John Lydgate, the Monk5 of St. Edmundsbury, would have obliged us had he written prose Memoirs6 of his own life, for he came in contact with some very interesting persons, and knew London and Paris as well as his cloister7. Born (1370) at Lydgate near Newmarket (where good drink was hardly to be come at, he tells us), he was, before the age of 15, received into the great Edmondsbury monastery8 school, where he was a reluctant pupil, and, later, a not very willing monk. He proceeded to Oxford9, it is thought to Gloucester Hall, now Worcester College, and, by 1397, was a priest in full orders. He speaks of Chaucer as his Master; but probably he means his master in the spirit: probably he never sat at the feet of the great poet.
In 1423 Lydgate was made prior of Hatfield Broadoak. In 1426 he was in Paris, and, by order of the Earl of Warwick, the cruel jailer of Jeanne d'Arc, he translated a French poetical10 pedigree by Laurence Callot, a French clerk in English service. Laurence is notorious for having called the Bishop11 of Beauvais a traitor12, when he accepted the abjuration13 of Jeanne d'Arc (May, 1431), and for being very busy in the tumult14 which then arose. Lydgate returned to his cloister at Bury in 1434, and we last hear of him, in connexion with a pension which he held, in 1446.
The dates of his poems are not certainly known, as a rule.[Pg 111] "The Flower of Curtesie," "The Black Knight15," and "The Temple of Glass," may be between 1400 and 1403. The "Troy Book," made from Dares, Dictys, Beno?t de Sainte-Maure, and, mainly Guido de Colonna, is of monstrous16 length, and is dated 1412-1420. This poem has some fine passages in which Lydgate, for example, when describing the penitence17 of Helen, seems to be translating the actual words of the Iliad. The "Story of Thebes" followed (1420), then came "The Falls of Princes," and a translation of Deguileville's "Pilgrimage of Human Life," made for the Earl of Salisbury. "The Legend of St. Edmund" was written for the devout18 Henry VI; the date of "Reason and Sensuality" is earlier (1406-1408).
About forty works are attributed to Lydgate, all, or almost all, being marked by "his curious flatness". His lines have, for the ordinary mind, the unpleasant peculiarity19 that you may read many of them several times before you discover, if you ever do, how he meant them to be scanned. It is not to be found out when he meant the final e to be sounded, and when he did not. His poems may have been badly copied, or badly printed, or both, but the bewildering result remains20. When we add that Lydgate is usually a translator, and is always a copyist of all the old formul? of spring and dreams, and that he is as prolix21 as an Indian epic22, it must be plain that he cannot be said to hold a high place in living literature. "The Book of the Duchess," a thing of Chaucer's immaturity23, is not one that a young poet of the next generation would sedulously24 ape, yet Lydgate imitated it in "The Black Knight".
The best-known piece of Lydgate is a short satiric25 poem, "London Lickpenny," describing the misadventures of a poor countryman who finds that in London he can get nothing, neither law, nor food, nor any other commodity—for nothing. His hood26 is stolen in the crowd.
Occleve.
Occleve is not merely a less voluminous Lydgate. He is a character, or assumes to be a character not unlike the French poet, Francois Villon, but with little of Villon's genius. Occleve[Pg 112] was born about 1368; about 1387 he got a little post in the Office of the Privy27 Seal; in 1406, in a poem "La Male Règle," he petitions for payment of a pension: he has wasted his youth, his health is lost, and no wonder,
But twenty wintir passed continuelly
Excesse at borde hath leyd his knyf with me.
The great number of public-houses excite people to drink,
So often that man can nat wel seyn nay28.
He would have drunk harder if there had been more money in his pouch29: had Occleve been a richer man there would be less of the rhymes of Occleve. He liked the society of gay girls, which is expensive,
To suffre hem3 paie had been no courtesie.
He abstained30 from discourteous31 language,
I was so ferd with any man to fighte.
