Chaucerian and Other Pieces. Various

121 (now first printed) we have the remarkable expression punical pome for a pomegranate, which is worthy of notice; and in l. 123 we find a new word, agnelet, which is not to be found in the New English Dictionary.

      All the printed editions print the next piece as if it formed a part of the present one; but they have absolutely no point in common beyond the fact of having a common authorship.

       § 39. XI. To my Soverain Lady.

      In all the old editions, this piece forms part of the preceding, though it is obviously distinct from it, when attention is once drawn to the fact. Instead of being addressed, like no. X, to the Virgin, it is addressed to a lady whose name the poet wishes to commend (l. 7); and from whom he is parted (51); whereas two lovers ought to be together, if they wish to live 'well merry' (64). Her goodly fresh face is a merry mirror (73); and he has chosen her as his Valentine (111).

      It is evidently a conventional complimentary poem, written to please some lady of rank or of high renown (93), one, in fact, who is 'of women chief princesse' (70). It is prettily expressed, and does Lydgate some credit, being a favourable specimen of his more playful style; I wish we had more of the same kind. L. 68—'Let him go love, and see wher [whether] it be game'—is excellent.

      I shall here submit to the reader a pure guess, for what it is worth. My impression is that this piece, being a complimentary Valentine, was suggested by queen Katherine's visit to England; the lover whose passion is here described being no other than king Henry V, who was parted from his queen for a week. The pair arrived at Dover on Feb. 2, 1421, and Henry went on to London, arriving on Feb. 14; the queen did not arrive till Feb. 21, just in time for her coronation on Feb. 23.

      This hypothesis satisfies several conditions. It explains why the lover's English is not good enough to praise the lady; why so many French lines are quoted; the significant allusion to the lily, i.e. the lily of France, in l. 16; the lover's consolation found in English roundels (40); the expression 'cheef princesse' in l. 70; and the very remarkable exclamation of Salve, regina, in l. 83, which doubtless made Thynne imagine that the poem was addressed to the Virgin Mary. The expression 'for your departing' in l. 105 does not necessarily mean 'on account of your departure from me'; it is equally in accordance with Middle-English usage to suppose that it means 'on account of your separation from me'; see Depart and Departing in the New English Dictionary.

      It is well known that Lydgate provided the necessary poetry for the entry of Henry VI into London in Feb. 1432.

      Some resemblances to Chaucer are pointed out in the Notes. The most interesting circumstance about this poem is that the author quotes, at the end of his third stanza, the first line of 'Merciles Beautè'; this is a strong point in favour of the attribution of that poem to his master.

      This piece is distinguished from the preceding by the difference of its subject; by the difference in the character of the metre (there is here no alliteration); and, most significant of all, by its absence from MS. Ashmole 59 and MS. Sloane 1212, both of which contain the preceding piece. The two poems may have been brought together, in the MS. which Thynne followed, by the accident of being written about the same time.

       § 40. XII. Ballad of Good Counsel.

      The title of this piece in Stowe's edition stands as follows: 'A balade of good counseile, translated out of Latin verses into Englishe, by dan Iohn lidgat cleped the monke of Buri.' What were the Latin verses here referred to, I have no means of ascertaining.

      This Ballad is eminently characteristic of Lydgate's style, and by no means the worst of its kind. When he once gets hold of a refrain that pleases him, he canters merrily along till he has absolutely no more to say. I think he must have enjoyed writing it, and that he wrote it to please himself.

      He transgresses one of Chaucer's canons in ll. 79–82; where he rimes hardy with foly and flatery. The two latter words are, in Chaucer, foly-ë and flatery-ë, and never rime with a word like hardy, which has no final -e.

      Lydgate is very fond of what may be called catalogues; he begins by enumerating every kind of possibility. You may be rich, or strong, or prudent, &c.; or fair (22) or ugly (24); you may have a wife (29), or you may not (36); you may be fat (43), or you may be lean (46); or staid (57), or holy (64); your dress may be presentable (71), or poor (72), or middling (73); you may speak much (78) or little (80); and so on; for it is hard to come to an end. At l. 106, he begins all over again with womankind; and the conclusion is, that you should govern your tongue, and never listen to slander.

      Thynne's text is not very good; the MSS. are somewhat better. He makes the odd mistake of printing Holynesse beautie for Eleynes beaute (115); but Helen had not much to do with holiness. Two of the stanzas (71–7 and 106–112) are now printed for the first time, as they occur in the MSS. only. Indeed, MS. H. (Harl. 2251) is the sole authority for the former of these two stanzas.

       § 41. XIII. Beware of Doubleness.

      This is a favourable example of Lydgate's better style; and is written with unusual smoothness, owing to the shortness of the lines. It was first printed in 1561. There is a better copy in the Fairfax MS., which has been taken as the basis of the text. The copy in MS. Ashmole 59 is very poor. The title—'Balade made by Lydgate'—occurs in MS. Addit. 16165. Stowe, being unacquainted with the phrase ambes as (l. 78), though it occurs in Chaucer, turned ambes into lombes, after which he wrongly inserted a comma; and lombes appears, accordingly, in all former editions, with a comma after it. What sense readers have hitherto made of this line, I am at a loss to conjecture.

       § 42. XIV. A Balade: Warning Men, etc.

      First printed by Stowe in 1561, from the MS. in Trinity College Library, marked R. 3. 19, which I have used in preference to the printed edition.

      There is another, and more complete copy in the same library, marked O. 9. 38, which has contributed some excellent corrections. Moreover, it gives a better arrangement of stanzas three and four, which the old editions transpose. More than this, it contains a unique stanza (36–42), which has not been printed before.

      The poem also occurs in Shirley's MS. Harl. 2251, which contains a large number of poems by Lydgate; and is there followed by another poem of seven stanzas, attributed to Lydgate. That the present poem is Lydgate's, cannot well be doubted; it belongs to the same class of his poems as no. XII above. I find it attributed to him in the reprint of 'Chaucer's Poems' by Chalmers, in 1810.

      The substitution of the contracted and idiomatic form et for the later form eteth is a great improvement. It is due to MS. O. 9. 38, where the scribe first wrote ette, but was afterwards so weak as to 'correct' it to etyth. But this 'correction' just ruins the refrain. Et was no doubt becoming archaic towards the middle of the fifteenth century.

      Two variations upon the last stanza occur in the Bannatyne MS., fol. 258, back; see the print by the Hunterian Club, 1879, pp. 754, 755.

       § 43. XV. Three Sayings.

      First printed by Stowe; I know of no MS. copy. The first two Sayings are attributed to Lydgate; so we may as well credit him with the third. The second expresses the same statements as the first, but varies somewhat in form; both are founded upon a Latin line which occurs in MS. Fairfax 16 (fol. 196) and in MS. Harl. 7578 (fol. 20), and runs as follows:—'Quatuor infatuant, honor, etas, femina, uinum.'

      Note that these Three Sayings constitute the only addition made by Stowe to Thynne in 'Part I' of Stowe's edition. See nos. 28, 29, 30 in vol. i. p. 32. Stowe introduced them in order to fill a blank half-column between nos. 27 and 31.

       § 44. XVI. La Belle Dame sans Mercy.

      First printed in Thynne's Chaucer (1532). Tyrwhitt first pointed out that it could not possibly be his, seeing that Alan Chartier's poem with the same name, whence the English version was made, could not have been written in Chaucer's lifetime. Chartier was born in 1386, and was only fourteen years old at the time of Chaucer's death. Tyrwhitt further stated that the author's name, Sir Richard Ros, was plainly