English Literature Part 6

What new and important element enters our literature in this type? Read one of the Metrical Romances in English and comment freely upon it, as to interest, structure, ideas, and literary quality.

6. Tell the story of _Sir Gawain and the Green Knight_. What French and what Saxon elements are found in the poem? Compare it with _Beowulf_ to show the points of inferiority and superiority. Compare Beowulf's fight with Grendel or the Fire Drake and Sir Gawain's encounter with the Green Knight, having in mind (1) the virtues of the hero, (2) the qualities of the enemy, (3) the methods of warfare, (4) the purpose of the struggle.

Read selections from _The Pearl_ and compare with _Dear's Lament_. What are the personal and the universal interests in each poem?

7. Tell some typical story from the Mabinogion. Where did the Arthurian legends originate, and how did they become known to English readers? What modern writers have used these legends? What fine elements do you find in them that are not found in Anglo-Saxon poetry?

8. What part did Arthur play in the early history of Britain? How long did the struggle between Britons and Saxons last? What Celtic names and elements entered into English language and literature?

9. What is a ballad, and what distinguishes it from other forms of poetry?

Describe the ballad which you like best. Why did the ballad, more than any other form of literature, appeal to the common people? What modern poems suggest the old popular ballad? How do these compare in form and subject matter with the Robin Hood ballads?

CHRONOLOGY ============================================================================= HISTORY | LITERATURE ----------------------------------------------------------------------------- 912. Northmen settle in Normandy | 1066. Battle of Hastings. William, | king of England | | 1086. Domesday Book completed 1087. William Rufus | 1093. Anselm, archbishop of Canterbury | | 1094(_cir._). Anselem's Cur Deus h.o.m.o 1096. First Crusade | 1100. Henry I | | 1110. First recorded Miracle play in | England (see chapter on the | Drama) 1135. Stephen | | 1137(_cir_.). Geoffrey's History 1147. Second Crusade | 1154. Henry II | 1189. Richard I. Third Crusade | 1199. John | | 1200 (_cir_.). Layamon's Brut 1215. Magna Charta | 1216. Henry III | | 1225 (_cir_.). Ancren Riwle 1230 (_cir._). University of Cambridge | chartered | 1265. Beginning of House of Commons. | Simon de Montfort | | 1267. Roger Bacon's Opus Majus 1272. Edward I | 1295. First complete Parliament | | 1300-1400. York and Wakefield.

| Miracle plays 1307. Edward II | | 1320 (_cir_.). Cursor Mundi 1327. Edward III | 1338. Beginning of Hundred Years' War | with France | | 1340 (?). Birth of Chaucer | 1350 (_cir_.). Sir Gawain. The Pearl =======================================+====================================

CHAPTER IV

THE AGE OF CHAUCER (1350-1400)

THE NEW NATIONAL LIFE AND LITERATURE

HISTORY OF THE PERIOD. Two great movements may be noted in the complex life of England during the fourteenth century. The first is political, and culminates in the reign of Edward III. It shows the growth of the English national spirit following the victories of Edward and the Black Prince on French soil, during the Hundred Years' War. In the rush of this great national movement, separating England from the political ties of France and, to a less degree, from ecclesiastical bondage to Rome, the mutual distrust and jealousy which had divided n.o.bles and commons were momentarily swept aside by a wave of patriotic enthusiasm. The French language lost its official prestige, and English became the speech not only of the common people but of courts and Parliament as well.

The second movement is social; it falls largely within the reign of Edward's successor, Richard II, and marks the growing discontent with the contrast between luxury and poverty, between the idle wealthy cla.s.ses and the overtaxed peasants. Sometimes this movement is quiet and strong, as when Wyclif arouses the conscience of England; again it has the portentous rumble of an approaching tempest, as when John Ball harangues a mult.i.tude of discontented peasants on Black Heath commons, using the famous text:

When Adam delved and Eve span Who was then the gentleman?

and again it breaks out into the violent rebellion of Wat Tyler. All these things show the same Saxon spirit that had won its freedom in a thousand years' struggle against foreign enemies, and that now felt itself oppressed by a social and industrial tyranny in its own midst.

Aside from these two movements, the age was one of unusual stir and progress. Chivalry, that mediaeval inst.i.tution of mixed good and evil, was in its Indian summer,--a sentiment rather than a practical system. Trade, and its resultant wealth and luxury, were increasing enormously. Following trade, as the Vikings had followed glory, the English began to be a conquering and colonizing people, like the Anglo-Saxons. The native shed something of his insularity and became a traveler, going first to view the places where trade had opened the way, and returning with wider interests and a larger horizon. Above all, the first dawn of the Renaissance is heralded in England, as in Spain and Italy, by the appearance of a national literature.

