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\l
^:i
11
Zbe QcottiBb Zcjct Qociet^
THE POEMS
OF
WILLIAM DUNBAR
ttbe Scottisb JEcjrt Societ?
THE POEMS
WILLIAM DUNBAR
i%
>
\
Hbe Scottteb a:ei;t Societi;
THE POEMS
WILLIAM DUNBAI
" I see that the Ayrshire Bard had one giant before him."
--Crabbt to Sir IVaUtr Scott : * Lockhart's Life of Scott. '
THE POEMS
OF
WILLIAM DUNBAR
EDITED BY
The late JOHN SMALL, LL.D.
LIBRASIAN OP THE UNIVKSSITY OP BDINBUKCH
» •
VOL. I.
• • •
INTRODUCTION \\\\: l,/r. -
By iE. J. G. MACKAY.:: f .
ONE OP THE VICE-PRESIDENTS OP THE SCOTTISH TT^IsO^MSIIk
1 _ _ • •
• • »
• *
:•
• • • • •
WITH PREFATORY NOTE' :"
• m % •
• • • «
t
• • ■ •
^rinteti fox tf|e Sodttg ig '***
WILLIAM BLACKWOOD AND SONS
EDINBURGH AND LONDON
MDCCCXCIII
N
AVL J^t^kts reserucd
1141 J >
PREFATORY NOTE.
The Introduction to the poems of William Dunbar, having
exceeded the length of the ordinary parts of the Society's
publications, is issued separately.
Dr Gregorys Glossary and Notes are ready for the press,
and will be included in the publications of the year.
*
The widespread interest in Dunbar emboldened the
writer to ask, and enabled him to obtain, the aid of many
gentlemen in the dischai^e of a duty which fell into his
hands by the lamented death of Mr John Small. He is
grateful for this co-operation, without which he could not
have made the attempt to introduce Dunbar in a manner
worthy of his fame to students of Scottish History and
lovers of Scottish Poetry.
The Rev. Dr Gregor of Pitsligo has read the whole
proof, made many valuable suggestions, and prepared
Tables C and D in the Appendix on the bibliography
of Dunbar.
Mr G. P. M'Neill, Advocate, has contributed Appendix
ni. " On the Versification and Metres of Dunbar," — ^subjects
VI PREFATORY NOTE.
essential to a fair judgment of the poet's style, but which
the writer was himself incompetent to treat.
Mr Dickson, Curator of the Historical Department of
the Register House, and Mr Maitland Anderson, Librarian
of the University of St Andrews, have examined the
Records under their charge for the references to Dunbar.
Dr Cranstoun of Stroude, formerly of the Royal High
School of Edinburgh ; Mr Clark, the Keeper of the Ad-
vocates' Library; Mr Webster the Librarian, and Mr
Alexander Anderson Assistant-Librarian, of the Univer-
sity of Edinburgh, — ^have helped in solving some doubtful
questions in connection with the life and poems* of Dunbar.
Mr John Russell of Edinburgh, author of * The Haigs of
Bemersyde,' and Mr F. J. Amours of Glasgow, have rendered
a similar service as to particular points.
Sir W. Fettes Douglas, President of the Royal Scottish
Academy, and Mr John Gray, F.S.A., Curator of the
Scottish Historical Portrait Gallery, have given informa-
tion as to the portraits of James IV. and Margaret Tudor,
of which the writer regrets he has not been able to make
fuller and better use. It was at one time his intention to
give examples of such portraits. Authentic and good rep-
resentations of the features of historical characters recall
the past actors in the historic drama better than words.
But no portrait of Dunbar is known, and it might have
seemed far-fetched to illustrate his works by portraits
even of his royal patrons. Those who desire to see
what was the outward appearance of the king who led
his nation to Flodden, and the queen who brought the
17 utfur :ilbivil itntv :ti& ^mul mcot:, im^- waasut tfls jifnt&F
i«vwti> mH] ;!» ;ii mmv -v*ilA) 1^- Sfiwulk <^m &i» -wx^, iunnmd^ lis
lUAl^ Mkviot: nmtf!)/ ^7t«ftiai3ibe» titt: ImsuII <ud Id^ cmt&^ aand
il»t]M«r lity^fitnrtwlU; ft&tt: mor tvHs^D <oif fa» dtHnrawtinr in tbc
Mbq;«^ Tdid^r bftti {jswoitftid bfindlf m ha Idtftcfs in a
MitMMHy ^^AmkId I«SM^it» liilttSe (Aodbt that tlie portnut im I^ocd
fy^tlwMr^^ OJLtK^yn ;vt K«:wtiattk, aad 'm tlie fBoystesioiis
j(r<'^Mi»{j^ MUMiHy <&»lkMl M^ifj^ct and Allaiix in tlie Qdkc-
ti^iW // |>>ir4 (JtfU: at CardiAT, art gemufse represcntatioiis of
il»« ^^mfi^^iW^^ pLeatMire-kmi^ fll-oiatcd, and iU-fitfed
w^mi^m, whm^ «y«» in yc^ith had some of tlie beanty,
f>Mt irb/>Mr life had none c^ the romance, of that of Mary
Stuart.
'fhe immpcct (A the publication of a Scottish historical
fK/rtrait (^[allery by (/ergons most competent for such a
work, U another and (K^rhaps itself sufficient reason for not
flWitm [iortraits in such a sketch as the present
1 1 ml it been the custom of the Scottish Text Society
to dedicate their publications, the writer would have ven-
tured to inscrilx; this Introduction to the memory of Allan
Kamsay, who recovered the poems of Dunbar from the
compftrative obscurity of manuscript, and of Mr David
Vlil PREFATORY NOTE.
Laing, whose researches made the life and genius of the
poet better known to his countrymen ; and he would have
associated with these names that of Professor Schipper
of Vienna, who has introduced the Scottish poet to the
German public
The growing appreciation on the Continent of early
Scottish and English literature, is a gratifying proof of the
international character of the Republic of Letters.
CONTENTS.
INTRODUCTION.
I. Memoir of Dunbar —
Object of introduction — The MSS. of Dunbar's Poems,
^Birth and £umly of Dunbar, and of his rival Walter Ken
nedy, 1460-70, .....
^ Education of Dunbar at Haddington before 1474, .
Dunbar at St Andrews University, 1474-79 — He becomes a
Franciscan novice, ....
^Dunbar visits France and the Continent, I49i-I500(?),
Dunbar a priest and Court poet, 1500-12, .
Dunbar and the Embassy to London to negotiate the mar
riage of James IV. and Margaret Tudor, 1501-2,
Dunbar's illness — His notices of the Scottish poets in the
Lament for the Makaris, 1507-8,
Dunbar's connection with Chepman the Scottish printer,
1500, .••.••
Dunbar celebrates Bernard Stewart, and satirises Damian,
the Abbot of Tungland, 1507-8,
Dunbar at Aberdeen with the Queen, 151 1,
Dunbar at the Court of James IV., 1500-13,
The King and Queen, ....
The Town, the Court, the Trades, the Friars, and other
Classes, ......
The Scottish landscape as seen by Dunbar,
Effect of Flodden on Scotland and Dunbar, 15 13, .
Dunbar's life after Flodden to his death, 1513-20^ .
Dunbar's Sacred Poems or Hymns after 1513 (?), .
^ Dunbar's person and character.
PAGB
xi
XV
xix
xxii
xxvi
xxxi
xxxiii
xl
xlii
xlv
xlviii
xlix
U
Ivi
Iviii
Ix
Ixiii
Ixix
Ixxii
CONTENTS.
II. The Poems op Dunbar—
Division of the Poems into Classes —
I. Allegorical Poems,
II. Narrative Poems or Tales,
III. Amatory or Love Poems,
IV. Comic or Humorous Poems,
V. Laudatory Poems or Panegyrics,
VI. Vituperative Poems or Invectives,
VII. Precatory Poems or Petitions to the King or
Queen,
VIII. Satirical Poems, .
IX. Moral Poems,
X. Religious Poems or Hynms, . .
. Estimate of Dunbar's genius — Its wide range — Its defects,
^ Comparison of Dunbar with preceding Scottish poets,
Influence of Chaucer on Dunbar,
Influence of the French poets on Dunbar, .
Comparison with Bums, ....
Dunbar's mastery of metre, ....
Comparison with Horace, Villon, Heine, and Albert Durer,
Ixxi
haa
Ixx]
xcii
civ
cvii
cxx
cxx
cxx
cxx
cxlj
cxlj
cxb
cxV
cxb
cxl:
cl
APPENDIX TO INTRODUCTION.
I. References to Dunbar in the Records,
II. Table of Dunbar's Poems according to probable order of
their dates, ......
III. Note on the Versification and Metres of Dunbar, by G. P.
M'Ndll, Esq., LL.B., Advocate,
IV. Bibliography of Dunbar —
A, Manuscripts, .....
B. Printed Editions, .....
C. Table of the MSS. in which is found each of the
Poems of Dunbar, . . . .
D, Table of the Principal Editions of each of the
Poems of Dunbar, ....
V. Historical Notices of Persons alluded to in Dunbar's Poems,
Index to Introduction and Appendices, .
Facsimiles, .....
INTRODUCTION.
I.
MEMOIR OF DUNBAR,
OBJECT OF INTRODUCTION — ^THE MSS. OF
DUNBAR'S POEMS.
William Dunbar is generally held in Scotland to be the
best Scottish poet prior to the Reformation. Sir Walter
Scott calls him " the excellent poet, unrivalled by any which
Scotland ever produced." Yet either praise may appear
due to patriotism, for the qualities of Dunbar require study
before they are fully appreciated. An American writer
gives a different verdict ^Dunbar's works were disin-
terred some thirty years ago by Mr Laing, and whoso is
national enough to like thistles, may browse there to his
heart's content I am inclined for other pasture, having
long ago satisfied myself by a good deal of dogged reading
that every generation is sure enough of its own share of bores
without borrowing from the past"^ Dunbar must stand
or &11 on his merits, not on the opinions of any critic His
poems, always valued by a select circle, require, more than
iLowelL
a
xii INTRODUCTION.
the works of most poets, an introduction to the reader.
This is not because they are obscure. With few exceptions,
they are clear in thought and language, but the dialect in
which they are written is in part antiquated, and their rela-
tion to his own life, and the country and age in which he
lived, must be present if we would grasp their complete
meaning.
It will be the aim of this Introduction to illustrate Dun-
bar's poems by a sketch of his life, with an outline of the
history of Scotland, so far as necessary to estimate the
character of his genius in itself, and in comparison with
his predecessors and successors in the long and honourable
line of Scottish poetry.
It was to have been the work of Mr Small to whom the
Society owes this edition of his writings. No one since Mr
David Laing was a more diligent student of the ancient
Scottish poets, or was better versed in the Scottish ver-
nacular. His death, when a long-cherished project for
the publication according to the best texts of the works
of the authors who used it was at last begun, was a sever
loss to all students of our early literature. "Abeui
studia in mores." Something of the shrewd humour, tl*
warm patriotism of the old Scottish poets, passed ir
their interpreter. It is with deep regret that the pre
writer takes up a part of Mr Small's unfinished lab
It was thought that the members of the Society r
reasonably wish to have their copies of Dunbar
pleted by an Introduction, Glossary, and Notes
Dr Gregor having undertaken the onerous task
Glossary and Notes, the Introduction, for wJ
Small had made some memoranda, kindly pi
the disposal of the Society by Mr Small's re
INTRODUCTION. xill
tives, has been intrusted to the writer of the Introduction
by the Council
The learned researches of Mr Laing, and the admira-
ble work of Professor Schipper of Vienna, who for the
first time made Dunbar known on the Continent, and sug-
gested an arrangement of the order of his poems which is a
great aid to the understanding of his character, render the
study of Dunbar much easier than it otherwise would have
been. No acknowledgment can be too strong for the help
received from these two writers. From other sources less
assistance than might have been anticipated has been
derived. Yet it wbuld be ungrateful not to refer to the
notices of Dunbar by Warton in his History of English
and by Irving in that of Scottish Poetry, to the brief but
instructive notes of Lord Hailes, and the valuable though
not always accurate notes of Mr Pinkerton.
It was the singular fortune of Dunbar, after having been
recognised by his contemporary Gavin Douglas, and David
Lyndsay, his immediate successor, as the master of the
Scottish makers, to be almost forgotten for nearly two
centuries. His fame was restored by the publication of
some of his poems in the ' Evergreen ' by Allan Ramsay in
1724.
" Thrice fifty and six towmonds neat.
From when it was collected.
Let worthy poets hope good fate.
Through time they'll be respected.
Fashions of words and wit may change.
And rob in part their fame,
And make them to dull fops look strange, —
But sense is still the same."
"During this period," says Mr Laing, "with one solitary
exception, no allusion, not even so much as the mention of
xiv INTRODUCTION.
his name, can be discovered." The exception is in the
lines by Henry Charteris, in his Adhortation prefixed to
the edition of Lyndsay's poems published in 1 568 : —
" Thocht Kennedy and Dunbar bore the bell,
For the large race of rhethorik they ran."
This long n^lect of Dunbar was due to his poems, many
of them brief and occasional, having been written when
the printing-press brought into Scotland by Chepman
and Myllar was beginning to supersede multiplication
by manuscript Had they been written earlier, they
might have been better preserved in manuscript, as the
works of Wyntown, Blind Harry, and Barbour have been.
Had they been written a little later, they would almost
certainly have been printed. As it happened, only seven
poems, the first seven in this edition of his works, were
issued by Chepman and Myllar in 1 508, and had the bene-
fit of his revision. Two years later Chepman printed his
last book, the second volume of the ' Aberdeen Breviary,* ^
and with a single exception no book was issued by a Scot-
tish press for twenty years, when Thomas Davidson began
to print* Before this date Dunbar had died. The press,
the herald of the Reformation, and its readers, were after
wards engrossed with topics of another kind from tho
which had been the subjects of the poets of an earlier r
The preservation of Dunbar's poems was due to t
manuscript collectors, — Geoige Bannatyne, whose M!
in the Library of the Faculty of Advocates, Edinb^
1 The colophon bears, " Printed in the Town of Edinburgh by
mand and at the expense of the honourable man Walter Chepman
in the said Town, on the furth day of June in the year of our Lord
« The single exception was "The Office of our Lady of Pity,"
John Story. See Dickson's ' Introduction of the Art of Printing int
Aberdeen : Edmond & Spark. 1885.
INTRODUCTION. XV
Sir Richard Maitland, whose MS. is in the Pepysian col-
lection, Magdalene College, Cambridge ; and Mr Reidpeth,
whose MS. is in the University Library of the same Uni-
versity. All the poems in these collections were carefully
collated by or for Mr Small A few additions, mostly
recovered by Mr Laing from the Asloan MS. in the library
of Auchinleck House, Ayrshire, the MSS. in the British
Museum, and miscellaneous sources, are also included in
this edition, as well as eleven poems attributed to Dunbar,
but of uncertain authorship. Had it not been for the pious
care of the collectors first named, and especially Banna-
tyne, the poetry of Dunbar would have been almost lost to
the world. As it is, ninety authentic poems have been pre-
served, and a few may still lurk in unexpected quarters, like
that which Mr Laing discovered in the Aberdeen Register
of SasineSy and another (otherwise preserved) the present
writer found copied on a fly-leaf of a MS. of the ' R^am
Majestatem,' by Alexander Guthrie, which belonged to the
library of the Grahams of Fintry, in Forfarshire.
BIRTH AND FAMILY OF DUNBAR, AND OF HIS RIVAL
WALTER KENNEDY, 1460-70.
William Dunbar was probably bom in 1460, the year
when James III. succeeded to the crown by the death of
his father from the bursting of a cannon at Roxburgh, when
inspecting the last invention in the art of destruction.
There is no record of his birth, but as he gpraduated as
Bachelor of Arts at St Andrews in 1477, it can scarcely
have been later, and may have been a few years earlier.
He was a native of East Lothian, a fact of importance
with regard to the dialect of his poems, the North or
XVI INTRODUCTION.
Northumbrian form of Old English, now more familiarly
known as broad Scotch, although he frequently borrowed
from the Southern English of Chaucer. Greater sym-
pathy with, or, to speak more strictly, less antipathy
to, England and the English, distinguished many Scots of
Lothian in the beginning of the sixteenth century from
their countrymen of the immediate Border and the Western
and Northern districts. He appears, from a passage in the
" Fl)rting " with Walter Kennedy, his contemporary and rival
bard, to have been descended from the noble house of
March, founded by Gospatrick, first Earl of Dunbar, in the
reign of Malcolm Canmore, who conferred on him the
manor which gave the title. The traditional policy of this
family was, by siding sometimes with the English, some-
times with its own king, to make its influence felt The
eighth Earl of Dunbar, Patrick, fourth Earl of March, was one
of the competitors for the crown who submitted to Edward
L and joined his army. His wife, a better patriot than her
lord, gave the custody of the Castle of Dunbar to the
popular leaders. It capitulated to Edward I., but was re-
covered, perhaps by Wallace. The ninth Earl, siding with
England, gave Edward II. shelter after Bannockbum, aftei
wards made terms with Bruce, but reverted to Exlward afte
the defeat of Halidon Hill in 1334, and rebuilt the castle f
receive an English garrison. Six years later it was agr
valiantly defended by Black Agnes, daughter of Rando'
against the Earl of Salisbury. On the death of her brc
Thomas at the battle of Durham she became Countess,
her husband, in her right, Earl of Moray. Her son Ge
tenth Earl of Dunbar, uniting the earldoms of ^
and Moray, was a powerful noble, and his daughf
betrothed to David, Duke of Rothesay, heir of Rol
An intrigue between the Regent Albany and Ar
INTRODUCTION. XVll
the grim Earl of Douglas, led to her bemg passed over. A
daughter of Douglas wedded Rothesay. Earl George, in-
dignant at this slight, became a pensioner of Henry IV.,
and with Hotspur defeated Douglas at Homildon in 1402.
His earldom was forfeited for treason, and although the
forfeiture was condoned by Albany, it was never legally
recalled. James I., whose policy was to reduce the great
earls, took advantage of this forfeiture, in 1434, to deprive
George, the eleventh EarV of his estates. An allowance
was given him out of the rents of the earldom of Buchan,
but the once potent family was broken, and their influence
on the Borders passed to the house of Douglas. Sir Patrick,
fourth son of George, the tenth Earl, retained the estate
of Biel, in Haddington. His third son William, mentioned
in two deeds in 1440, has been conjectured,' from the simi-
larity of Christian name and the correspondence of dates,
to have been either the uncle or the father of William
Dunbar the poet
This conjecture agrees well with the life and character of
the poet, who seems to have been a cadet of an illustrious
but decayed family. It is supported by allusions in Ken-
nedy's ** Flyting " to Lothian as the place, and the line of
Gospatrick as the race, from which Dunbar came : —
«f
How thy forbearis come, I half a feill.
At Cokbamispeth, the writ makis me war,
Generit betuix ane sche beir and a deill ;
Sa wes he callit Dewlbeir and nocht Dumbar:
This Dewlbeir, generit of a meir of Mar,
Wes Corspatrik, Erie of Merche ; and be illosioim
The first that evir put Scotland to confosioan
Wes that fals tratour, hardely say I dar.**'
* Act ParL Scot 11, p. 23.
' The conjectare is due to Mr Laing, ' Memoir of Dunbar,' p. 8 ; and see
App., p. 65. ' Pp. 19, 20, U. 257-264.
^TRODUcno"-
Than thow v^
^,3 Celtic drcss^ , ^* thy polV bre*. and rilUng •.-
..ThowbringistbeCam ^^^.^^ ^^^ f
. ent from GospatncK, ^ ^^^^ ^ ad-
^ *^ 'r;^ over in silen^- ^^ ^ ,^,,, ,„ ^un-
^'^"'^'' ^oTlusion to his famdy
^tted. No*^^'* ,Wrd son of Gabert. first
^^3 Poetos. Walter>^ 3.^1,09 of St
His rival Kenney ,f K«a ^ ^^^^^, „f
^'^'^'' tsSn traced i-*^/;^ee of Master of Ar
that name bas.^ 5 to ^ ^e? d„,other
his --«^-^l Kennedys mo^^^ ^-y' ^^^^
^« ^ Tho married as h^ ^^ ^„«,ero«s famd-
of Angos.^^o^ ^cbeadofti^*
Kennedy 01 , ^^. u5- pp. 440. 4
INTRODUCTION. XIX
that dan in Carrick. Hence Kennedy in the "Flyting"
boasts that he was '' of the King's blood"
The family of Dunure acquired the earldom of Cassilis,
and went on increasing in importance until it became a
proverb, —
" Twixt Vngtown and the town of Ayr,
Portpatrick and the Cruives of Dee,
No man need think to bide there
Unless he court Saint Kennedie." ^
The poets were thus contrasted as belonging to the East
and West of Scotland, to the English and the Celtic race,
and to a fallen and a rising family. All these points com-
bined to give edge to the invective against each other,
which, although supposed by the best judges to be not
altogether, yet was at least partly serious. His Lothian
origin also fitted Dunbar to take the place of leader of
the Scottish minstrelsy, and to fill, as the most repre-
sentative name, — ^though Henryson, Gavin Douglas, and
David Lyndsay should not be forgotten, — a gap in the
succession between Chaucer, Gower, Lydgat^ and the
Elizabethan poetSL
EDUCATION OF DUNBAR AT HADDINGTON BEFORE 1474.
As was natural in those days^ the clever son of a poor
but good family was destined from the cradle to the service
of the Church : —
*^ 1 wes in ^owth on norciss kne,
Dandely, bischop, dandely."
But the flattering prophecy was not fulfilled : —
1 Thb is Sir W. Scott's ▼esBoii, taken down from Ofal tnditioD. Another,
sK^itly diffBcnt, win be fboDd in ' History of the Fimilj of Kennedy/ p. 166.
XX INTRODUCTION.
" And quhen that ege now dois me greif,
Ane semple vicar I can nocht be :
Excess of thocht dois me mischeif."^
Dunbar, like Swift, with whom he has more than one
point of resemblance, notwithstanding the different times
in which they lived, was a seeker after preferment, and dis-
appointed hopes gave a peculiar bitterness to the tone of
his mind.
We do not know where he received his school education.
The nearness of Biel to Haddington makes it probable that
it was at the famous school of that town, which had already
educated Bower ^ the historian, and was to educate John
Major the scholastic philosopher, and John Knox the
Reformer. Dunbar makes no reference to the locality from
which he came, unless the vivid picture of the birds which
accompanied the flight and saw the fall of the Abbot of
Tungland was due to one familiar with the natural won-
der of the Bass.
The allusions to the Lollards in Kennedy's "Flyting"
against Dunbar may be due to the seeds of WycliPs doc-
trine having already found a congenial soil in East Lothian
and the East Lothian poet. It was a natural topic for satire
by a son of a family so staunch to the old Church as the
Kennedys at that time were. The transplanting o<
Wyclifs books to Scotland is usually ascribed to Jot
of Gaunt's visit, when afraid of the peasants rising in 13^
and Gaunt, the patron of Wyclif, stayed at Haddington
his way to Edinburgh. James Resby, the first martyr
' P. 106, xxii., U. 61-65.
^ John Bower, Deputy Customer of Haddington, 1395-98, was the
of Walter — Exchequer Rolls, voL iv. p. 88. Walter, Abbot of Ind
1 41 8 (Scotichronicon, xv. 30), wrote the continuation of the Scotir
con of John of Fordoun between 1440 and 1447, and died 1449.
INTRODUCTION.
XXI
Scotland for the Reformation, who was burnt in 1406, is
said by Bower to have been an English priest and follower
of Wyclif ; and the same historian notes that in 1422, the
year before the burning of Crawar the Hussite at St
Andrews, ^incipit volatilis pestilentia in burgo de Had-
ington." ^
Possibly Kennedy's reference to Dunbar as ''Lollard
laureate " ^ and as
<«
Pickit, wickit, conwickit, lamp Lollardonun ;
Defamyt, blamyt, schamyt, Primas Paganorum,"
are mere random shafts;' but in a more serious poem,
" The Praise of Age," he shows his fear of the new sect : —
t<
The schip of faith tempestuous wind and rain
Dryvis in the see of Lollardy that blaws."
We find a little later ^ East Lothian families — the Crichtons
of Brunston, the Cockbums of Ormiston, the Douglases of
Longniddry, and the Heriots of Traprain — ^were amongst
the hearers of the preaching of Wishart A hidden under-
current of the new doctrine may have survived the persecu-
tion of its disciples in that county as in Ayrshire.^
As r^[ards Dunbar, while there was no apparent loosen-
ing of the ties which bound him to Roman doctrine, there
is in his poetry a free handling of the services of the Church,
and an ironical treatment of the lives of the friars and
higher ecclesiastics, which made him a precursor of Lynd-
say, the poet who
" Branded the vices of the age,
And broke the keys of Rome."
^ Scotichronicon, xvL 2a
' Laing's Notes, yoL iL pp. 419, 445.
' Knox's History of the Reformation.
« " Flyting," U. 524 and 548.
* Knox, ToL ii. p. 90.
XXli INTRODUCTION.
DUNBAR AT ST ANDREWS UNIVERSITY, 1474-79 — HE
BECOMES A FRANCISCAN NOVICE.
It is satisfactory to be able to date the next steps in his
life. His name occurs in the Register of St Andrews ^ as a
Determinant or Bachelor of Arts in 1477, and as a Master
of Arts in 1479. The degree of Bachelor required three
years' residence, so he must have gone to St Andrews at
least as early as 1474, when probably in his fourteenth year,
and remained at least till 1479; but a longer residence,
after graduation, was common in universities at a period
when men of mature years continued scholars. In the
case of Dunbar, it is probable that shortly after taking
his degree as Master of Arts he turned his attention
to theology, and became, with no great goodwill, a
novice in the Observantine branch of the Franciscans,
either in Edinburgh, where James I., or in St Andrews,
where Kennedy the Bishop, had founded a house of that
order. It was the easiest source of procuring a livelihood,
and Dunbar had been all along intended for the clerical
profession. But embracing the monastic calling without
zeal, with the heart of a poet and not of a monk, must have
been a false step.
Dunbar, during his youth and early manhood a disciple
of Horace rather than of St Francis, was sensible through
life of the irony of his situation, and regretted the choice of
an order whose vows of poverty stood in the way of h'
advancement even in the Church, and whose strict ml
was inconsistent with the character of a courtier ar
man of the world. There is no institution of human
^ Acta Facnltatis Artiom, App. I.
INTRODUCTION. XXIU
vention more difficult to judge impartially than monasti-
dsm. A writer like Buchanan saw only its vices, a writer
like Montalembert only its virtues. Less biassed observers
are distracted by the coexistence of fervid piety and self-
sacrifice with degrading sin and self-indulgence, the highest
learning and the densest ignorance, humility and pride,
sincerity and hypocrisy. So far as the life of Dunbar is
concerned, one conclusion is sufficient. In Scotland, as in
Europe, during the period preceding the Reformation, the
attempt to attain to a higher standard of morals by sepa-
rate societies living by rule a life called religious, though
succeeding in individuals, broke down as a general or con-
tinuous system. The older orders were frequently reformed ;
new order followed new order, imposing with new zeal
stricter rules, but the old evils repeated themselves. The
brotherhood founded by the holy zeal of St Francis of
Assisi in the thirteenth century was no exception. The
corruption of the best produced the worst, because it was a
fall from so high an ideal The description of the Francis-
can friars in the satire of Buchanan might be deemed the
exaggeration of an adversary. But it does not stand alone.
It was ratified by the popular verdict, not only in Scot-
land but throughout Europe.
No suspicion of the Protestant prejudice of Buchanan
can attach to Dunbar, who, although he rejected the cowl,
remained all his life a Roman Catholic. In a poem of a
later date, "The Vision of St Francis,*' which Buchanan
imitated in his poem called "Somnium," Dunbar, after
he had abandoned the intention of becoming a r^^lar or
monk, and chosen the calling of a secular priest, describes
his earlier experience when a novice of the Franciscan
order : —
XXIV INTRODUCTION.
" Gif cvir my fortoun wes to be a freir.
The dait thairof is past full mony a jeir;
For into every lusty toun and place
Off all Yngland, from Berwick to Kalice,
I haif in to thy habeit maid gud cheir.
In freiris weid full fairly haif I fleichit.
In it haif I in pulpet gon and preichit
In Demtoun kirk, and eik in Canterberry ;
In it I past at Dover our the ferry
Throw Piccardy, and thair the peple teichit
Als lang as I did beir the freiris style,
In me, God wait, wes mony wrink and wyle ;
In me wes falset with every wicht to flatter,
Quhilk mycht be flemit with na haly watter ;
I wes ay reddy all men to begyle." *'
Kennedy refers to the same passage in Dunbar's life in
the " Fl)rting," though he names a different locality as the
scene of his exploits as a begging friar : —
" Fra Etrike Forest furthward to Drumfrese
Thow beggit with a pardoun in all kirkis,
Collapis, cruddis, mele, grotis, gpisis, and geis,
And ondir nycht quhyle stall thou staggis et stirkis." '
The period during which Dunbar studied at St Andrews,
and the years immediately following, were a time of discord
in Scotland, both in State and Church. James III., after
marrying Margaret of Denmark in 1469, emancipated him-
self from the Boyds, who had usurped the government
during his minority. He soon showed incapacity for gov-
ernment He quarrelled with the Parliament of 1473,
which refused to allow him to join in the war of Louis XL
against Charles the Bold ; with his brothers, one of whom.
Mar, he imprisoned, perhaps murdered — while the other,
^ P. 132, 11. 31.45. « "Flyting," 11. 425-428.
INTRODUCTION. XXV
Albany, escaping to England, became in revenge a traitor
to his country ; with the Archbishop of St Andrews, Pat-
rick Graham, whose deposition he aided in procuring from
Pope Sixtus IV. in 1476 ; and with the people by debas-
ing the coinage. He threw himself into the hands of fa-
vourites, who pandered to vices, or flattered tastes carried
to an extent fatal to the royal dignity. Of these, the chief
were William Schevez, a man of learning in medicine,
mathematics, and astronomy, but addicted to astrology,
who became Archbishop after supplanting Graham ; Robert
Cochrane, a mason skilled in architecture, created Earl or
given the revenue of the earldom of Mar ; Rogers, an Eng-
lish musician ; Andrews, another physician and astrologer ;
Hommil„ a tailor ; Ramsay, a man of better birth, but a
parasite, — associates whom proud nobles could not but
regSLvd as low company for a king, and even the commons
despised. At the Bridge of Lauder, in 1482, the nobles,
led by Angus Bell-the-Cat, hung Cochrane and other of
the favourites before the king's eyes. Hommil the tailor
and Ramsay escaped, and were treated with increasing
favour. Five years after, the barons rose in arms in
name of the young prince, James IV. After a boot-
less attempt at conciliation by the pacification of Black-
ness, the weak king was killed at Sauchie on nth June
1488, within sight of Bannockbum, — it was said by a
priest, or pretended priest, when in the act of confession.
The astrologer who invented the prophecy that the lion
would be devoured by his whelps, which had alienated the
king's superstitious mind from his brothers, might claim
that it was literally fulfilled
In England the same period was one of dvil war, until
the victory of Bosworth Field in 1485 placed the first
XXVI INTRODUCTION.
Tudor, Henry VII., on the throne he maintained by
prudent policy. In France, the long and successful reign
of Louis XI., who reduced the feudal aristocracy and com-
menced the centralisation of the kingdom, ended in 1483,
and his son, Charles VIII., from whose Italian wars the
French Renaissance dates, was as anxious as his father to
cultivate the friendship of Scotland. To France, for two
centuries, the Scot in search of learning, fortune, adven-
ture, went, as he now goes to England, America, Africa, or
the colonies. In Frendi service Scottish scholars found
chairs, Scottish priests benefices, Scottish soldiers their
colours, and, if successful, the honours and the spoils of war.
Not a few adopted a country which received them so hos-
pitably, and scarcely a province was without Scottish blood
amongst its gentry. France hardly seemed a foreign
country. As the ties broke which once united the Norman
of England and France, a stronger bond, which did not
require the myth of an ancient league in the days of
Charlemagne, was formed between the French and the
Scotch against the common enemy.
George Buchanan has described the feeling of the travel-
ling Scot for France in beautiful lines : —
"At tubeata Gallia
Salve ! bonarum blanda nutriz artium,
Orbem receptans hospitem atque orbi tuas
Opes vicissim non avara impertiens
Sermon! comis, patria gentium omnium
Conununis."
DUNBAR VISITS FRANCE AND THE CONTINENT,
1491-1500.^
To France, Dunbar, the wandering friar, naturally pai
The first certain notice of his passage is in the third ;
INTRODUCTION. xxvii
of James IV., when an embassy, headed by Patrick Hep-
burn, Earl of Bothwell, and Robert Blackadder, Bishop of
Gla^ow, was sent to n^otiate a marriage for the young
king; but there can be little doubt that a considerable
part of the period after he disappears from the St An-
drews register in 1479 till 1491, when the Elatherine sailed
from North Berwick, was spent in foreign travel, probably
partly in France. His own allusion —
" In it [<>., the friar's garb] I past at Dover our the ferry
Throw Piccardy, and thair the peple teichit," ^
is plainly bic^^phicaL Kennedy's reproach, ** Thow scapis
in France to be a knycht of the felde," and more than one
reference to Mount Falcon, the famous place of execution
in Paris, as the destiny of Dunbar, must refer to this part
of his life, and not to a later, when he was in the service of
the king.
Kennedy's part of the "Flyting" was written when
Dunbar was in Paris, but whether at this or some prior or
subsequent time is uncertain.
" And yit Mount Falconn gallowis is our fair,
For to be fylde with sic a frutles face ;
Cum home, and hing on our gallowis of Aire,
To erd the vnder it I sail purchas grace.** '
This may account for Dunbar having addressed his reply
to his friend Sir John the Ross, for the purpose of circulat-
ing in Scotland his answer to the challenge of Kennedy.
But while doubt hangs over these earlier years of wander-
ing, the allusion to his voyage in the Katherine, where he
so misbehaved that, according to the " Flyting,"
" The skippar bad ger land the at the Bas,**'
P. 132, IL 39, 4a 'LI. 369-372 ; and see also L 387.
' LL 449-464.
b
xxviii INTRODUCTION.
is confirmed by the Treasurer's Accounts of a payment made
on i6th July 1491, "to the priest that wrayt the instru-
mentis and otheris letteris that past with the Imbassiatouris
in France, 36/." Mr Laing conjectures with great probabil-
ity that Dunbar may have been this priest, and that he had
now quitted the odious friar's garb, and entered the royal
service as a clerk or notary, — a practice common amongst
the ecclesiastics of that age, whose learning fitted them for
posts now held by the legal or diplomatic professions.
Assuming that he then, if not earlier, visited France and
Paris, the importance of the visit to his poetic training
cannot be doubted. Although the masters he recognises
by name are the earlier English poets of the end of the
fourteenth and beginning of the fifteenth century — Chaucer,
Gower, and Lydgate the Monk of Bury — his poems show
that he was directly influenced by the French school, not
merely at second hand through imitation of English
authors who copied a still earlier French poetry. At this
period English poetry, which had so splendid a spring
in Chaucer, passed through successive stages of decline,
marked by the moral poems of Gower, the translations of
Lydgate and Occleve, and the doggerel rhymes of Skelton,
into a dormant state, in which it continued until with
Wyatt and Surrey the first notes were heard which
ushered in "the spacious times of great Elizabeth."
Scotland, whose lot it was to be generally about a centur
behind both England and France, took, as it did a secon
time in the end of the eighteenth century, an independf
lead in literature. It caught up the poetic mantle, a
Henryson, Gavin Douglas, Dunbar, Barclay, and Lyndf
surpass their English contemporaries.
France produced no medieval poet equal to Chai
I
INTRODUCTION. xxix
Its writers sacrificed the beauties of thought to the beauties
of style. But an uninterrupted succession of minor min-
strels, masters of melody, except when they allowed their
natural vein to be hidden in the artificial forms then in
vog^e, flourished from the fourteenth to the sixteenth cen-
tury. Eustace Deschamps, who died in 141 5, published an
* Art of Poetry,' in which several of the metres Dunbar used
are described. The three writers nearest his time, and most
likely to have exerted influence on him, were Alain Char-
tier (1390- 1458), the poet whose lips, from which so many
fine sayings and virtuous thoughts came, were kissed by
Margaret,^ daughter of James I.' of Scotland, the wife of
Louis XI.; Charles of Orleans (1391-1465), the fellow-
prisoner of James I. in England, who wrote both French
and English poems; and, above all, Francis Villon (143 1-
89), the first great French poet Villon's works were
printed two years before Dunbar went with the embassy to
Paris, and they may have met in previous visits. With
some notable diflerences, the points of contact between
Dunbar and Villon are closer than with any other poet
Dunbar probably remained abroad after 1491, but for nine
years his life is hidden. Perhaps he remained in France
after the embassy returned, though Mr Laing's researches
failed to find any traces of him there. In the University
of Paris, about that time, William Elphinstone, Bishop of
Aberdeen; Gavin Douglas, Bishop of Dunkeld; Robert
Cockbum, Bishop of Ross ; Boece the historian. Major the
theologian, and Panther the secretary of James IV., besides
many less famous countrymen of Dunbar, were students.
^ Puttenham transfers this story by mistake to Anne of Brittany, ' Arte of
English Poesie/ Arber's Reprint, p. 35. Knox perhaps had it in view when
he narrates the story of Mary and Chastelard.
XXX INTRODUCTION.
Whether his travels extended beyond France is not certain.
Kennedy seems to imply that at the date of the " Flyting "
they had not done so : —
" Thou may not pas Mount Barnard for wild bestis.
Nor wyn throw Mount Scarpre for the snawe ;
Mount Nycholas, Mount Godart thare arestis,
Brigantis sik bois and biyndis thame wyth a blawe."^
But he claims himself in a poem, probably of later date, to
have served the king : —
" Nocht I say all be this cuntre,
France, Ingland, Ireland, Almaine,
Bot als be Italic and Spane ;
Quhilk to considder is ane pane.** '
The curious concatenation of countries, if not merely for
rhyme's sake, looks like a fragment of biography. It must
for the present remain a fragment There is nothing im-
probable in a priest like Dunbar having been sent on
missions to these countries, and James IV. had negotiations
with them all. Scotland at this epoch was like Savoy in
the present century — a small country which the disputes of
more powerful states raised to European importance. The
Scottish king was courted by the Pope and by England,
France, Germany, and Spain. An embassy to Spain, with
Robert Blackadder, Archbishop of Glasgow, at its head,
was sent to the Court of Ferdinand and Isabella in August
1495, when these monarchs were holding out hopes to James
of a Spanish bride ; and as Dunbar accompanied the samr
prelate to France in 149 1, and to England in 1 501, it is nc
improbable he also went in his suite to Spain. James a
one time seriously considered a project to place himself
» " nyting,** p. 25, 11. 433-436. * ** Of the Warldis InsUbiUtie," p. 2
INTRODUCTION. XXXl
the head ot the armies of Venice, when that Republic was
threatened by the Holy League. Some Irish chiefs made
him an offer of the crown of Ireland.
From another allusion in the ^' Flyting," it may perhaps
be inferred that he had been shipwrecked on the coast of
Norway : —
" By Holland, Seland, ^etland, and Northway coist.
In desert quhair we wer famist aw ;
^it come I hame, Cals baird, to lay thy boist** ^
Yet it is singular, if Dunbar was so great a traveller, that
no further notices of foreign countries have given a colour
to his verses. Beyond a few allusions to France, where it
is certain he had been, the verses on London, and those
written at Oxford ** On the Vanity of Learning without a
Good Life," there would be scarcely any evidence that he
had crossed the Border. We are unfortunately led to sus-
pect the loss of important poems.
DUNBAR A PRIEST AND COURT POET, 1500-12.
The offering of the king at the first mass of a priest he
attended was a common usage. It was made in honour of
Dunbar on i6th March 1504, and proves that the abandon-
ment of the Franciscan order did not carry him to the
further point of quitting the service of the Church. Not-
withstanding the freedom of his satire, which is directed
more against the regular than the secular clergy, he con-
tinued to hope for a benefice. The precursor of Lyndsay
in the reforming tendency of his writings, he shows no trace
of accepting, even in a modified form, the doctrines of the
1 u. 94-96.
XXXll INTRODUCTION.
Reformed Church. As he advanced in age he became a
more pious observer of the Roman ritual His last poems
are religious hymns in conformity with the Roman creed.
From the first year of the sixteenth century down to the
eve of the fatal year of Flodden, the Treasurer's Accounts
contain a series of entries which show that Dunbar was at
the Court of James IV. in the character of Court poet.
Similar payments were made to Blind Harry, John the Ross,
and Quintyn Schaw, as well as other bards and singers.
James, though not a poet, inherited from his great-grand-
father a taste for poetry, which he transmitted to his son
James V. and his granddaughter Mary Stuart Poetry
was a fashion of the Court, as song was a passion
amongst the people of Scotland. But the payments to
Dunbar were made with more regularity than to the other
poets, and, taken in conjunction with the title of the
Rhymer of Scotland, which was given him when he ac-
companied the embassy to England in 1501, they seem to
justify the inference that he would have been called Poet
Laureate had that name been used at the Scottish Court
On 15th August 1500, a grant was made to Master
William Dunbar of a pension of ;^I0 out of the king^s
coffers, to be paid him all the days of his life, or until he
was promoted to a benefice of £/^o a-year or more. This
pension was paid till 1507, when it was doubled, and con-
tinued at that rate probably till Whitsunday 15 10, but the
accounts between 1508- 15 10 are lost It was increased by
a new grant on 20th August 1 5 10 to £io a-year, to be paid
till he received a benefice of £ 100 or more. The larger
pension continued to be paid till 14th May 15 13. The
troubles after Flodden again made a gap in the Register
from 8th August 15 13 to June 15 15, and as no payment
INTRODUCTION. XXXIU
appears in the later accounts of James V., the pension prob-
ably ceased. Besides his pension, Dunbar received grat-
uities — one on 27th January 1506, and again on 4th Janu-
ary 1507, because "he wanted his gown at Yule," which
indicates that a livery was part of his emoluments. From
an entry on 23d June 15 12 we learn that the livery con-
sisted of 6}^ ells Paris black cloth for a gown. Two entries
have special interest, — on 20th December 1501, one of £$9
which was paid him after he came furth of England ; and
that already alluded to on i6th March 1504, when the king
made an offering of £4^ 14s. at Master William Dunbar's
first mass.
DUNBAR AND THE EMBASSY TO LONDON TO NEGOTIATE
THE MARRIAGE OF JAMES IV. AND MARGARET TUDOR,
1501-2,
The former of these entries led to the conjecture that
Dunbar had been attached to the mission sent to London in
1 501 to negotiate the marriage between James and Mar-
garet Tudor, and this may now be deemed proved. The
embassy consisted of Robert Blackadder, Archbishop of
Gla^ow; Patrick Hepburn, Earl of Bothwell, High Ad-
miral ; Andrew Foreman, Apostolical Protonotary ; and Sir
Robert Lundy, Knight, Treasurer of Scotland, with a suite
of one hundred persons. Two of the Commissioners, the
Earl of Bothwell, and the Archbishop of Glasgow, were the
same as went to Paris on a similar errand ten years before.
An entry in Henry VII.'s Privy Purse Accounts bears that
on 31st December 1501, and again on 7th January 1502,
"The Rhymer of Scotland" received £6^ 13s. 4d from
the king. This rhymer, there can be no doubt, was Dun-
XXXIV INTRODUCTION.
bar, and the payments were perhaps a reward for his poem
in praise of London : —
'* London, thou art of townes A per se.
Soveraign of cities, semeliest in sight,
Of high renoun, riches and royaltie ;
Of lordis, barons, and many goodly knyght" ^
The MS. chronicle in which it has been preserved relates :
" This yere in the Cristmas weke the Mair had to dyner
the ambassadors of Scotland, whom accompanyed my Lord
Chaunceler and other Lords of the realm ; where sittying
at dyner ane of the said Scottis givying attendance upon a
Bishop Ambassador^ the which was reputed to be a Proto-
notary of Scotland and servant of the Ld. Bishops made this
BcUadeP Dunbar was not, as " reputed," a protonotary, but
it is quite possible he was a notary or clerk, in this embassy,
as in the former one to France, and a member of the suite
of Blackadder, the Bishop of Glasgow. The calling him a
protonotary was probably a confusion with Foreman, who
held that office, but was not a poet.
Although Dunbar's name is not appended to the poem
in the only MS.^ in which it is found, his manner is unmis-
takable. It is in his ornate, or, as the phrase then was,
"aureate" style, in which he wrote "The Thistle and
the Rose " and " The Goldyn Targe," — ^not in the simple
and more natural strain of " The Lament for the Makaris "
or "The Tua Mariit Wemen and the Wedo." A Court
poem should be in a Court dress.
The betrothal of James IV. and Margaret Tudor at
Richmond on St Paul's Day, 25th January 1502, was pro-
claimed at St Paul's Cross on the same day, but no men-
tion is made of Dunbar in the full account of the ceremonies
^ P. 276. ' ViteUius, A. xvL, foL 200, British Musemn.
INTRODUCTION. XXXV
by Young, the Somerset Herald. Hall states in his chron-
icle that after this proclamation ** the ambassadors, as well
of Spayne as Scotlande, tooke them leave of the kynge,
and not without great rewardes departed into their countryes
and habitations." Probably Dunbar accompanied them
home. The two poems of " The Thistle and the Rose "
and the short Ballad b^^inning —
" Now fayre, fayrest off every fayre,
Princes most plesant and preclare.
The lustyest one alyve that byne,
Welcum of Scotland to be Quene ! " —
were written in Scotland to welcome Margaret on her
arrival. The former bears the date of 9th May 1503 : —
" And thuss I wret, as Je half hard to forrow.
Off lusty May vpone the nynt morrow." ^
Margaret left Richmond on i6th June 1503, and ar-
rived at Dalkeith on 3d and at Edinburgh on 7th August
The marriage was celebrated at Holyrood on the 8th.
" The hangings of the State Chamber," says Young, " rep-
resented the history of Troy ; and the painted glass in the
windows were the arms of England and Scotland biparted^
to which a thistle and a rose intertwined through a crown
were added. After dinner the minstrels played."
The song — ^preserved, with the music* to which it was
set — sung on this occasion was Dunbar's, of which the
opening stanza has been quoted.'
" The Thistle and the Rose " was a more elaborate ef-
fort — ^too elaborate, in the opinion of modem judges, but
» p. 189.
' MS. British Museum, quoted in Miss Strickland's 'Life of Bfargaret
Tudor,' p. 58.
» P. 279,
XXXVl INTRODUCTION.
quite in the style of the times, in the character of the
allegory and the mixture of classic names with the objects
of nature. While it is the work of a Court poet, Dunbar
avoids the flights of flattery common in epithalamia, and
even gives good advice to his sovereign : —
" The King of Beistis mak I the.
And the cheif protector in woddis and schawls ;
Onto thi leigis go furth, and keip the lawis."^
And in another pi
" And, sen thow art a king, thow be discreit ;
Herb without vertew thow hald nocht of sic pryce
As herb of vertew and of oder sueit ;
And lat no nettill vyle, and full of vyce,
Hir fallow to the gudly flour delyce ;
Nor latt no wyld weid, full of churlicheness,
Compair hir till the lilleis nobilness.
Nor hald non vdir flour in sic denty
As the fresche Ross, of cuUour reid and quhyt ;
For g^fe thow dois, hurt is thyne honesty." *
To a somewhat later date may be ascribed the poem
beginning " Gladethe thoue Queyne of Scottis Regioun,"
in which Dunbar expresses the prayer of the nation : —
" Gret Gode ws graunt that we have long desirit,
A plaunt to spring of thi successioun,
Syne with all grace his spreit to be inspirit ;" —
and makes the favourite play on her name as the Pearl : —
" O precius Margreit, plesand, cleir, and quhit,
Moir blith and bricht na is the beriall schene,
Moir deir na is the diamaunt of delit,
Moir semely na is the sapheir one to seyne,
Moir gudely eik na is the emerant greyne,
Moir riche na is the ruby of renovne,
Fair gem of joy, Mergreit of the I meyne."^
1 P. i86, 11. 103-105. « P. 187, 11. 134-143. • P. 275.
INTRODUCTION. XXXVll
The increase of Dunbar^s pension from ;^ lo to £20 in
1507, and again to ;^8o in 15 10, shows his services were
appreciated by the king. The value in English money of
the largest of these pensions was only about £2^ sterling,
but its purchasing power was at least equal to ;^8o sterling
now. Hector Boece, as Principal of King's College, Aber-
deen, in 1505 had only 40 merks, or £t^ 12s. 4d. sterling, of
a salary ; and, relatively to other gifts to poets and men of
letters in that age, Dunbar, who had perquisites besides his
Yule gown, was highly paid. Yet a section of his poems,
addressed as petitions to the King, the Queen, the Treas-
urer, and James Doig, the Keeper of the Queen's Ward-
robe, prove he was not satisfied. He seems to have deeply
felt the slight put upon him when benefices were bestowed
on unworthy recipients, while he never got his long-prom-
ised cure. It is not necessary to suppose that he was
too fond of money. Avarice was a vice which he specially
hated. But a benefice would have been more secure, as is
shown by the cessation of his pension, which depended on
the king^s pleasure, and a vicarage would have been an
office of more dignity.
It is not easy to gauge exactly the position of a poet at
the Scottish Court of this period. On the one hand, he
was often well received. Learning, wit, and genius were
probably quite as highly valued as in our time. But, on
the other hand, the poet was only one of many ministers
or servants who had to cater to the royal pleasure. Dunbar
gives a vivid sketch of the motley crew : —
" Sum singes ; sum dancis ; sum tellis storeis ;
Sum lait at evin bring^s in the moreis ;
Sum flyrdis ; sum feyn^eis ; and sum flattiris ;
Sum playis the fule, and all-out dattiris." ^
^ P. 206, " Aganis the Solistaris m Court"
xxxviii INTRODUCTION.
The Accounts of the Treasurer and of the Exchequer
afford ample evidence how the lavish king rewarded all
these classes with gifts, as well as the rhymers, who were
in the estimation of many courtiers only another class of
professional people destined for their amusement Often,
too, the Court is as fickle as the mob, and Dunbar com-
plains, in the poem " Of the Warldis Instabilitie," ^ of —
" The leill labour lost, and leill seruice,
The lang avail! on humill wyse.
And the lytill rewarde agane,
For to considder is ane pane.
......
I knaw nocht how the kirk is g^dit,
Bot beneficis ar nocht leill devydit ;
Sum men hes sewin, and I nocht ane ;
Quhilk to considder is ane pane."
It is the same sentiment which Coleridge expressed in
other words : —
" It sounds like tidings from the world of spirits,
When any man attains that which he merits,
Or any merits that which he attains."
Worst of all, in this kind of life there was a sacrifice of
independence. The Court poet was expected to sing when
the occasion demanded, whether the muse was present
or not.
Dunbar's revenge on a patron and a society which knew
his value, but not his full value, was taken by free use of
the irony and satire of which he had a ready store. But
irony and satire, though they please apparently all but
their victims, are dangerous weapons, often wounding most
the hand which uses them. ■ They leave a sting in the
^ P. 226.
INTRODUCTION. XXxix
heart, increasing instead of diminishing its discontent
Dunbar ends his long catalogue of the wrong^s —
" Quhilk to considder is ane pane,**
with an unexpected verse —
" The fonnest hoip Jit that I haue
In all this warld, sa God me saue,
Is in Jour Grace, bayth crop and grayne,
Quhilk is ane lessing of my pane."
This hope also was doomed to disappointment, for he never
got even the
" Kirk scant coverit with hadder."
There must have been an irksome monotony in the life
of the Court — Dunbar's lot for thirteen years of man-
hood, until, having grown grey in the king's service, he
presented the touching " Petition of the Gray Horse," ^
which, when granted, after all is only for the cost of his
trappings. Apparently his Christmas gown had again
not been forthcoming until the king issued a special
mandate : —
" Eftir our wrettingis, thesaurer,
Tak in this gray horss, Auld Dunbar,
Quhilk in my aucht with schervice trew
In lyart changeit is in hew.
Gar howss him now aganis this ^uilli
And busk him lyk ane beschopis muill,
For with my hand I have indost
To pay quhat euir his trappingis cost*'
Mr Laing remarks : ** Whether the words were written
by the king himself, or added in his name by Dunbar as
an ingenious mode of expressing his request, the reader
* Pp. 215-217.
xl INTRODUCTION.
must be left to his own conjecture." As James IV. is not
known to have written another verse, most readers will
conjecture that this one, so completely in Dunbar's manner,
was written by Dunbar.
DUNBAR'S ILLNESS — HIS NOTICES OF THE SCOTTISH POETS
IN THE LAMENT FOR THE MAKARIS, 1507-8.
Nor was Dunbar exempt from the common ills of human-
ity. It is the penalty of genius that it feels them more
keenly than the ordinary man. One of the best known of
his poems is the " Lament for the Makaris, written when
le was sick and in fear of death." As it was published
^by Chepman in 1508, this must have been written before —
probably the year before. Besides its poetic value, it has
much interest as bearing on his character, and preserving
the names of the poets who preceded him or were his con-
temporaries. His earlier writings were of a lighter, happier,
and freer vein, though in none is the moral distant Like
most of his countrymen, he had never learned the modem
dogma that art is independent of morality. But in this
poem the moral is always present. The refrain, "Timor
Mortis conturbat me," is the text of a poet's sermon. An
oration of Bossuet or Massillon, of Taylor or South, with its
splendours of pulpit eloquence, brings less near home the
lessons of death. The greatest preacher seldom forgets
himself. Dunbar is overpowered by the burden of his
poem, and expresses it simply by a catalogue of the poets,
dead or dying, as Villon in his Ballades of Dead Beauties
and Dead Heroes, which must have been in Dunbar's
knowledge, though there is no direct imitation. Both
writers followed and improved an earlier theme of the
INTRODUCTION. xli
medieval Latin poets, of which there is an example in a
poem, " De Mundi Vanitate." ^
Slight as are Dunbar's notices of his brother bards, in
accordance with the design of the poem, we are enabled by
them to fill up a passage in the history of literature which
would be otherwise vacant, and to understand better the
position Dunbar occupied in the poetic succession* He
gives the first place to the same triumvirate of English
poets whom he had celebrated in ** The Goldyn Targe " : —
" The noble Chaucer, of makaris flouir.
The Monk of Bery, and Gower, all thre ;
Timor Mortis conturbat me."
The others named are his compatriots. Amongst his pre-
decessors, Barbour, Sir Hugh of Eglintoun, Wyntown,
Heryot ; the two Clerks, John Clerk and Clerk of Tranent ;
Holland, Sir Gilbert Hay; and his immediate precursor,
Robert Henryson, the Dunfermline poet. Of contempo-
raries, in the sense that they did not die till after his birth,
occur the names of Blind Harry, Sandy Traill, James
Affleck, Sir Mungo Lockhart of the Lee, the two Rowls of
Aberdeen and Corstorphine, Sir John the Ross and Sir
John Rede or Stobo, Patrick Johnston, Quintyn Schaw,
and Walter Kennedy. The two last died probably shortly
before the date of the composition of the poem. So con-
siderable a list proves that there had been a continuous
stream of Scottish poetry, commencing with Barbour in the
first half of the fourteenth century, continued by Wyntown
the Chronicler in the commencement and by Blind Harry
and Henryson from the middle to the end of the fifteenth
century, but bearing with it a fair number of minor poets
^ Poems of Walter Mapes, edited by T. Wright for Camden Society, 1S41,
p. 147.
xlii INTRODUCTION.
whose fame now rests on one or two poems almost by
chance preserved.
DUNBAR'S CONNECTION WITH CHEPMAN THE
SCOTTISH PRINTER, 1508.
The next event in Dunbar's life brings him into contact
with the invention which is one of the landmarks that
separate the middle ages from modem times.
The printing-press, already used by Fust and Gutenbet^g
at Mayence in 1457, had reached Paris in 1470 and West-
minster in 1474. In Rouen, where the art was first prac-
tised in 1487, a Scotchman, Andrew Myllar, learned it,
and two books of his, printed there in 1 505 and 1 506, have
been preserved in unique copies.^
The learned and enlightened Bishop of Aberdeen, Elph-
instone, had spent his youth in France, and seen the early
triumphs of its press. He desired to print the ' Breviary of
Aberdeen,* that the Scottish Church might have a service-
book of its own, and no longer be compelled to resort to
the " Salisbury use." Probably by Elphinstone's advice,
James IV. granted on 15 th September 1507 a patent to
Walter Chepman and Andrew Myllar, who had " taken on
thaim to bring hame ane prent, with all stuff belangand
thereto, and expert men to use the samine for imprinting
within our Realme of the bukis of our Lawis, Acts of Pariia-
ment, croniclis, massbukis, and porteous efter the use of our
Realme, with additionis and legendis of Scottis Sanctis, now
gaderit to be eikit thereto, and all otheris bukis that sail be
sene necessar, and to sell the samyn for competent pricis." «
1 Dickson, * Introducdon of the Art of Printing into Scotland.' Aberdeen :
Edmond & Spark. 1885. ^
» Appendix B. to Dickson's * Introdaction.
INTRODUCTION. xliii
Walter Chepman, a merchant and burgess of Edinbui^h,
was also a notary employed in the office of the king^s sec-
retary, Patrick Panther, afterwards Abbot of Cambusken-
neth,^ where he was the colleague of Sir John Rede or
Stobo, with whom he had been sent on an embassy to
England. So far back as 1494, Chepman was intrusted
with the king's Signet for sealing royal letters ; and John
Rede, alias Stobo, had the special charge of those pass-
ing the Privy Seal. Stobo, a favourite of the king,' and
a friend of Dunbar,* though of an older generation, for he
had been employed in the secretary's office since the reign
of James II., had died before 13th July 1505, shortly before
Dunbar wrote the Lament : —
" And he has now tane, last of aw,
Gud gentlll Stobo et Quintyne Schaw.*'
He had probably helped to form the acquaintanceship
between Chepman and Dunbar which led to a few of his
poems being amongst the first-fruits of Chepman's press.
Instead of commencing with the Aberdeen ' Breviary,' a
large and difficult work, not printed till 1 509, when the
winter part of it (Pars Hyemalis) was issued, Chepman
and Myllar printed a few broad, or in this case rather
narrow or small sheets, as specimens of their craft A
unique volume, now in the Advocates' Library, found in
1785 in Ayrshire, and presented to the Library in 1788,*
^ ' Epistobe Regam Scotonim.' Ruddiman. Pre&ce, p. v.
* See grant to Stobo in the Exchequer Records.
' Kennedy says in the '* Flyting" —
" And syne ger Stobo for thy lyf protest.*'— P. 23.
* There is a iisusimile reprint of these sheets, edited by Mr Laing, and en-
titled 'The Knightly Tale of Golagms and Gawane, and other Ancient Poems.'
Printed at Edinburgh by W. Chepman and A. Myllar, in the year M.D. VITT.
Reprinted MDCCCXXVII.
C
xliv INTRODUCTION.
has preserved these separately printed small quarto pieces,
of which nine certainly issued from the press which had
been set up in the Southgate of Edinburgh in 1508. Of
these " The Goldyn Targe," " The Flyting of Dunbar and
Kennedie," " The Ballad of Lord Bernard Stewart," " The
Lament for the Makaris," " The Testament of Mr Andre
Kennedy," " The Tua Mariit Wemen and the Wedo," ** The
Ballad of Kynd Kittok," are by Dunbar, and form good
examples, though examples only, of his style, with its varied
notes of panegyric, humour, pathos, and satire. Now scarcer
than the MSS. of his other poems, it may be doubted
whether many impressions were thrown off. They would
be eagerly sought after by the collectors of the time as the
first printed matter in Scotland, but their fugitive nature
made them, like pamphlets, difficult to preserve.
Besides Dunbar's poems, the volume contains, in whole
or in part, " The Knightly Tale of Golag^s and Gawane" ;
" The Tale of Orpheus and Euridice," by Henryson ; " Ane
Buke of Gud Counsale to the King how to reuU his
Realme," addressed to James II., and contained also in the
MS. of the ' Book of Pluscardine * ; " The Maying or Dis-
port of Chaucer," to which is subjoined a poem on " The
Conception of the Virgin," also in the Bannatyne MS. ;
" The Tale of Sir Eglamour of Artoys," to which is sub-
joined "A Balade by an Unhappy Lover"; "A Gest of
Robyn Hude," probably the earliest in print, which was
also printed by Wynkin de Worde; "The Porteous of
Noblemen," also in the Asloan MS., and a short tract on
the Virtues of a Nobleman, translated from the French by
Master Andrew Cadiow. Such was the favourite literature,
chiefly, it will be noted, romantic, of Scotland in the
beginning of the sixteenth century.
INTRODUCTION. xlv
DUNBAR CELEBRATES BERNARD STEWART, AND SATIRISES
DAMIAN, THE ABBOT OF TUNGLAND, 1507-8.
Of one of Dunbar's poems printed at this time, "The
Welcome to Bernard Stewart, Lord of Aubigny," ^ the date
can be fixed with singular precision. That renowned
commander, ranked by Brantome amongst the illustrious
captains of France, grandson of Sir John Stewart of Dam-
ley, Marshal of France, General of the Scots forces in the
service of Charles VII., and son of John Stewart, Lord of
Aubigny, had already come on an earlier embassy to
Scotland, sent by Charles VIII., in 1484, to renew the
ancient league. In 1485 he commanded the French
auxiliaries of Henry VII. at Bosworth Field, and after-
wards gained glory in the Italian campaign of Louis XII.,
where he won the battle of Seminara. In 1495 he received
the title of Constable-General of Naples. Though defeated
at the same place in 1503 by Hugo, brother of Gonsalvo de
Cordova, the Grand Captain of Spain, he retained his fame
at the French Court, and was sent in 1508 to secure the aid
of James IV. in the Holy League which Pope Julius II. had
formed with the Kings of France and Spain and the Em-
peror Maximilian to crush Venice. He arrived in Scot-
land on 9th May, and was received with honour. James
IV. placed him at the royal table, made him judge of the
tournaments, in which the king himself appeared in the
di^^uise of the Savage Knight, and the Round Table of Ar-
thur was counterfeited. The king, whose heart was set on
martial enterprise, styled Aubigny the Father of War. He
died on the 9th of the month following, and was buried at
Corstorphine Kirk,* where a recumbent statue of a knight
* p. 59. * Lesley's History, p. 76.
xlvi INTRODUCTION.
in armour was long supposed to mark his tomb, but is
now attributed to one of the Foresters of Corstorphine.
On 15th June, the king made an offering at a mass for
his soul, and his heart was sent to St Ninian's, at Whit-
horn, to which he had vowed a pilgrimage when he won
his battles in Italy. The "Welcome " of Dunbar must have
been written, therefore, between 9th May and 9th June
1 508, — probably about the earlier, and his El^y on Ber-
nard Stewart soon after the later, of these dates. Both
poems are in Dunbar's ornate and least interesting style,
and were doubtless written by him as Poet-Laureate of the
Scottish Court.
Dunbar found a subject for his more natural vein in
John Damian, the Italian impostor, who, by his skill as a
surgeon and apothecary, first gained the ear of James IV.,
and then abused his confidence by pretending to multiply
gold, and practising the other arts of the astrolc^rs.
Bishop Lesley gives a curious account of Damian, amply
confirmed by the Accounts of the Treasurer, which show
frequent payments to him, first under the name of " John,
the French Leich or Medicinar," and, in 1504, the gift of
" the Abbay of Tungland." "He causet the kyng believe
that he, be multiplynge and utheris his inventions, wold
make fine golde of uther metall, quhilk science he callit
the quintessence, quherupon the kyng maid g^eat cost, but
all in vain. The Abbot tuik in hand to flie with wingis
and to be in France before the saidis Ambassiatoris, and
to that effect he causit mak ane pair wingis of fedderis,
quhilkis beand fessenit apon him he flew off the castle
wall of Stirling, but shortlie he fell to the ground and
brak his thie bane, bot the evyl thairof he ascrybit to thare
was some hen fedderis in the wingis, quhilk yarnit and
INTRODUCTION. xlvii
covet the middyn and not the skyes." ^ To be able to give
a clever turn to awkward failures has ever been, Professor
Schipper observes, one of the chief talents of the adept
charlatan. The embassy to France which Damian was
to forestall was despatched in September 1507, so Dunbar's
poem, "Ane Ballat of the Fengeit Freir of Tungland,"
must have been composed towards the end of that year,
when his attempted flight was in fresh memory.
About the same period Dunbar wrote another satirical
poem, commencing " Lucina schynnyng in silence of the
nicht," in which the poet sees in a dream the Abbot's
adventures in the air: —
" Quhen I awoik, my dreme it was so nyce,
Ffra every wicht I hid it as a vyce ;
Quhill I hard tell be mony suthfast wy,
f^ wold one abbot vp in to the sky.
And all hisfethreme nudd wes at devyce^ *
With g^reat ingenuity the poet introduces into his vision a
prophecy that he would get no benefice until the Abbot
flew to heaven with eagles' feathers, but hints that the
prophecy was not to be fulfilled
" Be [f>., before] than it salbe neir this warldis end.**
The impostor abbot kept the favour of the king, whose
weak points he had seen through. He was allowed leave
of absence for five years in 1 508, keeping the revenues of
his abbacy, and on his return hit upon a new device to
get money from the credulous king — ^the working of the
mines of Crawford Moor,* where gold had been found in
small quantity, yet suflicient to give hopes of more. But
the poet was no nearer his benefice : flattery and cunning
paid better than satire and wit.
* P. 76. ' P. 15a ' March 29, 1 5 13, £70 paid to the Abbot of Ttmgland.
xlviii INTRODUCTION.
DUNBAR AT ABERDEEN WITH THE QUEEN, 1511.
In May 151 1, Queen Margaret, on her way to a pilgrim-
age to St Duthac's, of Tain, visited, for the first time, Aber-
deen, then the second town of Scotland in the amount of
its revenues, famed of old as the see of St Machar, and
receiving new lustre by the pious care of Bishop Elphin-
stone, who was laying the foundation of the University in
King's College, named after James IV. Dunbar, several of
whose poems point to his having been specially attached
to the queen's as well as the king^s household, accompanied
her, and celebrated her entry in the poem —
" BIyth Aberdein, thow beriall of all tounis.
The lamp of bewtie, bountie, and blythnes." ^
He describes in it "The Masques," which, by the custom
of that age, g^reeted a royal entry. The queen was met
by the magistrates in velvet robes. Four of them held
over her a pall of crimson velvet as she rode through the
streets. A fine procession met her at the port, and the
following scenes were represented by the bui^esses and
their families, or perhaps by actors hired for the occasion :
From Scripture history, — the " Salutation of the Virgin ; "
the " Three Kings of the East offering gold, frankincense,
and myrrh to the infant Christ ; " and " Adam and Eve ex-
pelled from Paradise." These were succeeded by others
from Scottish story, — the Bruce as a crowned king, fol-
lowed by the royal Stewarts. Then twenty-four maidens,
singing, and with timbrels, met the queen, followed by the
Barons of the neighbourhood with their ladies. The foun-
tain at the cross flowed with wine, and a gift was presented
to her by the town, in the shape of a cup heaped with gold
coins, before she was conducted to her lodgings.
^ P. 251.
INTRODUCTION. xlix
With this poem we may compare the panegyric on
London ab-eady noted, and contrast the satire on Edin-
burgh addressed to its merchants, and the dirge on Stir-
ling, when the king stayed too long in that town, on
a visit to the Franciscan monastery, while Dunbar was in
Edinburgh ; but these poems belong to an earlier period,
when James was yet unmarried. The satire on Edinbui^h,
with its companion poem, " Tidings from the Session," point
by their allusions to the Daily Council which James IV.
instituted in 1503, in lieu of the Ambulatory Sessions of
James I., which sat in the four principal towns of the king-
dom. Although called the Daily Council, the new Court
retained also the name of Session, and both names passed
to its successor, the College of Justice, when founded by
James V. in 1532, whose senators or judges were commonly
styled the Lords of Council and Session. This group of
poems, whatever may be their precise dates, do not afford
much information as to Dunbar's life, but are good illus-
trations of his close observation and sharp wit, which spared
neither the ascetic practices of the monks of Stirling, nor
the abuses of the courts of law, nor the uncleanliness of
the streets of the capital.
