Chapter III: Introduction: To the House of Fame

§ 1. It is needless to say that this Poem is genuine, as Chaucer himself claims it twice over; once in his Prologue to the Legend of Good Women, l. 417, and again by the insertion in the poem itself of the name _Geffrey_ (l. 729)[1].

§ 2. INFLUENCE OF DANTE. The influence of Dante is here very marked, and has been thoroughly discussed by Rambeau in Englische Studien, iii. 209, in an article far too important to be neglected. I can only say here that the author points out both general and particular likenesses between the two poems. In general, both are visions; both are in three books; in both, the authors seek abstraction from surrounding troubles by venturing into the realm of imagination. As Dante is led by Vergil, so Chaucer is upborne by an eagle. Dante begins his third book, Il Paradiso, with an invocation to Apollo, and Chaucer likewise begins his third book with the same; moreover, Chaucer's invocation is little more than a translation of Dante's.

Among the particular resemblances, we may notice the method of commencing each division of the Poem with an invocation[2]. Again, both poets mark the exact date of commencing their poems; Dante descended into the Inferno on Good Friday, 1300 (Inf. xxi. 112); Chaucer began his work on the 10th of December, the year being, probably, 1383 (see note to l. 111).

Chaucer sees the desert of Lybia (l. 488), corresponding to similar waste spaces mentioned by Dante; see note to l. 482. Chaucer's eagle is also Dante's eagle; see note to l. 500. Chaucer gives an account of Phaethon (l. 942) and of Icarus (l. 920), much like those given by Dante (Inf. xvii. 107, 109); both accounts, however, may have been taken from Ovid[3]. Chaucer's account of the eagle's lecture to him (l. 729) resembles Dante's Paradiso, i. 109-117. Chaucer's steep rock of ice (l. 1130) corresponds to Dante's steep rock (Purg. iii. 47). If Chaucer cannot describe all the beauty of the House of Fame (l. 1168), Dante is equally unable to describe Paradise (Par. i. 6). Chaucer copies from Dante his description of Statius, and follows his mistake in saying that he was born at Toulouse; see note to l. 1460. The description of the house of Rumour is also imitated from Dante; see note to l. 2034. Chaucer's error of making Marsyas a female arose from his misunderstanding the Italian form Marsia in Dante; see note to l. 1229.

These are but some of the points discussed in Rambeau's article; it is difficult to give, in a summary, a just idea of the careful way in which the resemblances between these two great poets are pointed out. I am quite aware that many of the alleged parallel passages are too trivial to be relied upon, and that the author's case would have been strengthened, rather than weakened, by several judicious omissions; but we may fairly accept the conclusion, that Chaucer is more indebted to Dante in this poem than in any other; perhaps more than in all his other works put together.

It is no longer possible to question Chaucer's knowledge of Italian; and it is useless to search for the original of The House of Fame in Provençal literature, as Warton vaguely suggests that we should do (see note to l. 1928). At the same time, I can see no help to be obtained from a perusal of Petrarch's Trionfo della Fama, to which some refer us.

§ 3. TESTIMONY OF LYDGATE. It is remarkable that Lydgate does not expressly mention The House of Fame by name, in his list of Chaucer's works. I have already discussed this point in the Introduction to vol. i. pp. 23, 24, where I shew that Lydgate, nevertheless, refers to this work at least thrice in the course of the poem in which his list occurs; and, at the same time, he speaks of a poem by Chaucer which he calls 'Dant in English,' to which there is nothing to correspond, unless it can be identified with The House of Fame[4]. We know, however, that Lydgate's testimony as to this point is wholly immaterial; so that the discussion as to the true interpretation of his words is a mere matter of curiosity.

§ 4. INFLUENCE OF OVID. It must, on the other hand, be obvious to all readers, that the general notion of a House of Fame was adopted from a passage in Ovid's Metamorphoses, xii. 39-63. The proof of this appears from the great care with which Chaucer works in all the details occurring in that passage. He also keeps an eye on the celebrated description of Fame in Vergil's Æneid, iv. 173-183; even to the unlucky rendering of 'pernicibus alis' by 'partriches winges,' in l. 1392[5].

