WORD-ORDER AS A FACTOR OF STYLE IN CHAUCER’S POETRY.

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WEESE, Walter Eugene, 1918WORD-ORDER AS A FACTOR OF STYLE IN CHAUCER'S POETRY. [Portions of Text in Middle English]. Yale University, Ph.D., 1950 Language and Literature, general

University Microfilms, Inc., Ann Arbor, Michigan

(£■) Copyright by WALTER EUGENE WEESE

1971

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

WORD-ORDER AS A FACTOR OF STYLE IN CHAUCER'S POl'TRY

A D is s e rta tio n Presented to

the F a c u l t y of

the Graduate School of Yale U n iv e r s ity in Candidacy f o r the Degree of Doctor o f Philosophy

by N' O

W a l t e r El Weese

19 5 0

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SUMMARY Word- O r d e r a s a F a c t o r o f S t y l e

i n C h a u c e r ’ s* P o e t r y .

This s t u d y o f w o r d - o r d e r as a f a c t o r o f s t y l e

in

C h a u c e r ’ s p o e t r y i s b a s e d up o n t h e a s s u m p t i o n t h a t t h e d e f i n i t i o n o f a s e l e c t e d group of w o r d - o r d e r p a t t e r n s

in

p o e t r y and a c o n s i d e r a t i o n o f t h e i r o c c u r r e n c e i n r e l a ­ tion to o th er s t y l i s t i c

and t e c h n i c a l f a c t o r s may t h r o w

l i g h t u p o n t h e c o mp l e x p r o c e s s e s o f c o m p o s i t i o n and c o n ­ tribute

to an e n l a r g e d a p p r e c i a t i o n o f p o e t i c a c h i e v e m e n t .

The a n a l y s i s o f r e p r e s e n t a t i v e s e l e c t i o n s f r om C h a u c e r ’ s p o e t r y w h i c h f o l l o w s d e f i n e s and i l l u s t r a t e s t h e r e l a t i o n s h i p s e x i s t i n g b e t w e e n w o r d - o r d e r and gram­ m a t i c a l c o n v e n t i o n and t e c h n i c a l c o n s i d e r a t i o n s o f rime and m e t e r .

B u t more t h a n t h i s ,

it

indicates

the s t y l i s t i c

s i g n i f i c a n c e o f t h e p o e t ’s c h o i c e o f s p e c i f i c w o r d - o r d e r patterns

in p a r t i c u l a r c o n te x ts which,

other s t y l i s t i c

in c o n ju n c tio n w ith

f a c t o r s , c o n t r i b u t e s i g n i f i c a n t l y to

e f f e c t i v e communication.

W a l t e r E . Weese

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TABLE OF CONTENTS

I n t r o d u c t i o n ....................................................................................

i

Cue T i t l e s a n d A b b r e v i a t i o n s ............................................

v

I.

The M a t e r i a l s o f t h e A n a l y s i s .

1

II*

The G r a m m a t i c a l , M e t r i c a l ,

. < » . . . .

and

S t y l i s t i c R e l a t i o n s h i p s .................................................. 50 I I I . W o r d - O r d e r and R i m e .......................................................... 117 IV.

C o n c l u s i o n ..............................................................................llj.6

A p p e n d i x A ............................................................................................ 160 A p p e n d i x B ............................................................................................ 176 Bibliography.

............................................................................. 202

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

I n t r o d u c t i o n

When James Thomson u n d e r t o o k t o w r i t e b l a n k v e r s e i n t he s t y l e

o f John M i l t o n ,

he a d o p t e d n o t m e r e l y

M i l t o n ' s v o c a b u l a r y ; he a d o p t e d t h e M i l t o n i c w o r d - o r d e r as w e l l ,

realizing

t he M i l t o n i c . s t y l e the grammatical Earlier, serve

that

in h i s

a t t e m p t to d i s t i l l

t h e d y i n g m e d i e v a l i s m w h i c h he

inversions

loved,

among o t h e r d e v i c e s ,

and p r e ­ ’’a f f e c t e d certain

p a t t e r n s f rom t h e m e d i e v a l r o m a n c e s .

in w r i t i n g

to

l i b e r t i e s which M ilto n a l l o w e d h i m s e l f .

Spenser,

syntactic

integral

t h a n we r e t he c h o i c e o f words and

t he a n t i q u e , ” a d o p t i n g ,

son,

t h i s was no l e s s

Tenny­

t h e I d y l I s , d e p e n d e d p a r t l y upon t h e

and t r a n s p o s i t i o n s o f an e a r l i e r

period to

in v e st h is V i c t o r i a n a l l e g o r y with something akin, o n l y s l i g h t l y and e x t e r n a l l y ,

to t h e r e m o t e ,

if

mythical-

medieval Arthurian world. Of c o u r s e , ments,

because a s t y l e

some o f them p e r s o n a l

i s made up o f many e l e ­

and u n d e f i n a b l e , no r e a d e r

woul d m i s t a k e Tho ms on' s b l a n k v e r s e f o r M i l t o n ' s ; ser, d esp ite his bethan;

Spen­

a r c h a i s m s , e m e r g e s c l e a r l y an E l i z a ­

j u s t as T e n n y s o n ' s as sumed m e d i e v a l i s m r e m a i n s

Tennysonian.

Yet each o f t h e s e p o e t s ,

and o t h e r s - -

C o l e r i d g e and K e a t s and S i r W a l t e r S c o t t ,

f o r e x a mp l e

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

ii --was u t i l i z i n g a s t y l i s t i c and a n a l y z e d .

f e a t u r e w h i c h c a n be d e f i n e d

T h i s p r e s e n t s t u d y i s b a s e d upon t h e

assum ption t h a t the d e f i n i t i o n of a s e l e c t e d group of word-order p a tte rn s

i n p o e t r y — i n t h i s i n s t a n c e , Cha u­

c e r ’ s — and a c o n s i d e r a t i o n o f t h e i r o c c u r r e n c e i n r e l a ­ t i o n t o o t h e r t e c h n i c a l and s t y l i s t i c further

f a c t o r s may t hr ow

l i g h t upon t h e c o m p l e x p r o c e s s e s o f c o m p o s i t i o n

and c o n t r i b u t e t o an e n l a r g e d a p p r e c i a t i o n o f p o e t i c achievement. P r e v i o u s i n v e s t i g a t o r s o f w o r d - o r d e r have been c o n ­ c e r n e d s i m p l y t o d e s c r i b e and t a b u l a t e t h e w o r d - o r d e r patterns

in th e p a r t i c u l a r work, g e n e r a l l y p r o s e ,

for analysis.*

selected

I n none o f t hem h a s a n y a t t e m p t b e e n

made t o c o n s i d e r w o r d - o r d e r a s a f a c t o r o f s t y l e . investigator,

though h i s work,

too,

One

i s d e s c r i p t i v e and

1. S e e , f o r e x a m p l e , H. H e n n i n g s e n , U e b e r d i e W o r t s t e 1 l u n g i n d e n P r o s a s c h r i f t e n R i c h a r d f t ol l e s v o n Hampole ( ' d i s s ’. , K i e l ) , l ^ i ' l ; F. J . Van d e r Me'er, Main F a c t s C o n c e r n i n g t h e S y n t a x o f M a n d e v i l i e «s T r a v e I s , U t r e c h t , 1929» P. H e u s s l e r , D i e S t e l l u n g v o n S u b j e c t u n d Prfld i k a t i n d e r E r z& h l u n g d e s M e f i b e u s und d e s P f a r r e r s i n C h a u c e r ’ s C a u n t e r b u r y T a l e s , W e s s e l , 1888; A. D ^ h l - s t e d t , Word- O r d e r o f t h e A n c r e n R i w l e , w i t h S p e c i a l R e f e r e n c e t o t h e "word- O r d e r i n A n g l o - S a x o n a na Modern Eng 1i s h , S u n d s v a l l , 1903; E . R o t h s t e i n , D i e W o r t s t e l l u n g i n d e r P e t e r b o r o u g h C h r o n i k ( d i s s . , H a l l e ) , 1915*

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iii statistical,

. c i t . , p . 8 9 .

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?2

p o s e d o r d e r c o m p r i s e o n l y 7 p e r c c e n t o f a l l e x a m p l e s , and transposition

is found in l e s s

subordinate clauses Prose:

than 1 per c e n t o f th e

in the p r o s e .

Me 1. 9 ^ 7 : . . . , a d o g h t e r w h i c h t h a t c a l l e d was Sophie. . . . h i s w y f . t h a t c a l 1 ed was P r u d e n c e , . . . M e l . 9 73: Whan M e l i b e u s r e t o u r n e d was i n t o h i s hous, . . . Me l . 976: . . . h i s book t h a t c l e p e d of L o v e , . . .

i s t h e Re me di e

Me 1. 9 8 8 : . . . t o hym t h a t s o r w e f u l

is,...

Poetry: 1. V e r b i s

in e n d - p o s i t i o n

in the c l a u s e :

a . V- A u x : TC. 5 - 1 0 9 - 1 2 :

. . . , and g a n h i r e e k b i s e c h e , T h a t i f t h a t he e n c r e s s e myght e o r e c h e Wi t h a n y t h y n g h i r e e s e , t h a t s h e s h o l d e Comaunde i t hym, and s e y d e h £ don 1t w o l d e . TC. 5 . 2 0 4 And t h e r h i s s o r w e s t h a t he s p a r e d h a d d e . Pass i v e ; KnT.

Part-V:

1247:

Ne c r e a t u r e

t h a t o f hem maked i s ,

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23

KnT. 2361: F o r w h i c h t h i s Emel ye a s t o n e d w a s , b. Su b J O V i TC. 5.14-38s That deynte w a s , . . . TC. 5 . ^ 3 7 : That ab sen t was, . . . 2. Verb i s

in m i d - p o s i t i o n in the c l a u s e :

a . V- Aux-X: BD.

1016:

She wrong do wo l de t o no w y g h t . TC. 5 . *4 ...,

t h a t she d e p a r t e s h o l d e a-morwe.

RT. I4-28J+: W i t h Jo h n t h e c l e r k , t h a t waked h a d d e [a l nyght, KnT.

1134:

T i l t h a t t h e d e e t h d e p a r t e s h a 1 us t we yne P a s s i v e s : P a r t -V-X: Knt.

1079:

As t h o u g h he s t o n g e n w e r e u n t o t h e h e r t e . TC. 5 . 3 1 : T h a t wel u n n e t h e _i_t s e n e was

in h i s c h e r e

b. Subj-C-V-X: KnT. 939: T h a t l o r d i s now o f T h e b e s t h e c i t e e ,

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2k

BD.

1168-69:

T hat he t h e f i r s t e Of t h e a r t , . . . , —

f y n d e r was

TC. $ . 5 7 : C r i s e y d e , whan s h e r e d y was t o r i d e , 3.

I n v e r s i o n and t r a n s p o s i t i o n : In the f o llo w in g s u b o r d in a te c l a u s e s ,

to t r a n s p o s i t i o n of the v e r b a l elem ents,

in a d d itio n

one f i n d s an

i n v e r s i o n o f the s u b j e c t and v e r b : V-Aux-S: TC. 5 . 2 7 5 : A l t h o u g h f u l p a l e ywoxen was t h e mo o n e ; TC. 5 . 5 0 7 : God w o o t ,

r e f r e y d e n may t h i s h o t e f a r e ,

GP. 717: Why t h a t a s s e m b l e d was t h i s c o m p a i g n y e Pass i v e ;

Part-V-S:

KnT. 8 81: And how a s s e g e d was Y p o l i t a , GP. 4 : Of w h i c h v e r t u e n g e n d r e d i s t h e f l o u r ; RT. 4 1 5 8 : And w h a t t h a t d r o n k e n a 1 was i n t h e c r o w k e t (with

implied s u b je c t)

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25 n D. Ve r b i n End- o r M i d - p o s i t i o n : J In the f o l l o w i n g exam ples, posed nor clause,

neither

trans

i n v e r t e d , comes i n e n d - o r m i d - p o s i t i o n i n t h e

s e p a r a t e d fro m th e s u b j e c t by i n t e r v e n i n g s e n t e n c e

elements.

Exa mpl e s o f t h e s e t y p e s c o m p r i s e

of subordinate clauses those

the v erb,

15 p e r c e n t

i n t h e p o e t r y a nd 7 p e r c e n t o f

in the p r o s e . 1. End- p o s i t i o n :

S-O-V:^

a. Simple t e n s e s : Prose:

Me 1. ...he

1070: that al d esp iseth , . . .

Me 1.

1161:

...;

who so t h a t

it

fyndeth, . . .

P o e t r y : TC. 5 . 7 : T il Lachesis h is

t h r e d no l e n g e r t w y n e .

KnT. 9 0 k : T i l th ey the reynes of h i s brydel h e n t e n . PrT.

1829:

And whan t h e y h o o l y w a t e r on hym c a s t e , b . Compound t e n s e s

( Not e t h a t t h e o b j e c t may

precede or follow the a u x i l i a r y ) : 13. F o r f u r t h e r e x a m p l e s , s e e R o t h s t e i n , o p . c i t . , p p . 5 6 59> K r e c k e m e i e r , 0£ . c i t . , p p . 5 8 - 8 0 , 9 0 j “ E n g e l , o £ . c i t . , PP. 3 6 - 3 7 . li^. T h i s and s u b d i v i s i o n s w h i c h f o l l o w a r e g e n e r a l r a t h e r than p r e c is e fo r every in stan c e c i t e d . Some e x a m p l e s w i l l be f o u n d t o c o n t a i n a n i n t e r s p e r s e d a d v e r b i a l e l e m e n t a s well as a d i r e c t or i n d i r e c t o b j e c t . However, i n o r d e r t o a v o i d an e v e n g r e a t e r number o f d e s c r i p t i v e c a t e g o r i e s , minor v a r i a t i o n s have been ig n o r e d . R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

26

P rose:

Me 1. 1027: . . . s o t h a t t h e y may a s w e l t h y b o d y a s thyn hous d e f e n d e . PT* 25 3 : ...,

a nd how he h a t h hem d e s p e n d e d : . . .

Mel,

li+36:

...th at

i t han d i s s e r v e d .

P o e t r y : TC. 5- 13^-S And t h a t ^ e me wo l d e a s y o u r e b r o t h e r t r e t e ; GP. 4 8 1 : That C r i s t e s

g o s p e l t r e w e l y wo l d e p r e c h e ;

P r T . 1848: And whan t h a t

my l y f s h o l de f o r l e t e ,

BD. 4 0 : T h a t may me he l e ; . . . TC. 5 . 2 3 : As man t h a t h a t h h i s j o i e s

ek f o r l o r e .

P r T . 1863: And whan t h i s a b b o t h a d d e t h i s wo n d e r s e y n , RT. 4 0 4 8 : They wene t h a t no man may hem b i g y l e , N o t e a l s o TC. 5 . 6 4 2 - 4 4 *

*n w h i c h O p r e c e d e s S- Aux - V:

Fo r w h i c h e t h e t e n t h e n y g h t , i f t h a t I f a i l l e The gydyng of t h i bemes b r i g h t an h o n r e , My s h i p and me C a r i b d i s wo 1 d e v o u r e . 2 . End- p o s i t i o n :

S-Ady.-Vj

a . Simple t e n s e s :

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27

Prose:

Me 1.

1015:

. . . a l b e i t so t h a t s h e p e r i l o u s l y be wounded, . . . M e l . 1030: He t h a t s o o n e d e e m e t h , . . . P o e t r y : TC. 5 . 2 8 7 : To T r o i l u s , whan t h a t he_ f o r hym s e n t e . GP. 3 6 : £ r t h a t _I f e r t h e r

in t h i s

tale pace,

KnT. 93 7 : Wh i l t h a t PrT.

the s e e g e t h e r a b o u t e

lay.

1820:

That o f t h i s mordre w is t e , . . . b . Compound t e n s e s

( Not e t h a t a d v . may p r e c e d e

o r f o 1 low a u x . ) j Prose:

Me 1 . 10lf0: . . . , what ende t h a t sh a 1 t h e r e o f b i falle , ... PT.

165:

. . . t h a t a l i e o u r e w e r k e s s h u 1l e n o p e n l y be k n o w e . Mel.

1192:

T h e r n y s no myght so g r e e t o f a n y e m p e r o u r t h a t l o n g e may e n d u r e . . . . PT. 2 10: ...fir

t h a t nevere shal quenche, . . .

. . . wor mes t h a t n e v e r e s h u l d y e n , . . .

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28

P o e t r y : GP. 2 7 : T h a t toward C a u n t e r b u r y wolden r y d e . PrT.

1702:

F o r s e l y c h i l d wo 1 a l d a y s o o n e

leere.

TC. 5 . 2 6 6 :

T h a t e v e r y man myght on h i s s o r w e s r e we . KnT.

1025:

And whan t h i s w o r t h y due h a t h t h u s yd o n , TC. 5 . H 0 0 : This T r o i l u s ,

a s _I b y f o r e h a v e t o I d ,

TC. 5 . 1 3 4 - 3 - 4 9 : Considered t h i s ,

t h a t ^ e t h i s e mo n t h e s [ t we yne

Han t a r i e d , . . . 3* E n d - p o s i t i o n : a. Simple

S-IndO-V:

tenses:

P o e try only: KnT.

1505:

And t o t h e g r o v e o f w h i c h t h a t

yow t o l d e

KnT. 1689: ...,

a s men hym t o l d e ,

b . Compound t e n s e s : Prose:

No e x a m p l e s .

Poetry:

TC. 5 . 4 7 0 - 7 1 : The l e t t r e s e k t h a t she o f o l d e Hadde h y m y s e n t , . . .

tyme

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29

TC. 5 . H 0 4 : Which on t h e morwe s he h a d d e hym b i h i g h t TC. 5 . 1 4 1 3 : As ye t h a t

lif

o r d e t h may me c o m a n d e I

GP. 779: . . . a s _I s h a 1 yow s e y e ,

4.

Ve r b i s

in m id -p o s itio n

in the c l a u s e :

S-O-V-X:

a . S i mp l e t e n s e s : Prose:

PT. 252: . . . , t h a t no g o o d n e s s e ne h a t h t o pa ye w ith h i s d e t t e to G o d...

P o e t r y : TC. 5 . 4 1 2 - 1 3 : The f o l k wo l wene t h a t t h o w , f o r c o w a r d i s e , The f e y n e s t s i k f . . . KnT. 926: T h a t noon e s t a a t a s s u r e t h t o b e w e e l . b . Compound t e n s e s

( N o t e t h a t O may p r e c e d e o r

f o 1low A u x . ): Prose;

M e l . 1099: „..,

t h a t hadde i t b i s e g e d . . .

Me 1. 1763 : . . . t h a t he s h a l n o t h y n g d o o n . . . P o e t r y : BD. 2 07- 08 . . . , f o r such a tyde Ye mowe h y t f y n d e t h e s e e b e s y d e ;

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30

b d . 7 94-“ 9 5 ; T h a t m a l y c e h a d d e my c o r a g e N a t t h a t tyme t u r n e d t o n o t h y n g TC. 5 . 7 2 2 - 2 3 : I n a l t h i s w o r l d t h e r nys so c r u e l h e r t e T h at h i r e hadde h e r d compleynen in h i r e [ s o r we , TC. 5 . 1 2 1 9 - 2 0 : He s o d e f e t w a s , t h a t no ma n e r e man, U n n e t h hym myght e knowen t h e r he w e n t e ; 5 . Mid- pos i t i o n :

S- Ad v - V- X:

a. Simple t e n s e s : Prose:

Me 1. 9 9 ^ : . . . , t h a t s o r we i n h e r t e many a man. Me 1.

1317:

Weleful PT-

sleeth ful

i s he t h a t o f a l i e h a t h d r e d e ; . . .

154:

. . . , t h a t t h e y so u n k y n d e l y , a g a y n s h i s g e n t i l e s s e , q u i t e n hym s o v i l e y n s l y . . . P o e t r y : KnT.

1725:

T h a t fr o

t h y l ond _is^ b a n y s s h e d on h i s h e e d ,

TC. 5 . 4 ^ 0 : For s h e ,

t h a t of h i s h e r t e b e r t h the k ey e,

b . Compound t e n s e s :

( N o t e t h a t Adv. may p r e c e d e

o r f o 1 low Aux.): Prose:

Me 1. 1071: . . . h e sh a l g la d ly techen the s c i e n c e . . .

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31

PT. 8 1 : . . . o f w h i c h man s h o l d e g l a d l y h e r k n e n and e n q u e r e w i t h a l h i s h e r t e , . . . :

Me 1. 9^ 8 : . . . t h a t he f o r h i s d e s p o r t _i_s w e n t into the f e e l d e s . . . Mel.

1020:

. . . t h a t he a non s h o l d e w r e k e n h y m . . . PT. 8 0 : . . . t h a t t h u r g h s ynne h a t h mysgoon f r o ’ the r i ghte wey. . . P o e t r y : TC. 5 . 7 5 7 : F or whoso wo 1 o f e v e r y word t a k e h e d e , TC. 5 . 2 8 1 - 8 2 : T h i s P a n d a r e , t h a t o f a l t h e da y b i f o r n Ne myght e han comen T r o i l u s t o s e , TC. 5 . 8 7 1 : If

i c h a r i g h t h a v e t a k e n o f yow h e d e ,

6 . M id-position:

S-IndO-V-X:

a . Simple t e n s e s : Prose:

Me 1. 1873: • • » t h a t hym s e n t e a w y f . , . PT.

109:

. . . t h a t hym

enjoyned,. . .

P o e t r y : KnT. 1297: And e e k w i t h p e y n e t h a t

l o v e me y e v e t h a l s o ,

R e p ro d u c e d with perm ission of the copyright owner. Fu rther reproduction prohibited without permission.

32

TC. 5 . 7 3 7 : ,

a s ^re me r e d d e e r t h i s ]

TC. 5 . 1 0 3 8 : T h a t s h e hym y a f t h e f a i r e b a y e s t e d e , b . Compound t e n s e s : Prose:

Mel.

1358:

• • « t h e y h a n t o yow doon a 1 t h i s w r o n g . . . P o e t r y : KnT.

12^8:

T h a t may me h e l p e or doo n c o n f o r t i n t h i s , III The D i r e c t a n d I n d i r e c t O b j e c t s : The A u x i l i a r y V e r b A. The D i r e c t O b j e c t : ^ In the m a j o r i t y o f c a s e s t h e d i r e c t o b j e c t f o l ­ lows i t s v e r b

i n b o t h i n d e p e n d e n t and s u b o r d i n a t e c l a u s e s

i n t h e p r o s e and t h e p o e t r y . been i n d i c a t e d

V ariations

from t h i s have

i n t h e s e c t i o n s a bove w h i c h d e a l w i t h t h e

S-V r e l a t i o n s h i p s

in the

i n d e o e n d e n t and s u b o r d i n a t e

c lauses. In t h e s e few r e m a i n i n g e x a m p l e s f o u n d i n i n d e p e n d e n t clauses,

the d i r e c t o b je c t precedes i t s verb

p a t t e r n f r e q u e n t l y t o be f o u n d

i n t h e S-O-V

i n OE.

15. Mf l t zne r , o p . C i t . , IV, p p . 5 7 3 _ 574* E i n e n k e l , H i s t . S y n . , p p . 183“ o 9» d i s c u s s t h e p o s i t i o n o f t h e d i r e c t and i n d i r e c t o b j e c t i n b o t h i n d e p e n d e n t and s u b o r d i n a t e c l a u s e s t o g e t h e r ; K e l l n e r , H i s t . O u t . , pp. 291” 9 2 .

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33

1. S i m p l e t e n s e s

(Note:

I n a few o f t h e s e e x a m p l e s ,

the o b j e c t precedes a complementary i n f i n i t i v e ) : Prose: .

Me 1.

loiji^s

...,

h i s s e r m o n hem a n o i e t h .

P o e t r y : BD. i+8 : ...,

and he

me t o k

TC. 5-1^-6: t h e r k a n no w y g h t yow s e r v e , 2.

I n a compound t e n s e ,

the o b j e c t stan ds between

t h e a u x i l i a r y and t h e v e r b .

(Note:

Occasion­

a l l y w i t h an a d v e r b i a l e le m e n t as w e l l . ) Prose;

M e l . 970: Thre o f h i s o l d e f o e s han

espyed,...

P o e t r y : TC. 5.5>6: He h a d d e j_t d o n , . . . I n RT. ij.093, t h e o b j e c t s t a n d s b e t w e e n t h e s u b j e c t and t h e a u x i l i a r y : He

a

bu s s h e 1 of h i r f l o u r h a th t a k e ,

I n TC. 5>»1798» t h e o b j e c t i s a s u b s t a n t i v e clause: T h a t thow b e u n d e r s t o n d e , God I b i s e c h e j

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2k

B. The I n d i r e c t O b j e c t : As a g e n e r a l r u l e , C h a u c e r , the i n d i r e c t o bject in a c l a u s e ,

in h i s p r o s e ,

placed

immediately before the d i r e c t o b je c t

a s i n ModE,

"He gave me t h e b o o k . "

Eighty-

two i n s t a n c e s o f t h i s c o n s t r u c t i o n a r e i l l u s t r a t e d

by t h e

following: P T . 9 5 : And now, s i t h I h a v e d e c l a r e d yow w h a t thyng i s P e n i t e n c e . . . There are o c c a sio n a l

in s ta n c e s o f the p r e p o s i t i o n a l

i n d i r e c t o b j e c t (f o u rte e n examples), as Me l .

in:

1119: I f a n y o f you h a v e n e d e o f s a p i e n c e , a xe i t o f G o d .

V a r i o u s abnormal a r r a n g e m e n t s a p p ea r

in the

f o 1 low i n g : ( a ) Me 1. 989! The A p o s t l e P a u l u n t o t h e Romayns w riteth, (And Mel .

1011,

1052)

( b) Me 1. 1060: N e v e r e i n t h y l y f _to t h y w y f , ne t o t h y c h i I d , ne _to t h y f r e e n d , ne y e v e no powe r o v e r t h y s e l f : . . . , (And Mel .

1 IJ4. I ,

1755.)

( c ) Me 1. 1156: . . . a n d _of hem s h a l t t h y c o n s e i 1, . . . (And Mel .

th o u aske

1306)

A combination o f the se v e ra l p o s s ib le p o s i t i o n s of the

i n d i r e c t o b je c t occurs in the follow ing: Pt.

258s

•••i filthe of the of the preves

t h e wo and t h e shame and t h e t h a t men s e y d e n t o h i m ; . . . , b u f f e t t e s t h a t men y a v e n hym, f o u l e mowes, and o f t h e r e t h a t men ^to hym s e y d e n ;

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

35

In th e p o e t r y , appearing

i n 1 1 . D,

in a d d i t i o n to t h e v a r i a t i o n s

l a ( 3 ) , b ( 3 )> 2 a ( 3 ) ,

b ( 5 ) above,

there

are

thef o l l o w i n g examples o f an i n d i r e c t o b j e c t o u t o f

its

usual place before

the d i r e c t o b j e c t :

1. The i n d i r e c t o b j e c t p r e c e d e s

the verb:

TC. 5 . 1 7 8 4 : and i n e f f e c t yow a l i e I p r e y e , 2.

I n a compound t e n s e t h e

indirect

object

s t a n d s b e t w e e n t h e a u x i l i a r y and t h e v e r b : BD. 6 51: . . . B y o u r e Lord I w o l t h e s e y e . KnT.

1662:

And f o r t h

I wol e o f T h e s e u s yow t e l l e .

KnT.

2ij.l7:

...,

I wol t h e e y i v e ,

TC. 5 . 8 3 : And he f u l s o f t e a n d s l e i g h l y gan h i r e [seye, 3. A p r e p o s i t i o n a l KnT.

i n d i r e c t o b j e c t p r e c e d e s S-V:

991-92:

And _to t h e l a d y e s he r e s t o r e d a ga yn The b o n e s o f h i r h o u s b o n d e s t h a t we r e [slayn, C. The A u x i l i a r y V e r b : In t h e p r o s e a compound t e n s e , its participle;

i n 84 p e r c e n t o f a l l

the a u x i l i a r y v e r b

in the p o e try t h i s

is

instances of

immediately precedes t o be f ound i n 66

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,

per c en t of a l l cases.

36

1& The m o s t common i n s t a n c e s i n

wh i c h t h e a u x i l i a r y i s s e p a r a t e d f r o m i t s c o mp l e me n t h a v e been i n d i c a t e d II.,

lb;

I I . D,

the rem aining of those

i n s e c t i o n s I.B; 2B a b o v e . instances

I.D,2:

Me 1.

II.C;

i n t h e p r o s e and f o r 29 p e r c e n t Thos e r e m a i n i n g i n s t a n c e s o f

i n wh i c h t h e a u x i l i a r y and t h e p a r t i c i p l e

do n o t s t a n d n e x t t o one a n o t h e r a r e simple adverb

II.B;

T h e s e a c c o u n t f o r 9 Pe r c e n t o f

in th e p o e try .

compound t e n s e

I.C;

intervenes,

th o se in which a

as in

1089:

. . . y e han f u 1 o f t e assayed Mel.

1175:

Thou s h a l t e e k e s c h u e . . .

( v e r y common)

TC. 5 . 1 2 1 5 : . . . h e wo l d e s o o n e dye , RT. ij-218- 19: . . . , I h a d d e a l m o o s t mys goon; I h a d d e a l m o o s t goon t o t h e c l e r k e s b e d . A d j e c t i v e C oIV nstructions

17

'

The a d j e c t i v e c o n s t r u c t i o n s m o s t f r e q u e n t l y met w i t h i n C h a u c e r ' s p r o s e and p o e t r y c a n be d i v i d e d

into three

16. The i n t e r v e n i n g n e g a t i v e p a r t i c l e was n o t c o n s i d e r e d a separating element. 17. F o r a d d i t i o n a l m a t e r i a l on t h e p o s i t i o n o f a d j e c t i v e s s e e K e l l n e r , H i s t . O u t . , p p . 293“ 9 5 j R. M i l l i n e r , D i e S t e 1 l ung d e s A t t r i b u t i v e n A d j e c t l v s im Eng 1i s c h e n , New Yo r k , 1909; B. Pa l m, The P l a c e o f t h e A d j e c t i v e A t t r i b u t e i n E n g l i s h P r o s e , Lund, 1911; E i n e n k e l , A n g l . XVI11, FT, H i s t . S y h . t p p . 173“ 7 8 , p a r . 6 0 ; M S t z n e r , ojo. c i t . , I l l , p . 5 8 9 , par. 3 .

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37

categories:

( l ) t h e usual p re -p o s itio n of the a d je c tiv e

( a d j e c t i v e p lu s s u b s t a n t i v e , A-S); the a d j e c t i v e

(substantive plus a d je c tiv e ,

t h e mixed c o n s t r u c t i o n a d je c tiv e , A-S-A). are

(2) p o s t p o s i t i o n o f

infrequent;

( a d je c tiv e plus s u b s ta n tiv e plus

V ariations

those

S - A ) ; a n d ( 3)

f r om t h e s e t h r e e p a t t e r n s

t h a t occur are d e s c r i b e d as a

s e p a r a t e g r o u p below: A. P r e - p o s i t i o n : 1. A - S : This

i s t h e m o s t common c o n s t r u c t i o n

t h e p r o s e and t h e p o e t r y . prose;

in both

T h e r e a r e 931 e x a m p l e s

1 ,0 1 3 i n t h e p o e t r y .

Illustrations

in the

of t h i s p a t­

t e r n .are: Me 1. 9 7 3 : . . .mad m a n , . . . TC. 5 . 8 : The g o l d - y t r e s s e d P h e b u s . . . This s in g le a d j e c t i v e m o d i f i e d by an a d v e r b , Prose:

i n p r e - p o s i t i o n may be

as i n

Me 1. 9 8 6 : ...so

greet a cause...

Mel.

1022:

...a

f u l hevy t h y n g . . .

P o e t r y : BD. 85: . . . h e r t e l y sorowful

lif'

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38

K nT.

