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We may learn this lesson from Beowulf, the first English epic, from Alfred the Great, from William Langland, and from Chaucer's Parish Priest. All Shakespeare's greatest and happiest characters, all the great failures of his dramas, are sermons on this text. In The Tempest he presents Ariel, tendering his service to Prospero: "All hail, great master! grave sir, hail!
Outwardly, indeed, the Grey Friars might still often seem what their predecessors had been, and might thus retain a powerful influence over the unthinking crowd, and to sheer worldlings appear as heretofore to represent a troublesome memento of unexciting religious obligations; "Preach not," says Chaucer's "Host,"
But Chaucer was likewise an astrologer, as were Virgil, Horace, Persius, and Manilius. Both writ with wonderful facility and clearness: neither were great inventors; for Ovid only copied the Grecian fables; and most of Chaucer's stories were taken from his Italian contemporaries, or their predecessors.
To "create" ancient custom and ritual on a sudden, or to resuscitate abruptly that which has lapsed into oblivion, is, to say the least, a very Western idea, akin to the pedantry of trying to restore Chaucer's English to common use. Nascitur non fit, is the law in all such matters.
This then was Chaucer's prioress in real life, for the poet who drew her was one of the most wonderful observers in the whole of English literature.
Still, here as elsewhere in England the remembrance of the most awful physical visitations which have ever befallen the country must have long lingered; and, after all has been said, it is wonderful that the traces of them should be so exceedingly scanty in Chaucer's pages.
The orthodox saying was that a monk out of his cloister was like a fish out of water; and it will be remembered that Chaucer's monk thought the text not worth an oyster. Indeed most of the monks managed to swim very well in the air, and the nuns too persisted in taking every sort of excuse for wandering in the world.
Skeat's Oxford Chaucer in one volume has the same text. The Globe Edition of Chaucer, edited by Pollard, is also a satisfactory single volume edition. Root's The Poetry of Chaucer, 292 pp., is a good reference work in connection with the actual study of the poetry. Give a clear-cut description of the six of Chaucer's pilgrims that impress you most strongly.
And, with his noticing eyes, into what a brilliant, many tinted world was Chaucer born! In his day life had a certain breadth, colour, and picturesqueness which it does not possess now. It wore a braver dress, and flaunted more in the sun. Five centuries effect a great change on manners. A man may nowadays, and without the slightest suspicion of the fact, brush clothes with half the English peerage on a sunny afternoon in Pall Mall. Then it was quite different. The fourteenth century loved magnificence and show. Great lords kept princely state in the country; and when they came abroad, what a retinue, what waving of plumes, and shaking of banners, and glittering of rich dresses! Religion was picturesque, with dignitaries, and cathedrals, and fuming incense, and the Host carried through the streets. The franklin kept open house, the city merchant feasted kings, the outlaw roasted his venison beneath the greenwood tree. There was a gallant monarch and a gallant court. The eyes of the Countess of Salisbury shed influence; Maid Marian laughed in Sherwood. London is already a considerable place, numbering, perhaps, two hundred thousand inhabitants, the houses clustering close and high along the river banks; and on the beautiful April nights the nightingales are singing round the suburban villages of Strand, Holborn, and Charing. It is rich withal; for after the battle of Poitiers, Harry Picard, wine-merchant and Lord Mayor, entertained in the city four kings, to wit, Edward, king of England, John, king of France, David, king of Scotland, and the king of Cyprus; and the last-named potentate, slightly heated with Harry's wine, engaged him at dice, and being nearly ruined thereby, the honest wine-merchant returned the poor king his money, which was received with all thankfulness. There is great stir on a summer's morning in that Warwickshire castle, pawing of horses, tossing of bridles, clanking of spurs. The old lord climbs at last into his saddle and rides off to court, his favourite falcon on his wrist, four squires in immediate attendance carrying his arms; and behind these stretches a merry cavalcade, on which the chestnuts shed their milky blossoms. In the absence of the old peer, young Hopeful spends his time as befits his rank and expectations. He grooms his steed, plays with his hawks, feeds his hounds, and labours diligently to acquire grace and dexterity in the use of arms. At noon the portcullis is lowered, and out shoots a brilliant array of ladies and gentlemen, and falconers with hawks. They bend their course to the river, over which a rainbow is rising from a shower. Yonder young lady is laughing at our stripling squire, who seems half angry, half pleased: they are lovers, depend upon it. A few years, and the merry beauty will have become a noble, gracious woman, and the young fellow, sitting by a watch-fire on the eve of Cressy, will wonder if she is thinking of him. But the river is already reached. Up flies the alarmed heron, his long blue legs trailing behind him; a hawk is let loose; the young lady's laugh has ceased as, with gloved hand shading fair forehead and sweet gray eye, she watches hawk and heron lessening in heaven. The Crusades are now over, but the religious fervour which inspired them lingered behind; so that, even in Chaucer's day, Christian kings, when their consciences were oppressed by a crime more than usually weighty, talked of making an effort before they died to wrest Jerusalem and the sepulchre of Christ from the grasp of the infidel. England had at this time several holy shrines, the most famous being that of Thomas
Lastly, considering the extreme length of Chaucer's poem, and the very simple plot of the story which it tells, one cannot fail to admire the skill with which the conduct of its action is managed. In Boccaccio the earlier part of the story is treated with brevity, while the conclusion, after the catastrophe has occurred and the main interest has passed, is long drawn out.
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