Lesson 28 - 29. Geoffrey Chaucer 1 страница
Geoffrey Chaucer
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Chaucer (the name is French and seems to have meant originally 'shoemaker') came into the world probably in 1338, the first important author who was born and lived in London, which with him becomes the center of English literature. About his life, as about those of many of our earlier writers, there remains only very fragmentary information, which in his case is largely pieced together from scattering entries of various kinds in such documents as court account books and public records of state matters and of lawsuits. His father, a wine merchant, may have helped supply the cellars of the king (Edward Ill) and so have been able to bring his son to royal notice; at any rate, while still in his teens Geoffrey became a page in the service of one of the king's daughters-in-law. In this position his duty would be partly to perform various humble work in the household, partly also to help amuse the leisure of the inmates, and it is easy to suppose that he soon won favor as a fluent story-teller. He early became acquainted with the seamy as well as the brilliant side of courtly life;for in 1359 he was in the campaign in France and was taken prisoner. That he was already valued appears from the king's subscription of the equivalent of a thousand dollars of present-day money toward his ransom; and after his release he was transferred to the king's own service, where about 1368 he was promoted to the rank of esquire. He was probably already married to one of the queen's ladies-in-waiting. Chaucer was now thirty years of age, and his practical sagacity and knowledge of men had been recognized; for from this time on he held important public positions. He was often sent to the Continent--to France, Flanders, and Italy--on diplomatic missions; and for eleven years he was in charge of the London customs, where the uncongenial drudgery occupied almost all his time until through the intercession of the queen he was allowed to perform it by deputy. In 1386 he was a member of Parliament, knight of the shire for Kent; but in that year his fortune turned--he lost all his offices at the overthrow of the faction of his patron, Duke John of Gaunt (uncle of the young king, Richard II, who had succeeded his grandfather, Edward III, some years before). Chaucer's party and himself were soon restored to power, but although during the remaining dozen years of his life he received from the Court various temporary appointments and rewards, he appears often to have been poor and in need. When Duke Henry of Bolingbroke, son of John of Gaunt, deposed the king and himself assumed the throne as Henry IV, Chaucer's prosperity seemed assured, but he lived after this for less than a year, dying suddenly in 1400. He was buried in Westminster Abbey, the first of the men of letters to be laid in the nook which has since become the Poets' Corner.
Chaucer's poetry falls into three rather clearly marked periods. First is that of French influence, when, though writing in English, he drew inspiration from the rich French poetry of the period, which was produced partly in France, partly in England. Chaucer experimented with the numerous lyric forms which the French poets had brought to perfection; he also translated, in whole or in part, the most important of medieval French narrative poems, the thirteenth century 'Romance of the Rose' of Guillaume de Lorris and Jean de Meung, a very clever satirical allegory, in many thousand lines, of medieval love and medieval religion. This poem, with its Gallic brilliancy and audacity, long exercised over Chaucer's mind the same dominant influence which it possessed over most secular poets of the age. Chaucer's second period, that of Italian influence, dates from his first visit to Italy in 1372-3, where at Padua he may perhaps have met the fluent Italian poet Petrarch, and where at any rate the revelation of Italian life and literature must have aroused his intense enthusiasm. From this time, and especially after his other visit to Italy, five years later, he made much direct use of the works of Petrarch and Boccaccio and to a less degree of those of their greater predecessor, Dante, whose severe spirit was too unlike Chaucer's for his thorough appreciation. The longest and finest of Chaucer's poems of this period, 'Troilus and Criseyde' is based on a work of Boccaccio; here Chaucer details with compelling power the sentiment and tragedy of love, and the psychology of the heroine who had become for the Middle Ages a central figure in the tale of Troy. Chaucer's third period, covering his last fifteen years, is called his English period, because now at last his genius, mature and selfsufficient, worked in essential independence. First in time among his poems of these years stands 'The Legend of Good Women,' a series of romantic biographies of famous ladies of classical legend and history, whom it pleases Chaucer to designate as martyrs of love; but more important than the stories themselves is the Prolog, where he chats with delightful frankness about his own ideas and tastes.
