Beacon Lights of History, Volume 06: Renaissance and Reformation. John Lord
considering his time, that he was so great an artist without having a knowledge of the principles of art as taught by the great masters of composition.
But, as has been already said, his distinguishing excellence is vivid and natural description of the life and habits, not the opinions, of the people of the fourteenth century, described without exaggeration or effort for effect. He paints his age as Molière paints the times of Louis XIV., and Homer the heroic periods of Grecian history. This fidelity to nature and inexhaustible humor and living freshness and perpetual variety are the eternal charms of the "Canterbury Tales." They bring before the eye the varied professions and trades and habits and customs of the fourteenth century. We see how our ancestors dressed and talked and ate; what pleasures delighted them, what animosities moved them, what sentiments elevated them, and what follies made them ridiculous. The same naturalness and humor which marked "Don Quixote" and the "Decameron" also are seen in the "Canterbury Tales." Chaucer freed himself from all the affectations and extravagances and artificiality which characterized the poetry of the Middle Ages. With him began a new style in writing. He and Wyclif are the creators of English literature. They did not create a language, but they formed and polished it.
The various persons who figure in the "Canterbury Tales" are too well known for me to enlarge upon. Who can add anything to the Prologue in which Chaucer himself describes the varied characters and habits and appearance of the pilgrims to the shrine of Thomas à Becket at Canterbury? There are thirty of these pilgrims, including the poet himself, embracing nearly all the professions and trades then known, except the higher dignitaries of Church and State, who are not supposed to mix freely in ordinary intercourse, and whom it would be unwise to paint in their marked peculiarities. The most prominent person, as to social standing, is probably the knight. He is not a nobleman, but he has fought in many battles, and has travelled extensively. His cassock is soiled, and his horse is strong but not gay,–a very respectable man, courteous and gallant, a soldier corresponding to a modern colonel or captain. His son, the esquire, is a youth of twenty, with curled locks and embroidered dress, shining in various colors like the flowers of May, gay as a bird, active as a deer, and gentle as a maiden. The yeoman who attends them both is clad in green like a forester, with arrows and feathers, bearing the heavy sword and buckler of his master. The prioress is another respectable person, coy and simple, with dainty fingers, small mouth, and clean attire,–a refined sort of a woman for that age, ornamented with corals and brooch, so stately as to be held in reverence, yet so sentimental as to weep for a mouse caught in a trap: all characteristic of a respectable, kind-hearted lady who has lived in seclusion. A monk, of course, in the fourteenth century was everywhere to be seen; and a monk we have among the pilgrims, riding a "dainty" horse, accompanied with greyhounds, loving fur trimmings on his Benedictine habit and a fat swan to roast. The friar, too, we see,–a mendicant, yet merry and full of dalliances, beloved by the common women, to whom he gave easy absolution; a jolly vagabond, who knew all the taverns, and who carried on his portly person pins and songs and relics to sell or to give away. And there was the merchant, with forked beard and Flemish beaver hat and neatly clasped boots, bragging of his gains and selling French crowns, but on the whole a worthy man. The Oxford clerk or scholar is one of the company, silent and sententious, as lean as the horse on which he rode, with thread-bare coat, and books of Aristotle and his philosophy which he valued more than gold, of which indeed he could boast but little,–a man anxious to learn, and still more to teach. The sergeant of the law is another prominent figure, wary and wise, discreet and dignified, bustling and busy, yet not so busy as he seemed to be, wearing a coat of divers colors, and riding very badly. A franklin, or country gentleman, mixes with the company, with a white beard and red complexion; one of Epicurus's own sons, who held that ale and wheaten bread and fish and dainty flesh, partridge fat, were pure felicity; evidently a man given to hospitality,–
"His table dormant in his hall alway
Stood ready covered all the longe day."
