Chapter XXVIII: Book III (1)

1091-1109. Imitated from Dante, Parad. i. 13-27. Compare ll. 1106, 1107, with Cary's translation--

'If thou to me of thine impart so much, ...
Thou shalt behold me of thy favour'd tree
Come to the foot, and crown myself with leaves.'

And compare l. 1109 with--'Entra nel petto mio.'

1098. This shews that Chaucer occasionally, and intentionally, gives a syllable too little to the verse. In fact, he does so just below, in l. 1106; where _Thou_ forms the first foot of the verse, instead of _So thou_, or _And thou_. This failure of the first syllable is common throughout the poem.

1099. _And that_, i.e. And though that; see l. 1098.

1109. _Entreth_ is the imperative plural; see note to A. B. C. 17.

1114. MSS. _cite_, _cyte_ (F. _citee_!); but _site_ in Astrol. pt. ii. 17. 25 (p. 201).

1116. 'Fama tenet, summaque domum sibi legit in arce'; Ovid, Met. xii. 43. Cf. Dante, Purg. iii. 46-48; also Ovid, Met. ii. 1-5.

1131. 'And swoor hir ooth by Seint Thomas of Kent'; C. T., A 3291. It alludes to the celebrated shrine of Beket at Canterbury.

1136. _Half_, side; _al the half_, all the side of the hill which he was ascending, which we find was the _south_ side (l. 1152).

1152. This suggests that Chaucer, in his travels, had observed a snow-clad mountain; the snow lies much lower on the north side than on the south side; see ll. 1160 (which means that it, i.e. the writing, was preserved by the shade of a castle), 1163, 1164.

1159. _What hit made_, what caused it, what was the cause of it.

1167-80. This passage somewhat resembles one in Dante, Par. i. 4-12.

1177. _Craft_, art; _cast_, plan. _Craft_, in the MSS., has slipt into l. 1178.

1183. _Gyle_, Giles; St. Ægidius. His day is Sept. 1; see note to Can. Yem. Tale, G 1185, where the phrase _by seint Gyle_ recurs.

1189. _Babewinnes_ is certainly meant; it is the pl. of _babewin_ (O. Fr. _babuin_, Low Lat. _babewynus_, F. _babouin_), now spelt _baboon_. It was particularly used of a grotesque figure employed in architectural decoration, as in Early Eng. Allit. Poems, ed. Morris, B. 1411, where the pl. form is spelt _baboynes_, and in Lydgate, Chron. Troy, II. xi; both passages are given in Murray's Dict., s.v. _Baboon_. 'Babewyn, or babewen, _detippus_, _ipos_, _figmentum_, _chimera_'; Prompt. Parv. 'Babwyne, beest, _baboyn_'; Palsgrave. In Shak. _Macb._ iv. 1. 37--'Coole it with a báboones blood'--the accent on the _a_ is preserved. The other spellings are inferior or false.

1192. _Falle_, pres. pl., fall; (or perhaps fallen, the past participle).

1194. _Habitacles_, niches; such as those which hold images of saints on the buttresses and pinnacles of our cathedrals. They are described as being _al withoute_, all on the outside.

1196. _Ful the castel_, the castle (being) full, on all sides. This line is parenthetical.

1197. Understand _Somme_, some, as nom. to _stoden_. 'In which stood ... (some) of every kind of minstrels.' So in l. 1239. As to minstrels, &c., see note to Sir Topas (B 2035).

1203. _Orpheus_, the celebrated minstrel, whose story is in Ovid, Met. x. 1-85; xi. 1-66. Chaucer again mentions him in C. T., E 1716; and in Troil. iv. 791.

1205. _Orion_; so in all the copies; put for _Arion_. His story is in Ovid, Fasti, ii. 79-118.

Spelt _Arione_ in Gower, Conf. Amant. (end of prologue), ed. Pauli, i. 39. We might read _Arion_ here; see l. 1005.

1206. _Chiron_; called _Chiro_ in Gower, C. A. ii. 67 (bk. iv). Chiron, the centaur, was the tutor of Achilles; and Achilles, being the grandson of Æacus, was called Æacides; Ovid, Met. xii. 82; Fasti, v. 390. Hence _Eacides_ is here in the genitive case; and _Eacides Chiron_ means 'Achilles' Chiron,' i.e. Chiron, tutor of Achilles. In fact, the phrase is copied from Ovid's _Æacidæ Chiron_, Art of Love, i. 17. Another name for Chiron is _Phillyrides_; Ovid, Art of Love, i. 11; or _Philyrides_; Verg. Georg. iii. 550; cf. Ovid, Fasti, v. 391. In a similar way, Chaucer calls the paladin _Oliver_, friend of _Charles_ the Great, by the name of _Charles Olyuer_; Monkes Tale, B 3577.

1208. _Bret_, Briton, one of the British. This form is quite correct, being the A.S. _Bret_, a Briton (see A.S. Chronicle, an. 491), commonly used in the pl. _Brettas_. This correct spelling occurs in MS. B. only; MS. P. turns it into _Bretur_, Th. and Cx. read _Briton_, whilst MS. F. turns _Bret_ into _gret_, by altering the first letter. The forms _gret_ and _Bretur_ are clearly corruptions, whilst _Briton_ spoils the scansion.

_Glascurion_; the same as Glasgerion, concerning whom see the Ballad in the Percy Folio MS., ed. Hales and Furnivall, i. 246. Of this 'a traditional version, under the name of _Glenkindie_, a various form of Glasgerion, is given in Jamieson's Popular Songs and Ballads, and in Alex. Laing's Thistle of Scotland (1823).' G. Douglas associates 'Glaskeriane' with Orpheus in his Palice of Honour, bk. i. (ed. Small, i. 21); this poem is a palpable imitation of Chaucer's House of Fame. The name is Celtic, as the epithet _Bret_ implies. Cf. Irish and Welsh _glas_, pale.

1213. 'Or as art imitates nature.' Imitated from Le Rom. de la Rose, where Art asks Nature to teach her; l. 16233 is--

'E la _contrefait comme singes_.'

1218. There is a similar list of musical instruments in Le Rom. de la Rose, 21285-21308:--

'Puis _chalemiaus_, et chalemele
Et tabor, et _fléute_, et timbre ...
Puis prent sa muse, et se travaille
As estives de Cornoaille.'

And in Le Remède de Fortune, by G. de Machault, 1849, p. 87, is a similar long list:--

'_Cornemuses_, flaios, chevrettes,
Dousainnes, cimbales, clochettes,
Timbre, la _flahute_ brehaigne,
Et le grant cornet d'Alemaigne,
Flaiot de saus, fistule, _pipe_'; &c.

And a few lines below there is mention of the _muse de blez_ (see note to l. 1224). Warton, Hist. E. Poet., ed. Hazlitt, iii. 177. quotes a similar passage from Lydgate's poem entitled Reason and Sensualite, ending with--

'There were trumpes, and trumpettes,
Lowde shallys [shalmys?] and _doucettes_.'

