Observations on the Faerie Queene of Spenser: By Thomas Warton, ...

SECT. V. Of Spenser's Imitations from Chaucer.

IT has been before observ'd in general, that Spenser copied the language of Chaucer; it may with equal truth be affirm'd, that he has likewise in many pas∣sages

imitated the sentiment of Chaucer; and I shall now proceed to give some specimens of his imitati∣on in both these particulars.

B. i. C. i. S. viii.

Much can they praise the trees so straight and hie, The sayling pine, the cedar proud and tall, The vine-prop elme, the poplar never dry, The builder oake, sole king of forrests all, The aspine good for staves, the cypresse funerall.

ix.

The Laurell, meed of mighty conquerours, And poets sage; the firre that weepeth still, The willow, worne of forlorne paramours, The eugh, obedient to the benders will, The birch for shafts, the sallow for the mill, The myrrhe sweet-bleeding in the bitter wound, The warlike beech, the ash for nothing ill, The fruitfull olive, and the platane round, The carver holme, the maple sildom inward sound.

* 1.1Ovid, † 1.2Seneca, (*) 1.3Lucan, (†) 1.4Statius, and †† 1.5Claudian, have all left us a description of trees;

but Spenser, in this before us, seems more imme∣diately to have had his favourite Chaucer in his eye; he has, however, much improv'd upon the brevity and simplicity of our antient bard.

The bilder oke, and eke the hardie asshe, The piller elme, the coffir unto caraine, The boxe pipe-tree, holme to whips lasshe, The sailing firre, the cipres death to plaine, The shooter ewe, the aspe for shaftes plaine, The olive of peace, and eke the dronken vine The victor palme, the laurer to divine.† 1.6

In Chaucer's Complaint of the blacke knight, we meet with another description of trees, from which Spenser seems also to have drawn one or two circumstances.

The mirre also that wepith ever' of kinde The cedris hie, as upright as a line.* 1.7

Spenser, perhaps, in having given us this minute and particular enumeration of various trees, has incurred a smaller share of censure than some of the Roman authors mentioned above. In some of them, indeed, such a description will be found superfluous and im∣pertinent; but, upon this occasion, it is highly con∣sistent, and, indeed, expedient, that the poet should dwell, for some time, on the beauty of this grove, in describing its variety of trees, as that circumstance tends to draw the red-cross knight and his compa∣nion farther and farther into the shade, 'till at length

they are imperceptibly invited to the cave of error, which stood in the thickest part of it: in short, this description is so far from being puerile, or ill-placed, that it serves to improve, and help out the allegory. But notwithstanding this may be affirm'd, in com∣mendation of Spenser, yet I am apt to think, that the impropriety of introducing such a description, would not have appear'd a sufficient reason to our poet, why he should not have admitted it; for his judgment was so greatly overwhelm'd by his imagination, that he could never neglect the opportunity of a good de∣scription, whenever it presented itself. The reader will excuse my producing another passage from Chaucer, in which he ridicules, with no less humour than judg∣ment, the particular detail of trees, and of the circum∣stances which follow'd upon their being fell'd, given us by one of the above-mention'd antient poets. He is speaking of Arcite's funeral.

But how the fire was maken up on height, And eke the names, how all the trees hight, As oke, firre, beech, aspe, elder, elme, popelere, Willow, holme, plane, boxe, chesten, and laurere, Maple, thorne, beech, ewe, hasell, whipultree, How they were feld, shall not be told for me: Ne how the gods runnen up and down, Disherited of her habitatioun, In which they wonned in rest and pees, Nymphes, Faunies, Amadriades. Ne how the beasts, ne how the birds all Fledden for feare, when the trees was fall.

Ne how the groun agast was of the light, That was not wont to see the sonne bright; Ne how the fire, &c.† 1.8

B. i. C. xii. S. xiv.

The poet is speaking of the magnificent feasting, af∣ter the red-crosse knight had conquer'd the dragon.

What needs me tell their feast, and goodly guise, In which was nothing riotous, nor vaine? What needs of dainty dishes to devise, Of comely services, or courtly traine? My narrow leaves cannot in them containe, The large discourse of royal princes state.

To this I shall beg leave to subjoin another passage of the same kind; in which he is describing the wedding of Florimel.

To tell the glory of the feast that day, The goodly service, the devisefull sights, The bridegroomes state, the brides most rich aray, The pride of ladies, and the worth of knights, The royall banquetts, and the rare delights, Were worke fit for an herauld, not for me. 5. 3. 3.

After this indirect and comprehensive manner, Chau∣cer expresses the pomp of Cambuscan's feast.

Of which shall I tell all the array, Then would it occupie a sommer's day; And eke it needeth not to devise At every course the order of service. I wol not tellen as now, of her strange sewes, Ne of her swans, ne of her heronsewes. Eke in that lond, as tellen knights old, There is some meat that is fully dainty hold, That in this lond men retch of it but small: There is no man that may reporten all.* 1.9

Thus also when lady Custance is married to the Sow∣dan of Surrie.

What shuld I tellen of the rialte Of that wedding? or which course goth beforn? Who blowith in a trompe, or in a horne?† 1.10

In these passages it is very evident, that Chaucer in∣tended a burlesque upon the tedious and elaborate de∣scriptions of such unimportant circumstances, to be met with in books of chivalry. In the last verse the burlesque is very strong.

B. i. C. xii. S. xxiv.

He is speaking of a grand assembly, which is held in the hall of the palace of Una's father.

With flying speed, and seeming great pretence, Came running in, much like a man dismaid, A messenger with letters, which his message said.

xxv.

All in the open hall amazed stood, At suddennesse of that unwarie sight, And wondred at his breathlesse hastie mood; But he for nought would stay his passage right, Till fast before the king he did alight, Where falling flat, great humblesse he did make, And kist the ground whereon his foot was pight.