Q6I4.S

F u l many a r i c h e c o n t r e e . . . ; 2 . More t h a n o n e a d j e c t i v e p r e c e d e s a s u b s t a n t i v e : a. A-A-S: Prose;

Me 1 .

1035s

••* 0 l d e w i s e m e n , . . . PT. 97s . . . 0 lde s y n f u l l y f , , . . . . . newe c l e n e l y f . Poetry:

BD.

162:

. . . d e d ly slepynge soun, TC. 5 . 1 3 0 : • • . another straunger wight, b . M u l t i p l e a d j e c t i v e s a r e c o n n e c t e d b y ,fa n d ,r: Prose:

Mel.

1337:

...the PT.

g r e t t e s t e and s t r o n g e s t e garny so un ,

101:

. . . goode and humble f o l k . . . There a r e

t h r e e examples o f m u l t i p l e p r e - p o s i t i o n

a d je c tiv e s with adverbial m odifiers: Mel. ...in

1253s so g r e e t and s o h e i g h a n e d e . . .

Me 1. lij.81: ...a

s t r e n g e r o r a moor e m y g h t y m a n . . .

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39 M el.

1673:

. . . o o n o f t h e g r e t t e s t e and m o o s t sovereyn t h y n g . . . c . A-S-S: Exa mp l e s o f t h i s

a r e few, o c c u r r i n g o n l y in

thi prose; Me l ,

llj.08:

. . . c e r t e y n e p r e s u m p c i o u n s and c o n jectynges,. .. M e l . l i | 58: . . . a l l e v i l e y n y e s and w r o n g e s . . . . B. P o s t - p o s i t i o n :

1

The a d j e c t i v e c o n s t r u c t i o n follows

its substantive

(post-position)

e nco un tere d in the prose. examined,

i n wh i c h t h e a t t r i b u t e

Altogether,

is

infrequently

in the passages

th e re are t w e n ty - fo u r examples of i t ;

18. A d d i t i o n a l e x a m p l e s a r e t o be f o u n d i n E i n e n k e l , Ang 1 . X V I I I , 155"59? M S t z n e r , _££. c i t . , I I I , p p . 5 9 1_ 93; P a l m, o p . c i t . , 9&"10o ; K o z i o l , jd£. c i t . , p p . 1 3 7 - 4 1* E i n e n k e T ( p p . 15 5 " 5 6 ) s t r e s s e s t h e romance i n f l u e n c e , c i t i n g e x a m p l e s i n w h i c h t h e a d j e c t i v e i s o f r omanc e o r i g i n and s e t p h r a s e s i n w h i c h b o t h t e r m s a r e F r e n c h ( 1 5 7 ) , a s a l s o Pa l m, p p . 1 0 8 - 1 1 , Some p h r a s e s E i n e n k e l ( 1 5 d ) wo ul d a t t r i b u t e t o d i r e c t t r a n s l a t i o n o f C h a u c e r ' s source: "Of c o n s c i e n c e and o f good f a i t h u n f e y n e d " (SN 4 3 4 ) f r o m de c o n s c i e n t i a b o n a e t f i d e non f i c t a ( L e g . A u r e a ); ^ h a t l i k e a t h y n g i m m o r t a l semede s c h e , ” (TC. 1 . 1 0 3 ) f r o m " c h e non p a r e a c o s a m o r t a l e , ” ( F i l o s t r . I , s t r . X I ) , even "blo de r o y a l e " from sangue r e a l e as in F i l o s t r . I , s t r . XI. But as E i n e n k e l p o i n t s o u t , sang r e a l i s i n e v i t a b l e i n OF and t h e o c c u r r e n c e o f t h e p h r a s e i n C h a u c e r n e e d h a r d l y be a t t r i b u t e d t o t r a n s l a ­ tion.

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4o Me 1. 1024: ...parties

bothe; . . .

M e l . 12^5: ...enemys r e c o n s i l e d , . . . In t h e p o e t r y , h o w e v e r ,

the c o n s t r u c t i o n

is f a i r l y

common, p o s t - p o s i t i o n c o n s t r u c t i o n s c o m p r i s i n g a p p r o x i m a t e l y 20 p e r c e n t o f a l l a d j e c t i v e c o n s t r u c t i o n s . Of t h i s

type

th e r e are s e v e r a l v a r i a t i o n s ; 1. S - A : BD.

117:

. . . lady sw e te , 13. ( C o n t i n u e d ) On E i n e n k e l » s met hod i n g e n e r a l and h i s f r e q u e n t e x a g g e r a t i o n o f r omanc e i n f l u e n c e , s e e O. J e s p e r s e n , P r o g r e s s i n L a n g u a g e , London, 139 4> PP« 1 7 1 - 7 2 . T h i s i s n o t t o d e n y n o r t o m i n i m i z e t h e i n f l u e n c e o f OF; s e e a l s o K e 1 l n e r , i n t r o d u c t i o n t o C a x t o n ' s B l a n c h a r d y n a nd E g l a n t i n e , EETS, London, 1 8 9 0 , p . c v , p a r . 4”6 ( A) ; d a c c e n t , f r e q u e n t l y e mpl oyed b y C h a u c e r , a r e d i s c u s s e d b y J o s e p h B i h l , i n D i e Wi r k u n g e n d e s Rhyt hmus i n d e r S p r a c h e v o n C h a u c e r und Gower , H e i d e l b e r g , 1916 , t h e l a s t two s e c t i o n s o f w h i c h wer e p u b l i s h e d s e p a r a t e l y a s Di e G e s t a l t d e r W o r t f o r m und d e s S a t z e s u n t e r E i n w i r k u n g d e s Rhyt hmus b e i C h a u c e r und Gower ( T u b i n g e n d i s s . , 79T57T I4.. The a p p r e c i a b l y g r e a t e r number o f r e g u l a r - o r d e r p a t ­ t e r n s i n w h i c h t h e s u b j e c t i s a p r o n o u n ( s e e T a b l e IV, A p p e n d i x A) m e r e l y r e f l e c t s t h e f a c t t h a t more c l a u s e s a r e composed w i t h a p r o n o m i n a l s u b j e c t t h a n a n o m i n a l . Owing t o t h e v a r y i n g l e n g t h s o f t h e p o l y s y l l a b i c i n t r o ­ d u c t o r y e l e m e n t s ( a n d t h e number o f s t r e s s e d s y l l a b l e s ) , t h e p r o n o m i n a l s u b j e c t i s l e s s l i k e l y t o come i n t o a s t r e s s e d p o s i t i o n , a s i t w o u l d i n v a r i a b l y a f t e r a mono­ syllable. Inversion is consequently less fre q u e n tly n e c e s s a r y on m e t r i c a l g r o u n d s .

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56

Specifically,

a n y w o r d - o r d e r p a t t e r n may be u s e d i n t h e

i n t e r e s t o f any of the fo llo w in g s 1) f o r t h e s a k e o f e m p h a s i s ? in o r d e r to dr aw p a r t i c u l a r a t t e n t i o n t o some c h a r ­ a c t e r i s t i c or q u a l i t y , t o s p e c i f y the t i m e , p l a c e , m a n n e r , o r r e s u l t o f an action. 2) r h e t o r i c a l l y :

in p a r a l l e l c o n s t r u c t i o n s .

3) a s a f o r m a l i z i n g d e v i c e : i . e . , f o r t h e purpose o f linking elements in s u s ta in e d descriptions; establishing narrative r e l a t i o n s h i p s ; marking n a r r a t i v e d i v i s i o n s a nd t r a n s i t i o n s . Admittedly,

i t c a n n o t be m a i n t a i n e d t h a t a n y one

or s e v e r a l o f t h e s e f a c t o r s have e f f e c t e d a l l order p a tte rn s

the word-

in t h e p o e t r y exam ined , and t h i s

t i c u l a r l y t r u e of the v e r b a l sy lla b ic adverb.

is p ar­

i n v e r s i o n s f o l l o w i n g a mono­

As h a s a l r e a d y b e e n i m p l i e d i n t h e

r e m a r k s on t h e g r a m m a t i c a l and m e t r i c a l b a s e s o f i n v e r s i o n , they are

in a sense c o n v en tio n a l,

and s o c o n s i s t e n t i s

i n v e r s i o n a f t e r t h a n n e , now, y e t , d o , how, e t c . , may s u s p e c t t h a t t h e s e i n v e r s i o n s own l i t t l e tic considerations. structions

t h a t one

to s t y l i s ­

But the a s c r i p t i o n o f such con­

to c o n v e n tio n , w hile

i t may e x p l a i n t h e i r

gram m atical o r d e r , does not e x p l a i n t h e i r o c c u r r e n c e . On g r a m m a t i c a l and m e t r i c a l g r o u n d s ,

the inversion r e s u l t s

f r o m t h e s u b s t i t u t i o n o f an a d v e r b i a l e l e m e n t f o r t h e s u b je c t in the f i r s t p o s i t i o n .

The i n e v i t a b l e a s s u mp ­

t i o n i s t h a t t h e s u b s t i t u t i o n was made d e l i b e r a t e l y ,

! R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

57 in the i n t e r e s t of c l a r i t y , p r e c i s i o n ,

or emphasis,

in

o r d e r to e s t a b l i s h p e rh a p s o th e rw is e u n d i s c e r n i b l e con­ textual

relationships.

stylistic

Hence,

i t follow s t h a t the

s i g n i f i c a n c e o f the v e r b a l

d e r i v e s n o t from the

inversion a c tu a lly

i n v e r s i o n b u t from t h e s p e c i f i c

f u n c t i o n o f t h e a d v e r b i n a p a r t i c u l a r v e r s e and i t s meaningful r e l a t i o n to the v e rb . fore,

It

is

illogical,

there­

t o c o n s i d e r an i n t r o d u c t o r y a d v e r b m e r e l y a n e u t r a l

a nd n o n - s i g n i f i c a n t g r a m m a t i c a l u n i t b e c a u s e i t o c c u p i e s a n o r m a l l y u n s t r e s s e d p o s i t i o n a t t h e h e a d o f an i a m b i c line.

Together w ith the v e r b ,

i t f o r ms a s e n s i b l e u n i t ,

i t s p o s i t i o n a t the head o f the v e r s e v e r i f y i n g t e x t u a l s i g n i f i c a n c e , which, is always d e f i n a b l e .

its

t h o u g h i t may v a r y i n d e g r e e ,

A l l t h i s c a n be d e m o n s t r a t e d b y a

c o n s i d e r a t i o n o f t y p i c a l examples

in c o n t e x t : ^

1) Now Wher i s myn owene l a d y , l i e f and d e e r e ? Wher i s h i r e w h i t e b r e s t ? wh e r i s i t , w h e r e ? Wher b e n h i r e a r m e s ' a n d h i r e e y e n c l e e r e , T h a t y e s t e r n y g h t t h i s tyme w i t h me w e r e ? TC. 5 * 2 2 2 Now may _I wepe a H o n e many a t e e r e , And g r a s p e a b o u t I may, b u t i n t h i s p l a c e , Save a p i l o w e , I fynde nough t t ' e n b r a c e . 5 . Not d i s c u s s e d , s i n c e t h e e m p h a s i s i s o b v i o u s , a r e n u mer ous e x a m p l e s i n w h i c h a n a d v e r b d e s c r i b i n g t h e manner o f an a c t i o n o c c u p i e s t h e f i r s t s t r e s s e d p o s i t i o n in the v e r s e : TC. 5 * 2 0 0 : Tho s o d e y n l y down f r o m h i s h o r s h e s t e r t e ~f~2 1 6 : And p i t o u s l y he c r y d e upon C r i s e y d e / 7 25: So t e n d r e l y s h e w e p t , b o t h eve a nd mo r we / 729: Ful r e w f u l l y s h e Toked up o n T r o i e / 9 2 9 : And s o b r e l l c h e on h i r e he t h r e w h i s l o k ; e t c .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

The t e m p o r a l s i g n i f i c a n c e o f t h e a d v e r b , o r a t e d by " y e s t e r n y g h t " a s by t h e

is c o r r o b ­

in the p rec ed in g v e r s e ,

import of the e n t i r e passage

in which T r o i l u s

c o m p a r e s h i s p a s t j o y s and h i s p r e s e n t s o r r o w s . m atically, its

the c o n s t r u c t i o n

as w e l l

is c o n v e n tio n a l,

Gram­

b u t i t owes

o r i g i n n o t to t h i s f a c t b u t to the c o n t e n t of the

verse,

so a r r a n g e d t o e m p h a s i z e t h e a l t e r a t i o n

emotional s t a t e .

M etrically,

in T r o il u s *

t h e c o n s t r u c t i o n a ccom­

m o d a t e s a d e s i r a b l e v e r b a l s t r e s s , w h i l e p r e c l u d i n g an u n d e s i r a b l e pronominal s t r e s s .

In t h i s c o n n e c tio n i t

w i l l be o b s e r v e d t h a t a d e g r e e o f a d v e r b i a l a c c e n t u a t i o n is

inevitable,

owi ng t o t h e s e n s i b l e s i g n i f i c a n c e o f t h e

ad verb as w e l l as to i t s c l o s e v e r b a l the a c c e n tu a tio n

(as opposed to m e t r i c a l s t r e s s )

p a r t i c u l a r example, a m etrical

relationship;

as i n t h e o t h e r s ,

but

in t h i s

does n o t c o n s t i t u t e

irregularity.*?

6. The e f f e c t i s r h y t h m i c a l r a t h e r t h a n m e t r i c a l ; i . e . , the adverb is a c c e n te d though u n s t r e s s e d . T h a t t h e s e same adverbs are capapble of m e tr ic a l s t r e s s (thus c o r r o b o r a t ­ i ng t h e i r s i g n i f i c a n c e i n t h e v e r s e s d i s c u s s e d i n t h i s s e c t i o n ) i s seen in v e rs e s in which the adverb is preceded by a c o n j u n c t i o n ( o r s i m i l a r l y u n s t r e s s e d e l e m e n t ) i n f i r s t position. Then, m e t r i c a l c o n s i d e r a t i o n s t a k i n g p r e c e d e n c e o v e r g r a m m a t i c a l , t h e S-V f o l l o w i n r e g u l a r order: TC. 5 . 7 2 0 : And t h u s s h e s e t t e h i r e w o f u l h e r t e afire. BD. 381 Ahd'_yett my b o o t e i s n e v e r t h e n e r . 3D. 24.5 9 : An'S” t h e r e I s t o o d a s s t i l l e a s o u g h t . TC. 5«"^95? And f o r t h I wol o f T r o i l u s yow t e l l e . TC. 5*194* B u t h ere I leve h i r e w i t h h i r e f a d e r d w e lle . GP. 711* F o r w e l h e w i s t e , whan t h a t s o n g e was s o n g e . Examples a re numerous. D espite the coincidence of meaningful accent and m e t r i c a l s t r e s s i n t h e s e v e r s e s , t h e a d v e r b i s o f no g r e a t e r c o n t e x t u a l s i g n i f i c a n c e than in v e r s e s in w h i c h i t occupies f i r s t p o s itio n .

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TC. 5 * 1 1 ^ - T y l i t was n o o n , t h e y s t o d e n f o r t o se Who t h a t t h e r come; and e v e r y ma n e r w i g h t T h a t com f r o f e r , t h e y s e y d e n i t was s h e , Til that thei k o u d e knowen hym a r i g h t . 1118 Now was h i s h e r t e du 1, now was i t 1i g h t . And t h u s b y j a p e d s t o n d e n f o r t o s t a r e A b o u t e n a u g h t t h i s T r o i l u s and P a n d a r e . The s i t u a t i o n from t h a t

in t h i s v e r s e

i s somewhat d i f f e r e n t

in the p re v io u s example,

o p p o s e s no s p e c i f i c f i e s m o me n t a r y

reference

in t h a t t h a t adverb

to a p a s t time b u t s p e c i ­

a l t e r a t i o n s of T r o i l u s 's

a d v e r b i a l emphasis d e r i v e s

mood.

The

n o t m e r e ly from i t s position

a t t h e head o f t h e c l a u s e b u t a l s o f r o m t h e u s e

in the

p a ra lle l construction. 2) T h u s : KnT.

1129

III4.I Again,

n e r e , 11 q u o d h e , Mt o t h e e no g r e e t h o n o u r F o r t o be f a l s , ne f o r t o b e t r a i t o u r To me t h a t am t h y c o s y n and t h y b r o t h e r Ysworn f u l d e p e , and e c h o f u s t i l o o t h e r , T h at n e v e r , f o r to deyen in th e peyne, T i l t h a t t h e d e e t h d e p a r t e s h a l us t w e y n e , N e i t h e r o f us in love to hyndre o o th e r, Ne i n noon o o t h e r c a s , my l e e v e b r o t h e r ; B u t t h a t t h o u s h o l d e s t t r e w e l y f o r t h r e n me In e v e r y c a s , as I s h a l f o r t h r e n t h e e , — T h i s was t h y n o o t h , and myn a l s o , c e r t e y n ; 1 woot r i g h t w e l , tho u d a r s t i t n a t w i t h s e y n . Thus a r t o w o f my c o n s e l , out of doute, the s i g n i f i c a n c e of the

the c o n s t r u c t io n . of,

adverb has determ ined

The m e a n i n g - - b e c a u s e o f ,

the oath here r e c a p i t u l a t e d ,

or as a r e s u l t

you a r e my c o u n s e l o r ,

w h e t h e r you l i k e t h e r o l e o r n o t . ? 7. the

The u s e o f t h e e n c l i t i c p r o n o m i n a l v e r b a l s t r e s s , h e r e as e ls e w h e r e .

f or m e s t a b l i s h e s

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

6o KnT,

1261:

We f a r e n as h e t h a t d r o n k e i s a s a mous. A d r o n k e man wo o t we l he h a t h an h o u s , B u t h e n o o t w h i c h t h e r i g h t e wey i s t h i d e r , And t o a d r o n k e man t h e wey i s s l i d e r . And c e r t e s , i n t h i s w o r l d s_o f a r e n we; We s e k e n f a s t e a f t e r f e l i c i t e e , And we goon wrong f u l o f t e n , t r e w e l y . Thus may we s e y e n a 1 l e , and name l y _1, T h a t wende and h a d d e a g r e e t o p i n o u n T h a t i f 1 myght e s c a p e n f r o m p r i s o u n , Thanne h a d d e I b e e n i n j o y e and p e r f i t h e e l e , T h e r now 1 am e x i l e d f r o my w e l e .

1268 1271

The a d v e r b in 1268 ( l i k e final

transition

t h e _so i n 1265) mar ks t h e

in th e s k i l l f u l l y d e v e l o p e d metaphor^

o f t h e d r u n k e n man a s A r c i t e p a s s e s f r o m i t s application I).

The

( s o f a r e n we) t o i t s p e r s o n a l

general

( a n d na me l y

adverb is t h e r e f o r e c o n t e x t u a l l y s i g n i f i c a n t

in r e l a t i n g

t h e metaphor to t h e s p e c i f i c s i t u a t i o n of

the speaker. Purely temporal

is the s i g n i f i c a n c e of the thanne

o f 127 1 * o p p o s i n g t h e now o f 127 2. 3) T h a n n e . a ) GP. 63 4 Wel l o v e d he g a r l e e k , o y n o n s , and e e k l e k e s , And f o r t o d r y n k e n s t r o n g wyn, r e e d a s b l o o d ; 636 Th a n n e w o l d e he s p e k e and c r i e a s he we r e w o o d . And whan t h a t he we l d r o n k e n hadcfe t h e wyn, 638 Tha nne w o l d e he s p e k e no wor d b u t L a t y n . A fewe t e r m e s ha d d e h e , two o r t h r e e , T h a t he h a d l e r n e d o u t o f some d e c r e e — No wonde r i s , he h e r d e i t a l t h e d a y ; And e e k ye knowen we l how t h a t a j a y Kan c l e p e n " W a t t e " a s we l as k a n t h e p o p e . B u t whoso koude i n o o t h e r t h y n g hym g r o p e , 6)4.5 Thanne h a d d e he s p e n t a l h i s p h i l o s o p h i e ; in t h e s e t h r e e examples th e tem po ral s i g n i f i c a n c e of the adverb

(i.

e.,

in the sense of a p a r t i c u l a r

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time)

6l is adm ittedly s l i g h t ,

t h e i r me a n i n g b e i n g r a t h e r " a f t e r

th a t" or "in consequence."

Nevertheless,

the arrangement

im plies a degree of emphasis. The w h a n . . . t h a n c o n s t r u c t i o n

i n 6 37~ 638 *s an

e x a mp l e o f a f r e q u e n t l y r e c u r r i n g c o r r e l a t i o n o f t h e c o mp o n e n t c l a u s e s o f a c o m p l e x s e n t e n c e , be f e l t t h a t

there

i n w h i c h i t may

i s a minimum t e m p o r a l s i g n i f i c a n c e .

The o p p o s i t i o n b e t w e e n t h e a d v e r b s whan and t h a n n e la rg e ly grammatical,

is

the thanne f u n c t i o n in g as a p i v o t a l

wor d l e a d i n g t o t h e r e s o l u t i o n o f t h e i n c o m p l e t e s t a t e ­ ment o f t h e s u o o r d i n a t e c l a u s e . tio n a l grammatical element, in c o n t e x t ,

f o r in e f f e c t

it

However ,

is s l i g h t l y emphasized

it repeats

whan o f t h e s u b o r d i n a t e c l a u s e , i n b o t h c l a u s e s b e i n g t h e s a me .

as a t r a n s i ­

the

introductory

the temporal re fe re n c e In a d d i t i o n

to the open­

i n g l i n e s o f t h e G e n e r a 1 P r o l o g u e , w h i c h n e e d n o t be quoted h e re , b ) BD.

the f o l l o w i n g t y p i c a l examples i l l u s t r a t e :

697 F o r whan t h a t I a v i s e me we l , And b e t h e n k e me e v e r y d e l , How t h a t t h e r l y e t h i n r e k e n y n g , I n my s o r w e , f o r n o t h y n g ; And how t h e r l e v e t h no g l a d n e s s e [viay g l a d e me o f my d i s t r e s s e , And how I h a v e l o s t s u f f i s a n c e , And t h e r e t o I h a v e no p l e s a n c e , 705 Than may I s a y 1 h a v e r y g h t n o g h t .

c ) KnT. 2 5 3 5 ” 3k

And whan he s a u g h t h e p e p l e o f noyse a l s t i l l e Tho shewed he t h e myght y d u k e s w i 1 l e .

d) KnT. 2 ^ 9 5 - 9 7 Whan t h a t h i r names r a d w e r e e v e r i c h o n ,

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62 T h a t i n h i r nombre g y l e we r e t h e r n o o n , Tho w e r e t h e g a t e s s he t , and c r i e d was l o u d e : O c c a s i o n a l l y t h e a d v e r b h e a d s an i n d e p e n d e n t c l a u s e following a c o n d itio n a l subordinate c lau se, transitional

function

though i t e x p re ss es

is

in which i t s

t h e same a nd e q u a l l y e m p h a t i c ,

result

rather

than time:

e ) KnT. 1 2 7 0 - 7 1 T h a t JL_f I my g h t e e s c a p e n f r om p r i s o u n , Thanne h a d d e _I b e e n i n j o y e and p e r f i t h e e l e f f ) KnT. 7 J 5 7 - 6 8 And _if he h e r d e s o n g o r i n s t r u m e n t , Thanne w o l d e h e w e p e , he myght e n a t be s t e n t . O r d i n a r i l y , however,

the adverb

is independent of

a p r e c e d i n g s u b o r d i n a t e c l a u s e and s i m p l y e x p r e s s e s a t e m p o r a l r e l a t i o n s h i p b e t w e e n t h e v e r b a nd i t s c o n t e x t . 4) Y e t The s i g n i f i c a n c e a nd e m p h a s i s o f t h e a d v e r b y e t v a r i e s w ith i t s meaning, use

d e p e n d e n t upon c o n t e x t and i t s

in a p a r t i c u l a r v e r s e . a)

introduce

Like t h a n n e , y e t

( m e a n i n g n e v e r t h e l e s s ) may

the independence c la u s e fo llo w in g a c o n c e ssiv e

subordinate clause

in a complex s e n t e n c e :

1) BD. 434- S h o r t l y , h y t was so f u l o f b c s t e s , That thogh Argus, the noble c o u n to u r, S e t e t o r e k e n e i n hys c o u n t o u r , And r e k e n e d w i t h h i s f i g u r e s t e n - F o r by t h o f i g u r e s mowe a l k e n , Yf t h e y be c r a f t y , r e k e n e and n o u m b r e , 441 Ye t s h o u l d e he f a y l e t o r e k e n e e v e n The w o n d r e s me m e t t e i n my s w e v e n .

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2 ) GP. 252-54

3) GP. 297-98

Fo r t h o g h a wydwe h a d d e n o g h t a s h o , So p l e s a u n t was h i s " I n p r i n c i p i o , " Ye t wo l d e h e have a f e r t h y n g , e r he w e n t e . B u t a_l be t h a t he was a p h i l o s o p h r e , Y e t h a d d e he b u t 1 i t e 1 go Id i n c o f r e ;

4 ) TC. 5 . 1072-4

5 ) TC. 5 . l4l0-ll

b)

But, T r o i l u s , s y n I no b e t t r e m a y , And s y n t h a t t h u s d e p a r t e n y e and I , Y e t p r e y _I God, s o y e v e yow r i g h t good d a y , B u t w h e i t h e r t h a t ye do me l y v e o r d e y e , Y e t p r a y e _I God, s_o y e v e yow r i g h t good d a y

Yet in o t h e r se n s e s : 1) ( I n

s p ite of,

for a ll

that):

RT.

4096-97

Y e t ka n a m i l l e r e make a c l e r k e s b e r d , Fo r a l h i s a r t ; . . . 2) ( e x p r e s s i n g t h e c o n t r a r y ) :

RT. " A l l a s , " quod h e , " t h i s i s a w i k k e d j a p e ; Now may 1 s e y n t h a t 1 i s b u t an a p e . Y e t h a s my f e l a w e somwhat f o r h i s h a r m ; He ha s t h e m i l l e r i s d o g h t e r i n h i s arm.

4201-04 4203 TC. 5 . 477-80

And s e y d e , "Leve b r o t h e r , P a n d a r u s , I n t e n d e s t o w t h a t we s h a l h e r e b l e v e T i l S a r p e d o u n wol f o r t h c o n g e y e n us ? Y e t w e r e i t f a i r e r t h a t we t o k e o u r e 3) ( f u r t h e r ,

TC. 5 . 7 8 5

leve.

in a d d i t i o n )

Y e t s e i d e he t o h y m s e l f upon a n y g h t ,

R e p ro d u c e d with perm ission of th e copyright owner. Further reproduction prohibited without permission.

61+ 1+) t i m e : TC. 51 0 0 5 - 08

still,

up t o t h i s

time,

eventually)

And t h e r w i t h a l s h e c a s t e h i r e e y e n down, And gan t o s i k e , and s e y d e , "0 T r o i e t own, Y e t b i d d e !_ G o d , i n g u i e t e and i n r e s t e I may yow s e n , o r do myn h e r t e b r e s t e .*'

RT. 1+038-39

Yet

saugh

How t h a t

I nevere,

b y my f a d e r

t h e h o p u r wa gges t i l

kyn,

and f r a .

5 ) So a) KnT. 1086-90

(eq u a ls t h u s ): Fortune h a t h yeven us t h i s a d v e r s i t e e . Som wi k ke a s p e c t o r d i s p o s i c i o u n Of S a t u r n e , b y s o m < c o n s t e 1 l a c i o u n , Ha t h y e v e n u s t h i s , a l t h o u g h we h a d d e i t s w o r n ; So s t o o d t h e h e v e n e whan t h a t we we r e b o r n .

b) KnT. 2655-1+7

(degree:

to t h a t e x t e n t ,

degree):

And kyng B m e t r e u s , f o r a l h i s s t r e n g t h e , Is born o u t o f h i s s a d e l a swerdes l e n g t h e , So h i t t e h i m Pa l a mo u n e r he w e r e t a k e ;

TC. 5 . 1200-0| .

B u t f o r t h e p e y n e hym t h o u g h t e h i s h e r t e b l e d d e , So wer e h i s t h r o w e s s h a r p e and w o n d e r s t r o n g e .

6 ) There A distinction

i s made b e t w e e n c l a u s e s

in which

t h e a d v e r b s p e c i f i e s p l a c e and i s c o n s e q u e n t l y e m p h a t i c , and c l a u s e s pates

t h e s u b j e c t (GP.

Prioresse). a) BD.

in which th e p r o c l i t i c 118:

there merely a n t i c i ­

T h e r was a l s o a Nonne , a

On l y t h e f o r m e r a r e c o n s i d e r e d h e r e :

18C K i t was f o r n o g h t ;

t h e r e h e r d e hym n o n .

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65

b) KnT. J9BT-82 c ) KnT. 1995

And downward f r o m an h i l i e , u n d e r a b e n t e , T h e r s t o o d t h e t e m p l e o f Mars a r m y p o t e n t e , Ther s a u g h I f i r s t

t h e d e r k e ymagi nyng

7) Wel We 1 e x p r e s s e s no c o n t e x t u a l r e l a t i o n s h i p s ,

as

t h e a d v e r b s p r e v i o u s l y c o n s i d e r e d u s u a l l y do; and i t s s i g n i f i c a n c e a s an a d v e r b o f manne r i s somewhat m i t i g a t e d t>y i t s u s e i n t h e ne wi s t e f o r m u l a e =0 Gp; 94

•

Wel koude He koude J u s t e and [w rite.

b) GP. 334

Wel l ov e d

c ) GP. 429

We 1 knew

d) KnT. 3 0 0 5 “ 06 e) KnT. 2990 8)

We 1 may men knowe , b u t i t be a f o o l , That e v ery p a r t d i r r y v e t h from h i s h o o l ; We 1 wi s t e h e why,

and w h a t t h e r o f he m e n t e ;

Numerous o t h e r a d v e r b s o c c u r i n h e a d p o s i t i o n ,

always emphatic: GP. 706

Fayn w o l d e 1 doon yow m y r t h e , w i s t e

I how.

KnT. 1539

S e l d e i s t h e F r i d a y a l t h e wowke y l i k e .

KnT. 1671“ Be i t o f w e r r e , o r p e e s , o r h a t e , o r l o v e , 72 Al i s t h i s r e u l e d by t h e s i g h t e a b o v e .

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66 KnT. 2565

Up goon t h e t r o m p e s and t h e m e l o d y e , ( C f . 2 b 0 2 , 2 6 0 3 , 260 4 , 2 6 0 7 , 2635* d i s c u s s e d be l o w . )

RT. lj-256

Heere

l i t h t h e mi l l e r e and hys wyf a l s o . ®

RT. ^ 276

Doun r a n t h e b l o d y s t r e e m upon h i s b r e s t ;

Be t w e e n t h e v e r b a l

inversions

f o l l o w i n g a monosyl­

l a b i c a d v e r b and t h o s e f o l l o w i n g e i t h e r a p o l y s y l l a b i c a d v erb or a d v e r b i a l p h ra s e or a p r e d i c a t e e lem ent in first

position,

an i m p o r t a n t d i s t i n c t i o n m u s t be made.

In i n v e r s i o n s o f the f i r s t g r o u p , its

the v e rb ,

g r a m m a t i c a l and m e t r i c a l p o s i t i o n ,

between the occurrence of the stress

there

However ,

by n a t u r e o f

i s e m p h a t i c , and

i n v e r s i o n and t h e v e r b a l

is u s u a lly a demonstrable r e l a t i o n s h i p .

in t h e second group the v e r b a l

inversion i t s e l f

i s o f t e n m e r e l y an i n c i d e n t a l o r c o n c o m i t a n t f e a t u r e , the

important f a c t ,

rather

stylistically

and c o n t e x t u a l l y ,

lying

i n t h e n a t u r e and f u n c t i o n o f t h e g r a n m a t i c a l

elements heading the c l a u s e .

