Nothing better illustrates the original peculiarities and subsequent development of the early English mind than the Anglo-Saxon literature. A vast mass of manuscripts has been preserved for us, embracing works in prose and verse of the most varied kind; and all the most important of these have been made accessible to modern readers in printed copies. They cast a flood of light upon the workings of the English mind in all ages, from the old pagan period in Sleswick to the date of the Norman Conquest, and the subsequent gradual supplanting of our native literature by a new culture based upon the Romance models.

All national literature everywhere begins with rude songs. From the earliest period at which the English and Saxon people existed as separate tribes at all, we may be sure that they possessed battle-songs, like those common to the whole Aryan stock. But among the Teutonic races poetry was not distinguished by either of the peculiarities—rime or metre—which mark off modern verse from prose, so far as its external form is concerned. Our existing English system of versification is not derived from our old native poetry at all; it is a development of the Romance system, adopted by the school of Gower and Chaucer from the French and Italian poets. Its metre, or syllabic arrangement, is an adaptation from the Greek quantitative prosody, handed down through Latin and the neo-Latin dialects; its rime is a Celtic peculiarity borrowed by the Romance nationalities, and handed on through them to modern English literature by the Romance school of the fourteenth century. Our original English versification, on the other hand, was neither rimed nor rhythmic. What answered to metre was a certain irregular swing, produced by a roughly recurrent number of accents in each couplet, without restriction as to the number of feet or syllables. What answered to rime was a regular and marked alliteration, each couplet having a certain key-letter, with which three principal words in the couplet began. In addition to these two poetical devices, Anglo-Saxon verse shows traces of parallelism, similar to that which distinguishes Hebrew poetry. But the alliteration and parallelism do not run quite side by side, the second half of each alliterative couplet being parallel with the first half of the next couplet. Accordingly, each new sentence begins somewhat clumsily in the middle of the couplet. All these peculiarities are not, however, always to be distinguished in every separate poem.

The following rough translation of a very early Teutonic spell for the cure of a sprained ankle, belonging to the heathen period, will illustrate the earliest form of this alliterative verse. The key-letter in each couplet is printed in capitals, and the verse is read from end to end, not as two separate columns.[1]
Balder and Woden         Went to the Woodland:
There Balder\'s Foal         Fell, wrenching its Foot.
Then Sinthgunt beguiled him,         and Sunna her Sister:
Then Frua beguiled him,         and Folla her sister,
Then Woden beguiled him,         as Well he knew how;
Wrench of blood, Wrench of bone,         and eke Wrench of limb:
Bone unto Bone,         Blood unto Blood,
Limb unto Limb         as though Limèd it were.

In this simple spell the alliteration serves rather as an aid to memory than as an ornamental device. The following lines, translated from the ballad on ?thelstan\'s victory at Brunanburh, in 937, will show the developed form of the same versificatory system. The parallelism and alliteration are here well marked:—
?thelstan king,         lord of Earls,
Bestower of Bracelets,         and his Brother eke,
Eadmund the ?theling,         honour Eternal
Won in the Slaughter,         with edge of the Sword
By Brunnanbury.         The Bucklers they clave,
Hewed the Helmets         with Hammered steel,
Heirs of Edward,         as was their Heritage,
From their Fore-Fathers,         that oft the Field
They should Guard their Good folk         Gainst every comer,
Their Home and their Hoard.         The Hated foe cringed to them,
The Scottish Sailors,         and the Northern Shipmen;
Fated they Fell.         The Field lay gory
With Swordsmen\'s blood         Since the Sun rose
On Morning tide         a Mighty globe,
To Glide o\'er the Ground,         God\'s candle bright,
The endless Lord\'s taper,         till the great Light
Sank to its Setting.         There Soldiers lay,
Warriors Wounded,         Northern Wights,
Shot over Shields;         and so Scotsmen eke,
Wearied with War.         The West Saxon onwards,
The Live-Long day         in Linkèd order
Followed the Footsteps         of the Foul Foe.

Of course no songs of the old heathen period were committed to writing either in Sleswick or in Britain. The minstrels who composed them taught them by word of mouth to their pupils, and so handed them down from generation to generation, much as the Ach?an rhapsodists handed down the Homeric poems. Nevertheless, two or three such old songs were afterwards written out in Christian Northumbria or Wessex; and though their heathendom has been greatly toned down by the transcribers, enough remains to give us a graphic glimpse of the fierce and gloomy old English nature which we could not otherwise obtain. One fragment, known as the Fight at Finnesburh (rescued from a book-cover into which it had been pasted), probably dates back before the colonisation of Britain, and closely resembles in style the above-quoted ode. Two other early pieces, the Traveller\'s Song and the Lament of Deor, are inserted from pagan tradition in a book of later devotional poems preserved at Exeter. But the great epic of Beowulf, a work composed when the English and the Danes were still living in close connexion with one another by the shores of the Baltic, has been handed down to us entire, thanks to the kind intervention of some Northumbrian monk, who, by Christianising the most flagrantly heathen portions, has saved the entire work from the fate which would otherwise have overtaken it. As a striking representation of early English life and thought, this great epic deserves a fuller description.[2]