The tapsters said that Occleve was "a real gentleman," "a verray gentil man". He was too lazy to walk to his office; this indolent civil servant, he took a boat, and the oarsmen knew and flattered him. He is rather impudent32 and impenitent33, but he seems to ask for no more than was his due in the way of money. The picture is drawn34 from the life, whether dramatically studied, or only too truly told of Occleve.
Being what he calls himself, Occleve wrote over 5000 lines of good moral advice to "the mad Prince," the friend of Poins and Falstaff (1411-1412). He acts as his own "awful example". He asks for money, and his poem is a compilation35 from various musty sources; but he is always laxly autobiographical, a loose, genial36, familiar knave37. Conceivably he may have met the Prince in a tavern38; it is a pity that Shakespeare did not think of bringing this shuffler39, in Falstaff's company, to take purses at Gadshill. He bids the Prince to burn heretics, and, in the interests of peace with France, to marry Katharine, daughter of the mad Charles VI. Henry took both pieces of advice, but the marriage brought not peace, but the sword in a Maiden's hand.
[Pg 113]
Like Villon, Occleve wrote a poem (more than one), to the Blessed Virgin40: he is always very orthodox. He had an interval41 of darkened mind, but recovered and went on versifying, a pathetic figure, for he was a married man, and his wife must have endured things intolerable. Occleve was very human: as a poet his versification is as loose as that of Lydgate. He died about 1450.
Hawes.
Stephen Hawes was the last of the English followers42 of Chaucer who deserves notice. Between him and the genuine Middle Ages a great gulf43 exists. The art of printing is familiar to Hawes. Writing of Chaucer he says of the poet's many books
He dyd compyle, whose goodly name
In printed bokes doth remayne in fame,
where the jostling vowels44 of "name," "remayne" and "fame" prove Hawes to be a careless author. In his own time, he says, writers "spend their time in vainful vanity, making balades of fervent45 amity46, as gestes and trifles without fruitfulness". Hawes alone "of my Master Lydgate will follow the trace".
Hawes is all for allegory and moral instruction in his long poem, misleadingly entitled "The Passetyme of Pleasure". All the old formul? of the Romance of the Rose are retained, and the castles of Rhetoric47, Logic48, and the whole curriculum of Learning are not much more joyous49 than the den2 of Bunyan's Giant Despair. Even combats with seven-headed monsters fail to excite pity and terror, for Hawes has seen, in a work of art, his own future, and we know beforehand that Grand Amour married La Bel Pucell.
Hawes was born about 1475, was over-educated at Oxford, and was Groom50 of the Chamber51 to Henry VII. He made the words of a ballet for the Court in 1506 (ten shillings) and, for Henry VIII. (1521) a play, now lost, (£6 13s. 4 d.). He also wrote "The Example of Virtue," and several poems, some of which have not been found in print or manuscript. The "Passetyme of Pleasure" is of 1506. It is in rhyme royal, with more or less humorous interludes concerning the facetious52 Godfrey Gobelive, a dwarf53 who tells tales against women, in rhyming "heroic" couplets. "The Example of Virtue," another moral and allegorical poem, is in the same measures. Spenser may have known the works of Hawes, there are coincidences in the allegorical details of both which can scarcely be all accidental. Hawes, in a sense, would "have raised the Table Round again," if he could I He knew Malory's great prose work, the "Morte d'Arthur," and would fain have restored ideal chivalry54.
But chivalry died at the burning of Jeanne d'Arc, under the eyes of "the Father of Courtesy," the Earl of Warwick. The[Pg 114] Flower of Chivalry was sacrificed like Odin, "herself to herself" (1431).
Hawes was a chaotic55 versifier: it is not easy to guess how he scanned many of his own lines. In the "Passetyme" the words of the hero's epitaph are probably a versified proverb,
For though the day be never so longe,
At last the belles56 ringeth to evensonge.
Long were the poems, and long the day of the followers of Chaucer. Now for its even song the bells were rung.
