Chaucerian and Other Pieces. Various
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the yhere of god . M.CCCCC. and viii yheris' [1508]; and this scarce copy was reprinted as piece no. 8 in The Knightly Tale of Golagrus and Gawane, &c., as reprinted by Laing in 1827.
But the fullest title is that in MS. Ad. (Addit. 16165), written out by John Shirley, who says: 'And here filowyng begynnethe a Right lusty amorous balade, made in wyse of a complaynt of a Right worshipfulle Knyght that truly euer serued his lady, enduryng grete disese by fals envye and malebouche; made by Lydegate' (fol. 190, back). Some of the pages have the heading, 'The compleynte of a Knight made by Lidegate[17].'
This attribution of the poem to Lydgate, by so good a judge as Shirley, renders the authorship certain; and the ascription is fully confirmed by strong internal evidence. Much of it is in Lydgate's best manner, and his imitation of Chaucer is, in places, very close; while, at the same time, it is easy to point out non-Chaucerian rimes, such as whyte, brighte, 2; pitously, malady (Ch. maladyë), 137; felyngly, malady, 188; mente, diligent, 246; grace, alas, 529; seyn, payn (Ch. peynë), 568; diurnal, fal, (Ch. falle), 590; payn, agayn, 650; queen (Ch. quene), seen, 674. Besides which, there are two mere assonances in two consecutive stanzas, viz. forjuged, excused, 274; and wreke, clepe, 284. The occurrence of this pair of assonances is quite enough to settle the question. If we apply a more delicate test, we may observe that, in ll. 218–220, the word sōre (with long o) rimes with tore, in which the o was originally short; on this point, see vol. vi. p. xxxii.
As to this poem, Ten Brink well remarks: 'His talent was fairly qualified for a popular form of the 'Complaint'—a sort of long monologue, interwoven with allegory and mythology, and introduced by a charming picture of nature. His Complaint of the Black Knight, which contains reminiscences from the Romance of the Rose, the Book of the Duchesse, and the Parlement of Foules, was long considered a production of Chaucer's, and is still frequently included in editions of his works—although with reservations. The critic, however, will not be deceived by the excellent descriptive passages of this poem, but will easily detect the characteristic marks of the imitator in the management of verse and rhyme, and especially in the diffusiveness of the story and the monotony even of the most important parts.'
§ 35. Lydgate's reminiscences of Chaucer are often interesting. In particular, we should observe the passages suggested by the Roman de la Rose in ll. 36–112; for we are at once reminded of Chaucer's own version of it, as preserved in Fragment A of the Romaunt. After noticing that he uses costey (36) for the F. costoiant, where Chaucer has costeying (134); and attempre (57) where Chaucer has attempre (131), though one French text has atrempee, it is startling to find him reproducing (80) Chaucer's very phrase And softe as veluët (R. R. 1420), where the French original has nothing corresponding either to soft or to velvet! This clearly shews that Lydgate was acquainted with Fragment A of the English version, and believed that version to be Chaucer's; for otherwise he would hardly have cared to imitate it at all.
The date of this poem is discussed in the Introduction to Schick's edition of the Temple of Glas, by the same author; pp. c, cxii. He dates it in Lydgate's early period, or about A.D. 1402.
The text is based upon Thynne's edition, which is quite as good as the MSS., though the spellings are often too late in form. The late excellent edition by E. Krausser (Halle, 1896) reached me after my text was printed. His text (from MS. F.) has much the same readings, and is accompanied by a full Introduction and eleven pages of useful notes.
§ 36. IX. The Flour of Curtesye.
This piece has no author's name prefixed to it in the first three editions; but in the fourth edition by Stowe, printed in 1561, the title is: 'The Floure of Curtesie, made by Iohn lidgate.' Probably Stowe had seen it attributed to him in some MS., and made a note of it; but I know of no MS. copy now extant.
