The Project Gutenberg eBook ofThe Assemble of GoddesThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: The Assemble of GoddesAuthor: AnonymousRelease date: February 21, 2007 [eBook #20642]Language: EnglishCredits: Produced by Jason Isbell, Taavi Kalju and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/Canadian Libraries)*** START OF THE PROJECT GUTENBERG EBOOK THE ASSEMBLE OF GODDES ***
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: The Assemble of GoddesAuthor: AnonymousRelease date: February 21, 2007 [eBook #20642]Language: EnglishCredits: Produced by Jason Isbell, Taavi Kalju and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/Canadian Libraries)
Title: The Assemble of Goddes
Author: Anonymous
Author: Anonymous
Release date: February 21, 2007 [eBook #20642]
Language: English
Credits: Produced by Jason Isbell, Taavi Kalju and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/Canadian Libraries)
*** START OF THE PROJECT GUTENBERG EBOOK THE ASSEMBLE OF GODDES ***
Transcriber's note: Until recently this work was attributed to John Lydgate, but now most scholars consider that the author is unknown. The first mention of Lydgate's authorship of this work was made by Stephen Hawes in 1505 as one of Lydgate's seven major works. But many scholars have doubted over the years that this poem was written by Lydgate, because the style used doesn't greatly resemble the style of Lydgate's other works, and the vocabulary is somewhat more modern than Lydgate is known to have used. Modern scholars believe that this work was written between 1478 and 1483 (about forty years after Lydgate's death). Analysis of style and vocabulary have led scholars to conclude that the author might have been a woman. For further information about this poem please see The Assembly of Gods, edited by Jane Chance, published by Medieval Institute Publications, Kalamazoo, Michigan, 1999, ISBN: 1580440223, which is also available online atRochester University.The book from which this e-book was transcribed is a fascimile reprint of the third printing of this book, made by Wynkyn de Worde circa 1500. The book was printed in blackletter font known as Wynkyn de Worde's type 3, and uses many abbreviations, which I have expanded and rendered initalics. The abbreviations used in this book are:e{n},o{m},p{re},q{ue},r{e}—Macron over the letter. The most common one, usually meaning missing "n" or "m" after the letter. But in some cases might also mean missing "e", "er" or "re" after the letter. This happens usually when p, q or r have macrons.{the}—Little e over Middle-English thorn, meaning "the."{that}—Little t over Middle-English thorn, meaning "that."{thou}—Little u over Middle-English thorn, meaning "thou."{with}—Little t over w, meaning "with."{with}—Middle-English yogh, representing "gh."n{us}—Superscripted 9 after letter, meaning missing "us." Used only at the end of the word.o{re}—Superscripted 2 after letter, meaning missing "e", "er" or "re." Used only at the end of the word.{i}s—Stretched s, looking like integral sign, meaning missing "e" or "i" before letter s.d{er},e{re},t{er},u{er}—Dot over the letter, meaning missing "e", "er" or "re" after the letter. Usually used with d, t, e and u. Combination q+d with dot means "quod."p{ro},s{er},v{er}—Strike through letter, meaning missing "e", "er" or "re" after the letter. Usually used with p, v and s. Striked through p might also mean missing "ro" or "or" after p.Occasionally there were some letters printed upside down. I have rendered them inside brackets, e.g., [x]. The poem uses two types of punctuation--a dot, meaning longer pause, and a slash, meaning shorter pause or comma. I have corrected many errors andnoted them. Also this printing was missing three lines and one line had several letters missing from the middle of the line. They are marked and the correct reading is supplied from the modern edition mentioned above. There were a couple of places where the word "nota" or "note" was printed, but the actual notes weren't found in this reprint. There's a fair chance that those notes were never printed. The original page images are displayed on the left margin and each links to a larger view.The assemble of goddesbyJohn LydgatePrinted at Westminsterby Wynkyn de Worde about the year1500Cambridgeat the University Press1906The work here reprinted formed part of the famous volume of black-letter tracts (formerly marked AB. 4. 