FOOTNOTES

 
•  [1] Irregularities at the edges: fol. 7 (upper outer margin contracted), fol. 9 (inner lower margin contracted), and fol. 13 (large part of outer margin showing the edges of the skin. The outer lower corner of fol. 5 was cut off (from the beginning ?).
   
•  [2] Holes in parchment: fols 16, 18, 22, 25, 34, 35, 39, 40, and 54.
   
•  [3] Tears: fols 19, 20, 33, 38, and 66.
   
•  [4] Contraction in parchment: fol. 11 (outer lower corner).
   
•  [5] Later damages: Later damages are found on fol. 3 (lower outer margin), fol. 6 (outer lower margin), fol.18 (upper outer margin), and fol. 22 (edge upper margin); wormholes in quire 1 (fols 1, 2, and 3); and torn off corners on fols 43 and 50. Fol. 15 has a long tear extending from approximately the centre of the lower edge to the upper part of the outer text columns on the recto and verso. In fact, this tear originates from the cut found at the edge of the leaf. After the sewing of the cut had disappeared, further damage occurred. At a later date the tear was sewn together in two places with thin green coloured thread to secure the leaf: in the lower margin, and on the blank line below the middle section of the outer column on the verso (below 15va22).
   
•  [6] V-cut: fol. 30.
   
•  [7] Transparent, glassy parchment: see for example fols 2, 5, 15, 19, 25, and 60.
   
•  [8] Foldings of parchment in margins: occur several times at the folio edges, at the inner bottom corners of fols 8r, 24v and 31v, 40v, 41r, 50v and 51r, and, as mentioned above, at the outer top corner of fol. 21.
   
•  [9] Dimensions of leaves: (251 + 2.5 + 4) x (185 + 3)mm.
   
•  [10] Rule of Gregory: see Caspar René Gregory, "Les cahiers des manuscripts grecs," Comptes rendus de l'Académie des Inscriptions et des Belles Lettres (1885), pp. 261–268, who discovered it. See also Denis Muzerelle, Vocabulaire codicologique: Répertoire méthodique des termes français relatifs aux manuscrits, Comité International de Paléographie, Rubricae, histoire du livre et des textes 1 (Paris: Éditions CEMI, 1985), p. 96, no. 313.15: "Règle de Gregory / Règle des vis-à-vis: Règle selon laquelle, dans un cahier de parchemin, les pages qui se font face présentent la même face du parchemin, c'est-à-dire le côté chair ou le côté poil, alternativement. On énonce usuellement cette règle sous la forme: 'Chair sur chair, poil sur poil'."
   
•  [11] Kossmann (1940) regarding the transition from quire 6 to quire 7: Der Schreiber hatte auf dem fünften Blatt der sechsten Quaterne (fol. 44b) das Gedicht Nr. 84 angefangen; mit diesem war er am Ende der Quaterne bis mitten in Strophe 71 gekommen, sodass noch 10½ Strophen zu schreiben waren. Von diesen beanspruchten die 10 Strophen die erste Seite der folgenden Quaterne (fol. 48r), die halbe Strophe den obersten Teil der Rückseite (fol. 48v). Doch nun bemerkte man, dass man schon seit der 53ten Strophe (auf fol. 47r) in Wiederholung des Gedichtes Nr. 1 gefallen war. Es standen also die Strophen 53–81 zum zweiten Mal in der Handschrift. Man wollte dem Schaden abhelfen. Das letzte Blatt der sechsten Quaterne konnte man nicht herausschneiden, denn zu Anfang dieser stand noch ein Stück der Strophe 51 nebst der Strophe 52, welche in Nr. 1 nicht vorkamen; aber das erste Blatt der neuen siebenten Quaterne, welches den Rest von Strophe 71 und die Strophen 72–81 enthielt, wurde herausgenommen, und damit fiel auch das noch unbeschriebene letzte Blatt dieser Quaterne ab, und wurde diese auf 6 Blätter zurückgebracht. Der Schreiber begann nun auf dem neuen Vorderblatt derselben das folgende Gedicht seiner Vorlage, genau auf der Höhe, wo es auf der Rückseite dem Schluss von Nr. 84 gefolgt war. Daher der leere Raum zu Beginn der Quaterne, welcher durch einen lateinischen Spruch einigermassen verdeckt wurde. Noch musste am Ende der sechsten Quaterne der Kustos, der das Stichwort innerhalb der Strophe 71 angegeben hatte, auf den Anfang des folgenden Gedichtes umgeändert werden: die umfängliche Rasur, die dafür nötig war, verrät sich noch an dem sehr gedünnten Pergament an dieser Stelle. Und endlich wurde der Abbruch des Gedichtes Nr. 84 vor dem Leser begründet, indem unter die Bruchstelle von einer fremden Hand das Zeichen für 'et cetera' gesetzt wurde. (E.F. Kossmann, Die Haager Liederhandschrift: Faksimile und Transscription (Den Haag: Martinus Nijhoff, 1940), p. 2.)
   
