English Literature Part 7

From the number of persons in the company, thirty-two in all, it is evident that Chaucer meditated an immense work of one hundred and twenty-eight tales, which should cover the whole life of England. Only twenty-four were written; some of these are incomplete, and others are taken from his earlier work to fill out the general plan of the _Canterbury Tales_.

Incomplete as they are, they cover a wide range, including stories of love and chivalry, of saints and legends, travels, adventures, animal fables, allegory, satires, and the coa.r.s.e humor of the common people. Though all but two are written in verse and abound in exquisite poetical touches, they are stories as well as poems, and Chaucer is to be regarded as our first short-story teller as well as our first modern poet. The work ends with a kindly farewell from the poet to his reader, and so "here taketh the makere of this book his leve."

PROLOGUE TO THE CANTERBURY TALES. In the famous "Prologue" the poet makes us acquainted with the various characters of his drama. Until Chaucer's day popular literature had been busy chiefly with the G.o.ds and heroes of a golden age; it had been essentially romantic, and so had never attempted to study men and women as they are, or to describe them so that the reader recognizes them, not as ideal heroes, but as his own neighbors. Chaucer not only attempted this new realistic task, but accomplished it so well that his characters were instantly recognized as true to life, and they have since become the permanent possession of our literature. Beowulf and Roland are ideal heroes, essentially creatures of the imagination; but the merry host of the Tabard Inn, Madame Eglantyne, the fat monk, the parish priest, the kindly plowman, the poor scholar with his "bookes black and red,"--all seem more like personal acquaintances than characters in a book. Says Dryden: "I see all the pilgrims, their humours, their features and their very dress, as distinctly as if I had supped with them at the Tabard in Southwark." Chaucer is the first English writer to bring the atmosphere of romantic interest about the men and women and the daily work of one's own world,--which is the aim of nearly all modern literature.

The historian of our literature is tempted to linger over this "Prologue"

and to quote from it pa.s.sage after pa.s.sage to show how keenly and yet kindly our first modern poet observed his fellow-men. The characters, too, attract one like a good play: the "verray parfit gentil knight" and his manly son, the modest prioress, model of sweet piety and society manners, the sporting monk and the fat friar, the discreet man of law, the well-fed country squire, the sailor just home from sea, the canny doctor, the lovable parish priest who taught true religion to his flock, but "first he folwed it himselve"; the coa.r.s.e but good-hearted Wyf of Bath, the thieving miller leading the pilgrims to the music of his bagpipe,--all these and many others from every walk of English life, and all described with a quiet, kindly humor which seeks instinctively the best in human nature, and which has an ample garment of charity to cover even its faults and failings. "Here," indeed, as Dryden says, "is G.o.d's plenty." Probably no keener or kinder critic ever described his fellows; and in this immortal "Prologue" Chaucer is a model for all those who would put our human life into writing. The student should read it entire, as an introduction not only to the poet but to all our modern literature.

THE KNIGHT'S TALE. As a story, "Palamon and Arcite" is, in many respects, the best of the _Canterbury Tales_, reflecting as it does the ideals of the time in regard to romantic love and knightly duty. Though its dialogues and descriptions are somewhat too long and interrupt the story, yet it shows Chaucer at his best in his dramatic power, his exquisite appreciation of nature, and his tender yet profound philosophy of living, which could overlook much of human frailty in the thought that

Infinite been the sorwes and the teres Of olde folk, and folk of tendre yeres.

The idea of the story was borrowed from Boccaccio; but parts of the original tale were much older and belonged to the common literary stock of the Middle Ages. Like Shakespeare, Chaucer took the material for his poems wherever he found it, and his originality consists in giving to an old story some present human interest, making it express the life and ideals of his own age. In this respect the "Knight's Tale" is remarkable. Its names are those of an ancient civilization, but its characters are men and women of the English n.o.bility as Chaucer knew them. In consequence the story has many anachronisms, such as the mediaeval tournament before the temple of Mars; but the reader scarcely notices these things, being absorbed in the dramatic interest of the narrative.

Briefly, the "Knight's Tale" is the story of two young men, fast friends, who are found wounded on the battlefield and taken prisoners to Athens.

There from their dungeon window they behold the fair maid Emily; both fall desperately in love with her, and their friends.h.i.+p turns to strenuous rivalry. One is pardoned; the other escapes; and then knights, empires, nature,--the whole universe follows their desperate efforts to win one small maiden, who prays meanwhile to be delivered from both her bothersome suitors. As the best of the _Canterbury Tales_ are now easily accessible, we omit here all quotations. The story must be read entire, with the Prioress' tale of Hugh of Lincoln, the Clerk's tale of Patient Griselda, and the Nun's Priest's merry tale of Chanticleer and the Fox, if the reader would appreciate the variety and charm of our first modern poet and story-teller.

