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Subject Area: Literature
Subject Area: Science

BOOK III. - Geoffrey Chaucer, The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) [1899]

Edition used:

The Complete Works of Geoffrey Chaucer, edited from numerous manuscripts by the Rev. Walter W. Skeat (2nd ed.) (Oxford: Clarendon Press, 1899). 7 vols.

Part of: The Complete Works of Geoffrey Chaucer, 7 vols.

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BOOK III.

Incipit liber tercius.

  • Invocation.
  • O god of science and of light,[ ]
  • Apollo, through thy grete might,
  • This litel laste book thou gye!
  • Nat that I wilne, for maistrye,
  • Here art poetical be shewed;1095
  • But, for the rym is light and lewed,
  • Yit make hit sumwhat agreable,
  • Though som vers faile in a sillable;[ ]
  • And that I do no diligence
  • To shewe craft, but o sentence.(10) 1100
  • And if, divyne vertu, thou
  • Wilt helpe me to shewe now
  • That in myn hede y-marked is—
  • Lo, that is for to menen this,
  • The Hous of Fame to descryve—1105
  • Thou shalt see me go, as blyve,
  • Unto the nexte laure I see,
  • And kisse hit, for hit is thy tree;
  • Now entreth in my breste anoon!—
  • The Dream.
    • Whan I was fro this egle goon,(20) 1110
    • I gan beholde upon this place.
    • And certein, or I ferther pace,
    • I wol yow al the shap devyse
    • Of hous and site ; and al the wyse[ ]
    • How I gan to this place aproche1115
    • That stood upon so high a roche,[ ]
    • Hyer stant ther noon in Spaine.
    • But up I clomb with alle paine,
    • And though to climbe hit greved me,[ ]
    • Yit I ententif was to see,(30) 1120
    • And for to pouren wonder lowe,
    • If I coude any weyes knowe
    • What maner stoon this roche was;
    • For hit was lyk a thing of glas,
    • But that hit shoon ful more clere;1125
    • But of what congeled matere
    • Hit was, I niste redely.
    • But at the laste espyed I,
    • And found that hit was, every deel,
    • A roche of yse, and not of steel.(40) 1130
    • Thoughte I, ‘By Seynt Thomas of Kent![ ]
    • This were a feble foundement
    • To bilden on a place hye;
    • He oughte him litel glorifye
    • That her-on bilt , god so me save!’1135
    • Tho saw I al the half y-grave
    • With famous folkes names fele,
    • That had y-been in mochel wele,
    • And hir fames wyde y-blowe.
    • But wel unethes coude I knowe(50) 1140
    • Any lettres for to rede
    • Hir names by; for, out of drede,
    • They were almost of-thowed so,
    • That of the lettres oon or two
    • Was molte away of every name,1145
    • So unfamous was wexe hir fame;
    • But men seyn, ‘What may ever laste?’
    • Tho gan I in myn herte caste,
    • That they were molte awey with hete,
    • And not awey with stormes bete.(60) 1150
    • For on that other syde I sey
    • Of this hille, that northward lay,[ ]
    • How hit was writen ful of names
    • Of folk that hadden grete fames
    • Of olde tyme , and yit they were1155
    • As fresshe as men had writen hem there
    • The selve day right, or that houre
    • That I upon hem gan to poure.
    • But wel I wiste what hit made ;
    • Hit was conserved with the shade—(70) 1160
    • Al this wrytinge that I sy—
    • Of a castel, that stood on hy,
    • And stood eek on so cold a place,
    • That hete mighte hit not deface.
    • Tho gan I up the hille to goon,1165
    • And fond upon the coppe a woon,
    • That alle the men that ben on lyve[ ]
    • Ne han the cunning to descryve
    • The beautee of that ilke place,
    • Ne coude casten no compace(80) 1170
    • Swich another for to make,
    • That mighte of beautee be his make
    • Ne [be] so wonderliche y-wrought;[ ]
    • That hit astonieth yit my thought,
    • And maketh al my wit to swinke1175
    • On this castel to bethinke.
    • So that the grete craft , beautee,[ ]
    • The cast, the curiositee
    • Ne can I not to yow devyse,
    • My wit ne may me not suifyse.(90) 1180
    • But natheles al the substance
    • I have yit in my remembrance;
    • For-why me thoughte, by Seynt Gyle !
    • Al was of stone of beryle,
    • Bothe castel and the tour,1185
    • And eek the halle, and every bour,
    • Withouten peces or Ioininges.
    • But many subtil compassinges,
    • Babewinnes and pinacles,[ ]
    • Imageries and tabernacles,(100) 1190
    • I saw; and ful eek of windowes,
    • As flakes falle in grete snowes.
    • And eek in ech of the pinacles
    • Weren sondry habitacles ,
    • In whiche stoden , al withoute—1195
    • Ful the castel , al aboute—
    • Of alle maner of minstrales,[ ]
    • And gestiours, that tellen tales
    • Bothe of weping and of game,
    • Of al that longeth unto Fame.(110) 1200
    • Ther herde I pleyen on an harpe
    • That souned bothe wel and sharpe,
    • Orpheus ful craftely,
    • And on his syde, faste by,
    • Sat the harper Orion ,1205
    • And EacidesChiron ,
    • And other harpers many oon,
    • And the Bret Glascurion;[ ]
    • And smale harpers with her gleës
    • Seten under hem in seës,(120) 1210
    • And gonne on hem upward to gape ,
    • And countrefete hem as an ape,
    • Or as craft countrefeteth kinde.
    • Tho saugh I stonden hem behinde,
    • A-fer fro hem, al by hemselve,1215
    • Many thousand tymes twelve,
    • That maden loude menstralcyes
    • In cornemuse and shalmyes,[ ]
    • And many other maner pype,
    • That craftely begunne pype(130) 1220
    • Bothe in doucet and in rede ,
    • That ben at festes with the brede ;[ ]
    • And many floute and lilting-horne ,
    • And pypes made of grene corne,[ ]
    • As han thise litel herde-gromes,1225
    • That kepen bestes in the bromes.
    • Ther saugh I than Atiteris ,[ ]
    • And of Athenes dan Pseustis ,
    • And Marcia that lost her skin,
    • Bothe in face, body, and chin,(140) 1230
    • For that she wolde envyen , lo!
    • To pypen bet then Apollo.
    • Ther saugh I famous , olde and yonge,
    • Pypers ofthe Duche tonge,
    • To lerne love-daunces, springes,1235
    • Reyes , and these straunge thinges.[ ]
    • Tho saugh I in another place
    • Stonden in a large space,
    • Of hem that maken blody soun
    • In trumpe, beme, and clarioun;(150) 1240
    • For in fight and blood-shedinge
    • Is used gladly clarioninge.
    • Ther herde I trumpen Messenus ,
    • Of whom that speketh Virgilius.
    • Ther herde I Ioab trumpe also,1245
    • Theodomas , and other mo;
    • And alle that used clarion
    • In Cataloigne and Aragon,
    • That in hir tyme famous were
    • To lerne, saugh I trumpe there.(160) 1250
    • Ther saugh I sitte in other seës,
    • Pleyinge upon sondry gleës,
    • Whiche that I cannot nevene,
    • Mo then sterres been in hevene,
    • Of whiche I nil as now not ryme,1255
    • For ese of yow, and losse of tyme:
    • For tyme y-lost, this knowen ye,[ ]
    • By no way may recovered be.
    • Ther saugh I pleyenIogelours ,
    • Magiciens and tregetours ,(170) 1260
    • And phitonesses , charmeresses,
    • Olde wicches , sorceresses,
    • That use exorsisaciouns,
    • And eek thise fumigaciouns;
    • And clerkes eek, which conne wel1265
    • Al this magyke naturel,[ ]
    • That craftely don hir ententes,
    • To make, in certeyn ascendentes ,
    • Images, lo, through which magyk
    • To make a man ben hool or syk .(180) 1270
    • Ther saugh I thee , queen Medea ,
    • And Circes eke, and Calipsa;[ ]
    • Ther saugh I Hermes Ballenus,[ ]
    • Lymote , and eek Simon Magus.[ ]
    • Ther saugh I , and knew hem by name,1275
    • That by such art don men han fame.
    • Ther saugh I Colle tregetour
    • Upon a table of sicamour[ ]
    • Pleye an uncouthe thing to telle;
    • I saugh him carien a wind-melle(190) 1280
    • Under a walsh-note shale.
    • What shuld I make lenger tale
    • Of al the peple that I say,
    • Fro hennes in-to domesday?
    • Whan I had al this folk beholde,1285
    • And fond me lous, and noght y-holde ,
    • And eft y-mused longe whyle
    • Upon these walles of beryle,
    • That shoon ful lighter than a glas,
    • And made wel more than hit was(200) 1290
    • To semen, every thing, y-wis,
    • As kinde thing of fames is;
    • I gan forth romen til I fond
    • The castel-yate on my right hond,
    • Which that so wel corven was1295
    • That never swich another nas;
    • And yit hit was by aventure
    • Y-wrought, as often as by cure.
    • Hit nedeth noght yow for to tellen,[ ]
    • To make yow to longe dwellen,(210) 1300
    • Of this yates florisshinges,
    • Ne of compasses, ne of kervinges,
    • Nehow they hatte in masoneries,
    • As, corbets fulle of imageries.[ ]
    • But, lord! so fair hit was to shewe,1305
    • For hit was al with gold behewe.
    • But in I wente, and that anoon;
    • Ther mette I crying many oon,—
    • ‘A larges, larges, hold up wel![ ]
    • God save the lady of this pel,(220) 1310
    • Our owne gentil lady Fame,[ ]
    • And hem that wilnen to have name
    • Of us!’ Thus herde I cryen alle,
    • And faste comen out of halle,
    • And shoken nobles and sterlinges.1315
    • And somme crouned were as kinges ,
    • With crounes wroght ful of losenges ;
    • And many riban, and many frenges
    • Were on hir clothes trewely.
    • Tho atte laste aspyed I(230) 1320
    • That pursevauntes and heraudes ,
    • That cryen riche folkes laudes,
    • Hit weren alle; and every man
    • Of hem, as I yow tellen can,
    • Had on him throwen a vesture,1325
    • Which that men clepe a cote-armure ,
    • Enbrowded wonderliche riche,
    • Al-though they nere nought y-liche.
    • But noght nil I, so mote I thryve,[ ]
    • Been aboute to discryve.(240) 1330
    • Al these armes that ther weren,
    • That they thus on hir cotes beren,
    • For hit to me were impossible;
    • Men mighte make of hem a bible
    • Twenty foot thikke, as I trowe.1335
    • For certeyn, who-so coude y-knowe
    • Mighte ther alle the armes seen
    • Of famous folk that han y-been
    • In Auffrike, Europe, and Asye,
    • Sith first began the chevalrye.(250) 1340
    • Lo! how shulde I now telle al this?
    • Ne of the halle eek what nede is[ ]
    • To tellen yow, that every wal
    • Of hit, and floor, and roof and al
    • Was plated half a fote thikke1345
    • Of gold, and that nas no-thing wikke ,
    • But, for to prove in alle wyse,
    • As fyn as ducat in Venyse,
    • Of whiche to lyte al in my pouche is?
    • And they wer set as thikke of nouchis(260) 1350
    • Fulle of the fynest stones faire,
    • That men rede in the Lapidaire ,
    • As greses growen in a mede;
    • But hit were al to longe to rede
    • The names; and therfore I pace.1355
    • But in this riche lusty place,
    • That Fames halle called was,
    • Ful moche prees of folk ther nas,
    • Ne crouding, for to mochil prees.
    • But al on hye, above a dees ,(270) 1360
    • Sitte in a see imperial,[ ]
    • That maad was of a rubee al,
    • Which that a carbuncle is y-called,
    • I saugh, perpetually y-stalled,
    • A feminyne creature;1365
    • That never formed by nature
    • Nas swich another thing y-seye.
    • For altherfirst, soth for to seye,[ ]
    • Me thoughte that she was so lyte,
    • That the lengthe of a cubyte(280) 1370
    • Was lenger than she semed be ;
    • But thus sone, in a whyle, she
    • Hir tho so wonderliche streighte,
    • That with hir feet she therthe reighte,
    • And with hir heed she touched hevene,1375
    • Ther as shynen sterres sevene .
    • And ther-to eek, as to my wit,
    • I saugh a gretter wonder yit,
    • Upon hir eyen to beholde;
    • But certeyn I hem never tolde ;(290) 1380
    • For as fele eyen hadde she
    • As fetheres upon foules be,
    • Or weren on the bestes foure ,
