Read Ebook: Lectures on the English Poets; Delivered at the Surrey Institution by Hazlitt William Rhys Ernest Editor Waller A R Alfred Rayney Editor

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This is so true and natural, and beautifully simple, that the two things seem identified with each other. Again, it is said in the Knight's Tale--

"Thus passeth yere by yere, and day by day, Till it felle ones in a morwe of May, That Emelie that fayrer was to sene Than is the lilie upon his stalke grene; And fresher than the May with floures newe, For with the rose-colour strof hire hewe: I n'ot which was the finer of hem two."

This scrupulousness about the literal preference, as if some question of matter of fact was at issue, is remarkable. I might mention that other, where he compares the meeting between Palamon and Arcite to a hunter waiting for a lion in a gap;--

"That stondeth at a gap with a spere, Whan hunted is the lion or the bere, And hereth him come rushing in the greves, And breking both the boughes and the leves:"--

or that still finer one of Constance, when she is condemned to death:--

"Have ye not seen somtime a pale face of him that hath been lad Toward his deth, wheras he geteth no grace, And swiche a colour in his face hath had, Men mighten know him that was so bestad, Amonges all the faces in that route; So stant Custance, and loketh hire aboute."

The beauty, the pathos here does not seem to be of the poet's seeking, but a part of the necessary texture of the fable. He speaks of what he wishes to describe with the accuracy, the discrimination of one who relates what has happened to himself, or has had the best information from those who have been eye-witnesses of it. The strokes of his pencil always tell. He dwells only on the essential, on that which would be interesting to the persons really concerned: yet as he never omits any material circumstance, he is prolix from the number of points on which he touches, without being diffuse on any one; and is sometimes tedious from the fidelity with which he adheres to his subject, as other writers are from the frequency of their digressions from it. The chain of his story is composed of a number of fine links, closely connected together, and rivetted by a single blow. There is an instance of the minuteness which he introduces into his most serious descriptions in his account of Palamon when left alone in his cell:

"Swiche sorrow he maketh that the grete tour Resouned of his yelling and clamour: The pure fetters on his shinnes grete Were of his bitter salte teres wete."

The mention of this last circumstance looks like a part of the instructions he had to follow, which he had no discretionary power to leave out or introduce at pleasure. He is contented to find grace and beauty in truth. He exhibits for the most part the naked object, with little drapery thrown over it. His metaphors, which are few, are not for ornament, but use, and as like as possible to the things themselves. He does not affect to shew his power over the reader's mind, but the power which his subject has over his own. The readers of Chaucer's poetry feel more nearly what the persons he describes must have felt, than perhaps those of any other poet. His sentiments are not voluntary effusions of the poet's fancy, but founded on the natural impulses and habitual prejudices of the characters he has to represent. There is an inveteracy of purpose, a sincerity of feeling, which never relaxes or grows vapid, in whatever they do or say. There is no artificial, pompous display, but a strict parsimony of the poet's materials, like the rude simplicity of the age in which he lived. His poetry resembles the root just springing from the ground, rather than the full-blown flower. His muse is no "babbling gossip of the air," fluent and redundant; but, like a stammerer, or a dumb person, that has just found the use of speech, crowds many things together with eager haste, with anxious pauses, and fond repetitions to prevent mistake. His words point as an index to the objects, like the eye or finger. There were none of the common-places of poetic diction in our author's time, no reflected lights of fancy, no borrowed roseate tints; he was obliged to inspect things for himself, to look narrowly, and almost to handle the object, as in the obscurity of morning we partly see and partly grope our way; so that his descriptions have a sort of tangible character belonging to them, and produce the effect of sculpture on the mind. Chaucer had an equal eye for truth of nature and discrimination of character; and his interest in what he saw gave new distinctness and force to his power of observation. The picturesque and the dramatic are in him closely blended together, and hardly distinguishable; for he principally describes external appearances as indicating character, as symbols of internal sentiment. There is a meaning in what he sees; and it is this which catches his eye by sympathy. Thus the costume and dress of the Canterbury Pilgrims--of the Knight--the Squire--the Oxford Scholar--the Gap-toothed Wife of Bath, and the rest, speak for themselves. To take one or two of these at random:

"There was also a nonne, a Prioresse, That of hire smiling was ful simple and coy; Hire gretest othe n'as but by seint Eloy: And she was cleped Madame Eglentine. Ful wel she sange the service divine Entuned in hire nose ful swetely; And Frenche she spake ful fayre and fetisly, After the scole of Stratford atte Bowe, For Frenche of Paris was to hire unknowe. At mete was she wel ytaughte withalle; She lette no morsel from hire lippes falle, Ne wette hire fingres in hire sauce depe.

And sikerly she was of great disport, And ful plesant, and amiable of port, And peined hire to contrefeten chere Of court, and ben estatelich of manere, And to ben holden digne of reverence. But for to speken of hire conscience, She was so charitable and so pitous, She wolde wepe if that she saw a mous Caughte in a trappe, if it were ded or bledde. Of smale houndes hadde she, that she fedde With rosted flesh, and milk, and wastel brede. But sore wept she if on of hem were dede, Or if men smote it with a yerde smert: And all was conscience and tendre herte. Ful semely hire wimple ypinched was; Hire nose tretis; hire eyen grey as glas; Hire mouth ful smale; and therto soft and red; But sickerly she hadde a fayre forehed. It was almost a spanne brode, I trowe."

"A Monk there was, a fayre for the maistrie, An out-rider, that loved venerie: A manly man, to ben an abbot able. Ful many a deinte hors hadde he in stable: And whan he rode, men mighte his bridel here, Gingeling in a whistling wind as clere, And eke as loude, as doth the chapell belle, Ther as this lord was keper of the celle. The reule of Seint Maure and of Seint Beneit, Because that it was olde and somdele streit, This ilke monk lette olde thinges pace, And held after the newe world the trace. He yave not of the text a pulled hen, That saith, that hunters ben not holy men;-- Therfore he was a prickasoure a right: Greihoundes he hadde as swift as foul of flight: Of pricking and of hunting for the hare Was all his lust, for no cost wolde he spare. I saw his sleves purfiled at the hond With gris, and that the finest of the lond. And for to fasten his hood under his chinne, He had of gold ywrought a curious pinne: A love-knotte in the greter end ther was. His hed was balled, and shone as any glas, And eke his face, as it hadde ben anoint. He was a lord ful fat and in good point. His eyen stepe, and rolling in his hed, That stemed as a forneis of a led. His botes souple, his hors in gret estat, Now certainly he was a fayre prelat. He was not pale as a forpined gost. A fat swan loved he best of any rost. His palfrey was as broune as is a bery."

The Serjeant at Law is the same identical individual as Lawyer Dowling in Tom Jones, who wished to divide himself into a hundred pieces, to be in a hundred places at once.

"No wher so besy a man as he ther n'as, And yet he semed besier than he was."

The Frankelein, in "whose hous it snewed of mete and drinke"; the Shipman, "who rode upon a rouncie, as he couthe"; the Doctour of Phisike, "whose studie was but litel of the Bible"; the Wif of Bath, in

"All whose parish ther was non, That to the offring before hire shulde gon, And if ther did, certain so wroth was she, That she was out of alle charitee;"

--the poure Persone of a toun, "whose parish was wide, and houses fer asonder"; the Miller, and the Reve, "a slendre colerike man," are all of the same stamp. They are every one samples of a kind; abstract definitions of a species. Chaucer, it has been said, numbered the classes of men, as Linnaeus numbered the plants. Most of them remain to this day: others that are obsolete, and may well be dispensed with, still live in his descriptions of them. Such is the Sompnoure:

"A Sompnoure was ther with us in that place, That hadde a fire-red cherubinnes face, For sausefleme he was, with eyen narwe, As hote he was, and likerous as a sparwe, With scalled browes blake, and pilled berd: Of his visage children were sore aferd. Ther n'as quicksilver, litarge, ne brimston, Boras, ceruse, ne oile of tartre non, Ne oinement that wolde clense or bite, That him might helpen of his whelkes white, Ne of the knobbes sitting on his chekes. Wel loved he garlike, onions, and lekes, And for to drinke strong win as rede as blood. Than wolde he speke, and crie as he were wood. And whan that he wel dronken had the win, Than wold he speken no word but Latin. A fewe termes coude he, two or three, That he had lerned out of som decree; No wonder is, he heard it all the day.-- In danger hadde he at his owen gise The yonge girles of the diocise, And knew hir conseil, and was of hir rede. A gerlond hadde he sette upon his hede As gret as it were for an alestake: A bokeler hadde he made him of a cake. With him ther rode a gentil Pardonere-- That hadde a vois as smale as hath a gote."

The descriptions of the equipage, and accoutrements of the two kings of Thrace and Inde, in the Knight's Tale, are as striking and grand, as the others are lively and natural:

"Ther maist thou se coming with Palamon Licurge himself, the grete king of Trace: Blake was his berd, and manly was his face, The cercles of his eyen in his hed They gloweden betwixen yelwe and red, And like a griffon loked he about, With kemped heres on his browes stout; His limmes gret, his braunes hard and stronge, His shouldres brode, his armes round and longe And as the guise was in his contree, Ful highe upon a char of gold stood he, With foure white bolles in the trais. Instede of cote-armure on his harnais, With nayles yelwe, and bright as any gold, He hadde a beres skin, cole-blake for old. His longe here was kempt behind his bak, As any ravenes fether it shone for blake. A wreth of gold arm-gret, of huge weight, Upon his hed sate full of stones bright, Of fine rubins and of diamants. About his char ther wenten white alauns, Twenty and mo, as gret as any stere, To hunten at the leon or the dere, And folwed him, with mosel fast ybound.-- With Arcita, in stories as men find, The grete Emetrius, the king of Inde, Upon a stede bay, trapped in stele, Covered with cloth of gold diapred wele, Came riding like the god of armes Mars. His cote-armure was of a cloth of Tars, Couched with perles, white, and round and grete. His sadel was of brent gold new ybete; A mantelet upon his shouldres hanging Bret-ful of rubies red, as fire sparkling. His crispe here like ringes was yronne, And that was yelwe, and glitered as the Sonne. His nose was high, his eyen bright citrin, His lippes round, his colour was sanguin, A fewe fraknes in his face yspreint, Betwixen yelwe and blake somdel ymeint, And as a leon he his loking caste. Of five and twenty yere his age I caste. His berd was wel begonnen for to spring; His vois was as a trompe thondering. Upon his hed he wered of laurer grene A gerlond freshe and lusty for to sene. Upon his hond he bare for his deduit An egle tame, as any lily whit.-- About this king ther ran on every part Ful many a tame leon and leopart."

What a deal of terrible beauty there is contained in this description! The imagination of a poet brings such objects before us, as when we look at wild beasts in a menagerie; their claws are pared, their eyes glitter like harmless lightning; but we gaze at them with a pleasing awe, clothed in beauty, formidable in the sense of abstract power.

"Which as me thought was right a pleasing sight, And eke the briddes song for to here, Would haue rejoyced any earthly wight, And I that couth not yet in no manere Heare the nightingale of all the yeare, Ful busily herkened with herte and with eare, If I her voice perceiue coud any where.

And I that all this pleasaunt sight sie, Thought sodainly I felt so sweet an aire Of the eglentere, that certainely There is no herte I deme in such dispaire, Ne with thoughts froward and contraire, So ouerlaid, but it should soone haue bote, If it had ones felt this savour sote.

