No More Learning

At a glance
it is clear, as one turns the leaves, that the metre of the poem is
a combination of the alliterative measure with the occasional in-
troduction of a lyrical burden, introduced by a short verse of
one accent, and riming according to the scheme ababa, which
breaks the poem at irregular intervals, evidently marking various
stages of the narrative. The metre blends the epic rhythm of
Cleanness and Patience with the lyrical strain of the Pearl. The
illustrations preceding this poem are obviously scenes from
medieval romance; above one of the pictures, representing a
stolen interview between a lady and a knight, is a couplet not
found elsewhere in the MS:
Mi mind is mukel on on, that wil me noght amende:
Sum time was trewe as ston, and fro schame couthe her defende.


## p. 326 (#346) ############################################

326 Pearl, Cleanness, Patience, Sir Gawayne
The romance deals with a weird adventure that befell Sir
Gawain, son of Loth, and nephew of king Arthur, the favourite
hero of medieval romance, more especially in the literature of the
west and northern parts of England, where, in all probability,
traditions of the knight lived on from early times; the depreciation
of the hero in later English literature was due to the direct influence
of one particular class of French romances. Gaston Paris, in
Volume xxx of L'Histoire Littéraire de la France, 1888, has
surveyed the whole field of medieval literature dealing with Sir
Gawain; according to his view, the present romance is the jewel of
English medieval literature, and it may, perhaps, be considered
the jewel of medieval romance. To Madden belongs the honour
of first having discovered the poem, and of having brought
it out in his great collection, Syr Gawayne. . . Ancient Romance
poems by Scottish and English Authors relating to that celebrated
Knight of the Round Table, published by the Bannatyne Club,
1839. The place of Sir Gawayne in the history of English metrical
romances is treated of elsewhere? ; in the present chapter Sir
Gawayne is considered mainly as the work of the author of Pearl.
The story tells how on a New Year's Day, when Arthur and
his knights are feasting at Camelot, a great knight clad in green,
mounted on a green horse, and carrying a Danish axe, enters
the hall, and challenges one of Arthur's knights; the conditions
being that the knight must take oath that, after striking the
first blow, he will seek the Green Knight twelve months hence
and receive a blow in return. Gawain is allowed to accept
the challenge, takes the axe and smites the Green Knight so that
the head rolls from the body; the trunk takes up the head,
which the hand holds out while it repeats the challenge to Gawain
to meet him at the Green Chapel next New Year’s morning, and
then departs. Gawain, in due course, journeys north, and wanders
through wild districts, unable to find the Green Chapel; on
Christmas Eve he reaches a castle, and asks to be allowed to
stay there for the night: he is welcomed by the lord of the
castle, who tells him that the Green Chapel is near, and invites
him to remain for the Christmas feast. The lord, on each of
the three last days of the year, goes a-hunting ; Gawain is to
stay behind with the lady of the castle; the lord makes the
bargain that, on his return from hunting, each shall exchange
what has been won during the day; the lady puts Gawain's
honour to a severe test during the lord's absence: he receives a
1 See Chapter X111.


## p. 327 (#347) ############################################

The Sources of Sir Gawayne 327
kiss from her ; in accordance with the compact, he does not fail to
give the kiss to the husband on his return; there is a similar
episode on the next day when two kisses are received and
given by Gawain ; on the third day, in addition to three kisses,
Gawain receives a green lace from the lady, which has the
virtue of saving the wearer from harm. Mindful of his next
day's encounter with the Green Knight, Gawain gives the three
kisses to his host, but makes no mention of the lace. Next
morning, he rides forth and comes to the Green Chapel, a cave
in a wild district; the Green Knight appears with his axe;
Gawain kneels; as the axe descends, Gawain flinches, and is
twitted by the knight; the second time Gawain stands as still
as a stone, and the Green Knight raises the axe, but pauses ; the
third time the knight strikes him, but, though the axe falls on
Gawain's neck, his wound is only slight. Gawain now declares
that he has stood one stroke for another, and that the compact
is settled between them. Then the Green Knight reveals
himself to Gawain as his host at the castle ; he knows all that
bas taken place. “That woven lace which thou wearest mine
own wife wove it; I know it well; I know, too, thy kisses, and
thy trials, and the wooing of my wife; I wrought it myself. I
sent her to tempt thee, and methinks thou art the most faultless
hero that ever walked the earth. As pearls are of more price
than white peas, so is Gawain of more price than other gay
knights. " But for his concealing the magic lace he would have
escaped unscathed. The name of the Green Knight is given
as Bernlak de Hautdesert; the contriver of the test is Morgan
le Fay, Arthur's half-sister, who wished to try the knights, and
frighten Guinevere; Gawain returns to court and tells the story;
and the lords and ladies of the Round Table lovingly agree to
wear a bright green lace in token of this adventure, and in honour
of Gawain, who disparages himself as cowardly and covetous.
And ever more the badge was deemed the glory of the Round
Table, and he that had it was held in honour.
The author derived his materials from some lost original; he
states that the story had long been “locked in lettered lore. ”
His original was, no doubt, in French or Anglo-French. The
oldest form of the challenge and the beheading is an Old Irish
heroic legend, Fled Bricrend (the feast of Bricriu), preserved in
a MS of the end of the eleventh or the beginning of the twelfth
century, where the story is told by Cuchulinn, the giant being
Uath Mac Denomain, who dwelt near the lake. The Cuchulinn


## p. 328 (#348) ############################################

328 2
Pearl, Cleanness, Patience, Sir Gawayne
episode had, in due course, become incorporated in Arthurian
literature. The French version nearest to the Gawain story
that has so far been pointed out was discovered by Madden in
the first continuation by Gautier de Doulens of Chrétien's Conte
del Graal, where the story is connected with Carados, Arthur's
nephew, and differs in many important respects from the English
version of the romance. There is much to be said in favour
of Miss Weston's conclusion that “it seems difficult to understand
how anyone could have regarded this version, ill-motived as it is,
and utterly lacking in the archaic details of the English poem,
as the source of that work. It should probably rather be
considered as the latest in form, if not in date, of all the
versions. " There is, of course, no doubt whatsoever that we
have in the French romance substantially the same story, with
the two main episodes, namely, the beheading and the test at
the castle ; our poet's direct original is evidently lost-he, no
doubt, well knew the Conte del Graal—but we are able to judge
that, whatever other source he may have used, he brought his
own genius to bear in the treatment of the theme. It would
seem as though the figure of Gawain, “the falcon of the month
of May,” the traditional type and embodiment of all that was
chivalrous and knightly, is drawn from some contemporary knight,
and the whole poem may be connected with the foundation of
the order of the Garter, which is generally assigned to about
the year 1345. From this standpoint it is significant that at
the end of the MS, in a somewhat later hand, is found the
famous legend of the order : honi soit qui mal (y) penc; just as a
later poet, to whom we are indebted for a ballad of the Green
Knight (a rifacimento of this romance, or of some intermediate
form of it), has used the same story to account for the origin of
the order of the Bath. The romance may be taken not to have
been written before the year 1345.
The charm of Sir Gawayne is to be found in its description of
nature, more especially of wild nature; in the author's enjoyment
of all that appertains to the bright side of medieval life; in its
details of dress, armour, wood-craft, architecture; and in the artistic
arrangement of the story, three parallel episodes being so treated
as to avoid all risk of monotony, or reiteration. As a charac-
teristic passage the following may be quoted :
O'er a mound on the morrow he merrily rides
into a forest full deep and wondrously wild;
high hills on each side and holt-woods beneath,
with huge hoary oaks, a hundred together;
" of the Baline rear 1340: to be found


