Chaucer [78]
he half derisively pretends to stand in awe. In one instance he defeated his own purpose; for the so-called "Cook's Tale of Gamelyn" was substituted by some earlier editor for the original "Cook's Tale," which has thus in its completed form become a rarity removed beyond the reach of even the most ardent of curiosity hunters. Fortunately, however, Chaucer spoke the truth when he said that from this point of view he had written very differently at different times; no whiter pages remain than many of his.
But the realism of Chaucer is something more than exuberant love of fun and light-hearted gaiety. He is the first great painter of character, because he is the first great observer of it among modern European writers. His power of comic observation need not be dwelt upon again, after the illustrations of it which have been incidentally furnished in these pages. More especially with regard to the manners and ways of women, which often, while seeming so natural to women themselves, appear so odd to male observers, Chaucer's eye was ever on the alert. But his works likewise contain passages displaying a penetrating insight into the minds of men, as well as a keen eye for their manners, together with a power of generalising, which, when kept within due bonds, lies at the root of the wise knowledge of humankind so admirable to us in our great essayists, from Bacon to Addison and his modern successors. How truly, for instance, in "Troilus and Cressid," Chaucer observes on the enthusiastic belief of converts, the "strongest-faithed" of men, as he understands! And how fine is the saying as to the suspiciousness characteristic of lewd, (i.e. ignorant,) people, that to things which are made more subtly
Than they can in their lewdness comprehend,
they gladly give the worst interpretation which suggests itself! How appositely the "Canon's Yeoman" describes the arrogance of those who are too clever by half; "when a man has an over-great wit," he says, "it very often chances to him to misuse it"! And with how ripe a wisdom, combined with ethics of true gentleness, the honest "Franklin," at the opening of his "Tale," discourses on the uses and the beauty of long-suffering:--
For one thing, sires, safely dare I say, That friends the one the other must obey, If they will longe holde company. Love will not be constrained by mastery. When mastery comes, the god of love anon Beateth his wings--and, farewell! he is gone. Love is a thing as any spirit free. Women desire, by nature, liberty, And not to be constrained as a thrall, And so do men, if I the truth say shall. Look, who that is most patient in love, He is at his advantage all above. A virtue high is patience, certain, Because it vanquisheth, as clerks explain, Things to which rigour never could attain. For every word men should not chide and plain; Learn ye to suffer, or else, so may I go, Ye shall it learn, whether ye will or no. For in this world certain no wight there is Who neither doth nor saith some time amiss. Sickness or ire, or constellation, Wine, woe, or changing of complexion, Causeth full oft to do amiss or speak. For every wrong men may not vengeance wreak: After a time there must be temperance With every wight that knows self-governance.
It was by virtue of his power of observing and drawing character, above all, that Chaucer became the true predecessor of two several growths in our literature, in both of which characterisation forms a most important element,--it might perhaps be truly said, the element which surpasses all others in importance. From this point of view the dramatic poets of the Elizabethan age remain unequalled by any other school or group of dramatists, and the English novelists of the eighteenth and nineteenth centuries by the representatives of any other development of prose- fiction. In the art of construction, in the invention and the arrangement of incident, these dramatists and novelists may have been left behind by others; in the creation of character they are on the whole without rivals in their respective branches of literature.
But the realism of Chaucer is something more than exuberant love of fun and light-hearted gaiety. He is the first great painter of character, because he is the first great observer of it among modern European writers. His power of comic observation need not be dwelt upon again, after the illustrations of it which have been incidentally furnished in these pages. More especially with regard to the manners and ways of women, which often, while seeming so natural to women themselves, appear so odd to male observers, Chaucer's eye was ever on the alert. But his works likewise contain passages displaying a penetrating insight into the minds of men, as well as a keen eye for their manners, together with a power of generalising, which, when kept within due bonds, lies at the root of the wise knowledge of humankind so admirable to us in our great essayists, from Bacon to Addison and his modern successors. How truly, for instance, in "Troilus and Cressid," Chaucer observes on the enthusiastic belief of converts, the "strongest-faithed" of men, as he understands! And how fine is the saying as to the suspiciousness characteristic of lewd, (i.e. ignorant,) people, that to things which are made more subtly
Than they can in their lewdness comprehend,
they gladly give the worst interpretation which suggests itself! How appositely the "Canon's Yeoman" describes the arrogance of those who are too clever by half; "when a man has an over-great wit," he says, "it very often chances to him to misuse it"! And with how ripe a wisdom, combined with ethics of true gentleness, the honest "Franklin," at the opening of his "Tale," discourses on the uses and the beauty of long-suffering:--
For one thing, sires, safely dare I say, That friends the one the other must obey, If they will longe holde company. Love will not be constrained by mastery. When mastery comes, the god of love anon Beateth his wings--and, farewell! he is gone. Love is a thing as any spirit free. Women desire, by nature, liberty, And not to be constrained as a thrall, And so do men, if I the truth say shall. Look, who that is most patient in love, He is at his advantage all above. A virtue high is patience, certain, Because it vanquisheth, as clerks explain, Things to which rigour never could attain. For every word men should not chide and plain; Learn ye to suffer, or else, so may I go, Ye shall it learn, whether ye will or no. For in this world certain no wight there is Who neither doth nor saith some time amiss. Sickness or ire, or constellation, Wine, woe, or changing of complexion, Causeth full oft to do amiss or speak. For every wrong men may not vengeance wreak: After a time there must be temperance With every wight that knows self-governance.
It was by virtue of his power of observing and drawing character, above all, that Chaucer became the true predecessor of two several growths in our literature, in both of which characterisation forms a most important element,--it might perhaps be truly said, the element which surpasses all others in importance. From this point of view the dramatic poets of the Elizabethan age remain unequalled by any other school or group of dramatists, and the English novelists of the eighteenth and nineteenth centuries by the representatives of any other development of prose- fiction. In the art of construction, in the invention and the arrangement of incident, these dramatists and novelists may have been left behind by others; in the creation of character they are on the whole without rivals in their respective branches of literature.