By v i r t u e o f an a r r a n g e -

0. For a d d i t i o n a l examples s e e : ( t h a n n e ) T C „ 5 . 5 4 0 , 582, 5 9 8 , 7 3 8 , 1674; KnT. *230, 1271, 1303, 1368, 225 7 , 2 5 3 6 , 2597, 2 6 9 6 , 2764, 2 8 8 2 . 2 9 7 0 . 3003, 3026, 3034, 3 0 4 l , 3 0 5 0 , 305 5 , 3 0 9 0 ; RT. 4 0 0 2 , 4 o 4 l , 4 2 2 0 ; GP. 12, 0 3 6 , 6 3 8 , 6 4 5 ; BD. 4 5 1 , 7 0 5 , 707; ( t h u s ) KnT. 114 1, 1268, 1729, 1947, 20t>0 , 2 5 2 1 ; T C . 5 . 1 5 5 , 699 ; P r T . 1699; RT. 4 3 2 4 ; (now) TC. 5 . 1 2 4 5 , "T291, 1711; R T . T T 1 0 , 4 2 0 4 ; KnT. 924,* 1558, 1 5 8 1 , 2 0 8 9 , 2208; P r T . 1770, 1857; ( s o ) TC. 5 . l 4 o 6 ; KnT. 2036; ( t h e r e ) KnT. 2 0 ^ 6 , 2 0 6 2 , 206 5 , 2 0 7 3 , 2 1 2 8 , 24.9 6 , 2 6 1 3 , 3 0 7 4 , RT. 3 9 9 1 ; ( w e l ) GP. 106, 1 3 0 , 2 3 6 , 3 3 4 , 3 8 2 , 4 1 7 , 5 6 2 , 5 9 3 , 6 3 4 , 709; KnT. 1 2 3 8 , 12 4 9 , 142 2, 2 0 8 7 , 2 9 9 0 , 3005; TC. 5 . 5 8 9 , 6 9 0 ; ( y e t ) KnT. 2 2 1 2 , 3023, TC. 5 . 3 4 1 , 4 8 0 , 5 ^ 1 7 7 8 5 , 1074, 10 9 2 , 1 4 1 1 , 1625, 1705; RT. 4 0 3 8 , 4 0 9 6 , 4 203; PrT. 1845-

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67

ment w h i c h d i s t o r t s

t h e n o r m a l S-V~o/C o r d e r ,

s u b j e c t iv e element in f i r s t p o s i t io n emphatic,

is

th e non-

l i k e l y t o be

i r r e s p e c t i v e of whether or not the verb

inverted.

Thus,

in c a s e s

men t i s a d v e r b i a l ,

in which th e

is

introductory ele­

i n v e r t e d and r e g u l a r o r d e r o c c u r ' W i t h

n e a r l y equal frequency: Manner: Inverted Order: KnT.

1236

Ful

PrT.

17^3

Ful

148

But

GP. 308

And

GP.

[deed, id g l a d l y [ teache.

Regular Order: KnT. 989

And

TC. 5 . 5 8

Ful

.llj-61f • cer's

Whan t h a t D i a n e was a g r e v e d

i n w h i c h D i a n e becomes a t r i s y l l a b i c , There

as

in

i s a r h y t h m i c d i f f e r e n c e b e t w e e n Chau­

l i n e and t h e r e v i s i o n ,

apparent j u s t i f i c a t i o n

but

in c o n t e x t there

i s no

f o r p r e f e r r i n g one t o t h e o t h e r . )

In OP. 2 2 9 ; w o r d - o r d e r a l t e r a t i o n . e f f e c t s

a different

stress: (Chaucer): (Possible):

For many a man so h a r d i s o f h i s h e r t e , For many a man i s s o h a r d o f h i s h e r t e

In C h a u c e r ' s v e r s i o n

the a d j e c t i v e

stress;

in the r e v i s i o n ,

stress.

Thus C h a u c e r ' s

receives

the greater

the adverb r e c e i v e s stresses

tne q u a l i t y ;

a pronounced the r e y i s i o n ,

the d e g r e e . In TC. 5 . 1 7 0 9 - 1 0 , v e r b a l compound,

the t r a n s p o s i t i o n , stresses

by s t r e s s i n g t h e

the c o n t i n u i t y o f Pandarus'

action: 0 P a n d a r u s , t h a t i n dremes f o r t o t r i s t e Me b l ame d h a s t , and w o n t a r t o f t u p b r e y d e , 0

Regular order s h i f t s

0

t h e s t r e s s - - h a s t bl amed me— w h e r e a s

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

Ill

t h e p h r a s e "wont a r t o f t ” c o r r o b o r a t e s t h e c o n t i n u o u s n e s s i m p l i e d in the v e r b a l t r a n s p o s i t i o n . ( Bu t c f . TC. 5 , identical,

,

in which th e s i t u a t i o n

save t h a t the r e g u l a r o r d e r r e s u l t s

is

i n no

s i g n i f i c a n t sense v a r i a t i o n . ) Regular order

i n TC. 5»61f5> h o w e v e r ,

t i o n of the w ord-order r e s u l t i n g

r e q u i r e s an a l t e r n a ­

in a s i g n i f i c a n t a d v e r b i a l

stress: T h i s s o n g whan he t h u s s o n g e n h a d d e , T h i s s ong whan he h a d s o n g e n t h u s , Ho we v e r ,

soone

s oone

the g e n e r a l l y d i s t o r t e d syntax of t h i s ve rse

makes a n y c o n c l u s i o n s a b o u t a s i n g l e f e a t u r e h i g h l y q u e s ­ tionable.

In GP. 6 3 7 ,

also,

a d v e r b i a l s t r e s s which a l t e r s

r e g u l a r o r d e r e f f e c t s an the statem ent s l i g h t l y :

And whan t h a t he w e l d r o n k e n h a d d e t h e wyn

And whan t h a t he h a d d e d r o n k e n wel t h e wyn I n s e v e r a l v e r s e s whe r e a t r a n s p o s i t i o n o c c u r s , however,

t h e r e i s no d i s c e r n i b l e

reason in i t s

favor:

And t h a t J o v e s , o f h i s p u r v e y a u n c e , Hym shewed h a d d e i n s l e p e t h e s i g n i f i a u n c e (Possible;

Hadde shewed h y m . . . )

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112

TC. 5 . 3 9 9 T h a t we l u n n e t h i t don s h a l u s d u r e s s e . (Possible: PrT. 1 8 11- 12

T h a t wel u n n e t h i t s h a l don us [duresse.)

This c h i l d w ith p i to u s Up t a k e n w a s , . . . (Possible:

About the v e r s e s

lamentacioun

Was t a k e n u p . . . . ) i n wh i c h r e g u l a r o r d e r i s n o t

m e t r i c a l l y p o s s i b l e no c o n c l u s i o n s a r e p o s s i b l e .

The

v e r s e s a s w r i t t e n s u p p o r t two e q u a l l y p o s s i b l e c o n c l u s ions: 1. T h a t m e t r i c a l e x i g e n c y d i c t a t e d b o t h t h e c h o i c e o f w o r d s and t h e i r o r d e r , o r 2 . T h a t t h e w o r d s we r e d e l i b e r a t e l y c h o s e n t o a ccommodat e a d e s i r e d c o n s t r u c t i o n t o the m eter, and t he two a r e c o n t r a d i c t o r y .

The a c c o m m o d a t i o n o f t h e

g r a m m a t i c a l , m e t r i c a l , and s t y l i s t i c

factors

involved

i n a n y v e r s e o f t e n r e p r e s e n t s t o o s u b t l e an i n t e r - r e l a t i o n ­ ship for a n aly sis.

The s e c o n d g r o u p o f w o r d - o r d e r p a t t e r n s a b o u t w h i c h s o m e t h i n g m u s t be s a i d a r e t h o s e

i n v o l v i n g an a d j e c t i v e .

As h a s b e e n shown i n C h a p t e r One,

the standard a d j e c t i v e

p a t t e r n s a r e A- S , S-A,

the f i r s t b e i n g the

m o s t common.

and A- S - A,

Save i n t h o s e v e r s e s

i n w h i c h m e t e r seems

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113

t o have d i c t a t e d a p r e - o r p o s t - p o s i t i o n , to d e f i n e f a c t o r s 953s

it

is d i f f i c u l t

f a v o r i n g e i t h e r one o r t h e o t h e r .

KnT.

"Wi t h h e r t e p i t o u s , whan he h e r d e hem s p e k e , "

which p i t o u s h e r t e

in

i s m e t r i c a l l y p o s s i b l e , may be com­

p a r e d t o KnT. 2 3 7 1 :

"With p i t o u s h e r t e and h e i g h d e v o -

c i o u n " t o show t h a t b e t w e e n h e r t e p i t o u s and p i t o u s h e r t e there

i s no a p p r e c i a b l e d i f f e r e n c e a s f a r a s e m p h a s i s o r

e f f e c t are concerned. face pale,

Sim ilarly,

i n TC. 5 * 8 6 :

"Wi t h

and u n t o D i o m e d e , ” p a l e f a c e e f f e c t s no s e n s i b l e

nor m e t r i c a l d i f f e r e n c e , as o t h e r o c c u r r e n c e s

in p r e ­

p o s i t i o n show: ML.

832

And C u s t a n c e , w i t h a d e e d l y p a l e f a c e ,

C 1.

3^0

F ° r which she

TC.

5*538

For which w i t h chaunged d e d l i c h p a l e f a c e ,

looked w i t h f u l p a l e f a c e .

In a lm o s t a l l c a s e s , however, m eter h a s d e te r m i n e d the p o s t - p o s i t i o n ,

p r e - p o s i t i o n b e i n g t h e p r e f e r r e d when

the m e t r i c a l f a c t o r does n o t e n t e r i n : T C.

5*250

.In p l a c e

horr ib le ,

makyng

ay h is

mone,

C f.: ML.

I4.7 3

Mk.

3818

WB.

738

Who s a v e d D a n y e l And

in

Of h i r

this

in

stynk

h o r r i b le

the

and

lust

h o r r i b le

this

cave

horrible

and h i r

peyne,

likyng, .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

114 BD.

i4.2lf W i t h c r o p p e s b r o d e , and eke a s t h i k k e

C f.: KnT. Sq.

302lf The b r o d e r y v e r

somtyme

wexeth dreye

82 And i n h i s h a n d

a brood

mirour of g la s .

TC. 5 * ^ 0 1 7

TC. KnT. C f .: GP.

The wey t h e b r o d e Ph e b u s doun a l i g h t e

5 . 6 5 2 1 s a u g h t h y n h o m e s o l d e e k b y t h e morwe, 2866

The o k e s o l d e , and l e y e hem on a rewe

175 T h i s

i l k e Monk l e e t o l d e t h y n g e s p a c e ;

an d 429> KnT.

859 Whilom,

as

431 olde

stories

t e j l e n us,

ML.

1126 I n t h e o l d e Romayn g e e s t e s may

Mk.

3 1 6 4 As o l d e b o o k e s maken us m e m o r i e ,

TC. C f .: Sq.

5 . 7 3 0 B i h e l d t h e t o u r e s h e i g h and e k t h e h a l l e s :

176 And b o r n a non i n t o t h e he i g h e t o u r

TC. 5 . 1 5 4 6 C f.: KnT.

men f y n d e

Gan p u l l e awey t h e f e t h e r e s b r l g h t e o f

Troie

1700 The b r i g h t e s w e r d e s w e n t e n t o and f r o

14. In t h e c a s e o f a d i s s y l l a b i c s u b s t a n t i v e b e g i n n i n g w ith a s i l e n t h or vowel, p o s t - p o s i t i o n is i n e v i t a b l e to p e r m i t a c c e n t u a t i o n o f b o t h s u b s t a n t i v e and a t t r i b u t e . T h u s , i n NP. 4 2 9 6 : "By s w i c h e e n s a m p l e s o l d e y e t m a i s t o w l e e r e . " And s e e e x a m p l e s b e l o w w i t h h e r t e and i n Con­ c o r d a n c e f o r numer ous i l l u s t r a t i o n s .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

21+37

KnT.

1

ML. TC.

2.54

As

fayn

as

Our H ooste What P h eb u s

fowe 1 i s s a u g h tv/el doth

his

TC. 5 . 1597

Your e

Cf KnT.

" S u s t e r , ” quod h e ,

3075

Pard.

8lj-9

1.1059

TC.

of

the

that

brighte the

bryghte

sonne

br ighte bemes

sprede

l e t t r e s f u 1, t h e p a p i r a l y p l e y n t e d ,

’’t h i s

i s my f u l l e a s s e n t , ”

Fo r t h i s was o u t r e l y h i s f u l l e e n t e n t e , His

fu 1 le f r e n d ,

than

seyede

in

this

TC. 5 . 1 7 3 1

My b r o t h e r d e e r . I may do t h e n a m o r e .

C f.: NP.

M 96

How h e l p me, d e e r e b r o t h e r , o r I d y e .

Fr.

1395

D epardieux,

TC. 2.101+6

KnT. rr

A llas,

quod

my d e e r e

this

brother

yeman,

’’d e e r e

manere

broother,

Pandarus,

1675

My d e e r e b r o t h e r , D e i p h e b u s , a n d I

1958

Wi t h wawes g r e n e , and b r i g h t e a s a n y g l a s .

.

GP. KnT.

TC.

sonne

607

Wi t h g r e n e t r e e s yshadowed wa s h i s p l a c e

2915

That w ith h i s

grene top the hevene r a u g h te ;

2935

And t h a n n e w i t h g r e n e wode a nd s p i c e r y e ,

2.1

Owt o f t h i s e b l a k e wawes f o r t o s a y l l e ,

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

116 Though a l l

the examples which have been quoted

in

t h i s c h a p te r to i l l u s t r a t e v a rio u s r e l a t i o n s h i p s between w o r d - o r d e r and e f f e c t i v e c o m m u n i c a t i o n w i t h i n a p r e ­ d e t e r m i n e d m e t r i c a l f or m m i g h t be m u l t i p l i e d many t i m e s over,

t h e r e l a t i o n s h i p s so d e f i n e d w o u l d i n no way be

modified.

Again,

i t m u s t be b o r n e i n mi nd t h a t t h e

f a c t o r s w h i c h ha ve h e r e i n b e e n r e f e r r e d

t o as s t y l i s t i c

a r e a d m i t t e d l y so o n l y in a l i m i t e d s e n s e ,

in t h a t t h e i r

f i n a l e f f e c t i v e n e s s c a n be e v a l u a t e d o n l y i n r e l a t i o n t o t h e sum t o t a l o f a l l poem,

its

total

t h e f a c t o r s w h i c h make up t h e

t e x t u r e , compounded o f i t s

imagery, and rhythms. m a i n s to b e c o n s i d e r e d ,

diction,

One f o r m a l f a c t o r , h o w e v e r ,

re­

t h e r e l a t i o n w h i c h may be shown

t o e x i s t b e t w e e n w o r d - o r d e r and r i m e .

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C h a p t e r 111 Word^-Order and Rime

Brevity rather title

than p r e t e n s i o n has d i c t a t e d the

of th is c h a p te r,

for a c t u a l l y the d i s c u s s i o n has

been a r b i t r a r i l y l i m i t e d

t o i n c l u d e r e l a t i v e l y few wo r d -

o r d e r and r i me r e l a t i o n s h i p s .

I t p r o c e e d s on t h e ass ump­

t i o n t h a t b e t w e e n w o r d - o r d e r and r i me o n l y one c o n s i s t e n t relationship

is d efin ab le:

that

t h e r i me w o r d ' s p o s i t i o n

a t t h e end o f a v e r s e c o i n c i d e s w i t h i t s

intelligible

g r a m m a t i c a l p o s i t i o n w i t h t h e c l a u s e or p h r a s e o f w h i c h it

is a p a rt.

the d is c u s s io n

As t h e d e s c r i p t i o n s

i n C h a p t e r One and

i n C h a p t e r Two h a v e b e e n d e s i g n e d t o show,

t h e number o f g r a m m a t i c a l o r w o r d - o r d e r v a r i a t i o n s o f any s p e c i f i c p a t t e r n

i n C h a u c e r ' s p o e t r y was s u f f i c i e n t l y

la rg e to provide a p p r e c i a b le freedom in the s a t i s f a c t i o n o f t h e demands o f i n t e l l i g i b i l i t y .

It

is such o f t h e s e

p a t t e r n s a s many be r e l a t e d t o r i m e wh i c h ha ve been se le c te d for d isc u ssio n here. The d i s c u s s i o n

is f u r t h e r

l i m i t e d by the c o m p l e x i t y

o f t h e wh o l e q u e s t i o n o f ri me i n i t s e l f . t h e f a c t o r s w h i c h may e n t e r i n t o r i me word t h a t

So nume r ous a r e

the p o e t ' s choice of a

t o assume a n y s p e c i f i c

r e l a t i o n s h i p between

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113

t h a t c h o i c e and t h e w o r d - o r d e r o f t h e v e r s e s wholly questionable.

or m e r e l y d e c o r a t i v e ;

or i t

The p o e t ' s c h o i c e

s o l e l y by h i s e a r and h i s

in a d a p t i n g form t o c o n t e n t . d efinitive

meaningful

i t may s u r p r i s e o r amuse,

may be u n o b t r u s i v e l y n e u t r a l . * in s h o r t ,

influenced

o f sound and

t h e ri me may be f o r c e d or f o r t u i t o u s ,

limited,

perhaps

The c h o i c e w i l l h a v e been

by c o n t e x t and by t e c h n i c a l c o n s i d e r a t i o n s meter;

is

A detailed

is

ingenuity

and, h e n c e ,

a n a l y s i s o f the r e l a t i o n s h i p between word-order

and ri me woul d be d e p e n d e n t upon a d e t e r m i n a t i o n o f t h e c h a r a c t e r i s t i c s of Chaucer's enumerated,

r i me s

i n t e r ms o f

the f a c t o r s

a d e t e r m i n a t i o n wh i c h w o u l d be p o s s i b l e o n l y

as a r e s u l t o f a m i n u t e s t u d e n t o f evaluation of their

the ri m e s,

f u n c t i o n and e f f e c t ,

i ng b a s e d upon s i m i l a r i t i e s i n t erms o f r e l a t i v e

and a c a t e g o r i z ­

and d i f f e r e n c e s ,

frequencies.

a critical

and t e n d e n c i e s

Then i t m i g h t b e p o s s i b l e

t o a s s e r t w i t h some a u t h o r i t y t h a t a t e n d e n c y t o wa r d a particular

t y p e o f ri me

c o n s i s t e n t manner,

influenced,

i n a more o r

less

t he s y n t a x o f t h e v e r s e .

Understandably,

no s uc h c o m p l e x s t u d y was u n d e r t a k e n

in c o n n e c t i o n w i t h the m a t e r i a l p r e s e n t e d

in t h i s c h a p t e r .

1. A f e w o f t h e c h a r a c t e r i s t i c s o f C h a u c e r ' s r i m e s com­ p a r e d w i t h t h o s e o f Pope a r e c o n s i d e r e d b y W. K. W i m s a t t , J r . , i n "One R e l a t i o n o f Rhyme to R e a s o n , " i n MDQ, V, n o . 3 ( S e p t . 1 % 4 ) , 323- 338. -

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119

The r i m e s c o n s i d e r e d h e r e a r e g r o u p e d on t h e b a s i s g r a m m a t i c a l f u n c t i o n and an a t t e m p t whether or n o t

it

is p o ss ib le

i s made t o d e t e r m i n e

in s p e c i f i c c a s e s

cern a demonstrable r e l a t i o n s h i p between the and t h e w o r d - o r d e r o f t h e v e r s e . the

O

of

ri me word

Ab o u t v e r s e s

g r a m m a t i c a l c o n s t r u c t i o n o f t h e rime

is

to d i s ­

in which

logical ly

i n e v i t a b l e on t h e b a s i s o f n ormal g r a m m a t i c a l s e q u e n c e , no c o n c l u s i o n s h a v e b e e n a t t e m p t e d , confined

l a r g e l y to t h o s e

f rom normal g r a m m a t i c a l

atten tion being

r i me s w h i c h emb o d y d e p a r t u r e s

sequence.

Among t h e w o r d - o r d e r p a t t e r n s w h i c h one m i g h t a l l y as sume t o be s i g n i f i c a n t l y o f rime a r e

related

t he p o s t - p o s i t i o n a t t r i b u t e

logic­

t o t h e demands patterns,

S- A

and A - S - A , w h i c h f r e q u e n t l y o c c u r

i n ri me p o s i t i o n .

attribute

rimes m e r e l y to n e c e s ­

sity

is,

problem,

the occurrence of th e se of course, for

an a d j e c t i v e ,

there

an o v e r - s i m p l i f i c a t i o n i s a c t u a l l y no wa y t o

by n a t u r e ,

To

of a s t y l i s t i c

determine th a t

p r o v i d e s a r e a d e r ri me t h a n a

2. At t h e end o f t h i s c h a p t e r t h e r e i s a s t a t i s t i c a l summary o f t h e r e l a t i v e f r e q u e n c i e s o f t h e o c c u r r e n c e s o f s p e c i f i c p a r t s o f speech in a s e l e c t i o n o f v e r s e s f rom C h a u c e r ’ s p o e t r y . I t i s on t h e b a s i s o f t h e exam­ i n a t i o n thus recorded t h a t examples w ere s e l e c t e d f o r d i s c u s s i o n in t h i s c h a p t e r . T. W. H e r b e r t , i n an a r t i c l e , "The Grammar o f Ri mes" i n S e wa n e e R e v i e w , XLVI11 (19^4-0), 3 2 6 - 7 7 h a s a p p l i e d t h i s method o f g r a m m a t i c a l a n a l y s i s i n an a t t e m p t t o e v a l u a t e t h e t e c h n i q u e o f a gr o u p o f p o e t s r a n g i n g f r o m Gower t h o u g h B r o w n i n g . Numerous other factors are, of course, involved.

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120

substantive. of

its

Further,

p o s i t i o n a t the

m i g h t be

less

consideration

effective is

the a d j e c t i v e

in rime,

end o f t h e v e r s e ,

by v i r t u e

i s e m p h a t i c and

in any o t h e r p o s i t i o n .

A further

t h a t t h e r e are c e r t a i n a d j e c t i v e c l i c h e s ,

or n e a r l y i n v a r i a b l e c o m b i n a t i o n s o f S-A, w h ic h appear in t h a t order whether or n o t al l y,

and o b v i o u s l y ,

i n rime p o s i t i o n . ^

And f i n ­

as w i t h a l l w o r d - o r d e r p a t t e r n s ,

3. C e rta in su b s ta n tiv e plus e p it h e t combinations are s o n e a r l y i n v a r i a b l e i n t h e p o e t r y and p r o s e t h a t t h e i r o c c u r r e n c e in rime r e f l e c t s n o t any r i m i n g e x i g e n c y but merely c o n v e n tio n a lity . For e x a m p l e , o f n i n e t y i n s t a n c e s of th e noun lady m o d i f i e d by a s i n g l e a d j e c ­ t i v e , i n o n l y t h i r t e e n does t h e a d j e c t i v e p r e c e d e t h e n o u n , a s i n Mi 1. 3 3 6 1 , d e e r e l a d y ; WB. 1 037, 1i g e l a d y ; F k l . 1325, s o v e r e y n l a d y ; F k l . 1 3 H , Mars 2 1 3 , A n e l T 5 3 , 2 5 2 , PF. 4 l 6 , TC. 2 . 1 0 5 ^ ; LOW. 103^7 *620, 2029; RR. Ilf7 4 . E x c e p t i n s i x i n s t a n c e s , t h e l a d y i s d e r e T 28 e x . ) , f r e e ( 1I4 e x . ) , b r i g h t (9 e x . ) , o r s w e t e (7 ex.').. I n a d d i t i o n , t h e s e same e p i t h e t s a p p e a r i n p o s t - p o s i t i o n in A -S-A c o m b in a tio n s : b 1i s f u 1 l a d y d e r e , KnT. 2260; s o v e r e y n l a d y d e e r , F k l . 1072, 1310; r i g h t e l a d y d e r e , TC~. 3 . 1633, TC7 F 7 5 6 7 , 6 5 3 ; s w e t e l a d l d e r e , 3D. 108; A l d e r l e v e s t l a d y d e r e , TC. 51.576; l u f s o m l a d y d e r e , TC. 5 . 9 1 1 ; b l i s f u l l a d y f r e e , P r T . 1722; r i g h t e l a d y s w e t e , Comp L. 6 8 ; b l i s f u 1 l a d y s w e t e , P F . 113; l u f som l a d y b r i g h t , TC. 5*4-65. E x c e p t f o r nine i n s t a n c e s o f l a d y b r i g h t w i t h i n the v e r s e , t h e s e e p i t h e t s always o c c u p y a r i me p o s i t i o n . They a r e n o t p e c u l i a r l y C h a u c e r i a n , i n t h a t e x a m p l e s c a n be c i t e d f r o m c o n t e m­ p o r a r y E n g l i s h and F r e n c h r o m a n c e s . (See A p p e n d i x B . ) S p e c i f i c examples o f t h e s e rimes a r e the f o l l o w i n g : P r T . 1846. mooder s w e e t e ; TC. 5 * 1 9 ^ , d o u g h t e r s w e e t e ; B D . 117, 4 ^ 3 , 1 2 2 5 , _ l a d y s w e t e ; B D . 7 7 4 , 9 ^ 7 , l a d y d e r e ; 1 0 5 5 , l a d y f r e e ; T C . ~ ~ 5 7 l 4 4 7 ~ 1 3 90 , 140 5, l a d y f r e e ; 160, 0 3 6 , 13407 l a d y d e e r e ; 9 2 2 , l a d y b r y g h t ; TC. 5 • 4 A4 , b r o t h e r d e e r e ; 3 0 7 , 3 4 2 , l e v e b r o t h e r d e e r e ; RT. 4 * 3 * , h o o s t e d e e r e ; P r T . 1 8 0 8, mooder d e e r e ; KnT. 1520, s u s t e r deere.

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121

there

is the m e tric a l f a c t o r ,

the c o in c id e n c e of s t r e s s

and l o g i c a l s y l l a b i c a c c e n t . S i g n i f i c a n t i n an a n a l y s i s o f t h i s r e l a t i o n s h i p are those verses is p o s s i b l e ' to s u b s t i t u t e r i me p o s i t i o n

(e.

g . , KnT.

and t h e s i k e s c o l d e , " c f . the m e t r i c a l

in w h ic h , m e t r i c a l l y ,

t h e A-S o r d e r f o r 192C:

"colde s i k e s " ) ,

remains to c o n s i d e r a l l o t h e r f a c t o r s

the v e r s e s beginning

it

t h e S-A i n

"The b r o k e n s l e p e s ,

f a c t o r as a d e t e r m i n i n g

w h i c h may be d i s c e r n e d

rime-word-order

thus e l i m i n a t i n g

influence.

I t then

i n a d d i t i o n t o r i me

in t h e v e r s e as w r i t t e n , a s

in

i n TC. ^>,$br0x

Than s e i d e he t h u s , "OJ p a l e y s d e s o l a t , 0 h o u s o f h o u s e s w'ni 1om b e s t i h i g h t , O pa l e y s e mp t y and d i s c o n s o l a t , 0 thow l a n t e r n e o f w h i c h q u e y n t i s t h e 1 i g h t , O p a l e y s , whilorn d a y , t h a t now a r t n y g h t , Wei o u g h e s t o w t o T a T l e , a n d I t o d y e , Syn s he i s we n t t h a t w o n t was us t o gye] 0 pa l e i s , wh i l o m c r o w n e o f h o u s e s a l l e , Enl umyned w i t h s o n n e o f a l l e b l i s s e j 0 r y n g , f r o m which th e ru b y is o u t f a l l e , O c a u s e o f wo, t h a t c a u s e h a s t b e n o f l i s s e j Y e t , s yn 1 may no b e t , f a y n w o l d e I k i s s e Thy c o l d e d o r e s , d o r s t e 1 f o r t h i s r o u t e ; And f a r w e l s h r y n e , o f w h i c h t h e s e y n t i s o u t e j The e m p h a s i s t h r o u g h o u t t h e s e two s t a n z a s

i s upon t h e

a t t r i b u t e s of C rise y d e 's house, c o n tr a s t in g d e s o l a t i o n w ith the joy i t Troilus.

its present

formerly represented for

The a t t r i b u t e s a r e a c c e n t u a t e d b y t h e p a r a l l e l

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122

post-substantive constructions. patterns nical

To a s c r i b e

t o r i me i s t o g i v e u n d u e i m p o r t a n c e t o a t e c h ­

f e a t u r e a t t h e expense of s t y l i s t i c

greater

the a d j e c t i v e

f a c t o r s of

importance.

Sim ilarly, influencing

i n KnT.

19l 8*- 20,

ri me i s b u t one f a c t o r

t he a d j e c t i v e p a t t e r n :

F i r s t i n t h e t e m p l e o f Ve n u s maystow se Wroght on t h e w a l , f u l p i t o u s t o b i h o l d e , The b r o k e n s l e p e s , a nd t h e s i k e s c o l d e , It

is

im possible to determ ine whether the i n f i n i t i v e

r i me d i c t a t e d

the p o s i t i o n of the a t t r i b u t e ,

the emphatic a t t r i b u t e

determined the

c o l d e / —h o l d e r i m e s a r e common ( a s 2 9 5 7 ; TC. 5 . 1 3 4 2 ,

174.7 , e t c . j A

infinitive;

i n KnT.

Howeve r ,

the verse

t h e u s e o f t h e A - S and S - A p a t t e r n s

verse,

thus c o r r o b o r a t i n g ,

example of t h i s

by c o n t r a s t ,

0 s t r o n g e god,

illus­

i n t h e same

the emphasis

KnT. 2373 p r o v i d e s an

emphatic c o n s t r u c t i o n

significant s ty lis tic

the

1364, 2 3 7 3 ,

trates

upon t h e r i m i n g a t t r i b u t e .

or whether

in r e l a t i o n

to

factors: that

in the regnes c o ld e

4. Any c a r e f u l r e a d e r o f C h a u c e r ’ s p o e t r y i s s o o n aware t h a t c e r t a i n r i m i n g c o m b i n a t i o n s o c c u r a g a i n and a g a i n - - c o m b i n a t i o n s in which the r im in g e le m ents a re rimed w i t h one a n o t h e r more f r e q u e n t l y t h a n e i t h e r i s r i m e d w i t h a n y o t h e r w o r d . O n l y a few o f t h e s e c a n be c i t e d here; grace/p la c e , T roye/ioye, h e rte /s m e rte , w y f /ly f , M a y / d a y , d e e d / h e e d , m o r w e / s o r w e , wende7~ende, we l / de 1, newe/hewe, r e e d / h e e d .

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123

In t h i s v e r s e ,

the a t t r i b u t e c o l d e ,

e m p h a t i c owi ng t o

its

it

i n t e r ms o f t e m p e r a t u r e — t h e c o l d r e g i o n s

is

interpreted

position,

inhabited by the d e i t y - - o r fatal ening

9).

It

s e n s i b l y so whether

i n t h e s e n s e o f m a l i g n a n t or

(Robinson, G lo s s a r y ) , ( NED I I ,

is

in a d d i t i o n to being

gloomy,

dispiriting,

i s e s p e c i a l l y rich

when u s e d i n an a s t r o l o g i c a l a s s o c i a t i o n , 1920:

"The b r o k e n s l e p e s ,

to V e n u s ' s

influence;

t he m a l a d y e s c o l d e , "

referring

of the a t t r i b u t e

(NED I I ,

in rime,

be m u t u a l l y o p e r a t i v e ,

as

i n KnT.

6).

referring

"And myne be

to S a tur n,

b e i n g a s s o c i a t e d w i t h m o i s t and c o l d , humors r e s p e c t i v e l y

in su g g e stio n

and t h e s i k e s c o l d e , "

and i n KnT. 2lft>7 s

dead­

the d e i t i e s

and d r y and c o l d

Th u s ,

in a l l

e x a mp l e s

a c o m b i n a t i o n o f f a c t o r s may

b u t a l w a y s t h e a t t r i b u t e w i l l be

e m p h a t i c when c o n t r a s t e d w i t h t h e A- S c o n s t r u c t i o n t he same v e r s e , BD. KnT.

