The history of English poetry: from the close of the eleventh to the commencement of the eighteenth century. To which are prefixed, two dissertations. ... By Thomas Warton, ... [pt.2]

EMENDATIONS AND ADDITIONS IN THE First and Second VOLUME.

*** The Binder is directed to place EMEN∣DATIONS AND ADDITIONS at the End of the Second Volume.

EMENDATIONS AND ADDITIONS. VOL. I.

DISSERTATION I.

SIGNAT. a. fol. vers. Not. ^a. lin. For

"Pocock,"

READ

"Erpenius."

Signat. c 2. fol. vers. lin. 3. READ

"Vienne."

Signat. e. Not. ^q. lin. 4. For

"101,"

READ

"92."

Signat. g. lin. 3. For

"mulsorum,"

READ

"mulso seu."

Ibid. lin. 4. READ

"Woton."

Signat. h 2. lin. 20. Before

"composed,"

INSERT

"not."

DISSERTATION II.

SIGNAT. a. fol. vers. lin. 24. READ

"Fryesby."

Signat. b. lin. 7. READ

"Roger."

Ibid. lin. antep. and pen. READ

"Bukdene, 10 jun."

Ibid. Not. ^x. lin. 2. READ

"vii.".

Signat. b 2. fol. vers. lin. ult. For

"monks,"

READ

"can∣ons."

Signat. b 4. Not. ^o. lin. 9. READ

"son."

Signat. c 3. lin. 19. READ

"Vitalian."

So again fol. vers. lin. 5.

Signat. e 4. fol. vers. lin. 22. READ

"York."

Signat. f. 2. lin. 9. READ

"priory of Dunstable."

Signat. f. 4. Not. ^x. lin. ult. READ

"Hall."

Signat. g. fol. vers. lin. 15. READ

"1270."

[In Tanner's date, (viz. MLXX) cc had probably slipped out at the Press.]

Signat. i. Notes, col. 2. lin. 10. READ

"Martyrologium Ovidii de fastis."

Signat. i. 4. Not. ^m. lin. 1. DELE

"Monostichon."

Signat. k. 2. fol. vers. to Note ^f. ADD,

"But see Wood, Hist. et Antiq. Univ. Oxon. i. 46. a."

PAG. 1. Not. ^b. lin. 1. For

"4,"

READ

"24."

Pag. 3. l. 7. For

"even the lower class of people,"

READ

"the nobility."

Pag. 6. lin. 17. After

"language,"

INSERT

"Among the Records of the Tower, a great revenue-roll, on many sheets of vellum, or MAGNUS ROTULUS, of the Duchy of Normandy, for the year 1083, is still preserved; indorsed, in a coevel hand, ANNO AB INCARNATIONE DNI M^o LXXX^o III^o APUD CA∣DOMUM [Caen] WILLIELMO FILIO RADULFI SENESCALLO NORMANNIE. This most exactly and minutely resembles the pipe-rolls of our exchequer belonging to the same age, in form, method, and character. Ayloffe's CALENDAR of ANT. CHART. Pref. p. xxiv. edit. Lond. 1774. 4^to.

Pag. 8. Not. ^g. lin. 13. READ

"Flacius Illyricus."

Pag. 11. to the last Note ADD,

"The secular indulgences, particularly the luxury, of a female convent, are intended to be represented in the following passage of an antient poem, called

A Disputation bytwene a crystene mon and a Jew, written before the year 1300. MS. VERNON, fol. 301. [See vol. ii. p. 231.]

Till a Nonneri thei came, But I knowe not the name; Ther was mony a derworthea 1.1 dame In dyapre dere b 1.2:

Squiʒeresc 1.3 in vche syde, In the wonesd 1.4 so wyde: Hur schul we longee 1.5 abyde, Auntresf 1.6 to heare.

Thene switheg 1.7 spekethe he, Til a ladi so fre, And biddeth that he welcum be, "Sire Water my feere h 1.8."

Ther was bordsi 1.9 i clothed clene With schirek 1.10 clothes and schene, Seþþel 1.11 a wasschen m 1.12, i wene, And wente to the sete:

Riche metes was forth brouht, To all men that gode thouht: The cristen mon wolde nouht Drynke nor ete.

Ther was wyn ful clere In mony a feir masere n 1.13, And other drynkes that weore dere, In coupeso 1.14 ful gret:

Siththe was schewed him bi Murththe and munstralsy p 1.15, And preyed hem do gladly, With ryal rechet q 1.16. Bi the bordes up thei stode, &c.

Pag. 13. l. 15. READ

"Ciclatoun ant purpel pal."

Pag. 14. to Not. ^k. ADD,

"The LIVES OF THE SAINTS in verse, in Bennet library, contain the martyrdom and transla∣tion of Becket, NUM. clxv. This manuscript is supposed to be of the fourteenth century. Archbishop Parker, in a re∣mark prefixed, has assigned the composition to the reign of Henry the second. But in that case, Becket's translation, which did not happen till the reign of king John, must have been added. See a specimen in Mr. Nasmith's accurate and learned CATALOGUE of the Bennet manuscripts, pag. 217. Cantab. 1777. 4^to. There is a manuscript of these LIVES in Trinity college library at Oxford, but it has not the Life of Becket. MSS. NUM. LVII. In Pergamen. fol. The writing is about the fourteenth century. I will transcribe a few lines from the LIFE OF SAINT CUTHBERT. f. 2. b.

Seint Cuthberd was ybore here in Engelonde, God dude for him meraccle, as ʒe scholleth vnderstonde. And wel ʒong child he was, in his eigtethe ʒere, Wit children he pleyde atte balle, that his felawes were: That com go a lite childe, it thoʒt thre ʒer old, A swete creature and a fayr, yt was myld and bold: To the ʒong Cuthberd he ʒede, sene brother he sede, Ne þench not such ydell game for it ne oʒte noʒt be thy dede: Seint Cuthberd ne tok no ʒeme to the childis rede And pleyde forth with his felawes, al so they him bede.

Tho this ʒonge child y seʒ that he his red forsok, A doun he fel to grounde, and gret del to him to tok, It by gan to wepe sore, and his honden wrynge, This children hadde alle del of him, and bysened hare pleyinge. As that they couthe hy gladede him, sore he gan to siche, At even this ʒonge child made del y siche, A welaway, qd seint Cuthbert, why wepes thou so sore Ʒif we the haveth oʒt mysdo we ne scholleth na more. Thanne spake this ʒonge child, sore hy wothe beye, Cuthberd it falleth noʒt to the with ʒonge children to pleye, For no suche idell games it ne cometh the to worche, Whanne god hath y proveyd the an heved of holy cherche. With this word, me nyste whidder, this ʒong child wente, An angel it was of heven that our lord thuder sent.

Saxon letters are used in this manuscript. I will exhibit the next twelve lines as they appear in that mode of writing; to∣gether with the punctuation.

þo by gan seint Cuthberd . for to wepe sore He made his fader and frendis . sette him to lore So þat he servede boþe nyʒt and day . to plese god þe more And in his ʒoughede nyʒt and day . of servede godis ore þo he in grettere elde was . as þe bok us haþ y sed It by fel þat seint Aydan . þe bisschop was ded Cuthberd was a felde with schep . angeles of heven he seʒ þe bisschopis soule seint Aydan . to heven bere on heʒ Allas sede seint Cuthberd . fole ech am to longe I nell þis schep no longer kepe . a fonge hem who so a fonge He wente to þe abbeye of Germans . a grey monk he þer bycom Gret joye made alle þe covent . þo he that abbyt nom, &c."

The reader will observe the constant return of the hemistichal point, which I have been careful to preserve, and to represent with exactness; as I suspect, that it shews how these poems were sung to the harp by the minstrels. Every line was per∣haps uniformly recited to the same monotonous modulation, with

a pause in a midst: just as we chant the psalms in our choral service. In the psalms of our liturgy, this pause is expressed by a colon: and often, in those of the Roman missal, by an aste∣risc. The same mark occurs in every line of this manuscript; which is a folio volume of considerable size, with upwards of fifty verses in every page.

Pag. 18. Not. ^x. lin. 3. Instead of

"Saint Dorman,"

READ

"The Seven Sleepers."

Pag. 30. to Not. ^d. ADD,

"In the same stile, as it is mani∣festly of the same antiquity, the following little descriptive song, on the Approach of Summer, deserves notice. MSS. HARL. 978. f. 5.

Sumer is i cumen, Lhude sing cuccu: Groweth sed, and bloweth med, And springeth the wde nu. Sing, cuccu, cuccu. Awe bleteth after lomb, Louth after calve cu; Bulluc sterteth, Bucke verteth: Murie sing, cuccu: Wel sings thu cuccu; Ne swik thou never nu.

That is,

"Summer is coming: Loud sing, Cuckow! Groweth seed, and bloweth mead, and springeth the wood now. Ewe bleateth after lamb, loweth cow after calf; bullock starteth, buck verteth g 1.17: merry sing, Cuckow! Well singest thou, Cuckow, Nor cease to sing now."

This is the most antient English song that appears in our manuscripts, with the musical notes annexed. The music is of that species of composition

which is called Canon in the Unison, and is supposed to be of the fifteenth century.

Pag. 47. ADD to Not. ^e.

"Compare Tanner in JOANNES CORNUBIENSIS, who recites his other pieces. BIBL. p. 432. Notes, ^f. ^g.

Pag. 50. Not. ^q. For

"hills,"

READ

"halls."

Pag. 59. l. 9. For

"monk,"

READ

"canon."

Pag. 62. Not. ^l. lin. 7. READ

"Johnston."

Pag. 68. Not. ⁿ. lin. 1. DELE

"absurdly."

And l. 3. DELE

"It is a catapult or battering ram."

Pag. 68. Ibid. Notes, col. 2. After lin. 4. INSERT,

"See infr. p. 72. MANGONEL also signified what was thrown from the machine so called. Thus Froissart."

Et avoient les

"Brabançons de tres grans engins devant la ville, qui gettoient pierres de faix et mangoneaux jusques en la ville."

Liv. iii. c. 118. And in the old French OVIDE cited by Borel, TRE∣SOR. in V.

Onques pour une tor abatre, Ne oit on Mangoniaux descendre Plus briement ne du ciel destendre Foudre pour abatre un clocher.

Ibid. ibid. After lin. 17. ADD,

"The use of artillery, how∣ever, is proved by a curious passage in Petrarch, to be older than the period to which it has been commonly referred. The passage is in Petrarch's book de REMEDIIS UTRIUSQUE FOR∣TUNAE, undoubtedly written before the year 1334. "G. Habeo machinas et balistas. R. Mirum, nisi et glandes aeneas, quae flammis injectis horrisono sonitu jaciuntur.—Erat haec pestis nuper rara, ut cum ingenti miraculo cerneretur: nunc, ut rerum pessimarum dociles sunt animi, ita communis est, ut quodlibet genus armorum." Lib. i. DIAL. 99. See Mura∣tori, ANTIQUITAT. Med. Aev. tom. ii. col. 514. Cannons are supposed to have been first used by the English at the battle of Cressy, in the year 1346. It is extraordinary that Froissart,

who minutely describes that battle, and is fond of decorating his narrative with wonders, should have wholly omitted this circumstance. Musquets are recited as a weapon of the infantry so early as the year 1475. "Quilibet peditum habeat balistam vel bombardam." LIT. Casimiri iii. an. 1475. LEG. POLON. tom. i. p. 228. These are generally assigned to the year 1520.

Pag. 72. l. 6. READ

"sueynes."

Pag. 73. to l. 21. ADD this Note,

"The rhymes here called, by Robert de Brunne, Couwée, and Enterlacée, were undoubtedly derived from the Latin rhymers of that age, who used versus caudati et interlaqueati. Brunne here professes to avoid these elegancies of composition, yet he has intermixed many passages in Rime Couwée. See his CHRONICLE, p. 266. 273. &c. &c. And almost all the latter part of his work from the Conquest is written in rhyme enterlacée, each couplet rhyming in the middle, as well as the end. As thus, MSS. HARL. 1002.

Plausus Graecorum | lux caecis et via claudis | Incola caelorum | virgo dignissima laudis.

The rhyme Baston had its appellation from Robert Baston, a celebrated Latin rhymer about the year 1315. The rhyme strangere means uncommon. See CANTERBURY TALES, vol. 4. p. 72. seq. ut infr. The reader, curious on this subject, may receive further information from a manuscript in the Bodleian library, in which are specimens of METRA Leonina, cristata, cornuta, recriproca, &c. MSS. LAUD. K. 3. 4^to. In the same library, there is a very antient manuscript copy of Aldhelm's Latin poem De Virginitate et Laude Sanctorum, written about the year 700, and given by Thomas Allen, with Saxon glosses, and the text almost in semi-saxon characters. These are the two first verses.

Metrica tyrones nunc promant carmina casti, Et laudem capiat quadrato carmine Virgo.

Langbaine, in reciting this manuscript, thus explains the qua∣dratum carmen.

"Scil. prima cujusque versus litera, per Acrostichidem, conficit versum illum Metrica tyrones. Ul∣tima cujusque versus litera, ab ultimo carmine ordine retro∣gardo numerando, hunc versum facit. "Metrica tyrones nunc promant carmina casti."

[Langb. MSS. v. p. 126.] MSS. DIGB. 146. There is a very antient tract, by one Mico, I believe called also LEVITA, on Prosody, De Quantitate Syllabarum, with examples from the Latin poets, perhaps the first work of the kind. Bibl. Bodl. MSS. Bodl. A. 7. 9. See J. L. Hocker's CATAL. MSS. Bibl. Heidelb. p. 24. who recites a part of Mico's Preface, in which he appears to have been a grammatical teacher of youth. See also Dacheri SPICILEG. tom. ii. p. 300. b. edit. ult.

Pag. 85. Not. ^d. After

"peresse,"

INSERT,

"In this ma∣nuscript the whole title is this. "Le ROSSIGNOL, ou la pensee Jehan de Hovedene clerc la roine d'Engleterre mere le roi Edward de la naissance et de la mort et du relievement et de lascension Jesu Crist et de lassumpcion notre dame." This manuscript was written in the fourteenth century.

Pag. 86. INSERT at the Beginning of Not. ^f.

"Among the learned Englishmen who now wrote in French, The Editor of the CANTERBURY TALES mentions Helis de Guincestre, or WINCHESTER, a translator of CATO into French. [See vol. ii. p. 169.] And Hue de Roteland, author of the Romance, in French verse, called Ipomedon, MSS. Cott. VESP. A. vii. [See vol. i. p. 169.] The latter is also supposed to have written a French Dialogue in metre, MSS. Bodl. 3904. La pleinte par entre mis Sire Henry de Lacy Counte de Nichole [Lincoln] et Sire Wauter de Byblesworth pur la croiserie en la terre seinte. And a French romantic poem on a knight called CAPANEE, perhaps Statius's Capaneus. MSS. Cott. VESP. A. vii. ut supr. It begins,

Qui bons countes viel entendre.

See

"The CANTERBURY TALES of CHAUCER. To which are added An ESSAY upon his LANGUAGE and VERSIFI∣CATION, an INTRODUCTORY DISCOURSE, and NOTES. Lond. 1775. 4 vol. 8^vo."

This masterly performance, in which the author has displayed great taste, judgement, sagacity, and the most familiar knowledge of those books which pecu∣culiarly belong to the province of a commentator on Chaucer, did not appear till more than half of my Second Volume was printed.

Pag. 88. Not. ^k. ADD

"And at Bennet college, Num. L. 1. It begins, Ki veut oir chaunçoun damur."

Ibid. Not. ^m. l. 11. READ

"Davench."

Pag. 99. Not. ^q. READ

"Them."

Pag. 108. l. 1. ADD this Note to

"Edward."

It appears that king Edward the first, about the year 1271, took his HARPER with him to the Holy Land. This officer was a close and constant attendant of his master: for when Edward was wounded with a poisoned knife at Ptolemais, the harper, citha∣reda suus, hearing the struggle, rushed into the royal apartment, and killed the assassin. CHRON. Walt. Hemingford, cap. xxxv. p. 591. Apud V HISTOR. ANGLIC. SCRIPTOR. vol. ii. Oxon. 1687. fol.

Pag. 111. ADD to last Note,

"Geoffrey of Vinesauf says, that when king Richard the first arrived at the Christian camp before Ptolemais, he was received with populares Cantiones, which recited Antiquorum Praeclara Gesta. IT. HIEROSOL. cap. ii. p. 332. ibid.

Pag. 112. Before

"commenced,"

INSERT

"and that it."

Pag. 113. ADD to Not. ⁱ.

"On a review of this passage in Hoveden, it appears to have been William bishop of Ely, chancellor to king Richard the first, who thus invited minstrels

from France, whom he loaded with favours and presents to sing his praises in the streets. But it does not much alter the doc∣trine of the text, whether he or the king was instrumental in importing the French minstrels into England. This passage is in a Letter of Hugh bishop of Coventry, which see also in Hearne's Benedictus Abbas, vol. ii. p. 704. sub ann. 1191. It appears from this letter, that he was totally ignorant of the English language. ibid. p. 708. By his cotemporary Gyraldus Cambrensis, he is represented as a monster of injustice, impiety, intemperance, and lust. Gyraldus has left these anecdotes of his character, which shew the scandalous grossness of the times. "Sed taceo quod ruminare solet, nunc clamitat Anglia tota, qualiter puella, matris industria tam coma quam cultu pue∣rum professa, simulansque virum verbis et vultu, ad cubicu∣lum belluae istius est perducta. Sed statim ut exosi illius sexus est inventa, quanquam in se pulcherrima, thalamique thorique deliciis valde idonea, repudiata tamen est et abje••ta. Unde et in crastino, matri filia, tam flagitiosi facinoris con∣scia, cum Petitionis effectu, terrisque non modicis eandem jure haereditario contingentibus, virgo, ut venerat, est resti∣tuta. Tantae nimirum intemperantiae, et petulantiae fuerat tam immoderatae, quod quotidie in prandio circa finem, pre∣tiosis tam potionibus quam cibariis ventre distento, virga ali∣quantulum longa in capite aculeum praeferente pueros nobiles ad mensam ministrantes, eique propter multimodam qua fun∣gebatur potestatem in omnibus ad nutum obsequentes, pun∣gere vicissim consueverit: ut eo indicio, quasi signo quodam secretiore, quem fortius, inter alios, atque frequentius sic quasi ludicro pungebat, &c. &c." De VIT. GALFRID. Archiepiscop. Ebor. Apud Whart. ANGL. SACR. vol. ii. p. 406. But Wharton endeavours to prove, that the character of this great prelate and statesman in many particulars had been misre∣presented through prejudice and envy. Ibid. vol. i. p. 632.

