For the Cronike doth treteth (sic) this brefly,
More ferther wold go, mater finde might I
with
Mais en brief je m'en passeray
Car la cronique en brief passe.
Plus déisse, se plus trouvasse.[95]
A similar situation has already been pointed out in Ywain and Gawin. The most marked example of contradictory evidence is to be found in Octavian, whose author alternates "as the French says" with "as saith the Latin."[96] Here, however, the nearest analogue to the English romance, which contains 1962 lines, is a French romance of 5371 lines, which begins by mentioning the "grans merueilles qui sont faites, et de latin en romanz traites."[97] It is not impossible that the English writer used a shorter version which emphasized this reference to the Latin, and that his too-faithful adherence to source had confusing results. But even if such contradictions cannot be explained, in the mass of undistinguished romances there is scarcely anything to suggest that the writer is trying to give his work a factitious value by misleading references to dignified sources. His faults, as in Ywain and Gawin, where the name of Chrétien is not carried over from the French, are sins of omission, not commission.
No hard and fast line of division can be drawn between the romances just discussed and those of the second group, with their frequent and fairly definite references to their sources and to their methods of reproducing them. A rough chronological division between the two groups can be made about the year 1400. William of Palerne, assigned by its editor to the year 1350, contains a slight indication of the coming change in the claim which its author makes to have accomplished his task "as fully as the French fully would ask."[98] Poems like Chaucer's Knight's Tale and Franklin's Tale have only the vague references to source of the earlier period, though since they are presented as oral narratives, they belong less obviously to the present discussion. The vexed question of the signification of the references in Troilus and Criseyde is outside the scope of this discussion. Superficially considered, they are an odd mingling of the new and the old. Phrases like "as to myn auctour listeth to devise" (III, 1817), "as techen bokes olde" (III, 91), "as wryten folk thorugh which it is in minde" (IV, 18) suggest the first group. The puzzling references to Lollius have a certain definiteness, and faithfulness to source is implied in lines like:
And of his song nought only the sentence,
As writ myn auctour called Lollius,
But pleynly, save our tonges difference,
I dar wel seyn, in al that Troilus
Seyde in his song; lo! every word right thus
As I shal seyn
(I, 393-8)
and
"For as myn auctour seyde, so seye I" (II, 18).
But from the beginning of the new century, in the work of men like Lydgate and Caxton, a new habit of comment becomes noticeable.
Less distinguished translators show a similar development. The author of The Holy Grail, Harry Lonelich, a London skinner, towards the end of his work makes frequent, if perhaps mistaken, attribution of the French romance to