    • That goddes trone gunne honoure,
    • As Iohn writ in thapocalips.1385
    • Hir heer, that oundy was and crips,
    • As burned gold hit shoon to see.
    • And sooth to tellen, also she
    • Had also fele up-stonding eres
    • And tonges , as on bestes heres;(300) 1390
    • And on hir feet wexen saugh I
    • Partriches winges redely.
    • But, lord! the perrie and the richesse
    • I saugh sitting on this goddesse!
    • And, lord! the hevenish melodye1395
    • Of songes, ful of armonye,
    • I herde aboute her trone y-songe,
    • That al the paleys-walles ronge!
    • So song the mighty Muse, she
    • That cleped is Caliopee ,(310) 1400
    • And hir eighte sustren eke,
    • That in hir face semen meke;
    • And evermo, eternally,
    • They songe of Fame, as tho herde I:—
    • ‘Heried be thou and thy name,1405
    • Goddesse of renoun and of fame!’
    • Tho was I war, lo, atte laste,
    • As I myn eyen gan up caste,
    • That this ilke noble quene
    • On hir shuldres gan sustene(320) 1410
    • Bothe tharmes and the name[ ]
    • Of tho that hadde large fame;
    • Alexander , and Hercules
    • That with a sherte his lyf lees!
    • Thus fond I sitting this goddesse,1415
    • In nobley , honour, and richesse;
    • Of which I stinte a whyle now,
    • Other thing to tellen yow.
    • Tho saugh I stonde on either syde,
    • Streight doun to the dores wyde,(330) 1420
    • Fro the dees, many a pileer
    • Of metal, that shoon not ful cleer;
    • But though they nere of no richesse,
    • Yet they were maad for greet noblesse,
    • And in hem greet [and hy] sentence;1425
    • And folk of digne reverence,
    • Of whiche I wol yow telle fonde,
    • Upon the piler saugh I stonde.
    • Alderfirst, lo, ther I sigh,
    • Upon a piler stonde on high,(340) 1430
    • That was of lede and yren fyn ,
    • Him of secte Saturnyn,
    • The Ebrayk Iosephus, the olde,[ ]
    • That of Iewes gestes tolde;
    • And bar upon his shuldres hye1435
    • The fame up of the Iewerye .
    • And by him stoden other sevene,[ ]
    • Wyse and worthy for to nevene,
    • To helpen him bere up the charge,
    • Hit was so hevy and so large.(350) 1440
    • And for they writen of batailes,
    • As wel as other olde mervailes ,
    • Therfor was, lo, this pileer ,
    • Of which that I yow telle heer ,
    • Of lede and yren bothe, y-wis.1445
    • For yren Martes metal is,
    • Which that god is of bataile;
    • And the leed, withouten faile,
    • Is, lo, the metal of Saturne,
    • That hath ful large wheel to turne.(360) 1450
    • Tho stoden forth, on every rowe,
    • Of hem which that I coude knowe,
    • Thogh I hem noght by ordre telle,
    • To make yow to long to dwelle.
    • These, of whiche I ginne rede,1455
    • Ther saugh I stonden , out of drede:
    • Upon an yren piler strong,
    • That peynted was, al endelong,
    • With tygres blode in every place,[ ]
    • The Tholosan that highte Stace ,(370) 1460
    • That bar of Thebes up the fame
    • Upon his shuldres, and the name
    • Also of cruel Achilles .
    • And by him stood, withouten lees,
    • Ful wonder hye on a pileer1465
    • Of yren, he, the gret Omeer ;
    • And with him Dares and Tytus[ ]
    • Before, and eek he, Lollius ,
    • And Guido eek de Columpnis,
    • And English Gaufride eek, y-wis;(380) 1470
    • And ech of these, as have I Ioye,
    • Was besy for to bere up Troye.
    • So hevy ther-of was the fame,
    • That for to bere hit was no game.
    • But yit I gan ful wel espye,1475
    • Betwix hem was a litel envye.
    • Oonseyde, Omere made lyes,
    • Feyninge in his poetryes,
    • And was to Grekes favorable;
    • Therfor held he hit but fable.(390) 1480
    • Tho saugh I stonde on a pileer,
    • That was of tinned yren cleer,[ ]
    • That Latin poete, [dan] Virgyle,[ ]
    • That bore hath up a longe whyle
    • The fame of Pius Eneas.1485
    • And next him on a piler was,
    • Of coper, Venus clerk, Ovyde ,
    • That hath y-sowen wonder wyde
    • The grete god of Loves name.
    • And ther he bar up wel his fame,(400) 1490
    • Upon this piler, also hye
    • As I might see hit with myn yë :
    • For-why this halle, of whiche I rede
    • Was woxe on highte , lengthe and brede,[ ]
    • Wel more, by a thousand del,1495
    • Than hit was erst, that saugh I wel.
    • Tho saugh I, on a piler by,
    • Of yren wroght ful sternely ,
    • The grete poete, daunLucan ,
    • And on his shuldres bar up than,(410) 1500
    • As highe as that I mighte see,
    • The fame of Iulius and Pompee.
    • And by him stoden alle these clerkes,
    • That writen of Romes mighty werkes,
    • That, if I wolde hir names telle,1505
    • Al to longe moste I dwelle.
    • And next him on a piler stood
    • Of soulfre, lyk as he were wood,
    • Dan Claudian , the soth to telle,
    • That bar up al the fame of helle,(420) 1510
    • Of Pluto, and of Proserpyne,
    • That quene is of the derke pyne.[ ]
    • What shulde I more telle of this?
    • The halle was al ful, y-wis,
    • Of hem that writen olde gestes,1515
    • As ben on treës rokes nestes;
    • But hit a ful confus matere
    • Were al the gestes for to here,
    • That they of write , and how they highte.
    • But whyl that I beheld this sighte,(430) 1520
    • I herde a noise aprochen blyve,[ ]
    • That ferde as been don in an hyve,
    • Agen her tyme of out-fleyinge;
    • Right swiche a maner murmuringe,
    • For al the world, hit semed me.1525
    • Tho gan I loke aboute and see,
    • That ther com entring in the halle[ ]
    • A right gret company with-alle,
    • And that of sondry regiouns,
    • Of alleskinnes condiciouns,[ ](440) 1530
    • That dwelle in erthe under the mone,
    • Pore and ryche. And also sone
    • As they were come into the halle,
    • They gonne doun on kneës falle
    • Before this ilke noble quene,1535
    • And seyde, ‘Graunte us, lady shene,
    • Ech of us, of thy grace, a bone!’
    • And somme of hem she graunted sone,
    • And somme she werned wel and faire;
    • And somme she graunted the contraire(450) 1540
    • Of hir axing utterly.
    • But thus I seye yow trewely,
    • What hir cause was, I niste.
    • For this folk, ful wel I wiste,
    • They hadde good fame ech deserved,1545
    • Althogh they were diversly served;[ ]
    • Right as hir suster, dame Fortune,
    • Is wont to serven in comune.
    • Now herkne how she gan to paye
    • That gonne hir of hir grace praye;[ ](460) 1550
    • And yit , lo, al this companye
    • Seyden sooth, and noght a lye.
    • ‘Madame,’ seyden they, ‘we be
    • Folk that heer besechen thee,
    • That thou graunte us now good fame,1555
    • And lete our werkes han that name;
    • In ful recompensacioun
    • Of good werk, give us good renoun.’
    • ‘I werne yow hit,’ quod she anoon,
    • ‘Ye gete of me good fame noon,(470) 1560
    • By god! and therfor go your wey.’
    • ‘Alas,’ quod they, ‘and welaway!
    • Telle us, what may your cause be?’
    • ‘For me list hit noght,’ quod she;[ ]
    • ‘No wight shal speke of yow, y-wis,1565
    • Good ne harm, ne that ne this.’
    • And with that word she gan to calle
    • Hir messanger, that was in halle,
    • And bad that he shulde faste goon,
    • Up peyne to be blind anoon,[ ](480) 1570
    • For Eolus, the god of winde;—[ ]
    • In Trace ther ye shul him finde,
    • And bid him bringe his clarioun,
    • That is ful dyvers of his soun,
    • And hit is cleped Clere Laude,1575
    • With which he wont is to heraude
    • Hem that me list y-preised be:
    • And also bid him how that he
    • Bringe his other clarioun,
    • That highte Sclaundre in every toun,(490) 1580
    • With which he wont is to diffame
    • Hem that me list, and do hem shame.’
    • This messanger gan faste goon,
    • And found wher, in a cave of stoon,
    • In a contree that highte Trace,1585
    • This Eolus, with harde grace,
    • Held the windes in distresse,
    • And gan hem under him to presse,
    • That they gonne as beres rore,
    • He bond and pressed hem so sore.(500) 1590
    • This messanger gan faste crye,
    • ‘Rys up,’ quod he, ‘and faste hye,
    • Til that thou at my lady be;
    • And tak thy clarions eek with thee,
    • And speed thee forth.’ And he anon1595
    • Took to a man, that hight Triton,
    • His clariouns to bere tho,
    • And leet a certeyn wind to go,[ ]
    • That blew so hidously and hye,
    • That hit ne lefte not a skye(510) 1600
    • In al the welken longe and brood.
    • This Eolus no-wher abood
    • Til he was come at Fames feet,
    • And eek the man that Triton heet;
    • And ther he stood, as still as stoon.1605
    • And her-withal ther com anoon
    • Another huge companye
    • Of gode folk, and gunne crye,
    • ‘Lady, graunte us now good fame,
    • And lat our werkes han that name(520) 1610
    • Now, in honour of gentilesse,
    • And also god your soule blesse!
    • For we han wel deserved hit,
    • Therfor is right that we ben quit.’[ ]
    • ‘As thryve I,’ quod she, ‘ye shal faile,1615
    • Good werkes shal yow noght availe
    • To have of me good fame as now.
    • But wite ye what? I graunte yow,[ ]
    • That ye shal have a shrewed fame
    • And wikked loos, and worse name,(530) 1620
    • Though ye good loos have wel deserved.
    • Now go your wey, for ye be served;
    • And thou, dan Eolus, let see!
    • Tak forth thy trumpe anon,’ quod she,
    • ‘That is y-cleped Sclaunder light,1625
    • And blow hir loos, that every wight
    • Speke of hem harm and shrewednesse,
    • In stede of good and worthinesse.
    • For thou shalt trumpe al the contraire
    • Of that they han don wel or faire.’(540) 1630
    • ‘Alas,’ thoughte I, ‘what aventures
    • Han these sory creatures!
    • For they, amonges al the pres,
    • Shul thus be shamed gilteles!
    • But what! hit moste nedes be.’1635
    • What did this Eolus, but he
    • Tok out his blakke trumpe of bras,
    • That fouler than the devil was,
    • And gan this trumpe for to blowe,
    • As al the world shulde overthrowe ;(550) 1640
    • That through-out every regioun
    • Wente this foule trumpes soun,
    • As swift as pelet out of gonne,
    • Whan fyr is in the poudre ronne.
    • And swiche a smoke gan out-wende1645
    • Out of his foule trumpes ende,
    • Blak, blo, grenish, swartish reed,
    • As doth wher that men melte leed,
    • Lo, al on high fro the tuel!
    • And therto oo thing saugh I wel,(560) 1650
    • That, the ferther that hit ran,
    • The gretter wexen hit began,
    • As doth the river from a welle,
    • And hit stank as the pit of helle.
    • Alas, thus was hir shame y-ronge,1655
    • And giltelees, on every tonge.
    • Tho com the thridde companye,
    • And gunne up to the dees to hye,
    • And doun on knees they fille anon,
    • And seyde, ‘We ben everichon(570) 1660
    • Folk that han ful trewely
    • Deserved fame rightfully,
    • And praye yow, hit mot be knowe,
    • Right as hit is, and forth y-blowe.’
    • ‘I graunte,’ quod she, ‘for me list1665
    • That now your gode werk be wist ;
    • And yit ye shul han better loos,
    • Right in dispyt of alle your foos,
    • Than worthy is; and that anoon:
    • Lat now,’ quod she, ‘thy trumpe goon,(580) 1670
    • Thou Eolus, that is so blak;
    • And out thyn other trumpe tak
    • That highte Laude, and blow hit so
    • That through the world hir fame go
    • Al esely, and not to faste,1675
    • That hit be knowen atte laste.’
    • ‘Ful gladly, lady myn,’ he seyde;
    • And out his trumpe of golde he brayde
    • Anon, and sette hit to his mouthe,
    • And blew hit est, and west, and southe,(590) 1680
    • And north, as loude as any thunder,
    • That every wight

