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DE ARTE LACRIMANDI.
This poem is found on fol. 35a to 46b of MS. Harl. 2274 preserved in the British Museum. The MS. is a collection of various medical treatises written in Latin and English, on parchment and paper. Inserted among these is the poem, written on paper, in a fine hand. In the margins are several corrections in hands of different periods. The handwriting, as well as the language, points to the very end of the 15th or the beginning of the 16th century.
The Stanza is composed of twelve four-stressed verses, rhythmically smooth. The rime scheme is: ababababbcbC with a refrain of the type 'Therfor to wepe come lerne att me' or its variants. Alliteration is quite common throughout the poem, but there is no settled order in its occurrence. In some cases there is a dominant note of alliteration throughout the stanza which is quite apparently not accidental; as 'w' in XIX and XLIX, 'f' in XXX. There are several examples of internal rime: They dassh they lassh XXVIII. 9; Fryenge dryenge XXXI. 4; We kyste we blyste L.
The language offers comparatively little for discussion. The final-e is already, for the most part, silent, as is also the vowel in inflectional syllables. A great inclination to use 'y (i)' instead of 'e' in unstressed syllables is shown: heuenys (I); louyd (VII) etc. etc.
The poem is quite skilfully constructed, the refrain nearly always being an organic part of the stanza; this is sometimes achieved at the sacrifice of perfect sense. Sometimes the striving after rime causes the author to be slightly repulsive in sentiment (XXV). At other times there is a monotonous