Chaucer, while, in grandeur of scenes and images, it rises above them. In this latter respect, as in the unearthliness of the whole subject, it may be compared to the Commedia of Dante: and the bold and rough sketches which it contains are sometimes not much unlike those of the Italian poet. The "House of Fame" itself, placed on an almost inaccessible rock of ice, is an image of this nature, at once extravagant and sublime.-HIPPISLEY, J. H., 1837, Chapters on Early English Literature, p. 131. The criticism of so strange a composition is hardly to be attempted. It shows a bold and free spirit of invention, and some great and poetical conceiving. The wilful, now just, now perverse, dispensing of fame, belongs to a mind that has meditated upon the human world. The poem is one of the smaller number, which seems hitherto to stand free from the suspicion of having been taken from other poets. -WILSON, JOHN, 1845, North's Specimens of the British Critics, Blackwood's Magazine, vol. 57, p. 621. In none of his other poems has Chaucer displayed such an extent of knowledge, or drawn his images from such a variety of sources. The Arabic system of numeration, then lately introduced into Europe, the explosion of gunpowder, and the theory of sound, may be mentioned as examples of the topics of illustration and disquisition in which he abounds. His intimate acquaintance with classical authors is exhibited in the felicitous judgments he pronounces on their writings.-BELL, ROBERT, 1854-56, Poetical Works of Geoffrey Chaucer, vol. VI, p. 193. "The Palice of Honour," for example, is far more densely crowded with historical imagery than "The House of Fame, but in vividness of representation it is not even distantly to be compared to Chaucer's poem. With quick, subtle strokes, Chaucer brings a scene or a character so distinctly before our imagination that it hardly ever fades from it, while Douglas's personages are almost all shadowy phantasms, roces et praeterea voces et praeterea nihil. Ross, JOHN MERRY, 1884, Scottish History and Literature, etc., ed. Brown, p. 334. No other of his poems has such a personal character as this one, which marks the climax of one species of art in middle English poetry. The allegory grows here so immediately out of the fundamental idea of the work that it remains perfectly transparent, notwithstanding the minutely detailed execution; for the inner truth of what is presented forces itself upon the reader, and never allows the impression of caprice to occur. How ingeniously soever the whole is designed and completed, we feel that there is here more than a mere play of wit; that a full and profound individuality has listened to its own promptings and spoken out its dominating sentiments and views, and was led by a sort of necessity in the choice of the form of expression. TEN BRINK, BERNHARD, 1892, History of English Literature, (Wyclif, Chaucer, Earliest Drama, Renaissance), tr. Robinson, p. 107. It is needless to say that this Poem is genuine, as Chaucer himself claims it twice over; once in his Prologue to the Legend of Good Women, I. 417, and again by the insertion in the poem itself of the name Geffrey. The authorities for the text are few and poor; hence it is hardly possible to produce a thoroughly satisfactory text. There are three MSS. of the fifteenth century, viz. F. (Fairfax MS. 16, in the Bodleian Library); B. (MS. Bodley, 638, in the same); P. (MS. Pepys 2006, in Magdalene College, Cambridge). The last of these is imperfect, ending at 1. 1843. There are two early printed editions of some value, viz. Cx. (Caxton's edition, undated); and Th. (Thynne's edition, 1532). (Thynne's edition, 1532). None of the later editions are of much value, except the critical edition by Hans Willert (Berlin, 1883).—SKEAT, WALTER W., 1894 ed., Complete Works of Geoffrey Chaucer, vol. III, pp. vii, xiii. The nature of Chaucer's debt is clear; it is in no sense literary copying, but is a more or less distinct recollection of an oral tale, heard perhaps in boyhood. When we consider the evident love for folk-lore which characterized Shakspere's youth, it seems inconceivable that Chaucer was not familiar as a boy with the multitudes of folk-tales rife in early days. Wherever an imaginative mind was free from monastic bonds, it must have met with great quantities of such material; Chaucer, as one of the first great authors thoroughly so emancipated, may well show traces of such knowledge, outgrown perhaps, but undestroyed. GARRETT, A. C., 1896, Studies in Chaucer's House of Fame, Harvard Studies and Notes in Philology and Literature, vol. v, p. 175. Manuscripts of this poem were, probably, even in our printer's time, difficult to obtain. The copy used by him was certainly