Grammar American & British

Saturday, December 23, 2023

17-) English Literature

17-) English Literature

The Best English Writers and Poets of the Middle English Period

In the latter half of the fourteenth century, two of the era's most famous poets emerged from this urban merchant background: Geoffrey Chaucer and John Gower. Chaucer is famous for his Canterbury Tales and Gower for Confessio Amantis. Each is a collection of tales united by a frame narrative.

Geoffrey Chaucer 


Geoffrey Chaucer (/ˈtʃɔːsər/; (born c. 1342/43, London?, England—died October 25, 1400, London) was an English poet, author, and civil servant best known for The Canterbury Tales. Geoffrey Chaucer the outstanding English poet before Shakespeare and “the first finder of our language.” His The Canterbury Tales ranks as one of the greatest poetic works in English. He has been called the "father of English literature", or, alternatively, the "father of English poetry". He was the first writer to be buried in what has since come to be called Poets' Corner, in Westminster Abbey. Chaucer also gained fame as a philosopher and astronomer, composing the scientific A Treatise on the Astrolabe for his 10-year-old son Lewis. He maintained a career in the civil service as a bureaucrat, courtier, diplomat, and member of parliament.

He also contributed importantly in the second half of the 14th century to the management of public affairs as courtier, diplomat, and civil servant. In that career he was trusted and aided by three successive kings—Edward III, Richard II, and Henry IV. But it is his avocation—the writing of poetry—for which he is remembered.

Among Chaucer's many other works are The Book of the Duchess, The House of Fame, The Legend of Good Women, and Troilus and Criseyde. He is seen as crucial in legitimising the literary use of Middle English when the dominant literary languages in England were still Anglo-Norman French and Latin.[4] Chaucer's contemporary Thomas Hoccleve hailed him as "the firste fyndere of our fair langage" (i.e., the first one capable of finding poetic matter in English). Almost two thousand English words are first attested to in Chaucerian manuscripts.

Life

Chaucer was born in London most likely in the early 1340s (by some accounts, including his monument, he was born in 1343), though the precise date and location remain unknown. The Chaucer family offers an extraordinary example of upward mobility. His great-grandfather was a tavern keeper, his grandfather worked as a purveyor of wines, and his father John Chaucer rose to become an important wine merchant with a royal appointment. Several previous generations of Geoffrey Chaucer's family had been vintners and merchants in Ipswich. His family name is derived from the French chaucier, once thought to mean 'shoemaker', but now known to mean a maker of hose or leggings.

In 1324, his father John Chaucer was kidnapped by an aunt in the hope of marrying the 12-year-old to her daughter in an attempt to keep the property in Ipswich. The aunt was imprisoned and fined £250, now equivalent to about £200,000, which suggests that the family was financially secure.

John Chaucer married Agnes Copton, who inherited properties in 1349, including 24 shops in London from her uncle Hamo de Copton, who is described in a will dated 3 April 1354 and listed in the City Hustings Roll as "moneyer", said to be a moneyer at the Tower of London. In the City Hustings Roll 110, 5, Ric II, dated June 1380, Chaucer refers to himself as me Galfridum Chaucer, filium Johannis Chaucer, Vinetarii, Londonie, which translates as: "I, Geoffrey Chaucer, son of the vintner John Chaucer, London".

Forebears and early years

Chaucer’s forebears for at least four generations were middle-class English people whose connection with London and the court had steadily increased. John Chaucer, his father, was an important London vintner and a deputy to the king’s butler; in 1338 he was a member of Edward III’s expedition to Antwerp, in Flanders, now part of Belgium, and he owned property in Ipswich, in the county of Suffolk, and in London. He died in 1366 or 1367 at age 53. The name Chaucer is derived from the French word chaussier, meaning a maker of footwear. The family’s financial success derived from wine and leather.

Although c. 1340 is customarily given as Chaucer’s birth date, 1342 or 1343 is probably a closer guess. No information exists concerning his early education, although doubtless he would have been as fluent in French as in the Middle English of his time. He also became competent in Latin and Italian. His writings show his close familiarity with many important books of his time and of earlier times.

Chaucer first appears in the records in 1357, as a member of the household of Elizabeth, countess of Ulster, wife of Lionel, third son of Edward III. Geoffrey’s father presumably had been able to place him among the group of young men and women serving in that royal household, a customary arrangement whereby families who could do so provided their children with opportunity for the necessary courtly education and connections to advance their careers. By 1359 Chaucer was a member of Edward III’s army in France and was captured during the unsuccessful siege of Reims. The king contributed to his ransom, and Chaucer served as messenger from Calais to England during the peace negotiations of 1360. Chaucer does not appear in any contemporary record during 1361–65. He was probably in the king’s service, but he may have been studying law—not unusual preparation for public service, then as now—since a 16th-century report implies that, while so engaged, he was fined for beating a Franciscan friar in a London street. On February 22, 1366, the king of Navarre issued a certificate of safe-conduct for Chaucer, three companions, and their servants to enter Spain. This occasion is the first of a number of diplomatic missions to the continent of Europe over the succeeding 10 years, and the wording of the document suggests that here

Chaucer served as “chief of mission.”

By 1366 Chaucer had married. Probably his wife was Philippa Pan, who had been in the service of the countess of Ulster and entered the service of Philippa of Hainaut, queen consort of Edward III, when Elizabeth died in 1363. In 1366 Philippa Chaucer received an annuity, and later annuities were frequently paid to her through her husband. These and other facts indicate that Chaucer married well.

In 1367 Chaucer received an annuity for life as yeoman of the king, and in the next year he was listed among the king’s esquires. Such officers lived at court and performed staff duties of considerable importance. In 1368 Chaucer was abroad on a diplomatic mission, and in 1369 he was on military service in France. Also in 1369 he and his wife were official mourners for the death of Queen Philippa. Obviously, Chaucer’s career was prospering, and his first important poem—Book of the Duchess—seems further evidence of his That poem of more than 1,300 lines, probably written in late 1369 or early 1370, is an elegy for Blanche, duchess of Lancaster, John of Gaunt’s first wife, who died of plague in September 1369. Chaucer’s close relationship with John, which continued through most of his life, may have commenced as early as Christmas 1357 when they, both about the same age, were present at the countess of Ulster’s residence in Yorkshire. For this first of his important poems, Chaucer used the dream-vision form, a genre made popular by the highly influential 13th-century French poem of courtly love, the Roman de la rose. Chaucer translated that poem, at least in part, probably as one of his first literary efforts, and he borrowed from it throughout his poetic career. The Duchess is also indebted to contemporary French poetry and to Ovid, Chaucer’s favourite Roman poet. Nothing in these borrowings, however, will account for his originality in combining dream-vision with elegy and eulogy of Blanche with consolation for John. Also noteworthy here—as it increasingly became in his later poetry—is the tactful and subtle use of a first-person narrator, who both is and is not the poet himself. The device had obvious advantages for the minor courtier delivering such a poem orally before the high-ranking court group. In addition, the Duchess foreshadows Chaucer’s skill at presenting the rhythms of natural conversation within the confines of Middle English verse and at creating realistic characters within courtly poetic conventions. Also, Chaucer here begins, with the Black Knight’s account of his love for Good Fair White, his career as a love poet, examining in late medieval fashion the important philosophic and religious questions concerning the human condition as they relate to both temporal and eternal aspects of love.

Career

While records concerning the lives of his contemporaries William Langland and the Gawain Poet are practically non-existent, since Chaucer was a public servant his official life is very well documented, with nearly five hundred written items testifying to his career. The first of the "Chaucer Life Records" appears in 1357, in the household accounts of Elizabeth de Burgh, the Countess of Ulster, when he became the noblewoman's page through his father's connections, a common medieval form of apprenticeship for boys into knighthood or prestige appointments. The countess was married to Lionel of Antwerp, 1st Duke of Clarence, the second surviving son of the king, Edward III, and the position brought the teenage Chaucer into the close court circle, where he was to remain for the rest of his life. He also worked as a courtier, a diplomat, and a civil servant, as well as working for the king from 1389 to 1391 as Clerk of the King's Works.

In 1359, the early stages of the Hundred Years' War, Edward III invaded France and Chaucer travelled with Lionel of Antwerp, Elizabeth's husband, as part of the English army. In 1360, he was captured during the siege of Rheims. Edward paid £16 for his ransom, a considerable sum equivalent to £12,261 in 2021, and Chaucer was released.