He seems to have copied this surprise, occasion'd in the hall by the sudden and unexpected entrance of this messenger, (together with some of the attending circumstances) from a similar but more noble surprise in Chaucer, which happen'd at Cambuscan's annual birth-day festival.

And so befell, that aftir the third course, While that the king sat thus in his noblay, Herk'ning his minstrelis their thingis play, Beforn him at his bord deliciously; In at the halle dore full sodeinly There came a knight upon a stede of brass; And in his hond, &c. &c. * * * * * * * * * * * And up he rideth to the hie bord; In all the hall ne was there spoke a word,

For marveile of this knight, him to behold Full besily they waiten yong, and old. This straunge knight, &c. * * * * * * * Salved the king and quene, and lordis all, By ordir, as they sittin in the hall, With so hie reverence and obeisaunce As well in speche, as in countinaunce, That, &c. &c. * * * * And aftir this, beforn the hie bord, He with a manly voice saide his message.* 1.11

B. ii. C. xii. S. li. Thereto the heavens alwaies joviall Lookt on them lovely, still in stedfast state, Ne suffred storme, nor frost on them to fall, Their tender buds or leaves to violate, Nor scorching heat, nor cold intemperate, T' afflict the creatures which therein did dwell; But the milde aire with season moderate, Gently attempred and dispos'd so well, That still it breathed forth sweet spirit, and holesome smell.

Chaucer in the Assemble of fowles.

The air of the place so attempre was, That never was ther grevance of hot ne cold,

There was eke every holesome spice and gras, Ne no man may there waxe sicke ne olde.(†) 1.12

As a proof of this imitation, it may be observ'd, that Spenser has not only here borrow'd some of Chaucer's thoughts, but some of his words. He might, never∣theless, have some passages from the † 1.13 classics in his eye, cited by Mr. Jortin.* 1.14

B. iii. C. ii. S. xix.

The poet, among other rare qualities of Merlin's wondrous mirrour, mentions the following,

Whatever foe had wrought, or friend had fayn'd Therein discovered was—

And afterwards, St. 21.

Such was the glassie globe that Merlin made, And gave unto king Ryence for his guard, That never foes his kingdom might invade, But he it knew at home, before he hard Tidings thereof, and so them still debard. It was a famous present for a prince, And worthy worke of infinite reward, That treasons could bewray, and foes convince.

From whence it is plain, that Spenser drew the idea of this mirrour, from that which is presented by the strange knight to Cambuscan, in Chaucer.

This mirror eke, which I have in my hond, Hath soche a might, that men may in it se Whan there shall fall any adversite Unto your reigne, or to yourself also, And opin se who is your frend or fo. And ovir all, if any lady bright Hath set her hert on any manir wight, If he be false she shall the tresoun se, His newe love, and all his subtilte, So opinly, that there shall nothing hide.* 1.15

Spenser likewise feigns, that his mirror was of service in the purposes of love, and as such it is consulted by Britomartis, but upon an occasion different from that which is here mention'd by Chaucer. She looks in it to discover, who was destin'd to be her husband.

Whom fortune for her husband would allott. St. 23.

As the uses of this mirror were of so important a na∣ture, Spenser ought not to have first mention'd it to us by that light appellation, Venus' looking glass; where he is speaking of Britomart's love for Arthegall,

Whose image she had seen in Venus' looking-glass.3. 1. 8.

B. iii. C. ix. S. xxviii.

She sent at him one firie dart, whose hed Empoysned was with privie lust, and jelous dred.

xxix.

Hee from that deadly throwe made no defence, But to the wound his weake heart opened wide, The wicked engine thro' false influence Past through his eyes, and secretly did glyde, Into his hart, which it did sorely gryde.

Which seem to resemble these of Chaucer. He is speaking of Cupid.

He took an arrow full sharpely whet, And in his bowe when it was sett, He streight up to his eare drough The strong bowe that was so tough, And shot at me so wonder smert, That through mine eye unto mine hert The takell smote, and deepe it went.* 1.16

The thought of the heart being wounded thro' the eye occurs again in Chaucer.

So that this arrow anone right Throughout eye, as it was found, Into mine hert hath made a wound.† 1.17

Thus also Palamon speaks, after he had seen Emely.

But I was hurt right now through mine eie Into mine hert.—† 1.18

The thought likewise occurrs again, in our poet's Hymne in honour of Beautie.

Hath white and red in it such wondrous powre That it can pierce through th' eyes unto the hart?

B. iv. C. ii. S. xxxii. Whylome, as antique stories tellen us, Those two, &c. * * * * * * Though now their acts be no where to be found, As that renowned poet them compiled, With warlike numbers, and heroick sound, Dan Chaucer, well of English undefiled, On fame's eternall bead-roll worthy to be filed.

The Squiers tale of Chaucer being imperfect, * 1.19 our poet thus introduces his story of the battle of the three brethren for Canace; which he builds upon the fol∣lowing hint of Chaucer.

And after woll I speke of Camballo, That fought in listis with the brethren two, For Canace, er that they might her winn.

But with these lines the story breaks off.

