§ 10. DISCUSSION OF THE POEMS IN PART I. OF ED. 1561.
Of the 41 pieces in Part I. of the above, we must of course accept as
Chaucer's the four poems entitled Canterbury Tales, Troilus, Legend of Good
Women, and House of Fame; also the prose translation of Boethius, and the
prose treatise on the Astrolabie. The remaining number of Minor Poems
(excluding the Romaunt of the Rose) is 34; out of which number I accept the
13 numbered above with the numbers 8, 9, 10, 12, 14, 23, 24, 33 (so far as
it quotes Chaucer), 34, 35, 36, 37, and 39. Every one of these has already
been shewn to be genuine on sufficient external evidence, and it is not
likely that their genuineness will be doubted. In the present volume they
appear, respectively, as nos. III, XVII, V, II, VII, IV, XVIII, XIV, XV,
XIII, X, XVI, XIX. Of the remaining 21, several may be dismissed in a few
words. No. 4 is well known to have been written by Robert Henryson. Nos.
11, 28, 29, and 40 are distinctly claimed for Lydgate in all the editions;
and no. 27 is similarly claimed for Gower. No. 25 was written by
Hoccleve[220]; and the last line gives the date--'A thousande, foure
hundred and seconde,' i. e. 1402, or two years after Chaucer's death. No.
13 is translated from Alain Chartier, who was only four years old when
Chaucer died; see p. 28, note 2. Tyrwhitt remarks that, in MS. Harl. 372,
this poem is expressly attributed to a Sir Richard Ros[221]. No one can
suppose that no. 41 is by Chaucer, seeing that the first line is--'Maister
Geffray Chauser, that now lithe in graue.' Mr. Bradshaw once assured me
that no. 17 is ascribed, on MS. authority, to Lydgate; and no one who reads
it with care can doubt that this is correct[222]. It is, in a measure, an
imitation of the Book of the Duchesse; and it contains some interesting
references to Chaucer, as in the lines--'Of Arcite, or of him Palemoun,'
and 'Of Thebes eke the false Arcite.' No. 20, i. e. the Testament of Love,
is _in prose_, and does not here concern us; still it is worth pointing out
that it contains a passage (near the end) such as we cannot suppose that
Chaucer would have written concerning himself[223].
After thus removing from consideration nos. 4, 11, 13, 17, 20, 25, 27, 28,
29, 40, and 41, half of the remaining 21 pieces have been considered. The
only ones left over for consideration are nos. 6, 15, 18, 21, 22, 26, 30,
31, 32, 38. As to no. 6, there is some external evidence in its favour,
which will be duly considered; but as to the rest, there is absolutely
nothing to connect them with Chaucer beyond their almost accidental
appearance in an edition by Wm. Thynne, published in 1532, i. e. _one
hundred and thirty-two years after Chaucer's death_; and it has just been
demonstrated that Thynne is obviously wrong in at least _eleven_ instances,
and that he wittingly and purposely chose to throw into his edition poems
which he _knew_ to have been written by Lydgate or by Gower! It is
ridiculous to attach much importance to such testimony as this. And now let
me discuss, as briefly as I can, the above-named poems separately.
6. _A goodlie balade of Chaucer_; begins--'Mother of norture, best beloued
of all'; printed in Morris's edition, vi. 275; and in Bell's edition, iii.
413. I have little to say against this poem; yet the rime of _supposeth_
with _riseth_ (st. 8) is somewhat startling. It is clearly addressed to a
lady named _Margaret_[224], as appears from her being likened to the daisy,
and called the sun's daughter. I suspect it was merely attributed to
Chaucer by association with the opening lines of the Legend of Good Women.
The suggestion, in Bell's Chaucer, that it possibly refers to the Countess
of Pembroke, is one of those bad guesses which are discreditable. Tyrwhitt
shews, in note _n_ to his 'Appendix to the Preface,' that she must have
died not later than 1370, whereas this Balade must be much later than that
date; and I agree with him in supposing that _le Dit de la fleur de lis et
de la Marguerite_, by Guillaume de Machault (printed in Tarbé's edition,
1849, p. 123), and the _Dittié de la flour de la Margherite_, by Froissart,
may furnish us with the true key to those mystical compliments which
Chaucer and others were accustomed to pay to the daisy.
