , AND OWE +L>N IN )> T U / + N , SO. WHAT FOR LOVE OF HIM, AND WHAT FOR AWE, SO. HWAT FOR LO+VC |V H_M. AND HWAT FOR A = + _ . THE NOBLE FOLK WERE TO THE TOUN IDRAWE* )> NO+BL> FO+LK W PC TO )> TU /+ N I D PA = +_ * AMONG AL THESE ANEL ID A, THE QUENE AM|+«G AL ) E / + Z C _ N E + L I D A , >> KWF/+N _ OF ERMONY, WAS IN THAT TOUN DWELLYNGE, |V E+R MO NI/ + * WAZ IN ) AT T U /+ N D w E L I + # G _ , THAT F A IR E R WAS THEN IS THE SONNE S H E N E • ) AT FA*+RER WAZ JEN IZ )> SO+NC S E /+ N C * THURGHOUT THE WORLD GAN HER NAME S P R I N G E . ) URXU/+T )> WO+RLD GAN HER N | / + M C S P R I + # G C , THAT HER TO SEEN HAD EVERY WYGHT LIKYNGEJ ) AT HER TO S E / + N HAD E +V _R I W I/+ X T L I / K I + # G _ ; FOR, AS OF TROUTHE, IS THFR NOON HER LYCHE, FOR , AZ |V T R U / + J C , IZ JER NON HER L I / + T S C , OF AL THE WOMEN IN TUIS WORLDE R I CHE a |V AL )> WO+M>N IN J I S WO+RLDC R I / + T S C * YONG WAS T H I S QUENE, OF TWENTY YER OF E L D E . J | + #G WAZ J I S KWE/ + N_, |V TWE+NTI 3 E / + R |V E+LD , OF MYDEL STATURE1, AND OF SUCH F A I R E N E S S E , |V MI+DEL ST A +TI *R , AND | V SUTS F A * P N F + S C , THAT NATURE1 HAD1 A JOYE HER TO BEHELDEJ J AT N | / + T I * R HA+D A DQO=+C HER TO B _H E+ LD _ « AND FOR TO SPEKEN OF HER ST IDFASTENESSE , AND FOR TO S P E / + K>N |V HER ST I + DFA S T N E + S C , SHE PASSED HATH PENELOPE AND LIJCRESSEJ S E / PA +S>D HA) PENE + L | P _ AND LU/KRE + S _ ; AND SHORTLY, YF SHE SHAL BE COMPREHENDED, AND S O + R T L I , IF S E / SAL B E / K0 + MPREHE+ND>D, IN HER NE MYGHTE NO THING BEEN AMENDED* IN HER NE MI/+X TC NO )I+tfG BE /N AME +ND>D* TH IS THEBAN KNYGHT EKE, SOTH TO SEYN, J I S J E / + BAN KN I/+X T E / + K C , S 0 + ) TO S E * + N . WAS YONG, AND THEPWITHAL A LUSTY KNYGHT, WAZ J | + 0 G . AND JE+PWTCAL A L U + S T I K N I / + X T , BUT HE WAS DOUBLE IN LOVE AND NO THING PLEYN, 3UT H E / WAZ D U /+ B L _ IN LO+V_ AND NO ) I + » G P L E * + N , AND SUBTIL IN THAT CRAFT OVER ANY WYGHT, AND S U + B T IL IN ) AT KRA+FT OV_R A+NI W I / + X T , AND WITH H I S KUNNYNG WAN T H IS LADY 8R YGH T , AND WI< HIZ KU+NIWG WA+N J I S L | / + D I B R I / + X T J FOR SO FERFORTH HE GAN HER TROUTHE ASSURE......................................... FOR SO F E R F O + P ) HE/ GAM HER T R U / + ) _ A S I * + R _ THAT SHE HIM TRUSTED OVER ANY CREATURE* ) AT S E / HIM TPU+ST>D OVER A + NI KP.E/ +A TI * +RC* WHAT SHULD I SEYN? SHE LOVED APCIT E SO HWAT SULD 1 / SE*+N? S E / LO+V>D A R S I / + T C SO THAT WHEN THAT HE WAS ABSENT ANY THROWE, ) AT HWEN J AT HE/ WAZ A+OSENT A + NI ) R O * + C . ANON HER THOGHTE HER HERTE OR AST A-TWO* AN | +N HER )0+ XT_ HER HE+RTC RRA+ST ATWO+• FOR IN HER SIGHT TO HER HE BAR HYM LOWE, FOR IN HER S I / + X T TO HER HE / BA+R HIM LO =+ C, SO THAT SHE WENDE HAVE AL HIS HERT YKNOWE; SO ) AT S E / WE+ND HAV_ AL HIZ HE+RT IKNO*+ { BUT HE WAS FA LSI HIT NAS BUT FEYNED CHERE. — BUT H F / WAZ F | / + L S ; HIT NAS BUT FE *+ N>D T S E / + R C , - AS NEDETH NOT TO MFN SUCH CRAFT TO LERE* AZ N E / + D _ > NOT TO MEN SUTS KRA+FT TO L E+ R_ e BUT NEVEPTHELFS FUL MYKEL BESYNESSE BUT N E + V E P ( _ L E S FUL MI+KEL B E + S I N E + S _ HAD H E , ER THAT HE MYGHTE H I S LADY WYNNE, ................ HAD H E / , ER ) AT HE/ M I / + X T _ HIZ L j / +DI WI + N_, CHAUCER SAMPLE 8 THE DOUBLE SORWE OF TROILUS TO TE LLEN, )> DU/+ BL> SO+RW_ |V T R O + I L U / S TO T E + L _ N , - THAT WAS THE KYNG PRIAMUS SONE OF TROYE, ) AT WAZ »> KI+tfG P R I / I / + M U S SO+N |V T R O = + _ , IN LOVYNGE, HOW H I S AVENTURES FELLEN IN LO+VI#G» HU/ H I Z A+VEN TU/+R>S FE+L>N FRO WO TO WELE, AND AFTER OUT OF J O I E , FRO WO + TO WE+L . AND A +FT>R U/T |V DQO=+_ . MY PURPDS I S . ER THAT I PARTE FRO YE. MI PU+RPOS I Z , ER I AT 1 / PA+RTC FRO J E / . THESI PHONE. THOW HELP ME FOR TENDITE IE S t + FQNE/ , ) U / HE+LP ME FOR T E N D I / + T C T H I S E WOFUL VERS, THAT WEPEN AS I WRITE. I I / Z _ WO+FUL VE+RS. ) AT WE/+P> N AZ I / W R I / + T _ . TO THE CLEPE I , THOW GODDESSE OF TORMENT 1 , TO )> K L E / + P C I / , ) U / GO+DES |V TORME+NT. THOW CRUWEL FUR I E , SORWYNGE EVERE YN PEYNE, I U / KRU/+ EL F U / + R 1= . SO+RWItfG E + V _ R _ IN PE *+ N_ HELP ME, THAT AM THE SORWFUL INSTRUMENT, HE+LP ME. >AT AM >> SO+RWFUL I + N S T R U / M E N T , THAT HELPETH LOVERES. AS I K AN1 , TO PLEYNE. > AT H E + L P > ) L O + V > R Z , AZ 1 / KAN. TO P L E * + N C . FOR WEL S I T I T , THE SOTHE FOR TO SEYNE, FOR WEL S I + T I T , )> SO +IC FOR TO S E * + N C , A WOFUL WIGHT TO HAN1 A DRERY F E E R E , A WO+FUL WI/+X T TO HA+N A D P E / + R I F E / + R C . AND TO A SORWFUL TALE, A SORY CHERE. AND TO A SO+RWFUL T | / + L _ . A SO+ RI T $ E / + R _ * FOR I , THAT GOD OF LOVES SERVANTZ SERVE, FOR I / » ) AT GO+D |V LO+V>S SE+RVANTZ SE+RVC. NE DAR TO LOVE, FOR MYN U N L I K L Y N E S S E , NE D I / +R TO L O + V _ , FOR M I / N U N L I / + K L I N E + S _ , PREYEN FOR SP EED, AL SHOLDE I THERFORE STERVE, PR E*+E N FOR S P E / + D, AL T.QLD 1 / ) E+RFOR STE + RV SO FFR AM I FROM H I S HELP IN DERKNESSE* SO FE+R AM 1 / FROM HIZ HE+LP IN DERKNE+SC# BUT NATHELES. IF T H I S MAY DON GLADNESSE BUT NA + ( EL E / + S , I F ITS MA* DO + N GLADNE+SC • TO ANY LOVERE, AND H I S CAUSE AVAILLE, TO A+NI LO+VER, AND H IZ KA=+Z_ A V E * + L _ . HAVE HE MY THONK, AND MYN1 BE T H I S TRAVAILLE HAVC H _ / MI ) | + 0 K , AND M I /+ N B E / I I S TRAVA*+L_ BUT YE LOVERES, THAT BATHEN IN GLADNESSE, BUT J E / L 0 + V > R Z , I AT R | / + )>N IN GLAONE+SC, IF ANY DROPE OF PYTE IN YOW B E , IF A + NI D R | + P C |V P I + T E / IN J O * B E / , REMEMBRETH YOW ON PASSED HEVYNESSE r e m e + m b r >> j o * I n p a + s > d h e + v i n f + s c THAT YE HAN F E L T , AND ON THE ADVERSITE I AT J E / HAN F E + L T , AND |N I A O V E + R S I T E / + OF OTHERE FOLK, AND THYNKETR HOW THAT YE |V 0 + ( ER FO+LK, AND >I + #K>> HU/ I AT J E / HAN FELT THAT LOVE DORSTE YOW D I S P L E S E , HAN FE+LT I AT LO + VC DO + RSTC JO * D I S P L E / + Z C , OR YE HAN WONNE HYM WITH TO GRET AN E S E . OR J E / HAN W|+N_ HIM Wt( TO GR E /+ T AN E / + Z _ . AND PR E IE T H FOR HEM THAT REN IN THE CAS AND PRE+ +>) FOR HEM ) AT BEN IN !> K | / + S OF TRO ILU S. AS YE MAY AFTER HERE. tv TRO + ILU/S, AZ J E / MA* A + F T > R H E + R C , THAT LOVE HEM BRYNGE I N H E V E N E TO S O L A S J IAT L O + V _ HEM B R I + * G _ IN H E + V > N TQ S O L | / + S ; AND EK F O R ME P R F I E T H TO GOD SO DERE ANO E / K FOR ME P R E + + > ) TO GO+D SO D E / + R C THAT I HAVE MYGHT TO S H E W E , I N SOM M A N E R E , ) A T - / HAVC M I / + X T TO S E = + C . IN S M M A N E + R _ , •S WICH PE Y N E AND WO AS L O V E S FOLK E N D U R E , S W I T S P E * + N _ ANO WO+ AZ L O + V > S F O + L K E N D U / + R _ , I N T R O I L U S U N SE L Y A V E N T U R E . I N T R O + I L U / S U N S E / + L I A + V E N T U / + R C . AND B I O D E T H EK F O R HEM THAT BEN D E S P E I R E D AND B I + D > ) E / K F O R HEM ) AT BEN D E S P E * + R > D IN LOVE THAT NEV ERE NYL R E C O V E R E D B E , I N LO+VC I AT N E + V E R N I L REKO + VERD B E / , AND EK FOR HEM THAT F A L S L Y B EN A PE IR E D AND E / K FOR HEM ) AT F | / + L S L I BEN A P E * R > D THORUGH W IK KFD T O N G E S , BE I T HE OR SH E I I R U / X W I+ K > D TO + V G > S , B E / I T H E / OR I E / J THU S B I D D E T H GOD, FOR H I S B E N I G N I T E . >US B I + D > ) G O + D , FO R H I Z B E N I / + N I T E / + , SO GRAUNTE HEM SO ON E OWT OF T H I S WORLD TO P A C E , SO GRA = + NT HFM SO + N _ U / T JV ) I S WO + RLD TO P | / + S _ THAT BEN D E S P E I R E D OUT OF L O V E S G R A C E . ) AT BEN D E S P E + + R > 0 U /T |V LO+V>S G R | / + S C . AND B I D D E T H EK F O R HEM THAT BEN AT E S E , AND B I + D > ) E / K FOR HEM ) AT BEN AT E / + Z C , THAT GOD HEM GRA UNTE AY GOOD P E R S E V E R A U N C E , ) AT GO + D HEM G R A = + N T _ A* GO + D » E R S E + V ER A =+ -N T Z_ , AND SEND E HEM MYGHT H I R E L A D I E S SO TO P L E S E AND S E + N D _ HEM M I / + X T H / R C L | / + D I = S SO TO P L E / + Z THAT I T TO LOV E BE W O R S H I P AND P L E S A U N C E . ) AT IT TO L O + V _ B E / W O + R S I P AND P L E Z A = + N T Z _ . F O R SO HO P E I MY SOWLE B E S T A VA UNC E. F QR S _ H O +P C 1 / MI S U / + L C B E + S T A V A = + N T Z _ , TO PREY FOR HEM THAT L O V E S SE RV A UN TZ B E , TO P R E * + FOR HEM > AT L O + V > S S E + R V A = N T Z B E / , AND W R IT E H I R E WO. AND LYVE IN CHAR I T E , AND WRI /+TC H _ /R WO+, AND L l / + V _ IN T S A + R I T E / + , AND FOR TO HAVE OF HEM COMPASSIOUN, AND FOR TO HAVC |V HEM KOMPA+ S I / U / N , AS THOUGH I WERE H I R E OWNE B RO T H E R D E R E . AZ ) / 1 / WER_ H I / R C 0 * + NC B R O + I E R D E / + R _ . NOW H E P K N E T H WITH A GOOD E N T E N C I O U N , N U / HE +RKN> > WI( A GO+D E N T E + N S I / U / N , F OR NOW WIL I GON S T R E G H T TO MY M A T E R c . FOR N U / WIL 1 / GO + N S T R E / + XT TO MI M A T E / + R C , I N WHICH YE MAY THE D O U B L E SORWES HERE IN HWITS J E / MA* >> D U / + B L > SO+ RW >S H E + R C OF T R O I L U S IN LOVYNGE OF C R I S E Y D E , |V T R O + I L U / S IN L O + V I VG | V _ R I S E / + D _ , AND HOW THAT SHE FO R S O O K HYM ER SHE D E Y D E . AND H U / ) AT S E / F O R S O + K H I M ER S E / D E * + D C . YT I S WEL W I S T HOW THAT T HE G R E K E S , S T R O N G E I T IZ WEL W I + S T H U / ) AT ) > G R E / + K > S , S T R | + # G C I N ARMES, WITH A T H O US A ND S H I O P E S , WENTE I N A + R M > S , W I ( A ) U / + ZAND S I + P > S , WE + NTC TO T R O I E W A R O E S , AND THE C I T E LONGE TO T R O = + E W A + R D > S , AND ) > S I / + T C L O + 0 G C A S S E G E D E N . N E I G H T E N YER ER THEY S T E N T E , ASE + G F D > N , N E * X T E + N J E / + R ER ) E * S T E + N T C , AND IN D I V E R S E W I S E AND OON E N T E N T E , AND IN D I / V F / + R S C W I / + Z AND O+N E N T E + N T , THE RAV YSSHYNG TO WREKEN O F E L F Y N E , ) > R A + VI S I 0 G TO WRE+K>N | V E L E * + N C , BY P A R I S DON, THE Y WROUGHTEN AL H I R P E Y N E . B I P A + R I S D O + N , ) E * W R O * + X T > N AL H IR P E * + N C . NOW F E L IT SO THAT IN THE TOWN THER WAS N U / F E + L IT SO ) AT IN ) > T U / + N ) ER WAZ DWELLYNGE A LORD OF GRET AUC.TOR I T E , DWELI + 0 G _ A L O + R D | V G R E / + T A = KTO+R I T E / . + -A GRET D EV Y N , THAT C L E P I D WAS CALKAS T » -------------------------------------- 2 3 7 ] A G R E / + T D E V I / + N , ) AT K L E / + P > D WAZ K A L K A + S . THAT I N S C I E N C E SO E X P E R T WAS THAT HE ) AT IN S I / E + N T Z C SO E + K S P E R T WAZ ) AT H E / KNEW WEL THAT T R O I E S H O L D E D E S f R Q l E O B E , KNE = + WEL ) AT T R O = + C SOLDC D E S T R O = + > D B E / , BY ANSWERS OF H I S G O O , THAT H I G H T E T H U S , BI A+NSWER |V H I Z G O + D , ) AT H I / + X T C J U S , DAUN P H E B U S OR A P P O L L O D E L P H I C U S * DA=N F E / + B U S OR A o | + L O D E + L F I K U S * SO WHAN T H I S C A L K A S KNEW BY C A L K U L Y N G E , SO HWAN J I S K | / + L K A S KNE = + B I K A + L K U L I + G C • AND EK BY ANSWER OF T H I S A P P Q L L O l , ANO E / K B I A+-NSWER | V > I S A + P O L O + . THAT GREK FS SH O L D E N S W I C H A P E P L E B R Y N G E , ) AT G R E / + K > S S O + L D > N S W I T S A P E / + P L C B R I + # G C , THORUGH WHrCH THAT T R O I E MCSTE BEN F O R D O , J R U / X H W IT S ) AT TRO = +-C MO +ST C BEN F O R D O + , HE C A S T E ANON OUT O F THE TOWN TO GO?. H E / K A + S T C _ N | + N U / T |V >> T U / + N TO G O + J FO R WEL W I S T E HE BY SO RT THAT T RO Y E SHO LDE FOR WEL W I + S T E H E / B I SO + RT ) AT TRO-=+C SOLDC D ES T R OY E D B E N , Y E , WOLDE WHOSO NOLDE* D E S T R O = + > D B E N , J E / , WOLDC HO+SO NO+ LDC* FOR WHICH FOR TO D E P A R T E N S O F T E L Y FOR H W IT S FOR TO D E ° 1 / + R T > N S f + F T E L I TOOK P U R P O S F U L T H I S FORKNOWYNGE W I S E , TOK P U + R P O S F U L > I S F O R K N O = + I t f G W I / + Z C , AND TO T H E G R E K E S D O S T F U L P R Y V E L Y AND TO >> G R E / + K > S DOST FUL P R I + V E L I HE S T A L ANON; AND T H E Y , IN C U R T E Y S W I S E , H E / ST | / +• L A N | + N ; AND ) E * , IN K U + R T E / S W I / + Z C , HYM D I D E N BOTHE W O R S H I P AND S E R V Y S E , HIM D I + D>N BO + ) C WO + R S I P AND S E P V I / + S C , IN TRU ST THAT HE H ATH KONNYNGE HEM TO REDE IN TRU + ST ) AT H E / H A ) K 0 + N I 4 G HEM TO R E / + DC IN EVERY P E R I L W H I C H THAT I S TO DRE DE* IN E + V _ » I P E + R I L H W I T S ) AT IZ TO D R E / + D _ * THE N O I S E UP R O S , WHAN I T WAS F I R S T A S P I E D ) > N O = + Z UP R O + S , HWAN IT WAZ F I + R S T A S P I / + D THORUGH AL THE T O W N , AND GENEP.ALY WAS S P O K E N , ) R U / X AL ) > T U / + N , AND DOE + NEP._LI WAZ S P 0 + K _ N , THAT C A L K A S T R A I T O U R F L E D WAS AND A L L I E D ) AT K I / + LKA S T R A * +T U / R F L E + D WAZ AND AL I / + >D WITH HEM OF G R E C E , AND C A S T E N TO BE WROKEN W I( HEM | V G R E / + S _ , AND K A + S T > N TO B E / WRO+K N ON HYM THAT F A L S L Y HADDE H I S F E I T H SO B RO K EN , | N HIM (AT F I / + - L S L I H A + D _ H I Z F E * + ) SO 3 R 0 + K _ N , AND SFYOPKl HP Awn Al HTS KYN A T - O N F S _ AND S E * + D > N H E / AND AL H I Z K I + N A T O + N > S BEN WORTHI FOR TO B R E N N E N , P E L AND B O N E S e BEN W O+ R( I FO R TO R R E + N > N , F E + L AND B C + N > S * NOW HADDE C AL KAS L E F T IN T H I S M E S C H A U N C E , N U / HA+DC K | / + L K A S L F + F T IN ) I S M E S T f A = + N T Z C , AL UN WIST OF T H I S F A L S E AND WIKKED D E D E , AL U + N W I S T |V J I S F j / + L S _ AND W I + O D D E / + D _ , H I S O O U G H T E R , W H I C H THAT WAS IN GRET P E N A U N C E , H I Z D O * + X T E R . H W I T S ) AT WAZ I N G R E / + T P E N A = + N T Z E , FOR OF H I R E L I F E S H E WAS FUL S O P E I N D R E D E , FOR | V H / R C L I / + F _ S E / WAZ FUL S O + P IN O R E / + D _ , AS SHE THAT N Y S T E WHAT WAS B E S T TO R E D E ? AZ $ E / ) AT N I + S T C HWAT WAZ 3 E + S T TO R E / + D C J FOR F30THE A WIDEWE WAS SHE AND ALLONE FOR B 0 + ) _ A WI+DEW WAZ $ E / AND A L Q + N _ OF ANY FREND TO WHOM SHE D G R S T E H I R MONE• |V A +N I F R F + N D TO HOM $ £ / D O + R S T _ H I P MO+N_o C R I S E Y D E WAS T H I S L AD Y NAME AL R I G H T , _ R I S E / + D C WAZ J I S L | / + D I N | / + M _ AL R I / + X T * AS TO MY DOOM, I N AL T P O I E S C I T E 1 AZ TO MI DO+M, I N AL T R O = + > S S I T E / + -238 CHAUCER SA MP L E 10 0 3 L I S F U L L I G H T . OF WHICH THE 9 E M E S C L E R E 0 B L I + S F U L L I / + X T , | V H W I T S ) > B E / + M > S K L E + R C - ADORNETH AL THE THR IDOE HFVEN FA IRE ADO + RN> I AL >> ) R I + DC H E + V > N F A * + RC 0 S O N N E S L I E F , O J O V F S DOUGHTER O E E R E * 0 S O + N > S L I / + F , O D QO +V > S D O * + X T E R D E / + R C , P L E S A N C E OF L O V E , O GOODLY D E B O N A I R E , P L E Z | / + N T Z _ | V L O + V _ » 0 G O + D L I D E + 9 0 N A * + R _ , IN G E N T I L H E R T E S AY REDY TO R F P A I R E IN D Q E + N T I L H E + R T > S _ * RE + D I TO R E P A * + R _ 0 VERAY C A U S E OF H EE L E AND OF G L A D N E S S E . 0 V E + R A * K A = + Z _ | V H E / + L _ AND | V G L A D N E + S , IHE RY E D 9 E THY MYGHT AND T H I G O O D N E S S E I H E + R / > D B E / ) I / M I / + X T AND ) I / G O D N E + S _ IN HEV ENE AND H E L L E . IN ER T H E AND S A L T E S E E IN HE + V N AND H E + L , IN E + R l _ AND S | / + L T C S E / + IS F E L T ~ T H I M Y G H T , “ IF THAT I WEL D E S C E R N E J I Z F E + L T > 1 / M I / + X T , I F I AT 1 / WEL D E S E / + R N C ; - AS MAN. B R I O , B E S T , F T S S H , H E R B E . AND G RE N E T RE E AZ MA+N, B R I + D , B F + S T , F I + S , H E + R 3 _ , AND G R E / + N C T R E / + THEE F E L E IN T Y M F S WITH VAPOUR E T E R N E . ) E / F E / + L _ IN T I / + M>S W I( V A P U / + R E T E +RN_® GOD L O V E T H , AND TO LOVE WOL NOUGHT WERNEJ . GO + D L 0 + V > ) , AND TO LO+VC WOL NO* XT WE + R N C ; AND IN T H I S WORLD NO L Y V E S C R E A T U R E AND IN I I S WO+RLD NO L I / + V > S K R F / + A T I * + R C WIT HOU TEN LOVE I S WORTH, OR MAY ENDURE® W I ( U / + T> N L 0 + V _ I Z WO + R )« OR MA* E N D U / + R _ # YE J O V E S F I R S T TO T H I L K E F F E C T E S G L A D E . J E / D Q O + V > S F I + R S T TO I I + L K E F E + K T > S G L A + D C , - THORUGH WHICH THAT T HY NG E S L YV E N ALLE AND B E , I R U / X H W I T S ) AT ) I + # G > S L I / + V > N | / + L C AND B E / , CO M EV FD E N , a n d a m o r o u s h i m m a d e K O M E +V E D E N , AND A + M O R U / S HIM M | / + D C ON MORTAL T H Y N G , AND AS YOW L I S T , AY YE I n m o + r t a l > i + # g , a n d a z j o * l i + s t , a * j e / AND IN A THOUSA ND FORMES DOWN HYM S E N T E AND IN A > U / + ZAND FO + RM>S D U / N H IM S E + NTC YEVE HYM IN L O V E E S E OR A D V E R 5 1 T E E , JE + V_ H IM IN L O + V C E / + Z_ _ R ADVE + R S I T E / + J FOR LOVE IN E R T H E , AND WHOM YOW L I S T E . HE HENTE® FOR L O + V C _ N F + R ) C , AND HOM J _ * L I + ST__, H E / HE + N T _ o YE F I ER SE MARS A P A I S E N QF H I S I R E , J E / F E / + R S C MA+RZ A P E * + Z > N |V H I Z I / + R C , AND AS YOW L I S T . YE MAKEN H E R T E S D I G N E J AND AZ J O * L I + S T , J E / M | / + K>N HE + R T > S D I + G N C ; ■ ALGATE S HEM THAT YE WOL S E T T E A - F Y R E , ALGA + T > S HEM ) AT J E / WOL S E + T _ A F I / + R _ , THEY DREDEN S H A M E , AND V I C E S THEY R E S Y G N E • IE * D R E / + D E N S | / + M _ , AND V I / + S > S ) E * R E S I / + G N _ J YE DO HEM C O R T F Y S B E , F R E S S H E AND B E N I G N E 5 J E / DO HEM K O + R T E / S B _ / , F R E + S C AND B E N I / + N _ ; AND H E I G H E OR L O W E , AFTE R A WIGHT E N T E N D E T H , AND H E * + X _ OR LO = + C , A + F T _ R A W I / + X T ENT E + N D _ ) , THE J O I E S THAT HE HAT 1, YOURE MYGHT H IM S E N D E T H . »> DQO = + > S ) AT H E / H A +) , J _ R C M I / + X T HIM S E + ND__)o YE HOLDEN REGNE AND HOUS IN UNI T E E J J F / HO+L O> N R F / + G N C AND H U / + S IN U / + N I T E / 5 YE S O T H F A S T C A U S E OF F R E N D S H I P E BEN ALSO i J E / S O + ) F A S T ' KA= + Z _ r V ^ F R E 4 - N D $ I P ' B E N A L S O + ; -------------------- YE KNOWE AL T H I L K E C O V E R E D Q U A L I T E E J E / K N O * + _ AL ) 1+ LKC KO+VERD K W A + L I T E / + ‘ OF T H Y N G E S . WHICH THAT FOLK ON WONDREN S O . | V ) I + 0 G > S . H W I T S I AT F O + L K | N W | + N D R > N S O . WHAN THEY KAN NOUGHT C O N S T R U E HOW IT MAY JO HWAN I E * KA+N NO*XT K O + N S T R U / H U / I T MA* OQO+ SHE L O V E T H HYM, OR WHI HE L O V E T H H E R E . S E / L O + V > I H I M , OR H W I/ H E / L O + V > ) H E + R C , AS WHI T H I S F T S S H , AND NAUGHT T H A T , COMTH TO WERE* AZ H W I / I I S F I + S , ANO N A= +X T I A T , KO + M) TO WERC* YE F O LK A LAWF. HAN S E T I N U N I V E R S E * J E / F O + L K A L A = + HAN S E + T IN U / + N I V E + R S _ . AND T H I S KNOWE I ~ B Y HEM THAT L OVE RS B E , AND I I S K NO * + C 1 / B I HEM ) AT L O + ^ R Z B E / , THAT WHOSO S T R Y V E T H W IT H YOW HATH1 THE WERSE* IA T HO + SO S T R I / + V>I WI< J O * H A + ) ) > WE + R SC* NOW, LADY B R Y G H T , FOR T H I ’BEN I G N I T E . N U / , L | / + D I B R I / + X T , F O R > 1 / REN 1 / + N I T E / + . AT R E V E R E N C E OF HEM THAT SE RV E N T H E , AT R E + V E R E + N T Z E | V HEM I AT S E + R V > N ) > , WHOS C L E R C I AM, SO T E C H E T H ME DEV YSE HOS K L E + R K 1 / AM, SO T E / + T S > ) ME D E V I / + Z C . SOM J O Y E OF THAT I S F E L T IN T H I S E R V Y S E * SOM D Q O = + _ IV ) AT I Z F E + L T IN 1 1 / S E R V I / + S _ * Y E IN MY NAKED H E R T E S E N T E M E N T J E / I N MI N I / +K >D HE + RTC SE + NTEMENT I N H I E L O E , AND DO ME SHEWE OF THY S W E T N E S S E * — I N H 1 / + L D _ , AND DO MF $ E = + C | V 1 1 / S W E / + T N _ S , - C A L I O P E , T H I V O I S B E NOW P R E S E N T KAL 1 / + I P E / , 1 1 / V O = + S B E / N U / P R E + ZENT F O R NOW I S N E D E ; SESTOW NOUGHT MY D E S T R E S S E , FO R N U / I Z N E / + D _ ; S E S T O + + NO*XT MI D EST RE + S _ , HOW I MOT T E L L E A NO N R IG H T THE GLA DNESSE H U / 1 / MOT T E + L C _ N | + N R I / X T >> GL ADNE + S _ OF T R O I L U S , TO V ENU S H E R Y I N G E ? | V T R O + I L U / S , TO V E / + N U / S H E + R I / I W G ? TO WH IC H G L A D N E S S E , WHO NEDE HAT H, GOD HYM BRYNGE TO H W I T S GL ADNE + S _ , HO N E / + D _ H A ) , GO+D HIM B R I + t f G LAY AL T H I S MENE WH IL E T R O I L U S , L A * + AL I I S M E / + NC H W I / + LC T R O + I L U / S , RECORDYNG H I S L E S S O N IN T H I S MANEREt R E + K O R D I t f G H I Z L E + S | N IN I I S MANE+RC: " M A F A Y , " THOUGHTE H E , " T H U S WCL I S E Y , AND THUS*, M AF A * + " 10 * +XTC H E / , " )US WOL 1 / S E * + . AND I U S J T HU S WOL I P L E Y N E UNTO MY LADY D E R E I I U S WOL 1 / P L E + + N _ UNTO+ MI L | / + DI D E / + R_*. THAT WORD I S GOOD, AND T H I S SHAL BE MY C H E E R E I I AT WO + RD I Z G O + D , AND I I S SAL B E / MI T S E / + R C J T H I S NYL I NOUGHT F O R Y E T E N I N NO W I S E , " I I S N I L 1 / NO * XT F O R J E + T >N IN NO W I / + ZC" GOD L E V E HYM WERKEN AS HE KAN DEV YSE GO + D L E / + V _ HIM WE + RK>N A 7 . H E / KA+N D E V I / + Z A ND, L O R D , SO THAT H I S H E R T F GAN TO OUA PP E , “ AND, L O + R D , SO I AT H I Z H E + R T C GAN TO KWA + P C . HERYNG H I R E CO M E, AND S H O R T E FOR TO S I K E H E + R I t f G H _ / R C K O + M _ , AND S O +RT C FOR TO S I / + K _ AND P A N D A R U S , THAT LED DE H I R E BY THE L A P P E , AND P A + N D A R U S , I AT L E + D _ H _ / R C B I ) > LA + P _ . COM N F R , AND GAN IN AT T HE CURTYN P I K E , KOM N E + R , AND GAN I N AT )> K U + R T I N P I / + K C , AND S E Y D E , "G OD DO BOOT ON AL L E SYKE AND S E * + D C , " GO+D DO B O + T | N I / + L C S E / + K C S E WHO I S H E R E YOW COMEN TO V I S I T E 5 S E / + HO I Z HE + P _ J O * KQ + M>N TO V T S I / + T J L O , H E R E I S SHE THAT I S YOURE DETH TO W I T E , " L Q + . H E + R _ IZ S E / I AT I Z J O R _ D E / + ) TO W I / + T " T H E R W I T H I T SEMED AS HE WEPTE ALMOST* ~ I E R W I + 1 I T S E / + M > D AZ H E / W E + P T _ ALMO+ST* " H A , A . " QUOD T R O I L U S SO R F U F U L L Y , •• H A + . A" KWO+D T R O + . I L U / S SO R I * + F U L I , 239 "WHER ME BE WQ. O MYGHTY G OO . THOW WOOST " HWER ME B E / WO+, O M I / + X T I GO+D. ) U / WO + S T WHO I S AL T H E R ? I SE NOUGHT T R E W E L Y , " HO I Z AL ) ER ? 1 / S E / + NO+XT TRE= + EL I " " S I R E . * * QUOD C R I S E Y D E , « I T I S PANDARE ANO I * *• H S I / + R _ " KWO + D _ R I S E / + D _ , •' IT I Z P A N D | / + R AND I / " " Y E . ' S W E T E H E R T E ? A L L A S , I MAY NOUGHT R I S E , " J E / . S W E / + TC HE + R T _ ? A L A + S , 1 / MA* NO*XT R I / + Z _ , TO K N E L E AND DO YOW HONOUR1 I N SOM W Y S E # " TO K N E / + L C AND DO J _ * O + N U / R IN SOM W I / + Z _ " AND D R E S S E D HYM UPW ARD , AND SHE R I G H T THO i AND D R E + S > D HIM U P W A + R D , AND “ BE/ R I / + X T ) 0 ... ... GAN B OT H E H I R E HONDE S S O F T E UPON HYM L E Y E . GAN 9 0 + ) _ H I / R H | + N D > S S | + F T _ U P | + N H IM L E * + _ » ” 0 . FO R THE LOVE OF GOD, DO YE NOUGHT SO •• O , FOR ) > L O + V C | V G O + D . DO J E / NO*X T SO | TO M E . " QUOD S H E , " I WHAT I S T H I S TO S E Y E ? j TO M E " KWO+D $ E / , " 1 / HWAT IZ I I S TO S E * + C ? ( . S I R E . COMEN AM I TO YOW FOR C A U S E S TWEYEI j S I / + R _ . KO + M>N _M 1 / TO J O * FOR K A = + Z > Z T W E * + _ : !........ F I R S T , YOW TO T H O N K E , AND OF YOURE L O R D S H I P E EKE ; F I + R S T , J O * TO ) | + * K _ , AND |V J O R _ L O + R D S I P E / + K _ C O N T I N U A N C E I WOLDE YOW B I S E K F , •• ! K O N T I + N U / A + NT Z_ 1 / WOLDC J O * B I S E / + K _ " - T H I S T R O I L U S , THAT HERDE H I S LADY PRF.YE...................................................... I I S T R O + I L U / S , IA T HE + R D _ H I Z L | / + D I P R E * + _ ! OF L O R D S H I P E HYM, WAX N E I T H E R OUYK NE D ED , |V L O + R D S I P H I M , WAKS N E * + ( ER KWI +K NE D E / + D , i- NE MYGHTE O WORD F OR SHAME TO IT S E Y E . ........................ ! NE M I / + X T _ O WO+RD F O R S | / + M C TO IT S E * + _ , ALTHOUGH MEN S HOL DE SMYTEN OF H I S HED« A L I U / + X MEN SOLDC S M I / + T > N | V H I Z HF + D* B U T , L O R D . SO HE WEX S O D E Y N L I C H E R E D , B U T , L O + R D , SO H E / WE+KS S O + D E N L I / + T $ C R E + D , AND S I R E , H I S L E S S O U N , THAT HE WENDE KONNE i ..... AND S T / + P _ . H I Z L E + S U / N , I AT H E / WE + NDC K O +N _ ;............ TO P R E Y E N H I R E , I S THORUGH H I S W IT I R O N N E , TO P R E * + N H I / R C , I Z I R U / X H I Z W I + T I R O + N _ . C R I S E Y D E AL T H I S A S P I E D WEL YNOUGH, _ R I S E / + D AL I I S A SP I / + >D WEL I N O * + X, . C R I S E Y D E AL T H I S A S P I E D WEL YNOUGH, ......................... _ R I S E / + D AL I I S A S P I / + >D WEL I N O * + X, AL N E R E HF M A L A P E R T , OR MADE IT TOUGH', AL N E + R C H _ / M A + L A P E R T , OR M | / + D _ IT T O * + X , OR WAS TO B O L D , TO SYNGE A FOOL A M A S S E , OR WAZ TO BO + L D , TO S I + //G_ A FO + L A M A + S _ , BUT WHAN H I S SHAME GAN SOMWHAT TO P A S S E , BUT HWAN H I Z $ | / + MC GAN SOMHWA + T TO P A + S C , H I S R E S O N S , AS I MAY MY RYMES H O L D E , H I Z R E / + Z O N Z , AZ 1 / MA* MI R I / + M > S H O + L D C , I WOL YOW T E L L E , AS T E C H E N BOKES O L D E • 1 / WOL J O * T E + L „ , AZ T E / + T $ > N B O+ K> S | + L D _ , I N CHAUNGED V O I S , R I G H T FOR H I S VERRAY D R E D E , I N T $ A = + N D Q > D V O = + S , R I / + X T FOR H I Z V E + R A * D R E / + O C , W H IC H V O I S EK OUO OK , AND THER TO H I S MANERF H W I T S V O = + S E / K K WO +K , AND I E + R T O H I Z MANE+RC GOODLY A B A I S T , AND NOW H I S HEWES R E D E , GO + D L I A B E * + S T , AND N U / H I Z HE = + > S R E / + D C , NOW P A L F , UNTO C R I S E Y D E , H I S LADY D E R E , N U / P | / + L _ , U NTO + _ R I S E / + D _ , HIZ L | / +D I D E / + R , - WITH LOOK DOWN C A S T AND HUMBLE I Y O L D E N C H E R E . W I ( L O + K D U / N K A + S T AND U + M S L _ I J O + L D > N T $ E / + R _ , L O , T H E A L D E R F I R S T E WORD THAT HYM A S T E R T E L 0 + , ! _ A + L D E R F I + P S T C WO + RD I AT H I M A S T E + R T W A S , T W Y E S , " M E R C Y , MERCY, SWETE HERTE » ~ WAZ, T W I / + > S « " ME + R S I , M E + R S I , S W E / + T C H E + R T C " AND S T Y N T E A W H I L E , AND WHAN HE MYGHTE OUT BRYNGE AND S T I + N T _ A H W I / + L C , AND HWAN H _ / M I / + X T _ U / T B R I + WG - THE N EX T E WORD WAS, "GOD WOOT, F O R I H A V E , >> N E + K S T C WO+RD WAZ, " GO+D WO+T, FOR 1 / HAVC,. CHAUCER S A M P L E 11 A P R O C H E N GANI THE FATA L D E S T Y N E A P R O + T S > N GAN ) > F | / + TAL D E + S T I N E / - THA T J O V E S HATH1 IN D I S P O S I C I O U N , I A T D Q O + V > S H A + I IN D I + S P O S I + S I / U / N , ANO TO YOW, ANGRY P A R C A S , S U S T R E N T H R E , ANO TO J O * , A + tfGRI / PA + R K A S , SU + S T R > N I R E / + , C O M M I T T E T H , TO OON1 E X E C U C I O U N J K O M I + T > ) , TO DON E + K S E K I * + S I / U / N 1 F O R W H IC H C R I S E Y D E MOSTE OUT OF THE TOWN, F O R H W I T S _ R I S E / + D C M O + S T _ U / T |V ) > T U / + N , AND T R O I L U S SHAL DWELLEN F O R T H I N PYNE AND TRO + I L U / S S AL DW E+L>N FO + R) IN P I / + N C T I L L A C H E S I S H I S THRED NO L E N G E R TWYNE* T I L L I / + K E S I S H I Z I R E + D NO L E + tf G E R T W I / + N C ® T HE G O L D - Y T R E S S E D P H E B U S H E I G H E O N - L O F T E l > G O + L O I / T R E + S > D F E / + B U S H E * + X _ | N L | + R T _ T H R I E S HADDE A LLE W I T H H I S BEMES CLENE > R I + _ S HA+DC I / + L C WI( H I Z B E / + M > S K L E / + N _ - T H E SN OW E S M O L T E , AND Z F P H E R U S A S O F T E ) > S N U / + > S M O + L T _ , AND Z E + F E R U / S AZ | + F T _ I B R O U G H T AYEYN THE TENO RE L E V E S G R E N E , I B R U / + X T A * J E * + N ) > T E + N D R > L E / + V > S G R E / + N C , - SYN T HA T THE SON E OF ECUBA T H E QUEENE S I N ) AT ) > SO + N_ |V E + K I + B A ) > K W E / + N _ B I G A N TO LOVE H I R E F I R S T FOR WHOM H I S SORWE B I G A + N TO LO +V C H _ / R _ F I + R S T FOR HOM H I Z SO+RW WAS A L , THAT SHE D E P A R T E SH OLDE A-MORWE® WAZ A L , IAT S F / D E P | / + R T C S O L D _ A M | + R W _ . F U L RED Y WAS AT P R I M E D I O M E D E , F U L R E + D I WAZ AT P R I / + M C D T / + | M E / D C . C R I S E Y D E UNTO THE G R E K I S OOST TO L E D E , _ R I S E / + D _ UNTO+ ) > G R E / + K > S O+ ST TO L E / + D _ , F O R SORWE OF WHICH SHE F E L T H I R E H E R T E B L E D E , F O R SO +RW_ |V H W I T S S E / F E + L T H _ / R C H E + R T C B L E / + D A S SHE THAT NY S T E WHAT WAS B E S T TO REDE® ' AZ S E / ) AT N I + S T C HWAT WAZ B E + S T TO. R E / + D C ® AND T R E W E L Y , AS MEN IN BOKES R E D E , AND T R E = + EL I , AZ MEN IN B O + O S R E / + D C , MEN W I S T E N E V E R E WOMMAN HAN 1 THE C A R E , MEN W I + S T E N E + V E R WO+MAN HA+N ) > K | / + R C , NE WAS SO LOT H OUT OF A TOWN TO FARE® NE WAZ SO L O + ) U / T |V A T U / + N TO F | / + R C ® T H I S T R O I L U S , W ITH OU TEN REED OR L O O R E , I I S T R O + I L U / S , W I ( U / + T > N R E / + D OR L O + R C . AS MAN THAT HATH H I S J O I E S EK F O R L O R E , AZ MA+N ) AT HA) H I Z D Q O = + > S E / K F O R L O + R C , WAS WAYTYNG ON H I S LADY E VE R E MORE WAZ W A * + T I 0 G | N H I Z L | / + D I E + V _ R C MO+R_ AS SHE THAT WAS THE. S C T H F AST CRO P AND MORE AZ S E / I AT WAZ ) > S O + I F A S T K R | + P AND MO+RC OF AL H I S L U S T OR J O I E S H F R E O I FORE® | V AL H I Z L U + S T OR D Q O = + > S H E + R B I F O + R C ® BUT T R O I L U S , NOW F A R - W E L AL THI J O I E , B UT T R O + I L U / S , N U / FA RW E +L AL 1 1 / D Q O = + C , FOR SHALTOW N EVE RE SEN H I R E E F T I N T R O I E F O R S A + L T U / N E+V ER S EN H _ / R C E F T IN T R O = + _ S O T H I S THAT WHILE HE ROOD I N T H I S MA NER E. S O + ) I Z I AT H W I / + L _ H E / 5 0 + D IN I I S MANE+R • HE GAN H I S WO FUL MANLY FOR TO H I D E , H E / GAN H I Z W0+ FUL MA+ NLI F O R T O H I / + D C . THAT WEL UNNETHE IT S E N E WAS IN H I S C H E R E ? I A T WEL U N E + I _ I T S E / + N _ WAZ IN H I Z T S E / + R _ J BUT AT T H E YATE THER SHE S H OL DE OUT R I O E . BUT AT l > J I / + T C ) ER S E / S Q L D _ U / T R I / + D _ « WITH C E R T E Y N FOLK HE HOVED H I R E T A B I D E . WI( S E + R T E / N FO + L K H E / H O+ V >D H _ / R C T A B I / + D__. S O W O - B I G O N , AL WOLDE HE NAUGHT HYM P L E Y N E . SO W O + B I G O N , AL WOLD_ H E / N A = + X T H IM P L E * + N _ , THAT ON H I S HORS UNNETHE HE S A T F OR P E Y N E * I AT | N H I Z HO + RS U N E + I _ H E / S A + T F O R P E * + N _ * FOR I R E HE QUOOK. SO GAN H I S H E R T E GNAWE. FOR I / + R _ H E / KWO+K, SO GAN H I Z H E + R T C G N A = + _ , WHAN D IO M E D E ON HOR SE GAN HYM D R E S S E . HWAN D I / + | M E / D _ | N H O + R S C GAN H I M D R E + S _ , AND S E Y D E TO H Y M S F L F T H I S I L K E SA W E : AND S E * +DC TO H I M S E + L F ) I S I + L K E S A = + C S " A L L A S " QUOD H E . " T H U S ^O UL A W R E C C H E O N E S S E « " A L A + S " KWO+D H E / , " I US F U / + L A W R E + T S E D N E + S C WHI S U F F R E I C H I T ? WHI NYL I C H I T R E D R E S S E ? H W I / s u + f r > i t s _ t ? h w i / n i l i t s i t R E D R E + S ? WERE I T NAT B E T A TO NE S FOR T O DYE WER_ I T NAT B E + T A T O + N > S FOR TO D I / + _ THAN E V E R E MORE I N LANGOUR T H U S TO D R Y E ? I AN E + V _ R C MO + R_ IN L A + t f G U / R )U S TO D R I / + _ ? "WHI NYL I MAKE A T O N E S R I C H E AND P O R E " H W I / N I L 1 / M | / + K _ A TO +N >S R I / + T $ _ AND P O + R _ TO HAVE INOUGH TO O O O N E , ER THAT S H E GO? TO HAV _ I N U / + X TO DO+N , ER I A T S E / G O + ? WHY NYL I BRYNGE AL T R O I E UP ON A R O O R E ? H W I / + N I L 1 / B R I + WG_ AL T R O = + _ U P | + N A RO + R ? WHI NYL I S L E N T H I S D IO M E D E A L S O ? H W I / N I L 1 / S L E / + N I I S D I / + | M E / D _ A L S O + ? WHY NYL I RATHER WITH A MAN OR TWO H W I / + N I L 1 / R A + I E R W I( A MA+N OR TWO+ S T E L E H I R E AWAY? WHI WOL I T H I S E N D U R E ? S T E / + L _ H I / R _ AWE* + ? H W I / WOL 1 / I I S E N D U / + R _ ? WHI NYL I H F L P E N TO MYN OWEN C U R E ? " H W I / N I L 1 / H E + L P > N TO M I / N 0 + + E N K U / + R C " BUT WHY HE N OLO F DON SO F E L A D E D E , BUT H W I / + H E / NO + LDC DO + N SO F E + L A D E / + DC * THAT SHAL I S E Y N , AND WHI HYM L I S T E I T S P A R E S I AT SAL 1 / S E * + N, AND H W I / H IM L I + S T _ I T SP A + R _ HE HADDE IN HERTE AL.WEYES A MANERE DREDE H E / HA + 0 _ IN HE + R T_ A L W E * + _ S A M_NE + RC D R E / + D_ L E S T THAT C R I S E Y D E , IN RUMOUR OF T H I S F A R E , L E S T I AT _ R I S E / + D _ , I N R U / + M U / R | V I I S F | / + R _ . SHOLDE HAN BEN S L A Y N « L O , T H I S WAS AL H I S CARE* SQL D_ HAN BEN S L A * + N*. L O + , I I S WAZ AL H I Z K | / + R. AND E L L I S , C E R T E Y N , AS I S E Y D E Y O R E , AND E + L > S , S F . + R T E / N , AZ 1 / S E + + D C J O + R C , HE HADDE IT DON, WI T H O U TE N WORDES MORE* H E / H A + D _ I T D O + N . W I ( U / + T > N WO +RD>S MO+R_* C R I S E Y D E , WHAN SHE REDY WAS TO R I D E , _ R I S E / + D C , HWAN S E / R E + D I WAZ TO R I / + D _ . FUL S O RW FU L LY SHE S I G H T E , AND S E Y D E " A L L A S » FUL S O + R F U L I $ F / S I / + X T _ , AND S E * + D C " _ L A + S " BUT F O R T H SHE MOOT, FOR AUGHT THAT MAY B I T I D E , BUT F O + R I S E / MOT, FO R A = XT I AT MA* B I T I / + DC, AND F O R T H S H F R I T FUL S O RW FU L LY A P A S * AND F O + R ) S E / R I / + T F U L S O + R F U L I A P A + S * TH E R I S NON OTHER P EM ED I E IN T H I S CAS* I E R I Z NON 0 + < ER R E ♦ M _ D I / IN I I S K | / + S * WHAT WONDER I S , THOUGH THAT H I R E S O R E S M E R T E , HWAT W | + N D _ R I Z , ) U / I AT H I / R C S O + R C SME + R T _ , WHAN SHE FORGOTH H I R E OWEN SW ETE H E R T F ? HWAN S E / F O R G O + ) H /RC. 0 * + F N S W E / + T C HE + R T _ ? T H I S T R O I L U S , IN w T S E OF C U R T E Y S I E , I I S T R O + I L U / S , IN W I / + Z _ |V K U + R T E / S I / + _ , WITH HAUK ON HONDE, AND WITH AN HUGE R O U T E ' W I( H A = + K | N H | + N D , AMD WI< AN H U / + D Q C R U / + T OF K N Y G H T E S . ROOD AND D I D H I R E C O M P A N Y E . | V K N I / + X T > S . RO + D AND D I + D H _ / R C K O + M P A N I / + _ » P A S S Y N G AL T HE VALEYE F E R WITHOUTE*. : PA + S I WG AL ) > V A + L E * F E + R W I ( U / + T _ J AND F E R T H E R WOLDE HAN R I D E N , OUT OF D O U T E . AND F E +R ( ER WOLD_ HAN R I / + D > N , U / T |V D U / + T _ , FUL F A Y N , AND WO WAS HYM TO GON SO S O N E ; F U L F E * + N » AND WO+ WAZ H IM TO GO+N SO S O + N C i BUT TORNE HE M O S T E, AND I T WAS EK T O DONE* BUT T O + R N _ H E / M O + S T _ , AND I T WAZ E / K TO D O + N _ * AND R I G H T WITH THAT WAS AN TE NO R YCOME AND R I / + X T W I ( ) A T WAZ A + N T E N O + R IKO+MC OUT O F T HE G R E K I S O O S T , AND E V E R Y WIGHT U / T fV >> G R E / + K > S O + S T « AND E + V _ R I W I / + XT WAS O F IT G L A D , AND SEYDE HE WAS WELCOME* WAZ | V IT G L A + D , AND S E * + D _ H E / WAZ WELKO+M_* AND T R O I L U S , AL NER E H I S H E R T E L I G H T , AND T R O + I L U / S . AL N E + R _ . H I Z H E + R T C L I / + - X T , HE PE YN ED HYM WITH AL H I S F U L L E MYGHT H E / P E * + N > D HIM W I( AL H I Z F U + L C M I / + X T HYM TO WIT HHO LDS OF WEPYNG A T T E L E E S T E , H IM TO W I ( H O + L D _ |V W E +R It f G A + T C L E / + S T _ , AND ANTENOR HE K I S T E , AND MADE F E S T E * AND A + NT E NO +R H E / K I + S T , AND M | / + D C F E + S T _ * AND T H E R W IT H A L HE MOSTF H I S L E V E T A K E . AND I E + R W I ( AL H E / M O + S T _ H I Z L E / + V C T | / + K _ , AND C A S T E H I S EYE UPON H I R E P I T O U S L Y AND K A + S T _ H I Z E * + _ U P | + N H I / R _ P I + T U / S L I AND NEER HE P O O D , H I S C A U S E F O R TO MAKE,. ANO N E / + R H E / R O + D , H I Z K A = + Z C F O R TO M | / + K C . TO TAKE H I R E BY THE HONDE AL S O BR F .L Y • TO T | / + K _ H I / R _ B I ) > H | + ND_ AL S Q + B E R L I • AND LORD SO SHE GAN WEPEN T E N D R E L Y AND LO+RD SO $ E / GAN W E / + P > N T E + N D E R L I AND HE F UL S O F T E AND S L E I G H L Y GAN H I R E S E Y E , AND H E / F U L S | + F T AND S L E * + L I GAN H _ / R C S E * + _ . "NOW HOLDE YOURE D AY, AND DOl ME NAT TO D E Y E * " " N U / HO+LDC J _ R _ D E * + , AND DO+ ME NAT TO DE* + _ W IT H THAT H I S C O U R SE R T O R N ED HE ABOUTF WI( ) AT H I Z K U / + R S E R T O + R N > D H E / A B U / + T C WITH F A C F P A L E , AND UNTO D I O M E D E , WI( F | / + S C P | / + L C , ANO UNTO+ D I / + _ M E / D _ , NO WORD HE S P A K , NE NON OF AL H I S R O U T E ; NO WO+RD H E / S P | / + K . NE NON | V AL H I Z R U / + T C ; OF. WHICH THE SONE OF T I D E U S TOOK H E D E . | V H W I T S ) > S O + N _ | V T I / + D E U / S TOK H E + D _ , AS HE THAT KOUDE MORE THAN T H E CRED E AZ H E / ) A T K U / O C MO+RC IA N ) > K R E / + D C IN SW IC H A C R A F T , AND BY THE R E Y N E H I R E H E N T E ; I N S W I T $ A K R A + F T , AND B I ) > R E * + N _ H _ / R C HE+NT AND T R O I L U S TO T R O I E HOMWARD HE WENTE* AND T R O + I L U / S TO TRO= + HO + MWARD H E / WF.+NT_* T H I S D I O M E D E , THAT LEDDE H I R E BY THE B R I D E L . U S D I / + _ M E / D C . I AT L E + D H I / P _ B I ) > B R I / + D _ L , WHAN THAT HE SAUGH THE FOLK O c T R O I E AW EYE . HWAN I AT H E / SA= + X >> F O + L K | V T R O = + _ A W E * + _ . T H O U G H T S . "A L MY LABOUR SHAL NAT BEN ON Y D E L , > G * + X T C , " AL M_ L | / + B U / R SAL NAT BEN | N I / + D _ L I F THAT I MAY, FOR SOMWHAT1 S H A L I S E Y E * I F ) AT 1 / M A * « FOR SO + MHWAT $ AL 1 / S E + + C* FOR AT THE WERSTE I T MAY YET S H O R T E OURE WEYE* FOR AT ) > WE + R S T _ I T MA + J E T S O + R T _ _ * R C W E * + _ * I HAVE HERO SEYD EK TYMES T WY ES T W E L V E , _ / HA VC HE +R D SE + + D E / K T I / + M> 5 T W I / + > S T W E + L V _ •HE I S A FOOL THAT WOLE F O R Y E T E H YM SE LV E* * " • H E / IZ A F O + L I AT WO+L_ F O R J E + T _ H I M S F + L V " BUT N A T H E L E S , T H I S THOUGHTE HE WEL Y N O UG H, BUT N A + ( E L E / + S , I I S ) O t + X T C H E / W_L I N O * + X . THAT " C E R T E Y N L I C H I AM ABOUT E N O U G H T , I AT " S E + R T E / N L I T S 1 / AM A D U / + TC N O * X T , F ilm ed as r e c e i v e d w i t h o u t p a g e ( s )____ 244 UNIVERSITY MICROFILMS. P.EGEMENT OF PRINCES NUMBER OF S Y L L A B L E S » ® 0 . * ® ® . ® * ® ® ® ® ® ® ® ® 2 0 8 9 NUMBFR OF S T R E S S MAXIMA « ® « < > « e ® * ® ® ® o ® ® ® ® 4 7 7 P E R C E N T A G E OF S T R E S S MAXIMA ® 9 * " V o « ® ® ® ® ® ® « ® 2 2 NUMBER C F L I N E S • 2 0 0 P E R C E N T A G E OF S T R E S S MAXIMA L I N E S a ® o ® e ® ® ® ® « ® 1 0 0 NUMBER O F L I N E S WITH OUT S T R E S S MAXIMUM® ® « ® a ® . o ® 0 NUMBER OF I A M B I C L I N E S ® » * . » • ? • « . • • • • • • • « • 1 6 5 P E R C E N T A G E O ^ I A M B I C L I N E S ® . «o o. ®® ®«a ©* ®® 8 2 NUMBER OF T R O C H A I C L I N E S ® « o • o • . • • * • • • « • • 0 P E R C E N T A G E OF T P O C H A I C L I N E S . ® » o ® ® ® ® a ® * * ® ® 0 NUMBER OF IR R E G U L A R L I N E S . . . . « ? • • « • • • • • ■ 0 P E R C E N T A GF OF I R R E G U L A R L I N E S ® . « . ® ® ® ® ® ® ® o ® 0 NUMBER OF AM B IG U OU S L I N F S ® « ® ® ® a ® . • • • • • • • ' 6 P E R C E N T A G E O F AMBIGU OUS L I N E S • . « * • • • • • • • • • 3 NUMBER OF LR L I N E S ® ® o o a o ® o ® o ® ® ® ® ® * ® ® ® 8 NUMBER O F A S S O N A T I N G S Y L L A 3 L E S . 