The Court of Love. · 2

And with the word Thought bade farewell and yede: went away Eke forth went I to see the Courte’s guise, And at the door came in, so God me speed, Two courtiers of age and of assise size Like high, and broad, and, as I me advise, The Golden Love and Leaden Love they hight: were called The one was sad, the other glad and light.

At this point there is a hiatus in the poem, which abruptly ceases to narrate the tour of Philogenet and Philobone round the Court, and introduces us again to Rosial, who is speaking thus to her lover, apparently in continuation of a confession of love:

“Yes! draw your heart, with all your force and might, To lustiness, and be as ye have said.”

She admits that she would have given him no drop of favour, but that she saw him “wax so dead of countenance;” then Pity “out of her shrine arose from death to life,” whisperingly entreating that she would do him some pleasance. Philogenet protests his gratitude to Pity, his faithfulness to Rosial; and the lady, thanking him heartily, bids him abide with her till the season of May, when the King of Love and all his company will hold his feast fully royally and well. “And there I bode till that the season fell.”

On May Day, when the lark began to rise, To matins went the lusty nightingale, Within a temple shapen hawthorn-wise; He might not sleep in all the nightertale, night-time But “Domine” gan he cry and gale, call out “My lippes open, Lord of Love, I cry, And let my mouth thy praising now bewry.” show forth

The eagle sang “Venite,” bodies all, And let us joy to love that is our health.” And to the desk anon they gan to fall, And who came late he pressed in by stealth Then said the falcon, “Our own heartes’ wealth, ‘Domine Dominus noster,’ I wot, Ye be the God that do us burn thus hot.” make

“Coeli enarrant,” said the popinjay, parrot “Your might is told in Heav’n and firmament.” And then came in the goldfinch fresh and gay, And said this psalm with heartly glad intent, “Domini est terra;” this Latin intent, means The God of Love hath earth in governance: And then the wren began to skip and dance.

“Jube Domine; O Lord of Love, I pray Command me well this lesson for to read; This legend is of all that woulde dey die Martyrs for love; God yet their soules speed! And to thee, Venus, sing we, out of dread, without doubt By influence of all thy virtue great, Beseeching thee to keep us in our heat.”

The second lesson robin redbreast sang, “Hail to the God and Goddess of our lay!” law, religion And to the lectern amorously he sprang: “Hail now,” quoth be, “O fresh season of May, Our moneth glad that singen on the spray! glad month for us that Hail to the flowers, red, and white, and blue, sing upon the bough Which by their virtue maken our lust new!”

The third lesson the turtle-dove took up, And thereat laugh’d the mavis in a scorn: blackbird He said, “O God, as might I dine or sup, This foolish dove will give us all a horn! There be right here a thousand better born, To read this lesson, which as well as he, And eke as hot, can love in all degree.”

The turtle-dove said, “Welcome, welcome May, Gladsome and light to lovers that be true! I thank thee, Lord of Love, that doth purvey For me to read this lesson all of due; in due form For, in good sooth, of corage I pursue with all my heart To serve my make till death us must depart:” mate And then “Tu autem” sang he all apart.

“Te Deum amoris” sang the throstel cock: thrush Tubal himself, the first musician, With key of harmony could not unlock So sweet a tune as that the throstel can: “The Lord of Love we praise,” quoth he than, then And so do all the fowles great and lite; little “Honour we May, in false lovers’ despite.”

“Dominus regnavit,” said the peacock there, “The Lord of Love, that mighty prince, y-wis, He is received here and ev’rywhere: Now Jubilate sing:” “What meaneth this?” Said then the linnet; “welcome, Lord of bliss!” Out start the owl with “Benedicite,” “What meaneth all this merry fare?” quoth he. doing, fuss

“Laudate,” sang the lark with voice full shrill; And eke the kite “O admirabile;” This quire will through mine eares pierce and thrill; choir But what? welcome this May season,” quoth he; “And honour to the Lord of Love must be, That hath this feast so solemn and so high:” “Amen,” said all; and so said eke the pie. magpie

And forth the cuckoo gan proceed anon, With “Benedictus” thanking God in haste, That in this May would visit them each one, And gladden them all while the feast shall last: And therewithal a-laughter out he brast;” in laughter **burst “I thanke God that I should end the song, And all the service which hath been so long.”

