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He further tells us how he endeavoured to make his peace with the Church. Taking his cue from the parable of the merchantman seeking goodly pearls (p. 16, l. 84), he likens the visible Church of Christ to the pearl of great price (p. 145, l. 103; p. 94, l. 121), and piteously implores her mercy (p. 8, l. 135); and the whole tone of the piece shews his confidence that he is reasonably safe (p. 144, l. 120). He sees clearly that lollardy is unacceptable, and indulges in the usual spiteful fling against the cockle (lolia) which the Lollards were reproached with sowing (p. 48, l. 93). He had once been a heretic (p. 99, l. 29), and in danger of 'never returning' to the true Church (p. 99, l. 38); but he secured his safety by a full submission (p. 105, l. 133).

At the same time, there is much about the piece that is vague, shifty, and unsatisfactory. He is too full of excuses, and too plausible; in a word, too selfish. Hence he has no real message for others, but only wishes to display his skill, which he does by help of the most barefaced and deliberate plagiarism. It was not from the Consolatio Philosophiae of Boethius, but from the English translation of that work by Chaucer, that he really drew his materials; and he often takes occasion to lift lines or ideas from the poem of Troilus whenever he can find any that come in handy. In one place he turns a long passage from the House of Fame into very inferior prose. There are one or two passages that remind us of the Legend of Good Women (i. pr. 100, ii. 3. 38, iii. 7. 38); but they are remarkably few. But he keeps a copy of Chaucer's Boethius always open before him, and takes from it passage after passage, usually with many alterations, abbreviations, expansions, and other disfigurements; but sometimes without any alteration at all. A few examples will suffice, as a large number of parallel passages are duly pointed out in the Notes.

§ 11. In Chaucer's Boethius (bk. i. pr. 3. 10), when Philosophy, the heavenly visitant, comes to comfort the writer, her first words are:—'O my norry, sholde I forsaken thee now?' In the Testament (p. 10, l. 37), Heavenly Love commences her consolations with the same exclamation:—'O my nory, wenest thou that my maner be, to foryete my frendes or my servaunts?' The Latin text—'An te, alumne, desererem?'—does not suggest this remarkable mode of address.

This, however, is a mere beginning; it is not till further on that plagiarisms begin to be frequent. At first, as at p. 37, the author copies the sense rather than the words; but he gradually begins to copy words and phrases also. Thus, at p. 43, l. 38, his 'chayres of domes' comes from Chaucer's 'heye chayres' in bk. i. met. 5. 27; and then, in the next line, we find 'vertue, shynende naturelly … is hid under cloude,' where Chaucer has 'vertu, cler-shyninge naturelly is hid in derke derknesses'; bk. i. met. 5. 28. At p. 44, l. 66, we have: 'Whan nature brought thee forth, come thou not naked out of thy moders wombe? Thou haddest no richesse'; where Chaucer has: 'Whan that nature broughte thee forth out of thy moder wombe, I receyved thee naked, and nedy of alle thinges'; bk. ii. pr. 2. 10. Just a few lines below (ll. 71–76) we have the sense, but not the words, of the neighbouring passage in Chaucer (ll. 23–25). Further literal imitations are pointed out in the Notes to l. 85 in the same chapter, and elsewhere. See, for example, the Notes to Book ii. ch. iv. 4, 14, 20, 61; ch. v. 15, 57, 65, 67, 79; ch. vi. 11, 30, 74, 117, 123, 129, 132, 143; ch. vii. 8, 14, 20, 23, 30, 39, 50, 74, 95, 98, 105, 109, 114, 117, 130, 135, 139, 148; &c.

Those who require conviction on this point may take such an example as this.

'O! a noble thing and clere is power, that is not founden mighty to kepe himselfe'; (p. 70, l. 20).

'O! a noble thing and a cleer thing is power, that is nat founden mighty to kepen it-self'; Ch. Boeth. bk. iii. pr. 5. 5–7.

The Latin text is: 'O praeclara potentia quae nec ad conseruationem quidem sui satis efficax inuenitur.' I see no reason for supposing that the author anywhere troubled himself to consult the Latin original. Indeed, it is possible to correct errors in the text by help of Chaucer's version; see the last note on p. 461.