1 3 7 4 P E R C E N T A G E OF A S S O N A T I N G S Y L L A B L E S ® 6 5 NUMBER OF A S S O N A T I N G L I N E S ® ® ® o o « o ® ® a ® ® ® ® ® 1 9 7 P E R C E N T A G E OF A S S O N A T I N G L I N E S . • • * • • • • • • • • • 9 8 NUMBER OF A S S O N A T I N G P A T T E R N S « ® e ® o ® ® ® ® ® ® ® ® . 4 1 3 NUMBER O F A L L I T E R A T I N G S Y L L A B L E S ® « • • • • • • • • • • 364 P E R C E N T A G E OF A L L I T E R A T I N G S Y L L A B L E S * • «*••• • • • 1 7 NUMBER O F A L L I T E R A T I N G L I N E S . . « . * • « • • • • • • • • 1 2 5 P E R C E N T A G E OF A L L I T E R A T I N G L I N E S * • • o . * * * * * * * 6 2 NUMBER OF A L L I T E R A T I N G P A T T E R N S o* *** ** * * * * * 1 6 4 NUMBER OF L I N E S WITH C O I N C I D E N T A S S O N L A L L I T * * * * • 91 P E R C N T OF L I N E S WITH C O I N C I D E N T AS S ON & A L L I T • • • • • 4 5 NUMBER OF S Y L L A B L E S WITH C O I N C I D E N T AS S ON & A L L I T « • • 1 8 4 P E R C N T OF S Y L L A B L E S WITH C O I N C I D E N T AS SON & A L L I T « • • 8 NUMBER OF L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y * * * * • 5 2 P E R C N T OF L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y * * * • • 2 6 AVERAGE C O M P L E X I T Y * « , . . * • • o • • • • • • • • • • • 3 NUMBER OF A ME TP I C A L L I N E S * * o . * • * * • • • • • • • 3 5 P E R C N T OF A.Vr.TR I CAL L I N E S * o * * * * * « » • • • • • • 17 NUMBER O^ L I N E S TO BE E L I D E D * « « * * * . * - * o * * * * 1 5 1 NUMBER OF L I N E S S H O R T E R THAN S P E C I F I E D L E N G T H * * * • • 1 AVERAGE NUMBER OF WORDS P E R L I N E . • * * * * . * • • * • 7 8 9 0 NUMBER OF P O S S I B L E A S S I G N M E N T S OF S Y L L A B L E S TO P O S I T I O N S 5 8 9 S Y L L A B L E A D J U S T M E N T R A T I O . . . o * . • • • • • • * • • 2 9 4 NUMBER O F E L I D A 3 L E A D J U S T M E N T S . • * * . * ' « * • « • • • « 5 4 0 NUMBER OF C A T A C L E C T I C A D J U S T M E N T S • • o a « * * * o * « 1 NUMBER CF O P T I O N A L E * * * * * o e e * o . o * * * * * * 281 i NUMBER OF Oa T I Q N A L E A F T E R E L I S I O N . * * . * • • • » • • 1 4 2 P E R C E N T A G E OF O P T I O N A L E . o * « B * . « . » • • * . • • 50 REGEMENT OF PRINCES -247 NUMBER O F S E N T E N C E S NUMBER O F WORDS NUMBER O F S Y L L A B L E S AV S E N T L E N G T H IN WORD AV S E N T L E N G T H I N SY AV WORD L E N G T H IN SY 4 2 1 5 7 6 2 2 5 0 3 7 . 5 2 3 8 5 3 . 5 7 1 4 1 . 4 2 7 7 R EG E M E NT OF P R I N C E S NUM OF 1 . 2 , 3 F T C . SYL WORDS 1 0 4 9 3 0 0 4 1 3 1 0 8 3 0 0 Uf I 0 0 0 REGEMENT OF P R I N C E S * NUM OF 1 . 2 , 3 ETCo WORD SENTENCES 2 .... 0 _ .... 0 . .... ..... 0 0 0 1 0 0 0 1 0 1 0 0 3 2 0 0 0 .. . .... 1 .... 0 ....... 0 ___ ___ 1 - - ... .... 0 1 0 0 0 1 0 0 0 0 0 0 1 0 0 0 1 . . ........ 0 ........ 0 ... .. ...........0 ..... 0 I 2 1 0 0 0 0 3 0 0 .......\ f I 0 .. 0 0 •..................3 ....... 0 .... 0 0 ..... 0 0 0 2 0 0 1 0 0 0 0 1 1 0 0 0 ... 1 ........ 0 .. ...........2 .. .. 0 ___ .............S 3 0 1 1 0 0 1 0 1 0 0 0 0 0 0 3 REGEMENT OF PRI NCE S NUM OF 1 * 2 • 3 ETC, SYL SENTENCES - 0 0 ....................0 .......................0 ................ -------- o 1 0 0 0 0 0 0 0 0 0 * 2 0 0 0 0 ______________ 2- ■ -----------------0 ~ ----------------- 0 - -------------------o ----------- 0 1 1 0 0 0 1 0 0 0 0 1 0 0 0 0 _______ _ 0 -.......................0 - ---------- 0 ..............- .....0 ............- - 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 1 - ......... 0 ■ -.......-............- 0 ..............- .......- 0 -------- ....... 0 1 1 0 0 0 1 0 0 0 0 0 2 0 0 0 0 ...........................2 - .........0 ................... .. o ................ 0 0 1 0 0 0 0 2 0 0 0 0 1 0 0 . 0 1 - - ....................2- - ----------------0 ..... ................o ................ .............0 1 0 0 0 0 \ f 1 0 0 0 0 i' 0 0 0 0 0 0 ..........................1..... ...................... 0 ........................-0 ......... .......... 0 0 0 0 0 • 0 2 0 0 0 0 0 0 1 0 0 _________ _____ 0 ..................— 0 .................... I - ... ............. 0 -.......- 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ........................ 0 ......................0 ................. 0 ■ - 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ................... ____ 1 ...........................1 - -.......... 0 ------------------0 ................. 0 1 0 1 0 • 0 0 0 0 0 0 0 0 0 0 0 ............ ...... o ........................0 .........-...........0 .........................0 • - o 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 _____ _ ..________ 2 ....................... 0 0 -................... 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 _______ ______ o ........................- 0 - ..................... 0 ..........................0 ............ - 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 . _ .... .. 1 ................ 0 0 • ---- • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 _ 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 248 -249 LINE STRESS REGEMENT OF PRINCES MAXIMUM VALUE! 165 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL 775 POS VALUE PERCENT ; l 31 3.9990 XXX 2 1 1 2 14*4480 . xxxxxxxxxxxxxx 3 26 3.3540 XXX 4 1 27 16* 3830 XXXXXXXXXXXXXXXX 5 1 8 2*3220 XX 6 121 15*6090 XXXXXXXXXXXXXXX 7 33 4.2570 xxxx 8 1 1 4 14.7060 xxxxxxxxxxxxxx 9 21 2*7090 XX 1 0 165 21.2850 XXXXXXXXXXXXXXXXX 1 1 5 0.6450 12 2 0* 2580 13 0 0.0000 * STRESS MAXIMUM REGE?IENT OF PRINCES MAX IMUM VALUE:' 98 SCALF I:1 GRAPH IN PERCENTAGE OFr TOTAL TOTAL 477 POS VALUE PERCFNT 1 0 0 . 0 0 0 0 p 8 9 1 8 . 6 5 4 4 XXXXXXXXXXXXXXXXXX 3 10 2 . 0 9 6 0 XX 4 9 0 18* 8 6 4 0 XXXXXXXXXXXXXXXXXX 5 5 1 . 0 4 8 0 X 6 9 7 20o 3 3 1 2 XXXXXXXXXXXXXXXXXXXX 7 1 9 3* 7 7 2 8 XXX 8 9 8 2 0 . 5 4 0 9 xxxxxxxxxxxxxxxxxxxx o 1 2 2 . 5 1 5 2 XX 1 0 5 3 1 1 . 1 0 88 xxxxxxxxxxx 1 I 3 0 . 6 2 8 8 1 2 2 0 . 4 1 9 2 1? 0 0 . 0 0 0 0 250 ASSONANCE REGEMENT OF PRINCES MAXIMUM VALUE: 108 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 108 10,7352 xxxxxxxxxx 2 107 10,6358 xxxxxxxxxx 3 83 8* 2502 xxxxxxxx 4 90 8*9460 xxxxxxxx . . . . . . 5 90 ...8*9460 xxxxxxxx 6 97 9* 64 1 8 xxxxxxxxx 7 95 9.44 3 0 xxxxxxxxx 8 100 9*9400 xxxxxxxxx 9 100 9.9400 xxxxxxxxx 10 101 10* 03 94 xxxxxxxxxx 1 1 27 2* 6838 XX 12 6 0* 5964 13 2 0*1988 ALLITERATION REGEMENT OF PRINCES MAXIMUM VALUE: 57 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 43 1 1 « 81 2 1 XXXXXXXXX 2 57 15*6579 XXXXXXXXX 3 33 9*0651 XXXXXXXXX 4 35 9*6145 XXXXXXXXX 5 34 9* 33 98 xxxxxxxxx 6 34 9.3398 xxxxxxxxx 7 30 8*2410 xxxxxxxx 8 38 10*4386 xxxxxxxxx 9 28 7.6916 xxxxxxx 10 26 7*1422 xxxxxxx 11 4 1•0988 X 12. 1 0*2747 13 1 0*2747 100 6 364 REGEMENT OF PRIN C E S COINCIDENCE OF ASSONANCE AND ALLITERATION MAXIMUM VALUE? 2 9 SCALE 151 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1 8 4 POS VALUE PERCENT 1 20 10 * 8 6 8 0 XXXXXXXXXX 2 2 9 1 5 * 7 5 8 6 XXXXXXXXXXXXXXX 3 1 3 7 , 0 6 4 2 x x x x x x x 4 1 7 9 . 2 3 7 8 x x x x x x x x x 5 2 3 1 2 © 4 9 8 2 XXXXXXXXXXXX 6 1 4 7 . 6 0 7 6 x x x x x x x 7 16 8 . 6 9 4 4 x x x x x x x x 8 22 1 1 © 9 5 A8 x x x x x x x x x x x 9 . 16 8 . 6 9 4 4 x x x x x x x x 10 1 1 5 . 9 7 7 4 XXXXX 1 1 2 • 10 OS6 B X 12 1 0 . 5 4 3 4 13 . 0 0.0000 PUNCTUATION REGEMENT OF PRINCES MAXIMUM VALUE: 104 SCALE 1 : 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 4 0 6 POS VALUE PERCENT 1 20 4© 9 2 6 0 2 17 4 . 1871 3 22 5© 4 1 8 6 4 51 1 2 . 5 6 1 3 5 6 1 1 5 . 0 2 4 3 6 3 1 7 . 6 3 5 3 7 18 4 . 4 3 3 4 8 1 1 2 . 7 0 9 3 9 7 1 . 7 2 4 1 10 1 0 4 2 5 . 6 1 5 2 11 5 5 1 3 . 5 4 6 5 1 2 5 1 . 2 3 1 5 13 4 0 . 9 8 5 2 XXXX XXXX XXXXX .XXXXXXXXXXXX XXXXXXXXXXXXXXX x x x x x x x XXXX XX X XXXXXXXXXXXXXXXXXXXXXXXXX x x x x x x x x x * x x x X TOTALS FOR ENTIRE SAMPLE NUMBER OF POEMS 3 NUMBER OF SYLLABLES 5 2 0 4 NUMBER OF S T P E S S MAXIMA . • . . • •• •• 1 1 9 6 PERCENTAGE OF STRE SS MAXIMA • • » • • • • 2 2 NUMBER OF L I N E S . . . » • « « • • • ».•••• • • « • 5 0 0 PERCENTAGE OF STRE SS MAXIMA L I N E S • 100 NUMBER OF L I N E S WITHOUT STRE SS MAXIMUM. « . • • • . . « 0 NUMBER Op IAMBIC L I N E S . • • • • • • • • • 4 2 1 PERCENTAGE OF IAMBIC ‘ L I N E S » . . • • . 84 NUMBER OP TROCHAIC L I N E S . 0 PERCENTAGE OF TROCHAIC L I N E S . 0 NUMBER OF IRREGULAR L I N E S . . . . • • • • • • • • • • • ■ 0 PERCENTAGE OF IRREGULAR L I N E S • • • » . • . . • • • • • 0 NUMBER OF AMBIGUOUS L I N E S . a o » ® . • . • • • • • • • I 2 PERCENTAGE OF AMBIGUOUS L I N E S . . . . . » » « « • « . • 2 NUMBER OF ASSONATING SYLLABLES. . . » » • . « • • • • • 3 3 7 5 PERCENTAGE OF ASSONATING SYLLABLES. . . . . . • • • • • 6 4 NUMBER OF ASSONATING L I N E S . . « . . . • • • • • • • • • 4 9 4 PERCENTAGE OF ASSONATING L I N E S . 9 8 NUMBER OF ASSONATING PATTERNS . . • . . • • * • • • • • 1 0 5 0 I NUMBER OF ALLITERATING SYLLABLESo 8 7 5 PERCENTAGE OF ALLITERATING SYLLABLES. • . H * ^ 7 7 * 16 NUMBER OF ALLITERAT ING L I N E S . 3 1 7 PERCENTAGE OF ALLITERAT ING L I N E S . • * • • • • • • « • • 6 3 NUMBER OF AL LITERA TING PATTERNS 4 0 7 NUMBER OF L I N E S WITH CO INCIDEN T ASSON & ALLIT • • . • • 23 1 PERCNT OF L I N E S WITH COINCIDENT ASSON & A L L I T o • . • • 4 6 NUMBER OF SYLLABLES WITH COINCIDENT ASSON & ALLIT . . . 4 3 0 PERCNT OF SYLLABLES WITH COINCIDENT ASSON & A L L IT . . . 8 •NUMBER OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY. . . . . 1 1 2 PERCNT OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY. • • • • 2 3 0 0 AVERAGE COMPLEXITY. „ • » • . . • • • • • • • • • • • • 2 6 6 NUMBER OF A METRICAL L I N E S . . . . . . . . . . . . . . . 7 9 PERCNT OF AMETRICAL L I N E S . o < > o * o . . . . . . . . . 15 NUMBER OF L I N E S TO BE E L ID E D . . . . . a . • . . . . . « 3 8 7 NUMBER OF L I N E S SHORTER THAN S P E C I F I E D LENGTH • • • • • 3 AVERAGE NUMBER OF WORDS PER L I N E . . . . • • • • • • • . 7 6 8 1 NUMBER OF P O S S I B L E ASSIGNMENTS OF SYLLABLES TO P O S I T I O N S 1 5 8 5 SYLLABLE ADJUSTMENT RATIO 3 1 7 NUMBER OF EL ID A 3L E ADJUSTMENTS. • * • • • • • » • • « » 1 4 7 2 NUMBER OF CATACLECTIC ADJUSTMENTS 3 NUMBER OF OPTIONAL E . . . o » * a . 7 4 6 'NUMBER OF OPTIONAL E AFTER E L I S I O N * • 3 5 9 PERCENTAGE OF OPTIONAL E . a . . . . . . . 71 TOTALS FOR ENTIRE SAMPLE NUMBER OF SENTENCES ..................... \ 1 0 6 NUMBER OF WORDS 3830 NUMBER OF SYLLABLES 5619 AV SENT LENGTH IN WORD 36.13 .. AV SENT LENGTH IN SY -------------------------- 5 3 . 0 AV WORD LENGTH IN SY 1.426 TOTALS FOR ENTIRE SAMPLE NUM OF 1 * 2 , 3 ETC. SYL_.WORDS 2474 80 1 0 1051 5 0 0 230 0 0 0 jl_ INE STRESS TOTALS FOP ENTIRE SAMPLE Imaximum value: 405 scale 1:1 |GRAPH IN PERCENTAGE OF TOTAL TOTAL 1900 POS VALUE PERCENT 1 70 3.682 0 XXX 2 293 14.8858 xxxxxxxxxxxxxx 3 54 2.94 04 XX 4 320 16.8320 xxxxxxxxxxxxxXxx 5 56 2.9456 XX 6 310 16.3060 xxxxxxxxxxxxxxxx 7 64 3.3564 XXX 3 28 1 14,78 0 6 xxxxxxxxxxxxxx Q 44 2.3144 • XX ...10 405 21,3030 XXXXXXXXXXXXXXxxxxxxx 11 9 0.4734 12 4 0.2104 1 3 0 0.0000 j S T R E S S MAXIMUM TOTALS FOR E N T I R E SAMPLE I MAXIMUM VALUE: 2 4 5 SCALE 1 : 1 j GRAPH IN PERCENTAGE OF TOTAL TOTAL 1 1 9 6 POS VALUE PERCENT 1 0 0.0000' 2 239 19.9804 XXXXXXXXXXXXXXXXXXX 3 26 2.1736 XX 4 21 1 17.6396 XXXXXXXXXXXXXXXXX 5 20 1.6720 X 6 243 20.3143 xxxxxxxxxxxxxxxxxxxx 7 33 2.7588 XX 8 245 20.4 820 XXXXXXXXXXXXXXXXXXXX 9 23 2.3408 XX 1 0 143 1 1.95 4 9 xxxxxxxxxxx 11 4 0.3344 1 2 4 0.3344 13 0 0. 0000 256 S ASSONANCE TOTALS FOR ENTIRE SAMPLE ; MAXIMUM VALUE: 280 SCALE 1J1 | GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 280 1 1. 2000 XXXXXXXXXXX 2 260 10# 4000 xxxxxxxxxx 3 225 9.0000 xxxxxxxxx 4 230 9.2000 xxxxxxxxx 5 226 9.C400 xxxxxxxxx 6 236 9.44 0 0 xxxxxxxxx 7 2 1 0 8.4000 xxxxxxxx 8 249 9.9600 xxxxxxxxx 9 257 ,10.2800 • xxxxxxxxxx 1 0 247 9.8800 xxxxxxxxx 1 1 6 8 2.7200 XX 1 2 9 0.3600 13 3 ....0.1200 .............. j • * ALLITERATI ON TOTALS FOR EN TIRE SAMPLE j MAXIMUM VALUE*. 1 1 5 SCALE 111 | GRAPH IN PERCENTAGE OF TOTAL TOTAL I POS VALUE PERCENT 1 1 0 1 11.5342 XXXXXXXXXXX 2 1 1 5 13.1330 XXXXXXXXXXXXX 3 80 9.1360 XXXXXXXXX 4 1 08 12.333 6 XXXXXXXXXXXX 5 8 1 9.2502 xxxxxxxxx 6 90 10.2780 xxxxxxxxxx 7 67 7,651 A xxxxxxx 8 91 10.3922 xxxxxxxxxx 9 70 7.9940 xxxxxxx 1 0 63 7.194 5 xxxxxxx 11 7 0.7994 1 2 1 0.1142 13 1 0.1142 2500 875 257i TOTALS FOR E N TIR E SAMPLE COINCIDENCE OF ASSONANCE AND ALLITERATION MAXIMUM VALUE: 6 2 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL ' 4 3 0 POS VALUE PERCENT 1 51 1 1 . 8 5 7 5 XXXXXXXXXXX 2 6 2 1 4 , 4 1 5 0 XXXXXXXXXXXXXX 3 3 3 7 , 6 7 2 5 x x x x x x x 4 5 4 1 2 , 5 5 5 0 XXXXXXXXXXXX .....5 4 5 1 0 , 4 6 2 5 XXXXXXXXXX 6 3 9 9 , 0 6 7 5 x x x x x x x x x 7 31 7 , 2 0 7 5 x x x x x x x 8 4 3 1 1 , 1 6 0 0 XXXXXXXXXXX 9 3 4 7 , 9 0 5 0 XXXXXXX 1 0 2 8 ' 6 , 5 1 0 0 x x x x x x 1 1 4 0 , 9 3 0 0 1 2 1 0 , 2 3 2 5 13 0- 0 , 0 0 0 0 ....... PUNCTUATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 257 SCALE 1:1 TOTAL 1065 GRAPH IN PERCENTAGE OF TOTAL POS VALUE PERCENT 1 27 2.5352 XX 2 35 3.2866 XXX 3 58 5.4460 XXXXX 4 142 13.3333 XXXXXXXXXXXXX 5 174 16 4319 xxxxxxxxxxxxxxxx 6 108 10.1408 xxxxxxxxxx 7 64 6.0094 xxxxxx 8 31 2.9108 • XX 9 17 1.5962 X 10 257 24 .1314 xxxxxxxxxxxxxxxxxxxxxxxx 11 140 13.1455 XXXXXXXXXXXXX 12 6 .5624 13 6 .5624 LA MALE REGLE O PRECIOUS TRES09 INCONPAPABLE O PRE + SI/U/S TRE4-S0R INK04N°ARA4 BL> O GROUND AND RDCTE OF PROSDERITEE O GRU/4ND AND R04TC |V PRCSPE4RITE/ O EXCELLENT RICHESSE COMMENDABLE 0 F4KSELENT RI/T$B+SC K0ME4NDABL> ABOVEN ALLE. THAT IN EERTHE E3E AB04V>N |/+L C * ) AT IN E4R)C BE/ WHO MAY SU'STEENE THYN A DVERS I TEE? HO MA* SUSTE/4NC )I/N ADVE4RSITE/4? WHAT WIGHT MAY HIM AVANTE QF WORLDLY WELTHE« HWAT WI/4XT MA* HIM AV|/4NT_ |V W04 RLDLI WE4L>_, BUT IF HE FULLY STANDS IN GRACE OF THEE, BUT IF HE/ FU4LT ST A4ND_ IN GR|/4S_ |V )E/, ERTHELY GOD, PILER OF LYF, THQW HELTHE? E4-R ) EL I G04D, PI4-LER |V L I / 4_ , )U/ HE4L)_? WHIL THY POWER, AND EXCELLENT VIGOUR HWI/L >1/ PO+4ER, AND E 4 KSELENT VIGU/4P (AS WAS PLESANT UNTO THY WORTHYNESSE ) ( AZ WAZ PLEZA4-NT UNTO )I/ W04-R(INESC REGNED IN «E, AND WAS MY GOVERNOUR, RE/4N>D IN ME, AND WAZ MI G04VERNU/R, THAN WAS I WEL, THO FELTE I NO DURESSE, )AN WAZ 1/ WEL, )0 FR4LTC / NO DURE4 S , THO FA RSID WAS I WITH HERTES GLA ONES SE J )0 R|/4PS>D WAZ 1/ Wl( H E 4 R T > S GL ADNE4S C « AND NOW MY BODY EMPTY IS, AND 3ARE AND NU/4 MI 0 | 4 DI F 4 MPTI IZ, AND BA4RC OF JO IE , AND FUL OF SEEKLY HEVYNESSE, |V DOO = 4_, AND FUL |V SE/4KL I HE4VINF4S_, AL POORE OF ESE, AND RYCHE OF EVEL FARE AL P04R |V E/4Z_, AND RI/4TS_ |V E/4VEL F|/4-R_ IF THA T~T HY FAVOUR TWYNNE FROM A WIGHT, IF )AT )I/ F|/4VU/R TWI4NC FROM A WI/4XT, SMAL IS HIS ESE, AND GREET IS HIS GREVANCE SMA4L IZ HIZ E/4Z_, AND GRE/+T IZ HIZ GRE/V|/4NTS THY LOVF, IS LYF, THYN HATE SLEETH DOUN RIGHT )I/ L O 4 V_, IZ LI/4_, )I/N H|/4TC SLE/4) DU/N RI/4XT WHO MAY COMPLEYNE THY DISSEVERANCE HO MA+ KCMPLE*4NC >1/ DISE4VEPA4NTSC BETTRF THAN I THAT OF MYN IGNORANCE, BE4TR> IAN 1/ )A T |V MI/M I4GM0RA4NTSC, UNTO SEEKNFSSF AM KNYT, THY MORTEL PO, UNTO SB/KNE4S_ AM KNI/4T, ) I/ M04RTFL F04. NOW CAN I KNOWE FEESTE FRO PENAUNCEJ NU/4 KAN 1/ KNO*4C FE/4STC FRO PENA = 4NT ZE * AND WHIL I WAS WITH THEE, KOWDE I NAT SO. AND HWI/L 1/ WAZ Wl< )E/, KU/4DC 1/ NAT SO. MY GRIEF AND BISY S.MERT COTIDIAN MI GRF/4F AND BI4ZI SME4RT KOTI4DI/AN SO ME LABOUREN AND TORMFNTEN SORE, SO MF LABU/4R>N AND T OR ME 4 NT>N S04RC, THAT WHAT THOW ART NOW, WEL PEMEMBRE I CAN1, > AT HWAT )U/ A4PT NU/4, WFL REME4MBR 1/ KA4N, AND WHAT FRUYT IS IN KEF9YNGE OF THY LORE. AND HWAT FRU/4T IZ IN KE/4PTWG |V >1/ L04RC. HAD I THY POWER KNOWEN OR THIS YORE, HAD 1/ ) 1/ PO*4FR K NO * 4 >N OR »IS JORE, AS NOW THY FO CON°ELL IT H ME TO KNOWE, AZ NU/ + )I/ F0 + KONPF +L >) ME TO KNO*+C, NAT SHOLDE HIS LYM HAN CLEVED TO MY GORE, NAT *0+LD_ HIZ LI+M HAN KLE/+V>D TO MI GO+R_, FOR AL HIS AART, NE HAN ME BROGHT THUS LOWE# FOR AL HIZ A + PT, NE HAN ME BRO+XT JUS LO=+C« BUT I HAVE HERD MEN SEYE LONGE AGO, BUT _/ HA+VC HE + RD ME+N SET+C LO + WG AGO+, • PROSPER I TEE IS BLYND, AND SEE NE MAY 1 •: • PROSPE+RITE/ TZ BLI/+ND, AND 5E/+ N,E MA* + : AND VERIp T E I CAN WEL, IT IS SO; AND VE+RI^I/ 1/ KAN WEL, IT IZ SO! FOR I MY SELF PUT HAVE IT IN ASSAY. FOP 1/ MI SE + LF PU + T HA + VC. IT _N ASE*+* WHAN I WAS WEEL, KOWDE I CONS IDERE IT? NAY HW_N 1/ WAZ WEL, KU/+DC 1/ KONSI+D_R_ IT? NA* + BUT WHAT, ME LONGED AFTIR NOVELRIE, BUT HWAT, ME L|+#G>D A+FTER NO+VELRI/ + C » AS YEERES YONGF. YERNEN DAY BY DAY? AZ JE/+R>S J|+«G JE + RN>N DE* + BI DE*+; AND NOW MY SMF.RT ACCUSITH MY FOLIEo AND NU/ + MI SME+PT AKI”+ZC MI FOLI/ + C. MYN UNWAR YOWTHE KNEEW NAT WHAT IT WROGHTE, MI/N U+NWAR JU/ + )C KNE= + NAT HWAT IT WRO+XTC, THIS WOOT I WEL, WHAN FRO THEE TWYNNED SHEE? )IS WO+T 1/ WEL, HWAM FRO )E/ TWI+N>D $E/; BUT O^ HIR IGNORANCE HIP StLp SHEE SOGHTE. BUT |V HIP I+GNOPA + NTS_ HIR SE+LF -BE/ S|+XT_, AND KNEEW NAT THAT SHF.E DWFLLYNG WAS WITH THEE AND KNE= + NAT ) AT $E/ DWE+LItfG WAZ '.Vl( ) E / \ FOR TO A WIGHT WERE IT GREET NYCETEE. FOR TO A WI/+XT WE + RC IT C.RE/+T NI/ + S>TE/ HIS LORD OR FREEND WITYNGLY FOR TCFFEi'NDE, HIZ LO+RD OR FRF+ND WI+TK/GLI FOR TOFE+NDC, LEST THAT THE WE IGH TE OF HIS ADVE RSI TEE LEST )AT )> WE*+XT_ |V HI7 ADVE+RSITE/+ THE F OOL OPPRESSE, AND MAKE OF HIM AN ENDE * )> f0 + L OPP.E+S_, AND M | / +KC |V H_M AN E + ND „ FROM HENNFS FOORTH WOLE I DO REVERENCE FROM HE + N>S FC+RC WO+L_ 1/ D_ RE + VERE + NT Z_ UNTO THY NAME, AND HOLOE OF THEE IN CHEEF, UNTO ) I / N|/ + M_, AND HO + LDC |V )_/ IN TT.R/+F, AND WERRE MAKE, AND SHARP RESISTENCE AND WE+RC M|/+KC, AND 5A+RP RE/ + SISTE4NT SC AGEYM THY FO AND MYN1, THAT CRUEL THEBF, AGE* +N >1/ FO+ AND MI/+N, )A T KPU/+EL )E/+F, THAT UNDIR FOOTC, ME HALT IN.MESCHEEF, )AT U+NDIR FO+TC, ME H|/+LT IN MESTEF/+F, SO THOW ME TO THY GRACE RECONCYLco SO )U/ ME TO ) 1/ GF | / + S C R’E +K ONS I / +L C • O NOW THYN HELP, THV SOCOUR AND RELFEF O NU/+ )I/N HE+LP, ) 1/ 'SQ4KU/R AND RELE/+F AND I FOR AY, MIS PEULE WOLE FXYLEo AND 1/ FOR AT, MI+S PU/+LC WO+L_ EKSI/+L_. BUT THY MEPCY EXCEDF MYN OFFENSE, BUT )I/ ME+RSI EKSE/+DC MI/N |FF+NTSC, THE KFENE ASSAUTFS OF THYN ADVERSARIE )> KE/+N_ AS A = + T C |V )_/N ADVE+RSARI/ ME WOLF OPPRESSF WITH HIR VIOLENCE. ME WO + L _ OPRE + SC W I ( HIR VI / + QLF + NT S_<» NO WONDIR, THOGH THOW BF TO ME CONTRARIE; NO WO+NOIR, ( | X ) U / B F / TO M ET KONTRA+RI = 5 MY LUSTES BLYNDE HAM CAUSID THEE TO VAR t E Ml L U +S T >S 8 L I / + N D _ HAN KA=+Z>D I E / TO VA+R_= FOR ME, THU9GH MY F OLIE AND INPUOENCEJ FOR ME, ) UR X MI F O L I / + _ AMD I + N P I * O E + N T S 1 WHER'ORE. I , WRECCHE, CURSE MAY AND WARIE HWE+RFOR, I / , WRE+TSC, KU+RSC MA* AND W | / + R I = THE SEED AND FFUYT OF CHYLDLY SA PIE NCE * >> S E / + D AND F R U / f T |V T S I / + L D L I SA + PI / E + N T S C * AS FOR THE MORE PAART, YOUTHE IS REBEL AZ r OP )> MC+PC PA +R T, J U / + ) _ IZ RE8E+L UNTO RESON, AND HATITH HER DOCTRYNC, UNTO R E / + Z C N . AND H | / + T > > HER DOKTRI/+.NC, REGNYNGE WHICH, IT MAY NAT STANOE WEL C PEZ+NIA'G H W ITS , IT MA* NAT STA+NDC WEL WITH YOWTHE, AS FFR AS WIT CAN YMAGYNE. WI( J U / + > _ . AZ FE+R AZ WH-T KAN I / + M ADO I / + N • 0 , YOWTHF, ALLAS, WHY WILT THOW NAT FNCLYNE, O, J U / + ) _ . ALA+S, HWI/ + WILT ) U / NAT E N K L I / + N _ AND UNTO REULED REFORM 30WE THEE? AND UNTO P U / + L > D RFFO+RM B U / + C ) E / ? SYN RESOUN IS THE VERRAY S T R E IG H T E LYNE S IN R E / + Z U / N IZ )> VE+PA* STR E/+ MC L I / + N C THAT L F D I T H F C L K , UNTO F E L I C I T E E ® ) AT L E / + D X FO+LK, UNTO F F L I + 5 l T E / » FUL SFELDE I S SEEN, THAT YOWTHF TAKITH HFEDE FUL S F / + L O _ IZ S E / + N , ) AT J U / + ) C T | / + K > ) HE/+ D OF P E R I L S THAT BEFN LIKLY FOR TO FALL? |V P E + R I L Z ) A T B E / N L I / I - K L I FOR TO F | / + L 5 FOR , HAVE HE TAKE A PU RP OS . THAT MOOT NEDE FOR, HA + V_ H E / T | / + K_ A P U + R P Q S , (AT MOT NE/ +D BEEN EXECUT, NO CONSEIL WOLE HE CALL I B E / N E + KSEKI *T , NO KO + NSE*L WO + L _ H E / K | / + LI H I S OWNE WIT, HF DEMFTH BEST OF ALL 5 HIZ Q*+NC W I+ T, H E / D F / + M X BE+ST |V ALI AND FOORTH THERV/ITH, HE R E N N E TH B R Y D I L L E F S , ’ AND FC + RC ) F R W I + ( , H F / R E + N >) O R I / + D > L F S , AS HE THAT NAT BETWIXT HOlMY AND GALL AZ H E / (AT NAT RETWI+KST HO+NI AND G | / + L CAN JUGE, NE THE WERRE FRO THE PEES* KAN DOU+DOC, NE )> WE + RC FRO )> P F / + S * ALL GTHIR MENNF.S WITTFS HF D E S P I S I T H i AL | +( IR MF + N>S W I + T > S H E / D E S P I / + Z > ) ; THEY AMSWFREN NO THYNG TO H I S ENTFNTEI )E * A + NS WER>N NO ) I + ' / G TO HIZ FNTE+NTC? H IS PAKIL WIT ONLY TO HIM S O U F F Y S IT H I HIZ RA+KIL WI+T O + NL I TO HIM S O * " I / + S > ) ; H IS HY PRESUMPC IOUN NAT L I S T CONSENTE HIZ H I / + P R E Z U + M P S I / U / N NAT L U S T KONSE+NTC TO DOON AS THAT SALOMON. WROOT AND MENTE, TO DON AZ (AT SALO+MON WRO+T AND MF+NTC, THAT REDDE MEN BY CONSEIL FOP TO WERKE: ) AT RE + DC ME + N 31 KO+NSE*L F O R TO WE+RKCI NOW, YOUTHE, NOW, THOW SORF SHALT REPENTF N U / + , J U / X C , N U / + , ) U / SO+RC SALT REPE+NTC THY L IG H T L E E S WITTES DULL, OF RESON DERKE > 1 / L 1 / + XTLES WI+ T > S DU + L , |V R E / + ZON DE + RKC MY PRFENOES S F I D F N UNTO MF. FUL OFTE , MI FRE+NO>S SE* + D>N UNTO ME FUL l + F T C , MY MIS REULE ME CAUSE WOLDE A F I T ! MI MI+S RU /+ L C ME KA= + ZC WO+LD_ A F I + T 5 AND REDDEN ME. IN ESY WYSE AMD S Q F T E . And r e+d>n m e. in e / + zi wi/ + z and s |fft_, A ' LYTE AND LYTE TO WITHDPAWEN IT? A L I / + T C AND L I / F T C TO WI CDR A= + >N IT J BUT THAT NAT VIGHTF SYNKE INTO MY WIT,. BUT ) AT NAT MI/+ XTC S I + # K _ INTO* MI W I + T , SO WAS THE LUST YROOT ID IN MYN HERTE a SO WAZ )> LU+ST I PO+T>D IN M I / N HE + P.TC# A nd n o w i am s o r y p e u n t o m y p i t , AND N U / F 1 / AM SO P . I / + ° C UNT_ MI o i + j , THAT SCARSELY I MAY IT NAT ASTERT,E„ ) A T SK APS >LI 1 / MA + IT NAT ASTE + RTC. WHOSO CLEER YEN HATH, AND CAN NAT S E E , MO+SO K L E /+ R I / + >N H A ), AND KAN NAT S E / F , FIJL SMAL, OF YE, A V A IL L IT H THE O F F I C E , FUL SMA+L, |V J E / , AVA*+L>) )> | F I / + S C , RIGHT SO, SYN RESON YOVEN IS TO ME R I / + X T SO, S I N RE/+ ZON J | + V>N IZ TO ME F?OR TO DISCER NS A VERTU FROM A V I C E , FOR TO DISE +R N A V E + R T I * FROM A V I / + S _ , I F T NAT CAN wTTH RESOUN ME C H E V I C E , IF 1 / NAT KAN Wit R E / + Z U / N ME T $ E V I / + S C * BUT WILFULLY FRO RESON ME WITHDRAWS , BUT WI+LFULI FRO RF /FZ Q N ME W I ( D R A = + C , THOGH I OF HIR HAVE NO B E N E F I C E , < | X 1 / |V HIR HA+VC NO B E + N E F I / + S C , KlO WONDIR, NF NO FAVOUR IN HIR LAWEo fvJO WO + ND IR , NE NO F ! / + VU/R IN HIR LA=+C« RESON MF BAD. AND R EC DE AS FOR THE B E S T S , R E/+ ZO N ME BA+D, AMO RE+D AZ ^OR )> S F + S T _ , TO ETE AND DRYNKE IN TYME~ATTEMPRELY! TO E / + T_ AND DR I + U K . _ IN T I / + M_ ATE + MPR> LIJ BUT WILFUL YOUTHE NAT 0 5 E I E LE ST E BUT WT+LFUL J U / + ) C NAT CRE^+C LE+STC 6NTO THAT REED, NE SETTE NAT THP RBY» UNTO ) A T R E / + D , NE SE FTC NAT ( E R B I / + . I TAKE HAVE OF HEM BOTHE OUTRAGEOUSLY 1 / T | / + K_ HA +V_ |V HEM B O + ) U / T R | / + DQU/SL I AND OUT OF TYME, NAT TWO YSFR OR THREE, AND U / T l v T I / + M C , NAT TWO+ J F / + R DR J R F / F , BUT TWFNTY WYNTIR PAST CONT I MUELLY, BUT TWE + NTI WI+NT>R PA+ST KQNTI+NWEL I , EXCESSE AT BORDE HATH 1 L EYD H I S KNYF WITH MEa E K S E + S _ AT BO+RD_ HA) LE*+D HIZ K N I / + C WI( M_ JHE CUSTUME OF MY REPLEET A B S T IN E N C E , )> KU + STU/M |V MI R E P L E / F T A+BST INE+NTZC , MY GREEDY MOWTH, RF C E IT E OF SWICH OUTRAGE, MI GRE /+ DI M U / + ) , R E S E * + T _ |V SWITC U / T R | / + D Q AND HONDES TWO, AS WOOT MY 'NEGLIGENCE, AND H | + N D > S TWO*, AZ WO+T MI NF+ G L I D O F + N T S C , THUS HAN ME GYOED, AND BRQGHT IN SERVAGE )US HAN ME G I / + 0 > D , AND BRO+XT IN S E R V | / + D Q C OF HIRE. THAT WFRREIETH EVERY AGE, |V H I / + R C ) AT WE + R I / > ) E + V>R I | / + DOC, SEEK MES SS, Y MEcNE, riotoures whippe, S E / K N F + S C , _ / ME/+NC, R I / + l T U / R > Z H W I + P _ , HARUNDANTLY THAT PAIF.TH Mf MY WAGS, Ha b u + n d a n t l i )AT P A*+ >) ME MI w | / + D Q C , SO THAT ME N E IT H IR DAUNCE L I S T , NE S K I P P F * SO ) A T ME NF* + O R OA=4NT5C L I+S T , NE SKI+PC© THE OUTWARD SIGNE OF RACHUS AND H I S LURE, )> U / + TWARO S I / + C,N_ |V B | / + K U S AND HIZ L U / + R _ , THAT AT H I S DORE HANG ITH DAY BY DAY, ) AT AT HIZ DO + RC HA+*G>) DE* + RI D E * + , E X C I T I T H FOLK, TO TAASTE OF H T S MOISTURE E K S I / + T > ) FO+ LK, TO T | / + S T _ |V H I Z M O = S T I * + R _ SO OFTEN, THAT MAN CAN NAT WFL SEYN NAY* SO | + F T E N , ) AT MA + N KAN NAT ''.'EL SF*+N NA* + * FOR ME, I S EY E, I WAS ENCLYNLD AY FOR ME, 1 / SE + +C., 1 / WAZ E'NKL I / + N>D A t WITHOUTFN DAUNGFR TH ID IR FOR TO HYE ME, W I ( U / + T>N DA= + NDQER )I + D > R FOR TO H I / + _ M_ , BUT IF SWICH CHARGE, UR ON MY BAKE LAY, BUT I F SWIT* T$A+RDQ_, UP |N MI B | / + K C LA* + , THAT I MCOT I T FORBERE, AS FOR A TYMEJ ) AT T/ MOT IT F O R B F /+ R C , AZ F _ p A T I / + M ; OR BUT I WERE NAKIDLY RYSTAD OR BUT 1 / WE+RC N | / 4 K I D L I B IS TA + D BY FORCE OF THE PENYLEES MALADIE, .................... BI FO+RSC |V )> PE+N_ LES M A 4 L A D I / + _ , FOR THANNE IN HFRTE KOWDE I NAT BE GLAD, FOR ) A + N_ IN HE + PTC K U/+ D_ 1 / NAT B E / GLA+D, NE LUST HAD NOON TO BACHUS HOWS TO HIE* NE LU+ST HAD NON TO B | / + K U S H U / 4 S TO H I / + C * f y : l a k d f c o y n , d e p a r t i t h c o n p a i g n i e , F I / + : LA + K |V KO = + N , DFPA + RT> ) K O + N P A + N I / + C , AND HEVY PURS, WITH HERTE L I B E R A L , AND HE + VI PU + RS , WI( HE + RTC L I + B E R A L , QWENCHITH THE THIRSTY HETE OF HERTES DR IE , KWE+NT*>) )> ) I + PST I H E / + T _ |V HE+RT>S D R I / + _ , WHER CHYNCHY HERTE, HATH THE RCF BUT SMAL* HWER THI+NTT.I HE + RTC, HA) ) E R | + V BUT SNA+L* I DAR NAT TELLE, HOW THAT THE FRESSHE REPE IR 1 / D | / + R NAT TE + L _ , HU/ ) A T )> F R E + $ _ R E P E / + R OF VENUS FE.MEL LUSTY CHILDREN DEERE, |V VE/ + NU/S FE /+MEL LU + 5 T I T $ I+L OPEN D E / + P C , THAT SO GOODLY, SO SHAPLY WERE, AND F E I R , ) AT SO GO+D LI, SO * | / + P L l WE+RC, AND FE *+ R» AND SO PLESANT OF PORT AND OF MANEERE. AND SO PLEZA+NT |V PO+RT AND |V MANE/+RC, AND FEFDE COWDEN AL A WORLD WITH CHEERE, AND F E / 4 D C KU/+D>N AL A WO+RLD WI( T S E / + R C , AND OF ATYR PASSYNGLY WEL BYSEYE, AND |V A T I / + R PA + SI//GLI WEL R I S E * + C , AT P 0 U L 5 S HEED ME MADEN OFTE A ^ P E E R E , AT P U / +L > S H E / + D ME M |/ + D > N | + F T _ A P E / + R _ , TO TALKE OF MIRTHE,- AND TO D I S ° C R T F AMO PLEYEc TO T | / +L K _ |V MI+ R ) _ , AND TO DTSPO + R T _ AND PLE* + THER WAS SWEET WYN YNOW THURGHOUT THE MQUS , )ER WAZ SWE/+T WI+N lNO*+ )URXU/+T )> H U / + S , AND WAFRE3 T H I K K E , FOP. THI S CONPAIGNIE AND W | / + F R > S ) I +K C , FOR ) I S KG + N P A * N I / + C THAT I SPAK O F , BEEN SUMWHAT LIK ER OU S, ) AT 1 / S P I / + K | V , B E / n SU + MHWAT L I + K E R U / S , WHERE AS THEY MOWE A DRAGHT OF WYN ESP I E , HWE+R AZ ) E * MQ*+_ A D R | / + X T |V WI+N E S P I / + _ , SWEETF, AND IN WIRKYNGE HOOT FOR THE M A IS T R IE S W E / + T _ , AND IN WI+RKItfG HO+T FOR )> M A * S T R I / + _ TO WARME A STOMAK WITH, THEROF THEY DRANKEo TO W|‘ / + R M _ A STO + MAK W I ( . )EP.|+V IE* DRA+tfK • TO SUFFRE HEM PA I E * HAD BEEN NO COURTESIEI TO S U + F R _ HEM PA t* -C « HAD F W N NO KO* +P.TE SI / + _ J THAT CHARGE I TOOKE. TO WYNNE LOVE AND T HANK Eo ) AT T $ A+RDO_ 1 / T | + K , TO WI+NC LO + V_ AND )A+WK_* OF LOVES AART, YIT TOUCHID I NO OEEL J |V LO +V >S A+RT, J I T TO'< + T$>D 1 / NO D E / + L ; I COWDE NAT, AND EFK IT WAS NO NEEDE: 1 / KU/+DC NAT, AND E/K IT WAZ NO NE/+DCJ HAD I A KUS, I WAS CONTENT FUL WEEL, HAD 1 / A K U / + S . 1 / WAZ KONTE+NT FUL WEL, BETTRE THAN I WOLDE HAN BE WITH THE DFEDEI BE+ TR> >_N 1 / WO+LDC HAN B E / Wl< )> D E / + D _ : THERON CAN I BUT SMAL5 IT I S NO DREEDE: ( E R | + N KAN 1 / BUT SMA+LJ IT IZ NO DR E / + DC I WHAN THAT MEN SPEKE OF IT IN MY PRESENCE, HWAN ) AT MF+N SDE / + K _ |V IT IN MI P R E Z E + N T Z _ , FOR SHAME I WEXE AS REED AS IS THE GLFEDF* FOR $ | /■**M_ 1 / WE + KS_ A7 . R E /+ D AZ IZ )> G L E /+ D _o NOW WOLE I TORNE AGEYN TO MY SENTENCE* NU/+ WO + L _ 1 / TO + RN_ AGE * + N TO MI SENTE+NT Z_* OF HIM THAT HAUNT ITH TAVERNE OF CUSTUME1, |V HIM ) AT HA=+NT>) TA+VERN |V KUSTU/+M, AT SHORTE WORDES, THE PROFYT IS T H I S ! AT $Q+RTC WO + RD>S • )> P R | + F I T IZ > I S I IN DOUBLE WYSE, H I S BAGGE IT SHAL CONSUME, IN D U / + B L > W I / + Z _ , HIZ BA + G_ IT SAL KONSU/+M_, AND MAKE HIS TONGE SPEKE OF FOLK AMIS? AND M | / + K_ H I Z T | + W GC S P E / + K_ |V FQ + LK AMI+SJ FOR IN THE C U PP E. SFELDEN FOWNDEN I S , FOR IN )> KU+PC, S E / + L D > N FU/+ND>N I Z , THAT ANY WIGHT H I S NE IGHEBURGH COMMEND IT H» ) AT A 4-NI WI/+XT H I Z NE++X>8URX K OME + ND> I • REHOLDE AND S E E , WHAT AVANTAGE IS H I S , BEHO+LD_ AND S E / + , HWAT A+-VANT AtDQ IZ HIZ* THAT GOD, H I S FREFND, AND EFK HIM S E L F , OFFENDITH ) AT GO+D, HIZ FRE+ND, AND E/K HIM S E + L F , | F E + N D > ) RUT OON AVAUNTAGE, IN T H I S CAS I HAVE: BUT O + N AVA = + NT ADD, IN I I S K | / + S 1 / HA + VC: I WAS SO FERD, WITH ANY MAN TO F I G H T E , 1 / WAZ SO F E / + R D , WI( A + NI MAfN TO F T / + X T C , CLOOS KEPTE I MF , NO MAN DURSTE I DEPRAVE KLO + S KB + PT_ 1 / M_, NO MA+N DU + P.STC 1 / DFDR J / + V _ BUT ROWNYNGLY, I SPAK NO THYNG ON HIGHTE, BUT R U / + N I W G L I , 1 / S P | / + < NO )I+t fG |N H I / + X T C , AND Y I T MY WIL WAS GOOD, I F THAT I M I G H T E , ANO J I T MI WIL WAZ GO+D, IF I AT 1 / M I / + X T C , FOR LETTYNGE OF MY MANLY COVAROYSE, FOR L F + T It f G |V MI MA+NLI K U / + A R D I / S C , THAT AY Oc STPOOKFS IM P R E S S ID THE WIGHTE, I AT A* |V STR O+K > S I M P R E + S > D )> W I / + XTC, SO THAT I DURSTE MEDLBN IN NO WYSE* SO IA T 1 / DU + RSTC MF + QL >N IN NO WI/+ZC* WHER WAS A GRETTER MAI5TER EEK THAN Y, HWER WAZ A G R E /+ T> R MA++STER E / K IAN I / , OR BET AQWEYNTID AT WESTMYNSTRE YATE, OR RE + T AKwE/4 NT>D AT WE S TV I «-NST ER j | / + T C , AMONG THE TAVERNERTS NAMELY, AMl+WG I> TA+VERNE+R>S N | / + M > L I , AND COOKES, WHAN I CAM, EERLY OR LATE? AND KO + K>S» HWAN 1 / KA + M, E + R L I OR L | / + T C ? I PYNCHID NAT AT HEM IN MYN ACATE, 1 / P I + NT $>D NAT AT HEM IN M I / N A K | / + T C , BUT PA IED HEM, AS THAT THEY AXE WOLDEI BUT P A * + > D HEM. A 7 . ) A T ) EX A + KSC WO+LDCJ WHERFORE I WAS THE WELC.GMFPE ALGATF, HWF+RFCR 1 / W AZ )> WE+LKOMF+P_ A L G | / + T _ , AND FOR A VFRRAY GENTIL MAN YHOLDE. AND FOR A VE+RA* DQE+NTIL VA+N THO+LDC, AND I E IT HAPPID ON THE SOMERF.S DAY AND I F IT HAtP> D |N )> S |+ M F R Z DE* + THAT I THUS AT THE TAVERNE HA DDE BE. ) AT 1 / ) US AT )> TA+VERN HA+DC B E / , WHAM I DEPARTF SHOL OF, AND GO MY WAY ' HWAN 1 / D E P | / +RT C $ 0 + L D _ , AND GO+ MI WA* + HOOM TO THE P R I V E E SE E L , SO WOWFD ME HO+M TO ) > P R I + V E / S E / + L , SO WQ*+>D ME HEFTP AND UNLUST AND S U P S R F L U IT E E H E /+ T C AND UNLU«- ST AND S U / + PE RFU/ + I T E / TO WALKE UNTO THE B R IG G E , AND TAKE A BOOT TO WI / +LK UNTO )> BRI«-G_, AND T | / + K _ A RO+T THAT NAT DURSTE I CONTRARIE HEM ALL THREE, ) AT NAT DU+RSTC 1 / KONTRA+RI= HEM AL ) R E / + , BUT DI DE AS THAT THEY STIP.ED ME, GOD WOOT, BUT D I+ D AZ )AT )E* STT+P>D MF. , GO + D WO.+ T« AND IN THE WYNTIR. FOR THE WAY WAS DEEP, ANO IN >> WI+ NT> P , FOR >> WA+ + WAZ D E / + P , UNTO THE BRIGGE I DR ES SID ME ALSO, UNTO )> BR I+ G 1 / DRE+S>D ME ALSO+, AND THER THE BOOTMEN TOOK UPON ME KEEP, AND )ER )> BO + TMEN TO+K !JP|+N MF K E / + P, FOR THE.Y MY RIOT KNEFWEN FFRN AGO: FOR ) F * MI R I / + |T KNE=+>N FE+RN AGO+: WITH HEM WAS I I TUGGED TO AND F P O l . WI( HEM WAZ 1 / I-TU + G> D TO AND FRO + , SO WFL WAS HI M , THAT I WITH WCLDE FARE? SO WEL WAZ HIM, ) AT 1 / WI( WO+LOC F J/+ RC J FOP RIOT PAT.ETH .LARGELY , FVEREMOJ FOR R I / + | T P & * + > ) L I / + R D O L I , E + V>P_MO+5 HE ST Y N TIT H NEVERF., T I L H I S PURS BE BAREo H E / ST I + N T > ) NF + VER, T I L H I Z PU + RS BE/ BA + RC* REGEMENT DF PRINCES MUSYNG UPON THE RKSTLES S I S Y N E S S E MU/ZI+WG UP l+ N ) > R E + S T L E S B I + Z I N E + S C WHICH THAT TH IS TPOUBLY WCPLD HAT HI AY ON HONOE, HWITt )AT > I S T R 0 * + 8 L I WO+RLD HA) A* |N H |+ N D C , THAT OTHIR THYNG THAN FRUYT OF BY TTIR NESS E ) AT | + ( IR ) I + # G ) AN F R U / + T |V Q I + T I R N F + S C NE YELDETH NOUGHT, AS I CAN UNDIRST ONDE, NE J E / + L O > ) NO*XT, AZ 1 / KAN U + ND I P S T | + N D C . AT CHESTRE YNNE, RIGHT FART BE THE STRONDE, AT T $ E + S T P > I + N C , R I / + X T FA + ST B E / ) > ST R |+ N D C » AD I LAY IN MY BED UPON A NYGHT, AD 1 / LA* t TN MI BE + D U P | + N A N I / + X T , ' THOUGHT ME BEREFT OF SLEEP WITH FORCE AND MYGHT. >0*+XT ME BERE+FT |V S L E / + P WI< FO+ RS_ AND M I / + X T . AND MANY A DAY AND NYGHT THAT WYKKEO HYNE AND M A +N_ A DE* + AND NI/ + XT ) AT WI+K>D H I / + N_ HADDE REFORN VEX ID MY POORE GOOST HA+DC BEFO+RN VE+KS>0 MI PO+RC GG+ST SO GREV0U5LY, THAT OF ANGUYSH AND PYNE SO G R E / + V U / S L I , ) AT |V A #G W I+ $ AND P I / + N C no r i c h e r e man w a s n o u g h e r i n no c o o s t ; NO R I+ TT ER MA + N WAZ NO*+XER IN NO KO+S TI THIS OAR I SEYN, MAY NO WIGHT MAKE H I S BOOST ) IS D | / + R 1 / S E * + N , M_« NO W I / + X T M | / + K C HIZ BO + ST THAT HE WITH THOUGHT WAS B E T T I P THAN T AQUEYNTED. ) AT H E / WI< ) 0 * + X T WAZ B E + T I R ) AN _ / A KWE/ + N T _ D » FOP TO THE DF.TH IT WFL NIGH HATH ME FEYNTED. FOR TO )> D E / + ) IT WEL N I / + X HA) ME FE* +NT >D• BYSILY IN MY MYNDE I GAN REVOLVE B I + Z I L I IN MI MI/ +ND_ 1 / GAN REVO+LV_ THE WELTHE ONSURE OF EVERYE CREATURE, )> WE + L ) _ | N S I * + R _ |V E + V _ R I K R E / + A T I * + R _ , HOW LIGHTLY THAT FFOPTUNE IT CAN D I S S O L V E , HU/ L I / + X TL I ) AT F O R T U / f N _ IT KAN D I S O + LV_». WHAN THAT HIR LYST THAT IT NO LENGER DURE; HWAN ) AT HIR L 1 4 ST ) AT IT NO LE + «G>R DU/+RCJ AND 0= THE 8R0TYLNE SSE OF HYRE NATURE, AND |V )> R R O + T IL N E + S _ |V H I / + R _ N A T I + + R , MY TREMLYNG HERT SO GRETE GASTNESSF. HADDE, MI TRE +ML I WG HE 4 R T SO G R E / 4 T C GA +STNES HA+DC, THAT MY SP I R I T I S WERE OF MY L YFE SADDF» ) AT MI S P I R 1 4 T>S WE + R_ |V M_ L I / + FC SA+D_» ME FEL TO MYNDE HOW THAT, NOT LONG AGO, ME FE+L TO M I / + N D _ HU/ ) A T , NOT L | + « G AGO+, FFORTUNES STROK DOUN THREST ESTAAT ROYAL F O R T U /+ N > S S T R | + K DU/N ) R F + S T E S T | / + T RO=A+L INTO MYSCMFEF; AND I TOOK HEFD ALSO INTO+ MISTS-E/ + F ; AND 1 / TC1+K HE/+D ALSO + OF MANY ANOTHIR LORD THAT HAD I A FALL? |V MA + NI _ N O + O R LO+RD ) AT HA+D A F | / + L « IN MENE ESTAAT EEK S I K E R N E S S E AT ALL IN ME/4N _ F S T | / + T E / K S I + K E R N E + SC AT _L NE SAW I NOON! BUT I SEY ATTE L A S T E , NE SA= 4 1 / NON? BUT 1 / S F * + A+TC LA + STC , WHER SEWRTF, FOP TO ABYDE, H I R CASTE. HWER S E = + P T E / « FOR TO A B I / + D C , HIR KA+STC . YN POORE ESTAAT SCHE PYGHT H I R PAVILOUN, IN PO+PC E S T | / +T T E / P I / + X T HIR P A 4 V I L 0 N , TO COVERE HIRE FROM THE STORM OF DESCENDYNG*. T O K O + V E R H I / + R C F R O M ) > S T O + R M | V D E S E + N D I W G ; F O R S C H E KN E E W N O L O W E R E D I S C . E N C I O N , F O R S E / K N E = + N O L O * + > R D I S E + N S I / | N , S A V E O O N L Y O E T H * F R O W H I C H N O W I G H T L Y V Y N G S | / + V C O + N L l D E / + I , F R O H W I T * NO W I / + X T L I + V I # G D E F F N O Y N HYM M A Y\ AND T H U S , I N MY M U S Y N G , D E F E + N D > N H _ M MA T? AND ) U S » I N MI M U / Z I + f f G , I D E S T I T U T WAS OR J O Y E A N D G O O D H O P E , 1 / D E + S T I T U / T WAZ | V D Q Q = + C AND G O + D H O + P C , AND TO MYN E S E NO T H Y N G K O U D E I G R O O P E , AND T O M I / N E / + Z C NO I I + t f G K U / + D 1 / G R O + P _ # F O R R I G H T AS B L Y V E R A N I T I N MY T H O U G H T , - F O R R I / + X T AZ B L 1 / + V C R A + N I T I N MI I O * + X T , T H O U G H I B E P O O R E , Y E T SOM WHAT L E E S E I M A Y 1 I )U/ 1 / P E / P O + R _ , J E T S Q M H W A T L E / + Z C _ / MAT + « T H A N D E E D E D I T H A T S E U R E T E W O U L D N O U G H T ) A N D E / + M>D 1 / IA T S I * + R > T E / WG + L D NOY-XT W I T H ME A B Y D E , I T I S N O U G H T T O H I R P A Y , WI< ME A B I / + D C , I T I Z N O T X T T _ H I R P-A* + , T H E R T O S O J U R N E A S S C H E D E S C E N D E M A Y 1 • ) E R T O S O D O U + R N _ AZ $ F / D E S E + N D C M A * + , ' AND T H U S U M S I K I R OF MY S M A L L Y F L O O D E , A N D ) U S U N S I + K I P | V MI SMA + L L I / F L O + D C , T H O U G H T L E Y D ON ME F U L L MA NY AN H E V Y L C O D E e ) 0 + + X T L E * + D | N ME P U L MA + N _ AN H E + V I L O + D _ , I T H O U G H T E E K , I F I I N T 0 1 P O V E R T C R E E P E , 1 / I 0 * + X T E / K , I F 1 / I + N T O P O + V E R T _ R E / + P , T H A N AM I E N T R E D I N T 0 1 S Y K I R N E S S E , ) AN AM 1 / E + N T P > D I + N T O S I + K E R N E + S C J BU T S W I C H S E U R E T E MYGHT I AY W A Y L E A N D W E F P E , P U T S W I T $ S I * + R > T E / M I / + XT 1 / AT WAT + L C A N D W E / + P C , F F O R P O V E R T E B R E E D E T H B U T H E V Y N E S S E » F O R P O + V E R T F / B R E / + D > ) B U T H E + V I N E + S C o A L L A S WHER I S T H I S W O R L D T S S T A f? I L N E S S E ? A L A + S H W ER 17 I I S W O + » L O > S S T | / + B I L N E + S C ? H E E R U P , H E E R D 0 U N 5 H E E f i H O N O U R , H E E R R E P R E E F ; H E / + R U a , H E / + P D U / N ; H E / + R O N U / + R , H E / + R P E P R E / + F J NOW H O O L , NOW S E F K 5 .NOW B O U N T F , NOW M Y S C H E E F # N U / + H O + L , N U / + S E / + K ; N U / + B U / + N T E / , N U / + M I 5 T S E / + F AND W HA N I H A D D E P O L L E D U P A N D DO UN AND H WA N 1 / H A + D C R O + L > D U P AND D U / N T H I S W O R L D E S S T O R M Y W A W F S I N MY M Y N D E , I I S W O + R L D > S S T O + R M I W A + W > S I N MI M I / + N D C , I S E E Y WE EL P O V E P T WAS E X C L U S I O N 1 / S E * + WEL P O + V E P T WAZ E K 3 K L U / + 3 1 / | N o f a l l w e e l ^ a r e r e g n y n g i n m a n k y n d e ; | v AL W E / L F | / + RC R E / + N T / / G I N M ANK I / + N D C • AND HOW I N B O O K F S T H U S I W R Y T E N n Y N D E , AND H U / I N B O + K > S ) US 1 / W R I + T > N F I / + N D C , " T H E W E R S T E K Y N D F P F W R E C C H E D N E S 5 E I S , " 1 > W E + R S T C K I / + ND C | V WR E + T S E D N E + S C I Z , A MAM T O HAV F B E E N W E E L F U L L OR T H I S , " A MA + N T O HA + VC B E / N W E / + L F U L OR I 1 - 5 " " A L L A S " T H O G H T F I , " W H A T S Y K I R N E S 3 E Y S T H A T " _ L A + S " I O + X T C I / , » HWAT S I + K E R N E + S C I Z ) _ T TO L Y V E A Y S E U R OF G P E E F AN D OF N U I S A N C E ? T O L I / + V _ AY S I * + R |V G R E / + F AND | V N U / S A + N T S ? WH AT S C H A L I D 0 1 ? B E S T I S I S T R Y V E NAT HWAT S A L 1 / D 0 + ? H E + S T I Z 1 / S T R I / + V C N A T A.GAYNE T H E P A Y S O F F O R T U N E S B A L A U N C E . ; AG A * + N__ ) > P A + + S | V F 0 + R T I * N > S R A L A = + NT S _ « F F O R W E L E I W O T E , T H A T H I R B R O T F L C O N S T A U N C E , F O R W E + L C 1 / W O + T C , ) A T H I R B R O + T E L K O N S T A = + N T A WY G H T N D W H I L E S U F F E R C A N S O J O U R N E A W I / + X T NO H W I / + L C S U + F E R K A N S O D Q U + R N C I N A P L Y T J T H U S NAT W I 3 T E I HOW T O T O P N E . I N A P L I / + T ; ) U S N A T W I + S T E _ / H U / T O T O + R N _ e F F O R W HA N A MAN W E N E T H S T O N D M O S T C O N S T A N T * F O R H WA N A M A + N W E / + N > ) S T Q + N D M O S T K O N S T A + N T * T H A N I S H E N E X T E TO H I S O V E R T H R O W Y N G J ) A N I Z H E / N E + K S T C TO H I Z O + V E R > R C * + I * G ; S O F L Y T T Y N G I S S C H E * AN D S O W A R I A NT « S O F L I / + I W G I Z S E A . AND S O W | / + P I / A + N T , • T H E R I S NO T R U S T U P O N H I R R A I P L A W H Y N G J ) E R I Z N O T R U + S T U R | + N H I R F A * + R L A = + H I W G J A F T E R G L A D L O V E S C H E SC HA R I T H H I R TO S T Y N G J A + F T E M G L A + D L O + V _ S E / S A + P > ) H I R TO S T I + W N G ! I WAS A D R A D S O OF H I R G E R Y N E S S E . 