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READERS’ MEMORIALS IN CHAUCER EDITIONS READERS’ MEMORIALS IN CHAUCER EDITIONS 4545

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READERS’ MEMORIALS IN EARLY EDITIONS OF CHAUCERREADERS’ MEMORIALS IN EARLY EDITIONS OF CHAUCER

byby

Hope JohnstonHope Johnston

Chaucer’s haucer’s early and enduring fascination among english readers has become early and enduring fascination among english readers has become a source of interest in itself among modern critics. The foundation for a source of interest in itself among modern critics. The foundation for

studies of Chaucer’s reception is Caroline Spurgeon’s classic studies of Chaucer’s reception is Caroline Spurgeon’s classic Five Hundred Years of Five Hundred Years of Chaucer Criticism and Allusion,Chaucer Criticism and Allusion, which gathers quotations concerning him from the which gathers quotations concerning him from the late medieval period through the end of the nineteenth century.late medieval period through the end of the nineteenth century.1 In more recent In more recent years, book historians have turned to evidence from medieval manuscripts and years, book historians have turned to evidence from medieval manuscripts and early printed books. Alexandra Gillespie provides a thoughtful study of how early printed books. Alexandra Gillespie provides a thoughtful study of how printers crafted the idea of Chaucer as Author through their decisions about the printers crafted the idea of Chaucer as Author through their decisions about the presentation of his texts.presentation of his texts.2 Alison Wiggins considers how readers used their early Alison Wiggins considers how readers used their early printed books by examining the annotations found in her survey of fi fty-four printed books by examining the annotations found in her survey of fi fty-four surviving black-letter copies.surviving black-letter copies.3

This essay will consider how individuals took printed books and re-crafted This essay will consider how individuals took printed books and re-crafted them in ways that refl ect the high cultural status accorded to Chaucer. Intentional them in ways that refl ect the high cultural status accorded to Chaucer. Intentional alterations made by book owners to their sixteenth-century editions of Chaucer alterations made by book owners to their sixteenth-century editions of Chaucer include memorial inscriptions, title-page embellishments, and portraits inserted include memorial inscriptions, title-page embellishments, and portraits inserted as frontispieces. Owners personally mended, emended, and augmented books, as frontispieces. Owners personally mended, emended, and augmented books, and in so doing, they memorialized Chaucer as well as his corpus of writing. and in so doing, they memorialized Chaucer as well as his corpus of writing. Their active engagement with books as physical objects offers a new approach Their active engagement with books as physical objects offers a new approach

1. Caroline F. E. Spurgeon, 1. Caroline F. E. Spurgeon, Five Hundred Years of Chaucer Criticism and Allusion 1357–1900,Five Hundred Years of Chaucer Criticism and Allusion 1357–1900, 3 vols. (Cambridge: Cambridge Univ. Press, 1925); Jackson Campbell Boswell and Sylvia 3 vols. (Cambridge: Cambridge Univ. Press, 1925); Jackson Campbell Boswell and Sylvia Wallace Holton, Wallace Holton, Chaucer’s Fame in England: STC Chauceriana, 1475 –1640 Chaucer’s Fame in England: STC Chauceriana, 1475 –1640 (New York: Modern (New York: Modern Language Association, 2005).Language Association, 2005).

2. Alexandra Gillespie, 2. Alexandra Gillespie, Print Culture and the Medieval Author: Chaucer, Lydgate, and Their Print Culture and the Medieval Author: Chaucer, Lydgate, and Their Books 1473 –1557Books 1473 –1557 (Oxford: Oxford Univ. Press, 2006). For other important book-length studies (Oxford: Oxford Univ. Press, 2006). For other important book-length studies of Chaucer’s early editions, see of Chaucer’s early editions, see Editing Chaucer: The Great Tradition,Editing Chaucer: The Great Tradition, ed. Paul Ruggiers (Norman, ed. Paul Ruggiers (Norman, OK: Pilgrim Books, 1984) and Joseph A. Dane, OK: Pilgrim Books, 1984) and Joseph A. Dane, Who is Buried in Chaucer’s Tomb? Studies in the Who is Buried in Chaucer’s Tomb? Studies in the Reception of Chaucer’s BookReception of Chaucer’s Book (East Lansing, MI: Michigan State Univ. Press, 1998). (East Lansing, MI: Michigan State Univ. Press, 1998).

3. Alison Wiggins, “What Did Renaissance Readers Write in their Printed Copies of 3. Alison Wiggins, “What Did Renaissance Readers Write in their Printed Copies of Chaucer?” Chaucer?” The Library,The Library, 7th ser., 9 (2008): 3 –36. Numerous other articles discuss the marginalia 7th ser., 9 (2008): 3 –36. Numerous other articles discuss the marginalia of individual copies: see Megan Cook, “How Francis Thynne Read His Chaucer,” of individual copies: see Megan Cook, “How Francis Thynne Read His Chaucer,” Journal of the Journal of the Early Book Society Early Book Society 15 (2012): 215 –244; Robert C. Evans, “Ben Jonson’s Chaucer,” 15 (2012): 215 –244; Robert C. Evans, “Ben Jonson’s Chaucer,” English Literary English Literary RenaissanceRenaissance 19 (1989): 324 –345; Antonia Harbus, “Interpreting The Wife of Bath’s Prologue 19 (1989): 324 –345; Antonia Harbus, “Interpreting The Wife of Bath’s Prologue and Tale in a Contemporary Note to Thynne’s 1532 Edition,” and Tale in a Contemporary Note to Thynne’s 1532 Edition,” ANQANQ 22 (2009): 3 –11 and “A 22 (2009): 3 –11 and “A Renaissance Reader’s English Annotations to Thynne’s 1532 Edition of Chaucer’s Works,” Renaissance Reader’s English Annotations to Thynne’s 1532 Edition of Chaucer’s Works,” Review of English Studies,Review of English Studies, n.s. 59 (2007): 342 –355; Seth Lerer, “Latin Annotations in a Copy of n.s. 59 (2007): 342 –355; Seth Lerer, “Latin Annotations in a Copy of Stowe’s Chaucer and the Seventeenth-Century Reception of Stowe’s Chaucer and the Seventeenth-Century Reception of Troilus and Criseyde,Troilus and Criseyde,” ” Review of En-Review of En-glish Studies,glish Studies, n.s. 53 (2002): 1–7; Alison Wiggins, “Frances Wolfreston’s Chaucer,” n.s. 53 (2002): 1–7; Alison Wiggins, “Frances Wolfreston’s Chaucer,” in in Women as Women as Scribes and the Domestication of Print Culture,Scribes and the Domestication of Print Culture, ed. P. Hardman and Lawrence Mathers (Cambridge: ed. P. Hardman and Lawrence Mathers (Cambridge: Brewer, 2010), 77– 89. See below for relevant citations and further discussion concerning reader Brewer, 2010), 77– 89. See below for relevant citations and further discussion concerning reader inscriptions of Chaucer’s Latin epitaph in early printed books.inscriptions of Chaucer’s Latin epitaph in early printed books.

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to reception studies. While the recovery of annotations is a valuable means of to reception studies. While the recovery of annotations is a valuable means of discerning reader engagement with the text, examining the individuation of the discerning reader engagement with the text, examining the individuation of the artifact can tell a story, too, about readers’ perception of Chaucer’s fame.artifact can tell a story, too, about readers’ perception of Chaucer’s fame.

Memorial Inscriptions and HeraldryMemorial Inscriptions and Heraldry

Seth Lerer argues that classical eulogies composed for Chaucer were meant Seth Lerer argues that classical eulogies composed for Chaucer were meant not just to perpetuate his memory but to liberate writers from his shadow by not just to perpetuate his memory but to liberate writers from his shadow by putting him fi rmly in his grave.putting him fi rmly in his grave.4 This literary gesture took physical form when This literary gesture took physical form when Nicholas Brigham commissioned a marble monument ca. 1556 commonly re-Nicholas Brigham commissioned a marble monument ca. 1556 commonly re-ferred to as “Chaucer’s Tomb,” giving Chaucer a place in Westminster Abbey ferred to as “Chaucer’s Tomb,” giving Chaucer a place in Westminster Abbey among the prelates and kings of England’s past.among the prelates and kings of England’s past.5 It created a public locus for It created a public locus for Chaucer’s national importance, as Thomas A. Prendergast has noted, yet the Chaucer’s national importance, as Thomas A. Prendergast has noted, yet the duration of memory bound up in the memorial would have been largely sym-duration of memory bound up in the memorial would have been largely sym-bolic during the sixteenth century.bolic during the sixteenth century.6 Variations among the versions of the Latin Variations among the versions of the Latin epitaph on Chaucer’s tomb testify that the exact wording was not set in stone but epitaph on Chaucer’s tomb testify that the exact wording was not set in stone but took on its own life, as Joseph A. Dane shows in his study of the tomb verses.took on its own life, as Joseph A. Dane shows in his study of the tomb verses.7 Readers participated actively in the memorial process by inscribing verses from Readers participated actively in the memorial process by inscribing verses from the monument in early printed copies of his writing. Rather than circumscribing the monument in early printed copies of his writing. Rather than circumscribing Chaucer’s reach by marking his death, elegiac verses continued to draw interest Chaucer’s reach by marking his death, elegiac verses continued to draw interest from readers who turned the pages of his writing over the centuries.from readers who turned the pages of his writing over the centuries.

The ideological association of tome and tomb is a topic that has interested The ideological association of tome and tomb is a topic that has interested a number of critics in recent years. Scholars have been reporting discoveries of a number of critics in recent years. Scholars have been reporting discoveries of the Westminster Abbey epitaph in twos and threes, mostly bringing these to light the Westminster Abbey epitaph in twos and threes, mostly bringing these to light serendipitously while pursuing other projects. Joseph A. Dane and Alexandra serendipitously while pursuing other projects. Joseph A. Dane and Alexandra Gillespie fi rst called attention to the epitaph phenomenon with examples at the Gillespie fi rst called attention to the epitaph phenomenon with examples at the Huntington Library and the University of Texas Harry Ransom Center.Huntington Library and the University of Texas Harry Ransom Center.8 Alison Alison Wiggins documents three more examples from the Cambridge University Li-Wiggins documents three more examples from the Cambridge University Li-brary and the Folger Shakespeare Library, and Arnold Sanders reports two more brary and the Folger Shakespeare Library, and Arnold Sanders reports two more

4. Seth Lerer, 4. Seth Lerer, Chaucer and His Readers: Imagining the Author in Late-Medieval EnglandChaucer and His Readers: Imagining the Author in Late-Medieval England (Prince- (Prince-ton: Princeton Univ. Press, 1993), 147–175; repr. in ton: Princeton Univ. Press, 1993), 147–175; repr. in Writing After Chaucer: Essential Readings in Writing After Chaucer: Essential Readings in Chaucer and the Fifteenth Century,Chaucer and the Fifteenth Century, ed. Daniel J. Pinti (New York and London: Garland, 1998), ed. Daniel J. Pinti (New York and London: Garland, 1998), 243 –279. For the seminal psychoanalytic essay on “Father Chaucer” and expressions of 243 –279. For the seminal psychoanalytic essay on “Father Chaucer” and expressions of fi fteenth-century anxiety about living up to his literary standards, see A. C. Spearing, fi fteenth-century anxiety about living up to his literary standards, see A. C. Spearing, Medieval to Medieval to Renaissance in English PoetryRenaissance in English Poetry (Cambridge: Cambridge Univ. Press, 1985), 88 –110; repr. in (Cambridge: Cambridge Univ. Press, 1985), 88 –110; repr. in Writing Writing After Chaucer,After Chaucer, ed. Pinti, 145 –166. ed. Pinti, 145 –166.

