The Middle English Poem, Erthe Upon Erthe — Story, Setting & Ideas
Edition facts
The catalog record for The Middle English Poem, Erthe Upon Erthe — Story, Setting & Ideas provides practical reading context through 36,206 words, 2 hr 38 min estimated reading time, and 14 detected text sections.
The text analysis averages about 9.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “English poetry -- Middle English, 1100-1500,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
to be directly based upon stanzas 3 and 4 of the usual B version.
The majority of the later instances of the text occur on tombstones or memorial tablets. The poem was peculiarly adapted for this purpose, based as it was on the very words of the Burial Service. Indeed, the short verses from which it is here assumed to have originated might well be supposed to have been written in the first place as epitaphs, if evidence of the use of English epitaphs in the thirteenth century[24] were forthcoming. As has been already stated, the seven verses of the normal B version occurred in full among the mural paintings in the Chapel of the Holy Trinity at Stratford-on-Avon, belonging to the Guild of the Holy Cross, where they appear to have been used as a monumental inscription already in the latter part of the fifteenth century.
A well-known late instance of the text is the inscription on a tombstone in the parish churchyard which surrounds Melrose Abbey, mentioned by Scott. The stone is headed as follows:--
Memento Mori. Here lyes James Ramsay, portioner of Melrose, who died July 15th, 1761.
On the back is the following verse:--
The Earth goeth on the Earth Glistring like gold, The Earth goeth to the Earth Sooner than it wold; The Earth builds on the Earth Castles & Towers, The Earth says to the Earth: ‘All shall be ours.’
This was translated into German by Theodor Fontane (_Poems_, 4th edit., Berlin, 1892, p. 447). Cf. Fiedler, _Mod. Lang. Review_, April 1908.
Other inscriptions are as follows:--
On an old brass, quoted by W. Williams, _Notes and Queries_, I. vii. 577, and thought by him to belong to the Church of St. Helen’s, London[25]:--
‘Here lyeth y^e bodyes of James Pomley, y^e sonne of ould Dominick Pomley and Jane his wyfe: y^e said James deceased y^e 7th day of Januarie Anno Domini 1592 he beyng of y^e age of 88 years, & y^e sayd Jane deceased y^e -- day of -- D --
Earth goeth upõ Earth as moulde upõ moulde; Earth goeth upõ Earth all glittering as golde, As though earth to y^e earth never turne sholde; And yet shall earth to y^e earth sooner than he wolde.
On a tomb at Edmonton of unknown date (possibly sixteenth century), mentioned by Weever (_Ancient Funerall Monuments_) in 1631, and by Pettigrew (_Chronicles of the Tombs_, p. 67) in 1857:--
Erth goyth upon erth as mold upon mold, Erth goyth upon erth al glisteryng in gold, As though erth to erth ner turne shold, And yet must erth to erth soner than he wolde.
Formerly on a headstone in St. James’s Churchyard, Clerkenwell, deciphered about 1812, but already lost in 1851, probably owing to the dismantling of the churchyard. (Cf. _Notes and Queries_, III. i. 389):--
Earth walks on Earth like glittering gold; Earth says to Earth ‘We are but mold’. Earth builds on Earth castles & towers; Earth says to Earth, ‘All shall be ours!’
Formerly on a tombstone at St. Martin’s, Ludgate, to Florens Caldwell esq. of London & Ann Mary Wilde, his wife (Pettigrew, p. 67)[26]:--
Earth goes to Earth, as mold to mold; Earth treads on Earth, glittering in gold: Earth as to Earth returne ne’er shoulde; Earth shall to Earth goe e’er he wolde. Earth upon Earth consyder may; Earth goes to Earth naked away. Earth though on Earth be stowt & gay Earth shall from Earth passe poore away. Be mercifull & charitable, Relieve the poor as thou art able. A shrowd to the grave Is all thou shalt have.
This interesting monument has unfortunately disappeared. Doubtless there are many other traces of the poem to be found, but it appears to have been rarely used on tombstones after 1700,[27] and earlier monuments, unless specially preserved, are rarely decipherable at the present day.
The poem Erthe Upon Erthe opens with a stark, incantatory repetition: 'Erthe vppon erthe is wonderly wroȝte.' This line, from the Porkington manuscript, immediately establishes the central pun on 'erthe' as both the physical earth and the human body. The first stanza warns that no one 'has hit in þouȝte'—that is, considers how earthly life ends. The reader is thus thrust into a meditation on mortality, with the poem's structure mirroring its theme: each stanza circles back to the same word, forcing a relentless confrontation with human transience.