1 / WAZ A O R A + D S C | V H I P G E + R I N E + S C . T H A T MY L I F W AS BU T A D E D L Y GL A D N E S S E • *' ) A T MI L I / + F WAZ B U T A D E + D L I GL AQ NE + S C '• T H U S I L K F N Y U G H T I WALW YD T O A N D F P O l * ) U S I + L K C N I / + X T 1 / W | / + L W > D TO AND F R O + * S E K Y N G R E S T E ; B U T , C E R T E Y N L Y S C H E C S E / + K I W G R E + S T C 5 B U T * S E R T E + +-NLI S E / A P P E E R 1 0 N O G H T , F O R T H O G H T , MY C R E W E L F O , A P E / + P > D N O + X T , P O P ) 0 + XT * MI K R E = + E L tr C + , C H A C E D H A D D E H I R A N D S L F . R E AWAY F R O ME ? T $ | / + S > D H A + D C H I R A N D S L F / I - P C A W E * + F R O ME 5. AND F O R I S C H U L D F N O T A L O N E B E , A ND F O R 1 / S U + L D C N O T A L O + N C B E / , A G A Y N MY L U S T F , WACH PR Q F R I D H I S S E R V I S E * A G E * + N MI L U + S T _ , W | / + K P R O + F R > D H I Z S F R V 1 / + S AND I A D M I T T I D HYM I N H E V Y W Y S E . AND 1 / ADM I + T >D H I M I N H F + V I W I / + Z C * S O L O N G A N Y U G H T N E F E L D E I N F V F R N O N , S O L I + #G A N I / + X T NE F E / + L.DC 1 / N E + V E R N O N , A S WAS T H A T S A M E TO MY J U G E M F N T ; A Z WAZ ) AT S | / + MC T O MI D Q U D O M E + N T * . WHO S O T H A T T H O G H T Y I S , I S W O B E G O N ! HO SO > A T ) O + X T I I Z , IZ W0 + B E G 0 N 5 T H E T H O G H T F U L W I G H T I S V E S S E L O F T U R M E N T , ) > J O + X T F U L W I / + X T I Z V E + S E L | V T U R M E + N T , T H E R N Y S N O G R E E F T O H I M E O U I P O L F N T J ) F R N I S N O G R E / + F T O H I M EK W I + P O L E N T HE G R A V E T H D E P P E S T OF S E E K E N E S S F . S A L L E ! H E / G P | / + V > ) D E / + o > S T | V S E / + K N F + S > S | / + L F F U L WO I S H I M T H A T I N S W I C H T H C G H T I S F A L L E e F U L W 0 + I Z H I M ) AT I N S W I T S I O + X T I Z F | / + L C o WHAT WH YG H T T H A T I N L Y P E N S I F I S , I T R C W E , H WA T H W I / + XT ) A T I + N L I P E + N S I F I Z , 1 / T R O = + C , H I S M O S T E D E S I R E I S TO B E S O L I T AR I E 5 H I Z M O + S T _ O E Z I / + R _ I Z T O B E / S O + L l T A + R _ = ; T H A T T H I S I S S O T H , I N MY P E R S O N E I K N O W E , ) AT I I S TZ S 0 + ) , I N MI P E R S O + N 1 / K N O * + _ , F F O R E V E R E W H I L T H A T F R E T Y N G E A D V E R S A R I E F O R E + V F R C H W I / L ) A T F R E + T I W G A D V E + R S A R I / MYN H E R T MAD E TO HYM T R I 3 U T A R I E , M I / N H E + R T M | / + DC T O H I M T R I + O U / T A + R I = , ' . I N S O W K Y N G E O F T H E F R E S S C H E S T O ^ MY F L O D , I N S O * + K I HQ | V ) > F R E f S > S T | V VI F L 0 4 - D , T O S O R W E S O U L E , VF T H O G H T I T D I D E VE G O O D # T O S O + R W C S U / + L _ , ME I O + XT I T D I + D _ ME G O + D # F F O R T H E N A T U R E O F H E V Y N E S S E I S T H I S : F O R ) > N A T I + + R | V H F + V I N E + S C 12 ) I S : I F I T H A B O U N D E G R E T L Y I N A W I G H T , I F I T H A B U / + N D C G R E / + T L I I N A W I / + X T , T H E P L A C E E S C H E W I T HF W H E R E A S J O Y E I S , ) > P L | / + S C E S T S E + W > T H F / H W E + R C A Z D Q O = + C I Z , F F O R J O Y E AN D HE N O T MO WE A C C C R D E A R Y G H T J F O R D Q O = + _ A N D H E / NOT M O * + A < 0 + P D C R I / + X T ? A S D I S C O R D A N T AS D A Y I S U N T O N Y U G H T , A Z D I + S K O R D A N T AZ O E * + I Z U N T O N I / + X T , A N D H O N U R , A D V E R S A R I E I S U N T O S C H A M E , AND | + N _ / R . A D V E ♦ P.S AR 1 / I Z U N T Q f c | / 4 M _ , I S H E V Y N E S S E S O T O J O Y E AND GA M E# I Z HE + V I N E + S C S O TO D Q Q = + _ A N D G | / + M _ * WHAN T O T H E T H O G H T F U L W H I G H T I S T O L D E A T A L E , H WA N T O )> ) Q + X T F U L H W I / + XT I Z TO + L D _ A T | / + L H E H E E R I T H I T A S T H O G H H E T H E N N E S W E R E ; H E / H E / + R > ) I T AZ ( | X H E / ) E - » N > S WE + R C ; H Y S H E VY T H O G H T E S HYM S O PLU K .K E A N D H A L E H I Z HE + V I . ) 0 + X T > S H I M S O P L U + K _ A N D H | / + L _ H Y D E R AND T H E D I R , AND HYM G R E V E AN D D F R E , H I + D E R A N D ) E + D I P , AND H I M G P E / + V _ AND D E / + R _ , T H A T H Y S E R F S A V A Y L E HYM NAT A P E R E 5 ) A T H I Z E + R > S A V A * + LC H I M NAT A P E / + R C 5 H E U N D E R S T O N D E T H NO T H I N G WH AT M F N S E Y E , - H E / U + N D E R S T | + N D > ) NO ) I + * / G HWAT M E + N S E * + C , S O B E N H I S W Y T T E S F E R G O N HEM TO P L E Y E * S O B E N H I Z W I + T > S F E + R G O + N HEM T O P L F T + C # T H E S M E R T O F T H O G H T , I BY E X P E R I E N C E ) > S M E 4 R T | V ) 0 + XT , 1 / 3 1 EK S P E ‘ 4 R I / E + N T Z C KNO WE A S WFL AS ANY MAN D O T H L Y V Y N G E ; K N O * + C A Z WEL AZ A + N _ MA + N D C + ) L I V I f W G _ ; H I S F R O S T Y SWOOT AND F Y R Y H O T C F E R V E N C E , H I Z F R j + S T I S W 0 4 T AND F I / 4 P I HO + T _ F E R V E + N T S _ * A N D T R O U B L Y D P E M E S , D R E V P T AL I N W A K Y M G E , AND T R O * + B L I D R E / + M > S , D R E + M P T Ai_ IN W | / + K I W G , MY M A Y Z E D H E E D S l . E E P L E E S HA N 1 OF K O N N Y N G E , MI M A * 4 Z > D H E / + D S L E / + P L E S H A + N | V K O + N I t f G , AN D WY T D I S P O Y L Y D , AND S O V F U E J A P Y D , AN D W I + T D I S P O = + L > D , AND SO ME B E D O | / + P > D , T H A T A F T E R D F T H F U L O ^ T E N H A V E I G A P I D * ) A T A + F T E R D E / + ) F U L l + F T E N H A + V _ 1 / G | / + P _ D « P A S S E O V E R WHAN' NE T H I S S T O R M Y N Y G H T WAS G O N , P A + S _ O + V E R H W A 4 N _ ) I S S T O + R V I N I / + XT WAZ C.O+N AND DA Y G A N AT MY WYN D OWE I N TO P R Y E , AND O E + + GAN AT MI W I + N D 0 4 I N TU P R I / + C , I R O D S ME U P , F O R B O O T E F ON DE ' I MO N 1 / R O + S ME U P , P O P B0 4 - T C F | + N D C 1 / NON I N MYN U N R E S T Y B E D L E N G F R TO L Y E ; I N M I / N U N R E + S T I 0 E + D L E + W G > R TO L I / + C J I N T O T H E F E L D I D R E S S E D ME I N H Y P , I N T 0 + ) > F F / + L D 1 / ORE + S > D ME IN H I / 4 C , A N D I N MY W O, Y H E R T E - O E P E G A N W A D E , AN D I N MI W 0 + , 1 / H E + R T > D E / + P _ G A N W | / + D _ , AS HE T H A T WAS O A R E Y N E O F T H O G H T E S G L A D E # AZ H E / ) A T WAZ S A R F + 4 N | V ) 0 4 X T > S G L A + DC-o B Y T H A T I W A L K Y D HADDF. A C E R T E I N E T Y M E , 2691 B I ) A T 1 / W I / + L K > D HA+D_ A SE" + RT E * N T I / + M _ , W E R E I T A N H O U R S . I NOT OP M Q P E O P L E S S E , WE + R _ I T AN U / + R C , _ / M O T O P MO + R _ OR L E + S _ , A P O O R E G L D E H O P E MAN C A M W A L K Y N G BY M E , A P O + P C I + L D C H O + R C MA + N K A + M W | / + L K I A G P I ME , A N D S E Y D E , " G O O D D A Y , S Y R E . AND GOD YOW P L Y S S E •• AN D S E + + D C , " GO + D D E * + , S I / + R _ , AND GO + D J O * B L I + S _ " B U T I NO WORD*, F O R MY S E E K L Y O I S T R E S S E B U T 1 / N O W O + R O ; F O R MI S E / + K L I D I 3 T R E + S C F F O R - S A D MY N E R E S U S E N H I R E O F F - I C E , F O R B | / + 0 M I / N E + R > S I * + Z > N H I / + R _ | F I / + S _ , F F O R W H I C H T H I S O L D E MAN H E L D F ME L E W E D A N D N Y C E , F O R H W I T $ > I S | + L D _ M A + N HF + L D ME L E = + _ D AND N I / + S _ , T Y L H E T O O K E H E D E T O MY D P E R Y C H E R E , T I L H E / T | + K _ H F + O C T O M I D R E / + P I T $ E / + R _ , A ND T O MY D E E O L Y C O L O U R P A L E AND WAN; A N D T O M I D E + D L I K O + L U / R P | / + L _ AND W | / + N ’ , T H A N N E T H O G H T E HE THUS*. T H I S MAN T H A T I S F H E R E , ) A + N _ J O + X T C H E / ) _ S : > I S M A + N ) a t 1 / S E / + H E + R _ , A L W R O N G I S W R E S T I D , BY O G H T T H A T I S E C A N : AL W RO +W G I Z WRE + S T > D , B I | + X T ) A T 1 / S E / + K A N ! H E S T E R T E U P T O M E , AND S E Y D E , " S C L E E P Y S T H O U , MA N? H E / S T F + R T C U P T _ M _ , A N D S E T + D C , ' " S L E / + P > S ) _ / , MA+h AWA KE ** A N D G A N ME S C H A K E W O N D E R F A S T E , A W | / + K _ " AND G A N ME s | / + K C W | + N D E R F A + S T _ , A N D W I T H A S I G H I A N S W E R D E A T T F L A S T E , AND WIC A S I / + X _ / A N S W E + RD C A 4 T C L A + S T • " A WHO I S T H E R ? " " I , " Q U O D T H I S O L D E G R E Y P. , " A HO I Z ) E R » " I / " K W O + D > I S | + L D C G R E Y + C , " A M H E E R , " A N D H E ME T O L D E T H E M A N E R E " AM H E / + R " AN D H E / ME T Q + L D C ) > M A N E + R C HOW H E S P A K TO- M E , AS Y E H E R D ME S E Y E ; H U / H E / S P | / + K T O M E , AZ J E / H E + R D ME S F * + C J " O M A N , " Q U O T H I , " ^ C R C R I S T E S LOVE OERE, " 0 M A + N " K W C + ) I / , " F O R K R I / + S T > S L O + V C D E / + R C , I F T H A T T H O U W O L T A G H T D O N E A T MY P R E Y E R E , I F - ) AT ) U / W O L T | / + XT D O + N _ AT M I P R E J E + R _ , A S GO T H I W A Y , T A L K E T O ME NO M O R E , A Z G O + ) 1 / W A * + , T | / + L K C TO ME N O M O + R C , T H I W O R D E S AL A N N O Y F N ME F U L SORE*, > 1 / W 0 + R D > S A L A N O = + > N ME F U L S O + RC.*, " V O Y D E F R O M E ! ME L I S T NO COM PA I G N Y E ; " v o = + d c f r o m e ; me l i + s t n o k o + m p a * n i / + c ; E N C R F 5 S E N O G H T MY G R I F E ; I H A V E 1 - N O W * " E N K R F . / + S C N O + X T M l G R I / + F _ ; 1 / H A + V _ I M U / + - " " M Y S O N E , H A S T T H O U G O O D L U S T T H I S O R W E D R Y E , " M I S O + N , H A + S T ) U / G O + D L U + S T ) [ / S O + R W C D R I / + _ . A ND M A Y S T R E L E V E D B E ? V' HA T MA N A R T T H O U ? A ND M A * S T R E L E / + V > 0 B E / ? HW AT M A + N A + RT ) U / ? W I R K E A F T E R ME I T S C H A L BE F O R T H I P R O W J W I + P K A + F T E P ME I T UA L B E / F O R ) I / P P O * + ; T H O U N A P T B U T Y O N G , AN D H A S T 1 H U T L I T E L S E E N , > U / N A R T B U T j | + W G , A N D H A S T O U T L I + T E L S E / + N , AN D F U L S E F L D E I S , T H A T Y O N G F O L K W Y S E B E E N , AN D F U L S E / + L D C I Z , ) A T j | + <*G F O + LK W I / + Z C B E / N * ‘ " I F T H A T T H E L I K E T O B E N E S Y D W E L , " I F ) AT ) > L I / + K C TO P F N F / + Z > 0 W E L , A S S U F F P E ME W I T H T H E T O T A L K E A W H Y L E a A Z S U + F P > ME W I ( ) > T O T | / + L K C A H W / + L C . - A R T T H O U A G H T L O T T R E O ? " " Y A , " Q U O D I , " S O M D E L E , " 2701 A + R T )U/ | / + X T L E + T R > D " " J | / + " KWO + D I / , " SOM D E / + L • • B L I S S E D B E G O D T H A N H O P E I t BY S E I N T G Y L E . •• B L I + S > D R E V GO + D ) AN HO + P C I / . B I S E * + N T G I / + L C . T H A T GO D T O T H E T H I W I T S C H A L R E C Q N S Y L E , ) A T GO 4-0 TO ) > > 1 / W I + T S A L R E + K O N S I / + L C , W H I C H T H A T ME T H I N K E T H I S P E R F R O T H E WENT » HW I T S ) AT ME ) I + * K > ) I Z F E + R F R O l > W E + N T , T H O R G H T H E A S S E N T n p T H I G R E V O ' J S E T UP ME NT * ) O + RX ) > A S E + N T | V ) I / G R E / V U / + S T U R M E + NT#> • • L E T T F R F D F O L K H A N G R E T T E P D I S C R E C I O U N , •• L E + T > R > D F O + L K H A N G R F / + T > R D I S K R E + S I / U / N , AND B E T C O N C E Y V E K Q N N E A M A N N E S S A W , AND 3 E + T K O N S E * + V C KO + N _ A M A + N > S S A = + , AND R A T H E R W OL E A P P L I E T O R 5 S 0 U N A N D R A + I E R WO + L C A P L I / + C T O R E / + Z U / N A ND F R O M F O L Y E 5 0 N F R HEM W I T H D R A W . A N D F R O M F O L I / + C S O + N > R HEM W I ( D R A = + , T H A N H E T H A T N O T H E P R E S O N C A N 1 , N E L A W . I A N H E / ) A T N O + t E R R F / + Z O N K A + N . NE L A = + , N E L F . P N E D H A T H NO M A N E R O F L E T T R U R E j NE L E + P N > D H A ) NO MA + ME R | V L E T R U / + R C : P L U K K F U P T H I N H E R T E I H O P E I S C H A L T H E C U R E . " P L U + « _ U P ) I + N H E + R T _ 1 / HO + » _ 1 / “ SAL ) > K U / + R _ " " C U R E . G O O D M A N? Y A , THOW A R T E A F A Y R F L E C H E " K U / + R _ » GO + D MA + N ? J | / + . ) U / A + R T _ A F A * + R C L E / + T $ _ C U R E T H I S E L F , T H A T T R E M R L E S T AS T H O U G O S T , K U / + R C > 1 / S E + L F , ) AT T R F + M B L > S T AZ ) U / GO + S T , F F O R A L T H I N A R T W OL E E N O E N I N T H I S P E C H E { F _ R AL ) I + N A + P T WO + L C E + N D > N I N ) I / S R E / + T ? _ ; I T L I T H N O T I N T H I P O W E R , P O R E G O S T , I T L I / + ) NO T I N ) I / P O'* + E R , P O + R C GO + S T , T O H E L E M E5 T H O U A P T AS S E E K A L M O S T TO H E / + L C M E ; ) U / A + R T AZ S E / + K A L M O + S T AS I*, F I R S T ON T H I S E L F K Y T H E T H I N A R T ; AZ I / ? F I + R S T | N ) I / SE + L F K I / + ) C > I + N A + R T ! AN D I F A G H T L C V E , L A T E ME T H A N N F H A V E P A R T . AND I F | / + X T L E / -4 VC , L | / + T _ ME ) A + N _ . H A + V _ P A + R T . " G O F O R T H T H I W A Y , I T H E P P E Y F , O R BF. S T Y L L E * " G O + F O + R ) ) I / W A * + , 1 / ) > P P E + + _ . OR B E / S T I + L _ 5 T H O U D O S T ME MO RE A N N O Y T H A N T H A T T H O U W E N E S T J ) U / D O S T M E . M O + R C _ N C = + J A N ) AT ) U / W F / + N _ S T ; T H O U A R T A S F U L O F C L A P A S I S A M Y L L E I ) U / A + RT A Z F U L | V K L A + R A 7. I Z A M I + L C I T H O U D O S T N O U G H T H E E R , BUT G R E V r S T ME AND T E N E S T « ) U / D O S T NO * X T H E / + R . R U T G ° E / + \ / > S T ME AND T F / + N > S T . G O O D M A N , T H O U W O S T F B U T L Y T Y L WHAT T H O U M E N E S T ; G O + D MA + N , ) U / W 0 + S T _ B U T L I + T > L HWAT ) U / M E / + N _ S T J I N T H E , L I T H E N O T R E D R E S S E MY N U Y S A N C E , I N ) _ , L I / + ) C N O T P E D R C + S _ MI N U / + I S A + N T S _ , AND Y T T T H R U M A Y S T F B E V E L E W I L L E D P E P C H A U N C E , AND J I T ) U / M A + + S T _ R E / WE + L C W I + L _ D P E R T 3 ; A = + N T S _ o I T M O S T E B E A G R F T E R MAN OF MYGHT I T M O + S T C B E / A G « E / + T > P M A + N | V M I / + X T T H A N T H A T T H O U A R T , T H A T S C H O L D E ME R E L E V E * " ) AN ) A T ) U / A + R T , ) AT T. n + L.DC ME R E L E / + V C " " W H A T , S O N E MYN1 THOW F E L 1 S T N O T A R I G H T " H W A T , S O + N C M I / + N > U / F F / + L > S T N O T A R I / + X T T O H E R K E N E MF , W H A T S C H A L I T H A P M E flR C . R E V F ? " T O H E + R K E N M E . HW AT % AL I T H A + R M _ O R G R E / + V _ " " P E T E R G O O D M A N , T H O G H WE T A L K E H E R E T Y L E V E . 2711 •• P E / + T R G O + n MA + N , ( I X W E / T | / + L K C H E + R _ T I L E/ + V , AL I S I N VE YN* =; T H I M Y G H T VA Y N A T A T T E Y N E AL I Z I N V E * + N C ; ) _ / M I / + XT M A * N A T A T E * + N _ T O H E L E M E , S W I C H I S MY W O F U L P E Y N E . " T O H E / + L C M E , S W I T T I Z MI W O + F U L P E * + N C " " W H A T T H A T I MAY OR C A N 1 , NE WO ST T H O U N O G H T ; " H WA T ) A T 1 / MAY O R K A + N , NF WO + S T ) U / N O + X T J H A R O Y L Y , S O N E , T E L L E ON HOW I T T S " H A + P Q I L I . S O + N C , T E + L C | N H U / I T T Z " " M A N , AT A W O R D , I T I S E N C O M B R O U S T H O G H T " M A f N , A T A W O + R D , I T I Z E N K 0 + M 8 R U S ) 0 + XT T H A T C A U S E T H ME T H I S S O R O W E A N D F A R E A M Y S o " ) AT K A = + Z > ) ME > I S S O + R _ * A N D F | / + R C _ M I + S " " N O W , S O N E , AND I F T H E R N O T H I N G BE BU T T H I S , " N U / + , S O + N C , A N D I F ) E R NO ) I + # G B E / B U T ) I S , D O A S I S C H A L T H E S E Y E , AND T H I N E S T A T DO AZ 1 / * AL ) > S E * + _ , A N D ) I + N E S T | / + T AM EN DE I S C H A L , B U T T H O U BF O B S T I N A T , AME+NDC. 1 / * A L , B U T ) U / B E / 0 4 B S T I N A T , " A N D W I L F U L L Y R E B E L L E AND D I S S O B E Y E . , " A N D W I + L F U L I R E B E + L _ A N D D I + S O B E * + _ , AND L I S T F N O T T O MY LOF.F T H E C O N F O R M C ? AND L I + S T C N O T T _ MI L O + R C ) > K O N F O + R M ; F F O R I N S W I C H E C A S , WH AT S C H O L E I S p E K E C R S E Y F i F _ R I N S W I + T S C K | / + S , H W A T S K O + L _ 1 / S P E / + K _ OR S E * + _ , OR I N MY B E S T F W Y S E ' T H E E N F O R M E ? OP. I N MI B E + S T C W I / + Z C >> E N F O + R M C ? I F THOW I T W A Y V E , A N D TAKE- AM O T H E R F O R M E I F ) U / I T W A * + V _ , A N D T | / + K C _ N 0 + ( E R F O + R M _ A F T E R T H I C H I L D I S S H M Y S R U L E D C O N C E Y T , A + F T E R ) I / T $ I / + L D I 3 » M I S R U / + L > D K O N S E * + T , T H O U D O S T U N T O T H I S E L F , HA RM AND D E C E I T . > U / D O S T U N T O > 1 / S E + L F , H A + R M AND D E S E / + T . " 0 T H I N G S E Y E I , I F T H O U GO F E E R L E E S " 0 ) I + # G S E * + C I / , I F ) U / GO + F E R L E / + S AL S O L Y T AR I E , A N D C O U N S E L l . A K K E , A N D R E D E , AL S 3 + L I T A + R _ = , AND K U / + N 3 E L L A+ K _ , AND R E / + D , AS ME T H I N K E T H , T H I G Y S E I S D O U T E L F E S , ' AZ ME ) I + ffK> ) , ) I / G I / + Z C I Z D U / + T E L E S , T H O U L I K L Y A R T T O H E R E . A D O T Y D H E E D . ) U / L I / + K L I A + RT TO R E / + R _ A D O + T > D H E / + D * H O C C L E V E • S C O M P L A I N T A F T E R T H A T H E P V E S T I N N E D HAD H I S S H E V E S , A + F T E R ) A T H E + R V E S T I + N > D H A D H I Z * E / + V > S , AN D T H A T T H E B R C U N E S E A S O N O F M Y H E L M E S S E AN D ) A T ) > B R U / + N S I / + Z | N | V M I / + > L M E + S C WAS C O M E . AND GAN T H E T R E E S R 0 B 9 E O F T H E R L E V E S WAZ K O + M _ . A N C G A N ) > T R E / + S R | + 9 _ J V I E R L F / + V _ S T H A T G R E N E HA D B E N E . AND I N L U S T Y F R E S S H N E S S E . ) AT G 9 E / + N C H A D B E / + N C , AN D I N L U + S T I F R E $ N E + S C . AND T H E M I N T O C O L O W R E , Y E L O W N E S S E AND ( E M I N T 0 + K O L U / + R _ . | V J F + L O * N E + S _ H A D D D Y E N , AN D D O U N E T H R Q W N E U N D A R F O . O T E . H A + D D I / + _ N , AND D U / + NC I R O + + N C U + N D A R F O + T . T H A T C H A U N G E S A N K , I N T O MYNE H E R T E R D O T E * ) AT T $ A = + N D O C S A + t f K , I N T + M I / + N C H c + R T C R O + T _ . F O R F R E S H E L Y B R O W G H T I T , ~ T 0 MY R E M E M B R A U N C E . ............ F O R F P E + S L I B R Q * + X T I T , T O MI R E + M E M B R A = + N T S C , T H A T S T A B L E N E S I N T H I S W O R L D E I S T H E R E NONE*. ) A T S T | / + 3 L _ N > S . I N I I S W Q + R L D _ I Z I E + RC N O + N _ ; T H E R E I S N O T H I N G E , B U T C H A U N G E AND VAR I A U N C E • 1E + R I Z NO I I + 0 G , BU T T S A = + N D O _ A N D V A + R I / A= + N T S _ i HOW W F L T H Y E A MAN - B E , OR W E L L B E G O N E , H U / W E + L I I A MA+N B E / , OR WE L B E G O + N C , E N D U R E I T S H A L L N O T , HE S H A L L I T P O R G O N * E N D U / + R C I T $ A L N _ T , H E / $ A L I T F O R G | + N * D E A T H E U N D E R F O T E , S H A L L HYM T H R I S T A D O W N E : D E / + I _ U + N D E R F Q + T C , S A L H I M I R I + S T A D U / + N _ : T H A T I S E V E R Y W I T E S , C O N C L U S Y O N . I AT I Z E + V > R I W I + T > S , K O N K L U / + S I / | N • W H I C H E F O R T O W E Y V E , I S I N NO M A N N E S M Y G H T , H W I + T $ _ F O P T O W E * + V C , I Z _ N N O M A + N > S M I / + X T , HOW R I C H E HE 5 F , S T R O N G E , L U S T Y , F R E S H F , A N D G A Y * H U / R I / + T $ _ H E / B _ / , S T R | + ¥ G C . L U + S T I , F R E + $ _ . AND G F * + ® AND I N T H E E N D F , O F N G V E M B A R , U P O N A N Y G H T AND I N > _ E + N D , | V N O V E + M B _ R , U P | + N A N I / + X T S Y G H E N G E S 0 R E . ~ A S I I N MY B E D L A Y , S I / + X E W G S O + R C , AZ 1 / I N MI D E + D L A * + , F O R T H I S AND O T H A R T H O W G H T S , W H I C H F MA NY A DAY F O R I I S AND | + ( A P. I O + + X T S , H W I + T * _ MA + N _ A D E + + B E F O R E I T O K E , S L E A P E CAM N O N E I N M Y N E E Y E , B E F O + R _ 1 / T | + K _ . S L E / + P _ KA + M N O + N _ . I N M I / + N _ E * + _ , S O V E X Y D M E . T H E T H O W G H T F U L L M A L A D Y E * S O VE + K S > D M E , ) > ) 0 * + X T F U L M A + L A 0 1 / +C-» I S E E W E L L , S Y 1 H E N I W I T H S Y C K N E S L A S T 1 / S E / + W E L . S I + O N 1 / W I ( S I + K N E S L A + S T WAS S C O U R G E D , C L O W D Y H A T H 1 B E N E T H E F A V O U R E WAZ S K U / + R D Q > D , K L U / + D _ H M O E / + N C ) > P A V U / + R _ T H A T S H O N F M E , F U L L B R I G H T I N T Y M E S P A S T ; I A T S O + N C M P , F U L R R I / . + XT I N T I / + M > S P A + S T J T H E S O N N E A B A T I D , AN D THE D E R K F S H Q W R E >> S O + N A B | / + T > D , A N D >> D E + R K C T>U/ + R _ H I L D Y D DOWNE R I G H T ON ME , A N D I N L A N G C U R H I + L D > D D U / + N C R I / + X T | N M E , AND I N L A + W G U / R HE MADE ME S W Y M E , S C T H A T MY W I T F H E / M | / + DC ME S W T + M C , S O I AT MI W I / + T C T O L Y V E , NO L U S T H A D D , N E D E L Y T E . T O L I / + V C , NO LU + S T HA + D , N E D E L I / +T C* T H E G R F F F A B O W T E , MY H A P T E S O S W A L I > G P F / + F C A B U / + T C , M I H A + R T C S O S W A + L AND B O L N E D E V A R , TO AN D T O S O S O R E , AND B 0 + L N > 0 E + V > R • TO AND TO SO SO+RC , T H A T N E D E S « O U T E I M U S T T H E R E W I T H A L L ; ) A T N E / + D > S » U / + T C 1 / M U S T ( E + P W I ( | / + L I I T H 3 W G H T I N O L D E I T K F P E C L O O S NO M O R E * . 1 / ) 0* + X T 1 / NO + L D_ IT K E / + P C K L O t S NO MO+R_. N E L E T T I T I N M E . F O R TO O L D E AND H O R E ; NE L E + T I T I N M E . F O R T O | + L D _ A N n H O + R _ J A N D F O R T C P R F V F * I C A M O F A WO M A N . AND POR TO P R F / + V C , 1 / KA+M | v A WO+MAN, I ( 3 P A S T O U T E ON T H E M D P O W E , AN D T H U S B E G A N , . 1 / B R A + S T U / + TC | N ) M O + R _ * . AN D ) U S S E G A + N * A L L M Y G H T Y G O D , A S L Y K E T H E H I S G O O D N E S , AL M I / + X T I G O + D , AZ L I / + K > ) H I Z GO + D N F . S . V I S Y T E T H E F O L K S A L D A Y , A S ME N MAY- S E . V I + Z > T > ) F O + L K S A + L D E + , A?. ME + N M M ' S F / + , W I T H L O S E C p G O O D , AND B O D I L Y S I K E N E S E . W I< L 0 + 7 _ | V G O + D , AND B | + D _ L I S I + K > N E + S _ , AND A M O N G F O T H A P , H E F O R G A T N O T M E ; AND A M O + t f G C | + ( A P , H E / F O R G A + T N O T ME*, W I T N E S U P P O N T H F WYLD I N F I P M Y T I E • ................. W T + T N F S U P | + N ) > W I / + L Q I N F I + R M I T I / + C W H I C H T H A T I H A D 1 . AS MANY A MAN W E L L K N F W E . HW I T S ) AT 1 / H A + D , AZ M A + N I _ MA + N W E L K N E = + _ , A N D W H I C H E ME CWT O F MY S E L F E , C A S T A N D THRF.Wa AND H W I + T t _ M _ U / T | V MI S E + L F C . K A + S T AN D ) R E = + * I T WAS S O K N O W ^ N TO T H F D L' 0 P L E , AND K O U T H E , I T WAZ 5 0 K N C * + > N T O ) > P E / + P L _ , AMD K U / + ) _ . T H A T C O W N S E L L WAS I T N O N E , NE N O N E B E M Y G H T J ) AT K U / + N S E L WAZ I T NO + N _ , N E N O + N _ B E / M I / + X T ; HOW I T W I T H ME S T O D E , WAS I N F V F R Y M A N S M O W T H E , H _ / I T W I ( ME S T O + D _ , WAZ _ N . E + V > R _ M A + N S M U / + ) C , A N D T H A T F U L L S O R E . MY F R Y N D E S A F F R I G H T ; AND ) A T F U L S O + R C . MI F R I + N D > S A F R I / + X T ; T H E Y F O R MYN E H E L T H F , P I L G R I M A G E S H I G H T , ) E * F O R M I / + N _ H E + L ) C . P I + L G R I M| / + 0 0 > S H I / + X T . A N D S O W G H T T H E M , S O M E O N H O R S AND S O M E O N F O O T E , A N D S O + + X T ( E M , S O + M _ | N H O - l R S AN D S O + M _ | N F O + T _ , GOD Y E l . D E I T T H E M , TO G E T ME B O T E , G O + D J E / + L D C I T ( E M , T P G E + T ME 8 0 + X C , BU T A L T H O W G H E T H F S U B S T A U M C E , O F MY M E M O R Y R U T A L ( U / + X ) > S U + B S T A = NT S , | V M I ME + M O R I WE NT T O P L E Y , AS F O P A C E P T A Y N F S P A C E , W E + N T T O P L F * + , AZ F O R A S E + R T A Y N S p | / + S C , Y E T T H E L O R D E OF V E P T E W , T H E K Y N G E O F G L O R Y , J E T ) > L O + R D C |V V E + P T I * , ) > K I + * G C | V G L O + P I , O F H I S H I G H E M Y G H T , AND B E N Y N GF G R A C E , | V H I Z H I / + X C M I / + X T , AN D R B N I / + W G C G R | / + S C . MADE I T T O R E T U R N E , I N T O T H E P L A C E M | / + DC I T T O R FTIJ / + R N _ , I N T O + ) > P L | / + S _ W H E N S I T C A M , W H I C H E AT A L L H A L L W E M E S S E , H W E NS I T K A + M , H W I + T S C AT AL H | / + L W > M E + S C . WAS c I V E Y E E R E , N F Y T H F R M O R E N E L E S S E c WAZ F I / + V C J E / + R C , N F « + ( F R M O + R _ NE L E + S _ , AN D E V E R F S Y T H E N , T H A N K E D B E GOD OWR L O R D , AND E + V _ R C S I + ( j . N , > A + " K > D B E / G O + D U / P L O + R D , * OF H I S G O O D R E C Q N S I L I AC I O N , | V H I ? GO + D P E + K O M S I + L I / A - » S 1 / 1 , MY WYT AN D I . H A V F B E N E O F S U C H A C C O R D E MI W I + T AND _ / , H A + V C B F / + N _ | V S U T S A K O + R D _ AS WE W E R E , OR T H E A L T E R A C I ON AZ W E / W E + R C . OR ) > A L T E + R A S J O + N O F I T W A S , B U T B Y MY S A V A C I O N , j v I T W A Z , B U T B I MI S A V | / + S I / | N , T H A T T Y M E H A V E I B E . S O R E S E T T O N F I R E , ) AT T T / + M C H A + V _ 1 / B _ / , S O + R C S E + T | N F I / + R _ , AND L Y V E D I N G R E A T T O R M E N T , AND MART I R E J AN D L I + V > D I N G R E / + T T O + R M E N T , A N D M A R T I / + . R C J F O R T H O W G H T H A T MY W I T , W E R E HOME C O M E A G A Y N E , F O R ( U / X ) A T MI W I + T , W F + R _ H O + M _ K O + M _ A G A * + N _ , MEN W O L D E I T NO T SO U N D F R S T O N D OR T A K E ? ME + N WO + L D C I T N O T S _ U + N D E R S T ‘| + N D OR T | / + K _ ; W I T H ME T O D E A L E , H A D D E N T H E Y D Y S D A Y N E J W I ( ME T O D E / + L C , HA + D > N ) E * D I S D A * + N C ; A R Y O T O W S P E R S O N I W A S , AND F O R S A K E ; A R I / + _ T I J / S P E + R S | N 1 / W A Z , AND F O R S | / + K _ J MYN O L D E F F R I N D S H I P E , WAS A L L O V A R S H A K E i M I / N { + L D _ R R I N D S I + P C , WAZ A L 0 + V A R $ | / + K _ ; NO W Y T E W I T H E ME L Y S T M AKE D A L I A N C E « NO W I / + T C W I + ( _ ME L I + S T M | / + K _ D A + L I / A + N T S _ I T H E W O R L D E ME MADE A S T R A U N G E C O N T I N A N C E , ) > WO + R L D _ ME M | / + D _ A S T R A = + N D Q C K O + N T I N A + N T S _ . W H I C H E T H A T MY NE H E R T E , S O R E GAN T O R M E N T ! H W I + T S C ) A T M I / + NC. H E + P T C , S C + R _ GA N T O + R M _ N T ; F O R O F T E WHAN I , IN W E S T M Y N S T E R H A L L , F O R | + F T C H WA N I / , I N WE S TM I + N S T E R H | / + L , AND E K E I N L O N D O N , A M ON GE T H E P R E S E W E N T , AND E / + K TN L 0 + N D _ N , A M O + « G _ ) > P R E + S C W E + N T , I S E T H E ~ C H E P E , A B A T E N AND A P A L L E 1 / S E / + ) > T $ E / + R _ , A B | / + T > N AND A p | / + L _ O F T H E M T H A T W E R E N WO NT E ME F O R T O C A L L E | V ( E M ) A T WE + P > N W O + N T _ ME F O P T O < | / + L _ TO C O M P A N Y E , H E R H E E D T H E Y C A S T A W R Y , TO K O + M P A N I / + _ , H E P H E / + D ) E * K A + S T A W P I / + , WHEN I T H E M M E T T E . AS T H E Y N O T ME S Y E * HWEN 1 / ( E M M E + T C , AZ > E * N O T ME S I / + C „ A S S E I D E I S I N T H E S A U T E R , M I G H T I S A Y , AZ S = * + D _ I Z I N ) > S A = + T E R , M I / + X T 1 / S A + + . T H E Y T H A T ME S Y E , F L E D R E N AWEY C R 0 M E ; ) E * > AT ME S I / + C . F L E + D > N A W F * + F R O M E ; F O R G E T E N I W A S , A L L OW TE OF MYNDE A W A Y , F O R G E + T _ N 1 / W A Z . AL U / + T _ | V M I / + N D _ A W E * + , AS HE T H A T D E D E W A S , F R O M H E R T E S C H E R T E I AZ H E / ) A T D E / + DC W AZ , FRO M HE + R T > S T J - E / + R T C ; T O A L O S T E V E S S E L L , L I C K E N F D MYGHT I B E ! T O A L l + S T C V E + S E L , L I / + K E N D M I / + X T 1 / E E / ; F O R MAN Y A W Y G H T , A B O W T E ME D W E L L Y N G E , F O R M A + N _ A W I / + X T , A B U / + T C ME D W E L I + W G , H E R D I ME B L A M E , AND P U T T E I N D I S P R E I S I N G E • H E + R D 1 / ME 0 L | / + M _ , AND P U + T _ IN D I + S P R E / Z I + W G _ * T H U S S P A K E MANY O N E , AND S E Y D E BY ME.* > U S S P | / + KC M A + N I 0 + N _ , AMD S E * + D C 0 _ M E ! • A L L T H O W G H F F R O M HYM, H I S S l K N E S S E S A V A G E • A L ( U / + X P R O M H I M , H I Z S I K N F + S C S A V A + D O C W I T H D R A W N E A N D P A S S Y D , A S F O R A T Y M E B E , W I ( DR A = + N _ AN D P A + S > D , A Z F _ R A T I / + M C B E / , R E S O R T F I T W O L E , NAM ELY I N S U C H A G E R E S O + P T _ I T WO + L C , N | / + M _ L I I N S U T S | / + D Q _ AS H E I S O F , * AN D T H A N N E MY V I S A G E AZ H E / I Z |V * AND ) A + N C MI V I Z | / + D Q C B Y G A N T O G L O W E , F O R T H E WOO A N D F E R E ? 275 B I G A + N T O G L U / + C « F O R > > WO + AND F E / + R C J T H O W O R D I S » T H E M U N W A R 1 , CAM TO MYN E R E . ) 0 W O + R D > S * ( E M U N W | / + R , KA+M TO M I / N E + R C . • W H A N E P A S S I N G E H E T E I S . * O U O D T H E Y « ‘ T R U S T Y T H T H I S . • H W A + N _ P A + S I W G H E / + T C _ Z • KW O+D > E * , * T R U + S T > ) ) I S . A S S A I L E HYM WO L E A G A Y N E T H A T M 4 L A D I E 5 1 A S A * + L HTM WO+L _ A G A * + N ) AT M A + L A D I / + _ * AMD Y E T P A R D E , T H E Y T O K E N T H F M A M I S E ; AND J E T P A R D E / + . ) E * T Q + K > N ( E M A M I + S 5 N O N E E F F E C T A T A L L , T O K E T H E R E P R O P H E C I E J N O + N C E F E + K T A T _ L , T | + K _ > E + P _ P R D + F E S I / + _ I M A N I E S O M E R E S B E N P A S T , S I T H E N P E M E D Y E MA + N = S l + M E P Z B E N P A + S T , S I + O N R E + M E D I / + _ 0 tr T H A T , GOD OF H I S G R A C E ME P U R V E I D E J | V ) A T , G O + D | V H I Z G R | / + S C ME P U R V E * + D C : T H A N K E D B E G O D , I T S H Q O E N O U G H T A S T H F Y S E I D E . ) A + 4 K > D F I E / GO + D , I T $ 0 + P _ N O * X T AZ ) E + S E * + D _ . W HA T E AL L S H A L L , WHAT MEN S O DEME O R G E S S E , H W A T F | / + L $ A L » H W A T Mc + N S O D E / + M C O P G E + S C , TO HYM T H A T WO TT E V E R Y MA NS S E C R E , TO H I M ) AT W O + T F + V > R I M A + N S . S E K P E / + , APPENDIX C COMPUTER PRINTOUT FOR LYDGATE SAMPLE 276 A COMPLAYNT OF A LOVERES LYFE N U M B E R O F S Y L L A B L E S « • • » . . . • ■ * N U M B E R O F S T R E S S M A X I M A • • «, o o • • P E R C E N T A G E O F S T R E S S M A X I M A • N U M B E R O F L I N E S P E R C E N T A G E O.F S T R E S S M A X I M A L I N E S • . N U M B E R O F L I N E S W I T H O U T S T R E S S M A X I M U M N U M B E R O F I A M B I C L I N E S . » • « • • . * e P E R C E N T A G E O F I A M B I C L I N E S * . . . < > • N U M B E R O F T R O C H A I C L I N E S . . a . . • p e r c e n t a g e o f t r o c h a i c l i n e s * . . . * N U M B E R O F I R R E G U L A R L I N E S . . . • • • p e r c e n t a g e o f i r r e g u l a r l i n e s • • • • N U M B E R O F A M B I G U O U S L I N E S • « • • • • P E R C E N T A G E O F A M B I G U O U S L I N E S • • . • N U M B E R O F A S S G N A T I N G S Y L L A B L E S * • • • P E R C E N T A G E O F A S S O N A T I N G S Y L L A B L E S . N U M B E R O F A S S O N A T I N G L I N E S . • • * • a P E R C E N T A G E O F A S S O N A T I N G L I N E S . . • . n u m b e r o f a s s o n A t i n g p a t t e r n s • » • * N U M B E R O F A L L I T E R A T I N G S Y L L A B L E S . • V 1 0 2 6 2 8 7 2 7 100 100 0 6 5 6 5 0 0 0 0 0 0 6 2 9 61. 9 9 9 9 1 9 7 165 277 PERCENTAGE OF A L L IT E R A T IN G S Y L L A B L E S . • • » • • • • • • 1 6 NUMBER OF A L L IT E R A T IN G L I N E S . • • • • • • • • • • • • • 61 PERCENTAGE OF a l l i t e r a t i n g L I N E S . • •«•• • • « • • • 61 NUMBER OF A L L IT E R A T IN G PATTERNS 7 6 NUMBER OF L I N E S WITH C O IN C ID E N T ASSON £• A L L l T • • . . . 4 4 PER CNT OF L I N E S WITH C O IN C ID E N T ASSON & A L L I T . • • • • 4 4 NUMBER Of SYLLABLES WITH C O IN C ID E N T ASSON & ALLIT. • • • 7 4 PERCNT OF S YLLABLES w i t h C O IN C ID E N T ASSON & A L L IT . . . 7 NUMBER OF L I N E S EXCEEDING S P E C I F I E D C O M PL E X IT Y . . . . . 3 3 PERCNT OF L I N E S EXCEEDING S P E C I F I E D CO M PLEX ITY . • • • • 3 3 AVERAGE CO M PL E X IT Y . . . o . « 3 NUMBER OF AMETRICAL L I N E S 3 5 PERCNT OF AMETRICAL L I N E S . « • • • • • • • • • . • • • “ 3 5 n u m b e r o f l i n e s t o b e e l i d e d . . • • • • • • • • • • • • 61 NUMBER OF L I N E S SHORTER THAN S P E C I F I E D LENGTH • • • • • 5 a v e r a g e n u m b e r o f w o r d s p e r l i n e . 7130 NUMBER OF P O S S I B L E A SSIGNM ENTS OF SYLLABLES TO P O S I T I O N S 2 3 1 SYLLABLE ADJUSTMENT RA TIO 2 3 1 NUMBER OF E L ID A B L E A D JU STM EN TS. . . . « « * • • • • • • 1 9 2 NUMBER OF CATACLECTIC ADJUSTMENTS • • . • • • • • • • • 5 NUMBER OF OPTIO N A L E* 1 4 4 NUMBER OF OPTIONAL E A -T E R E L I S I O N . 6 4 PERCENTAGE OF O PT IO N A L E . • • • • • • • • • • • • • • • 44 A COMPLAYNT OF A LOVERES LYFE NUM OF 1 * 2 * 3 E T C . SYL WORDS A 13 5 0 0 2 4 7 0 O 0 5 0 - 0 0 0 OF I 2~7$ A COMPLAYNT OF A LOVERES LYFE NUMBER OF SENTENCES ................................ - ........ .... 1 7 ....... NUMBER OF WORDS 7 3 8 NUMBER OF SY LLA BLES 1 1 1 4 AV SENT LENGTH IN WORD 4 3 * 4 1 1 3 AV SENT LENGTH IN SY ....................... _.. . - "... — 6 5 * 5 2 9 4 AV WORD LENGTH IN SY 1 * 5 0 9 5 A COMPLAYNT OF A LOVERES LYFE NUM OF 1 , 2 * 3 E T C . WORD SEN TEN CES V 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 1 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 o 0 0 0 0 0 0 0 2 A COMPLAYNT OF A LOVERES LYFE 280 NUM OF 1 . 2 . 3 E T C . 0 0 0 0 0 ___ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Y 0 0 0 0 0 2 1 0 1 0 0 0 0 0 0 1 0 1 0 1 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 SYL S E N TEN C ES 0 .0 0 0 0 0 0 0 0 _ o . O 0 0 o 0 0 0 0 _ 0 o 2 0 1 0 0 o o o 0 o 0 o 1 o 1 0 O 0 0 o 0 _ o 0 0 1 o 0 0 0 _ o 0 0 o o 0 o O 0 O 0 0 0 o o o o 0 0 0 o o o o o . 0 o 0 o O 0 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 o 0 1 0 o 0 o 0 o o o 0 o 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 31] LINE STRESS A COMPLAYNT OF A LOVERES LYFE MAXIMUM VALUE: 74 SCALE 12 1 GRAPH IN PERCENTAGE OF TOTAL _ ..TOTAL 389 POS VALUE PERCENT 1 9 2* 3130 -2 65 16*7050 3 1 0 2*5700 4 64 16* 4480 5 2 3 5* 9110 6 4 8 12* 3360 7 1 9 4* 8830 8 56 14* 3920 9 19 4* 8830 10 74 19*0160 11 2 0*5140 12 0 0*0000 XX ___ xxxxxxxxxxxxxxxx XX XXXXXXXXXXXXXXXX xxxxx _ . xxxxxxxxxxxx xxxx xxxxxxxxxxxxxx xxxx xxxxxxxxxxxxxXXXXXX STRESS MAXIMUM A COMPLAYNT OF A LOVERES LYFE MAXIMUM VALUE: 60 SCALE 121 GRAPH IN PERCENTAGE OF TOTAL T O T A L 237 POS VALUE PERCENT 1 0 0*0000 2 60 20*9040 3 6 2* 0904 4 55 19.1620 5 16 5.5744 6 " 44 15.3296 7 1 4 4.8776 8 48 16.7232 9 1 5 5*2260 TO 27 9* 4068 11 2 0* 6968 12 0 0*0000 XXXXXXXXXXXXXXXXXXXX XX XXXXXXXXXXXXXXXXXXX xxxxx xxxxxxxxxxxxxxx xxxx xxxxxxxxxxxxxxxx xxxxx xxxxxxxxx 282 ASSONANCE A COMPLAYNT OF A LOVERES LYFE MAXIMUM VALUE: 54 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL .468 ------ ----- "* ' • * . ... * * ' “ ’ .........“ POS VALUE PERCENT • 1 48 10.2528 xxxxxxxxxx 2 50 10.68CC xxxxxxxxxx 3 49 10.4 664 xxxxxxxxxx 4 51 10.8936 xxxxxxxxxx 5 32 6.8352 xxxxxx 6 " 54 11. 5344 X xxxxxxxxxx 7 35 7.4760 xxxxxxx 8 52 11.10 72 xxxxxxxxxxx 9 46 9.8256 xxxxxxxxx 10 ....3 9 8.3304 x xxxxxxx 11 1 2 2.5632 XX 12 0 0.000C __ _______ _____. ___ __ -------. . . -------- ALLITERATION A COMPLAYNT OF A LOVERES LYFE MAXIMUM VALUE: 25 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL.......TOTAL 165 ■--------- *. ........ " POS VALUE PERCENT 1 1 9 1 1 . 5 1 4 0 XXXXXXXXXXX 2 14 8 . 4 8 4 0 XXXXXXXX 3 1 6 9 . 6 9 6 0 XXXXXXXXX 4 2 5 1 5 . 15 C 0 xxxxxxxxxxxxxxx 5 1 5 9 . 0 9 0 0 xxxxxxxxx .. 6' 2 0 1 2 . 1 2 0 0 xxxxxxxxxxxx 7 16 9 . 6 9 6 0 xxxxxxxxx 8 13 7 . 8 7 8 0 xxxxxxx 9 8 4 . 8 4 6 0 xxxx ~ 10 1 8 1 0 . 9 0 8 0 xxxxxxxxxx 11 1 0 . 6 0 6 0 12 0 0 . 0 0 0 0 A COMPLAYNT OF A LOVERES L Y F E J ■ • { C O IN C ID E N C E OF ASSONANCE AND A L L I T E R A T I O N I MAXIMUM VALUE: 15 SCALE 15 1 j GRAPH IN PERCENTAGE OF T O T A L TOTAL ..........7 4 ! ! -------------. -....— - POS VALUE P ERCENT 1 7 9 . 4 5 9 1 XXXXXXXXX . . 2 i i 1 4 , 8 6 4 3 XXXXXXXXXXXXXX 3 5 6 , 7 5 6 5 x x x x x x 4 I 5 2 0 . 2 6 9 5 XXXXXXXXXXXXXXXXXXXX 5 6 8 , 1 0 7 8 x x x x x x x x 6 7 9 , A 5 9 1 x x x x x x x x x 7 7 9 , A 5 9 1 x x x x x x x x x 8 5 6 , 7 5 6 5 x x x x x x 9 5 6 , 7 5 6 5 x x x x x x io 6 8 . 1 0 7 8 x x x x x x x x 11 0 0 , 0 0 0 0 .. 12 0 0 , 0 0 0 0 ..... ............ ■ . .... P UNCTUATI ON A COMPLAYNT OF A LOVERES LYFE MAXIMUM VALUE: 26 SCALE 15 1 GRAPH IN PERCENTAGE OF T O T A L TOTAL 7 4 1___ __ ............— ---------— ---------- ■ . . .......................... .......................................................... -....................... PO S VALUE PERCENT j 1 2 2 . 7 0 2 6 XX I ........ 2 . ............3 A . 0 5 3 9 x x x x ! ' 3 1 1 . 3 5 1 3 X 1 , " 4 7 9 , 4 5 9 1 XXXXXXXXX ! " 5 1 3 1 7 . 5 6 6 9 XXXXXXXXXXXXXxxxx ! ......6 6 8 , 1 0 7 8 XXXXXXXX 7 2 2 . 