Chaucer's Works, Volume 1 — Romaunt of the Rose; Minor Poems

The king was prompt to reply; it must have given him real satisfaction to be able to assist the old poet, with whom he must have been on familiar terms. On Oct. 3, only the fourth day after the king's accession, the answer came. He was to receive 40 marks yearly (26l. 13s. 4d.), in addition to the annuity of 20l. which king Richard had granted him; so that his income was more than doubled. Even then, he met with a slight misfortune, in losing his letters patent; but, having made oath in Chancery, that the letters patent of Feb. 28, 1394 (referring to king Richard's grant of 20l.), and the new letters patent of Oct. 3, 1399, had been accidentally lost, he procured, on Oct. 13, exemplifications of these records^[156]. These grants were finally confirmed by the king on Oct. 21^[157].

On Christmas eve, 1399, he covenanted for a lease of 53 years (a long term for one at his age to contemplate) of a house situate in the garden of the Chapel of St. Mary, Westminster, near Westminster Abbey, at the annual rent of 2l. 13s. 4d. This lease, from the Custos Capellae Beatae Mariae to Geoffrey Chaucer, dated Dec. 24, 1399, is in the Muniment Room of Westminster Abbey. The house stood on or near the spot now occupied by Henry the Seventh's Chapel^[158]. We find, however, that he had only a life-interest in the lease, as the premises were to revert to the Custos Capellae if the tenant died within the term.

§ 39. 1400. In 1400, payments to him are recorded on Feb. 21, of the pension of 20l. granted by king Richard^[159], in respect of the half-year ending at Michaelmas, 1399; and on June 5, the sum of 5l., being part of a sum of 8l. 13s. 5d. due for a portion of the next half-year, calculated as commencing on Oct. 21, 1399, and terminating on the last day of March, 1400, was sent him by the hands of Henry Somere^[160].

We should notice that this Henry Somere was, at the time, the Clerk of the Receipt of the Exchequer; he was afterwards Under Treasurer, at which time Hoccleve addressed to him a Balade, printed in Furnivall's edition of Hoccleve's Works, at p. 59, followed by a Roundel containing a pun upon his name; as well as a second Balade, addressed to him after he had been made a Baron, and promoted to be Chancellor (see the same, p. 64). Perhaps he was related to John Somere, the Frere, mentioned in the Treatise on the Astrolabe (Prol. 62).

Chaucer died on Oct. 25, 1400, and was buried in Westminster Abbey. The date of his death is only known from an inscription on the tomb of gray marble erected near his grave, in 1556, by Nicholas Brigham, a man of letters, and an admirer of the poet's writings; but it is probably correct, and may have rested on tradition^[161]. We have no note of him after June 5, and no record of a payment of the pension in October. According to Stowe, Chaucer's grave is in the cloister, where also lies the body of 'Henrie Scogan, a learned poet,' i. e. the Scogan who was Chaucer's friend.

§ 40. Chaucer's Arms and Tomb. 'In front of the tomb,' says Sir. H. Nicolas, 'are three panelled divisions of starred quarterfoils (sic), containing shields with the Arms of Chaucer, viz. Per pale argent and gules, a bend counterchanged; and the same Arms also occur in an oblong compartment at the back of the recess, where the following inscription was placed, but which is now almost obliterated, from the partial decomposition and crumbling state of the marble. A small whole-length portrait of Chaucer was delineated in plano on the north side of the inscription, but not a vestige of it is left; and the whole of the recess and canopy has recently been coloured black.

On the ledge of the tomb the following verses were engraved:—

We learn from an interesting note at the end of Caxton's edition of Boethius, that the good printer was not satisfied with printing some of Chaucer's works, but further endeavoured to perpetuate the poet's memory by raising a pillar near his tomb, to support a tablet containing an epitaph consisting of 34 Latin verses. This epitaph was composed by Stephanus Surigonus of Milan, licentiate in decrees, and is reprinted in Stowe's edition of Chaucer's Works (1561), at fol. 355, back. The last four lines refer to Caxton's pious care:—

A description, by Dean Stanley, of the Chaucer window in Westminster Abbey, completed in 1868, is given in Furnivall's Temporary Preface (Ch. Soc.), p. 133. Some of the subjects in the window are taken from the poem entitled 'The Flower and the Leaf,' which he did not write.