•  [12] Blank spaces of more than one line: occur between texts in many places in this manuscript, including at the beginning of a column (fols 13va and 28rb). In these spaces, possibly left blank originally, sometimes a heading is found (fols 6va and 13va) and sometimes a saying (fol. 48ra) – where the distinction between heading and saying is not always clear – and some places are still blank (fols 28rb, 37rb, and 41vb); see Mise-en-page.
   
•  [13] Et cetera sign: in point 2 of his arguments Kossmann observes that the et and cetera signs (fol. 47vb) were added by a different hand, suggesting a later addition. In our opinion, although these signs are executed with a finer quill, the scribe himself could possibly have added them.
   
•  [14] Erasure: in point 7 of his arguments Kossmann suggests that there is an erasure where Poem 84 breaks off (he concludes this from "dem sehr gedünnten Pergament"). But instead of an erasure, the parchment has in reality a glassy area. In fact, in many other places in the manuscript the parchment is equally glassy without any possible erasures (e.g. fol. 46v).
   
•  [16] Visibility of prickings: they can best be seen on the flesh sides.
   
•  [17] Prickings by two bifolia together: see the equal distances between the horizontal pricks in the upper margins of fols 9–10 and 11–12.
   
•  [18] Prickings by three bifolia together: see quire 9, a ternion (fols 62–67).
   
•  [19] Prickings disappeared due to trimming: most of the pricks in the lower margins of quire 2 (fols 9–15) and the upper and outer margins of quire 9 (fols 62–67).
   
•  [20] Prickings with two small incisions: for instance, fols 1, 2, 3, 9, and 10.
   
•  [21] Prickings with three or more incisions: for instance, fols 1, 4, and 8.
   
•  [22] Mistake in ruling of double bounding line: on fol. 34v there is a mistake in the drawing of the double bounding line at the left of the second column of text: the upper part is a triple line which turns into a double line in the lower part of the page.
   
•  [24] Text written continuously: in three places the text is written continuously, without starting each next verse line on a new line: the first instance, on account of the large first initial, occurs on fol. 1ra1–7 (Poem 1, 1–4 = K 1, 1–4), where four verse lines are spread over seven lines. The second and third instances concern two whole poems written continuously per stanza: on fol. 20va1–31 (Poem 51, 1–31 = K 36, 1–24) and on fol. 42ra24–42rb19 the double ballad in French (Poem 107a1–22 and 107b1–21 = K 73a, 1–18 and 73b, 1–18). In addition, because of an initial 'O', the second fairly long verse line of a poem spills over to the third line (fol. 48vb33–34; Poem 127,2 = K 86, 1–2); see also Capital Letters, first paragraph. Other irregularities are found where short verse lines or comments are written beside other verse lines in the column and connected to two or more of these by ink strokes.
   
