9Z\m T9Z 7 UC-NRLF B 3 SMfl 32^ TROPES AND FIGURES IN ANGLO-SAXON PROSE A DISSERTATION PRESENTED TO THE BOARD OF UNIVERSITY STUDIES OF THE JOHNS HOPKINS UNIVERSITY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY JAMES WADDELL TUPPER BALTI MORE JOHN MURPHY & CO. 1897 CONTENTS. Page. General Classification, 4 I. Tropes, 4 1. Metaphor, 4 2. Simile, 28 II. Phonetic or Sound-Figures, 36 1 a. Figures of Similarity of Sound, .... 36 a. Homoioteleuton, 36 /3. Paromoion, 38 1 b. Figures of Euphony, 39 a. Alliteration, 39 $. Rime, 48 y. Assonance, 50 2. Word-Figures, 54 i. Figures of Repetition with reference to the form of the words, 54 Polyptoton, Paregmenon, - - - - 54 ii. Figures of Repetition with reference to the posi- tion of the words, .... 54 a. Epizeuxis, 57 b. Repetition in significant parts of the sen- tence, 57 a. Anaphora, 57 $. Epiphora, .... 63 y. Symploce, 67 5. Cyclos, 68 6. Anadiplosis, - - - - 69 (. Antimetabole, 69 Conclusion, ----- 72 3 21770? TROPES AND FIGURES IN ANGLO-SAXON PROSE. A precise knowledge of the tropes and figures, found in the literature of any given period, is necessary to a just appreciation of an author's style and of the literary development of his time. The subject may be investigated simply from the point of view of tropes and figures as instruments of literary expression, quite inde- pendently of the author or the period ; or as a means by which, on the one hand, the author makes his thought forcible or beautiful, and by which, on the other, the national trend of thought is indi- cated, — as, here, the peculiar product of the individual, and, there, the common property of the period. The ancient rhetoricians treated the subject in its relation to the whole body of classical writings without any special reference to individual authors. They regarded it as a branch of Rhetoric, not as a basis for the determination of the author's literary art. Gerber's work 1 is the best modern treatise in the classical method. In it, no investigation is attempted of the styles of the various authors ; citations are made from several languages simply as illustrations of tropes and figures. The numerous monographs which deal with this subject in the classical authors are written mostly from the point of view of individual characteristics of thought and style, and have thereby rendered valuable service to the higher criticism of the texts. The figures of speech and the texts are, necessarily, limited for each monograph. In Anglo-Saxon only certain figures of speech have been considered, and these only as they occur in poetry. Professor 1 Gustav Gerber : Die Sprache als Kunst ; Berlin, 1885. 2 vols. 2 Tropes and Figures in Anglo-Saxon Prose. Heinzel's essay ' on the style of old Germanic poetry called forth Professor Gummere's dissertation 2 on the Anglo-Saxon Metaphor. Prof. Heinzel attempts to show that certain devices were common to all Germanic literature. Such are the epithet, used for the more ordinary pronoun, appositions intended as ornament or explanation, separated from the words to which they refer, the pronoun preceding its noun, variation by means of repetition and parallelism, and the changed succession of words. Then of tropes he finds similes, kennings, and "sensual expressions." The theory advanced by Heinzel to account for the lack of the simile in A. S. as a loss from the primitive Germanic, due to the influence of Romanism and Christianity, is met by Prof. Gummere's theory that the Norse developed the simile of itself, and that the simile did not belong to the parent Germanic stock. The passionate nature of the Germanic race is opposed to the use and develop- ment of the simile. Prof. Gummere then proceeds to an examination of the meta- phor in A. S. poetry, and groups his examples in the relations of the concrete and the abstract. As the result of his investigations, he comes to the following conclusion : 3 " The typical A. S. meta- phor was originally confined to one word, or, at the farthest, to several words that stood in the closest syntactical relation. This general type has been invaded by the influence of the Latin litera- ture of the Church, especially by the hymns ; the result, whether as extended metaphor, simile, or learned allegory, is found not so much in Beowulf as in the Caedmon poems, but even there to no overwhelming extent." Dr. W. Bode 4 has treated the kenning in detail, and has grouped his full lists of examples in relation to their signification, not as characterizing separate works. The object of this monograph is to treat with special care the homilies of iElfric, Wulfstan, and the Blickling Collection, and 1 Richard Heinzel : tlber den Stil der altgermanischen Poesie ; Q. und F., X ; Strassburg, 1875. 'Francis B. Gummere: The Anglo-Saxon Metaphor; Halle, 1881. 3 p. 53. 4 W. Bode: Die Kenningar in der Angelsachsischen Dichlung ; Darmstadt und Leipzig, 1886. Tropes and Figures in Anglo-Saxon Prose. 3 the translation of the Consolation" of Philosophy of Boethius, in relation to certain tropes and figures ; to show to what extent the original prose of Anglo-Saxon possesses these rhetorical devices, wherein the translation differs from its original, and in what degree the several writers differ from one another; to discover from what spheres of life the tropes are taken, and to judge from that of the intellectual attainments of their authors ; to find out, where possible, what figurative ideas are original, and what borrowed ; to contrast, where pertinent, the characteristics of prose and poetry in this respect ; to establish the degree of excellence which these writers attained in the employment of their instru- ment, with special reference to the word-figures ; and, finally, to form a general estimate of the literary value of these tropes and figures in the monuments considered. The editions of the texts used are as follows : The Homilies of the Anglo-Saxon Church : ed. by B. Thorpe ; London, 1844 and 1846. 2 vols A. H., A. H. n. Wulfstan : herausg. von A. Napier ; Berlin, 1883 W. H. The Blickling Homilies of the Tenth Century : ed. by R. Morris; E. E. T. S., Nos. 58 and 63. London, 1874 and 1876 B. H. King Alfred's Anglo-Saxon version of Boe- thius, De Consolatione Philosophiae: ed. by Rev. Samuel Fox, M. A.; London, 1890. Bonn's Antiq. Liby Boeth. M. S. Bqetii : Philosophiae Consolationis Libri quinque. Recen- suit Rudolfus Peiper; Leipsiae, 1871. Tropes and Figures in Anglo-Saxon Prose. CLASSIFICATION. Gerber ' gives the following divisions of Tropes and Figures : — (1) Picture-figures (Bildfiguren), or aesthetic figures, usually called Tropes; (2) Phonetic or Sound-figures ; (3) Figures of thought or sense (noetische oder Sinn Figuren). This treatise will deal mainly with the two first divisions, and will include only certain leading figures in these divisions. The distinction between a trope and a figure has been repeatedly pointed out. Professor H. E. Greene 2 thus renders the definitions of Quintilian, which bring* out the distinction as well as anything since written : " A trope is the turning of a word or phrase from its literal signification to another; while 'a figure, as is indicated by its very name, — -figura, — is a form of speech differing from the common and ordinary mode of expression.' 3 A trope gives a word a new meaning ; while a figure is simply a matter of the order of words." I. TROPES: 1. Metaphor. The Century Dictionary defines Metaphor as " a figure of speech from which, by some supposed resemblance or analogy, a name, an attribute, or an action, belonging to or characteristic of one object, is assigned to another to which it is not literally applicable ; the figurative transfer of a descriptive or affirmative word or phrase from one thing to another ; implied comparison by transfer of terms." In the following lists of metaphors, no special classification is adopted. It is almost impossible to find a system of grouping which is thoroughly satisfactory, and, rather than adopt one that would lead to confusion, or one that would obscure the literary value of the trope, I have arranged them according to their sequence in the texts, and grouped only those of close resemblance in form and meaning. 'n, 11. 2 Publications of the Modern Language Association of America, New Series, vol. I, p. 448. 3 Quintilian : Inst. Orator., ix, i, 4 : — Figura, sicut nomine ipso patet. oonfor- matio qusedara a com muni et primum se offerente ratione. Tropes ana Figures in Anglo-Saxon Prose. 5 A. H. 18. 5, naeron hi blinde gesceapene, — referring to spiritual blind- ness ; 34. 7, on Saere ures geleafan gafol mid estfnllum mode hine agifan ; 36. 7, getacnodon Sa halgan lareowas on Godes gelaSuuge, ■Se sind gastlice hyrdas geleaffulra sawla; 36. 14, Sam lareowe gedafenaft $set he symle wacol sy ofer Godes eowode, $set se unge- sawenlica wulf Godes seep ne tostence, — these two metaphors are manifestly suggested by John x, 1-18. 36. 28, Christ is se softa dseg, seSe todrsefde mid his tocyme ealle nytennysse "Seere ealdan nihte and ealne middangeard mid his gife onlihte, so 144. 7, — suggested by John viii, 12. 48. 27, on 3am gastlicum gefeohte his martyrdomes, — a common clerical trope. 50. 5, seSe wses leorniug-cniht on hade, ongann wesan lareow on martyrdome ; 50. 12, he hsefS 3one ecan wuldorbeah ; 52. 12, seo soSe lufu is wylspring and ordfruma ealra godnyssa . . . and se weg $e lset to heofonum, — notice here the coupling of a figurative and a literal word in ' wylspring ' and ' ordfruma ' and the change of trope in ' weg.' 52. 14, sefte frerS on so^re lufe ne mseg he dwelian ; 52. 15, heo [love] gewissaS aud gescylt and gelaet; 56. 7, $u bist Godes beam; 56. 30, Stephen fram lichamlicere wununge gewitende . . . sigefsest to heofenum ferde, — cf. II. Cor. v, 1. 60. 34, ydel br8 se Isecedorn •Se ne rnseg $one untruman geheelan ; swa brS eac ydel seo lar "Se ne gehselft 3sere sawle leahtras and unfieawas ; 62. 4, he syfrSan hsefde his goldhord on heofenum, — cf. Matth. vi, 20. 62. 14, $a wurdon hi mid deofles flan fturhscotene; 64. 15, beoS blowende and welige hwilwendlice Sset ge ecelice wsedlion; 64. 18, 3set he do his Seowan . . . unvvrSmetenlice scinan ; 66. 6, ne bi3 he Ssera sehta hlaford, Sonne he hi daelan ne inseg ; ac he bift ftsera sehta fteowa, $onne he him eallunga "Seowaft, so 122. 7; 68. 11, he eowre saula 3e nu synd adylegode of Ssere liflican bee, gelsede eft to Godes gife and miltsunge ; 70. 7, 3aera gedwolmanna dyrstignesse adwrescte ; 72. 23, he mid rodetacne his niuSe and ealne his licha- man gewsepenode; 74. 15, tima is 'Saet $u mid ftinum gebro^rum wistfullige on minum gebeorscipe, so 74. 27; 76. 3, geopena ongean nu lifes geat Saer ftsera 3eostra ealdras me ne gemeton; 84. 5, nseron hi geripode to siege, ac hi . . . swulton to life; 84. 13, hi sind gehateue martyra blostman, forSan $e hi waeron swa swa upasprin- gende blostman on middeweardan cyle ungeleaffulnysse, swilce mid 6 Tropes and Figures in Anglo-Saxon Prose. sumere ehtnysse forste forsodene, — the metaphor becomes a simile. 94. 31, buton he Sa ymbsnidennysse on gastlicum Seawum gehealde, so 96. 8, 26, 33. 110. 32, ydele leasunge adwsescan mid deopnysse godcundra gewrita ; 116. 14, hi offrodon Criste gastlice recels and noldon him gold offrian, so 116. 17, 20, 142. 12 ; 118. 5, gif we on his gesihSe mid beorhtnysse -Sees uplican wisdomes scinende beoS ; 118. 7, gif we ure geSohtas ... on weofoSe ure heortan onaelaS, Sa?t we magon . . . wynsnmlice . . . stiucan, so 118.16, 18; 118. 28, us is micel neod ]>set we Surh oSerne weg Sone swicolan deofol forbu- gan Sset we moton gesaeliglice to urum eSele becuman ; 122. 17, eal mancyn Se wses atelic hreoflig, mid mislicum leahtrum on "Sam inran menu, so 122. 23, 124. 11 ; 122. 25, Sset he ure saule frani synna fagnyssum gehselan msege; 124. 14, his sawle wunda dsed- betende gelacniau, so 142. 33; 124. 0, Se swa hreoflic biS on manfiillum 'Seawum Sset he oSre mid his yfelnysse besmit, so 124. 33 ; — these metaphors, relating to spiritual sickness, are common in the religious literature. 132. 7, Se heora heortan wyrtruman on Sisum . . . life plantiaS; 132. 11, Sa inran Seostru sind Sses modes blindnyssa wiSinnan, so 132. 12; 138. 22, Sonne on urum mode biS acenned sum Sing Godes, — this with many other metaphors has become almost colourless. 138. 28, ure unclsenan geSohtas and weorc, Sa we sceolan symle acwellan oSSe behwyrfan mid claenum ; 146. 16, ne . . . Cristes swurd sceolde Surhgan Marian lichaman, ac hyra sawla. Cristes swurd is her gesett, swa swa we cwsedon, for his Srowunge; 154. 9, we ne magon on Sissum life Sees ecan leohtes brucan ; 154. 10, Ses an bliuda getacnode eall mancynn, Se wearS ablend Surh Adames gylt, so 154. 19, 156. 1, 3, 5, 7; — in these and similar instances, which abound in iElfric, the meta- phor loses nearly all its rhetorical value by the elaborate allegorical interpretation. 154. 21, abrodene of urum gedwyldum and onlihte Surh geleafan ; 154. 22, nu hsebbe we Sset leoht on urum mode, Sset is Cristes geleafa; 154. 24, Seah Se we gyt lichamlice on urum cweorterne wunian ; 154. 34, Sa wearS mancyn onliht and gesihSe underfeng; 156. 16, Sonne cumaS Sa ealdan leahtras . . . and hi gedrefaS his mod, and willaS gestillan his stemne; 156. 23, Sset he todrsefe Sa yfelan costnunga fram ure heortan and Sset he onlihte ure mod mid his gife; 156. 26, Sonne mage we gedon . . . Sset se Hselend stent, seSe ser eode; 158. 