§ 12. We get the clearest idea of the author's method by observing his treatment of the House of Fame, 269–359. It is worth while to quote the whole passage:—

'Lo! how a woman doth amis

270

To love him that unknowen is! …

Hit is not al gold that glareth; …

Ther may be under goodliheed

275

Kevered many a shrewed vyce;

Therefore be no wight so nyce,

To take a love only for chere,

For speche, or for frendly manere;

For this shal every woman finde

280

That som man, of his pure kinde,

Wol shewen outward the faireste

Til he have caught that what him leste;

And thanne wol he causes finde,

And swere how that she is unkinde,

285

Or fals, or prevy, or double was …

Therfor I wol seye a proverbe,

290

That "he that fully knoweth th'erbe

May saufly leye hit to his yë" …

Allas! is every man thus trewe,

That every yere wolde have a newe, …

305

As thus: of oon he wolde have fame,

In magnifying of his name;

Another for frendship, seith he;

And yet ther shal the thri de be,

That shal be taken for delyt …

332

Allas, that ever hadde routhe

Any woman on any man!

Now see I wel, and telle can,

335

We wrecched women conne non art …

How sore that ye men conne grone,

Anoon, as we have yow receyved,

340

Certeinly we ben deceyved; …

For through you is my name lorn,

And alle my actes red and songe

348

Over al this land on every tonge.

O wikke Fame! …

Eek, thogh I mighte duren ever,

354

That I have doon, rekever I never …

And that I shal thus juged be—

"Lo, right as she hath doon, now she

359

Wol do eftsones, hardily."'

If the reader will now turn to p. 54, l. 45, and continue down to l. 81 on the next page, he will find the whole of this passage turned into prose, with numerous cunning alterations and a few insertions, yet including all such words as are printed above in italics! That is, he will find all except the proverb in ll. 290, 291; but this also is not far off; for it occurs over the leaf, on p. 56, at l. 115, and again at p. 22, ll. 44–45! Surely, this is nothing but book-making, and the art of it does not seem to be difficult.

§ 13. The author expressly acknowledges his admiration of Troilus (p. 140, l. 292); and it is easy to see his indebtedness to that poem. He copies Chaucer's curious mistake as to Styx being a pit (p. 3, l. 80, and the note). He adopts the words let-game (p. 18, l. 124) and wiver (p. 129, l. 27). He quotes a whole line from Troilus at p. 27, l. 78 (see note); and spoils another one at p. 34, ch. viii. l. 5, a third at p. 80, l. 116, and a fourth at p. 128, ch. vii. l. 2. We can see whence he took his allusion to 'playing raket,' and to the dock and nettle, at p. 13, ll. 166, 167; and the phrase to 'pype with an yvè-lefe' at p. 134, l. 50.

It is further observable that he had read a later text of Piers Plowman with some care, but he seems to quote it from memory, as at p. 18, l. 153, and p. 24, l. 118. A few other passages in which he seems to have taken ideas from this popular and remarkable poem are pointed out in the Notes. It is probable that he thence adopted the words legistres and skleren; for which see the Glossary, and consult the Notes for the references which are there given.

§ 14. The author is frequently guilty of gross inaccuracies. He seems to confuse Cain with Ham (p. 52, ll. 107, 109), but Cayn, says Mr. Bradley, may be Thynne's misprint for Cam, i.e. Ham. He certainly confuses Perdiccas with Arrhidæus (p. 52, l. 116). He speaks of the eighth year, instead of the seventh, as being a sabbatical year, and actually declares that the ordinary week contains seven working-days (p. 24, ll. 102–104)! He tells us that Sunday begins 'at the first hour after noon (!) on Saturday' (p. 82, l. 163). Hence it is not to be wondered at that some of his arguments and illustrations are quite unintelligible.

§ 15. The title of the work, viz. The Testament of Love, readily reminds us of the passage in Gower already quoted in vol. iii. p. xliii., in which the goddess Venus proposes that Chaucer should write 'his testament of love,' in order 'to sette an ende of alle his werke.' I have already explained that the real reference in this passage is to the Legend of Good Women; but I am not prepared, at present, to discuss the connection between the expression in Gower and the treatise by Usk. The fact that our author adopted the above title may have led to the notion that Chaucer wrote the treatise here discussed; but it is quite clear that he had nothing to do with it.