5. James P. Carley, “Brigham, Nicholas (5. James P. Carley, “Brigham, Nicholas (d.d. 1558),” 1558),” Oxford Dictionary of National Biogra-Oxford Dictionary of National Biogra-phyphy (Oxford Univ. Press, 2004; online ed., Jan. 2008), (Oxford Univ. Press, 2004; online ed., Jan. 2008), http://www.oxforddnb.com /view/http://www.oxforddnb.com /view/article/341article/3414.

6. Regarding public memorial gestures see Thomas Prendergast, 6. Regarding public memorial gestures see Thomas Prendergast, Chaucer’s Dead Body: From Chaucer’s Dead Body: From Corpse to Corpus Corpse to Corpus (New York: Routledge, 2003).(New York: Routledge, 2003).

7. See Joseph A. Dane, 7. See Joseph A. Dane, Who is Buried in Chaucer’s Tomb? Studies in the Reception of Chaucer’s Who is Buried in Chaucer’s Tomb? Studies in the Reception of Chaucer’s Book Book (East Lansing, MI: Michigan State Univ. Press, 1998), 11–32, where he notes that the (East Lansing, MI: Michigan State Univ. Press, 1998), 11–32, where he notes that the Latin epitaph circulated “in several overlapping traditions: in Chaucer editions and biogra-Latin epitaph circulated “in several overlapping traditions: in Chaucer editions and biogra-phies, in written surveys of physical antiquities, and in engravings found in these and other phies, in written surveys of physical antiquities, and in engravings found in these and other works” (17).works” (17).

8. Joseph A. Dane and Alexandra Gillespie, “Back at Chaucer’s Tomb – Inscriptions in 8. Joseph A. Dane and Alexandra Gillespie, “Back at Chaucer’s Tomb – Inscriptions in Two Early Copies of Chaucer’s Two Early Copies of Chaucer’s Workes,Workes,” ” Studies in Bibliography Studies in Bibliography 52 (1999): 89 –96.52 (1999): 89 –96.



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from the John Hopkins Library.from the John Hopkins Library.9 Four more can be added to the list based on dis- Four more can be added to the list based on dis-coveries at the John Rylands Library; Pembroke College, Cambridge; the State coveries at the John Rylands Library; Pembroke College, Cambridge; the State Library of South Australia; and the University of Texas Harry Ransom Center. Library of South Australia; and the University of Texas Harry Ransom Center. The hands of the readers date from the sixteenth, seventeenth, and eighteenth The hands of the readers date from the sixteenth, seventeenth, and eighteenth centuries, meaning that the practice was more than a contemporary response centuries, meaning that the practice was more than a contemporary response to a current event, and from a meta-perspective, recent monographs by Dane to a current event, and from a meta-perspective, recent monographs by Dane and Prendergast attest that the topic remains an active subject of interest today. and Prendergast attest that the topic remains an active subject of interest today. The inscriptions in individual copies (see table 1) demonstrate that book owners The inscriptions in individual copies (see table 1) demonstrate that book owners continued to make the association between tome and tomb over an extended continued to make the association between tome and tomb over an extended period of time.period of time.

Other inscriptions achieve a similar end, whether combined with the Latin Other inscriptions achieve a similar end, whether combined with the Latin epitaph or in lieu of it. Rare Book Librarian Kyle R. Triplett has discovered lines epitaph or in lieu of it. Rare Book Librarian Kyle R. Triplett has discovered lines from William Camden’s from William Camden’s Britannia Britannia in a copy of the 1561 in a copy of the 1561 Woorkes Woorkes at the New York at the New York Public Library on the verso of a parchment title page (fi gure 1).Public Library on the verso of a parchment title page (fi gure 1).1010

Camden’s quotation is featured more prominently than the tomb epitaph in Camden’s quotation is featured more prominently than the tomb epitaph in Speght’s 1598 edition, and Camden’s name would carry a high recognition value Speght’s 1598 edition, and Camden’s name would carry a high recognition value for Elizabethan readers. The popularity of his for Elizabethan readers. The popularity of his BritanniaBritannia can be measured by the can be measured by the fact that it went through six editions between 1586 and 1607. In 1610 George fact that it went through six editions between 1586 and 1607. In 1610 George Bishop and John Norton printed an English translation by Philemon Holland, Bishop and John Norton printed an English translation by Philemon Holland, who translates Camden’s passage on Chaucer liberally:who translates Camden’s passage on Chaucer liberally:1111

For, hee surpassing all others without question in wit, and leaving our smat-For, hee surpassing all others without question in wit, and leaving our smat-tering Poet-asters by many degrees behind him:tering Poet-asters by many degrees behind him:

iam monte potitus, iam monte potitus,Ridet anhelantem dura ad fastigia turbam.Ridet anhelantem dura ad fastigia turbam.When once himselfe the steepe hill top had woone,When once himselfe the steepe hill top had woone,At all the sort of them he laught anoneAt all the sort of them he laught anone

9. Wiggins, “What Did Renaissance Readers Write?,” 17–20; Arnold Sanders, “Writing 9. Wiggins, “What Did Renaissance Readers Write?,” 17–20; Arnold Sanders, “Writing Fame: Epitaph Transcriptions in Renaissance Chaucer Editions and the Construction of Chau-Fame: Epitaph Transcriptions in Renaissance Chaucer Editions and the Construction of Chau-cer’s Poetic Reputation,” cer’s Poetic Reputation,” Journal of the Early Book Society Journal of the Early Book Society 14 (2011): 145 –178.14 (2011): 145 –178.

10. For more on Speght’s title pages, see Tim William Machan, “Speght’s ‘Works’ and the 10. For more on Speght’s title pages, see Tim William Machan, “Speght’s ‘Works’ and the Invention of Chaucer,” Invention of Chaucer,” TextText 8 (1995): 145 –170. 8 (1995): 145 –170.

11. William Camden, 11. William Camden, Britain, or A chorographicall description Britain, or A chorographicall description [...], trans. Philemon Holland [...], trans. Philemon Holland (London: George Bishop and John Norton, 1610), (London: George Bishop and John Norton, 1610), STCSTC 4509, at page 4509, at page 376.376.

Table 1. Table 1. Copies of early Chaucer editions with transcription of Chaucer’s epitaphCopies of early Chaucer editions with transcription of Chaucer’s epitaph

Edition YearEdition Year LocationLocation STC,STC, rev. ed rev. ed

15321532 Folger Shakespeare Library (STC 5068 copy 1)Folger Shakespeare Library (STC 5068 copy 1) 5068506815321532 Texas, Harry Ransom Center (PR 1850 1532 copy 2)Texas, Harry Ransom Center (PR 1850 1532 copy 2) 50685068ca. 1550ca. 1550 State Library of South Australia (RBR 821.C496b)State Library of South Australia (RBR 821.C496b) [acephalous][acephalous]ca. 1550ca. 1550 Folger Shakespeare Library (STC 5071)Folger Shakespeare Library (STC 5071) 50715071ca. 1550ca. 1550 John Rylands Library (Special Collections 21316)John Rylands Library (Special Collections 21316) 50715071ca. 1550ca. 1550 Huntington Library (RB #99584)Huntington Library (RB #99584) 5072507215611561 Cambridge University Library (Syndics 2.56.2)Cambridge University Library (Syndics 2.56.2) 5075507515611561 John Hopkins University (PO 1850 1561 Quarto)John Hopkins University (PO 1850 1561 Quarto) 5075507515611561 Texas, Harry Ransom Center (PR 1850 1561 copy 2)Texas, Harry Ransom Center (PR 1850 1561 copy 2) 5076507615611561 John Hopkins University (PO 1850 1561a Quarto)John Hopkins University (PO 1850 1561a Quarto) 5076507615611561 Pembroke College, Cambridge (LC.l.17) Pembroke College, Cambridge (LC.l.17) 50765076



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To see how they the pitch thereof to gaineTo see how they the pitch thereof to gainePuffi ng and blowing doe clamber vp in vaine.Puffi ng and blowing doe clamber vp in vaine.

“The learned Italian” mentioned obliquely by Camden as the author of the Latin “The learned Italian” mentioned obliquely by Camden as the author of the Latin verse is the humanist Angelo Poliziano (1454 –94). Speght therefore deals out a verse is the humanist Angelo Poliziano (1454 –94). Speght therefore deals out a double dose of intellectual gravitas in the quotation from Camden’s double dose of intellectual gravitas in the quotation from Camden’s Britannia,Britannia, who cites an Italian humanist in turn. The annotator’s decision to inscribe the who cites an Italian humanist in turn. The annotator’s decision to inscribe the Camden passage on the title page verso of Stow’s 1561 Camden passage on the title page verso of Stow’s 1561 WoorkesWoorkes participates in participates in a pattern of literary witnessing that goes beyond variations of the tomb verses. a pattern of literary witnessing that goes beyond variations of the tomb verses. Indeed, the last two Latin lines quoted from Camden’s Indeed, the last two Latin lines quoted from Camden’s BritanniaBritannia are inscribed are inscribed on the title page of a 1602 edition at Trinity College Dublin (R. bb. 24) that be-on the title page of a 1602 edition at Trinity College Dublin (R. bb. 24) that be-longed to Archbishop James Ussher (1581–1656), and it would not be surprising longed to Archbishop James Ussher (1581–1656), and it would not be surprising if future research fi nds Camden cited by readers in other copies.if future research fi nds Camden cited by readers in other copies.

