(born 1342/43, London?, Eng.—died Oct. 25, 1400, London) the outstanding English poet before Shakespeare and “the first finder of our language.” His The Canterbury Tales ranks as one of the greatest poetic works in English. He also contributed importantly in the second half of the 14th century to the management of public affairs as courtier, diplomat, and civil servant. In that career he was trusted and aided by three successive kings—Edward III, Richard II, and Henry IV. But it is his avocation—the writing of poetry—for which he is remembered.
Perhaps the chief characteristics of Chaucer's works are their variety in subject matter, genre, tone, and style and in the complexities presented concerning the human pursuit of a sensible existence. Yet his writings also consistently reflect an all-pervasive humour combined with serious and tolerant consideration of important philosophical questions. From his writings Chaucer emerges as poet of love, both earthly and divine, whose presentations range from lustful cuckoldry to spiritual union with God. Thereby, they regularly lead the reader to speculation about man's relation both to his fellows and to his Maker, while simultaneously providing delightfully entertaining views of the frailties and follies, as well as the nobility, of mankind.
Forebears and early years
Chaucer's forebears for at least four generations were middle-class English people whose connection with London and the court had steadily increased. John Chaucer, his father, was an important London vintner and a deputy to the king's butler; in 1338 he was a member of Edward III's expedition to Antwerp, in Flanders, now part of Belgium, and he owned property in Ipswich, in the county of Suffolk, and in London. He died in 1366 or 1367 at age 53. The name Chaucer is derived from the French word chaussier, meaning a maker of footwear. The family's financial success derived from wine and leather.
Although 1340 is customarily given as Chaucer's birth date, 1342 or 1343 is probably a closer guess. No information exists concerning his early education, although doubtless he would have been as fluent in French as in the Middle English of his time. He also became competent in Latin and Italian. His writings show his close familiarity with many important books of his time and of earlier times.
Chaucer first appears in the records in 1357, as a member of the household of Elizabeth, countess of Ulster, wife of Lionel, third son of Edward III. Geoffrey's father presumably had been able to place him among the group of young men and women serving in that royal household, a customary arrangement whereby families who could do so provided their children with opportunity for the necessary courtly education and connections to advance their careers. By 1359 Chaucer was a member of Edward III's army in France and was captured during the unsuccessful siege of Reims. The king contributed to his ransom, and Chaucer served as messenger from Calais to England during the peace negotiations of 1360. Chaucer does not appear in any contemporary record during 1361–65. He was probably in the king's service, but he may have been studying law—not unusual preparation for public service, then as now—since a 16th-century report implies that, while so engaged, he was fined for beating a Franciscan friar in a London street. On February 22, 1366, the king of Navarre issued a certificate of safe-conduct for Chaucer, three companions, and their servants to enter Spain. This occasion is the first of a number of diplomatic missions to the continent of Europe over the succeeding 10 years, and the wording of the document suggests that here Chaucer served as “chief of mission.
By 1366 Chaucer had married. Probably his wife was Philippa Pan, who had been in the service of the countess of Ulster and entered the service of Philippa of Hainaut, queen consort of Edward III, when Elizabeth died in 1363. In 1366 Philippa Chaucer received an annuity, and later annuities were frequently paid to her through her husband. These and other facts indicate that Chaucer married well.
In 1367 Chaucer received an annuity for life as yeoman of the king, and in the next year he was listed among the king's esquires. Such officers lived at court and performed staff duties of considerable importance. In 1368 Chaucer was abroad on a diplomatic mission, and in 1369 he was on military service in France. Also in 1369 he and his wife were official mourners for the death of Queen Philippa. Obviously, Chaucer's career was prospering, and his first important poem— Book of the Duchess—seems further evidence of his connection with persons in high places.
That poem of more than 1,300 lines, probably written in late 1369 or early 1370, is an elegy for Blanche, duchess of Lancaster, John of Gaunt's first wife, who died of plague in September 1369. Chaucer's close relationship with John, which continued through most of his life, may have commenced as early as Christmas 1357 when they, both about the same age, were present at the countess of Ulster's residence in Yorkshire. For this first of his important poems, Chaucer used the dream-vision form, a genre made popular by the highly influential 13th-century French poem of courtly love, the Roman de la rose. Chaucer translated that poem, at least in part, probably as one of his first literary efforts, and he borrowed from it throughout his poetic career. The Duchess is also indebted to contemporary French poetry and to Ovid, Chaucer's favourite Roman poet. Nothing in these borrowings, however, will account for his originality in combining dream-vision with elegy and eulogy of Blanche with consolation for John. Also noteworthy here—as it increasingly became in his later poetry—is the tactful and subtle use of a first-person narrator, who both is and is not the poet himself. The device had obvious advantages for the minor courtier delivering such a poem orally before the high-ranking court group. In addition, the Duchess foreshadows Chaucer's skill at presenting the rhythms of natural conversation within the confines of Middle English verse and at creating realistic characters within courtly poetic conventions. Also, Chaucer here begins, with the Black Knight's account of his love for Good Fair White, his career as a love poet, examining in late medieval fashion the important philosophic and religious questions concerning the human condition as they relate to both temporal and eternal aspects of love.
During the decade of the 1370s, Chaucer was at various times on diplomatic missions in Flanders, France, and Italy. Probably his first Italian journey (December 1372 to May 1373) was for negotiations with the Genoese concerning an English port for their commerce, and with the Florentines concerning loans for Edward III. His next Italian journey occupied May 28 to September 19, 1378, when he was a member of a mission to Milan concerning military matters. Several times during the 1370s, Chaucer and his wife received generous monetary grants from the king and from John of Gaunt. On May 10, 1374, he obtained rent-free a dwelling above Aldgate, in London, and on June 8 of that year he was appointed comptroller of the customs and subsidy of wools, skins, and tanned hides for the Port of London. Now, for the first time, Chaucer had a position away from the court, and he and his wife had a home of their own, about a 10-minute walk from his office. In 1375 he was granted two wardships, which paid well, and in 1376 he received a sizable sum from a fine. When Richard II became king in June 1377, he confirmed Chaucer's comptrollership and, later, the annuities granted by Edward III to both Geoffrey and Philippa. Certainly during the 1370s fortune smiled upon the Chaucers.
So much responsibility and activity in public matters appears to have left Chaucer little time for writing during this decade. The great literary event for him was that, during his missions to Italy, he encountered the work of Dante, Petrarch, and Boccaccio, which was later to have profound influence upon his own writing. Chaucer's most important work of the 1370s was Hous of Fame, a poem of more than 2,000 lines, also in dream-vision form. In some ways it is a failure—it is unfinished, its theme is unclear, and the diversity of its parts seems to overshadow any unity of purpose—but it gives considerable evidence of Chaucer's advancing skill as a poet. The eight-syllable metre is handled with great flexibility; the light, bantering, somewhat ironic tone—later to become one of Chaucer's chief effects—is established; and a wide variety of subject matter is included. Further, the later mastery in creation of memorable characters is here foreshadowed by the marvelous golden eagle who carries the frightened narrator, “Geoffrey,” high above the Earth to the houses of Fame and Rumour, so that as a reward for his writing and studying he can learn “tydings” to make into love poems. Here, too, Chaucer's standard picture of his own fictional character emerges: the poet, somewhat dull-witted, dedicated to writing about love but without successful personal experience of it. The comedy of the poem reaches its high point when the pedantic eagle delivers for Geoffrey's edification a learned lecture on the properties of sound. In addition to its comic aspects, however, the poem seems to convey a serious note: like all earthly things, fame is transitory and capricious.
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