DUNBAR AT THE COURT OF JAMES IV., 1500-13.
The gfreater part of Dunbar's writings between 1500 and
1 5 13 were occasional poems written to amuse the Court, or
to please his own humour, by satirising its follies and vices.
They show his continued attendance on the king or queen's
person, the favour in which he was held, especially by the
queen, his constant petitions for salary and for a benefice,
and his keen sense of the uncertainty of the courtier's life,
1 INTRODUCTION.
now in now out of favour. The picture they present of
the Scottish Court of this period is a strange and not a pleas-
ing one. James, when periodical fits of penitence did not
occupy him with penance, fasting, and pilgrimages, was a
merry monarch; and the familiarity an(lS|>arseness of
some of the scenes Dunbar paints are not m accord with
the dignity and virtue which become those whose manners
should be an example to their subjects. To understand
the freedom of the poet, we must keep in view how closie
was the contact between royalty and the Court circle, and
even the people outside of the Court circle. In the small
palaces, the little towns of Scotland and their narrow
streets, every incident of Court life became at once a topic
of gossip and of scandal A large licence of speech was
allowed even to Churchmen by the manners of the age.
But while there is much that the moralist must condemn
in poems such as "The Wowing of the King,"^ "Of a
Dance in the Quenis Chalmer," ^ and that addressed " To
the Quene," * they represent more truly than is allowed by
the conventional manners of modern times the human
nature which underlies the artificial life of society, and
enable us to realise better than we could otherwise the
characters of James, his queen, and their courtiers. Even
the poems which are the least edifying convey a moral, as
in the last mentioned : —
" Thai rf or, all Joung men, I 30U pray,
Keip 30U fra harlattis nycht and day ; "
or in "The Tua Mariit Wemen and the Wedo," whose
discourse is of a similar character to Chaucer's "Wife of
Bath," the poet concludes : —
* P. 136. * P. 199. » p. 203.
INTRODUCTION. li
" ^e Auditoris, most honorable, that ens has gevin
Onto this vncouth aventur, quhilk airly me happinnit ;
Of ther thre wantoun wiffis, that I haif writtin heir,
Quhilk wald 3e wail to jour wif, gif 3e suld wed one ?" *
Perhaps in^D other way, in such a time, were moral
lessons moiffnkely to reach the ears of those who most
needed them.
The poems of this class are, after all, a small part of
Dunbar's works. It is largely due to him that the period
of James IV. is the commencement of a fuller knowledge
of the history of Scotland, during which we can represent
to ourselves the "form and pressure" of the men and
events which together make the sum of history, in a manner
impossible at any earlier time. The general current of our
history becomes, from other sources, more distinct in this
reign than in that of the first three Jameses. What Dunbar
adds are the minute touches which give life and colour to
the picture.
THE KING AND QUEEN.
The king is of course the central figure. Every trait in
his variable and inconsistent character finds its poem or
its line — ^the licentiousness of his youth, his penitence and
remorse, the desire of novelty and dabbling in science
which made him the prey of impostors and flatterers; the
love of amusements of all kinds, from the tournaments of
knights and contests of poets to card-playing and the jests
of fools ; and his liberality extended even to unworthy
objects. Yet Dunbar never seems to have quite lost faith
in James, and his feeling, even when his satirical shafts fly
very near the royal person, is that of a dutiful subject wam-
' P. 47.
Hi introdCction.
ing the king against his weaknesses, and remonstrating
against his vices. He appears to have thought that there
was an under-current of virtue which, if it could get the
upper hand, would overpower his faults. In a notable verse,
evidently written towards the end of the reim, if not, as is
possible, after its tragic conclusion, he recalls a saying of
the king, and makes it the burden of one of his refrains : —
" Gude James the ferd, our nobill king,
Quhen that he was of Jeiris Jing,
In sen tens said full subtillie,
' Do Weill, and sett not by demying,
For no man sail vndemit be.* " ^
The queen, though frequently alluded to, is less distinctly
portrayed in Dunbar's poems. His praise of her youthful
beauty in "The Thistle and the Rose," and other poems
written at the time of her marriage, has been already noted.
It is evident that the poet stood high in her favour. In a
poem whose burden is regret that the king was not more
under her influence, he styles her —
" My aduocat, bayth fair and sweit.
The hale reiosing of my spreit,
Wald speid me in my erandis than ;
And 3e war anis Johne ^ Thomsounis man." ^
But the dance in her chamber, and the conduct of the
ladies and gentlemen of her Court, glanced at in several of
his poems, do not give reason for the belief that her influ-
ence over her husband would, if greater, have been of the
best kind.
The Court and courtiers are described rather in general
terms than by panegyrics or satires of particular persons, for
* P. 93.
^ In the proverb, John is supposed to stand for Joan, a lady who ruled her
husband.
« P. 218.
INTRODUCTION. liii
Dunbar had no patrons but the king and the queen, and
desired to make no enemies. Its bad as well as its good
qualities are painted in a series of poems with vivid
colours, the former most frequently. In his ^ Remonstrance
to the King " ^ he brings the two sides of the picture to-
gether. He first draws the portraits of the
" Mony servitouris,
And officiaris of dyuers curis ;
. . . • •
. all of thair craft cunning.
And all at anis lawboring,
Quhilk pleisand ar and honorable ;
And to ^ur hienes profitable.*'
But next
•I
Ane vthir sort, more miserabill,
• • • • •
Fen3eouris, fieichouris, and flatteraris ;
Cryaris, craikaris, and clatteraris ; "
on whom he exhausts the copious vocabulary of abuse the
Scottish language supplied, concluding with the naive but
honest reflection —
" Had I rewarde amang the laif,
It wald me sumthing satisfie,
And less me of my malancolie,
And gar me mony fait ouerse.
That now is brayd befoir myn E."
It is to this "vthir sort, more miserabill," that his verses
constantly recur, as in the poems beginning
" Devorit with dreme, devysing in my slummer.
How that this realme, with nobillis owt of nummer.*' ^
" To dwell in court, my freind, gife that thow list.
For gift of fortoun invy thow no degre." '
1 P. 220. » P. 8i. • P. 98.
liv INTRODUCTION.
" Quhome to sail I complene my wo,
And kyth my kairis on or mo ?
I knaw nocht, amang riche nor pure,
Quha is my freynd, quha is my fo." ^
'' Ffredome, honour and nobilnes,
Meid, manheid, mirth and gentilnes
Ar now in cowrt reput as vyce ;
And all for causs of cuvetice." '
" Thir ladyis fair. That makis repair.
And in the court ar kend,
Thre dayis thair, Thay will do mair,
Ane mater for till end,
Than thair gude men Will do in ten." '
In the same strain are the poems '*Aganis the Solistaris
in Court,"* ''Dunbar's Complaint to the King,"*^ and
"Of the Warldis Instabilite." «
At times, chiefly when his pension has been paid, his
mood is happier. Even Court life gives occasion for
mirth, as in the description of '* the bliss of Edinburgh " to
which he entreats the king to return from "Striuilling,
every court-manis fo"^; or he narrates with boisterous
humour the "Dance in the Quenis Chalmer,"® in which
he took part; or praises James Doig, the queen's ward-
roper,® when he had pleased the poet by giving him some
reward or perquisite ; or makes merry with the black lady,
the latest novelty of fashionable society, like the lions of
that society in our day, in the verses " Of ane Blak-Moir," ^®
or welcomes the Lord Treasurer, who had paid his pension ; "
or contributes a share to one of the diversions of the Court
in the " Interlud of the Droichis part of the Play." 12
* P. 206.
8 P. 199.
'' P. 314.
^ p. 100.
' P. 158.
» P. 168.
* p. 212.
8 P. 226.
'P. 113.
» P. 197.
10 P. 201.
" P. 264.
INTRODUCTION. Iv
Occasionally a historical personage or person, whom
history has allowed to lapse into oblivion, is brought
before us by Dunbar, but he practises the caution which
he preaches, and his references are generally either lauda-
tory or humorous, provoking laughter and not ill-wilL His
poems on "The Lord of Aubigny'* have been already
noticed, and those on the Queen - Dowager and Regent
Albany will be presently. We have seen, too, his gen-
erous allusions to his brother bards who had died. The
"Flyting" certainly depicts Walter, and "The Testament"
Andrew Kennedy, in a less favourable and ludicrous light
Yet the former receives, in " The Lament for the Makaris,"
the brief but honourable epithet of '* good "; and the Testa-
ment of Andrew is an evident jeu cC esprit^ painting to the
life a drunken Bohemian of the time.^
Another poet, Mure, who had tampered with Dunbar's
verses, and pointed them at particular courtiers, is the sub-
ject of a more severe and caustic '* Complaint to the King." *
Sir Thomas Norray, the king's fool, has a poem to him-
self and his order,' which then flourished at the Scotch as
well as other Courts. Doig, whose name is pronounced in
Scotch nearly in the same way as " dog," has two poems
prompted as much apparently by the pleasure of punning
on it as on his vocation, which gave him charge of the royal
purse as well as wardrobe. The poems denouncing the
impostor Abbot of Tungland,^ and Donald Owre, the West
Highland rebel,'^ are those in which Dunbar really uses the
strongest but well-deserved invective against individuals.
> p. 54. * p. 210. » P. 192.
* p. 139. * p. 19a
Ivi INTRODUCTION.
THE TOWN, THE COURT, THE TRADES, THE FRIARS,
AND OTHER CLASSES.
While the Court and its denizens, or the persons brought
into contact with it, form the most frequent subject of Dun-
bar's poetic description, his eye was not limited to it, but
saw the evils of other persons and other scenes. The Law
Courts are scourged in ''Tidings from the Session"^; those
of Edinburgh, in the satire on that town;' those of the
tailors and soutars (shoemakers), in the mock Touma*
ment,' and the comical ironical palinode which follows,
under the cover of its title, ''The Amendis made be
him to the Telgouris and Sowtaris,^ returning to the
charge; those of the Trades generally, in the Devil's
inquest ; * those of the Friars, in the poem *• How Dum-
bar wcs dcsyrd to be ane Freir"* and "The Freiris of
Bcrwik'*^ (if his composition), and many side shots in
other poems ; those of the scholars, in " Learning vain
without guid Lyfc," written at Oxinfurde;® those of the
female sex, in the "Ballatc against Evil Women**; those
of all mankind, in "The Dance of the Sevin Deidly
Synnis.'**® And an in the last, so in the rest of these
trenchant wilirrj*,— while they have an application ^diich
suits other time?* and plncrs. there is also an unmistakable
colour of Dunhar'M own n\\v, alVonlini; illustrations of the
life of Scotland aw it wan whrn James IV. was king.
We sec in thi«mHtlon of Dunhai^M works the
of the society by whli h he \va« •^uirinuukHi. Justice
not yet pure l)ut venal. The illvei«e niotivcs of the crowd
•p. 131. M'. jHv -r 44^ *\\ *fKv »M\II7[
INTRODUCTION. Ivii
of suitors and hangers-on at the sittings of the Court are
laid bare. The trades satirised are those prominent in the
Edinburgh life of that day. Few poets now would write
either for or against tailors or shoemakers. Nor is ** The
Tournament " without a secondary application against the
knights and nobles, whose favourite pastime looks absurd
enough when engaged in by common craftsmen. In the
friars and the scholars, members of his own profession, as
they were in the cloisters and colleges of post-medieval
Europe, are branded by his poetic as they were shortly
after by the prose satire of Erasmus. Following the lead
of so many monkish writers, he satirises evil women who
have not only the vices commonly ascribed to their class
but ''the desaitfull talis" which the Scottish Parliament
vainly endeavoured to suppress. Even the seven deadly
sins wear the habits of the time. Pride has his bonnet on
one side, his flowing hair, and his gown in loose folds to
the heel, like an ostentatious young courtier of the time.
The priests who follow Pride have their necks bare and
shaved. Ire has a train ''in iakkis, and stryppis and
bonettis of steill," with chain •armour on his legs, as if
he was a lawless freebooter of the Borders. Envy has
amongst its retinue the "rownaris of fals lesingis," or
slanders, whom Dunbar had met at Court No min-
strels or gleemen played at the " dance in hell " save one
who gained his heritage by killing a man and entered by
brieve of right — the writ which, in feudal Scotland as in
England, then established a claim to succession. The
concluding stanza, aimed at the Highlanders, whom Dun-
bar, as a good Lothian man, hated with all his heart,
describes the devil as so deafened with their clatter in
Ersche (Irish or Gaelic), that he covered them with smoke
Iviii INTRODUCTION.
in the deepest pit in hell, is a touch of local humour which
relieves the poem of its Dantesque horror.
THE SCOTTISH LANDSCAPE AS SEEN BY DUNBAR.
It is an agreeable change from these satires to note,
in illustration of Dunbar's character, his appreciation of
landscape, the taste for which has been sometimes sup-
posed to be unknown to our medieval ancestors. But it is
the quiet and domestic, not the wild and grand aspect of
nature, which attracts Dunbar, like other poets of his time.
The ocean is " mirk and moneless " ; the Highland glens are
" thai deuUy glens." He does not hear the two voices of the
sea and the mountains, which have spoken to, and through,
our later poets. The garden scenes in "The Goldyn Targe "^
and " The Thistle and the Rose," * the closing lines of " The
Tua Mariit Wemen and the Wedo," * have been selected by
a recent writer, with a true eye and heart for Scottish
scenery and its reflection in Scottish poetry. The reader
can find the passages in their proper places, and will not
regret to compare with the poet's May morning in "The
Goldyn Targe " Professor Veitch's discriminating note :
"This description is characterised by an intense sense of
colour ; — delight in sun-brightness and its reflected splen-
dour ; in the bowers of the birds apparelled in white and
red and sweet blooms ; the variously enamelled field ; the
pearly drops shaking in silver showers ; the gleaming river,
and the stones by its channel-bed shining clear as stars
after the dew of the morning. The poet revels not less
in the joyous resonant notes of the morning birds ; and the
whole picture is suffused with the predominating emotion
^ P. I. 2 p. ,83. 3 p, ^5,
INTRODUCTION. Hx
of fresh and exulting joy. . . . Yet it is a generalised
picture. There are few wholly specific features noted by
the poet — in such a way, at least, that we can say dis-
tinctively, — that is a May morning in Scotland, even taking
our May at its best The garden idea also predominates
in the scene. There is, however, a fine powerful freedom
in the picture of the river; and in the reference to 'the
blomyt medis' with 'the grene rispis and the redis,' we
have a bit of direct eye-painting." *
The "Meditatioun in Wyntir"* is cited by the same
writer as characteristic of our older Scottish poetry, in
which " winter " is a more frequent and characteristic
colour of the landscape than glorious, or, as Dunbar calls
it, "lustie summer."
Another critic, himself a poet, Alexander Smith, has
marked the same poems and the same passages with
notes of admiration: "In his allegorical poems, 'The
Golden Targe,' 'The Merle and the Nightingale,' 'The
Thistle and the Rose,' Dunbar's fancy has full scope. As
all^ories they are perhaps not worth much. . . . But
in Dunbar, the allegorical machinery is saved from con-
tempt by colour, poetry, and music. Quick surprises of
beauty, and a rapid succession of pictures, keep the
attention awake. Now it is —
' May, of myrthfull monethis quene,
Betuix Aprile, and June, her sister schene.
Within the gardyng walking vp and doun.'^
Now —
' The god of wyndis, Eolus,
With variand luke, rycht lyke a lord vnstable.'*
> Veitch, *Thc Feeling for Nature in Scottish Poetry,* voL i. p. 229.
« P. 233. » P. 4. * P. 5.
d
Ix INTRODUCTION.
Now the nightingale —
' Nevir suetar noys wes hard with levand man,
Na maid this mirry gentill nychtingaill,
Hir sound went with the rever as it ran,
Outthrow the fresche and flureist lusty vailL' '
And now a spring morning —
' Full angellike thir birdis sang thair houris
Within thair courtyns g^ene, in to thair bouris,
Apparalit quhite and red, wyth blomes suete ;
Anamalit was the felde wyth all colouris,
The perly droppis schake in silvir schouris.' " *
Dunbar is never so bright, never so happy, as when
listening to the voices of the birds or viewing the colours
of the flowers. These are the common sounds and sights
which have delighted the hearts of poets, and to them
are never commonplace. They requite the poet's love by
transfusing their healthy and natural sweetness into his
verses. It is pleasant to know they gave seasons of happi-
ness to one like Dunbar, whose moods were more often
melancholy despondency and satire.
EFFECT OF FLODDEN ON SCOTLAND AND DUNBAR, 15 13.
From satire of Court and praise of country alike, Dunbar
was diverted by the disaster of Flodden, the greatest blow
Scotland ever suffered. In an evil hour for his country and
fame, James IV., stung by a series of injuries,— the refusal
of Henry VIII. to deliver up the bastard Heron, who had
slain the Scottish Warden of the Marches ; the death of
1 P. 175.
2 'Dreamthorp, and other Essays,' by Alexander Smith, p. 82. Even Mr
Lowell finds «* a few sweet and flowing verses in Dunbar's ' Merle and Nightin-
gale,' indeed one whole stanza that has always seemed exquisite."
INTRODUCTION. 1x1
Andrew Barton, the bold seaman who made reprisals on
the pirates and merchantmen of Holland, Portugal, and
England after a manner that savoured itself of piracy ; the
withholding of the jewels left to Margaret by her father ;
and the invasion of France,— declared he would take part
in the defence of his brother and cousin, " the most Chris-
tian king," and, unless Henry desisted from the invasion of
France, would wage war against England. Doubtless he
thought the absence of Henry at the siege of Terrouenne a
good occasion for this declaration. The old league between
Scotland and France, of which he was reminded by Anne
of Brittany's present of a ring^ and a subsidy of gold, also
weighed against the more recent alliance with England.
But the reiteration by modem writers of the charge of
breach of faith, which Skelton put into his verses and
Holinshed and Hall into their chronicles, is not justified.
There was as good cause for this as for most wars. The
peace between England and Scotland had been hollow —
never well preserved on either border, much less on the
coast Henry's contemptuous treatment of a former Scot-
tish herald, whom he refused to receive, determined James
not to wait for another insult, and before the Islay herald
returned from France the war had begun and ended —
Flodden was fought and James slain.
The Nemesis which pursued the ill-fated monarch is a
familiar page of Scottish story. It gave a natural subject
to Skelton's and other English ballads, and a title, though
no more, to a tragedy of Robert Greene. It has left a
patriotic and pathetic echo in Scottish minstrelsy in the
burghers' song^ of Selkirk and Hawick, in the " Flowers of
^ This ring, as well as the sword and dagger James wore at Flodden, are in
the Heralds' College, London.
Ixii INTRODUCTION.
the Forest," and in * Marmion.* The warning of the beggar
at Linlithgow Kirk to the king at prayers, told by Tjyndsay
of Pitscottie, on the authority of Sir David Lyndsay the
poet ; the summons of Platcock (Pluto, or the devil) at the
cross of Edinburgh, before the muster on the Borough Muir ;
the dalliance of the king at Ford with Lady Heron ; the
rash descent of the Scots from the hill of Flodden to the
plain of Brankstone, on the banks of the Till, where the
battle was fought ; the doubt whether the king had fallen,
caused by his having dressed several men in suits of
armour like his own, and the sordid fate of his body so
long unburied, form a series of scenes worthy of a tragedy.
But Dunbar had not the dramatic faculty, nor would a
Scottish contemporary have used this occasion for its ex-
ercise. Like his countrymen, he was probably at first
stunned by the disaster which cut off the king and his
young son, the Archbishop of St Andrews, the Bishop of
the Isles, and two abbots, eleven earls, and fourteen lords,
besides many knights and gentlemen, and a host of the
faithful commons. The English chronicler Hall reckoned
the Scottish loss at 12,000, the English at under 1500, as
appeared " by the book of wages when the soldiers were
paid." The number of Scots slain may be exaggerated ;
but tradition, accumulated from all quarters of the realm,
leaves no doubt of its enormous proportions. The Doug-
lases, one of the bravest families of the Border, counted
their loss at 200. Angus Bell-the-Cat, now infirm with old
age, after vainly protesting against the ill-timed engage-
ment, left the field, but two of his sons remained and died on
it. Scarcely a noble house in Scotland was without the record
of a death at Flodden. The burghers of the towns — the
" Flowers of the Forest," as the brave yeomen of Ettrick
INTRODUCTION. Ixiii
are called in the ballad — the rough-shod Highlanders and
Islesmen, — ^all shared the common fate, for few prisoners
were taken. The Flodden wall, which the capital built in
its alarm — the masses said in so many churches throughout
the land — ^the succession of the heir to his father's lands
without payment of relief to the Crown, which had been
guaranteed by an Act passed just before the battle, — ^kept
alive the sad memory. Very possibly Dunbar had been
one of those who had opposed the war. His relations with
the queen, and the English sympathies of one who deemed
Chaucer his master and English in its old form his mother
tongue, make this more probable than a conjecture which
has been hazarded that he fell at Flodden. This conjec-
ture is, of course, incompatible with the view of most of
those who have studied his poems, that many of them
were written after its date.
DUNBAR'S LIFE AFTER FLODDEN TO HIS DEATH,
1513-20.
The first poem Dunbar appears to have written after
Flodden was an address to the young Queen-Dowager,
still only in her twenty-third year, to " be glaid in hairt and
expell haviness." ^ The relation of the poet to the queen,
described in the lines —
" To quhome I am, and sail ay scherwand be.
With steidfast hairt, and faythfull trew mening,
Vnto the deid, without depairting ;
For quhais saik I sail my pen address
Sangis to mak for thy reconforting," —
marks Dunbar as the author, although his name is not
appended to it
» P. 3^6.
Ixiv INTRODUCTION.
His counsel to
" Faid nocht with weping thy vissage fair of hew "
was soon taken. In August 1514, before the widow's year
of mourning was over, Margaret wedded the young Earl of
Angus, grandson of old Bell-the-Cat, to whom he suc-
ceeded. His father, like her husband, was one of the
victims of Flodden. Life continues its strange and devious
courses, though death gives its warnings with the strongest
emphasis. Between James Stuart and Margaret Tudor
there could have been no deep love, for he was a faithless
husband. The wayward girl, now a headstrong woman, was
conscious she might follow her own will. But if Dunbar
had been an ideal character, he would not have so soon for-
gotten his old master, and sought to encourage his mistress
to " baneiss all baill, and into bliss abyd."
Although Dunbar still clung for a little to the gay and
cheerful view of life natural to his sanguine moods, he was
too good a patriot to overlook the additional confusion
which the precipitate marriage of the queen with a subject
brought upon Scotland. His next poem, " Ane Orisoun —
quhen the Gouernour past in France," describes the con-
fusion of
" This pure realme, in partyis all devydit ; "
and prays —
" Lord ! hald thy hand, that strikken hes so soir ;
Haue of ws pietie, eftir our punytioun ;
And gif ws grace the [for] to greif no more,
And gar us mend with penance and contritioun." *
The Queen-Dowager's marriage had roused the jealousy
of the Scottish nobility— unwilling to see one of their
1 p. 236, 11. 33-36.
INTRODUCTION. Ixv
order preferred above the rest — ^and alienated Henry VIII.
who disliked his sister giving her hand to one not of royal
birth. The party opposed to Angus, at the suggestion of
Elphinston, Bishop of Aberdeen, and Lord Home, the
Chamberlain, resolved to summon John, Duke of Albany,
grandson of James H., to assume the r^ency. In spite of
Henry VIII/s endeavour to prevent his leaving France, the
Duke landed at Dumbarton in the middle of August 15 15,
held a Parliament in Edinburgh by which he was appoint-
ed governor of the kingdom till the king attained his
eighteenth year, and forced Mai^ret at Stirling to resign
the custody of the king and his brother Alexander, Duke
of Ross, and to fly to England. Albany attempted the
difficult task of governing Scotland for two years, at first
with apparent success. He received the submission in turn
of the Earl of Arran, the representative of the Hamiltons,
and by his mother a grandson of James 11. ; of Home,
the Chamberlain, who had suddenly allied himself with
Angus, his rival on the Borders ; and of Angus himsel£
The attempt which Henry VHI. made, at his sister^s
instigation, to obtain his removal from the regency, roused
the patriotism of the commons in his favour. But the
nobles were jealous of Albany as a foreigner. A rebellion
in the West, headed by Arran, Lennox, and Glencaim,
had barely been suppressed when Home and his brother,
aided by several Border barons, entered into intrigues with
Dacre, the English Warden ; and having imprudently come
to Edinburgh, they were seized, tried, and convicted for
treason. De la Bastie, a French knight and friend of
Albany, was made Warden of the East Border. At a
Parliament in Edinburgh, Albany was declared the second
person in the realm, and next heir to the crown — the
Ixvi INTRODUCTION.
king's young brother, the Duke of Ross, having died.
The new King of France, Francis L, formed a league
with Spain against the Emperor Maximilian, and wishing
to conciliate Henry VIII., refused to ratify the treaty with
Scotland. Albany determined to go to France to try the
effect of his personal influence. He had never cared for
Scotland, where he felt his tenure of office insecure, and
was glad of an excuse for leaving. It was with difficulty
he obtained leave of absence for four months, and sailed
from Dumbarton on 7th June 15 17.
He was scarce gone when fresh troubles broke out in
Scotland. The Queen-Dowager returned, and though not
permitted to take part in the government or resume the
custody of her son, her presence was a disturbing element.
In September Hume of Wedderbum met and slew De la
Bastie at Langton. The perpetrators of this crime, though
forfeited, were never brought to justice, so powerless or in-
different was authority. There was also a serious rising in
the Highlands to support the claim of Macdonald of Loch-
alsh to the lordship of the Isles. Albany had committed
the regency during his absence to the Bishops of St An-
drews and Glasgow, and the Earls of Huntly, Argyle, Angus,
and Arran. The chief power in this council was disputed
between Angus, who had the support of England, and
Arran, whose quarrels at last came to such a pitch that
their followers fought in the High Street of Edinburgh,
and Arran was driven from the capital. This affray of
"Cleanse the Causeway" took place on 30th April 1520.
Seventy- two of the Hamiltons were left dead on the street
To add to the turmoil, the Quccn-Dowager quarrelled with
and was eager for a divorce from Angus, and now used her
influence to procure the return of Albany. He seemed the
INTRODUCTION. Ixvil
only man capable of restraining Angus, and through his kin-
ship with the Pope might aid her in procuring a divorce. He
did not, however, return till November 1521, when Angus
at once fled to the Border, and the queen received him so
kindly that Dacre reported to Henry that they were " over
tender."
It was when, or shortly after, Albany went to France in
15 17 that the poem called " Ane Orisoun" was written by
Dunbar; and although Professor Schipper entertains doubts,
and the poem is anonymous, it seems probable that the
verses b^inning
" We Lordis hes cbosin a chiftane mervellus," *
were also written by him. If so, their date is fixed by the
lines which follow : —
" That left hes ws in grit perplexite.
And him absentis, with wylis cautelus
3eiris and dayis mo than two or thre."
More than three years after Albany left would be after
June 1520, just at the moment when the dissensions be-
tween the nobles had reached their height, and Margaret,
Dunbar^s friend and patron, was most anxious for Albany's
return. Neither of these poems is in Dunbar's best style,
and the second especially is inferior, both in subject-matter
and ease of versification. But the sentiments contained in
such lines as the following —
*^ Is nane of ws ane vddir settis by,
Bot laubouris ay for vthiris distructioun ;
Quhilk is grit plessour to our auld innamy,
And daly caussis g^t dissentioun ; " —
or,
" Couatyce ringis into the spiritual! state,
3amand banifice the quhilk ar now vacand ;**
* P. 237.
Ixviii INTRODUCTION.
or,
" Grit wer and wandrecht hes bene ws amang,
Sen thy depairting, and 3it approchis mair ;
Thy tardatioun caussis ws to think lang ; " —
are quite natural to Dunbar. Nor does it seem a sufficient
reason for the contrary view that he has put them in the
mouth of the Lords who wished Albany's return, and does
not speak as usual in his own person. There are other ex-
amples of this in " The King's Answer to Dunbar's Peti-
tion," ^ — if, as is deemed almost certain, it was written by
Dunbar, — and in " The Droichis part of the Play," * an in-
terlude which is spoken by the Dwarf. If this poem is
Dunbar's, it is the last to which we can assign a date, and
it is probable that he did not live long after 1520.
The reference to him by Lyndsay in the " Testament of
the Papyngo" appears, by its position in that poem, to
place his death before that of his contemporary, Gavin
Douglas, which occurred in 1522.
" Quho can now the werkis contrefait
Of Kennedie, with termes aureait,
Or of Dunbar, quhilk language had at large,
As may be sene in tyll his * Goldin Targe.*
.......
Allace ! for one quhilk lampe wes of this land,
Of eloquence the flowand balmy strand,
And in our Inglis rethorick, the rose,
As of rubeis the charbunckle bene chose.
And, as Phebus dois Cynthia precell,
So Gawane Dowglas, Byschope of Dunkell,
Had, quhen he wes in to this land on lyve,
Abufe vulgare poeitis prerogatyve,
Boith in pratick and speculatioun." ^
But the inference from these lines that Dunbar predeceased
Douglas is not quite certain, and his closing, as his early
years, are buried in obscurity.
^ p. 217. ' P. 314. 3 Lyndsay's Works, ed. Laing, vol. i. p. 62.
INTRODUCTION. Ixix
DUNBAR'S SACRED POEMS OR HYMNS AFTER 1513.
To the period between Flodden and his death may
probably be assigned most if not all the sacred or relig-
ious poems, which form a marked and separate section
of his works. | Jbor thoiigh^'D unbar was capable of such
various moods that it would be vain to say he might not
have composed some of them in his youth or middle age,
they are more like the thoughts of a man whose years were
declining towards old age.
In one of these, the hymn on the Passion, he describes
himself in the opening lines as resident in a cloister, which
he is not likely to have been after he had quitted the Ob-
servantines, at any period of his life prior to 1513 : —
** Amang thir freiris, within ane cloister,
I enterit in ane oratorie,
And kneling doun with ane pater noster,
Befoir the michti king of glorye,
Having his passioun in memorye." ^
It is true that the secular poems which can be certainly
dated after Flodden are few, and, with a single exception,
are only attributed to Dunbar by internal evidence. But
this would be sufficiently accounted for if the poet had then
occupied himself with the sacred themes which form the
subject of his hymns. The absence of his name from the
pension-list, which has been founded on as a proof of his
death, may be explained either by the loss of the Treas-
urer's accounts between 15 13 and 15 15, and again from
1 5 18 to 1522, or, as appears more probable, the real reason
may be that such pensions depended on the pleasure of the
king, and were not necessarily continued in a new reign.
^ P. 239.
Ixx INTRODUCTION.
The religious poems of Dunbar either simply teach a
religious or moral lesson, or relate to certain well-known
periods of the Christian year, and the religious feelings
their recurrence evokes in the breast of the pious church-
man. Both are significant illustrations of his character.
To the former class belongs a poem of considerable
leng^th, sometimes called Dunbar's Confession. The words
added in the Maitland MS., " Heir endis ane Confessioun
generate compylit be Maister Williame Dumbar^* indicate
that he intended it for others in like moments, but its tone
is too personal not to have some reference to his own expe-
rience, as in the lines which express remorse for his life at
Court —
" I knaw me vicious, Lord, and richt culpable.
In aithis sweiring, leising, and blaspheming.
Off frustrat speiking in court, in kirk, and table.
In wordis vyle, in vaneteis expreming,
Preysing my self, and evill my nichtbouris deming." ^
Other poems of the same kind are that " Against Covet-
ousness," beginning —
" Man, sen thy lyfe is ay in weir," *
and ending with the refrain —
" Thyne awin gude spend quhill thow hes space; "
that " Of the Changes of Lyfe ; " » that with the burden—
" Vanitas Vanitatum, et omnia Vanitas ; " *
the short stanza beginning—
" Quhat is this lyfe bot ane straucht way to deid ; ** *
that on Death beginning —
" Doun by ane rever as I red,"®
' P. 69, 11. 105.109. « P. 152. » P. 232.
* P. 244. « p. 250. • P. 305.
INTRODUCTION. Ixxi
and the poem sometimes called " The Merle and the Night-
ingale," ^ in which he praises heavenly as compared with
earthly love, ending with the burden —
C(
All luve is lost bot vpone God allone."
Poems such as these cannot be fixed with certainty at any
period of Dunbar^s life, but are more natural to his closing
years. They express one side of his nature, the piety
which became his profession, and in spite of his strong
bent to a merry life, was never altogether absent from
his thoughts. The transition from humorous to religious
poetry has many examples in the history of English poetry,
of which it is only one of the most conspicuous that the
author of "John Gilpin " should have been also a writer of
h}rmns.
The other class of Dunbar's religious poems belongs
with more certainty to his later years. They are all
in one manner, and without them we should have
scarcely anything to represent the period from Flodden
to his death — the last seven years of his life, during which
it is unlikely one with Dunbar's gift of poetry would have
been silent, though it was likely that he should change the
object of his verse. To this class belongs a poem on the
Nativity, commencing " Rorate Celi desuper," * which has
been sometimes erroneously attributed to Chaucer, and
two others on the same theme ; ' that on the Passion ; ^ that
on Lent, or the Forty Days in the Wilderness;* that on
the Resurrection ;• and two poems in honour of the Virgin.^
> P. 174. « P. 72. ' Pp. 322, 324. * p. 239.
« p. 280. • P. 154. ' Pp. 269, 272.
Ixxil INTRODUCTION.
DUNBAR'S PERSON AND CHARACTER.
Such is all which^ whether from contemporary records
or his own poetry, we are able to glean of the life and
career of Dunbar. No portrait remains, or was probably
ever painted, of Scotland's first great maker. From some
allusions by Kennedy in the "Flyting" it is supposed he
was of short stature ; and we may conjecture, from his dis-
position and turn of mind, that he had quick observant
eyes and a mobile restless habit of bpdy, as he sketches
himself in the " Dance in the Quenis Chalmer " : —
" On all the flwre thair was nana frackar." ^
At a later date his health seems to have given way,
though, if the conjectures here adopted as to his birth and
death are correct, he must have lived at least to the age of
sixty. No chronicler thought it worth while to interrupt
the narrative of war and feuds to portray, alongside of
the king, the bishops, and nobles, the poet who began
the series of original Scottish authors. His predecessors,
whether in verse or prose, whether they wrote in Latin
or the vernacular, were narrators or translators merely,
though an occasional verse of Barbour or Wyntown, Blind
Harry or Henryson, suggests that in other times they
might have been original writers. Douglas, while selecting
Dunbar along with "Great Kennedie" and "Quintyn,
with ane huttock on his heid," for a place in the Palace of
Honour, conveys only the meagre information that Dun-
bar was "yet undeid" when that poem was written in
1 501 ; and Lyndsay, who as a youth must often have
seen him at Court, has recorded only his admiration for
^ P. 200.
INTRODUCTION. Ixxiii
the "language at laige" of the author of "The Goldyn
Targe."
Dunbar, though these slight references show that he was
highly esteemed during his life, has had greater posthumous
than immediate fame. Lyndsay became more popular
amongst the people, Douglas amongst the learned. The
'Wallace' of Blind Harry and the 'Bruce' of Barbour
appealed more directly to Scottish patriotism. But the
rarer genius of Dunbar has been disclosed by time. Un-
fortunately, it has been left to antiquarian research and
later criticism to endeavour to delineate his life and char-
acter. Some poets, the facts of whose lives have come
down to us in fragments, do not ''abide our question,"
and remain, like Shakespeare, all the greater in their
impersonality. Dunbar belongs to another class of poets
who are self-conscious, and express themselves in their
works. So, though his outward man must still remain
unknown to us, the inner man, his feelings, his thoughts,
his bearing towards the world in which he lived, and the
men with whom he came in contact, are not obscure.
It has been the endeavour of this Memoir to let Dunbar
as much as possible speak for himself. Like Bums, he
may be trusted in autobiography, which, though free from
the dangers of biography, has others of its own. He
was, like Bums, thoroughly honest, and neither conceals
weaknesses nor affects virtues. His character was, as
that of most men, the product of his nature and of the cir-
cumstances of time and place in which he lived. He was
not of the exceptional class who control circumstances,
shape their own course, and mould their lives by force of
will. His lot was, as regards his position in life, to be de-
pendent, poor, and fettered by vows with which conscience
Ixxiv INTRODUCTION.
could not, though custom might, dispense. This lot fell
to a man with an observant eye, a reflective rather than an
active mind, with the imagination of a realist rather than
of an idealist, whose piercing glance penetrated but rarely
soared ; who had not the faculty of seeing and interpreting
splendid visions, but who could represent vividly all he
felt and saw.
The result was a humourist in the older meaning of that
word — Si man of various moods, now grave, now gay ; some-
times anxious to please, more often prone to satirise, even
friends. But beneath the humourist in Dunbar there was
the moralist always, and at times the preacher. This was
less from his vocation than from his nature. It was a
relief in hard outward circumstances, but it was also the
instinct of his genius, to draw lessons from them for his
fellow-men and for himself. While his lively fancy was
ever ready to catch the passing moment, and, "shooting
folly as it flies," preserve its features in a line, a verse, a
ballad, his deeper and more permanent character impresses
itself on his work, and is revealed when we regard it as a
whole. His poems are a mirror of the times in which he
lived, and he is himself reflected in the linej
" Sum man, musand with the wa,
Luikis as he mycht nocht do with a." ^
A proud consciousness of his own powers, which the
result has justified, sustained him in his isolation : —
" And thocht that I, amang the laif,
Vnworthy be ane place to haue,
Or in thair nummer to be tald,
Als lang in mynd my wark sail hald !
^ " Aganis the Solistaris in Court," p. 206.
INTRODUCTION. Ixxv
Als haill in everie circumstance.
In formCy in mater, and substance,
But wering, or consumptioun,
Roust, canker, or corruptioun.
As ony of thair werkis all,
Suppois that my rewarde be small ! " ^
His countrymen no longer need repeat the line of
Langhome —
^ And Time still spares the Thistle and the Rose."
The fame of Dunbar has increased with the centuries, and
will continue to increase. His name is now securely
enrolled amongst the best of the early authors of Scotland,
and in the front ranks of the noble company of the Poets
of Britain.
* '' Danbar's Remoostiance to the King," p. 221.
Ixxvi INTRODUCTION.
II.
THE POEMS OF DUNBAR.
DIVISION OF THE POEMS INTO CLASSES.
The poems of Dunbar do not require any elaborate analysis
of their contents. With the exception of the allegorical
poemSy of which " Beauty and the Prisoner," " The Goldyn
Targe," and "The Thistle and the Rose," are the best marked
specimens — although in others all^orical personages, the
Seven Deadly Sins, Heaviness, Langour, Reason, Dis-
cretion, and the like are introduced — their meaning, apart
from the use of obsolete words, explained in the Glossary,
is obvious. A prose version of Dunbar^s verse would
resemble a poor sermon which dilutes the rich text But
a survey of his poetry is necessary to show the com-
pass and limits of his genius, and will be given before an
attempt is made to estimate his relation to the Scottish
poets who preceded and followed him, and his position
amongst those who in other countries have secured per-
manent poetic fame. For he, too, is of the select few who,
by various routes, coming from distant countries, have
climbed to the summits of Parnassus.
The poetry of Dunbar, although the portion of it which
has been preserved is not large, naturally suggests a classi-
fication which proves how various were the styles and
subjects he essayed. As he succeeded in almost all,
though of some we have only one or two examples, this
certainly supports the hypothesis that many of his poems
INTRODUCTION. Ixxvii
have been lost, it is to be feared now beyond recoveiy.
His poems may be divided into —
1. All^orical Poems.
2. Narrative Poems or Tales.
3. Amatory or Love Poems.
4. Comic or Humorous Poems.
5. Laudatory Poems or Panegyrics.
6. Vituperative Poems or Invectives.
7. Precatory Poems or Petitions to the King or Queen.
8. Satirical Poems.
9. Moral Poems.
la Religious Poems or Hymns.
They cover, therefore, the whole ground which Bannatyne
describes in the lines prefixed to his manuscript —
" The first concemis Godis glor and our salvatioun ;
The next are moral graces and als besyd it,
Ground on gude consale ; the thrid, I will not hyd it,
Are blyth and glad, maid for our consolatioun ;
The fierd, of luve and thatr rycht reformatioun ;
The fyft are tailis and storeis weill descydit**
The above list might be reduced to eight, perhaps seven,
for the petitions or precatory poems are generally humor-
ous, and the humorous are separated by a narrow line
from the satirical and vituperative. Nor is it expected
that all will agree with the class in which particular poems
are here placed. Still, the petitions form so marked a
section that it seems better to regard them as a separate
class, along with the three poems on " Discretion in Ask-
ing," " Giving," and " Taking," in which he treats the phil-
osophy of the subject The line, though narrow, is also
distinct, and probably corresponds to the period when they
were written, which separates his poems in which the
Targe."
Ixxviii INTRODUCTION.
humour is merely comic from those in which it passes
into all the moods of satire, from the gentlest irony to the
fiercest indignation or invective.
I. ALLEGORICAL POEMS.
The allegories of Dunbar are not, like "The Palace of
Honour" of his contemporary, Gavin Douglas, or "The
Faerie Queen " of Spenser, intricate or complex. Abstract
qualities are made to play the part of persons, and so con-
vey a moral lesson with more directness, but there is little
sustained allegory and no obscurity in the plot or scheme
The of the poem. In " The Goldyn Targe," the subject is the
StoT*' conflict of Beauty with the poet, or the person in whose
name the poet speaks. Reason protects him against the
first assaults of Beauty, and wards ofl* the darts of her com-
panions by the golden shield. But the near presence of
the beloved blinds his eyes, and new allies of Beauty
coming to her aid — Dissimulation, Fair Calling, Cherishing,
and New Acquaintance — complete the capture of the poet
or the hero of his poem. It is characteristic of Dunbar's
reflective and melancholy vein that before the dream (for
the allegory appears in a dream) melts, the captive has
been visited by Danger, who consigns him to the custody
of Heaviness and Grief. Love was not to him the spring
of life and hope, but of despondency. Its victory was the
defeat of Reason. As if to save the poem from ending
with this sad note, Dunbar, like a true artist, adds a stanza
on the beauty of the landscape when he woke from his
dream —
" Throu Naturis nobil fresch anamalyng,
In mirthfull May, of ewiry moneth Quene ; "
INTRODUCTION. Ixxix
and an encomium on his English masters, Chaucer, Gower,
and Lydgate. This passage marks the reverence of Chaucer
which he shared with all English poets —
" As in oure tong ane flour imperiall.
That raise in Britane ewir, quho redis rycht.
Thou beris of makaris the tryumph rial! ; **
the recognition of the common language in which they
wrote —
** Was thou noucht of oure Inglisch all the lycht ;
f»
but also the less fortunate admiration for the new and
less natural beauties with which the '^sugurit lippis and
tongis aureate" of Gower and Lydgate had over-gilt the
simpler speech of Chaucer. Dunbar modestly thought
his own poem free from all the '* lusty roses of rhetoric "
which he praised. The taste of modem times will not
admit this, and finds many of the phrases and parts of
the all^ory exaggerated, — for modem poetry, as a
rule, abstains from allegory, which its readers do not easily
appreciate, and prefers a simple to an ornate style of
language.
Another variation on the same theme, the short poem of
^Beauty and the Prisoner," ends more happily, for the "Beauty
prisoner is delivered from the dungeon in the Castle of ^^5^^^ »»
Penance by ''Matremony, that nobill king," who unites
Beauty to the prisoner. Perhaps this poem glances at the
deliverance of James IV. from the illegitimate connections
of his youth by his marriage with Margaret Tudor. If so,
the allusions are possibly on purpose not explicit. What-
ever may be its tme interpretation, this is one of the few
compositions of Dunbar which may be deemed somewhat
obscure. Notwithstanding its obscurity, it appears to have
Ixxx INTRODUCTION.
been a favourite with his contemporaries, for amongst the
popular songs given in the list in " The Complaint of Scot-
land " there is one — " Ladye, help your prisoner," — ^which
probably refers to it, although Mr Laing at one time con-
jectured it to have been a poem by Alexander Scott^
Professor Schipper is disposed to date **The Goldyn
Targe " and " Beauty and the Prisoner " somewhat later in
Dunbar's life than the period before the marriage of the
king, and, though with some hesitation, to suppose they
may relate to the poet's personal history. Certainty on
this point is unattainable. The poems themselves bear no
internal evidence, either by contents or style, to the time
of their composition. But they are unlike his other poems
of a personal kind, and most nearly resemble ** The Thistle
and the Rose," which was written to celebrate the royal
marriage. " The Goldyn Targe " was certainly composed
before 1508, when it was printed by Chepman and Myllar.
It appears, on the whole, most probable that these all^ori-
cal poems all belong to the same period, and were veiled
in allegory for the sake of the king, who might be thus in-
structed and warned without being too plainly made their
subject.
*'The "The Thistle and the Rose" takes its leading allegory
'^***J^* from Heraldry, then in its prime. It celebrates the union
Rose." of the Scottish Thistle with the red and white Rose of
England, in whose veins flowed the blood of York and
Lancaster, and proclaims its superiority above the Lily of
France. It is not known when the thistle was first chosen
as the meet symbol for the wild country and poor soil
whose natives proved they could protect its independ-
1 **The Complaint of Scotland," Early English Text Society,— J. H. A.
Murray's Prefece, p. Ixxxiii; Laing*s eilition of Scott, p. x.
INTRODUCTION. Ixxxi
ence. It has sometimes been supposed that its use
originated in this poem, which is one of the earliest notices
of the thistie.^ But its adoption as the badge of Scotland
must have been of an earlier date. Amongst the '' jowellis
and uther stuff pertaining to umquhile oure souirane lordis
fadir " that came into the hands of James IV. at his father's
death in 1488, was "a, covering of variand purper tartar
brawdin with thrisselis and a unicorn^ ^ The ratification
by James of his contract of marriage with Margaret on
17th December 1502, has on its wide margin ''a splendid
border of roses, thisties, and marguerites intertwined. In
a square compartment azure are the Scottish royal arms
and crown, supported by two unicorns argent, collared and
chained, homed and unguled or^ standing on a mount vert,
with the Scottish thistie flowered ppr. growing on it Fur-
ther down the mai^n are the letters I. and M. in gold,
entwined with a love-knot, beneath a jewelled crown." *
If Dunbar was, as there is reason to believe, connected
with the secretary's office, through which this and other
documents with a similar device must have passed, he
would be familiar with, and may have borrowed this part
of his allegory from it We have seen, too, that the thistle
and the rose were interlaced beneath the crown on the
painted windows of Holyrood when the young bride was
received there.
» The portrait of James IV. in Waldegrave's edition of the Scots Acts, 1497,
and in Johnston's 'Icones Regtun Familiae Stnartorum/ Amstelodami, 1602, is
marked by the thistle in his hand and the iron belt roond his waist ; but I have
not been able to discover, in spite of much kind aid, the authority for this portrait
The thbtle appears in the arms of Scotland in Sir D. Lyndsay's Heraldic
MS. in the Advocates' Library and in the frontispiece of Bellenden's Boece
in the reign of James V.
' Inventory printed in Tytler's * History of Scotland,' voL iL p. 373.
' ' Calendar of Documents relating to Scotland,' vol. iv. p. 340.
Ixxxii INTRODUCTION.
The poet does not confine his allegory to the heraldic
suggestion, and proceeds to amplify and interpret The
king is compared with the Lion, the king of beasts, the
Eagle, the king of birds, as well as with the Thistle, whose
bush of spears is crowned with rubies. In the two former
characters he is exhorted to dispense the law with equal
hand to the commons and the nobles, the poor and the
rich ; while in the third he is counselled to be faithful to
the Rose, and not to stray after the beauty of any other
flower, whether of the garden or the wild. The garland of
verse thus intertwines the royal and the domestic virtues.
The allegories of Dunbar are supposed by Mr Laing
to have been suggested by the masques or pageants so
much in fashion in the middle ages, which continued in
more and more elaborate form until they culminated in those
of which Ben Jonson was the poet and Inigo Jones the de-
signer in the reign of James I. of England. They then gave
way to or were absorbed in the nobler creations of the Shake-
spearian drama. Such masques were well known in Scot-
land in the time of James IV. Margaret Tudor was greeted
with one on her first coming to Edinburgh. Dunbar has
himself described another in the poem on her entry into
*Thc Aberdeen. The "Interlud of the Droichis part of the
^ "^fOi ^^^y»" ^ usually ascribed to him, is the detached portion of
Play." a composition more resembling a masque than a play in
the modern sense. It is possible that Dunbar himself may
have acted as well as written the part of the Dwarf. The
references in the " Flyting " to his low stature favour this
suggestion. There would be nothing in the manners of an
age which permitted the poet, though an ecclesiastic, to
^ A fuller examination of the poem is made in Appendix V., in the note on
James IV.
INTRODUCTION. Ixxxiii
dance in the queen's chamber, which would have forbidden
his assuming the rdle of an actor. The most constant per-
formers in the early masques and plays were the choristers
of the king's chapel at Stirling or Linlithgow. Sir David
Lyndsay's " Satire of the Three Estates " was a series of in-
terludes loosely combined to make a play. But few pieces
have come down to our time more interesting, as showing
the transition from the Morality through the Interlude and
Masque to the Drama, than this fragmentary poem of
Dunbar. In Scotland the Calvinistic and Puritan character
of the Reformation prevented the development of the native
drama, which never passed beyond the stage of Lyndsa3r's
plays.
Professor Schipper ^ advances an opposite theory to that
of Laing. "The masques," he says, "were developed from
allegorical poetry, and if, in course of time, the reverse
might well happen, this is not to be accepted in the case of
a poem " (" Beauty and the Prisoner ") " whose tone is rather
lyrical than descriptive." Without entering on the vexed
question of the priority of origin of the masque and the
allegory, it seems at least certain that the frequency of
acted masques made it easier for a poet to introduce alle-
gorical characters which would be at once understood,
and not deemed, as they would be now, far-fetched and
artiiiciaL
The characters, which are called by the names of abstract
qualities, appealed to the recollection of those who had seen
the same or like qualities represented by actual persons on
the scaffolding or the stage, in the procession or the show.
The goodly company which attended on "suete woman-
hede " in " The Goldyn Targe " —
^ Schipper, p. 186.
Ixxxiv INTRODUCTION.
" Nurture and Lawlynes,
Contenence, Pacience, Gude Fame and Stedfastnes,
Discretioun, Gentrise, and Considerance,
Leuefell Company, and Honest Besynes,
Benigne Luke, Mylde Chere, and Sobimes,** ' —
required no description, scarcely even an epithet, but at
once appeared before the mental vision of his contem-
poraries. This aid to their interpretation they have now
lost But, after all, every poem has a special meaning
to the generation for which it is written. Its vitality is
proved when it has a meaning also for succeeding gen-
erations.
IL NARRATIVE POEMS OR TALES.
The narrative poems or tales of Dunbar are limited to
one of certain authorship, " The Tua Mariit Wemen and
"The the Wedo," and another of uncertain, "The Freiris of
Berwik." The latter was first attributed to Dunbar by
Pinkerton, whose view was followed by Ellis. Mr Laing,
though he declines to give a decided opinion, thinks the
poem must have been written not later than the minority
of James V*, and observes that ** Pinkerton's opinion has
been so far sanctioned by succeeding critics, that the poem
is almost uniformly quoted as the work of Dunbar." Pro-
fessor Schipper has, however, made no reference to it in his
exhaustive work, and apparently treats it as not by Dunbar.*
It is anonymous in both the Bannatyne and Maitland MSS.
It was printed at least as early as 1603 by Robert Char-
teris, in the volume, * Sindric other Dclectabil Discoursis,'
but no copy is known, although 500 copies existed when
his will was proved ; and only one copy exists of the
^ p. 6, U. 163- 167. • 8m * AUtnglbcKc Mctrik/ p. 5Ja
Freiris of
Berwik."
INTRODUCTION. Ixxxv
edition printed at Aberdeen by Edward Raban for David
Melville in 1622.^ Allan Ramsay closely followed it in his
tale of " The Monk and the Miller's Wife."
There would be nothing remarkable in such a work like
the "Priests of Peblis," an inferior poem of about the
same date, being anonymous. Bold as many of Dunbar^s
poems are in their attacks upon the clerical order, there
is none, if we except the " Dirge " on the Observantine
Franciscans of Stirling, so directly pointed at particular
religious houses in a named place as this is at the
Black or Jacobyne, and still more strongly against the
Grey or Franciscan " Freiris of Berwik." That the latter
should be the main butt of the satire is an axgument in
favour of Dunbar's authorship. The author, whoever he
was, would think it prudent to conceal his name. Nor is
there anything in the tale, which is the common topic of
the time — a wife deceiving her husband and caught by her
own trick — ^that might not have been written by the author
of " The Tua Mariit Wemen and the Wedo." The clear-
ness of the description and the ease of versification, though
extravagantly compared to Chaucer's, certainly prove it to
have been the work of a good master in this style. There
is only one other poem by Dunbar in rhymed couplets — the
short poem " In Praise of Women " ; but it cannot be said
that this tells against his authorship, so skilful was he in
using and so fond of trying new metres. It must be deemed
also of some weight that there is no known poet of the
period to whom it can be ascribed with so much likelihood.
Dunbar had been at Berwick, and, by his own confession,
knew what could be done under the cloak of the Franciscan
garb as a novice : —
^ Laing's Notes, p. 379. Edmond's 'Aberdeen Printers,* sud camo 1622.
Ixxxvi INTRODUCTION.
" From Berwick to Kalice
I half in to thy habeit maid gud cheir.
In freics weid full fairly haif I fleichit
• •••••
Als lang as I did beir the freiris style,
In me, God wait, wes mony wrink and wyle." ^
Without venturing to affirm it, there seems no impro-
bability that the same bold hand which wrote " The Visita-
tion of St Francis" should have written "The Freiris of
Berwik." «
"ThcTua "The Tua Mariit Wemen and the Wedo," which is
Wemen Certainly by Dunbar, is sufficient proof that he could,
and the when he chose, follow Chaucer, as Chaucer followed the
writers of the French Lais and the Italian Novels in the
art, seemingly easy yet really difficult, of telling a simple
story with simple words so as to maintain the attention of
readers. What made easier at least a style of poetry
which, when tried as it has been by modem poets, always
savours of an imitation, was that telling stories or tales in
prose or verse was a common custom of the times before
printing. " It was the usage in Normandy," says Jean le
Chapelain, "that one who received lodging should tell a
fable or sing a song to his host" So Dunbar himself
includes in the motley group of the hangers-on at the
Court of James IV. some "who tell stories." But even in
the middle ages there were degrees of skill in the art
of which Boccaccio and Chaucer are the great masters.
There were professional as well as amateur story-tellers.
1 P. 132.
2 Mr Skelton, I am glad to observe, concurs in this view. " * The Friars of
Berwick/ an admirably spirited and brilliantly dramatic poem, which I believe
could have been written by no one except Dunbar."—* Maitland of Lethington,'
vol. i. p. 114*
INTRODUCTION. Ixxxvii
Dunbar has been deemed worthy of a high place amongst
the former by good judges, even if this poem is the single
specimen of his power. Its theme is matrimony ; and the
discourse of the free-living and coarse-thinking women who
tell in succession their experiences, startles and shocks a
modem reader by its indecency and immorality. The
poet, indeed, intends to convey the moral with which he
ends, that none of them was worthy to be a wife. But all
had been ; and the widow, like the Wife of Bath in
Chaucer^s tale, after which and earlier tales this poem is
in part modelled, had buried more than one husband. It is
vain to deny that their conversation represents a corrupt
condition of society and a special depravity in the sex,
which in better times maintains the standard of purity.
We are tempted to ask whether the picture is not a carica-
ture even of the time in which it was written. Like most
satire, it is highly coloured ; but Dunbar lived in a Court
which was very far from being an example of virtue in the
relations of the sexes. Even the clergy, who should have
denounced such abuses by their lives as well as by their
preaching, from the Pope in the Vatican to the b^;ging
friars who found too easy an entry into every home, are
admitted by the candid Romanist to have been often
grossly immoral Those who condemn the freedom of the
satire should recollect that it bore its part in curing the
moral disease it represented in such plain and ugly colours.
The Reformation which so soon followed was a reform in
morals as well as in doctrine.
This poem was one of Dunbar's early works, as he him-
self indicates at its close : —
" 3e Auditoris, most honorable, that eris has gevin
Onto this vncouth aventur, quhUk airly me kafipinmt;
Ixxxviii INTRODUCTION.
Of ther thre wantoun wiffis, that I haif writtin heir,
Quhilk wald Je waill to )our wif, gif Je suld wed one ?**
It is remarkable as his only long poem, and also his only
poem in which he has throughout followed the alliterative
system of the older poetry. Professor Schipper,^ in order
to find a parallel to the elaborateness of its alliteration,
which, not content with pursuing the same letter through
one, often continues it through a second or more verses,
has to go back to the " Mort Arthur," * a work of the last
half of the fourteenth century. He notes in both poems
the heaping or accumulation of alliteration through many
verses, the occurrence of lines without alliteration but with
a word which carries it on from the preceding or into the
following line, and of lines in which the alliterative syllable
is not accentuated. Both poems are in the Northern Eng-
lish or Old Scottish form of alliteration, which maintained
in its verse as in its dialect more of the archaic style
common to Anglo-Saxon, Old German, and Scandinavian
poetry longer than the Southern English, which from the
time of Chaucer became the classical dialect of England.
That poet seldom uses alliteration. As contrasted with
the North Country " famed for song," the South preferred
rhyme, or even plain prose. Chaucer's Parson says in the
Prologue to his Tale : —
" But trosteth wel I am a sothem man,
I cannot geste rom ram ruf by my letter,
And God wote rime hold I but litel bettir.
And therefore if you list I wil not glose —
I wil you tel a litel tale in prose." '
With Dunbar's " Tua Mariit Wemen and the Wedo "
^ ' Altenglische Metrik,* pp. 196, 209.
3 Early English Text Society, No. 8.
' 'Canterbury Tales,' Moxon's edition, p. 147.
INTRODUCTION. Ixxxix
the use of strict alliteration also disappeared from Scottish
poetry, though he employs it in combination with rhyme
in the " Flyting," the " Ballad of Kynd Kittok," and in
several other poems. Traces of it are still to be found in
the Prologues to Gavin Douglas's "iEneid," Montgomery's
*' Cherrie and the Slae," and in other poems of the sixteenth
century. The poets of later centuries have not resisted
the occasional use of ^ apt alliteration's artful aid " ; but
this is something quite distinct from its use as a system of
versification subject to fixed rules.
That Dunbar should have preferred rhyme, and the varied
forms of rhymed verse used by the French and English
writers of the Renaissance, marks him as a poet of a more
modem school than most of his predecessors. Allitera-
tion was even with him a recurrence to, and imitation
of, an older type. The masters of rhythm in all periods
have been fond of experiments in archaic or foreign forms.
Rhyme itself is perhaps a development of alliteration,
transferring the recurrence of similar sounds from the be-
ginning or middle of the verse or line to its close. In
Dunbar's poems, many of which have intermediate as well
as final rhymes, we detect this development in the process
of growth. Nor does it affect this observation if, as is
probable, he may have been indebted to the examples of
the use of rhyme to be found in medieval Latin poetry.
III. AMATORY OR LOVE POEMS.
The amatory poems of Dunbar form a small part of his
known writings. It might be thought that one who had
served a novitiate as a friar and became a priest was little
likely to write love-poems, and that one of the chief, if not
XC INTRODUCTION.
the chief, source of poetry was out of his reach. Yet this
was not altogether the case, according to the manners of
the time. He had renounced the vocation of a friar, and
as a secular priest without a cure, although he occasionally
said mass, he occupied during most of his life a position
similar to the French abb6 of the eighteenth century, who
took his share in all the pursuits and amusements of the
Court. Still the irrevocable vows had been taken, and
human love could not be to him what it was to the lay-
man, a path of honour which led to happiness. He knew
well how to describe its virtue : —
'* Lufe ^ is causs of honour ay,
Luve makis cowardis manheid to purchass,
Luve makis knychtis hardy at assey,
Luve makis wrechis full of lergeness,
Luve makis sueir folkis full of bissiness,
Luve makis sluggirdis fresche and weill besene,
Luve changis vyce in vertewis nobilness." ^
But his personal experience was of its bitter, not of its
sweet, — at first of a passion which was not and could not
be rightfully returned, and finally, as one which should be
renounced for the divine love : —
" Than said the merle, * Myn errour I confess ;
• • • • • • •
All lufe is lost bot vpone God allone.' "
The conjecture that there was any real aflfection on his
part for Mrs Musgrave, an English lady of the queen's
suite, rests solely on the line in the " Dance in the Quenis
Chalmer" —
" For luff of Mwsgraeffe, men tellis me."
* Love is spelt in three ways by Dunbar — ** lufe," **luve," and " luff,** — a
characteristic example of the uncertainty of the art of spelling before printing.
2 P. 177.
INTRODUCTION. XCI
But the comic exaggeration of that poem, as well as the
coarseness of some of its expressions, render it impossible
that it can have been the medium for declaring a true
passion. It is only a courtier^s homage of admiration for
one of the beauties of the Court circle.
The two poems ^ which really are love-poems are in a "To a
very different strain, acting on the maxim of a poem attrib- ^^^
uted to him.' They do not name the lady to whom they a Ladye
are addressed :— ^^^
" Gif }e wald lufe and luvit be, *^*'
In mynd keip weill thir thingis thre.
And sadly in thy breist imprent ;
Be secreit, trew, and pacient"
This is so similar in tone to one of his acknowledged
poems,' as to leave little doubt as to its authorship. In the
latter he repeats the same counsel, with a personal note : —
" Be of )our lufe noprechour as afretr^
Be secreit, trew, incressing of )our name.*'
These genuine love-poems speak of a love which was not
requited, by a lady * in whose garden were fresh flowers of
every hue, only no ** rew," — ^who was merciless and without
womanly pity, yet whom Dunbar, in spite of all, would re-
member till death, but from whom he takes a sorrowful
farewell: —
" And quhill my mynd may think, and towng may steir ;
And syne. Fair weill, my hartis Ladie deir ! " ^
The former poem is somewhat artificial, but the latter is
in the language of the heart They are evidently written
to the same person, and about the same time ; and though,
^ " To a Ladye," p. 223, and " To a Ladye quhone he list to feyne," p. 245.
» P. 31a. ' P. 162. * P. 223. » P. 246.
f
xcii INTRODUCTION.
following the usual view, they have been placed in the
list of his poems after I503> it is not impossible they be-
long to an earlier period This incident in his life being
past of which we know so little that we cannot be sure that
what has been just said may not be too much, all Dunbar's
references to love are those of a moralist or a religious poet
In the poem with the refrain —
" Now cumis aige quhair Jewth hes bene,
And trew luve rysis fro the splene ; " ^
he writes : —
" I half experience by my sell ;
In luvis court anis did I dwell,
Bot quhair I of a joy cowth tell,
I culd of truble tell fyftene.
• •••■■
Befoir quhair I durst nocht for schame
My lufe discure, nor tell hir name ;
Now think I wirschep wer and fame,
To all the warld that it war sene,**
The true love is, as in " The Merle and the Nichtingale,"
the love of God.
So in another of the poems, with good reason attributed
to him —
" Fane wald I luve, bot quhair abowt ? " »
he concludes with the counsel : —
" Bot quha perfytly wald imprent,
Sowld fynd his luve moist permanent,
Luve God, thy prince, and freind, all thre ;
Treit weill thy self, and stand content.
And latt all vthir luvaris be."
If in "The Tua Mariit Wemen and the Wedo," and
the "Ballate against evil Women," ^ he had exposed the
1 P. 179. ' P- 308. 5 p. 266.
INTRODUCTION. xciii
weakness and wickedness to which the sex may fall, he
makes amends in the poem " In Prays of Woman," ^ in " in Piays
which he strikes a note at once human and religious : —
of Wo-
men.
" Now of wemen this I say for me,
Off erthly thingis nane may bettir be ;
They suld half wirschep and g^t honoring
Off men, aboif all vthir erthly thing ; **
for we are all come of women (such is his brief argument),
and Christ Himself was the son of Mary.
IV. COMIC OR HUMOROUS POEMS.
The merely comic or humorous poems form a large and
important class of Dunbar's works. It contains some poems
— "The Wowing of the King quhen he wes in Dunferme- "The
ling," " Ane Brash of Wowing," "The Twa Cummeris," the JJ^'Sj?
verses "To the Queue" on her courtiers, and the "Dance "Anc
in the Quenis Chalmer " — ^which cannot be reconciled with lowing,"
the modem sense of what is becoming. Opinions will differ "The
whether such subjects as they treat with the utmost freedom mens."
can be treated without danger to morality.
Yet, with the exception of the first and last of these, in
which it would be difficult to suppose any motive other
than to provoke loud and coarse laughter, the verdict of
Professor Schipper on one of them may be accepted:
"Without doubt, Dunbar had the best intention in these
verses, and certainly does not deserve on their account the
reproach of immorality. The poem is no more than an
illustration, drawn with firm pencil-strokes, of the rude
manner and modes of speech of <a society which, in spite
of the beginning of the refinement of the Renaissance, was
* P. 170.
XCIV
INTRODUCTION.
Still, even in the highest classes, quite unpolished."^ It
may be doubted whether the Renaissance itself, by the
revived study of the Greek and Roman classics, did not
retard instead of furthering the prc^ess of refinement in
morals, and that part of manners which relates to morals.
Two other poems of the humorous kind, " The Ballad of
Kynd Kittok" and "The Dirge," have been censured for
a somewhat different reason, that they deal too freely with
religious names and subjects, bringing them into irreverent
and dangerous proximity with ludicrous ideas. The same
criticism is applicable to "The Testament of Mr Andro
Kennedy," and isolated passages in other poems. Against
this chaise it is impossible wholly to defend Dunbar, though
many examples of a similar kind might be cited from other
poets. Probably his own contemporaries would not have
seen anything to blame in' this freedom, which was, perhaps,
taken more by monkish and clerical writers than by others.
But its use has not been confined to any one class. It is,
in truth, due to the near connection, in spite of or because
of, their contrast between the solemn and the ludicrous.
•'The "The Ballad of Kynd Kittok"* is amongst the pieces
Ballad of printed by Chepman and Myllar in 1508, but as Dunbar's
Kynd
Kittok.'' name is not attached to it, we cannot be quite sure that he
is the author. If he is, it is certainly one of his early works,
and the reference to Falkland Fells points to a date when the
king was there, perhaps to August and September 1495.'
The humour of the piece is directed against some then
^ Schipper, p. 191.
* " Kynd Kittok's adventures in heaven is an audadoos conception, which no
later master of the grotesque — not Bums in * Tarn o* Shanter,' not Byron in
' The Vision of Judgment,' not Goethe in the ' Faust * Prologue — has contrived
to surpass." — Skelton, ' Maitland of Lethington,* vol i p. 109.
' ' Registrum Magni Sigilli,' Nos. 227 and 3.
INTRODUCTION. XCV
well-known, now undiscoverable, person, a female tavemer,
who is ironically reported to have "died of thirst, and made
a good end." She eluded St Peter, and got privily into
heaven, where she stayed seven years as " Our Lady's hen-
wife " ; but in an evil hour, longing for fresh drink, as the ale
of heaven was sour, she went out, was refused readmittance
by St Peter, and returned to her own alehouse. The poet,
who had a liking for good ale, ends with the comic request —
" Frendis, I pray you hertfuUy,
Gif ^ be thristy or dry,
Drink with my Guddame, as ^ ga by,
Anys for my saik.'*
Perhaps there is a side hit here at the ale of Falkland, which
was not in good repute. Sir David Lyndsay, too, has a
jest at it: —
" Court men to cum to thee thay stand gret awe,
Sayand thy burgh bene, of all burrows, baill.
Because in thee they never gat gude aill."