Professor Morley well says that 'the writer of this piece uses the word Testament in the old Scriptural sense of a witnessing, and means by Love the Divine Love, the Christian spirit encouraging and directing the wish for the grace of God, called Margaret, the pearl beyond all price.' To which, however, it is highly essential to add that Margaret is not used in the sense of 'grace' alone, but is also employed, in several passages, to signify 'the visible Church of Christ.' The author is, in fact, careful to warn us of the varying, the almost Protean sense of the word at p. 145, where he tells us that 'Margarite, a woman [i.e. properly a woman's name], betokeneth grace, lerning, or wisdom of god, or els holy church.' His object seems to have been to extend the meaning of the word so as to give him greater scope for ingenuity in varying his modes of reference to it. He has certainly succeeded in adding to the obscurity of his subject. That by 'holy church' he meant the visible Church of Christ of his own time, appears from the remarkable assertion that it is 'deedly,' i.e. mortal (p. 94, l. 121). Such an epithet is inapplicable to the Church in its spiritual character. It may also be observed that, however much the sense implied by Margarite may vary, it never takes the meaning which we should most readily assign to it; i.e. it never means a live woman, nor represents even an imaginary object of natural human affection. The nearest approach to such an ideal is at p. 94, l. 114, where we are told that the jewel which he hopes to attain is as precious a pearl as a woman is by nature.

§ 16. It hardly seems worth while to give a detailed analysis of the whole piece. An analysis of the First Book (which is, on the whole, the best) is given by Professor Morley; and the hints which I have already given as to the character and situation of the author will enable the reader to regard the treatise from a right point of view. But it is proper to observe that the author himself tells us how he came to divide the work into three books^[10], and what are the ideas on which each book is founded. Each of the three books has an introductory chapter. That to the First Book I have called a Prologue; and perhaps it would have been strictly correct to have called the first chapters of the other books by the same name. In the introductory chapter to the Third Book, p. 101, he declares that the First Book is descriptive of Error, or Deviation (which the editions print as Demacion!); the Second, of Grace; and the Third, of Joy. In other words, the First Book is particularly devoted to recounting the errors of his youth, especially how he was led by others into a conspiracy against the state and into deviation from orthodoxy. In the Prologue, he excuses himself for writing in English, and announces the title of the work. He then assures us that he is merely going to gather up the crumbs that have fallen from the table, and to glean handfuls of corn which Boethius has dropped. 'A sly servant in his own help is often much commended'; and this being understood, he proceeds to help himself accordingly, as has already been explained.

§ 17. Book I: Ch. I. In Chapter I, he describes his misery, and hopes that the dice will turn, and implores the help of Margaret, here used (apparently) to typify the grace of God. He represents himself as being in prison, in imitation of Boethius; but I suspect that, in the present passage, the prison was metaphorical. (He had been imprisoned in 1384, and in 1387 was imprisoned again; but that is another matter.)

Ch. II. Heavenly Love suddenly appears to him, as Philosophy appeared to Boethius, and is ready to console and reclaim him. She is aware of his losses, and he tries to vindicate his constancy of character.

Ch. III. He describes how he once wandered through the woods at the close of autumn, and was attacked by some animals who had suddenly turned wild. To save himself, he embarks on board a ship; but the reader is disappointed to find that the adventure is wholly unreal; the ship is the ship of Travail, peopled by Sight, Lust, Thought, and Will. He is driven on an island, where he catches a glimpse of Love, and finds a Margaret, a pearl of price. He appeals to Love to comfort him.

Ch. IV. Love first reproves and then consoles him. She enquires further into his complaints.

Ch. V. She advises him to contemn such as have spoken against him. He complains that he has served seven years for Rachel, and prays for comfort in his eighth year. She exhorts him to perseverance.

Ch. VI. He here goes into several details as to his previous conduct. The authorities threatened to keep him in prison, unless he would reveal a certain secret or plot. He was afraid that the peace of his native place, London, would suffer; and to procure its peace, he 'declared certain points.' Being charged upon oath to reveal certain secret dealings, he at once did so; for which he incurred much odium.

