"ße, mine leoue sustren, ne schulen habben no best bute kat one… ße schulen beon i-dodded four siðen, iðe ßere, uorto lihten ower heaued… Of idelnesse awakeneð muchel flesshes fondunge… Iren ðet lið stille gedereð sone rust."
Ye, my beloved sisters, shall have no beast but one cat… Ye shall be cropped four times in the year for to lighten your head… Of idleness ariseth much temptation of the flesh… Iron that lieth still soon gathereth rust.
The keynote of the work is the renunciation of self. Few productions of modern literature contain finer pictures of the divine love and sympathy. The following simile affords an instance of this quality in the work:—
"De sixte kunfort is ðet ure Louerd, hwon he iðolð ðet we beoð itented, he plaieð mid us, ase ðe moder mid hire ßunge deorlinge; vlihð from him, and hut hire, and let hit sitten one, and loken ßeorne abuten, and cleopien Dame! dame! and weopen one hwule; and ðeonne mid ispredde ermes leapeð lauhwinde vorð, and cluppeð and cusseð and wipeð his eien. Riht so ure Louerd let us one iwurðen oðer hwules, and wiðdraweð his grace and his kunfort, ðet we ne ivindeð swetnesse in none ðinge ðet we wel doð, ne savor of heorte; and ðauh, iðet ilke point ne luveð he us ure leove veder never ðe lesce, auh he deð hit for muchel luve ðet he haveð to us."
The sixth comfort is that our Lord, when he suffers that we be tempted, he plays with us, as the mother with her young darling; she flees from it, and hides herself, and lets it sit alone and look anxiously about and cry "Dame! dame!" and weep awhile; and then with outspread arms leaps laughing forth and clasps and kisses it and wipes its eyes. Exactly so our Lord leaves us alone once in a while and withdraws his grace and his comfort, that we find sweetness in nothing that we do well, no relish of heart; and notwithstanding, at the same time, he, our dear Father, loves us nevertheless, but he does it for the great love that he has for us.
Professor Sweet calls the Ancren Riwle "one of the most perfect models of simple, natural, eloquent prose in our language." For its introduction of French words, this work occupies a prominent place in the development of the English language. Among the words of French origin found in it, we may instance: "dainty," "cruelty," "vestments," "comfort," "journey," "mercer."
Lyrical Poetry.—A famous British Museum manuscript, known as Harleian MS., No. 2253. which was transcribed about 1310, contains a fine anthology of English lyrics, some of which may have been composed early in the thirteenth century. The best of these are love lyrics, but they are less remarkable for an expression of the tender passion than for a genuine appreciation of nature. Some of them are full of the joy of birds and flowers and warm spring days.
A lover's song, called Alysoun, is one of the best of these lyrics:—
"Bytuene Mershe ant[3] Averil[4]
When spray biginneth to spring,
The lutel[5] foul hath hire wyl
On hyre lud[6] to synge."
A famous spring lyric beginning:—
"Lenten[7] ys come with love to toune,[8]
With blosmen ant with briddes[9] roune."[10]
is a symphony of daisies, roses, "lovesome lilies," thrushes, and "notes suete of nyhtegales."
The refrain of one love song is invigorating with the breath of the northern wind:—
"Blou, northerne wynd!
Send thou me my suetyng!
Blou norterne wynd! blou, blou, blou!"
The Cuckoo Song, which is perhaps older than any of these, is the best known of all the early lyrics:—
"Sumer is i-cumen in
Lhude sing cuccu
Groweth sed and bloweth med
And springeth the wde nu.
Sing cuccu, cuccu."
Summer is a-coming in,
Loud sing cuckoo,
Groweth seed and bloometh mead,
And springeth the wood now.
Sing cuckoo, cuckoo.
A more somber note is heard in the religious lyrics:—
"Wynter wakeneth al my care,
Nou this leves waxeth bare;
Ofte I sike[11] ant mourne sare[12]
When hit cometh in my thoht
Of this worldes joie, hou hit goth al to noht."
We do not know the names of any of these singers, but they were worthy forerunners of the later lyrists of love and nature.
Robert Manning of Brunne.—We have now come to fourteenth-century literature, which begins to wear a more modern aspect. Robert Manning, generally known as Robert of Brunne, because he was born at Brunne, now called Bourn, in Lincolnshire, adapted from a Norman-French original a work entitled Handlyng Synne (Manual of Sins). This book, written in the Midland dialect in 1303, discourses of the Seven Deadly Sins and the best ways of living a godly life.
A careful inspection of the following selection from the Handlyng Synne will show that, aside from the spelling, the English is essentially modern. Most persons will be able to understand all but a few words. He was the first prominent English writer to use the modern order of words. The end rime is also modern. A beggar, seeing a beast laden with bread at the house of a rich man, asks for food. The poem says of the rich man:—
"He stouped down to seke a stone,
But, as hap was, than fonde he none.
For the stone he toke a lofe,
And at the pore man hyt drofe.
The pore man hente hyt up belyue,
And was thereof ful ferly blythe,
To hys felaws fast he ran
With the lofe, thys pore man."
He stooped down to seek a stone,
But, as chance was, then found he none.
For the stone he took a loaf,
And at the poor man it drove.
The poor man caught it up quickly,
And was thereof full strangely glad,
To his fellows fast he ran
With the loaf this poor man.
Oliphant says: "Strange it is that Dante should have been compiling his Inferno, which settled the course of Italian literature forever, in the selfsame years that Robert of Brunne was compiling the earliest pattern of well-formed New English… Almost every one of the Teutonic changes in idiom, distinguishing the New English from the Old, the speech of Queen Victoria from the speech of Hengist, is to be found in Manning's work."
Mandeville's Travels.—Sir John Mandeville, who is popularly considered the author of a very entertaining work of travels, states that he was born in St. Albans in 1300, that he left England in 1322, and traveled in the East for thirty-four years. His Travels relates what he saw and heard in his wanderings through Ethiopia, Persia, Tartary, India, and Cathay. What he tells on his own authority, he vouches for as true, but what he relates as hearsay, he leaves to the reader's judgment for belief.
[Illustration: WHAT MADEVILLE SAW. Old print from Edition of 1725.]
No such single traveler as Mandeville ever existed. The work attributed to him has been proved to be a compilation from the writings of other travelers. A French critic says wittily: "He first lost his character as a truthful writer; then out of the three versions of his book, French, English, and Latin, two were withdrawn from him, leaving him only the first. Existence has now been taken from him, and he is left with nothing at all." No matter, however, who the author was, the book exists. More manuscripts of it survive than of any other work except the Scriptures. It is the most entertaining volume of English prose that we have before 1360. The sentences are simple and direct, and they describe things vividly:—
"In Ethiope ben many dyverse folk: and Ethiope is clept[13] Cusis. In that contree ben folk, that han but o foot: and thei gon so fast, that it is marvaylle: and the foot is so large, that it schadewethe alle the body azen[14] the Sonne whanne thei wole[15] lye and reste hem."[16]
Mandeville also tells of a bird that used to amuse itself by flying away with an elephant in its talons. In the land of Prester John was a valley where Mandeville says he saw devils jumping about as thick as grasshoppers. Stories like these make the work as interesting as Gulliver's Travels.
