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The Delineation of Character in Chaucer's Narrative Poetry

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The Delineation of Character in Chaucer's Narrative Poetry LI B HAR.Y OF THE U N I VER.S ITY OF ILLINOIS 1920 L26 ,^ich it was withdrawn from Latest ^bef°re Date stampedbeW " ^ the -suit ta diimi end may SEP « ON EP 2 ! 19J I L161 — Q-1096 Digitized by the Internet Archive in 2013 http://archive.org/details/delineationofchaOOIang THE DELINEATION OF CHARACTER IN CHAUCER'S NARRATIVE POETRY BY PAULUS JOHN HERMAN LANGE A. B. Augustana College 1918 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1920 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL 19M I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION RY faJLuo JdL /fc* iua*- ^j±£ ENTITLED. ft VJL BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF_ In Charge of Thesis Head of Department Recommendation concurred in'1 Committee on Final Examination* ^Required for doctor's degree but not for master's TABLE OF CONTENTS Chapter I. Introductory 1 Chapter II. The Representatives of Chivalry ... 6 Chapter 111% The Church and the Professions ... 80 Chapter IV. The Bourgeoisie and the Other Folk . 125 Appendix Bibliography 182 - 1 - CHAPTER I. INTRODUCTION. Within recent decades much has been written on Chaucer and his poetry, his life, his times, his sources, his methods of composition, his relations with the other poets of the age,- all these subjects have come in for their share of attention. Important as these matters are, one should nevertheless remember that they are not the end of Chaucerian scholarship. If added knowledge concerning the poet's life or any of the other subjects referred to sheds further light on his work, or reveals to us hitherto hidden beauties, then the labors of those scholars to whom we are indebted have been of inestimable value. If, however, it does rot do this, or perhaps at the most only to a negligible degree, then their work has been profitless as far as we are concerned. The purpose of this study is not to shed light on some baffling problem of Chaucerian scholarship, nor does it offer any new interpretation of facts already ascertained. Work of this nature is to be done by mature scholars, and not by neophytes who scarcely realize the difficulties confront- ing the scholar in this particular field of English literature. The essay does undertake, however, to present an independent treatment of Chaucer's delineation of character in all of his narrative poetry. And in so far as it accomplishes this purpose, it may be of service in stimulating a greater appreciation for certain heretofore rather neglected phases of his art. Altho Chaucer wrote numerous lyrics and considerable prose, comparatively speaking, yet by far the major portion of his work consists of narrative poetry. In reading this, the casual reader will at once observe - 2 - the large number of individualized characters that pass before him. King and plowman, ecclesiast and thief, nun and prostitute, youth and age, beauty and ugliness,- these and many others come and go. In fact, so many and so varied are the different personalities that it almost appears as if his verse consisted of nothing else than the delineation of character- It is entirely reasonable to assume that this power of Chaucer to delineate character was similar to the genius of all great writers in so far at least that it did not unfold overnight, but that it was a growth and a development. Like any other artist, Chaucer had to serve an apprenticeship before he became a master. His immature genius had to grope more or less blindly among the materials at hand before it could know which was suited to its purpose* Even then it was not certain; only too often what had at first appeared to be gold proved in the end to be little more than dross. Thus continuous experimentation was necessary. Writers of our own day who have the critical results of the centuries to fall back upon, pass thru a similar period of trial and error. With only alien Muses to learn from, we need not be surprised that it required years before Chaucer felt himself strong enough to assert fully his own poetic independence and to subordinate to his own genius the knowledge which he had learned from others. If v/e study the narrative poetry of Chaucer in chronological order, I think it is possible to trace a gradual increase in power and variety of character delineation. The fact that the exact date of each of his works is not definitely known is negligible in this case. V/e do know the approxi- mate year, and in a study of this nature that is all we need. We shall find that in his earlier work Chaucer kept very close to his models or sources. Like a child that has just entered a beautiful but strange garden with all - 3 - manner of flowers blossoming here and there, he desired to explore the fair fields of Poesy, and yet, again like the child, he feared to roam far from his guide. Thus it comes about that in the delineation of character, Chaucer at first followed the conventions of his predecessors. He did not immediately dare to walk abroad in the Garden of Humanity, selecting flowers for his garland here and there, with no regard to the fancies or prejudices of others. The earliest narrative work of Chaucer that has come down to us is the trans- lation of a part of the Roman c e of the Rosje . There was, of course, no opportunity for independent work in that connection, but it shewed in what direction the poet's inclinations were directed. Later, he began to write poems fashioned after French models, almost all of which contained single lines or groups of lines translated with a greater or less degree of exact- ness from the French. It should be said here that at this time French poetry had become pretty well stereotyped. The freshness, the originality, the daring of youth had long passed away. As a result, the poetry of the day was governed entirely by conventions. The only themes considered proper for poetic treatment were those connected with courtly love. Common folk and everything that pertained to them were scrupulously disregarded, for it was thot the heavenly Muse could not survive in such a mean and sordid atmosphere. Even in the narrow field of Courtly Love, the range was narrow and the manner of treatment predetermined. Certain stock comparisons were permissible; all others were taboo. Specified sentiments were considered proper; such as differed v/ere ruled out. In describing the hero or the heroine, certain characteristics of body, mind, and soul were absolutely essential. No natter how widely the person under consideration differed from these requirements, he or she wa6 ruthlessly placed on the Procrustean bed of approved convention. - 4 - The dissatisfaction of Chaucer with this state of affairs can be traced even in his earlier work, but at that time he v/as unable of his own strength to free himself from the shackles that bound him. however, in the winter of 1372 to 1373 and again in 1378, Chaucer had occasion to visit Italy. There he became acquainted to a certain extent with the work of Dante, 1_J etrarch, and Boccaccio. At this time he must have felt like a person who, struggling for a long time thru a thicket of opposing briars and brambles, has reached the top of a high hill and sees spread out before hirn a prospect of undreamed beauty. From that time forth the shackles of French convention v/ere loosed, and altho the early influence v/as never entirely lost, it thenceforth occupied a subordinate place in the poetical art of Chaucer. However, even the comparative freedom of the Italians did not per- manently satisfy the English poet. It is true that it gave him a wider rejige in the delineation of courtly characters, but Chaucer realized tho.t the court represented only a very small portion of humanity. The Church had been extending its influence and increasing its power tremendously. Altho it had already passed its zenith as a political institution, it was still a factor to be reckoned with and a gre t many persons v/ere in its service. The poetry of both Trance and Italy scarcely recognized its existence. The professions fared no better. And finally, there was the great mass of humanity that belonged to neither of these categories. They v/ere the tradespeople, the artisans, the agricultural workers, and the laborers. Even tho the courtly poets had looked with disdain upon them, Chaucer realized full well that very often it was just among this class of folk that the Lluse dwelt in all her pristine charm. It is not strange, therefore, that Chaucer should after a time become as dissatisfied with the Italian poetry as he had been v/ith the French. e . - 5 - It was at this point that he turned to his own genius. The Italian influence was subordinated Ir. the same manner as the French. From that time forth Chaucer wrote primarily as an Englishman for Englishmen. He depicted the struggle of humanity about him and the times in which he lived as no other poet in the entire range of English literature has ever done. Yihile the traces of both the French and the Italian influences can be seen all thru the warp and the v/oof of his later work, yet the finished fabric bears but slight resemblance to the original pattern.
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