8, ures modes blindoysse ; Tropes and Figures in Anglo-Saxon Prose. 7 158. 17, bi3 ure heorte onbryred and gewend to Gode, — weakened metaphor. 158. 29, biddan Sees leohtes 3e we magon mid englum anum geseon, 3a?t 3e nsefre ne bib geendod. To 3am leobte so31ice ure geleafa us sceal gebringan, — in the latter half of this quotation we have a weak form of personification. 160. 15, heo [soul] bib dead selcere dugube and gesselbe, and bib gehealdan to 3am ecan dea3e; 162. 16, nis beos woruld na ure e3el ac is ure wraecsi3, — a forcible metaphor, since exile was the greatest abhorrence of the Anglo-Saxon. 168. 7, Deofol is ealra unrihtwisra manna heafod and 3a yfelan men sind his lima, so 168. 8, 238. 26, 272. 28, 390. 12, 604. 35; 170. 17, Gif we neakecaS urum Drihtne mid geleafan . . . ; gif we hwser aslidon, arisan eft 3serrihte, and betan georne "beet 3ser tobroceu bi3 ; 1 70. 23, se3e gebigde 3one halgan heofenlican bigels, — one of the few poetic metaphors in prose. 176. 1, 3onne bi3 oft 3ses mannes mod gebiged to 3sere lust- fullnnge, hwilon eac aslit to 3aere gebafunge; 184. 10, 3am he forgifb bone gastlican fodan 3set hi ne ateorian be wege ; 188. 7, 3onne we cumab to 3am smedman, 3set is to 3sere getacnunge, 3onne gereordab heo [the old law] ure mod; 188. 25, nu sceal gehwa ... of tredan 3get gsers and of sittan, 3set is 3eet he sceal 3a flsesclican lustas gewyldau, — notice the favourite allegorical interpretation. 188. 29, 3a menn 3e to 3am gastlican gereorde belimpa3, so 190. 2 ; 198. 35, heo wses geclaensod and gescyld wi3 ealle leahtras. 201. 8, gif we mid 3am gewitendlicum gestreonum beceapa3 him 3a;t ece lif and 3a heofonlican welan mid Gode; 208. 2, hi wseron getigede, forbon 3e eal mancyn wa?s mid synnum bebunden, so 208. 5, 20, 22, 23; 210. 35, we beo3 tempel and fsetels 3ass Halgan Gastes, so 210. 4, 262. 16, 17, — a Biblical metaphor; cf. I Corinth. vi. 19. 212. 10, hi ne magon his geoc of heora swuran asceacan; 212. 13, gif he mid deofles weorcum hine sylfne bebint, bonne ne maeg he mid his anre mihte hine unbindan butan . . . God . . . hine unbindan, so 234. 14; 216. 15, gefredde 3a 3one engel Cristes godcundnysse, 3urh 3a he wses to dea3e aceocod, so 216. 31 ; 218. 23, se lichama, 3e is 3sere sawle reaf ; 222. 3, gif we beo3 gefyllede mid braibe haligra mihta, and gif we mid hlysan godra weorca urne Drihten seca3 ; 222. 6, 3a geseo3 3a heofoulicau Englas 3a 3e mid brseburn godra weorca gewilnia3 3aes upplican fa3reldes; 226. 2, nu sind adwsescede ealle geleaflystu; 226. 15, he 3one dea3 8 Tropes and Figures in Anglo-Saxon Prose. mid his seriste tobraec; 226. 19, his narna adwaesced ; 228. 1, ure Haelend Crist tobrsec helle-gatu ; 234. 9, 3a unbindan fram heora synnum 5a "be Crist gelifFaest ; 238. 29, selc bisceop and selc lareow is to hyrde gesett Godes folce, so 560. 34 ; 240. 1 , se wulf is deofol, 3e syrw3 yrnbe Godes gela3unge and cep3 hu he insege cristenra manna sawla mid leahtrum fordon ; 248. 14, we ealle sind cuman on Sisum life, and ure eard nis na her ; ac we sind her swilce weg- ferende menn ; 248. 25, clypigan to Criste and biddan Saera Sreora hlafa; 250. 1, nu sceole we cnucian, and hryman to Criste; 252. 16, Sonne bi3 ure hiht gehealden wi3 Sees wyrmes siege ; 254. 28, se rica and se 3earfa sind wegferende on 3isre worulde. Nu berS se rica swaere byrSene his gestreona and se 3earfa fserS semtig ; 254. 34, ealle we sind Godes 3earfan ; 256. 17, seo gytsung is ealra yfelra wyrtruma; 256. 18, Se fyliga3 3sere gytsunge, hi dwelia3 fram Godes geleafan, and hi befealla3 on mislice costnunga and deri- gendlice lustas, Se hi besenca3 on forwyrd ; 264. 27, gehealde and gescylde ge ure sawle ge ururn lichaman, fram deofles costnungum; 264. 34, and sylle eac ure sawle Sone gastlican hlaf. Se gastlica hlaf is Godes bebod; 266. 11, mid Sam gastlican gereorde ure sawle geclsensian and getrymman ; 286. 17, 3sere heofenan frsetwunge; 288. 7, Godes Gast afanda3 ealra manna heortan and 3a 3e on hine gelyfaS ... 3a he clsensa3 and gegla3a3 mid his neosunge, — note the combination of literal and metaphorical statement. 298. 4, Sa com se Halga Gast on fyres hi we to Sam halgum hyrede . . . and he ealle onaelde mid undergendlicum fyre and hi waeron afyllede mid 3sere heofonlican lare. 320. 20, hi wseron byrnende on Godes willan, so 344. 7, 10, 346. 23 ; 320. 23, 3sere hseftenra manna heortan 3e cealde wseron Surh geleaflseste . . . gewilnunga ; 322. 7, 3set hi [men's hearts] beo3 li3e Surh unscae33ignysse, and onaelede Surh lufe and snoter- nysse, so 322. 13, 14, 324. 6; 332. 31, ne lufa3 se hine sylfne se3e hine mid synnum bebint; 338. 20, mid hete Sset taeldon; 360. 11, campian daeghwamlice wiS leahtras, and hine sylfne 3reagian mid styrnysse 3sere gastlican steore; 360. 21, unlustas mid agenre cynegyrde gestyran ; 362. 27, 3e beo3 "Surh unrihtwisuysse hocas awegde, eft 3urh regolsticcan 3sere so3an rihtwisnysse beoS geem- node ; 362. 29, scearpnyssa beoS awende to sme"5um wegum, 3onne 3a yrsigendan mod . . . gecyrra3 to manSwaernysse 3urh ongyte 3sere upplican gife ; 374. 22, mid gastlicum gecampe winna3 Tropes and Figures in Anglo-Saxon Prose. 9 ongean Sone dry; 382. 17, bset ic sceolde mid Sysre browunge his fotswaburn fylian . . . ; ne gelette ge minne weg, so 382. 1 9 ; 390. 23, "bast bilewite seep "ba gefullode "bone arleasan Sauluni and worhte Line arfaestne Paulum. He gefullode ftone vvulf and geworbte to larube, — note the curious mixture of literal and meta- phorical terms. The metaphor is suggested by the meaning of Ananias, which iElfric says is " sheep." 410. 24, Sonne biS eal seo getimbrung hire smeagung toworpen ; 412. 22, gastlice ofsleaS mid heora yfelnysse heora underbeoddan ; 414. 5, he wees toSunden on modignysse, and his flsesclicurn lustum underbeod, and mid ungefohre gytsunge ontend, — notice three metaphors in immediate succession. 428. 30, naefS min niht nane forsworcennysse, ac heo mid beorhtum leohte scin-b, so 446. 2 ; 472. 12, God is so$a laece, be burh mislice swingla his folces synna gehselb, so n 560. 33; 492. 14, se mann se tosaewb ungebwsernysse betwux cristenum mannum ; 492. 15, iSurh his mivbes geat, so 492. 16; 474. 26, ne beceapige na . . . mid his sawle 'bass lichaman gesundfulnysse ; 492. 19, rnacab hi his eare him sylfum to deabes geate; 496. 12, on deaSe geswefod, so n 260. 18; 496. 14, heo [soul] Surh synna dead is, so 496. 13, n 260. 18 ; 496. 31, 3eah "be heo on gewunelicum synnum fule stince ; 496. 33, swa mare wund swa heo maran laecedomes behofaS ; 498. 5, swa brb eac se digla deab 3aere sawle eabelicor to arserenne . . . bonne synd ba openan leahtras to gehaelenne. 516. 7, seo hand getacnaft urne nydbehefan freond . . .; ac beah gif swile freond us fram Godes wege gewenift, 'bonne bi$ us selre "baet we his flaesclican lufe fram us aceorfan, and mid twaaininge awurpon, bonne we, $urh his yfelan tihtinge, samod mid him on ece forwyrd befeallon, — mixture of metaphorical and literal expression. 520. 27, se halige gela^ung is Cristes bryd, burh $a he gestrynb . . . gastlice beam, so n 10. 29, n 54. 14, 17, ii 58. 23, n*72. 28, n 476. 31 ; 522. 25, fynd mid home licham- licere mihte potedon ; 522. 27, 3a sind gernseste mid gife "baas Halgan Gastes to 3am swi3e, ftset hi w T ilniab $ses upplican fasreldes mid fySerum gastlicum drohtnunge; 522. 31, sefte mid fodan baere upplican lufe biS gefylled ; 524.13, "baas ecan lifes welan, — a colourless metaphor. 526. 28, se claene hwaete bi$ gebroht on Godes berne ; ftaet is, "beet $a rihtwisan beo-b gebrohte to ?am ecan life, ftaer ne cymiS storm ne nan unweder ftset bam corne derie ; 10 Tropes and Figures in Anglo-Saxon Prose. 528. 24, 3e mid horiura reafe cym3 to Godes gyftum, 3set he for his fulum gyrelan fram 3sere ecan blisse ascofen beo into ecurn 3eostrum ; 542. 35, sind gewuldorbeagode raid sige heora 3rowunga on ecere myrh3e; 544. 18, Godes lare ... to unateorigendlicum gafele; 552. 17, ne bi3 God gesewen buton mid clsenre heortan ; 560.. 34, efne her is ure hyrde, efne her is se frefrigend ures geswinces ; 578. 25, mid manegum swingelum . . . geswencte, so 578. 26; 578. 28, to lifes wege fylian; 578. 32, under3eodde 3eoda swuran his geoce; 584. 30, mid heora mode heofonum genealsecan; 594. 27, ue onsel 3u Se sylfum 3set ece fyr; 602. 17, gefyrn scean leoht iugehydes geond eorSan ymbhwyrft, and forwel menige scina3 on so3fsestnysse wege, 3a 3e fara3 3urh godspellic siSfset to 3ses ecan lifes gefean ; 602. 35, he toscoc 3a dwollican nytennysse 3urh onlihtinge his andwerdnysse, swa swa se beorhta dseg todrsefS 3a dimlican 3eostra 3aere sweartau nihte, — notice the simile as an elaboration of the metaphor. 612. 29, heora heortan wyrtruman on his lufe aplantodon ; 614. 8, 3aet 3ises middangeardes waestm is hryre. To 3am he wext 3set he fealle ; to 3y he sprytt 3set he mid cwyldum fornyme swa hwset swa he aer sprytt; 614. 29, gewita3 3a genipu ure dreorignysse ; 616. 23, swa hwa swa ungeclsensod bib, he gefret 3ses fyres 8e3m. A. H. ii. 8. 20, swaSeah 3one liflican wsestm abser, se3e is so3 Bisceop and ure sawla alysend ; 10.31, seo gelaSung is ealra cristenra manna moder on gastlicere acennednysse ; 14. 29, nu is he gesmy- rod . . . mid seofbnfealdre gife 3aes Halgan Gastes; 58. 11, 3as six wseter-fatu wseron afyllede mid halwendum wsetere boclicra gewrita ; 68. 16, 3as sind gemengde 3a godan ceastergewaran and 3a yfelan swa swa corn and ceaf, o33set se Dema cym3, 3e gegadera3 3aet claene corn into his berne, 3set sind, 3a rihtwisan into heofonan rice, — note the combination of the simile and the allegorical interpretation of the metaphor. 70. 10, he sparode 3aet god win o3 his agenum tocyme, 3eet he scene3 nu geond his gelaSunge o3 ende 3yses middaneardes ; 74. 16, buton 3a lareowas screadian symle 3a leahtras 3urh heora lare aweg, ne bi3 3set lsewede folc wscstmbsere on godnm weorcum ; 76. 2, hi forgyme- leasodon 3aes ecan lifes teolunge ; 78. 6, he ne teolaS nanes Tropes and Figures in Anglo-Saxon Prose. 11 waestmes 3aes godcundlican weorces; 78. 35, se3e neorxena wanges faesten mid his agenum deaSe geopenode; 88. 26, hi ne adraefa3 ure sawla hafenleaste; 88. 28, rihtwisnysse speda and 3aes heofenlican wisdomes goldhordas; 92. 11, -Sees modes 3rotan, — an example of Cataehresis. 98. 11, swa ageaf 3es goda mann his waestm Gode. 106. 5, seo aelmysse ure synna lig adwaescte ; 124. 6, geope- nige ure sarnys us infaer so3re gecyrrednysse and Saet wite 3e we 3rowia3 tobrece ure heortan heardnysse; 124. 9, mid swurde Saes heofonlican graman, so II 126. 1 ; 126. 30, Gode wsestrnbaere wurde; 132. 24, Cuthberhtus . . . scinende on manegum geear- mungum ; 136. 28, 3ry heofonlice hlafas, on lilian beorhtnysse scinende and on hrosan braeSe stymende, — cf. B. H. 7. 29. 156. 31, 3urh Saere hyde wunda adwaescte his modes wundaj 160.25, blindnysse his heortan; 180. 31, his waelhreowan hnecean to "Sees halgan weres fotswa3um gebigde ; 188. 13, 3aet scraef ... on wundrum scinende; 210. 35, we buton yfelnysse beorman on 3eorfnysse syfernysse and soSfaestnysse ; 236. 20, hi haefdon staenene heardnysse on heora heortan; 242. 31, heora andgit aSwoh fram eallum horwum healicra leahtra ; 248. 26, 3a spaetlu a3wogen ure sweartan gyltas; 266. 13, we beo3 gemearcode aeg3er ge on foran heafde ge on heortan mid blode 3aere drihtenlican Srowunge ; 278. 24, we sceoldan wistfullian na on yfelnysse beorman ac on Seorfnyssurn syfernysse and so3fa?stnysse ; 288. 32, on geswinc- fullum ySum Sises deadlican lifes, so n 290. 3, 33, n 388. 6, 7, — metaphors from the sea are rare in prose, but abundant in poetry. 294. 10, mid leohte ures geleafan ; 318. 27, fiSera 3aere soSan lufe ; 320. 22, buton he aerest arise of 3am reocendum meoxe and mid so3re daedbote him sylfne a3wea ; 374. 8, to 3am estum 3aes ecan gereordes; 374. 30, 3aet leoht Saes larlican andgites; 388 9, wiudige ehtnysse astyrige ongean Cristes gela3unge; 388. 16, geendodre nihte unrihtwisnysse ; 392. 22, on 3issere worulde hreohnyssum ; 392. 26, gif 3u iufast Sas woruld, heo besencS 3e ; 392. 28, gif "Sin heorte floteraS on Sissere worulde gytsunge ; 392. 32, hawa "Saet se inra wind 3e ne towende ; 392. 35, gif 3u hwilon dyfst 3urh woruldlicum lustfullungum ; 398. 5, to 3am wynsuman geoce Godes 3eowdomes; 398. 10, mete 3aere halgan lare; 402. 11, heora heortan wyrtruman on 3am liflican wylle ; 404. 14, hiwia3 hi 12 Tropes and Figures in Anglo-Saxon Prose. wiSutan mid eawfaestum Seawum, and wrSinnan sind geaettrode raid arleasnysse; 408. 26, uton beon waestmbsere on godum weorcum, fti laes $e se Haelend us waestmlease gemete, and hate us mid dea$es eaxe forceorfan ; 470. 16, -Sam heofonlicum Isecedorne; 478. 12, mid wuldorbeage eces rnseg^hades, so n 494. 32; 512. 34, scean on witegunge; 526. 15, wsestui godra dseda ; 526. 18, $ara apos- tola wrest m ; 532.31, ne his agene weorc mid deadum fellum ymbtrymman ; 534. 2, hwset do^ ftas buton swilce hi heora fet mid deadra nytena fellum beteon? — the conclusion of an allegorical interpretation. 538. 23, hi [evils] sind $a hydelas -Sses ecan lifes, fte yfelum raannum becymft for heora anwillan yfelnysse; 546. 2, Godes gela^ung hsefS on sibbe lilian, ftset is clsene drohtnung; on &m gewinne, rosan, ^set is, martyrdom ; 554. 19, God of garS his feoh at eow mid &m gastlican gafole ; 556. 32, his unlustes fteostra ; 560. 28, fela blindra manna, 3e fram softfsestnysse wege dwelodon, he onlihte $urh $a softan lare, so n 560. 28 ; 602. 4, seo so$e behreowsung and dsedbot ... us a#weh-S eft fram Sam synnum ; 602. 