The so-called Mandeville's Travels was one of the few works that the unlearned of that age could understand and enjoy. Consequently its popularity was so great as to bring large number of French words into familiar use. The native "againbought" is, however, used instead of the foreign "redeemed."
[Illustration: JOHN WYCLIFFE. From an old print.]
John Wycliffe.—Wycliffe (1324-1384) was born at Hipswell, near Richmond, in the northern part of Yorkshire. He became a doctor of divinity and a master of one of the colleges at Oxford. Afterward he was installed vicar of Lutterworth in Leicestershire, where he died. In history he is principally known as the first great figure in the English Reformation. He preceded the other reformers by more than a century. In literature he is best known for the first complete translation of the Bible,—a work that exerted great influence on English prose. All the translation was not made by him personally, but all was done under his direction. The translation of most of the New Testament is thought to be his own special work. He is the most important prose writer of the fourteenth century. His prose had an influence as wide as the circulation of the Bible. The fact that it was forced to circulate in manuscript, because printing had not then been invented, limited his readers; but his translation was, nevertheless, read by many. To help the cause of the Reformation, he wrote argumentative religious pamphlets, which are excellent specimens of energetic fourteenth-century prose.
Of his place in literature, Ten Brink says: "Wycliffe's literary importance lies in the fact that he extended the domain of English prose and enhanced its powers of expression. He accustomed it to terse reasoning, and perfected it as an instrument for expressing rigorous logical thought and argument; he brought it into the service of great ideas and questions of the day, and made it the medium of polemics and satire. And above all, he raised it to the dignity of the national language of the Bible."
The following is a specimen verse of Wycliffe's translation. We may note that the strong old English word "againrising" had not then been displaced by the Latin "resurrection."
"Jhesu seith to hir, I am agenrisyng and lyf; he that bileueth in me, he, if he schal be deed, schall lyue."
Piers Plowman.—The Vision of William Concerning Piers the Plowman, popularly called Piers Plowman, from its most important character, is the name of an allegorical poem, the first draft ("A" text) of which was probably composed about 1362. Later in the century two other versions, known as texts "B" and "C" appeared. Authorities differ in regard to whether these are the work of the same man. The Vision is the first and the most interesting part of a much longer work, known as Liber de Petro Plowman (The Book of Piers the Plowman).
The authorship of the poem is not certainly known, but it has long been ascribed to William Langland, born about 1322 at Cleobury Mortimer in Shropshire. The author of Piers Plowman seems to have performed certain functions connected with the church, such as singing at funerals.
Piers Plowman opens on a pleasant May morning amid rural scenery. The poet falls asleep by the side of a brook and dreams. In his dream he has a vision of the world passing before his eyes, like a drama. The poem tells what he saw. Its opening lines are:—
"In a _s_omer _s_eson * whan _s_oft was the _s_onne
I _sh_ope[17] me in _sh_roudes[18] * as I a _sh_epe[19] were
In _h_abite as an _h_eremite[20] - un_h_oly of workes
_W_ent _w_yde in þis _w_orld - _w_ondres to here
Ac on a _M_ay _m_ornynge - on _M_aluerne hulles[21]
Me by_f_el a _f_erly[22] - of _f_airy me thouß te
I _w_as _w_ery for_w_andred[23] - and _w_ent me to reste
Under a _b_rode _b_ank - _b_i a _b_ornes[24] side,
And as I _l_ay and _l_ened[25] - and _l_oked in þe wateres
I _s_lombred in a _s_lepyng - it _s_weyved[26] so merye."
[Illustration: TREUTHE'S PILGRYME ATTE PLOW. From a manuscript in
Trinity College, Cambridge.]
The language of Piers Plowman is a mixture of the Southern and
Midland dialects. It should be noticed that the poem employs the old
Anglo-Saxon alliterative meter. There is no end rime. Piers Plowman
is the last great poem written in this way.
The actors in this poem are largely allegorical. Abstractions are personified. Prominent characters are Conscience, Lady Meed or Bribery, Reason, Truth, Gluttony, Hunger, and the Seven Deadly Sins. In some respects, the poem is not unlike the Pilgrim's Progress, for the battle in passing from this life to the next is well described in both; but there are more humor, satire, and descriptions of common life in Langland. Piers is at first a simple plowman, who offers to guide men to truth. He is finally identified with the Savior.
Throughout the poem, the writer displays all the old Saxon earnestness. His hatred of hypocrisy is manifest on every page. His sadness, because things are not as they ought to be, makes itself constantly felt. He cannot reconcile the contradiction between the real and the ideal. In attacking selfishness, hypocrisy, and corruption; in preaching the value of a life of good deeds; in showing how men ought to progress toward higher ideals; in teaching that "Love is the physician of life and nearest our Lord himself,—" Piers Plowman proved itself a regenerating spiritual force, a stepping-stone toward the later Reformation.
The author of this poem was also a fourteenth-century social reformer, protesting against the oppression of the poor, insisting on mutual service and "the good and loving life." In order to have a well-rounded conception of the life of the fourteenth century, we must read Piers Plowman. Chaucer was a poet for the upper classes. Piers Plowman gives valuable pictures of the life of the common people and shows them working—
"To kepe kyne In þe field, þe corne fro þe bestes,
Diken[27] or deluen[28] or dyngen[29] vppon sheues,[30]
Or helpe make mortar or here mukke a-felde."
We find in the popular poetry of Piers Plowman almost as many words of French derivation as in the work of the more aristocratic Chaucer. This fact shows how thoroughly the French element had become incorporated in the speech of all classes. The style of the author of Piers Plowman is, however, remarkable for the old Saxon sincerity and for the realistic directness of the bearer of a worthy message.
John Gower.—Gower, a very learned poet, was born about 1325 and died in 1408. As he was not sure that English would become the language of his cultivated countrymen, he tried each of the three languages used in England. His first important work, the Speculum Meditantis, was written in French; his second, the Vox Clamantis, in Latin; his third, the Confessio Amantis, in English.
[Illustration: EARLY PORTRAIT OF GOWER HEARING THE CONFESSION OF A
LOVER (CONFESSIO AMANTIS). From the Egerton MS., British Museum.]
The Confessio Amantis (Confession of a Lover) is principally a collection of one hundred and twelve short tales. An attempt to unify them is seen in the design to have the confessor relate, at the lover's request, those stories which reveal the causes tending to hinder or to further love. Gower had ability in story-telling, as is shown by the tales about Medea and the knight Florent; but he lacked Chaucer's dramatic skill and humor. Gower's influence has waned because, although he stood at the threshold of the Renaissance, his gaze was chiefly turned backward toward medievalism. His contemporary, Chaucer, as we see, was affected by the new spirit.
GEOFFREY CHAUCER, 1340?-1400.
