Английская Википедия:Beves of Hamtoun (poem)

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Файл:Beves of Hamtoun.jpg
Frontispiece of 1838 editionШаблон:Right

Beves of Hamtoun, also known as Beves of Hampton, Bevis of Hampton or Sir Beues of Hamtoun, is an anonymous Middle English romance of 4620 lines,Шаблон:Refn dating from around the year 1300,[1] which relates the adventures of the English hero Beves in his own country and in the Near East. It is often classified as a Matter of England romance. It is a paraphrase or loose translation of the Anglo-Norman romance Boeuve de Haumton,Шаблон:Refn and belongs to a large family of romances in many languages, including Welsh,Шаблон:Efn RussianШаблон:Efn and even YiddishШаблон:Efn versions, all dealing with the same hero.[2]

For centuries Beves of Hamtoun was one of the most popular verse romances in the English language, and the only one that never had to be rediscovered, since it has been circulated and read continuously from the Middle Ages down to modern times, in its original form, in prose adaptations, and in scholarly editions. It exercised an influence on, among others, Chaucer, Spenser, Shakespeare and Bunyan.

Synopsis

Eugen Kölbing provided a summary[3] of his edition, whose base is the A manuscript (Auchinleck manuscript version), which is oldest.[4][5]Шаблон:Efn

Upbringing in England, sold by mother to Ermonye (Armenia)

Beves's father, the aged nobleman Guy of Hampton, is murdered by her mother's lover, the Emperor of Almayne (Germany) named Devoun.Шаблон:RefnШаблон:Refn The guilty pair become engaged to be married the very next day[6] taking over Guy's earldom, and she hands over the 7 year-old Beves (who calls her a whoreШаблон:Refn) to his fosterer (Шаблон:Lang-enm) Saber, with the intention that he be dispatched. Saber readies bloody clothing to fake the death, disguising Beves as a shepherd, planning to send the boy to be groomed under an earl so he can later recover his rights in his maturity. The boy however angrily crashes the festivities, staff in hand, demanding the return of the estate and striking the emperor thrice, into unconsciousness. Beves is caught and sold off as slave to a paynim (heathen) land. There he finds refuge at the court of Ermin, king of Ermonye (Medieval Armenia)Шаблон:EfnШаблон:Refn and gains royal favor, growing to age fifteen.[7]

Advancement in Ermonye, and love of Princess JosianШаблон:Efn

Beves furthers his proof of valour. Though he nearly loses the king's favor after killing Saracen knights who mocked and attacked, Josian intercedes, and she tends to his wounds.[8] Next, Beves sets out to kill a giant boar and enters the forest, when Josian comes to the realization of her love for him.[9] Beves beheads the boar,[10] and in an encounter with foresters,Шаблон:RefnШаблон:Refn kills all with a broken lance (and in the A version, obtains the sword Morglay (Шаблон:Lang) from the steward.[11][lower-alpha 1] Beves presents the head to the king.[12] After three years (or soon after),Шаблон:Refn the Saracen King Brademond of Damascus invades Ermonye, demanding Josian's hand in marriage. Josian nominates Beves general to lead the war against the foe, and the king gives him the sword Morglay (or, in A, merely girds him with the swordШаблон:Efn), while Josian furnishes him with the horse Arondel (Arundel).[13]

Imprisoned in DamascusШаблон:Efn

Beves takes Brademond captive and subjugates him under Ermin, also freeing two knights in the process, and returns triumphant to court. Josian declares her love for Beves, but he plays coy and they end in a spat. The two are reconciled in town upon Josian agreeing to convert to Christianity. They kiss, but the two knights whom Beves savedШаблон:Efn make false report to the king that Beves slept with his daughter.[14] King Ermin is enraged, and sends Beves to Brademond to carry a sealed letter, blaming Beves of having lain with her.Шаблон:Refn Beves is persuaded to leave his horse and his sword behind.[15] Saber sends his son Terri to find Beves, but not recognizing Beves, brings back false report that Beves was executed. Saber retreats to the Isle of Wight and wars with the German EmperorШаблон:Refn Beves reaches Damascus, insults the Saracen gods, and presents his letter to Brademond, who casts Beves into a deep dungeon; he fends off dragons and snakes with a stick.[16]

