Canterbury Tales and Other Poems | Page 5

language, that a little trouble at first would render the antiquated spelling and?obsolete inflections a continual source, not of difficulty, but of actual delight, for the reader coming to the study of Chaucer without any preliminary acquaintance with the English of his day -- or of his copyists' days. Despite this complacent?assurance, the obvious fact is, that Chaucer in the old forms has not become popular, in the true sense of the word; he is not "understanded of the vulgar." In this volume, therefore, the text of Chaucer has been presented in nineteenth-century garb. But there has been not the slightest attempt to "modernise"?Chaucer, in the wider meaning of the phrase; to replace his words by words which he did not use; or, following the example of some operators, to translate him into English of the modern spirit as well as the modern forms. So far from that, in every case where the old spelling or form seemed essential to metre, to rhyme, or meaning, no change has been attempted. But,?wherever its preservation was not essential, the spelling of the monkish transcribers -- for the most ardent purist must now despair of getting at the spelling of Chaucer himself -- has been discarded for that of the reader's own day. It is a poor?compliment to the Father of English Poetry, to say that by such treatment the bouquet and individuality of his works must be lost. If his masterpiece is valuable for one thing more than any other, it is the vivid distinctness with which English men and women of the fourteenth century are there painted, for the study of all the centuries to follow. But we wantonly balk the artist's own purpose, and discredit his labour, when we keep before his picture the screen of dust and cobwebs which, for the English people in these days, the crude forms of the infant language have practically become. Shakespeare has not suffered by?similar changes; Spencer has not suffered; it would be surprising if Chaucer should suffer, when the loss of popular?comprehension and favour in his case are necessarily all the greater for his remoteness from our day. In a much smaller degree -- since previous labours in the same direction had left far less to do -- the same work has been performed for the?spelling of Spenser; and the whole endeavour in this department of the Editor's task has been, to present a text plain and easily intelligible to the modern reader, without any injustice to the old poet. It would be presumptuous to believe that in every case both ends have been achieved together; but the laudatores?temporis acti - the students who may differ most from the plan pursued in this volume -- will best appreciate the difficulty of the enterprise, and most leniently regard any failure in the details of its accomplishment.
With all the works of Chaucer, outside The Canterbury Tales, it would have been absolutely impossible to deal within the scope of this volume. But nearly one hundred pages, have been?devoted to his minor poems; and, by dint of careful selection and judicious abridgement -- a connecting outline of the story in all such cases being given -- the Editor ventures to hope that he has presented fair and acceptable specimens of Chaucer's?workmanship in all styles. The preparation of this part of the volume has been a laborious task; no similar attempt on the same scale has been made; and, while here also the truth of the text in matters essential has been in nowise sacrificed to mere ease of perusal, the general reader will find opened up for him a new view of Chaucer and his works. Before a perusal of these hundred pages, will melt away for ever the lingering tradition or prejudice that Chaucer was only, or characteristically, a coarse buffoon, who pandered to a base and licentious appetite by?painting and exaggerating the lowest vices of his time. In these selections -- made without a thought of taking only what is to the poet's credit from a wide range of poems in which hardly a word is to his discredit -- we behold Chaucer as he was; a?courtier, a gallant, pure-hearted gentleman, a scholar, a?philosopher, a poet of gay and vivid fancy, playing around?themes of chivalric convention, of deep human interest, or?broad-sighted satire. In The Canterbury Tales, we see, not Chaucer, but Chaucer's times and neighbours; the artist has lost himself in his work. To show him honestly and without disguise, as he lived his own life and sung his own songs at the brilliant Court of Edward III, is to do his memory a moral justice far more material than any wrong that can ever come out of?spelling. As to the minor poems of Spenser, which follow The Faerie Queen, the choice has been