It will be observed that Sir H. Nicolas speaks, just above, of 'the arms of Chaucer,' which he describes. But it should be remembered that this is, practically, an assumption, which at once launches us into an uncertain and debateable position. These arms certainly belonged to Thomas Chaucer, for they occur on a seal of his of which a drawing is given in MS. Julius C 7, fol. 153; an accurate copy of which is given by Sir H. Nicolas. It is therefore quite possible that the same arms were assigned to the poet in 1556, only because it was then assumed that Thomas was Geoffrey's son; the fact being that the relationship of Thomas to Geoffrey is open to doubt, and the case requires to be stated with great care.

§ 41. Thomas Chaucer. Few things are more remarkable than the utter absence of unequivocal early evidence as to the above-mentioned point. That Geoffrey Chaucer was a famous man, even in his own day, cannot be doubted; and it is equally certain that Thomas Chaucer was a man of great wealth and of some consequence. Sir H. Nicolas has collected the principal facts relating to him, the most important being the following. On Oct. 26, 1399, Henry IV. granted him the offices of Constable of Wallingford Castle and Steward of the Honours of Wallingford and St. Valery and of the Chiltern Hundreds for life, receiving therefrom 40l. a year, with 10l. additional for his deputy^[162]. On Nov. 5, 1402, he was appointed Chief Butler for life to King Henry IV.^[163]; and there is a note that he had previously been Chief Butler to Richard II.^[164], but the date of that appointment has not been ascertained. He was also Chief Butler to Henry V. until March, 1418, when he was superseded^[165]; but was again appointed Chief Butler to Henry VI. after his accession. He represented Oxfordshire in Parliament in 1402, 1408, 1409, 1412, 1414, 1423, 1427, and 1429; and was Speaker of the House of Commons in 1414^[166], and in other years. 'He was employed on many occasions of trust and importance during the reigns of Henry IV., Henry V., and Henry VI.;' to which Sir H. Nicolas adds, that he 'never attained a higher rank than that of esquire.'

His wealth, at his death in 1434, was unusually great, as shewn by the long list of his landed possessions in the Inquisitiones post Mortem. This wealth he doubtless acquired by his marriage with an heiress, viz. Matilda, second daughter and co-heiress of Sir John Burghersh, who died Sept. 21, 1391, when Matilda was 12 years old. Unfortunately, the date of this marriage is uncertain, though Sir H. Nicolas shews that it was probably earlier than 1403. The exact date would be very useful; for if it took place before 1399, it becomes difficult to understand why the poet was left so poor, whilst his son had vast possessions.

It should be noticed that there is but little to connect even Thomas Chaucer (still less Geoffrey) with Woodstock, until 1411; when the Queen (Joan of Navarre) granted Thomas the farm of the manors of Woodstock, Hanburgh, Wotton, and Stonfield, which, by the king's assignment, he enjoyed for life^[167]. That the poet visited Woodstock in 1357, when in the service of Prince Lionel, is almost certain; but beyond this, we have no sure information on the matter. It is true that 'Wodestok' is mentioned in the last line of the Cuckow and the Nightingale, but this supposed connecting link is at once broken, when we find that the said poem was certainly not of his writing^[168]. The suggested reference to Woodstock in the Parliament of Foules, l. 122, is discussed below, at p. 510.

The only child of Thomas and Matilda Chaucer was Alice, whose third husband was no less a person than William de la Pole, then Earl and afterwards Duke of Suffolk, who was beheaded in 1450. Their eldest son was John de la Pole, Duke of Suffolk, who married Elizabeth, sister of King Edward IV. Their eldest son bore the same name, and was not only created Earl of Lincoln, but was actually declared heir-apparent to the throne by Richard III; so that there was, at one time, a probability that Thomas Chaucer's great-grandson would succeed to the throne. But the battle of Bosworth, in 1485, set this arrangement aside; and the Earl of Lincoln was himself killed two years later, in the battle of Stoke.

§ 42. The relationship of Thomas to Geoffrey Chaucer. Considering the great eminence of these two men, the almost total silence of early evidence, establishing a connexion between them, is in a high degree remarkable.