It seems the French minstrels, with whom the Song of ROLAND originated, were famous about this period. Muratori

cites an old history of Bologna, under the year 1288, by which it appears, that they swarmed in the streets of Italy.

"Ut CANTATORES FRANCIGENARUM in plateis comunis ad cantandum morari non possent."

On which words he ob∣serves,

"Colle quali parole sembra verosimile, che sieno diseg∣nati i cantatore del favole romanze, che spezialmente della Franzia erano portate in Italia."

DISSERT. ANTICHIT. Ital. tom. ii. c. xxix. p. 16. In Napoli, 1752. He adds, that the minstrels were so numerous in France, as to become a pest to the community; and that an edict was issued about the year 1200, to suppress them in that kingdom. Muratori, in further proof of this point, quotes the above passage from Hoveden; which, as I had done, he misapplies to our king Richard the first. But, in either sense, it equally suits his argument. In the year 1334, at a feast on Easter Sunday, celebrated at Rimini, on occa∣sion of some noble Italians receiving the honour of knight∣hood, more than one thousand five hundred HISTRIONES are said to have attended.

"Triumphus quidem maximus fuit ibidem, &c.—Fuit etiam multitudo HISTRIONUM circa mille quingentos et ultra."

ANNAL. CAESENAT. tom. xiv. RER. ITALIC. SCRIPTOR. col. 1141. But their countries are not specified. In the year 1227, at a feast in the palace of the archbishop of Genoa, a sumptuous banquet and vestments with∣out number were given to the minstrels, or Joculatores, then present, who came from Lombardy, Provence, Tuscany, and other countries. Caffari ANNAL. GENUENS. lib. vi. p. 449. D. Apud Tom. vi. ut supr. In the year 774, when Charlemagne entered Italy and found his passage impeded, he was met by a minstrel of Lombardy, whose song promised him success and victory.

"Contigit JOCULATOREM ex Longobardorum gente ad Carolum venire, et CANTIUNCULAM A SE COMPOSI∣TAM, rotando in conspectu suorum, cantare."

Tom. ii. P. 2. ut supr. CHRON. MONAST. NOVAL. lib. iii. cap. x. p. 717. D.

To recur to the origin of this Note. Rymer, in his SHORT VIEW OF TRAGEDY, on the notion that Hovede•• is here

speaking of king Richard, has founded a theory, which is con∣sequently false, and is otherwise but imaginary. See p. 66. 67. 69. 74. He supposes, that Richard, in consequence of his connection with Raimond count of Tholouse, encouraged the heresy of the Albigenses; and that therefore the historian Hove∣den, as an ecclesiastic, was interested in abusing Richard, and in in••inuating, that his reputation for poetry rested only on the venal praises of the French minstrels. The words quoted are, indeed, written by a churchman, although not by Hoveden. But whatever invidious turn they bear, they belong, as we have seen, to quite another person; to a bishop who justly deserved such an indirect stroke of satire, for his criminal enormities, not for any vain pretensions to the character of a Provencial songster.

Pag. 114. l. 15. For

"second,"

READ

"third."

Pag. 15. l. 4. To

"Robert Borron"

ADD this Note,

"In Bennet college library at Cambridge, there is an English poem on the SANGREAL, and its appendages, containing forty thousand verses. MSS. LXXX. chart. The manuscript is imperfect both at the beginning and at the end. The title at the head of the first page is ACTA ARTHURI REGIS, written probably by Joceline, chaplain and secretary to archbishop Parker. The nar∣rative, which appears to be on one continued subject, is divided into books, or sections, of unequal length. It is a translation made from Robert Borron's French romance called LANCELOT, abovementioned, which includes the adventure of the SAN∣GREAL, by Henry Lonelich Skynner, a name which I never remember to have seen among those of the English poets. The diction is of the age of king Henry the sixth. Borel, in his TRESOR de Recherches et Antiquitez Gauloises et Francoises, says, "Il y'a un Roman ancien intitule LE CONQUESTE DE SAN∣GREALL, &c." Edit. 1655. 4^•o. V. GRAAL. It is difficult to determine with any precision which is Robert Borron's French Romance now under consideration, as so many have been written on the subject. [See vol. i. p. 134.] The diligence

and accuracy of Mr. Nasmith have furnished me with the following transcript from Lonelich Skynner's translation in Bennet college library.

Thanne passeth forth this storye with al That is cleped of som men SEYNT GRAAL Also the SANK RYAL iclepid it is Of mochel peple with owten mys

Now of al this storie have I mad an ende That is schwede of Celidoygne and now forthere to wend And of anothir brawnche most we be gynne Of the storye that we clepen prophet Merlynne Wiche that Maister ROBERT of BORROWN Owt of Latyn it transletted hol and soun Onlich into the langage of Frawnce This storie he drowgh be adventure and chaunce And doth Merlynne insten with SANK RYAL For the ton storie the tothir medlyth withal After the satting of the forseid ROBERT That somtym it transletted in Middilerd And I as an unkonneng man trewely Into Englisch have drawen this storye And thowgh that to ʒow not plesyng it be Ʒit that ful excused ʒe wolde haven me Of my neclegence and unkonnenge On me to taken swich a thinge Into owre modris tonge for to endite The swettere to sowne to more and lyte And more cler to ʒoure undirstondyng Thanne owthir Frensh other Latyn to my supposing And therfore atte the ende of this storye A pater noster ʒe wolden for me preye For me that HERRY LONELICH hyhte And greteth owre lady ful of myhte

Hartelich with an ave that ʒe hir bede This processe the bettere I myhte procede And bringen this book to a good ende Now thereto Jesu Crist grace me sende And than an ende there offen myhte be Now good Lord graunt me for charite

Thanne Merlyn to Blasye cam anon And there to hym he seide thus son Blasye thou schalt suffren gret peyne This storye to an ende to bringen certeyne And ʒit schall I suffren mochel more How so Merlyn quod Blasye there I schall be sowht quod Merlyne tho Owt from the west with messengeris mo And they that scholen comen to seken me They have maad sewrawnce I telle the Me forto slen for any thing This sewrawnce hav they mad to her kyng But whanne they me sen and with me speke No power they schol hav on me to ben a wreke For with hem hens moste I gon And thou into othir partyes schalt wel son To hem that hav the holy vessel Which that is icleped the SEYNT GRAAL And wete thow wel and ek forsothe That thow and ek this storye bothe Ful wel beherd now schall it be And also beloved in many contre And has that will knowen in sertaygne What kynges that weren in grete Bretaygne Sithan that Cristendom thedyn was browht They scholen hem fynde has so that it sawht In the storye of BRWTTES book There scholen ʒe it fynde and ʒe weten look

Which that MARTYN DE BEWRE translated here From Latyn into Romaunce in his manere But leve me now of BRWTTES book And aftyr this storye now lete us look.

After this latter extract, which is to be found nearly in the middle of the manuscript, the scene and personages of the poem are changed; and king Enalach, king Mordrens, Sir Nesciens, Joseph of Arimathea, and the other heroes of the former part, give place to king Arthur, king Brangors, king Loth, and the monarchs and champions of the British line. In a paragraph, very similar to the second of these ex∣tracts, the following note is written in the hand of the text, Henry Lonelich Skynner, that translated this boke out of Frenshe into Englyshe, at the instaunce of Harry Barton.

The QUEST OF THE SANGREAL, as it is called, in which devotion and necromancy are equally concerned, makes a con∣siderable part of king Arthur's romantic history, and was one grand object of the knights of the Round Table. He who achieved this hazardous adventure was to be placed there in the siege perillous, or seat of danger.

"When Merlyn had or∣dayned the rounde table, he said, by them that be fellowes of the rounde table the truthe of the SANGREALL shall be well knowne, &c.—They which heard Merlyn say soe, said thus to Merlyn, sithence there shall be such a knight, thou shouldest ordayne by thy craft a siege that no man should sitte therein, but he onlie which shall passe all other knights.—Then Merlyn made the siege perillous, &c."

Caxton's MORT D'ARTHUR, B. xiv. cap. ii. Sir Lancelot, who is come but of the eighth degree from our lord Jesus Christ, is represented as the chief adventurer in this honourable expedition. Ibid. B. iii. c. 35. At a celebration of the feast of Pentecost at Camelot by king Arthur, the Sangreal suddenly enters the hall,

"but there was no man might see it nor who bare it,"

and the knights, as by some invisible power, are instantly supplied with

a feast of the choicest dishes. Ibid. c. 35. Originally LE BRUT, LANCELOT, TRISTAN, and the SAINT GREAL were separate histories; but they were so connected and confounded before the year 1200, that the same title became applicable to all. The book of the SANGREAL, a separate work, is referred to in MORTE ARTHUR.

"Now after that the quest of the SANCGREALL was fulfylled•• and that all the knyghtes that were lefte alive were come agayne to the Rounde Table, as the BOOKE OF THE SANCGREALL makethe mencion, than was there grete joye in the courte. And especiallie king Arthur and quene Guenever made grete joye of the remnaunt that were come home. And passynge glad was the kinge and quene of syr Launcelot and syr Bors, for they had been passynge longe awaye in the quest of the SANCGREALL. Then, as the Frenshe booke sayeth, syr Lancelot, &c."

B. xviii. cap. 1. And again, in the same romance.

"Whan syr Bors had tolde him [Arthur] of the adventures of the SANCGREALL, such as had befallen hym and his felawes,—all this was made in grete bookes, and put in almeryes at Salisbury."

B. xvii. cap. xxiii s 1.18. The former part of this pas∣sage is almost literally translated from one in the French ro∣mance of TRISTAN, Bibl. Reg. MSS. 20 D. ii. fol. antep.

"Quant Boort ot conte laventure del Saint Graal teles com eles esloient avenues, eles furent mises en escrit, gardees en la∣mere de Salibieres, dont Mestre GALTIER MAP l'estrest a faist son livre du Saint Graal por lamor du roy Herri son sengor, qui fist lestoire tralater del Latin en romanz t 1.19."

Whether Salisbury, or Salibieres is, in the two passages, the right reading, I cannot ascertain. [But see Not ••. p. 117. vol. ii.] But in the royal library at Paris there is

"Le Roman de TRISTAN ET ISEULT, traduit de Latin en François, par Lucas chevalier du Gast pres de Sarisberi, Anglois, avec figures."

Montfauc. CATAL.

MSS. Cod. Reg. Paris. Cod. 6776. fol. max. And again Cod. 6956. fol. max.

"Liveres de TRISTAN mis en François par Lucas chevalier sieur de chateau du Gat u 1.20."

[See supr. vol. i. p. 115. Notes.] Almeryes in the English, and l'Amere, properly aumoire in the French, mean, I believe, Presses, Chests, or Archives. Ambry, in this sense, is not an uncommon old Eng∣lish word. From the second part of the first French quotation which I have distinguished by Italics, it appears, that Walter Mapes, a learned archdeacon in England, under the reign of king Henry the second, wrote a French SANGREAL, which he translated from Latin, by the command of that monarch. Un∣der the idea, that Walter Mapes was a writer on this subject, and in the fabulous way, some critics may be induced to think, that the WALTER, archdeacon of Oxford, from whom Geof∣frey of Monmouth professes to have received the materials of his history, was this Walter Mapes, and not Walter Calenius, who was also an eminent scholar, and an archdeacon of Oxford. [See vol. i. p. 65.] Geoffrey says in his Dedication to Robert earl of Gloucester,

"Finding nothing said in Bede or Gildas of king Arthur and his su••cessours, although their actions highly deserved to be recorded in writing, and are orally celebrated by the British bards, I was much surprised at so strange an omission. At length Walter, archdeacon of Oxford, a man of great eloquence, and learned in foreign histories, offered me an ancient book in the British or Armorican tongue; which, in one unbroken story, and an elegant diction, re∣lated the deeds of the British kings from Brutus to Cadwal∣lader. At his request, although unused to rhetorical flou∣rishes, and contented with the simplicity of my own plain language, I undertook the translation of that book into Latin."

B. i. ch. i. See also B. xii. ch. xx. Some writers suppose, that Geoffrey pretended to have received his materials

from archdeacon Walter, by way of authenticating his ro∣mantic history. These notices seem to disprove that suspi∣cion. In the year 1488, a French romance was published, in two magnificent folio volumes, entitled, HISTOIRE de ROY ARTUS et des CHEVALIERS de la TABLE RONDE. The first volume was printed at Rouen, the second at Paris. It contains in four detached parts, the Birth and Achievements of king Arthur, the Life of Sir Lancelot, the Adventure of the San∣greal, and the Death of Arthur, and his Knights. In the body of the work, this romance more than once is said to be written by Walter Map or Mapes, and by the command of his master king Henry. For instance, tom. ii. at the end of PARTIE DU SAINT GRAAL, Signat. d d i.

"Cy fine Maistre GUALTIER MAP son traittie du Saint Graal."

Again, tom. ii. LA DERNIERE PARTIE, ch. i. Signat. d d ii.

"Apres ce que Maistre GUALTIER MAP eut tractie des avantures du Saint Graal, assez sou••isamment, sicomme il luy sembloit, il fut ad adviz au ROY HENRY SON SEIGNEUR, que ce quil avoit fait ne debuit soufrire sil ne racontoys la fin de ceulx dont il fait mention.—Et commence Maistre Gualtier en telle manier ceste derniere partie."

This derniere partie treats of the death of king Arthur and his knights. At the end of the second tome there is this colophon.

"Cy fine le dernier volume de La Table Ronde, faisant mencion des fais et proesses de mon∣seigneur Launcelot du Lac et dautres plusieurs nobles et vail∣lans hommes ses compagnons. Compile et extraict precise∣ment et au juste des vrayes histoires faisantes de ce mencion par tresnotable et tresexpert historien Maistre GUALTIER MAP, et imprime a Paris par Jehan du Pre. Et lan du grace, mil. cccc. iiiixx. et viii. le xvi jour du Septembre."

The passage quoted above from the royal manuscript in the British Museum, where king Arthur orders the adventures of the Sangreal to be chronicled, is thus represented in this ro∣mance.

"Et quant Boort eut compte depuis le commencement jusques a la fin les avantures du Saint Graal telles comme ils

les avoit veues, &c. Si fist le roy Artus rediger et mettre par escript aus dictz clers tout ci que Boort avoit compte, &c."

Ibid. tom. ii. La Partie du SAINT GRAAL, ch. ult.w 1.21 At the end of the royal manuscript ••t Paris, [Cod. 6783.] en∣titled LANCELOT DU LAC mis en François par Robert de Borron par le commandement de Henri roi d'Angleterre, it is said, that Messire Robert de Borron translated into French, not only LANCELOT, but also the story of the SAINT GRAAL li tout du Latin du GAUTIER MAPPE. But the French antiquaries in this sort of literature are of opinion, that the word Latin, here signifies Italian; and that by this LATIN of Gualtier Mapes, were are to understand English versions of those romances made from the Italian language. The French History of the SAN∣GREAL, printed at Paris in folio by Gallyot du Prè in 1516, is said, in the title, to be translated from Latin into French rhymes, and from thence into French prose by Robert Borron. This romance was reprinted in 1523.

Caxton's MORTE ARTHUR, finished in the year 1469, pro∣fesses to treat of various separate histories. But the matter of the whole is so much of the same sort, and the heroes and adven∣tures of one story are so mutually and perpetually blended with those of another, that no real unity or distinction is preserved. It consists of twenty-one books. The first seven books treat of king Arthur. The eighth, ninth, and tenth, of sir Trystram. The eleventh and twelfth of sir Lancelot x 1.22. The thirteenth of the SAINGRAL, which is also called sir Lancelot's Book. The fourteenth of sir Percival. The fifteenth, again, of sir Lance∣lot. The sixteenth of sir Gawaine. The seventeenth of sir Galahad. [But all the four last mentioned books are also called the historye of the holy Sancgreall.] The eighteenth and nineteenth

of miscellaneous adventures. The two last of king Arthur and all the knights. Lwhyd mentions a Welsh SAN∣GREALL, which, he says, contains various fables of king Ar∣thur and his knights, &c. ARCHAEOLOG. BRIT. Tit. vii. p. 265. col. 2. MORTE ARTHUR is often literally translated from various and very ancient detached histories of the heroes of the round table, which I have examined; and on the whole, it nearly resembles Walter Map's romance abovementioned, printed at Rouen and Paris, both in matter and disposition.

I take this opportunity of observing, that a very valuable vel∣lum fragment of LE BRUT, of which the writing is uncom∣monly beautiful and of high antiquity, containing part of the story of Merlin and king Vortigern, covers a manuscript of Chaucer's ASTROLABE, lately presented, together with several oriental manuscripts, to the Bodleian library, by Thomas Hedges, esquire, of Alderton in Wiltshire: a gentleman possessed of many curious manuscripts, and Greek and Roman coins, and most liberal in his communications.

Pag. 119. ADD to Not. ^x.

"Among Crynes's books in the Bodleian library is a copy of king Richard's romance, printed by W. de Worde in 1509. CR. 734. 8^vo. This edition was in the Harleian library.

Pag. 120. Notes. l. 13. col. 2. After

"sixth,"

ADD

"By the way, it appears from this quotation, that there was an old romance called WADE. Wade's Bote is mentioned in Chau∣cer's MARCHAUNTS TALE, v. 940. p. 68. Urr. And eke these olde wivis, god it wote, They connin so much crafte in Wadis bote. Again, TROIL. CRESS. iii. 615. He songe, she plaide, he tolde a tale of Wade. Where, says the glossarist, "A romantick story, famous at that time, of one WADE, who performed many strange exploits,

and met with many wonderful adventures in his Boat Guige∣lot." Speght says, that Wade's history was long and fabulous.

Pag. 126. ADD to Not. ^c. 1. 9.

"See Preface to Hearne's Rob. of Gloucester, p. lx. And Strype's ANNALS, ii. p. 313. edit. 1725. Where Stowe is mentioned as an industrious col∣lector of antient chronicles. In the year 1568, among the proofs of Stowe's attachment to popery, it was reported to the privy council by archbishop Grindal, that "he had a great sort of foolish fabulous books of old print, as of sir DEGORY, sir TRYAMOUR, &c. A great parcell also of old-written Eng∣lish chronicles, both in parchment and paper." See Strype's GRINDALL. B. i. ch. xiii. pag. 125. And APPEND. Num. xvii."

Pag. 127. Not. ^d. l. 2. After

"Latin,"

ADD

"romance."