Ch. VII. To prove that he had only spoken the truth, he offered wager of battle; and was justified by the fact that no one accepted it. He had not perjured himself, because his oath in the law-court was superior to his former oath of secrecy. He only meant truth, but was sadly slandered. It is absurd to be 'a stinking martyr' in a false cause.

Ch. VIII. Love tells him he has greatly erred, and must expect much correction. Earthly fame should be despised, whilst he looks for the fame that comes after death.

Ch. IX. Love vindicates the greatness of God and the goodness of His providence.

Ch. X. The author complains of his hard fortune; he has lost his goods and has been deprived of his office. Love explains that adversity teaches salutary lessons, and that the true riches may still be his own.

§ 18. Book II. In the first chapter (or Prologue) of the Second Book, he again discusses the object of his work. In Chapter II, Love sings him a Latin song, introducing complaints against the clergy such as frequently occur in Piers the Plowman. In Chapter III, we find a discourse on womankind, largely borrowed from Chaucer's House of Fame. The next eight chapters are chiefly devoted to a discussion of the way by which the repentant sinner may come to 'the knot' of Heavenly bliss; and it is here, in particular, that a large portion of Chaucer's Boethius is freely imitated or copied. The last three chapters recount the excellences of Margaret, which in many passages refers rather to the visible Church than to divine Grace.

§ 19. Book III. The first chapter is again introductory, explaining why the number of Books is three. 'The Margaret in virtue is likened to Philosophy, with her three kinds.' It is remarkable that this Third Book, which is dedicated to Joy, is the dullest of the three, being largely taken up with the questions of predestination and free will, with more borrowings from Chaucer's Boethius. In Chapter V, Love explains how continuance in good will produces the fruit of Grace; and, in Chapters VI and VII, shews how such grace is to be attained. Chapter IX recurs to the subject of predestination; after which the work comes to a formal conclusion, with excuses for its various imperfections.

§ 20. II. The Plowmans Tale.

This piece does not appear in Thynne's first edition of 1532, but occurs, for the first time, in the second edition of 1542, where it is added at the end of the Canterbury Tales, after the Parson's Tale. In the next (undated) edition, probably printed about 1550, it is placed before the Parson's Tale, as if it were really Chaucer's, and the same arrangement occurs in the fourth edition, that of 1561, by John Stowe. It is worth mentioning that some booksellers put forward a fable as to the true date of the undated edition being 1539, in order to enhance the value of their copies; but the pretence is obviously false, as is shewn by collation^[11]; besides which, it is not likely that the Plowman's Tale would have been at first inserted before the Parson's Tale, then placed after it, and then again placed before it. It is best to separate the first four editions by nearly equal intervals, their dates being, respectively, 1532, 1542, about 1550, and 1561.

Comparison of the black-letter editions shews that the first is the best; and the later ones, being mere reprints, grow gradually worse. Hence, in this case, the edition of 1542 is the sole authority, and the readings of the inferior copies may be safely neglected. It is remarkable that Mr. T. Wright, in his edition of this poem printed in his Political Poems and Songs, i. 304, should have founded his text upon a reprint of Speght in 1687, when he might have taken as his authority a text more than 140 years older. The result is, naturally, that his text is much worse than was at all necessary.

According to Speght, there was once a MS. copy of this piece in Stowe's library, but no one knows what became of it. According to Todd, in his Illustrations of Gower and Chaucer, p. xxxix, there was once a black-letter edition of it, entitled 'The Plouuman's tale compylled by syr Geffray Chaucer knyght.' Todd says: 'It is of the duodecimo size, in the black letter, without date, and imprinted at London in Paules churche-yarde at the sygne of the Hyll, by Wyllyam Hyll. I have compared with the poem as printed by Urry forty or fifty lines, and I found almost as many variations between them^[12]. The colophon of this book is, Thus endeth the boke of Chaunterburye Tales. This rarity belongs to the Rev. Mr. Conybeare, the present Professor of the Saxon language in the University of Oxford.' This edition can no longer be traced. Hazlitt mentions a black-letter edition of this piece, printed separately by Thomas Godfray (about 1535), on twenty leaves; of which only one copy is known, viz. that at Britwell. There is also a late print of it in the Bodleian Library, dated 1606.