## p. 329 (#349) ############################################

The Question of Authorship
329
hazel and hawthorn hung clustering there,
with rough ragged moss o’ergrown all around;
unblithe, on bare twigs, sang many a bird,
piteously piping for pain of the cold.
Under them Gawayne on Gringolet glideth,
through marsh and through mire, a mortal full lonesome,
cumbered with care, lest ne'er he should come
to that Sire's service, who on that same night
was born of a bride to vanquish our bale.
Wherefore sighing he said: “I beseech Thee, O Lord,
and Mary, thou mildest mother so dear!
some homestead, where holily I may hear mass
and matins to-morrow, full meekly I ask;
thereto promptly I pray pater, ave,
and creed. "
He rode on in his prayer,
And cried for each misdeed;
He crossed him ofttimes there,
And said: “Christ's cross me speed! ”
But, much as Sir Gawayne shows us of the poet's delight in his
art, the main purpose of the poem is didactic. Gawain, the knight
of chastity, is but another study by the author of Cleanness.
On the workmanship of his romance he has lavished all care,
only that thereby his readers may the more readily grasp the
spirit of the work. Sir Gawain may best, perhaps, be under-
stood as the Sir Calidor of an earlier Spenser.
In the brief summary of the romance, one striking passage
has been noted linking the poem to Pearl, namely, the com-
parison of Gawain to the pearl ; but, even without this reference,
the tests of language, technique and spirit, would render identity
of authorship incontestable; the relation which this Spenserian
romance bears to the elegy as regards time of composition
cannot be definitely determined; but, judging by parallelism
of expression, it is clear that the interval between the two poems
must have been very short.
No direct statement has come down to us as to the authorship
of these poems, and, in spite of various ably contested theories,
it is not possible to assign the poems to any known poet. The
nameless poet of Pearl and Gawayne has, however, left the
impress of his personality on his work; and so vividly is this
personality revealed in the poems that it is possible, with some
degree of confidence, to evolve something approximating to an
account of the author, by piecing together the references and other
evidence to be found in his work. The following hypothetical
biography is taken, with slight modification, from a study published
elsewhere!
1 Introduction to Pearl, p. xlvi.


## p. 330 (#350) ############################################

330 Pearl, Cleanness, Patience, Sir Gawayne
The poet was born about 1330; his birthplace was somewhere
in Lancashire, or, perhaps, a little more to the north, but not
beyond the Tweed ; such is the evidence of dialect. Additional
testimony may be found in the descriptions of natural scenery
in Gawayne, Cleanness and Patience. The wild solitudes of the
Cumbrian coast, near his native home, seem to have had special
attraction for him. Like a later and greater poet, he must,
while yet a youth, have felt the subtle spell of nature's varying
aspects in the scenes around him.
Concerning the condition of life to which the boy belonged
we know nothing definite; but it may be inferred that his
father was connected, probably in some official capacity, with
a family of high rank, and that it was amid the gay scenes
that brightened life in a great castle that the poet's earlier
years were passed. In later life, he loved to picture this home
with its battlements and towers, its stately hall and spacious
parks. There, too, perhaps, minstrels' tales of chivalry first
revealed to him the weird world of medieval romance and made
him yearn to gain for himself a worthy place among contem-
porary English poets.
The Old English poets were his masters in poetic art; he had
also read The Romaunt of the Rose, the chief products of early
French literature, Vergil and other Latin writers; to “Clopyngel's
clean rose” he makes direct reference. The intensely religious
spirit of the poems, together with the knowledge they everywhere
display of Holy Writ and theology, lead one to infer that he
was, at first, destined for the service of the church ; probably, he
became a “clerk,” studying sacred and profane literature at
a monastic school, or at one of the universities; and he may
have received the first tonsure only.
The four poems preserved in the Cottonian MS seem to belong
to a critical period of the poet's life. Gawayne, possibly the
earliest of the four, written, perhaps, in honour of the patron to
whose household the poet was attached, is remarkable for the
evidence it contains of the writer's minute knowledge of the
higher social life of his time; from his evident enthusiasm it
is clear that he wrote from personal experience of the pleasures
of the chase, and that he was accustomed to the courtly life
described by him.
The romance of Gawayne contains what seems to be a personal
reference where the knight is made to exclaim : “It is no marvel
for a man to come to sorrow through a woman's wiles ; so was
Adam beguiled, and Solomon, and Samson, and David, and many


## p. 331 (#351) ############################################

Hypothetical Biography of the Poet 331
more. It were, indeed, great bliss for a man to love them well,
and love them not—if one but could. ”
Gawayne is the story of a noble knight triumphing over the sore
temptations that beset his vows of chastity: evidently in a musing
mood he wrote in the blank space at the head of one of the
illustrations in his MS the suggestive couplet still preserved by
the copyist in the extant MS. His love for some woman had
brought him one happiness—an only child, a daughter, on whom
he lavished all the wealth of his love. He named the child
Margery or Marguerite; she was his “Pearl”_his emblem of
holiness and innocence; perhaps she was a love-child, hence his
privy pearl. His happiness was short-lived ; before two years
had passed, the child was lost to him ; his grief found expression
in verse; a heavenly vision of his lost jewel brought him comfort
and taught him resignation. It is noteworthy that, throughout
the whole poem, there is no single reference to the mother of the
child; the first words when the father beholds his transfigured
Pearl are significant:
“O Pearl," quoth I,
"Art thou my Pearl that I have plained,
Regretted by me alone” [“bi myn one”].
With the loss of his Pearl, a blight seems to have fallen on
the poet's life, and poetry seems gradually to have lost its
charm for him. The minstrel of Gawayne became the stern
moralist of Cleanness and Patience. Other troubles, too, seem
to have befallen him during the years that intervened between
the writing of these companion poems. Patience appears to be
almost as autobiographical as Pearl; the poet is evidently
preaching to himself the lesson of fortitude and hope, amid
misery, pain and poverty. Even the means of subsistence seem
to have been denied him. “Poverty and patience,” he exclaims,
“are need's playfellows. "
Cleanness and Patience were written probably some few years
after Pearl; and the numerous references in these two poems to the
sea would lead one to infer that the poet may have sought distrac-
tion in travel, and may have weathered the fierce tempests he
describes. His wanderings may have brought him even to the
holy city whose heavenly prototype he discerned in the visionary
scenes of Pearl.
We take leave of the poet while he is still in the prime of
life; we have no material on which to base even a conjecture as
to his future. Perhaps he turned from poetry and gave himself


## p. 332 (#352) ############################################

332 Pearl, Cleanness, Patience, Sir Gawayne
entirely to theology, always with him a favourite study, or to
philosophy, at that time closely linked with the vital questions
at issue concerning faith and belief. If the poet took any
part in the church controversies then beginning to trouble
men's minds, his attitude would have been in the main conser-
vative. Full of intense hatred towards all forms of vice, especially
immorality, he would have spoken out boldly against ignoble
priests and friars, and all such servants of the church who,
preaching righteousness, lived unrighteously. From minor tradi-
tional patristic views he seems to have broken away, but there
is no indication of want of allegiance on his part to the authority
of the church, to papal supremacy and to the doctrine of Rome;
though it has been well said recently, with reference to his
general religious attitude, that it was evangelical rather than
ecclesiastical.
It is, indeed, remarkable that no tradition has been handed
down concerning the authorship of these poems; and many
attempts have been made to identify the author with one or
other of the known writers belonging to the end of the fourteenth
century. Perhaps the most attractive of these theories is that
which would associate the poems with Ralph Strode, Chaucer's
“philosophical Strode,” to whom (together with “the moral
Gower") was dedicated Troilus and Criseyde. According to
a Latin entry in the old catalogue of Merton College, drawn up
in the early years of the fifteenth century, Strode is described as
“a noble poet and author of an elegiac work Phantasma
Radulphi. ” Ralph Strode of Merton is certainly to be identified
with the famous philosopher of the name, one of the chief logicians
of the age. It is as poet and philosopher that he seems to be
singled out by Chaucer. Phantasma Radulphi might, possibly,
apply to Pearl ; while Gawayne and the Grene Knight might
well be placed in juxtaposition to Troilus. An Itinerary of the
Holy Land, by Strode, appears to have been known to Nicholas
Brigham ; further, there is a tradition that he left his native
land, journeyed to France, Germany and Italy, and visited Syria
and the Holy Land. His name as a Fellow of Merton is
said to occur for the last time in 1361. Strode and Wyclif
were contemporaries at Oxford, as may be inferred from an
unprinted MS in the Imperial library in Vienna, containing
Wyclif's reply to Strode's arguments against certain of the
reformer's views. The present writer is of opinion that the
philosopher is identical with the common serjeant of the city


