FIVE WRITERS OF THE AGE. The literary movement of the age clearly reflects the stirring life of the times. There is Langland, voicing the social discontent, preaching the equality of men and the dignity of labor; Wyclif, greatest of English religious reformers, giving the Gospel to the people in their own tongue, and the freedom of the Gospel in unnumbered tracts and addresses; Gower, the scholar and literary man, criticising this vigorous life and plainly afraid of its consequences; and Mandeville, the traveler, romancing about the wonders to be seen abroad. Above all there is Chaucer,--scholar, traveler, business man, courtier, sharing in all the stirring life of his times, and reflecting it in literature as no other but Shakespeare has ever done. Outside of England the greatest literary influence of the age was that of Dante, Petrarch, and Boccaccio, whose works, then at the summit of their influence in Italy, profoundly affected the literature of all Europe. CHAUCER (1340?-1400) 'What man artow?' quod he; 'Thou lokest as thou woldest finde an hare, For ever upon the ground I see thee stare. Approchë neer, and loke up merily.... He semeth elvish by his contenaunce.' (The Host's description of Chaucer, Prologue, _Sir Thopas_) ON READING CHAUCER. The difficulties of reading Chaucer are more apparent than real, being due largely to obsolete spelling, and there is small necessity for using any modern versions of the poet's work, which seem to miss the quiet charm and dry humor of the original. If the reader will observe the following general rules (which of necessity ignore many differences in pronunciation of fourteenth-century English), he may, in an hour or two, learn to read Chaucer almost as easily as Shakespeare: (1) Get the lilt of the lines, and let the meter itself decide how final syllables are to be pronounced. Remember that Chaucer is among the most musical of poets, and that there is melody in nearly every line. If the verse seems rough, it is because we do not read it correctly. (2) Vowels in Chaucer have much the same value as in modern German; consonants are practically the same as in modern English. (3) Pronounce aloud any strange-looking words. Where the eye fails, the ear will often recognize the meaning. If eye and ear both fail, then consult the glossary found in every good edition of the poet's works. (4) Final _e_ is usually sounded (like _a_ in Virginia) except where the following word begins with a vowel or with _h_. In the latter case the final syllable of one word and the first of the word following are run together, as in reading Virgil. At the end of a line the _e_, if lightly pronounced, adds melody to the verse.[70]