§ 21. It is needless to discuss the possibility that Chaucer wrote this Tale, as it is absent from all the MSS.; and it does not appear that the ascription of it to him was taken seriously. It is obvious, from the introductory Prologue (p. 147), that the author never intended his work to be taken for Chaucer's; he purposely chooses a different metre from any that occurs in the Canterbury Tales, and he introduces his Ploughman as coming under the Host's notice quite suddenly, so that the Host is constrained to ask him—'what man art thou?' The whole manner of the Tale is conspicuously and intentionally different from that of Chaucer; and almost the only expression which at all resembles Chaucer occurs in ll. 51, 52:—

'I pray you that no man me reproche

Whyl that I am my tale telling.'

Chaucer himself, before reciting his Tale of Melibeus, said much the same thing:—

'And let me tellen al my tale, I preye.'

I do not know why Mr. Wright, when reprinting this piece, omitted the Prologue. It is a pity that half of the sixth stanza is missing.

§ 22. At l. 1065 we meet with a most important statement:—

'Of freres I have told before

In a making of a Crede.'

It is generally agreed that the author here claims to have previously written the well-known piece entitled Pierce the Ploughman's Crede, which I edited for the Early English Text Society in 1867. I then took occasion to compare the language of these two pieces (which I shall shortly call the Crede and the Tale), and I found ample confirmation, from internal evidence, that the claim is certainly true. There are many similarities of expression, some of which I here lay before the reader.

From the Crede.	From the Tale.
Curteis Crist (1, 140).	curteys Christ (482).
cutted cote (434).	cutted clothes (929).
y can nohȝt my Crede (8).	Suche that conne nat hir Crede (413).
At marketts and myracles, we medleth us nevere (107).	Market-beters, and medling make (871).
For we buldeth a burwȝ, a brod and a large (118).	And builde als brode as a citè (743).
portreid and peint (121).	I-paynted and portred (135).
peynt and portred (192).
y sey coveitise catel to fongen (146).	To catche catell as covytous (385; cf. 856).
Of double worstede y-dyȝt (228).	With double worsted well y-dight (1002).
Than ther lefte in Lucifer, er he were lowe fallen (374).	As lowe as Lucifer such shall fall (124).
opon the plow hongen (421).	honged at the plow (1042).
povere in gost God him-self blisseth (521).	The pore in spirit gan Christ blesse (915).
ben maysters icalled, That the gentill Jesus … purly defended (574).	Maysters be called defended he tho (1115).
to brenne the bodye in a bale of fijr (667).	Thou shalt be brent in balefull fyre (1234).
Thei shulden nouȝt after the face … demen (670).	They nolde nat demen after th face (714).
Thei schulden delven and diggen and dongen the erthe,	Threshing and dyking fro town to town,
And mene mong-corn bred to her mete fongen (785).	With sory mete, and not half y-now (1043).
He miȝte no maistre ben kald, for Crist that defended (838).	Maysters be called defended he tho (1115).

The Crede is written in alliterative verse; and it will be observed that alliteration is employed in the Tale very freely. Another peculiarity in the Tale may here be noticed, viz. the use of the same rime, fall or befall, throughout Part I, with the exception of ll. 205–228. Indeed, in the first line of Part II, the author apologizes for being unable to find any more rimes for fall, and proceeds to rime upon amend throughout that Part. In Part III, he begins to rime upon grace in the first two stanzas, but soon abandons it for the sake of freedom; however, at l. 1276, he recurs to grace, and continues to rime upon it till the end. It is clear that the author possessed considerable facility of expression. We can date these pieces approximately without much error. The proceedings against Walter Brute, expressly alluded to in the Crede, l. 657, lasted from Oct. 15, 1391, to Oct. 6, 1393, when he submitted himself to the bishop of Hereford. We may well date the Crede about 1394, and the Tale (which probably soon followed it, as the author repeats some of his expressions) about 1395^[13].

