Ritson's Ancient Songs, i. xcviii.

Several scenes of the tale are well exhibited in an excellent picture by Pinturicchio, in the National Gallery (London).

For remarks upon the conduct of the tale and the character of the heroine, see Prof. Hales's criticisms in the Percy Folio MS., iii. 421, and in Originals and Analogues of Chaucer, Part II, pp. 173-176. There are also a few good remarks on it in Canterbury Tales from Chaucer, by J. Saunders, ed. 1889, p. 308, where the author points out that, as the Marquis was Griselda's feudal lord, she could but say 'yes' when asked to marry him, the asking being a mere form; and that the spirit of chivalry appears in her devotion of herself to his every wish.

§ 65. The Merchant's Prologue. It seems to have been Chaucer's first intention to end the Clerkes Tale at l. 1163. He then began writing a new Prologue, but only finished one stanza of it. This stanza is given in the footnote at p. 424 of vol. iv.[[139]] He then changed his mind, rejected this stanza, and wrote (instead of it) the late addition to the Clerkes Tale given on pp. 424-5, lines 1163-1212. The last line (l. 1212) ends with—'care, and wepe, and wringe, and waille.' Then, with reference to this line, he makes the Merchant's Prologue begin with the words 'Weping, and wayling, care,' &c. In this way, the Clerkes Tale and that of the Marchant are indissolubly connected, as in the Ellesmere MS. and most others. There is, however, one set of MSS. which disconnects these Tales, as explained in the Introduction to vol. iv. p. xxiii. This is the set there marked D. Unfortunately, Thynne followed a MS. of this class, in which the worst arrangement of the Tales occurs. Hence in all the black-letter editions, the Tales are sadly out of order, and the Clerkes Tale is wrongly followed by that of the Frankeleyn. This causes a breaking up of Group F as well as of Group E, the Squieres Tale being followed by that of the Marchant, as noted in § 69 below.

The close connexion between this Prologue and the preceding Tale is further seen in the whole tenor of ll. 1213-39; note particularly the express mention of Grisildis in l. 1224.

In consequence of their dislocation of the order of the Tales, the black-letter editions substitute the word Marchant for Frankeleyn in F 675 and 696, and even alter the ending of F 699, viz. 'quod the frankeleyn,' into 'quod the marchant certeyn,' a forced alteration which is obviously spurious. They then place F 673-708 before E 1213; which is an extremely clumsy arrangement. Tyrwhitt put this matter right in his edition, being here guided by the authority of the majority of the MSS.

§ 66. The Marchantes Tale. This Tale is certainly a late addition. Dr. Köppel has shewn[[140]] that several lines in this Tale are imitated from Albertano of Brescia, so that it becomes clear that the Tale of Melibeus (which is little else than a translation from that author) had already been written before the Marchantes Tale was begun. This easily appears by comparing the following passages: (a) E 1362-1374 with B 2287-91, where Jacob, Judith, Abigail, and Hester are mentioned, in both passages, in the same order: (b) E 1483-6 with B 2193: (c) E 2246-8 with B 2247, and E 2250 with B 2249: (d) E 2277-81 and 2286-90 with B 2266-70: (e) E 2365 with B 2167. Moreover, in two instances at least, Chaucer follows the Latin text of Albertano even where there is no corresponding passage in the Tale of Melibeus. Thus, in E 1373, there is mention of Mardochee; but he is not named in B 2291. However, the Latin text has: 'Simili modo et Hester Iudaeos per suum bonum consilium simul cum Mardochaeo, in regno Assueri regis, sublimauit'; cap. v. (ed. T. Sundby, p. 17). Again, the lines E 1375-6 do not appear after B 2298 (their proper place), but only occur in the Latin text: 'Quartam uero rationem ad hoc inducit Seneca, commendans super omnia benignas coniuges; ait enim: Sicut nihil est superius benigna coniuge, ita nihil est crudelius infesta muliere'; (p. 18).

Dr. Köppel has further pointed out, in the same article, that Chaucer has also introduced into this Tale some quotations from another work by Albertano, entitled Liber de amore et dilectione Dei; for examples, see the Notes. Moreover, this Tale also exhibits quotations from Boethius, as, e.g. in E 2021-2, for which see Boethius, bk. iii. pr. 2. 55; and, in one passage, E 1582, we find a reminiscence both of Boethius, bk. v. met. 4. 8, and of Troilus, i. 365. But, beyond all this, there is the somewhat extraordinary reference to the Wife of Bath's Prologue in E 1685, where we are told that she had already discussed the question of marriage 'in litel space.' This shews at once, past all doubt, that the Marchantes Tale was not only written later than Melibeus, Boethius, and Troilus; but even later than the highly mature performance written in the Wife's name, as the result of her wide experience.

The Tale practically consists of three parts. The first part (E 1245-1688) is a discourse upon marriage, somewhat in the style of the Wife of Bath's Prologue, but treating it from a more favourable point of view, with the addition of some hints from Albertano of Brescia. The second part describes the wedding of January and May, and the love-languor of Damian (E 1689-2056). The third part describes how January became blind, and the means whereby he was restored to sight (E 2057-2418). The last part has several analogues, and is, in fact, founded on a story once widely current. For a full account of this story, see Originals and Analogues, Chaucer Society, pp. 177 and 341. Chaucer probably took the outline of his story from some French or Latin source. Tyrwhitt says:—'The scene of the Marchantes Tale is laid in Italy, but none of the names, except Damian and Justin, seem to be Italian, but rather made at pleasure; so that I doubt whether the story be really of Italian growth. The adventure of the Pear-tree I find in a small collection of Latin fables, written by one Adolphus, in elegiac verses of his fashion, in the year 1315. The same story is inserted among the Fables of Alphonse, printed by Caxton in English, with those of Æsop, Avian, and Pogge, without date; but I do not find it in the original Latin of Alphonsus (MS. Bibl. Reg. 10 B xii), or in any of the French translations of his work that I have examined.'

Five 'Pear-tree' stories are printed in the Originals and Analogues. The first is the fable of Adolphus, above mentioned. It is the first fable in Adolphi Fabulae, printed in Polycarpi Leyseri Historia Poetarum et Poematum Medii Ævi: Halae Magdelburgiae, 1721, p. 2008. It consists of thirty-six elegiac lines, and tells how a blind man's wife ascended a pear-tree in which her lover was hidden; whereupon the blind man's sight was suddenly restored, and she explains that the cure was due to her contrivance. Another very similar story occurs in an Appendix to the Latin editions of Æsop's Fables printed in the fifteenth century, and was reprinted by Wright in his 'Latin Stories,' for the Percy Society, 1842, p. 78. This is the same story, or nearly so, as the fable of Alphonsus which Tyrwhitt failed to find, and is written in prose. The English version (as Tyrwhitt says) was printed by Caxton in 1483, in The Book of the subtyl hystoryes and Fables of Esope[[141]], at leaf 132. The title runs, 'The xii fable is of a blynd man and of hys wyf.'