3. “Ocy, ocy,” is supposed to come from the Latin “occidere,” to kill; or rather the old French, “occire,” “occis,” denoting the doom which the nightingale imprecates or supplicates on all who do offence to Love.
4. Grede: cry; Italian, “grido.”
5.”But if he be away therewith, y-wis, He may full soon of age have his hair”: Unless he be always fortunate in love pursuits, he may full soon have gray hair, through his anxieties.
6. It was of evil omen to hear the cuckoo before the nightingale or any other bird.
7. The Queen: Philippa of Hainault, wife of Edward III.
THE ASSEMBLY OF FOWLS.
[In “The Assembly of Fowls” — which Chaucer’s “Retractation” describes as “The Book of Saint Valentine’s Day, or of the Parliament of Birds” — we are presented with a picture of the mediaeval “Court of Love” far closer to the reality than we find in Chaucer’s poem which bears that express title. We have a regularly constituted conclave or tribunal, under a president whose decisions are final. A difficult question is proposed for the consideration and judgment of the Court — the disputants advancing and vindicating their claims in person. The attendants upon the Court, through specially chosen mouthpieces, deliver their opinions on the cause; and finally a decision is authoritatively pronounced by the president — which, as in many of the cases actually judged before the Courts of Love in France, places the reasonable and modest wish of a sensitive and chaste lady above all the eagerness of her lovers, all the incongruous counsels of representative courtiers. So far, therefore, as the poem reproduces the characteristic features of procedure in those romantic Middle Age halls of amatory justice, Chaucer’s “Assembly of Fowls” is his real “Court of Love;” for although, in the castle and among the courtiers of Admetus and Alcestis, we have all the personages and machinery necessary for one of those erotic contentions, in the present poem we see the personages and the machinery actually at work, upon another scene and under other guises. The allegory which makes the contention arise out of the loves, and proceed in the assembly, of the feathered race, is quite in keeping with the fanciful yet nature-loving spirit of the poetry of Chaucer’s time, in which the influence of the Troubadours was still largely present. It is quite in keeping, also, with the principles that regulated the Courts, the purpose of which was more to discuss and determine the proper conduct of love affairs, than to secure conviction or acquittal, sanction or reprobation, in particular cases — though the jurisdiction and the judgments of such assemblies often closely concerned individuals. Chaucer introduces us to his main theme through the vestibule of a fancied dream — a method which be repeatedly employs with great relish, as for instance in “The House of Fame.” He has spent the whole day over Cicero’s account of the Dream of Scipio (Africanus the Younger); and, having gone to bed, he dreams that Africanus the Elder appears to him — just as in the book he appeared to his namesake — and carries him into a beautiful park, in which is a fair garden by a river-side. Here the poet is led into a splendid temple, through a crowd of courtiers allegorically representing the various instruments, pleasures, emotions, and encouragements of Love; and in the temple Venus herself is found, sporting with her porter Richess. Returning into the garden, he sees the Goddess of Nature seated on a hill of flowers; and before her are assembled all the birds — for it is Saint Valentine’s Day, when every fowl chooses her mate. Having with a graphic touch enumerated and described the principal birds, the poet sees that on her hand Nature bears a female eagle of surpassing loveliness and virtue, for which three male eagles advance contending claims. The disputation lasts all day; and at evening the assembled birds, eager to be gone with their mates, clamour for a decision. The tercelet, the goose, the cuckoo, and the turtle — for birds of prey, water-fowl, worm-fowl, and seed-fowl respectively — pronounce their verdicts on the dispute, in speeches full of character and humour; but Nature refers the decision between the three claimants to the female eagle herself, who prays that she may have a year’s respite. Nature grants the prayer, pronounces judgment accordingly, and dismisses the assembly; and after a chosen choir has sung a roundel in honour of the Goddess, all the birds fly away, and the poet awakes. It is probable that Chaucer derived the idea of the poem from a French source; Mr Bell gives the outline of a fabliau, of which three versions existed, and in which a contention between two ladies regarding the merits of their respective lovers, a knight and a clerk, is decided by Cupid in a Court composed of birds, which assume their sides according to their different natures. Whatever the source of the idea, its management, and the whole workmanship of the poem, especially in the more humorous passages, are essentially Chaucer’s own.]
THE life so short, the craft so long to learn,
Th’assay so hard, so sharp the conquering,
The dreadful joy, alway that *flits so yern;* *fleets so fast*
All this mean I by* Love, that my feeling *with reference to
Astoneth* with his wonderful working, *amazes
So sore, y-wis, that, when I on him think,
Naught wit I well whether I fleet* or sink, *float
For *all be* that I know not Love indeed, *albeit, although*
Nor wot how that he *quiteth folk their hire,* *rewards folk for
Yet happeth me full oft in books to read their service*
Of his miracles, and of his cruel ire;
There read I well, he will be lord and sire;
I dare not saye, that his strokes be sore;
But God save such a lord! I can no more.
Of usage, what for lust and what for lore,
On bookes read I oft, as I you told.
But wherefore speak I alle this? Not yore
Agone, it happed me for to behold
Upon a book written with letters old;
And thereupon, a certain thing to learn,
The longe day full fast I read and yern.* *eagerly