§23. Conclusion assumed that the Poems are Not the Work of a Single Author; Differences in the Three Texts. I. “Piers the Plowman” and its Sequence. Vol. 2. The End of the Middle Ages. The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. 1907

The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.

I. “Piers the Plowman” and its Sequence.

§ 23. Conclusion assumed that the Poems are Not the Work of a Single Author; Differences in the Three Texts.

The reader may desire a justification, as brief as possible, of the conclusion assumed throughout this chapter that the poems known under the title, Piers the Plowman, are not the work of a single author. So much of the necessary proof has already been furnished in the exposition of the different interests and methods and mental qualities displayed in the several parts of the work that little more will be necessary. The problem seems very simple: the differences pointed out—and others which cannot be discussed here—do exist; in the absence of any real reason to assume that all parts of this cluster of poems are the work of a single author, is it not more probable that several writers had a hand in it than that a single writer passed through the series of great and numerous changes necessary to account for the phenomena? To this question an affirmative answer will, I think, be given by any one who will take the trouble to examine separately the work of A (i.e. A, prol.—passus VIII), the continuator of A (A, IX–XII, 55), B and C—that is, to read carefully any passages of fifty or a hundred lines showing the work of each of these authors unmixed with lines from any of the others. In such an examination, beside the larger matters discussed throughout this chapter, the metre and the sentence structure will repay special attention. The system of scansion used will make no difference in the result; but that expounded by Luick will bring out the differences most clearly. It will be found that the writers differ in their conceptions of the requirements of alliterative verse, A being nearest to the types established by Luick, both in regard to stresses and secondary stresses and in regard to alliteration. This can be most easily tested by Luick’s plan of considering separately the second-half-lines. Another interesting test is that of the use of the visual imagination. A presents to his own mind’s eye and to that of his reader distinct visual images of figures, of groups of figures and of great masses of men; it is he who, as Jusserand says, “excels in the difficult art of conveying the impression of a multitude.” A also, through his remarkable faculty of visual imagination, always preserves his point of view, and, when he moves his action beyond the limits of his original scene, causes his reader to follow the movement; best of all for the modern reader, he is able, by this faculty, to make his allegory vital and interesting; for, though the world long ago lost interest in personified abstractions, it has never ceased to care for significant symbolical action and utterance. On the other hand, B, though capable of phrases which show, perhaps, equal power of visualising detail, is incapable of visualising a group or of keeping his view steady enough to imagine and depict a developing action. The continuator of A and the reviser C show clearly that their knowledge of the world, their impressions of things, are derived in very slight measure if at all, from visual sensations. These conclusions are not invalidated, but rather strengthened, by the fondness of B and C and the continuator of A for similes and illustrations, such as never appear in A.