Chaucer and His Times

by Grace E. Hadow

An hous, that domus Dedali,
That Laborintus cleped is.

It is made of sticks and twigs and continually spins round and round:—

And ther-out com so greet a noise
That, had it stonden upon Oise,
Men mighte hit han herd esely
To Rome, I trowe sikerly.
·····
And on the roof men may yit seen
A thousand holes, and wel mo,
To leten wel the soun out go.

This is the house of Rumour, to which come tidings

Of werre, of pees, of mariages,
Of reste, of labour of viages,[46]
Of abood[47] of deeth, of lyfe,
Of love, of hate, accorde, of stryfe, etc.

Here Chaucer meets the eagle again, who tells him that he is once more prepared to become his guide, and without more ado seizes him “bitweene his toon” and puts him in through the window. The house is full of people all busy whispering in each other’s ears:—

Whan oon had herd a thing, y-wis,
He com forth to another wight,
And gan him tellen, anoon-right,
The same that to him was told,
Or hit a furlong-way was old,
But gan somwhat for to eche
To this tyding in this speche
More than hit ever was.
And nat so sone departed nas
That he fro him, that he ne mette
With the thridde; and or he lette
Any stounde,[48] he tolde him als;
Were the tyding sooth or fals,
Yit wolde he telle hit natheless.

Out of the windows fly lies and truths, jostling each other, and Fame decides which shall prevail. Shipmen and pilgrims, pardoners and messengers, crowd into the house with boxes crammed with marvellous stories. In one corner of the great hall men are telling love stories, the poet goes to listen to these. Here, just when the climax appears to be in sight, the poem breaks off in the middle of a sentence. Remarkable as it is, full of humour and shrewd observation, and with signs of Chaucer’s genius for narrative, it is not in his most characteristic vein. Troilus and Criseyde had already given promise of genius of a very different order, and it is possible that Chaucer himself grew weary of the smooth monotony of his own verse, and felt within him a growing impulse to produce something more human and more vivid. The Hous of Fame is an almost perfect example of a type of poem whose popularity was to continue undiminished for another century and more. It was imitated again and again, and a comparison between it and such works as Lydgate’s Temple of Glas is sufficient to show the difference between genius and talent even when genius in working with not wholly congenial material. If Chaucer’s reputation rested upon the Book of the Duchesse, the Parlement of Foules, the Hous of Fame, and the Legend of Good Women, a few scholars would know and appreciate his work, and anthologies would probably make the majority of readers acquainted with a few carefully-chosen extracts, but he would have done little or nothing to break down the literary conventions of his day. It would need a keen eye to discern in these the dawn of a new era, without the light thrown upon them by Troilus and Criseyde and the Canterbury Tales.

The Legend of Good Women is said by Lydgate to have been written at the Queen’s request. The general plan is taken from Boccaccio’s De Claris Mulieribus, and Chaucer also translates freely from the Heroides and the Metamorphoses of Ovid. The interest of the poem lies in the Prologue, which consists of nearly six hundred lines, and of which there are two distinct versions. The poet describes how in the spring he goes out into the fields to worship the daisy, and he gives a long and poetical description of this “emperice and flour of floures alle.” That night he sleeps in a little arbour in his garden, and in a dream he sees the god of love leading by the hand a queen clothed in green and gold and of surpassing beauty. Here follows a ballad in her praise. A rout of ladies now appears, and they all kneel down and sing the praise of their queen. The poet kneels among them, but presently the god of love catches sight of him and declares that he is a traitor and heretic for he has translated the Romance of the Rose—

That is an heresye ageyns my lawe,