After this, Chaucer's life is uncertain, but he seems to have travelled in France, Spain, and Flanders, possibly as a messenger and perhaps even going on a pilgrimage to Santiago de Compostela. Around 1366, Chaucer married Philippa (de) Roet. She was a lady-in-waiting to Edward III's queen, Philippa of Hainault, and a sister of Katherine Swynford, who later (c. 1396) became the third wife of John of Gaunt. It is uncertain how many children Chaucer and Philippa had, but three or four are most commonly cited. His son, Thomas Chaucer, had an illustrious career, as chief butler to four kings, envoy to France, and Speaker of the House of Commons. Thomas's daughter, Alice, married the Duke of Suffolk. Thomas's great-grandson (Geoffrey's great-great-grandson), John de la Pole, Earl of Lincoln, was the heir to the throne designated by Richard III before he was deposed. Geoffrey's other children probably included Elizabeth Chaucy, a nun at Barking Abbey, Agnes, an attendant at Henry IV's coronation; and another son, Lewis Chaucer. Chaucer's "Treatise on the Astrolabe" was written for Lewis.

According to tradition, Chaucer studied law in the Inner Temple (an Inn of Court) at this time. He became a member of the royal court of Edward III as a valet de chambre, yeoman, or esquire on 20 June 1367, a position which could entail a wide variety of tasks. His wife also received a pension for court employment. He travelled abroad many times, at least some of them in his role as a valet. In 1368, he may have attended the wedding of Lionel of Antwerp to Violante Visconti, daughter of Galeazzo II Visconti, in Milan. Two other literary stars of the era were in attendance: Jean Froissart and Petrarch. Around this time, Chaucer is believed to have written The Book of the Duchess in honour of Blanche of Lancaster, the late wife of John of Gaunt, who died in 1369 of the plague.

Chaucer travelled to Picardy the next year as part of a military expedition; in 1373 he visited Genoa and Florence. Numerous scholars such as Skeat, Boitani, and Rowland suggested that, on this Italian trip, he came into contact with Petrarch or Boccaccio. They introduced him to medieval Italian poetry, the forms and stories of which he would use later. The purposes of a voyage in 1377 are mysterious, as details within the historical record conflict. Later documents suggest it was a mission, along with Jean Froissart, to arrange a marriage between the future King Richard II and a French princess, thereby ending the Hundred Years' War. If this was the purpose of their trip, they seem to have been unsuccessful, as no wedding occurred.

In 1378, Richard II sent Chaucer as an envoy (secret dispatch) to the Visconti and to Sir John Hawkwood, English condottiere (mercenary leader) in Milan. It has been speculated that it was Hawkwood on whom Chaucer based his character the Knight in the Canterbury Tales, for a description matches that of a 14th-century condottiere.

A possible indication that his career as a writer was appreciated came when Edward III granted Chaucer "a gallon of wine daily for the rest of his life" for some unspecified task. This was an unusual grant, but given on a day of celebration, St George's Day, 1374, when artistic endeavours were traditionally rewarded, it is assumed to have been for another early poetic work. It is not known which, if any, of Chaucer's extant works prompted the reward, but the suggestion of him as poet to a king places him as a precursor to later poets laureate. Chaucer continued to collect the liquid stipend until Richard II came to power, after which it was converted to a monetary grant on 18 April 1378.

Chaucer obtained the very substantial job of comptroller of the customs for the port of London, which he began on 8 June 1374. He must have been suited for the role as he continued in it for twelve years, a long time in such a post at that time. His life goes undocumented for much of the next ten years, but it is believed that he wrote (or began) most of his famous works during this period. Chaucer's "only surviving handwriting" dates from this period. This is a request for temporary leave from work presented to King Richard II, hitherto believed to be the work of one of his subordinates due to the low level of language.

On 16 October 1379 Thomas Staundon filed a legal action against his former servant Cecily Chaumpaigne and Chaucer, accusing Chaucer of unlawfully employing Chaumpaigne before her term of service was completed, which violated the Statute of Labourers. Though eight court documents dated between October 1379 and July 1380 survive from the action,[28] the case was never prosecuted and no details survive about Chaumpaigne's service or how she came to leave Staundon's employ for Chaucer's.

It is not known if Chaucer was in the City of London at the time of the Peasants' Revolt, but if he was, he would have seen its leaders pass almost directly under his apartment window at Aldgate.

While still working as comptroller, Chaucer appears to have moved to Kent, being appointed as one of the commissioners of peace for Kent, at a time when French invasion was a possibility. He is thought to have started work on The Canterbury Tales in the early 1380s. He also became a member of parliament for Kent in 1386, and attended the 'Wonderful Parliament' that year. He appears to have been present at most of the 71 days it sat, for which he was paid £24 9s. On 15 October that year, he gave a deposition in the case of Scrope v. Grosvenor. There is no further reference after this date to Philippa, Chaucer's wife, and she is presumed to have died in 1387. He survived the political upheavals caused by the Lords Appellants, despite the fact that Chaucer knew some of the men executed over the affair quite well.

On 12 July 1389, Chaucer was appointed the clerk of the king's works, a sort of foreman organising most of the king's building projects. No major works were begun during his tenure, but he did conduct repairs on Westminster Palace, St. George's Chapel, Windsor, continued building the wharf at the Tower of London, and built the stands for a tournament held in 1390. It may have been a difficult job, but it paid two shillings a day, more than three times his salary as a comptroller. Chaucer was also appointed keeper of the lodge at the King's park in Feckenham Forest in Worcestershire, which was a largely honorary appointment.

While records concerning the lives of his contemporaries William Langland and the Gawain Poet are practically non-existent, since Chaucer was a public servant his official life is very well documented, with nearly five hundred written items testifying to his career. The first of the "Chaucer Life Records" appears in 1357, in the household accounts of Elizabeth de Burgh, the Countess of Ulster, when he became the noblewoman's page through his father's connections, a common medieval form of apprenticeship for boys into knighthood or prestige appointments. The countess was married to Lionel of Antwerp, 1st Duke of Clarence, the second surviving son of the king, Edward III, and the position brought the teenage Chaucer into the close court circle, where he was to remain for the rest of his life. He also worked as a courtier, a diplomat, and a civil servant, as well as working for the king from 1389 to 1391 as Clerk of the King's Works.

In 1359, the early stages of the Hundred Years' War, Edward III invaded France and Chaucer travelled with Lionel of Antwerp, Elizabeth's husband, as part of the English army. In 1360, he was captured during the siege of Rheims. Edward paid £16 for his ransom, a considerable sum equivalent to £12,261 in 2021and Chaucer was released.

After this, Chaucer's life is uncertain, but he seems to have travelled in France, Spain, and Flanders, possibly as a messenger and perhaps even going on a pilgrimage to Santiago de Compostela. Around 1366, Chaucer married Philippa (de) Roet. She was a lady-in-waiting to Edward III's queen, Philippa of Hainault, and a sister of Katherine Swynford, who later (c. 1396) became the third wife of John of Gaunt. It is uncertain how many children Chaucer and Philippa had, but three or four are most commonly cited. His son, Thomas Chaucer, had an illustrious career, as chief butler to four kings, envoy to France, and Speaker of the House of Commons. Thomas's daughter, Alice, married the Duke of Suffolk. Thomas's great-grandson (Geoffrey's great-great-grandson), John de la Pole, Earl of Lincoln, was the heir to the throne designated by Richard III before he was deposed. Geoffrey's other children probably included Elizabeth Chaucy, a nun at Barking Abbey, Agnes, an attendant at Henry IV's coronation; and another son, Lewis Chaucer. Chaucer's "Treatise on the Astrolabe" was written for Lewis.

According to tradition, Chaucer studied law in the Inner Temple (an Inn of Court) at this time. He became a member of the royal court of Edward III as a valet de chambre, yeoman, or esquire on 20 June 1367, a position which could entail a wide variety of tasks. His wife also received a pension for court employment. He travelled abroad many times, at least some of them in his role as a valet. In 1368, he may have attended the wedding of Lionel of Antwerp to Violante Visconti, daughter of Galeazzo II Visconti, in Milan. Two other literary stars of the era were in attendance: Jean Froissart and Petrarch. Around this time, Chaucer is believed to have written The Book of the Duchess in honour of Blanche of Lancaster, the late wife of John of Gaunt, who died in 1369 of the plague.