I wish to add that I am convinced that one stanza, probably the sixth is
missing. It ought to form a triple Balade, i. e. three Balades of 21 lines
each, each with its own refrain; but the second is imperfect. There seems
to be some affectation about the letters beginning the stanzas which I
cannot solve; these are _M_, _M_, _M_ (probably for Margaret) in the first
Balade; _D_, _D_ in the second; and _J_, _C_, _Q_ in the third. The poet
goes out of his way to bring in these letters. The result looks like
_Margaret de Jacques_; but this guess does not help us.
The poem is rather artificial, especially in such inversions as _It
receyve_, _Cauteles whoso useth_, and _Quaketh my penne_; these things are
not in Chaucer's manner. In the second stanza there is a faulty rime; for
we there find _shal_, _smal_, answering to the dissyllabic rimes _alle_,
_calle_, _appalle_, _befalle_, in stanzas 1 and 3. Lydgate has: 'My pen
quake,' &c.; Troy Book, ch. x., fol. F2, back.
15. _The assemble of Ladies._ This poem Tyrwhitt decisively rejects. There
is absolutely _nothing_ to connect it with Chaucer. It purports to have
been written by 'a gentlewoman'; and perhaps it was. It ends with the rime
of _done_, pp., with _sone_ (soon); which in Chaucer are spelt _doon_ and
_son-e_ respectively, and never rime. Most of the later editions omit this
poem. It is conveniently printed in Chalmers' English Poets, vol. i. p.
526; and consists of 108 7-line stanzas. For further remarks, see notes on
_The Flower and the Leaf_ (p. 44).
At p. 203 of the Ryme-Index to Chaucer's Minor Poems (Chaucer Society), I
have printed a Ryme-Index to this poem, shewing that the number of
non-Chaucerian rimes in it is about 60.
18. _A praise of Women._ In no way connected with Chaucer. Rejected by
Tyrwhitt. Printed in Bell's edition, iv. 416, and in Chalmers' English
Poets, vol. i. p. 344; also in Morris's Aldine edition, vol. vi. p. 278. In
twenty-five 7-line stanzas. The rime of _lie_ (to tell a lie) with _sie_ (I
saw), in st. 20, is suspicious; Chaucer has _ly-e_, _sy_. The rime of
_queen-e_ (usually dissyllabic in Chaucer) with _beene_ (miswritten for
_been_, they be, st. 23) is also suspicious. It contains the adjective
_sere_, i. e. various (st. 11), which Chaucer never uses.
21. _The lamentacion of Marie Magdaleine._ Printed in Bell's Chaucer, iv.
395; and in Chalmers, i. 532. Tyrwhitt's remarks are admirable. He says, in
his Glossary, s. v. _Origenes_:--'In the list of Chaucer's Works, in Legend
of Good Women, l. 427, he says of himself:--
"He made also, gon is a grete while,
_Origenes upon the Maudeleine_"--
meaning, I suppose, a translation, into prose or verse, of the Homily _de
Maria Magdalena_, which has been commonly, though falsely, attributed to
Origen; v. Opp. Origenis, T. ii. p. 291, ed. Paris, 1604. I cannot believe
that the poem entitled _The Lamentation of Marie Magdaleine_, which is in
all the [older] editions of Chaucer, is really that work of his. It can
hardly be considered as a translation, or even as an imitation, of the
Homily; and the composition, in every respect, is infinitely meaner than
the worst of his genuine pieces.' To those who are interested in Chaucer's
rimes I will merely point out the following: _die_, _why_ (Ch. _dy-e_,
_why_); _kene_, _iyen_ (Ch. _ken-e_, _y-ën_); _disguised_, _to-rived_, a
mere assonance; _crie_, _incessauntly_ (Ch. _cry-ë_, _incessauntly_);
_slaine_, _paine_ (Ch. _slein_, _pein-e_); _y-fet_, _let_ (Ch. _y-fet_,
_let-te_); _accept_, _bewept_ (Ch. _accept-e_, _bewept_); _die_, _mihi_
(Ch. _dy-e_, _mihi_). To those interested in Chaucer's language, let me
point out 'dogges rabiate'--'embesile his presence'--'my woful herte is
inflamed so huge'--'my soveraine and very gentilman.' See st. 34, 39, 54,
99.