•  [25] Text sections not separated by blank lines: e.g. (1) Between fol. 4ra32 and 33, Poems 7 and 8 (K 7 and 8); (2) between fol. 5rb28 and 29, Poem 13 and 14 (K 10 and 10a); (3) between fol. 5vb5 and 6, Poem 15 and 16 (K 11 and 11a); (4) fol. 6ra33 and 34, Poem 18 and 19 (K 13 and 13a); (5) fol. 6rb35 and 36, Poem 20 and 21 (K 14 and 15A); etc. Explicits and comments following or preceding a poem are usually separated from the poem by about half a blank line; in such cases the edition shows a full blank line (e.g. fol. 5vb4 and 5, Poem 15 and 16 (K11 and 11a); fol. 6rb35–37, Poem 20 and 21 (K 14 and 15A); fol. 8rb7–9, Poem 27 and 28 (17 and 17a), etc.
   
•  [26] Initials with one indented verse line: in two instances the scribe left space for the initial by only indenting the first verse line of the poem, instead of the first two. As a consequence the initials protrude above the first line: in one instance this is because the text begins at the bottom of the column with only one verse line: fol. 29va38 (Poem 76,1 = K 52,1) and in the other probably by mistake (fol. 52va8, Poem 132,1 = K 91,1). Initials not executed: two initials were not executed: one on fol. 3vb1 (Poem 6,1 = K 4B, 1) and the other on fol. 20va1–2 (Poem 51, 1–2 = K 36, 1–2).
   
•  [27] No space between first letter and rest of verseline: see Capital Letters for examples.
   
•  [29] For nota-signs: see also Underlining.
   
•  [30] Different slants in pen strokes: on fol. 15ra5, 15ra14, and 15ra23 these slanted pen strokes are almost horizontal, and on fol. 15va11 the stroke slants to the left.
   
•  [31] Boxed in: completely boxed in are a catchword on the final verso of the first quire (8vbc), two comments (51vb21 and 52va2 'Owee owee elende'), and two nota-signs (51vb22 and 55ra36).
   
•  [32] Verse line crossed in red: a Latin saying on fol. 11rb9.
   
•  [33] Yellow wash: in quire 8 on fol 54r, and in quire 9 on both sides of the outermost and innermost bifolia, i.e. on fols 62r and 67v, 62v and 67r, 64r and 65v, and 65v and 67r.
   
•  [34] Continuous line: the red lines occur on the following corresponding pages: fols 54v and 61r, 55r and 60v, 55v and 60r, 56r and 59v, 56v and 59r, 57r and 58v of quire 8 and fols 63r and 66v, 63v and 66r of quire 9. The yellow lines occur on fols 57v and 58r.
   
•  [35] Capital letters without rubrication or wash, paragraph sign in red: on fol. 61 verso; it has, however, one paragraph mark, touched in red.
   
•  [36] Display script (littera gothica textualis): only occurs after fol. 47: the four headings are found on fols 48v, 52v, 56r, and 59v, the two explicits on fols 51r and 51v, and the comment on fol. 48r, repeated on fol. 63r.
   
•  [37] Different cursive script: on fol. 42r Poem 107a and 107b (K 73) and two sayings by Freidank, Poem 108 (K 73*); the same type of script is also used for the first half line of the longer Poem 110 (K 74).
   
•  [38] Grotesque faces: the grotesque faces on fols 31r and 31v are more finely drawn than those appearing on fols 32v, 34r, 35v, 36r, 47r, 65rv, and 66r.
   
•  [39] Note on the transition between Hands A and B: by mistake wrong folio references were taken from Biemans' and Hülsmann's draft version of the manuscript description and quoted in Brigitte Schludermann, A Description of the German / Dutch Language Mixture in the Berlin Songs mgf 922, the Gruuthuse-Songs, and The Hague MS 128 E 2: A Quantitative Analysis, Göppinger Arbeiten zur Germanistik (Göppingen: Kümmerle Verlag, 1996), I, 69, n. vv. This was noted by Corrie de Haan, Dichten in stijl: Duitse kleuring in Middelnederlandse teksten, Nederlandse literatuur en cultuur in de middeleeuwen XX, eds F.P. van Oostrom and W. van Anrooij (Amsterdam: Prometheus, 1999), pp. 198–99, n. 11.
   