      (Unfinished.)

      THE LEGEND OF GOOD WOMEN.

      The Prologue to this Poem exists in two different versions, which differ widely from each other in many passages. The arrangement of the material is also different.

      For the sake of clearness, the earlier version is here called ‘Text A,’ and the later version ‘Text B.’

      ‘Text A’ exists in one MS. only, but this MS. is of early date and much importance. It is the MS. marked Gg. 4. 27 in the Cambridge University Library, and is here denoted by the letter ‘C.’ It is the same MS. as that denoted by the abbreviation ‘Cm.’ in the footnotes to the Canterbury Tales and Troilus and Criseyde. This text is printed in the upper part of the following pages. The footnotes give the MS. spellings, where these are amended in the text.

      ‘Text B’ occupies the lower part of the following pages. It follows the Fairfax MS. mainly, which is denoted by ‘F.’ In many places, the inferior spellings of this MS. are relegated to the footnotes, amended spellings being given in the text. Various readings are given from Tn. (Tanner MS. 346); T. (Trinity MS., R. 3. 19); A. (Arch. Seld. B. 24 in the Bodleian Library); Th. (Thynne’s Edition, 1532); B. (Bodley MS. 638); P. (Pepys MS. 2006); and sometimes from C. (already mentioned) or Add. (Addit. 9832).

      Lines which occur in one text only are marked (in either text) by a prefixed asterisk. Lines marked with a dagger (†) stand just the same in both texts. The blank space after A 60 (p. 70) shews that there is nothing in Text A corresponding to B 69-72. Where the corresponding matter is transposed to another place, one or other text has a portion printed in smaller type.

      [1101. ]Cx. Th. thou; P. thow; F. nowe; B. now.

      [1102. ]Cx. P. now; Th. nowe; F. yowe; B. yow.

      [1105. ]Cx. to; rest for to.

      [1106. ]F. B. men; rest me.

      [1107. ]Cx. lawier; Th. laurer.

      [1113. ]F. B. this; rest the.

      [1114. ]F. citee; P. cite (=site); rest cyte (=syte).

      [1115. ]F. hys (for this).

      [1119. ]Cx. P. it; B. yt; F. Th. om.

      [1127. ]Th. I nyste; Cx. I ne wyst; P. I nust; F. B. nyste I neuer.

      [1132. ]F. B. fundament; rest foundement.

      [1135. ]bilt = bildeth; Th. B. bylte.

      [1136. ]F. B. om. al; cf. l. 1151.

      [1145. ]Cx. Th. Were; rest Was.

      [1154. ]F. B. folkes; rest folk.

      [1155. ]F. tymes; rest tyme. F. there; rest they.

      [1156. ]Cx. Th. P. there; F. B. here.

      [1162. ]F. om. that.

      [1173. ]I supply be.

      [1177. ]Supply craft from l. 1178, where it occurs, after cast, in Cx. Th. P. (Willert).

      [1178. ]F. To; the rest The.

      [1185. ]Cx. Th. P. ins. the before castel.

      [1189. ]F. Rabewyures or Rabewynres; B. Rabewynnes; Cx. As babeuwryes; Th. As babeuries; P. Babeweuries.

      [1195. ]F. B. om. stoden.

      [1197. ]F. om. of.

      [1201. ]F. B. vpon; rest on.

      [1202. ]F. B. sowneth; rest sowned.

      [1204. ]P. Cx. his; Th. B. this; F. the.

      [1206. ]F. Eaycidis; P. Eaycides; Cx. Th. Gacides.

      [1208. ]B. bret; Th. Briton; Cx. Bryton; P. Bretur; F. gret.

      [1210. ]F. Saten; B. Sate; Cx. Th. Sat; P. Sett; read Seten.

      [1210, 1, 2, 4. ]F. hym (for hem); P. hym (in 1210 only); B. him (in 1211, 2, 4).

      [1211. ]Cx. Th. P. gape; F. iape; B. yape.

      [1220. ]F. Cx. Th. B. to pipe; P. om. to.