Mr. Upton * 1.20 calls this addition of Spenser to Chaucer's fragment a completion of the squier's tale; but it is certainly nothing more than a completion of one part or division of Chaucer's poem; for, besides what Chaucer propos'd to speak of in the verses above-quoted concerning the contest for Canace, he intended likewise to tell us,

How that this Falcon got her love againe Repentant, as the story tellith us, By mediation of Camballus.† 1.21

Also,

First woll I tell you of king Cambuscan That in his time many a cite wan, How that he wan Thedora to his wife; And after woll I speke of Algarsife, For whom full oft in grete peril he was, Ne had ben holpin, but by th' hors of bras.(*) 1.22

It is no less amusing to the imagination to bewilder itself in various conjectures concerning the expedients

by which the particular events here hinted at were se∣verally brought about, and to wander into a romantic disquisition concerning the miracles wrought by the means of this wonderful steed, than it is matter of concern, to reflect, that Chaucer's description of them is utterly lost; especially as we may reasonably con∣clude, from the remaining parts of this tale, that those which are perish'd, must have discover'd no less striking efforts of the imagination. It appears, that Milton was particularly fond of this poem, and that he was not a little desirous of knowing the end of a story which promis'd so many beauties; in his Il Pen∣seroso, he invokes Melancholy to

—call up HIM that left HALF-TOLD The story of Cambuscan bold.† 1.23

But for what reason are we to suppose that he desir'd him to be CALL'D UP? Was it not for this reason, that he might tell that part of the HALF-TOLD tale which re∣main'd untold? as before he requests that Orpheus might be rais'd, to sing

Such notes, as warbled to the string, Drew iron tears down Pluto's cheek,* 1.24

so he does not desire that Chaucer should be called up for nothing; but that this author of the imperfect tale of Cambuscan should likewise tell

Of Camball and of Algarsife, And who had Canace to wife, That own'd the virtuous ring and glass, And of the wondrous horse of brass, On which the Tartar king did ride—† 1.25

circumstances and events, which are not in the half-told story which Chaucer hath left us, but which are only propos'd to be told in the verses above cited, and are the subject of the sequel.* 1.26

I cannot omit this opportunity of lamenting, with equal regret, the loss of great part of a noble old Scottish poem, entitled, HARDYKNUTE; which exhibits a striking representation of our antient mar∣tial manners, that prevail'd before the conveniency and civilities of refin'd life had yet render'd all men fashionably uniform; and lull'd them into that tran∣quill security, which naturally excludes all those ha∣zardous incidents, and glorious dangers, so suitable to the character and genius of the heroic muse.

B. iv. C. ii. S. xxxiii. But wicked Time, that all good thoughts doth waste, And workes of noblest wits to nought out∣weare,

That famous moniment has quite defac'd; * * * * * * * * * * O cursed Elde! the canker-worme of writs; How may these rimes (so rude, as doth appear) Hope to endure, sith workes of heavenly wits Are quite devour'd, and brought to nought by little bits!

Thus Chaucer.

This old storie in latine, which I finde Of queen Annelida, and false Arcite, That Elde, which all thingis can frete and bite, (And it hath freten many a noble storie) Hath nigh devourid out of her memorie.† 1.27

B. vi. C. ix. S. v. He chaunc't to spy a sort of shepheard groomes Playing on pipes, and caroling apace, The whiles their beasts, there in the budded broomes, Beside them fed—

These verses are a distant imitation of Chaucer. They are more immediately an imitation of himself in the Eclogues.

So loytering live you little-heard-groomes Keeping your beasts in the budded broomes: * * * * * * * * * * And crowing in pipes made of grene corne.* 1.28

which are apparently an immediate imitation of these in Chaucer.

And many a floite, and litlyng horne, And pipis made of grene corne, As have these little herdegromes, That kepin bestis in the bromes.† 1.29

The word heard-groomes occurs again,

—That they were poore heard-groomes. 6. 11. 39.

B. vii. C. vii. S. v. Then forth issew'd (great goddesse) dame NATURE, With goodly port, and gracious majesty, Being far greater, and more tall of stature Than any of the gods, or powers on hie.

Afterwards, speaking of her face. St. 6.

—It so beauteous was, And round about such beames of splendor threw, That it the sunne a thousand times did pass, Ne could be seene, but like an image in a glass.

vii.

That well may seemen true: for well I weene That this same day, when she on Arlo sat, Her garment was so bright, and wondrous sheene,

That my fraile wit cannot devize to what It to compare, &c.

viii.

In a fair plaine, upon an equall hill, She placed was in a pavilion; Not such as craftes-men by their idle skill, Are wont for princes state to fashion; But th' earth herself of her owne motion, Out of her fruitfull bosome made to grow Most dainty trees, that shooting up anon Did seem to bowe their blos'ming heads full lowe Fit homage unto her, and like a throne did shew.

ix.

So hard it is for any living wight, All her array, and vestiments to tell That old Dan Geffrey (in whose gentle spirght The pure well-head of poesie did dwell) In his fowles parley durst not with it mel, But it transfer'd to Alane, who, he thought, Had in his plaint of kindes describ'd it well.

The last-quoted stanza is no obscure hint, that our poet had been consulting Chaucer's Assembly of fowles for this description of NATURE. But Spenser has given many new and delicate touches to Chaucer's rough sketch, as will appear upon comparison.

Tho was I ware, where there ysate a quene, That as of light the sommer sonne shene

Passith the sterre, right so ovir mesure, She fairir was than any other creture. And in a launde, upon a hill of floures, Was set this quene, this noble goddesse NATURE, Of braunchis were her hallis and her boures, I wrought aftir her craft and her mesure. * * * * * * * * * * And right as Alaine in the plaint of kinde Deviseth Nature of soche araie and face, In such araie men mightin her there finde.* 1.30

B. xvii. C. viii. S. xlvi. But Life was like a faire young lusty boy, Such as they faine Dan Cupid to have beene, Full of delightfull health, and lively joy, Deckt all with flowres, and wings of gold fit to employ.

Chaucer thus represents Cupid.

But of his robe to devise I dreade encombred for to be; For not yclad in silke was he But all in floures, and flourettes.† 1.31

But the antients have left us no authority for such a representation of Cupid. Our author, St. 34. above, gives him a green vest.

And Cupid-selfe about her fluttred all in greene.

Which is equally unwarrantable. Though Catullus has given him a yellow vest.

Quam circumcursans huc illuc saepe Cupido, Fulgebat CROCINA candidus in tunica.* 1.32

Where Scaliger remarks, that Sappho attributes a purple vest to this deity.

