• 7. Zabyon

And so departed the yonge man from Zabyon gretly comforted. Go To 8. Hippocrates 6. Solon, Notes 7. ZABYON: FOOTNOTES 1 defensour, defender. 2 slee, slay. 4 discomfited, defeated. 5 wolde, would; ho, who. 6 werre, war. 8-9 engyne, engine

• Penitential Poems

lady, grace is thi frende; Ergo Therfore send us sum of thi grace. advocataOure advocate make us afore our ende, 1 nostra Oure synnes to wesche whils we hafe space. Illos tuos miseri- cordes oculosThi mercyful eene and lufly loke

• The York Corpus Christi Plays: Play 35, Crucifixio Christi

margin: In welth without end / I kepe noght elles to crave. Play 35, CRUCIFIXIO CHRISTI: EXPLANATORY NOTE FOOTNOTES Footnote 1 Meditations, p. 334; Love, Mirror, p. 177. See also the discussion in Pickering, Literature and Art, pp. 237–48. Footnote

• The York Corpus Christi Plays: Play 42, The Ascension

direct Go To Play 43, Pentecost The York Corpus Christi Cycle: Play 42, The Ascension Play 42, THE ASCENSION: FOOTNOTE 1 Then the angel sings “I ascend to my Father” Play 42, THE ASCENSION: EXPLANATORY NOTES ABBREVIATIONS: AV: Authorized (“King

• Thomas of Hales, Love Rune

in Templum Dei, which begins with a meditation on 1 Corinthians 3.17, "For the temple of God is holy, which you are" (ed. Goering and Mantello, pp. 10, 29; see also 1 Corinthians 6.19). The castle of the body is

• The N-Town Plays: Play 10, Marriage of Mary and Joseph

Mere­dith (1987); S: N-Town Play, ed. Spector (1991); s.d.: stage direction; s.n.: stage name. Before 1, s.d. Ysakar. H: ab Ysakar. Bl, MP, S: Abysakar. 1, s.n.–133 EPISCOPUS. MS: omitted. Starting here with A, capital letters in the left mar­gin

• In a Valley of This Restless Mind: Introduction

in the Lambeth MS at the fourth line of each stanza. The spatial arrangement used here is designed to accentuate (1) the syntactic break that occurs after either the fourth line (end of quatrain) or the fifth line (in tandem

• Robin Hood and Guy of Gisborne

and Guy of Gisborne: Notes ROBIN HOOD AND GUY OF GISBORNE: FOOTNOTE 1 When woods are bright, and branches full fair ROBIN HOOD AND GUY OF GISBORNE: NOTES 1 MS: shales. Child emends to shawes, a word frequently used to

• Shorter South English Legendary Life of St. Frideswide

(see note) Shorter South English Legendary Life of St. Frideswide, Notes SHORTER SOUTH ENGLISH LEGENDARY LIFE OF ST. FRIDESWIDE: FOOTNOTES 1 Lines 4-6: These were her parents (elders), who begot her together (between them). / Frideswide, their young daughter, they

• Thomas Usk, The Testament of Love, Appendix 1

Testament of Love, Appendix 1 Return to Menu of TEAMS Texts Copyright Information for this edition us Anglicus's De Proprietatibus Rerum and to The Peterborough Lapidary as examples of Middle English texts. And I also include McCulloch's commentary on the

• The N-Town Plays: Play 5, Abraham and Isaac

stage direction; s.n.: stage name Before 1, s.d. This play continues immediately after the Noah Play. The first stage direc­tion is on the same line as the final stage direction of the Noah Play. 1, s.n. ABRAHAM. MS: omitted. 4–11

• Poems of Political Prophecy: Introduction

trees' boughs." Or: "Roots and branches shall change their places and the oddness of this will pass for a miracle." [1] Such impossibilities or mirabilia hark back to Nennius' Historia Brittonum and Celtic sources; and the combination of mystic symbolism

• The Tournament of Tottenham and The Feast of Tottenham: Introduction

is right that scribes 1 and 4 are the same person, and Furrow that the booklets were originally independent entities, then this physical distance may be unintentional, since the Tournament is the last piece of booklet 1, and the Feast

• John Gower, Traiti selonc les auctours pour essampler les amantz marietz: Introduction

auctours pour essampler les amantz marietz, Text JOHN GOWER, TRAITIÉ SELONC LES AUCTOURS POUR ESSAMPLER LES AMANTZ MARIETZ, INTRODUCTION: FOOTNOTES 1 “Puisqu’il ad dit ci devant en Englois par voie d’essample la sotie de cellui qui par amours aime par

• Lydgate, Mumming for the Mercers of London

Princes in Oure Dayes Lydgate, Mumming for the Mercers of London JOHN LYDGATE, MUMMING FOR THE MERCERS OF LONDON: FOOTNOTES 1 There were no fish, since the drawing of the net was hindered 2 Lines 83–84: However high or low

• The Castle of Perseverance: Introduction

York: Holt, Rinehart and Winston, 1969. Pp. 1–110. Go To The Castle of Perseverance THE CASTLE OF PERSEVERANCE, INTRODUCTION: FOOTNOTES 1 Scholarly argument over the appropriateness of the word "morality" continues. See Bawcutt, "A Note on the Term 'Morality.'" 2

• Codex Ashmole 61: Item 16, The Debate of the Carpenter’s Tools

Codex Ashmole 61: Item 16, THE DEBATE OF THE CARPENTER’S TOOLS Item 16, THE DEBATE OF THE CARPENTER’S TOOLS: FOOTNOTE 1 If he ever thrives, then he bears himself well [Presumably ironic] Item 16, THE DEBATE OF THE CARPENTER’S TOOLS:

• The Dialogue of Solomon and Marcolf: Introduction

all have the 1 text.47 All six with the Collationes title also have the 1 text.48 On the basis of this evidence, we infer that after c. 1483 the Dialogue began to be printed with the new 1 text, normally

• The York Corpus Christi Plays: Play 27, The Last Supper

lines. Scribes are identified as follows: Scribe A; Scribe B: main scribe; JC: John Clerke; LH: later scribal hand (unidentified). 1 JESUS. So LTS, RB; Reg: Deus in JC’s hand. Above, top right of page in Reg: caret hic principio.

• The York Corpus Christi Plays: Play 41, Doubting Thomas

main scribe; JC: John Clerke; LH: later scribal hand (unidentified). For a complete collation with the Sykes MS, see RB. 1 to . . . wer. Compare Sykes: the . . . are. 5 ne. Compare Sykes: sens. 8 Compare