58), which came to the University Library in 1715 by the gift of King George the First with the rest of the library of John Moore, Bishop of Ely. No other copy of this edition is recorded to be in existence.The types used are Caxton's type 3 (for the title) and Wynkyn de Worde's type 3, with final m and n etc. from type 1 (in the rest of the book). This type 3 is not known to have been used before 1499.Mr Sayle remarks that the woodcut illustration is taken from Caxton's second edition (ab. 1483-4) of Chaucer's Canterbury Tales.FRANCIS JENKINSON1906 March 5.I certify that I have printed 250 copies only of this facsimile, that the impressions have been rubbed off the plates and the negatives destroyed.P. DUJARDIN
Transcriber's note: Until recently this work was attributed to John Lydgate, but now most scholars consider that the author is unknown. The first mention of Lydgate's authorship of this work was made by Stephen Hawes in 1505 as one of Lydgate's seven major works. But many scholars have doubted over the years that this poem was written by Lydgate, because the style used doesn't greatly resemble the style of Lydgate's other works, and the vocabulary is somewhat more modern than Lydgate is known to have used. Modern scholars believe that this work was written between 1478 and 1483 (about forty years after Lydgate's death). Analysis of style and vocabulary have led scholars to conclude that the author might have been a woman. For further information about this poem please see The Assembly of Gods, edited by Jane Chance, published by Medieval Institute Publications, Kalamazoo, Michigan, 1999, ISBN: 1580440223, which is also available online atRochester University.The book from which this e-book was transcribed is a fascimile reprint of the third printing of this book, made by Wynkyn de Worde circa 1500. The book was printed in blackletter font known as Wynkyn de Worde's type 3, and uses many abbreviations, which I have expanded and rendered initalics. The abbreviations used in this book are:e{n},o{m},p{re},q{ue},r{e}—Macron over the letter. The most common one, usually meaning missing "n" or "m" after the letter. But in some cases might also mean missing "e", "er" or "re" after the letter. This happens usually when p, q or r have macrons.{the}—Little e over Middle-English thorn, meaning "the."{that}—Little t over Middle-English thorn, meaning "that."{thou}—Little u over Middle-English thorn, meaning "thou."{with}—Little t over w, meaning "with."{with}—Middle-English yogh, representing "gh."n{us}—Superscripted 9 after letter, meaning missing "us." Used only at the end of the word.o{re}—Superscripted 2 after letter, meaning missing "e", "er" or "re." Used only at the end of the word.{i}s—Stretched s, looking like integral sign, meaning missing "e" or "i" before letter s.d{er},e{re},t{er},u{er}—Dot over the letter, meaning missing "e", "er" or "re" after the letter. Usually used with d, t, e and u. Combination q+d with dot means "quod."p{ro},s{er},v{er}—Strike through letter, meaning missing "e", "er" or "re" after the letter. Usually used with p, v and s. Striked through p might also mean missing "ro" or "or" after p.Occasionally there were some letters printed upside down. I have rendered them inside brackets, e.g., [x]. The poem uses two types of punctuation--a dot, meaning longer pause, and a slash, meaning shorter pause or comma. I have corrected many errors andnoted them. Also this printing was missing three lines and one line had several letters missing from the middle of the line. They are marked and the correct reading is supplied from the modern edition mentioned above. There were a couple of places where the word "nota" or "note" was printed, but the actual notes weren't found in this reprint. There's a fair chance that those notes were never printed. The original page images are displayed on the left margin and each links to a larger view.