In the meanwhile, Josian is forced upon another suitor named Yvor of Mombraunt, and is told Beves has returned to England to wed another. Convinced of a conspiracy, she consents to marrying but preserves her virginity using a charmed ring (or written amulet).Шаблон:Refn The wedding is officiated, and Yvor receives Morglay and Arondel as gifts, but the horse throws off Yvor causing grievous injury, and the horse is confined to stable.[17]

Reunion with JosianШаблон:Efn

Файл:Bevis fights Ascaparte.jpg
Sir Bevis (Beves) fights Ascaparte (Ascopard).Шаблон:RefnШаблон:Right

After lying seven years in prison,Шаблон:Refn Beves escapes.[18] Beves now turned fugitive, overcomes King Grander, and wins the horse Trenchefis.[19] He throws off pursuit by riding across sea, but in a subsequent fight with the giant, Grander's brother, loses the horse. Victorious, he demands food and another horse to ride off on.[20]

Beves travels to Jerusalem and confesses to the patriarch of the church there, who then forbids Beves to take a wife, unless she is a virgin. Beves intended next to reach Ermonye (Armenia), but discovering that Josian has been married off to Yvor, decides to go to the latter's city-state of Monbraunt. Disguised as a Шаблон:Linktext (poor pilgrim), Beves asks Josian to show him his old horse, Arondel, who has not allowed any rider on him but Beves. Arondel recognises Beves, and then so does Josian. Beves, mindful of what the patriarch told him, tells Josian he cannot be with her as she has had a husband for the past seven years. Josian claims that though married she is still a virgin and urges him to remember their love.[21]

They escape from the court while Yvor is away with his army to help his brother, the King of Dabilent.Шаблон:Refn Yvor's henchman King Garcy remains behind, but he is put to sleep with a soporific (wine drugged with herb) by Josian's chamberlain Bonifas. When Garcy awakens, he uses a magic ring to learn what happened, and leads a party in pursuit, but is unable to track down Beves to the cave where they find shelter.[22] Beves returning from hunt dispatches a pair of lions that entered the cave and killed Bonifas. Without respite, Beves is attacked by Garcy's giant named Ascopard.Шаблон:Refn Ascopard is defeated by Beves but is spared through Josian's plea, and becomes his page. The three discover a ship, kill its Saracen crew, and sail off to the West.[23]

Josian christened, return to EnglandШаблон:Efn

In Cologne they meet a bishop (actually Beves's uncle named Saber Florentin) who baptises Josian. Although Ascopard has a giant Baptismal font built specifically for him, he refuses to enter it for fear of drowning.[24] Beves fights and kills a poisonous dragon, aided by a purifying sacred well.[25] He resolves to return England to back claim his earldom, leaving Josian behind for the time being.[26] Before leaving Germany, Beves assumes the identity of a Frenchman willing to ally with the Emperor, and dupes him into providing arms and horses,[27] which he delivers to Saber, resisting the emperor in the Isle of Wight.[28] Left in Cologne, Josian is forced to marry Count Miles,[29] but she kills him on their wedding night.[30] She is condemned to death for this crime, but is rescued by Beves and Ascopard, and the three make their escape to the Isle of Wight.[31] The Isle is assaulted by the forces of the Emperor and the King of Scotland,Шаблон:Efn[32] Beves unhorses his stepfather, the emperor, in single combat, but the latter escapes; Ascopard slays the Scottish King and captures the Emperor, who is put to death inside a kettle of molten lead. Beves's mother commits suicide. Beves and Josian are married.[33]

Beves returns to Armenia, Ascopard's betrayalШаблон:Efn

Beves's estate is recognized by the English king Edgar, who appoints him martial,[34] but after Beves wins the race on his Arondel, winning the prize, and erects Arundel Castle,[35]Шаблон:Refn Edgar's son covets the horse, and is killed by its kick trying to steal it. The king wants Beves hanged, the barons advise for the horse's death, but Beves volunteers self-banishment to Armenia rather than lose his horse, and relinquishing his estate to Saber, accompanies his pregnant wife back to her home country.