[Illustration: GEOFFREY CHAUCER. From an old drawing in Occleve's
Poems, British Museum.]
Life.—Chaucer was born in London about 1340. His father and grandfather were vintners, who belonged to the upper class of merchants. Our first knowledge of Geoffrey Chaucer is obtained from the household accounts of the Princess Elizabeth, daughter-in-law of Edward III., in whose family Chaucer was a page. An entry shows that she bought him a fine suit of clothes, including a pair of red and black breeches. Such evidence points to the fact that he was early accustomed to associating with the nobility, and enables us to understand why he and the author of Piers Plowman regard life from different points of view.
In 1359 Chaucer accompanied the English army to France and was taken prisoner. Edward III. thought enough of the youth to pay for his ransom a sum equivalent to-day to about $1200. After his return he was made valet of the king's chamber. The duties of that office "consisted in making the royal bed, holding torches, and carrying messages." Later, Chaucer became a squire.
In 1370 he was sent to the continent on a diplomatic mission. He seems to have succeeded so well that during the next ten years he was repeatedly sent abroad in the royal service. He visited Italy twice and may thus have met the Italian poet Petrarch. These journeys inspired Chaucer with a desire to study Italian literature,—a literature that had just been enriched by the pens of Dante and Boccaccio.
We must next note that Chaucer's life was not that of a poetic dreamer, but of a stirring business man. For more than twelve years he was controller of customs for London. This office necessitated assessing duties on wools, skins, wines, and candles. Only a part of this work could be performed by deputy. He was later overseeing clerk of the king's works. The repeated selection of Chaucer for foreign and diplomatic business shows that he was considered sagacious as well as trustworthy. Had he not kept in close touch with life, he could never have become so great a poet. In this connection we may remark that England's second greatest writer, Milton, spent his prime in attending to affairs of state. Chaucer's busy life did not keep him from attaining third place on the list of England's poets.
There are many passages of autobiographical interest in his poems. He was a student of books as well as of men, as is shown by these lines from the Hous of Fame:—
"For whan thy labour doon al is,
And halt y-maad thy rekeninges,
In stede of rest and newe thinges,
Thou gost hoom to thy hous anoon,
And, also domb as any stoon,
Thou sittest at another boke,
Til fully daswed[31] is thy loke,
And livest thus as an hermyte."[32]
Chaucer was pensioned by three kings,—Edward III., Richard II., and Henry IV. Before the reign of Henry IV., Chaucer's pensions were either not always regularly paid, or they were insufficient for certain emergencies, as he complained of poverty in his old age. The pension of Henry IV. in 1399 must have been ample, however; since in that year Chaucer leased a house in the garden of a chapel at Westminster for as many of fifty-three years as he should live. He had occasion to use this house but ten months, for he died in 1400.
He may be said to have founded the Poets' Corner in Westminster Abbey, as he was the first of the many great authors to be buried there.
Chaucer's Earlier Poems.—At the age of forty, Chaucer had probably written not more than one seventh of a total of about 35,000 lines of verse which he left at his death. Before he reached his poetic prime, he showed two periods of influence,—French and Italian.
During his first period, he studied French models. He learned much
from his partial translation of the popular French Romaunt of the
Rose. The best poem of his French period is Dethe of Blanche the
Duchesse, a tribute to the wife of John of Gaunt, the son of Edward
III.
Chaucer's journey to Italy next turned his attention to Italian models. A study of these was of especial service in helping him to acquire that skill which enabled him to produce the masterpieces of his third or English period. This study came at a specially opportune time and resulted in communicating to him something of the spirit of the early Renaissance.
The influence of Boccaccio and, sometimes, of Dante is noticeable in the principal poems of the Italian period,—the Troilus and Criseyde, Hous of Fame, and Legende of Good Women. The Troilus and Criseyde is a tale of love that was not true. The Hous of Fame, an unfinished poem, gives a vision of a vast palace of ice on which the names of the famous are carved to await the melting rays of the sun. The Legende of Good Women is a series of stories of those who, like Alcestis, are willing to give up everything for love. In A Dream of Fair Women Tennyson says:—
"'The Legend of Good Women,' long ago
Sung by the morning star of song, who made
His music heard below;
Dan Chaucer, the first warbler, whose sweet breath
Preluded those melodious bursts that fill
The spacious times of great Elizabeth
With sounds that echo still."
In this series of poems Chaucer learned how to rely less and less on an Italian crutch. He next took his immortal ride to Canterbury on an English Pegasus.
General Plan of the Canterbury Tales.—People in general have always been more interested in stories than in any other form of literature. Chaucer probably did not realize that he had such positive genius for telling tales in verse that the next five hundred years would fail to produce his superior in that branch of English literature.
[Illustration: CANTERBURY CATHEDRAL.]
All that Chaucer needed was some framework into which he could fit the stories that occurred to him, to make them something more than mere stray tales, which might soon be forgotten. Chaucer's great contemporary Italian storyteller, Boccaccio, conceived the idea of representing some of the nobility of Florence as fleeing from the plague, and telling in their retirement the tales that he used in his Decameron. It is not certain that Chaucer received from the Decameron his suggestions for the Canterbury Tales, although he was probably in Florence at the same time as Boccaccio.
In 1170 Thomas à Becket, Archbishop of Canterbury, was murdered at the altar. He was considered both a martyr and a saint, and his body was placed in a splendid mausoleum at the Cathedral. It was said that miracles were worked at his tomb, that the sick were cured, and that the worldly affairs of those who knelt at his shrine prospered. It became the fashion for men of all classes to go on pilgrimages to his tomb. As robbers infested the highways, the pilgrims usually waited at some inn until there was a sufficient band to resist attack. In time the journey came to be looked on as a holiday, which relieved the monotony of everyday life. About 1385 Chaucer probably went on such a pilgrimage. To furnish amusement, as the pilgrims cantered along, some of them may have told stories. The idea occurred to Chaucer to write a collection of such tales as the various pilgrims might have been supposed to tell on their journey. The result was the Canterbury Tales.
Characters in the Tales.—Chaucer's plan is superior to Boccaccio's; for only the nobility figure as story-tellers in the Decameron, while the Canterbury pilgrims represent all ranks of English life, from the knight to the sailor.
The Prologue to the Tales places these characters before us almost as distinctly as they would appear in real life. At the Tabard Inn in Southwark, just across the Thames from London, we see that merry band of pilgrims on a pleasant April day. We look first upon a manly figure who strikes us as being every inch a knight. His cassock shows the marks of his coat of mail.
"At mortal batailles hadde he been fiftene.
* * * * *
And of his port as meke as is a mayde.
He never yet no vileinye ne sayde
In al his lyf, un-to no maner wight.
He was a verray parfit gentil knight."
His son, the Squire, next catches our attention. We notice his curly locks, his garments embroidered with gay flowers, and the graceful way in which he rides his horse. By his side is his servant, the Yeoman, "clad in cote and hood of grene," with a sheaf of arrows at his belt. We may even note his cropped head and his horn suspended from green belt. We next catch sight of a Nun's gracefully pleated wimple, shapely nose, small mouth, "eyes greye as glas," well-made cloak, coral beads, and brooch of gold. She is attended by a second Nun and three Priests. The Monk is a striking figure:—
"His heed was balled, that shoon as any glas,
And eek his face, as he hadde been anoint.
