"By my thrift!" quoth he, "Madáme, Now do our los be blowen swithe, With that I gan aboutë wend, That no wight have my name in hand. As far forth as I know mine art." As I meant of." "No?" quoth he. For well I wot ever yet, Diversely, and los, and name; Nor the order of her doom, 12 That thou hast heard?" quoth he to me. "But now no force; 13 for well I see What thou desirest for to lear.11 Come forth, and stand no longer here. Into another place lead, Where thou shalt hear many a one." Then gan I forth with him to go'n Or elles hutches or dossers; 27 That, for the swough 28 and for the twigs, This house was all so full of gigs, 29 And by night each one unshet;1 Of love, of hate, accord, of strife, Of estates and of regións; And lo! this house of which I write, All 10 was the timber of no strength; Yet it is founded to endure, 13 And as I wonder'd me, y-wis, Upon this house, then ware was I How that mine eagle, fastë by, Was perched high upon a stone; And I gan straightë to him go'n, And saidë thus; "I prayë thee That thou a while abidë me, 1 For Godde's love, and let me see What wonders in this place be; For yet parauntre 14 I may lear 15 Some good thereon, or somewhat hear, That lefe me were,16 ere that I went." "Peter! that is mine intent," Quoth he to me; "therefore I dwell; 17 But, certain, one thing I thee tell, That, but 18 I bringë thee therein, Thou shalt never can begin 19 To come into it, out of doubt, So fast it whirleth, lo! about. But since that Jovis, of his grace, As I have said, will thee solace Since that Fortúne hath made amiss To further thee with all my might, And with this word he right anon Of folk, as I saw roam about, Or ellës told all openly Right thus, and saidë, "Know'st not thou What is betid,33 lo! rightë now?" "No," quoth he; "tellë me what." And then he told him this and that, And swore thereto, that it was sooth;34 That all the folk that is alive Than it was erst.5 Thus north and south As fire is wont to quick and go 13 And when that it was full up-sprung, Some to wax and wanë soon, 26 -30 I heard a greatë noise withal Those behindë gan up leap, 24 Of whom Chaucer, in the Prologue to The Canterbury Tales, has given us no flattering typical portrait 25 Boxes. (page 24). 27 With all speed. 26 Lees (of wine, &c.) 28 To amuse and instruct myself. 29 Late or soon. 30 Barn; still used in Lincolnshire and some parts of the north, The meaning is, that the poet need not tell what tidings he wanted to hear, since everything of the kind must some day come out-as sooner or later every sheaf in the barn must be brought forth (to be threshed). 31 A somewhat similar heaping-up of people is described in Spenser's account of the procession of Lucifera ("The Faerie Queen," book i. canto iv.), where, as the royal dame passes to her coach, And thus, in dreaming and in game, Had let me know; and gan to write Here endeth the Book of Fame. TROILUS AND CRESSIDA. [IN several respects, the story of "Troilus and Cressida " may be regarded as Chaucer's noblest poem. Larger in scale than any other of his individual works-numbering nearly half as many lines as The Canterbury Tales contain, without reckoning the two in prose-the conception of the poem is yet so closely and harmoniously worked out, that all the parts are perfectly balanced, and from first to last scarcely a single line is superfluous or misplaced. The finish and beauty of the poem as a work of art, are not more conspicuous than the knowledge of human nature displayed in the portraits of the principal characters. The result is, that the poem is more modern, in form and in spirit, than almost any other work of its author; the chaste style and sedulous polish of the stanzas admit of easy change into the forms of speech now current in England; while the analytical and subjective character of the work gives it, for the nineteenth century reader, an interest of the same kind as that inspired, say, by George Eliot's wonderful study of character in "Romola." Then, above all, "Troilus and Cressida" is distinguished by a purity and elevation of moral tone, that may surprise those who judge of Chaucer only by the coarse traits of his time preserved in The Canterbury Tales, or who may expect to find here the Troilus, the Cressida, and the Pandarus of Shakspeare's play. It is to no trivial gallant, no woman of coarse mind and easy virtue, no malignantly subservient and utterly debased procurer, that Chaucer introduces us. His Troilus is a noble, sensitive, generous, pure-souled, manly, magnanimous hero, who is only confirmed and stimulated in all virtue by his love, who lives for his lady, and dies for her falsehood, in a lofty and chivalrous fashion. His Cressida is a stately, self-contained, virtuous, tender-hearted woman, who loves with all the pure strength and trustful abandonment of a generous