3. The Vision of William concerning Piers the Plowman. Edited by W. W. Skeat. Oxford, 1886. 4. Chaucer's Canterbury Tales. Tyrwhitt's Edition. New York: D. Appleton & Co., 1883. 5. The Poetical Works of Geoffrey Chaucer. Edited by Richard Morris. London: Bell & Daldy (6 volumes.) CHAPTER II. FROM CHAUCER TO SPENSER. 1400-1599. THE 15th century was a barren period in English literary history. It was nearly two hundred years after Chaucer's death before any poet came whose name can be written in the same line with his. He was followed at once by a number of imitators who caught the trick of his language and verse, but lacked the genius to make any fine use of them. The manner of a true poet may be learned, but his style, in the high sense of the word, remains his own secret. Some of the poems which have been attributed to Chaucer and printed in editions of his works, as the Court of Love, the Flower and the Leaf, the Cuckow and the Nightingale, are now regarded by many scholars as the work of later writers. If not Chaucer's, they are of Chaucer's school, and the first two, at least, are very pretty poems after the fashion of his minor pieces, such as the Boke of the Duchesse and the Parlament of Foules. Among his professed disciples was Thomas Occleve, a dull rhymer, who, in his Governail of Princes, a didactic poem translated from the Latin about 1413, drew, or caused to be drawn, on the margin of his MS. a colored portrait of his "maister dere and fader reverent." This londës verray tresour and richesse Another versifier of this same generation was John Lydgate, a Benedictine monk of the Abbey of Bury St. Edmunds, in Suffolk, a very prolix writer, who composed, among other things, the Story of Thebes, as an addition to the Canterbury Tales. His ballad of London Lyckpenny, recounting the adventures of a countryman who goes to the law courts at Westminster in search of justice But for lack of mony I could not spede is of interest for the glimpse that it gives us of London street life. Chancer's influence wrought more fruitfully in Scotland, whither it was carried by James I., who had been captured by the English when a boy of eleven, and brought up at Windsor as a prisoner of state. There he wrote during the reign of Henry V. (1413-1422) a poem in six cantos, entitled the King's Quhair (King's Book), in Chaucer's seven-lined stanza, which had been employed by Lydgate in his Falls of Princes (from Boccaccio), and which was afterward called the "rime royal," from its use by King James. The King's Quhair tells how the poet, on a May morning, looks from the window of his prison chamber into the castle garden full of alleys, hawthorn hedges, and fair arbors set with The sharpë, greenë, sweetë juniper. He was listening to "the little sweetë nightingale,” when suddenly casting down his eyes he saw a lady walking in the garden, and at once his "heart became her thrall." The incident is precisely like Palamon's first sight of Emily in Chaucer's Knight's Tale, and almost in the very words of Palamon the poet addresses his lady: Ah, sweet, are ye a worldly creatúre Or heavenly thing in likeness of natúre ? Or are ye very Nature, the goddess, That have depainted with your heavenly hand This garden full of flowrës as they stand? Then, after a vision in the taste of the age, in which the royal prisoner is transported in turn to the courts of Venus, Minerva, and Fortune, and receives their instruction in the duties belonging to Love's service, he wakes from sleep and a white turtle-dove brings to his window a spray of red gilly flowers, whose leaves are inscribed, in golden letters, with a message of encouragement. James I. may be reckoned among the English poets. He mentions Chaucer, Gower, and Lydgate as his masters. His education was English, and so was the dialect of his poem, although the unique MS. of it is in the Scotch spelling. The King's Quhair is somewhat overladen with ornament and with the fashionable allegorical devices, but it is, upon the whole, a rich and tender love song, the best specimen of court poetry between the time of Chaucer and the time of Spenser. The lady who walked in the garden on that May morning was Jane Beaufort, niece to Henry IV. She was married to her poet after his release from captivity and became queen of Scotland in 1424. Twelve years later James was murdered by Sir Robert Graham and his Highlanders, and his wife, who strove to defend him, was wounded by the assassins. The story of the murder has been told of late by D. G. Rossetti, in his ballad, The King's Tragedy. The whole life of this princely singer was, like his poem, in the very spirit of romance. The effect of all this imitation of Chaucer was to fix a standard of literary style, and to confirm the authority of the East-Midland English in which he had written. Though the poets of the 15th century were not overburdened with genius, they had, at least, a definite model to follow. As in the 14th century, metrical romances continued to be translated from the French, homilies and saints' legends and rhyming chronicles were still manufactured. But the poems of Occleve and Lydgate and James I. had helped to polish and refine the tongue and to prolong the Chaucerian tradition. The literary English never again slipped back into the chaos of dialects which had prevailed before Chaucer. In the history of every literature the development of prose is later than that of verse. The latter being, by its very form, artificial, is cultivated as a fine art, and its records preserved in an early stage of society, when prose is simply the talk of men, and not thought worthy of being written and kept. English prose labored under the added disadvantage of competing with Latin, which was the cosmopolitan tongue and the medium of communication between scholars of all countries. Latin was the language of the Church, and in the Middle Ages churchman and scholar were convertible terms. The word clerk meant either priest or scholar. Two of the Canterbury Tales are in prose, as is also the Testament of Love, formerly ascribed to Chaucer, and the style of all these is so feeble, wandering, and unformed that it is hard to believe that they were written by the same man who wrote the Knight's Tale and the story of Griselda. The Voiage and Travaile of Sir John Maundeville—the forerunner of that great library of oriental travel which has enriched our modern literature was written, according to its author, first in Latin, then in French, and, lastly, in the year 1356, translated into English for the behoof of "lordes and knyghtes and othere noble and worthi men, that conne' not Latyn but litylle." The author professed to have spent over thirty years in Eastern travel, to have penetrated as far as Farther India and the "iles that ben abouten Indi," to have been in the service of the Sultan of Babylon in his wars against the Bedouins, and, at another time, in the employ of the Great Khan of Tartary. But there is no copy of the Latin version of his travels extant; the French seems to be much later than 1356, and the English MS. to belong to the early years of the 15th century, and to have been made by another hand. Recent investigations make it probable that Maundeville borrowed his descriptions of the remoter East from many sources, and particularly from the narrative 1 Know. |