7 0 2 6 XX 8 1 1 , 3 5 1 3 X • 9 1 1 , 3 5 1 3 X -~10 2 6 3 5 . 1 3 3 8 XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 11 12 1 6 . 2 1 5 6 XXXXXXXXXXXXXXXX 12 0 0 , 0 0 0 0 TOTALS FOR E N T IR E SAMPLE NUMBER OF POEMS • •• ** • NUMBER OF SYLLABLES • o o • NUM3ER OF ST R E SS MAXIMA « • p e r c e n t a g e o f s t r e s s MAXIMA NUMBER OF L I N E S * • • 9 a * PERCENTAGE OF S T R E S S MAXIMA L I N E S NUMBER OF L I N E S WITHOUT S T R E S S MAX NUMBER OF IAMBIC L I N E S * • o PERCENTAGE OF IA M BIC L I N E S * NUMBER OF TROCHAIC L I N E S * « PERCENTAGE OF TROCHAIC L I N E S NUMBER OF IRREGULAR L I N E S • ' PERCENTAGE OF IRREGULAR L I N E S NUMBER OF AMBIGUOUS L I N E S • • PERCENTAGE OF AMBIGUOUS L I N E S NUMBER OF ASSONATING SYLLABLES PERCENTAGE OF ASSONATING SYLLABLES NUMBER OF ASSONATING L‘l N = S * • PERCENTAGE OF ASSONATING L I N E S NUMBER OF ASSONATING PATTERNS NUMBER OF A L L IT E R A T IN G SYLLABLES 3 5 1 2 7 1 3 1 2 2 5 5 0 0 ICO 0 3 7 2 7 4 0 0 0 0 6 1 3 1 4 5 61 4 8 6 9 7 9 8 2 7 7 9 284 PERCENTAGE OF a l l i t e r a t i n g SY LLABLES* e • • 15 n u m b e r OF 2 9 0 . PERCENTAGE 5 3 ' NUMBER OF 3 6 3 NUMBER OF L I N E S WITH C O IN C ID E N T ASSON & A L L lT • • , • • 2 1 4 s' PERCNT OF L I N E S WITH C O IN C ID E N T ASSON & A L L IT • • , • • 4 2 n u m b e r OF SYLLABLES WITH C O IN C ID E N T ASSON & A L L IT , • • 3 6 0 PERCNT OF SYLLABLES WITH C O IN C ID E N T ASSON & A L L IT , • • 7 n u m b e r OF L I N E S EXCEEDING S P E C I F I E D CO M PL E X IT Y , • • « , 1 3 9 PERCNT OF L I N E S EXCEEDING S P E C I F I E D C O M PL E X IT Y , 2 7 6 6 3 0 0 n u m b e r OF AMETRICAL L I N E S • • « , , , » , « 128 PERCNT OF 2 5 n u m b e r OF L I N E S TO BE E L I D E D * ’ , • « • « , « 327 NUMBER OF l i n e s s h o r t e r t h a n s p e c i f i e d l e n g t h • • , , , 3 3 7 1 6 8 NUMBER OF P O S S I B L E ASSIGNMENTS OF SYLLABLES TO P O S I T I O N S 1 2 7 0 SYLLABLE ADJUSTMENT RA TIO o « « « , , , , . 254 n u m b e r OF e l i d a b l e a d j u s t m e n t s , • • * • • • 1 0 9 7 NUMBER OF 3 3 NUMBER OF 6 2 0 r NUMBER OF 2 7 3 5 4 285 t > TOTALS FOR E N T IR E SAMPLE NUMBER OF SEN TEN CES - ........ - -..................— .......... NUMBER OF WORDS 3565 NUMBER OF S Y L L A B L E S 5431 AV SENT LENGTH IN WORD 4 3 * 1 0 0 0 AV SENT LENGTH IN SY ....... -............. 6 5 * 3 2 0 0 AV WORD LENGTH I N SY 1 * 5 1 5 5 TOTALS FOR ENTIRE SAMPLE NUM OF 1, 2, 3 ETC. SYL WORDS 2164 1071 265 80 0 0 10 0 0 0 0 0 287 LIN E STRESS TOTALS FOR E N T IRE SAMPLE TOTAL 1858 MAXIMUM VALUES 357 SCALE 1S1 GRAPH IN PERCENTAGE OF. TOTAL .. ------- ------- -........... .. ..... POS VALUE PERCENT 1 44 2*3672 2 290 1 5* 602C 3 51 2* 7438 .4 357 19* 2066 5 67 3* 60 46 6 247 13* 2886 7 83 4* 7344 8 271 14* 5798 9 93 5* C034 10 - 329 17* 7002 11 1 6 0* 8608 12 3 0*1614 13 1 0*0538 14 1 0*0538 XX XXXXXXXXXXXXXXX XX XXXXXXXXXXXXXXXXXXX XXX xxxxxxxxxxxxx xxxx xxxxxxxxxxxxxx xxxxx xxxxxxxxxxxxxxxxx STRESS MAXIMUM TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 284' SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1312 I - POS VALUE PERCENT 1 0 0* COOC •2 269 20* 4978 XXXXXXXXXXXXXXXXXXXX 3 26 1*9812 X 4 284 21« 6408 xxxxxxxxXXXXXXXXXXXXX 5 40 3* 0480 XXX 6 21 1 16* 0782 XXXXXXXXXXXXXXXX 7 59 4* 4958 xxxx 8 235 17* 9070 XXXXXXXXXXXXXXXXX 9 68 5*1816 xxxxx 10 107 8*1534 xxxxxxxx 11 1 2 0*9144 12 1 0* 0762 13 0 0* 0000 14 0 0*0000 ......... .... ~... 288 ASSONANCE TOTALS FOR E N TIRE SAMPLE MAXIMUM VALUE: 2 8 4 SCALE 1 1 1 GRAPH IN PERCENTAGE OF TOTAL . . T O T A L POS VALUE PERCENT xxxxxxxxxxx I 2 8 4 1 1 * 9 8 4 6 2 2 5 5 1 0 . 7 6 1 0 xxxxxxxxxx 3 220 9 . 2 8 4 0 xxxxxxxxx 4 2 2 8 9 . 6 2 1 6 xxxxxxxxx 5 1 9 9 8 . 3 9 7 8 xxxxxxxx . “"6 2 4 8 1 0 . 4 6 5 6 xxxxxxxxxx 7 20 0 8 . 4 4 0 C xxxxxxxx 8 2 4 8 1 0 . 4 6 5 6 xxxxxxxxxx 9 2 2 4 9 . 4 5 2 8 xxxxxxxxx 10 1 9 2 8 o 1 0 2 4 xxxxxxxx 11 5 3 2 . 2 3 6 6 XX 12 12 0 . 5 0 6 4 ......... . 13 3 0 . 1 2 6 6 ______■ __________ 14 0 0 . 0 0 0 0 A L L I T E R A T I O N t o t a l s f o r e n t i r e SAMPL MAXIMUM VALUE: 1C6 SCALE 1 J 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 1 0 6 1 3 . 5 9 9 8 xxxxxxxxxxxxx *” 2 8 7 1 1 . 1 6 2 1 XXXXXXXXXXX 3 8 0 1 0 . 2 6 4 0 XXXXXXXXXX 4 8 4 1 0 . 7 7 7 2 XXXXXXXXXX 5 5 5 7 . 0 5 6 5 XXXXXXX 6 9 5 1 2 . 1 8 8 5 XXXXXXXXXXXX 7 7 2 9 . 2 3 7 6 xxxxxxxxx 8 7 0 8 . 9 8 1 0 xxxxxxxx 9 6 2 7 . 9 5 4 6 xxxxxxx — 10 6 4 S . 2112 xxxxxxxx 11 2 0 . 2 5 6 6 12 1 0 . 1 2 8 3 13 1 0 . 1 2 8 3 — 14 0 0 . 0 0 0 0 2 3 6 6 (LYDGATE) 7 7 9 ( TOTALS FOR E N T I R E SAMPLE C O IN C ID E N C E OF ASSONANCE AND A L L I T E R A T I O N MAXIMUM VALUES 5 3 SCALE 111 GRAPH IN PERCENTAGE OF i POS VALUE PERCENT 1 5 3 1 4 , 7 1 8 1 ■ ....2 ....... 3 8 1 0 . 5 5 2 6 3 3 6 9 . 9 9 7 2 ...............A 41 1 1 . 3 8 5 7 5 2 4 6 . 66.4 8 6 4 4 1 2 . 2 1 8 8 7 3 3 9 . 1 6 4 1 8 3 0 8 . 3 3 1 0 9 3 3 . 9 . 1 6 4 1 “ 10 2 6 7 . 2 2 0 2 11 0 0 . OOOC 12 1 0 . 2 7 7 7 13 1 0 . 2 7 7 7 14 0 0 . 0 0 0 0 TOTAL TOTAL 3 6 0 XXXXXXXXXXXXXX XXXXXXXXXX XXXXXXXXX XXXXXXXXXXX xxxxxx xxxxxxxxxxxx xxxxxxxxx xxxxxxxx xxxxxxxxx xxxxxxx PUNCTUATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE : 187- SCALE: 1:1 I GRAPHS IN PERCENTAGE OF TOTAL TOTAL 5 69 POS VALUE PERCENT I 4 »7029 2 11 1.9138 X 3 12 2.1089 XX 4 72 12.6537 XXXXXXXXXXXX 5 106 18.6291 XXXXXXXXXXXXXXXXXX 6 48 8.4356 XXXXXXXX 7 17 2.9877 XX 8 11 1.9138 X 9 19 3.3392 XXX 10 187 32.8648 xxxxxxxxxxxxxxxxxx: 11 72 12.6537 xxxxxxxxxxxx 12 7 1.2323 x 13 2 .3515 DEFEN SE OF HOLY CHURCH MOST W ORTH I P R I N C E , OF WHOME THE NOBLE FAME MOST WO+R( I P R I + N T S _ » |V HO+MC ) _ NO+BL> F | / + M I N VERTUE FLOUPETH AND IN H IH PRUDENCE* IN V E + R T I * F L U / + R > ) AND IN H I / + X P R U /D E + N T S C , LAUDE AND HONDURE BE UNTO THI NAME L A = + D _ AND |N U /+ P C - B E / UNTO + )!/ N | / + M AND TO THI WORTHI R O IA L EXCELLENCE, AND TO > 1 / WO + R ( I R0 = A + L E + K S E L E + N T S C , THE WHICH HAST BEEN PROTECTOUR AND DIFFEN C E )> HWITS HAST B E / N P R O T E + K T U /R AND D IF E + N T Z C THORUH THY MANHODE AGEYN THY MORTALL FOON ) R U /X > 1 / MANHO + D AGE*+N ) I / MO+RTAL F'O+N O FF C R I S T I S S P O U S E , DOUHTIR OF SYOUN, | F K R I / + S T > S S P U / + S C , DO*+XTER |V S I / U / + N , THAT WAS O P P R E S S I D ALMOST IN THY REWME ) AT WAZ O P R E + S > D ALMO+ST IN ) I / PE=+MC EVEN AT THE POYNT OF HIR DESTRUCCIOUN EO+VEN AT ) > PO=+NT |V H IR D E S T R U + K S I / U / N AMYD H I R C I T E E OF JER U SA LEM , ' AMI+D HIR S I / T E / + |V D Q ER U /+ SA LEM , AL BY SETT WITH ENMYES ENVYROUN: C AL B I S E + T WI< E + M N I / S F + N V I R U /N J TAMADE A NEW TRANSMYGPACIOUN T A M | / + DC A NE = + T R A + N S M I / G R | / + S I / U WHEN S H E , A L L A S , DISCONSOL.AT, ALLONE HWEN SE / » A L A + S , D I S K | + N S O L A T , ALO+NC NE KNEUH TO WHOME FOR TO MAKE H IR MOONE, NE KNE = + TO HO+MC FOR TO M | / + K_ HIR MO+N_, BUT ON THE F L O C D IS OF F E L L BABILCUN, BUT |N )> F L O + D >S |V F E + L B A + B I L U / N , AL S O L I T A I R AND T R I S T I N COMPLEYNYNG, AL S O + L IT A w P AND T R I + S T IN K|MPL.E* + N Itf G , SAT WITH H I R C H IL D R E N ABOUTE HIR EVERICHOUN, SA+T W I( H I R T S I + L D R N ABU/ + T H IR E + V _ R I T $ U / N , ALMOST FORDRDWNYD WITH T F E R Y S ~ IN WEEPYNG, ALMO+ST FORDRO* +N>D WI( T E / + R > S IN W E /+ P IW G . AND WHER AS SHE WAS WONTE TO PLAY AND SYNG AND HWER AZ S E / WAZ- W |+ N T _ TO PLA *+ AND S I + 0G IN PRAYS AND HONOUR OF H IR ETERNALL LORDE, IN PRA* + Z AND _ N U / + R |V H IR ETE. + RNAL L O + R D _ , ON INSTRUMENTS OF MUSIK IN ACCORDE, |N I+ N S T R U /M E + N T S |V M U I Z I / + K N AKO+RD , CONSTPEYNED WAS, AND ALMOST AT*~THE PR IK K • K-j N ST R E * + N>D WAZ, AND ALMO + ST AT )> P R I + K T A L E F F T H IR SONG OF HOLY N O T IS TRFWE, T A L E + F T H IR S | + 0 G |V HO+LI NC+T>S T R E = + C , AND ON THE SALWYS O LDE, FOULE AND THIKK AND |N )> S A + L W IS | + L D C , F U / + L _ AND > I+ K TO HANG H IR ORGNES THAT WERE ENTUNED NEWE, TO HA+ # G H_R 0 + RGN>S ) AT WE+R ENTU/+N>D NE = + _ , O G C D D IS KNYHT, T I L L THU L I S T ~ T O REWE 0 GO+D>S K N I / + X T , T I L ) U / L I + S T TO PE =+C UPON H I R P I T O U S E LAMENTABLE WOOS U P | + N HIR P I + T U / S L | / + M E N T A + B L > WO+I OFF REUTH AND MERCY TO D ELIV ER HIR FROO | F R I + + ) AND ME+RSI TO DEL I + V ER HIR FRO THE MORTALL HONDS THAT WROUHTE H I P AL T H I S SO O R E , )> MO + RTAL H | + NDZ ) AT WRO* + XTC H R AL ) I S S O + R _ , H I R TO HAVE PUT IN CAPTYVYTEE H I R TO HA + VC PU + T IN K A P T I + V I T E / OFF THE TYRAUNTE NABU GDONOSOR « | F >> T I / R A = + N T C N A + B U G D | + N | Z O R . FERR FROME THE B O U N D I S , A LLA S, OF H IR C I T E E J FE+R FRO+M_ )> B U / + N D > S • LA + S i |V H I R S I / T E / + S T I L L THOU OF GRACE GRAUNTEST L I B E R T E E T I L > U / |V G R | / + SC GRA =+N T>ST L I + B E R T E / ZOROBABELL AND ALSO NEE MYE ZORO+BABEL AND ALSO + N E / + E M I / + C JERUSALEM AGEYN TO E D Y F Y E , D QERU/+SALEM AGE++N TO E + D I F I / + C . AND K EPE THF TEMPLE HOOLE AND SOUNDE B I GRACE AND K E / + P )> T E +M P L > H O +L_ AND S U /+ N D B I G R | / + S THAT STOODE IN WAY OF P E R D I C I O U N , ) AT STO+DC IN WA*+ |V DE R D I + S I / U / N , THOROUGH HEM THAT GAN TO THRETEN AND MENACE )RO*X HEM ) AT GAN TO ) R E / + T > N AND M E N | / + S C THE L I B E R T E E S OF C R I S T Y S MANSIOUN, )> L I + B E R T E / Z |V K R I / + S T > S M A + N S I / U / N , AND FOR TO PYNC.H ATT HER FUNDACIOUN AND FOR TO P I + N T S AT HER F U N D A + S I / U / N IN P R E J U D I C E OF THE OLDE AND NFWE LAWE, IN PRE + D Q U /D I + S _ |V ) _ |+ L D AND NE = + C L A = + _ , THE PATRYMONY OF P F T I R TO WITHDRAWS! )> PA + T R I M _ N I | V P E / + T I R TO W l ( D E A =+ _J THAT THER WAS NOON HER MALIS TO W ITHSTONDE, ) AT ) ER WAZ NON HER M A + L IS TO W I ) S T | + N D C , C R I S T Y S QUARELL MANLY TO S U S T E E N , C K R I / + ST> S K W | / + R E L MA + NLI TO S U S T E / + N , T I L THOW WERE CHOSE FOR TO LAY TO HONDE, T I L . ) U / WE + R T SC+ZC FOR TO LA* + TO H |+ N D , ONLY BY GRACE H I R CHAMPIOUN TO BEEN, O + N L I B I G R | / + S C H IR T S A + M P I / U / N TO B E / N , FOR TO DELYVEP OUT OF WOO AND TEEN FOR TO DEL I + VER U /T |V WO + AND T E / + N NOEES S H I P P , BY SE T T WITH MANY WAWE, N O + E / Z S I + P , B I S E + T WI( MA+NI W | / + W C , TYL THOW THE WATPES MAD 1 S T TCJ WITHDRAWE, T I L ) U / )> W | / + T P > S M | / + D > 5 T TO W I(D R A = + C , THAT K A R I B D I S MYHT I T NAT DEVOURE, ) AT KARI + B D I S M I / + XT IT NAT DEVU/ + RC, NOR F I E R C E S I L L A WITH H IR B IT T Y R RAGE, NOR F E / + R S C S I + L A W I ( H I R B I + T I R R | / + D Q C , FOR NOON BUT THOW MYHT THO SCCOUR FOR NON BUT ) U / MI/-+XT ) 0 SO + K U /P TO MAKE THE F L O O D I S FULLY TO ASWAGE, TO M | / + K _ )> F L O + D > S F U + L I TO A S W | / + D Q _ , THORUH THE S T R A Y T I S TP HOLDEN THE P A S S A G E , ) R U /X ) > S T R A * + T > S TO HO+LD>N )> P A S | / + D Q C , THI S I L F F OF GOODNFSSE THE ROTHER L I S T TO GUYE ) I / S I + L F |V GODNE+S ) R | + ( E R L I + S T TO G I / + T I L ON THE HYLLYS HY~OF ARMONYE T I L JN )> HI + L > S H I / + jV A + R M O N I/+ C THE S H I P P GAN RE ST OUT OF ALL DAWNGEERF, )> $ I + P GAN RE + ST U / T | v AL DA = NDQE/ + R C , MAUGRE THE R D K K IS OF VENGEAUNCE1 M E R C I L E S S E , MA = G R E / + ) > R | + K>S )V VE+NDQA = NTS ME + R S I L E S , AND THAT THE S K I F S WEX F A I R E AND CL E R E I AND IA T )> S K I / + >S WE+KS FA* + RC AND KLE + RCJ AND THORUH THYN HELPE THAT THE DOWE CHESE AND JR U /X ( I / N H E + L P C ) AT )> DO*+C T S E / + Z C FOR TO R E P A IR E WITH A BRAUNC.H OF P E S , FOR TO R E PA *+R C WI( A B P A = + N T J |V P E / + S , WHEN AS THE RAVEN HATH A CAREYN TAKE, HWEN AZ ) > R | / + V F N HA) A KA+RE* N T | / + K C » OUTE OF THE S H I P P , UPON H I S PRAYE TO WAKE, U / + T |V )> $ I + P , U P | + N H I Z PRA *+ TO W | / + K * WITH COVERTE TRESOUN FALSELY TO LACHCHE WI( KO+VERT T R E / + Z U / N F A L S > L I TO L | / + XC (WHEN HE S E F T H TYME) H I S D E S IR E D PRAYE: ( H W E N H E / S E / + ) T I / + M C H I Z D E Z I / + R > D P R A * + C : _______ 29T| L IC H E A BOSARDE UNWARLY FOR TO CACHCHE L I / + K A BOZA+RD U N W | / + R L I FOR TO K A + T $ _ SMALE~BRIDDYS THAT THYNKE ON NOON A F F R A Y E , SMA+LC BRI + D>S ) AT U + W K C | N NON A F R A + + C , WHERFDR I R E D E « BOTH NYGHT AND DAY, HWERFO+R 1 / R E / + DC * BO) N I / + X T AND D E * + , TO GODDYS KNYGHT. SO GOODE WACHCH TO MAKE TO GO+D>S K N I / + X T , SO GO+DC WA+TS TO M | / + K C OFF PH I L I S T E E S THE APKE BE NAT TAKE* | F F I + L I S T E / S ) > A+RKC B E / NAT T | / + K C , ALL IS R A E L TO BRYNGEN IN D I S T R E S S E AL I+ Z R A + E L TO B R I + # G > N IN D I S T R E + S C WHOS JOY AND HELTH L I T H IN THI P ER SO O N E, HOS DQO= + AND HE + L ) L I / + ) IN ) I / P E R S | + N C , THE W ELFA IR E EKE AND HOLLY THE GLADNESSE ) > WE+LFAvR E / + K _ AND H O + L I )> GLADNE+S_ IN EVERY THYNG OF WHAT THAI HA TO D O O N E; IN E + V _R I ) I + # G |V HWAT ) A* HA TO DO + N J WHERFOR BEWARE OF CHAUNGYNG OF THE MOONE* HWERFO+R B E W | / + R |V T $ A = +NDQ10G |V )> MO+N_* E C L I P S E OF FA L SE H E D BETRA SSH NAT THE L I H T E K L I + P S _ |V F A + L S > H E D 8 E T R A + S NAT ) L I / + X T OFF T H I GOODNESSE THAT SHYNETH Y I T T ~ S O B R I H T • | F ) I / GODNE+ S _ ) AT $ I / + N > ) J I T SO 8 R I / + X T • THYNKE, HOW TO DAVID FULL INNOCENTE ) I + 0 K C , H U / TO D J / V I / +D FUL I+N O S E+N TC SAUL WAS FALS FOR ALL H I S O T H I S SWORNE* SA =+L WAZ F | / + L S FOR AL H IZ C + ) > S SWO+RNC, NAD GOD BY GRACE MAKID RES ISTENC.E NAD GO+D BI G R | / + S C M | / + K > D R E / + S I S T E + N T S C H I S CHOSE KNYGHT HAD BE F O R L O R N E , . H IZ T $ O + ZC K N I / + XT HAD B E / FG R L C + R N C , WHERFOR I REDE T H E , GREYN AND PURID* CORNE HWERFO+R 1 / R E / + D ) > , GRE*+N AND P U / + R > D KO+RN_ THOW C HERR ISH WELT AND LAY THE CHAFF A S ID E ) U / T SE +RI $ WEL, AND L A * + ) > T $ | / + F _ A S I / + D _ - THAT TROUTH HAN V O ID E D , FOR TO BEEN HER G I D E , ) AT T R O * + ) HAN V O =+D >D . FOR TO B E /N HER G I / + D C # AND THYNKE HOW DAVID AGAYN JE B U S E E AND ) I + #KC H U / D | / V I / + D AGE’K + N D Q E + B I * Z E / WHEN THAT HE F O U H T » IN REGUM AS I FY N D E, HWEN ) AT H E / F C * + X T , IN RE/+GUM AZ 1 / F I / + N D C , HOW HE MADE VOIDE FROM SYON H I S C I T E E H _ / H E / M | / + DC VO = + D_ FROM S I / + | N H I Z S I / T E / + UNWELDY, C R O K ID , BOTH LAME AND BLYNDE: UNWE/+ L D I , KR0+ K > D , BO) L | / + MC AND B L I / + N D C I BY WHICH EXAMPLE ALWAY HAVE IN MYNDE BI HWITS EKSA + MPL> A + LWA* HA + V_ IN M I / + ND_ TO V O ID E ECHON. AND FOR TO DO THE SAME TO VO=+D E / T J O + N , AND FOR TO P 0 + )> S I / + M OUTE OF THI S I H T , THAT IN THE F A IT H BE LAME, U / + T |V ) I / S I / + X T , ) AT IN )> F A * + ) B E / L | / + M _ , FOR WHO I S BLYNDE OR H A L T IT H IN THE F A I T H FOR HD I Z B L I / + ND_ O R . H A + L T > ) IN )> F A * + ) FOR ANY DOCTRYNE OF TH E SE S E C T Y S NEWE FOR A + N_ D | K T P I / + N _ |V ) E / + Z C S E + K T > S N E =+ AND C R I S T E S TECHYNG THERFOR A S ID E L A I T H , ” AND K R I / + S T > S T E / + T S I 0 G ( E + R F R A S I / + D C L A * + ) , UNTO THY CORONE MAY HE NAT BE. TREWE, UNTC+ > 1 / KO+RON MA+ H E / NAT B E / T R E = + C , HE MAY DISSYMULE WITH A FEYNYD HE W E ---- H E / MA* D I S I + M + L WI( A F E * + N > D HE=+E - BUT TAKE GOOD H E E D E , WHAT WAY THAT HE F A I R E , BUT T | / + K C GO+D H E / + D C , HWAT WA»+ ) AT H E / F A * + R C . THY SWERDE OF KNYHTHOODE, THAT NO SW ICH' NE S P A IR E ) I / SWE +RD_ |V K N I / + XTHOD, ) AT NO S W I T $ NE SPA v + R AND C P I S T I S CAUSE ALWAY FYRST PREFERRE AND K R I / + S T > S KA = + ZC. A+LWA* F I + R S T P R E F E + R C AND A L TH IR N EX TF THI KNYHTLY STATE P R E S E R V E , AND A + L ( IR N E + K S T _ ) I / K N I / + X T L I S T | / + T _ PRESE+RV 293 A COMPLAYNT OF A LOVERES LYFE IN MAY WHEN FLO RA , THE F R E S S H LUSTY QUENE, I N MA* HWEN F L O + R A , )> F R E + S L U + S T I K W E /+ N C , THE SOYLE HATH CLAD IN GRENE, REDE AND W H IT E , )> S O = + L _ HA) KLA + D IN G R E / + N C , R E / + D _ AND H W I / + T _ , AND PHEBUS GAN TO SHEDE H I S STREMES SHENE AND F E / + B U S GAN TO SE+D H I Z S T R E / + M > S S E / + N AMYD THE BOLE WYTH AL THE BEMES BRYGHT, “ AMI+D ) > BO + L W I ) AL ) > B E / + M > S B R I / + X T , AND L U C IF E R TO CHACE AWEY THE NYGHT AND L U / + S I ;FER TO T $ | / + S AWE* + )> N I / + X T AYEN THE MOROW OUR CRYSONT HATH TAKE A JE+N ) > MO + R * 0 ? R O + R IS D N T HA) T | / + K - TO BYD LOVERS“ OUT OF HER S L E P E AWAKES " TO B I + D LO+V>RZ U / T |V HER S L E / + P _ A W | / + K _ S AND HERTYS HEVY FOR TO RECOMFORTE AND H E +R T>S HE + VI FOR TO RE+KOMFO+RTC FROM DRERYHED OF HEVY N Y G H TIS SOROWE , FROM D R E+ R IH ED |V H E+V I N I / + X T > S S | + R O * , NATURE BAD HEM RYSE AND D IS P O R T E NAT I *+ R BA + D HEM P I / + ZC AND D I S P O + RTC AGEYN THE GOODLY, GLAD, GREY MOROWE. AGE*+N )> G O + D L I , G LA +D , GRE*+ MORO*+. AND HOPE A LSO, WITH S E I NT JOHN TO BOROWE, AND HO+PC A L S O + , W I( S E * + N T D Q |+ N TO B O + R O * , BAD IN D I S P I T E OF DAUNGER AND D I S P E Y R F BA+D IN D I S P I / + T _ |V DA=+NDQER AND D I S P E * + R FOR TO TAKE THE HOLSOM LUSTY E Y R E . “ FOR TO T | / + K C ) > HO + L S | M L U + S T I E * + R C . AND WYTH A SYGH I GAN FOR TO ABREYDE AND W I ) A S I / + X 1 / GAN FOR TO A BRE*+D C OUT OF MY SLOMBRE AND SODENLY STERT U /T |V MI SL|'+MBR> AND S O + D E * N L I STE + RT AS HE, ALAS. THAT NYGH FOR SOROW DEYDE, AZ H E / , A L A +S , ) AT N I / + X FOR S | + RO* D E * + D C , MY SEKENES SAT AY SO NYGH MYN H E R T . MI S E + K EN ES SA+T A* SO N I / + X M I / N H E + R T . BUT FOR TO FYNDE SOCOUR OF MY SM ERT, BUT FOR TO F I / + N D C S O + K U /R |V MI SM E+RT, OR A TTELEST SUM R E L E S S E OF PEYN OR A + T E L E / + S T SU+M R E L E / + S C |V P E * + N THAT ME SO SORE HALT IN EVERY V EY N , ) AT ME SO SO + RC HA+LT IN E+V RI VE* + N, I ROSE ANON AND THOGHT I WOLDE GOON 1 / R O + Z _ A N |+ N AND 10+XT 1 / WO+LDC GO+N UNTO THE WODE TO HER THE B R ID D E S S I N G UNTO+ ) > WO+DC T _ HER ) > B R I + D > S S I + # G WHEN THAT THE MYSTY VAPOUR WAS AGOON HWEN )AT )> M I + S T I V | / + P U / R WAZ AGO+N AND CLERE AND FEYRE WAS THE MORWENYNG. AND KLE+RC AND F E + + R C WAZ ) > MO+RWENI#G. THE DEWE ALSO LYK SYLVER IN SHYNYNG ) > DE=+C ALSO+ L I / K S I + L V E R IN $ I / + N I # G UPON THE LEVES AS ENY BAUME SUETE UP | +N ) _ L E / + V> S AZ E + N I BA = 4MC £ E + T _ T I L F I R Y TYTAN WITH HYS P EPSA U N T HETE T I L F I / + R I T I / + T A N WI< H I Z PE + R SA = NT H E / + T C HAD D R IE D UP THE LUSTY LYCCUR NYW HAD DR I / + > D UP )> L U + S T I L I + K U / R N I + + UPON THE HERBES IN GRENE MEDE, U P ] + N ) > H E +R B>S IN G R E/+ N C ME/+-DC« AND THAT THE FLOURES 0= MONY DYVERS HYWE AND ) AT )> F L U / + R S |V MD + NI D I/+-V ER S H I+ W _ UPON STALKES GUNNE FOR TO S P F E D E U P | + N S T | / + L K > S GU+NC FOR TO SPRE+DC AND FOR TO SPLAYEN OUT HFR L EV ES ON BREDE AND FOR TO S P L A * + > N U / T HER L E / + V > S |N B R E /+ D C AND FOR TO SPLAYEN OUT HER L EV ES ON BREDE AND FOR TO S P L A * + _ N U / T HER L E / + V > S | N B R E / + D THAT DOUN TO HEM CAST HYS BEMES CLERE ) AT D U /N TO HEM KA + ST H I Z B E /+ M > S KLE+RC AND BY A RYVER FORTH I GAN COSTEY AND BI A R IV E + R F O + R ) 1 / GAN KOSTE*+- OF WATER CLERE AS BEREL OR C R IS T A L |V W | / + T E R KLE+RC AZ BE.+ REL OR KRI+-STAL T I L AT THE LAST I FOUNDE A L Y T I L WEY T I L AT ) > LA+ST 1 / F U /+ N D C A L I / + ) WE*+ TOUARDE A PARKE ENCLOSED WITH A WAL . TO*A+RD A PA + PK ENKLO +S>D W I ( A W | / + L I N COMPOS ROUND;“ AND BY A GATE SMAL IN K |+ M P A S R U /+ N D J AND B I A G | / + T C SMA+L WHOSO THAT WOLDE FRELY MYGHT GOON HO+SO ) AT WO+LDC F R E / + L I M I /+ X T GP+N INTO T H I S PARKE WALLED WITH GRENE STOON* INTO+ > I S PA+RKC W | / + L _ D W I( G R E /+ N C STO+-N* AND IN I WENT TO HER THE B R ID D E S SONGE AND IN 1 / WE + NT TO HER’ ) > B R I + D > S S|+-0G C WHICH ON THE BRAUNCHES BOTHE IN PLEYN AND VALE HWIT $ | N ) > B P A = + N T $ > S B 0 + ) _ IN PLE*+-N AND V | / + L _ SO LOUDE SONG THAT AL THE WODE RONGE SO LU/+-DC S | + # G ) AT AL )> WO+DC R | + # G C LYKE AS HYT SHDLD SHEVER IN P E S I S SMALE» L I / + K AZ H I T SOLD SEVE+R IN P E / + S > S SMA+L_# AND. AS ME THOGHT, THAT THE NYGHTYNGALE AND, AZ ME ) 0 + X T , ) AT ) > N I / + X T I # G | / + L C WITH SO GRETE MYGHT HER VOYS GAN OUT WREST WI( SO G R E /+ T C M I / + X T HER VO=+S GAN U / T WRE+ST RYGHT AS HER HERT FOR LOVE WPLDE BRESTo R I / + X T AZ HER HE+RT FOR LO+VC WO+LDC B R E + S T • THE SOYLE WAS P L E Y N , SMOTHE AND WONDER S O F T E , ) > SO=+-LC WAZ P L E » + N, SMO+( AND W | +NDER S | + - F T _ , AL OVERSPRAD WYTH T A P I T E S THAT NATURE AL O+VERSPRA + D W I) T A + P I / T Z ) A T NATlXs+-R HAD MADE H E R S E L F E , CELURED EKE ALOFTE HAD M | / + D_ HERSE + L F C , S _ L I>-''-+-P>D E / + K_ AL | + F T _ WITH BOWYS GRENE THE FLOURES FOP TO CURE W I( B U / + >S GRE/ + N_ )> F L U / + R>S FOR TO K U / + R _ THAT IN HER BEAUTE THEY MAY LONG ENDURE ) AT IN HER E E = + T E / ) F « MA* LO+«G E N D U /+R C FRO AL ASSAUTE OF PHEBUS FERVENT FERE FRO AL A SA =+T _ |V F E / + B U S FE+RVENT F E / + R _ WHICH IN H I S S P E P E SO HOTE SHONE AND CLEREo HW I T $ IN H I Z S P E / + R_ SO H |+ T C 3<0+N_ AND KLE+-R . THE EYRE ATEMPRE AND THE SMOTHE WYNDE >> E* + R _ ATE + MPR> AND ) > SMO+(C W I / + ND OF ZEPHERUS AMONG T H E B L O S M E S WHYTE |V Z E + F E R U / S AM | + # G )> B L |+ S M > S HWI/.+ TC SO HOLSOM WAS AND NORYSSHING BE KYNDE SO HO+-LS | M WAZ AND N O + R IS ItfG B E / KI / + NDC THAT SMALE BUDDES AND ROUND BLOMES LYTE . ) AT SMA+LC BU+-D >S AND RU /+ N D BL.O+M>S L I / + - T C I N MANER GAM OF HER BRETHE DELYTE I N MA+NER GAN |V HER BRE+-)C DEL I / + T C TO Y IF US HOPE T H E I R FRUTE SHAL TAKE TO IF US HO+PC ) E * R F R U / + TC SAL T |/+ -K C AYENS AUTUMPNE REDY FOR TO SHAKE* A J E + N S A = TU+MPNC RE + DI FOR TO * | / + - K C . I SAW THER DAPHENE CLOSED UNDER RYNDE, 1 / SA =+ ) ER DA + F N E / KLO + Z>D U+-NDER RI/+-ND , GRENE LAURER AND~THE HOLSOM P Y N E , ” 294 G R E /+ N C LA=+RER AMD ) > H O + L S |M P I / + N C , THE MYRRE ALSO THAT WEPETH EVER OF KYNDE« )> M I + R _ ALSO + ) AT WE+R>> E+V_R |V K I / + N D * THE CEDRE H I G H , UPRYGHT AS A L Y N E , )> S E / + D R > H I / + X , U + P R I / X T AZ A L I / + N C , THE P H I L B E R T EKE THAT LOWE DOTH ENCLYNE )> F I + L B E R T E / + K _ ) AT LO=+C DO) E N K L I / + N HER BOWES GRENE TO THE ERTHE DOUNE ~ HER B U / + > S G R E /+ N C TO ) > E + R J C D U /+ NC UNTO HER KNYGHT I CALLED DEMOPHGUNE, UNTO+ HER K N I / + XT I K | / + L > D D E + M | F U / + N C , THER SAW I EKE F R E S S H HAWTHORNE ) ER SA = + 1 / E / + KC F R E + * H A = )0 + R N C IN WHITE MOTELE THAT. SO SOOTE DOTH SMELLE, IN H W I / + T C M |+ T E L ) AT SO S O + T _ DO) S M E + L _ , A S S H E , F I R R E AND OKE WITH MONY A YONGE ACORNE, A + $ , F I + R AND 0 + K _ W I( MO+N_ A J | + # G AKO+RN_ AND” MONY A~TRE MO THAN I CAN T E L L E , . AND MO+NI A T R E / + MO ) AN 1 / KAN T E + L C , AND ME BEFORNE I SAW A L I T E L WELLE AND ME BEFO+RN 1 / SA=+ A L I + T E L WE+L THAT HAD1 H I S COURSE (AS I GAN BEHOLOE) ) AT HA+D H I Z K U /+ R S C ( AZ 1 / GAN # 8 7 UNDER AN H I L L E WITH OUYKE STREMES COLDE, U+NDER AN H I + L WI< KWI+KC S T R E / + M > S K O +L D _, THE GRAVEL GOLD, THE WATER PURE AS GLAS, )> GRA+VEL GO+LD, ) > W | / + T E R P U / + R _ AZ G L A + S , THE BANKYS ROUND. THE WELLE ENVIRONYNG, )> BA+tfK>S R U / + N D , )> WE+LC E N V I + R | N I # G . AND S O F T E AS VELVET THE YONGE GRAS AND S | + F T C AZ VE+LVET )> J | +#G GRA+S THAT THERUPON LUSTELY CAM SPPYNGYNG, ) AT ) E + RUP | N LU + STEL I KAM SPR I t t GI +ff G • THE SUTE OF TREES ABOUT COMPASSYNG )> S U / + T C |V T R E / + S A B U /+ T K |+ M PA SIW G HER SHADOW C A S T , CLOSYNG THE WEL ROUNDE HER $A+DO* K A + S T , K L O + Z I # G )> WEL RU /+N D C AND AL THE ERBES GROUYNG ON THE GPOUNDE■ AND AL )> E / + RB>S G R O + + I 0 G |N ) > G R U /+N D C , THE WATER SO HOLSOM AND SO VERTUCUS )> W | / +TER SO H O + L S |M AND SO V E + P T U O *S THROUGH MYGHT OF ERBES GROUYNG B E S I D E : )RD+X M I / + X T |V E / + RB>S GRO^ + IWG B E S I / + D C : NAT LYCHE THE WELLE WHER AS N A R C ISU S NAT L I / + TSC ) > WE + LC HW ER AZ N A + R S I S U / S ISLAYN WAS THRO VENGEAUNCE OF C U P I D E , I S L A + + N WAZ ) RO VENDQA=+NTSC )V K U / P I / + D C , WHER SO COVERTLY HE DID HID E HWER SO K O +VERTLI H E / D ID H I / + D C THE GREYN OF DETH UPON ECH BRYNK )> GRE*+N |V D E / + ) U P | + N E / T * BRI+tfK THAT DETH MOT FOLOW, WHO THAT EVER DRYNK, ) AT D E / + ) MOT F | + L O * . HO ) AT E+VER D R I + # K , NE LYCHE THE P I T T E OF THE PEGACE NE L I / + T S C )> P I + T C |V ) > P E G | / + S C UNDER PARNASO WHER POETYS S L E P T , U+NDER PARNA+SO HWER P O E + T > S S L E + P T , NOR LYKE THE WELLE OF C H A S T IT E NOR L I / + KC )> WE+LC |V T S A + - S T I T E / WHICH AS DYANE WITH HER NYMPHES KEPT HWITS AZ D I / A + N C WI( HER N I+ M F > S KE+PT WHEN SHE NAKED INTO THE WATER L F P T , HWEN S E / N | / + K>D INTO+ )> W | / + T E R LE + P T , THAT SLOW ATTEON WITH H I S HOUNDES F E L L E ) AT S L O * + A T E / + | N WI( H I Z H U /+ N D > S F E+ LC OONLY FOR HE CAM1 SO NYGH THE WELLE, O+NLI FOR H E / KA+M SO N I / + X )> WE+LC, BUT T H I S WELLE THAT I HER REHERSE BUT ) I S WE+LC ) AT 1 / HER P E / H E + R S C SO HOLSOM WAS THAT HYT WOLDE ASWAGE S O H O + L S I M W A Z ) AT HIT WO+LDC A S W |/+ D Q C --------------- 295"! TEMPLE OF GLAS FOR THOUGHT, CONSTREINT AND GREVCUS HE VIN ES. FOR ) 0 * + X T . :<|NSTRE* + NT AND G R E / + V U / S H E + V IN E S , FOR P E N S I F H E D E • AND FOR HEIGH D I S T R E S , FOR P E + N S I F H E / + D C * AND FOR HE*+X D I S T R E + S , TO BED I WENT NOU T H I S OTHIR NYGHT TO BE + D 1 / WE+NT N U / + ) I S 0 + < I R N I / + X T WHAN THAT LUCINA WITH HIR PALE LIGHT HWAN ) AT L U / S I / + N A WI( HIR P j / . + LC L I / + X T WAS JOYNED LAST WITH PHEBUS IN AOUARIE * WAZ DQO=+N>D LA + ST W I( F E / + B U S IN AKWA+RI=, AMYD DECEMBPE, WHEN OF JANUARIE AMI+D DESE+MBR>, HWEN |V DQA+NU/A+RI= THER BE KALENDES OF THE NWE YERE, ) ER B E / KALE + ND>S |V )> NU/ + C J E / + R C , AND DERK D I A N E , I HORNED, NOTHING CLERE, AND DE+RK D I / A + N _ , IHO+RN>D, N O + J I 0 G KLE+R , HAD1 HI R BEMYS UNDIR A MYSTY CLOUDEJ HA + D HIR BE /+ M > S U+NDIR A M I + S T I KLU/+DCS WITHIN MY BED FOR SOPE I GAN ME SHROUDE, WI ( I + N MI BE + D FOR SO + R _ 1 / GAN ME $ R U / + D _ . AL DESOLATE FOR CONSTR EINT OF MY WO, AL D E + S O L j / T C FOR K |N S T R E * + N T |V MI WO + , THE LONG NYGHT WALOING TO AND F R C 1 , )> LO+0G M I / + X T W | / + L O I # G TO AND FRO+, T I L AT L A ST , EP I GAN TAKEN KEPE, T I L AT L A + S T . ER 1 / GAN T | / + K > N K E / + P C , ME DID O P P P E S S E A SODEIN DEDELI S L E P E , ME DID O P R E + S _ A SO+DF+N DE+DLI S L E / + P _ . WITHIN THE WHICH ME THOUGHT THAT I WAS W U I + N )> HWIT $ ME ICV + XT I AT 1 / WAZ RAVYSSHID IN S P I R I T IN A TEMPLE OF GLAS — R A + V I$ > D IN S P I + R I T IN A TE + MPL> |V GLA + S - I NYST HOW, FUL FER IN WILDIRNES — C 1 / N I S T H U / , FUL FE+R IN WI+LDIRNES - THAT FOUNDID WAS, AS BI L IK L Y N E S S E , ) AT FU /+ ND >D WAZ, AZ BI L I / + K L I N E + S C , NOT OPON S T E L E , BUT ON A CRAGGY ROCHE, NOT | + P | N S T E / + L _ , BUT |N A KRA+GI RO + T$ , L I K E 1SE IF MORE« AND AS I DID APPROCHE,"* L I / + K I / + S _ I F R O + R _ , AND AZ 1 / DID APRO+TS , AGAIN~THE SONNE.THAT SHONE, ME THOUGHT, SO CLERE AGA*+N )> SO+N._ ) AT $ 0 + N _ . ME ) 0 * + X T , SO KLE+R_ AS ENY C R I S T A L , AND EVER NERE AND NERE AZ E+N I K R I + S T L, AND E+VER N E / + R _ AND NE/+R AS I GAN NEIGH T H I S G R I S L I DREDFUL PLACE, AZ 1 / GAN NE*+X I I S G R I + Z L I DRE/+DFUL P L | / + S C . I WEX a s t o n y e d : THE LIGHT SO IN MY FACE 1 / WE+KS A S T | + N / > D J ) L I / + X T SC IN MI F | / + S _ BIGAN TO S MY T E , ~SO PE RS IN G EVER IN ONE BIGA + N TO SM I/ + T _ , SO PE + R S I # G E+V_R IN O + N ON EVERE P AR T, WHERE THAT I GAN GONE, |N E+V RC PA + RT , HWE + RC ) AT 1 / GAN GO+N , THAT I ~ N E MYGHT NOTHING, AS I WOULD. > AT 1 / NE M I / + XT .NO + ) I # G » AZ 1 / WO*LD, ABOUTEN ME CONSIDRF AND BIHOLD ABU/ + T >N ME K | NSI + DFJ> AND BIHO + LD THE WDNDRE H E S T R E S , FOR BRIGHTNES OF THE SONNE; )> W | + NDR> HE + S T R _ S , FOR B R I / + XTNES |V )> SO+N_J T I L AT LAST C E R T E IN SKYES DONNE, TIL AT LA+ST S E + P T E / N S K I / + > S DO+NC. WITH WIND ICHACED, HAVE HER COUPS I WENT WI( WI+ND I T S | / + S > D • HA+V_ HER K U/+ RS IWE+NT TOFORE THE STREMES OF T IT A N AND IBLENT TOFO+R_ )> S T R E / + M S |V T I / + T A N AND IBLE+NT SO THAT I MYGHT, WITHIN AND WITHOUTE. SO ) AT 1 / M I / + X T , W K I + N AND W I ( U / + T C t WHERESO I WA_K « BIHOLDEN ME ABCUTE, HWERSO+ 1 / W | / + L K * BIHO + LD>N ME ABU/ + TC, FORTO REPORT THE FASOUN AND MANFPE FORTO+ REPO+RT ) > F A + S U / N AND MANE+RC OF AL THIS P L A C E , THAT WAS C1FCULERE |V AL I I S P L | / + S C » ) A T WAZ S I + R K I * L E R C IN COMPASWISE * ROUND EE NTA ILF WROUGHT* IN K| + MPASWI/ + ZC. R U / + ND BENT A*+LC WRO++XT• AND WHEN THAT I HADE LONG GONE AND SOUGHT, AND HWEN ) AT / HA+DC LO+#G GO+NC AND SO *+ XT, I FOND A WIKET, AND E N T R ID IN AS FAST 1 / F | +-ND A WI + K_T , AND E +NTR>D IN AZ FA + ST INTO THE TEMPLE, AND MYN EIGHEN C A S T . INTO+ )> TE + M P L > . AND M I / N E*+X>N KA+ST ON EVERE S I D E , NOW LOWE AND EFT ALOFT* | N E+VER_ S I / + D C , N / + LO=+ AND EFT A L | + F T * AND RIGHT ANONF. A S ~ I GAN WALKEN S O F T , AND R I / + X T A N O+N _, AZ 1 / GAN W A + L O N S | + F T , IF I THE SOTH ARIGHT REPORT SHAL, IF 1 / )> SO+) A P I / + XT REPO + RT SAL, I SAUGHE DEPEYNT OPPN EVERF WAL, 1 / SA= + XC D E P E i + N T |+ -P| N E+V RC W | / + L , FROM EST TO WEST, FUL MANY A ~ FA IR E IMAGE FROM E / + S T TO WE+ST, FUL MA+N A F A * + R _ IMA+DQ OF SONDRI L O V ER S, L I C H AS T H E ! WERE OF AGE |V S l+ N D R I L O + V ' R Z , L I / K AZ ) E * WE+R_ |V | / + D Q _ I SETTE IN ORDRFT A F T I R THEI WF.RE TR WE, ISE+TC _N ti+RDR , A + F T I R ) E* WE+RC T R U / + _ , WITH L I F L I COLOURS WONDIR FRESSH OF HWE . Wl( L I / + F L I K | + L U / R Z W |+N DIR FRE + S |V H U / + C 0 AND, AS MR THOUGHT, I SAUGHE SOMME S I T AND STONDE, AND, AZ ME ) 0 * + X T , 1 / SA=+XC SO+MC S I + T AND ST|+NDC AND SOME KNELING WITH R I L L I S IN HIR HONDE, AND SO+MC K N E /+ L _t fG WI( B I + L > S IN HIR H | + N D _ . AND SOME WITH C O M P L E I N T , WOFUL AND P I T O U S , AND SO+MC WI( K | MPLE* + N T , WO + F _ L AND P I T U / + S , WITH DOLEFUL CHEPE TO PUTTEN TO VENUS, WI( DO+LFUL T S E / + R C TO PU+T>N TO V E / + N U / S , SO AS SHE SATE F L E T I N G IN THE S E , SO AZ $ E / S | / +TC F L E / + T I # G IN )> S E / + , UPON HIRE WO FORTO HAVE P I T E * UP |+N H I / + R _ WO+ FCRTO+ HA+VC P I T E / + * AND F I R S T OF AL I SAUGH THERE OF CARTAGE AND F I + R S T |V AL 1 / SA=+X )E + R |V KARTA + DQ_ DIDO THE QUFNE, SO GOODLI OF V I S A G E , D I / + D O )> K W E / + N _ , SO GO+DLI |V V I S | / + D Q _ , .THAT GAN COMPLEIN H I R ADVENTURE AND CAAS, ) AT GAN K| MPLE* + N .HIR A+DVENTU/ + R _ AND K | / + S , HOU SHE DECEYVFD WAS OF ENEAS, HU/ S E / DE SE <• + V>D WAZ |V E / + NEAS, FOR AS HIS H E S T I S AND H I S OTH IS SWORNE, FOR A7 HIZ HE + S T > S AND H I Z 0 + ) > S SWO + RNC, AND SA I D : ' A L A S , THAT EVER SHE WAS BORNE,* 298 AND SA*DALA+S, ) AT E+-VER S E / WAZ BO+RNC • WHAN THAT SHE SAUGH THAT DED SHE MOST BE. HWAN ) AT S E / SA = + X ) AT DE /+ D I E / MOST B E / . AND NEXT I SAUGH THE COMPLEINT OF MEDEE. AND NE+KST 1 / SA=+X ) > K|MPLE*+-NT |V MEDE/+-, HOU THAT SHE WAS FALSED OF JA SO N . C HU/ ) AT S E / WAZ FA+LS>D |V D Q A S |+ N . AND NYGH BI VENUS SAUGH I S I T ADDOUN, AND N I / + X BI V E / + N U / S SA= + X 1 / S I + T ADU/+N « AND AL THE MANER HOU THE BORE HIM SLOUGH. AND AL )> MA+NER HU/ )> BO + R HIM S L U / + X , FOR WHOM SHE WEPTE AND HADE P E I N INOUGHE. FOR HOM $ E / WE+PT_ AND HA+DC P E * + N INO*'+X • THERE SAUGH I ALSO HOU PENALOPE. ” ) E + RC SA=+X 1 / ALSO+ HU/ P E N A + L O P E / , . FOR SHE SO LONG HIR LORD NE MYGHT S E , FOR $ E / SO LO+0G HIR LO+RD NE M I / + X T S E / + , FUL OFT WEX OF COLOUR PALE AND GRENE. FUL | F T WE+KS |V K | + L U / R P | / + L C AND G R E /+ N C . AND ALDERNEXT WAS THE FRESSH QUEME? AND A+LDERNEKST WAZ )> F R E + S KWE/+NC, I MENE ALCESTE, THE NOBLE TRW WYFE, 1 / ME/ + N_ ALSE + S T _ » ) > NO+BL> T P U / + W I / + FC, AND FOR ADMETE HOU SHE LOST HIR L I F E , AND FOR ADME+TC HU/ S E / L | + S T HIR L I / + F C . AND FOR HIR TROUTH, I F I SHAL NOT L I E , AND FOR HIR T R O * + ) , IF 1 / SAL NOT L I / + C , HOU SHE WAS TUPNYD TO A D A I S I E . HU / S E / WAZ TU + RN>D TO A D A * + > Z I / + C . THERE WAS G P I S I L D I S INNOCENCE. ) E+RC WAZ G R I S I + L D I S I+NO S E+ NTSC , AND AL HIR MEKENES AND HIR PA CI ENCE . AND AL HIR ME/+K NES AND HIR P | / + S I / E + N T S _ . THERE WAS EKE ISAUDE AND MENI ANOTHIR MO — ) E + RC WAZ E/+ K ISA = + D_ - AND ME+N_ _ N O + ( I R M_ - AND AL THE TURMENT AND AL THE CRUEL WO, AND AL )> TU+RMENT AND AL )> K RU /+ _L WO+, THAT SHE HADE FOR TRISTRAM AL HIR L I V E . ) AT S E / HA + DC FOR TRI+S TPA M AL HIR L I / + V C . AND HOU THAT T E S B I E HER HERT DID R IF E AND H U / ) AT TE + Z B I / C HER HE+-RT DID R I / + FC WITH THILK SWEPD OF HIM PIRAMUSJ WI( ) I+-LK SWE + RD |V HIM P I + RAMU/SJ AND AL THE MANER HOU THAT THESEUS AND AL )> MA + NER HU/ ) AT I E / + S E / U / S THE MINATAWRE SLOW AMYD THE HOUS )> MI+NAT A = + RC SLO*+ AMI+D )> HU/ + S THAT WAS FOR-WRYNKLED BI CRAFT OF DEDALUS, ) AT WAZ FOR I+tfKL>D BI KRA+FT |V D E+D A LU /S , WHEN THAT HE WAS IN P R I S O N SHETTE IN CRETE. HWEN ) AT H E / WAZ IN P P I + Z | N S E + T _ IN K R E / + T _ . AND HOU THAT P H I L L I S FELT OF LOVES HETE AND H U / ) AT F I + L I S FE+LT )V LO+V>S H E/+ TC THE GRETE F I R E OF DEMCPHON, ALAS, )> GRE/+TC F I / + P |V D E + M | F | N . ALA+S, AND FOR H I S FALSHED AND H IS TREPAS AND FOR H I Z FA + LSHED AND HIZ TREPA+-S UPON THE WALLES DEPEINT MEN MYGHT SE UP | +N ) > W | / + L> S DEPE++NT ME + N M I / + XT S E / + HOU SHE WAS HONGED UPON A F I L B E R T TRE. H U / S E / WAZ H I + 0G>D UP +N F I+ L B E R T T R E /+ * AND MANI A S T O R I , MO THEN T REKIN C A N 1 . AND MA+N_ A S T D + R I . MO ) N 1 / RE+ KIN KA+Ni WERE IN THE T E M P I L , AND HOU THAT P A R I S WAN WE + R IN )> TE + MP L . AND H U / ) AT P A + R I S W | / + N THE F A I R E HELEYNE* THE LUSTI FRESSH QUENE, ) > F A * + R _ H E L E * + N _ . )> LU+STI FRE + S KWE/+NC# AND HDU ACHILLES WAS FOR POLICENE AND HU/ A K I + L I / Z WAZ FOR PO+ L.ISF/+NC I SLAIN UNWARLI WITHIN T P O IE TOUNEI I S L A * + N UNW|/ +RLI W I I I + N TRO=+C T U / + NC: AL T H IS SAWE I WALKYNGE UP AND DOUN, AL ) I S SA=+C 1 / WA+LKItfG UP AND DU/N„ THER SAW I WRITEN EKE THE HOLE T A L E * ) ER SA=+ 1 / W R I / + T > N E / + K _ )> HO+LC T | / + L , HOU PH ILOMENE INTO A NYGHTYNGALE H U / F I + L O M E / + N INTO+ A N I / + X T I # G | / + L _ ITURNED WAS# AND PROGNE UNTO A SWALOW; ITU+RN>D WAZ# AND PRO+GN_ UNTO+ A .SWA+L * ; AND HOU THE SABYNS IN HIR MANER HALOWE AND H U / )> SA +B IN Z IN HIR MA+NER HA+LO* THE F E S T OF LUCRESSE Y I T IN ROME TOUNE. )> F E + S T |V L U /K R E + S C J I T IN PO+MC TU/+NC* THERE SAUGH I ALSO THE SOROU OF PALAMOUN, ) E+R SA=+X _ / ALSO+ )> S | + R * |V PA+LAMU/N# THAT*~HE IN PR IS O N FELT# AND AL THE SMERT, ) AT H E / IN PR I + Z | N FE + L T , AND AL )> SME + RT, AND HOU THAT HE* THURUGH UNTO HIS HERT# C AND H U / > A T HE/# )R U /X UNTO+ HIZ H E + R T , WAS HURT UNWARLI THURUGH CASTING OF AN EYGHE WAZ HU+RT U N W | / + R L I )RU/X KA+STItfG |V AN EV+TSC OF F A I R E FRESSH# THE YUNG EM E L IE . |V FA*+RC F R E + S . )> JU+tfG E M E / + L I / C # AND AL THE S T R I F E BITWENE HIM AND H I S BROTHIR# AND AL >> S T R I / + F _ BITWE/+N C H_M AND HIZ BR O+( _R AND HOU THAT ONE FAUGHT EKE WITH THAT OTHIR AND H U / ) AT OtNC FA=+XT E / + K _ WI( ) AT 0 + ( R WITHIN THE GROVE, T I L THE I BI THESEUS W K I + N )> GRO+VC, T I L ) E * BI ) E / + S E / U / S ACORDID WERE, AS CHAUCER T E L L IT H US« AKO+RD>D WE+RC, AZ TSA= +SER T E + L > ) US# AND FOR THIRMORE, AS I GAN EIHOLD, AND FO + R( IRM'O + RC, AZ 1 / GAN BIHO+LD, I SAWGH HOU PHEBUS WITH AN AROW C'F GOLD 1 / SA= + X H U / F E / + BUS WI( AN A+P_* JV GO+LD IWOUNDID WAS, THURUGHOUTE IN H I S S I D E # IWU/ + NO>D WAZ, ) URXU/+TC IN HIZ S I / + DC, ONLI BI ENVIE OF THE GOD CUPIDE# O+NLI B_ E N V I / + C |V )> GO+D K U / P I / + D _ , AND HOU THAT DANE UNTO A LAUREP TRE AND H U / > AT D | / + N _ UNTO + A LA = + RER T R E / + I TURNED WAS, WHEN SHE DID FLE* ITU+RN>D WAZ, HWEN S E / DID F L E / + . AND HOU THAT JOVE GAN TO CHAUNGE H I S COPE AND HU/ ) AT DQC+VC GAN TO T$A=+NOQ_ HIZ KO+P_ OONLI FOR LOVE OF THE FAIRE EUROPE, O+NLI FOR LO+VC |V ) > F A* +R E=RO + P , AND IN T0 1 A BOLE, WHEN HE d T d HIR SUE# AND I + NT_ A BO-fLC# HWEN HE/ DID HIR S U / + , L I S T OF H I S GODHGDE H I S FOURME TO TRANSMWEJ ' LI + ST |V H I Z G0 + DH|D H I Z FO*+RMC TO TRANSMU/+CJ AND HOU THAT HE BI TR ANSMUTAC. I OUN AND H U / ) AT H E / BI T R A + N S M U / T | / + S I / U / THE SHAP GAN TAKE OF AMPHITRIOUN )> $ | / + P GAN T | / + K C , |V A M F I + T R I / U / N FOR H I S ALMEN, SO P A S S I N G OF BEAUTEJ FOR H I Z A+LMEN, SO PA+SIWG |V B E = + T E / J SO WAS HE HURT, FOP AL H I S D E I T E , SO WAZ H E / HU+RT, FOP AL HIZ D E / + I T E / , WITH LOVES DART, AND MYGHT IT NOT ASCAPE* WI( LO+V>S DA+R T, AND M I / + X T IT MOT A S K | / + P C * THERE SAUGH I ALSO HOU THAT MARS WAS TAKE JE + RC SA = + X 1 / ALSO+ HU/ ) AT MA+PZ WAZ T | / + K C OF VULCANUS, AND WITH VENUS FOUND, |V VU+LKA NU/S, AND WI( V E / + N U / S F U /+ N D , AND WITH THE CHEYNES I N V I S I B L E BOUND, AND W I( )> T $ E * + N > S I + N V I S I / BL> B U /+ N D • THER WAS ALSO AL THE P O E S I E ) ER WAZ ALSO + AL )> P O + E S I / + C OF HI M, MERCURIE, AND PHILCLOGYE, |V HIM, MERKI* + RI = , AND F ILO+L C.G I / + C . AND HOU THAT S H F , FOP HIR S A P IE N C E , AND H U / ) AT $ E / , FOR HIR S | / + P I / E + N T S C , IWEDDIT WAS TO GOD OF ELOQUENCE, IWE + D> D WAZ TO GO + D |V E+LOKWE + NTZC, AND HOU THE MUSIS LCWLI DID OBF.IE, AND HU/ ) > MI + + Z > Z L O * + L I DID O B E* + C , HIGH INTOl HEVEN T H I S LADI TD CONVEI, H I / + X T+NTO HE+V_N ) I S L | / + D I TO K | N V E * + , AND WITH HIR SONG HOU SHE WAS MAGNIFIED AND WI( HIR S | + # G HU/ $ E / WAZ M A + G N IF I / + > D WITH J U B I T E R TO BEIN ISTELl. I FI ED* WI( D Q U /+ B IT E R TO B F / + N I S T E + L I F I / + > D • AND UPPSRMORE D EPE IN T MEN MYGHT SE, AND U+PERMO+RC D EP E t +NT ME+N M I / + X T S E / + , HOU WITH HIR R I N G , GOCDLI CANACE C HU/ WI( HIR R I+ tfG , GO+DLI KA+NASE/ O F E V E R E FOULE THE LEDNE AND THE SONG |V E + V_RC F U / + L _ )> LE + DNC AND )> S | + f/G COUD UND IRSTO ND , AS SHE WELK HEM AMONG; KU/D U + NDIRST | + N D , AZ $ E / WE + LK HEM AM|+//G! AND HOU HIR BROTHIR SO OFT HOLPEN WAS AND H U / HIR B R O + ( IR SO | F T HO+LP>N WAZ IN HIS MYSCHEFE BI THE STEDE OF BRASo IN H I Z M I S T S E / + F C BI )> S T E / + D _ |V BRA+S. AND FORTHERMORE IN THE TEMPIL WERE AND FO+R(ERMD+PC IN >> TE+MPIL WE+RC FUL MANI A THOUSAND OF LOVERS, HERE AND THERE, FUL MA+N_ A ) U/+ZAND |V LO+V_RZ, HE+R AND )E+R IN SONDRI WISE REDI TO COMPLEIN IN S | + N D R I W I / + Z C RE+DI TO K|MPL E*+ N UNTO THE GODDES, OF HIR WO AND P E I N , UNTO+ )> GO + D> S , |V HIR WO+ AND PE* + N, HOU THEI WERE H IN DRE D, SOME FOR E N V I E , HU/ >E* WE + R_ H I + N D R > D , SO + MC FDR E N V I / + , AND HOU THE SERPENT OF FALS J E L O U S I E AND HU/ )> S E + P P E N T |V F | / + L S D Q E + L U / S I / + C FUL MANY A LOVER HATH IP U T OBAK FUL MA+NI L 0+ V >R HA) IPU+T OBA + K AND CAUSLES ON HEM I L A I D A LAKe AND KA=+SLES |N HEM I L A * + D A LA+K. AND SOME THER WERE THAT PLEYNED ON ABSENCE AND SO+M_ ) ER WE+R ) AT PL E *+ N > D |N ABSE+NTZ THAT WERIN EXILED AND PUT OUTE OF PRESENCE “ ) AT WE + R N E K S I / + L _ D AND PU+T U / + T _ |V PREZE+NTZ THURUGH WIKKID TUNGIS AND FALS SUSPECIOUN ) RU/X WI+K>D TU+#G> S AND F | / + LS S U S P E + S I / U / N WITHOUTE MERCY NOR RE MYSSYOUN* WICU /+T C ME+RSI NOR R E M I + S I / U / N o AND OTHER EKE HER S E R V I S E SPENT IN VAIN AND 0 + ( ER E / + K _ HER SE + P V I / S SPE+NT IN VA* + N THURUGH CRUEL DAUNGER AND ALSO BI D I S D A I N . )RU /X K R U / + E - DA=+NDQER AND ALSC+ £31 DISDA*+N« AND SOME ALSO THAT LOVED, SOTH TO S E I N , AND SC + M_ ALSO + ) AT LO+V > D, S 0 + ) TO S E / + N , AND SOME ALSO THAT LOVED. SOTH TO S E I N , AND SO+M_ ALSO + ) AT L O+V > D, S 0 + ) T O S E / + N , AND OTHIR EKE, THAT FOR POVERTE AND O+ C IR E / + K C , ) AT FDR P O + V E P T E / DURST IN NO WISE HIR GRFTE ADVERSITE DURST IN NO W I / + Z _ H I R G P E / + T _ A D V E + R S I T E / + DISCUPE NE OPEN LEST THAI WERE REFUSID* D I S K I * + R C N_ O + PEN LEST )A* WE + R R E F U / + Z D* AND SOME FOR WANTING ALSO WERIN ACCUSID., AND SO+M FOR W | / + N T I * G ALSO+ WE+R_N AK I*+ Z ) , AND OTHIR EKE THAT LOVED S E C R E L I ~ AND 0 + ( IR E/+K C ) AT LO+V>D S E / + K R E L I AND OF HER LADI DURST ASKE NO MERC I AND |V HER L | / + O I DURST A+SKC NO ME+RSI LEST THAT SHE WOULD OF HEM HAVE D E S P I T E . LEST ) AT S E / WO*LD |V HEM HA + VC DESP I / + T C * AND SOME ALSO THAT PUTTEN FUL GRETE WITE AND SO+M_ ALSO+ ) AT PU + T_N FUL GRE/ + TC. W I / + T _ ON DOUBLE LOVERS THAT LOVE T H I N G I S NWE, |N DU/ + f3L> L0+V> RZ ) AT LO + V_ )I+flG > S N U / + _ , THURGH WHOS FALSNES HINDRED BE THE TRWE* ) UR X HOS FA+LSNES HI+NDR>D B E / )> TR U/ + C* AND SOME THER WERE, AS IT IS OFT FOUND, AND SO + M_ ) ER WE + RC, AZ IT IZ | F T F U / + N D » THAT FOR HEP LAID MENY A BLODI WOUNDE ) AT FOR HER LA* + D ME + NI A BLO + DI WD* + NDC ENDURID HATH IN MANI REG 1OUN ENDU/+R>D HA) IN MA+NI R E / + D Q I / U / N WHILES THAT ANOTHER HATH POSC.ESSIOUN H W I / + L > S ) AT A N | + ( > R HA) P G S E + S I / U / N AL OF H I S LADI AND B E R IT H AWAI THE FRUYTE AL |V H I Z L | / + D_ AND BE + R _ ) AWA*+ )> F R U / + T OF H I S LABUR AND OF AL H I S SUYTE* ” |V HIZ L | / + B U / R AND |V AL HIZ S U / + T C . AND OTHER EKE COMPLEYNED ON RICHESS AND 0 + < E R E / + K K-| MPLE* +N>D |N R I T S E + SS HOU HE WITH TFESOUR DCTH1 H I S B E S I N E S HU/ H E / WI< T P E + Z U / R D 0 + ) HIZ B F + Z I N E S TO WYNNEN AL, AGAINES KYND AND RYGHT, TO W I+ N> N AL, AGA* + N>S K I / + ND AND R I / + XT, WHER TRW LOVERS HAVE NOON FORCE NE MYGHT, HWER T R U / + L0 +V> RZ HA+VC NON FO+RSC NE M I / + X T . AND SOME THFR WERE. AS MAYDENS YUNG OF AGE, AND SO + M_ ) ER WE + R , AZ MA*+DENZ JU + 0G |V | / + DQ , THAT PL EIN ED SORE WITH P E P I N G AND WITH RAGE “ ) AT PLE* +N >D SO + R Wl ( P E / + P I # G AND WI{ R | / + D Q THAT THE I WERE COCTPLED. AGAINES AL NATURE, “ ) AT ) E * WE + R_ KO*+PL D, AGA*+N>S AL N A T I + + R , WITH CROKED ELDE THAT MAI NOT LONG ENDURE WI( KRO+K>D E+LDC ) AT M_* NOT LO+#G E N D U / + R _ FORTO PERFOURMED THE LUST OF LOVES P L A I ! FORTO+ PE RFU /+ RM>D ) _ LU+S T |V LO+V>S P L A * + : FOR IT NE S I T NOT UNTO FRESSH MAY FOR IT NE S I + T NOT UNTO+ F R E + * MA* FORTO BE COUPLED TO OOLD J A N U A R I • FORTO+ B E / KO*+PL>D TC O+LD DQA+NWARI/ + # THEI BEN SO D IV E R S THAT THE I MOST V A R I E , )E* BEN SO D I / + V E P S ) AT )E< MOST V | / + R I / , FOR ELD I S GRUCCHING AND MALENCOLIOUS, FOR E + LD IZ G R U + T S I0 G AND M A + L E N K O + L I / U / S , AY FUL OF IRE AND S U S P E C I O U S , A* FUL |V I / + RC AND S U S P E + S I / U / S , AND IOUTH ENTENDETH TO JOY AND L U S T I N E S , AND J U / + ) ENTE+ND>) TO DQO= + AND L U + S T I N E S , TO MYRTH AND PLAI AND TO AL GLADNESo TO M I + R ) AND FL A* + AND TO AL GLADNE+So ALLAS THAT EVER THAT IT SHULD F A L , ALA + S ) AT E + VER ) AT IT $ULD F | / + L , SO SOUTE SUGRE ICOUPLED BE WITH GAL. SO SO* + TC $U+ GR_ IK O * + P L> D B E / WI< G | / + L . ......................... THESE YONG FOLK CRIDEN OFT S I T H E J E / + Z C J | + A G FO + LK K P I / + D > N | F T £ I + ) C . AND PR AI ED VENUS HIR POUER FORTO KITHE AND PR A * + >D V E / + N / S HIR P C * + _ R FORTO+ K I / + ( C UPON T H I S MYSCHEF~AND SHAPE REMED I E . U P | + N ) I S M I f S T S E F AND $ | / + P R E + M E D I / + _ . AND RIGHT ANON I HERD OTHIR C R IE AND R I / + X T AN |+ N 1 / HE+RD 0 + ( I R KR/+C WITH SOBBING TER I S AND WITH FUL PITOUS1 SOUNE. WI( S | +81 HG T E / + R_S AND Wl( FUL PI+ -TU/S S U / + N , TOFORE THE GODDES, BI LAMENTAC IOUN, TOFO+R_ )> GO+D> S, B_ L | / + M E N T A + S I / U / N , THAT C O N S E IL E S IN HIR TENDER YOUTHE ) AT K | N S E / + L>S IN HIR TE + NDER J U / + 1 C AND IN CHILDHODE ( A S IT I S OFT COUTHE) AND IN T$ILDHO + DC. ( AZ IT IZ | FT K U / + ) C YRENDRED WERE INTO RELIGTOUN IRE+NDR>D WE + RC INTC-+ R E L I + D O I / U / N OR THE I HADE YF.RIS OF D I S C R E S I G U N , OR )E * HA + DC J E / + R>S |V D I S K P E + S I / U / N , THAT AL HER u I F E CANNOT BUT COMPLEIN, ) AT AL HER L I / 4 F C KA + N | T BUT K |M P L E * + N , IN WIDE C O P I S PERFEC.C ION TO F E I NE : IN W I / + D K O+P>S P E R F E + K S I / U / N TO FE++N : FUL COVERTLI TO CUREN AL HIR SMERT “ FUL KO + VERTLI TO KU/ + R>N AL H I P SME + RT AND SHEW THE CONTRAR1E OUTWARD OF HER HERT. AND $E = Q ) > K | NTPA+R__ U / + T WAF.D |V HER HE+PTo THUS SAUGH I WFPEN MANY A F A IR E MAIDE, )US SA=+X 1 / WE/+P>N MA+N A FA*+R MAR+DC, THAT ON HIR F R E E N D I S AL THE WITE THE I L E I D E . ) AT |N HIR F R E / + N D > S AL )> W I / + T _ ) E* L E *+D , AND OTHER NEXT I SAUGH THERE IN GRET RAGE “ AND 0 + ( ER NE+KST 1 / SA=+X )E+RC IN G R E / + T R | / + D G C THAT THEI WERE MARI ED IN HER TENDIR AGE )AT ) 5 * WE + R MA + R I = D IN HER TE + NDIR | / + DQ WITHOUTE FREDOM OF EL E C C IG U N , W K U / + T C F R E / + D | M |V E L E + K S I / U / N , WHER LOVE HATH SELD DOMYNACI CUN, HWER LO+VC HA) SELD D | + M I N A + S I / U / N , FOR LOVE* AT LAARGE AND L I B E R T E . FOR LO + VC » AT L | / + P D Q C AND L I + B E R T E / * WOULD FRELI CHESE AND NOT WITH SUCH T R ETE . WO*LD F R E / + L I T S E / + Z C AND NOT Wl( SUTS T R E / + T C . AND OTHER SAUGH I FUL OFT WEPE AMD WRING AND 0 + ( ER SA=+X 1 / FUL | F T W E / + P _ AND WRI+0G THAT THEY IN MEN FOUNDE SWYCH VARIYNGE, ) AT )E * IN ME + N F U / + NDC SW IT S V | / + R I / 1+ WGC « TO LOVE A SEISOUN , WHILE THAT EEAUTE. FLOURETH, TO L0+ V_ A S E / + Z U / N « H W I / + L _ ) AT E E = + T E / F L U / + R ) AND BI D I S D E I N SO UNGOODLI LOURETH AND BI DISDE++N SO UNGO+DLI LO *+R >) ON HIR THAT WHILOM HE CALL IED H I S LADI D E R E , | N HIR ) AT H W I/+ L M H E / K | / + L =D H I Z L | / + D I DE/+R THAT WAS TO HIM SO PLESAUNT AND EN T E R S. ) AT WAZ TO HIM SO P LE + Z A = NT AND E N T E / + R C . BUT LUST WITH F A IR N E S IS SO OVERGONE BUT LU+ST WI< FA *+ R N E S IZ SO O+VERGO+NC THAT IN HER HERT TROUTH ABIDETH NONE• ) A T IN HER HE + RT T RO*+ ) A B I / + D>> NO+NC. AND SOM ALSO I SAUGH IN TER IS REYNE AND SOM ALSO+ 1 / SA = +X IN T E / + R > S RE*+NC AND P IT O U S L I ON GOD AND KYND PLEYNE. AND PI + T U /S L .I | N GO + D AND K I / + NO P L E * + N C . THAT EVER THE I WOULD ON ENY CREATURE ) AT E+VER )E * WO*LD _N E + N I K R E / + A T I * + R SO MYCH BEAUTE, PA SS IN G BI MESURE. SO M IT $ B E = + T E / , P A + S I # G B I M E S U /+ R C . SET ON A WOMAN, TO YEVE OCCASIGUN SE+T |N A WO+M N, TO J E + V _ O K A + S I / U / N A MAN TO LOVE TO H I S CONFUSIGUN: A MA+N TO LO+VC TO H I Z K | N F I * + S I / U / N : AND NA MEL I THERE WHERE HE SHAL HAVE NO GRACE. AND N | / + M _ L I ) E + R _ HWE+R_ H E / SAL HA+V_ NO G R | / + S FOR WITH A LOKE. FGRTHBI AS HE DOTH PACE. FOR WI( A LO+K . F O R ) B I / + AZ H E / DO) P | / + S _ , FUL OFT FALLETH, THURUGH CAST ING OF AN YGHE FUL | FT F | / + L > ) . ) RU /X KA + S T I # G |V AN I / + TSC A MAN IS WOUND ID THAT HE MOST NED I S DEYE A MA+N I Z WO*+ND>D ) AT H _ / MOST N E / + D > S DE++_ THAT NEVER E F T E R . PERAVENTURE, SHAL HIR S E . ) AT NE+VER E + F T _ R , P__RAVE + NT / R C , SAL HIR S E / + . WHI WIL GOD DON SO GRET A CRUELTE HWI/ WIL GO+D DO+N SO G R E / + T A K R U / + E L T E / TO ENY MAN OP TO H I S CREATURE TO E+NI MA+N OR TO H I Z K R E / + A T I * + R C TO MAKEN HIM SO MYCH WO ENDURE TO M | / + K > N HIM SO MI TS W0+ ENDU/+RC FOR HIR PURCAAS WHOM HE SHAL IN NO WISE FOR HIR P U P K | / + S HDM H E / SAL IN NO W I / + Z C R E J O I S E NEVER, BUT SO FORTH IN IE WIS E REDQO=+SC NE+VER, BUT SO F O + R ) IN J E W I / + Z C LEDIN H IS L I F E TIL THAT HE BE GRAVE? LE/+D>N HIZ L I / + F C T I L (AT H E / B E / G R | / + V C ? FOR HE NE DURST OF HIR NO MERC I CRAUE FOR H E / NE DURST |V HIR NO ME+RSI K R I / + V C AND EKE, PERAVENTURE, THOUGH HE DURST AND WOULD, AND E / + K _ , P R A V E + NT U /R _ . ) U / H E / DURST AND WO*LD, HE CAN NOT WIT WHERE HE HIR F I N D SHULD*- H E / KAN NOT Wl+T HWE+RC HE/ HIR F I / + N D $ULD. I SAUGH THERE EKE, AND THEPOF HAD1 I ROUTHE, 1 / SA=+X )E + R_ E / + K , AND ( E + R | V HA + D 1 / R U / + ) • I SAUGH THERE EKE, AND THEROF HAD1 I ROUTHE, 1 / SA=+X )E+R E / + K _ , AND ( E+R_V HA+D 1 / R U / + ) C , AND SOME ALSO FOR HER H A S T I N E S , AND SO+MC ALSO+ FOR HER H | / + S T I N E S , AND OTHER EKE FOR HIR RE K L E S N E S . AND 0+ ( ER F./ + KC FDR HIR RE + KLESNES. BUT ALDERLAST AS I WALK AND B IH E L D , B U T A + L D E R L A S T AZ 1 / W | / + LK AND B I H E + t- D , BES IDE PALLAS WITH HIR CRI STA L S H E L D , B E S I / + D C PA+LAS WI< HIR KRI+ ST AL S E / + L D , TOFORE. THE STATUE OF VENUS SET ON HEIGHT T O F 0 + R _ )> STA + T / |V V E / + N U / S SE+ T |N HE* + XT HOU THAT THER KNELID A LADI IN MY 'S IG H T H U / ) AT ) ER KN E/ + L>D _ L | / + DI IN MI S I / + XT TOFORE THE GODDES, WHICH RIGHT AS THE SONNE TOFO + RC )> G0+ D > S , HWIT$ R I / + XT AZ )> SO + NC PASSETH THE STERRES AND DOTH1 H I R STREMES DONNE? PA+SSE )> ST E+ R_ S AND D 0 + ) HIR S T R E / + M > S DO+N ? AND LUCIFER TO VOIDE THE NYGHTES SOROW AND L U / + S I F E R TO VO=+DC ) N I / + X T > S S | + R _ t IN CLERENES PASSETH ER LI BI THE MOROW? IN KLE+R_NES PA+SSE E + R LI BI )> MO+R_*? AND SD AS MAI 1 HATH THE SOVEREINTE AND SO \Z MA* + HA) )> S | + V R E « N T E / + OF EVERE MONETH OF FAIR NES AND B EA U TE ? |V E + VERC MO + N>> |V FA* +RNES AND BE= + T E / J AND AS THE ROSE IN SWETNES AND ODOURE AND AZ )> RD+Z_ IN SW E/ +T NE S AND O DU/+R _ SURMOUNTETH FLOURES AND BAWMF OF AL LICOUR SURMU/ + NT>> F L U / + R_S AND BA = +MC |V L LIK.U/+R HAVETH THE P R I S ? AND AS THE RUBIE BRIGHT HA +V >) )> P R I / + S ? AND AZ )> R U / + B I / B R I / + X T OF AL STONES IN BEAUTE AND IN SIGHT |V AL S T | + N > S IN B E = + T E / AND IN S I / + X T ( A S IT I S KNOW) HATH THE RE GAL IE? ( AZ IT IZ KWO* + HA) )> R E + G | / L I / + C ? RIGHT SO T H I S LADI WITH HIR GOODL.I E1GHE R I / + XT SO >IS L | / + DI WI ( HIR GO+DLI E*+XC AND WITH THE STREMES OF HIR LOKE SO BRIGHT AND WI( )> STR F / + M> S jV HIR L0+ K SO B R I / + X T ' SURMOUNTETH AL THURUGH BEAUTE IN~MY SIGHTE* SURMU/+NT>) AL )RU/ X RE = + T E / IN MI S I / + X T C . FORTO TEL HIR GRET SE MEL I N E S , FORTO+ TE + L HIR G R E / + T SE/+MEL I / N E S , H IR WDMANHED, HIR PORT, AND HIR F A I R N E S , HIR WO+MANHED, HIR P O + R T , AND HIR F A * + P N E S . IT WAS A MERVAILE HOU EVER THAT NATURE IT WAZ _ MERVA*4LC H _ / E+VER ) AT NAT I * + R COUDE IN HIR WERKIS MAKE A CREATURE K U /+ D _ IN HIR WE+RK>S M | / + K A K R E / + A T I * + R _ SO AUNGELLIKE, ' SO GOODLI ON~TO S E , SO A= + N D Q E L I/ + K , SO GO+DLI |N TO S E / + , SO FEMYNYN OR PASSING OF BEAUTE, SO FE + M IN IN OR PA+SItfG )V B E = + T E / » WHOS SONNYSSH HERE BRIGHTER THAN GOLD WERE. HOS S | + N I $ HE + RC B R I / + X T E R ) AN GO+LD WE+RC. L I C H PHEBUS BEMYS SHYNYNG IN H I S S P E R E . L I / K F E / + B U S BE /+ M>S $ I / + N I # G IN H I Z S P E / + R C » THE GOODLIHED EKE OF HIR F R E S S H L I F A C E . I> GO+DL_HED E /+ K C |V H IR FRE+ $ L I F | / + S _ . SO REPLENYSSHID OF BEAUTE AND OF GRACE. S R E P L E + N I$ > D |V B E = + T E / AND |V G R | / + S _ , SO WEL ENNUYD BI NATURE AND DEPEI NT SO WEL ENU/ + D BI NATI++ R AND DEPE * + NT THAT ROSE AND L I L E I S TOGEDIR WERE SO ME I NT. ) AT RO + ZC AND L I + L E I S TOGE+DIR WE+RC SO ME*+NT. SO EGALLI BI GOOD PRCPORCIOUN, SO E / + G A L I BI GO+D P R O P O + R S I / U / N , THAT. AS ME THOUGHT. IN MYN INSP ECCI OUN ) A T , AZ ME ) 0 * + X T , IN M I / N I N S P E + K S I / U / N I GAN MERVAILE HOU GOD OR WERK OF KYND 1 / GAN MERVA* + L_ HU/ GO+D OR WE+RK |V K I / + N D MIGHTEN OF BEAUTE SUCH A TRESOUR F,I ND M I / 4 X T > N |V B E = + T E / SUTS A T R E + Z U /R F I / + N D TO YEVEN HIR SO P A S S I N G EXCELLENCE. TO J E / + V > N HIR SO P A + 5 I 0 G E + K S E L E + N T S C . FOR IN GOOD F A I T H , THURUGH HIR HEIGH PRESENCE FOR IN GO+D FA* +) » )R U/X HIR HE*+X PREZE+NTZC THE TEMPIL WAS ENLUMYND ENVIROUN. )> TE+MPIL WAZ ENLU/+MIND E + N V IR U /N * AND FORTO SPEKE OF CONDICIOUN AND FORTO+ S P E / + KC |V K C N D I + S I / U / N SHE WAS THE BEST THAT MYGHT BEN ON LYVEJ S E / WAZ )> BE + ST ) AT M I / + XT BEN |N L I / + VC S FOR THER WAS NOON THAT WITH HIR MYGHT S T R I V E . FOR ) E R WAZ NON ) AT WI( HIR M I / + X T S T R I / + V C , TO SPEKE OF BOUNTE OR OF GENT I L L E S . TO S P E / + K C |V B U / + N T E / OP |V D Q E + N T I L E S , OF WOMANHED OR OF LOWLYNES, ................ |V WO+MANHED OR |V L O * + L I N E S , OF CUR T E SIE OR OF GOODLIHED» |V K U / + R T E / S I / + C OR |V GO+DLIHED, OF SPECH, OF C.HERE OR OF SEMLYHED, |V S P E / + T S , |V T S E / + R C OR |V S E / + M L I H E D . OF PORT BENYGNF. AND OF DAL IAUNCE |V PO+RT B E N I / + N C AND |V D A + L I / A = + N T Z C THE BEST TAUGHT, AND THERTO OF PLESAUNCE )> BE + ST TA = + XT, AND )E+RTO |V PLEZA= + NTZE SHE WAS THE WEL. AND EKE OF ONESTE $ E / WAZ )> WEL, AND F / + K C |V G + N E S T E / AN EXEMPLAR I E . AND MIRROUR EKE WAS SHE N EKSE + M P L A R I / . AND M I+ RU /R E / + K_ WAZ S E / OF SECRENES, OF TPOUTH, OF FAYTHFULNES. jV S E / + KRENE S « |V TRO* + ) , |V F A * + ) F U L N E S , AND TO AL OTHER LADI AND M A IS T R E S , AND TO AL 0 + ( ER L | / + DI AND MA* + S T R E S , TO SUE VERTU, WHOSO L I S T TO L E R E . TO S U / + C VERT I *•+, HO+SO L I + S T TO LE + RC. AND SO T H IS L A D I . BENIGNE AND HUMBLE OF CHERE. AND SO ) IS L | / + D _ , R E N I / + N _ AND U+MBL_ |V T S E / + R , KNELING I SAUGH AL CLAD IN GRENE AND WHITE ” K N E / + - I#G 1 / SA=+X AL KLA+D IN G R E / + N AND H W I /+ T TOFORE VENUS, GODDES OF AL D E L I T E , APPENDIX D COMPUTER PRINTOUTS FOR DUNBAR SAMPLE 306 T H E T H R I S S I L A N D - T H E R O I S NUMBER O F S Y L L A B L E S o « o » » e « e * . a . • • • « * « 1 5 4 1 NUMBER O F S T R E S S MAXIMA 9 * * o o o « « * * * • • • • • 3 B 7 P E R C E N T A G E O F S T R E S S MAXIMA ' * • • * « • »• •« •• 2 5 NUMBER O F L I N E S c c o e . a e o * * * * ? ! ) * * * * * * 1 5 0 P E R C E N T A G E O F S T R E S S MAXIMA L I N E S • « a • • • • o • • • 1 0 0 NUMBER O F L I N E S W I T H O U T S T R E S S MAXIMUM* • • • • * • • • 0 n u m b e r o f I a m b i c l i n e s . * • « « « • * • * • 131 PERCENTAGE OF IAMBIC L I N E S , • * • * • * * « * • • * • • 8 7 NUMBER.OF TROCHAIC L I N E S , a • • • « • • • • « • • • • • 0 PERCENTAGE OF TROCHAIC L l N E S e * a • • » o • • • • • • • 0 NUMBER OF IRREGULAR L I N E S « o e • • • a • « • • • • • • 0 PERCENTAGE OF IRREGULAR L I N E S s o • • • « • • » • • • • 0 NUMBER OF AMEIGUGUS LINES • •'•"• a • • • • • • • « • • 4 PERCENTAGE OF AMBIGUOUS L I N E S e a * c * * a * * * « * a 2 NUMBER OF ASSONATING SyL LABLESa « « « « « • « « • • * . « 9 1 6 PERCENTAGE OF ASSONATING SYLLABLES* « . « « * * • • * • 5 9 NUMBER OF ASSONATING L I N E S * co e* *a ** #* ** *« 1 4 5 PERCENTAGE OF ASSONATING L I N E S * * * V • * « • • « • • • 9 6 NUMBER D P ASSONATING PATTERNS oo9 >* *e *« * * * « 3C5 NUMBER OF ALLI TER ATING SYLLABLES* * * * * » •' • * * * * 2 2 3 307 PERCENTAGE OF ALLITERATING SYLLABLES* • • • • • • • • • 14 n u m b e r o f a l l i t e r a t i n g l i n e s * • • • • • • • • • • • • • 8 6 PERCENTAGE OF ALLITERATING L IN E S * • • * • • • • • • • • 57 NUMBER GF ALLITERATING PATTERNS * • * • • • • • • • • • 1 0 4 NUMBER OF L I N E S WITH COINCIDENT ASSON & A L L l T * * * * * 68 PERCNT OF L I N E S WITH COINCIDENT ASSON & ALLIT • • • • • 4 5 NUMBER OF SYLLABLES WITH COINCIDENT ASSON & ALLIT • • • 1 12 PERCNT OF SYLLABLES W IT h COINCIDENT ASSON & A L L I T • • • 7 NUMBER OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY* • • • 23 •PERCNT OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY* • • • • 15 AVERAGE COMPLEXITY. • • • • * * e * * * • • • « • • • • 2 NUM3HR OF AMETRICAL L I N E S • • • • • • • • • • • • • • • 19 PERCNT GF AMETRICAL L I N E S • • • • • • • • • • • • • • • 12 NUMBER OF L I N E S TO BE ELIDED* • • • • • • • • • • • • • 9 3 NUMBER OF L I N E S SHORTER T h &N S P E C I F I E D LENGTH • • • • • 2 a v e r a g e n u m b e r o f w o r d s p e r l i n e * * • • • « • • • • • • 7 6 3 3 NUMBER OF P O S S I B L E ASSIGNMENTS OF SYLLABLES TO P O S I T I O N S 2 9 6 SYLLABLE ADJUSTMENT RATIO • • • • • • • • ••••• • • 1 9 7 NUMBER OF ELICABLE ADJUSTMENTS* • • • * • • • • • • • • 2 3 9 NUMBER OF CATACLECTIC ADJUSTMENTS * • • • • • • • • • • 2 ( NUM3ER of OPTIONAL E * * * * * * * * * * * * * * * * * * 6 9 NUMBER OF OPTIONAL E AFTER E L I S I O N * * * • • • • • • • • 24 p e r c e n t a g e o f o p t i o n a l E * • • • • • • * • • • * • * • • 34 to o 309 THE T H R I S S I L AND THE R O I S NUMBER OF SENTENCES NUMBER OF WORDS NUMBER OF SYLLABLES AV SENT LENGTH IN WORD AV SENT LENGTH IN SY AV WORD LENGTH IN SY 17 1 129 1 61 0 66 .4118 94 .7059 I I ! 1 4 2 6 0 THE T H R I S S I L AND THE R O I S NUM OF 1 . 2 , 3 ETC.- SYL WORDS 756 3 0 9 69 9 2 0 0 0 0 0 0 0 THE T H R I S S I L AND THE R O I S NUM OF 1 , 2 , 3 ETC:, WORD SENTENCES 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 3 3 1 1 0 1 0 0 0 0 0 0 0 0 0 0 0 0 1 0 1 0 0 1 0 0 0 0 0 0 0 0 0 o 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 Q — I —I C O 000000000000000000000000000000000000000000000000000000000°00 O O O O O O P ©ooooo ooo ooooo ooooooooooooooooooooooooooooooooooo^ooo V) u <n z M H i o t - t t z Ui UJ t f ) U J O O O O O O O O O O O O O O O O O O O O O O O O O O O - O h O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O > o o o o o o o o o o « o o o N H r i H O P i o o o o o o o o o o o o o o o « o o o o o H O O o o o o o o - o o o o o o o o o o w z < ! • : • o _ l * - M c / > w n H » O ' w oooo oo oooo ooo oooooo ooo ooo oooo ooo oooooo ooo ooo ooooo ooo oooooo oo X • U J U _ x o t - s z L I N E " S T R E S S THE T H R I S S I L AND THE R O IS MAXIMUM VALUE: 1 2 2 SCALE l.M GRAPH IN PERCENTAGE OF TOTAL TOTAL 5 9 8 POS VALUE PERCENT 1 16 2 . 6 7 5 2 XX ' 2 .... 9 8 1 6 . 3 8 5 6 XXXXXXXXXXXXXXXX 3 13 2 . 1 7 3 6 XX A 113 1 6 , 8 9 3 6 XXXXXXXXXX-XXXXXXXX 5 1 1 1 , 8 3 9 2 X 6 110 1 8 , 3 9 2 0 XXXXXXXXXXXXXXXXXX 7 1 A 2 , 3AC8 XX 8 31 1 3 , 5A 3 2 X XXXXXXXXXXXX 9 1 6 2 , 6 7 5 2 XX 10 12 2 2 0 , 39 8 A XXXXXXXXXXXXXXXXXXXX 11 3 0 , 5 0 1 6 12 1 0 , 1 6 7 2 STRESS MAXIMUM THE T H R I S S I L AND THE ROIS MAXIMUM VALUE: 91 SCALE i : i GRAPH IN PERCENTAGE OF TOTAL ............... TOTAL.. 3 8 7 POS VALUE PERCENT ... 1 0 0 , OOOC 2 33 2 1 • A 3 89 3 3 0 , 7 7 A 9 A 85 2 1 , 9 5 5 5 5 2 0 , 5 1 6 6 6 91 2 3 , 5 0 5 3 7 8 2 , 06 6 A 8 7 5 1 9 , 3 7 2 5 9 12 3 , 0 9 9 6 10 27 6 , 97A1 11 1 0 , 2 5 8 3 12 0 0 , 0 0 0 0 X XXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXX XX XXXXXXXXXXXXXXXXXXX XXX XXXXXX ASSONANCE " THE T H R I S S I L AND THE ROI S ' MAXIMUM VALUE: 80 SCALE 1 : 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL. POS VALUE PERCENT 1 8 0 1 1 • 5 4 4 0 XXXXXXXXXXX "....2 7 1 1 0 . 2 4 5 3 x x x x x x x x x x 3 7 4 1 0 . 6 7 8 2 x x x x x x x x x x 4 6 8 9 . 8 1 2 4 x x x x x x x x x 5 6 6 9 . 5 2 3 8 x x x x x x x x x 6 6 7 9 . 6 6 8 1 x x x x x x x x x 7 4 8 6 . 9 2 6 4 x x x x x x 8 7 2 1 0 . 3 8 9 6 x x x x x x x x x x 9 6 5 9 . 3 7 9 5 x x x x x x x x x 10 7 6 1 0 . 9 6 6 8 x x x x x x x x x x 11 5 0 . 7 2 1 5 12 1 0 . 1 4 4 3 . • • ALLITERATION THE T H R I S S I L AND THE R C I S MAXIMUM VALUE: 35 SCALE i : i GRAPH IN PERCENTAGE OF TOTAL ...............TOTAL OS VALUE PERCENT 1 2 0 8. 9 6 6 C x x x x x x x x 2 2 0 8. 9 66 0 • x x x x x x x x 3 1 8 8 . 0 7 1 2 x x x x x x x x 4 3 3 1 4 . 7 9 7 2 x x x x x x x x x x x x x x 5 1 3 5 . 8 2 9 2 x x x x x 6 3 5 1 5 . 6 9 4 0 x x x x x x x x x x x x x x x 7 1 3 5 . 6 2 9 2 x x x x x 8 2 9 1 3. 0 0 3 6 x x x x x x x x x x x x x 9 1 5 6 . 7 2 6 0 x x x x x x 10 2 7 1 2 . 1 0 6 5 x x x x x x x x x x x x 11 0 0 . OOCO 12 0 O.COCO 6 9 3 2 2 3 THE T H R I S S I L AND THE R O I S ' COINCIDENCE OF ASSONANCE AND ALLITERATION MAXIMUM VALUE: 18 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1 1 2 POS VALUE PERCENT 1 9 8* C 3 5 2 XXXXXXXX 2 13 1 1 • 6 0 6 4 x x x x x x x x x x x 3 1 1 9 . 8 2 C 8 x x x x x x x x x 4 1 4 1 2 . 4 9 9 2 x x x x x x x x x x x x 5 5 4 . 4 6 4 C x x x x 6 1 8 1 6 . C7C4 XXXXXXXXXXXXXXXX 7 8 7 . 1 4 2 4 XXXXXXX 8 1 3 1 1 • 6 0 6 4 XXXXXXXXXXX 9 6 5 . 3 5 6 8 x x x x x 10 15 1 3 . 3 9 2 G x x x x x x x x x x x x x 11 0 Oo OCOC 12 0 0 . OOOC PUNCTUATION THE T H R I S S I L AND THE R O IS MAXIMUM VALUE: 9 9 SCALE 1 : 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 2 8 2 POS VALUE PERCENT 1 9 3 o 1 9 1 4 XXX j 2 14 4 . 9 6 4 4 XXXX ' 3 1 1 3 . 9 0 0 6 XXX j 4 2 6 9 . 2 1 9 6 XXXXXXX XX ! 5 3 9 1 3 . 8 2 9 4 XXXXXXX x x x x x x 6 21 7 * 4 4 6 6 XXXXXXX 7 1 4 4 . 9 6 4 4 x x x x 8 7 2 . 4 8 2 2 XX i 9 5 1 . 7 7 3 0 X ! 10 9 9 3 5 . 1 C54 XXXXXXX XXXXXXXxXXXXXXXXXXXXXXXXxxxx 11 3 5 1 2 . 4 1 1 C XXXXXXX x x x x x 12 2 0 . 7 0 9 2 ! T O T A L S F O R E N T I R E S A M P L E N UMBEP O F P O E M S . . . a . * * , * . * A NUMBER O F S Y L L A B L E S o o o o . o ' * • • * . * o oo 0 o o 5 1 5 3 NUMBER G F S T R E S S MAXIMA . . . o . o , 1 3 2 5 P E R C E N T A G E GF S T R E S S MAXIMA o e e c o o o o o o o o o o 2 5 NUMBER O F L I N E S . o o . o . 0 . . o . o . . o . . o . o 5 C 0 p e r c e n t a g e o f s t r e s s m a x i m a l i n e s . . ooo o * * * * * i c o NUMBER O F L I N E S W I T H O U T S T R E S S MAXIMUM* o * * o * « * o 0 NUMBER O F I A M B I C L I N E S9 o e o o o o o oo oo oo oo o 4 4 1 P E R C E N T A G E O F I A M B I C L I N E S , . . o o o . . . . . . . . . 8 8 NUMBER O F T R O C H A I C L I N E S , Q , o o o o o o o • • • * • • 0 P E R C E N T A G E OF T R O C H A I C L I N E S * * • • , , , * 0 NUMBER O F I R R E G U L A R L I N E S e.o oo . * 0 0 0 p e r c e n t a g e o f I r r e g u l a r l i n e s . o * . 0 0 * * 0 0 * 0 * 0 NUMBER O F A M B I G U O U S L I N E S . o o . * . •• •* • o • • * 7 P E R C E N T A G E O F A M B I G U O U S L I N E S * * . * * . * ’ . * * * . * 1 NUMBER OF L R L I N E S * o . o o o o . *' * • * * * * * * * * 6 NUMBER O F A S S O N A T I N G S Y L L A B L E S . . , . • • * • . • * * . 3 1 3 8 P E R C E N T A G E O F A S S O N A T I N G S Y L L A B L E S . . o ** *.. .* • 6 0 NUMBER O F A S S O N A T I N G L I N E S . * * . * . . . . * . • • • • 4 8 3 P E R C E N T A G E O F A S S O N A T I N G L I N E S . • . . . « • • • • • • • 9 6 NUMBER O F A S S O N A T I N G P A T T E R N S o o . o o . 9 9 5 NUMBER O F A L L I T E R A T I N G S Y L L A B L E S , o • . . 8 C 6 314 P E R C E N T A G E O F A L L I T E R A T I N G S Y L L A B L E S . . e • • • • o • . 1 5 N U M B E R 0 “ A L L I T E R A T I N G L I N E S . • • • • • • • • • * • « • 3 0 0 P E R C E N T A G E O F A L L I T E R A T I N G L I N E S . » • • • . • • . . « . 6 0 N U M B E R GF A L L I T E R A T I N G P A T T E R N S . • • • • • • • • • • • 3 6 8 N U M B E R O F L I N E S W I T H C O I N C I D E N T A S S O N & A L L l T • • • • • 2 4 5 P E R C N T C F L I N E S W I T H C O I N C I D E N T A S S O N & A L L I T . • • . . 4 9 N U M B E R O F S Y L L A B L E S W I T H C O I N C I D E N T A S S O N & A L L I T . . . 4 l 6 P E R C N T O F S Y L L A B L E S W I T H C O I N C I D E N T A S S C N & A L L I T . . . 8 N U M B E R O F L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y . • • • . 6 8 P E R C N T C F L I N E S E X C E E D I N G S P E C I F I E D C O M P L E X I T Y . . . . . 1 3 2 5 A V E R A G E C O M P L E X I T Y . • • . . . . < > • • • ........................................... 2 C 0 N U M B E R O F A M E T R I C A L L I N E S « . . . . » . « . . • • • • • 5 9 P E R C N T O F A M E T R I C A L L I N E S 11 N U M B E R OF L I N E S T O BE E l I C E D . • • • • • • • • • • • • • 3 6 7 N U M B E R 0 ^ L I N E S S H O R T E R T H A N S P E C I F I E D L E N G T H • • • • • 3 a v e r a g e n u m b e r of w o r d s p e r l i n e . • • • • • . . . . • • 7 5 8 1 N U M B E R OF P O S S I B L E A S S I G N M E N T S O F S Y L L A B L E S T O P O S I T I O N S 1 4 7 4 S Y L L A B L E A D J U S T M E N T R A T I O • • • • . • • • • • • • • • • 2 9 4 N U M B E R O F E L I D A B L E A D J U S T M E N T S . 1 3 4 1 N U M B E R C F C A T A C L E C T I C A D J U S T M E N T S • • • • • • • • • • • 3 NUMBER. C F O P T I O N A L E . . . . . . . . . a . . . . . . . . 3 9 4 N U M B E R O F O P T I O N A L E A F T E R E L I S I O N . . . • • • • • « • • 1 3 7 P E R C E N T A G E O F O P T I O N A L E . 2 7 315 TOTALS FOR ENTIRE SAMPLE NUMBER OF SENTENCES 84 NUMBER OF WORDS 3791 NUMBER OF SYLLABLES 4565 44 65 AV SENT LENGTH IN WORD - AV SENT LENGTH IN S Y ........... 54.34 AV WORD LENGTH IN SY 1.23 TOTALS FOR E N T IR E SAMPLE NUM.OF 1 , 2 , 3 ETC- SYL WORDS 2309 42 0 1125 7 0 2.69 0 0 o o o 317 LINE STRE SS TOTALS FCR E N T I R E SAMPLE MAXIMUM VALUE: 3 9 7 SCALE 151 GRAPH IN PERCENTAGE OF T O T A L...................TOTAL 1 9 8 2 POS VALUE PERCENT 1 6 1 3* C7 44 XXX .................. 2 ' 3 2 7 1 6 . 4 8C 8 XXXXXXXXXXXXXXXX 3 31 1 * 5 6 2 4 X 4 3 7 7 19* C OOS XXXXXXXXXXXXXXXXXXX 5 4 0 2 . 0 1 6 0 XX 6 3 5 7 1 7 . 9 9 2 6 XXXXXXXXXXXXXXXXX 7 4 5 2* 2 6 6 0 XX 8 2 8 5 1 4 , 3 6 4 0 x x x x x x x x x x / x x x 9 4 5 2 . 2 6 8 0 XX 10 3 9 7 2 0 . 0C8.8 XXXXXXXXXXXXXXXXXXXX 11 1 4 Oo 7 0 5 6 12 3 0 , 1 5 1 2 13 0 0 . CCOO ..................-.................................................. STRESS MAXIMUM TOTALS FOP ENTIRE SAMPLE MAXIMUM VALUE: 3 0 5 SCALE 111 GRAPH IN PERCENTAGE OF T O T A L TOTAL 1 3 2 5 POS VALUE •PERCENT 1 0 0 . OOCO 2 2 8 3 2 1 . 3 3 8 2 XXXXXXXXXXXXXXXXXXXXX 3 9 0 . 6 7 8 6 4 2 7 5 2 0 . 7 3SC XXXXXXXXXXXXXXXXXXXX 5 1 3 C . 9 8 C 2 6 3 0 5 2 2 . 9 9 7 0 XXXXXXXXXXXXXXXXXXXXXX 7 2 9 2 . 1 8 6 6 XX 8 27 1 2 0 . 4 3 3 4 XXXXXXXXXXXXXXXXXXXX 9 3 4 2 . 5 6 3 6 XX 10 9 5 7 . 1 6 3 0 XXXXXXX 11 1 0 0 . 754C 12 1 0 . 0 7 5 4 13 0 Oo OOOC 318 ASSONANCE TOTALS FOR E N TIR E SAMPLE MAXIMUM VALUE! 2 7 0 SCALE 111 GRAPH IN PERCENTAGE OF. TOTAL................. TOTAL. 2 3 3 2 . POS VALUE PERCENT 1 2 7 0 11 • 5 5 6 0 X X X X X X X X X X X 2 2 4 4 1 0 * 4 4 3 2 x x x x x x x x x x 3 2 1 7 9 * 2 8 7 6 x x x x x x x x x 4 2 3 5 1 0 . 0 5 8 0 x x x x x x x x x x 5 2 1 2 9* 0 7 3 6 x x x x x x x x x 6 2 0 6 8 * 8 1 6 8 x x x x x x x x 7 1 9 0 8 . 132C x x x x x x x x 8 2 3 7 1 0 . 1 4 3 6 x x x x x x x x x x . 9 2 4 3 1 0« 4 0 C 4 x x x x x x x x x x 10 2 5 0 1 0 . 7 0 0 0 x x x x x x x x x x 11 2 2 0* 9 4 1 6 12 6 0 * 2 5 6 8 13 0 0 . 0 0 0 0 . _ ALLITERATION TOTALS FOR E N TIR E SAMPLE (DUNBAR) MAXIMUM VALUE: 118 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL 8 0 6 OS VALUE PERCENT 1 7 8 9* 6 7 2 0 x x x x x x x x x 2 10 2 ■ 12* 6 4 8 0 x x x x x x x x x x x x 3 4 5 5* 5 8 0 0 x x x x x 4 11 8 14* 6 3 2 0 x x x x x x x x x x x x x x 5 5 0 5 . 2 0 C 0 x x x x x x 6 1 1 8 1 4 . 6 3 2 0 x x x x x x x x x x x x x x 7 4 4 5 . 4 5 6 0 x x x x x 8 1 0 5 1 3 . C 2 0 0 x x x x x x x x x x x x x 9 51 6 . 3 2 4 0 x x x x x x 10 9 4 1 1 • 6 5 6 C x x x x x x x x x x x 11 1 0 . 1 2 4 0 12 0 C . 0 0 C C 13 0 Oe COOC 319 TOTALS FCR ENTIRE SAMPLE CO IN CID EN CE OF ASSONANCE AND ALLITERATION MAXIMUM VALUES 6 4 SCALE 15 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL ..... 4 16 POS VALUE PERCENT 1 3 4 B• 1 7 0 2 XXXXXXXX 2 6 4 1 5 . 3 7 9 2 x x x x x x x x x x x x x x x 3 2 9 6 . 9 6 8 7 x x x x x x 4 5 0 1 2 * 0 1 5 0 x x x x x x x x x x x x 5 2 8 6* 7 2 8 4 x x x x x x 6 5 3 1 2 . 7 3 5 9 x x x x x x x x x x x x 7 2 5 6 * 0 0 7 5 x x x x x x 8 5 2 1 2 * 4 9 5 6 x x x x x x x x x x x x 9 2 7 6 * 4 e e i x x x x x x ~ 10 ; 54 1 2o 9 7 6 2 x x x x x x x x x x x x 11 0 O.OOOC 12 0 O.OOCO 13 0 O.OOCO . ........ . . . ______ _______ - - ............- ______ _ PUNCTUATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 326 SCALE: 1:1 TOTAL 905 GRAPH IN PERCENTAGE OF TOTAL POS VALUE PERCENT 1 14 1.5448 X 2 32 3.5358 XXX 3 36 3.8674 XXX S 4 103 11.3701 XXXXXXXXXXX 5 128 13.0386 XXXXXXXXXXXXX. I 6 61 6.7403 •XXXXXX ! 7 42 4.6408 xxxx 8 22 2.4369 XX j 0 12 1.3149 X . I 10 326 36.022.1 XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 11 117 12.9292 XXXXXXXXXXXX 12 11 1.2154 X 13 1 . 1104 THE GOLDYN TARGE RYGHT AS THE STERN OF DAY BEGOUTH TD SCHYNE, RI / XT AS (E S T E / + FN |V DA* + E E G U / + ) TD S I / + N C , QUHEN GONE TD BFD WAP VESPER AND LUCYNE, HWEN GO+N_ TO BE+D WAR V E+ SP EP AND L U / S I / + N _ , I R A I S E AND SY A FOSEFE DID ME REST; 1 / R A *+ Z _ AND P I A RO+ZEP DID ME/ RE+ST? UP SPRANG THE GOLDYN CANDILL MATUTYNE. UP SPRA+tfG (E GO +LD >N KA + NDIL MA+ T U / T I / N * WITH CLERE DEPURIT BEMES CRISTALLYNE* WI ) K L E / + R_ D E / P U / + R > T E E / + M>S KRI + S T A L I / + N * GLADING THE MERY FOUL IS IN THAIR NEST; GLA + D I # G (E ME + RI F U / + L > S IN )A*P NE + STI OR PHEBUS WAS IN PURPUP CAPE REVEST OR F E / + 3 U / S WAZ IN PU+P.PUR K | / + P_ REVE + ST UP R A I S E THE LARK, THE HEVYNS MENSTRALE FYNE OP RA*+Z ( E L | / + P K » ( _ HE+V INZ MENSTPA+LC F I / + N _ IN MAY, I N T I L L A MORCW MYRTHFULLESTo IN MA*, IN TIL A MQ + F-'O* M I + R ) F U L > S T . FULL ANGELLIKE THIR B I R D I S SANG THAIP HOUPIS FUL | / + NDQE L 1 / K ) I R BI + RD>S SA + tfG ) A + R U / + R > S WITHIN THAIR COURTYNS GRENE, IN TO THAIP EOURIS W I ( I + N ) A*R < 0 * + P T I N Z G R E /+ N , IN TO >A*R B U / + R _ S APPARALIT QUHITE AND RED WYTH ELOMES SUETE*, APA + R L I T HWI/ + T_ AND RE+D WI ) BLO + M>S SWE/ + T _ ; ANAMALIT WAS THE FELDE WYTH ALL C O L O U R IS , ■ ANA+M_LIT WAZ (E F E / + L D _ WI) | / L K | L U / + R _ S , THE DERLY D R O P P I S SCHAKE IN S I L V I R SC HOURIS, (E PE + RLI DP | + P > S ? | / + K_ IN S I + L V I R 3.U/+R S , OUHILL ALL IN BALME DID BRANCH AND L E V I S FL ETE ; HWIL j / L IN B ] / + L M _ DID BRA+NT* AND L E / + V > S F L E / + T TO PART FRA- PHEBUS DID AURORA GPETE, TO P | / + RT FRA F E / + B U / S DID A = RO + PA G R E / + T C , ' H I R CRIST ALL TER IS I SAW HYNG ON THE F L O U R I S , HIR KRI+S TAL T E / + R _ S 1 / SA- + HI+WG |N ( E - F L U / + R _ S , QUHILK HE FOR LUFE ALL DRANK UP WYTH H I S HETE. HWILK H E / FDR L U / + F _ | / L DPA+#K UP WI) H I Z H E / + T _ . FOR MIRTH OF MAY1, WYTH S K I P P I S AND WYTH H O P P I S , FOR MI+R) |V MA*+, WI) SKI+P>S- AND WI) H | + P > S , THE B I R D I S SANG UPON THE TENCEft C R O P P I S , (E B I + R D> S SA + ftrG U P | + N (E TE + NDER K R | + P > S , WITH CU RI DUSE NOTE, AS VENUS CHAPELL C L E R K I S : W I ) K U / + R J U / S NO +T _, AS VE/+ NUS TSA +PEL K L E + R K _ S : THE R O S I S YCNG, NEW SP RED ING OF THAIR K N O P IS , (E RO+Z>Z j | + W G , NE=+ S P P E + D I A G IV )A+P K N | + p > S , THE R O S I S YONG, NEW SP R ED IN G OF THAIR K N C P I S , (E RO + Z > Z J | + # G * NE=+ SP R E + DIWG IV )A*R K N | + P S , THROU 9EMES REDE BIRNYNG AS PUEY S P E R K I S ; ) R U / B E / + M>S R E / + D B I + R N I 0 G AS P U / + 3 I SPE + RK SJ THE SKYES RANG FOP~SCHOUTYNG OF THE L A R K I S , “ (E SKI / + >S RA + WG FOR S U /+ T IW G |V (E L . | / + R K > S , THE PURPUR HEVYN, OUR S C A I L I T IN S I L V I R S L O P P I S , (E PU + RPUR HE + V _ N , G*R SK A *+ L_ T IN S I + L V I R S L | + P S OURGILT THE T R E I S , E R A N C H I S , L E F , AND B A R K I S . . 0 * R G I + L T ( E T R E / + S , B P A + N T S > S , L E / + F , AND BA + RK>S* DOUNE THROU THE RYCE A RYVIR RAN WYTH STREMYS, D U /+ N _ ) RU/ (E R I / + S C _ R I + V I R RA+N WI) S T R E / + M _ S , SO LU STILY AGAYN THAI LYKAND LEMYS, SO L U + S T I L I AGA*+N ) A* L I / + K A N D L E / + M > S , THAT ALL THE LAKE AS LAMP DID LEME OF L I C H T , 321 ) AT / L (E L 1 / + K AS LA + MP DID LE / + M IV L I / + X T , QUHIL< SCHADJWIT*”ALL A 3 OUT WYTH TWYNKLING GLEMIS? HWILK $A+DO*>T / L A 3 U / + T Wl) TWI+WKLIf'G G L E /+ M _ S J THAT BE WIS BATh T t WAR IN SBCUN'D BEMYS ) AT BE= +>S B | / + ( >T WAR IN SE + KUND B E / + M>S THROU THE REFLEX CF PHEBUS VISAGE BRYCHT*, >RU/ (E REFLE+KS |V F E / + 3 U / 5 VI+SADQ B R I / + X T I ON FVERY SYDE THE H E G I E S R A I S E ON H I C H T , |N E + VRI S I / + D C ( _ HE + D QI= S RA* + Z |N H I / + X T , THE BANK WAS GRENE, THE BRUKE WAS"FULL OF 3REMYS * ( E BA+WK WAZ G R E / + N _ , (E B P U/ + KC WAZ f _ l |V 3 R E / + M _ S , THE STANNERIS CLERE AS STERN IN FROSTY NYCHT. (E ST A +N_ R>S K L E / + R_ AS S T E / + R N IN F R | + S T I N I / + X T * THE CR IS T A L L A I R , THE SAPHER FIRMAMENT, (E K RI+STA L A* + R , (E SA+FER F I +RM AMENT • THE RUBY SKYES OF THE OR I E N T 1 , (E R U / + B I S K I / + > S |V (E O + R I / E M T , KEST BERI ALL BEMES ON EMERANT 3EWIS GRENE*. KE+ST BE+RJAL B E / + M _ S |N E + M _ R | / N T 3 E = + > S G R E / + N _ ; THE ROSY GARTH DEPAYNT AND REDOLENT, ( E RO + Z I GA + P) D E / P A*+NT AND RE + C CLF.NT • WITH PUR PUP , AZURE, GOLD, AND GOULIS GENT W I ) PU+RPUR, A + Z U / R , GO+LD, AND G U / + L > S GE+NT ARAYED WAS, BY DAME FLORA THE QUENE, APA*+>D WAZ, BI D | / + M C FLO + R_ ( E KWE/+N ’ , SO NOBILY, THAT JOY WAS FOR TO SENEI SO N C + B I L I , ) AT DOO=+ WAZ FOR TO S E / + N C I THE RQCH AGAYN THE R I V I R RESPLENDENT (E R j + K AGA*+N (E R I+ V I R RE+SPLENDENT AS LOW ENLUMYNIT ALL THE LEVES SCHENE. AS LD* +• ENLU/+M_N>T | / L (E L E / + V > S S E / + N _ « QUHAT THROU THE MERY FOULYS ARMONY, HWAT ) R U / (E ME+RI F U / + L > S A+RMON1, AND THROU THE RYVERIS SOUNE RYCHT RAN ME BY, AND ) R U / (E R I+ VEPZ S U /+ N C R I / X T RA+N ME/ B I , : ON FLORA IS MANTILL I S L E P I T AS I LAY, | N FLO+- RA*S MA+NT_L 1 / S L E / + P > T AS 1 / LA* + , i QUHARE SONE IN TO MY DREMES FANTASY HWAR SO+NC IN TO M I / DRE /+M>S FA+NTASI I SAW APPPOCH, AGAYN THE ORIENT SKY, 1 / SA=+ APRC+ TS, AGA*+N ( E O+RJE NT S K I / + , A S A I L L , ALS QUHITE AS BLCSSUM UPON SPRAY, A S A * + L , ALS H W I / + T _ AS 8 L | + S U M UP.I+N SPRAV + , WYTH M.ERSE OF GOLD, BRYCHT AS THE STERN OF DAY, WI) ME+RS |V GO+LD, B R I / + X T AS (E S T E / + R N |V DA*+, QUHILK TENDIT TO THE LAND FULL L U S T I L Y , i HWILK TE+NO> T TO (E LA + ND FUL L U + S T I L I , AS FALCOUNE SWIFT DESYROUSE OF HIR PRAY, AS FA+LKU/N SWI+FT D E Z I / + R U / S |V HIR P R A * + , | AND HARD ON BURD UNTO THE BLCMYT MED I S , AND HA + RD |N BU + RD U.NTO+ ( E BLO+M>T M E / + D > S , ! AMANG THE GRENE P . I S P I S AND THE P E D I S , i AMA+#G (E GP E /+ N C P I + S ° > S AND ( E R E+D >S , ARP I V I T SCHE, QUHAR FPO ANONE THARE LANDIS ! ARI /+V > T $ E / , HWAR FPO -ANO + NC ) R_ LA + ND_S ANE HUNDPETH LADYES, LUSTY IN TO WEDIS, - .. : AN_ HU+NDRE) L | / + D I = S , L U+ S TI IN TO W £ / + D _ S , I ALS FRESCH AS F L O U P I S THAT IN MAY UP S P R E D I S , | ALS FRE+S AS F L U / + R > S ) AT IN MA* UP S P R E + D > S . ! IN KIR T I L L I S GRENE, WITHCUTYN KELL OF BANDISt 1 322 IN KI4-RTIL GRF/4-N , WI(U/4-T>N KE4-L |V BA+ND S: THAIR BRYCHT HAIRTS HANG GLETERING ON THE STRANDIS )A*R PRI/+XT HA*4-R>S HA+tfG GLE+TFI«G |N (E STRA+NO>5 IN TRESSIS CLERE, WY°PIT WYTH GQLDYN THREDIS; IN TRE4- S>S KLE/ + R , WI + P>T WI ) G04-LD>N )RE+D_S: WITH P A P P I S QUHITE, AND MYDLIS SMALL AS WANDIS* WI ) PA 4- P> S HWI/ + T_, AND MI+DL>S SM,|/4-L AS WA+ND_S. DISCRIVE I WALD, POT QUHO COUD WELE ENDYTE DISKR/4-VC 1/ Wj/4-LD, 5|T HWO KU/D W LE ENDI/+T_ HOW ALL THE FELDIS WYTH THAI LILIES“QUHITE HU/ |/L (E FE/4-LD>S WI) >A* LI+LJ>S HWI/+TC DEPAYNT WAR BRYCHT, OUHILK TG THE HEYYN DID GLETEJ DE/PA*+NT WAR BRI/4-XT, HWILK TO (E HE+VIN DID GLE/4-TC: NOUCHT THOU, OMER, ALS FAIR AS THOU COUD WPYTE, NO*XT ) U / , OME+ R , ALS FA*+R AS ) U / KU/D W R I / + T C , FOR ALL THINE ORNATE STILIS SO PERFYTE? F_R |/L ) I/ + NC 0 + RN|/T STI/4-L>S SG PERFI/ + T_J NOR YIT THOU, TULLIUS, QUHOIS LIPPIS SUETE NOR JIT )U/, TU+LI/U/S, HWOS LI4-P>S SWE/+TC OFF RETHORIKE DID IN TO TERMES FL.ETE: |F RE+TORI/+K_ DID IN TO TE4-RM>S FLE/4-T_: YOUR AUREATE TONGIS BOTH BENE ALL TO LYTE, JU/R A = 4-RJ AT T | 4 0 G>S PO ) BE/4-NC | /L TO LI/+TC, FOR TO COMPILE THAT PARADISE COMPLETE* FOR TO K|MPI/4-L_ )AT P | /4 RAD I/S K 1 MPLE/4-T_* THARE SAW I NATURE AND VENUS, QUENE AND QUENE, ) RC SA = 4- 1/ N | /4-T *R AND VE/4-NUS, KWE/+N_ AND KWE/4N , THE FRESCH AURORA »~AND LADY FLOFA SCHENE, (E FRE 4-$ A = R04R_, ANC L|/4-DI/ FL04-RA $E/4-N_, JUNO, APPOLLC, AND PROSERPYNA, DQU/4-NO, APC4-LC, AND PROSE+RPI/NA, DYANE THE GGDDESSE CHASTE OF WCDDIS GRENE, DI/A4-N (E GC4-D>S T$|/4-ST_ |V W04-D>S GRE/4-N_, MY LADY CLEC, THAT HELP OF MAKAR IS BENE, MI/ L | /4-DI / KLE / 4-_, ) AT HE 4LP |V M|/4-K R>S BE/4-N_, THETES, PALLAS, AND PRUDENT MINERVA, )E/ + TES, PALA4-S, AND PRU/+DENT MI+NEP.VA, FA IR FEYNIT FORTUNE, AND LEMAND LU C IN A , FA*4-P FE* 4-N> T F04-RTU/N, AND .LE4-MAND LU/S I/ + NA , THIR MYCHTI QUENIS IN CROUNIS MYCHT BE SENE, ) IR MI/4-XTI < WE /4-N_S IN KF.U/4-N>S MI/XT BE/ SE/4-N_, WYTH 3EMYS BLITH, EPICHT AS LUCIFERA, WI) BE /4-M>S BLI/4-), BFI/4XT AS LU/S I 4-FER A« THERE SAW I MAY1, OF MYRTHFULL MONET HIS QUENE, (E + R_ S A = 4- 1/ M A * + , |V M I 4- R ) F U L MC4-N)>S KWE/ + N_, BETUIX APR ILE AND JUNE, HER SISTIP SCHENE, BETWI+KS APPI/4-L ANC DQU/4-N_, HEP 314-STIR SE/+N_, WITHIN THE GARDYNG WALKING UP AND DOUN, WI ( 14-N (E GA4-PDI0G Wl/4-LKIWG UP AND DU/N, QUHAM OF THE FCULIS GL ADD IT H AL BEDENEJ HWAM |V (F. FU/4L>S GLA 4-D> ) |/L BEDE/4-NCJ SCHO WAS FULL TENDER IN HIR YEP IS GRENE. SO WAZ FUL TE4-NDEP IN HIR JE/4-F>S GRE/4-NC* THARE SAW I NATURE PRESENT HIP. A GOUNE ) ARC SA=4 1/ N|/4-TI*R PRESE4-NT HIP A GU/4-NC RICH TO BEHALD AND NQPIL OF RENCUNE, R I 4-T $ TO BEHA 4-L D AND N045IL |V PENU/4-NC , OFF EVIRY HEW UNDER THE HEVIN THAT BENE ) F E4-VRI HE = 4 U4NDER (F HF.4-VIN ) AT BE/4-NC DEPAYNT, AND BROUD EE GUDE PROPCPCIOUN. D E / P A * + N T . AND BRU/+D B E / GU/+DC P R O P O + R S I / U / N . FULL L U S T IL Y THIR LACYES ALL IN FERE FUL L U + S T I L I >IF L | / + D I = S | / L IN FE + RC E N TE RI T WITHIN T H I S PARK OF MOST PL E S E R E , E+N T_R >T W I( I + N ( I S P | / + RK |V MOST P L E Z E / + R _ , QUHARE THAT I LAY CUR H EL IT WYTH L E V I S P.ONK; HWAR ) AT 1 / LA* + C*R HE/+-L_T WI ) L E / + V > S Pl+WX; THE MERY F C U L I S , PL IS FU LL EST OF CHERE , ( E ME + RI F U / + L > S « E L I + S F U L > S T |V T S E / + P C , SALUST NATURE1 * ME THCUCHT, ON THAIR MANERE, S A L U / + ST. N | / T I * + R , ME/ ) 0 * + X T , |N >A*R MANE/+R * AND EVIRY ELOME ON BRANCH, AND EKE ON BONK, AND E + VRI BLO + M |N ERA + N T $ , AND E / + K |N B| + tfK, OPNYT AND SPRED~THAIR BALMY L E V I S DONK, 0+PN>T AND SPRE+D ) A*R B | / + L M I LE/+-V>S D |+ tfK , FULL LOW ENCLYNYNG TO J H A I P QUENE SO CLERE, FUL LO*+ E N K L I / + N I« G Tp ) A*R KWE/+N_ SO K L E / + R _ , QUHAM OF THAIR N C6I LL NC R IS IN G THAY THONK# HWAM | V )A*F N C + S IL NO+RISItfG )A* lO+tfK. SYNE TO DAME FLORA, ON THE SAMYN WYSE, S I N TO D | / + M FLO+RA, |N (E SA+MI-N W I / + Z _ , THAY SALUSE»~ANO THAT THANK A THOUSAND SYSE J >A* S A + L U / S , AND ) A T )A + *K A )U /+ S A N D SI /+ -SC I AND TO DAME VENUS, L U F I S MYCHTI OUENE, AND TO D | / + M _ V E / + N U S , L U / + F > S M I / + X T I KW E /+ N _, THAY SANG BA LLE TTI S IN L U F E , AS WAS THE GYSE , ) A * SA+tfG B_ L E +T > S IN L U / + F _ , AS WAZ (E G I / + Z _ , WITH AMOUROUSc NCTIS LUSTY TO D E V IS E , WI) A + M * R U / S N 0 + T> S LU+S TI TO D E V I / + Z _ , AS THAY'THAT HAD LUFE IN THAIR HERTIS GRENE , AS ) A £ ) AT HAD L U / + F C IN ) A* R HE+ RT> S GRE/+NC? THAIR HONY T H R 0 T I S , OPNYT F » 0 THE SP L E N E , )A*R HO+NI ) R O + T> S , C+PN>T FRO (E S P L E / + N C , WITH WERBLIS SUETE DID PERSE THE HEV INLY SKYES , WI ) W E + R B L > S S W E /+ T _ DID P E / + PS ( _ HE +VI NLI S K I / + QUHILL LOUD PESOWNYT THE FIRMAMENT SE REN E, HWIL L U / + D P r Z U / + N _ T ( c FI+RKAMENT S E P E / + N _ « ANE OTHIP. COURT THARE SAW I CONSEQUENT, _NE | + ( I P KU/ + RT ! AR SA=+ 1 / K | +NSEKWE + NT , CUP IDE THE KING, WYTH BOW IN HAND YBENT, K U / P I / + D _ (E K I + 0 G , WI) E 0 * + I N HA + ND I 3 E + N T , AND DREDEFULL APOWIS GP.UNDYN SC.HARP AND SQUARE; AND DREADFUL A4RC»Z GPU/+ND >N SA+PP AND S K W | / + P C ? THARE SAW I. MAPS, THE GOD ARMYPOTENT, ) ARC SA= + 1 / M | / + RZ, (E GC + D A R MI+ POTE N T , AUFULL AND STERNE, STRONG AND CCPPOLENT; A=+-FUL AND S T E / + R N C , S T R | + # G ’AND KC+RPOLENT; THARE SAW I CRABBIT SATURN ALD AND H A IR E , )A R_ SA=+ 1 / K P A + B > T SA + TUPN |/+L.D AND H A * + R _ , H I S LUKE WAS LYKE FCF TO PERTURB THE AIRE? H I Z L U / + K_ WAZ L I / + K_ FOP TO P E P T U / + KE (E A * + R _ ; THAPE WAS MERCURI U S , WISE AND ELOQUENT, )_RC WAZ ME RKI * + P J U S , W I / + Z _ AND E + LOKWENT, OF RETHORIKE THAT FAND THE FLOURIS FAIRE5 |V RE + T O R I / + K_ ) AT F | / + N D (E F L U / + P > S FA *+ R _? THARE WAS THE GOD OF CARD I N G I S , PR IA PU SJ ) ARC WAZ (E GO+D |V GA+PDIAGZ, P P I / + A P U / S ; THARE WAS THE GOD O 7 WILDERNES, PHANUS; ) AR WAZ (E GO+D |V WI+LDERNES, F A N U / + S ; AND*" J ANUS, GOD OF ENTFEE DELYTA3LE; AND D O | / + N U / S , GO+D |V E + N T R E / D E + L I / T | / + 0 L > ; THAPE WAS THE GOD OF F L U D I S , NEPTUNUSJ ) ARC WAZ ( E GO+C |V F L U / + D > S , NEPTU/+N US? j THARE WAS THE GOD OF WYNDIS, EOLUS, i ) ARC WAZ ( E GO+D |V WI+N D> S, E / + C L U / S , ! WITH VARI AND LUKE* RYCHT LYKE A LORD UNSTABLE? WI) V | / + R_/AND L U / + K _ , R I / X T L I / + K C _ LO + RD U N S T | / + 3L_i? THARE WAS BACUS THE GLAODEP Or THE TABLE? ! ) ARC WAZ B l V + KUS (E GLA+DVP |V (E T | / + B L > ? "| THARE WAS PLUTO , THE ELRICH INCUBUS, j ) ARC WAZ P L U / T O + * ( E E + L R I T S I + P K I * B U / S . IN CLOKE OF GRENE* H I S COURT U S I T NO SABLE* ' j I N KLO+K |V G R E / + N _ , H I Z K U / + PT I*.