Memorial quotations in several cases occur in combination with each other. Memorial quotations in several cases occur in combination with each other. Dane and Gillespie observe that the tomb verses in the Huntington Library copy Dane and Gillespie observe that the tomb verses in the Huntington Library copy appear with an untraced Latin distich, “Chaucer occubuit sed corpore, cetera appear with an untraced Latin distich, “Chaucer occubuit sed corpore, cetera magnis | post cineres virtus vincere sola facit” [Chaucer is dead, but his spirit magnis | post cineres virtus vincere sola facit” [Chaucer is dead, but his spirit lives on], which they suggest might have been composed by the owner.lives on], which they suggest might have been composed by the owner.1212 Another Another early owner selects lines from the writings of Tiberius, Horace, Virgil, and Cicero early owner selects lines from the writings of Tiberius, Horace, Virgil, and Cicero to accompany the Latin epitaph in a copy of the 1561 edition at Pembroke Col-to accompany the Latin epitaph in a copy of the 1561 edition at Pembroke Col-lege, Cambridge (fi gure 2):lege, Cambridge (fi gure 2):

Qui fuit AngloruQui fuit Anglorum decus lui Ter decus lui Ter = Maximus olim, Maximus olim,Gualfridus Chaucer conditGualfridus Chaucer conditur hoc Tumulo;r hoc Tumulo;

12. Dane and Gillespie, “Back at Chaucer’s Tomb,” 92 –94.12. Dane and Gillespie, “Back at Chaucer’s Tomb,” 92 –94.

figure 1. figure 1. Title page verso, Stow’s Title page verso, Stow’s Woorkes Woorkes (1561). Rare Book Division, New York Public (1561). Rare Book Division, New York Public Library, Astor, Lenox, Tilden Foundations (*KC Library, Astor, Lenox, Tilden Foundations (*KC + 1561). 1561).



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figure 2. figure 2. Title page verso, Stow’s Title page verso, Stow’s Woorkes Woorkes (STC STC 5076, 1561). By permission of the Master 5076, 1561). By permission of the Master and Fellows of Pembroke College, Cambridge (LC.1.17).and Fellows of Pembroke College, Cambridge (LC.1.17).



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AnnuAnnum si quæras Dominj si tempora mortis, si quæras Dominj si tempora mortis,Ecce notæ subsunt, quæ tibj cuncta notantEcce notæ subsunt, quæ tibj cuncta notant

The substitution of “decus lui” for “vates” appears to be unique among the vari-The substitution of “decus lui” for “vates” appears to be unique among the vari-ants recorded by Dane. An English couplet below this, in a secretary hand, reads: ants recorded by Dane. An English couplet below this, in a secretary hand, reads: “O worthy Chaucer though in toumbe thow lye | Thy famous works shall neuer “O worthy Chaucer though in toumbe thow lye | Thy famous works shall neuer dye.” Other quotations follow:dye.” Other quotations follow:

viuit post funera virtusviuit post funera virtus vivit post funera chaucer vivit post funera chaucer Dignu Dignum Laude viru Laude virum Musa vetat morj Musa vetat morj

Gloria virtutem tanquam vmbra sequitur Gloria virtutem tanquam vmbra sequitur

Dignu Dignum laude viru laude virum Musa vetat mori Musa vetat mori

The muses w The muses with eternall memoryeth eternall memorye do hym record do hym record thathat liued worthelyet liued worthelye

Dum iuga montis aper, fl uvios du Dum iuga montis aper, fl uvios dum piscis amabit piscis amabit

The fi rst quotation from Tiberius, “viuit post funera virtus” [virtue lives on The fi rst quotation from Tiberius, “viuit post funera virtus” [virtue lives on after the grave], appears twice, reformulated the second time as “vivit funera after the grave], appears twice, reformulated the second time as “vivit funera chaucer” and paired with a quotation from Horace’s chaucer” and paired with a quotation from Horace’s Odes:Odes: “Dignu “Dignum Laude viru Laude virum Musa vetat morj” [the muse forbids the man who is worthy of praise to die], Musa vetat morj” [the muse forbids the man who is worthy of praise to die], which Thomas Speght quotes in his introduction to Chaucer’s which Thomas Speght quotes in his introduction to Chaucer’s Works Works (1598). The (1598). The English verses provide a translation: “The muses wEnglish verses provide a translation: “The muses with eternall memorye | do th eternall memorye | do hym record hym record thathat liued worthelye,” and lines from Virgil’s Fifth Eclogue measure t liued worthelye,” and lines from Virgil’s Fifth Eclogue measure eternity: “Dum iuga montis aper, fl uvios dueternity: “Dum iuga montis aper, fl uvios dum piscis amabit” [as long as the boar piscis amabit” [as long as the boar shall love the mountain height, as long as the fi sh the rivers]. One more contri-shall love the mountain height, as long as the fi sh the rivers]. One more contri-bution is carefully lettered in a distinct humanist hand, citing Cicero: “Gloria bution is carefully lettered in a distinct humanist hand, citing Cicero: “Gloria virtutem tanquam vmbra sequitur” [Glory follows virtue as if it were its shadow]. virtutem tanquam vmbra sequitur” [Glory follows virtue as if it were its shadow]. While the Latin epitaph in Westminster Abbey emulates the style of classical While the Latin epitaph in Westminster Abbey emulates the style of classical writers, here readers concatenate phrases by classical authors interspersed with writers, here readers concatenate phrases by classical authors interspersed with English verse for an English author, creating a common-place book of tributes English verse for an English author, creating a common-place book of tributes in an uncommon way.in an uncommon way.

Another example of multi-layered quotations appears in a copy of Thynne’s Another example of multi-layered quotations appears in a copy of Thynne’s 1542 edition at the British Library with three passages that all seem to be the hand-1542 edition at the British Library with three passages that all seem to be the hand-iwork of the antiquarian Thomas Martin (1687–1771) (fi gure 3).iwork of the antiquarian Thomas Martin (1687–1771) (fi gure 3).1313 His note about His note about the book’s local history is consistent with his interest in Norfolk antiquities:the book’s local history is consistent with his interest in Norfolk antiquities:

This Title page is pasted on by the Reverend Mr. Nathaniel Coddington, rector of West This Title page is pasted on by the Reverend Mr. Nathaniel Coddington, rector of West Wretham in Norfolk, who was one of Mr. Anthony Wotton’s executors, of Farsfi eld. The Wretham in Norfolk, who was one of Mr. Anthony Wotton’s executors, of Farsfi eld. The book formerly belonged to Dr. Samuel Wotton, rector also of West Wretham. The Mar-book formerly belonged to Dr. Samuel Wotton, rector also of West Wretham. The Mar-ginal notes are added by the said Dr. Samuel Wotton, the chief of which are at the begin-ginal notes are added by the said Dr. Samuel Wotton, the chief of which are at the begin-ning of ning of Troylus and Cresyde.Troylus and Cresyde. fol.167. etc. fol.167. etc. 14 14

13. David Stoker, “Martin, Thomas (1697–1771),” 13. David Stoker, “Martin, Thomas (1697–1771),” Oxford Dictionary of National BiographyOxford Dictionary of National Biography (Oxford Univ. Press, 2004; online ed.), (Oxford Univ. Press, 2004; online ed.), http://www.oxforddnb.com/view/article/1821http://www.oxforddnb.com/view/article/18212.

14. See Richard L. Greaves, “‘Wotton, Anthony (14. See Richard L. Greaves, “‘Wotton, Anthony (bap. bap. 1561?, 1561?, d.d. 1626),” 1626),” Oxford Dictionary of Oxford Dictionary of National BiographyNational Biography (Oxford Univ. Press, 2004; online ed.), (Oxford Univ. Press, 2004; online ed.), http://www.oxforddnb.com/view/http://www.oxforddnb.com/view/article/2999article/29997, regarding Anthony Wotton, an accomplished divinity scholar and Protestant , regarding Anthony Wotton, an accomplished divinity scholar and Protestant pamphleteer; Greaves mentions that his eldest surviving son, Samuel, became a religious pam-pamphleteer; Greaves mentions that his eldest surviving son, Samuel, became a religious pam-phleteer as well.phleteer as well.



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He does not look to Nicholas Brigham for memorial verses but to a contem-He does not look to Nicholas Brigham for memorial verses but to a contem-porary publication, John Dryden’s porary publication, John Dryden’s Fables, Ancient and Modern Fables, Ancient and Modern (1700). The fi rst (1700). The fi rst quotation copied on the page is from Horace’s quotation copied on the page is from Horace’s Ars Poetica,Ars Poetica, which Dryden quotes which Dryden quotes in his introduction as a rationale for translating Chaucer’s verse: “Multa renas-in his introduction as a rationale for translating Chaucer’s verse: “Multa renas-cuntur quæ nunc cecidere: cadentque | Quæ nunc sunt in honore vocabula, si cuntur quæ nunc cecidere: cadentque | Quæ nunc sunt in honore vocabula, si volet usus | Quem penes arbitrium est et jus et norma loquendi” [ Many words volet usus | Quem penes arbitrium est et jus et norma loquendi” [ Many words shall revive, which now have fallen off; and many which are now in esteem shall revive, which now have fallen off; and many which are now in esteem shall fall off, if it be the will of custom, in whose power is the decision and right shall fall off, if it be the will of custom, in whose power is the decision and right and standard of language].and standard of language].1515 The inscription attests to the appeal of lines by an The inscription attests to the appeal of lines by an ancient poet, even though Chaucer’s Middle English had become suffi ciently ancient poet, even though Chaucer’s Middle English had become suffi ciently foreign by the end of the seventeenth century that Dryden argues for the expedi-foreign by the end of the seventeenth century that Dryden argues for the expedi-ency of modernizing the text. Martin appears to appreciate Dryden’s reverence ency of modernizing the text. Martin appears to appreciate Dryden’s reverence for Chaucer, copying his panegyric verses in the center of the leaf, glossed with for Chaucer, copying his panegyric verses in the center of the leaf, glossed with deliberate care as “Testimonia de Chaucer et scriptis ejus:”deliberate care as “Testimonia de Chaucer et scriptis ejus:”

The Bard who fi rst adorn’d our Native TongueThe Bard who fi rst adorn’d our Native TongueTun’d to his British Lyre, this Ancient Song:Tun’d to his British Lyre, this Ancient Song:Which Homer Might without a blush rehearse,Which Homer Might without a blush rehearse,And leaves a doubtfull palm in Virgils verse:And leaves a doubtfull palm in Virgils verse:He Match’d their beauties where they Most Excell;He Match’d their beauties where they Most Excell;Of Love Sung better, And of Arms as well.Of Love Sung better, And of Arms as well. Drydens prologue to the Knights Tale Drydens prologue to the Knights Tale

Martin pens the words in a careful hand that strives toward formality, but the Martin pens the words in a careful hand that strives toward formality, but the quotation from John Skelton’s “Philip Sparrow” is in the same hand as the prov-quotation from John Skelton’s “Philip Sparrow” is in the same hand as the prov-enance note:enance note:

In Chaucer I am sped,In Chaucer I am sped,His His Tales Tales I have read:I have read:His matter is delectable,His matter is delectable,S[o]lacious, and commendable;S[o]lacious, and commendable;His English well allowed,His English well allowed,So as it is enprowed,So as it is enprowed,For as it is employed,For as it is employed,There is no English voidThere is no English voidAt those days much commended;At those days much commended;And now men would have amendedAnd now men would have amendedHis English, whereat they bark,His English, whereat they bark,And mar all they wark.And mar all they wark.Chaucer, that famous clerk,Chaucer, that famous clerk,His termes were not dark,His termes were not dark,But pleasant, easy, and plain;But pleasant, easy, and plain;No word he wrote in vain.No word he wrote in vain.