very imperfect. Many lines are altogether omitted, and in the last page Caxton was evidently in a great strait, for his copy was deficient 66 lines, probably occupying one leaf in the original. We know from his own writings the great reverence in which our printer held the "noble poete," and we can imagine his consternation when the choice had to be made, either to follow his copy and print nonsense, from the break of idea caused by the deficient verses, or to step into Chaucer's shoes and supply the missing links from his own brain. He chose the latter course, and thus instead of the original 66 lines, we have two of the printer's own, which enable the reader to reach the end of the poem without a break-down. BLADES, WILLIAM, 1897, William Caxton, p. 295. The "House of Fame" is introspective. In it Chaucer reviews his life and his aims, and the work affords evidence of some discontent. Apart from books and dreams, the world is a dismal waste. From what is said later it is plain that, under this similitude, he alludes to the dry ciphering which occupied him in his official post. At the date of the composition of the poem he had just come back from a pilgrimage, from mingling with his kind; and, fresh from the delights of society, he seems to have asked himself, with reference to his wearisome toil and fine-spun ideal world, "What profit?" Chaucer, moreover, had not been happy in love, and it is for that reason that the walls of the Temple of Venus are glum with the story of Æneas, and more particularly with Dido's martyrdom. The poet needed distraction. SNELL, F. J., 1899, Periods of European Literature, The Fourteenth Century, p. 303. LEGENDE OF GOOD WOMEN This poete wrote, at the requeste of the quene, But for his labour and besinesse Was importable his wittes to encombre When, in the chronicle of wasted time, cvi. I read, before my eyelids dropt their shade, 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 -TENNYSON, LORD, 1830, A Dream of Fair Women. Part of the "Legende of Good Women" is of great excellence and value. The prologue is to be classed with Chaucer's best writings. HALES, JOHN W., 1887, Dictionary of National Biography, vol. X., p. 164. The "Legend of Good Women," besides the general interest of all Chaucer's verse, besides its own intrinsic attraction (for the "good women" are the most hapless and blameless of Ovid's Heroides), and the remembrance of its suggestion of what is perhaps, all things considered, the most perfect example of Tennyson's verse, has the additional charm of presenting to us Chaucer's first experiment in the heroic couplet, the main pillar, with blank verse, of later English poetry, and the medium of his own greatest work. -SAINTSBURY, GEORGE, 1898, A Short History of English Literature, p. 125 In the "Legende" it is the Prologue, in its two drafts, which gives him his opportunity. Of the nine stories of loving women which he had patience to complete, only the first three (those of Cleopatra, Thisbe, and Dido) are in any way worthy of him.-POLLARD, ALFRED W., 1898, The Works of Geoffrey Chaucer, Globe ed., Introduction, p. xxiv. The chief significance of the poem lies in this that, whilst its contents may be deemed in a certain sense reactionary, its outward form marks another stage in the direction of the "Canterbury Tales. The "Legende of Goode Women" is, in fact, the first example in English of a connected series of short versified tales in decasyllabic couplet.-SNELL, F. J., 1899, Periods of European Literature, The Fourteenth Century, p. 309. For charming and not too prolix description, for a land where the beautiful creatures of one's dreams move in an ideal landscape, we find not the like of the prologue of the "Legende" until the "Faerie Queene.' The poem is a well-nigh perfect example of its artificial, if charming, class. Many. will prefer its sweetness and quiet humor to the brilliancy and wit of "The Rape of the Lock." It is equally a classic of occasional poetry.-MATHER, JR., FRANK JEWETT, 1899, The Riverside Literature Series, No. 135, Introduction, p. xxvii. A TREATISE ON THE ASTROLABE 1391 When I happenyd to look upon the conclusions of the "Astrolabie" compiled by Geffray Chaucer and founde the same corrupte and false in so many and sondrie places that I doubted whether the rudeness of the worke were not a greater sclander to the authour than trouble and offense to the readers, I dyd not a lytell mervell if a book should come oute of his handes so imperfect and indigest whose other workes weare not onely rekoned for the best that ever weare set forthe in oure english tonge, but also weare taken for a manifest argument of his singular witte and generalitie in all kindes of knowledge. However be it when I called to remembrance that in his prohem he promised to sette forthe this worke in five partes, whereof weare never extante but those two first partes onely, it made me to believe that either the work was never fynisshed of the authour, or els to have ber. corrupted sens by some other meanes, or what other thynge might be the cause thereof, I wiste not.