is finally caught in a bird-trap; in another a lady falls into a trance, and is supposed to be dead, until her rival, seeing a weasel restore another one by placing a vermilion flower in its mouth, she places it in the lady's mouth and thus awakens her. The same element is largely present in the other romances.

Alexander Neckam, who lived in the latter part of the twelfth century, shows how fond our forefathers were of animals, and how they kept them in their houses. The castles were often full of them, some roving about, others necessarily in confinement. Monkeys were in high favour. Some of them were taught to fight as in a tournament, which we are told caused great laughter. In medieval times. there was a love of all kinds of hybrid animals, and there was a certain amount of belief that all sorts of monsters

came from the East or North. Giraldus Cambrensis tells us that there were in Ireland such mixtures as half ox and half man, half dog and half monkey.

All these stories remind us of the fabular period in old Greek history, and bespeak a time, when both taste and knowledge were in their infancy; but when, at the same time, the rays of the ideal were breaking upon the mind, and "men appeared as trees walking."

Allied to a love of fabling was that of allegory, which, as soon as literary activity began to appear in the early church, produced an abundant harvest. This tendency exhibited itself in the first progress of thought in England. Philippe de Than, one of the most ancient Anglo-Norman poets, wrote a work describing the character of each bird and beast, upon which he grounded moral reflections. Robert Grosseteste, Bishop of Lincoln, who died in 1253, was celebrated for a copious dissertation on mystical divinity, and a poem is extant ascribed to him, called the "Castle of Love by Leland, in which the creation and redemption. are represented as an allegory-our Lord being supposed to enter a magnificent castle, the body of the Virgin. The "Gesta Romanorum" strongly exhibits the want of discrimination at this time, for although the dramatis personæ are generally Roman Emperors, the deepest Christian mysteries are supposed to be shadowed forth by their actions. Some of the stories are evidently invented to enforce religious teaching. We read of an angel accompanying a hermit on his wanderings, the angel robs or murders all who receive him, but explains afterwards that it is for their good. He gives a golden goblet to a rich man who refuses to

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entertain them, to comfort him in this world, as he will go to hell in the next.

Vincent of Beauvais, a learned Dominican of France, who flourished in the thirteenth century, observes that it was a practice of preachers to rouse their congregation by relating a fable of Æsop. In the British Museum there is a collection of two hundred and fifteen stories, romantic, allegorical, and legendary, evidently compiled for the use of monastic preachers. Mystic similitudes were at this time greatly affected in all branches of learning. In the "Romaunt of the Rose," the difficulties of a lover are representcd under the form of a man seeking a rose in an inaccessible garden. This flower, alchemists considered to be emblematic of the Philosopher's Stone, while theologians referred it to the white rose of Jericho-a state of grace into which the wicked could not

enter.

CHAPTER II.

Anglo-Saxon Humour-Rhyme-Satires against the Church -The Brunellus-Walter Mapes-Goliardi-Piers the Ploughman-Letters of Obscure Men-Erasmus-The Praise of Folly-Skelton-The Ship of Fools-Doctour Doubble Ale-The Sak full of Nuez-Church Ornamentation-Representations of the Devil.

THE

HE rude character of the Anglo-Saxon humour may be gathered from our having derived from it the word fun. This term which we often apply to romping and boisterous games, refers principally to the sense of feeling, and always implies some low kind of amusement connected with the senses. We also discover among the Anglo-Saxons an unamiable tendency to give nicknames people from their personal peculiarities. But if we look for anything better, we can find only a translation of the Latin riddles of Symposius by Aldhelm, Bishop of Shirburn. This prelate, who was a relation of Ina, King of the West Saxons, was in attainments far superior to his age. He was celebrated as a harper, poet, and theologian, and wrote several works, especially one in praise of Virginity. His translations

from Symposius were probably intended for the post-prandial delectation of the monks.

Aristophanes seems to have made the first approach to rhyming, for he introduced some repetitions of the same word at the end of lines. He probably thought the device had an absurd effect and used it as a kind of humour. Aulus Gellius blames Isocrates, who lived about 400 B.C., for introducing jingles into his orations, and as he also refers to Lucilius' condemnation of them, he would probably have objected to them in poetry.

Classic Latin versification is supposed to have died out with Fortunatus, Bishop of Poitiers in the sixth century, but an advance was made towards playing with words by the introduction of rhymes in the church hymns. Some trace of them is found in the verses of Hilary in the fourth century, but we find them first regularly adopted in a Latin panegyric written for Clotaire II. in France at the commencement of the seventh. Some suppose that "Leonine verses" were invented shortly afterwards by Pope Leo II. As in the days of Greece and Rome, the development of poetry was accompanied by a considerable activity in the fabrication of metres. This did not limit itself to a distich or alternate rhyme called "tailed" or "interlaced," but included the "horned," "crested," and