Chaucer Part 2

Already in the French "Roman de la Rose" the rivalry between the Friars and the Parish Priests is the theme of much satire, evidently unfavourable to the former and favourable to the latter; but in England, where Langland likewise dwells upon the jealousy between them, it was specially accentuated by the a.s.saults of Wyclif upon the Mendicant Orders. Wyclif's Simple Priests, who at first ministered with the approval of the Bishops, differed from the Mendicants, first by not being beggars, and secondly by being poor. They might perhaps have themselves ultimately played the part of a new Order in England, had not Wyclif himself by rejecting the cardinal dogma of the Church severed these followers of his from its organism and brought about their suppression. The question as to Chaucer's own att.i.tude towards the Wycliffite movement will be more conveniently touched upon below; but the tone is unmistakable of the references or allusions to Lollardry which he occasionally introduces into the mouth of his "Host," whose voice is that vox populi which the upper and middle cla.s.ses so often arrogate to themselves. Whatever those cla.s.ses might desire, it was not to have "c.o.c.kle sown" by unauthorised intruders "in the corn" of their ordinary instruction. Thus there is a tone of genuine attachment to the "vested interest" principle, and of aversion from all such interlopers as lay preachers and the like, in the "Host's" exclamation, uttered after the "Reeve," has been (in his own style) "sermoning" on the topic of old age:--

What availeth all this wit?

What? should we speak all day of Holy Writ?

The devil surely made a reeve to preach;

for which he is as well suited as a cobbler would be for turning mariner or physician!

Thus, then, in the England of Chaucer's days we find the Church still in possession of vast temporal wealth and of great power and privileges,--as well as of means for enforcing unity of profession which the legislation of the Lancastrian dynasty, stimulated by the prevailing fears of heresy, was still further to increase. On the other hand, we find the influence of the clergy over the minds of the people diminished though not extinguished. This was, in the case of the higher secular clergy, partly attributable to their self-indulgence or neglect of their functions, partly to their having been largely superseded by the Regulars in the control of the religious life of the people. The Orders we find no longer at the height of their influence, but still powerful by their wealth, their numbers, their traditional hold upon the lower cla.s.ses, and their determination to retain this hold even by habitually resorting to the most dubious of methods.

Lastly, we find in the lower secular clergy, and doubtless may also a.s.sume it to have lingered among some of the regular, some of the salt left whose savour consists in a single-minded and humble resolution to maintain the highest standard of a religious life. But such "clerks"

as these are at no times the most easily found, because it is not they who are always running it "unto London, unto St. Paul's" on urgent private affairs. What wonder, that the real teaching of Wyclif, of which the full significance could hardly be understood, but by a select few, should have virtually fallen dead upon his generation, to which the various agitations and agitators, often mingling ideas of religious reform with social and political grievances, seemed to be identical in character and alike to require suppression! In truth, of course, these movements and their agents were often very different from one another in their ends, and were not to be suppressed by the same processes.

It should not be forgotten that in this century learning was, though only very gradually, ceasing to be a possession of the clergy alone.

Much doubt remains as to the extent of education--if a little reading, and less writing deserve the name--among the higher cla.s.ses in this period of our national life. A cheering sign appears in the circ.u.mstance that the legal deeds of this age begin to bear signatures, and a reference to John of Trevisa would bear out Hallam's conjecture, that in the year 1400 "the average instruction of an English gentleman of the first cla.s.s would comprehend common reading and writing, a considerable knowledge of French, and a slight tincture of Latin."

Certain it is that in this century the barren teaching of the Universities advanced but little towards the true end of all academical teaching--the encouragement and spread of the highest forms of national culture. To what use could a gentleman of Edward III's or Richard II's day have put the acquirements of a "Clerk of Oxenford" in Aristotelian logic, supplemented perhaps by a knowledge of Priscian, and the rhetorical works of Cicero? Chaucer's scholar, however much his learned modesty of manner and sententious brevity of speech may commend him to our sympathy and taste, is a man wholly out of the world in which he lives, though a dependent on its charity even for the means with which to purchase more of his beloved books. Probably no trustworthier conclusions as to the literary learning and studies of those days are to be derived from any other source than from a comparison of the few catalogues of contemporary libraries remaining to us; and these help to show that the century was approaching its close before a few spa.r.s.e rays of the first dawn of the Italian Renascence reached England. But this ray was communicated neither through the clergy nor through the Universities; and such influence as was exercised by it upon the national mind, was directly due to profane poets,--men of the world, who like Chaucer quoted authorities even more abundantly than they used them, and made some of their happiest discoveries after the fas.h.i.+on in which the "Oxford Clerk" came across Petrarch's Latin version of the story of Patient Grissel: as it were by accident. There is only too ample a justification for leaving aside the records of the history of learning in England during the latter half of the fourteenth century in any sketch of the main influences which in that period determined or affected the national progress. It was not by his theological learning that Wyclif was brought into living contact with the current of popular thought and feeling. The Universities were thriving exceedingly on the scholastic glories of previous ages; but the ascendancy was pa.s.sing away to which Oxford had attained over Paris--during the earlier middle ages, and again in the fifteenth century until the advent of the Renascence, the central university of Europe in the favourite study of scholastic philosophy and theology.