Thus sang they all the service of the feast, And that was done right early, to my doom; judgment And forth went all the Court, both most and least, great and small To fetch the flowers fresh, and branch and bloom; And namely hawthorn brought both page and groom, especially With freshe garlands party blue and white, *parti-coloured And then rejoiced in their great delight.

Eke each at other threw the flowers bright, The primerose, the violet, and the gold; So then, as I beheld the royal sight, My lady gan me suddenly behold, And with a true love, plighted many a fold, She smote me through the very heart as blive; straightway And Venus yet I thank I am alive.

Explicit The End

Notes to The Court of Love

1. So the Man of Law, in the prologue to his Tale, is made to say that Chaucer “can but lewedly (ignorantly or imperfectly) on metres and on rhyming craftily.” But the humility of those apologies is not justified by the care and finish of his earlier poems.

2. Born: burnish, polish: the poet means, that his verses do not display the eloquence or brilliancy of Cicero in setting forth his subject-matter.

3. Galfrid: Geoffrey de Vinsauf to whose treatise on poetical composition a less flattering allusion is made in The Nun’s Priest’s Tale. See note 33 to that Tale.

4. Stirp: race, stock; Latin, “stirps.”

5. Calliope is the epic muse — “sister” to the other eight.

6. Melpomene was the tragic muse.

7. The same is said of Griselda, in The Clerk’s Tale; though she was of tender years, “yet in the breast of her virginity there was inclos’d a sad and ripe corage”

8. The confusion which Chaucer makes between Cithaeron and Cythera, has already been remarked. See note 41 to the Knight’s Tale.

9. Balais: Bastard rubies; said to be so called from Balassa, the Asian country where they were found. Turkeis: turquoise stones.

10. Spenser, in his description of the House of Busirane, speaks of the sad distress into which Phoebus was plunged by Cupid, in revenge for the betrayal of “his mother’s wantonness, when she with Mars was meint [mingled] in joyfulness”

11. Alcestis, daughter of Pelias, was won to wife by Admetus, King of Pherae, who complied with her father’s demand that he should come to claim her in a chariot drawn by lions and boars. By the aid of Apollo — who tended the flocks of Admetus during his banishment from heaven — the suitor fulfilled the condition; and Apollo further induced the Moirae or Fates to grant that Admetus should never die, if his father, mother, or wife would die for him. Alcestis devoted herself in his stead; and, since each had made great efforts or sacrifices for love, the pair are fitly placed as king and queen in the Court of Love.

12. In the prologue to the “Legend of Good Women,” Chaucer says that behind the God of Love, upon the green, he “saw coming in ladies nineteen;” but the stories of only nine good women are there told. In the prologue to The Man of Law’s Tale, sixteen ladies are named as having their stories written in the “Saints’ Legend of Cupid” — now known as the “Legend of Good Women” — (see note 5 to the Prologue to the Man of Law’s Tale); and in the “Retractation,” at the end of the Parson’s Tale, the “Book of the Twenty-five Ladies” is enumerated among the works of which the poet repents — but there “xxv” is supposed to have been by some copyist written for “xix.”

13. fele: many; German, “viele.”

14. Arras: tapestry of silk, made at Arras, in France.

15. Danger, in the Provencal Courts of Love, was the allegorical personification of the husband; and Disdain suitably represents the lover’s corresponding difficulty from the side of the lady.

16. In The Knight’s Tale, Emily’s yellow hair is braided in a tress, or plait, that hung a yard long behind her back; so that, both as regards colour and fashion, a singular resemblance seems to have existed between the female taste of 1369 and that of 1869.

17. In an old monkish story — reproduced by Boccaccio, and from him by La Fontaine in the Tale called “Les Oies de Frere Philippe” — a young man is brought up without sight or knowledge of women, and, when he sees them on a visit to the city, he is told that they are geese.

18. Tabernacle: A shrine or canopy of stone, supported by pillars.

19. Mister folk: handicraftsmen, or tradesmen, who have learned “mysteries.”

20. The loves “Of Queen Annelida and False Arcite” formed the subject of a short unfinished poem by Chaucer, which was afterwards worked up into The Knight’s Tale.

21. Blue was the colour of truth. See note 36 to the Squire’s Tale.

22. Blife: quickly, eagerly; for “blive” or “belive.”

23. It will be seen afterwards that Philogenet does not relish it, and pleads for its relaxation.

24. Feat: dainty, neat, handsome; the same as “fetis,” oftener used in Chaucer; the adverb “featly” is still used, as applied to dancing, &c.

