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The Complete Works of Geoffrey Chaucer, Vol The Online Library of Liberty A Project Of Liberty Fund, Inc. Geoffrey Chaucer, The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) [1899] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. Online Library of Liberty: The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) LIBERTY FUND, INC. 8335 Allison Pointe Trail, Suite 300 Indianapolis, Indiana 46250-1684 PLL v6.0 (generated September, 2011) 2 http://oll.libertyfund.org/title/1991 Online Library of Liberty: The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) Edition Used: The Complete Works of Geoffrey Chaucer, edited from numerous manuscripts by the Rev. Walter W. Skeat (2nd ed.) (Oxford: Clarendon Press, 1899). 7 vols. Author: Geoffrey Chaucer Editor: Walter W. Skeat About This Title: The late 19th century Skeat edition with copious scholarly notes and a good introduction to the texts. PLL v6.0 (generated September, 2011) 3 http://oll.libertyfund.org/title/1991 Online Library of Liberty: The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) About Liberty Fund: Liberty Fund, Inc. is a private, educational foundation established to encourage the study of the ideal of a society of free and responsible individuals. Copyright Information: The text is in the public domain. Fair Use Statement: This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit. PLL v6.0 (generated September, 2011) 4 http://oll.libertyfund.org/title/1991 Online Library of Liberty: The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) Table Of Contents Introduction to the House of Fame Introduction to the Legend of Good Women. Introduction to a Treatise On the Astrolabe. Description of the Plates. The Hous of Fame. Book I. Book II. Book III. The Legend of Good Women. The Prologe of .ix. Goode Wimmen. I.: The Legend of Cleopatra. II.: The Legend of Thisbe of Babylon. III.: The Legend of Dido, Queen of Carthage. IV.: The Legend of Hypsipyle and Medea. V.: The Legend of Lucretia. VI.: The Legend of Ariadne. VII.: The Legend of Philomela. VIII.: The Legend of Phyllis. IX.: The Legend of Hypermnestra. A Treatise On the Astrolabe. Prologue. Part I. Part Ii Supplementary Propositions. Critical Notes Notes to the House of Fame. Notes to the Legend of Good Women. Sources of the Canterbury Tales. PLL v6.0 (generated September, 2011) 5 http://oll.libertyfund.org/title/1991 Online Library of Liberty: The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) [Back to Table of Contents] INTRODUCTION TO THE HOUSE OF FAME § 1.It is needless to say that this Poem is genuine, as Chaucer himself claims it twice over; once in his Prologue to the Legend of Good Women, l. 417, and again by the insertion in the poem itself of the name Geffrey (l. 729)1 . § 2.Influence of Dante. The influence of Dante is here very marked, and has been thoroughly discussed by Rambeau in Englische Studien, iii. 209, in an article far too important to be neglected. I can only say here that the author points out both general and particular likenesses between the two poems. In general, both are visions; both are in three books; in both, the authors seek abstraction from surrounding troubles by venturing into the realm of imagination. As Dante is led by Vergil, so Chaucer is upborne by an eagle. Dante begins his third book, Il Paradiso, with an invocation to Apollo, and Chaucer likewise begins his third book with the same; moreover, Chaucer’s invocation is little more than a translation of Dante’s. Among the particular resemblances, we may notice the method of commencing each division of the Poem with an invocation2 . Again, both poets mark the exact date of commencing their poems; Dante descended into the Inferno on Good Friday, 1300 (Inf. xxi. 112); Chaucer began his work on the 10th of December, the year being, probably, 1383 (see note to l. 111). Chaucer sees the desert of Lybia (l. 488), corresponding to similar waste spaces mentioned by Dante; see note to l. 482. Chaucer’s eagle is also Dante’s eagle; see note to l. 500. Chaucer gives an account of Phaethon (l. 942) and of Icarus (l. 920), much like those given by Dante (Inf. xvii. 107, 109); both accounts, however, may have been taken from Ovid1 . Chaucer’s account of the eagle’s lecture to him (l. 729) resembles Dante’s Paradiso, i. 109-117. Chaucer’s steep rock of ice (l. 1130) corresponds to Dante’s steep rock (Purg. iii. 47). If Chaucer cannot describe all the beauty of the House of Fame (l. 1168), Dante is equally unable to describe Paradise (Par. i. 6). Chaucer copies from Dante his description of Statius, and follows his mistake in saying that he was born at Toulouse; see note to l. 1460. The description of the house of Rumour is also imitated from Dante; see note to l. 2034. Chaucer’s error of making Marsyas a female arose from his misunderstanding the Italian form Marsia in Dante; see note to l. 1229. These are but some of the points discussed in Rambeau’s article; it is difficult to give, in a summary, a just idea of the careful way in which the resemblances between these two great poets are pointed out. I am quite aware that many of the alleged parallel passages are too trivial to be relied upon, and that the author’s case would have been strengthened, rather than weakened, by several judicious omissions; but we may fairly accept the conclusion, that Chaucer is more indebted to Dante in this poem than in any other; perhaps more than in all his other works put together. It is no longer possible to question Chaucer’s knowledge of Italian; and it is useless to search for the original of The House of Fame in Provençal literature, as Warton PLL v6.0 (generated September, 2011) 6 http://oll.libertyfund.org/title/1991 Online Library of Liberty: The Complete Works of Geoffrey Chaucer, vol. 3 (House of Fame, Legend of Good Women, Treatise on Astrolabe, Sources of Canterbury Tales) vaguely suggests that we should do (see note to l. 1928). At the same time, I can see no help to be obtained from a perusal of Petrarch’s Trionfo della Fama, to which some refer us. § 3.Testimony of Lydgate. It is remarkable that Lydgate does not expressly mention The House of Fame by name, in his list of Chaucer’s works. I have already discussed this point in the Introduction to vol. i. pp. 23, 24, where I shew that Lydgate, nevertheless, refers to this work at least thrice in the course of the poem in which his list occurs; and, at the same time, he speaks of a poem by Chaucer which he calls ‘Dant in English,’ to which there is nothing to correspond, unless it can be identified with The House of Fame1 . We know, however, that Lydgate’s testimony as to this point is wholly immaterial; so that the discussion as to the true interpretation of his words is a mere matter of curiosity. § 4.Influence of Ovid. It must, on the other hand, be obvious to all readers, that the general notion of a House of Fame was adopted from a passage in Ovid’s Metamorphoses, xii. 39-63. The proof of this appears from the great care with which Chaucer works in all the details occurring in that passage. He also keeps an eye on the celebrated description of Fame in Vergil’s Æneid, iv. 173-183; even to the unlucky rendering of ‘pernicibus alis’ by ‘partriches winges,’ in l.
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