FORM OF CHAUCER'S POETRY. There are three princ.i.p.al meters to be found in Chaucer's verse. In the _Canterbury Tales_ he uses lines of ten syllables and five accents each, and the lines run in couplets:

His eyen twinkled in his heed aright As doon the sterres in the frosty night.

The same musical measure, arranged in seven-line stanzas, but with a different rime, called the Rime Royal, is found in its most perfect form in _Troilus_.

O blisful light, of whiche the bemes clere Adorneth al the thridde hevene faire!

O sonnes leef, O Joves doughter dere, Plesaunce of love, O goodly debonaire, In gentil hertes ay redy to repaire!

O verray cause of hele and of gladnesse, Y-heried be thy might and thy goodnesse!

In hevene and h.e.l.le, in erthe and salte see Is felt thy might, if that I wel descerne; As man, brid, best, fish, herbe and grene tree Thee fele in tymes with vapour eterne.

G.o.d loveth, and to love wol nought werne; And in this world no lyves creature, With-outen love, is worth, or may endure.[84]

The third meter is the eight-syllable line with four accents, the lines riming in couplets, as in the "Boke of the d.u.c.h.esse":

Thereto she coude so wel pleye, Whan that hir liste, that I dar seye That she was lyk to torche bright, That every man may take-of light Ynough, and hit hath never the lesse.

Besides these princ.i.p.al meters, Chaucer in his short poems used many other poetical forms modeled after the French, who in the fourteenth century were cunning workers in every form of verse. Chief among these are the difficult but exquisite rondel, "Now welcom Somer with thy sonne softe," which closes the "Parliament of Fowls," and the ballad, "Flee fro the prees," which has been already quoted. In the "Monk's Tale" there is a melodious measure which may have furnished the model for Spenser's famous stanza.[85]

Chaucer's poetry is extremely musical and must be judged by the ear rather than by the eye. To the modern reader the lines appear broken and uneven; but if one reads them over a few times, he soon catches the perfect swing of the measure, and finds that he is in the hands of a master whose ear is delicately sensitive to the smallest accent. There is a lilt in all his lines which is marvelous when we consider that he is the first to show us the poetic possibilities of the language. His claim upon our grat.i.tude is twofold:[86] first, for discovering the music that is in our English speech; and second, for his influence in fixing the Midland dialect as the literary language of England.

CHAUCER'S CONTEMPORARIES

WILLIAM LANGLAND (1332? ....?)

LIFE. Very little is known of Langland. He was born probably near Malvern, in Worcesters.h.i.+re, the son of a poor freeman, and in his early life lived in the fields as a shepherd. Later he went to London with his wife and children, getting a hungry living as clerk in the church. His real life meanwhile was that of a seer, a prophet after Isaiah's own heart, if we may judge by the prophecy which soon found a voice in _Piers Plowman_. In 1399, after the success of his great work, he was possibly writing another poem called _Richard the Redeless_, a protest against Richard II; but we are not certain of the authors.h.i.+p of this poem, which was left unfinished by the a.s.sa.s.sination of the king. After 1399 Langland disappears utterly, and the date of his death is unknown.

PIERS PLOWMAN. "The voice of him that crieth in the wilderness, Prepare ye the way of the Lord," might well be written at the beginning of this remarkable poem. Truth, sincerity, a direct and practical appeal to conscience, and a vision of right triumphant over wrong,--these are the elements of all prophecy; and it was undoubtedly these elements in _Piers Plowman_ that produced such an impression on the people of England. For centuries literature had been busy in pleasing the upper cla.s.ses chiefly; but here at last was a great poem which appealed directly to the common people, and its success was enormous. The whole poem is traditionally attributed to Langland; but it is now known to be the work of several different writers. It first appeared in 1362 as a poem of eighteen hundred lines, and this may have been Langland's work. In the next thirty years, during the desperate social conditions which led to Tyler's Rebellion, it was repeatedly revised and enlarged by different hands till it reached its final form of about fifteen thousand lines.

