Chaucer [30]
Or is not the following the portrait of an English girl, all life and all innocence--a type not belonging, like its opposite, to any "period" in particular--?
I saw her dance so comelily, Carol and sing so sweetely, And laugh, and play so womanly, And looke so debonairly, So goodly speak and so friendly, That, certes, I trow that nevermore Was seen so blissful a treasure. For every hair upon her head, Sooth to say, it was not red, Nor yellow neither, nor brown it was, Methought most like gold it was. And ah! what eyes my lady had, Debonair, goode, glad and sad, Simple, of good size, not too wide. Thereto her look was not aside. Nor overthwart;
but so well set that, whoever beheld her was drawn and taken up by it, every part of him. Her eyes seemed every now and then as if she were inclined to be merciful, such was the delusion of fools: a delusion in very truth, for
It was no counterfeited thing; It was her owne pure looking; So the goddess, dame Nature, Had made them open by measure And close; for were she never so glad, Not foolishly her looks were spread, Nor wildely, though that she play'd; But ever, methought, her eyen said: "By God, my wrath is all forgiven."
And at the same time she liked to live so happily that dulness was afraid of her; she was neither too "sober" nor too glad; in short, no creature had over more measure in all things. Such was the lady whom the knight had won for himself, and whose virtues he cannot weary of rehearsing to himself or to a sympathising auditor.
"Sir!" quoth I, "where is she now?" "Now?" quoth he, and stopped anon; Therewith he waxed as dead as stone, And said: "Alas that I was bore! That was the loss! and heretofore I told to thee what I had lost. Bethink thee what I said. Thou know'st In sooth full little what thou meanest: I have lost more than thou weenest. God wot, alas! right that was she." "Alas, sir, how? what may that be? "She is dead." "Nay?" "Yes, by my truth!" Is that your loss? by God, it is ruth."
And with that word, the hunt breaking up, the knight and the poet depart to a "long castle with white walls on a rich hill" (Richmond?), where a bell tolls and awakens the poet from his slumbers, to let him find himself lying in his bed, and the book with its legend of love and sleep resting in his hand. One hardly knows at whom more to wonder--whether at the distinguished French scholar who sees so many trees that he cannot see a forest, and who, not content with declaring the "Book of the Duchess," as a whole as well as in its details, a servile imitation of Machault, pronounces it at the same time one of Chaucer's feeblest productions; or at the equally eminent English scholar who, with a flippancy which for once ceases to be amusing, opines that Chaucer ought to "have felt ashamed of himself for this most lame and impotent conclusion" of a poem "full of beauties," and ought to have been "caned for it!" Not only was this "lame and impotent conclusion" imitated by Spenser in his lovely elegy, "Daphnaida" (I have been anticipated in pointing out this fact by the author of the biographical essay on "Spenser" in this series--an essay to which I cannot help taking this opportunity of offering a tribute of sincere admiration. It may not be an undesigned coincidence that the inconsolable widower of the "Daphnaida" is named Alcyon, while Chaucer's poem begins with a reference to the myth of Ceyx and Alcyone. Sir Arthur Gorges re-appears in Alcyon in "Colin Clout's come home again."); but it is the first passage in Chaucer's writings revealing, one would have thought unmistakeably, the dramatic power which was among his most characteristic gifts. The charm of this poem, notwithstanding all the artificialities with which it is overlaid, lies in its simplicity and truth to nature. A real human being is here brought before us instead of a vague abstraction; and the glow of life is on the page, though it has to tell of death and mourning. Chaucer is finding his strength by dipping into the true spring of poetic inspiration; and in his dreams he is awaking
I saw her dance so comelily, Carol and sing so sweetely, And laugh, and play so womanly, And looke so debonairly, So goodly speak and so friendly, That, certes, I trow that nevermore Was seen so blissful a treasure. For every hair upon her head, Sooth to say, it was not red, Nor yellow neither, nor brown it was, Methought most like gold it was. And ah! what eyes my lady had, Debonair, goode, glad and sad, Simple, of good size, not too wide. Thereto her look was not aside. Nor overthwart;
but so well set that, whoever beheld her was drawn and taken up by it, every part of him. Her eyes seemed every now and then as if she were inclined to be merciful, such was the delusion of fools: a delusion in very truth, for
It was no counterfeited thing; It was her owne pure looking; So the goddess, dame Nature, Had made them open by measure And close; for were she never so glad, Not foolishly her looks were spread, Nor wildely, though that she play'd; But ever, methought, her eyen said: "By God, my wrath is all forgiven."
And at the same time she liked to live so happily that dulness was afraid of her; she was neither too "sober" nor too glad; in short, no creature had over more measure in all things. Such was the lady whom the knight had won for himself, and whose virtues he cannot weary of rehearsing to himself or to a sympathising auditor.
"Sir!" quoth I, "where is she now?" "Now?" quoth he, and stopped anon; Therewith he waxed as dead as stone, And said: "Alas that I was bore! That was the loss! and heretofore I told to thee what I had lost. Bethink thee what I said. Thou know'st In sooth full little what thou meanest: I have lost more than thou weenest. God wot, alas! right that was she." "Alas, sir, how? what may that be? "She is dead." "Nay?" "Yes, by my truth!" Is that your loss? by God, it is ruth."
And with that word, the hunt breaking up, the knight and the poet depart to a "long castle with white walls on a rich hill" (Richmond?), where a bell tolls and awakens the poet from his slumbers, to let him find himself lying in his bed, and the book with its legend of love and sleep resting in his hand. One hardly knows at whom more to wonder--whether at the distinguished French scholar who sees so many trees that he cannot see a forest, and who, not content with declaring the "Book of the Duchess," as a whole as well as in its details, a servile imitation of Machault, pronounces it at the same time one of Chaucer's feeblest productions; or at the equally eminent English scholar who, with a flippancy which for once ceases to be amusing, opines that Chaucer ought to "have felt ashamed of himself for this most lame and impotent conclusion" of a poem "full of beauties," and ought to have been "caned for it!" Not only was this "lame and impotent conclusion" imitated by Spenser in his lovely elegy, "Daphnaida" (I have been anticipated in pointing out this fact by the author of the biographical essay on "Spenser" in this series--an essay to which I cannot help taking this opportunity of offering a tribute of sincere admiration. It may not be an undesigned coincidence that the inconsolable widower of the "Daphnaida" is named Alcyon, while Chaucer's poem begins with a reference to the myth of Ceyx and Alcyone. Sir Arthur Gorges re-appears in Alcyon in "Colin Clout's come home again."); but it is the first passage in Chaucer's writings revealing, one would have thought unmistakeably, the dramatic power which was among his most characteristic gifts. The charm of this poem, notwithstanding all the artificialities with which it is overlaid, lies in its simplicity and truth to nature. A real human being is here brought before us instead of a vague abstraction; and the glow of life is on the page, though it has to tell of death and mourning. Chaucer is finding his strength by dipping into the true spring of poetic inspiration; and in his dreams he is awaking