Ascopard, plotting to betray Beves, restores allegiance to his former lord, Yvor of Mombraunt.[36] Ascopard abducts Josian, immediately after she delivers her twin sons Miles and Guy in a makeshift hut in the forest.[37]Шаблон:Refn Beves fosters his sons out to a fisherman and a forester, then goes in search of Josian.[38]Шаблон:Refn Meanwhile, Saber, guided by a dream, sets out to rescue Beves's kins, killing Ascopard and freeing Josian.Шаблон:Refn Their search for Beves continues for seven years of wandering.[39]

Beves reconciles with the Armenian king Ermin and helps him win a war against king Yvor.[40] Ermin dies, having made Beves's son Guy his heir (and Armenia is converted to ChristianityШаблон:SfnpШаблон:Sfnp) Arondel is stolen by Yvor's underling,[41] and Saber back in England is prompted by another dream, returns to recover the horse, and the Saracens who pursued him are defeated by Beves's sons.[42] Beves fights one more war against Yvor, defeats him,[43] and takes his place as king of Mombraunt.

The family return to England to seek retribution on King Edgar for confiscating Saber's son's estate,[44] and though the King was willing to restore the estate, the steward was hard-lined[45] and sought to rile the people of Cheapside, London into taking Beves prisoner,[46] and after the ensuing battle with Londoners,[47] the false news reaches Josian and her sons that Beves has fallen, and at London-gate (LudgateШаблон:Refn) they massacres all who oppose[48] (and in the interpolated text, Sir Guy here uses the sword Шаблон:Visible anchor or Шаблон:Lang which once belonged to Sir Lancelot of the LakeШаблон:RefnШаблон:Refn[49]Шаблон:Sfnp). Beves is successfully rescued and they hold festivities.[50] The conflict ends with Edgar offering Miles his only daughter in marriage, with Miles as future heir to England. Once more Beves, Josian and Guy journey eastward and take up their two kingdoms. After twenty years Beves and Josian die together in each other's arms.[51]Шаблон:Sfnp

Manuscripts

Файл:NLS Adv MS 19.2.1 Auchinleck Manuscript 176r.jpg
Miniature illustration (historiated initial "L"Шаблон:Efn) from Sir Beues Шаблон:Right

Beves exists in an unusually large number of manuscripts and early printed editions, demonstrating the enormous popularity of the romance.Шаблон:Sfnp[52] The surviving manuscripts are:[4]

A: Edinburgh, NLS MS Advocates' 19.2.1 (Auchinleck MS). Date 1330-1340.[53]

S: London, British Library MS. Egerton 2862 (Sutherland MS./Trentham MS.). Date late fourteenth century or fifteenth century.

N: Naples, Biblioteca Nazionale MS. XIII.B.29. Date 1450s.

E: Cambridge, Gonville and Caius College MS. 175/96. Date 1450-1475. Contains only about a third of Beves.

T: Cambridge, Trinity College MS. O.2.13. Date mid- to late fifteenth century. A fragment containing 245 lines of Beves.

B: Oxford, Bodleian MS. Eng. Poet. D.208. Date mid- to late fifteenth century. Two short fragments.

M: Manchester, Chetham's Library MS. 8009. Date c. 1470–1480.

C: Cambridge, Cambridge University Library MS. Ff.2.38. Date late fifteenth or early sixteenth century. Reproduced in Cambridge University Library MS. Ff.2.38, introd. by Frances McSparran and P. R. Robinson (London: Scolar Press, 1979).[54]

The manuscripts and printed editions show the story in at least four appreciably different versions, represented by A, by C, by S and N, and lastly by the early printed editions. None of them is clearly closer to the lost original Middle English version than the others. This complicated textual transmission makes the editing of Beves notoriously difficult.[55]

Early editions

Файл:Beuve de Hanstone A4r.jpg
Page from a 1630 edition.

An early edition of Beves is known to have existed before 1498.Шаблон:Harvp Beves was printed at least six times between c. 1500 and c. 1533;of which Richard Pynson's edition (c. 1503) survives in an nearly complete copy,[56] lacking but a title page and 2 textual leavesШаблон:Sfnp (or 3 leaves[57]); it contains 12 woodcuts, and is assigned the siglum O.[58]Шаблон:Refn Other surviving editions from the period, two probably of Julian Notary, and three probably of Wynkyn de Worde, are fragmentary.Шаблон:Sfnp[57]

William Copland's first edition, dating from c. 1560 (Cp),[59] is the earliest one of which a complete copy is known,[56][57] and it had 8 woodcuts,[59] probably derivative from Pynson.[60]

