After the Conquest, contemporary with (7) the Worcester Fragment, there is (8) the Oxford Fragment printed by Buchholz, p. 11. The theme is again treated in (9) the twelfth-century homily, De Sancto Andrea, OEH ii. 181, 3, which preserves as a quotation one line of its Latin original, see 4/19 note. Closely related to the last three versions is (10) the passage in the thirteenth-century poem printed in OEM p. 173, ll. 65-216. In (11) the Desputisoun bitwen þe Bodi and þe Soule, ed. Linow, based on the Latin Visio Philiberti, the matter is thrown into _debat_ form for the first time in English. The Vision of Fulbert is again adapted in (12) the fifteenth-century poem printed by Halliwell, Early English Miscellanies (Warton Club), p. 12. Shorter passages in ME. literature, as OEM 83/331-6, Böddeker, Altengl. Dicht., 235-43 are fairly numerous. The position of the Worcester Fragment among this literature is not easy to define. It appears to form a group with 8 and 10, to which 9, though too scanty to permit of an assured judgment, may be admitted. They probably descend from a lost Latin original. Our author may indeed have been acquainted with the oldest English version (1) and have drawn thence the leading ideas for his poem. If so, he treated them with much originality, for there is a wide difference between the austere simplicity and concentrated energy of the older composition and his diffuse and picturesque style, which reflects the influence of the new literature imported from the Continent. The _lacunae_ in the text were mostly filled up by Singer. It seemed unnecessary to assign to each editor his contributions to this complement, much of which is obvious. For [fei]ge 2/30 and foot-note, read [fei]ȝe. The heading is from the Book of Job, xxv. 6. 1. #en earde# is probably the remnant of on middenearde; elsewhere the writer uses _eorþe_ for the uncompounded word. 2. And all the created things which pertain to it, i.e. to the earth. With #isceæftan# comp. ‘He iscop þurh þene sune alle isceafte,’ Frag. F 47, 34/84, 130/80, 139/17, 187/356. For the position of #to# comp. _on_, 2/4; _fore_ 4/21, 23; 96/53, 54, mostly with relative pronouns. #[s]cu[l]en#, the tops of long _s_ and _l_ are cut off, as also those of _h_ and _f_ in the next line. It is not an auxiliary verb with ellipsis of a verb of motion (H., B.); it has independent meaning as in ‘Þas wyrte sculon to (= are proper for) lungen sealfe,’ Leechdoms, iii. 16/6. 3. #[þe]ne#. Singer’s _þonne_, then, next, adopted by H., may be right.