      [1221. ]F. B. riede; rest rede.

      [1222. ]Cx. Th. P. brede; B. Bryede; F. bride.

      [1227. ]F. Atiteris; B. Atyterys; Cx. Th. dan Cytherus; P. an Citherus. F. B. transpose lines 1227 and 1228.

      [1228. ]F. Pseustis; B. Pseustys; Cx. Th. proserus; P. presentus.

      [1233. ]F. B. fames; rest famous.

      [1234. ]F. B. of alle; Th. of al; P. Cx. of. F. om. the.

      [1236. ]Cx. Th. Reyes; P. Reyþs; F. B. Rens.

      [1241. ]F. seight (!); for fight.

      [1245. ]F. B. trumpe Ioab.

      [1255. ]Cx. Th. P. as now not; F. B. not now.

      [1259. ]Th. pleyeng; rest pley; read pleyen.

      [1262. ]F. wrecches (wrongly); for wicches.

      [1269. ]P. magyk; rest magyke.

      [1270. ]F. B. syke; rest seke.

      [1271. ]All the.

      [1272. ]Cx. Th. P. Circes; F. Artes; B. Artys.

      [1273.]So in all.

      [1274. ]Cx. Th. Lymote; F. Limete; B. Lumete; P. Llymote.

      [1275, 6. ]From B.; F. om. both lines. P. hem; Cx. hym; B. Th. om.

      [1278. ]Th. Sycamour; F. B. Sygamour; Cx. Sycomour; P. Cicomour.

      [1283. ]F. B. y ther; rest that I.

      [1285. ]F. B. folkys.

      [1286. ]B. I-holde; Cx. Th. P. holde; F. y-colde.

      [1287. ]Cx. P. eft; F. oft; B. all; Th. om. F. B. P. I mused.

      [1293. ]F. B. to; rest forth.

      [1299. ]Cx. P. for; rest more.

      [1301. ]B. this; rest these; see 1294.

      [1303. ]F. how they hat; B. how they hate; Cx. how the hackyng; P. Th. how the hackynge.

      [1304. ]Cx. Th. P. As corbettis(-es) and ymageries; B. As corbettz, full of ymageryes; F. As corbetz, followed by a blank space.

      [1309. ]F. hald; rest hold (holde).

      [1315. ]Cx. Th. P. shoke; F. shoon; B. shone.

      [1316. ]F. B. As (for And).

      [1317. ]P. Cx. lesynges; rest losynges; read losenges.

      [1318. ]F. frenges; B. Th. frynges.

      [1321. ]F. B. herauldes.

      [1326. ]F. crepen (!).

      [1327. ]P. wonderliche; the rest wonderly.

      [1328. ]Cx. P. Alle though; F. Th. B. As though.

      [1332. ]Cx. Th. P. cotes; F. B. cote.

      [1335. ]F. B. om. as.

      [1349. ]F. B. litel; rest lyte.

      [1350. ]B. thicke; Th. thyke; F. thik.

      [1351. ]P. Cx. Full; rest Fyne.

      [1353. ]P. As; Cx. Th. Or as; F. B. Of.

      [1356. ]P. Cx. riche lusty; rest lusty and riche.

      [1361. ]F. Sit; B. Syt; Cx. P. Sat; Th. Satte; read Sitte.

      [1369. ]F. B. om. that.

      [1371. ]F. B. omit semed be.

      [1372. ]So Cx. Th. P.; F. B. read—This was gret marvaylle to me.

      [1373. ]All wonderly; cf. l. 1327.

      [1374. ]F. B. erthe.

      [1377. ]F. B. om. to.

      [1404. ]F. synge; rest songe.

      [1406. ]F. B. or; rest and.

      [1411. ]Th. the armes; rest armes; read tharmes (i. e. th’ armes).

      [1415. ]All And thus.

      [1416. ]Cx. P. nobley; F. Th. B. noble (= noblee).

      [1421. ]F. peler; B. pylere.

      [1425. ]I supply and hy.

      [1431. ]All fyne.

      [1432. ]Cx. Hym that wrote thactes dyuyne; P. om.; F. B. Th. Saturnyne.

      [1435. ]Cx. P. bare vpon; F. Th. B. he bare on.

      [1436. ]F. B. om. up.

      [1437. ]F. stonden; rest stoden.

      [1442. ]P. Cx. Th. as of other merveilles.

      [1443. ]P. Cx. piler; F. B. pilere.

      [1444. ]All here.

      [1450. ]F. B. a ful; rest ful.

      [1456. ]F. B. stonde; Cx. Th. stande; P. stond.

      [1460. ]F. B. Tholausan; Th. Tholason; P. Tolofan; Cx. tholophan.

      [1477. ]So Cx. Th. P.; F. B. seyde Omere was.

      [1483. ]I supply dan; see l. 1499.

      [1484. ]F. B. omit a.

      [1492. ]F. And; rest As; B. As I hit myght se with myn ye; P. Cx. Th. As I myght see it wyth myn ye.

      [1498. ]F. sturmely.

      [1507. ]F. om. a

      [1510. ]F. B. om. al.

      [1515. ]F. inserts al of the before olde; B inserts of the.

      [1527. ]All in-to (for in).

      [1530. ]F. alle skynnes; Cx. alle kyns.

      [1543. ]Cx. Th. grace (for cause).

      [1546. ]F. B. om. this line.

      [1549. ]F. B. herke.

      [1551. ]Cx. Th. P. yet; F. B. right.

      [1553. ]Cx. Th. P. sayd; F. quod; B quoth.

      [1570. ]F. B. Vpon the peyn to be blynde, omitting l. 1572; Cx. Th. om. the. Read Vp, the usual idiom.

      [1572. ]In Cx. Th. only.

      [1585. ]F. B. om. that.

      [1594. ]F. B. clarioun; see l. 1597.

      [1599. ]F. B. And (for That).

      [1603. ]Cx. P. at; rest to.

      [1609. ]F. B. om. now.

      [1614. ]F. B. insert wel after be.

      [1618. ]F. B. wete; rest wote; read wite.

      [1621. ]F. B. om. wel.

      [1623. ]Cx. Th. P. And thou dan; F. B. Haue doon.

      [1637. ]P. blak; F. B. blake.

      [1647. ]Cx. Th. P. swartysh; F. B. swart, swarte.

      [1657. ]B. thridde; F. thirdde.

      [1661. ]F. ben; rest han.

      [1666. ]All werkes, pl.; see 1701. Th. That your good workes shal be wyst (perhaps better).

      [1668. ]F. B. om. Right.

      [1675. ]F. B. om. Al.

      [1682. ]F. B. Cx. Th. hath; P. have.

      [1686. ]All of bawme; omit of (Koch).

      [1091-1109.]Imitated from Dante, Parad. i. 13-27. Compare ll. 1106, 1107, with Cary’s translation—

      • ‘If thou to me of thine impart so much, . . .
      • Thou shalt behold me of thy favour’d tree
      • Come to the foot, and crown myself with leaves.’

      And compare l. 1109 with—‘Entra nel petto mio.’

      [1098.]This shews that Chaucer occasionally, and intentionally, gives a syllable too little to the verse. In fact, he does so just below, in l. 1106; where Thou forms the first foot of the verse, instead of So thou, or And thou. This failure of the first syllable is common throughout the poem.

      [1099.]And that, i. e. And though that; see l. 1098.

      [1109.]Entreth is the imperative plural; see note to A. B. C. 17.

      [1114.]MSS. cite, cyte (F. citee!); but site in Astrol. pt. ii. 17. 25 (p. 201).

      [1116.]‘Fama tenet, summaque domum sibi legit in arce’; Ovid, Met. xii. 43. Cf. Dante, Purg. iii. 46-48; also Ovid, Met. ii. 1-5.

      [1131.]‘And swoor hir ooth by Seint Thomas of Kent’; C. T., A 3291. It alludes to the celebrated shrine of Beket at Canterbury.

      [1136.]Half, side; al the half, all the side of the hill which he was ascending, which we find was the south side (l. 1152).

      [1152.]This suggests that Chaucer, in his travels, had observed a snow-clad mountain; the snow lies much lower on the north side than on the south side; see ll. 1160 (which means that it, i. e. the writing, was preserved by the shade of a castle), 1163, 1164.

      [1159.]What hit made, what caused it, what was the cause of it.

      [1167-80.]This passage somewhat resembles one in Dante, Par. i. 4-12.

      [1177.]Craft, art; cast, plan. Craft, in the MSS., has slipt into l. 1178.

      [1183.]Gyle, Giles; St. Ægidius. His day is Sept. 1; see note to Can. Yem. Tale, G 1185, where the phrase by seint Gyle recurs.

      [1189.]Babewinnes is certainly meant; it is the pl. of babewin (O. Fr. babuin, Low Lat. babewynus, F. babouin), now spelt baboon. It was particularly used of a grotesque figure employed in architectural decoration, as in Early Eng. Allit. Poems, ed. Morris, B. 1411, where the pl. form is spelt baboynes, and in Lydgate, Chron. Troy, II. xi; both passages are given in Murray’s Dict., s. v. Baboon. ‘Babewyn, or babewen, detippus, ipos, figmentum, chimera’; Prompt. Parv. ‘Babwyne, beest, baboyn’; Palsgrave. In Shak. Macb. iv. 1. 37—‘Coole it with a báboones blood’—the accent on the a is preserved. The other spellings are inferior or false.

      [1192.]Falle, pres. pl., fall; (or perhaps fallen, the past participle).

      [1194.]Habitacles, niches; such as those which hold images of saints on the buttresses and pinnacles of our cathedrals. They are described as being al withoute, all on the outside.

      [1196.]Ful the castel, the castle (being) full, on all sides. This line is parenthetical.