The earliest connecting link is the fact that a deed by Thomas Chaucer still exists, written (in English) at Ewelme, and dated May 20, 1409, to which a seal is appended. This seal exhibits the arms which were certainly borne by Thomas Chaucer (viz. party per pale, argent and gules, a bend counterchanged); but the legend, though somewhat indistinct, can only be read as: 'S' Ghofrai Chaucier^[169]'; where S' signifies 'Sigillum.'

The spelling 'Ghofrai' is hardly satisfactory; but if Geoffrey be really meant, we gain a piece of evidence of high importance. It proves that Geoffrey bore the same arms as Thomas, and not the same arms as his father John; whose seal displays a shield ermine, on a chief, three birds' heads issuant (The Academy, Oct. 13, 1877, p. 364). Moreover, the use of Geoffrey's seal by Thomas goes far to establish that the latter was the son of the former.

The next link is that Geoffrey Chaucer was succeeded by Thomas Chaucer in the office of forester of North Petherton in Somersetshire; but even here there is a gap in the succession, as Thomas was not appointed till 1416-7, the fourth year of Henry V.^[170]

It is not till the reign of Henry VI. that we at last obtain an unequivocal statement. Thomas Gascoigne, who died in 1458, wrote a Theological Dictionary, which still exists, in MS., in the Library of Lincoln College, Oxford. He tells us that Chaucer, in his last hours, frequently lamented the wickedness of his writings, though it is transparent that he here merely repeats, in a varied form, the general tenour of the well-known final paragraph of the Persones Tale. But he adds this important sentence: 'Fuit idem Chawserus pater Thomae Chawserus, armigeri, qui Thomas sepelitur in Nuhelm iuxta Oxoniam^[171].' The statement is the more important because Gascoigne ought to have known the exact truth. He was Chancellor of Oxford, and Thomas Chaucer held the manor of Ewelme, at no great distance, at the same date. As he mentions Thomas's sepulture, he wrote later than 1434, yet before 1458. Even in the case of this decisive statement, it were to be wished that he had shewn greater accuracy in the context; surely he gives a quite unfair turn to the poet's own words.

On the whole, I can only admit at present, that there is a high probability that Thomas was really Geoffrey's son. Perhaps we shall some day know the certainty of the matter.

§ 43. Thomas's Mother. The chief reason why it is so desirable to know the exact truth as to the relationship of Thomas to Geoffrey, is that a good deal depends upon it. If such was the case, it follows that Philippa Chaucer was Thomas's mother; in which case, we may feel tolerably confident that her maiden name was Roet or Rouet. This has been inferred from the fact that the arms (apparently) of Roet 'occur repeatedly on Thomas Chaucer's tomb, as his paternal coat, instead of the arms usually attributed to him and to the poet.' These arms bore 'three wheels, evidently in allusion to the name^[172].' Having thus assigned to Philippa Chaucer the name of Roet, the next step (usually accepted, yet not absolutely proved) is to assume that she was the sister of the Katherine de Roet of Hainault^[173], who married Sir Hugh Swynford, and afterwards became the mistress, and, in 1396, the third wife of John of Gaunt. Her father is supposed to have been Sir Payne Roet, of Hainault, upon the evidence of his epitaph, which (in Weever's Funeral Monuments, p. 413) is thus given:—'Hic jacet Paganus Roet, Miles, Guyenne Rex Armorum, Pater Catherine Ducisse Lancastriae^[174].' It is obvious that, if all the inferences are correct, they clearly establish an important and close connexion between the poet and John of Gaunt. Further arguments, whether in favour of or against this connexion, need hardly be repeated here. They may be found in Nicolas's Life of Chaucer, and in Lounsbury's Studies in Chaucer, vol. i.