FIVE WRITERS OF THE AGE. The literary movement of the age clearly reflects the stirring life of the times. There is Langland, voicing the social discontent, preaching the equality of men and the dignity of labor; Wyclif, greatest of English religious reformers, giving the Gospel to the people in their own tongue, and the freedom of the Gospel in unnumbered tracts and addresses; Gower, the scholar and literary man, criticising this vigorous life and plainly afraid of its consequences; and Mandeville, the traveler, romancing about the wonders to be seen abroad. Above all there is Chaucer,--scholar, traveler, business man, courtier, sharing in all the stirring life of his times, and reflecting it in literature as no other but Shakespeare has ever done. Outside of England the greatest literary influence of the age was that of Dante, Petrarch, and Boccaccio, whose works, then at the summit of their influence in Italy, profoundly affected the literature of all Europe.

CHAUCER (1340?-1400)

'What man artow?' quod he; 'Thou lokest as thou woldest finde an hare, For ever upon the ground I see thee stare.

Approche neer, and loke up merily....

He semeth elvish by his contenaunce.'

(The Host's description of Chaucer, Prologue, _Sir Thopas_)

ON READING CHAUCER. The difficulties of reading Chaucer are more apparent than real, being due largely to obsolete spelling, and there is small necessity for using any modern versions of the poet's work, which seem to miss the quiet charm and dry humor of the original. If the reader will observe the following general rules (which of necessity ignore many differences in p.r.o.nunciation of fourteenth-century English), he may, in an hour or two, learn to read Chaucer almost as easily as Shakespeare: (1) Get the lilt of the lines, and let the meter itself decide how final syllables are to be p.r.o.nounced. Remember that Chaucer is among the most musical of poets, and that there is melody in nearly every line. If the verse seems rough, it is because we do not read it correctly. (2) Vowels in Chaucer have much the same value as in modern German; consonants are practically the same as in modern English. (3) p.r.o.nounce aloud any strange-looking words. Where the eye fails, the ear will often recognize the meaning. If eye and ear both fail, then consult the glossary found in every good edition of the poet's works. (4) Final _e_ is usually sounded (like _a_ in Virginia) except where the following word begins with a vowel or with _h_.

In the latter case the final syllable of one word and the first of the word following are run together, as in reading Virgil. At the end of a line the _e_, if lightly p.r.o.nounced, adds melody to the verse.[70]

In dealing with Chaucer's masterpiece, the reader is urged to read widely at first, for the simple pleasure of the stories, and to remember that poetry and romance are more interesting and important than Middle English.

When we like and appreciate Chaucer--his poetry, his humor, his good stories, his kind heart---it will be time enough to study his language.

LIFE OF CHAUCER. For our convenience the life of Chaucer is divided into three periods. The first, of thirty years, includes his youth and early manhood, in which time he was influenced almost exclusively by French literary models. The second period, of fifteen years, covers Chaucer's active life as diplomat and man of affairs; and in this the Italian influence seems stronger than the French. The third, of fifteen years, generally known as the English period, is the time of Chaucer's richest development. He lives at home, observes life closely but kindly, and while the French influence is still strong, as shown in the _Canterbury Tales_, he seems to grow more independent of foreign models and is dominated chiefly by the vigorous life of his own English people.

Chaucer's boyhood was spent in London, on Thames Street near the river, where the world's commerce was continually coming and going. There he saw daily the shipman of the _Canterbury Tales_ just home in his good ship Maudelayne, with the fascination of unknown lands in his clothes and conversation. Of his education we know nothing, except that he was a great reader. His father was a wine merchant, purveyor to the royal household, and from this accidental relation between trade and royalty may have arisen the fact that at seventeen years Chaucer was made page to the Princess Elizabeth. This was the beginning of his connection with the brilliant court, which in the next forty years, under three kings, he was to know so intimately.

At nineteen he went with the king on one of the many expeditions of the Hundred Years' War, and here he saw chivalry and all the pageantry of mediaeval war at the height of their outward splendor. Taken prisoner at the unsuccessful siege of Rheims, he is said to have been ransomed by money out of the royal purse. Returning to England, he became after a few years squire of the royal household, the personal attendant and confidant of the king. It was during this first period that he married a maid of honor to the queen. This was probably Philippa Roet, sister to the wife of John of Gaunt, the famous Duke of Lancaster. From numerous whimsical references in his early poems, it has been thought that this marriage into a n.o.ble family was not a happy one; but this is purely a matter of supposition or of doubtful inference.

