THE WIFE OF BATH.
The original of this tale should probably be sought in some ancient metrical romance. At least, we know, that there exists a ballad connected with the Round Table Romances, entitled "The Marriage of Sir Gawain," which seems to have been taken, not from Chaucer, but some more ancient and romantic legend. Gower also had seized upon this subject, and wrought it into the tale, entitled "Florent," which is the most pleasing in his dull Confessio Amantis. But what was a mere legendary tale of wonder in the rhime of the minstrel, and a vehicle for trite morality in that of Gower, in the verse of Chaucer reminds us of the resurrection of a skeleton, reinvested by miracle with flesh, complexion, and powers of life and motion. Of all Chaucer's multifarious powers, none is more wonderful than the humour, with which he touched upon natural frailty, and the truth with which he describes the inward feelings of the human heart; at a time when all around were employed in composing romantic legends, in which the real character of their heroes was as effectually disguised by the stiffness of their manners, as their shapes by the sharp angles and unnatural projections of their plate armour.
Dryden, who probably did not like the story worse, that it contained a passing satire against priests and women, has bestowed considerable pains upon his version. It is, perhaps, not to be regretted, that he left the Prologue to Pope, who has drawn a veil over the coarse nakedness of Father Chaucer. The tale is characteristically placed by the original author, in the mouth of the buxom Wife of Bath, whose mode of governing her different husbands is so ludicrously described in the Prologue.
THE
[WIFE OF BATH]
HER
TALE.
In days of old, when Arthur filled the throne,
Whose acts and fame to foreign lands were blown;
The king of elves, and little fairy queen,
Gambolled on heaths, and danced on every green;
And where the jolly troop had led the round,
The grass unbidden rose, and marked the ground.
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THE
CHARACTER OF A GOOD PARSON.
This beautiful copy of a beautiful original makes us regret, that Dryden had not translated the whole Introduction to the "Canterbury Tales," in which the pilgrims are so admirably described. Something might have been lost for want of the ancient Gothic lore, which the writers of our poet's period did not think proper to study; but when Dryden's learning failed, his native stores of fancy and numbers would have helped him through the task.
"The Character of the Good Priest" may be considered as an amende honorable to the reverend order whom Dryden had often satirized, and he himself seems to wish it to be viewed in that light. See Preface, p. 225. With a freedom which he has frequently employed elsewhere, Dryden has added the last forty lines, in which, availing himself of the Revolution, which in Chaucer's time placed Henry IV. on the throne, he represents the political principles of his priest as the same with those of the non-juring clergy of his own day. Indeed, the whole piece is greatly enlarged upon Chaucer's sketch.
THE
CHARACTER
OF
A GOOD PARSON.
A parish priest was of the pilgrim train;
An awful, reverend, and religious man.
His eyes diffused a venerable grace,
And charity itself was in his face.
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[FABLES.]
TRANSLATIONS FROM BOCCACE.