Today | News | Books | Recipes Adventure | Science Fiction | Ghost stories | Poetry | Children | History Booktered in A. (527-532) in order to get rid of the name of Alcestis here, and to bring in a more immediate reference to the Balade. Line B. 540 is especially curious, because he had _not_, in the first instance, forgotten to put her in his Balade (see A. 209); but he now wished to seem to have done so. In B. 552-565, we have an interesting addition, in which Love charges him to put all the nineteen ladies, besides Alcestis, into his Legend; and tells him that he may _choose his own metre_ (B. 562). Again, in B. 568-577, he practically stipulates that he is only to tell the more interesting part of each story, and to leave out whatever he should deem to be tedious. This proviso was eminently practical and judicious. § 4. THE SUBJECT OF THE LEGEND. We learn, from B. 241, 283, that Chaucer saw in his vision Alcestis and nineteen other ladies, and from B. 557, that he was to commemorate them all in his Legend, beginning with Cleopatra (566) and ending with Alcestis (549, 550). As to the names of the nineteen, they are to be found in his Balade (555). Upon turning to the Balade (p. 83), the names actually mentioned include some which are hardly admissible. For example, Absalom and Jonathan are names of men; Esther is hardly a suitable subject, whilst Ysoult belongs to a romance of medieval times. (Cf. A. 275, p. 88.) The resulting practicable list is thus reduced to the following, viz. Penelope, Marcia, Helen, Lavinia, Lucretia, Polyxena, Cleopatra, Thisbe, Hero, Dido, Laodamia, Phyllis, Canace, Hypsipyle, Hypermnestra, and Ariadne. At the same time, we find legends of Medea and Philomela, though neither of these are mentioned in the Balade. It is of course intended that the Balade should give a representative list only, without being exactly accurate. But we are next confronted by a most extraordinary piece of evidence, viz. that of Chaucer himself, when, at a later period, he wrote the Introduction to the Man of Lawes Prologue (see vol. iv. p. 131). He there expressly refers to his Legend of Good Women, which he is pleased to call 'the Seintes Legende of Cupide,' i.e. the Legend of Cupid's Saints. And, in describing this former work of his, he introduces the following lines:-- 'Ther may be seen the large woundes wyde Of Lucresse, and of Babilan Tisbee; The swerd of Dido for the false Enee; The tree of Phillis for hir Demophon; The pleinte of Dianire and Hermion, Of Adriane and of Isiphilee; The bareyne yle stonding in the see; The dreynte Leander for his Erro; The teres of Eleyne, and eek the wo Of Brixseyde, and of thee, Ladomea; The cruelte of thee, queen Medea, Thy litel children hanging by the hals For thy Iason, that was of love so fals! O Ypermistra, Penelopee, Alceste, Your wyfhod he comendeth with the beste! But certeinly no word ne wryteth he Of thilke wikke example of Canacee'; &c. We can only suppose that he is referring to the contents of his work in quite general terms, with a passing reference to his vision of Alcestis and the nineteen ladies, and to those mentioned in his Balade. There is no reason for supposing that he ever wrote complete tales about Deianira, Hermione, Hero, Helen, Briseis, Laodamia, or Penelope, any more than he did about Alcestis. But it is highly probable that, just at the period of writing his Introduction to the Man of Lawes Prologue, he was seriously intending to take up again his 'Legend,' and was planning how to continue it. But he never did it. On comparing these two lists, we find that the following names are common to both, viz. Penelope, Helen, Lucretia, Thisbe, Hero, Dido, Laodamia, Phyllis, Canace, Hypsipyle, Hypermnestra, Ariadne, and (in effect) Alcestis. The following occur in the Balade only, viz. Marcia, Lavinia, Polyxena, Cleopatra. And the following are mentioned in the above-quoted passage only, viz. Deianira, Hermione, Briseis, Medea. We further know that he actually wrote the Legend of Philomela, though it is in neither of the above lists; whilst the story of Canace was expressly rejected. Combining our information, and rearranging it, we see that his intention was to write nineteen Legends, descriptive of twenty women, viz. Alcestis and nineteen others; the number of Legends being reduced by one owing to the treatment of the stories of Medea and Hypsipyle under one narrative. Putting aside Alcestis, whose Legend was to come last, the nineteen women can be made up as follows:-- 1. Cleopatra. 2. Thisbe. 3. Dido. 4 and 5. Hypsipyle and Medea. 6. Lucretia. 7. Ariadne. 8. Philomela. 9. Phyllis. 10. Hypermnestra (_all of which are extant_). _Next come_--11. Penelope: 12. Helen: 13. Hero: 14. Laodamia (_all mentioned in both lists_). 15. Lavinia: 16. Polyxena[21] (_mentioned in the Balade_). 17. Deianira: 18. Hermione: 19. Briseis (_in the Introduction to the Man of Lawe_). This conjectural list is sufficient to elucidate Chaucer's plan fully, and agrees with that given in the note to l. 61 of the Introduction to the Man of Lawes Tale, in vol. v. If we next enquire how such lists of 'martyred' women came to be suggested to Chaucer, we may feel sure that he was thinking of Boccaccio's book entitled De Claris Mulieribus, and of Ovid's Heroides. Boccaccio's book contains 105 tales of Illustrious Women, briefly told in Latin prose. Chaucer seems to have partially imitated from it the title of his poem--'The Legend of Good Women'; and he doubtless consulted it for his purpose. But he took care to consult other sources also, in order to be able to give the tales at greater length, so that the traces of his debt to the above work by Boccaccio are very slight. We must not, however, omit to take notice that, whilst Chaucer owes but little to Boccaccio as regards his subject-matter, it was from him, in particular, that he took his _general plan_. This is well shewn in the excellent and careful essay by M. Bech, printed in 'Anglia,' vol. v. pp. 313-382, with the title--'Quellen und Plan der _Legende of Goode Women_ und ihr Verhältniss zur _Confessio Amantis_.' At p. 381, Bech compares Chaucer's work with Boccaccio's, and finds the following points of resemblance. 1. Both works treat exclusively of women; one of them speaks particularly of 'Gode Women,' whilst the other is written 'De Claris Mulieribus.' 2. Both works relate chiefly to tales of olden time. 3. In both, the tales follow each other without any intermediate matter. 4. Both are compacted into a whole by means of an introductory Prologue. 5. Both writers wish to dedicate their works to a queen, but effect this modestly and indirectly. Boccaccio addresses his Prologue to a countess, telling her that he wishes to dedicate his book to Joanna, queen of Jerusalem and Sicily; whilst Chaucer veils his address to queen Anne under the guise of allegory. 6. Both record the fact of their writing in a time of comparative leisure. Boccaccio uses the words: 'paululum ab inerti uulgo semotus et a ceteris fere solutus curis.' 7. Had Chaucer finished hi |