In 1370 Chaucer was sent abroad on the first of those diplomatic missions that were to occupy the greater part of the next fifteen years. Two years later he made his first official visit to Italy, to arrange a commercial treaty with Genoa, and from this time is noticeable a rapid development in his literary powers and the prominence of Italian literary influences.

During the intervals between his different missions he filled various offices at home, chief of which was Comptroller of Customs at the port of London. An enormous amount of personal labor was involved; but Chaucer seems to have found time to follow his spirit into the new fields of Italian literature:

For whan thy labour doon al is, And hast y-maad thy rekeninges, In stede of reste and newe thinges, Thou gost hoom to thy hous anoon, And, also domb as any stoon, Thou sittest at another boke Til fully daswed is thy loke, And livest thus as an hermyte.[71]

In 1386 Chaucer was elected member of Parliament from Kent, and the distinctly English period of his life and work begins. Though exceedingly busy in public affairs and as receiver of customs, his heart was still with his books, from which only nature could win him:

And as for me, though that my wit be lyte, On bokes for to rede I me delyte, And to hem yeve I feyth and ful credence, And in myn herte have hem in reverence So hertely, that ther is game noon That fro my bokes maketh me to goon, But hit be seldom, on the holyday; Save, certeynly, whan that the month of May Is comen, and that I here the foules singe, And that the floures ginnen for to springe-- Farwel my book and my devocioun![72]

In the fourteenth century politics seems to have been, for honest men, a very uncertain business. Chaucer naturally adhered to the party of John of Gaunt, and his fortunes rose or fell with those of his leader. From this time until his death he is up and down on the political ladder; to-day with money and good prospects, to-morrow in poverty and neglect, writing his "Complaint to His Empty Purs," which he humorously calls his "saveour doun in this werlde here." This poem called the king's attention to the poet's need and increased his pension; but he had but few months to enjoy the effect of this unusual "Complaint." For he died the next year, 1400, and was buried with honor in Westminster Abbey. The last period of his life, though outwardly most troubled, was the most fruitful of all. His "Truth,"

or "Good Counsel," reveals the quiet, beautiful spirit of his life, unspoiled either by the greed of trade or the trickery of politics:

Flee fro the prees, and dwelle with sothfastnesse, Suffyce unto thy good, though hit be smal; For hord[73] hath hate, and climbing tikelnesse, Prees[74] hath envye, and wele[75] blent[76] overal; Savour no more than thee bihove shal; Werk[77] wel thyself, that other folk canst rede; And trouthe shal delivere, hit is no drede.

Tempest[78] thee noght al croked to redresse, In trust of hir[79] that turneth as a bal: Gret reste stant in litel besinesse; And eek be war to sp.o.r.ne[80] ageyn an al[81]; Stryve noght, as doth the crokke with the wal.

Daunte[82] thyself, that dauntest otheres dede; And trouthe shal delivere, hit is no drede.

That thee is sent, receyve in buxumnesse, The wrastling for this worlde axeth a fal.

Her nis non hoom, her nis but wildernesse: Forth, pilgrim, forth! Forth, beste, out of thy stall, Know thy contree, look up, thank G.o.d of al; Hold the hye wey, and lat thy gost thee lede: And trouthe shal delivere, hit is no drede.

WORKS OF CHAUCER, FIRST PERIOD. The works of Chaucer are roughly divided into three cla.s.ses, corresponding to the three periods of his life. It should be remembered, however, that it is impossible to fix exact dates for most of his works. Some of his _Canterbury Tales_ were written earlier than the English period, and were only grouped with the others in his final arrangement.

The best known, though not the best, poem of the first period is the _Romaunt of the Rose_,[83] a translation from the French _Roman de la Rose_, the most popular poem of the Middle Ages,--a graceful but exceedingly tiresome allegory of the whole course of love. The Rose growing in its mystic garden is typical of the lady Beauty. Gathering the Rose represents the lover's attempt to win his lady's favor; and the different feelings aroused--Love, Hate, Envy, Jealousy, Idleness, Sweet Looks--are the allegorical persons of the poet's drama. Chaucer translated this universal favorite, putting in some original English touches; but of the present _Romaunt_ only the first seventeen hundred lines are believed to be Chaucer's own work.

Perhaps the best poem of this period is the "Dethe of Blanche the d.u.c.h.esse," better known, as the "Boke of the d.u.c.h.esse," a poem of considerable dramatic and emotional power, written after the death of Blanche, wife of Chaucer's patron, John of Gaunt. Additional poems are the "Compleynte to Pite," a graceful love poem; the "A B C," a prayer to the Virgin, translated from the French of a Cistercian monk, its verses beginning with the successive letters of the alphabet; and a number of what Chaucer calls "ballads, roundels, and virelays," with which, says his friend Gower, "the land was filled." The latter were imitations of the prevailing French love ditties.