TC.

952

as

i n a n y o f t he f o l l o w i n g :

Ryght f a i r e

s h u l d r e s and b o d y l ong

1551

By v e r r a y

2134

W i t h kempe h e e r i s on h i s b r o we s s t o u t e ;

229 7

0 c h a s t e g o d d e s s e o f t h e wo d e s g r e n e ,

2i+b8

The d e r k e

5.1^54 1629

in

ligne,

as of

tresons,

the s t o k r o i a l ,

and t he c a s t e s

Of t h e s t r o n g e b o o r w i t h t u s k e s Ek g r e t e e f f e c t men w r i t e

olde;

stoute;

in p lace

lite.

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

TC.

5* 1 7 5 9 W i t h b l o d y s t r o k e s a n d w i t h w o r d e s g r e t e , A l s o e m p h a t i c a r e t h e S-A-A c o n s t r u c t i o n s

the double a t t r i b u t e

determines

the emphasis,

i n wh i c h as t h e f o l ­

l o wi n g e x a m p l e s show: KnT.

1297" 1300

M etrically, if

T herw ith the f y r o f Withinne h is b r e s t ,

j a l o u s i e up s t e r t e and h e n t e hi m by t h e [herte So w o o d l y t h a t he l i k e was t o b i h o l d e The b o x t r e e o r t h e a s s h e n d e d e a n d c o l d e .

"dede and c o l e a s s h e n " i s

i t were as e f f e c t i v e .

As w r i t t e n ,

impossible,

in a d d i t i o n to

accommodating th e f r e q u e n t c o l d e / b i h o l d e rim e , emphasizes the a t t r i b u t e s , qualities,

even

the v erse

d e d e and co l d e , upon w h i c h

r a t h e r t h a n upon P a l a m o u n ’ s " a s h i n e s s , " t h e

sim ile depends.

Examples in which p r e - p o s i t i o n

m etric ally possible

illustrate

is

the s u p e r i o r i t y of the

pos t - c o n s t r u c t i on: KnT.

2154

Armed f u l w e l , w i t h

hertes

s t i e r n e and s t o u t e

c f .: Armed f u l w e l , w i t h s t i e r n e 2161

Couc hed w i t h p e r l e s

and s t o u t e h e r t e s

w h i t e a n d r o u n d e and [grete

c f .: C ouc he d w i t h r o u n d e and w h i t e and g r e t e p e r l e

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

125 An d K n T .

H o we v e r ,

1994*

2002,

2876,

i n numberous i n s t a n c e s

be t h e d o mi n a n t f a c t o r

2901.

ri me d o e s a p p e a r t o

in d e t e r m in in g the a d j e c t i v e con-

s t r u c t i on:

(a)

TC. 5 . H 7 7 - 7 9 : The wa r d e n o f t h e y a t e s gan t o c a l l e The f o l k w h i c h t h a t w i t h o u t e t he y a t e s w e r e ,

(b)

And

b a d hem d r y v e n

in h i r e

Cf.

a l s o TC. 5. 1^- 70 ,

bestes

a 1l e ,

ox i n s t a l l e / v y n e s a l l e

RT. 4 l 1 1 - 1 2 : O u r e c o r n i s s t o l n , me n w i l l u s f o o l e s c a l l e , 3 a t h e t h e w a r d e y n and o u r e f e lawes a l l e ,

(c)

PrT.

1797-1801:

0 g r e t e God, t h a t p a r f o u r n e s t t h y l a u d e 3 y mouth o f i n n o c e n t z , l o , h e r e t h y myghtj T h i s gemme o f c h a s t i t e , t h i s e me r a u d e , An d e e k o f m a r t i r d o m t h e r u b y b r i g h t Ther he w i t h t h r o t e y korven la y u p r i g h t ,

Since

there

i s no j u s t i f i c a t i o n

e m p h a s i z i n g t he a t t r i b u t e b r i g h t , as distinguishes

one r u b y f rom a l l

t h a t ri me d e t e r m i n e s

for p a r t ic u l a r l y it

others,

the a d j e c t i v e

i s n o t one w h i c h the assumption is

order.

This

i s sub­

s t a n t i a t e d b y the w o r d - o r d e r o f t h e r e s t o f t h e v e r s e , which the ad v erb ia l m o d ifie r precedes the a p p o s it i v e order

t o b r i n g ri me

it precedes (d)

into p o s it io n .

t he v e r b . ) RT.

Note a l s o

(As a l s o

in

i n 1801, where

t he p r o l i x i t y o f

1798*

4297-98:

An d s a u g h

a

litel

For a t an h o l e

shymeryng

of

in

a

light,

i n s h o o n t he moone b r i g h t ;

i R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

126

Mo o n e b r i g h t

is

here

p r o b a b l y a rime

t h o u g h b r i g h t ma y be a n a d v e r b . inversion

follow ing

mo o n e and

its

Also BD.

riming

purely

the

Note h ere

adverbial

attribute

a matter

of

phrase,

into

rime

for

light,

the v e r b a l thus b r in g in g

position.

is

the co n stru ctio n

in

821: That as the som eres sonne b r y g h t Ys f a i r e r , c l e r e , and h a t h m o r e l y g h t

(Cf.

KnT.

2^38-39: As f a y n a s f o w e l i s o f t h e And r i g h t a n o n s w i c h s t r y f

and a l s o that i?

BD. 9 ^ 3 ? Kn T.

the e m p h a s i s upon

ju stified .

m etrically

1388

(though

brighte ther is

perhaps

the b rig h tn ess

it

may b e

I n KnT . 2L\.2S, i n w h i c h r e g u l a r o r d e r

im possible,

1..

felt

of Mercury’s hair is

b r i g h t may be a n a d v e r b :

Th e f y r e s b r e n d e n u p o n t h e a u t e r T h a t i t gan a l t h e t e m p l e f o r t o

(e)

sonne bigonne.

brighte 1i g h t e .)

TC. 5 . - 2 1 8 - 2 0 :

Wher i s myn o w n e n e l a d y , l i e f an d d e e r e ? Wher i s h i r e w h i t e b r e s t ? .her Is i t , where? Wher b e n h i r e a r m e s an d h i " e y e n c l e e r e ,

2. 5>b6-6?: And i n t h a t t e m p l e , w i t h h i r e e y e n c l e e r e , Me k a u g h t e f i r s t my r i g h t e l a d y d e r e .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

127

3. 813-lS* And, s a v e h i r e browes j o y n e d e n y f e r e , Ther n a s no l a k , i n a u g h t 1 kan e s p i e n . But f o r to s p ek en o f h i r e eyen c l e e r e ,

ip.

1338- l p l :

Yow f i r s t b i s e c h e I , t h a t y o u r e y e n c l e r e , To l o k e o n t h i s , d e f o u l e d y e n a t h o l d e ; And o v e r a l t h i s , t h a t y e , my l a d y d e e r e , Wo 1 v o u c h e s a u f t h i s l e t t r e t o b y h o l d e .

Eyen c le e r e

is

determined

eyen

being u n d e sira b le.

(3 ),

the

lief

and d e e r e .

that

th e rime was d e l i b e r a t e l y

attribute

in p a r t b y m e t e r ,

Further,

rimes w ith

in

each case

thecliche,

I n 2 a n d Ij., s y n t a x

of

grounds,

follow

determ ining

the

attribute,

verses

accommodated.

rime

is

but

one

lady d e r e ,

the

995- 9 9 , i n w h i c h t h e s u b s t a n t i v e c o u l d ,

cleere

or

suggests

I n TC.

5.

on m e t r i c a l u n dou b ted ly the

factor:

T o - m o r w e e k wo 1 I s p e k e n w i t h y o w f a y n , So t h a t y e t o u c h e n n a u g h t o f t h i s m a t e r e . And w h a n yow l i s t , y e may c o m e h e r e a y a y n ; And e r y e g o n , t h u s mu c h e I s e y how h e r e : As h e l p e me P a l l a s w i t h h i r e h e r e s c l e r e , Th e n a t u r e o f

the

m erely a f i l l e r

statem ent to p r o v id e

Th e f r e q u e n c y o f in C h a u c e r 's S-A be

rime.

is

a "bM rim e.

poetry corroborates

to

t h a t the v e r s e

the h e r t e /s m e r t e

(sm erte) constructions attributed

suggests

the

in f i n a l

rime c o m b i n a t i o n

assum ption position

In c o m b i n a t i o n w i t h

are

that all

sorwes,

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

the to peynes,

128

teeris,

the

and

rime

Kn T.

the

2765“ 2786

TC. 5 . 10ii-91050 B D .5 9 3 - 9 i f

attribute is

always

alm ost

occupies

the

rime p o s i t i o n ,

in variab ly herte

N a u g h t may t h e w o f u l s p i r i t i n myn herte D e c l a r e o p o y n t o f a l l my s o r w e s s m e r t e And f o r t o h e l e n hym o f h i s s o r w e s s m e r t e , Men s a y n - - I n o t — t h a t s h e y a f hym h i r e h e r t e And p i t e e o f my s o r w e s s m e r t e , T h a t man h a t h a f e e n d l y h e r t e ;

An d : TC. 1 . 7 9 2 - 9 4 ; ! £ . 4 - 2 4 6 - 4 8 , 4 2 6 - 2 7 , i i 4 o - 4 i , * 4 4 8 - 4 9 , li+ 9 9 - 1 ^ 0 1 ; TC. 5 . 1 9 8 - 2 0 1 , 7 2 2 - 2 4 , 1 3 2 4 - 2 6 , 1 4 2 0 - 2 1 ; F k l . 8 5 5 - 5 6 , 9 7 3 - 7 4 , 1 2 5 9 - 6 0 ; KnT. 2 2 2 5 - 2 6 , 2 3 9 1 - 9 2 ; GP. 4 9 ^ 5 0 . Solely substantive

TC. 5 - * 3 4 “

TC.

the

basis

attributes

to

of

rime are

the

follow ing

post­

be e x p l a i n e d :

And t h a t y e me w o l d e a s y o u r e b r o t h e r t r e t e ; And t a k e t h n a u g h t my f r e n d s h i p e i n d e s p i t ; And t h o u g h y o u r e s o r w e s b e f o r t h y n g e s g r e t e ,

136

verb

on

Note

also

into

end p o s i t i o n .

5.*2381239

the

syntax of

134,

which b r in g s

the

riming

And :

He m e t t e h e s a u g h a b o r w i t h t u s H e s g r e t e , That s l e y p t e ayeyn the brygh te sonnes n e t e .

5. Th e s m e r t e / h e r t e r i m e i s p r a c t i c a l l y i n v a r i a b l e i n other co n stru ctio n s also: CJA 6 2 9 - 3 0 : " F o r t o myne e r e s comth t h e v o y s so s m e r t e / T hat i t w e l ay d e s t r o y e d h a t h myn h e r t e . " GP. 2 2 9 “ 3 0 : " F o r m a n y a man s o h a r d i s o f h i s h e r t e , / He ma y n a t w e p e , a l t h o u g h hym s o r e s m e r t e . " TC. 4 . * 6 l 8 - 2 0 : " F o r i f y e w i s t e how s o o r e i t d o t h me s m e r t e , / Ye w o l d e c e s s e o f t h i s ; f o r G o d , t h o w w o s t / The p u r e s p i r i t w e p e t h i n myn h e r t e . "

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

129

TC.

5* 1 7 5 8 “

1762

Though emphatic, suggest

the

attribute

nevertheless,

that

1J4.50

And o f t e t y m e , I f y n d e t h a t t h e y m e t t e W i t h b i o r i y s t r o k e s and w i t h w o r d e s g r e t e , A s s a y i n g how h i r e s p e r e s w e r e n w h e t t e ; A n d , God i t w o o t , w i t h ma n y a c r u e l h e t e Gan T r o i l u s u p o n h i s h e l m t o b e t e j 6

rime

is

the

i n TC.

the

5 • lifSU- may

companion

determ ining

rimes

ju stifiab ly and

the

syntax

factor:

For w h i c h he f o r S i b i l l e h i s s u s t e r s e n t e , T h at c a l l e d was C a s s a n d r e ek a l a b o u t e , And a l h i s d r e m e h e t o l d e h i r e e r h e [stente

6. Th e r i m e s i n t h i s s t a n z a i l l u s t r a t e a t e n d e n c y a p p a r e n t i n a s i g n i f i c a n t l y l a r g e number o f r i m e r o y a l s t a n z a s i n C h a u c e r , th e t e n d e n c y t o b u i l d t h e r i m e s o f a s t a n z a upon v a r i a t i o n s o f t h e s a me b a s i c s o u n d , u s u a l l y a v o w e l . Ordin­ a r i l y , in a rime r o y a l s t a n z a , o n l y th e f i r s t f i v e l i n e s w i t h r i m e t h u s , a new r i m e b e i n g i n t r o d u c e d i n t h e c o u p l e t , b u t t h e r e a r e e x a m p l e s i n w h i c h t h e same v o w e l s e r i e s i n a l l seven rimes: TC. 5 * 2 6 7 - 7 3 ! pyne/lyve/d evyne/deffyne/ swynke/thynke. F o r f u r t h e r e x a m p l e s ( TC. 5 o n l y ) s e e : 15“ 1 9 > D i o m e d e / l e d e / b l e d e / r e d e / r e d e ; 2 2 - 2 6 , l o o r e / f o r l o r e / m o r e / m o r e / h e r b i f o r e , and 9 9 “ 103"* 1 6 2 - 6 6 , 2 1 8 - 2 2 , 2 6 7 - 7 3 * 3 ^ 5 ^ 7 ^ 4 8 , 5 2 , 8 6 9 - 7 3 , 9 0 9 . - 0 9 , 9 1 8 - 2 2 , 9 3 9 - 4 3 ; and many more. Th e s i m i l a r i t y i s n o t a l w a y s v o c a l i c ; i n s ome c a s e s c o n s o n a n t a l i d e n t i t i e s and s i m i l a r i t i e s o c c u r : TC. 5 * 9 9 “ 103, y n o u g h / n o u g h t / t o u g h / t h o u g h t / y b r o u g h t ; 1 0 1 6 - 2 0 , t a u g h t e / a 1 i g h t e / o v e r r a u g h t e / m y g h t e / b r y g h t e ; and a l s o P r T . 1 7 7 6 - 8 0 , nyght/ r i o g h t / ly g h t /t h 'o g h t /s o g h t . T his tendency to r e l a t e s u c c e s s i v e rim es o cc u r s to a l e s s e r degree a l s o in the c o u o l e t r i m e s ; e . g . , GP. 5 5 5 “ 6 2 , h e r y s / e r y s ; f o r n e y s / go 1 i a r d e y s ; h a r l o t r i e s T t h r i e s ; KnTl 8 o 5 - 7 2 , c h i v a l r i e / F e m e n y e , ( S c i t h i a / Y p o 1 i t a ) , c o n t r e e / s o l e m p n y t e e ; Erne l y e / m e l o d y e ; 3D7 1 - 4 * l y a h t / n i g h t ; n o g h t / t h o g h t . Examples o f such r i m e - g r o u p s are t o o num erous t o be m e r e l y c o i n c i ­ d e n t a l , a n d f u r t h e r i n v e s t i g a t i o n m i g h t s how t h e m t o b e s i g n i f i c a n t i n an a n a l y s i s o f C h a u c e r ' s ri me t e c h n i q u e s .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

130 And h i r e b i s o u g h t e a s s o i l e n hym t h e d o u t e Of t h e s t r o n g e b o o r w i t h t u s k e s s t o u t e in d ic a tin g , perhaps,

t h a t c o m p a n io n r i m e s h a v e b e e n accom­

modated to t h e s i g n i f i c a n t a t t r i b u t e . 2133,

S im ilarly ,

i n KnT.

in w hich th e adverb in rim in g p o s i t i o n a p p e a rs

to

be in accommodation o f browes s t o u t e

in 2134* em phasizing

t h e p h y s i c a l a t t r i b u t e s Of L y g u r g e .

The a t t r i b u t e

d e l i b e r a t e l y em phatic a ls o

i n TC. $ , 6 0 1 :

u n t o t h e b l o o d T h e b a n ; " and i n BD.

is

"As J u n e w a s

1318* "Which was f r o m

us b u t a l y t e / A lo n g c a s t e l w i t h w a l l e s w h y t e , " e m p h a s i z ­ in g t h e pun up o n t h e name o f B l a n c h e . 7 7 . A d d i t i o n a l e x a m p le s i n w h i c h r i m e may be a d e t e r m i n i n g f a c t o r in the p o s t - s u b s t a n t i v e a t t r i b u t e c o n s t r u c t i o n : G P . 14.7 1—72 t a r g e / l a r g e ; KnT. 2 1 2 1 - 2 2 l a r g e / t a r g e ; KnT. 2 5 6 6 - 6 7 S a r g e / l a r g e ; TC.“ 578ol+-05 l a r g e / A r g e ; KnT. 1193-91+ J i t e / v i s i t e ; TC. 5 . 1626, 2 8 - 2 9 w r i t e / e n d T t e / l l t e ; KnT. 1 33 7 -3 6 l o n g e / s t r o n g e ; KnT. 24-09-10 s t r o n g e / l o n g e ; KnT. 2 7 7 1 -7 2 s t r o n g e / l o n g e ; Tc". 5 . 0 8 8 , 9 0 - 9 1 s t r o n g e / l o n g e / l o n g e ; 8 6 2 - 6 1 + l o n g e / s t r o n g e ; KnT. 2 2 9 2 - 9 3 h o l d e / o l d e ; 24-6 7 -6 8 c o l d e / o l d e ( f o r c o l d e i n 21+6 7 * s e e a b o v e , p . 1 2 3 ) ; TC. 5.61+6, i+8-1+9- o l d e / b v h o l d e / t o l d e ; TC. 5 . 1 2 0 6 , 0 8 - 0 9 t o l d e / o l d e / h o l d e ; TC. 5 . 1 5 1 1 - 12 o l d e / t o l d e ; B D . 1003-01+ a 1 and a 1 / p r i n c 1pa 1; KnT. 11+97-98 c o u r t r o l a ~ I 7 p r i n c i p a l ; KnT. 1 5 5 ^ - 3 2 s t o c k ' r o i a l / t h r a l ; KnT+ 1 5 7 9 - 8 6 t h i k k e / w l k k e ; KnT. 2 6 0 5 -0 6 t h i k k e ' / p r l k k e ; GP. 6 3 1 - 3 2 b y t e / w h i t e ; TC. 5 . 1 1 0 7 - 0 9 h e e t / w e e t ; BD. 3 3 1 “ 32 L a v y n e / f y n e ; KnT. 2 2 8 1 82 f a i r e / d e b o n a i r e ; KnT. I 9I+I-I+2 y o r e a g o n / S a l o m o n ; P r T . 1 71 8 -1 9 d e c l a r e / b a r e ; TC. 5 . 1 8 6 8 - 6 9 d i g n e / b e n i g n e ; KnT. 8 9 9 -9 0 0 b l a k e / m a k e ; KnT. 1877-78 s i t h e / b l i t h e ; KnT . “ 25+5” 1+6 b r yng e / b i t yn g e ; TC. 5 * 9 - 1 1 c l e n e / g " r e n e ; BD. 1211- 12 d e d e / d r e d e ; G P . 129“ 30 d e p e / k e p e ; TC. 5 . 1 9 7 - 9 9 T r o i l u s / d i s p i t o u s ; G P . 1 2 1 - 2 2 E g l e n t y n e / d y v y n e ; KnT. 1375"76 ma1e n c o T T k / f a n t a s t i k ; TC. 5 . 3 0 2 - 0 5 f u n e r a l / p a l e s t r a l ; KnT. 1663-61+ g e n e r a l / o v e r a l ; TC. 5 .1 8 5 7 * 5 9 - 6 0 s t r o d e / g o o d e / r o d e ; KnT". 11+91-92 d a y / g r a y ; G P . 1 07-08 l o w e / b o w e : TC.' . 5 7 5 7 5 “ 7 T ~ h o u s e / m e l o d i o u s ; KnT." 7 0 2 9 - 3 0 m o / W F GP. 4-15' T5 d e e l / n a t u r e e l ; G P . 7 3 5 - 3 6 u n t r e w e / n e w e ; TC. 57303-01+

R e p ro d u c e d with perm ission of the copyright owner. Fu rther reproduction prohibited without permission.

131

In c o n s id e r in g th e a d j e c t i v e c o n s t r u c t i o n s in r e l a t i o n to rim e ,

it

is n e c e s s a r y to

(A-S-A)

recognize th a t,

t h o u g h i n many i n s t a n c e s r i m e p r o b a b l y i s t h e d e t e r m i n i n g factor,

the c o n s t r u c t io n

is

i n h e r e n t l y e m p h a t i c and may

f r e q u e n t l y be a s c r i b e d t o s t y l i s t i c t h e m ix e d a d j e c t i v e c o n s t r u c t i o n s , a m eaningful

co n sid eratio n s.

In

the a t t r i b u t e s re c e iv e

md m e t r i c a l p r o m i n e n c e w h i c h e x c e e d s t h a t

of the s u b s ta n tiv e .

And, o f c o u r s e , m e t e r i s an e v e r ­

present fa c to r. Because the c o n s t r u c t i o n

is thus f r e q u e n t l y s t y l ­

i s t i c a l l y e f f e c t i v e and m e a n i n g f u l ,

the

influence of

ri m e upo n w o r d - o r d e r i s o f t e n t o be d i s c e r n e d tiguous v e r s e s ,

in which th e rime f o r th e d e s i r e d a d j e c ­

tiv e c o n s tr u c tio n is prov id ed . GP. 6 4 7 - 4 8 KnT. 33

in con­

For e x a m p l e :

He was a g e n t i 1 h a r l o t a nd a k y n d e ; A b e t t r e f e l a w e s h o l d e men n o g h t f y n d e .

1328- B u t I moot b e e n i n p r i s o u n t h u r g h S a t u r n e , And e e k t h u r g h J u n o , j a l o u s a n d e e k wood, T h a t h a t h d e s t r o y e d wel n y a l t h e b l o o d Of T h e b e s w i t h h i s w a s t e w a l l e s w y d e ;

7 . ( C o n t i n u e d ) f u n e r a l / p a l e s t r a 1; TC. 5 . 4 4 9 “ 51 T r o i l u s / p l e t o u s ; G P . 3 3 7 - 3 8 d e l i t / p a r f i t ; KnT. lij.8 7 -8 8 p l e y n / a y e y n ; B D . 9 5 5 - 5 6 r e ' d ' e / b r e d e ; KnT. 25*25-26 r i c h e / y l T c h e ; G P . 1^73-74 s h a r p e / c a r p e ; B D . 569*70 m e l o d y e / s l y e ; KnT. 2 4 1 9 - 2 0 s o o r e / n a m o o r e ; G P . 7 5 3 - 5 4 s t e p e / c h e p e ; KnT. 2309' 10 w i l d e 7 c h i l d e ; KnT. 20T3“ l 4 y c o r v e / y s t o r v e .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

132

And V e n u s s l e e t h me o n t h a t o o t h e r s y d e F o r j a l o u s i e a n d f e r e o f hym A r c i t e Kn T . 1 7 5 5 “ 1756

And s a u g h h i r b l o d y w o u n d e s w y d e and s o o r e , And a l l e c r i e d e n , b o t h e l a s s e a n d m o o r e ,

KnT. I 879 1330

They ta k e n h i r To T h e b e s ,

Kn T. 2 5 9 7 “

leve,

-with h i s

a n d homward g o n n e [ride o l d e wa l i e s w y d e .

they

Tho w e r e t h e g a t e s s h e t , an d c r i e d wa s l o u d e : ”D ° now y o u r e d e v o i r , y o n g e k n y g h t e s p r o u d e 1 "

2598 Kn T. 2 8 5 7 ” 2360

And a t t h e l a s t e h e t o o k c o n c l u s i o u n T h a t t h e r as f i r s t A r c i t e and P a l a m o u n H a d d e n f o r l o v e t h e b a t a i l l e hem b i t w e n e , T h a t i n t h a t s e l v e g r o v e , s w o o t e a nd g r e n e ,

TC. 5 . 7 9 9 8 01

T h is Diomede, as bokes u s d e c l a r e , Was i n h i s n e d e s p r e s t and c o r a g e o u s , W i t h s t e r n a v o i s and m y g h t y lymes s q u a r e ,

However, adjective of

style

case

of

it

can n ot be m a in ta in e d

constructions or

the

adjective

emphasis. simple

appears

that

the

mixed

i n v a r i a b l y embody c o n s i d e r a t i o n s I n ma n y i n s t a n c e s ,

post-substantive m erely

to

provide

as

in

the

constructions, the

rime,

as

the

in

the

f o 1low ing:

BD.

59"60

And ma n y o t h e r t h i n g e s s m a l e . Among a l t h i s I f o n d a t a l e CF.

BD.

2 i | 0 —5 0

BD.

1033-34

(in which

the

obviously contrived

prolixity

an d

the

fillers

in

relation

istic

factors

rimes,

preclude

the

any s t y l ­

to rim e):

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

133 R ather than t h a t y sh ulde deye Thorgh d e f a u t e o f s l e p y n g e t h u s , I w o ld e y i v e t h i l k e Morpheus, Or h y s g o d d e s s e , dame J u n o , Or som w i g h t e l l e s , I n e r o g h t e w h o , To make me s l e p e an d h a v e s om r e s t e - I w i l y i v e hym t h e a l a e r b e s t e Y i f t e t h a t e v e r he abod h y s l y v e . And h e r e on w a r d e , r y g h t n o w , a s b l y v e , Y i f h e w o l ma k e me s l e p e a l y t e , O f down o f o u r e d o w v e s w h i t e I w i 1 y i v e hym a f e t h e r - b e d , 3D.

653-54

With h ir f a l s e d rau gh tes dyvers S h e s t a a l o n me a n d t o k my f e r s .

KnT.

971“2

And s e n t e a n o n Y p o l i t a t h e q u e e n e , And Erne l y e , h i r y o n g e s u s t e r s h e e n ,

KnT.

2289"

H i r b r i g h t e h e e r was kembd, u n t r e s s e d a l ; A c o u r o n e o f a g r e n e 00 k c e r i a l Upon h i r h e e d w a s s e t f u l f a i r e and m e e t e ,

2291 TC. 5 * ^ 3 5 2 1354

It

has been

in Chapter often

B u t f o r a s mu c h e a s me m o o t n e d e s l i k e A l t h a t . yow l i s t , I d a r n a t p l e y n e m o p r e , But h u m b le ly , w i t h sorw fu 1 s i k e s s ik e

Two t h a t

occupied

either

stated

after

the

the

the

second

in e n d - p o s i t i o n ,

that

the

occurrence

verb

of

effected

and the

in a c l a u s e

grammatical or,

it

rare

ma y b e

verb

b y means

is of

most

position,

in c a s e s

R elatively

verb

8.

fin ite

subject,

im mediately a f t e r .

d eliberately

i n C h a p t e r One a n d d e m o n s t r a t e d

are

of

standing

inversion,

instances

suspected,

And a l s o B D . 8 1 3 ; GP. 9 0 , 4 5 6 ; KnT. 1 9 7 7 , 2 2 2 5 ; TC. 5 . 6 7 5 , 76k , 8 9 8 , 11B97

976,

the

therefore,

rime p o s i t i o n grammatical

of

has

been

transposi1580,

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

1653,

tions for

and

interpolations.^

i n ma n y i n s t a n c e s

normal its

position

position

in

in

This

is

t he- v e r b a l

not n e c e ssa r ily

rime o c c u p i e s

a subordinate

clause,

r i m e may b e p u r e l y

true,

a w holly

in w h ic h

incidental,

as

case in t h e s e

passages:

KnT.

T h u s a r t o w o f my c o n s e i l , o u t o f d o u t e , And now t n o w w o l d e s t f a l s l y b e e n a b o u t e To l o v e my l a d y , whom _1 l o v e and s e r v e , And e v e r e s h a l l t i l t h a t myn h e r t e s t e r v e ,

Kn T. 1 ^ 5 3 1354

Now d e m e t h a s yow l i s t e , F ° r I W° 1 t e l l e f o r t h a s

RT. lj.051-2

The m o o r e q u e y n t e c r e k e s t h a t t h e y m a k e , The m o o r e wo 1 I s t e l e wha n I t a k e .

In c a s e s

in which

the v e r b a l

by grammatical

transposition,

position

greater

self,

is

for,

of as

transoositions of

the

rime

has

been

are

accommodation,

as

in

to

rimes is

have

likely

been e f f e c t e d

that

significance

than

shown

preceding

emphatic

appears

it

ye t h a t kan, I bigan.

in

the

the

and c o n s e q u e n t l y

be a f a c t o r

the

is

follow ing

incidental

the rime

trans­ it­

chapter,

the

the nature to

their

ty p ic a l exam ples: • Ml

9.

Though Franz B e s c h o r n e r , in V e r b a l e Reime b e i C h a u c e r ( G i J t t i n g e n d i s s . , 19 2 0 ) c l a i m e d t h a t a t e n d e n c y t o w a r d v e r b a l r i m e w a s " a u s s e r o r d e n t 1 i c h s t a r k " ( p . 1 ) , my a n a ­ l y s i s , r e c o r d e d i n t h e s ummar y p r e v i o u s l y r e f e r r e d t o , does not corroborate h is c o n c lu s io n . I f the freq u en cy of v e r b a l rime i s s i g n i f i c a n t , i t i s o n l y so in r e l a t i o n to o th er types of rime.

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

135

I

1) GP. 15-16 And s p e c i a l l y f r o m e v e r y s h i r e s e n d e Of E n g e l o n d t o C a u n t e r b u r y t h e y w e n d e He r e s u r e l y t h e tent o f Canterbury's

t r a n s p o s it io n emphasizing attraction

is

the

ex­

the s i g n i f i c a n t

factor. 2 ) GP. if96 and i+ 9 8 T h i s n o b l e en s a m p le to h i s s h e e p he y a f , T h a t f i r s t h e w r o g h t e and a f t e r w a r d s h e t a u g h t e . O u t o f t h e g o s p e l he t h o w o r d e s c a u g h t e These v e r s e s predicate

transpositions

parallelism w o rd es) to 3)

illustrate

a com bin ation o f emphatic

(in 496

and 4 9 8 ) ,

i n 4 9 7 > and a g r a m m a t i c a l effect

RT.

the v e r b a l

rime

emphatic

interpolation

( tho

in 496*

3 9 4 3 -4 4

The p e r s o n o f t h e t o u n f a d e r w a s . W i t h h i r e he y a f f u l many a p a n n e o f b r a s , The sizes

transposition

of

the s u b j e c t i v e

s i m u l t a n e o u s l y Symkyn's w i f e ' s

as w e l l 4)

as

the

KnT.

c o m p l e m e n t empha­

questionable

origin

source of her p r e t e n s io n s .

399-900

Ech a f t e r o o t h e r , c l a d i n c l o t h e s b l a k e ; B u t s w i c h a c r y and s w i c h a wo t h e y make The e m p h a s i s u p o n t h e

transposed

objects

is

corroborated

by the p a r a l l e l i s m .

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

5) KnT. 1055-1056 And a s an a u n g e l h e v e n y s s h l y s h e s o o n g . The g r e t e t o u r , t h a t w a s s o t h i k k e and s t r o o n g , In e x a m p l e s mi ne

of

this

to what e x t e n t

mi n e d t h e tenable

the

construction

assumption

is

sort

and e f f e c t w h i c h

is

demands o f of

that

and

poet

a t the

to

deter­

r i me may h a v e d e t e r ­ The o n l y c o n s i s t e n t l y

the p r o c c e s s e s

of composition

that a verse

considerations

the

impossible

the v e r s e .

a r e c o m p l e x and c o o p e r a t i v e , sim ultaneously a ll

it

of

form,

embodies

communication,

t i m e o f c o m p o s i t i o n was

capable o f accommodating. Verses means

in which a v e rb a l

of grammatical

r i me h a s b e e n e f f e c t e d

interpolations within

all

probability r eflec t

to a g reater

of

r i me upon w o r d - o r d e r .