## p. 333 (#353) ############################################

Theories of Authorship
333
a
of London of the same name, who held office between 1375 and
1385, and who died in 1387. But, fascinating as is the theory,
no link has, as yet, been discovered which may incontestably
connect Strode with the author of Pearl, nor has it yet been
discovered that Strode came of a family belonging to the west
midland or northern district. The fiction that Strode was a monk
of Dryburgh abbey has now been exploded.
Some seventy years ago, Guest, the historian of English
rhythms, set up a claim for the poet Huchoun of the Awle
Ryale, to whom Andrew of Wyntoun refers in his Orygynale
Cronykil.
Guest regarded as the most decisive proof of his theory the
fact that, at the void space at the head of Sir Gawayne and the
Grene Knight in the MS, a hand of the fifteenth century has
scribbled the name Hugo de; but little can be inferred from
this piece of evidence; while the lines by Wyntoun tend to connect
the author with a set of poems differentiated linguistically and in
technique from the poems in the Cotton MS. But this is not the place
to enter into a discussion of the various problems connected with
the identity of Huchoun: it is only necessary here to state that, in
the opinion of the writer, the view which would make Huchoun
the author of Pearl, Gawayne and the Grene Knight, Cleanness
and Patience is against the weight of evidence. By the same
evidence as that adduced to establish Huchoun's authorship
of these poems, various other alliterative poems are similarly
assigned to him, namely, The Wars of Alexander, The Destruction
of Troy, Titus and Vespasian, The Parlement of the Thre Ages,
Wynnere and Wastoure, Erkenwald and the alliterative riming
poem Golagros and Gawane.
According to this view, The Parlement of the Thre Ages
belongs to the close of the poet's career, for it is supposed
to sum up his past course through all his themes—through
Alexander, Troy, Titus and Morte Arthure. But this theory,
that, on the basis of parallel passages, would make Huchoun
the official father of all these poems, in addition to those which
may be legitimately assigned to him on the evidence of Wyntoun's
lines, fails to recognise that the author of The Parlement of
the Thre Ages, far from being saturated with the Troy Book
and the Alexander romances, actually confuses Jason, or Joshua,
the high priest who welcomed Alexander, with Jason who won the
golden fleece.
* See the Chapter on Huchoun in Volume a.


## p. 334 (#354) ############################################

334 Pearl, Cleanness, Patience, Sir Gawayne
Probably the work of four or five alliterative poets comes
under consideration in dealing with the problem at issue. To
one poet may, perhaps, safely be assigned the two poems The
Parlement of the Thre Ages and Wynnere and Wastoure, the
latter from internal evidence one of the oldest poems of the
fourteenth century, and to be dated about 1351: it is a precursor
of The Vision of Piers Plowman'. The former poem recalls the
poet of Gawayne, more especially in its elaborate description of
deer-stalking, a parallel picture to the description of the hunting
of the deer, the boar and the fox, in Gawayne.
The alliterative poem of Erkenwald comes nearer to the
work of the author of Cleanness and Patience than any other of
the alliterative poems grouped in the above-mentioned list. It
tells, in lines written either by this author himself or by a very
gifted disciple, an episode of the history of the saint when he
was bishop of St Paul's; and, in connection with the date of its
composition, it should be noted that a festival in honour of
the saint was established in London in the year 1386.
Internal evidence of style, metre and language, appears to
outweigh the parallel passages and other clues which are adduced
as tests of unity of authorship in respect of the Troy Book, Titus,
The Wars of Alexander and Golagros. For the present, these may
be considered as isolated remains which have come down to us of
the works of a school of alliterative poets who flourished during
the second half of the fourteenth and the early years of the
fifteenth century. So far as we can judge from these extant
poems, the most gifted poet of the school was the author of Sir
Gawayne and the Grene Knight: he may well have been regarded
as the master, and his influence on more northern poets, and on
alliterative poetry generally, may explain in part, but not wholly,
the parallel passages which link his work with that of other poets
of the school, who used the same formulae, the same phrases
and, at times, repeated whole lines, much in the same way as poets
of the Chaucerian school spoke the language of their master.
.
* See Chapter 1, Volume 1, Piers the Plowman, p. 37.


## p. 335 (#355) ############################################

CHAPTER XVI
LATER TRANSITION ENGLISH
LEGENDARIES AND CHRONICLERS
It is significant, both of the approaching triumph of the
vernacular, and of the growing importance of the lower and middle
classes in the nation, that some of the chief contributions to our
literature during the two generations immediately preceding that
of Chaucer were translations from Latin and Norman-French,
made, as their authors point out, expressly for the delectation
of the common people. Not less significant are the facts that
much of this literature deals with the history of the nation, and
that now, for the first time since the Conquest, men seemed to
think it worth while to commit to writing political ballads in the
English tongue.
The productions of this time, dealt with in the present
chapter, fall into two main classes, religious and historical,
the former comprising homilies, saints' lives and translations
or paraphrases of Scripture, and the latter the chronicles of
Robert of Gloucester, Thomas Bek of Castleford and Robert
Mannyng, the prophecies of Adam Davy and the war songs of
Laurence Minot. The two classes have many characteristics in
common, and, while the homilists delight in illustrations drawn
from the busy life around them, the historians seldom lose an
opportunity for conveying a moral lesson.
The earliest of the three chronicles mentioned above was
written about 1300, and is generally known by the name of
Robert of Gloucester, though it is very uncertain whether he
was the original author of the whole work. It exists in two
versions, which, with the exception of several interpolations in
one of them, are identical down to the year 1135. From this
point the story is told in one version, which may be called the
first recension, in nearly three thousand lines, and in the
other, the second recension, in rather less than six hundred.


## p. 336 (#356) ############################################

336
Later Transition English
From an investigation of the style it has been supposed that
there was a single original for lines 1_9137 of the Chronicle,
that is to say, to the end of the reign of Henry I, composed in the
abbey of Gloucester, and that, at the end of the thirteenth
century, a monk, whose name we know from internal evidence to
have been Robert, added to it the longer continuation. This must
have been made after 1297, as it contains a reference to the canoni-
sation of Louis IX of France, which took place in that year.
Then, in the first half of the fourteenth century, another writer
found the original manuscript, added the shorter continuation,
and also interpolated and worked over the earlier part.
In any case, there can be little doubt that the Chronicle was
composed in the abbey of Gloucester. The language is that of
south Gloucestershire; and Stow, who may have had access to
information now lost, speaks in his Annals (1580) of the author as
Robert of Gloucester, or Robertus Glocestrensis. The detailed
acquaintance with local affairs shown by the writer of the longer
continuation proves that he lived near the city, while we have his
own authority for the fact that he was within thirty miles of
Evesham at the time of the battle ably described by him. But,
in the earlier part of the Chronicle, also, there are traces of
special local knowledge, which, apart from the dialect, would
point to Gloucester as the place of its origin.
The poem begins with a geographical account of England,
borrowed from Geoffrey of Monmouth, Henry of Huntingdon
and the life of St Kenelm in the South English Legendary.
Next, Nennius, or, perhaps, Geoffrey of Monmouth, is followed
for the genealogy of Brutus, the legendary founder of Britain;
and, from this point down to the English conquest, Geoffrey of
Monmouth is the chief authority. The compiler is, however, by
no means a slavish translator, and he treats his original with
considerable freedom. Thus, he sometimes elaborates, giving the
speeches of historical personages in a fuller form, while, on the
other hand, he frequently omits long passages. But the episodes
which stand out in the memory of the reader-the stories of
Lear, of the “ virgin-daughter of Locrine" and of Arthur, are
also those which arrest us in the Latin original.
Although it has sometimes been stated that the author of this
part of the Chronicle was indebted to Wace, it seems very doubtful
whether the work of his predecessor was known to him. Such
lines as those which hint at the high place taken by Gawain
among Arthur's knights, or make mention of the Round Table,


