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

returns from the saint’s shrine to the Southwark hostelry. All joyously assent; and early on the morrow, in the gay spring sunshine, they ride forth, listening to the heroic tale of the brave and gentle Knight, who has been gracefully chosen by the Host to lead the spirited competition of story-telling.

 

To describe thus the nature of the plan, and to say that when Chaucer conceived, or at least began to execute it, he was between sixty and seventy years of age, is to proclaim that The Canterbury Tales could never be more than a fragment. Thirty pilgrims, each telling two tales on the way out, and two more on the way back — that makes 120 tales; to say nothing of the prologue, the description of the journey, the occurrences at Canterbury, “and all the remnant of their pilgrimage,” which Chaucer also undertook. No more than twenty-three of the 120

stories are told in the work as it comes down to us; that is, only twenty-three of the thirty pilgrims tell the first of the two stories on the road to Canterbury; while of the stories on the return journey we have not one, and nothing is said about the doings of the pilgrims at Canterbury — which would, if treated like the scene at the Tabard, have given us a still livelier “picture of the period.” But the plan was too large; and although the poet had some reserves, in stories which he had already composed in an independent form, death cut short his labour ere he could even complete the arrangement and connection of more than a very few of the Tales. Incomplete as it is, however, the magnum opus of Chaucer was in his own time received with immense favour; manuscript copies are numerous even now — no slight proof of its popularity; and when the invention of printing was introduced into England by William Caxton, The Canterbury Tales issued from his press in the year after the first English-printed book, “The Game of the Chesse,” had been struck off.

Innumerable editions have since been published; and it may fairly be affirmed, that few books have been so much in favour with the reading public of every generation as this book, which the lapse of every generation has been rendering more unreadable.

 

Apart from “The Romaunt of the Rose,” no really important poetical work of Chaucer’s is omitted from or unrepresented in the present edition. Of “The Legend of Good Women,” the Prologue only is given — but it is the most genuinely Chaucerian part of the poem. Of “The Court of Love,” three-fourths are here presented; of “The Assembly of Fowls,” “The Cuckoo and the Nightingale,” “The Flower and the Leaf,” all; of “Chaucer’s Dream,” one-fourth; of “The House of Fame,” two-thirds; and of the minor poems such a selection as may give an idea of Chaucer’s power in the “occasional” department of verse.

Necessarily, no space whatever could be given to Chaucer’s prose works — his translation of Boethius’ Treatise on the Consolation of Philosophy; his Treatise on the Astrolabe, written for the use of his son Lewis; and his “Testament of Love,” composed in his later years, and reflecting the troubles that then beset the poet. If, after studying in a simplified form the salient works of England’s first great bard, the reader is tempted to regret that he was not introduced to a wider acquaintance with the author, the purpose of the Editor will have been more than attained.

 

The plan of the volume does not demand an elaborate examination into the state of our language when Chaucer wrote, or the nice questions of grammatical and metrical structure which conspire with the obsolete orthography to make his poems a sealed book for the masses. The most important element in the proper reading of Chaucer’s verses — whether written in the decasyllabic or heroic metre, which he introduced into our literature, or in the octosyllabic measure used with such animated effect in “The House of Fame,” “Chaucer’s Dream,”

&c. — is the sounding of the terminal “e” where it is now silent.

That letter is still valid in French poetry; and Chaucer’s lines can be scanned only by reading them as we would read Racine’s or Moliere’s. The terminal “e” played an important part in grammar; in many cases it was the sign of the infinitive — the “n” being dropped from the end; at other times it pointed the distinction between singular and plural, between adjective and adverb. The pages that follow, however, being prepared from the modern English point of view, necessarily no account is taken of those distinctions; and the now silent “e” has been retained in the text of Chaucer only when required by the modern spelling, or by the exigencies of metre.

 

Before a word beginning with a vowel, or with the letter “h,”

the final “e” was almost without exception mute; and in such cases, in the plural forms and infinitives of verbs, the terminal “n” is generally retained for the sake of euphony. No reader who is acquainted with the French language will find it hard to fall into Chaucer’s accentuation; while, for such as are not, a simple perusal of the text according to the rules of modern verse, should remove every difficulty.

 

Notes to Life of Geoffrey Chaucer

 

1. “Edmund Spenser, a native of London, was born with a Muse of such power, that he was superior to all English poets of preceding ages, not excepting his fellow-citizen Chaucer.”

 

2. See introduction to “The Legend of Good Women”.

 

3. Called in the editions before 1597 “The Dream of Chaucer”.

The poem, which is not included in the present edition, does indeed, like many of Chaucer’s smaller works, tell the story of a dream, in which a knight, representing John of Gaunt, is found by the poet mourning the loss of his lady; but the true “Dream of Chaucer,” in which he celebrates the marriage of his patron, was published for the first time by Speght in 1597. John of Gaunt, in the end of 1371, married his second wife, Constance, daughter to Pedro the Cruel of Spain; so that “The Book of the Duchess” must have been written between 1369 and 1371.