In Lincoln's-inn library there is a poem entitled BELLUM TROJANUM, Num. 150. Pr.

Sichen god hade this worlde wroght.

Pag. 128. l. 7. DELE the first

"of."

Pag. 129. l. 3. READ

"Olynthian."

Pag. 131. l. 21. Not. col. 1. After

"fables,"

ADD

"See Wolfii Bibl. Hebr. i. 468. ii. 931. iii. 350. iv. 934."

Pag. 143. Not. ^p. ADD

"Among the Bennet manuscripts there is ROMANZ DE GUI DE WARWYK. Num. L. It begins, Puis cel tems ke deus fu nez. This book belonged to Saint Augustin's abbey at Canterbury. With regard to the preceding romance of BEVIS, the Italians had Buovo d'Antona, undoubtedly from the French, before 1348. And Luhyd recites in Welsh, Ystori Boun o Hamtun. ARCHAEOL. p. 264.

Pag. 147. Not. ^d. l. 2. DELE

"Treatisé on Monarchy."

Afterwards READ

"that piece."

Pag. 154. to l. ••4. ADD this Note,

"It is "One and twenti

inches aboute." So doctor Farmer's manuscript, purchased from Mr. Martin's library. See supr. p. 121. Not. ^g. This is in English.

Pag. 156. ADD to Not. ^y.

"Or perhaps, By the lyfte, is, through the air. See Lye in Junius, V. LIFT.

Pag. 157. l. 15. READ

"Comnena."

Pag. 158. Not. ⁱ. l. 17. READ

"area."

Pag. 161. ADD to Not. ^q.

"In the wardrobe-roll of prince Edward, afterwards king Edward the second, under the year 1272, the masters of the horse render their accounts for horses purchased, specifying the colours and prices with the greatest accuracy. One of them is called, "Unus equus FAVELLUS cum stella in fronte, &c." Hearne's JOANN. DE TROKE∣LOWE. Praef. p. xxvi. Here favellus is interpreted by Hearne to be honeycomb. I suppose he understands a dappled or roan horse. But FAVELLUS, evidently an adjective, is barbarous Latin for FALVUS, or fulvus, a dun or light yellow, a word often used to express the colour of horses and hawks. See Car∣pentier, SUPPL. Du Fresne LAT. GLOSS. V. FAVELLUS. tom. ii. p. 370. It is hence that king Richard's horse is called FAVEL. From which word PHANUEL, in Robert de Brunne, is a corruption.

Pag. 165. Not. ^k. l. 3. READ

"paytrell."

Pag. 170. to

"corall"

in l. 16. ADD this Note,

"I do not perfectly understand the materials of this fairy palace. The walls thereof were of cristall And the somers of corall. But Chaucer mentions corall in his temple of Diana. KNIGHTES TALE, v. 1912.

And northward, in a touret on the wall, Of alabastre white, and red corall, An oratorie riche for to see.

Carpentier cites a passage from the romance De Troyes, in which a chamber of al••baster is mentioned. SUPPL. LAT, GLOSS. Du Cange, tom. i. p. 136.

En celle chambre n'oit noienz, De chaux, d'areine, de cimenz, Enduit, ni moillerons, ni emplaistre, Tot entiere fut alambastre.

Pag. 175. ADD to Not. ^w.

"The etymologists have been puzzled to find the derivation of an oriel-window. A learned correspondent suggests, that ORIEL is Hebrew for Lux mea, or Dominus illuminatio mea.

Pag. 180. to Not. ^•. ADD,

"Cloath of Rennes seems to have been the finest sort of linen. In the old manuscript MYSTERY, or religious comedy, of MARY MAGDALENE, written in 1512, a GALANT, one of the retainers to the groupe of the Seven Deadly Sins, is introduced with the fol∣lowing speech.

Hof, Hof, Hof, a frysch new galaunt! Ware of thryft, ley that a doune: What mene ye, syrrys, that I were a marchaunt, Because that I am new com to toun? With praty .... wold I fayne round, I have a shert of reyns with sleves peneaunt, A lase of sylke for my lady Constant— I woll, or even, be shaven for to seme yong, &c.

So also in Skelton's MAGNIFICENCE, a Morality written much about the same time. f. xx. b.

Your skynne, that was wrapped in shertes of raynes, Nowe must be storm ybeten.—

Pag. 186. Not. ⁿ. READ

"Ne wist."

Pag. 190. Not. col. 1. lin. 7. After

"Robert,"

ADD

"The

French prose romance of ROBERT LE DIABLE, printed in 1496, is extant in the little collection, of two volumes, called BIBLIO∣THEQUE BLEUE. It has been translated into other languages: among the rest into English. The English version was printed by Wynkyn de Worde. The title of one of the chapters is, How god sent an aungell to the hermyte to shewe him the penaunce that ••e sholde gyve to Robert for his synnes.—"Yf that Robert wyll be shryven of his synnes, he must kepe and counterfeite the wayes of a fole and be as he were dombe, &c." It ends thus••

Thus endeth the lyfe of Robert the devyll That was the servaunte of our lorde And of his condycyons that was full evyll Emprinted in London by Wynkyn de Worde.

The volume has this colophon.

"Here endeth the lyfe of the moost ferefullest and unmercyfullest and myschevous Robert the devill which was afterwards called the servaunt of our Lorde Jhesu Cryste. Emprinted in Fletestrete in [at] the sygne of the sonne by Wynkyn de Worde."

There is an old English MORALITY on this tale, under the very corrupt title of ROBERT CICYLL, which was represented at the High∣Cross in Chester, in 1529. There is a manuscript copy of the poem, on vellum, in Trinity college library at Oxford, MSS. Num. LVII. fol.

Pag. 197. to l. 15. ADD this Note;

"I know not if by sire Jovyn he means Jupiter, or the Roman emperour called Jovinian, against whom saint Jerom wrote, and whose history is in the GESTA ROMANORUM, c. 59. He is mentioned by Chaucer as an example of pride, luxury, and lust. SOMP. T. v. 7511. Verdier (in V.) recites a Moralite on Jovinian, with nineteen characters, printed at Lyons, from an antient copy in 1581, 8^vo. With the title L'Orgueil et presomption de l'Empereur JOVI∣NIAN. But Jovyn being mentioned here with Plotoun and Apol∣lin, seems to mean Jove or Jupiter; and the appellation, SIRE, perhaps implies father, or chief, of the heathen gods.

Pag. 200. to the Note ADD,

"Margaret countess of Rich∣mond was a justice of peace."

Pag. 208. to Not. ^c. ADD

"I make no apology for adding here an account of the furniture of a CLOSET at the old royal palace of Greenwich, in the reign of Henry the eighth; as it throws light on our general subject, by giving a lively picture of the fashions, arts, amusements, and modes of life, which then prevailed. From the same manuscript in the British Mu∣seum. "A clocke. A glasse of steele. Four battell axes of wood. Two quivers with arrowes. A painted table, [i. e. a picture.] A payre of ballance [balances], with waights. A case of tynne with a plot. In the window [a large bow∣window], a rounde mapp, A standinge glasse of steele in ship.—A branche of flowres wrought upon wyre. Two payre of playing tables of bone. A payre of chesmen in a case of black lether. Two birds of Araby. A gonne [gun] upon a stocke wheeled. Five paxes [crucifixes] of glasse and woode. A tablet of our ladie and saint Anne. A standinge glasse with imagery made of bone. Three payre of hawkes gloves, with two lined with velvett. Three combe-cases of bone furnished. A night-cappe of blacke velvett embraw∣dered. Sampson made in alablaster. A peece of unicorne's horne. Littel boxes in a case of woode. Four littel coffres for jewels. A horne of ivorie, A standinge diall in a case of copper. A horne-glasse. Eight cases of trenchers. Forty four dogs collars, of sondrye makynge. Seven lyans of silke. A purse of crymson satten for a ..... embrawdered with golde. A round painted table with th' ymage of a kinge. A foldinge table of images. One payre of bedes [beads] of jasper garnyshed with lether. One hundred and thirty eight hawkes hoodes. A globe of paper. A mappe made lyke a scryne. Two green boxes with wrought corall in them. Two boxes covered with blacke velvett. A reede tipt at both ends with golde, and bolts for a turony bowe y 1.23. A

chaire of joyned worke. An elle of synnamounde [cinna∣mon] sticke tipt with sylver. Three ridinge roddes for ladies, and a yard [rod] of blake tipt with horne. Six walkyng staves, one covered with silke and golde. A blake satten-bag with chesmen. A table with a cloth [a picture] of saint George embrawdered. A case of fyne carved work. A box with a bird of Araby. Two long cases of blacke lether with pedegrees. A case of Irish arrows. A table, with wordes, of Jhesus. A target. Twenty-nine bowes." MSS. Harl. 1419. fol. 58. In the GALLERY at Greenwich, men∣tion is made of a "Mappe of England." Ibid. fol. 58. And in Westminster-palace "a Mappe of Hantshire." fol. 133. A proof that the topography of England was now studied. Among various HEADS of Furniture, or stores, at the castle of Windsor, such as HORNS, GYRDELLES, HAWKES HOODS, WEAPONS, BUCKLERS, DOGS COLLARS, and AIGLETTES, WALKING∣STAVES are specified. Under this last HEAD we have, "A Cane garnished with sylver and gilte, with astronomie upon it. A Cane garnished with golde havinge a perfume in the toppe, undre that a diall, with a paire of twitchers, and a paire of compasses of golde and a foote reule of golde, a knife and the file, th' afte [the handle of the knife] of golde with a whetstone tipped with golde, &c." fol. 407.

Ibid. Notes, col. 1. To l. 25. ADD

"It is in this romance of Syr BEVYS, that the knight passes over a bridge, the arches of which are hung round with small bells. Signat. E iv. This is an oriental idea. In the ALCORAN it is said, that one of the felicities in Mahomet's paradise, will be to listen to the ravish∣ing music of an infinite number of bells, hanging on the trees, which will be put in motion by the wind proceeding from the throne of God. Sale's KORAN, Prelim. Disc. p. 100. In the enchanted horn, as we shall see hereafter, in le Lai du Corn, the rim of the horn is hung round with a hundred bells of a most musical sound.

Pag. 219. REFER Not. ^o. to ilome in the text.

Pag. 220. to l. 18. ADD this Note. In the Lincoln's-inn manuscript it is,

Divers is this myddel erde.

Hospit. Linc. MSS. N. 150.

Pag. 221. Not. ^f. READ

"Aurifrigium."

Ibid. Not. col. 1. l. 2, For

"Ethiope,"

READ

"Europe."

So MS. Hospit. Linc.

Pag. 232. Not. ^g. l. antep. READ

"Hubert."

[See Leland. SCRIPT. BRIT. p. 228. And a Note in the editor's first In∣dex, under GULIELMUS DE CANNO.]

Pag. 248. l. 8. READ

"canonical."

Pag. 255. Not. ^s. READ

"238."

Pag. 265. To l. 11. ADD this Note,

"Much about the same period, Lawrence Minot, not mentioned by Tanner, wrote a collection of poems on the principal events of the reign of king Edward the third, preserved in the British Museum. MSS. Cotton. GALB. E. ix.

Pag. 276. Not. ^u. READ

"360."

Pag. 277. ADD to Not. ^z.

"Or, Cousin."

Pag. 278. ADD to Not. ^f.

"See below, p. 300."

Pag. 279. l. 18. To the word

"Wy"

ADD this Note.

"Wy is probably Weyhill in Hampshire, where a famous fair still subsists.

Pag. 289. Not. ^d. READ

"Austins."

Pag. 292. For

"John,"

READ

"Thomas."

Pag. 298. Not. READ

"p. 40."

Ibid. DELE Not. ^•. And SUBSTITUTE

"Robartes men, or Roberdsmen, were a set of lawless vagabonds, notorious for their outrages when PIERCE PLOWMAN was written, that is, about the year 1350. The statute of Edward the third [an. reg. 5. c. xiv.] specifies "divers manslaughters, felonies, and robberies, done by people that be called Roberdesmen, Was∣tours, and drawlatches." And the statute of Richard the second [an. reg. 7. c. v.] ordains, that the statute of king

Edward concerning Roberdsmen and Drawlacches shall be ri∣gorously observed. Sir Edward Coke [INSTIT. iii. 197.] sup∣poses them to have been originally the followers of Robert Hood in the reign of Richard the first. See Blackstone's COMM. B. iv. ch. 17. Bishop Latimer says, that in a town where he intended to preach, he could not collect a congrega∣tion, because it was Robinhoodes daye. "I thought my rochet would have been regarded, though I were not: but it would not serve, it was faine to give place to Robinhoodes men." SERMONS, fol. 74. b. This expression is not without an allu∣sion to the bad sense of Roberdsmen.

Pag. 299. To l. 4. ADD this Note.

"In the LIBER PAENI∣TENTIALIS there is this injunction, "Si monachus per EBRIE∣TATEM vomitum fecerit, triginta dies paeniteat." MSS. JAM. V. 237. Bibl. Bodl.

Pag. 300. ADD to Not. ^p.

"Most of the printed copies read praid. Hearne, in a quotation of this passage, reads yrad. GUL. NEWBRIG. p. 770. He quotes an edition of 1553. "Your name shall be richly written in the windows of the church of the monastery, which men will READ there for ever." This seems to be the true reading.

Ibid. Not. ^m. Before

"Painted,"

INSERT

"Must be."

Mote is often used in Chaucer for must.

Pag. 301. l. antep. READ

"ycorven."

Pag. 302. DELE Not. ^p. And SUBSTITUTE,

"By Merkes of merchauntes we are to understand their symbols, cyphers, or badges, drawn or painted in the windows. Of this passage I have received the following curious explication from Mr. Cole, rector of Blechley in Bucks, a learned antiquary in the heraldic art. "Mixed with the arms of their founders and benefactors stand also the MARKS of tradesmen and merchants, who had no Arms, but used their Marks in a Shield like Arms. Instances of this sort are very common. In many places in Great Saint Mary's church in Cambridge such a SHIELD of MARK oc∣curs: the same that is to be seen in the windows of the

great shop opposite the Conduit on the Market-hill, and the corner house of the Petty Curry. No doubt, in the reign of Henry the seventh, the owner of these houses was a bene∣factor to the building, or glasing Saint Mary's church. I have seen like instances in Bristol cathedral; and the churches at Lynn are full of them."—In an antient system of heral∣dry in the British Museum, I find the following illustration, under a shield of this sort. "Theys be none armys, bvt a MARKE as MARCHAUNTS vse, for every mane may take hyme a Marke, but not armys, without an herawde or pur∣cyvaunte." MSS. Harl. 2259. 9. fol. 110.

Ibid. Not. ^•. ADD

"But perhaps we should read HURNES, interpreted, in the short Glossary to the CREDE, CAVES, that is, in the present application, niches, arches. See GLOSS. Rob. Glouc. p. 660. col. i. HURN, is angle, corner. From the Saxon Pẏ••n, Angulus. Chaucer FRANKEL. T. Urr. p. 110. v. 2677. Seeking in every halke [nook], and every herne. And again, CHAN. YEM. Prol. p. 121. v. 679. Lurking in hernis and in lanis blind. Read the line, thus pointed. Housed in HURNES hard set abouten. The sense is therefore. "The tombs were within lofty-pin∣nacled tabernacles, and enclosed in a multiplicity of thick∣set arches." HARD is close or thick. This conveys no bad idea of a Gothic sepulchral shrine.

Ibid. DELE Not. ^•.

Ibid. l. antep. For

"often,"

READ

"of ten."

Pag. 303. l. antep. READ

"quentelyche."

Pag. 309. Not. ^•. l. 1. READ

"140."

Pag. 317. ADD to Not. ^•.

"The Holy Virgin appears to a

priest who often sung to her, and calls him her joculator. MSS. JAMES. xxvi. p. 32.

Pag. 321. l. 23. READ

"1594."

Pag. 339. Not. ^s. ADD

"Perhaps by Cenes, Froissart means SHENE, the royal palace at Richmond.

Pag. 343. l. 10. READ

"Gloucestershire."

Ibid. Not. ^g. l. 1. READ

"Glanville."

And ADD at the end

"See Lewis's WICCLIFFE, p. 66. 329. And Lewis's HISTORY of the TRANSLATIONS of the BIBLE, p. 66.

Pag. 346. l. 17. After

"Lucca in,"

INSERT,

"1570. The title of Granucci's prose THESEIDE is this, THESEIDE di Boc∣cacio de ottava Rima nuovamente ridotta in prosa per Nicolao Gra∣nucci di Lucca. In Lucca appresso Vinzenzza Busdraghi. MDLXX. In the DEDICAZIONE to this work, which was printed more than two hundred years ago, and within one hundred years after the Ferrara edition of the THESEIDE appeared, Granucci men∣tions Boccacio's work as a TRANSLATION from the barbarous Greek poem cited below. DEDICAZ. fol. 5. "Volendo far cosa, que non sio stata fatta da loro, pero mutato parere mi dicoli a ridurre in prosa questo Innamoramento, Opera di M. Giovanni Boccacio, quale egli transporto DAL GRECO in octava rima per compiacere alla sua Fiametta, &c." Lib. SLONIAN. 1614. Brit. Mus.

Pag. 349. l. 5. After

"Theseid,"

INSERT

"The writer has translated the prefatory epistle addressed by Boccacio to the Fiametta.

Ibid. l. 10. READ

"1453."

Pag. 350. ADD to the last Note.

"In the edition of the GESTA ROMANORUM, printed at Rouen in 1521, and contain∣ing one hundred and eighty-one chapters, the history of Apol∣lonius of Tyre occurs, ch. 153. This is the first of the addi∣tional chapters.

Pag. 352. To Not. ^r. ADD

"The translation of FLORES and BLANCAFLORE in Greek iambics might also be made in compliment to Boccacio. Their adventures make the principal

subject of his PHILOCOPO: but the story existed long before, as Boccacio himself informs us, L. i. p. 6. edit. 1723. Flores and Blancaflore are mentioned as illustrious lovers by Matfres Eymengau de Bezers, a poet of Languedoc, in his BREVIARI D'AMOR, dated in the year 1288. MSS. REG. 19 C. i. fol. 199. This tale was probably enlarged in passing through the hands of Boccacio. See CANTERB. T. iv. p. 169.

Ibid. ADD to Not. ^t.

"I am informed, that Dr. George's books, amongst which was the Greek Theseid, were purchased by Lord Spencer.

Ibid. Not. ^c. l. 3. READ

"Tzetzes."

Pag. 357. l. 7. ADD this Note.