But we must turn from particular cla.s.ses and ranks of men to the whole body of the population, exclusively of that great section of it which unhappily lay outside the observation of any but a very few writers--whether poets or historians. In the people at large we may, indeed, easily discern in this period the signs of an advance towards that self-government which is the true foundation of our national greatness. But on the other hand it is impossible not to observe how, while the moral ideas of the people wore still under the control of the Church, the State in its turn still ubiquitously interfered in the settlement of the conditions of social existence, fixing prices, controlling personal expenditure, regulating wages. Not until England had fully attained to the character of a commercial country, which it was coming gradually to a.s.sume, did its inhabitants begin to understand the value of that which has gradually come to distinguish ours among the nations of Europe, viz. the right of individual Englishmen, as well as of the English people, to manage their own affairs for themselves.

This may help to explain what can hardly fail to strike a reader of Chaucer and of the few contemporary remains of our literature. About our national life in this period, both in its virtues and in its vices, there is something--it matters little whether we call it--childlike or childish; in its "apert" if not in its privy sides it lacks the seriousness belonging to men and to generations, who have learnt to control themselves, instead of relying on the control of others.

In ill.u.s.tration of this a.s.sertion, appeal might be made to several of the most salient features in the social life of the period. The extravagant expenditure in dress, fostered by a love of pageantry of various kinds encouraged by both chivalry and the Church, has been already referred to; it was by no means distinctive of any one cla.s.s of the population. Among the friars who went about preaching homilies on the people's favourite vices some humorous rogues may, like the "Pardoner" of the "Canterbury Tales," have made a point of treating their own favourite vice as their one and unchangeable text:--

My theme is always one, and ever was: Radix malorum est cupiditas.

But others preferred to dwell on specifically lay sins; and these moralists occasionally attributed to the love of expenditure on dress the impoverishment of the kingdom, forgetting in their ignorance of political economy and defiance of common sense, that this result was really due to the endless foreign wars. Yet in contrast with the pomp and ceremony of life, upon which so great an amount of money and time and thought was wasted, are noticeable shortcomings by no means uncommon in the case of undeveloped civilisations (as for instance among the most typically childish or childlike nationalities of the Europe of our own day), viz. discomfort and uncleanliness of all sorts.

To this may be added the excessive fondness for sports and pastimes of all kinds, in which nations are aptest to indulge before or after the era of their highest efforts,--the desire to make life one long holiday, dividing it between tournaments and the dalliance of courts of love, or between archery-meetings (skilfully subst.i.tuted by royal command for less useful exercises), and the seductive company of "tumblers," "fruiterers," and "waferers." Furthermore, one may notice in all cla.s.ses a far from eradicated inclination to superst.i.tions of every kind,--whether those encouraged or those discouraged by the Church

(For holy Church's faith, in our belief, Suffereth no illusion us to grieve.

"The Franklin's Tale."),

--an inclination unfortunately fostered rather than checked by the uncertain gropings of contemporary science. Hence, the credulous acceptance of relics like those sold by the "Pardoner," and of legends like those related to Chaucer's Pilgrims by the "Prioress" (one of the numerous repet.i.tions of a cruel calumny against the Jews), and by the "Second Nun" (the supra-sensual story of Saint Cecilia). Hence, on the other hand, the greedy hunger for the marvels of astrology and alchemy, notwithstanding the growing scepticism even of members of a cla.s.s represented by Chaucer's "Franklin" towards