## p. 337 (#357) ############################################

Robert of Gloucester 337
may be due to verbal tradition, which was especially rife in the
Welsh marches. The coincidences are certainly not striking
enough to justify the assertion that the Gloucester Chronicle owed
anything to the Geste des Bretons, though W. Aldis Wright has
shown that the writer of the second recension was acquainted
with Layamon's version of Wace's poems.
For the history of England under the Old English and Norman
kings, the chief authorities consulted were Henry of Huntingdon
and William of Malmesbury, the former being followed in the
narration of events, and the latter in the descriptions and anecdotes
of famous characters. Occasionally, other sources are drawn
upon; for instance, the story of the duel between Canute and
Edmund Ironside is from the Genealogia Regum Anglorum of
Ailred of Rievauls, and another work by the same author, the
Vita Edwardi Regis et Martyris is, probably, the chief authority
for the life and death of Edward the Confessor. For the reigns
of Henry II and Richard I the life of Thomas à Becket in the
South English Legendary and the Annales Waverlienses supplied
some material, the former furnishing almost word for word the
accounts of the constitutions of Clarendon and of the death
of the saint. Some passages seem to depend on folk-songs; and
there are others, such as the account of the misfortunes which
befell the duke of Austria's land in revenge for his imprisonment
of Richard I, that may be due to tradition. On the whole, however,
the Chronicle does not supply much that is fresh in the way of
legendary lore.
From the beginning of the reign of Henry III the poem be-
comes valuable both as history and literature. The writer, whom
we may now certainly call Robert, was, as we have seen, either an
eye-witness of the facts he relates, or had heard of them from
eye-witnesses. He had, moreover, a distinct narrative gift, and
there are all the elements of a stirring historical romance in his
story of the struggle that took place between the king and the
barons for the possession of Gloucester. Not less graphic is the
description of the town and gown riot in Oxford in 1263. We
are told how the burgesses shut one of the city gates; how
certain clerks hewed it down and carried it through the suburbs,
singing over it a funeral hymn ; how, for this offence, the rioters
were put in prison; and how the quarrel grew to such a height
that the citizens came out armed against the scholars. Robert
relates with evident enjoyment the discomfiture of the former,
and the vengeance taken by the clerks on their foes—how they
E. L. I. CH. XVI.
22


## p. 338 (#358) ############################################

338 Later Transition English
plundered their shops, burned their houses and punished the
mayor, who was a vintner, by taking the bungs from his casks,
and letting the wine run away. But, he adds, when the king
came and heard of all this mischief, he drove the clerks out of
the town, and forbade their returning till after Michaelmas.
Picturesque as such passages are, they are less valuable than
the powerful description of the battle of Evesham and the death
of Simon de Montforty a passage too well known to call for
further reference.
The form of this Chronicle is no less interesting than its theme.
Its metre is an adaptation of the two half-lines of Old English
poetry into one long line, one of its nearest relations being
Poema Morale. In spite of the well-marked caesura, a relic of
the former division into halves, the line has a swinging rhythm
especially suited to narrative verse and the poem is of metrical
importance as showing the work of development in progress!
It was not long after Robert had added his continuation to the
Gloucester Chronicle that Thomas Bek of Castleford composed
a similar work in the northern dialect. The unique MS of this
chronicle is preserved at Göttingen, and is as yet inedited. The
work contains altogether nearly forty thousand lines, of which
the first twenty-seven thousand are borrowed from Geoffrey of
Monmouth, while the remainder, extending to the coronation of
Edward III, are derived from sources not yet defined. The metre
is the short rimed couplet of the French chroniclers
Mention has already been made of the South English Le-
gendary, a collection of versified lives of the saints in the same
dialect and metre as those of the Gloucester Chronicle. The fact
that certain passages from these lives are incorporated in the
Chronicle has led to the conclusion that one person was respon-
sible for both; but, as we have seen, the Chronicle is probably the
work of three hands, if not of more, and it is impossible to say
anything more definite about the authorship of the Legendary
than that it had its origin in the neighbourhood of Gloucester
towards the end of the thirteenth century, and that more than
one author was concerned in it. The oldest manuscript (Laud
108 in the Bodleian) was written after 1265, and is dated by
its editor, Horstmann, as belonging to the years 1280—90.
It is probable, however, that it had been in band a considerable
time. As the number of saints' days increased, it was found
couvenient to have at hand homiletic material for each festival;
See Saintsbury, History of English Prosody, i, 67.


## p. 339 (#359) ############################################

The South English Legendary 339
and, as no single monastic library would contain manuscripts of all
the independent lives required, these had to be borrowed and
copied as occasion served. This was a task too great for any one
man, and it is most probable that the monks at Gloucester had been
gathering the legends together for some years, and that a number
of them contributed towards the first redaction. This would
partly account for the unequal merit of the lives, some of which
display much more literary and poetic feeling than others. But,
in considering this point, it must be remembered that the charm
of any particular story depends largely on its original source ;
even the clumsy pen of a monkish translator could not wholly
disguise the beauty of such legends as that of St Francis.
Although the collection is of the most varied description, and
comprises the lives of saints of all countries and of all ages down
to the time of compilation, the best-told legends are those of.
native saints; and, as the style of these is not unlike that of the
author of the longer continuation of the Gloucester Chronicle,
it is possible that they may be by him. Among them may be
especially mentioned the very vivid account of the career and
murder of St Thomas of Canterbury, which displays considerable
dramatic power, and the life of St Edmund of Pontigny (arch-
bishop Edmund Rich, who died in 1240), which treats of events
that were still fresh in men's minds and, like the Gloucester
Chronicle, betrays a great admiration for Simon de Montforte
The same predilection, it may be noted, is evident in the life of
St Dominic, where Sir Simon, “that good and gracious knight,"
is commended for having lent his support to the order of preaching
friars.
Some of the lives, such as those of St Kenelm and St Michael,
are made the vehicle of secular instruction, and contain curious
geographical and scientific disquisitions, the latter being especially
valuable for its light upon medieval folk- and devil-lore and for its
cosmology. The most interesting of all the lives are those connected
with St Patrick and St Brendan. The story of Sir Owayn's visit
to purgatory shows all the characteristic Celtic wealth of imagina-
tion in the description of the torments endured. Nothing could
be more terrible than the lines which describe him as “ dragged
all about in a waste land, so black and dark that he saw nothing
but the fiends, who drove him hither and thither and thronged
around him. ” And, on the other hand, nothing could be more
charming in its strange mystic beauty than the story of St
Brendan's sojourn in the Isle of Birds, and his interview with the
22—2