Cf. also Spenser, F. Q. vi. 9, 5; Shep. Kal. _Feb._ 35-40. In the latter passage, the imitation of ll. 1224-6 is obvious. _Cornemuse_ is a bagpipe; _shalmye_ is a shawm, which was a wind-instrument, being derived from Lat. _calamus_, a reed; Chaucer classes both instruments under _pipe_. Willert (on the House of Fame, p. 36) suggests (and, I think, correctly) that _doucet_ and _rede_ are both adjectival. Thus _doucet_ would refer to _pipe_; cf. '_Doucet_, dulcet, pretty and sweet, or, a little sweet'; Cotgrave. _Rede_ would also refer to _pipe_, and would mean 'made with a reed.' A reed-instrument is one 'in which the sound was produced by the vibration of a reed, as in the clarionet or hautboys'; note in Bell's Chaucer. There is no instrument properly called a _doucet_ in Old French, but only _dousainne_ (see above) and _doucine_ (Godefroy).

1222. _Brede_, roast meat; A.S. _br['æ]de_, glossed by '_assura_, vel _assatura_' in Ælfric's Glossary, ed. Wülcker, col. 127, l. 17. Cf. G. _Braten_. Not elsewhere in Chaucer, but found in other authors.

'To meit was greithed beef and motoun,
_Bredes_, briddes, and venysoun.'
Kyng Alisaunder, ed. Weber, 5248.

In the allit. Morte Arthure, it occurs no less than five times. Also in Havelok, l. 98, where the interpretation 'bread' is wrong. Also in Altenglische Dichtungen, ed. Böddeker, p. 146, l. 47--'Cud as Cradoc in court that carf the _brede_,' i.e. carved the roast meat; but the glossary does not explain it. The scribe of MS. F. turns _brede_ into _bride_, regardless of the rime. I cannot agree with the wholly groundless conjecture of Willert, who reads _rude_ in l. 1221, in order to force _brude_ into the text. For minstrelsy at feasts, see C. T., A 2197.

1223. Cf. G. Douglas, tr. of Vergil, Æn. vii. 513, 4:--'And in ane bowand _horne_, at hir awyne will, A feindlych hellis voce scho _lyltis_ schyll.'

1224. Alluding to the simple pipes fashioned by rustics. The glossary to Machault's Works (1849) has: '_Muse de blez_, chalumeau fait avec des brins de paille.' The O.F. _estive_, in the quotation in the note to l. 1218, has a like sense. Godefroy has: '_estive_, espèce de flûte, de flageolet ou pipeau rustique, qui venait, ce semble, de Cornouaille.' Cf. the term _corne-pipe_, in the Complaint of Scotland, ed. Murray, p. 65, l. 22; also my note to R. Rose, 4250 (vol. i. p. 436).

1227-8. Nothing is known as to Atiteris (or Cytherus); nor as to Pseustis (or Proserus). The forms are doubtless corrupt; famous musicians or poets seem to have been intended. I shall venture, however, to record my guess, that _Atiteris_ represents _Tyrtaeus_, and that _Pseustis_ is meant for _Thespis_. Both are mentioned by Horace (Ars Poet. 276, 402); and Thespis was a native of Attica, whose plays were acted at Athens. Another guess is that _Atiteris_ means Vergil's _Tityrus_; Athenæum, Apr. 13, 1889. Willert suggests that there is here an allusion to the so-called Ecloga Theoduli, a Latin poem of the seventh or eighth century, wherein the shepherd Pseustis and the shepherdess Alithia [who represent Falsehood and Truth] contend about heathendom and Christianity; and Pseustis adduces various myths and tales, from Ovid, Vergil, and Statius. He refers us to H. Dunger, Die Sage v. troj. Kriege in den Bearbeitungen des Mittelalters: Dresden, 1869, p. 76; cf. Leyser, Hist. Poet. Medii Aevi, p. 295. This only accounts for Pseustis; Atiteris can hardly be Alithia.

1229. This is a curious example of how names are corrupted. _Marcia_ is Dante's _Marsia_, mentioned in the very passage which Chaucer partly imitates in ll. 1091-1109 above. Dante addresses Apollo in the words--

'Entra nel petto mio, e spira tue
Si come quando Marsia traesti
Della vagina delle membra sue.'

As Chaucer had here nothing to guide him to the gender of _Marsia_, he guessed the name to be feminine, from its termination; and Dante actually has _Marzia_ (Inf. iv. 128), with reference to _Marcia_, wife of Cato. But Dante's _Marsia_ represents the accus. case of Marsyas, or else the Lat. nom. _Marsya_, which also occurs. Ovid, Met. vi. 400, has '_Marsya_ nomen habet,' and tells the story. Apollo defeated the satyr Marsyas in a trial of musical skill, and afterwards flayed him alive; so that he 'lost his skin.'

1231. _Envyën_ (accent on _y_), vie with, challenge (at a sport). So strong is the accent on the _y_, that the word has been reduced in E. to the clipped form '_vie_; see _Vie_ in my Etym. Dict. It represents Lat. _inuitare_, to challenge; and has nothing to do with E. _envy_. Florio's Ital. Dict. has: '_Inuito_, a vie at play, a vie at any game; also an inuiting.'

1234. 'Pipers of every Dutch (German) tongue.'

1236. _Reyes_, round dances, dances in a ring. The term is Dutch. Hexham's Du. Dict. (1658), has: _een Rey_, or _een Reye_, a Daunce, or a round Daunce'; and '_reyen_, to Daunce, or to lead a Daunce.' Cf. G. _Reihen_, a dance, _Reihentanz_, a circular dance; M.H.G. _reie_, _reige_; which does not seem to be connected, as might be thought, with G. _Reihe_, a row; see Kluge and Weigand. Perhaps the Du. word was borrowed from O.F. _rei_, _roi_, order, whence also the syllable _-ray_ in E. _ar-ray_; and the G. word may have been borrowed from the Dutch; but this is a guess. 'I can daunce the raye'; Barclay's First Egloge, sig. A ii. ed. 1570; quoted in Dyce's Skelton, ii. 194.

1239. Understand _Somme_, some; see note to l. 1197. The expression _blody soun_ recurs in Kn. Tale, A 2512, in connection with _trumpe_ and _clarioun_. Our author explains his meaning here; ll. 1241-2.

1243. _Missenus_, Misenus, son of Æolus, trumpeter to Hector, and subsequently to Æneas; Verg. Æn. iii. 239; vi. 162-170.

1245. _Joab_ and _Theodomas_ are again mentioned together in a like passage in the Merch. Tale (C. T., E 1719). 'Joab blew a trumpet'; 2 Sam. ii. 28; xviii. 16; xx. 22. Theodomas is said by Chaucer (Merch. Tale) to have blown a trumpet 'At Thebes, when the citee was in doute.' He was therefore a trumpeter mentioned in some legendary history of Thebes. With this hint, it is easy to identify him with Thiodamas, mentioned in books viii. and x. of the Thebaid of Statius. He succeeded Amphiaraus as augur, and furiously excited the besiegers to attack Thebes. His invocation was succeeded by a great sound of trumpets (Theb. viii. 343), to which Chaucer here refers. But Statius does not expressly say that Thiodamas blew a trumpet himself.

