There was a public ready to
read vernacular books, and not at home with French. For their sake a
great literature of translations and adaptations was made, beginning
with Layamon's English version of Wace's _Brut_, which by the end of
the century made the cycle of French romance accessible to the English
reader. Many works of edification and devotion were written in English;
and Robert of Gloucester's rhyming history appealed to a larger public
than the Yorkshire French of Langtoft. It is significant of the trend
of events that the early fourteenth century saw Langtoft himself done
into English by Robert Mannyng, of Bourne. While as yet no continuous
works of high merit were written in English, there was no lack of
experiments, of novelties, and of adaptations. Much evidence of depth
of feeling, power of expression, and careful art lies hidden away in
half-forgotten anonymous lyrics, satires, and romances. The language in
which these works were written was steadily becoming more like our
modern English. The dialectical differences become less acute; the
inflections begin to drop away; the vocabulary gradually absorbs a
larger romance element, and the prosody drops from the forms of the
West Saxon period into measures and modes that reflect a living
connexion with the contemporary poetry of France.
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