The charter of erection of Falkland as a royal burgh in
1458 states in its preamble the resort of the lieges to the
Court, and the great inconvenience from the want of inn-
keepers. To remedy this, a series of small feus of tofts
and crofts were granted by the king, with a reddendo that
the feuars were to maintain so many horses and men —
'tam in esculentis potulentis et pabulis equorum quam,
in aliis necessariis." Like other systems of billeting, this
had apparently not proved successful.
"The Dirge" or "Dirige" is a parody on a part of the "The
funeral service of the Roman Church, in which the eighth ^^*'^-
verse of the Vulgate version of the fifth psalm, " Dirige,
dominus mens, in conspectu tuo vitam meam," is frequently
repeated. Hence is derived the English word " dirge " for a
i
XCvi INTRODUCTION.
song of lamentation. Dunbar's poem is the reverse of a
lamentation. It is an exhortation to the king to come out
of purgatory, the convent of the Observantines at Stirling,
where he was staying too long, to the grief of his lords and
knights, and return to heaven, as Edinburgh, with its amuse-
ments and merry life, is not with the best taste called.
The poem must have been written between 1494, when
James founded this convent, and 1503, for it plainly belongs
to Dunbar's earliest period and the king's unmarried life.
Lord Hailes thought its style so irreverent that he did
not print it ; but Professor Schipper is nearer the mark of
historic truth when he observes : " The Franciscan monks
of Stirling, without doubt, received the poem with laughter
and loud applause, when the king communicated it to them
in the refectory."
It is remarkable even amongst the poems of Dunbar for
the subtle skill with which the poet handles a variety of
metres, passing from one to another as the subject varies,
as a musician from' one chord to another of a familiar
instrument
"The "The Testament of Maister Andro Kennedy" is a comic
^^M^^t"^ will, composed in the name of a member of the family, with
Andro whom Dunbar seems to have been not on the best of terms.
Kennedy." ^^ ^^^ ^^^ ^^ p^^^ ^j. ^j^^ „ Flyting," Walter— though, by
an error, the Maitland and Reidpeth MSS. have substituted
his name — but Andrew, who appears in several entries in
the Treasurer's accounts in 1 502 and 1 503. From one of
these it appears he received on 8th September 1 503 a pay-
ment of twenty shillings for carrying a relic of St Ninian
to the king at Wigtown. From some of the allusions in the
poem. Professor Schipper has made the ingenious conjecture
that Kennedy was one of the quack physicians of that day
INTRODUCTION. XCVli
ix^o are satirised in a poem of Henryson,^ and that the
relic was for the purpose of curing the king in some
ilhiess. It is more likely, so far as the relic is concerned,
that it was taken for the purpose of being presented to the
shrine of the saint at Whithorn. The traits of character
disclosed in the mock will are those of a drunken scapegrace
of the time, who might have followed any or no profession.
This poem has been called '' macaronic," but is not a proper
specimen of that style, in which vernacular words are given
Latin terminations, as in Drummond's " Polemo-Middinia."
It is written in the vernacular, but with lines or words of
familiar medieval Latin intermixed, as was common in
many poems of the middle ages. It is found in the
Coventry Mysteries, and even in early Anglo-Saxon verse,
as the conclusion of "The Phcenix." But it became still
more common at a time when Latin was yielding to the
native dialects as the spoken language of the learned,
many of whom now knew their Latin badly, like Master
John Clerk, who receives the malison of Kennedy for
writing " dentes sine de," — according to Lord Hailes, in a
prescription which Kennedy charges as being the cause of
his death —
" Ipse est causa mortis mee.*'
The gift to his cousin, William Gray, the Master of St
Antone, at Leith, of
" Omnia mea solatia.
That were but lesingis all et ane,'
favours Professor Schipper^s view that Andro Kennedy may
have been, after all, a quack doctor.
The poem was one of those Chepman and Myllar pub-
^ Henryson's Poems, Laing's edition, p. 43, "Sum Pnctysb of Medq^ne."
«U
XCVlll INTRODUCTION.
lished, so must have been written before 1508, and probably
is one of Dunbar's early works.
The form of a testament was common in satirical
poetry, owing to the brilliant use of it by Villon in his
" Lesser Testament" of 1456, and " Greater Testament" of
1461. Villon, however, only improved on an earlier tradi-
tion.^ James VI., in his ' Treatis of Scottis Poesie,' treats
the testament as so usual a form as to recommend *' for
tragicall matris, complantis, or testaments^ this kynde of
verse following, called Troylus verse."
It gave the opportunity, under the pretence of friendly
legacies, of satirising the failings or vices of the l^[atees.
This seems specially to have commended it to Villon and
Dunbar, though it was sometimes employed without def-
inite satire, as in Henryson's " Testament of Cresseid," or
Lyndsay's " Testament of Squire Meldrum." In " Duncan
Laideus, alias Macgregour's Testament," preserved in the
blank leaves of the Breadalbane MS.^ of Sir Alexander
Ha/s " Romance of Alexander," and written in the middle
of the sixteenth century, there are passages more nearly
resembling Dunbar's poem, and probably imitated from it
One of the latest specimens of a poetic testament was the
"Last Will and Codicil of Robert Fergusson,"* which is
humorous, but not satirical.
*ThcTwa The verses on " The Twa Cummeris," beginning
"«"«•" " Rycht airlie on Ask Weddinsday," *
is a slighter sketch, but in a similar style to "The Tua
Mariit Wemen and the Wedo." It brings before us, like
* Saintsbnry, * French Literature,* p. 79.
* Innes, * Sketches of Early Scottish History,* p. 355 ei seq,
' Fcrgusson*s Works, p. 252. * P. 160.
INTRODUCTION. xax
one of the woodcuts of the Little Masters of Germany or
an interior by Teniers, two fat wives gossiping over the
fire, and drinking quarts of wine out of '* ane choppyne
stowp," to ward off their dread of the Lenten fast "Ane "Ane
Thrash of
Brash of Wowing " ^ is ascribed to Clerk in the Bannatyne ^o^^jng -
MS.» but in the Maitland and Reidpeth MSS. to Dunbar,
and Mr Laing, though he would have wished, felt unable
to doubt its authorship. Professor Schipper compares it
to " The King's Wowing in Dumfermeling/' and it doubtless
belongs to the same period. It is the coarsest of all his
works, and seems intended as a tour deforce, bringing into
the bounds of verse and rhyme the most vulgar and un-
becoming words which the copious vocabulary of broad
Scots possessed*
The other comic or humorous pieces of Dunbar were
taken from actual scenes in the life of the Court, as
the "Dance in the Quenis Chalmer" and "The Tuma-
ment" or " Joustis between the Tailgour and the Sowtar,"
or describe, in ludicrous hyperbolic style, persons like " Sir
Thomas Norray," the king's chief fool, or "The Black
Lady " with the thick lips, in whose honour a mock tourna-
ment was fought The interlude of " The Droichis part
of the Play" was written expressly for representation.
Dunbar's description of the ^ Dance in the Quenis The
"Dance in
Chalmer " brings too plainly before us the sort of " high- ^^ ^
jinks " which diverted the upper cirde of society in those ChalmerJ
days, and leaves us astonished with the coarse humour
which passed for wit, and that such unseemly jokes should
have been thought worthy of being put into a poem. Like
the verses addressed to the queen, in which he chastises the
immorality of her courtiers, it is difficult from the subject
» P. 247.
C INTRODUCTION.
and its mode of treatment to believe that it can have been
written until some years after her marriage.
"The "The Joustis of the Tailgour and the Sowtar" (or cob-
^ustis of i^jgj.^ jg jj^ ^ somewhat similar though less coarse vein ; and
^oorand though represented as a vision of an encounter "in
^„^^* presens of Mahoun/' it may be a satirical account of an
actual occurrence, for on 24th October 1502 the Heralds
received " for their composition of the eschet of the barns
quhen Cristofer Tailyour fought, £6, 13s. 4d."^ This
poem is introduced in the Maitland MS. with the first and
last stanzas of ^ The Dance of the Sevin Deidly Synnis/'
but it belongs more properly to the humorous than the
satirical division of Dunbar's poetry. Its object was to
ridicule trades whose tricks were disliked by the poet, and
the practice of tournaments. The wits of the Renaissance
were in all countries engaged in a common warfare against
the ludicrous side of the medieval chivalry, whose ideal
and romantic aspects were passing away. Bishop Percy
indeed claims that the English had been the first to take
this line. " It does honour," he says, " to the good sense of
this nation, that while all Europe was captivated with the
bewitching charms of chivalry and romance, two of our
writers in the rudest times could see through the false glare
that surrounded them, and discover whatever was absurd
in them both. Chaucer wrote his * Rhyme of Sir Topas '
in ridicule of the latter; and in the ' Tournament of Tolten-
ham ' (a ballad written before 1456), we have a burlesque of
the former." * But if Chaucer struck the first stroke against
the follies of knight-errantry, the deathblow was delayed
^ Treasurer's Accounts, 24th October 1502.
^ Percy's Reliques, BoWs cd., p. 254. See * Early Popular Poetry of Eng-
and,' vol. iii. p. 82.
INTRODUCTION. CI
for nearly two centuries^ and Cervantes gave it in the coun-
try and lang^uage of the Cid.
Dunbar returned to the attack on the tailors and soutars
in the palinode which he entitled "The amendis made "The
be him to the Telgouris and Sowtaris for the Tumament ^ ^i^
maid on thame." ^ In this poem, under the pretence Teljouris
and Sow-
that an angel had revealed to him that they had been tans."
transferred to heaven for the miracles they wrought on
earth in repairing the faults of nature by their "craft
and grit agilitie/' he ironically ends by declaring —
" In Hevin Je salbe Sanctis full cleir,
Thocht Je be knavis in this cuntre :
Teljouris and Sowtaris, blist be ^e."
In the verses "Of Sir Thomas Norray," we have a full- "Of Sir
Thcmias
length portrait of a court fool, drawn with a pen as sharp Nomy."
as the pencil of Velasquez. Sir Thomas was the chief
amongst the many fools who amused James IV. and his
courtiers, and Dunbar takes up his defence against the
attack of a poet Quintyn ; but whether this is
'* Quintyne with ane huttock on his heid," *
who appears in the court of the minstrels in Douglas's
" Palace of Honour," or a Quintin Schaw mentioned in
several entries in the Treasurer's Accounts between 6th
April 1489 and 8th July 1504, or whether both may not be
the same person, is not certain.' There seems little doubt
he is the same as
" My cousing Quintene and my commissar,"
who was the second of Kennedy in his " Flyting " against
Dunbar. Quintyn had scoffed at Norray as only fit to be
^ P. 127. ' Laing's 'Memoir of Dunbar,' voL i. p. 19.
' Ibid., vol. iL pp. 423, 424.
Cll INTRODUCTION.
the knave of Currie, a fool of a lower grade ; and Dunbar,
after describing his adventures, declares —
" I cry him Lord of everie fuill,
That in this reg^oun dwellis ;
And, verralie, that war gryt rycht :
For, of anc hy renowned knycht.
He wantis no thing hot bellis."
The fools of the middle ages were just beginning to dis-
appear with the state of society to which they belonged,
when they were immortalised by the genius of Shakespeare.
They had a somewhat prolonged existence in the remoter
parts of Europe, and in Wales and Scotland. The last
famous court fools in England were Archie Armstrong,
whom James I. brought with him from Scotland, and his
successor, Muckle John, in the time of Charles I. After
the Restoration the professional fool ceased to exist at the
English Court, and though a very few specimens lingered
in the private houses of nobles down to last, and one per-
haps on to the present century, the race was practically
extinct except in its survival, the clown of the pantomime
and the circus.
"The The blackamore lady seems to have been one of the
Lady »i African girls captured in a Portuguese ship by one of the
Bartons, and presented to the king, who had them baptised,
under the names of Elen and Margaret, the king himself
putting nine shillings into the candle.^ A tournament was
held in June 1507 in honour of Elen More, or Black Elen,
and a Scottish champion, styling himself the Savage
Knight. The king himself sent a cartel or challenge in her
^ Treasurer's Accounts, June 1507. This curious custom of putting coins into
the candle — "candela nummata" — offered at a christening, is explained in
Dickson's Preface to Treasurer's Accounts, p. cclxxvi.
INTRODUCTION. au
honour to the Court of France.^ Sir Anthony d'Arcy de la
Bastie came in answer to this challenge, and was hospitably
entertained at the Scottish Court The black lady, dressed
in damask silk, powdered with gold spangles, attended
by two damsels in g^reen Flemish taffeta, was drawn in
a chariot through the mimic scene, and received by a
troop of wild men in goatskins, and with hart's horns.' It
has been doubted whether Dunbar's verses refer to the
same sable beauty, because of the opening lines —
" Lang heff I maid of ladyes quhytt.
Now of ane blak I will indytt,
That landet furth of the last schippis"*—
but this is probably no more than a poetic licence as to time.
It is very unlikely — ^though no doubt there were others of
her colour at the Scottish Court, as the Black Maiden who
waited on the queen in 15 12' — ^that there was any who
made such a sensation as Black Elen, nor would a tourna-
ment whose attraction lay in its novelty have been repeated.
Indeed the lines —
'* Quhen scho is claid in reche apperrall,
Scho blinkis als brycht as ane tar barrell ;
Quhen scho was bom, the sone tholit clippis.
The nycht hefcdnfaucht in hir querrdl:
My ladye with the mekle lippis " —
with those which follow, plainly allude to this mock tour-
nament, and we may detect a pun in " the [k]nycht " who
fought for her. Dunbar seized again an opportunity for
bringing tournaments into ridicule.
^ This cartel is printed in Michel, ' Les ^cossais en France — Les Fran9ais en
£cosse,'vol. i. p. 384, from 'La Science Heroiqoe,' chap, xliii., p. 453-457.
See also ' Le Vray Th^tre d'Honneor,' chap. xx.
* Tytler's 'Scottish Worthies/ vol. iii. p. 331.
' Treasurer's Accounts, 2d December 15 12.
CIV INTRODUCTION.
V. LAUDATORY POEMS OR PANEGYRICS.
The panegyric or laudatory style, which specially be-
fitted Dunbar's office of Court poet, was the least congenial
to a temperament whose tendency was towards comedy
and satire. But several examples of this style have been
" lo Praise preserved. The poem, ^ In Praise of London/' was written
don"° to be recited at the Christmas entertainment the Lord
Mayor, Sir John Shaw, gave to the Scottish ambassadors
who went to the English capital in 1501 to negotiate the
marriage between James IV. and Margaret Tudor.
The description, like the refrain —
" London, thou art the flour of Cities all," —
runs into generalities and superlatives expressed in the
artificial manner of the age, as in the linef
" Gemme of all joy, jasper of jocunditie,
Most myghty carbuncle of vertue and valour ;
Strong Troy in vigour and in strenuytie ;
Of royall cities rose and geraflour," —
where the attempt at alliteration not consistently main-
tained mars the verse, and introduces far-fetched metaphors.
We wish there had been more local colour, as in the
" Satire on Edinburgh," to preserve for us Old London of
the beginning of the sixteenth century, and less of mythical
history. Still there are some touches worth recalling. The
reference to Troy —
** Gladdith anon thou lusty Troynovaunt,
Citie that some tyme cleped was New Troy," —
is an allusion to the fable of Geoffrey of Monmouth to which
Stowe refers in his Survey: " As the Roman writers, to glorify
the city of Rome, derive the original thereof from gods and
INTRODUCTION. CV
demigods by the Trojan prc^eny, so Geoffrey of Mon-
mouth, the Welsh historian, deduceth the foundation of
this famous city of London, for the greater glory thereof,
and exaltation of Rome, from the very same original For
he reporteth that Brutus, descended from the demigod
^neas, the son of Venus, daughter of Jupiter, about the
year of the world 2855 ^^^ '^^S before the nativity of
Christ, built this city near the river now called Thames,
and named it Troynovaunt"
The great river was then, as now, its chief glory, but
very different then from now : —
" Under thy lusty walljrs renneth down,
Where many a swanne doth swymme with wyngis fare ;
Where many a barge doth saile, and rowe with are."
John Major, the Scottish historian, who visited London a
little later than Dunbar, was also struck with the swans of
the Thames. "There are three or four thousand tame
swans on it," he says, adding with characteristic caution :
"But although I have seen many swans there, I did not
count them. I report what I heard." The shipping he
describes almost in Dunbar's words : ** There you will see
ships in abundance which they call barges, going up to
London and down to the sea-port, not drawn by horses as
on the Seine, but either by the wind or by the flow and
ebb of the tide." ^ London Bridge excited the admiration
both of the poet and the historian. " The town," Major
notes, " is honoured by a most beautiful bridge, on which
there are most ornamental houses and a church ; " and
Dunbar —
** Upon thy lusty Brigge of pylers white
Been merchauntis full royall to behold."
' Aiajor, ' Historia Majoris Britannise,' p. 16.
CVl INTRODUCTION.
Stowe gives many detaib as to this bridge, which re-
placed an older wooden fabric ''The work, to wit, the
arches, chapel, and stone bridge, having been thirty-three
years in building, was in the year 1209 finished by the
worthy merchants of London, Serle Mercer, William
Almaine, and Benedict Botewrite. After the finishing of
the bridge, which was the first building upon these arches,
sundry houses at times were erected ; ** and he concludes :
" I affirm that it is a work very rare, having, with the draw-
bridge, twenty arches made of squared stone, of height 60
feet and in breadth 30 feet, distant from one another 20
feet ; upon both sides were houses built, so that it seemeth
rather a continued street than a bridge." ^
The Tower, allied to be founded by Julius Csesar, the
strong walls, the churches with well-sounding bells, the
rich merchants, their comely wives and fair daughters, and
above all —
'* Thy famous Maire, by pryncely govemaunce.
With swerd of justice, the rulith prudently.
No Lord of Parys, Venyce, or Floraunce
In dignytie or honoure goeth to hym nye," —
complete Dunbar's picture of London.
The choice of Venice and Florence as well as Paris for
this comparison supports the conjecture that he had visited
Italy, and seen its marvels of art and architecture. It is
characteristic of what is both a strength and weakness in
Dunbar's poetry, that he does not hesitate to apply the
same epithet " lusty," in the sense of beautiful, not strong,
to London itself, its ladies, its walls, and its bridge. A
wealth of nouns and a poverty of adjectives, at least of the
laudatory kind, is a mark of his vigorous style.
* Stowe's Survey, pp. 10, 1 1 .
INTRODUCTION. CVll
The laudatory and complimentary poems in honour of Poems
the queen lead us through the different stages of the first ^^ ^^
part of her checkered life. Queen.
** Now fayre, fayrest off every fayre," ^
was written to welcome her to Scotland, and probably sung
at the banquet given at Holyrood on the wedding-day, 8th
August 1503.
The one commencing —
" Gladethe thoue Queyne of Scottis reg^oun,'*
from the allusion in the lines —
" Gret Code ws graunt that we have long desirit,
A plaunt to spring of thi successioun,** —
seems to have been written some years after — probably, but
not certainly, before 21st February 1506, when her first
child was bom.' This boy died when little more than a
year old, at Stirling, on 17th February 1507; her next
child, a girl, died soon after her christening in 1508; and a
third, Arthur, bom at Holyrood in the autumn of 1509,
died in July 151 1. So it is possible that it was written
after the latter date, and before the birtli of James V. on
nth April 15 12.
Dunbar still remained, after the disaster of Flodden, faith-
ful to one whom he describes as his " advocate baith fair
and sweet," and wrote for her recomforting the poem —
" O lusty flour of zowth, benyng and bricht," —
encouraging her to
" Faid nocht with weping thy vissage fair of hew,** —
to " cast out all cair," and to " dewoyd langour."
* P. 279.
» Lesly, History, Bannatyne Club, p. 75. Treasurer's Accounts, 21st Feb.
1506.
CVUl INTRODUCTION.
This advice was too easily and too soon taken by one
whose youthful grace and courtesy had deceived the poet
as to her nature and true character. After her unfortunate
marriage to the young Earl of Angus he addressed no
more poems to her. In the ** Orisoun " he prays to Christ
to
" Help this pure realme, in partyis all devydit," —
a catastrophe to which her second marriage had so much
contributed.
Ballad and The only Other poems in the laudatory vein, and the
f^^** best he wrote, were that in praise of Aberdeen and the
Stewart, ballad on Bernard Stewart, Lord of Aubigny.^ The first
gives a lively and pleasant picture of the northern city
on a day of fite. In the ballad he had the grateful duty
of welcoming in 1 507 to Scotland one of her distinguished
sons who had gained honour in foreign war —
" That neuer saw Scot yit indigent nor sory,
Bot thou did hym suport, with thi g^d deid," —
too soon to be followed by the elegy on his death. This
was one of the striking vicissitudes of fate so well fitted
to confirm Dunbar in the lesson of the uncertainty of life
and the vanity of earthly things, which became the burden
of his latest poetry.
VI. VITUPERATIVE POEMS OR INVECTIVES.
The class of Dunbar's poems which may be called
vituperative or invective, because they exceed the usual
bounds even of satire, and attack particular persons or
classes with the strongest terms of abuse the language
^ For a fuller account of Aubigny, see Appendix V.
INTRODUCTION. Cix
afforded, form a counterpart of his pan^^cs. It is a
peculiarity of his manner to deal in extremes of praise and
blame, and to alternate the one with the other, sometimes
in lines or stanzas, sometimes in complete poems, as in the
two poems on James Doig, ''The Tournament against
the Telgouris and Sowtaris " and ** The Amendis " he after-
wards made to them, the ''Ballate against evil Women **
and the lines " In Prays of Woman." His mind passed
rapidly from one mood to its opposite, — a tendency of
which he was himself conscious.
The group of vituperative poems consists of the singular
"Flyting" with Kennedy, where the abuse was probably
chiefly mock, a sort of poetical tournament or contest of
wit, and a few where the censure was certainly real; the
poem on Donald Owre, the two ballads against the
Abbot of Tungland, the "Ballate against evil Women,"
and the poem which has been called "A General Satire,"
beginning —
** Dcvorit with dreme, devysing in my slummer.*'
The " Flyting " belongs to a form of poetry of which the The
literature of almost every nation has examples. The ^^"
'^ Ibis," in which Ovid, or some other Roman poet, abused
an unknown rival, was copied from the poem of the same
name and purpose by Callimachus against his former pupil
ApoUonius Rhodius. So Poggio wrote invectives against
Philelfo, in which, after the reproach of his mean birth,
he accuses him of " fraud, ingratitude, theft, adultery, and
yet more scandalous crimes." Luigi Pulci, a noble of
Florence and friend of Lorenzo de Medici, maintained a
poetical war in a series of sonnets with Matteo Franco,
a canon of that city, which perhaps is the nearest parallel
ex INTRODUCTION.
to the work of Dunbar. "It is to be regretted," writes
Roscoe, in a passage almost every word of which is appli-
cable to " The Flyting of Dunbar and Kennedie," " that
these authors so far exceeded at times the bounds of ci-
vility and decorum that it is scarcely possible to suggest
an expression of reproach and resentment which is not to
be found in their writings. The family name of Pulci
(Pulex) affords an ample subject for the satirical poems
of Franco. His person is a theme equally fertile. Famine,
says his antagonist, was as rationally depicted in his coun-
tenance as if it had been the work of Giotto. He had
made an eight days' truce with death, which was on the
point of expiring, when he would be swept away to Guidecca
(the lowest pit of Dante's hell), where his brother Luca
was gone to prepare him a place. Luigi supports this op-
probrious contest by telling his adversary that he was
marked at his birth with the sign of the halter instead of
that of the cross, and by a thousand other imputations of
which decency forbids a repetition." ^ The " Loki Sennar "
— Flyting of Loki — with the gods, and other Icelandic
poems, are Scandinavian examples. The Celtic bards
were specially fond of this form of satire,* and their
verses were said ** to blister the face." The same type is
common in Arabic poetry. A leading example is the " Na-
raid," or Flyting of Jerir and Al-Farazdar. Jeux Partis and
Serventois in French literature, which Professor Schipper
cites, are less apt parallels. Nearer home, Skelton, Dun-
bar's contemporary, wrote in a similar abusive vein against
Garnesche. This practice of a duel of railing words may be
traced back from the artificial works of the poets to one
^ Roscoe, 'Life of Lorenzo de Medici,' p. 176 : Bohn's edition.
' The poems of Ian Lorn, or John Macdonald, the poet of Lochaber, and
Donald Donn, are a good example of one of the Gaelic "Flytings."
INTRODUCTION. CXI
of the natural amusements of the people. Such were the
Fescennine songs of the Italian husbandmen at vintage or
harvest when —
" Versibus altemis opprobria rustica fundit" *
Such are supposed to have been the waggon-songs of the
peasants, from which the Greek drama sprang. We might
pardon the rude stock if it produced in time such rich
fruit Dunbar has himself left a specimen of a " Flyting "
between a tailor and a shoemaker, which reminds the
present writer of a similar contest he saw and heard carried
on in the kitchen of a village inn of the Dolomite Tyrol
between the representatives of these trades, who, so far as
he could follow them, began with verse and certainly ended
with blows, both in jest and not in earnest
In the " Flyting of Dunbar and Kennedy," and the later
imitations by James V. and Lyndsay, Montgomery and
Hume of Polwart, these Court poets preserved all the
licence and vulgarity of the original " flyting " or scolding
match. This was partly because the Court and commons
were much nearer each other in neighbourhood and man-
ners than in modem times, but chiefly because the poets of
the age deemed it a triumph of ingenuity to outstrip their
rustic rivals in their own style. The testimony of con-
temporaries of the Italian poet Puld is, that the abuse
poets flung at each other did not necessarily disturb their
good-fellowship. It was mere afiected anger and invented
invective, as to-day in Parliament or at the Bar sharp words
are exchanged and forgotten. The preface to Montgomery's
" Flyting " expressly states this : —
<< No cankering envy, malice, nor despite,
Stirred up these men so eagerly to flyte,
^ Hoiaoe, Epist, II. i 146.
CXll INTRODUCTION.
But generous emulation : so in plays
Best actors flyte and raile." *
So common had this style become, that James VI., in
his " Reulis and Cautelis of Scottis Poesie," * prescribes
for it a particular kind of verse called " Rouncefallis or
Tumbling verse/' and selects as his example one of the
stanzas of Montgomery's " Flyting." ' Puttenham, writing
in 1589, describes "a certaine auncient forme of poesie by
which men did use to reproche their enemies/' but discoun-
tenances it "We Christianes are/' he says, "forbidden
to use such uncharitable fashions, and willed to refer all
our revenges to God alone." Modem poets have taken to
lauding instead of abusing each other. Byron was perhaps
the last of the " flyters."
We know too little of Kennedy to be sure how he bore
Dunbar's attack ; but the lines in the " Lament for the
Makaris " —
" Gud Maister Walter Kennedy,
In poynt of dede lyis veraly,
Gret reuth it wer that so suld be," —
show that Dunbar felt no lasting enmity to one who was,
besides his part in the " Flyting/' his chief contemporary
rival as a poet It would be difficult to decide the question
humorously put, "which got the war" — i.e., worst. Indeed
so similar is the style of Dunbar and Kennedy's abuse
of each other, that the whole composition might be almost
supposed the work of a single author.
The "Flyting" is one of the most difficult to date of
Dunbar's poems. Its style points to his earliest manner ;
but that manner, although chiefly noticeable in poems
before 1503, had not ceased after that date, as the "Dance
^ Montgomery's Poems, p. 58. * Ed. Arber, p. 68. ' LI. 174-184.
INTRODUCTION. cxm
in the Quenis Chalmer " shows. The internal evidence has
been read as indicating two different dates. Laing argues
from the reference to the Katherine, the ship in which
Dunbar sailed to France in 1491, and the absence of any
allusion to Dunbar being in France at a later period of his
life than probably the year 1497, that it was written between
1492 and 1497.^ Su^ ^^^ reference does not appear to be
to a recent event, even although we take the " twenty years "
of line 452 as an exaggeration.
On the other hand, Professor Schipper maintains, from
the allusion to Kennedy in line 154, as possessing the
''laithly luge that wes the lippir mennis," in a glen, that
the date must be after 8th December 1 504, when Kennedy
acquired the house callled Glentigh in Carrick, which had
been a leper hospital ; while the reference to Sir John Reid
of Stobo, who died in the first half of 1505, as still living,
would give that year as the latest possible date. On the
whole, the latter view is the more probable ; and though we
have no recorded evidence in support of it, there is nothing
improbable in the supposition that Dunbar, in one of the
many voyages he refers to as made in the service of the
king, again visited France after 1497. There is, unfortun-
ately, no distinct information as to the date of Kennedy^s
death ; but the lines in the " Lament for the Makaris " —
" Gud Maister Walter Kennedy,
In poynt ofdede lyis vcraly," —
make it probable that he survived till 1507, possibly to
1508, the year when that poem was published.
This "Flyting" will always be one of the curiosities of
literature. It contributes more than any other poem to the
^ Laing, p. 49(>-
cxwr ijrTROWTcnojr,
Uognfhy of Donbar. It lias, too, die dubious hooour of
being the best rq>reseiitatiire of a bad style of poem wbidi
no one can wish to see revived.
''f4MMph The Epftai^ of Donald Owre is probably die first in
^^^^^^ date of Dunbar^s vituperative poems, where there is no
doubt the attack is reaL This and the other poems here
claMed u» vituperative might by some be deemed only a
form of satire, but in satire proper there is usually mingled
ntmte sarcastic or ironical praise. Satire, too, has gener-
ally a ludicrous element in its description. These points
distinguish it from the vituperative poem. The epigram
difTers not only on account of its brevity, but also
because, though generally, it is not always satirical. Our
language has no common word to contrast with the pane-
gyric or laudatoty poem, like the German ** Riigegedicht,"
for a composition which is simply damnatory or condemna-
tory, although some English satirists, notably Churchill,
have used what is no doubt a special variety of satire.
The name "Invective" which James I. employs in his
'Essay on Poetty' would answer well enough, but has
never become familiar, and is now associated with oratory
rather than poetry.
In Donald Owre, the illegitimate son of Angus of the
Isles, Dunbar saw not merely the rebel the poet of the
Court was bound to denounce, but a representative of the
Celtic race, which, as a Saxon bom, he hated It is difficult
to realise the feeling of the Scottish Lowlander with regaird to
the Scottish Highlander of this period, but Dunbar's poems
help us to do so. The independence of Scotland once
established, and any probable union with England being
by a royal marriage and on equal terms, the Lowlander
regarded the Celtic population of the north and west,
INTRODUCTION. CXV
nominally subjects of the same king, with contempt, modi-
fied by fear. The Gael, or, as they were still called, the
Ersch or Irish, spoke a different and unintelligible language ;
had distinct dress, manners, and customs ; did not recog^se
the same laws ; and belonged — so, at least, thought those
whose crops they harried and whose cattle they lifted —
to a lower civilisation. Few of Dunbar's taunts against
Kennedy are so severe as those in which he glances at
his Celtic descent Although Kennedy, a native of Ayr-
shire, belonged to a district firmly annexed to the Scot-
tish Crown, and wrote in the same language as Dun-
bar himself, the Lothian bard pours ridicule upon his
Gaelic pronunciation, his Gaelic dress, the kilt, his rough
Carrick manners, even the propensity to theft which dis-
tinguished his Gaelic kinsmen. An English satirist between
the reigns of James I. and George III. could not be more
abusive. We are reminded of Churchill's 'Prophecy of
Famine.'
In the " Dance of the Sevin Deidly Synnis " the devil is
represented as " sa devit " with the yell of the Highland
" tarmegantis, with tag and tatter," who —
" FfuU lowd in Ersche begowth to clatter,
■ ■...•
That in the depest pot of hell
He smorit thame with smvke ; **
and with a grim sarcastic touch, " Makfadgane's coronach "
gathered so great a crowd of his countrymen, that —
" In Hell grit rowme thay tnke."
In the Remonstrance to the King against the miserable set
of scoundrels who thronged the Court, the poet does not
fail to notice —
CXVl INTRODUCTION.
** Innopportotin askaris of Yrland kynd ;
And meit revaris, lyk out of mynd.**
The most honourable part of the reign of James IV. was
between 1493 and 1504, when he was enforcing order
amongst the wild caterans of the Highlands and the Isles.
Donald Dubh, called the bastard, but possibly by Celtic
customary law the Intimate son of Angus, Lord of the
Isles, had when an infant been carried off about 1480 from
Isla by the Earl of Athole, and delivered to his hereditary
foe, the Earl of Argyle, whose enmity would not be lessened
i( as the Islesmen believed, his mother was Argyle's daugh-
ter.^ By Argyle he was long kept prisoner in the Castle
of Inchconnell. In 1494 he had been released, and for
several years was a royal pensioner. In 1501 he placed
himself at the head of a rebellion by the Island and
western clans, who wasted Badenoch by fire and sword in
1503. He was forfeited as a traitor, and the whole forces
of the kingdom north of the Forth and Clyde under Huntly
had to be called out in 1504. The king himself, with the
southern vassels, joined Huntly in 1505, and succeeded in
crushing the rebellion ; Donald Dubh was taken prisoner
and committed to the Castle of Edinburgh, where he re-
mained until he escaped a second time nearly forty years
after, under the regency of Arran.* Such is the account
of Mr Gregory, the historian of the Western Highlands ;
and although Tytler supposes Donald Dubh to have died,
and Donald of the Isles, who again raised a rebellion in
1 545, to have been a different person, it is probable he
was the same.^ In his romantic history, rebellion and
captivity alternated. He is described in the proclamation
1 Gregory, p. 53. ^ jbid., p. 103. See further, App. V., " Donald Dubh."
' Gregory, p. 169.
INTRODUCTION. cxvii
by Arran and the Privy Council in 1545 as "Donald
ailing himself of the Isles ; " ^ and after entering into a
treasonable league with Henry VIII., he passed over to
Ireland, and died at Drogheda, where he received a splen-
did fiineraL
It was probably shortly after 1 506 that Dunbar's poem
was written, and if Mr Gregory's narrative is correct,* Dun-
bar was an acute political prophet, for the burden of his
Epitaph is to show no mercy to treason : —
" The murtherer ay mvrthour mais,
And evir quhill he be slane he slais ;
Wyvis thuss makis mokkis
Spynnand on rokkis ;
Ay rynnis the fox
Quhill he fute hais."
Apparently Dunbar thought that James IV. had exercised
an ill-judged leniency in not punishing Donald Owre with
the axe : —
" Thocht he remissioun
Half for prodissioun,
Schame and susspissioun
Ay with him dwellis."
This poem is remarkable for the vigour of the expression
and the masterly use of a difficult metre, in which the slight
alliteration of the first two lines is skilfully combined with
rhymes of the first, second, and sixth, and of the three
intervening lines — representing, perhaps, by the light-footed
agility of the verse, the movement of the fox, to which
Donald Owre is compared
In John Damian, the French " leich," who rose, by pander- « Ballat
ing to the king's taste for astrology, necromancy, and other <>^^« ^f^-
* * Register of Privy Council,' 1545-69, vol. i. p. 4.
* Gregory, p. 176.
CXVlll INTRODUCTION.
of Tung, forms of the black art practised in these times, to be Abbot
of Tungland, Dunbar found another subject for his vitu-
perative style. This impostor was an example of a com-
mon phenomenon — ^the promotion of the undeserving to
high office, while the deserving, the poet himself included,
were neglected. It is with evident zest that Dunbar has
put this charlatan of the sixteenth century into the pillory,
and pelted him with satire. He was a foreigner too,
which, while it attracted the Court, ever eager for novelty,
had the contrary effect upon the patriotic Scotchman. The
principal invective against Damian is "Ane Ballat of
the Fen^eit Freir of Tungland ; " but Dunbar returns to
the subject in the vision or dream beginning " Lucina
schynnyng in silence of the nicht." Bishop Lesly, whose
account in his History of the failure of Damian's attempt
to fly from Stirling to France corroborates Dunbar's
poem, supposes Damian to have been an Italian. Dun-
bar, whether with any ground of fact or not we cannot
be sure, describes him as a Turk of Tartary. It is pos-
sible that he may have been an Eastern adventurer,
who, like a medium of the 19th century, found his trade
throve best by slipping from one country to another,
and keeping as far from home as possible. He came,
according to Dunbar, to Lombardy, where, to avoid bap-
tism, he slew " a religious man." The dress of the mur-
dered man, with his knowledge of reading and writing,
enabled him to pass for a friar. Such impostor clergy-
men have been known even in recent times. Probably
Dunbar's charge of murder is merely satirical. When
found out in Italy he went to France, where he pretended
to be a " leich," or physician ; and it is as " the French
Leich" that he appears in the Accounts of the Scotch
INTRODUCTION. CXIX
Treasurer. His practice resulting in the death of his
patients, he fled from France to Scotland, where he con-
tinued his disastrous trade : —
" His practikis nevir war put to preif.
But suddane deid, or grit mischeif.*'
He then took part in the blacksmith craft, to gratify, by
sharing in, one of the king's favourite diversions of " batter-
ing at the study" or smithy, and pretending, but failing,
to make the quintessence. To keep the royal favour, he
next proposed to fly by the aid of feathers to Turkey,
according to Dunbar, but really it appears to France. His
misadventures amongst the birds he met in his flight, who
plucked out his false feathers so that he fell into the mire,
conclude the poem. In "The Vision," Dunbar imagines ««The
him to meet, in the course of his flight, a she-dragon, who ^^
gave birth to Antichrist He thought it was a dream,
he ironically adds, until he was told by many ''suthfast
men " that an abbot would fly into the sky, and he then
took comfort : —
" * Adew/ quod I, ' my drery dayis ar done ;
Ffull Weill I wist to me wald nevir cum thrift,
Quhill that twa monis wer sene vp in the lift.
Or quhill ane abbot flew aboif the mone.' "
This poem, which is not so strictly of the vituperative
class, may have been written first ; but both belong to
about the same date, when Damian's attempted flight, in
October 1507, was in fresh memory. Its failure led to his
leaving Scotland for five years. Like a bird of ill omen, he
returned before the year of Flodden, and again gained the
favour of the credulous king by finding gold at Crawford
mine.
The poem " Against evil Women " was doubted by "Against
cxx nrrRODucnoN.
evil Wo- Ij^ing, and has not Dnnbai's name attached in the Reid-
peth MS.; tMit its style; in ^rite ct Laing's doafat, which
seems to have been caused by an unwillingness to bdieve
the poet should have composed so fioce an invective
against the sex, is in fenrour cS the opinion of Mr Small
that Dunbar was really the author. Satire on women was
a favourite topic of the middle ages and the monkish
writets; and Dunbar was no exception, as the poems of
*The Tua Mariit Wemen and the Wedo" and « The Twa
Cummeris ** prove. It is only against evil women that he
writes ; and the panegyrical poem " In prays of Woman"
shows that he was capable of 2^>preciating the virtues of
the sex. That poem may be considered as a palinode for
this.
The remaining poem of Dunbar here classed as vituper-
''A Geo- ative, and called by Laing "A General Satire," is very
g^^l^if similar in some of its lines to one of Skelton's,^ but was
the first written; so if there is any direct imitation,
and not merely similarity of thought producing similarity
of expression, the English poet must be deemed the
copyist. This satire, like so many of his others couched
in the form of a dream, is a bitter invective, in which he
concentrates his attack against the evils of the time. The
Maitland MS. attributes it to Sir John Inglis, but the
Bannatyne MS., which is probably correct, to Dunbar ; for
Inglis had not, so far as is known, begun to write in 1 504,
its probable date from the reference to "judges now
made of late" to the Daily Council instituted in that
year. The flow of the rhythm and many of the abuses
denounced being those Dunbar has described elsewhere,
confirm the opinion that he was the author. Every
1 "Spdw Fknot,** Slcelton'^ Poems, toL fi. p. 22.
INTRODUCTION. CXxi
line stamps its object with the poet's scorn. It deserves
remark that it is chiefly directed against the nobles,
the clergy, and the female sex.
The oppression of the poor is a common topic with
Dunbar, as with Henryson and Lyndsay ; but it was never
more powerfully assailed than here, in such lines as the
following : —
" Sa mony jugeis and lordis now maid of lait,
Sa small refugeis the peur man to debait,
Sa mony estait, for commoun weill sa quhene ;
Ouir all the gait sa mony thevis sa tait
Within this land was nevir hard nor sene."
There is no mincing matters in the condemnation of the
clergy of all ranks — the proud immoral idle prelates ; the
rich abbots, strangers to their abbeys ; the priests, dressed
like lajonen, who never read the Psalms or Testament;
and the clerks, who had taken the degree of Master of Arts,
but were after all only fools or " gowks." The extravagant
dress and morals of the women complete a dark picture
which concludes
" Off Sathanis sen^ie syne sic ane vnsall menjie
Within this land was nevir hard nor sene.**
The accomplishments of the king and the gallantry and
splendour of his Court deceived contemporaries, as they
have deceived historians; but Dunbar's piercing eye saw
the corruptions which were to lead to the catastrophe of
Flodden.
Vn. PRECATORY POEMS OR PETITIONS TO THE
KING OR QUEEN.
The precatory poems, chiefly petitions to James IV.
or the queen, though one or two are addressed to other
CXXll INTRODUCTION.
Pedtioiis, persons — as James Doig, the Keeper of the Wardrobe,
pUdnts ^^ Lord Treasurer, and the Lords of Exchequer — form
Remon- a considerable section of Dunbar's works. It was common
for the bards of this and earlier times to address patrons
with requests for favours or reward. The "Ballade" had
indeed, in its original form, a regular envoi addressed to
the Prince, which was retained in the strict French style
after its original purpose was almost lost sight of. But
Dunbar's petitions have the characteristic turn that they
are in general satirical instead of panegyrical They seek
to obtain their object by making the person addressed
repent of his illiberality or fear the wit of the poet
There is no sycophancy in their tone, which is that of
a man of genius conscious of his own worth. They are
indeed styled as often Complaints or Remonstrances as
Petitions. We follow in this series step by step the poet's
career at the Court — his first requests merely for the usual
gratuities of money or livery given at Yule, or some French
crowns to fill the purse which pricked him by its empti-
ness ; his thanks to the queen who befriended him, and
whose influence on her husband he wished greater than it
was ; his petition for a benefice, and his indignation when
those in the royal gift were bestowed on flatterers and
charlatans ; his complaint against Mure, who had made
some of his satirical poems the means of turning persons of
influence at the Court against him ; his frequent reminders
when he grew older of the services he had rendered ; and
his gratitude to the Lord Treasurer when he received the
increased pension allowed him in 1510.
OnDiscre- If the reader finds a painful repetition in this class of
^°?.^° poem, in spite of the humorous variety in form, he may
Giving, be sure the poet felt this not less. It required all Dunbar's
INTRODUCTION. CXXIU
independence of character to preserve his self-respect in the and Tak-
character of a petitioner. In the triplet of poems on Dis- "**
cretion in Asking, Giving, and Taking, he embodies his
mature thoughts on the delicate subject of gifts : —
" To ask but seniice hurds gude fame ;
To ask for seniice is not to blame ;
To serve and leif in beggartie
To man and maistir is baith schame :
In asking sowld discretion be."
" Sum gevis for thank, sum [for] chereitie ;
Sum gevis money, and sum gevis meit ;
Sum gevis wordis fair and sle ;
Giftis fra sum ma na man treit :
In giving sowld discretioun be.**
In the poem "On Discretioun in Taking," he recurs
again to the hard treatment of the poor labourers of the
ground : —
" Barronis takis fra the tennentis peure
All fnict that growis on the feure,
In mailis and gersomes rasit ouir hie,
And garris thame beg fra dur to dure.
Sum takis vthir menis takkis,
And on the peure oppressioun makkis,
And nevir remembris that he mon die.
In taking sowld discretioun be."
Vni. SATIRICAL POEMS.
The satirical poems of Dunbar include some of his
best-known works. The list might be greatly enlarged
by including those already described as vituperative and
several here treated as merely humorous or precatory.
The truth is, except in strictly religious poems, and the few
k
CXXIV INTRODUCTION.
which have been classed as laudatory, Dunbar's pen was
seldom used without some strokes of satire. The claim
might be made for him that he is the first great satirist in
our language, for he wrote a century before Donne, and
more than a century and a half before Dryden.^
Confining the term satirical to poems in which pure
satire predominates throughout, the following belong to
this class : The three poems relating to Edinburgh, which
satirise in turn the Law Courts, the Trades and Merchants,
and the Citizens ; " The Dance of the Sevin Deidly Synnis,"
which might be classed with his invectives but for the
ludicrous turn given to the concluding verses; the two
poems against the Solistaris at Court ; the two Dreams or
Visions — one the Visitation of St Francis, and the other
in which an all^ory is mingled with his old complaints
against the bestowal of preferments in the Church; and
perhaps less strictly the verses on Albany the Governor's
prolonged absence in France.
"Tidings The "Tidings from the Session" is directed against the
SeSon^" Court which sat at Edinburgh, possibly that called the
Session, though its sittings there were only once a quarter —
more probably the Daily Council instituted in March 1504.
This was the first successful attempt to establish a central
Supreme Court in Scotland, which was succeeded by the
present Court of Session— a reform of James V. in 1532.
The name of Session merely means sittings, and was prob-
ably never dropped, but the eyes of the lieges and of the
satirist were specially turned to the Court at the time when
it was first fixed in the capital. A novelty or an inno-
1 "The satire proper, the following of the great Roman examples in ge-
nial lashing of vice and folly, can hardly trace itself further back in England
than George Gascoigne" (1536-77). —Saintsbury, 'Eliiabethan Literature,*
p. 144.
INTRODUCTION. CXXV
vation is always a favourite subject for satire. Neither
then nor for long after has the Supreme Court been in
favour with the people generally. Scottish lawyers,
justly proud of the eminent jurists and judges the Court
has bred, are apt to forget this, until they are rudely
reminded of it by their critics and satirists. This un-
popularity has been partly due to the natural unpleasant-
ness of lawsuits, their delays, cost, and uncertainty ; but in
the sixteenth and seventeenth centuries there was another
cause of complaint, now removed, the partiality and venality
of the Bench. The attempt to establish a permanent Court,
independent of, and superior to, the Courts of the Barons
and the Bishops, was in the right direction, but it could
not at first shake itself free from similar abuses. Bribery is
fortunately one of the crimes which disappears with and
proves the progress of morals. But it was not extin-
guished either in England or Scotland till the close of
the seventeenth century. Dunbar recognises that many
of the suitors who attended the Session were knaves who
" Wald lake full heich war not the Sessioun."
Indeed his satire is mainly aimed at the litigants, lay and
clerical, who haunted the Court for other objects than jus-
tice ; but he denounces also the bribery and favouritism : —
" Sum speidis, for he in court hes menis ;
Sum of parcialitie complenis,
How feid and favour flemis discretioun.**
The poem is, as Professor Schipper remarks, probably
incomplete, or there would have been more of the com-
plaints against the "new made jugis," whom in another
piece he severely satirises.
cxxvi INTRODUCTION.
"Satire •* The Satire on the Trades; or, the Devil's Inquest," is
rat ^liA
Tiades • directed against the inveterate practice of swearing — each
or, the trade having its favourite oath, taken most freely to sup-
qnest" P^^ ^ praise of his goods or handicraft when least
honest
While the trades are chiefly censured, Dunbar does not
omit the blasphemous priest who swore by the God whom
he received at the altar, and the proud courtiers who swore
by Christ's wounds. The very oaths Dunbar refers to
were. Lord Hailes points out, forbidden by an Act of the
Scottish Parliament of 1551.^ Swearing is an eradicable
vice, depending for its existence on fashion and custom ;
but in spite of satire and statute, several of the oaths will
be recognised as surviving in vulgar speech, often in a cor-
rupt form, down to the present day.
"Satire on '' The Satire on Edinburgh" chiefly turns on the want of
f~^ „ cleanliness of its streets, but also on the extortion of its
merchants and innkeepers, and the neglect of the poor
which filled it with beggars : —
" 3our proffeit daylie dois incres,
3our godlie workis less and les ;
Through streittis nane may mak progres,
For cry of cruikit, blind, and lame :
Think ^e nocht schame,
That 5e sic substance dois posses,
And will nocht win ane bettir name ! "
In reading it, we must recall the Old Town as it was at
this time, with only two streets, the High Street and Cow-
gate, ribbed and crossed by narrow wynds and closes ; its
markets in the open causeway between the Cross near St
Giles and the Tron ; and its high houses darkened by out-
* Act, Pari., vol. xi. p. 485.
INTRODUCTION. CXXVU
side stairSy their small mndows often made smaller by
crossed wooden bars instead of glass, from which, as poets
and travellers of a more recent date than Dunbar tell us,
the refuse of the household was poured, to the danger of
the passers-by.^
Political causes contributed to keep Edinburgh long
" within its steepy limits pent," and Dunbar's reproach was
not removed until towards the end of last century and
during this it burst beyond its barriers, and spread over the
sloping grounds towards the Firth of Forth on the north
and the Meadows and Boroughmuir to the south. A poet
of our time can now celebrate Princes Street, with
" Its long low lane of stars,"
and look on Old Edinburgh chiefly as a picturesque relic
Yet it is the old town which contains the Heart of Mid-
Lothian, the history and the poetry of Scotland. The
new town, after a hundred years, has as its chief memory
the poet who was bom in and celebrated the old.
" The Dance of the Sevin Deidly Synnis " is a masque '* Dance
seen in a vision, in which each sin appears in succession in ^^
all its ghastly horror, made real by traits taken from the Deidly
men of Dunbar's own time.* It has been, not very aptly, ^^
compared to Callot's etchings, and the description in Col-
lins's " Ode to the Passions," — ^more fitly, to the " Persones
^ In the ' Proceedings of the Scottish Society of Antiquaries,' 14th June
1886, ToL viii., N. S., p. 368, there is an interesting sketch oi the north side
of the Tolbooth and the Lnckenbooths, from a pen-and-ink drawing of the Rev.
J. Syme, which shows the position of the Stinking Style, and the character of
the ontside or fore stairs, as they were in Dunbar's time.
' Yet Mr Lowdl is too fine a critic and writer to see in this poem anything
more than coarseness. " It would be weU for ns if the sins themselves were
such wretched bugaboos as he has painted. . . . The uninitiated foreigner puts
his handkerchief to his nose, wonders, and gets out of the way as soon as he
dTilly can."
CXXVlll
INTRODUCTION.
"The
Ladyis
Solistaris
at Court"
"Solis-
taris at
Court"
Tale " of Chaucer, which describes in plain prose the same
sins, their causes and their remedies, and to the all^ory
of Spenser. But Dunbar's portraiture is, though less
splendid, more vivid than Spenser's, whose verse is too
smooth for such a subject. We see Pride, Anger, and
the rest, not as abstractions, but incarnate ; and it is a relief
when the scene closes with the Highland pageant sum-
moned by Macfadyen's coronach, at which, though the
humour is still grim, some human laughter, and not merely
the laughter of the devils at the proud priests with which
the poem opens, is permissible. In the satire on "The
Ladyis Solistaris at Court," ^ Dunbar takes up again a
part of the subject which he touched on in the closing
verses of "The Tidings from the Session." That female
influence could do more than that of the opposite sex in
gaining suits was one of the scandals of the time, all the
greater as the judges were then chiefly of the clerical pro-
fession.^ The other satire of " Solistaris at Court," * which
from the similarity of title may be grouped with this, is
really one of Dunbar's petitions to the king, and describes
the various arts by which Court favour was obtained. It is
probably of earlier date, written at a time when Dunbar
was hopeful his merits would not be neglected: —
" My sympilnes, amang the laif,
Wait of na way, sa God me saiff !
1 P. i68.
* The Oracle in ** Ginecocratia," an English comedy quoted by Puttenham,
may be compared with Dunbar's " Ladyis Solistaris" : —
" Your best way to worke, and marke my words well,
Not money ; nor many !
Nor any ; bat any !
Not we men, but women, beare the bele."
— • Arte of English Poesy,' p. 147.
* P. 206.
INTRODUCTION. CXXIX
Bot, with ane humill cheir and face,
Referris me to the Kyngis g^ce :
Me think his gracious countenence
In riches is my sufficence."
" The Satire on the Franciscans " ^ is another of the poems The
couched in the form of a dream, in which a vision of St "Satire on
Francis appears to the poet, and tries to persuade him to t^« ^lan-
ciscaiis."
take the cowL One of its most biting touches is imitated
by Buchanan in his poem entitled '* SomniunL"
" In haly legendis haif I hard allevin,
Ma Sanctis of bischoppis, nor freiris, be sic sevin ;
Off full few freiris that hes bene Sanctis I reid ;
Quhairfoir ga bring to me ane bischopis weid,
Gife evir thow wald my saule gaid vnto Hevin.**
With great boldness Dunbar, after describing the wiles he
had practised when a Franciscan novice, concludes his poem
by declaring that the person who appeared and pressed
him to postpone no longer taking the full vows of the
order was not St Francis but a fiend.
The poem on the absence of Albany in France,^ be- On the ab-
sence of
gmmng— ^^^ .^
" We Lordis hes chosin a chiftane mervellus,
That left hes ws in grit perplexite.
And him absentis, with wylis cautelus
^iris and da3ris mo than two or thre,
And nocht intendis the land nor peple se,
Faltis to correct, nor vicis for to chace ; " —
has been doubted by Professor Schipper, because it is not
in Dunbar's usual manner to speak in the person of others.
But, as has been pointed out, this is not absolutely correct
Nor indeed would a new variety of style be a conclusive
1 P. 131. * P. 237.
(I
Orisoun."
CXXX INTRODUCTION.
argument against the authorship of so versatile a poet.
The points of the satire — the dissensions of the nobles, the
covetousness of the spiritual estate yearning for benefices,
the lack of justice by which the realm was being ruined —
are natural topics for Dunbar to have selected. It is cer-
tainly not one of his most powerful poems, but if written
by him was written in his old age, and on the whole it
seems probable he was the author. The point is not with-
out importance as corroborating the ailment that he lived
after 15 13. Its date must be some time after June 15 17,
when. Albany left Scotland, probably in 1520, and it forms
The a sequel to " The Orisoun," ^ written at that date, and un-
doubtedly by Dunbar. It might be thought a reason
against his having written it, that Dunbar's sympathies were
in early life with England, and not with France ; but there
had been a g^eat change in the situation when Henry VIII.
succeeded his father on the English throne, and the death
of James IV., as well as the imprudent second marriage of
Margaret Tudor, had made many patriotic Scotchmen look
to the rule of Albany as the best chance of a settled gov-
ernment during the minority of the young king. This
hope was disappointed by Albany's predilection for a life
in France, where his avarice, a quality censured in the
poem —
" Absentand the for ony warldly geir " —
was gratified by gifts of pension and office.
IX. MORAL POEMS.
The next class of Dunbar's poems, in which the moral
purpose predominates, is the largest and most important
' P. 235.
INTRODUCTION. CXXXl
of his works. Perusing them, we feel certain that he
was not the mere discontented satirist attacking abuses
because his own ambition was not satisfied, but a genuine
reformer, sparing neither his own failings and vices nor
those of any class of his countrymen.
These also are the plainest of all his poems, and require
little comment or historical illustration. Their dates do not
admit of being precisely fixed, but they must have been
written chiefly during the later period of his life, most of
them probably between 1 508 and 1 5 1 3, a few possibly after
that date.
The deaths of so many of his brother bards, the mortal "Tlie
illness of his rival Kennedy, and his own sickness, perhaps ^^ Mak-**'
first brought home to him the lesson of mortality, and led uis-"
him to take a more serious view of life. " The Lament for
the Makaris," one of his best poems, written shortly before,
if not in, the year 1508, enforces this lesson. There is un-
doubtedly much external likeness to the celebrated Bal-
lades of Villon, but there is independence, indeed contrast,
in the treatment by the two poets of the same theme.
Both show their genius by treating so common a theme in
simple yet telling words. But Villon chooses as his ex-
ample the beauties and the heroes of the past, who were
furthest removed from his own condition. Dunbar com-
mences with his own sickness, and, after a wider survey of
all classes and conditions of men, returns to his own class
in the lines which recite the names of the dead and djring
poets of Scotland. His refrain, also, is more personal —
" Timor Mortis conturbat me "—
than Villon's beautiful but general simile —
" Ou sont des neiges d'antan ?"
CXXXU INTRODUCTION.
The moral which Dunbar draws : —
" Sen for the deid remeid is non,
Best is that we for dede dispone.
Eftir our deid that lif may we ; " —
is absent) — not merely suppressed, but absent from the
feeling of the French poet. His conclusion is to enjoy the
present, not to prepare for the future.
" Mourray-je pas ? Crey, si Dieu plaist ;
Mais que j'aye faist mes estrennes,
Honneste mort ne me desplaist"
" Shall I not die ? Ay, if God wiU ;
So that of life I have my share,
An honest death I take not ill." ^
It would be difficult to decide which of these celebrated
poems deserves the palm. But a few lines may be cited
for comparison, as Dunbar's : —
'^ That Strang vnmercifull tyrand
Tak[is] on the moderis breist sowkand
The bab, full of benig^ite ;
• • • . •
He takis the campion in the stour,
The capitane closit in the tour,
The lady in hour full of bewte ; "
and Villon'
" Ce monde n'est perpetuel,
Quoy que pense riche pillart ;
Tous sommes souz le coup mortal,
Ci comfort prent pauvre viellart."
" This world is not perpetual,
Dream the rich robber what he may ;
To death subjected are we all,
Old men to heart this comfort lay."
— Payne's Translation.
1 ((
Ballad of Old Time Lords," No. 2 : Payne's Translation, p. 37.
INTRODUCTION. CXXxiii
It must be remembered in fairness that Viiion wrote at
the age of thirty, while Dunbar was nearly fifty when the
Lament was written ; and that Villon had drunk more
freely of the cup of misery than Dunbar had ever done.
In the two poems "On Deeming"^ and "How sowld I "On
rewill me, or quhat wyiss,"* Dunbar treats the subject of .._ „
the judgment of the world, which finds cause for censure
however a man may conduct himself, and leaves none
without blame. He enforces the wholesome moral : —
Deem-
ing.
«
Now juge thay me baith guid and ill,
And I may no man's tung bald still ;
To do the best my mynd salbe,
Latt every man say quhat be will.
The gratious God mot goveme me."
The reference to the saying of James IV. in the former
poem —
" Do Weill, and sett not by demying,
For no man sail vndemit be," —
indicates that both of them were written after the king
had reached mature age, and probably in the latter part
of his reign, if not after its conclusion. Although couched
in general terms, and following his favourite method of
contrasts, we may suspect a personal allusion in the lines —
" Be I bot littill of stature,
They call me catyve createure ; "
though he proceeds —
" And be I grit of quantetie,
Thay call me monstrowis of nature.**
In the lines —
" And be I omat in my speiche,
Than Towsy sayis, I am sa streiche,
I speik not lyk thair houss men3ie,*' —
* P. 92. 'P. 95.
CxxxiV INTRODUCTION.
he evidently replies to an attack made by some of the
Scotch poets of the old fashion on his ornate phraseology.
In another poem that also preaches the duty of self-
control,^ with the refrain —
" He rewlis weill, that weill him self can gyd," —
he applies his philosophy to a courtier's life in a series
of apothegms which Professor Schipper' has compared
with those of Shakespeare's Polonius. The resemblance is
certainly curious, and both poets may have borrowed from
some older writer, possibly Lydgate's " Rules for preserving
Health," or the more ancient wisdom of the Proverbs of
Solomon ; but the proverbs of all nations spring from the
common ground of human nature, and it is unnecessary to
presume imitations.
Thus Dunbar says —
" Behold and heir, and lat thy tung tak rest,
In mekle speic[h]e is part of vanitie ; "
and Polonius —
" Give every man thine ear, but few thy voice."
Dunbar —
" Put not thyne honour into aventeure ;
Ane freind may be thy fo as fortoun steiris :
In cumpany cheiss honorable feiris,
And fra vyle folkis draw the far on syd."
Polonius —
" Those friends thou hast, and their adoption tried,
Grapple them to thy soul with hoops of steel ;
But do not dull thy palm with entertainment
Of each new-hatched, unfledged comrade. Beware
Of entrance into a quarrel."
But Dunbar's counsel is more frank, less tinged with
courtier's craft, than the worldly wisdom of Polonius. He
concludes with some fine lines : s —
1 P. 98. ' Schipper, p. 308. « P. 99.
INTRODUCTION. CXXXV
" And sen thow seyis mony thingis variand.
With all thy hart treit bissines and cure ;
Hald God thy freind, evir stabill be him stand,
He will the confort in all misaventeur ;
And be no wayis dispytfull to the peure.
Nor to no man to wrang at ony tyd :
Quho so dois this, sicker I zow asseure.
He rewlis weill, that weill himself can gyd."
Similar thoughts occur in the "Ballade on Gude Coun- "OnGnde
scll:"l— CoanscIL-
" Be Je ane luvar, think Je nocht Je suld
Be Weill adwysit in Jour goueming?"
As in the lines —
" Be now and ay the maistir of jour will.
Be nevir he that lesing sail proclame ;
Be nocht of langage quhair je suld be still.
Be secreit, trew, incressing of Jour name."
In another series of these moral poems Dunbar ap-
proaches more nearly to the tone of Villon, and seeks to
find comfort for the changes of fortune in a merry heart
and cheerful temper. The poems with the refrains —
" Without glaidnes availis no tresour ; " '
" For to be blyth me think it best ;"*— "Best to
bebtyth."
are examples. But this is a less natural mood for Dunbar,
from which he rises in the last stanza of the latter poem : —
" How evir this warld do change and vary
Lat ws in hairt nevir moir be sary,
Bot evir be reddy and addrest
To pass out of this frawdfull fary ;
For to be blyth me think it best."
So in the former he expresses his contempt for the
miser : —
> P. 162. « P. 108. « p. iia
CXXXVl INTRODUCTION.
" Thow seis thir wrechis sett with sorrow and cair,
To g^ddir gudis in all thair lyvis space,
And quhen thair baggis ar fuU thair selfis ar bair.
And of thair richess hot the keping hess."
Covetousness and avarice are vices he specially abhors,
and he directs against them one of his best short pieces,
"Of Gov- "Of Covettyce/'* which he concludes with lines showing
'^•" that the merty heart he praised was also a serious and not
a light one, like that of the French poet : —
** Man, pleiss thy makar and be mirry,
And sett not by this warld a chirry ;
Wirk for the place of paradyce,
For thairin ringis na covettyce."
In the same strain is the poem ^ —
" Man, sen thy lyfe is ay in weir,
And deid is evir drawand neir,
The tyme vnsicker and the place ;
Thyne awin gude spend quhill thow hes space."
The instability of earthly things, the rapid turns of
Fortune's wheel, and the certainty of the end of life, are
never out of Dunbar's thoughts in his latter life. Not
only his own fate but that of his country taught the
lesson which he draws in such poems as that "Of the
" Of the Changes of Lyfe " » or that " Of the Warldis Instabilitie," *
Changes ^^^ ^^ u season's difference " affords him another text for
of Lyfe.
'*Ofthe ^^ same moral in his " Meditatioun in Wyntir."^ There
Warldis jg beyond doubt a certain monotony in the tone of thought
Instabil-
itie." which inspires all this class of his poetry that might easily
become, and perhaps by some will be thought, tedious. But
it is saved from being really so by the skill of his verse,
» p. 158. - P. 152. » P. 232. * p. 226. » p. 233.
INTRODUCTION. CXXXVli
which is always pleasant to the ear, and by the fresh turn
he gives even to such trite topics.
In a less usual vein is the poem " Of Content/*^ which "Of Con-
contains the advice more often given than taken: —
<i
And )e and I, my bredir all,
That in this lyfe hes lordschip small,
Lat languour not in ws imprent ;
Gif we not clym we tak no fall :
He hes anewch that is content"
Dunbar himself, it is evident, during the greater part of
his life, was unable to attain to this content These poems
are the expressions of the struggles of a mind seeking for,
but which has not won, that prize; and they were prob-
ably intended quite as much for himself as for any of his
brethren. Like the great German poet, he eased his pain
by verse.
Towards the end of his life perhaps he reached the calm
of old age. This seems the most probable explanation of
the comparative silence of his last years, when he had
retired from the Court and the world, and occupied his
thoughts with religious meditations.
This brings us to the last class of Dunbar's poetry.
X. RELIGIOUS POEMS OR HYMNS.
The transition from the moral to the religious or sacred "The
poetry of Dunbar is marked by " The Merle and the Nycht- jJ^^
ingall," ' where the contest and contrast of ** earthly and Nychtin-
divine love " is the theme, couched, by a favourite device ^^'
of medieval poets, in a dialogue between the two birds, and
> P. 23a ' p. 174.
««
CXXXVlll INTRODUCTION.
in several other poems, in which the same air is treated
with variations, as in the poem with the refrain —
"All crdly joy retumis in pane ; " *
and
" Now cumis aige quhair 3ewth hes bene.
And trew lufe rysis fro the splene [heart]." *
The To the same period probably belongs "The Confession,"
f^'^ »t with the refrain —
" I cry The mercy, and lasar to repent," —
in which the poet makes an exhaustive declaration of his
sins, both of commission and omission, and of his belief in
the Articles of the Creed.
But most of them were written on occasion of the ser-
vices of the Church, and form a Christian year of a devout
Catholic of the sixteenth century.
Hymns on Thus there are four for Christmas Day,' one for Ash-
*^*J®***^ Wednesday (Dies Cineris),* and another for Lent ; ^ a
Christian " Ballat on the Passioun,"^ two on the Resurrection, and
^*"' two to the Virgin, perhaps for Lady-Day.^
The series concludes with two, " On Life " —
" Quhat is this lyfe hot ane straucht way to deid ? " ®
and " On the Warldis Vanity," ® beginning —
" O wreche, be war ! this warld will wend the fro,"
with the refrain—
" Vanitas Vanitatum, et omnia Vanitas," —
which Professor Schipper is probably right in supposing
were amongst Dunbar's last writings.
1 p. 76. * P. 179. • Pp. 72, 322, 324, and 328. * p. 74.
* p. 280. « p. 239. ' Pp. 154, 156, 269, 272. 8 p^ 25a » p. 244.
INTRODUCTION. CXXXIX
None of these religious poems, though we may feel cer-
tain they were written towards the close of his life, can
be dated with certainty in any one year. They may have
been written at any moment when pious feeling was pre-
dominant and demanded the expression which Dunbar,
more truly religious than if he had assumed the cowl,
was well able to give. They have been generally thought
inferior as poetry to his earlier works ; but they are dis-
tinguished from poems of the same kind by other writers,
of which there are many specimens in the Bannatyne and
other MSS., by a directness of expression. There is also
in several a recurrence to thoughts to be found in Dun-
bar's other works which convince us they were his, though
some of them have been doubted.
Thus in the Christmas Hymn, '' The Sterne is rissin of Christmas
our Redemptioun," ^ the supremacy of the reign of Christ ^^°'°*"
above all earthly kings is powerfully described in the
stanza —
'' All empriouris, kingis, princis, and preleittis.
Heir nakit borne, and nvreist vp with noy,
Leif all jour wofull truble and debaittis.
Cum, luke on the eteraall King of joy ;
Ly all on grufe, befoir that hich grand Roy,
That only King of euery regioun.
Off Perce, of Ynd, of Egipt, Grece, and Troy."
In another on the same subject, the lines, '* Jerusalem
reioss for Joy,"* —
" The regeand tirrant that in the rang,
Herod, is exilit," —
reminds us of the description of Death as
" The Strang vnmerciful tyrand,"
in the " Lament for the Makaris."
* P. 328. ' p. 322.
t
Cxl INTRODUCTION.
"Ballat In the " Ballat of Our Lady "^ certainly by Dunbar, in
^ n which he uses one of the most complex metres, which
somewhat obscures the sense, the lines
" Haile, gentill nychttingale !
Way stricht, cler dicht, to wilsome wicht.
That irke bene in travale,** —
bring befbre us in a vivid image the beautiful bird whose
clear song and rapid flight guide in the straight way to
heaven the traveller weary and worn by his earthly journey.
In the other hymn to the Virgfin, to which Dunbar's
name is not attached, the lines —
" The blyssit sydis bair the campioun.