Ten more editions are known from the years c. 1565[61] to 1667, and an eleventh one was published in Aberdeen c. 1711.[57] In the early 16th century Beves was only one of many popular romances, so that William Tyndale could complain of the flood of such works: "Robin Hood and Bevis of Hampton, Hercules, Hector and Troilus with a thousand histories and fables of love and wantonness".[62] But the continued popularity of the verse Beves in the later Elizabethan and early Stuart period is very unusual; indeed, no other Middle English romance continued to be published in verse form after the 1570s, their place having been taken by translations of Spanish romances.[63]

Various prose versions were published during the late 17th century and early 18th century in chapbook form. They follow the plot of the poem reasonably closely, though some, such as The Famous and Renowned History of Sir Bevis of Southampton (1689), also add new episodes and characters.[64] Such books were often read by the common people, including such children as the one described by the 18th century essayist Richard Steele: "He would tell you the mismanagement of John Hickerthrift, find fault with the passionate temper in Bevis of Southampton, and loved St. George for being the champion of England; and by this means had his thoughts insensibly moulded into the notions of discretion, virtue, and honour".[65] After the mid 18th century interest in Beves began to decline, and the printer of a 1775 reprint says the story is "very little known".[66]

Verse form

Beves is mainly written in rhyming couplets, but the opening section is in tail rhyme. In A, E and C the first 474 lines are mainly in six-line tail-rhyme stanzas, rhyming Шаблон:Not a typo, occasionally varied with twelve-line stanzas, Шаблон:Not a typo, and six-line stanzas, Шаблон:Not a typo. (Letters indicate rhyme scheme, numbers indicate the numbers of stressed syllables in certain lines.) In S and N the tail-rhyme is continued until line 528, mostly by a simple process of adding tail-lines to the existing couplets. No earlier tail-rhyme romance in Middle English is known.[67][68]

Common motifs

In the scene of the foresters attacking Bevis who hunted the boar, the villains' motivation is that they covet the boar's head because they want to steal the credit.Шаблон:Refn A similarity has been noted with the scene of the "Death of Begon" over a boar hunt, appearing in the epic Garin le loherin, and the possibility of plot-element sharing with the Beuve d'Hanstone has been suggested.[69]

Cf. also Шаблон:Section link below for Early Modern English literature that seemed to have been built using Bevis as model or base.

Influence

Файл:Sir Bevis and Josyan leading Ascapart.jpg
Sir Bevis and Josyan leading Ascapart. Colorized, after original illustration by John Frederick Tayler (d. 1809)Шаблон:Right

A version of Beves probably related to C or M was the direct source of an Early Modern Irish romance, untitled in the sole surviving manuscript but now sometimes called Bibus. Bibus is shorter than its Middle English counterpart, and is written in prose.[70]

Chaucer refers to Beves and other poems as "romances of prys" in his tale of Sir Thopas (v. 899[71]),[72][73] and the similarity of the opening lines of the two works (invoking the "nightingale") suggests imitation by Chaucer.[74][71] Spenser uses themes from Beves, especially the dragon-fight, in the adventures of his Redcrosse Knight in Book 1 of The Faerie Queene.[75]

The Beves dragon-fight was also used as the template for Richard Johnson's version of the story of St. George and the dragon, in his immensely popular romance The Famous Historie of the Seaven Champions of Christendom (1596–97).[76]Шаблон:Sfnp

Shakespeare's lines in Henry VIII, Act I, scene 1, "that former fabulous story/Being now seen possible enough, got credit,/That Bevis was believed", show his knowledge of the romance.[77][78] In King Lear Act III, scene iv, Edgar's lines "But mice and rats, and such small deer,/Have been Tom’s food for seven long year" are taken from Beves’s "Rattes and myce and suche smal dere/Was his mete that seven yere".[77] Mention of Beves and his horse Arundel,[79] were made by the Elizabethan playwright Ben JonsonШаблон:Efn[80] and Jacobean poet Henry Vaughan.Шаблон:Efn[79] Michael Drayton retold the story of Beves and the giant Ascopart in his Poly-Olbion, Second Song.[81][82]Шаблон:Refn

John Bunyan's A Few Sighs from Hell records that in his unregenerate youth he had been more fond of secular works than of the Bible: "Alas, what is the Scripture, give me a Ballad, a Newsbook, George on horseback, or Bevis of Southhampton". Some plot-elements of the romance have been traced in The Pilgrim's Progress.[83][84][85]

In 1801 the young Walter Scott, alluding to Chaucer's description, told his friend George Ellis that it rivaled Sir Guy in being "the dullest Romance of priis which I ever attempted to peruse". Nevertheless, in Scott's later works his characters repeatedly cite Beves as the type of the perfect chivalric hero.[86]

Daniel Defoe, travelling through Hampshire, found that the influence of the poem was exercised on folklore as well as literature. He noted that "Whatever the fable of Bevis of Southampton, and the gyants in the woods thereabouts may be deriv'd from, I found the people mighty willing to have those things pass for true".Шаблон:Refn (Cf. also Шаблон:Section link below).