The great work of the period, however, and the crowning achievement of Chaucer's life, is 'The Canterbury Tales.' Every one is familiar with the plan of the story (which may well have had some basis in fact): how Chaucer finds himself one April evening with thirty other men and women, all gathered at the Tabard Inn in Southwark (a suburb of London and just across the Thames from the city proper), ready to start next morning, as thousands of Englishmen did every year, on a pilgrimage to the shrine of St. Thomas a Becket at Canterbury. The travelers readily accept the proposal of Harry Bailey, their jovial and domineering host, that he go with them as leader and that they enliven the journey with a story-telling contest (two stories from each pilgrim during each half of the journey) for the prize of a dinner at his inn on their return. Next morning, therefore, the Knight begins the series of tales and the others follow in order. This literary form--a collection of disconnected stories bound together in a fictitious framework--goes back almost to the beginning of literature itself; but Chaucer may well have been directly influenced by Boccaccio's famous book of prose tales, 'The Decameron' (Ten Days of Story-Telling). Between the two works, however, there is a striking contrast, which has often been pointed out. While the Italian author represents his gentlemen and ladies as selfishly fleeing from the misery of a frightful plague in Florence to a charming villa and a holiday of unreflecting pleasure, the gaiety of Chaucer's pilgrims rests on a basis of serious purpose, however conventional it may be.
Perhaps the easiest way to make clear the sources of Chaucer's power will be by means of a rather formal summary.
1. His Personality. Chaucer's personality stands out in his writings plainly and most delightfully. It must be borne in mind that, like some others of the greatest poets, he was not a poet merely, but also a man of practical affairs, in the eyes of his associates first and mainly a courtier, diplomat, and government official. His wide experience of men and things is manifest in the life-likeness and mature power of his poetry, and it accounts in part for the broad truth of all but his earliest work, which makes it essentially poetry not of an age but for all time. Something of conventional medievalism still clings to Chaucer in externals, as we shall see, but in alertness, independence of thought, and a certain directness of utterance, he speaks for universal humanity. His practical experience helps to
explain as well why, unlike most great poets, he does not belong primarily with the idealists. Fine feeling he did not lack; he loved external beauty--some of his most pleasing passages voice his enthusiasm for Nature; and down to the end of his life he never lost the zest for fanciful romance. His mind and eye were keen, besides, for moral qualities; he penetrated directly through all the pretenses of falsehood and hypocrisy; while how thoroughly he understood and respected honest worth appears in the picture of the Poor Parson in the Prolog to 'The Canterbury Tales.' Himself quiet and self-contained, moreover, Chaucer was genial and sympathetic toward all mankind. But all this does not declare him a positive idealist, and in fact, rather, he was willing to accept the world as he found it—he had no reformer's dream of 'shattering it to bits and remoulding it nearer to the heart's desire.' His moral nature, indeed, was easy-going; he was the appropriate poet of the Court circle, with very much of the better courtier's point of view. At the day's tasks he worked long and faithfully, but he also loved comfort, and he had nothing of the martyr's instinct. To him human life was a vast procession, of boundless interest, to be observed keenly and reproduced for the reader's enjoyment in works of objective literary art. The countless tragedies of life he noted with kindly pity, but he felt no impulse to dash himself against the existing barriers of the world in the effort to assure a better future for the coming generations. In a word, Chaucer is an artist of broad artistic vision to whom art is its own excuse for being. And when everything is said few readers would have it otherwise with him; for in his art he has accomplished what no one else in his place could have done, and he has left besides the picture of himself, very real and human across the gulf of half a thousand years. Religion, we should add, was for him, as for so many men of the world, a somewhat secondary and formal thing. In his early works there is much conventional piety, no doubt sincere so far as it goes; and he always took a strong intellectual interest in the problems of medieval theology; but he became steadily and quietly independent in his philosophic outlook and indeed rather skeptical of all definite dogmas.Even in his art Chaucer's lack of the highest will-power produced one rather conspicuous formal weakness; of his numerous long poems he really finished scarcely one. For this, however, it is perhaps sufficient excuse that he could write only in intervals hardly snatched from business and sleep. In 'The Canterbury Tales' indeed, the plan is almost impossibly ambitious; the more than twenty stories actually finished, with their eighteen thousand lines, are only a fifth part of the intended number.