Examples

KnT. 950-52

degree

the v e r s e the

by in

influence

are numerous:

"Have on u s w r e c c h e d wommen som m e r c y , i a ^ oure sorwe synken in thyn h e r t e . " T h i s g e n t i l due do u n f r o m h i s c o u r s e r s t e r t e ,

And

KnT. 9 98" 1000

That T h eseu s, the nob le conqueror, D o o t h t o t h e l a d y e s , whan t h e y f r o m hym w e n t e ; B u t s h o r t l y f o r t o t e l l e i s myn e n t e n t e .

KnT. 10211022

And han hem c a r i e d s o f t e u n t o t h e t e n t e O f T h e s e u s ; and he f u l s o o n e hem s e n t e To A t t h e n e s , t o d w e l l e n i n p r i s o u n .

GP. 279-80

T h i s w o r t h y man f u 1 we 1 h i s w i t T h e r w i s t e no w i g h t t h a t h e w a s

bisette; in d e t t e ,

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

137

The v e r b a l

rimes

c u la r ly conspicuous inherent clause,

in

the

their

accommodation are

in c o m b i n a t i o n s , when

verb

accentuated

and

as by

the its

important p osition

emohasis

s i n g l e word rime, the

further

by t h e

R T . 14-189“ 4l90

"The mi H e r e i s a p e r i l o u s m a n , " h e s e y d e , And y f t h a t he o u t o f h i s s l e e p a b r e y d e ,

RT. 14-193“ 4l94

And u £ h e r i s t , a n d b^ t h e w e n c h e h e c r e p t e . T h i s w e n c h e l a y u p r i g h t , and f a s t e s l e p t e .

RT. 4 2 * 0 4212

" ' U n h a r d l y i s u n s e e l y , " t h u s men s a y t h . " And u p h e r o o s , a nd s o f t e l y h e w e n t e U n t o t h e c r a d e l , a n d _in h i s h a n d i t h e n t e ,

4 2 OI4262

identity of

is

in a

signalized

RT.

grammatical

in

the

parti­

rimes.

And c a u g h t hym b y t h e n e k k e , He s e y d e ,

"Thou J o h n ,

thou

and s o f t e he [spak. s w y n e s - h e e d , awak,

KnT. 1 1 2 3 1124

T h i s P a l a m o n , whan h e t h o w o r d e s h e r d e , D i s p i t o u s l y he lo o k e d and a n s w e r e d e ,

GP.

6 7 7 “ 78

3 y o u n ch es henge h i s lo k k es t h a t he hadde, And t h e r w i t h h e h i s s h u Id re s o v e r s p r a d d e ;

TC.

5*90-1

I n s w i c h a c r a f t , and b y t h e r e y n e h i r e And T r o i l u s t o T r o i e h omwa r d h e w e n t e .

TC. 5 * 1 8 8 “

I89 TC.

5*288292

TC.

5*309“

313

hente;

And t r u s t e n hym s h e w o l d e , a n d w e l s h e m y g h t e , As s e y d e s h e ; a n d f r o m h i r e h o r s s h ’ al i g h t e . For i n h i s h e r t e he c o u d e w e l d e v y n e T hat T r o i l u s a l n y g h t f o r sorwe wook; And t h a t h e w o l d e t e l l e hym o f h i s p y n e , T h i s knew h e w e l y n o u g h , w i t h o u t e b o o k . F o r w h i c h _to c h a u m b r e s t r e g h t t h e w e y h e t o o k , And T r o i l u s t h o s o b r e 1 i c h h e g r e t t e , And on t h e b e d f u l s o n e h e g a n hym s e t t e . T h a t p o u d r e i n w h i c h myn h e r t e y b r e n d s ' n a l T h a t p r e y e I t h e thow t a k e and i t c o n s e r v e

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torne,

138

In a v e s s e l t h a t men c l e p e t h an u r n e , Of g o l d , and t o my l a d y t h a t I s e r v e , For l o v e o f whom t h u s p i t o u s 1 i c h I s t e r v e . TC. 5*4-50" 453

But what a v a i l e t h t h i s to T r o i l u s , That f o r h i s sorwe n oth yn g o f i t roughte? For e v e r e i n o o n h i s h e r t e p i e t o u s Ful b i s y l y C r i s e y d e , h i s l a d y , s o u g h t e . On h i r wa s e v e r e a l t h a t h i s h e r t e t h o u g h t e ,

BD. 2 1 1 212

To l y t e l w h i l e o u r e b l y s s e l a s t e t h j W i t h t h a t h i r e y e n up s h e c a s t e t h

RR. Ipl—JLjif

The m a t e r f a y r e i s o f t o make; God g r a u n t me i n g r e e t h a t s he _i_t t a k e F o r whom t h a t i t b e g o n n e n i s j And t h a t i s s h e t h a t h a t h , y w i s , So m o c h e 1 p r i s ; . . .

In a l l c a s e s infinitive typical

the

rimes

examples

GP. 9 4 ~ 9 6

accommodations w i t h i n are

obvious

enough,

as

the verse

of

the

the fo llo w in g

s ho w:

Wel k o u d e h e s i t t e on h o r s and f a i r e r y d e . He k o u d e s o n g e s make and w e l e n d i t e , J u s t e and e e k d a u n c e , a nd w e e l p u r t r e y e and [wri t e .

GP. Ij-SO—2

He wa s a l s o a l e r n e d man, a c l e r k , T h a t C r i s t e s g o s p e l t r e w e l y wo l d e . p r e c h e ; H i s p a r i s s h e n s d e v o u t l y w o l d e he t e c h e .

TC.

5*7880

And t h e r w i t h a l he m o s t e h i s And c a s t e h i s e y e u p o n h i r e And n e e r he r o o d , h i s c a u s e

TC.

5 . 1 lif117

Fo r t r e w e l i c h e h e s wo r h i r e , a s a k n y g h t , That t h e r nas th yng w i t h w h i c h he myghte h i r [plese, T h a t he n o i d e d o n h i s p e y n e and a l h i s m y g h t To don i t , f o r t o don h i r e h e r t e an e s e ; -And p r e y e d e h i r e , s h e w o l d e h i r e s o r w e a p e s e ,

leve take, pitously, f o r t o make,

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139

0

TC.

B . I 46-

I4.7 TC.

TC.

TC.

5.172-

For t r e w e i y , That h a l f so

k a n no w y g h t yow s e r v e , y o u r w r a t t h e wo ld d i s s e r v e .

1 73

3 y m y g h t e me s o f a i r e a g r a c e f a l l e , T h a t y e me f o r y o u r e s e r v a n t w o l d e c a l l e ,

5 . 2 I4 215

But tho b i g a n h i s h e r t e a l i t e u n s w e l l e T h o r u g h t e r i s , w h i c h t h a t g o n n e n up t o w e l i e ;

5.253-

259

And t h e r w i t h a l h i s b o d y s h o l d e s t e r t e , And w i t h t h e s t e r t a l s o d e y n l i c h e a w a k e , And s w i c h a t r e m o u r f e l e a b o u t e h i s h e r t e , T hat o f the f e r e h i s b od y s h o l d e quake; And

therwithal

And s e me as From h e i g h e RR. 3 8 l“2

3D.

ther loth

583-lf

he

sholde

a noyse

make,

th o u g h h e s h o l d e f a l l e depe o - l o f t e ; and t h a n n e h e w o l d e w e p e ,

The t y me t h a t ma y n o t s o j o u r n e B u t g o t h , and may n e v e r r e t o u r n e No man may my s o r w e g l a d e , T h a t m a k e t h my h e w e t o f a l l e

and

fade

RR. 3 1 5 " 8

1 tr o w e t h a t no w i g h t myght h i r p l e s e N o r do t h a t t h y n g t h a t m y g h t h i r e a s e ; Ne s h e n e w o l d e h i r s o r w e s l a k e , No r c o m f o r t n o o n u n t o h i r t a k e

3D. 1 8 7 - 3 , 193-94

Juno bad t h a t thow s h u l d e s t g o o n — And t o l d e hym w h a t h e s h u l d e d o o n As I h a v e t o l d yow h e r e - t o - f o r e ; Hyt ys no n e d e r e h e r s e h y t m ore — And w e n t h y s w e y , whan h e h a d s a y d , Anoon t h i s god o f s l e p a b r a y d Out o f h i s s l e p , and g a n to g oo n And d y d e a s h e h a d b e d e hym d o o n

The v e r b a l

transpositions

embody a d e l i b e r a t e They p r o v i d e the

rimes

occurring

i n r i me p o s i t i o n

a c c o m m o d a t i o n o f w o r d - o r d e r and r i m e . of

two

types:

a c c e n t -b e a r in g verb p ro v id es

masculine

rimes

t h e r i m e -----

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

in w hich

Kn T. 1 0 5 9 " 1060

and is

the

0^ w h i c h I t o l d e yow and t e l l e n s h a l Was e v e n e j o y n a n t t o t h e g a r d y n v/a 1

fem inine

unaccented.

contrived always

or double Rimes

and t h e i r

to

the

in which

second

type

i n v a r i a b l y humorous

appropriate.

frequent

of

rimes

Examples

justify

are

here

fin al

verb

obviously

effects

in Chaucer

illu stration

the

are

are

not

su fficien tly

w ith a few

typical

e x a mp l e s :

Sum.

2173“

Ye l o o k e n a s t h e w o d e w e r e f u l o f t h e v y s . S i t d o u n a n o n , an d t e l me w h a t y o u r g r i e f

2 1 7 kMch.

1427“

F o r s o n d r y s c o l e s make s o t i l e c l e r k i s ; Womman o f ma n y e s c h o l e s h a l f a c l e r k i s .

14.28 Mc h .

2295"

S o made h e e e k a t e m p l e o f f a l s e g o d d i s . How m y g h t e h e d o a t h y n g t h a t m o o r e f o r b o d e

2298 And: vice

TC.

TC.

1. 6 3 2 , 4 " 5 :

i s ; TC. 2 . 2 0 2 1 :

i s ; TC.

4*894"98:

5.732-33:

o u 1e s ;

1378,

dedis/ded

lyte

here

tolis/scole

newe

is/hew is/

thynges/

qa 1 l e

78-9:

is;

w erkis/derk

59:

is,

Sum.

i s ; BD.

thyng

i s / f o l y s ; 687- 8 9 : v i c e s /

165 1—5 2 : e f t - s o n y s / d o o n

i s ; 8 4 1"43 s a t o n y s / n o o n

i s / h a l l e s ; 3 8 3 > 85"8: he 1 le

377"3:

i s / s p e r e s ; HF.

fou1 is /

i s / w e l l e s / e l i e s ; WB.

1787” 6 8 i

places/place hys

is;

houndes/.yfounde

1.75"78:

is?

sones/wone

is

foules/

1155"58: SndN.

64"86:

y s ; PF.

57"

i s ; 2.621-22:

is/d ytees.

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

lifl

I n n o ne o f t h e s e i n s t a n c e s c a n t h e t r a n s p o s e d , u n s t r e s s e d v e rb be j u s t i f i e d

on s t y l i s t i c

grounds,

and t h e

c o n c l u s i o n t h a t th e t r a n s p o s i t i o n m e r e ly p r o v i d e s a rime f o r the contiguous v e rse

is

inescapable.

When, a s i n e x a m p l e s o f t y p e o n e , t h e t r a n s p o s e d verb

is

i t s e l f t h e r i m e word and c o n s e q u e n t l y s t r e s s e d ,

the e f f e c t is

less s t a r t l i n g .

more s t y l i s t i c

ju stificatio n ,

N evertheless,

f o r the rim ing v e rb ,

an a u x i l i a r y o r c o p u l a t i v e v e r b , o f b e a rin g the s t r e s s

it

there

is

i s no eith er

lo g ic a l l y incapable

re c e iv e s by v i r t u e of i t s occu­

p a t i o n o f th e rime p o s i t i o n : KnT. 1957“ 1958

And f r o t h e n a v e l e dou n a l c o v e r e d was W i t h wawes g r e n e , a nd b r i g h t e a s a n y g l a s .

GP.

F u l s e m e l y h i r wympul p y n c h e d w a s ; H ir nose t r e t y s , h i r eyen grey e as g l a s ,

And:

151-52

KnT. 1 3 5 5 - 5 6 : comen w a s / a l i a s ; 297*“ 7 2 : c a a s / y s p o k e n

w a s : ML. 7 5 0 - 5 2 : d e l i v e r e d w a s / h a r d y w a s ; S g . 387 - 8 8 : r e d y w a s / p a s ; BD. 1 1 6 6 - 6 7 : P i c t a g o r a s / f y n d e r w a s ; P F . 201}.06:

a t t e m p r e w a s / g r a s ; HG. 217” 18: E n e a s / s o n e w a s ;

BD. 14.05- 0 6 : b e h o l d e / w o l d e ; TC. 3 . 4 9 1 - 9 3 : w a y t e n w o l d e / r e h e r c e n s h o l d e ; 5 1 3 - 3 2 : w i t e n w o l d e / c o m e n s h o l d e ; TC. 5* 1 1 1 - 1 2 : sho l d e / d o n e i t w o l d e : P r T . l 6 3 9 ” 4 0 :

t e 1le n s h o l d e /

w o l d e : C l . 2I4I4-—i4-5: w o l d e / w e d d e s h o l d e ; TC. 4* 1 1 8 9 - 9 0 : w o l d e / l y v e n s h o l d e ; TC. 5 * 8 2 ^ - 2 6 : w o l d e / s e y e n s h o l d e ;

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

1b-2

KnT.

1059-60:

te 1len s h a l ;

t e 1 l e n s h a l / w a l ; KnT.

1 9 3 3 “ 3^4-5 r e k n e s h a l / w a 1 ; ML.

rek en e s h a 1; C 1. 75 8 “6 0 : fynden

s h a 1/ a 1;

a 1 / t e 1 len

l 6 2 9 ~3 0 : a l/p a r ten

werchen s h a l ; F k l . t e l len s h a l / a l ;

769- 70:

CY.

113^4-” 3 Ss

I I 0 O- 6 I:

1 i y e n s ha 1 ; LGW.

rimes

sh a l; 2215~ l6 : a V s h a l ; 9 3 5 ” 3^:

overal/touche

a l / t e 1 len sh a 1;

others

these

a r e more p r e c i s e l y n o m i n a l

rimes,

the

tions.

type

understandable,

the p r e p o s i t i o n a l

of

this

grammatical c o n s t r u c t i o n frequency is ity of

its

t o be

the

is

explained

snare

of preposi­

s h o u l d be m o s t n u m e r o u s

language.

on t h e b a s i s

a clause,

fin a l position

readily

larger

objects

thus

inasmuch as

iUetrica n y , of

illustrated

its

the f l e x i b i l ­

permitting

in a v e r s e ,

to o th er grammatical e le m e n t s

flexib ility

adverbial

th e most f r e q u e n t l y r e c u r r i n g

in the

p o sitio n within

occupation of relation

is

both may/day/ a y .

the

on a g r a r n m a t i c a l b a s i s , phrase

H | 4 7 “ 49 ?

i n numbe r a r e t h e

and o f

is

s h a 1 ; TC. 4*

194o~4^: t h r a l /

sen us

in C h a u ce r ’s p o e t r y ,

That r im es

115-16;

yow I s h a l / f y n a 1 ; LQW. 34-8“ 9 s

d a y / t e l l e _1 m a y ; TC. 5 . *49» 5 1 - 5 2 : all

al/

1 5 3 7 “ 38?

1 8 3 - 4 ? 4 4 c a l l e m a y / d a y ; Fk 1 .

Far e x c e e d i n g

a 1/

109-110:

a l / s h e w e n s h a l ; 3D.

general/rehercen

a l / t e 1len s h a l ;

over

s h a 1 ; Mch.

thral/seyen

be c ome _I s h a l / a l ; P F . 2 8 4 " 8 5 ? llj.2, 4 4 “ 4 5 :

1207_ 08:

its

whatever

in a c la u s e .

its This

b y random e x a m p l e s :

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1^3

j

136 :

GP.

Ful

sem ely a f t i r

GP.

1 9 1 “ 9 2 Of p r i c k y n g Was a l h i s

Kn T.

12 jL}-9

WB.

74&

This tion

of

We 1

oghte

For

whiche

s ame

the

a d v e r b ia l rimes d ifficu lt

to

surprising

ing

adverbial

an d BD. ,

wh e n rimes

and t h e

in -IX ,

from i t s

do w i t h

the

to

their

o c c u r mo r e o f t e n grammatical points

to

in

element

rimes

counteracted.

of

the

is

frequently

upon

c o n c lu s io n which

nature the

of

is

This

is

m anufactur­

found

i n RR.

o f m an y a d v e r b i a l

end o f

a verse w ith­

or c o n t r ib u t in g

in any way.

and e f f e c t

the

But a l l

of

the

to this

rime,

propositiona 1 objects

sequences

rime,

a consideration emphasis

it

the

to be c o n s i d e r e d h e r e .

riming

an u n d u e

ease

posi­

betwean

the v e r s e

the

syntax

meaning

frequency

in

of

the

relationship.

to

the

function

which are not q u e s tio n s Ow i n g

so

added

sory grace.

consequently,

extra-sensible

disturbing

to

and,

and d i s t r e s s e .

characterizes

one c o n s i d e r s

out

has

also

any d i r e c t

c o u ld be

or d e t r a c t i n g

raughte.

he h a d d e _at T h e b e s

e lem en ts which in a n y w a y

she

_in w a n h o p e

the w ord-order

perceive

not

I sterve,

adverb

an d

mete

ana o f h u n t y n g f o r t h e h a r e l u s t , f o r no c o s t w o l d e h e s p a r e .

flexib ility

sim ple

hir

of

and

their

the

factors

syntactic This

th a n

does

occurrence b y means

Identities

consideration

follow s.

This

any other

is

in

th e n of which

successive

forms

a part

an a t t e m p t

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

to

i44 apply

in

a sp ecific

have been

isolated

preceding

chapters,

factors

analysis

the v a r io u s

and d i s c u s s e d and

to

relate

which have h e r e t o f o r e

factors

individually them

to

necessarily

in

other been

which the

t wo

stylistic ignored.

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TABLe IV G ram m atical D i s t r i b u t i o n o f a S e l e c t i o n in C h a u c er ’ s P o e tr y

G ra m ­ m atical Form

o f R im es

W orks E x a m in ed RR .

BD.

T C.5

GP.

KnT.

RT.

T otal

Nouns :

S ubject O bj. o f v erb O bj. o f p r p . S ub J. com pl.

31 54 98 16

75 178 273 39

20 62 108 11

57 119 287 52

27 55 132 21

22 43 100 13

V erbs: F in ite verb In fin i tiv e Past p a rt. Pres. p a rt.

45 50 10 3

11^ 109 21

51 105 6 1

61 70 14

43 58 9 1

47 —

361 435 74 5

A d jectiv es: A ttrib u tiv e Complement

33 41

118

36 21

4? 64

31 28

19 23

241 295

Adverbs-:

84

247

57

59

54

62

563

Pronouns: Subject O bject

23 0

32 28

2 6

12 2

4 10

3 2

76 54

O ther se n te n c e e lem ents:

14

26

11

12

22

12

97

508

1333

497

858

495

403

4094

6.1 1 0 .6 1 9 .3 3.1

5.6 13.4 20.5 2.9

4.0 12.5 21.7 2.2

6.6 13.9 3 3.4 6.1

5.5 5 .8 1 1 .1 1 1 . 0 2 7 . 1 2 5 .1 4.2 3 .6

5.7 11.0 24-4 3.7

TOTALS

—«■

73

mm mm

14

232 511 998 152

Per cent Nouns S ubject O bj. o f v e rb O bj. o f p rp . S u b j . compl.

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

/

V erbs: F in ite verb In fin itiv e P ast part. P res. part.

8 -9 9.8 2.0 0.6

8.6 8.2 1.6

10.3 21.1 1.2 0.2

7.1 8 .2 1 .6

A d jectives: A ttrib u tiv e C

6 .5 8.1

5.5 8.9

7.2 4 .2

5 .7 7.5

/ _S x o .b

18.5

H .5

6 .9

Pronouns: S ub ject O bject

4 .5 1.2

2.1*2.1

0.1*. 1.2

o.l*.

0.8 2.0

1 .1 2.1

*•? 1.4

O ther s e n te n c e elem en ts:

2.8

2.0

2 .2

1.2

4 .4

2.8

2.3

A dverbs:

•

8 . 7 12.0 1 1 .7 3 . 1 1.8 3 . 8 0.2 6.7 5.7

8.8 9 .8 1.8 0.1

5 .° 6 .0

5.9 7.2

1 0 .9 1 5 . 7

13.8

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iii.6

|

C o n c l u s i o n Though t h r o u g h o u t t h e d i s c u s s i o n

in the p r e c e d i n g

c h a p t e r s an a t t e m p t h a s b e e n made to r e l a t e word-order p a t te r n s certain s t y l i s t i c

to

specific

form and c o n t e n t and t o d e f i n e

functions

of these p a tte r n s,

a l l r e l a t i o n s h i p b e t w e e n w o r d - o r d e r and s t y l e be a p p r e c i a t e d when w o r d - o r d e r , is considered I t remains, employed

in r e l a t i o n

therefore,

in t h i s

c e r 's poetry. lines

can o n l y

a s one f a c t o r o f s t y l e ,

to o t h e r s t y l i s t i c

factors.

t o a p p l y t h e method o f a n a l y s i s

study to a s p e c i f i c passage

For t h i s

analysis

t he f i r s t

from Chau­

twenty-seven

o f t h e Gene ra 1 Pro l o g u e h a v e b e e n s e l e c t e d b e c a u s e

o ne f i n d s

in t h i s

t he

transitions

18.

Each u n i t

ences

the o v e r ­

p a s s a g e two d i s t i n c t s t y l i s t i c

f rom one to t h e o t h e r o c c u r r i n g a t

line

i s c h a r a c t e r i z e d by s i g n i f i c a n t d i f f e r ­

in t h e a r r a n g e m e n t o f w o r d - o r d e r p a t t e r n s . The a n a l y s i s b e g i n s w i t h an e x a m i n a t i o n o f

of these s t y l i s t i c

units,

beginning, c e r t a i n l y for

units,

its

effectiveness

w i t h i n the v e r s e perhaps,

lines

1-18.

The r h e t o r i c a l

in t h e "heigh" s t y l e , upon s y n t a c t i c

depends

parallels,

in p a r t

both

and i n t h e r i m e s , w h i c h a r e more n u me r o u s ,

t han c a s u a l e x a m i n a t i o n r e v e a l s .

the e f f e c t i v e n e s s

the f i r s t

of

the p a ss a g e

v a r i a t i o n s o f the b a s i c

U ltim ately,

i s d e p e n d e n t upon t h e

syntactic patterns

and t h e d e v i c e s

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47

e m p l o y e d w h i c h o b s c u r e wh a t m i g h t o t h e r w i s e h a v e become mon o t o n o u s r e p e t i t i o n . One may b e g i n w i t h a c o n s i d e r a t i o n o f tactic

p a t t e r n which u n d e r l i e s

series

of p a r a l l e l ad verbial clauses

s t a t e m e n t o f t h e mai n c l a u s e syntactic

p a tte r n of

in the opening

the e n t i r e

the b a s i c passage,

anticipating

beginning

in

line

t he s u b o r d i n a t e c l a u s e s

12,

syn­

a the The

is defined

lines--

Whan t h a t A p r i l l e w i t h h i s s h o u r e s s o o t e The d r o g h t e o f March h a t h p e r c e d t o t h e r o o t e , and r e a p p e a r s w i t h

a variation

in

Whan Z e p h i r u s e e k w i t h h i s s w e e t e b r e a t h I n s p i r e d h a t h i n e v e r y h o l t and h e e t h The t e n d r e c r o p p e s , . . .

and in 7~S ( w i t h "w h an ” o m i t t e d ) - . . . , t he y o n g e s o n n e Hath i n t h e Ram h i s h a l v e c o u r s y r o n n e , and i n 9 ( a g a i n o m i t t i n g

”whan” )

And s m a l e f o w e l e s maken m e l o d y e , In l i n e

and, a s

12,

t h e main c l a u s e c o m m e n c e s - -

Thanne

longen f o l k

i n the

subordinate clauses

struction

is

implied,

to goon on p i l g r i m a g e s ,

though

less

of

1- 1 1 , t h e same c o n ­

specifically

i n t he

succeeding clau se;

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lip8

13

[ Th an n e ]

paimeres

15 lo

And [ t h a n n e ] Of E n g e l o n d ,

[ longen] f o r t o seken straunge strondes

s p e c i a l l y f rom e v e r y s h i r e s ende to Caunterbury they wende,

The s y n t a c t i c p a r a l l e s

and v a r i a t i o n s

c a n be

e a s i l y a p p r e h e n d e d when t h e y a r e p r e s e n t e d d i a g r a m m a t i c ally.

Such p r e s e n t a t i o n a l s o

achieved

in the passage,

parallelism ,

by Chaucer's

stresses within verse,

the

by v a r y i n g

s ho ws t h a t v a r i e t y

despite

the b a s i c

shifting

individual

syntactic

of the meaningful

verses,

the p o s i t i o n o f

is &ehiv

and from v e r s e

to

t he s e n t e n c e e l e m e n t s :

( On l y S ( s u b j e c t ) , V ( v e r b ) , and O ( o b j e c t ) or C (complement) are d e s i g n a t e d p r e c i s e l y . Other s e n t e n c e elem ents are i n d i c a t e d - x - . ) 1. 2. 3. Ij-. 5. 6. 7. 8. 9. 10. 11. 12. 13.

-x- S (A prille) -x- x - O ( d ro g h te) - x - V (hath p erced) - x - x - V (bathed) 0 ( v e in ) - x (-x- V ( is) S (flou r)) - x - S (Zephirus) - x V ( i n s p i r e d hath) - x O (croppes) / / S (sonne) V (hath) - x - O (cou rs) V (yronne) - s - S ( f o w e l e s ) V (maken) 0 \ m e l o d y e ) S (that) V (slepen) -x- x - V ( p r i k e t h ) 0 (hem) S ( N a t u r e ) - x - x - V ( lo n g e n ) S ( f o l k ) O ( t o goon) - x - x - S ( p a i m e r e s ) (V, l o n g e n , i m p l i e d ) 0 ( t o s e k e n ) -x-

iip .

-X -

15. 16. 17. 18.

- X- x - S ( t h e y ) V ( we n d e ) O (martir) V (to seke) S ( t h a t ) O (hem) V ( h a t h h o l p e n ) / / - x - S ( t h e y ) V (were) C (seek e)

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149 As t h i s there are

diagram shows,

the

A. B. C. D. £.

S S V V x

following b asic

-

V 0 0 S S

-

Of t he f i v e A t y p e , 1 0 ), b u t t h e

in the f i r s t

of these elements

......................

5

........................... ........................... ...........................

l l l

four a r e c o n s e c u t i v e

( 5 “ 7;

in t h e s u c c e s s i v e v e r s e s ,

t h e ri me in £ - - 6

tence begins

in the

intervenes.

second h a l f of the

ri me draws a t t e n t i o n

away f rom t h e

In 9"10 t h e

identity

is

t i o n s occur

in c o n s e c u t i v e e n d - s t o p p e d

cient variety

7~8> 9*

i s o b s c u r e d by t h e s h i f t i n g p o s i t i o n

in ter p o la tio n of other sentence elements. example,

lines

sentence-patterns:

O/C ....................... V ........................... S ............................. x ........................... V ...........................

identity

eighteen

less

owi n g t o

t he

In 5“ 7> f o r

In 7- 8 ,

t he s e n ­

l i n e so t h a t the

i d e n t i t y o f the syntax.

obscured,

since lines,

i s p r o v i d e d by the s u b s t i t u t i o n

the c o n s t r u c ­ but s u f f i ­ in

line

10

o f an a d v e r b i a l m o d i f i e r f o r t h e d i r e c t o b j e c t f o l l o w i n g t h e v e r b and by t h e a l l i t e r a t i o n , diverts It

attention

away f rom t h e

maken m e l o d y e , w h i c h

syntactic

pattern.

i s perhaps u n n e c e s s a r y to p o i n t out t h a t the^e

variations,

t h o u g h t h e y may a p p e a r t o be s l i g h t ,

significant

value s t y l i s t i c a l l y o n ly because

b u t do n o t o b l i t e r a t e p a r a lle ls w ithin

the u n d e r l y i n g b a s i c

are o f

they obscure

syntactic

t he c o m p l e x s e n t e n c e a n a l y z e d a b o v e .

R e p ro d u c e d with perm ission of the copyright owner. Fu rther reproduction prohibited without permission.

The

i5o

para 1 l e 1 s u b o r d i n a t e c l a u s e s clauses

(12-13),

cernible, opening

and t h e p a r a l l e l main

because their p a r a lle lis m

sustain

lines,

(1-11)

t he f o r m a l ,

while,

i s always d i s ­

ordered sta tem en t of th ese

simultaneously,

a pleasurable

r e c o g n i t i o n o f the c o n f l i c t between t h e b a s i c and t h e v a r i a t i o n s o f stiffness

regularity

t ne p a t t e r n p r e v e n t s a n y s e n s e o f

or m o n o t o n y .

This very general s y n t a c t i c touches,

however,

relation

to s t y l e .

analysis

o f the p a ss a g e

upon b u t one a s p e c t o f w o r d - o r d e r One can c o n s i d e r as w e l l

in

t h e grammar

o f t h e r i m e s t o d e t e r m i n e t he means e m p l o y e d t o a v o i d t h e mo n ot o n y t h e o r e t i c a l l y a c o n c o m i t a n t o f s y n t a c t i c repetition

in rime,

In t h e r i m e s ,

and t o j u d g e

the f o llo w in g p attern s

1. P r e p o s i t i o n a l

3.

"

phrase

"

ip. S u b j e c t 5. P r e p o s i tio n a l phrase 6 .

7. 8. 9. 10.

their

"

11

Subject Compound v e r b a l O bject P r e p o s i t i o n a l phrase

effectiveness.

appear:

Adjec Noun pos Noun pos Noun Noun pos Noun pos Noun Past Noun Noun pos

tive ( o b j e c t of pre i t ion) ( o b j e c t o f pre i tion) ( o b j e c t of pre i tion) ( o b j e c t o f pre i t i on participle ( o b j e c t o f pre' i tion)

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151

11. P r e p o s i t i o n a l p h r a s e 12.

”

13. 14 .

Noun ( o b j e c t pos i t i o n ) Noun ( o b j e c t pos i t i o n ) Noun Noun ( o b j e c t position) Noun ( o b j e c t pos i t i o n ) Verb Infinitive Adjective

"

Object P r e p o s it io n a l phrase

15.

"

16. 17. 18.

"

F i n i t e verb Comp l e me n t a r y i n f i n i t i v e S u b j e c t i v e complement

T h u s , o f e i g h t e e n rime w o r d s , these prep osition al o b je c ts , g r o u p s o f two or more.

all

( s h o u r e s ), which is

w ith the succeeding ties, in a l l

line.

nine o f in

i t may be p o i n t e d o u t 1 is

an a j e c t i v e ,

its

a prepositional object,

and i s s y n t a c t i c a l l y a l l i e d

in t h e r i me o f t h e s e

p r o b a b i l i t y the a v e r a g e reader o f identities,

o f pre-

Despite these syntactic

no monot ony i s a p p a r e n t

n o t aware o f

of pre­

o f t he m c o n s e c u t i v e

Further,

r e c e i v e s a pronounced s t r e s s

of pre-

t h i r t e e n are nouns,

t h a t t h o u g h t h e rime word i n l i n e substantive

of pre-

identi­ lines;

the p a s s a g e

is

f o r any i m p r e s s i o n o f monot ony

h a s b e e n p r e c l u d e d b y t he empl oyment o f s e v e r a l t e c h n i q u e s , all

a s p e c ts of word-order;

viz.