22. _The remedie of Loue._ Printed in Chalmers' British Poets, i. 539. In
sixty-two 7-line stanzas. Rejected by Tyrwhitt. The language is extremely
late; it seems to have been written in the 16th century. It contains such
words as _incongruitie_, _deduction_, _allective_, _can't_ (for _cannot_),
_scribable_ (fit for writing on), _olibane_, _pant_, _babé_ (baby),
_cokold_ (which Chaucer spells _cokewold_), _ortographie_, _ethimologie_,
_ethimologise_ (verb). The provincial word _lait_, to search for, is well
known to belong to the Northern dialect. Dr. Murray, s. v. _allective_,
dates this piece about A.D. 1560; but it must be somewhat earlier than
this, as it was printed in 1532. I should date it about 1530.
26. _A Ballade in commendacion of our Ladie._ Tyrwhitt remarks that 'a poem
with the same beginning is ascribed to Lydgate, under the title of
_Invocation to our Lady_; see Tanner, s. v. Lydgate.' The poem consists of
thirty-five 7-line stanzas. It has all the marks of Lydgate's style, and
imitates Chaucer's language. Thus the line--'I have none English conuenient
and digne' is an echo of the Man of Law's Tale, l. 778--'O Donegild, I ne
haue noon English digne.' Some of the lines imitate Chaucer's A. B. C. But
the most remarkable thing is his quotation of the first line of Chaucer's
Merciless Beauty, which he applies to the Virgin Mary! See note to that
poem, l. 1.
A poem called an 'Invocation to our Lady' is ascribed to Lydgate in MS.
Ashmole 59, fol. 39, back. It agrees with the present Ballade; which
settles the question.
30. _Balade de bon consail._ Not in previous editions. Printed in Chalmers,
i. 552. Only 7 lines, and here they are, duly edited:--
'If it befall that God thee list visite
With any tourment or adversitee,
Thank first the Lord, and [fond] thy-self to quite;
Upon suffraunce and humilitee
Found thou thy quarel, what ever that it be;
Mak thy defence, and thou shalt have no losse,
The remembraunce of Christ and of his crosse.'
In l. 1, ed. 1561 has _the_; 2. _aduersite_; 3. _Thanke_; _lorde_; I supply
_fond_, i. e. endeavour; _thy-selfe_; 4. (scans ill); 5. _Founde_; 6.
_Make_.
31. _Of the Cuckowe and the Nightingale._ Printed in Bell's Chaucer, iv.
334; and in Morris's Chaucer, iv. 75. Not uncommon in MSS.; there is a copy
in MS. Ff. 1. 6 in the Cambridge University Library; another in MS. Fairfax
16; another in MS. Bodley 638; another in MS. Tanner 346; and a fifth
(imperfect) in MS. Arch. Selden B. 24, in the Bodleian Library. A sixth is
in MS. Harl. 7333, in the British Museum. From some of these, Morris's
better text was constructed; see his edition, pref. p. ix.
It is worth a note, by the way, that it is _not_ the same poem as one
entitled _The Nightingale_, extant in MS. no. 203 in Corpus Christi
College, Oxford, and in MS. Cotton, Calig. A. ii., fol. 59, and attributed
to Lydgate.
That the first two lines are by Chaucer, we cannot doubt, for they are
quoted from the Knightes Tale, ll. 927, 928. Chaucer often quotes his own
lines, but it is not likely that he would take them as the subject of a new
poem. On the other hand, this is just what we should expect one of his
imitators to do. The present poem is a very fair imitation of Chaucer's
style, and follows his peculiarities of metre far more closely than is
usually the case with Lydgate. The notion, near the end, of holding a
parliament of birds, with the Eagle for lord, is evidently borrowed from
Chaucer's Parliament of Foules. Whilst admitting that the present poem is
more worthy of Chaucer than most of the others with which it has been
proposed to burden his reputation, I can see no sufficient reason for
connecting him with it; and the external evidence connects it, in fact,
with Hoccleve. For the copy in MS. Bodley 638 calls it 'The boke of Cupide
god of loue,' at fol. 11, back; whilst Hoccleve's _Letter of Cupid_ is
called 'The lettre of Cupide god of loue' in the same, fol. 38, back. The
copy in the Fairfax MS. ends with the colophon--_Explicit liber Cupidinis_.