12, dsedbot . . . and eelmesdaeda . . . gehselaft and gelacnia$ ure synna, gif we -Sa Isecedomas geornlice begaft. W. H. 1. 9, Ssem modes leohte; 3. 14, $e we nu on carcerne syn bety- nede on Sisse worulde, and eft 'Sonne se gast wyrS ut of •Sam lichoman alaed -Se he nu mid befangen is; 18. 1, gerymed haefS us eallura rihtne weg; 35. 17, "Saet deofol ne rnseg aenig his aettrenra waepna him on afaestnjan ; he bi$ ftonne Cristes lima an, so 37. 6, 65. 19, 79. 1, 310. 15; 40. 3, beorgaS eow georne wrS deofles lara, so 40. 8, 11, 21 ; 67. 14, ane gastlice rnodor, seo is ecclesia gena- mod, — a universal metaphor. 71. 15, soua wyrS heofona rices duru geara untyned ; 75. 22, ure lifwegas geornlice rihtan ; 79. 13, nu is mycel neod eac eallum Godes bydelum, $aet hy Godes folc warnjan gelome wiS ftone egesan 3e raannum is towerd ; 80. 1, we godcunde heorda warnjan nu georne; 103. 29, gebohte [mankind] deorwyrSan ceape; 139. 13, flylrS se frofur aweg; 156.4, 3eos woruld is on ofste and hit nealaecS Sam ende; 156. 10, unrihta to fela ricsode on lande; 158. 8, Godes bus syndon to clsene berypte ealdra gerihta and innan bestrypte aelcra gerysena, so 157. 18; Tropes and Figures in Anglo-Saxon Prose. 13 178. 8, swser is seo byrSen, $e Godes bydel beran mot; 178. 22, •Sam godcundan hyrdan ; 180. 15, forSam $e hit [absolution] is ealra laecedoma selost; 180. 8, clamsige his heortan gehwa fram aeghwilcum niSgrarnan ; 186. 13, se fyrena ren ; 190. 16, wa 'Sam hirdum . . . "Se estaS heom silfum . . . and godcundre heorde ne gimeb to nahte, so 191. 7, 12, 16 ; 228. 13, -Sonne beo~S eovv opene heofena geatu ; 230. 19, rinan mannum -Sone heofonlican mete; 232. 23, cyrice is 3sere sawle scip and scild on domes dseg, and heo is us gesceapen to gebedhuse, na to nanura gemothuse ; 236. 15, "Ssere fyrenan ea ; 239. 7, heo [the Church] bi$ ure friSjend and werigend wiS *Sa3t micele fyr on domes dseg; 239. 13, eac beftearf seo sawul on domes dseg rihtes weges and claenes and staSolfsestre brycge ofer Sone glideran weg hellewites brogau ; 239. 15, baernon we urne lichaman mid clsenum gebedum set urum heortan ; 242. 3, oferfyll bi'S $aere sawle feond and $aes lichaman unhsel ; 242. 9, hit alucS 'Sees mannes mod Surh deofles costnunge; 243. 19, aer man aweodige "Sa unriht and $a manweorc, 'Se man wide saew$ and gesawen haefS ; 247. 6, he sceal beon grundweall Sines lifes, and se hiht sceal beon 3in scyld ealles Sines lifes ; 247. 8, seo so-Se lufu sceal beon Sin wundorbeah ; 247. 13, 'Saet sint feower sweras . . . iustitia, etc. ; 249. 2, se modiga deofol . . . wyle wrS ftinre sawle campjan ; 251. 15, we waeron gefriSode feonda gafoles ; 252. 1, staenenre heortan and blindre ; 252. 4, ftone unrihtan wrigels of heora heortan and heo onbyrhte mid leohtum andgite ; 252. 8, he him mildheortnesse earan ontynde; 252. 10, aerSam we waeron steopcild gewordene, forSam 3e we waeron astypede 'Sees heofenlican rices; 252. 17, se facna feond ne us ne forwyrne *Saes wilweges ne us ^a gata ne betyne . . . ne us Ssere byrig ne ofteo ; 257. 21, ftone weallendan welm ; 273. 8, heo is 3eos woruld on ofstum and on stormum and on adlum and on ungewyderum ; 276. 4, $a hyrdas, -Se na cunnan 3a godcundan heorde healdan, so 276. 11 ; 302. 29, cyrice brS ure scyld and nerjend on domes daeg wift §aet micele fyr. B. H. 3. 11, se Halga Gast seow Saet claene seed on ftone unbesmitenan innoft ; 5. 19, inno'S . . . 'Sset wees "Sa3t tempi ftaere ge^ungennesse and ealre claennesse ; 7. 25, sy "Saat geteld aftened 'Sines inno^es ; 14 Tropes and Figures in Anglo-Saxon Prose. 7. 26, seo onblawnes Saere heofonlican onfaeSmnesse sy gewindwod on Se ; 7. 28, sy Sin Saet faeSmlice hrif raid eallum faegernessum gefraetwod ; 7. 29, seo readnes Saere rosan lixeS on Se and seo hwitnes Saere lilian seined on Se; 7. 31, mid eallum missenlicum afeddura blostmum sy se Cristes brydbur gefraetwod ; 7. 33, to hwon yldestu middangeard to onlyhtenne ; 7. 35, Sass Hebstan maegen "Se ymbscineS ; 9. 4, God Se hafaS to gisle her on middan- gearde geseted ; 9. 9, se heofonlica Cyniug gearwaS Sinne iunoS his Suna to brydbure and on 'Sam brydlocan micelne gefean ; 9. 26, Drihten on Saere faemnan brydbure and on Saem gerisnlican hehsetle onfeng lichoman gegyrelan to his godeundnesse ; 9. 28, he wses gesended Saet goldhord Sees maegen-Srymmes on Sone bend Saes claenan innoSes ; m 9. 35, he becom to Saem heahsetle Saere rode on Saem upstige eall ure lif he getremede; 9. 36, he sealde his Sone readan gim, Saet waes his Saet halige blod ; 11. 5, gifeon ... on Sone gemanan Saes brydguman and Saere bryde, Saet is Crist and seo halige cyrice, so 11. 30; 11. 28, astag Saet heofonlice gold- hord on Sysne ymbhwyrft fram Saem heahsetle ure gescyppendes ; 11. 34, he us gesohte on Sas aelSeodignesse ; 13. 10, 'Sonne biS Drihten ure se trumesta staSol and se selosta scyld wiS eallum deofles costnungum, so 89. 10; 13. 23, ne biS Saer Cristes eardung ne his wunung on Saere heortan; 15. 13, hie waeron him bediglede, forSon Se hie waeron Sagyt mid worldgeSohtum bewrigene; 17. 33, seSe ne can Sa beorhtnesse Saes ecan leohtes, se biS blind, so 17. 14, 36 ; 19. 9, seo stemn Saere heortan biS swiSe gedrefed on Saem gebede; 19. 15, mid mycclum hungre yfelra geSohta abisgode; 19. 24, Saere godeundnesse naenig onwendnesse on earcerne waes of Saere menniscan gecynde ; 19. 28, ure stefne blindnesse gehyreS ; 21. 6, his eagena leohtes; 21. 16, oSon leohte is fulfremeduesse weg Se we on feran, so 21. 17, 18; 23. 2, Sa blindnesse ure aelSeo- dignesse ; 23. 2, we send on Sisse worulde selSeodignesse ; we synd on Sisse worlde aelSeodige; 25. 6, hie beoS upahafene on oforhygde and eac beoS onbaernde mid Saere biteran aefeste, ge eac beoS besmitene mid Sem unclaenan firenluste; 27. 23, Sam fulwihtes baeSe; 29. 11, Saem aespringe Godes mildheortnesse ; 37. 8, mid Saere swetnesse godcundra beboda, so 55. 21, 23; 37. 18, seSe wille Drihtne bringan gecweme lac faesten ; 41. 12, ne Surfon ge wenan Saet ge Saet orceape sellon, Saet ge under Drihtnes borh syllaS. Tropes and Figures in Anglo-Saxon Prose. 15 45. 25, Cristenra folces h) r rdas; 51. 11, ontyneS us Drihten heo- fenes Seotan ; 53. 14, on Saern heofoulican goldhorde; 55.7, se wyrtrunia Saere halgan gesegene of his heortan bib alocen and onweg annraen; 55. 27, hie gastlice waestm ne beraS . . . ; forSon ■Se Saet halige ssed on him gedwan and gewat, Saet him aer of Saes lareowes muSe waes bodad and saegd ; 57. 11, seo saul gif heo ne biS mid Godes worde feded gastlice hungre and Surste heo biS cwelmed ; 59. 5, "Sonne se geogoS-had aerest bloweS and faegerost biS ; 63. 10, hi beoS betuh him sylfum slitende wulfas; 65. 3, Saet hit sy wyrtruma ealra oSerra synna; 71.36, waestm godra weorca ; 73. 29, godra weorca swetne stenc ; 75. 9, swa saet Sonne seo unaraefnedlice byrSen synna on eallum Sysurn menniscan cynne; 77. 10, he hine aer of sawle deaSe awehte; 83. 21, aefter Saern bend um his deaSes, and aefer Saern clammnm helle Seostra. 89. 16, ic eom dust and axe; 91. 12, he us mid his blode abohte of helle haeftnede ; 95. 2, myccle herehyS manna saula ; 97. 30, Sone laecedom ure sauwle ; 105. 14, on Sam gecorenan hordfaete ; 105. 26, hie waeron staenenre heortan and blindre; 105. 29, God afyrde him Saet unriht wrigels of heora heortan and hie onbyrhte mid leohtum andgite ; 107. 1, he him mildheortnesse earon ontynde, — cf. W. H., p. 251 flf. 107. 14, to Sam selran and to Son soSon laecedome; 109. 3, colaS . . . seo lufu ; 109. 31, Sa synbyrSenna; 115. 7, he [world] waes blowende ... on swySe manigfealdre wynsumnesse, so 115. 13 ; 133. 23, hie inneweardum heortan ecelice burnon Saere Godes lufan ; 135. 7, Sa my clan byrSenne . . . Saere mycclan langunga ; 141. 1, Su eart lifes swer; 145. 4, we baernan gastlico leohtfato ; 145. 6, he hie onlyhte mid his Saes Halgan Gastes gife; 147. 36, Sinra beboda goldhord; 149. 2, ne forlaete ic Se naefre, min meregrot . . . min eorclanstan, forSon Se Su eart soSlice Godes tempi, so 153. 6, 155. 32; 157. 1, Su Se gee ure Saet faet on to eardienne; 157. 11, aris Su, min se nehste and min culufreand mines wuldres eardung and forSon Se Su eart lifes faet and Su eart Saet heo- fenlice tempi ; 163. 11, Saere halignesse hus geclaensod beon sceolde, and seo gastliSnes Saes G'ristes wicsceaweres and seo gifernes gebuend waes Saes Cristes engles and seo heall Saes Halgan Gastes swyle tempi eallunga Gode weorSe funden; 163. 20, he waes gelic Godes englum, and he waes beme, Cristes fricca on Sysne middaugeard and waes Godes sunu spellboda and segnbora Saes ufancundan 16 Tropes and Figures in Anglo-Saxon Prose. kyninges and firena forgifnes and gerihtnes haeftenra 3eoda, — notice the opening simile with the metaphor immediately following. 163. 30, se niwa eorendel, Sanctns Johannes; 163. 30, se leoma •Ssere so3an sunnan, God; 163. 32, seo beme Sanctus Johannes; 165. 1, he mid 3sere sobfsestnesse stefne gehiered waes ; 185. 6, he brb gedyped on 3a neo3emestan helle witu ; 207. 9, mid haligra lofsauga lacum ; 225. 17, carnal arisende wulfas, todrifa3 bine heorde ; 225. 36, seo Godes lufu to 3ses hat and to Sees beorht on his heortan; 229. 23, minra eagena leoht; 241. 3, ana 3u heardeste strael to aeghwilcre unrihtnesse ; 3u 3e simle fihtest wi3 manna cyn ; 241. 5, Crist 3e gehnaede in helle. Boeth. 4. 9, me ablendon bas ungetreowan woruldsserba, and me forletan swa blindne on 3isse dimme hoi; 4. 21, 3u hsefst Sara wsepna to hrade forgiten "be ic 3e ser sealde ; 4. 23, gewitab nu awirgede woruldsorga of mines 3egenes Mode, for3am ge sind 3a msestan scea3an, — the original has a mythological allusion, which, because it would be unintelligible to the Anglo-Saxon, is avoided in the translation — sed abite potius Sirenes usque in exitum dulcis meis- que eum musis curandum sanandumque relinquete (i i. 37). 4. 27, adrigde 3a mines Modes eagan ; 4. 31, ac hit ongeat his lare swibe totorenne and swrbe tobrocenne mid dysigra hondum ; 6. 7, Eala on hu grundleasum sea3e 3aet Mod bringb 'bonne hit bestyrmab 3isse worulde unge3wa3rnessa, — the Latin corresponds — Heu quam prsecipiti mersa profundo Mens hebet et propria luce relicta Tendit in externas ire tenebras (i ii. 1 ). 6. 9, gif hit "bonne forget his agen leoht, bset is ece gefea, and 3ring3 on 3a fremdan bistro, 3set sind woruldsorga, — corresponding to the second part of the Latin just quoted — "et propria luce relicta etc." 8. 15, sticiab gehydde beorhte crseftas, — Latet obscuris condita virtus Clara teuebris (i v. 34), the greater vividness of the Latin will be noticed. 8. 22, forbam hit nu eall winS on 3am ybum 3isse worulde, — the same idea occurs in the Latin — Rapidos rector comprime fluctus et quo coelum regis immensum Firma stabiles fcedere terras (i v. 46). 8. 28, 3u wsere utafaren of 3ines Feeder e3ele, 3aet is of minum larum, — notice the explanation of the figure, and the greater Tropes and Figures in Anglo-Saxon Prose. 17 picturesqueness of the A. S., when compared with the Latin — ilico misernm exsuleniquc cognovi (i v. 3) ; the same idea occurs in 8. 32, — ic wiste ~Saet $u utafaren wsere, ac ic nyste hu feor etc. — to which corresponds the Latin — sed quam id longinquam esset exilium . . . nesciebam (i v. 4). 12. 31, nu ic habbe ongiten -Sine ormodnesse . . . ac ic wat hu $in man getilian sceal, — the Latin has — lam scio . . . morbi tui . . . causam ; quid ipse sis, nosse desisti, quare plenissime vel segritudinis tuse rationem vel aditum reconciliandse sospitatis inveni (i vi. 36). 12. 33, 3u rsedest ISset 5u wrecca wsere and bereafod selces godes, — the Latin, exsulem te et expoliatum propriis bonis esse doluisti (i vi. 40). 14. 9, we habba'S nu geot $one to msestan dsel -Ssere tyndran 'Sinre hsele, — the Latin is the same, — habemus maximum tuse fomitem salutis veram de mundi gubernatione sententiam (i vi. 48). 14. 12, forSam 3e of &m lytlan spearcau *Se 'Su mid ISsere tyndran gefenge lifes leoht Se onlihte, — jam tibi ex hac minima scintillula vitalis color inluxerit (i vi. 51). 14. 17, of 'Ssem -Sonne onginnaS weaxan "Sa mistas $e ftset Mod gedrefa^S and mid ealle fordwilmaft §a soSan gesielrSe svvelce mistas swelce nu on Sinum Mode siudan — ex qui- bus orta purturbationum caligo verum ilium confundit intuitum (i vi. 55). 14. 19, ac ic hie sceal serest ge^innian, §set ic si S San •$y e$ msege §set soSe leoht on "Se gebringan, — to which corre- sponds — hanc paulisper lenibus mediocribusque fomentis attenuare temptabo, ut dimotis fallacium aifectionum tenebris splendorem verse lucis possis agnoscere (i vi. 56). The original is more affec- tive than the translation. 14. 30, swa duS nu $a $eostro -Sinre gedrefednesse wi^staudan minum leohtum larum, — suggested by the Latin — Nubibus atris condita nullum Fundere possunt Sidera lumen (i vii. 1). 14. 31, ac gif §u wilnige on rihtum geleafan §set soSe leoht oncnawan, etc. The Latin contains the same trope — Tu quoque si vis Lumine claro Cernere verum, etc. (i vii. 20). 16. 1, ftset Mod siemle bi"S gebun- den mid gedrefednesse ISser Sissa twega yfela anSer ricsa^, — so in the Latin — Nubila mens est Vinctaque frenis, Hsec ubi regnant (i vii. 29). 16. 9, ic ongite genoh sweotule ftset $a woruld sselfta mid swrSe manigre swetnesse swrSe lytelice oleccaft •Ssem Modum ■Se hi on last willaS swrSost beswican, — this may also be con- sidered as an example of Personification ; the Latin is — Intelligo 2 18 Tropes and Figures in Anglo-Saxon Prose. multi formes illius prodigii fucos et eo usque cum his quos eludere nititur blaudissimam familiaritatem, dum intolerabili dolore con- fundat quos insperata reliquerit (u i. 6). 