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MIDDLE ENGLISH LITERATURE (an.lit.-middle_english_literature.doc)

MIDDLE ENGLISH LITERATURE

        The Norman conquest of England in 1066 traditionally signifies the beginning of 200 years of the domination of French in English letters. French cultural dominance, moreover, was general in Europe at this time. French language and culture replaced English in polite court society and had lasting effects on English culture. But the native tradition survived, although little 13th-century, and even less 12th-century, vernacular literature is extant, since most of it was transmitted orally. Anglo-Saxon fragmented into several dialects and gradually evolved into Middle English, which, despite an admixture of French, is unquestionably English.

        The period of great transition from French as the language of literature to English lasted between 1100 and about 1450 to 1500. In The fourteenth century a new form of English was used. The language of this period is referred to as Middle English. It was in fact Old English enriched by thousands of French words. And it is into this period that the writing of GEOFFREY CHAUCER falls.

GEOFFREY CHAUCER

        Born (about *1340) and died (†1400) in London, buried in Westminster Abbey as the first poet in the part which has been known as Poet’s Corner since the late 16th century, GEOFFREY CHAUCER was the greatest poet of the Middle Ages and the most outstanding English writer before Shakespeare.

        Chaucer is often called “the father of English poetry”, although there were many English poets before him, because his using of English at the time when much court poetry was still written in Anglo-Norman (French) or Latin made a great contribution to the development of English Literature.

        Chaucer was the son of a wealthy vintner in London. He was well educated. He most probably went to St. Paul’s School and then, at the age of 17, when he became a page in the household of the wife of Lionel, third son of King Edward III, his education not only continued, but was intensified.

        In 1386 Chaucer was elected Member of Parliament. He was also a courtier, a soldier and a scholar interested in astronomy, mathematics, medicine, psychology and other natural sciences. His hobby was reading, he is said to have been able to quote from almost every book in the bible. He spoke Latin and studied French and Italian poetry. He travelled and made good use of his eyes – the people whom he describes are just like living people.

        It is much easier to read Chaucer than to read anything written in Old English for the language had changed a great deal in the seven hundred years since the time of Beowulf.

        In The Canterbury Tales (about 1387 to 1400), the greatest work of Chaucer (total altogether about 17000 lines, about half of Chaucer’s literary production), there are five main beats in each line and the rhyme has taken the place of Old English alliteration.

        The Canterbury Tales is a complex of vivid tales, unique for its realism, humour and variety. Chaucer created here an image of the English society of the 14th century. People from various parts of England and of all social groups are presented here.

        The book opens with the General Prologue in which Chaucer gives a description on each of his pilgrims that appear in it. Together their characters give us a broad view of a human nature ad a good insight into the life of medieval England.

        In the 14th century, going on a pilgrimage to the shrine of a saint became a popular activity. It enabled people to meet socially and gave them a good excuse for travel. Chaucer uses one such      a pilgrimage as the setting for his Canterbury Tales. He brings together thirty pilgrims; all from varied occupations and walks of life. They meet at the Tabard Inn at Southwark, on the other side of the Thames from London, to set off on a pilgrimage to Canterbury to the shrine of the martyr Saint Thomas Becket, the archbishop of Canterbury, who was murdered in the cathedral. Before they start in the morning, the innkeeper suggests that they all take a part in a story-telling contest in order to make the journey pass more quickly. The prize for the best storyteller will be a supper at the Tabard Inn, paid for by all the rest of the group.

        So, each of the pilgrims tells a tale on the way to Canterbury. The tales, such as The Knight’s Tale, The Cook’s Tale, The Miller’s Tale, The Student’s Tale, The Wife of Bath’s Tale, The Monk’s Tale and others, reveal much about the teller’s character, his interests and the way of life. They are told in the style peculiar to the social group the teller belongs to.

        There are more then twenty of these stories, mostly in verse, and in the stories we get to know the pilgrims themselves. Most of them, like the Merchant, the Lawyer, the Sailor, the Doctor, the Ploughman and the poor Scholar are ordinary people, but each of them can be recognized as a real person with his or her own character.

        Then there is the Knight who is the highest in social rank and demonstrates the courtesy and nobility that is to be expected of his high breeding.

        The religion is represented by the Friar, the honest Parson, as well as by the Prioress and the Monk.