Chaucer travelled to Picardy the next year as part of a military expedition; in 1373 he visited Genoa and Florence. Numerous scholars such as Skeat, Boitani, and Rowland suggested that, on this Italian trip, he came into contact with Petrarch or Boccaccio. They introduced him to medieval Italian poetry, the forms and stories of which he would use later. The purposes of a voyage in 1377 are mysterious, as details within the historical record conflict. Later documents suggest it was a mission, along with Jean Froissart, to arrange a marriage between the future King Richard II and a French princess, thereby ending the Hundred Years' War. If this was the purpose of their trip, they seem to have been unsuccessful, as no wedding occurred.

In 1378, Richard II sent Chaucer as an envoy (secret dispatch) to the Visconti and to Sir John Hawkwood, English condottiere (mercenary leader) in Milan. It has been speculated that it was Hawkwood on whom Chaucer based his character the Knight in the Canterbury Tales, for a description matches that of a 14th-century condottiere.

A possible indication that his career as a writer was appreciated came when Edward III granted Chaucer "a gallon of wine daily for the rest of his life" for some unspecified task. This was an unusual grant, but given on a day of celebration, St George's Day, 1374, when artistic endeavours were traditionally rewarded, it is assumed to have been for another early poetic work. It is not known which, if any, of Chaucer's extant works prompted the reward, but the suggestion of him as poet to a king places him as a precursor to later poets laureate. Chaucer continued to collect the liquid stipend until Richard II came to power, after which it was converted to a monetary grant on 18 April 1378.

Chaucer obtained the very substantial job of comptroller of the customs for the port of London, which he began on 8 June 1374. He must have been suited for the role as he continued in it for twelve years, a long time in such a post at that time. His life goes undocumented for much of the next ten years, but it is believed that he wrote (or began) most of his famous works during this period. Chaucer's "only surviving handwriting" dates from this period. This is a request for temporary leave from work presented to King Richard II, hitherto believed to be the work of one of his subordinates due to the low level of language.

On 16 October 1379 Thomas Staundon filed a legal action against his former servant Cecily Chaumpaigne and Chaucer, accusing Chaucer of unlawfully employing Chaumpaigne before her term of service was completed, which violated the Statute of Labourers. Though eight court documents dated between October 1379 and July 1380 survive from the action, the case was never prosecuted and no details survive about Chaumpaigne's service or how she came to leave Staundon's employ for Chaucer's.

It is not known if Chaucer was in the City of London at the time of the Peasants' Revolt, but if he was, he would have seen its leaders pass almost directly under his apartment window at Aldgate.

While still working as comptroller, Chaucer appears to have moved to Kent, being appointed as one of the commissioners of peace for Kent, at a time when French invasion was a possibility. He is thought to have started work on The Canterbury Tales in the early 1380s. He also became a member of parliament for Kent in 1386, and attended the 'Wonderful Parliament' that year. He appears to have been present at most of the 71 days it sat, for which he was paid £24 9s. On 15 October that year, he gave a deposition in the case of Scrope v. Grosvenor. There is no further reference after this date to Philippa, Chaucer's wife, and she is presumed to have died in 1387. He survived the political upheavals caused by the Lords Appellants, despite the fact that Chaucer knew some of the men executed over the affair quite well.

On 12 July 1389, Chaucer was appointed the clerk of the king's works, a sort of foreman organising most of the king's building projects. No major works were begun during his tenure, but he did conduct repairs on Westminster Palace, St. George's Chapel, Windsor, continued building the wharf at the Tower of London, and built the stands for a tournament held in 1390. It may have been a difficult job, but it paid two shillings a day, more than three times his salary as a comptroller. Chaucer was also appointed keeper of the lodge at the King's park in Feckenham Forest in Worcestershire, which was a largely honorary appointment.

Diplomat and civil servant

During the decade of the 1370s, Chaucer was at various times on diplomatic missions in Flanders, France, and Italy. Probably his first Italian journey (December 1372 to May 1373) was for negotiations with the Genoese concerning an English port for their commerce, and with the Florentines concerning loans for Edward III. His next Italian journey occupied May 28 to September 19, 1378, when he was a member of a mission to Milan concerning military matters. Several times during the 1370s, Chaucer and his wife received generous monetary grants from the king and from John of Gaunt. On May 10, 1374, he obtained rent-free a dwelling above Aldgate, in London, and on June 8 of that year he was appointed comptroller of the customs and subsidy of wools, skins, and tanned hides for the Port of London. Now, for the first time, Chaucer had a position away from the court, and he and his wife had a home of their own, about a 10-minute walk from his office. In 1375 he was granted two wardships, which paid well, and in 1376 he received a sizable sum from a fine. When Richard II became king in June 1377, he confirmed Chaucer’s comptrollership and, later, the annuities granted by Edward III to both Geoffrey and Philippa. Certainly during the 1370s fortune smiled upon the Chaucers.

So much responsibility and activity in public matters appears to have left Chaucer little time for writing during this decade. The great literary event for him was that, during his missions to Italy, he encountered the work of Dante, Petrarch, and Boccaccio, which was later to have profound influence upon his own writing. Chaucer’s most important work of the 1370s was Hous of Fame, a poem of more than 2,000 lines, also in dream-vision form. In some ways it is a failure—it is unfinished, its theme is unclear, and the diversity of its parts seems to overshadow any unity of purpose—but it gives considerable evidence of Chaucer’s advancing skill as a poet. The eight-syllable metre is handled with great flexibility; the light, bantering, somewhat ironic tone—later to become one of Chaucer’s chief effects—is established; and a wide variety of subject matter is included. Further, the later mastery in creation of memorable characters is here foreshadowed by the marvelous golden eagle who carries the frightened narrator, “Geoffrey,” high above the Earth to the houses of Fame and Rumour, so that as a reward for his writing and studying he can learn “tydings” to make into love poems. Here, too, Chaucer’s standard picture of his own fictional character emerges: the poet, somewhat dull-witted, dedicated to writing about love but without successful personal experience of it. The comedy of the poem reaches its high point when the pedantic eagle delivers for Geoffrey’s edification a learned lecture on the properties of sound. In addition to its comic aspects, however, the poem seems to convey a serious note: like all earthly things, fame is transitory and capricious.

The middle years: political and personal anxieties

In a deed of May 1, 1380, one Cecily Chaumpaigne released Chaucer from legal action, “both of my rape and of any other matter or cause.” Rape (raptus) could at the time mean either sexual assault or abduction; scholars have not been able to establish which meaning applies here, but, in either case, the release suggests that Chaucer was not guilty as charged. He continued to work at the Customs House and in 1382 was additionally appointed comptroller of the petty customs for wine and other merchandise, but in October 1386 his dwelling in London was leased to another man, and in December of that year successors were named for both of his comptrollerships in the customs; whether he resigned or was removed from office is not clear. Between 1382 and 1386 he had arranged for deputies—permanent in two instances and temporary in others—in his work at the customs. In October 1385 he was appointed a justice of the peace for Kent, and in August 1386 he became knight of the shire for Kent, to attend Parliament in October. Further, in 1385 he probably moved to Greenwich, then in Kent, to live. These circumstances suggest that, for some time before 1386, he was planning to move from London and to leave the Customs House. Philippa Chaucer apparently died in 1387; if she had suffered poor health for some time previously, that situation could have influenced a decision to move. On the other hand, political circumstances during this period were not favourable for Chaucer and may have caused his removal. By 1386 a baronial group led by Thomas of Woodstock, duke of Gloucester, had bested both Richard II and John of Gaunt—with whose parties Chaucer had long been associated—and usurped the king’s authority and administration. Numerous other officeholders—like Chaucer, appointed by the king—were discharged, and Chaucer may have suffered similarly. Perhaps the best view of the matter is that Chaucer saw which way the political wind was blowing and began early to prepare to move when the necessity arrived.

