In 1769 he had become
a frequent contributor to the _Town and Country Magazine_, to which
he sent articles on heraldry, imitations of Ossian (whom he very much
admired) and various other papers; and in December of this year he
wrote to Dodsley, the well-known publisher, acquainting him that
he could 'procure copies of several ancient poems and an interlude,
perhaps the oldest dramatic piece extant, wrote by one Rowley, a
Priest in Bristol, who lived in the reign of Henry the Sixth and
Edward the Fourth * * * If these pieces would be of any service to
Mr.
a frequent contributor to the _Town and Country Magazine_, to which
he sent articles on heraldry, imitations of Ossian (whom he very much
admired) and various other papers; and in December of this year he
wrote to Dodsley, the well-known publisher, acquainting him that
he could 'procure copies of several ancient poems and an interlude,
perhaps the oldest dramatic piece extant, wrote by one Rowley, a
Priest in Bristol, who lived in the reign of Henry the Sixth and
Edward the Fourth * * * If these pieces would be of any service to
Mr.
Thomas Chatterton - Rowley Poems
of Chatterton's '_Accounte of W.
Canynges Feast_'.
This was written in red ink. The parchment is stained with brown,
except one corner, and the first line written in a legal texting hand.
The ageing of his manuscript of the _Vita Burtoni_, to take a further
instance, was effected by smearing the middle of it with glue or
varnish. This document was also written partly in an attorney's
regular engrossing[3] hand. During the next four years Chatterton
'transcribed' a great quantity of ancient documents, including
_AElla, a Tragycal Enterlude_--far the finest of the longer Rowleian
poems--the _Songe to AElla_ and _The Bristowe Tragedy_ (the authorship
of which last he appears in an unguarded moment to have acknowledged
to his mother). He told her also that he had himself written one of
the two poems _Onn oure Ladies Chyrche_--which one, Mrs. Chatterton
could not remember[4], but if it was the first of the two printed in
this edition (p. 275) it was a strange coincidence indeed that led
him to repudiate the antiquity of the only two Rowley poems which
are really at all like 'antiques'--Professor Skeat's convenient
expression. The two Battles of Hastings were written during this
period, and it appears that Barrett the surgeon, on being shown the
first poem, was for once very insistent in asking for the original,
whereupon Chatterton in a momentary panic confessed he had written the
verses for a friend; but he had at home, he said, the copy of what was
really the translation of Turgot's Epic--Turgot was a Saxon monk of
the tenth century--by Rowley the secular priest of the fifteenth. This
was the second _Battle of Hastings_ as printed in this book. Again
this strange explanation, so laboured and so patently disingenuous,
was accepted without comment though probably not believed. And if
it appears matter for surprise that there should ever have been any
controversy about the authorship of the Rowley writings, in view of
the lad's admission that he had written three such signal pieces as
the _Bristowe Tragedy_, the first _Battle of Hastings_, and _Onn oure
Ladies Chyrche_, it must be considered that the production of
the greater part of the poems by a poorly educated boy not turned
seventeen would naturally appear a circumstance more surprising than
that such a boy should tell a lie and claim some of them as his own.
With his acknowledged work, as with Rowley, Chatterton by dint of
continued application was making good progress.
In 1769 he had become
a frequent contributor to the _Town and Country Magazine_, to which
he sent articles on heraldry, imitations of Ossian (whom he very much
admired) and various other papers; and in December of this year he
wrote to Dodsley, the well-known publisher, acquainting him that
he could 'procure copies of several ancient poems and an interlude,
perhaps the oldest dramatic piece extant, wrote by one Rowley, a
Priest in Bristol, who lived in the reign of Henry the Sixth and
Edward the Fourth * * * If these pieces would be of any service to
Mr. Dodsley copies should be sent. ' The publisher returned no answer.
Chatterton waited two months, then wrote again and enclosed a specimen
passage from _AElla_. He could procure a copy of this work, he wrote,
upon payment of a guinea to the present owner of the MS. Again Mr.
Dodsley lay low and said nothing, and so the incident closed.
Dodsley having failed him, Chatterton next took the bolder step of
writing to Horace Walpole, who must have been much in his mind for
some years before his sending the letter. Some one has made the
ingenious suggestion that a consideration of Walpole's delicate
connoisseurship sensibly coloured Chatterton's account of the life
of Mastre William Canynge. More than this, his delight in the
Mediaeval--the Gothic--and his content with what may be termed a
purely impressionistic view of the past, was singularly akin to the
Bristol poet's own outlook on these matters. Walpole had further some
three years before this time indulged in the very harmless literary
fraud of publishing his _Castle of Otranto_ as a translation from a
mediaeval Italian MS. , only confessing his own authorship upon
the publication of the second edition. To Walpole then Chatterton
addressed a short letter enclosing some verses by John a Iscam and
a manuscript on the _Ryse of Peyncteyning yn Englande wroten by T.