Beves of Hamtoun also made its mark on the English language. It is the earliest known source of the proverb "many hands make light work", and of another once popular proverb, "save a thief from the gallows and he will never love you".[87][88] The name of Bevis's sword, Morglay, also developed a secondary meaning as a common noun meaning "sword" 16th and early 17th centuries.[89]Шаблон:Refn

English monuments

A prehistoric barrow above Compton, near the West Sussex/Hampshire border, is sometimes called Bevis's Thumb. Two more barrows, one near Havant and another near Arundel Castle, bear the name Bevis's Grave.[90] Arundel Castle was, in the 17th century, supposed to have been founded by Bevis, and it still exhibits a sword 1.75 metres long said to have been his wonderful sword Morgelai, or Morglay. Until the 19th century the parish church of Bosham could show a huge pole which had been used by Bevis as a staff when wading across an inlet of the sea there.[91]

The "Bevis and Ascupart Panels" that once flanked the Bargate entrance to the town of Southampton was taken indoors in 1881 and restores, and still remains preserved in museum. The earliest descriptive docmentation of the panels date to 1635.[92]

Early scholarship

The romance of Beves began to attract scholarly as well as popular attention with the revival of interest in vernacular medieval literature in the mid-18th century. In his Observations on the Faery Queen of Spenser (1754, revised 1762) Thomas Warton explored the possibility of Spenser's debt to romances such as Beves and Richard Johnson's The Seven Champions of Christendom, and though he learned the latter publication post-dated Faery Queen,Шаблон:Efn, Warton was then informed that Seven Champions, Part 1, had been constructed from Bevis in correspondence from Thomas Percy.[93] Percy also noted in Reliques of Ancient English PoetryШаблон:Refn that Shakespeare's King Lear appropriated some lines from Bevis.[94]Шаблон:Refn

Thomas Tyrwhitt supposed Beves's source as a romance written in England, perhaps by an Englishman, in some form of French.Шаблон:Refn Ritson held bias towards French authorship.Шаблон:Sfnp In 1805 the historian and satirist George Ellis included a lengthy abstract of Beves, based on E and on Pynson's edition, in his Specimens of Early English Metrical Romances.Шаблон:SfnpШаблон:Sfnp Ellis, in a letter to Walter Scott, ventured that Chaucer probably read the early original Beves (i.e., the A text), concurring with modern accepted opinion that Chaucer did know the A (Auchinleck) manuscript.Шаблон:Sfnp In the winter of 1831–32 Sir Walter Scott discovered N in the Royal Library of Naples, and commissioned a copy of it which he brought back to Scotland.Шаблон:Sfnp

In 1838 the young antiquary William B. D. D. Turnbull edited Sir Beves of Hamtoun for the Maitland Club, taking A as his base text.Шаблон:Sfnp This first attempt at a scholarly edition had no notes or glossary, and was criticised for inaccuracy,Шаблон:Sfnp but it remained the only one until the German philologist Eugen Kölbing edited A, giving variants from other manuscripts in footnotes.[57]

Critical reception

"The strain in which this work [Beves of Hampton] is written, is serious, even severe" according to the text's editor Eugen Kölbing, quoting Leopold von Ranke's opinion.Шаблон:Refn While the author of Beves of Hampton "wrote with evident gusto" according to Albert C. Baugh, it was not necessarily appreciated by the early German scholarship.[95] Baugh's own assessment was that "Bevis of Hampton is not a remarkable example of medieval romance. It is made up of stock motifs and episodes... the articulation of the episodes is loose and inexpert. What gives the romance its chief distinction is its exuberance, its racy, buoyant style, and the spirit of broad humor in which it is written".[95]

Others have stressed the work's humor or comic tone, as Derek Pearsall more recently: "Beves of Hamtoun makes every possible concession to popular taste. The story is a heady brew of outrageous incident... the whole fantastic pot-pourri is carried off with irresistible panache and a marked sense of the comic. It is vivid, gross and ridiculous by turns, but never dull".[96] Шаблон:Interlanguage link called it "extremely lively and entertaining, though on the whole rather artless".[97] In other words, the poem is often treated as an example of what G. K. Chesterton and George Orwell called the "good bad book", having the characteristics that make for readability and popular success rather than high literary quality.