He was a sheriff, also, to enforce the law, and to be present at all the county sessions. The doctor, of course, could not be left out of the company,–a man who knew the cause of every malady, versed in magic as well as physic, and grounded also in astronomy; who held that gold is the best of cordials, and knew how to keep what he gained; not luxurious in his diet, but careful what he ate and drank. The village miller is not forgotten in this motley crowd,–rough, brutal, drunken, big and brawn, with a red beard and a wart on his nose, and a mouth as wide as a furnace, a reveller and a jangler, accustomed to take toll thrice, and given to all the sins that then abounded. He is the most repulsive figure in the crowd, both vulgar and wicked. In contrast with him is the reve, or steward, of a lordly house,–a slender, choleric man, feared by servants and gamekeepers, yet in favor with his lord, since he always had money to lend, although it belonged to his master; an adroit agent and manager, who so complicated his accounts that no auditor could unravel them or any person bring him in arrears. He rode a fine dappled-gray stallion, wore a long blue overcoat, and carried a rusty sword,–evidently a proud and prosperous man. With a monk and friar, the picture would be incomplete without a pardoner, or seller of indulgences, with yellow hair and smooth face, loaded with a pillow-case of relics and pieces of the true cross, of which there were probably cartloads in every country in Europe, and of which the popes had an inexhaustible supply. This sleek and gentle pedler of indulgences rode side by side with a repulsive officer of the Church, with a fiery red face, of whom children were afraid, fond of garlic and onions and strong wine, and speaking only Latin law-terms when he was drunk, but withal a good fellow, abating his lewdness and drunkenness. In contrast with the pardoner and "sompnour" we see the poor parson, full of goodness, charity, and love,–a true shepherd and no mercenary, who waited upon no pomp and sought no worldly gains, happy only in the virtues which he both taught and lived. Some think that Chaucer had in view the learned Wyclif when he described the most interesting character of the whole group. With him was a ploughman, his brother, as good and pious as he, living in peace with all the world, paying tithes cheerfully, laborious and conscientious, the forerunner of the Puritan yeoman.
Of this motley company of pilgrims, I have already spoken of the prioress,–a woman of high position. In contrast with her is the wife of Bath, who has travelled extensively, even to Jerusalem and Rome; charitable, kind-hearted, jolly, and talkative, but bold and masculine and coarse, with a red face and red stockings, and a hat as big as a shield, and sharp spurs on her feet, indicating that she sat on her ambler like a man.
There are other characters which I cannot stop to mention,–the sailor, browned by the seas and sun, and full of stolen Bordeaux wine; the haberdasher; the carpenter; the weaver; the dyer; the tapestry-worker; the cook, to boil the chickens and the marrow-bones, and bake the pies and tarts,–mostly people from the middle and lower ranks of society, whose clothes are gaudy, manners rough, and language coarse. But all classes and trades and professions seem to be represented, except nobles, bishops, and abbots,–dignitaries whom, perhaps, Chaucer is reluctant to describe and caricature.
To beguile the time on the journey to Canterbury, all these various pilgrims are required to tell some story peculiar to their separate walks of life; and it is these stories which afford the best description we have of the manners and customs of the fourteenth century, as well as of its leading sentiments and ideas.
The knight was required to tell his story first, and it naturally was one of love and adventure. Although the scene of it was laid in ancient Greece, it delineates the institution of chivalry and the manners and sentiments it produced. No writer of that age, except perhaps Froissart, paints the connection of chivalry with the graces of the soul and the moral beauty which poetry associates with the female sex as Chaucer does. The aristocratic woman of chivalry, while delighting in martial sports, and hence masculine and haughty, is also condescending, tender, and gracious. The heroic and dignified self-respect with which chivalry invested woman exalted the passion of love. Allied with reverence for woman was loyalty to the prince. The rough warrior again becomes a gentleman, and has access to the best society. Whatever may have been the degrees of rank, the haughtiest nobleman associated with the penniless knight, if only he were a gentleman and well born, on terms of social equality, since chivalry, while it created distinctions, also levelled those which wealth and power naturally created among the higher class. Yet chivalry did not exalt woman outside of noble ranks. The plebeian woman neither has the graces