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ABBREVIATIONS: A: Lausanne, Bibliothèque Cantonale et Universitaire, MS 350; B: Paris, Bibliothèque nationale, f. fr. 1727; C: Paris, Bibliothèque nationale, f. fr. 1131; D: Paris, Bibliothèque nationale, f. fr. 24440; E: Barcelona, Biblioteca de Catalunya, MS 8, Catalan, 1420–30; F: Paris, Bibliothèque Nationale, f. fr. 2201; K: Lausanne, Bibliothèque Cantonale et Universitaire, IS 4254; N: Brussels, Bibliothèque royale Albert 1er, MS 10961–10970, c. 1465; P: Philadelphia, University of Pennsylvania, Van Pelt Library, MS Codex 902 (formerly Fr. MS 15), 1395–1400; 100B: Les Cent Ballades; Basso: “L’envol et l’ancrage”; BD: Chaucer, The Book of the Duchess; Berguerand: Berguerand, Duel; Boulton: Song; Braddy: Braddy, Chaucer and Graunson; Carden: “Le Livre Messire Ode d’Oton de Grandson; CA: Gower, Confessio Amantis; DL: Guillaume de Machaut, Dit dou lyon; DLA: Guillaume de Machaut, Dit de l’alerion; FA: La fonteinne amoureuse; FC: Wimsatt, French Contemporaries; GW: Granson, Poésies
This is the first of the six ballades that are presented under the single title “Les six balades ensuivans [The sequence of six ballades]” in manuscript F. The others are 52, 63, 62, 51, and 66. As noted in the Introduction (pp. 19–20), this group constitutes a unity neither thematically nor formally, consisting as it does of three different stanza forms of different lengths (but compare Carden, “Oton de Grandson,” p. 143, for whom the six ballades “develop an extended complaint”). Two of these poems (35 and 63) appear only in manuscript F. The other four appear in manuscript A, but not grouped together and in a different order; one of these (66) contains a third stanza that is lacking in F. None of the six appears in manuscript P, and only 52 appears in any other copy. Since this sequence has a far more dubious status than the “Cinq balades ensuivans” (see the note to 37–41, below), we have not preserved it here, and we have adhered to our decision to present the individual poems in order of length and for the text, to privilege A over F.
11–14 Se non par mort . . . par traison. The fear of slander is a recurring theme in Granson; see the note to 22, above. This is his strongest statement of its impact upon the lover. There is no reference to the slanderers, however, in any of the other five poems that make up the “Six balades ensuivans.”