Beacon Lights of History, Volume 06: Renaissance and Reformation. John Lord
and literary labors. In addition to his revenues, the Duke of Lancaster, who was virtually the ruler of the land during the reign of Richard II., gave him the castle of Donnington, with its park and gardens; so that he became a man of territorial influence. At the age of fifty-eight he removed to London, and took a house in the precincts of Westminster Abbey, where the chapel of Henry VII. now stands. He died the following year, and was buried in the Abbey church,–that sepulchre of princes and bishops and abbots. His body was deposited in the place now known as the Poets' Corner, and a fitting monument to his genius was erected over his remains, as the first great poet that had appeared in England, probably only surpassed in genius by Shakspeare, until the language assumed its present form. He was regarded as a moral phenomenon, whom kings and princes delighted to honor. As Leonardo da Vinci died in the arms of Francis I., so Chaucer rested in his grave near the bodies of those sovereigns and princes with whom he lived in intimacy and friendship. It was the rarity of his gifts, his great attainments, elegant manners, and refined tastes which made him the companion of the great, since at that time only princes and nobles and ecclesiastical dignitaries could appreciate his genius or enjoy his writings.
Although Chaucer had written several poems which were admired in his day, and made translations from the French, among which was the "Roman de la Rose," the most popular poem of the Middle Ages,–a poem which represented the difficulties attendant on the passion of love, under the emblem of a rose which had to be plucked amid thorns,–yet his best works were written in the leisure of declining years.
The occupation of the poet during the last twelve years of his life was in writing his "Canterbury Tales," on which his fame chiefly rests; written not for money, but because he was impelled to write it, as all true poets write and all great artists paint,–ex animo,–because they cannot help writing and painting, as the solace and enjoyment of life. For his day these tales were a great work of art, evidently written with great care. They are also stamped with the inspiration of genius, although the stories themselves were copied in the main from the French and Italian, even as the French and Italians copied from Oriental writers, whose works were translated into the languages of Europe; so that the romances of the Middle Ages were originally produced in India, Persia, and Arabia. Absolute creation is very rare. Even Shakspeare, the most original of poets, was indebted to French and Italian writers for the plots of many of his best dramas. Who can tell the remote sources of human invention; who knows the then popular songs which Homer probably incorporated in his epics; who can trace the fountains of those streams which have fertilized the literary world?–and hence, how shallow the criticism which would detract from literary genius because it is indebted, more or less, to the men who have lived ages ago. It is the way of putting things which constitutes the merit of men of genius. What has Voltaire or Hume or Froude told the world, essentially, that it did not know before? Read, for instance, half-a-dozen historians on Joan of Arc: they all relate substantially the same facts. Genius and originality are seen in the reflections and deductions and grand sentiments prompted by the narrative. Let half-a-dozen distinguished and learned theologians write sermons on Abraham or Moses or David: they will all be different, yet the main facts will be common to all.
The "Canterbury Tales" are great creations, from the humor, the wit, the naturalness, the vividness of description, and the beauty of the sentiments displayed in them, although sullied by occasional vulgarities and impurities, which, however, in all their coarseness do not corrupt the mind. Byron complained of their coarseness, but Byron's poetry is far more demoralizing. The age was coarse, not the mind of the author. And after five hundred years, with all the obscurity of language and obsolete modes of spelling, they still give pleasure to the true lovers of poetry when they have once mastered the language, which is not, after all, very difficult. It is true that most people prefer to read the great masters of poetry in later times; but the "Canterbury Tales" are interesting and instructive to those who study the history of language and literature. They are links in the civilization of England. They paint the age more vividly and accurately than any known history. The men and women of the fourteenth century, of all ranks, stand out to us in fresh and living colors. We see them in their dress, their feasts, their dwellings, their language, their habits, and their manners. Amid all the changes in human thought and in social institutions the characters appeal to our common humanity, essentially the same under all human conditions. The men and women of the fourteenth century love and hate, eat and drink, laugh and talk, as they do in the nineteenth. They delight, as we do, in the varieties of dress, of parade, and luxurious feasts. Although the form of these has changed, they are alive to the same sentiments which move us. They like fun and jokes and amusement as much as we. They abhor the same class of defects which disgust us,–hypocrisies, shams, lies. The inner circle of their friendship is the same as ours to-day, based on sincerity and admiration. There is the same infinite variety in character, and yet the same uniformity. The human heart beats to the same sentiments that it does under all civilizations and conditions of life. No people can live without friendship and sympathy and love; and these are ultimate sentiments of the soul, which are as eternal as the ideas of Plato. Why do the Psalms of David, written for an Oriental people four thousand years ago, excite the same emotions in the minds of the people of England or France or America that they did among the Jews? It is because they appeal to our common humanity, which never changes,–the same to-day as it was in the beginning, and will be to the end. It is only form and fashion which change; men remain the same. The men and women of the Bible talked nearly the same as we do, and seem to have had as great light on the primal principles of wisdom and truth and virtue. Who can improve on the sagacity and worldly wisdom of the Proverbs of Solomon? They have a perennial freshness, and appeal to universal experience. It is this fidelity to nature which is one of the great charms of Shakspeare. We quote his brief sayings as expressive of what we feel and know of the certitudes of our moral and intellectual life. They will last forever, under every variety of government, of social institutions, of races, and of languages. And they will last because these every-day sentiments are put in such pithy, compressed, unique, and novel form, like the Proverbs of Solomon or the sayings of Epictetus. All nations and ages alike recognize the moral wisdom in the sayings of those immortal sages whose writings have delighted and enlightened the world, because they appeal to consciousness or experience.
Now it must be confessed that the poetry of Chaucer does not abound in the moral wisdom and spiritual insight and profound reflections on the great mysteries of human life which stand out so conspicuously in the writings of Dante, Shakspeare, Milton, Goethe, and other first-class poets. He does not describe the inner life, but the outward habits and condition of the people of his times. He is not serious enough, nor learned enough, to enter upon the discussion of those high themes which agitated the schools and universities, as Dante did one hundred years before. He tells us how monks and friars lived, not how they dreamed and speculated. Nor are his sarcasms scorching and bitter, but rather humorous and laughable. He shows himself to be a genial and loving companion, not an austere teacher of disagreeable truths. He is not solemn and intense, like Dante; he does not give wings to his fancy, like Spenser; he has not the divine insight of Shakspeare; he is not learned, like Milton; he is not sarcastic, like Pope; he does not rouse the passions, like Byron; he is not meditative, like Wordsworth,–but he paints nature with great accuracy and delicacy, as also the men and women of his age, as they appeared in their outward life. He describes the passion of love with great tenderness and simplicity. In all his poems, love is his greatest theme,–which he bases, not on physical charms, but the moral beauty of the soul. In his earlier life he does not seem to have done full justice to women, whom he ridicules, but does not despise; in whom he indeed sees the graces of chivalry, but not the intellectual attraction of cultivated life. But later in life, when his experiences are broader and more profound, he makes amends for his former mistakes. In his "Legend of Good Women," which he wrote at the command of Anne of Bohemia, wife of Richard II., he eulogizes the sex and paints the most exalted sentiments of the heart. He not only had great vividness in the description of his characters, but doubtless great dramatic talent, which his age did not call out. His descriptions of nature are very fresh and beautiful, indicating a great love of nature,–flowers, trees, birds, lawns, gardens, waterfalls, falcons, dogs, horses, with whom he almost talked. He had a great sense of the ridiculous; hence his humor and fun and droll descriptions, which will ever interest because they are so fresh and vivid. And as a poet he continually improved as he advanced in life. His last works are his best, showing the care and labor he bestowed,