The poem as we read it now is in two distinct parts, the first containing the vision of Piers, the second a series of visions called "The Search for Dowel, Dobet, Dobest" (do well, better, best). The entire poem is in strongly accented, alliterative lines, something like _Beowulf_, and its immense popularity shows that the common people still cherished this easily memorized form of Saxon poetry. Its tremendous appeal to justice and common honesty, its clarion call to every man, whether king, priest, n.o.ble, or laborer, to do his Christian duty, takes from it any trace of prejudice or bigotry with which such works usually abound. Its loyalty to the Church, while denouncing abuses that had crept into it in that period, was one of the great influences which led to the Reformation in England. Its two great principles, the equality of men before G.o.d and the dignity of honest labor, roused a whole nation of freemen. Altogether it is one of the world's great works, partly because of its national influence, partly because it is the very best picture we possess of the social life of the fourteenth century:

Briefly, _Piers Plowman_ is an allegory of life. In the first vision, that of the "Field Full of Folk," the poet lies down on the Malvern Hills on a May morning, and a vision comes to him in sleep. On the plain beneath him gather a mult.i.tude of folk, a vast crowd expressing the varied life of the world. All cla.s.ses and conditions are there; workingmen are toiling that others may seize all the first fruits of their labor and live high on the proceeds; and the genius of the throng is Lady Bribery, a powerfully drawn figure, expressing the corrupt social life of the times.

The next visions are those of the Seven Deadly Sins, allegorical figures, but powerful as those of _Pilgrim's Progress_, making the allegories of the _Romaunt of the Rose_ seem like shadows in comparison. These all came to Piers asking the way to Truth; but Piers is plowing his half acre and refuses to leave his work and lead them. He sets them all to honest toil as the best possible remedy for their vices, and preaches the gospel of work as a preparation for salvation. Throughout the poem Piers bears strong resemblance to John Baptist preaching to the crowds in the wilderness. The later visions are proclamations of the moral and spiritual life of man. The poem grows dramatic in its intensity, rising to its highest power in Piers's triumph over Death. And then the poet wakes from his vision with the sound of Easter bells ringing in his ears.

Here are a few lines to ill.u.s.trate the style and language; but the whole poem must be read if one is to understand its crude strength and prophetic spirit:

In a somer sesun, whon softe was the sonne, I schop[87] me into a shroud, as I a scheep were, In habite as an heremite, unholy of werkes, Went wyde in this world, wondres to here.

Bote in a Mayes mornynge, on Malverne hulles, Me byfel a ferly,[88] of fairie me thoughte.

I was wery, forwandred, and went me to reste Undur a brod banke, bi a bourne[89] side; And as I lay and lened, and loked on the watres, I slumbred in a slepyng---hit swyed[90] so murie....

JOHN WYCLIF (1324?-1384)

Wyclif, as a man, is by far the most powerful English figure of the fourteenth century. The immense influence of his preaching in the native tongue, and the power of his Lollards to stir the souls of the common folk, are too well known historically to need repet.i.tion. Though a university man and a profound scholar, he sides with Langland, and his interests are with the people rather than with the privileged cla.s.ses, for whom Chaucer writes. His great work, which earned him his t.i.tle of "father of English prose," is the translation of the Bible. Wyclif himself translated the gospels, and much more of the New Testament; the rest was finished by his followers, especially by Nicholas of Hereford. These translations were made from the Latin Vulgate, not from the original Greek and Hebrew, and the whole work was revised in 1388 by John Purvey, a disciple of Wyclif. It is impossible to overestimate the influence of this work, both on our English prose and on the lives of the English people.

Though Wyclif's works are now unread, except by occasional scholars, he still occupies a very high place in our literature. His translation of the Bible was slowly copied all over England, and so fixed a national standard of English prose to replace the various dialects. Portions of this translation, in the form of favorite pa.s.sages from Scripture, were copied by thousands, and for the first time in our history a standard of pure English was established in the homes of the common people.

As a suggestion of the language of that day, we quote a few familiar sentences from the Sermon on the Mount, as given in the later version of Wyclif's Gospel:

And he openyde his mouth, and taughte hem, and seide, Blessid ben pore men in spirit, for the kyngdom of hevenes is herne.[91] Blessid ben mylde men, for thei schulen welde[92] the erthe. Blessid ben thei that mornen, for thei schulen be coumfortid. Blessid ben thei that hungren and thristen rightwisnesse,[93] for thei schulen be fulfillid. Blessid ben merciful men, for thei schulen gete merci. Blessid ben thei that ben of clene herte, for thei schulen se G.o.d. Blessid ben pesible men, for thei schulen be clepid[94] G.o.ddis children. Blessid ben thei that suffren persecusioun for rightfulnesse, for the kyngdom of hevenes is herne.[95] ...

Eftsoone ye han herd, that it was seid to elde men, Thou schalt not forswere, but thou schalt yelde[96] thin othis to the Lord. But Y seie[97]

to you, that ye swere not for ony thing;... but be youre worde, yhe, yhe; nay, nay; and that that is more than these, is of yvel....

Ye han herd that it was seid, Thou schalt love thi neighbore, and hate thin enemye. But Y seie to you, love ye youre enemyes, do ye wel to hem[98] that hatiden[99] you, and preye ye for hem that pursuen[100] and sclaundren[101]

you; that ye be the sones of youre Fadir that is in hevenes, that makith his sunne to rise upon goode and yvele men, and reyneth[102] on just men and unjuste.... Therefore be ye parfit, as youre hevenli Fadir is parfit.