## p. 340 (#360) ############################################

340
Later Transition English
penitent Judas, permitted, in recompense of one charitable deed,
to enjoy a little respite from the pains of hell.
While the monks of Gloucester were thus busy with hagiology,
similar activity was exhibited in the north of England, according
to Horstmann in the diocese of Durham, though the preva-
lence of midland forms in the texts points to a district further
south. There exists in many manuscripts, the earliest of which,
in the Royal College of Physicians at Edinburgh, seems to have
been written at the beginning of the fourteenth century, a cycle
of homilies, in octosyllabic couplets, covering the whole of the
Sundays in the church year. Two of the later manuscripts
(Harleian 4196 and Tiberius E. VII), both written about 1350,
contain also a cycle of legends for use on saints' days.
Considerable diversity is shown in the recensions of the
homilies; the Edinburgh MS opens with a prologue, in which
the author, like many writers of the time, carefully explains
that his work is intended for ignorant men, who cannot under-
stand French; and, since it is the custom of the common people to
come to church on Sundays, he has turned into English for them
the Gospel for the day. His version, however, is not a close
translation; it resembles Ormulum in giving first a paraphrase
of the Scripture, and then an exposition of the passage chosen;
but, in addition to this, there is also a narracio, or story, to
illustrate the lesson and drive the moral home. These stories are
often quite short, sometimes mere anecdotes, and are derived from
the most diverse sources : sometimes from saints' lives, some-
times from Scripture and sometimes from French fabliaus.
The
homilist is an especial lover of the poor, and one of his most
striking sermons is that for the fourth Sunday after Epiphany, on
the subject of Christ stilling the waves. The world, says he, is
but a sea, tossed up and down, where the great fishes eat the
small; for the rich men of the world devour what the poor earn
by their labour, and the king acts towards the weak as the whale
towards the herring. Like Mannyng of Brunne, the writer has a
special word of condemnation for usurers.
The Harleian manuscript is, unfortunately, imperfect at the
beginning, so that it is impossible to say whether it ever contained
the prologue; while the MS Tiberius E. VII was so badly burned
in the Cottonian fire that the greater part of it cannot be de-
ciphered. These manuscripts, however, show that the homilies
had been entirely worked over and rewritten in the half century
that had elapsed since the Edinburgh version was composed.


## p. 341 (#361) ############################################

Homilies and Legends 341
The plan of paraphrase, exposition and narration is not always
followed, and, so far as Easter Sunday, the stories are taken
chiefly from Scripture. From this point, however, they depend on
other sources, and they are especially interesting when compared
with the contents of other northern poems of the same period. The
legend of the Holy Rood, for instance, which runs like a thread
through Cursor Mundi, is given at great length, and so, also, is
the graphic story of Piers the usurer, which occurs in Handlyng
Synne. Among the stories is the well-known legend of the monk
who was lured by a bird from his monastery, and only returned
to it after three hundred years, when everything was changed,
and no one knew him.
The legends which follow these homilies are much more re-
stricted in scope than those of the southern collection, and are
confined chiefly to lives of the apostles or of the early Christian
martyrs, St Thomas of Canterbury being the only English saint
represented. But, while the Gloucester Legendary seems to have
been intended only as a reference book for the preacher, the
northern series shows the lives in a finished form, suitable for
reading or reciting in church. The verse is polished, limpid and
fluent, betraying, in its graceful movement, traces of French
influence, while, at the same time, it is not free from the tendency
to alliteration prevalent in northern poetry. The writer had
a genuine gift of narration, and possessed both humour and
dramatic power, as is shown by the story of the lord and lady
who were parted by shipwreck and restored to one another by
the favour of St Mary Magdalene; and, like most medieval
homilists, he excels in the description of horrors-of fiends
“blacker than any coal,” and of dragons armed with scales as
stiff as steel. Sometimes, a little homily is interwoven with the
story; and one passage, which rebukes men for slumbering or
chattering in church, resembles a similar exhortation in Hand-
lyng Synne. The section on the "faithful dead,” also, seems
to be in close dependence on that work. Three of the stories
told occur in close juxtaposition in Mannyng's book; and a
reference to the story of Piers the usurer, which is mentioned
but not related, probably because it had already found a place
in the homilies, points to the conclusion that the compiler was
well acquainted with the work of his predecessor.
The desire to impart a knowledge of the Scriptures to men
who could understand only the vernacular likewise prompted the
author of the Northern Psalter, a translation of the Psalms in
ivell acquainted with art a knowledge Qar likewise promptime in


## p. 342 (#362) ############################################

342
Later Transition English
vigorous, if somewhat rough, octosyllabic couplets, composed
about the middle of the reign of Edward II. One of the three
manuscripts in which it exists belonged to the monastery of
Kirkham, but the language is that of a more northerly district,
and the author probably lived near the Scottish border.
Further evidence of literary activity in the north of England
during this period is given by Cursor Mundi, a very long poem,
which, as its name implies, treats of universal rather than
local history, and, like the cycles of miracle plays which were
just beginning to pass out of the hands of their clerical inventors
into those of laymen, relates the story of the world from the
creation to the day of doom. It opens with a prologue, which
is, practically, the author's “apology” for his undertaking. Men,
he says, rejoice to hear romances of Alexander and Julius
Caesar, of the long strife between Greece and Troy, of king
Arthur and Charlemagne. Each man is attracted by what
he enjoys the most, and all men delight especially in their
“paramours"; but the best lady of all is the Virgin Mary, and
whosoever takes her for his own shall find that her love is ever
true and loyal. Therefore, the poet will compose a work in her
honour; and, because French rimes are commonly found every-
where, but there is nothing for those who know only English, he
will write it for him who “na Frenche can. "
With this explanation the author embarks on his vast theme,
which he divides according to the seven ages of the world, a
device copied from Bede. He describes the creation, the war in
heaven, the temptation of Eve, the expulsion from Paradise, the
history of the patriarchs and so on through the Bible narrative,
sometimes abridging, but more often enlarging, the story by long
additions, drawn from the most diverse authorities, which add
greatly to the interest of the narrative. One of the most in-
teresting of these additions is the legend of the Holy Rood:
this is not told in a complete form in one place, but is introduced
in relation to the history of the men who were connected with
it. In place of the prophecies there are inserted two parables,
probably from Grosseteste’s Château d'Amour; and the poet
then goes on to tell with much detail of the youth of Mary, the
birth of Christ and His childhood. Then follow the story of His
life as given by the evangelists, His death and descent into hell,
the careers of the apostles, the assumption of the Virgin and a
section on doomsday. The author concludes with an address
to his fellow-men, begging them to think upon the transitory


## p. 343 (#363) ############################################

Cursor Mundi
343
nature of earthly joys, and a prayer to the Virgin, commending
his work to her approval.
The humility betrayed in the concluding lines is all the more at-
tractive because, as his poem shows, the writer was an accomplished
scholar, extremely well read in medieval literature. His work,
indeed, is a storehouse of legends, not all of which have been
traced to their original sources. His most important authority
was the Historia Scholastica of Peter Comestor; but he used
many others, among which may be mentioned Wace's Fête de la
Conception Notre Dame, Grosseteste's Château d'Amour, the
apocryphal gospels, a south English poem on the assumption of
the Virgin ascribed to Edmund Rich, Adso’s Libellus de Anti-
christo, the Elucidarium of Honorius of Autun, Isidore of Seville
and the Golden Legend of Jacobus a Voragine.
The popularity of Cursor Mundi is witnessed by the large
number of manuscripts in which it is preserved, and it has
many qualities to account for this. In the first place, the
author never loses sight of his audience, showing great skill
in appealing to the needs of rude, unlettered people whose
religious instruction must, necessarily, be conveyed by way of
concrete example. He has a keen eye for the picturesque; his
description of the Flood, for instance, may be compared with the
famous passage in the alliterative poem, Cleanness, and he lingers
over the episode of Goliath with an enjoyment due as much to
his own delight in story-telling as to a knowledge of what his
hearers will appreciate; there is a strong family likeness between
the Philistine hero and such monsters as Colbrand and Ascapart.
The strong humanity which runs through the whole book is one of
its most attractive features, and shows that the writer was full
of sympathy for his fellow creatures.
The whole poem shows considerable artistic skill. In spite of
the immense mass of material with which it deals, it is well
proportioned, and the narrative is lucid and easy. The verse
form is generally that of the eight-syllabled couplet ; but, when
treating of the passion and death of Christ, the poet uses
alternately riming lines of eight and six syllables; and the
discourse between Christ and man, which follows the account of
the crucifixion, consists largely of six-lined mono-rimed stanzas.
Of the author, beyond the fact that he was, as he himself
states, a cleric, nothing whatever is known. Hupe's theory,
that his name was John of Lindebergh, which place he identifies
with Limber Magna in Lincolnshire, is based on a misreading of