I here quote the passage from Ovid at length, as it is very useful for frequent reference (cf. Ho. Fame, 711-24, 672-99, 1025-41, 1951-76, 2034-77):--

'Orbe locus medio est inter terrasque, fretumque,
Caelestesque plagas, triplicis confinia mundi;
Unde quod est usquam, quamuis regionibus absit,
Inspicitur penetratque cauas uox omnis ad aures.
FAMA tenet, summaque domum sibi legit in arce;
Innumerosque aditus, ac mille foramina tectis
Addidit, et nullis inclusit limina portis.
Nocte dieque patent. Tota est ex aere sonanti;
Tota fremit, uocesque refert, iteratque quod audit.
Nulla quies intus, nullaque silentia parte.
Nec tamen est clamor, sed paruae murmura uocis;
Qualia de pelagi, si quis procul audiat, undis
Esse solent; qualemue sonum, cum Iupiter atras
Increpuit nubes, extrema tonitrua reddunt.
Atria turba tenet; ueniunt leue uulgus, euntque;
Mixtaque cum ueris passim commenta uagantur
Millia rumorum, confusaque uerba uolutant.
E quibus hi uacuas implent sermonibus aures;
Hi narrata ferunt alio; mensuraque ficti
Crescit, et auditis aliquid nouus adicit auctor.
Illic Credulitas, illic temerarius Error,
Vanaque Laetitia est, consternatique Timores,
Seditioque repens, dubioque auctore Susurri.
Ipsa quid in caelo rerum, pelagoque geratur,
Et tellure uidet, totumque inquirit in orbem.'

A few other references to Ovid are pointed out in the Notes.

By way of further illustration, I here quote the whole of Golding's translation of the above passage from Ovid:--

'Amid the world tweene heauen and earth, and sea, there is a place,
Set from the bounds of each of them indifferently in space,
From whence is seene what-euer thing is practizde any-where,
Although the Realme be neere so farre: and roundly to the eare
Commes whatsoeuer spoken is; Fame hath his dwelling there,
Who in the top of all the house is lodged in a towre.
A thousand entries, glades, and holes are framed in this bowre.
There are no doores to shut. The doores stand open night and day.
The house is all of sounding brasse, and roreth euery way,
Reporting double euery word it heareth people say.
There is no rest within, there is no silence any-where.
Yet is there not a yelling out: but humming, as it were
The sound of surges being heard farre off, or like the sound
That at the end of thunderclaps long after doth redound
When _Ioue_ doth make the clouds to crack. Within the courts is preace
Of common people, which to come and go do neuer ceace.
And millions both of troths and lies run gadding euery-where,
And wordes confuselie flie in heapes, of which some fill the eare
That heard not of them erst, and some cole-cariers part do play,
To spread abroade the things they heard, and euer by the way
The thing that was inuented growes much greater than before,
And euery one that gets it by the end addes somewhat more.
Light credit dwelleth there, there dwells rash error, there doth dwell
Vaine ioy: there dwelleth hartlesse feare, and brute that loues to tell
Uncertaine newes vpon report, whereof he doth not knowe
The author, and sedition who fresh rumors loues to sowe.
This Fame beholdeth what is done in heauen, on sea, and land,
And what is wrought in all the world he layes to vnderstand.'

§ 5. DATE OF THE POEM. Ten Brink, in his Chaucer Studien, pp. 120, 121, concludes that The House of Fame was, in all probability, composed shortly after Troilus, as the opening lines reproduce, in effect, a passage concerning dreams which appears in the last Book of Troilus, ll. 358-385. We may also observe the following lines in Troilus, from Book I, 517-8:--

'Now, thonked be god, he may goon in the daunce
Of hem that Love list febly for to avaunce.'

These lines, jestingly applied to Troilus by Pandarus, are in the House of Fame, 639, 640, applied by Chaucer to himself:--

'Although thou mayst go in the daunce
Of hem that him list not avaunce.'

Again, the House of Fame preceded the Legend of Good Women, because he here complains of the hardship of his official duties (652-660); whereas, in the Prologue to the Legend, he rejoices at obtaining some release from them. We may also note the quotation from Boethius (note to l. 972). As Boethius and Troilus seem to have been written together, somewhere about 1380, and took up a considerable time, and the apparent date of the Legend is 1385, the probable date of the House of Fame is about 1383 or 1384. Ten Brink further remarks that the references to Jupiter suggest to the reader that the 10th of December was a Thursday (see note to 111). This would give 1383 for beginning the poem; and perhaps no fitter date than the end of 1383 and the spring of 1384 can be found.

§ 6. METRE. Many of Chaucer's metres were introduced by him from the French; but the four-accent metre, with rime as here employed, was commonly known before Chaucer's time. It was used by Robert of Brunne in 1303, in the Cursor Mundi, and in Havelok. It is, however, of French origin, and occurs in the very lengthy poem of Le Roman de la Rose. Chaucer only employed it thrice: (1) in translating the Roman de la Rose; (2) in the Book of the Duchesse; and (3) in the present poem.

