"Is that your los? By God, hit is routhe."
Soon after he had written this touching tribute to the memory of a woman who had been his ideal of goodness and graciousness, Chaucer was sent on a mission to Genoa and Florence, a journey which left its influence upon him in a very marked manner, as he made the acquaintance of Francis Petrarch, the Italian poet, and through him he learned to know the works of Dante and the delightful stories of Boccaccio. A new world was opened out to him, and eagerly he wandered through it, eyes and mind open to every fresh vision that unfolded itself before him. From this time forward his works were tinged with Italian influence, and thereby became much the richer. For he lost none of his own sturdy individuality and fresh, pure style; he only added to this more warmth, more colouring, more romance.
On his return to England he was made Comptroller of the Customs of the Port of London, on the understanding that he did all the accounts himself, so important was it that this post should be filled by a man who was both shrewd and honest; and in addition to this both the king and John of Gaunt granted him certain allowances and privileges, so that in worldly affairs he prospered. Good fortune, however, did not cause him to become idle, and his poems followed each other in quick succession. There was the "Assembly of Fowles," of course an allegory, and written probably to celebrate the betrothal of young King Richard to the Princess Anne of Bohemia.
"Troilus and Cresside" was a much deeper poem, full of sadness, and Chaucer himself called it his "little Tragedie," adding the hope that one day God might send it to him to "write some Comedie." It is in this work that he refers to the great difficulty with which he, in common with the other writers of his day, had to contend—the unsettled state of the language. The struggle as to whether the French or English tongue should prevail had been a fierce one, but it was now in its last throes. Chaucer, through his works, helped more than any one else to develop our language as it is to-day, and strenuously avoided those "owre curyrows termes which could not be understood of comyn people, and which in every shire varied." But his own words show the difficulties which beset him.
"And for there is so great diversité
In English, and in writing of our tong,
So pray I God that none miswrite thee
Or thee mismetre for default of tong,
And red whereso thou be, or elles song,
That thou be understood, God I beseech."
And it is just because he wrote to be understood that the charm of Chaucer's style remains for ever fresh and entrancing.
In his "House of Fame" he had free scope for his pleasant wit, especially when he tells of all he saw and heard in the "House of Rumour," whither came shipmen, pilgrims, pardoners, couriers, and their like, each bringing scraps of news, which, whether true or false, were passed on, growing like a rolling snowball. He set fame at its true value, and for himself only desires that in life he might be able to "study and rite alway," while for the rest—
"It suffyceth me, as I were dedd,
That no wight have my name in honde,
I wot myself best how I stonde."
The "Legend of Good Women" was written in praise of all those maidens and wives who loved truly and unchangingly.
Hitherto Chaucer, whose married life was not an altogether happy one, had sung but little of love in its highest, purest form. But here, in a prologue sparkling and radiant as the morning he describes, he tells us how he went out to greet the daisy, the flower he loved, and would ever love anew till his heart did die.