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The poem The Bruce, by John Barbour, is preserved in only two manuscripts, one in the library of St. John’s College, Cambridge, and the other in the Advocates’ Library, Edinburgh. The former is hereafter denoted by the letter C, the latter by E. Of these E alone is complete in the sense of having both beginning and end; the first three Books and Book IV. 1-56 are missing in C. On the other hand, C bears to have been completed in 1487, E in 1489. Other things being equal, the earlier MS. must, of course, be preferred. Here, however, intervenes a series of extracts, numbering 280 lines from Books I. and II., embedded in Wyntoun’s Orygynale Cronykil of Scotland, and the two MSS. of the Cronykil are actually older than those of The Bruce. This raises a difficulty, as Wyntoun’s extracts show a goodly proportion of variations in language from the corresponding passages in E, the only other MS. which covers the same ground. Professor Skeat considers that Wyntoun’s lines are “in a better form (in the main)” than those of E;[1] but, on the other hand, we do not know Wyntoun’s method of working in such a case—how far he transcribed verbatim, how far “he modified the language of the MS. which he must have had before him.”[2] Many lines he omits, and others he obviously paraphrases; he incorporates matter from another source; and his version of The Bruce lines may quite well be due to memorial reproduction after a hurried reading. It is not otherwise easy to account for scraps of a few lines of the poem being here and there embedded in narrative independently worded or derived. There is thus no warrant for erecting this chopped-up, second-hand version of the lines in question into a canon or standard for a purely scribal transcript made for its own sake. It is needful to enter this plea in view of the separatist theory of Mr. J. T. T. Brown, for whom the passages in Wyntoun represent so much of the original or ur-Bruce, out of which our MS. and printed versions have been elaborated by a fifteenth-century editor, who, to do so, borrowed freely and with no great cunning from the works of contemporary authors.[3]

The earliest printed versions of The Bruce raise yet another issue bearing on the purity of the text. The first is apparently of the year 1571, and only one copy is known to exist.[4] It does not, however, differ materially from that of “Andro Hart” (H), published at Edinburgh in 1616. In this the language is modernized; still more so is it in the edition of four years later from the same publisher. And these seem to have been the basis of the gradually worsening issues so common in the eighteenth century, until in 1790 Pinkerton reverted to the sound critical method of having a transcript made directly from the Edinburgh MS. This again was the origin of Jamieson’s more careful edition of 1820, reprinted with a few corrections in 1869. Meantime Cosmo Innes had prepared for the Spalding Club (1856) a version which, for the first time, introduced readings from the Cambridge MS., but which, in being dressed up in a “consistent orthography,” so far reverted to the evil example of Hart. Subsequently, for the Early English Text Society, and later, for the Scottish Text Society, Professor Skeat, basing on C, but also utilizing E and H with a few readings from Wyntoun and Anderson’s issue of 1670, produced, for the first time, a full and in all respects competent text. To Skeat’s edition the present one is essentially indebted.

The main point about Hart’s edition (H) is that it supplies 39 lines not found in either MS., with an expansion of two others into eight, 45 new lines in all. The expanded portion Skeat perforce relegates to the footnotes. Twelve lines from Hart in the last book he at first accepted as genuine, but finally discarded as an interpolation.[5] He might justifiably have gone further, for he seems to me to have erred in attaching undue importance to Hart’s unsupported contributions.

This is made clear by considering the question as between C and E. Each MS. has portions not found in the other. The scribe of E furnishes his own excuse; his copy was “hurriedly written” (raptim scriptus). Consequently we are not surprised to find that he has dropped 81 lines found in C. On the other hand, the more careful Cambridge scribe has overlooked, as the best of copyists might, 39 lines preserved in the Edinburgh version. Upon analysis of these two groups a satisfactory test of character emerges. In one case only—C, Bk. VI. *85-*92, E, Bk. VI. 101-106—do we find an unexplained confusion, traces of two alternative accounts of one incident, a possibility to which Barbour refers in several instances. One line from C Skeat rejects because it results in a triple rhyme.[6] Having eliminated these, we find that of the remaining omissions in E two lines are the result of the misplacing of one;[7] eight lines are couplets which have been overlooked; four lines are necessary to complete couplets, so that their loss is due to sheer carelessness; while the bulk of the missing lines, 57 out of 80, is accounted for by the recurrence of the same word or words at the beginning or end of the line, whereby the eye of the scribe has run on from, e.g., “Toward the toun” in Bk. IX. *374 to “Toward the toun” in 374, and from “thai fand” in Bk. XIII. 446 to “thai fand,” in *450, missing all between. A parallel result is given by analysis of the 39 lines wanting in C but present in E. Six are involved in the mutual perplexity of Bk. VI.; one is merely a careless oversight, and the remaining 32 come under the main category of omission through recurrence, within a short space, of the same word or rhyme. On the whole, then, with the reservation noted above, the condition of things as between the two MSS. is quite normal; the omissions are explicable on ordinary grounds, and as the missing lines, with but one real exception, take their places again without disturbance of their neighbours, we may conclude that C and E are individual versions of a single original poem, and complementary to each other. But copyists were only mortal; an author too might see cause to alter a MS.; and the variations of reading, even with those of Wyntoun thrown in, after all supply a less serious illustration of such possibilities than do the MSS. of the Canterbury Tales from the Ellesmere to the so disturbing Harleian.

As for the lines found only in Hart’s edition, their every feature arouses distrust and suspicion. Skeat’s judgment of “almost certainly genuine” he has had to retract for 18 out of the total of 45, including the eight-line version of a couple in the MSS.[8] Those on the heart-throwing episode, Bk. XX. *421-*432, have been referred to above. Not a single example of the remaining accretions meets the test of repetition operative in the case of the MSS., or suggests its own explanation. The couplet in Bk. II., p. 25, is nothing either way; that on p. 283 is awkward; the intrusive lines on p. 321 are neither sense nor grammar; those on pp. 215, 216 can find a place only by an unwarrantable alteration of the succeeding line in both MSS., a liberty which Mr. Brown, on purely speculative grounds, lightly accepts from the very passage in question.[9] On the untimeous harangue into which Bruce is made to pass on p. 239 I have spoken in its place. In general it may be said that Hart’s contributions are clear misfits. Moreover, the circumstantial evidence seems to clinch the main conclusion. Hart, or his editor, had a turn for rhyme: to him are due the rhyming rubrics, and he added at the close of the poem a halting colophon of six lines, which in the later corrupt editions was simply merged in the poem, and is quoted as a specimen thereof in a critical historical work of 1702.[10] In XX. 610 he has barefacedly substituted a line for that of the MSS., which introduces a detail not found before the time of Bower and no doubt taken from him.[11] This throws a strong light on the origin of other lines in the same Book.[12] Thus we prove capability and inclination. Hart “modernized” the language of The Bruce, and from “modernization” to “improvement” is a tempting transition.