Soverane Lordis Papyngo (c. 1530) is an anglicised quarto edition published by the London printer John Byddell in 1538 (STC 15671). Two closely-related editions of the original Scots text -a quarto and octavo -subsequently appeared in 1558, printed at Rouen by Jean Petit or one of his immediate successors (STC 15673 and 15674). The layout and page-breaks of the 1558 quarto correspond to those of Byddell's 1538 edition, but because the 1538 print was anglicised, each of the editions must have derived its layout from a Scottish archetype with the same design. Douglas Hamer, who first studied the relationship between these prints, argued that this archetype was printed in Edinburgh by Thomas Davidson in December 1530, the date preserved in the double colophon of Byddell's 1538 edition. 1 One of Davidson's Edinburgh successors, John Scot, published a new edition of the poem in 1559 (STC 15675), and although this edition does not share the layout of the earlier quartos, Hamer argued that it was effectively a reprint of the lost 1530 edition, since John Scot seems to have inherited Thomas Davidson's back catalogue. 2 Scot's text (S) is free from the anglicisations of Byddell's text (B) and free from the errors introduced by the compositors at Rouen (P and P 8 ), so it has thus been taken as the best witness to the 1530 edition, and has been used as the base text for modern editions of the poem. 3 1 See Douglas Hamer, 'The Bibliography of Sir David Lindsay (1490-1555)', The Library, 4th ser., x (1929), 1-42.2 See Hamer, 'The Bibliography of Sir David Lindsay', 3-4. 3 These editions are The Works of Sir David Lindsay of the Mount 1490-1555, ed. Douglas Hamer, 4 vols (Edinburgh, 1931 and Sir David Lyndsay: Selected Poems, ed. Janet Hadley Williams (Glasgow, 2000). John Scot printed a further edition of the poem for Henry Charteris in 1568 (STC 15658), which corrects some of the typographical errors in S, while a scribal copy of several of Lyndsay's poems survives in Edinburgh University Library, MS Dk. 7. 49. The Lyndsay poems in the manuscript were copied between c. 1563-66 by David Anderson of Aberdeen, and are derived from printed editions. See Hamer (ed.), Works of Sir David Lindsay, IV, 8-11. The earlier part of the manuscript is a copy of Gavin Douglas's Eneados, transcribed by John Elphynstoun before 1527.
This article introduces a copy of The Woorkes of Geffrey Chaucer (1561) formerly belonging to the writer, cleric, limner, and book-collector Stephan Batman (c. 1542–1584). The volume is currently held at the Guildhall Library (SR 2.3.3), and contains Batman’s annotations and manicules throughout the text. It also features a 28-line poem in Batman’s hand, a short booklist of medieval chronicles, and five line drawings. The book thus offers a fresh insight into the reading practices of one of the most industrious English antiquaries of the sixteenth century, and sheds new light on Chaucer’s sixteenth-century reception.
Stephen Hawes's fusion of romance and allegory has long been recognized as the poet's chief claim to originality. But Hawes's chivalric allegories have often been treated merely as an obscure antecedent to the immersive world of Spenser's Faerie Queene. This article examines Hawes's originality on its own terms, and brings his work back into conversation with the metrical romances, devotional treatises, and dreams of spiritual warfare that shaped his creative aspirations. By analysing Hawes's early dream poem, The Example of Vertu, I argue that the motifs of chivalric romance first entered the poet's work through the back door of homiletic sources. I then explore how Hawes achieved a bolder, more intuitive movement between allegory and romance in his most ambitious work, The Pastime of Pleasure.The poems of Stephen Hawes are some of the sleepiest in English. Whenever the sun sets in The Pastime of Pleasure (1505/06), Hawes's questing protagonist "La Graunde Amour" is to be found dismounting his allegorical horse, taking off his allegorical helmet, and settling down in a "ryall toure vpon a craggy roche" (4161) or simply "vnder an hyll syde" (3464). 1 Sometimes this lovesick knight sleeps "with sorowe opprest" (1908) or with "inwarde trouble" (4716), much like Chaucer's Troilus, but more often than not he is simply grateful of the "softe pylowe" (4714) provided by a host, or the promise of a "good brekefast" (4506) the following morning. His trusty greyhounds "Grace" and "Gouernaunce" ensure that he never oversleeps, and leap on him "ryght meryly" (4503) when the sun rises. During his long and
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