A Literary History of the English People Part 30

We ben shrewes, every wight, And han delyt in wikkednes, As G.o.de folk han in goodnes; And joye to be knowen shrewes ...

Wherfor we preyen yow, a-rowe, That our fame swich be-knowe In alle thing right as it is.[504]

As pressing as any, they urgently claim a bad reputation, a favour which the G.o.ddess graciously grants them.

Elsewhere we are transported into the house of news, noisy and surging as the public square of an Italian city on a day when "something" has happened. People throng, and crush, and trample each other to see, although there is nothing to see: Chaucer describes from nature. There are a.s.sembled numbers of messengers, travellers, pilgrims, sailors, each bearing his bag, full of news, full of lies:

"Nost not thou That is betid, lo, late or now?"

--"No," quod the other, "tel me what."

And than he tolde him this and that, And swoor ther-to that hit was sooth-- "Thus hath he seyd"--and "thus he dooth"-- "Thus shal hit be"--"Thus herde I seye"-- "That shal be found"--"That dar I leye."[505]

Truth and falsehood, closely united, form an inseparable body, and fly away together. The least little nothing, whispered in secret in a friend's ear, grows and grows, as in La Fontaine's fable:

As fyr is wont to quikke and go, From a sparke sp.r.o.nge amis, Til al a citee brent up is.[506]

III.

Heretofore Chaucer has composed poems of brightest hue, chiefly devoted to love, "balades, roundels, virelayes," imitations of the "Roman de la Rose," poems inspired by antiquity, as it appeared through the prism of the Middle Ages. His writings are superior to those of his English or French contemporaries, but they are of like kind; he has fine pa.s.sages, charming ideas, but no well-ordered work; his colours are fresh but crude, like the colours of illuminations, blazons, or oriflammes; his nights are of sable, and his meadows seem of sinople, his flowers are "whyte, blewe, yelowe, and rede."[507] In "Troilus and Criseyde" we find another Chaucer, far more complete and powerful; he surpa.s.ses now even the Italians whom he had taken for his models, and writes the first great poem of renewed English literature.

The fortunes of Troilus had grown little by little in the course of centuries. Homer merely mentions his name; Virgil devotes three lines to him; Dares, who has seen everything, draws his portrait; Benoit de Sainte-More is the earliest to ascribe to him a love first happy, then tragic; Gui de Colonna intermingles sententious remarks with the narrative; Boccaccio develops the story, adds characters, and makes of it a romance, an elegant tale in which young Italian n.o.blemen, equally handsome, youthful, amorous, and unscrupulous, win ladies' hearts, lose them, and discourse subtly about their desires and their mishaps.[508]

Chaucer appropriates the plot,[509] transforms the personages, alters the tone of the narrative, breaks the monotony of it, introduces differences of age and disposition, and moulds in his own way the material that he borrows, like a man now sure of himself, who dares to judge and to criticise; who thinks it possible to improve upon a romance even of Boccaccio's. The literary progress marked by this work is astonishing, not more so, however, than the progress accomplished in the same time by the nation. With the Parliament of Westminster as with Chaucer's poetry, the real definitive England is beginning.

In Chaucer, indeed, as in the new race, the mingling of the origins has become intimate and indissoluble. In "Troilus and Criseyde" the Celt's ready wit, gift of repartee, and sense of the dramatic; the care for the form and ordering of a narrative, dear to the Latin races; the Norman's faculty of observation, are allied to the emotion and tenderness of the Saxon. This fusion had been brought about slowly, when however the time came, its realisation was complete all at once, almost sudden. Yesterday authors of English tongue could only lisp; to-day, no longer content to talk, they sing.

