Analysis of the Old Love Tradition Illustrated In Poems by Chaucer

Analysis of the Old Love Tradition Illustrated In Poems by Chaucer Courtly Love in Chaucer’s poetry Chaucer’s literature was spread across many different spheres of interest throughout his life, often focussing on society and religion. An observer of his own social group, he wrote satirical interpretations of those surrounding him, subverting the traditional writing styles of Beowulf (900AD-1100AD), Sir Gawain and the Green Knight (14th century) and even Petrarch (1304-1374), into something that was almost similar to social commentary. Chaucer’s relationship with the courtly love tradition is interesting to examine because of its fluctuating nature; his attitude to courtly love in his earlier writing is very different to the presentation of courtly love in The Canterbury Tales . The woman presented in A Complaint to his Lady is very different for instance to the woman of The Miller’s Tale (who arguably is not so much a heroine of courtly love) in that she is very distant, and rebuts his advances, whilst Alison in The Miller’s Tale is open to the men†™s proposals to gain her affections. Therefore one can assume Chaucer’s intentions in writing the poem are ambiguous at best; it is challenging to decide whether Chaucer uses a satirical presentation of courtly love, or whether he is genuinely adhering to the concept of both courtly love and the chivalric tradition. The tradition of courtly love is based around five elements, which define the relationship between the two participants. The love was primarily a relationship between aristocratic men and women, and was often adulterous. The relationship would be conducted in secret and would often involve the ritualistic exchange of gifts. The final defining element of the affair was the flouting of rigid courtly marriage, which was often only formed for political and financial reasons. Glorification of this kind of extramarital affair was found in songs of gallant knights and their fair ladies, and led to the spread of this kind of relationship in the fourteenth, fifteenth and sixteenth centuries. The poem itself represents the prescribed courtly love heroine; however its adherence to the protocol of the tradition is variable. The portrait of the traditional courtly love heroine can be found in Prologue of The Canterbury Tales In the description of the prioress, we are told her ‘nose was elegant, her eyes glass-grey; Her mouth was very small, but soft and red, Her forehead, certainly, was fair of spread†¦Ã¢â‚¬â„¢. This represents her noble features, and her eyes are a metaphor for her treatment of her lover; the courtly love heroine rarely acknowledged the advances of her lover and instead, gives only the merest hint that she shares his feelings. The ‘glassy’ nature of the heroine’s eyes shows a degree of superficiality in the relationship between the man and woman; perhaps even an emptiness of character, even a lack of personality where the heroine becomes a mechanism for the man to project his idealistic feelings upon. A Complaint to his Lady is a poem written from a man directly to a woman whom he clearly adores, detailing his struggle for her affections, and how she is causing him a considerable amount of torment. For example the line ‘so desepaired I am from alle bliss,’ shows an almost self-pitying lamentation that continues until the beginning of part III. The third part of the poem sees the narrator confessing that ‘I can but love hir best, my swete fo;’ which symbolises a sweetness previously absent, a sweetness connected to his love for her, which changes the tone of the poem. The poem takes the form of a monologue; whilst he appears to be talking to his lady, it becomes obvious that she is not there, or is at least unresponsive, and therefore one can presume he is alone. The main element of the poem is distance and suffering, created by this woman, regardless of his devotion to her. Chaucer here represents love as a kind of poison, shown by his statement ‘Th us am I slayn with Loves fyry dart!’, and subsequently leaving the protagonist unable to understand her treatment of him; ‘love hath taught me no more of his art’. The perspective of the protagonist changes as the poem progresses, beginning with establishing the circumstances in which he is in love with her, and then moving on to describe the manner in which she treats him. The quotation ‘The more I love, the more she doth me smerte’ represents the paradoxical effect of the courtly love; the woman will appear to grow more distant. At the beginning of part III, the protagonist describes his woman as ‘Faire Rewtheless’; this is revealing about her mannerisms and ‘Rewtheless’ represents a cold attitude, is very similar to the eyes of the prioress which are described as ‘eyes glass-grey’. The fourth section of the poem is the longest, and represents the efforts of the protagonist to glean some kind of response from his woman. He compares his own shortcomings with her ‘gentileness and debonairtee’, and almost sarcastically states that he is not worthy of her service. Chaucer states tha t ‘Thogh that I be unconnyng and unmete, to serve, as I