        Some of the pilgrims are involved in business such as the Merchant or the         Wife of Bath, on of the most enjoyable characters. She is a vigorous, talkative, earthy character who spends more time introducing her tale than actually telling it. By the time she tells her story we know her as a woman of very strong opinions who believes firmly in marriage (she has had five husbands, one after the other) and equally firmly in the need to manage her husbands, and at least all men, very strictly.

        Chaucer’s skill in developing the treatment of his characters in depth is very impressive. Some of the pilgrims, like the Knight, are straightforward in their behaviour and attitudes. Others are more complex and not quite always what they at first may seem. Chaucer enjoys showing up deceit and hypocrisy in human behaviour. Consider the Monk, for example, who is too keen on enjoying all the luxuries of life. Chaucer’s realism influenced future developments in English literature, with the increasing interest in depicting individual characters.

        Chaucer’s masterpiece The Canterbury Tales is one of the best poetic works in English.

        In 1359, Chaucer fought in France, in 1372 and 1378 he conducted diplomatic missions to Italy and both countries became a strong influence on his poetry. Of Chaucer’s poems, the most important are probably Troilus and Criseyde (about 1375-1385), where the influence of Boccaccio´s poems becomes apparent, and The Legend of Good Women (1385-1386). The former of these is about the love of the two young people. Shakespeare later wrote a play on the same subject, but his Cressida is less attractive than Chaucer’s.

        Other Chaucer’s best-known poems are: The House of Fame (1372-80), The Parliament of Fowls (1380-86) and The Book of the Duchess (1370) – devoted to Chaucer’s first wife, the lady Blanche, duchess of Lancaster, with the central figure duke John of Gaunt, the fourth son of Henry IV., which was Chaucer’s best patron and a lifelong friend and later became his brother-in-law.

        There is a little agreement among Chaucer’s biographers about some of the periods in his life and the dates when his poems were written. There is even no evidence to prove the year of his birth, the only fact which can be taken for certain is that it was before 1346.

OTHER MIDDLE ENGLISH LITERATURE

        Several poems in early Middle English are extant. The Orrmulum (1200), a verse translation of parts of the Gospels, is of linguistic and prosodic rather than literary interest. Of approximately the same date, The Owl and the Nightingale is the first example in English of the débat, a popular continental form; in the poem, the owl, strictly monastic and didactic, and the nightingale, a free and amorous secular spirit, charmingly debate the virtues of their respective ways of life.

        The old alliterative line was still in use in Chaucer's time, though not by him.        

The Vision of Piers the Ploughman, mostly by WILLIAM LANGLAND, is a poem in this verse. It was written by a poor man to describe the sorrows of the poor. It looks a lot older than Chaucer's rhymed verse, though the two men lived at the same time. Langland sadly tells, as in a dream, how most people prefer the false treasures of this world to the treasures of heaven. The characters in the poem are not as real as Chaucer's.

        The alliterative metre was used in several other poems, including Sir Gawain and the Green Knight, one of the stories of King Arthur and his Knights of the Round Table. Like others of these legendary stories, it tells of the adventures of one of King Arthur's knights (in this case Sir Gawain) in a struggle against an enemy with magic powers as well as great strength and cunning. Sir Gawain finishes the adventure with all honour.

        Perhaps the author of Gawain also wrote Pearl and Patience, two of the best alliterative poems of the time. Pearl was the name of the poets daughter, who died at the age of two; but he is comforted when, in a dream, he sees her in heaven. Patience is the story of Jonah, who was thrown into the sea and swallowed by an immense creature of the sea, which carried him to the place where God wished him to go.

        A good deal of Middle English prose is religious. The Ancren Riwle teaches proper rules of life for anchoresses (religious women) how they ought to dress, what work they may do, when they ought not to speak, and so on. It was probably written in the thirteenth century.

        Another work, The Form of Perfect Living, was written by RICHARD ROLLE with the same sort of aim. His prose style has been highly praised, and his work is important in the history of our prose.

        JOHN WYCLIFFE, a priest, attacked many of the religious ideas of his time. He was at Oxford, but had to leave because his attacks on the Church could no longer be bore. One of his beliefs was that anyone who wanted to read the Bible ought to be allowed to do so. Some parts had indeed been put into Old English long ago, but Wycliffe arranged the production of the whole Bible in English. He himself translated part of it. There were two translations (1382 and 1388), of which the second is the better. It is surprising that Wycliffe was not burnt alive for his attacks on religious practices. After he was dead and buried, his bones were dug up again and thrown into a stream which flows into the River Avon.

