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Modernizations of Chaucer in the Eighteenth Century Eric Duane Larson University of Arkansas, Fayetteville

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Modernizations of Chaucer in the Eighteenth Century Eric Duane Larson University of Arkansas, Fayetteville View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks@UARK University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2016 Telling New Tales: Modernizations of Chaucer in the Eighteenth Century Eric Duane Larson University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Literature in English, British Isles Commons Recommended Citation Larson, Eric Duane, "Telling New Tales: Modernizations of Chaucer in the Eighteenth Century" (2016). Theses and Dissertations. 1474. http://scholarworks.uark.edu/etd/1474 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. Telling New Tales: Modernizations of Chaucer in the Eighteenth Century A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Eric Larson United States Air Force Academy Bachelor of Science in English, 1999 Air Force Institute of Technology Master of Science in Logistics Management, 2003 University of Arkansas Master of Arts in English, 2010 May 2016 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. _____________________________________ Dr. William Quinn Dissertation Director _____________________________________ _____________________________________ Dr. Dorothy Stephens Dr. Robert Madison Committee Member Committee Member ABSTRACT Any review of medieval culture and literature in the British eighteenth century requires some consideration for the modernizations of Chaucer’s Canterbury Tales. Effectively a collaboration that spanned the entire century, this project began with Dryden and Pope and continued in earnest with lesser-known poets like George Ogle and William Lipscomb. The resulting modernization of every Chaucerian tale between 1700 and 1795 revisits medieval themes, but it also displays contemporary anxieties through presentations of language, content, style, and rhetorical intent that are sometimes vastly different from Chaucer’s originals. The modernization project is worthy of study, in particular because it reflects, across several generations of poets, the religious and political landscape of the late-Stuart and Georgian dynasties. Thus, through the completion of the modernized text, the text of Great Britain as it moved throughout the 1700s is also illuminated. The resulting eighteenth-century Chaucer looks with keen attention at the ideological conflict between Protestantism and Catholicism, especially within the context of events like the Glorious Revolution, the Hanoverian succession, the Jacobite uprisings, and the threat of war with Continental powers across the Channel. In the process of rewriting the Tales, the modernizers unwittingly accomplished something else, of no less importance. Through their own close reading of the medieval, they articulated attitudes and interpretations that contribute to the modernization project in their own time but also anticipate modern accepted scholarship by several centuries. At a minimum, any gathering awareness of the eighteenth-century Chaucer sheds more light on Britain’s defiant steps toward patriotic Anglican rule at the start of the 1800s. While this better understanding can help unravel Britain’s historical sense of its “dark” Catholic past, it can also help show the development of other literary genres, like the Gothic novel, with more clarity. ©2016 by Eric Larson All Rights Reserved TABLE OF CONTENTS I. CHAUCER’S FAME IN THE EIGHTEENTH CENTURY....................................................1 A. THE BRITISH MEDIEVAL MINDSET.................................................................................6 B. CHAUCER AND THE EIGHTEENTH-CENTURY MODERNIZATION PROJECT........13 C. DRYDEN AS MODERNIZER AND CULTURAL CRITIC................................................15 D. OLD DRYDEN, YOUNG POPE, AND A CONTINUED FOCUS ON THE MODERNIZED TALES........................................................................................................22 E. THE COMPLETE EIGHTEENTH-CENTURY CHAUCER................................................26 F. DRYDEN AND THE POLITICS OF A GLORIOUS REVOLUTION.................................35 G. GEORGE OGLE AND THE CASE FOR BRITISH NATIONALISM.................................38 H. WILLIAM LIPSCOMB AND THE REFORMED POLITICS OF AN ANGLICAN PEOPLE..................................................................................................................................41 II. CHAUCER’S TALES AND THE FRAMING OF DRYDEN’S FABLES.............................46 A. THE ENDURING LEGACY OF DRYDEN’S