Chaucer [56]
kill his two companions. And straightway he went on into the town to an apothecary, and besought him to sell him some poison for destroying some rats which infested his house and a polecat which, he said, had made away with his capons. And the apothecary said: "Thou shalt have something of which (so may God save my soul!) no creature in all the world could swallow a single grain without losing his life thereby--and that in less time than thou wouldest take to walk a mile in." So the miscreant shut up this poison in a box, and then he went into the next street and borrowed three large bottles, into two of which he poured his poison, while the third he kept clean to hold drink for himself; for he meant to work hard all the night to carry away the gold. So he filled his three bottles with wine, and then went back to his companions under the tree.
What need to make a long discourse of what followed? As they had plotted their comrade's death, so they slew him, and that at once. And when they had done this, the one who had counselled the deed said, "Now let us sit and drink and make merry, and then we will bury his body." And it happened to him by chance to take one of the bottles which contained the poison; and he drank, and gave drink of it to his fellow; and thus they both speedily died.
The plot of this story is, as observed, not Chaucer's. But how carefully, how artistically the narrative is elaborated, incident by incident, and point by point! How well every effort is prepared, and how well every turn of the story is explained! Nothing is superfluous, but everything is arranged with care, down to the circumstances of the bottles being bought, for safety's sake, in the next street to the apothecary's, and of two out of three bottles being filled with poison, which is at once a proceeding natural in itself, and increases the chances against the two rioters when they are left to choose for themselves. This it is to be a good story- teller. But of a different order is the change introduced by Chaucer into his original, where the old hermit--who, of course, is Death himself--is fleeing from Death. Chaucer's Old Man is SEEKING Death, but seeking him in vain--like the Wandering Jew of the legend. This it is to be a poet.
Of course it is always necessary to be cautious before asserting any apparent addition of Chaucer's to be his own invention. Thus, in the "Merchant's Tale," the very naughty plot of which is anything but original, it is impossible to say whether such is the case with the humorous competition of advice between Justinus and Placebo, ("Placebo" seems to have been a current term to express the character or the ways of "the too deferential man." "Flatterers be the Devil's chaplains, that sing aye Placebo."--"Parson's Tale."), or with the fantastic machinery in which Pluto and Proserpine anticipate the part played by Oberon and Titania in "A Midsummer Night's Dream." On the other hand, Chaucer is capable of using goods manifestly borrowed or stolen for a purpose never intended in their original employment. Puck himself must have guided the audacious hand which could turn over the leaves of so respected a Father of the Church as St. Jerome, in order to derive from his treatise "On Perpetual Virginity" materials for the discourse on matrimony delivered, with illustrations essentially her own, by the "Wife of Bath."
Two only among these "Tales" are in prose--a vehicle of expression, on the whole, strange to the polite literature of the pre-Renascence ages--but not both for the same reason. The first of these "Tales" is told by the poet himself, after a stop has been unceremoniously put upon his recital of the "Ballad of Sir Thopas" by the Host. The ballad itself is a fragment of straightforward burlesque, which shows that in both the manner and the metre (Dunbar's burlesque ballad of "Sir Thomas Norray" is in the same stanza) of ancient romances, literary criticism could even in Chaucer's days find its opportunities for satire, though it is going rather far to see in "Sir Thopas" a predecessor
What need to make a long discourse of what followed? As they had plotted their comrade's death, so they slew him, and that at once. And when they had done this, the one who had counselled the deed said, "Now let us sit and drink and make merry, and then we will bury his body." And it happened to him by chance to take one of the bottles which contained the poison; and he drank, and gave drink of it to his fellow; and thus they both speedily died.
The plot of this story is, as observed, not Chaucer's. But how carefully, how artistically the narrative is elaborated, incident by incident, and point by point! How well every effort is prepared, and how well every turn of the story is explained! Nothing is superfluous, but everything is arranged with care, down to the circumstances of the bottles being bought, for safety's sake, in the next street to the apothecary's, and of two out of three bottles being filled with poison, which is at once a proceeding natural in itself, and increases the chances against the two rioters when they are left to choose for themselves. This it is to be a good story- teller. But of a different order is the change introduced by Chaucer into his original, where the old hermit--who, of course, is Death himself--is fleeing from Death. Chaucer's Old Man is SEEKING Death, but seeking him in vain--like the Wandering Jew of the legend. This it is to be a poet.
Of course it is always necessary to be cautious before asserting any apparent addition of Chaucer's to be his own invention. Thus, in the "Merchant's Tale," the very naughty plot of which is anything but original, it is impossible to say whether such is the case with the humorous competition of advice between Justinus and Placebo, ("Placebo" seems to have been a current term to express the character or the ways of "the too deferential man." "Flatterers be the Devil's chaplains, that sing aye Placebo."--"Parson's Tale."), or with the fantastic machinery in which Pluto and Proserpine anticipate the part played by Oberon and Titania in "A Midsummer Night's Dream." On the other hand, Chaucer is capable of using goods manifestly borrowed or stolen for a purpose never intended in their original employment. Puck himself must have guided the audacious hand which could turn over the leaves of so respected a Father of the Church as St. Jerome, in order to derive from his treatise "On Perpetual Virginity" materials for the discourse on matrimony delivered, with illustrations essentially her own, by the "Wife of Bath."
Two only among these "Tales" are in prose--a vehicle of expression, on the whole, strange to the polite literature of the pre-Renascence ages--but not both for the same reason. The first of these "Tales" is told by the poet himself, after a stop has been unceremoniously put upon his recital of the "Ballad of Sir Thopas" by the Host. The ballad itself is a fragment of straightforward burlesque, which shows that in both the manner and the metre (Dunbar's burlesque ballad of "Sir Thomas Norray" is in the same stanza) of ancient romances, literary criticism could even in Chaucer's days find its opportunities for satire, though it is going rather far to see in "Sir Thopas" a predecessor