The rimes are mostly Chaucerian; but the rime of _day_ with the gerund _to
assay-e_ in st. 11 is suspicious; so also is that of _now_ with the gerund
_to rescow-e_ in st. 46. In st. 13, _grene_ rimes with _been_, whereas
_gren-e_, in Chaucer, is always dissyllabic. Chaucer's biographers have
been anxious to father this poem upon him, merely because it mentions
Woodstock in l. 285.
One point about this poem is its very peculiar metre; the 5-line stanza,
riming _a a b b a_, is certainly rare. If the question arises, whence is it
copied, the answer is clear, viz. from Chaucer's Envoy to his Compleint to
his Purse. This is a further reason for dating it later than 1399.
32. _Balade with envoy_; 'O leude book,' &c. Printed in Bell's Chaucer, iv.
347, and in Morris's Chaucer, iv. 85, as if it were part of The Cuckoo and
the Nightingale; but obviously unconnected with it. A Balade in the usual
form, viz. three 7-line stanzas, with a refrain; the refrain is--'For of
all good she is the best living.' The envoy consists of only six lines,
instead of seven, rimed _a b a b c c_, and that for a sufficient reason,
which has not been hitherto observed. The initial letters of the lines
form, in fact, an anagram on the name ALISON; which is therefore the name
of the lady to whom the Balade is addressed. There is a copy of this poem
in MS. Fairfax 16, and another in MS. Tanner 346. It is therefore as old as
the 15th century. But to attribute to Chaucer the fourth line of the Envoy
seems hazardous. It runs thus--'Suspiries whiche I effunde in silence.'
Perhaps it is Hoccleve's.
38. _Poem in two 7-line stanzas._ There is nothing to connect this with
Chaucer; and it is utterly unworthy of him. I now quote the whole poem,
just as it stands in the edition of 1561:--
'Go foorthe king, rule thee by Sapience,
Bishoppe, be able to minister doctrine,
Lorde, to true counsale yeue audience,
Womanhode, to chastitie euer encline;
Knight, let thy deedes worship determine;
Be righteous, Iudge, in sauyng thy name;
Rich, do almose, lest thou lese blisse w_i_t_h_ shame.
'People, obeie your kyng and the lawe;
Age, be ruled by good religion;
True seruaunt, be dredfull & kepe the vnder awe;
And, thou poore, fie on presumpcion;
Inobedience to youth is vtter destruccion;
Remembre you, how God hath set you, lo!
And doe your parte, as ye be ordained to.'
In l. 7, ed. 1532 has _almesse_ instead of _almose_. Surely it must be
Lydgate's. Many of his poems exhibit similar catalogues, if I may so term
them.
I have now gone through all the poems published in 1532 and copied into the
later editions (with the exception of nos. 66-68, for which see p. 45); and
I see no way of augmenting the list of Chaucer's Minor Poems any further
from this source.
§ 11. DISCUSSION OF THE POEMS IN PART II. OF ED. 1561.
It is hardly worth while to discuss at length all the poems which it
pleased John Stowe to fling together into the edition of 1561. But a few
remarks may be useful.
Nos. 42, 43, and 60 are admittedly genuine; and are printed below, nos.
XIV., XX., and VIII. I believe nos. 44 and 57 to be so also[225]; they are
discussed below, and are printed as nos. XXI. and VI. No. 61 is, of course,
Lydgate's. Besides this, no. 45 is correctly ascribed to Lydgate in the
MSS.; there are copies of it in MS. Fairfax 16 and in MS. Ashmole 59. No.
56 is also Lydgate's, and is so marked in MS. Harl. 2251. As to no. 46,
called the Craft of Lovers, it is dated by help of two lines in the last
stanza, which are thus printed by Stowe:--
'In the yere of our lorde a .M. by rekeninge
CCCXL. .&. UIII. yere folowing.'
This _seems_ to give the date as 1348; whereas the language is palpably
that of the fifteenth century. Whether Stowe or his printer thought fit to
alter the date intentionally, I cannot say. Still, the fact is, that in the
MS. marked R. 3. 19 in Trinity College Library, at fol. 156, the reading is
'CCCCXL & VIII yere,' so that the true date is rather 1448, or nearly half
a century after Chaucer's death[226]. The same MS., which I suppose
belonged to Stowe, contains several other of these pieces, viz. nos. 48,
49, 50, 51, 53, 54, 55, 56, and perhaps others. The language and, in some
cases, the ruggedness of the metre, forbid us to suppose that Chaucer can
have had anything to do with them, and some are palpably of a much later
date; one or more of these considerations at once exclude all the rest of
Stowe's additions. It may, however, be noted that no. 47 quotes the line
'Beware alwaye, the blind eats many a fly,' which occurs as a refrain in
no. 56, and it is therefore later than the time of Lydgate. The author of
no. 48 says he is 'a man vnknowne.' Many lines in no. 49 are of abnormal
length; it begins with--'Profulgent in preciousnes, O Sinope the queen.'