"Boccacio's situations and incidents, respecting the lovers, are often inartificial and unaf∣fecting. In the Italian poet, Emilia walking in the garden and singing, is seen and heard first by Arcite, who immediately calls Palamon. They are both equally, and at the same point of time, captivated with her beauty; yet without any expres∣sions of jealousy, or appearance of rivalry. But in Chaucer's management of the commencement of this amour, Palamon by seeing Emilia first, acquires an advantage over Arcite, which ultimately renders the catastrophe more agreeable to poetical justice. It is an unnatural and unanimated picture which Boc∣cacio presents, of the two young princes violently enamoured of the same object, and still remaining in a state of amity. In Chaucer, the quarrel between the two friends, the foundation of all the future beautiful distress of the piece, commences at this moment, and causes a conversation full of mutual rage and resentment. This rapid transition from a friendship cemented by every tie, to the most implacable hostility, is on this occa∣sion not only highly natural, but produces a sudden and unex∣pected change of circumstances, which enlivens the detail, and is always interesting. Even afterwards, when Arcite is released from the prison by Perithous, he embraces Palamon at parting. And in the fifth book of the THESEIDE, when Palamon goes armed to the grove in search of Arcite, whom he finds

sleeping, they meet on terms of much civility and friendship, and in all the mechanical formality of the manners of romance. In Chaucer, this dialogue has a very different cast. Palamon at seeing Arcite, feels a colde swerde glide throughout his heart: he starts from his ambuscade, and instantly salutes Arcite with the appellation of false traitour. And although Boccacio has merit in discriminating the characters of the two princes, by giving Palamon the impetuosity of Achilles, and Arcite the mildness of Hector; yet Arcite by Boccacio is here injudiciously represented as too moderate and pacific. In Chaucer he returns the salute with the same degree of indignation, draws his sword, and defies Palamon to single combat. So languid is Boccacio's plan of this amour, that Palamon does not begin to be jealous of Arcite, till he is informed in the prison, that Arcite lived as a favorite servant with Theseus in disguise, yet known to Emilia. When the lovers see Emilia from the window of their tower, she is supposed by Boccacio to observe them, and not to be displeased at their signs of admiration. This circumstance is justly omit∣ted by Chaucer, as quite unnecessary; and not tending either to promote the present business, or to operate in any distant conse∣quences. On the whole, Chaucer has eminently shewn his good sense and judgement in rejecting the superfluities, and improving the general arrangement, of the story. He fre∣quently corrects or softens Boccacio's false manners: and it is with singular address he has often abridged the Italian poet's osten∣tatious and pedantic parade of antient history and mythology.

Pag. 357. l. 21. READ

"sharpe."

Pag. 359. l. 14. For

"boris,"

READ

"beris."

Pag. 360. Not. ^c. l. 11. For

"wende,"

READ

"wonde."

Pag. 362. l. ult. DELE

"court."

Pag. 363. ADD to end of Note, col. 2.

"But to be more particular as to these imitations.

Ver. 900. p. 8. Urr. edit.

A company of ladys twey and twey, &c.

Thus Theseus, at his return in triumph from conquering Scy∣thia, is accosted by the dames of Thebes, Stat. THEB. xii. 519.

Jamque domos patrias, Scythicae post aspera gentis Praelia, laurigero subeuntem Thesea curru Laetifici plausus, &c. &c. Paulum et ab insessis moestae Pelopeides aris Promovere gradum, seriemque et dona triumphi Mirantur, victique animo rediere mariti. Atque ubi tardavit currus, et ab axe superbo Explorat causas victor, poscitque benigna Aure preces; orsa ante alias Capaneia conjux, Belliger Aegide, &c.

Chaucer here copies Statius, (v. 861,—966.) KN. T. from v. 519. to v. 600. THEB. See also ibid. 465. seq.

V. 930. p. 9.

Here in the Temple of the goddess Clemence, &c.

Statius mentions the temple of Clemency as the asylum where these ladies were assembled, THEB. xii. 481.

Urbe fuit media, nulli concessa potentum Ara deum, mitis posuit Clementia sedem, &c.

V. 2947.

Ne what jewillis men into the fire cast, &c.

Literally from Statius, THEB. vi. 206.

Ditantur flammae, non unquam opulentior illa Ante cinis; crepitant gemmae, &c.

But the whole of Arcite's funeral is minutely copied from Statius. More than a hundred parallel lines on this subject might be produced from each poet. In Statius the account of

the trees felled for the pyre, with the consternation of the Nymphs, takes up more than twenty-four lines. v. 84.—116. In Chaucer about thirteen, v. 2922.—2937. In Boccacio, six stanzas. B. xi. Of the three poets, Statius is most reprehen∣sible, the first author of this ill-placed and unnecessary descrip∣tion, and who did not live in a Gothic age. The statues of Mars and Venus I imagined had been copied from Fulgentius, Boccacio's favorite mythographer. But Fulgentius says no∣thing of Mars: and of Venus, that she only stood in the sea on a couch, attended by the Graces. It is from Statius that The∣seus became a hero of romance.

Pag. 366. l. antep. "READ

"laughith."

And ADD this Note.

"For Orient, perhaps Orisount, or the horison, is the true reading. So the edition of Chaucer in 1561. So also the barbarous-Greek poem on this story, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Dry∣den seems to have read, or to have made out of this mispelling of Horison, ORIENT.

Pag. 370. l. 8. READ

"buske."

Pag. 372. l. antep. For

"at,"

READ

"al."

Pag. 374. l. 20. READ

"forto."

Pag. 375. l. 6. READ

"This."

Pag. 376. ADD to Not. in col. 1.

"AMILED is from the French EMAIL, or ENAMEL. This art flourished most at Limoges in France. So early as the year 1197, we have "Duas tabulas aeneas superauratas de labore Limogiae." Chart. ann. 1197. apud Ughelin. tom. vii. ITAL. SACR. p. 1274. It is called Opus Lemnoviticum, in Dugdale's MON. iii. 310. 313. 331. And in Wilkins's CONCIL. i. 666. where two cabinets for the host are ordered, one of silver or of ivory, and the other de opere Lemovicino. SYNOD. WIGORN. A. D. 1240. And in many other places. I find it called Limaise, in a metrical ro∣mance, the name of which I have forgot, where a tomb is described, And yt was, the Romans sayes, All with golde and limaise.

Carpentier [V. LIMOGIA.] observes, that it was antiently a common ornament of sumptuous tombs. He cites a Testament of the year 1327, "Je lais huit cent livres pour faire deux tombes hautes et levées de l'EUVRE de LIMOGES." The ori∣ginal tomb of Walter de Merton, bishop of Rochester, erected in his cathedral about the year 1276, was made at Limoges. This appears from the accompts of his executors, viz. "Et computant xl l. v s. vi d. liberat. Magistro Johanni Linnom∣censi, pro tumba dicti Episcopi Roffensis, scil. pro Construc∣tione et carriagio de Lymoges ad Roffam. Et xl s. viii d. cuidam Executori apud Lymoges ad ordinandum et provi∣dendum Constructionem dictae Tumbae. Et x s. viii d. cui∣dam garcioni eunti apud Lymoges quaerenti dictam tumbam constructam, et ducenti eam cum dicto Mag. Johanne usque Roffam. Et xxii l. in materialibus circa dictam tumbam defricandam. Et vii marcas, in ferramento ejusdem, et car∣riagio a Londin. usque ad Roff. et aliis parandis ad dictam tumbam. Et xi s. cuidam vitriario pro vitris fenestrarum emptarum juxta tumbam dicti Episcopi apud Roffam." Ant. Wood's MS. MERTON PAPERS, Bibl. Bodl. COD. BALLARD. 46.

Pag. 378. l. 9. READ

"preis."

Pag. 383. l. 4. READ

"Petrarch having desired his friend Guy de Gonzague to send him some new piece, he sent him, &c."

Pag. 385. l. 2. To the word Boccacio, ADD this Note.

"Boccacio's FILOSTRATO was printed in quarto at Milan, in 1488. The title is, "Il FYOLOSTRATO, che tracta de lo innamoramento de TROILO a GRYSEIDA: et de molte altre infinite battaglie. Impresso nella inclita cita de Milano par magistro Uldericho Scinzenzeler nell anno M. CCCCLXXXXVIII. a di xxvii di mese Septembre." It is in the octave stanza. The editor of the CANTERBURY TALES informs me, that Boccacio himself, in his DECAMERON, has made the same ho∣nourable mention of this poem as of the THESEIDA: although without acknowledging either for his own. In the Introduc∣tion to the Sixth Day, he says, that "Dioneo insieme con

Lauretta de TROILE ET DI CRISEIDA cominciarono can∣tare." Just as, afterwards, in the conclusion of the Seventh Day he says, that the same "Dioneo et Fiametta gran pezzi cantarono insieme D'ARCITA ET DI PALAMONE." See CANTERB. T. vol. iv. p. 85. iii. p. 311. Chaucer appears to have been as much indebted to Boccacio in his TROILUS AND CRESSEIDE, as in his KNIGHTES TALE. At the same time we must observe, that there are several long passages, and even episodes, in TROILUS, of which no traces appear in the FILOSTRATO. Chaucer speaks of himself as a translator out of Latin, B. ii. 14. And he calls his author LOLLIUS, B. i. 394.—421. and B. v. 1652. The latter of these two passages is in the PHILOSTRATO: but the former, containing Petrarch's sonnet, is not. And when Chaucer says, he translates from Latin, we must remember, that the Italian language was called Latino volgare. Shall we suppos••, that Chaucer followed a more complete copy of the FILOSTRATO than that we have at present, or one enlarged by some officious interpolator? The Parisian manuscript might perhaps clear these difficulties. In Bennet library at Cambridge, there is a manuscript of Chaucer's TROILUS, elegantly written, with a frontispiece beautifully illuminated, LXI.

Ibid. l. 16. READ

"sike, and efte to."

Pag. 387. l. 5. READ

"alofte."

Ibid. l. 15. READ

"lo which a dede!"

Pag. 388. l. 14. READ

"Bradwardine."

So also, p. 421. l. 2. infr.

Pag. 389. Not. ^k. l. 3. READ

"B. iii."

Ibid. ibid. l. 2. col. 2. For

"Thomas a Beckett,"

READ

"Thomas Becket."

So also, p. 14. l. 13. p. 85. l. 15. p. 397. l. 4. p. 445. l. 12. [For this, see H. Wharton's Letter at the end of Strype's CRANMER, p. 526.]

Ibid. ibid. l. 5. col. 2. READ

"B. ii. v. 526."

Pag. 390. Not. ^•. l. 3. READ

"owne."

Pag. 392. l. 21. READ

"parlirs."

Ibid. Not. ^z. READ

"iii."

Ibid. l. 25. READ

"William Thomas."

And ADD this Note.

"Chaucer's Life in Urry's edition. William Thomas digested this Life from collections by Dart. His brother, Dr. Timothy Thomas, wrote or compiled the Glossary and Preface to that edition. See Dart's WESTMINST. ABBEY, i. 86. Ti∣mothy Thomas was of Christ Church Oxford, and died in 1751.

Pag. 401. l. 18. For

"Seraphic,"

READ

"Angelic."

Pag. 403. l. 9. READ

"mede."

Pag. 407. Not. ^f. ADD

"The same fiction is in Caxton's TROYE BOKE. "Upon the pinacle or top of the towre he made an ymage of copper and gave hym in his hande a looking-glasse, having such vertue, that if it happened that any shippes came to harme the citie suddenly, their army and their coming should appear in the said looking-glasse." B. ii. ch. xxii.

Pag. 408. Not. ⁱ. l. 1. col. 2. READ

"Gallic."

Pag. 413. To Not. ^h. l. 2. ADD,

"Mahomet believed this foolish story, at least thought it fit for a popular book, and has therefore inserted it in the Alcoran. See Grey on HUDIBRAS, part i. cant. i. v. 547.

Pag. 415. ADD to l. 15. this Note.

"The bridle of the en∣chanted horse is carried into the tower, which was the treasury of Cambuscan's castle, to be kept among the jewels. Thus when king Richard the first, in a crusade, took Cyprus, among the treasures in the castles are recited pretious stones, and golden cups, together with "Sellis aureis frenis et calcaribus." Galfr. Vinesauf. ITER. HIEROSOL. cap. xli. p. 328. VET. SCRIPT. ANGL. tom. ii.

Pag. 416. ADD to Not. ^r.

"It may be doubted whether Boccacio invented the story of Grisilde. For, as the late in∣quisitive and judicious editor of THE CANTERBURY TALES observes, it appears by a Letter of Petrarch to Boccacio, [OPP. Petrarch. p. 540—7. edit. Basil. 1581.] sent with his Latin

translation, in 1373, that Petrarch had heard the story with plea∣sure, many years before he saw the Decameron. vol. iv. p. 157.

Pag. 417. To l. 9. ADD,

"And in Bennet college library with this title. "HISTORIA ••ive FABULA de nobili Mar∣chione WALTERIO domino terrae Saluciarum, quomodo duxit in uxorem GRISILDEM pauperculam, et ejus constan∣tiam et patientiam mirabiliter et acriter comprobavit: quam de vulgari sermone Saluciarum in Latinum transtulit D. Fran∣ciscus Petrarcha." CLXXVII. 10. fol. 76. Again, ibid. CCLXXV. 14. fol. 163. Again, ibid. CCCCLVIII. 3. with the date 1476, I suppose, from the scribe. And in Bibl. Bodl. MSS. LAUD. G. 80.

Ibid. Not. ^w. l. 2. After

"Bonne••ons,"

INSERT,

"This is the whole title. "Le MYSTERE de Griseldis, Marquis d•• Saluces, mis en rime françoise et par personnaiges." With∣out date, in quarto, and in the Gothic type. In the colophon, Cy finist la vie de Griseldis, &c.

Pag. 419. l. 2. After

"growth,"

INSERT,

"The story of the cock and the fox is evidently borrowed from a collection of Esopean and other fables, written by Marie a French poetess, whose LAIS are preserved in MSS. HARL. ut infr. see f. 139. Beside the absolute resemblance, it appears still more probable that Chaucer copied from Marie, because no such fable is to be found either in the Greek Esop, or in any of the Latin Esopean com∣pilations of the dark ages. See MSS. HARL. 978. f. 76. All the manuscripts of Marie's fables in the British Museum prove, that she translated her work "de l'Anglois en Roman." Probably her English original was Alfred's Anglo-Saxon version of Esop modernised, and still bearing his name. She professes to follow the version of a king; who, in the best of the Harleian copies, is called LI REIS ALURED. MSS. HARL. 978. supr. citat. She appears, from passages in her LAIS, to have understood English. See Chaucer's CANTERB. TALES, vol. iv. p. 179. I will give her Epilogue to the Fables from MSS. JAMES. viii. p. 23. Bibl. Bodl.

Al finement de cest escrit Qu' en romanz ai treite e dit Me numerai pour remembraunce Marie ai nun sui de France Pur cel estre que clerc plusur Prendreient sur eus mun labeur Ne voit que nul sur li sa die Eil feit que fol que sei ublie Pur amur le cunte Wllame Le plus vaillant de nul realme Meinlemir de ceste livre feire E des Engleis en romanz treire Esop apelum cest livre Quil translata e fist escrire Del Gru en Latin le turna Le Reiz Alurez que mut lama Le translata puis en Engleis E jeo lai rimee en Franceis Si cum jeo poi plus proprement Ore pri a dieu omnipotent, &c.

Pag. 420. l. 18. READ

"beke."

Pag. 421. To Not. ^t. ADD,

"The ludicrous adventure of the Pear Tree, in JANUARY AND MAY, is taken from a col∣lection of Fables in Latin elegiacs, written by one Adolphus in the year 1315. Leyser. HIST. POET. MED. AEVL. p. 2008. The same fable is among the Fables of Alphonse, in Caxton's ESOP.

Pag. 425. l. 15. For

"in,"

READ

"is."

Pag. 427. l. 9. READ

"perlid."

Pag. 428. Not. ⁿ. l. 2. READ

"be went."

[So the edit. in 1561.]

Ibid. To Not. ^q. ADD,

"Calcei fenestrasti occur in antient Injunctions to the clergy. In Eton-college statutes, given in 1446, the fellows are forbidden to wear, sotularia rostrata, as

also caligae, white, red, or green. CAP. xix. In a chantry, or chapel, founded at Winchester in the year 1318, within the cemitery of the Nuns of the Blessed Virgin by Roger Inkpenne, the members, that is, a warden, chaplain and clerk, are ordered to go "in meris caligis, et sotularibus non rostratis, nisi forsi∣tan botis uti voluerunt." And it is added, "Vestes deferant non fibulatas, sed desuper clausas, vel brevitate non notanda••." REGISTR. Priorat. S. Swithini Winton. MS. supr. citat. Qua∣tern. 6. Compare Wilkins's CONCIL. iii. 670. ii. 4.

Pag. 429. l. 3. READ

"Oxenforde."

Ibid. l. 6. READ

"song sometime a loud."

Pag. 430. Not. ^q. l. ••. After

"DISSERRAT. i."

ADD,

"It is not my intention to enter into the controversy concern∣ing the cultivation of vines, for making wine, in England. I shall only bring to light the following remarkable passage on that subject from an old English writer on gardening and farm∣ing. "We might have a reasonable good wine growyng in many places of this realme: as undoubtedly wee had imme∣diately after the Conquest; tyll partly by slouthfulnesse, not liking any thing long that is painefull, partly by civill dis∣cord long continuyng, it was left, and so with tyme lost, as appeareth by a number of places in this realme that keepe still the name of Vineyardes: and uppon many cliffes and hilles, are yet to be seene the rootes and olde remaynes of Vines. There is besides Nottingham, an auncient house called Chilwell, in which house remayneth yet, as an aun∣cient monument, in a Great Wyndowe of Glasse, the whole Order of planting, pruyning, [pruning,] stamping and pres∣sing of vines. Beside, there [at that place] is yet also grow∣ing an old vine, that yields a grape sufficient to make a right good wine, as was lately proved.—There hath, moreover, good experience of late yeears been made, by two noble and honorable barons of this realme, the lorde Cobham and the lorde Wylliams of Tame, who had both growyng about their houses, as good wines as are in many parts of Fraunce,

&c." Barnabie Googe's FOURE BOOKES OF HUSBANDRY, &c. Lond. 1578. 4^to. TO THE READER.

Pag. 431. To Not. ^k. ADD,

"But both Boccacio and Chau∣cer probably borrowed from an old CONTE, or FABLIAU, by an anonymous French rhymer, De Gombert et des deux Clers. See FABLIAUX et CONTES, Paris, 1756. tom. ii. p. 115.—124. The SHIPMAN'S TALE, as I have hinted, originally came from some such French FABLEOUR, through the medium of Boccacio.

