Gregory’s Latin presents many problems. Its relation to sixth-century linguistic development is not well understood although it has been closely scrutinized. Gregory’s vocabulary does not show the decadence that might be expected. It is extremely rich and varied and contains a moderate number of Celtic, Germanic, and Hunnish additions. Old Latin words, however, often have new and unexpected meanings. In the field of grammar the situation is different. Judged by anything like a classical standard Gregory is guilty of almost every conceivable barbarity. He spells incorrectly, blunders in the use of the inflections, confuses genders, and often uses the wrong case with the preposition. In addition he is very awkward in handling the Latin verb: the different voices, tenses, and modes are apt to look alike to him. His constructions, too, are frequently incorrect. In all this he seems very erratic; he may use the correct form ten times and then give us something entirely different. No method has so far been traced in his vagaries. Gregory’s literary style is as peculiar as his language. It is often vigorous and direct, giving realistic and picturesque delineations of events. Within his limitations he well understood the complexity of human motives and actions, and now and then he shows a trace of humor. However, offending elements often appear; sometimes his realism verges on a brutal plainness. He is also by no means free from literary affectation; indeed by his choice of expressions, his repetitions and unnatural arrangement of words, he is almost always striving for effect. In his day the tradition of literary workmanship was quite dead but it would seem as if its ghost tortured Gregory. On the whole his literary style is uncouth, awkward, and full of rude surprises. There are well-marked variations in the style. At times we have the conventionalized jargon of the church, in which Gregory was proficient and which was always in the back of his mind ready to issue forth when other inspiration failed. At the opposite extreme from this is the easy, clear narrative in which the popular tales, both Frankish and Roman, are often recited. It is believed that in some of these we have a version of epic recitals of Frankish adventures. Then there are the passages, like the baptism of Clovis[14] or the tale of the two lovers, which Gregory labored to make striking. These do not offend; they are so naïvely overdone that they are merely amusing.