In its semi-epic form, the poem of "Troilus and Criseyde" is connected with the art of the novel and the art of the drama, to the development of which England was to contribute so highly. It is already the English novel and drama where the tragic and the comic are blended; where the heroic and the trivial go side by side, as in real life; where Juliet's nurse interrupts the lovers leaning over the balcony of the Capulets, where princesses have no confidants, diminished reproductions of their own selves, invented to give them their cue; where sentiments are examined closely, with an attentive mind, friendly to experimental psychology; and where, nevertheless, far from holding always to subtile dissertations, all that is material fact is clearly exposed to view, in a good light, and not merely talked about. The vital parts of the drama are all exhibited before our eyes and not concealed behind the scenes; heroes are not all spirit, neither are they mere images; we are as far from the crude illuminations of degenerate minstrels as from La Calprenede's heroic romances; the characters have muscles, bones and sinews, and at the same time, hearts and souls; they are real men. The date of "Troilus and Criseyde" is a great date in English literature.

The book, like Froissart's collection of poems, treats "of love." It relates how Criseyde, or Cressida, the daughter of Calchas, left in Troy while her father returned to the Greek camp, loves the handsome knight Troilus, son of Priam. Given back to the Greeks, she forgets Troilus, who is slain.

How came this young woman, as virtuous as she was beautiful, to love this youth, whom at the opening of the story she did not even know? What external circ.u.mstances brought them together, and what workings of the heart made them pa.s.s from indifference to doubts and anxieties, and then to love? These two orders of thought are untwined simultaneously, on parallel lines by Chaucer, that dreamer who had lived so much in real life, that man of action who had dreamed so many dreams.

Troilus despised love, and mocked at lovers:

If knight or squyer of his companye Gan for to syke, or lete his eyen bayten On any woman that he coude aspye; He wolde smyle, and holden it folye, And seye him thus, "G.o.d wot she slepeth softe For love of thee, whan thou tornest ful ofte."[510]

One day, in the temple, he sees Cressida, and his fate is sealed; he cannot remove his gaze from her; the wind of love has swept by; all his strength has vanished; his pride has fallen as the petals fall from a rose; he drinks deep draughts of an invincible poison. Far from her, his imagination completes what reality had begun: seated on the foot of his bed, absorbed in thought, he once more sees Cressida, and sees her so beautiful, depicted in outlines so vivid, and colours so glowing, that this divine image fashioned in his own brain is henceforth the only one he will behold; forever will he have before his eyes that celestial form of superhuman beauty, never more the real earthly Cressida, the frail daughter of Calchas. Troilus is ill for life of the love illness.

He has a friend, older than himself, sceptical, trivial, experienced, "that called was Pandare," Cressida's uncle. He confides to him his woes, and asks for help. Pandarus, in Boccaccio, is a young n.o.bleman, sceptical too, but frivolous, disdainful, elegant, like a personage of Musset. Chaucer transforms the whole drama and makes room for the grosser realities of life, by altering the character of Pandarus. He makes of him a man of mature years devoid of scruples, talkative, shameless, wily, whose wisdom consists in proverbs chosen among the easiest to follow, much more closely connected with Moliere's or Shakespeare's comic heroes than with Musset's lovers. Pandarus is as fond of comparisons as Gros-Rene, as fond of old saws as Polonius; he is coa.r.s.e and indecent, unintentionally and by nature, like Juliet's nurse.[511] He is totally unconscious, and thinks himself the best friend in the world, and the most reserved; he concludes interminable speeches by:

I j.a.pe nought, as ever have I joye.

Every one of his thoughts, of his words, of his att.i.tudes is the very opposite of Cressida's and her lover's, and makes them stand out in relief by a contrast of shade. He is all for tangible and present realities, and does not believe in ever foregoing an immediate and certain pleasure in consideration of merely possible consequences.

With this disposition, and in this frame of mind, he approaches his niece to speak to her of love. The scene, which is entirely of Chaucer's invention, is a true comedy scene; the gestures and att.i.tudes are minutely noted. Cressida looks down; Pandarus coughs. The dialogue is so rapid and sharp that one might think this part written for a play, not for a tale in verse. The uncle arrives; the niece, seated with a book on her knees, was reading a romance.

