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TO THE CANTERBURY TALES. In the famous "Prologue" the poet makes us acquainted with the various characters of his drama. Until Chaucer's day popular literature had been busy chiefly with the gods and heroes of a golden age; it had been essentially romantic, and so had never attempted to study men and women as they are, or to describe them so that the reader recognizes them, not as ideal heroes, but as his own neighbors. Chaucer not only attempted this new realistic task, but accomplished it so well that his characters were instantly recognized as true to life, and they have since become the permanent possession of our literature. Beowulf and Roland are ideal heroes, essentially creatures of the imagination; but the merry host of the Tabard Inn, Madame Eglantyne, the fat monk, the parish priest, the kindly plowman, the poor scholar with his "book?s black and red,"--all seem more like personal acquaintances than characters in a book. Says Dryden: "I see all the pilgrims, their humours, their features and their very dress, as distinctly as if I had supped with them at the Tabard in Southwark." Chaucer is the first English writer to bring the atmosphere of romantic interest about the men and women and the daily work of one's own world,--which is the aim of nearly all modern literature.

The historian of our literature is tempted to linger over this "Prologue" and to quote from it passage after passage to show how keenly and yet kindly our first modern poet observed his fellow-men. The characters, too, attract one like a good play: the "verray parfit gentil knight" and his manly son, the modest prioress, model of sweet piety and society manners, the sporting monk and the fat friar, the discreet man of law, the well-fed country squire, the sailor just home from sea, the canny doctor, the lovable parish priest who taught true religion to his flock, but "first he folwed it himselve"; the coarse but good-hearted Wyf of Bath, the thieving miller leading the pilgrims to the music of his bagpipe,--all these and many others from every walk of English life, and all described with a quiet, kindly humor which seeks instinctively the best in human nature, and which has an ample garment of charity to cover even its faults and failings. "Here," indeed, as Dryden says, "is God's plenty." Probably no keener or kinder critic ever described his fellows; and in this immortal "Prologue" Chaucer is a model for all those who would put our human life into writing. The student should read it entire, as an introduction not only to the poet but to all our modern literature.

Infinite been the sorwes and the teres Of old? folk, and folk of tendre yeres.

The idea of the story was borrowed from Boccaccio; but parts of the original tale were much older and belonged to the common literary stock of the Middle Ages. Like Shakespeare, Chaucer took the material for his poems wherever he found it, and his originality consists in giving to an old story some present human interest, making it express the life and ideals of his own age. In this respect the "Knight's Tale" is remarkable. Its names are those of an ancient civilization, but its characters are men and women of the English nobility as Chaucer knew them. In consequence the story has many anachronisms, such as the mediaeval tournament before the temple of Mars; but the reader scarcely notices these things, being absorbed in the dramatic interest of the narrative.

His eyen twinkled in his heed aright As doon the sterres in the frosty night.

O blisful light, of whiche the bemes clere Adorneth al the thridde hevene faire! O sonnes leef, O Joves doughter dere, Plesaunce of love, O goodly debonaire, In gentil hertes ay redy to repaire! O verray cause of hele and of gladnesse, Y-heried be thy might and thy goodnesse! In hevene and helle, in erthe and salte see Is felt thy might, if that I wel descerne; As man, brid, best, fish, herbe and grene tree Thee fele in tymes with vapour eterne. God loveth, and to love wol nought werne; And in this world no lyves creature, With-outen love, is worth, or may endure.

The third meter is the eight-syllable line with four accents, the lines riming in couplets, as in the "Boke of the Duchesse":

Thereto she coude so wel pleye, Whan that hir liste, that I dar seye That she was lyk to torche bright, That every man may take-of light Ynough, and hit hath never the lesse.