such folly As in our days is not held worth a fly,

and notwithstanding the exposure of fraud by repentant or sickened accomplices, such as the gold-making "Canon's Yeoman." Hence, again, the vitality of such quasi-scientific fancies as the magic mirror, of which miraculous instrument the "Squire's" "half-told story" describes a specimen, referring to the incontestable authority of Aristotle and others, who write "in their lives" concerning quaint mirrors and perspective gla.s.ses, as is well known to those who have "heard the books" of these sages. Hence, finally, the corresponding tendency to eschew the consideration of serious religious questions, and to leave them to clerks, as if they were crabbed problems of theology. For in truth, while the most fertile and fertilising ideas of the Middle Ages had exhausted, or were rapidly coming to exhaust, their influence upon the people, the forms of the doctrines of the Church--even of the most stimulative as well as of the most solemn among them,--had grown hard and stiff. To those who received if not to those who taught these doctrines they seemed alike lifeless, unless translated into the terms of the merest earthly transactions or the language of purely human relations. And thus, paradoxical as it might seem, cool-headed and conscientious rulers of the Church thought themselves on occasion called upon to restrain rather than to stimulate the religious ardour of the mult.i.tude--fed as the flame was by very various materials.

Perhaps no more characteristic narrative has come down to us from the age of the Poet of the "Canterbury Tales," than the story of Bishop (afterwards Archbishop) Sudbury and the Canterbury Pilgrims. In the year 1370 the land was agitated through its length and breadth, on the occasion of the fourth jubilee of the national saint, Thomas the Martyr. The pilgrims were streaming in numbers along the familiar Kentish road, when, on the very vigil of the feast, one of their companies was accidentally met by the Bishop of London. They demanded his blessing; but to their astonishment and indignation he seized the occasion to read a lesson to the crowd on the uselessness to unrepentant sinners of the plenary indulgences, for the sake of which they were wending their way to the Martyr's shrine. The rage of the mult.i.tude found a mouthpiece in a soldier, who loudly upbraided the Bishop for stirring up the people against St. Thomas, and warned him that a shameful death would befall him in consequence. The mult.i.tude shouted Amen--and one is left to wonder whether any of the pious pilgrims who resented Bishop Sudbury's manly truthfulness, swelled the mob which eleven years later butchered "the plunderer" as it called him, "of the Commons." It is such glimpses as this which show us how important the Church had become towards the people. Worse was to ensue before the better came; in the meantime, the nation was in that stage of its existence when the innocence of the child was fast losing itself, without the self-control of the man having yet taken its place.

But the heart of England was sound the while. The national spirit of enterprise was not dead in any cla.s.s, from knight to s.h.i.+pman; and faithfulness and chast.i.ty in woman were still esteemed the highest though not the universal virtues of her s.e.x. The value of such evidence as the mind of a great poet speaking in his works furnishes for a knowledge of the times to which he belongs is inestimable. For it shows us what has survived, as well as what was doomed to decay, in the life of the nation with which that mind was in sensitive sympathy.

And it therefore seemed not inappropriate to approach, in the first instance, from this point of view the subject of this biographical essay,--Chaucer, "the poet of the dawn." For in him there are many things significant of the age of transition in which he lived; in him the mixture of Frenchman and Englishman is still in a sense incomplete, as that of their language is in the diction of his poems. His gaiety of heart is hardly English; nor is his willing (though, to be sure, not invariably unquestioning) acceptance of forms into the inner meaning of which he does not greatly vex his soul by entering; nor his airy way of ridiculing what he has no intention of helping to overthrow; nor his light unconcern in the question whether he is, or is not, an immoral writer. Or, at least, in all of these things he has no share in qualities and tendencies, which influences and conflicts unknown to and unforeseen by him may be safely said to have ultimately made characteristic of Englishmen. But he IS English in his freedom and frankness of spirit; in his manliness of mind; in his preference for the good in things as they are to the good in things as they might be; in his loyalty, his piety, his truthfulness. Of the great movement which was to mould the national character for at least a long series of generations he displays no serious foreknowledge; and of the elements already preparing to affect the course of that movement he shows a very incomplete consciousness. But of the health and strength which, after struggles many and various, made that movement possible and made it victorious, he, more than any one of his contemporaries, is the living type and the speaking witness. Thus, like the times to which he belongs, he stands half in and half out of the Middle Ages, half in and half out of a phase of our national life, which we can never hope to understand more than partially and imperfectly. And it is this, taken together with the fact that he is the first English poet to read whom is to enjoy him, and that he garnished not only our language but our literature with blossoms still adorning them in vernal freshness,--which makes Chaucer's figure so unique a one in the gallery of our great English writers, and gives to his works an interest so inexhaustible for the historical as well as for the literary student.