SECOND PERIOD. The chief work of the second or Italian period is _Troilus and Criseyde_, a poem of eight thousand lines. The original story was a favorite of many authors during the Middle Ages, and Shakespeare makes use of it in his _Troilus and Cressida_. The immediate source of Chaucer's poem is Boccaccio's _Il Filostrato,_ "the love-smitten one"; but he uses his material very freely, to reflect the ideals of his own age and society, and so gives to the whole story a dramatic force and beauty which it had never known before.

The "Hous of Fame" is one of Chaucer's unfinished poems, having the rare combination of lofty thought and simple, homely language, showing the influence of the great Italian master. In the poem the author is carried away in a dream by a great eagle from the brittle temple of Venus, in a sandy wilderness, up to the hall of fame. To this house come all rumors of earth, as the sparks fly upward. The house stands on a rock of ice

writen ful of names Of folk that hadden grete fames.

Many of these have disappeared as the ice melted; but the older names are clear as when first written. For many of his ideas Chaucer is indebted to Dante, Ovid, and Virgil; but the unusual conception and the splendid workmanship are all his own.

The third great poem of the period is the _Legende of Goode Wimmen_. As he is resting in the fields among the daisies, he falls asleep and a gay procession draws near. First comes the love G.o.d, leading by the hand Alcestis, model of all wifely virtues, whose emblem is the daisy; and behind them follow a troup of glorious women, all of whom have been faithful in love. They gather about the poet; the G.o.d upbraids him for having translated the _Romance of the Rose_, and for his early poems reflecting on the vanity and fickleness of women. Alcestis intercedes for him, and offers pardon if he will atone for his errors by writing a "glorious legend of good women." Chaucer promises, and as soon as he awakes sets himself to the task. Nine legends were written, of which "Thisbe" is perhaps the best. It is probable that Chaucer intended to make this his masterpiece, devoting many years to stories of famous women who were true to love; but either because he wearied of his theme, or because the plan of the _Canterbury Tales_ was growing in his mind, he abandoned the task in the middle of his ninth legend,--fortunately, perhaps, for the reader will find the Prologue more interesting than any of the legends.

THIRD PERIOD. Chaucer's masterpiece, the _Canterbury Tales_, one of the most famous works in all literature, fills the third or English period of his life. The plan of the work is magnificent: to represent the wide sweep of English life by gathering a motley company together and letting each cla.s.s of society tell its own favorite stories. Though the great work was never finished, Chaucer succeeded in his purpose so well that in the _Canterbury Tales_ he has given us a picture of contemporary English life, its work and play, its deeds and dreams, its fun and sympathy and hearty joy of living, such as no other single work of literature has ever equaled.

PLAN OF THE CANTERBURY TALES. Opposite old London, at the southern end of London Bridge, once stood the Tabard Inn of Southwark, a quarter made famous not only by the _Canterbury Tales_, but also by the first playhouses where Shakespeare had his training. This Southwark was the point of departure of all travel to the south of England, especially of those mediaeval pilgrimages to the shrine of Thomas a Becket in Canterbury. On a spring evening, at the inspiring time of the year when "longen folk to goon on pilgrimages," Chaucer alights at the Tabard Inn, and finds it occupied by a various company of people bent on a pilgrimage. Chance alone had brought them together; for it was the custom of pilgrims to wait at some friendly inn until a sufficient company were gathered to make the journey pleasant and safe from robbers that might be encountered on the way.

Chaucer joins this company, which includes all cla.s.ses of English society, from the Oxford scholar to the drunken miller, and accepts gladly their invitation to go with them on the morrow.

At supper the jovial host of the Tabard Inn suggests that, to enliven the journey, each of the company shall tell four tales, two going and two coming, on whatever subject shall suit him best. The host will travel with them as master of ceremonies, and whoever tells the best story shall be given a fine supper at the general expense when they all come back again,--a shrewd bit of business and a fine idea, as the pilgrims all agree.

When they draw lots for the first story the chance falls to the Knight, who tells one of the best of the _Canterbury Tales_, the chivalric story of "Palamon and Arcite." Then the tales follow rapidly, each with its prologue and epilogue, telling how the story came about, and its effects on the merry company. Interruptions are numerous; the narrative is full of life and movement, as when the miller gets drunk and insists on telling his tale out of season, or when they stop at a friendly inn for the night, or when the poet with sly humor starts his story of "Sir Thopas," in dreary imitation of the metrical romances of the day, and is roared at by the host for his "drasty ryming." With Chaucer we laugh at his own expense, and are ready for the next tale.