Ibid. To Not. ^b. ADD,

"It is entitled BURNELLUS, sive Speculum stultorum, and was written about the year 1190. See Leyser. POET. MED. AEVI. p. 752. It is a common manu∣script. Burnell is a nick-name for Balaam's ass in the Chester WHITSUN PLAYS. MSS. HARL. 2013.

Pag. 432. Not. ^l. l. 4. After

"Cambridge,"

INSERT,

"There is, however, Abington, with a mill-stream, seven miles from Cambridge.

Ibid. Not. ⁿ. l. 9. READ

"881."

Ibid. l. 14. READ

"Salarii."

Pag. 436. To Not. ^c. ADD

"The Prioresse's exact behaviour at table, is copied from ROM. ROSE, 14178.—14199. Et bien se garde, &c. To speak French is mentioned above, among her accomplish∣ments. There is a letter in old French from queen Philppa, and her daughter Isabell, to the Priour of Saint Swithin's at Winchester, to admitt one Agnes Patshull into an eleemosynary sisterhood belonging to his convent. The Priour is requested to grant her, "Une Lyvere en votre Maison dieu de Wyncestere et estre un des soers," for her life. Written at Windesor, Apr. 25. The year must have been about 1350. REGISTR. Priorat. MS. supr. citat. Quartern. xix. fol. 4. I do not so much cite this instance to prove that the Priour must be supposed to under∣stand French, as to shew that it was now the court language, and

even on a matter of business. There was at least a great pro∣priety, that the queen and princess should write in this language, although to an ecclesiastic of dignity. In the same Register, there is a letter in old French from the queen Dowager Isabell to the Priour and Convent of Winchester; to shew, that it was at her request, that king Edward the third her son had granted a church in Winchester diocese, to the monastery of Leedes in Yorkshire, for their better support, "a trouver sis chagnoignes chantans tous les jours en la chapele du Chastel de Ledes, pour laime madame Alianore reyne d'Angleterre, &c." A. D. 1341. Quatern vi.

The Prioresse's greatest oath is by Saint Eloy. I will here throw together some of the most remarkable oaths in the Can∣terbury Tales. The HOST, swears by my father's soule. Urr. p. 7. 783. Sir THOPAS, by ale and breade. p. 146. 3377. ARCITE, by my pan, i. e. head. p. 10. 1167. THESEUS, by mightie Mars the red. p. 14. 1749. Again, as he was a trew knight. p. 9. 961. The CARPENTER'S wife, by saint Thomas of Kent. p. 26. 183. The SMITH, by Christes foote. p. 29. 674. The CAMBRIDGE SCHOLAR, by my father's kinn. p. 31. 930. Again, by my croune, ib. 933. Again, for godes benes, or benison. p. 32. 965. Again, by seint Cuthberde, ib. 1019. Sir JOHAN of BOUNDIS, by seint Martyne. p. 37. 107. GA∣MELYN, by goddis boke. p. 38. 181. GAMELYN'S brother, by saint Richere. ibid. 273. Again, by Cristis ore. ib. 279. A FRANKELEYN, by saint Jame that in Galis is, i. e. saint James of Galicia. p. 40. 549. 1514. A PORTER, by Goddis berde. ib. 581. GAMELYN, by my hals, or neck. p. 42. 773. The MAISTIR OUTLAWE, by the gode rode. p. 45. 1265. The HOSTE, by the precious corpus Madrian, p. 160. 4. Again, by saint Paulis bell. p. 168. 893. The MAN of LAWE, De∣pardeux. p. 49. 39. The MARCHAUNT, by saint Thomas of Inde. p. 66. 745. The SOMPNOUR, by goddis armis two. p. 82. 833. The HOSTE, by cockis bonis. p. 106. 2235. Again, by naylis and by blode, i. e. of Christ. p. 130. 1802. Again, by

saint Damian. p. 131. 1824. Again, by saint Runion. ib. 1834. Again, by Corpus domini. ib. 1838. The RIOTTOUR, by God∣dis digne bones. p. 135. 2211. The HOSTE, to the Monke, by your father kin. p. 160. 43. The MONKE, by his porthose, or breviary. p. 139. 2639. Again, by God and saint Martin. ib. 2656. The HOSTE, by armis, blode and bonis. p. 24. 17.

Pag. 438. l. 14. READ

"man."

Pag. 440. l. 8. READ

"unyd."

Pag. 441. l. 10. READ

"Peripatetic."

Ibid. Not. ⁿ. l. 2. READ

"L. ii."

Pag. 442. l. ult. READ

"Pits."

Pag. 443. Not. col. 1. l. 6. After

"249,"

ADD,

"See Freind's HIST. OF PHYSICK, ii. 257.

Ibid. Not. ^w. l. 3. READ

"quaestum."

Ibid. l. 5. For

"foreign writers,"

READ

"English students abroad."

ADD to the end of the Note,

"See more of Gil∣bertus Anglicus, ibid. p. 356.

Pag. 445. l. 16. READ

"Watte."

And ADD as a Note,

"So edit. 1561. See Johnson's Dictionary, in MAGPIE.

Pag. 446. l. 5. For

"to,"

READ

"the."

Pag. 447. Notes, col. 2. l. 2. READ

"298."

Pag. 449. To Not. ^d. ADD,

"The gulf and castle of Sa∣talia are mentioned by Benedictus Abbas, in the crusade under the year 1191. "Et cum rex Franciae recessisset ab Antiochet, statim intravit gulfum SATHALIAE.—SATHALIAE Castellum est optimum, unde gulfus ille nomen accepit; et super gul∣fum illum sunt duo Castella et Villae, et utrumque dicitur SATALIA. Sed unum illorum est desertum, et dicitur Vetus SATALIA quod piratae destruxerunt, et alterum Nova SA∣TALIA dicitur, quod Manuel imperator Constantinopolis firmavit." VIT. ET GEST. HENR. et RIC. ii. p. 680. Afterwards he mentions Mare Graecum, p. 683. That is, the Mediterranean from Sicily to Cyprus. I am inclined, in the second verse following, to read "Greke sea." Leyis is the town of Layas in Armenia.

Pag. 450. l. 16. For

"in,"

READ

"is."

Ibid. l. ult. READ

"Sheff."

Ibid. Not. ^•. l. 3. READ

"chivauchie."

Pag. 452. l. 10. DELE

"in."

Ibid. Not. ^s. READ

"447."

Pag. 453. Note, col. 2. l. 14. READ

"full."

Pag. 454. Not. ^b. l. 9. READ

"Tapiser."

And in the next line,

"Chanon's."

Pag. 458. l. 19. ADD this Note to

"Provence."

"The ingenious editor of the CANTERBURY TALES treats the no∣tion, that Chaucer imitated the Provencial poets, as totally void of foundation. He says, "I have not observed in any of his writings a single phrase or word, which has the least ap∣pearance of having been fetched from the South of the Loire. With respect to the manner and matter of his compositions, till some clear instance of imitation be produced, I shall be slow to believe, that in either he ever copied the poets of Provence; with whose works, I apprehend, he had very little, if any acquaintance." Vol. i. APPEND. PREF. p. xxxvi. I have advanced the contrary doctrine, at least by impli∣cation: and I here beg leave to explain myself on a subject ma∣terially affecting the system of criticism that has been formed on Chaucer's works. I have never affirmed, that Chaucer imi∣tated the Provencial bards; although it is by no means impro∣bable, that he might have known their tales. But as the pe∣culiar nature of the Provencial poetry entered deeply into the substance, cast, and character, of some of those French and Italian models, which he is allowed to have followed, he cer∣tainly may be said to have copied, although not immediately, the matter and manner of these writers. I have called his HOUSE OF FAME originally a Provencial composition. I did not mean that it was written by a Provencial troubadour: but that Chaucer's original was compounded of the capricious mode of fabling, and that extravagant style of fiction, which constitute the essence of the Provencial poetry. As to the

FLOURE AND THE LEAFE, which Dryden pronounces to have been composed after their manner, it is framed on the old allegorising spirit of the Provencial writers, refined and disfi∣gured by the fopperies of the French poets in the fourteenth century. The ideas of these fablers had been so strongly im∣bibed, that they continued to operate long after Petrarch had introduced a more rational method of composition.

Pag. 462. Not. ^q. BEGIN this Note with

"Compare"

in the preceding Note.

Pag. 463. Not. col. 1. To the end of l. 8. ADD,

"The ground-work of DOLOPATHOS is a Greek story-book called SYNTIPAS, often cited by Du Cange, whose copy appears to have been translated from the Syriac. See GLOSS. MED. et INFIM. Graecitat.—IND. Auctor. p. 33. Among the Harleian manuscripts is another, which is said to be translated from the Persic. MSS. HARL. 5560. Fabricius says, that Syntipas was printed at Venice, lingua vulgari. BIBL. GR. x. 515. On the whole, the plan of SYNTIPAS appears to be exactly the same with that of LES SEPT SAGES, the Italian ERASTO, and our own little story book the SEVEN WISE MASTERS: except that, instead of Dioclesian of Rome, the king is called CYRUS of PERSIA; and, instead of one Tale, each of the Philosophers tells two. The circumstance of Persia is an argument, that SYNTIPAS was originally an oriental composition. See what is collected on this curious subject, which is intimately concerned with the history of the invention of the middle ages, by the learned editor of the CATERBURY TALES, vol. iv. p. 329. There is a translation, as I am informed by the same writer, of this Romance in octosyllable verse, probably not later than the age of Chaucer. MSS. COTTON. GALB. E. ix. It is entitled "The Proces of the seven Sages," and agrees entirely with LES SEPT SAGES DE ROME in French prose. MSS. HARL. 3860. See also MSS. C. C. Coll. Oxon. 252. in membran. 4^to. The Latin book, called HISTORIA SEPTEM SAPIEN∣TUM ROMAE, is not a very scarce manuscript: it was printed

before 1500. I think there are two old editions among More's books at Cambridge. Particularly one printed in ••••arto at Paris, in 1493.

Pag. 466. Notes, col. 2. l. 1. Instead of

"All this while,"

READ

"Speght supposes that."

To the end ADD,

"See Le dit de la fleur de lis et de la Marguerite, by Guillaume Machaut, ACAD. INSCRIPT. xx. p. 381. x. 669. infr. citat. On the whole, it may be doubted whether, either Froissart, or Chau∣cer, means Margaret, countess of Pembroke. For compare APPEND. PREF. CANTERB. TALES, vol. i. p. xxxiv. I add, that in the year 1547, the poetical pieces of Margaret de Valois, queen of Navarre, were collected and published under the title of MARGUERITE de la Marguerites des Princesses, tres illustre Royne de Navarre, by John de la Haye, her valet de chambre. It was common in France, to give the title of MARGUERITES to studied panegyrics, and flowery compositions of every kind, both in prose and verse.

VOL. II.

PAGE 5. ADD to Not. ^k.

"The nations bordering upon the Jews, attributed the miraculous events of that people, to those external means and material instruments, such as symbols, ce∣remonies, and other visible signs or circumstances, which by God's special appointment, under their mysterious dispensation, they were directed to use. Among the observations which the oriental Gentiles made on the history of the Jews, they found that the Divine will was to be known by certain appearances in pretious stones. The Magi of the east, believing that the preternatural

discoveries obtained by means of the Urim and Thum∣mim, a contexture of gems in the breast-plate of the Mosaic priests, were owing to some virtue inherent in those stones, adopted the knowledge of the occult properties of gems as a branch of their magical system. Hence it became the peculiar profession of one class of their Sages, to investigate and interpret the various shades and coruscations, and to explain, to a moral purpose, the different colours, the dews, clouds, and imageries, which gems, differently exposed to the sun, moon, stars, fire, or air, at particular seasons, and inspected by persons particularly qualified, were seen to exhibit. This notion being once establish∣ed, a thousand extravagancies arose, of healing diseases, of pro∣curing victory, and of seeing future events, by means of pretious stones and other lucid substances. See Plin. NAT. HIST. xxxvii. 9. 10. These superstitions were soon ingrafted into the Ara∣bian philosophy, from which they were propagated all over Eu∣rope, and continued to operate even so late as the visionary ex∣periments of Dee and Kelly a 1.24. It is not in the mean time at all improbable, that the Druidical doctrines concerning the virtues of stones were derived from these lessons of the Magi: and they are still to be traced among the traditions of the vulgar, in those parts of Britain and Ireland, where Druidism retained its latest establishments. See Martin's WEST. ISLES, p. 167. 225. And Aubrey's MISCELL. p. 128. Lond. 8^vo.

Pag. 31. ADD,

"In lord Gower's library, there is a thin oblong manuscript on vellum, containing some of Gower's poems in Latin, French, and English. By an entry in the first leaf, in the hand-writing, and under the signature, of Thomas lord Fairfax, Cromwell's general, an antiquarian, and a lover and collector of curious manuscripts b 1.25, it appears, that this book

was presented by the poet Gower, about the year 1400, to Henry the fourth; and that it was given by lord Fairfax to his friend and kinsman sir Thomas Gower knight and baronet, in the year 1656. By another entry, lord Fairfax acknowledges to have received it, in the same year, as a present, from that learned gentleman Charles Gedde esquire, of saint Andrews in Scotland: and at the end, are five or six Latin anagrams on Gedde, written and signed by lord Fairfax, with this title, "In NOMEN venerandi et annosi Amici sui Caroli Geddei." By king Henry the fourth it seems to have been placed in the royal library: it appears at least to have been in the hands of king Henry the seventh, while earl of Richmond, from the name Rychemond, inserted in another of the blank leaves at the beginning, and explained by this note, "Liber Henrici septimi tunc Comitis Richmond, propria manu scripsit." This manuscript is neatly written, with miniated and illuminated initials: and contains the following pieces. I. A Panegyric in stanzas, with a Latin prologue or rubric in seven hexameters, on king Henry the fourth. This poem, commonly called Car∣men de pacis Commendatione in laudem Henrici quarti, is printed in Chaucer's WORKS, edit. Urr. p. 540.—II. A short Latin poem in elegiacs on the same subject, beginning, "Rex coeli deus et dominus qui tempora solus." [MSS. COTTON. OTHO. D. i. 4.] This is followed by ten other very short pieces, both in French and English, of the same tendency.—III. CIN∣KANTE BALADES, or Fifty Sonnets in French. Part of the first is illegible. They are closed with the following epilogue and colophon.

O gentile Engleterre a toi iescrits, Pour remembrer ta ioie qest nouelle, Qe te survient du noble Roy Henris, Par qui dieus ad redreste ta querele, A dieu purceo prient et cil et celle, Qil de sa grace, au fort Roi corone, Doignit peas, honour, ioie et prosperite.

Expliciunt carmina Johis Gower que Gallice composita BA∣LADES dicuntur.—IV. Two short Latin poems in elegiacs. The First beginning,

"Ecce patet tensus ceci Cupidinis arcus."

The Second,

"O Natura viri potuit quam tollere nemo."

—V. A French poem, imperfect at the beginning, On the Dignity or Excellence of Marriage, in one book. The subject is illustrated by examples. As no part of this poem was ever printed, I transcribe one of the stories.

Qualiter Jason uxorem suam Medeam relinquens, Creusam Creontis regis filiam sibi carnaliter copulavit. Verum ipse cum duobus filiis suis postea infortunatus periit.

Li prus Jason qeu lisle de Colchos Le toison dor, pour laide de Medee Conquist dont il donour portoit grant loos Par tout le monde encourt la renomee La joefne dame oue soi ad amenee De son pays en Grece et lespousa Ffreinte espousaile dieus le vengera.

Quant Medea meulx qui de etre en repos Ove son mari et qelle avoit porte Deux fils de luy lors changea le purpos El quelle Jason permer fuist oblige Il ad del tout Medeam refuse Si prist la ••••le au roi Creon Creusa Ffrenite espousaile dieux le vengera.

Medea qot le coer de dolour cloos En son corous et ceo fuist grant pite Sas joefnes fils queux et jadis en clos Veniz ses costees ensi com forseue Devant ses oels Jason ele ad tue Ceo qeu fuist fait pecche le fortuna Ffrenite espousaile dieux le vengera.

Towards the end of the piece, the poet introduces an apology for any inaccuracies, which, as an Englishman, he may have committed in the French idiom.

Al universite de tout le monde JOHAN GOWER ceste Balade evoie; Et si ieo nai de Francois faconde, Pardonetz moi qe ieo de ceo forsvoie. Jeo suis Englois: si quier par tiele voie Estre excuse mais quoique mills endie L'amour parfait en dieu se justifie.

It is finished with a few Latin hexameters, viz.

"Quis sit ve•• qualis sacer order connubialis."

This poem occurs at the end of two valuable folio manuscripts, illuminated and on vel∣lum, of the CONFESSIO AMANTIS, in the Bodleian library, viz. MSS. FAIRFAX, iii. And NE. F. 8. 9. Also in the manuscript at All Souls college Oxford, MSS. xxvi. des∣cribed and cited above. And in MSS. HARL. 3869. In all these, and, I believe, in many others, it is properly connected with the CONFESSIO AMANTIS by the following rubric.

"Puisqu' il ad dit CIDEVANT en ENGLOIS, par voie dessample, la sotie de cellui qui par amours aimie par especial, dirra ore apres en FRANCOIS a tout le mond en general une traitie selonc les auctors, pour essemplar les amants mariez, &c."

It begins,

Le creature du tout creature.

But the CINQUANTE BALADES, or fifty French Sonnets abovementioned, are the curious and valuable part of lord Gower's manuscript. They are not mentioned by those who have written the life of this poet, or have catalogued his works. Nor do they appear in any other manuscript of Gower which I have examined. But if they should be discovered in any other, I will venture to pronounce, that a more authentic, unembar∣rassed, and practicable copy than this before us, will not be produced: although it is for the most part unpointed, and ob∣scured with abbreviations, and with those mispellings which flowed from a scribe unacquainted with the French language.

To say no more, however, of the value which these little pieces may derive from being so scarce and so little known, they have much real and intrinsic merit. They are tender, pathetic, and poetical; and place our old poet Gower in a more advan∣tageous point of view than that in which he has hitherto been usually seen. I know not if any even among the French poets themselves, of this period, have left a set of more finished son∣nets: for they were probably written when Gower was a young man, about the year 1350. Nor had yet any English poet treated the passion of love with equal delic••cy of sentiment, and elegance of composition. I will transcribe four of these balades as correctly and intelligibly as I am able: although I must con∣fess, there are some lines which I do not exactly comprehend.

