Canterbury Tales and Other Poems by Geoffrey Chaucer (always you kirsty moseley .txt) 📖

29. Coming with the spring, the nightingale is charmingly said to call forth the new leaves.

30. Many-coloured wings, like those of peacocks, were often given to angels in paintings of the Middle Ages; and in accordance with this fashion Spenser represents the Angel that guarded Sir Guyon (“Faerie Queen,” book ii. canto vii.) as having wings “decked with diverse plumes, like painted jay’s.”

31. The pheasant, scorner of the cock by night: The meaning of this passage is not very plain; it has been supposed, however, to refer to the frequent breeding of pheasants at night with domestic poultry in the farmyard — thus scorning the sway of the cock, its rightful monarch.

32. The waker goose: Chaucer evidently alludes to the passage in Ovid describing the crow of Apollo, which rivalled the spotless doves, “Nec servataris vigili Capitolia voce cederet anseribus” — “nor would it yield (in whiteness) to the geese destined with wakeful or vigilant voice to save the Capitol”

(“Metam.,” ii. 538) when about to be surprised by the Gauls in a night attack.

33. The cuckoo ever unkind: the significance of this epithet is amply explained by the poem of “The Cuckoo and the Nightingale.”

34. The drake, destroyer: of the ducklings — which, if not prevented, he will kill wholesale.

35. The stork is conspicuous for faithfulness to all family obligations, devotion to its young, and care of its parent birds in their old age. Mr Bell quotes from Bishop Stanley’s “History of Birds” a little story which peculiarly justifies the special character Chaucer has given: — “A French surgeon, at Smyrna, wishing to procure a stork, and finding great difficulty, on account of the extreme veneration in which they are held by the Turks, stole all the eggs out of a nest, and replaced them with those of a hen: in process of time the young chickens came forth, much to the astonishment of Mr and Mrs Stork. In a short time Mr S. went off, and was not seen for two or three days, when he returned with an immense crowd of his companions, who all assembled in the place, and formed a circle, taking no notice of the numerous spectators whom so unusual an occurrence had collected. Mrs Stork was brought forward into the midst of the circle, and, after some consultation, the whole flock fell upon her and tore her to pieces; after which they immediately dispersed, and the nest was entirely abandoned.”

36. The cormorant feeds upon fish, so voraciously, that when the stomach is crammed it will often have the gullet and bill likewise full, awaiting the digestion of the rest.

37. So called from the evil omens supposed to be afforded by their harsh cries.

38. The fieldfare visits this country only in hard wintry weather.

39. “Formel,” strictly or originally applied to the female of the eagle and hawk, is here used generally of the female of all birds; “tercel” is the corresponding word applied to the male.

40. Entriketh: entangles, ensnares; french, “intriguer,” to perplex; hence “intricate.”

41. Entremette him of: meddle with; French, ‘ entremettre,” to interfere.

42. The duck exhorts the contending lovers to be of light heart and sing, for abundance of other ladies were at their command.

43. Solain: single, alone; the same word originally as “sullen.”

44. The cuckoo is distinguished by its habit of laying its eggs in the nests of other and smaller birds, such as the hedge-sparrow (“heggsugg”); and its young, when hatched, throw the eggs or nestlings of the true parent bird out of the nest, thus engrossing the mother’s entire care. The crime on which the emerlon comments so sharply, is explained by the migratory habits of the cuckoo, which prevent its bringing up its own young; and nature has provided facilities for the crime, by furnishing the young bird with a peculiarly strong and broad back, indented by a hollow in which the sparrow’s egg is lifted till it is thrown out of the nest.

45. “Who well loves, late forgets;” the refrain of the roundel inculcates the duty of constancy, which has been imposed on the three tercels by the decision of the Court.

THE FLOWER AND THE LEAF

[“The Flower and the Leaf” is pre-eminently one of those poems by which Chaucer may be triumphantly defended against the charge of licentious coarseness, that, founded upon his faithful representation of the manners, customs, and daily life and speech of his own time, in “The Canterbury Tales,” are sweepingly advanced against his works at large. In an allegory —

rendered perhaps somewhat cumbrous by the detail of chivalric ceremonial, and the heraldic minuteness, which entered so liberally into poetry, as into the daily life of the classes for whom poetry was then written — Chaucer beautifully enforces the lasting advantages of purity, valour, and faithful love, and the fleeting and disappointing character of mere idle pleasure, of sloth and listless retirement from the battle of life. In the “season sweet” of spring, which the great singer of Middle Age England loved so well, a gentle woman is supposed to seek sleep in vain, to rise “about the springing of the gladsome day,”