Even so, several of them do not really belong to the series; composed in stanza forms, they are selected from his earlier poems and here pressed into service, and on the average they are less excellent than those which he wrote for their present places (in the rimed pentameter couplet that he adopted from the French).
2. His Humor. In nothing are Chaucer's personality and his poetry more pleasing than in the rich humor which pervades them through and through. Sometimes, as in his treatment of the popular medieval beast-epic material in the Nun's Priest's Tale of the Fox and the Cock, the humor takes the form of boisterous farce; but much more often it is of the finer intellectual sort, the sort which a careless reader may not catch, but which touches with perfect sureness and charming lightness on all the incongruities of life, always, too, in kindly spirit. No foible is too trifling for Chaucer's quiet observation; while if he does not choose to denounce the hypocrisy of the Pardoner and the worldliness of the Monk, he has made their weaknesses sources of amusement (and indeed object- lessons as well) for all the coming generations.
3. He is one of the greatest of all narrative poets. Chaucer is an exquisite lyric poet, but only a few of his lyrics have come down to us, and his fame must always rest largely on his narratives. Here, first, he possesses unfailing fluency. It was with rapidity, evidently with ease, and with masterful certainty, that he poured out his long series of vivid and delightful tales. It is true that in his early, imitative, work he shares the medieval faults of wordiness, digression, and abstract symbolism; and, like most medieval writers, he chose rather to reshape material from the great contemporary store than to invent stories of his own. But these are really very minor matters. He has great variety, also, of narrative forms: elaborate allegories; love stories of many kinds; romances, both religious and secular; tales of chivalrous exploit, like that related by the Knight; humorous extravaganzas; and jocose renderings of coarse popular material--something, at least, in virtually every medieval type.
4. The thorough knowledge and sure portrayal of men and women which, belong to his mature work extend through, many various types of character. It is a commonplace to say that the Prolog to 'The Canterbury Tales' presents in its twenty portraits virtually every contemporary English class except the very lowest, made to live forever in the finest series of character sketches preserved anywhere in literature; and in his other work the same power appears in only less conspicuous degree.
5. His poetry is also essentially and thoroughly dramatic, dealing very vividly with life in genuine and varied action. To be sure, Chaucer possesses all the medieval love for logical reasoning, and he takes a keen delight in psychological analysis; but when he introduces these things (except for the tendency to medieval diffuseness) they are true to the situation and really serve to enhance the suspense. There is much interest in the question often raised whether, if he had lived in an age like the Elizabethan, when the drama was the dominant literary form, he too would have been a dramatist.
6. As a descriptive poet (of things as well as persons) he displays equal skill. Whatever his scenes or objects, he sees them with perfect clearness and brings them in full life-likeness before the reader's eyes, sometimes even with the minuteness of a nineteenth century novelist. And no one understands more thoroughly the art of conveying the general impression with perfect sureness, with a foreground where a few characteristic details stand out in picturesque and telling clearness.
7. Chaucer is an unerring master of poetic form. His stanza combinations reproduce all the well-proportioned grace of his French models, and to the pentameter riming couplet of his later work he gives the perfect ease and metrical variety which match the fluent thought. In all his poetry there is probably not a single faulty line. And yet within a hundred years after his death, such was the irony of circumstances, English pronunciation had so greatly altered that his meter was held to be rude and barbarous, and not until the nineteenth century were its principles again fully understood. His language, we should add, is modern, according to the technical classification, and is really as much like the form of our own day as like that of a century before his time; but it is still only early modern English, and a little definitely directed study is necessary for any present-day reader before its beauty can be adequately recognized.
