“In case any one burn a tree in a wood, and it came to light who did it, let him pay the full penalty, and give sixty shillings, because fire is a thief.  If one fell in a wood ever so many trees, and it be found out afterwards, let him pay for three trees, each with thirty shillings.  He is not required to pay for more of them, however many they may be, because the axe is a reporter, and not a thief.” [The italicized sentences are evidently current sayings.]

But even these remains, important and interesting as they are, may not be called the beginning of a vernacular literature.  It is among the Angles of Northumbria that we shall find the earliest native and truly literary awakening in England.  Here we perceive the endeavor to do something more than merely to aid the memory of men in preserving necessary laws and records of important events.  The imagination had become active.  The impulse was felt to give expression to deep emotions, to sing the deeds and noble character of some hero embodying the loftiest ideals of the time and the race, to utter deep religious feeling.  There was an effort to do this in a form showing harmony in theme and presentation.  Here we find displayed a feeling for art, often crude, but still a true and native impulse.  This activity produced or gave definite form to the earliest Anglo-Saxon poetry, a poetry often of a very high quality; perhaps never of the highest, but always of intense interest.  We may claim even a greater distinction for the early fruit of Anglo-Saxon inspiration.  Mr. Stopford Brooke says:—­“With the exception of perhaps a few Welsh and Irish poems, it is the only vernacular poetry in Europe, outside of the classic tongues, which belongs to so early a time as the seventh and eighth centuries.”

The oldest of these poems belong in all save their final form to the ancient days in Northern Germany.  They bear evidence of transmission, with varying details, from gleeman to gleeman, till they were finally carried over to England and there edited, often with discordant interpolations and modifications, by Christian scribes.  Tacitus tells us that at his time songs or poems were a marked feature in the life of the Germans; but we cannot trace the clue further.  To these more ancient poems many others were added by Christian Northumbrian poets, and we find that a large body of poetry had grown up in the North before the movement was entirely arrested by the destroying Northmen.  Not one of these poems, unless we except a few fragmentary verses, has come down to us in the Northumbrian dialect.  Fortunately they had been transcribed by the less poetically gifted West Saxons into theirs, and it is in this form that we possess them.

This poetry shows in subject and in treatment very considerable range.  We have a great poem, epic in character; poems partly narrative and partly descriptive; poems that may be classed as lyric or elegiac in character; a large body of verse containing a paraphrase of portions of the Bible; a collection of ‘Riddles’; poems on animals, with morals; and others difficult to classify.