The second period is characterized by an Italian influence, which showed itself in a more refined taste and more elegant handling of material. Italy was the first modern nation to produce a notable literature. Before Chaucer was born, Dante had written the Divina Commedia; and when the English poet was but two years old, Boccaccio was crowned in the Capitol at Rome. When in 1372 Chaucer was sent on a mission to Italy, it is possible that he met Boccaccio and Petrarch. Be that as it may, there can be no doubt that his mission led to a greater interest in Italian literature, from which he borrowed some of his choicest stories. To the Italian period are to be ascribed "Troilus and Cressida," taken from Boccaccio, and "The House of Fame," in which the influence of Dante can be traced. Italy helped Chaucer to unfold his native powers. The third period in his literary career is distinctly English. His powers reached their full maturity; and instead of depending upon foreign influence, the poet walked independent in his conscious strength. It was during this period, extending from about 1384 to the time of his death, that his greatest work, the "Canterbury Tales," was produced. This work calls for special notice. The idea seems to have been suggested by Boccaccio's Decameron. During the prevalence of the plague in Florence in 1348, seven ladies and three gentlemen, all young, rich, and cultivated, retire to a beautiful villa a few miles from the city; and in order to pass the time more agreeably, they relate to one another a series of tales. Such is the plan of the Decameron. Chaucer adopted the idea of a succession of stories, but invented a happier occasion for their narration. One evening in April a company of twenty-nine pilgrims, of various conditions in life, meet at the Tabard, a London inn, on their way to the shrine of St. Thomas à Becket at Canterbury. At supper the jolly, amiable host offers to accompany them as guide; and in order to relieve the tedium of the journey, he proposes that each one shall tell two tales on the way to the tomb and the same number on their return. The one narrating the best tale is to receive a supper at the expense of the others. The poet joins the party; and in the "Prologue" he gives us, with great artistic and dramatic power, a description of the pilgrims. The various classes of English society - a knight, a lawyer, a doctor, an Oxford student, a miller, a prioress, a monk, a farmer are all placed before us with marvellous distinctness. Not a single peculiarity of feature, dress, manner, or character escapes the microscopic scrutiny of the poet. The tales that followthe whole number contemplated was never completed adapted to the several narrators; and, taken altogether, they form the greatest literary work ever composed on the same plan. are THE PROLOGUE. WHAN that Aprille with his schowres swoote Of Engelond, to Caunterbury they wende, The holy blisful martir for to seeke, That hem hath holpen whan that they were seeke. In Southwerk at the Tabard as I lay, In felaweschipe, and pilgryms were thei alle, 5 ΤΟ 15 20 25 330 But natheles, whil I have tyme and space, Of eche of hem, so as it semede me, And whiche they weren, and of what degre; A KNIGHT ther was, and that a worthy man, That from the tyme that he first bigan In Lettowe hadde he reysed and in Ruce, No cristen man so ofte of his degre. 55 In Gernade atte siege hadde he be Of Algesir, and riden in Belmarie. At Lieys was he, and at Satalie, Whan they were wonne; and in the Greete see At many a noble arive hadde he be. 60 At mortal batailles hadde he ben fiftene, And foughten for oure feith at Tramassene In lystes thries, and ay slayn his foo. And everemore he hadde a sovereyn prys. And though that he was worthy, he was wys, But for to tellen you of his array, His hors was good, but he ne was nought gay. Al bysmotered with his habergeoun. 75 For he was late ycome from his viage, And wente for to doon his pilgrimage. With him ther was his sone, a yong SQUYER, A lovyere, and a lusty bacheler, With lokkes crulle as they were leyd in presse. 85 90 Schort was his goune, with sleeves longe and wyde. Wel cowde he sitte on hors, and faire ryde. He cowde songes make, and wel endite, 95 Juste and eek daunce, and wel purtreye and write. He sleep nomore than doth a nightyngale. Curteys he was, lowely, and servysable, 100 A YEMAN hadde he and servauntz nomoo At that tyme, for him luste ryde soo; A not-heed hadde he with a broun visage. Of woode-craft well cowde he al the usage. 105 110 |