B. vii. C. viii. S. xl.

Next was November; he full grosse and fat, As fed with lard, and that right well might seeme, For he had been a satting hogs of late. * * * * * * * * *

xli.

And after him came next the chill December; Yet he thro' merry feasting which he made, And great bonfires, did not the cold remember, His Saviour's birth his mind so much did glad. * * * * * * * * * * And in his hand a broad deepe boawle he beares, Of which he freely drinks an health to all his peeres.

In describing these figures, Spenser seems to have re∣member'd some circumstances in Chaucer's picture of Janus, or January.

Janus sit by the fire with double berde, And drinketh of his bugle horne the wine;

Before him stant brawn of the tuskid swine, And (†) 1.33 nowil singeth every lustie man.†† 1.34

I shall now lay before the reader some instances of phrases and words, which Spenser has adopted from Chaucer.

B. i. Introduction, St. iii. —With you bring triumphant MART.

We have no reason to imagine, that Spenser here arbitrarily uses Mart instead of Mars, for the conve∣nience of rhyme, since he had the authority of Chau∣cer for it.

All esily now for the love of MARTE.† 1.35

Again,

O cruil god of deth, dispiteous MARTE.* 1.36

We find it likewise in other places. Chaucer some∣times uses MART for war.

B. i. C. i. S. xxxiv. And well could FILE his tongue as smooth as glass.

So Chaucer.

For wele he wiste when the song was songe, He must preche, and well AFILE his tonge.** 1.37

Again,

This Pandarus gan new his tong AFILE.(*) 1.38

The same metaphor occurrs more than once again in our author.

His practick wit, and his fair FILED tongue. 2. 1. 3.

—However, Sir, ye FILE Your courteous tongue, his praises to compile. 3. 2. 12.

B. i. C. iv. S. xl. Redoubted battaile ready to DARRAINE.

Darraine is often used by Chaucer.

The everich should an hundred knights bring The battle to DARRAIN. † 1.39

Full privily two harneis had he dight Both sufficient and mete to DARRAINE The battail in the field, betwixt them twaine.* 1.40

The word seems to be de deriv'd from the French ar∣ranger; so that to darraine battle is, to set the battle in array. Our poet has used arrang'd (from arranger) and applied it to battle more than once.

So both to battel fierce ARRANGED are. 1. 2. 36.

—ARRANG'D in battle new. 1. 6. 38.

Chaucer, in another place, uses darraine in a sense not agreeable to its genuine signification.

Everich of you shall bring an hundred knights * * * * * * * * * * Alredy to DARRAIN here by battaile.† 1.41

Where it should imply, TO DETERMINE. This word being a Chaucerism, our author has very remarkably affected the use of it, viz.

—sad battaile to DARRAINE. 1. 7. 11.

—to DARRAINE A triple warre.— 2. 2. 26.

—six knights that did DARRAINE Fierce battaile against one.— 3. 1. 20.

—new battaile to DARRAINE. 4. 4. 26.

—new battaile to DARRAINE. 4. 5. 24.

And dreadfull battle 'twixt them do DARRAINE. 5. 2. 15.

In which they two the combat might DARRAINE. 6. 12. 9.

—Those giants, which did warre DARRAINE Against the heavens.— 6. 7. 41.

We have here an instance in which the word is used in a more vague sense,

—How best he mote DARRAINE That enterprize.— 4. 9. 4.

But we are told, in the glossary to Chaucer, (Urry's edit.) that this word, among other senses, signifies, to dare, to attempt. Thus, by a gradual detortion, and by an imperceptible progression from one kindred sense to another, a word, at length, attains a meaning en∣tirely foreign to its original etymology.

Spenser's frequent use of DARRAINE seems to have somewhat familiaris'd it in Queen Elizabeth's age. We meet with it in Shakespere, who probably drew it from our author.

DARRAIGN your battle; they are near at hand.* 1.42

B. i. C. vii. S. xxix. His GLITTERAND armor shined far away.

Spenser thus affectedly spells the participle glittering, in imitation of Chaucer. So in the Plowman's tale,

That high on horse willeth ride In GLITTERANDE gold, of great array† 1.43

And in the same poem.

With GLITTERANDE gold as grene as gall.(†) 1.44

Glitterand is very frequently used by our author.

Soone as those GLITTERAND armes he did espy. 2. 7. 42.

Eftsoones himselfe in GLITTERANDE arms he dight. 2. 11. 17.

Her glorious GLITTERAND light doth all mens eyes amaze. 1. 4. 16.

We meet with it likewise in the Eclogues.

Ygirt with bells of GLITTERAND GOLD.† 1.45

Many of Chaucer's active participles are thus termi∣nated, viz. sittande, smertande, laughande, &c. for sitting, smarting, laughing. We meet with this ter∣mination of the active participle very frequently in the antient Scotch poets.

B. i. C. vii. S. xiv. —Doe him not to die.

Chaucer,

—& doen to die These losengeours, with her flatterie.* 1.46

The instances of this expression are innumerable, both in Chaucer, and in our author.

B. ii. C. ii. S. xxii. And suffred not their blowes to BITE him nere.

That is, to pierce him to the quick. The word is frequently used, in the sense, to pierce or wound, in Chaucer.

Ne short sword to stick with point BITING No man ne draw.—* 1.47

And made his sword deep in his flesh YBITE.† 1.48

The jealous strokes on their helmes BITE.(*) 1.49

Speaking of a sword, afterwards,

Throughout his armure it will kerve and BITE.

Also,

But in his sleve he gan to thring A rasour sharpe and well-BITING.(†) 1.50

Nor are instances of this word less frequent in Spenser, viz.

The cruell steele so greedily doth BITE In tender flesh— 1. 5. 9.

His BYTING sword, and his devouring speare. 1. 7. 48.

That first did teach the cursed steele to BITE In his own flesh— 2. 6. 32.