( 1) d i f f e r e n t a r r a n g e m e n t s

o f the grammatical e l e m e n t s w i t h i n the v e r s e s , which has a l r e a d y been p o i n te d o u t structure of 7 » 3,

9>

in r e l a t i o n

the p a s s a g e ; 16,

17,

t o t he s e n t e n c e - v e r s e

( 2 ) the s u b s t i t u t i o n s

13 o f d i f f e r e n t

in l i n e s

g r a mma t i c a l c o n ­

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l$2

structions

i n r i m e , w h i c h b r e a k up t h e p a t t e r n w h i c h

successive

prepositional

establish;

(3 ) m e tr ic a l v a r i a t i o n ;

pattern of str e s se s beat,

which s h i f t s

prevents and tion

(i|)

times

factors

to

verses,

it

is

all

again d iv e r tin g their

impossible

considered

as

following

of

the

receive

lined. stress

stress

stresses

(in

of

upon t h e

a v e r s e or

away f r o m

identities.

any one o f

repetition lines

these

and r e c a p i t u l ­

1-18 a l l

cases.

are

In t h e

fol­

words or s y l l a b l e s stress

are w r i t t e n

iambic p a t t e r n )

the

regular

are under­

b e t w e e n m e a n i n g f u l and m e t r i c a l

graphically designated.

The p a s s a g e so-called

attention

accordance with

the

Thus t h e o p p o s i t i o n is

of

as a l l i t e r a ­

Those words or s y l l a b l e s whic h n o r m a l l y

a m etrical

alternation of

iambic

identities;

devices

elements

of

w hich c a r r y a pronounced m eanin gful in c a D i t a l s .

syntactic

to d i s c u s s

text,

an i r r e g u l a r

t h e p a s s a g e a nd

grammatical

analysis

to

the u n d e r ly in g

they a p p ly in s p e c i f i c

reproduction

e.,

of such p o e t i c

i n d i v i d u a l l y w i t h o u t undue in th e

might tend

throughout

which bind

and o b s c u r i n g

Since

lowing

attention

the u t i l i z a t i o n

and a s s o n a n c e ,

ation,

in o p p o s i t i o n

i.

a n y c o n c e n t r a t i o n upon t h e

successive the

constructions

the

beings w ith a m etrical

headless

l in e , w hich throws

in t r o d u c t o r y adverb

and t h u s

irregularity,

a

a distinct

stress

emphasizes

the

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I

grammatical c o n s t r u c t i o n which out

the s e r i e s

is

t o be r e p e a t e d

of subordinate c la u se s:

WHAN t h a t A P r i l l e w i t h h i s

SHOURe s SOOTe

The DROGKTE o f MARCH h a t h PERCED t o And BATHe d E V e r y VEIN

four

rimes

i n 2 and 3

place

by t h e

Ho w e v e r ,

is,

fact

that

their

gating f a c to r s ,

the

1 as

constructions

sim ilarity, fact

factors

to d i v e r t

one's

to m in im iz e

meaningful which the

stresses rime words

between the m e t r i c a l tends

t o draw o n e ' s

the

first

t h e r e w e r e no m i t i ­

their

identity.

the

object,

lines,

it.

such t h a t

attention

the

were

from t h i s factors

terminal

t h e r e no

sim ilarity, here c o n t r i b u t e ,

the c o n s t r u c t i o n s

in

The o p p o s i t i o n

and t h e m e a n i n g f u l to

as

the arrangement o f

o c c u r go u n n o t i c e d . stresses

Further,

allies

which,

Several

First,

r i me d o e s n o t

s t r e s s e d noun s h o u r e s

attention

it. is

if

t h e y do n o t

three

would m e r e l y a c c e n t u a t e however,

in

the

un do u b ted ly tend

that

a prepositional of a ll

FLOUR:

id e n tity of

obscured

riming would

i t s e l f w holly obscure

line

the

t h e y do n o t r i m e w i t h one a n o t h e r .

has alread y been s u g g e ste d , in

is

the s y n t a c t i c

of course,

although t h e ir

to a c c e n t u a t e

in

lines,

t h e ROOTe,

i n SWICH LICOUR

Of w h i c h VERTU enGENdred In t h e f i r s t

through­

stresses

the general statem ent

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

154

o f the v e r s e s

rather

to the m ech a n ica l in e v ita b ly cause where

alternation

stress

succeeding

In a d d i t i o n ,

in

rime.

of m etrical

rimes

line

1,

is

likely

are

force

opposite

end o f

and p r e v e n t s

of

in

2

line

of s tr e s s

attention the

at

particularly identical.)

e c h o o f whan and Ap-

the a l l i t e r a t i v e the v e r s e

of shoures soote

t h e e nd o f

the

line.

Sim ilarly,

upon r o o t e .

A resolution

in 3 r e l i e v e s

m etrical c o n f lic t

lines,

of

the normal

cumulative

o b j e c t and

its

the

opening

stress

m odifier,

L i n e Ip t h e n b r e a k s

swich

1icour,

the riming p a t t e r n

in rim in g

and,

of

the

the

by c o n t r a s t ,

upon t h e p r e p o s i t i o n a l appears

t o be n e w.

by s u b s t i t u t i n g

position.

L i n e 5 marks w h a t a p p e a r s of

the

an undue c o n c e n ­

m e t r i c a l and m e a n i n g f u l c o n f l i c t

pattern

at

l i n k i n g j r ’ s p r e v e n t an un d u e a c c u m u l a t i o n

and a t t e n t i o n

no u n s u b j e c t

would

on t h e r i m e ,

grammatically

the v o c a l i c

adherence

stress

to f a l l ,

balances

tration

(Strict

an u n d u e c o n c e n t r a t i o n

the h e a v i e s t

whe n t h e

than to th e

t o be a r e t u r n t o t h e

1 -ifJ

Whan Z E P Hi r u s EEK w i t h h i s

SWEETe BREETH

I n S P l R e d HATH i n E Ve r y HOLT and HEETH The TENDr e CROPp e s ,

and t h e YONGe SONne

HATH i n t h e RAM h i s

HALVe COURS yRONNE,

And SMALe FOWELes MAKen MELODYe,

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

a

T h a t SLEPen AL t h e NYGHT w i t h Open Ye SO PRIKe t h HEM n a TURS i n h i r c o RAGe s ; ) with

the

i n t r o d u c t o r y whan o f

implied b efore there

the yonge

are s u f f i c i e n t

identity. stantive verbal,

instead

in 7 ( tend re c r o p p e s ).

subordinate cla u ses

and s m a l e f o w e l e s . H o w e v e r , variations

the a d j e c t i v e

of

inspired hath,

less

sonne

syntactic

Fo r e x a m p l e , in 5

the

following,

precedes Also,

the

pronounced because o f

position

of

the grammatical e le m e n ts

clauses;

i.

e.,

the S-V -0 sequence

5-7: 7-9: 9 :

5,

in d i f f e r e n t p l a c e s ,

the

position;

cidence

of

comes the

of

the

and t h e w h i c h c o me s

is

the v a r y i n g

the

parallel

different:

elements

of 5~7,

7-8

with a consequent s h if t in g

Z ephirus, occupies

whereas

sonne, because couplets,

of

o f s t r e s s e d words w i t h i n

subject,

sub­

S -x- V - 0 S -x- O - V S - V - O

interpolated adverbial

the p o s i t i o n

1,

Its

underlying s y n ta c tic

is

fall

in

object,

parallelism

The

precedes

as

its

t o p r e v e n t mere

subject of

a t t h e end o f

the

the

the grammatical

the v e r s e s . first

grammatical s u b j e c t

In

stressed

second c la u s e ,

arrangement o f

the v e r s e . and

of

yonge

t he

Here t h e c o i n ­

the rime

tends

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

to

1^6

draw a t t e n t i o n

a way f r o m a s y n t a c t i c

h a v e b e e n o b v i o u s had position.

The

the

identity

intervening v a r ia tio n further,

the

y o n g e s o n n e o c c u p i e d an i n i t i a l

is

re-established

precludes

alliteration

f r o m t he p u r e l y s y n t a c t i c

introduction

clauses,

in

providing

patory statements 12-18,

as

tactic

unity

parallel,

in the

an u n p l e a s a n t

aspects

lieu

of

.12 o f

the

first

in t h a t

first

eleven,

the

the

effect;

though

tne

Tha nn e

longen f o l k

and,

attention

eleven there

clauses

is broken

c o m p l e m e n t a r y mai n

the

succeeding

the

t he v e r s e .

subordinate

r eso lu tio n of of

i n 9> b u t

maken m e l o d y e d i v e r t s

The p a t t e r n o f p a r a l l e l by t h e

i d e n t i t y which would

series lines.

is

of a n t i c i ­ In

iines

an u n d e r l y i n g

statements

i n t r o d u c t o r y adverb

are

thanne

is

syn­

im plicitly not

repeated:

And [ t h a n n e

t o g o o n on p i l g r i m a g e s ,

longen]

paimeres

for

to

[straunge Thera a r e , tions, but

in a d d i t i o n ,

strondes,

infinitive

construc­

_to g o o n on p i I g r i m a g e s and _to s e k e n s t r a u n g e

identity

is

a v o i d e d by t h e

m a t ic a l complements

the a l l i t e r a t i v e

inevitably d ifferent

r e q u i r e d b y t he

grammatical s i m i l a r i t y to

the p a r a lle l

seken

is

infinitives;

o b s c u r e d as

seken s traunge

attention

s trendes, gram­

and, is

strondes.

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

further,

drawn

157

Though t h e may r e f l e c t dicate

syntax of

the

two s u c c e e d i n g c o u p l e t s

accommodations f a v o r i n g

transpositions

are

the

rimes,

stylistically

the p r e ­

and c o n t e x t u a l l y

important: And s p e c i a l l y f r o m e v e r y s h i r e s e n d e Of E n g e l o n d t o C a u n t e r b u r y t h e y w e n d e , The h o o l y b l i s f u l m a r t i r f o r t o s e k e , T h a t hem h a t h h o l p e n w h a t t h a t t h e y w e r e As h a s in

earlier

been s u g g e s t e d ,

emphasizes

15-16

the f a c t

that

the

described w i l l

include a v a r i e t y o f

types,

ende/wende

a nd t h e

incidental. 17

is

It

period

instance to

from th e

the

general

to

line

is

the

transposition

pilgrim age

that

t o be

individualized

a frequent one, the

local

may b e

transposition

identical

seke/seeke

functional,

providing

and m a r k i n g t h e

in

rime. a

transition

specific.

i n t o n e w h i c h ma r k s

e i g h t e e n - I ine

introduction

is

the

transition

from

imm ediately apparent

19, w h e n t h e f o r m a l g r a m m a t i c a l b a l a n c e i s

abandoned

in fa v o r o f the c o n v e n t i o n a l 3 ifel

f o l l o w e d by th e to

the rime

the

formal opening

The c h a n g e

in

likely

in accommodation o f

In t h i s

this

i s more

rime,

the

seeke.

the e f f e c t

of

that

in

r o ma n c e o p e n i n g - -

t h a t s e s o n on a d a y ,

short adverbial informal,

ph rases which c o n t r i b u t e

almost extemporaneous,

identi­

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

158

fication

of

the

parallelism

of

p o e t w i t h an a c t u a l the

lo q u ia lis m which structure

of

mark t h e n e x t of

the

introduction here

is

line

transition,

anticipating

the

27.

Lines

regularity,

introduction

individual pilgrim s.

lines

21- 2 4 ;

p a r a lle lis m occurs

and s e v e r a l

any r e c o g n i t i o n o f

factors

only

in

cooperate

the

rimes

to minimize

it,

B i f e l t h a t i n t h a t s e s o n on a d a y , I n b o u t h w e r k a t t h e Ta b a r d as I l a y R e d y t o w e n d e n on my p i l g r i m a g e To C a u n t e r b u r y w i t h f u 1 d e v o u t c o r a g e ,

21

The e f f e c t

of

the

run-on

p ilg rim a g e/c o ra g e rime, upon t h e logical

through

grammatical

in tr o d u c tio n o f a grammatical

Grammatically, in

extending

The f o r m a l

g i v e s w a y to a c o l ­

p a r t l y d e p e n d e n t upon t h e

the passage

2 3 - 2 9 ; Ly t h e i r

pilgrim age.

rime p a s s i n g sense unit

upon "f u l

line t he

(21)

devout corage

alone

the falling

to Caunterbury, where the

Thus

grimage/corage combination.

to obscure

emphasis o r d i n a r i l y

instead

ends.

is

th e rime rather

In th e

emphasis f a l l s

t h a n upon t h e p i 1succeeding

lin es--

A t n y g h t wa s come i n t o t h a t h o s t e l r y e Wei n y n e and t w e n t y i n a c o m p a i g n y e , — the

inversion

thence

to

directs

immediate

an a n t i c i p a t i o n

of the

attention subject,

to

the

v e r b and

tending

R e p ro d u c e d with perm ission of the copyright owner. Fu rth er reproduction prohibited without permission.

to p a s s

159

over

the

the verb

r i me

in 23.

The a s s o n a n t a l

[ c o m e ] and c o m p a i g n y e a l s o

hostelrye/com paignye m i n i m i z e d by t h e which carry

the

rime;

and,

alliteration

r e la t io n s h ip between serves

in a d d i t i o n ,

in the n e x t

s t a t e m e n t begun

to m in im iz e

i n 23 t o

the

rime

the is

two v e r s e s , its

logical

con-

c l u s i on— Of s o n d r y _ f o l k , b y a v e n t u r e y f a l l e In e l a w e s h i p p e , and p i l g r i m e s w e r e t h e y a l l e , That toward C a u n te r b u r y w olden r y d e .

;

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

160 APPENDIX A

3 .'1 .

In v erted O rd er:

A dv-V -S;

Prose:

9 7 8 , 9 9 3 , 9 9 9 , 1010, 1017, 1037, loij-3, 1083, 1097, liL-3 , 1153, 1 163, H 7 0 , 12 0 1 , 1207, 1209 , 1211, 1251, 1257, 1274, 12 8 2 , 1313, 131'4, 1319, 1329, 1 3 5 9 , 1 3 8 5 , 1 3 8 6 , 1415 , 14-35, 1 4 8 4 , 1 5 1 7 , 1 3 2 3 , 1531, 1 5 4 9 , 156 1, 1564, 1566, 1 5 7 1 , 1575, 1595, 160 2, 1622, 163 2, 1648, 1687, 1694, 1706, 1711, 1739, 1 7 7 9 , 1814., 1844, 1854.

M el.

1035, 1139, 1191, 1234-, 1308 ,

1021,

1105, 1172, 1220, 129 1, 1336, 1446 , 1554, 1578, 165 1, 1765,

1033, 1034, U 20, U 21, 11 7 6 , 1130, 1 2 2 1 , 1223, 1295, 1305, 1339, 1345, l q . 6 8 , I 4 8 O, 1555, 1 5 5 6 , 158 8, 1594, . 167 0, 1679, 1681, 1773, 1777,

P T . 107, 1 0 9 , 11 2, 114, U 5 , 116, 117, 129, 135, I 3 9 , 143, 147, 149, 152, 166, 168, 176, 177, 178, 179, 192, 193, 2 0 6 , 2 1 3 , 2 1 6, 2 23 , 2 24, 2 2 7 , 2 3 6 , 243,

251,

252, 264, 268, 271,

278; 279;

280; 23i; 282, 284,

2 9 2 , 295,

306.

A s t . 9 , 47,

84-85,

273, 274,

276,

2^7,

286, 287, 288, 291,

U 9-20.

In th e f o l l o w i n g e x a m p le s , i n t r o d u c t o r y a d v e r b i a l e le m e n ts h av e no e f f e c t e d i n v e r s i o n o f t h e v e r b : M el.

1016,

1042,

1051,

1110,

1118,

1146,

1153,

T 2 0 2 , 1203, 1205, 128 6, 1 3 3 1 - 3 2 , 1377, 1 3 8 1, 1405, 1524, 1529, 1539, 1546, 1597, 1 6 2 4 - 2 5 , 1 6 3 6 - 3 7 , l b 3 9 , 1723, 1726, 1743, 1747, 1750, 1734, 1796, 1 3 2 0 - 2 1 , 1827, 1841, 1855, 1358, 1 6 7 3 - 7 9 . PT- 8 2 > 9 3 ,

n 6,

188,

189, 3 0 4, 3 14 -

P o etry : BD. 1 8 0 , 3 4 3 , 4 2 9 - 3 1 , 4 8 8 > 4 4 1 , 4 5 1 , ' 6 0 2 , 6 0 8 - 0 9 , F 54, 705, 707, 712, 736-37, 738, 825, 92 5 -2 6 , 1047 , 1 0 6 7 , 1 0 7 0 . GP.

94,

11, 12, 2 3 - 2 4 , 3 1 , 4 2 , 4 3 , 5 6 - 5 7 , 5 8 , 6 0 , 6 1 , 106, 110, 127, 130, 132, M , 1 9 1 - 9 2 , 2 1 0 ,

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

161

5 9 5 , 6 1 9 , 6 34 , 6 3 6 , 6 3 8 , 6 4 5 , 6 5 2 , 6 6 3 , 6 7 7 , 715, 72 3, 748, 7 6 6 , 7 7 5 , 8 2 2 - 2 3 , 8 4 6 .

709 ,

KnT. 8 7 2 - 7 3 , 9 2 4 , 9 6 8 , 9 3 1 , 1 0 9 0 , 1141, H 5 1 , H 8 5 , 1201, 1224, 1 2 2 5, 1230, 1236, 1238, 1249, 1265, 126 8, 1271, 1303, 1315, 1334, 1368, 1U 3 , 1422, 11,4 9 , 1450, 1451- 5 2 , 14-78- 7 9 , 14 8 2 , 148 8 , 152 5 , , 153 9 , 1550, 15 5 5 , 1558, 1560, 15 7 6 , 1581, 1625- 2 6 , 1627, 1 6 2 8 - 3 0 , 1672, 1729, 1 7 5 1 - 5 4 , 1796- 9 7 , . 1 8 0 2 - 0 3 , i 8 6 0 . 186 2 , 1875, 1879, 1914, 1947, 1963, 1964, 1975, 1985, 1995, 2 0 0 9 , 2 0 1 1 , 20 1 7 , 2 0 2 7, 2034, 2 0 3 6 , 2 0 5 1 , 2 0 5 6 , 205 9, 2 0 6 0 , 2 0 6 2 , 2065, 2 0 6 9 , 2 07 3 , 2 0 8 5 , 2 0 8 7 , 208 9 , 2 0 9 8 - 9 9 , 2 1 1 7 , 2 1 2 8 , 2 1 3 8 , 2 2 0 6 , 2 2 0 8 , 2 2 1 2 , 2 2 55 , 2 2 57 , 2 2 6 9 , 2 2 7 1 - 7 4 , 2 3 0 4 , 2 3 4 0, 23 4+, 2 3 8 2 , 2 4 4 8, 2 4 7 9, 2 4 9 0 , 2494, 2 4 96 , 2 52 1 , 2 5 3 6 , 2 5 6 2 , 2565, 2 5 6 6 , 2 5 7 1 - 7 2 , 2 5 7 5 , 2 5 8 0 , 2 5 93 , 2 5 9 7 , 2o 0 0 , 2 6 0 2 , 2 6 0 3 , 2 6 0 4 , 2 6 0 5 ,, 2 6 0 7 , 2 6 0 8 , 2 6 1 0 , 2 6 1 3 , 2 6 2 1 , 2 6 2 3 - 2 4 , 2 63 5 , 2641, 2647, 2696, 2739, 2764, 2790, 2307, 2812, 2816, 2850, 2 8 7 4 , 2 8 8 2 - 3 5 , 290 5, 2 9 0 6 , 2 9 1 0, 2965 , 2 9 7 0 , 2 9 8 0 , 2990 , 3 0 0 3 , 3 0 0 5 , 3 0 2 0 , 3 0 2 3 , 3 0 2 6 , 3 0 2 7, 3034, 3 0 4 1 , 3 0 5 0 , 3055, 3 0 7 4, 3 0 9 0 , 3 0 9 4 , 3 0 9 7 - 9 8 , 3 10 7 . RT. 3 9 3 0 , 3 9 5 2 , 3 9 9 1 , 4 0 0 0 . 4 0 0 2 , 4 0 1 4 , 4 0 1 8 , 4 0 3 0 , 4 0 3 1 , 4036, 4038, 4 0 4 1 , 4o49, ,4 0 5 3 , 4077, 4 0 9 6 , 4107-03, 4110, 4114, 4121, 4 l 4 9 , 4155, 4159, 4160, 4 2 0 2 , 4 2 0 3 , 4 2 2 0 , 4 2 3 9 , 4 2 5 6 , 4 2 7 6 , 1-313, 4 3 2 4 . PrT. 1692, 1695, 1 6 9 9 - 1 7 0 1 , 1713, 1 7 1 5 - 1 6 , 1740, T 743, 1770, 1 8 1 0 , 1 8 1 6 - 1 7 , 1825, 1830, 1845, 1356, 1357, 1 8 7 1 - 7 2 . TC, 5 - 1 5 - 1 6 ,

3 6 , 71, 155, 197, 2 0 2 , 2 I4 , 2 2 2 , 2 7 2 , 333 - 3 4 , 3 4 3 5 1 , 4 5 3 , 4 8 0 , 5 0 4 , 5 1 4 , 5 4 o , 5 4 5 , 5 5 1 , 5 65 , 5 6 7 , 5 6 3 , 5 7 1 , 5 7 3 , 5 7 5 - 7 6 , 5 3 9 , 5 9 8 , 6 0 5 , 6 0 7 , 6 1 7 , 62 4 , 6 3 9 , 658, 6 6 6 , 6 82, 687, 6 9 0 , 6 9 9 , 7 38, 7 4 1 , 7 8 5 , 8 1 3 - 1 9 , 9 3 5 , 9 84, 993, 9 9 5 , 1007, 1 0 2 7 - 2 8 , 104.6 , 1 0 58 -6 0, 1074, 1085, 1092, 1102, 1118, 1119- 2 0 , 1123, 1125, 1130, 1132, 11424 3 , 1 1 74 -7 5, 1194, 1201, 1221, 1 2 4 0 - 4 1 , 1245, 1252, 1288, 1291, 1312, 1347, I4 O6 , 1411, 1429, 1480, 1566, 1625, 1674, 1701, 1705, 1711, 1 7 18,

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

162

172*4,

1749,

1762,

1767,

1795,

In t h e f o l l o w i n g e x a m p l e s , e l e m e n t s have n o t e f f e c t e d BD.

1333.

introductory adverbial i n v e r s i o n o f the verb:

6 o . 7 5 , 8 0 . 8 8 , 1 0 4 , 1 2 2 , 1 6 6 , 192 , 2 3 3 , 2 3 9 , 2 6 5 , 2 6 7 , 2 9 p, 2 9 2 , 3 5 7 , 3 8 1 , 442, 5 4 5 , 5-5 0 , 4 5 9 , 4 6 3 , 4 7 4 , 5 1 5 , 535, 545, 6 5 2 , 6 5 9 , 6 8 5 , 7 7 1 , 7 79, 7 35, 7 9 0 , 7 9 2 , 8 0 C, 315, 3 1 3 , 8 6 2 , 3 7 8 , 9 6 1 , 931, 985- 8 6 , 9 9 0 , 10 0 6 , 1015, 108 7 , 11 0 8 , 1132, i i 4 7 , 1156, 23,

33,

711, 212, 385,

553, 3c4, ico i, 1153, 1287,

1166, 1171, 1183, 1292, 1294, 1296,

1135, 1195, 1300, 1312,

1215, 1314-,

1252, 1321,

1273, 1324.

GP. 7 9 , 3 2 , 8 3 , 9 7 , 108 , 111 , 122 , 136 , 1 3 7 , 1 5 4 , 204, 214, 235, 2o4, 271, 283, 321, 325, 356, 400, 4 1 1 , 4 2 4 , 45-7, 4 6 5 , 46-9, + 9 3 , 5 2 9 , 5 4 i , 5 5 4 , 5 6 6 , 613, 6 1 8 , 622, 628, 642, 659, 669, 672, 7 0 1 - 0 3 , 705 - 0 6 , 7 1 0 , 7 1 1 , 7 2 5 , 7 4 0 , 7 4 1 , 7 4 3 , 7 5 6 , 7 5 7 , 771, 7 9 4 , 303, 325, 3 56.

KnT. 9 0 3 , 9 2 7 - 2 9 , 9 4 8 , 9 57 , 9 6 5 - 6 6 , 1052, 9 B S - 6 7 , 9 3 9 , 9 9 1 , 1003, 1023, 1167, 1172, 1198, 111 2 , 1 1 1 4 , 1 1 1 7 , 1 2 9 9 , 1 3 2 2 , 1 3 3 6 , 1356, 1372, 1398, 1414 , I 4 I 5 , 1426 . ., 1437, l442, 144-i-,

970, 974, 1055, 108 0 , 1264, 1282 , 1999, 1408 ,

145-6,

1509, 1 5 1 3 - 1 4 , 1515, 1530, 1572, 15 7 4 - 7 6 , 1633- 3 4 , 163 6 , 1 6 5 3 - 5 4 , 1661, 10 6 2 , 1690, 1 6 9 7 , 1705, 1753, 17 7 2 , 1783, 1818, 1379, 1982 , 2 0 2 3 , ,2 0 4 3 - 4 4 , 2 0 4 8 , 2 0 7 2 , 2 0 7 7 , 21 c i , 2 2 1 7 , 2 2 1 9 , 2 2 2 0 , 2 2 5 3 , 2 2 6 5 , 2 2 7 0 , 2 2 7 6 , 2 3 46 , 2 3 5 8 - 5 9 , 2 3 65 , 2 3 7 2 , 2 4 10 , 243,1, 2 4 3 2 , 243 6, 2 4 3 3, 2 u 9 2 , 256 9, 2 5 7 4 , 2 5 8 2 , 2 5 9 4, 2 6 1 1 , 264 4, 2 6 5 5 , 2684 2694 2 7 0 7 , 2 7 4 1 , 2 8 1 0 , 2 3 7 3 , 2 9 7 9, 2 9 85 , 2986. 1500, 1621, 1691,

,

,

RT. 394 .4 , 3 9 6 2 , 3963 - 6 4 ,, 3 9 7 2 , 3 9 8 0 , 3 9 9 2 , 3 9 9 8 , 5-0 0 6 , 4 0 0 9 , 4 0 1 2 ,4 0 1 7 , 4 0 2 1 , 4 0 5 5 , 4 C 6 2 , 5 - 1 1 2 , 4134, 4 1 5 3 , 4194,4211, 4221, 4228, 4248, 4252, 5-2 5 7 , 4 2 6 0 , 4 2 7 3 ,4 2 7 5 , 4 2 7 8 , 4 2 8 1 , 4 2 8 5 , 4 2 9 6 , 4299,

4300,

4 304,4311.

PrT.

1683, 1736, 1738, 1755, 1784, 1 7 8 7 - 3 8 , 1789, T 3T3- 14, 1 8 1 8 - 19, 1823, 1824, 1827- 2 8 , 1865, 18 6 6 . 5 3 , 5 9 , 6 0 , 7 3 , 8 0 , 8 2 , 8 6 , 166 , 182 , 1Ctt , 2 0 0 , 2 0 2 , 2 0 5 , 2 0 7 , 2 U , 2 1 3 , 2 1 6 , 2 1 7 , 253, 2 5 7 , 2 6 2 , 2 7 4 , 2 8 6 , 2 94 , 3 7 2 , 4 0 4 ,

TC. 5 . 19-20, 183, 1°° 101

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

163

4 3 4 , 4 7 5 , 498 , 499- 500 , 506, 509, 5 2 0 . 5 2 1 , 5 27, 528, 554, 581, 603, 610, 611, 612, 614, b i $ , 628, 6 3 6 , 646, 6 4 8 , 66 7 , 668, 707, 712, 714, 715, 716, 720, 725, 729, 778, 853, 857, 859, 925, 928, 929, 9 5 2 , 9 5 5 , 1 0 0 5 , 1 0 1 3 , 1 0 3 6 , 1 03 7 , 1071 , 1 0 7 8 , 1112 , in 4 , li4 5 , n 4 b , 1 1 8 1 , 1192 , 1207 , 1212 , 1 2 1 7 , 1233, 1243, 1244, 1351, 1397, l 4 i 4 , 1424, 1427, 1512, 1536, 1538, 154o , 1561, 1571, 1574, 1576, 1639, 1 6 6 5 , 1 6 7 3 , 1 7 3 0 , 174 1 , 1745, 1757, 1758, 1777, 1 8 1 1 , 1 8 i 4 , 18 21 , 18 26 , 1 3 3 4 . B .2 .

Inverted Order:

PE -V -S:

Prose: M el.

1033,

1102,

1167,

126 , 1 4 6 ,

PT.

1317,

1 69 , 193 , 2 2 1 ,

1568,

1680.

269, 270, 272,

273.

P oetry: BD. 1 1 5 , 2 2 1 , 6 4 ? , 9 4 3 - 4 4 , 1010. QP.

T57, 317,

392, 539, 668,

731-32,

381-82,

919*20,

937-38,

2 6 . 8 9 , 9 3 , 1 0 1 , 104 - 0 5 , 10 9 , 117 , 133 , 146 , 163, 168, 2 0 6 , 2 1 5 , 2 2 2 , 2 6 2 , 2 9 0 , 304, 307, 327, 396, 553, 680,

332, 45,1, 564, 684,

335, 339, 342,

458, 468, 482, 565, 591, 610, 685, 689, 747,

349, 351, 359, 486, 491, 523, 639, 646, 648, 750.

387, 533, 666,

KnT. 8 6 4 , 8 8 7 , 1 0 4 7 , 1062 , 1 1 8 7 , 1 2 1 9 , 1 2 3 5 , 1 2 9 3 “ 947 1323, 1347, 1352, 1359, 1369, 1389, J615, 1673, 1683, 1716, 1354, 1389, 1 910-13, 1959, 1970, 2004, 2005, 2031, 2054, 2 0 7 3 , 2081, 2109, 2126, 2130, 2153, 2179, 2207, 2237, 2251, 2292, 2407, 2456, 2457, 2458, 2463, 2 4 6 7 , 2 4 8 3 , 2 7 6 5 - 6 6 , 2 8 2 7 , 29 68 6 9 , 2984, 2989, 3016, 3025, 3051. RT. 3 9 3 1 , 3 9 3 3 , 3 9 3 4 , 395,1, 3 9 6 9 , 3 9 7 6 , ■5 2 , 4 1 0 7 - 0 8 , 4 1 7 8 , 4 1 7 9 , 4 2 3 0 , 4 2 3 2 . PrT.

1718,

3987,

4 o5l-

1757,

5. 5 1 , 6 9 . 8 5 , 9 9 , 2 4 3 - 4 4 , 3 1 0 , 3 5 7 , 4-15, 6 2 9 , 7 0 4 7 7 0 8 , 7 4 6 - 4 9 , 7 5 4 , 7 6 3 , 8 9 6 . 1061 , 1 0 7 9 , 1080 , 1105 - 0 6 , 1 35 5 , 1 4 7 1 , 1 4 8 2 - 8 3 , l 4 9 l , 1604 , 1620 , 1 6 8 4 ,

TC.

R e p ro d u c e d with perm ission of th e copyright owner. F urther reproduction prohibited without permission.

