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CHAPTER III Chaucer And His School A. Geoffrey Chaucer (?
1340-1400) I. Foreign Influences Chaucer pre-eminently an English
poet; but susceptible to the attractive parts of French and Italian
literature; these foreign influences not exotic, but, ultimately
incorporated inseparably into his native genius, served to bring
out the best of his gifts, and did not misdirect them; whatever he
borrowed, except in his experimental stage, he made his own. (a)
France: Chaucer used most the courtly allegory, the beast fable,
the fabliau; could not catch the spirit of the lyrics; had no
sympathy with the romances, then past their zenith. In allegory, Le
Roman de la Rose was the master-type; the work of the two poets
Gulllaume de Lorrls (c, 1230) and Jean de Meun (c. 1270); the first
part, a complex allegory of love, courtly, chivalrous, prolix,
elaborately descriptive, left unfinished; the second part,
satirical, coarse, witty, as if designed to throw the whole scheme
into ridicule; Chaucer as a young poet most influenced by
Guillaume, later by the more realistic Jean; his translation lost;
but its effect on him obvious in all his early poems. The beast
fable culminated in the Roman du Renart, a French version of the
cycle of stories concerning Reynard the Fox; humorous; satirical;
realistic pictures of life and character (The Nonnes Prestes Tale).
The fabliau provided stories of everyday life; often coarse, often
clever, often skilful narrative (The Reves Tale). (b) Italy: Here
appeared the greatest poet of mediseval Europe?Dante Allghlerl
(1265-1322) author of the Divina Corn- media, a pilgrimage through
Hell and Purgatory into Paradise; great in style, in thought, in
passion, in poetry, in humanity; the apotheosis of mediseval
Catholicism; pillory of all imp...
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