had previously been printed by Caxton, Wynkyn de Worde, and Julian Notary (see vol. i. p. 28), together with 'dyuers workes [of various authors] which were neuer in print before.' Which is the simple solution of the whole matter, as far as this edition is concerned. The same remarks apply to the second edition in 1542, and the third, printed about 1550. But Stowe, in 1561, altered the title so as to give it a new meaning. The title-page of his edition runs thus:—'The Woorkes of Geffrey Chaucer, newly printed with diuers

Addicions which were neuer in printe before.' Here the authorship of Chaucer was, for the first time, practically claimed for the whole of Thynne's volume. At the same time, Stowe did not really mean what he seems to say, for it was he who first added the words—'made by Ihon lidgate'—to the title of 'The Flower of Curtesie,' and who first assigned a title (ascribing the poem to dan Ihon lidgat) to the poem beginning 'Consider wel'; see no. 40 (vol. i. p. 33).

§ 2. It is clear that Thynne's intention was to print a collection of poems, including all he could find of Chaucer and anything else of a similar character that he could lay his hands on^[1]. In other words, the collection was, from the beginning, a collection of the Works of Chaucer and other writers; and this fact was in no way modified by the adoption by Stowe and Speght of misleading titles that actually assigned to Chaucer all the poems in the volume! See further, as to this subject, in the discussion of The Court of Love below.

The number of pieces appended, at various times, to Chaucer's Works are so numerous that I have been obliged to restrict myself to giving a selection of them only.

Of the non-Chaucerian pieces printed by Thynne in 1532, I have included all but three. The rejected pieces are those numbered 18, 21, and 22 in the list given at p. 32 of vol. i. They are all poor and uninteresting, but I add a few words of description.

18. A Praise of Women. Noticed in vol. i. p. 37. Though decisively rejected by Tyrwhitt, and excluded from Moxon's reprint, it was revived (for no good reason) by Bell, and consequently appeared in the Aldine edition, which was founded on Bell's. It enumerates the merits of womankind, and condemns the slanders of men concerning them. We ought to worship all women out of reverence for the Queen of heaven,

and we shall do well to pray to Our Lady to bring us to the heaven in which she and all good women will be found. Thynne is not the sole authority for this poem, as it occurs also (in a Scottish dress) in the Bannatyne MS., fol. 275. The whole of this MS. (written in 1568) was printed for the Hunterian Club in 1873-9; see p. 799 of that edition.

21. The Lamentation of Mary Magdalen. Noticed in vol. i. p. 37. This lugubrious piece was probably the wail of a nun, who had no book but a Vulgate version of the Bible, from which all her quotations are taken. It bears no resemblance to any work by Chaucer, nor to any of the pieces in the present volume. It consists of 102 seven-line stanzas. The metre resembles Lydgate's, but the final -e is hardly ever used. Bell's text is not taken from Thynne, but from some later and inferior reprint of it. For this poem, Thynne's first edition is the sole authority.

22. The Remedy of Love. Noticed in vol. i. p. 38. It appears that the 'remedy of love' is to be found in a consideration of the wicked ways of women. Twelve whole stanzas are taken up with a metrical translation of one of the chapters in the book of Proverbs. The author refers us to 'the fifth chapter,' but he is wrong. He means chapter vii, verses 6-27. He also quotes from Ecclesiasticus, ix. 9, and xxv. 25.

Nos. 28, 29, 30 (vol. i. p. 32) are not found in Thynne, but were first printed by Stowe. I give them below, at p. 297. The first two stanzas are Lydgate's; and probably the third is his also. It is no great matter.

No. 41 (vol. i. p. 33) was also first printed by Stowe. To save words, I have printed it below, at p. 450, from the original MS.

§ 3. I now consider the non-Chaucerian pieces in Part II. of Stowe's Edition (see vol. i. p. 33). Of these, nos. 45, 50, 56, and 59 are here reprinted.

Nos. 46, 47, 48, 49, 51, 52, 53, 54, and 55 were all taken by Stowe from MS. Trin. R. 3. 19. Perhaps they are sufficiently noticed in vol. i. p. 41, as they present few points of interest. However, I enumerate them, adding a few remarks.

No. 46. The Craft of Lovers. In 23 seven-line stanzas; 161 lines. Besides the copy in the Trin. MS., there are copies (almost duplicates) in MSS. Addit. 34360, fol. 73, back (p. 142),

and Harl. 2251, fol. 53 (now called 52). Dated 1448 in the Trin. MS., but 1459 in the other two. The first line ought to run:—'To moralise, who list these ballets sewe'; but it is clear that some one added the words 'A similitude' in the margin, and that this remark was afterwards incorporated in the text. Hence the first line, in the latter MSS., stands:—'To moralise a similitude who list these balettis sewe'; which is more than enough for a line of five accents. After two introductory stanzas, the poem becomes a dialogue, in alternate stanzas, between a wooer, named Cupido, and a lass, named Diana^[2]; the result of which is successful. This may be compared with La Belle Dame sans Merci, and with the Nut-brown Maid. The twenty-third stanza forms the author's Conclusio, which is followed by an Envoy in the Addit. MS., and in the Harl. MS. only. The same MSS. seem to superadd two more stanzas; but they really belong to another piece.

No. 47. Taken by Stowe from MS. Trin. R. 3. 19, fol. 156, back. A Balade. In 4 seven-line stanzas; 28 lines. Begins—'Of their nature they greatly them delite'; i.e. Women are by nature hypocrites; they like kissing live images rather than shrines. So I advise young men to take warning: 'Beware alwaye, the blind eateth many [a] flye'; a line which is quoted from Lydgate's ballad printed at p. 295. The author then prays God to keep the fly out of his dish; and ends by congratulating himself on being anonymous, because women would else blame him.

No. 48. The Ten Commandments of Love; from Trin. MS., fol. 109. Also in MS. Fairfax 16. Begins:—'Certes, ferre extendeth yet my reason.' In 14 stanzas of seven-lines; the last two form the Envoy. After two introductory stanzas, the author gives the ladies their ten commandments. They are, it appears, to exhibit Faith, Entencion, Discrecion, Patience, Secretnesse, Prudence, Perseverance, Pity, Measure [Moderation], and Mercy. In the Envoy, the author says, truly enough, that he is devoid of cunning, experience, manner of enditing, reason, and eloquence; and that he is 'a man unknown.'

No. 49. The Nine Ladies Worthy. In 9 seven-line stanzas, one stanza for each lady. Begins: 'Profulgent in preciousnes,

O Sinope the quene.' Only remarkable for the curious selection made. The Nine Ladies are: (1) Sinope, daughter of Marsepia, queen of the Amazons; see Orosius, Hist. i. 10; (2) Hippolyta, the Amazon, wife of Theseus; (3) Deipyle, daughter of Adrastus, wife of Tydeus; (4) Teuta, queen of the Illyrians; see note to C. T., F 1453 (vol. v. p. 398); (5) Penthesilea the Amazon, slain by Achilles before Troy; (6) queen Tomyris, who slew Cyrus in battle,