He was a lord ful fat and in good point."
[Illustration: PILGRIMS LEAVING THE TABARD INN. From Urry's
Chaucer.]
There follow the Friar with twinkling eyes, "the beste beggere in his hous," the Merchant with his forked beard, the Clerk (scholar) of Oxford in his threadbare garments, the Sergeant-at-Law, the Franklyn (country gentleman), Haberdasher, Carpenter, Weaver, Dyer, Tapycer (tapestry maker), Cook, Shipman, Physician, Wife of Bath, Parish Priest, Plowman, Miller, Manciple (purchaser of provisions), Reeve (bailiff of a farm), Summoner (official of an ecclesiastical court), and Pardoner. These characters, exclusive of Baily (the host of Tabard Inn) and Chaucer himself, are alluded to in the Prologue to the Tales as—
"Wel nyne and twenty in a companye,
Of sondry folk, by aventure y-falle
In felawshipe, and pilgrims were they alle,
That toward Caunterbury wolden ryde."
[Illustration: FACSIMILE OF LINES DESCRIBING THE FRANKLYN[33]. From the Cambridge University MS.]
[Illustration: THE FRANKLYN[34].]
[Illustration: THE FRIAR.]
The completeness of the picture of fourteenth century English life in the Canterbury Tales makes them absolutely necessary reading for the historian as well as for the student of literature.
Certainly no one who has ever read the Prologue to the Tales will question Chaucer's right to be considered a great original poet, no matter how much he may have owed to foreign teachers.
The Tales.—Harry Baily, the keeper of the Tabard Inn, who accompanied the pilgrims, proposed that each member of the party should tell four tales,—two going and two returning. The one who told the best story was to have a supper at the expense of the rest. The plan thus outlined was not fully executed by Chaucer, for the collection contains but twenty-four tales, all but two of which are in verse.
[Illustration: THE KNIGHT.]
[Illustration: THE PRIORESS.]
[Illustration: THE SQUIRE.]
The Knightes Tale, which is the first, is also the best. It is a very interesting story of love and chivalry. Two young Theban nobleman, Palamon and Arcite, sworn friends, are prisoners of war at Athens. Looking through the windows of their dungeon, they see walking in the garden the beautiful sister of the queen. Each one swears that he will have the princess. Arcite is finally pardoned on condition that he will leave Athens and never return, on penalty of death; but his love for Emily lures him back to the forbidden land. Reduced almost to a skeleton, he disguises himself, goes to Athens, and becomes a servant in the house of King Theseus. Finally, Palamon escapes from prison, and by chance encounters Arcite. The two men promptly fight, but are interrupted by Theseus, who at first condemns them to death, but later relents and directs them to depart and to return at the end of a year, each with a hundred brave knights. The king prescribes that each lover shall then lead his forces in mortal battle and that the victor shall wed the princess.
[Illustration: THE CLERK OF OXFORD.]
On the morning of the contest, Palamon goes before dawn to the temple of Venus to beseech her aid in winning Emily, while Arcite at the same time steals to the temple of Mars to pray for victory in war. Each deity not only promises but actually grants the suppliants precisely what they ask; for Arcite, though fatally wounded, is victorious in the battle, and Palamon in the end weds Emily. Although Boccaccio's Teseide furnished the general plot for this Knightes Tale, Chaucer's story is, as Skeat says, "to all intents, a truly original poem."
The other pilgrims tell stories in keeping with their professions and characters. Perhaps the next best tale is the merry story of Chanticleer and the Fox. This is related by the Nun's Priest. The Clerk of Oxford tells the pathetic tale of Patient Griselda, and the Nun relates a touching story of a little martyr.
Chief Qualities of Chaucer.—I. Chaucer's descriptions are unusually clear-cut and vivid. They are the work of a poet who did not shut himself in his study, but who mingled among his fellow-men and noticed them acutely. He says of the Friar:—
"His eyes twinkled in his heed aright,
As doon the sterres in the frosty night."
Our eyes and ears distinctly perceive the jolly Monk, as he canters along:—
"And, whan he rood, men might his brydel here
Ginglen in a whistling wind as clere,
And eek as loude as dooth the chapel-belle."
II. Chaucer's pervasive, sympathetic humor is especially characteristic. We can see him looking with twinkling eyes at the Miller, "tolling thrice"; at the Monk, "full fat and in good point," hunting with his greyhounds, "swift as fowl in flight," or smiling before a fat roast swan; at the Squire, keeping the nightingale company; at the Doctor, prescribing the rules of astrology. The Nun feels a touch of his humor:—
"Ful wel she song the service divyne,
Entuned in hir nose ful semely."
Of the lawyer, he says:—
"No-wher so bisy a man as he ther nas,
And yet he semed bisier than he was."
Sometimes Chaucer's humor is so delicate as to be lost on those who are not quick-witted. Lowell instances the case of the Friar, who, "before setting himself softly down, drives away the cat," and adds what is true only of those who have acute understanding: "We know, without need of more words, that he has chosen the snuggest corner."
His humor is often a graceful cloak for his serious philosophy of existence. The humor in the Prologue does not impair its worth to the student of fourteenth-century life.
III. Although Chaucer's humor and excellence in lighter vein are such marked characteristics, we must not forget his serious qualities; for he has the Saxon seriousness as well as the Norman airiness. As he looks over the struggling world, he says with a sympathetic heart:—
"Infinite been the sorwes and the teres
Of olde folk, and folk of tendre yeres."[35]
In like vein, we have:—
"This world nis but a thurghfare ful of wo,
And we ben pilgrimes, passinge to and fro;
Deeth is an ende of every worldly sore."[36]
"Her nis non hoom, her nis but wildernesse.
Forthe, pylgrime, forthe! forthe, beste out of thi stal!
Knowe thi contree, look up, thank God of al!"[37]
The finest character in the company is that of the Parish Priest, who attends to his flock like a good Samaritan:—
"But Cristes lore, and his apostles twelve,
He taughte, and first he folwed it him-selve."
IV. The largeness of his view of human nature is remarkable. Some poets, either intentionally or unintentionally, paint one type of men accurately and distort all the rest. Chaucer impartially portrays the highest as well as the lowest, and the honest man as well as the hypocrite. The pictures of the roguish Friar and the self-denying Parish Priest, the Oxford Scholar and the Miller, the Physician and the Shipman, are painted with equal fidelity to life. In the breadth and kindliness of his view of life, Chaucer is a worthy predecessor of Shakespeare. Dryden's verdict on Chaucer's poetry is: "Here is God's plenty."
V. His love of nature is noteworthy for that early age. Such lines as these manifest something more than a desire for rhetorical effect in speaking of nature's phenomena:—
"Now welcom somer, with thy sonne softe,
That hast this wintres weders over-shake,
And driven awey the longe nightes blake[38]!"[39]
His affection for the daisy has for five hundred years caused many other people to look with fonder eyes upon that flower.