coude best, ay your hynesse,’ says that even though he is uncouth and unkempt, he would serve the woman as best as he could. This over exaggerated display of emotion implies that the poem could be satirical; however because there is no comparative character, or change of theme, one cannot be sure of Chaucer’s intention regarding the poem. It is interesting that he refers to the lady as a queen, therefore of higher status than himself reinforcing the idea that she has become almost demigod-like, given it is likely that they would have belonged to the same social strata. Part of the attraction of courtly love was the extravagance and exaggeration of action; for women of this period, they would have been repressed for most of their lives, constantly adhering to rules enforced by the crown, or perhaps their own family, and this affair was a rebellion against normality for them, almost a liberating experience. Th e final stanza of the poem, the protagonist proposes an ultimatum of sorts; to grant him some kind of pity, (i.e. respond in some way to his advances), otherwise nothing, no bliss, nor hope will dwell in his troubled heart. From a modern day point of view, the poem becomes repetitive, and the concept appears false; however at the time of writing, this level of extravagance was not uncommon and therefore from a historical perspective, the poem is likely to be a good example of typical courtly love poetry, such as that of Petrarch and Boccaccio. The presentation of the heroine in this poem is comparable with other courtly love heroines in Chaucer’s tales, in particular Alison, from the Miller’s Tale, Pertelote, The Nun’s Priests Tale, The Prioress, The Prologue and Criseyde, Troilus and Criseyde. Criseyde is very similar to the Prioress in many ways; however is assertive in her role as a courtly love heroine, playing an active part in the poem, demonstrated by book III, verse 115. She states ‘Alas, I would have though, whoever told, such tales of me, my sweetheart would not hold, Me false so easily’, showing perhaps a more effective, realistic heroine than the woman in A Complaint to his Lady. In contrast, courtly heroes often use hyperbole to attempt to convey the depth of the affection they feel towards their women, for example when Chaucer’s protagonist says ‘But I, my lyf and deeth, to yow obeye’ (My life and death, to you obey). This essentially states that she has total control over his heart; a fairly typical declaration within courtly love poetry; Boccaccio used many similar assertions in his novel Elegia di Madonna Fiammetta . The courtly love hero is often of a noble disposition, as demonstrated by book I, verse 27 of Troilus and Criseyde. The knightly element of courtly love can be exemplified by earlier literature, such as the description of King Arthur in Sir Gawain and the Green Knight, written in the fourteenth century, around the same time as A Complaint to his Lady. The nobleness of the courtly gentleman is described in Lines 85-88 of Sir Gawain and the Green Knight, when the author describes Arthur himself, as ‘Bot Arthure wolde not ete til al were served, He was so joly of his joyfness and sumquat childgered, His lif liked hym light, he lovied the lass’ (Line 85-88). Paraphrased, the above means â€Å"But Arthur would not eat until all were served. He was so youthfully gay and somewhat boyish, he liked an active life .† The general sense of courtly love therefore is a noble relationship outside convention, between a lady and gentleman; the woman is typically more distant while the man ritualistically tries to ‘woo’ her, using any means necessary, and in the case of A Complaint to his Lady, suffers immensely due to the depth of his love for her. Throughout A Complaint to his Lady, the protagonist changes his opinion concerning who is to be blamed for his affliction; in the first two stanzas, he blames himself for becoming so attached, but then unsatisfied with this, blames the emotion of love itself for his sadness. Eventually however he reaches the conclusion that it is her ruthlessness, described as ‘thogh ye never wil upon me rewe, I moste yow love and been ever as trewe’, that causes him so much pain. Chaucer here portrays a hero who will eagerly fall in ‘love’ with a woman, however will be unable to control his own emotions. This degree of instability coupled with obvious exaggeration of his feelings causes us to question whether he is a satirical figure, but also if the nature of this love is genuine as opposed to merely a whim. His status as a courtly love hero is also questionable, because he is portrayed as an ineffectual character as opposed to a gallant, noble member of the court. Assuming there are five main elements of courtly love, many of those should be found in the poem. The most prominent element of courtly love in the poem is the aspect of aristocracy, presented by the protagonist’s placement of himself in servitude to the woman. On numerous occasions he places himself below her, begging her not to ‘from your service dryve’. There is very little in the way of ritualism in the poem to suggest that the couple share gifts or even any kind of relationship at all; Chaucer uses