Besides these principal meters, Chaucer in his short poems used many other poetical forms modeled after the French, who in the fourteenth century were cunning workers in every form of verse. Chief among these are the difficult but exquisite rondel, "Now welcom Somer with thy sonne softe," which closes the "Parliament of Fowls," and the ballad, "Flee fro the prees," which has been already quoted. In the "Monk's Tale" there is a melodious measure which may have furnished the model for Spenser's famous stanza. Chaucer's poetry is extremely musical and must be judged by the ear rather than by the eye. To the modern reader the lines appear broken and uneven; but if one reads them over a few times, he soon catches the perfect swing of the measure, and finds that he is in the hands of a master whose ear is delicately sensitive to the smallest accent. There is a lilt in all his lines which is marvelous when we consider that he is the first to show us the poetic possibilities of the language. His claim upon our gratitude is twofold: first, for discovering the music that is in our English speech; and second, for his influence in fixing the Midland dialect as the literary language of England.

CHAUCER'S CONTEMPORARIES

WILLIAM LANGLAND

Here are a few lines to illustrate the style and language; but the whole poem must be read if one is to understand its crude strength and prophetic spirit:

JOHN WYCLIF

Wyclif, as a man, is by far the most powerful English figure of the fourteenth century. The immense influence of his preaching in the native tongue, and the power of his Lollards to stir the souls of the common folk, are too well known historically to need repetition. Though a university man and a profound scholar, he sides with Langland, and his interests are with the people rather than with the privileged classes, for whom Chaucer writes. His great work, which earned him his title of "father of English prose," is the translation of the Bible. Wyclif himself translated the gospels, and much more of the New Testament; the rest was finished by his followers, especially by Nicholas of Hereford. These translations were made from the Latin Vulgate, not from the original Greek and Hebrew, and the whole work was revised in 1388 by John Purvey, a disciple of Wyclif. It is impossible to overestimate the influence of this work, both on our English prose and on the lives of the English people.

Though Wyclif's works are now unread, except by occasional scholars, he still occupies a very high place in our literature. His translation of the Bible was slowly copied all over England, and so fixed a national standard of English prose to replace the various dialects. Portions of this translation, in the form of favorite passages from Scripture, were copied by thousands, and for the first time in our history a standard of pure English was established in the homes of the common people.

As a suggestion of the language of that day, we quote a few familiar sentences from the Sermon on the Mount, as given in the later version of Wyclif's Gospel:

And he openyde his mouth, and taughte hem, and seide, Blessid ben pore men in spirit, for the kyngdom of hevenes is herne. Blessid ben mylde men, for thei schulen welde the erthe. Blessid ben thei that mornen, for thei schulen be coumfortid. Blessid ben thei that hungren and thristen rightwisnesse, for thei schulen be fulfillid. Blessid ben merciful men, for thei schulen gete merci. Blessid ben thei that ben of clene herte, for thei schulen se God. Blessid ben pesible men, for thei schulen be clepid Goddis children. Blessid ben thei that suffren persecusioun for rightfulnesse, for the kyngdom of hevenes is herne. ...

Eftsoone ye han herd, that it was seid to elde men, Thou schalt not forswere, but thou schalt yelde thin othis to the Lord. But Y seie to you, that ye swere not for ony thing;... but be youre worde, yhe, yhe; nay, nay; and that that is more than these, is of yvel....

Ye han herd that it was seid, Thou schalt love thi neighbore, and hate thin enemye. But Y seie to you, love ye youre enemyes, do ye wel to hem that hatiden you, and preye ye for hem that pursuen and sclaundren you; that ye be the sones of youre Fadir that is in hevenes, that makith his sunne to rise upon goode and yvele men, and reyneth on just men and unjuste.... Therefore be ye parfit, as youre hevenli Fadir is parfit.

JOHN MANDEVILLE

The modern reader may spend an hour or two very pleasantly in this old wonderland. On its literary side the book is remarkable, though a translation, as being the first prose work in modern English having a distinctly literary style and flavor. Otherwise it is a most interesting commentary on the general culture and credulity of the fourteenth century.

SUMMARY OF THE AGE OF CHAUCER. The fourteenth century is remarkable historically for the decline of feudalism , for the growth of the English national spirit during the wars with France, for the prominence of the House of Commons, and for the growing power of the laboring classes, who had heretofore been in a condition hardly above that of slavery.

The age produced five writers of note, one of whom, Geoffrey Chaucer, is one of the greatest of English writers. His poetry is remarkable for its variety, its story interest, and its wonderful melody. Chaucer's work and Wyclif's translation of the Bible developed the Midland dialect into the national language of England.

