The Alfred Jewel. Earle John

elfered; and there is the form alfred, which has become established in modern English in consequence of the fact that our earliest popular histories of the king were derived from Latin books, in which language his name was commonly spelt alfredus. But whatever changes may pass over the visible representation of the word, there is no alteration possible in the relation between this word and the memory of that royal person whose proper name it was.If now we remove the words that have suffered a semantic change, and substitute those which at the present time seem most natural, the sentence will take this form: ‘Alfred ordered make me;’ and thus it approaches another step towards the present manner of our speech.

      3 The third movement to be noticed is that from the flexional to the phrasal method of syntax. The word gewyrcan is a flexional verb, the last syllable, -an, being the sign of the infinitive mood, and indicating the syntactical function of that word in the sentence. By slow degrees this method of syntax fell out of use, and another way came up of expressing the same function. Instead of the syllable -an at the end of the verb, a little word, ‘to,’ was set before the verb, with the same effect of expressing the infinitive mood. If now we add this change to the other modifications of our sentence, we shall bring it considerably nearer to current speech, thus: ‘Alfred ordered to make me.’ But still it wants something to reduce it into the shape which we can recognize as modern English.

      4 The fourth and last change which we must note in the habits of our speech is the great extension of the passive verb, and particularly in the infinitive mood. Many infinitive phrases which were once cast in the Active have been changed to the Passive, and a lingering survival of the active formula may be observed to have a peculiar and exceptional air. We feel this in the phrase, ‘The reason is not far to seek.’ A more familiar example may be seen on the boards of the house agents. Some of these boards say ‘House to let,’ while others prefer ‘House to be let,’—the one is homely and native English, the other is modish and reminds us of the schoolmaster. The same authority will guide us to bring our Legend up to date, and stamp our version with the mint of the nineteenth century, thus: ‘Alfred ordered me to be made.’

      In the above analysis it has been necessary to depart in some measure from the course of nature by exhibiting in succession a group of changes which are due to processes more or less simultaneous. This accumulation of gradual changes furnishes a measure, partly scientific, partly sentimental, of the wide interval that separates us from the time when this Epigraph was curiously woven in golden filigree by the lucky artist who executed the design of the ingenious prince.

But the Epigraph has time-indications which are closer and more definite. There are features which, besides telling of the lapse of time, do also in some sense indicate the point of time; features in virtue of which this Legend may be said to suggest proximately its own date. The two words ‘mec heht’ are archaic forms, the one of which is never, and the other rarely, found in the prose of the tenth century; indeed they were both archaic in the ninth. Mec had given place to me, and (though less absolutely) heht to hêt; but the older forms were still at the service of the poet, and Epigraphy has some share in poetic privilege. Indeed it would seem that in the time of Alfred mec was consciously used as an archaic curiosity. There is a gold ring which I take to be contemporaneous with our Jewel, and it bears an English inscription in which mec occurs twice. It will be described below[6].

      It would be too much to say that the forms mec heht convey a definite date, but they certainly fit well with the time of Alfred, and (but for that vague licence of Epigraphy) they might even be said to suggest the ninth century as the latest probable date of a work with which they are identified.

      It is worthy of notice that heht occurs in another piece of Alfred’s inditing, which I will introduce here not only for the sake of the old reduplicative verb, but also because the passage is germane to the argument, and imports an illustration of a comprehensive kind. The king prefixed to his version of Gregory’s Pastoral Care a preface in prose and a prologue in verse. The prose preface was about the main purpose of his work; the poetical prologue dealt with literary matters, the authority of his text, the history of his copy, the manner of his own literary operation. It is this poetical and literary Prologue which I here quote:

      Þis ærendgewrit

      This Epistle

      Agustinus

      Augustine

      ofer sealtne sæ

      over salt sea

      suan brohte

      brought from the south

      ieg-buendum,

      to us island-dwellers,

      swa hit ær fore

      just as it erst

      adihtode

      indited had been

      drihtnes cempa

      by Christ’s doughty champion

      Rome papa.

      the pontiff of Rome.

      Ryhtspell monig

      Much rightful discourse

      Gregorius gleawmôd

      did Gregory’s glowing wit

      gind wôd

      give forth apace

      ðurh sefan snyttro,

      with skilful soul,

      searoðonca hord.

      a hoard of studious thought.

      Forðæm he monncynnes

      Wherefore he of mankind

      mæst gestriende

      converted the most

      rodra wearde:

      to the Ruler of heaven:

      Romwara betest,

      he of Romans the best,

      monna môdwelegost,

      of men the most mind-rich,

      mærðum gefrægost.

      and widest admired.

      Siððan min on Englisc

      At length into English

      Ælfred kyning

      Alfred the king

      awende worda gehwelc,

      every word of me wended,

      and me his writerum

      and me to his writers

      sende suð and norð;

      south and north he did send;

      heht him swelcra ma

      more ordered of such

      brengan bi ðære bisene,

      by the copy to bring,

      ðæt he his biscepum

      that he to his bishops

      sendan meahte:

      might be able to send:

      forðæm hi his sume ðorften,

      for some of them needed it,

      ða ðe Lædenspræce

      such as of Latin

      læste cûðon.

      very little did know.

      In the last six lines of this little poem a new attitude is taken up; the book itself becomes the speaker, and sets forth how ælfred was the translator, how he ordered (heht) more copies of his translation to be made, and for what purpose. In mentioning purpose, the prologue communicates something beyond the Legend, which leaves the purpose and signification of the design shrouded in symbolism. But for the rest, if we analyze these six lines, we shall find the heart and core of them to be essentially