Chaucerian and Other Pieces. Various

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      So thanne I went-ë by straunge and fer-rë contrees; 57.

      Alceste it was that kept-ë there her sojour; 105.

      To whom obeyd-ën the ladies god-ë nynten-ë; 108.

      And yong-ë men fel-ë cam-ë forth with lusty pace; 110.

      O bright-ë Regina, who mad-ë thee so fair? 141.

      And mercy ask-ë for al my gret-ë trespas; 166.

      This eight-ë-ten-ë yeer have kept yourself at large; 184.

      In me did never worch-ë trew-ë-ly, yit I; 212.

      And ther I sey the fres-shë quene of Cartáge; 231.

      A! new-ë com-ën folk, abyde, and woot ye why; 271.

      Than gan I me present-ë tofor-ë the king; 274.

      That thou be trew-ë from henn-es-forth, to thy might; 289.

      And nam-ë-ly haw-ë-thorn brought-ën both-ë page and grom-ë; 1433.

      Very many more such examples may be given. Or take the following; Chaucer has (L. G. W. 476):—

      For Love ne wól nat countrepleted be.

      And this is how it reappears in C. L. 429:—

      For Love wil not be counterpleted, indede!

      Here the melody of the line is completely spoilt.

      In the present state of our knowledge of the history of the English language, any notion of attributing The Court of Love to Chaucer is worse than untenable; for it is wholly disgraceful. Everything points to a very late date, and tends to exclude it, not only from the fourteenth, but even from the fifteenth century.

      At the same time, it will readily be granted that the poem abounds with Chaucerian words and phrases to an extent that almost surpasses even the poems of Lydgate. The versification is smooth, and the poem, as a whole, is pleasing. I have nothing to say against it, when considered on its own merits.

      § 75. Space fails me to discuss the somewhat vexed question of the Courts of Love, of which some have denied the existence. However, there seems to be good evidence to shew that they arose in Provence, and were due to the extravagances of the troubadours. They were travesties of the courts of law, with a lady of rank for a judge, and minstrels for advocates; and they discussed subtle questions relating to affairs of love, usually between troubadours and ladies. The discussions were conducted with much seriousness, and doubtless often served to give much amusement to many idle people. Not unfrequently they led to tragedies, as is easily understood when we notice that the first of one set of thirty-one Laws of Love runs as follows:—'Marriage cannot be pleaded as an excuse for refusing to love.' The reader who requires further information is referred to 'The Troubadours and Courts of Love,' by J. F. Rowbotham, M.A., London, Swan Sonnenschein and Co., 1895.

      It is perhaps necessary to observe that the said Courts have very little to do with the present poem, which treats of a Court of Cupid in the Chaucerian sense (Leg. Good Women, 352). Even the statutes of the Court are largely imitated from Lydgate.

       § 76. Pieces numbered XXV-XXIX.

      XXV. Virelay. This piece, from the Trinity MS., belongs to the end of the fifteenth century, and contains no example of the final -e as constituting a syllable. Chaucer would have used sore (l. 2), more (l. 12), trouth (l. 13), as dissyllables; and he would not have rimed pleyn and disdayn with compleyn and absteyn, as the two latter require a final -e. The rime of finde with ende is extraordinary.

      The title 'Virelai' is given to this piece in Moxon's Chaucer, and is, strictly speaking, incorrect; in the MS. and in Stowe's edition, it has no title at all! Tyrwhitt cautiously spoke of it as being 'perhaps by Chaucer'; and says that 'it comes nearer to the description of a Virelay, than anything else of his that has been preserved.' This is not the case; see note to Anelida, 256; vol. i. p. 536. Tyrwhitt quotes from Cotgrave—'Virelay, a round, freemen's song,' and adds—'There is a particular description of a Virlai, in the Jardin de plaisance, fol. xii, where it makes the decima sexta species Rhetorice Gallicane.' For further remarks, see p. 554.

      XXVI. Prosperity: by John Walton. 'To Mr. [Mark] Liddell belongs the honour of the discovery of John Walton as the author of the little poem on fol. 119 [of MS. Arch. Seld. B. 24]. The lines occur as part of the Prologue (ll. 83–90) to Walton's translation of Boethius' De Consolatione.'—J. T. T. Brown, The Authorship of the Kingis Quair, Glasgow, 1896; p. 71. See the account of Walton in Warton's Hist. E. Poetry, sect. xx. The original date of the stanza was, accordingly, 1410; but we here find it in a late Scottish dress. The ascription of it to 'Chaucer,' in the MS., is an obvious error; it was written ten years after his death.

      XXVII. Leaulte vault Richesse. This piece, like the former, has no title in the MS.; but the words Leaulte vault Richesse (Loyalty deserves riches) occur at the end of it. If the original was in a Midland dialect, it must belong to the latter part of the fifteenth century. Even in these eight lines we find a contradiction to Chaucer's usage; for he always uses lent, pp., as a monosyllable, and rent-e as a dissyllable. It is further remarkable that he never uses content as an adjective; it first appears in Rom. Rose, 5628.

      XXVIII. Sayings. I give these sayings as printed by Caxton; see vol. i. p. 46, where I note that Caxton did not ascribe them to Chaucer. They are not at all in his style.

      In MS. Ashmole 59, fol. 78, I find a similar prophecy:—

      Prophecia merlini doctoris perfecti.

      Whane lordes wol leefe theire olde lawes,

      And preestis been varyinge in theire sawes,

      And leccherie is holden solace,

      And oppressyoun for truwe purchace;

      And whan the moon is on dauid stall,

      And the kynge passe Arthures hall,

      Than^[44] is [the] lande of Albyon

      Nexst to his confusyoun.

      It is extremely interesting to observe the ascription of these lines to Merlin; see King Lear, iii. 2. 95.

      XXIX. Balade. This poor stanza, with its long-drawn lines, appears in Stowe at the end of 'Chaucer's Works.' In the Trinity MS., it occurs at the end of a copy of The Parlement of Foules.

      § 77. An examination of the pieces contained in the present volume leads us to a somewhat remarkable result, viz. that we readily distinguish in them the handiwork of at least twelve different authors, of whom no two are much alike, whilst every one of them can be distinguished from Chaucer.

      These are: (1) the author of The Testament of Love, who writes in a prose style all his own; (2) the author of The Plowmans Tale and Plowmans Crede, with his strong powers of invective and love of alliteration, whose style could never have been mistaken for Chaucer's in any age^[45]; (3) the author of Jack Upland, with his direct and searching questions; (4) John Gower, with his scrupulous regularity of grammatical usages; (5) Thomas Hoccleve, who too often accents a dissyllable on СКАЧАТЬ