Rowleie 1469 for Mastre Canynge_[5] with the suggestion that it might
be of service to Mr. Walpole 'in any future edition of his truly
entertaining anecdotes of painting. ' This drew from the connoisseur
one of the politest letters[6] that have been written in English, in
which the simple and elegant sentences expressed with a very charming
courtesy the interest and curiosity of its author.
This was written in red ink. The parchment is stained with brown,
except one corner, and the first line written in a legal texting hand.
The ageing of his manuscript of the _Vita Burtoni_, to take a further
instance, was effected by smearing the middle of it with glue or
varnish. This document was also written partly in an attorney's
regular engrossing[3] hand. During the next four years Chatterton
'transcribed' a great quantity of ancient documents, including
_AElla, a Tragycal Enterlude_--far the finest of the longer Rowleian
poems--the _Songe to AElla_ and _The Bristowe Tragedy_ (the authorship
of which last he appears in an unguarded moment to have acknowledged
to his mother). He told her also that he had himself written one of
the two poems _Onn oure Ladies Chyrche_--which one, Mrs. Chatterton
could not remember[4], but if it was the first of the two printed in
this edition (p. 275) it was a strange coincidence indeed that led
him to repudiate the antiquity of the only two Rowley poems which
are really at all like 'antiques'--Professor Skeat's convenient
expression. The two Battles of Hastings were written during this
period, and it appears that Barrett the surgeon, on being shown the
first poem, was for once very insistent in asking for the original,
whereupon Chatterton in a momentary panic confessed he had written the
verses for a friend; but he had at home, he said, the copy of what was
really the translation of Turgot's Epic--Turgot was a Saxon monk of
the tenth century--by Rowley the secular priest of the fifteenth. This
was the second _Battle of Hastings_ as printed in this book. Again
this strange explanation, so laboured and so patently disingenuous,
was accepted without comment though probably not believed. And if
it appears matter for surprise that there should ever have been any
controversy about the authorship of the Rowley writings, in view of
the lad's admission that he had written three such signal pieces as
the _Bristowe Tragedy_, the first _Battle of Hastings_, and _Onn oure
Ladies Chyrche_, it must be considered that the production of
the greater part of the poems by a poorly educated boy not turned
seventeen would naturally appear a circumstance more surprising than
that such a boy should tell a lie and claim some of them as his own.
With his acknowledged work, as with Rowley, Chatterton by dint of
continued application was making good progress.
In 1769 he had become
a frequent contributor to the _Town and Country Magazine_, to which
he sent articles on heraldry, imitations of Ossian (whom he very much
admired) and various other papers; and in December of this year he
wrote to Dodsley, the well-known publisher, acquainting him that
he could 'procure copies of several ancient poems and an interlude,
perhaps the oldest dramatic piece extant, wrote by one Rowley, a
Priest in Bristol, who lived in the reign of Henry the Sixth and
Edward the Fourth * * * If these pieces would be of any service to
Mr. Dodsley copies should be sent. ' The publisher returned no answer.
Chatterton waited two months, then wrote again and enclosed a specimen
passage from _AElla_. He could procure a copy of this work, he wrote,
upon payment of a guinea to the present owner of the MS. Again Mr.
Dodsley lay low and said nothing, and so the incident closed.
Dodsley having failed him, Chatterton next took the bolder step of
writing to Horace Walpole, who must have been much in his mind for
some years before his sending the letter. Some one has made the
ingenious suggestion that a consideration of Walpole's delicate
connoisseurship sensibly coloured Chatterton's account of the life
of Mastre William Canynge. More than this, his delight in the
Mediaeval--the Gothic--and his content with what may be termed a
purely impressionistic view of the past, was singularly akin to the
Bristol poet's own outlook on these matters. Walpole had further some
three years before this time indulged in the very harmless literary
fraud of publishing his _Castle of Otranto_ as a translation from a
mediaeval Italian MS. , only confessing his own authorship upon
the publication of the second edition. To Walpole then Chatterton
addressed a short letter enclosing some verses by John a Iscam and
a manuscript on the _Ryse of Peyncteyning yn Englande wroten by T.
Rowleie 1469 for Mastre Canynge_[5] with the suggestion that it might
be of service to Mr. Walpole 'in any future edition of his truly
entertaining anecdotes of painting. ' This drew from the connoisseur
one of the politest letters[6] that have been written in English, in
which the simple and elegant sentences expressed with a very charming
courtesy the interest and curiosity of its author.