CHAPTER 2. CHAUCER'S LIFE AND WORKS.

Something has been already said as to the conflict of opinion concerning the period of Geoffrey Chaucer's birth, the precise date of which is very unlikely ever to be ascertained. A better fortune has attended the anxious enquiries which in his case, as in those of other great men have been directed to the very secondary question of ancestry and descent,--a question to which, in the abstract at all events, no man ever attached less importance than he. Although the name "Chaucer"

is (according to Thynne), to be found on the lists of Battle Abbey, this no more proves that the poet himself came of "high parage," than the reverse is to be concluded from the nature of his coat-of-arms, which Speght thought must have been taken out of the 27th and 28th Propositions of the First Book of Euclid. Many a warrior of the Norman Conquest was known to his comrades only by the name of the trade which he had plied in some French or Flemish town, before he attached himself a volunteer to Duke William's holy and lucrative expedition; and it is doubtful whether even in the fourteenth century the name "Le Chaucer"

is, wherever it occurs in London, used as a surname, or whether in some instances it is not merely a designation of the owner's trade. Thus we should not be justified in a.s.suming a French origin for the family from which Richard le Chaucer, whom we know to have been the poet's grandfather, was descended. Whether or not he was at any time a shoemaker (chaucier, maker of chausses), and accordingly belonged to a gentle craft otherwise not una.s.sociated with the history of poetry, Richard was a citizen of London, and vintner, like his son John after him. John Chaucer, whose wife's Christian name may be with tolerable safety set down as Agnes, owned a house in Thames Street, London, not far from the arch on which modern pilgrims pa.s.s by rail to Canterbury or beyond, and in the neighbourhood of the great bridge, which in Chaucer's own day, emptied its travellers on their errands, sacred or profane, into the great Southern road, the Via Appia of England. The house afterwards descended to John's son, Geoffrey, who released his right to it by deed in the year 1380. Chaucer's father was probably a man of some substance, the most usual personal recommendation to great people in one of his cla.s.s. For he was at least temporarily connected with the Court, inasmuch as he attended King Edward III and Queen Philippa on the memorable journey to Flanders and Germany, in the course of which the English monarch was proclaimed Vicar of the Holy Roman Empire on the left bank of the Rhine. John Chaucer died in 1366, and in course of time his widow married another citizen and vintner.

Thomas Heyroun, John Chaucer's brother of the half-blood, was likewise a member of the same trade; so that the young Geoffrey was certainly not brought up in an atmosphere of abstinence. The "Host" of the "Canterbury Tales," though he takes his name from an actual personage, may therefore have in him touches of a family portrait; but Chaucer himself nowhere displays any traces of a hereditary devotion to Bacchus, and makes so experienced a pract.i.tioner as the "Pardoner" the mouthpiece of as witty an invective against drunkenness as has been uttered by any a.s.sailant of our existing licensing laws. Chaucer's own practice as well as his opinion on this head is sufficiently expressed in the characteristic words he puts into the mouth of Cressid:--

In every thing, I wot, there lies measure: For though a man forbid all drunkenness, He biddeth not that every creature Be drinkless altogether, as I guess.

Of Geoffrey Chaucer we know nothing whatever from the day of his birth (whenever it befell) to the year 1357. His earlier biographers, who supposed him to have been born in 1328, had accordingly a fair field open for conjecture and speculation. Here it must suffice to risk the a.s.severation, that he cannot have accompanied his father to Cologne in 1338, and on that occasion have been first "taken notice of" by king and queen, if he was not born till two or more years afterwards. If, on the other hand, he was born in 1328, both events MAY have taken place. On neither supposition is there any reason for believing that he studied at one--or at both--of our English Universities. The poem cannot be accepted as Chaucerian, the author of which (very possibly by a mere dramatic a.s.sumption) declares:--

