Chaucer's Works, Volume 3 — The House of Fame; The Legend of Good Women; The Treatise on the Astrolabe; The Sources of the Canterbury TalesChaucer, Geoffrey
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Chaucer's Works, Volume 3 — The House of Fame; The Legend of Good Women; The Treatise on the Astrolabe; The Sources of the Canterbury Tales
Chaucer, Geoffrey
English poetry -- Middle English, 1100-1500
In B. 552-565, we have an interesting addition, in which Love charges him
to put all the nineteen ladies, besides Alcestis, into his Legend; and
tells him that he may _choose his own metre_ (B. 562). Again, in B.
568-577, he practically stipulates that he is only to tell the more
interesting part of each story, and to leave out whatever he should deem to
be tedious. This proviso was eminently practical and judicious.
§ 4. THE SUBJECT OF THE LEGEND. We learn, from B. 241, 283, that Chaucer
saw in his vision Alcestis and nineteen other ladies, and from B. 557, that
he was to commemorate them all in his Legend, beginning with Cleopatra
(566) and ending with Alcestis (549, 550). As to the names of the nineteen,
they are to be found in his Balade (555).
Upon turning to the Balade (p. 83), the names actually mentioned include
some which are hardly admissible. For example, Absalom and Jonathan are
names of men; Esther is hardly a suitable subject, whilst Ysoult belongs to
a romance of medieval times. (Cf. A. 275, p. 88.) The resulting practicable
list is thus reduced to the following, viz. Penelope, Marcia, Helen,
Lavinia, Lucretia, Polyxena, Cleopatra, Thisbe, Hero, Dido, Laodamia,
Phyllis, Canace, Hypsipyle, Hypermnestra, and Ariadne. At the same time, we
find legends of Medea and Philomela, though neither of these are mentioned
in the Balade. It is of course intended that the Balade should give a
representative list only, without being exactly accurate.
But we are next confronted by a most extraordinary piece of evidence, viz.
that of Chaucer himself, when, at a later period, he wrote the Introduction
to the Man of Lawes Prologue (see vol. iv. p. 131). He there expressly
refers to his Legend of Good Women, which he is pleased to call 'the
Seintes Legende of Cupide,' i.e. the Legend of Cupid's Saints. And, in
describing this former work of his, he introduces the following lines:--
'Ther may be seen the large woundes wyde
Of Lucresse, and of Babilan Tisbee;
The swerd of Dido for the false Enee;
The tree of Phillis for hir Demophon;
The pleinte of Dianire and Hermion,
Of Adriane and of Isiphilee;
The bareyne yle stonding in the see;
The dreynte Leander for his Erro;
The teres of Eleyne, and eek the wo
Of Brixseyde, and of thee, Ladomea;
The cruelte of thee, queen Medea,
Thy litel children hanging by the hals
For thy Iason, that was of love so fals!
O Ypermistra, Penelopee, Alceste,
Your wyfhod he comendeth with the beste!
But certeinly no word ne wryteth he
Of thilke wikke example of Canacee'; &c.
Public-domain text, read in full here on John Shaqi.
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