The predicative adjective often shows strong declension, as grædie 3/13, fuse 4/15, ikunde 3/32; but heui 2/15, leas, lutiȝ 3/2, loþ 4/37, &c., and the adjs. in ig are not inflected. Inflected attributives are deope 4/40, s. d. m., muchele 2/23, s. d. f.; durelease 4/40, s. d. neut.; seoruhfulne 4/19, s. a. m.; alle 4/37, pl. d. m., &c. The termination of the weak declension is -e in all cases, as seoruhfule 2/8, s. a. m.; reade 4/27, s. d. neut.; dimme 3/42, pl. a. neut.
The pronoun of the third person has pl. d. ham, heom. The def. art. is s. n. þe- þeo- þat, d. m. þen, a. þene- þeo- þat, pl. n. þeo- þa -þa, þeo, þe. The relative is s. þet, s. and pl. þe, þeo, pl. only þa.
The terminations of the verb are inf. -en (but driæn, offrian); ind. pr., e -est (contr. list 4/38), -eþ (but cumaþ 3/44, mænet 2/6); contr. sæiþ 2/13, biþ 2/22, met 3/33, liþ 3/36; pl. -eþ. Come 3/11 is 2 pr. s. subj. Ind. pt. of weak verbs, s. -de, -dest (but lufedæst 3/4), -de; part. pt. -ed, d, t in ibrouht 4/39, part. pr. -inde, ende. Strong pasts are ȝeat 4/27, beden 3/11, 4/21, seten 3/10; part. pt.; iboren 2/6, &c.
[Dialect:] The Dialect is Southern, outside the Kentish area, and probably Middle South, with forms deriving from a Saxon patois. The poem may have been written, as the preceding piece probably was, in or near Winchester. The orthography belongs to two distinct stages of development, the later showing the copyist’s practice towards the end of the twelfth century, the more primitive being that of the original, which may have been fifty or sixty years earlier. The phonetic position of the scribe is in some respects more advanced than that of the Layamon MS. A.
[Metre:] Alliterative long line of loose construction mixed with rhymed syllabic verse. Occasionally four consonants alliterate, 2/6, 4/41, but usually three 2/5, 8, or two 2/4, 23. Crossed alliteration of consonants occurs at 2/16, 22, 27; 4/32, of consonant and vowels at 2/17; vowel alliteration at 4/37. At 2/4, read ⁊ lif ⁊ soule · him on ileide; at 3/11, bote come. The rhymes are sometimes perfect, as at 2/15, 25; 3/6, 8; 4/15, 27, 44, but assonances like lif : siþ 2/29; wif : siþ 3/43; dome : lore 4/29, and partial correspondences of sound like crefte : idihte 2/3; bedde : libbe 2/13; honden : wenden 3/38; modinesse : lufedæst 3/4; wæde : lufedest 3/9 are valid for this transitional verse. Sometimes alliteration and rhyme are combined, as at 2/3, 10 (read weopinde cumeþ), 3/4. Lines without either alliteration or rhyme must be regarded as corrupt. We may perhaps read semeþ for þuncheþ 3/39; riht ⁊ godnesse 3/3; beden þe fore 4/21: icwemen woldest for icwemdest ær 4/42. Compare the section on metre in the introduction to No. vi.
[Introduction:] This poem, in which, after an introduction on the miseries of birth and death, a lost soul reproaches the body it has just left, represents the original type of one of the most popular subjects of the Middle Ages. The idea is ancient, for Kunze, p. 3, quotes a passage from a treatise ascribed to Plutarch, and Linow, p. 2, another from the Talmud, which contain it in the germ. But as it is used in Christian literature, it originated in Alexandria under the influence of Egyptian conceptions of death and the unseen world. In England before the Conquest it had inspired (1) the poem printed in Grein-Wülker, ii. 92-105 from the Exeter and Vercelli MSS., in which a lost soul speaks; (2) the fragment from the latter MS., in which a blessed soul consoles the waiting body, id. 105-7; (3) the homily printed in Ancient Laws and Institutes of England, ed. Thorpe, ii. 396-400 (8vo ed.); (4) the homily in Wulfstan, ed. Napier, 140, 1. Versions 3 and 4 are based on a Latin original represented by an eleventh-century text, which is printed by Batiouchkof in Romania, xx. 576-8, comp. Zupitza in Archiv, xci. 369. This Latin prose text professes to be the relation of a vision by a monk to Macarius of Alexandria (d. 393 A.D.), and it, according to Batiouchkof, is based on earlier Greek legends wherein Macarius is himself the dreamer. The homily (5) printed in Angelsächsische Homilien, ed. Assmann, Kassel, 1889, p. 167, and (6) that published by Zupitza, Archiv, xci. 379, are independent of the Latin original just mentioned, and they have been influenced by the Judgment Day literature. The former contains addresses of a lost and a saved soul to their respective bodies on the Judgment Day, the homily (6) has only the latter.
After the Conquest, contemporary with (7) the Worcester Fragment, there is (8) the Oxford Fragment printed by Buchholz, p. 11. The theme is again treated in (9) the twelfth-century homily, De Sancto Andrea, OEH ii. 181, 3, which preserves as a quotation one line of its Latin original, see [4/19 note]. Closely related to the last three versions is (10) the passage in the thirteenth-century poem printed in OEM p. 173, ll. 65-216. In (11) the Desputisoun bitwen þe Bodi and þe Soule, ed. Linow, based on the Latin Visio Philiberti, the matter is thrown into debat form for the first time in English. The Vision of Fulbert is again adapted in (12) the fifteenth-century poem printed by Halliwell, Early English Miscellanies (Warton Club), p. 12. Shorter passages in ME. literature, as OEM 83/331-6, Böddeker, Altengl. Dicht., 235-43 are fairly numerous.
The position of the Worcester Fragment among this literature is not easy to define. It appears to form a group with 8 and 10, to which 9, though too scanty to permit of an assured judgment, may be admitted. They probably descend from a lost Latin original. Our author may indeed have been acquainted with the oldest English version (1) and have drawn thence the leading ideas for his poem. If so, he treated them with much originality, for there is a wide difference between the austere simplicity and concentrated energy of the older composition and his diffuse and picturesque style, which reflects the influence of the new literature imported from the Continent.
The lacunae in the text were mostly filled up by Singer. It seemed unnecessary to assign to each editor his contributions to this complement, much of which is obvious. For [fei]ge 2/30 and foot-note, read [fei]ȝe.
The heading is from the Book of Job, xxv. 6.