•  [40] Mistakes in French texts: see Nigel Wilkins, Introduction to the French Texts.
   
•  [41] French script: Could one speak of a precursor of the lettre bourguignonne, a script used in a large number of fifteenth-century French manuscripts?
   
•  [42] Scribes mastering various scripts: It is well known that professional scribes mastered different scripts which distinguished between more formal and less formal usage. Some scribes advertised with a page offering samples of the various scripts they mastered. Scribes also use different scripts to mark text structure, such as Glosses from the Bible. Scribes also switch scripts between languages, see Angus McIntosh, Neuphilologische Mitteilungen, 75 (1974), p. 606, n.1.
   
•  [44] Distinction between majuscule and minuscule in edition: because of the difficulty of distinguishing between categories 2 (enlarged minuscule) and 3 (minuscule), in the coding of the text and the printing of the transcription only the first distinction is expressed: category 1 is printed as Roman capitals and categories 2 and 3 together as Italic capitals (vice versa in the text of Hand C on fol. 42 recto, where the text is printed in italics to express the difference of script).
   
•  [45] Enlarged minuscules: especially the letters written by Hand A have a stronger capital letter aspect than those written by Hand B; see below)
   
•  [46] Production of letter M: the pen starts with a sloping hair line down to the left, then turns to the right – in a pointed angle or curve – and continuing downwards with a broad stroke, followed by an upward hair line, etc.
   
•  [47] Letter shapes: Hand C has not been included in the survey of the alphabets because of the shortness of the text concerned.
   
•  [48] Alphabetization of u/v amd i/j: in general it should be noted that in the concordance the word forms have been alphabetised according to the modern alphabet: thus i and j and u and v are listed separately.
   
•  [49] Acknowledgement regarding information on binding: for this statement and the previous description of the binding we gratefully acknowledge the results of a thorough investigation into The Hague book bindings of the eighteenth century by J. Storm van Leeuwen, De achttiende-eeuwse Haagse boekband in de Koninklijke Bibliotheek en het Rijksmuseum Meermanno-Westrenianum, diss. Univ. of Utrecht ('s-Gravenhage, 1976), pp. 71 and 233, note 81c. We also gratefully acknowledge the information, supplied personally by J. Storm van Leeuwen, that the book already appeared in the catalogue of 1759.
   
•  [50] Willem V, Prince of Orange-Nassau: the Order of the Garter was granted to him in 1752.
   
•  [51] Kossmann (1940) on the dating: Zwei Daten liefert der Text: Nr. 42 [Poem 62] ist kurz nach 1345, Nr. 12 [Poem17] zwischen 1309 und 1377 gedichtet. Die holländischen Spruchdichter Noydekin (Nr. 8. [Poem 11] 15. [Poem 21 + K15A] 19. [Poem 31] 55 [Poem 81] 97. [Poem 139] 109 [Poem 157] und Augustijn van Dordrecht (Nr. 32 [Poem 47] 39. [Poem 56] 98. [Poem 142] 99 [Poem 143] datieren auch davor. Ersterer wird ca. 1360 angesetzt, letzterer ist 1358 / 68 belegt. Noch weiter zurück liegen die deutschen Minnesänger bis Frauenlob (Nr. 105 [Poem 1531]), der 1318 starb. Der verbrauchte Minneapparat, die allegorisch-didaktische Neigung, all das weist ebenfalls auf die Übergangszeit des 14/15ten Jahrhunderts (E.F. Kossmann, Die Haager Liederhandschrift: Faksimile und Transskription (Den Haag: Martinus Nijhoff, 1940), p. 1).
   
•  [52] ????????????
   
•  [53] ????????????
   
•  [54] E. Verwijs and J. Verdam, Middelnederlandsch woordenboek, X, Textcritiek van J. Verdam en Bouwstoffen, Eerste gedeelte (A-F), by Willem de Vreese, 's-Gravenhage 1927–1941, art. 81, 2, (2+o), art. 390, 53, and art. 142 and art. 400, resp.
   