Philogenet I call'd am far and near, Of Cambridge clerk;

nor can any weight be attached to the circ.u.mstance that the "Clerk,"

who is one of the most delightful figures among the Canterbury Pilgrims, is an Oxonian. The enticing enquiry as to so WHICH of the sister Universities may claim Chaucer as her own must, therefore, be allowed to drop, together with the subsidiary question, whether stronger evidence of local colouring is furnished by the "Miller's"

picture of the life of a poor scholar in lodgings at Oxford, or by the "Reeve's" rival narrative of the results of a Trumpington walk taken by two undergraduates of the "Soler Hall" at Cambridge. Equally baseless is the supposition of one of Chaucer's earliest biographers, that he completed his academical studies at Paris--and equally futile the concomitant fiction that in France "he acquired much applause by his literary exercises." Finally, we have the tradition that he was a member of the Inner Temple--which is a conclusion deduced from a piece of genial scandal as to a record having been seen in that Inn of a fine imposed upon him for beating a friar in Fleet-street. This story was early placed by Thynne on the horns of a sufficiently decisive dilemma: in the days of Chaucer's youth, lawyers had not yet been admitted into the Temple; and in the days of his maturity he is not very likely to have been found engaged in battery in a London thoroughfare.

We now desert the region of groundless conjecture, in order with the year 1357 to arrive at a firm though not very broad footing of facts.

In this year, "Geoffrey Chaucer" (whom it would be too great an effort of scepticism to suppose to have been merely a namesake of the poet) is mentioned in the Household Book of Elizabeth Countess of Ulster, wife of Prince Lionel (third son of King Edward III, and afterwards Duke of Clarence), as a recipient of certain articles of apparel. Two similar notices of his name occur up to the year 1359. He is hence concluded to have belonged to Prince Lionel's establishment as squire or page to the Lady Elizabeth; and it was probably in the Prince's retinue that he took part in the expedition of King Edward III into France, which began at the close of the year 1359 with the ineffectual siege of Rheims, and in the next year, after a futile attempt upon Paris, ended with the compromise of the Peace of Bretigny. In the course of this campaign Chaucer was taken prisoner; but he was released without much loss of time, as appears by a doc.u.ment bearing date March 1st, 1360, in which the king contributes the sum of 16 pounds for Chaucer's ransom. We may therefore conclude that he missed the march upon Paris, and the sufferings undergone by the English army on their road thence to Chartres--the most exciting experiences of an inglorious campaign; and that he was actually set free by the Peace. When, in the year 1367, we next meet with his name in authentic records, his earliest known patron, the Lady Elizabeth, is dead; and he has pa.s.sed out of the service of Prince Lionel into that of King Edward himself, as Valet of whose Chamber or household he receives a yearly salary for life of twenty marks, for his former and future services. Very possibly he had quitted Prince Lionel's service when in 1361 that Prince had by reason of his marriage with the heiress of Ulster been appointed to the Irish government by his father, who was supposed at one time to have destined him for the Scottish throne.

Concerning the doings of Chaucer in the interval between his liberation from his French captivity and the first notice of him as Valet of the King's Chamber we know nothing at all. During these years, however, no less important a personal event than his marriage was by earlier biographers supposed to have occurred. On the other hand, according to the view which commends itself to several eminent living commentators of the poet, it was not courts.h.i.+p and marriage, but a hopeless and unrequited pa.s.sion, which absorbed these years of his life. Certain stanzas in which, as they think, he gave utterance to this pa.s.sion are by them ascribed to one of these years; so that if their view were correct, the poem in question would have to be regarded as the earliest of his extant productions. The problem which we have indicated must detain us for a moment.

It is attested by doc.u.mentary evidence, that in the year 1374, Chaucer had a wife by name Philippa, who had been in the service of John of Gaunt, Duke of Lancaster, and of his d.u.c.h.ess (doubtless his second wife, Constance), as well as in that of his mother the good Queen Philippa, and who, on several occasions afterwards, besides special new year's gifts of silver-gilt cups from the Duke, received her annual pension of ten marks through her husband. It is likewise proved that, in 1366, a pension of ten marks was granted to _a_ Philippa Chaucer, one of the ladies of the Queen's Chamber. Obviously, it is a highly probable a.s.sumption that these two Philippa Chaucers were one and the same person; but in the absence of any direct proof it is impossible to affirm as certain, or to deny as demonstrably untrue, that the Philippa Chaucer of 1366 owed her surname to marriage. Yet the view was long held, and is still maintained by writers of knowledge and insight, that the Phillipa of 1366 was at that date Chaucer's wife. In or before that year he married, it was said, Philippa Roet, daughter of Sir Paon de Roet of Hainault, Guienne King of Arms, who came to England in Queen Philippa's retinue in 1328. This tradition derived special significance from the fact that another daughter of Sir Paon, Katharine, widow of Sir Hugh Swynford, was successively governess, mistress, and (third) wife to the Duke of Lancaster, to whose service both Geoffrey and Philippa Chaucer were at one time attached. It was apparently founded on the circ.u.mstance that Thomas Chaucer, the supposed son of the poet, quartered the Roet arms with his own. But unfortunately there is no evidence to show that Thomas Chaucer was a son of Geoffrey; and the superstructure must needs vanish with its basis. It being then no longer indispensable to a.s.sume Chaucer to have been a married man in 1366, the Philippa Chaucer of that year MAY have been only a namesake, and possibly a relative, of Geoffrey; for there were other Chaucers in London besides him and his father (who died this year), and one Chaucer at least has been found who was well-to-do enough to have a Damsel of the Queen's Chamber for his daughter in these certainly not very exclusive times.