The pointed steele— His harder hide would neither pearce nor BITE. 1. 11. 16.

—The sharpe steele arriving forcibly On his broad shield, BIT not— 2. 5. 4.

A stroke,

And glauncing downe, would not his owner BITE. 2. 8. 38.

And pearced to the skin, but BIT not more. 2. 8. 44.

A dart,

And had not powre in his soft flesh to BITE. 3. 5. 19.

Till on her horses hinder parts it fell, Where BITING deep, so deadly it imprest. 4. 6. 13.

That glauncing on her shoulder-plate it BIT Unto the bone.— 5. 7. 33.

But BYTING deepe therein.— 6. 12. 21.

i. e. into his shield.

The tempred steele did not into his braine-pan BITE. 6. 6. 30.

And we find another instance of biting near, for piercing to the quick:

Much was the lady in her gentle mind Abasht at his rebuke, that BIT her neare. 6. 11. 64.

And in this manner we find it used by Shakespere,

Freeze, freeze, thou bitter sky, Thou dost not BITE SO NIGH As benefits forgot.(†) 1.51

B. ii. C. iv. S. xxiv. Saying, he now had boulted all the floure.

That is, he had search'd the matter to the bottom. This form is founded upon an old proverb in Chau∣cer,

But I ne cannot boult it to the brenne As can that holy doctour Saint Austen.† 1.52

B. ii. C. vi. S. xliii. HARROW now out, and weal-away, he cryde:

So Chaucer,

And gan to cry HARROW and weal-away.* 1.53

HARO is a form of exclamation antiently used in Normandy, to call for help, or to raise the Hue and Cry.(*) 1.54 We find it again in our author,

HARROW the flames which me consume,— 2. 6. 49.

Again,

—HARROW, and weal-away! After so wicked deed, &c.— 2. 8. 46.

It occurs often in Chaucer, and is, I think, always used as an exclamation of GRIEF; but there are some passages in an old MYSTERY printed at Paris, 1541, where it is applied as a term of ALARM, according to its original usage. Lucifer is introduced summoning the devils.

Dyables meschans, &c. * * * * Viendrez vous point a mes cris, & aboys, * * * * * * * HARO, HARO, nul de vous je ne veoys?

And in another place, where he particularly addresses Belial.

HARO, HARO, approche toy grant Dyable, Approche toy notayre mal fiable, Fier Belial, &c.

It is observable, that the permission of the CLAMEUR DE HARO is to this day specified, amongst that of other officers, in the instrument of Licence prefix'd to books printed in France.

B. iii. C. i. S. lxiv. To stir up strife, and troublous CONTECK broche.

Spenser here, when he might have used contest, chuses rather Chaucer's obsolete term CONTECK. Thus in the Knight's tale,

CONTEKE with bloody knyves, and shape menace.† 1.55

Again,

Of CONTEKE, and of whelpis gret and light.† 1.56

Our poet had us'd it before in the Eclogues.

But kindle coales of CONTECKE and ire, Wherewith they sett all the world on fire.* 1.57

B. iii. C. ii. S. v. —Like a PYNED ghost—

So likewise,

That like a PYNED ghost he soon appears. 4. 7. 41.

We find FORPYNED ghost in Chaucer, which is the same as PYNED ghost.

He was not pale as a FORPYNED ghost.(*) 1.58

B. iii. C. vi. S. vi. But wondrously they were begott and bred, Through influence of th' heavens chearfull ray; As it in antique books is mentioned.

These introductions give authority to a fictitious story. Thus the tale of Canace is usher'd in,

Whylom as antique stories tellen us.

And in another place he refers to history for a sanc∣tion to his invention,

As ye may else-where read that ruefull history. 3. 6. 53.

Chaucer frequently makes use of these forms. He thus begins the Knight's tale.

Whylom as olde storis tellin us.

And again, in the same tale.

—As old books us saine, That all this storie tellen more plaine.* 1.59

And afterwards,

—As men may behold In Stace of Thebes, and these bookes old.† 1.60

B. i. C. vii. S. xlvii. —The mighty OLLYPHANT that wrought Great wreake to many errant knights of yore.

The giant OLLYPHANT here mentioned, is probably that which Sir Thopas meets, in his expedition to the land of Fairy.

Till him there came a great giaunt, His name was called Sir OLIPHAUNT.(*) 1.61

B. iii. C. vii. S. lvii. Because I could not give her many a JANE.

So Chaucer.

Of Bruges were his hosin broun, His robe was of Chekelatoun, That cost many a JANE.(†) 1.62

Many a jane, that is, much money. Skinner in∣forms us, that JANE is a coin of Genoa; and Speght Gl. to Chaucer, interprets JANE, half-pence of Janua, or galy half-pence. Chaucer sometimes uses it as a coin of little value. As,

—Dere ynough, a JANE.* 1.63

And in other places.

B. iii. C. ix. S. iii. Then listen lordinges—

Chaucer often applies this introductory form in his Canterbury tales. Thus too the old poem of Sir Be∣vis of South-hampton begins.

Listen lordinges, and hold you still, Of doughty men, tell you I will.

B. iii. C. ix. S. 20. Her golden lockes, that were in tramels gay Up-bounden, did themselves adoune display, And raught unto her heeles.—

So Chaucer.

Her tresses yellow, and long straughten Unto her heeles downe they raughten.* 1.64

And in the same poem,

Her haire downe to her heeles went.† 1.65

Our author again expresses himself in the same man∣ner, speaking of a robe.

—When she list, it raught Down to her lowest heele.— 5. 5. 2.

Also,

—Her golden lockes that were upbound Still in a knott, unto her heeles downe traced. 4. 1. 13.

This mention of golden hair puts me in mind of a correction which Mr. Upton has made in the follow∣ing verse of Chaucer.