Thynne has the following remark in his Animadversions, &c. (ed. Furnivall, p. 22): 'Althoughe I fynde a recorde of the pellis exitus, in the tyme of Edwarde the thirde, of a yerely stypende to Elizabethe Chawcer, Domicelle regine Philippe, whiche Domicella dothe signyfye one of her weytinge gentlewomen: yet I cannott ... thinke this was his wyfe, but rather his sister or kinneswoman, who, after the deathe of her mystresse Quene Philippe, did forsake the worlde and became a nonne at Seinte Heleins in London.' And we find, accordingly (as Nicolas shews), that 'on July 27, 1377, the King exercised his right to nominate a Nun in the Priory of St. Helen's, London, after the coronation, in favour of Elizabeth Chausier.' Another Elizabeth Chaucy (who may have been the poet's daughter) is also noticed by Nicolas, for whose noviciate, in the Abbey of Berking in Essex, John of Gaunt paid 51l. 8s. 2d., on May 12, 1381. But these are mere matters for conjecture.

§ 44. The preceding sections include all the most material facts that have been ascertained with respect to Geoffrey Chaucer, and it is fortunate that, owing to his connexion with public business, they are so numerous and so authentic. At the same time, it will doubtless be considered that such dry details, however useful, tell us very little about the man himself; though they clearly shew the versatility of his talents, and exhibit him as a page, a soldier, a valet and esquire of the royal household, an envoy, a comptroller of customs, a clerk of works, and a member of Parliament. In the truest sense, his own works best exhibit his thoughts and character; though we must not always accept all his expressions as if they were all his own. We have to deal with a writer in whom the dramatic faculty was highly developed, and I prefer to leave the reader to draw his own inferences, even from those passages which are most relied upon to support the theory that his domestic life may have been unhappy, and others of the like kind. We can hardly doubt, for example, that he refers to his wife as 'oon that I coude nevene,' i. e. one that I could name, in the Hous of Fame, 562; and he plainly says that the eagle spoke something to him in a kindly tone, such as he never heard from his wife. But when we notice that the something said was the word 'awake,' in order that he should 'the bet abrayde,' i. e. the sooner recover from his dazed state, it is possible that a sentence which at first seems decidedly spiteful is no more than a mild and gentle jest.

§ 45. Personal allusions in Chaucer's Works. Instead of drawing my own inferences, which may easily be wrong, from various passages in Chaucer's Works, I prefer the humbler task of giving the more important references, from which the reader may perform the task for himself, to his greater satisfaction. I will only say that when a poet complains of hopeless love, or expresses his despair, or tells us (on the other hand) that he has no idea as to what love means, we are surely free to believe, in each case, just as little or as much as we please. It is a very sandy foundation on which to build up a serious autobiographical structure.

The only remark which I feel justified in making is, that I believe his wife's death to have been a serious loss to him in one respect at least. Most of his early works are reasonably free from coarseness; whereas such Tales as those of the Miller, the Reeve, the Shipman, the Merchant, and the Prologue to the Wife's Tale, can hardly be defended. All these may confidently be dated after the year 1387.

I have also to add one caution. We must not draw inferences as to Chaucer's life from poems or works with which he had nothing to do. Even Sir H. Nicolas, with all his carefulness, has not avoided this. He quotes the 'Cuckoo and Nightingale' as mentioning Woodstock; and he only distrusts the 'Testament of Love' because it is 'an allegorical composition^[175].' As to the numerous fables that have been imported into the early Lives of Chaucer, see the excellent chapter in Lounsbury's Studies in Chaucer, entitled 'The Chaucer Legend.'

§ 46. References. I here use the following abbreviations. Ast. (Treatise on the Astrolabe); B. D. (Book of the Duchesse); C. T. (Canterbury Tales); H. F. (Hous of Fame); L. G. W. (Legend of Good Women); T. (Troilus and Criseyde).