      [1197.]Understand Somme, some, as nom. to stoden. ‘In which stood . . . (some) of every kind of minstrels.’ So in l. 1239. As to minstrels, &c., see note to Sir Topas (B 2035).

      [1203.]Orpheus, the celebrated minstrel, whose story is in Ovid, Met. x. 1-85; xi. 1-66. Chaucer again mentions him in C. T., E 1716; and in Troil. iv. 791.

      [1205.]Orion; so in all the copies; put for Arion. His story is in Ovid, Fasti, ii. 79-118.

      Spelt Arione in Gower, Conf. Amant. (end of prologue), ed. Pauli, i. 39. We might read Arion here; see l. 1005.

      [1206.]Chiron; called Chiro in Gower, C. A. ii. 67 (bk. iv). Chiron, the centaur, was the tutor of Achilles; and Achilles, being the grandson of Æacus, was called Æacides; Ovid, Met. xii. 82; Fasti, v. 390. Hence Eacides is here in the genitive case; and Eacides Chiron means ‘Achilles’ Chiron,’ i. e. Chiron, tutor of Achilles. In fact, the phrase is copied from Ovid’s Æacidæ Chiron, Art of Love, i. 17. Another name for Chiron is Phillyrides; Ovid, Art of Love, i. 11; or Philyrides; Verg. Georg. iii. 550; cf. Ovid, Fasti, v. 391. In a similar way, Chaucer calls the paladin Oliver, friend of Charles the Great, by the name of Charles Olyuer; Monkes Tale, B 3577.

      [1208.]Bret, Briton, one of the British. This form is quite correct, being the A. S. Bret, a Briton (see A. S. Chronicle, an. 491), commonly used in the pl. Brettas. This correct spelling occurs in MS. B. only; MS. P. turns it into Bretur, Th. and Cx. read Briton, whilst MS. F. turns Bret into gret, by altering the first letter. The forms gret and Bretur are clearly corruptions, whilst Briton spoils the scansion.

      Glascurion; the same as Glasgerion, concerning whom see the Ballad in the Percy Folio MS., ed. Hales and Furnivall, i. 246. Of this ‘a traditional version, under the name of Glenkindie, a various form of Glasgerion, is given in Jamieson’s Popular Songs and Ballads, and in Alex. Laing’s Thistle of Scotland (1823).’ G. Douglas associates ‘Glaskeriane’ with Orpheus in his Palice of Honour, bk. i. (ed. Small, i. 21); this poem is a palpable imitation of Chaucer’s House of Fame. The name is Celtic, as the epithet Bret implies. Cf. Irish and Welsh glas, pale.

      [1213.]‘Or as art imitates nature.’ Imitated from Le Rom. de la Rose, where Art asks Nature to teach her; l. 16233 is— ‘E la contrefait comme singes.

      [1218.]There is a similar list of musical instruments in Le Rom. de la Rose, 21285-21308:—

      • ‘Puis chalemiaus, et chalemele
      • Et tabor, et fléute, et timbre . . .
      • Puis prent sa muse, et se travaille
      • As estives de Cornoaille.’

      And in Le Remède de Fortune, by G. de Machault, 1849, p. 87, is a similar long list:—

      • Cornemuses, flaios, chevrettes,
      • Dousainnes, cimbales, clochettes,
      • Timbre, la flahute brehaigne,
      • Et le grant cornet d’Alemaigne,
      • Flaiot de saus, fistule, pipe’; &c.

      And a few lines below there is mention of the muse de blez (see note to l. 1224). Warton, Hist. E. Poet., ed. Hazlitt, iii. 177, quotes a similar passage from Lydgate’s poem entitled Reason and Sensualite, ending with—

      • ‘There were trumpes, and trumpettes,
      • Lowde shallys [shalmys?] and doucettes.

      Cf. also Spenser, F. Q. vi. 9, 5; Shep. Kal. Feb. 35-40. In the latter passage, the imitation of ll. 1224-6 is obvious. Cornemuse is a bagpipe; shalmye is a shawm, which was a wind-instrument, being derived from Lat. calamus, a reed; Chaucer classes both instruments under pipe. Willert (on the House of Fame, p. 36) suggests (and, I think, correctly) that doucet and rede are both adjectival. Thus doucet would refer to pipe; cf. ‘Doucet, dulcet, pretty and sweet, or, a little sweet’; Cotgrave. Rede would also refer to pipe, and would mean ‘made with a reed.’ A reed-instrument is one ‘in which the sound was produced by the vibration of a reed, as in the clarionet or hautboys’; note in Bell’s Chaucer. There is no instrument properly called a doucet in Old French, but only dousainne (see above) and doucine (Godefroy).

      [1222.]Brede, roast meat; A. S. brǽde, glossed by ‘assura, vel assatura’ in Ælfric’s Glossary, ed. Wülcker, col. 127, l. 17. Cf. G. Braten. Not elsewhere in Chaucer, but found in other authors.

      • ‘To meit was greithed beef and motoun,
      • Bredes, briddes, and venysoun.’
      • Kyng Alisaunder, ed. Weber, 5248.

      In the allit. Morte Arthure, it occurs no less than five times. Also in Havelok, l. 98, where the interpretation ‘bread’ is wrong. Also in Altenglische Dichtungen, ed. Böddeker, p. 146, l. 47—‘Cud as Cradoc in court that carf the brede,’ i. e. carved the roast meat; but the glossary does not explain it. The scribe of MS. F. turns brede into bride, regardless of the rime. I cannot agree with the wholly groundless conjecture of Willert, who reads rude in l. 1221, in order to force brude into the text. For minstrelsy at feasts, see C. T., A 2197.

      [1223.]Cf. G. Douglas, tr. of Vergil, Æn. vii. 513, 4:—‘And in ane bowand horne, at hir awyne will, A feindlych hellis voce scho lyltis schyll.’

      [1224.]Alluding to the simple pipes fashioned by rustics. The glossary to Machault’s Works (1849) has: ‘Muse de blez, chalumeau fait avec des brins de paille.’ The O. F. estive, in the quotation in the note to l. 1218, has a like sense. Godefroy has: ‘estive, espèce de flûte, de flageolet ou pipeau rustique, qui venait, ce semble, de Cornouaille.’ Cf. the term corne-pipe, in the Complaint of Scotland, ed. Murray, p. 65, l. 22; also my note to R. Rose, 4250 (vol. i. p. 436).

      [1227-8.]Nothing is known as to Atiteris (or Cytherus); nor as to Pseustis (or Proserus). The forms are doubtless corrupt; famous musicians or poets seem to have been intended. I shall venture, however, to record my guess, that Atiteris represents Tyrtaeus, and that Pseustis is meant for Thespis. Both are mentioned by Horace (Ars Poet. 276, 402); and Thespis was a native of Attica, whose plays were acted at Athens. Another guess is that Atiteris means Vergil’s Tityrus; Athenæum, Apr. 13, 1889. Willert suggests that there is here an allusion to the so-called Ecloga Theoduli, a Latin poem of the seventh or eighth century, wherein the shepherd Pseustis and the shepherdess Alithia [who represent Falsehood and Truth] contend about heathendom and Christianity; and Pseustis adduces various myths and tales, from Ovid, Vergil, and Statius. He refers us to H. Dunger, Die Sage v. troj. Kriege in den Bearbeitungen des Mittelalters: Dresden, 1869, p. 76; cf. Leyser, Hist. Poet. Medii Aevi, p. 295. This only accounts for Pseustis; Atiteris can hardly be Alithia.

      [1229.]This is a curious example of how names are corrupted. Marcia is Dante’s Marsia, mentioned in the very passage which Chaucer partly imitates in ll. 1091-1109 above. Dante addresses Apollo in the words—

      • ‘Entra nel petto mio, e spira tue
      • Si come quando Marsia traesti
      • Della vagina delle membra sue.’

      As Chaucer had here nothing to guide him to the gender of Marsia, he guessed the name to be feminine, from its termination; and Dante actually has Marzia (Inf. iv. 128), with reference to Marcia, wife of Cato. But Dante’s Marsia represents the accus. case of Marsyas, or else the Lat. nom. Marsya, which also occurs. Ovid, Met. vi. 400, has ‘Marsya nomen habet,’ and tells the story. Apollo defeated the satyr Marsyas in a trial of musical skill, and afterwards flayed him alive; so that he ‘lost his skin.’

      [1231.]Envyën (accent on y), vie with, challenge (at a sport). So strong is the accent on the y, that the word has been reduced in E. to the clipped form ’vie; see Vie in my Etym. Dict. It represents Lat. inuitare, to challenge; and has nothing to do with E. envy. Florio’s Ital. Dict. has: ‘Inuito, a vie at play, a vie at any game; also an inuiting.’

      [1234.]‘Pipers of every Dutch (German) tongue.’

      [1236.]Reyes, round dances, dances in a ring. The term is Dutch. Hexham’s Du. Dict. (1658), has: een Rey, or een Reye, a Daunce, or a round Daunce’; and ‘reyen, to Daunce, or to lead a Daunce.’ Cf. G. Reihen, a dance, Reihentanz, a circular dance; M. H. G. reie, reige; which does not seem to be connected, as might be thought, with G. Reihe, a row; see Kluge and Weigand. Perhaps the Du. word was borrowed from O. F. rei, roi, order, whence also the syllable -ray in E. ar-ray; and the G. word may have been borrowed from the Dutch; but this is a guess. ‘I can daunce the raye’; Barclay’s First Egloge, sig. A ii. ed. 1570; quoted in Dyce’s Skelton, ii. 194.

      [1239.]Understand Somme, some; see note to l. 1197. The expression blody soun recurs in Kn. Tale, A 2512, in connection with trumpe and clarioun. Our author explains his meaning here; ll. 1241-2.