+ S>T NO S | / + BL_* AND EVIRY ONE OF TH I R , IN GPENE ARAYIT, AND E+VRI G+N_ |V > I R , IN G R E / + N _ A P A * + _ T , ON HARP OR LUTE FULL MER ILY THAI P L A Y IT , ! |N HA+RP OR L U / + T _ FUL ME +R ILI )A* P L A * + _ T , | AND SANG BALLF.TTIS WITH MICHTY N C T IS CLERE: AND SA + #G BALE+T>S WI) M I / + X T NQ+T>S K L E / + R _ ? ! LADYES TO DANCE FULL SOBIRLY A S S A Y IT , L 1/ + D 1=5 TO DA + NT S_ FUL S C + B I R L I A S A * + _ T . ENDLANG THE LUSTY RYVIR SO THAI MAY I T , ENDLA+tfG ( E L U + S T I R I + V I R SO ) A* MA*+>T, THAIR OBSERVANCE PYCHT EVYN'LY WAS TO HERE? ! )A*R O + BSEP.VANT S R I / X T E / + VENLI WAZ T _ H E / + R_? THAN CRAP I THROU THE L E V I S , AND DREW NERE* JAN KRA+P 1 / > P U / ( E L E / + V > S * AND DRE=+ N E / + R C , QUHARE THAT I WAS RYCHT SUDAYNLV AFFRAY I T , HWAR ) AT 1 / WAZ R I / X T 5U+DA *NLI A FR A *+ >T , ALL THROU A LUKE, OUHILK I HAVE BOUCHT FULL DEREe | / L ) RU / A LU/ + KC, HWILK _ / HAV EO* + XT FUL D E / + P._* AND SCHORTLY FOR TO S P E K E , EE L U F I S QUENE AND SO+RTLI FOR TC S P E / + K C , E _ / L U / + F > S KWE/+N I WAS A SPY IT, SCHC BAD HIR AF.CHEARIS KENE ” j 1 / WAZ A S P I / + T , SO BA+D HIR A + F T * R>S K E / + N _ GO ME A R R E S T ;” AND THAY NC TIME C ELAY IT J • GO ME/ ARE+ST5 AND )A* NO T I / + M_ DELA»+_T*, ! THAN LADYES F A I R L E T E FALL THAIR MANTILL I S GRENE, JAN L | / + DI = S FA* + P L E / + T _ F | / + L )A*R MA + NT_L>S GPE /+N J., WITH BOWIS BIG IN T R E S S I T H A I R I S SCHENE,' ! WI ) BO* + >S BI + G IN T RE + S > T HA*+R>S S E / + NC * i' ALL SUDAYNLY THAY HAD A FELDE AF A Y IT ; | / L SU+DA*NLI ) A * HAD A F E / + LD A P A * + _ T ; AND Y I T RYCHT GRETLY WAS I NOUCHT A F F P A Y I T , : AND J I T P I / X T G P E / + TLI WAZ 1 / NC’f1 XT AFR A*+ >T, j THE PARTY WAS SO PLESAND FOR TO SENE, | CE P | / + RTI WAZ SO P L E / + SAND FOR TO S E / + N C * A WONDER LUSTY B I K K I P ME ASSAYITc ! A W|+NDER L U + S T I B I + K I R ME/ ASA*+>T* | AND F I R S T OF A L L , WITH BCW IN HAND Y 3 E N T , AND F I + R S T |V | / L , WI) BO*+ IN HA+ND IB E+N T, COME DAME BEAUTEE, RYCHT AS SCHO WALD ME SCHENTJ KOM D| / + MC BE= + T / , R I / X T AS SO W | / + LD ME/ SE + NT? SYNE FOLOWIT A L L ~ H I R DAMESELIS YFER E, ! S I N F | + L _ * > T | / L H I R C | / + M S E L > S I F H / + R , . WITH MONY DIVERS E AU^ULL INSTRUMENT, ” j WI) MO+NI D I / + VERS A = + FUL I+NSTF.U/MENT, I UNTC THE P R E S , F A I R HAVING WYTH HIR WENT, ! UNTO+ (E PRE + S , FA * +R HA+V I«G WI) HIR WE + NT, j FYNE PORTRATURE, PLE SA NCE, AND LUSTY CHERE. | F I / + N PO + RTR ATITR , P L E Z I / + N T S . AND LU + STI T S E / + R e THAN COME RES 0UN 1, WITH SCHELDE- OF GOLD SC C LE R E. “ ) AN KOM RE Z U /+ N , WI) $ E / + L D _ |V GC+LD SC K L E /+ R • IN PLATE AND MAILLE, AS MARS ARMyPOTENT, IN P L | / + T AND MA*+L_, AS M | / + G Z ARM I+P OTENT DEFENDIT ME THAT NOBIL CHE VALLEF E . DEFE + ND>T ME/ )AT NO + B I L T-SE+VALE+RC. SYNE TENDER YOUTH COME WYTH HIR VIRGYNS YING, SIN TE+NDER J C * + ) KCM WI) H I P V I+ R D O IN Z J I + # G , GRENE INNOCENCE. AND SCHAMEFULL A E A I S I N G , GRE/+NC I+N C SE NS. AND S J / + M F U L A B A * + Z I ? G , AND QUAKING DREDE, WYTH HUM3LE O B E D I E N C E . ; AND K w | / + K I # G DR E + D _ . W I) HU-t-MBL 0 3 E / + D I / E N T S ; THE GOLDYN TARGE HARMYT THAY NC THING? (E GO + LD>N T | / + RGC HA + R M>T >A* NC ) I + * G ? CURAGE1 IN THAME WAS NOUCHT BEGONNE TO S P R I N G ; KU/R | / + DQ_ IN ) | / + M WAZ NO*XT BEG04-N_ TO SPRI+AG? FULL SORE THAY DRED~TO DONE A V IO LEN CE : FUL S04-R_ )A* DRE+D TO DO+N_ A V I / + O L E N T S „ : SUETE WOMANHEDE I SAW CUM IN P R E S E N C E , S W E /+ T _ WO+MANHE/D 1 / SA=+ KUM IN P R E S E + N T S , OF ARTILYE A WARLD SCHE DID IN Br ING, |V A + R T I L I / + A WA+PLC $ E / DID IN BP.I+AG, S E R V I T WYTH LACYES FULL OF REVERENCE. SE + RV>T WI ) L | / + D I = S FUL )V P E VE RE NT SC . SCHE LED WYTH HIP NURTURE AND LAWLYN5S, S E / L E + 0 W I ) H I R N U R T I r + R AND LA = + L I N E S » CONTENENCE, PA CIE NCE. GUDE FAME , AND S T E D F A S T N E S . Kj+NT NE + NTS , P | / S J E + N T S . GU/ + D_ F | / + M _ » AND STE+DFASTNF. D I S C R E C I O U N , “ GEN TRIS E. AND CO N SI D ER A N C E, DISKRE + S _ / U / N , D Q E + N T P I / S , AND K } N S I+ DE R A + N T S _ , LEVEFELL CCM.PANY, AND HONEST BE SY NE S, L E / + V F E L KO+MPANI, AND l+NEST B F + Z I N E S , BENIGNE LUKE, MYLDE CHERE, AND S C B I R N E S J B _ N I / + N _ LU/ +K C , M I/+ LD C T $ E / + P _ , AND S O + B I R N E S : ALL T H IR BURE GANYEIS TO DO ME GREVANCE? j / L ) IR BU/ + RC GAN JE * +S TO D0+- ME/ G R E / V | / + N T S C ? BUT RESOUN EURE THE TARGE WYTH SJK CONSTANCE, BUT R E / + Z U / N BU/+R (F T | / + R G _ WI) ST+K K j N S T A + N T S _ , THAIR SCHARP ASSAYES MYCHT DO NO DUPES )A*R J A + R P A S A * O S M I/ X T D 0+ MO CURE+S TO ME, FOR ALL THAIR AUFULL. ORD YNANCE» TO M E / , FOP | / L )A * P A= + FUL C + P D I N | / N T S . UNTO THE PRES PERSEWIT HIE DEGREE, UNTO+ ( E PRE+-S »EPSE = + >T H I / + D E G R E / + , HIR FOLOWIT AY ESTATE, AND D I G N I T E E , HIR f | + LO,sr> T * EST | / + T _ , AND C I + G N I T E / , COMPAP I SO U N , H O N O U R , A N D N O B L E ARRAY, ............................ K | M P A + R I S U / N , | N U / + R , AND NO+0L> _ R A * + , WILL , WANTCNNES, RENGUN, AND LIBE RTE F., W I+ L, WA+NTONES, P E N U / + N , AND L I + E E R T E / , R I C H E S S 5 . FREDOME, AND EKE NOB I L I T E E : R I T * E + S . FRE/DO + M_, AND E / + K N C F U L I T E / t WIT YE THAY DID THAIR BANEF HYE D IS P L A Y ? WT + T JE/ ) A* DID )A>R BA + NER H I / + D I S P L A * + ? A CLOUD OF AROWIS AS HAYLE SCHC'UR L C U S I T THAY. A KLU/ + D |V A+R * Z AS HA*+LC S U / + P. L U / + S>T ) _ * • AND SC HOT, QUHILL WASTIT WAS THAIR A R T I L Y E , AND $ | + T , HWIL W | / + ST > T WAZ )A *R A.+ R T I L I / + C, SYNE WENT ABAK REBOYTIT OF THAIR PRAY. S I N WE+NT ABA+K REBO=+T>T |V )A*P P R A * + . QUHEN VENUS HAD PERSAVIT THI S REFUTE, HWEN V E /+ N U S HAD PE RS A+V IT ( I S R E B U / + T C , D ISS YMILANCE SCHO BAD GC MAK P E P S U T E , D I S I + M I L A + N T S $ 0 BA+D GO M | / + K F E R S U / + T _ , AT ALL POWEPE~TD PERSE THE GCLDYN TARGE; AT | / L PC*E+P TO P E / + P S ( E GO +L D>N T | / + R G C ; AND SCHO. THAT WAS OF DOUBILNES THE PUTE , AND $ 0 , ) AT WAZ |V DO*+BL>NES (E P U / + T C * ASKIT HIR CHOISE GF ARCHER IS IN REFUTE. A+SK>T HIR T $ 0 = + S _ |V A + RTS_P.>S IN R E F I * + T _ . VENUS THE BEST BAD HIP GO WALE AT LARGE; V E /+ N U S (E BE+ST BA+D H I R GO W] / + L _ AT L l / + R D Q _ ; SCHO TUKE P R ESE N CE , PLI GHT ANKERS OF THE BARGE, SO TU+K_ P R E S E + N T S , P L E / + X T A+NKERS JV (E BA+RDQ_» AND F A I R CALLYNG, THAT.WELE A FLAYN COUD SCHUTE, AND FA *+P K | / +L I # G « )AT W LE A FLA*+N KU/D S U / + T , AND CHERI SING FOR TO COMPLETE HIR CHARGE. AND T $ E + R I S I # G FOR TO K | M P L E / + T _ HIR TSA+RDQ • DAME HAMELYNES SCHO TUKE IN COMPANY, 0 | / + M_ H | / + ML INES $ 0 TU + K_ IN KC + MPANI, THAT HARDY WAS AND HENDE IN ARCHERY, ) AT HA+RDI WAZ AND HE+NDC IN A + R T S E R I , AND BROUCHT DAME BEAUTEE TO THE FELDE AGAYN; AND BRO++XT D | / + M BE = + T E / TO (E F E / + L D _ AGA*+N; WITH ALL THE CHOISE OF VENUS CHEVALRY WI) \/L (E TSO = + SC |V V E / + NUS T$E +VALRI THAY COME AND B IKKERIT UNABAISITLY i )A* KOM AND B I + K ER>T U + NABA^ + S I T L I J THE SCHOUR 0= ARC-WIS RA PPI T CN AS RAYN; ( E S U / + R |V A+RO*Z RA+P>T |N AS RA*+Ni P E R IL O U S E PR ESE NCE, THAT MONY SYRE HAS SLAYNE, P E + R L U / S P R E S E + N T S , >AT MC+NI S I / + R _ HAZ S L A * + N _ , THE BATAILL ElRCUCHT ON 30RD0UR HARD US BY, (E BA + TA*L BR0* +XT |N 9 0 + R D U / R HA+RD US B I , THE SALT WAS ALL THE SARAR SUTH TO SAYN, ( E S | / + LT WAZ | / L (E SA+PAR S U / + ) TO S A * + N . THIK WAS THE SCHCTE Cp GRUNDYN DA R T I S KENEJ ) I +K WAZ (E $ | + T_ |V GRU/+ND>N DA +RT> S KE/4-N_; BOT RESOUN, WITH THE SCHELD OF GOLD SO SCHENE, B | T R E / + Z U / N , WI) (E S E / + L D |V GC+LD SO S E / + N C , WARLY DEFENDIT OUHO SO EVIR ASSAYITJ WA + RLI DEFE + ND>T HWO SO E + V_P A S A * + _ T ; THE AUFULL STQURE HE. MANLY DID SUSTENE, (E A=+FUL ST O*+ PC H _ / MA+NLI DID S U S T E / + N _ , QUHILL PRESENCE KEST A PULDER IN HIS. E N E , HWIL PRE SE + NTS KE+ST A P U / + L D > P IN H I Z E / + N C , AND THAN AS DRUNKYN MAN HF. ALL FGRVAYIT: AND ) A N AS DRU+#K>N MA + N HE/ | / L FQRVA*>T: QUHEN HE WAS BLYND, THE FULE WYTH HYM THAY PL AY I T , HWEN H E / WAZ B L I / + ND, ( E F U / + L _ WI) HIM >.A* P L A * + _ AND BANYST HYM AMANG THE BF.WIS GRENE; AND BA +N IST HIM AMA+0G (E BE=+>S G R E / + N C ; THAT SORY SICHT ME SUDAYNLY A F F P A Y I T « ) AT SO+RI S I / + XT ME/ SU+DA*NLI A P R A » + > T , THAN WAS I WOUNDIT TO THE DETH WELE N ER c, ) AN WAZ 1 / WO*+ND>T TO (E D E / + ) W_LE N E / + R _ , AND YOLDYN AS A WCFULL PPI SONNERE AND JO +LD>N AS A WO + FUL P P I + Z | N E + R C TO LADY BEAUTEE, IN A MOMENT SPACE; 327 TO L | / + D I / B E = + T E / , IN A MO+MENT S P | / + S C 5 ME THOUCHT SCHO SEMYT LUSTI AR Cc CHERE, ME/ ) 0 * + X T SO S E / + M > T LU + S T I / A R |V T S E / + R C « EFTER THAT RESOUN TYNT HAD HIS EYNE CLERE. E+FTER ) AT R E / + ZU/N TI+N T HAD HIZ E / + N_ K L E / + P . THAN OF BEFORE, AND LUFL.IAPE OF FACE: ) AN |V BEFO+R, AND L U / + F L I / AR |V F l / + S C : QUHY WAS THOU BL Y N D IT , RESOUN? Q U H I , ALLACE HWI/ WAZ ) U / B L I / + N D > T , R E / + Z U / N ? H W I / , ALA+SC AND GERT ANE HELL MY PARADISE APPERE. AND GE + RT AN HE+L M I / P | / + R A D I / S A P E / + R , AND MERCY SEME. QUHAPE THAT I FAND NC GRACE* AND ME+RSI S E / + M _ , HWAR. ) AT 1 / F | / + ND NO G R | / + S _ . DISSYMULANCE WAS BESY ME TO S I L E , D IS I + M U L A + N T S _ WAZ B E + Z I ME/ TO S I / + L _ , AND F A IR CALLING DID OFT APON ME SMYLE. AND FA*+R K | / + L I W G DID | F T A P | + N ME/ S M I / + L C , AND C H E R I 5 I N G ME FED WYTH WORDIS FA IR ? AND T S E + R I S I t f G ME/ FE+D WI) WO+RD>S F A * + R ! NEW ACQUYNTANCE ENBPACIT ME A OUH1LE. NE= + A + K W I N T | / + N T S _ E N B R | / + S > T ME/ A H W I /+ L , AND FAVOURYT ME, QUHILL MEN MYCHT GOl A MYLE. AND F | / + V U / R T M E / , HW IL ME + N M I /X T GO + A M I / + L C . SYNE TUK HIR LEVE, I SAW HIR NEVIR MARE: S I N TU + K H I P L E / + V _ , 1 / SA=+ HIR NE+VIR M j / + R _ : THAN SAW I DANGERE TOWARD ME R E P A I R , ) AN SA = + 1 / D | / +NDQFP TO+WAP.D ME/ R E P A * + P , I CGUD ESCHEW H I P PRESENCE 1 BE NO WYLE. 1 / KU/D ES T $E = + HIR PRE + SENTS BE/ NO W I /+ L C * ON SYDE SCHO LUK1T WYTH ANE FREMYT FAR E, |N 5 I / + D _ SO L U / + K > T WI) _N S FRE+M>T F | / + R _ , AND AT THE LAST DEPARTING CCUD HIR D R E S 5 E , AND AT CE LA + ST DE/ PA +RTI G KU/D HIR DRE+S C, AND ME DELYVERIT UNTO 1 HEVYNESSE AND ME/ DEL I + V R> T U+NTO HE+VIN E+S _ FOR TO REMAYNE, AND SCHO IN CUFF. ME TUKE, FOR TO REMA*+NC, AND T_ IN KU/ + R ME/ TU+K » BE T H I S THE LORD OF WYNDIS, WYTH~WODENES, B E / ( I S (E LG + RD |V W I+N D >5. WI) WOH-DENES, GOD EO LUS, H I S BUGILL BLEW I GESS E, GO+D E / + O L U / S , H I Z B I + + G I L BLE=+ 1 / GE+S C, THAT WITH THE BLAST THE L E V I S ALL TO-SCHUKE ; ) AT WI ) (E BLA + ST ( E L E / + V > S | / L TOSU+KC) AND SUDAYNLY, IN THE SPACE OF A LUKE, . AND S U + DA*N L_, IN ( E S P | / + S C |V A L U / + K _ , ALL WAS HYNE WENT, THARE WAS BCT WILDERNE5, 1 / L WAZ H I / N WE+NT, )ARC WAZ B | T WI+LDERNES, THARE WAS NO MORE BCT B I R D I S , BANK, AND BRUKEe ) ARC WAZ N_ M 0 + P. _ B | T B I + R D > S , BA + « K , AND BRU/ + K • IN TWYNKLING OF ANE EYE TO S C H IP THAI WENT, IN TWI + #KLI«G |V A N _ . E / + _ TO S I + P ) A* WE+NT, AND SWYTH UP S A I L E UNTO THE TOP THAI STENT, AND S W I +( UP S A * + L _ UNTC+ (E T | + P >A* STE+NT, AND WITH SWIFT COURSE ATCUR THE FLUDE THAY FRAK? AND WI) S W I + r T K U / + F S A TU /+P (E F L U / + D _ )A* FPA+KJ THAY F Y R I T GUNNIS WYTH POWDER VIO LENT, ) A * F I / + R > T GU+N>S WI) P U / + DER V I / + OLENT, T I L L THAT THE PEKE R AIS E TO THE FIRMAMENT, T I L ) A T (E F E / + KC R.A**-ZC TO (E FI+ PM V_NT, THE ROC H I S ALL RESCWNYT WYTH THE RAK, ( E R ] + K > S l / L P E Z U / + N > T WI) (E R I / + K , FOR REDE I T SEMYT THAT THE RAYNFCW BRAKJ FOR R E / + D IT S E / + M > T ) AT (E RA * + NBO* B R | / + K? WYTH S P I R T T AFFRAYDE A PCM MY F E T E I SPRENT WI) S P I +R_T AFRA*+D_ AP I+N M I / F E / + T _ 1 / SPP.E + NT AMANG THE C L E W I S t SC CAREFULL WAS THE CRAK* AMA + AG (E KLE= + _ S » SO K | / + P F U L WAZ (E KRA+K* AND AS I D ID AWAKE OF MY S U E V I N G , AND AS 1 / D ID AW1 / + K C |V M I / S W E /+ V IW G . THE JOYFULL B I R D I S ME RILY DID SYNC. CE DQO=+FUL BI + RD>S ME + R I L I CID S I + tfG FOR MYRTH OF PHEF.US T E N D IR BEMES SC H E N E ; FOR M I + R ) |V F E / + B U / S T E + N D IR B F / + M > S I E / + N C I SUETE WAR THE V A P O U R I S . SOFT THE MORCWING* SW E /+T C WAR ( E V | / + P U / R Z , S | + F T ( E M C + R O * I 0 G , HALESUM THE VALEi DEPAYNT WYTH FLOUR I S Y I N G ; H | / + L S U M (E V | / + L _ « D E / P A * + N T W I) F L U / + R > S J I + ?G THE A IR A T T E M P E P I T , S O B IR » AND AMENEJ < E A* + R ATE+MP R>T» S C + B I R , AND A M E / + N _ ; . IN QUHITE AND REDE WAS ALL THE FELDE E E S E N E « IN H W I / + T ANC R E / + D _ WAZ | / L (E F E / + L D _ B E S E / + N THROU NATURIS NOPIL FRESCH ANAMALYNG, »R U/ N j / + T I * R Z NO + B I L FRE + S ANA + M AL I tfG, 329 THE BIRT H OF A N T IC H R IS T LUC INA SCHYNNYNG IN S I L E N C E OF THE N I C H T , L U / S I / + N A S I / + N AG IN S I / + L E N T S |V (E N I / + X T , THE HEVIN BEING~ALL FULL OF STERNTS B R I C H T , ( E HE+VIN EE*4AG 1/ L FUL |V STF./ + RN>S R R I / + X T , TO BED I WENT, BOT THAIR I TUKE NO REST, TO BE+D 1 / WE+NT, E | T ) A*R 1 / TU+KC N_ R E + S T , WITH HAVY THOCHT I WES SO S O I R O P P P F S T , WI ) HA + VI ) 0 + XT 1 / WES SO SO+R CO RE+ ST , THAT S A I R I LANGIT E F T I R DAY I S L I C H T . ) AT SA*+R 1 / LA+AG>T E + F T I R D A * +> S L I / + X T , OFF FORTOUN I COMPLENIT HEVELY, | F FQ+ RTU /N 1 / K|MPL E / + N>T H E + V F L I , THAT SCHO TO ME STUDE SO CONTRARIOWSLY ; ) AT $0 TO ME/ STU+DC SO K | N T P A + P J C * S L I J AND AT THE LAST, OUHEN I HAD TURNYT C F T , AND AT (E L A +S T, HWEN 1 / HAD TU+RN>T I ^ T , FOR W EIRINES ON ME ANE SLUMMER SOFT FOR WE/+RINES |N M_/ ANE SLU+MER S | + F T COME WITH ANE DREMYNG AND A FANTES-Y, KOM WI) ANE DRE/+MIWG AND A FA+NTESI-* ME THOCHT DEME FORTOUN WITH ANE FREMMIT CHEIR ME/ > 0 + XT D_/MC FC + RTU/N WI ) _NE FRE +M>T T $ E / + R STUDE ME BEFQRNE AND SA ID ON T H I S MANEIR, STU+D_ ME/ BEPO+RNC AND SA*D |N ( I S M _ N E / + R , THOW SUFFER ME TO WIRK G I F THOW DOl W E I L L , ) U / SU+FER ME/ TO WI+RK G I F ) U / DO WE*+L, AND P R E I S THE NQCHT TO STRYFE AGANIS MY Q U HEIL L, AND P R E / + S (E NOXT TO S T P I / + F _ A GA + N_S M I / H W I+L , QUHILK EVERY WARDLY THING DOI S TURNE AND S T E I R c HW ILK E+VP I WA + RDLI ) I+ffG DOZ TU+RN_ AND S T E / + R. FULL MONY ANE MAN I TURNE UNTO THE H IC H T , FUL MO+N_ _NE MA+N 1 / TU+RN UNTO+ (E H I / + X T , AND MAKIS ALS MCNY FULL LAW~TO COUN L I G H T ; AND M j / + K > S ALS MC+NI F U L L A = + TO D U / N L I / + X T J UP ON MY S T A I G I S OR THAT THOW A S C E N D , UP IN M I / STA*+G>S OR ) AT ) U / ASE+ ND , TREST WEILL THY TRUBLE NEIR IS AT ANE END, TRE+ST H E* + L ( 1 / T.RU + EL> N E / + R _Z AT ANE E + ND, SEING TH IR T A I K I N I S , O U A H I P F O I P THOW MAPK THAME. RYCHT S E / + # G I I R T A * + K I N > S , HWARFO+R ) U / M | / + R K ) J / + M C R I / X THY TRUBLIT GAI ST SALL NEIR M0IR BE DEGEST, ( 1 / TRU+3L>T- GA*+ST SAL N E / + R MOP B E / DEDOE+ST, NOR THOW IN TO NO BE NEF IC E BE I S POSSE S T , NOR ) U / IN TO NO B 5 + N _ F I S B E / S P O S E + S T , QUHILL THAT ANE ABBOT HIM O L E I T H IN E P N I S P E N N I S , HWIL ) AT AN_ A + S | T HIM KLE* + ) _N E + RN>S P E + N _ S , AND FLE UP IN THE AIR AMANGIS THE C R E N N I S , ‘ AND F L E / + UP IN (E A*+R _MA+WG>S (E K R F / + N S, AND AS ANE FALCONE F A IR FRO E I S T TO WEST, AND AS _NE FA+LKON FA* + R FRO E / + S T TO WE+ST, HE SALL ASCEND AS ANE HGRRE33LE GREPHGUN, H E / SAL ASE+ND AS ANE HOPE+BL> G P E F U / + N , HIM ME IT S ALi_ IN THE AIR ANE SCHO DRAGOUN? HIM M E/+ T SAL IN (E A*+R _NE $ 0 DRAGU/+NJ T H I R TERRIBLE MON STEP IS SALL TOGIODER T H R 1 S T , I I P TE+R_BL> M | + N S T _ P > S SAL TOGI+ DER ) R I + S T , AND IN THE CLUDIS GETT THE ANTECHRI S T , AND IN (E KLU/+ D>S GE+T ( E A + N T E K R I / S T , QUHILL ALL THE AIR INFECK OF THAIR PUSOUN, HWIL 1 / L (E A* + R INFE+K |V )A*R P U / Z C + N , UNDER SATURNUS F Y R IE REGIOUN U+NDER SATU+RNUS F I / + R I / R E / + D Q I / U / N SYMONE MAGUS SALL MEIT HIM* AND MAHOUN, S I / M O + N M | / G U / + S SAL ME/+T HIM, AND MAHU/ + N* AND MERLYNE AT THE MCNE SALL HIM BE BYDAND. AND ME+RLIN AT ( E MO+N_ SAL HIM B E / B I / + D _ N D , AND JQNET THE WEIDO GN ANE 3USSCME RYDAND, AND DQ | 4-N T ( E WE/+DO N ANE BU+S|M R I / + D_ND, OFF W I C H I S WITH ANE WlNDIR GARESCUN. | F W / + T $ > S WI ) ANE WI+NDIR GA+ RESU/N* AND SYNE THAY SALL DISCEND WITH P E I K AND FYRE, AND S I N ) A* SAL DISE+ND WI) RE* + K AMD F I / + R C , AND P R E I C H E IN ERTH THE ANTECHRYSTIS IMPYRE, AND P R E / + X IN E + R) (E A+NT E K R I / + S T > S I M P I / + R C , BE THAN IT SALBE NEIR T H I S WAPLDI$ ENDo B E / JAN IT S A + L B E / N E / + R ( I S WA+PLK>S E+ND* WITH THAT T H I S LADY SONE FRA ME DID WEND; WI) ) A T ( I S L | / -*-D I / SC + NC F R _ ME/ DID WE+NDJ WITH THAT T H IS LADY SONE FRA ME DID WEND; WI) ) AT ( I S L 1/ + D I / SO + N_ FRA ME/ DID WE+NDI QUHEN I AWO IK* MY DREME IT WAS SC NYCE, HWEN 1 / AWC + K * M I / DRE/+MC IT WAZ S _ N I / + S _ . FRA EVERY WICHT I HID IT AS A VYCEJ FRA E+VRI W I/ +X T 1 / HI+D IT AS A V I / + S C ; QUHILL I HARD TELL BE MONY SUTHFAST WY, HWIL 1 / HA + RD TE + L B E / MO + NI S U / + ) F AST W I / , FLE WALD ANE ABBOT UP IN TO THE SKY* F L E / + W | / + LD- AN_ A.+ B | T UP IN TO ( E S K I / + , AND ALL H I S “ ETHPEME MAID WES AT DEVYCEt AND ) / L HIZ F E+ (R EM MA’i'+D WES AT D E V I / + SC* WITHIN MY HAIRT CONFCPT1 I TUKE FULL SONE; WI ( I + N M I / HA* + RT KjN FO+RT 1 / TU+K_ FUL S O + N _ ‘ , " A D E W , " QUOD I* MMY DPEPY DAYIS AR DONE 5 " AD I ♦= +" KWOD I / » " M I / D P E / + RI DA*+_S AR DO + N _ ; FULL WEILL I WIST 'TO ME WALD NEVIR CUM T H R I F T , FUL WE*+L 1 / WI+ST T_ M E/ W | / + L D NE+VIP KUM ) R I + F T QUHILL THAT TWA MONIS WEP SENE UP IN THE L I F T * HWIL ) AT T W | / + MO+N S WEP S E / + N C UP IN ( _ L T + F T , OP. QUHILL ANE ABBOT~FLEW ABOIF THE MCNE« " OR HW L ANE A + E | T FLE = 4- ABO + F (E MO + N_» QUHONE HE L I S T TO FEYNE MY HARTIS TRESURE, AND SWETE ASSURED F O , M / HA+RT>S T P E S U / + R * AND S W E / + T _ A S I * + R > D FC + • THE. FINALE ENDAR OF MY LYFE FOP EVER; ( E F I / + N A L E+ND>P |V M I / L I / + F _ FOR E +V _ R J THE CREUELL BREKAR OF MY HART IN TUO , (E KRE = +EL E R E /+ K A P |V M I / HA + RT IN TWO+i TO GOl TO DEATHE, T H I S I D ESE PV IT NEVER; TO GO+ TO D E / + ) » < I S 1 / DE SE+RV>T NE + V _ R : 0 MAN SLAYAR OUHILL SAULE AND L I F E DISS E V E R 0 MA+N SLA*A+R HWIL SA=+L AND L I / + F _ D I S E + V _ R STYNT OF YOUR SLAUCHTER? ALLACE YOUR MAN AM I , ST I+ NT |V J U / R SLA = + XTi_R5 ALA+S_ J U / R MA + N AM 1 / , A THOWSAND TYMES THAT DO IS YOW MERCY CRY* A ) U /+ SAND T I / + M > S ) AT DOZ J * ME+PS I K R I / + , HAVE MERC I E » L U IF HAVE MERCTE, LADIE B PI CH T 1 HAV ME + RSI / » L U / + F HAV M E + R S I / , L | / + D I / B R I / + XT ! QUHAT HAVE I WROCHT AGANIS YOUR WCMANHEID, HWAT HAV 1 / WPO+XT AGA+NIS J U / R WO+MANHE/D, j THAT YE MUPDIP ME, A SAKLES WICHT, C ) AT J E / MU + F.DIR M E / , A SA + KLES W I / + X T , TRE SPA SSI NG NEVER TO YOW IN WORD NOR DE ID ? TRESPA + S IffC NE + VER TO J _ * IN WC+PD NOP D E / + D? THAT YE CONSENT T H A IR T O , O GOD FORBID ) AT J E / K |N S E + NT < A * P T Q + , 0 GO+C FORBI+D L E I F CREUELTE, ANC SA IF YOUR MAN FOR SCHAME, • L E / + F l<PE = + E L T E / , AND S A * + F J U / R MA + N FOR T.|/+ MC, OR THROUCHT THE WARLD QUYTE L O S I T IS YCUP NAME* OR ) FU + XT (E WA + RLC K W I / + T _ L.O+Z>T IZ J U / R N l / + M_o i MY DEATHE CH A SI S MY LYFE SO B E S A L IE M I / DE/ + ) C T $ | / + S > S M / L I / + F _ SO B E + Z A L I / + _ THAT WERY I S MY G C IS T TG FLE SO FAST*, j ) AT WF./+RI IZ M I / GO = + ST TO F L E / + SO FA + S T ; S IC D E I D L I E DWAWMES SO MISCHEI FA I S L I E j SIK D E / + D L I DWA=+M>S SO M I S T S E / + F A S L I / ANE HUNDRITHE TYMES HES MY HAIPT OU IRP A ST ! ; AN_ HU + NDRI) T I / + M> S HES M I / HA*+RT 0*RPA + S T ; | ME THINK MY S P R E I T RYNNIS AWAY FULL GAST, ME/ ) I + ? K M I / S P F E ^ + T R I + N > S AWA*+ FUL GA+S T, ! BESEIK AND GRACE CN K N E IS YCW E E F C I R « BESE/+KAND G R | / + S _ |N K N E / + > S J C * BEFO +R, . OR THAT YOUR MAN BE LOST FOR EVERMOIR, OR ) AT J U / R MA + N E E / L.|+5T FDR E + VERMC + R, BEHALD MY WOD I NTOLLERABILL PANE, j BEHA+LD M I / WO + D I NT | +L ER ABI L P | / + N C . , ! FOR EVERMOIR QUHILK SALBE MY DAMPNAGE FOR E + VERMC + R HW ILK S & + L E E / M I / DAMPNA+DQC QUHY, UNDIR T R A I S T , YOUR MAN THUS HAVE YE SLANE? : HWI/ , U+NDIR T F A * + S T , J U / R MA+N ( U / 3 HAV J E / S L | / + N C ? LO DEITHE IS IN MY E F E 1ST WITH FURIOUS RAGE, j LO D F * + ) _ IZ IN M I / B P E / + S T WI) F U / + P J U / S R l / + D Q _ , QUHILK MAY NO EALME NOR TP YACL E ASSWAGE, HWILK MA* NO 8 | / + LM_ NOR T R I / + AK>L A S W |/+ DQ , BOT YOUR MERCIE1 , FOR LAIK OF QUHILK I DE: | B | T J U / R M E P S I / + , FOP LA* + K |V HWILK 1 / D E / + ; - ; ALLACE QUHAIR I S YOUF WOMANLIE P F T I E j ALA+S_ HWA»R IZ J U / P WO+MANLI/ P E T J E / + BEHALD MY D E I D L I E FA SS IG UN DOLOFCUS BEHA+LD M I / D E / + C L I P A + S J U / N DC+LORU/S BEHALD MY HIDDOWS HEW AND WO, ALLACE 332 BEHA+LD M I / HI+DC+ S HE = + AND WO, ALA+SC ! BEHALD MY MAYNE AND MURNING MEPVALOUS, i BEHA+LD M I / MA*+NC AND MU +RN I G ME+RVALU/S , WITHE SORRCWFULL TER I S FALLING FROMF MY FACE ! WI) SO+R_*FUL T E / + R >5 F J / + L I 0 G FRC+M M I / F | / + S _ REWTHE, L U I F , I S NOCHT, HELPE YE NOT~l N T H I S CACE, | R E = + ) _ , L U / + F , IZ N XT, HE+LPC J E / N | T IN ( I S K | / + S •! FOR HOW SOULD ONY GENTILL 'HART INDUPE “ | FOR H U / SU/D | + NI DQE+NTIL HA+PT IN DU/ +R C TO SE T H IS SYCHT ON ONY CREATURE TO S E / + ( I S S I / + X T |N l + N I K R E /+ A T U /+ R C ! QUHYTE DOW, QUHAIR IS YOUR S 0 9 I R HUMILNES ? | H W I / + LC DC*, HWA*R IZ J U / R S O+ BI P HU + MILNES ? SWETE GENTILL TURTOUR, OUHAIR I S YOUR PETE WENT? S W E / + T _ DQE + NTIL T U + R T U / R , HW_*R IZ J U / R P E + T E / WE + NT? QUHAIR IS YOUR REWTHE? THE FRUTE OF N O B I L N E S , HWA*R I Z J U / R P E = + ) _ ? ( E F R U / + T _ Jv N C + B I L N E S , OFF WOMANHEIC THE TRESOUR AND THE RENT; ! | F WO+MANHE/D ( E T R E +S U /R AND ( E RE+NTI ! ME RC IE 1 I S NEVER PUT OUT OF MEIK INTENT, M E R S I / + IZ NE+VER PU+T U / T |V ME/+K I N T E + N T , NOR OUT OF GENTILL HART I S FUNDIN PET IE , i NOR U / T |V DQE+NTIL HA + RT IZ F U / + ND N PET J E / + , ; SEN MERCYLES MAY NO WEYCHT NOBILL BE* SEN ME+RSILES MA* NO WE*+XT NO+BIL 9 E / o IN TO MY MYND I SALL YOW MERCYE CRY, IN TO M I / MI/+ND 1 / SAL JO* M E + R S I / K R I / + , j QUHONE THAT MY TOUNG SALL F AIL L ME TO S P E I K , ’ HWO + NC ) AT M I / TO* + tfG SAL FA* + L ME/ TO SPE/'+K , AND QUHILL THAT NATURE ME MY SYCHT DENY, AND HWIL ) AT N | / + T I * R ME/ M I / S I / + X T D E N 1 / + , AND QUHILL MY ENE FOP PANE INCLUSE AND S T E I K , AND HWIL M I / E / + N _ FOP P | / + N _ IW K L U / + S _ AND S T E / + K , AND QUHILL THE DETHE MY HART IN SOWNDIR B R E I K , AND HWIL (E DE/ + )C M / HA + PT IN S U / + NDIP ERE* + K , 1 AND QUHILL MY MYND MAY THINK AND TOYING MAY ST E IR ? AND HWIL M I / MI/+ND MA* ) I + # K ANC TO*+tfG MA* S T E / + R 5 i AND SYNE, FAIR W E IL L , MY HARTIS LADIE D E I P AND S I N , FA* + P WE* + L , M I / HA+RT>S L | / + D I / DE* + R 333 ’ "t h e T H R I S S I L AND THE R C I S ! QUHEN MERCHE WES WITH V AR I AND WINDIS PAST-, | .HWEN ME+RTSC WES WI ) V | / + R _ / A N D WI+ND>3 P A + S T , AND APPRYLL HAD, WITH HIR SILVER SC HO URI S, i AND | / + PR IL HAD, WI) HIR SI+ LVER $ U / + R > S , TANE L E I F AT NATURE WITH ANE ORIENT BLAST; T 1/+ N L E / + F AT N l / + T I * R WI) AN_ O+RJENT BLA+STJ AND LUSTY MAY, THAT MUDDIR IS OF F L C U R I S , AND L U + S T I MA*, ) AT MU+DIR 12 |V F L U /+ R > S » HAD MAID THE B I R D I S TO 8EGYN THAIR HOURIS HAD MA* + D (E B I + R D > S TO BEGI+N )A*R U / + R > S AMANG THE TENDIR CDGUPIS REID AND QUHYT, ; AMA+tfG (E T E +N DIR 0+D0*RZ RE*+D AND H W I / + T , 1 QUHOIS ARMGNY TO HEIR IT WES DELYT? HWOS A+RMONI TO HE/+R IT WES D E L I / + T J IN BED AT MORROW, S L E I P I N G AS I LAY, IN BE + D AT MO+RC*, S L E / + P I # G AS 1 / LA* + , ME THOCHT AURORA, WITH HIP. CRISTALl. ENE , i ME/ ) 0 + XT A = RO+ PA, WI) HIR KRI+STAL E / + N C , IN AT THE WINDOW LUKIT BY THE DAY, IN AT < E WI+NDG* L U / + K > T RI (E DA*+, AND HALSIT ME,. WITH VISAGE PAI LL AND GRENE5 AND HA + LS> T M E / , WI) VI+SACO P ] / + L AND GRE/+NCJ ON QUHOIS HAND A LARK SANG FRO THE S P L E N E , JN HWOS HA+ND A L j / + R K SA+#G FRC ( c S P L E / + N C , AWALK, L U V A R I S 1 , OUT OF YOUR SLCMERING, A W | / + L K , L U / V A + R Z , U/T |V J U / R S L | + M E R I # G , SE HOW THE LUSTY MORROW DC IS UP S P R I N G , ; S E / + H U / ( E L U + S T I MC+RO* DOZ UP S P R I + # G o ME THOCHT FRESCHE MAY 3 E F 0 I R MY BED U P S T U D E , ME/ ) O + XT F P E + S _ MA* FEFO + R M I / BE+D UPST'J+D_. IN WE ID DEPAYNT OF MONY DIVERS HEW, IN WE/+D D E /P A * + N T |V MO+NI D I / + V E R S HE = + , ! S O B I R , BEMYNG, AND FULL OF MANSUETUDE, S O + B I R , B E N I / + 0 G , AND FUL ]V M A+N SW E/TU/D, IN BRYCHT ATTEIR OF FL C U R IS FO P G IT NEW, IN BR T/ + XT A T I / + P |V F L U / + P > S FO+ RD Q> T NE = + , HEVINLY OF COLOR, QUHYT, R E I D , BROUN, AND BLEW, HE+VINL |V K | + L | R , HW T/+ T, F E * + D , R P U / + N , AND P L E = + , ; BALMIT IN DEW AND G IL T WITH PHEBUS BEMYS, . ! B | / + LM>T IN DE= + AND GI+ LT WI) F E / + B U / S B E / + M>S, ! QUHILL ALL THE HOUS ILLUMYNIT OF HIR LEMYS. HWIL | / L (E H U / + S I L U / + M _ N I T |V H I R L S / + M _ S . i " S L U G I R D , " SCHO S A I D , "AWALK ANNONE FOR SCHAME* ! » SL U + G IR D " $C SA *D , " A W |/+L K ANO+N_ FOR $ | / + M _ , AND IN MY HONOUR1 SUM THING THOW GO WRYT; AND IN M I / l+ N U / R SUM >I + //G ) U / GO WRI+TI THE LORK HES DONE THE MIRRY DAY FROCLAME, ( E LO+RK HES DO+NC ( _ M I + P I DA*+ P R O < L | / + M _ , ! TO R A I S UP LUVARIS WITH CONFORT AND DELYT, TO PA* + S UP L U / + VAR>S WI) K|+ NFC RT AND D E L I / + T , Y I T NOCHT I N C P E S I S THY CURAGE TO INDYT, | J I T NO XT INK R E / + S> S ( 1 / KU/ + PADQ TO TNOIZ + T, QUHCIS HAIRT SUM TYME HES GLAID AND B L I S F U L L BEN E, HWOS HA*+RT SUM T I / + M _ HES GLA*+D AND R L I + S F U L B E / + N _ , SANGIS TO MAK UNDIR THE LEVIS G R E N E ." _ ! SA + *G > S TO M | / + K U+NDIR IE L E / + V > S GR E/ + NC" j " Q U H A I R T O , " QUCD I , "S ALL I UPRYS AT MORROW, j •• HWA*RTO + " KWCD I / , " SAL 1 / U P P I / + S AT MO + RO* , 1 FOR IN THIS MAY FEW B I R D I S HERD I SI N G ? FOR IN ( I S MA* FE = + BI + R D > S HE + PD 1 / S I + # G ? THAI HA IF MOIP CAUS TO WEIP AND PLANE THAIR SORROW )A* HA*+F MOR KA=+S TO WE/ + P AND P L | / + N _ )A*R SO+R THY AIR IT I S NOCHT HCLSUM NOP BENYNGJ ' ( 1 / A*+R IT IZ NOXT HO+LSUM NOP E E N I / + A G ; LORD E O L U S ' D O I S IN THY SESSONE RING; LO + PD E / + O L U / S DOZ IN ( 1 / S E / + SON RI + «GJ SO EUSTECUS AP THE BLAS T I S OF HIS HORNE, SO B U + S T JU S AR (E ELA+ST>S |V HIZ HO + RNC, AMANG THY BEWIS TO WALK I HA IF FORBORNE» " AMA+#G ( 1 / B E = + _ S TO W | / + L K 1 / HA*+F FORBO + RN_M WITH THAT T H IS LADY S C 3 I P L Y DID SMYLL, WI) ) A T ( I S L j / + D I / S C + B I P L I DID S M I / + L , AND S A I D , " U P R Y S , AND DO THY OBSERVANCE; AND S A * D , " U P R I / + S , AND DC + ( 1 / 0+5SERV ANTS; THOW D ID PROMYT, IN MAY I S LUSTY QUHYLE, ) U / DID P F C M I + T , IN MA*+>S LU+STI H W I / + L C , FOR TO DISCRYVE THE ROS OF MOST PLESANCEo FOR TO D I S K R I / + V C ( RO+Z |V MOST P L E Z | / + N T S • GO SE THE B I R D I S HOW THAY SING AND. DANCE, GO S E / + (E BI+ R D > S HU/ JAY S I + 0 G AND DA+NTSC. ILLUMYNIT OUR WITH ORIENT SKY IS ERYCHT, I L U / + M _ N I T OfR WI) O+ F JE N T SK.I/ + >S B R I / + XT, ANNAMYLLIT RICHELY WITH NEW ASUR L Y C H T ," ANA+M_LIT RI + T $ EL I WI) N_=+ A + ZU/R L I / + XT" QUHEN T H I S WES S A I D , D E P A I P T I T SCHO, T H I S QUENE, HWEN ( I S WES SATD, DEPA* +P T>T SC,- ( I S KWE/ + NC, AND E N T E R I T IN A LUSTY GAIF.DING GENT? AND E + NTER >T N A LU + S T I G A + F D I 0G GE+NT*. AND THAN, ME THOCHT, FULL HESTELY BESENE, AND ) A N , ME/ ) 0 + XT, FUL HE + S T E L I P E S E / + NC, IN SERK AND MANTILL E F T I R HIR I WENT ' I N SE+RK A N D M A + N T I L E + F T I R HIR 1 / W F. + NT IN TO T H I S GARTH, MOST DULCE AND REDOLENT IN TO ( I S G A + R ) , MOST D U /+ LS C AND RE+DOLENT OFF HERB AND FLOUP ANC TENDIR PLANT IS SUF.IT, ) F HE+RB AND F L U /+ R AND TE+NDIR PLA+NT>S S W E / + T , AND GRENE L E V I S CCING OF DEW DCUN F L E I T * AND GRE/+NC L E / + V>S DC + _A‘G |V DE=+ DU/N F L E + + T • THE PURPOUR SONE, 'WITH TENCIR BEMYS R E I D , (E P U + R P U /R SO + N _ , WI) TE + NDIR P E / + M>S RE+- + D, IN ORIENT BRICHT AS ANGELL DID A P P E I R , IN C+RJENT E R I / + X T AS | / + N D Q E L DID A P E / + R , THROW GOLDIN SKY IS PUTTING UP HIS HE ID , ) R U / GO+LD>N S K . I / + > S PU+TIWG UP HI Z H E / + D , QUHOIS GILT T P E S S I S SCHONE SO.WONDIR C L E I R , HWOS G I + L T T.RE + S>S $ 0 + NC SO w |+ N D IR KLE/ + P, THAT ALL THE WORLD TUKE CCNFCFT, FER AND N E I R , ) AT 1/ L (E WO + PLD TU + K_ K |+ N F O R T , FE+R AND N E / + P , TO LUKE UPONE H I S FRESCHE AND E L IS ^ U L L PACE, TO L U / + K _ U P | + N HI Z FRE+T AND F L I + S F U L F | / + S _ , DOING ALL SABLE~FRO THE HEVYNNIS CHACEe DO + I #G | / L S 1 / + EL> FRC ( E HE + V NF. S T $ ] / + S _ o AND AS THE 8 L I S F U L L SONNE OF CHEPARCHY AND AS (E B L I + S F U L SO+NC |V T $ E + R A R T $ I / THE FOWLIS SONG THROW C GNFCRT OF THE L I C H T ; (E F U / + L > S S |+ f / G ) R U / K | +NFOPT |V (E L I / + X T ; THE B I R D I S DID WITH O P P I N VOCIS CRY, ( E E I + R D > S DID WI) C + P I N VC+S>S K P I / + , O, L U V A P IS FO, AWAY THOW DULLY NYCHT, 335 0 , LU/ + V R>S F 0 + » AWA* + > U / DU + LI N I / + X T , j AND WELCUM CAY THAT CO.MFGRTIS EVERY WIGHT? I AND WE+LKUM DA + + ) AT K | + NFCRTS E + VRI W I /+ X T ? HAILL MAY 1* HAILL FLORA. HAILL AURORA SCHENE, ! HA*L MA*+, HA*L FLO +R A, HA*L A=PC+RA S E / + N C , I HAILL P R I N C E S NATUR , HAILL VENUS LUVIS QUENE. I HA*L PR I+N TS > S N | / + T * R , HA*L V E /+NUS L U / + V > S KWE/+N_i DAME NATURE 3 A I F ANE- I N H I B I T I CUN THAIR j D | / + M N | / + T I * R GA* + F NE I + N H I B I + $ I / U / N ) *R I TO FERS NEPTUNUS. ANC ECLUS THE BAWLD, “ ' TO F E / + R S N E P T U / + N _ S » AND E / + O L U / S IE B | / + W L D , | NOCHT TO PERTURB THE WATTIR NOR THE A I R , j NOXT TO P E R T U /+ R B (E W | / + T I R NOP (E A* + R, AND THAT NO S C H O U R I S , NOR BLAST IS CAWLD. AND ) A T NC S U / + R > S , NOR 8LA + S T> S KA = + LD, EFFPAY SULD F L O U R IS NOR FOWLIS ON THE FOLD? j EFRA++ SULD = L U / + R _ S NCR F U / + L > S |N (E FO+LD? SCHC BAO EIK JUNO, GOODES OF THE SKY, i $ 0 BA+D E / K D Q U /+N G , GO+D>S |V (E S K I / + , I THAT SCHO THE HEVIN SULD KEIP AMENE AND DRY. ! ) AT $0 (E HE + VIN SULD K E / + P _ME/+Fl_ AND. D R I / + . SCHC ORDAND E I K THAT EVERY BIRD AND BE 1ST $ 0 C+RDAND E / K ) AT E+VRI 6 I + R D AND B E / + S T B E F C I P HIR HIENES' SULC ANNONE CGMPEIR, BEFO+R HIR H I / + N E S SULD ANO+N K | M ? E / + R , AND EVERY FLOUR OF VERTEW, MGST1 AND LEI S T , AND E+VRI F L U / + R |V V E + R TT * , MC + ST AND L E / + S T , ! AND EVERY HERB BE F E I L D 1 FER AND N E I R , : AND E+VRI HE+PB B E / F E / + I L D F E+ P AND N E / + R . AS THAY HAD WONT IN MAY1, FRO Y E I P TO Y E I R , AS ) A* HAD W | + N T IN MA* + , FRO J E / + R TO J E / + R, TO HIR THAIR MAKAR TO MAK O B E D I E N S » TO HIR )A*R M | / + K > R TO M | / + K O B E / + D I / E N T S , FULL LAW INCLYNNAND WITH ALL DEW REVERENSo FUL LA = + I # K L I / + NAND WI > | / L DE = + RE + VERENTS# WITH THAT ANNONE SCHO SEND THE SWYFT RO WI) ) AT ANO + NC SC SE + ND (E SWI+FT R 0 + ' TO BRING IN B E I S T T S CF ALL CCNDITIOUN? TO BRI+tfG IN B E / + S T > S |V | / L K | N D 1 + S I / U / N ? THE RESTLES SUALLCW COMMAND IT SCHO ALSO ( E RE + ST L E S S W | / + LO* K MA + ND>T SO ALSO + TO FECHE ALL FOWLL OF SMALL AND GREIT RENOWN? TO F E / + T S | / L F U / + L |V S M | / + L AND GRE* + T RENU/ + N ? AND, TO GAR' F L O U R I S - G C M P E I R OF ALL FASSCUN, AND, TO GAR F L U / + R _ S K | M P E / + R |V | / L F A S U / + N , ! FULL CRAFTELY CO NJU RI T SCHO THE YARROW, ! FUL KRA+FTELI < |N D G U / + R > T $ 0 ( E J A + R O * , QUHILK DID FURTH SWIPK ALS SWIFT AS ONY ARROW. HW ILK DID FU + R) SWI+RK ALS SWI+FT AS | + N I A+RO. j ALL PRESENT WER IN T WYNKLIMG OF ANE E , | / L PRESE+NT WER IN T W I + 0 K L I 0 G |V ANE E / + , BAITH BE I S T , AND B I R D , AND FLOUR, S E F C I R THE QUENE, ! BA *) B E / + S T , AND B I + P D , AND F L U / + P . BEFO+R (E KWE/+NC, AND F I R S T THE LYONE, GRETAST OF DEGRE, AND F I + R S T (= L I / + ON, G R E /+ T>ST |V D E G R E / + , WAS CALLIT T H A I R , AND HE, MOST FAIR TO SENE, * WAZ K | / +L>T ) A * R , ANC H E / , MOST F A* +R TO S E / + N C , , WITH A FULL HARDY CCNTENANCE AND KENE, i WI ) A FUL HA + RDI K 1+NTENA + NTS_ AND K E / + N _ , BE FCI R DAME NATUR CCME, AND DID INCLYNE, 336 BEFO + R D I / + M N | / + T I * R KOM , AND DID I 0 K L I / + N , WITH VISAGE BAWLD AND CURAGE LEONYNE. 