Preface
The barrier of obsolete speech is the occasion and the apology for this rendering of the Canterbury Tales in English easily intelligible to-day. Whether this barrier be real, or but generally assumed, matters little, for the assumption itself is obstructive and tends equally to the resultant fact, that—in spite of the immensely widened interest in Chaucer and the diffused knowledge of his works due to labours of profound scholarship in the last fifty years—a very large proportion of the educated public still receives its impressions of the poet at second hand, from literary hearsay, or the epitomising essays of critics.
To present, therefore, a representative portion of Chaucer’s unfinished masterpiece in such form as shall best preserve for a modern reader the substance and style of the original, is the chief aim of this book. When the publishers asked me to carry out this object, the nature of the appropriate form presented itself for solution. As modernisation, the undertaking is not new. At various epochs, and with varying scope of design, poets such as Dryden, Pope, Leigh Hunt, Elizabeth Barrett, Wordsworth, have contrived metrical versions of the Canterbury Tales in the literary forms of their own day. Lesser poets and writers of the past two centuries have executed the like. Their versions possess in common the aim of substituting modern English verse for Chaucer’s, often as an alleged latter-day improvement. All, as Professor Lounsbury has shown, “had a direct tendency at the time to divert men from the study of the original.” The present rendering, therefore, which is rather a modified form than a modernisation of Chaucer’s tales, is believed to differ from all the aforesaid ver-
vii