There is accordingly no PROOF that Chaucer was a married man before 1374, when he is known to have received a pension for his own and his wife's services. But with this negative result we are asked not to be poor-spirited enough to rest content. At the opening of his "Book of the d.u.c.h.ess," a poem certainly written towards the end of the year 1369, Chaucer makes use of certain expressions, both very pathetic and very definite. The most obvious interpretation of the lines in question seems to be that they contain the confession of a hopeless pa.s.sion, which has lasted for eight years--a confession which certainly seems to come more appropriately and more naturally from an unmarried than from a married man. "For eight years," he says, or seems to say, "I have loved, and loved in vain--and yet my cure is never the nearer.

There is but one physician that can heal me--but all that is ended and done with. Let us pa.s.s on into fresh fields; what cannot be obtained must needs be left." It seems impossible to interpret this pa.s.sage (too long to cite in extenso) as a complaint of married life. Many other poets have indeed complained of their married lives, and Chaucer (if the view to be advanced below be correct) as emphatically as any. But though such occasional exclamations of impatience or regret--more especially when in a comic vein--may receive pardon, or even provoke amus.e.m.e.nt, yet a serious and sustained poetic version of Sterne's "sum multum fatigatus de uxore mea" would be unbearable in any writer of self-respect, and wholly out of character in Chaucer. Even Byron only indited elegies about his married life after his wife HAD LEFT HIM.

Now, among Chaucer's minor poems is preserved one called the "Complaint of the Death of Pity," which purports to set forth "how pity is dead and buried in a gentle heart," and, after testifying to a hopeless pa.s.sion, ends with the following declaration, addressed to Pity, as in a "bill" or letter:--

This is to say: I will be yours for ever, Though ye me slay by Cruelty, your foe; Yet shall my spirit nevermore dissever From your service, for any pain or woe, Pity, whom I have sought so long ago!

Thus for your death I may well weep and plain, With heart all sore, and full of busy pain.

If this poem be autobiographical, it would indisputably correspond well enough to a period in Chaucer's life, and to a mood of mind preceding those to which the introduction to the "Book of the d.u.c.h.ess" belongs.

If it be not autobiographical--and in truth there is nothing to prove it such, so that an attempt has been actually made to suggest its having been intended to apply to the experiences of another man--then the "Complaint of Pity" has no special value for students of Chaucer, since its poetic beauty, as there can be no harm in observing, is not in itself very great.

To come to an end of this topic, there seems no possibility of escaping from one of the following alternatives. EITHER the Philippa Chaucer of 1366 was Geoffrey Chaucer's wife, whether or not she was Philippa Roet before marriage, and the lament of 1369 had reference to another lady--an a.s.sumption to be regretted in the case of a married man, but not out of the range of possibility. OR--and this seems on the whole the most probable view--the Philippa Chaucer of 1366 was a namesake whom Geoffrey married some time after 1369, possibly, (of course only POSSIBLY,) the very lady whom he had loved hopelessly for eight years, and persuaded himself that he had at last relinquished--and who had then relented after all. This last conjecture it is certainly difficult to reconcile with the conclusion at which we arrive on other grounds, that Chaucer's married life was not one of preponderating bliss. That he and his wife were COUSINS is a pleasing thought, but one which is not made more pleasing by the seeming fact that, if they were so related, marriage in their case failed to draw close that hearts' bond which such kins.h.i.+p at times half unconsciously knits.

