Part 4 (2/2)

[2] 'Bultyphal:' Bucephalus.

[3] 'Starf:' died.

[4] 'Heved: head.

[5] 'Lete:' left.

[6] 'Ord:' point.

[7] 'Felawen;' fellows.

[7] 'Vavasour:' subject.

[8] 'c.u.n.teck:' strife.

[9] 'Gregeys:' Greeks.

[10] 'Honteys:' shame.

[11] 'Kidden:' thought.

[12] 'Distrere:' horse.

[13] 'Little thraw:' short time.

[14] 'Heved:' head.

[15] 'Lavedy:' lady.

[16] 'Amy:' paramour.

[17] 'Yled:' led along, maimed.

[18] 'Many fair pensel bebled:' many a banner sprinkled with blood.

[19] 'Liklaking:' clas.h.i.+ng.

Davie was also the author of an original poem, ent.i.tled, 'Visions in Verse,' and of the 'Battle of Jerusalem,' in which he versifies a French romance. In this production Pilate is represented as challenging our Lord to single combat!

In 1349, died Richard Rollo, a hermit, and a verse-writer. He lived a secluded life near the nunnery of Hampole in Yorks.h.i.+re, and wrote a number of devotional pieces, most of them very dull. In 1350, Lawrence Minot produced some short narrative ballads on the victories of Edward III., beginning with Halidon Hill, and ending with the siege of Guisnes Castle. His works lay till the end of the last century obscure in a MS.

of the Cotton Collection, which was supposed to be a transcript of the Works of Chaucer. On a spare leaf of the MS. there had been accidentally written a name, probably that of its original possessor, 'Richard Chawsir.' This the getter-up of the Cotton catalogue imagined to be the name of Geoffrey Chaucer. Mr Tyrwhitt, while foraging for materials to his edition of 'The Canterbury Tales,' accidentally found out who the real writer was; and Ritson afterwards published Minot's ballads, which are ten in number, written in the northern dialect, and in an alliterative style, and with considerable spirit and liveliness. He has been called the Tyrtaeus of his age.

We come now to the immediate predecessor of Chaucer--Robert Langlande.

He was a secular priest, born at Mortimer's Cleobury, in Shrops.h.i.+re, and educated at Oriel College, Oxford. He wrote, towards the end of the fourteenth century, a very remarkable work, ent.i.tled, 'Visions of William concerning Piers Plowman.' The general object of this poem is to denounce the abuses of society, and to inculcate, upon both clergy and laity, their respective duties. One William is represented as falling asleep among the Malvern Hills, and sees in his dream a succession of visions, in which great ingenuity, great boldness, and here and there a powerful vein of poetry, are displayed. Truth is described as a magnificent tower, and Falsehood as a deep dungeon. In one canto Religion descends, and gives a long harangue about what should be the conduct of society and of individuals. Bribery and Falsehood, in another part of the poem, seek a marriage with each other, and make their way to the courts of justice, where they find many friends. Some very whimsical pa.s.sages are introduced.

The Power of Grace confers upon Piers Plowman, who stands for the Christian Life, four stout oxen, to cultivate the field of Truth. These are Matthew, Mark, Luke, and John, the last of whom is described as the gentlest of the team. She afterwards a.s.signs him the like number of stots or bullocks, to harrow what the evangelists had ploughed, and this new horned team consists of Saint or Stot Ambrose, Stot Austin, Stot Gregory, and Stot Jerome.

Apart from its fantastic structure, 'Piers Plowman' was not only a sign of the times, but did great service in its day. His voice rings like that of Israel's minor prophets--like Nahum or Hosea--in a dark and corrupt age. He proclaims liberal and independent sentiments, he attacks slavery and superst.i.tion, and he predicts the doom of the Papacy as with a thunder-knell. Chaucer must have felt roused to his share of the reformatory work by the success of 'Piers Plowman;' Spenser is suspected to have read and borrowed from him; and even Milton, in his description of a lazar-house in 'Paradise Lost,' had him probably in his eye. (See our last extract from 'Piers.')

On account of the great merit and peculiarity of this work we proceed to make rather copious extracts.

HUMAN LIFE.

Then 'gan I to meten[1] a marvellous sweven,[2]

That I was in wilderness, I wist never where: As I beheld into the east, on high to the sun, I saw a tower on a loft, richly ymaked, A deep dale beneath, a dungeon therein, With deep ditches and dark, and dreadful of sight: A fair field full of folk found I there between, Of all manner men, the mean and the rich, Working and wand'ring, as the world asketh; Some put them to the plough, playeden full seld, In setting and sowing swonken[3] full hard: And some put them to pride, &c.

[1] 'Meten:' dream.

[2] 'Sweven:' dream.

[3] 'Swonken:' toiled.

ALLEGORICAL PICTURES.

Thus robed in russet, I roamed about All a summer season, for to seek Dowell And freyned[1] full oft, of folk that I met If any wight wist where Dowell was at inn, And what man he might be, of many man I asked; Was never wight as I went, that me wysh[2] could Where this lad lenged,[3] lesse or more, Till it befell on a Friday, two friars I met Masters of the Minors,[4] men of greate wit.

I halsed them hendely,[5] as I had learned, And prayed them for charity, ere they pa.s.sed further, If they knew any court or country as they went Where that Dowell dwelleth, do me to wit,[6]

For they be men on this mould, that most wide walk And know countries and courts, and many kinnes[7] places, Both princes' palaces, and poor menne's cotes, And Dowell, and Doevil, where they dwell both.

'Amongst us,' quoth the Minors, 'that man is dwelling And ever hath as I hope, and ever shall hereafter.'

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