The quhilk, with mony bludy woundis, in stour,
Victoriusly discomfeit the dragoun
That reddy wes his pepill to devour,**' —
Easter directly recall the h}ann " On the Resurrection " —
Hymn.
" Done is a battell on the dragon blak,
Our campioun Chryst confoundit hes his force." ^
The most impressive of all these religious poems is that
** On the Passioun/' ^ in which he describes its details as one
who had often gazed on the pictures and images in the
churches, and witnessed plays representing the Passion,
common in his time in the churches of Scotland, as in
other countries, and narrates their effect on him, exciting
first Compassion, next Contrition and Penance for his sins.
Then once more he is cast down to the ground by the
thought of Christ's agony on the cross, till Grace comforts
him with the hope of the Resurrection : —
" The Lord within thir dayis three
Sail low under thy lyntell bow,
And in thy hous sail herbrit be
Thy blissit Salvatour Jesu."
1 P. 269. « P. 273. » P. 156. * P. 239.
INTRODUCTION. CxH
Contrition after Confession again fills his heart Con-
science accuses him of sin, but Repentance and Penance
prepare the house (an allegory for the soul) for Grace
divine to keep it
" In sicker stait.
Ay reddy till our Salvatour
Quhill that he come, air or lait"
He awakes (for this too is a vision), and wrote without
delay —
" Quhat me befell, on Gud Friday,
Befoir the Croce of sweit Jesu." ^
We seem to see the penitent prostrate at the foot of the
cross, raised by divine power revealing to his soul the
mystery of the death of Christ
ESTIBCATE OF DUNBAR'S GENIUS — ITS WIDE RANGE
— ^ITS DEFECTS.
This brief sketch of the more important poems of Dun-
bar, for the most part in their own words, may serve, it
is hoped, to indicate the wide range of his subjects and his
mode of treating them ; to rouse, but not to satisfy the
reader^s interest Dunbar deab with the lowest earthly pas-
sions and the highest mysteries of faith ; with the meanest
incident of the passing hour, which, but for his verse, would
be forgotten ; and with the eternal verities of love, of life,
of death, which will be sung as long as there are poets.
He reflects the history of his age, but also the common
elements of human nature, which make the universal history
of man. He represents at different periods of his life
almost as completely, though in a mode so different from
* P. 243.
cxlii INTRODUCTION.
Shakespeare, not in drama, but in ballad or other short
poems, life as a whole, not from one but from all sides.
He represents, too, almost as completely, though in general
in a manner so different from Chaucer, not by elaborately
finished portraits, but by sketches of a few lines or words,
the characters and classes of the time, — princes, nobles, gen-
tlemen, and burghers, bishops, priests, and friars, physicians
and patients, judges, lawyers, and suitors, merchants and
tradesmen, wise men, impostors, and fools, evil and good
women.
He can tell a story, or paint a scene, or point a satire, or
chant a hymn, with equal ease, and his versification and
metre are as varied as his subjects. His moods are so
changeable that he can recall Horace by his proverbial
philosophy, Chaucer by his quiet, Rabelais by his boister-
ous humour, Villon and Heine by his tragic pathos, Spenser
by his allegory, and Dante by the poignancy of his satire.
Yet it would be to do him the worst injustice of criticism
—overpraise — to claim for him so high a place as any of
these except Villon. He has some well-marked deficiencies.
It has been justly noted that, with all his skill in rhythm, he
has not the pure lyric note. He plays with consummate skill
on the instrument of language, but his music is not vocal, like
that of the birds, — like that of Burns or of Shelley. He is
one of the poets of reflection, not one of the poets of pas-
sion. This deficiency may be partially accounted for by his
education, his vocation, his constant tendency to moralise ;
but the want was in his whole nature, and must be acknow-
ledged. Again, in spite of his familiarity with masques,
and power of writing dialogue, he is not a dramatic poet.
His attempt in this line, " The Droichis part of the Play,"
is not one of his most successful efforts, and it is significant
INTRODUCTION. cxliii
that he wrote only a single scene in a play, even a ruder
form of play than those of his successor Lyndsay. There
is a barrier between the poet who has the dramatic gift and
the poet who is destitute of it, almost as great as between
the poet and the prose writer, as two of the great poets of
our own time have proved by their failures. Excess of
thought, which Dunbar himself complains of, is fatal to the
dramatic author. Reflection must with him be subordinate
to action. The persons of the drama must be, not charac-
ters, but men and women acting and reacting upon each
other, as in life. The drama itself must not be merely one
or many scenes, but a series of actions with a plan or plot
The dramatist must also know the theatre and have con-
stantly in view an audience, and the stage, and have as con-
stantly in view the actors. He is the architect in poetry,
who has to depend on a number of other workmen besides
himself, and the art of the painter and sculptor, however
g^eat, falls short of this, or at least is different We here
touch on another limitation of Dunbar, although it is closely
allied with his chief merit He was not capable of a long-
sustained effort " The Tua Mariit Wemen and the Wedo,"
his longest poem, is after all only a single scene and a
dialogue, with three characters, whose parts are too similar
for contrast He is at his best when he is brief, when a
line or a word sets in motion in a moment a train of
thought It IS true, the best dramatists have passages or
lines which do this. They may be read in the study, as
Shakespeare has been by Coleridge, or as the other drama-
tists have been by Lamb. But the dramatist must not, at
the peril of success in the representation of his plays, dis-
tract his audience from following the progress of the drama.
Because of this, Goethe has failed as a dramatist in his
cxliv INTRODUCTION.
greatest work. The acted " Faust " is very different from
the written poem.
Mr Matthew Arnold has praised Wordsworth for the
amount of good verse he has written, which, while admit-
ting that he has written much that is not good, he claims to
exceed that of the other poets of his time. For Dunbar
an opposite claim may be put forward. The total amount of
his verses is not g^eat, but in them there is scarcely a weak
line. Varied as is his style, and although there are, of
course, degrees of merit in his poetry, he is always direct,
clear, and vigorous. Another, and it is the last and most
important limitation of Dunbar, is that he is primarily a
local, though not a temporary poet This was due to the
place and the language in which he wrote. Scotland was
and is a small country, and he wrote chiefly, not even for
all Scotland, but for that part of it which knew the Court
of James IV., in a dialect now seldom used for literature.
Hence he requires unfortunately to be commented on and
to be interpreted. He does not appeal directly to the
people, and he requires an educated audience.
COMPARISON OF DUNBAR WITH PRECEDING
SCOTTISH POETS.
When Dunbar is compared with the Scottish poets who
preceded him, his superiority shows itself in his original-
ity, his versatility, and the melody of his verse. The three
most famous of these were chroniclers in verse rather than
poets. They can scarcely claim the name of makers. The
' Chronicle ' of Andrew of Wyntown, of great value as an
early contribution to the history of Scotland, which it often
treats more faithfully than the prose ' Chronicle ' of John of
INTRODUCTION. Cxlv
Fordoun, has little poetical merit The 'Bruce ' of John Bar-
bour is a biography in rhyme of its hero, partly founded on
history and partly on tradition ; but, with the exception of
a few fine passages, as the apostrophe to Freedom, it has
only one poetical quality — the easy flow of its simple
rhyming lines. The 'Wallace' of Blind Harry, a less
trustworthy record, is inferior in its versification. It has
some passages of pith and rugged force, due to the great-
ness of its subject, but cannot be deemed a great poem.
All these writers merely put into verse, for facility of
recollection, what had been handed down by learned or
popular tradition. Dunbar did not seek his subjects in
tradition or history.
The earliest poetry of Scotland, as of other countries,
was alliterative, and is represented by such works as
Thomas the Rhyiner^s prophecies, the Romances from
the Arthurian L^end, the "Auntyrs of Arthur," of
Sir Gawain and Sir Tristram, and a few satirical poems,
as "Cockelbie's Sow" and the "Houlat" of Holland.
This alliterative species of poetry had been continued
by some of the other poets Dunbar mentions in his
" Lament," as Sir Gilbert Hay in the romance of " Alex-
ander the Great" Dunbar himself, as we have seen, did
not entirely drop its use, though generally using it in com-
bination with rhyme. He did not, however, follow the
older poets in making the common romance of the middle
ages, or the popular ballads of his own country, the sub-
ject of his verse. Arthur and Gawain, like Robin Hood
and Adam Bell, are merely glanced at and passed by. He
chose his subjects from the present, not from the past
This is the more noteworthy, as his patron, James IV.,
did all he could to revive the glories of Arthur. He had
cxlvi INTRODUCTION.
his round table at Stirling, and his mimic tournaments of
its knights. He named one of his sons Arthur, and per-
haps instituted an order of knighthood in Arthur^s honour.
But Dunbar was not a man to allow himself to be drawn
away from his natural bent When he wrote, as he some-
times had to do, verses to order, it was against the grain.
He complains more than once that the inspiration would
not come at the royal command. Although the alliterative
romantic poets preceded him in time, they were not, any
more than the metrical chroniclers, his poetic ancestors.
He belonged to the line which began with Chaucer, was
continued by Gower and Lydgate, and had already, in the
" Kingis Quair " of James I., and the poems of Henryson,
the Dunfermline schoolmaster, representatives in Scotland.
INFLUENCE OF CHAUCER ON DUNBAR.
These writers, although original poets, are more di-
rectly imitators and continuators of Chaucer's style than
Dunbar. Dunbar, while he gratefully acknowledges the
father of English poetry as his master, takes from him
chiefly his language, which often finds parallels; but as
regards the substance of his poems, only the tale of " The
Tua Mariit Wemen and the Wedo," and the verses on his
Empty Purse, show traces of imitation. The characters
of the two men, which are stamped on their poetry, were too
distinct to allow of direct imitation. The cheerful, gentle,
genial Englishman stands in marked contrast to the satir-
ical, severe, and sad Scot. Both are full of humour ; but
how different is the smile which ripples over the smooth
verses of Chaucer from the grim and grotesque laughter of
Dunbar ! To James I. Dunbar makes no allusion. In one
INTRODUCTION. cxlvii
point — ^the poetry of love — ^he is Dunbar's superior. But he
is the author of only one poem. Henryson, in the sweet-
ness of his verse, and uniform purity of his moral tone, ex-
cels Dunbar, but has not the same faculty of invention
or so great a variety either of metres or of subjects.
INFLUENCE OF THE FRENCH POETS ON DUNBAR.
It is, if anywhere, from the French poetry that Dunbar
may seem to have borrowed some of the substance of his
thoughts, as he certainly did some of the forms of his
poems. The absence of any allusion to the famous
masters of the Ballades and the Rondeaux — ^to Villon
and Charles of Orleans — is sing^ular. We have again to
remember that some of his poems are probably lost, —
amongst them, those he wrote in France, unless his muse
was silent at the period of life when it usually is most
ready to sing. But there is another reason for his passing
over the French poets. He had no real sympathy with
them, although he could not remain unaffected by their
melody and metre, and by the sweet melancholy which
seems wedded to their artistic forms of verse, and is ex-
pressed in their burdens and monotonous but telling re-
frains. But here, too, he was original. He was never the
slave of any form of metre or of poem, but was able to
bring all into his service. As he is freer when he is
alliterative than the old alliterative poets, so he is less
strict in his use of the ballade, which does not conform to
the French rules. If a French critic would probably deny
him the praise of good taste as well as correctness, and
blame him for protruding the moral, an English critic may
claim for him a more manly style and a healthier view of life
Cxlvili INTRODUCTION.
The result is that Dunbar used the three kinds of poetry
which preceded him — ^the Alliterative of northern England
and southern Scotland, the Chaucerian of southern England,
and the French of Villon and the poets of the Renaissance
— ^but did not allow his originality and independence to be
■
overpowered. He is a representative of his country, which
enriched its thought from the stores of other lands —
England, France, and Germany — but remained true to
itself.
COMPARISON WITH BURNS.
The versatility of Dunbar is even more remarkable than
his originality. In this he has outstripped not merely his
predecessors but his successors, — Montgomery, Allan Ram-
say, Fergusson, and Scott. They chiefly cultivated one
kind of poetry. Bums alone can boast of the same variety
— now comic, now tragic, now satirical, now moral, now
religious. Bums, indeed, is his chief competitor — ^his
superior in the poetry of love, in the poetry of pathos, in
natural imagery, in lyric fire, in sympathetic charm ; his
equal at least in satire and in sarcasm, perhaps in moral
and religious poetry. But Burns has not a firmer hand,
and does not so readily pass from one mood to another.
Both of them, and indeed all their countrymen, were denied
the dramatic gift. Scotland ceased to be an independent
country before the theatre came to its full birth, and after
its birth Calvinism long forbade a fit audience, even if there
had been a poet who could write tragedy or comedy. If
the future should produce a Scottish dramatist, the past of
his country has fumished him with ample material for the
drama.
INTRODUCTION. cxlix
DUNBAR'S MASTERY OF METRE.
The mastery of metre, which is the third point of Dun-
bar's excellence, has often been remarked.
It has been carefully studied by Professor Schipper in
his work/ by far the best which has been written on that
subject Probably it was the quality which first drew the
attention of this Grerman author to Dunbar. The present
introduction is indebted to Mr M'Neill for a valuable
note, which deals with the intricacies and niceties of
this difficult topic Here only one or two points can be
touched. Dunbar well stands the test in which many
poets who have been great masters in metre faiL With
him sound never prevails over sense. His metres are used
to attract, and do not distract the reader from the subject.
How well he uses his command of metre to help to express
the subject may be seen in the erratic form he selected for
the extravagant burlesque of " Kind Kyttok," the tripping
measure of the ''Satire on Donald Owre,'' the jingling
peal of the verses on St Giles in the " Dirge," the solemn
refrain of the " Lament for the Makaris," like the tolling of
a funeral bell, and in many other of his poems. The best
English poets since Wordsworth, it might almost be said
since Shakespeare, have generally preferred simpler and less
artificial forms of verse, especially the stately blank verse
which the genius of Milton, Wordsworth, Tenn)rson, and
Browning has adapted to so many varieties, or the rhyming
couplets of the verse called heroic, which the vigour of
Dryden and the grace of Pope made for a time the classic
style of English poetry. The sonnet almost alone remains
in frequent use of the forms which English poetry borrowed
1 'AltenglischeMetrik.'
cl INTRODUCTION.
from France and Italy. The English and Scottish ballads
are only in name the same as the French ballades, and
their beauty and variety is due to nature, and not to art
But the cadence and melody of the forms it is scarcely
just to call artificial, but which are subject to more strict
and complex rules, cannot be denied. A reaction has
recently set in amongst our younger poets whose admirers
will do full justice to Dunbar's skill as a metrist. It was
no slight feat to bring the forcible but rough dialect which
was his mother tongue to speak in the same measures as
French and Italian verse. Yet in a few of his poems he
has not escaped the danger of over-subtlety in metres ; and
his use of so many of the French varieties gfives his poetry
a sort of foreign complexion to the modem English reader,
who, if he does not consider this a charm, will deem it an
imperfection.
COMPARISON WITH HORACE, VILLON, HEINE, AND
ALBERT DURER.
If we pass beyond the narrow bounds of Scotland, the
three European poets with whom Dunbar may best be
compared and contrasted are Horace amongst the ancient,
Villon amongst the later medieval or Renaissance, and Heine
amongst the modem classics. Like Horace, Dunbar was a
poet of the Court, yet a moralist and a satirist of its vices.
Like Horace, he seized happy occasions for putting com-
mon thoughts into perfect poetic expression. Like Horace,
he was a master of words and metres. But the Scottish
poet has not the incomparable grace and felicity of the
Roman. The Court of James IV. was a different school
and audience from the Court of Augustus. The broad
INTRODUCTION. cll
Scottish dialect, though one of the strongest of all dialects,
never became, like Latin, one of the classical languages of
the world To Villon, Dunbar stands nearer in point of
time and manner ; but the similarity is apparent and on
the surface, rather than real and deep. Both poets preached
from the same texts the vanity of human wishes, the vicissi-
tudes of life, and the inevitable end. But they had learned
these texts in different schools, and their sermons have differ-
ent, indeed opposite conclusions. Villon contemplated, with-
out flinching, the scaffold as the end of life, and did not care
to look beyond, content with enjoying the present as best
he could. Dunbar was discontented with life as it was; and
though he occasionally was blithe and merry, and could
take part in the amusements which turned the mind from
despondent thoughts, he always had in view the life to
come. The one was, it must be said, fundamentally an
irreligious, the other a religious poet. Heine has the same,
perhaps a more daring freedom, in the subjects he treats —
the same sense of the vanity of life, the same keen satiric
edge. Both waged war, as most satirists have done, with
the conventions and cant of their age. Like Dunbar,
Heine is at his best in short poems, in apt words and
memorable lines. But though not so destitute of religrious
feeling as Villon, Heine is at heart a mocking-bird — ^the
saddest of all poets. He is the superior of Dunbar in
pathos, and in the melody of song; his inferior, although
gifted with more talent, by the lack of reverence and of
hope. Another less obvious comparison is tempting. The
artistic qualities of Dunbar have more than once led to the
use of language in this sketch borrowed from the sister
arts. Perhaps his nearest parallel is to be found in another
German, his contemporary, the etcher of the '' Melancolia,"
Clil INTRODUCTION.
the " Knight and the Devil," and the " Prodigal Son." If
the parallel with Albert Durer is admitted, it is a striking
proof of .the deep current of common thought running
through Europe at the period which immediately preceded
the Reformation, and swaying the master-minds of different
countries. Such comparisons, imperfect as they must be,
may perhaps aid a little in bringing home to the readers of
poetry in the present day the character and position of this
not forgotten but not yet adequately known poet of Scot-
land, who wrote when the medieval was giving way to the
modem spirit
It requires, it must be confessed, not merely careful
study but a mental effort to appreciate Dunbar as he
deserves. The language in which he wrote, once so famil-
iar, now requires to be interpreted even to his own coun-
trymen. The manners of his time are even more remote
from ours. The modes, not merely of expression but of
thought, are different. But when these difHculties are
overcome, the reader finds that he has listened to a true
poet, who has illustrated the history and language of his
country, and has also spoken words seasonable for his
own and other times.
APPENDIX TO INTRODUCTION
APPENDIX TO INTRODUCTION.
yVM&— The SocieCy is indebted to Mr W. Maitland Anderson. BIA.. Libnzttn of
the Unhrersity of St Andrews, for an exact transcript of the entries in its
Records. The excerpts from the Public Records of Scotland have been taken
from Mr Ij^aing's edition. The Historical Curator of the Records of Scotland,
Mr Didoon. a member of the Coondl of the Society, has been good enough
to search the Records subsequent to 1513, and corroborates Mr Laing's
statement that there is no r efer en ce to Dnnbar to be found in thenu
I.— REFERENCES TO DUNBAR IN THE RECORDS.
I. Excerpts prom Acta Facultatis Artium, St Andrews.
[1477] Nomina Determinandum Anm septuaf^ sepUnd,
^•act.
2»act»
3»acti
4'acti
geor.
hrrklry
solnt.
An.
Dundas
solut.
Ra
Prestofie
solnt-
la.
bume
paup.
An.
botour
paup.
RL
p^tonffO'^
paup.
WiL
I}m{n)6ar
M&f<.
gtor.
Jhoostoun
solut.
Donal.
gray
paup.
lo.
haborfie
solut.
Ro.
betoSe
solut.
WiL
peblys
mL solut-
WiL
stabil
paup.
h€.
caimycbel
solut.
geor.
crychtofie
solut.
v»
ramsay
solut.
WaL
gnthre
paup.
lo.
logy
paup.
Pfibar]
cliv INTRODUCTION.
[1479] Nomina licenciatorum Anni septua^* nani.
m.
Johannes
hepburfi
prior ec81ie metro-
politane sancti
andree.*
m.
George^
breclay
m.
Robert*
betoS
m.
mielm.
Dubar
m.
Geor*
Jonstoii
m.
H€ric,
carmichael
m.
Geor^
crechtofi
m.
Robertas
^stoS
Alexr
lewyntoS
m.
Do^ Jacobs
bum.
2. Excerpts from the Public Records relative to
William Dunbar.
Accounts of the Lord High Tre<isurer oj Scotland,
1491. Item to my Lord Boythwhell quilk the king gart him git
July 16. to the schipmen of the Katryn besyd North berwic quhen
the Imbassatouris past in Franss, xl demyss,
xxyj ti XV. s. iiij. d.
Item til a Priest that wrayt the instrumentis and otheris
letteris that past with the Imbassatouris in France,
xxxyj s.
Privy Seal Register, Vol. ii.foL 9.
1500. A Lettre maid to Maifler Williame Dunbar of the gift of
Aug. 15. ten ti. of penfioune to be pait to him of our Souerane
gratis. Lordis cofferis, be the Thefaurare, for al the dais of his
life, or quhil he be promovit be oure Souerane Lord to a
benefice of xl ti or abone, &c. de data, xv^o Auguflj, et
regni Regis xiij, [1500.] Per Signaturam.
Henry VH.^s Privy Purse Expenses^ printed in Bent ley's * Historical
1831, /. 126, from Transcript in British Museum, addl. MSS. 7099.
31 Dec. 1 501. To the Rhymer of Scotland in rewarde, £6, 13s. 4d.
7 Jan. 1502. £6, 13s. 4d. to a Rhymer of Scotland.
Accounts of the Lord High Treasurer.
1 501. Item, to Maifter William Dunbar in his penfioun of Mer-
May 23. tymes bipaft, be command of ane precept, . . v ti.
July 20. Item, to Maifter William Dunbar, his penfioun of the
Witfonday terme bipaft, be command of ane precept, v ti
Dec. 20. Item, to Maifter William Dunbar, quhilk was payit to him
efter he com furth of Ingland, . . . . v ti.
1 This designation has been added to the entry of the name at a later time.
APPENDIX. clv
1502. Item, to Maifler William Dunbar, (ic like, [his penfioun of
July 9. Witfonday terme bipaft,] v ti,
Nov. 12. Item, to Maifler William Dunbar, his penfioun of the faid
terme of Mertymes, v ti.
1503. Item, to Maifler William Dunbar, his half 3eris penfioun
June 14. of the faid terme [of Witfonday lafl], . . . v ti.
Nov. 12. Item, to Maifler William Dunbar, his penfioun of Mer-
tymes fik lyke, v ti.
1503-4. Item, the xvij day of March, to the Kingis offerand at
March 17. Maifler William Dunbar's firfl mes, vij fr. cr.
Sm. nij. ti. xviijs.
1504. Item, to Maifler William Dunbar, his penfioun fie like,
May 28. [of the terme of Witfonday bipafl,] . . . v ti.
Nov. 12. Item, to Maifler Dunbar, his penfioun ficlike, [of the terme
of Mertymes bipafl,] v ti.
1505. Item, to Maifler William Dunbar, his penfioun ficlike, [of
May 4. the terme of Witfonday,] v ti.
Aug. II. Item, to Maifler William Dunbar, be the Kingis com-
mand, xliji.
Nov. II. Item, to Maifler William Dunbar, his penfioun of Mer-
tymes, V ti.
1505-6. Item, to Maifler William Dunbar, be the Kingis command,
Jan. 27. for caus he wantit his goun at Jule, . . . v ti.
1506. Item, to Maifler William Dunbar, his penfioun of terme
June 2. forefaid, [of Witfonday,] v ti.
Aug. II. Item, to Maifler William Dunbar, be the Kingis com-
mand, V ti.
Nov. 12. Item, to Maifler William Dunbar, his penfioun of the faid
terme [of Mertymes], v ti
1506-7. Item, to Maifler William Dunbar, in recompenfation for
Jan. 4. his goun, v ti.
1507. Item, to Maifler William Dunbar, his half ^ris penfioun
May 23. of the faid terme [of Witfonday], . . v ti.
Nov. 12. Item, to Maifler William Dunbar, his penfioun of the faid
terme [of Mertymes], x ti.
& new ekit
1507-8. Item, to Maifler William Dunbar, be the Kingis com-
March 15. mand, v ti.
1508. Item, to Maifler William Dunbar, his penfioun of the faid
June 15. terme [of Witfonday], x ti.
26. Item, the xxij day of Junij, to Maifler William Dunbar, be
the Kingis command, iij ti. x i.
The Treasurer's Accoonts from August 1508 to August 151 1 have not been
preserved.
dvi INTRODUCTION.
Privy Seal Register^ Vol, iv,foL 80.
1 5 10. A Lettre maid to Maifler William Dunbar, of the gift of
Aug. 26. ane Jeirly penlioun of iiij** [four-score] ti. to be pait to
gratis, him at Mertymes and Witfonday of the Kingis cofferis
be the Thefaurar that now is, and beis for the tyme, or
quhill he be promouit to [ane] benefice of jc [one hun-
dred] ti. or abone, &c ; with command to the faid The-
faurar to pay the famyn, and to the Auditouris of chekker
to allow, &c. At Edinburgh the xxvj day of Auguft the
jere forfaid [anno regni Regis xxiij. 15 10.]
Per Signaturam.
Accounts 0/ the Lord High Treasurer.
151 1, Nov. ) Item, to Maifler William Dunbar takand termlie fourtj ti.
1 5 12, May, ) of Martimes and Witfonday lafl, . . Sm. Ixxx. ti.
151 1- 12. Item, to Maifler William Dunbar, for his Jule leveray, vj
Jan. 23. elnis ane quartar Parife blak to be h3rme ane gowne,
price eln xl S. Sm. xij ti. x. i.
Item, allowit to the faid Maifler William, attour his
leveray was tane at 3ule in anno V^xj. [15 11], v. quar-
taris scarlete, price .... iij ti. ij i. vj. d.
1 5 12. Item, the xxiiij day of December, to Maifler William
Dec. 24. Dunbar his Mertymes fee, be the Kingis command, xl ti.
1 51 3, Item, the first day of Aprile, to Maifler William Dun-
April I. bar, xlij i.
14. Item, the xiiij day of Aprile, gevin to Maifler William
Dunbar, xlij i.
May 14. Item, the xiiij day of Maij, to Maifler William Dunbar in
his penfioun, Ivj i.
The Treasurer's Accounts from Aug. 8, 1513, to June 1515, have not been pre-
served. In those of a subsequent date, Dunbar's name does not appear.
APPENDIX. clvii,
II.— TABLE OF DUNBAR'S POEMS ACCORDING TO
PROBABLE ORDER OF THEIR DATES.
To arrange Dunbar's poems in order of date is admittedly difficult—
so difficult, that none of his editors have attempted it except Professor
Schipper ; and the most recent of his biographers, Mr Thomas Bayne,
in the ' Dictionary of National Biography/ says that only one of the
poems, " The Thistle and the Rose," can be accurately dated. Yet
the attempt is worth making, for the light it throws on his life and
the progress of his thought Thanks to the facts discovered in
the Records, chiefly by the research of Mr George Chalmers and
Mr David Laing, and to the use made of them by Professor Schipper,
some points are now certain. The main divisions followed in this
Table of— I. Poems written before 1503; IL Poems written in relation
to the Queen's marriage, 1 501-1503 ; IIL Poems written between 1503
and 1 5 13; IV. Poems written after 15 13, — are well established. The
dates of a few poems in these divisions are also ascertained, as that in
Praise of London, vnritten for Christmas 1501 ; "The Thistle and the
Rose," written on 9th May 1503 ; the Song of Welcome to Margaret,
written for her Wedding, 8th August 1503; the Epitaph on Donald
Owre, written in 1506 ; the Satires on the Abbot of Tungland,
written in 1507 ; the Ballad on Bernard Stewart, written between 9th
May and 9th June 1508; his Elegy, written shortly after the latter date ;
the " Lament for the Makaris," written in 1507 or 1508 ; the Panegyric
on Aberdeen, written in 151 1 ; the "Orisoun, quhen the Gouemour
passed in France," written in June 15 17; SLnd its sequel, on his
Absence in France, written probably in 152a For the rest, only
conjectures can be made, and it appears impossible to give the
precise years of the poems, with the exceptions above noted. It will be
found that the present writer, while he has exercised an independent
judgment and explained its grounds, has generally come to the same
conclusions as Professor Schipper. Where he has difiered from that
writer, it has always been with hesitation. There is an internal har-
mony in the tone of Dunbar's vnritings, although that tone varied with
different periods of his life, which gives the best clue to the time
when individual poems were composed ; and when this is found to
agree with the indications, often slight, afforded by allusions to par-
ticular persons or writers, the opinion that the correct date has been
found is confirmed. A subsidiary reason for making the Table has
been to give the readers of this edition an easy mode of referring, as
it is hoped many of them will do, to Professor Schipper^s very in-
structive work, " Das Leben und Gedichte von William Dunbar : "
Beriin, 1884.
clviii
INTRODUCTION.
I. Poems probably written before the Marriage of
James IV. and Margaret Tudor, 1503.
SCHIPPBR.
Page
117
118
122
123
130
135
TmjE OP Poem.
1. A New Yeof^s Gift to the King.
This appears to have been written before Don-
bar desired a benefice, and looked only for a gift
oat of " Frannoe crownes," — line 18.
2. The Tod and the Lamb ; or. The Wowing of
the King quhen he wes in Dumfermeling.
Evidently written before the king's mairiage.
The king was at Dnnfermline on X5th Jan. 1489-
90, and again on 24th Jan. 1490-91. (Treasorer's
Aoconnts.)
3. Ane Brash of Wotoing.
"In secreit place this h3mdir nycht."
The style and subject indicate this was an
early poem of Dunbar. The expression, " this
hyndir nycht, " occurs both in this and the preced-
ing poem, and also in that *' On Deeming.**
4. T?ie Dregy maid to the Kyng, bydand our
lang in Striuilling,
Written after 1494, when the king founded the
Monastery of the Observantines at Stirling, but
before his marriage. There is no reference to
the queen, but only a *'cumpany of lordis and
knychtis," at Edinburgh, — ^line 15.
5. Aganis the Solistaris in Court,
Dunbar's "humill cheir and face/' and his
confidence in '*the Idngis grace" as sufficient —
so different from the later more querulous peti-
tions — indicate this was an early poem.
6. The Tua Mariit Wemen and the Wedo,
Certainly ^"ritten before 1508, when it was
printed, and probably several years before, finom
its subject, and the complete alliteration of its
verses.
Scottish
Text
SOCIXTV.
Page
256
136
247
112
206
30
APPENDIX.
clix
SCHIPPBR.
Page
146
TiTLB OF POBM.
n
7. 7^ Tkoa Cummeris.
Rycht airlie on Ask Weddinsday.**
This is in the same vein as No. 6, and probably
written about the same time.
8. The Frdris of Berwik.
If by Dunbar, the style and subject point to its
being an eariy poem, written periiaps after a visit
to Berwick on one of his early journeys. The
appearance of the pretended page, a familiar
spirit *'in liknes of a fireir,** and "in habdt
Uak," that of the Franciscans, is quite in Dun-
bar's manner of *'The Visitatkm of St FrandSy**
p. 131.
9. The Ballad of Kynd KiUok.
^ This, though not ascribed to Dunbar by name,
is so much in his style as to be almost certainly
by him. It was printed in 1508, and written
probably several years before, when the king was
more in use to visit Falkland than after his
marriage. The alliteration also favours the view
that it was one of Dunbar's early works.
Scottish
Text
Socnmr.
Page
160
2^5
52
2. Poems written about the time of the Betrothal and
Marriage of James IV. and Margaret Tudor, 1501-1503.
SCHIPPSR.
TrrLS OF Pobm.
Scottish
Text
Socxbtv.
Page
10. Learning vain without guid Lyfe.
Wsittkn at Oxinfurds.
Of uncertain date, but Dunbar's visit to Eng-
land in 1501 with the Scottish ambassadors is the
most probable time for his having been at Ox-
fiordy where it is said to have been written.
Page
224
clx
INTRODUCTION.
SCKIFPKS.
Title op Pobm.
ScomsM
Tkxt
SOCXBTY.
Page
164
176
184
166
165
207
1 1. In Praise of Ltmdan,
Christmas 1501, when it was redted at the
feast given by the Lord Mayor to the Scottish
ambassadors.
1 2. The Goldyn Targe.
Written in May 1503.
13. Beauty and the Prisoner.
" Sen that I am a presoneir."
Probably written aboat the same time as the
preceding. The reference to "Matremony, that
nobill king." as patting Sklandir to flight, points
to this. The slander perhaps related to the king's
connection with Lady Maigaret Drammond, or
to her sadden death along with her sister in 1502,
which gave rise to a saspidon of poisoning.
14. The Thistle and the Rose.
Written on the occasion of the royal mar-
riage, and dated 9th May (1503), — line 189.
15. Welcome of Margaret as Queen of Scot-
land.
" Now fayre, fayrest off every fayre."
Written to welcome Margaret on her arrival
in Scotland, and sung at the banqaet after her
wedding, 8th August 1503.
16. Ane LUtil Interlud of the Droichis part of
the Play.
This may have been one of the masques or plays
got up to entertain the queen on her coming to
Scotland. Its allusions point to its having been
acted at Edinburgh.
Page
276
164
183
279
314
APPENDIX.
clxi
3. Poems probably written between 1503 and 1513.
ScHiprsK.
TiTLX OP Poem.
Scottish
Text
Socumr.
Page
• ••
17. To the Queen,
" Gladethe thoue Queyne of Scottis re-
gioun."
From the reference to the hopes of the birth of
an heir, probably written before 1506.
Page
274
224
18. Against TYeason.
Epitaph on Donald Owrb.
" In vice most vicius he excellis."
Donald Owre or Dabh (the Black), son of
Angus, Lord of the Isles, nused his clansmen
and adherents at Christmas 1503, and was taken
prisoner and committed to Edinburgh Castle in
1506. This poem must have been written shortly
after.
190
151
19. Tidings from the Session.
The ambulatory Sessions of James I. were
succeeded bj the Daily Council, fixed at Edin-
burgh by James IV. in 1503. This poem has
been supposed to refer to the former Court, but
its contents are more applicable to the latter,
and the name of Session or Sitting was probably
still retained for the Daily CoundL
78
130
2a Lady Solistaris at Court.
" Thir ladyis fair, That makis repair."
This, like the precedmg poem, refers to the
fixed Court at Edinburgh, and was probably
written after 1503.
168
147
21. Aganis the Solistaris in Court.
This seems to apply to the Court of the king
rather than the Courts of Law, but,, from the
as the preceding.
206
clxii
INTRODUCTION.
SCHIPPEK.
TiTLB OP POBM.
Scottish
Text
SOCIBTV.
Page
154
190
191
239
237
254
22. SiUire on Edinburgh.
The reference in lines 57 and 58 to the ''repair
of this regioon " to Edinburgh for the Court and
the Session, indicates this also to have been
composed after 1503.
23. Against Swearing; ar^ The DeviTs Inquest,
" This nycht in my sleip I wes agast"
This satire on the oaths of the different crafts
and classes of the capital seems to belong to the
same time as the Satire on Edinburgh.
24. To the Quene.
This poem, written on Fastem's Eve (Shrove
Tuesday), must have been composed after 1503,
and from its subject, probably some years after.
25. Of a Dance in the Quenis Chalmer,
This poem also was probably written some
years after the queen's marriage, and from the
reference to the Master Almoner, Dr Babington,
who was made Dean of Aberdeen in 1507, prob-
ably before that date.
26. Ane Ballat of the Fenyit Freir of Tung-
land.
The date of the pretended flight, with wings,
of John Damian, the impostor Abbot of Tung-
land, fixes this poem as written about October
1507.
27. The Birth of Antichrist,
"Lucina schynning in silence of the nicht.
This also has a reference to the Abbot's flight,
lines 44 and 45.
i»
28. The Dream ; or^ A General Satire,
*' Devorit with drem, devysing in my
slummer."
The stanza beginning line 46 points to 1507 or
1508 as its probable date.
Page
261
144
203
199
139
149
81
APPENDIX.
clxiii
SCHIPPBS.
Page
72&2S4
TiTLB OP Poem.
206
290
86&250
19s
201
29. How Dumbar wes desyrd to he one Freir ;
or^ The Visitation of St Francis.
Lines 31 and 32 point at least to this having
been written many years after the period of Dan-
bar's novitiate as a fnar, which period was prob-
ably between 1479-91.
30. The Flyting of Dunbar and Kennedie.
This was written before 1508, when it was
printed by Chepraan and Myllar. Its date is not
certain, but the allusion in it to Kennedy's
" laithly luge that wes the lippir mennis "
appears to refer to Glentigh, acquired by Ken-
nedy on 8th December 1504 ; while the allusion
to Stobo, who died in the first half of 1505, as
still living, places it between these two dates.
31. Lament for the Makaris,
This also was printed in 1508, and probaUy
written shortly before that date.
32. Afy he id did yah ysternicht.
Uncertain date, but perhaps written during
the same illness as the Lament.
33. The Dana of the Sevin Deidly Synnis.
Written on the 15th February, the day before
Fastem's Eve, i6th February 1507. The reference
to the Abbot of Tungland in line 12 points to
this year as its probable date.
34. TheTumamentoftheTelymrandSawtaris,
Written at the same time as the preceding, of
whidi it is a continuation.
Scottish
Text
SOCIBTV.
Page
II
48
254
117
122
204 35. The Amendis to the Telymris and Sawtaris, 127
Written soon after the preceding poem.
225 36. The Testament of Mr Andro Kennedy. • 54
Printed by Chepman and Myllar in 1508, and
so written before that year.
clxiv
INTRODUCTION.
SCHIPPBR.
TiTLB OP POBM.
Scottish
Tkxt
SOCIETV.
Page
222
37.
Ofane Blak-Moir.
Probably written on occasion of the Tourna-
ment in honour of the Black Lady in June 1507.
Page
201
290
38.
The Ballad of Lord Bernard Stewart.
Written between 9th May 1508, when Stewart
arrived in Scotland, and his death, on 9th June
1508.
59
292
39-
Elegy an the Death of Bernard Stewart.
Written shortly alter his death, 9th June 1508.
63
186
40.
To a Ladye,
This and the next poems may have been
written before, but more probably after, 1503.
223
306
41.
Be y ane Luvar, think y nocht y suld.
Of uncertain date, but probably about the same
time as the preceding.
162
• ••
42.
Fane wald I Luve^ hot quhair abowt f
The conclusion of this poem is in the same
strain as the preceding, and it is probably about
the same date.
308
• • •
43.
Gtf y wald Lufe and Luvit be.
Similar in tone to, and probably about the
same date as the preceding.
312
187
44.
To a Ladye. Quhone he list tofeyne.
In this poem Dunbar finally abandons love,
and his hopes turn to the desire for a post or a
pension.
245
188
45-
Quha will behald of Lta^e the chance.
Written also after he had given up thoughts of
love.
172
APPENDIX.
clxv
SCHIPPKS.
2IS
2l8
220
TiTLX OP POBM.
245
294
46. Of Janus Doigy Kepar of the Quenis War-
drop.
This must have been written after the queen's
marriage; and as Doig entered her service in
1503, and continued in it till 1523, it maj have
been written anj time between these dates, but
most probably aixmt 1507-8.
47. Of the same fames, quhen he had plesdt
him.
This, fipom its terms, most have been written a
little later than the preceding.
48. Of Sir Thomas Norray.
If. as is probable, the Qnhentjne lef eiied to in
line 37 was Qnintyn Schaw, who died shortly
before 1508, — ' * Lament for the Makaris," line 86.
— and as Cuirie, Une 43, died in 1506, this poem
may be dated between 1503, when Norray first
appears, and 1508.
49. Complaint against Mure,
Mure is onknown, but "Cuddy Rig the Drum-
fress fuin,'* line 24, appears between 1504 and
1512 in the Treasurer's Accounts, which gives an
approximate date for this poem.
50. Faine wald /, with all diligence.
This seems to refer to attacks upon his Satire,
perhaps by the penons l e f e r red to in the preced-
ing poem.
51. To the King, on his Empty Purse.
" Sanct Saluatour ! send siluer sorrow."
This, and the nine following poems, were pro-
bably written be tw een 1503 and 1510, when Dun-
bar's pension being increased to the large sum of
;f 80, probably his complaints ceased. This
seems one of the eariiest,— either soon after, or
possibly before, 1503.
Scottish
Text
SOCIKTT.
19s
197
192
210
310
129
clxvi
INTRODUCTION.
SCHIPPBR.
TlTLB OF POBM.
Scottish
Text
Society.
263
264
265
268
52. To the King^ thai he war Johne Thomo-
sum's Man,
This must have been written, and probably
some years, after the king's marriage.
53. To the King, quhen many Benefices vakit
Probably written between 1503 and 15x0.
54. To the King, after the Benefices were filled
up.
Written soon after the preceding.
55. To the King, recalling his Services,
•* Schir, Jit remembir as of befoir."
This appears to be one of the later petitions to
the king, but probably written before 151a
56. To the King, Of the Warldis InstabilitU,
The refrain and the renewed references to Dun-
bar's services point to this as about the same
date as the preceding.
Page
218
205
208
104
226
271 ^1' To the King, Dunbat's Complaint. 212
Of uncertain date, but evidently pointed at
some unworthy person promoted in the Church
to vacant bendlces; probably written before
1510.
^ 274
58. To the King, Dunbar's Remonstrance. 220
From the reference to '• pryntaris," line 16, this
must have been written after 1507, when the first
printers came to Scotland.
215 59- ^^ l^^ King, The Petition of the Gray 215
Horse, Auld Dunbar.
This is the last of the petitions, written pro-
bably before 15 10. when his p>ension was raised
to {fio.
APPENDIX.
clxvii
SCKIPPCX.
TiTLB OP Poem.
Scottish
Text
Socumr.
Page
259
60.
Of Discretiaun in Asking.
This and the two followmg were evidently
written about the same time, and from the refer-
ence to the Abbot of Tmigland, p. 88, line 36,
after October 1507. They sum up Dunbai^s
philosophy on the subject of petitions.
P»«e
84
260
61.
Of Discretiaun in Geving.
87
261
62.
Of Discretiaun in Taking.
90
247
63-
Welconu to the Lord Treasurer.
This may very probably have been written on
the receipt of his first term's pension, at the rate
of jf 80, on Nov. II, 1511.
264
248
64.
To the Lords of Exchequer.
This may have been written in 1512-13, when
his pension seems to have been irregularly paid,
and in part forestaUed by payments of smaller
sums before the time when it was due.
255
253
6s-
Every one his own Enemy.
" He that hes gold and grit richcss."
The lines 21, 22 —
" Now all this tyme lat ws be miny,
And sett nocht by this warid a chirry,"
connect this with the following.
134
316
66.
Eul/ oft I mvss and hes in thocht.
With the refrain —
" For to be blyth me think it best"
Of uncertain date, but probably written after
1510, when Dunbar was taking a more tranquil
view of life, but still recalled the worid's un-
kindness, line 31. This and the following poem
seem connected by their tone, but whether written
at the same time is uncertain.
no
319
67.
Hermes the Philosopher.
'* Be mirry and glaid, honest and vertewous,
Ffor that suffisis to anger the invyous." •
108
clxviii
INTRODUCTION.
SCHIPPBR.
TiTLB OF POBM.
Scottish
Text
SOCIKTT.
Page
292
68.
In Praise of Aberdeen.
"Blyth Aberdein, thow beriall of all
tounis."
This was written on the queen's visit to Aber-
deen in August 151 X.
Page
296
69.
How sowid I rewiil me, or quhat wyiss.
This is in a similar vein to the next poem, and
probably written towards the close of James IV.'s
reign.
95
298
70.
Of Denting.
** Musing allone this hinder nicht"
This was evidently written, from the reference
in line 46, in the latter part of the reign of James
92
301
315
316
306
IV.
71. Of Covetts.
" Ffredome, Honour and Nobilnes."
Written while Dunbar was still at the Court,
and from its tone one of his later poems, but of
tmcertain date.
72. Of Content
Oi uncertain date, but in a similar moral tone
to the preceding.
73. Man, sen thy Lyfe is ay in Weir.
The refrain —
" Thyne awin gud spend quhill thow hes space,"
is Dunbar's advice against covetousness, but is
scarcely in his latest manner.
74. Rule of One's Self
"To dwell in court, my freind, gife that
thow list."
In a similar strain to No. 69.
158
230
152
98
APPENDIX.
clxix
SCHIPTBR.
Title op Pobm.
Scottish
Text
SOCIBTV.
Page
75-
Meditatioun in Wyntir.
Might have been written in any winter, but
from the reference to age (line 31), probably not
earlier than X5ia
Page
289
76.
Of the Changes of Lyfe.
Might have been written on any sudden change
of weather, but probably, from its tone, after
1510 and before 1513.
232
• • •
77.
Ballate against Evil Women,
Of uncertain date, but probably between 1508
and 1513.
266
140
78.
In Prays of Woman.
The pahnode for the preceding, and probably
written shortly after it.
170
4. Poems probably written after 15 13.
SCHIPPKS.
Title of Poem.
Scottish
Text
Society.
Page
■ • •
79. Doun by ane Rever as I red.
Of uncertain date; but the reference to the
deaths of kingis and lordis (line 5) perhaps points
to a date soon after Flodden.
P»«e
30s
322
80. To the Quene-Doutager.
"0 lusty flour of ^wth, benyng and
bricht"
The reference to the king's death (line 35)
points to this having been written after Flodden.
326
clxx
INTRODUCTION.
SCHIPPBR.
TiTLB OP POBM.
Scottish
Text
SOCIBTV.
Page
347
348
325
330
312
336
81. Ane Orisoun^ quhen the Gauemour past in
France.
Written in June 1517. when Albany, after a
second attempt to govern Scotland, returned to
France, leaving De la Bastie as his representa*
tive.
82. Quhome to sail I camplene my wo.
Of uncertain date, but from the tone and (line
"9)
" In prinds is thair no pety,"
probably after 1513.
83. Against the Govemaur,
''We Lordis hes chosin a chiftane mer-
vellus."
Written some time after Albany's departure in
June 1517, urging his return, probably in 1520.
He did not come back to Scotland till November
19, 152 1, when Dunbar was probably dead.
84. The Merle and the Nychtingale,
" In May as that Aurora did vpspring."
This and the following poems mark the transi-
tion to Dunbar's latest period, in which it is pro-
bable his hymns were written. He has aban-
doned finally earthly love, and his thoughts
centre on religion and the love of God.
85. Of Lufe Erdly and Divine.
" Now cumis aige quhair Jewth hes bene."
86. All Erdly Joy returnis in Pane.
A Lenten meditation, probably written after
87. The Taible of Confissioun.
" I cry The mercy, and lasar to repent."
This confession of a priest familiar with the
Roman doctrine of Confession probably belongs
to the close of Ehmbar's life.
Page
23s
102
237
174
179
76
65
APPENDIX.
clxxi
SCHIPPKK.
Tmji OP Poem.
Scottish
TBct
Socimr.
Pkge
334
88.
A Prayer.
This and the followmg rdigioiis poems or
hymns on the Christian year were probably
written after 1513, bat may have been written for
the services to which they refier in eariier yeais^
.Page
267
338
89.
Bymn far Christmas^ or the Festival of
Nativity.
" Rorate celi desuper ! "
72
• • «
90.
Another Christmas Hymn.
"Jerusalem reioss for joy."
322
• • •
91.
Another Christmas Hymn.
" Now glaidith euery liffis creature."
324
• • •
92.
Another Christmas Hymn.
" The Sterne is rissin of our redemptioun."
328
322
93-
Hymn far Lent.
" synfull man, thir ar the fourty dayis.
280
343
94.
2^ Passioun of Christ — Hymn for Good-
Friday.
At the date when this was written, Dunbar,
from the opening lines, appears to have been
resident in a monastery, so it deariy belongs
to the penod of his life after 1513.
239
345
95-
The Resurredum of Christ — Hymn far
Easter.
" Surrexit Dominus de sepulchro.**
154
345
96.
Another Hymn far Easter.
" Done is a battell on the dragon blak."
156
341
97.
Ane Ballot of our Lady. Hymn to the
Virgin.
269
clxxii
INTRODUCTION.
SCHIPPEK.
TiTLS OP POBM.
Scottish
Text
bOCIXTT.
Pkge
• • •
98.
Another Hymn to the Virgin.
** Roiss Mary most of vertew virginall."
Page
272
349
99.
0/ Afan^s Martalitie, Hymn far Ash
Wednesday.
" Memento, homo, quod cinis es ! "
This and the two following poems, whether
written at the end of his life or not, were evi-
dently written at a time when he contemplated
it as near.
74
3SO
100.
OfLyfe.
" Quhat is this lyfe hot ane straucht way
to deid.-
Might have been written at anj serious moment
of life, but probably towards its dose.
250
3SO
lOI.
Of the Warldis Vanity.
" wreche, be war ! this warld will wend
the fro.-
The same remark applies as in the preceding
note.
244
III.— NOTE ON THE VERSIFICATION AND METRES
OF DUNBAR.
By G. P. M'Neill, Esq., LL.B., Advocate.
Dunbar's poems, regarded exclusively in their formal aspect, may
be divided into three general classes : (i) that in which alliteration is
the basis of the structure of the verse ; (2) that in which the verse is
made up of rhymed couplets ; and (3) the more elaborate poems,
in which the verse is formed into strophes of greater or less
intricacy.
APPENDIX. clxxiH
I.— Alliterative Verse.
Dunbar's poems afford only one example of this style of verse, —
only one piece, that is to say, in which alliteration is the means
whereby the language is measured out into regular divisions, for
alliteration is frequently employed by Dunbar in his rhymed verse as
an ornament But in " The Tua Mariit Wemen and the Wedo " (p.
30} the alliteration is the basis of the verse. This poem is the longest
of those known to be by Dunbar, and, with the exception of " The
Freiris of Berwik," the longest of those attributed to him. It extends
to 530 lines. The form is best exhibited by an example. In the
following extract, which includes the first ten lines, the skeleton of
the verse is brought into prominence by typographical devices, the
caesura being marked by a bar and the letters forming the alliteration
being printed in italics :—
" Apon the A/idsumer ewin, | Miriest of nichtis,
I mwrit forth allane, | neir as jmdnicht wes past,
Besyd ane^udlie^rene^fEuth, | foil oigsty flonris,
/^egeit, of an Auge Aicbt | with Aawthome treis ;
5 Quhairon ane Ard, on ane ^ransche, | so Airst out hir notis
That neoer ane A3rthfollar ^ird | was on the ^euche harde :
Qohat throw the jugaiat jound | of hir iang glaid,
And throw the jaoar ianathie | of the judt flouris,
I drew in <feme to the djk \ to </irkin eftir mjrthis ;
10 The tffew tffonldt the dkill, | and ^ynarit the foulis.**
If these lines are read with a natural emphasis, it will be seen that
the verses fall each into two hemistichs, containing each two accented
syllables and an irregular number of unaccented syllables. Thus in
line I, the division or caesura is marked at the word eruin; the ac>
cented syllables in the first hemistich being the first oiMidsumer and
the first of ewin^ while those of the second half-line are the first of
mirriest and the first of nichtis. The same accentual structure will be
observed in the remaining lines. The metre, then, depends, in the
first place, on the regular recurrence of four accents in each verse.
It is like the measure of "common time" in music, which is marked
by four beats in every bar. In the second place, the verse is measured
out by alliteration according to ascertainable rules, the chief and
simplest of which is that in every line the first three of the accented
syllables shall begin with the same consonant This is the most
generally observed rule of alliterative poetry, although it is not very
strictly followed by Dunbar. Lines 5, 6, 7, and 8 of the above-quoted
passage give good examples of its application. But the rule is fol-
lowed with constancy only in the earlier specimens of this verse,
which, as is well known, was the original form assumed by the poetry
of all nations of a Teutonic origin. The verse was treated with much
more freedom in later times ; and as this poem of Dunbar is one of
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APPENDIX. Clxxv
be seen, the rhymed couplet is exhibited in many aspects in the more
complete strophes which he most affected. The poems in this measure
may be divided according to the length of their lines into {a) long or
five-foot couplets, and (d) short or four-foot couplets.
(a) Long- C&upieis,
There is only one piece of this kind, the lines " In Prays of Woman "
(p. 170}, among the poems known to be by Dunbar ; but the long nar-
rative poem, " The Freiris of Berwik " (p. 285), which is attributed
to him, is an excellent example of its adaptation to popular poetry.
The versification of these two poems exhibits the same general
characteristics, and the first seventeen lines of the longer poem may
be taken to display its structure. The signs used are as follows:
The mark | divides the line into feet ; the double bar || notes the posi-
tion of the caesura ; the mark ^ represents an unaccented syllable,
and "" one which bears the metrical accent
" As It I beiSD, D &nd h2pp|liinlt In-ttd deid,
\^poQn I & levCr, thfi qOhilk | b cSllpt TwSid ;
At TuFjBdtls mdwth \ thair stftndb | & ii6b|ni tdiio.
Qnhalr mdnty lOrdb y bCs btee | df grit | rtedviie,
5 Qahalr mOnOr ft Uldy y bene | Oir | df filce.
And mdny | ftne frCscM y l&st|f gftUI&nd wftss.
!n-td I this tdan, Q th« qnhilk | Is ciim | Berwik.
\^poan I the sfiy U thaIr stfindjls n&ne | It lyk,
F6r it I b wftlDt wdU | &bdwt | with stfine,
10 And ddw|ben stflnkb Q c9st|In mOn|y fine ;
And syne | the cSsteil y is | s5 strftng | And wicht,
With strait | tdwrls y And t&iiftttii he | 6n Idcht ;
The wftlljls wrOdit y criLftieiy I wtth&n ;
The pOrtjdUes y mtet s&b| tfilf 1 16 Oil,
15 Qohen thftt I thftme Dst y td diftw | thftme Vplo&n hicht ;
Th&t it I mlcht be y fifnA | mAner | df micht
T6 win I th&t hoOss y be criLft 1 6r sab{tatie. "
It will be seen that the simplest and normal unit of this verse con-
sists of two lines, consisting each of ten syllables, alternately unac-
cented and accented, having each a pause or break after the second
accented syllable, and bound together by the rhyming syllable at the
end of each.
This is the form of verse known as the heroic couplet The oldest
specimens of its use are found in early French or Anglo-Norman
poets, from whom it was probably adopted into this country. It be-
came by far the most frequently employed verse in English poetry
from the fourteenth century downmrds. It is the predominating
metre of the " Canterbury Tales " ; and, as the influence of Chaucer is
ever3rwhere visible in the poems of Dunbar, it may be assumed with-
out going wide of the mark that Dunbar, if he be the author of the
clxxvi INTllODUCTION.
" Freiris of Berwik," wrote it on the model of the " Canterbury Tales."
The metre was in older times called " riding rhyme/' — a name which
Dr Guest suggests may have been derived from the mounted pilgrims
of the " Canterbury Tales." Whether that be so or no, it became
recognised as the appropriate measure for such stories as the " Freiris
of Berwik.** Gascoigne, in his * Instruction concerning the making of
Verse* (1575, ed. Haslewood, p. 12), lays it down that "this riding
rime serueth most aptly to wryte a merie tale." It has remained to
this day an exceptionally favoured form for narrative poems, especially
with that school of poets who in recent times have sought to revive
the interest in medieval subjects and artistic methods, and of whom
Mr Swinburne and Mr William Morris may be taken as representa-
tives. The variations from the normal standard to which it is sub-
jected in Dunbar's hands are much the same as those exhibited in
Chaucer. They may be shown by a detailed examination of the lines
quoted. Thus : —
Line i contains eleven syllables instead of the normal ten, the last
syllable of ** happinit " not being necessary except to g^ve variety to the
verse. The same peculiarity marks the second foot of line 2, giving
it what is called a feminine caesura — t^., a strong pause or break after
an unaccented syllable, and not, as in the more ordinary case, after one
which is accented. The third foot of line 3 has a similar variation, if
" standis " is pronounced as a dissyllable. Line 4 is like line 2. Line
5, on the other hand, wants a syllable to complete the fourth foot.
Probably the line is corrupt as printed. It may have been written
regularly —
" Quhair mony a lady bene and fair of face."
If the reading of the Maitland MS. given by Mr Small in his footnotes
be adopted, the line reads regularly, thus —
" Quhair mony wourthy ladeis fair of face."
It may be noted here that an examination of the metre of this poem
reveals the fact that the text of the Maitland MS. is far purer (from
this point of view) than that of the Bannatyne MS., from which Mr
Small has printed his copy. The line at present under consideration
is only one of many that go to show this purity. Other examples are
present in the passage above quoted. Thus, line 12 in the Bannatyne
MS. reads as above —
" With strait towns and turratis he on hicht,"
wanting a syllable to complete the second foot. The Maitland MS.
has it rhythmically and poetically better —
'* With staiteiie towns and turratis he on hicht"
Similarly, line 13 in the Bannatyne MS. reads —
" The wallis wrocht omftely withaU,"
APPENDIX. Clxxvii
wanting a syllable in the third foot The Maitland MS. gives—
" With kirnals dosit most craftelie of all"
This diversity of readings occurs over and over again in favour of the
Maitland MS. throughout the poem, with so great a frequency as to
make it matter of regret that this manuscript was not made the basis
of the printed text Compare lines 60, 65, 68, 88, 90, 115, 146, 150,
&c. Indeed the instances are few in which the Maitland MS. does
not give a better reading, metrically considered, than the Bannatyne,
while it may be noted that this refinement can be traced also in the
omission from the Maitland of some of the obscene passages contained
in the other MS.
The passage cited g^ves no example of a variation seen elsewhere
in the poem and often in Chaucer, the omission of the unaccented
syllable from the first foot of the line. This occurs in the first line of
the shorter poem, "In Prays of Woman " —
" Now I of wejmen this 1 1 say | for me ; '*
and in line 33 of the " Freiris of Berwik ** —
" Frdr | Allaiie, | and Freir | Robert | the uder."
For a full history and examination of this verse, see Schipper (work
cited), p. 434 et seq., and compare Guest's 'History of English
Rhythms ' (ed. 1882X Book III., chap. vii. A good general view of the
change which has been brought about in the treatment of the heroic
couplet in modem times is given by Mr Sidney Colvin in a critical
examination of " Endymion " in his monograph on Keats.
(b) Short Couplets.
The heroic couplet was not so favoured a form with Dunbar as the
short couplet of lines of four accents. The poems in this measure
are more numerous, and they are wrought out metrically with more
elaboration of their formal effects. These are— (i) Dunbar*s Dregy to
the King (p. 112), with the exception of the responses; (2) the satiri-
cal piece against the Solicitors in Court (p. 206) ; (3) Dunbar's Com-
plaint to the King (p. 212); (4) Dunbar's Remonstrance to the King
(p. 220). To these must be added, to make the list complete, the
eight lines (at p. 217) in which the King gives his responsio to the
Petition of the Gray Horse, Auld Dunbar.
The metre in which these pieces are composed was widely popular
in the thirteenth, fourteenth, and fifteenth centuries. It was employed
more especially for religious poems, such as homilies, legends of the
saints, Scriptural paraphrases, and the like. It would be familiar to
Dunbar in the works of Barbour and Wjrntown, who have a place in
his " Lament for the Makaris." Dunbar uses the verse, however, not as
these writers did, for long poems of sustained narrative, but for brief
epistolary pieces of a satirical or moralising purport In his hands,
clxxviii INTRODUCTION.
too, its capabilities as a means of musical expression have been largely
developed.
The unit of this verse is a pair of lines of four iambic feet, the lines
being undivided in themselves by any caesura (as the longer metrical
pause falls naturally at the end of each), and joined together by a
rhyme. For example, take lines 21 and 22 of the Remonstrance to the
King, a poem which exhibits Dunbar's treatment of this verse in its
most varied form —
'* And richt I c6nven|i&it fdr | td be ||
With ^ur I high r€|gftle mfiljesae." [|
This couplet shows the metre in its simple, normal form. The devices
by which it is varied and moulded — ^as the admission of unaccented
syllables superfluous to the strict metre, the omission of unaccented
syllables necessary thereto, the shifting of the accent from its normal
place in the foot, the occasional employment of a caesura or break with-
in the line, and the change of the rhyme from one to two syllables — are
lavishly exemplified in Dunbar, in whose verse the normal couplet
never predominates. An analysis of the first twenty lines of the poem
mentioned will make this clear : —
*< Schir. ^ I h&ue mo|njF s&tvItoQris,
And df|f[cifiris | df djru)£rs cQris ;
Kirkmfin, | coQitmfin, | find cTftftis|men fyne ;
DSctoiiris I In j&re, | ftnd mSdjIcyne ;
5 pivin|otlris, rSthdris | ftnd phliosidpboiiris,
AstrOI|dgis, ftrtlstis, | ftnd oiifttoGris ;
MSn I df ftrmes, | ftnd vailj^&uid knychtis,
And mdn|y vth|£r gud|lle wichtis ;
Miislci|&nis, mgnstiftlis, | ftnd mir|rle sing&ris :
10 Ch6vftl|otiTis, caljlftndftris, | ftnd flingftris ;
CQn)Oiiris, | cftrvoiiris, | ftnd car[pSntftiis,|
Beildftiis I df bftrkis, | ftnd bfil|Ung&ris ;
Mftsoiinis, | lyftnd | ^^n | thS Iftnd,
And schlp-jwilchtis hSwftnd | vpone | thfi strftnd ;
15 Glasing I wrichtis, gdldsmjKhis, | ftnd lapjldftris,
Pryntoflris, | pftjrntduris, | ftnd pOtjIngftris ;
And &U I df thftir I cx&ft | dinning,
And &U I ftt ftn|Is Iftw|bdring.
Quhllk pleisjftnd ftr | ftnd hdnjdrable ;
ao And td | ^ottr hlelnSs prd|fltftble."
The great flexibility of the verse is seen in the different ways in which
each line varies from the normal standard of four iambi. Thus, line
I has the accent on the first syllable of the first foot instead of the
second. The same variation is seen in line 4. In lines 3, 11, 13, and
16, this transposition of the accent extends over the first two feet
Line 5 is conspicuous for the number of extra unaccented syllables it
contains. This amplification of the line is seen, though not to so great
an extent, in lines 6, 9, 14, and 15. The converse variation, a defect
APPENDIX. Clxxix
from the ordinary number of syllables, is seen in lines 7 and 17. And
in many of the lines the effect of a caesural pause, which was not
often sought for in the earlier examples of this metre, is gained. It
comes generally at the end of the second foot To use so gTeaX a
licence of departure from the normal verse without impairing its
rhythm — and Dunbar's verse is always musical— demands the highest
skill in the versifier.
For earlier examples of this metre and its history, see Schipper
(work cited), p. 258.
III.— Pieces in Strophic Form.
Nearly the whole body of Dunbar's poetry is written in a strophic
form ; and as the strophe was the most highly artificial development
to which English versification had attained in his time, the fact is
evidence of the specially formal excellence which characterises
Dunbar's poems as a whole as well as individually. And the
strophes in which he writes are not the simple strophes of popular
poetry, but the more elaborate forms seen in courtly and scholarly
verse.
The strophe, as it occurs in Dunbar, may be defined as a series of
lines bound together into a distinct unity by means of rhyme, and
(although this is only generally true) by the content of the logical
period to which the lines g^ve expression. The lines which make up
the strophe are subject to internal variations of accent, syllabification,
and caesura, similar to those noted in considering the couplet ; and
the points specially to be kept in view in examining the strophe are
the number and length of the lines, the number and arrangement of
the rhymes, and the presence or absence of a refrain — f>., a line which
recurs in the same or similar terms at the end of every strophe.
The simplest division of Dunbar's pieces in strophic form separates
(A) strophes made up of lines of equal length from (B) strophes of
unequal lines. The former class may be subdivided into (i) strophes
without refrain, and (2) strophes with refrain.
A (i.) — Strophes of Equal Lines without Refrain,
First, there is the strophe of five lines with two rhymes, arranged
thus — ao, bb^tu As an example, take the first strophe of the lines " To
a Lady" (p. 223):—
5 "Sweet foissofvertew and of gentlbMJ, a
5 Ddytsmn lyllie of everie lustyiMj, a
5 Richest in bonde, and in bewtie clbir, b
5 And everie veitew that is held most deix, b
5 ExoqH onlie that )e ar mercyiSuj.'* a
This is in lines of five feet The other pieces in the same long line
Clxxx INTRODUCTION.
are—*' How Dumbar wcs desyrd to be ane Freir" (p. 131), (although
the first line of this piece wants a foot) ; ** Lucina schynnyng in silence
of the nicht " (p. 149). and " The Dream " (p. 257). The same strophe
in lines of four iambi is used in the following : " To the King, quhen
mony benefices vakit '* (p. 205) ; ** Of the changes of Lyfe " (p. 232) ;
" Meditatioun in Wyntir " (p. 233) ; " My heid did Jak 3estemicht "
(p. 254) ; and " My Lordis of Chacker " (p. 255). As an example of
the four-foot line, the first strophe of the piece last mentioned may
serve : —
4 *' My Lor)dis of Chack|er, pleis | ^dw td Msir a
4 My coumpt, I sail it mak )ow cUir^ a
4+ Bat ony dronmstanoe or SON^IB ; b
4+ For left is nether corce nor CUN^IE b
4 Off aU that I tuik in the ^>." a
Guest gives this strophe the name of roundle-stavet because it
appears twice in the old French rondel. Schipper treats it as a
development by the omission of a line from the strophe of six lines,
exemplified in Dunbar's "Petition of the Gray Horse" (p. 215), to be
afterwards examined. See Guest, p. 644 et seq.j Schipper, p. 377.
Second, there is the strophe of seven five-foot lines with three
rhymes, arranged according to the scheme ab, ab^ bcc. This is a
form very largely exemplified in English poetry from Dunbar's time
downwards ; and though his own poems give only five instances of
its use, the importance and technical superiority of the pieces show
the measure to have been a favourite one with Dunbar. These ^S9,
pieces are— <i) "The Thistle and the Rose" (p. 183); (2) "To a
Ladye " (p. 245) ; the single stanza, " Quhat is this Lyfe " (p. 250) ;
the " Ballate against Evil Women " (p. 266), the last strophe of which,
the envoy, has, it may be noted, an additional line ; and the piece
beginning " O synfull man, thir ar the fourty dayis " (p. 280). The
first strophe of " The Thistle and the Rose " may be taken as an
example of this form : —
5 "Quhen Merche wes with variand windis/oj/ a
5 And Appryll had, with hir siluer SCHOURIS. b
5 Tane leif at nature with ane orient blast ; a
5 And lusty May, that mvddir is of flouris, b
5 Had maid the birdis to begyn thair HOURis b
5 Amang the tendir odouris reid and quhyt^ c
5 Quhois armony to heir it wes delyt.*' c
This is the measure known as rhyme-royal since James I. wrote the
" Kingis Quair." The earliest known instance of its use in English
poetry is in Chaucer's " Complaint of the Dethe of Pitd." It was
largely employed by Chaucer (it is the metre of four of the " Canterbury
Tales"), Gower, and Lydgate, from whom in all probability Dunbar
adopted it It remained after Dunbar's time one of the most im-
portant forms. Spenser and Shakespeare used it, and in Scotland Sir
David Lyndsay exemplifies it often. Gascoigne, in his ' Notes of
APPENDIX. Clxxxi
Instruction ' (ed. Arber, p. 38}, thus describes the measure : *' Rythme
royall is a verse of tenne sillables, and seuen such verses make a
stkffc, whereof the first and third lines do aunswer (acrosse) in like
terminations and rime; the second, fourth, and fifth do likewise
answere eche other in terminations, and the two last do combine and
shut up the sentence : this hath bene called rithme royall, and surely
it is a royall kinde of verse, seruing best for graue discourses." To a
similar effect regarding the merits of this metre speaks Mr Coventry
Patmore (work cited, p. 260) : " Perhaps the stateliest and most
truly heroic measure in any language, dead or living, is the ' rhythm
royal,' a stanza of seven ten-syllable lines, with three sets of rhymes
so distributed that the emphasis derived from rhyme, in one part, is
exactly neutralised by a similar concentration upon another.*' See
further Guest, pp. 638, 639 ; Schipper, p. 426. Schipper lays it down
as probable that this strophe was developed by the omission of a line
from the eight-lined form next to be considered.
Third, the strophe of eight five-foot lines with three rhymes thus
arranged— a^, a b, be, be, Dunbar is fondest of this strophe, with the
added ornament of a refrain. Of the simple form, without refrain, he
g^ves only one example, "The Flyting between Dunbar and Kennedy"
(p. 11); although the fragmentary verses beginning "In all oure
gardyn" (p. 321), and attributed to Dunbar, are in this strophe.