1. Personal Allusions. The poet's name is Geffrey, H. F. 729; and his surname, Chaucer, C. T., B 47. He describes himself, C. T., B 1886; Envoy to Scogan, 31. His poverty, H. F. 1349; Envoy to Scogan, 45; Compl. to his Purse. Refers to the sale of wine (his father being a vintner), C. T., C 564. Is despondent in love, Compl. unto Pity; B. D. 1-43; T. i. 15-18. His Complaints, viz. unto Pity; to his Lady; and an Amorous Complaint. Has long served Cupid and Venus; H. F. 616. Is no longer a lover, P. F. 158-166; H. F. 639; T. ii. 19-21; L. G. W. 490. Is love's clerk, T. iii. 41. Is love's foe, L. G. W. 323. His misery, H. F. 2012-8. His religious feeling, A. B. C., Second Nun's Tale, Prioress's Tale, &c. Refers to his work when Comptroller of the Customs, H. F. 652. Is unambitious of fame, H. F. 1870-900; and has but little in his head, ib. 621. Is sometimes a mere compiler, Ast. prol. 43. Addresses his little son Lowis, Ast. prol. 1-45^[176]. Expresses his gratitude to the queen, L. G. W. 84-96, 445-461, 496. His old age, L. G. W., A 262, A 315; Envoy to Scogan, 31-42; Compl. of Venus, 76^[177]. He will not marry a second time, Envoy to Bukton, 8. He exhibits his knowledge of the Northern dialect in the Reeve's Tale. The whole of the Prologue to the Legend of Good Women deserves particular attention.

Chaucer mentions several friends, viz. Gower the poet, T. v. 1856; Strode, T. v. 1857 (cf. the colophon to Ast. pt. ii. § 40); and a lady named Rosemounde, in the Balade addressed to her. He also addresses Envoys to Henry Scogan and to Bukton. The Envoy to the Compleint to his Purse is addressed to king Henry IV.

He is fond of books and of reading, P. F. 15; H. F. 657; L. G. W. 17-35; and even reads in bed, B. D. 50, 274, 1326. For a full account of the books which he quotes, see vol. vi. I may just notice here the lists in C. T., B 2088; L. G. W., A 272-307; and his references to his own works in L. G. W. 329, 332, 417-28; C. T., B 57-76; C. T., I 1086^[178]. His love of nature appears in several excellent descriptions; we may particularly notice his lines upon the sunrise, C. T., A 1491, F 385; on the golden-tressed Phoebus, T. v. 8; on the daisy, L. G. W. 41; his description of the birds, P. F. 330; of a blooming garden, P. F. 182; of the golden age, The Former Age; of fine weather for hunting, B. D. 336, and of the chase itself, B. D. 360, L. G. W. 1188. He frequently mentions the fair month of May, L. G. W. 36, 45, 108, 176, T. ii. 50, C. T. A 1500, 1510; and St. Valentine's day, Compl. of Mars, 13; P. F. 309, 322, 386, 683; Amorous Compleint, 85.

He was our first great metrist, and has frequent references to his poetical art. He never slept on Parnassus, C. T., F 721; and the Host (in the C. T.) even accused him of writing 'dogerel,' B 2115. He cannot write alliterative verse, C. T., I 43. He admits that his rime is 'light and lewed,' and that some lines fail in a syllable, H. F., 1096-8. Yet he hopes that none will 'mismetre' him, T. v. 1796. He writes books, songs, and ditties in rime or 'cadence,' H. F. 622; also hymns, balades, roundels, and virelays, L. G. W. 422; and complaints, such as the Complaint to Pity, to his Lady, to his Purse, the Complaints of Mars, Anelida, and Venus, and the Complaint D'amours (or Amorous Complaint). Specimens of his graphic and dramatic power, of his skill in story and metre, of his tenderness and his humour, need not be here specified. He is fond of astronomy, as shewn by his Treatise on the Astrolabe; and, though he has but little faith in astrology (Ast. ii. 4. 37), he frequently refers to it as well as to astronomy; see B. D. 1206; Compl. Mars, 29, 54, 69, 79, 86, 113, 120, 129, 139, 145; P. F., 56, 59, 67, 117; Envoy to Scogan, 3, 9; H. F. 932, 936, 965, 993-1017; T. ii. 50, iii. 2, 618, 625, 716, iv. 1592, v. 1809; L. G. W. 113, 2223, 2585-99; C. T., A 7, 1087, 1328, 1463, 1537, 1566, 1850, 2021, 2035, 2059, 2217, 2271, 2367, 2454-69, 3192, 3209, 3516; B 1-14, 191, 308, 312, 4045-8, 4378-89; D 613, 704; E 1795, 1969, 2132, 2222; F 47-51, 263-5, 386, 906, 1032-5, 1045-59, 1130, 1245-9, 1261-6, 1273-96; I 2-12. Even his alchemy has some reference to astrology; C. T., G 826-9; cf. H. F. 1430-1512.