language in such a way that it infers she barely is aware of his existence. This presents the reader with a quandary especially regarding the purpose of the poem. Secrecy of their affair is not alluded to at any point in the poem; this perhaps represents the ambiguity of what has thus far occurred between them, and perhaps therefore it does not follow the tradition in that the relationship (if it can be defined as such) is not adulterous, as far as we can tell. In order to establish this, it may be useful to examine Chaucer’s own life, and his personal situation at this point . In 1368, Chaucer was married to Philippa Roet, a lady in waiting to the Queen, and was an esquire to the house of Edward III. He had also had a son, named Thomas, born in 1367. This information is useful in terms of a biographical perspective on the poem. Chaucer was still a young man at the point of writing A Complaint to his Lady (aged 24) and it is conceivable that the poem was written on a personal basis, detailing some kind of affair he himself was having at the time. This knowledge is useful, because therefore if the poem is autobiographical, the lady he is speaking of is obviously not his wife, thus fulfilling the extramarital nature of a courtly love relationship as presented in the poem. Without any biographical knowledge however there is no mention of any other relationship, which causes the reader to question the very essence of ‘fine love’ in that we can find very little evidence for it from the poem alone. There are however some isolated elements of the trad ition found in the poem, however whether they culminate in a traditional courtly love ritual poem is dubious. The structure of the poem is revealing in terms of the intention behind its writing; the changing forms, and inconsistency present the reader with an almost unfinished poem, sufficiently unrefined to justify this assertion. There are three main changes of form; parts I and II are written in rhyme royal. Part II however does not strictly adhere to the concept of rhyme royal and contains elements of terza rima. Part III sees the complete transition from rhyme royal to terza rima; iambic tercets make the poem sound more rhythmic than it had been previously. After part III however the form of the poem turns into decasyllabic lines, with stanzas being largely ten lines long, with the exception of stanzas eight and nine, which are nine and eight lines long respectively. The final part of the poem is the least rigidly formatted, and has an irregular rhyme scheme. One of the main rhyme patterns of the final section is AABAABCDDC, however not all stanzas follows this pattern. This inconsisten cy therefore is important in ascertaining the writer’s literary capability, almost the level of sophistication his work had reached at the time he’d written the poem. If one were only to examine the structural cohesion of the poem, then one could conclude he was still very much a developing poet. The rhyme scheme of parts I-III is fairly regular because it adheres to two poetic forms, rhyme royal and terza rima . The use of rhyme royal was a fairly common pattern to use during this period, and often was used in less sophisticated rhyming poetry of the time. Chaucer’s use of terza rima however allows the reader insight into the influence of the courtly love tradition on the poem in that in order to use the form, Chaucer would have had to be exposed to it, in its original format by its patrons, at some point during his missions to Europe. In Italy at this point, Petrarch and Boccaccio especially were writing poetry that was very heavily focussed on the tradition of courtly love, experimenting with terza rima; exposure to this may have prompted Chaucer to write A Complaint to his Lady, and to view the poem as an experiment would add credibility to the idea that Chaucer was still developing as a poet, and therefore his ideas were still unrefined, thus explaining the poemâ €™s content. Why Chaucer did not choose to finish the poem in this manner is unknown. There was usually no prescribed rhyme scheme used in the courtly love tradition, except the obvious assumption that it should rhyme. From the composition of the poem one can assume that Chaucer’s influences were mixed; his travels to Italy influenced his work, as demonstrated by the use of terza rima and the protocols he follows when addressing his lady. Another influence of folklore becomes apparent through the emotions he claims to feel regarding her, and the influence of the knightly tales as demonstrated by the noble tone of ‘For neither pitee, mercy, neither grace’. The structure of this poem in comparison with later works shows more of an experimental motivation; for instance, in The Miller’s Tale the structure is simple; rhyming couplets and one long, extended stanza. This structure therefore adds far more focus to the plot as opposed to the intricacies of rhyme. The Canterbury Tales were also intended for an audience, to be performed verbally; wheth er A Complaint to his Lady was intended for public consumption may affect whether the tradition of courtly love actually forms the basis of the poem, because usually, poems written for