JOHN MANDEVILLE

About the year 1356 there appeared in England an extraordinary book called the _Voyage and Travail of Sir John Maundeville_, written in excellent style in the Midland dialect, which was then becoming the literary language of England. For years this interesting work and its unknown author were subjects of endless dispute; but it is now fairly certain that this collection of travelers' tales is simply a compilation from Odoric, Marco Polo, and various other sources. The original work was probably in French, which was speedily translated into Latin, then into English and other languages; and wherever it appeared it became extremely popular, its marvelous stories of foreign lands being exactly suited to the credulous spirit of the age.[103] At the present time there are said to be three hundred copied ma.n.u.scripts of "Mandeville" in various languages,--more, probably, than of any other work save the gospels. In the prologue of the English version the author calls himself John Maundeville and gives an outline of his wide travels during thirty years; but the name is probably a "blind," the prologue more or less spurious, and the real compiler is still to be discovered.

The modern reader may spend an hour or two very pleasantly in this old wonderland. On its literary side the book is remarkable, though a translation, as being the first prose work in modern English having a distinctly literary style and flavor. Otherwise it is a most interesting commentary on the general culture and credulity of the fourteenth century.

SUMMARY OF THE AGE OF CHAUCER. The fourteenth century is remarkable historically for the decline of feudalism (organized by the Normans), for the growth of the English national spirit during the wars with France, for the prominence of the House of Commons, and for the growing power of the laboring cla.s.ses, who had heretofore been in a condition hardly above that of slavery.

The age produced five writers of note, one of whom, Geoffrey Chaucer, is one of the greatest of English writers. His poetry is remarkable for its variety, its story interest, and its wonderful melody. Chaucer's work and Wyclif's translation of the Bible developed the Midland dialect into the national language of England.

In our study we have noted: (1) Chaucer, his life and work; his early or French period, in which he translated "The Romance of the Rose" and wrote many minor poems; his middle or Italian period, of which the chief poems are "Troilus and Cressida" and "The Legend of Good Women"; his late or English period, in which he worked at his masterpiece, the famous _Canterbury Tales_. (2) Langland, the poet and prophet of social reforms.

His chief work is _Piers Plowman_. (3) Wyclif, the religious reformer, who first translated the gospels into English, and by his translation fixed a common standard of English speech. (4) Mandeville, the alleged traveler, who represents the new English interest in distant lands following the development of foreign trade. He is famous for _Mandeville's Travels_, a book which romances about the wonders to be seen abroad. The fifth writer of the age is Gower, who wrote in three languages, French, Latin, and English. His chief English work is the _Confessio Amantis_, a long poem containing one hundred and twelve tales. Of these only the "Knight Florent"

and two or three others are interesting to a modern reader.

SELECTIONS FOR READING. Chaucer's Prologue, the Knight's Tale, Nun's Priest's Tale, Prioress' Tale, Clerk's Tale. These are found, more or less complete, in Standard English Cla.s.sics, King's Cla.s.sics, Riverside Literature Series, etc. Skeat's school edition of the Prologue, Knight's Tale, etc., is especially good, and includes a study of fourteenth-century English. Miscellaneous poems of Chaucer in Manly's English Poetry or Ward's English Poets. Piers Plowman, in King's Cla.s.sics. Mandeville's Travels, modernized, in English Cla.s.sics, and in Ca.s.sell's National Library.

For the advanced student, and as a study of language, compare selections from Wyclif, Chaucer's prose work, Mandeville, etc., in Manly's English Prose, or Morris and Skeat's Specimens of Early English, or Craik's English Prose Selections. Selections from Wyclif's Bible in English Cla.s.sics Series.

BIBLIOGRAPHY.[104]

_HISTORY. Text-book_, Montgomery, pp. 115-149, or Cheyney, pp. 186-263. For fuller treatment, Green, ch. 5; Traill; Gardiner.

_Special Works_. Hutton's King and Baronage (Oxford Manuals); Jusserand's Wayfaring Life in the Fourteenth Century; Coulton's Chaucer and his England; Pauli's Pictures from Old England; Wright's History of Domestic Manners and Sentiments in England during the Middle Ages; Trevelyan's England in the Age of Wyclif; Jenks's In the Days of Chaucer; Froissart's Chronicle, in Everyman's Library; the same, new edition, 1895 (Macmillan); Lanier's Boys' Froissart (i.e. Froissart's Chronicle of Historical Events, 1325-1400); Newbolt's Stories from Froissart; Bulfinch's Age of Chivalry may be read in connection with this and the preceding periods.