William R. J. Barron was not enthusiastic about works of this kind: "The English versions of Bevis and Guy are competent but somewhat vulgarized, given to the reduplication of striking effects, paying lip-service to the heroes' values while almost wholly preoccupied by their adventures".[98] Other critics have found themselves enjoying Beves almost in spite of themselves.

George Kane wrote that it "has a better effect than its component material would seem to warrant, for this almost formless story, with its miracles and marvels, ranting Saracens and dragons, is told without any polish or skill in a style generously padded and tagged, with little sense of poetic or narrative art, and still the romance is more than merely readable. As with Horn and Havelok we tolerate its artistic crudity for the sake of the company of the hero and heroine, Beues and Iosiane, who reflect the warm humanity of the imagination that created them".[99] The romance's most recent editors considered that "If the values of the hero are not particularly deep, they are nonetheless heartfelt, and expressed with admirable verve. And we should be reluctant to underestimate the value of a good adventure story or the difficulty of producing one. Its energy and its variety, perhaps more than anything, are what enable modern readers to understand its earlier popularity and also to respond to it in the present".[100]

Modern editions

Explanatory notes

Шаблон:Notelist

References

Citations

Шаблон:Reflist

Bibliography

Шаблон:Refbegin

Шаблон:Refend

External links

Шаблон:Refbegin

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  1. ↑ Ошибка цитирования Неверный тег <ref>; для сносок nat_lib_scot-mss_catalog не указан текст
  2. ↑ Ошибка цитирования Неверный тег <ref>; для сносок cohen1979 не указан текст
  3. ↑ Шаблон:Harvp, Intro. §4. The Contents of the Romance, pp. xxi–xxxiii
  4. ↑ 4,0 4,1 Ошибка цитирования Неверный тег <ref>; для сносок koelbing-mss&sigla не указан текст
  5. ↑ Ошибка цитирования Неверный тег <ref>; для сносок koelbing-parallel-texts не указан текст
  6. ↑ |Text, vv. 1–294, and summary, Шаблон:Harvp
  7. ↑ vv. 295–584, Шаблон:Harvp
  8. ↑ vv. 585–734, Шаблон:Harvp
  9. ↑ Text, top, vv. 763–864: "him be-held,/Al hire loue to him [s]he feld".
  10. ↑ vv. [909]–988, Шаблон:Harvp
  11. ↑ Cf. Шаблон:Harvp, summary, p. xxxiii, prefers "..twelve foresters" as in variant texts and the French version, but footnotes that "According to A [base text], a steward at the court of King Ermin.. with four-and-twenty-knights an ten foresters,... Beves defends.. with the boar's head, .. winning..Morgelai from.. steward".
  12. ↑ vv. 837–908, Шаблон:Harvp
  13. ↑ vv. 909–988, Шаблон:Harvp and cf. text, pp. 44–46, top: "gerte him wiþ Morgelay" (v. 975); "clepede hit Arondel " (v. 988); Шаблон:Harvp: "A good sword that hight Morglay"; "Josyan gave him.. a steed, .. Men called him Arundel".
  14. ↑ vv. 989–1218, Шаблон:Harvp
  15. ↑ vv. 1219–1262, Шаблон:Harvp
  16. ↑ vv. 1345–1432, Шаблон:Harvp
  17. ↑ vv. 1433–1534, Шаблон:Harvp Cf. Шаблон:Harvp.