BALADE XXXVI.

Pour comparer ce jolif temps de Maij, Jeo dirrai semblable a Paradis; Car lors chantoit et merle et papegai, Les champs sont vert, les herbes sont floris; Lors est Nature dame du paijs: Dont Venus poignt l'amant a tiel assai, Qencontre amour nest qui poet dire Nai.

Quant tout ceo voi, et que ieo penserai, Coment Nature ad tout le mond suspris, Dont pour le temps se fait mino••e et gai, Et ieo des autres suis souleni horspris, Com al qui sanz amie est v••ais amis, Nest pas mervaile lors si ieo mesmai, Qencontre amour nest qui poet dire Nai.

En lieu de rose, urtie cuillerai, Dont mes chapeals ferrai par tiel devis, Qe tout ioie et confort ieo lerrai, Si celle soule e•• qui iai mon coer mis, Selonc le poni•• qe iai sovent req••i••, Ne deigne alegger les griefs mals qe iai, Qencontre amour nest qui poet dire Nai.

Pour pite querre et pourchacer i••tris, Va ten balade ou ieo tenvoierai, Qore en certain ieo lai tresbien apris Qencontre amour nest qui poet dire Nai.

BALADE XXXIV.

Saint Valentin, l'Amour, et la Nature, Des touts oiseals ad en gouernement, Dont chascun deaux, semblable a sa mesure•• Un compaigne honeste a son talent Eslist, tout dun accord et dun assent, Pour celle soul•• laist a covenir; Toutes les autres car nature aprent Ou li coers est le corps falt obeir.

Ma doulce Dame, ensi ieo vou•• assure, Qe ieo vous ai eslieu semblablement, Sur toutes autres estes a dessure De mon amour si tresentierement, Qe riens y falt pourquoi ioiousement,

De coer et corps ieo vous voldrai servir, Car de reson cest une experiment, Ou li coers est le corps falt obeir.

Pour remembrer iadis celle aventure De Alceone et ceix enseinent, Com dieus muoit en oisel lour figure, Ma volente serroit tout tielement Qe sans envie et danger de la gent, Nous porroions ensemble pour loisir Voler tout francs en votre esbatement Ou li coers est le corps falt obeir.

Ma belle oisel, vers qui mon pensement Seu vole ades sanz null contretenir Preu cest escript car ieo sai voirement Ou li coers est le corps falt obeir.

BALADE XLIII.

Plustricherous qe Jason a Medee, A Deianire ou q' Ercules estoit, Plus q' Eneas q' avoit Dido lassee, Plus qe Theseus q' Adriagnec 4.1 amoit, Ou Demophon qut Phillis oubliot, Te trieus, helas, qamer iadis soloie, Dont chanterai desore en mon endroit Cest ma dolour qe fuist amicois ma joie.

Unques Ector qama Pantasilee d 4.2, En tiele haste a Troie ne sarmoit, Qe tu tout mid nes deniz le lit couche Amis as toutes quelques venir doit, Ne poet chaloir mais qune femme y soit, Si es comun plus qe la halte voie, Helas, qe la fortune me deçoit, Cest ma dolour qe fuist amicois ma joie.

De Lancelot d 4.3 si fuissetz remembre, Et de Tristans, com il se countenoit, Generides e 4.4, Fflorent f 4.5, par Tonope g 4.6, Chascun des ceaux sa loialte gardoit; Mais tu, helas, qest ieo qe te forsvoit De moi qa toi iamais mill iour falsoie, Tu es a large et ieo sui en destroit, Cest ma dolour qe fuist amicois ma joie.

Des toutz les mals tu qes le plus maloit, Ceste compleignte a ton oraille envoie Sante me laist, et langour me recoit, Cest ma dolour qe fuist amicois ma joie.

BALADE XX.

Si com la nief, quant le fort vent tempeste, Pur halte mier se torna ci et la, Ma dame, ensi mon coer manit en tempeste, Quant le danger de vo parrole orra, Le nief qe votre bouche soufflera, Me fait sigler sur le peril de vie, Qest en danger falt quil mera supplie.

Rois Ulyxes, sicom nos dist la Geste, Vers son paiis de Troie qui sigla, Not tiel paour du peril et moleste,

Quant les Sereines en la mier passa, Et la danger de Circes eschapa, Qe le paour nest plus de ma partie, Qest en danger falt quil mera supplie.

Danger qui tolt damour tout la feste, Unques un mot de confort ne sona, Ainz plus cruel qe nest la fiere beste Au point quant danger me respondera. La chiere porte et quant le nai dirra, Plusque la mort mestoie celle oie Qest en danger falt quil mera supplie.

Vers vous, ma bone dame, horspris cella, Qe danger manit en votre compainie, Cest balade en mon message irra Qest en danger falt quil mera supplie.

For the use, and indeed the knowledge, of this manuscript, I am obliged to the unsolicited kindness of Lord Trentham; a favour which his lordship was pleased to confer with the most polite condescension.

Pag. 31. Notes, col. 2. l. 5. ADD,

"A Greco-barbarous translation of the romance of APOLLONIUS OF TYRE was made by one Gabriel Contianus h 5.1, a Grecian, about the year 1500, as appears by a manuscript in the imperial library at Vienna i 5.2; and printed at Venice in 1503. [See vol. i. p. 350.] Salviati, in his Avvertimenti, mentions an Italian romance on this subject, which he supposes to have been written about the year 1330. Lib. ii. c. 12. Velser first published this romance in Latin at

Ausburgh, in 1595. 4^to. The story is here much more ele∣gantly told, than in the GESTA ROMANORUM. In Godfrey of Viterbo's PANTHEON, it is in Leonine verse. There has been even a German translation of this favorite tale, viz. "Historia APPOLLONII TYRIAE et Sidoniae regis ex Latino sermone in Germanicum translata. August. Vindel. apud Gintherum Zainer, 1471. fol." At the end is a German colophon, im∣porting much the same.

Pag. 41. Not. ^p. DELE

"author of the Lives of the Dra∣matic Poets."

[The author of the ACCOUNT OF THE ENG∣LISH DRAMATIC POETS, was Gerard the son of doctor Lang∣baine, provost of Queen's college, Oxford. This book was first published under the title of MOMUS TRIUMPHANS, Lond. 1687. 4^to. Five hundred copies were quickly sold; but the remainder of the impression appeared the next year with a new title, A new Catalogue of English Plays, containing comedies, &c. Lond. 1688. 4^to. The author at length digested his work anew with great accessions and improvements, which he entitled as above, AN ACCOUNT OF THE ENGLISH DRAMATICK POETS, &c. Oxon. 1691. 8^vo. This book, a good ground-work for a new publication on the same subject and plan, and which has merit as being the first attempt of the kind, was reprinted by Curl, with flimzy additions, under the conduct of Giles Jacob, a hero of the Dunciad, Lond. 1719. 8^vo. Our author, after a classical education, was first placed with a bookseller in London; but at sixteen years of age, in 1672, he became a gentleman commoner of University college in Oxford. His literature chiefly consisted in a knowledge of the novels and plays of various languages; and he was a constant and critical attendant of the play-houses for many years. Retiring to Oxford in the year 1690, he died the next year; having amassed a collection of more than a thousand printed plays, masques, and interludes.]

Pag. 54. Notes, col. 2. l. 19. ADD,

"The most antient complete French copy of LA DANSE MACABRE was printed in folio at Lyons, in 1499, together with some other short spiritual

pieces, under the title La Grand DANSE MACABRE des ••ommes et des femmes historiée, avec de beaux dits en Latin et hui∣tains en François, &c. To this work Erasmus alludes in the third book of his RATIO CONCIONANDI, where he says, "Quin et vulgares rhetoristae censuerunt hoc decus, qui inter∣dum versibus certo numero comprehensis, pro clausula, ac∣cinunt bre••em et argutam sententiam, velut in Rhythmis quos Gallus quispiam edidit in CHOREAM MORTIS." tom. v. Opp. pag. 1007. Naude calls this allegory, "Chorea ab eximio Macabro edita." MASCUR. p. 224. I believe the first Latin edition, that of Pierre Desrey which I have men∣tioned, was printed at Troyes in 1490, not 1460. The French have an old poem, partly on the same idea, LA DANSE DES AVEUGLES, under the conduct of Love, Fortune, and Death, written by Pierre Michault, about the year 1466. See MEM. ACAD. INSCRIPT. et BEL. LET. ii. 742. And Goujet, BIBL. FR. ix. 358. In De Bure's BIBLIOGRAPHIE INSTRUCTIVE, an older but less perfect edition of Le Danse Macabre is recited, printed at Paris in 1486, for Guyot Marchant. fol. In this edition the French rhymes are said to be by Michel Marot. tom. i. p. 512. num. 3109. BELL. LETTR. He has cata∣logued all the antient editions of this piece in French, which are many. Pierre Desrey abovementioned wrote a French ro∣mance called LA GENEALOGIE, on Godfrey of Bouloign. Paris, 1511. fol.

Pag. 103. To Not. ^•. ADD,

"These BRITISH LAIS, of which I have given specimens at the beginning of the FIRST DISSERTATION, and of which sir LAUNFAL is one, are dis∣covered to have been translated into French from the language of Armorican Bretagne, about the thirteenth century, by Marie a French poetess, who made the translation of ESOP abovemen∣tioned. See CANT. T. vol. iv. p. 165. edit. 1775. But Marie's was not the only Collection of BRITISH LAIS, in French: as appears, not only from the EARL of THOLOUSE, but by the

romance of EMARE, a translation from the French, which has this similar passage, St. ult. Thys ys on of Brytayne layes That was used of old dayes. MSS. Cotton. CALIG. A ii. fol. 69. (see f. 70.) The SONG of SIR GOWTHER is said by the writer to be taken from one of the Layes of Brytayne: and in another place he calls his story the first Laye of Britanye. MSS. REG. 17 B. xliii. Chaucer's FRANKELEIN'S TALE was also a Bretagne Lay, Urr. p. 107. In the Prologue he says,

The olde gentill Bretons in their dayes Of divers aventoures madin their Layes, Rymeyed first in their owne Breton tonge, Whiche layis with ther instruments thei songe.

Here he translates from Marie, although this story is not in her manuscript, viz. fol. 181.

Li auntien Bretun curteis.

But in his DREME, he seems to have copied her LAY of ELIDUS. [See Diss. i.] To the British Lais I would also refer LA LAI DU CORN, which begins,

De un aventure ci avint A la court del bon rei Artus.

MSS. DIGB. 86. Bibl. Bodl. membran. 4^to. It probably existed before the year 1300. The story, which much resembles the old French metrical romance, called LE COURT MANTEL, is slightly touched in MORTE ARTHUR. ii. 33. A magical horn, richly garnished, the work of a fairy, is brought by a beautiful boy riding on a fleet courser, to a sumptuous feast held at Car∣leon by king Arthur, in order to try the fidelity of the knights

and ladies, who are in number sixty thousand. Those who are false, in drinking from this horn, spill their wine. The only successful knight, or he who accomplishes the adventure, is Garaduc or Cradok. I will here give the description of the horn.

—Un dauncel k 5.3, Mout avenaunt et bel, Seur un cheval corant, En palleis vint eraunt: En sa main tont un COR A quatre bendel de or, Ci com etoit diveure Entaillez de ad trifure l 5.4, Peres ici ont assises, Qu en le or furent mises, Berreles et sardoines, Et riches calcedoines;

Il fu fust de ollifaunt, Ounques ne ni si graunt, Ne si fort, ne si bel, Desus ont un anel, Neèle de ad argent, Eschelettes il ont cent Perfectees de or fin, En le tens Constantin, Les fist une Fee, Qu preuz ert, et senee, E le corn destina Si cum vous orres ja: Qu sour le corn ferroit Un petit de soun doit, Ses eschelettes cent Sounent tant doucement, Qu harpe ne viele Ne deduit de pucelle, Ne Sereigne du mer Nest tele desconter.

These lines may be thus interpreted.

"A boy, very graceful and beautiful, mounted on a swift horse, came into the pa∣lace of king Arthur. He bore in his hand a horn, having four bandages of gold; it was made of ivory, engraved with trifoire: many pretious stones were set in the gold, beryls, sardonyces, and rich chalcedonies: it was of elephant [ivory]: nothing was ever so grand, so strong, or so beautiful: at bottom was a ring [or rim] wrought of silver; where were hanging an hundred little bells, framed of fine gold, in the days of Constantine, by a Fairy, brave and wise, for the purpose which ye have just heard me relate. If any one gently struck the horn with his finger, the hundred bells sounded so sweetly, that neither harp nor viol, nor the sports of a virgin, nor the syrens of the sea, could ever give such music."

The author of this Lai is one Robert Bikez, as

appears by the last lines; in which the horn is said still to be seen at Cirencester. From this tale came Ariosto's ENCHANTED CUP, ORL FURIOS. xlii. 92. And Fontaine's LA COUPE EN∣CHANTEE. From the COURT MANTEL, a fiction of the same tendency, and which was common among the Welsh bards, Spenser borrowed the wonderful virtues and effects of his FLORIMEL'S GIRDLE, iv. 5. 3. Both stories are connected in an antient Ballad published by Percy. vol. iii. p. 1.

In the Digby manuscript, which contains La Lai du Corn, are many other curious chansons, romantic, allegorical, and legendary, both in old French and old English. I will here exhibit the rubrics, or titles, of the most remarkable pieces, and of such as seem most likely to throw light on the subjects or allusions of our antient English poetry. Le Romaunz Peres Aunfour [Alfonse] coment il aprist et chastia son fils belement. [See Notes to CANTERB. T. p. 328. vol. iv.] De un demi ami.—De un bon ami enter.—De un sage homme et de i fol.—De un gopil et de un mul.—De un ••oi et de un clerc.—De un homme et de une serpente et de un gopil.—De un roi et de un versifiour.—De ii clercs escoliers.—De un prodome et de sa male femme.—Del engin de femme del nelons.—Del espee autre engin de femme.—De un roy et de un fableour.—De une veille et de une lisette.—De la gile de la per e el pin.—De un prodfemme bone cointise. [Pr.

"Un Espagnol ceo vy counter.

]—De ii menestreus. [i. e. Minstrels.]—De une roy et de Platoun.—De un vilein de i lou et de un gopil.—De un roy fol large.—De maimound mal esquier.—De Socrates et de roi Alisaundre.—De roi Alisaundre et de i philosophe.—De un philosofel et del alme.—Ci commence le romaunz de Enfer, Le Sounge Rauf de Hodenge de la voie denfer. [Ad calc.

"Rauf de Hodeng, saunz mensounge,—Qu cest romaunz fist de sun songe."

See Verdier, BIBL. FR. ii. 394. v. 394. Paris, 1773.]—De un vallet qui soutint dames et dammaisales.—De Romme et de Gerusalem.—La lais du corn.—Le fabel del gelous.—Ci comence la bertournee.—La vie de un vaillet amerous.—De iiii files ... [Pr.

"Un rois estoit de graunt pouer."

]—How Jheu Crist herewede helle, &c. [See

vol. ii. p. 207.]—Le xv singnes [signes] de domesday. [Pr.

"Fifteene toknen ich tellen may."

Compare vol. i. p. 219.]—Ci comence la vie seint Eustace ci ont nom Placidas.

[Pr. "Alle þat loveþ godes lore "Olde and yonge lasse and more."

See MS. VERNON, fol. 170. ut supr.]—Le diz de seint B••r∣nard. [Pr.

"þe blessinge of hevene kinge."

]—Vbi sont ci ant•• nos fuerount. [In English.]—Chaunçon de nostre dame. [Pr.

"Stond wel moder ounder rode."

]—Here beginneth the saw•• of seint Bede preest. [Pr.

"Holi gost þi migtee.

]—Coment le saunter notre dame fu primes cuntrone. [Pr.

"Luedi swete and milde."

]—Les ... peines de enfen. [Pr.

"Oiez Seynours une de∣mande."

]—Le regret de Maximian. [Pr.

"Herkeneþ to mi ron."

MSS. HARL. 2253. f. 82. See vol. i. p. 32.]—Ci comence le cuntent par entre le mavis et la russinole. [Pr.

"Somer is cum••n wiþ love to tonne."

See vol. i. p. 30.]—Of th•• fox and of the wolf. [Pr.

"A vox gon out of þe wode go."

]—Hending the hend••. [MSS. HARL. 2253. 89. fol. 125.]—Les proverbes del vilain.—Les miracles de seint NICHOLAS.—Ragemon le bon.—Chancun del secle. [In English.]—Ci commence le fabl•• et la courtise de dame siri ... [Pr.

"As I com bi an waie."

]—Le noms de un leure Engleis. [i. e. The names of the Hare in English.]—Ci comence la vie nostre dame.—Ci comence le doctrinal de enseignemens de curteisie.—Ci comence les Aves noustre dame.—De ii chevalers torts ke plenderent aroune.—Bonne prieur a nostre seigneur Jhu Crist.—Ci comence lescrit de ii dames.—Hic incipit carmen inter corpus et animam. [A Dialogue in English verse be∣tween a body laid on a bier and its Soul. Pr.

"Hon on .... stude I stod an lutell escrit to here."

]—Ci commence la maner•• que le amour est pur assaier. [Pr.

"Love is soft, love is swete, love is goed sware."

]—Chaunçon de noustre seigneur. This manuscript seems to have been written about year 1304. Ralph Houdain, whose poem called VISION D'ENFER it contains•• wrote about the year 1230.

The word, LAI, I believe, was applied to any subject, and signified only the versification. Thus we have in the Bodleian library La LUMERE AS LAIS, par Mestre Pierre de Feccham.

Verai deu omnipotent Kestes fin et commencement.

MSS. BODL 399. It is a system of theology in this species of metre.

Pag. 121. To Not. ^q. ADD,

"In Jean Petit's edition in 1535, and perhaps in that of 1485, of Premierfaict's translation of the DECAMERON, it is said to be translated from Latin into French. But Latin here means Italian. Hence a mistake arose, that Boccacio wrote his DECAMERON in Latin. The Italian, as I have before observed, was antiently called Il volgare Latino. Thus the French romance of MELIADUS DE LEONNOIS is said to be translatè du LATIN, by Rusticien de Pisa, edit. Par. 1532. fol. Thus also GYRON LE COURTOIS is called a ver∣sion from the Latin. [Supr. vol. ii. p. 117.] M. de la Mon∣noye observes, "Que quand on trouve que certains VIEUX RO∣MANS ont été traduits de LATIN en François, par Luces de Salesberies, Robert de Borron, Rusticien de Pisa, ou autres, cela signifie que ç' a été D'ITALIEN en François." REM. au BIBL. FR. du La Croix du Maine, &c. tom. ii. p. 33. edi••. 1772. [See supr. ADDIT. ad p. 15. i.] Premierfaict's French DECAMERON, which he calls CAMERON, is a most wretched caricature of the original.