1248. _Cataloigne and Aragon_, Catalonia and Arragon, in Spain, immediately to the S. of the Pyrenees. Warton remarks: 'The martial musicians of English tournaments, so celebrated in story, were a more natural and obvious allusion for an English poet'; Hist. E. P. ii. 331. The remark is, I think, entirely out of place. Chaucer is purposely taking a wide range; and, after mentioning even the pipers of the Dutch tongue, as well as Joab of Judæa and Thiodamas of Thebes, is quite consistent in mentioning the musicians of Spain.

1257. Repeated, at greater length, in C. T., Group B, ll. 19-28; see note to that passage.

1259. _Iogelours_, jugglers. See Squi. Tale, F 219.

1260. _Tregetours_; see C. T., F 1141, on which Tyrwhitt has a long note. A _jogelour_ was one who amused people, either by playing, singing, dancing, or tricks requiring sleight of hand; a _tregetour_ was one who brought about elaborate illusions, by the help of machinery or mechanical contrivance. Thus Chaucer tells us (in the Frank. Tale, as above) that _tregetoures_ even caused to appear, in a dining-hall, a barge floating in water, or what seemed like a lion, or a vine with grapes upon it, or a castle built of lime and stone; which vanished at their pleasure. Sir John Maundeville, in his Travels, ch. 22, declares that the 'enchanters' of the Grand Khan could turn day into night, or cause visions of damsels dancing or carrying cups of gold, or of knights justing; 'and many other thinges thei don, be craft of hire Enchauntementes; that it is marveyle for to see.' See note to l. 1277 below. Gawain Douglas imitates this passage in his Palice of Honour; see his Works, ed. Small, i. 65.

1261. _Phitonesses_, pythonesses. The witch of Endor is called a _phitonesse_ in the Freres Tale, C. T., D 1510; and in Gower, Conf. Amant. bk. iv, ed. Pauli, ii. 66; in Barbour's Bruce, ed. Skeat, iv. 753; and in Skelton's Phyllyp Sparowe, 1345. The Vulgate version has _mulier pythonem habens_, 1 Sam. xxviii. 7 (cf. Acts xvi. 16); but also the very word _pythonissam_ in 1 Chron. x. 13, where the witch of Endor is again referred to. Ducange notices _phitonissa_ as another spelling of _pythonissa_.

1266. Cf. Chaucer's Prologue, 417-420. There is a parallel passage in Dante, Inf. xx. 116-123, where the word _imago_ occurs in the sense of 'waxen image.' This of course refers to the practice of sticking needles into a waxen image, with the supposed effect of injuring the person represented. See Ovid, Heroid. vi. 91, and Ben Jonson's Masque of Queens (_3rd Charm_). But this is only a particular case of a much more general principle. Images of men or animals (or even of the things representing the zodiacal signs) could be made of various substances, according to the effect intended; and by proper treatment were supposed to cause good or evil to the patient, as required. Much could be done, it was supposed, by choosing the right time for making them, or for subjecting them to celestial influences. To know the right time, it was necessary to observe the _ascendent_ (see note to l. 1268). See much jargon on this subject in Cornelius Agrippa, De Occulta Philosophia, lib. ii. capp. 35-47.

1268. The _ascendent_ is that point of the zodiacal circle which is seen to be just ascending above the horizon at a given moment. Chaucer defines it in his Treatise on the Astrolabe, and adds that astrologers, in calculating horoscopes, were in the habit of giving it a wider meaning; they further reckoned in 5 degrees of the zodiac above the horizon, and 25 degrees below the ascending point, so as to make the whole _ascendent_ occupy 30 degrees, which was the length of a 'sign.' In calculating nativities, great importance was attached to this ascendent, the astrological concomitants of which determined the horoscope. The phrase to be 'in the ascendant' is still in use. Thus _in certeyn ascendentes_ is equivalent to 'in certain positions of the heavens, at a given time,' such as the time of one's birth, or the time for making an _image_ (see last note). See p. 191 (above).

1271. _Medea_, the famous wife of Jason, who restored her father Æson to youth by her magical art; Ovid, Met. vii. 162. Gower tells the whole story, C. A. bk. v. ed. Pauli, ii. 259.

1272. _Circes_, Circe, the enchantress; Homer's Odyssey, bk. x; Ovid, Met. xiv. Ovid frequently has the form _Circes_, in the gen. case; Met. xiv. 10, 69, 71, 247, 294. Cf. Chaucer's Boethius, b. iv. met. 3. 24.

_Calipsa_, Calypso, the nymph who detained Ulysses in an island; Odyssey, bk. i; Ovid, ex Ponto, iv. 10. 13.

1273. _Hermes_ is mentioned in the Can. Yeom. Tale, C. T., Group G, 1434, where the reference is to Hermes Trismegistus, fabled to have been the founder of alchemy, though none of the works ascribed to him are really his. The name _Balenus_ occurs, in company with the names of _Medea_ and _Circe_, in the following passage of the Rom. de la Rose, l. 14599:--

'Que ja riens d'enchantement croie,
Ne sorcerie, ne charroie,
Ne _Balenus_, ne sa science,
Ne magique, ne nigromance, ...
Onques ne pot tenir _Medée_
Jason por nul enchantement;
N'onc _Circe_ ne tint ensement
Ulixes qu'il ne s'enfoïst,' &c.

(_Charroie_ is the dance of witches on their sabbath.) _Hermes Ballenus_ is really a compound name, the true significance of which was pointed out to me by Prof. Cowell, and explained in my letter to The Academy, Apr. 27, 1889, p. 287. _Ballenus_ is 'the sage Belinous,' who discovered, beneath a statue of _Hermes_, a book containing all the secrets of the universe. Hence _Hermes' Ballenus_ (where _Hermes_ is an epithet) means 'Belinous, who adopted the philosophy of Hermes.' For an explanation of the whole matter, see the fourth volume of the Notices et Mémoires des Manuscrits de la Bibliothèque du Roi, p. 107. In this there is an article by De Sacy, describing MS. Arabe de la Bibl. du Roi, no. 959, the title of which is 'Le Livre du Secret de la Creature, par le sage Belinous.' Belinous possessed the art of talismans, which he professed to have learnt from Hermes. There is some reason for identifying him with Apollonius of Tyana.

1274. _Lymote_, according to Warton, is Limotheus; but he omits to tell us where he found such a name; and the suggestion seems no better than his mistake of supposing _Calipsa_ (l. 1272) to mean the muse Calliope! Considering that he is mentioned in company with Simon Magus, or Simon the magician (Acts viii. 9), the suggestion of Prof. Hales seems probable, viz. that _Lymote_ or _Lymete_ (as in F.) means Elymas the sorcerer (Acts xiii. 8).

1275. 'I saw, and knew by name, those that,' &c.