•  [55] Date generally accepted: see Verwijs / Verdam, MNW X, .... Bouwstoffen, Tweedegedeelte (G-Z), by G.I. Lieftinck, 's-Gravenhage 1952, art. 544: "eind 14de eeuw" (end of the fourteenth century). See also J. Deschamps, Middelnederlandse handschriften uit Europese en Amerikaanse biliotheken [...], 2nd rev. ed. (Leiden, 1972), no. 42, pp. 129–131: c. 1400.
   
•  [56] Oranje-Nassau Library: see Anne S. Korteweg, Boeken van Oranje-Nassau: De bilbiotheek van de graven van Nassau en prinsen van Oranje in de vijftiende en zestiende eeuw (Den Haag: Museum van het Boek / Museum Meermanno-Westrenianum, Koninklijke Bibliotheek, 1998), pp. 14–16. [Exhibition in the Museum van het Boek / Museum Meermanno-Westrenianum, 29 April–9 August, 1998.] For a genealogy of the Counts of Nassau-Dillenburg, see p. 12.
   
•  [57] Books by Johan and Maria: see A.S. Korteweg, "De bibliotheek van Willem van Oranje: de handschriften," in Boeken van en rond Willem van Oranje. Catalogus van de tentoonstelling gehouden in de expositiezalen van de Koninklijke Bibiotheek, 8 juni–25 juli 1984 ('s-Gravenhage, [1984]), pp. 9–28 (with older references), especially p. 25.
   
•  [58] Older manuscripts in the Orange-Nassau Library: see Wilhelm von Orlens: The Hague, KB MS 71 J 54; the Psalter: Leiden, University Library, MS Ltk 233.
   
•  [59] ????????????
   
•  [60] Ownership marks by same hand in five other manuscripts: The Hague, KB, 71 J 54, 73 E 24, 74 A 50, and 75 A 1. It is possible that the ownership mark in Brussels, KB, MS IV 401, was also written by the same hand, but the words are by now almost completely illegible.
   
•  [61] Reference for Anthony Smets: G. van Alphen, "Anthony Smets, bibliothecaris van drie prinsen van Oranje 1636–1689," in Het Boek, nieuwe reeks, 29 (1948), pp. 287–328.
   
•  [62] Huygens' catalogue (c. 1685) now = The Hague, KB, MS 78 D 14, fol. 223v in the modern pencil foliation (= fol. 218v in the older ink foliation)
   
•  [63] Sale catalogue (1749): In the catalogue of the sale of 1749 the library bears the name of H.R.H. Frederick-Henry, Prince of Orange etc. (1584–1647): catalogue des livres de la bibliothèque de S.A.S. Frédéric-Henri, prince d'Orange, &c. &c. &c. [Vendu par Mr. P. van Cleef.] La Haie 1749. KB 128 E 2 must be identical with lot no. 10 on p. 231: the word: "Autre semblable. Lig-Lign." refers to the description of no. 9: "Volume considérable de Poésie Hollandoise, sans Titre. Lig-Lign." (The Hague, KB, col. 1 of auction catalogues, no. 16064). The piece of paper with the number of this lot, "no 10," is now attached to the inner side of the back cover of the manuscript. As is the case with other manuscripts of that sale, the piece of paper was, at first, placed immediately behind the first leaf of the codex, affixed in the middle of the fold between fol. 1 verso and 2 recto. This page still carries some remnants of this paper.
   
•  [64] National Library (1798): see L. Brummel, Geschiedenis der Koninklijke Bibilotheek, Leiden 1939, passim.
   
•  [65] Marginalia: on fols 22rm (upper margin centre: 'Ich mein dich her'), 28rm (lower margin centre: 'In sorghen'), 33rm (upper margin centre: 'nota'), 34rbm (upper above column b: 'En vraghede of si yet'), 35vbm (lower margin centre: 'nota'), 58rm (upper margin centre: 'Wmen'), 60rm (upper margin left above column b: 'In modo'), and 60rm (lower margin centre: 'Leert v kennen'), 64rm (lower margin centre: 'notabile'. See B: Index of Occasional Lines.