  18. ↑ He slays the prison guards, vv. 1575–1634, but has no access to food until his prayer frees him from shackles and the great stone on his midriff, vv. 1635–1649,Шаблон:Harvp Cf. Шаблон:Harvp
  19. ↑ vv. 1650–1744, fights with Grander, smites off his head, and rides off on Trenchefis 1745–1786, Шаблон:Harvp. Cf. Trenchefys, Шаблон:Harvp and Trencheffys, V. 1786, E text, Шаблон:Harvp
  20. ↑ Beves crosses sea, reaches castle, demands food from wife of the giant, who was a Christian-hater and Grander's brother, vv. 1745–1880; defeats giant, etc., 1881–1958 Шаблон:Harvp Cf. Шаблон:Harvp
  21. ↑ vv. 1959–2146; 2147–2208, Шаблон:Harvp. Cf. Шаблон:Harvp
  22. ↑ vv. 2209–2250; 2251–2280; 2281–2349, Шаблон:Harvp. Cf. "Boniface" and "Sir Grassy", Шаблон:Harvp.
  23. ↑ vv. 2350–2568, Шаблон:Harvp. Cf. "Ascapard" Шаблон:Harvp
  24. ↑ Cf. Шаблон:Harvp
  25. ↑ (First day into night), vv. 2597–2802; (next day) 2803–2910, Шаблон:Harvp
  26. ↑ vv. 2911–2950, Шаблон:Harvp
  27. ↑ vv. 2951–3022, Шаблон:Harvp
  28. ↑ vv. 3023–3116, Шаблон:Harvp
  29. ↑ vv. 3117–3174, Шаблон:Harvp
  30. ↑ vv. 3175–3224, Шаблон:Harvp
  31. ↑ vv. 3225–3304, Шаблон:Harvp
  32. ↑ vv. 3305–3392, Шаблон:Harvp
  33. ↑ vv. 3393–3482, Шаблон:Harvp.
  34. ↑ vv. 3483–3510, Шаблон:Harvp.
  35. ↑ vv. 3511–3542, Шаблон:Harvp.
  36. ↑ vv. 3543–3594, Шаблон:Harvp.
  37. ↑ vv. 3595–3644, Шаблон:Harvp.
  38. ↑ vv. 3709–3792, Шаблон:Harvp.
  39. ↑ vv. 3841–3962, Шаблон:Harvp.
  40. ↑ vv. 3963–4004, Шаблон:Harvp.
  41. ↑ vv. 4005–4038, Шаблон:Harvp.
  42. ↑ vv. 4039–4172, Шаблон:Harvp.
  43. ↑ vv. 4173–4252, Шаблон:Harvp.
  44. ↑ vv. 4253–4286, Шаблон:Harvp.
  45. ↑ vv. 4287–4322, Шаблон:Harvp.
  46. ↑ vv. 4323–4376, Шаблон:Harvp.
  47. ↑ vv. 4377–4436, Шаблон:Harvp.
  48. ↑ vv. 4437–4496, Шаблон:Harvp.
  49. ↑ v. 4313＋114, mid-page interpolate text, Шаблон:Harvp; v. 4313＋157, mid-page interpolation footer, Шаблон:Harvp
  50. ↑ vv. 4497–4538, Шаблон:Harvp.
  51. ↑ vv. 4539–4620, Шаблон:Harvp.
  52. ↑ Шаблон:Harvp, Introduction, p. 1
  53. ↑ Reproduced in The Auchinleck Manuscript: National Library of Scotland Advocates’ MS 19.2.1, introduction by Derek Pearsall and I. C. Cunningham (London: Scolar Press, 1971); and in The Auchinleck Manuscript ed. David Burnley and Alison Wiggins, at http://www.nls.uk/auchinleck.
  54. ↑ Шаблон:Harvp, "A Textual Survey", Appendix, Manuscripts, pp. 104–108, Printed texts, pp. 109–113, in: Шаблон:Harvp
  55. ↑ Ошибка цитирования Неверный тег <ref>; для сносок mccarren не указан текст
  56. ↑ 56,0 56,1 Шаблон:Harvp states "Only four complete (or nearly complete) editions survive from the Tudor period.. work of Richard Pynson, William Copland and Thomas East"
  57. ↑ 57,0 57,1 57,2 57,3 57,4 Шаблон:Cite web
  58. ↑ Шаблон:Harvp: 4. 1503?, (No title) Colophon: "Emprynted by Rycharde Pynson in Flete-strete at the sygne of the George" STC 1988, siglum: O.
  59. ↑ 59,0 59,1 Шаблон:Harvp: 9. 1560?, Title: Syr Beuys of Hampton; Colophon: "Imprynted at lon-don.. Crane wharfe, by William Coplande" STC 1988.8, siglum: Cp.
  60. ↑ Ошибка цитирования Неверный тег <ref>; для сносок sanchez-marti2019 не указан текст
  61. ↑ Copland's second edition, siglum Q. Шаблон:Harvp: 11. 1565?, Title: Syr Beuys of Hampton; Colophon: "Imprented in London, in Lothburye by Wyllyam Copland" STC 1989, siglum: Q.
