But in his versification he likewise adopted certain other practices which had no such origin or reason as those already referred to. Among them were the addition, at the end of a line of five accents, of an unaccented syllable; and the substitution, for the first foot of a line either of four or of five accents, of a single syllable. These deviations from a stricter system of versification he doubtless permitted to himself, partly for the sake of variety, and partly for that of convenience; but neither of them is peculiar to himself, or of supreme importance for the effect of his verse. In fact, he seems to allow as much in a passage of his "House of Fame," a poem written, it should, however, be observed, in an easy-going form of verse (the line of four accents) which in his later period Chaucer seems with this exception to have invariably discarded. He here beseeches Apollo to make his rhyme somewhat agreeable, Though some verse fail in a syllable.
But another of his usages--the misunderstanding of which has more than anything else caused his art as a writer of verse to be misjudged--seems to have been due to a very different cause. To understand the real nature of the usage in question it is only necessary to seize the principle of Chaucer's rhythm. Of this principle it was well said many years ago by a most competent authority--Mr. R. Horne--that, it is "inseparable from a full or fair exercise of the genius of our language in versification."For though this usage in its full ******* was gradually again lost to our poetry for a time, yet it was in a large measure recovered by Shakspere and the later dramatists of our great age, and has since been never altogether abandoned again--not even by the correct writers of the Augustan period--till by the favourites of our own times it is resorted to with a perhaps excessive liberality. It consists simply in SLURRING over certain final syllables--not eliding them or contracting them with the syllables following upon them, but passing over them lightly, so that, without being inaudible, they may at the same time not interfere with the rhythm or beat of the verse. This usage, by adding to the variety, incontestably adds to the flexibility and beauty of Chaucer's versification.)With regard to the most important of them is it not too much to say that instinct and experience will very speedily combine to indicate to an intelligent reader where the poet has resorted to it. WITHOUTintelligence on the part of the reader, the beautiful harmonies of Mr.
Tennyson's later verse remain obscure; so that, taken in this way the most musical of English verse may seem as difficult to read as the most rugged;but in the former case the lesson is learnt not to be lost again, in the latter the tumbling is ever beginning anew, as with the rock of Sisyphus.
There is nothing that can fairly be called rugged in the verse of Chaucer.
And fortunately there are not many pages in this poet's works devoid of lines or passages the music of which cannot escape any ear, however unaccustomed it may be to his diction and versification. What is the nature of the art at whose bidding ten monosyllables arrange themselves into a line of the exquisite cadence of the following:--And she was fair, as is the rose in May?
Nor would it be easy to find lines surpassing in their melancholy charm Chaucer's version of the lament of Medea, when deserted by Jason,--a passage which makes the reader neglectful of the English poet's modest hint that the letter of the Colchian princess may be found at full length in Ovid. The lines shall be quoted verbatim, though not literatim; and perhaps no better example, and none more readily appreciable by a modern ear, could be given than the fourth of them of the harmonious effect of Chaucer's usage of SLURRING, referred to above:--Why liked thee my yellow hair to see More than the boundes of mine honesty?
Why liked me thy youth and thy fairness And of thy tongue the infinite graciousness?
O, had'st thou in thy conquest dead y-bee(n), Full myckle untruth had there died with thee.
Qualities and powers such as the above, have belonged to poets of very various times and countries before and after Chaucer. But in addition to these he most assuredly possessed others, which are not usual among the poets of our nation, and which, whencesoever they had come to him personally, had not, before they made their appearance in him, seemed indigenous to the English soil. It would indeed be easy to misrepresent the history of English poetry, during the period which Chaucer's advent may be said to have closed, by ascribing to it a uniformly solemn and serious, or even dark and gloomy, character. Such a description would not apply to the poetry of the period before the Norman Conquest, though, in truth, little room could be left for the play of fancy or wit in the hammered-out war-song, or in the long-drawn scriptural paraphrase. Nor was it likely that a contagious gaiety should find an opportunity of manifesting itself in the course of the versification of grave historical chronicles, or in the tranquil objective reproduction of the endless traditions of British legend. Of the popular songs belonging to the period after the Norman Conquest, the remains which furnish us with direct or indirect evidence concerning them hardly enable us to form an opinion.