Her GILDED heris with a GOLDEN thread Iboundin were.(*) 1.66

Mr. (†) 1.67 Upton thinks that here is a transposition oc∣casion'd by the transcriber's haste, and that we should apply gilded to threde, and goldin to heris, viz.

Her goldin heris with a gilded threde Iboundin were—

The alteration appears at first sight to be very just; But it is perhaps unnecessary if we consider that gilte or gilded, is often us'd by Chaucer, and applied to hair. Thus,

His GILT here was ycrounid with a son.* 1.68

And in the same poem,

Hide Absolon thy GILTE tressis clere.† 1.69

We have here gildid hair,

Dischevilid with her bright GILDID here.(**) 1.70

B. iii. C. ix. S. xxxi. —Thus was the ape By their faire handling put into Malbecco's cape.

A proverb from Chaucer.

This cursed Chanon put in his hode an ape.(††) 1.71

Again,

The Monke put in the marchants hode an ape.(†) 1.72

B. iii. C. x. S. xix. To seek her ENDLONG both by sea and land.

I do not rembmber that endlong occurs in any poet before Spenser, Chaucer excepted; nor in any of Spenser's contemporaries; so that probably our author drew it from his favorite bard, viz.

—The reed blood Ran ENDLONG the tree.† 1.73—

Also,

Loke what Daye that ENDLONG to Britaine Ye remeve all the rockis stone by stone.(**) 1.74

And in other places. Mr. Pope has reviv'd this word with great propriety.

B. iii. C. x. S. xxxi. Bigge looking, like a doughty DOUZEPERE.

In the glossary to Urry's Chaucer we are told that doseperis is from the French les douze pairs; the twelve peers of France. Some legendary governors of Rome are so called in allusion to those of France, in these lines of the Merchant's second tale, or the History of Beryn,

When it [Rome] was governed by the DOSEPERIS.†† 1.75

And below,

Then Constantyne the third after these DOSIPERIS.* 1.76

It may be doubted whether or no our author borrow'd this word DOUZEPERE from Chaucer; for Chaucer's tale in which the word occurrs was first printed by Mr. Urry, who informs us that he could meet with only one MSS. copy of it.

B. iii. C. xii. S. xi. With him went DANGER.—

Spenser seems to have personified danger after the ex∣ample of Chaucer, who has made him a very signifi∣cant character in the Romaunt of the rose; but I do not remember that any circumstances in Spenser's description of him are borrow'd from thence. He is again introduc'd as the guardian of the gate of good desert in the temple of Venus, 4. 10. 18. and after∣wards, as an advocate for Duessa, 5. 9. 45.

B. iv. C. i. S. xxxii. His name was BLANDAMOUR.—

There was an old romance which celebrated the atchievments of Blandamour; which Spenser might have seen. If not, he probably drew the name from this hint of Chaucer,

Men speken of romances of pris, Of Horne-child, and of Ipotis, Of Bevis, and Sir Gie, Of Sir Libeaux, and BLANDAMOURE.* 1.77

B. iv. C. iv. S. xxiii. —Fiercely forth he rode, Like sparke of fire, that from the anvil GLODE.

The compiler of the Glossary to Spenser informs us, that GLODE signifies glanc'd, or that it is written, by poetical licence, for glowed. As to the latter of these explanations, I do not think, that glow had acquired so vague a sense in our author's age; and where is the authority for the former? Spenser un∣doubtedly borrow'd it from the following passage of Chaucer.

His good steede he bestrode And forth upon his way GLODE As sparke out of the bronde.† 1.78

Our author has here plainly borrow'd the thought, as well as the particular word in question, which, however, he has differently applied. May not GLODE be the preter-imperfect tense of glide?

B. v. C. i. S. xxv. —This doubtfull causes right Can hardly but by sacrament be tride, Or else by Ordele.—(†) 1.79

So Chaucer,

Where so you list by Ordal, or by othe.* 1.80

B. vi. C. vi. S. xii. 'Gainst all both good and bad, both MOST and LEAST.

MOST here signifies greatest; and in the following instances; as, MORE implies greater.

I do possesse the world's MOST regiment. 7. 7. 17.

That is, I am possest of the greatest sway over the world.

—All other weapons lesse or MORE, Which warlike uses had devis'd of yore, 5. 8. 34.

For ere thou limit what is lesse or MORE. 5. 2. 34.

In Sonnet 20.

In his MOST pride disdaineth, &c.

Again,

What tho' the sea with waves continuall Doe eat the earth, it is no MORE at all, Ne is the earth the lesse.— 5. 2. 39.

In Sonnet 55.

Thus for to be the world's MOST ornament.

This is the language of Chaucer; viz.

I saie, that she ne had not MOST fairenesse.† 1.81

That is, I do not affirm that she had the greatest share of beauty.

The grete geftes also to the MOST and LESTE.* 1.82

Again,

From Boloigne is the erle of Pavie come, Of which the fame yspronge to MOST and LESTE.† 1.83

Thus we have also MORE or LESS for greater and smaller.

—The goddesse Both of the see, and rivers MORE and LESSE.(†) 1.84

Thus also MUCH or LITE is great and small.

But he ne left, neither for raine ne thonder, In sikeness, ne in mischief to visite The farthist in his parish MUCH or lite.(*) 1.85

And to this day MUCH is prefix'd to some villages in England, as a mark of greatness. The ingenious au∣thor of Miscellaneous Observations on Macbeth, re∣marks, that in the interpolated Mandeville, a book printed in the age of queen Elizabeth, there is a chap∣ter of India THE MORE AND THE LESS, note 43.

I had almost past over some of the subsequent in∣stances.

B. ii. C. 6. S. xxix. That a large purple streame adowne their GIAMBEUX falls.

He probably drew GIAMBEUX, i. e. boots, from this passage in the Rime of Sir Thopas.

His JAMBEUX were of cure buly.(†) 1.86

B. vi. C. vii. S. xliii. But in a jacket quilted richly rare Upon CHECKLATON, he was strangely dight.

Checklaton likewise occurs in the last-mention'd poem of Chaucer.

