Nexst to his confusyoun.
It is extremely interesting to observe the ascription of these lines to Merlin; see King Lear, iii. 2. 95.
XXIX. Balade. This poor stanza, with its long-drawn lines, appears in Stowe at the end of 'Chaucer's Works.' In the Trinity MS., it occurs at the end of a copy of The Parlement of Foules.
[§ 77]. An examination of the pieces contained in the present volume leads us to a somewhat remarkable result, viz. that we readily distinguish in them the handiwork of at least twelve different authors, of whom no two are much alike, whilst every one of them can be distinguished from Chaucer.
These are: (1) the author of The Testament of Love, who writes in a prose style all his own; (2) the author of The Plowmans Tale and Plowmans Crede, with his strong powers of invective and love of alliteration, whose style could never have been mistaken for Chaucer's in any age[[45]]; (3) the author of Jack Upland, with his direct and searching questions; (4) John Gower, with his scrupulous regularity of grammatical usages; (5) Thomas Hoccleve, who too often accents a dissyllable on the latter syllable when it should be accented on the former; (6) Henry Scogan, whose lines are lacking in interest and originality; (7) John Lydgate[[46]], who allows his verse too many licences, so that it cannot always be scanned at the first trial; (8) Sir Richard Ros, who writes in English of a quite modern cast, using their and them as in modern English, and wholly discarding the use of final -e as an inflexion; (9) Robert Henryson, who writes smoothly enough and with a fine vein of invention, but employs the Northern dialect; (10) Sir Thomas Clanvowe, who employs the final -e much more frequently than Chaucer or even Gower; (11) the authoress of The Flower and the Leaf and The Assembly of Ladies, to whom the final -e was an archaism, very convenient for metrical embellishment; and (12) the author of The Court of Love, who, while discarding
the use of the final -e, was glad to use the final -en to save a hiatus or to gain a syllable, and did not hesitate to employ it where it was grammatically wrong to do so.
[§ 78]. If the reader were to suppose that this exhausts the list, he would be mistaken; for it is quite easy to add at least one known name, and to suggest three others. For the piece numbered XXVI, on p. 449, has been identified as the work of John Walton, who wrote a verse translation of Boethius in the year 1410; whilst it is extremely unlikely that no. XXVII, written in Lowland Scottish, was due to Henryson, the only writer in that dialect who has been mentioned above. This gives a total of fourteen authors already; and I believe that we require yet two more before the Virelai and the Sayings printed by Caxton (nos. XXV and XXVIII) can be satisfactorily accounted for. As for no. XIX—the Envoy to Alison—it may be Lydgate's, but, on the other hand, it may not. And as for no. XXIX, it is of no consequence.
Moreover, it must be remembered that I here only refer to the selected pieces printed in the present volume. If we go further afield, we soon find several more authors, all distinct from those above-mentioned, from each other, and from Chaucer. I will just instance the author of the Isle of Ladies, the authoress (presumably) of The Lamentation of Mary Magdalen, the author of The Craft of Lovers, the 'man unknown' who wrote The Ten Commandments of Love, and the author of the clumsy lines dignified by the title of The Nine Ladies Worthy. It is quite certain that not less than twenty authors are represented in the mass of heterogeneous material which appears under Chaucer's name in a compilation such as that which is printed in the first volume of Chalmers' British Poets; which, precisely on that very account, is useful enough in its own peculiar way.
[§ 79]. I believe it may be said of nearly every piece in the volume, that it now appears in an improved form. In several cases, I have collated MSS. that have not previously been examined, and have found them to be the best. The Notes are nearly all new; very few have been taken from Bell's Chaucer. Several are due to Schick's useful notes to The Temple of Glas; and some to Krausser's edition of The Black Knight, and to Gröhler's edition of La Belle Dame, both of which reached me after my own notes were all in type. I have added a Glossary
of the harder words; for others, see the Glossary already printed in vol. vi.