ly English Literature," chap. xxii. Many of
those riddles were adapted from the Latin of Aldhelm and others. This
sort of poetry enjoyed great favour, as the Scandinavian "Corpus
Poeticum" also testifies. What is "Men's damager, words' hinderer, and
yet words' arouser?"--"Ale." "Corpus Poeticum," i. p. 87.

[91] "Elene," in "Codex Vercellensis," part ii. p. 73, and "Holy Rood"
(this last of doubtful authorship), _ibid._ pp. 84 ff. Lines resembling
some of the verses in "Holy Rood" have been found engraved in Runic
letters on the cross at Ruthwell, Scotland; the inscription and cross
are reproduced in "Vetusta Monumenta," vol. iv. p. 54; see also G.
Stephens, "The old Northern Runic monuments of Scandinavia and England,"
London, 1866-8, 2 vols. fol., vol. i. pp. 405 ff. Resemblances have also
been pointed out, showing the frequence of such poetical figures, with
the Anglo-Saxon inscription of a reliquary preserved at Brussels: "Rood
is my name, I once bore the rich king, I was wet with dripping blood."
The reliquary contains a piece of the true cross, which is supposed to
speak these words. The date is believed to be about 1100. H. Logeman,
"L'Inscription Anglo-Saxonne du reliquaire de la vraie croix au tresor
de l'eglise des SS. Michel et Gudule," Gand, Paris and London, 1891, 8vo
(with facsimile), pp. 7 and 11.

[92] "Codex Vercellensis," part i. pp. 29, 86 ff. "Andreas" is imitated
from a Greek story of St. Andrew, of which some Latin version was
probably known to the Anglo-Saxon poet. It was called "[Greek: Praxeis
Andreou kai Matthaiou];" a copy of it is preserved in the National
Library, Paris, Greek MS. 881, fol. 348.

[93] "Departed Soul's Address to the Body," "Codex Vercellensis," part
ii. p. 104.

[94] Marlowe's "Dr. Faustus." See also, "Be Domes Daege," a poem on the
terrors of judgment (ed. Lumby, Early English Text Society, 1876).

[95] See examples of such dialogues and speeches in "Andreas", "The Holy
Rood" (in "Cod Vercell"); in Cynewulf's "Christ" ("Cod. Exoniensis"),
&c. In this last poem occurs one of the few examples we have of familiar
dialogue in Anglo Saxon (a dialogue between Mary and Joseph, the tone of
which recalls the Mysteries of a later date); but it seems to be
"derived from an undiscovered hymn arranged for recital by half choirs."
Gollancz, "Christ," Introd., p. xxi. Another example consists in the
scene of the temptation in _Genesis_ (_Cf._ "S. Aviti ... Viennensis
Opera," Paris, 1