Married or still a bachelor, Chaucer may fairly be supposed, during part of the years previous to that in which we find him securely established in the king's service, to have enjoyed a measure of independence and leisure open to few men in his rank of life, when once the golden days of youth and early manhood have pa.s.sed away. Such years are in many men's lives marked by the projection, or even by the partial accomplishment, of literary undertakings on a large scale, and more especially of such as partake of an imitative character. When a juvenile and facile writer's taste is still unsettled, and his own style is as yet unformed, he eagerly tries his hand at the reproduction of the work of others; translates the "Iliad" or "Faust," or suits himself with unsuspecting prompt.i.tude to the production of masques, or pastorals, or life dramas--or whatever may be the prevailing fas.h.i.+on in poetry--after the manner of the favourite literary models of the day.

A priori, therefore, everything is in favour of the belief hitherto universally entertained, that among Chaucer's earliest poetical productions was the extant English translation of the French "Roman de la Rose." That he made SOME translation of this poem is a fact resting on his own statement in a pa.s.sage indisputably written by him (in the "Prologue" to the "Legend of Good Women"); nor is the value of this statement reduced by the negative circ.u.mstance, that in the extraordinary tag (if it may be called by so irreverent a name) to the extant "Canterbury Tales," the "Romaunt of the Rose" is pa.s.sed over in silence, or at least not nominally mentioned, among the objectionable works which the poet is there made to retract. And there seems at least no necessity for giving in to the conclusion that Chaucer's translation has been lost, and was not that which has been hitherto accepted as his. For this conclusion is based upon the use of a formal test, which in truth need not be regarded as of itself absolutely decisive in any case, but which in this particular instance need not be held applicable at all. A particular rule against rhyming with one another particular sounds, which in his later poems Chaucer seems invariably to have followed, need not have been observed by him in what was actually, or all but, his earliest. The unfinished state of the extant translation accords with the supposition that Chaucer broke it off on adopting (possibly after conference with Gower, who likewise observes the rule) a more logical practice as to the point in question.

Moreover, no English translation of this poem besides Chaucer's is ever known to have existed.

Whither should the youthful poet, when in search of materials on which to exercise a ready but as yet untrained hand, have so naturally turned as to French poetry, and in its domain whither so eagerly as to its universally acknowledged master-piece? French verse was the delight of the Court, into the service of which he was about this time preparing permanently to enter, and with which he had been more or less connected from his boyhood. In French Chaucer's contemporary Gower composed not only his first longer work, but not less than fifty ballads or sonnets, and in French (as well as in English) Chaucer himself may have possibly in his youth set his own 'prentice hand to the turning of "ballades, rondels, virelayes." The time had not yet arrived, though it was not far distant, when his English verse was to attest his admiration of Machault, whose fame Froissart and Froissart's imitations had brought across from the French Court to the English; and when Gransson, who served King Richard II as a squire, was extolled by his English adapter as the "flower of them that write in France." But as yet Chaucer's own tastes, his French blood, if he had any in his veins, and the familiarity with the French tongue which he had already had opportunities of acquiring, were more likely to commend to him productions of broader literary merits and a wider popularity. From these points of view, in the days of Chaucer's youth, there was no rival to the "Roman de la Rose," one of those rare works on which the literary history of whole generations and centuries may be said to hinge. The Middle Ages, in which from various causes the literary intercommunication between the nations of Europe was in some respects far livelier than it has been in later times, witnessed the appearance of several such works--diverse in kind but similar to one another in the universality of their popularity: "The Consolation of Philosophy,"

the "Divine Comedy," the "Imitation of Christ," the "Roman de la Rose,"

the "s.h.i.+p of Fools." The favour enjoyed by the "Roman de la Rose," was in some ways the most extraordinary of all. In France, this work remained the dominant work of poetic literature, and "the source whence every rhymer drew for his needs" down to the period of the cla.s.sical revival led by Ronsard (when it was edited by Clement Marot, Spenser's early model). In England, it exercised an influence only inferior to that which belonged to it at home upon both the matter and the form of poetry down to the renascence begun by Surrey and Wyatt. This extraordinary literary influence admits of a double explanation. But just as the authors.h.i.+p of the poem was very unequally divided between two personages, wholly divergent in their purposes as writers, so the POPULARITY of the poem is probably in the main to be attributed to the second and later of the pair.

To the trouvere Guillaume de Lorris (who took his name from a small town in the valley of the Loire) was due the original conception of the "Roman de la Rose," for which it is needless to suspect any extraneous source. To novelty of subject he added great ingenuity of treatment.