A sample strophe may be taken from " The Flyting " : —
5 " Fonronhin fule, of all the warld rtSuse, a
5 Qohat feriy is thocht thow reioys to flyte ? b
5 Sic eloquence as thay in Erschry vse, a
5 In sic is sett thy thraward appervTE ; b
5 Thow hes foil littill feill of Cedr inDTTE : b
5 I tak on me ane pair of Lowthiane hippis c
5 Sail iaiiar IngUs mak, and mair parFTTE, b
5 Than thow can blabbar with thy Carrik lippis" c
This strophe is chosen from the second of the parts of the poem by
Dunbar in order to exhibit the arrangement of rhymes as Dunbar
usually employed it — ab, ab, be, be. This order is kept up in the poem
by Dunbar throughout, except in the three opening stanzas, where
the arrangement is one of close rhyme in the second half of the
strophe, thus : ab, aby be, eb, — an order which Kennedy maintains
throughout his sections of the poem : e^., the second quartet of the
first strophe by Kennedy runs —
5 " Mandiag, mymmerkin, maid malster hot in Mowis, b
5 Thryse scheild trumpir, with ane thrdd hair goun, c
5 Say Deo mercy, or I can cry the doun, c
And leif thy ryming, rebald, and thy Rowis." b
The " Flyting " is especially worthy of notice in a study of the formal
aspects of Dunbar's poems, inasmuch as the respective combatants
who strive to outdo each other in invective, strive also each to exhibit
clxxxii INTRODUCTION.
a superiority over the other in the technical skill of his craft Dun-
bar opens the contest with three strophes of excellent structure, but
revealing no particular effort on the part of the poet to give them ex-
ceptional formal polish or adornment Kennedy answers with three
strophes similar in every respect, save that there is to be traced in his
lines a more obvious striving after ornamental effects of alliteration
than was manifested by Dunbar. It may easily be assumed that this
peculiarity put Dunbar on his mettle, for in the following strophes
from his hand alliteration is introduced into the already complex and
difficult rhyming verse with a profusion and ease which show the
hand of a master. The second strophe on p. 17 is as good^an instance
of this ostentatious display of alliteration as can be found in the
poem.
" A^yse nagus nipcaik, with thy schulderis narrow,
Thow Aikis lowsy, /bun of /bwnis aw ;
l/aid iturcheoan, Airpland, ilippit as ane Harrow,
Thy figbane rattillis, and Uiy ribbis on raw,
Thy Aanchis ilirklis, with Aukebanis Majth and Aaw,
Thy Authly /ymis ar /ene as ony treis ;
03ey, theif ^aird, or I sail ^k thy gaw,
FTowl ourybald, ny mercy on thy ihkds."
Even this free and copious use of alliteration in a strophe already
complete without that device did not exhaust the technical resources
of the poet In the two concluding strophes he introduced no less
than three internal rhymes in each line of the strophe. The allitera-
tion is, of course, dropped ; but the diversity g^ven to the form of the
stanza by this device is a unique and masterly effect It is best ex-
hibited by breaking up the strophe into as many lines as there are
rhymes, thus (to take the last strophe by Dunbar) : —
" Mauch muttoun,
Vyle buttoun
Pdlit gluttoun
Air to Hilkouse; a
Rank beggar,
Ostir dregar,
Foule fleggar,
In the FLET ; b
Chittirlilling,
Ruch rilling,
Lik schilling
In the milhouse; a
Baird rehator,
Theif of notour,
Fals tratour,
Feyndis gett ; b
Filling of tauch,
Rak sauch,
Cry crauch,
Thow art our sett ; b
APPENDIX. dxxxiii
Mnttonn dzyrer,
Gtrnall lyver,
jAdswjvar,
FowU/iri/ tJU. c
Herretyk,
Lunatyk,
Pmspyk,
Caitingis PET. b
Rottincrok,
Dirtindok,
Crycok.
Or I san fiuU iAe." c
The skill of the virtuoso could hardly make more than this of the
strophe of eight lines from which Dunbar started. Kennedy en-
deavours to follow him, but seems to find it too hard. His alliteration
is neither so profuse nor so regular as Dunbar's ; and when he intro-
duces internal rhymes in the lines, it is timidly and tentatively {cf.
lines 481 ^^493^^.) only to drop the device till the concluding strophe;
in which, indeed, he succeeds in inserting his three rhymes after
Dunbar's model, but without Dunbar's force and effect He may
have felt the weakness himself, for he introduces a further device to
give brilliancy to his verse, the use of Latin. It may be that the Latin
was resorted to in order to find feminine rhymes — a diflScult thing to
do in addition to so many other technical difficulties ; but Dunbar
had succeeded in finding them in his own less inflected tongue. If
the colophon to the poem, ^ luge Je now heir quha gat the war," is to
be answered by a consideration of the formal merits of the several
poets, there need be no hesitation in assigning the palm to Dunbar.
For early examples of this measure, see Guest, p. 635 sq. ; Schipper,
p. 42S.
Fourth, the strophe of nine five-foot lines with two rhymes, used
only once by Dunbar in the "Goldyn Targe" (p. i). The rhyme
scheme is aa ^, aa ^, ba b^ as seen in the first strophe : —
5 " Rygfat as the stem of day b^goath to sckput a
5 Qaben gone to bed war Vesper and Xjocynt a
5 I raise, and by a rosere did me rkst ; b
5 Wp sprang the goldyn candill niatn/|r»« a
5 With dere depnrit hemes cristall/M, a
5 dadfaig the mery foolis in thair nbst ; b
5 Or Phdms was in. parpnr ci^ revKST b
5 Wp raise the lark, the herynsmenstraleyjwr a
5 In May, in till a morow myrthfollEST." b
Chaucer uses this strophe in ^ Queen Anelida and False Arcyte," and
it was probably from Chaucer that Dunbar adopted it
It should be noted that the last strophe of the " Goldyn Targe " is
an etivoy or postscript appended to the main body of the poem, after
Clxxxiv INTRODUCTION.
a fashion popular among French poets, and followed occasionally by
Chaucer. See Schipper, p. 334 sq.
To complete the list of strophes in equal lines and without refrain
employed by Dunbar, there is the strophe of eight four-foot lines
with four rhymes, which occurs in only one piece, " The Testament of
Mr Andro Kennedy" (p. 54). The rhyme scheme is ab, ab, cd^ cd, as
in this strophe : —
4 + " Ipse est dulcis ad amandum, a
4 He wald oft ban me in his breith, fi
4+ Det michi modo adpotandum, a
4 And I forgif him laith et wraith : b
4+ Quia in cellario cum cervisia, c
4 I had lever lye baith air and lait, d
4+ Nudus solus in camesia^ c
4 Na in my Lordis bed of stait ; " — d
though occasionally the rhymes are restricted to two— abab, abab —
as in strophes i and 11, or to three — ab^ ab^ ac, ac — as in strophe 9.
A (2.) — Strophes of Equal Lines with Refrain,
The strophic form, it has been said, was especially favoured by
Dunbar, nearly all his poetry being written in that shape. The still
more complex form of the strophe with a constantly recurring refrain,
which involves a greater versatility in the handling of the same rhyme
than the simple strophe demands, was his favourite style of strophe,
for nearly two- thirds of his strophic pieces have a refrain. The law
of the refrain followed by Dunbar may be stated simply as enjoining
that the closing verse of every strophe shall be the same. This, of
course, makes it necessary that all those verses which rhyme with the
closing verse in the strophe should rhyme with each other throughout
the whole poem. Accordingly, as one of the technical triumphs of a
poet is to find a wealth of rhymes, the number of strophes in each of
the pieces in this form should be noted in addition to the length of
the line and the number of rhymes in the strophe ; for, by using a re-
frain, the poet overcomes an ever-increasing formal difficulty with
each stanza he adds to his poem. The refrain was an early ornament
of popular poetry, in which it seems first to have arisen, and to have
come into artistically wrought verse through ecclesiastical chants.
Dunbar uses it in six different strophes of equal lines.
I. The strophe of two couplets in four-foot lines, — Dunbar has a good
number of examples of this form. The best known is the " Lament
for the Makaris" (p. 48), which exhibits its simple and effective struc-
ture well. Take the fifth and sixth strophes as an example —
4 •* Onto the ded gois all Estfl/w, a
4 Princis, Prelotis, and Potest^//j, a
4 Baith riche et pur of all deCRE ; b
R. 4 Timor Mortis coniurbat VL^. b
APPENDIX. CIXXXV
4 He talds the knychtis in to ieild^ a
4 Aoannit vnder helme et schtild/ a
4 V^ctoor he is at all melk / b
R. 4 Timor Mortis amiurbat UeJ' b
This is the Old French verse-form, the Kyrielle. The rules of its
structure are laid down at once by precept and example in Theodore
de Bauville's lines : —
** Qui yoadra S9avoir la pratique
De cette rime juridiqne,
Je dis que bien mise en effet
La Kyrielle ainsi se fait.
De plante de sillabes huit
Uses en done si bien voos doit ;
Pour £ure le couplet parfoit
La Kyrielle ainsi se fieut."
The pieces for which it is chosen by Dunbar may be enumerated in
the order of their extent, the longer ones coming first The list begins
with two of equal length — *^ The Lament for the Makaris " (p. 48), and
the Complaint to the King " Of the Warldis Instabilitie** (p. 226), each
of which extends to twenty-five strophes. The piece beginning " Ffre-
dome, honour and nobilnes" (p. 158) has eleven strophes. Three
pieces are written in ten stanzas each — "All Erdly Joy retumis in
Pane" (p. 76), "The Amendis to the Tel^uris and Sowtaris" (p. 127),
and the piece b^inning ''Man, sen thy lyfe is ay in weir" (p. 152}.
Two are in eight strophes each — " To the King, that he war Johne
Thomsounis Man " (p. 218), and the " Welcome to the Lord Treasurer "
(p. 264). The two addresses to the Queen, " Of James Dog " (p. 195),
and " Of the same James '* (p. 197), and the piece attributed to Dunbar
— " Gif je wald lufe and luvit be ** (p. 312) — have each six stanzas. One
piece in five strophes, ** A New Year's Gift to the King " (p. 256), and
one in four (with, however, the last line repeated at the end of the
poem), the piece beginning " Now fayre, fayrest ofiF every fayre " (p. 279),
complete the list
2. The strophe of five lines and two rhymes, — There are eighteen
pieces using this form with the four-foot line, which plainly suited it
best in Dunbar's fancy. These two stanzas may be taken as a
sample : —
" Off every asking followis nockt a
Rewaird, hot gif sum caus war wrochi; a
And quhair causs is, men weill ma sib, b
And quhair nane is, it wilbe tkockt a
In asking sowld discretioun be. b
Ane lule, thocht he haif causs or nane, a
Cryis ay, Gif me, in to a drene; a
And he that dronis ay as ane bee b
Sowld haif ane heirar dull as stane : a
In asking sowld discretioun be." b
clxxxvi INTRODUCTION.
The scheme of rhymes here, it will be seen, is aa, babj and this,
taken in conjunction with the fact of the presence of the refrain, ex-
plains the origin of the strophe. It is clearly an adaptation of that
five-lined strophe called by Guest the roundle-stave (and already ex-
amined), whose rhyme scheme is aa, bba. The change of the b rhyme
from the close one to an interwoven one made it possible to keep up a
refrain on the b rhyme, which occurs only twice in the strophe ; while
the a rhyme, which concludes the form of the strophe which has no
refrain, occurs three times. The pieces written in this form are, again
in order of length —
" This nycht in my sleip I wes agast " (p. 144).
'* Quhome to sail I complene my wo " (p. 100).
'* Schir, 3it remembir as of befoir " (p. 104).
\ Of Discredoun in Geving (p. 87).
.' <' Musing allone this hinder nicht " (p. 9a).
*' How sowld I rewill me, or quhat wyiss " (p. 95).
' Of Discretionn in Taking (p. 90).
*' In Asking sowld Discretioun be " (p. 84).
i « • Full oft I mvss and hes in thocht " (p. no).
' " Sanct Saluatour I send siluer sorrow " (p. 129).
To the Quene (p. 203). n
Of Content (p. 330). it „
'* Fane wald I Inve. bot quhair abowt " (attributed, p. 308). %% n
" Faine wald I, with all diligence " (attributed, p. 310). h „
" Rycht airlie on Ask Weddinsday " (p. 160). Six n
To the King (p. 208). ,t
' ' He that hes gold and grit richess " (p. 134). Five
Of ane Blak-Moir (p. 201). »
Twenty-one strophes.
Seventeen
II
It
If
Twelve
II
Eleven
II
Ten
II
Nine
If
tt
fi
Eight
II
Seven
ft
ft
tf
II
The piece beginning "Devorit with dreme" (p. 81) exhibits the
outward form of this strophe in five-foot lines, as it is printed in Mr
Small's text But by a free use of internal rhymes, Dunbar has con-
siderably complicated the structure of the strophe. This intricacy is
best exhibited by printing a stanza — take the first on p. 82 as an ex-
ample—with the rhymes displayed at the ends of the lines :—
2 * ^ Sz. mony lordis, a
3 So mony natural! fulis, b
2 That better accordis a
3 To play thame at the trulis, b
2 Nor seiss the dulis b
3 That commonis dois sustene ; c
2 New tane fra sculis, b
3 Sa mony anis and mvlis b
R. 5 Within this land was nevir hard nor sene." c
3. The strophe of seven lines and three rhymes, — This occurs in
Dunbar only in four-foot lines, and with the scheme of the rhymes
arranged aa, bb^ cbc. Thus : —
APPENDIX. clxxxvii
4 " Ane mvrlandis man of vplandis maJk a
4 At hame thns to his nychtboor spaJt, a
4 'Quhattydingisgossep, peaxorwEis?' b
4 The tother rownlt in his Eis, b
4+ ' I tdl )ow this vndir confessumn, c
4 Bot laitly lichtit of my MEIR, b
4+ I come of Edinborch fra the Sessioun.* " c
Dunbar employs this strophe in the five following pieces: "The
Wowing of the King quhen he wes in Dumfermeling," ten strophes
(p. 136); "Tidings from the Session," eight strophes (p. 78); "In
secreit place this hyndir nycht," nine strophes (p. 247) ; " Of a Dance
in the Quenis Chalmer/' seven strophes (p. 199) ; and the " Complaint
to the King aganis Mure,** four strophes (p. 210).
Guest (p. 650) treats this stave as an elaboration of that form which
he calls the roundle-stave (and which has already been examined)
by the prefixing of a couplet But examples of a seven-lined strophe
in this metre occur (though not in Dunbar) with the rhymes arranged
ab, ad, cdc, which points to the conclusion that the strophe had an
independent formation. See Schipper, p. 416.
4. Th^ strophe of eight lines with three rhymes, abab, bcbc. — This
is Dunbar's most favoured form for short pieces of a heroic or festal
character. It is the form by far most frequently exemplified in the
body of his poetry that has been preserved. Dunbar has this form
both in four-foot and five-foot lines, though the pieces in the latter
measure are much the more numerous. Those in the four-foot line
are the long poem of fifteen strophes beginning " Sen that I am a
presoneir** (p. 164), the first strophe of which, however, has only two
rhymesi thus — abab, abab ; the " Ballat of the Passioun of Christ "
(p. 239), a piece in eighteen strophes, but made up, so far as its form
is concerned, of two separate pieces with independent refrains, one
constant to eleven and the other to six strophes^ and of a strophe with-
out a refrain introductory to the whole piece ; the poem " Doun by ane
rever as I red " (p. 505) attributed to Dunbar, and extending to ten
strophes; and three pieces which have this special peculiarity, that
their refrains are in Latin, borrowed probably from the mass, *^ Rorate
celi desuper" (p. 72), seven strophes; '^ Memento, homo, quod cinis
es " (p. 74), six strophes ; and the attributed piece, " Jerusalem reioss
for joy" (p. 322X extending to five strophes.
There are twenty pieces in the same form in a five-foot line. Ballads
of ^st, strophes occur oftenest among these. Such are —
*' Hermes the Philosopher " (p. zo8).
' ' Surrezit Dominns de Sepiilchio " (p. 154).
'* Done is a Battdl 00 the Dragon Blak " (p. 156).
" Ane Orisoim" (p. 335).
*' We Lordis hes cbosin a chiftane mervellns" (p. 237).
** Gladetbe thone Qnejme of Scottis regioun " (p. 274).
m
II
II
tt
Clxxxviil INTRODUCTION.
" Now glaidith eoery liffis creature " (p. 324).
'* O lusty flour of ^wth " (p. 326).
" The sterae is rissm of our Redemptioun " (p. 328).
The remaining pieces in this form are —
*' I cry The mercy, and lasar to repent " (p. 65). Twenty-one strophes.
" In May as that Aurora did vpspring" (p. 174). ^
"The Ballad of Lord Bernard Stewart, Lord of
Aubigny"(p. 59). Twelve »
•« Blyth Aberdein " (p. 251). Nine n
' ' London, thou art of townes A per se *' (p. 276). Seven n
** To dwell in Court, my frdnd " (p. 98). Six h
** Roiss Mary most of vertew virginall " (p. 272). Six ti
*' Elegy on the Death of Bernard Stewart " (p. 63). Four ti
" Be 3e ane Luvar, think ^ nocht Je suld " (p. 162). Three
*' Learning vain without guid Lyfe " (p. 224). Three
*' O wreche, be war" (p. 244). Three
This form is no doubt a free adaptation of the French ballade^ in
which was cast most of the poetry of that trio of French singers who
were representative of their craft in Dunbar's own time — Charles of
Orleans, Ren^ Duke of Anjou, and Francois Villon. Dunbar's " bal-
lades " (to g^ve them that name) are not so strict in form as the French
poems, which consisted of three strophes each and a half strophe or
envoy, the rhyme scheme being the same as Dunbar's but the rhymes
of the first strophe being repeated throughout the whole of the poem.
Dunbar changes a series of rhymes in each strophe, and never uses
the " envoy " with this form.
King James, in his ' Reulis and Cautelis of Scottis Poesie * (ed.
Haslewood, p. 114), calls this form the Ballot Royaly and recom-
mends it *' for any heich and graue subjectis, specially drawin out of
leamit authouris."
5. The strophe of six four-foot lines with two rhymes, aaa, bbb, ex-
emplified in only two pieces by Dunbar — the " Petition of the Gray
Horse" (p. 215), containing eleven strophes, and the piece beginning,
** Now culit is dame Venus brand " (p. 179), extending to fifteen. The
refrain here is a couplet, which forms an appendage to the strophe,
like the " tail '* of the verse in the *' rime coude^ to be afterwards
explained.
4 " Now culit is dame Venus brand; a
4 Trew luvis fyre is ay kindil/aiMf, a
4 And I begyn to yn'djxstand, a
4 In feynit luve quhat foly bene : b
4 Now cumis aige quhair ^ewth hes bene, b
4 And trew luve rysis fro the spLENE." b
— See Schipper, p. 377.
1 A piece of fifteen strophes in all, but with alternate, and not, as in the usual
case, constant refiains, dividing the piece into sections of six and eight strophes
respectively.
APPENDIX. clxxxix
6. To complete the list of strophes of equal lines, with refrain,
used by Dunbar, account must be taken of the " responses " in " The
Dregy " (pp. 1 13, 1 14). Schipper treats the second of these (p. 382) as a
six-line strophe, consisting of a "head " and a "tail," like the pieces
in tail-rhyme to be afterwards examined. But neither of the other
responses has the final couplet, which is not an integral part of the
strophe in which these are written. It is a well-known French eight-
line strophe, and should be printed so : —
2 "God and Sanct Jeill, a
2 Heir yow convoT d
a Baith sone and weill, a
3 God and Sanct yeiJL a
2 To sonoe and still, a
2 Solace and jot, b
2 God and Sanct Geill a
2 Heir ^w oonvoT." b
This strophe answers the description of the "Triolet" of modem
French verse-writers, g^ven by Mr Austin Dobson (in the Essay
appended to * Latter-Day Lyrics,' London, 1878): "The modem
Triolet consists of eight lines with two rhymes. The first pair of
lines are repeated as the seventh and eighth, while the first is repeated
as the fourth. The order of rhymes is thus as follows — ab^ iuui, bitbJ*
Mr Dobson g^ves an instance of its use from Menage's " King of
Triolets," Jacques Ranchin, which is in four-foot iambic lines, an
easier form than the two-foot of Dunbar's examples.
Guest, whose notice this form, as exemplified in English verse, seems
to have escaped, quotes (p. 647} from 'Le Jardin de Plaisance,' a
French *Ars Poetica' of the fifteenth century, this example of the
strophe, which then was known as a " common rondeau** : —
" Ainsi se font communs rondeaulz,
Ne plus ne moins que cestuy d,
Tant de vont que de yont deaux.
Ainsi se font communs rondeaulx.
Plusieuis gentils et mains bourdeaux
Faillent silz ne font par tel cy,
Ainsi se font communs londeaubc,
Ne phis ne moins que cestuy d."
^.— Stkophes in Lines of Unequal Length.
(i.) Strophes in Tatl-rhpne,
Tail-riiymey versus caudatus, rime-cauie, is a name g^ven to a form
of verse which seems to have originated in the Latin lyrical poetry of
the Church, to have passed thence through Latin popular poetry into
the vernacular verse of England and France, in both of which
countries it became a much favoured form for popular poetry. (See
iannBQC}CdnEn9L
^tn-ii-^^Tiw X. SS- ^^ 3<^ rimnnmrng aLXimut: <if Bos ilffmBifiuJ cDciB.)
Ix 3B fiinQueaii &C1C ids srrpde in: SBinaniiK {zanamos «f sbk IIbcs^
(fisriaffiur oxoi* ishrx astsons <if^ lju'iil 1th*t tfiHTTf; uQk ifrnr (bbia Sbcs crf^
CSK& « w^ i 3w m - i ii r i in ^ t^ ••'Tifffif.'' ami gawumui; mynAm ; t&c
SBCCnn;. aii£ tse ^trmywi^ <]£ ujifiniK.'v lAmv Ifenn, 'Aat*. t::jx. T&c Bbc erf*
oas 13eI is in oc tnrfh^^r 'Sarms^ liiiir j H! ov- <iiik amc t&azi c&e besof
Sz-'niaiiSBXaccaa-'*^';^ o^z)):: —
^ i^iifiBu 'luftwr wts 3ns (Tiii'iiinf .J^im^ u h ^
4: SsimiifiBr^iaffaie^tice vttQMB; >r)^
tfmmnnn thniL. £1: is tn ae naoBEi.. &uwever, c&at Oon&ar uses
sonpiie: sLcuyiie ctniT ox c&e uue ^oon: just C!TBrf> Ss piigiifiv nn
DiLyuie 2ZS fiscc&iet mxsat port nt c&c nmE&eiuQuialKaoii Dzobt c&swfio^ped
fimns of tfxe smsp&s.
c la. npa paemsv '^Tlxe Dttrrre of c&e Seviir DesET %tiiiss*
(^ CC7, anf ''^Tte Txrnamenc'* {-^ c^v ^ ^laes the aiLii|ift e ^
cwove Imes made n^ of cwa of me ampier sonpixes Hiat oenxgirfiedL
che build of canneaiatt bemg. the rimne of cite omr ttwT-^lmg^ wftadk
rttTine rnanhrr, sa mac che sdusne is jc^. . .:ri. tiuj. <iti&. Tlms^
4 ' Off ?<ei3r3sir ±e ^rifiBK >«««; ^
4 Fiji iflng sesbir the iayis .JHcir. x
3 C lo^ 31 3il X T3.k9CS : >
4 .^od rfwm L sw sitii hevnx imi «a/ .
4 ICe drndsz, juuaui^ ±x: teymzis /stZ. <;
J Mahaan. ^srt -sr jx&s datics. >
4 Off idnewig that tpct aevir achr g mj t, .^
4 >gmi«Bf die fest of ?aseznis- ^an/s ^
J T J mak rhair jisserv.wvcs ; >
4 He bad jnilamtiff ^pi ^nuth x ^t*^* >f
4 Jimi ids TD ^Tunmimis jx the jjtvtis t[
J T!iat -ast rune out jt ?3-4,:m:s. * >
Tliis is the orst 5tnphe at me " Dance.*' Althaugh p rinted ut Xr
Smail'* text tnainiy in fectians n ax 'ines» in examinanon of the verse
will show that the atrnphe is n^aily one at twelve lintfs> both the
rhyine 3xid che laijicii icricnir? n che ^encds involving i straphic
STTuirure of twelve lines. There ire, however, rvQ suppiemenciry (it
may be, interpoiated'. itnpnes zt six lines each at Lines i> and 105
napecnveiy ; but che longer r'ann is constant dirouj^h che rest of the
pnem.
2. The ample strophe 01' six lines ^^as developed into one at eight
APPENDIX. CXCi
by adding another line to the " head/* rhyming with the others, so
that the scheme of rhymes was aaab, cccb; and by doubling this into
a strophe of sixteen lines, rhyming aaab, cccb, dddb, eeeb, Dunbar
gets the form used in the two pieces, the ** Fenjeit Freir of Tung-
land" (p. 139) and the " Droichis part of the Play" (p. 314). In the
former piece, the first and last strophe is extended to twenty-four lines
by keeping up the same rhyme in the tail-lines through another half-
strophe. In the latter piece, the examination of the verse shows that
in Mr Small's text one of the strophes has got broken up and its parts
set out of place. Lines 1 13-120 should be transferred to the place now
occupied bylines 129-136.
3. In the foregoing examples of this form, the head-lines are of four
and the tail-lines of three feet. Another development was attained by
changing this normal relation in the length of the lines. Dunbar has
single instances of two separate developments of this kind. In the
first, the piece beginning " Quha will behald of luve the chance " (p-
172), written in a strophe of eight lines, the tail-line is shortened into
two feet, thus : —
4 " Qaha will behald of lave the ^\ance, a
4 With swdt dissanyng oxxosAtnanctt a
4 In quhais fair dissimvi^ix^ a
2 May none assuRB ; b
4 Quhilk is begun with mconstaKce, a
4 And endis nocht but vSLriancet a
4 Scho haldis with contintaaxf^ a
a No scherurruRE.** b
This piece, it should be remarked, continues the same rhymes
throughout its three strophes, so that its form is something more than
mere tail-rhyme — approaching nearly to that of the old French
Virelay.
In the other piece, "Thir Ladyis fair" (p. 168), Dunbar gives an
instance of tail-rhyme in a strophe of twelve lines rhymed aab, aab^
ccd, ccd, in which the lines of the " head " are shortened to two feet,
and those of the ''tail" extended to four. Dr Small has printed this
piece in sections of eight equal lines, but it is properly a strophe of
twelve unequal lines, thus : —
a " Thir ladyisy&»r a
a That makis xtpair, a
4 And in the court ar kend, b
a Thre dayis tkair, a
a Thay wiQ do mdir, a
4 Ane mater for till end, b
a Than thair gud men, c
a Will do in ten, c
4 For ony craft thay can, d
2 So weiU thay ken, c
a Qohat tyme and qmken, c
4 Thair menes thay sowldmak THAN." d
CXCii INTRODUCTION.
(2.) Strophes with a Wheel,
The " wheel ** is the name used by Dr Guest (p. 572 et seg,) con-
veniently to describe a metrical device whereby the strophe was
developed into a more complex form than a mere combination of
equal lines joined together by rhyme. He explains the term as de-
noting the return at the close of each strophe of some marked and
peculiar rhythm. To illustrate it by an example from Dunbar, who
only seldom uses it, take the first strophe of " The Ballad of K]rnd
Kittok " (p. 52) :—
** My Gudame wes a^y wif, hot scho wes rycht ^end* a
Scho dudt/urthyte in to /Yanoe, apon ^klklandyisllis ; i
Thay odlit her ATynd Alttok, quhasa hir weill /tend : a
Scho wes like a oddrone ^mke der vnder ieUis ; b
Thay Mrvpit that scho deit of tkrisXt et maid a gad end. a
Efter hir <fede. scho dSredit nought in hevin for to dot^; b
And sa to Aevin the ilieway dreidless scho wend, a
Jit scho teanderit. and ^d by to ane elriche weU. b
3 Scho met thar, as I wnu c
3 Ane ask rydand on a snaiix, d
3 Et cryit, ' Oortane Dsdlow. haill 1' d
3 And raid ane inche behind the taill, d
3 Till it wes neir tvin,^ e
The last four lines make up the wheel — ^the line which introduces
them and rhymes with the last line of the wheel being called the
" bob " or ** bob-line," and the combination of all five lines the " bob-
wheel " (see Guest, p. 620 sq,) This bob-wheel, then, consists of five
iambic lines of three accents, each rhymed cdddc. The strophe to
which it is appended combines eight of the alliterative lines of the
older poetry by rhymes interwoven thus, ababy abab. This combina-
tion of alliteration, rhyme, and wheel was early introduced in Scottish
poetry. The " Pystyll of Susan" (about 1350) is in this form (the
only difference being that the bob-line has but one accent) ; and in
" Sir Gawayn and the Grene Knight " — probably an earlier piece — a
similar bob-wheel is used to divide into strophes of irregular length a
poem in unrhymed alliterative verse. To this kind of verse King
James (work cited, p. 115) applies the name Rouncefcdlis^ or Tumbling
verse, and recommends it for " Flyting or Invectives."
In only one other poem by Dunbar is this device exemplified in its
oldest form of a wheel of three rhyming lines with a tail-line. This
is the piece beginning "In vice most vicius he excellis" (p. 190).
The strophe is made up of a couplet of iambic lines with four accents
and a wheel, the tail of which rhymes with the couplet, according to
the scheme aa^ bbb, a. Thu<
1 Pronounced e'en.
APPENDIX. cxciii
4 " In vice most vicius he exce/Iis, a
4 That with the vice of tressone mel/ts ; a
3+ Thocht he reMissiouN, i
3+ Half for proDissioUN, 6
2+ Schame and susspissioun ^
3 Ay with him dtoeilis" a
To complete the list of the strophic forms used by Dunbar, account
must be taken of two others which combine in a curious way the
effects of the refrain and the wheel. The first is the " Satire on
Edinburgh" (p. 261), written in a strophe of seven lines, six of which
are four-foot iambics, and one, the fifth, a two-foot with trochaic
substitution in the first foot, its brevity giving it the effect of a bob-line
The rhyme scheme is aaad, dad. Thus —
4 "Quhy will ^, merchantis of remmM, a
4 Lat Edinburgh, ^our nobill iann, a
4 For laik of nionnsJiouH a
4 The commone proffeitt tyine and fame ? i
R. 3 Think ^e nocht schame, 6
4 That onie vther legioun a
R. 4 Sail with dishonour hurt ^onr NAME 1** b
The fifth and seventh lines are constant (with only unimportant
variations) as a refrain through the eleven strophes of the poem.
The sixth line varies in each, so that the last three lines form a tail
combining the characteristics both of the wheel and the refrain.
The other poem which exhibits a similar structure is " Ane Ballat
of Our Lady " (p. 269). This is in a twelve-line strophe made up of
two parts, the first containing eight iambic lines alternately four and
three foot ; and the second consisting of a refrain in Latin (which,
however, does not rhyme with any other line in the strophe) intro-
ducing a wheel of three lines in the measure of the first part The
rhymes of the strophe are peculiar. The general scheme is abab, abab
in the first part, and bob in the second. This is the order of the end
rhymes ; but the lines of the a series have each two internal a rhymes,
after the fashion already exemplified in the " Flyting," so as to make
the strophe one of highly artificial structure. The first strophe may
be taken to show this : —
4 " Haile, st/rji« sup^nf^ ! Haile, in et^m^, <icui
3 In Godis sicht to schyne I b
4 \jsictme in d<rM, for to discenu aaa
3 Be glory and grace devYNE ; b
4 Hodum, moderM, sempi/rmr, aaa
3 Angelicall regYNE 1 b
4 Our tern m/em for to dispem, aaa
3 Helpe rialest rosTNE. b
4 Aue Maria, gratia plena 1 —
3 Halle, fresche flour femynVNE 1 b
4 ynu ws gabeme, wirgin msJ^m, aaa
3 Of reath baith nite and ryne." b
CXCIV INTRODUCTION.
IV.— BIBLIOGRAPHY OF DUNBAR.
A. — Manuscripts.
1. The Bannatyne MS., written by George Bannatjme, 1568, Advo-
cates' Library, Edinburgh, from which Nos. ix. to xlix.. No. lxxi.,
and Nos. i. to vi. and viii. to xi. of the poems attributed to Dunbar in
this edition are printed.
2. The Maitland MS., collected by Sir Richard Maitland ot Leth-
ington shortly after 1586, Pepysian Library, Magdalene College, Cam-
bridge, from which Nos. l. to Lxx. and lxxii. to lxxvi. of this edition
are printed.
3. The Reidpeth MS., University Library, Cambridge, MS. Moore,
LI. 5. 10, written by Mr John Reidpeth between 7th Dec. 1622 and 1623,
and to a considerable extent copied from the Maitland MS., from
which Nos. VIII. and lxxvii. to Lxxxiv. of this edition are printed.
4. The Asloan MS., Auchinleck, Ayrshire, written in 1515* but
nearly one half of the original volume, probably containing other
poems of Dunbar, has been lost or destroyed, from which Nos. lxxxv.
and Lxxxvi. of this edition are printed.
5. The Makulloch MS., University of Edinburgh, has another copy
of LXXXVI.
6. An MS. volume of the Register of Sasines, Town Clerk's Office,
Aberdeen, from which No. lxxxvii. of this edition is printed.
7. The British Museum MS., Cotton. Vitellius, A xvi., folio 200,
from which No. Lxxxviii. is printed.
8. The British Museum Appendix to Royal MSS., No. 58, folio
15 ^, from which No. lxxxix. is printed.
9. The British Museum Arundel MS., No. 285, folio 161, from which
No. xc. is printed.
10. The poems i.-vii. and No. vii. of the poems attributed to Dun-
bar are printed from the unique copy of Chepman and Myllar's first
printed works in the Library of the Faculty of Advocates, Edin-
burgh.
The Society is indebted to Professor Skeat of Cambridge, Dr
Richard Gamett of the British Museum, and the Rev. Dr Gregor,
Pitsligo, for collations at Cambridge, London, and Aberdeen re-
spectively, which have been of the greatest service.
B, — Printed Editions.
Dunbar's poems have been very frequently printed in part, either by
themselves or in collections of Scottish poetry, but only once before
the present edition as a whole, by Mr David Laing. It would not
APPENDIX. CXCV
be easy or useful to notice all the partial editions, but the most im-
portant are —
1. The Seven Poems (the first printed in the present edition), issued
by Chepman and Myllar in 1508.
2. The ' Evergreen ' of Allan Ramsay. Edinburgh : Ruddiman,
1724. Contains twenty-four poems by Dunbar.
3. Ancient Scottish Poems, published from the MS. of George Ban-
natyne, by Lord Hailes. Edinburgh : Printed by A. Murray and
J. Cochrane for J. Balfour, 12', 1770. Reprinted at Leeds, 1817, 8'.
Contains thirty-two poems by Dunbar.
4. Ancient Scotch Poems, never before in print, but now published
from the MS. Collections of Sir Richard Maitland of Lethington,
Knight, by John Pinkerton. London and Edinburgh : 1786. Con-
tains twenty-three poems by Dunbar, including "The Freiris of
Berwik."
5. Select Poems of Will. Dunbar, from the MS. of George Banna-
tyne. Part First Perth : R. Morison & Co., 1788, 12'. No Second
Part was printed.
6. Chronicle of Scottish Poetry, from the Thirteenth Century to the
Union of the Crowns, by J. Sibbald. Edinburgh : 1802. Contains
forty-five poems by Dunbar, including the " Freiris of Berwik."
7. The Poetical Works of William Dunbar, with a Memoir and
Notes by David Laing. Edinburgh : 1824. 2 vols., with a Supplement,
published in 1865. The Memoir and Notes of this edition contain
almost all that has been discovered in the Scottish Records relating
to Dunbar.
8. Reprint of Dunbar's Seven Poems, issued by Chepman and
Myllar, in No. 19 of the English Scholars' Library, by Mr Edward
Arber. Announced, but not yet published.
9. Early English Poetry, selected and edited by H. Macaulay Fitz-
gibbon. London : Walter Scott, Canterbury Poets, 1887. This is
valuable from the successful translation of the poems of Dunbar into
modem English, and also as showing how completely he is recognised
as an early English poet
la The works of William Dunbar, including his life, 1465-1536.
With Notes and Glossarial Explanations. By James Paterson, author
of * The History of Ayrshire and A]rrshire Families,' &c Edinbuigh :
SUllie, 1863.
1 1. The Bannatyne MS. has been published in full by the Hunterian
Qub of Glasgow, 1874-81.
12. The present edition contains ninety poems by Dunbar, and
eleven others attributed to him but of uncertain authorship.
The following works published on the Continent also deserve notice: —
I. William Dunbar sein Leben und seine Gedichte von Dr J.
Schipper, Professor der englischen Philologie an der K.K. Univer-
CXCVl
INTRODUCTION.
sitatinWien. Berlin: Oppenheim, 1884. This is the best book which
has been written on Dunbar, and the German translations of his
poems are executed with a skill and fidelity which Dunbar would
himself have admired.
2. Traitd de la Langue du Poite Ecossais William Dunbar. In-
augural Dissertation /ur Erlangung der Doctorwurde bci den philo-
sophischen Facultat lu Bonn. Von Johannes Kaufmann aus Elber-
feld, 1873. The contents of this Dissertation are chiefly taken from
Professor Schippefs then unpublished work.
3. Englische Studien von Dr Eugen KSlbing, Professor der Eng-
lischen Philologie an der Universitat Breslau. X Band. Contains
a review of the text of the present edition.
4. Altenglische Metrik von Dr J. Schipper. Bonn: 1882-18S8L
Contains references to Dunbar, pp. 335, 345, 359, 360, 366, 373, 376,
377. 382. 396. 417. 420, 42s. 428. 429. 43'. 509-512, and 514. This
work should be studied by all persons interested in Dunbar's metres.
—Table of the MSS. in which ts found each op the
Poems op Dunbar.
BM.R. .,
BM.A. ..
•■rTht P«i
The Goldyn Targe.
The Flvling of Dunbar and Kennedie.
The Tua Mariil Wemea and Ihe Wedo.
Lamenl fot the Makaris. qiihen he wes sok.
The Ballad of Kynd Kitiok.
The Testament of Mr Andro Kennedy.
The Ballad of Lord fJcmard Stewart, Lord
of Aubigny.
Elegy on the Death of Bernard Stewart,
Lord of Aubigny.
I cry the Mercy, iind Lasar lo repent.
Rorate Cell de super.
Memento. Homo, quod cinis es.
All Erdly joy rcluinis in pane.
Tidings from the Session.
DevDiit with Drcme, derysing in my Slum-
In oskine sowld Discn^ioun be.
Of DiscretiouD io Gcviog.
Of Discreiioun dn Taking.
Muaog aJlone ihi! hinder nicht.
Haw wwld I rewiU me, or quhat wyifs.
To dwell ID Coon, my freind.
Qahome to ±>l11 I complcne tDy wo.
Schir. ]il mnembii ba of befoir.
Uennes the Philosopher.
Full oil I wm and his in thochL
We ihal are heir in Hevins Gloiy.
The Daoce of the Sevin Deidly Sfiuiis.
The TumamFnt.
E^foUowis the uneudis made be him to I
Teljouhs and Sowlaris.
Sanci Salualour t sead siiuer sorrow.
FToUowis how Dumbar was desyrd to be BDe
Frcir.
He tbal hex gold and grit ricfaesi.
The Wowitig of the King quheo he wes in
Dumfemieliiig.
Ane Ballat of the Feojeit Frai of Tung-
land.
This nychl in my sldp I wes agasL
* :ina KhTRDrng in silence of the nicfal.
a. sen thy lyfe is ay in weir.
reiil Dominus de Scpulchro.
le is a l^ttell on the Dragoo Blak.
Ffredome, Honour and Nobitnes.
Itychl siiiie on Ask Weddinsday.
Be Je ant Luvar, thinic ^ nocht je sold.
Sen that 1 am a Plrsoneir.
Tbir Ladyis fair. Ihal makis repair.
In prays of Woman.
Quha will behald of Luve the chance.
In May as ihat Aurora did vpspnng.
Now cumis Aigc quhair invth tui bene.
and Irew Luve rysis fro the splcne.
The Thistle and the Rose.
In Vice most virius be exeeUis.
Of Sir Thomas Korray.
Of James Dog, Kepor of the Qaenis Ward-
rop. To the Quene.
Of the same Jair
I, qtiLen he had pleaetl
is Cbalmer.
To the King, quhen i
Aganis the SoUnaiis in Court.
To (be King.
ComplaiDi to the King aganis Mi
Dmibar's Comi^ainl to tlw King.
The Petition of the Gray Ho
To the King, that he «
souuis Man.
Dunbar's Renxmstrance to the King.
X Johns
INTRODUCTION.
To a Ladye.
Learning vain without euid Life. Written
al Oxinrunle.
Of the Warldis Inslabililie. To tbe King,
or Conteot.
Of the chanfTO of Lyfe,
Mediialioun in W^tir.
Ane Oiisoun. Qnhen the Goueraoar past
We Lordis hes chosin a. Chiftane merrellus.
Ane Ballal of tbe Passioun of ClirisL
O Wreche, be war I
To a Ladye. Quhone he list lo feyne.
In secrail place ihi? hyndir nycht.
Qahal U this Lyfe bol ane strauchi way to
Ddd.
Biyth Aberdein.
My heid did Jak Jesternicht.
My Lordis of Chacker. plcis Jow to hdr.
A New Year's Gift lo the King.
The Dream.
Satire oa Edinburgh.
Welcome to the Lord Treasurer.
Ballate against evil Women.
Ane Ballal of our Lady.
Roiss MaiT mosl of vertew virginalL
Giadethe thoue Queyne of Scotlia Regioun.
Loodon, thou an of townes A per se.
Now fayie, fayrest off every fayre.
O lynfull man, thir ar the fouity dayiF.
Poems attrihoted t
DtlSBAR.
3- I •■
+ . ■■
i : :
■7-
B. , ..
4. « ..
The Frdris of Berwilt.
Doun by ane Rcver as I red.
Fane wald I luve, but quhair abowl f
Faine wald I, with a\l diligeDce.
Gif ;e wald lufe and luvii be.
Ane littill Inlerlud of the Droichis pan of
the Play.
In all oure gardyu growis thare na Qouris.
Jerusalcia reio&s for jc^.
Now glaidith eueiy Vims creature.
O lusly flour of Jowth, benyog and bricfiL
Tbe Sterne is tlssin of our RedemptiouD.
£>,— Table of the Principal Editioms of e
Poems of Dunbar.
■-Tb* Poem in fbU.
,.
i
-J-
■4-
S-
4.
J-
B.
S-
K.
C
E.
n.
Po.
Ph.
Sh.
1-
Pr.
V.
Sc
t.
f
f
■Y The Galdyn Targe.
a.
3-
+ The Tua Mariii Wemen and Ibe Wedo.
4-
•
I
■
... Lamem for the Makaris, qnhen be wes
... The BalLul of Kfnd Kittok.
s.
^
*.
, The Testaroem of Mr Andro Kennedy.
7-
•
...
...
... The Ballad of Lord Bernard Stew&it.
Lordof-Anbignj.
i.
...
t Elegy on Ibe Dealh of Benan] Stewart.
Lord of Aubigny.
9.
:::
+ I cry the Merejr, and Lasar lo repent.
. Rorale CeU desoper.
T Memenio, Homo, quod cinii es.
, AUErdlyloyremrniiinpane.
4 Tidings &om the Ses^oa.
13-
I
M-
...
*
*
•
^
+ DevoHl with Dreme, devysjog in my
Slammer.
+ In asking sowld DUmtiaun be^
>S-
...
^
,
.6.
+ Of Diieieiioun in Geving.
*?-
c
t or Discretioon in Taking.
iS.
t Musing allone this hinder nidit.
I*
. How iowld I tewiU me. or qubal wyus.
so.
:::
... To dwell in Coon, my Freind.
, Qohome lo sail 1 complene my wo.
aa.
■
. Schir. ^1 [^membir as of befo^.
a*
, Homes the Pbilosopher.
a4-
, Full oft I nivss and ha in thocht.
»S-
. We thai ar heir in Hevinj Glory.
f The Dance of the SevinDeidlySynDis.
a&
+
+
*?■
38.
...
*
'+
, FToUowii the amendis made be Um to
the Telyxiris and Sonlaris.
^
,
■f SanctSahiatoor! send siluer sorrow.
30-
;::
*
•
■'■
. FToUowii bow Ehunbar was desyrd to be
iu» Fnnr.
».
•
»
'
*
•
i He thai he£ gold and grit riches.
INTRODUCTION.
The Wowing of the KJug; qnhcn be wes
Ane Baliat of Ibe Fcn^eil Freir of Tnog-
This nyehl In my sleip I wes agasc
Lucina acbyonjag Id silence of the
Man, sen thy Ijfe is aj in wdr.
Dominus de Sepnlchro.
a Batlell on [he Dragon Blak,
FTiedome. Honour aad NobUnes.
Rycbt ajriie on Ask Weddinsday.
"; te ane Luvar, think je nocht }e
Sen II
Thir Ladyis fair, Ihat maids repair.
'" "irays of Woman.
. la will bebalU of Luve the chance.
In May as Ihal Aurora did vpspring.
Now cumis Aige quhair Jewth bes bene,
and trcw Luve rysia fro the spleoc.
The Thistle aod the Rose.
In Vice most vicius he excellis.
Of Sir Thomas Norray.
Of lunes Doe, Kepar of the Qoenis
Wardrop. To the Quenc.
Of the siune James, quhen he hati
plcsell him.
Of B Dance in the Quenis Chalmer.
Ofar
' Blak-N
To the Q\
To the King, quhen mony
\ganis the SoUstaris in Court.
To the King.
Complaint to the King aganis Mure.
I>unbaT's Complaint to the King.
The Petition of Ihe Gray Horse, Aold
Dunbar.
To the King, that he war Johne Thorn-
sounis Man.
Dunbar's Remonstrance to the King.
To a Ladye.
Learning vain without guidLyfe. Wtjl-
len at Oxinfurde.
Of Ibe WarldJs Instabilide. To the
Meditalioun
Ane Orisoun. Quhen the Goaernour
We l-ordis hes chosin a Chiflane mer-
"his.
iillnt of Ihe Passioun of Christ,
OWreche, be war I
To B Ladye. Quhone he list to feyne.
I In secreit place this hyndir nychl.
C.
»-
E.
B.
1-
Pb
Ph
&
Sb.
J-
8.
P..
9-
F.
Sc
1
^■
»>■
3-
+
1
7-
8.
9-
7
•
:::
:;;
:::
•
::;
+
t
t
t
Qtihat ii this Lrle bot one UnMCht w*y
[oDeid.
BlTlh Aberddn.
My Lordis of Chwier. plei* Jow to hdr.
A New Year's Gift to Um Kiog.
TheDmn.
Satire on EiIinbaiEli.
Welcome to the Lord Treamnr.
Ballate agaiiut eYil Women.
AneBallalofonrLadj.
Roiss Maiy most ai vertcw luzinaU.
Gladethe thoue Qaejoe of Seotlis
tandDD. thoa art of townes A per se.
Now byre, fajneft off everr lajrre.
O synfuU roan, ihir ar Ihc founy d»Tis.
RD TO Ddnbab.
TheFrririiofBerwik.
Drain by aoe Rever as 1 red.
Fiuie wald I luve. but qubair abowt ?
Faine wald I, with aU diligence
Gif le wald lufe and lunt be.
Ane IJllill Inlcrtud of the Droichis part
oflbePlay.
In all cure gardya srowis thare na
Souru.
Now glaidilh enctj Mi crealure.
lusty flour of jowlh, benyng amd
»4
3'
*
«9
44
ft
«7
77
»s
75
EOT
+
■
'
■
'
'
"
'
•
a
ceil INTRODUCTION.
v.— HISTORICAL NOTICES OF PERSONS ALLUDED
TO IN DUNBAR'S POEMS.^
Abiram. Flytingf 1. 25a — See Numbers xvi. i.
Absalome. FlyUngy L 12. — The son of David.
Achilles. Of Man*s Mortalities 1. 10. — The Greek champion in
the siege of Troy.
Afflek, James. Lament, 1. 58. — Laing identifies Afflek with
James Auchinleck, these names having been pronounced the same
way. Master James Auchinleck, shortened to Achlik, styled •* servi-
tour to the Earl of Rosse," witnesses an indenture of marriage be-
tween Alexander, son of John of Rosse, and Margaret, daughter of
Hector (M'Gillevin) MacLean of Lochbuie, at Dingwall, 6th Feb.
1474, recorded in the Acta Dominorum Concilii, 30th June 1494. In
the Privy Council Records for 1497, the Chantory of Caithness was
g^ven by James IV., on the decease of " Master James Auchinleck,** to
James Beaton, afterwards Archbishop of St Andrews. This is pre-
sumed to be the same person, and if so, he is proved to have been
in holy orders. A poem, " The Quair of Jealousy," in the Selden MS.,
Auch. B. 24, which ends " Explicit quod Auchin," is conjectured by
Laing to be by this poet No other poem of his is known.
The dates of the life of James Auchinleck, who must have been
alive in 1474 and dead in 1497, agree sufficiently well with his place
in " The Lament for the Makaris."
Albany, Duke of. See Stewart, John.
Alexander. Of Man* s Mortalities 1. 11. — Alexander the Great,
whose story was a familiar subject of legend.
Allane. Testament of Mr Andro Kennedy ^ 1. 12. — Who blind
Allan was has not been discovered. Probably the line —
" Na blind Allane wait of the mone," —
was a proverb now lost. It is alluded to by Lyndsay —
1 These Notices have been under such frequent obligations to Mr Laing's
Memoir and Notes to his edition of Dunbar, that a general acknowledgment of the
compiler's share in the debt of all who attempt to write after Mr Laing may, how-
ever inadequate, owing to considerations of space, be allowed.
APPENDIX. Cdii
" I tmderstand no sdenoe spiritnal.
No more than djd blind Alane of the mone."
— ' The Tragedy of the Caidmal.' IL 395. 396.
Andrew of Wyntoun. Lament, L 54. — Prior of the Convent of
St Serfs Inch, in Lochleven, author of the 'Cronykall Oryginale,'
written between 1395 and 1424. It was called "Oryginale" because
it traced the history of the world, but chiefly of Scotland, from
its origin. It is the earliest history in the vernacular, as well as the
earliest long poem with the exception of Barbour's " Bruce." It is
composed in rhyming couplets and lines of eight syllables, with some
deviations into ten and six. Wyntoun and Barbour adhere more
strictly to this metre which was borrowed from France than their
English contemporaries (Schipper, 'Altenglische Metrik,' vol. i. p.
264). It was first printed by Macpherson, 1795, ^^t the best edition is
by Laing, ' Scottish Historians,' Paterson, 1872, which embodies Mac-
pherson's Notes.
Ann (An), St To ike King, that he war Jokne Tkomosunis Man,
1. 31. — The mother of the Virgin. The development of the worship
of the Virgin led to her relations being included in the Calendar as
Saints, with altars dedicated to them. St Ann had such altars in
many Scottish churches, as in the chapel at Holyrood and the great
Church of St Michael at Linlithgow, where a chaplain was kept to
minister at it — ' Register of Special Evidents of Linlithgow.'
The Collegiate Church at Glasgow was founded by James Houston,
Sub-Dean of the Cathedral and Rector of the University, in 1528, in
honour of our Lady the Blessed Virgin and St Ann. — * Liber Collegii
Nostras Domins B.V. Marias et S. Annas,' Maitland Club.
The Franciscans specially favoured the worship of the Virgin. The
Immaculate Conception was an article of their belief long before it
was made a dogma of the Church. Sixtus IV., Pope (1471-84), and
general of their Order, issued in 1477 a special office for the festival
of her conception, and dedicated the churches of S. Maria del Popolo
and S. Maria della Pace at Rome to her. But by a decree in 1483 he
recognised the doctrine of the Immaculate Conception as open, though
he had himself written a book in its support — Crichton's ' History of
the Papacy,' vol. iiL p. 113.
"A rich and copious legend," sa3rs Milman ('Latin Christianity,'
vol. vi., p. 241), " revealed the whole history of her [the Virgin Mary's]
birth and life, of which the sacred Scriptures were altogether silent,
but of which the spurious Gospels furnished many incidents. The
latest question raised about the Virgin, her absolute immunity from
the sin of Adam, is the best illustration of the strength and vitality
of the belief. ... It divided the Franciscans and the Dominicans
into hostile camps;" and he adds in a note : "When the stranger in
n
3cinrcT!33:
•21 -ac Tttti. on. 22^ zui r^. Ei± 7 'nrr^ je i^'.*7 12
^ae "rxiH'.— .u.iiii jx :3e rnr * -^"^ TTtTi:*— am zsui nxr
' *nr ^ai'sr zf znr Z^scr. ' x 2C» ^ 1= — 3zni zcis 3ct U'si.«r
•mt. Trgm. * 11 3iiii *r= Tiiifi.i^Mi e. " - i2. am * inTiiiT af < Sad "* —
* lijias MJarr sasc if 'V-srsm Tt.
1 5CL — St
Azxanssus. Tf -9:10x1 us zi^ -vss yj 1 t-r. In locc zxe its ^■*i?«*-*T
"d 5c A3ZE117 "vss inmiii^ ly "isginTn. x j— rrr-ii^ii if Z jiuihue . iar tifee
jsi 5c ^ . \T :n s ir» -s-sreuas . I3. ucr rint .'mhhuhh'jlw of
^>
rangr»S3Ccn. iiiLcrTn^ me nLt if 5c Aag-wrrrt*. -xncjs: i ball of
Bciuiacs VIZI Tlieir inly iicixse :3 5cccii:iii vas ic Trcfr,
■JTis *Siicvr^^ *7 Liic^n. if 5-isalr::r ^ ^JS ^^^cr hccss
3— ■arri'tr :; r :±ii Zi.izfcl if re Ajiiiz^- ic ArTizirs Seii. lear viuch
■ji zz^ -v^I tT" -a"''*c 5 c AZIIE7 5 'STiil — ^See Aizi Sizctiin^:,' J;
17 : iCjuzi. i • ?-*L-ri-:i3 Hi'isds.' irce^'iec n i:^ Cinlccie zc
ijc E_£Ciit:s. p. u.: ; F. .TTTm Niciss if ic Aziccjs.
a. :n.v,r, Ij i:iiir is caH-^f his ^-5— .i" rj KiiiJiiCT. — 5<k C iaaocr.
-Tr->'ili3 ar.d Crr^cvd*' ri.. t. p. :•" "Sil's ec:~r!:»; 'Tr« Bcke of
• ^ ■ ■ * ^ m ^* ^ * ■ A V «
^^ i^ .!,-.. ^:%aC. < ^^ •» ^. k .. ,2CC 2.2^ O-wTcTS V.<.v^£SS10 AlJuJ£.tXS^
p- 7 jr
AfclSTCrri^ B-iS^^^ ^zirM Ezil U'cwum^ p- 2f • L 31
\xiHZ9L. Tfu Balhid cf Lord Bim-jrd S:<rL,srt, L 5CL— Trie h«o of
British ronvance, in Scotland as in Er^Iand. It is scill a milter of dis-
pijU whether Arthur was a mythical or historical hero ; and it histor-
icaJ, whether the scene of his exploits was South Wales and the south-
west of England — the neighbourhood of Bath and Glastonbury — or the
iouth-wcst of Scotland and north-west of England and \Vales» where.
APPENDIX. CCV
especially in the neighbourhood of Carlisle, his name is preserved in
many places. The English theory is maintained by Dr Guest and Mr
Pearson (note, p. 133. of Mr Stewart Glennie's 'Arthurian Localities')*
and the Scottish by Mr Skene (* Four Books of Ancient Wales,* vol. i. p.
51) and by Mr Glennie. A fair statement of the g^rounds on which the
opposite theories are based is g^ven by Mr Keary in the life of Arthur
in the * Dtctionary of National Biography.' This writer declines to pre-
judge the question whether Arthur belong^ to history at all. What is
certain is, that he was aCymric as distinguished from a Gaelic hero ; and
that, while the 'Vita Sancti Gildse,' and the early medieval chroni-
clers generally, favour the view of his kingdom and battles having
been in the southern district, the Cymric poems (in Skene's ' Ancient
Books of Wales *) and the early English or Scottish alliterative poem
of the " Awntyrs of Arthur at the Tamwathlan " (Tarn Wadling), and
others, written early in the fourteenth century, support the view that
he belonged to the northern branch of the Cymric race, and fought
in modem Scotland and the north-west district of England. The
most important account of him and his twelve battles, because the
earliest in date, is g^ven by Nennius in his ' Historia Britonum,' p. 56.
The situations of the places of these battles have been identified by
the supporters of the two views, according to their respective theories,
but cannot be said to be ascertained. Modem Scotland and Cum-
berland are distinctly richer in Arthurian place-names than southern
England, and there is much force in the argument that the nucleus of
the romantic legends which surround his name, the favourite material
of so many poets of recent as well as earlier times, travelled from
north to south rather than the reverse. It became incrusted with a
later tradition invented by Geoffrey of Monmouth (1130), and elabor-
ated by Sir Thomas Malory, whose collection of the Arthurian Legends
was published by Caxton in 1485, and who brought it back from the
French Brittany to Britain at a time when a Welsh or southem Eng-
lish site for the legend was more popular than one on Scottish g^round.
The romance of Arthur was familiar in Scotland in the reign of James
IV., owing to the attempt of the king to re-enact his character, as well
as from the tradition of the alliterative poetry describing his adven-
tures and those of his principal knights. — See Gawaine.
Augustine, Sanct, of Canterbury. Flyting^ 1. 125. — ^The line —
*' And he that dang Sanct Angasdne with ane mmple," —
is explained by the following curious passage in Bellenden's transla-
tion of Boece : " Finalie quhen this haly man, Sanct Austin, was
precheand to the Saxons in Miglintoun, they wer nocht onlie rebelland
to his precheing, bot in his contemptioune thay sewit fische talis on his
abylement Otheris allegis thay dang him with skait rumpellisr —
Book ix., ch. 18. See also Rowles's " Cursing," 1. 207.
^KTt i3L ' aomii:i ' !U!i>
3aal^ Fhftbn^, X «jj aid ^on — ^711011111. in ifniliini^ tfte or^^K
if iitoiflnT; prizes : ' iom 3esl ±20. raalrrf ani snn Had*
ashnii and son Igjiai. ' — ^7iL L x l4>
S ^fli 3 W^g r Ui> Dncaor. Cr < Dmma at i£e Qptms OmdmBr^ L r^ — -1
land in ixer aiarrtai{*L and -v^a ^ranniEd in c^afr^^or DesBi: of
'tfwn. -vhm " /j^ ;{nac Fmrish aiane7 ^ -sp;^ paid air q^j e diLlu g the
!iiill if 'he D«saner7 Tng amia' i 4<: ! :!mma^ ^ An^ost c;d6 to 6dk
9uv^vSL csc7> ffig haif-fssEt^i ze as Almnnrr V* £va Eogfxab. qnSk n
!V:Artiii mnncj is £5? *) ^''^a said iiom ijdi Docsmixr c^d^ ii> 8tk
F(*hriar7 r^t^S^ — iB. After oe -ivas apucinied Drmr he JiuLmii m- kcwe
;pv'»n ID che iffics if ATmoner. Anrnngir du; 3zxnar evsns wftnc& ran
in tx^Mr if the tTnianr and in the end overcame the prq*nfTi:e of the
ScrjrdiAi petsple against it. masi be rackzmed the imxuJimii Bo. of
Wj^gjaki uarxj/en like Baisin^tnn beiongin!^ to the sxin^ of
Tadrtr
Bobcofccon maj ha.7e been a. meiiif^ei of the fisnilT m
X'Mrthumberland, baz a&erwards setded in X jtiIm^lMn i ahir e»
whom. Sir Williani, was Chief jTwrfrr of the Common Ti^^rlt^
(iietl tti t4yy. The Chief Joatice; who wa5a.bene&ciDraf theOoarc^
(1*6 twn Ma9.< — ^See Foai^ * Jadges of Eogiand*' voL dt. p^ 2S>
EAAJTiCft, JOHS. Lamixt, L 6c. Ardbdeacon of Aberdeeit^ Ix
f ^f^ /L ry)5^ Aatfaor of ' The Brace,' the earliest in date of the
.Sooftiiih poetSr oftftn called the father of Scottish poetry. Beskies
th^t pk>m on which his fame rests, he is now generallT believed
f/> hAr«» written the version of the ' Legends of the Saints*." of which
th^t only MS. is In tiie Cambridge UniTcrstr Libcarr, wh qe it was
di!ico'/<tr«td by the late Mr Bradshaw, its Ubrarian. It was pah-
lithivi by Horstmano, in his collection of * Altenglische Legenden,*
and 'v% now, under the editorship of the Rer. Mr Metcalfe, in co m sc
of pablidtion for the Scottish Text Society. More recently doobls
hzvf: \>fof::n cast on Barboar's aathorship of these legends (see K^spel,
'Knjfliv.hc Studicn^' iSSj, voL x. p. 373X And Professor Skeat in-
cHne« to think these doubts well founded. But they rest chiefly, if
not solely, on an argument from the dialect used in 'The Lires of the
Saints/ Writers who approach the subject from another point of
y'ltw, still think the internal erideoce is in (aTour of Barbour's autbor-
»hip, and that any linguistic dificrences between them and *The
Hruce' is sufSciently accounted for by the poet's frequent visits to
England He also wrote a poem on the ' L^^d of Troy,' of which
fragments are appended to two MSS. of Lydgate's * Troy Book.' printed
by the Earljr Ea^iib Tot Society, and by Horsunann, Barbour's
APPENDIX. CCVll
' Legenden Sammlung/ vol ii. p. 218. Andrew of Wyntoun, his suc-
cessor in the list of Scottish poets, appears to ascribe to Barbour the
composition of another poem on the genealogy of the Stuarts : —
" The Stuarts oryginale
The Archdeykne has tretet hale
In metyr feiyre."
—Wyntoun's * Cronykal.' VII. vii. 143.
Dunbar has no poetical affinity to Barbour. The mention of his
name, as well as that of Wyntoun, attests his catholic taste in poetry.
For the life of Barbour, the * Dictionary of National Biography,* vol.
iii., may be referred to. 'The Bruce' has been often published. The
best editions are those of the Spalding Club, edited by Mr Cosmo Innes,
and of the Early English Text Society, edited by Professor Skeat
Bartilmo. Fly ting, 1. 126. — St Bartholomew, according to the
legend of his martyrdom, was flayed with a knife in Armenia. The
* Roman Breviary,* vol. ii. pp. 1237, 1238, gives this account: —
" The apostle Bartholomew was a Galilaean. In the division of the
world among the apostles, it fell to his lot to preach the Gospel in
hither India. He went thither and preached to those nations the
coming of the Lord Jesus according to the Gospel of St Matthew.
When he had turned many in that province to Jesus Christ, and had
endured many toils and woes, he came into the greater Armenia.
There he brought to the Christian faith Polymius the king and his
wife, and likewise the inhabitants of twelve cities. This stirred up
a great hatred against him among the priests of that nation. They
so inflamed against the apostle Astyages, the brother of King Polym-
ius, that he savagely ordered Bartholomew to be flayed alive and
beheaded, under which martyrdom he gave up his soul to God."
In ' The Legends of the Saints' the story runs thus : —
" ft rycht as ^ sik spek gane mak,
Mene tald, |« kingis god. Raldak,
Wes £allyiie downe & brokyne smaL
^ kinge fore Ire )Muie raf his pal
Of parpar, \tl he Ine wes dede,
& gerte |« apostil in )at stede
With gret stawis be dongyng sare
ft |« skyne of hyme be flayne jare:"
— ix., U. a83>290. Horstmann, p. 86.
At the Abbey of Croyland, down to the middle of the 15th century,
knives were presented to all who visited on the Saint's day, 24th
August, in memory of this. — Dugdale, ' MonasL Anglic.,' vol. ii. p.
104.
Beelzebub. FlyHngy 1. 533. ~ See Milton, 'Par. Lost,' Book I.,
IL 78-81 ; Book XL, IL 299-309.
CCVlil INTRODUCTION.
Bell, Allan. Of Sir Thomas Norray, I. 28. — A misnomer for
Adam Bell, celebrated in the early English ballad, " Adam Bell, Clym
of the Cleugh, and William of Cloudisle.*' This ballad is printed by
Percy, * Reliques,* vol. i. p. 106 ; and also in the Collections of Ancient
Popular Poetry by Mr Ritson and by Mr W. C. Hazlitt An early
edition was printed by Wynkyn de Worde, or his apprentice, Robert
Copland, perhaps as early as 1520, and another by William Copland,
and there are repeated reprints of this popular ballad (see Hazlitt,
vol. ii. p. 131). ** Its heroes," says Percy, "were three noted outlaws,
whose skill in archery rendered them as famous in the north of
England as Robin Hood and his fellows were in the Midland. Their
place of residence was in the forest of Inglewood, not far from Car-
lisle. Henry IV., on 14th April, in the seventh year of his reig^,
granted a pension of £4^ los. to Adam Bell out of the fee-farm of
Clipston, in the forest of Sherwood ; and this Adam Bell violated his
allegiance by adhering to the Scots, whereupon his pension was
resumed." ^ Probably Adam Bell was by origin a Scotsman or Bor-
derer. Bishop Percy states, "The Bells were noted rogues in the north
so late as the time of Queen Elizabeth; see in Rymer's *Foedera' a
letter from Lord W. Howard, wherein he mentions them." The com-
piler of the second and later part of the ballad added in 1605, and
some other ballad-writers, make Bell the contemporary of Robin Hood.
The popularity of this class of ballads was due to the love of a free
life common to all free races, but also to the odium of the cruel forest
laws of the Norman kings. They seem never to have been so severe
or so rigidly enforced by the Scottish as by the English kings. But
in this, as in other matters, the Scottish Lowlanders shared the tradi-
tionary feelings of their English neighbours. The scenery and inci-
dents of these ballads, though laid in Sherwood and Inglewood, would
be eagerly followed by the natives of Jedburgh and Selkirk.
Bevis. Of Sir Thomas Norray, 1. 35.— Sir Bevis of South Hamp-
ton. Of the poem on this hero of romance Professor Ten Brink
(* Early English Literature,* p. 246, Kennedy's Translation) says :
" Guy of Warwick and Bevis of Hampton are both names unknown
to English history. They are also unknown to Saga, until they
emerge as heroes of Anglo-Norman poems of the twelfth century.
Each offers a motley mixture of knightly adventure such as delighted
the imagination of the age of the Crusades. . . . He who possesses
the fancy of the true student of folk-lore will discern a rejuvenation
of Beowulf, the victor over Grendal and Grendal's mother, in Bevis,
who kills the dreaded boar of King GrendaFs forest, and who, hurried
weaponless into King Grendal's dungeon, by means of a cudgel acci-
dentally found overcomes two dragons ; while the other dragon-fight
of Bevis in the vicinity of Cologne will recall Siegfrid and the
^ Hunter's * New Illustrations of Shakespeare/ vol. i. p. 245.
APPENDIX. CCIX
Drachenfels.'* Bevis is still depicted as a giant on the bar-gate of
Southampton.
The metrical tale of Sir Bevis, although its scene is laid in
England, and he is represented as a Christian champion against the
heathen Danes in the reign of Edgar I., became famous in the
hands of French romance-writers during or after the Crusades (War-
ton's 'History of English Poetry,' vol. i. p. 122). It may have had
an Anglo-Saxon original, now lost It was brought back to England
by translations or copies of the French tale before the time of Chaucer.
Of these there are two MSS. at Cambridge University Library, No.
690, § 31, and Caius College, Class A-9. 5 ; and there is another,
Advocates* Library, Auchinleck MS., W. iv., No. xxii. Chaucer^s
reference in the "Rhyme of Sir Thopas" is well known : —
" Men speken of romatmces of pris,
Of Home Child and of Ipotis,
Of Bevis and Sir Guy."