  62. ↑ Ошибка цитирования Неверный тег <ref>; для сносок gray2008 не указан текст
  63. ↑ Шаблон:Harvp, Introduction, p. 2, and Шаблон:Harvp, p. 101
  64. ↑ Шаблон:Harvp., Introduction, p. 2 and Шаблон:Harvp, pp. 101, 108–109
  65. ↑ Ошибка цитирования Неверный тег <ref>; для сносок steele1709 не указан текст
  66. ↑ Шаблон:Harvp, p. 101
  67. ↑ Ошибка цитирования Неверный тег <ref>; для сносок mcsparran1979 не указан текст
  68. ↑ Ошибка цитирования Неверный тег <ref>; для сносок djordjevic2005 не указан текст
  69. ↑ Ошибка цитирования Неверный тег <ref>; для сносок bowman1940 не указан текст
  70. ↑ Ошибка цитирования Неверный тег <ref>; для сносок poppe1992 не указан текст
  71. ↑ 71,0 71,1 Ошибка цитирования Неверный тег <ref>; для сносок purdie2008 не указан текст
  72. ↑ Ошибка цитирования Неверный тег <ref>; для сносок rossignol2006 не указан текст
  73. ↑ Ошибка цитирования Неверный тег <ref>; для сносок burrow-notes-chaucer-ed-cannon2008 не указан текст
  74. ↑ Шаблон:Harvp, Notes, p. 219
  75. ↑ Ошибка цитирования Неверный тег <ref>; для сносок king2007 не указан текст
  76. ↑ Шаблон:Harvp
  77. ↑ 77,0 77,1 Ошибка цитирования Неверный тег <ref>; для сносок anders1904 не указан текст
  78. ↑ Ошибка цитирования Неверный тег <ref>; для сносок senyshyn2018 не указан текст
  79. ↑ 79,0 79,1 Ошибка цитирования Неверный тег <ref>; для сносок rudrum1976 не указан текст
  80. ↑ Ошибка цитирования Неверный тег <ref>; для сносок gifford-notes-jonson1875 не указан текст
  81. ↑ Шаблон:Harvp
  82. ↑ Ошибка цитирования Неверный тег <ref>; для сносок walsh1915-ascapart не указан текст
  83. ↑ Ошибка цитирования Неверный тег <ref>; для сносок greaves2002 не указан текст
  84. ↑ Шаблон:Harvp
  85. ↑ Ошибка цитирования Неверный тег <ref>; для сносок charlton&spufford2002 не указан текст
  86. ↑ Ошибка цитирования Неверный тег <ref>; для сносок mitchell1987 не указан текст
  87. ↑ Ошибка цитирования Неверный тег <ref>; для сносок simpson&speake1992 не указан текст
  88. ↑ Ошибка цитирования Неверный тег <ref>; для сносок wilson1935 не указан текст
  89. ↑ Ошибка цитирования Неверный тег <ref>; для сносок oed-morglay не указан текст
  90. ↑ Ошибка цитирования Неверный тег <ref>; для сносок westwood1985 не указан текст
  91. ↑ Ошибка цитирования Неверный тег <ref>; для сносок fox2003 не указан текст
  92. ↑ Ошибка цитирования Неверный тег <ref>; для сносок rance1986 не указан текст
  93. ↑ Шаблон:Harvp, also cited by Шаблон:Harvp
  94. ↑ Percy (1765) III: xii, reprinted in: Шаблон:Harvp, cited by Шаблон:Harvp
  95. ↑ 95,0 95,1 Ошибка цитирования Неверный тег <ref>; для сносок baugh1967 не указан текст
  96. ↑ Ошибка цитирования Неверный тег <ref>; для сносок pearsal1988 не указан текст
  97. ↑ Ошибка цитирования Неверный тег <ref>; для сносок mehl1968 не указан текст
  98. ↑ Ошибка цитирования Неверный тег <ref>; для сносок barron1987 не указан текст
  99. ↑ Ошибка цитирования Неверный тег <ref>; для сносок kane1951 не указан текст
  100. ↑ Шаблон:Harvp, Introduction, p.197; (htm version)


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