        An important Middle English prose work, Morte D'Arthur [Arthur's Death], was written by  SIR THOMAS MALORY. Even for the vio!ent years just before and during the Wars of the Roses, Malory was a violent character. He was several times in prison, and it has been suggested that he wrote at least part of Morte D' Arthur there to pass the time. Malory wrote eight separate tales of King Arthur and his knights but when Caxton (set up the first English printing press in 1476-7) printed the book in 1485 (after Malory's death) he joined them into one long story. Caxton's was the only copy of Malory's work until a handwritten copy of it was found in Winchester College (1933).

        The stories of Arthur and his knights have attracted many British and other writers. Arthur is a shadowy figure of the past, but probably really lived. Many tales gathered round him and his knights. One of the main subjects was the search for the cup used by Christ at the Last Supper (known as The Holy Grail). Another subject was Arthur's battles against his enemies, including the Romans. Malory's fine prose can tell a direct story well, but can also express deep feelings in musical sentences.

        The first English plays told religious stories and were performed in or near the churches. Many events of religious history were suitable subjects for drama. These early plays, called Miracle or Mystery Plays, are in four main groups, according to the city where they were acted: Chester, Coventry, York and Wakefield. The subjects of the Miracle Plays are various: the disobedience of Adam and Eve; Noah and the great flood; Abraham and Isaac; events in the life of Christ; and so on. They were acted by people of the town on a kind of stage on wheels called a pageant. This was moved to different parts of the town, so that a play shown in one place could then be shown in another. Often several Miracle Plays were being performed at the same time in different places.

        Although the Miracles were serious and religious in intention, English comedy was born in them. There was a natural tendency for the characters in the play to become recognizably human in their behaviour. However serious the main story might be, neither

actors nor audience could resist the temptation to enjoy the possibilities of a situation such as that in which Noah's wife needs a great deal of persuasion to make her go on board the ark.

        Other plays, in some respects not very different from the Miracles, were the Morality Plays. The characters in these were not people such as Adam and Eve or Noah, they were virtues (such as Truth) or bad qualities (such as Greed or Revenge) which walked and talked. For this reason we find these plays duller today, but this does

not mean that the original audiences found them dull. The plays presented moral truths in a new and effective way.

        One of the best-known fifteenth-century Moralities is Everyman which was translated from the Dutch. It is the story of the end of Everyman's life, when Death calls him away from the world.  Among the characters are Beauty, Knowledge, Strength, and Good Deeds. When Everyman has to go to face Death, all his friends leave him except Good Deeds.

        Another kind of play, the Interlude, was common in the fifteenth and sixteenth centuries. The origin of this name is uncertain; perhaps the Interludes were played between the acts of long Moralities; perhaps in the middle of meals; or perhaps the name means a play by two or three performers. They are often funny, and were performed away from churches, in colleges or rich men's houses or gardens. One of them is The Four P' s. In one part of this play, a prize is offered for the greatest lie; and it is won by a man who' says that he never saw and never knew any woman out of patience. The writers of these early plays are unknown until we come to the

beginning of the sixteenth century.

JOHN HEYWOOD wrote The FourP's (printed about 1545) and The Play of the Weather (1533), in which Jupiter, the King of the Gods, asks various people what kind of weather ought to be supplied. Heywood wrote other Interludes and was alive in Shakespeare’s time.

BIBLIOGRAPHY

Brendlová, Světla; Novy, Jan Lindsey: A Survey of Literature in English-Speaking Countries. Bratislava: Nakladateľstvo Fraus, 1999. ISBN 80-88844-47-9

Silvánová, Barbara: Angličtina. Bratislava: Enigma jr., 1994. ISBN 80-9671907-0-9

Thornley, G.C.; Roberts, Gwyneth: An Outline of English Literature. Essex: Longman Group, 2001. ISBN 0-582-74917-4

Vaughan-Reese, Michael; Sweeney, Geraldine; Cassidy, Picot: In Britain. 21th Century Edition. London: Chancerel Internationl Publisher,2000. ISBN 1-899888-64-0

Internet: Notes on the English mystery plays.    

http://artemis.austincollege.edu/acad/hwc22/Medieval/english_mystery_plays.html

Internet: Middle English literature

http://www.infoplease.com/ce6/ent/A0833073.html