Where the poem should read “solacious,” Martin writes “salacious,” which con-Where the poem should read “solacious,” Martin writes “salacious,” which con-veys a quite a different sentiment from solicitousness – though arguably still true. veys a quite a different sentiment from solicitousness – though arguably still true. Certainly the jaunty little woodcut man pasted at the bottom of the page seems Certainly the jaunty little woodcut man pasted at the bottom of the page seems less inclined to lugubrious mourning than to reveling in Chaucer’s more boister-less inclined to lugubrious mourning than to reveling in Chaucer’s more boister-ous tales. The owner-crafted title page turns commemoration into a vivacious ous tales. The owner-crafted title page turns commemoration into a vivacious

15. Horace, 15. Horace, Ars Poetica,Ars Poetica, trans. Christopher Smart (1756), repr. in American Academy of trans. Christopher Smart (1756), repr. in American Academy of Poets, Poets, http://www.poets.org/viewmedia.php/prmMID/1992http://www.poets.org/viewmedia.php/prmMID/19921.



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though still respectful gesture. The lines by Skelton also offer a cheeky answer to though still respectful gesture. The lines by Skelton also offer a cheeky answer to Dryden’s invocation of Horace, chiding “men who would have amended | His Dryden’s invocation of Horace, chiding “men who would have amended | His English, wherat they bark.” Instead of cascading from one classical quotation to English, wherat they bark.” Instead of cascading from one classical quotation to another, the quotations banter rather slyly. Martin’s decision to bracket it in the another, the quotations banter rather slyly. Martin’s decision to bracket it in the 1542 copy between Horace’s quotation and Skelton’s defense seems to express a 1542 copy between Horace’s quotation and Skelton’s defense seems to express a personal antiquarian preference for Chaucer’s early English, while also invoking personal antiquarian preference for Chaucer’s early English, while also invoking Dryden’s authority as an English poet. This context is lost in a copy of Stow’s Dryden’s authority as an English poet. This context is lost in a copy of Stow’s 1561 edition at the Cambridge University Library, where Martin’s hand can be 1561 edition at the Cambridge University Library, where Martin’s hand can be found again on a slip of paper pasted into the book (fi gure 4).found again on a slip of paper pasted into the book (fi gure 4).1616 Lines of text Lines of text bleed through from the other side of the slip, indicating that the owner excised bleed through from the other side of the slip, indicating that the owner excised the Dryden stanza in Martin’s hand from another book, instead of copying the the Dryden stanza in Martin’s hand from another book, instead of copying the lines anew. Beneath it, the owner identifi es the hand of “T. Martin” with the date lines anew. Beneath it, the owner identifi es the hand of “T. Martin” with the date 1716 in pencil, attaching value not only to Dryden’s commemoration of Chaucer 1716 in pencil, attaching value not only to Dryden’s commemoration of Chaucer but to the antiquarian who copied the lines as well.but to the antiquarian who copied the lines as well.

In Martin’s case, memorial verses in one hand appear in more than one copy, In Martin’s case, memorial verses in one hand appear in more than one copy, compared to multiple hands contributing lines on the same leaf in a given book. compared to multiple hands contributing lines on the same leaf in a given book. An acephalous copy of the ca. 1550 edition at the State Library of South Austra-An acephalous copy of the ca. 1550 edition at the State Library of South Austra-lia (SLSA) bears witness to two passages of En glish poetry in one hand with a ver-lia (SLSA) bears witness to two passages of En glish poetry in one hand with a ver-sion of Brigham’s epitaph in a different hand at the bottom of the page (fi gure 5). sion of Brigham’s epitaph in a different hand at the bottom of the page (fi gure 5). The English lines, while conventional in sentiment, are not immediately identifi -The English lines, while conventional in sentiment, are not immediately identifi -able in the collections of Chaucer allusions catalogued by Caroline Spurgeon or able in the collections of Chaucer allusions catalogued by Caroline Spurgeon or

16. For a discussion of the contemporary dissention regarding Dryden’s translation and his 16. For a discussion of the contemporary dissention regarding Dryden’s translation and his burial place near Chaucer’s memorial, see Prendergast, burial place near Chaucer’s memorial, see Prendergast, Chaucer’s Dead Body,Chaucer’s Dead Body, 57– 69. 57– 69.

figure 4. figure 4. Title page verso, Stow’s Title page verso, Stow’s WorkesWorkes ( (STCSTC 5075, 1561). Reproduced by kind permission 5075, 1561). Reproduced by kind permission of the Syndics of Cambridge University Library (Keynes S.7.9).of the Syndics of Cambridge University Library (Keynes S.7.9).



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figure 5. figure 5. Last original fl y leaf recto, Thynne’s third edition (Last original fl y leaf recto, Thynne’s third edition (STC STC 5072?, ca. 1550). The 5072?, ca. 1550). The State Library of South Australia (RBR 821.C496b).State Library of South Australia (RBR 821.C496b).



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more recently by Jackson Campbell Boswell and Sylvia Wallace Holton.more recently by Jackson Campbell Boswell and Sylvia Wallace Holton.1717 The The passages compare Chaucer to Virgil, Ovid, and the French poet Guillaume de passages compare Chaucer to Virgil, Ovid, and the French poet Guillaume de Saluste, seigneur du Bartas (1544 –90), and extend Chaucer’s fame to a residence Saluste, seigneur du Bartas (1544 –90), and extend Chaucer’s fame to a residence in Woodstock, Oxfordshire that antiquarians associated with his family:in Woodstock, Oxfordshire that antiquarians associated with his family:

In laudem Galfridi Chaucer.In laudem Galfridi Chaucer.

Thou fi rst reformer of our Englishe tounge,Thou fi rst reformer of our Englishe tounge,That erst was barren, rude, and indigeste,That erst was barren, rude, and indigeste,Till by thy paynes it was manur’de & drest,Till by thy paynes it was manur’de & drest,Which since hath fl orished & sweetlie spronge.Which since hath fl orished & sweetlie spronge. Chaucer thy learninge, witt, & wisedome sage Chaucer thy learninge, witt, & wisedome sage Nor hath, nor shalbe match’d by any age. Nor hath, nor shalbe match’d by any age.

Greece honour’d Homer for his goulden sayes.Greece honour’d Homer for his goulden sayes.The Worlde Heroicke Virgill doth commend.The Worlde Heroicke Virgill doth commend.Sweete Ovids prayses never shall haue end.Sweete Ovids prayses never shall haue end.Fraunce crown’d Dubartas wFraunce crown’d Dubartas with immortall Bayes.th immortall Bayes. England thy Chaucer for his witts renowne, England thy Chaucer for his witts renowne, Deserves of brightest, starres, a glorious Crowne. Deserves of brightest, starres, a glorious Crowne.

In laudem Novæ Woodstocke.In laudem Novæ Woodstocke.Natures chiefe pride, thou Nurse of famous Kinges,Natures chiefe pride, thou Nurse of famous Kinges,Earths Paradice, seate of all sweete delightEarths Paradice, seate of all sweete delightWhose WoodWhose Woodeses of chirpinge Musicke ever ringes of chirpinge Musicke ever ringesAnd are wAnd are with Feasaunt, Deere and Partridge dightth Feasaunt, Deere and Partridge dight yet Chaucers life to Woodstocke gave more fame yet Chaucers life to Woodstocke gave more fame Then all her Gyft Then all her Gyftes;es; or Kinges of greatest name. or Kinges of greatest name.

The allusion to Guillaume de Saluste, seigneur du Bartas (1544 –90) provides The allusion to Guillaume de Saluste, seigneur du Bartas (1544 –90) provides a context for dating the verses: Joshua Sylvester’s English translation of a context for dating the verses: Joshua Sylvester’s English translation of La SemaineLa Semaine was printed in 1592, 1605, 1608, 1611, 1613, and 1641.was printed in 1592, 1605, 1608, 1611, 1613, and 1641.1818 Spurgeon observes that Spurgeon observes that writers habitually referred to Chaucer as the “fi rst and greatest of English poets” writers habitually referred to Chaucer as the “fi rst and greatest of English poets” in the fi rst 150 years after his death, and comparisons between Chaucer and other in the fi rst 150 years after his death, and comparisons between Chaucer and other poets “are so very common” that they go without count.poets “are so very common” that they go without count.1919 Chaucer’s association Chaucer’s association with Woodstock remained a topic of active interest through the eighteenth cen-with Woodstock remained a topic of active interest through the eighteenth cen-tury, though the family’s residence in Oxfordshire (if true) dates after Chaucer’s tury, though the family’s residence in Oxfordshire (if true) dates after Chaucer’s lifetime.lifetime.2020 The poetry wobbles perhaps when comparing the enriching effect of The poetry wobbles perhaps when comparing the enriching effect of Chaucer’s writing to manure, though the agricultural metaphor is a familiar Chaucer’s writing to manure, though the agricultural metaphor is a familiar trope, and the claim that Woodstock derives greater fame from Chaucer than trope, and the claim that Woodstock derives greater fame from Chaucer than from English kings goes a little too far in its exuberant enthusiasm. The lines from English kings goes a little too far in its exuberant enthusiasm. The lines are in keeping with sentiments expressed in previously catalogued Chauceriana, are in keeping with sentiments expressed in previously catalogued Chauceriana,

17. William L. Alderson, “A Check-List of Supplements to Spurgeon’s Chaucer Allusions,” 17. William L. Alderson, “A Check-List of Supplements to Spurgeon’s Chaucer Allusions,” Philological QuarterlyPhilological Quarterly 32 (1953): 418 – 427; Boswell and Holton, 32 (1953): 418 – 427; Boswell and Holton, Chaucer’s Fame;Chaucer’s Fame; Jackson Campbell Jackson Campbell Boswell and Sylvia Wallace Horton, “References to Chaucer’s Literary Reputation,” Boswell and Sylvia Wallace Horton, “References to Chaucer’s Literary Reputation,” Chaucer Chaucer Review Review 31 (1997): 291–316; Thornton S. Graves, “Some Chaucer Allusions (1561–1700),” 31 (1997): 291–316; Thornton S. Graves, “Some Chaucer Allusions (1561–1700),” Stud-Stud-ies in Philosophy ies in Philosophy 20 (1923): 469 – 478; Spurgeon, 20 (1923): 469 – 478; Spurgeon, Five Hundred Years.Five Hundred Years. For allusions in English verse For allusions in English verse comparing Chaucer with Homer, Virgil, and/or Ovid, see Boswell and Holton, comparing Chaucer with Homer, Virgil, and/or Ovid, see Boswell and Holton, Chaucer’s Fame Chaucer’s Fame in England,in England, nos. 191, 222, 321, 373, 411, 452, 564, 600, 672, 1020, 1021, 1119; for references to nos. 191, 222, 321, 373, 411, 452, 564, 600, 672, 1020, 1021, 1119; for references to Du Bartas, in poetry or in prose, see nos. 558, 600, 672, 696, 724, 838, 1021, 1104.Du Bartas, in poetry or in prose, see nos. 558, 600, 672, 696, 724, 838, 1021, 1104.

