_Edricus_. Give not such scoope to humerous discontent, Wee all are partners of your privat greefes. Kinges are the heads, and yf the head but ache The little finger is distempered. Wee greeve to se you greeved, which hurteth us And yet availes not to asswage your greefe. You are the Sunne, my lo:, wee Marigolds; Whenas you shine wee spred our selves abroad And take our glory from your influence; And when you hide your face or darken yt With th'least incounter of a clowdy looke, Wee close our eies as partners of your woes, Droopinge our heades as grasse downe waid with due. Then cheere ye upp, my lord, and cheere upp us, For now our valours are extinguished And all our force lyes drownd in brinish teares, As Jewells in the bottome of the sea. --I doe beseech your grace to heare mee speake. [_Edricus talks to him_. The next piece (leaves 119-135), which is without a title, is founded on the Charlemagne romances. My friend, Mr. S.L. Lee, editor of _Huon of Bordeaux_, in answer to my inquiries writes as follows: "Almost all the characters in this play are the traditional heroes of the French Charlemagne romances, and stand in the same relation to one another as in the _Lyf of Charles the Grete_ and the _Four Sons of Aymon_, both of which were first printed by Caxton, and secured through later editions a wide popularity in England during the XVIth century. I believe, however, that the story of the magic ring is drawn from another source. It is unknown to the Charlemagne romances of France and England, but it appears in several German legends of the Emperor, and is said to be still a living tradition at Aix-la-Chapelle, where the episode is usually localised (cf. Gaston, Paris, _Histoire Poétique de Charlemagne_, p. 383). Petrarch has given a succinct account of it in a letter written from Cologne, in which he states that he learnt it from the priests of the city, and it is through his narrative that the legend appears to have reached England. John Skelton in his poem 'Why come ye not to court?' quotes the story, and refers to the Italian poet as his authority (cf. Dyce's Skelton, II. 48 and 364, where the letter is printed at length). Southey has also made the tradition the subject of a ballad entitled _King Charlemain_ to which he has prefixed a French translation of the passage of Petrarch. In 1589 George Peele in a _Farewell_ addressed to Morris and Drake on setting out with the English forces for Spain tells them to Bid theatres and proud tragedians, Bid Mahomet, Scipio, & mighty Tamburlaine, King _Charlemagne_, Tom Stukeley and the rest Adieu.