点击收听单词发音
1 wilderness | |
n.杳无人烟的一片陆地、水等,荒漠 | |
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2 den | |
n.兽穴;秘密地方;安静的小房间,私室 | |
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3 hem | |
n.贴边,镶边;vt.缝贴边;(in)包围,限制 | |
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4 oases | |
n.(沙漠中的)绿洲( oasis的名词复数 );(困苦中)令人快慰的地方(或时刻);乐土;乐事 | |
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5 monk | |
n.和尚,僧侣,修道士 | |
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6 memoirs | |
n.回忆录;回忆录传( mem,自oir的名词复数) | |
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7 cloister | |
n.修道院;v.隐退,使与世隔绝 | |
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8 monastery | |
n.修道院,僧院,寺院 | |
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9 Oxford | |
n.牛津(英国城市) | |
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10 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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11 bishop | |
n.主教,(国际象棋)象 | |
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12 traitor | |
n.叛徒,卖国贼 | |
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13 abjuration | |
n.发誓弃绝 | |
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14 tumult | |
n.喧哗;激动,混乱;吵闹 | |
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15 knight | |
n.骑士,武士;爵士 | |
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16 monstrous | |
adj.巨大的;恐怖的;可耻的,丢脸的 | |
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17 penitence | |
n.忏悔,赎罪;悔过 | |
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18 devout | |
adj.虔诚的,虔敬的,衷心的 (n.devoutness) | |
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19 peculiarity | |
n.独特性,特色;特殊的东西;怪癖 | |
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20 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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21 prolix | |
adj.罗嗦的;冗长的 | |
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22 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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23 immaturity | |
n.不成熟;未充分成长;未成熟;粗糙 | |
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24 sedulously | |
ad.孜孜不倦地 | |
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25 satiric | |
adj.讽刺的,挖苦的 | |
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26 hood | |
n.头巾,兜帽,覆盖;v.罩上,以头巾覆盖 | |
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27 privy | |
adj.私用的;隐密的 | |
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28 nay | |
adv.不;n.反对票,投反对票者 | |
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29 pouch | |
n.小袋,小包,囊状袋;vt.装...入袋中,用袋运输;vi.用袋送信件 | |
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30 abstained | |
v.戒(尤指酒),戒除( abstain的过去式和过去分词 );弃权(不投票) | |
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31 discourteous | |
adj.不恭的,不敬的 | |
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32 impudent | |
adj.鲁莽的,卑鄙的,厚颜无耻的 | |
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33 impenitent | |
adj.不悔悟的,顽固的 | |
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34 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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35 compilation | |
n.编译,编辑 | |
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36 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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37 knave | |
n.流氓;(纸牌中的)杰克 | |
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38 tavern | |
n.小旅馆,客栈;小酒店 | |
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39 shuffler | |
n.曳步而行者; 洗牌者; 轮到洗牌的人; 做事漫不经心者 | |
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40 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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41 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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42 followers | |
追随者( follower的名词复数 ); 用户; 契据的附面; 从动件 | |
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43 gulf | |
n.海湾;深渊,鸿沟;分歧,隔阂 | |
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44 vowels | |
n.元音,元音字母( vowel的名词复数 ) | |
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45 fervent | |
adj.热的,热烈的,热情的 | |
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46 amity | |
n.友好关系 | |
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47 rhetoric | |
n.修辞学,浮夸之言语 | |
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48 logic | |
n.逻辑(学);逻辑性 | |
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49 joyous | |
adj.充满快乐的;令人高兴的 | |
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50 groom | |
vt.给(马、狗等)梳毛,照料,使...整洁 | |
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51 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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52 facetious | |
adj.轻浮的,好开玩笑的 | |
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53 dwarf | |
n.矮子,侏儒,矮小的动植物;vt.使…矮小 | |
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54 chivalry | |
n.骑士气概,侠义;(男人)对女人彬彬有礼,献殷勤 | |
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55 chaotic | |
adj.混沌的,一片混乱的,一团糟的 | |
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56 belles | |
n.美女( belle的名词复数 );最美的美女 | |
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