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Published online by Cambridge University Press: 04 January 2024
Confessio Amantis, with Latin addenda
London, s.xv, first quarter, early
Contents
(fol. 1) flyleaf, with inscriptions and marks
1
(fols 2ra–207va) Confessio Amantis, Prol. 1–VIII.3114*end
Torpor ebes sensus scola parua labor minimusque, etc. (6 lines of Latin verse).
Of hem that writen vs tofore < > Oure ioye may ben endeles. | Amen
Prologue (fol. 2ra) wants 144–301 (one leaf lost after fol. 2); Book 1 (fol. 8rb); Book II (fol. 30ra); Book III (fol. 52va); Book IV (fol. 70ra); Book V (fol. 93rb); Book VI (fol. 141ra); Book VII (fol. 155vb) wants 3137–3417 and first four lines of Latin gloss at 3417 (two leaves lost after fol. 176; fol. 177r begins ‘sanguinis effusione…’); Book VIII (fol. 188vb) wants 1569–1727 (one leaf lost after fol. 198). Four leaves lost in all.
Text: collated by Macaulay (sigil C): Ic. ‘A good copy of the unrevised group’, connected with E [Egerton 1991], though ‘less good in spelling, especially as regards final e’ (ed., Works, II.cxlviii); occasional special connections with Bodleian Library MSS Laud Misc. 609 and Bodley 294.
For further information about the following Latin and French addenda that Gower caused to be added to MSS of the Confessio, see Appendix III.
2
(fol. 207va) ‘Explicit iste liber’
Explicit iste liber < > pagina grata britannis
Earlier four-line version, without dedication to Henry earl of Derby.
Macaulay (ed.), Works, III.478.
3
(fol. 207va) ‘Quam cinxere freta’
Quam cinxere freta < > stat sine meta
With rubric ‘Epistola super huius’
Macaulay (ed.), Works, III.479.
4
(fol. 207va–b) ‘Quia unusquisque’
Quia unusquisque < > specialiter intitulatur. Deo gracias
Earlier version, favourable to Richard II.
Macaulay (ed.), Works, III.479–80.
(fols 208–09) two parchment flyleaves, with inscriptions and marks
Illustration
There are two miniatures. The Statue of the Man of Metal of Nebuchadnezzar’s dream on fol. 4va follows the Latin gloss at Prol. 595, showing a male figure, with head of gold, upper body silver, torso bronze, rest obscure through oxidization, standing with arms outstretched in grassy landscape, with rock on hill rising to the right, against a diamond patterned background, within a red frame, shaded to give perspective depth.
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