1277. _Colle tregetour_, Colle the juggler; see l. 1260. _Colle_ is here a proper name, and distinct from the prefix _col-_ in _col-fox_, Non. Pr. Tale, B 4405. _Colle_ is the name of a dog; Non. Pr. Tale, B 4573. _Colyn_ and _Colle_ are names of grooms; Polit. Songs, p. 237. Tyrwhitt quotes a passage from The Testament of Love, bk. ii:--'Buserus [Busiris] slew his gestes, and he was slayne of Hercules his gest. Hugest betraished many menne, and of _Collo_ was he betraied'; ed. 1561, fol. 301, col. 2. With regard to _tregetour_, see the account of the performances of Eastern jugglers in Yule's edition of Marco Polo; vol. i. p. 342, and note 9 to Bk. i. c. 61. Col. Yule cites the O.F. forms _tregiteor_ and _entregetour_; also Ital. _tragettatore_, a juggler, and Prov. _trasjitar_, _trajitar_, to juggle. Bartsch, in his Chrestomathie Française, has examples of _trasgeter_, to mould, form, _tresgeteïs_, a work of mechanical art; and, in his Chrestomathie Provençale, col. 82, has the lines--

'Non saps balar ni _tras-gitar_
a guiza de juglar guascon';

i.e. thou know'st not how to dance, nor how to juggle, after the manner of a Gascon juggler. A comparison of the forms leaves no doubt as to the etymology. The Prov. _trasgitar_ answers to a Low Lat. form _trans-iectare_ = _tra-iectare_, frequentative of Lat. _trans-icere_, _tra-icere_, to throw across, transfer, cause to pass. Thus, the orig. sense of _tregetour_ was one who causes rapid changes, by help of some mechanical contrivance. The F. _trajecter_, to ferry, transport, in Cotgrave, is the same word as the Prov. _trasgitar_, in a different (but allied) sense.

1292. 'As is the usual way with reports.'

1295. Accent _Which_ and _so_.

1297. 'And yet it was wrought by haphazard quite as often as by heed.'

1300. _To longe_, too long; not 'to dwell long.' The barbarous practice of inserting an adverb between _to_ and an infinitive, as in 'to ungrammatically talk,' is of later date, though less modern than we might perhaps imagine. Cf. l. 1354.

1302. Elide the former _Ne_; read _N'of_.

1303. Read--Ne hów they hátt' in másonéries; i.e. nor how they are named in masonry, as, for example, corbets full of imageries. _They hatte_, i.e. they are called, was turned into _hakking_, and the sense lost.

1304. _Corbets_, corbels. Florio's Ital. Dict. has, '_Corbella_, _Corbetta_, a little basket'; shewing the equivalence of such forms. The E. _corbel_ is the same word as O.F. _corbel_ (F. _corbeau_), apparently from the Lat. _coruus_. The spelling with _z_ (= _ts_) in MSS. F. and B. shews that the form is really _corbetts_ or _corbets_, not _corbelles_. Spenser has the simple form _corb_; F. Q. iv. 10. 6:--

'It was a bridge ybuilt in goodly wise
With curious _corbes_ and pendants graven faire.'

'A _Corbel_, _Corbet_, or _Corbill_ in masonrie, is a iutting out like a _bragget_ [bracket] as carpenters call it, or shouldering-peece in timber-work'; Minsheu's Dict. ed. 1627. Tyrwhitt explains _corbets_ by 'niches for statues'; but 'imageries' are not necessarily statues or _images_, but rather specimens of carved work.

1309. 'A bounty! a bounty! hold up (your hands) well (to catch it).' Sir W. Scott explains _largesse_ as 'the cry with which heralds and pursuivants were wont to acknowledge the bounty received from the knights'; note to Marmion, canto i. St. 11. The word is still in use amongst gleaners in East Anglia; see my note to P. Plowman, C. viii. 109.

1311. In Anglia, xiv. 236, Dr. Köppell points out some resemblances between the present poem and Boccaccio's Amorosa Visione. He compares this line with the A. V. vi. 75:--'Io son la Gloria del popol mondano.'

1316, 7. _Kinges_, i.e. kings-at-arms; _losenges_, lozenges (with _g_ as _j_).

1326. _Cote-armure_, surcoat; see Way's note in Prompt. Parv.

1329-35. Imitated from Rom. Rose, 6762-4.

1330. _Been aboute_, used like the old phrase _go about_.

1342-6. Cf. Boccaccio, Amorosa Visione, iv. 9:--'Ed in una gran sala ci trovammo; Chiara era e bella e risplendente d'oro.'

1346. _Wikke_, poor, much alloyed.

1352. _Lapidaire_, 'a treatise on precious stones, so entitled; probably a French translation of the Latin poem of Marbodus _De Gemmis_, which is frequently cited by the name of _Lapidarius_; Fabricius, Bibl. Med. Æt., in v. _Marbodus_'; Tyrwhitt's Glossary. The Lapidarium of Abbot Marbodus (Marboeuf), composed about 1070-80, is chiefly taken from Pliny and Solinus. A translation in English verse is given in King's Antique Gems. See note to l. 1363 below. There is some account of several precious stones in Philip de Thaun's Bestiary, printed in Wright's Popular Treatises on Science; at p. 127 he refers to the _Lapidaire_. Vincent of Beauvais refers to it repeatedly, in book viii. of his Speculum Naturale. There is a note about this in Warton, Hist. E. P. ed. 1871, ii. 324. And see note to l. 1363.

1360. _Dees_, daïs; see the note to Prol. 370, in vol. v. Lines 1360-7 may be compared with various passages in Boccaccio's Amorosa Visione, which describe a lady in a rich vesture, seated on a royal throne:--

'Tutti li _soprastava_ veramente
Di _ricche pietre_ coronata e d'oro' ...
'Il suo vestire a guisa _imperiale_
Era, e teneva nella man sinestra
Un pomo d'oro; e'n _trono_ alla reale
Vidi sedeva' ...
'Odi: che mai _natura_ con sua arte
_Forma_ non diede a si bella figura' ...
'Donna pareva li leggiadra e pura'....

See Am. Vis. vi. 49, 58, 43, 48. See note to l. 1311 above.

1361. The reading _Sit_ would mean 'sitteth' or 'sits'; the reading _Sat_ would mean 'sat.' Both are wrong; the construction is _sitte I saugh_ = _I saugh sitte_, I saw sit; so that _sitte_ is the infin. mood.

1363. _Carbuncle._ Vincent of Beauvais, Spec. Nat bk. viii. c. 51, has: '_Carbunculus_, qui et Græcè _anthrax_ dicitur, vulgariter _rubith_.' An account of the _Carbunculus_ is given in King's Natural History of Precious Stones and Gems. He remarks that the ruby 'must also be included among the numerous species of the _carbunculus_ described by Pliny, although he gives the first rank to the _Carbunculi amethystizontes_, our Almandines or Garnets of Siam.' See also his Antique Gems, where he translates sect. 23 of the Lapidarium of Marbodus thus:--

'The _Carbuncle_ eclipses by its blaze
All shining gems, and casts its fiery rays
Like to the burning coal; whence comes its name,
Among the Greeks as _Anthrax_ known to fame.
Not e'en by darkness quenched, its vigour tires;
Still at the gazer's eye it darts its fires;
A numerous race; within the Lybian ground
Twelve kinds by mining Troglydytes are found.'

1368-76. Cf. Boethius, in Chaucer's translation; bk. i. pr. 1, ll. 8-13 (vol. ii. p. 2).