Both these pieces are written in a spirited style, and are of considerable interest for the light which they throw upon many of the corrupt practices of the monks, friars, and clergy. The Crede is directed against the friars in particular, and reflects many of the opinions of Wyclif, as will easily appear by comparing it with Wyclif's works. See, in particular, his Fifty Heresies and Errors of Friars (Works, ed. Arnold, iii. 366). It would have been easy to crowd the Notes with quotations from Wyclif; but it is sufficient to point out so obvious a source. I have not observed any passage in which the author copies the exact language of Langland. The dialect seems to be some form of Midland, and is somewhat archaic; many of the verbal forms are of some value to the philologist. Taken altogether, it is a piece of considerable interest and merit. Ten Brink alludes to it as 'that transparent, half-prophetic allegory of the Quarrel between the Griffin and the Pelican'; and adds—'The Griffin was the representative of the prelates and the monks, the Pelican that of real Christianity in Wyclif's sense. At a loss for arguments, the Griffin calls in at last all the birds of prey in order to destroy its rival. The Phoenix, however, comes to the help of the Pelican, and terribly destroys the robber-brood.'

Tyrwhitt observed, with great acuteness, that Spenser's allusion, in the Epilogue to his Shepheards Calender, to 'the Pilgrim that the Ploughman playde awhyle,' may well refer to the author of the Plowman's Tale rather than to Langland^[14]. Cf. p. 147, l. 12. It was natural that Spenser should mention him along with Chaucer, because their productions were bound up together in the same volume; a volume which was, to Spenser, a treasure-house of archaic words.

The discussion on points of religion between the Griffin and the Pelican clearly suggested to Dryden his discussion between the Hind and the Panther. His choice of quadrupeds in place of birds is certainly no improvement.

§ 23. III. Jack Upland.

Of this piece, no MS. copy is known. It is usually said to have been first printed by Speght, in his second edition of Chaucer's Works in 1602; but I have been so fortunate as to find a better and earlier text in the library of Caius College, Cambridge, to which my attention was drawn by a note in Hazlitt's Bibliographer's Handbook. This copy, here taken as the basis of my text, and collated with Speght, is a small book consisting of only 16 leaves. The title-page contains the following words, within a square border. ¶ Jack vp Lande | Compyled by the | famous Geoffrey | Chaucer. | Ezechielis. xiii. | ¶ Wo be vnto you that | dishonour me to me (sic) peo | ple for an handful of bar | lye & for a pece of bread. | Cum priuilegio | Regali.

At the end of the treatise is the colophon: ¶ Prynted for Ihon Gough. Cum Priuilegio Regali.

Hazlitt conjectures that it was printed about 1540. I think we may safely date it in 1536; for it is bound up in a volume with several other tracts, and it so happens that the tract next following it is by Myles Coverdale, and is dated 1536, being printed in just the very same type and style. We can also tell that it must have been printed after 1535, because the verse from Ezekiel xiii, as quoted on the title-page (see above), exactly corresponds with Coverdale's version of the Bible, the first edition of which appeared in that year.

The text of Jack Upland, in the Caius College copy, has the following heading, in small type:—'¶ These bē the lewed questions of Freres rytes and obseruaunces the whych they chargen more than Goddes lawe, and therfore men shulden not gyue hem what so they beggen, tyll they hadden answered and clerely assoyled these questions.'

As this copy is, on the whole, considerably superior to Speght's both as regards sense and spelling, I have not given his inferior readings and errors. In a very few places, Speght furnishes some obvious corrections; and in such instances his readings are noted.

§ 24. A very convenient reprint of Speght's text is given in Wright's edition of Political Poems and Songs (Record Series), vol. ii. p. 16. In the same volume, p. 39, is printed a reply to Jack Upland's questions by a friar who facetiously calls himself Friar Daw Topias, though it appears (from a note printed at p. 114) that his real name was John Walsingham. Nor is this all; for Friar Daw's reply is further accompanied by Jack Upland's rejoinder, printed, for convenience, below Friar Daw's text. It is most likely, as Mr. Wright concludes, that all three pieces may be dated in the same year. It was necessary that Friar Daw (who gave himself this name in order to indicate that he is a comparatively unlearned man, yet easily able to refute his audacious questioner) should produce his reply at once; and we may be sure that Jack's rejoinder was not long delayed. Fortunately, the date can be determined with sufficient exactness; for Jack's rejoinder contains the allusion: 'and the kyng by his juges trwe [sholde] execute his lawe, as he did now late, whan he hangid you traytours,' p. 86. This clearly refers to June, 1402^[15], when eight Franciscan friars were hanged at Tyburn for being concerned in a plot against the life of Henry IV. We may, accordingly, safely refer all three pieces to the year 1402; shortly after Chaucer's death.