The period 1386–89 was clearly difficult for Chaucer. Although he was reappointed justice of the peace for 1387, he was not returned to Parliament after 1386. In 1387 he was granted protection for a year to go to Calais, in France, but seems not to have gone, perhaps because of his wife’s death. In 1388 a series of suits against him for debts began, and he sold his royal pension for a lump sum. Also, from February 3 to June 4, 1388, the Merciless Parliament, controlled by the barons, caused many leading members of the court party—some of them Chaucer’s close friends—to be executed. In May 1389, however, the 23-year-old King Richard II regained control, ousted his enemies, and began appointing his supporters to office. Almost certainly, Chaucer owed his next public office to that political change. On July 12, 1389, he was appointed clerk of the king’s works, with executive responsibility for repair and maintenance of royal buildings, such as the Tower of London and Westminster Palace, and with a comfortable salary.

Although political events of the 1380s, from the Peasants’ Revolt of 1381 through the Merciless Parliament of 1388, must have kept Chaucer steadily anxious, he produced a sizable body of writings during this decade, some of very high order. Surprisingly, these works do not in any way reflect the tense political scene. Indeed, one is tempted to speculate that during this period Chaucer turned to his reading and writing as escape from the difficulties of his public life. The Parlement of Foules , a poem of 699 lines, is a dream-vision for St. Valentine’s Day, making use of the myth that each year on that day the birds gathered before the goddess Nature to choose their mates. Beneath its playfully humorous tone, it seems to examine the value of various kinds of love within the context of “common profit” as set forth in the introductory abstract from the Somnium Scipionis (The Dream of Scipio) of Cicero. The narrator searches unsuccessfully for an answer and concludes that he must continue his search in other books. For this poem Chaucer also borrowed extensively from Boccaccio and Dante, but the lively bird debate from which the poem takes its title is for the most part original. The poem has often been taken as connected with events at court, particularly the marriage in 1382 of Richard II and Anne of Bohemia. But no such connection has ever been firmly established. The Parlement is clearly the best of Chaucer’s earlier works.

The Consolation of Philosophy, written by the Roman philosopher Boethius (early 6th century), a Christian, was one of the most influential of medieval books. Its discussion of free will, God’s foreknowledge, destiny, fortune, and true and false happiness—in effect, all aspects of the manner in which the right-minded individual should direct his thinking and action to gain eternal salvation—had a deep and lasting effect upon Chaucer’s thought and art. His prose translation of the Consolation is carefully done, and in his next poem—Troilus and Criseyde—the influence of Boethius’s book is pervasive. Chaucer took the basic plot for this 8,239-line poem from Boccaccio’s Filostrato.

Some critics consider Troilus and Criseyde Chaucer’s finest work, greater even than the far more widely read Canterbury Tales. But the two works are so different that comparative evaluation seems fruitless. The state of the surviving manuscripts of Troilus shows Chaucer’s detailed effort in revising this poem. Against the background of the legendary Trojan War, the love story of Troilus, son of the Trojan king Priam, and Criseyde, widowed daughter of the deserter priest Calkas, is recounted. The poem moves in leisurely fashion, with introspection and much of what would now be called psychological insight dominating many sections. Aided by Criseyde’s uncle Pandarus, Troilus and Criseyde are united in love about halfway through the poem, but then she is sent to join her father in the Greek camp outside Troy. Despite her promise to return, she gives her love to the Greek Diomede, and Troilus, left in despair, is killed in the war. These events are interspersed with Boethian discussion of free will and determinism. At the end of the poem, when Troilus’s soul rises into the heavens, the folly of complete immersion in sexual love is viewed in relation to the eternal love of God. The effect of the poem is controlled throughout by the direct comments of the narrator, whose sympathy for the lovers—especially for Criseyde—is ever present.

Also in the 1380s Chaucer produced his fourth and final dream-vision poem, The Legend of Good Women, which is not a success. It presents a Prologue, existing in two versions, and nine stories. In the Prologue the god of love is angry because Chaucer had earlier written about so many women who betrayed men. As penance, Chaucer must now write about good women. The Prologue is noteworthy for the delightful humour of the narrator’s self-mockery and for the passages in praise of books and of the spring. The stories—concerning such women of antiquity as Cleopatra, Dido, and Lucrece—are brief and rather mechanical, with the betrayal of women by wicked men as a regular theme; as a result, the whole becomes more a legend of bad men than of good women. Perhaps the most important fact about the Legend, however, is that it shows Chaucer structuring a long poem as a collection of stories within a framework. Seemingly the static nature of the framing device for the Legend and the repetitive aspect of the series of stories with a single theme led him to give up this attempt as a poor job. But the failure here must have contributed to his brilliant choice, probably about this same time, of a pilgrimage as the framing device for the stories in The Canterbury Tales.

Later life

Last years and The Canterbury Tales of Geoffrey Chaucer

Chaucer’s service as clerk of the king’s works lasted only from July 1389 to June 1391. During that tenure he was robbed several times and once beaten, sufficient reason for seeking a change of jobs. In June 1391 he was appointed sub-forester of the king’s park in North Petherton, Somerset, an office that he held until his death. He retained his home in Kent and continued in favour at court, receiving royal grants and gifts during 1393–97. The records show his close relationship during 1395–96 with John of Gaunt’s son, the earl of Derby, later King Henry IV. When John died in February 1399, King Richard confiscated John’s Lancastrian inheritance; then in May he set forth to crush the Irish revolt. In so doing, he left his country ready to rebel. Henry, exiled in 1398 but now duke of Lancaster, returned to England to claim his rights. The people flocked to him, and he was crowned on September 30, 1399. He confirmed Chaucer’s grants from Richard II and in October added an additional generous annuity. In December 1399 Chaucer took a lease on a house in the garden of Westminster Abbey. But in October of the following year he died. He was buried in the Abbey, a signal honour for a commoner.

n September 1390, records say that Chaucer was robbed and possibly injured while conducting the business, and he stopped working in this capacity on 17 June. He began as Deputy Forester in the royal forest of Petherton Park in North Petherton, Somerset on 22 June. This was no sinecure, with maintenance an important part of the job, although there were many opportunities to derive profit.

Richard II granted him an annual pension of 20 pounds in 1394 (equivalent to £18,558 in 2021), and Chaucer's name fades from the historical record not long after Richard's overthrow in 1399. The last few records of his life show his pension renewed by the new king, and his taking a lease on a residence within the close of Westminster Abbey on 24 December 1399. Henry IV renewed the grants assigned by Richard, but The Complaint of Chaucer to his Purse hints that the grants might not have been paid. The last mention of Chaucer is on 5 June 1400 when some debts owed to him were repaid.

Chaucer died of unknown causes on 25 October 1400, although the only evidence for this date comes from the engraving on his tomb which was erected more than 100 years after his death. There is some speculation that he was murdered by enemies of Richard II or even on the orders of his successor Henry IV, but the case is entirely circumstantial. Chaucer was buried in Westminster Abbey in London, as was his right owing to his status as a tenant of the Abbey's close. In 1556, his remains were transferred to a more ornate tomb, making him the first writer interred in the area now known as Poets' Corner.

Relationship to John of Gaunt

Chaucer was a close friend of John of Gaunt, the wealthy Duke of Lancaster and father of Henry IV, and he served under Lancaster's patronage. Near the end of their lives, Lancaster and Chaucer became brothers-in-law when Lancaster married Katherine Swynford (de Roet) in 1396; she was the sister of Philippa (de) Roet, whom Chaucer had married in 1366.

Chaucer's The Book of the Duchess (also known as the Deeth of Blaunche the Duchesse) was written in commemoration of Blanche of Lancaster, John of Gaunt's first wife. The poem refers to John and Blanche in allegory as the narrator relates the tale of "A long castel with walles white/Be Seynt Johan, on a ryche hil" (1318–1319) who is mourning grievously after the death of his love, "And goode faire White she het/That was my lady name ryght" (948–949). The phrase "long castel" is a reference to Lancaster (also called "Loncastel" and "Longcastell"), "walles white" is thought to be an oblique reference to Blanche, "Seynt Johan" was John of Gaunt's name-saint, and "ryche hil" is a reference to Richmond. These references reveal the identity of the grieving black knight of the poem as John of Gaunt, Duke of Lancaster and Earl of Richmond. "White" is the English translation of the French word "blanche", implying that the white lady was Blanche of Lancaster.

