Canterbury Tales and Other Poems by Geoffrey Chaucer (best summer reads .TXT) 📕

Now pray I to you all that hear this little treatise or read it, that if there be anything in it that likes them, that thereof they thank our Lord Jesus Christ, of whom proceedeth all wit and all goodness; and if there be anything that displeaseth them, I pray them also that they arette [impute] it to the default of mine unconning [unskilfulness], and not to my will, that would fain have said better if I had had conning; for the book saith, all that is written for our doctrine is written. Wherefore I beseech you meekly for the mercy of God that ye pray for me, that God have mercy on me and forgive me my guilts, and namely [specially]

my translations and of inditing in worldly vanities, which I revoke in my Retractions, as is the Book of Troilus, the Book also of Fame, the Book of Twenty-five Ladies, the Book of the Duchess, the Book of Saint Valentine’s Day and of the Parliament of Birds, the Tales of Canter bury, all those that sounen unto sin, [are sinful, tend towards sin] the Book of the Lion, and many other books, if they were in my mind or remembrance, and many a song and many a lecherous lay, of the which Christ for his great mercy forgive me the sins. But of the translation of Boece de Consolatione, and other books of consolation and of legend of lives of saints, and homilies, and moralities, and devotion, that thank I our Lord Jesus Christ, and his mother, and all the saints in heaven, beseeching them that they from henceforth unto my life’s end send me grace to bewail my guilts, and to study to the salvation of my soul, and grant me grace and space of very repentance, penitence, confession, and satisfaction, to do in this present life, through the benign grace of Him that is King of kings and Priest of all priests, that bought us with his precious blood of his heart, so that I may be one of them at the day of doom that shall be saved: Qui cum Patre et Spiritu Sancto vivis et regnas Deus per omnia secula.

Amen. <2>

Notes to the Prayer of Chaucer

1. The genuineness and real significance of this “Prayer of Chaucer,” usually called his “Retractation,” have been warmly disputed. On the one hand, it has been declared that the monks forged the retractation. and procured its insertion among the works of the man who had done so much to expose their abuses and ignorance, and to weaken their hold on popular credulity: on the other hand, Chaucer himself at the close of his life, is said to have greatly lamented the ribaldry and the attacks on the clergy which marked especially “The Canterbury Tales,” and to have drawn up a formal retractation of which the “Prayer” is either a copy or an abridgment. The beginning and end of the “Prayer,” as Tyrwhitt points out, are in tone and terms quite appropriate in the mouth of the Parson, while they carry on the subject of which he has been treating; and, despite the fact that Mr Wright holds the contrary opinion, Tyrwhitt seems to be justified in setting down the “Retractation” as interpolated into the close of the Parson’s Tale. Of the circumstances under which the interpolation was made, or the causes by which it was dictated, little or nothing can now be confidently affirmed; but the agreement of the manuscripts and the early editions in giving it, render it impossible to discard it peremptorily as a declaration of prudish or of interested regret, with which Chaucer himself had nothing whatever to do.

2. “[You] Who with the Father and the Holy Spirit livest and reignest God for ever and ever. Amen.”

THE END OF THE CANTERBURY TALES

THE COURT OF LOVE.

“The Court Of Love” was probably Chaucer’s first poem of any consequence. It is believed to have been written at the age, and under the circumstances, of which it contains express mention; that is, when the poet was eighteen years old, and resided as a student at Cambridge, — about the year 1346. The composition is marked by an elegance, care, and finish very different from the bold freedom which in so great measure distinguishes the Canterbury Tales; and the fact is easily explained when we remember that, in the earlier poem, Chaucer followed a beaten path, in which he had many predecessors and competitors, all seeking to sound the praises of love with the grace, the ingenuity, and studious devotion, appropriate to the theme. The story of the poem is exceedingly simple. Under the name of Philogenet, a clerk or scholar of Cambridge, the poet relates that, summoned by Mercury to the Court of Love, he journeys to the splendid castle where the King and Queen of Love, Admetus and Alcestis, keep their state. Discovering among the courtiers a friend named Philobone, a chamberwoman to the Queen, Philogenet is led by her into a circular temple, where, in a tabernacle, sits Venus, with Cupid by her side. While he is surveying the motley crowd of suitors to the goddess, Philogenet is summoned back into the King’s presence, chidden for his tardiness in coming to Court, and commanded to swear observance to the twenty Statutes of Love — which are recited at length. Philogenet then makes his prayers and vows to Venus, desiring that he may have for his love a lady whom he has seen in a dream; and Philobone introduces him to the lady herself, named Rosial, to whom he does suit and service of love.

At first the lady is obdurate to his entreaties; but, Philogenet having proved the sincerity of his passion by a fainting fit, Rosial relents, promises her favour, and orders Philobone to conduct him round the Court. The courtiers are then minutely described; but the description is broken off abruptly, and we are introduced to Rosial in the midst of a confession of her love.