18. Katherine Jackson, “Sylvester’s ‘Du Bartas,’” 18. Katherine Jackson, “Sylvester’s ‘Du Bartas,’” Sewanee ReviewSewanee Review 16 (1908): 316 –326. 16 (1908): 316 –326.19. Spurgeon, 19. Spurgeon, Five Hundred Years,Five Hundred Years, 1:1:lxxiii-lxxiv.lxxiii-lxxiv.20. E. G. Stanley, “Chaucer at Woodstock: A Theme in English Verse of the Eighteenth 20. E. G. Stanley, “Chaucer at Woodstock: A Theme in English Verse of the Eighteenth

Century,” Century,” Review of English Studies, Review of English Studies, n.s.n.s. 48 (1997): 157–167.48 (1997): 157–167.



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which makes them both a personal expression of appreciation for Chaucer and which makes them both a personal expression of appreciation for Chaucer and part of a popular tradition of commemorating England’s “fi rst” poet in verse.part of a popular tradition of commemorating England’s “fi rst” poet in verse.

The Westminster Abbey epitaph appears in a different hand on the bottom The Westminster Abbey epitaph appears in a different hand on the bottom of the same leaf:of the same leaf:

The Epitaph of Geoffry Chawcer vpon hisThe Epitaph of Geoffry Chawcer vpon hisMonument in Westminstr AbbyMonument in Westminstr AbbyQui fuit Anglorum vates, ter maximus olimQui fuit Anglorum vates, ter maximus olim Galfridus Chaucer, Conditur hoc tumulo, Galfridus Chaucer, Conditur hoc tumulo,AnAnnum si quæras domini, si tempora mensis,um si quæras domini, si tempora mensis,Ecce notæ subsunt, quæ tibi cuncta notent./Ecce notæ subsunt, quæ tibi cuncta notent./ [O]ctobris 24 [O]ctobris 241400 ·/1400 ·/

The last word of line three is “mortis” (death) in most versions, except those that The last word of line three is “mortis” (death) in most versions, except those that follow Speght’s reading, “vitæ” (life); here, the annotator of the SLSA copy de-follow Speght’s reading, “vitæ” (life); here, the annotator of the SLSA copy de-parts from both established readings with “mensis” (month) instead. Exchanging parts from both established readings with “mensis” (month) instead. Exchanging “mortis” for “mensis” means that line three begins and ends with measures of “mortis” for “mensis” means that line three begins and ends with measures of calendar time, “annum” (year) and “mensis” (month). It might be an accidental calendar time, “annum” (year) and “mensis” (month). It might be an accidental variant introduced through eye-skip from the date which appears at the end of variant introduced through eye-skip from the date which appears at the end of the epitaph. Dane’s table of variants seems to support the premise that readers the epitaph. Dane’s table of variants seems to support the premise that readers may have followed fl awed exemplars and contributed scribal errors of their own may have followed fl awed exemplars and contributed scribal errors of their own in the process of copying the memorial verses.in the process of copying the memorial verses.

At least one more instance of a memorial dedication deserves note, this time At least one more instance of a memorial dedication deserves note, this time in an association copy of Speght’s 1602 edition that belonged to Robert and in an association copy of Speght’s 1602 edition that belonged to Robert and Elizabeth Barrett Browning (fi gure 6).Elizabeth Barrett Browning (fi gure 6).2121 She was a well-established poet before She was a well-established poet before their marriage in 1846, and she participated in another attempted revival of their marriage in 1846, and she participated in another attempted revival of Chaucer’s English in 1841 edited by Richard Horne, Chaucer’s English in 1841 edited by Richard Horne, The Poems of Geoffrey Chaucer, The Poems of Geoffrey Chaucer, Modernized.Modernized. 22 22 Her pencil markings in the 1602 edition show how she counted out Her pencil markings in the 1602 edition show how she counted out the meter of Chaucer’s the meter of Chaucer’s Anelide and Arcite Anelide and Arcite while composing while composing Queen Annelida and False Queen Annelida and False Arcite,Arcite, her contribution for the collection. In an essay published the following her contribution for the collection. In an essay published the following year, in 1842, she makes her esteem for Chaucer’s place in literary history clear: year, in 1842, she makes her esteem for Chaucer’s place in literary history clear: “the metaphors of dawn and spring doubly become him. A morning star, a lark’s “the metaphors of dawn and spring doubly become him. A morning star, a lark’s exultation, cannot usher in a glory better.”exultation, cannot usher in a glory better.”2323 Some years after her death in 1861, Some years after her death in 1861, Robert Browning took the 1602 Chaucer with him during an annual vacation Robert Browning took the 1602 Chaucer with him during an annual vacation to France in 1872, while he was chiefl y focused on Greek literature.to France in 1872, while he was chiefl y focused on Greek literature.2424 Browning Browning

21. Marjorie Stone, “Browning, Elizabeth Barrett (1806 –1861),” 21. Marjorie Stone, “Browning, Elizabeth Barrett (1806 –1861),” Oxford Dictionary of Oxford Dictionary of National BiographyNational Biography (Oxford Univ. Press, 2004; online ed., Oct. 2008), (Oxford Univ. Press, 2004; online ed., Oct. 2008), http://www.oxforddnbhttp://www.oxforddnb.com/view/article/371.com/view/article/3711.

22. 22. The Poems of Geoffrey Chaucer, Modernized,The Poems of Geoffrey Chaucer, Modernized, ed. R. H. Horne (London: Whittaker & Co., ed. R. H. Horne (London: Whittaker & Co., 1841), 235 –257.1841), 235 –257.

23. Its original publication in the 23. Its original publication in the Athenæum Athenæum was part of a review for was part of a review for The Book of the Poets: The Book of the Poets: Chaucer to BeattieChaucer to Beattie (London: Scott, Webster, & Geary, 1842). It was reprinted posthumously in a (London: Scott, Webster, & Geary, 1842). It was reprinted posthumously in a collection of her prose writings, collection of her prose writings, Essays on the Greek Christian Poets and the English Poets Essays on the Greek Christian Poets and the English Poets (New York: (New York: James Miller, 1863), and the Chaucer Society also published it in 1874 as part of their second James Miller, 1863), and the Chaucer Society also published it in 1874 as part of their second series, series, Essays on Chaucer, His Words and Works,Essays on Chaucer, His Words and Works, Part II,Part II, no. 5, 157–164. For a modern reprint, see no. 5, 157–164. For a modern reprint, see “Mrs. Browning on Chaucer,” in “Mrs. Browning on Chaucer,” in Bloom’s Classical Critical Views: Geoffrey Chaucer,Bloom’s Classical Critical Views: Geoffrey Chaucer, ed. Michael G. ed. Michael G. Cornelius (New York: Infobase, 2008), 164 –171.Cornelius (New York: Infobase, 2008), 164 –171.

24. Clyde de L. Ryals, “Browning, Robert (1812 –1889),” 24. Clyde de L. Ryals, “Browning, Robert (1812 –1889),” Oxford Dictionary of National Bi-Oxford Dictionary of National Bi-ographyography (Oxford Univ. Press, 2004; online ed., May 2006), (Oxford Univ. Press, 2004; online ed., May 2006), http://www.oxforddnb.com/view/http://www.oxforddnb.com/view/article/371article/3714.



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selects an inscription from Euripides’ selects an inscription from Euripides’ Rhesus,Rhesus, which Robert K. Root of Princeton which Robert K. Root of Princeton translates as, “The dawn is at hand, the dawn is breaking and this star is one of translates as, “The dawn is at hand, the dawn is breaking and this star is one of its precursors,” in response to a query about the inscription in 1925.its precursors,” in response to a query about the inscription in 1925.2525 With this With this well-chosen quotation from the ancient past Browning honors both Chaucer and well-chosen quotation from the ancient past Browning honors both Chaucer and his wife as he turns from the tomb to the prospect of a rising sun. Of course, this his wife as he turns from the tomb to the prospect of a rising sun. Of course, this forward-looking perspective is thoroughly traditional, too: it is consistent with the forward-looking perspective is thoroughly traditional, too: it is consistent with the convention expressed in Dryden’s epitaph celebrating Chaucer as the luminous convention expressed in Dryden’s epitaph celebrating Chaucer as the luminous beginning of English literature.beginning of English literature.

The examples of the NYPL 1561 edition, the Pembroke College Cambridge The examples of the NYPL 1561 edition, the Pembroke College Cambridge 1561 edition, Martin’s 1542 edition, and the Brownings’ 1602 edition thus cap-1561 edition, Martin’s 1542 edition, and the Brownings’ 1602 edition thus cap-ture ways in which book owners paid homage to Chaucer with memorial inscrip-ture ways in which book owners paid homage to Chaucer with memorial inscrip-tions that may or may not include the Latin epitaph. They also suggest that a tions that may or may not include the Latin epitaph. They also suggest that a search of additional copies almost certainly will reveal further instances of such search of additional copies almost certainly will reveal further instances of such tributes.tributes.

Commemorative efforts extend beyond copying written epitaphs into read-Commemorative efforts extend beyond copying written epitaphs into read-ers’ books: interest in the heraldic insignia associated with Chaucer likewise ap-ers’ books: interest in the heraldic insignia associated with Chaucer likewise ap-pears in early printed copies.pears in early printed copies.2626 Sir John Mason (ca. Sir John Mason (ca. 1503 – 66) draws Chaucer’s 1503 – 66) draws Chaucer’s arms at the end of the arms at the end of the Canterbury TalesCanterbury Tales in his copy of the 1532 edition (fi gure 7). in his copy of the 1532 edition (fi gure 7). Beside the sketch, Mason notes in an italic hand that “This coat pBeside the sketch, Mason notes in an italic hand that “This coat perertaineth to taineth to Gefery Chaucer EsqGefery Chaucer Esqireire the Author of this Booke . / whoc was in Rychard the the Author of this Booke . / whoc was in Rychard the second tyme . /” He documents the colors assigned to the author: “party psecond tyme . /” He documents the colors assigned to the author: “party perer pale argent pale argent andand guilesguiles, a bend counterchanged.”, a bend counterchanged.”2727 The chivalric imagery and The chivalric imagery and

25. Euripides, 25. Euripides, Rhesus,Rhesus, lines 535 –538, transcribed from vol. 2 of lines 535 –538, transcribed from vol. 2 of Tragoediae.Tragoediae. ed. Augustus ed. Augustus Witzschel, 4 vols. (Tauchnitz: Leipzig, 1841). Many thanks to Melinda J. Creech for identifying Witzschel, 4 vols. (Tauchnitz: Leipzig, 1841). Many thanks to Melinda J. Creech for identifying a copy of this edition in Browning’s traveling library. Translation from private correspondence a copy of this edition in Browning’s traveling library. Translation from private correspondence of Robert K. Root to “Mr. Fletcher” on Princeton University letterhead, May 9, 1925. The of Robert K. Root to “Mr. Fletcher” on Princeton University letterhead, May 9, 1925. The letter is in the Armstrong Browning Library; the curators have no further information about letter is in the Armstrong Browning Library; the curators have no further information about the identity of “Mr. Fletcher.”the identity of “Mr. Fletcher.”