Poem Fortune

Chaucer's short poem Fortune, believed to have been written in the 1390s, is also thought to refer to Lancaster. "Chaucer as narrator" openly defies Fortune, proclaiming that he has learned who his enemies are through her tyranny and deceit, and declares "my suffisaunce"  and that "over himself hath the maystrye".

Fortune, in turn, does not understand Chaucer's harsh words to her for she believes that she has been kind to him, claims that he does not know what she has in store for him in the future, but most importantly, "And eek thou hast thy beste frend alyve". Chaucer retorts, "My frend maystow nat reven, blind goddesse"  and orders her to take away those who merely pretend to be his friends.

Fortune turns her attention to three princes whom she implores to relieve Chaucer of his pain and "Preyeth his beste frend of his noblesse/That to som beter estat he may atteyne". The three princes are believed to represent the dukes of Lancaster, York, and Gloucester, and a portion of line 76 ("as three of you or tweyne") is thought to refer to the ordinance of 1390 which specified that no royal gift could be authorised without the consent of at least two of the three dukes.

Most conspicuous in this short poem is the number of references to Chaucer's "beste frend". Fortune states three times in her response to the plaintiff, "And also, you still have your best friend alive"; she also refers to his "beste frend" in the envoy when appealing to his "noblesse" to help Chaucer to a higher estate. The narrator makes a fifth reference when he rails at Fortune that she shall not take his friend from him.

Religious beliefs

Chaucer seems to have respected and admired Christians and to have been one himself, though he also recognised that many people in the church were venal and corrupt. He wrote in Canterbury Tales, "now I beg all those that listen to this little treatise, or read it, that if there be anything in it that pleases them, they thank our Lord Jesus Christ for it, from whom proceeds all understanding and goodness."

Descendants and posthumous reputation of Geoffrey Chaucer

Information concerning Chaucer’s children is not fully clear. The probability is that he and Philippa had two sons and two daughters. One son, Thomas Chaucer, who died in 1434, owned large tracts of land and held important offices in the 1420s, including the forestership of North Petherton. He later leased Chaucer’s house in Westminster, and his twice-widowed daughter Alice became duchess of Suffolk. In 1391 Chaucer had written Treatise on the Astrolabe for “little Lewis,” probably his younger son, then 10 years old. Elizabeth “Chaucy,” probably the poet’s daughter, was a nun at Barking in 1381. A second probable daughter, Agnes Chaucer, was a lady-in-waiting at Henry IV’s coronation in 1399. The records lend some support to speculation that John of Gaunt fathered one or more of these children. Chaucer seems to have had no descendants living after the 15th century.

16- ) English Literature

16-) English Literature 


Caedmon, The First English Poet

Cædmon (/ˈkædmən, ˈkædmɒn/; fl. c. 657–684) is the earliest English poet whose name is known.  Caedmon is recognised as the first English poet composing his Hymn in the 7th century at Whitby Abbey, as told by Bede in his Ecclesiastical History of the English people . Caedmon was one of the first people to compose poetry in the English language, making him the founder of English literature as we know it today. In Caedmon's day, English was spoken and performed, but Latin and Greek were the languages of Christianity.A Northumbrian cowherd who cared for the animals at the double monastery of Streonæshalch (now known as Whitby Abbey) during the abbacy of St. Hilda, he was originally ignorant of "the art of song" but learned to compose one night in the course of a dream, according to the 8th-century historian Bede. He later became a zealous monk and an accomplished and inspirational Christian poet.

Cædmon is one of twelve Anglo-Saxon poets identified in mediaeval sources, and one of three of these for whom both roughly contemporary biographical information and examples of literary output have survived. His story is related in the Historia ecclesiastica gentis Anglorum ("Ecclesiastical History of the English People") by Bede who wrote, "[t]here was in the Monastery of this Abbess a certain brother particularly remarkable for the Grace of God, who was wont to make religious verses, so that whatever was interpreted to him out of scripture, he soon after put the same into poetical expressions of much sweetness and humility in Old English, which was his native language. By his verse the minds of many were often excited to despise the world, and to aspire to heaven."

Cædmon's only known surviving work is Cædmon's Hymn, a nine-line alliterative vernacular praise poem in honour of God. The poem is one of the early attested examples of Old English and is, with the runic Ruthwell Cross and Franks Casket inscriptions, one of three candidates for the earliest attested example of Old English poetry. It is also one of the early recorded examples of sustained poetry in a Germanic language. In 1898, Cædmon's Cross was erected in his honour in the graveyard of St Mary's Church in Whitby.

Life

No detail of Cædmon’s family life is recorded but it is believed that he was born in the year 600 and is perceived to be, at first, a simple, uneducated man. His task at the monastery was to work and sleep with the animals while other monks went about their holy orders by day and feasted, sang and played harps before bedtime.

Bede's account

Much of what is known about the 7th century poet known as Cædmon is thanks to the Venerable Bede’s great work The Ecclesiastical History of the English People (written in Latin as Historia Ecclesiastica Gentis Anglorum). Bede was a monk living in the north of England whose carefully documented accounts of life at that time earned him the title “The Father of English History”. Cædmon is certainly one of the earliest known English poets and it is said that the ability to compose verse came to him in a dream one night while resting from his labours at the Streonæshalch monastery contained within Whitby Abbey. His inspiration drove him to become an inspirational poet, producing powerful religious work such as his epic Genesis which ran to twenty one separate books.

One evening, while the monks were feasting, singing, and playing a harp, Cædmon left early to sleep with the animals because he knew no songs. The impression clearly given by St. Bede is that he lacked the knowledge of how to compose the lyrics to songs. While asleep, he had a dream in which "someone" (quidam) approached him and asked him to sing principium creaturarum, "the beginning of created things." After first refusing to sing, Cædmon subsequently produced a short eulogistic poem praising God, the Creator of heaven and earth.

Upon awakening the next morning, Caedmon remembered everything he had sung and added additional lines to his poem. He told his foreman about his dream and gift and was taken immediately to see the abbess, believed to be St Hilda of Whitby. The abbess and her counsellors asked Cædmon about his vision and, satisfied that it was a gift from God, gave him a new commission, this time for a poem based on "a passage of sacred history or doctrine", by way of a test.

When Cædmon returned the next morning with the requested poem, he was invited to take monastic vows. The abbess ordered her scholars to teach Cædmon sacred history and doctrine, which after a night of thought, Bede records, Cædmon would turn into the most beautiful verse. According to Bede, Cædmon was responsible for a large number of splendid vernacular poetic texts on a variety of Christian topics.

After a long and zealously pious life, Cædmon died like a saint: receiving a premonition of death, he asked to be moved to the abbey's hospice for the terminally ill where, having gathered his friends around him, he died after receiving the Holy Eucharist, just before nocturns. Although he is often listed as a saint, this is not confirmed by Bede and it has been argued that such assertions are incorrect.

The details of Bede's story, and in particular of the miraculous nature of Cædmon's poetic inspiration, are not generally accepted by scholars as being entirely accurate, but there seems no good reason to doubt the existence of a poet named Cædmon. Bede's narrative has to be read in the context of the Christian belief in miracles, and it shows at the very least that Bede, an educated and intelligent man, believed Cædmon to be an important figure in the history of English intellectual and religious life.

Dates

Bede gives no specific dates in his story. Cædmon is said to have taken holy orders at an advanced age and it is implied that he lived at Streonæshalch at least in part during Hilda's abbacy (657–680). Book IV Chapter 25 of the Historia ecclesiastica appears to suggest that Cædmon's death occurred at about the same time as the fire at Coldingham Abbey, an event dated in the E text of the Anglo-Saxon Chronicle to 679, but after 681 by Bede.

The reference to his temporibus "at this time" in the opening lines of Chapter 25 may refer more generally to Cædmon's career as a poet. However, the next datable event in the Historia ecclesiastica is King Ecgfrith's raid on Ireland in 684 (Book IV, Chapter 26). Taken together, this evidence suggests an active period beginning between 657 and 680 and ending between 679 and 684.

Modern discoveries

The only biographical or historical information that modern scholarship has been able to add to Bede's account concerns the Brittonic origins of the poet's name. Although Bede specifically notes that English was Cædmon's "own" language, the poet's name is of Celtic origin: from Proto-Welsh *Cadṽan (from Brythonic *Catumandos). Several scholars have suggested that Cædmon himself may have been bilingual on the basis of this etymology, Hilda's close contact with Celtic political and religious hierarchies, and some (not very close) analogues to the Hymn in Old Irish poetry. Other scholars have noticed a possible onomastic allusion to 'Adam Kadmon' in the poet's name, perhaps suggesting that the entire story is allegorical.