VI. He stands in the front rank of those who have attempted to tell stories in melodious verse. Lowell justly says: "One of the world's three or four great story-tellers, he was also one of the best versifiers that ever made English trip and sing with a gayety that seems careless, but where every foot beats time to the tune of the thought."
[Illustration: MORRIS DANCERS.From a Manuscript of Chaucer's
Time.]
VII. He is the first great English author to feel the influence of the Renaissance, which did not until long afterward culminate in England. Gower has his lover hear tales from a confessor in cloistered quiet. Chaucer takes his Pilgrims out for jolly holidays in the April sunshine. He shows the spirit of the Renaissance in his joy in varied life, in his desire for knowledge of all classes of men as well as of books, in his humor, and in his general reaching out into new fields. He makes us feel that he lives in a merrier England, where both the Morris dancer and the Pilgrim may show their joy in life.
What Chaucer did for the English Language.—Before Chaucer's works, English was, as we have seen, a language of dialects. He wrote in the Midland dialect, and aided in making that the language of England. Lounsbury says of Chaucer's influence: "No really national language could exist until a literature had been created which would be admired and studied by all who could read, and taken as a model by all who could write. It was only a man of genius that could lift up one of these dialects into a preëminence over the rest, or could ever give to the scattered forces existing in any one of them the unity and vigor of life. This was the work that Chaucer did." For this reason he deserves to be called our first modern English poet. At first sight, his works look far harder to read than they really are, because the spelling has changed so much since Chaucer's day.
SUMMARY
The period from the Norman Conquest to 1400 is remarkable (1) for bringing into England French influence and closer contact with the continent; (2) for the development of (a) a more centralized government, (b) the feudal system and chivalry, (c) better civil courts of justice and a more representative government, Magna Charta being one of the steps in this direction; (3) for the influence of religion, the coming of the friars, the erection of unsurpassed Gothic cathedrals; (4) for the struggles of the peasants to escape their bondage, for a striking decline in the relative importance of the armored knight, and for Wycliffe's movement for a religious reformation.
This period is also specially important because it gave to England a new language of greater flexibility and power. The old inflections, genders, formative prefixes, and capability of making self-explaining compounds were for the most part lost. To supply the places of lost words and to express those new ideas which came with the broader experiences of an emancipated, progressive nation, many new words were adopted from the French and the Latin. When the time for literature came, Chaucer found ready for his pen the strongest, sincerest, and most flexible language that ever expressed a poet's thought.
In tracing the development of the literature of this period, we have noted (1) the metrical romances; (2) Geoffrey of Monmouth's (Latin) History of the Kings of Britain, and Layamon's Brut, with their stories of Lear, Cymbeline and King Arthur; (3) the Ormulum, a metrical paraphrase of those parts of the Gospels used in church service; (4) the Ancren Riwle, remarkable for its natural eloquent prose and its noble ethics, as well as for showing the development of the language; (5) the lyrical poetry, beginning to be redolent of the odor of the blossom and resonant with the song of the bird; (6) the Handlyng Synne, in which we stand on the threshold of modern English; (7) Mandeville's Travels, with its entertaining stories; (8) Wycliffe's monumental translation of the Bible and vigorous religious prose pamphlets; (9) Piers Plowman, with its pictures of homely life, its intense desire for higher ideals and for the reformation of social and religious life; (10) Gower's Confessio Amantis, a collection of tales about love; and (11) Chaucer's poetry, which stands in the front rank for the number of vivid pictures of contemporary life, for humor, love of nature, melody, and capacity for story-telling.
REFERENCES FOR FURTHER STUDY
HISTORICAL
An account of the history of this period may be found in either Gardiner[40], Green, Lingard, Walker, or Cheney. Volumes II. and III. of the Political History of England, edited by Hunt (Longmans), give the history in greater detail. For the social side, consult Traill, I. and II. See also Rogers's Six Centuries of Work and Wages. Freeman's William the Conqueror, Green's Henry II., and Tout's Edward I. (Twelve English Statesmen Series) are short and interesting. Kingsley's Hereward the Wake deals with the times of William the Conqueror and Scott's Ivanhoe with those of Richard the Lion-Hearted. Archer and Kingsford's The Story of the Crusades, Cutt's Parish Priests and their People in the Middle Ages in England, and Jusserand's English Wayfaring Life in the fourteenth Century are good works.
LITERARY
Cambridge History of English Literature, Vols. I. and II.
Bradley's Making of English.
Schofield's English Literature from the Conquest to Chaucer.
Ker's Epic and Romance.
Saintsbury's The Flourishing of Romance and the Rise of Allegory.
Lawrence's Medieval Story (excellent).
Weston's The Romance Cycle of Charlemagne and his Peers.
Weston's King Arthur and his Knights.
Maynadier's The Arthur of the English Poets.
Nutt's The Legends of the Holy Grail.
Jusserand's Piers Plowman.
Warren's Langland's Vision of Piers the Plowman, Done into Modern
Prose.
Savage's Old English Libraries.
Schofield's Chivalry in English Literature.
Snell's The Age of Chaucer.
Root's The Poetry of Chaucer.
Tuckwell's Chaucer (96 pp.).
Pollard's Chaucer (142 pp.).
Legouis's Chaucer.
Coulton's Chaucer and his England.
Lowell's My Study Windows contains one of the best essays ever written on Chaucer.
Mackail's The Springs of Helicon (Chaucer).
SUGGESTED READINGS WITH QUESTIONS AND SUGGESTIONS
Romances.—The student will be interested in reading from Lawrence's Medieval Story, Chapters III., The Song of Roland; IV., The Arthurian Romances; V., The Legend of the Holy Grail; VI., The History of Reynard the Fox. Butler's The Song of Roland (Riverside Literature Series) is an English prose translation of a popular story from the Charlemagne cycle. Sir Gawayne and the Green Knight has been retold in modern English prose by J.L. Weston (London: David Nutt). A long metrical selection from this romance is given in Bronson.[41] I., 83-100, in Oxford Treasury, I., 60-81, and a prose selection in Century, 1000-1022.
Stories from the Arthurian cycle may he found in Newell's King Arthur and the Table Round. See also Maynadier's The Arthur of the English Poets, and Tennyson's The Idylls of the King.
Geoffrey of Monmouth's History of the Kings of Britain is translated in Giles's Six Old English Chronicles (Bohn Library).
Selections from Layamon's Brut may be found in Bronson, I.; P. & S.; and Manly, I.
What were the chief subjects of the cycles of Romance? Were they mostly of English or French origin? What new elements appear, not found in Beowulf? Which of these cycles has the most interest for English readers? How does this cycle still influence twentieth-century ideals? In what respect is the romance of Gawayne like a sermon?
What Shakespearean characters does Geoffrey of Monmouth introduce? How is Layamon's Brut related to Geoffrey's chronicle? Point out a likeness between the Brut and the work of a Victorian poet.