He refers to optics, C. T., F 228-235; to Boethius on music, C. T., B 4484, H. F. 788-818; and to magical arts, H. F. 1259-81, C. T., F 115, 132, 146, 156, 219, 250, 1142-51, 1157-62, 1189-1208.

2. Historical Allusions. The references to contemporary history are but few. The death of the Lady Blaunche is commemorated in the Book of the Duchesse. He refers to good queen Anne, L. G. W. 255, 275, 496; to the archbishop of Canterbury, C. T., B 4635; to 'this pestilence,' C 679; to Tyler's rebellion, A 2459; and Jack Straw, B 4584. Perhaps the Complaints of Mars and Venus refer to real personages; see the Notes to those poems. He mentions Dante, H. F. 450, L. G. W. 360, C. T. B 3651, D 1126; Petrarch, C. T., E 31, 1147; Pedro the Cruel, king of Spain, C. T., B 3565, Bertrand du Gueschlin, 3573, and Sir Oliver Mauny, 3576; Peter, king of Cyprus, 3581; Bernabo Visconti, duke of Milan, 3589, and the 'tyrants' of Lombardy, L. G. W. 374; Ugolino of Pisa and the archbishop Ruggieri, C. T., B 3597, 3606. There are several allusions to recent events in the Prologue, A 51-66, 86, 276, 399; and perhaps in C. T., E 995-1001.

His literary allusions are too numerous to be here recited. The reader can consult the Index in vol. vi.

§ 47. Allusions to Chaucer. One of the earliest allusions to Chaucer as a poet occurs in the works of Eustache Deschamps, a contemporary poet of France. It is remarkable that he chiefly praises him as being 'a great translator.' Perhaps this was before his longest poems were written; there is express reference to his translation of Le Roman de la Rose, and, possibly, to Boethius. The poem tells us that Deschamps had sent Chaucer a copy of some of his poems by a friend named Clifford, and he hopes to receive something of Chaucer's in return. The poem is here quoted entire, from the edition of Deschamps by le Marquis de Queux de Saint-Hilaire, published for the Société des Anciens Textes Français, t. ii. p. 138:—

Gower alludes to Chaucer in the first edition of the Confessio Amantis; see the passage discussed in vol. iii. p. 414.

Henry Scogan wrote 'a moral balade' in twenty-one 8-line stanzas, in which he not only refers to Chaucer's poetical skill, but quotes the whole of his Balade on Gentilesse; see vol. i. p. 83.

Hoccleve frequently refers to Chaucer as his 'maister,' i. e. his teacher, with great affection; and, if he learnt but little more, he certainly learnt the true method of scansion of his master's lines, and imitates his metres and rimes with great exactness. The passages relating to Chaucer are as follows^[179].

(1) From the Governail of Princes, or De Regimine Principum (ed. Wright, p. 67, st. 267):—

(2) From the same, p. 75, stanzas 280, 281-283, 297-299, 301:—

(3) From the same, p. 179, stanzas 712-4:—

Here is given, in the margin of the MS., the famous portrait of Chaucer which is believed to be the best, and probably the only one that can be accepted as authentic. A copy of it is prefixed to the present volume, and to Furnivall's Trial-Forewords, Chaucer Soc., 1871; and an enlarged copy accompanies the Life-Records of Chaucer, part 2. It is thus described by Sir H. Nicolas:—'The figure, which is half-length, has a back-ground of green tapestry. He is represented with grey hair and beard, which is biforked; he wears a dark-coloured dress and hood; his right hand is extended, and in his left he holds a string of beads. From his vest a black case is suspended, which appears to contain a knife, or possibly a 'penner,' or pen-case^[183]. The expression of the countenance is intelligent; but the fire of the eye seems quenched, and evident marks of advanced age appear on the countenance.' Hoccleve did not paint this portrait himself, as is often erroneously said; he 'leet do make it,' i. e. had it made. It thus became the business of the scribe, and the portraits in different copies of Hoccleve's works vary accordingly. There is a full-length portrait in MS. Reg. 17 D. vi, marked as 'Chaucers ymage'; and another in a MS. copy once in the possession of Mr. Tyson, which was engraved in the Gentleman's Magazine for 1792, vol. lxii. p. 614; perhaps the latter is the copy which is now MS. Phillipps 1099. A representation of Chaucer on horseback, as one of the pilgrims, occurs in the Ellesmere MS.; an engraving of it appears as a frontispiece to Todd's Illustrations of Chaucer. A small full-length picture of Chaucer occurs in the initial letter of the Canterbury Tales, in MS. Lansdowne 851. Other portraits, such as that in MS. Addit. (or Sloane) 5141, the painting upon wood in the Bodleian Library, and the like, are of much later date, and cannot pretend to any authenticity.