It was first printed by Richard Pynson, without date, 4to, and next
by Wynkyn de Worde, and very frequently since (see Lowndes's * Bib-
liographical Dictionary *). It was closely copied by the author of " The
Seven Champions of Christendom," Richard Johnson, who wrote in
the reigns of Elizabeth and James I. (Percy's ' Reliques,' Bell & Sons'
ed., vol. ii. p. 258), and it was burlesqued in the ballad of "The
Dragon of Wantley ** (Warton's * History of English Poetry,* and the
Essay on the Ancient Metrical Romances by Percy, ' Reliques,' vol. ii.
p. 80). Dunbar must have known this romance from Chaucer's allu-
sions, and probably may have read or heard parts of it recited. It is
one of the tales mentioned in the " Complaynt of Scotland,*' which,
the author says, were told by the shepherds
" Slim war in prose and some in verse ;
Sum war stoieis and sum war flet taylis."
— P. 63, Murray's edition.
Blak Belly and Bawsy Brown. Dance of the Sevtn Deidly
SynniSf 1. 30. — ^These were probably the Scotch names for spirits or
brownies (see Scott's * Minstrelsy of the Scottish Border,' Introduc-
tion, p. iv.) " Belly Bassy with his bagges " is mentioned in Rowles's
"Cursing," line 2251. There is also in "Cockelbie's Sow" the lines
(11. 286, 287)—
*' Ballybrass and Belly
Dansit."—
which suggests that these names were altered at will by the comic
poets. — See Warton's ' History of English Poetry,' vol. iii. p. 215.
Bruce. Flyting^ 1. 265 ; Blyth Aberdeifty 1. 33.— Robert the Bruce,
CCX INTRODUCTION.
whose history was a household word to Dunbar, as to all his country-
men, through Barbour^s poems and the Chronicle of Wyntoun. It is
interesting to know that he was represented in the masque or pageant
in honour of the queen in Aberdeen, in i$ii, as he might be to-day
by the erection of a statue.
The description of him by Dunbar as ^'richt awfull Strang and
large of portratour," is that of a poet who does not disdain to use
common epithets.
Bute, John. Of a Dance in the Qjuenis Ckalmer, 1. 19.— One of the
kingfs fools. He is first mentioned in the Treasurer's Accounts in
November 1506, and continued to receive allowances during the rest
of James IV.'s reign. In December 1506 he was granted "a gown of
chamelot, lined with g^ey and purflett with skins," a hood, a fustian
doublet, hose, and a g^ey bonnet His servant John Spark got at the
same time a russet gown, a fustian doublet, and hose of carsay (the
stuff called kersey, from a village in Suffolk where the woollen trade
was carried on). His brother also got a g^nt which is mentioned in
the same accounts on 20th September 15 12. The fools of this time
well knew how to obtain favours for their friends and relations. That
both Bute and Curry, who were only of the second rank and inferior
to Sir Thomas Norray, should have had servants to attend them,
shows the consideration in which they were held. — See also Curry ;
Norray, Sir Thomas; Rig, Cuddy.
Cavm. Fly ting, 1. 513. — "Cankrit Caym" seems to be Ham, the
son of Noah. — See ' Pseudomonarchia Daemonum,' J. Weiri Opera,
1660, p. 659. Cf. Wyntoun, vol. i. p. 24 —
" The Caim that was the middle brother."
Cavphas. Flyting, 1. 534. — Caiphas, the high priest who charged
Jesus with blasphemy, is called the "sectour" of Dunbar. A "sector"
was one who made accusations in order to get a share of the confis-
cated goods of the accused when sold by auction. " Sectores vocan-
tur qui publica bona mercantur." — Gaius, Dig., vol. iv. p. 146. "Cum
de bonis et de csde agatur testimonium dicturus est is qui et sector est
et sicarius ; hoc est qui et illorum ipsorum bonorum de quibus agitur
emptor atque possessor est" — Cicero, Rose. Am., 36, 103. The defini-
tion in Ducange is ** Abscissor cultor usurpator." Skeat gives " sec-
tour "= executor.— Cf. Dalzeirs 'Poems of the i6th Century,* p. 29.
Chaucer, Geoffrey. Lament, 1. 50 ; The Goldyn Targe^ 1. 253. —
Dunbar in both poems recognises Chaucer as the source of Scottish
as well as English poetry. Chaucer was bom about 1340 and died
about 1400, so that he was at least a generation older than Dunbar.
But the ideas of the Renaissance had reached England, by contact
APPENDIX. CCXl
with Italy, much earlier than Scotland, which received them chiefly
from France, and Chaucer is in some respects more modem in his
style and language than Dunbar. His poems were first printed as a
whole in 1532, by Thomas God fray, and Dunbar's knowledge of them
must have been derived either from MSS. or from Caxton's editions of
the " Canterbury Tales," printed in 1475 and 1495, o^ Pynson's, printed
in 1491. The second edition by Pynson was not printed till 1526, and
was the first in which other poems of Chaucer's were added to the
" Canterbury Tales." The terms in which Dunbar speaks of Chaucer,
in " The Goldyn Targe," and especially his allusion to the '' fresch an-
amalit termes celicall," apply more naturally to his other poems than
to the Tales, so that it appears probable that Dunbar was acquainted
with MSS. of the English poet Such MSS. had undoubtedly
reached Scotland before he wrote.
The influence of Chaucer on Dunbar is seen rather in his language
than in direct imitation of particular poems. Such imitation may,
however, be traced in " The Tua Mariit Wemen and the Wedo,"
which, both in subject and mode of treatment, recalls the " Wife of
Bath's Tale"; and in the verses to the king beginning —
** Sanct Saluatoor ! send sihier sorrow ;
It gravis me both evin and monow," —
with the refrain —
" My panefuU porss so pridiss me," —
there is perhaps a reminiscence of Chaucer's lines " To his Empty
Purse" (Moxon's ed., p. 431). In the " Assembly of Foulis " (Moxon's
ed., p. 340) there are several passages which prove that Dunbar must
have been a careful reader of that poem. The garden with a river
running through it, and birds singing on every bough, and the as-
sembly of heathen gods, is imitated in " The Goldyn Targe." Beauty
in Chaucer's poem has similar allegorical persons in her train as in
Dunbar's "Beauty and the Prisoner." St Valentine's Day is cele-
brated as the time when every bird may choose " his mate," to which
there is an allusion in "The Tua Mariit Wemen and the Wedo"; and
the eagle is described as —
" The fonle royall above yoa all in degree,"
as in " The Thistle and the Rose."
Clerk, Iohne. Lament, L 58 ; Testament of Mr Andro Kennedy^
1. 81.— The legacy to John Clerk, in the poem called " Andro Ken-
nedy's Testament," of " Goddis malisone and myne," is put into the
mouth of Kennedy. Lord Hailes supposed Clerk to have been an
ignorant practitioner in medicine, from the reference to him in the
Testament as " scribendo dentes sine de." Laing regards this as an
unsatisfactory explanation, but is unable to suggest another. There
CCXll INTRODUCTION.
seems little doubt that it is the same person who is referred to in the
poem, as he has the same Christian name, and is distinguished by the
title of Master in both, which proves he had taken a degree — of course
in arts, for medicine was not yet taught at the universities. But no
poem attributed to John Clerk is known. The profession of medicine
had scarcely yet come into existence in Scotland, and its practitioners
were often in clerical orders. It was, however, fashionable to practise
it, as is shown by the instances of James IV. himself (but Buchanan
attributes this to old Scotch custom), Scheve^, the Archbishop of St
Andrews, and John Damian, the French leech. The absence of any
professional training or qualification gave opportunities for imposture
and quackery which are satirised in the well-known description of the
Doctor of Physick in Chaucer, —
" For he was grounded in Astronomye,
He kept his patient wonderly wel
In houris by his magik naturel ; " —
in Henryson's Poem, " Some Practyses of Medecyne," and Dunbar^s
allusion to the French leech Damian's murderous art — See Damian,
and Schaw, Robert
Clerk, , of Tranent Lament^ 1. 65. — Nothing is known of
this poet except the statement of Dunbar in this passage, that he
" maid the Anteris [adventures] of Gawane."
This poem was, no doubt, one of the circle of poems belonging to
the Arthurian legend, and affords proof of its currency in Scotland.
Ten Brink notices, in his * Early English Literature,* that ** the verse
combining alliteration and rhyme seems to have been more fully de-
veloped and adapted to a wider range of subjects in the north-western
counties, and chiefly in Lancashire. It occurs earliest in romances
having to do with Gawayne : this was a favourite theme of poetry in
the north, as was the Arthurian saga in general. Cumberland, West-
moreland, the districts between the Tyne and Tweed, and all the
south of the Scotland of to-day, are rich in names of places that point
to a localising and a more or less independent growth of the Arthurian
traditions in that region. This phenomenon is accounted for by the
long duration of British rule in Strathclyde, and the intercourse kept
up by these Britons with their own race, on the one side, in Wales,
and with the Gaels of Caledonia on the other.**
There are at least two early alliterative poems in which Gawayne is
hero, of which manuscripts have been preserved : (i) "The Awnteris
of Arthur at the Tarnewathelan " (Adventures of Arthur at Tarn
Wadling), first printed under the name of " Sir Gawayne and Sir Gal-
oran of Galloway ** (Pinkerton, 'Scottish Poems,' 1792), and afterwards
in Laing's * Select Remains of Early Scottish Poetry * ; and (2) " Sir
Gawayne and Gologras," printed by Chepman and Myllar, 1508.
Wyntoun attributes a poem which he calls the " Awntyre of Gawayne,"
APPENDIX. CCXUl
as well as "The gret Gest of Arthure" and other poems, to Hutchown
(Hugh) of the Awle Ryale (Royal Hall).
Sibbald, in his 'Chronicle of Scottish Poetry,* voL i. p. xvi,
hazarded an alternative conjecture that Hutchoun in Dunbar's poem
might be the Christian name of Clerk of Tranent, or might be the
same as Sir Hugh of Eglinton, mentioned in the same "Lament."
The latter appears the more probable hypothesis, and has been main-
tained in an able article in the 'Scottish Review' for March 1888 by
Mr McNeil. All that can be said with certainty as to Clerk of
Tranent is that he chose the subject of his poem from the same cycle
of romance. — See Hew, Sir, of Eglinton.
CoiL^EAR, Rauf. To the King, 1. 33.— See Rauf Coljard.
CoRSPATRiCK, Earl of March. Flyting^ 1. 262. — Cors- or Gos-
patrick was created Earl of Dunbar and March by Malcolm Can-
more. He was the Saxon Earl of Northumberland who was deprived
of that earldom by William the Conqueror, and as an exile received
by the Scottish king — (Simeon of Durham, sub anno lorjiy p. 92).
Assuming Dunbar to be descended from this line, he was a Saxon by
origin. So Kennedy flytes Dunbar : —
" Happyn thow to be bangit in Northmnbir,
Than all thy kyn ar wd quyte of thy ciimbir " — (U. 478, 479).
Dunbar, or rather Kennedy — for he is the author of this part of the
" Flyting " — states, of course erroneously, that he fought against Wal-
lace, whom he called " King in Kyle" (L 284). This is a confusion of
Corspatrick the first with Corspatrick the fourth Earl of March, who
submitted to Edward I. as one of the competitors for the Scottish
crown after the death of the Maid of Norway. His contest with
Wallace, whom he called King of Kyle, and who in turn denounced
him as a traitor at a council at St Johnstone (PerthX is described by
BHnd Harry in his Eighth Book.— See Hary, Blind.
' Curry. Cf, Sir Thonuu Norray, 11. 43, 48.— Curry, one of the
king's fools, is mentioned in the Treasurer's Accounts first in May
1496, when payment of three shillings was made " to the lad that
kepit Curry." A similar payment occurred of two shillings and two-
pence on the loth June " to the chield that kepis Curry." On 27th
April 1497 there is a payment " to Curryis man to pay for his bedding
al the tyme the king was in Strivelin, xxviijd.," and another of seven
shillings "to Curry and his man to remain in Strivelin quhil the
kingis agane cummyng.** On the 17th May Curry again receives
three shillings and sixpence for his bed in Stirling, and to bear him
to Edinburgh ; and on the 20th of the same month, eightpence " for
drink be the gait," apparently of Linlithgow. On the 12th June 1497
Curry receives sixteen pence "to pay for his bed." On the 13th
CCXIV INTRODUCTION.
December 1497 he has two shillings "to red him furth of Strivelin
and to haf him at Falkland ; " and on the 17th of the same month he
receives a larger payment of three pounds six shillings and eightpence
" for horse to ride over the mounth agane " (that is, before Yule).
He must have gone with or before the king to Aberdeen, in 1497,
for a payment is made on 5th January " to Curryis man to bide with
Curry in Aberdeen until the king's incuming agane ; ** and on the 2d
March six shillings and eightpence was paid to Curry " for his stabil
hire in Abirdene and his owne costis, and two shillings more to haf
him to Bervie," — no doubt in the king's company on his return south.
There are further entries in the same Accounts down to the 2d of June
1506, when a payment " of 46s. 8d. was made for the tyrment [inter-
ment] and expenses maid on the furth bringing of Curry ; " and also of
41s. " to John Knox wif for keeping walking and expenses of Curry
Hand seik/' and of 18s. on the 13th of the same month "be the king's
command to the wif quhair Curry lay seik.** From these entries
Laing conjectures that Curry must have died about the end of May
1506. There are also references to Curry's "knave," or servant lad;
to " Curry's moder ; " " Daft Anne, Curry's wif ; " and " Peter Curry,
Curry's broder." — See Dickson, Preface to 'Treasurer's AccountSi'
vol. i. p. cxcix.
CuTHBERT, . Testament of Mr Andro Kennedy ^\.^\. — Probably
St Cuthbert, but why he should be selected as the saint who had no
love for Andrew Kennedy the drunkard, is not clear. He is called
"Sweet," the same epithet which Dunbar applies to St Anne.
Damian, John. The Fen^t Freir of Tungland, 1. 23 ; Lucina
schynnyng in silence of the nicht, 1. 23. — This impostor first appears
under the name of the " French leich," " Maister John, the French
leich," " Maister John, the French medicinar," and " French Maister
John," in the Treasurer's Accounts in 1501. On 3d March 1 501-2,
there were sent to him four nobles " to multiply to Stirling," and on
the 4th of the same month nine pounds five shillings were disbursed
to the king and the " French leich " to " play at the cartis." On 29th
May 1502, £^i, 4s. was paid to Robert Bertoun, one of the king's
mariners, " for droggis brocht home by him to the French leich ; " and
on 30th May 300 French crowns, equivalent to ;£2io Scots, was
allowed the " French leich," who was then, probably, going on a visit
to the Continent He must have returned in 1504, for on 5th January
1504 there is an entry " to Maister John to buy bells for the morris-
dance, 28s.," and various other payments for the dresses of the
dancers, which is called " French Maister John's Dance," and seems
to have been the novelty of the New Year amusements of the year.
From entries on the nth and 12th March of the same year, he appears
to have been newly made Abbot of Tungland, a monastery of the
APPENDIX. CCXV
Premonstratensians in Galloway. On the former of these days,
Gareoch, pursuivant, got 14s. to pass to Tungland for the abbacy
for the " French Maister John," which probably means to take pos-
session of it for him ; and next day ^£25 was paid to Bardus Altovite,
a Lombard banker, for " Maister John, the French medicinar, new
made Abbot of Tungland, quhilk he aucht to the said Bardus."
Bardus was probably the banker who paid the fees for the confir-
mation of the gift of the abbacy at Rome. On the 17th of the same
month Maister John himself got {p from the treasurer. On 27th July
1 507 the entry occurs, " Lent be kingis command to the Abbot of Tung-
land, and can nocht be gottin frae him, ^£33, 6s. S^d." He cannot
have been in the good g^ces of the treasurer's clerk who made this
entry. It was shortly after this that the incident of Dunbar's satire
occurred. On 27th September 1507 an embassy was sent from Scot-
land to France, and the Abbot of Tungland boasted that he would fly
there before the ambassadors arrived. His failure is recorded in
Leslie's History, Bannatyne Club ed., 1830, p. 76^ as well as in this
ballad. Dunbar contributes a few additional circumstances. He
alleges Damian to have been of Eastern origin, calling him a " Turk
of Barbary," and not an Italian or a Frenchman, and gives currency
to rumours evidently then repeated, whether true or not, that he had
slain a friar in Lombardy and passed himself off in his habit in
France ; that he had next adopted the little understood profession of
physician or surgeon, in which he had killed more patients than he
cured, and secured for himself fees and perquisites. In Scotland he
first essayed to make the quintessence or gold of the medieval alche-
mist, and having failed, as a new trick made the attempt to fiy with
wings, which is the subject of the poem. In this also he came to
grief, but, by some means unknown to us, did not lose the support
of King James. On 13th October 1507, {fy was paid by the treasurer
for " a puncheon of wine to the Abbot of Tungland to mak quinta
essentia " (Treasurer's Accounts). Between October 1507 and August
1508 there are frequent notices of his playing dice and cards with
the king; and on 8th September 1508, Damian, Abbot of Tungland,
had a licence " to pass out of the realm, and remain in what place he
pleases at the study or any other lawful occupation, without any pre-
judice, hurt, or skaith to his right to the abbey." He appears to have
returned shortly before the expiry of the five years ; for on 29th March
15 13* JL'^ ^^ P^cl "to the Abbot of Tungland to pas to the myne
of Crawfurd Muir," where James IV., shortly before Flodden, was
still occupied with the search for the precious metals. This is the
last appearance in history of this Cagliostro of the sixteenth century,
who played the parts of a feigned friar and quack doctor, and
also of alchemist, boon companion, stage-manager, aeronaut, and
mining engineer. No wonder Dunbar's wrath was moved when such
a charlatan became an abbot It was a favourable age, and the
I
CCXVi INTRODUCTION.
Scottish Court was a favourable place, for impostors. The most suc-
cessful was Perkin Warbeck, to whom it is singular there is no allu-
sion in Dunbar's poems. There is a curious reference to Damian in
the dedication to James VI., by Dr Thomas Morison, of his * Liber
novus de metallorum causis et transubstantioni/ Franco., 1595 —
" Taceo avum tuum felicioris memorias Jacobum Quintum cum sni
creaturi Abbate Tunlandias qui dum in multiplicationis verba assen-
titur Rex eum circumducit ingentibus 'pecuniis.** James V. is, of
course, an error for James IV.
I Dathan. Flyting^ 1. 249. — See Numbers xvi. i.
I DoiG, James. Of James Doig, Kepar of the Quenis Wardropj Of
^ the same James, quhen he had plesett him; Of a Dance in the
- Quenis Chalmer, 1. 199. — Doig, the pronunciation of whose name in
Scotch in the same way as dog gave play to the wit of Dunbar (wbo
had a liking for a pun — a form of humour more English than Scotch),
was originally one of the servitors of James IV., having the charge
of the king^s wardrobe, and there are constant references to him
in the Treasurer's Accounts from 1489 onwards. In that year he
' received three bonnets for the king at Linlithgow, when he was to
meet the Spanish ambassador ; and there are similar entries of articles
of clothing received for the king in 1494, 1495. ^^^ I497* ^^^ ^^^ o^
clothing given from the king's wardrobe to Perkin Warbeck, called
I the Duke of York. On 30th October 1490, 20 " louys " were sent to
' the king at Biggar by his hands ; and on the 3d Jiine 1491 he carried
20 unicorns to the king at the Water of Leith. In 1494 he received
\ a payment of 20s. to hang the arras and to furnish the king's cham-
i ber for the reception of the Chancellor of Denmark. There are also
sundry entries of livery given to him for his own use, and of pay-
ments to him for the expenses of furnishing the king's Modgings
(grathing of the king's chambers, and bent-silver for the grass with
which the floors were strewn). Strewing the floors with g^rass
. or rushes was a common custom before the days of carpets.
\ There is a survival of it in the annual ceremony of the rush-bear-
ing day, still celebrated in some English villages. The position
of keeper of the wardrobe in Scotland, as in England, through
the practice of giving rewards by liveries instead of money, which
was scarce at the Scottish Court, became that of a sort of petty
treasurer, who had much influence with the king, and whose favour
was sought by the retainers of the Court. Doig had acquired suffi-
cient means to buy the estate of Duntober, in Perthshire, on 12th
May 1500 (* Privy Seal Register,* vol. ii. p. i). After the king's mar-
riage he became wardrober to Queen Margaret, and continued in her
service at least down to 1523, when Surrey writes on 24th October to
Wolsey from Newcastle that James Doig, the Queen of Scots* servant.
APPENDIX. CCXVll
had come to him (Cotton MS., Calig., b. xvi. f. 31 1). His name last
appears in December 1526. His son, James Doig» younger, had been
appointed on 17th September 1524 yeoman of the king's wardrobe,
with livery and duties, used and wont (* Privy Seal Register,' voL vii.)
Doig had a grant of the ward and relief of Johnston of Drongey, and
the marriage of his heir on 4th August 1523 (* Privy Seal Register,'
vol. V. f. 152).
The references to him in the poems of Dunbar well bring out his
character as an old and trusty servant, zealous in discharging his
duties to his mistress, and somewhat crusty to others. He was
of the same stuff, in an earlier age, as Andrew Fairservice, and the
old Scotch servants " who were master and mair " in the anecdotes of
Dean Ramsay.
Donald Owre. Against Treason : An Epitaph an Donald Owre. —
Donald " Owre " — more commonly called " Dubh," the Black — was a
son of Angus, Lord of the Isles, by a daughter, according to tradition,
of the Earl of Argyle. This Angus was a natural son of John, Earl
of Ross, forfeited for treason by James III. in the Parliament of 1475.
He surrendered to the royal army, and his earldom was annexed to
the Crown, and conferred on the second son of the king, Alexander,
Earl of Ross and Archbishop of St Andrews. The rest of his estates,
except Kintyre and Knapdale, were regp-anted to him, with remainder
to his natural sons, Angus and John, and he was created a peer of
Parliament under the title of Lord of the Isles. Angus, Lord of the
Isles, was killed by an Irish harper at Inverness in 149a His son,
Donald Dubh, was always treated by the Scottish Court as illegitimate.
When an infant, about the year 1480, he was captured by the Earl of
Athole, who delivered him to the Earl of Argyle, by whom he was kept
in custody in the Castle of Inch Connell. Before 1494 he had escaped,
and received for several years the king's pay (Exchequer Records).
But in 1 501 we find him at the head of the Islanders and western
clans as Lord of the Isles. In 1503 he wasted Badenoch, and the royal
forces under Huntly had to be called out James in person, with his
southern levy, crushed the rebellion in 1 505-1 506, when Donald Owre
was taken prisoner and committed to the Castle of Edinburgh. Dun-
bar's poem was probably written after this date, as Donald Owre,
though forfeited as a traitor, was not executed. About forty years later
he made his escape during the regency of Arran, and is described in
a proclamation by the Privy Council as " Donald alleging himself
of the Isles." He again attempted to establish his title by raising the
clans of the west, and entered into a treaty with Henry VI 1 1. But
failing in this attempt, he Red to Ireland, and died at Drogheda.
The following extracts from the ' Black Book of Clanranald ' give
the history, unfortunately without dates, of Donald Dubh, as it was
related by the Macvurichs, the hereditary sennachies of the clan : —
•J
?
]
1
i CCXviii INTRODUCTION.
I
i
I
" Angus Og, son of Eoin [John], who was called the heir of Eoin,
married the daughter of MacCaillin [Earl of Aigyle], and a disagree-
ment arose between him and his father about the division of his
territory, in consequence of which a war broke out between the chiefs
of Innisgall and the tribe of Macdonald — the tribe having joined
Angus and the chiefs Eoin. Eoin went to MacCaillin and gave him
J all that lay between the river Add and the lands of Knapdale for going
*i with him before the king to complain of his son. Shordy after Angus
• Og had a large entertainment with the men of the north side at
L Inverness, when he was murdered by Maclcairbhre, his harper. His
\, father lived a year after him, and all the territories submitted to him,
]i but he restored many of them to the king. The daughter of Mac-
i Caillin, the wife of Angus, was pregnant when he was killed, and she
^; was kept in custody until she was confined, and she bore a son, and
Donald was g^ven as a name to him, and he was kept in custody until
he arrived at the age of thirty, when the men of Glencoe brought him
out by a Fenian exploit He came to Innisgall, and the nobles of
Innisgall rallied round him. . . . And he and the Earl of Lennox
made an agreement to raise a large army for the purpose of his getting
into possession of his own property, and a ship came from England
to Sound of Mull with money to help them in the war. The money
was given to Maclean of Duart to divide among the leaders : they
did not get as much as they desired, and therefore the army broke up.
When the Earl of Lennox heard that, he dispersed his own army and
made an agreement with the king. Macdonald [<>., Donald Dubh ?]
then proceeded to him to request a force to carry on the war, and on
his way to Dublin he died at Drogheda of a fever of four nights' ex-
tent, leaving a son and a daughter." — Skene's * Celtic Scotland/ voL
iii. pp. 404-406.
This account identifies the Donald claiming to be Lord of the Isles,
who headed the rising in 1545, and acted in concert with Matthew,
Earl of Lennox, and Henry VIII., with the grandson of John, Earl of
Ross, who was kept in custody by the Earl of Argyle from infancy to
manhood; but it omits, probably by design, his earlier escape, his
rising against James IV., and his reception when he was committed to
the Castle of Edinburgh in 1505 or 1506. The view of Mr Tytler, that
there were two Donalds, Lords of the Isles, in the sixteenth century,
does not appear well founded. The credit of unravelling this tangled
skein of Highland history is due to Mr Gregory, whom Mr Skene
has followed. Mr Burton has not touched the subject, which is
one of difficulty, and may yet receive further elucidation. — See
Gregory's * History of the Western Highlands/ entries in index under
*• Lord of the Isles, Donald Dubh," p. 437 ; Skene's * Celtic Scotland,'
vol. iii. p. 299.
DouNTEBOUR, Dame. Of a Dance in the Qjuenis Chalmer, 1. 36. —
APPENDIX. CCXIX
Supposed to be a cant name for a woman of light character. This is
scarcely in accordance with the plan of the poem, which names in all
other cases real persons ; but who is meant has not been discovered.
Dunbar, Archibald. Flytingy 1. 299. — ^This Archibald Dunbar in
the year 1446 took the castle of Hailes, in Haddingtonshire, but
immediately afterwards surrendered it to James, Master of Douglas.
This is the betrayal referred to here. The * Short Chronicle * of James
II.'s reign relates the incident briefly : "The samyn yer Archebald of
Dunbar tuke the Castell of Halis on Sanctandrowis day the Apostle
and syn cowardlie g^ it owr to the Master of Douglas sodanlie ; " and
Pitscottie says : " Archibald Dunbar seiged the castle of Hales in
Lothian, and at the first assault he won the same and slew them all
that he found therein ; but shortly thereafter he was seiged by James
Douglas, in whose will he put himself and castle without any further
debate." Hailes, a castle in Prestonkirk parish, belonged to the Hep-
bums. Adam Hepburn of Hailes had taken part in the seizure of Dun-
bar some years before, in the reign of James I., when George, eleventh
Earl of Dunbar and March, had been forfeited and deprived of his
estates. It appears from the Exchequer Accounts that he had the
custody of Dunbar between 1440 and 1444; but soon after 15th July
1445, when the Queen-Dowager died at Dunbar, Adam Hepburn gave
it over by treaty to the king (' Short Chronicle,' p. 37). Patrick, his son,
had again treasonably seized the castle before 28th April 1446, as appears
from a letter of James II. of that date in the Coldingham Chartulary.
The attack upon the house of Hailes was no doubt a retaliation for
the part the Hepbums had taken in the seizure of Dunbar, —
" Because the young lord had Dunbar to keep."
Dunbar of Westfield. Flytingy 1. 388. — Sir Alexander Dunbar, son
of James, Earl of Murray, by Isabel, daughter of Sir William Innes,
was the founder of the family of Westfield in Moray, which held the
hereditary sheriffdom of that district One of his descendants. Sir
Alexander, married the daughter of Dunbar of Cumnock in 1474, and
died in 1505. It is to him, probably, that the reference in the poem
is intended ; or it may be no more than an allusion to the loyalty of
the Westfield family, in contrast to the disaffection of the Dunbars of
the south, who were attainted in the person of George, the tenth Earl
of Dunbar and March, by James I. in January 1434.
Edwart Langschankis. Flyting, 1. 270. — The Scottish nickname
for Edward I. It was perhaps first given him in the old Scotch poem
of which a fragment remains —
"What brings Kinge Edwarde, with his lang shankjrs,
To hae wonnen Berwik al our unthankys?
Gaes pyke h3rniy
And after gaes dyke hym."
O
CCXX INTRODUCTION.
It is somewhat corrupted, but " presents," says Mr Murray, " charac-
teristically northern inflections."
Egeas. Flyting^ 1. 537. — iCgseon, son of Uranus by Gaia, is prob-
ably intended. He and his brothers, Gyges and Cottus, called the
Uranids in Greek mythology, were represented as monsters with a
hundred arms and fifty heads. Homer says : " Men called him
i£g^aeon, but the gods Briareus" (Iliad, i. 403). The Uranids sided
with Zeus in his contest with, and victory over, the Titans (Hesiod,
Theog., IL 147-153)-
Egipya. Ffyting, 1. 53a — Egypt is represented as the mother, as
Pharo is the father, of Dunbar.
Eneas. Ffyting, 1. 539. — iCneas, the grandson of Tros, and son of
Anchises by Aphrodite. It does not appear clear why Dunbar is
called his kinsman in the "Flyting," but perhaps it was because
iCneas forsook Dido. — See Chaucer, ' House of Fame,' vi. p. 203.
EusTASE. Fly ting, 1. 321. — ^As Kennedy called Dunbar "Strait
Gibbonis air" (1. 209), so Kennedy retorts here that Dunbar was "fals
Eustase air,*' for the skill of the Flyter was shown by such quips; but
who false Eustase was has not been discovered.
Eyobulus. Ffyting, 1. 541. — It is not known who this is intended
for.
Francis, St. The Visitation of St Francis, 1. 2.— The founder
and patron of the Franciscan Order, which had many houses in Scot-
land. They were called Fratres Minores, or Minorites — a name given
to them by St Francis himself as a token of humility, in distinction to
the older Orders, the Canons Regular of St Augustine and the Bene-
dictines — and sometimes Grey Friars, from the colour of their dress,
which distinguished them from the Black Friars or Dominicans, and
the Carmelites or White Friars. The Franciscans were divided into
Conventuals — the original Order, established by St Francis of Assisi
in 1206, and confirmed by Innocent III. in 1209; and Observantines,
a reform by Bemardine of Siena, in the year 1419, who took their
name from a claim to observe more strictly the rule of St Francis.
The Conventuals, who came to Scotland in 12 19, had convents at
Berwick, Roxburgh, Dumfries, Dundee, Haddington, Lanark, Kirk-
cudbright, and Inverkeithing. The Observantines were first brought
to Scotland by James I., who founded a convent of their Order in
Edinburgh. Bishop Kennedy commenced, and Archbishop Graham,
his successor, completed, a convent for them at St Andrews about
1478. Bishop Laing of Glasgow founded one in 1476 in that city.
APPENDIX. CCXxi
The town of Aberdeen founded one in 1450^ the town of Ayr another
in 1472, Lord Oliphant one in Perth in 1460, James IV. one in Stir-
ling in 1494 (' Epistolae Regum Scotorum/ vol. i. p. 23), and they had
also establishments at Elgin and Jedburgh.
In 1 5 16 Patrick Panther, the secretary of James IV. and of the
Regent Albany, obtained an Act of Parliament sanctioning the conver-
sion of the House of the Virgin Mary at Montrose into an Observantine
convent Henry VII. also favoured the Observantines, for whom he
founded convents at Newark, Greenwich, and Richmond, and from
whom, as his son-in-law James IV., he chose his confessor. The
two kings resembled each other in their strict compliance with the
rules of the Church as to attendance on divine service, doubtless an
injunction of their confessors. There are traces that Observantine
friars passing from England to Scotland played a part in political
business. One of them was employed by Henry VIII. to remonstrate
with Margaret for her conduct after her husband's death. The reform
and new foundations of the Franciscans towards the close of the
fifteenth century were probably due to the initiation of Sixtus IV.,
who had been a general of their Order. He confirmed and enlarged
the privileges of both the Mendicant Orders, and specially favoured the
tenets of the Franciscans, who were winning their way in popular
theology. Two bulls in 1474 and 1479 mark the highest advance of
the Mendicants : " Their exemption from the jurisdiction of the ordi-
naries, the privileges of their churches, their power of hearing confes-
sions and sidministering the sacraments against the will of parish
priests, were acknowledged in ample terms. Moreover, Sixtus IV.
strongly adhered to the favourite belief of the Franciscans in the
immaculate conception of the Virgin." — Crichton, 'History of the
Papacy,' vol. iii. p. 112.
Dunbar the poet in all probability had become a novice in the
house of the Observantines at St Andrews, founded the year before he
took his degree of M.A at that University. The religious revival, for
so it may be called, which led to the Observantine reform of the
Franciscans, reached Scotland at this period, but if Dunbar is to
be relied on, the reformed Franciscans were not more strict than
the original Order. He was again brought into contact with these
friars by the frequent resort of his i)atron James IV. to their house
at Stirling for the purpose of penance, which the poet ridicules in his
poem of the "Dirge to the King at Stirling." St Francis himself
had been called to found his Order by a vision, and it seemed ap-
propriate that his followers should also be converted by a vision of a
saint. Such miracles were commonly believed in, and often made the
subject of representation in art. Dunbar astonishes us by the boldness
with which he makes the vision which appeared to him not St Francis,
but a fiend who counterfeited the saint, in his poem, " The Visitation of
St Francis." The order is again satirised in " The Freiris of Berwik."
CCXXU INTRODUCTION.
Gawane, Gawan, or Gavin. Ane Littill Interlud of the Droicfds
part of the Play, I. 93. — Sir Gavin, one of the knights of the Arthurian
legend, well known to Dunbar and the Scotch poets by the metrical tales
of " Gawane and Gologras " and " Sir Gawan and Sir Galoran of Gallo-
way, or the Awntyrs of Arthur." It was no obstacle to these romances
forming part of the common stock of Scottish traditional poetry, that
they had sprung from the British portion of the modem Scottish race,
and that their scenes were usually in the western part of the island,
and most frequently south of the modem Scottish border. In this poem
Dunbar speaks in the mouth of the dwarf, who was descended from
Fyn M'Coul, quite naturally of the " baims of Britain," along with
King Arthur and Gavin, as dead before the dwarf could wield a spear.
Gavin had become a common Christian name in Scotland, and had in
Dunbar's time two eminent representatives — Gavin Douglas, the poet
Bishop of Dunkeld, and Gavin Dunbar, Bishop of Aberdeen.
GiRNEGA, St. The Tournament, 1. 44. — ^The patron saint of shoe-
makers. Cf. "Sym Skynnar and Schir Gamega" in Rowles's
" Cursing," 1. 99. Gimegae was a name for a peevish person (Jame-
son's Dictionary).
Gog and Magog. Flyting, 1. 528. — Wyntoun describes the hill
near the Caspian, I. x., 1. 384 —
" Thar Gog and Magog at felown wes,
Qosyt ar in gret straytness."
He also tells the story of Gog and Magog's wrestling-match with
Coryn, King of Cornwall (I. vii., 1. 352 et se^.) See Fairholt*s * Gog
and Magog' (London : Hotten, 1859), a small book of much leaming
about giants. These are first named in the Old Testament — Genesis,
ch. X., and i Chronicles v. 4. Their adoption in the mythical history
of England was due to Geoffrey of Monmouth, who makes one Gog-
Magog out of the two, and represents him as opposing Brutus on his
invasion of Albion, and as killed in a wrestling-match with Corineus.
The two grants in Guildhall are supposed to represent Gog-Magog
and Corineus.
GOLYAS. Fly ting, 1. 529. — Cf. Wyntoun : —
'* In Egypt some men said alswa
Geanties grewe, and of that kind
Came Enathym, and off his strynd
Came Golyath that Davy yhing
Slew with the stane cast of a sling." — Vol. i. p. 21.
See I Sam. xvii.
GowER, John. Lament^ 1. 51. — Gower (1320- 1402), a poet who lives
APPENDIX, CCXXIU
chiefly in the history of English literature, and whose poems are now
read only by the students of that literature, and not by the lovers of
poetry in itself. His chief work, ' Chronica Tripartita,' was to consist
of three parts — 'Speculum Meditantis,' 'Vox Clamantis,' and 'Confessio
Amantis.' The first does not exist, and perhaps was never written.
The * Vox Clamantis/ which refers to the rising of Wat Tyler, was first
printed by the Roxburghe Club. The ' Confessio Amantis' was most
widely known from having been printed by Caxton in 1483, and fre-
quently since, and on it the fame of Gower rests. It consists of a
dialogue between a lover and his confessor, and is modelled upon the
' Romance of the Rose,' by John de Meung. Except in the allegorical
representation of such abstract ideas as Idleness, Avarice, &c, it is
not in the style of Dunbar ; and his reference to Gower, with whose
work he was no doubt acquainted, must be taken rather as a con-
forming to the fashion of the times, which held Gower the next poet
to Chaucer, than as an acknowledgment that Dunbar had really bor-
rowed from him. Occleve, in his ' De Reg^mine Principum,' in like
manner to Dunbar laments the death of Chaucer "flower of elo-
quence " and " my master Gower." It is somewhat curious that the
manuscript of some of Gower's minor poems in Latin, French, and
English was acquired by Lord Fairfax, Cromwell's general, when in
Scotland, from " that learned gentleman Charles Gedde, Esq., of St
Andrews, in Scotland." This MS. is stated in the Roxburghe Club
edition to be in the library of the Marquis of Stafford at Trentham ;
E. Stengel — who has recently reprinted them in his ' Ausgaben aus
dem Gebiete der Romanischen Philologie,' Marburg, 1886 — appears
to have been informed that it now belongs to the EsltX of Ellesmere,
but he failed to get access to it It may be hoped so interesting a
MS. is not lost Who was Charles Gedde, the learned gentleman of
St Andrews ? Sibbald, in his ' History of Fife,* p. 45, gives a Latin
couplet by him on the light of the Isle of May, for which a tower was
erected in 1635.
Henry VII., while Earl of Richmond, had been a former owner of
this MS. ; but it may have found its way to Scotland, and been seen
by Dunbar. The poems in it are those printed for the Roxburghe
Club in 18 1 8, and contain fifty ballades in French, which are more in
the style, as regards metre, of Dunbar, than Gower's English work ;
but they treat love, which is their topic, in a different spirit — Sec
Warton's ' History of English Poetry,' Hazlitt's edition, 1871, vol. iii.
pp. 15-37.
Gower was a friend of Chaucer, who refers to him in the close of
" Troilus and Creseide "—
** O. moral Gower 1 this Boki I directe
To the, and to the philosophical! Strode ;
To yoocfasafe, where nede is, for to oorrecte,
Of yoor benignitie and zeles gode."
CCXxiv INTRODUCTION.
Gower repays the compliment in the ' Confessio Amantis,' written in
1392-93, where Venus says —
'* And grete well Chaucer when ye mete
As my disciple and my poet"
When Chaucer was sent on a mission to Lombardy in 1378, John
Gower was one of two attorneys he nominated by a writ to act for him
for one year. — See Sir Harris Nicholas's Life of Chaucer in Aldine
Poets, p. 99.
Gray, Walter. Testament of Mr Andro Kennedy, 1. 61. — Gray is
described in this satirical poem as Master of St Antony — ^i>., the Hospi-
tal of St Antony at Leith. He was master of it at the period when
Dunbar wrote, but nothing more is known of him to justify the char-
acter of mendacity given to him in these verses. — See Antane, Sanct
Guy (Gy). Of Sir Thomas Norray, I. 28.— Sir Guy of Gysbume,
a market-town in the West Riding of York, on the borders of Lanca-
shire, was a daring knight who went out to slay Robin Hood, but
met his own fate, as is described in the ballad, " Robin Hood and Guy
of Gisbome" (Ritson's 'Ballads of Robin Hood,' vol. iv. p. Zy,
Percy's ' Reliques,' vol. i. p. 56). He is not to be confounded with
Guy of Warwick, the hero of an early metrical romance. — See Bevis.
Hary, Blind; or, Harry the Minstrel. Lament, I. 69. —
The author of " Wallace," one of the many minstrels of Scotland
during the reigns of the first Stuarts. Major the historian, who
lived to old age, and probably died in 1549 or 1550, states that dur-
ing his infancy " Henry, a man blind from birth, composed from
the traditions and wrote in the language of the common people, in
which he was skilled, a complete book on William Wallace." He
adds : " I g^ve credit to such writings only in part The author, by
reciting his history before nobles, gained food and clothing, of which
he was worthy." — Major's History, ed. 1740, p. 169. Blind Harry
recited his poems at the Court of James IV., and received rewards for
doing so. — See 'Accounts of the Lord High Treasurer,* pp. 133, 174,
176, 181, and 184. The first of these references is on 26th April
1490, when he received 18s. at Stirling, and the last on 2d Jan-
uary 1492, when a payment of 9s. was made to him at Linlithgow.
It is not improbable that he died soon after the latter of these
dates. The date of the unique contemporary MS. of his poem on
Wallace in the Advocates' Library is 1488. It is bound with a MS.
of Barbour's "Bruce," and both were transcribed by John Ramsay of
Lochmalonie, in Fife, but ** The Bruce," though bound first, was tran-
scribed in the following year, 1489.
Mr Laing, in the preface to " Gologras and Gawain," refers to frag-
ments of an edition of Blind Harry's " Wallace " which he had seen,
and considered to have been printed about 1508. But the first com-
APPENDIX. CCXXV
plete edition, of which there is a unique copy in the British Museum,
was printed by Robert Lekprevik, at the expenses of Henry Charteris,
1570, 4to. It has been repeatedly printed since. No poem was more
popular in Scotland, and copies were to be found in many Scottish
cottages, of which, with Barbour's " Bruce," it formed almost the only
secular literature. The best edition till recently was that of Dr
Jamieson ; but it has now been edited with a revised text and learned
introduction by Mr Moir, of Aberdeen, for the Scottish Text Society.
These poems supplied the Scottish people with themes which sup-
planted the romantic adventures and gests of Arthur and of Robin
Hood—
"Wallace off hand, sen Arthur had na mak."
Dunbar and Kennedy must both have been familiar with Blind
Harry's poem. Dunbar showed a better appreciation of his genius
than Major, when he gave him a place amongst the Scottish " mak-
aris." Whatever may be thought of the value of his work in history — a
problem on which the last word has not yet been said — Blind Harry
was a true poet In his work and that of Barbour, Scotland
already possessed two epic, or, as they might more properly be called,
heroic poems.
Hay, Sir Gilbert. Lament, 1. 67. — Sir Gilbert Hay, one of the many
Scotchmen who took service in the Court of France, was Chamberlain
to Charles VI. Mackenzie, * Lives of Scots Writers,' vol. iii. p. i, gives
a meagre biography of Hay and a brief analysis of his works, of which
he appears (p. 8) to have possessed a MS., perhaps that now in the
Abbotsford Library. He was probably the son of Sir William Hay
of Locharret, bom about the end of the fourteenth or beginning of
the fifteenth century. He studied at St Andrews, where he became a
Determinant or Bachelor, 1418, and Licentiate or Master of Arts, 1419.
He went to France soon after, perhaps in the cai)acity of an archer
in the Scottish Guard, whose origin may be traced to the reign of
Charles VI., and he remained in France for tWenty-four years. The
alliance between the two countries had been strengthened by the
marriage of Margaret, eldest daughter of James I., to the Dauphin,
afterwards LouisXI. On his return to Scotland Hay lived at Roslin with
William Sinclair, third Earl of Orkney, the founder of Roslin Chapel,
with whom he was perhaps connected by the marriage of a sister of
Orkney to Hay of Enrol. By desire of the Earl, Hay translated in 1456
three French works : (i) ' L'Arbre de Batailles,' an early treatise on in-
ternational law, by Honore Bonnet, Prior of Salon, in France. The
version in the Scottish vernacular in the Abbotsford Library is not
yet printed, although it deserves to be so, both from its contents and
as a specimen of Scottish prose prior to the fifteenth century. (2) ' Le
Livre de I'Ordre de Chevelerie,' an anonymous work on knighthood
which was translated by Caxton, and forms one of the rarest issues
CCXXVl INTRODUCTION.
of his press. It was reprinted by Mr Beriah Botfeld for the Abbots-
ford Club. (3) • Le Gouvemement des Princes/ a translation of a
popular work of the middle ages, * Secretum Secretorum/ falsely at-
tributed to Aristotle. Hay also translated a French metrical romance
on Alexander the Great, at the request of Thomas, first Lord Erskine
and second Earl of Mar of the name of Erskine, who died in 1494-
It would appear from a note on the MS. of this translation that Hay
had died some years previously. It has been reprinted by the Ban-
natyne Club, 1831, from a MS. of Lord Breadalbane at Taymouth.
Dunbar's reference suggests that Hay had written original poems,
but if so, none have yet been discovered, and perhaps the- transla-
tion of the romance or story of Alexander the Great sufficiently ac-
counts for his being included in Dunbar's list of poets, along with
the author of the "Adventures of Arthur." Few stories were more
commonly treated by the romance-writers of the middle ^es than
that of Alexander the Great, which gives its name to a special var-
iety of verse, the Alexandrine (see Warton's 'History of English
Poetry,' voL ii. p. 140). The translation by Hay does not show poeti-
cal ability, but is of importance as a link in the connection between
the poetry of France and Scotland at the time when Scottish poetry
was still in its infancy. ^
Hector. Ballate against Evil Women, p. 267, 1. 32.
Henryson, Robert. Lament, 1. 82. — This poet, the most import-
ant of the precursors of Dunbar, flourished in the reigns of James
III. and IV., and was probably bom not later than 1425. He does
not appear to have been educated at St Andrews or Glasgow, but was
incorporated or admitted " ad eundem " in the latter university on loth
September 1462. He is described in its register as "venerabilis vir
Magister Robertus Henryson in Artibus Licentiatus et in Decretis
Bachelarius" — degrees which he had probably taken in Paris or Lou-
vaine. He afterwards became master of the school at Dunfermline
attached to the convent of Benedictines. He was also a notary public.
He has generally been supposed to have belonged to the family of
Henryson of Fordel ; but Laing has pointed out, in the memoir pre-
fixed to his edition of Henryson's poems, Edinburgh, 1865, that there
is no sufficient proof of this. The name was common, and two other
persons who bore it in the sixteenth century were celebrated lawyers,
and may have been relations of the poet, — James Henryson, the
founder of the Fordel family, King's Advocate of James IV., and Lord
Justice-Clerk in 1507 ; and Dr Edward Henryson, the author of several
works on the civil law, who studied and taught the civil law at
Bourges, and, passing as advocate in 1557, became one of the Com-
missaries of Edinburgh in 1564, and died in 1585. There was also,
by a curious and scarcely fortuitous coincidence, a John Henryson,
APPENDIX. CCXXVll
"master of the grammar school within the Abbey of Dunfermline"
i'^ '573- Further details of the family will be found in the memoir
prefixed to Laing's edition of Henryson's poems.
Herod. Ffyting, L 537. — Herod, the tetrarch of Galilee, who killed
John the Baptist, is made by Kennedy, in this satirical fictitious
genealogy of Dunbar, his "othir eme" — />., apparently uncle on the
mother's side, as Vespasian was his uncle on the father's. — See Jamie-
son's Diet, Supplement, sub voce "Eme."
Heryot. Lament, 1. 54. — This poet is not known by any other
mention of his name or by any extant poems.
Hew, Sir, of Eglinton. Lament^ 1. 53. — ^A person of this name
and family distinguished himself in the reigns of David II. and
Robert II., and probably lived 1320-1376. He was knighted by
David II. (according to a conjecture of Dr Irving) in 1342, for his
services in the English wars, but was afterwards taken prisoner by
Robert Ogle (Wyntoun*s 'Chronicle,' Book viii. 1. 6007 ; vol. ii. p. 468
of Laing's ed.) In 1361 he was Justiciary of Lothian, and in 1367 a
commissioner for negotiating a treaty with England. He married
Egidia, half-sister of Robert II., and widow of Sir James Lindsay of
Crawford (Irving*s * History of Scottish Poetry,* p. 82). This was
probably the poet His name frequently occurs in accounts of the
Great Chamberlain from 1348 to 1375 ; and in the 'Rotuli Scotorum/
vol. i. p. 822, and other places, mention is made of safe-conducts
granted to him for journeys to England. He died in 1381, and his
widow married Sir James Douglas of Dalkeith. His daughter Eliza-
beth was the ancestress of the Earls of Eglinton, who received that
title in 1507.
No poems with the name of Sir Hew of Eglinton are known. On
the other hand, there lived in the fourteenth century a Scottish poet,
commonly called Huchown of the Awle Royale (Royal Hall or Aula
Regia), and it is a question which affords much room for ingenious
criticism whether he is the same person as Hew of Eglinton. Wyn-
toun, who wrote soon after Huchown's death, says —
*' He made the gret Gest ofif Arthure,
And the Awntyre ofif Gawane,
The Pystyll also ofif swete Susane.
He was ctiryws in hys style,
Fayre ofif facund and subtille.
And ay to plesans and del]rte
Made in metyie mete his dyte,
Lytill or nowcht nevyrtheles
Waverand fra the suthfastness."
— Vol. xii. 1. 4324 ; Laing's ed., vol. iu p. ix
Three poems have been preserved, which, although this point
CCXXVUl INTRODUCTION.
has been disputed by Mr Morris on linguistic grounds, answer so
exactly to those named by Wyntoun that it would be singular if
the same three subjects had been treated about the same date by a
second author. The first of them is published by Mr Morris in * Early
English Alliterative Poems,' Early English Text Society, from a MS.
written by Robert of Thornton, Archdeacon of Bedford, 1439, in the
Lincoln Cathedral Library. This poem fairly answers to " The gret
Gest of Arthure " or " Gest Historicale " of the above passage of Wyn-
toun ; and Mr McNeill has shown, in a learned paper in the ' Scottish
Review,* March 1888, that the defence of Huchown by Wyntoun for
the supposed error of calling Lucius, the contemporary of Arthur, Em-
peror instead of Procurator, against some critic of his time, actually
applies to this poem. Such a coincidence is more conclusive than
the dialect which led Mr Morris (but Professor Schipper differs as to
this) to ascribe it to a writer south of the Scottish border.
The second poem, according to Mr McNeill, is the romance of " Sir
Gawane and the Grene Knight," printed for the Bannatyne Club, under
the editorship of Sir F. Madden, and by the Early English Text
Society in 1864, from a MS. (Cotton. Nero A x) in the British Museum,
of which a full analysis is given by Mr McNeill and also by Ten
Brink (' Early English Literature,* p. 337). It is very similar in
nature and style to the first poem ; and though Morris, followed by
Ten Brink and some German scholars, assigns its dialect to Lancashire,
Morris admits that it is not improbable it may have been copied from
a Scottish poem. It must not be overlooked, however, that there arc
several other poems in which Gawane figures that may contend for
the honour of being by Huchown, as that of " Sir Gawane and Golo-
gras** (printed by Pinkerton, 1792, and Bannatyne Club), and "Sir
Gawane and Galoran of Galloway," now commonly called "The
Awntyrs of Arthur at the Tern Wathelan " (printed by Pinkerton,
Madden, and Laing), of which there are three MSS. — See Laing,
* Select Remains/ 2d. ed., p. 84. The third poem is the " Pystil of
swete Susan,** printed by Laing, 'Select Remains* (p. 167), from the
Vernon MS. in the Bodleian. Whether "The Pearl," "Cleanness or
Purity,'* and " Patience," three poems of a moral or religious caste,
also in the same MS. collections as " Sir Gawane and the Grene
Knight," are by Huchown, as Mr McNeill contends, is more doubtful ;
but even without these, "Huchown of the Aule Royale'* must have
been a poet of considerable mark in the age before Barbour.
The identification of him with Sir Hew of Eglinton is not absolutely
proved, but is highly probable. Huchown is an old Scottish diminutive
for Hugh. The public offices and royal connection of Sir Hew of
Eglinton make it not unlikely that he should be called " of the Royal
Hall." The alliterative style of the three poems corresponds with the
poetic diction in use during Sir Hew*s life. Dunbar is not likely to
have omitted in his list so important a name as Huchown of the Awle
APPENDIX. CCXXIX
Royale. Chalmers^ followed by Laing, are g^eat authorities in sup-
port of the identification. On the other hand, no poem bears the
name of Hew or of Eglinton, and Hew of Eglinton held no office
specially attached to the royal person. Mr Morris and the German
scholars generally are against the identification, on the ground that
these poems are not in the Scottish but rather in Midland English
dialect On the whole, the writer of this note is inclined to accept
the conclusion of Mr McNeill, in whose paper will be found addi-
tional arguments in its support The subject will no doubt be further
elucidated by the editor of the forthcoming volume of Scottish Allit-
erative Poems for the Scottish Text Society.
HiLLHOUSE, Laird of. Flyting, 1. 515. — Probably Sir John Sandi-
lands of Hillhouse in Linlithgowshire, frequently referred to in the
Records between 12th July 1480 ('Acta Dominorum Concilii *) and 8th
December 1501 ('Treasurer's Accounts*). He appears to have been
employed in the Artillery service, from the entries in these accounts
of nth September 1496 and 31st July 1497 ; and he received on 8th
December 1501, 28s., when "he cam furth of Ingland from the
Lordis, be the Kingis command." This was the embassy on which
Dunbar also served, so he probably was a friend of the Laird, as
Kennedy describes him as " air to Hillhouse."
Holland. Lament, 1. 61. — Sir Richard Holland, the author of the
" Howlatt," a poem written in the reign of James IL, about 1453, in the
alliterative style. Holland was a follower of the Douglases, and his
poem is perhaps a satire on James IL, though this has been doubted.
It is preserved in the Bannatyne and Asloan MSS., and has been printed
by Pinkerton, 'Collection of Scottish Poems,' 1792, vol. iii.; and for the
Bannatyne Club, 1823, by Laing, and more recently by Mr Donaldson
(Gardiner, Paisley). The " Howlatt " is alluded to by Blind Harry in
his description of the battle of Falkirk, and Holland is mentioned by
Lyndsay in the Prologue to the " Complaint of the Papingo."
Homer. The Goldyn Targe, 1. 67. — The first edition of a Greek
Homer was printed at Florence, by Demetrius Chalcondylas, in 1488.
But Homer was probably known to Dunbar only at third hand from
Lydgate's ' Troy Book,' which was copied from Guido de Colonna's
' Historia Trojana,' written in the 13th century, and itself taken from
Dares Phrygius and Dictys Cretensis. George Dundas, Master of
the Knights of St John of Jeruselem, a younger contemporary of
Dunbar, is described in 1522 by Boece, in his ' Lives of the Bishops of
Dunkeld,' as learned in Greek as well as Latin, and probably was one
of the first Scotchmen who knew Greek well. There is no reason to
suppose that Dunbar had any knowledge of it
James IV. Poems to the King^ passim ; The Thistle and the Rose,
CCXXX INTRODUCTION.
p. 113 ; Of Demingy p. 92 ; and other poems.— James IV. was king
during Dunbar's manhood and prime. At his Court the poet lived, and
to or for him, in the first instance, his chief poems were written.
Although it is not the intention of these notes to draw histcnical
characters at fiill length, it is necessary to give an outline of the
reign of James in its bearing on the life and poetry of Dunbar.
The eldest son of James and Margaret of Denmark, James IV.
was bom on 17th March 1472, so was about twelve years Dunbar's
junior. He succeeded to the crown by the death of his Either at
Sauchie on nth June 1488. Three years after, Dunbar probably
entered the royal service. In that year, 1491, the first of a series
of embassies, which seriously aimed at securing the king's mar-
riage, for it had been talked of since the commencement of his reign,
was sent to France. Besides renewing the ancient league, it was
directed to search for a wife to the king, who was to be a ^ noble
princess, bom and descended from some worshipfid house of ancient
honour and dignity." The embassy was to consist of a bishop, an
earl, a lord of Parliament, and a clerk. The bishop chosen was Blackr
adder of Glasgow ; the earl was Hepburn, Lord Bothwdl ; the lord of
Parliament was Lord Monypenny. There is reason to suppose that
Dunbar may have been the clerk, for they sailed in the Catherine from
North Berwick, the vessel in which Dunbar is said in the ** Flyting" to
have gone to France. His entry into the royal service was thus
intimately connected with the marriage of the king, which must have
been for many years a subject constantly in his thoughts. James him-
self was not anxious to be fettered by matrimony. Besides other less
honourable connections — one of which is described in " The Kinges
Wowing quhen he wes in Dumfermeling" — he had formed an attach-
ment for Margaret, the daughter of Lord Drummond. It was even
reported that he obtained a dispensation from the Pope allowing
him to marry her. This would have been required, not on account of
her inferior rank, but of her relationship ; for a member of her family,
Annabella, had married Robert 111., and another had been the second
wife of David II. A royal marriage might seem not beyond the am-
bition of the Drummonds. Some such hope probably tempted the
daughters of other nobles, both before and after Margaret Drummond,
to accept the position of mistress of the king. None of them seem to
have had the same place in his affections as Margaret Drummond. The
poem, set to a popular air, " On Tayis Bankis," describes her when
resident at her father's house of Stobhall perhaps in the language of
her lover. She was treated with great state, and bore him a daughter
in 1497. Though the Spanish ambassador Ayala states that he
then sent her to her father and married her to a nobleman, there
is no other proof of this. The connection between them probably
continued until the marriage negotiations with Henry VII. in 1501.
Margaret Drummond and two sisters died at one time in 1502, and it
APPENDIX. CCXXXl
is not wonderful that this gave rise to rumours of poisoning, which
were not dispelled during the whole of James's reign. Suspicion
pointed, some said, to the Kennedys, a family which also produced
a royal mistress ; but according to a letter of Queen Margaret to
Dacre in 1523, to Lord Fleming, the husband of one of Margaret
Drummond's own sisters. Her death again awakened the often
sensitive but often slumbering conscience of James, who had felt
deeply the death of his father on the field of Stirling. Masses were
sung till the close of his reign for Margaret Drummond at Dunblane,
where she was buried, as they were for his father and mother at
Cambuskenneth, at Tain, and in the Blackfriars* Church in Edinburgh
(see Dickson, Preface, * Treasurer's Accounts,' ccxxx.) The pilgrimages
of James to St Duthac's at Tain and to St Ninian's at Whithorn, his
retreat at Easter to the Convent of the Observants at Stirling, which
he had founded and from whom he received a confessor, and the
iron belt he wore, were acts of expiation which reveal in part the
secrets of the confessional. But James was unstable and incontinent.
Historians have remarked a curious proximity between the places of
his pilgrimage and the residences of his mistresses. Dunbar's poem
of ''Beauty and the Prisoner" probably refers to the abandonment
for a time of illicit connections when *^ Matremony, that nobill king,"
banished '' Sklander to the west se cost" James was too energetic
to devote his whole time either to love or to religion. He had been
plunged when a youth of sixteen into the duties of manhood. The
example of his father warned him against leaving the government in
any hands but his own. He b^^ his reign by suppressing the re-
bellion of Lord Lennox and Lord Lyle, and he easily crushed the
conspiracy of Ramsay, Lord BothweU, for delivering him into the
hands of the English. In 1494, and again in the following year, he
visited the Western Isles. The first important episode in his reign
was the support he gave to the adventurer Perkin Warbeck, who
came to Scotland in 1495. J^^mes recognised him as Duke of York,
gave him his kinswoman Lady Catherine Gordon, daughter of Lord
Huntly, in marriage, and twice supported him in raids on the north of
England. Whether James was reaily deceived, or, like the Duchess
of Burgundy, allowed himself to be deceived, as to the real origin of
Perkin, is uncertain. He refused to g^ve him up to Henry VIL, and
when Perkin sailed for Ireland in July 1497, it was in a ship fitted out
at the royal cost. The king and Perkin parted with compliments, as
became a host and his guest But the negotiations with Henry VIL,
promoted by the diplomatic skill of Fox, Bishop of Durham, and the
goodwill of the Spanish ambassador, who thus escaped from a promise
to find him a Spanish princess as a bride, were already on foot A
truce was signed at Ayton on 30th September 1497, to last for seven
years. James had reached what the Scotch law called the perfect age
of twenty-five years in 1498. The truce with England, converted into
ccxxxii INTRODUCTION.
a peace by the marriage treaty of 1502, enabled him to apply hirasdf
to the afi&irs of his own kingdom, and he proved himself a vigorous
monarch. With the counsel of Sir Andrew Wood, he developed the
Scottish navy. He never tired of expeditions to the most remote
parts of his kingdom — the Highlands or the Isles, Ross or Galloway —
for the purpose of suppressing rebellion and of administering justice.
He reformed the courts by the institution of new sheriffdoms in the
Highlands, and of the Daily Council at Edinburgh, to which there are
many allusions by Dunbar, as well as the special poem ^Tidings from the
Session," which shows that the reform was not so thorough as might
have been desired. Inheriting his father's taste for building, he con-
tinued the improvements at the royal palaces of Holyrood, Linlithgow,
Stirling, and Falkland. The interests of agriculture were promoted by
statutes favouring the tenure of feu-farm and protecting the imple-
ments of poor husbandmen from distress ; those of trade by patting
down piracy, as well as by treaties and correspondence with foreign
powers. He appears to have been really kindly to the poor, not merdy
a distributor of official charity. He furthered education by the statute
requiring all barons to send their sons to school to learn Latin at the
age of nine, and after school to the Schools of Art and Jure (Law), as
the Universities are called in the Act, to fit themselves for judicial
duties ; and he aided the wise efforts of Bishop Elphinston to create
a northern University, which received the name of the King's College,
at Aberdeen, in 1500. At the instance of the same prelate he intro-
duced a few years later, in 1507, the art of printing into Scotland, to
which there is reference in one of Dunbar's poems, as was natural in
the first Scotch poet who saw his own poems in print. The education
of James, according to the Spanish ambassador, embraced six foreign
languages — Latin, French, German, Flemish, Italian, and Spanish—
as well as the Scotch and Gaelic of his own subjects. He was well
read in history, both Latin and French, and familiar with the Bible
and books of devotion. The same observer, whose narrative is
evidently highly coloured, praises the king, as befitted the repre-
sentative of Ferdinand the Catholic, for his observance of the
offices of the Church; his favour for priests, especially the Friars
Observant ; his justice, liberality, truthfulness, courage, and good
judgment. Erasmus, who was also something of a courtier, and to
whom James intrusted the education of his favourite natural son,
Alexander, afterwards Archbishop and Chancellor, joins in this pane-
gyric : " His personal appearance was such, that from a distance
you would recognise the king. He had a wonderful force of intellect,
an incredible knowledge of all things, an invincible magnanimity, the
sublimity of a truly royal heart, the largest charity, and the most
profuse liberality. There was no virtue which became a great prince
in which he did not so excel as to gain the praise even of his
enemies."
APPENDIX. CCXXxiii
But while the credit of these varied talents and of activity and fore-
sight in government cannot be denied, there were points of weakness
in his character, almost un¥rittingly revealed even by his panegyrists,
which become palpable the more we search the records of his reign,
and which, overpowering all his virtues, produced its lamentable
dose. His liberality was pushed to extravagance, and Buchanan
remarks that he so impoverished the Exchequer that he had to resort
to odious measures to replenish it. His courage became rashness.
His general good judgment was perverted into n^lect of the judgment
of others, even on subjects they knew better. His zeal for loiowledge
of all kinds led him to dabble in unworthy and dangerous subjects, —
not merely the rude b^innings of scientific experiments, but aichemy
and astrology, which made him the prey of impostors. His outward
pijsty, which was constant, was the expression of a religious feeling
which was intermittent, and led to startling inconsistencies. Worst of
all, his licentiousness corrupted not merely his own morals, but those of
his Court, and was neither restrained by marriage, nor, if we credit the
story of Lady Ford, by the duties or the dangers of war.
The periods from 1501 to 1503, and again from 1507 to 1508, were
the most brilliant of his reign, and it is for these that Dunbar's poetry
affords the most important light In the former period his marriage
with Margaret Tudor was at last consummated. In the embassy of
Lord Bothwell and Archbishop Blackadder to England in 1501,
Dunbar went probably as a notary, or clerk, who could if required
play the poet at the Court of Henry, which appreciated rather than
possessed poetical talent His poems confirm the remark of Bacon
as to the popularity of the marriage in London, whose inhabitants did
not share the hatred of the English Borderers for their Scotch neigh-
bours. They express also the sympathy of a Lowland Scot inclined to
England with an event it was hoped would end the enmity between
the two nations, and perhaps unite their crowns. Bacon, writing after
the Union, even hints that the popular instinct foresaw it Certainly
it was discussed as a possibility by the kings and their minbters, for
only a single life then intervened between Margaret and the English
succession. The saying of Henry VII. is well known, that if the
marriage led to a Union, the larger would attract the smaller country.
James, a monarch given to magnificence, was determined the pomp of
his nuptials should be worthy of the occasion. Masques and plays,
hunts and tournaments, were followed by banquets, dances, and
songs. Dunbar, now again in Scotland, was employed as the Court
poet It has been conjectured in the introduction that his all^ories of
the ** Goldyn Targe" and ^ Beauty and the Prisoner" were composed
in contemplation of the marriage. '^The Thistle and the Rose" was
certainly written for it ** The Ballad to the Queen " was probably
sung after the banquet at Holyrood on the evening of the marriage,
8th August 1503. Amongst the amusements of the time it seems
CCXXXIV INTRODUCTION.
almost certain that the ^' Interlud of the Droichis part of the Play**
was represented, possibly by John Inglis and his compaoy, who had
come with the Queen from England, more probably by some rival
Scotch players. In this singular poem the Dwarf or Droich, who is
descended, strangely enough, from Highland ancestors, partly in jest,
partly it may be to represent the distant origin of the Scottish
monarchy, narrates in a boisterous style of jollity that he has come
to dwell in Edinburgh. No guest would have been less welcome to
the Edinburgh citizens of that age than a full-bred Highlander. Theo,
by one of those surprises in which Dunbar delighted, the Dwarf turns
out to be a Giant, Wealth, who had determined to take up his abode in
the Scottish capital in preference to Turkey, the realm of the Soudan, or
Lombardy, in which the French armies had created dearth. The
lawless condition of the Scandinavian kingdoms, and even of the
States of the Low Countries, made them undesirable. Ireland was
still worse. Dunbar's lines on it may seem sadly prophetic, but are
not, it may be hoped, final :—
•• Yrland for evir I half reffusit,
AH wyismen will hald me excusit,
For nevir in land quhair Eriche was vsit,
To dwell had I dellyte."
The preference of Wealth for Edinburgh, a poor capital, was sure to
delight the auditors ; nor could any occasion be more suitable for the
suggestion than the king's marriage. Money was then flowing freely
into the town, and the English alliance gave hopes of profitable trade.
Such, at least, seems the secret meaning of this poem, which can only
be read by the use of an historical key.
In the year 1507, and the first half of 1508, the bright aspect of
James's reigpi was still in the ascendant. The king was courted
by foreign powers. His administration of home affairs had been in
the main successful. The Court was more brilliant than it had ever
been in Scotland. A small and poor country had attained a European
position it had never before possessed. But there was no longer the
high excitement of the time of the marriage festivities. Even the few
years which had passed had disappointed some hopes. Dunbar's
poems faithfully reflect this change. The queen, too early married,
had not borne an heir who survived infancy, and a " plant was still
desired of her succession." The king had shown, indeed, great
energy in suppressing the rising of Black Donald of the Isles ; but
in the opinion of others besides Dunbar there had been undue
leniency in extirpating treason, as the poet indicated in his " Epi-
taph on Donald Owre," whose life had been spared. It was a testi-
mony to the soundness of this judgment that the Highland fox,
many years after, again broke loose, and had to be hunted out of
the country. These amusements of the Court, serviceable enough as
an occasional diversion from the strain of serious work, had become its
APPENDIX. CCXXXV
chief business, as is described in the poem of '' Solistaris in Court"
They had exceeded the permissible bounds of folly when a fool like
Sir Thomas Norray was knighted, and a tournament held in honour
of a Blackamoor woman, and an abbacy conferred on a charlatan
like Damian. The poet's own circumstances, no doubt, heightened
his satire, but his empty purse was a symptom of the poverty to which
the exchequer had been reduced. There was no measure in the
demands or in the success of the hangers-on of the Court, as he
points out in his poems on Discretion in Asking, Giving, and Taking.