The main principles for the pronunciation of Chaucer's language, so far as it differs from ours, are these: Every letter should be sounded, especially the final e (except when it is to be suppressed before another vowel). A large proportion of the rimes are therefore feminine. The following vowel sounds should be observed:
• Stressed a like modern a in father.
• Stressed e and ee like e in fete or ea in breath.
• Stressed i as in machine.
• oo like o in open.
• u commonly as in push or like oo in spoon.
• y like i in machine or pin according as it is stressed or not.
• ai, ay, ei, and ey like ay in day.
• au commonly like ou in pound.
• ou like oo in spoon.
• -ye (final) is a diphthong.
• g (not in ng and not initial) before e or i is like j.
Lowell has named in a suggestive summary the chief quality of each of the great English poets, with Chaucer standing first in order: 'Actual life is represented by Chaucer; imaginative life by Spenser; ideal life by Shakespeare; interior life by Milton; conventional life by Pope.' We might add: the life of spiritual mysticism and simplicity by Wordsworth; the completely balanced life by Tennyson; and the life of moral issues and dramatic moments by Robert Browning.
Geoffrey Chaucer's Canterbury Tales
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Chaucer is presumed to have studied law in the Inner Temple (an Inn of Court) at about this time, although definite proof is lacking. It is recorded that he became a member of the British royal family court of Edward III as a valet, yeoman, or esquire on 20 June 1367, a position which could entail any number of jobs. He travelled abroad many times, at least some of them in his role as a valet. In 1368, he may have attended the wedding of Lionel of Antwerp to Violante, daughter of Galeazzo II Visconti, in Milan. Two other literary stars of the era who were in attendance were Jean Froissart and Petrarch. Around this time Chaucer is believed to have written ''The Book of the Duchess'' in honor of Blanche of Lancaster, the late wife of John of Gaunt who died in 1369.
Chaucer travelled to Picardy the next year as part of the military expedition, and visited Genoa and Florence in 1373. It is on this Italy trip that it is speculated he came into contact with Middle Ages Italian poetry, the forms and stories of which he would use later. One other trip he took in 1377 seems shrouded in mystery, with records of the time conflicting in details. Later documents suggest it was a mission, along with Jean Froissart, to arrange a marriage between the future Richard II of England and a French princess, thereby ending the Hundred Years War. If this was the purpose of their trip, they seem to have been unsuccessful, as no wedding occurred.
In 1378, Richard II sent Chaucer as an envoy/secret dispatch to the Visconti and to Sir John Hawkwood, English Man-at Arms/Soldier for Hire, in Milan. It is on the person of John Hawkwood that Chaucer based his Knight's Character. The Knight, based on his description/dress and appearance, looks exactly like a soldier for hire/mercenary would have looked in the fourteenth century.
A possible indication that his career as a writer was appreciated came when Edward III of England granted Chaucer ''a gallon of wine daily for the rest of his life'' for some unspecified task. This was an unusual grant, but given on a day of celebration, St. George's Day, 1374, when artistic endeavours were traditionally rewarded, it is assumed to have been another early poetic work. It is not known which, if any, of Chaucer's extant works prompted the reward but the suggestion of poet to a king places him as a precursor to later poets laureate. Chaucer continued to collect the liquid stipend until Richard II came to power, after which it was converted to a monetary grant on 18 April, 1378.
Chaucer obtained the very substantial job of Comptroller of the Customs for the port of London, which Chaucer began on 8 June 1374. He must have been suited for the role as he continued in it for twelve years, a long time in such a post at that period. His life goes undocumented for much of the next ten years but it is believed that he wrote (or began) most of his famous works during this time period. He was mentioned in law papers of 4 May 1380, involved in the ''raptus'' of Cecilia Chaumpaigne. What ''raptus'' means, rape or possibly kidnapping, is unclear, but the incident seems to have been resolved quickly and did not leave a stain on Chaucer's reputation. It is not known if Chaucer was in the city of London at the time of the Peasants' Revolt (the Tower of London was stormed in 1381).