      [1243.]Missenus, Misenus, son of Æolus, trumpeter to Hector, and subsequently to Æneas; Verg. Æn. iii. 239; vi. 162-170.

      [1245.]Joab and Theodomas are again mentioned together in a like passage in the Merch. Tale (C. T., E 1719). ‘Joab blew a trumpet’; 2 Sam. ii. 28; xviii. 16; xx. 22. Theodomas is said by Chaucer (Merch. Tale) to have blown a trumpet ‘At Thebes, when the citee was in doute.’ He was therefore a trumpeter mentioned in some legendary history of Thebes. With this hint, it is easy to identify him with Thiodamas, mentioned in books viii. and x. of the Thebaid of Statius. He succeeded Amphiaraus as augur, and furiously excited the besiegers to attack Thebes. His invocation was succeeded by a great sound of trumpets (Theb. viii. 343), to which Chaucer here refers. But Statius does not expressly say that Thiodamas blew a trumpet himself.

      [1248.]Cataloigne and Aragon, Catalonia and Arragon, in Spain, immediately to the S. of the Pyrenees. Warton remarks: ‘The martial musicians of English tournaments, so celebrated in story, were a more natural and obvious allusion for an English poet’; Hist. E. P. ii. 331. The remark is, I think, entirely out of place. Chaucer is purposely taking a wide range; and, after mentioning even the pipers of the Dutch tongue, as well as Joab of Judæa and Thiodamas of Thebes, is quite consistent in mentioning the musicians of Spain.

      [1257.]Repeated, at greater length, in C. T., Group B, ll. 19-28; see note to that passage.

      [1259.]Iogelours, jugglers. See Squi. Tale, F 219.

      [1260.]Tregetours; see C. T., F 1141, on which Tyrwhitt has a long note. A jogelour was one who amused people, either by playing, singing, dancing, or tricks requiring sleight of hand; a tregetour was one who brought about elaborate illusions, by the help of machinery or mechanical contrivance. Thus Chaucer tells us (in the Frank. Tale, as above) that tregetoures even caused to appear, in a dining-hall, a barge floating in water, or what seemed like a lion, or a vine with grapes upon it, or a castle built of lime and stone; which vanished at their pleasure. Sir John Maundeville, in his Travels, ch. 22, declares that the ‘enchanters’ of the Grand Khan could turn day into night, or cause visions of damsels dancing or carrying cups of gold, or of knights justing; ‘and many other thinges thei don, be craft of hire Enchauntementes; that it is marveyle for to see.’ See note to l. 1277 below. Gawain Douglas imitates this passage in his Palice of Honour; see his Works, ed. Small, i. 65.

      [1261.]Phitonesses, pythonesses. The witch of Endor is called a phitonesse in the Freres Tale, C. T., D 1510; and in Gower, Conf. Amant. bk. iv, ed. Pauli, ii. 66; in Barbour’s Bruce, ed. Skeat, iv. 753; and in Skelton’s Phyllyp Sparowe, 1345. The Vulgate version has mulier pythonem habens, 1 Sam. xxviii. 7 (cf. Acts xvi. 16); but also the very word pythonissam in 1 Chron. x. 13, where the witch of Endor is again referred to. Ducange notices phitonissa as another spelling of pythonissa.

      [1266.]Cf. Chaucer’s Prologue, 417-420. There is a parallel passage in Dante, Inf. xx. 116-123, where the word imago occurs in the sense of ‘waxen image.’ This of course refers to the practice of sticking needles into a waxen image, with the supposed effect of injuring the person represented. See Ovid, Heroid. vi. 91, and Ben Jonson’s Masque of Queens (3rd Charm). But this is only a particular case of a much more general principle. Images of men or animals (or even of the things representing the zodiacal signs) could be made of various substances, according to the effect intended; and by proper treatment were supposed to cause good or evil to the patient, as required. Much could be done, it was supposed, by choosing the right time for making them, or for subjecting them to celestial influences. To know the right time, it was necessary to observe the ascendent (see note to l. 1268). See much jargon on this subject in Cornelius Agrippa, De Occulta Philosophia, lib. ii. capp. 35-47.

      [1268.]The ascendent is that point of the zodiacal circle which is seen to be just ascending above the horizon at a given moment. Chaucer defines it in his Treatise on the Astrolabe, and adds that astrologers, in calculating horoscopes, were in the habit of giving it a wider meaning; they further reckoned in 5 degrees of the zodiac above the horizon, and 25 degrees below the ascending point, so as to make the whole ascendent occupy 30 degrees, which was the length of a ‘sign.’ In calculating nativities, great importance was attached to this ascendent, the astrological concomitants of which determined the horoscope. The phrase to be ‘in the ascendant’ is still in use. Thus in certeyn ascendentes is equivalent to ‘in certain positions of the heavens, at a given time,’ such as the time of one’s birth, or the time for making an image (see last note). See p. 191 (above).

      [1271.]Medea, the famous wife of Jason, who restored her father Æson to youth by her magical art; Ovid, Met. vii. 162. Gower tells the whole story, C. A. bk. v. ed. Pauli, ii. 259.

      [1272.]Circes, Circe, the enchantress; Homer’s Odyssey, bk. x; Ovid, Met. xiv. Ovid frequently has the form Circes, in the gen. case; Met. xiv. 10, 69, 71, 247, 294. Cf. Chaucer’s Boethius, b. iv. met. 3. 24.

      Calipsa, Calypso, the nymph who detained Ulysses in an island; Odyssey, bk. i; Ovid, ex Ponto, iv. 10. 13.

      [1273.]Hermes is mentioned in the Can. Yeom. Tale, C. T., Group G, 1434, where the reference is to Hermes Trismegistus, fabled to have been the founder of alchemy, though none of the works ascribed to him are really his. The name Balenus occurs, in company with the names of Medea and Circe, in the following passage of the Rom. de la Rose, l. 14599:—

      • ‘Que ja riens d’enchantement croie,
      • Ne sorcerie, ne charroie,
      • Ne Balenus, ne sa science,
      • Ne magique, ne nigromance, . . .
      • Onques ne pot tenir Medée
      • Jason por nul enchantement;
      • N’onc Circe ne tint ensement
      • Ulixes qu’il ne s’enfoïst,’ &c.

      (Charroie is the dance of witches on their sabbath.) Hermes Ballenus is really a compound name, the true significance of which was pointed out to me by Prof. Cowell, and explained in my letter to The Academy, Apr. 27, 1889, p. 287. Ballenus is ‘the sage Belinous,’ who discovered, beneath a statue of Hermes, a book containing all the secrets of the universe. Hence Hermes’ Ballenus (where Hermes is an epithet) means ‘Belinous, who adopted the philosophy of Hermes.’ For an explanation of the whole matter, see the fourth volume of the Notices et Mémoires des Manuscrits de la Bibliothèque du Roi, p. 107. In this there is an article by De Sacy, describing MS. Arabe de la Bibl. du Roi, no. 959, the title of which is ‘Le Livre du Secret de la Creature, par le sage Belinous.’ Belinous possessed the art of talismans, which he professed to have learnt from Hermes. There is some reason for identifying him with Apollonius of Tyana.

      [1274.]Lymote, according to Warton, is Limotheus; but he omits to tell us where he found such a name; and the suggestion seems no better than his mistake of supposing Calipsa (l. 1272) to mean the muse Calliope! Considering that he is mentioned in company with Simon Magus, or Simon the magician (Acts viii. 9), the suggestion of Prof. Hales seems probable, viz. that Lymote or Lymete (as in F.) means Elymas the sorcerer (Acts xiii. 8).

      [1275.]‘I saw, and knew by name, those that,’ &c.

      [1277.]Colle tregetour, Colle the juggler; see l. 1260. Colle is here a proper name, and distinct from the prefix col- in col-fox, Non. Pr. Tale, B 4405. Colle is the name of a dog; Non. Pr. Tale, B 4573. Colyn and Colle are names of grooms; Polit. Songs, p. 237. Tyrwhitt quotes a passage from The Testament of Love, bk. ii:—‘Buserus [Busiris] slew his gestes, and he was slayne of Hercules his gest. Hugest betraished many menne, and of Collo was he betraied’; ed. 1561, fol. 301, col. 2. With regard to tregetour, see the account of the performances of Eastern jugglers in Yule’s edition of Marco Polo; vol. i. p. 342, and note 9 to Bk. i. c. 61. Col. Yule cites the O. F. forms tregiteor and entregetour; also Ital. tragettatore, a juggler, and Prov. trasjitar, trajitar, to juggle. Bartsch, in his Chrestomathie Française, has examples of trasgeter, to mould, form, tresgeteïs, a work of mechanical art; and, in his Chrestomathie Provençale, col. 82, has the lines—

      • ‘Non saps balar ni tras-gitar
      • a guiza de juglar guascon’;

      i. e. thou know’st not how to dance, nor how to juggle, after the manner of a Gascon juggler. A comparison of the forms leaves no doubt as to the etymology. The Prov. trasgitar answers to a Low Lat. form trans-iectare=tra-iectare, frequentative of Lat. trans-icere, tra-icere, to throw across, transfer, cause to pass. Thus, the orig. sense of tregetour was one who causes rapid changes, by help of some mechanical contrivance. The F. trajecter, to ferry, transport, in Cotgrave, is the same word as the Prov. trasgitar, in a different (but allied) sense.

      [1292.]‘As is the usual way with reports.’

      [1295.]Accent Which and so.

      [1297.]‘And yet it was wrought by haphazard quite as often as by heed.’

      [1300.]To longe, too long; not ‘to dwell long.’ The barbarous practice of inserting an adverb between to and an infinitive, as in ‘to ungrammatically talk,’ is of later date, though less modern than we might perhaps imagine. Cf. l. 1354.