Beowulf is written in the same short alliterative metre as that of the Brunanburh ballad, and takes its name from its hero, a servant or companion of the mighty Hygelac, king of the Geatas (Jutes or Goths). At a distance from his home lay the kingdom of the Scyldings, a Danish tribe, ruled over by Hrothgar. There stood Heorot, the high hall of heroes, the greatest mead-house ever raised. But the land of the Danes was haunted by a terrible fiend, known as Grendel, who dwelt in a dark fen in the forest belt, girt round with shadows and lit up at eve by flitting flames. Every night Grendel came forth and carried off some of the Danes to devour in his home. The description of the monster himself and of the marshland where he had his lair is full of that weird and gloomy superstition which everywhere darkens and overshadows the life of the savage and the heathen barbarian. The terror inspired in the rude English mind by the mark and the woodland, the home of wild beasts and of hostile ghosts, of deadly spirits and of fierce enemies, gleams luridly through every line. The fen and the forest are dim and dark; will-o\'-the-wisps flit above them, and gloom closes them in; wolves and wild boars lurk there, the quagmire opens its jaws and swallows the horse and his rider; the foeman comes through it to bring fire and slaughter to the clan-village at the dead of night. To these real terrors and dangers of the mark are added the fancied ones of superstition. There the terrible forms begotten of man\'s vague dread of the unknown—elves and nickors and fiends—have their murky dwelling-place. The atmosphere of the strange old heathen epic is oppressive in its gloominess. Nevertheless, its poetry sometimes rises to a height of great, though barbaric, sublimity. Beowulf himself, hearing of the evil wrought by Grendel, set sail from his home for the land of the Danes. Hrothgar received him kindly, and entertained him and his Goths with ale and song in Heorot. Wealtheow, Hrothgar\'s queen, gold-decked, served them with mead. But when all had retired to rest on the couches of the great hall, in the murky night, Grendel came. He seized and slew one of Beowulf\'s companions. Then the warrior of the Goths followed the monster, and wounded him sorely with his hands. Grendel fled to his lair to die. But after the contest, Grendel\'s mother, a no less hateful creature—the "Devil\'s dam" of our medi?val legends—carries on the war against the slayer of her son. Beowulf descends to her home beneath the water, grapples with her in her cave, turns against her the weapons he finds there, and is again victorious. The Goths return to their own country laden with gifts by Hrothgar. After the death of Hygelac, Beowulf succeeds to the kingship of the Geatas, whom he rules well and prosperously for many years. At length a mysterious being, named the Fire Drake, a sort of dragon guarding a hidden treasure, some of which has been stolen while its guardian sleeps, comes out to slaughter his people. The old hero buckles on his rune-covered sword again, and goes forth to battle with the monster. He slays it, indeed, but is blasted by its fiery breath, and dies after the encounter. His companions light his pyre upon a lofty spit of land jutting out into the winter sea. Weapons and jewels and drinking bowls, taken from the Fire Drake\'s treasure, were thrown into the tomb for the use of the ghost in the other world; and a mighty barrow was raised upon the spot to be a beacon far and wide to seafaring men. So ends the great heathen epic. It gives us the most valuable picture which we possess of the daily life led by our pagan forefathers.

But though these poems are the oldest in tone, they are not the oldest in form of all that we possess. It is probable that the most primitive Anglo-Saxon verse was identical with prose, and consisted merely of sentences bound together by parallelism. As alliteration, at first a mere memoria technica, became an ornamental adjunct, and grew more developed, the parallelism gradually dropped out. Gnomes or short proverbs of this character were in common use, and they closely resembled the medi?val proverbs current in England to the present day.

With the introduction of Christianity, English verse took a new direction. It was chiefly occupied in devotional and sacred poetry, or rather, such poems only have come down to us, as the monks transcribed them alone, leaving the half-heathen war-songs of the minstrels attached to the great houses to die out unwritten. The first piece of English literature which we can actually date is a fragment of the great religious epic of C?dmon, written about the year 670. C?dmon was a poor brother in Hild\'s monastery at Whitby, and he acquired the art of poetry by a miracle. Northumbria, in the sixth and seventh centuries, took the lead in Teutonic Britain; and all the early literature is Northumbrian, as all the later literature is West Saxon. C?dmon\'s poem consisted in a paraphrase of the Bible history, from the Creation to the Ascension. The idea of a translation of the Bible from Latin into English would never have occurred to any one at that early time. English had as yet no literary form into which it could be thrown. But C?dmon conceived the notion of paraphrasing the Bible story in the old alliterative Teutonic verse, which was familiar to his hearers in songs like Beowulf. Some of the brethren translated or interpreted for him portions of the Vulgate, and he threw them into rude metre. Only a single short excerpt has come down to us in the original form. There is a later complete epic, however, also attributed to C?dmon, of the same scope and purport; and it retains so much of the old heathen spirit that it may very possibly represent a modernised version of the real C?dmon\'s poem, by a reviser in the ninth century. At any rate, the latter work may be treated here under the name of C?dmon, by which it is universally known. It consists of a long Scriptural paraphrase, written in the alliterative metre, short, sharp, and decisive, but not without a wild and passionate beauty of its own. In tone it differs wonderfully little from Beowulf, being most at home in the war of heaven and Satan, and in the titanic descriptions of the devils and their deeds. The conduct of the poem is singularly like that of Paradise Lost. Its wild and rapid stanzas show how little Christianity had yet moulded the barbaric nature of the newly-converted English. The epic is essentially a war-song; the Hebrew element is far stronger than the Christian; hell takes the place of Grendel\'s mere; and, to borrow Mr. Green\'s admirable phrase, "the verses fall like sword-strokes in the thick of battle."