The vacant benefices were recklessly given away. The courts of
justice were beset with suitors and others who had no desire for
justice, and were even themselves corrupt, as is portrayed in " Tidings
from the Session," and the poem of '^ Lady Solistaris."
In the latter half of 1508 the handwriting could be seen on the wall,
and the Scotch poet was quick, like the Hebrew prophet, to read and
declare its meaning. He detected what escaped Uie common eye, the
rottenness which underlay the apparent bloom. Sickness and Death
were the teachers of a careless and dissolute generation. Dunbar had
already, at an earlier period, spoken a warning word, as in the poem
to the queen on the profligacy of her courtiers ; but now he was himself,
perhaps for the first time, really alarmed. In his own sickness, his
thoughts turned to the dead and dying poets, one of them his chief
rival, K^medy, and he wrote '* The Lament for the Makaris." The
death of the brave D'Aubigny imposed on Dunbar the task of writing
an elegy only a short month after he had written a panegyric No
sermon could have been half so scathing a censure of the vices of the
Court as ''The Dance of the Sevin Deidly Synnis." In 1509 occurred
the death of Henry VII., soon followed by that of the grandmother of
the queen, the wise and virtuous Countess of Richmond. The acces-
sion of Henry VIII. produced altered and strained relations between
the two Courts, so closely connected that there was no room for any
mean between love and jealousy. Instead of a loving father and
pacific king, James and Margaret had now to reckon with a grasping
brother and a king who would tolerate no will but his own. A series
of comparatively trifling disputes during the next four years led to a
complete rupture between Scotland and England. The precipitancy
of James led to the brief war in which he himself perished, and his
kingdom was all but ruined. Henry VIII., on his accession, refused
to deliver the jeweb left by his father to his sister, the Scottish queen.
In 1 5 10, Andrew Barton, after Wood the most distinguished naval
commander of Scotland, was killed, and his ships taken by Howard,
the English High Admiral When James demanded redress, he got
for answer that the £ate of pirates should not be a question between
princes. Andrew Ker, about the same time, avenged the death of his
father. Sir Robert, by killing Starhead, an English subject, in cold
blood, and fixing his head on the Edinburgh Tolbooth. In 15 11
CCXXXVl INTRODUCTION.
Henry formed a league with Ferdinand of Spain, the Emperor Maxi-
milian, the Pope Julius II., and the Venetians, against France.
In 15 12 James renewed the ancient alliance of his country with
France, and received a ring from Anne of Brittany, its queen, as a
sign that he was to be her champion. Both kings now occupied them-
selves with preparations for war; but Henry, before proceeding in
person to France, sent two embassies under Dr West to his brother-
in-law to attempt to detach him from the French alliance. West was
received with courtesy, but civilly dismissed. It was plain to all that
war was inevitable. In the beginning of April 1513) a new league
was formed on the accession of the new Pope, Leo X., between the
same great European Powers against France, and on 50th June
Henry crossed the Channel and opened hostilities by the si^^e of
Terouenne. While in his camp before that town, the Ross Herald
arrived with a declaration of war. On the day of his departure, Arran
was sent with the Scotch fleet — to prepare which had been a darling
object of James — to aid France, but, in treasonable disobedience of
orders, sailed to Ireland. Before his return, James had crossed the
Border, imprudently accepted the challenge of Surrey to fight, on
Friday, the 9th of September, at Flodden, where he fell, surrounded
with the flower of his prelates, nobles, and commons. It was the same
Surrey who, only twdve years before, had brought Margaret Tudor
as a bride to Edinburgh, and of whose influence with James she had
felt a girlish jealousy. His body, found with difficulty — for he had
put several men into the same dress he wore — but identified by
several persons, amongst others Sir John Forman, the brother of
the bishop, and Lord Dacre, — was carried to Berwick. According
to the view of Leo X., an ally of Henry, James had broken the
treaty with Henry VII., which he had made under pain of excom-
munication for its breach ; and on the recital that James, when
dying, had shown some signs of penitence such as could be shown
at such an hour, the Pope, on 29th November 15 13, went through
the solemn mockery, at Henry's request, of issuing a bull allowing
Henry to bury his dead enemy in St Paul's. It is doubtful whether
this licence was used. According to Stow, the corpse lay at the Con-
vent of Shene till its dissolution, where he saw it in the reign of
Edward VI. ; after which " the workmen for their foolish pleasure
cut off the head," and the body only reached its last resting-place
in some obscure churchyard in London, at the hands of Lancelot
Young, Master Glazier of Queen Elizabeth.
It was hinted in Scotland that James had not been killed, for
no body was found on the field with the iron belt. Busy rumour
told various tales — that he had secretly gone to Jerusalem to fulfil
a vow, or that he had been slain, not in battle but in flight. But there
seems no doubt that he fell fighting. Courage was the one quality
of a general he possessed ; in all others he was lacking. By declaring
APPENDIX. CCXXXVII
war against the advice of his Council and the wish of many of his
subjects ; by dallying at Ford to enjoy the company of its lady, ac-
cording to a constant tradition of early date on both sides of the
Border; by fighting on the ground chosen by Surrey, against the
remonstrance of Lindsay of the Byres and Angus Bell-the-Cat ; by
recklessly exposing his own person, he maintained to the last the
unwise obstinacy which was one of his characteristics.
Dunbar was silent after Flodden. Apart from his religious poems,
there are only the single poem to the Queen-Dowager and the two
relating to the R^ent Albany which can be ascribed to a later date.
The troubles of Scotland which followed during the minority of James
V. may be a sufficient reason for this silence. Had he spoken, what
would have been his judgment on a reign he had watched so keenly and
a king he had so long served and counselled? He was not given
to the pathetic feeling which moved the hearts of so many Scottish
poets, both at the time and later, to weep for their countrymen who
fell at Flodden. If he wrote, it must have been either an invective on
the cause of the deaths which put every town and family into mourn-
ing, or a lament on the uncertainty of life and the vanity of earthly
things. It was, in fact, in the latter vein that he composed the poems
of his later period, if the date of his religious poems has been correctly
assigned.
John, Sanct Ffytingj L 124. — St John the Baptist, or a hermit of
the same name, but what the special allusion is to hiding his eyes
with a wimple has not been discovered.
JOHNNE THE Reif. Schir^ p't remembir as of befoir^ L 33. — The
hero of an old English poem of the end of the fourteenth century.
Douglas refers to the same poem in the '^ Palice of Honour " : —
" I saw Raf Col^ear with his thrawn brow.
Cmkit JohDe the Reif. and auld Cockelbie*s Sow,'* —
and by Sir D. Lyndsay, who refers to Archbishop Beatoun as '*bot
disgyset like John the Reif^ he said,'' in the "Testament of the
Papingo." It is in Bishop Percy's Folio MS., and relates to an ad-
venture between Edward I. and one of his reeves or bailiffs. It has
been printed in Laing's 'Ancient Popular Poetry of Scotland,' 2d
edition, p. 46.
Johnston, Patrick. Lament^ L 71. — A person of this name is
mentioned in the Exchequer Rolls and Treasurer's Accounts in the reign
of James III. as performing plays before the king at Christmas and
Shrovetide 1476 (voL viiL p. 33 ; and 1477 and Christmas 1478, p. 512).
He seems to have been a man of substance, and to have had grants of
lands or rents from the king (vol ix. pp. 16, 106, 172, 243, 400, 466,
CCXXXviii INTRODUCnOH.
641). From tbe entry, 8th November 1486^ he ap pe ars to hatwe had
the liferent of the lands called Kingsfield, near Linlithgowr, no doobt
as a payment for his senrices. He appears on $th Ai^ust 14SS
as apparently the chief of the players at linlithgov who played
before the )dDgf and he is again mentioned in the same character in
the following year, where the entry is to ** Patrick Johnson and his
^owis that i^yt a play to the Idi^ at Lythgow.* Payments were
made to him at Epiphany 1489 and 1490^ whidi is the last mentian
of his name: His association with other persons who r ece iv ed pay-
ments at the same time appears to indicate that he may have been
one of the clerks at the king's chapd. The dioristersy both clerks
and boys, frequently took part in the early masques and plays. James
111. is said to have doubled the number of these at the Chapd Royal,
so that half of them might be free to contribute to his amosement in
this way, while the other half sang in its senrices (Accounts of the
Lord High Treasurer, Preface, Ixzvii., zdL, cczzzix., and ccxliv., and
pp. 91, 118, 128, 174). In the accounts rendered for the period from
1 2th June 1494 to 14th August 1495, Johnston is referred to as dead
(Exch. Rolls, voL x. pp. 33, 177, 276, 3301, 408, 495). As he was liv-
ing at a period of the former account, he must have died soon after
1 2th June 1494.
JOK THE FuLE. Testanufit of Andro Kennedy^ L 73. — Laing sup-
poses this was ^ John Walass " the fool, sometimes called '* Daft Jok
the Fule," who was with the king at St Andrews, October 1504, and
for whose " tyrment" or burial i6s. was paid on 19th June 1508. But
Kennedy seems to refer to some richer fool, as he says of him : —
" Of corae and cattail, gold and fe.
Ipse habet valde multum.
And 3it he bleris my lordis £
Fingendo eum fore stultura."
— See Bute, Curry, Norray.
JONET THE Weido. Lucitia schynnytig in silence of the nicht^ L 34.
One of the witches of Scotch tradition. The besoms or brooms of the
witches are referred to in a trial for witchcraft (Pitcaim's * Criminal
Trials,' voL iii. p. 608).
JUDAS IscARiOT. Flyting, 1. 524.--The juxtaposition of his name
with " Jew, Juglour, Lollard laureate," is characteristic of Kennedy, who
wrote against the Lollards in another poem, and afTords proof that this
part of " The Flyting " was really written by Kennedy.
KENNEDY, Andrew. Testament of Andro Kennedy, ^K person of
this name appears in the Treasurer's Accounts, 21st August 1502-
« Item, For ane hors boucht to Jock Balye, and syne was geffin to
APPENDIX. CCXXXIX
Andrew Kennedy be the Kingis conunand, 50s." He had received a
gift of 28s. two days before, and on 8th September 1503 there occurs
another entry of 14s. given to Andrew Kennedy, ^ in maij bypast to pas
to Wigton to the King ¥rith ane relique of Sanct Niniane." He is also
the recipient of a grant referred to in the Privy Seal Register on 15th
May 1 501. This is no doubt the Kennedy of the poem, from which
we glean a few other particulars about him. He was probably a phy-
sidan, and so is made, as a rival, to abuse Clerk for his ignorance —
" Scribendo dentes sine de."
His own superior knowledge of Latin is shown by the tags of dog-
Latin he mixes with his English rhymes, a kind of composition the
student of the time practised, as may be seen in a curious ballad
by an English student in Paris to his sweetheart (Ten Brink, ' Early
English Literature,' p. 303). Andrew Kennedy was, according to the
poem, a drunken and dissolute Bohemian of Dunbar's day, but able,
as such characters sometimes are, to see through the hypocrisy of false
professors. Dunbar perhaps uses him to express his own freethinking
mood, and to say things he did not like to say in his own person.
Thus Kennedy is made to denounce the fraud and guile of Gray, the
Master of St Antony's Hospital, and the pretences of the frdse friars
who sang masses for the sake of lucre. He scof!s at absurd claims
to good family — a weakness of his countrymen — ^by treating the head
of the Kennedys as his chie^ though he did not know who he was,
and at the same time by a double-edged thrust at the Celtic custom
of caupe^ — an instrument of extortion by which '' the best aucht," or
piece of movable property of a deceased clansman, was the right of
the chief. He strikes one of Dunbar's favourite blows at the worldly
¥risdom of the fools who became wealthy, and the folly of those who
entertained and kept them. The residue of his goods — in his case, as
in some testaments, less than nothing — ^he leaves to his bastards. The
general ceremonies of the time are travestied by the use of emblems
of his drunken habits. With reckless audacity and profanity, he does
not hesitate to declare on his deathbed that he had no belief that he
will have no priests to sing at his burial, and that he leaves, in the
name of God, his soul till doomsday to the wine-cellar, and his body to
a dunghill in the town of Ayr. It is a terrible picture of the dregs of
fjEillen human nature. That neither Dunbar nor the society in which
he lived thought such a subject outside the pale of poetry is shown
by the fact that this poem was one of those the poet himsdf printed,
or allowed to be printed, at the press of Chepman and Myllar in
1508.
Kennedy, Walter. Ffyting; Lament. — This poet, who seems
to have been the chief rival of Dunbar, was bom in Ayrshire, prob-
ably before 1460 ; he was third son of Gilbert, first Lord Kennedy,
and was educated at Glasgow CoU^e. He matriculated there in
CCxl INTRODUCTION.
1475, and is described in the College Register as a nobleman idio
had for his tutor James Black, probably a student like himself in
the Faculty of Arts. He took the decree of Bachelor of Arts in
1476, and that of Licentiate, or Master, in 1478. In November 14S1
he was one of the examiners. He appears to have acted as Bailie-
Depute of Carrick under David, third Lord Kennedy, in 1491-92.
Mr Laing conjectures that he may have been the son of Gilbert,
first Lord Kennedy, who was appointed Provost of the Collegiate
Church of Maybole in 1494. He is described by Dunbar as lying
at the point of death when ^'The Lament for the Makaris" was
written, so he probably died in 1507 or 1508. Besides his part in the
^* Fl)rting,'' a few of his poems have been preserved, and are printed by
Laing in the second volume of his edition of Dunbar, (i.) ''The
Praise of Age ; " (2.) " Ane agit Manis invective against Moudi Thank-
less ; " (3.) " Ane Ballat in praise of our Lady ; " (4.) " Pious Cotmsale ; *
(5.) " The Passioun of Christ." He is referred to by Gavin Douglas
in the "Palice of Honour" as " Greit Kennedie" (line 14), and by Sir
David Lindsay in the lines —
" Or quha can now oontrefait
Off Kennedie the terms aureait."
The clan of Kennedy was one of the Celtic clans of Carrick, and
Gilbert, the father of Walter Kennedy, had a charter dated 13th
February 145 1, declaring him head of his tribe, and heritable bailie of
Carrick. This is alluded to by Dunbar in the '' Testament of Andro
Kennedy," who is made to leave his "best aucht" to the head of
his clan as the customary due, called in old Gaelic coupe, Gilbert
Kennedy was the son of Sir James Kennedy of Dunure, and Mary, the
second daughter of Robert 111., and sister of James I., and this con-
nection made Walter Kennedy claim the "Flyting" to be of king's
kin. His uncle was Bishop Kennedy of St Andrews, the faithful coun-
cillor of James III. The poet was a more staunch adherent of the
Church of Rome than Dunbar, as is shown by the denunciation of the
Lollards in several of his poems. The name Kennedy has been derived
from Kenneth by the historian of the family of the seventeenth century,
but by the editor of his work, Mr Pitcaim, is supposed to mean the head
of the house or family, — a distinction which had been granted to their
ancestors as far back as 1256, and confirmed by Alexander III. on 20th
January 1276. — * Historical Account of the Families of Kennedy from
Original MS.' (Edinburgh, 1830), p. 75.
KiTTOK. Ballad of Kynd Kittok,—Y^\X.io\i^ or Kitty, the female
taverner, whose ale-house was at some place now unknown, called
France, on the Falkland fells, perhaps from its having been the
residence of French servants of the Court.
Lawrance, Sanct. Fly ting, I. 123. — St Lawrence was martyred
APPENDIX. CCxH
by roasting on a gridiron by Decios, or his successor Valerian. The
legend is told by Barbour, or whoever may be the writer of the Northern
or Scottish Legends (Horstmann, ' Altenglischen L^;enden/ Barbour's
' Legenden Sammlung/ voL i. p. 191). St Lawrence was appointed an
Archdeacon of the Roman Church by Pope Sixtus I L on his accession
to the Papacy, A.D. 257. Before his own martyrdom Sixtus charged
Lawrence to distribute the property of the Roman Church among the
poor. Lawrence, according to the l^end, wished to share the fate of
Sixtus, and said to him, ''Whither art thou going, O my father, without
thy son ? '^ to whom Sixtus answered, '' I do not forsake thee, O my
son : there are yet greater conflicts behind, which thou hast to undergo
for the £suth of Christ : within three days thou, as a dutiful deacon,
shalt follow me, thy bishop." He was arrested and grilled alive on a
gridiron on the night between the 9th and loth of August.
" I>ane Dedus al fore wrak
A gryt fyre sone gert mak
Vndir |ie rost-yme, )xU brint fast,
& salt & oyle )fiire-one gert cast ;
& louidanis mad ))ame al bowne
With schaipe forkis & hald hyme done.
f^ane sad Laurens with gud chere :
' Lord Jhesu, I lowe )« here ! '
& with pat wpe |ie ene he brad.
And to Decias he sayd :
' pe rostit syd tume vpe & ete,
& it at raw is turne & het ! '
& pis sayand thankis he Jald
To god, erand Jonge and auld :
' Lord Jhesu, ay lowyt mot ))u be,
Fore I ame worthy to haf entre
Within lie piXis of pi blyse,'
& )aiild pe spryt, sayand |ius."
— Legends of the Saints, xxii. IL 465-470, 485*496.
This martyr is celebrated in several hymns. — See 'Daniel,' vol L
p. 103 ; voL iL pp. 20^ 163.
LODOVICK. E/egy on Bernard Stewart^ 1. i. — Louis XII. , King of
France, by whom Bernard Stewart was sent on the embassy to Scot-
land in 1508.
LoKERT or LOCKHART OF THE Le, Sir MUNGO. Lament, L 63.—
A person of this name is mentioned in a suit recorded in '* Acta Domi-
norum Concilii," 27th February 1487, when he was dead, his wife being
referred to as '^ Agnes Lindsay, spouse of umquhile Sir Mungo Lock-
hart, knycht" No poem of his is known, but the date makes it not
improbalble he is the Lockhart referred to by Dunbar. The £unily of
Lockhart of the Lee, in Lanarkshire, is descended from Sir Simon
CCxlli INTRODUCTION.
Lockhart, who accompanied Douglas in his expedition against the
Saracens (1330), when he carried the heart of Bruce. It has produced
several distinguished members — James Lockhart, Lord Lee, a Scottish
judge; William Lockhart, Cromwell's ambassador; and Sir George
Lockhart, the Lord President of the Court of Session — ^but the name of
Mungo does not appear in the family genealogies.
Lydgate. Goldyn Targe, L 262 ; Lament^ L 5a — ^This poet, a
monk of Bury (see *' Lament," L 50), who lived 1375 to 1460, was the
immediate follower of Chaucer, but, like Gower, far inferior to his
master. An account of his principal poems is given by Warton
(* History of English Poetry,' p. 68 et seq.) These were " The Fall of
Princes," " The Siege of Thebes," and " The Destruction of Troy."
His Minor Poems have been edited by Mr J. O. Halliwell for the Percy
Society, in which the following lines may be cited as parallels to
passages in Dunbar's poems : —
" Be glad, O London, be glad and make gret joy,
City of cities, of nobleness precellyng,
In the beginning called New Troy ; " —
this may have suggested the reference to Troynovaunt in Dunbar's
poem in praise of London. The moral to be drawn from the death of
the great men of the past, which is the theme of Dunbar's '^ Lament
for the Makaris," had also attracted Lydgate, who writes —
*' Where now is David, the most worthy king? "
— Lydgate*s Minor Poems, p. 24.
It had been taken by both poets either from the medieval Latin hynms
referred to in the Introduction, or from Villon's '* Ballade on Dead
Heroes." In one of the poems attributed, perhaps vrrongly, to
Lydgate, entitled '^ London Lackpenny," there is much satire directed
against the lawyers and the courts in a style similar to Dunbar's
" Tidings from the Session " and " Lady Solistaris." Dunbar styles
Lydgate " laureate," but it is not probable that he was Poet-laureate
of the Court. The history of that title, originally given by the university
to graduates, then apparently confined to distinguished scholars, and
first perhaps applied to the Latin poet Andrew Bernard of Toulouse,
who held the office under Henry VIL and Henry VII L, is given by War-
ton (* History of English Poetry,' voL iii. p. 125 ei seq,) ; yet Chaucer,
who certainly did not hold any such office, and Skelton, are occasionally
called " laureate," possibly only as a eulogistic epithet. Skelton ap-
plies the term to the learned men of all nations in his allegory, *• The
Garland of Laurel." The list closes with Gower, Chaucer, and Lydgate,
who first adorned the English tongue. The same three poets are men-
tioned in the prologue to "The Terens in English," printed by J.
Nastall about 15 10 (Warton, vol. iii. p. 282). Skelton himself was a
contemporary of Dunbar, for he fiourished from 1490, the date of his
APPENDIX. CCxHll
laoreation at Oxford, to 1529, when he died. His furious attacks on
the Scotch, and the doggerel character of most of his poetry, account for
his never being mentioned by Dunbar, on whom he did not exercise
any influence. To prefer Skdton to Dunbar, as Mr Lowell does, is a
singular instance of a false verdict by a usually good critic
Machomete. Ffyting, L 537.— Also Mahoun. Lucina schynning
in silence of the nicht^ L 32. — See Wyntoun, voL ii. p. 53 ; and " The
Gyre Carling," Laing's 'Select Remains,' p. 275, where Mahomet is
called Mahoun. See Montgomerie's 'Flyting,' L 429, and note, p. 317.
Mackcowll, Fyn. Ane Uttill Interlud of the Droichis part of the
Play^ L 33. — Fingal, the hero of Ossian and of many Irish and High-
land tales, is represented as the g^eat -grandfather of the Dwarf in
Dunbar's poem, and the father of Gow Makmome. They are associ-
ated also by Douglas in " The Palice of Honour " —
" Great Gow Mackmome and Fyn Makcowll, and how
They should be goddis in Ireland, as they say."
The Ossianic legend was probably known to the Court of James IV. by
the recitations and songs of Gaelic bards and harpers. '' The Book of
the Dean of Lismore," one of the earliest collections of Ossianic poems
made in Scotland, was compiled between 1512 and 1542 by Sir James
Macgr^or. Sir James was a notary public at least as early as 151 1,
and Dean in 15 14. The frequent visits of James IV. to the Highlands,
and the suppression of the rising of Donald Owre, made the knowledge
of Gaelic a useful accomplishment ; and Ayala, the Spanish ambas-
sador, records that James could himself speak it. The dialect spoken
was still called ^ Ersch," or Irish, and until the extinction of the Lord-
ship of the Isles in 1545, "the Irish sennachies and bards were heads of a
school which included the West Highlands, and the Highland sennachies
were either of Irish descent, or, if of native origin, resorted to bardic
schoob in Ireland for instruction in the language and accomplishments
of their art Perhaps the last of them was Taedg, son of Aodh O'Cof&y,
who is designed chief teacher of poetry in Erin and Alban, in the
record of his death, in 1554, in 'The Annals of Ulster.'" — Prefisice to
' Book of Dean of Lismore.'
Makfadyane. Dance of the Sevin Deidly Synnis^ L i la — Lord
Hailes's conjectiure, that Makfadyane was used as one of the harshest
of Highland names, does not appear a sufficient explanation. The
reference is to the opponent of Wallace described by Blind Harry : —
" This Makfadyane till Inglismen was suorn ;
Eduuard gai£f him bath Argill and Lorn ; "
— viL 627, 628.
and the following line, that he was —
" Fetched fax northwart in a nuke,"
CCxfiv IXTRODUCnON-
ts fifiljinrd by tbe fines of B&ad Harry : —
" MakfiK^BK fled, fcr afi Ids feloB sisA
Ob tin a czve vitbiB a ci;# of stajae;
Under Ca|;nar, viih xr is he Pfve ; '
where he was surprised and killed by DnxKan of Lara. Hisheadwas
brought to Wallace and Neil Campbell of Lodiow : —
" The kxd Cambea ifve hjBt it by tiie bar :
Hckfa in Ccagmor be maid it for to strnd,
Steald OD a sujne far bonoar off Iziand."
— TO.
This story is told by Blind Harry only, and not by any of tbe
Chroniclers. There was nothing improbable in Edward r e cet f iu g aid
from a Scoto-Irish chief, as he did from the Earl of Ulster at the
battle of Stiiiing in 1296, and Blind Harry's story recdvcs cxmfir-
mation from the fact that a hill near the Pass of Brander is still called
Madadyane's promontory. — Carrick's * Life of Wallaoe/ p. 96.
Marcion. Flyting^ L 538.— A Roman Emperor of the Elast, 450-7.
Margaret Tudor« The Thistle and ike Rose; To the Q^uen^ Of
a Dance in the Q^enis ChcUmer; To the Qu^en-Dowagerj and other
poems. — The life of this queen has been well written by Miss
Strickland. All that it is intended to notice here are the points in
her life and character which bear on the life and poems of Dunbar.
The eldest daughter of Henry VII., the Welsh Tudor who claimed
to represent the House of Lancaster, and Elizabeth of York, she
was born at Westminster, 29th November 1489, so was seventeen
years younger than James IV., and twenty-nine years younger than
Dunbar. While an infant, projects were already set on foot to
betroth her to James IV., but he was then occupied with other love-
affairs. She was brought up along with her brothers Arthur and
Henry, but had no taste for letters. The death of Arthur, Prince of
Wales, in 1501, made her a more eligible match, and the death
of Margaret Drummond in 1502 removed the last obstacle to it
Negotiations, begun some years before by Fox, Bishop of Durham,
and the Karl of Bothwell, were brought to a point in 1501, when
Hlackaddcr, Archbishop of Glasgow, and Bothwell were sent to
London to arrange the terms of the marriage treaty ; and the espousals
were celebrated at Richmond on 24th June 1502. Dunbar's poem in
praise of London, recited at the banquet given by the Mayor to the
Ambassadors on Christmas Day 1502, makes no personal allusion to
Margaret.
Anticipating the time fixed by the treaty, Margaret, attended by
Lord and Lady Surrey and a large suite, and, contrary to his usual
parsimony, muniiicently furnished by her father with the trousseau of
APPENDIX. CCxlv
a bride, and with the partmg gift of a Book of Hours commending
"her loving father to her prayers,* left Richmond on i6th June 1503.
She reached the Border before the end of July. On August 3d she
was met at Dalkeith by James, who showed the ardour of a young, and
the ceremonious courtesy of an older, lover. The marriage was cele-
brated at Holyrood on the 8th of Aug^t, and was succeeded, as it had
been preceded, by amusements of all kinds — hunting and jousting,
dancing, singing, and plays. ^'The Thistle and the Rose" was written
by Dunbar to celebrate the joyful event Despite his attentions,
Margaret did not take kindly to James. Young, the Somerset Herald,
in his minute official account of the ceremonies, says she was " merry."
But a letter to her father, sent by one of her ladies who returned to Eng-
land, and who was to give him more of her thoughts, tells a different
tale. She complains pettdantly of Surrey's influence with the king
that no attention is paid to her chamberlain, ^who would speak
better for her part ; " and adds a postscript in her own hand, '* with
a wish I were with your Grace now and many times more." Her
principal request was to show favour to her footman Thomas, who
had been a servant of her mother. She probably shared the opin-
ion of her attendants, who admired the manhood or courage more
than the manners of the Scotch. The wayward character of the girl
of scarcely fourteen called on to be a wife and queen is strikingly
brought out in this letter. Her too eariy marriage had the unfortunate
result of the death of her children soon after birth. It was not till
1 5 12 that she bore the heir who succeeded to the crown. Her own
life was often in jeopardy. But if we may accept the evidence of
Dunbar's poems, as she grew older she took part with relish in the
amusements, sometimes not of a refined character, of the Court, and
showed her appreciation of the poet's part in them by pleading for him
with the king. He calls her " his advocate both fair and sweet," and
expresses a wish that the king listened more to her counsels. James
did not prove a £uthful husband. Lady Jane Kennedy, daughter of
the Elarl of Cassilis, succeeded Margaret Drununond as his chief
mistress. In a letter from Margaret to Henry VIII., just before his
fatal expedition which ended at Flodden, she says: ''And we lak
nathing ; oure husband is ever the langir the bettir to us^ <is knawis
GadP This perhaps expressed her feelings at that time, but her object
in writing was to make her brother feel somewhat ashamed of ¥rith-
holding the jewels left her by her father. Still, it is possible that the
birth of the ftiture James V., and the knowledge that she was to be his
guardian should anything befall her husband, improved the relations
between James IV. and Margaret. Her first child, a girl, was bom on
loth February 1506, and died on 17th February 1507. It was between
these dates that James made a pilgrimage to St Ninians, to pray for
her recovery ; and after it she herself went to the same shrine to offer
thanks. But the king had used his pilgrimage to visit Lady Jane
CCxlvi INTRODUCTION.
Kennedy. The kind of diversions going on at Court is indicafed by
entries in the Treasurer's Accounts : —
** Feb. i6. Item to Wantonness^ that sang to the kii^y • xiiijs
Item to Wantonness, that the Idi^ fechit and
gert her sing in the Qoeen's chahncr, . • xiiijs."
If the conjecture founded on the date of Fastem's Eve^ which fdl
this year on i6th February, be correct, and Dunbar then wrote his
** Dance of the Sevin Deidly Synnis," we can understand why he chose
such a subject for his muse, and appreciate the boldness of the Comt
poet Probably the last persons to suppose that any reflectioD on
their conduct was intended, were James and his courtiers.
The round of amusements still went merrily on. In June 15079 the
king gave the tournament in honour of Black Elen, the Moor. This
was probably thought a piece of great fim by the young courtiers and
the royal parasites. But in truth it made tournaments ridiculous, and
degraded the king and those who took part in it, as Dunbar hints
in his poem.
The year 1508 ran a similar course. At Easter, James made his
usual visit to St Ninians, and to Lady Jane Kennedy. In June
there was jousting before the queen in Edinburgh, when the wild
knight who won the prize turned out to be James in disguise. An
embassy from England, of which Dr West was the chief, came to
remove complaints which James had made as to the conduct of his
father-in-law ; and another from France, of which D'Aubigny was the
head, came to consult with James on behalf of Louis XII. The object
of the former was to prevent, that of the latter to obtain, the renewal
of the league with France. The queen's name appears at one point of
these diplomatic intrigues. The English ambassador found the de-
tention of the Earl of Arran in England an obstacle to his persuading
James to break with France. Sir Patrick Hamilton, Arran's brother,
according to West, had reported to the queen that Arran was well
treated by Henry, but had told the opposite to the king. The Scotch,
both nobles and commons, West reports, were inclined to favour
France. Only the king himself, the queen, and Forman, the Bishop
of Moray, were on the English side. But the astute diplomatist was
deceived in his estimate, and we cannot entirely rely on what he states.
James, as the event proved, really leant towards France. The Bishop
of Moray was his chief adviser in hurrying on, four years later, the
English war. Whether Margaret really supported her brother, we
cannot be quite sure. Probably she did ; but if so, her influence
with her husband was overruled. In this year the series of Dun-
bar's poems were printed which included the Ballad on Aubigny,
who came to Scotland in May and died in the following year, and the
"Lament for the Makaris" who were dead or dying. Death was
busy. On the 22d April of the next year, 1509, her father, Henry VII.,
died, and soon after her grandmother, the Countess of Richmond.
APPENDIX. CCxlvil
In autumn she bore a prince, named Arthur, in memory of her brother ;
but the sickly child died in July 151 1, and its mother was also ''sore
vexit with sickness." In August she went on a pilgrimage to St
Duthac's at Tain, and took the opportunity of visiting Aberdeen.
Dunbar was in her suite, and celebrated her reception by the poem,
'' Blyth Aberdein, thow beriall of all tounis." On nth April 15 12, she
gave birth at Linlithgow to her child, who lived to be the future
king.
The accession of Henry VIII. changed the relations between the
two countries. England now had a young king ambitious of the
honours of war. James was not disposed to refuse him the oppor-
tunity. A series of petty quarrels of the kind Henry VII. had
succeeded in laying were fostered by both monarchs into an open
rupture. Although an embassy under Lord Dacre and Dr West
was sent to try if possible to detach James from the French league,
they soon found it was a vain effort. One of these quarrels was
about the jewels Henry VII. had left his daughter. At a meeting
with the queen on 4th May she asked, as soon as the ambassadors
were introduced, " If her l^^cy had beca sent ? ** West replied, " Yes ;
if the king would promise to keep the treaty of peace." ''And not
else ? " she rejoined. " No," replied West ; " and if the King of Scotland
persists in war, the King of England will not only keep it, but take the
best towns in Scotland." Margaret's answer to this speech was never
spoken, for the king came into her room, and the conversation was
interrupted. Both countries were actively preparing for war. James
had been busy with making gunpowder for some time ; and Henry,
who had succeeded in gaining die Pope as well as the Emperor as
aUies, was collecting his troops for the French war. He sailed on ist
June, and Catharine of Aragon, and Lord Surrey who was left behind
to defend the Borders, were zealous in mustering and equipping the
necessary forces. West was again, in spring 15 13, in Edinburgh, when
he saw or heard of little else than the victualling of ships and the mount-
ing of guns. He could get no definite answer from James to any of his
requests except for leave to go home. Before he went, he paid a visit
to Margaret at Linlithgow, on Sunday the loth of June. She showed, as
might be expected, a more favourable disposition than her husbajid,
said nothing about the jewels, and remarked that she was right sorry
James would not promise to keep the peace with England, " for now
her brother was in the right, and her husband in the vrrong." So at
least West reported to Henry. The precise feelings of Margaret at
this juncture are not quite certain. In a letter written two days before
her interview with West, she had taunted her brother about the jewels,
expressing her regret that so much fuss had been made about them,
and her confidence that her husband would recompense her for their
loss. But the belief in Scotland was that she was against the war.
Pitscottie says she warned James of its danger. It was even rumoured
nrrRODUcnoN.
thai the strange apparitiao at finlifhgcwr Khk was of her omtnvaiioe,
to deter him bf playing on his sopcrstitioos fedings. James^ in
spite of an warnings and the adrioe of his most pmdent coansdlorsy
left Linlithgow about the end of July, mastered his troops at the
Bonx^hmnir of Edinbargfa, and marching south met Sorrey, and
fen at Flodden on 9th September. Accordii^ to tradition, Margaret
watched his dep aitiir e from one of the towers of Linlithgow, which still
bears ber name. Before leaving he made a wiH by which she was
named tutor of their in£uit so long as she remained a widow, and gave
her an order for a large som, the last sobsidy of the French Court.
She gave birth to a posthomoos son, the Doke of Ross, on 20th April
1514 ; bat before her year of moamii^ was over, she privatdy married
at the Chapd of Kinnool, on 6th Aagust 1 514, the young Earl of Angus.
Dunbar was probably one of the Scotchmen who had been averse to
the war, and the queen had been more his friend than the king. She
was still only twenty-three years old, and a second marriage was not
unnatural, perhaps politic Still, we caimot but r^^ret that Dunbar
shotdd have written the poem b^:iiming
*'Otiisty floor of ^owth, benyng and bricht,"
in which he describes her as
" jung brekand blosom, ^t on the staUds grene,"
and exhorts her
" Paid nocht with weptog thy visage lair of hew ;
O lufsuin lusty lady, wyse and trew.
Cast out all cair, and comfort do incress,
Exyll all sichand, on thy scherwand rew !
Dewoyd langour, and leif in lustiness."
His name is not attached to it in the Bannatyne MS., but the style is
his, and it is difficult to differ from Mr Small, who attributes it to him.
It was evidently written not long after Flodden, and before the
marriage with Angus was declared. The consequences of her rash-
ness speedily followed. She was deprived of all share in the govern-
ment by the nobles, who disliked the preference shown for the young
and ambitious Angus, and summoned the Duke of Albany from
France to assume the regency. He forced her to give up the custody
of her children, and to fly to England, where she gave birth at Har-
bottle, on 7th October 151 5, to Margaret Douglas, afterwards Lady
Lennox, mother of Damley, the ill-starred youth in whom flowed the
dregs of the Tudor blood. She was well received by her brother,
but soon quarrelled with her husband, and, returning to Scotland in
1 517, entered into relations with the Duke of Albany, which caused
scandal, for his wife was still living, but seem to have been really due
to the fact that he was more favourable to the divorce on which she had
set her heart than her brother, who reserved for himself that remedy
for an unhappy marriage. Her persistency, and the influence of
APPENDIX. CCxlix
Albany, at last gained her end, but not till 1528. She soon found a
third husband in Henry Stewart, created Lord Methven— a match not
more fortunate than those which preceded it ; and she again wished a
divorce. She died of palsy at Methven on 25th November 1541. Her
dying request to her son James V. was, that he should rely on her
divorced husband Angus. But this latter period of her life lies outside
that of Dunbar, who does not once allude to her after 15 14. His hopes
in her had been disappointed, as much as in her husband. The poet's
judgment of character, usually so acute, seems to have been blinded by
the presence of royalty. He knew well and expressed boldly the
corruption of the Court, but even he had not foreseen the pitiable end, —
the king's death at Flodden when still in the prime of life, and the
premature old age of the fair girl he had welcomed as queen. The
tragedies of Scotland have not been written for the stage, but acted in
history.
Mary Magdalene. Of the Resurrection^ L 5.
Mary Salame or Salome. Of the Resurrection^ L 7.— Daughter of
Joseph, the husband of the Virgin.
Mary, The Virgin. Hymns in her honour^ pp. 269 and 272. — See
Ann, St
Maxentius. Flyting^ L 538. — The son of Maximian, and one of
the rivals of Constantine, who defeated him at Saxa Rubra, near
Rome, in 312, when he was drowned in the Tiber at the Milvian
Bridge. He is represented by Roman writers as a monster of
rapacity, cruelty, and lust Wyntoun describes him : —
" In Rome that tyme a tyrand
Croell and austere was regnand
That had to name Maxentius.
He put to death Saynct Katarine,
That glorious and that pious virgin."
— L p. 391.
Mercurius. FlyHng^ 1. 49a — Mercury, the messenger from the
gods to men, and the god of merchants and of thieves, to whom magic
powers were attributed by the Roman popular belief But what is
" the great eclipse" referred to in L 489 ?
Merser. Lament^ 1. 73. — Several persons of this name are men-
tioned in the Treasurer's Accounts, with the Christian names of James,
Peter, and William, who received grants of dress or money from the
king between 1494 and IS03. There is also an Andrew Merser, one
of the grooms of the chamber from 1503 to 1508. But whether any of
ccl INTRODUCTION.
these is the poet referred to by Dunbar is tmcertain. Sir David Lind-
say also mentions the poet Merser in the lines —
" Quint3m, Merser, Rowl, Henryson, Hay, and Holland,
Thocht thay be deid their libels bene levand,
Qiihilks to rehearse maketh readeris to rejose."
— Lindsay's Works, voL L p. 285.
Only one of Merser's poems has survived, entitled " Perrell in Para-
mours," printed in Hailes's 'Ancient Scottish Poems,' p. 156, and in
Irving's * History of Scottish Poetry,' p. 203.
Mure. Complaint against Mure, — It has not been discovered who
this poet was who had dared to tamper with Dunbar's verses. But as
Dunbar, in the concluding stanza, consigns him to the company of
Cuddy Rig, the Dumfries Fool, he was probably a worthless and envious
bard who used this means to get Dunbar into trouble with the Lords
he represented him as satirising.
Murray, Earl of Dunbar. Flyting^ L 386.— Dunbar, the Earl
of Murray of the second creation. Agnes, the daughter of Randolph,
Earl of Murray of the first creation, married Patrick, ninth Earl oi
Dunbar and March, and on the death of her brother at Homildon in
1347 became Countess, and her husband in her right Earl, of Murray.
Her eldest son George was tenth Earl of Dimbar and March, and her
second son John became Earl of Murray, who married Marjory,
daughter of Robert II. Sir Alexander Dunbar of Westfidd, Sheriff
of Moray or Elgin, was descended from this Earl. His eldest son,
Sir James Dunbar I. of Westfield, succeeded to the sheriffdom,
which became hereditary in his family. He died in 1505, and left a
son, Sir James Dunbar II., who died in 1539. One of these was the
Dunbar of Westfield, knight. Could we be sure which, it would help
to fix the date of " The Flyting." Probably the first is intended.
MuSGRAEFFE, Mrs. Of a Dance in the Quenis Chalmery 1. 26. —
This was one, probably the principal, of the ladies in Queen Margaret's
suite who accompanied her from England, and remained in Scotland.
She was the wife of Sir John Musgrave, and is usually styled in the
accounts "The Lady Maistress," either because she was wife of a
knight, or perhaps because she held the office of Mistress of the
Queen's Wardrobe. She received a fee of ;^I3, 6s. 8d. English = £^6^
13s. 4d. Scots, half-yearly, besides many special payments. On 21st
February 1 507, for bringing the news of the birth of a prince to the king,
she was given 100 unicorns = £(^ Scots, and a cup of silver. She
appears last in the Accounts in 15 13. The suggestion which has been
based on this line in the poem, that Dunbar was really in love with her,
is thought not to be well founded, for reasons stated in the Introduc-
tion. May her husband have been a relation of Giles Musgrave,
handed down to infamy in the poem of "Flodden Field," who
APPENDIX. cell
deceived James as to the movements of the English, in order to induce
him to come down the hill and fight on the plain ? —
" Giles Musgrave was a guileful Greek,
And friend familiar with the king,
Who said, Sir King, if you do seek
To know the Englishmen's meaning.
Your marches they mean for to sack.
And borders fair to harry and bum.
Wherefore it's best that we go back.
From such intent them for to turn.
This Musgrave was a man of skill.
And spake thus for a policy.
To cause the king come down the hill,
That so the battle tried might be."
— •• Floddcn FiekJ," Weber's edition, L 1869 ei seq,
NORRAY, Sir THOBfAS. Of Sir Thomas Norray^—TYaoma^ Norrie
or Norray, one of the king's fools, frequently mentioned in the
Treasurer's Accounts. In August 1503 he received a doublet of brige
satin and a pair of yellow carsey (kersey) hose. In April 1504, a coat
of yellow and black camelot, a doublet of brige satin, and a pair of red
and yellow carsey hose, also a coat of the same materials and colours,
and a doublet of grey Milan fustian. In May 1505 there is a payment
of j^3, los. " to the wife quhair Norrie lay sick," and on 23d July " for
ane horss to Norrie, ;^3." In August of the same year he went with
the king to Whithorn, and when the king went norths los. was paid to
him. It was probably after this northern expedition of the king to
Ross and Moray, in which Norray had accompanied him, that this
poem in his honour was written. On 24th March 15 12 he received 56s.
^ at his passage to Sanct James in Elsinore ; ^ and on 5th August " ane
pair schone, price i6d." In several of these entries he is styled " Sir
Thomas Norrie," and it may be doubted whether this was in derision,
for which the Treasurer's Accounts do not seem an appropriate place.
More probably the king in some festive moment had actusdly knighted
him, just as he held a tournament in honour of the Blackamore lady.
Or it is just possible that Norray had performed some trifling exploit
on the field (which here Dunbar laughs at by exaggerating), that jus-
tified the king in knighting him. This would g^ve more point to
Dunbar's poem, in which he "crowns him lord of every fiile," and
would also explain the satire on chivalry which was implied in making
a fool a knight. The unexpected line, "that of a high renowned
knicht he wants nothing but bells," is as if to say a knight-errant as
well as a fool should carry bells. The number of these fools at the
Scottish Court at this period whose names Laing has collected from
the Accounts is extraordinary, and seems to show they were more
appreciated in Scotland even than in other countries. The following
list is not exhaustive, for there were " gestours " besides : John Bute,
9
cxlii INTRODUCTION.
and John Hotels man ; Cnrryy and Law, Carry's man ; Spark ; John
Wallace ; Joly John, the English Fool ; Hamilton ; John Roach ; Jok,
the Dundee Fool ; another Jok, the Aberdeen Fool ; Cuddy Rig, the
Dumfries Fool ; Sir William Murray's Fool ; Quhissil Gibbon in
Falkland ; and Bille Hoes, — all in the reign of James IV. Some of
them were no doubt naturals — the village fool of later times, livii^
on alms ; but others were shrewd fellows passing off their wisdom as
folly, such as Jok the ** fiile " referred to in ** The Testament of Mr
Andro Kennedy," who acquired com and cattle, gold and land, and
** bleris my lordis £ " by feigning to be foolish.
Olibrius. Flyting^ L 54a — Olibrius is Olybrius, the President of
the East, who caused St Margaret, the Christian daughter of a heathen
priest at Antioch in Syria, to be beheaded in the year 275, because
she refused to renounce Christianity. According to one form of the
l^end, Olybrius called in the aid of Satan, who, in the shape of a
dragon, swallowed Margaret alive; but she by a mirade extricated
hersell The l^end is contained in Barbour — ' L^^den Sammlung,'
Horstmann, voL ii. p. i. St Margaret was held in special reverence as
the type of the virgin martyr, and her murderer accordingly in ^>ecial
detestation.
Pharo. Flyting^ L 530. — Kennedy represents Pharaoh, IGng of
Egypt, as Dunbar's father. The mythical descent of the Scotch longs
from Scota, the daughter of Pharaoh, made the poet familiar with his
name.
Pluto. Flyting^ 1. 53$. — The god of the infernal r^ons is made
by Kennedy the head of the kin or name of Dunbar, following out the
fanciful etymology of Dunbar as derived from " Deulberc."
POLLEXEN. Gladethe thoue Queytu of Scottis regioun^ L 11. —
Polyxena, daughter of Priam, whose beauty, according to the later ver-
sions of the story of Troy, led to the death of Achilles. As Dunbar
here praises Queen Margaret as "of port siu'mounting Pollexen of
Troy," so Lydgate, in his " Life of Our Lady," from which this compari-
son may be taken, had praised the Virgin as surpassing Polyxena in
beauty. The story of Polyxena is told in the fragment of Barbour's
Troy Booke (MS. Camb. KK., and Douce, 148), and Horstmann,
* Legenden Sammlung,' vol. ii. p. 256 et seq. The common sources of
poetic comparison were not so numerous in that age as in ours, and
the " Tale of Troy," the " Romance of Alexander the Great," and the
Arthurian cycle of poems, will be found to furnish most of those of
Dunbar, whose knowledge of classical literature seems to have been
limited. Aristotle, Homer, and Cicero (Tullius) are the only classical
authors he names. — See Homer.
APPENDIX. CCliil
PUTTIDBW. Flyting^ L 541.— What fonn of the Devil's name is
meant by this is not known.
Pylat. Ffytingj L 524. — Pontius Pilate.
QUHENTYNE, or QuiNTYNE, or QuiNTiNG SCHAW.—This now rare
but formerly common name of Quintyn occurs in several places in
Dunbar's poems. In the " Flyting," IL 34 and 131, there is a reference
by Kennedy to
" My oonsmg Quintene and my commissar,"
who compiled, along with Kennedy, a poem in their own praise (see
L 3), which led Dunbar to send his part of the **Flyting" to his
friend Sir John the Ross. In the poem " Of Sir Thomas Norray "
L 36, Dimbar rebukes Quhentyne for disparaging Norray. In '* The
Lament for the Makaris,'' L 86, Quintyne Schaw is mentioned : —
" And he has now tane, last of aw,
Gud gentill Stobo et Quintyne Schaw."
Probably these are the same person. Shaw is an Ayrshire family, and
Quhentyne Schaw seems to have been the son of John Schaw of Haily,
in that county, who received a charter to that estate on 20th June 1489
as his father's heir. John Schaw had been one of the ambassadors
who n^otiated the marriage of James III. with Margaret of Denmark
in 1467, and a relationship between the Shaws and the Kennedys, also
an Ayrshire family, is highly probable. Quhentyne Schaw is referred to
in a suit before the Lords Auditors on 5th June 1479, when he appeared
as procurator for his brother William ('Acta Auditorum,' p. 61) ; and
on 19th March 1479, decree was g^ven against him for £7 at the suit
of Margaret Lamb, widow of Alexander Halyburton {ibid.^ p. 81). He
is frequently mentioned in the Treasurer's Accounts between 14th
April 1489 and 8th July 1504 as a pensioner in receipt of j^io a-year,
and also as getting a gown and other articles of dress. Although
he is not stated to have held any office, these are just the same
kind of rewards as were g^ven to Dunbar himself and other poets of
the Court The only poem which has come down with his name
is one entitled " Advyce to the Courtiers," in the Maitland MS., and
printed by Pinkerton in his ' Early Scottish Poems.' Gavin Douglas,
in the *' Palice of Honour," refers to
" Quintyn with ane huttock on his held,"
along with Kennedy and Dunbar ; and Sir David Lyndsay also names
him amongst the Scottish poets.
QUHETTANE Clan. Of Sir Thomas Norray, L 16.— Clan Chattan
or Quhele. This was the clan which fought the Clan Kay in the
famous combat on the North Inch of Perth, as described by Wyntoun
CCliv INTRODUCTION.
and other chroniclers, and by Scott in the * Fair Maid of Perth.' They
are supposed now to be represented by the Macphersons or the
Mackintoshes, but the identity with either is not prov^
Rauf Colzard. Sckir, JiV remembir as of befoir^ L 33. — " Ralph
the Collier," an old Scottish poem, referred to also by Gavin Douglas
in the " Palice of Honour " —
" I saw Raf CoUzear with his thrawin brow** —
and in the ^ Complaint of Scotland,'' Murray's edition, p. 63. It was
printed at St Andrews by Lekprevik in IS72, and there is a reprint
from the unique copy of this edition in the Advocates' Library in
Laing's ' Select Remains,' p. 9. It relates an adventure of Charle-
magne with a collier. Irving gives an outline of the story (* History
of Scottish Poetry,' pp. 88-92).
Reid, Sir John. See Stobo.
Rig, Cuddy. Complaint against Mure^ 1. 24. — He is here styled
the "Dumfries fule"; and in the Treasurer's Accounts for nth S^>-
tember 1504, when the king was at Dumfries, with, amongst others,
four Italian minstrels in his suite, Cuddy Rig appears to have taken
" the tabroun " of a tabroner who accompanied the king, and who was
given 28s. in recompense for the instrument by the king's command.
He is referred to in the same accounts on 17th September IS04, 13th
June 1508, 2d January 151 2, and 28th February 15 12, as receiving
small payments. The " yellow and red " in the poem was the custom-
ary livery of the fool. Dunbar ironically describes Mure as worthy to
receive this livery at Yule, along with a bauble to play with. Cuddy
Rig seems to have been one of the lowest of the fraternity of fools.
Robin under Bewche. Of Sir Thomas Norray^ 1. 25.— Robin
Hood. See Robyn Rude.
ROBYN Rude. Ane Littil Interlud of the Droichis part of the
Play J 1. 142. — " Robin under the boughs," the " greenwood tree " of
the English ballads, is Robin Hood. The followers of the Droich
who plays the part of Wealth in the Interlude, and proclaims himself
a giant, are humorously told to put on the green livery of Robin
Rood. Robyn Hude, first noticed in "Piers Plowman," 1377, is
referred to (about 1420) by Wyntoun, and (1450) by Bower in his
addition to Fordoun {sub anno 1266), who mentions the popularity of
his songs and of the festival in his honour. Major, writing in 1505,
says all Britain sang the songs of his exploits. " A Littel Gest of Robin
Hude" was one of the prints of the press of Chepman and Myllar
in 1508, at the same time as Dunbar's seven poems, so must have
been well known to Dunbar.
APPENDIX. CClv
Mr Ritson, in his notes and illustrations to 'The Robin Hood
Ballads,' remarks that English historians pass over Robin Hood
because of his enmity to the ecclesiastics, but he has collected the
following references to him by Scottish historians. Bower, in his
addition to John of Fordoun's Chronicle, speaking of Robin Hood,
Little John, and their accomplices, says : " Of whom the foolish vulgar
in comedies and tragedies make lewd entertainment, and are delighted
to hear the jesters and minstrels sing them above all other ballads."
He calls Robin ''ille famosissimus siccarius" (sud anno 1266). John
Major writes : " Circa haec tempora (/.^., Richardi primi) ut auguror,
Robertus Hudus Anglus et parvus Joannes, latrones famatissimi, in
nemoribus latuerunt, solum opulentorum hominum bona diripientes.
Nullum nisi eis invadentem vel resistentem pro suarum rerum tuitione
ceciderunt. C sagittarios ad pugnam aptissimos Robertus latrociniis
aluit, quos CCCC viri fortissimi invadere non audebant Rebus hujus
Roberti gestis tota Britannia in cantibus utitur. Foeminam nullam
opprimi permisit, nee pauperum bona surripuit, verum eos ex abbatum
bonis ablatis opipare pavit Viri rapinam improbo, sed latronum
omnium humanissimus et princeps erat" — 'De Gestis Scotorum,'
iv. 56.
"The 'Lytill Gest,'" Ritson further notes, "is probably the oldest
thing upon the subject we now possess ; but a legend apparently of
the same species was once extant of perhaps a still earlier date," —
of which he gives a fragment from a volume of old printed ballads
in the British Museum (Ritson, 'Robin Hood,' 2d ed., 1823, p. Ivi).
Hector Boece g^ves a tradition, according to which " the lance of lytle
Johne remains in great admiration of the pepill in the kirke of Pette in
Murray land ; " and he also refers to " that waithman Robin Hude,
with his fallow. Utile Johne, of quhom ar mony fabillis and mony
sportes sung among the vulgar pepilL"
But the most curious, and perhaps the earliest, notice of Robin
Hood's name is in a rhyming Latin poem in the British Museum,
with the title, " Prions AInwicensis de bello Scotico apud Dumbarr,
tempore regis Edwardi 1. dictamen sive rithmus Latinus, in quo de
Willelmo Wallasse, Scotico illo Robin Whood, plura sed invidiose
canit" (Ritson, p. xxxiv). The game of Robin Hood continued to
be a favourite diversion amongst the common people of Scotland even
after the Reformation. It was celebrated in the month of May, and it
was found necessary to repress it by statute. In 1561 a mob had to
be put down by arms by the magistrates of Edinburgh for attempting
to "make a Robin Hood"; and as late as 1592 the General Assembly
complained of the profanation of the Sabbath by the making of Robin
Hood plays (Arnot's 'History of Edinburgh,' p. 27). Scott in 'The
Abbot ' gives a lively description of the Robin Hood plays in Scotland,
and. Note iiL p. 194, quotes from Bishop Latimer's sixth sermon before
King Edward, " a very naive account of the manner in which, bishop
cclvi INTRODUCTION.
as he was, he foand himself compelled to g^ve place to Robin Hood
and his followers."
Robin Hood was the hero of the popular, as Arthur was of the
chivalric, romance of the middle ages in Scotland, as well as in
England. The favourable view taken by Major of his character and
exploits deserves special notice.
Roger of Clekkinsklewch. Of Sir Thomas Norray^ L 26. —
Possibly "Clym of the Cleuch,*' the associate of "William of
Cloudesle'' in the ballad, who rescued Allan Bell, their comrade,
when about to be executed at Carlisle (see Hazlitt, ^Ancient
Popular Poetry,* p. 131). If so,'.Clym would be his by- or to- name^ and
Roger his Christian name. Or Roger may have been one of Robin
Hood's good men, whose name has not been preserved in any of the
ballads which have come down to our time. — See BelL
Ross, Sir John the. Lament^ 1. 83 ; Flyting, 11. i and 39. — This
poet and friend of Dunbar was chosen by him as the correspondent to
whom he addressed the " Flyting." The designation is so peculiar,
that there appears little doubt that he is " John the Ross " to whom
20 imicoms were paid in February 1490, and who also received
another payment, of which the amount cannot be read in the
Treasurer's Accounts, on 21st April 1498. He may have been a
priest, and so received the courtesy title of " Sir," as was common in
the case of " the Pope's knights ^ at that time — and this is the conjec-
ture of Lord Hailes ; or a layman who had not in 1498 been yet
knighted. If the latter is the correct surmise, it gives the date of the
" Fly ting " as subsequent to 1498. There seems no ground for Mr
Chalmers's conjecture that he was the well-known Sir John Ross of
Montgrennan, the king's advocate of James III., who was forfeited for
siding with that king at Sauchie against James IV. Nor can he have
been Sir John Ross of Hawkhead, Sheriff of Linlithgowshire, 1479-83.
It is more probable that he was designed " the Ross " to distinguish
him from Ross of Montgrennan and Ross of Hawkhead. Perhaps he
had some connection with the shire of Ross, as the last entry in 1498
in the Treasurer's Accounts bears that the payment then made to him
was " to mak his expensis in Ros . . ."
RowL of Aberdeen. Lament, 1. 77, — " It has been conjectured that
the Rowl of Aberdeen belonged to the same family as Thomas Rowl,
chief magistrate of Aberdeen 141 6" — * Bards of Bon Accord,' by
William Walker (Aberdeen : Edmond & Spark, 1887), P- 17-
Rowl of Corstorphine. Lament, 1. 79. — There is a poem called
"Sir John Rowlis Cursing" in the Bannatyne MS. with the lines pre-
fixed —
APPENDIX. CClvii
" This tragedy is callit but dreid
Rowlis Cursing quha will it rdd."
It is printed in Laing's 'Select Remains of the Ancient Poetry of
Scotland/ 2d ed., p. 21 1. But which, if either, of the two poets named
by Dunbar wrote it is not known, nor has any other poem or notice of
either Rowl been preserved. Perhaps the Rowl of Corstorphine is
called ^ Gentill Rowl of Corstorphine " to distinguish him from the
author of the '* Cursing," to whom that epithet would not be appro-
priate. The ** Cursing ** refers to Alexander VI. as Pope, so must have
been written between 1492 and 1503.
Salamon= Solomon. BallaU against Evil Womtn, 1. 3a
Sampson. Ballate against Evil Women^ p. 267, 1. 31.
SCHAW, QxnNTYNE. Lanunty L 86. — S^e Quhentyne.
SCHAW, Robert. Of a Dance in the Quenis Chaimer^ L 8.— Robert
Schaw receives various sums in the Treasurer's Accounts between 1 502
and 1508, and also gifts of dress, one of which was a gown of scarlet
lined with '* birge satin." He appears to have been a Court physician
— perhaps the fashionable lady's doctor of the time — from the following
entries : ^ 28th May 1504 — Item, to Master Robert Schaw be the
kingis command quhen he passit to Bothwell to the ladye lyand sick,
£7 J* "9th February 1504-5 — Item, to the said William (Fowler,
pottinger) for ane blude stane and three unce uther stuf for the Quene
for bleding of the neis [nose], after ane receipt of Master Robert Schaw,
22s." Like Damian, the Abbot of Tungland, he became a priest, and the
king gave at his first mass 10 French crowns =;£'7, on 14th May 1508.
There are three other doctors or physicians amongst Dunbar's portraits
— Damian, the quack doctor ; Andrew Kennedy, the drunken doctor ;
John Clerk, the illiterate doctor. Dunbar can have had no liking for
those who practised that calling in his day. — See Kennedy, Andrew.
SiMONES SONNES of QuhynfelL 0/ Sir Thomas Norray^ L 29.
— The same family of freebooters is mentioned as the name of an old
song in ^Cockelbie's Sow" (Laing's 'Select Remains of Ancient Scottish
Poetry,' p. 249, L 314), and were doubtless associates of Adam Bell, the
Robin Hood of northern England. Quhynfell is doubtless Whinfell,
part of Inglewood Forest, now a bare hilly tract four miles south
of Penrith, whose last remnants, " The Harts Horn Inn," — where
*' Hercules killed Hart a Grise.^
And Hart a Grise killed Hercules," —
and ^ The Three Brothers," the g^ant survivors of its old oaks, have
1 1.e.tgrais, or (aL
cclviii INTRODUCTION.
now disappeared. It was in this forest that Adam Bell, Clym of the
Cleuch, and William of Cloudesle, pursued their venery.
" Then went they down into a land,
Thir noble archers three ;
Each of them slew a hart of grise,
The best that thej could see."
— Percy's * Reliqoes.*
— See Bell, and Robyn Hude.
Sinclair, Sir John. 0/ a Dance in the Quenis CJudmer^ L i. —
Sir John Sinclair of Dryden, one of the royal suite, seems to have been
specially attached to the queen's person, as he is called " the Quenis
knycht " in the poem. This might be supposed to refer to his being
one of those knighted at her marriage, but the entry in the Treasurer's
Accounts shows he was a knight before its date. He is mentioned in
the Treasurer's Accounts between 1490 and 1506. On 20th June 1501,
there was *' giffin to the king himself that he playit at the rowbowlis
with the Prothonotar (Andrew Forman) and Schir John Sinclair, 56s."
In July 1503, he received a gift of clothes for the king's marriage. On
27th September 1504, the entry occurs — "That samyn nicht to the long
to play at the cartes with Sir John Sinclair, 10 French crowns and
tynt £tP On 3d November 1506, " To Sir John Sinclair be the king's
command, ;£28." This is the last mention of his name in the Records,
but his wife received gifts of ;^io on the New Year of 15 12 and 15 13.
He must, however, have been alive in April 15 13, for Dr West, the
ambassador of Henry VIII., mentions in a letter to the king on 13th
April : " On Sunday afternone I rode to Linlithgow, and came thider
by iiij of clok at afternone, and as sone as I was cumon her grace
(Queen Margaret) sent for me by Sir John Sincler^ which brought me
to her grace." — Ellis, * Original Letters,' first series, vol. i. p. 73.
Stewart, Bernard, Lord of Aubigny. The Ballad of Lord
Bernard Stewart^ p. 59 ; Elegy on the Death of Bernard Stewart^ p.
63. — Bernard or Berault Stewart, third Lord of Aubigny, was grand-
son of John Stewart of Dernely or Darnley, in Renfrewshire — the
branch of the Stewarts which received the title of Earl of Lennox in
1488. John Stewart of Darnley entered the service of France, and
became a captain of the Scots who fought for Charles VII., and formed
the nucleus of the Scots Guard. In return for his services he received
the fief of Aubigny in Berry, and was killed at the siege of Orleans in
1429. His third son John Stewart, second Lord of Aubigny, Captain
of the Scots Guard, and Chevalier of the Order of St Michael, died in
1482, and left, by his wife Beatrice d'Apeche, an only son, Bernard,
who succeeded to his father in 1483. He appears to have added the
Comt^ de Beaumont le Roger, in Normandy, to the estates of his
family by grant from Louis XL (Normandie lUustr^). In 1484 Bernard
was sent by Charles VIII. as ambassador to Scotland, to renew the
APPENDIX. Cclix
ancient league between France and Scotland, and succeeded in obtain-
ing its confirmation by James III. on 22d March 1484.
In 1485 he led the French auxiliaries who fought for Henry VII. at
Bosworth Field. His share in the victory is celebrated by Sir John
Beaumont in his poem on that battle : —
" Besides these soldiers bom within this isle,
We must not of the part their French beguile,
Whom Charies for Harry's success did provide, —
A lord of Scotland. Bernard, was their guide ;
A blossom of the Stewart's happy line.
Which is on Britain's throne ordained to shine.
The sun, whose rays the heavens vrith beauty crown,
From his ascending to his going down
Saw not a braver leader in that age.
And Bosworth field must be the glorious stage
In which this northern eagle learns to fly,
And tries those wings which after bare him high.
When he beyond the snowy Alps renowned
Shall plant French lilies on Italian ground.
And cause the craggy Apennines to know
What fruits on Caledonian mountains grow.'
II
In December 1493 he became Captain of the Scots Guard. In
1494 he was sent to Rome and other Italian states to support the
claims of Charles VIII., as heir of the house of Aragon, to the
kingdom of Naples. On his return, at Milan he received from
Charles, who now knew he must make good his claim by arms, a
command in the army ; and on the king's return in the following year,
he was left behind as lieutenant-general of the French forces. . In that
year he won the great battle of Seminara over Ferdinand of Spain and
the great captain, Gonsalvo de Cordova. This victory gave possession
for a short time to the French of the kingdom of Naples ; so Dunbar
calls him, in the title of the ballad, " Conqueror of Naples." The ill-
health of D^Aubigny, from a fever contracted in the campaign, pre-
vented him from pushing his victory, and Gonsalvo de Cordova, along
with several Spanish commanders, escaped before the surrender of the
town of Seminara. This illness, and the chief rule of the conquered
kingdom being left in the hands of the young Monseig^eur de Mont-
pensier, led to the decline of the French power, although Calabria,
in which D'Aubigny himself commanded with the title of Grand
Constable, was for a time retained. Philip de Comines contrasts the
two commanders in a few words : ** Pur Chef y demeura (k Naples)
Mr. de Montpensier de la Maison de Bourbon, dan chevcUier et hardy
mais peu sage, II ne se levoit pas qtiil m fut midi: en Calabre
laissa Mr. d'Aubigny de la nation d'Ecosse, bon chevalier et sage^ ban
ei honorable^ que fut Grand Connetadle du royaumej et lui donna le
Roi le Comt^ d'Arci et le Marquisat de Spilazzo." No reference has
been found to a place called ^Bonafire" amongst D'Aubign/s titles.
CClx INTRODUCTION.
The despatches of D'Aubigny were published under the title, ' Lettres
escriptes par Monsieur d'Aubigny au roy nostre sire du camp de S. Leon
du xxi. jour de juing.' In 1496 Gonsalvo, having already gained some
places in Calabria, and D'Aubigny being still in feeble health, was allowed
to return by land to France, and the brief conquest of the kingdom of
Naples by the French was at an end. D'Aubigny continued in favour,
and received the Order of St Michael for his services. In the reign of
Louis XII. he was again sent as commander of the French forces to
Calabria, where he gained a second memorable victory over the
Spaniards, led by Hugo de Gonsalvo, at Terra Nuova in 1503. Paulas
Jovius, the historian of Gonsalvo de Cordova, attributes this victory to
the sldll of D'Aubigny and the prowess of the Scottish men-at-arms,
who broke the ranks of the Spanish cavalry. D'Aubigny himself
showed great courage at the risk of his life. He was thrown from his
horse, and his helmet pulled off by some Spanish horsemen, who were
about to cut his throat when he was rescued by the troops of the
Prince of Salerno (P. Jovii ' Historia de Vita ct Actis Gonsalvi de Cor-
dova,' vol ii. p. 217). But soon afler, on 21st April in the same year,
Hugo de Cordova, having recruited his army, defeated D'Aubigny near
Seminara, — " on the very same ground," says Guicciardini (* Historia
d'ltalia,' Book V.), ** where, but a few years before, he had, with so
much glory, overcome Ferdinand and Gonsalvo ; so inconstant is
Fortune in dispensing her favours, and of so short a duration is a
course of prosperity." D'Aubigny retired to the fortress of Angertola,
but the Due de Nemours, the chief of the French army, having been
defeated and slain at Cerignola, he was compelled to surrender.
Jovius praises his magnanimity in making it one of the terms of the
surrender that all his company except himself should be set at liberty.
He adds : " D'Aubigny sharply reproved two young lords, his kinsmen,
for that more faintly than was fit for men — namely^ for their being
Scotsmen and of the blood-royal — they did bewail the unfortimate
success of the war ; not remembering that valiant men should never
be disheartened, but seek by a fresh endeavour of valour, revived and
grown invincible, to recover Fortune's favour." D'Aubigny was himself
soon released, and in 1 507 went with the French king on his expedi-
tion against Geneva, and was present at Savona in June 1507, where
Louis and Ferdinand of Spain vied with each other in chivalric
courtesy to his former foes. Gonsalvo de Cordova was the hero of
the day, but it is noted that the King of Spain visited D'Aubigny in
his own lodgings, where he was kept a prisoner by the gout. In the
next year D'Aubigny was a second time sent on an embassy to Scot-
land, where he arrived on 9th May 1508. The statement that he came
to Scotland on a similar mission in 1 504 is due to the inaccuracy of
Lindsay of Pitscottie as to dates, who places his embassy in 1 504 and
not in 1 508. The Treasurer's Accounts show that in the former year
one of his servants had been sent to the Scottish Court, and that
James gave him a white horse as a present to his master in France.