## p. 344 (#364) ############################################

344 Later Transition English
an insertion in one of the manuscripts by the scribe who copied
it; and all that can be affirmed with any confidence is that
the author lived in the north of England towards the end of
the thirteenth or beginning of the fourteenth century. Some of
the later manuscripts show west midland and even southern
peculiarities, but this is only another testimony to the wide-spread
popularity of the poem.
The most skilful story-teller of his time was Robert Mannyng
of Brunne, who, between 1303 and 1338, translated into his
native tongue two poems written in poor French by English
clerics. These two works were William of Wadington's Manuel
des Pechiez, written, probably, for Norman settlers in Yorkshire,
and a chronicle composed by Peter of Langtoft, a canon of the
Augustinian priory of Bridlington.
Unlike most monastic writers, Mannyng supplies some valuable
information about himself. In the prologue to Handling Synne,
his version of the Manuel des Pechiez, he tells us that his name
is Robert of Brunne, of Brunnëwake in Kestevene, and that he
dedicates his work especially to the fellowship of Sempringham,
to which he had belonged for fifteen years. He also tells us the
exact year in which he began his translation—1303. This informa-
tion is supplemented by some lines in his translation of Langtoft's
chronicle. Here he adds that his name is Robert Mannyng of
Brunne, and that he wrote all this history in the reign of
Edward III, in the priory of Sixille. We gather, also, from an
allusion in the narrative, that he had spent some time at
Cambridge, where he had met Robert Bruce and his brother
Alexander, who was a skilful artist.
These particulars have been elucidated by the labours of
Furnivall. Brunne was the present Bourne, a market town
thirty-five miles to the south of Boston, in Lincolnshire;
Sempringham, where was the parent house of the Gilbertine
order, is now represented by a church and a few scattered houses;
Sixille, or Six Hills, is a little hamlet not far from Market Rasen,
and here, too, was a priory of the Gilbertines.
Of William of Wadington, the author of the Manuel des
Pechiez very little is known. In the prologue to his work, how-
ever, he begs his readers to excuse his bad French, because he
was born and bred in England and took his name from a town
in that country. The apology is not altogether superfluous, for
his grammar is loose, and forms that were archaic even in the


## p. 345 (#365) ############################################

Handlyng Synne
345
thirteenth century are of frequent occurrence. His versification
is also poor, and, though his normal form is the octosyllabic
couplet, he does not hesitate to introduce lines of six, or even
of ten, syllables. His English audience, however, was not critical,
and the popularity of the manual is attested by the number of
manuscripts, fourteen in all, which have survived. Most of these
belong to the thirteenth century, and Mannyng's translation, as
we have seen, was begun in 1303.
The English version begins with an introduction of the usual
style, setting out the plan of the work, and stating the object
of the author in making the translation. He has put it into
English rime for the benefit of ignorant men, who delight in
listening to stories at all hours, and often hearken to evil tales
which may lead to their perdition. Therefore, he has provided
them in this book with stories of a more edifying description.
His instinct for selecting what he feels will interest the un-
learned is at once revealed by his omission of the long and dull
section in which Wadington dwells on the twelve articles of faith.
Theory attracts him little, and he proceeds at once to the first
commandment, illustrating it by the dreadful example of a
monk, who, by his love for an Eastern woman, was tempted to
the worship of idols. Then comes a notable passage, also in
Wadington, against witchcraft, and, in expansion of this, is given
the original story of how a witch enchanted a leather bag, so that
it milked her neighbour's cows, and how her charm, in the mouth
of a bishop (who, of course, did not believe in it) was useless.
Thus he treats of the ten commandments in order, keeping
fairly closely to his original, and generally following Wadington's
lead in the stories by which he illustrates them. This occupies
nearly three thousand lines, and the poet then enters upon the
theme of the seven deadly sins.
Mannyng seems to have found this a congenial subject,
and the section throws much light on the social conditions
of his time. Tournaments, he says, are the occasion of all the
seven deadly sins, and, if every knight loved his brother, they
would never take place, for they encourage pride, envy, anger,
idleness, covetousness, gluttony and lust. Furthermore, mystery
plays—and these lines are highly significant as throwing light on
the development of the drama at the beginning of the fourteenth
century-are also occasions of sin. Only two mysteries may be per-
formed, those of the birth of Christ and of His resurrection, and
these must be played within the church, for the moral edification of
the people. If they are presented in groves or highways, they are


## p. 346 (#366) ############################################

346 Later Transition English
sinful pomps, to be avoided as much as tournaments; and priests
who lend vestments to aid the performance are guilty of sacrilege.
One of the best stories in the book, the tale of Piers, illustrates
the wickedness and repentance of one of the hated tribe of
usurers. It is also in illustration of this sin that the grotesque
story occurs of the Cambridge miser parson who was so much
attached to his gold that he tried to eat it, and died in the attempt.
In respect of the sin of gluttony, not only the rich are to be
blamed; most people sin by eating too much; two meals a day
are quite sufficient, except for children, and they should be fed
only at regular hours. Late suppers, too, are to be avoided,
especially by serving men, who often sit up and feast till cock-
crow. People should not break their fast before partaking of the
“ holy bread," or dine before they hear mass.
The seven deadly sins being disposed of, there follows a long
section on sacrilege, in which Mannyng departs freely from his
original. He says, indeed, that he will deal with some vices
coming under this head as William of Wadington teaches him; but
the lines following, in which he apologises for “foul English and
feeble rhyme," seem to show that he was conscious of some
audacity in taking many liberties with the French poem. How-
ever this may be, the account of the reproof that a Norfolk
bondsman gave a knight who had allowed his beasts to defile
the churchyard, which is not in the Manuel des Pechiez, and is,
evidently, a true story, is very characteristic of the attitude of
the Gilbertines to the privileged classes. The order was, as its
latest historian has pointed out, essentially democratic in its
organisation, and the fearlessness of monk towards prior is re-
flected in the approval that Mannyng tacitly bestows on the
thrall's behaviour.
The churchyard was not only desecrated by use as a pasture.
It was the meeting-place of youths and maidens for games and
songs, and this gives occasion for the grim legend, borrowed from
a German source, of the dancers and carol singers who, on
Christmas night, disturbed the priest in his orisons. Notwith-
standing the fact that his own daughter was tempted to join the
frivolous company, he punished them with his curse; so that the
intruders were doomed to pursue their dance through rain and
snow and tempest for ever. There is something very charming in
the snatch of song-
By the leved wood rode Bevolyne,
Wyth him he ledd feyrë Mergwyne,
Why stondë we? Why go we noght?