 

4. Where he bids his “little book”

“Subject be unto all poesy,

And kiss the steps, where as thou seest space, Of Virgil, Ovid, Homer, Lucan, Stace.”

 

5. See note 1 to The Tale in The Clerk’s Tale.

 

6. See note 1 to The Man of Law’s Tale.

 

7. “Written,” says Mr Wright, “in the sixteenth year of the reign of Richard II. (1392-1393);” a powerful confirmation of the opinion that this poem was really produced in Chaucer’s mature age. See the introductory notes to it and to the Legend of Good Women.

 

8. The old biographers of Chaucer, founding on what they took to be autobiographic allusions in “The Testament of Love,”

assign to him between 1354 and 1389 a very different history from that here given on the strength of authentic records explored and quoted by Sir H. Nicolas. Chaucer is made to espouse the cause of John of Northampton, the Wycliffite Lord Mayor of London, whose re-election in 1384 was so vehemently opposed by the clergy, and who was imprisoned in the sequel of the grave disorders that arose. The poet, it is said, fled to the Continent, taking with him a large sum of money, which he spent in supporting companions in exile; then, returning by stealth to England in quest of funds, he was detected and sent to the Tower, where he languished for three years, being released only on the humiliating condition of informing against his associates in the plot. The public records show, however, that, all the time of his alleged exile and captivity, he was quietly living in London, regularly drawing his pensions in person, sitting in Parliament, and discharging his duties in the Customs until his dismissal in 1386. It need not be said, further, that although Chaucer freely handled the errors, the ignorance, and vices of the clergy, he did so rather as a man of sense and of conscience, than as a Wycliffite — and there is no evidence that he espoused the opinions of the zealous Reformer, far less played the part of an extreme and self-regardless partisan of his old friend and college-companion.

 

9. “The Commissioners appear to have commenced their labours with examining the accounts of the officers employed in the collection of the revenue; and the sequel affords a strong presumption that the royal administration [under Lancaster and his friends] had been foully calumniated. We hear not of any frauds discovered, or of defaulters punished, or of grievances redressed.” Such is the testimony of Lingard (chap. iv., 1386), all the more valuable for his aversion from the Wycliffite leanings of John of Gaunt. Chaucer’s department in the London Customs was in those days one of the most important and lucrative in the kingdom; and if mercenary abuse of his post could have been proved, we may be sure that his and his patron’s enemies would not have been content with simple dismissal, but would have heavily amerced or imprisoned him.

 

10. The salary was L36, 10s. per annum; the salary of the Chief Judges was L40, of the Puisne Judges about L27. Probably the Judges — certainly the Clerk of the Works — had fees or perquisites besides the stated payment.

 

11. Chaucer’s patron had died earlier in 1399, during the exile of his son (then Duke of Hereford) in France. The Duchess Constance had died in 1394; and the Duke had made reparation to Katherine Swynford — who had already borne him four children — by marrying her in 1396, with the approval of Richard II., who legitimated the children, and made the eldest son of the poet’s sister-in-law Earl of Somerset. From this long-illicit union sprang the house of Beaufort — that being the surname of the Duke’s children by Katherine, after the name of the castle in Anjou (Belfort, or Beaufort) where they were born.

 

12. Of Chaucer’s two sons by Philippa Roet, his only wife, the younger, Lewis, for whom he wrote the Treatise on the Astrolabe, died young. The elder, Thomas, married Maud, the second daughter and co-heiress of Sir John Burghersh, brother of the Bishop of Lincoln, the Chancellor and Treasurer of England. By this marriage Thomas Chaucer acquired great estates in Oxfordshire and elsewhere; and he figured prominently in the second rank of courtiers for many years. He was Chief Butler to Richard II.; under Henry IV. he was Constable of Wallingford Castle, Steward of the Honours of Wallingford and St Valery, and of the Chiltern Hundreds; and the queen of Henry IV. granted him the farm of several of her manors, a grant subsequently confirmed to him for life by the King, after the Queen’s death. He sat in Parliament repeatedly for Oxfordshire, was Speaker in 1414, and in the same year went to France as commissioner to negotiate the marriage of Henry V. with the Princess Katherine. He held, before he died in 1434, various other posts of trust and distinction; but he left no heirs-male. His only child, Alice Chaucer, married twice; first Sir John Philip; and afterwards the Duke of Suffolk —

attainted and beheaded in 1450. She had three children by the Duke; and her eldest son married the Princess Elizabeth, sister of Edward IV. The eldest son of this marriage, created Earl of Lincoln, was declared by Richard III heir-apparent to the throne, in case the Prince of Wales should die without issue; but the death of Lincoln himself, at the battle of Stoke in 1487, destroyed all prospect that the poet’s descendants might succeed to the crown of England; and his family is now believed to