For normal lines, with masculine rimes, see 7, 8, 13, 14, 29, 33, &c. For normal lines, with feminine rimes, see 1, 2, 9, 15, 18, &c. Elision is common, as of _e_ in _turne_ (1), in _somme_ (6), in _Devyne_ (14); &c. Sometimes there is a middle pause, where a final syllable need not always be elided. Thus we may read:--

'By abstinencë--or by seknesse' (25): 'In studie--or melancolious' (30): 'And fro unhappë--and ech disese' (89): 'In his substáuncë--is but air' (768).

Two short syllables, rapidly pronounced, may take the place of one:--

'I noot; but who-_so of_ these mirácles' (12): '_By a_visiouns, or bý figúres' (47).

The first foot frequently consists of a single syllable; see 26, 35, 40, 44; so also in l. 3, where, in modern English, we should prefer _Unto_.

The final _e_, followed by a consonant, is usually sounded, and has its usual grammatical values. Thus we have _think-e_, infin. (15); _bot-e_, old accus. of a fem. sb. (32); _swich-e_, plural (35); _oft-e_, adverbial (35); _soft-e_, with essential final _e_ (A.S. _s[=o]fte_); _find-e_, pres. pl. indic. (43); _com-e_, gerund (45): _gret-e_, pl. (53); _mak-e_, infin. (56); _rod-e_, dat. form used as a new nom., of which there are many examples in Chaucer (57); _blind-e_, def. adj. (138). The endings _-ed_, _-en_, _-es_, usually form a distinct syllable; so also _-eth_, which, however, occasionally becomes _'th_; cf. _comth_ (71). A few common words, written with final _e_, are monosyllabic; as _thise_ (these); also _shulde_ (should), and the like, occasionally. Remember that the old accent is frequently different from the modern; as in _orácles_, _mirácles_ (11, 12): _distaúnc-e_ (18), _aventúres_, _figúres_ (47, 48): _povért_ (88): _málicióus_ (93): &c. The endings _-i-al_, _-i-oun_, _-i-ous_, usually form two distinct syllables.

For further remarks on Metre and Grammar, see vol. v.

§ 7. IMITATIONS. The chief imitations of the House of Fame are The Temple of Glas, by Lydgate[6]; The Palice of Honour, by Gawain Douglas; The Garland of Laurell, by John Skelton; and The Temple of Fame, by Pope. Pope's poem should not be compared with Chaucer's; it is very different in character, and is best appreciated by forgetting its origin.

§ 8. AUTHORITIES. The authorities for the text are few and poor; hence it is hardly possible to produce a thoroughly satisfactory text. There are three MSS. of the fifteenth century, viz. F. (Fairfax MS. 16, in the Bodleian Library); B. (MS. Bodley, 638, in the same); P. (MS. Pepys 2006, in Magdalene College, Cambridge). The last of these is imperfect, ending at l. 1843. There are two early printed editions of some value, viz. Cx. (Caxton's edition, undated); and Th. (Thynne's edition, 1532). None of the later editions are of much value, except the critical edition by Hans Willert (Berlin, 1883). Of these, F. and B., which are much alike, form a first group; P. and Cx. form a second group; whilst Th. partly agrees with Cx., and partly with F. The text is chiefly from F., with collations of the other sources, as given in the footnotes, which record only the more important variations.

§ 9. SOME EMENDATIONS. In constructing the text, a good deal of emendation has been necessary; and I have adopted many hints from Willert's edition above mentioned; though perhaps I may be allowed to add that, in many cases, I had arrived at the same emendations independently, especially where they were obvious. Among the emendations in spelling, I may particularise _misdemen_ (92), where all the authorities have _mysdeme_ or _misdeme_; _Dispyt_, in place of _Dispyte_ (96); _barfoot_, for _barefoot_ or _barefote_ (98); _proces_ (as in P.) for _processe_, as in the rest (251); _delyt_, _profyt_, for _delyte_, _profyte_ (309, 310); _sleighte_ for _sleight_ (462); _brighte_[7], _sighte_, for _bright_, _sight_ (503, 504); _wighte_, _highte_, for _wight_, _hight_ (739, 740); _fyn_, _Delphyn_ (as in Cx.), for _fyne_, _Delphyne_ (1005, 1006); _magyk_, _syk_, for _magyke_, _syke_ (1269, 1270); _losenges_, for _losynges_ (1317), and _frenges_ (as in F.) for _frynges_, as in the rest (1318); _dispyt_ for _dispite_ (1716); _laughe_ for _laugh_ (Cx. _lawhe_, 1809); _delyt_ for _delyte_ (P. _delit_, 1831); _thengyn_ (as in Th.) for _thengyne_ (1934); _othere_ for _other_ (2151, footnote). These are only a few of the instances where nearly all the authorities are at fault.

