I take the poems from one of the Percy Society publications, edited by Mr. Wright from a manuscript in the British Museum. He adjudges them to the reign of Edward I. Perhaps we may find in them a sign or two that in cultivating our intellect we have in some measure neglected our heart. But first as to the mode in which I present them to my readers: I have followed these rules:-- 1. Wherever a word differs from the modern word only in spelling, I have, for the sake of readier comprehension, substituted the modern form, with the following exception:--Where the spelling indicates a different pronunciation, necessary for the rhyme or the measure, I retain such part of the older form, marking with an acute accent any vowel now silent which must be sounded. 2. Where the word used is antique in root, I give the modern synonym in the margin. Antique phrases I explain in foot-notes. It must be borne in mind that our modern pronunciation can hardly fail in other cases as well to injure the melody of the verses. The modern reader will often find it difficult to get a rhythm out of some of them. This may arise from any of several causes. In the first place many final _e_'s were then sounded which are now silent; and it is not easy to tell which of them to sound. Again, some words were pronounced as dissyllables which we treat as monosyllables, and others as monosyllables which we treat as dissyllables. I suspect besides, that some of the old writers were content to allow a prolonged syllable to stand for two short ones, a mode not without great beauty when sparingly and judiciously employed. Short supernumerary syllables were likewise allowed considerable freedom to come and go. A good deal must, however, be put down to the carelessness and presumption of the transcribers, who may very well have been incapable of detecting their own blunders. One of these ancient mechanics of literature caused Chaucer endless annoyance with his corruptions, as a humorous little poem, the last in his works, sufficiently indicates. From the same sources no doubt spring as well most of the variations of text in the manuscripts. The first of the poems is chiefly a conversation between the Lord on the cross and his mother standing at its foot. A few prefatory remarks in explanation of some of its allusions will help my readers to enjoy it. It was at one time a common belief, and the notion has not yet, I think, altogether vanished, that the dying are held back from repose by the love that is unwilling to yield them up. Hence, in the third stanza, the Lord prays his mother to let him die. In the fifth, he reasons against her overwhelming sorrows on the ground of the deliverance his sufferings will bring to the human race. But she can only feel her own misery.