and ends with the couplet:

which is not very intelligible, but is perhaps meant to indicate the name of the composer of the anagrams.

In the right-hand top corner of the next leaf there is written in what might be a fifteenth-century hand, ‘Will Sanders vn Just’ (the rest cut away).

As to the statement made by Fairfax that this book, meaning apparently this very copy, was presented by the author to Henry IV, it is hardly likely that he had any trustworthy authority for it. The book must evidently have been arranged for some such purpose; on the whole however it is more likely that this was not the actual presentation copy, but another written about the same time and left in the hands of the author. The copy intended for presentation to the king, if such a copy there were, would probably have been more elaborately ornamented; and moreover the Latin lines on the last leaf, ‘Henrici quarti’ &c., bear the appearance of having been added later. The poet there speaks of himself as having become blind ‘in the first year of king Henry IV,’ and of having entirely ceased to write in consequence; and in another version of the same lines, which is found in the Glasgow MS. of the Vox Clamantis, he dates his blindness from the second year of King Henry’s reign. In any case it seems clear that his blindness did not come on immediately after Henry’s accession; for the Cronica Tripertita, a work of considerable length, must have been written after the death of Richard II, which took place some five months after the accession of Henry IV. It would be quite in accordance with Gower’s usual practice to keep a copy of the book by him and add to it or alter it from time to time; the Fairfax MS. of the Confessio Amantis and the All Souls copy of the Vox Clamantis are examples of this mode of proceeding: and I should be rather disposed to think that this volume remained in the author’s hands than that it was presented to the king. As to its subsequent history, if we are to regard the signature ‘Rychemond’ on the second leaf as a genuine autograph of Henry VII while Earl of Richmond, it would seem that the book passed at some time into royal hands, but it can hardly have come to the Earl of Richmond by any succession from Henry IV. After this we know nothing definite until we find it in the hands of the ‘aged Charles Gedde’ of St. Andrews, by whom it was given, as we have seen, to Fairfax in 1656, and by Fairfax in the same year to his friend and kinsman Sir Thomas Gower, no doubt on the supposition that he belonged to the family of the poet. He must have been one of the Gowers of Stittenham, and from him it has passed by descent to its present possessor.

The text given by the MS. seems to be on the whole a very correct one. For the Cinkante Balades it is the only manuscript authority, but as regards the Traitié it may be compared with several other copies contemporary with the author, and it seems to give as good a text as any. There seems no reason to doubt that it was written in the lifetime of the author, who may however have been unable owing to his failing eyesight to correct it himself. It was nevertheless carefully revised after being written, as is shown by various erasures and corrections both in the French and the English portions. This corrector’s hand is apparently different from both the other hands which appear in the manuscript. The best proof however of the trustworthiness of the text is the fact that hardly any emendations are required either by the metre or the sense. The difficulties presented by the text of the Roxburghe edition vanish for the most part on collation of the MS., and the number of corrections actually made in this edition is very trifling.

In a few points of spelling this MS. differs from that of the Mirour: for example, jeo (ieo) is almost always used in the Balades for je (but ie in Ded. i. 4), and the -ai termination is preferred to -ay, though both occur; similarly sui, joie, li, poi, where the Mirour has more usually suy, joye, ly, poy, &c.

What has been said with reference to the Mirour about the use of u and v, i and j, applies also here (except that the scribe of this MS. prefers i initially to I and sometimes writes u initially), and also in general what is said about division of words, accents and contractions. The latter however in the present text of the Balades and Traitié are not indicated by italics. It should be noted that que in the text stands for a contracted form. The word is qe in the Balades, when it is fully written out, but quil, tanquil, &c., are used in the MS., q̅om must evidently be meant for quom, and we find que frequently in the Mirour. Such forms as auerai, deuera, liuere, &c., usually have er abbreviated, but we also find saueroit (viii. 2), auera (xvi. 3), aueray (xvii. 1), written out fully. Where the termination -ance has a line drawn over it, as in suffica̅n̅ce, fia̅n̅ce (iv. 2), it has been printed -aunce, and so cha̅n̅con (xl. 3); but aun is written out fully. In general it must be assumed that -oun ending a word represents o̅n̅, but in xxi. 4 we have noun written out fully in both cases.

In the matter of capitals the usage of the MS. is followed for the most part. The punctuation is of course that of the editor, and it may be observed that the previous editions have none.

TRAITIÉ.

This work, which is called by its author ‘un traitié selonc les auctours pour essampler les amantz marietz,’ is a series of eighteen balades, each composed of three seven-line stanzas without envoy, except in the case of the last, which has an additional stanza addressed ‘Al université de tout le monde,’ apologizing for the poet’s French and serving as a general envoy for the whole collection, though formally belonging to the last balade. The stanzas rhyme ab ab bcc, a form which is used frequently in the Cinkante Balades, as also in Gower’s English poem addressed to Henry IV and in the stanzas which are introduced into the eighth book of the Confessio Amantis. There are Latin marginal notes summarizing the contents of each balade, and the whole is concluded by some lines of Latin. As to the date, if we are to regard the Latin lines ‘Lex docet auctorum’ as a part of the work (and they are connected with it in all the copies), we have a tolerably clear indication in the concluding couplet:

This was written evidently just before the author’s marriage, which took place, as we know, near the beginning of the year 1398 (by the modern reckoning), and therefore it would seem that the Traitié belongs to the year 1397. It is true that one MS. (Bodley 294) omits this concluding couplet, but in view of the fact that it is contained not only in all the other copies, but also in the Trin. Coll. Camb. MS., which seems to be derived from the same origin as Bodl. 294, we cannot attach much importance to the omission.