CHAUCER..................................................48 B. DRYDEN’S EMILY AND THE KNIGHT’S TALE...............................................................50 C. THE WIFE OF BATH AS RELIGIOUS AND POLITICAL COMMENTARY..................55 D. DRYDEN’S NUN’S PRIEST AND THE LAND-HOLDING PATRIOT.............................61 E. THE PORTRAIT OF THE PARSON AND THE PICTURE OF WILLIAM’S DEBASED COINAGE..............................................................................................................................68 F. DRYDEN’S NEW EXAMPLAR: THE MODERNIZER AS MORAL SUBJECT..............75 III. GEORGE OGLE’S “SEVERAL HANDS” AND THE FASHIONING OF A NEW GEORGIAN CHAUCER.......................................................................................................80 A. OGLE AND THE MODERNIZERS’ “IMPROVING” ARTS..............................................84 B. THE CLERK’S TALE AND CHAUCER’S NEW RELIGION..............................................91 C. TALES WITH MANY VOICES: TOWARD A UNIFIED MODERN BRITAIN................94 D. BROOKE’S MAN OF LAW AND THE REWRITING OF ENGLISH HISTORY...........101 E. MODERNIZERS AS EARLY CHAUCERIAN CRITICS..................................................108 IV. WILLIAM LIPSCOMB AND THE HOPE OF A COMPLETED TEXT...........................117 A. THOMAS TYRWHITT’S “MODERN CHAUCER EDITING”.........................................118 B. LIPSCOMB’S CLAIM OF AUTHENTICITY: A “DUTY SOMEWHAT SACRED”.......121 C. “IMPROVED TASTES” AND THE HINT OF EDITORIAL INTERVENTION..............124 D. THE FAMILY CHAUCER? LIPSCOMB AS EDITOR AND EXPURGATOR................128 E. FROM CENSORSHIP TO SPONSORSHIP: LIPSCOMB’S ANGLICAN VALUES REVEALED.........................................................................................................................132 F. LITERAL OR ALLEGORICAL? THE PRIORESS’S TALE AND A QUESTION OF INTERPRETATION............................................................................................................136 G. FROM PERFORMING TO REFORMING: LIPSCOMB’S TREATMENT OF MAGICAL CHAUCER...........................................................................................................................141 H. LIPSCOMB’S ALL-SEEING BRITAIN; OR, THE MAGIC TRICK REVEALED..........148 I. A BRITISH NATION UNDER GOD’S CARE: DIVINE JUSTICE IN THE PHYSICIAN’S TALE.....................................................................................................................................152 J. A “PATRIOT BAND” AND THE SLASHING OF ROME’S POLITICAL BODY..........154 K. LIPSCOMB’S FINAL PERFORMANCE AND HIS EXALTED VOICE..........................157 V. GOTHIC CHAUCER AND THE GOTHIC NOVEL..........................................................164 VI. NOTES.................................................................................................................................175 VII. BIBLIOGRAPHY.................................................................................................................196 I. CHAUCER’S FAME IN THE EIGHTEENTH CENTURY When Caroline Spurgeon published her monumental review of Chaucerian “Criticism and Allusion” in 1925, she began her discussion of the eighteenth century with the question of translation. By 1700, celebrated poets such as Spenser, Shakespeare, and Chaucer figured prominently in the debate over the need to translate, simply because their use of the language was already regarded as archaic and unapproachable by contemporary readers of the time. Spurgeon regards this inaccessibility to older works as one of the defining attitudes of the age— something, in fact, that developed into an anxiety shared by eighteenth-century writers who feared their own words might meet the same fate. She maintains that There is no question but that the men of the eighteenth century were as firmly convinced as their forefathers that the continual change in the English language was destined to render unintelligible, within a comparatively short period, all writers who chose that medium.1 Now almost a century old, Spurgeon’s observations on the matter seem more poignant today than in her own time, especially as literary studies across time periods begin to collapse. Critics now see literary epochs, no longer separately, but as parts of a series of constant interactions and influences. Of course it is known, too, that the people of Stuart and Georgian Britain were not contained within temporal boundaries, nor did they look at themselves within the confines of a “long” eighteenth century. Instead, they were deeply affected by history, particularly their medieval roots, with a literary output that responded accordingly. But despite their fascination with the
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