and, by an unfrequented path in a pleasant grove, to arrive at an arbour. Beside the arbour stands a medlar-tree, in which a Goldfinch sings passing sweetly; and the Nightingale answers from a green laurel tree, with so merry and ravishing a note, that the lady resolves to proceed no farther, but sit down on the grass to listen. Suddenly the sound of many voices singing surprises her; and she sees “a world of ladies” emerge from a grove, clad in white, and wearing garlands of laurel, of agnus castus, and woodbind. One, who wears a crown and bears a branch of agnus castus in her hand, begins a roundel, in honour of the Leaf, which all the others take up, dancing and singing in the meadow before the arbour. Soon, to the sound of thundering trumps, and attended by a splendid and warlike retinue, enter nine knights, in white, crowned like the ladies; and after they have jousted an hour and more, they alight and advance to the ladies. Each dame takes a knight by the hand; and all incline reverently to the laurel tree, which they encompass, singing of love, and dancing. Soon, preceded by a band of minstrels, out of the open field comes a lusty company of knights and ladies in green, crowned with chaplets of flowers; and they do reverence to a tuft of flowers in the middle of the meadow, while one of their number sings a bergerette in praise of the daisy. But now it is high noon; the sun waxes fervently hot; the flowers lose their beauty, and wither with the heat; the ladies in green are scorched, the knights faint for lack of shade. Then a strong wind beats down all the flowers, save such as are protected by the leaves of hedges and groves; and a mighty storm of rain and hail drenches the ladies and knights, shelterless in the now flowerless meadow. The storm overpast, the company in white, whom the laurel-tree has safely shielded from heat and storm, advance to the relief of the others; and when their clothes have been dried, and their wounds from sun and storm healed, all go together to sup with the Queen in white — on whose hand, as they pass by the arbour, the Nightingale perches, while the Goldfinch flies to the Lady of the Flower. The pageant gone, the gentlewoman quits the arbour, and meets a lady in white, who, at her request, unfolds the hidden meaning of all that she has seen; “which,” says Speght quaintly, “is this: They which honour the Flower, a thing fading with every blast, are such as look after beauty and worldly pleasure. But they that honour the Leaf, which abideth with the root, notwithstanding the frosts and winter storms, are they which follow Virtue and during qualities, without regard of worldly respects.” Mr Bell, in his edition, has properly noticed that there is no explanation of the emblematical import of the medlar-tree, the goldfinch, and the nightingale. “But,” he says, “as the fruit of the medlar, to use Chaucer’s own expression (see Prologue to the Reeve’s Tale), is rotten before it is ripe, it may be the emblem of sensual pleasure, which palls before it confers real enjoyment. The goldfinch is remarkable for the beauty of its plumage, the sprightliness of its movements, and its gay, tinkling song, and may be supposed to represent the showy and unsubstantial character of frivolous pleasures. The nightingale’s sober outward appearance and impassioned song denote greater depth of feeling.” The poem throughout is marked by the purest and loftiest moral tone; and it amply deserved Dryden’s special recommendation, “both for the invention and the moral.” It is given without abridgement.]

(Transcriber’s note: Modern scholars believe that Chaucer was not the author of this poem)

WHEN that Phoebus his car of gold so high Had whirled up the starry sky aloft,

And in the Bull <1> enter’d certainly; When showers sweet of rain descended soft, Causing the grounde, fele* times and oft, *many Up for to give many a wholesome air,

And every plain was y-clothed fair

With newe green, and maketh smalle flow’rs To springe here and there in field and mead; So very good and wholesome be the show’rs, That they renewe what was old and dead In winter time; and out of ev’ry seed

Springeth the herbe, so that ev’ry wight Of thilke* season waxeth glad and light. this And I, so glad of thilke season sweet, Was happed thus* upon a certain night, thus circumstanced

As I lay in my bed, sleep full unmeet unfit, uncompliant Was unto me; but why that I not might

Rest, I not wist; for there n’as* earthly wight, *was not As I suppose, had more hearte’s ease

Than I, for I n’had* sickness nor disease.* had not **distress Wherefore I marvel greatly of myself,

That I so long withoute sleepe lay;

And up I rose three houres after twelf, About the springing of the [gladsome] day; And on I put my gear* and mine array, *garments And to a pleasant grove I gan to pass, Long ere the brighte sun uprisen was;

In which were oakes great, straight as a line, Under the which the grass, so fresh of hue, Was newly sprung; and an eight foot or nine Every tree well from his fellow grew,

With branches broad, laden with leaves new, That sprangen out against the sunne sheen; Some very red;<2> and some a glad light green; Which, as me thought, was right a pleasant sight.

And eke the birdes’ songes for to hear Would have rejoiced any earthly wight; And I, that could not yet, in no mannere, Heare the nightingale of* all the year,<3> *during Full busy hearkened with heart and ear, If I her voice perceive could anywhere.

And at the last a path of little brede breadth I found, that greatly had not used be; For it forgrowen* was with grass and weed, overgrown That well unneth a wight mighte see: *scarcely Thought I, “This path some whither goes, pardie!” of a surety And so I follow’d [it], till it me brought To a right pleasant arbour, well y-wrought, That benched was, and [all] with turfes new Freshly y-turf’d, <4> whereof the greene grass, So small, so thick, so short, so fresh of hue, That most like to green wool, I wot, it was; The hedge also, that *yeden in compass, went all around <5>*

And closed in all the greene herbere, arbour With sycamore was set and eglatere,