18. 2, nu -Su hsefst ongiten fta wonclan truwa ftses blindan lustes, — the Latin has a more vivid trope — depreheudisti Cseci numinis ambiguos vultus (n i. 31). 18. 6, gif 3u $onne heora "cSegen [i. e. of worldly goods] beou wilt ; so 20. 33, mine fteowas sindon Wisdomas and Crseftas and so"Se welan. 22. 31, ne bift se fturst gefylled heora gitsunga ac seo grundlease swelgend haefS swiSe manegu westu holu on to gadrianne, — Sed qusesita vorans sseva rapacitas Alios pandit hiatus (il ii. 13). 30. 5, $in ancor is git on eorSau frest, — quando tenaces hserent ancorse (n iv. 29); so 30. 10, eala wseran $a ancras swa triune and swa "Surhwuniende ge for Gode ge for worulde, — the Latin is — et hsereatet inquam precor (n iv. 31); so 30. 13, eall hie us 'Synca'S "Sy leohtran $a hwile "Se $a ancras fseste beo$. 32. 34, mid swrSe maenige biternesse is gemenged seo swetnes ftisse worulde, so the original — Quarn multis amaritudinibus humanse felicitatis dulcedo respersa est (n iv. 61). 32. 35, "Seah heo hwam wynsum 3ynce, ne tnaeg he hie ne habban gif heo hine fleon onginS, — the original is less vivid in the use of ' abeat ' which the A. S. translator renders by the more concrete ' fleon ' — tamen quo- minus cum velit abeat, retinere non possit (n iv. 63). 34. 2, ne hie [wealth] ^am geSyldegum . . . simble ne wuniaft, — the meta- phor is not the same in the Latin, but the personification exists in both — nee apud sequauimos perpetua pendurat nee anxios tota delectat (n iv. 66). 34. 7, se hrof is eallra gesaelSa, — to which the Latin corresponds, but with a different metaphor — summa cardinem felicitatis (n iv. 69). Further instances of this metaphor, with the Latin correspondent, are as follows : 60. 22, beoS to $am hrofe ftonne git cumen fulfremedra maegena, — ad extreman manum vir- tutum perfectione perductas (n vii. 6), — the different metaphor is to be noticed. 80. 13, ftaet is hrof eallra o-Serra goda ; the Latin is not metaphorical — omnium summum bonorum (in ii. 7). 80. 19, hit is segSer ge hrof ge flor ealles godes, — not a direct translation of the Latin, — bonorum omnium congregatione (in ii. 11) — but suggested, apart from the peculiar A. S. trope, by the meaning. 136. 10, he is fruma and aewelrn and hrof eallra goda, — the meta- phor is not in the Latin, the corresponding language being quite Tropes and Figures in Anglo-Saxon Prose. 19 literal. 142. 30, Sset hehste god is hrof eallra oSra goda, so 142. 34, Saet hehste god sie be (se) hehsta hrof eallra goda and seo hior "be eall god on hwearfaS, — the Latin has only the metaphor of the 'hinge' — Quo fit, uti summa, eardo atqne causa expetendorum omnium honitas esse jure credatur (in x. 121). 154. 8, he sie se hehsta hrof eallra Goda, — to which — erit omnium summum bo- norum (m x. 110). 180. 12, iruaS hider and Sider dwoligende under -Sam hrofe eallra gesceafta, — the Latin here is closer to the A. S. than any previous example under this head — circa ipsam rerum summatn .virticemque deficiunt (iv ii. 78). 180. 17, to Sam hehstan hrofe eallra gesceafta Saet is God ; 184. 13, he is aelces godes aegSer ge hrof ge flor ; 224. 26, to Saem hean hrofe eallra goda, — note the different metaphor in the Latin — de summi boni cardine (iv vi. 95). 226. 22, he of Saem hean hrofe hit eall gesihS, — which is very close to the Latin — qui cum ex alta pro- vidential specula respexit (iv vi. 115). 254. 16, wiS 'Sees hean hrofesSaes hehstan andgites, — corresponding to the Latin — in illius summge intellegentiae cacumen (v v. 49), — the translation in this case is more exact. 36. 18, Sonne hit se wind strongra geswinca astyroS, oSSe se ren ungemetlices ymbhogan ; 36. 20, he sceal fleon Sone frecnan wlite Sises middangeardes and timbrian Saet hus Modes on Sam faestan stane eaSrnetta, — to which — Fugiens periculosam Sortem sedis amoense Humili donium memento Certus figere saxo (n iv. 13) ; 36. 22, Crist eardaS on Saere dene eadmodnesse, — the idea was probably suggested by the Latin — Tu conditus quieti Felix robore valli (n iv. 19). 36. 28, Seah Se se wind Sara earfoSa and seo singale gemen Sissa woruldselSa him onblawe, — this is suggested by the Latin — Quamvis tonet minis Miscens aequora ventus, . . . Duces serenus aevum Ridens aetheris iras (n iv. 21), but fails to be as vivid and effective as the original. In the ' metre ' from which these four examples are taken, it is to be noted that the language of the Latin is not metaphorical. 38. 21, his heortan diegelnesse hit geopenaS and Sees oSres heortan belocene hit SurhfaerS ; 54. 20, him geSafiaS Sset hi bioS heora [wealth] hlafordas; 56. 18, ac hine gebiudaS Sa won wilnunga mid heora unabindendlicum racentum, — corresponding exactly to the Latin — quern vitiosse libidines insolubilibus adstrictum retinent 20 Tropes and Figures in Anglo-Saxon Prose. catenis (n v. 56). 68. 15, of -Sam carcerne iSaes lichoman, — to which — mens conscia terreno carcere soluta. 68. 26, hwi ge wilnigen fteet ge underlutan mid eowrum swiran 'Saet deaftlicne geoc, — to which — colla mortali jugo Frustra levare gestiunt (n vii. 7). 70. 18, se sefterra deaft gegripft and on ecnesse gehseft, — Cum sera vobis rapiet hoc etiam dies, lam vos secunda mors manet (n vii. 25). 74. 5, se anwealda hsefS ealle his gesceafta swa mid his bridle befangene and getogene and gemanode swa 3aet hi Dau-Ser ne gestillan ne moton, ne eac swrSor styrian ftonne he him ^set gernm his wealdleSeres toforlset, — this metaphor is con- tained later on in the Latin, aud is translated thus — 74. 31, ac $onue ear -Se he 'Saat gewealdlefter forlset 'Sara bridla, "Se he "Sa gesceafta nu mid gebridlode hsefS, &c. ; the original is — Hie si frena remiserit, &c. (n viii. 16). 74. 25, se ilea forwynrS ftseree see Sset heo ne mot 'Sone fteorscwold oferstseppan Saeres eorSan, — notice the fine metaphor in Ci Seorscwold 'Ssere eor-San,' which is not contained in the original — Ut fluctus avidum mare Certo fine ccerceat Ne terris liceat vagis Latos tendere terminos (n viii. 9). 76. 6, fta hsefde he me gebunden mid -Sasre wynnsumnesse his sanges, — the trope is slightly different in the Latin — cum me audiendi avidum stupentemque arrectis adhuc auribus carminis mulcedo defixerat. 76. 17, ymbe Sone laecedom -Sara "Sinra lara hwene mare gehyran, — the Latin has merely — remedia . . . audi- endi avidus (in i. 7). 76. 28, hwile se lsececrseft is minre lare . . . se is swrSe biter on muSe and he fte tirS on 3a "Srotan 'Sonne ftu his serest fandast. Ac he weroda^ sy$3an he innaft and bi$ swiSe li-Se on -Sam inmjSe and swrSe swete to bealcetenne, — the Latin more condensed is — ut degustata quidem mordeant, interius autem recepta dulcescant. 78. 33, gif 'Su aerest awyrtwalest of ftinum mode -Sa leasan gesselSa and hi ofatihst of ftone grund, — the trope of the Latin is quite different — Tn quoque falsa tuens bona prius Incipe colla jugo retrahere (in i. 11). 84. 33, hit [Mod] bi$ mid "Sam hwilum oferdrenced, — a continuation of the trope in the simile of the preceding context, translated from the Latin (in ii. 51). 88. 3, mid "Sam bridlum his anwealdes, — Quantas rerum flectat habenas Natura potens (in ii. 1). 88. 5, he hi hsefS gehea'Soradc and gehaefte mid his unanbindendlicum racentum, — to which the Latin corresponds in sense — Stringatque ligans inreso- Tropes and Figures in Anglo-Saxon Prose. 21 luto Singula nexu (in ii. 4). 94. 22, hwaeSer nu se anweald haebbe "Sone 3eaw Saet he astificige uniSeawas and awyrtwalige of ricra manna mode and plantige "Seer craeftas on, — ut utentium mentibus virtutes inserant vitia depellant (in iv. 3) ; the metaphor of the Latin just quoted is continued in 94. 24, se eorSlica anweald naefre ne saewft fta craeftas ac lisS and gadraS uirSeawas, and 3onne hi gegadrad haefS, 'Sonne eowa'S he hi nalles ne hirS. 118. 33, $a sceadra Saere soSan gesaelSe, — from which the Latin slightly differs — formam felicitatis (in viii. 1). 132. 29, ofenum eagum ures Modes we moten geseon Sone aeftelan sewelm ealra goda, — of which only the latter trope is in the Latin — Da fontem lustrare boni (in ix. 23). 132. 31, Forgif us $onne hale eagan ures Modes #aet we hi ftonne moton afaestnian on "Se, — to which — da luce reperta In te con- spicuos animi defigere visus (in ix. 23). 132. 32, todrif 3one mist Se nu hauga"S beforan ures Modes eagum, — Dissice terrenae nebulas et pondera molis (in ix. 25). 132. 33, onliht *Sa eagan mid •Siuum leohte, formam $u eart sio birhtu 3aes soSan leohtes, — which is an expansion of the Latin — tuo splendore mica (in ix. 25). 132. 34, -5 n eart seo sefte raest softfsestra, — corresponding exactly to the Latin — Tu requies tranquilla piis (in ix. 26). 132. 37, 'Su eart aeg'Ser ge weg ge ladfteow geo sio stop -Se se weg to lig$, — to which the Latin — te cernere finis Principium vector dux semita terminus idem (in ix. 27). 140. 2, is an God se is stemn and sta^Sol ealra goda. 144. 27, "Saet is sio an rsest eallra urra geswinca, sio an hyS byS simle smyltu aefter eallum Sam ystum and "Sam ySam urra geswinca, — to which the original — Haec erit vobis requies laborum, Hie portus placida manens quiete Hoc patens unum miseris asylum (in x. 4). 144. 24, se"Se nu gehaeft sie mid Ssere unnyttan lufe "Sisse middangeardes, sece him freodom hu he maege becuman to &m gesaerSum, — the Latin is more ornate in its metaphor — Quos ligat fallax roseis catenis Terrenas habitans libido mentes (in x. 2). 144. 29, •Saet is seo an frrSstow and sio an frofer erminga aefter &m ermSum "Sisses andweardan lifes, — note the literal and metaphorical expressions in the same sentence ; only the latter exists in the Latin — Hoc patens unum miseris asylum (in x. 6). 144. 32, ne onlihtaft hi nauht ftaes modes eagan, ne heora scearpnesse nauht gebetaS to "Saere sceawunge "Saere softan gesael-Se, ac get swi"Sor he ablendaft Saes modes eagan, — correspond- 22 Tropes and Figures in Anglo-Saxon Prone. ing to the terser Latin — Inlustrent aciera magisque caecos In suas condnnt animos tenebras (in x. 11). 146. 2, mid hluttrum eagum his modes, — this expression which occurs frequently in the A. S. is generally not found in the Latin. 156. 1, mid Sam gedwolmiste his fortio Sset hit ne rnaeg swa beorhte scinan swa hit wolde, — the Latin is more vivid — quod atra texit erroris nubes (in xi. 7). 156. 2, bi3 simle corn Saere so'Sfaestnesse saed on ftaere sawle wuni- gende, — to which — Hasret profecto semen introrsum veri (in xi. 11). 158. 1, gif he hi ne bunde mid his unabindendlicum racentum, — a frequent expression in A. S. 158. 9, "Su eart nu fulneah cum en innon 'Sa ceastre 3aere so^an gesaelfte, — the Latin is somewhat different, and may have been misunderstood by the A. S. trans- lator — ut felicitatis compos patriam sospes revisas (in xii. 26). 158. 27, ic haebbe funden duru $aer -Seer ic aer geseat ane lytle cynan swa ^Sset ic ungeafte mihte geseon swrSe lytellne sciman leohtes of Sisum fteostrum, — not in the original. 164. 2, ftaet ftaer aspringe sum spearca up soSfaestnesse, — to which the Latin — veritatis scintilla dissiliat (in xii. 68). 164. 13, laetst me hider and 'Sider on swa 'Sicne wudu 3aet ic ne maeg ut aredian, — the Latin has a slightly different metaphor — Ludisne ... me inextri- cabilem labyrinthum ratiouibus texens (in xii. 77). 160. 14, God aeghwaer wealt mid $am helman and mid &m stiorro-Sre his godnesse, — corresponding to the Latin — omnia bonitatis clavo gubernare jure credatur (in xii. 45), so 164. 27, — corresponding to (in xii. 88). 166. 25, fte maeg geseon ftone hluttran aewellm $aes hehstan godes and of him selfum aweorpan maeg $a 'Siostro his Modes, — only the first metaphor is found in the Latin — Felix qui potuit boni Fontem visere lucidum (in xii. 1). 170. 16, helle ftiostra to flionne and to ■$aes so-Ses godes liohte to cumenne, — not corresponding to the Latin — Quicumque in superum diem Mentem ducere quaeritis (in xii. 53). 170. 28, ftu [Wisdom] eart Boda and forrynel ftaes so'ban leohtes, — the Latin has merely — veri praevia luminis (iv i. 5). 172. 31, ic sceal aerest $in mod gefifterian, 3aet hit maege hit fty e$ up ahebban aer -Son hit fleogan onginne on 3a heahnesse, &c, — so the Latin — pinnas etiam tuae menti quibus se in altum tollere possit adfigam (iv i. 33). 174. 1, sitte him on minum hraedwaene, 'Socrige him on minne weg, ic beo his latSiow, — to which — ut perturbatione Tropes and Figures in Anglo-Saxon Prose. 23 depulsa sospes in patriam meo ductu mea semila raeis etiam vehiculis revertaris (iv i. 35). 174. 6, ic rm moste ftin Mod gefiSerigan mid Sam fiSerum, — to which — Quas [pinnasj sibi cum velox mens induit (iv i. 3). 174. 18, se gemetga'S "Sone bridel and Sset wealdleSer ealles ymbhweorftes heofenes and eorSan, — corresponding to the briefer Latin — orbis que habenas temperat (iv i. 20). 174. 20, se stiorS &m hrsedwsene eallra gesceafta, — so the Latin — volucrem currum stabilis regit (rv i. 21). 174. 26, fta unrihtwisan cyninga and ealle Sa ofermodan rican bion swrSe unmihtige and swrSe earme wreccan, — note the brevity and terse- ness of the Latin — cerues tyrannos exules (iv i. 30). 180. 5, mid hu hefigne racentum dysiges and ungesselfta hi sint gebundene. 180. 33, svvongornes hi ofsit and hi mid slaewiSe ofercymS and gitsung hi ablent, — notice the personification. This does not cor- respoud to the Latin; 'ablent' is suggested probably by 'ignorantise caecitate' (iv ii. 89). 