§ 25. It is also tolerably clear that there must have been two texts of 'Jack Upland,' an earlier and a later one. The earlier one, of which we have no copy, can easily be traced by help of Friar Daw's reply, as he quotes all that is material point by point. It only extended as far as the 54th question in the present edition (p. 199); after which followed two more questions which do not here reappear. The later copy also contains a few questions, not far from the beginning, which Friar Daw ignores. It is clear that we only possess a later, and, on the whole, a fuller copy. One of the omitted questions relates to transubstantiation; and, as any discussion of it was extremely likely, at that date, to be ended by burning the disputant at the stake, it was certainly prudent to suppress it. Not perceiving this point, Mr. Wright too hastily concluded that our copy of Jack Upland is extremely corrupt, a conclusion quite unwarranted; inasmuch as Friar Daw, in spite of his affectation of alliterative verse, quotes his adversary's questions with reasonable correctness. On this unsound theory Mr. Wright has built up another, still less warranted, viz. that the original copy of Jack Upland must have been written in alliterative verse; for no other reason than because Friar Daw's reply is so written. It is obvious that alliteration is conspicuously absent, except in the case of the four lines (424–7), which are introduced, by way of flourish, at the end. My own belief is that our copy of Jack Upland is a second edition, i.e. an amended and extended copy, which has been reasonably well preserved. It is more correct than the Plowmans Tale, and very much more correct than the Testament of Love.

§ 26. Mr. Wright further imagines that Jack Upland's rejoinder to Friar Daw's reply, which he prints from 'a contemporary MS. in the Bodleian Library at Oxford, MS. Digby 41,' was also originally in alliterative verse. This supposition is almost as gratuitous as the former; for, although there are very frequent traces of alliteration as an occasional embellishment, it is otherwise written in ordinary prose. The mere chopping up of prose into bits of not very equal length, as in Mr. Wright's print, does not produce verse of any kind. Friar Daw's verses are bad enough, as he did not understand his model (obviously the Ploughman's Crede), but he usually succeeds in making a kind of jingle, with pauses, for the most part, in the right place. But there is no verse discoverable in Jack Upland; he preferred straightforward prose, for reasons that are perfectly obvious.

For further remarks, I beg leave to refer the reader to Mr. Wright's Introduction, pp. xii-xxiv, where he will find an excellent summary of the arguments adduced on both sides. There is a slight notice of Jack Upland in Morley's English Writers, vi. 234.

§ 27. IV. John Gower: The Praise of Peace.

In Morley's English Writers, iv. 157, this poem is entitled 'De Pacis Commendatione,' on MS. authority (see p. 216). Mr. E. B. Nicholson, who has made a special study of Gower's poems, suggested 'The Praise of Peace,' which I have gladly adopted. I am much obliged to Mr. Nicholson for his assistance in various ways; and, in particular, for the generous loan of his own transcript of this poem.

§ 28. In Todd's Illustrations of Gower and Chaucer, p. 95, is a notice of a MS. 'in the present Marquis of Stafford's library at Trentham,' which had been previously described in Warton's Hist. of E. Poetry as being 'in Lord Gower's library.' Mr. Wright alludes to it as 'a contemporary MS. in the possession of his grace the duke of Sutherland.' It may be called 'the Trentham MS.' 'The Praise of Peace' was printed from it by Mr. Wright, in his Political Poems and Songs, ii. 4–15; and I have followed his text, which I denote by 'T.' At the same time, I have collated it with the text of Thynne's edition of 1532, which is a very good one. The differences are slight.