SELECTIONS FOR READING. Chaucer's Prologue, the Knight's Tale, Nun's Priest's Tale, Prioress' Tale, Clerk's Tale. These are found, more or less complete, in Standard English Classics, King's Classics, Riverside Literature Series, etc. Skeat's school edition of the Prologue, Knight's Tale, etc., is especially good, and includes a study of fourteenth-century English. Miscellaneous poems of Chaucer in Manly's English Poetry or Ward's English Poets. Piers Plowman, in King's Classics. Mandeville's Travels, modernized, in English Classics, and in Cassell's National Library.

For the advanced student, and as a study of language, compare selections from Wyclif, Chaucer's prose work, Mandeville, etc., in Manly's English Prose, or Morris and Skeat's Specimens of Early English, or Craik's English Prose Selections. Selections from Wyclif's Bible in English Classics Series.

BIBLIOGRAPHY.

SUGGESTIVE QUESTIONS. 1. What are the chief historical events of the fourteenth century? What social movement is noticeable? What writers reflect political and social conditions?

THE REVIVAL OF LEARNING

POLITICAL CHANGES. The century and a half following the death of Chaucer is the most volcanic period of English history. The land is swept by vast changes, inseparable from the rapid accumulation of national power; but since power is the most dangerous of gifts until men have learned to control it, these changes seem at first to have no specific aim or direction. Henry V--whose erratic yet vigorous life, as depicted by Shakespeare, was typical of the life of his times--first let Europe feel the might of the new national spirit. To divert that growing and unruly spirit from rebellion at home, Henry led his army abroad, in the apparently impossible attempt to gain for himself three things: a French wife, a French revenue, and the French crown itself. The battle of Agincourt was fought in 1415, and five years later, by the Treaty of Troyes, France acknowledged his right to all his outrageous demands.

While England during this period was in constant political strife, yet rising slowly, like the spiral flight of an eagle, to heights of national greatness, intellectually it moved forward with bewildering rapidity. Printing was brought to England by Caxton , and for the first time in history it was possible for a book or an idea to reach the whole nation. Schools and universities were established in place of the old monasteries; Greek ideas and Greek culture came to England in the Renaissance, and man's spiritual freedom was proclaimed in the Reformation. The great names of the period are numerous and significant, but literature is strangely silent. Probably the very turmoil of the age prevented any literary development, for literature is one of the arts of peace; it requires quiet and meditation rather than activity, and the stirring life of the Renaissance had first to be lived before it could express itself in the new literature of the Elizabethan period.

We shall understand this better if we remember that in the Middle Ages man's whole world consisted of the narrow Mediterranean and the nations that clustered about it; and that this little world seemed bounded by impassable barriers, as if God had said to their sailors, "Hitherto shalt thou come, but no farther." Man's mind also was bounded by the same narrow lines. His culture as measured by the great deductive system of Scholasticism consisted not in discovery, but rather in accepting certain principles and traditions established by divine and ecclesiastical authority as the basis of all truth. These were his Pillars of Hercules, his mental and spiritual bounds that he must not pass, and within these, like a child playing with lettered blocks, he proceeded to build his intellectual system. Only as we remember their limitations can we appreciate the heroism of these toilers of the Middle Ages, giants in intellect, yet playing with children's toys; ignorant of the laws and forces of the universe, while debating the essence and locomotion of angels; eager to learn, yet forbidden to enter fresh fields in the right of free exploration and the joy of individual discovery.

The Revival stirred these men as the voyages of Da Gama and Columbus stirred the mariners of the Mediterranean. First came the sciences and inventions of the Arabs, making their way slowly against the prejudice of the authorities, and opening men's eyes to the unexplored realms of nature. Then came the flood of Greek literature which the new art of printing carried swiftly to every school in Europe, revealing a new world of poetry and philosophy. Scholars flocked to the universities, as adventurers to the new world of America, and there the old authority received a deathblow. Truth only was authority; to search for truth everywhere, as men sought for new lands and gold and the fountain of youth,--that was the new spirit which awoke in Europe with the Revival of Learning.

