And, as for me, though that my wit be lyte,
On bokes for to rede I me delyte,
And in myn herte have hem in reverence;
And to hem yeve swich lust and swich credence,
That ther is wel unethe game noon
That from my bokes make me too goon,
But hit be other up-on the haly-day,
Or elles in the joly tyme of May;
Whan that I here the smale foules singe,
And that the floures ginne for to springe,
Farwel my studie, as lasting that sesoun!
Now have I therto this condicioun
That, of alle the floures in the mede,
Than love I most these floures whyte and rede,
Swiche as men callen daysies in our toun.
To them have I so greet affeccioun.
(Chaucer: Legend of Good Women, Prologue, ll. 29-44. Text A. ab. 1385.)
A good man was ther of religioun,
And was a povre Persoun of a toun;
But riche he was of holy thoght and werk.
He was also a lerned man, a clerk,
That Cristes gospel trewely wolde preche;
His parisshens devoutly wolde he teche.
Benigne he was, and wonder diligent,
And in adversitee ful pacient;...
He wayted after no pompe and reverence,
Ne maked him a spyced conscience,
But Cristes lore, and his apostles twelve,
He taughte, and first he folwed it himselve.
(Chaucer: Prologue to Canterbury Tales, ll. 477-484, 525-528. ab. 1385.)
With Chaucer we have the first deliberate use of the five-stress couplet, in continuous verse, known to English poetry. His earliest use of the pentameter line was in the Compleynt to Pitee (perhaps written about 1371), in the "rime royal" stanza; his earliest use of the pentameter couplet was in the Legend of Good Women, usually dated 1385. From that time the measure became almost his only instrument, and we find altogether in his poetry some 16,000 lines in the couplet, besides some 14,000 more in rime royal. Too much praise cannot be given Chaucer's use of the couplet. Although it was an experiment in English verse, it has perhaps hardly been used since his time with greater skill. He used a variety of cesuras (see ten Brink's monograph for the enumeration of them), a very large number of feminine endings (such as the still pronounced final-e and similar syllables easily provided), free inversions in the first foot and elsewhere, and many run-on lines (in a typical 100 lines some 16 run-on lines and 7 run-on couplets appearing). The total effect is one of combined freedom and mastery, of fluent conversational style yet within the limits of guarded artistic form. "Much more regularly than the French and Provençals, and yet without pedantic stiffness, he made his verse advance with a sort of iambic gait, and he was therefore able to give up and exchange for a freer arrangement the immovable cesura, which these poets had always made to coincide with a foot-ending." (Ten Brink, in English Literature, Kennedy trans., vol. ii. p. 48.) On Chaucer's verse, see, besides the monograph of ten Brink already cited, Lounsbury's Studies in Chaucer, vol. iii. pp. 297 ff., and Schipper, vol. i. pp. 442 ff.
The common assumption is, that Chaucer borrowed the pentameter couplet directly from French poetry. On the history of this in France, see Stengel, in Gröber's Grundriss der Romanischen Philologie.[20] The decasyllabic verse was fairly common in France in the fourteenth century (being called "vers commun" according to Stengel); but in the form of the couplet it was not. Professor Skeat says: "To say that it [Chaucer's couplet] was derived from the French ten-syllable verse is not a complete solution of the mystery; for nearly all such verse is commonly either in stanzas, or else a great number of successive lines are rimed together; and these, I believe, are rather scarce. After some search I have, however, fortunately lighted upon a very interesting specimen, among the poems of Guillaume de Machault, a French writer whom Chaucer is known to have imitated, and who died in 1377. In the edition of Machault's poems edited by Tarbé, Reims and Paris, 1849, p. 89, there is a poem of exactly this character, of no great length, but fortunately dated; for its title is 'Complainte écrite après la bataille de Poitiers et avant le siège de Reims par les Anglais' (1356-1358). The first four lines run thus:
"'A toy, Henry, dous amis, me complain,
Pour ce que ne cueur ne mont ne plein;
Car a piet suy, sans cheval et sans selle,
Et si n'ay mais esmeraude, ne belle.'
... Now as Chaucer was taken prisoner in France in 1359, he had an excellent opportunity for making himself acquainted with this poem, and with others, possibly, in a similar metre, which have not come down to us." (The Prioress's Tale, Introduction, pp. xix, xx.) Paris has shown that the real date of the poem in question was 1340; the title quoted by Skeat is Tarbé's modern French caption. Professor Kittredge has called my attention to the fact that there is another poem of Machault's in the same metre (P. Paris's edition of Voir-Dit, p. 56), and also a poem by Froissart, the "Orloge Amoureus."
Ten Brink calls attention to the possibility of the influence upon Chaucer's couplet of the Italian hendecasyllabic verse. The Compleynte to Pitee, it is true, was written probably before the Italian journey of 1372-1373; but in Italy the "full significance" of the metre may have become clear to Chaucer. "After that journey the heroic verse appears almost exclusively as his poetic instrument.... Of still greater significance is the fact that Chaucer's heroic verse differs from the French decasyllabic in all the particulars in which the Italian hendecasyllabic departs from the common source, and approaches the verse of Dante and Boccaccio as closely as the metre of a Germanic language can approach a Romance metre. It may be added also that the heroic verse in the Compleynte to Pitee stands nearer the French decasyllabic than that of the Troilus or the Canterbury Tales."
Dr. Lewis, on the other hand, in The Foreign Sources of English Versification, would minimize the foreign sources of Chaucer's couplet. Not only the unaccentual character of the French verse is opposed to the theory of the French source, but also, he believes, the fixed cesura. "In the English verse there is no such thing: indeed there is no cesura at all, in the French sense of the word.... Schipper relegates to a foot-note the suggestion that our heroic verse may have originated in a different way, either through an abridgment of the alexandrine or through an extension of the four-foot line. This is of course more nearly the true view, but it is entirely immaterial which of the last two explanations we hit upon. Accentual verses of four, six, and seven feet were already familiar long before Chaucer's time. They exhibited a more or less regular alternation of arsis and thesis. To devise a verse which should be essentially the same in principle, but should have five accents instead of four, six, or seven, was a task that Chaucer's genius might well achieve unaided" (pp. 98, 99).