refers to the Pope and the Emperor, not to the division of the papacy. Finally, it should be observed that the introduction of the name Innocent, l. 18783, is not to be taken to mean that Innocent VI, who died in 1362, was the reigning pope. The name is no doubt only a representative one.

On the whole we shall not be far wrong if we assign the composition of the book to the years 1376-1379.

Form and Versification.—The poem (if it may be called so) is written in twelve-line stanzas of the common octosyllabic verse, rhyming aab aab bba bba, so that there are two sets of rhymes only in each stanza. In its present state it has 28,603 lines, there being lost four leaves at the beginning, which probably contained forty-seven stanzas, that is 564 lines, seven leaves, containing in all 1342 lines, in other places throughout the volume, and an uncertain number at the end, probably containing not more than a few hundred lines. The whole work therefore consisted of about 31,000 lines, a somewhat formidable total.

Form and Versification.

The twelve-line stanza employed by Gower is one which was in pretty common use among French writers of the ‘moral’ class. It is that in which the celebrated Vers de la Mort were composed by Hélinand de Froidmont in the twelfth century, a poem from which our author quotes. Possibly it was the use of it by this writer that brought it into vogue, for his poem had a great popularity, striking as it did a note which was thoroughly congenial to the spirit of the age[I]. In any case we find the stanza used also by the ‘Reclus de Moiliens,’ by Rutebeuf in several pieces, e. g. La Complainte de Constantinoble and Les Ordres de Paris, and often by other poets of the moral school. Especially it seems to have been affected in those ‘Congiés’ in which poets took leave of the world and of their friends, as the Congiés Adan d’Arras (Barb. et Méon, Fabl. i. 106), the Congié Jehan Bodel (i. 135), &c. As to the structure of the stanza, at least in the hands of our author, there is not much to be said. The pauses in sense very generally follow the rhyme divisions of the stanza, which has a natural tendency to fall into two equal parts, and the last three lines, or in some cases the last two, frequently[Pg xliv] contain a moral tag or a summing up of the general drift of the stanza.

[Pg xliv]

The verse is strictly syllabic. We have nothing here of that accent-metre which the later Anglo-Norman writers sometimes adopted after English models, constructing their 

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