Lydgate has frequent references to his 'maister Chaucer.' The most important is that in the Prologue to his Fall of Princes, which begins thus:—

The 'fall of princes' refers to the Monkes Tale, as explained in vol. iii. p. 431. He next refers to 'Troilus' as being a translation of a book 'which called is Trophe' (see vol. ii. p. liv.); and to the Translation of Boethius and the Treatise of the Astrolabe. He then mentions many of the Minor Poems (in the stanzas quoted below, p. 23), the Legend of Good Women (see vol. iii. p. xx.), and the Canterbury Tales; and concludes thus:—

So also, in his Siege of Troye, fol. K 2:—

And again, in the same, fol. R 2, back:—

And yet again, at fol. Ee 2:—

Similar passages occur in some of his other works, and shew that he regarded Chaucer with affectionate reverence.

Allusions in later authors have only a literary value, and need not be cited in a Life of Chaucer.

I subjoin (on p. lxii.) a List of Chaucer's genuine works, arranged, as nearly as I can conjecture, in their chronological order. Of his poetical excellence it is superfluous to speak; Lowell's essay on 'Chaucer' in My Study Windows gives a just estimate of his powers.

LIST OF CHAUCER'S WORKS.

The following list is arranged, conjecturally, in chronological order. It will be understood that much of the arrangement and some of the dates are due to guesswork; on a few points scholars are agreed. See further in pp. 20-91 below, &c. Of the Poems marked (a), there seem to have been two editions, (a) being the earlier. The letters and numbers appended at the end denote the metres, according to the following scheme.

A = octosyllabic metre; B = ballad metre, in Sir Thopas; C = 4-line stanza, in the Proverbes; P = Prose.

The following sixteen metres are original (i. e. in English); viz. 1 = 8-line stanza, ababbcbc; 1 b = the same, thrice, with refrain. 2 = 7-line stanza, ababbcc; 2 b = the same, thrice, with refrain; 2 c = 7-line stanza, ababbab. 3 = terza rima. 4 = 10-line stanza, aabaabcddc. 5 = 9-line stanza, aabaabbab; 5 b = the same, with internal rimes. 6 = virelai of 16 lines. 7 = 9-line stanza, aabaabbcc. 8 = roundel. 9 = heroic couplet. 10 = 6-line stanza, ababcb, repeated six times. 11 = 10-line stanza, aabaabbaab. 12 = 5-line stanza, aabba.

^*_*^* C. T. = Canterbury Tales; L. G. W. = Legend of Good Women; M. P. = Minor Poems.

The following occasional triple roundel and balades may have been composed between 1380 and 1396:—

ERRATA AND ADDENDA.

P. 95: l. 47. Insert a comma after 'oughte'

P. 98: l. 114. Omit the comma at the end of the line.

P. 123: l. 705. It would be better to read 'Withoute.' The scansion then is:

Without | e fabl' | I wol | descryve.

P. 126: l. 793. Delete the comma at the end of the line.

P. 127: l. 806. Delete the comma at the end of the line.

P. 135: l. 997. For shall read shal

P. 136: ll. 1015-6. Improve the punctuation thus:—

As whyt as lilie or rose in rys

Hir face, gentil and tretys.