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D I S I+R NI #G | / L JA*P FA+SJCNZ AND F.FE/ + P > S ; UPON THE AWFJLL T H R I S S I L L SCHO BEHELD, UP | +N ( E A = + FUL J R I + S I L $0 BEHE+LD,' i AND SAW HIM < E P I T WITH A BUSCHE GF S P E I R I S ; AND SA=+ HIM K E / + P>T WI ) A BU +S_ |V S P E / + R_S? CONCEDRING HIM SO ABLE FOP THE W E I R I S , K | NSI + DPI ffG HIM SO | / + B L > FOP (E W E / + R > S , A RADIUS CPOUN OF RUBEIS SCHO HIM G A I F « A R | / + DJUS KRU/+N )V P U / + E E / Z $ 0 HIM GA* + F , AND S A I D , *' IN F E I L D GG FURTH, AND F£MD THE L A I F ; AND S A * D , " IN F E / + LD GO FU + R ) , AND FE+ND (E LA* + F« AND, SEN THOW ART A KING, THGW BE D I S C R E I T J AND, SEN ) U / ART A K I + * G , ) U / B E / D I S K R E / + T ; . HERB WIT H OU T VERTEW THOW HALD NOCHT CF. S I C P R Y C E H E + R B W I ( U / + T V E + R T I * ) _ / HA+LC NOXT |V S I K O R I / + S AS HERB OF VERTEW AND OF O D O F S U E I T ; i AS H E+ R B | V V E + R T I + AND | v O+DGR S W E / + T ; AND LAT NO NETT ILL VYLE, AND FULL OF VYCE, AND LA+T NG N E + T I L V I / + L C , AND F_L |V V I / + S _ , HIR FALLOW TO THE GUDLY FLCUR DELYCE ; HIR FA+LO* TO (E G U /+ C L I F L U / + R CEL I / + S C ; NOR LATT NO WYLD WE I D , FULL OF CHURL ICHEN'ES, NOR LA + T NO W I / + LD WE/ + D, FUL |V TSU+PL I T $ N E S , COMPAIR HIR T I L L THE L I L L E I S NOBILNES o K|M PA *+R H IP T I L (E L I + L J > S N O + B IL N E S , NOT HALD NGN UDI P FLCUR IN S I C DENTY N | T HA+LD NON U+DIR F L U / + F IN SIK D E / + N T I AS THE FRESCHE POS CF CULLCUR REID AND QUHYT; AS (E FRE+S RO+Z |V KU+LU/R RE*+D AND H W I / + T J FOR G I F E THOW D O I S , HURT I S THYME HONESTY, ' FOR G I F ) U / DOZ, HU+RT IZ J I / + N C l + N E S T I , CONCIDDERING THAT NO FLOUR IS SO PERFYT, K | N S I + DR I G ) A T NC F LU/ + R IZ SO P E R F I / + T , SO FULL OF VEPTEW, PLESANS, ANC C E L Y T , SO FUL |V V E + P T I * , PLE+ZANS, AND D E L I / + T , SO FULL OF P L I S F U L L A N'GE I L I K BEWTY, | SO FUL |V BLI+S FUL I / + N D Q E L I / K E E = T I / + , 1 IMPERI ALL BI R T H , HONOUR AND C I G N I T E . " I M P E / + R J A L B I + R ) , | N U / + P AND D I + G N I T E / " THAN TO THE ROS SCHO TURNYT H I P V I S A G E 1 , JAN TO (E RO+Z $ 0 TU+FN>T H IP V I S | / + D Q C , * j AND S A I D , " 0 LUSTY CCCHTIR MOST PENYNG, AND SA *D, •• 0 L U+S TI C | + X T I R MOST B E N I / + A G , i ABO IF THE L I L L Y , ILLUSTAPE OF LYNNAGE, ABO+F (E L I + L , I L U / + STAR |V L I N | / + DQ , Filmed as received without page(s) 338 UNIVERSITY MICROFILMS. BOWGE OF COURT (K IN SM A N ) NUMBER OF SYLLABLES ........................................................ • • • • • « • • 2 1 0 6 NUMBER OF S T R E S S MAXIMA • . . . . • • V a • • • * • • . 4 6 2 PERCENTAGE OF S T R E S S MAXIMA .o .o . . . • • •• • • • 21 NUMBER OF L I N E S • • • « 4 * * * ** * o ** » * W . . . 2 0 0 PERCENTAGE OF S T R E S S MAXIMA L I N E S • • . » • • • • • • • 1 0 0 NUMBER OF L I N E S WITHOUT S T R E S S MAXIMUM. . • • • • • • • 0 NUMBER CF IAMBIC L I N E S * * * o * *« *«* ** ** ** * 1 6 8 PERCENTAGE OF IA M B IC L I N E S * » • • • • • . * • • • • • • 8 4 NUMBER OF TROCHAIC L I N E S * a*** *** ** ** ** ** 0 PERCENTAGE OF TROCHAIC L I N E S . . . • * . . • • • • • • . 0 n u m b e r o f i r r e g u l a r l i n e s • • • • • • * * . * . . . . . o PERCENTAGE OF IRREGULAR L I N E S • • • • • • * • • • • • > 0 n u m b e r o e a m b i g u o u s L I N E S • 5 PERCENTAGE OF AMBIGUOUS L I N E S • • • • • • • • • • • • • 2 NUMBER OF ASSONATING SYLLABLES* • • • « • • • • • • • • 1 3 7 9 PERCENTAGE OF ASSONATING S Y L L A B L E S . • • • • • • • • • • 6 5 NUMBER OF ASSONATING L I N E S . • • • • • • « • • • • • • • 1 9 3 PERCENTAGE OF ASSONATING L I N E S . • • • * • • • • • • • • 9 6 NUMBER OF ASSONATING PATTERNS • • • * • . * . • • • • • 4 2 0 NUMBER GF A L L IT E R A T IN G SYLLABLES* • • • • • • * • • • • 399 339 PERCENTAGE OF ALL ITERA TING SYL LABLES. . • • • • • • • . 18 NUMBER OF ALLITERAT ING L I N E S . • • • • • • * • • • • • • 1 3 7 PERCENTAGE OF A LL ITE R A TIN G L I N E S . • • • • • • • • • • • 6 8 NUMBER OF ALLITERATING PATTERNS • • • • . • • . . . « . 184- NUMBER OF L I N E S WITH COINCIDENT ASSON & A L L IT .......................... 1 0 9 PERCNT CF L I N E S WITH COINCIDENT ASSON & A L L lT . . . . . 5 4 NUMBER OF SYLLABLES WITH COINCIDE NT ASSON & A L L IT . . . 2 1 2 PERCNT OF SYLLABLES WITH COINCIDENT ASSON & A L L I T . . . 10 NUMBER OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY. . o • . 4 8 PERCNT OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY. . . . . 2 4 * AVERAGE COMPLEXITY. 3 NUMBER OF AMETRICAL L I N E S 32 PERCNT OF AMETPICAL L I N E S • • • • • • • « . . . . . • • . 1 6 NUMBER OF L I N E S TO BE E L I D E D . • • • • • • • • • • • • • . 1 8 2 n u m b e r o f l i n e s s h o r t e r t h a n s p e c i f i e d l e n g t h • • • • • 2 AVERAGE NUMBER CF WORDS PER L I N E . • • • • < > • • • • • • 8 1 4 0 NUMBER o f P O S S I B L E ASSIGNMENTS o f SYLLABLES TO POSITIONS 1 0 3 9 SYLLABLE ADJUSTMENT RATIO * • • . » • * • • • • • . • • « 5 1 9 NUMBER OF ELIDABLE ADJUSTMENTS* . . . . • • • • • » • » 1 0 2 2 NUMBER OF CATACLECTIC ADJUSTMENTS » • • • • • • • • * • 2 NUMBER OF OPTIONAL E . . . . • • * • * . . . • • » • • . 3 9 4 n u m b e r o f o p t i o n a l e a f t e r e l i s i o n . • • . • • • • • • • 153 PERCENTAGE OF OPTIONAL E * * . . . . . . . »« « . « . « 38 341 | . i I BOWGE OF COURT ( K I N S M A N ) NUMBER O F S E N T E N C E S -........................4 9 j ■NUMBER OF WORDS 1 6 6 2 j NUMBER OF S Y L L A B L E S 2 4 4 0 ' . i A V S E N T LENG TH I N WORD 3 3 . 9 1 8 4 j I Lav s e n t l e n g t h i n s y _____ 4 9 . 7 9 5 9 ; . ' ' ! ! AV WORD L EN GTH I N SY 1 . 4 6 8 1 i ! BOWGE OF COURT ( K I N S M A N ) NUM OF 1 . 2 * 3 E T C . S Y L WORDS 10 0 3 1 6 0 0 5 2 1 3 0 0 9 2 0 0 0 BOWGE OF COURT ( K I N S M A N ) NUM OF 1 , 2 . 3 E TCo WORD S E N T E N C E S 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ...... 0 0 1 2 3 0 1 0 0 1 3 0 0 0 2 0 0 0 2 -... 1 ..... 1 0 0 0 1 1 0 1 0 2 1 0 0 0 2 0 0 0 1 0 1 - 0 0 - 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 2 . 0 0 0 0 5 1 1 0 0 5 2 0 0 0 1 0 1 0 1 ....... BOWGE OF COURT ( K I N S M A N ) ^ r > j OOOOQOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOooo OOOOOOOOOOOOOOO©00000000000000000000000000000-00000000000ooo « / ) UJOOOOOOOOOOOOOOOOOOO — ooooooooooooooooooooooooooooooooooooo ooo U : Z . Ui : ( — ; z iLi ( / } -J > C V l O © © — OOO — — OOWOOOOOOOOOCVJOOOOO — oooooooooo— OOOOOOOOOOOOOOOOO —o o 1 0 • ' o t - , u . n NOOOOOO- o — OOOHIOOOOh O O O O O n t M W m W O O — O O — O <\l <\) O — O O <\) — O O — C V I — o o — o o o o — 0 0 o • * ; T r ’ 1 ; ^ 4 j U. ■ ' ■ — ■ o r ■ 343 LINE STRESS BOWGE OF COURT (KINSMAN) MAXIMUM VALUE: 149 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL 731 PCS VALUE PERCENT 1 23 3*1441 XXX 2 109 14,9003 xxxxxxxxxxxxxx 3 21 2* 8707 XX 4 130 17,7710 XXXXXXXXXXXXXXXXX 5 16 2.1872 XX 6 119 16,2673 xxxxxxxxxxxxxxxx 7 16 2,1872 XX 8 109 14,9003 XXXXXXXXXXXXXX 9 17 2.3239 XX 10 149 20.3683 XXXXXXXXXXXXXXXXXXXX 11 9 1,2303 X 12 9 1,2303 X 13 2 0,2734 14 1 0.1367 15 1 0,1367 16 0 0,0000 STRESS MAXIMUM BOWGE OF COURT (KINSMAN) MAXIMUM VALUE: 99 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 462 POS VALUE PERCENT . 1 0 0,ocoo 2 91 19.6924 XXXXXXXXXXXXXXXXXXX 3 9 1,9476 X 4 8 8 19.0432 XXXXXXXXXXXXXXXXXXX 5 9 1.9476 X 6 92 19,9088 XXXXXXXXXXXXXXXXXXX 7 8 1,7312 X 8 99 21.4236 XXXXXXXXXXXXXXXXXXXXX 9 1 1 2,38C4 XX 1 0 35 7,5740 xxxxxxx 11 7 1,5148 X 1 2 9 I,9476 X 13 2 0,4328 14 1 0,2164 15 1 0.2164 16 0 0 , 0 0 0 0 ASSONANCE BCWGE OF COURT (KINSMAN) MAXIMUM VALUE: 116 SCALE 151 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 116 11•8436 xxxxxxxxxxx 2 106 1 0* 8226 xxxxxxxxxx 3 93 9*4953 xxxxxxxxx 4 8 6 8* 7806 xxxxxxxx 5 89 9* 0869 xxxxxxxxx 6 1 0 0 1 0 * 2 1 0 0 xxxxxxxxxx 7 85 8*6785 xxxxxxxx 8 93 9.4953 xxxxxxxxx 9 77 7* 8617 xxxxxxx 1 0 8 2 8* 3722 xxxxxxxx 11 25 2*5525 XX 1 2 1 1 1*1231 X 13 9 0* 9189 14 4 0* 4084 15 2 0* 2042 16 1 0 * 1 0 2 1 ALLIT ER ATIO N BOWGE OF COURT (KINSMAN) MAXIMUM VALUE: 5 4 SCALE 1 : 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 47 11•7762 XXXXXXXXXXX 2 42 10* 5252 XXXXXXXXXX 3 28 7*0 168 XXXXXXX 4 54 13.5324 XXXXXXXXXXXXX 5 35 8* 771 C XXXXXXXX 6 39 9*7734 xxxxxxxxx 7 24 6.C144 xxxxxx 8 35 8* 7710 xxxxxxxx 9 35 8*7710 xxxxxxxx 10 49 12* 2794 xxxxxxxxxxxx 11 6 1•5036 X 12 2 0* 5012 13 1 0•25C6 14 2 0* 5012 15 0 0*0000 16 0 0.0000 9 7 9 399 BOWGE OF COURT (KINSMAN) COINCIDENCE OF ASSONANCE AND ALLI TERAT ION MAXIMUM VALUE? 32 SCALE 1S1 GRAPH IN PERCENTAGE OF TOTAL.......TOTAL 212 POS VALUE PERCENT 1 24 11.3184 XXXXXXXXXXX 2 32 15.0912 XXXXXXXXXXXXXXX 3 19 B.9604 xxxxxxxx 4 23 1C.8468 xxxxxxxxxx 5 20 9.4320 xxxxxxxxx 6 13 6.1308 xxxxxx 7 16 7.5456 xxxxxxx 8 1 8 8.4888 xxxxxxxx 9 16 7.5456 xxxxxxx 10 26 12.2616 xxxxxxxxxxxx 11 2 0.9432 12 1 0.4716 13 1 0.4716 14 1 0.4716 15 0 0.0000 16 0 C.0000 PUNCTUATION BOWGE OF COURT (KINSMAN) MAXIMUM VALUE: 110 SCALE 1S1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 453 POS VALUE PERCENT 1 33 7.2831 xxxxxxx 2 23 5.C76 1 XXXXX 3 26 5.73e2 XXXXX 4 58 12.8006 XXXXXXXXXXXX 5 67 1*.7869 XXXXXXXXXXXXXX 6 39 8.6C73 xxxxxxxx 7 26 5.7382 XXXXX 8 9 1.9863 X 9 4 0.8828 10 110 24.2770 XXXXXXXXXXXXXXXXXXxxxxxx 11 37 8 o 1659 xxxxxxxx 12 8 1•7656 X 13 8 1•7656 X 14 3 0.6621 15 1 0.2207 16 1 0.2207 TOTALS FOR E N T IR E SAMPLE NUMBER OF POEMS • NUMBER OF SYLLABLES • * • • » • < NUMBER OF STRESS MAXIMA • • • • • • • PERCENTAGE OF ST RESS MAXIMA . • • • • NUMBER OF L I N E S . . . . e . . . . . . PERCENTAGE OF ST RES S MAXIMA L I N E S • # NUMBER OF L I N E S WITHOUT ST RES S MAXIMUM NUMBER OF IAMBIC L I N E S . • ». • • • • PERCENTAGE OF IAMBIC L I N E S . » • . • • NUMBER OF TROCHAIC L I N E S . . . . . . . PERCENTAGE OF TROCHAIC L I N E S * . . . . NUMBER OF IRREGULAR L I N E S • • • . . . PERCENTAGE OF IRREGULAR L I N E S . . . . NUMBER OF AMBIGUOUS L I N E S • • • • « . PERCENTAGE OF AMBIGUOUS L I N E S • • . . NUMBER OF ASSONATING SYLLABLES. • . . PERCENTAGE o f ASSONATING SYLLABLES. • NUMBER OF ASSONATING L I N E S . • • • • . . PERCENTAGE OF ASSONATING L I N E S . . . . NUMBER OF ASSONATING PATTERNS • • • »■ NUMBER OF A L LIT ER AT IN G SY LLABLES, e . 2 5281 119 1 22 500 100 0 3 8 6 7 7 0 * 0 0 0 10 2 3 2 9 0 62 4 8 4 9 6 1011 941 346 PERCENTAGE OF ALLITERAT ING SYLLABLES . . . . 17 NUMBER OF ALLITERATING L I N E S * . . . o . . * . . • • • « 3 2 5 PERCENTAGE OF ALLITERATING L I N E S . • » . . » • • • • • • 6 5 NUMBER OF ALLITERATING PATTERNS • • • • • • • • • « . • 4 2 9 NUMBER OF L I N E S WITH COINCIDENT ASSON & A LLlT • • • • • 2 6 0 PERCNT OF L I N E S WITH COI NCIDENT ASSON & A L L I T • • • • • 52 NUMBER OF SYLLABLES WITH COINCIDENT ASSON & ALL IT • • • 4 9 0 PERCNT OF SYLLABLES WITH COINCIDENT ASSON & A L L IT • • • 9 NUMBER OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY. • . . • 1 4 6 PERCNT OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY. • • • • 2 8 0 0 AVERAGE COMPLEXITY. . . . * « . . • > • • • • • • • • • 3 0 0 NUMBER OF AMETRICAL L I N E S • • • . • • • • • • • • • . • 1 1 4 PERCNT OF AMETRICAL L I N E S • • • • • • • • • • • • • • • 2 2 n u m b e r o f l i n e s t o b e e l i d e d . 4 3 7 NUMBER OF L I N E S SHORTER THAN S P E C I F I E D LENGTH • • . • • 5 a v e r a g e n u m b e r o f w o r d s p e r l i n e . • • • • • • • • • • • 7 8 5 1 NUMBER OF P O S S I B L E ASSIGNMENTS OF SYLLABLES TO P O S I T I O N S 2 3 6 9 SYLLABLE ADJUSTMENT RATIO . . . o . . . • « . . . . • • 4 7 3 ' NUMBER O F ELIDABLE ADJUSTMENTS. • • • « • • • . . » • • 2 3 0 6 NUMBER O F CATACLECTIC ADJUSTMENTS . . • • • • ••••• 5 NUMBER OF OPTIONAL E . 9 » . «. .. • « . • • • • • • . 7 3 8 NUMBER OF OPTIONAL E AFTER E L I S I O N . • 3 1 7 PERCENTAGE OF OPTIONAL E# 63 L IN E STRESS TOTALS FOR ENTIRE SAMPLE i MAXIMUM VALUE: 363 SCALE i:i L ...GRAPH IN PERCENTAGE OF TOTAL , TOTAL 1822 t ~ i POS VALUE PERCENT ; ... . 1 67 3*6716 XXX i 2 282 15.4536 xxxxxxxxxxxxxxx 3 47 2* 5756 XX ; * 327 17.9196 xxxxxxxxxxxxxxxxx 5 69 3.7812 XXX 6 250 13.7000 XXXXXXXXXXXXX : 7 47 2.5756 XX 8 247 13.5356 XXXXXXXXXXXXX 9 55 3*0140 XXX . 10 363 19.6924 XXXXXXXXXXXXXXXXXXX 11 28 1.5344 X 12 26 1.4248 X 13 9 ‘C.4932 14 3 0.1644 15 2 0.1096 • 16 0 0.0000 STRESS MAXIMUM TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 243 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 1191 POS VALUE PERCENT 1 0 0.0000 2 233 19.5487 XXXXXXXXXXXXXXXXXXX 3 22 1o 8458 X 4 243 20.3877 XXXXXXXXXXXXXXXXXXXX 5 44 3.6916 XXX 6 204 17.1156 XXXXXXXXXXXXXXXXX 7 32 2.6848 XX 6 231 19.38C9 XXXXXXXXXXXXXXXXXXX 9 41 3.4399 XXX 10 85 7.1315 XXXXXXX 11 21 1.7619 X 12 23 1.9297 X 13 8 0.6712 14 3 0.2517 15 1 0.0839 16 0 0.0000 349 | ASSONANCE TOTALS FOR ENTIRE SAMPLE I I MAXIMUM VALUE: 263 SCALE 1:1, i GRAPH IN PERCENTAGE OF TOTAL >. TOTAL POS VALUE PERCENT 1 2 6 3 1 1 . 1 5 1 2 XXXXXXXXXXX 2 2 5 1 10* 6 4 2 4 XXXXXXXXXX 3 2 1 6 9. 1 5 8 4 . xxxxxxxxx 4 241 10* 2 1 8 4 XXXXXXXXXX 5 2 0 9 8 . 8 6 1 6 xxxxxxxx 6 2 3 1 9 . 7 9 4 4 xxxxxxxxx 7 1 9 4 e . 2 2 5 6 xxxxxxxx 8 2 2 6 9 . 5 8 2 4 xxxxxxxxx 9 1 9 8 8 . 3 9 5 2 xxxxxxxx 10 2 0 4 8 . 6 4 9 6 xxxxxxxx 11 56 2 . 3 7 4 4 XX 12 2 6 1 . 1 0 2 4 X 13 2 3 0* 9 7 5 2 14 1 1 0 * 4 6 6 4 15 3 0. 1272 16 1 0 * 0 4 2 4 ALLITERATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 120 SCALE 1:1 ■ GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT . 1 10 9 11* 5 7 5 8 XXXXXXXXXXX 2 1 0 4 1 1 * 0 4 4 8 XXXXXXXXXXX 3 7 3 7* 7 5 2 6 xxxxxxx 4 1 2 0 12* 7 4 4 0 xxxxxxxxxxxx 5 7 8 8 . 2 8 3 6 xxxxxxxx 6 9 9 10* 5 1 3 8 XXXXXXXXXX 7 71 7. 5 4 0 2 xxxxxxx 8 9 3 9* 8 7 6 6 xxxxxxxxx 9 6 9 7* 3 2 7 8 xxxxxxx 10 96 1 0 . 1 9 5 2 XXXXXXXXXX 11 1 3 1 . 3 8 0 6 X 12 9 0 . 9 5 5 8 13 4 0* 4 2 4 8 14 3 C . 3 1 8 6 15 0 0 . 0 0 0 0 16 0 0 * 0 0 0 0 2353 941 • - ..... ; ..■ ' ... ' 35 G TOTALS FOP ENTIRE SAMPLE COINCIDENCE OF ASSONANCE AND ALLITERATION MAXIMUM VALUE! 66 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL.......-TOTAL 490 POS VALUE PERCENT ..1 55 11*2200 XXXXXXXXXXX 2 66 13*4640 XXXXXXXXXXXXX 3 49 9* 9960 xxxxxxxxx 4 59 12* 0360 xxxxxxxxxxxx. 5 39 7*9560 xxxxxxx 6 42 8*5680 xxxxxxxx 7 42 8*5680 xxxxxxxx 8 44 8* 9760 xxxxxxxx 9 34 6*9360 xxxxxx 10 48 9*7920 xxxxxxxxx 11 4 0.8160 m 12 5 1*0200 X 13 2 o *4oeo 14 1 0*2040 15 0 0*0000 16 0 0* 0000 i i PUNCTUATION TOTALS FOR ENTIRE SAMPLE MAXIMUM VALUE: 193 SCALE: 1:1 TOTAL: 734 GRAPH IN PERCENTAGE OF TOTAL POS VALUE PERCENT 1 34 4.6307 x x x x . 2 59 8.0381 XXXXXXXX 3 45 6.1308 4 71 9.6594 x x x x x x x x x 5 93 12.6703 x x x x x x x x x x x x 6 63 8.5831 x x x x x x x x 7 38 5.1773 XXX XX 8 27 3.6703 XXX 9 23 3.1323 XXX 10 193 26.2942 x x x x x x x x x m x x x x x x x x x x x x x x 11 49 6.6757 xxxxxx 12 18 2.4536 XX 13 12 1.6212 • x r A 14 6 .8106 15 3 ..4053 GARLAND OF LAUREL (DYCE) ARECTYNG MY SYGHT TOWARDE THE ZODYAKE, R E + K T I # G M I / S I / + X T TOWA+RD ( > Z O + D I / A K , THE SYGNES X I I FOR TO BEHOLD^ A FAP.RE« ( > S I / + G N > S TWE+LV FOR TO BEHO+LD | / F | / + R * WHEN MARS RETROGRADANT REVERSYD H IS BAK. ” HWEN MA +RZ REGRO+GR>DANT PEVE+RST H I Z BA + K, LORDE OF THE YERE IN H I S ORBICULAR, LO+RD |V (> J E / + R _ IN HIZ O R B I+ KU/L AR , PUT UP H I S SWORDE, FOR HE COWDE MAKE NO WARRE, PUT UP H I Z SWO+RO , FOR HE/ KO*D M | / + K MO WA+R , AND WHAN LUC INA PLENARLY DID SHYNE, “ ” AND HWAN L U / S I / + N A PLE+NARLI DID $ I / + N C » SCORPIONE ASCENDYNGE DEGREES TWYSE NYNE « SKORPJO+NC A+SENDI + 0 G_ DEGRE/+Z T W I / + S N I / + N ; IN PLACE ALONE THEN MUSYNGE IN MY THOUGHT ~ IN P L | / + S ALO+N ) EN M I * + Z I # G IN M I / ( 0 * + X T HOW ALL THYNGE PASSYTH AS DOTH THE SOMER FLOWER, ' H_* AL > I+ # G P A + S > ) AZ D | ) ( > SO+M>R F L O * + R, ON EVERY HALFE MY REASONS ^ORTHE I SOUGHT, “ |N E +V > R _ H | / + L F M I / R E / + Z > N Z FO+R) 1 / S O * + X T , HOW OFTYN FORTUNE VARYETH IN AN HQWRE, HO* | + F T > N FO + R TI *N V l / + R J > ) IN AN 0 * + R C , NOW CLERE WETHER, FORTHWITH A STORMY SHOWRE? NO* K L E /+ R C WE+ ( R, F O R ) W I + ) | / STO+RMl $ 0 * + R i ALL THYNGE COMPASSYD, NO PERPEiTUYTE, AL ) I + « G C K | M P A + S T , MO P E R P E + T W I T E / , BUT NOW IN WELTHE, NOW IN ADVERSYTE* BUT NO* IN WE + L ) C , NO* IN ADVE + R S > T E / * SO DEPELY DROWNYD I WAS IN T H I S DUMPE, SO D E / + P L I DRO* +N>D 1 / WAZ IN ( I S DU + MPC, ENCRAUMPYSSHED SO SORE WAS MY CONCEYTE, ENKRA=+MP>$>D SO SO+R_ WAZ M I / K | N S E * + T , THAT, ME TO R E S T , I LENT ME TO A STUMPE~ ( A T , ME/ TO R E + S T , 1 / LE+NT ME/ TO | / STU+MPC OF AN OKE, THAT SOMTYME GPEW FULL STREYGHTE, |V AN O+KC, (AT SO+MTI/M GRE=+ FUL S T R E * + X T C , A MYGHTY TRE AND OF A NOBLE HEYGHT, j / M I / + X T I T R E / + AND |V | / MO+B>L HE* +XT , A MYGHTY TRE AND OF A NOBLE HEYGHT, ) / M I / + X T I T R E / + AND |V | / MO+B>L H E * + X T , H I S L E V I S LO ST E, THE SAPPE WAS FROME THE RYNDE. HIZ L E / + V > Z L | + ST , ( > SA + PC WAZ FROM ( _ R I / + ND « THUS STODE I IN THE FRYTTHY FOREST OF GALTRES, ~ (US STO+DC / IN (> F R I + I I FO+R_ST |V GA+LTR S , ENSOWKID WITH SYLT OF THE MYRY MOSE, ENSO*+K>D WI) S I + L T |V (> MI+ RI MC+SC, WHERE HARTIS BELLUYNG, EMBOSYD WITH D I S T R E S , HWER HA + RT>S BE+LW # G , EMB|+Z>D WI) D I S T R E + S , RAN ON THE RAUNGE SO LONGE, THAT I SUPPOSE RA+N |N (> RA=+NDQ_ SO L l + # G _ , (AT 1 / SUPO+Z FEW MEN CAN TELL NOW WHERE THE HYNOE CALFE GOSEI F E = + ME+N KAN TE+L NO* HWER (> H I / + N D C KA+LFC GO*Z FEW MEN CAN TELL NOW WHERE THE HYNDE CALFE GOSE; F _ = + ME*N KAN TE+L NO* HWER ( _ H I / + N D C KA+LFC GO+Z FEW MEN CAN TELL NOW WHERE THE HYNDE CALFE GOSEJ F =+ ME+N KAN TE+L NO* HWER ( _ H I / + N D C KA+LFC GO+Z WHYLIS I STODE MUSYNGE IN T H I S MEDYTATYON, H W I / L S 1 / STO+D M I * + Z I # G IN ( I S ME +D ITA+T J N, IN SLUMBRYNGE I FELL AND HALFE IN A S L E P E j ” IN SLU+MBRI #G 1/ FE+L ND H /+LFC IN / SLE/+P \ AND WHETHER IT WERE OF“YMAGYNACYCN« AND HWE+OR IT WER |V IMA+DQ>N|/+SJ>N, OR OF HUMORS SUPERFLUE, THAT OFTEN WYLL CREPE _R |V HI *+M>P Z SU/+P>RFLU/, (AT |+FT N WIL KRE/+P INTO THE BRAYNE BY DRYNKYNG OVER DEPE, ~ INTO-*- (> BRA*+N_ BI/ DRI+0KIWG 0+V>R DE/+P , OR IT PROCEDYD OF FATALL PERSUACYON, OR IT PROSE/+D>D |V F|/+T>L PERWA+SJ>N, I CAN NOT WELE TELL YOU WHAT WAS THE OCCASYONJ 1/ K_N N | T WEL TE + L JC* HWAT WAZ .(> OKj/+SJ_Ni BUT SODEYNLY AT ONES, AS I ME ADVYSEO, BUT SO+DE*NLI AT 0+N_S, AZ _/ ME/ ADVI/+ZD, AS ONE IN A TRANS OR IN AN EXTASY, AZ O+NC IN |/ TRA+NS _R N AN E+KST>SI, I SAWE A PAVYLYON WONDERSLY DISGYSEDE, 1/ SA = + C |/ PAVI+ LJ>N W|+NDERSLI. DISGI/+Z>D, GARNYSSHED FRESSHE AFTER MY FANTASY, GA + RNI $T FRE+$C A + FTER MI/ FA+NT>SI, ENHACHYDE WITH PERLE AND STONES PRECIOUSLY, ENHA + T$>D WI) PE/ + P>L AND STO + N>S PRE+SJ>SLI» THE GROUNDE ENGROSYD AND BET WITH BOURNE GOLDE, <> GRO*+ND ENGRO+ST AND BE+T WI) BO*+RNC GC+LD_, THAT PASSYNGE' GOODLY IT WAS TO BEHOLDE: (AT PA+SItfG GO+DLI IT WAZ TO BEHO+LDC: WITHIN IT, A PRYNCES EXCELLENTE OF PORTE 5 WI(I+N _T. |/ PRI+N TS>S E+K S>LENT |V PO + RT J BUT TO RECCUNTE HER RYCHE ABYLYMENT, BUT TO REKD*+NT_ HER RI+T$_ ABI+L>M>NT, AND WHAT ESTATES TO HER DID RESORTE, AND HWAT EST)/+ T>S TO HER DID REZO+RTC, THERTO AM I FULL INSUFF YCYENT• (ERTO+ AM 1/ FUL I+NSUFI+SI/ENT; THERTO AM I =ULL INSUFFYCYENT; (ERTO+ AM 1/ FUL I+NSUFI+SI/ENT; AS I HARDE SAY, DAME PALLAS WAS HER NAME I AZ / H|/+RDC S_*, D|/+MC PA + LAS WAZ HER N | / + M__; TO WHOME SUPPLYED THE ROYALL OUENE OF FAME© TO HOM SUPLI/+D (> PO=+AL KWE/+N_ |V F|/+M » PRYNCES MOOST PUSANT, OF HYGH PREEMYNENCE," PR I+NT S> S MOST PU/ + Z>NT, |V HI/+X PR I/E+MINENTS, RENOWN YD LADY ABOVE THE STERRY HEVYN, RENO*+N>D L|/+D_ AB|+V (> STE+RI HE+V_N, ALL OTHER TRANSCENDYNG7 OF VERT CONGRUENCE AL |+( R TRANSE+ND #G, | v VE+RI K|+NGRU/E+NTS MADAME“REGENT OF THE SCYENCE SEVYN MAD|/+MC RE/+ DQ>NT |V (> SI/ + >NTS SE + V>N TO WHOS ASTATE ALL NOBLENES MOST LENEN, TO HOS AST|/+T AL NO+B>LNES M|ST LE/+N_N, MY SUPPLYCACYON TO YOU I ARRECT, MI/ SU+PLIKA+SJ>N TO JO¥ 1/ ARE+KT, WHEREOF I BESECHE YOU TO TENDER THE EFFECTE. HW_R | ■ < V 1/ BE SE/+T$C JO* TO TE + ND R (_ EFE + KT_© 'NOT UNREMEMBERED IT IS UNTO YOUR GRACE, N|T U+NR_ME+MB>RD IT IZ UNTO+ JO*R GRJ/+S , HOW YOU GAVE ME A RYALL COMMAUNDEMENT HO* JO* G|/ + VC ME/ |/ RI/ + >L K | +MA = NDMENT THAT IN MY CCURTE SKELTON SHULDE HAVE A PLACE, (AT IN MI/ KO*+PTC SKE+LT N $ULD H|/+V_ |/ PL|/+S_, BYCAUSE THAT HIS TYME HE STUDYOUSLY HATH SPENT BIKA=+ZC (AT H I Z T I / + M C H E / S T U / + D J > S L I HA) SPE+NT IN YOUR SERVYCEJ AND. TO THE ACCOMPLYSSHEMENT IN JO *R S E R V I / + S J AND, TO (> A K | + MPLISM>NT OF YOUR REQUEST, REGESTRED I S H I S NAME |V J O * R REKWE + S T ; REDQE+STR>D I Z HIZ N | / + MC WITH LAUREATE TRYUMPHE IN THE COURTE OF FAME* WI) L A = + R J > T T R I / + U M F IN ( > KO* + RT_ |V F | /•+M • BUT, GOOD MADAME, THE ACCUSTOME AND USAGE ” BUT, GO+D MAD | / + M_» ( AKU+ST>M AND I * S | / + D Q _ OF AUNCIENT P O E T I S , YE WOTE FULL WELE, HATH BENE JV A=+NSJENT P O + _ T S . J E / WO+TC FUL W_L, HA) B E / + N THEM SELFE TO EMBESY WITH ALL THERE HOLL CORAGE, ” ) EM S E + L F _ T EMBE+ZI W I) AL ) ER HO+L K _ R | / + D Q _ , SO THAT THERE WORKIS MYGHT FAMOUSLY BE S E N E , SO (AT ) ER WO+RKS M I / X T F | / + M U / S L I B E / S E / + N C , IN FIGURE WHEROF THEY WERE THE LAURELL GRENE; IN F I + G U / R HW R | + V ( E* WER (> LA=+R>L G R E / + N S BUT HOW IT 1ST SKELTON I S WONDER SLAKE, BUT HO* IT I Z , SKE+LT>N I Z W|+ND>R S L | / + K C , AND, AS WE DARE. WE FYNDE IN HYM GRETE LAKE: AND. AZ WE/ D | / + R _ , WE/ F I / + N D _ IN HIM G R E / + T L | / + K FOR, NE WERE ONELY HE HATH YOUR PROMOCYON. ” FOR, NE WER D+NLI H E / HA) JO *R PROMO+SJ>N, FOR, NE WERE ONELY HE HATH YOUR PROMOCYON, FOR, NE WER O + NLI H E / HA) JO*R PROM O+ SJ_ N, BUT S I T H HE HATH TASTID OF THE SUGRED POCIOUN BUT S I ) H _ / HA) T | / + S T > D |V ( > SU+G>RD P O + S J _ N OF ELYCONIS WELL, R E F R E S S H I D WITH YOUR GRACE, |V _ L I / + S O N Z WEL, RE F R E + $> D WI) J O * R G R | / + S , OF ELYCONIS WELL, R E F R E S S H I D WITH YOUR GRACE, IV _ L I / + S O N Z W L , REF RE + $>D WI) JO * R G R J / + S C , THE FAVOUR OF LADYS WITH WORDIS E L E C T E . (> F | / + VU/R |V L | / + D I / Z W I ) WO+RDS EL E +K T C , IT IS SITTYNGE THAT YE MUST HYM CORRECT. IT IZ S I T I + A G (AT J E / MUST HIM KORE+KT. THE SUM OF YOUR P U R P O S E . AS WE AR ADVYSID. (> SUM |V J 0 * R PURPO + S _ , AZ W_/ AR ADV/ + Z>D, I S THAT OUR SERVAUNT IS SUM WHAT TO D U L L ! IZ (AT U/R SE+RVA=NT IZ SUM HWAT TO DU+L5 WHERIN T H I S ANSWERE FOR HYM WE HAVE C O M P R I S I D , HW RI + N ( I S ANSWE + RC FOR HIM W / H |/ 4 - V _ K J MPRI / + Z D » HOW RYVERS RIN NOT TYLL THE SPRYNG BE F U LL; HO* RI -f V>RZ R I+ N N | T T I L ( > S P R I + #G B E / F U L ; BETTER A DUM MOUTHE THAN A BRAINLES SCULLV BE +T>R | / D_+M MO*+)C ) AN | / BRA* + NL>S SKU+L; FOR IF HE GLORYOUSLY P U L L I S H E H I S MATTER. FOR IF H E / G L O + R J U / S L I P U + L I S H I Z MA+T>R» THEN MEN WYLL SAY HOW HE DOTH BUT FL A T T E R ; ) EN ME+N WIL SA* HO* H E / D | ) BUT F L A + T > R ; AND I r SO HYM FORTUNE TO WRYTE TRUE AND P L A I N E , AND IF S _ HIM F O + R T I * N TO W R I / + T T R U / + AND PLA*+N , AS SUMTYME HE MUST VYCES REMCRDE7 AZ SU+MTI/M H E / MUST V I / + S>Z REMO + RD C, THEN SUM WYLL SAY HE HATH1 BUT L Y T T IL L BRAYND, ) EN SUM WIL SA* H E / H A + ) BUT L I + T > L BRA*+ND, AND HOW H I S WORDES WITH REASON WYLL NOT ACCORDE; AND HO* HIZ WO+RD>S WI) R E / + Z > N WIL N | T AKO+RDC; BEWARE. FOR WRYTYNG REMAYNETH OF RECORDE; BEW |/ +R _, FOR W R I / + T I 0 G R MA*+N>) |V REKO+RD ; DI S P L E A S E NOT AN HUNDRETH FOR ONE MANNES PLEASURE * 354 D I S P L E / + Z C N | T AN HU+NDR>) FOR O+NC MA+NZ P L E Q U /+ R C ? WHO WRYTETH WYSELY HATH1 A GRETE TREASURE# HO W R I/+ T > > W I / + Z L I HA+) | / G R E / + T _ T R E Q U /+ R _# ALSO, TO FURNISSHE BETTER H I S EXCUSE, ALSO +, TO F U + R N I S BE+T>R HIZ E K S K I * + S C , OVYDE WAS BANNISSHEO FOR SUCH A SKYLL, O V I / + D WAZ BA + NI $>D FOR SUT$ | / S K I + L , AND MANY MO WHOME I COWDE ENDUCE? AND MA+NI MO+ HOM 1 / KO*D ENDU/ + SC ? JUVENALL WAS THRET PAPDE FOR TO KYLL DQU/+VENAL WAZ ) RE + T PA RD E/+ FOR TO K I + L FOR CERTAYNE ENVECTYFYS. YET WROTE HE NONE I L L , FOR SE+RT *N E N V E +K T _ F S , JE T WRO+TC H / NO+NC I + L , SAVYNGE He RUBBID SUM UPON THE GALLJ “ S | / + V I # G H E / RU+B>D SUM U P |+ N ( > GA+L? IT WAS NOT FOR HYM TO ABYDE THE TRYALL, I T WAZ N | T FOR HIM TO AB/+D ( > T R I / A + L . IN GENERRALL WORDES, I SAY NOT GRETELY NAY, IN DQE + N_RAL WO+RD>S, 1 / S _ * N | T G R E / + T L I NA*, A POETE SOMTYME MAY FOR H I S PLEASURE1 TAUNT, | / PO+ >T SO + MT /M MAX' FOR HIZ P L E /+ Q U R T A = + N T , SPEKYNG IN PA R A B LIS, HOW THE FOX, THE GREY, S P E / + R I#G IN PA+R>B L Z , HO* ( > F j + K S , (> GRE* + * THE GANDER, THE GOSE, AND THE HUDGE OLI PHAUNT, (> GA+ND_R, (> GO+Z, AND ( HI*+DQC 0 + L > F A = + N T , WENT WITH THE PECOK AGEYNE THE FESAUNT; WENT WI > (> P E / + K|K AGE* + NC (> FEZA = + NT 5 THE LESARDE CAME1 LEPYNG, AND SAYD THAT HE MUST, (> LE+ZAP.D KAM L E / + P I # G » AND SA*+D (AT H E / MUST, WITH HELPE OF THE RAM, LEY ALL IN THE DUST, W I ) HE+LPC |V ( _ RA+M, L E* + AL IN ( > DU+STo YET DYVEPSE THER BE, INDUSTRYOUS OF REASON, J E T DIVE+RSC ) ER E E / , IN D U + S T R I/ U S |V R E / + Z > N , SUM WHAT WOLDE GADDER IN THERE CONJECTURE SUM HWAT WOLD GA+D>P IN ) ER K |+ N D Q E K T I * + R C OF SUCHE AN ENDARKID CHAPITER SUM SEASON? |V S U T $ _N ENDA+RK>D T$A +P>T> R SUM S E / + Z _ N ? HOW BE I T , IT WERE HARDE TO CONSTRUE T H I S LECTURE? HO* B E / I T , IT WER H | / + RDC TO K | N S T R U / + ( I S L E K T U / + RC ? HOW BE I T , IT WERE HARDE TO CONSTRUE T H I S LECTURE? HO* B / _ T , IT WER H | / + RD_ TO K | N S T R U / + ( I S LEK.TU/+R_? ANOTHER MANES MYNDE D IF FU SE I S TO EXPOUNDE? _ N | +) R MA+N>S M I / + ND D I F I * + S IZ TO EKSPO *+ ND_? YET HARDE I S TO MAKE BUT SUM FAWT BE FOUNDS, J E T H| / +RD IZ T _ M | / + KC BUT SUM FA = + T B E / F O * + N D _ , MADAME, WITH FAVOUR OF YOUR BENYNGE SUF FERAUNCE, MAD 1 / + M_, WI) F | / + VU/R |V JO*R B _ N I / + # G _ SUFRA=+NTS , UNTO YOUR GRACE THEN MAKE I T H I S MOTYVE? UNTO+ JO*R G R | / + S ) EN M | / + K _ 1 / ( I S M O T I / + V ? WHERETO MADE YE ME HYM TO AVAUNCE HWE+RTO M | / +DC J E / ME/ HIM TO AVA=+NTSC UNTO THE RDWME OF LAUREAT PROMOTYVE? UNTO+ ( > RO*+ M |V LA = + R J > T P R O + M O T I/ + V ? OR WHERTO SHULDE HE HAVE THAT PREROGATYVE, OR HWE+RTO SULD H E / H | / + V C (AT P R E R O + G >T IV , BUT IF HE HAD MADE SUM MEMORYALL, BUT IF H E / HAD M | / + D C SUM MEMO+RI/>L, WHERBY HE MYGHT HAVE A NAME INMORTALL? H W E R B I /+ H / M I/X T H | / + VC _ / N | / + MC I+NMORTAL? TO PAS THE” TYME IN SLOWTHFULL YDELNES, TO PA+S (> T I / + M C IN S L O * + ) F U L I / + D > L N E S , OF YOUR ROYALL PALACE IT IS NOT THE GYSE * |V J *R RO=+AL PA+LAS I T I Z N | T (> G I / + Z • BUT TO DO SUMWHAT ICHE MAN DOTH HYM DRES: BUT TO 0 0 SU+MHWAT I / T S MA+N D | ) HIM ORE+S? FOR HOW SHULDE CATO ELS BE CALLYD WYSE, FOR HO* SULD K | / + T 0 ELS B E / K | / + L > D W I / + Z C . BUT THAT H I S B O K I S , WHICHE HE DID DEVYSEV BUT (AT HIZ BO + K > S * HWITS H E / DID D E V I / + S C , RECORDE THE SAME? OR WHY IS HAD1 IN MYNDE REKO+RD_ (> S | / + M C ? OR HW_/ IZ HA+D IN M I/+ N D PLATO, BUT FOR THAT HE LEFT WRYTYNGE 8E HYN DE, ~ P L | / + T O , BUT FOR (AT H _ / LE + FT W RI/+ T It fG BEHI+ND FOR MEN TO LOKE ON? A R I S T O T I L L E ALSO, . FOR ME+N TO LO+KC _ N ? R I + S T | T I + L A L S O + , OF PHYLOSOPHERS CALL I D**THE PR IN C Y PA L L , |V F I + L > S O + F > R Z K | / + L D ( > P R I + N T S > P A L , OLDE D IO GENE S, WITH OTHER MANY MO, 0+LDC' D I / 0 + D Q _ N _ S , WI) | + O R MA + NI M0+, DEMOSTENES, THAT ORATOUR R0Y AL L1, D>MO+ST>N>S, (AT O+RATU/R RO=A+L, THAT GAVE E S C H I N E S SUCHE A CORDYALL. (AT G | / + VC E S K I / + N>S SUTS | / K O + R D I/ A L , THAT B A N N IS S H E D 1 WAS HE BY H I S PROPOSICYOUN, (AT BA+N IST WAZ H E / B I / HIZ P R O + P > S I S J > N . AGEYNE WHOME HE COWDE MAKE NO CONTRAD ICCYOUN? AGE*+N_ HOM H E / KO*D M | / + K_ MO K | + N T R > D I + K S _ / N? S O F T , MY GOOD S Y S T E R , AND MAKE THERE A PA W SE ?" S | + F T , M I / GO+D S I + S T _ R , AND M |/+ K C ) ER ) / PA=+Z AND WAS ES C H IN E S REBUKID AS YE SAY? AND WAZ E S K I / + N>S R E B I * +K>D AZ J E / SA*? REMEMBRE YOU WELE, POYNT WELE THAT CLAUSE? REME + MB>R J O * WEL, PO = +NT WEL (AT KLA = + ZC? WHERFORE THEN RASID YE NOT AWAY HWE+RFOR JEN R | / + Z > D J E / N | T AWA*+ H I S NAME? OR WHY IS I T , I YOU PRAYE, H I Z N | / +MC? OR HWI/ IZ I T , 1 / JO * PR A *+C , THAT HE TO YOUR CCURTE I S GOYNG AND COMMYNGE, (AT HE / TO J 0 * R KO* + RTC IZ GO+I#G AND K |M I + GC, S I T H HE I S SLAUNDRED FOR DEFAUT OF KONNYNG? S I ) H E / I Z SLA = + NDR>D FOR DEFA= +T |V K | + N I * G ? MADAME, YOUR APPOSELLE I S WELE I N F E R R I D , MAD|/ + M_* JO * R A + P>ZE + LC IZ W L INFE+RD, AND AT YOUR AVAUNTAGE QUIKLY I T IS AND AT JO *R AVA = + NT ADO KWI+KLI IT IZ TOWCHID, AND HARD FOR TO BE DEBARRIC? TO* + T $ T , AND H | / + RD FOR TO B E / D E B | / +R>D ? YET SHALL I ANSWERE YOUR GRACE AS IN T H I S , J E T SAL / ANSWE+R_ J O * R G R | / + S C AZ IN ( I S , WITH YOUR REFORMACION, IF I SAY AMI S, WI) J *R R E + F O R M | / + S J > N , I F 1 / SA* AMI+S , F O R , BUT IF YOUR BOUNTE' DID ME ASSURE, FO R, BUT IF J O * R BO*+NTC DID ME/ A S I * + R C , MYNE ARGUMENT ELS KOUDE NOT LONGE ENDUP.E« M I / + N A + RGI * MENT ELS KU/D N | T L | + # G _ ENDU/+R_* AS TOWCHYNG THAT E SC HIN ES IS REMEMBRED, AZ TO* + T$IA‘G (AT E S K I / + N > S IZ REME+M3R>D, THAT HE SO SHOLDE BE , ME SEMITH I T S IT T Y N G , (AT H E / SO SOLD B E / , ME/ SE/+MC I T S I + T I 0 G , ALL BE IT GRETE PARTE HE HATH SURRENDRED AL B E / IT G R E /+ T C PA + RT H E / HA) SURE+ND RD OF H I S ONOUR, WHOS D IS S O A S Y V E I N WRYTYNG” |V H I Z {N U / + R * HOS D I S W | / + S I V IN W R I /+ T I W G TO CORAGE1 DEMDSTENES WAS MOCHE E X C IT Y N G E , TO KO+RADQ D M O+ST>N>S WAZ M | T S E K S I / + T HG, IN SETTYNG OUT FR E S S H E L Y H I S CRAFTY PEPSUACYON, IN SE + T I # G U / T F R E + S L I H I Z K R A + F T I P E R W A + S J> N , FROM WHICHE E S C H I N E S HAD NONE EVACYON. FROM HWITS E S K I / + N > S HAD NO+NC E V | / + Z J O N . THE CAUSE WHY DEMOSTENES SO FAMOUSLY IS B R U T ID , ( > K A =+Z_ HWI/ D M O+ST>N>S SC F j / + M _ / S L I Z B R U /+ T D • THE CAUSE WHY DEMOSTENES SO FAMOUSLY I S B R U T I D . ” ( > K A =+ Z_ H W I / D_MO+ST N>S SO F | / + M _ / S L _ I Z 8 R U / + T > D , E S C H I N E S . WHICHE WAS NOT SHAMEFULLY CONFUTED E S K I / + N _ S , HWITS WAZ N| T $ | / + MFULI K | N F I * + T _ D BUT 0= THAT FAMOUS ORATOUR. I SA Y , BUT |V (AT F | / + M U / S O + R A T U / R , 1 / S A * . WHICHE P A S S ID ALL O T H E R ; WHERFORE I MAY HWITS PA +S>D AL | + ( > R i HWE+RFOR 1 / MA* AMONG MY RECORDES S U F F E R HYM NAMYD, A M |+ #G M I / RE+KORDZ S U + F > R HIM N | / + M > D , FOR THOUGH HE WERE V E N Q U E S S H ID , YET WAS HE NOT SHAMYD FOR < 0 * X H E / WER V E + N K W _S T , J E T WAZ H E / N | T $ | / + M D: AS JEROME. IN H I S PREAMBLE FPATER A M B R O S IU S ,- ~ AZ DQE + R_M. IN H I Z PREA+MB_L FRA+T R A + M B R O S J U /S . FROME THAT I HAVE1 SAYDE IN NO POYNT DOTH VARY, FROM ( A T / HAV SA *+D C IN MO PO=+NT D | > V l / + R , WHEREIN HE REPORTETH OF THE CORAGIUS HWERI + N H E / REPO + RT > ) JV ( > KO + R ADQU/S WORDES THAT WERE MOCH CONSOLATORY WO + RD> S (AT WER M | + T S K | N S O + L > T O + R I BY E S C H IN E S REHERSED TO THE GRETE GLORY B / E S K I / + N _ S R EHE+R S>D TO ( > G R E / + T C GLO+R_ OF DEMOSTENES, THAT WAS H I S UTTER F O C : |V D _ M O + S T >N > S , (A T WAZ H I Z U+T>R F 0 + : FEW SHALL YE FYNDE OR NONE THAT WYLL DO SO# F E = + SAL J E / F I / + N D _ OR NO+NC (AT WIL DO S • A THANKE TO HAVE, YE HAVE1 WELL DESERV Y D , | / )A+#KC T H | / + V C , J E / HAV WEL D E Z E + R V D , YOUR MYNDE THAT CAN MAYNTEYNE SO A P P A R E N T L Y ; JO * R M I/+ N D (A T KAN MA*NTA*+NC SO APA +R_N TL 5 BUT A GR ETE~PA R TE YET YE HAVE R E S E R V Y D ' BUT | / G R E / + T _ PA + RTC J E T J E / H | / + V _ REZE+RV_D OF THAT MOST FOLCW THEN C ONSEQENTLY, |V (AT M |S T F l + L O * ) EN K |N S E + K > N T L I « OR ELS YE DEMEANE YOU INORDINATLY « _R ELS J E / DEME/+NC JO * IN O +R D > N A T L _J FOR I F YE LAUDE HYM WHOME HONOUR HATH O P P R E S T , FOR I p J E / LA = + D_ HIM H_M | + N U / R HA) O P R E + S T , FOR I F YE LAUDE HYM WHOME HONOUR HATH 0 ° P R E S T , F _ R I F J _ / LA = + DC HIM HOM | + N U / R HA) O P R E + S T , BUT WHOME THAT YE F A V 0 U R E 1 . I SE WELL, HATH A NAME, BUT HOM (AT J E / F | / + V _ / R . 1 / S E / + W _ L , HA) | / N | / + M _ , BE HE NEVER SO LYTELL OF SUBSTA U N CE, B E / H E / NE+V>R SO L I + T > L |V S U B S T A = + N T S C , AND WHOME YE LOVE NOT YE WYLL PUT TO SHAME? AND HOM J E / L 0 + V _ N | T J E / WIL PUT TO $ | / + M , YE COUNTERWEY NOT EVYNLY YOUR BALAUNCEJ “ J E / KO*+NT>RWE* N | T E / + V > N L I J O * R B L A =+ N T S i AS WELE FOLY AS WYSDOME OFT YE DO AVAUNCE: 357 AZ WEL F l + L l AZ WI+ZD>M I FT J E / DO A V A =+N TSC ! FOR R rP O R T E RYSETH MANY DEVERSE WAYES! i F R REPO+RTC R I / + Z > > MA+NI D E / + V > R S WA* + SS SUME BE MOCHE SPOKYN OF FOR MAKYNGE OF F R A Y S J ! SUM B E / M |T $ SPO+K>N |V FOR M | / + K I # G |V F R A * + Z I ! SOME HAVE A NAME FOR THEFTE AND BRYBERY; SOM H | / + V | / N | / + M _ FOR > E+FT AND B R I / + B > R 1 / J SOME BE CALLED CRAFTY, THAT CAN PYKE A PU R SE ? SOM B E / K | / + L D K R A + F T I , (AT KAN P I + K _ | / P U + R S J SOME MEN BE MADE OF FOR T H E IR MCKERY ; SOM ME+N B E / M | / + D C |V FOR >E*R M | + K E R I J SOME CAREFUL;. COKWOLDES, SOME HAVE THEYR WYVES CURS S SOM K | / + R F U L K |+ K W _ L D Z , SOM H | / + V <E*R W I / + V > S KU+RSJ SOME FAMOUS WETEWOLDIS, AND THEY BE MO'CHE WURS? SOM F | / + M / S WETWO + L D > S , AND ( E* B E / M | T $ WU + R S j SOME L ID D E R O N S , SOME L O S E L S , SOME NOUGHTY P A C K I S J SOM L I + D R | N Z , SOM L O + Z > L Z , SOM N O * + X T I P A + K > S J SOME F A C E R S , SOME BRACERS, SOME MAKE GREAT C R A C K IS J SOM F | / + S > R Z , SOM B R | / + S ) R Z , SOM M | / + K C G R E / + T KRA+KSJ SOME DRONKEN DASTA RD IS WITH TH EIR DRY SO U LES? SOM D R | + tfK>N DA + ST>RD>S WI) )E * R D R I / + S O * + L > S ; SOME SLUGGYSSG SLCVYNS, THAT S L E P E DAY AND NYGHT; SOM S L U + G I S S L D + V _ N Z , (AT S L E / + P C D A *+ AND N I / + X T ? RYOT AND REVELL BE IN YOUR COURTE RCW LIS? RI / +>T AND RE +V_L B E / IN J O * R KO*+R TC R O * + L _ S ? MAINTENAUNCE AND M I S C H E F E , T H E I S BE MEN OF MYGHT1 * M A *+ N T_N A = + N T S _ AND M I + S T $ > F , ) E * S B E / ME+N |V M I / + X T ; EXTORCYON I S COUNTED WITH YOU FOR A KNYGHT? E K S T O + R S J _ N I Z KO*+NT>D W I) J O * FOR | / K N I / + X T J T H E I S PEO PLE BY ME HAVE 1 NONE A S S IG N E M E N T , ) E * S P E / + P>L B / ME/ HAV NO+N A S I / + N>MENT, YET THEY RYOE AND RINNE FROM CARLYLL TO KENTEo J E T ( _ * R I / + D AND R I+N C FROM K A R L I / + L TO K E + N T _ , BUT LYTELL OR~NOTHYNGE YE SHALL HERE TELL BUT L I + T_L OR N| + ) l t f G J E / SAL H E / + RC TE + L OF THEM THAT HAVEI VERTUE BY REASON OF CUNNYNG, |V ) EM (AT HAV V E + R T I * B I / R E / + Z > N |V K U + N I # G , WHICHE SOVERENLY IN HONOURE SHULDE EXCELL? HWITS SO + V EPN LI IN |+ N U / R SULD E K S E + L? MEN Or SUCHE MATERS MAKE BUT A MUMMYNGE, ME+N |V SUTS MA + T>RZ M | / + KC BUT | / MU + M I0G * FOR WYSDOME AND SADNESSE BE SET OUT A SUNNYNG« FOR WI + ZD>M AND SA + DN>S B E / SE + T U / T | / S U + N I tfG J AND SUCHE OF MY SERVAUNTES AS I H AVE1 PROMOTYD, AND SUTS |V M I / SE+RVA=NTS AZ 1 / HAV PROMO+T>D, ONE FAUTE OR OTHER IN THEM SHALBE NOTYD: 0 + N _ FA= + T OR | + O R IN ) EM S A + L B E / NO + T D : EYTHER THEY WYLL SAY HE IS TO WYSE, E / + O R ( E * WIL SA* H E / I Z TO W I / + Z C , I OR E L L E S HE CAN NOUGHT BOT WHAN HE I S AT S C O L E i 1 OR ELS H E / K_N NO*XT B | T HWAN H E / I Z AT S K O + L _ ; PROVE H I S WYTT, SAYTH HE, AT CARDES OR D Y C E , ! PRO+VC H I Z W I + T , S A * + ) H E / , AT KA+RDZ OR D I / + S C , AND YE SHALL WELL FYNDE HE I S A VERY FOLE ? ! AND J E / SAL WEL F I / + N D C H E / IZ | / V E + R I F O + L C J TWYSHE, SET HYM A CHARE, OR RECHE HYM A S T O L E , j T W I+ $ _ , SE+T H_M | / T SA +R C , R R E / + T S C HIM | / S T O + L _ , ! TO SYT HYM U3 ON, AND REDE JACKE A THRUMMIS B Y B I L L E , ! TO S I + T H M U P | + N , AND R E / + D DOA+K | / )RU + M_S B I / + B L , ! FOR T R U L Y ~ IT WERE PYTE THAT HE SAT YDLE* i . . . ipOR T R U / + L I I T WER P I / + T E / (AT H E / SA + T I / + D > L . TO MAKE REPUNGNAUNCE AGAYNE THAT YE HAVE 1 S A Y D E . |TO M | / + K C R E PU + #G N A =N T S AGA*+NC (AT J E / HAV S A * + D C . iOF VERY DWTE IT MAY NOT WELL ACCORDE, i | V VE + R I D U / + T _ / IT MA* N | T WEL AKO+RD , BUT YOUR BENYNGE SUFFERAUNCE FOR MY DISCHARGE I LA ID (BUT J O * R B E N I/+ W G C SU FRA = +N TSC FOR M I / D 1ST S | / + R D Q C ;FOR THAT I WOLDE NOT WITH YOU FALL AT D IS C O R D E I jFOR (AT 1 / WOLD N | T W I) J O * F | / + L T DISKO+RD ? FOR THAT I WOLDE NOT WITH YOU FALL*"AT D ISC O R D E J 'FOR (AT 1 / WOLD N | T W I) J O * F | / + L T. D IS K O + R D _ ; MAY BE BROUGHT FO R T H , SUCHE AS CAN BE FOUNDE, ;MA* B E / BRC*+XT F C + R ) , SUTS AZ KAN B E / FO*+NDC» jWITH LAUREAT TRYUMPHE WHY .SKELTON SHOLDE BE CROWNDEJ W I ) L A = + R J > T T R I / + _ M F H W I / SK E+LT>N SOLD B E / KRU/+ND FOR E L L E S IT WERE TO GREAT A DERCGACYON IFOR E L S IT WER TO G R E / + T | / DE + R O G | / + S J | N lUNTO YOUR P A L A S , OUR NOBLE COURTE OF FAME, IUNTO+ J O * R P A + L _ S , U / R MO+B>L K O * + R T _ |V F | / + M _ , THAT ANY MAN UNDER SUPPORTACYON . . . . . . . . I( AT A + NI MA + N U + ND>R S U + P O R T A + S J > N iWITHOUTE DESERVYNGE SHULDE HAVE THE BEST GAME: jWI( U / + T C DEZE + RV I 0G SULD H J / + V C O B E + S T G 1/ + MCI I F HE TO THE AMPLE ENCREASE OF H I S NAME I F H E / TO ( _ A + MP L E N K R E /+ S C |V H I Z N | / + M CAN LAY ANY WERKIS THAT HE HATH COMPYLYD, ■KAN L _ * + A+NI WE+RK>S (A T H E / HA) K | M P I / + L D , I AM CONTENTE THAT HE BE NOT EXYLIDE 1 / AM K jN T E +N T (AT H E / B E / N | T E K S I / + L > D FROME THE LAUREAT SENATE BY FORCE OF PR OSCRIPCYON J iFROM ( _ LA = + R J > T S E + N _ T B I / FO + RSC |V P R O S K R I + P S J _ N 5 OR E L L E S , YE KNOW WELL, I CAN DO NO L E S S E OR E L S , J E / KNO* + WEL, 1 / KAN DO MO L E + S C BUT I MOST BANNYS.SHE HYM FROME MY JU R Y D IC C Y O N , iBUT 1 / M |S T B A + N _$ HIM FROM M I / DOU/ + RID I + K S _ / _ N , IAS HE THAT AQUENTYTH HYM WITH Y D IL N E S J AZ H E / (AT AKWE/ + N T > ) HIM W I) I/+D > L N E S*, BUT I F THAT HE PU R P O S E TO MAKE A R E D R E S S E , BUT I F (AT H E / P U R P O + S TO M | / + K . _ / REDRE + S _ , WHAT HE HATH DONE, L E T ~ l T BE BROUGHT TO SYGHTi HWAT H E / HA) D O + N _ , LEHT IT B E / BRO*+XT TO S I / + X T J GRAUNT MY PETYCYON, I A SKE YOU BUT RYGHT• ,GRA= + NT M I / P E T I + S J > N , / A+SKC J O * BUT P I / + XT, TO YOUR REQUEST WE BE WELL C O N D I S C E N D I D : TO J O * R REKWE+ST WE/ B E / WEL K ! +ND>SE+ND>DJ iCALL FO R TH E, LET SE WHERE I S YOUR C L A R IO N A R , iKA+L F O + R ) C , L E + T S E / + HWER I Z J C * R K L A + R j | N A R , iTO BLOWE A BLASTE WITH H I S LONG BRETH E X T E N D ID I !TO BLO*+ | / 8 L A + S T _ W I) H I Z L | + # G BRE+) EKSTE+ND_DJ E D L U S , YOUR TRUM PET, THAT KNOWNE IS SO F A R R E , ■ E / O + L / S , J O * R TRU + M P _ T , (AT KNO*+NC IZ SO F | / + R _ , !THAT BARARAG BLOWYTH IN EVERY MERCYALL WARRE, (A T BA+R RAG B L O * + > ) _N E + V _ R I M E+RSJ>L WA+R_, LET HYM BLOWE NOW, THAT WE MAY TAKE A VEWE LE + T HIM BLO* + C N O * , . (AT WE/ MA* T | / + K C | / VE=+C WHAT P O E T I S WE HAVE AT OUR RETENEWE; : HWAT PO + >T S WE/ H | / + VC AT U / R RE + TENE=? TO SE I F SKELTON WYLL PUT HYMSELFE IN P R E A S E TO S E / + I F SKE + LT N WIL PUT HIM SE + L F _ IN P R E / + Z _ AMONGE THE T H I C K E S T E OF ALL THE HOLE ROWTEJ 359 AM + # G _ ( > ) I+ K>ST V AL ( HO+LC R O *+ T i MAKE NOYSE ENOUGHF. FOR CL?