186. 20, ftonne wynft $set Mod beswungen mid bam welme ftsere hatheortnesse, — notice the mixed metaphor. The translation is a very free one of the Latin — Hinc flagellat ira mentem fluetus turbida tollens (iv ii. 7). 188. 1, on hu ftiostrum horoseaSe $ara uufteawa fta yfelwillendan sticiaS, — note the force of the A. S. metaphor, more expressive than the abstract idea of the Latin — quanto in cseno probra volvantur (iv iii. 1 ). 188. 21, se beah godes edleanes, — corresponding to the Latin — sapienti tamen corona non decidet (iv iii. 14). 206. 1, swa bio$ Sa synfallan Mod ablend mid heora yfelan willan, 'Sset hi ne magon gesion Sset lioht ftaere beorhtan soSfsestnesse, — to which the Latin — nequeunt euim oculos tenebris assuetos ad lucem perspicuse veritatis adtollere (iv iv. 89). 206. 6, 3a ablendan mod, — and similarly 206. 20, Sset sale mon sie ablend swa hi siut, — and 206. 26, Sees Modes eagan weorSan swa ablende. 210. 3, 3set mon ftser msege sniSan and baernan his unfteawas, — for which the Latin supplies the idea of prun- ing — ut culpse morbos supplicis resecarent (iv iv. 129). 210. 9, senigne spearcan wisdomes hsefdon, — which translates the Latin — si eis aliqua rimula virtutem relictam fas esset aspicere (iv iv. 133). 210. 27, gebidan gecyndelices deaftes, nu he eow aelce daeg toweardes onet, — note the personification, contained more vividly in the Latin — si mortem petitis, propinquat ipsa Sponte sua 24 Tropes and Figures in Anglo-Saxon Prose. volucres nee remoratur equos (iv iv. 3) ; so also 210. 28, hwi ne magon ge gesion Saet be spyraS . . . aefter monnum and ne forlaet nan swaeS aer he gefehS Saet Saet he aefter syre-S. 218. 18, ac God wunaS simle on -Saere hean eeastre his anfealdnesse and bile- witnesse, — the Latin, referring to the mind of God, has — Haec in suae simplicitatis arce composita (iv vi. 24). 226. 18, hvvaet is saw la haelo bute rihtwisnes; o~SSe hwaet is hiora untrumnes bute unSeawas. Hwa is 'Sonne betera laece "Saere sawle ftonne . . . God, — to which the Latin — Quid vero aliud animorum sal us vide- tur esse quam probitas? quid aegritudo quam vitia? quis autem alius vel servator bonorum vel malorum depulsor quam rector ac medicator mentium deus? (iv vi. 112); so 230. 17, ac se goda laece, *Saet is God, lacnaS hiora Mod mid Sam welan, — the Latin does not mention God — hujus morbo provideutia collatae pecuniae remedio medetur (iv vi. 163). 232. 21, hit [song] is se laecedom and se drenc, Se Su lauge wilnodest, — the Latin has only — haustum quo refectus firmior in ulteriora contendas (iv vi. 199). 234. 22, ftanon he welt fem gewealdleSerum ealle gesceaftu, — so the Latin — Rerumque regens flectit habenas (iv vi. 35). 240. 18, hit is swa fyrn of uncrum wege, of Saern wege 'Se wit getiohhod habbaS on to farenne, — to which the Latin — haec autem etsi perutilia cognitu tamen a propositi nostri tramite paulisper aversa sunt verendumque est, ne deviis fatigatus ad emetiendum rectum iter sufficere non possis (v i. 9). 246. 23, wadaS on hiora agenue willan and aefter hiora lichoman luste irna-S. 254. 17, Saet "Su maege . . . cumon ... to 'Sinre agenre cy$$e ftonne Su aer come, — transferred to a spiritual sense. 256. 12, habbau aer ftines modes eagan claene and hluttre. The metaphor of Anglo-Saxon poetry is bolder and more spon- taneous than that of the prose. Poetry itself had reached a stage of development never attained by prose, and it is only natural that such rhetorical features as the tropes should be more effectively employed in an advanced poetry than in an incipient prose. Further, from the very subject of this prose, there was not such a demand for figurative speech. The prose, for the most part, was written with a didactic purpose. The style must necessarily be simple. Only such metaphorical language may be used as will Tropes and Figures in Anglo-Saxon Prose. 25 be readily understood by the masses. When the homilist uses a metaphor which may be obscure, he often interprets it, with the result, however, that, while he makes its meaning unmistakable, he often robs it of all its force. The imaginative metaphors of poetry would tend to obscure the preacher's message. Conse- quently, all his metaphors are simple and direct, and are for the most part taken from the most familiar experiences of life, whether they come from literature or the casual observation of daily phe- nomena. Originality is not one of the features of this metaphor. The Scriptures and the Church Fathers used the simplest tropes forcibly to express their thoughts, and the A. S. homilist, satisfied with their fitness for his purpose, adopted them with only such change as rendered them more intelligible to his audience. Considerable literary skill was frequently shown in the adapta- tion of these tropes to Anglo-Saxon conditions. For instance, Christ is spoken of in the New Testament as the light of the world ; ^Elfric, with his A. S. horror of darkness, treats the metaphor as follows : " Crist is se so"Sa dseg, seSe todrsefde mid his tocyme ealle nytennysse 'Ssere ealdan nihte, and ealne middan- geard mid his gife onlihte." l All metaphors relating to war, the sea, the feast, etc., would be easily adopted by the homilist, and would readily appeal to the instincts of the people. Thus, " mid deofles flan fturhscotene," 2 compares not unfavourably with the Biblical " fiery darts of the wicked." 3 So the relation of master and servant is well employed in " ne brS he ftsera sehta hlqford, ftonne he hi daelau ne maeg ; ac he biS 3sera sekta fteowa, ftonne he him eallunga Seowaft." 4 The intense A. S. dread of banishment adds great force to the metaphor, — " we ealle sind cvman on 3isurn life, and ure eard nis na her; ac we sind her swilce wegferende men." 5 The Biblical " rooted aud grounded in love " 6 apparently uggests the metaphor of " heora heortan wyrtruman on his lufes aplantodon." 7 Wulfstan shows considerable vigour in "ftset deofol ne mseg senig his settrenra wsepna him on afrestnjan" 8 and in " flyhft se frofur aweg," 9 but his metaphors are comparatively few. 1 A. H. 36. 28. s A. H. 62. 14. 3 Ephes. vi. 16. 4 A. R. 66. 6. 5 A. H. 248. 14. a Ephes. iii. 17. 7 A. H. 612. 29. 8 B. H. 35. 17. 9 B. R. 139. 13. 26 Tropes and Figures in Anglo-Saxon Prose. His rhetorical devices are confined for the most part to the figures of euphony. JElfric varies in his use of the metaphor; in the first part of the first volume there are a large number, but in the remaining homilies they are less frequent. The same is true of the Blickling Homilies ; the first ten homilies have many more than the rest of the collection. The point of view from which the metaphor of the Boethius is treated must necessarily be different from that of the homiletic metaphor. While the homilists were more or less influenced by ecclesiastical literature, their work was, in a way, original ; but in the present instance we have to deal with a direct translation. The translation is by no means exact. Alfred, the reputed translator, in his preface (viii. 2), says : " Sometimes he set word by word, sometimes meaning of meaning, as he most plainly and clearly could explain it for the various and manifold worldly occupations which often busied him both in mind and body." An examination into the originality of the metaphors of the Boethius gives the following results. Of the 130 metaphors quoted above, 70 are more or less literal translations of the original, which preserve the metaphorical idea intact. That only about half the metaphors of a translation should belong to the original shows the great freedom which the translator exercised. Of -those remaining, 35 have no exact correspondents in the Latin ; there are nine cases in which there is a change in the metaphorical idea from the original to the translation, eleven cases in which the trope is suggested by the immediate context of the Latin, and five cases where literal statement is translated by figurative. If we examine the original metaphors of this translation, we shall find that they show a decided superiority to the average metaphor of the homilies. Not that the figurative ideas are more striking or original than such as we find in all the homilies, but the general average is higher. What occurs only in isolated instances in the homilies is the norm in the Boethius. The ideas are such as are easily suggested by the environments of the writer and do not in themselves indicate any especial keenness of observa- tion. The merit of these metaphors consists in their variety and their appropriateness to the context. A new vigour is given the exhausted trope by the terseness and not unfrequent brevity of the Tropes and Figures in Ang/o-Saxon Prose. 27 expression. The allegorical interpretation is not so frequent nor so elaborate. The metaphors which are classed as translations are not, by any means, literal. The translator always felt at liberty to treat the Latin as he chose, and when, in the 70 cases mentioned, he adopted the figurative idea of the original, he gave it what expres- sion he pleased. Sometimes he surpasses the Latin, at other times he does not. The instances of the substitution of a metaphorical for a literal statement are rare, and are such as, to the A. S. mind, have almost lost their colour ; thus ' hrof' for ' summum,' ' fleon ' for ' abeat,' etc. The cases where a change of the figurative idea occurs are due often to a desire on the part of the translator to avoid any obscurity of reference in the Latin. Thus the Latin Sirenes, a metaphorical expression for temptations and cares, is translated by the less vivid A. S. sceaftan, 1 because Sirenes would suggest nothing to the Anglo-Saxon mind ; in 164. 13, bicne wudu occurs for inextricabilem labyrinthum, a translation that retains all the force of the original and presents no possible obscurity. The remaining metaphors are those suggested by the context of the originals. The same trope will occur sometimes in two places in the Anglo-Saxon, where there is only one in the Latin ; or a trope, not translated in its original context, is used elsewhere. Again, as in 180. 33, gitsung hi ablent, where the metaphor is evidently suggested by the Latin ignorantise csecitate, the Anglo- Saxon is not a translation, but is suggested from the immediate context of the Latin. If we look through the lists collected by Professor Gummere, we shall learn the essential character of the metaphor of poetry. The following illustrations will, perhaps, suffice for illustration : — D. 442, heahne hrof heofona rices, 'the sky'; E. 287, famge feldas, 'the sea'; B. 1143, hildeleoman ... on bearm dyde, 'thrust a sword into his breast'; B. 1032, fela lafe, 'the swords,' — lafe is "applied to weapons, escaped persons, the seashore, etc." 2 G. 2145, aeiSelinga helm, 'the leader of the nobles'; G. 1608, breosta hord, ' life.' These are metaphorical expressions for very commonplace 4. 23. 2 yrmas and tmldeor; 5. 4, mihta, mserSa and myrlroa, so 35. 2, 144. 27, 153, 20, 167. 8, 281. 11; 12. 11, his 6roces 6ote secft ; 16. 12, of deofles gewealde and of helle witej 33. 15, tera and tega, so 65. 22, 66. 2, 8, 67. 11, 108. 4, 133. 1, 154. 21, 159. 1, 268. 4, 307. 19, 308. 26; 37. 16, eallum mode and eallum wsegene, so 20. 1, 209. 6, 143. 3, 234. 24, 264. 7; 40. 7, mordres o$$on mauslihtes, stela ne sfrudunga ; 40. 9, wrS gutsunga and gifernessa, so 68. 14; 40. 14, ne wigeluuga ne wiccecrrefta ; 40. 16, cfeofles gerfwimera ; 40. 22, wrS cZeofles etere ; 51. 32, ne mid worde ne mid weorce, so 54. 16, 67. 16, 73. 18, 76. 2, 112. 10, 142. 20, 143. 15, 144. 22, 167. 3, 179, 12, 278. 31, 279. 2, 292. 31 ; 53. 10, ongean modsteftolnysse and modes sfrencSe; 71. 5,/reolsa and /sesten, so 113. 1, 164. 9; 73. 7, wealdend and wyrhta, so 107. 32, 108. 5, 179. 31,308. 24; 73. 1 6, sibbe and some, so 112. 12,118. 3,272.22; 73. 20, raid feohte and tecum ; 74. 7, cfomas and rfihtas ; 74. 8, Teod and tegu; 74. 16, on . . . mode and muSe ; 74. 18, on ge^ance and on iSeawum ; 82. 14, 61is and 6ot; 86. 10, hoi and hete and rypera reaflac, here and Aunger, 6ryne and 61odgyte and styrnlice 42 Tropes and Figures in Anglo-Saxon Prose. s/yrunga, shic and .steorfa; 91. 14, Godes mihta and his mildheort- nesse; 93. 21, of cleave to dome; 114. 4, sorgnng and sarguug, so 209. 16; 115. 8, man and morSor and manslihtas, stala and stru- dunga and searacraeftas, — note that s is probably intended to allit- erate with st, thus corresponding to the three m's which alliterate in the preceding combination. 115. 10, wr3/orliger and wid seg- hwylce/yrSe; 128. 4,6ersta and 6ismra, so 157. 1,268. 13; 129. 1, Aere and Aungor, 6ryne and 61odgyte, so 172. 17, 243. 2, 268. 21 ; 129. 3, Aol and Aete and ?*ypera reaflac, Aere and Aunger, 6ryne and 61odgyte and styrnlice styrunga, stric and steorfa, so 159. 10; 129. 17, •Surh morSdseda and 3urh mandseda, •Surh stala and Surh sfrutunga, Surh ^itsunge and Surh #ifernessa, so 163. 21 ; 132. 14, welan and whte ; 133. 3, wsedl and wawa . . . Aere and Aunger, so 159. 8, 169. 16, 268. 22; 133. 7, stain and steorfu, 243. 3; 138. 14, Searfan and Seodcyningas, rarme and radige, so 138. 15; 139. 3, icop and learning; 139. 22, mid sorge and mid sare, so 139. 26, 153. 23; 140. 1, wuldor and wyrSmynt; 157. 19, mseSe and munde, 60 243. 12, 266. 9; 159. 10, Aol and Aete; 159. 11, rypera reaflac; 159. 12, ns unwedeva for oft weoldan unweestma ; 162. 