Ormulum, Lyrics, and Robert Manning of Brunne.—Selections may be found in P. & S.; Bronson, I.; Oxford (lyrics, pp. 1-10); Manly, I.; Morris's Specimens of Early English. Among the lyrics, read specially, "Sumer is i-cumen in," "Alysoun," "Lenten ys come with love to toune," and "Blow, Northern Wind."
What was the purpose of the Ormulum? What is its subject matter?
Does it show much French influence?
What new appreciation of nature do the thirteenth-century lyrics show?
Point out at least twelve definite concrete references to nature in
"Lenten ys come with love to toune." How many such references are
there in the Cuckoo Song?
What difference do you note between the form of Robert Manning of Brunne's Handling Synne and Anglo-Saxon poetry? Can you find an increasing number of words of French derivation in his work?
Prose.—Manly's English Prose, Morris's Specimens of Early English, Parts I. and II., Chambers, I., Craik, I., contain specimens of the best prose, including Mandeville and Wycliffe. Mandeville's Travels may be found in modern English in Cassell's National Library (15¢). Bosworth and Waring's edition of the Gospels contains the Anglo-Saxon text, together with the translations of Wycliffe and Tyndale. No. 107 of Maynard's English Classics contains selections from both Wycliffe's Bible and Mandeville's Travels.
What is the subject matter of the Ancren Riwle? What is the keynote of the work? Mention some words of French origin found in it. What is the character of Mandeville's Travels? Why was it so popular?
In what does Wycliffe's literary importance consist? Compare some verses of his translation of the Bible with the 1611 version.
Piers Plowman and Gower.—Selections are given in P. & S.; Bronson, I.; Ward, I.; Chambers, I.; and Manly, I. Skeat has edited a small edition of Piers the Plowman ("B" text) and also a larger edition, entitled The Vision of William concerning Piers the Plowman, in Three Parallel Texts. G.C. Macaulay has a good volume of selections from Gower's Confessio Amantis.
What is the difference between the form of the verse in Piers Plowman and Handling Synne? Who is Piers? Who are some of the other characters in the poem? What type of life is specially described? In what sort of work are the laborers engaged? Why may the author of Piers Plowman be called a reformer?
Why was Gower undecided in what language to write? What is the subject matter of the Confessio Amantis?
Chaucer.—Read the Prologue and if possible also the Knightes Tale (Liddell's, or Morris-Skeat's, or Van Dyke's, or Mather's edition). Good selections may be found in Bronson, I.; Ward, I.; P. and S., and Oxford Treasury, I. Skeat's Complete Works, 6 vols., is the best edition. Skeat's Oxford Chaucer in one volume has the same text. The Globe Edition of Chaucer, edited by Pollard, is also a satisfactory single volume edition. Root's The Poetry of Chaucer, 292 pp., is a good reference work in connection with the actual study of the poetry.
Give a clear-cut description of the six of Chaucer's pilgrims that impress you most strongly. How has the Prologue added to our knowledge of life in the fourteenth century? Give examples of Chaucer's vivid pictures. What specimens of his humor does the Prologue contain? Do any of Chaucer's lines in the Prologue show that the Reformation spirit was in the air, or did Wycliffe and Langland alone among contemporary authors afford evidence of this spirit? Compare Chaucer's verse with Langland's in point of subject matter. What qualities in Chaucer save him from the charge of cynicism when he alludes to human faults? Does the Prologue attempt to portray any of the nobler sides of human nature? Is the Prologue mainly or entirely concerned with the personality of the pilgrims? Has Chaucer any philosophy of life? Are there any references to the delights of nature? Note any passages that show special powers of melody and mastery over verse. Does the poem reveal anything of Chaucer's personality? In your future reading see if you can find another English story-teller in verse who can be classed with Chaucer.
FOOTNOTES TO CHAPTER II:
[Footnote 1: The Tempest, V., I.]
[Footnote 2: For the location of all the English cathedral towns, see the Literary Map, p. XII.]
[Footnote 3: and.]
[Footnote 4: April.]
[Footnote 5: little.]
[Footnote 6: in her language.]
[Footnote 7: Spring.]
[Footnote 8: in its turn.]
[Footnote 9: birds.]
[Footnote 10: song.]
[Footnote 11: sigh.]
[Footnote 12: sorely.]
[Footnote 13: called.]
[Footnote 14: against.]
[Footnote 15: will.]
[Footnote 16: them.]
[Footnote 17: arrayed.]
[Footnote 18: garments.]
[Footnote 19: shepherd.]
[Footnote 20: hermit.]
[Footnote 21: hills.]
[Footnote 22: wonder.]
[Footnote 23: tired out with wandering.]
[Footnote 24: brook.]
[Footnote 25: reclined.]
[Footnote 26: sounded.]
[Footnote 27: to make dykes or ditches.]
[Footnote 28: to dig.]
[Footnote 29: to thrash (ding).]
[Footnote 30: sheaves.]
[Footnote 31: dazed.]
[Footnote 32: hermit.]
[Footnote 33: The Prologue, Lines 331-335.]
[Footnote 34: The cuts of the Pilgrims are from the Fourteenth Century
Ellesmere MS. of Canterbury Tales.]
[Footnotes 35-36: Knightes Tale.]
[Footnote 37: Truth: Balade de bon Conseyl.]
[Footnote 38: black.]
[Footnote 39: The Parlement of Foules.]
[Footnote 40: For full titles, see p. 50.]
[Footnote 41: For full titles, see p. 6.]
CHAPTER III: FROM CHAUCER'S DEATH, 1400, TO THE ACCESSION OF ELIZABETH, 1558
The Course of English History.—The century and a half that followed the death of Chaucer appealed especially to Shakespeare. He wrote or helped to edit five plays that deal with this period,—Henry IV., Henry V., Henry VI., Richard III., and Henry VIII. While these plays do not give an absolutely accurate presentation of the history of the time, they show rare sympathy in catching the spirit of the age, and they leave many unusually vivid impressions.
Henry IV. (1399-1413), a descendant of John of Gaunt, Duke of Lancaster, one of the younger sons of Edward III., and therefore not in the direct line of succession, was the first English king who owed his crown entirely to Parliament. Henry's reign was disturbed by the revolt of nobles and by contests with the Welsh. Shakespeare gives a pathetic picture of the king calling in vain for sleep, "nature's tired nurse," and exclaiming:—
"Uneasy lies the head that wears a crown."
Henry V. (1413-1422) is one of Shakespeare's romantic characters. The young king renewed the French war, which had broken out in 1337 and which later became known as the Hundred Years' War. By his victory over the French at Agincourt (1415), he made himself a national hero. Shakespeare has him say:—
"I thought upon one pair of English legs
Did march three Frenchmen."
In the reign of Henry VI. (1422-1461), Joan of Arc appeared and saved
France.