1624-

1692,

1729=

In t h e f o l l o w i n g e x a m p l e s i n w h i c h a p r e d i c a t e e l e ­ ment s t a n d s i n f i r s t p o s i t i o n , t h e v e r b i s n o t inverted: BD. 2 3 -214, 95> 2 1 8 , 2 5 9 - 6 0 , 3 4 1 , 6 6 2 , 7 6 9 , 8 5 9 , ^ 8 3 , 8 8 4 , 8 9 1- 9 2 , 9 2 3 - 2 9 , 9 4 8 , 9 5 2 - 5 3 3 , l o l l , 1078, 1199. GP. 9 9 , 1 0 4 -0 5 , 116 . 1 2 4 , 190, 25C, 274., 2 9 9 -3 0 0 , 3 1 2 , 3 4 , 3 7 9 , 4-05, 4 6 0 , 4 7 5 , 4 7 9 , 4-83, 4 9 6 , 4.9 9 , 527- 2 8 , 5 3 5 -3 6 , 546, 6 0 9 , 6 1 7 , 6 2 1 , 6 2 5 , 6 2 6 , 638. KnT. 9 0 0 . 1015, 1220 , 1277, 1365, 1387, 1388. 4 2 8 , T O 5 , 1 9 6 6 , 2 0 7 8 , 2 2 6 2 , 2284-, 2 3 1 5 , 2 3 2 9 , 2 3 5 3 , 2 4 - 1 5 - 1 7 , 242 7, 2 4 2 9 , 2 6 0 9 , 2 7 1 3 . HT. 3 9 3 9 , 3 9 4 2 , 4-067, 4 - H 6 , 4 4 0 , PrT.

1834,

4241.

1846-47.

TC. 5 . 8 7 , 4 3 , 168, 2 3 0 , 2 9 3 , 2 9 5 - 9 6 , 3 9 7 - 9 8 , 4 7 0 C7 1 , 6 4 3 , 4 9 , 6 6 0 , 7 4 + - 4 5 , 8 0 5 , 8 4 7 , 10 41, 1253, 1304, 1 4 5 2 - 5 3 , 1 6 0 9, 1629, 1 7 5 5 - 5 6 , 1789, 1 8 0 0- 0 1 , 1 8 2 0 , 1 3 5 6 - 5 7 . B .3

C o m p a ra tiv e s P ro se o n ly : M el. 9 9 7 , 1280, 1281, 4 3 6 , 1 5 0 1 , 1620, 1686 , 1 7 8 2 . PT-

B .4

1 57,

185,

191, 2 1 3 ,

1500,

1544,

1554 ,

266, 310.

Negative Constructions P o e try : BD. 3 4 3 , 98 4,

1186.

TC. 5 . 8 2 4 , 8 7 5 , P rT .

1168.

1713.

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

1562,

165

KnT. 9 1 7 , 1 3 9 6 , l i f 2 9 - 3 0 , 2 J T 1 , 2 5 5 7 , 296 O. R egu lar ord er o ccu rs c o n stru ctio n s:

C.

BD.

521

tc.

5.

Transposed

GP. KnT.

D.

203 , 4 4 2 ,

the

447-48,

1940-42,

fo llo w in g

463,

2306,

n eg a tiv e

1093 , 1607 ,

1779 .

order:

151 , 2 2 9 , 239, 3 6 5 , 4 1 0 , 4 3 9 , 453, 557, 559, 6 0 7 . 2049,

RT.

4321.

TC.

5 .

2620.

8 06 , 820 , 827 , 1082 - 8 3 .

PrT.

1811-12.

Verb

in

la .

GP.

en d -p o sitio n ,

279,

KnT.

2T71,

300,

1217, 2428.

1077

TC.

5 .

order:

1444, 1704, 1766, I8 6 3 ,

2088,

1018,

1414 ,

4212.

TC. 5 . 9 0 , 1 4 4 0 7 1725. BD.

reg u la r

678

957,

RT. 4 0 1 1 ,

lb .

in

1569-70,

176 ,

883-84,

1198,

1084,

1195,

1223,

1776

RT. 4 0 6 8 PrT.

1806,

1815

KnT.

1030,

1987.

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

166

2 a . KnT. 9 4 l « 4 4 , 1020, 1745, 1 8 6 5 , 2 0 5 2 , 2 2 2 9 , 2 2 5 3 , 2l|.10, 2 ^ 4 , 2^4-9, 4 7 8 , 25 4 2 , 2 7 4 9 “ 51, 3066, TC. 5 . 8 - 1 0 , 7 8 , 1 9 0 , 2 3 1 , 2 5 7 , 3 5 0 , 4 0 4 , 1 0 9 0 , 1247, 1249, 4 5 9 , 1825.

169

GP.

RT. 3985, 4 m , 4134, 4205, 4214. 2b.

KnT.

892.

9 4 1 -4 4 ,

H51,

1602,

1662,

2354,

2548, 2 7 4 l, 2898. RT.

4237,

4288.

TC. 5 . 8 - 1 0 , 7 3 , W 7 9 8 0 , 11 3 8 ,

190, 196, 2 2 7 , 2 9 6 , 4 o 4 , 1249, 1299, 1 6 24, 1825.

BD. 5 8 9 - 9 0 . 3.

KnT. 9 6 5 - 6 6 , 1103, 1446, 1 5 1 3 -1 4 , 2 0 4 8 , 2 1 7 2 , 2 2 7 6 , 2 6 1 1 , 2 7 1 3 -1 4 .

434, 1 1 7 3 , 1536 , 1 7 5 7 .

TC .

5 .9 1 ,

RT.

3943,

W 77

1207,

1217,

17 5 8 , 1218,

4021.

GP. 271 BD. 8 0 0 . II Subordinate B.

In verted Order:

B .l

Substantive c la u se s:

C lauses

Prose: M el. PT.

1143,

1185,

1225,

1269 , 1549 .

260

A s t . 42~i|4

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

167

B .2

Comparatives: Prose: M el. 1117, 1127, 1 5 5 7 , 1669 . PrT. 215,

1333,

1501,

1619-20,

9 2 , 1 3 0 , 14-2, 1 6 9 , 174., 2 2 9 , 2 5 3 , 25&, 2 6 9 .

204-,

1659*

208,

209,

A s t . 20 P oetry: BD. 4.09, 5 1 7 , T T 5 7 , 1162 GP.

92,

TC.

5 .

268,

935-87,

287,

384.-85,

1064.-65,

4-70-71,

440,

621,

1651,

1080-81,

642-43,

1117-18,

688

1653.

RT. 3950, 4-04-5, 4126, 427 8. KnT.

1362,

1531,

2338,

B .3 . A dverbial c la u s e s , a l l

2455,

2 6 l4 .

types:

Prose: M el.

1170,

A st.

32,

PT.

147,

1194,

1327.

85 149.

P oetry: GP.

373

K n T . 1038, 1040, 1171, 1357, 1524, TFT4, 2279, 2799-2800, 3054T C . 5 . 28 , 9 5 , 1 2 9 - 3 0 , 7 3 6 , 1054-55, 1537.

284,

653,

1741,

1751,

676 - 78 , 69 1 ,

RT- 4117, 4177.

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

168 B .4

M e l.

1209,

PT . 9 5 ,

1361 ( t w o ) ,

128 ( t w o ) ,

1362 ( t h r e e ) ,

1365.

198

B . 6a TC. 5 .4 3 8 , 7 0 6 , 7 9 7 , 8 3 8 , 8 8 9 ,

1408

KnT. 2 2 6 4 , 2 7 0 9 , 2998 C.

T ran sp o sed o r d e r , s u b o r d in a te c la u s e : M e l.

1 0 08, 1 0 8 2 ,

1508, 1800

C . l a V e rb in e n d - p o s i t i o n : a c t i v e and p a s s i v e : TC. 5 .1 4 9 , 4 7 4 - 7 5 , 6 4 5 , 7 3 2 , 8 2 9 , 9 3 2 - 3 3 , T O , 9 9 1 , 1203, , 1 3 1 7 , 1408- 0 9 , 1462- 6 3 , 15 8 1 , 1 6 0 8 , 17 6 4 , 1815- 16. KnT.

1059, 1208, 13 5 5 ,

lb TC. 5 . 9 0 9 , 9 6 4 , C .2

1 5 1 2 , 1933,

2278.

12 9 7 .

V e rb in m i d - p o s i t i o n

2a TC. 5 .1 10, 303. 437, 6 2 6 , 6 3 8 , 711, 9 9 0 , TI85, 14 1 8 , m £ k 7 , 1460-61, 1514-15,

1709- 10 , 1780-81

KnT. 1381, 14 1 9 , 2 0 5 7 , 2 2 6 7 , 2 3 7 3 - 7 4 , 2595, 2890, 2903, 2982. GP. 5 - 6 , P rT .

13 5 , 637

1782,

1855

2b KnT. 1192, 1 2 56, 12 6 1 , 3009, 3053.

2201, 2931,

3004,

GP. 5 1 5 , 851 P r T . 1714 TC. 5 .2 7 7 , 4 2 7 , 4 3 5 - 3 6 , 5 4 6 , 6 9 4 , 7 9 5 , 392, 1098, 1228 , 1 2 8 4 , 13 0 7 , l 4 o 4 ; 1739.

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

169

C .3

I n v e r s i o n and t r a n s p o s i t i o n : KnT. 11+0 0 , 1 5 5 6 , 161+0 , 17 6 0 , 2 2 9 5 , 231+1, 2 5 7 7 , 2 9 5 6 , 2972, 2981, 3052. I C . 5 .5 3 3 - 3 4 , 5 4 3 -4 4 , 6 8 1 , P rT .

D.

101+5, 1650-51

1830

Verb i n e n d - o r m i d - p o s i t i o n ,

regular order:

la P r o se : M e l. PT.

1 2 1 5 , 12 3 6 , 127,

183,

1304, 1321.

189

A s t . 66 P oetry: TC. 5 . 1 7 8 , 1+51-52, 5 3 9 , 6 9 6 , 74-2, 7 3 0 , 781+, T 9 0 , 8 1 6 , 8 7 3 , 1032, 1111, 1 2 3 5 , 1237, 12717 2 , 13 8 5 , 1 3 9 5 , 1 ^ 3 9 -4 0 , 151+1-42, 1633, 1 6 5 5 -5 6 , 1 7 2 3 , 1855. KnT. 1 0 6 6 , 1123, 1371, 13 8 4 , 1445, 1548, 1617, 7 5 E 8 , 17 6 5 , 1898, 1924, 2 0 8 7 , 2 2 5 5 , 2 3 9 8 , 2 9 1 5 , 3065, 3079. GP. 698 RT. 4221 P rT .

1762

BD. 5 4 7 , 6 2 1 , 6 8 1 , 9 2 9 , 1 0 5 2 . D . lb P r o s e : M e l.

1 0 7 1 , 1147,

1334

P T . 282

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

170

Poetry: TC. 5 . 1 1 4 , 117, 139, 1 7 3 , 2 8 3 , 3 3 7 , 4 6 4 , 5 5 6 , $ 9 3 , 9 6 0 , 9 6 5 , 1002, 1 0 0 8 , 1060, 1209, 13 8 7 , 1 3 8 9 , 14 1 6 , l i 4 5 , 1 5 6 3 , 1 6 4 0 , 1095- 9 6 , 1846 KnT. 8 9 1 , 9 6 4 , 1089, 1 2 3 2 , 1436, 1473, 1477, T J T 7 , 1 5 9 7 , 1822, 1 9 8 9 , 2 0 6 4 , 2 0 9 6 , 2 6 5 9 , 2 7 1 4 , 2800, 2852, 3100. GP. 7 - 8 ,

1 8 , 805

RT. 3 9 6 6 , 3986 P rT .

1 7 7 8 -8 0 ,

1848

D .2 a P r o s e : M el.

10 5 4 ,

11 3 5 , 1 1 9 1 ,

1508

Poetry: TC. 5 . 2 8 9 , 3 7 5 , 4 5 6 , 6 3 2 , 7 8 0 , 8 4 3 , 8 9 1 , 9 1 5 , 1 0 2 1 , 10 9 6 , 1178 , 12 1 5 , 1 2 8 4 -3 5 , 1336, 1364, 14 0 2 , 1 4 5 0 , 1485- 8 7 . KnT. 9 9 9 , 1762, 1923, 2 2 7 5 , 2 3 2 7 , 2 3 5 5 , 2 3 8 8 , 2 5 3 7 , 2 9 4 o , 2945 P rT .

1 8 0 4 , 1842

RT. 4 1 9 0 , 4 1 9 5 , 4 2 2 4 2b P r o s e : M el. PT.

1185, 176,

1449

177,

183

P oetry: TC. 5 . 3 2 , 5 6 0 , 9 8 6 , 1 0 9 6 , 1 7 2 1 , 1753 KnT. 1 2 4 2 -4 3 , 3o5o.

1258,

1137,

1215,

1613,

1351, 2770, 2772, 2823,

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

171 GP. 286, 299, 450

BD. 94. 355, 485, 589-90, 782, 971-72 RT. 3938, 3945

1731

PrT.

D.3» TC. 5.386, 510, 799, 12 0 4 , 1293, 1626 . RT, 3924 KnT.

1425

BD. 7 1 1 , 1321 D.4 * KnT.

1591,

1601

TC. 5 .5 9 5 , 7 0 1 , 8 6 6 ,

1 1 3 9 -9 0 , 1 3 2 6 , 1839-40

PrT. 1712 D .4 b GP 1 -2 ;

TC. 5 .5 8 4 KnT.

1 0 0 1 -0 2 ,

l4 8 l,

1624,

1735 , 2 3 0 0 -0 1 .

D .5 a P r o s e : M e l.

1023,

1031,

1 2 67, 1318,

TF74, 160 b, 1 6 4 1 , 1888 . PT .

1 5 1 6 , 1544.

1567,

175, 2 0 2 , 2 5 1 , 3 1 3 .

P o e try : KnT. 2 9 5 1 -5 2 ,

TC. 5 .4 8 9 “ v0, 6 7 3 -7 4 , 1489-90, 1495-96, 1782-83 D .5b P r o s e ; M e l. 1106, i _ c 4 , 1236, 12lj4, 1 2 5 8 , 1300, 1301, 7 3 5 1 , 15.4 2 , 1475, 1 5 3 1 , 1553, 1 5 8 8 , 1632 , i64o, 16 5 5 , 1694 , 1809 - 11 , 1883-84 PT .

l4 4 , 2 2 8 , 24+, 278

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

172

P oetry: TC. 5 .9 1 8 , 9 4 4 -4 5 , 1 000,

1 191 ,

1294

BD. 5 3 -5 4 , 2 2 7 -2 8 , 741, 8 3 5 , 847,

1031

III D i r e c t and I n d i r e c t O b j e c t (S p e c im e n s O n ly ) A. 1

,

TC. 5 - 5 8 1 , 1020, 17^.3

7532

1134,

1 3 2 0 -2 3 ,

1 4 4 0 , 1517,

g p . 95 , 4 9 8 , 677 KnT. 9 5 7 - 5 8 , 1022, 1 2 0 6 , 2 8 7 8 , 3 1 0 3 , 3104

I 8 4 l, 2 0 88, 2 2 8 2 -8 3 ,

RT. 4 0 7 6 , 4 1 0 3 - 0 5 , 4 1 3 6 , 4 2 1 6 P rT . B .l

1708,

BD. 4 8 ,

1712,

1224,

1760, 1 7 6 1 ,

1789,

1802,

1823

1226

TC. 5 .1 0 9

GP. 720, 779, 822 RT. 4 1 1 8 - 1 9 , 4 1 3 8 -3 9 KnT.

1818,

1825,

1826,

1827,

1 8 2 8 , 2417

b .2

t c . 5 . 150, 8 47, 944, 1129, 1664

B.3

KnI. 2296, 2372 TC. 5 .5 2 1 - 2 2 , 5 5 7 -5 8 , 9 5 2 ,

1121

IV A d je c tiv e C o n s tru c tio n s B.

Prose: M e l.

1273,

1354,

1368, 1 3 9 8 ,

1399,

1400,

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

1401,

173

l4 o 6 , 1830 PT. 7 9, 8 0 , 9 8 , 2 5 7 , 311 A s t. 91,

131,

l 8lf, 2 3 4 , 2 4 0 , 2 4 1 , 2 k 3 ,

108

P o e try :

B .l

BD. 3 3 2 , 5 2 5 , 58 3 , 5 9 5 , 555, 5 7 0 , 5 9 3 , 661, 7 7 5 , 821, 95 2 , 955, 963, 987, 1 2 1 1 , 1225, 1 2 3 3 , 1313

1005,

1033,

1055,

TC. 5.9, 5 6 , 8 6 , 136. 1 5 5 , 180, 1 9 1 . 199, 2 2 0 , i 5 o , 2 7 6 , 3 0 2 , 3 0 5 , 5 1 5 , f o i , 55o, 557, 5 6 6 , 5 76, 5 77, 6 0 1 , 6 3 6 , 6 3 9 , 6 5 6 , 6 52, 6 8 8 . 709, 7 3 0 , 8 0 5 , 8 1 0 , 8 1 5 , 8 6 5 , 9 2 2 , 9 9 9 , 103 5 , 1 0 5 9 , 1 1 0 9 , 1179, 1208, 12 3 8 , 12 6 5 , 13 3 8 , 1 3 5 0 , 13 5 2 , 1390, 1 5 0 5 , 15 5 5 , 15 5 7 , 1 5 7 0 , 15 1 1 , 1 5 5 6 , 15 7 6 , 1 5 97, 1 6 2 9 , 16 9 0 , 1 7 3 1 , 1 7 5 7 , 1 7 5 9 , 1 8 5 1 , 1 8 5 9 , 1 8 6 8 , 1869. GP. 1, 1 1 5 , 1 2 2 . 129, 1 5 9 , 2 9 6 , 3 2 3 , 3 2 9 , 3 3 8 , 3 ^ 3 , 4 l 6 , 5 7 2 , 5 7 3 , &25, 6 3 2 , 7 3 6 , 7 5 3 . KnT. 9 5 3 , 10 2 9 , 1193, 1 3 0 5 , 1337, 1 3 3 8 , 1365, 1376, 1388, lk 7 2 , 1 5 87, 1 5 9 2 , 1 5 9 7 , 1598, 15 0 9 , 15 5 1 , 1579, I 6 6 3 , 1 7 83, 1 8 2 0 , 1 8 7 8 , 1893, 1 9 2 0 , 19 5 8 , 1978, 1 9 9 0 , 2 0 1 2 , 2 0 5 8 , 2 1 3 5 , 2 1 3 6 , 2151, 2151, 2152, 2157, 2165, 2175, 2220, 2231, 2 2 8 I , 2282, 2295, 2297, 2309, 2331, 2333, 2359, 2 3 7 3 , 2 3 9 2 , 2 5 0 9 , 2 5 1 9 , 2 5 2 5 , 2 5 6 7 , 2 5 6 8 , 2L9 9 , 2525, 2556, 2567, 2583, 2586, 2605, 2613, 2695, 2766, 2771, 2866, 2875, 2907, 2957.

TJ75,

RT. 3 9 7 5 , 5 1 1 2 , 5 1 3 1 , 5 2 9 3 . P rT .

1719,

1800, 18 5 6 , 1868.

8 . 2 a KnT.

1995,

2 1 5 5 , 2 l 6 l , 2 2 9 9 , 2 9 0 1.

2b KnT.

1287,

2 0 0 2 , 2876

1527,

1737, 1 7 4 7 , 1 9 4 1 , 1 9 69, 2 0 5 1 , 2 5 + 3 .

B .3

KnT.

B .4

BD. 620

....................................... Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

174

GP. 89“90 KnT.

1053,

I 2I4. I ,

1329 , 2860 , 2 8 8 4 .

P rT . 1779 C.

P ro se : M e l.

1005,

1 0 1 6 , 1170, 1 3 5 0 ,

14 0 9 .

PT. 298, 312. A s t . 35 P o e try : BD. 2 5 0 , 6 5 3 , 813

TC. 5 .1 9 8 , 307, 342, 485, 5 6 7 , 653, 675 ,, 764, Bo 1, 898. 9 11, 1189, 1326, 1331, 1354, 1401, 1420,

1494.

KnT. 9 7 6 , 1331, 1580, 1653, 1 7 5 5 , 1880, 1977, 2 5 7 1 . 2 1 2 1 , 2 1 6 2 , 2 2 1 5 , 2 2 2 5 , 2 2 6 0 , 2 2 71, 2 2 9 0 , 2430, 2441, 2598. P rT . D .1

1722, 1771, 1854,

1871,

1877.

P ro se : M e l. 1057, 1 0 8 6 , 1107, 1 2 4 7 , 1 2 4 8 , 1277, 1282, 7 2 5 6 , 1289, 1 3 9 7 , 1399, 1421, 1 4 23, 1424, 1425, 1 5 5 7 , 1611, 1 6 2 4 . PT. 95, A s t.

107,

186, 2 0 7 , 293

16, 2 7 , 2 9 , 5 1 .

D .2 a P o e t r y : KnT. 17 1 6 . 1 8 9 0 , 1891, 2 0 3 9 , 2 0 4 3 , 2 1 3 9 , 2 2 7 1 , 2 292, 2594, 2607, 2724, 2725, 2733, 27b6, 2889, 3072. RT.

3970, 4014, 4124,

4166,

4232, 4233, 4278.

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

175

P rT .

1712

BD. 3 7 , 3 0 6 , 4 2 2 , 4 5 5 , 6 3 4 , 7 1 8 . TC. 5 . 1 9 1 , 2 3 9 , 3 5 3 , 4 7 2 , 8 9 9 ,

1495.

D .2 b P o e t r y : BD. 4 3 7 , 5 7 3 , 7 2 3 , 8 2 4 , 8 3 1 , TC. 5 . 9 7 , 7Mf, 7 6 6 , 8 8 9 , 9 2 4 , T 3 5 0 , 1728

1323 12 0 6 , 1311, 1 3 48,

KnT. 16 9 9 , 1 7 9 6 , 1 9 1 7 , 2 2 1 1 , 2 5 1 5 , 2 5 8 9 , 2 6 2 3 , 2 7 3 6 , 2 7 8 1 , 2 8 0 1 , 3071

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

TABLE V

I n v e r t e d Order vs* R e g u l a r Order F o l l o w i n g an I n t r o d u c t o r y A d v e r b i a l E lem e n t Adverbial Elem ent

BD. f ) TC. $ Inv R Inv R

GP. R Inv

KnT. R Inv

RT. R Inv

2 10

0 0

22

20

1 0

25

0 0

10 2

0 0

1 1

0 0

2 5

0 0

3

5

M onosyllabic, sim ple ten se Noun S u b j e c t Pronoun S u b j .

1 0

2 2

1 1+

M onosyllabic, compound t e n s e Noun S u b j e c t Pronoun S u b j .

0 0

0

0

3

1

2 16

0 0

1 Ilf

0 0

10 26

17

1

21

6

3

P olysyllab ic, sim ple ten se Noun S u b j e c t Pronoun S u b j .

8

5

8

59

0

83

11 5 4

15 10 13 55

P o ly sy lla b ic, compound t e n s e Noun S u b j e c t Pronoun S u b j .

2 10

3 k

11 22

8 12

1 8

2 10 12 10

TOTAL

80

89 65

69 85

Percent

*9

L30

1+0.6

19.2 5

53.5

** C. 19 33

PrT. R ' Inv

1

T otal R 1 Inv

Pet Inv

3

ko

£

60

93.0 93.8

0 1

16

1 0 0 .0

67

98.5

0

2

1

3

29 293

65 1+7

6 9 .1

9

k

21

1

2 2

28

5

0 6

56

55

1+2 . 9 1+9 . 5

ll+8 1+0

31

il+

15

19

6 3 .2

0

1+3 . 7 ____ I

51.7

13.8

176

APPENDIX B

Much h a s been w r i t t e n a b o u t C h a u c e r ’ s i n d e b t e d n e s s t o Frenc h and I t a l i a n s o u r c e s f o r many o f h i s poems, b u t n o t h i n g h a s been w r i t t e n a b o u t h i s r e l a t i o n t o th e n a m e l e s s E n g l i s h p o e t s who i n h i s d a y were t u r n i n g o u t t h e p o p u l a r m e t r i c a l romances i n t h e v e r n a c u l a r .

An

in v e stig a tio n of th is r e la tio n sh ip i s a v a st project y e t t o be u n d e r t a k e n , b u t b e c a u s e a few remarks r e g a r d ­ ing t h e e s s e n t i a l t n g l i s h n e s s " o f C h a u c e r ' s s y n t a x seemed c a l l e d f o r , a p a r t i a l i n v e s t i g a t i o n o f t h e p h r a s a l and s y n t a c t i c s i m i l a r i t i e s was u n d e r t a k e n .

Even so b r i e f

a s u r v e y e m p h a s iz e d t h e f a c t t h a t an a l m o s t e x c l u s i v e c o n c e n t r a t i o n upon C h a u c e r ' s c o n t e x t u a l r e l a t i o n s h i p s t o French and I t a l i a n s o u r c e s h a s a c t e d t o o b s c u r e what must pro v e t h e c o n s i d e r a b l e works upon h i s s t y l e .

T h is c o n c e n t r a t i o n upon C h a u c e r ' s

contextual rela tio n sh ip s ment on t h e s u b j e c t .

in flu e n c e o f n a tiv e E nglish

is r e f l e c t e d in a recen t s t a t e ­

Mr. H. S . B e n n e t t , in Chaucer and

th e F i f t e e n t h C e n t u r y , w r o t e i n 19^-7: There we re p o e t s i n England o f h i s t i m e , i t i s t r u e , who c o u l d have shown him how to t a k e t h e b e s t e l e m e n t s o f a l l i t e r a t i v e p o e t r y and to combine them in a h i g h l y p o l i s h e d v e r s e - f o r m , making f u l l u s e b o t h o f a l l i t e r a t i o n and rhyme,

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

b u t we have no e v i d e n c e w h a t s o e v e r t h a t works su ch a s P e a r l o r S i r Gawain and t h e Green K n i g h t e v e r came h i s w a y , o r t h a t he c o u l d ha v e c o p e d w i t h t h e i r d i a l e c t i c a l p e c u l i a r i t i e s even had t h e y done s o . A few l i n e s f u r t h e r he c o n t i n u e s : E n g l i s h p o e t r y t h e n made o n l y a s m a l l d i r e c t a p p e a l among t h e many t h i n g s w h ic h h e l p e d t o shape t h e p o e t ' s [ C h a u c e r ' s ] mind. Yet t h e r e i s t h i s t o be s a i d . The f o u r t e e n t h c e n t u r y was c l e a r l y n o t so empty a s h a s o f t e n b e e n s u g g e s t e d . W hile we no l o n g e r t a l k o f Chaucer a s ’ th e F a t h e r o f E n g l i s h p o e t r y , ' we a r e o f t e n i n c l i n e d t o ' a s s e n t w i t h c i v i l l e e r ' t o any s u g g e s t i o n t h a t t h e r e was l i t t l e o r n o t h i n g o f v a l u e b e f o r e Chaucer w r o t e . . . . T h i s i s t o i g n o r e t h e abu nd ant evidence o f a l i v i n g , h e a lth y t r a d it io n o f w r i t ­ i n g s i n E n g l i s h , and a l a r g e body o f v e r s e w h i c h was in c i r c u l a t i o n when Chaucer b e g a n t o w r i t e . . . . The a b i l i t y t o u s e E n g l i s h rhythms and E n g l i s h d i c t i o n w ith the a ssu ra n ce demonstrated c o n t in u ­ o u s l y by Chaucer and Gower comes t o them i n p a r t by v i r t u e o f t h e i r p o s i t i o n i n t h e f o u r t e e n t h cen tu ry.2 L a t e r in h i s e s s a y B e n n e t t s t a t e s : I t was t o I t a l y . . . t h a t Chaucer was to owe m o s t . Even i f we a g r e e w i t h P r o f e s s o r Manly t h a t 'when one d e l i b e r a t e l y sums up C h a u c e r ' s d i r e c t debt to the I t a l i a n s i t i s s u r p r i s i n g l y s m a l l , ' we must n e v e r f o r g e t h i s a l l - i m p o r t a n t c o r o l l a r y : ' Y e t i t i s p r o b a b l e t h a t b u t f o r th e I t a l i a n s Chaucer w ould n o t have become t h e g r e a t a r t i s t t h a t he d i d b e c o m e . ’ ’ 1. H .S . 1. 5 6 < : T h a t me i s wo t h a t 1 w a s b o r n -TC. 3 . 3 0 i * : W e y l e w a y t h e d a y t h a t I w a s b o r n l l * 2 3 : T h a t 1 w a s b o r n , a l i a s ! w h a t me i s wo 4 . 1251i A la s t h a t e v e r e th e y w ere born LOW. 1 3 0 8 : T h a t 1 w a s b o r n , a l i a s ! " A la s , t h a t I w as b o r n ," (and v a r i a n t s ) R v . I4. 109 ; S h . 1308 - 1309 ; P h T . 2 1 5 ; F k l . 1 7 6 8 9 - 9 0 , 7 0 0 , 1 2 7 5 - 7 6 ; l g w . 658, 833, For

the

phrase

M iscella n eo u s

and v a r i a n t s

phrases

in

comm on

i n KnT, 1 2 2 3 , 15^ 2; 11*63J I £ . 3 . H 0 3 , 1027 .

rom ances,

to Chaucer

a lia s!

see

and

Z ielk e,

p.

15.

ME. r o m a n c e s :

a n o n r i g h t , r i g h t a s I f y n d e , a s y yow t e l l e , a s y yow s e y , soth fo r to t e l l e , w ythouten n ay (C haucer’ s " it i s no n a y " ), w it h o u t e n d r e d e , a s I g e s s e . See Z ie lk e , p. 17, 2 1; C o n c o r d a n c e .

971}

And a l s o " w e le and w o" ( Z i e l k e , p . 2 1 ) , C h a u c e r : C l . M c h . 1 2 9 0 ; B D . 6 0 3 ; M a r . 181*; T C . 3 . 1 1 * 7 2 , 5 . 1 3 3 0 ; “T g w . " 5 5 9 , 1 2 3 5 ; F o r t . 2 ; RR. 1 7 9 5 ; 2H 6 0 , 2 8 7 2 , 5201*; a n T ^ w a r r e a n d w y s e " ( z i e l k e , p . 2 1 ) a n d GW. 7 0 , 7 i * 0 , 1 5 8 6 , 7 1 7 1 , 76 81* ; C h a u c e r : GP. 3 0 9 : "A s e r g e a n t o f t h e l a w e , w a r a n d w ys"; Sh. 1555s "T h is m a rc h a n t, w h ic h t h a t was f u l war a n d w y s 11; R R . l 2 5 8 : " B u t w y s a n d w a r e , a n d v e r t u o u s , " d f . R om an 1 2 3 6 : M ais s a g e en tre senz o u tra g e.

e

In a lso

a d d itio n

fin d s

to

these

c o n siste n tly

in

set the

phrases

and c l i c h e s ,

m etrica l

rom ances

one

a ll

the

7. The d e l i b e r a t e rom ance c h a r a c t e r i s t i c s o f S i r Thopas are not c o n s id e r e d in t h is stu d y fo r obvious r e a so n s. It i s w i t h th e g e n e r a l romance v o c a b u l a r y w h ic h C h au cer a s s i m i l a t e d and u s e d th r o u g h o u t h i s p o e t r y t h a t we a r e concerned.

R e p ro d u c e d with perm ission of the copyright owner. Fu rther reproduction prohibited without permission.

190 O

w ord-order p a tte rn s d escrib ed

in th e p r e c e d in g c h a p t e r .