His robe was of CHEKELATOUN.† 1.87

Speght * 1.88 interprets this word, a stuff of checkerwork made of cloth of gold; and Skinner, a stuff like motley.

To PRICK is very frequently used by Spenser, as well as by Chaucer, for, to ride; as is MANY for re∣tinue, multitude, or company. Dryden, in his in∣imitable Music-ode, has thus used MANY.

The MANY rend the skies with loud applause.

Many also is to be found in this sense in Harrington and Shakespere.

It should not be omitted, that LAD for led, often occurs in Chaucer, as it does likewise in Spenser, viz. a milk-white lamb she LAD. 1. 1. 4 whom they LAD. 2. 12. 84. a wretched life they LAD. 3. 12. 16. life which afterwards he LAD. 4. 8. 2. to their purpose

LAD. 5. 12. 37. The virgin LAD. 4. 12. 33. he him LAD. 5. 1. 22. away was LAD. 6. 10. 39.

Our author seems to have used, never none, for, there never was one, from an affectation of Chaucer's manner; altho' it must be confess'd, that most of our old English writers frequently join two negatives, when no affirmation is intended. Hickes, after ob∣serving, that a negation is often express'd in the Anglo-Saxonic by two negatives, has these words,—

Editor Chauceri nihil antiqui sapiens, dicit * 1.89 ipsum imi∣tatum fuisse Graecos in vehementius negando per DUO NEGATIVA; tametsi Chaucerus (Literarum Graecarum ignarus) more sui temporis, in quo Saxonismus non peni∣cus exoleverat, DUOBUS NEGATIVIS est usus† 1.90.

After which he produces some instances in the Saxon, where not only two, but three, and four negatives are put together, with a negative signification.

It is not pretended, that all the obsolete words and phrases, to be met in our author, are here set down,

but those only which carry with them a more certain and undoubted evidence of their being immediately derived from Chaucer. Thus here are several old old words unnoticed, which appear likewise in Chau∣cer; but which are no more the property of him, than they are of Lidgate, of Gower, and of the au∣thor of Piers Plowman; so that it would be difficult in some cases to ascertain and mark out the particular source from which our author drew; however it is manifest that he had the most frequent recourse to, and drew the largest draughts from Chaucer,

—The well of English undefilde.

I cannot dismiss this section without a wish, that this neglected author whom Spenser proposed in some mea∣sure, as the pattern of his language, and to whom he is not a little indebted for many noble strokes of poetry should be more universally and attentively studied. Chau∣cer seems to be regarded rather as an old poet, than as a good one, and that he wrote English verses four hundred years ago seems more frequently to be urged in his commendation, than that he wrote four hun∣dred years ago with taste and judgment. We look upon his poems rather as venerable relics, than as finish'd patterns; as pieces calculated rather to gratify the antiquarian than the critic. When I sate down to read Chaucer with the curiosity of knowing how the first English poet wrote, I left him with the satisfaction of having found what later and more refin'd ages could hardly equal in true humour, pathos, or sublimity. It must

be confest that his uncouth or rather unfamiliar lan∣guage has deterr'd many from perusing him; but at the same time it must be allowed, that nothing has more contributed to his being little looked into, than the convenient opportunity of reading him with faci∣lity in modern imitations. Thus when translation (for such may imitations from Chaucer be call'd) be∣comes substituted as the means of attaining the knowledge of any difficult and antient author, the original not only begins to be neglected and excluded as less easy, but also to be despised as less ornamental and elegant. And thus tho' Mr. Pope's translation of Homer is perhaps the best that ever was made of any author, yet it has so far indulg'd the laziness or illi∣teracy of many readers, as to tempt them to acquiesce in the knowledge of Homer acquir'd by it, as suffici∣ent; and thus many have preferr'd that translation to the Graecian text, in proportion as the former contains more frequent and more shining metaphors, more lively descriptions, and in general appears to be more full, elaborate, and various.

Notes

• * 1.1

  Met. 10. 90,
• † 1.2

  Oedip. 532.
• (*) 1.3

  3. 440.
• (†) 1.4

  Theb. 6. 98.
• †† 1.5

  R. Proserp. 2. 107. The passages are alleged by Mr. Jortin, remarks on Spenser's poems, p. 4, 5.
• † 1.6

  The assemble of fowles, v. 176.
• * 1.7

  V. 66.
• † 1.8

  Knight's tale, v. 2922.
• * 1.9

  Squire's tale. v. 83.
• † 1.10

  The man of lawe's tale. v. 704.
• * 1.11

  Squier's tale. v. 96.
• (†) 1.12

  V. 204.
• † 1.13

  Claudian. N. Hon. & Mar. v. 51. Lucret. 3. v. 18. Hom. Odyss. 6. v. 42. Sidon. Car. 2. v. 407.
• * 1.14

  Remarks, p. 74, 75.
• * 1.15

  Squier's tale, v. 153.
• * 1.16

  Rom. of Rosc. v. 1723.
• † 1.17

  Ibid. v. 1778.
• † 1.18

  Knight's tale, v, 1098.
• * 1.19

  Not unfinish'd, for a very good reason offer'd by the judicious Mr. Upton, who says,

  "I hardly think that a story promising so fair in the beginning, should be left half-told." Letter to G. West, Esq p. 10.
• * 1.20

  Ubi supra, p. 10.
• † 1.21

  Squier's tale, v. 674.
• (*) 1.22

  ibid. v. 681.
• † 1.23

  Il. Pens. v. 109.
• * 1.24

  Ibid. v. 105.
• † 1.25

  Ibid. v. 111.
• * 1.26

  Lydgate, in his TEMPLE OF GLAS, seems to speak as if he had seen a completed copy of this Tale.

