call it an Envoy to Alison. For first, it is an Envoy[24], as it refers to the author's 'lewd book,' which it recommends to a lady. What the book is, no one can say; but it may safely be conjectured that it was of no great value. And secondly, the lady's name was Alison, as shewn by the acrostic in lines 22–27; and the author has recourse to almost ludicrous efforts, in order to secure the first four letters of the name.
Briefly, it is a very poor piece; and my chief object in reprinting it is to shew how unworthy it is of Clanvowe, not to mention Chaucer. We have no right even to assign it to Lydgate. And its date may be later than 1450.
§ 55. XX. The Flower and the Leaf.
This piece many 'critics' would assign to Chaucer, merely because they like it. This may be sentiment, but it is not criticism; and, after all, a desire to arrive at the truth should be of more weight with us than indulgence in ignorant credulity.
It is of some consequence to learn, first of all, that it is hardly possible to separate this piece from the next. The authoress of one was the authoress of the other. That The Assembly of Ladies is longer and duller, and has not held its own in popular estimation, is no sound argument to the contrary; for it is only partially true. Between the first eleven stanzas of the Assembly and the first eleven stanzas of the present poem, there is a strong general resemblance, and not much to choose. Other stanzas of the Assembly that are well up to the standard of the Flower will be found in lines 456–490, 511–539. The reason of the general inferiority of the Assembly lies chiefly in the choice of the subject; it was meant to interest some medieval household, but it gave small scope for retaining the reader's attention, and must be held to be a failure.
The links connecting these poems are so numerous that I must begin by asking the reader to let me denote The Flower and the Leaf by the letter F (= Flower), and The Assembly of Ladies by the letter A (= Assembly).
The first point is that (with the sole exception of the Nutbrown Maid) no English poems exist, as far as I remember, written previously to 1500, and purporting to be written by a woman. In the case of F. and A., this is assumed throughout. When the author of F. salutes a certain fair lady, the lady replies—'My doughter, gramercy'; 462. And again she says, 'My fair doughter'; 467, 500, 547. The author of A. says she was one of five ladies; 5–7, 407. Again, she was a woman; 18. The author of A. and some other ladies salute Lady Countenance, who in reply says 'fair sisters'; 370. Again, she and others salute a lady-chamberlain, who replies by calling them 'sisters'; 450; &c.
The poem A. is supposed to be an account of a dream, told by the authoress to a gentleman; with the exception of this gentleman, all the characters of the poem are ladies; and hence its title. The poem F. is not quite so exclusive, but it comes very near it; all the principal characters are ladies, and the chief personages are queens, viz. the queen of the Leaf and the queen of the Flower. The 'world of ladies' in l. 137 take precedence of the Nine Worthies, who were merely men. A recognition of this fact makes the whole poem much clearer.
But the most characteristic thing is the continual reference to colours, dresses, ornaments, and decorations. In F., we have descriptions of, or references to, white surcoats, velvet, seams, emeralds, purfils, colours, sleeves, trains, pearls, diamonds, a fret of gold, chaplets of leaves, chaplets of woodbine, chaplets of agnus-castus, a crown of gold, thundering trumpets, the treasury of Prester John, white cloaks, chaplets of oak, banners of Tartary-silk, more pearls, collars, escutcheons, kings-of-arms, cloaks of white cloth, crowns set with pearls, rubies, sapphires, and diamonds. Then there is a company all clad in one suit (or livery); heralds and poursuivants, more chaplets and escutcheons, men in armour with cloth of gold and horse-trappings, with bosses on their bridles and peitrels—it is surely needless to go on, though we have only arrived at l. 246.
In A., we have much the same sort of thing all over again, though it does not set in before l. 83. Then we meet with blue colours, an embroidered gown, and a purfil with a device. After a respite, we begin again at l. 206—'Her gown was blue'; and the lady wore a French motto. Diligence tells the authoress that she looks well in her new blue gown (259). At l. 305, there is another blue gown, furred with gray, with a motto on the sleeve; and there are plenty more mottoes to follow. At l. 451 we come to a paved floor, and walls made of beryl and crystal, engraved with stories; next, a well-apparelled chair or throne, on five stages, wrought of 'cassidony,' with four pommels of gold, and set with sapphires; a cloth of estate, wrought with the needle (486); cloth of gold (521); a blue gown, with sleeves wrought tabard-wise, of which the collar and the vent (slit in front of the neck) are described as being like ermine; it was couched with great pearls, powdered with diamonds, and had sleeves and purfils; then we come to rubies, enamel, a great balas-ruby, and more of the same kind. Again, it is useless to go further. Surely these descriptions of seams, and collars, and sleeves, are due to a woman.
The likeness comes out remarkably in two parallel stanzas. One of them is from F. 148, and the other from A. 526.
'As grete perles, round and orient,
Diamondes fyne and rubies rede,
And many another stoon, of which I want
The names now; and everich on her hede
A riche fret of gold, which, without drede,
Was ful of statly riche stones set;
And every lady had a chapelet,' &c.
'After a sort the coller and the vent,
Lyk as ermyne is mad in purfeling;
With grete perles, ful fyne and orient,
They were couched, al after oon worching,
With dyamonds in stede of powdering;
The sleves and purfilles of assyse;
They were y-mad [ful] lyke, in every wyse.'
I wonder which the reader prefers; for myself, I have really no choice.
For I do not see how to choose between such lines as these following:—
And on I put my gere and myn array; F. 26.
That ye wold help me on with myn aray; A. 241.
or, So than I dressed me in myn aray; A. 253.
As grete perles, round and orient; F. 148.
With grete perles, ful fyne and orient; A. 528.
And forth they yede togider, twain and twain; F. 295.
See how they come togider, twain and twain; A. 350.
So long, alas! and, if that it you plese
To go with me, I shal do yow the ese; F. 391.
And see, what I can do you for to plese,
I am redy, that may be to your ese; A. 447.
I thank you now, in my most humble wyse; F. 567.
We thanked her in our most humble wyse; A. 729.
Besides these striking coincidences in whole lines, there are a large number of phrases and endings of lines that are common to the two poems; such as—the springing of the day, F. 25, A. 218; Which, as me thought, F. 36, A. 50; wel y-wrought, F. 49, A. 165; by mesure, F. 58, A. 81; I you ensure, F. 60, 287, A. 52, 199; in this wyse, F. 98, A. 589; I sat me doun, F. 118, A. 77; oon and oon, F. 144, A. 368, 543, 710; by and by, F. 59, 146, A. 87; withouten fail, F. 369, A. 567, 646; herself aloon, F. 458, A. 84; ful demure, F. 459, A. 82; to put in wryting, F. 589, A. 664; and others that are printed out in the Notes.
Very characteristic of female authorship is the remark that the ladies vied with each other as to which looked the best; a remark which occurs in both poems; see F. 188, A. 384.
A construction common to both poems is the use of very with an adjective, a construction used by Lydgate, but not by Chaucer; examples are very rede, F. 35; very good, F. 10, 315; very round, A. 479.
It