On the Continent, also, this new interest in the classics served to check the growth of native literatures. In Italy especially, for a full century after the brilliant age of Dante and Petrarch, no great literature was produced, and the Italian language itself seemed to go backward. The truth is that these great writers were, like Chaucer, far in advance of their age, and that the mediaeval mind was too narrow, too scantily furnished with ideas to produce a varied literature. The fifteenth century was an age of preparation, of learning the beginnings of science, and of getting acquainted with the great ideals,--the stern law, the profound philosophy, the suggestive mythology, and the noble poetry of the Greeks and Romans. So the mind was furnished with ideas for a new literature.

Greater than either of these books, in its influence upon the common people, is Tyndale's translation of the New Testament , which fixed a standard of good English, and at the same time brought that standard not only to scholars but to the homes of the common people. Tyndale made his translation from the original Greek, and later translated parts of the Old Testament from the Hebrew. Much of Tyndale's work was included in Cranmer's Bible, known also as the Great Bible, in 1539, and was read in every parish church in England. It was the foundation for the Authorized Version, which appeared nearly a century later and became the standard for the whole English-speaking race.

Malory groups the legends about the central idea of the search for the Holy Grail. Though many of the stories, like Tristram and Isolde, are purely pagan, Malory treats them all in such a way as to preserve the whole spirit of mediaeval Christianity as it has been preserved in no other work. It was to Malory rather than to Layamon or to the early French writers that Shakespeare and his contemporaries turned for their material; and in our own age he has supplied Tennyson and Matthew Arnold and Swinburne and Morris with the inspiration for the "Idylls of the King" and the "Death of Tristram" and the other exquisite poems which center about Arthur and the knights of his Round Table.

In subject-matter the book belongs to the mediaeval age; but Malory himself, with his desire to preserve the literary monuments of the past, belongs to the Renaissance; and he deserves our lasting gratitude for attempting to preserve the legends and poetry of Britain at a time when scholars were chiefly busy with the classics of Greece and Rome. As the Arthurian legends are one of the great recurring motives of English literature, Malory's work should be better known. His stories may be and should be told to every child as part of his literary inheritance. Then Malory may be read for his style and his English prose and his expression of the mediaeval spirit. And then the stories may be read again, in Tennyson's "Idylls," to show how those exquisite old fancies appeal to the minds of our modern poets.

SUMMARY OF THE REVIVAL OF LEARNING PERIOD. This transition period is at first one of decline from the Age of Chaucer, and then of intellectual preparation for the Age of Elizabeth. For a century and a half after Chaucer not a single great English work appeared, and the general standard of literature was very low. There are three chief causes to account for this: the long war with France and the civil Wars of the Roses distracted attention from books and poetry, and destroyed of ruined many noble English families who had been friends and patrons of literature; the Reformation in the latter part of the period filled men's minds with religious questions; the Revival of Learning set scholars and literary men to an eager study of the classics, rather than to the creation of native literature. Historically the age is noticeable for its intellectual progress, for the introduction of printing, for the discovery of America, for the beginning of the Reformation, and for the growth of political power among the common people.

SELECTIONS FOR READING. Malory's Morte d'Arthur, selections, in Athenaeum Press Series, etc. Utopia, in Arber's Reprints, Temple Classics, King's Classics, etc. Selections from Wyatt, Surrey, etc., in Manly's English Poetry or Ward's English Poets; Tottel's Miscellany, in Arber's Reprints. Morris and Skeat's Specimens of Early English, vol. 3, has good selections from this period.

BIBLIOGRAPHY.

SUGGESTIVE QUESTIONS. 1. The fifteenth century in English literature is sometimes called "the age of arrest." Can you explain why? What causes account for the lack of great literature in this period? Why should the ruin of noble families at this time seriously affect our literature? Can you recall anything from the Anglo-Saxon period to justify your opinion?