Few poems bear Lydgate's impress more clearly; there can be no doubt as to its authorship. Schick refers it to Lydgate's early period, and dates it about 1400–1402; see his edition of the Temple of Glas, p. cxii. As it was written after Chaucer's death (see l. 236), and probably when that sad loss was still recent, we cannot be far wrong if we date it about 1401; and the Black Knight, a somewhat more ambitious effort, about 1402.
The 'Flour of Curtesye' is intended as a portrait of one whom the poet honours as the best of womankind. The character is evidently founded on that of Alcestis as described in the Prologue to the Legend of Good Women; and throughout the piece we are frequently reminded of Chaucer; especially of the Legend, the Complaint of Mars, and the Parliament of Foules.
The Envoy presents a very early example of the four-line stanza, similar to that employed in Gray's famous Elegy.
§ 37. X. A Balade in Commendation of our Lady.
This piece is attributed to 'Lidegate of Bury' in the Ashmole MS. no. 59; and the ascription is obviously correct. It abounds with evident marks of his peculiar style of metre; for which see Schick's Introduction to the Temple of Glas, p. lvi. We note in it a few reminiscences of Chaucer, as pointed out in the Notes; in particular, it was probably suggested by Chaucer's A B C, which furnished hints for ll. 27, 60, and 129. It is perhaps worth while to add that we have thus an independent testimony for the genuineness of that poem.
As an illustration of Lydgate's verse, I may notice the additional syllable after the cæsura, which too often clogs his lines. Thus in l. 8 we must group the syllables thus:—
Wherefór : now pláynly : I wól : my stýlë : dréssë. Similarly, we find lícour in l. 13, pítè (18), líving (24), bémës (25), gínning (31), mércy (33), gárden (36), &c., all occupying places where a monosyllable would have been more acceptable.
The poem is strongly marked by alliteration, shewing that the poet (usually in a hurry) took more than usual pains with it. In the seventh stanza (43–49) this tendency is unmistakably apparent.
It is hardly possible to assign a date to a poem of this character. I can only guess it to belong to the middle period of his career; say, the reign of Henry V. We have not yet obtained sufficient data for the arrangement of Lydgate's poems.
§ 38. Lines 121–127 are here printed for the first time. In the old editions, l. 120 is succeeded by l. 128, with the result that Sion (120) would not rime with set afere (129); but the scribe of the Ashmole MS. was equal to the emergency, for he altered l. 129 so as to make it end with fuyrless thou sette vppon, which is mere nonsense. Thynne has fyrelesse fyre set on, which is just a little better.
This addition of seven lines was due to my fortunate discovery of a new MS.; for which I was indebted to the excellent MS. 'Index of First Lines' in the British Museum. This told me that a poem (hitherto unrecognised) existed in MS. Sloane 1212, of which the first line is 'A thousand stories,' &c. On examining the MS., it turned out to be a copy, on paper, of Hoccleve's De Regimine Principum, with four leaves of vellum at the beginning, and two more at the end, covered with writing of an older character. The two vellum leaves at the end were then transposed, but have since been set right, at my suggestion. They contain a few lines of the conclusion of some other piece, followed by the unique complete copy of the present Balade. This copy turned out to be much the best, and restored several of the readings. Indeed, the Ashmole MS. is very imperfect, having in it a lacuna of eight stanzas (ll. 64–119). I am thus able to give quite a presentable text.
The correction that most interested me was one in l. 134, where the Ashmole MS. and Thynne have probatyf piscyne. On June 5, 1896, I read a paper at the Philological Society, in which (among other things) I pointed out that the right reading must certainly be probatik. The very next day I found the Sloane MS.; and behold, its reading was probatyk! It is not often that a 'conjectural emendation' is confirmed, on unimpeachable authority, within twenty-four hours.
Another remarkable correction is that of dyamaunt for dyametre in l. 87. It was all very well to compare Our Lady to a diamond; but to call her a diameter (as in all the editions) is a little