1376. _Sterres sevene_, the seven planets.

1380. _Tolde_, counted; observe this sense.

1383. _Bestes foure_, four beasts; Rev. iv. 6. Cf. Dante, Purg. xxix. 92.

1386. Thynne remarks that _oundy_, i.e. wavy, is a term in heraldry; cf. E. _ab-ound_, _red-ound_, _surr-ound_ (for _sur-ound_); all from Lat. _unda_. Cf. Chaucer's use of _ounded_ in Troilus, iv. 736, and Le Roman de la Rose, 21399, 21400:--

'Et voit ses biaus crins blondoians
Comme undes ensemble ondoians.'

1390. 'And tongues, as (there are) hairs on animals.' 'Her feet are furnished with partridge-wings to denote swiftness, as the partridge is remarkable for running with great swiftness with outstretched wings. This description is taken almost literally from the description of Fame in the Æneid [iv. 176-183], except the allusion to the Apocalypse and the partridge-wings'; note in Bell's Chaucer. But it is to be feared that Chaucer simply blundered, and mistook Vergil's _pernicibus_ as having the sense of _perdicibus_; cf. '_pedibus_ celerem et _pernicibus alis_'; Aen. iv. 180.

1400. _Caliopee_, Calliope the muse; her eight sisters are the other Muses. With ll. 1395-1405 cf. Dante, Par. xxiii. 97-111.

1411. Read--Bóth-e th'ármes. _Armes_, i.e. coats of arms. _Name_, name engraved on a plate or written on a scroll.

1413. _Alexander_; see Monkes Tale, in C. T., B 3821. _Hercules_; see the same; the story of the shirt is given in B 3309-3324. In Le Roman de la Rose, l. 9238, it is called 'la venimeuse chemise.' Cf. Dante, Inf. xii. 68.

1431. _Lede_, lead, the metal of Saturn; _yren_, iron, the metal of Mars. See note to Can. Yeom. Tale, G 820, and ll. 827, 828 of the same; also ll. 1446, 1448 below.

1433. Read--Th'Ebráyk Jósephús. In a note on Gower's Conf. Amantis, Warton remarks--'Josephus, on account of his subject, had long been placed almost on a level with the Bible. He is seated on the first pillar in Chaucer's House of Fame. His Jewish History, translated into Latin by Rufinus in the fourth century, had given rise to many old poems and romances; and his Maccabaics, or History of the seven Maccabees, martyred with their father Eleazar under the persecution of Antiochus Epiphanes, a separate work translated also by Rufinus, produced the Judas Maccabee of Belleperche in the year 1240, and at length enrolled the Maccabees among the most illustrious heroes of romance.'--ed. Hazlitt, iii. 26.

1436. _Iewerye_, kingdom of the Jews; cf. Prior. Tale, B 1679.

1437. Who the other seven are, we can but guess; the reference seems to be to Jewish historians. Perhaps we may include Moses, Joshua, Samuel, Isaiah, Daniel, Nehemiah; and, in any case, Ezra. The number _seven_ was probably taken at random. With l. 1447 cf. Troil. ii. 630.

1450. _Wheel_, orbit. The orbit of Saturn is the largest of the (old) seven planets; see Kn. Tale, 1596 (A 2454). The reason why Josephus is placed upon Saturn's metal, is because history records so many unhappy casualties, such as Saturn's influence was supposed to cause. All this is fully explained in the Kn. Tale, 1597-1611 (A 2455-69).

1457. _Yren_, the metal of Mars; see note to l. 1431.

1459. This allusion to 'tiger's blood' is curious; but is fully accounted for by the account of the two tigers in bk. vii. of the Thebaid. A peace had nearly been made up between the Thebans and the other Greeks, when two tigers, sacred to Bacchus, broke loose, and killed three men. They were soon wounded by Aconteus, whereupon 'They fly, and flying, draw upon the plain A bloody line'; according to Lewis's translation. They fall and die, but are avenged; and so the whole war was renewed. Lydgate reduces the two tigers to one; see his chapter 'Of a tame Tigre dwelling in Thebes'; in part 3 of his Sege of Thebes.

1460. _Stace_ (as in Troil. bk. v, near the end, and Kn. Tale, A 2294) is Publius Papinius Statius, who died A.D. 96, author of the Thebais and Achilleis (see l. 1463), the latter being left incomplete. _Tholosan_ means Toulousan, or inhabitant of Toulouse; and he is here so called because by some (including Dante, whom Chaucer follows) he was incorrectly supposed to have been a native of Toulouse. He was born at Naples, A.D. 61. Dante calls him _Tolosano_ in Purg. xxi. 89, on which Cary remarks:--'Dante, as many others have done, confounds Statius the poet, who was a Neapolitan, with a rhetorican of the same name, who was of Tolosa or Thoulouse. Thus Chaucer; and Boccaccio, as cited by Lombardi: "E Stazio di Tolosa ancora caro"; Amorosa Vis. _cant._ 5.'

Dr. Köppell quotes the last passage, from Boccaccio, Am. Vis. v. 34, in Anglia, xiv. 237, and shews that other passages in the same resemble other lines in the Hous of Fame. See notes to ll. 1311, 1342, 1360, 1483, 1487, and 1499.

1463. 'Cantai di Tebe, e poi del grande Achille'; Dante, Purg. xxi. 92.

1466. _Omeer_, Homer; see ll. 1477-1480 below.

1467. In Chaucer's Troil. i. 146, is the line--'In Omer, or in Dares, or in Dyte.' _Dares_ means Dares Phrygius; and _Tytus_ is doubtless intended for the same person as _Dyte_, i.e. Dictys Cretensis. See the account in Warton, Hist. E. Poet., ed. Hazlitt, ii. 127, beginning:--'But the Trojan story was still kept alive in two Latin pieces, which passed under the names of Dares Phrygius and Dictys Cretensis,' &c.; and further in vol. iii. p. 81. The chief source of the romantic histories of Troy in the middle ages is the Roman de Troie by Benoit de Sainte-Maure, which appeared between 1175 and 1185, and has lately been edited by M. Joly. This was copied by Guido delle Colonne (see note to l. 1469 below), who pretended, nevertheless, to follow Dares and Dictys. Chaucer cites Dares and Dictys at second-hand, from Guido.

1468. _Lollius_; evidently supposed by Chaucer to be a writer on the Trojan war. See Tyrwhitt's note on the words _the boke of Troilus_, as occurring at the end of the Persones Tale. Chaucer twice quotes _Lollius_ in Troilus, viz. in bk. i. 394 and bk. v. 1653. At the beginning of sect. xiv of his Hist. of Eng. Poetry, Warton shews that there was a Lollius Urbicus among the _Historici Latini profani_ of the third century; 'but this could not be Chaucer's Lollius; ... none of his works remain.' The difficulty has never been wholly cleared up; we know, however, that the Troilus is chiefly taken from Boccaccio's Filostrato, just as his Knight's Tale is chiefly taken from Boccaccio's Teseide. My idea of the matter is that, in the usual mode of appealing to old authorities, Chaucer refers us (not to Boccaccio, whom he does not mention, but) to the authorities whom he supposed Boccaccio must have followed. Accordingly, in his Troilus, he mentions Homer, Dares, Dictys, and Lollius, though he probably knew next to nothing of _any one_ of these authors. On this account, the suggestion made by Dr. Latham (Athenæum, Oct. 3, 1868, p. 433) seems quite reasonable, viz. that he got the idea that Lollius wrote on the Trojan war by misunderstanding the lines of Horace, Epist. i. 2:--

'Troiani belli scriptorem, maxime Lolli,
Dum tu declamas Romæ, Præneste relegi.'