Finally she commands Philogenet to abide with her until the First of May, when the King of Love will hold high festival; he obeys; and the poem closes with the May Day festival service, celebrated by a choir of birds, who sing an ingenious, but what must have seemed in those days a more than slightly profane, paraphrase or parody of the matins for Trinity Sunday, to the praise of Cupid. From this outline, it will be seen at once that Chaucer’s “Court of Love” is in important particulars different from the institutions which, in the two centuries preceding his own, had so much occupied the attention of poets and gallants, and so powerfully controlled the social life of the noble and refined classes. It is a regal, not a legal, Court which the poet pictures to us; we are not introduced to a regularly constituted and authoritative tribunal in which nice questions of conduct in the relations of lovers are discussed and decided — but to the central and sovereign seat of Love’s authority, where the statutes are moulded, and the decrees are issued, upon which the inferior and special tribunals we have mentioned frame their proceedings. The “Courts of Love,” in Chaucer’s time, had lost none of the prestige and influence which had been conferred upon them by the patronage and participation of Kings, Queens, Emperors, and Popes. But the institution, in its legal or judicial character, was peculiar to France; and although the whole spirit of Chaucer’s poem, especially as regards the esteem and reverence in which women were held, is that which animated the French Courts, his treatment of the subject is broader and more general, consequently more fitted to enlist the interest of English readers.

(Transcriber’s note: Modern scholars believe that Chaucer was not the author of this poem)

The poem consists of 206 stanzas of seven lines each; of which, in this edition, eighty-three are represented by a prose abridgement.

With timorous heart, and trembling hand of dread, Of cunning* naked, bare of eloquence, skill Unto the flow’r of port in womanhead one who is the perfection I write, as he that none intelligence of womanly behaviour*

Of metres hath, <1> nor flowers of sentence, Save that me list my writing to convey, In that I can, to please her high nobley. nobleness The blossoms fresh of Tullius’* garden swoot* Cicero **sweet Present they not, my matter for to born:* <2> *burnish, polish Poems of Virgil take here no root,

Nor craft of Galfrid <3> may not here sojourn; Why *n’am I* cunning? O well may I mourn, am I not

For lack of science, that I cannot write Unto the princess of my life aright!

No terms are dign* unto her excellence, worthy So is she sprung of noble stirp and high; *stock <4>

A world of honour and of reverence

There is in her, this will I testify.

Calliope, <5> thou sister wise and sly, skilful And thou, Minerva, guide me with thy grace, That language rude my matter not deface!

Thy sugar droppes sweet of Helicon

Distil in me, thou gentle Muse, I pray; And thee, Melpomene, <6> I call anon

Of ignorance the mist to chase away;

And give me grace so for to write and say, That she, my lady, of her worthiness,

Accept *in gree* this little short treatess, with favour treatise That is entitled thus, The Court of Love.

And ye that be metricians,* me excuse, *skilled versifiers I you beseech, for Venus’ sake above;

For what I mean in this ye need not muse: And if so be my lady it refuse

For lack of ornate speech, I would be woe That I presume to her to write so.

But my intent, and all my busy cure, care Is for to write this treatise, as I can, Unto my lady, stable, true, and sure,

Faithful and kind, since first that she began Me to accept in service as her man;

To her be all the pleasure of this book, That, when *her like,* she may it read and look. it pleases her

When [he] was young, at eighteen year of age, Lusty and light, desirous of pleasance, Approaching* full sad and ripe corage,<7> *gradually attaining Then — says the poet — did Love urge him to do him obeisance, and to go “the Court of Love to see, a lite [little] beside the Mount of Citharee.”

<8> Mercury bade him, on pain of death, to appear; and he went by strange and far countries in search of the Court. Seeing at last a crowd of people, “as bees,” making their way thither, the poet asked whither they went; and “one that answer’d like a maid” said that they were bound to the Court of Love, at Citheron, where “the King of Love, and all his noble rout [company], “Dwelleth within a castle royally.”

So them apace I journey’d forth among, And as he said, so found I there truly; For I beheld the town — so high and strong, And high pinnacles, large of height and long, With plate of gold bespread on ev’ry side, And precious stones, the stone work for to hide.

No sapphire of Ind, no ruby rich of price, There lacked then, nor emerald so green, Balais, Turkeis, <9> nor thing, *to my devise, in my judgement*

That may the castle make for to sheen; be beautiful All was as bright as stars in winter be’n; And Phoebus shone, to make his peace again, For trespass* done to high estates twain, — *offence When he had found Venus in the arms of Mars, and hastened to tell Vulcan of his wife’s infidelity <10>. Now he was shining brightly on the castle, “in sign he