Other medieval sources

No other independent accounts of Cædmon's life and work are known to exist. The only other reference to Cædmon in English sources before the 12th century is found in the 10th-century Old English translation of Bede's Latin Historia. Otherwise, no mention of Cædmon is found in the corpus of surviving Old English. The Old English translation of the Historia ecclesiastica does contain several minor details not found in Bede's Latin original account.

Of these, the most significant is that Cædmon felt "shame" for his inability to sing vernacular songs before his vision, and the suggestion that Hilda's scribes copied down his verse æt muðe "from his mouth". These differences are in keeping with the Old English translator's practice in reworking Bede's Latin original, however, and need not, as Wrenn argues, suggest the existence of an independent English tradition of the Cædmon story.

Heliand

A second, possibly pre-12th-century allusion to the Cædmon story is found in two Latin texts associated with the Old Saxon Heliand poem. These texts, the Praefatio (Preface) and Versus de Poeta (Lines about the poet), explain the origins of an Old Saxon biblical translation (for which the Heliand is the only known candidate) in language strongly reminiscent of, and indeed at times identical to, Bede's account of Cædmon's career. According to the prose Praefatio, the Old Saxon poem was composed by a renowned vernacular poet at the command of the emperor Louis the Pious. The text then adds that this poet had known nothing of vernacular composition until he was ordered to translate the precepts of sacred law into vernacular song in a dream.

The Versus de Poeta contain an expanded account of the dream itself, adding that the poet had been a herdsman before his inspiration and that the inspiration itself had come through the medium of a heavenly voice when he fell asleep after pasturing his cattle. While our knowledge of these texts is based entirely on a 16th-century edition by Flacius Illyricus,[20] both are usually assumed on semantic and grammatical grounds to be of medieval composition This apparent debt to the Cædmon story agrees with semantic evidence attested to by Green demonstrating the influence of Old English biblical poetry and terminology on early continental Germanic literatures.

Sources and analogues

In contrast to his usual practice elsewhere in the Historia ecclesiastica, Bede provides no information about his sources for the Cædmon story. Since a similar paucity of sources is also characteristic of other stories from Whitby Abbey in his work, this may indicate that his knowledge of Cædmon's life was based on tradition current at his home monastery in (relatively) nearby Wearmouth-Jarrow.

Perhaps as a result of this lack of documentation, scholars have devoted considerable attention since the 1830s to tracking down possible sources or analogues to Bede's account. These parallels have been drawn from all around the world, including biblical and classical literature, stories told by the aboriginal peoples of Australia, North America and the Fiji Islands, mission-age accounts of the conversion of the Xhosa in Southern Africa, the lives of English romantic poets, and various elements of Hindu and Muslim scripture and tradition.

Although the search was begun by scholars such as Sir Francis Palgrave, who hoped either to find Bede's source for the Cædmon story or to demonstrate that its details were so commonplace as to hardly merit consideration as legitimate historiography, subsequent research has instead ended up demonstrating the uniqueness of Bede's version: as Lester shows, no "analogue" to the Cædmon story found before 1974 mirrors Bede's chapter in more than about half its main properties; the same observation can be extended to cover all analogues since identified.

Seerah of Muhammad

The strong affinities between Cædmon's vision and that of the Prophet Muhammad have been widely remarked upon. While meditating in a cave, Muhammad was visited by the angel Gabriel, who commanded him to read, just as Cædmon had a vision of an otherworldly visitor as he slept in a cowshed. Muhammad was also illiterate, like Cædmon. When the visitor asks them both to "sing" in Cædmon's case and "read" in Muhammad's case, both refuse to, saying they cannot. Then miraculously both recite divinely-inspired poetry, in Muhammad's case the first verses of the Qur'an. In 1983, Klaus von See, the scholar of Scandinavian and German literature, first put forward the theory that Bede's story of Cædmon had a direct relationship with Ibn Ishaq's account of the revelation of the Qur'an to Muhammad, though he was not the first to note the remarkable parallels. Gregor Schoeler also provided a definitive account of the evolution of the story of Muhammad's call to prophecy into Bede's narrative.

Work

General corpus

Perhaps surprisingly, the earliest recorded poem in Old English has very humble origins and is credited to a shy and retiring cowherd named Caedmon.

Bede's account indicates that Cædmon was responsible for the composition of a large oeuvre of vernacular religious poetry. In contrast to Saints Aldhelm and Dunstan, Cædmon's poetry is said to have been exclusively religious. Bede reports that Cædmon "could never compose any foolish or trivial poem, but only those which were concerned with devotion", and his list of Cædmon's output includes work on religious subjects only: accounts of creation, translations from the Old and New Testaments, and songs about the "terrors of future judgment, horrors of hell, ... joys of the heavenly kingdom, ... and divine mercies and judgments."

Of this corpus, only his first poem survives. While vernacular poems matching Bede's description of several of Cædmon's later works are found in London, British Library, Junius 11, traditionally referred to as the "Junius" or "Cædmon" manuscript, the older traditional attribution of these texts to Cædmon or Cædmon's influence cannot stand. The poems show significant stylistic differences both internally and with Cædmon's original Hymn, and there is nothing about their order or content to suggest that they could not have been composed and anthologised without any influence from Bede's discussion of Cædmon's oeuvre.

The first three Junius poems are in their biblical order and, while Christ and Satan could be understood as partially fitting Bede's description of Cædmon's work on future judgment, pains of hell and joys of the heavenly kingdom, the match is not exact enough to preclude independent composition. As Fritz and Day have shown, Bede's list itself may owe less to direct knowledge of Cædmon's actual output than to traditional ideas about the subjects fit for Christian poetry or the order of the catechism. Similar influences may, of course, also have affected the makeup of the Junius volume.

Cædmon's Hymn

The countless translations and amendments to Bede’s Historia ecclesiastica over the years mean that we cannot know the original words of Caedmon’s Hymn with any certainty, particularly as many of the Old English versions would have been a direct translation from Bede’s Latin – so in effect a translation of a translation. Bede also offers no specific dates for the Hymn, save to say that Caedmon lived at the Streonæshalch monastery during Hilda’s time as Abbess and that Caedmon died around the time of a great fire at Coldingham Abbey, said to have taken place between 679 – 681AD.

Although originally composed to be sung aloud in praise of God, the form and structure of Caedmon’s ‘Hymn’ is actually more akin to a poem than a hymn in the tradition sense. The Hymn is also heavily alliterated and contains a pause mid line, a style favoured by Old English poetry which was itself the result of the oral traditions being designed to be read, rather than spoken or sung.

The fanciful nature of Caedmon’s inspiration for the Hymn has led many historians to doubt the authenticity of Bede’s story. The traditional Anglo-Saxon poetry reserved for the worship of monarchs has also been adapted from the original ‘rices weard’ (keeper of the kingdom) to ‘heofonrices weard’ (keeper of the kingdom of heaven) in Caedmon’s Hymn, suggesting a less divine inspiration. However, whilst it is unlikely that Caedmon’s Hymn was the very first poem to be composed in Old English, it certainly takes its place in history as the earliest surviving poetry of its kind, quite apart from its supposedly miraculous inception.

Caedmon’s Hymn in Old English and its modern translation (excerpt from The Earliest English Poems, Third Edition, Penguin Books, 1991):

The only known survivor from Cædmon's oeuvre is his Hymn (audio version). The poem is known from 21 manuscript copies, making it the best-attested Old English poem after Bede's Death Song (with 35 witnesses) and the best attested in the poetic corpus in manuscripts copied or owned in the British Isles during the Anglo-Saxon period. The Hymn also has by far the most complicated known textual history of any surviving Old English poem.

It is found in two dialects and five distinct recensions (Northumbrian aelda, Northumbrian eordu, West-Saxon eorðan, West-Saxon ylda, and West-Saxon eorðe), all but one of which are known from three or more witnesses. It is one of the early attested examples of written Old English and one of the early recorded examples of sustained poetry in a Germanic language. Together with the runic Ruthwell Cross and Franks Casket inscriptions, Cædmon's Hymn is one of three candidates for the early attested example of Old English poetry.