The same is true of no. 51, which is addressed to a Margaret, and begins
with--'In the season of Feuerere when it was full colde.' Of no. 52,
Tyrwhitt says that the four first stanzas are found in different parts of
an imperfect poem upon the _Fall of Man_, in MS. Harl. 2251; whilst the
11th stanza makes part of an _Envoy_, which in the same MS. is annexed to
the poem entitled the _Craft of Lovers_. No. 53 is a poor affair. No. 54,
called a _Balade Pleasaunte_, is very unpleasant and scurrilous, and
alludes to the wedding of 'queene Iane[227]' as a circumstance that
happened many years ago. No. 55 is scurrilous, odious, and stupid. I doubt
if no. 58 is good enough for Lydgate. No. 59 belongs to the sixteenth
century.
All the poems here rejected were rejected by Tyrwhitt, with two strange
exceptions, viz. nos. 50 and 59, the Virelai and the Court of Love. Of both
of these, the language is quite late. The _Virelai_ is interesting from a
metrical point of view, because such poems are scarce; the only similar
poem that I can call to mind is the _Balet_ (or rather _Virelai_) composed
by Lord Rivers during his imprisonment in 1483, and printed by Percy in his
Reliques of Ancient English Poetry. Percy says that Lord Rivers copies the
_Virelai_ mentioned above, which he assumes to be Chaucer's; but it is
quite as likely that the copying was in the other direction, and that Lord
Rivers copied some genuine _Virelai_ (either Chaucer's or in French) that
is now lost[228]. The final rime of _end_ with _find_, is bad enough; but
the supposition that the language is of the 14th century is ridiculous.
Still the _Virelai_ is good in its way, though it can hardly be older than
1500, and may be still later.
Of all poems that have been falsely ascribed to Chaucer, I know of none
more amazing than _The Court of Love_. The language is palpably that of the
16th century, and there are absolutely _no_ examples of the occurrence in
it of a final _-e_ that is fully pronounced, and forms a syllable! Yet
there are critics who lose their heads over it, and will not give it up.
Tyrwhitt says--'I am induced by the internal evidence (!) to consider it as
one of Chaucer's genuine productions.' As if the 'internal evidence' of a
poem containing no sonant final _-e_ is not enough to condemn it at once.
The original MS. copy exists in MS. R. 3. 19 in Trinity College, and the
writing is later than 1500. The poem itself has all the smoothness of the
Tudor period[229]; it excels the style of Hawes, and would do credit to
Sackville. One reference is too interesting to be passed over. In the
second stanza, the poet regrets that he has neither the eloquence of Tully,
the power of Virgil, nor the 'craft of _Galfride_.' Tyrwhitt explains
_Galfride_ as 'Geoffrey of Monmouth,' though it is difficult to understand
on what ground he could have been here thought of. Bell's 'Chaucer'
explains _Galfride_ as 'Geoffrey of Vinsauf,' which is still more curious;
for Geoffrey of Vinsauf is the very _Gaufride_ whom Chaucer holds up to
eternal ridicule in the Nonne Prestes Tale (l. 526).
I have no doubt at all that the _Galfrid_ here referred to is no other than
Geoffrey Chaucer, who was called, indifferently, _Galfrid_ or _Geoffrey_.
This appears from the testimony of Lydgate, who speaks, in his 'Troy-book,'
of 'Noble Galfryde, chefe Poete of Brytayne,' and again, of 'My mayster
Galfride'; see Lydgate's Siege of Troye, bk. ii. ch. 15, and bk. iii. ch.