## p. 347 (#367) ############################################

Characteristics of Mannyng's Style 347
and very grim is the irony that dooms the dancers to repeat the
last line in the midst of their involuntary perpetual motion.
These qualities are, of course, inherent in the story, but it loses
nothing in Mannyng's narration.
The discussion of the sin of sacrilege brings the author to
line 9492, and now, following Wadington, he enters on the ex-
planation of the seven sacraments. But, as the French version
supplies few stories in illustration of these, Mannyng makes up
the deficiency by several of his own. Then follows a passage on
the necessity of shrift, the twelve points of shrift and the graces
which spring from it, all treated with comparative brevity and with
little anecdotal illustration.
It is impossible for any short account of Handlyng Synne to
convey an adequate idea of its charm and interest. Mannyng
excels in all the qualities of a narrator. He combines, in fact,
the trouvère with the homilist, and shows the way to Gower's
Confessio Amantis. Thus, he differs from the antiquary Robert
of Gloucester by being one of the earliest of English story-
tellers. He had a vivid imagination which enabled him to see
all the circumstances and details of occurrences for which his
authority merely provides the suggestion, and he fills in the out-
lines of stories derived from Gregory or Bede with colours
borrowed from the homely life of England in the fourteenth
century. He delights, also, to play upon the emotions of his
audience by describing the torments of the damned, and his
pictures of hell are more grim and more grotesque than those of
Wadington. He shows a preference for direct narration, and,
where the French merely conveys the sense of what has been said,
Mannyng gives the very words of the speaker, in simple, colloquial
English. Homely expressions and pithy proverbs abound through-
out, and the work is full of telling, felicitous metaphors, such as
"tavern is the devyl's knyfe," or "kerchief is the devyl's sail,” or
" to throw a falcon at every fly. "
Simplicity is, indeed, one of the most striking features of
Mannyng's style. Writing, as he says, for ignorant men, he is at
some pains to explain difficult terms or to give equivalents for
them. Thus, when he uses the word “mattock,” he remarks, in a
parenthesis, that it is a pick-axe; and, in the same way, the term
“Abraham's bosom” is carefully interpreted as the place between
paradise and hell. And, in his anxiety that his hearers shall
understand the spiritual significance of religious symbols, he calls
to his aid illustrations from popular institutions familiar to all.


## p. 348 (#368) ############################################

348
Later Transition English
Baptism, he says, is like a charter which testifies that a man has
bought land from his neighbour, confirmation is like the acknow-
ledgment of that charter by a lord or king.
In dwelling on the personal relations of man to God, Mannyng,
like the author of Cursor Mundi, often shows much poetic feeling.
While he paints in sombre tones the dreadful fate of unre-
pentant sinners, he speaks no less emphatically of the love of
God for His children and the sacrifice of Christ. His simple faith
in the divine beneficence, combined with an intense sympathy for
penitent man, lends a peculiar charm to his treatment of such
stories as those of the merciful knight, and Piers the usurer.
Apart from its literary qualities, Handlyng Synne has con-
siderable value as a picture of contemporary manners. Much of
what is said on these points is borrowed from Wadington, but still
more is due to Mannyng's personal observation. In his attacks
on tyrannous lords, and his assertion of the essential equality of
men, he resembles the authors of Piers Plowman. The knight
is pictured as a wild beast ranging over the country; he goes out
“about robbery to get his prey"; he endeavours to strip poor
men of their land, and, if he cannot buy it, he devises other means
to torment them, accusing them of theft or of damage to the
corn or cattle of their lord. Great harm is suffered at the hands
of his officers; for nearly every steward gives verdicts unfavour-
able to the poor; and, if the latter ask for mercy, he replies that he
is only acting according to the strict letter of the law. But, says
Mannyng, he who only executes the law and adds no grace thereto
may never, in his own extremity, appeal for mercy to God.
But, if Mannyng is severe on tyrannous lords, he shows no
leniency to men of his own calling. The common sins of the
clergy, their susceptibility to bribes, their lax morality, their love
of personal adornment, their delight in horses, hounds and hawks,
all come under his lash, and, in words which may not have been
unknown to Chaucer, he draws the picture of the ideal parish
priest.
Although the order to which Mannyng belonged was originally
founded for women, they receive little indulgence at his hands. In-
deed, he surpasses William of Wadington and the average monastic
writer in his strictures on their conduct. God intended woman to
help man, to be his companion and to behave meekly to her master
and lord. But women are generally "right unkind” in wedlock;
for one sharp word they will return forty, and they desire always
to get the upper hand. They spend what should be given to the


## p. 349 (#369) ############################################

349
Mannyng's Debt to Wadington
poor in long trains and wimples; they deck themselves out to
attract masculine attention, and thus make themselves responsible
for the sins of men. Even when the author has occasion to tell
the story of a faithful wife who made constant prayer and
offerings for the husband whom she supposed to be dead, he adds,
grudgingly,
This woman pleyned (pitied) her husbonde sore,
Wuld Gode that many such women wore!
For the ordinary amusements of the people Mannyng has
little sympathy; he looks at them from the shadow of the cloister,
and, to him, “carols, wrestlings, and summer games” are all so
many allurements of the devil to entice men from heaven. The
gay song of the wandering minstrel and the loose tales of ribald
jongleurs who lie in wait for men at tavern doors are as hateful to
him as to the authors of Piers Plowman; even in the garlands
with which girls deck their tresses he sees a subtle snare of Satan.
Towards children he shows some tenderness, recognising their
need for greater physical indulgence than their elders ; but he
upholds the counsel of Solomon to give them the sharp end of the
rod, so long as no bones be broken.
Mannyng's mode of translation renders a precise estimate of
his indebtedness to Wadington somewhat difficult. A hint from
his original will sometimes set him off on a long digression, at
other times he keeps fairly close to the sense, but interweaves
with it observations and parentheses of his own. He does not
always tell the same tales as Wadington, but omits, substitutes or
adds at will; the fifty-four stories in the Manuel des Pechiez are
represented in Handlyng Synne by sixty-five. Many of his
additions are taken from local legends, and it is in these that his
skill as a narrator is most apparent. Unhampered by any prece-
dent, the stories move quietly and lightly along, and may almost
challenge comparison with those of Chaucer.
The verse of Handlyng Synne is the eight-syllabled iambic
metre of the original; but, as in the Manuel des Pechiez, many
lines occur which defy the most ingenious scansion. The language
in its state of transition afforded special opportunity for these
irregularities ; when there was no fixed standard for the sounding
of the inflectional -e this was apt to be added or omitted at the
will of the scribe. The three manuscripts in which the poem has
survived, the Harleian, dated about 1360, and the Bodleian and
Dulwich, about 1400, show many discrepancies.
The dialect of Handlyng Synne is east midland, of a northern -


## p. 350 (#370) ############################################

350 Later Transition English
type, containing more Scandinavian forms than are found in the
language of Chaucer. The number of Romance words is much
greater than in the Gloucester Chronicle, which may be explained
partly by locality and partly by the fact that such forms are
always more numerous in translations from the French than in
original English compositions.
Mannyng's other work, the Chronicle of England, is of less
general importance than Handlyng Synne; though of greater
metrical interest. It consists of two parts, the first extending
from the arrival of the legendary Brut in Britain to the English
invasion, the second from the English invasion to the end of
Edward I's reign. The first part, in octosyllabic couplets, is a
close and fairly successful translation from Wace's version of
Geoffrey of Monmouth's Historia Regum Britanniae; the second,
in rimed alexandrines, is taken from an Anglo-Norman poem by
Peter of Langtofte
Langtoft's alexandrines, which are arranged in sets riming on
one sound, seem to have puzzled Mannyng, and his attempt to
reproduce them in the fourteen-syllabled line of the Gloucester
Chronicle is not altogether successful. Sometimes the line is an
alexandrine, but at others, and this is most significant, it is
decasyllabic; moreover, though Mannyng tries to emulate the
continuous rime of his original, he generally succeeds in achieving
only couplet rime. Thus we see dimly foreshadowed the heroic
couplet which Chaucer brought to perfection?
When, at the request of Dan Robert of Malton, Mannyng set
about his chronicle, it was, probably, with the intention of following
Langtoft throughout; but, on further consideration, he judged that,
since the first part of Langtoft's chronicle was merely an abridg.
ment of Wace, it was better to go straight to the original. So,
after an introduction which contains the autobiographical details
already given, and an account of the genealogy of Brut, he gives
a somewhat monotonous and commonplace version of Wace's
poem. Sometimes, he omits or abridges; sometimes, he adds &
line or two from Langtoft, or the explanation of a word unfamiliar
to his audience, or pauses to notice contemptuously some un-
founded tradition current among the unlearned. Once, he
digresses to wonder, with Geoffrey of Monmouth, that Gildas and
Bede should have omitted all mention of king Arthur, who was
greater than any man they wrote of save the saints. In all other
lands, he says, men have written concerning him, and in France
Saintsbury, History of English Prosody, 1, 118.


