subj._ 20, woldes 2 _pt. s._ 178, wolde _pt. s._ 143, _pt. pl._ 19, 192; don _inf._ 178 (4), doþ _pr. s._ 292, _pr. pl._ 86, dedest 2 _pt. s._ 162, dude _pt. pl._ 117, idon _pp._ 138; goþ _pr. pl._ 43, 44. #Dialect:# The speech of North Worcestershire, where the Brut was written, descended from a Saxon patois which was substantially South-Western, but with an Anglian element derived from the neighbouring Mercia. Occasional forms in the texts, which are foreign to this dialect, may be due, as Luhmann thinks, to the poet himself, who, as he tells us, had travelled ‘wide ȝond þas leode,’ or to some intermediate copyist, but otherwise the manuscripts present, on the whole, the natural development of the dialect of the original. What the professional scribes who copied them contributed to the divergences from the original text was mainly graphic and in a great measure due to the clash of native spelling with the French scribal methods to which they were accustomed. #Vocabulary:# Scandinavian words in C O are bule bole, gærsume garisome, gistninge gystninge, hæil hail, laȝe lawe, swaines sweines, wæshail wassayl; in C only, ibon, dring, grið, loten, tiðende, utlaȝen; in O only, sleh, þorisdai: French in C O, castel, latimer; in O only, granti, pore, sarui. #Metre:# (1) =Of C.= Like the Worcester Fragment, p. 232, and the Proverbs of Alfred, pp. 292-4, Layamon’s verse presents an intermediate stage in the transition from the OE. alliterative long line to the rhyming couplet as exemplified in King Horn (KH p. xlvi). Our text has i. lines which continue the OE. practice of binding together the two halves of the line by alliteration only, as Ah héo weore hǽðene[;] þat wes hǽrm þa máre, 8; of þat ílken ǽnde[;] þe ángles is iháten, 34; these have four stresses separated by light syllables varying in number: ii. lines which add rhyme as an ornament to alliteration, as heo cómen into hálle[;] hǽndeliche álle 99; út of þan léode[;] to úncuðe lónde, 40; swiðe monie péohtes[;] heo slóȝen iþan féhte, 126, and with similar imperfect rhymes 79, 92, 174, &c.; the rhythm of these also is alliterative: iii. lines like those of the second class in structure, but already showing in various degrees the disintegrating effects of rhyme in their wavering rhythm, as þat ouer sǽ weorẹn icúmen[;] swíðe | sélcuðe | gúmen, 2, or with a regular syllabic rhythm, as ne mí|hte wé | bilǽ|uè[;] for lí|ue né | for dǽ|ðè, 46: iv. lines with rhyme only, as þe féor|ðe hǽh|te Jú|pitér[;] of ál|le þín|ge hé | is whár, 61; and ǽf|ter óh|te món|nèn[;] þa béz|stẹ of mí|ne cún|nè, 200; these can be scanned as syllabic verse without assuming any licence which is not to be found in the Poema Morale: v. lines without alliteration or rhyme, as 67, 242, 286, 297; these may be regarded as corrupt. The alliteration is varied, rarely 2 + 2, as 75, 127, 161; 2 + 1, normal in OE., as 17, 29, 32 &c.; 1 + 1, by far the commonest, as 30, 36, 38, 42, &c.; 1 + 2, as