25; ed. 1557, fol. K 2, col. 1, and fol. R 2, back, col. 2. Hence we are
not surprised to find that the author makes frequent reference to Chaucer's
Works, viz. to Anelida (l. 235), the Death of Pity (701), Troilus (872),
the Legend of Good Women (104, 873), and the Parl. of Foules (near the
end). The two allusions to the Legend of Good Women at once make the poem
later than 1385; and in fact, it must be quite a century later than that
date. There are more than 70 rimes that differ from those employed by
Chaucer. The Poet introduces to our notice personages named _Philogenet_,
_Philobone_, and _Rosial_. Of these, at least the two former savour of the
time of the Renaissance; for, although Chaucer uses the name Philostrate in
the Knightes Tale (A 1428, 1558, 1728), he merely _copies_ this name from
Boccaccio; and it is amusing to find that Boccaccio himself did not
understand it.[230]
§ 12. POEMS ADDED IN SPEGHT'S EDITIONS OF 1598 AND 1602.
We have now to consider the additions made by Speght in 1598. These were
only two, viz. _Chaucer's Dream_ and _The Flower and the Leaf_.
62. _Chaucer's Dream._ A long poem of 2206 short lines, in metre similar to
that of The House of Fame; accepted by Tyrwhitt, and in all the editions.
But there is no early trace of it; and we are not bound to accept as
Chaucer's a poem first ascribed to him in 1598, and of which the MS. (at
Longleat) was written about 1550. The language is of late date, and the
sonant final _-e_ is decidedly scarce. The poem is badly named, and may
have been so named by Speght; the proper title is 'The Isle of Ladies.' We
find such rimes as _be_, _companie_ (Ch. _be_, _company-e_); _know_, _low_,
i. e. law (Ch. _know-e_, _law-e_); _grene_, _yene_, i. e. eyes (Ch.
_gren-e_, _y-ën_); _plesaunce_, _fesaunce_ (Ch. _plesaunc-e_, _fesaunts_);
_ywis_, _kisse_ (Ch. _ywis_, _kis-se_); and when we come to _destroied_
riming with _conclude_, it is time to stop. The tediousness of this poem is
appalling[231].
63. _The Flower and the Leaf._ This is rather a pretty poem, in 7-line
stanzas. The language is that of the fifteenth century. It professes to be
written by a gentlewoman, like the Assemble of Ladies; and perhaps it
was[232]. Very likely, the same 'gentlewoman' wrote both these poems. If
so, the Flower and the Leaf is the better finished, and probably the later
of the two. It contains the word _henchman_, for which the earliest dated
quotation which I have yet found is 1415 (Royal Wills, ed. Nichols, p.
220). An interesting reference is given in the lines--
'Eke there be knightes old of the garter
That in hir time did right worthily.'
The order of the Garter was established in 1349; and we should expect that
more than half a century would elapse before it would be natural to refer
to the Knights as _old_ knights, who did worthily _in their time_. Of
course the poem cannot be Chaucer's, and it is hardly necessary to look for
rimes such as he never uses; yet such may easily be found, such as _grew_,
pt. t. sing., riming with the dissyllabic _hew-e_, _new-e_; _sid-e_ with
_espide_, pp. (Ch. _espy-ed_); _eie_, eye (Ch. _y-ë_) with _sie_, saw (Ch.
_sy_); and _plesure_[233] with _desire_; after which we may stop.
In 1602, Speght issued another edition, in which, according to Bonn's
edition of Lowndes' _Bibliographer's Manual_, two more pieces were added,
viz. the prose treatise against Friars called _Jack Upland_, and the
genuine poem entitled 'A. B. C.' But this is not all; for I find, in a
still later edition, that of 1687, which is said to be a 'reimpression of
Speght's edition of 1602,' that, at the very end of all the prefatory
matter, on what was probably a spare blank leaf, three more poems appear,
which might as well have been consigned to oblivion. But the editors of
Chaucer evidently thought that a thing once added must be added for ever,
and so these three productions are retained in Bell's Chaucer, and must
therefore be noticed with the rest. I find, however, that they had been
printed previously, viz. at the end of the Table of Contents in ed. 1542
and ed. 1550, where they are introduced quite casually, without a word of
explanation. Moreover, they are copied from MS. Trin. Coll. Cam. R. 3. 15,
a MS. which also contains the Canterbury Tales; and no doubt, this fact
suggested their insertion. See Todd's Illustrations of Chaucer, p. 120.
64. _Jack Upland._ An invective against friars, in prose, worth printing,
but obviously not Chaucer's.