26. See Martha W. Driver, “Mapping Chaucer: John Speed and the Later Portraits,” 26. See Martha W. Driver, “Mapping Chaucer: John Speed and the Later Portraits,” Chaucer Review Chaucer Review 36 (2002): 228 –249, for a discussion of the heraldic interests of the artist who 36 (2002): 228 –249, for a discussion of the heraldic interests of the artist who created the Chaucer portrait in the Speght editions.created the Chaucer portrait in the Speght editions.

27. Other owners took notice of Chaucer’s chivalric status in a copy of the 1542 edition at 27. Other owners took notice of Chaucer’s chivalric status in a copy of the 1542 edition at the Cambridge University Library, inserting “Geoffry Chaucer knight” in manuscript on the the Cambridge University Library, inserting “Geoffry Chaucer knight” in manuscript on the

figure 6. figure 6. Speght’s second edition (Speght’s second edition (STCSTC 5080, 1602). Courtesy of Armstrong Browning 5080, 1602). Courtesy of Armstrong Browning Library, Baylor University (X BL 821.17 C496w).Library, Baylor University (X BL 821.17 C496w).



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language signals respect for Chaucer’s social standing and historic importance. language signals respect for Chaucer’s social standing and historic importance. John Stow displays Chaucer’s arms prominently on the John Stow displays Chaucer’s arms prominently on the WoorkesWoorkes title page, and title page, and an anonymous English couplet printed beneath it expresses an elegiac sentiment an anonymous English couplet printed beneath it expresses an elegiac sentiment similar in tone to the Latin epitaph: “Vertue fl orisheth in Chaucer still | Though similar in tone to the Latin epitaph: “Vertue fl orisheth in Chaucer still | Though death of hym, hath wrought his will” (death of hym, hath wrought his will” (STC STC 5076).5076).2828 The reader of another book, The reader of another book, “ffran: Parry,” achieves a similar effect in a copy of the ca. 1550 edition at the “ffran: Parry,” achieves a similar effect in a copy of the ca. 1550 edition at the John Rylands Library, transcribing the fi rst two lines of the Westminster Abbey John Rylands Library, transcribing the fi rst two lines of the Westminster Abbey epitaph beneath the title page border: “Qui fuit Anglorum vates ter maximus epitaph beneath the title page border: “Qui fuit Anglorum vates ter maximus olim | Galfridus Chaucer conditur hoc tumulo” (fi gure 8). Whether Parry knew olim | Galfridus Chaucer conditur hoc tumulo” (fi gure 8). Whether Parry knew of Stow’s 1561 design or not, the brevity of the transcription and its conscientious of Stow’s 1561 design or not, the brevity of the transcription and its conscientious placement are similar visually to the Stow engraving of Chaucer’s arms.placement are similar visually to the Stow engraving of Chaucer’s arms.

Several book owners embellished the black-and-white cut to display the red-Several book owners embellished the black-and-white cut to display the red-and-white colors assigned to him. One example can be found in a copy of the and-white colors assigned to him. One example can be found in a copy of the 1561 Chaucer at the Harry Ransom Center with red shading for the shield and 1561 Chaucer at the Harry Ransom Center with red shading for the shield and

title page (Sel.2.2), and in a copy of the 1561 edition at the British Library adding “Sir” above title page (Sel.2.2), and in a copy of the 1561 edition at the British Library adding “Sir” above the printed name “Geffrey” and “knyght” after it (83.l.5).the printed name “Geffrey” and “knyght” after it (83.l.5).

28. Speght’s 1598 edition also features verses dedicated to Chaucer’s fame at the crown 28. Speght’s 1598 edition also features verses dedicated to Chaucer’s fame at the crown of the title page border for of the title page border for STC STC 5078 and 5079 (though not 5078 and 5079 (though not STC STC 5077): “CHAVCER. | Out 5077): “CHAVCER. | Out of the old fi elds, as men sayth, | Commeth all this new corn, fro yere to yere: | And out of old of the old fi elds, as men sayth, | Commeth all this new corn, fro yere to yere: | And out of old books, in good fayth, | Combooks, in good fayth, | Commeth al this new science that men lere;” a lower compartment at eth al this new science that men lere;” a lower compartment at the base of the border reads: “Ouid. | Seris venit vsus ab annis.”the base of the border reads: “Ouid. | Seris venit vsus ab annis.”

figure 7. figure 7. Sig. Z6Sig. Z6v, Thynne’s fi rst edition (, Thynne’s fi rst edition (STCSTC 5068, 1532). By permission of the Master 5068, 1532). By permission of the Master and Fellows of Trinity College, Cambridge (VI.3.13).and Fellows of Trinity College, Cambridge (VI.3.13).



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59figure 8. figure 8. Title page, Thynne’s third edition. John Rylands Library, Copyright of The Uni-Title page, Thynne’s third edition. John Rylands Library, Copyright of The Uni-versity of Manchester (21316).versity of Manchester (21316).



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gold highlights with a yellow pencil (PR 1850 1561b, copy 2). The owner of a gold highlights with a yellow pencil (PR 1850 1561b, copy 2). The owner of a 1598 copy also at the Harry Ransom Center uses a red wash to accent the shaded 1598 copy also at the Harry Ransom Center uses a red wash to accent the shaded portions of the shield (PR1850 1598b, copy 2). At the York Minster Library, portions of the shield (PR1850 1598b, copy 2). At the York Minster Library, hand-tinted fragments of the Speed portrait have been preserved (XIV.I.9). A hand-tinted fragments of the Speed portrait have been preserved (XIV.I.9). A copy of the 1602 edition in Trinity College, Cambridge is illuminated in opaque copy of the 1602 edition in Trinity College, Cambridge is illuminated in opaque tints, with the unicorn’s horn and mane in yellow; red for shaded portions of tints, with the unicorn’s horn and mane in yellow; red for shaded portions of the drawing, and blue for the helmet and the couplet border (Munby A.2). The the drawing, and blue for the helmet and the couplet border (Munby A.2). The shield is also decorated by hand in another copy of the 1602 edition at the Lilly shield is also decorated by hand in another copy of the 1602 edition at the Lilly Library at Indiana University in Bloomington (PR 1850 1602). These examples Library at Indiana University in Bloomington (PR 1850 1602). These examples are visual rather than verbal in nature, yet they appear consistent with the com-are visual rather than verbal in nature, yet they appear consistent with the com-memorative intentions of readers who inscribed memorial verses in their copies memorative intentions of readers who inscribed memorial verses in their copies of Chaucer’s writing.of Chaucer’s writing.

Customized Title PagesCustomized Title Pages

Scholars have noted how the architectural borders used for early editions Scholars have noted how the architectural borders used for early editions of Chaucer’s of Chaucer’s Works Works bear a visual resemblance to a physical memorial. The title bear a visual resemblance to a physical memorial. The title page of Martin’s copy of the 1542 edition, crafted by Reverend Mr. Nathaniel page of Martin’s copy of the 1542 edition, crafted by Reverend Mr. Nathaniel Coddington (fi gure 3), is consistent with this pattern. He carefully cuts and pastes Coddington (fi gure 3), is consistent with this pattern. He carefully cuts and pastes a border identifi ed by R. B. Mc Kerrow and F. S. Ferguson as being in use from a border identifi ed by R. B. Mc Kerrow and F. S. Ferguson as being in use from 1551 through 1622 (no. 76).1551 through 1622 (no. 76).2929 For Coddington, the most important information For Coddington, the most important information clearly is the identity of the author: “CH|AVC|ER” fi lls the entirety of the space clearly is the identity of the author: “CH|AVC|ER” fi lls the entirety of the space available for a title, though information about the imprint can be found in manu-available for a title, though information about the imprint can be found in manu-script at the bottom of the page: “Printed in 1542. by John Reyne at the signe of script at the bottom of the page: “Printed in 1542. by John Reyne at the signe of the St George | in Pauls Churchyarde.” Another book owner, this time of Cam-the St George | in Pauls Churchyarde.” Another book owner, this time of Cam-bridge University Library Syn.5.53.1, a copy of the 1532 edition, combines a bridge University Library Syn.5.53.1, a copy of the 1532 edition, combines a carefully trimmed border (McKerrow and Ferguson no. 19) with a title ascribing carefully trimmed border (McKerrow and Ferguson no. 19) with a title ascribing the book to Caxton’s Westminster press (fi gure 9). One can hazard a fairly good the book to Caxton’s Westminster press (fi gure 9). One can hazard a fairly good guess at the owner’s motivation for doing so since the cachet and resale value of a guess at the owner’s motivation for doing so since the cachet and resale value of a Caxton would be higher than that of the book with its original 1532 title page.Caxton would be higher than that of the book with its original 1532 title page.

A provenance note by Samuel Sandars addresses the state of the title page:A provenance note by Samuel Sandars addresses the state of the title page:

These fragments are These fragments are NOTNOT printed by Caxton but are portions of the First Edition of Chau- printed by Caxton but are portions of the First Edition of Chau-cer’s entire works, printed in London by Thomas Godfray 1532 folio. The rich border cer’s entire works, printed in London by Thomas Godfray 1532 folio. The rich border probably by Holbein pasted round the erroneous reprinted title is the original border used probably by Holbein pasted round the erroneous reprinted title is the original border used for the titles in this edition by Godfray.for the titles in this edition by Godfray.

A different principle seems to be at work in a copy of the 1542 edition at the A different principle seems to be at work in a copy of the 1542 edition at the Harry Ransom Center, which makes use of a printed border (McKerrow and Harry Ransom Center, which makes use of a printed border (McKerrow and Ferguson no. 20). A slip written by hand in a manner emulating the black-letter Ferguson no. 20). A slip written by hand in a manner emulating the black-letter typeface is pasted over the original printed title. The title page for the typeface is pasted over the original printed title. The title page for the Romaunt Romaunt of the Rose,of the Rose, meanwhile, keeps the printed text of the title, accented with fl eurons, meanwhile, keeps the printed text of the title, accented with fl eurons, but discards the rest of the original design (fi gure 10). Further examination of but discards the rest of the original design (fi gure 10). Further examination of the book reveals that the owner covers existing marginalia with slips of blank the book reveals that the owner covers existing marginalia with slips of blank paper pasted in. Since title pages tend to attract ownership inscriptions and pen paper pasted in. Since title pages tend to attract ownership inscriptions and pen

29. R. B. McKerrow and F. S. Ferguson, 29. R. B. McKerrow and F. S. Ferguson, Title-page Borders used in England & Scotland Title-page Borders used in England & Scotland 1485 –16401485 –1640 (London: Oxford Univ. Press for the Bibliographical Society, 1932). (London: Oxford Univ. Press for the Bibliographical Society, 1932).