See Ten Brink, Studien, p. 87. This supposition becomes almost a certainty when we observe how often medieval writers obtained their information from MSS. containing short extracts. Chaucer clearly never read Horace at all; he merely stumbled on a very few extracts from him in notebooks. In this way, he may easily have met with the _first line_ above, apart from its context. Cf. vol. ii. pp. lii, liii.

1469. Guido delle Colonne, or Guido de Columnis (_not_ da Colonna), finished his translation or version of Benoit de Sainte-Maure's Roman de Troie in the year 1287. His work is called Historia Troiana. The 'Geste Hystoriale' of the Destruction of Troy, edited by Panton and Donaldson for the Early English Text Society, is a translation of Guido's Historia into Middle English alliterative verse. See Warton, Hist. E. P., ed. Hazlitt, iii. 81; and Introd. to vol. ii. pp. liv-lxv.

1470. _Gaufride_, Geoffrey, viz. Geoffrey of Monmouth, who died A.D. 1154, and wrote a History of the Britons in Latin, full of extravagant but lively fictions, which was completed in 1147; see Morley's Hist. E. Writers, i. 496. He is rightly mentioned among the writers who 'bore up Troy,' because he makes the Britons the descendants of Æneas. See note below.

1477. _Oon seyde_, one (of them) said. Guido was one of those who said this; this appears from the Gest Hystoriale above mentioned, which was translated from Guido; see ll. 41-47, and 10312-10329 of Panton and Donaldson's edition. Guido asserts, for example, that Achilles slew Hector by treachery, and not, as Homer says, in fair fight; and Chaucer asserts the same, Troil. v. 1560. The fact is, that the Latin races declined to accept an account which did not sufficiently praise the Trojans, whom they regarded as their ancestors. Geoffrey of Monmouth ingeniously followed up this notion, by making the Trojans also the ancestors of the ancient Britons. Hence English writers followed on the same side; Lydgate, as well as Chaucer, exclaims against Homer. See Warton, ed. Hazlitt, iii. 82. But Dante exalts Homer above Horace, Ovid, and Lucan: Inf. iv. 88.

1482. 'Homer's iron is admirably represented as having been by Virgil covered over with tin'; note in Bell's Chaucer.

1483. There is a similar mention of Vergil in Boccaccio, Amorosa Visione, v. 7. See note to l. 1460.

1487. _Ovide_, Ovid; from whom perhaps Chaucer borrows more than from any other Latin writer. He stands on a pillar of copper, the metal sacred to Venus. See note to l. 820 of Can. Yeom. Tale. And cf. Boccaccio, Amorosa Visione, v. 25: 'Eravi Ovidio, lo quale poetando Iscrisse tanti versi per amore.'

1494. _High the_ (as in F.) is an error for _highthe_, height; Cx. Th. have _heyght_. Read _highte_, as in l. 744.

1499. _Lucan_; alluding to Lucan's Pharsalia, which narrates the war between Cæsar and Pompey. See Man of Lawes Tale, B 401; Monkes Tale, De Caesare, B 3909 (and note), and a fourth mention of him in Troilus, v. 1792. There is an English translation by Rowe. Cf. Boccaccio, Amorosa Visione, v. 19: 'A' quai Lucan seguitava, ne' cui Atti parea ch'ancora la battaglia Di Cesare narrasse, e di colui Magno Pompeo chiamato.'

1509. Claudius Claudianus, in the fourth century, wrote a poem De Raptu Proserpinæ, alluded to here and in the Merchant's Tale (C. T., E 2232), and several other pieces. See note to Parl. Foules, 99.

1512. Imitated from Dante, Inf. ix. 44: 'Della regina dell' eterno pianto.'

1519. _Write_, wrote; pt. t. pl. _Highte_, were named.

1521. Perhaps from Dante, Inf. xvi. 1, which Cary translates:--

'Now came I where the water's din was heard,...
Resounding like the hum of swarming bees,
When forth together issued from a troop,' &c.

1527. Cf. Ovid, Met. xii. 53: 'Atria turba tenent; ueniunt leue uulgus, euntque.'

1530. _Alles-kinnes_ is in the gen. sing., and _Of_ governs _condiciouns_; thus the line is equivalent to--'Of conditions of every kind'; whereas modern English uses--'Of every kind of condition.' This peculiar idiom was formerly common; and precisely similar to it is the phrase _noskinnes_, for which see note to l. 1794. Observe that the phrase is oddly written _alle skynnes_ in MS. F., by a misdivision of the words. So in Piers Plowman, A. ii. 175, we have the phrase _for eny kunnes yiftus_, for gifts of any kind, where one MS. has _any skynes_. In my note to P. Plowman, C. xi. 128, I give numerous examples, with references, of phrases such as _none kynnes riche_, _many kynnes maneres_, _summes kunnes wise_, _what kyns schape_, &c.

1550. 'Those that did pray her for her favour.'

1564. 'Because it does not please me.'

1570. I here alter _Vpon peyne_ to _Vp peyne_, as the former will not scan, and the latter is the usual idiom. See _up peyne_ in Kn. Tale, A 1707, 2543; Man of Lawes Tale, B 795, 884. Cf. _vp the toft_, upon the toft, P. Plowman, B. i. 12; _vp erthe_, upon earth, id. B. ix. 99.

1571. Cf. Rom. Rose, 18206--'Car Eolus, li diex des vens.' From Vergil, Æn. i. 52; cf. Ovid, Met. xiv. 223, where Æolus is said to reign over the Tuscan sea. The connection of Æolus with Thrace is not obvious; cf. l. 1585. Ovid, however, has 'Threicio Borea'; Art. Am. ii. 431. And see Lounsbury, Studies in Chaucer, ii. 382.

1596. _Took to_, delivered to. _Triton_, Triton; imitated from Ovid, Met. i. 333, where Neptune calls Triton, and bids him sound his 'shell,' the sound of which resounded everywhere.

1598. We rarely find _to_ used after _leet_; the usual formula is _leet go_. But cf. _leet to glyde_ in Cant. Ta., F 1415. Or read _to-go_, _to-glyde_.

1618. _Wite_ is badly spelt _wete_ or _wote_ in the MS. copies; but the very phrase _wite ye what_ occurs in C. T., E 2431. However, Ch. certainly uses the phrase _ye woot_ instead of _ye wite_, more than once.

1640. _Overthrowe_, be overthrown; as in the Tale of Gamelin, 512. Cf. Melibeus, B 2755.

1643. A _pelet_ was a stone ball, such as used to be fired from the earliest kind of cannon, of which this is a very early mention. See my glossary to P. Plowman (Clar. Press).