## p. 351 (#371) ############################################

Mannyng's Chronicle
351
more is known of the British hero than in the lands that gave him
birth. But Mannyng's characteristic doubt of Welsh trust-
worthiness leads him to question the story of Arthur's immortality.
“If he now live," he says contemptuously, “his life is long. ”
All through his version Mannyng, as might be expected, shows
a more religious spirit than Wace; this is especially exemplified
in the passages in which he points out that the misfortunes of the
Britons were a judgment on them for their sins, and in the long
insertion, borrowed from Langtoft and Geoffrey of Monmouth, of
Cadwalader's prayer; and, as he nears the end of the first portion
of his chronicle, he draws freely on Bede, telling at great length
the story of St Gregory and the English boy slaves and the mission
of St Augustine.
The second half of the chronicle is much more interesting than
the first, partly because Mannyng adheres less slavishly to his
original. Wright, in his edition of Langtoft's chronicle, has
accused Mannyng of having frequently misunderstood the French
of his predecessor; but, though instances of mistranslation do
occur, they are not very frequent. The version is most literal in
the earlier part; later, when Mannyng begins to introduce
internal rimes into his verse, the difficulties of metre prevent
him from maintaining the verbal accuracy at which he aimed.
But, notwithstanding the greater freedom with which Mannyng
treats this part of the chronicle, his gift as a narrator is much
less apparent here than in Handlyng Synne. Occasionally, it is
visible, as when, for the sake of liveliness, he turns Langtoft's
preterites into the present tense, and shows a preference for direct
over indirect quotation. But such interest as is due to him and
not to Langtoft is derived chiefly from his allusions to circum-
stances and events not reported by the latter and derived from
local tradition. Thus, he marvels greatly that none of the
historians with whom he is acquainted makes mention of the famous
story of Havelok the Dane and Aethelwold's daughter Gold-
burgh, although there still lay in Lincoln castle the stone which
Havelok cast further than any other champion, and the town of
Grimsby yet stood to witness the truth of the history.
For the reign of Edward I, Mannyng's additions are of very s
considerable importance, and, as the authorities for these can
be traced only in a few instances, it is a reasonable conclusion to
suppose that he wrote from personal knowledge. He relates more
fully than Langtoft the incidents of the attempt on Edward's life
in Palestine, the death of Llywelyn and the treachery of the


## p. 352 (#372) ############################################

352 Later Transition English
provost of Bruges who undertook to deliver the English king into
the hands of the enemy. It is, however, in connection with Scottish
affairs that his additions are most noteworthy. Although he
regards the Scots with the peculiar bitterness of the northern
English, he follows with especial interest the fortunes of Bruce,
with whom, as we have seen, he had been brought into personal
contact.
The fragments of ballads given by Langtoft celebrating the
victories of the English over the Scots occur also in Mannyng's
version, and, in some cases, in a fuller, and what seems to be a more
primitive, form. They are full of barbaric exultation over the
fallen foe, and form a curious link between the battle songs in the
Old English Chronicle and the patriotic poems of Laurence Minot.
One other work has been assigned to Robert Mannyng. This
is the Medytacyuns of be soper of oure lorde Jhesu. And also of
hys passyun. And eke of be peynes of hys swete modyr, Mayden
Marye. be whyche made yn latyn Bonaventure Cardynall. In
the two manuscripts in which Handlyng Synne has survived in
a complete form (Bodleian 415 and Harleian 1701), it is followed by
a translation of the above work, but this alone is not sufficient
evidence as to the authorship. The language, however, is east
midland, and the freedom with which the original is treated,
together with the literary skill indicated in some of the additions
and interpolations, may, perhaps, justify the ascription of this work
to Robert Mannyng ; but the point is uncertain.
Of Mannyng's influence on succeeding authors it is impossible
to speak definitely. The fact that only three manuscripts of his
great work survive points to no very extensive circulation, and
the resemblance of certain passages in Handlyng Synne to lines
in the Vision of Piers Plowman and the Canterbury Tales
may very well be due to the general opinion of the day on the
subjects of which they treat. It has been noticed that the frame-
work of Handlyng Synne is not unlike that of Gower's Con-
fessio Amantis; but the custom of pointing the lesson of a disser-
tation by an illustrative narrative is common to didactic writers
of all periods, and Gower's adoption of a method popular among
approved moralists must have been intended to add zest to the
delight of his audience in stories which were of a distinctly secular
character.
The literary activity of the south-east of England during this
time was less remarkable than that of the west and north ; never-


## p. 353 (#373) ############################################

“marrlliam of Shoreham s "in the British Museum
rite themes of
William of Shoreham 353
theless, three writers of some importance, William of Shoreham,
Dan Michel of Northgate and Adam Davy, call for mention here.
Of these writers two were clerics ; the third held the position of
"marshall” in Stratford-at-Bow.
William of Shoreham's works are contained in a single manu-
script (Add. MS 17,376) now in the British Museum; and, curiously
enough, though the seven poems treat of the favourite themes of
the medieval homilist, they take the form of lyrical measures.
The first deals with the seven sacraments; the second is a transla-
tion of the well-known Latin Psalms printed in the Lay Folk's
Mass Book, of which there are other metrical versions in Middle
English; the third is a commentary on the ten commandments; and
the fourth a dissertation on the seven deadly sins. Then comes a
lyric on the joys of the Virgin, and, after that, a hymn to Mary,
indicated, by the colophon, to be a translation from Robert
Grosseteste. Last of all, is a long poem on the evidences of Christi-
anity, the mystery of the Trinity, the Creation, the war in heaven
and the temptation of Adam and Eve. Here the manuscript
breaks off, but, from internal evidence, it is clear that the poet in-
tended also to treat of the redemption.
Though he is handicapped by the form of verse chosen, the
author shows a good deal of artistic feeling in his treatment of
these well-worn themes. His favourite stanzas consist of seven
or six lines, the former riming abcbded, the latter, aabccb;
but he uses, also, alternately riming lines of varying length
and the quatrain abab. His poems are characterised by the
tender melancholy which pervades much English religious
verse; he dwells on the transitoriness of earthly life, the waning
strength of man and the means by which he may obtain eternal
life and he pleads with his readers for their repentance and
reformation.
From a reference in the colophon to Simon, archbishop of
Canterbury, we may conclude that the present manuscript dates
from the beginning of the reign of Edward III. From other
colophons we learn that the poems were composed by William of
Shoreham, vicar of Chart, near Leeds, in Kent.
The other important Kentish production of this time was the
Ayenbite of Inwyt (the "again-biting” of the inner wit, the remorse
of conscience), the value of which, however, is distinctly philo-
logical rather than literary. Our information as to its author
is derived from his preface in the unique manuscript in the
British Museum, which states that it was made with his own hand
E. L.