Chaucer and His Times

by Grace E. Hadow

Chaucer showed himself fully alive at once to the possibilities and the absurdities of the romance. In the Knightes Tale we have an excellent example of the romance of adventure. It is based upon Boccaccio’s Teseide, but while the Teseide is an epic in twelve books, the Knightes Tale consists of only 2,250 lines. The poet who set out to write a romance seems as a rule to have had no sense either of time or of unity. The hero sets out on his travels and in the first forest glade he comes to, meets a stranger knight. The two at once joust. After unheard-of prowess the hero unhorses the stranger and unlaces his vizor. The strange knight no sooner recovers his senses than he sets to work to relate his totally irrelevant adventures, and the reader is lucky if in the course of those adventures the still more irrelevant life-story of some other knight is not introduced. Not till some hundreds of lines have been thus occupied do we come back to the original hero who has all this while been left in the glade. The Teseide, as has been said, is an epic rather than a romance, and its twelve books afford scope for such episodes as the war of Theseus with the Amazons, his marriage with Hippolyta, the obsequies of those who fall in the combat between Palamon and Arcite, etc., etc. Chaucer in turning epic into romance has shown an extraordinary power of condensation. The conventional romance writer seems to have had no idea of proportion, no conception that one incident could be of more importance than another, or that it could be necessary to slur over one episode and concentrate on another. In the Knightes Tale Chaucer shows the instinct of the true story-teller. The account of the war with the Amazons and Theseus’ marriage—which occupies two books of the Teseide—is reduced to twelve lines, which briefly tell us the bare facts. Theseus and Hippolyta are kept in the background throughout that the figures of Palamon, Arcite, and Emily may stand out the more clearly. The story moves steadily and rapidly, without a single digression. Occasionally, indeed, a little more explanation would be welcome. Who, for instance, was the friend by whose aid Palamon broke prison after seven weary years? Was it the gaoler’s daughter, as the Two Noble Kinsmen would have us believe, or did his servant bribe a physician to help him, as the Teseide relates? Chaucer merely whets our curiosity by stating that he drugged the gaoler, and hurries on to describe his meeting with Arcite. It is this very speed, this close-knitting of the story, which marks it out from other poems of the kind. The characterisation is slight. Palamon and Arcite might well be, not cousins but twins, so closely do they resemble each other. Emily, sweet and gracious as she is, scarcely seems more than a fair vision of girlhood. Only now and then, as in the thumb-nail sketch of the crowd watching the knights assemble for the tourney, or in some sudden aside, such as his comment on Arcite’s death—

His spirit chaunged hous, and wente ther,
As I cam never, I can nat tellen wher—

do we catch a glimpse of Chaucer’s shrewd observation and dry humour. He is learning how to tell a tale, and for the moment his interest lies in the telling.

In Troilus and Criseyde, his method is very different. Here he is dealing with a love romance, and he does not hesitate to dwell at length upon the sufferings and emotions of his hero and heroine. About a third of the whole work is actual paraphrase or translation of Boccaccio’s Filostrato: Book IV contains a lengthy extract from Boëthius, and certain passages are drawn from Guido delle Colonne, but the Filostrato forms the basis of the whole. This being so, the first thing we notice is that whereas in the Knightes Tale Chaucer has very considerably cut down his original, here he has enlarged it, for the 5,704 lines of Boccaccio’s poem have become 8,329 in the English version. Further, he has taken considerable liberties with the characters themselves. Troilus is in many respects a conventional enough hero. He falls in love with Cressida at first sight and at once despairs of winning her. Handsome, brave, and resolute, he is well fitted to gain the love of any woman, but such is his modesty that he is incapable of helping himself and can do nothing more to the purpose than sit on his bed and groan. The unnecessary mystery made by the lovers, the endless difficulties which they put in their own way, are quite in keeping with the spirit of the age, though even here Chaucer shows a skill in characterisation which almost makes us forget to be impatient with his hero’s helplessness. Cressida, while she too has much in common with the conventional heroine of romance, has much that is peculiarly her own. She is beautiful and tender and clinging, as a heroine should be, but her shallow little character has an individuality of its own. It will be treated more fully in a later chapter, here it is sufficient to say that Chaucer transforms the mature woman of Boccaccio’s poem into a timid girl, whose youth and inexperience appeal to our pity and make it impossible to judge her harshly. But the most important and characteristic change which Chaucer makes in the story is in the character of Pandarus. Instead of the gay young cousin of Troilus, he gives us the vulgar, gossiping, good-natured old uncle of Cressida, an utterly unimaginative and prosaic person who plays with the fires of passion as ignorantly and light-heartedly as the Nurse in Romeo and Juliet. Not only is the character of Pandarus of interest in itself but its creation and its introduction into a poem of this type marks a new development in literature—the study of the common-place. Hitherto, though some rare flash of humour might for an instant lighten the pages of the love romance and give us such an episode as that of the herd-boy in Aucassin and Nicolette, it was but a flash. The interest was concentrated in the hero and heroine, and though some faithful servant or lady-in-waiting might assist their lovers, it would have been regarded as undignified in the extreme to give prominence to such a character. Chaucer flings dignity to the winds. What he cares for is truth to life, and already he has made the great discovery that certain persons are not told off by nature to be unhappy and certain others to be amusing, but that a perfectly common-place and ordinary individual may play a part in tragedy without even realising what tragedy is. He studies a man, not because he is unusual, but just because he is the kind of person to be met with any day, and by using Pandarus as a foil he prevents the high-flown emotion of the lovers from becoming absurd or monotonous.

