Chaucer [53]
plainness of its moral, infinitely more fructuous tale of patient Griseldis. How well the "Second Nun" is fitted with a legend which carries us back a few centuries into the atmosphere of Hrosvitha's comedies, and suggests with the utmost verisimilitude the nature of a Nun's lucubrations on the subject of marriage. It is impossible to go through the whole list of the "Tales"; but all may be truly said to be in keeping with the characters and manners (often equally indifferent) of their tellers--down to that of the "Nun's Priest," which, brimful of humour as it is, has just the mild naughtiness about it which comes so drolly from a spiritual director in his worldlier hour.
Not a single one of these "Tales" can with any show of reason be ascribed to Chaucer's own invention. French literature--chiefly though not solely that of fabliaux--doubtless supplied the larger share of his materials; but that here also his debts to Italian literature, and to Boccaccio in particular, are considerable, seems hardly to admit of denial. But while Chaucer freely borrowed from foreign models, he had long passed beyond the stage of translating without assimilating. It would be rash to assume that where he altered he invariably improved. His was not the unerring eye which, like Shakspere's in his dramatic transfusions of Plutarch, missed no particle of the gold mingled with the baser metal, but rejected the dross with sovereign certainty. In dealing with Italian originals more especially, he sometimes altered for the worse, and sometimes for the better; but he was never a mere slavish translator. So in the "Knight's Tale" he may be held in some points to have deviated disadvantageously from his original; but, on the other hand, in the "Clerk's Tale," he inserts a passage on the fidelity of women, and another on the instability of the multitude, besides adding a touch of nature irresistibly pathetic in the exclamation of the faithful wife, tried beyond her power of concealing the emotion within her:
O gracious God! how gentle and how kind Ye seemed by your speech and your visage The day that maked was our marriage.
So also in the "Man of Law's Tale," which is taken from the French, he increases the vivacity of the narrative by a considerable number of apostrophes in his own favourite manner, besides pleasing the general reader by divers general reflexions of his own inditing. Almost necessarily, the literary form and the self-consistency of his originals lose under such treatment. But his dramatic sense, on which perhaps his commentators have not always sufficiently dwelt, is rarely, if ever, at fault. Two illustrations of this gift in Chaucer must suffice, which shall be chosen in two quarters where he has worked with materials of the most widely different kind. Many readers must have compared with Dante's original (in canto 33 of the "Inferno") Chaucer's version in the "Monk's Tale" of the story of Ugolino. Chaucer, while he necessarily omits the ghastly introduction, expands the pathetic picture of the sufferings of the father and his sons in their dungeon, and closes, far more briefly and effectively than Dante, with a touch of the most refined pathos:--
DE HUGILINO COMITE PISAE.
Of Hugolin of Pisa the langour There may no tongue telle for pity. But little out of Pisa stands a tower, In whiche tower in prison put was he; And with him be his little children three. The eldest scarcely five years was of age; Alas! fortune! it was great cruelty Such birds as these to put in such a cage.
Condemned he was to die in that prison, For Royer, which that bishop was of Pise, Had on him made a false suggestion, Through which the people gan on him arise, And put him in prison in such a wise, As ye have heard, and meat and drink he had So little that it hardly might suffice, And therewithal it was full poor and bad.
And on a day befell that in that hour When that his meat was wont to be y-brought, The gaoler shut the doors of that tower. He heard it well, although he saw it not; And in his heart anon there fell a thought
Not a single one of these "Tales" can with any show of reason be ascribed to Chaucer's own invention. French literature--chiefly though not solely that of fabliaux--doubtless supplied the larger share of his materials; but that here also his debts to Italian literature, and to Boccaccio in particular, are considerable, seems hardly to admit of denial. But while Chaucer freely borrowed from foreign models, he had long passed beyond the stage of translating without assimilating. It would be rash to assume that where he altered he invariably improved. His was not the unerring eye which, like Shakspere's in his dramatic transfusions of Plutarch, missed no particle of the gold mingled with the baser metal, but rejected the dross with sovereign certainty. In dealing with Italian originals more especially, he sometimes altered for the worse, and sometimes for the better; but he was never a mere slavish translator. So in the "Knight's Tale" he may be held in some points to have deviated disadvantageously from his original; but, on the other hand, in the "Clerk's Tale," he inserts a passage on the fidelity of women, and another on the instability of the multitude, besides adding a touch of nature irresistibly pathetic in the exclamation of the faithful wife, tried beyond her power of concealing the emotion within her:
O gracious God! how gentle and how kind Ye seemed by your speech and your visage The day that maked was our marriage.
So also in the "Man of Law's Tale," which is taken from the French, he increases the vivacity of the narrative by a considerable number of apostrophes in his own favourite manner, besides pleasing the general reader by divers general reflexions of his own inditing. Almost necessarily, the literary form and the self-consistency of his originals lose under such treatment. But his dramatic sense, on which perhaps his commentators have not always sufficiently dwelt, is rarely, if ever, at fault. Two illustrations of this gift in Chaucer must suffice, which shall be chosen in two quarters where he has worked with materials of the most widely different kind. Many readers must have compared with Dante's original (in canto 33 of the "Inferno") Chaucer's version in the "Monk's Tale" of the story of Ugolino. Chaucer, while he necessarily omits the ghastly introduction, expands the pathetic picture of the sufferings of the father and his sons in their dungeon, and closes, far more briefly and effectively than Dante, with a touch of the most refined pathos:--
DE HUGILINO COMITE PISAE.
Of Hugolin of Pisa the langour There may no tongue telle for pity. But little out of Pisa stands a tower, In whiche tower in prison put was he; And with him be his little children three. The eldest scarcely five years was of age; Alas! fortune! it was great cruelty Such birds as these to put in such a cage.
Condemned he was to die in that prison, For Royer, which that bishop was of Pise, Had on him made a false suggestion, Through which the people gan on him arise, And put him in prison in such a wise, As ye have heard, and meat and drink he had So little that it hardly might suffice, And therewithal it was full poor and bad.
And on a day befell that in that hour When that his meat was wont to be y-brought, The gaoler shut the doors of that tower. He heard it well, although he saw it not; And in his heart anon there fell a thought