The above instances merely relate to questions of spelling. Still more serious are the defects in the MSS. and printed texts as regards the sense; but all instances of emendation are duly specified in the footnotes, and are frequently further discussed in the Notes at the end. Thus, in l. 329, it is necessary to supply _I_. In 370, _allas_ should be _Eneas_. In 513, Willert rightly puts _selly_, i.e. wonderful, for _sely_, blessed. In 557, the metre is easily restored, by reading _so agast_ for _agast so_. In 621, we must read _lyte is_, not _lytel is_, if we want a rime to _dytees_. In 827, I restore the word _mansioun_; the usual readings are tautological. In 911, I restore _toun_ for _token_, and adopt the only reading of l. 912 that gives any sense. In 1007, the only possible reading is _Atlantes_. In 1044, Morris's edition has _biten_, correctly; though MS. F. has _beten_, and there is no indication that a correction has been made. In 1114, the right word is _site_; cf. the Treatise on the Astrolabe (see Note). In 1135, read _bilt_ (i.e. buildeth); _bilte_ gives neither sense nor rhythm. In 1173, supply _be_. Ll. 1177, 1178 have been set right by Willert. In 1189, the right word is _Babewinnes_[8]. In 1208, read _Bret_ (as in B.). In 1233, read _famous_. In 1236, read _Reyes_[9]. In 1303, read _hatte_, i.e. are named. In 1351, read _Fulle_, not _Fyne_. In 1372, adopt the reading of Cx. Th. P., or there is no nominative to _streighte_; and in 1373, read _wonderliche_. In 1411, read _tharmes_ (= _the armes_). In 1425, I supply _and hy_, to fill out the line. In 1483, I supply _dan_; if, however, _poete_ is made trisyllabic, then l. 1499 should not contain _daun_. In 1494, for _high the_, read _highte_ (as in l. 744). In 1527, for _into_ read _in_. In 1570, read _Up peyne_. In 1666, 1701, and 1720, for _werkes_ read _werk_. In 1702, read _clew_ (see note)[10]. In 1717, _lyen_ is an error for _lyuen_, i.e. live. In 1750, read _To_, not _The_. In 1775, supply _ye_; or there is no sense. In 1793, supply _they_ for a like reason. In 1804, 5, supply _the_, and _al_; for the scansion. In 1897, read _wiste_, not _wot_. In 1940, _hattes_ should be _hottes_; this emendation has been accepted by several scholars. In 1936, the right word is _falwe_, not _salwe_ (as in Morris). In 1960, there should be no comma at the end of the line, as in most editions; and in 1961, 2 read _werre_, _reste_ (not _werres_, _restes_). In 1975, _mis_ and _governement_ are distinct words. In 2017, _frot_[11] is an error for _froyt_; it is better to read _fruit_ at once; this correction is due to Koch. In 2021, suppress _in_ after _yaf_. In 2049, for _he_ read _the other_ (Willert). In 2059, _wondermost_ is all one word. In 2076, I read _word_; Morris reads _mothe_, but does not explain it, and it gives no sense. In 2156, I supply _nevene_.

I mention these as examples of necessary emendations of which the usual editions take no notice.

I also take occasion to draw attention to the careful articles on this poem by Dr. J. Koch, in Anglia, vol. vii. App. 24-30, and Englische Studien, xv. 409-415; and the remarks by Willert in Anglia, vii. App. 203-7. The best general account of the poem is that in Ten Brink's History of English Literature.

In conclusion, I add a few 'last words.'

L. 399. We learn, from Troil. i. 654, that Chaucer actually supposed 'Oënone' to have four syllables. This restores the metre. Read:--And Paris to Oënone.

503. Read 'brighte,' with final _e_; 'bright' is a misprint.

859. Compare Cant. Tales, F 726.

1119. 'To climbe hit,' i.e. to climb the rock; still a common idiom.

2115. Compare Cant. Tales, A 2078. Perhaps read 'wanie.'