The setting aside of the direct succession in the case of Henry IV. was a pretext for the Wars of the Roses (1455-1485) to settle the royal claims of different descendants of Edward III. While this war did not greatly disturb the common people, it occupied the attention of those who might have been patrons of literature. Nearly all the nobles were killed during this prolonged contest; hence when Henry VII. (1485-1509), the first of the Tudor line of monarchs, came to the throne, there were no powerful nobles with their retainers to hold the king in check. He gave a strong centralized government to England.
The period following Chaucer's death opens with religious persecution. In 1401 the first Englishman was burned at the stake for his religious faith. From this time the expenses of burning heretics are sometimes found in the regular accounts of cities and boroughs. Henry VIII. (1509-1547) broke with the Pope, dissolved the monasteries, proclaimed himself head of the church, and allowed the laity to read the Bible, but insisted on retaining many of the old beliefs. In Germany, Martin Luther (1483-1546) was in the same age issuing his famous protests against religious abuses. Edward VI. (1547-1553) espoused the Protestant cause. An order was given to introduce into all the churches an English prayer book, which was not very different from that in use to-day in the Episcopal churches. Mary (1553-1558) sought the aid of fagots and the stake to bring the nation back to the old beliefs.
[Illustration: HENRY VIII. GIVING BIBLES TO CLERGY AND LAITY. From frontispiece to Coverdale Bible.]
While this period did not produce a single great poet or a statesman of the first rank, it witnessed the destruction of the majority of the nobility in the Wars of the Roses, the increase of the king's power, the decline of feudalism, the final overthrow of the knight by the yeoman with his long bow at Agincourt(1415), the freedom of the serf, and the growth of manufactures, especially of wool. English trading vessels began to displace even the ships of Venice.
In spite of the religious persecution with which the period began and ended, there was a remarkable change in religious belief, the dissolution of the monasteries and the subordination of church to state being striking evidences of this change. An event that had far-reaching consequences on literature and life was the act of Henry VIII. in ordering a translation of the Bible to be placed in every parish church in England. The death of Mary may in a measure be said to indicate the beginning of modern times.
Contrast between the Spirit of the Renaissance and of the Middle Ages.—One of the most important intellectual movements of the world is known as the Renaissance or Revival of Learning. This movement began in Italy about the middle of the fourteenth century and spread slowly westward. While Chaucer's travels in Italy; and his early contact with this new influence are reflected in his work, yet the Renaissance did not reach its zenith in England until the time of Shakespeare. This new epoch followed a long period, known as the Middle ages, when learning was mostly confined to the church, when thousands of the best minds retired to the cloisters, when many questions, like those of the revolution of the sun around the earth or the cause of disease, were determined, not by observation and scientific proof, but by the assertion of those in spiritual authority. Then, scientific investigators, like Roger Bacon, were thought to be in league with the devil and were thrown into prison. In 1258 Dante's tutor visited Roger Bacon, and, after seeing his experiments with the mariner's compass, wrote to an Italian friend:—
"This discovery so useful to all who travel by sea, must remain concealed until other times, because no mariner dare use it, lest he fall under imputation of being a magician, nor would sailors put to sea with one who carried an instrument so evidently constructed by the devil."
Symonds says: "During the Middle Ages, man had lived enveloped in a cowl. He had not seen the beauty of the world, or had seen it only to cross himself and turn aside, to tell his beads and pray." Before the Renaissance, the tendency was to regard with contempt mere questions of earthly progress and enjoyment, because they were considered unimportant in comparison with the eternal future of the soul. It was not believed that beauty, art, and literature might play a part in saving souls.
The Schoolmen of the Middle Ages often discussed such subjects as these: whether the finite can comprehend the infinite at any point, since the infinite can have no finite points; whether God can make a wheel revolve and be stationary at the same time; whether all children in a state of innocence are masculine. Such debates made remarkable theologians and metaphysicians, developed precision in defining terms, accuracy in applying the rules of deductive logic, and fluency in expression. As a result, later scientists were able to reason more accurately and express themselves with greater facility.
The chief fault of the studies of the Middle Ages consisted in neglecting the external world of concrete fact. The discussions of the Schoolmen would never have introduced printing or invented the mariner's compass or developed any of the sciences that have revolutionized life.
The coming of the Renaissance opened avenues of learning outside of the church, interested men in manifold questions relating to this world, caused a demand for scientific investigation and proof, and made increasing numbers seek for joy in this life as well as in that to come.
Causes and Effects of the Renaissance.—Some of the causes of this new movement were the weariness of human beings with their lack of progress, their dissatisfaction with the low estimate of the value of this life, and their yearning for fuller expansion of the soul, for more knowledge and joy on this side of the grave.
Another cause was the influence of Greek literature newly discovered in the fifteenth century by the western world. In 1423 an Italian scholar brought 238 Greek manuscripts to Italy. In 1453 the Turks captured Constantinople, the capital of the Eastern Roman Empire and the headquarters of Grecian learning. Because of the remoteness of this capital, English literature had not been greatly influenced by Greece. When Constantinople fell, many of her scholars went to Italy, taking with them precious Grecian manuscripts. As Englishmen often visited Italy, they soon began to study Grecian masterpieces, and to fall under the spell of Homer and the Athenian dramatists.
The renewed study of Greek and Latin classics stimulated a longing for the beautiful in art and literature. Fourteenth-century Italian writers, like Petrarch and Boccaccio, found increasing interest in their work. Sixteenth-century artists, such as Leonardo da Vinci, Michael Angelo, and Raphael show their magnificent response to a world that had already been born again.
Many of the other so-called causes of the Renaissance should strictly be considered its effects. The application of the modern theory of the solar system, the desire for exploration, the use of the mariner's compass, the invention and spread of printing, were more effects of the new movement than its causes.
Sir Thomas More (1478-1535), inspired by the spirit of the Renaissance, wrote in Latin a remarkable book called Utopia (1516), which presents many new social ideals. In the land of Utopia, society does not make criminals and then punish them for crime. Every one worships as he pleases. Only a few hours of work a day are necessary, and all find genuine pleasure in that. In Utopia life is given to be a joy. No advantage is taken of the weak or the unfortunate. Twentieth-century dreams of social justice are not more vivid and absorbing than Sir Thomas More's. It is pleasant to think that the Roman Catholic church in 1886 added to her list of saints this lovable man, "martyr to faith and freedom."
When the full influences of the Renaissance reached England, Shakespeare answered their call, and his own creations surpass the children of Utopia.
The Invention of Printing.—In 1344, about the time of Chaucer's birth, a Bible in manuscript cost as much as three oxen. A century later an amount equal to the wages of a workman for 266 days was paid for a manuscript Bible. At this time a book on astronomy cost as much as 800 pounds of butter. One page of a manuscript book cost the equivalent of from a dollar to a dollar and a half to-day. When a member of the Medici family in Florence desired a library, he sent for a book contractor, who secured forty-five copyists. By rigorous work for nearly two years they produced two hundred volumes.
[Illustration: BOOK ILLUSTRATION, EARLY FIFTEENTH CENTURY. British
Museum.]