And as I stood and cast aside mine eie, I was ware of the fairest medler tree That ever yet in all my life I sie As full of blossomes as it might be, Therein a goldfinch leaping pretile Fro bough to bough, and as him list he eet Here and there of buds and floures sweet.

And to the herber side was joyning This faire tree, of which I haue you told, And at the last the brid began to sing, Whan he had eaten what he eat wold, So passing sweetly, that by manifold It was more pleasaunt than I coud deuise, And whan his song was ended in this wise,

The nightingale with so merry a note Answered him, that all the wood rong So sodainly, that as it were a sote, I stood astonied, so was I with the song Thorow rauished, that till late and long, I ne wist in what place I was, ne where, And ayen me thought she song euen by mine ere.

Wherefore I waited about busily On euery side, if I her might see, And at the last I gan full well aspie Where she sat in a fresh grene laurer tree, On the further side euen right by me, That gaue so passing a delicious smell, According to the eglentere full well.

Whereof I had so inly great pleasure, That as me thought I surely rauished was Into Paradice, where my desire Was for to be, and no ferther passe As for that day, and on the sote grasse, I sat me downe, for as for mine entent, The birds song was more conuenient,

And more pleasaunt to me by manifold, Than meat or drinke, or any other thing, Thereto the herber was so fresh and cold, The wholesome sauours eke so comforting, That as I demed, sith the beginning Of the world was neur seene or than So pleasaunt a ground of none earthly man.

And as I sat the birds harkening thus, Me thought that I heard voices sodainly, The most sweetest and most delicious That euer any wight I trow truly Heard in their life, for the armony And sweet accord was in so good musike, That the uoice to angels was most like."

There is here no affected rapture, no flowery sentiment: the whole is an ebullition of natural delight "welling out of the heart," like water from a crystal spring. Nature is the soul of art: there is a strength as well as a simplicity in the imagination that reposes entirely on nature, that nothing else can supply. It was the same trust in nature, and reliance on his subject, which enabled Chaucer to describe the grief and patience of Griselda; the faith of Constance; and the heroic perseverance of the little child, who, going to school through the streets of Jewry,

and who after his death still triumphed in his song. Chaucer has more of this deep, internal, sustained sentiment, than any other writer, except Boccaccio. In depth of simple pathos, and intensity of conception, never swerving from his subject, I think no other writer comes near him, not even the Greek tragedians. I wish to be allowed to give one or two instances of what I mean. I will take the following from the Knight's Tale. The distress of Arcite, in consequence of his banishment from his love, is thus described:

"Whan that Arcite to Thebes comen was, Ful oft a day he swelt and said Alas, For sene his lady shall he never mo. And shortly to concluden all his wo, So mochel sorwe hadde never creature, That is or shall be, while the world may dure. His slepe, his mete, his drinke is him byraft. That lene he wex, and drie as is a shaft. His eyen holwe, and grisly to behold, His hewe salwe, and pale as ashen cold, And solitary he was, and ever alone, And wailing all the night, making his mone. And if he herde song or instrument, Than wold he wepe, he mighte not be stent. So feble were his spirites, and so low, And changed so, that no man coude know His speche ne his vois, though men it herd."

This picture of the sinking of the heart, of the wasting away of the body and mind, of the gradual failure of all the faculties under the contagion of a rankling sorrow, cannot be surpassed. Of the same kind is his farewel to his mistress, after he has gained her hand and lost his life in the combat:

"Alas the wo! alas the peines stronge, That I for you have suffered, and so longe! Alas the deth! alas min Emilie! Alas departing of our compagnie; Alas min hertes quene! alas my wif! Min hertes ladie, ender of my lif! What is this world? what axen men to have? Now with his love, now in his colde grave Alone withouten any compagnie."

The death of Arcite is the more affecting, as it comes after triumph and victory, after the pomp of sacrifice, the solemnities of prayer, the celebration of the gorgeous rites of chivalry. The descriptions of the three temples of Mars, of Venus, and Diana, of the ornaments and ceremonies used in each, with the reception given to the offerings of the lovers, have a beauty and grandeur, much of which is lost in Dryden's version. For instance, such lines as the following are not rendered with their true feeling.