There is continuing critical debate about the status of the poem as it is now available to us. While some scholars accept the texts of the Hymn as more or less accurate transmissions of Cædmon's original, others argue that they originated as a back-translation from Bede's Latin, and that there is no surviving witness to the original text.

Manuscript evidence

All copies of Hymn are found in manuscripts of the Historia ecclesiastica or its translation, where they serve as either a gloss to Bede's Latin translation of the Old English poem, or, in the case of the Old English version, a replacement for Bede's translation in the main text of the History. Despite this close connection with Bede's work, the Hymn does not appear to have been transmitted with the Historia ecclesiastica regularly until relatively late in its textual history. Scribes other than those responsible for the main text often copy the vernacular text of the Hymn in manuscripts of the Latin Historia. In three cases, Oxford, Bodleian Library, Laud Misc. 243, Oxford, Bodleian Library, Hatton 43, and Winchester, Cathedral I, the poem is copied by scribes working a quarter-century or more after the main text was first set down.

Even when the poem is in the same hand as the manuscript's main text, there is little evidence to suggest that it was copied from the same exemplar as the Latin Historia: nearly identical versions of the Old English poem are found in manuscripts belonging to different recensions of the Latin text; closely related copies of the Latin Historia sometimes contain very different versions of the Old English poem. With the exception of the Old English translation, no single recension of the Historia ecclesiastica is characterised by the presence of a particular recension of the vernacular poem.

Earliest text

Although Caedmon has been referred to many times in medieval literature, it is the ‘Father of English History’, the Venerable Bede (672 – 26 May 735 AD) who first refers to Cademon in his seminal work of 731AD, Historia ecclesiastica gentis Anglorum (The Ecclesiastical History of the English People). According to Bede, Caedmon tended to the animals which belonged to the Northumbrian monastery of Streonæshalch (later to become Whitby Abbey) during St Hilda’s time as Abbess between 657– 680AD.

As legend would have it, Caedmon was unable to sing and knew no poetry, quietly departing the mead hall whenever the harp was passed around so that he would not embarrass himself in front of his more literate peers. On one such evening as he fell asleep amongst the animals in his care, Caedmon is said to have dreamt that an apparition appeared before him telling him to sing of the principium creaturarum , or ‘the beginning of created things’. Miraculously, Caedmon suddenly began to sing and the memory of the dream stayed with him, allowing him to recall the holy verses for his master, Hilda and members of her inner circle.

The story, according to Bede, is that Cædmon dreamt one night that he could sing and compose verse. In the dream an unknown person asked him to sing a song about “the beginning of all created things”. This must have been quite a vivid dream because he was inspired to write the eulogistic poem which is known as Cædmon’s Hymn. It was a poem praising God and acknowledging that He created all of heaven and earth. It was written in Latin but here is a translation of at least some of it:

poem

So, overnight Cædmon was transformed into both a poet and a singer and, on reporting this great event, he was taken before the abbess and she listened to his story intently. The sincerity that she saw within him convinced her that he should immediately take holy orders as he had truly been given “a gift from God”. The scholastic monks at the monastery set about teaching him about sacred history and doctrine. From then on Cædmon became known as a great poet, capable of producing the most beautiful and pious verse. He was responsible for a considerable number of poems, covering a wide range of Christian topics, written in the vernacular style so that many people could read them.

Cædmon took holy orders at a fairly late stage in his life (possibly in his 50s) and his poetry placed him in an exclusive group of only twelve known Anglo-Saxon poets. From humble beginnings he certainly rose in stature at the monastery and Bede described him as:

poem

Scholars that came along in the following centuries might have been sceptical about this story of the miraculous conversion of a simple shepherd into a great and learned poet but Bede’s account certainly rings true in many quarters. He believed that Cædmon deserves his place amongst the great names of English religious figures and intellectuals.

Cædmon’s life ended sometime around the year 670 which meant that he was 70 years old when he died. It was recorded that he had a premonition of his own death.

The theme in the hymn, or song of praise, is that God created the heavens and the earth for the enjoyment of men. Caedmon praises God for His creation. Using repetition, he points out twice that God, unlike man, is eternal. In a fairly pagan Celtic atmosphere, we see some of the earliest influences of Christianity.

The poet used several interesting literary devices in 'Cædmon's Hymn. ' These include alliteration, caesura, and allusion. Throughout the lines, the speaker praises God without going into any detail about stories in the Bible or how his own life was affected when he became devoutly Christian.

Caedmon's Hymn is an alliterative praise poem (and hymn). It depends on rhythmic uses of alliteration, or repetition of the same consonant throughout each line. It represents the use of pagan Germanic poetic conventions in Christian cultures.

Kennings are used in poetry to create different effects. Some examples from the “Caedmon's Hymn” would be: “mankind's guardian” which is saying that God is the protector of humans, “Glory-Father” where God is described as the father of glory, and “Middle-earth” which explains the place between earth and hell.

In general, we could think of hymns as those songs of praise and worship we send up to God identifying for all to hear His attributes and thanking Him for His amazing intervention in our world and in our lives.

The moral of a story is the lesson that story teaches about how to behave in the world. Moral comes from the Latin word mores, for habits. The moral of a story is supposed to teach you how to be a better person.

Caedmon, (flourished 658–680), first Old English Christian poet, whose fragmentary hymn to the creation remains a symbol of the adaptation of the aristocratic-heroic Anglo-Saxon verse tradition to the expression of Christian themes.

Caedmon describes God in another metaphor as a kind of architect, a "Measurer" whose power is exercised through something called "mind-plans." These might just be "thoughts," but the addition of "plans" in this kenning makes them seem more architectural, like God is doodling with a compass in his head, figuring out the circumference of the world, the depths of the oceanic basins, the height of the sky—you know, the easy stuff.

There sure are a lot of M's here. What's the effect of putting three M-sounds in a single line? For Anglo-Saxon poets, alliteration was a way of organizing the line around its four stresses and that big space in the middle. For more on how alliteration became a calling card for all major Anglo-Saxon poetry, see "Form and Meter." And look out for more alliterating words below!

When Caedmon was able to produce more religious poetry it was decided that the gift was a blessing from God. He went on to take his vows and become a monk, learning his scriptures and the history of Christianity from Hilda’s scholars and producing beautiful poetry as he did so.

Caedmon remained a devout follower of the Church for the rest of his life and although never formally recognised as a saint, Bede notes that Caedmon was granted a premonition of his death following a short illness – an honour usually reserved for the most holy of God’s followers – allowing him to receive the Eucharist one last time and to arrange for his friends to be with him.

Unfortunately all that remains of Caedmon’s poetry today is the nine line poem known as Cædmon’s Hymn, which Bede includes in his Historia ecclesiastica and is said to be the poem that Caedmon first sang in his dream. Interestingly, Bede chose not to include the Old English version of Cædmon’s Hymn in his original version of the Historia ecclesiastica, but instead the Hymn was written in Latin, presumably to appeal to a world-wide audience who would be unfamiliar with the Anglo-Saxon language. The Hymn appears in Old English in subsequent versions of the Historia ecclesiastica which were translated by the Anglo-Saxons from the eight century onwards.

The oldest known version of the poem is the Northumbrian aelda recension. The surviving witnesses to this text, Cambridge, University Library, Kk. 5. 16 (M) and St. Petersburg, National Library of Russia, lat. Q. v. I. 18 (P), date to at least the mid-8th century. M in particular is traditionally ascribed to Bede's own monastery and lifetime, though there is little evidence to suggest it was copied much before the mid-8th century.

The following text, first column on the left below, has been transcribed from M (mid-8th century; Northumbria). The text has been normalised to show a line-break between each line and modern word-division. A transcription of the likely pronunciation of the text in the early 8th-century Northumbrian dialect in which the text is written is included, along with a modern English translation.

Now [we] must honour the guardian of heaven,

the might of the architect, and his purpose,

the work of the father of glory — as he the beginning of wonders

established, the eternal lord,

He first created for the children of men

heaven as a roof, the holy creator

Then the middle earth, the guardian of mankind

the eternal lord, afterwards appointed

the lands for men, the Lord almighty.