THE AGE OF ELIZABETH

CHARACTERISTICS OF THE ELIZABETHAN AGE. The most characteristic feature of the age was the comparative religious tolerance, which was due largely to the queen's influence. The frightful excesses of the religious war known as the Thirty Years' War on the Continent found no parallel in England. Upon her accession Elizabeth found the whole kingdom divided against itself; the North was largely Catholic, while the southern counties were as strongly Protestant. Scotland had followed the Reformation in its own intense way, while Ireland remained true to its old religious traditions, and both countries were openly rebellious. The court, made up of both parties, witnessed the rival intrigues of those who sought to gain the royal favor. It was due partly to the intense absorption of men's minds in religious questions that the preceding century, though an age of advancing learning, produced scarcely any literature worthy of the name. Elizabeth favored both religious parties, and presently the world saw with amazement Catholics and Protestants acting together as trusted counselors of a great sovereign. The defeat of the Spanish Armada established the Reformation as a fact in England, and at the same time united all Englishmen in a magnificent national enthusiasm. For the first time since the Reformation began, the fundamental question of religious toleration seemed to be settled, and the mind of man, freed from religious fears and persecutions, turned with a great creative impulse to other forms of activity. It is partly from this new freedom of the mind that the Age of Elizabeth received its great literary stimulus.

EDMUND SPENSER

In these words, with their sorrowful suggestion of Deor, Spenser reveals his own heart, unconsciously perhaps, as no biographer could possibly do. His life and work seem to center about three great influences, summed up in three names: Cambridge, where he grew acquainted with the classics and the Italian poets; London, where he experienced the glamour and the disappointment of court life; and Ireland, which steeped him in the beauty and imagery of old Celtic poetry and first gave him leisure to write his masterpiece.

In 1580, through Leicester's influence, Spenser, who was utterly weary of his dependent position, was made secretary to Lord Grey, the queen's deputy in Ireland, and the third period of his life began. He accompanied his chief through one campaign of savage brutality in putting down an Irish rebellion, and was given an immense estate with the castle of Kilcolman, in Munster, which had been confiscated from Earl Desmond, one of the Irish leaders. His life here, where according to the terms of his grant he must reside as an English settler, he regarded as lonely exile:

My luckless lot, That banished had myself, like wight forlore, Into that waste, where I was quite forgot.

From the shock of this frightful experience Spenser never recovered. He returned to England heartbroken, and in the following year he died in an inn at Westminster. According to Ben Jonson he died "for want of bread"; but whether that is a poetic way of saying that he had lost his property or that he actually died of destitution, will probably never be known. He was buried beside his master Chaucer in Westminster Abbey, the poets of that age thronging to his funeral and, according to Camden, "casting their elegies and the pens that had written them into his tomb."

To pourtraict in Arthure, before he was king, the image of a brave Knight, perfected in the twelve private Morall Vertues, as Aristotle hath devised; which is the purpose of these first twelve bookes: which if I finde to be well accepted, I may be perhaps encoraged to frame the other part of Polliticke Vertues in his person, after that hee came to be king.

A Gentle Knight was pricking on the plaine, Ycladd in mightie armes and silver shielde, Wherein old dints of deepe woundes did remaine The cruell markes of many a bloody fielde; Yet armes till that time did he never wield: His angry steede did chide his foming bitt, As much disdayning to the curbe to yield: Full iolly knight he seemd, and faire did sitt, As one for knightly giusts and fierce encounters fitt. And on his brest a bloodie crosse he bore, The deare remembrance of his dying Lord, For whose sweete sake that glorious badge he wore, And dead, as living ever, him ador'd: Upon his shield the like was also scor'd, For soveraine hope, which in his helpe he had, Right faithfull true he was in deede and word; But of his cheere did seeme too solemne sad; Yet nothing did he dread, but ever was ydrad.

This sleepy bit, from the dwelling of Morpheus, invites us to linger:

And, more to lulle him in his slumber soft, A trickling streame from high rock tumbling downe, And ever-drizling raine upon the loft, Mixt with a murmuring winde, much like the sowne Of swarming bees, did cast him in a swowne. No other noyse, nor peoples troublous cryes, As still are wont t'annoy the walled towne, Might there be heard: but carelesse Quiet lyes, Wrapt in eternal silence farre from enimyes.

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