In several MSS. the Traitié is found attached to the Confessio Amantis, and with a heading to the effect that the author, having shown above in English the folly of those who love ‘par amour,’ will now write in French for the world generally a book to instruct married lovers by example to keep the faith of their espousals. But though appearing thus as a pendant to the English work in the Fairfax, Harleian, Bodley, Trin. Coll. Camb., Wadham, Keswick Hall and Wollaton MSS., it does not necessarily belong to it. It is absent in the great majority of copies of the Confessio Amantis, and in the Fairfax MS. it appears in a different hand from that of the English poem and was certainly added later. Moreover the Traitié is found by itself in the Trentham book, and following the Vox Clamantis in the All Souls and Glasgow MSS., in both these cases having been added later than the text of that work and in a different hand. We cannot tell what heading it had in the Trentham or the All Souls MSS., but probably the same as that of the Glasgow copy, which makes no reference to any other work. ‘This is a treatise which John Gower has made in accordance with the authors, touching the estate of matrimony, whereby married lovers may instruct themselves by example to hold the faith of their holy espousals.’ This variation of the heading is certainly due to the author, and we are entitled to regard the Traitié as in some sense an independent work, occasionally attached by the author to the Confessio Amantis, but also published separately.

As to the versification, the remarks already made upon that of the Balades apply also to these poems.

The subject of the work is defined by the title: it is intended to set forth by argument and example the nature and dignity of the state of marriage and the evils springing from adultery and incontinence. The tendency to moralize is naturally much stronger in these poems than in the Cinkante Balades, and they are consequently less poetical. The most pleasing is perhaps xv, ‘Comunes sont la cronique et l’istoire’: ‘Still is the folly of Lancelot and of Tristram remembered, that others by it may take warning. All the year round the fair of love is kept, where Cupid sells or gives away hearts: he makes men drink of one or the other of his two tuns, the one sweet and the other bitter. Thus the fortune of love is unstable: the lover is now in joy and now in torment, but the wise will be warned by others, as a bird avoids the trap in which he sees another caught, and they will not take delight in wanton love.’ Many of the examples are from stories already told in the Confessio Amantis, as those of Nectanabus, Hercules and Deianira, Jason, Clytemnestra, Lucretia, Paulina, Alboin and Rosamond, Tereus, Valentinian.

Text.—Of the Traitié there exist several contemporary copies besides that of the Trentham MS. It is found appended to the Confessio Amantis in MS. Fairfax 3, with a heading which closely connects it with that poem; it occurs among the various Latin pieces which follow the Vox Clamantis in All Souls MS. 98, and again in much the same kind of position in the MS. of the Vox Clamantis belonging to the Hunterian Museum, Glasgow. The first two of these copies are, I have no doubt, in the same handwriting, that which I call the ‘second hand’ of MS. Fairfax 3, and I am of opinion that the third (that of the Glasgow MS.) is so also. This question of the handwritings found in contemporary copies of Gower will be discussed later, when the MSS. in question are more fully described: suffice it to say at present that these copies are all good, and they agree very closely both with one another and with that of the Trentham book, while at the same time they are independent of one another. They have all been collated throughout for this edition. Besides these original copies there is one in Harleian MS. 3869, which appears to be taken from Fairfax 3, and also in the following MSS., in all of which the Traitié follows the Confessio Amantis: Bodley 294, Trinity College, Cambridge, R. 3. 2, Wadham Coll. 13, and the Keswick Hall and Wollaton MSS. Of these Bodley 294 has been collated for this edition, and the rest occasionally referred to.

The MSS. may be tabulated as follows, further description being reserved for the occasions when they are more fully used:—

F.—Fairfax 3, in the Bodleian Library, Oxford, containing the Confessio Amantis, the Traitié pour essampler, ff. 186 v^o-190, and several Latin poems.

S.—All Souls College, Oxford, 98, containing the Vox Clamantis, Cronica Tripertita, a miscellaneous collection of Latin poems, and the Traitié, ff. 132-135.

T.—The Trentham MS., described above.

G.—Hunterian Museum, Glasgow, T. 2. 17, with nearly the same contents as S. The Traitié is ff. 124 v^o-128.

H.—Harleian 3869, in the British Museum, agreeing with F.

B.—Bodley 294, in the Bodleian Library, containing the Confessio Amantis, the Traitié, and a few Latin pieces.

Tr.—Trinity Coll. Camb. R. 3. 2, with nearly the same contents as B.

W.—Wadham Coll. Oxf. 13, Confessio Amantis and Traitié, the latter imperfect at the end.

K.—In the library of J. H. Gurney, Esq., Keswick Hall, Norwich, with the same contents as F.

A.—Lord Middleton’s MS., at Wollaton Hall.

The Traitié has been twice printed: first by the Roxburghe Club from the Trentham MS.[L], and then by Dr. Stengel, in both cases with the Cinkante Balades. The German editor unfortunately took as the basis of his text the copy in B, which is much inferior in correctness to those of several other MSS. which were within his reach[M]. He has also in many cases failed to give a correct representation of the MS. which he follows, and his collation of other copies is incomplete.

The text of the present edition is based upon that of F, which is at least as good as any of the three other copies which I have called contemporary, and has the advantage over two of them that it is perfect, whereas they have each lost a leaf. These four are so nearly on the same level of correctness that it matters little on other grounds which of them we follow. A full collation is here given of T, S and G, and the readings of B are occasionally mentioned. H and K are probably dependent on F. Tr. is a moderately good copy, closely connected with B, but in view of the excellence of the other materials it is not worth collating; A is a manuscript of the same class, but rather less correct. Finally the text of W, which is late and full of blunders, may be set down as worthless.