Bede's Latin version runs as follows:

"Now we must praise the author of the heavenly realm, the might of the creator, and his purpose, the work of the father of glory: as he, who, the almighty guardian of the human race, is the eternal God, is the author of all miracles; who first created the heavens as highest roof for the children men, then the earth."

Praise now to the keeper of the kingdom of heaven,

the power of the Creator, the profound mind

of the glorious Father, who fashioned the beginning

of every wonder, the eternal Lord.

For the children of men he made first

heaven as a roof, the holy Creator.

Then the Lord of mankind, the everlasting Shepherd,

ordained in the midst as a dwelling place,

Almighty Lord, the earth for men.

ABSTRACT

Caedmon‟s hymn is an Old English poem written by a Northumbrian shepherd who had likely received the inspiration from the Christian God. It is considered as vernacular poetry, it was initially written in the Northumbrian dialect and, later on, transmitted into other translated versions. This brief paper is a literary analysis of the Leningrad version of thehymn with the aim to highlight stylistic features, use of language, themes, and value of the composition with reference to the contributions of several experts of the poem.

INTRODUCTION

Caedmon‟s hymn is the first poetic composition to be known of Old English literature. An account of this hymn is given by the Venerable Bede, a monk, in his Ecclesiastical History of the English People  in which he refers of a herdsman called Caedmon who lived in Streonæshalch, (the older name for Whitby) in a period of time between 600-670 CE. According to Bede, Caedmon was an illiterate and a shy person who avoided to sing in public during feasts at the Hall, but one night something uncommon and extraordinary happened to him: he had a dream and, thereafter, could sing about the creation of heaven and earth thanks to a divine inspiration. At first those who knew him were skeptical about the verses he pronounced and, therefore, he was conducted to the abbess of the monastery of Whitby, Hilda, who after examining the situation and consulting some scholars, judged that the event was a miracle and that Caedmon had certainly been inspired by their Christian God. The hymn is an example of vernacular poetry, a literary work that used common spoken language. It was written first in Northumbrian and then translated in Latin by Bede in his Historia Eccelesiastica. There are different living translations of the poem which were made at the time of the Anglo-Saxons and in the following centuries, but all these renderings generated perplexities about how the original text was really produced.

An Italian scholar, Roberta Bassi, affirms that Bede‟s version of the poem was a translation of the meaning of the composition rather than a literal work on the original text and highlights the existence of several translations in Old

English of the manuscript, thus creating confusion about the originality of the hymn. [1] In her analysis, she also mentions Daniel Paul O‟Donnell‟s, an expert of the hymn who, in his book on Caedmon‟s hymn, suggests the existence of eight translations of the poem.

DISCUSSION: ANALYSIS OF THE HYMN

The version of the hymn analyzed in this paper is the Leningrad manuscript in Modern English:

Now let us praise the Guardian of the Kingdom of Heaven

the might of the Creator and the thought of his mind,

the work of the glorious Father, how He, the eternal Lord

established the beginning of every wonder.

For the sons of men, He, the Holy Creator

first made heaven as a roof, then the

Keeper of mankind, the eternal Lord

God Almighty afterwards made the middle world

the earth, for men.

The stylistic features of the above text can be analyzed with respect to language, structure, alliteration, rhyme, stresses, genre, similes and variation. This version of the poem is written in Modern English, it is made of nine lines,

there are no line-breaks, no rhymes, no alliteration, no relevant stresses differently from what we can detect in the Old English text. The language used is simple, the structure of the sentences follows the sequence „subject-verb-object‟, there are commas in the text evidently used to create pauses, it contains religious terms and words of reverence and praise to God. The structure of the hymn resembles that of a psalm, a religious composition of the Book of Psalms that, in turn, | P a g e – 12 belongs to the Christian Old Testament. The term psalm derives from the Greek word ψαλμοί psalmoi which means „instrumental music‟ and „words accompanying the music‟[2].

In poetry the genre is the way to classify a poem according to its style or subject matter. There are elegies, epic poems as well as dramatic and narrative poetry. Caedmon‟s hymn is a short poem composed in honour to God and talks about the existence of a common Father who created heaven and earth for mankind. It represents an exhortation to live a Christian life and can, then, be considered as a religious composition.Variation is a technique used in poetry to reformulate in different words and with more emphasis the same concept.Its function is that of embellishing and highlighting important parts of the text. This technique is also defined by Niles et al. as “a double or multiple statement of the same basic concept in different words”. The use of variation is very frequent and redundant in Caedmon‟s hymn and it reflects a typical feature of Old Germanic poetry and, therefore, reproduces the aesthetics of an oral poetic performance as suggested by Francis Magoun in his article “Bede’s Story of Caedmon: The

Case of an Anglo-Saxon Oral Singer”. Examples of variation in the text are the eight appellations that the author gives to God who is described as “the Guardian”, “the Creator”, “the Glorious Father”, “the eternal Lord” (repeated twice), “the Holy Creator”, “the Keeper of mankind” and “God Almighty”. A simile is a comparison between two things by means of a connecting word such as like, as and so and usuallycreates the personification of an inanimate object. In his hymn, Caedmon makes an analogy between heaven and roof when he writes that “…He...first made heaven as a roof”. The use of a simile here is symbolical and it then elicits human‟s imagination and creates a feeling of safety and warmth. God is above our heads and gives shelter and repair to us but we can detect here also an implicit comparison to the mead-hall, a place where warriors and thanes of the AngloSaxons used to gather together especially at night, thus representing a welcome, warm and safe environment .Caedmon’s hymn is an example of a composition made first orally which means that the author was able to make verses using the official poetic metre and, in this case, thanks to God’s intervention, the composer could use formulas. In poetry a formula is a specific rhyming scheme or use of several syllables in each line while the process of transferring the spoken language to a written form is called „oral-formulaic composition‟. With reference to this process, two scholars, Milman Parry and Albert Lord, affirmed that some features of Old English texts, like Caedmon‟s poem, resemble the Ancient Greek epics such as the Iliad and Odyssey but how Anglo-Saxon poetry was passed down through an oral tradition remains a subject of debate. In Parry's view, formulas were not the exceptional production of talented artists rather the traditional verses of singers that could be remembered and improvised very easily.Caedmon is the first vernacular poet we know by name and his hymn has references to God by using words and terms of the heroic poetry. Caedmon‟s ability to make the hymn and other poems that are included in the Historia Ecclesiastica, was a miracle and his writing skills were undoubtedly inspired by God with the final aim to change people‟s mind. The hymn differs from the usual theme of epic poems regarding battles, glorious deeds and victories over the evils of the period of the Anglo-Saxons and it also diverges from the elegiac compositions depicting conditions of loneliness, despair and deep sorrow. Here we are dealing with a „dream song‟, a composition made with the help of adivine gift, to incite people to praise and worship the Christian God. In a time when Pope Gregory sent disciples and monks to England to convert people to Christianity and to fight pagan values and old ideologies, the hymn takes on a specific purpose: the Conversion of pagans. Its divine inspiration is made stronger by the fact that Caedmon was never able to compose any verse of song that did not deal with religion or that could have a vain and frivolous content.

CONCLUSION

To conclude, Caedmon‟s hymn is an example of a fusion of pagan and Christian themes with the scope to spread

Christianity in a pagan society, as stated by Tiarna O‟ Sullivan. In the poem, the connection between epic poems and religious compositions lies in the fact that God is considered as an „hero‟ and, hence, is comparable to the heroic figures of the Anglo-Saxon period. Beowulf is a widely acknowledged hero of this historical epoch and is described as “the mightiest man on earth” in analogy to the “God Almighty” in Caedmon’s composition. Beowulf and God are, then, both heroes and important characters of Old English literature and may have different roles and antithetical values but are both described as omnipotent. To reinforce O‟ Sullivan‟s comments is the statement made by another scholar, who affirms that the hymn shares aspects of both Latin and Germanic traditions and that elements of Latin literary and liturgical

influence are evident in the text. A last reflection on Caedmon‟s hymn is the influence his work had on the literature of the following times, especially on the literary production of the last centuries. The concept of “middle world”, in fact,appears in J.R.R. Tolkien‟s epic story „The Lord of The Rings‟ as a tangible sign of the impact of the hymn on the culture and imagery of our time.




184- ] English Literature

184- ] English Literature Jane Austen  Austen’s novels: an overview Jane Austen’s three early novels form a distinct group in which a stro...