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figure 9. figure 9. Title page advertising Thynne’s 1532 edition as a Caxton. Reproduced by kind Title page advertising Thynne’s 1532 edition as a Caxton. Reproduced by kind permission of the Syndics of Cambridge University Library (Syn. 5.53.1).permission of the Syndics of Cambridge University Library (Syn. 5.53.1).



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trials, this particular owner may have decided that the cleanest solution would trials, this particular owner may have decided that the cleanest solution would be to start anew in the case of the be to start anew in the case of the Works Works title page, and to paste the title from the title page, and to paste the title from the Romaunt of the Rose Romaunt of the Rose on a clean page.on a clean page.3030

These self-fashioned title pages make use of printed elements, but an artistic These self-fashioned title pages make use of printed elements, but an artistic owner of Thynne’s ca. 1550 edition at Wesleyan University Library supplied his owner of Thynne’s ca. 1550 edition at Wesleyan University Library supplied his or her copy with a title page by drawing a facsimile of the Speght title page (fi g-or her copy with a title page by drawing a facsimile of the Speght title page (fi g-ure 11). Was the 1598 title page used as a model damaged as well? An irregular ure 11). Was the 1598 title page used as a model damaged as well? An irregular patch of text is missing, but with penciled ruling to connect words that originally patch of text is missing, but with penciled ruling to connect words that originally appeared on the same line, on either side of the break. The same or another appeared on the same line, on either side of the break. The same or another reader completes partially formed words in pencil and supplies omitted text. It reader completes partially formed words in pencil and supplies omitted text. It also serves to correct the artist’s textual errors, e.g., also serves to correct the artist’s textual errors, e.g., FigtureFigture should read should read PortraiturePortraiture in item one; in item one; AutPrs AutPrs should read should read AuthorsAuthors in item fi ve; and in item fi ve; and London London is instead is instead Londini Londini on the Speght title page. Overall, however, the visual aspect of the page is striking on the Speght title page. Overall, however, the visual aspect of the page is striking in its rendering of the architectural borders. Capturing the visual grandeur of the in its rendering of the architectural borders. Capturing the visual grandeur of the page demonstrates the foremost importance to this artist of design rather than page demonstrates the foremost importance to this artist of design rather than words, which are dominant in the other examples. Owners of the books at the words, which are dominant in the other examples. Owners of the books at the British Library (fi gure 3), the Cambridge University Library (fi gure 9), the Harry British Library (fi gure 3), the Cambridge University Library (fi gure 9), the Harry Ransom Center (fi gure 10), and the Wesleyan University Library (fi gure 11) thus Ransom Center (fi gure 10), and the Wesleyan University Library (fi gure 11) thus show a variety of inventive strategies for supplying a title page that was wanting show a variety of inventive strategies for supplying a title page that was wanting or restoring an imperfect leaf to serve as a more suitable entryway for subsequent or restoring an imperfect leaf to serve as a more suitable entryway for subsequent readers of the text.readers of the text.

The architectural borders of the title page sometimes inspired book owners The architectural borders of the title page sometimes inspired book owners to affi x their own armorial bookplate at the foot of the title page. In a copy at to affi x their own armorial bookplate at the foot of the title page. In a copy at the Cambridge University Library, the bookplate of the Peterborough Cathedral the Cambridge University Library, the bookplate of the Peterborough Cathedral becomes an extension of the architectural border, intentionally integrating it with becomes an extension of the architectural border, intentionally integrating it with the printed page (fi gure 12). Another example of this approach appears in a copy the printed page (fi gure 12). Another example of this approach appears in a copy of Thynne’s ca. 1550 edition at Trinity College Dublin (V dd 16). The armorial of Thynne’s ca. 1550 edition at Trinity College Dublin (V dd 16). The armorial bookplate of Theophilus Butler, esq. which features his motto, “Liberté tout bookplate of Theophilus Butler, esq. which features his motto, “Liberté tout entiere,” does indeed take some liberties with the title page design with the addi-entiere,” does indeed take some liberties with the title page design with the addi-tion of his engraved plate. These two examples are making additions not in order tion of his engraved plate. These two examples are making additions not in order to supply wanting material but rather to augment the title page with an ornate to supply wanting material but rather to augment the title page with an ornate symbol of the owner’s identity near the marquee billing of Chaucer as author.symbol of the owner’s identity near the marquee billing of Chaucer as author.

Frontispiece PortraitsFrontispiece Portraits

Portraits of the author also confer authority, and they sometimes were in-Portraits of the author also confer authority, and they sometimes were in-serted to serve as a frontispiece in a copy printed without one (see table 2). serted to serve as a frontispiece in a copy printed without one (see table 2). Adding a portrait equals or exceeds in frequency the occasions where owners Adding a portrait equals or exceeds in frequency the occasions where owners inscribed the tomb verses in copies printed without it. Thomas Speght’s 1598 edi-inscribed the tomb verses in copies printed without it. Thomas Speght’s 1598 edi-tion provides for the fi rst time an engraved portrait of the author by John Speed. tion provides for the fi rst time an engraved portrait of the author by John Speed. That printed image indicates that the artist used a Hoccleve manuscript as his That printed image indicates that the artist used a Hoccleve manuscript as his model. Nicholas Perkins fi nds ample evidence that readers plundered Chaucer model. Nicholas Perkins fi nds ample evidence that readers plundered Chaucer portraits from an early point in the transmission history of Hoccleve’s portraits from an early point in the transmission history of Hoccleve’s De Regimine De Regimine Principum,Principum, a mirror for princes completed ca. 1411, with the outcome that only a mirror for princes completed ca. 1411, with the outcome that only

30. At the British Library, a copy of the 30. At the British Library, a copy of the Canterbury Tales Canterbury Tales appears to use text clipped from appears to use text clipped from a running title to supply a title page (BL G.11587).a running title to supply a title page (BL G.11587).



SN64 figure 11. figure 11. Hand-drawn facsimile of Speght title page for a copy of Thynne’s ca. 1550 Hand-drawn facsimile of Speght title page for a copy of Thynne’s ca. 1550

edition. By permission of Wesleyan University Library, Special Collections & Archives edition. By permission of Wesleyan University Library, Special Collections & Archives (YX C4 1551).(YX C4 1551).



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figure 12. figure 12. Title page for Thynne’s ca. 1550 edition with bookplate of Peterborough Title page for Thynne’s ca. 1550 edition with bookplate of Peterborough Cathedral. Reproduced by kind permission of the Syndics of Cambridge University Library Cathedral. Reproduced by kind permission of the Syndics of Cambridge University Library (Pet. B.6.13).(Pet. B.6.13).



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Table 2. Table 2. Copies of early Chaucer editions with Chaucer’s portrait addedCopies of early Chaucer editions with Chaucer’s portrait added

Edition YearEdition Year LocationLocation PortraitPortrait

ca. 1477ca. 1477 British Library (167.c.26), British Library (167.c.26), Canter-Canter-bury Talesbury Tales

s. xviii color portraits. xviii color portrait

1532 1532 Oxford, Bodleian Library (Douce Oxford, Bodleian Library (Douce C. Subt. 19)C. Subt. 19)

Hand-drawn facsimile of Hoccleve Hand-drawn facsimile of Hoccleve portrait (front board); Collyer portrait (front board); Collyer engraving, 1774 (rear board)engraving, 1774 (rear board)

ca. 1536ca. 1536 Huntington Library (51789), Huntington Library (51789), Jack Jack UplandUpland

Collyer engraving, 1774Collyer engraving, 1774

15421542 Columbia (Phoenix PO17.En1 B64 Columbia (Phoenix PO17.En1 B64 1542C)1542C)

s. xix color portraits. xix color portrait

15611561 Cambridge University Library Cambridge University Library (Keynes S.7.9)(Keynes S.7.9)

Plate from Speght editionPlate from Speght edition

15611561 Huntington Library (84667)Huntington Library (84667) Plate from Speght editionPlate from Speght edition15611561 Texas, Harry Ransom Center (PR Texas, Harry Ransom Center (PR

1850 1561b, copy 4)1850 1561b, copy 4)Thurston engraving, 1820Thurston engraving, 1820

15611561 New York Public Library (*KC New York Public Library (*KC + 1561)1561)

Plate from Speght editionPlate from Speght edition

15981598 Oxford, Bodleian Library (Ms Oxford, Bodleian Library (Ms Rawl. Poet 41)Rawl. Poet 41)

Anon. sxvii printed stampAnon. sxvii printed stamp

16021602 Baylor, Armstrong Browning Baylor, Armstrong Browning Library (X BL 821.17 C496w) Library (X BL 821.17 C496w)

Houbraken engraving, 1741Houbraken engraving, 1741

16021602 British Library (641.m.2)British Library (641.m.2) Vertue portrait [n.d.]Vertue portrait [n.d.]16021602 Texas, Harry Ransom Center (PR Texas, Harry Ransom Center (PR

1850 1602b)1850 1602b)Engraving for Baldwin, 1753Engraving for Baldwin, 1753

16021602 Harvard, Houghton Library (STC Harvard, Houghton Library (STC 5081)5081)

s. xviii portraits. xviii portrait

16021602 Trinity College, Cambridge Trinity College, Cambridge ( Munby A.2)( Munby A.2)

Hand-drawn facsimile of Speed Hand-drawn facsimile of Speed portrait, in brown inkportrait, in brown ink

16021602 University of Virginia (PR1850 University of Virginia (PR1850 1602 copy 1)1602 copy 1)

Engraving for Harrison, 1785Engraving for Harrison, 1785

one manuscript retains the Chaucer portrait, making it possible that Speght is one manuscript retains the Chaucer portrait, making it possible that Speght is referring to one of these lost images in his 1598 edition.referring to one of these lost images in his 1598 edition.3131 Martha Driver argues, Martha Driver argues, however, that Speed probably based his work on British Library MS Additional however, that Speed probably based his work on British Library MS Additional 5141 or a similar full-length depiction of Chaucer holding his penner and a rosary 5141 or a similar full-length depiction of Chaucer holding his penner and a rosary given how similar the styling is between the printed engraving and the painted given how similar the styling is between the printed engraving and the painted image.image.3232 She concurs with Derek Pearsall that this single leaf might be the Cotton She concurs with Derek Pearsall that this single leaf might be the Cotton portrait referred to by the eighteenth-century engraver George Vertue if some-portrait referred to by the eighteenth-century engraver George Vertue if some-one liberated it from Cotton Otho A. XVIII before the manuscript perished in one liberated it from Cotton Otho A. XVIII before the manuscript perished in the fi re of 1731.the fi re of 1731.3333 Some years after Vertue’s engraving, dated 1717, Jacobus Hou- Some years after Vertue’s engraving, dated 1717, Jacobus Hou-

31. The extant copy is British Library MS Harley 4866, fol. 88. See Nicholas Perkins, 31. The extant copy is British Library MS Harley 4866, fol. 88. See Nicholas Perkins, Hoccleve’s Hoccleve’s Regiment of Princes: Regiment of Princes: Counsel and ConstraintCounsel and Constraint (Cambridge: D.S. Brewer, 2001), 155 –159. (Cambridge: D.S. Brewer, 2001), 155 –159. He agrees with Pearsall that Speght’s claim might have been a publicity ploy, but “it is quite He agrees with Pearsall that Speght’s claim might have been a publicity ploy, but “it is quite possible, however, that he had seen such a portrait, whether the one described by [Sir Fran-possible, however, that he had seen such a portrait, whether the one described by [Sir Fran-cis] Kinaston, or in a manuscript now lost, or in Arundel 38 or Harley 4826 before they were cis] Kinaston, or in a manuscript now lost, or in Arundel 38 or Harley 4826 before they were excised” (159). excised” (159).