While still working as comptroller, Chaucer appears to have moved to Kent, being appointed as one of the commissioners of peace for Kent, at a time when French invasion was a possibility. He is thought to have started work on ''The Canterbury Tales'' in the early 1380s (the Pilgrims' Way used by his fictional characters on their way to Canterbury Cathedral passes through Kent). He also became a Member of Parliament for Kent in 1386. There is no further reference after this date to Philippa, Chaucer's wife, and she is presumed to have died in 1387. He survived the political upheavals caused by the Lords Appellants despite the fact that Chaucer knew well some of the men executed over the affair.
On 12 July 1389, Chaucer was appointed the Clerk of the Works, a sort of Construction foreman organizing most of the king's building projects. No major works were begun during his tenure, but he did conduct repairs on Westminster Palace, St. George's Chapel, Windsor, continue building the wharf at the Tower of London, and build the stands for a tournament held in 1390. It may have been a difficult job but it paid well: two shillings a day, over three times his salary as a comptroller. In September 1390, records say that he was robbed, and possibly injured, while conducting the business and it was shortly after, on 17 June 1391, that he stopped working in this capacity. Almost immediately, on 22 June, he began as deputy forester in the royal forest of North Petherton, Somerset. This was no sinecure, with maintenance an important part of the job, although there were many opportunities to derive profit. It is believed that Chaucer stopped work on the Canterbury Tales sometime towards the end of this decade.
Soon after the overthrow of his patron Richard II of England in 1399, Chaucer vanished from the historical record. He is believed to have died of unknown causes on 25 October, 1400, but there is no firm evidence for this date, as it comes from the engraving on his tomb, which was built more than one-hundred years after Chaucer's death. There is some fanciful speculation - most recently in Terry Jones' book ''Who Murdered Chaucer? A Medieval Mystery-that he was murdered by enemies of Richard II or even on the orders of his successor Henry IV of England. There is however no solid evidence to support this claim.
The new king (Henry IV) did renew the grants assigned to Chaucer by Richard, but in ''The Complaint of Chaucer to his Purse"; Chaucer hints that the grants might not have been paid. The last mention of Chaucer in the historical record is on
1 June 1400, when some monies owing to him were paid. Chaucer was buried in Westminster Abbey in London, as was his right owing to the jobs he had performed and the new house he had leased nearby on 24 December 1399. In 1556 his remains were transferred to a more ornate tomb, making Chaucer the first writer interred in the area now known as Poets' Corner.
Chaucer's Canterbury Tales
The Canterbury Tales contrasts with other literature of the period in the naturalism of its narrative, the variety of stories the pilgrims tell and the varied characters who are engaged in the pilgrimage. Many of the stories narrated by the pilgrims seem to fit their individual characters and social standing, although some of the stories seem ill-fitting to their narrators, perhaps as a result of the incomplete state of the work. Chaucer drew on real life for his cast of pilgrims: the innkeeper shares the name of a contemporary keeper of an inn in Southwark, and real-life identities for the Wife of Bath, the Merchant, the Man of Law and the Student have been suggested. The many jobs Chaucer held in medieval society—page, soldier, messenger, valet, bureaucrat, foreman and administrator—probably exposed him to many of the types of people he depicted in the Tales. He was able to shape their speech and satirize their manners in what was to become popular literature among people of the same types.
Chaucer's works are sometimes grouped into, first a French period, then an Italian period and finally an English period, with Chaucer being influenced by those countries' literatures in turn. Certainly Troilus and Criseyde is a middle period work with its reliance on the forms of Italian poetry, little known in England at the time, but to which Chaucer was probably exposed during his frequent trips abroad on court business. In addition, its use of a classical antiquity classical subject and its elaborate, courtly language sets it apart as one of his most complete and well-formed works. In Troilus and Criseyde Chaucer draws heavily on his source, Bocaccio, and on the late Latin philosopher Boethius. However, it is The Canterbury Tales, wherein he focuses on English subjects, with bawdy jokes and respected figures often being undercut with humour that has cemented his reputation.