personal courtship would not be shared with the wider public. The lack of aural consideration in the poem creates the impression that the poem was not supposed to be performed for the general public, even though the concept of ‘fine love’ was very popular in folklore of the time. The Canterbury Tales were however written to be performed verbally; several paintings of Chaucer performing his poetry exist, including â€Å"Chaucer at the Court of Edward III† . Graphological interpretation of the poem is difficult because by modern standards, it is fragmented and inconsistent; however, there are some features of the poem that define certain elements. For example, Chaucer frequently uses commas, which adds to the internal monologue effect he uses, causing the reader to feel as though we are entering conversation with him. This presents a paradox in terms of stylistic quality because the reader almost feels intrusive, whilst being ‘spoken’ to at the same time. ‘This hevy lif I lede, lo, For your sake’ for example is paradoxical because Chaucer is apparently addressing his lady, and yet appears to be addressing the reader in a simplistic sense because of the use of the second person, personal pronoun of ‘you’. There are also several questions used in the poem, which again engages the reader, making it more accessible to an audience. An example of this is ‘Allas, whan shal that harde wit amende?†™ which is a kind of ponderous question. It includes no specific address however invites the reader to respond in some way. In terms of language and lexical choices, the poem is far easier to comprehend than when considering grammar. Broadly, the poem uses three semantic fields; that evolving around the tradition of courtly love, beauty and other such finery, one of religion based ideas, and one of servitude and self deprecation. These are of course very broad spectrums. The field of courtly love is the central theme of the poem, as demonstrated the assertion of ‘gentilnesse and your debonairtee?’ The language used is obviously connected to the overriding theme of the poem. The use of religious imagery is perhaps more interesting; it represents a deep rooted relationship with the social values of the period and perhaps the element of Christianity that was undoubtedly present in the courtly love tradition. The demigod-like presentation of the woman only serves to enhance the enchanting aura that appears to surround the woman in Chaucer’s poem, and because of the depth of religious focus at the time, this was a very powerful feeling to manipulate within poetry itself. The comparison however with the godlike features of the woman, such as his idealisation of her, as in â€Å"Myn hertes lady and hool my lyves queen†, with the position of servitude he finds himself in is bizarre because from a historical point of view, a man is wholly authoritative over a woman. In modern literature, the woman is often seen rejecting the idealisation of the opposite sex due to love, and instead is becoming more internally directed by her own thoughts and emotions. The semantic field of servitude is one common across much of the courtly love poetry experienced; Petrarch, for example regularly wrote so that the role of the man and the woman were reversed; servitude moved from the role of the woman to that of the man, thus subverting tradition and therefore making the concept almost strange to read, if one is in the contextual mindset as the poem demands. The significance of connotation is surprisingly small in this poem because Chaucer was not a great user of metaphor, especially in his earlier poetry; the emergence of figurative language emerged during the age of prescriptivism, from around 1450, some years after his death. Chaucer does use figurative language in some of The Canterbury Tales, however in terms of The Nun’s Priests Tale, the idea of anthropomorphism is more prevalent than metaphor per se. Chaucer’s meaning is very much found at face value; there are wider implications of what he says, however there is little linguistic subtext, in comparison for example with William Shakespeare. There is however much more contextual connotation, in his exploration of the woman and her role in his life, and the religious connections this has. Overall, the poem follows many aspects of the tradition of courtly love, however investigations into form and Chaucer’s personal life may be more revealing about the motivations of the poem; whether the poem was intended for public consumption is unclear, however since the poem appears to be intensely personal, it seems unlikely. Contextually however, rambling tombs of poems dedicated to one’s ‘true love’ were not uncommon; exaggerated gestures of undying love were commonplace particularly in the aristocratic circles in which Chaucer placed himself, and therefore he may have been persuaded to write in this manner by a variety of ‘peer pressure’. The differences between the tradition of courtly love and the poem will be further explored in Part Two, as well as Chaucer’s personal life which may have influenced the degree to which the poem adheres to tradition, and how far it diverges in comparison with The Canterbury Tales.