Chaucer

The most convenient and essential thread by which to trace Chaucer's literary develop ment is the growth of his originality. The usual division of his works into French, Italian and English periods is misleading and con tradicts the facts. We may fitly begin with his translation of the 13th century French amorous and satirical allegory (Le Roman de la Rose,' which he mentions in the

Chaucer's three or four months in Italy in 1373 gave him literary breadth, independence and ideals. Before this, the only literatures with which he shows familiarity are the ancient Latin and the French. But the conditions, traditions and manners of poetry among the Romans were so different from those of Chaucer's own day and land, and his own temperament was so unlike that of the ancient Latin poetry which he had read, that he could respond to it far less readily than, for example, Dante did. The literary tradition which it was inevitable that he should begin by following was the French. But medimval French poetry was in general either undignified and extem poraneous in manner, like the romances, or artificial, like the allegory. In Italy, in the works of the three great especially Dante and Boccaccio, he found literary work which was contemporaneous in its interest but which had assimilated what the Romans had to teach,— Christian and romantic poetry written in a modern language which was more like poetic English than French was, and of a more dignified yet natural character than was usual in French. It was inevitable that for a time

he should be greatly under its influence; even though certain French modes and influences abode with him until the end, and though the differences between his two masters tended finally to free him from the domination of both and to leave him independent.

The most important of Chaucer's poems based directly on the Italian is his longest single poem, the Less than a third of Chaucer's lines are translated from the Italian, and he has made important changes in the characterization and some in the plot. The poem is too long and its analysis of emo tion frequently fine-drawn and stagnant, but it shows humor, much sympathetic penetration and skill in dialogue and in situation, and has been called one of the most beautiful long poems in the language.

Chaucer's next important poem was proba bly the though it should hardly be called an imitation or parody of it. The poet in an allegorical vision is carried by an eagle through interstellar regions to the dwell ing of Fame, where he learns of the capricious ness of that goddess. The poem is ill-propor tioned, rambling and sometimes confused and pointless, but in a high degree is free, fanciful and humorous. Of special interest are the glimpses it allows us of Chaucer's own circum stances and way of life. It is usually assigned to about 1384, but may have been written as early as 1379.

Much the same merits, without some of these faults, make the (Parliament of Fowls' one of the most attractive of Chaucez's lesser poems. It is almost certainly a complimentary celebra tion of the betrothal of Richard II to Anne of Bohemia, and would therefore date from 1381. The noble female eagle represents the future queen; of the three male suitors, the noble tercelet of course is the King, and the other two are two German princelings, for her marriage to whom during her early childhood there had been negotiations, which for literary reasons Chaucer makes contemporaneous. The poem is rich in its imagery, fanciful though not wholly original, in its plan, realistic in its humor and melodious in its verse (especially the roundel at the end).