25. Solomon was beguiled by his heathenish wives to forsake the worship of the true God; Samson fell a victim to the wiles of Delilah.

26. Compare the speech of Proserpine to Pluto, in The Merchant’s Tale.

27. See note 91 to the Knight’s Tale for a parallel.

28. Flaw: yellow; Latin, “flavus,” French, “fauve.”

29. Bass: kiss; French, “baiser;” and hence the more vulgar “buss.”

30. Maximian: Cornelius Maximianus Gallus flourished in the time of the Emperor Anastasius; in one of his elegies, he professed a preference for flaming and somewhat swelling lips, which, when he tasted them, would give him full kisses.

31. Dwale: sleeping potion, narcotic. See note 19 to the Reeve’s Tale.

32. Environ: around; French, “a l’environ.”

33. Cast off thine heart: i.e. from confidence in her.

34. Nesh: soft, delicate; Anglo-Saxon, “nese.”

35. Perfection: Perfectly holy life, in the performance of vows of poverty, chastity, obedience, and other modes of mortifying the flesh.

36. All the sin must on our friendes be: who made us take the vows before they knew our own dispositions, or ability, to keep them.

37. Cope: The large vestment worn in singing the service in the choir. In Chaucer’s time it seems to have been a distinctively clerical piece of dress; so, in the prologue to The Monk’s Tale, the Host, lamenting that so stalwart a man as the Monk should have gone into religion, exclaims, “Alas! why wearest thou so wide a cope?”

38. The three of fatal destiny: The three Fates.

39. Cythere: Cytherea — Venus, so called from the name of the island, Cythera, into which her worship was first introduced from Phoenicia.

40. Avaunter: Boaster; Philobone calls him out.

41. The statute: i.e. the 16th.

42. “Metamorphoses” Lib. ii. 768 et seqq., where a general description of Envy is given.

43. Golden Love and Leaden Love represent successful and unsuccessful love; the first kindled by Cupid’s golden darts, the second by his leaden arrows.

44. “Domine, labia mea aperies — et os meam annunciabit laudem tuam” (“Lord, open my lips — and my mouth will announce your praise”) Psalms li. 15, was the verse with which Matins began. The stanzas which follow contain a paraphrase of the matins for Trinity Sunday, allegorically setting forth the doctrine that love is the all-controlling influence in the government of the universe.

45. “Venite, exultemus,” (“Come, let us rejoice”) are the first words of Psalm xcv. called the “Invitatory.”

46. “Domine Dominus noster:” The opening words of Psalm viii.; “O Lord our Lord.”

47. “Coeli enarrant:” Psalm xix. 1; “The heavens declare (thy glory).”

48. “Domini est terra”: Psalm xxiv. I; “The earth is the Lord’s and the fulness thereof.” The first “nocturn” is now over, and the lessons from Scripture follow.

49. “Jube, Domine:” “Command, O Lord;” from Matthew xiv. 28, where Peter, seeing Christ walking on the water, says “Lord, if it be thou, bid me come to thee on the water.”

50: “Tu autem:” the formula recited by the reader at the end of each lesson; “Tu autem, Domine, miserere nobis.” (“But do thou, O Lord, have pity on us!”)

51. “Te Deum Amoris:” “Thee, God of Love (we praise).”

52. Not Tubal, who was the worker in metals; but Jubal, his brother, “who was the father of all such as handle the harp and organ” (Genesis iv. 21).

53. “Dominus regnavit:” Psalm xciii. 1, “The Lord reigneth.” With this began the “Laudes,” or morning service of praise.

54. “Jubilate:” Psalm c. 1, “Make a joyful noise unto the Lord.”

55. “Benedicite:” “Bless ye the Lord;” the opening of the Song of the Three Children

56. “Laudate:” Psalm cxlvii.; “Praise ye the Lord.”

57. “O admirabile:” Psalm viii 1; “O Lord our God, how excellent is thy name.”

58. “Benedictus”: The first word of the Song of Zacharias (Luke i. 68); “Blessed be the Lord God of Israel”

59. In The Knight’s Tale we have exemplifications of the custom of gathering and wearing flowers and branches on May Day; where Emily, “doing observance to May,” goes into the garden at sunrise and gathers flowers, “party white and red, to make a sotel garland for her head”; and again, where Arcite rides to the fields “to make him a garland of the greves; were it of woodbine, or of hawthorn leaves”