And gan this nedle threde anon;
For out of toun me list to gan,
The song of briddës for to here
That in thise buskës syngen clere,
And in the swete seson that leve ;
With a threde bastyng my slevis,
Alone I wente in my playing,
The smalë foulës song harknyng.
They peyned hem ful many peyre,
To synge on bowës blosmed feyre1
Joly and gay, ful of gladnesse,
Toward a ryver gan I me dresse,
That I herd rennë fastë by;
For fairer playing non saugh I
Than playen me by that ryvere,
For from an hille that stood ther nere,
Cam doun the streme ful stif and bold,
Cleer was the water, and as cold
As any welie is, sooth to seyn,
And somdele lasse it was than Seyn,
But it was straiter, wel-away!
And never saugh I, er that day,.
The watir that so wel lyked me;

And wondir glad was I to se
That lusty place, and that ryvere;
And with that watir that ran so clere
My face I wissh. Tho saugh I wel,
The botme paved everydel2

With gravel, ful of stonës shene.
The medewe softë, swote, and grene,
Beet right up on the watir-syde.
Ful clere was than the morow-tyde,
And ful attempre, out of drece3.

Tho gan I walke thorough the mede,
Dounward ay in my pleying,

The ryver-syde costeying.

THE FLOWER AND THE LEAF.

The Flower and the Leaf, written, according to internal evidence, by a lady, and about 1450, follows out a fancy of French origin which had already in Chaucer's time found its way into the stock poetical material of the age, and to which he makes reference in The Legende of Goode Women.

But helpeth, ye that han conning and might,

Ye lovers, that can make of sentement;

In this case oughtë ye be diligent

To ferthren me somewhat in my labour,

Whether ye been with the leafe or with the flour.'

The followers of the Flower

Are such folk that loved idlenesse,

And not deliten in no businesse,

But for to hunțe and hauke and play in medes
And many other suchlike idle dedes:'

whereas the company of the Leaf, wearing laurel chaplets, 'whose lusty green may not appaired be' by winter storms or frosts, represent the brave and steadfast of all ages, the great knights and champions, the constant lovers and pure women of past and present times.

The poem opens with the usual spring morning, and the description of a woodland arbour hedged round with sycamore and eglantine, and haunted with the songs of birds. Thence the poet sees the rival companies of the Flower and the Leaf scattered over the plain outside, and describes their dresses and equipments with a length and wearisome detail which would alone mark off the poem from Chaucer's work. A storm comes on, which drenches the flower-chaplets and green dresses of Flora's train, while it leaves those of the Leaf unharmed. These bring shelter and friendly help to the followers of the Flower, and then the two companies pass singing out of sight, and a 'fair lady,' herself a servant of the Leaf, explains to the poet the meaning of the vision.

Dryden's paraphrase of this poem, which he of course believed to be by Chaucer, is well known.

[The author having passed a sleepless night. though why she knows not, as she has neither sickness nor disease, wanders out early.]

And up I roos three hourës after twelfe,
Aboute the [erly] springing of the day;
And on I putte my geare and mine array,
And to a pleasaunt grove I gan to passe,
Long or the brightë Sonne up-risen was;

In which were okës grete, streight as a line,
Under the which the gras, so fresh of hew,
Was newly spronge; and an eight foot or nine
Every tree wel fro his fellow grew,

With branches brode, laden with levës new,
That sprongen out ayen the sunnë shene,
Some very red, and some a glad light grene;

Which, as me thoughte, was right a plesant sight;
And eke the briddës songës for to here
Would have rejoyced any earthly wight;
And I that couthe not yet, in no manere,
Herë the nightingale of all the yere,
Ful busily herkned with hart and ere,
If I her voice perceive coude any-where.
And, at the last, a path of little breede1
I found, that gretly hadde not used be;
For it forgrowen was with grasse and weede,
That well unneth a wight [ne] might it se:
Thoght I, 'This path some whider goth, pardé !'
And so I followed, till it me brought

2

To right a pleasaunt herber, well ywrought,

That benched was, and eke with turfës newe
Freshly turved, whereof the grenë gras,

So small, so thicke, so short, so fresh of hewe,
That most ylike grene wool, I wot, it was:
The hegge also that yede in this compas3,
And closed in all the grene herbere,

With sicamour was set and eglatere♣.

breadth.

arbour.

*
went round about.

*

⚫ eglantine

And as I stood and cast aside mine eie,
I was ware of the fairest medler-tree,
That ever yet in all my life I sie1,
As full of blossomes as it mightë be;
Therein a goldfinch leaping pretile

Fro bough to bough; and, as him list, gan ete
Of buddës here and there and flourës swete.

And to the herber side ther was joyninge
This faire tree, of which I have you told;
And at the last the brid began to singe,
When he had eten what he etë wolde,
So passing sweetly, that by manifolde
It was more pleasaunt than I coude devise.
And when his song was ended in this wise,
The nightingale with so mery a note
Answered him, that all the woodë rong
So sodainly, that, as it were a sote2,
I stood astonied; so was I with the song
Thorow ravishëd, that till late and longe,
Ne wist I in what place I was, ne where ;
And ay, me thoughte, she song even by mine ere.

Wherefore about I waited busily,

On every side, if that I her mighte see;
And, at the last, I gan full well aspie
Where she sat in a fresh grene laurer tree,
On the further side, even right by me,
That gave so passing a delicious smell,
According to the eglantere full well.

And as I sat, the briddës harkening thus,
Me thoughte that I herde voices sodainly,
The most sweetest and most delicious

That ever any wight, I trow truly,

Herd in here life; for sothe the armony
And sweet accord was in so good musike,
That the voice[s] to angels most were3 like.

1

saw.

sot, fool.

3 Old ed. was

And at the last, out of a grove faste by,
That was right goodly and pleasant to sight,
I sie where there cam, singing lustily,
A world of ladies; but, to tell aright
Her grete beautie, it lieth not in my might,
Ne her array; neverthelesse I shall

Telle you a part, though I speake not of all.

THE COURT OF LOVE.

The Court of Love (date about 1500) is a poem of the Chaucerian school, containing many echoes of Chaucer, and making distinct reference to The Compleynte of Pite and The Legende of Goode Women. 'Philogenet, of Cambridge Clerk,' who, in the days of unreflecting Chaucerian criticism, was always supposed to represent the young Chaucer himself, repairs to the Court of Venus, where he finds Admetus and Alceste, the heroine of The Legende of Goode Women, with her 'ladies good nineteene' presiding over the Castle of Love. The Queen's handmaid Philobone takes him in charge and shows him the wonders of the place. He swears allegiance to the Twenty Statutes of Love, and is then introduced to the Lady Rosial, with whom he has already fallen in love in his dream, and whose presence inspires him with long protestations of devotion. Rosial is for the time obdurate, and sends him away again with Philobone to wait her pleasure. After a graphic description of the Courtiers of Love, an unequal but vigorous piece of writing, there appears to be a break in the poem, for we find ourselves suddenly in the middle of a tender speech of Rosial, who describes how Pite, risen from the shrine in which Philogenet had seen her buried within the temple of Venus, had softened her breast towards him. The poem ends with one of the favourite bird-scenes of the time, a curious paraphrase of the Matins for Trinity Sunday. This song in honour of Love, sung on May morning by a chorus of birds, should be compared with the last scenes of the Parlement of Foules.

The first of the following extracts, a beautiful sketch of Privy Thought or Fancy, among the Courtiers of Love, is full of delicate imagination, and represents the author better than the tedious Statutes of Love, or the hymn to Venus, taken from Boethius, of