whole endeavour in this department of the Editor's task has been, to present a text plain and easily intelligible to the modern reader, without rendering any injustice to the old poet. It would be presumptuous to believe that in every case both ends have been achieved together; but the laudatores temporis acti—the students who may differ most from the plan pursued in this volume—will best appreciate the difficulty of the enterprise, and most leniently regard any failure in the details of its accomplishment.
With all the works of Chaucer, outside The Canterbury Tales, it would have been absolutely impossible to deal within the scope of this volume. But nearly one hundred pages (200–292), have been devoted to his minor poems; and, by dint of careful selection and judicious abridgment—a connecting outline of the story in all such cases being given—the Editor ventures to hope that he has presented fair and acceptable specimens of Chaucer's workmanship in all styles. The preparation of this part of the volume has been a laborious task; no similar attempt on the same scale has been made; and, while here also the truth of the text in matters essential has been in nowise sacrificed to mere ease of perusal, the general reader will find opened up for him a new view of Chaucer and his works. Before a perusal of these hundred pages, will melt away for ever the lingering tradition or prejudice that Chaucer was only, or characteristically, a coarse buffoon, who pandered to a base and licentious appetite by painting and exaggerating the lowest vices of his time. In these selections—made without a thought of taking only what is to the poet's credit from a wide range of poems in which hardly a word is to his discredit—we behold Chaucer as he was; a courtier, a gallant, pure-hearted gentleman, a scholar, a philosopher, a poet of gay and vivid fancy, playing around themes of chivalric convention, of deep human interest, or broad-sighted satire. In The Canterbury Tales, we see, not Chaucer, but Chaucer's times and neighbours; the artist has lost himself in his work. To show him honestly and without disguise, as he lived his own life and sung his own songs at the brilliant Court of Edward III., is to do his memory a moral justice far more material than any literary wrong that can ever come out of spelling. As to the minor poems of Spenser, which follow The Faerie Queen, the choice has been governed by the desire to give at once the most interesting, and the most characteristic of the poet's several styles; and, save in the case of the Sonnets, the poems so selected are given entire.
It is manifest that the endeavours to adapt this volume for popular use, which have been already noticed, would imperfectly succeed without the aid of notes and glossary, to explain allusions that have become obsolete, or antiquated words which it was necessary to retain. An endeavour has been made to render each page self-explanatory, by placing on it all the glossarial and illustrative notes required for its elucidation, or—to avoid repetitions that would have occupied space—the references to the spot where information may be found. The great advantage of such a plan to the reader, is the measure of its difficulty for the editor. It permits much more flexibility in the choice of glossarial explanations or equivalents; it saves the distracting and time-consuming labour of reference to the end or the beginning of the book; but, at the