1670. _Lat goon_, let go, lay aside.

1702. The word _turned_, which is dissyllabic, has evidently been substituted here in the printed editions and in MS. P. for the older and rare word _clew_, which does not occur elsewhere in Chaucer. The line means--'With that (therupon) I rubbed my head all round'; which is a rustic way of expressing perplexity. The verb _clawen_, to scratch, stroke, is not uncommon, but the usual pt. t. is _clawed_. We find, however, at least one other example of the strong form of the past tense in the Seven Sages, ed. Weber, l. 925--He _clew_ the bor on the rigge,' he stroked the boar on the back, and made him go to sleep; cf. 'thi maister the _clawes_,' i.e. your master strokes you, to flatter you, in l. 937 of the same. Chaucer has, 'to _clawen_ [rub] him on his hele' [heel], Troil. iv. 728; 'he _clawed_ him on the bak,' he stroked him on the back, to encourage him, Cook's Prol., A 4326 (where _clew_ would suit the line better). See _claw_ in Jamieson's Scot. Dict.

1708. 'They would not give a leek.' Cf. 'dere ynough a leek'; Can. Yeom. Tale, Group G, 795.

1740. 'Although no brooch or ring was ever sent us.'

1742-4. 'Nor was it once intended in their heart to make us even friendly cheer, but they might (i.e. were ready to) bring us to our bier'; i.e. so far from caring to please us, they would be satisfied to see us dead.

The M.E. _temen_, to produce, to bring, is the same word as mod. E. _teem_, to produce. _To temen on bere_ is parallel to the old phrase _to bringen on bere_; cf. Gaw. Douglas, tr. of Æneid, bk. x. ch. 10, l. 138 (ed. Small, iii. 326), where _brocht on beyr_ means 'brought to their grave.' See _Bier_ in the New Eng. Dictionary.

1747. _For wood_, as (if) mad, 'like mad.' The same phrase recurs in Leg. Good Women, _Phyllis_, l. 27; cf. _as it were wood_, Kn. Tale, A 2950; and _for pure wood_, Rom. Rose, 276.

1759-62. Cf. Rom. de la Rose, 9887-90:--

'Si se sunt maint vanté de maintes;
Par paroles fauces et faintes,
Dont les cors avoir ne pooient,
Lor non à grant tort diffamoient.'

1761. _The name_, the name of it, the credit of it.

1777. _Masty_ (miswritten _maisty_ in F., but _masty_ in the rest) means fat, fattened up, and hence unwieldy, sluggish. Bell alters it to _maisly_, and Moxon's edition to _nastie_; both being wrong. Palsgrave has: '_Masty_, fatte, as swyne be, _gras_.' The Promp. Parv. has: 'Mast-hog or swyne, [or] mastid swyne, _Maialis_'; and 'Mastyn beestys, _sagino, impinguo_.' Way rightly explains _masty_ as 'glutted with acorns or berries'; cf. 'Acorne, _mast_ for swyne, _gland_,' in Palsgrave. See The Former Age, l. 37.

1779. _Wher_, whether, 'is it the case that?'

1782. As the word _oughte_ is never followed by _to_ with a following gerund, it is certain that _to-hangen_ is all one word, the prefix _to-_ being intensive. MSS. F. and B. omit _to_, but the rest have it, and the syllable is wanted. I know of no other example of _to-hangen_, to hang thoroughly, but this is of little moment. The prefix _to-_ was freely added to all sorts of verbs expressing strong action; Stratmann gives _more than a hundred_ examples. Cf. note to l. 1598.

1783. We must read _sweynte_, the form preserved in MS. B, where the final _e_ is added to the pp. _sweynt_, as if it were an adjective used in the definite form. The reading _swynt_ is false, being an error for _sweynte_. The reading _slepy_ is a mere gloss upon this rare word, but fairly expresses the meaning. Bell's Chaucer has _swynt_, which the editor supposes to be put for _swinkt_ = _swinked_, pp. of _swinken_, to toil, as in Milton's 'swinkd hedger'; Comus, 293. He is, however, entirely wrong, for Milton's _swink'd_ is quite a late form; in Chaucer's time the verb _swinken_ was strong, and the pp. was _swunken_! Chaucer has _queynt_ as the pp. of _quenchen_, Kn. Tale, A 2321; and _dreynt_ as the pp. of _drenchen_, Non. Prest. Tale, B 4272. Similarly _sweynt_ is the pp. of _swenchen_, to cause to toil, to fatigue, tire out, the causal verb formed from the aforesaid strong intransitive verb _swinken_, to toil. For examples, see _swenchen_ in Stratmann; I may instance, 'Euwer feond eou ne scal ... _swenchen_,' your enemies shall not harass you, Old Eng. Homilies, ed. Morris, i. 13; and 'hi _swencten_ swiðe heom-seolfe,' they sore afflicted themselves, id. 101. Hence, 'the sweynte cat' means the over-toiled or tired-out cat; or, secondarily, a cat that will take no trouble, a slothful or _sleepy_ cat, as the gloss says. Compare Gower, Conf. Amant. ed. Pauli, ii. 39, where the same cat is brought forward as an example of the deadly sin of _Sloth_:--

'For he [a knight] ne wol no travail take
To ride for his ladies sake,
But liveth al upon his wisshes,
And--as a cat wolde ete fisshes
Withoute weting of his clees--
So wolde he do, but netheles
He faileth ofte of that he wolde.'

The 'adage' is referred to in Macbeth, i. 7. 45. It occurs in MS. Harl. 2321, fol. 146, printed in Reliq. Antiquæ, i. 207, in the form: 'The cat doth love the fishe, she will not wett her foote.' In Heywood's Proverbs, 1562 (p. 28, ed. Spenser Soc.): 'The cat would eate fyshe, and would not wet her feete.' So also in Camden's Remains, 1614, p. 312. Hazlitt gives a rimed version:--

'Fain would the cat fish eat,
But she's loth to wet her feet.'

In Piers the Plowman's Crede, 405, is the allusion:--

'Thou woldest not weten thy fote, and woldest fich cacchen.'

In a medieval Latin verse, it appears as: 'Catus amat piscem, sed non vult tingere plantam'; see Proverbialia Dicteria ... per A. Gartnerum, 1574, 8vo. Ray quotes the French: 'Le chat aime le poisson, mais il n'aime pas à mouiller la patte.' The German form is--'Die Katze hätt' der Fische gern; aber sie will die Füsse nit nass machen'; N. and Q. 4 S. ix. 266.

1794. _Noskinnes_; miswritten _no skynnes_ in MSS. F. and B.; Th. and Cx. _no kyns_. _Nos-kinnes_ is short for _noneskinnes_, of no kind; _noskinnes labour_ is 'work of no kind'; in mod. E. 'no kind of work.' It also occurs without the former _s_; as in _no kyne catel_, property of no kind, P. Plowm. C. xi. 250; _none kynnes riche_, rich men of no kind, id. B. xi. 185. Cf. also _of foure kunne thinges_, of things of four kinds, of four kinds of things, where one MS. has _of foure skynnes thinges_; P. Plowm. A. x. 2. And see note to l. 1530 above.