Ah! you were reading! What book was it? "What seith it? Tel it us. Is it of Love?" It was of Thebes; "this romaunce is of Thebes;" she had secured as it seems a very early copy. She excuses herself for indulging in so frivolous a pastime; she would perhaps do better to read "on holy seyntes lyves." Chaucer, mindful above all of the a.n.a.lysis of pa.s.sions, does not trouble himself about anachronisms; he cares nothing to know if the besieged Trojans could really have drawn examples of virtue from the Lives of the Saints; history matters little to him: let those who take an interest in it look "in Omer or in Dares."[512] The motions of the human heart, that is his real subject, not the march of armies; from the moment of its birth, the English novel is psychological.

With a thousand precautions, and although still keeping to the vulgarity of his role, Pandarus manages so as to bring to a sufficiently serious mood the laughter-loving Cressida; he contrives that she shall praise Troilus herself, incidentally, before he has even named him. With his frivolities he mingles serious things, wise and practical advice like a good uncle, the better to inspire confidence; then he rises to depart without having yet said what brought him. Cressida's interest is excited at once, the more so that reticence is not habitual to Pandarus; her curiosity, irritated from line to line, becomes anxiety, almost anguish, for though Cressida be of the fourteenth century, and the first of a long line of heroines of romance, with her appears already the nervous woman. She starts at the least thing, she is the most impressionable of beings, "the ferfullest wight that might be"; even the state of the atmosphere affects her. What is then the matter? Oh! only this:

... the kinges dere sone, The goode, wyse, worthy, fresshe, and free, Which alwey for to do wel is his wone, The n.o.ble Troilus, so loveth thee, That, bot ye helpe, it wol his bane be.

Lo, here is al, what sholde I more seye?

Do what yow list.[513]

The conversation continues, more and more crafty on the part of Pandarus; his friend asks for so little: look less unkindly upon him, and it will be enough.

But here appears Chaucer's art in all its subtilty. The wiles of Pandarus, carried as far as his character will allow, might have sufficed to make a Cressida of romance yield; but it would have been too easy play for the master already sure of his powers. He makes Pandarus say a word too much; Cressida unmasks him on the spot, obliges him to acknowledge that in asking less he desired more for his friend, and now she is blushing and indignant. Chaucer does not want her to yield to disquisitions and descriptions; all the cleverness of Pandarus is there only to make us better appreciate the slow inward working that is going on in Cressida's heart; her uncle will have sufficed to stir her; that is all, and, truth to say, that is something. She feels for Troilus no clearly defined sentiment, but her curiosity is aroused. And just then, while the conversation is still going on, loud shouts are heard, the crowd rushes, balconies are filled, strains of music burst forth; 'tis the return, after a victorious sally, of one of the heroes who defend Troy. This hero is Troilus, and in the midst of this triumphal scene, the pretty, frail, laughing, tender-hearted Cressida beholds for the first time her royal lover.

In her turn she dreams, she meditates, she argues. She is not yet, like Troilus, love's prisoner; Chaucer does not proceed so fast. She keeps her vision lucid; her imagination and her senses have not yet done their work and reared before her that glittering phantom, ever present, which conceals reality from lovers. She is still mistress of herself enough to discern motives and objections; she discusses and reviews elevated reasons, low reasons, and even some of those practical reasons which will be instantly dismissed, but not without having produced their effect. Let us not make an enemy of this king's son. Besides, can I prevent his loving me? His love has nothing unflattering; is he not the first knight of Troy after Hector? What is there astonishing in his pa.s.sion for me? If he loves me, shall I be the only one to be loved in Troy? Scarcely, for

Men loven wommen al this toun aboute.

Be they the wers? Why, nay, withouten doute.

Am I not pretty? "I am oon of the fayrest" in all "the toun of Troye,"

though I should not like people to know that I know it:

Al wolde I that noon wiste of this thought.

