using the Fall of the Angels, the Fall of Adam and Eve (Gen 3), and the story of Noah (Gen 6: 5–32, 7, 8) (the first major exemplum of the poem) to demonstrate these divine attributes. A transition (ll. 557–599), including a comment on how God reacts to sin (esp. lechery), follows. In a second exemplum, the poet retells the stories of Abraham and Lot (Gen. 18:1–19, 28) (ll. 600 - 1048), including a description of the Dead Sea as the poet understood it. In another transition (ll. 1050–1148), the narrator explains the symbolism of the second exemplum, ending with a description of God as strongly vengeful. The third, and by far the longest, exemplum (ll. 1149–1796) recounts the conquest of Jerusalem by Nebuchadnezzar and the transfer of the Temple treasures to Babylon where they were treated with reverence by the king. But after Nebuchadnezzar died, Belshazzar, a man given to the indulgence of his lusts, succeeded him. During an enormous drunken feast, he ordered that the Temple vessels be brought in and that everyone be served in them. God then determines to punish him. A huge hand appears, writes a message on the wall, and vanishes. No one can interpret this message. At the Queen's suggestion, Daniel is called, and he interprets the three words and predicts Belshazzar's downfall. In his conclusion (ll. 1797–1812), the narrator summarizes by arguing that uncleanness angers God, and cleanness comforts Him. Author Though the real name of "The Pearl Poet" (or poets) is unknown, some inferences about him or her can be drawn from an informed reading of his/her works. The original manuscript is known in academic circles as Cotton Nero A.x, following a naming system used by one of its owners, Robert Cotton, a collector of Medieval English texts. Before the manuscript came into Cotton's possession, it was in the library of Henry Savile of Bank in Yorkshire. Little is known about its previous ownership, and until 1824, when the manuscript was introduced to the academic community in a second edition of Thomas Warton's History edited by Richard Price, it was almost entirely unknown. Now held in the British Library, it has been dated to the late 14th century, so the poet was a contemporary of Geoffrey Chaucer, author of The Canterbury Tales, though it is highly unlikely that they ever met. The three other works found in the same manuscript as