7, Segene and Srsele; 162. 14, Aere and Aete; 164. 2, 'Surh swicdomas and Surh searacrseftas ; 164. 4, 'Surh msegrsesas and Surh manslihtas; 181. 2, buton golde and (/lsencgum ; 184. 14, man and morSor, so 241. 9; 185. 9, fram wlite and fram ttmldre ; 186. 4, se Seostra Srosm, -Saera lyfta feoma and dsera /igetta blsest . . . seo ^rrimme gesyhS and seo ^odcunde miht, se Aata scur and Aelwara Aream, Ssera 6eorga ge6erst and Saara 6ymena sang, se 6rade 6ryne ofer eall woruld and se 6itera daag, se micla cwealm and Ssera ?nanna man, seo sare sorh and Saera sawla gee/al, se sara siS and se .sorh- fulla c/aeg, Seat 6rade 6ealo and se 6yrnenda grund, Siet 6itere wite and se 61odiga stream, /eonda/yrh to and se/yrena ren ; 187. 18, in morSre and on mane, in susle and on sare, in wean and on wyrm- slitum betweonum cZeaSum and c/eoflum, in 6ryne and on 6yter- nesse, in 6ealewe and on 6radum ligge, in yrmSum and on rarfeSurn, on swyltcwale and in sarum sorgum, in/yrenum bryne and on /ill— nesse; 190. 2, Aalige Aeapas symle wuniaS on wlite and on wmldre and on wynsumnesse aafre; 190.3, Seer biS masrS and myrh'S ; 198. 2, w-yrhta and wealdend ealra twrulda; 202. 18, se is yrmfta. daeg and ealra mrfoSa da?g ; 204. 1, Seofan and SeodsceaSan . . . Tropes and Figures in Anglo-Saxon Prose. 43 wiccan and mgleras; 204. 4, manslagan and . . . manswican . . . raansworan and morSwyrhtan . . . ryperas and reaferas ; 230. 1 , eower word and eower wedd ; 232. 23, scip and sceld ; 241. 11, mid c/eoflum and raid cfracum and raid wselslitendum wyrrnum ; 242. 18, on iclite and on wynue ; 243. 3, tmicsestm and unwedev ; 243. 6, rsedes and nhtesj 252. 6, to hse\e and to /felpe; 257. 11, mid wlencurn and mid wiste ; 257. 12, swangor and swver; 263. 22, /oldan /regernes ; 266. 28, Seofas and fteodscea'San, ryperas and rea- feras, feogeras and ficeteras, wedlogan and wserlogan ; 267. 4, /ri3 and/ultum ; 267. 28, for/eo ne for /reondscipe ; 268. 19,wa heora "Sees waerscipes and ealles"$£es rreorSscipes ; 274. 21, fr'ift and/reond- scipe ; 274. 24, manslagan and manswican ; 275. 2, i^ordlagan and rredlogan ; 286. 19, rainne 6ertun and minne 6erun ; 298. 15, ryperas and reaferas; 307. 12, 6ocum and ge&edum ; 308. 28, raid feohte and /acum ; 308. 31,/reolsa and/a3stena ; 309. 21, ?wccean oS^e ioigelearas, Zioringas o33e Aorcwenan, ?nor3wyrhtan o3$e mansworan ; 310. 1, manslagan and msegslagan . . . 3eofas and "Seodscaftan, ryperas and reaferas, feogeras and /iceteras and feod- hatan hetele. B. H. 11. 2, on domes e/sege; 11. 31, to wlitignesse and to weorSunge ; 17. 21, feoht 3?es ecan fifes ; 23, 6, swa wite swa wuldor, so 97. 21 ; 25. 24, wrsec and . . . wite ; 45. 8, raid lufe ge raid &r$e ; 53. 9, to wean and to wlencum ; 57. 36, $es 61owenda wudu and das 61owendan wyrta; 61. 36, sar and sace; 71. 20, doS sceaftum to scrafum ; 83. 22, $set wite and Sset ece wreec ; 83. 32, setunga and searwa ; 97. 33, raid ealle mod and msegene, so 209. 24 ; 105. 31, to Aelpe and to Asele ; 111. 15, fiifon and gefeafan, so 171. 25, 173. 13; 111. 33, welan and his wista; 113. 16, mid wlite and mid wsestmum ; 169. 27, wuldor and z*;eor3ung; 173. 8, searwa and yfel sacunga ; 173. 17, to his Aealle and to his /urede ; 203. 21, on/ultum and on/rofre, so 201. 28, 203. 26. The rare instances that occur hardly justify the separate group of (c), the Adjective and the dependent Noun ; the following may, however, be noted as illustrative of the few conventional forms: W. H., 74. 12, milde on mode; 79. 7, wide on worulde ; 145. 34, loise on wordum. 44 Tropes and Figures in Anglo-Saxon Prose. The group, (c/.) Adjectives and Adverbs in close sequence, draws nearly all its instances from Wulfstan; the instances in iElfric and B. H. being in some cases mere formulae. A. H. 236. 14, ealle 3ing gelice eafte, and nan $ing mrfoSe; 266. 26, mycele and ??ianega ; 292. 12, dumbe and deafe ; 478. 14, /treow- lice and Arsedlice; 490. 15, soft lif and gesselig; 544. 28, mid scre- en m mode and s/rSuni life. W. H. 5. 2, Aalte wurdan Aale; 19. 10, gecorene and gecwene ; 40. 4, ne fease ne /ufterfulle ne /ule ne /racode, so 107. 14 ; 40. 20, ne /seringa to/segene, so 70. 13 ; 40. 21, to s/apole ne ealles to sfeace ; 48. 2, dimne and deopne; 52. 29, wserne and wisne, so 55. 21; 79. 4, swaeslice swicole ; 91. 12, swytol and gesyne, so 159. 5, 163. 14; 109. 2, lytel is se fyrst ftyses fifes, and fyftre is ftset we JufjaS ; 133. 13, sorhful and sarigmod ; 138. 7, read and refte; 145. 16, earmum and eadgum ; 145. 23, forsceapene . . . and bescofen; 149. 18, swa mihtig and mare; 154. 4, sarig and sorhful ; 162. 22, rancne and ricne; 180. 10, #eorne and girne ; 184. 20, ne ■$a?s Aeardes ne ftaes Anesces ne "Sees 2«ra5es ne i^ynsumes ne %ees eaftes ne ftaes mrfoftes ne Zees feofes ne Sees Zaftes ; 225. 32, $a cteorcan and $a cZimman stowe; 247. 21, wser . . . and wis; 273. 5, hu tone and hu /ySre ftis /if is, hu sarlic and hu sorhful and hu geswincful; 273. 10, seoc and samhal; 275. 15, wislice and wser- lice; 305. 7,/ullic and/racodlic. B. H. 71. 4, milde and monftwaere; 109.25, nedSearf and nytlic; 175.6, sceama and scyldig ; 199.36, ?#eoroldlice and j^islice ; 203. 36, swutole and gesyne. (e.) Verbs in close sequence. A. H. 24. 16, sealde and gesette; 48. 29,/ylstendum oftfte/eohtendum, 50. 18, clypode and cwseft, — very frequent — a translation of the Tt^opes and Figures in Anglo-Saxon Prose. 45 common Biblical expression. 78. 16, gewylt and gewissaft; 148. 3, ne ferde heo loorigende . . . ac wses wunigende; 154. 27, ge wycxiS ge wanaS, so n 214. 32 ; 268. 31, mihte and moste ; 320. 20, 6yr- nende . . . and 6odigende ; 356. 27, Criste gedafenaS ^set he weaxe and me "Sset ic wanigende beo ; 388. 20, q/ylled and ge/refrod ; 568. 9, ic gewyllade and oferwann ; 606. 20, tecende and fthtende. W. H. 11. 8, rfwelode . . . and adwealde ; 19. 7, gedreht and gedrefed ; 39. 11, 6idde and 6eode, so 120. 1, S, 246. 19, 291. 2 ; 40. 7, gewi- tan ne gewyrhtanj 46. 8, wealdan and wmnjan ; 47. 15, Aabban ne Aealdan, — very frequent. 50. 7, magan and raotan, — very freqnent. 53. 17, ssewft and sendeft ; QS. 1, rype oftfte reafige, so 163. 12; 68. 6, weorSjan and loeijtm, so 143. 20, 179. 26, 309. 1 ; 70. 8, ne tyrje ne ne tyne, so 309. 4; 73. 11, ne senig ne syrwe ne ffSrum ne swige; 74. 22, /ufjan and foeran ; 75. 17, sang and saede; 86. 19, ge/iealden and ge/iolpen ; 90. 2, wacigean and warnjan; 90. 17, seg'S and swutelaS ; 91. 18, cterjaft and dearie dryfa^ ; 100. 4, clypode and cwa?<5, so 141,4; 101. 9, gedreeozt ge do^S Searfum on minum naman, ¥>cet ge doft me sylfum; 482. 16, ne swera Su Surf heofenan, forSan ... Ne swera $u •Surh eorSan, forSan ... Ne swera Su Surh $in agen heafod, forSan . . ., — in the original, Matth. v. 34, the word trans- lated swera occurs only once. 550. 28, na beoft 'Sa eadige, 3e for hyndum . . . heofiaft ; ac %a beofo eadige, Se heora synna bewepaS ; 560. 33, efne her is ure hyrde, efne her is se frefrigend, so 562. 18. A. H. ii. 34. 6, mid fiazsce of deaSe aras, and mid fiazsce to heofonum astah; 202. 16, on Sam fifteogoftan dcege . . . waes seo ealde se geset 204. -$set i hwilUo ftode a. 376. 27, englas . -$w lufast -Sit lufast \ wses a3r Mc tima stent g Sisum wordu him gebeorscij, wurSran gereorc frecednysse . . . mihte. 2. 1, we fta geascodon b. codon his geceasterwaran bt -Ssera engla geferan beon $a g. swutele bysene : we gesawon . . . l 52. 13, godes gyfa ne gyrnaft ne g^ healdaS, so 58. 13, 73. 14, 158. 2; L -Se wislice leofaft ; and se hcefft andgit, x \ and se hcefft godne rsed, "Se him gereda"S i modes strengfte, -Se micel mseg forberan . . ingehyd, -Se godnysse lufaS ... Se hafft ar bi« him sylf, so 59. 6, 69. 13; 105. 18, and eac on fyr for his fserlicum bryne ; sume eac on w. hy gelyfdon on "Sa eor San ; 114. 12, ftyder seulan ma ftider seulan mansworan, ¥>yder seulan sewbrecan . . ., Syu wiccan . . ., %ider seulan $eofas . . ., so 173. 17, 264. 16, 'I 121. 11, %urh ekene madden Crist wearS geboren, and %urh fnlluht we syndon cristene geworden, so 151. 1 ; 123. 18, ana - he . . . dea$ ftrowode, and hu he of deafte aras, and hu he heofonnm astah, and hu he $anan eft . . . to -bam miclum donu cym$ ; 141. 4, stinga^ stranglic sar on his eagan . . . Stingo?) licum wela ? vybost e . . . : j bryne it ftonne , kit fcer'S fcerft su-5 ene. And o for eight arne phrase. hine ne ma?g oSerne la?dan, 288. 15, ic tvces jsthusum ; ic wees rii mod, and ge me ^e comon to me, — the che same Anaphora. reca, and mycel serende brohte he ; on binne asetene . . . WeorSian we . Weorftian we Sancta Marian; 21. 10, .en ftyses laman welan . . . ac biddan we 33. 25, hu mycel Godes geSyld is and hu is, — note the additional Paregmenon. 33. 33, 6y hine dorste deofol costnian, swylce he ivces .soft jnglas ftegnedon ; 43. 10, ne for rices mannes ege, , ne for nanes mannes lufon ; 89. 21, am me nn, min for hire wuldres weorSmyndum, am me, ungesseligost lfa ; 91. 20, on¥>cem dcege gewiteS heofon and eorSe . . . n ftcem dwge heofon biS befealden swa swa boc, etc., with e successive clauses beginning with the same phrase. 93. 30, cdige syndon 3a men 3a 3e wseron unberende, and eadige syndon 6a inno3as 3a 3e nsefre ne cyndon, — the Anaphora is not in the original, Matth. xxiv. 19; cf. 159. 28. 99. 23, ac hwyder geiviton 3a welan and 3a glengas and 3a idlan blissa? o33e hwyder geiciton Tropes and Figures in Anglo-Saxon Prose. 61 ■Sa mycclan weorod? so 99. 26; 115. 3, Seos woruld is eall for- wordenlic . . . and fteos woruld is eall gewiten ; 115. 15, nu is ceghwonon hream and wop, nu is heaf ceghwonon, . . . nu is ceghwonon yfel and siege; 125. 2, ah wuton we ftset nu geornlice gemunan . . . ; uton betan *Sa geworhtan synna . . . ; and uton we symle 'Sees dseges fyrhto and egsan on ure mod settan ; uton gemunan hu uncuS, etc. ; 143. 27, ic -Se bletsige, min Drihten, -Su •Se waldest ealre bletsunge, and ic bletsige eal Sin gehat ; 145. 12, tve bletsiaft 'Sinne naman raid urum saulum and we biddaft 'Sset 3u fram us ne gewite; and we bletsiaft *Se and we biddaft ftset $u onlyhte ure world ; 147. 34, wes %u gemyndig . . . forSon ic beo ■Sin hondgeweorc, and wes %u gemyndig, forSon ic healde ftinra beboda goldhord; 213. 32, "Sa sail ftser sura ftearfa set ^Seem burg- geate, scet eac nacod. BOETH. 22. 17, hu mildest ftu sittan on midduni gernsenum rice . . . Hu mihtest ftu beon on midre "Sisse hwearfunga? The Latin has several clauses beginning with quid si in n ii. 40, which may have suggested this figure, but they do not correspond to the A. S. 50. 24, for his crceftum he beoS god if he god beoS, and for his crceftum he brS anwealdes weorSe gif he his weorSe brS ; 132. 28, %u eart sio birhtu ftses softan leohtes and ftu eart seo sefte rsest . . . ; $u eart ealra ftinga fruma . . . ; ftu eart . . . weg; 198. 20, ic ne sprece nu no to dysegum monnum, ac sprece to 'Sam *Se wilnia'S ; 208. 26, ¥>ingiar8 'Ssem 'Se ftser man yfla$ and ne ftingiaft "Sam fte yfel do$ ; 258. 1, ne see& he nanwuht ne ne smeaft, forSani 'Se he hit wat eall ; ne se&8 he namouht forSseni he nan wuht ne forleas ; 258. 5, simle he 6iS gifende and ne wana$ hys nsefre nauht. Simle bift aelrnihtig . . . Simle he 6iS lociende . . . Simle he bv§ g-elice man^wsere. Simle he 6rS ece . . . Simle he bift freoh. These instances, which, it will be noticed, are not all pure Anaphora, comprise those which may be grouped under this figure. There are many cases in which the repetition occurs near the beginning of successive clauses or sentences, in the beginning of one clause and further on in the clause following, or in some other 62 Tropes and Figures in Anglo-Saxon Prose. position ; these, with, however, some exceptions, I have not felt justified in considering as Anaphora. From the presence of these irregular repetitions, and the comparative infrequence of true Ana- phora — for, when we consider the bulk of the works examined, the number of examples is not great — we are conscious that Anglo- Saxon prose writers did not greatly respect those conditions of position which would have made their repetitions more effective. The Anaphora of JElfric and Wulfstan shows that these authors were not without an appreciation of the rhetorical value of this figure ; in fact, there are many cases in which they made such use of it as to give real force to their thoughts. So they strengthened the Anaphora by the further rhetorical devices of inversion and transposition. When the repeated word is carried out of its usual order to the beginning of the sentence or clause, emphasis is given by this inversion, which is, of course, increased by the recurrence of the word in the corresponding position in the sentence or clause following. 1 The Blickling Homilist is in this respect also weaker than the others; he has not, on the whole, the vigour of Wulfstan nor the polish of .ZElfric. At the same time, he does not fall into the excess which sometimes marks Wulfstan's work. The latter, for instance, in the passage beginning 69. 13, has twenty- four successive sentences all beginning with nearly the same words, and in several other places — 57. 12, 114. 12, 230. 14, 265. 