but it is quite clear that he had nothing to do with it.
Professor Morley well says that 'the writer of this piece uses the word Testament in the old Scriptural sense of a witnessing, and means by Love the Divine Love, the Christian spirit encouraging and directing the wish for the grace of God, called Margaret, the pearl beyond all price.' To which, however, it is highly essential to add that Margaret is not used in the sense of 'grace' alone, but is also employed, in several passages, to signify 'the visible Church of Christ.' The author is, in fact, careful to warn us of the varying, the almost Protean sense of the word at p. 145, where he tells us that 'Margarite, a woman [i.e. properly a woman's name], betokeneth grace, lerning, or wisdom of god, or els holy church.' His object seems to have been to extend the meaning of the word so as to give him greater scope for ingenuity in varying his modes of reference to it. He has certainly succeeded in adding to the obscurity of his subject. That by 'holy church' he meant the visible Church of Christ of his own time, appears from the remarkable assertion that it is 'deedly,' i.e. mortal (p. 94, l. 121). Such an epithet is inapplicable to the Church in its spiritual character. It may also be observed that, however much the sense implied by Margarite may vary, it never takes the meaning which we should most readily assign to it; i.e. it never means a live woman, nor represents even an imaginary object of natural human affection. The nearest approach to such an ideal is at p. 94, l. 114, where we are told that the jewel which he hopes to attain is as precious a pearl as a woman is by nature.
§ 16. It hardly seems worth while to give a detailed analysis of the whole piece. An analysis of the First Book (which is, on the whole, the best) is given by Professor Morley; and the hints which I have already given as to the character and situation of the author will enable the reader to regard the treatise from a right point of view. But it is proper to observe that the author himself tells us how he came to divide the work into three books[10], and what are the ideas on which each book is founded. Each of the three books has an introductory chapter. That to the First Book I have called a Prologue; and perhaps it would have been strictly correct to have called the first chapters of the other books by the same name. In the introductory chapter to the Third Book, p. 101, he declares that the First Book is descriptive of Error, or Deviation (which the editions print as Demacion!); the Second, of Grace; and the Third, of Joy. In other words, the First Book is particularly devoted to recounting the errors of his youth, especially how he was led by others into a conspiracy against the state and into deviation from orthodoxy. In the Prologue, he excuses himself for writing in English, and announces the title of the work. He then assures us that he is merely going to gather up the crumbs that have fallen from the table, and to glean handfuls of corn which Boethius has dropped. 'A sly servant in his own help is often much commended'; and this being understood, he proceeds to help himself accordingly, as has already been explained.
§ 17. Book I: Ch. I. In Chapter I, he describes his misery, and hopes that the dice will turn, and implores the help of Margaret, here used (apparently) to typify the grace of God. He represents himself as being in prison, in imitation of Boethius; but I suspect that, in the present passage, the prison was metaphorical. (He had been imprisoned in 1384, and in 1387 was imprisoned again; but that is another matter.)
Ch. II. Heavenly Love suddenly appears to him, as Philosophy appeared to Boethius, and is ready to console and reclaim him. She is aware of his losses, and he tries to vindicate his constancy of character.
Ch. III. He describes how he once wandered through the woods at the close of autumn, and was attacked by some animals who had suddenly turned wild. To save himself, he embarks on board a ship; but the reader is disappointed to find that the adventure is wholly unreal; the ship is the ship of Travail, peopled by Sight, Lust, Thought, and Will. He is driven on an island, where he catches a glimpse of Love, and finds a Margaret, a pearl of price. He appeals to Love to comfort him.
Ch. IV. Love first reproves and then consoles him. She enquires further into his complaints.
Ch. V. She advises him to contemn such as have spoken against him. He complains that he has served seven years for Rachel, and prays for comfort in his eighth year. She exhorts him to perseverance.
Ch. VI. He here goes into several details as to his previous conduct. The authorities threatened to keep him in prison, unless he would reveal a certain secret or plot. He was afraid that the peace of his native place, London, would suffer; and to procure its peace, he 'declared certain points.' Being charged upon oath to reveal certain secret dealings, he at once did so; for which he incurred much odium.
Ch. VII. To prove that he had only spoken the truth, he offered wager of battle; and was justified by the fact that no one accepted it. He had not perjured himself, because his oath in the law-court was superior to his former oath of secrecy. He only meant truth, but was sadly slandered. It is absurd to be 'a stinking martyr' in a false cause.
Ch. VIII. Love tells him he has greatly erred, and must expect much correction. Earthly fame should be despised, whilst he looks for the fame that comes after death.
Ch. IX. Love vindicates the greatness of God and the goodness of His providence.
Ch. X. The author complains of his hard fortune; he has lost his goods and has been deprived of his office. Love explains that adversity teaches salutary lessons, and that the true riches may still be his own.
§ 18. Book II. In the first chapter (or Prologue) of the Second Book, he again discusses the object of his work. In Chapter II, Love sings him a Latin song, introducing complaints against the clergy such as frequently occur in Piers the Plowman. In Chapter III, we find a discourse on womankind, largely borrowed from Chaucer's House of Fame. The next eight chapters are chiefly devoted to a discussion of the way by which the repentant sinner may come to 'the knot' of Heavenly bliss; and it is here, in particular, that a large portion of Chaucer's Boethius is freely imitated or copied. The last three chapters recount the excellences of Margaret, which in many passages refers rather to the visible Church than to divine Grace.
§ 19. Book III. The first chapter is again introductory, explaining why the number of Books is three. 'The Margaret in virtue is likened to Philosophy, with her three kinds.' It is remarkable that this Third Book, which is dedicated to Joy, is the dullest of the three, being largely taken up with the questions of predestination and free will, with more borrowings from Chaucer's Boethius. In Chapter V, Love explains how continuance in good will produces the fruit of Grace; and, in Chapters VI and VII, shews how such grace is to be attained. Chapter IX recurs to the subject of predestination; after which the work comes to a formal conclusion, with excuses for its various imperfections.
§ 20. II. The Plowmans Tale.
This piece does not appear in Thynne's first edition of 1532, but occurs, for the first time, in the second edition of 1542, where it is added at the end of the Canterbury Tales, after the Parson's Tale. In the next (undated) edition, probably printed about 1550, it is placed before the Parson's Tale, as if it were really Chaucer's, and the same arrangement occurs in the fourth edition, that of 1561, by John Stowe. It is worth mentioning that some booksellers put forward a fable as to the true date of the undated edition being 1539, in order to enhance the value of their copies; but the pretence is obviously false, as is shewn by collation[11]; besides which, it is not likely that the Plowman's Tale would have been at first inserted before the Parson's Tale, then placed after it, and then again placed before it. It is best to separate the first four editions by nearly equal intervals, their dates being, respectively, 1532, 1542, about 1550, and 1561.
Comparison of the black-letter editions shews that the first is the best; and the later ones, being mere reprints, grow gradually worse. Hence, in this case, the edition of 1542 is the sole authority, and the readings of the inferior copies may be safely neglected. It is remarkable that Mr. T. Wright, in his edition of this poem printed in his Political Poems and Songs, i. 304, should have founded his text upon a reprint of Speght in 1687, when he might have taken as his authority a text more than 140 years older. The result is, naturally, that his text is much worse than was at all necessary.
According to Speght, there was once a MS. copy of this piece in Stowe's library, but no one knows what became of it. According to Todd, in his Illustrations of Gower and Chaucer, p. xxxix, there