Transcriber's note: Until recently this work was attributed to John Lydgate, but now most scholars consider that the author is unknown. The first mention of Lydgate's authorship of this work was made by Stephen Hawes in 1505 as one of Lydgate's seven major works. But many scholars have doubted over the years that this poem was written by Lydgate, because the style used doesn't greatly resemble the style of Lydgate's other works, and the vocabulary is somewhat more modern than Lydgate is known to have used. Modern scholars believe that this work was written between 1478 and 1483 (about forty years after Lydgate's death). Analysis of style and vocabulary have led scholars to conclude that the author might have been a woman. For further information about this poem please see The Assembly of Gods, edited by Jane Chance, published by Medieval Institute Publications, Kalamazoo, Michigan, 1999, ISBN: 1580440223, which is also available online atRochester University.
The book from which this e-book was transcribed is a fascimile reprint of the third printing of this book, made by Wynkyn de Worde circa 1500. The book was printed in blackletter font known as Wynkyn de Worde's type 3, and uses many abbreviations, which I have expanded and rendered initalics. The abbreviations used in this book are:
Occasionally there were some letters printed upside down. I have rendered them inside brackets, e.g., [x]. The poem uses two types of punctuation--a dot, meaning longer pause, and a slash, meaning shorter pause or comma. I have corrected many errors andnoted them. Also this printing was missing three lines and one line had several letters missing from the middle of the line. They are marked and the correct reading is supplied from the modern edition mentioned above. There were a couple of places where the word "nota" or "note" was printed, but the actual notes weren't found in this reprint. There's a fair chance that those notes were never printed. The original page images are displayed on the left margin and each links to a larger view.
The work here reprinted formed part of the famous volume of black-letter tracts (formerly marked AB. 4. 58), which came to the University Library in 1715 by the gift of King George the First with the rest of the library of John Moore, Bishop of Ely. No other copy of this edition is recorded to be in existence.
The types used are Caxton's type 3 (for the title) and Wynkyn de Worde's type 3, with final m and n etc. from type 1 (in the rest of the book). This type 3 is not known to have been used before 1499.
Mr Sayle remarks that the woodcut illustration is taken from Caxton's second edition (ab. 1483-4) of Chaucer's Canterbury Tales.
FRANCIS JENKINSON
1906 March 5.
I certify that I have printed 250 copies only of this facsimile, that the impressions have been rubbed off the plates and the negatives destroyed.
P. DUJARDIN
Here foloweth the Interpretacoin of the namesof goddes and goddesses as is rehercedin this tretyse folowynge as Poetes wryte
Here foloweth the Interpretacoin of the namesof goddes and goddesses as is rehercedin this tretyse folowynge as Poetes wryte
People sitting around the table
¶ Phebus is as moche to saye as the Sonne.¶ Apollo is the same or elles God of syght.¶ MorpleusShewer of dremis¶ PlutoGod of hell.¶ MynosIuge of hell.¶ CerberusPorter of hell.¶ Colus the wynde or God of the Eyre.¶ Dyana Goddesse of wode and chase.¶ Phebe the Mone or Goddesse of waters.Aurora Goddes ofthemorow or spryng ofthedaye¶ MarsGod of batyll¶ IupiterGod of wysdom.¶ IunoGoddesse of rychesse¶ SaturneGod of colde.¶ CeresGoddesse of corne.¶ CupydoGod of loue.¶ OtheaGoddesse of wysdome.¶ FortuneThe varyant Goddesse¶ PanGod shepherdes.¶ IsysGoddesse of frute.¶ NeptunusGod of the se.¶ MynerueGoddes ofthebatail or of heruest¶ BachusGod of wyne.¶ MercuryusGod of langage.¶ VenusGoddesse of loue.¶ DyscordeGoddes of debate & stryffe¶ AttroposDethe¶ Here endeththeinterpretacyon of the namesof Goddes & Goddesses as is reherced in thetreatyse folowynge as poetes wryte.
W
han Phebus the crabbe had nere his cours ronneAnd towardtheLeon his Iourney gan takeTo loke on Pyctagoras spere / I had begonne¶ Syttyng all solytary allone besyde a lake.¶ Musyng on a maner howthatI myght make.¶ Reason and sensualyte in one to accorde.¶ But I coude not bryng aboutthemanacorde.