Chaucer and His Times

by Grace E. Hadow

but Chaucer’s English, full as it may be of old and decayed terms, presents few serious difficulties to any ordinary intelligence. We may have to look up a word here and there in the glossary, or find ourselves puzzled by some astronomical or chemical terms, but these are merely by the way, and Chaucer fairly lays claim to the title of Father, not only of English poetry, but of modern English.

In metre his work is no less remarkable. Professor Skeat, in his introduction to the Oxford edition of Chaucer’s works, gives a list of no less than thirteen metres which he introduced into English poetry, consisting for the most part of modifications and alterations of French and Italian models.

The so-called Chaucerian stanza consists of seven lines of iambic verse rhyming ababbcc—e. g.:

Ămōng thĭse chīldrĕn wās ă wīdwë̆s sōnë
Ă lītĕl clērgeŏn, sēvĕn yēēr ŏf āgë,
Thăt dāy by̆ dāy tŏ scōlë̆ wās hĭs wōnë,
Ănd ēēk ălsō, whĕr-ās hĕ sāūgh th’ ĭmāgë
Ŏf Crīstĕs mōdĕr, hādde⁀hĕ īn ŭsāgë
Ăs hīm wăs tāūght, tŏ knēle⁀adōūn and sēyë
Hĭs Āvé̆ Mārie,⁀ăs hē gŏth bȳ thĕ wēyë.

It is a modification of a form used by Boccaccio, and was itself possibly used by Spenser as the basis of his peculiar stanza. Chaucer employs it very largely for narrative purposes, preventing it from becoming monotonous by varying the place of the cæsura, and freely adding or suppressing weak syllables when he so desires. Mr. A. W. Pollard, in his article on Chaucer in the Encyclopædia Britannica, declares that the English poet borrowed both his stanza and his decasyllabic line from Guillaume de Machault. The point of the whole matter, however, lies, not in whether Chaucer was indebted to French or Italian sources for his metres, but in the fact that he revealed the latent possibilities of English as a poetic medium.

It is usual to divide Chaucer’s life into three periods, and to speak of him as successively under French, Italian, and English influence, and although, as Professor Ker has pointed out, this method is open to some objections, it brings out certain critical points of interest and is worth adhering to for the sake of clearness.

French, as we have seen, had long been the dominant influence in English literature. To French erotic poetry we owe the elaborate code of duties owed by husband to wife and lover to mistress, and the whole artificial convention which prescribed unhappy love affairs and revelled in the minute analysis of over-strained emotion. “In poetry and life,” says Ten Brink, “fashion required an educated young man, especially one in the service of the court, to fall in love at the earliest opportunity, and, if possible, hopelessly.” We have already seen Chaucer obeying this convention in the Book of the Duchesse and the Parlement of Foules, and to these may be added the Compleinte unto Pitè, the Compleint to his Lady, Merciles Beaute, To Rosemounde, Against Women Unconstant, An Amorous Compleint, and Book I, stanza 3 of Troilus and Criseyde. The poet protests so much that it is difficult to believe that he is describing anything more than a lover bewailing his unhappy lot (in the French fashion). Evidently French love-poetry appealed strongly to his imagination, for one of his earliest works is a translation of the famous Romance of the Rose. This long, allegorical poem (the original consists of over 22,000 lines), falls into two parts. The first, by Guillaume de Lorris, describes the search of the ideal lover for the mystic rose. The hero is admitted by the portress Idleness into a fair garden of flowers, where he finds Sir Mirth, Lady Courtesy, Dame Gladness, and many another gallant and debonair knight and lady. In this garden is the enchanted Well of Love, in whose depths the lover beholds the image of the Rose. He tries to seize it, and finds that a hard struggle lies before him ere he can hope to win the prize of love. Lorris left the poem unfinished, and the second part was added by Jean le Meung, a cynic with no very high opinion of women or of love. He introduces a sceptical friend who has a long conversation with the lover in which he points out with extreme clearness the drawbacks of marriage and the frailties of women.

The English version of the poem consists of three fragments, A, B, and C (it is only 7,696 lines in all), and scholars are divided in opinion as to how much of the translation is actually by Chaucer himself. Professor Saintsbury, in the Cambridge History of Literature considers that Chaucer is probably the author of A, possibly the author of B, and probably not the author of C. He must, however, have been known as the translator of the later part, for in the Prologue to the Legend of Good Women (written about 1385), the god of love scolds the poet severely on the ground,—

Thou hast translated the Romauns of the Rose
That is an hereyse ageyns my lawe.

Another early work is the A.B.C., a hymn in honour of the Virgin, modelled upon a similar poem by Guillaume de Deguileville. Deguileville was well known as a devotional writer at the time, and according to Speght Chaucer’s paraphrase was written “at the request of Blanch Duchesse of Lancaster, as a praier for her priuat vse, being a woman in her religion very deuout.” There is, however, no evidence of this, and Ten Brink believes that the A.B.C. dates from a later period when the poet was passing through a phase of deep religious feeling. Whatever the facts about this particular poem may be, it is interesting to notice that even in these early days Chaucer combined some of the qualities of a satirist with those of an idealist.