6 — there are five or more clauses with the same beginning. Seldom, however, as the examples of this figure are in the homiletic literature we have examined, they are much more infrequent and much less effective in Boethius. The oratorical 1 That the Homilists kiiew the rhetorical virtue of a change from the normal order of words in the sentence, is manifest from the investigations made by Professor C. A. Smith in Ms dissertation, The Order of Words in Anglo-Saxon Prose, Baltimore, 1893. The third and fourth chapters deal with Inversion and Transposition in Alfred's Orosius and iElfric's Homilies, and they show that iElfric used these devices for rhetorical purposes to about the same extent as appears in the instances of Anaphora quoted above. Thus of 314 simple tenses taken from the Homilies, " 155 are transposed, 139 follow normal order, while 20 show a mingling;" of the 186 compound tenses, "69 assume normal order, 53 show complete transposition, while 64 show a mingling of the two." (p. 26.) Tropes and Figures in Anglo-Saxon Prose. 63 occasion does not exist here ; and, as was noticed in considering the other figures which appeal to the ear, such special devices are comparatively rare. It will be noticed that in only one instance is there any suggestion in the Latin which would account for the presence of the figure in the Anglo-Saxon. An independent examination of the Latin text of the Boethius will show, more- over, that the figure is here rather unusual and of no very great rhetorical significance ; thus ' Nil periuria, nil nocet ipsis Fraus mendaci compta colore/ is one of the few examples of the figure to be found in the First Book and rhetorically it is among the best. The real power of the figure we may learn from the following quota- tion from Cicero : ' nihilne te nocturnum presidium Palatii, nihil urbis vigilise, nihil timor populi, nihil consensus bonorum omnium, nihil hie munitissimus habendi senatus locus, nihil horum ora vult- usque moverunt.' * To say that examples of such power are not found in Anglo-Saxon is but to say that Anglo-Saxon prose literature has not the strength of Cicero's orations — for figures are a measure of literary excellence ; and this no one would venture to deny. That a certain vigorous use, however, is made of the figure — and in this the Anglo-Saxon of the homilies and even of this translation surpasses the Latin of the Boethius — is very evident from the examples quoted. 6. At the End. This figure is called Epiphora, and is defined in the Century Dictionary as a " figure in which several successive clauses or sentences end with the same word or affirmation." A. H. 18. 9, ftset wif . . . genam of 'Saes treowes wsestin, and gecet, and sealde hire were, and he gecet; 140. 28, na for his neode, ac for mancynnes neode; 176. 17, 3urh gyfernysse he tvees ofer- sivifted . . . ; Durh idel wundor he wees ofersicified . . . Mid gytsunge he wees oferswvSed . . ., so 198. 33; 212. 3, sefte ne bift Godes tempel, he brS deofles tempel; 212. 27, ac his cristendom 1 Cat, I, 2, 1 ; quoted by Gerber, n, 187. 64 Tropes and Figures in Anglo-Saxon Prose. nis na herigendlic. Ac ftses mannes cristendoni is herigendlic ; 248. 7, se iElmihtiga Feeder is God, and bis Sunu is iElinihtig God ; na ftry Godas, ac hi ealle an iElmihtig God untodaaledlic ; 256. 32, Sam spedignrn gedafenaft ftset . . . ; ftnm wsedlan geda- fenaft ftset . . . ; 260. 31, nanuni ne gebeode, ftset ftset he nelle ■Saet man him gebeode; 262. 14, $get se synfulla is eorSe gehaten and se rihtwisa is heofon geliaten, so 278. 21, — the last three examples quoted are hardly more than grammatical repetitions. 282. 5, -Sset ftu wylt, ftset ftu lufast; and ^set ftset ftu nelt, ftset -Su ne lufast; 282. 27, se Faeder is soft lufu, and se Sunu is soft lufu, and se Halga Gast is soft lufu; and hi ealle setgsedere an God and an soft lufu, so 282. 29, 284. 8 ; 284. 6, swa hwset swa lsesse brS Sonne God, ftset ne brS na God, so 284. 7 ; 460. 27, on •Sam maran fte swrSor syngaft, and on "Sam lsessan fte hwonlicor syngaft ; 480. 8, gyf ftu sylf wille nySer astigan to hellwarum/or manna alysednysse, swa swa ftu woldest acenned beon for manna alysednysse; 484. 17, seSe deraS, derige gyt siviftor ; and se -Se on fulnyssum wuna'S, befyle hine gyt swiftor ; 550. 1, Godes ege is wisdomes angynn, and modignys is aelcere synne anginn ; 592. 10, gif aanig oga is to ondrozdenne, -Sonne is se to ondrazdenne; 594. 6, ftu deaSes beam, gehyr me, and ftu ceaf . . ., gehyr me. A. H. ii. 10. 18, beo-S acennede -Sa geongan mid mwgfthade, and fta yldran wuniaft on mosgfthade ; 22. 15, se msesta dsel -Sara manna ■Se Gode gefteoft, Surh clsennysse hi gefteoft ; 68. 17, ' agildan &m casere Sset him gebyreft, and Gode ftset him gebyreft,' — in this free rendering of Matth. xxii, 21, the Epiphora is more marked than in the original. 86. 16, ' DeaSes geomeruuga me beeodon, and helle sarnysse me beeodon,' — the Epiphora is not in the original — Ps. cxvi, 3. 102. 7, witodlice -Sam biS dom buton mildheortnysse, sefte nu oSrum demS buton mildheortnysse ; 288. 20, sume teolunga sind Se man began mseg buton synnum, sume sind -Se man earfoSlice ma?g oftfte nateshwon buton synnum began; 302. 5, fram eastdsele stemn, fram westdsele stemn, fram feower windum stemn; 312. 30, an is seo fte wses butan ce, ; oftev is seo -Se wees under ce ; 344. 1, far . . . na for woruldlicum Tropes and Figures in Anglo-Saxon Prose. 65 gestreonum, ne beo <5u earful yrabe woruldlicum gestreonum ; 368. 26, hi bry sincl on God untodceledlic, swa is eac heora hyrdrseden untodceledlic; 418. 21, swa swa $u ser wsere deofles beam, him geefenlcecende, swa "Su bist nu Godes beam, Gode geefenlcecende; 440. 26, forbon $e hit ne bift nsefre cetbroden. Witodlioe $set 'bset Martha geceas is hire nu cetbroden ; 462. 5, sefte is ftsera sehta hlaford, he dseRS hi swa swa hlaford; 524. 3, ege is hoyfeald and Seowdom is twyfeald. An ege is butan lufe, ober is mid lufe, so 524. 5; 572. 9, nu is mildheortnysse tima, and $onne bi$ domes lima; 574. 3, ne cann Drihten leahtras, ac hi gewitna$ leahtras; 574. 6, nat nan man -byssere worulde geendunge, ne furbon his agene geendunge; 604. 34, aelc heora is jElmihtig God, ac na swabeah 3ry Godas, ac hi "bry .sind an jElmihtig God. W. H. 37. 20, ftset seni cristen man o^rum ne beode, buton -baet he wille 3a?t man him beode, so 73. 10, 112. 4; 67. 19, selc $a?ra brS Godes feond, -be brg Godes cyrcena feond, so 119. 16; 185. 19, se is yrmfta dceg and ealra earfoSa dceg, so 230. 11 ; 192. 10, Antecrist bib soSlice deofol and man. Se sylfa deofol . . . brb socJlice segber ge deofol ge man; 222. 17, ic feola gebro wade for iow, ic wees an rode ahangene for low, and ic deaft gebrowade for iow, and ic of deaSe aras for iow ; 224. 9, in Cristes naman and in ftarse halgan Srinnesse naman and in ftare halgan Anesse naman and in $are halgan rode naman; 238. 20, $a so^fsestan men bonne geseob heora wuldor . . . him toweard, and $a arleasan Sonne geseob heora wite . . . him toweard; 244. 14, o$3set se eahtofta dceg cym^ ; beet is domes dceg, Sset is se eca dceg, se langa dceg sefter $arn dome, se myriga dceg, se halgesta sunnan- dceg, Godes dceg, and ealra halgena dceg; 266. 22, fylste "Sam 3e riht u'illan, and a hetelice styre "Sam -Se Swyres willan ; 271. 31, ymbe frybes bote and ymbe feos bote; 293. 5, se dseg waes se forma dseg, $e se so$a Scyppend . . . gesceop, 3a 3a he ealle •Sing gesceop. B. H. 3. 6, Maria cende . . . Crist on hire innofte ; Eva cende tearas on hire innofte, so 7. 29; 21. 18, hu mseg ic secan "beet gastlice 5 66 Tropes and Figures in Anglo-Saxon Prose. leoht, Se ic geseon ne mceg, o$Se hwanon sceol me cub beon ba?t ic raid lichomlicum eagura geseon ne mceg; 147. 25, heo lufode ma ■beostro for hire synnum, and heo wees a $eh gehealden frara hire synnum; 151. 17, "Sa waes he gongende to •Stere 6cer?, and Sa on? middan ftsem lichoman on ftcere hcere, $a wearS he gefsestnod . . . to IScere bcere; 229. 6, hi hlaf ne seton ne waeter ne druncon, ac seton manna lichoman and heora blod druncon; 237. 31, ic bsed urne Drihtne Saet he hine cetemvde, and hraSe he me hine ceteowde; 239. 27, ^in carcern open we gemetton, and ingangende naenige we ftaer gemetton. — None of these examples have any special rhetorical emphasis. BOETH. 46. 6, hi nellaS witan hwaet hi si7it o$3e hwonan hi sint ; 46. 11, gif hwa nu biS mid hwelcum welura geweorftod . . . hu ne belimpaS se weorSseipe Sonne to Sara $e hine geweorftod ; 64. 26, forSon -Se on selcum lande ne lica^S Saet on oSrura licaS ; 70. 31, mon scyle wenan -Sset heo seo sio soSe gesceffi, ac sio wi^erwearde is seo so^Se gesceFS; 72. 31, ge $a 'Se cunnon ge 'Sa 3e ne cunnon; 80. 23, swa swa ealle waeter u cuma$ of Kcere sce y and eft ealle cumaft to ftcere see; 92. 30, sam hi dyrfon sam hi ne durfon; 104. 5, oSSe eft se "Se segfter ondrcet ge $one "Se hine ondraet ge ftone Se hine na ne ondrcet; 118. 32, genog ic Se haebbe nu gereht yrabe ¥>a anlicnessa . . . ftcere softan gescelfte. Ac gif $u nu sweotole gecnawan miht %a anlicnessa Scere sohan gesedfte; 128. 34, eorSan gecynd and wseteres is ceald, sie eorS is dryge and ceald, and $aet waeter wcet and ceald ; sie lyft 'Sonne is generaned $aet hio is segfter ge ceald ge wcet; 156. 26, Sset "Su ne raihte witan huraeta he his weolde o&Se hu he his weolde ; 156. 31, ne me geot nauht ne tweoft, ne nu naefre ne tioeofo ; 184. 19, $a wisan ane magou don to gode ftcet hi wilniaS, -Sa yfelan raagon onginnon %cet hi ivilnia'6 ; 190. 28, gif eac hwyle god man from gode gewite, ftonne ne biS he 3e ma fullice god gif he eallunga from gode gewite ; 200. 29, 'Saes msestan yfeles on ftisse worulde and "Saes wyrstan edleanes aefter ftisse worulde; 212. 11, sio so^Se gesaelft stent on godra manna ge earmunga, and sio unsaelS stent on yfelra monna ge earmunga; 214. 12, rihtlice sceop eall *set he sceop, so 218. 17, 232. 12; 234. 20, gehyt Ti'opes and Figures in Anglo-Saxon Prose. 67 l&onne he icyle and eowaS Konne he wile and ninvS ¥>onne he wile; 240. 29, forSy hit ne bi$ weas gebyred; ac $ser hit of nauhte ne come Sonne wsere hit weas gebyred ; 250. 1, ne ftearf hit no eall geweorftan unawendendlice. Ac sum hit sceal geweor&an unawend- endlice; 252. 17, he on oSrurn ongit synderlice. He hine ongit ■$urh eagan synderlice, $urh "Sa earan synderlice, &c, — repeated in two more phrases. The end shares with the beginning the place of emphasis in the sentence ; and Epiphora and Anaphora are the two figures which gain their force from the fact that the words are repeated in these respective positions. These figures are more frequent than the others of identical repetition and possess, on the whole, more rhetorical vigour. At the same time, we notice that the figure varies considerably — passing from the hardly more than grammatical repetition of such a sentence as B. H. 151. 17, '3a wa?s he gongende to ftcere bcere and $a on middan Ssem lichoman on ftazre bcere, Sa wearS he gefiaestnod be Ssere swiSrau hand to ¥>oere bcere,' which is clumsy and heavy, to the forcible repetitions of some of the other instances quoted above. The repetitions with little rhetorical value exist in greater proportion in the Boethius and the Blichling Homilies ; in the Latin of the former the figure is very infrequently found. The Blickling Homilist does not seem to know the possibilities of the figure, for his repetitions betray a poverty of expression and rarely enforce his ideas. Wulfstan's few examples are not especially strong, but, for the most part, they are more than merely grammatical. JElfric, however, surpasses all the others in his treatment of the figure, and shows by his instances of Epiphora that he can command the language to serve his pur- poses. He makes use, it is true, of the grammatical figure, but he also attains fine effects with the rhetorical figure. c. At the Beginning and End. 1. The figure of Symploce 1 combines Anaphora and Epiphora. The Century Dictionary defines it as " the repetition of one word at the beginning and another at the end of successive clauses." 1 Gerber, n, 193. 68 Tropes and Figures in Anglo-Saxon Prose. The examples are rare in Anglo-Saxon prose, and many of those included in the lists below do not strictly conform to the type. A. H. I AND II. 12. 19, God gesceop to maran engle $one $e nu is deqfol; ac God ne gesceop hine na to deqfle ; 132. 10, $a yttran Seostru siud ftaes lichaman blindnyssa wiSutan. Da inran fteostru sind -$aes modes blindnyssa wiSinnan ; 158. 26, idon biddan leoht set urum Drihtne ! na ?cet leoht ?e bi% geendod . . . ; ac uton biddan "Sees leohtes Se we magon mid englum anum geseon, %cet ¥>e ncefre ne bi¥> geendod; 194. 10, Maria waes mozden ser ftsere cenninge and mmden on "Ssere cenninge and mceden sefter ftsere cenninge, so 546. 8, II 10. 2 ; 552. 32, seo ehtnys him ne becymft to nanre eadignysse; ac seo ehtnys ana, $e br3 for rihtwisnysse geSolod, becymS to ecere eadignysse. W. H. 277. 20, ftset sefre ajnig ne wear$ ser &m eorSlic man wisra Sonne he wear?), ne cmig eorSlic cyning rnserra and mihtigra Sonne he wear?. Xo examples have been found in the B. H. or Boeth. The quotations from A. H. and W. H. show how insignificant the figure is in A. S. prose. It hardly deserves separate treatment. 2. If the same word is repeated at the beginning and end of the same clause or sentence the figure is called Cyclos. 1 Another name for the figure is Fpanadiplosis, which the Century Dictionary defines as " a figure by which a sentence begins and ends with the same word." A. H. I. AND II. 40. 21, Crist wuna$ on godcundnysse and menniscnysse on anum hade an Crist; 276. 31, se Fozder bi$ aefre Feeder, and se Sunu bi$ refre Sunu, and se Halig Gast bi$ sefre Halig Gast, so 280. 27, II 606. 24 ; 480. 