Warton describes the MS. as 'a thin oblong MS. on vellum, containing some of Gower's poems in Latin, French, and English. By an entry in the first leaf, in the handwriting and under the signature of Thomas lord Fairfax, Cromwell's general, an antiquarian, and a lover and collector of curious manuscripts, it appears that this book was presented by the poet Gower, about 1400^[16], to Henry IV; and that it was given by lord Fairfax to his friend and kinsman Sir Thomas Gower, knight and baronet, in the year 1656.' He goes on to say that Fairfax had it from Charles Gedde, Esq., of St. Andrews; and that it was at one time in the possession of King Henry VII, while earl of Richmond, who wrote in it his own name in the form 'Rychemond.'

The MS. contains (1) The Praise of Peace, preceded by the seven Latin lines (386–392), which I have relegated to the end of the poem, as in Thynne. The title is given in the colophon (p. 216); after which follow the twelve Latin lines (393–404), printed on the same page. (2) Some complimentary verses in Latin, also addressed to Henry IV, printed in Wright's Political Poems, ii. 1–3. (3) Fifty Balades in French, which have been printed by Stengel (Warton prints four of them), with the colophon—'Expliciunt carmina Johīs Gower que Gallice composita Balades dicuntur.' (4) Two short Latin poems in elegiacs; see Warton. (5) A French poem on the Dignity or Excellence of Marriage. (6) Seventeen Latin hexameters. (7) Gower's Latin verses on his blindness, beginning—

'Henrici quarti primus regni fuit annus,

Quo michi defecit visus ad acta mea,' &c.

See Todd and Warton for more minute particulars.

§ 29. The poem itself may safely be dated in the end of 1399, for reasons given in the note to l. 393. It is of some interest, as being Gower's last poem in English, and the spirit of it is excellent, though it contains no very striking lines. We have not much of Gower's work in the form of seven-line stanzas. The Confessio Amantis contains only twelve such stanzas; iii. 349–352. I draw attention to the earliest known reference (l. 295) to the game of 'tenetz'; the enumeration of the nine worthies (ll. 281–3); and the reference to a story about Constantine which, in the Confessio Amantis, is related at considerable length (l. 339).

We may compare with this poem the stanzas in praise of peace in Hoccleve's De Regimine Principum, quoted in Morley's English Writers (1890), vol. vi. pp. 131–2.

§ 30. V. Thomas Hoccleve: The Letter of Cupid.

This poem needs little discussion. It is known to be Hoccleve's; see Dr. Furnivall's edition of Hoccleve's Minor Poems, E. E. T. S., 1892, p. 72. As explained in the notes, it is rather closely imitated from the French poem entitled L'Epistre au Dieu d'Amours, written by Christine de Pisan. At the end of her poem, Christine gives the date of its composition, viz. 1399; and Hoccleve, in like manner, gives the date of his poem as 1402. The poem consists of sixty-eight stanzas, of which not more than eighteen are wholly independent of the original. The chief original passages are ll. 176–189, 316–329, and 374–434.

The poem is entirely occupied with a defence of women, such as a woman might well make. It takes the form of a reproof, addressed by Cupid to all male lovers; and is directed, in particular, against the sarcasms of Jean de Meun (l. 281) in the celebrated Roman de la Rose.

Of this poem there are several MS. copies; see footnotes at p. 217. The best is probably the Ashburnham MS., but it has not yet been printed. I chiefly follow MS. Fairfax 16, which Dr. Furnivall has taken as the basis of his text.

There is also a poor and late copy in the Bannatyne MS., at fol. 269; see the print of it for the Hunterian Club, 1879; p. 783.

§ 31. VI. The same: Two Balades.

These two Balades, also by Hoccleve, were composed at the same time. The former is addressed to King Henry V, and the latter to the Knights of the Garter. They are very closely connected with a much longer poem of 512 lines, which was addressed to Sir John Oldcastle in August, 1415; and must have been written at about that date. It was natural enough that, whilst addressing his appeal to Oldcastle to renounce his heresies, the poet should briefly address the king on the same subject at the same time. I think we may safely date this piece, like the other, in August, 1415.

The remarkable likeness between the two pieces appears most in the references to Justinian and to Constantine. In fact, the reference to Justinian in l. 3 of the former of the Balades here printed would be unintelligible but for the full explanation which the companion poem affords. I have quoted, in the note to l. 3, the Latin note which is written in the margin of st. 24 of the address to Oldcastle; and I quote here the stanza itself:—