and exalted nature, and who is driven to infidelity perhaps even less by pressure of circumstances, than by the sheer force of her love, which will go on loving-loving what it can have, when that which it would rather have is for the time unattainable. His Pandarus is a gentleman, though a gentleman with a flaw in him; a man who, in his courtier-like good-nature, places the claims of comradeship above those of honour, and plots away the virtue of his niece, that he may appease the love-sorrow of his friend; all the time conscious that he is not acting as a gentleman should, and desirous that others should give him that justification which he can get but feebly and diffidently in himself. In fact, the "Troilus and Cressida" of Chaucer is the "Troilus and Cressida" of Shakespeare transfigured; the atmosphere, the colour, the spirit, are wholly different; the older poet presents us in the chief characters to noble natures, the younger to ignoble natures in all the characters; and the poem with which we have now to do stands at this day among the noblest expositions of love's workings in the human heart and life. It is divided into five books, containing altogether 8246 lines. The First Book (1092 lines) tells how Calchas, priest of Apollo, quitting beleaguered Troy, left there his only daughter Cressida; how Troilus, the youngest brother of Hector and son of King Priam, fell in love with her at first sight, at a festival in the temple of Pallas, and sorrowed bitterly for her love; and how his friend, Cressida's uncle, Pandarus, comforted him by the promise of aid in his suit. The Second Book (1757 lines) relates the subtle manoeuvres of Pandarus to induce Cressida to return the love of Troilus; which he accomplishes mainly by touching at once the lady's admiration for his heroism, and her pity for his love-sorrow on her account. The Third Book (1827 lines) opens with an account of the first interview between the lovers; ere it closes, the skilful stratagems of Pandarus have placed the pair in each other's arms under his roof, and the lovers are happy in perfect enjoyment of each other's love and trust. In the Fourth Book (1701 lines) the course of true love ceases to run smooth; Cressida is compelled to quit the city, in ransom for Antenor, captured in a skirmish; and she sadly departs to the camp of the Greeks, vowing that she will make her escape, and return to Troy and Troilus within ten days. The Fifth Book (1869 lines) sets out by describing the court which Diomedes, appointed to escort her, pays to Cressida on the way to the camp; it traces her gradual progress from indifference to her new suitor, to incontinence with him ; and it leaves the deserted Troilus dead on the field of battle, where he has sought an eternal refuge from the new grief provoked by clear proof of his mistress's infidelity. The polish, elegance, and power of the style, and the acuteness of insight into character, which mark the poem, seem to claim for it a date considerably later than that adopted by those who assign its composition to Chaucer's youth: and the literary allusions and proverbial expressions with which it abounds, give ample evidence that, if Chaucer really wrote it at an early age, his youth must have been precocious beyond all actual record. Throughout the poem there are repeated references to the old authors of Trojan histories who are named in "The House of Fame" (page 240); but Chaucer especially mentions one Lollius as the author from whom he takes the groundwork of the poem. Lydgate is responsible for the assertion that Lollius meant Boccaccio; and though there is no authority for supposing that the English really meant to designate the Italian poet under that name, there is abundant internal proof that the poem was really founded on the "Filostrato" of Boccaccio. But the tone of Chaucer's work is much higher than that of his Italian "auctour;" and while in some passages the imitation is very close, in all that is characteristic in "Troilus and Cressida," Chaucer has fairly thrust his models out of sight. In the present edition, it has been possible to give no more than about one-fourth of the poem-274 out of the 1178 seven-line stanzas that compose it; but pains have been taken to convey, in the connecting prose passages, a faithful idea of what is perforce omitted.] THE FIRST BOOK. THE double sorrow of Troilus1 to tell, To thee I call, thou goddess of torment! For I, that God of Love's servants serve, Have thou the thank, and mine be the travail. But ye lovers that bathen in gladnéss, 14 And pray for them that beën in the case And pray for them that ekë be despair'd To grant them soon out of this world to That be despaired of their love's grace. And bid also for them that be at ease And for to have of them compassión, And how that she forsook him ere she died. |