In truth, they placed the rings on each side of the breast plate, where two golden chains should hang, set in with hooks in the edges of the shoulder cloak. The elements in the front and in the back agreed so, that the cloak and the breast piece could be drawn together straight to the girdle, coupled strong with the rings, to which a buckle of hyacinth joined, lest they might unbind and slide down and apart, as the Lord commanded Moses.
Wycliffe volume 1, page 288
Forsothe the rynges thei putten in either side of the breest broche, fro the whiche shulden honge the two goldun cheynes, the whiche thei setten yn with hokis, the whiche stoden ouer aferre in the corneris of the coope. Thes thingis and beforn and bihynde so cordiden to hem seluen, that the coope and the breest broche streyt my3ten be knyt togidere to the girdil, and with rynges strengere cowplid, the whiche the iacynctyne filete ioyned, lest large thei my3ten loose, and be meuyd togidere fro hem seluen, as the Lord comaundide to Moyses.
Forsothe thei settidenv the ryngis onw euer either side of the racional of whiche ryngis twei goldun chaynes hangiden, whiche thei settiden in the hokis, that stondena forth in the corneris of the ‘cloth on the schuldris. These acordiden so to hem silf, bothe bifore and bihynde, that the ‘cloth on the schuldriss, and the racional , weren knyt togidere, fastnedk to the girdil, and couplid ful strongli with ryngis, whiche” ryngis a lace of iacynt ioynede togidere, lest tho weren looser, and ‘fletiden doun, and weren moued ech from other, as the Lord comaundide to Moises.
Wycliffe forms and reference: acordith, is fit, agrees;
Genesis 48:18; Luke 5:36
p. t. pl. acordiden, Exodus 39:18;
p.p. acordid, accordid, Mathew 5:24, 20:13;
Modern form: accord.
Modern senses: to fit, agree, match.
Middle English acorden, Old French acorder.
Comparative Latin: ad- and cor, cordis, heart.
If her skill was taken for supernatural, the world may never have seen her original handwriting. Feel welcome to Poems by Emily Dickinson prepared for print by Teresa Pelka: thematic stanzas, notes on the Greek and Latin inspiration, the correlative with Webster 1828, and the Aristotelian motif, “Things perpetual — these are not in time, but in eternity”.
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The enclosed piece-by-piece analysis works a criterion to embrace the epsilon, predicate structure, vowel contour, phonemics, person reference in abstract thought, and altogether stylistic coherence. The result supports doubt on fascicle originality. There always is the simple question as well: do we believe Emily Dickinson tried to tell about very exceptional Bees, Ears, or Birds, so peculiar that you write them with capital letters?