      [1302.]Elide the former Ne; read N’of.

      [1303.]Read—Ne hów they hátt’ in másonéries; i. e. nor how they are named in masonry, as, for example, corbets full of imageries. They hatte, i. e. they are called, was turned into hakking, and the sense lost.

      [1304.]Corbets, corbels. Florio’s Ital. Dict. has, ‘Corbella, Corbetta, a little basket’; shewing the equivalence of such forms. The E. corbel is the same word as O. F. corbel (F. corbeau), apparently from the Lat. coruus. The spelling with z (=ts) in MSS. F. and B. shews that the form is really corbetts or corbets, not corbelles. Spenser has the simple form corb; F. Q. iv. 10. 6:—

      • ‘It was a bridge ybuilt in goodly wise
      • With curious corbes and pendants graven faire.’

      ‘A Corbel, Corbet, or Corbill in masonrie, is a iutting out like a bragget [bracket] as carpenters call it, or shouldering-peece in timber-work’; Minsheu’s Dict. ed. 1627. Tyrwhitt explains corbets by ‘niches for statues’; but ‘imageries’ are not necessarily statues or images, but rather specimens of carved work.

      [1309.]‘A bounty! a bounty! hold up (your hands) well (to catch it).’ Sir W. Scott explains largesse as ‘the cry with which heralds and pursuivants were wont to acknowledge the bounty received from the knights’; note to Marmion, canto i. st. 11. The word is still in use amongst gleaners in East Anglia; see my note to P. Plowman, C. viii. 109.

      [1311.]In Anglia, xiv. 236, Dr. Köppell points out some resemblances between the present poem and Boccaccio’s Amorosa Visione. He compares this line with the A. V. vi. 75:—‘Io son la Gloria del popol mondano.’

      [1316, 7.]Kinges, i. e. kings-at-arms; losenges, lozenges (with g as j).

      [1326.]Cote-armure, surcoat; see Way’s note in Prompt. Parv.

      [1329-35.]Imitated from Rom. Rose, 6762-4.

      [1330.]Been aboute, used like the old phrase go about.

      [1342-6.]Cf. Boccaccio, Amorosa Visione, iv. 9:—‘Ed in una gran sala ci trovammo; Chiara era e bella e risplendente d’oro.’

      [1346.]Wikke, poor, much alloyed.

      [1352.]Lapidaire, ‘a treatise on precious stones, so entitled; probably a French translation of the Latin poem of Marbodus De Gemmis, which is frequently cited by the name of Lapidarius; Fabricius, Bibl. Med. Æt., in v. Marbodus’; Tyrwhitt’s Glossary. The Lapidarium of Abbot Marbodus (Marbœuf), composed about 1070-80, is chiefly taken from Pliny and Solinus. A translation in English verse is given in King’s Antique Gems. See note to l. 1363 below. There is some account of several precious stones in Philip de Thaun’s Bestiary, printed in Wright’s Popular Treatises on Science; at p. 127 he refers to the Lapidaire. Vincent of Beauvais refers to it repeatedly, in book viii. of his Speculum Naturale. There is a note about this in Warton, Hist. E. P. ed. 1871, ii. 324. And see note to l. 1363.

      [1360.]Dees, daïs; see the note to Prol. 370, in vol. v. Lines 1360-7 may be compared with various passages in Boccaccio’s Amorosa Visione, which describe a lady in a rich vesture, seated on a royal throne:—

      • ‘Tutti li soprastava veramente
      • Di ricche pietre coronata e d’oro’ . . .
      • ‘Il suo vestire a guisa imperiale
      • Era, e teneva nella man sinestra
      • Un pomo d’oro; e’n trono alla reale
      • Vidi sedeva’ . . .
      • ‘Odi: che mai natura con sua arte
      • Forma non diede a si bella figura’ . . .
      • ‘Donna pareva li leggiadra e pura’ . . .

      See Am. Vis. vi. 49, 58, 43, 48. See note to l. 1311 above.

      [1361.]The reading Sit would mean ‘sitteth’ or ‘sits’; the reading Sat would mean ‘sat.’ Both are wrong; the construction is sitte 1 saugh = I saugh sitte, I saw sit; so that sitte is the infin. mood.

      [1363.]Carbuncle. Vincent of Beauvais, Spec. Nat. bk. viii. c. 51, has: ‘Carbunculus, qui et Græcè anthrax dicitur, vulgariter rubith.’ An account of the Carbunculus is given in King’s Natural History of Precious Stones and Gems. He remarks that the ruby ‘must also be included among the numerous species of the carbunculus described by Pliny, although he gives the first rank to the Carbunculi amethystizontes, our Almandines or Garnets of Siam.’ See also his Antique Gems, where he translates sect. 23 of the Lapidarium of Marbodus thus:—

      • ‘The Carbuncle eclipses by its blaze
      • All shining gems, and casts its fiery rays
      • Like to the burning coal; whence comes its name,
      • Among the Greeks as Anthrax known to fame.
      • Not e’en by darkness quenched, its vigour tires;
      • Still at the gazer’s eye it darts its fires;
      • A numerous race; within the Lybian ground
      • Twelve kinds by mining Troglydytes are found.’

      [1368-76.]Cf. Boethius, in Chaucer’s translation; bk. i. pr. 1, ll. 8-13 (vol. ii. p. 2).

      [1376.]Sterres sevene, the seven planets.

      [1380.]Tolde, counted; observe this sense.

      [1383.]Bestes foure, four beasts; Rev. iv. 6. Cf. Dante, Purg. xxix. 92.

      [1386.]Thynne remarks that oundy, i. e. wavy, is a term in heraldry; cf. E. ab-ound, red-ound, surr-ound (for sur-ound); all from Lat. unda. Cf. Chaucer’s use of ounded in Troilus, iv. 736, and Le Roman de la Rose, 21399, 21400:—

      • ‘Et voit ses biaus crins blondoians
      • Comme undes ensemble ondoians.’

      [1390.]‘And tongues, as (there are) hairs on animals.’ ‘Her feet are furnished with partridge-wings to denote swiftness, as the partridge is remarkable for running with great swiftness with outstretched wings. This description is taken almost literally from the description of Fame in the Æneid [iv. 176-183], except the allusion to the Apocalypse and the partridge-wings’; note in Bell’s Chaucer. But it is to be feared that Chaucer simply blundered, and mistook Vergil’s pernicibus as having the sense of perdicibus; cf. ‘pedibus celerem et pernicibus alis’; Aen. iv. 180.

      [1400.]Caliope, Calliope the muse; her eight sisters are the other Muses. With ll. 1395-1405 cf. Dante, Par. xxiii. 97-111.

      [1411.]Read—Bóth-e th’ármes. Armes, i. e. coats of arms. Name, name engraved on a plate or written on a scroll.

      [1413.]Alexander; see Monkes Tale, in C. T., B 3821. Hercules; see the same; the story of the shirt is given in B 3309-3324. In Le Roman de la Rose, l. 9238, it is called ‘la venimeuse chemise.’ Cf. Dante, Inf. xii. 68.

      [1431.]Lede, lead, the metal of Saturn; yren, iron, the metal of Mars. See note to Can. Yeom. Tale, G 820, and ll. 827, 828 of the same; also ll. 1446, 1448 below.

      [1433.]Read—Th’Ebráyk Jósephús. In a note on Gower’s Conf. Amantis, Warton remarks—‘Josephus, on account of his subject, had long been placed almost on a level with the Bible. He is seated on the first pillar in Chaucer’s House of Fame. His Jewish History, translated into Latin by Rufinus in the fourth century, had given rise to many old poems and romances; and his Maccabaics, or History of the seven Maccabees, martyred with their father Eleazar under the persecution of Antiochus Epiphanes, a separate work translated also by Rufinus, produced the Judas Maccabee of Belleperche in the year 1240, and at length enrolled the Maccabees among the most illustrious heroes of romance.’—ed. Hazlitt, iii. 26.

      [1436.]Iewerye, kingdom of the Jews; cf. Prior. Tale, B 1679.

      [1437.]Who the other seven are, we can but guess; the reference seems to be to Jewish historians. Perhaps we may include Moses, Joshua, Samuel, Isaiah, Daniel, Nehemiah; and, in any case, Ezra. The number seven was probably taken at random. With l. 1447 cf. Troil. ii. 630.

      [1450.]Wheel, orbit. The orbit of Saturn is the largest of the (old) seven planets; see Kn. Tale, 1596 (A 2454). The reason why Josephus is placed upon Saturn’s metal, is because history records so many unhappy casualties, such as Saturn’s influence was supposed to cause. All this is fully explained in the Kn. Tale, 1597-1611 (A 2455-69).

      [1457.]Yren, the metal of Mars; see note to l. 1431.

      [1459.]This allusion to ‘tiger’s blood’ is curious; but is fully accounted for by the account of the two tigers in bk. vii. of the Thebaid. A peace had nearly been made up between the Thebans and the other Greeks, when two tigers, sacred to Bacchus, broke loose, and killed three men. They were soon wounded by Aconteus, whereupon ‘They fly, and flying, draw upon the plain A bloody line’; according to Lewis’s translation. They fall and die, but are avenged; and so the whole war was renewed. Lydgate reduces the two tigers to one; see his chapter ‘Of a tame Tigre dwelling in Thebes’; in part 3 of his Sege of Thebes.

      [1460.]Stace (as in Troil. bk. v, near the end, and Kn. Tale, A 2294) is Publius Papinius Statius, who died ad 96, author of the Thebais and Achilleis (see l. 1463), the latter being left incomplete. Tholosan means Toulousan, or inhabitant of Toulouse; and he is here so called because by some (including Dante, whom Chaucer follows) he was incorrectly supposed to have been a native of Toulouse. He was born at Naples, ad 61. Dante calls him Tolosano in Purg. xxi. 89, on which Cary remarks:—‘Dante, as many others have done, confounds Statius the poet, who was a Neapolitan, with a rhetorican of the same name, who was of Tolosa or Thoulouse. Thus Chaucer; and Boccaccio, as cited by Lombardi: “E Stazio di Tolosa ancora caro”; Amorosa Vis. cant. 5.’