-STEVINS, WALTER, 1555? MS. Conclusions of the Astrolabe, quoted by Brae, p. 9. In some respects, the most interesting of Chaucer's works- inasmuch as it brings us into familiar and almost domestic communion with his individual self, while he describes to his "lytel sonne," with The existing MSS. of the "Astrolabe" are still numerous. I have been successful in finding no less than twenty-two. It is remarkable that, although many printed editions of the treatise have appeared, no first-class MS. has ever hitherto come under the notice of any one of the various editors.-SKEAT, WALTER W., 1894, ed. Complete Works of Geoffrey Chaucer, vol. III, p. lvii. Ripeness of scholarship, certainty of style, clearness of judgment; all these come out clearly in this later work. .There is little of that uncertainty which characterises the "Boece," and no infelicities of idiom or mistakes in construing the Latin. LIDDELL, MARK H., 1898, The Works of Geoffrey Chaucer, Globe ed., Introduction, p. liii. CANTERBURY TALES 1387?-1393? O ye so noble and worthy Princes and Princesses, or estates or degrees, whatever ye be, that have disposition or pleasure to read or hear the stories of old times passed, to keep you from idleness and sloth, in eschewing other follies that might be cause of more harm following, vouchsafe, I beseech you, to find your occupation in the reading here of the Tales of Canterbury, which he compiled in this book following, first founded, imagined, and made, both for disport and learning of all those that be gentle of birth or of conditions, by the laureal and most famous poet that ever was before him in the embellishing of our rude mother's English tongue, called Chaucer a Gaufrede, of whose soul, God, for his mercy, have pity of his grace. Amen. SHIRLEY, JOHN, 1458? MS., Quoted by Furnivall, F. J., 1873, Recent Work at Chaucer, Macmillan's Magazine, vol. 27, p. 385. Whiche book I have dylygently oversen, and duly examyned to the ende that it be made accordyng unto his owne makyng; for I fynde many of the sayd bookes, whiche wryters have abrydgyd it, and many thynges left out, and in some places have sette certayn versys that he never made ne sette in hys booke; of whyche bookes so incorrecte was one brought to me vi. yere passyd, whiche I supposed had ben veray true and correcte, and accordyng to the same I dyde do emprynte a certayn nomber of them, whyche anon were solde to many and dyverse gentyl men, of whom one gentylman cam to me, and sayd that this book was not according in many places unto the book that Gefferey Chaucer had made. To whom I answered, that I had made it accordyng to my copye, and by me was nothyng added ne mynushyd. Thenne he sayd, he knewe a book whyche hys fader had and meche lovyd, that was very trewe, and accordyng unto his owen first book by hym made; and sayd more, yf I wold emprynte it agayn, he wold gete me the same book for a copye. How be it he wyst well that hys fader wold not gladly departe fro it. To whom I said, in caas that he coude gete me suche a book, trewe and correcte, yet I woid ones endevoyre me to emprynte it agayn, for to satisfy the auctour, where as tofore by ygnoraunce I erryd in the hurtyng and dyffamyng his book in dyverce places, in setting in somme thynges that he never sayd he made, and leving out many thynges that he made, whyche ben requysite to be sette in it. And thus we fyll at accord, and he full gentylly gate of hys fader the said book, and delyvered it to me, by whiche I have corrected my book, as heere after alle alonge by the ayde of almighty God shal folowe, whom I humbly beseche, &c.-CAXTON, WILLIAM, 1481, The Canterbury Tales, Caxton's 2nd ed., Preface. And upon hys ymaginacyon He made also the tales of Canterbury; He dyd compyle, whose godly name workes, his similitudes comparisons and all other descriptions are such as can not be amended. His meetre Heroicall of "Troilus" and "Cresseid" is very grave and stately, keeping the staffe of seven, and the verse of ten, his other verses of the Canterbury tales be but riding ryme, neverthelesse very well becomming the matter of that pleasaunt pilgrimage in which every mans part is playd with much decency.-PUTTENHAM, GEORGE, 1589, The Arte of English Poesie, ed. Arber, p. 75. It is a blabb: but not every man's blabb, that casteth a sheepes-eye out of a Calves-head; but a blabb with judgement; but a blabb, that can make excrements blush, and teach Chawcer to retell a Canterbury Tale.