Notes by the Way
The tender pathos in Chaucer’s telling of this story (which he borrowed from Petrarch, but which is really much older than his time), cannot be excelled in any story we know of. The definite human interest running all through it points to some living Griselda, but who she was, or where she came from, no one knows. Resignation, so steadfast and so willing, was the virtue of an early time, when the husband was really a ‘lord and master’; and such submission in a woman of the present civilization would be rather mischievous than meritorious. If a modern wife cheerfully consented to the murder of her children by her spouse, she would probably be consigned to a maison de santé, while her husband expiated his sins on the scaffold; and if she endured other persecutions, such as Griselda did, it is to be hoped some benevolent outsider would step in, if only to prevent cruelty to animals.
But it must be remembered that in the old world wives held a very different position in society, and the obedience of all the household to the lord of the castle was the chief secret of peace, discipline, and unity, as obedience to the captain of a vessel is now. We may also infer, from many hints in this Tale, the admiration felt for that kind of self-command in which people of a ruder time were so deficient. When almost everybody gave way habitually to violent emotions of all sorts, those who could rein in feeling were held in high esteem. Perhaps Walter himself may not have been wantonly cruel, but only so bewildered by these unaccustomed virtues that he could not trust their sincerity without experiments.[161]
Chaucer seems to me to have devoted especial pains to the Clerk’s Tale, relating it in the same careful versification as the history of the pious Constance (Man of Law’s Tale), the holy St. Cecilia (second Nonne’s Tale), and the Prioress’s Tale—all religious, and undoubtedly written con amore.
The story of Griselda winds up with real artistic power, the Clerk concluding with an ironical little song addressed to ordinary wives, so as to leave his hearers laughing, instead of depressed by the inadequate reward of patient Grizel’s virtues. This little song consists of six beautiful verses, of six lines only each, and in which every line rhymes with the corresponding line in the five other verses. Clearly great labour has been lavished on it—but I have not included it, as the ironical directions to wives to be bad wives would be probably not understood by a child, and superfluous if they were.
The Franklin’s Tale.
Mine host would not suffer long delay between the stories; and as soon as the last story was at an end, he called upon the Franklin to begin.
In Armorike,[162] that is called Brittany, there was a knight named Arviragus, who loved the lady Dorigene. Much he laboured, and many a brave deed he performed for her sake. He loved her so dearly that no trouble seemed to him too great to win her love, for she was the fairest lady under the sun, and, moreover, came of high lineage. But, at last, seeing his worthiness and meek obedience, she consented to take him for her husband and her lord (such lordship as men have over their wives); and, in order that they might live more happily together, Arviragus, of his own free will, swore, as a knight, that he would never tyrannize over her, but follow her wishes in all things, as he had done ever.[163]