One of the most powerful agencies of the Renaissance was the invention of printing, which multiplied books indefinitely and made them comparatively cheap. People were alive with newly awakened curiosity, and they read books to learn more of the expanding world.
About 1477 William Caxton, who had set up his press at the Almonry, near Westminster Abbey, printed the first book in England, The Dictes and Notable Wish Sayings of the Philosophers. Among fully a hundred different volumes that he printed were Chaucer's Canterbury Tales, Malory's Morte d'Arthur, and an English translation of Vergil's AEneid.
[Illustration: FACSIMILE OF CAXTON'S ADVERTISEMENT OF HIS BOOKS.
Bodleian Library, Oxford.]
Malory's Morte d'Arthur.—The greatest prose work of the fifteenth century was completed in 1470 by a man who styles himself Sir Thomas Malory, Knight. We know nothing of the author's life; but he has left as a monument a great prose epic of the deeds of King Arthur and his Knights of the Round Table. From the various French legends concerning King Arthur, Malory selected his materials and fashioned than into the completest Arthuriad that we possess. While his work cannot be called original, he displayed rare artistic power in arranging, abridging, and selecting the various parts from different French works.
Malory's prose is remarkably simple and direct. Even in the impressive scene where Sir Bedivere throws the dying King Arthur's sword into the sea, the language tells the story simply and shows no straining after effect:—
"And then he threw the sword as far into the water as he might, and there came an arm and an hand above the water, and met it, and caught it, and so shook it thrice and brandished, and then vanished away the hand with the sword in the water… 'Now put me into the barge,' said the king; and so he did softly. And there received him three queens with great mourning, and so they set him down, and in one of their laps King Arthur laid his head, and then that queen said, 'Ah, dear brother, why have ye tarried so long from me?'"
After the dusky barge has borne Arthur away from mortal sight, Malory writes: "Here in this world he changed his life." A century before, Chaucer had with equal simplicity voiced the Saxon faith:—
"His spirit chaunged hous."[1]
Sometimes this prose narrative, in its condensation and expression of feeling, shows something of the poetic spirit. When the damsel on the white palfrey sees that her knightly lover has been killed, she cries:—
"O Balin! two bodies hast thou slain and one heart, and two hearts in one body, and two souls thou hast lost.' And therewith she took the sword from her love that lay dead, and as she took it, she fell to the ground in a swoon."
[Illustration: MALORY'S MORTE D'ARTHUR. From De Worde's Ed., 1529.]
Malory's work, rather than Layamon's Brut, has been the storehouse to which later poets have turned. Many nineteenth-century poets are indebted to Malory. Tennyson's Idylls of the King, Matthew Arnold's Death of Tristram, Swinburne's Tristram of Lyonesse, and William Morris's Defense of Guinevere were inspired by the Morte d'Arthur. Few English prose works have had more influence on the poetry of the Victorian age.
Scottish Poetry.—The best poetry of the fifteenth century was written in the Northern dialect, which was spoken north of the river Humber. This language was just as much English as the Midland tongue in which Chaucer wrote. Not until the sixteenth century was this dialect called Scotch.
James I. of Scotland (1406-1437) spent nineteen years of his youth as a prisoner in England. During his captivity in Windsor Castle, he fell in love with a maiden, seen at her orisons in the garden, and wrote a poem, called the King's Quair, to tell the story of his love. Although the King's Quair is suggestive of The Knightes Tale, and indeed owes much to Chaucer, it is a poetic record of genuine and successful love. These four lines from the spring song show real feeling for nature:—
"Worshippe, ye that lovers be, this May,
For of your bliss the kalends are begun,
And sing with us, 'Away, Winter, away,
Come, Summer, come, the sweet season and sun!'"
Much of this Scotch poetry is remarkable for showing in that early age a genuine love of nature. Changes are not rung on some typical landscape, copied from an Italian versifier. The Northern poet had his eye fixed on the scenery and the sky of Scotland. About the middle of the century, Robert Henryson, a teacher in Dunfermline, wrote.—
"The northin wind had purifyit the air
And sched the misty cloudis fra the sky."[2]
This may lack the magic of Shelley's rhythm, but the feeling for nature is as genuine as in the later poet's lines:—
"For after the rain when, with never a stain
The pavilion of heaven is bare."[3]
William Dunbar, the greatest poet of this group, who lived in the last half of the fifteenth century, was a loving student of the nature that greeted him in his northland. No Italian poet, as he wandered beside a brook, would have thought of a simile like this:—
"The stonés clear as stars in frosty night."[4]
Dunbar takes us with him on a fresh spring morning, where—
"Enamelled was the field with all coloúrs,
The pearly droppés shook in silver showers,"[5]
where we can hear the matin song of the birds hopping among the buds, while—
"Up rose the lark, the heaven's minstrel fine."[6]
Both Dunbar and Gawain Douglas (1474?-1522), the son of a Scotch nobleman, had keen eyes for all coloring in sky, leaf, and flower. In one line Dunbar calls our attention to these varied patches of color in a Scotch garden: "purple, azure, gold, and gulés [red]." In the verses of Douglas we see the purple streaks of the morning, the bluish-gray, blood-red, fawn-yellow, golden, and freckled red and white flowers, and—
"Some watery-hued, as the blue wavy sea."[7]
Outside the pages of Shakespeare, we shall for the next two hundred years look in vain for so genuine a love of scenery and natural phenomena as we find in fifteenth-century Scottish poetry. These poets obtained many of their images of nature at first hand, an achievement rare in any age.
[Illustration: EARLY TITLE PAGE OF ROBIN HOOD.]
"Songs for Man or Woman, of All Sizes."—When Shakespeare shows us Autolycus offering such songs at a rustic festival,[8] the great poet emphasizes the fondness for the ballad which had for a long time been developing a taste for poetry. While it is difficult to assign exact dates to the composition of many ballads, we know that they flourished in the fifteenth century. They were then as much prized as the novel is now, and like it they had a story to tell. The verse was often halting, but it succeeded in conveying to the hearer tales of love, of adventure, and of mystery. These ballads were sometimes tinged with pathos; but there was an energy in the rude lines that made the heart beat faster and often stirred listeners to find in a dance an outlet for their emotions. Even now, with all the poetry of centuries from which to choose, it is refreshing to turn to a Robin Hood ballad and look upon the greensward, hear the rustle of the leaves in Nottingham forest, and follow the adventures of the hero. We read the opening lines:—
"There are twelve months in all the year,
As I hear many say,
But the merriest month in all the year
Is the merry month of May."
"Now Robin Hood is to Nottingham gone,
With a link a down, and a day,
And there he met a silly old woman
Was weeping on the way."
Of our own accord we finish the ballad to see whether Robin Hood rescued her sons, who were condemned to death for shooting the fallow deer. The ballad of the Nut-Brown Maid has some touches that are almost Shakespearean.
Some of the carols of the fifteenth century give a foretaste of the Elizabethan song. One carol on the birth of the Christ-child contains stanzas like these, which show artistic workmanship, imaginative power, and, above all, rare lyrical beauty:—