-HARVEY, GABRIEL, 1593, Pierces Supererogation, ed. Grosart, Harvey's Works, vol. II, p. 228. He must have been a man of a most wonderful comprehensive nature, because, as it has been truly observed of him, he has taken into the compass of his “Canterbury Tales" the various manners and humours (as we now call them) of the whole English nation, in his age. Not a single character has escaped him. All his pilgrims are severally distinguished from each other; and not only in their inclinations, but in their very physiognomies and persons. Baptista Porta could not have described their natures better, than by the marks which the poet gives them. The matter and manner of their tales, and of their telling, are so suited to their different educations, humours, and.callings, that each of them would be improper in any other mouth. Even the grave and serious characters are distinguished by their several sorts of gravity: their discourses are such as belong to their age, their calling, and their breeding; such as are becoming of them, and of them only. -DRYDEN, JOHN, 1700, Preface to the Fables, Works, ed. Scott and Saintsbury, vol. XI, p. 229. I hold Mr. Dryden to have been the first who put the merit of Chaucer into its full and true light by turning some of the Canterbury Tales into our language, as it -HAWES, STEPHEN, 1506, The Pastime of is now refined, or rather as he himself Pleasure, C. 14. The Canterbury tales were Chaucers owne invention as I suppose, and where he sheweth more the naturall of his pleasant wit, then in any other of his refined it.-OGLE, GEORGE, 1739, Preface to the Clerk of Oxford's Tale. The general plan of "The Canterbury Tales" may be learned in a great measure from the Prologue, which Chaucer another rises, different to mortal sight, but to immortals only the same; for we see the same characters repeated again and again, in animals, vegetables and minerals, and in men. Nothing new occurs in identical existence; accident ever varies, substance can never suffer change or decay. Of Chaucer's characters, as described in his "Canterbury Tales," some of the names or titles are altered by time, but the characters themselves for ever remain unaltered; and, consequently, they are the physiognomies or lineaments of universal human life, beyond which nature never steps. Names alter, things never alter. I have known multitudes of those who would have been monks in the age of monkery, who in this deistical age are Deists. As Newton numbered the stars, and as Linnæus numbered the plants, so Chaucer numbered the classes of men. himself has prefixed to them. He supposes After the dramas of Shakespear, there is no production of man that displays more various and vigorous talent than the "Canterbury Tales." Splendour of narrative, richness of fancy, pathetic simplicity of incident and feeling, a powerful style in delineating character and manners, and an animated vein of comic humour, each takes its turn in this wonderful performance, and each in turn appears to be that in which the author was most qualified to excel.-GODWIN, WILLIAM, 1803, Life of Geoffrey Chaucer, Preface, vol. I, p. i. The characters of Chaucer's Pilgrims are the characters which compose all ages and nations. As one age falls It is necessary here to speak of Chaucer's own character, that I may set certain mistaken critics right in their conception of the humour and fun that occur on the journey. Chaucer is himself the great poetical observer of men, who in every age is born to record and eternise its acts. This he does as a master, as a father and superior, who looks down on their little follies, from the Emperor to the Miller, sometimes with severity, oftener with joke and sport. . Chaucer's characters live age after age. Every age is a Canterbury Pilgrimage; we all pass on, each sustaining one or other of these characters; nor can a child be born who is not one of these characters of Chaucer. The reader will observe that Chaucer makes every one of his characters perfect in his kind; every one is an Antique Statue, the image of a class, and not of an imperfect individual. -BLAKE, WILLIAM, 1809, Illustrated Catalogue of Pictures. Canterbury Poets, Blake, pp. 244, 247, 250, 251. What an intimate scene of English life in the fourteenth century do we enjoy in those tales, beyond what history displays by glimpses, through the stormy atmosphere of her scenes, or the antiquary can discover by the cold light of his researches! Our ancestors are restored to us, not as phantoms from the field of battle, or the scaffold, but in the full enjoyment of their social existence. After four hundred years have closed over the |