E x a m p l e s may be s e l e c t e d a t random: V e r b a l i n v e r s i o n s : T h e r f o r e s c h u l d e man w i t h g l a d d e c h e r e , GW(2), 15; T h e r e m i g h t men s e e f i g h t e b e g y n n e , GW(2i"7T393* Now i s Guy f u l l h a r d e b e f a l l e , GW( 2 ) , l i l ^ ; GW(2), 2 1 0 3 , 2 1 0 6 , 2 1 3 1 , 2 1 9 1 , 2 2 2 5 , 3^49? Than s c h u l d e h e f u l l y t h y g r a c e f e l e , SB. 12; Tho was t h e Sowdon m ore t h a n wod, SB. if 11; G l a d d e w e r e a l t h e R o m ay nes, SB. 1|39» S o r y was t h e Sou don t h a n , SB. Iflf3; SB. if3 8, ififl; The f o r t h i r m a s t e come a s a r a z e n e w y g h t e , SM. 2 2 9 ; A*1** f o u r e n o b i l l k n y g h t e s t h a n h a v e t h e y s l a y n e , SM. 3if0; SM. 163, 2 3 1 , ifl5? I n Paynym ne e s n o n e s o d o g h e t y , DR. 100; H is h a n d e up ho I d e s h e e , DR. 3 1 2 ; Ane h a w b e r k e a s k e I t h e , DR. 3 8 7 ; S t i k e s k a n I c h b r e k e n a n d k r a k e n , HD. 9 l i f ; T u l w e l k a n I c h e l e v e n s h i d e s , HD. 9 1 7 , AlsHFie was s t r o n g , so was he s o f t e , HD. 99*^7 O n i h t saw s h e t h e r i n n e a l i h t , HD. 1251; w i t h o u t p e a c e s t o n d e no t h i n g g o o d , C o n f . Am. lj.8; So w i s t e I me none o t h e r r e d e , C o n f . Am. 5 o; Now h a t h i t t h i s , now h a t h i t s h e , C o n f . Am. 54? Tho f e l l t h i s k n i g h t i n m oche l t h o u g h t , ConT. Am. 7 0 ; T ran sp o si t l o n s : T hat doughty weren of ded, SM. 37 And b y t h e t h r e wekes comen w e r e , SM. 8 0 5 ; A l s f l o u r e s t h a t s t r e w e d e w e r e , DR. 5olf; T h a t g e n t i l was a n d f a y r e b e e - s e e n , GW(2), 2^7 And noon o f t h e i m h a v e s h e w o l d , GW(2), 9 7 ; To a l l e men y i f t e s y i v e he w o l d e , G W ( 2 ) T l V ? ; GW. 153, 199* 1323, 25 6 8 ; 8. S i n c e t h i s is n o t i n te n d e d to be a c o m p a ra tiv e s t u d y o f C h a u c e r’ s w o rd -o rd e r p a t t e r n s in r e l a t i o n to th o se o f o t h e r ME. w r i t e r s , I h a v e n o t c o l l e c t e d a n y s t a t i s t i c s r e l a t i v e to the f re q u e n c y o f th e s e c o n s t r u c t i o n s in th e w o r k s c i t e d and i n C h a u c e r . H ow ever, o n t h e b a s i s o f a l i m i t e d i n v e s t i g a t i o n , a n d w i t h no s t a t i s t i c s t o s u p p o r t my i m p r e s s i o n , I b e l i e v e t h a t C h a u c e r ’ s p o e t r y c o n t a i n s a h i g h e r p r o p o r t i o n o f i n v e r s i o n s , t r a n s p o s i t i o n s , S-A c o n s t r u c t i o n s , e t c . , t h a n a n y o t h e r I h a v e lo o k e d a t , c e r t a i n l y more t h a n G o w e r ’ s .

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

191 Of a Sowdon t h a t h e a t h e n w a s , SB. 2 2 ; T h e r e a s C r o n y c l e s rem e m b re d e b e , SB, 2 8 7 F r o B a b l y o y n e comen i s , SB. 6 9 ; As 1 yow t e l l e m ay, C o n f . Am. 5 0 ; and t h u s f u l many one D e c e i v e d w e r e , ConTT Am. 5 4 ; To h e l p e and s h a p e how h e P a u l i n e A f t e r h i s l u s t d e c e i v e m i g h t , C o n f . Am. 6 C. A d je c tiv e c o n s t r u c t i o n s : m essangers f r e e , SM. 4 9 ; f l o u r d e l y c e , SM. 94* 2 8 1 ; B a r o u n s a l l e , sm. 139; sm. 2 0 6 , 2 6 0 , “3 5 8 , 4 o 4 , 4 1 2 , 715 , 8 1 5 , ■541; gw (2T 7 2 6 , 7 1 , 2 8 2 , 1341, m i , 2 6 8 6 , 2 9 2 3 ; SB. 189, 1 9 3 , 2 0 6 , 2 7 7 , 4 5 9 , 0 6 5 , 7 3 6 , 7 3 8 , 1309 , 1 4 7 2 , 1539 , 1 6 1 5 , 1650, 2149 * 2 6 9 7 ; AA - 9 8 , 5 1 8 , 7 9 0 , 8 8 2 , 8 8 9 , 13 12, 1316 ; SF. 4 2 ; HD. 6 8 0 ; DR. 5 2 7 ; BH. 7 1 8 , 1 5 6 9 ; f a l s g o d H i s a l l e , SB. 1977 yo n ge b a r o u n s b o l d e , F e r . 4 3 ; f a l s g o d d i s u n t r u s t e , GW(2), 3 8 9 3 ; c o u n t r e s l a n g e and w y d e , SM. 144; I n a rm e s go o de a nd p r o f i t a b l e , SB. 188; s o n e s f e i r e and b o l d e , AA. 7 4 ; f o u l e s ”T r e t an d s m a l e , AA. 5 3 5 ; f a u c h o u n s c h a r p an d a o d e , AA. 8 0 8 ; 5 5 . 6 8 7 , 15 8 3, 15 78, 2 4 0 1 , 2 4 8 5 ; k n i g h t e s mani an d T a l e , BH. 2 4 4 ; The sowdane A r a b a s t h e s t r o n g e , SM. 1 3 ; And l a d v e s s w e t e o f Sw yre, SM. 3 8 ; eghne T u l s m a l e , SM. 4 * 5 ; s t o w t e wor des an3 grym, SM. 6 7 8 ; w h i t e b e r d l a r g e a n d l a n g e , DR. 8 0 ; F a i r e o f f l e s c h e a n d f e l l , DR. 8 1 ; k n y g h t i s an d s q u i e r s b o t h e t w o o , GW. 1988 ; a s t r o n g e k n y g h t and a m a n l y , GW(2), 3 5 0 8 ; SM. 4 9 9 ; DR. 2 7 4 , 2 8 2 , 3 3 3 , 3 7 9 ; GW(2 ) , 191 3 , 3 1 7 9 ; SB. 2 2 8 , 5 8 8 , 125 0, 1288. N u m e r ic a l a d j e c t i v e s : C h i l d r e mone thes t h r e e , 598; f e t e t h r e , s e x t y men and t w e l f e , SB. 3 4 1 , SB. AA. 10, 3 1 , 5 2 , 7 2 , 2 5 ^ 5 ; HD. 3 5 3 ,

t h r e e , SM. 5 8 ; SM. 719; B u t 5 4 3 , 5 4 4 , *450, 794.

One r e c u r r e n t s y n t a c t i c s i m i l a r i t y b e t w e e n C h a u c e r ' s p o e t r y and t h e F rench and I t a l i a n poems he knew w h ic h c an be d i s m i s s e d a s o f l i t t l e

sig n ifica n ce

is t h a t of

t h e p o s t - p o s i t i o n o f the a d j e c t i v e , f o r t h i s c o n s t r u c t i o n i s common in a l l t h r e e

l a n g u a g e s and i t s f r e q u e n c y in

Chaucer c an s c a r c e l y be a t t r i b u t e d o n l y t o h i s f a m i l i a r i t y

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

192 w i t h F r e n c h and I t a l i a n p o e t r y .

Exam ples o f t h i s con­

s t r u c t i o n a r e found th r o u g h o u t t h e p o e t r y : e p i a c e n t e , F i l c Iff3 3 5 ^

C r i s e i d a m ia . Pandar m io. p a ssim ;

v e c c h i o m a l v i s s u t o , Fi 1. lf»38; v e c c h i o roc p r e m ie r e , F r o i s .

s i g n o r do l e e

llf6;*®

i n s a n o , FI 1. i f . 3 8 ;

dame h o n n o u r a b l e , F r o i s .

l a c o u l o u r r o u g e , F r o i s . 299*

1£8;

F r e q u e n t l y , how ever, Chaucer

r e v e r s e d th e o r d e r found in h i s s o u r c e :

Creon la f a l -

l a n z a , T e s . 2 . 3 9 * 11 t h e t i r a n t C r e o n , KnT. 9&1? i s p e r a n z a b u o n a , T e s . 2 . 3 9 * good e n t e n t e , KnT. 958? b a r o n p o s s e n t 1 , T e s . 2.39?

t r e w e k n y g h t , KnT. 959? e t t e r n o a d a m a n t e , T e s .

7 . 3 2 , Adamant e t e r n e , KnT.

1990? P a u r a p a l l i d a , T e s . 7.33 »

p a l e d r e d e , KnT. 1998. There a r e , o f c o u r s e , tran sla te s

in stances

t h e F r e n c h a nd I t a l i a n ,

of the o r i g in a l:

in which Chaucer

retain in g

O c a s ta dea, d e « boschl

the o r d e r

lu stratice,

T e s . 7 . 7 9 » O c h a s t e g o d d e s s o f t h e w odes g r e n e , KnT. 2297? c on e t t e r n a p a r o l a , T e s . 7 . 8 5 * a n d b e e t e r n e w o r d e , KnT. 9 . R e f e r e n c e s h e r e and h e r e a f t e r a r e to F i l o s t r a t o , N. E . G r i f f i n and A. B. M y r i c k , e d s . , P h i l a d e l p h i a , 192S9"; r e f e r ­ e n c e s a r e t o book a n d s t a n z a n u m b e r s . 1 0 . R e f e r e n c e s h e r e and h e r e a f t e r t o P o e s i e s de J . F r o i s ­ s a r t , J . A . B u c h o n , e d . , P a r i s , 1 8 2 9 ? r e f e r e n c e s t o p ag e n u m b ers o n l y . 11.

ed .,

R e f e r e n c e s h e r e and h e r e a f t e r t o T e s e i d e , S . B a t t a g l i a , F i r e n z e , 1 9 3 8 ; r e f e r e n c e s t o b o o k and s t a n z a n u m b e r s .

R e p ro d u c e d with permission of the copyright owner. Further reproduction prohibited without perm ission.

193 2350; O f o r t e

i d d l o , T e s . 7 . 2 4 , 0 s t r o n g e g o d , KnT. 2 3 7 2 .

B u t t h e s e i d e n t i t i e s c a n n o t be r e g a r d e d p u r e l y a s

instances

o f d i r e c t i n f l u e n c e o f C h a u c e r ’ s s o u r c e s upon h i s s y i t a x , f o r v e r y o f t e n f o r e v e r y i d e n t i c a l p h r a s e one c a n c i t e sy n tactic

r e v e r s a l o f t h e same p h r a s e .

a

I have a l r e a d y

r e f e r r e d to E i n e n k e l ’s c i t a t i o n o f the p h rase "blood r o i a l " from th e F re n ch sang r e a l ( n o t e

13, p p . 39"4o> a b o v e ) as

a n e x a m p le o f r o m a n c e i n f l u e n c e . also

i n F i 1.

The c o n s t r u c t i o n o c c u r s

l.lj.0 ( s a n g u e r e a l e ) .

The a d j e c t i v e r o i a l

occurs f r e q u e n t l y in C h a u c e r’s w r i t i n g s , o f te n p o s i t i o n , a s i n KnT.

1018,

11+97,

15*1-6, 1551; ML. 6 5 7 ;

Mk. 33*4-1; Sfl. 261+; A n e l . 6 5 ; PF . 3 9 4 ; TC. 3 . 1 8 0 0 ; 4 * 1 6 6 7 ; 5 . 1 8 3 0 ; LOW. 1036. tive

in s e v e n c a s e s i s b l o o d .

in p o s t ­

1 . 4 3 2 , 1+35;

Of t h e s e ,

the su bstan­

On th e o t h e r hand,

there

a r e the f o l l o w i n g e x a m p l e s o f r o i a l in p r e - p o s i t i o n : KnT.

1829, ML. 9 6 1 ; T h . 2 0 9 2 ; Mk. 3 3 3 4 , 3 7 6 6 , 3 8 6 2 ; C l .

267, S£. 26, 59; P i t y 5 9; a b £ . TC. 3 . 1 5 3 4 ; LQW ( F ) 2 l 4 , however,

284,

in P a r s . 765-70,

b l o o d , w hich i n d i c a t e s a b le in C haucer,

11+1+5 p f .

1096.

330, 415, 633;

O nly in th e p r o s e ,

i s t h e r e a n e x a m p le o f r o i a l

t h a t the p h rase i s n e a r l y i n v a r i ­

though the p o s i t i o n o f r o i a l

(S e e a l s o o t h e r e x a m p les i n ME l i t e r a t u r e :

is n o t.

SB. 7 3 6 ,

E r i l l e s r o i a l l e ; SB. 2 6 9 7 , Sowdon R o i a l . )

R e p ro d u c e d with perm ission of the copyright owner. Further reproduction prohibited without permission.

194

From

h i s French read in g Chaucer a p p a re n tly d id

d e r i v e one o f h i s f a v o r i t e d e s c r i p t i v e p h r a s e s , r e e d and w h i t e . ”

T h i s f o r m u l a o c c u r s t h r o u g h o u t t h e Roman

— v e r m e i l i e e b l a n e he t o t e n c o r , 8 0 5 ; ches q verm ei l i e s ,

the ”f lo u r e s

IP

S

ot f lors p la n ­

li|-OS5 a nd i n F r o i s s a r t , b l a n c h e s e t

v e r m e i l i e s , 1 2 4 ; b l a n c h e e t v e r m e i 11 e , 1 3 5 ; Q u a n t l a Ro2e blanche e t v e rm e i1l e s , b l a n k e t de s a n g u i n e ,

13 4 ; and c f . : 126.

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a r e t o o nu m ero u s t o r e q u i r e c i t a t i o n . G e n e r a ll y , how ever, even in th o s e p a ssa g e s

in which

C h a u c e r's v e r s i o n c l o s e l y p a r a l l e l s h is French or I t a l i a n source,

the p a r a l l e l s a re c o n te x tu a l r a t h e r than s y n t a c t i c .

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i d e n t i c a l and v e r y o f t e n C h a u c e r s u b s t i t u t e s f o r t h e f o r e i g n p h r a s e an a l l i t e r a t i v e c l i c h e w h i c h o c c u r s more t h a n o nce i n o h t e r o f h i s poems; f r e q u e n t l y a p h r a s e w h i c h h e d e r i v e d f r o m w h a t o b v i o u s l y was an e x t e n s i v e k n o w l e d g e o f m e d i e v a l rom ance l i t e r a t u r e , e x a m p le s c a n be c i t e d

to p r o v e . ^

as numerous

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12. A l l r e f e r e n c e s t o t h e Roman de l a R o se a r e t o E . L a n g l o i s ' e d i t i o n , P a r i s , 19l4» 5 ~ v o T s . fS o c ie te des A nciens T ex tes F r a n g a i s . ) 13. C h a u c e r 's f a c i l i t y i n t h i s r e s p e c t even as e a r l y as t h e p e r i o d o f h i s t r a n s l a t i o n o f t h e Roman i s shown b y K a lu z a 's l i s t i n g o f p a r a l l e l p h ra s e s in C h a u c e r's t r a n s ­ l a t i o n and h i s l a t e r w o r k s . S ee C h a u c e r und d e r R o s e n r o m a n , B e r l i n , 1 8 9 3 , p p . 1^4

R e p ro d u c e d with perm ission of the copyright owner. F urther reproduction prohibited without permission.

195 exam ple, t h e r e

is the

lin e --

C a r la t e r r e e s t o i t douce e m o is te w hich Chaucer t r a n s l a t e d

(RR Allj.23):

F o r t h e e r t h e was f u l s o f t e a n d s w e t e . The p h r a s e ’’s o f t and s w e t e ” o c c u r s

later

in h is p o e t r y

i n BD. 3 9 9 ; Fo rm e r Age l\2 ; P a r d . 5 4 3 ; LOW (G) 2 2 5 . A n o t h e r s u c h p h r a s e I s Si^ m’ a d s t Deus ( Roman A 1 0 1 1 ) , w h i c h C h a u c e r r e n d e r e d ”As h e l p e me G o d , ” (RR. A 1 0 2 7 ) , an d u s e d a g a i n i n BD. 8 3 8 , 3709; Sh.

1360;

1277; J C .

2 .1 3 3 , 590; M il.

WB. 2 0 1 , 5 9 6 , 6 0 5 , 8 0 5 .

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163-164

o f t h e Roman p e r h a p s p r o v i d e d t h e i n s p i r a t i o n f o r on e o f the

l e a s t v a r i a b l e o f C h a u ce r’s c o n s tr u c t io n s : Mout s o t b i e n p o i n d r e e b i e n p o r t r a i r e C i l q u i s o t t e l image f a i r e ,

C h a u c e r t r a n s l a t e d , RR. A175” 176: Wei c o u d e he p e y n t e , I u n d i r t a k e , T h a t s i c h ymage c o u d e make; ( c f . KnT. 20 87s w ro g h te.” )

”Wel k o u d e h e p a y n t e n l i f l y t h a t i t

S i m i l a r l y , Roman A 7 3 1 , MB i e n s o t c h a n t e r e

p l a i s a m m e n t , ” became (R R .A 747) ”Wel c o u d e s h e s i n g e . . . . ” The ”w e l k o u d e / p r o n o u n ” c o n s t r u c t i o n o c c u r s e l s e w h e r e

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i n C h a u c e r i n GP. 9 4 ,

106,

110,

130, 2 3 6 , 2 7 8 , 3 8 2 , 1+17,

4 7 4 , 5 6 2 , 5 6 5 , 5 9 3 , 6 i o , 709; KnT.

1422; M i l . 3 3 2 6 , 3333

Rv. 3 8 6 4 ; WB. 5 0 9 ; TC. 3 . 1 7 9 6 ; RR. A789, A I 2 6 9 .

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t i o n s o f t h e f o r m u l a o c c u r i n C o . 4 3 7 0 ; TC. 3 . 2 1 2 , 6 9 4 ,

960 ; 5 . 288 ,

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i n w h i c h one f i n d s n o t o n l y t h e ro m ance c l i c h e , and w y s , " b u t a l s o t h e t r a n s p o s i t i o n

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197 s t r a t o a r e m o s t a p p a r e n t shows c o n c l u s i v e l y how c o m p l e t e l y i n d e p e n d e n t C h a u c e r was s y n t a c t i c a l l y .

O n l y a few n e e d

be g i v e n h e r e : FI 1. 5 . 6 8

Li g i o r n i g r a n d i e l e n o t t i m a g g i o r i O l t r e a l l ' u s a t o modo g l i p a r i e n o ;

(GM. ij.05* Beyond t h e u s u a l f a s h i o n t h e d a y s seemed t o him l o n g a n d t h e n i g h t s l o n g e r . ) TC. 5 . 6 5 9 - 6 6 0

The d a y e s m o o r e , and l e n g e r e v e r y n y g h t , Than t h e y b e n w o n t t o b e , hym t h o u g h t e t h o ,

F i 1. 6 . 1

D a l i t a l t r a p a r t e in s u l l i t o d e l mare, Con p o c h e d o n n e , t r a le g e n t i a r m a t e Stava C r i s e i d e , . . . .

(GM. lj.09s On t h e o t h e r s i d e , by t h e s e a s h o r e , w i t h few l a d i e s , among armed men, was C r e s s i d a . ) TC. 5 . 6 8 7 - 8 8

^pon t h a t o t h e r s y d e e k was C r i s e y d e , W i t h wommen f e w e , among t h e G r e k I s s t r o n g e ;

F i 1. 5 . 6 0 F i 1. 5 . 6 0

E g l i p a r e a a sh s t r e s s o n e 1 v i s o E s s e r men c h e l t u s a t o c o l o r i t o , £ p e r q u e s t o f a c e v a i n suo a w i s o D fe s s e r t a l v o l t a d i m o s t r a t o a d i t o . Q u a s i d i c e s s e r : perch& s i c o n q u i s o E divenuto T ro ilo e s i sm arrito7 C o l o r c h e ' l d i m o s t r a s s o n o e t non e r a , Ma s o s p i c a c h i s a l a c o s a v e r a .

(GM. 4 ^ 1 1 And i t seemed t o h i m t h a t t h e r e was l e s s t h a n t h e u s u a l c o l o r i n h i s f a c e , a nd f o r t h i s r e a s o n he f a n c i e d t h a t he was a t t i m e s p o i n t e d a t , a s i f men w e r e s a y i n g : ”Why h a t h T r o i l u s become s o s u b m i s s ­ i v e a n d so b e m u s e d ? ” T h e r e was n on e t h a t p o i n t e d a t h i m , b u t h e who k n o w e t h t h e t r u t h I s s u s p i c i o u s . ) TC. 5 . 6 1 7 f f .

And o f h y m s e l f y m ag in ed he o f t e ' To ben d e f e t , a n d p a l e , a n d w a x e n l e s s e

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198 Than he was w o n t , and t h a t men s e y d e n [so fte, What may i t be ? Who k a n t h e so t h e g e s s e Whi T r o i l u s h a t h a l t h i s h e v y n e s s e ? And a l t h i s n a s b u t h i s m a l e n c o l i e T h a t he h a d d e o f h y m s e l f s w i c h f a n t a s i e .

$

Fi 1. $ . 16

Q u iv i a l d o l o r che aveva r i t e n u t o D i e l a r g o l u o g o , c h ia m a n d o l a r a o r t e ;

(GM. 3 7 9 : T h e r e he ga v e f r e e v e n t t o t h e g r i e f t h a t he had h e l d i n c h e c k , c a l l i n g f o r d e a t h . . . . ) TC. $.2Ql|.-2C5

And t h e r h i s s o r w e s t h a t he s p a r e d h a d d e He y a f an i s s u e l a r g e , a n d " d e t h ! " h e [criede.

F i 1. $ . 1 2

E gi& e s s e n d o p e r a c c o m i a t a r s i , E g li e C r i s e id a s i ferm aro a lq u a n to , E d e n tr o a g l i o cch i 1 'u n l ' a l t r o g u a t a r s i , N& r i t e n e r pot& l a d o nn a i l p i a n t o , E p o s c i a p e r l a man a e s t r e p i g l i a r s i , E a le i T roilo a ll o r s 'a c c o s tS ta n to , Che p l a n p a r l a n d o , e l l a ' l p o t e u d i r e , E d i s s e : t o r n a , n on mi f a r m o r i r e .

(GM. 3 7 7 : And when t h e y w e r e a l r e a d y on t h e p o i n t o f t a k i n g l e a v e , h e and C r e s s i d a s t o p p e d f o r some m oments, and g a z e d i n t o e a c h o t h e r ' s e y e s , n o r could the lady r e s t r a i n her t e a r s . And t h e y t h e n t o o k o ne a n o t h e r b y t h e r i g h t h a n d , a n d a t t h a t T r o i l u s a p p r o a c h e s so n e a r t o h e r s i d e t h a t s h e c o u l d h e a r h im a s he s p o k e low and s a i d : "Come b a c k a g a i n , c a u s e me n o t to d i e . " TC. 5 . 7 8 f f

And t h e r w i t h a l h e m o s t e h i s l e v e t a k e , And c a s t h i s e y e upon h i r e p i t o u s l y And n e e r h e r o o d h i s c a u s e s f o r t o make, To t a k e h i r e b y t h e h o n d e a l s o b e r l y And L o r d e J so sh e g a n w e p e n t e n d r e l y And he f u l s o f t e a n d s l e i g h l y gan h i r e [seye, Now h o l d e y o u r e d a y , and do me n o t t o [deye.

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$ .5 6 6 ; 595;

m

FU .

.

5 .5 7 ,

5 .1 0 ,

TC.

TC .

5 .5 8 9 -5 9 0 ;

$ . 6ij.; T e s .

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note e s p e c ia lly :

L 'an im a l i e v e s e ne gi v o la n d o Ver la c o n c a v i t a d e l c i e l o o t t a v o TC. 5 . T B 08-09

H is l i g h t e g o o s t f u l b l i s f u l l y i s w e n t Up t o t h e h o l u g h n e s s e o f t h e e i g h t h e s p e r e ,

and: D egli elem enti i c o n v e rs i la sc ia n d o Q u i v i l e s t e l l e e r r a t i c h e a m m ira v a TC. 5 . T B ll-12

And t h e r he s a u g h , w i t h f u l a v y s e m e n t , The e r r a t i k s t e r r e s . . .

T here is one s t r i k i n g s y n t a c t i c p a r a l l e l betw een F i 1. 8 . 2 8 and TC. 5 - 1Q28—1834» a n i n s t a n c e o f C h a u c e r ' s r e c o g n i z i n g a d r a m a t i c a l l y e f f e c t i v e c o n s t r u c t i o n , one n o t t o o f a r rem o ved f r o m t h e i d i o m o f h i s own l a n g u a g e t o be e s t h e t i c a l l y s a t i s f y i n g ,

a nd w h i c h h e t o o k f o r h i s

own: C o t a l f i n e e b b e i l mal c o n c e t t o amore Di T r o i l o i n C r i s e i d a , e c o t a l e F in ' ebbe i l m i s e r a b i l e d o lo re Dl l u i , a l q u a l n o n f u mai a l t r o e q u a l e ; C o ta l f i n ' ebbe i l lu c id o sp le n d o re Che l u i s e r v a v a a l s o l i o r e a l e ; C o ta l fin * ebbe la s p e ra n z a vana Dio T r o i l o i n C r i s e i d a v i l l a n a

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200 (GM. 14.9 7 s Such was the end t h a t came t o t h e I l l - c o n c e i v e d l o v e o f T r o i l u s f o r C r e s s i d a and su ch was t h e end t h a t came t o t h i s w r e t c h e d g r i e f , t o w h i c h none o t h e r was e v e r e q u a l ; s u c h was t h e end t h a t came to th e b r i l l i a n t s p l e n d o r t h a t he h e l d in s t o r e f o r t h e r o y a l t h r o n e ; su ch was t h e end o f the v a i n h o p e s o f T r o i l u s in base C r e s s id a .) TC. Swich f y n h a t h , l o , t h i s T r o i l u s f o r l o v e ' T 5 2 8 - l 8 3 i4 Sw ic he f y n h a t h a l h i s g r e t e w o r t h y n e s s e i Sw iche f y n h a t h h i s e s t a t r e a l a b o v e , Swich f y n h i s l u s t , s w ic h f y n h a t h h i s [n ob lessel Swich f y n h a t h f a l s e w o r l d e s b r o t e l n e s s e j And t h u s b i g a n h i s Jovyng o f C r i s e y a e , As I h a v e t o l d , and in t h i s w i s e he d e y d e . In many c a s e s i n w h i c h C h a u c e r ' s s y n t a x a p p e a r s t o hav e been i n f l u e n c e d by t h e c o n s t r u c t i o n o f a f o r e i g n source,

it

i s more p r o b a b l y t r u e t h a t t h e s y n t a c t i c s i m i l ­

a r i t y can be a t t r i b u t e d t o the c u r r e n c y o f s u c h a c o n ­ s t r u c t i o n in E n g l i s h .

For e x a m p le,

BD. 340-342 c l e a r l y p a r a l l e l s

the i n v e r s i o n i n

t h a t i n t h e Roman A12i|.-125s

B l e w , b r y g h t , c l e r e was t h e ayr And f u l a t t e m p r e , f o r s o t h e h y t was; Clere e t s e r i e e t b ele e s t o i t La m a t i n e e e t a tte m p re bu t the in v e r s io n a f t e r

the in tr o d u c to r y p r e d i c a t e elem en t

was common in b o t h French and E n g l i s h , and exa m p les i n

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201 C h a u c e r a r e n u m e r o u s . 1^-

I n RR. 8 5 5 - 8 5 6 one f i n d s a com­

b i n a t i o n o f C h a u c e r ’s s u b s t i t u t i o n o f a f a v o re d E n g l i s h p h r a s e f o r t h e F r e n c h and a t t h e same t im e t h e r e t e n t i o n o f t h e a d j e c t i v e p a t t e r n e q u a l l y common i n b o t h l a n g u a g e s : Roman A&3 9 ~k -0 RR. "855-56

Q u' i 1 e s t o i t biau s e e te b ele E l resem bloit rose n o v e lle B o t h e were t h e y f a i r e and b r i g h t o f hewe; Sh e semede l y k a r o s e newe.

Roman 8J4.O i s t r a n s l a t e d

l i t e r a l l y w ith i ts

rose n o v e lle .

b u t C h a u c e r s u b s t i t u t e s f o r t h e F r e n c h o f 839 one o f h i s fav o rite phrases, TC. 3 . 3 0 3 , 5 . 1 5 7 3 , LGW (F) 5 5 ,

" b r i g h t o f h e w e , " and i t s v a r i a n t s . See 1772; C l . 3 7 7 ; A n e l . 2 1 3 ; S ^ .

104; N£. 4 2 1 3 ; OP. 4 5 8 ; F r .

RR. A1432; BH. hewe; SM, 7 8 3 .

1 0 9 Is

6i+0;

1622; BD. 9 0 5 ;

T h a t m a i , t h a t was so b r i g h t o f

S i m i l a r l y , Roman 1637:

"Des r o s e s

i ot

g r a n z m o n c i a u s ” became (RR. 1673) ”°T r o s e s t h e r w e r e g r e t e w oon," w h ich re a p p e a r s f u l g r e t e w o o n , " and BD. 4 7 5 ,

i n LGW. 1652 , " . . . a n a t r e s o r ”1 have o f scrwe so g r e t e

w oon." l 4 . The r e l a t i o n s h i p b e t w e e n C h a u c e r ’ s Book o f t h e D u c h e s s a nd t h e F r e n c h poems u p o n w h i c h h e d rew i n i t s c o m p o s i t i o n h a s b e e n so t h o r o u g h l y t r e a t e d t h a t i t i s u n n e c e s s a r y t o c o v e r theground a g a in h e r e . These r e l a t i o n s h i p s , t o g e t h e r w ith p e r t i n e n t b ib lio g r a p h ic a l r e f e r e n c e s , are a l l con­ t a i n e d in th e n o te s in R o b i n s o n ’s e d i t i o n o f th e W orks. S y n t a c t i c p a r a l l e l s a r e n e g l i g i b l e and o f no s t y l i s t i c im­ portance, Such s i m i l a r i t i e s as F a u s s e , t r a i t s , p e r v e r s e / The f a Is t r a y t e r e s s e p e r v e r s e ; Une y d o l e e s t de f a u s s e p o u r t r a i t u r e / An y d o l e o f f a l s p o r t r a i t u r e ; C ’ e s t 1 ’ e n v i e u s e c h a r i t e / She i s t h e n v y o u s e c h a r i t e , a r e o f no s y n t a c t i c i m p o r t a n c e . A l m o s t i n v a r i a b l y t h e r e i s a C hau­ cerian s u b s titu tio n : BD. 3 9 8 —9 9 s Doun by a f l o u r y g r e n e w e n t / F u l t h i k k e o f g r a s f u l s o f t e and s e t e — Roy de B e h a i g n e , 4 3 ” MfS P a r une e s t r o i t e v o i e / P l e i n e d ’e r b e t t e .

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BIBLIOGRAPHY S i r Amad1s ,

s e e W eb e r, v o l . I l l

B e n n e t t , H. S . , C h a u c e r and t h e F i f t e e n t h C e n t u r y , O x fo rd , 1947. B e s c h o r n e r , F. B o c c a c c i o , G.

V e r b a l e Reime b e ! C h a u c e r , H a l l e , T e s e id e , S. B a tt a g l i a , ed.

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B i h l , J . K. L. D i e W 1rkunge n d e s Rhythmus i n d e r S p r a c h e v o n C h a u c e r und G o w e r , H e i d e l b e r g , I ^ l B ” Die G e s t a l t d e r W ortform und des S a t z e s u n t e r E i n w i r k u n g d e s k h y t h m u s b e i C h a u c e r und G o w e r . T u b i n g e n a i s s . , 1916 Bouchon, J .

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