Pag. 148. Not. col. 2. l. 4. For

"1115,"

READ

"1015."

Pag. 153. To Not. ^c. ADD,

"I have received some notices from the old registers of saint Ewin's church at Bristol, an∣tiently called the MINSTER, which import, that the church pavement was washed against the coming of king Edward. But this does not at all prove or imply that the king sat at the grete mynsterr windowe to see the gallant Lancastrian, Baldwin, pass to the scaffold; a circumstance, and a very improbable one, men∣tioned in Rowlie's pretended poem on this subject. The notice

at most will prove only, that the king assisted at mass in this church, when he came to Bristol. Nor is it improbable, that the other churches of Bristol were cleaned, or adorned, at the coming of a royal guest. Wanter, above quoted, is evidently wrong in the date 1463, which ought to be 1461, or 1462.

Pag. 156. Notes, col. 2. To l. 9. ADD

"I have observed, but for what reason I know not, that saint Ewin's church at Bristol was called the minster. I, however, suspect, that the poet here means Bristol cathedral. He calls, with his accus∣tomed misapplication of old words, Worcester cathedral the minster of our ladie, infr. p. 160. But I do not think this was a common appellation for that church. In Lydgate's LIFE OF SAINT ALBAN, Minster is used in its first simple acceptation. MSS. Coll. Trin. Oxon. Num. xxxviii. fol. 19. —Seynt Albone Of that mynstre leyde the first stone. That is, of saint Alban's monastery.

Pag. 164. To the end of the Section, ADD,

"What is here said of Rowlie, was not only written, but printed, almost two years before the correct and complete edition of his Poems ap∣peared. Had I been apprised of that publication, I should have been much more sparing in my specimens of these forgeries, which had been communicated to me in manuscript, and which I imagined I was imparting to my readers as curiosities. I had as yet seen only a few extracts of these poems; nor were those transcripts which I received, always exact. Circumstances which I mention here, to shew the inconveniencies under which I laboured, both with regard to my citations and my criticisms. These scanty materials, however, contained suffi∣cient evidence to convince me, that the pieces were not genuine.

The entire and accurate collection of Rowlie's now laid be∣fore the public, has been so little instrumental in inducing me to change my opinion, that it has served to exemplify and con∣firm every argument which I have produced in support of my

suspicions of an imposition. It has likewise afforded some new proofs.

Those who have been conversant in the works even of the best of our old English poets, well know, that one of their leading characteristics is inequality. In these writers, splendid descriptions, ornamental comparisons, poetical images, and stri∣king thoughts, occur but rarely: for many pages together, they are tedious, prosaic, and uninteresting. On the contrary, the poems before us are every where supported: they are through∣out, poetical and animated. They have no imbecillities of style or sentiment. Our old English bards abound in unnatural con∣ceptions, strange imaginations, and even the most ridiculous absurdities. But Rowlie's poems present us with no incon∣gruous combinations, no mixture of manners, institutions, cus∣toms, and characters. They appear to have been composed after ideas of discrimination had taken place; and when even common writers had begun to conceive, on most subjects, with precision and propriety. There are indeed, in the BATTLE OF HAST∣INGS, some great anachronisms; and practices are mentioned which did not exist till afterwards. But these are such incon∣sistencies, as proceeded from fraud as well as ignorance: they are such as no old poet could have possibly fallen into, and which only betray an unskilful imitation of antient manners. The verses of Lydgate and his immediate successors are often rugged and un∣musical: but Rowlie's poetry sustains one uniform tone of har∣mony; and, if we brush away the asperities of the antiquated spelling, conveys its cultivated imagery in a polished and agree∣able strain of versification. Chatterton seems to have thought, that the distinction of old from modern poetry consisted only in the use of old words. In counterfeiting the coins of a rude age, he did not forget the usual application of an artificial rust: but this disguise was not sufficient to conceal the elegance of the workmanship.

The BATTLE OF HASTINGS, just mentioned, might be proved to be a palpable forgery for many other reasons. It is

said to be translated from the Saxon of Turgot. But Turgot died in 1015, and the battle of Hastings was fought in 1066. We will, however, allow, that Turgot lived in the reign of the Conqueror. But, on that supposition, is it not extraor∣dinary, that a cotemporary writer should mention no circum∣stances of this action which we did not know before, and which are not to be found in Malmsbury, Ordericus Vitalis, and other antient chroniclers? Especially as Turgot's description of this battle was professedly a detached and separate performance, and at least, on that account, would be minute and circumstantial. An original and a cotemporary writer, describing this battle, would not only have told us something new, but would other∣wise have been full of particularities. The poet before us dwells on incidents common to all battles, and such as were easily to be had from Pope's HOMER. We may add, that this piece not only detects itself, but demonstrates the spuriousness of all the rest. Chatterton himself allowed the first part of it to be a forgery of his own. The second part, from what has been said, could not be genuine. And he who could write the second part was able to write every line in the whole collection. But while I am speaking of this poem, I cannot help exposing the futility of an argument which has been brought as a deci∣sive evidence of its originality. It is urged, that the names of the chiefs who accompanied the Conqueror, correspond with the Roll of Battle-Abbey. As if a modern forger could not have seen this venerable record. But, unfortunately, it is printed in Hollinshead's Chronicle.

It is said that Chatterton, on account of his youth and edu∣cation, could not write these poems. This may be true; but it is no proof that they are not forged. Who was their author, on the hypothesis that Rowlie was not, is a new and another question. I am, however, of opinion that it was Chatterton. For if we attend only to some of the pieces now extant in a periodical magazine, which he published under his own sig∣nature, and which are confessedly of his composition, to his

letters now remaining in manuscript, and to the testimony of those that were acquainted with his conversation, he will appear to have been a singular instance of a prematurity of abilities; to have acquired a store of general information far exceeding his years, and to have possessed that comprehension of mind, and activity of understanding, which predominated over his situa∣tions in life, and his opportunities of instruction. Some of his publications in the magazines discover also his propensity to forgery, and more particularly in the walk of antient man∣ners, which seem greatly to have struck his imagination. These, among others, are ETHELGAR, a Saxon poem in prose; KENRICK, translated from the Saxon; CERDICH, translated from the Saxon; GODRED CROVAN, a Poem, composed by Doth∣nel Syrric king of the isle of Man; The HIRLAS, composed by Blythyn, prince of North Wales; GOTHMUND, translated from the Saxon; ANECDOTE of CHAUCER, and of the ANTIQUITY of CHRISTMAS GAMES. The latter piece, in which he quotes a register of Keinsham NUNNERY, which was a priory of Black canons, and advances many imaginary facts, strongly shews his track of reading, and his fondness for antiquarian imagery. In this monthly collection he inserted ideal drawings of six achieve∣ments of Saxon heraldry, of an inedited coin of queen Sex∣burgeo, wife of king Kinewalch, and of a Saxon amulet; with explanations equally fantastic and arbitrary. From Rowlie's pretended parchments he produced several heraldic delineations. He also exhibited a draught by Rowlie of Bristol castle in its perfect state. I very much doubt if this fortress was not almost totally ruinous in the reign of Edward the fourth. This draught, however, was that of an edifice evidently fictitious. It was exceedingly ingenious; but it was the representation of a building which never existed, in a capricious and affected style of Gothic architecture, reducible to no period or system.

To the whole that is here suggested on this subject, let us add Chatterton's inducements and qualifications for forging these poems, arising from his character, and way of living. He

was an adventurer, a professed hireling in the trade of litera∣ture, full of projects and inventions, artful, enterprising, unprincipled, indigent, and compelled to subsist by expedients.

Pag. 165. To Not. ^b. ADD,

"In the British Museum, there is a poem entitled, "A CRISTEMASSE GAME made by maister BENET howe God Almyghty seyde to his apostelys and echeon of them were baptiste and none knew of othir." The piece consists of twelve stanzas, an apostle being assigned to each stanza. Probably maister Benet is Benedict Burgh. MSS. HARL. 7333. This is saint Paul's stanza.

Doctour of gentiles, a perfite Paule, By grace convertid from thy grete erroure, And cruelte, changed to Paule from Saule, Of fayth and trouth most perfyte prechoure, Slayne at Rome undir thilke emperoure Cursyd Nero, Paule syt down in thy place To the ordayned by purveaunce of grace.

Pag. 169. To Not. ^u. ADD,

"In Bennet college library, there is a copy of the French CATO by Helis of Winchester, MSS. ccccv. 24. fol. 317. It is entitled and begins thus. Les Distiches Morales de CATON mises en vers par Helis de Guyncestre.

Ki vout saver la faitement Ki Catun a sun fiz a prent, Si en Latin nel set entendre, Jci le pot en rumainzm 5.5 aprendre, Cum Helis de Guyncestre Ki deu met a se destre La translate si fatemente.

Cod. membran. 4^to. The transcript is of the fourteenth cen∣tury. Compare Verdier, BIBL. FRANC. tom. iii. p. 288. edit.

1772. In the Latin Chronicle of of Anonymus Salernitanus, written about the year 900, the writer mentions a description in Latin verse of the palace of the city of Salerno, but laments that it was rendered illegible through length of time: "Nam si unam paginam fuissemus nacti, comparare illos [versus] profecto potuissemus Maroni in voluminibus, CATONIQUE, ••ive profecto aliis Sophistis." cap. xxviii. col. 195. B. tom. ii. P. ii. SCRIPTOR. RER. ITAL. Mediolan. 1726.

Pag. 173. To Not. ^g. Add,

"But the same lines occur in the Prologue to Hampole's Speculum Vitae, or MIRROUR OF LIFE, as it has been called, written about the year 1350. [See MSS. BODL. 48. p. 47. a. Bibl. Bodl. And ibid. MSS. LANGB. 5. p. 64.] From which, that those who have leisure and opportunity may make a farther comparison of the two Prologues, I will transcribe a few more dull lines.

Latyn als, I trowe, canne nane Bot thase that it of scole hane tane, Som canne frankes and latyn That hanes vsed covrte and dwelled theryn, And som canne o latyn a party That canne frankes bot febely, And som vnderstandes in inglys That canne nother latyn ne frankys, Bot lered and lewed alde and younge All vnderstandes inglysche tounge: Thare fore I halde it maste syker thon To schew that langage that ilk a man konne, And for all lewed men namely Thet can no maner of clergy, To kenne thanne what ware maste nede, Ffor clerkes canne bathe se and rede, &c.

This poem, consisting of many thousand verses, begins with the spiritual advantages of the Lord's Prayer, of its seven pe∣titions, their effects, &c. &c. And ends with the seven Beatitudes,

and their rewards. [See supr. vol. i. p. 265. Not. ^•.] These are the two concluding lines. To whylk blysse he vs bryng That on the crosse for vs all wolde hyng. This is supposed to be a translation from a Latin tract, after∣wards printed at Cologne, 1536. fol. But it may be doubted, whether Hampole was the translator. It is, however, most probably of the fourteenth century.

Pag. 189. To l. 22. ADD this Note,

"The passion for ver∣sifying every thing was carried to such a heighth in the middle ages, that before the year 1300, Justinian's Institutes, and the code of French jurisprudence, were translated into French rhymes. There is a very antien•• edition of this work, without date, place, or typographer, said to be corrected, par plusieurs docteurs and souverains legistes, in which are these lines,

J' ay, par paresse, demourè Trop longuement á commencer Pour Institutes romancer.

See Menage, OBS. sur LE LANG. FR. P. prem. ch. 3. Verdier and La Croix, iii. 428. iv. 160. 554. 560. BIBL. FR. edit. 1773.

Pag. 191. To Not. ^o. ADD,

"Another proof which ascer∣tains this reading of the controverted passage in HAMLET, oc∣curs in the romance of MORTE ARTHUR. When sir Lancelo•• was dying, "whan he was howseled and eneled, and had all that a crysten man ought to have, he praid the bishop, that his felowes might beare his bodie unto Joyous Garde, &c." B. xxi. cap. xii.

Pag. 199. To Not. ^q. ADD,

"These highly painted infernal punishments, and joys of Paradise, are not the invention of the author of the KALENDRIER. They are taken, both from M.

Paris, and from Henry of Saltry's Description of saint Patrick's PURGATORY, written in 1140, and printed by Messingham in his FLORILEGIUM INSULAE SANCTORUM, &c."

Paris, 1624. fol. cap. vi. &c. p. 101. See Bibl. Bodl. MSS. BODL. 550. [See vol. ii. p. 298.] Messingham has connected the two ac∣counts of M. Paris and H. de Saltry, with some interpolations of his own. This adventure appears in various manuscripts. No subject could have better suited the devotion and the credu∣lity of the dark ages.

Pag. 200. Notes, col. 2. l. 31. ADD,

"To the reign of king Henry the sixth we may also refer a poem written by one Ri∣chard Sellyng, whose name is not in any of our biographers. MSS. HARL. f. 38. a. It is entitled and begins thus, Evidens to be ware and gode covnsayle made now late by that honovrable squier Richard Sellyng.

Loo this is but a symple tragedie, Ne thing lyche un to hem of Lumbardye, Which that Storax wrote unto Pompeie, Sellyng maketh this in his manere, And to John Shirley now sent it is Ffor to amende where it is amisse.

He calls himself an old man. Of this honovrable squier I can give no further account. John Shirley, here mentioned, lived about the year 1440. He was a gentleman of good family, and a great traveller. He collected, and transcribed in several volumes, which John Stowe had seen, many pieces of Chaucer, Lydgate, and other English poets. In the Ashmolean Museum, there is, A boke cleped the Abstracte Brevyare compyled of divers balades, roundels, virilays, tragedyes, envoys, complaints, morali∣ties, storyes, practysed and eke devysed and ymagined, as it sheweth ••ere followyng, collected by John Shirley. MSS. 89. ii. In Tho∣resby's library was a manuscript, once belonging to the college

of Selby, A most pyteous cronycle of thorribil dethe of James Stewarde, late kynge of Scotys, nought long agone prisoner yn Eng∣lande yn the tymes of the kynges Henry the fifte and Henry the sixte, translated out of Latine into oure mothers Englishe tong bi your simple subject John Shirley. Also, The boke clepyd Les bones meures translated out of French by your ••umble serviture John Shirley of London, MCCCCXL, comprised in v partes. The firste partie spekith of remedie that is agaynst the sevyn deadly sins. 2. The estate of holy church. 3. Of prynces and lordes temporall. 4. Of comone people. 5. Of deth and universal dome. Also, his Translation of the Sanctum Sanctorum, &c. DUCAT. LEOD. p. 530. A preserver of Chaucer's and Lydgate's works deserved these notices. The late Mr. Ames, the industrious author of the HISTORY OF PRINTING, had in his possession a folio vo∣lume of English Ballads in manuscript, composed or collected by one John Lucas about the year 1450.

Pag. 204. ADD to the Note,

"The most splendid spectacle of this sort which occurs in history, at least so early as the four∣teenth century, is described by Froissart, who was one of the spectators. It was one of the shews at the magnificent entrance of queen Isabell into Paris, in the year 1389. The story is from the crusade against Saladin. I will give the passage from lord Berners's Translation, printed by Pinson in 1523. "Than after, under the mynster of the Trinyte, in the strete, there was a stage, and therupon a castell. And along on the stage there was ordeyned the PASSE OF KYNG SALHADYN, and all their dedes in Personages: the cristen men on the one parte, and the Sarazins on the other parte. And there was, in Personages, all the lordes of name that of olde tyme hadde ben armed, and had done any feates of armes at the PASSE OF SALHADYNE, and were armed with suche armure as they than used. And thanne, a lyttel above them, there was in Personages the Frenche kynge and the twelve Peeres of Fraunce armed, with the blason of their armes. And whan

the Frenche quenes lytter was come before this stage, she rested there a season. Thenne the Personages on the stage of kynge Rychard departed fro his company, and wente to the Frenche kynge, and demaunded lycence to go and assayle the Sarazins; and the kynge gave hym [them] leave. Thanne kynge Rycharde retourned to his twelve companyons. Thanne they all sette them in order, and incontynente wente and assayled Salhadyne and the Sarazins. Then in sporte there seemed a great bataile, and it endured a good space. This pageaunt was well regarded." CRON. tom. ii. c. 56. fol. clxxii. col. i. By the two kings, he means Philip of France, and our king Richard the first, who were jointly engaged in this expedition. It is observable, that the superiority is here given to the king of France.

Pag. 212. Notes, col. 1. To l. 2. ADD,

"In the Bodleian manuscript (BODL. 638.) this poem, with manifest impropriety, is entitled the TEMPLE OF BRAS. It there appears in the midst of many of Chaucer's poems. But at the end are two poems by Lydgate, THE CHAUNSE OF THE DYSE, and RAGMANY'S ROLL. And, I believe, one or two more of Lydgate's poems are intermixed. It is a miscellany of old English poetry, chiefly by Chaucer: but none of the pieces are respectively distin∣guished with the author's name. This manuscript is partly on paper and partly on vellum, and seems to have been written not long after the year 1500.

Pag. 241. l. 2. For

"1494,"

READ

"1470."

Ibid. l. 11. For

"1497,"

READ

"1488."

And ADD this Note,

"With this title, "Sebastiani Brandt NAVIS STULTI∣FERA Mortalium, a vernaculo ac vulgari sermone in Latinum conscripta, per JACOBUM LOCHER cognomine Philomusum Suevum cum figuris. Per Jacobum Zachoni de Romano, anno 1488." 4^to. In the colophon, it is said to have been jampridem traducta from the German original by Locher; and that this Latin translation was revised by the inventor Brandt,

with the addition of many new FOOLS•• A second edition of Locher's Latin was printed at Paris, in 1498. 4^to. There is a French prose translation by Jehan Drouyn, at Lyons, 1498. fol. In the royal library at Paris, there is a curious copy of Barklay's English SHIP OF FOLYS, by Pinson, on vellum, with the wood∣cuts: a rarity not, I believe, to be found in England.

Ibid. To Not. ^k. ADD,

"In verse. From which the French prose translation was made the next year.