APPENDIX. CClxi
When D'Aubigny, in person, came in 1508, he was received, as was
natural, with great respect by the king, who coveted the honours of
war, and with enthusiasm by the nation as their most renowned hero.
James made him sit at the royal table, styled him the Father of War,
and named him judge in the tournaments, which were the favourite
sport of the Scottish as of the French Court. But D'Aubigny was
again to prove the uncertainty of fortune. He seems never to have
shaken off the effects of the Calabrian fever, and suffered also from
gout He died at Edinburgh before 8th June 1508, and was buried at
the kirk of Corstorphine. His will, and an inventory of his effects, have
been preserved (Stewart's * Genealogy of the Stewarts,' p. 207). His
portrait was seen by Andrew Stewart at the Chateau D'Aubigny when
he visited it in 1788, and it may be hoped is still in the possession of
the Duke of Richmond, the representative of the house of Lennox.
He had married Anne de Maumont, by whom he left an only daughter,
Anne Stewart, who became the wife of her cousin, Robot Stewart,
second son of John, first Lord Damley and Earl of Lennox. Bernard
Stewart had taken a vow when fighting in Italy to make a pilgrimage
to St Ninians, in Galloway, and James sent his heart there. Dunbar
had intended to write a longer poem to celebrate the exploits of
D'Aubigny (see 1. 84 of ** The Ballad ^ ; but this intention was frustrated
by his untimely death, and the eulogy was turned into an el^^, in
which the Scottish nation
'* Intill his lyff quhom most he did aflFf,*'
are exhorted
" To pray for him, the flour of chavelrie."
What would Scotland not have given for the counsels of such a com-
mander on the field of Flodden? Brantome, than whom no writer
expresses better the military spirit of the age, includes amongst the
great captains whom Louis XII. trained '^ in his beautiful wars," ''D'Au-
big^^ a Scot and great Lord, who did honour to his nation in such a
manner that some of our French annalists have styled him 'grand
Chevalier sans reproche; ' " but the gallant Bayard, his companion-in-
arms, has more commonly received that title. No contemporary of
Dunbar could better represent the Scot abroad than D'Aubigny, who
sustained the military fame of his countrymen in so many fields from
Bosworth to Seminara, and who formed a link in the chain of affec-
tion which attached the Scots to the French. He stands in marked
contrast to his cousin Albany. The latter represents the class of Scot-
tish emigrants who abandon, the former the class who never forget, the
soil from which they sprang.
Stewart, John, Duke of Albany. Am Orisaun: quhen the
Gavemour past in France^ p. 235 ; We Lordis hes chosin a Chi/tone
mervelhis^ p. 237. — ^John Stewart was the son of Alexander, second
son of James II., and third Duke of Albany. His father, forfeited for
CClxil INTRODUCTION.
intriguing with England against James III., took refuge in France^
where he married, as his second wife, Anne de la Tour, daughter of
Bertrand, Count of Auvergne. John, their only son, was bom in 148 1,
and in 1485 succeeded his father, who was killed by the splinter of a
lance in a tournament. In 1505 he married his cousin Anne de la
Tour, Countess of Auvergne, and heiress of its large fiefe. On the
death of James IV. in 15 13, the Queen-Dowager became r^^ent ; bat
a convention of estates at Perth, at the instance of Elphinston, Bishop
of Aberdeen, and Lord Hume, the chamberlain, determined that
Albany should be summoned to govern the kingdom during the
minority. Henry VIII., jealous of the influence Albany was likely to
exercise, sent the Earl of Suffolk to France to prevent his return, bat
Francis 1. refused to detain him. Albany was slow in responding to
the invitation of the Scotch Estates ; but at last, on i8th May 15 15, he
sailed from St Malo, and before the 22d landed in Scotland. He was
installed as regent in July, and declared protector of the kingdom till
the king reached his eighteenth year. He at once used his power to
curb the influence of the Douglases, depriving their adherents of
office, and putting several in ward. A threat to besiege Stirling
forced the queen to g^ve up her children, the young king and his
brother the Duke of Ross. Margaret then fled to England, where she
was followed by her husband and Lord Hume. After the birth of Lady
Margaret Douglas at Harbottle on 7th October, she wrote to Albany
demanding the custody of her other children. The Scottish Councfl
replied that she had by her second marriage forfeited her rights, and
that the Estates had chosen Albany as regent. Angus, Hume, and
Arran thereupon entered into a league by which they pledged them-
selves to deliver the young princes, and to make no terms with Albany.
Dacre, the English warden, did all he could to assist them, by
fomenting Border raids and the quarrels of the nobles. ** The Humes,"
he wrote to Henry VIII., "are resolved to annoy the Duke, who is
well weary of the continued spoiling, burning, and slaughter in Scot-
land." Wolsey described Albany as " a coward, and a grievous
and wilful fool." But although his character was passionate and
impulsive, and he showed pusillanimity, if not cowardice, in war, the
English had underestimated him. At this time, as on other occa-
sions of his life, he showed both prudence and vigour. He used con-
ciliatory language, though without effect, to induce Margaret and her
husband to return to Scotland. He seized Arran's castles, but promised
him a free pardon if he would submit, and so succeeded in detaching
him from the league. The death of the young Duke of Ross, towards
the close of the year, gave an opportunity for Margaret again to pour
forth her wrath against Albany, whom she accused of causing his death.
In the beginning of 15 16, Albany made a tour into England, to which
he sent an embassy. Angus and Hume now returned to Scotland, and
were allowed to reside on their estates, and on nth June the truce
APPENDIX. cclxiii
with England was converted into a peace to endore till 15 17. Henry,
notwithstanding, addressed a letter to the Scottish Estates, requiring
them to dismiss Albany, which met with a decided refusal ; and
although Albany entered into a secret correspondence with Wolsey,
and offered to visit Henry VIII., this offer, probably only made to gain
time, and distrusted by Wolsey, was not accepted, and nothing came
of it. In the Parliament of September, Hume was condemned for
treason, and along with his brother beheaded in October — their heads
being fixed on the Tolbooth. In November, when the Parliament
again met, Albany obtained an Act bastardising his elder brother, a
son of his father's first marriage, and declaring himself next heir to the
kingdom. Almost immediately after this great concession to his vanity
or ambition, he astonished the Parliament by suddenly requesting leave
to return to France. He was at heart a Frenchman, and had been
requested by Francis I., whom he called his master, and with whom he
was on intimate terms, to return as soon as he could. This leave was
at first refused. His popularity in Scotland was waning, but it was
felt that his absence would leave the country without a head, and pro-
duce anarchy. He at last succeeded in procuring a reluctant assent
to his going for four months, by pleading the necessity of visiting his
wife and lus French estates, and he sailed from Dumbarton on 7th
June 1 5 17. A council of regency was appointed, consisting of the two
archbishops. Foreman and Beaton, and four earls, Huntly, Argyle,
Angus, and Arran. Sir Antony d'Arcy de la Bastie, a French knight,
well known in Scotland from his prowess in the tournaments of James
IV., was appointed Warden of the East Marches, in succession to Hume,
and the fortresses of Dunbar, Dumbarton, and Inchgarvie were placed
in the hands of French garrisons. This attempt to divide the power
between the leading Scottish nobles and the French representative of
Albany did not, as might have been anticipated, succeed. The return
of Margaret to Scotland on 15th June added to the dissensions of the
unhappy country. Her husband, Angus, met her, but was coldly
received. They had quarrelled before, and soon again parted company.
She was not allowed to take any part in the government, or even to
visit her son. Towards the end of July, or banning of August, De la
Bastie was murdered by Home of Wedderbum at Langton, in revenge
for the death of his chief and the appointment of the Frenchman to his
office. Home gloried in the deed, and carried the head of his victim
at his saddle-bow to his own house ; but the treachery of the deed, and
the chivalrous character of this victim to the feuds of Scotland, excited
general indignation. Arran was then appointed Warden, an important
office which Angus coveted. In spite of the protests of Francis I., no
effective steps were taken to punish the murderers ; for although Home
and his brother were condemned, and Arran seized their fortresses,
they were soon afterwards pardoned. There was a practical surcease
both of the Courts and of Parliament, and a handful of nobles and
CClxiV INTRODUCTION.
prelates governed, or rather misgoverned. They could not agree
amongst themselves. The nobles were jealous of each other. The
churchmen, to use Dunbar's words, ''yearned for benefices." The
next few years were occupied with a contest for power between Angus
and Arran, into which the various feuds gradually merged. It was
during this period, probably in 15 17, that Dunbar wrote his poem,
" Ane Orisoun : quhen the Govemour past in France." It is someii^iat
general in phraseology, and there is no direct allusion to the murder of
De la Bastie. But its purport is to pray God to be the Protector of the
realm, left forlorn by the departure of Albany, and ^ in partyis all
devydit." Possibly the lines,
" Rew on our syn, befoir ^our sicht decydit ;
Spair oar trespas, quhilk may nocht be expremit,"
may be a guarded reference to the murder. Albany had received fuU
powers, though out of Scotland, to conduct its foreign affairs ; and on
26th August 1 5 17 he concluded the important treaty of Rouen with the
Duke d'Alen^on, by which France and Scotland made an ofifensive
and defensive alliance against England. He had great influence at the
Vatican, being connected by marriage with Leo X., and he used it
to obtain from the Pope the confirmation of the privileges of the Scotch
kingdom. A letter in name of the Scotch Estates, but really dictated
by Albany, was sent to the Pope in January 15 19, begging him to use
his influence with Francis I. to procure Albany's return to Scotland.
In June of the following year he went to Rome, and while there,
Margaret, whose quarrel with Angus had now become acute, procured
from him the aid her brother refused in prosecuting her suit for a
divorce. After he went back to Paris, his agent continued to defray
the expenses of the suit. In return, she deserted for a time the
English interest, and did what she could to favour his recall to Scot-
land. The Scotch people generally had become every year more
desirous that Albany should resume the office of regent. The dis-
sensions between the parties of the Hamiltons, with Arran at their
head, and the Douglases, of whom Angus was the chief, had increased
to the dimensions of a petty but exasperating civil war, which dis-
tracted the nation. In 15 18 Arran, whose power chiefly lay in the
west, had tried to force an entrance into Edinburgh, to secure the office
of provost, but had been repulsed with bloodshed. In April 1 520 he
made another attempt, which ended in the street fight of Cleanse-the-
Causeway. The partisans of Angus were again successful ; those of
Arran were killed or driven out of the town. One of the slain was
Sir Patrick Hamilton, the brother of Arran. Angus remained master
of the capital, but he failed in the following August to surprise his
rival at Stirling, and the Hamiltons still maintained their predomi-
nance in the western shires. It was shortly after this, probably,
that Dunbar wrote his last poem to which we can attach a date.
APPENDIX, CClxV
The first lines refer to the absence of Albany for more than three
years : —
" We Lordis hes chosin a chiftane mervelltis.
That left hes ws in grit perplezitie.
And him absentis, with wylis cautelus,
3eiris and dayis mo than two or thre.**
Though nominally addressed to Albany, it is not likely to have been
sent him, for it does not disguise his faults. It was written to be read in
Edinburgh, and expresses the feeling of its citizens. It refers to the
** wylis " of Albany, who, although he had pretended to wish to return,
had really delayed his voyage. He might well hesitate to attempt a
second time so diffictdt a task as the government of Scotland. Dunbar's
hint that his continued absence was due to love of money —
*' Thy pradent wit we think thow hes abosit,
Absentand the for ony waridly geir," —
is borne out by the avarice which was one of the traits of his character.
But his presence was at least better than anarchy. That the kingdom
was going to ruin for want of justice, or, as Dunbar expresses it —
** In lak of iustioe this realme is schent allace," —
receives signal confirmation from the despatches of Dacre, the un-
scrupulous Warden of the English Marches, who desired nothing more
than disorders in Scotland as an opportunity for English intervention.
They are thus epitomised by Mr Brewis : " If Henry and Wolsey
prospered in their purpose to prevent Albany's return, Scotland, as
Dacre expressed his conviction, would go to ruin for lack of justice ;
the Scotch lords would never consent to be ruled by one of their peers,
and their ancient feuds would be renewed with greater animosity than
ever.* — Brewis, * Henry VIII.,' voL i. p. 541.
At last, in spite of all the endeavours of the English king and
his minister to prevent it, by alternately cajoling and threatening
Francis I., and at one time actually succeeding in getting Albany put
for a short period in ward, he sailed from France, and landed in Scot-
land on 2 1st November 1521. His subsequent career lies beyond the
period of Dimbar's life ; for although a recent biographer, Mr Bayne,
has with some hesitation adopted the view that the poet survived till
1530, this is contrary to the opinion of those who have previously
written his life or studied his poems, none of which contain any
reference to events subsequent to 152a A few leading facts may be
briefly noted. Albany succeeded in obtaining complete possession of
the government, and became on such intimate terms with Margaret, the
Queen-Dowager, that scandal suggested, and Henry VIII., with whom
she had now quarrelled, readily adopted the idea, that she wished
to marry him, and advanced to the English border. But, alarmed by
the force Dacre collected to oppose him, and inadequately supported
by France, he made at Solam an abstinence or truce for one month
CClxvi INTRODUCTION.
on loth September. He at once disbanded his army, and on 27th
October returned to France, deputing the regency to certain bishops
and Jords, and promising to return before 15th August 1523. He
in fact returned on 25th September in that year, and again invaded
England with a large force of foreign troops, with which, and the
Scotch levies, he undertook the siege of Wark. Here he a second
time proved his incompetency as a general. Though Wark was
defended only by a small garrison, it succeeded in repulsing a first
assault ; and Surrey, the Lord High Admiral, advancing to its relief
Albany, in spite of the remonstrance of his Scotch troops, who were
eager for battle, abandoned the siege. A ballad of Skdton taunted
him with his flight : —
" Your chief chieftain
Void of all brain
Duke of Albany
Than shamefully
He reculed back
To his great lack
When he heard tell
That my Lord Amrell
Was coming down
To make him frown."
What remained of his prestige in Scotland was now wholly lost, and
he went back to France in May 1524 unregretted, and never to return.
Having failed to keep his promise to return to Scotland on ist Sep-
tember, he was dismissed from the regency by the Scottish Parliament
in November. He lived in France, his native country, till his death
on 2d June 1536, taking a certain interest in the foreign affairs of
Scotland, aiding Margaret in procuring in 1528 her long-desired divorce,
and James V. in his negotiations with the Pope for the establishment
of the Court of Session, but he never desired to see Scotland again.
He is reported to have said that " he wished he had lost his legs before
he ever set foot in it."
A picture belonging to Lord Bute represents him, along with Queen
Margaret, and a third figure of a man in Court livery pointing to him
with his finger. It has been engraved by Pinkerton in his *Icono-
graphia Scotica,' and in Mr Small's life of Gavin Douglas. The
conjecture that it has some reference to the scandal that he and the
Queen-Dowager, both of whom had spouses living, were too intimate,
is not borne out by the character of the picture. Margaret is de-
picted as handing Albany, without looking at him, a letter or a small
box ; and Albany with a rose in his hand, which he appears to have
no intention of giving to her. The purpose of the picture is enig-
matical, but the faces are well drawn. Margaret is comely and stout,
with good eyes and features, but a sensuous mouth. Her beauty had
not yet been destroyed by the smallpox. Albany is also of large
make, with a broad face, straight nose, somewhat doubtful-looking
APPENDIX. CClxvii
eyes, a thick short beard, and no hair on the upper lip. Neither the
vanity nor the hot temper with which he was credited by contem-
poraries appears in the representation of him. His real character may
be judged by his acts and his correspondence. He cared little for
Scotland ; and if ambitious projects had floated through his mind with
regard to Margaret Tudor, and the conversion of his regency into a
monarchy, he either did not sufficiently care or he had not sufficient
determination to effect them. He regarded France as his home, and
its king as his master. He had the ing^tiating manners of the
Stewarts, and, notwithstanding his neglect, was popular with the
Scotch till he showed his incapacity. His passionate nature, of
which many anecdotes were told, as that he threw his cap into the
fire if anything displeased him, was probably of the quick, not of the
sullen kind, and such fits soon passed off. He had no genius for
war, in which he missed great opportunities; but he was a skilful
negotiator or agent, and generally succeeded in matters of business to
which he applied himself. His diplomacy, which in that age required
cunning and allowed deceit as one of its methods, succeeded more
than once in baffling the great minister and zealous agents of Henry
VIII., who counted themselves, and really were, masters of the an.
Stobo. Flytingy L 331 ; Lament^ L 86. — John Reid or Rede, alias
Stobo, appears in the Records as early as 1473, when he received a
half-yearly pension of ;£$. This was increased to £70 a-year for life
by James III., who granted him a charter under the Great Seal, which
recites as its cause — ** pro gratuitis serviciis per eundem quondam pro-
genitor! nostro et nobis impensis in scripturam literarum nostrorum
secretorum et patri nostro Pape et diversis Regibus Principibus et
Magnatis ultra regnum nostrum missarum et in expensis suis in per-
gameno papiro ceri albi et rubri et sustentis et pro toto tempore
vitae suae faciendis et sustenandis et in sui supportacionem ad expensas
antedictas." He is also designed Sir John Reid, public notar, in
' Acta Auditorum,' 19th October 147a The position he occupied was
that of head of one of the branches of the Secretary's office, receiving,
as in some offices at the present day, an allowance for the expenses as
well as services of the office. From the charter quoted, he appears to
have entered the royal service as far back as the reign of James II.,
so before 146a The Secretary of James III. was Whitelaw, who was
succeeded by Patrick Panther, and the employment given under them
seems to have been a favourite career for young men of talent Chep-
man, the first printer, served in this office, and so probably did
Dunbar, though he seems to have been employed in external missions
rather than at home in writing despatches. That Stobo befriended
him is shown by the line in the " Flyting" —
« And Sjrne ger Stobo for thy lyfe protest."
The familiar byname of Stobo, whether taken from the place of
cclxviii INTRODUCTION.
his birth or some Church preferment he may have held, as wdl
as Dunbar's epithets, ''gud gentill Stobo," in the '' Lament for the
Makaris," proves him to have been a general favourite. In charters of
the Great Seal, loth December 1488 and 9th and loth May 149 1, he is
designed " Rector de Kirkcristo," but which Christ's Kirk is intended
is not known, but the name Stobo is probably from Stobo on Tweed-
side.
The last entries referring to him in the Treasurer's Accounts are on
6th May 1585 : " Item, be the king^s command to Stobo liand sicke,
£S ; " and 27th May, " Item, to Stobo liand sicke, be the kingis com-
mand, 5 French crounis, £2, ids." "The Lament for the Makaris"
having been written in 1507 or 1508, he must have died before the
latter, probably in the former, year. No poem has survived with his
name attached to it. Dunbar, perhaps, owed to him his introduction
to the royal service. The brief references to the various persons with
whom the poet came in contact indicate, as might be expected, his
discrimination of character. The gentle Stobo will be remembered by
his verse, as will be the surly Doig, the envious Mure, the impostor
Damian, Norray the chief of fools, the beauty Musgrave, the black
Lady with the thick lips, and the Lady without rew (" La belle Dame
sans merci "), whose name he conceals. This is the more remarkable,
as Dunbar is by no means prodigal in epithets, and does not hesitate
to repeat common ones, as " guid," " gentle," " sweet," and " lusty."
Strait Gibbon. Flyting, 1. 209, — Dunbar calls Kennedy Strait
Gibbonis at'r, and there is an entry in the Treasurer's Accounts, 6th
July 1503 : " Item, to Strait Gibbon, be the kingis command." Prob-
ably he was one of the fools or jesters of the Court. Possibly he is
the same person as " Quhissil Gibbone in Falkland," to whom 5s. was
paid "at the kings command" on 12th December 1497.— Treasurer's
Accounts.
Thomson, John or Joan. To the King, p. 218.— A Scottish pro-
verbial expression for a husband under his wife's government. " He
is John Thomsoun's man, crouching carle." — Ferguson's Proverbs, ed.
1641. " John Thomson's bairns" is another Scotch proverbial expres-
sion.
Throp. Flyting, I. 540. — "Throp thy neere nece." Some error
may be suspected in the printing of this unintelligible name in Chep-
man's print of the " Flyting."
Traill, Sandy or Alexander. Lament, 1. 69. — No trace has yet
been found of this poet or any of his poems. The familiar " Sandy "
looks as if Dunbar had known him, or if not, that he had been a popu-
lar favourite, like " Davy Lyndsay."
APPENDIX. CClxix
TULLIUS. The Goldyn Targe^ L 69.— Marcus Tullius Cicero, the
orator, whose works were as much read in the middle ages by
poets as by scholars and philosophers, so that rhetoric became the
name for the art of poetry. Dunbar in this passage couples Cicero
with Homer, and he calls his master Chaucer, " rose of rethoris all."
The vision or dream, a £ivourite form of medieval poetry, of which
Dunbar has left several specimens, is supposed to have taken its rise
from Cicero's ^ Somnium Scipionis." This part of the ' De Republic! '
was preserved, with a commentary by Macrobius, " and attracted the
attention of readers who were fond of the marvellous, and with whom
Macrobius was a more admired classic than Tully. It was printed
at Venice, subjoined to Tully*s Offices, in 147a" It is frequently quoted
by Chaucer, as in the introduction to the ** Assembly of Fowles." —
Warton's * History of English Poetry.*
Wallace. Ffyting^ 1. 272. — Cospatrick, Earl of March, sided with
the English against Wallace, whom he called " King of Kyle" ('' Blind
Harry," viii. L 21}, in one of the engagements which was fought on the
Lanmiermuirs (perhaps near Spot, so here called Spottismuir), and is
described by Blind Harry in his Eighth Book.
Waspasius. Flytingy L 532. — ^Vespasian, the Roman Emperor.
WvNTOUN. See Andrew of Wyntoun.
INDEX
TO
INTRODUCTION AND APPENDICES,
i>
Abbot of Tungland. See Damian.
Aberdeen.
Breviary of^ printed by Chepman
and Myllar, xiv.
William Elphinstone, Bishop of,
xxix.
Poem on Queen Margaret's visit
to, xlviiL
Abiram referred to in " Flyting,
cdL
Absalome referred to in " Man's Mor-
talitie,"cciL
Achilles referred to in " Man's Mor-
talitie," cdL
Adam. Adam and Eve represented on
Queen Margaret's entry to Aber-
deen, xlviii.
Advocates' Library.
Copy of Chepman's first prints in,
xiv.
Bannatyne Mannscript in, xiv.
Afflek, James, identified with James
Audienleck, ccii.
Albany, Duke of. See Stewart, John.
Al-Fara^dar, Arabic poem, a speci-
men of ** Flyting," ex.
AUan, Blind, proverb on, cdL
Allegory.
Dunbar's use of all^ry, IxxviiL
Dunbar's allegory less complex
than Spenser's, Ixxviii.
Of the Goldyn Targe explained,
IxxviiL
Of Beauty and the Prisoner ex-
plained, Ixxix.
Or the Thistle and the Rose ex-
plained, Ixxx.
Of the Droichis port of the Play
explained, IxxxiL
Relation between the All^ory
and the Masque, IxxxiL
Alliteration.
Dunbar's use of, Ixxxviii.
Practised longer in South than
in North, IxxxviiL
Specimens o^ in Scotch poetry,
Ixxxix.
Analysis of Dunbar's, dxxiii.
Professor Skeat's account of, in
preface to "Piers Plowman,"
dxxiv.
Professor Schipper's account of,
in 'Altenglische Metrik,' dxxiv.
Mr Patmore's account of, in
'Essay on English Metrical
Law/dxxiv.
Almaine, William, London merchant,
cvi.
' Altenglische Legenden,' by Horst-
mann, referred to, ccvL
'Altenglische Metrik,' by Schipper,
dxxiv.
Andrew of Wyntoun.
The character of his Chronicle,
cxliv.
Notice o( cciiL
cclxxii
INDEX TO
Andrews, St.
Dunbar a graduate of, xxiL
Extracts from Register of, relative
to Dunbar, cliii.
Walter Kennedy, Bishop of, xxii.
Patrick Graham, Archbishop of,
XXV.
William Schevez, Archbishop of,
XXV.
Alexander Stewart, Archbishop
of, IxiL
Angus, Earl of, marries Margaret
Tudor, Ixiv.
Angus, Lord of the Isles, cxvi.
Ann, St.
Notice of, cciii.
Dedication of altars to, cdii.
Anne of Brittany sends ring to James
IV., Ui.
Antenor referred to in ** Flyting," cciv.
Antony, St.
His Order, cciv.
His hospital at Leith, cciv.
Ai^le, Earl of, captured Donald
Owre, cxvi.
Aristotle referred to in satire on
"Evil Women," cdv.
Armstrong, Archie, fool of James I.,
cu.
Arran, Earl of, detained in England
by Henry VIII., ccxlvi.
Arthur.
Notice of, cdv.
History and locality of poems
relating to, cciv.
James IV. imitates the Round
Table of, xlv.
Alliterative poem of 14th century
on his death, Ixxxviii.
Poems of his cycle referred to,
ccxxii.
Sir Hew of Eglinton's **Gret
Gest " of, ccxxviii.
See also Gawane.
Ash Wednesday, Dunbar's poem on,
cxxxviii.
Astrology.
Prediction of James III.'s death
by, XXV.
William Schevez addicted to, xxv.
John Damian, an astrologer, cxvii.
Aubigny, the Lord of. See Stewart,
Bernard.
Auchinleck or Asloan MS., xv.
Augustine, St, of Canterbury, Legend
of, referred to in ** Flyting," ccv.
Baal, reference to, by Wyntoun, and
in "Flyting," ccvi.
Babington, Dr, Queen's Almoner,
notice of, ccvi.
Bachelor of Arts.
Required three 3rears' residence at
Scottish university, xxii.
Dunbar graduated as, 1477, xxii.
Walter Kennedy graduated as,
1476, xviii.
Baliol, John, referred to in " Flyting,-
ccvL
Ballade.
French form with " Envoi,"
clxxxviii.
Metre of, dxxxvii.
Ballat Ro3ral, clxxxviii.
Ballads.
In welcome of Aubigny, xlv.
" Of the Fenjeit Freir of Tung-
land," xlvii.
" Of Our Lady," cxL
Bannatyne, George.
MS. of Scottish poems, xiv.
Description of its contents, Ixxvii
Barbour, John.
Biographer in rhyme rather than
^oet, cxlv.
' Lives of the Saints' referred to,
ccvi.
Notice of, ccvi.
Bards or Minstrels.
Position of, at the Scotch Court,
xxxvii.
Pensions to, xxxvii.
Bartilmo or Bartholomew, notice of
his legend, ccvii.
Bastie, De la. Sir Anthony d*Arcy.
Comes to Scotland for touma-
ment, ciii.
Left by Albany as his representa-
tive, cclxiii.
Murdered by Home of Wedder-
bum, cclxiii.
Beaumont, Sir John, poem on Bos-
worth Field, cclix.
** Beauty and the Prisoner," Dunbar's
poem, explained, Ixxix.
Beelzebub referred to in "Flyting,"
ccvii.
Bell, Allan.
Misnomer for Adam Bell, ccviii.
Notice of English ballad, ccviii.
Adam Bell, Clym of the Cleugh,
and William of Cloudisle, ccviii.
Berwick. See Friars of.
Bevis of Southampton, notice of,
ccviii.
Bibliography of Dunbar.
MSS., cxciv.
Printed editions, cxcv.
INTRODUCTION "AND APPENDICES. cclxxiii
Biel, estate of, in Haddiii|;toii, retained
by Dunbar family, xvii.
Birds, dialogue of, a &voarite fonn of
poetry, cxxxvii
Blackadder, Robert, Archbishop of
Glasgow.
Embassy to France, xxrii.
Embassy to Spain, xxx.
Embassy to EngUjid, xxxiiL
Blak Belly, a ^tti&h brownie,
cdx.
' Black Book of Clan Ranald,' account
of Lords of the Isles, ccxviiL
Black Elen.
Tournament in honour of, dL
Dunbar's poem on, diL
Blank verse, later English poets
£Eivour, cxlix.
Boece, Hector.
At University of Paris, xxix.
Pension of, as Principal of King's
College, Aberdeen, xxxvii.
Bothwell, Earl of, Patridc Hepburn,
one of the ambassadors to France
and to England as to King's mar-
riage, xxxiii.
Bower, John, Customer of Hadding-
ton, XX.
Bower, Walter, Abbot of Inchcolm,
XX.
Bradshaw, Mr Henry, discovers 'Lives
of the Saints' in Cambridge Uni-
versity Library, ccvi
Bruce, Robert.
Represented at Queen's entry to
Aberdeen, xlviii
Referred to in "Flyting," cdx.
Buchanan, George.
Encomium by him on France,
xxvi
Imitates Dunbar in "Sonmium,"
cxxix.
Burns, Robert, comparison of Dunbar
with, cxlviii.
Bute, John, King's fool, notice of, ccx.
Callimachus, flyting of, with Apollonius
Rhodius, cix.
Callot, French painter, etchings of
** Sevin Deidly Synnis," cxxviL
Calvinism, effect of, on Scottish drama,
Ixxxiii.
Canterbury, Dunbar preaches at, xxiv.
Cassilis, Earl of Kennedy, importance
of thb family, xix.
Caym or Ham referred to in "Flyt-
ing," ccx.
Cayphas referred to in "Flyting,"
Charles VII., Scots Guard in service
of, xlv.
Charles VIII.
French Renaissance dates from,
xxvL
Aubigny sent on embassy to Scot-
land by, xlv.
Charies of Orleans, his poems not re-
ferred to by Dunbar, xxix.
Charteris, Henry, adhortation by, xiv.
Chartier, Alain, French poet rdferred
to, xxix.
Chaucer, Geofirey.
English poetryspringsfrom, xxviiL
"The Maying or Disport of,"
printed by Chepman, 1508,
xliv.
« Wife of Bath's " tale imitated by
Dunbar, Ixxxvi.
Description of "Sevin Dddly
Synnis" in "Persones Tale,^
cxxviii.
Comparison of Dunbar with, cxlii.
Influence of, on Dunbar, csdvi.
Chepman, Walter.
Patent to, as first Scotch printer,
xlii
Dunbar's connection with, xliL
Publishes " Lament for the Mak-
aris," xliv.
Chivalry.
Romances of, referred to, c.
Satire by Dunbar on, c, di.
Christmas, Dunbar's poemson, cxxxviii.
Qergy, satire on, Ixxxv.
Clerk, John, notice of, ccxL
Qerk of Tranent, notice of, ccxii.
Cochrane, Robert, Earl of Mar,
favourite of James III., xxv.
Cockdbie's Sow, early Scotch poem
on, cxlv.
Coiljear, Rauf. See Rauf.
Collins, William, English poet, his
" Ode on the Passions," cxxviL
" Confession General," the, Ixx.
Corineus, one of the Guildhall giants,
ccxxii.
Corspatrick, Earl of March, notice of,
xviL
Court of James IV., Dunbar's descrip-
tion of, xlix.
Courtiers, description of, by Dunbar, lii
Courts of Law.
Sessions of James I., xlix.
Daily Coundl of James IV., xlix.
College of Justice of James V.,
xlix.
Dunbar's satire on, cxxiL
Covetonsness satirised by Dunbar, Ixx.
cclxxiv
INDEX TO
Crawford Moor, gold found at, xlviL
Curry, notice of, ccxiii.
Cuthbert, St, ccxiv.
Damian, John, Abbot of Tungland.
Special subject of Dunbars satire,
xlvi.
Notice of his life, cxviii, ccxiv.
How he became a priest, ccxv.
His practice as a quack doctor,
ccxv.
Pretends to make quintessence,
ccxv.
Batters at the study or smithy,
cxix.
Refuses to repay loan, ccxv.
Attempts to ny at Stirling, ccxv.
Made Abbot of Tungland, ccxv.
Goes abroad, ccxv.
Returns before Flodden, ccxv.
Finds gold at Crawford Moor,
ccxv.
" Dance in the Quenis Chalmer," the,
xcix.
** Dance of the Sevin Deidly Synnis,"
cxv, cxxvii.
Dares Phrygius, his version of the
story of Troy, ccxxix.
Dates, Table of, probable order of
Dunbar's poems, clvii.
Dathan referred to in ** Fl3rting,"ccxvi.
Davidson, Thomas, early Scottish
printer, xiv.
" Deeming," on, poem of Dunbar,
cxxxiii.
Demtoun, preacher at, xxiv.
Deschamps, Eustace, French poet,
his * Art of Poetry, * xxix.
Dialect.
East Lothian, xviii.
Carrick, of Kennedy, xviii.
Dictys Cretensis, his version of the
story of Troy, ccxxix.
" Dirge,'; " Dirige," or '* Dregy."
Origin of word, xcv.
Dunbar's poems so called, xcv.
Discretion in Asking, Giving, Taking,
Dunbar's p)oems on, cxxiii.
Doig, James, keeper of the King's
Wardrobe.
Poems by Dunbar on, Iv.
Notice of, ccxvi.
Donald Owre, Lord of the Isles.
A Highland rebel, cxiv.
Dunbar's epitaph on, cxiv.
Notice of, ccxvii.
Mr Gregory's account of, ccxviii.
Account of in 'Black Book of
Clanronald, ccxviii.
Dou^as, Gavin, Bishop of Dunkeld.
Kecognises Dunbar as master of
Scottish poets, xiii.
His allegory more complex than
Dunbar's, Ixxviii.
His alliteration in Prologues to
" iEneid," Ixxxix.
Description of poets in ''The
Palace of Honour," IxxiL
Dountebour, Dame, a cant or a real
name, ccxviii.
Dover, Dunbar crosses to France at
ferry of, xxiv.
Drama.
Dunbar not a dramatist, cxUi.
Why Scotland has no drama,
Ixxxiii.
Knowledge necessary for drama-
tist, cxliii.
Dreams, poems in form of, or visions,
xlvii, cxxviii.
Drummond, William, of Hawthomden,
his ** Polemo-Middinia," xcvii.
Dunbar, Agnes of, xvi.
Dunbar, Archibald, notice of, ccxix.
Dunbar of Westfield, sheriff of Elgin,
notice of, ccxix.
Dunbar, Earls of.
Their policy, xvi.
Gospatrick or Corspatrick, first
Earl, xvi.
Patrick, eighth E^rl, xvi.
George, tenth Earl, xvi.
George, eleventh Earl, xvii.
Deposed by Tames I., xvii.
Dunbar, Sir Patrick, of Biel.
Fourth son of George, tenth Elarl,
xvii.
Dunbar, the poet, relation to,
xvii.
Dunbar, William, the poet.
Probably born 1460, xv.
At school at Haddington about
1474, xix.
Graduated at St Andrews as
B.A. in 1477, xxii.
Enters an Observantine House as
Novice after 1479, xxii.
Travels in France and the Con-
tinent between 1491 and 1500,
xxvi.
With embassy to France in the
Katherine, xxvii.
Course of his life uncertain, 1491-
1500, xxix.
Possibly went to Spain on em-
bassy, 1495, XXX.
Possibly travelled to Norway dur-
ing I495» xxxi.
INTRODUCTION AND APPENDICES.
cclxxv
At Court of James IV., 1500-
12, xxxi.
A priest, i6th Bdarch 1504, xxxL
Received pensions as Court poet,
1500-12, xxxii.
On embassy to London as to
marriage of James and Mar-
garet Tudor, xxxiii.
Received pavment from Henry
VII. as ^'Rhymer of Scot-
land," xxxiii.
Blade ballad in honour of Lon-
don, xxxiv.
Returns to Scotland, 1502, xxxv.
Composes '*The Thistle and the
Rose," 1503, xxxiv.
Composes ballad in honour of the
royal marriage, xxxiv.
Writes "Lament for the Makaris,"
I5G^ xl.
Relations to Chepman the printer,
xliL
Celebrates Aubigny, and satirises
Damian, 1508, xlv.
Visits Aberdeen with the Queen,
151 1, xlviii
Effect of Flodden on Dunbar, Ix.
His life after 1513 obscure, Ixiii.
Poem to the Queen-Dowager in
1513, Ixiii.
Poem when Albany went to
France in 1517, Ixvii.
Probable date of death, 1520,
Ixviii.
His religious poems or h3rmns
probably written after 15 13,
Ixix.
Description of person and char-
acter, IxxiL
Division of poems into classes,
IxxvL
Allegories, Ixxviii.
Narrative poems or tales, Ixxxiv.
Amatory or love poems, Ixxxix.
Comic or humorous, xciii.
Laudatory or panegyrical poems,
dv.
Vituperative poems or invectives,
cviii.
Precatory poems or petitions to
the King or Queen, cxxi.
Satirical poems, cxxiii.
Moral poems, cxxx.
Religious poems, cxxxviL
Elstimate of his genius, cxli.
Comparison with the earlier Scot-
tish poets, cxliv.
Chaucer's influence on, cxlvL
Comparison with Bums, odviiL
Comparison with Horace, cL
Comparison with Villon, cli.
Comparison with Heine, cli.
Comparison with Albert Durer,
cli
References to, in the records,
diii-clvi.
Table of poems according to
dates, dvii-dxxii.
Note on his versification and
metres, dxxii-cxdii.
Notices of persons referred to in
his poems, di.
Edinburgh.
Satire on, by Dunbar, xlix.
Description of, cxxvi.
Edwart Langshankis (Edward I.),
early Scottish wars against, ccxix.
Egeas or ^Egaeon rderred to in
"Flyting," ccxx.
E^pya or Egypt referred to in " Flyt-
ing," ccxx.
Eglinton.
Sir Hugh of, xli.
Notice of. See Hugh, Sir.
Elphinstone, V^lliam, Bishop of Aber-
deen.
Introduced printing in Scotland,
xlii.
Aberdeen Breviary, xlii
Eneas referred to in ** Flyting," ccxx
English.
Dunbar calls his language Eng-
lish, xviii, Ixxix.
Poets referred to in "Lament,*'
xli.
Ersch or Irish, the names for Gaelic
in Dunbar's satire, cxv.
Eustase referred to in "Flyting,"
ccxx.
' Evergreen * of Allan Ramsay revives
knowledge of Dunbar, xiii.
Eyobulus referred to in "Flyting,"
ccxx.
Falcon, Mount, the place of execution
at Paris, xxvii
Falkland.
The ale of, xcv.
The burgh charter of, xcv.
Fergusson, Robert, last writer of a
poetic testament, xcviii.
Flodden.
Causes of campaign of, Ixi
Echoes o( in the Scottish poetry,
Ixi
Effect of, on Dunbar and Scot-
land, bdii.
cclxxvi
INDEX TO
tt
n
Flyting.'
Examples of, in Greek, Latin,
Celtic, Scandinavian, Italian,
and Arabic poetry, cix.
Skelton's, witn Gamesche, ex.
Lyndsay's, with James V., cxL
Montgomery's, with Hume of
Polwart, cxi.
Montgomery's defence of, cxL
Called " rouncefdlis or tumbling
verse " by James VI., cxii.
Puttenham condemns, as unchris-
tian, cxii.
" Flyting of Dunbar and Kennedy."
Question as to its date, cxiL
Metre of, clxxxu
Fools, number of, at the Court of
James IV. See Armstrong, Curry,
Cuddy Rig, Norray.
Fortune, its changes a favourite sub-
ject with Dunbar, cxxxv.
France.
Intercourse between France and
Scotland, xxvi.
Praise of, by Buchanan, xxvi.
Dunbar on an embassy sent to,
xxvii.
Influence of, on Dunbar's poetry,
xxix.
Francis, St.
Vision of St Francis, cxxix.
Dunbar's poems copied by Buch-
anan, xxiii.
Notice of, ccxx.
Franciscan order called Minorites or
Grey Friars.
Divided into Conventuals and
Observantines, ccxx.
Favoured by Henry VII. and
James IV., ccxxi.
Dunbar probably an Observantine
novice, xxii.
Dunbar's satires on the, xxiii,
Ixxxv.
**Freiris of Berwik," whether this
poem by Dunbar, Ixxxiv.
French poetry.
Its character in 15th and 1 6th
century, xxix.
Its influence on Dunbar's poetry,
xxix.
See Dcschamps, Charles of Or-
leans, Chartier, Villon.
Gaelic called Ersch or Irish by Dunbar,
cxv.
Gascoigne, George, first English satir-
ist, instruction concerning the mak-
ing of verse, cxxiv.
Gawane, Gawan, or Gavin, notice of,
ccxxii.
Gedde, Charles, a learned gentleman
of St Andrews, ccxxiii
Geoffrey of Monmouth.
His fable of foundation of Lon-
don b^ the Trojans, cv.
Adaptation of Arthorian l^rend,
ccv.
Gimega, St, notice of, ccxxii.
Glennie, Mr Stuart, his 'Artharian
Localities,' ccv.
Gog and Magog, story of, ccxxii.
"Golden Targe," its allegory ex-
plained, Ixxviii.
Golyas or Goliath referred to in
**Fl3rting," ccxxii.
Gower, John, English poet, notice of,
ccxxii.
Graham, Patrick, Archbishop of St
Andrews, deposed by Sextus IV.,
XXV.
Gray, Walter, Master of St Anthony's,
notice of, ccxxiv.
Greek, Dunbar knew no, ccxxix.
Greene, Robert, tragedy of James IV.
by, Ixi.
Gregory, Mr Donald, history of Don-
ald Owre explained by, cxvL
Guest, Dr, his theory as to Arthur,
ccv.
Guido de Colonna, ' Historia Trojana '
by, ccxxix.
Guy of Gysbume, ballad on, ccxxiv.
Haddington, school of.
Dunbar probably educated at, xix,
Bower, Major, Knox, educated
at, XX.
Hailes, Lord, notes on Dunbar's
poems referred to, xiii.
Harry, Blind, or Harry the Minstrel.
Payments to, by the King,
xxxii.
Poem on Wallace, cxlv.
Notice of, ccxxiv.
Hay, Sir Gilbert, Scottish poet, notice
of, ccxxv.
Heine, comparison of Dunbar with,
cli.
Henry VII. gives rewards to **The
Rhymer of Scotland," xxxiii.
Henry VIII., his conduct provoked
war of Flodden, Ixi.
Ilcnryson, Edward, Advocate, taught
civil law at Bourges, ccxxvi.
Henryson, James, King's Advocate
of James IV., and Justice- Clerk,
ccxxvi.
INTRODUCTION AND APPENDICES. cclxxvii
Henryson, John, master of grammar
school of Dunfermline, ccxxvL
Hemyson, Robert, Scottish poet.
His satire on physicians, xcvii.
Superior to Dunbar in sweet-
ness, but inferior in invention,
cxlvii.
** Testament of Cresscid," xcviii.
Notice of, ccxxvi.
Heraldry, allegory of Thistle and
Rose taken from, Ixxx.
Herod referred to in "Flyting,"
ccxxvii.
Heryot, unknown Scotch poet, re-
ferred to in the " Lament, xlu
Highlanders, satire on, Ivii, cxiv.
Hillhouse, Laird of. Sir John Sandi-
lands, ccxxix.
Holland, Sir Richard, Scottish poet,
notice of, ccxxix.
Homer, Dunbar's knowledge of, at
third hand, ccxxix.
Horace, comparison of Dunbar with, cl.
" How Dunbar was desyrd to be ane
Freir," xxiv, cxxix.
Hugh, or Hew, Sir, of Eglinton.
Notice of, ccxxvii.
Mr McNeill's paper on, ccxxviii.
Hume of Polwart, "Flyting" with
Montgomery, cxL
H3rmns or sacred i>oems b^ Dunbar
written after 15 13, cxxxviL
Iambic metre.
The natural form of English verse,
dxxv.
Of Dunbar, dxxv.
Icelandic Flyting in the "Loki Sen-
nar," ex.
Inglis, Sir John, Scottish poet, " A
General Satire " by Dunbar wrongly
attributed to, cxx.
Interlude of*' The Droichis port of the
Play" explained, IxxxiL
Invectives by Dunbar.
"The Flyting,*' dx.
"Epitaph on Donald Owre,"
cxvii.
"Against John Damian," cxvii.
" A^dnst Evil Women,** cxix.
" A General Satire,** cxx.
Ireland, Wealth declines to live in,
ccxxxiv.
Isles. Lord of the Isles.
John, first Lord, forfeited by
James III., ccxviL
Angus, second Lord, killed at
Inverness, ccxvii. See also
Donald Owre.
Italian.
Specimens of " Flyting '* in Ital-
ian poetry, ex.
Origin of drama in songs of Ital-
ian husbandmen, cxi
James I.
Forfeited the Earl of Dunbar,
xviL
"Kingis Quair*' not alluded to
by Dunbar, cxlvi.
Founds House of Observantines'at
St Andrews, xxii.
James II. killed by gun bursting at
Roxburgh, xv.
James III.
His favourites, and incapadty for
government, xxiv.
Killed at Sauchie, 14S8, xxv.
James IV.
Dunbar*s view of his character,
IL
Sa3ring "on Deeming,** cxxxiii.
Bom 17th March 1472, ccxxx.
Succeeds to crown, nth June
1488, ccxxx.
Embassy to France to find a wife
for, 1491, ccxxx.
His attachment to Margaret
Drummond, ccxxx.
Death of Margaret Drummond,
1502, ccxxx.
His unstable character, ccxxxi.
His activity in government,
ccxxxi.
Reception of Perkin Warbeck,
CCXXXI.
Abandonment of Perkin War-
beck, ccxxxi.
Expedition to Highlands, ccxxxiL
Reforms the courts, ccxxxii.
Protects agriculture, ccxxxii.
Promotes educadon, ccxxxii.
His own talents, ccxxxii.
His character by Ayala and Eras-
mus, ccxxxii.
Weak side of his character,
ccxxxiiL
Illustrations of his reign, at time
of his marriage, in Dunbar's
poems, ccxxxiv.
Brilliance of his Court, ccxxxiv.
Inward decay, ccxxxv.
Death of Henry VII., 1509,
ccxxxv.
Causes which led to Flodden,
Ixii, ccxxxv.
Frendi alliance, ccxxxvi.
Flodden and death, ccxxxvi.
cclxxviii
INDEX TO
James V.
His taste for poetiy, xxxii.
His "Flyting'' with Lyndsay, cxL
James VI.
His treatise on "Scottis Poesie"
referred to, xcviii.
Rules for the testament as a form
of verse, xcviii.
Calls " Flytings ** tumbling verse,
cxii.
Use of " Invective " as name for
a species of poetry, cxiv.
Commends the '* Ballad Royal,"
clxxxviii.
John of Gaunt, introduction of Wy-
clifs books into Scotland by, xx.
John, St, referred to in "Flyting,"
ccxxxviL
Johnne the Reif.
Old English poem of fourteenth
century, ccxxxvii.
Notice of, ccxxxvii.
Johnston, Patrick, poet and player,
notice of, ccxxxvii.
Jok the Fule, one of the King's fools,
ccxxxviii.
Jonet the Weido, notice of, ccxxxviii
** Joustis of the Taii)our and the Sow-
tar," c
Judas Iscariot referred to in **Flyt-
ing," ccxxxviii.
Katherine, the, Dunbar sails to France
in, xxvii.
Kennedy, Andrew.
Dunbar's Testament of, xcvi.
Notice of, ccxxxviii.
Kennedy, Gilbert, first Lord, xviii.
James Dunure, xviii.
Janet, Lady, xviii.
Bishop of St Andrews, xviii
Kennedy, Walter, xviii.
His praise of age, xxi.
Notice of, ccxxxix.
Kittok, Kynd.
Dunbar's poem on, xciv.
Notice of, ccxl.
Metre of, cxcii.
Lady, to a.
Dunbar's poem, xci.
Its metre, clxxix.
Laing, David, references to his edi-
tion of Dunbar, xiii, xvii-xxi, ccii.
Landscape, Dunbar's view of Scottish,
Iviii.
Langhome, John, Scottish poet, refer-
ence to Dunbar's "Thistle and the
Rose," Ixxv.
Latin.
Use of Latin words in vernacular
poetry, xcvii.
Rhyme sometimes used in medi-
eval Latin, IxxxiiL
Laureat, Poet.
Dunbar called " Lollard laureate "
by Kennedy, xxL
History of title of, ccxlii.
Dunbar in fact Laureate of the
Court of James IV., xxxii.
Lawrence, St, notice of his legend
ccxl.
League.
Ancient, between France and
Scotland, xlv.
Holy, by Julius II. against Venice,
xlv.
* L^ends of the Saints ' referred to,
ccvi, ccvii.
Lent, Dunbar's poem on, cxxxviiL
Leslie, Bishop of Ross, account of
John Damian, xlvi.
Lodovick, Louis XII., King of France,
ccxli.
Lokert or Lockhart of the Lee, Sir
Mungo, Scotch poet, notice of,
ccxlL
Lollards.
Of Kyle and East Lothian, xxi.
Dimbar called ** Lollard laureate,"
xxi.
London.
Description of, by Dunbar, cv.
By Major, cv.
Called Troynovaunt by Geoffrey
of Monmouth, cv.
Description of, by Stowe, civ.
Lothian, Dunbar a poet of, xix.
Louis XI. centralises France, xxvi
Love.
Dunbar's treatment of, Ixxxix.
Spelling of the word in Scotch,
xc.
Lowell, Mr J. R., on Dunbar, xi,
cxxvii.
Lydgate, John, English poet
* Rules for Preserving Health,'
cxxxiv.
Notice of, ccxlii.
Lyndsay, Sir David.
Recognises Dunbar as chief of
Scottish poets, Ixxii.
Refers to Dunbar in " Testament
of the Papyngo," Ixviii.
"Satire of the Three Estates"
referred to, Ixviii.
Flyting" with James V. re-
ferred to, cxi.
f(
INTRODUCTION AND APPENDICES. Cclxxix
Macaronic verse, Dunbar's variety
of, xcvi
Machomete referred to in "Flyting,"
ccxliL
Bfackcowll, Fyn, notice of^ ccxliii.
Maitland, Sir R., of Lethington, MS.
of Scottish poems, xv.
Major, John, Scotch historian, his de-
scription of London, cv.
Makaris or Poets, Dunbar's Lament
for the, xL
Makfadyane referred to by Blind
Harry and by Dunbar, ccxliii.
Malory, Sir Thomas, ''Arthurian Le-
gends " published by Caxton, ccv.
Mapes, Walter, poem "De Mundi
Vanitate " referred to, xlL
Marcion referred to in "Flyting,"
ccxliv.
Margaret Tudor.
Bom 29th Nov. 1489, ccxliv.
- Dunbar's view of her character,
UL
Dunbar's poems to her, cviL
Early projects for her marriage
with James IV., ccxliv.
Renewed, 1501, ccxliv.
Espousals at Richmond, 24th
June 1502, ccxliv.
Marriage at Holyrood, 8th Au-
gust 1503, ccxlv.
Poem of "The Thistle and the
Rose," ccxlv.
Unfaithfulness of James, ccxlv.
Death of her father, 22d April
1509, ccxlvi
Birth of her son Arthur, 15 10,
ccxlvii.
Her pilgrimage to Tain and visit
to Aberdeen, 151 1, ccxlvii.
Quarrel with Henry VIII. about
her jewels, ccxlvii.
Birth of her posthumous child,
ccxlviii.
Dunbar's poem to her as Queen-
Dowager, ccxlviii.
Marriaee to Angus, ccxlviii.
Birth^ M«^Do«gUs. ,5.5.
CCXIVUL
Goes to England, ccxlviiL
Quarrels with Angus, ccxlviiL
Returns to Sa>tland, 1517,
ccxlviiL
Relations to Albanv, ccxlviiL
Divorce from Angus, 1528,
ccxlix.
Marries Henry Stewart, ccxlix.
Dies at Methven, ccxlix.
Marriage, Dunbar's satire on, Ixxxv.
Martyrs, Scottish, referred to, xx.
Mary, the Virgin, Dunbar's poems
to, ccxlix.
Mary Magdalene referred to, ccxlix.
Mary Salame or Salome referred to,
codix.
Masque.
On Queen's entry to Aberdeen,
xlviiL
On Queen's entry to Edinburgh,
IxniL
Whether masque was prior to
drama, IxxxiiL
Maxentius referred to in "Flyting,"
ccxlix.
Medicine.
Early references to study of^ by
Henryson, xcvii.
The clergy frequently practise,
ccxiL
« Meditation in Winter," Dunbar's
poem, lix.
Mercurius referred to in "Flyting,"
ccxlix.
"Merle and the Nichtmgale," the,
Dunbar's poem, xdi.
Merser, Scottish poet, referred to in
" Lament for the Makaris," codix.
Metre.
Dunbar's mastery of, cxlix.
Note on, by Mr McNeill, dxxii.
Minstrels, their position at the Scot-
tish Court, xxxviL
Monastidsm.
Different views of its value, xxiiL
Its character in Scotland in Dun-
bar's time, xxiii.
Dunbar's satire against, xxiiL
Montgomery, Scottish poet
Use of alliteration by, Ixxxix.
" Flyting " against Hume, cxL
IMence of *' Flyting," cxL
MSS.
List of MSS. of Dunbar's poems,
xiv, cxciv.
Of Regiam Majestatem, xv.
Of Chronicle of London, xxxiv.
Of Book of Pluscardine, xliv.
Asloan, xliv.
Mure, poem against, by Dunbar,
ccL
Murray, Earl of Dunbar, notice of,
ccL
Music, Dunbar's poem set to, xxxv.
Musgraeffe, Mrs.
English lady of the Queen, xc.
Notice of, ccL
Myllar, partner of Chepman, Scottish
printer, xUL
cclxxx
INDEX TO
Nennius's ' Historia Britonum ' as
to Arthur's battles, ccv.
Ninian, St.
Relic of, referred to, xcvi.
Pilgrimages of James IV. to his
shrine, ccxxxi.
Heart of Aubigny sent to his
shrine, cclxi.
Norray, Sir Thomas.
Chief fool of James IV., ccli.
Dunbar's poem on, d.
North or Northumbrian dialect, xvi.
Oaths, Dunbar's satire on, cxxvi
Occleve, English poet, referred to,
xxviii.
Olibrius referred to in the ** Flyting,"
cclii.
Orleans, Charles of, French poet, his
influence on Dunbar, xxix.
Oxford or Oxinfurde, Dunbar's poem
**On the Vanity of Learning"
written at, xxxi, Ivi.
"Palace of Honour," Gavin Douglas's
poem on, referred to, ci.
Panegyrics.
Dunbar's poems in form of, civ.
On London, civ.
On the Queen, cvii.
On Women, xciii.
On Aberdeen, cviii.
On Aubigny, cviii.
Panther, Patrick, secretary to James
IV., xliii.
Passion, the.
Dunbar's poems on, cxl.
Dunbar familiar with plays on,
cxl.
Patmore, Mr Coventry, Essay on
English Metrical Law, clxxiv.
Pensions by James IV. to poets,
xxxii.
Percy, Bishop, claims that England
first ridiculed knight-errantry, c.
Pharo referred to in '* Flyting,"
cclii.
Physicians. See Medicine.
Picardy, Dunbar preaches in, xxvii.
Pilate referred to in *' Flyting,"
ccliii.
Pinkerton, Mr John, his notes on
Dunbar's poems attribute "Freiris
of Berwik ' to Dunbar, 1 xxxi v.
Plays. See Drama.
Pluto referred to in ** Flyting,"
cclii.
Poggio, Italian poet, his flyting with
Philelfo, cix.
Pollexen or Polyzena, notice of^ cclii.
Poor, Dunbar condemns oppression
of, cxxi.
Printing, notice of introduction of, in
Europe and Scotland, xliL
Prose, Southern Englaiid prefers, to
verse, Ixxxviii.
Protonotary, Andrew Foreman, an
Apostolic, confused with Dunbar,
xxxiv.
Proverbs.
Imitation not to be presamed in,
cxxxiv.
Of John Thomson's man, lii.
Of Blind Allan waiting on the
moon, cciL
On the Fox, cxvii.
Puns, or play on words, specimens of,
in Dunbar.
On Margaret, xxxvi.
On Knight, ciii.
On Doig, ccxvi.
Puttenham.
His <Art of English Poesie'
referred to, xxix.
Denounces "Flyting" as un-
christian, cxii.
Quotes poem " Ginecocratia,"
cxxviii.
Quhentyne or Quintyne, notices of
poets of that name, ccliii.
Quhettane clan referred to, ccliii.
Quintessence, Damian pretends to
make, cxix.
Ramsay, Allan.
Revives knowledge of Dunbar,
xiu.
"The Monk and the Miller's
Wife " referred to, Ixxxv.
"Rauf Colzard," old Scottish poem,
referred to, ccliv.
Records, references to Dunbar in tiie
Scottish, cliil
Reformation.
Lyndsay's influence on, xxi.
Dunbar's attitude towards the
doctrines of, xxi, xxxi, Ixxxiv.
Prevented the development of
drama in Scotland, Ixxxiii.
Reid, Sir John. See Stobo.
Reidpeth, Mr John, MS. referred to,
XV.
Renaissance, its influence on morals,
xciv.
Rhyme.
Dunbar preferred rhyme to alliter-
ation, Ixxxix.
INTRODUCTION AND APPENDICES.
cclxxxi
Rhyme perhaps developed from
alliteration, Ixxxix.
Analysis of Dunbar's long couplets
in heroic verse, clxxv.
Analysis of Dimbar's short or
four-foot couplets, dxxvii.
Rhyme- RoyaL
First used by Chaucer, dxxx.
By Tames I. in " Kingis Quair,"
cbocx.
Gascoigne's description of, clxxxi.
Mr Coventry Patmore's praise of,
clxxxi.
Dunbar uses a peculiar form with
refrain, clxxxi.
Rhymer, Thomas the, his verses allit-
erative, cxlv.
Rig, Cuddy, notice of, cdiv.
Robyn Hude, notice of, cdiv.
Rc^er of Clekkinsklewch, notice of,
cdvi.
Roman doctrine.
Dunbar handled freely, but ad-
hered to, xxu
Dunbar's religious poems in con-
formity wi£, cxxxvii.
Confession, cxxxviii.
Worship of the Virgin, cxL
Romances of the Arthurian cycle, cciv,
ccxxii.
Roscoe, W., description of Italian
"Flyting,"cx.
Rose, the, of England, described by
Dunbar, xxxvL
Ross, E^ldom of, annexed to Crown
on forfeiture of John, Lord of the
Isles, ccxvii.
Ross, Sir John the, Scottish poet,
notice of, cclvi
Rowl of Aberdeen, notice o( cclvi.
Rowl of Corstorphine, notice of, cdvi.
Saint Ann, cdii.
Cuthbert, ccxiv.
Duthac at Tain, Qneen Margaret's
pilgrimage to, xlviiu
Frauds. See Frauds.
Giles', in Edinburgh, beUs of,
imitated, cxlix.
Giraega. See Gimega.
Ninian at Whithorn.
Aubigny vowed a pilgrimage
to, and his heart sent there,
xlvi.
Pilgrimages of James IV. to,
ccxxxL
Paul's, in London, betrothal of
James IV. and Margaret Tudor
procUmed at cios. of, xxxiv.
Saintsbury, G., his 'French Litera-
ture ' referred to, xcviii.
Satire.
Dunbar's satire attacks all dasses,
Ivi.
Dunbar one of the earliest satirists,
cxxii.
Scenery, Dunbar's description of
Scottish, IviiL
Schaw, Quintyne. See Quhentyne.
Schaw, Robert, notice of, cclvii.
Schipper, Professor, of Vienna.
His 'Leben und Gedichte' of
Dunbar referred to, xiii,
Ixxxviii, cxiiL
His ' Altenglische Metrik ' re-
ferred to, Ixxxiv, Ixxxviii, dxxiv,
clxxx.
Scotland.
Generally a century behind Eng-
land and France, xxviii.
A small country courted by great
Powers, XXX.
The Scot abroad, xxvi, cviiL
Scott, Sir Walter, his opinion of Dun-
bar, xi.
Scottish language.
Its vocabuhiry of abuse, liii.
Never becomes classic, di.
Session.
" Tidings from the Session," cxxiv.
Courts, why so called, cxxiv.
Shakespeare, sayings of Polonius com-
pared with poems of Dunbar,
cxxxiv.
Simones Sonnes of Quhynfell, notice
of, cdviL
Sinclair, Sir John, notice of, cclviii.
Skeat, Professor.
On rules of alliteration, dxxiv.
On authorship of 'lives of the
Saints,' ccvL
Skelton, English poet, xxviii.
Skelton, Mr John, attributes the
" Freiris of Berwik " to Dunbar,
Ixxxvi.
Skene, Mr W. Foibes, theory of
Arthurian localities, ccv.
Smith, Alexander, Scottish poet,
criticism of Dunbar's poetry, lix.
Soutars satirised by Dunbar, c
Spain.
Embassy to, under Archbishop
Blackadder, xxx.
Ayala, the Spanish ambassador
to James IV., ccxxx, ccxxxii.
Spenser, Edmund, English poet, com-
parison of his allegory with Dun-
tiar's, IxxviiL
cclxxxii
INDEX TO
Stewart, Beniard, Lord of Anbigny.
Dunbar's poems on, xlv.
Notice of, cclviii.
Grandson of John of Damley,
cdviiL
Succeeds his fiither, John, Lord of
Aubigny, 1483, cdviii
Sent on embassy bv Charles VIII.
to Scotland, 1404, cclviii.
Led French auxiliaries of Henry
VII. at Bosworth Field, 1485,
cclix.
Captain of Scots Guard, 1493,
cclix.
Ambassador to Rome, cclix.
Lieutenant - General of French
forces and conqueror of Naples,
cclix.
Philip de Comines, character of,
cclix.
Returns to France, 1496, cclx.
Commands French in Calabria
under Louis XII., cclx.
Defeats Spaniards at Terra Nuova,
1503, ccbc
Defeated by Hugo de Cordova at
Seminara, cclx.
Surrenders at Cerignola, cclx.
Accompanies Louis XII. in
expedition against Geneva,
cclx.
Visited by Ferdinand, cclx.
Sent on embassy to Scotland,
1508, cclx.
Received with honour by James
IV., cclxi.
Died at Edinburgh, 8th June
1508, cclxi.
His heart sent to St Ninian's,
cclxi.
His will and portrait, cclxi.
Stewart, John, Duke of Albany.
Poem on his absence in France,
cclxi.
Son of Alexander, second son of
James H., cclxi.
Summoned by Convention of
Estates to tne Regency, 151 3,
cclxii.
Lands in Scotland, 22d May 15 15,
cclxii.
Relations with Queen Margaret,
cclxii.
Wolsey's character of, cclxii.
Relations with Wolsey and Henry
Vni., cclxiii.
Quits Scotland, 7th June 1517,
cclxiii.
Dunbar's ballad on, cclxiv.
Coodudes treaty of Roneiiy 26th
Aug. 15 17, cclxiv.
Assists the Queen to obtain divorce
fix>m Angus, cclxiv.
Dunbar's poem on his absence,
cdxv.
Returns to Scotland, 21st Nov.
1 521, cdxv.
Goes back to France^ 27th Oct.
1522, cclxvi.
Returns to Scotland, 25th Sept.
1523, cdxvi.
Fails in siege of Wark, cclxvi.
Finally quits Scotland, May 1524,
cclxvi.
Dies in France, 2d June 1536,
cclxvi.
Portrait of him and the Queen,
cclxvi.
His character, cdxvii.
Stewart, Sir John, of Damley, General
of the Scots in the service of Charles
VII., cclviiL
Stobo, Scottish poet, notice of, cclxvil
Story, Scottish printer, "The Office
of our Lady of Pity,** xiv.
Strait Gibbon, notice of, cclxviii.
Strophic form of verse.
Analysis of Dunbar's poems in
strophes without refram, clxxix.
Strophes with refrain, clxxxiv.
Strophes in tail rhyme,
clxxxix.
Strophes with a wheel, cxdi.
Swearing.
Oaths satirised in " The Devil's
Inquest," ccxxvi.
Scottish propensity to restrain, by
Act of Parliament, ccxxvi.
Tailors satirised by Dunbar, c.
Tales or stories, custom of telling, by
guests, Ixxxvi.
"Targe, the Goldyn."
Explanation of Dunbar's poem,
Iviii.
Metre of, clxxxiii.
Testament.
Of Andrew Kennedy, xcvi.
Poem so called, xcvii.
Of Cresseid, xcviii.
Of Squire Meldrum, xcviii.
Of Duncan Laideus, xcv-iii.
Of Robert Fergusson, xcviii.
Thames, the.
The glory of London, civ.
Its swans, cv.
Its bridge, cv.
INTRODUCTION AND APPENDICES. cclxxxiii
Thistle, the emblem of Scotland.
Dunbar's poem on " The Thistle
and the Rose," xxxv.
On the hangings at Holyrood,
IXXXL
On ratification of marriage treaty
of James IV., Ixxxi.
On purple tartan of James III.,
buExi.
On portrait of James IV., IxxxL
Thomson, John or Joan, proverb of
John Thomson's man, cclxviii.
Throp, an unexplained name in
" Flyting," cdxviii.
Tournaments.
Ridiculed by Dunbar, c
Of Toltenham referred to, c
TraiU, Sandy or Alexander, an un-
known Scottish poet, referred to by
Dunbar, cclxviii.
Triolet.
Example of, by Dunbar, dxxxix.
Called in fifteenth century " com-
mon rondeau," dxxxix.
Troy.
London called Troynovaunt or
New Troy, dv.
Dares Phrygius and Dictys Cre-
tensis on stoiy of^ ocxxix.
Guido de Colonna's *Historia
Trojana,' ccxxix.
Lydgate's * Troy Book,' ccxxix.
" Tua Mariit Wemen and the Wedo,"
1, Ixxxvi
** Tua Cummeris," the, xdii.
University.
Of St Andrews, xxii.
Of Paris, xxix.
Vanity.
Latin poem on, xli.
Dunbar's poem on, cxxxviiL
Veitch, Professor, criticism on Dnn<
bar's description of scenery, Iviii.
Venice.
James IV. invited to lead army of,
XXX.
Dunbar's reference to, cvL
Villon, French poet
Influence on Dunbar, xxix.
Use of testament as form of
satire, xcviii.
Comparison of Dunbar's "La-
ment" with Villon's ballad, xL
A few poems of Dunbar in tone
of Villon, c
ion, cxxxL
,**
as
Wallace, WiUiam.
Referred to in "Flytii^
King of Kyle, xviii.
Blind Hany^s ' Wallace ' referred
to, cdxix.
Warton, reference to Dunbar in
' History of English Poetry,' xiii
Waspasius or Vespasian referred to
in*'Flyting,"cclxix.
Webbe, his discourse of 'English
Poetrie ' referred to, dxxiv.
Wishart, John, prttches in East
Lothian, xxi.
Women.
Dunbar's satire against, Ivi.
Dunbar's poem in praise of, Ixxxv.
Satire on *' Evil Women," cxx.
Satire on "Ladyis Solistaris,"
cxxviiL
Poem on *' Ginecocratia " referred
to, cxxviii.
Wordsworth, contrast of Dunbar with,
cxliv.
Wowing.
"The Wowing of the King,'
Dunbar's poem, xdiL
" Ane Brash of Wowing," Dun-
bar's poem so called, xdii, xdx.
Wyntoun. See Andrew of Wyntoun.
Year, Christian, Dunbar's poems on
the, cxxxviii.
Young, Somerset Hei;^d, account of
marriage of Margaret Tudor, xxxv.
NOTE AS TO FACSIMILES.
The photographic facsimiles represent —
1. Dunbar's poem of "Welcum to Margaret Tudor as Queen of
Scotland/' from the MS. in the British Museum, with the
Music, forming 15 verso 16 recto of Appendix to Royal
MSS., No. 58. Photographed by Mr Charles Praetorius.
2. The opening lines of "The Goldyn Targe," from the MS. of
George Bannatyne, in the Advocates' Library. Photographed
by Messrs Wood & Son, Edinburgh.
3. The same lines from the edition of Chepman & MiUar in 1508,
from the unique copy in the Advocates' Library. Photographed
also by Messrs Wood & Son, Edinburgh.
These early traces of Scottish Music and the Scottish press have
a historical interest besides their connection with the works of
Dunbar.
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