Chaucer's Linguistic
Chaucer wrote in continental accentual-syllabic metre, a style which had developed since around the twelfth century as an alternative to the alliterative Anglo-Saxon. Chaucer is known for metrical innovation, inventing the rhyme, and he was one of the first English poets to use the five-stress line, the iambic pentameter, in his work, with only a few anonymous short works using it before him. The arrangement of these five-stress lines into rhyming couplets, first seen in his Legend of Good Women in much of his later work and became one of the standard poetic forms in English. His early influence as a satirist is also important, with the common humorous device, the funny accent of a regional, apparently making its first appearance in The Reeve's Tale.
The poetry of Chaucer, along with other writers of the era, is credited with helping to standardize the London Dialect of the Middle English a combination of the Kentish and Midlands dialects. This is probably overstated; the influence of the court, chancery and bureaucracy—of which Chaucer was a part—remains a more probable influence on the development of Standard English, Modern English is somewhat distanced from the language of Chaucer's poems owing to the effect of the Great Vowel Shift some time after his death. This change in the pronunciation of English, still not fully understood, makes the reading of Chaucer difficult for the modern audience, though it is thought by some that the modern Scottish accent is closely related to the sound of Middle English. The status of the final -e in Chaucer's verse is uncertain: it seems likely that during the period of Chaucer's writing the final -e was dropping out of colloquial English and that its use was somewhat irregular. Chaucer's versification suggests that the final -e is sometimes to be vocalised, and sometimes to be silent; however, this remains a point on which there is disagreement. When it is vocalised, most scholars pronounce it as a schwa. Apart from the irregular spelling, much of the vocabulary is recognisable to the modern reader. Chaucer is also recorded in the Oxford Dictionary as the first author to use many common English words in his writings. These words were probably frequently used in the language at the time but Chaucer, with his ear for common speech, is the earliest manuscript source. Acceptable, alkali, altercation, amble, angrily, annex, annoyance, approaching, arbitration, armless, army, arrogant, arsenic, arc, artillery and aspect are just some of those from the first letter of the alphabet.
Literary
Chaucer's early popularity is attested by the many poets who imitated his works. John Lydgate was one of earliest imitators who wrote a continuation to the Tales. Later a group of poets including Gavin Douglas, William Dunbar and Robert Henryson were known as the Scottish Chaucerians for their indebtedness to his style. Many of the manuscripts of Chaucer's works contain material from these admiring poets and the later romantic era poets' appreciation of Chaucer was coloured by their not knowing which of the works were genuine. 17th and 18th century writers, such as John Dryden, admired Chaucer for his stories, but not for his rhythm and rhyme, as few critics could then read Middle English and the text had been butchered by printers, leaving a somewhat unadvisable mess. It was not until the late 19th century that the official Chaucerian canon, accepted today, was decided upon; largely as a result of Walter William Skeat's work. One hundred and fifty years after his death, The Canterbury Tales was selected by William Caxton to be one of the first books to be printed in England.
Tihe Canterbury Piinnms. Frum the British Library MS naval 1 O D. Ill
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Chaucer's English
Although Chaucer's language is much closer to modern English than the text of Beowulf, it differs enough that most publications modernise (and sometimes bowdlerise) his idiom. Following is a sample from the prologue of the "Summoner's Tale" that compares Chaucer's text to a modern translation:
Line Original
This frere bosteth that he knoweth helle, And God it woot, that it is litel wonder; Freres and feendes been but lyte asonder. For, pardee, ye han ofte tyme herd telle How that a frere ravyshed was to helle In spirit ones by a visioun;
And as an angel ladde hym up and doun,