Chaucer [25]
of narrative of warlike adventures he offered to his readers a psychological romance, in which a combination of symbolisations and personified abstractions supplied the characters of the moral conflict represented. Bestiaries and Lapidaries had familiarised men's minds with the art of finding a symbolical significance in particular animals and stones; and the language of poets was becoming a language of flowers. On the other hand, the personification of abstract qualities was a usage largely affected by the Latin writers of the earlier Middle Ages, and formed a favourite device of the monastic beginnings of the Christian drama. For both these literary fashions, which mildly exercised the ingenuity while deeply gratifying the tastes of mediaeval readers, room was easily found by Guillaume de Lorris within a framework in itself both appropriate and graceful. He told (as reproduced by his English translator) how in a dream he seemed to himself to wake up on a May morning. Sauntering forth, he came to a garden surrounded by a wall, on which were depicted many unkindly figures, such as Hate and Villainy, and Avarice and Old Age, and another thing
That seemed like a hypocrite, And it was cleped pope holy.
Within, all seemed so delicious that, feeling ready to give an hundred pound for the chance of entering, he smote at a small wicket and was admitted by a courteous maiden named Idleness. On the sward in the garden were dancing its owner, Sir Mirth, and a company of friends; and by the side of Gladness the dreamer saw the God of Love and his attendant, a bachelor named Sweet-looking, who bore two bows, each with five arrows. Of these bows the one was straight and fair, and the other crooked and unsightly, and each of the arrows bore the name of some quality or emotion by which love is advanced or hindered. And as the dreamer was gazing into the spring of Narcissus (the imagination), he beheld a rose-tree "charged full of roses," and, becoming enamoured of one of them, eagerly advanced to pluck the object of his passion. In the midst of this attempt he was struck by arrow upon arrow, shot "wonder smart" by Love from the strong bow. The arrow called Company completes the victory; the dreaming poet becomes the Lover ("L'Amant"), and swears allegiance to the God of Love, who proceeds to instruct him in his laws; and the real action (if it is to be called such) of the poem begins. This consists in the Lover's desire to possess himself of the Rosebud, the opposition offered to him by powers both good and evil, and by Reason in particular, and the support which he receives from more or less discursive friends. Clearly, the conduct of such a scheme as this admits of being varied in many ways and protracted to any length; but its first conception is easy and natural, and when it was novel to boot, was neither commonplace nor ill-chosen.
After writing about one-fifth of the 22,000 verses of which the original French poem consists, Guillaume de Lorris, who had executed his part of the task in full sympathy with the spirit of the chivalry of his times, died, and left the work to be continued by another trouvere, Jean de Meung (so-called from the town, near Lorris, in which he lived). "Hobbling John" took up the thread of his predecessor's poem in the spirit of a wit and an encyclopaedist. Indeed, the latter appellation suits him in both its special and its general sense. Beginning with a long dialogue between Reason and the Lover, he was equally anxious to display his freedom of criticism and his universality of knowledge, both scientific and anecdotical. His vein was pre-eminently satirical and abundantly allusive; and among the chief objects of his satire are the two favourite themes of medieval satire in general, religious hypocrisy (personified in "Faux-Semblant," who has been described as one of the ancestors of "Tartuffe"), and the foibles of women. To the gross salt of Jean de Meung, even more than to the courtly perfume of Guillaume de Lorris, may be ascribed the long-lived popularity of the "Roman de la Rose";
That seemed like a hypocrite, And it was cleped pope holy.
Within, all seemed so delicious that, feeling ready to give an hundred pound for the chance of entering, he smote at a small wicket and was admitted by a courteous maiden named Idleness. On the sward in the garden were dancing its owner, Sir Mirth, and a company of friends; and by the side of Gladness the dreamer saw the God of Love and his attendant, a bachelor named Sweet-looking, who bore two bows, each with five arrows. Of these bows the one was straight and fair, and the other crooked and unsightly, and each of the arrows bore the name of some quality or emotion by which love is advanced or hindered. And as the dreamer was gazing into the spring of Narcissus (the imagination), he beheld a rose-tree "charged full of roses," and, becoming enamoured of one of them, eagerly advanced to pluck the object of his passion. In the midst of this attempt he was struck by arrow upon arrow, shot "wonder smart" by Love from the strong bow. The arrow called Company completes the victory; the dreaming poet becomes the Lover ("L'Amant"), and swears allegiance to the God of Love, who proceeds to instruct him in his laws; and the real action (if it is to be called such) of the poem begins. This consists in the Lover's desire to possess himself of the Rosebud, the opposition offered to him by powers both good and evil, and by Reason in particular, and the support which he receives from more or less discursive friends. Clearly, the conduct of such a scheme as this admits of being varied in many ways and protracted to any length; but its first conception is easy and natural, and when it was novel to boot, was neither commonplace nor ill-chosen.
After writing about one-fifth of the 22,000 verses of which the original French poem consists, Guillaume de Lorris, who had executed his part of the task in full sympathy with the spirit of the chivalry of his times, died, and left the work to be continued by another trouvere, Jean de Meung (so-called from the town, near Lorris, in which he lived). "Hobbling John" took up the thread of his predecessor's poem in the spirit of a wit and an encyclopaedist. Indeed, the latter appellation suits him in both its special and its general sense. Beginning with a long dialogue between Reason and the Lover, he was equally anxious to display his freedom of criticism and his universality of knowledge, both scientific and anecdotical. His vein was pre-eminently satirical and abundantly allusive; and among the chief objects of his satire are the two favourite themes of medieval satire in general, religious hypocrisy (personified in "Faux-Semblant," who has been described as one of the ancestors of "Tartuffe"), and the foibles of women. To the gross salt of Jean de Meung, even more than to the courtly perfume of Guillaume de Lorris, may be ascribed the long-lived popularity of the "Roman de la Rose";