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• W2781569707 abstract "Chaucer's Dainty 'Dogerel': The 'Elvyssh' Prosody of Sir Thopas* Alan T. Gaylord Dartmouth College T An ill-favor'd thing, Sir, but mine owne. As You Like It, V. iv. 62-63 E HUMOR in Chaucer's tale of Sir Thopas has always seemed clear enough: when called upon to tell a tale of myrthe in his own person, the actual poet gives the fictional poet a good bad joke at the expense of almost everyone, Chaucer included. Thus the genius of the Canterbury Way is marked as a public failure, put down and shut off by that Master of High Seriousness, Harry Bailly. And indeed, unlike other fragments, the Thopas seems to have been composed in order to have been inter­ rupted. None (to adapt Dr. Johnson) ever wished it longer than it is. In fact, few have wished to pay it close attention. Most have been willing to take on report that it parodies Middle-English tail-rhyme romances, and thereby to contemplate with amusement its general con­ cept: a bad poem in a fashion Chaucer had no use for; a bit of clowning among friends, a bit of cunning among fools; a gem in a dunghill; a topaz with feet of lead. Its art, in other words, has been taken to stand in being so indisputably, and so obviously, bad. Close attention, at least of that sort granted to legitimate poetry, would seem to run the risk of falling into that drab category in which one explains compli­ catedly a simple joke. Accepting with gratitude the careful display of sources and analogues from the English romances which Laura Hibbard An abbreviated version of this paper was read at the Thirteenth Confer­ ence on Medieval Studies, May, 1978, at Kalamazoo, Michigan. STUDIES IN THE AGE OF CHAUCER I (1979). © Copyright 1979 by The New Chaucer Society, The University of Oklahoma. All rights of reproduction in any form reserved. STUDIES IN THE AGE OF CHAUCER Loomis has provided/ the rest of us have gone our way, relieved through the attentions of scholarship from any further critical work. As a result, I wish to argue, we have missed the joke of jokes, and the last laugh remains to be laughed. In so exposing himself, Chaucer made himself invisible for centuries. There is, of course, a kind of poetic justice in this, for what we have been missing is invisible by nature: the eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, nor his tongue to conceive, what this might be.2 It is neces­ sary, then, for us to feel, and certainly to hear, rather than to read, this transparent opacity. I refer to the meter of the poem, and the prosody of the poet. Let us recall the extraordinary circumstances which surround the iq­ troduction of the tale, at what Charles Owen has called the artistic crisis of the pilgrimage.3 Everyone remembers that Harry turns his japes towards Chaucer, as for the first time, in an attempt to dispel the wonderful sobriety that the Prioress and her myracle have imposed on the company. And everyone enjoys his humorousattack on the plump, cuddly, but remote figure he finds in Chaucer, who must be rallied into mirth. What is often forgotten, however, is that this is the only link in all The Canterbury Tales not written in rhymed couplets; rather, it is in the same rime royal as The Prioress' Tale. It does not much feel like stanzas, and it certainly does not work to inspire wonder, awe, or tears, but there it is. Perhaps the link's three stanzas are indications of the potency of the Prioress' spell, but I think there is more to it than that.4 1 Sir Thopas, in Sources and Analogues of Chaucer's Canterbury Tales, ed. W.F.Bryan and Germaine Dempster (The Univ.of Chicago Press, 1941), pp. 496-559. 2 But I will not follow Bottom, and say that man is but an ass, if he go about to expound it; MND, IV.i.226-32. 3 Charles A.Owen, Jr., Thy Drasty Rymyng ..., SP, 63 (1966), 540..." @default.
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• W2781569707 title "Chaucer’s Dainty ‘Dogerel’: The ‘Elvyssh’ Prosody of Sir Thopas" @default.
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