32. Martha W. Driver, “Mapping Chaucer: John Speed and the Later Portraits,” 32. Martha W. Driver, “Mapping Chaucer: John Speed and the Later Portraits,” Chaucer Chaucer ReviewReview 36 (2002): 228 –249 at 241. 36 (2002): 228 –249 at 241.

33. Derek Pearsall, 33. Derek Pearsall, Life of Geoffrey Chaucer: A Critical BiographyLife of Geoffrey Chaucer: A Critical Biography (Oxford and Cambridge, (Oxford and Cambridge, MA: Blackwell, 1992), 295.MA: Blackwell, 1992), 295.



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braken furnished a new plate for braken furnished a new plate for The Heads of Illustrious Persons of Great Britain,The Heads of Illustrious Persons of Great Britain, which appeared in serial format between 1743 and 1752.which appeared in serial format between 1743 and 1752.3434 Though he purport- Though he purport-edly used the Sloane portrait, his version is a half-body portrait rather than the edly used the Sloane portrait, his version is a half-body portrait rather than the full-length depiction in the oil-on-oak painting; the Sloane portrait bears a close full-length depiction in the oil-on-oak painting; the Sloane portrait bears a close resemblance to BL Add 5141, even in its placement of Chaucer’s red-and-white resemblance to BL Add 5141, even in its placement of Chaucer’s red-and-white arms in the upper left corner.arms in the upper left corner.3535 Another cognate of the full-length portrait, which Another cognate of the full-length portrait, which dates from the eighteenth century, serves as a color frontispiece to a copy of Cax-dates from the eighteenth century, serves as a color frontispiece to a copy of Cax-ton’s fi rst edition of the ton’s fi rst edition of the Canterbury TalesCanterbury Tales at the British Library (167.c.26). at the British Library (167.c.26).3636 The The portrait tradition shares certain similarities with the Westminster Abbey monu-portrait tradition shares certain similarities with the Westminster Abbey monu-ment in that it is based more on perceived prestige than a precise model. Artists’ ment in that it is based more on perceived prestige than a precise model. Artists’ variations could likewise be compared to transcriptions of the Westminster Abbey variations could likewise be compared to transcriptions of the Westminster Abbey epitaph, presenting a desire for both authenticity and aggrandizement.epitaph, presenting a desire for both authenticity and aggrandizement.

Collectors of Chaucer’s early printed editions added copies of half-body por-Collectors of Chaucer’s early printed editions added copies of half-body por-traits to their Chaucer editions, pilfered from a variety of sources. The Houbraken traits to their Chaucer editions, pilfered from a variety of sources. The Houbraken portrait serves as a frontispiece for the Browning Chaucer. Another engraving portrait serves as a frontispiece for the Browning Chaucer. Another engraving of Chaucer’s bust, printed for Robert Baldwin and the of Chaucer’s bust, printed for Robert Baldwin and the London Magazine London Magazine in 1753, in 1753, appears on the verso of a fl y leaf in a Bishop imprint of the 1602 edition.appears on the verso of a fl y leaf in a Bishop imprint of the 1602 edition.3737 An An even later engraving by John Thurston (1820) can be found in a copy of the 1561 even later engraving by John Thurston (1820) can be found in a copy of the 1561 edition at the HRC. A copy of the 1532 edition once owned by Francis Douce edition at the HRC. A copy of the 1532 edition once owned by Francis Douce (1757–1834) frames the body of the text with images of Chaucer on both the (1757–1834) frames the body of the text with images of Chaucer on both the front and the rear pastedowns, opening with a tracing of the Hoccleve minia-front and the rear pastedowns, opening with a tracing of the Hoccleve minia-ture and concluding with John Collyer’s 1776 engraving.ture and concluding with John Collyer’s 1776 engraving.3838 A copy of Speght’s A copy of Speght’s fi rst edition contains at the start of the author’s biography a small portrait that fi rst edition contains at the start of the author’s biography a small portrait that appears to be clipped from the title page to Edward Phillips’ appears to be clipped from the title page to Edward Phillips’ Moderne World of Moderne World of Words.Words.3939 In one case where the Speed portrait was wanting in a 1602 edition at In one case where the Speed portrait was wanting in a 1602 edition at Trinity College, Cambridge, the owner added a hand-drawn facsimile to serve Trinity College, Cambridge, the owner added a hand-drawn facsimile to serve in place of the engraved portrait (fi gure 13). Collectors might add extra portraits in place of the engraved portrait (fi gure 13). Collectors might add extra portraits to copies of Speght’s edition, even if the Speed portrait remained intact. Now did to copies of Speght’s edition, even if the Speed portrait remained intact. Now did book owners have any qualms about robbing Peter to pay Paul by taking copies book owners have any qualms about robbing Peter to pay Paul by taking copies of the Speed portrait for use in earlier editions: a copy of John Stow’s 1561 edi-of the Speed portrait for use in earlier editions: a copy of John Stow’s 1561 edi-tion at the Cambridge University Library, for instance, contains a copy of the tion at the Cambridge University Library, for instance, contains a copy of the

34. For further information about the engraving, see British Museum Collection Data-34. For further information about the engraving, see British Museum Collection Data-base, “1979,U.366.” base, “1979,U.366.” www.britishmuseum.org/collectiowww.britishmuseum.org/collection.

35. The Sloane portrait is now National Portrait Gallery 532; see Marion Harry Spiel-35. The Sloane portrait is now National Portrait Gallery 532; see Marion Harry Spiel-mann, mann, The Portraits of Geoffrey Chaucer: An Essay Written on the Occasion of the Quincentenary of the The Portraits of Geoffrey Chaucer: An Essay Written on the Occasion of the Quincentenary of the Poet’s DeathPoet’s Death (London: Chaucer Society, 1900), 12. (London: Chaucer Society, 1900), 12.

36. Betsy Bowden wryly observes that “although traditional Chaucer portraiture consti-36. Betsy Bowden wryly observes that “although traditional Chaucer portraiture consti-tutes an extensive topic, the basic image and pose remained quite consistent,” making it no tutes an extensive topic, the basic image and pose remained quite consistent,” making it no surprise that “the Houghton Library portrait on wood, done by an unknown artist perhaps in surprise that “the Houghton Library portrait on wood, done by an unknown artist perhaps in the seventeenth century, stands in a long line of sweet-faced, fork-bearded Chaucers who fi nger the seventeenth century, stands in a long line of sweet-faced, fork-bearded Chaucers who fi nger pen case and rosary while gazing pensively downward.” See Bowden, “Canterbury Pilgrims pen case and rosary while gazing pensively downward.” See Bowden, “Canterbury Pilgrims and Their Horses in the Eighteenth Century: Two Artists’ Interpretations,” and Their Horses in the Eighteenth Century: Two Artists’ Interpretations,” Harvard Library Harvard Library Bulletin, Bulletin, n.s. 3 (1992 –93): 18 –34 at 32.n.s. 3 (1992 –93): 18 –34 at 32.

37. To view the engraving, see British Museum Collection Database, “K,67.97.”37. To view the engraving, see British Museum Collection Database, “K,67.97.”38. Regarding the Collyer portrait, see British Museum Collection Database, “K,67.99.”38. Regarding the Collyer portrait, see British Museum Collection Database, “K,67.99.”39. For the Chaucer portrait, see British Museum Collection Database, “O,7.158.” 39. For the Chaucer portrait, see British Museum Collection Database, “O,7.158.”

Facsimiles of the complete title pages are also available in the database: Museum numbers Facsimiles of the complete title pages are also available in the database: Museum numbers 1872,1012.5417 and 1895,1031.587 (London, 1696); Museum number 1896,1230.250 (London, 1872,1012.5417 and 1895,1031.587 (London, 1696); Museum number 1896,1230.250 (London, Nathaniel Brooke, 1670).Nathaniel Brooke, 1670).



SN68 figure 13. figure 13. Hand-drawn facsimile of Speed portrait for Speght’s 1602 edition. By permission Hand-drawn facsimile of Speed portrait for Speght’s 1602 edition. By permission

of the Master and Fellows of Trinity College, Cambridge (Munby A.2).of the Master and Fellows of Trinity College, Cambridge (Munby A.2).



SN

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Speed portrait (Keynes S.7.9). The circulation of these portraits merits further Speed portrait (Keynes S.7.9). The circulation of these portraits merits further exploration, but this collection of examples seems to indicate that Chaucer’s exploration, but this collection of examples seems to indicate that Chaucer’s visual presence added iconographic worth to books commemorating not just his visual presence added iconographic worth to books commemorating not just his literary skill but his perceived cultural importance.literary skill but his perceived cultural importance.

The ways in which owners of early editions of Chaucer altered their books The ways in which owners of early editions of Chaucer altered their books represent forms of reception that have yet to be considered fully. These readers represent forms of reception that have yet to be considered fully. These readers did more than mark passages with marginalia; through their choice of inscrip-did more than mark passages with marginalia; through their choice of inscrip-tions, title-page embellishments, and inserted portraits they sought to provide an tions, title-page embellishments, and inserted portraits they sought to provide an overall characterization of the books and their author. These elements, intended overall characterization of the books and their author. These elements, intended as commemorative and meant to be seen and appreciated by others, offer ad-as commemorative and meant to be seen and appreciated by others, offer ad-ditional ways in which the physical features of books can prompt fresh insights ditional ways in which the physical features of books can prompt fresh insights into the cultural perceptions and values of past ages.into the cultural perceptions and values of past ages.4040

40. The current project was made possible by a Harry Ransom Center Research Fel-40. The current project was made possible by a Harry Ransom Center Research Fel-lowship sponsored by the Carl H. Pforzheimer Endowment; a Bibliographical Society minor lowship sponsored by the Carl H. Pforzheimer Endowment; a Bibliographical Society minor grant; the NEH summer seminars program; and funding from the Provost’s Offi ce at Baylor grant; the NEH summer seminars program; and funding from the Provost’s Offi ce at Baylor University. University.


readers’ memorials in early editions of chaucer

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