Pag. 247. To the end of Not. ^d. ADD,

"Bishop Alcock's CASTEL OF LABOURE was translated into English from a French poem by Octavien de S. Gelais, a bishop•• and an emi∣nent translator of the classics into French at the restoration of learning. Viz. "Le CHASTEAU DE LABOUR en rime fran∣çoise, auquel est contenu l'adresse de riches et chemin de pauvretè, par Octavien de S, Gèlais, &c. Paris, Gallyot du Pré, 1536. 16^mo." Our highest efforts of poetry at this pe∣riod were translations from the French. This piece of S. Ge∣lais was also translated into English rhymes by one Done, or do∣minus, James: the same perhaps who made the following ver∣sion, "Here begynneth the ORCHARDE OF SYON: in the which is contayned the revelation of saynt Catherine of Sene, with ghostly fruytes and presyous plantes for the helthe of mannes soule. Translated by Dane James. Prynted at the cost of master Richard Sutton esquyre, Stewarde of the mo∣nasterie of Syon, 1519." For Wynkyn de Worde, in folio, with fine Gothic cuts in wo••d. Thi•• Master Richard Sutton, steward of the opulent monastery of Sion near London, was one of the founders of Brasenose college in Oxford.

Pag. 258. ADD. to Not. ^a.

"The presents at this marriage ascertain a doubtful reading in Chaucer, viz. "UN NOUCHE pr. ccc livr.—It. un riche NOUCHE.—UN NOUCHE priz de cynk centz marcz."—In the CLERKE'S TALE, Grisilde has a crown "full of ouchis grete and smale." The late editor ac∣quaints us, that the best manuscripts read nouchis.

—In the same

Note, For

"a golden cup

, READ

"a collar of gold,"

colere d'or.

Pag. 288. ADD to Not. ^z.

"In Chaucer's CUCKOWE•• AND NIGHTINGALE, the latter is said to GREDE, v. 135. p. 544. Urr. And that for that skil ocy ocy I GREDE. That is, I cry. Ital. Gridare. The word is used with more propriety, in Adam Davie's GEST OF ALEXANDER, written in 1312. fol. 55. col. 2. [See supr. i. 220.]

Averil is meory, and longith the day, Ladies loven solas and play, Swaynes justis, kny••tis turnay, Syngith the nyʒtyngale, GREDETH the Jay.

Pag. 289. ADD this Note,

"In the last-mentioned excellent old poem, Autumn is touched with these circumstances. fol. 95. col. 2.

In tyme of hervest merry it is ynouʒ, Peres and apples hongeth on bouʒ, The hayward bloweth his horne, In everych felde ripe is corne, The grapes hongen on the vyne, Swete is trewe love and fyne; Kyng Alisaunder a morowe ••rist, The sonne dryveth away the mist, Fforth he went farre into Ynde Moo mervayles for to fynde.

Pag. 299. To the first Note ADD,

"There is a manuscript, Of a knight, called SIR OWEYN, visiting saint Patrick's Purga∣tory, Bibl. Bodl. MSS. BODL. 550. MSS. Cott. NERO. A. vii. 4. [See ad p. 199.] This piece was written by Henry, a Cistercian monk of Saltry in Huntingtonshire. See T. Messingham, FLORILEG.

p. 86. seq. In the Catalogue of the library of Sion monastery, which contained fourteen hundred volumes, in Bennet library, it is falsely attributed to Hugo de Saltereia. MSS. C. C. C. C. XLI. The Fr••nch have an antient spiritual romance on this fa∣vorite expedition, so fertile of wonders, entitled, "Le VOYAGE du Puys Saint Patrix, auquel lieu on voit les peines du Pur∣gatoire et aussi les joyes de Paradis, Lyon, 1506. 4^to."

Pag. 342. Notes, col. 2. l. 13. ADD,

"Boccacio borrowed the story of Titus and Gesippus from the GESTA ROMANO∣NUM, or from Alphonsus, FAB. ii. There is another Latin history of these two friends, probably a translation from Boc∣cacio by Fr. M. Bandello, and printed at Milan in 1509. An exceedingly scarce book. "Titi Romani et Hegesippi Athe∣niensis Historia in Latinum versa per Fr. Mattheum Bandel∣lum Castronovensem. MEDIOLANI, Apud Gotard de Ponte, 1509. 4^to."

I take this opportunity of pointing out another source of Boccacio's TALES. Friar Philip's story of the GOOSE, or of the Young Man who had never seen a Woman, in the Prologue to the fourth day of the DECAMERON, is taken from a spiri∣tual romance, called the HISTORY OF BARLAAM AND JOSA∣PHAT. This fabulous narrative, in which Barlaam is a hermit and J••s••phat a king of India, is supposed to have been origi∣nally written in Greek by Johannes Damascenus. The Greek is no uncommon manus••••••pt. See MSS•• LAUD. C. 72. It was from the old Latin translation, which is mentioned by Vincent of Beavais, that it became a favorite in the dark ages. The Latin, which is also a common manuscript, was printed so early as the year 1470. It has often appeared in French. A modern Latin version was published at Paris in 1577. The legendary historians, who believed every thing, and even Baronius, have placed Barlaam and Josaphat in their catalogues of confessours. Saint Barlaam and saint Josaphat occur in the METRICAL LIVES OF THE SAINTS. MSS. BODL. 72. fol. 288. b. This

history seems to have been composed by an oriental Christian: and, in some manuscripts, is said to have been brought by a monk of saint Saba into the holy city from Ethiopia. Among the Baroccian manuscripts there is an OFFICE in Greek for these two supposed saints. Cod. xxi.

Pag. 357. To Not. ^c. ADD,

"These are the only editions I have seen of Cocciae's work. De Bure says, the first edition was in 1517. See his curious catalogue of Poetes Latins modernes facetieux, vulgairement appelles MACARONIQUES. BIBL. IN∣STRUCT. Bel. Lett. tom. i. §. 6. p. 445. seq.

Ibid. DELE Not. ⁱ. And INSERT,

"I believe one of the most popular of Arena's Macaronic poems, is his MEIGRA Enterprisa Catiloqui Imperatoris, printed at Avignon in 1537. It is an ingenious pasquinade on Charles the fifth's expedition into France. The date of the Macaronic Miscellany, in various lan∣guages, entitled, MACHARONEA VARIA, and printed in the Gothic character, without place, is not known. The authors are anonymous; and some of the pieces are little comedies in∣tended for representation. There is a Macaronic poem in hexa∣meters, called POLEMO-MIDDINIA by Drummond of Haw∣thornden, printed with Notes, and a preface on this species of poetry, by Gibson at Oxford, 1691. 4^to.

Pag. 358. ADD to the last Note,

"Friar Tuck is. h••wever, mentioned in Skelton's play of MAGNIFICEN••••. f. 5. b.

Another b••d•• shave halfe my berde, And boyes to the pylery gan me plucke, And wolde have made me FREER TUCKE To preche oute of the pylery hole.

Pag. 363. After the last sentence, INSERT,

"The only copy of Skelton's moral comedy of MAGNIFICENCE now remain∣ing, printed by Rastal, without date in a thin folio, has been most obligingly communicated to me by Mr. Garrick; whose

valuable collection of old Plays is alone a complete history of our stage. The first leaf and the title are wanting. It contains sixty folio pages in the black letter, and must have taken up a very considerable time in the representation. [See p. 336. supr.] The substance of the allegory is briefly this. MAGNIFICENCE becomes a dupe to his servants and favorites, Fansy, Counterfe•• Countenance, Crafty Conveyance, Clokyd Colusion, Courtly Abu∣sion, and Foly. At length he is seized and robbed by Adversyte, by whom he is given up as a prisoner to Poverte. He is next delivered to Despare and Mischefe, who offer him a knife and a halter. He snatches the knife, to end his miseries by stabbing himself; when Good Hope and Redresse appear, and persuade him to take the rubarbe of repentance with some gostly gummes, and a few drammes of devocyon. He becomes acquainted with Circumspeccyon, and Perseverance, follows their directions, and seeks for happiness in a state of penitence and contrition. There is some humour here and there in the dialogue, but the allusions are commonly low. The poet hardly ever aims at allegorical painting, but the the figure of POVERTY is thus drawn, fol. xxiii. a.

A, my bonys ake, my lymmys be sore, A lasse I haue the cyatyca full euyll in my hyppe, A lasse where is youth that was wont for to skyppe! I am lowsy, and vnlykynge, and full of scurffe, My coloure is tawny-coloured as a turffe: I am POVERTIE that all men doth hate, I am baytyd with doggys at euery mannys gate: I am raggyd and rent, as ye may se, Full few but they have envy at me. Nowe must I this carcase lyft up, He dyned with DELYTE, with POVERTE he must sup.

The stage-direction then is,

"Hic accedat at levandum MAG∣NIFICENCE."

It is not impossible, that DESPARE offering

the knife and the halter, might give a distant hint to Spenser. The whole piece is strongly marked with Skelton's manner, and contains every species of his capricious versification n 5.6. I have been prolix in describing these two dramas, because they place Skelton in a class in which he never has yet been viewed, that of a Dramatic poet. And although many MORALITIES were now written, yet these are the first that bear the name of their author. There is often much real comedy in these ethic in∣terludes, and their exemplifications of Virtue and Vice in the abstract, convey strokes of character and pictures of life and manners. I take this opportunity of remarking, that a MO∣RALITY-MAKER was a professed occupation at Paris. Pierre Gringoire is called, according to the style of his age, Composi∣teur, Historien et Facteur de Mysteres, ou Comedies, in which he was also a performer. His principal piece, written at the com∣mand of Louis the twelfth, in consequence of a quarrel with the pope and the states of Venice, is entitled, Le JEU du Prince de Sots et Mere Sotte, joue aux Halles de Paris. It was printed at Paris in 1511. See Mons. l'Abbè Goujet, BIBL. FRANC. tom. xi. p. 212.

Pag. 372. To Not. ^w. ADD,

"The author of this Jewish tragedy seems to have belonged to that class of Hellenistico-Judaic writers of Alexandria, of which was the author of the apocryphal BOOK OF WISDOM: a work originally written in Greek, perhaps in metre, full of allusions to the Greek poets and customs, and containing many lessons of instruction and consolation peculiarly applicable to the distresses and situation of the Jews after their dispersion.

Pag. 375. l. 6. ADD,

"The tragedy called JULIUS CESAR, and two comedies, of Jaques Grevin, a learned physician, and

an elegant poet, of France, were first acted in the college of Beauvais at Paris, in the years 1558 and 1560. BIBL. VERDIER, ut supr. tom. ii. p. 284. La Croix du Maine, i. p. 415. seq.

Pag. 376. To Not. ^k. ADD,

"There is also a work attri∣buted to Conradus Celtes, containing six Latin plays in imita∣tion of Terence, under this title, "HROSVITE, illustris vir∣ginis et Monialis Germanae, Opera: nempe, COMOEDIAE SEX IN AEMULATIONEM TERENTII, Octo Sacrae Historiae ver∣sibus compositae, necnon Panegyricus, &c. NORINBERGAE, sub privilegio Sodalitatis Socraticae, anno 1501. fol."

END OF EMENDATIONS AND ADDITIONS IN THE FIRST AND SECOND VOLUME.

Notes

• a 1.1

  Dear-worthy.
• b 1.2

  Diaper fine.
• c 1.3

  Squires. Attendants.
• d 1.4

  Rooms. Apartments.
• e 1.5

  Shall we long.
• f 1.6

  Adventures.
• g 1.7

  Swiftly. Immediately.
• h 1.8

  My Companion. My Love•• He is called afterwards,

  "Sire [Sir] Walter of Berwick."
• i 1.9

  Tables.
• k 1.10

  Sheer. Clean.
• l 1.11

  Or Sithe, i. e. often.
• m 1.12

  Washed.
• n 1.13

  Mazer. Great cup.
• o 1.14

  Cups.
• p 1.15

  Afterwards there was sport and min∣strelsy.
• q 1.16

  i. e. Recept. Reception. But see Chaucer's ROM. R. v. 6509.

  Him, woulde I comfort and rechete.

  And TR. CRESS. iii. 350.
• g 1.17

  Goes to harbour among the fern.
• s 1.18

  The romance says, that king Arthur

  "made grete clerkes com before him that they should cronicle the adventures of these goode knygtes."

  [See supr. vol. i. p. 336.]
• t 1.19

  See supr. vol. ii. p. 235.
• u 1.20

  There is printed,

  "Le Roman du noble et vaillant Chevalier Tristan fils d•• noble roy M••liadus de Leonnoys, par Luce, chevalier, seigneur du chas∣tea•• de Gast. Rouen, 1489. fol."
• w 1.21

  Just before it is said,

  "Le roy Artus fist venir les CLERCS qui les aventures aux chevalliers mettoient en escript."

  As in MORT D'ARTHUR.
• x 1.22

  But at the end, this twelfth book is called the the second booke of SYR TRYS∣TRAM. And it is added,

  "But here is no rehersall of the thyrd booke [of SIR TRISTRAM."

  ]
• y 1.23

  Perhaps Tyrone in Irela••d.
• a 1.24

  When king Richard the first, in 1191, took the isle of Cyprus, he is said to have found the castles filled with rich furniture of gold and silver,

  "necnon lapidibus pretiosis, et plurima•••• vi••tut••m haben∣tibus."

  G. Vines. ITER. HIEROSOL. cap. xli. p. 328. Hist. Anglic. SCRIPT. vol•• ii. Oxon. 1687.
• b 1.25

  He gave twenty-nine antient manu∣scripts to the Bodleian library, one of which is a beautiful manuscript of Gow∣er's Confessio Aman••is. When the Record-tower in S. Mary's abbey at York was accidentally blown up in the grand rebellion, he offered rewards to the sol∣diers who could bring him fragments of the scattered parchments. Luckily, how∣ever, the numerous original evidences lodged in this repository had been just be∣fore transcribed by Roger Dodsworth; and the transcripts, which formed the ground-work of Dugdale's MONASTICON, consisting of for••y-nine large folio vo∣lumes, were bequeathed by Fairfax to the same library. Fairfax also, when Oxford was garrisoned by the parliamentary forces, exerted his utmost diligence in preserving the Bodleian library from pillage; so that it suffered much less, than when that city was in the possession of the royalists.
• c 4.1

  Ariadne.
• d 4.2

  Penthesilea.
• d 4.3

  Sir Lancelot's intrigue with Geneura, king Arthur's queen, and sir Tristram with Bel Isoulde, incidents in Arthur's romance, are made the subject of one of the stories of the French poem just cited, viz.

  Commes sont la cronique et listoire De Lancelot et Tristrans ensement, &c.
• e 4.4

  This name, of which I know nothing, must be corruptly written.
• f 4.5

  Chaucer's WIFE OF BATHES TALE is founded on the story of Florent, a knight of Rome, who delivers the king of Sicily's daughter from the enchantments of her stepmother. His story is also in our author's CONFESSIO AMANTIS, Lib. iii. fol. 48. a col. 1. seq. Lib. viii. fol. 175. a col. 2. seq. And in the GESTA ROMANORUM. [See supr. p. 31.] Percy [NUM. 2.] recites a Romance called L•• ••ONE FLORENCE DE ROME, which begins••

  A•• ferre as men ride or gon.

  I know not if this be Shakespeare's Flo∣rentius, or Florentio, TAM. SHR. i. 5.

  Be she as foul as was FLORENTIUS' love.
• g 4.6

  That is Partenope, or Parthenopeus, one of Statius's heroes, on whom there is an old F••ench romance. [See supr. vol. i•• p. 123.]
• h 5.1

  〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Perhaps 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
• i 5.2

  Lambecc. CATAL. BIBL. CAESAR. Nesselii SUPPL. tom. i. p. 341. MSS. Graec. CCXLIV. (Vind. et Norinb. 1690. fol.) Pr.

  "〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉."

  Fin.

  "〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c."

  This is in prose. But under this class of the imperial library, Nesselius recites many manuscript poems in the Greco-barbarous metre of the fifteenth century or there∣abouts, viz. The Loves of Hemperius; Description of the city of Venice; The Ro∣mance of Florius and Platzflora; The Blind∣ness and Beggary of Belisarius; The Trojan War; Of Hell; Of an Earthquake in the Isle of Crete, &c. These were all written at the restoration of Learning in Italy. [See vol. i. p. 348. 350.]
• k 5.3

  More properly written daunzel, or danzel. As in the old French romance of GARIN.

  Et li danzel que Bues ot norris.

  And in other places. So our king Richard the first, in a fragment of one of his Pro∣vencial sonnets.

  E lou donzel de Thuscana.

  "For Boys Tuscany is the couutry." In Spanish, Lo Donz••ll. See Andr. Bosch, Dels Titols de honor de Cathalanya. L. iii. c. 3. §. 16. In some of these instances, the word is restrained to the sense of Squire. It is from the Latin DOMICEL∣••US. Froissart calls Richard the second, when prince of Wales, "Le jeune Damoi∣sel Richart." tom. i. c. 325.
• l 5.4

  Or rather trifore. Undoubtedly from the ••atin trif••rium, a rich ornamented edge or border. The Latin often occurs under Dugdale's INVENTORY of saint Paul's, in the MONASTICON, viz.

  "Mor∣sus [a buckle] W. de Ely argenteus, cresta ejus argentea, cum TRIFORIO ext••rius aureo et lap••llis ins••tis, &c."

  tom. iii. ECCL. CATH, p. 309. TRIFO∣RIATUS repeatedly occurs in the same page, as thus.

  "Morsus Petri de Blois TRIFORIATUS de auro."

  —

  "Medio circulo [of a buckle] aurato, TRIFO∣RIATO, inserto grossis lapidibus, &c."

  —

  "Cum multis lapidibus et perlis insitis in limbis, et quadraturis TRIPHORATUS aureis,"

  &c. &c. ibid. p. 309. et seq. It is sometimes written TRIFORIA. As,

  "Pannus cujus campus purpureus, cum xiv listis in longitudine ad modum TRI∣FORIAE contextis."

  ibid. p. 326. col. 2. TRIFURE, in the text, may be literally interpreted jewel-work. As in CHRON. S. Dion. tom. iii. Collect. Histor. Franc. p. 183.

  "Il••estoient de fin or esmere et aourné de tres riches pierres precieuses d' uere [oeuvre] TRIPHOIRE."

  Which Aimon calls,

  "g••mmisque ornata Opere in∣clusorio,"

  that is, work consisting of jewels set in. De GEST. FRANC. Lib. ii. cap. ix. p. 44. G. edit. Paris. 1603. fol.
• m 5.5

  In romance. In French.
• n 5.6

  Counterfet Countenance says, f. vi. a.

  But nowe wyll I— In bastarde ryme of doggreil gyse Tell you where of my name doth ryse.