After all I am free; "I am myn owene woman"; no husband to say to me "chekmat!" And "_par dieux!_ I am nought religious!" I am not a nun.

But right as whan the sonne shyneth brighte In March that chaungeth ofte tyme his face And that a cloud is put with wind to flighte Which over-sprat the sonne as for a s.p.a.ce, A cloudy thought gan thorugh hir soule pace, That over-spradde hir brighte thoughtes alle.[514]

Now she unfolds contradictory arguments supported by considerations equally decisive; she is suffering from that _diboulia_ (alternate will) familiar to lovers who are not yet thoroughly in love. There are two Cressidas in her; the dialogue begun with Pandarus is continued in her heart; the scene of comedy is renewed there in a graver key.

Her decision is not taken; when will it be? At what precise moment does love begin? One scarcely knows; when it has come one fixes the date in the past by hypothesis. We say: it was that day, but when that day was the present day, we said nothing, and knew nothing; a sort of "perhaps"

filled the soul, delightful, but still only a perhaps. Cressida is in that obscure period, and the workings within her are shown by the impression which the incidents of daily life produce upon her mind. It seems to her that everything speaks of love, and that fate is in league against her with Pandarus and Troilus: it is but an appearance, the effect of her own imagination, and produced by her state of mind; in reality it happens simply that now the little incidents of life impress her more when they relate to love; the others pa.s.s so unperceived that love alone has a place. She might have felt anxious about herself if she had discerned this difference between then and now; but the blindness has commenced, she does not observe that the things appertaining to love find easy access to her heart, and that, where one enters so easily, it is usually that the door is open. She paces in her melancholy mood the gardens of the palace; while she wanders through the shady walks, a young girl sings a song of pa.s.sion, the words of which stir Cressida to her very soul. Night falls,

And whyte thinges wexen dimme and donne;

the stars begin to light the heavens; Cressida returns pensive; the murmurs of the city die out. Leaning at her window, facing the blue horizon of Troas, with the trees of the garden at her feet, and bathed in the pale glimmers of the night, Cressida dreams, and as she dreams a melody disturbs the silence: hidden in the foliage of a cedar, a nightingale is heard; they too, the birds, celebrate love. And when sleep comes, of what will she think in her dreams if not of love?

She is moved, but not vanquished; it will take yet many incidents; they will all be small, trivial, insignificant, and will appear to her solemn, superhuman, ordered by the G.o.ds. She may recover, at times, before Pandarus, her presence of mind, her childlike laugh, and baffle his wiles: for the double-story continues. Cressida is still able to unravel the best-laid schemes of Pandarus, but she is less and less able to unravel the tangled web of her own sentiments. The meshes draw closer; now she promises a sisterly friendship: even that had been already invented in the fourteenth century. She can no longer see Troilus without blushing; he pa.s.ses and bows: how handsome he is!

... She hath now caught a thorn; She shal not pulle it out this next wyke.

G.o.d sende mo swich thornes on to pyke![515]

The pa.s.sion and merits of Troilus, the inventions of Pandarus, the secret good-will of Cressida, a thunderstorm which breaks out opportunely (we know how impressionable Cressida is), lead to the result which might be expected: the two lovers are face to face.

Troilus, like a sensitive hero, swoons: for he is extremely sensitive; when the town acclaims him, he blushes and looks down; when he thinks his beloved indifferent he takes to his bed from grief, and remains there all day; in the presence of Cressida, he loses consciousness.

Pandarus revives him, and is not slow to perceive that he is no longer wanted:

For ought I can espyen This light nor I ne serven here of nought.

And he goes, adding, however, one more recommendation:

If ye ben wyse, Swowneth not now, lest more folk aryse.[516]

What says Cressida?--What may "the sely larke seye" when "the sparhauk"

has caught it? Cressida, however, says something, and, of all the innumerable forms of avowal, chooses not the least sweet:

Ne hadde I er now, my swete herte dere Ben yolde, y-wis, I were now not here![517]