"Why shulde I not as well eke tell you all The purtreiture that was upon the wall Within the temple of mighty Mars the rede-- That highte the gret temple of Mars in Trace In thilke colde and frosty region, Ther as Mars hath his sovereine mansion. First on the wall was peinted a forest, In which ther wonneth neyther man ne best, With knotty knarry barrein trees old Of stubbes sharpe and hidous to behold; In which ther ran a romble and a swough, As though a storme shuld bresten every bough."

And again, among innumerable terrific images of death and slaughter painted on the wall, is this one:

"The statue of Mars upon a carte stood Armed, and looked grim as he were wood. A wolf ther stood beforne him at his fete With eyen red, and of a man he ete."

The story of Griselda is in Boccaccio; but the Clerk of Oxenforde, who tells it, professes to have learned it from Petrarch. This story has gone all over Europe, and has passed into a proverb. In spite of the barbarity of the circumstances, which are abominable, the sentiment remains unimpaired and unalterable. It is of that kind, "that heaves no sigh, that sheds no tear"; but it hangs upon the beatings of the heart; it is a part of the very being; it is as inseparable from it as the breath we draw. It is still and calm as the face of death. Nothing can touch it in its ethereal purity: tender as the yielding flower, it is fixed as the marble firmament. The only remonstrance she makes, the only complaint she utters against all the ill-treatment she receives, is that single line where, when turned back naked to her father's house, she says,

"Let me not like a worm go by the way."

The first outline given of the character is inimitable:

"Nought fer fro thilke paleis honourable, Wher as this markis shope his marriage, Ther stood a thorpe, of sighte delitable, In which that poure folk of that village Hadden hir bestes and her herbergage, And of hir labour toke hir sustenance, After that the erthe yave hem habundance.

Among this poure folk ther dwelt a man, Which that was holden pourest of hem all: But highe God sometime senden can His grace unto a litel oxes stall: Janicola men of that thorpe him call. A doughter had he, faire ynough to sight, And Grisildis this yonge maiden hight.

But for to speke of vertuous beautee, Than was she on the fairest under Sonne: Ful pourely yfostred up was she: No likerous lust was in hire herte yronne; Ful ofter of the well than of the tonne She dranke, and for she wolde vertue plese, She knew wel labour, but non idel ese.

But though this mayden tendre were of age, Yet in the brest of hire virginitee Ther was enclosed sad and ripe corage: And in gret reverence and charitee Hire olde poure fader fostred she: A few sheep spinning on the feld she kept, She wolde not ben idel til she slept.

And whan she homward came she wolde bring Wortes and other herbes times oft, The which she shred and sethe for hire living, And made hire bed ful hard, and nothing soft: And ay she kept hire fadres lif on loft With every obeisance and diligence, That child may don to fadres reverence,

Upon Grisilde, this poure creature, Ful often sithe this markis sette his sye, As he on hunting rode paraventure: And whan it fell that he might hire espie, He not with wanton loking of folie His eyen cast on hire, but in sad wise Upon hire chere he wold him oft avise,

Commending in his herte hire womanhede, And eke hire vertue, passing any wight Of so yong age, as wel in chere as dede. For though the people have no gret insight In vertue, he considered ful right Hire bountee, and disposed that he wold Wedde hire only, if ever he wedden shold.

Grisilde of this ful innocent, That for hire shapen was all this array, To fetchen water at a welle is went, And cometh home as sone as ever she may. For wel she had herd say, that thilke day The markis shulde wedde, and, if she might, She wolde fayn han seen som of that sight.

She thought, "I wol with other maidens stond, That ben my felawes, in our dore, and see The markisesse, and therto wol I fond To don at home, as sone as it may be, The labour which longeth unto me, And than I may at leiser hire behold, If she this way unto the castel hold."

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