(TERARS LOVE F30 PEAS J M | / + K _ NO=+Z E N O * + F _ , FOR KLA + T R>RZ L O + V _ MO P E / + S • LET S E , MY S Y S T G R , NOW SPEOE YOUT GO A B O U T E « L E + T S E / + , M I / S I + S T R, NO* S P E / + D C J _ * , GO ABO*+T ; ANONE, I SE Y , T H I S TRUMPET WERE FOUNDE OUT, ANO+NC, 1 / S E * + . ( I S TRU+MP>T WER F O *+N D C U / T , AND FOR NO MAN HARDELY LET HYM SPARE AND FOR MO MA + N H {/ + RDLI L E+T HIM S P | / + R C TO BLOWE BARAR AG1 TYLL BOTHE H I S EYNE STARE* TO B L O * + _ B R>RA+G T I L BO+) H I Z E / + NC S T | / + P • | FORTHWITH THERE ROSE AMONGE THE THRONGE ” ! F O R ) W I + ) ) ER RO + ZC A M |+ # G C ( > ) R | + # G C A WONDERFULL NOY SE, AND ON EVERY SYDE :|/ W| +ND>RFUL NO = + Z , AND |N E + V _ R I S I / + D _ THEY P R E S I D IN FASTE5 -SOME THOUGHT THEY WERE TO LO N G E ; ( E * P R E + S T IN F A + S T _ ? SOM ( 0 * + X T ( E * WER TO L | + # G i SUME WERE TO HASTY, AND WOLD NO MAN BYDEJ ~ SUM WER TO H | / + ST I , AND WOLD MO MA+N B I / + D C ? j SOME W H ISPR ED , SOME ROWNYD, SOME S P A K E , 'AND SOME CRYDE, I SOM HW I+SP RD, SOM RO* + N D , SOM S P | / + K C , AND SOM K R I / + D , 1 WITH HEVYNGE AND SHOVYNGE, HAVE1 IN AND HAVE1 OUTE5 WI) H E / + V I # G AND $ |+ V # G , HAV IN AND HAV U / + T ; SOME RANNE THE NEXTE WAY, SUME RANNE ABOWTE* “ SOM RA+NC ( ME+KSTC WA*+, SUM RA+N_ A BO *+ T_* THERE .WAS SUYNG TO THE QUENE OF FAME X ) ER WAZ S U / + I 0 G TO (> KWE/+NC )V F | / + M C 5 HE PLUCKED HYM BACKE, AND HE WENT AFORE? ! H E / PLU+KT HIM BA+KC, AND H E / WENT AFO+RC? NAY, HOLDE THY TU N G E, QUOD ANOTHER, LET ME HAVE1 THE NAME? ; N A * , HO +LD_ ( 1 / T U + # G _ , KWOD _ N | + ) > R , L E + T M _ / HAV ( _ N | / + MI MAKE ROWME, SAYD ANOTHER, YE P R E S E ALL TO SORE? ‘ M | / + K _ R O*+M _, SA*+D _ N | + ) _ R , J E / P R E / + S C AL TO SO + R _? * SUME SAYD, HDLDE THY =>EAS, THOU G ETEST HERE NO MORE 5 ! SUM S A * + D , HO+LDC ( 1 / P E / + S , CO* G E + T > S T H E /+ R C MO MO+RC? A THOWSANDE THCWSANDE I SAWE ON A PLUMPEJ II / ) 0 * + ZAND ) 0 * + ZAND 1 / SA = + C | N | / PLU+MPC? ! WITH THAT I HARDE THE NOYSE OF A T R U M PE ♦ WI) (AT 1 / H | / + R D C ( _ NO=+ZC |V | / T R U + M P _ , ! THAT LONGE TYME BLEWE A FULL TIMOROUS B L A S T E , (AT L | + # G C T I / + M C BLE=+C | / FUL T I + M R U / S B L A + S T C , j LYKE TO THE BORYALL WYNDES WHAN THEY BLOWE, ! L I / + K _ TO ( > BO+RJAL W I+ND>S HWAN ( E * B L O * + _ , THAT TOWRES AND TOWNES AND T R E E S DOWNE C A S T E , ! (AT TO* +RZ AND TO* + NZ AND T R E / + Z D U /N KA + S T C , j DROVE CLOWDES TOGETHER LYKE D P Y F T I S ' OF SNOWE? j DRO+V K L U /+ K > S T O G E + ( _ R L I / + K C D R I + F T S |V SN O *+ _5 THE DREDEFULL DINNE DROVE ALL THE ROWTE ON A ROWE? i ( > D R E /+ D F U L D I+ N C DRO+V AL ( P O * + T C _N _ / R O * + _ ? ! SOME T R EM B LID , SOME G IR N T D , SOME G A S P I D , SOME G A S I D , I SOM TRE+MB>LD, SOM G I + R N > D , SOM G A + S P > D , SOM G | / + Z > D , I AS PEOPLE HALF.E P E V Y S S H E , OR MEN THAT WERE MASYD* AZ P E / + P>L H | / + LFC P E / + V > $ , OR ME + N ( A T WER M | / + Z>D* ANONE ALL WAS WHYSTE, AS IT WERE FOR THE NONYS, : NO+N AL WAZ H W I + S T C , AZ I T WER FOR ( _ NO+N S , AND ICHE MAN STODE GASYNG AND STARYNG UPON OTHER: j AND I / T $ MA+N STO+D G | / + Z I 0 G AND S T | / + R _ # G UP +N | + ( R : I WITH THAT THERE COME IN WONDERLY AT ONES ~ W I) (AT ) ER KO+M IN W |+ N D E R L I AT 0 + N _ S I A MURMUR OF MYNSTRELS, THAT SUCHE ANOTHER ! i \ ( / MU+RM>R V MI + NSTR > L Z , (AT SUTS A N l + ) > R HAD I NEVER S E N E , SOME S O F T E R , SOME LOWDER; HAD 1 / NE+V>R S E / + N C » SOM S | + F J > R , SOM L O *+ D > R J O R PH E U S, THE T R A C IA N E , HERPED MELEDYOUSLY O R F E / + / S , {> T R A + S J > N » HE+RP>D M _ L E / + D J > S L I WETH A M PHICN, AND OTHER MUSIS OF ARCHADY: WE) A + MFJ N, AND | + ( R M I* + Z > Z |V A +R K >D 1 / I WHOS HEVENLY ARMONY WAS SO PASSYNGE S U R E , HOS HE +V>NL A+RM NI WAZ SO P A + S I # G S U /+ R , SO TRUELY P R O P O R S lO N Y D , AND SO WELL D ID GREE, SO T R U / + L P R O P O + R S J > N D , AND SO WEL DID G R E / + , SO DULY ENTUNYD WITH EVERY MESURE, SO DU+L E N T U /+ N_D W I) E+V > R I M E / S U / + R , THAT I N _ THE FO R E ST WAS NONE SO GREAT A TRE (AT IN ( > F O + R _ S T WAZ NO+N SO G R E / + T | / T R E / + BUT THAT HE DAUNCED FOR JOYE OF THAT G L E « BUT (A T H E / DA=+NTST FOR DQO=+C |V (AT G L E / + J THE HUGE MYGHTY OKES THEM S E L F E DYD AVAUNCE, ( _ H I * + D Q _ M I / + X T_ 0 + K>S ) EM S E + L F C DID AVA=+NTS , AND L E P E FROME THE HYLLES TO LERNE FOR TO DAUNCET AND L E / + P FROM ( _ H I + L > S T LE + RNC FOR TO DA = +NTS : IN SO MOCHE THE STUMPE, WHERETO I ME L E N T E , IN S _ M | T $ (> S T U + M P C , HWE+RTO 1 / ME/ LE+NT , STERTE ALL AT ONES AN HUNDRETHE FOTE BACKE: S T E + R T _ AL AT 0 + N _S AN HU+NDR>) FO+TC BA+K : WITH THAT I SPRANGE UP TOWARDE THE TENT W I ) (A T 1 / S PR A +0G C UP TOWA+RD_ ( > TE+NT OF N 0 3 L E DAME P A L L A S , WHEROF I SPAKEJ |V MO+B>L D | / + M C PA+L S , HWER|+V 1 / S P | / + K _ ; WHERE I SAWE COME A F T E R , I WOTE, FULL LYTELL LAKE HW R 1 / SA = + KO + M_ A + F T _ R , 1 / WO + T _ , FUL L I + T.>L L | / + K 0F""A THOUSANDE P O E T E S ASSEMBLED TOGEDER: |V | / )0*+ Z A N D 0+ >TS ASE + MB>LD TOGE + D > R : OF A THOUSANDE P O E T E S ASSEMBLED TOGEDER: |V \/ )0 * + Z A N D 0 + _ T S ASE + MB>LD TOGE+D_RS OF LAURELL L E V I S A CPONELL ON H I S H E D E , |V LA=+R L L E / + V >Z | / KRO + N>L | N H I Z H E / + D _ , WITH H E R l S E N C R IS P E D YALOWE AS THE GOLDE, W I) H E / + R Z E N K R I + S ° > D J A + L C * AZ ( > GO+LDC, LAMENTYNG D A PHNES, WHOME WITH THE DARTE OF LEOE LAME+NTIWG D A + F N _ S , HOM W I) (> DA+RT_ |V L E / + D CUPYDE HATH STRYKEN SO THAT SHE NE WOLDE K U / P I / + DC HA) S.TR I +K>N SO (AT S E / NE WOLD CONCENTE TO PHEBUS TO HAVE H I S HERTE IN HOLDE, K.|NSE + NT_ TO F E / + B U / S T H | / + V _ H IZ HE + RT IN HO+LD , B U T , FOR TO PR E S E R V E HER MAIDENHODE CLENET B _ T , FOR TO P R E S E + P V HER MA*+D>NHO+DC K L E / + N _ , TRANSFORMYD WAS SHE INTO THE LAURELL GRENE* T R A N S F 0 +RM>D WAZ $ _ / INTO+ (> LA = + R > L G R E / + N • MEDDELYD WITH MURNYNGE THE MOOST PARTE OF H I S MUSE, ME + D>LD WI) MU + RNI ffG (> MOST PA+RTC |V H IZ M I* + Z C , O THDUGHTFULL H E R T E , WAS EVERMORE H I S SONGE 0 ) 0 * + XTFUL HE + RT , WAZ E+V>RMO+R H I Z S j + tfG_ DA PH N ES, MY DERLYNGE, WHY DO YOU ME R E F U S E ? DA + F N > S , M I / DE + RL.I # G , H W I / DC J * ME/ R E F I * + Z ? - YET LOKE ON ME, THAT LOVYD YOU HAVE SO LONGE, “ J E T LO+KC |N M _ / , (A T LO+VD JO * H | / + V SO L | + # G _ , YET HAVE COMPASSYON UPON MY PAYNES STRONGE: J E T H | / +V K|MPA + S J N U P | + N M I / P A * + N > S S T R | + # G : HE SANGE ALS01 HOW,“ THE TRE AS HE DID TAKE H E / S A +#G ALSO H * , ( > T R E / + AZ H E / DID T | / + K _ BOWGE OF COURT (K IN S M A N ) IN AUTUMPNE, WHAN THE SONNE IN VYRGYNE IN A=+ TUMPN . HWAN ( > SO + N IN V I + R G I N E / BY RADYANTE“ HETE ENRYPED HATH OUR CORNEJ B I / R | / + D J > N T H E / + T _ E N R I / + P > D HA) U /R KO+RN ? WHAN LUNA, FULL OF MUTABYLYTE. HWAN L U / + N A , FUL lV M I * + T > B I + L I T E / , AS EMPERES THE OYADEME HATH WORNE AZ E+M P>R>S <> D I / + A D E M HA) WO+RNC OF OUR POLE ARTYKE, SMYLYNGE HALFE IN SCORNE |V U/R PO+L A + R T I K , S M I / + L I 0 G H |/+LF IN SKO+RN AT OUR FOLY~AND OUR U N S T E D F A S T E N E S S E ; ” • ” AT U /R F | + L I AND U / R U N S T E + D F A S T N E + S C ; THE TYME WHAN MARS TO WERRE HYM DYDE DRESS ( > T I / + M HWAN MA+RZ TO WE+RC HIM D ID D R E + S J I , CALLYNGE TO MYNDE THE GREAT AUCTORYTE I / , K | / + L #G TO M I / + N D _ ( > G R E /+ T A = K T O + R I T E / OF P O E T E S ~ O L D E . WHYCHE, FULL C R A F T E L Y , |V 0 + > T S O+LDC, H W I T S , FUL K R A + F T L I , UNDER AS COVERTE TERMES AS COUDE B E , U+ND>R AZ KO+VERT TE+R M >S AZ KU/D B E / , CAN TOUCHE A TROUGHTE AND CLOKE I T SUBTYL.LY KAN T O * + T $ _ | / T R O * + X T _ AND KLO+K_ IT S U + B T I L I WYTH F R ESSH E UTTERAUNCE FULL SENTENCYOUSLYS WI ) F R E + S C UTR A = +N TSC FUL SENTE + N T S J > S L I S DYVERSE IN STYLE (SO M E SPARED NOT VYCE TO WRYTHE, D I V E + R S _ IN S T I / + L _ ( SOM S P | / + R D N | T V I / + S _ TO W R I / + ( SOME OF MORALYTE NOBLY DYDE E N D Y T E ) , SOM |V M O R A + L > T _ / N O + B L I D ID E N D I / + T _ , WHERBY I REDE THEYR RENOME AND THEYR FAME H W E R B I /+ 1 / R E / + DC ( _ * R R_NO+MC AND ( E* R F | / + M MAYE NEVER DYE, BUTE EVERMORE ENDURE* “ MA* NE + V>R DI /+■ , BUT E + V>RMD4-R_ E N D U /+ R _ * I WAS SORE MOVED TO AFORCE THE SAME, 1 / WAZ S04-R MO + V>D TO AFO + R S _ (> S | / + M_, BUT IGNORAUNCE FULL SOONE DYDE ME DYSCURE BUT I+GNORA=NTS FUL S O + N _ DID ME/ D I S K U / + R _ AND SHEWED THAT IN T H I S ARTE I WAS NOT SURE S AND $E = +D (AT IN ( I S A + R T _ 1 / WAZ N | T S U / + R_S FOR TO ILLUMYNE, SHE SAY D E, I WAS TO D U L L E . FOR TO IL U /+ M N , S E / SA *+ D , 1 / WAZ TO D U + L _ . AVYSYNGE ME MY PENNE AWAYE~TO PULLE A V I / + S I 0 G ME/ M I / P E + N _ AWA*+_ TO P U + L _ AND NOT TO WRYTHE, FOR HE SO WYLL ATTEYNE, AND N | T TO WRI/ + ( C , FOR H E / SO W L A T E * + N _ , EXCEDYNGE F EPTH ER THAN H I S CONNYNGE I S , E K S E / + D I #G F E + R O R ) AN H IZ K j + N I # G I Z , H I S HEDE MAYE BE HARDE, BUT FEBLE I S H I S BRAYNE H I Z H E / + D MA* B _ / H | / + R D _ , BUT F E / + B > L IZ H I Z BRA*+N_ YET HAVE I KNOWEN SUCHE ER T H I S ? J E T H | / + V C 1 / KNO *+>N SUTS ER ( I S J BUT 0= REPROCHE SURELY HE MAYE NOT MYS BUT |V REPOR+TSC S U / + R L I H E / MA* N | T MIS THAT CLYMMETH HYER THAN HE MAY FOTYNGE HAVE; (A T K L I / + M > ) H I / + _ R ) AN H E / MA* F O + T I 0 G H | / + V J WHAT AND HE SLYDE DOWNE, WHO SHALL HYM SAVE? HWAT AND H E / S L I / + D C D U / N , HO SAL HIM S | / + V C ? THUS UP AND DOWN MY MYNDE WAS DRAWEN AND CAST (U S UP AND D U/N M I / M I/+ N D WAZ DRA =+ N AND KA + ST THAT I NE WYSTE WHAT TO D01 WAS B E ST E T (A T 1 / NE W I+STC HWAT TO DO + WAZ B E + S T C J SOO SORE ENWERED THAT I WAS* AT THE L A S T E , SO SO+R ENWE/+R>D (AT 1 / W _Z, AT ( > L A + S T _ » ENFORSED TO S L E P E AND FOR TO TAKE SOME R E S T E . E N FO + R ST TO S L E / + P _ AND FOR TO T | / + K _ SOM R E + S T _ , AND TO LYE DOWNE AS SOONE AS I ME DRESTE* AND TO L I / D U /N AZ SO+NC AZ _ / M E / D R E + S T _ * AT HARWYCHE PORTE* SLUMBRYNGE AS I LAYE AT HA+RWITS P O + R T C , SLU+MBRIAG AZ 1 / LA* + I N MYNE HOSTES HOUSE* CALLED POWERS K E Y E . IN M I / + NC HO+ S T > S H U / + S _ . K | / + L D P O * + > R Z K E / + _ » ME THOUGHTE I SAWE A SHYPPE* GOODLY OF SA Y L E , M E / > 0 * +X T 1 / S A = + _ | / S I + P C , GO+DL_ |V S A * + L _ , COME SAYLYNG FORTH INTO THAT HAVEN BROOD, KO+M S A * + L I # G FO + R) INTO+ (AT H | / + V > N BRO+D* HER TAKELYNGE RYCHE AND OF HYF. APPARAYLE? HER T } / + K L I # G R H -T S C AND |V H _ / + A + P > R A * + L • SHE KYSTE~AN ANKER* AND THERE SHE LAYE AT RODE* S E / K I + S T C N A + # K _ R , AND ) ER * E / L A * + AT RO+D_* MARCHAUNTES” HER BORDED TO SEE WHAT SHE HAD LODE * MA+RT$A=NTS HER BO+RD>D TO S E / + HWAT S E / HAD LO+DC? T H E R E I N THEY FOUNDE ROYALL MARCHAUNDYSE. ) ER I+ N ( E * FO*+NDC RO=+AL M A+RT$A=ND I / + SC * FRAGHTED WITH PLESU RE OF WHAT YE COUDE DEVYSE* F R | / + X T > D WI) P L E + Q _ / R |V HWAT J E / KU/D D E V I / + S _ * BUT THAN I THOUGHTE I WOLDE NOT DWELL BEHYNDE; BUT JAN 1 / ) 0 * + X T _ 1 / WOLD N | T DWE+L B E H I+ N D 5 AMONGE ALL OTHER I PUT MYSELFE IN PRECE* ' AMl+tfG AL | + ( _R 1 / PUT M I / S E + L F IN P R E / + S • THAN THERE COUDE I NONE AQUENTAUNCE FYNDEJ )AN ) ER KU/D 1 / NO+NC AKW E/+NTA=NTS F I / + N D C J THERE WAS MOCHE NOYSE; ANONE ONE CRYED, ' C E S E • ) ER WAZ M |T $ N O = + Z _ ; ANO+NC 0 + N _ K R I / + _ D , • S E / + S _ * SHARPELY COMMAUNDYNGE ECHE MAN HOLDE HYS P E C E . S A + R P L I K |M A = + N D I# G E / + T $ _ MA+N HO+LD H I Z P E / + S _ * •M A Y S T E R S ,* HE S A Y D E . 'T H E SHYP THAT YE HERE S E E , • MA*+ST>RZ* H E / SA*+D , • ( > $ I + P (AT J _ / H E /+ R C S E / + THE BOWGE OF COURTE IT~HYGHTE FOR C E R T E Y N T E ; ( > B O *+D Q _ |V KO»+RT IT H I / + X T _ FOR S E + R T E N T E / i •THE AWNNER THEREOF I s LADY OF E S T A T E , • ( > A = + N_R ) E R |+ V I Z L | / +DI |V E S T | / + T _ , WHOOS NAME TO TELL I S DAME SA U N C E -P E R E * HOS N | / + M TO TE+L I Z D | / + M C S A = + N T S > P E / + P * HER MARCHAUNDYSE I S RYCHE AND FORTUNATE, HER M A + R T $ A = N D I / + S _ IZ R I + T $ _ AND F O + R T I * N A T , BUT WHO WYLL HAVE I T MUSTE PAYE THERFORE DERE X BUT HO WIL H | / + VC I T MUST PA* + C JE + RFOR D E / + R C J T H I S ROYALL CHAFFRE THAT I S SHYPPED HERE ( I S RO=+AL T S A + F > R (AT IZ S I + P > D H E /+ R C I S CALLED FA V O R E -T O -S T O N D E IN HER GOOD GRACE*"' I Z K | / + L D F | / + V > R T O S T J + N D C IN HER GO+D G R | / + S C " THAN SHOLDE YE SEE THERE PRESSY N G E IN A PACE ) AN SOLD J E / S E / + ) ER P R E + S I # G IN | / P | / + S C OF ONE AND OTHER THAT WOLDE T H I S LADY S E E , |V O+N AND | + ( _R (AT WOLD ( I S L | / + D I S E / + , WHICHE” SAT BEHYNDE A TRAVES OF SYLKE RYNE , HWITS SA+T BEHI+ND | / T R I / + V Z |V S I + L K C F I / + N _ , OF GOLDE OF TESSEW~THE FY N EST THAT MYGHTE B E, |V GO + LDC |V TE + SE = ( > F I / + N > S T (AT M I / X T B E / , ■IN A TRONE WHICHE FER CLERER DYDE SHYNE IN / TRO+NC HWITS FER K L E /+ R > R DID S I / + N C THAN PHEBUS IN H I S S P E R E CELESTYNE, IAN F E / + B U / S IN H IZ S P E / + R C SE + L > S T I / + N C • WHOOS BEAUTE. HONDURE1« GOODLY P O R T E . HOS B E / + U T E / , | N U / + R C » GO+DLI PO + RTC, I HAVE TO LYTYLL CONNYNGE TO REPORTE# 1 / H | / + V _ TO L I + T > L K | + N I » G TO REPO+RT • BUT OF ECHE THYNGE THERE AS I TOKE H E D E , BUT |V E / + T $ ) I + # G _ ) ER AZ 1 / TO+KC H E / + D _ , AMONGE ALL OTHER WAS WRYTTEN IN HER TRONE. A M |+ # G _ AL | + < _ R WAZ WR I + T>N IN HER TRO + N . IN GOLDE L E T T E R S , T H I S WORDE, WHICHE I DYDE R E D E : IN GO+LDC L E + T _ R Z , ( I S WO+RD , HWITS 1 / DID R E / + D _ GARDER LE FORTUNE QUE E S T MAUELZ ET BONE• GARDE+R LE F O + R T I * N K _ / EST M |/ V E + L Z E / BO+N • GARDER LE FORTUNE QUE EST MAUELZ ET BONE» •GARDE+R LE F O + R T I * N K _ / EST M |/ V E + L Z E / BO+N_# HER CHYEF GENTYLWOMAN, DAUNGER BY HER NAME, HER T S I / + F DQE+NT>LWO+M_N, DA=+NDQ>R B I / HER N | / + M GAVE ME A TAUNTE, AND SAYDE I WAS TO"BLAME G | / + V C M _/ | / T A = + N T _ , AND S A * + D _ 1 / WAZ TO B L | / + M TO BE SO PERTE TO PR E S E SO PROUDLY UPPEo TO B E / SO P E + R T _ TO P R E / + S SO P R O + +D L I U+P • SHE SAYDE SHE TROWED THAT T HAD ETEN S A U S E ? ” S E / S A * + D $ E / TRO*+D (AT 1 / HAD E / + T>N SA = + S _ ; SHE ASKED~YF EVER I DRANKE OF SAUCYS CUPPE# $ / A+SK>D IF E+V R 1 / DRA+«K |V S A = S > Z KU+P_# AND I THAN S O F T L Y ” ANSW=RED TO~THAT C L A U SE , AND 1 / ) AN S | + F T L I A+NSW>PD TO (AT K L A =+ Z C , THAT. SO TO S A Y E . I HAD GYVEN HER NO CAUSE# ( A T , SO TO SA* + , _ / HAD GI+V>N HER MO KA=+Z , THAN ASKED SHE ME, ' S Y R , SO GOD THE S P E C E , IAN A+SK>D $ E / M E / , • S I + R , SO G |+ D ( > S P E / + D C , WHAT I S THY NAME?' AND I SAYDE I T WAS DREDE# HWAT I Z ( 1 / N | / + MC* AND 1 / SA* + DC IT WAZ D R E /+ D C # •WHAT MOVYD T H E , ' QUOD S H E , 'HYDDER TO COM E?' * HWAT MO+V>D ( > • KWOD S E / , • H I + D > P TO KO+MC• • F O R S O T H , ' QUOD I , 'T O BYE SOME OF YOURE WARE#* • F O R S O + ) ' KWOD I / , ' TO e i / + SOM |V JO * R W | / + R C ' AND WITH THAT WORDE ON ME SHE GAVE A GLOME AND W I ) (AT WO+RD_ |N M E / S E / G J / + V | / GLO+M_ WITH BROWES B E N T E , AND GAN ON ME TO” STARE W I) B R O * + > S BE+NT , AND GAN |N M E/ TO S T | / + R FULL DAYNNOUSLY, AND FRO ME SHE DYDE F A R E , F U L D A v + N O + S L I , AND F R O M E / S E / D I D F | / + R C , LEVYNGE ME STONDYNGE AS A MASED MAN, L E / + V I 0 G ME/ S T | + N D I # G AZ | / M | / + Z > D MA+N# TO WHOME THERE CAME ANOTHER GENTYLWOMAN? TO HOM ) ER KA+MC N | + ) > R DQE+NT>LWO+M_N? DESYRE HER NAME WAS, AND SO SHE ME TOLDE, D E Z I / + R _ HER N | / + M C W _ Z , AND SO S E / M E / T O + L D _ , SAYENGE TO ME, 'B R O D E R , BE OF GOOD CH E R E , S A * + > # G TO M E / , ' B R | + D > R , B E / |V GO+D T S E / + R C . ABASSHE YOU NOT, BUT HARDELY BE BOLDE, ABA+SC J O * N | T , BUT H | / + R D L I B E / BO+LDC, AVAUNCE YOUR S E L F E TO APROCHE AND COME NERE# AVA=+NTS JO* R SE + L F _ T _ APRO + T $ _ AND KO+MC N E / + R _ WHAT THOUGH OUR CHAFFER BE NEVER SO D E R E , HWAT ( 0 * X U / P T$A + F>R B E / NE+V>R SO D E / + R C , YET I AVYSE YOU TO S P E K E , FOR ONY DREDES 364 I ............... ........................ I J E T 1 / A V I / + S J O * TO S P E / + K / , F R l + N I D P E / + D : WHO SPARETH TO S P E K E , IN FA Y l'H , RE S PA PE T H TO STPEOE, • iHO S P | / + R ) TO S P E / + K _ , IN F A * + > , H E / S P | / + R > TO S P E / + D • I • MAYST R E S , ' QUOD I , » I HAVE NONE AQUENT AUNCE1 “ i j* MA* + STR S ' KWOD I / , • _ / H J / + VC NO+NC A+KWE/NTA=+NT S | THAT WYLL- FOR ME BE MEDYATOURE AND MENE; ! H A T WIL FOR ME/ B E / M E / + D J A T U / + R AND M E/+ N C ? j AND T H I S AN OTHER, I HAVE BUT SMALE S U B S T A U N C E .• i AND ( I S AN | + ( R , 1 / H J / + V BUT S M | / + L SU BSTA = +N TS • S i • P E C E , ' QUOD DESY R E, ' Y E SPE K E NOT WORTH A BENE P E / + S ' KWOD D E Z I / + R _ , • J E / S P E / + K N | T WO + R) | / B E / + N _ j YF YE HAVE1 NOT, IN FA Y TH , I WYLL YOU LENE I F J E / HAV N j T , IN F A * + > , 1 / WIL J O * L E / + N C ! A PRECYOUS JE W E L L , NO RYCHER I N T H I S LONDEJ ■ | / P R E + S J > S DQE = + > L , M R I + T $ > R IN ( I S L | + N D _ : iBONE AVENTURE HAVE1 HERE NOW IN YOUR HONDE. i BO+N A + V > N T I* + R HAV H E / + RC N * IN J O * R H |+ N D • ! ■ SHYFTE NOW TH ERW ITH , L E T S E E ? AS YE CAN, ” $ I + F T C NO* ( E R W I + ) , LE + T S E / + » AZ J E / KAN, ! IN BOWGE OF COURTE CHEVYSAUNCE TO MAKE? ! IN BO* +DQ_ |V KO* + RTC T S E + V I / S A = + N T S _ TO M | / + K J IFOR I DARE SAYE THAT THERE NYS ERTHLY MAN ~ ! F R 1 / D | / + R C S A * + _ (AT ) ER N I S E + R ) L I MA+N i B U T, AND HE CAN BONE AVENTURE T A K Ei I BU T, AND H E / KAN BO+NC A + V > N T I * + R T | / + K C , “ I BUT, AND HE CAN BONE AVENTURE TA KE, ! B U T , AND H E / KAN BO+NC A + V > N T I * + R T | / + K _ , , I BONE AVENTURE MAY 'BRYNGE YOU IN SUCHE CASE j BO+N A + V>NTI * + R MA* B R I + 0 G C J _ * IN SUTS K J / + S ' THAT~YE SHALL STONDE IN FAVOURE AND IN GRACE. ~ (AT J E / SAL S T j+ N D C IN F A V U /+ R ND IN G R | / + S _ . i i 'B U T OF ONE THYNGE I WERNE YOU ER I GOOJ • BUT |V O + N } I + # G _ 1 / WE+RNC J _ * ER 1 / GO I i SHE THAT STYRETH THE S H Y P , MAKE HER YOUR F R E N D E . ' ! : $ E / (A T S T I + R >) ( > S I + P , M | / + K C HER J O * R FRE+MDC' I ' MAYSTRES, ' QUOD I , »I PRAYE YOU TELL ME WHY SO O , j • MA>K+STR>S' KWOD I / , • 1 / P R A * + _ J O * TE +L ME/ H W I/ S , AND HOW I MAYE THAT WAYE AND MEANES F Y N D E . • AND HO* 1 / MA* (AT WA*+_ AND M E /+ N > S F I / + N D _ » I I ' F O R S O T H E , ' QUOD S H E , 'HOW EVER BLOWE THE WYNDE, i : • F O R S O + ) • KWOD S E / , ' HO* E + V>R BLO* + _ ( > WI+ND , ! I FORTUNE GYDETH AND RULETH ALL CURE S H Y P P E . ” I F O + R T I * N G I / + D > ) AND R U / + Z > ) AL U / R S I + P C . j WHOME SHE HATETH SHALL OVER THE S E E -B O C R D E SKYPJ HOM S E / H | / + T > ) SAL 0+ V > R ( > S E /+ B O R D S K I + P ; i •WHOME SHE LOVETH, OF ALL P L E SY R E I S RYCHE I ' HOM S E / LO+ V > ) , |V AL PLE + Q>R I Z P . I + T S C ! : WHYLES SHE LAUGHETH AND HATH LU STE FOR TO P L A Y E ? i H W I /L S S / LA=+X>D AND HA) LU +STC FOR TO P L A * + _ 5 i WHOME SHE HATETH, SHE C ASTETH IN THE DYCHE, I HOM S E / H | / + T >) , S E / KA + S T > ) I N ( > D I + T S C , ! FOR WHAN SHE FRONNETH, SHE THYNKETH TO MAKE A FRAY? FOR HWAN S E / FRO+N ) , S E / ) I + * K > ) T _ M | / + K _ | / F R A *+ J SHE CHERYSSHETH H IM , AND HYM SHE C ASSETH AWAYEo• i I S E / T $ E + R > $ > ) H IM , AND HIM S E / K A +S > ) AWA*+C* • A L A S . ' QUOD I , 'HOW MY GHTE I HAVE HER S U R E ? ' • A L A + S ' KWOD I / , • HO* M I /X T 1 / H | / + V _ HER S U / + R ' ! • I N F A Y T H , ' QUOD S H E , 'B Y BONE A V E N T U R E . • • IN F A * + > » KWOD S E / , • B I / BO+NC A + V > N T I * + P * [ THUS, IN A ROWE, OF MARTCHAUNTES A GRETE ROUTE ( U S . I N | / R 0 * + . J v MA+RTSA=NTS | / G R E /+ T R O * + T SUWED TO FORTUNE THAT SHE WOLD BE THEYRE FRYNDE* S U / + > D TO F O + R T I * N (AT S E / WCLD B E / ( E * R F R I+ N D C # THEY THRONGE IN FAST AND FLOCKED HER ABOUTE. ( E * ) R | + # G IN F A + S T AND F L | + K>D HER ABO*+T , AND I WITH“ THEM PRAYED HER TO HAVE IN MYNDE7 AND 1 / WI) ) EM PRA* +>D HER TO H | / + V C IN M I / + N D C . SHE PROMYSED TO US ALL SHE WOLDE BE KYNDE i S E / P R Q + M IS T TO US AL S E / WOLD B E / K I / + N D C I OF BOWGE OF COURT SHE ASKETH WHAT WE WOLD HAVE. JV B O *+ D Q _ |V KO*+RT S / A + SK >) HWAT WE/ WOLD H |/■♦•V * AND WE ASKED FAVOURE, AND FAVOUR SHE US GAVEq AND W E / A+SK>D FA V U / + R , AND F | / + V U / R $ E / US G | / + VC. THE SAYLE I S U P , FORTUNE RULETH OUR HELME, \ > S A * + L C IZ U P , F O + R T I * N R U /+ Z > > U / R HE+LMC, WE WANTE NO WYNDE TO PA S S E NOW OVER ALL? WE/ W | / +NT MO WI+ND TO PA + SC N * 0 + V>R ALJ FAVOURE WE“ HAVE TCUGHTHEF THAN ONY ELME, F A V U /+ R WE/ H | / + VC T O * + ) _ R ) AN |+ N I E+LM , THAT WYLL ABYDE AND NEVER FROME US FA.LL. ..................... (AT WIL AB /+D C AND NE+V>R FROM US F | / + L . BUT UNDER HONY OFTE TYME LYETH BYTTER G ALL, BUT U+ND>R HO + N_ | F T T I / + M _ L I / + ) B I + T > R G A + L , F O R , AS ME THOUGHTE, IN OUR SHYPPE I DYDE SEE FO R , AZ M E / ) 0 * + X T . N U / R S I + P C 1 / DID S E / + FULL SU3TY LL P E R S O N E S ~ I N NOMBRE FOURE AND T H R E . FUL S U + 3 T I L PE + R S | N Z N N |+ M B > R FO#+R_ AND > R E / + , THE FY RSTE WAS FAVELLT FULL OF FLA TERY , ( > F I + R S T C WAZ F A + V > L , FUL |V FLA +T > R I , WYTH FA B L E S - A L S E , THAT WELL COUDE FAYNE' A TALE? W I) F | / + B > L Z F | / + L S , ( A T WEL KU/D FA*+N | / T j / + L _ _ ; THE SECONDE WAS S U S P E C T E , WHICHE THAT DAYLY ( > SE + K>ND WAZ S U S P E + K T , HWITS (AT DA++LT MYSDEMPTE ECHE MAN, WITH FACE DEEDLY AND PALE? MISDE + MPT E/ + T$ _ MA+N, WI ) F | / + SC D E / + DL AND P | / + L AND HARVY"HAFTER, THAT WELL COUDE P IC K E A“ MALE; AND HA+RVI HA+FT R , (AT WEL K U/D P I + K | / M J / + L I WITH OTHER FDURE~OF THEYR AFFYNYTE: W I) | + O R F C * + R C |V ( E*R A F I + N I T E / : DYSDAYNE, RYOTTE, DYSSYMULER, SUBTYLTE* D I S D A * + N C , R / 0 + T _ , D I S I + M L > R , S U + B T I L T E / , FORTUNE THEYR FRENDE, WITH WHOME OFT SHE DYDE DAUNCE: FO + RTI *N ( E * R FRF. + MDC, WI) H M |F T $ E / DID DA= + N T S _ : THEY COUDE NDT F A I L E . T HE I THOUGHT, THEY WERE SO SURE ( E * K U /D N ) T F A * + L _ , ( E * ( 0 * + X T , ( E * WER SO S U / + R _ * AND OFTENTYMES I WOLDE MYSELFE A.VAUNCE AND | + F T > N T I / + M S 1 / WOLD M I / S E + L F _ AVA=+NTS_ WITH THEM TO MAKE SOLACE AND PL E A S U R E ; W I ) JEM TO M | / + K C SO+LAS AND P L E Q U / + R C ; BUT MY DYSPORTE THEY COUDE NOT WELL ENDURE*, BUT M I / D I S P O + R T ( E* KU/D N | T WEL E N D U / + P C ! THEY SAYDE THEY HATED FOR TO DELE WITH DREDE, ( E * SA* + DC ( _ * H | / + T>D FOR TO D E / + L _ WI) D R E / + D _ a THAN FAVELL GAN WYTH FAYRE SPECHE ME TO FEDE* JAN F A + V>L GAN W I.) F A * + R C S P E / + T S C ME/ TO F E / + DC* * NOO THYNGE ERTHELY THAT I WONDER SO SORE • NO ) I + « G C E + R ) L I (AT 1 / W|+ND_R SO SO +R_ AS OF YOUR CONNYNGE, THAT I S SO E X C ELLEN T; AZ |V J O * R K J + N I # G » (AT IZ SO E + K S >LEN TJ DEYNTE TO HAVE WITH US SUCHE ONE IN STO R E. D E * + N T E / TO H | / + V WI ) US SUTS O+N IN STO+R « SO VERTUOUSLY THAT HATH H I S DAYES S P E N T E J ~ SO V E + R T U / S L I (AT HA) H I Z D A * + > S S P E + N T C J FORTUNE TO YOU GYFTES OF GRACE HATH LE N T E : F O + R T I * N TO J O * G I + F T > S |V GR | / + SC HA) LE+NTC5 L O O . WHAT IT I S A MAN TO HAVE CONNYNGE1 L O . HWAT I T I Z | / MA+N TO H | / + V K | N I + # G ALL ERTHLY TRESOURE I T I S SURMOUNTYNGE• AL E + R ) L I T R E + G U /R IT I Z SU + R M O *N T I#G C * •YE BE AN APTE MAN. AS ONY CAN BE FOUNDE. • J E / B / N A+PTC MA+N. AZ | + N I KAN B E / FO *+N D . TO DWELL WITH US AND SERVE MY LADYES GRACE* “ TO DWE+L W I) US AND SE+RVC M / L | / + D I / Z G R | / + S _ * YE BE TO HER. YEA. WORTH A THOUSANDE POUNDEJ J E / B E / TO H E R , J E / , WO+R) | / )0 * + Z A N D RO*+NDC; I HERDE HER S P E K E OF YOU W IT H IN SHORTE S P A C E . 1 / HE + RD_ HER S P E / + K |V J O * W I ( I + N SO + RT S P | / + S _ . WHAN THERE WERE DYVERSE THAT SORE DYDE YOU MANACE* HWAN ) ER WER D I V E + R S C (AT SO+RC DID JO * MANA+SC* AND. THOUGH I SAY I T , I WAS MYSELFE YOUR FR E N D E , AND, ( 0 * X 1 / S _ * I T , 1 / WAZ M I / S E + L F _ J O * R FRE+MD , FOR HERE BE DYVERSE TO YOU THAT BE UNKYNDE. FOR H E / + R C B E / D IV E + R S C TO J O * (AT B E / U N K I / + N D C . •BUT T H I S ONE THYNGE YE MAYE BE SURE OF ME, • BUT ( I S O+N ) I + # G _ J E / MA* B E / S U / + R C |V M _ / , FOR BY THAT LCRDE THAT BOUGHT DERE ALL MANKYNDE., FOR B I / (A T L O + P D _ (AT BO*+XT D E / + R _ AL M ANKI/+ND , I CAN NOT F L A T E R . I MUSTE BE PLAYNE TO THE* . 1 / KAN N | T FLA + T _ R , 1 / MUST B E / PL A *+ N C TO ( _ • AND YE NEDE OUGHT, MAN. SHEWE TO ME YOUR MYNDE. AND J _ / N E /+ D C 0 * + X T , MA+N, $ E = + TO M E/ JO * R M I/+ N D FOR YE HAVE1 ME WHOME FAYTHFULL YE SHALL FYNDE; FOR J E / HAV ME/ HOM F A * + ) F U L J E / SAL F I / + N D C « WHYLES I HAVE 1 OUGHT, BY GOD. THOU SHALT NOT LACKE, H W I /L S 1 / HAV C* + XT * B I / G | + D , ( 0 * SALT N | T LA + KC, AND YF NEDE B E . A BOLDE WORDE I DARE CRACKE AND I F N E /+ D B / , | / B O + LD _ WO+RD_ 1 / D | / + R C KRA+K •NAY, NAYE, BE S U R E , WHYLES I AM ON YOUR SYDE, • NA*, N A *. B E / S U / + R C . H W I / L S / AM |N J O * R S I / + D , YE MAYE NOT F A LLJ TRUSTE ME, YE MAYE NOT FAYLE* J E / M * N | T " | / + L J TRU+STC M E / , J E / MA* N | T F A * + L * YE STONDE IN FAVOURE AND FORTUNE IS YOUR GYDE« J E / S T l+ N D C IN F A V U /+ R AND F O + R T I * N I Z J O * R G I / + D C , AND AS SHE WYLL. SO SHALL OUR GRETE SHYPPE SA Y LE, AND AZ S E / W L , SO $ _ L U / R G R E /+ T C S I + P C S A * + L _ * THYSE LEWDE COK WATTES SHALL NEVERMORE PREVAYLE ( I S L E = + D _ K | + K WA+TS SAL NE+V>PMO+R_ P R E V A * + L _ AGEYNSTE YOU HARDELY; THEREFORE BE NOT AFRAYDE; A G E * + N S T _ JO * H | / + R D L _ ? )E R FO +R B E / N | T AFRA++D ; FAREWELL TYLL SOONE. BUT NO WORDE THAT I SAYDE “ F | / R W E + L T I L SO+NC* BUT MO WO+RDC (AT 1 / S A * + D C ' THAN THANKED I HYM FOR H I S GRETE GENTYLNESJ ) AN ) A + NKT 1 / HIM FOR H I Z G R E /+ T C DQE + N T > L N E S I B U T , AS ME THDUGHTE, HE WARE ON HYM A CLOKE BUT, AZ ME/ ) 0 * + X T _ , H E / W | / + R C |N H M | / KLO+K_. THAT _ Y N E D 'W A S WITH DOUBTFULL DOUBLENES? (AT L I / + N > D WAZ W I) D O *+TF U L D O *+B >L N > S ? ME THOUGHTE, OF WORDES THAT HE HAD FULL A POKE? M E/ ) 0 * + X T , |V WO+RD>S (AT H E / HAD F _ L | / PO+K J H I S STOMAK- S T U FFE D OFTE TYMES DYDE REBOKE* -367 | H I Z ST |+ M A K S T U + F T | F T T I / + M > S D ID REBO+KC* SUSPYCYON, ME THOUGHTE, METTE HYM AT A BRAYDE, ! S U S P I + S J _ N , M E / ) 0 * + X T C • ME+T H I M AT | / B R A * + D , iA N D I DREWE N E R E TO H E R K E WHAT T H FY TWO S A Y D E * AND 1 / DRE = + N E /+ R TO HE + RK HWAT ( E * TWO + S A * + D _ * ' • I N F A Y T H ,* QUOD S U S P E C T E , 'S P A K E DREDE NO WORDE OF ME?* |*. IN F A * + ) ' KWOD S U S P E + K T , • S P | / + K C D R E /+ D C MO WO+RDC |V i • WHY, WHAT THAN? WYLTE THOU LE T E MEN TO S P E K E ? I* H W I / , HWAT ) A N ? W I L T ( 0 * L E + T C ME+N TO S P E / + K C ? i i H E S A Y T H HE CAN NOT WELL A C C O R D E W IT H T H E * » I —. H E / S A * + ) H E / KAN N | T WEL A K O + R D C W I ) ( > *. I • TWYST, * QUOD S U S P E C T E , • GOO PL A Y E , HYM I NE REKE • : • TW I+ST* KWOD S U S P E + K T , • GO P L A + + C , H M I / NE R E / + K _ * | • BY C R Y S T E ,* QUOD FA V E L L , 'D R E C E I S SOLEYNE FREKE !• B I / K R I / + S T • KWOD F A + V > L , • D R E / + D _ I Z SO +LE*N F R E / + K _ j WHAT, LETE US HOLDE HIM U P , MAN, FOR A WHYLE*' iHWAT, L E+T US HO+LDC HIM U P , MA+N, F_R | / H W I / L ' ; • Y E , S O O , • —QUOD S U S P E C T E , 'H E MAYE US BOTHE B E G Y L E * • : ' J E / , S • KWOD S U S P E + K T , » H E / MA* US B 0 + ) B E G I / + L • ! AND WHAN~HE CAME WALKYNGE S O B E R L Y , . jAN D HWAN H E / KA+M C W A + L K I # G S O + B > R L I , ! wY T H 'W HOM* AND ' H A * AND W IT H A C R O K E D L O K E , W I) • HOM' AND • HA' AND WI) | / K R | + K>D LO + KC, ME THOUGHTE H I S HEDE WAS FULL OF GELOUSY, M E / ) 0 * + X T _ H I Z H E /+ D C WAZ F L |V D Q E + L U / S I / , H I S EYEN ROLLYNGE, H I S HONDES FASTE THEY QUOKEJ H I Z E / + > N RO+L # G , H I Z H |+ N D > S F A + S T _ ( E * KWO+K_; ;AND TO MEWARDE” THE STRAYTE WAYE HE TOKEo AND TO ME/WA+RD ( > ST R A *+ T C WA*+_ H E / T 0 + K _ o’ i • GOD S P E D E , B R O D E R , ' TO ME QUOD HE THAN, « G |+ D S P E / + D C , B R | + D > R • TO ME/ KWOD H E / ) AN, I AND THUS TO TALKE WITH ME HE BEGAN: AND ( U S TO T | / + L K C W I) ME/ H E / BEGA+NS I'YE REMEMBRE THE GENTYLMAN RYGHTE NOWE ;* J E / REME + MB>R ( > DQE+NT>LMAN R I / + X T C NO* iTHAT COMMAUNDE WITH YOU, ME THOUGHT, A PRATY S P A C E ? ( A T K M A =+N DC W I ) J _ * , M E / ( 0 * + X T , j / P R A + T I S P | / + S ? i B E W A R E OF H I M , F O R , I MAKE GOD AVOWE , ; BEW | / + R _ |V HIM, F R, 1 / M| / + KC G | +D AVO-*+_, HE WYLL BEGYLE YOU AND SPEKE FAYRE TO YOUR FACE* H E / WIL B E G I / + L C J O * AND S P E / + K C FA*+RC TO J O * R F | / + S C * t 368 SELECTED BIBLIOGRAPHY Atkins, J. W. H. English Literary Criticism: The Medieval Phase. Cambridge: Cambridge Univ. Press, 1943. Auden, W. H. "John Skelton." The Great Tudors. Ed. Katha rine Garvin. New York: E. P. Dutton and Co., 1935. Pp. 53-68. Baildon, H. Bellyse, ed. The Poems of William Dunbar. Cambridge: Cambridge Univ. Press, 1907. Baldwin, C. S. Renaissance Literary Theory and Practice . New York: Columbia Univ. Press, 1939. Baugh, Albert C., ed. Chaucer's Major Poetry. New York: Appleton-Century-Crofts, 1963. Baum, Pauli. Chaucer's Verse. Durham, N . C .: Duke Univ. Press, 1961. Baxter, J. W. William Dunbar. Edinburgh: Oliver, 1952 . Beaver, Joseph C. "A Grammar of Prosody." CE. 29 (January 1968), 310-321. Bennett, H. S. Chaucer and the Fifteenth Century. Oxford: Clarendon Press, 1947. Bock, Franz. Metrische Studien zu Thomas Hoccleves Werken. Munich: Vogler'schen Buchdruckerei (R. Martin), 1900. Brewer, D. S. "The Criticism of Chaucer in the Twentieth Century." Chaucer's Mind and Art. Ed. A. C. Cawley. Edinburgh: Barnes and Noble, 1969. Pp. 3-28. 369 370 Brown, Calvin S. "Can Musical Notation Help English Scan- sion?" Journal of Aesthetics and Art Criticism, 23 (1965), 329-334. Carpenter, Nan Cook. John Skelton. New York: Twayne, 1967. Chambers, E. K. English Literature at the close of the Middle Ages. Oxford: Clarendon Press, 1945. Chatman, Seymour. "Stylistics: Quantitative and Qualita tive." Style, 1 (1967), 29-43. ________________ . A Theory of Meter. The Hague; Mouton, 1965 . Chaucer, Geoffrey. The Works of Geoffrey Chaucer. 2nd ed. Ed. F. N. Robinson. Boston: Houghton Mifflin, 1957. Dilligan, Robert. "Verse Design in the Poetry of the Hopkins-Bridges Circle: An Essay in Computational Metrics." Unpublished diss., Univ. of Wisconsin, 1970. ________________ and Karen Lynn. "Computers and the History of Prosody." CE_ (forthcoming). Dobson, E. J. English Pronunciation 1500-1700. Oxford: Clarendon Press, 1957. Donaldson, E. Talbot. "Chaucer's Final -e." PMLA, 63 (December 1948), 1101-1124. Dunbar, William. The Poems of William Dunbar. Ed. W. Mackay Mackenzie. London: Faber and Faber, Ltd., 1970. Evans, Maurice. English Poetry in the Sixteenth Century. New York: Hutchinson's Universal Library, 1967. Fish, Stanley Eugene. John Skelton's Poetry. New Haven: Yale Univ. Press, 1965. Fox, Denton. "The Scottish Chaucerians." Chaucer and Chaucerians: Critical Studies in Middle English Literature. Ed. D . S . Brewer. Univers ity: Univ. of 371 Alabama Press, 1966. Pp. 164-2 00. Freeman, Donald C. "On the Primes of Metrical Style." Linguistics and Literary Style. Ed. Donald C. Freeman. New York: Holt, Rinehart and Winston, 1970. Pp. 448- 491. Furnivall, Frederick J., ed. The Canterbury Tales. Chaucer Society Six-Text Edition. London: N. TrUbner and Co., 1878-1885. Gordon, Ian. John Skelton: Poet Laureate. New York: Octagon Books, 1970. Graves, Robert. The Crowning Privilege. London: Cassell, 1955. Gross, Harvey, ed. The Structure of Verse. Greenwich, Conn.: Fawcett Publications, 1966. Hascall, Dudley. "The Prosody of John Lydgate." Language and Style, 3 (Spring 1970), 122-146. ________________. "Some Contributions to the Halle-Keyser Theory of Prosody." CE, 30 (February 1969), 357-365. Halle, Morris and Samuel Jay Keyser. "Chaucer and the Study of Prosody." CE, 28 (December 1966), 187-219. _____________________________________. English Stress: Its Form, Its Growth, and Its Role in Verse. New York: Harper and Row, 1971. Hammond, Eleanor. Chaucer: A Bibliographical Manual. New York: Macmillan, 1908. _________________. English Verse between Chaucer and Surrey. Durham, N. C.: Octagon Books, 1927. Harding, E. w. "Rhythmical Intention in Wyatt's Poetry." Scrutiny, 14 (December 1946), 90-102. Hempl, George. Chaucer's Pronunciation and the Spelling of the Ellesmere MS. Boston: D. C. Heath and Co., 1893. 372 Hoccleve, Thomas. Hoccleve's Works. Ed. Frederick J. Fur- nivall. EETS LIX, LXXII. London: K. Paul, Trench, Trtibner and Co., 1897 . Hussey, Maurice, A. C. Spearing, and James Winny. An Intro duction to Chaucer. Cambridge: Cambridge Univ. Press, 1965 . Kendle, B. S. "The Ancestry and Character of the Skel- tonic." Unpublished diss., Univ. of Wisconsin, 1961. Keyser, Samuel jay. "The Linguistic Basis of English Pro sody." Modern Studies in English. Ed. David A. Reibel and Sanford A. Schane. Englewood Cliffs, N. J.: Prentice-Ha11, 1969. Pp. 379-394. ___________________. "Old English Prosody." CE_, 30 (Febru ary 1969), 331-336. Kinsley, James. Scottish Poetry: A Critical Survey. Lon don: Cassell, 1955. , ed. William Dunbar: Selected Poems. Ox ford:__Clarendon Press, 1958. Kinsman, Robert S., ed. John Skelton: Poems. Oxford: Clarendon Press, 1969. Kokeritz, Helge. A Guide to Chaucer's Pronunciation. Stockholm and New Haven: Whitlock, 1954. Levy, Jiri. "Mathematical Aspects of the Theory of Verse." Statistics and Style. Ed. Lubomir Dolezel. New York: American Elsevier Publishing Co., 1969. Pp. 170-182. Lewis, C. S. "The Fifteenth-Century Heroic Line." Selectee Literary Essays. Ed. Walter Hooper. Cambridge; Cam bridge Univ. Press, 1969. Pp. 45-57. Licklider, Albert, chapters on the Metric of the Chaucerian Tradition. Baltimore; J. H. Furst and Co., 1910. Lydgate, John. John Lydgate: Poems. Ed. John Norton- Smith. Oxford: Clarendon Press, 1966. 373 Lydgate, John. Temple of Glas. Ed. Josef Schick. EETS LX. London: K. Paul, Trench, Trlibner and Co., 1891. McJimsey, Ruth Buchanan. Chaucer's Irregular -E: A Demon stration Among Monosyllabic Nouns of the Exceptions to Grammatical and Metrical Harmony. New York: King's Crown Press, 1942. Mackenzie, Agnes Mure. An Historical Survey of Scottish Literature to 1714. London: A. Macelhose and Co., 1933. Magnuson, Karl, and Frank G. Ryder. "The Study of English Prosody: An Alternative Proposal." CE, 31 (May 1970), 789-820. Mitchell, Jerome. Thomas Hoccleve: A Study in Early Fifteenth-Century Poetic. Chicago: Univ. of Illinois Press, 1968. M'Neill, G. P. "Note on the Versification and Metres of Dunbar." The Poems of William Dunbar. Ed. John Small. 4 vols . STS. Edinburgh: W. Blackwood, 1884-1893. Mustanoja, Tauno. "Chaucer's Prosody." A Companion to Chaucer Studies. Ed. Beryl Rowland. London: Oxford Univ. Press, 1968. Pp. 58-84. Nichols, Pierrepont H. "Lydgate's Influence on the Aureate Terms of the Scottish Chaucerians." PMLA. 47 (1932), 516-522 . ______________________. "William Dunbar as a Scottish Lyd- gatean." PMLA. 46 (1931), 214-224. Pearsall, Derek. "The English Chaucerians." Chaucer and Chaucerians: Critical Studies in Middle English Lit erature . Ed. D. S. Brewer. University: Univ. of Alabama Press, 1966. Pp. 201-209. ________________. John Lydgate. Charlottesville, Va.: Univ. of Virginia Press, 1970. Pollard, A. W. Introduction to Fifteenth-Century Prose and Verse. New York: E. 'P. Dutton, 1908. 374 Pollet, Maurice. John Skelton: Poet of Tudor England. Lewisburg, Pa.: Bucknell Univ. Press, 1971. Pope, John C. The Rhythm of Beowulf. New Haven: Yale Univ. Press, 1942. Praz, Mario. The Flaming Heart. New York: Doubleday, 1958. Renoir, Alain. The Poetry of John Lydgate. London: Rout- ledge and K. Paul, 1967. Robinson, Ian. Chaucer1s Prosody. Cambridge: Cambridge Univ. Press, 1971. Saintsbury, George. The Earlier Renaissance. New York: Charles Scribner's Sons, 1901. _. A History of English Prosody. 3 vols. London: Macmillan, 1906-1910. _. "Prosody from Chaucer to Spenser." CHEL III. Cambridge: Cambridge Univ. Press,-1909.---- Pp. 311-328. Schipper, Jakob. Englische Metrik. 3 vols. Bonn: E. Strauss, 1881-1888. Schirmer, Walter F. John Lydgate; A Study in the Culture of the XVth Century. Trans. Ann C. Keep. Berkeley: Univ. of California Press, 1961. Scott, Tom. Dunbar: A Critical Exposition of the Poems. Edinburgh: Barnes and Noble, 1966. Sibbald, J., ed. Chronicle of Scottish Poetry from the Thirteenth Century to the Union of the Crowns. Edin burgh: C. Stewart and Co., 1802. Skeat, W. W. The Chaucer Canon. Oxford: Clarendon Press, 1900. Skelton, John. John Skelton: Poems. Ed. Robert S. Kins man. Oxford: Clarendon Press, 1969. 375 Skelton, John. Magnyfycence. Ed. Robert Lee Ramsay. EETS XCVIII. London: K. Paul, Trench, Trtibner and Co., 1908. . The Poetic.al Works of John Skelton. Ed. Alexander Dyce. 2 vols. London: T. Rodd, 1843. Smith, G. Gregory. Scottish Literature. London: Macmil lan, 1919. Specimens of Middle Scots . Edinburgh: W. Blackwood, 1902. Southworth, James G. "Chaucer: A Plea for a Reliable Text." CE, 26 (1964), 173-179. ____________________. "Chaucer's Final -e_Continued." PMLA. 64 (June 1949), 601-610. ____________________. "Chaucer's Final -e_ in Rhyme." PMLA, 62 (December 1947), 910-935. . The Prosody of Chaucer and His Fol lowers : __Supplementary Chapters to Verses of Cadence. Oxford: B. Blackwell, 1962. ____________________. Verses of Cadence. Oxford: B. Black- well, 1954. Speirs, John. The Scots Literary Tradition. London: Chatto and Windus, 1940. Spurgeon, Caroline F. E. Five Hundred Years of Chaucer Criticism and Allusion, 1357-1900. Cambridge: Cam bridge Univ. Press, 1925. Swallow, Alan. "The Pentameter Lines in Skelton and Wyatt." MP, 48 (August 1950), 1-11. Ten Brink, Bernhard. The Language and Metre of Chaucer. 2nd ed. Trans. M. S. Smith. London: Macmillan, 1901. Thompson, John. The Founding of English Metre. London: Routledge and K. Paul, 1961. 376 Wimsatt, w. K. "The Rule and the Norm: Halle and Keyser on Chaucer's Meter." CE, 31 (May 1970), 774-788. Wood, H. 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Computational Prosodics: The Decasyllabic Line From Chaucer To Skelton
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