proscribed, and we have only a fragment left, which was printed from an unique manuscript for the Camden Society. It also is composed in alliterative verse, and its meaning is rendered obscure by a confused allegorical style. It was evidently written towards the Welsh Border, perhaps at Bristol, which is mentioned in the opening lines; and it appears to have been intended as a continuation of, or as a sequel to, Piers Ploughman, which it immediately follows in the only manuscript in which it is preserved.

Another early poem, of which the Ploughman is the hero, was inserted in the works of Chaucer under the title of the Ploughman's Tale. This, like the Creed, is free from allegory; and it differs from the others also in being written in rhyme, and not in alliterative verse. The Ploughman's Tale was probably written in the earlier half of the fifteenth century.^[10] It is a coarse attack on the different orders of the clergy, for their pride, covetousness, and other vices. Its versification has little merit; and there appears to be no good reason for inserting it among the Canterbury Tales.

The vision of Piers Ploughman appears to have continued to enjoy a wide popularity down to the middle of the fifteenth century. We hear nothing of it from that period to the middle of the sixteenth, when it was printed by the reformers, and received with so much favour, that no less than three editions, or rather three impressions, are said to have been sold in the course of one year. Another edition was printed at the beginning of the reign of Queen Elizabeth; and it appears to have been much read in the latter part of the sixteenth century, and even at the beginning of the seventeenth. The name of Piers Ploughman is not uncommon in the political tracts of that period.^[11]

The Poem of Piers Ploughman is peculiarly a national work. It is the most remarkable monument of the public spirit of our forefathers in the middle, or, as they are often termed, dark ages. It is a pure specimen of the English language at a period when it had sustained few of the corruptions which have disfigured it since we have had writers of "Grammars;" and in it we may study with advantage many of the difficulties of the language which these writers have misunderstood. It is, moreover, the finest example left of the kind of versification which was purely English, inasmuch as it had been the only one in use among our Anglo-Saxon progenitors, in common with the other people of the North. To many readers it will be perhaps necessary to explain that rhyming verse was not in use among the Anglo-Saxons. In place of rhyme, they had a system of verse of which the characteristic was a very regular alliteration, so arranged that, in every couplet, there should be two principal words in the first line beginning with the same letter, which letter must also be the initial of the first word on which the stress of the voice falls in the second line. There has, as yet, been discovered no system of foot-measure in Anglo-Saxon verse, but the common metre consists apparently in having two rises and two falls of the voice in each line. These characteristics are accurately preserved in the verse of Piers Ploughman; and the measure appears to be the same, if we make allowance for the change of the slow and impressive pronunciation of the Anglo-Saxon for the quicker pronunciation of Middle English, which therefore required a greater number of syllables to fill up the same space of time.

We can trace the history of alliterative verse in England with tolerable certainty. The Anglo-Normans first brought in rhymes, which they employed in their own poetry. The adoption of this new system into the English language was gradual, but it appears to have commenced in the first half of the twelfth century. It was, at first, mixed with alliterative couplets: that is, in the same poem were used sometimes rhyming couplets, which were suddenly changed for alliterative couplets, and then, after awhile, rhyme was again brought in, and so on. Of this kind of poetry we have four very remarkable examples, the Proverbs of King Alfred, a poem which was certainly in existence in the first half of the twelfth century;^[12] the Early English Bestiary;^[13] the Poem on the Debate between the Body and the Soul;^[14] and the grand work of Layamon.^[15] The following lines from the Bestiary may serve as a specimen of the manner in which the two systems are intermixed; they form part of the account of the spider:—

This kind of poetry appears to have been common until the middle of the thirteenth century; after which period we only find alliteration in songs, not used in simple alliterative couplets, but mixed up in the same lines with rhyme in an irregular and playful manner.^[16] But there appears little room for doubting that during the whole of this time the pure alliterative poetry was in use among the lower classes of society; and its revival towards the middle of the fourteenth century appears to have been a part of the political movement which then took place. In this point of view, the poem of Piers Ploughman becomes still more worthy of attention as a document of contemporary literary history. The old alliterative verse came so much into fashion at this period that it was adopted for the composition of long romances, of which several still remain.^[17] The use of this kind of verse was continued in the fifteenth century, and was imitated in Scotland as late as the time of Dunbar, but the later writers were evidently unacquainted with the strict rules of this species of composition.

The Anglo-Saxons, who used this kind of verse only, wrote their poetry invariably as prose. But the scribe was in the habit of indicating the division of the lines by a dot. Among modern scholars a question has arisen as to the propriety of printing the alliterative couplet in two short lines, or in one long one. It appears to me that the mode in which the dot is used in the manuscripts decides the question in favour