1796. _Bele Isaude_, Isaude (or Isoude, or Isolde) the fair; here a type of a high form of female beauty. See Parl. Foules, 290; and the note.

1798. 'She that grinds at a hand-mill'; a poor slave.

1810. _Hir_ (their) refers to the 'seventh company.' 'Such amusement they found in their hoods'; a phrase meaning 'so much did they laugh at them'; see Troil. ii. 1110. Cf. the phrase 'to put an ape in a man's hood,' i.e. to make him look like an ape, or look foolish; see note to C. T., Group B, 1630.

1823. 'Then a company came running in.'

1824. _Choppen_, strike downwards. They began hitting people on the head, regardless of consequences. The same expression occurs in Richard the Redeless, iii. 230--'And ich man i-charchid to schoppe at his croune'; where _i-charchid_ = _i-charged_, i.e. was charged, was commanded, and _schoppe_ = _choppe_.

1840. _Pale_, a perpendicular stripe; chiefly used as an heraldic term. The object of the conspicuous stripe upon the hose was to draw men's attention to him; for the same reason, he wore a bell on his tippet, and, in fact, his dress resembled that of the professional fool. _Paled_ or striped hose were sometimes worn for display.

'Buskins he wore of costliest cordwayne,
Pinckt upon gold, and _paled_ part per part,
As then the guize was for each gentle swayne.'
Spenser, _F. Q._ vi. 2. 6.

I.e. his buskins were adorned with golden dots or eyelets, and regularly intersected with stripes arranged perpendicularly.

1844. _Isidis_, Isis; _Isidis_ being a form of the genitive case. Chaucer doubtless refers to Herostratus, the wretch who set fire to the temple of Diana at Ephesus, in order to immortalise his name. Why Diana here appears as Isis, and Ephesus as Athens, I cannot explain. Perhaps it was due to a defect of memory; we are apt to forget how _very_ largely medieval authors had to trust to their memories for names and facts. It is almost impossible for us moderns, with our facilities for reference, to imagine what were the difficulties of learned men in the olden time. Perhaps Chaucer was thinking of Ovid's line (ex Ponto, i. 1. 51)--'Uidi ego linigerae numen uiolasse fatentem _Isidis_.' The story is in Solinus, Polyhistor, cap. xl. § 3.

'See, Erostratus the second
Fires again Diana's fane.'
Rejected Addresses; _Drury's Dirge_, st. 5.

1853. Thynne prints--'(Though it be naught) for shreudness'; but this is very forced. MS. B. and Caxton both omit _noght_, rightly.

1857. 'And, in order to get (some) of the meed of fame.'

1880. An allusion to the old proverb--'As I brew, so must I needs drink'; in Camden's Remains. Gower has it, Conf. Amant. bk. iii, ed. Pauli, ii. 334:--

'And who so wicked ale breweth,
Ful ofte he mot the werse drinke.'

1908. The form _bringes_, for _bringest_, though (strictly speaking) a Northern form, is not uncommon in East Midland. It occurs frequently, for example, in Havelok the Dane. But, as there is no other clear example in Chaucer, Koch thinks the passage is corrupt, and proposes to read:--

'Which than be, lo! thise tydinges,
That bringe thee hider, and thise thinges
That thou wilt here'; &c.

1920. Here _that_ means 'that very.' The description of 'the house of Dædalus' is in Ovid, Met. viii. 159; and the word _labyrinthus_, used with reference to it, is in Vergil, Æn. v. 588. Chaucer again refers to it in the Leg. of Good Women (Ariadne), 2010; and it is mentioned in his translation of Boethius, bk. iii. pr. 12. 118 (vol. ii. p. 89). And see Gower, Conf. Amant. ed. Pauli, ii. 304.

1926. This somewhat resembles Dante, Inf. iii. 53, which Cary translates:--

'Which whirling ran about so rapidly
That it no pause obtain'd.'

1928. _Oise_, a river which flows into the Seine, from the north, not far below Paris. Chaucer says the sound might have been heard from there to Rome. From this vague statement, Warton would wish us to infer that the whole poem was founded on some foreign production now (and probably always) unknown. There is no need to draw any such conclusion. The English were fairly familiar with the north of France in days when a good deal of French soil belonged more or less to the king of England. The Oise, being a northern affluent of the Seine, must have been a well-known river. I think the allusion proves just nothing at all.

1933. This is an excellent and picturesque allusion, but in these days can no longer be appreciated. Compare Barbour's Bruce, xvii. 681:--

'The engynour than deliuerly
Gert bend the gyne in full gret hy,
And the stane smertly swappit out.
It flaw out, quhedirand, with a _rout_.'

1940. Though the authorities read _hattes_ (Th. _hutches_), I alter this word to _hottes_ without hesitation. We do not make _hats_ with twigs or osiers. Chaucer says that some of the twigs were white, such as men use to make cages with, or panniers (i.e. baskets), or _hottes_, or _dossers_. Now Cotgrave explains F. _Panier_ by 'a Pannier, or Dosser; also, a Pedlers Pack; also, a fashion of trunke made of wicker'; and he explains F. _Hotte_ by 'a Scuttle, Dosser, Basket to carry on the back; the right _hotte_ is wide at the top, and narrow at the bottom.' Dr. Murray kindly refers me to Cursor Mundi, l. 5524:--

'Apon þer neckes sal þai bere
_Hott_ wit stan and wit morter.'

He also tells me that in Caxton's Golden Legend (1483), fol. cix. col. 2, is the sentence--'And bare on hys sholdres vij. _hottis_ or baskettis fulle of erthe.' In a Glossary of North of England Words, printed as Gloss. B. 1, by the Eng. Dial. Society, I find: '_Hots_, s. pl. a sort of panniers to carry turf or slate in'; and Halliwell gives it as a Cumberland word. Dickenson's Cumberland Glossary has: '_Muck-hots_, panniers for conveying manure on horseback.' Brockett's Gloss. of Northern Words has: '_Hot_, a sort of square basket, formerly used for taking manure into fields of steep ascent; the bottom opened by two wooden pins to let out the contents.' Thus the existence of the word in English is fully proved; and the fitness of it is evident.

1943. 'Al ful of chirking was that sory place'; Kn. Tale, A 2004.

1946. Again from Ovid, Met. xii. 44-47.

1970. Read--'Of estáts and éek of regióuns.' The _e_ in _estat_ was very light; hence mod. E. _state_.

1975. _Mis_ is here an adjective, meaning 'bad' or 'wrong'; cf. 'But to correcten that is _mis_ I mente'; Can. Yeom. Tale, G 999.

1980. 'Although the timber,' &c.

1982. 'As long as it pleases Chance, who is the mother of news, just as the sea (is mother) of wells and springs.'

1997. _Paráventure_; also spelt _paraunter_, shewing how rapidly the third syllable could be slurred over.

2000. _Peter!_ by St Peter; see note to l. 1034.

2004. _Cunne ginne_, know how to begin. (_Gin_, a contrivance, is monosyllabic).

2009. I substitute the dissyllabic _swich-e_ for the monosyllabic _these_, to preserve the melody.

2011. 'To drive away thy heaviness with.'