The Canterbury Tales [388]
applicability; and perhaps the better reading is "our bother friend" -- that is, the lady who has proved herself a friend both to me and to you. In the same way, Reason, in Troilus' soliloquy on the impending loss of his mistress, is made, addressing Troilus and Cressida, to speaks of "your bother," or "bothe," love.
5. The ships had high embattled poops and forecastles, as in mediaeval ships of war.
6. Compare Spenser's account of Phaedria's barque, in "The Faerie Queen," canto vi. book ii.; and, mutatis mutandis, Chaucer's description of the wondrous horse, in The Squire's Tale.
7. Salad: a small helmet; french, "salade."
8. Gardebrace: French, "garde-bras," an arm-shield; probably resembling the "gay bracer" which the Yeoman, in the Prologue to The Canterbury Tales, wears on his arm.
9. Confession and prayer were the usual preliminaries of any enterprise in those superstitious days; and in these days of enlightenment the fashion yet lingers among the most superstitious class -- the fisher-folk.
10. The knights resolved that they would quit their castles and houses of stone for humble huts.
11. The knight and lady were buried without music, although the office for the dead was generally sung.
12. Avisand: considering; present participle from "avise" or "advise."
13. Treacle; corrupted from Latin, "therisca," an antidote. The word is used for medicine in general.
14. The abbess made diligence: i.e. to administer the grain to the dead ladies.
THE PROLOGUE TO THE LEGEND OF GOOD WOMEN.
[SOME difference of opinion exists as to the date at which Chaucer wrote "The Legend of Good Women." Those who would fix that date at a period not long before the poet's death -- who would place the poem, indeed, among his closing labours -- support their opinion by the fact that the Prologue recites most of Chaucer's principal works, and glances, besides, at a long array of other productions, too many to be fully catalogued. But, on the other hand, it is objected that the "Legend" makes no mention of "The Canterbury Tales" as such; while two of those Tales -- the Knight's and the Second Nun's -- are enumerated by the titles which they bore as separate compositions, before they were incorporated in the great collection: "The Love of Palamon and Arcite," and "The Life of Saint Cecile" (see note 1 to the Second Nun's tale). Tyrwhitt seems perfectly justified in placing the composition of the poem immediately before that of Chaucer's magnum opus, and after the marriage of Richard II to his first queen, Anne of Bohemia. That event took place in 1382; and since it is to Anne that the poet refers when he makes Alcestis bid him give his poem to the queen "at Eltham or at Sheen," the "Legend" could not have been written earlier. The old editions tell us that "several ladies in the Court took offence at Chaucer's large speeches against the untruth of women; therefore the queen enjoin'd him to compile this book in the commendation of sundry maidens and wives, who show'd themselves faithful to faithless men. This seems to have been written after The Flower and the Leaf." Evidently it was, for distinct references to that poem are to be found in the Prologue; but more interesting is the indication which it furnishes, that "Troilus and Cressida" was the work, not of the poet's youth, but of his maturer age. We could hardly expect the queen -- whether of Love or of England -- to demand seriously from Chaucer a retractation of sentiments which he had expressed a full generation before, and for which he had made atonement by the splendid praises of true love sung in "The Court of Love," "The Cuckoo and the Nightingale," and other poems of youth and middle life. But "Troilus and Cressida" is coupled with "The Romance of the Rose," as one of the poems which had given offence to the servants and the God of Love; therefore we may suppose it to have more prominently engaged courtly notice at a later period of the poet's life, than even its undoubted popularity could explain. At whatever date, or in whatever circumstances,
5. The ships had high embattled poops and forecastles, as in mediaeval ships of war.
6. Compare Spenser's account of Phaedria's barque, in "The Faerie Queen," canto vi. book ii.; and, mutatis mutandis, Chaucer's description of the wondrous horse, in The Squire's Tale.
7. Salad: a small helmet; french, "salade."
8. Gardebrace: French, "garde-bras," an arm-shield; probably resembling the "gay bracer" which the Yeoman, in the Prologue to The Canterbury Tales, wears on his arm.
9. Confession and prayer were the usual preliminaries of any enterprise in those superstitious days; and in these days of enlightenment the fashion yet lingers among the most superstitious class -- the fisher-folk.
10. The knights resolved that they would quit their castles and houses of stone for humble huts.
11. The knight and lady were buried without music, although the office for the dead was generally sung.
12. Avisand: considering; present participle from "avise" or "advise."
13. Treacle; corrupted from Latin, "therisca," an antidote. The word is used for medicine in general.
14. The abbess made diligence: i.e. to administer the grain to the dead ladies.
THE PROLOGUE TO THE LEGEND OF GOOD WOMEN.
[SOME difference of opinion exists as to the date at which Chaucer wrote "The Legend of Good Women." Those who would fix that date at a period not long before the poet's death -- who would place the poem, indeed, among his closing labours -- support their opinion by the fact that the Prologue recites most of Chaucer's principal works, and glances, besides, at a long array of other productions, too many to be fully catalogued. But, on the other hand, it is objected that the "Legend" makes no mention of "The Canterbury Tales" as such; while two of those Tales -- the Knight's and the Second Nun's -- are enumerated by the titles which they bore as separate compositions, before they were incorporated in the great collection: "The Love of Palamon and Arcite," and "The Life of Saint Cecile" (see note 1 to the Second Nun's tale). Tyrwhitt seems perfectly justified in placing the composition of the poem immediately before that of Chaucer's magnum opus, and after the marriage of Richard II to his first queen, Anne of Bohemia. That event took place in 1382; and since it is to Anne that the poet refers when he makes Alcestis bid him give his poem to the queen "at Eltham or at Sheen," the "Legend" could not have been written earlier. The old editions tell us that "several ladies in the Court took offence at Chaucer's large speeches against the untruth of women; therefore the queen enjoin'd him to compile this book in the commendation of sundry maidens and wives, who show'd themselves faithful to faithless men. This seems to have been written after The Flower and the Leaf." Evidently it was, for distinct references to that poem are to be found in the Prologue; but more interesting is the indication which it furnishes, that "Troilus and Cressida" was the work, not of the poet's youth, but of his maturer age. We could hardly expect the queen -- whether of Love or of England -- to demand seriously from Chaucer a retractation of sentiments which he had expressed a full generation before, and for which he had made atonement by the splendid praises of true love sung in "The Court of Love," "The Cuckoo and the Nightingale," and other poems of youth and middle life. But "Troilus and Cressida" is coupled with "The Romance of the Rose," as one of the poems which had given offence to the servants and the God of Love; therefore we may suppose it to have more prominently engaged courtly notice at a later period of the poet's life, than even its undoubted popularity could explain. At whatever date, or in whatever circumstances,