In all these works we get the genuine native English note, the wild song of a pirate race, shaped in early minstrelsy for celebrating the deeds of gods and warriors, and scarcely half-adapted afterward to the not wholly alien tone of the oldest Hebrew Scriptures. But the Latin schools, set up by the Italian monks, introduced into England a totally new and highly-developed literature. The pagan Anglo-Saxons had not advanced beyond the stage of ballads; they had no history, or other prose literature of their own, except, perhaps, a few traditional genealogical lists, mostly mythical, and adapted to an artificial grouping by eights and forties. The Roman missionaries brought over the Roman works, with their developed historical and philosophical style; and the change induced in England by copying these originals was as great as the change would now be from the rude Polynesian myths and ballads to a history of Polynesia written in English, and after English prototypes, by a native convert. In fact, the Latin language was almost as important to the new departure as the Latin models. While the old English literary form, restricted entirely to poetry, was unfitted for any serious narrative or any reflective work, the old English tongue, suited only to the practical needs of a rude warrior race, was unfitted for the expression of any but the simplest and most material ideas. It is true, the vocabulary was copious, especially in terms for natural objects, and it was far richer than might be expected even in words referring to mental states and emotions; but in the expression of abstract ideas, and in idioms suitable for philosophical discussion, it remained still, of course, very deficient. Hence the new serious literature was necessarily written entirely in the Latin language, which alone possessed the words and modes of speech fitted for its development; but to exclude it on that account from the consideration of Anglo-Saxon literature, as many writers have done, would be an absurd affectation. The Latin writings of Englishmen are an integral part of English thought, and an important factor in the evolution of English culture. Gradually, as English monks grew to read Latin from generation to generation, they invented corresponding compounds in their own language for the abstract words of the southern tongue; and therefore by the beginning of the eleventh century, the West Saxon speech of ?lfred and his successors had grown into a comparatively wealthy dialect, suitable for the expression of many ideas unfamiliar to the rude pirates and farmers of Sleswick and East Anglia. Thus, in later days, a rich vernacular literature grew up with many distinct branches. But, in the earlier period, the use of a civilised idiom for all purposes connected with the higher civilisation introduced by the missionaries was absolutely necessary; and so we find the codes of laws, the penitentials of the Church, the charters, and the prose literature generally, almost all written at first in Latin alone. Gradually, as the English tongue grew fuller, we find it creeping into use for one after another of these purposes; but to the last an educated Anglo-Saxon could express himself far more accurately and philosophically in the cultivated tongue of Rome than in the rough dialect of his Teutonic countrymen. We have only to contrast the bald and meagre style of the "English Chronicle," written in the mother-tongue, with the fulness and ease of B?da\'s "Ecclesiastical History," written two centuries earlier in Latin, in order to see how great an advantage the rough Northumbrians of the early Christian period obtained in the gift of an old and polished instrument for conveying to one another their higher thoughts.

Of this new literature (which began with the Latin biography of Wilfrith by ?ddi or Eddius, and the Latin verses of Ealdhelm) the great representative is, in fact, B?da, whose life has already been sufficiently described in an earlier chapter. Living at Jarrow, a Benedictine monastery of the strictest type, in close connection with Rome, and supplied with Roman works in abundance, B?da had thoroughly imbibed the spirit of the southern culture, and his books reflect for us a true picture of the English barbarian toned down and almost obliterated in all distinctive features by receptivity for Italian civilisation. The Northumbrian kingdom had just passed its prime in his days; and he was able to record the early history of the English Church and People with something like Roman breadth of view. His scientific knowledge was up to that of his contemporaries abroad; while his somewhat childish tales of miracles and visions, though they often betray traces of the old heathen spirit, were not below the average level of European thought in his own day. Altogether, B?da may be taken as a fair specimen of the Romanised Englishman, alike in his strength and in his weakness. The samples of his historical style already given will suffice for illustration of his Latin works; but it must not be forgotten that he was also one of the first writers to try his hand at regular English prose in his translation of St. John\'s Gospel. A few English verses from his lips have also come down to us, breathing the old Teutonic spirit more deeply than might be expected from his other works.

During the interval between the Northumbrian and West Saxon supremacies—the interval embraced by the eighth century, and covered by the greatness of Mercia under ?thelbald and Offa—we have few remains of English literature. The laws of Ine the West Saxon, and of Offa the Mercian, with the Penitentials o............