The Repetitive Structure as a Rhetorical Device
The poem's most striking feature is its obsessive repetition of the word 'erthe.' In the Harleian 2253 version, every stanza begins with 'Erthe upon erthe' or a close variant. This is not mere redundancy but a deliberate rhetorical strategy. The repetition mimics the cyclical nature of life and death: 'Now goth the erthe apon erthe / Disgesily ragged and to-rent.' The reader is drawn into a rhythmic meditation where each iteration deepens the sense of inevitability. The structure also creates a mnemonic effect, making the poem easy to remember and recite—a quality suited to its likely use in sermons or devotional practice.
Moral Urgency Across Versions
Though the poem exists in two main versions (A and B), both share a core moral imperative. In the B version, stanza 15 addresses the reader directly: 'Thow wrecchid erthe þat thus for erthe / Trauelist nyht and day.' The tone is accusatory, warning against worldly vanity. The poem consistently contrasts earthly labor with spiritual reckoning: 'Ffor thi erthe in to erthe / Clynge as clotte in clay.' This urgency is heightened by the poem's eschatological framework—the final judgment is always imminent. The reader is urged to 'forsake the erthe' and repent before death, a message that remains consistent across the manuscript traditions.
Textual Variation as a Guide to Reading
Murray's edition prints the poem from twenty-four manuscripts, revealing significant textual variation. For instance, the Harleian 2253 version includes a stanza not found in others: 'Whi that erþe loueþ erthe / Wonder y may thinke.' This variation suggests the poem was adapted for different audiences or occasions. The editor's notes and glossary help the reader navigate these differences, but the excerpts themselves show how scribes altered wording, added or omitted stanzas, and even changed the poem's length. A first-time reader should compare versions to see how the core message is refracted through different scribal hands.
The Poem's Liturgical and Devotional Context
The closing stanzas shift from warning to prayer: 'Lord God that erthe tokist in erthe, / And suffredist paynes ful stille.' This invocation of Christ's incarnation and passion ties the poem to the liturgical cycle, particularly Lent and funeral rites. The final line, 'Stye vp to thi holy hille,' echoes the language of ascension. The poem thus functions as a memento mori, but also as a call to repentance and hope. The reader is left with a sense of the poem's dual purpose: to terrify and to console, to remind of death and to point toward salvation.
For a first reading, approach the poem as a series of variations on a single theme. Pay attention to how the repetition of 'erthe' accumulates meaning, and note the differences between the A and B versions. The glossary and notes in Murray's edition are essential for understanding the Middle English vocabulary and scribal conventions. Let the poem's rhythm guide your reading, and consider its place in the broader tradition of medieval penitential literature.
Reading the editorial note on Erthe Upon Erthe, I recalled my own slow encounter with its insistent refrain—how repetition becomes both warning and comfort. A similar quiet settled over me years ago with The Curse of Kehama, Volume 1 (of 2) — A Reader’s Guide, where moral weight hung in every stanza, unhurried, asking only that I sit with it a while longer.
Alexander Miller
1 month agoMatthew Hill
3 weeks agoSofia Perez
1 week agoLucas Wright
1 month ago-
Justin Burke - 1 month ago
This scholarly edition of 'Erthe Upon Erthe' is a treasure. The Middle English text is meticulously presented, with clear notes and an excellent introduction that places the poem in its medieval context. The exploration of mortality and earthly vanity is surprisingly poignant. A must-have for students of medieval literature and anyone interested in the philosophy of the period. -
Felicia Jennifer Stewart - 4 weeks ago
A useful academic resource for studying 'Erthe Upon Erthe.' The text is well-edited and the glossary is helpful. However, the introduction is quite dense and assumes prior knowledge of Middle English literature, which may deter casual readers. Still, for a scholarly audience, this edition provides a solid foundation for understanding the poem's themes. -
Morgan Hunt - 2 weeks ago
This edition is over-annotated to the point of distraction. The lengthy introduction and footnotes overshadow the actual poem, which is short and could be grasped quickly. The modern reader is given little help with pronunciation or poetic rhythm, making the text feel stale. A more concise presentation would have better served the poem's message.
Your personal reading reflection
Build a private reading journal entry for this title.
Alexander Johnson
1 month ago