7, Geswutela me, gyf Su sylf wylle nyfter-astigan to hellwarum for manna alysednesse, swa swa $u Berber, n, 194. Tropes and Figures in Anglo-Saxon Prose. 69 woldest acenned beon for manna alysednysse ; oSSe gif ic sceole cySan binne to-cyme hellwarum . . . geswutela. — Note also the Epiphora in the repetition of 'alysednysse.' II. 36. 4, getimige Sam o^rum swa him getimige. d. At the End of the Preceding and Beginning of the Following Sentence. The name of this figure is Anadiplosis. It is defined in De Mille's Rhetoric 1 as " that figure by which the word at the end of one sentence or clause is repeated at the beginning of another." Only the following instances from Boethius are worth noticing : 36. 12, swa swa sigende sond Sonne ren sivylgft swa swylgft seo gitsung Sa dreosendan welan ; 42. 26, gif Su nu Saes gilpst, hu ne gilpst Su bonne heora godes ; 106. 8, Sa friend curnaS mid Sam welan and eft mid Sam welan gewitaS ; 110. 27, seo oferfyll simle fet uri&eawas and Sa unfieawas habbaS oferbearfe hreowsunga ; 122. 18, Sonne beoS hit eall an ¥>ing and Sset an ¥>ing biS God ; 158. 13, Saatte genyht wsere gesceffia and Sa gescetf&a wseron God, — the Latin has a repetition, but it is not a case of Anadiplosis, — nonne in beatitudine sufficientiam numer- avimus deumque beatitudinem ipsam esse consensimus (in xii. 28). 220. 20, ealle Sa Sing Se hire under^ied sint, sint underftied Sam godcundan forebonce; 222. 14, swa doS Sa rnsestan men on Sam midmestum and Sa midmestan on Sam betstan and Sa betstan on Gode, — note that the cases of the repeated words are different, and, as in the following instance, the sentence is complete if the suppressed verb be understood. 254. 1, ne Sa styriendan ofer Sa men ne Sa men ofer Sa englas ne Sa englas wiS God. 3. Repetition of the Same Words in Inverse Order. " Rhetorical effect is attained if the same words, by external arrangement or by changed position, direct attention to the ideas which they represent." 2 One of the figures under this head is Antimetabole, which the Century Dictionary defines as "a rhetorical 'James De Mille: The Elements of Rhetoric; New York, 1878. p. 177. 2 Gerber, n, 212. 70 Tropes and Figures in Anglo-Saxon Prose. figure in which the same words or ideas are repeated in inverse order." A. H. 70. 29, gif -Sonne eower Godes miht Sa halgan cyrcan tovmrpan ne maeg, ic towurpe eower tern pel Surh Sees iElniihtigan Godes mihte ; 110. 14, nis se man for steorrum gesceapen, ac Sa Sa steorran sint rnannurn . . . gesceapene, — Compare Mark ii, 27; 130. 31, hi awurpon Crist and he awyrpft hi; 242. 26, ic lufige hi and hi lufiaft me ; 320. 35, ne biS seo bilewitnys Gode gecweme butan snoternysse, ne seo snoternys butan bileivitnysse, so 322. 3 ; Crist underfeng menniscnysse on his tocyme, and men underfengon God ; 256. 31, se welega is geworht for San ftearfan and se ftearfa for San welegan ; 274. 7, ealswa we behqfaft Sset heofod Saera oSera lima, swa swa Sa lima behqfiaft Saes heafdes ; 276. 21, selc edwist Saette God nys, Saet is gesceaft, and Saet Se gesceaft nys, Saet is God; 278. 27, Fyr acenS of him beorhtnysse and seo beorhtnys is efeneald &ra /y>-e, so 278. 29 ; 438. 26, nis on nanura oSrum men moegfthad, gif Saer biS wcestmbcernys ; ne wosstmbcernys gif Saer biS ansund nuegfthad ; 578. 7, se easere . . . gecneowige set Saes fisceres gemynde, -Sonne se fiscere gecneowige set Saes caseres gemynde. A. H. ii. 46. 7, gemetegie Saet /^//' Sa bileivitnysse Saet heo to sleac ne sy ; and eft getemprie seo bilewitnys Saet fyr; 226. 14, seSe fram Gode is, he gehyrft Godes word ; forSi ge nellaS gehyran, forSan •Se ge ne sind fram Gode ; 234. 6, he iculdraft his Fader and se Feeder wuldraft hine ; 278. 9, Saet Crist beo mid us, and ice mid Criste ; Saet heofod mid Sam leomum and Sa leomu mid •Sam heafde; 324. 24, iaerde manna 6e«rn Saet hi gebyrsum beon heora fcederum a : and -Sam fcederum bebead, Saet hi heora beam ne geaebiligdon ; 350. 10, Sa scuton hwiltidum of Sam weallendum fyre into Sam anSraecurn cyle and eft of Sam cy/e into Sam /y/'e; 362. 29, nis swaSeah Feeder seSe Sunu, ne se #imw seSe Faider is; 386. 12, se mannes Sunu is Godes Sunu and se Godes Sunu is mannes Sunu; 440. 10, nis Saet an Sm# fram manegum, ac manega ¥>ing sind fram Sam anum; 446. 32, seo sunne ymbscineS Sone blindan and se blinda ne gesihS Soere sunnan leoman ; 448. 1, Tropes and Figures in Anglo-Saxon Prose. 71 God geseah ~6one deofol and se deofol swaSeah wses bedseled Godes gesihSe ; 488. 30, to gecigenne mancynn fram deafte to life, na to scufenne/mm life to dectf&e; 586. 28, he is ivisdom and eal ivisdom is of him. W. H. 74. 22, hyran Sa gingran georne heora yldran and lufjan and lseran 8a yldran heora gingran; 86. 5, ne byrhft Sonne broSor o'brum hwilan ne feeder his bearne ne 6earn his agenum feeder, so 128. 10, 149. 28, 159. 16; 168. 11, man oft herede, "Sat man sceolde hyrwan, and to forS hyrwde, $set man sceolde herigean ; 203. 26, swa wendaS wrang to rihte and n'A£ to wrange, so 228. 23, 297. 28, 298. 20. BOETH. 20. 35, $a nv&emestan ic gebrenge set "Sam hehstan and $a hehstan set Sam nv&tmestan, "Sset is, Sset ie gebrenge eaftmodnesse on heofonum and Sa heofonlican god set "Sam eaftmedum, — to which the Latin, infima summis summa injimis mutare gaudemus (n ii. 29). 50. 20, nan man for his rice ne cyrnft to crceftum and to medemnesse ; ac for his crceftum and for his medemnesse he cyrnS to rice and to anweald, — the Latin has, non virtutibus ex digni- tedibus sed ex virtute dignitatibus honor accedat (n vi. 11). 54. 33, Sset Sset god ne mseg beon wiS Sset yfel gemenged ne Sset yfel wrS Sset god; 94. 20, ftonecan $e he $one anweald forlset oSSe se anxoeald hine; 134. 14, $set of ftam mcestan gode cumaft -Sa Icessan god, nses of "Sam Icessan ftret mceste ; 134. 15, $e ma $e seo ea mseg weorSan to ceivelme. Ac se eewelm mseg weorSan to ea, and -Seah seo ea cyrnS eft to Sam cewelme ; 134. 20, hwi ne mint 8u ge^encan gif nan wnht full wsere, Sonne nsere nan wuht xoana, and gif nan wuht wana wsere Sonne nsere nan tcuht full ; 196. 13, ftses modes tioft eallne "Seme lichoman to him and ftces lichoman mettrumnes ne mseg Sset Mod eallunga to him getion. The special sentence structure underlying this figure gives it peculiar importance. The phrases or clauses are balanced in such a way that, were there no recurrence of the important words, emphasis would be given to the thought by the structure aloue; ~. -■: ■■-■. 72 Tropes and Figures in Anglo-Saxon Prose. naturally, therefore, when to this is added the repetition of the leading words, the rhetorical force of the thought is further brought out, and the figure becomes one of the most telling in this category. Gerber's l quotations very well illustrate the terseness and vigour of the figure in Latin literature ; and in later literature it will be found to be equally effective, and used to as great an extent. Proverbs and epigrams are never more striking than when put in this form. Shakspere's "Better a witty fool than a foolish wit" (T. N. i. v. 39) and Christ's "The sabbath was made for man, and not man for the sabbath " (Mai*k ii. 27) illustrate the terseness and pithiness this figure gives in the expression of thought. The figure, it will be noticed, occurs in A. H. only less frequently than Anaphora and Epiphora, but in W. H. it is rare and in B. H. does not exist. That it is rarely if ever found in the poetry may with tolerable safety be inferred from its not appearing once in Beowulf. The figures of repetition are all comparatively rare in the poetry, for, though the thought is frequently repeated, it is generally expressed in different words. From the formidable list of kennings collected by Dr. Bode and the other numerous synonyms existing in the poetic vocabulary, we gain some idea of the abundant means there were to avoid repetition of words. This figure with the others was, therefore, distinctly a devise of prose ; that it was so sparingly used in the homilies would seem to indicate that it was not native but due to foreign influence, to which iElfric, who has the greatest num- ber of examples, was probably most susceptible. Conclusion. Broadly considered, there is nothing peculiarly distinctive in the tropes of Anglo-Saxon prose to give a special significance to this literature. So much is borrowed, either directly or indirectly, from foreign sources that the essentially native idea can hardly be distinguished from the foreign. The literature of l n 212 f. Tropes and Figures in Anglo-Saxon Prose, 73 the learned classes, to which the homilists belonged, consisted of the Vulgate and the Church Fathers. These contained practically all the metaphorical ideas that we find in A. S. prose; those which seem most likely native are not of such a distinctly national character as to preclude their existence in another litera- ture and their being borrowed, and adapted to the A. S. audience. Generally, the author emphasizes a trope which especially strikes off A. S. conditions and thus indicates the aptness of the idea, if not its originality. The tropes are simple in their conception, and are used as they occur to the mind of the preacher. There is no studied or dramatic display, no climactic closing of a sentence with a metaphor, which writers of the eighteenth and nineteenth centu- ries have used with such fine effect ; this can come only with a high degree of literary culture. The close of many of Burke's paragraphs are metaphors which sum up all that precedes in one forceful and comprehensive idea. This the A. S. metaphor never did. Professor Earle remarks that " prose gets its inspiration from poetry — assimilates the characteristics of poetry." It is manifest from a comparison of the metaphors quoted above with those collected by Professor Gummere that the metaphors of prose and poetry are quite distinct. The metaphor of the poetry is in harmony with the spirit of the poetry ; it is bold, picturesque, essentially Germanic. The metaphor of the prose, like the con- tent of the prose, is borrowed, and, for the most part, has not been recast into such a mould as to have the virtue of even transformed thought. It has not been inspired by the metaphor of the poetry. In fact, we can hardly speak of the prose of the homilies as national at all ; the temper of the Anglo-Saxon, as declared in even the essentially Christian poems, is almost absent from the prose. Wulfstan most nearly approaches it. Prose had not yet become the natural vehicle of expression for the most vital thoughts and feelings of the people ; the men who wrote it were steeped in a foreign literature, their intellectual sympa- thies were ecclesiastical and Latin, not Germanic. When we pass from tropes to figures, we enter upon conditions quite different from those hitherto considered. Tropes depend 6 74 Tropes and Figures in Anglo-Saxon Prose. upon their content, figures upon their form to produce the intended rhetorical pleasure. In the former case the thought is strengthened by something external, a comparison expressed or implied, in the latter by the form or position of the words in which the thought is stated. Moreover, we find that the relations between prose and poetry are closer in the case of most of the figures. Poetry had practically no influence in creating the prose tropes, but many of the figures come directly from poetry, are the exclusive property of poetry. The figures of euphony, since they depend on the recurrence of sound to produce a rhythmical effect, are making use of a device which it is intended that only verse shall employ. Alliteration, the distinguishing feature of A. S. verse, rime, which was beginning to establish itself as the distinc- tive element of English poetic form, and assonance, which is closely related to rime, were all borrowed directly from the verse. The rhythm of prose was not understood by the A. S. writer ; it is too subtle to be matched by the use of certain rhythmical devices of poetry. Hence Wulfstan writes prose which more resembles poetry, while iElfric comes nearer the true prose rhythm by avoiding these extraneous devices. That there is more passion, intenser fervour in Wulfstan than in JElfric is manifest, and these poetic figures are used to express it. Because prose had not reached its full development and had not come into the inheritance of later ages, Wulfstan resorted to expedients more familiar and of acknowledged propriety in verse to convey his passion. Wulf- stan's style may be vigorous in these sermons, but it is not pure prose ; it has that fault which corresponds to the scanned sentences of some pseudo-oratorical productions of the present day — though the comparison is unfair to Wulfstan. On the other hand, the word-figures, which in A. S. literature are more frequent in prose than in poetry, are used by iElfric more abundantly and with greater skill than by any of the other writers considered. The grammatical figures which mar much of the prose of B. H., he avoids to a considerable degree ; the most important figures of this kind serve to express his thoughts with clearness and vigour. As in the other figures which are not exclusively poetic, iElfric rises superior to the Blickling Homilist, Wulfstan, and the translator of Boethius, and further establishes his place as the best of the A. S. prose writers. RETURN TO nii^L AY USE LOAN DEPT --■a? Aft aar £fe -^ b .w. (N8837s10)476-1a. 476— A-32 General Library Berkeley Syracuse, N. Y. Stockton, Calif. CD31fiM7MbS \ -