      Dr. Köppell quotes the last passage, from Boccaccio, Am. Vis. v. 34, in Anglia, xiv. 237, and shews that other passages in the same resemble other lines in the Hous of Fame. See notes to ll. 1311, 1342, 1360, 1483, 1487, and 1499.

      [1463.]‘Cantai di Tebe, e poi del grande Achille’; Dante, Purg. xxi. 92.

      [1466.]Omeer, Homer; see ll. 1477-1480 below.

      [1467.]In Chaucer’s Troil. i. 146, is the line—‘In Omer, or in Dares, or in Dyte.’ Dares means Dares Phrygius; and Tytus is doubtless intended for the same person as Dyte, i. e. Dictys Cretensis. See the account in Warton, Hist. E. Poet., ed. Hazlitt, ii. 127, beginning:—‘But the Trojan story was still kept alive in two Latin pieces, which passed under the names of Dares Phrygius and Dictys Cretensis,’ &c.; and further in vol. iii. p. 81. The chief source of the romantic histories of Troy in the middle ages is the Roman de Troie by Benoit de Sainte-Maure, which appeared between 1175 and 1185, and has lately been edited by M. Joly. This was copied by Guido delle Colonne (see note to l. 1469 below), who pretended, nevertheless, to follow Dares and Dictys. Chaucer cites Dares and Dictys at second-hand, from Guido.

      [1468.]Lollius; evidently supposed by Chaucer to be a writer on the Trojan war. See Tyrwhitt’s note on the words the boke of Troilus, as occurring at the end of the Persones Tale. Chaucer twice quotes Lollius in Troilus, viz. in bk. i. 394 and bk. v. 1653. At the beginning of sect. xiv of his Hist. of Eng. Poetry, Warton shews that there was a Lollius Urbicus among the Historici Latini profani of the third century; ‘but this could not be Chaucer’s Lollius; . . . none of his works remain.’ The difficulty has never been wholly cleared up; we know, however, that the Troilus is chiefly taken from Boccaccio’s Filostrato, just as his Knight’s Tale is chiefly taken from Boccaccio’s Teseide. My idea of the matter is that, in the usual mode of appealing to old authorities, Chaucer refers us (not to Boccaccio, whom he does not mention, but) to the authorities whom he supposed Boccaccio must have followed. Accordingly, in his Troilus, he mentions Homer, Dares, Dictys, and Lollius, though he probably knew next to nothing of any one of these authors. On this account, the suggestion made by Dr. Latham (Athenæum, Oct. 3, 1868, p. 433) seems quite reasonable, viz. that he got the idea that Lollius wrote on the Trojan war by misunderstanding the lines of Horace, Epist. i. 2:—

      • ‘Troiani belli scriptorem, maxime Lolli,
      • Dum tu declamas Romæ, Præneste relegi.’

      See Ten Brink, Studien, p. 87. This supposition becomes almost a certainty when we observe how often medieval writers obtained their information from MSS. containing short extracts. Chaucer clearly never read Horace at all; he merely stumbled on a very few extracts from him in notebooks. In this way, he may easily have met with the first line above, apart from its context. Cf. vol. ii. pp. lii, liii.

      [1469.]Guido delle Colonne, or Guido de Columnis (not da Colonna), finished his translation or version of Benoit de Sainte-Maure’s Roman de Troie in the year 1287. His work is called Historia Troiana. The ‘Geste Hystoriale’ of the Destruction of Troy, edited by Panton and Donaldson for the Early English Text Society, is a translation of Guido’s Historia into Middle English alliterative verse. See Warton, Hist. E. P., ed. Hazlitt, iii. 81; and Introd. to vol. ii. pp. liv-lxv.

      [1470.]Gaufride, Geoffrey, viz. Geoffrey of Monmouth, who died ad 1154, and wrote a History of the Britons in Latin, full of extravagant but lively fictions, which was completed in 1147; see Morley’s Hist. E. Writers, i. 496. He is rightly mentioned among the writers who ‘bore up Troy,’ because he makes the Britons the descendants of Æneas. See note below.

      [1477.]Oon seyde, one (of them) said. Guido was one of those who said this; this appears from the Gest Hystoriale above mentioned, which was translated from Guido; see ll. 41-47, and 10312-10329 of Panton and Donaldson’s edition. Guido asserts, for example, that Achilles slew Hector by treachery, and not, as Homer says, in fair fight; and Chaucer asserts the same, Troil. v. 1560. The fact is, that the Latin races declined to accept an account which did not sufficiently praise the Trojans, whom they regarded as their ancestors. Geoffrey of Monmouth ingeniously followed up this notion, by making the Trojans also the ancestors of the ancient Britons. Hence English writers followed on the same side; Lydgate, as well as Chaucer, exclaims against Homer. See Warton, ed. Hazlitt, iii. 82. But Dante exalts Homer above Horace, Ovid, and Lucan: Inf. iv. 88.

      [1482.]‘Homer’s iron is admirably represented as having been by Virgil covered over with tin’; note in Bell’s Chaucer.

      [1483.]There is a similar mention of Vergil in Boccaccio, Amorosa Visione, v. 7. See note to l. 1460.

      [1487.]Ovide, Ovid; from whom perhaps Chaucer borrows more than from any other Latin writer. He stands on a pillar of copper, the metal sacred to Venus. See note to l. 820 of Can. Yeom. Tale. And cf. Boccaccio, Amorosa Visione, v. 25: ‘Eravi Ovidio, lo quale poetando Iscrisse tanti versi per amore.’

      [1494.]High the (as in F.) is an error for highthe, height; Cx. Th. have heyght. Read highte, as in l. 744.

      [1499.]Lucan; alluding to Lucan’s Pharsalia, which narrates the war between Cæsar and Pompey. See Man of Lawes Tale, B 401; Monkes Tale, De Caesare, B 3909 (and note), and a fourth mention of him in Troilus, v. 1792. There is an English translation by Rowe. Cf. Boccaccio, Amorosa Visione, v. 19: ‘A’ quai Lucan seguitava, ne’ cui Atti parea ch’ancora la battaglia Di Cesare narrasse, e di colui Magno Pompeo chiamato.’

      [1509.]Claudius Claudianus, in the fourth century, wrote a poem De Raptu Proserpinæ, alluded to here and in the Merchant’s Tale (C. T., E 2232), and several other pieces. See note to Parl. Foules, 99.

      [1512.]Imitated from Dante; Inf. ix. 44: ‘Della regina dell’ eterno pianto.’

      [1519.]Write, wrote; pt. t. pl. Highte, were named.

      [1521.]Perhaps from Dante, Inf. xvi. 1, which Cary translates:—

      • ‘Now came I where the water’s din was heard, . . .
      • Resounding like the hum of swarming bees,
      • When forth together issued from a troop,’ &c.

      [1527.]Cf. Ovid, Met. xii. 53: ‘Atria turba tenent; ueniunt leue uulgus, euntque.’

      [1530.]Alles-kinnes is in the gen. sing., and Of governs condiciouns; thus the line is equivalent to—‘Of conditions of every kind’; whereas modern English uses—‘Of every kind of condition.’ This peculiar idiom was formerly common; and precisely similar to it is the phrase noskinnes, for which see note to l. 1794. Observe that the phrase is oddly written alle skynnes in MS. F., by a misdivision of the words. So in Piers Plowman, A. ii. 175, we have the phrase for eny kunnes yiftus, for gifts of any kind, where one MS. has any skynes. In my note to P. Plowman, C. xi. 128, I give numerous examples, with references, of phrases such as none kynnes riche, many kynnes maneres, summes kunnes wise, what kyns schape, &c.

      [1550.]‘Those that did pray her for her favour.’

      [1564.]‘Because it does not please me.’

      [1570.]I here alter Vpon peyne to Vp peyne, as the former will not scan, and the latter is the usual idiom. See up peyne in Kn. Tale, A 1707, 2543; Man of Lawes Tale, B 795, 884. Cf. vp the toft, upon the toft, P. Plowman, B. i. 12; vp erthe, upon earth, id. B. ix. 99.

      [1571.]Cf. Rom. Rose, 18206—‘Car Eolus, li diex des vens.’ From Vergil, Æn. i. 52; cf. Ovid, Met. xiv. 223, where Æolus is said to reign over the Tuscan sea. The connection of Æolus with Thrace is not obvious; cf. l. 1585. Ovid, however, has ‘Threicio Borea’; Art. Am. ii. 431. And see Lounsbury, Studies in Chaucer, ii. 382.

      [1596.]Took to, delivered to. Triton, Triton; imitated from Ovid, Met. i. 333, where Neptune calls Triton, and bids him sound his ‘shell,’ the sound of which resounded everywhere.

      [1598.]We rarely find to used after leet; the usual formula is leet go. But cf. leet to glyde in Cant. Ta., F 1415. Or read to-go, to-glyde.

      [1618.]Wite is badly spelt wete or wote in the MS. copies; but the very phrase wite ye what occurs in C. T., E 2431. However, Ch. certainly uses the phrase ye woot instead of ye wite, more than once.

      [1640.]Overthrowe, be overthrown; as in the Tale of Gamelin, 512. Cf. Melibeus, B 2755.

      [1643.]A pelet was a stone ball, such as used to be fired from the earliest kind of cannon, of which this is a very early mention. See my glossary to P. Plowman (Clar. Press).

      [1670.]Lat goon, let go, lay aside.