Instead of narrative of warlike adventures he offered to his readers a psychological romance, in which a combination of symbolisations and personified abstractions supplied the characters of the moral conflict represented. Bestiaries and Lapidaries had familiarised men's minds with the art of finding a symbolical significance in particular animals and stones; and the language of poets was becoming a language of flowers. On the other hand, the personification of abstract qualities was a usage largely affected by the Latin writers of the earlier Middle Ages, and formed a favourite device of the monastic beginnings of the Christian drama. For both these literary fas.h.i.+ons, which mildly exercised the ingenuity while deeply gratifying the tastes of mediaeval readers, room was easily found by Guillaume de Lorris within a framework in itself both appropriate and graceful. He told (as reproduced by his English translator) how in a dream he seemed to himself to wake up on a May morning. Sauntering forth, he came to a garden surrounded by a wall, on which were depicted many unkindly figures, such as Hate and Villainy, and Avarice and Old Age, and another thing

That seemed like a hypocrite, And it was cleped pope holy.

Within, all seemed so delicious that, feeling ready to give an hundred pound for the chance of entering, he smote at a small wicket and was admitted by a courteous maiden named Idleness. On the sward in the garden were dancing its owner, Sir Mirth, and a company of friends; and by the side of Gladness the dreamer saw the G.o.d of Love and his attendant, a bachelor named Sweet-looking, who bore two bows, each with five arrows. Of these bows the one was straight and fair, and the other crooked and unsightly, and each of the arrows bore the name of some quality or emotion by which love is advanced or hindered. And as the dreamer was gazing into the spring of Narcissus (the imagination), he beheld a rose-tree "charged full of roses," and, becoming enamoured of one of them, eagerly advanced to pluck the object of his pa.s.sion. In the midst of this attempt he was struck by arrow upon arrow, shot "wonder smart" by Love from the strong bow. The arrow called Company completes the victory; the dreaming poet becomes the Lover ("L'Amant"), and swears allegiance to the G.o.d of Love, who proceeds to instruct him in his laws; and the real action (if it is to be called such) of the poem begins. This consists in the Lover's desire to possess himself of the Rosebud, the opposition offered to him by powers both good and evil, and by Reason in particular, and the support which he receives from more or less discursive friends. Clearly, the conduct of such a scheme as this admits of being varied in many ways and protracted to any length; but its first conception is easy and natural, and when it was novel to boot, was neither commonplace nor ill-chosen.

After writing about one-fifth of the 22,000 verses of which the original French poem consists, Guillaume de Lorris, who had executed his part of the task in full sympathy with the spirit of the chivalry of his times, died, and left the work to be continued by another trouvere, Jean de Meung (so-called from the town, near Lorris, in which he lived). "Hobbling John" took up the thread of his predecessor's poem in the spirit of a wit and an encyclopaedist. Indeed, the latter appellation suits him in both its special and its general sense.

Beginning with a long dialogue between Reason and the Lover, he was equally anxious to display his freedom of criticism and his universality of knowledge, both scientific and anecdotical. His vein was pre-eminently satirical and abundantly allusive; and among the chief objects of his satire are the two favourite themes of medieval satire in general, religious hypocrisy (personified in "Faux-Semblant,"

who has been described as one of the ancestors of "Tartuffe"), and the foibles of women. To the gross salt of Jean de Meung, even more than to the courtly perfume of Guillaume de Lorris, may be ascribed the long-lived popularity of the "Roman de la Rose"; and thus a work, of which already the theme and first conception imply a great step forwards from the previous range of mediaeval poetry, became a favourite with all cla.s.ses by reason of the piquancy of its flavour, and the quotable applicability of many of its pa.s.sages. Out of a chivalrous allegory Jean de Meung had made a popular satire; and though in its completed form it could look for no welcome in many a court or castle,--though Petrarch despised it, and Gerson in the name of the Church recorded a protest against it,--and though a bevy of offended ladies had well-nigh taken the law into their own hands against its author,--yet it commanded a vast public of admirers. And against such a popularity even an offended clergy, though aided by the sneers of the fastidious and the vehemence of the fair, is wont to contend in vain.

Chaucer's translation of this poem is thought to have been the cause which called forth from Eustace Deschamps, Machault's pupil and nephew, the complimentary ballade in the refrain of which the Englishman is saluted as