P. 136: l. 1021. Delete the comma after 'yelowe'

P. 141: l. 1154. Delete the comma after 'seide'

P. 168: l. 1962. For Bu -if read But-if

P. 176: l. 2456. For joy read Ioy

P. 201: l. 4035. For the comma substitute a semicolon.

P. 249: l. 7087. For echerye read trecherye

P. 253: l. 7324. For weary read wery

P. 255: l. 7437. Supply a comma at the end of the line.

P. 258: l. 7665. Insert a comma after 'helle'

P. 269: l. 145. The stop at the end should be a comma.

P. 278: l. 49. For aud read and

P. 282: l. 145. For Aud read And

P. 301: l. 716. The comma should perhaps be a semicolon or a full stop.

P. 313: l. 1069. For 'Antilegius,' a better form would be 'Antilogus,' a French form of Antilochus.

P. 326: l. 74. Perhaps 'let' should be 'lete'

P. 330: l. 206. For folke read folk

P. 338: l. 91. For Aud read And

P. 340: l. 133. For the read thee

P. 362: l. 76. The final stop should be a comma.

P. 374: ll. 243, 248. For desteny and ful better forms are destinee and fulle

P. 377: l. 328. For furlong wey read furlong-wey

INTRODUCTION.

THE ROMAUNT OF THE ROSE.

§ 1. In the Third Edition of my volume of Chaucer Selections, containing the Prioress's Tale, &c., published by the Clarendon Press in 1880, I included an essay to shew 'why the Romaunt of the Rose is not Chaucer's,' meaning thereby the particular English version of Le Roman de la Rose which happens to be preserved. I have since seen reason to modify this opinion as regards a comparatively short portion of it at the beginning (here printed in large type), but the arguments then put forward remain as valid as ever as regards the main part of it (here printed in smaller type, and in double columns). Some of these arguments had been previously put forward by me in a letter to the Academy, Aug. 10, 1878, p. 143. I ought to add that the chief of them are not original, but borrowed from Mr. Henry Bradshaw, whose profound knowledge of all matters relating to Chaucer has been acknowledged by all students.

§ 2. That Chaucer translated the French poem called Le Roman de la Rose, or at least some part of it^[185], no one doubts; for he tells us so himself in the Prologue of his Legend of Good Women (A 255, B 329), and the very frequent references to it, in many of his poems, shew that many parts of it were familiarly known to him. Nevertheless, it does not follow that the particular version of it which happens to be preserved, is the very one which he made; for it was a poem familiar to many others besides him, and it is extremely probable that Middle English versions of it were numerous. In fact, it will presently appear that the English version printed in this volume actually consists of three separate fragments, all by different hands.

The English version, which I shall here, for brevity, call 'the translation,' has far less claim to be considered as Chaucer's than unthinking people imagine. Modern readers find it included in many editions of his Works, and fancy that such a fact is conclusive; but it is the merest prudence to enquire how it came there. The answer is, that it first appeared in Thynne's edition of 1532, a collection of Chaucer's (supposed) works made more than a hundred and thirty years after his death. Such an attribution is obviously valueless; we must examine the matter for ourselves, and on independent grounds.

§ 3. A critical examination of the internal evidence at once shews that by far the larger part of 'the translation' cannot possibly be Chaucer's; for the language of it contradicts most of his habits, and presents peculiarities such as we never find in his genuine poems. I shewed this in my 'Essay' by the use of several unfailing tests, the nature of which I shall explain presently. The only weak point in my argument was, that I then considered 'the translation' as being the production of one author, and thought it sufficient to draw my examples (as I unconsciously, for the most part, did) from the central portion of the whole.

§ 4. The next step in this investigation was made by Dr. Lindner. In a painstaking article printed in Englische Studien, xi. 163, he made it appear highly probable that at least two fragments of 'the translation' are by different hands. That there are two fragments, at least, is easily discerned; for after l. 5810 there is a great gap, equivalent to an omission of more than 5000 lines.

§ 5. Still more recently, Dr. Max Kaluza has pointed out that there is another distinct break in the poem near l. 1700. The style of translation, not to speak of its accuracy, is much better in the first 1700 lines than in the subsequent portions. We may notice, in particular, that the French word boutons is translated by knoppes in ll. 1675, 1683, 1685, 1691, 1702, whilst, in l. 1721 and subsequent passages, the same word is merely Englished by botoun or botouns. A closer study of the passage extending from l. 1702 to l. 1721 shews that there is a very marked break at the end of l. 1705. Here the French text has (ed. Méon, l. 1676):—