  And uppermore men depeinten might see, How, with her RING, goodly CANACE, Of everie fowle the leden and the song Could understand, as she hem walkt among: And how her brother so often holpen was In his mischefe, by the STEDE OF BRAS.

  That part of the story which is hinted at in the two last lines, is lost; which, however, might have been remaining in the age of Lydgate.

  In the Ashmolean Musaeum at Oxford, there is a completion of this tale, by John Lane, in MS. It is number'd in the catalogue and in the first leaf 6937, but on the back, 53. quarto. The title of this MS. is as follows,

  "CHAUCER'S PILLER; beinge his master-piece, called the SQUIER'S TALE; which hath binn given for lost for allmost theese three hundred yeares, but now found out, and brought to light, by JOHN LANE, 1630."

  I conceiv'd great expectations of this manuscript, on reading the following passage in Philips.

  "JOHN LANE, a fine old Queen Elizabeth's gentleman, who was living within my remembrance, and whose several poems, had they not had the ill luck to remain unpub∣lish'd, when much better meriting than many that are in print, might possibly have gain'd him a name not inferior (if not equal) to Drayton, and others of the next rank to SPENSER; but they are all to be produced in MSS. namely, his POETICAL VISION, his ALARM TO POETS, his TWELVE MONTHS, his GUY OF WARWICK, (an heroic poem, at least as much as many others that are so entitled) and lastly, his Supplement to Chaucer's SQUIRE'S TALE." Theat. Poet. Mod. Poets, pag. 112.

  But I was greatly disappointed; for Lane's performance, upon perusal, appear'd to be, not only a very inartificial imitation of Chaucer, but a very weak effort of imagination.
• † 1.27

  Februarie.
• * 1.28

  Of Q. Annelid. & false Arcite. v. 10.
• † 1.29

  House of Fame. v. 133.
• * 1.30

  Assemble of fowles. v. 298.
• † 1.31

  Romaunt of the Rose. v. 890.
• * 1.32

  Ad Manlium.
• (†) 1.33

  i. e. Christmass.
• †† 1.34

  Frankelein's tale. v. 2808.
• † 1.35

  Tr. and Cr. B. 2. v. 988.
• * 1.36

  Ibid. B. 2. v. 435.
• ** 1.37

  Prol. 713.
• (*) 1.38

  Tr. and Cr. B. 1. v. 1681.
• † 1.39

  Knight's tale, v. 2098.
• * 1.40

  Ibid. v. 1632.
• † 1.41

  Ibid. 1853.
• * 1.42

  Third Part of Hen. VI. Act 2. S. 3.
• † 1.43

  V. 2073.
• (†) 1.44

  V. 2103.
• † 1.45

  July.
• * 1.46

  Rom. Rose. v. 1061.
• * 1.47

  Knight's tale. 2548.
• † 1.48

  Ibid. 2642.
• (*) 1.49

  Ibid. 2636.
• (†) 1.50

  Rom. Rose. v. 7319.
• (†) 1.51

  As You Like it. Act. 2. 8. 10.
• † 1.52

  Nonne's Priest's Tale. 1355.
• * 1.53

  Reve's Tale. 964.
• (*) 1.54

  Glossary to Urry's edit.
• † 1.55

  V. 2006.
• † 1.56

  Nonne's Priest's tale. v. 10047.
• * 1.57

  September.
• (*) 1.58

  Prolog. v. 205.
• * 1.59

  Knight's tale. v. 1466.
• † 1.60

  Ibid. 2295.
• (*) 1.61

  Rime of Sir Thopas. v. 3315.
• (†) 1.62

  Rime of Sir Thopas, v. 3242.
• * 1.63

  Cl. of Oxenford's tale. v. 2020.
• * 1.64

  Rom. Rose, v. 1021.
• † 1.65

  Ibid. 1218.
• (*) 1.66

  Assemble of Fowles, v. 267.
• (†) 1.67

  Letter to G. West, Esq p. 35.
• * 1.68

  Leg. of G. Women, v. 230.
• † 1.69

  Ibid. v. 249.
• (**) 1.70

  Ibid. v. 390.
• (††) 1.71

  Host's words, chan. Y. v. 1510.
• (†) 1.72

  Host's words, ship. 2948.
• † 1.73

  Squire's Tale, v. 435.
• (**) 1.74

  Fran. Tale, v. 2538.
• †† 1.75

  V. 44.
• * 1.76

  v. 51.
• * 1.77

  R. of Sir Thopas. v. 3402.
• † 1.78

  Ibid. v. 3408.
• (†) 1.79

  Tr. and Cr. B. 3. v. 1048.
• * 1.80

  Tr. and Cr. B. 3. v. 1048.
• † 1.81

  Monk. Tale. 367.
• * 1.82

  Knight's tale. v. 2200.
• † 1.83

  Frank. tale. v. 2600.
• (†) 1.84

  Cl. of Ox. tale. 1900.
• (*) 1.85

  Prol. 494.
• (†) 1.86

  V. 3380.
• † 1.87

  V. 3243.
• * 1.88

  Glossary to Chaucer.
• * 1.89

  "It is his manner likewise, imitating the Greekes, by two negatives, to cause a greater negation; as, I ne said none ill." Speght's ADVERTISEMENT TO THE READERS; prefix'd to his second edition of Chaucer's works; London printed by Adam Islip, 1602.

  But the labours of this editor ought by no means to be slighted in general, as he is the first that ever gave to the public a tolerably complete edition of Chaucer; and though he is censur'd as one Antiqui nihil sapiens, yet it must be confess'd, that his glossary to Chaucer, as being the first of that kind, was a very laudable un∣dertaking; and tho' it was the first, that it is, notwithstanding, so well executed, as to have supplied very valuable materials to some more modern glossographers upon our antient bard.
• † 1.90

  Linguarum Vett. Septentrional. Thesaurus. cap. 12. pag. 58.