Chaucer evidently realised to the full the attractiveness and the dramatic possibilities of this form of literature, but at the same time his eyes were open to its shortcomings. In the Squieres Tale we have a typical romance in which love, magic, and adventure are all blended together. It has the true medieval air of having all eternity in which to tell its story. It begins with an account of King Cambinskan, his two sons Algarsif and Cambalo, and his daughter Canace, and the coming of the magic gifts—the steed of brass which will carry its rider whithersoever he desires, the mirror which shows if any adversity is about to befall its owner, the ring which enables its wearer to understand the speech of the birds and also gives knowledge of the healing properties of all herbs, and the sword whose edge will cut through any armour and the flat of whose blade will cure the wound so made. Any one of these would in itself be sufficient to furnish forth a tale, and when we find them heaped together with so lavish a hand at the very beginning, we know what to expect. Three hundred and four of the squire’s 361 lines are occupied with the apparently irrelevant story of the love-lorn falcon and the faithless tercelet. Even this is not ended. Canace uses her knowledge of simples for the poor hawk’s benefit, and cures its wounds and swears to redress its wrongs; but having got thus far the narrator draws breath and then plunges into a list of further episodes with which he intends to deal:—

Thus lete I Canace hir hauk keping;
I wol na-more as now speke of hir ring,
Til it come eft to purpos for to seyn
How that this faucon gat hir love ageyn
Repentant, as the storie telleth us.
······
But hennes-forth I wol my proces holde
To speke of aventures and of batailles,
That never yet was herd so grete mervailles.
First wol I telle yow of Cambinskan,
That in his tyme many a citee wan;
And after wol I speke of Algarsyf,
How that he wan Theodora to his wyf,
For whom ful ofte in greet peril he was,
Ne hadde he ben holpen by the steed of bras;
And after wol I speke of Cambalo
That faught in listes with the brethren two
For Canacee, er that he mighte hir winne,
And ther I lefte I wol ageyn beginne.

It is here that the Franklin breaks in, and in the most courteous and charming manner succeeds in checking the story, of which the pilgrims have evidently had as much as they want, and in skilfully leading up to his own tale. Nothing could give a more vivid impression of youth and exuberance than the Squire’s naïve enjoyment of the marvellous adventures which he describes: the story is exactly suited to the teller, and his sublime unconsciousness of the fact that any one else can possibly find it long or quail before the prospect of a tale which bids fair to last all the way to Canterbury and back, is just what we should expect of this

... lusty bacheler
With lokkes crulle,[51] as they were leyd in presse.
Of twenty yeer of age he was, I gesse
······
Embrouded[52] was he, as it were a mede
Al ful of fresshe floures, whyte and rede.
Singinge he was, or floytinge[53] al the day;
He was as fresh as is the month of May.

No wonder he tells of enchanted steeds and magic rings, of joust and tourney. And in showing the charm and youthfulness of the Squire, Chaucer also contrives to show us the charm, and we might almost add the youthfulness, of the popular romance. It is difficult to believe that the Squieres Tale was left unfinished by chance. The manner in which it is cut short not only lights up the characters of the Squire and the Franklin in a manner eminently characteristic of Chaucer, but also gently satirises the long-windedness and absurdity of the romance-writers; and that Chaucer was keenly alive to their faults is shown by the rollicking burlesque of Sir Thopas. The Squieres Tale forms, as it were, a half-way house between the serious treatment of romance in Troilus and Criseyde and the Knightes Tale, and the pure parody of Chaucer’s own “tale of mirthe.”

Sir Thopas parodies not only the matter but the manner of the romance writers. It out-Herods Herod in the intolerable jingle of its verse and the absurdity of its extra syllables, while the adventures of Sir Thopas and the fairy queen prove too much even for the pilgrims, ready as they are to be interested in a story of any kind.