Pas-se rimes with was, 27; so it must have been cut down to pas! Similarly, hew-e has become hew; for it rimes with grew, sing., 32. Sight-e has become sight, to rime with wight, 37. Brought should rather be brought-e, but it rimes with wrought, 48. Similar difficulties occur in peyn (for peyn-e), r. w. seyn (62); syd' for syd-e, r. w. espy'd for espy-ed, 72; eet, r. w. sweet for swet-e, 90; not' for not-e, r. w. sot, 99; busily, r. w. aspy' for aspy-e, 106; trewly, r. w. armony' for armony-e, 130; orient (oriant?), r. w. want for want-e, 148; person for person-e, r. w. everichon, 167. It is tedious to go on; let the critic finish the list, if he knows how to do it. If not, let him be humble. For there is more to come.
[§ 59]. Besides the grammar, there is yet the pronunciation to be considered; and here comes in the greatest difficulty of all. For, in ll. 86-89, we have the unusual rime of tree and be with pretily. This so staggered Dr. Morris, that he was induced to print the last word as pretile; which raises the difficulty without explaining it. For the explanation, the reader should consult the excellent dissertation by Dr. Curtis on The Romance of Clariodus
(Halle, 1894), p. 56, [§ 187]. He remarks that a rime of this character gives evidence of the transition of M.E. long close e to (Italian) long i [as in the change from A.S. mē to mod. E. me], and adds: 'this change became general in the fifteenth century, but had begun in some dialects at an earlier date.' Its occurrence in the present poem is a strong indication that it is later than the year 1400, and effectually disposes of any supposed connection with Midland poems of the fourteenth century.
Both poems are remarkably free from classical allusions and from references to such medieval authors as are freely quoted by Chaucer. There is nothing to shew that the authoress was acquainted with Latin, though she knew French, especially the French of songs and mottoes.
The Flower and the Leaf is chiefly famous for having been versified by Dryden. The version is a free one, in a manner all his own, and is finer than the original, which can hardly be said of his 'versions' of Palamon and Arcite and The Cock and the Fox. It is doubtless from this version that many critics have formed exaggerated ideas of the poem's value; otherwise, it is difficult to understand for what reasons it was considered worthy of so great a master as Geoffrey Chaucer.
[§ 60]. It will be seen, from the Notes, that the authoress was well acquainted with the Prologue to The Legend of Good Women; and it can hardly be questioned that she took the main idea of the poem from that source, especially ll. 188-194 of the later text. At the same time she was well acquainted with Gower's lines on the same subject, in the Conf. Amantis, iii. 357, 358; see vol. iii. pp. xlii, 297. Gower has:—
'Me thoughte I sigh to-fore myn hede
Cupide with his bowe bent,
And like unto a parlement
Which were ordeined for the nones,