Part 2

The analysis of the Confessio Amantis which is printed in the Introduction, was undertaken chiefly at the suggestion of Dr. Furnivall. With reference to this it may be observed that in places where the author is following well-known sources, the summaries are intentionally briefer, and in the case of some of the Biblical stories a reference to the original has been thought sufficient.

OXFORD, 1901.

CONTENTS

PAGE

INTRODUCTION vii

CONFESSIO AMANTIS:--

PROLOGUS 1

LIBER I 35

LIBER II 130

LIBER III 226

LIBER IV 301

LIBER V 402

NOTES 457

INTRODUCTION

The Confessio Amantis has been the subject both of exaggerated praise and of undue depreciation. It was the fashion of the fifteenth and sixteenth centuries to set Gower side by side with Chaucer, and to represent them as the twin stars of the new English poetry, a view which, however it may be justified by consideration of their language and literary tendencies, seems to imply a very uncritical estimate of their comparative importance. Some of these references are collected below, and they serve to indicate in a general way that the author had a great literary reputation and that his book was very popular, the latter being a conclusion which is sufficiently vouched for also by the large number of manuscripts which existed, and by the three printed editions. We shall confine ourselves here to drawing attention to a few facts of special significance.

In the first place the Confessio Amantis is the earliest English book which made its way beyond the limits of its own language. There exists a Spanish translation, dating apparently from the very beginning of the fifteenth century, in which reference is made also to a Portuguese version, not known to be now in existence, on which perhaps the Castilian was based. This double translation into contemporary languages of the Continent must denote that the writer’s fame was not merely insular in his life-time.

Secondly, with regard to the position of this book in the sixteenth century, the expressions used by Berthelette seem to me to imply something more than a mere formal tribute. This printer, who is especially distinguished by his interest in language, in the preface to his edition of the Confessio Amantis most warmly sets forth his author as a model of pure English, contrasting his native simplicity with the extravagant affectations of style and language which were then in fashion. In fact, when we compare the style of Gower in writing of love with that which we find in some of the books which were at that time issuing from the press, we cannot help feeling that the recommendation was justified.

Again, nearly a century later a somewhat striking testimony to the position of Gower as a standard author is afforded by Ben Jonson’s English Grammar. The syntax contains about a hundred and thirty illustrative quotations, and of these about thirty are from Gower. Chaucer is cited twenty-five times, Lydgate and Sir Thomas More each about fourteen, the other chief authorities being Norton, Jewel, Fox, Sir John Cheke and the English Bible.

Finally, our author’s popularity and established position as a story-teller is decisively vouched for by the partly Shakesperian play of Pericles. Plots of plays were usually borrowed without acknowledgement; but here, a plot being taken from the Confessio Amantis, the opportunity is seized of bringing Gower himself on the stage to act as Prologue to four out of the five acts, speaking in the measure of his own octosyllabic couplet,

‘To sing a song that old was sung From ashes ancient Gower is come,’ &c.

The book was so well known and the author so well established in reputation, that a play evidently gained credit by connecting itself with his name.

The following are the principal references to Gower in the fifteenth and sixteenth centuries. The author of The King’s Quair dedicates his poem to the memory (or rather to the poems) of his masters Gower and Chaucer. Hoccleve calls him ‘my maister Gower,’

‘Whos vertu I am insufficient For to descrive.’

John Walton of Osney, the metrical translator of Boethius, writes,

‘To Chaucer, that is flour of rhethorique In english tonge and excellent poete, This wot I wel, no thing may I do like, Though so that I of makinge entermete; And Gower, that so craftely doth trete As in his book<es> of moralite, Though I to hem in makinge am unmete, Yit moste I schewe it forth that is in me.’

Bokenham in his Lives of the Saints repeatedly speaks of Gower, Chaucer and Lydgate, the last of whom was then still living, as the three great lights of English literature. Caxton printed the Confessio Amantis in 1483, and it seems to have been one of the most popular productions of his press.

In the sixteenth century Gower appears by the side of Chaucer in Dunbar’s Lament for the Makaris and in Lindsay’s poems. Hawes in the Pastime of Pleasure classes him with Chaucer and his beloved Lydgate, and Skelton introduces him as first in order of time among the English poets who are mentioned in the Garland of Laurel,

‘I saw Gower that first garnysshed our Englysshe rude, And maister Chaucer,’ &c.,