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The Canterbury Tales, and Other Poems

Geoffrey Chaucer · c. 1387–1400 (composition of The Canterbury Tales and included poems; some items likely earlier/later) primary

passage 412 of 501 · i.e. > Act, which was passed soon after, 5 H. IV. c. iv., to make it felony ‘to multiply gold or silver, or to use the art of multiplication.’” Tyrwhitt finds in the prologue some colour for the hypothesis that this Tale was intended by Chaucer to begin the return journey from Canterbury; but against this must be set the fact that the Yeoman himself expressly speaks of the distance to Canterbury yet to be ridden. (98/112)

↪ you wandered here via “The Magic Flute opera” — the connecting lines are tinted below

in brief
Within Fame’s Hall the narrator surveys musicians, harpers and pipers, trumpet players, and performers of magic and illusion, including Medea, Circe, Calypsa, and Simon Magus, warning he cannot name them all.

all without, Full the castle all about, Of all manner of minstrales And gestiours,<23> that telle tales Both of weeping and of game,* *mirth Of all that longeth unto Fame.

There heard I play upon a harp, That sounded bothe well and sharp, Him, Orpheus, full craftily; And on this side faste by Satte the harper Arion,<24> And eke Aeacides Chiron <25> And other harpers many a one, And the great Glasgerion; <26> And smalle harpers, with their glees,* instruments Satten under them in sees, seats And gan on them upward to gape, And counterfeit them as an ape, Or as craft counterfeiteth kind. art counterfeits nature Then saw I standing them behind, Afar from them, all by themselve, Many thousand times twelve, That made loude minstrelsies In cornmuse and eke in shawmies, <27> And in many another pipe, That craftily began to pipe, Both in dulcet <28> and in reed, That be at feastes with the bride. And many a flute and lilting horn, And pipes made of greene corn, As have these little herde-grooms, shepherd-boys That keepe beastes in the brooms. There saw I then Dan Citherus, And of Athens Dan Pronomus, <29> And Marsyas <30> that lost his skin, Both in the face, body, and chin, For that he would envyen, lo! To pipe better than Apollo. There saw I famous, old and young, Pipers of alle Dutche tongue, <31> To learne love-dances and springs, Reyes, <32> and these strange things. Then saw I in another place, Standing in a large space, Of them that make bloody soun’, martial In trumpet, beam, and clarioun; horn <33> For in fight and blood-sheddings Is used gladly clarionings. There heard I trumpe Messenus. <34> Of whom speaketh Virgilius. There heard I Joab trump also, <35> Theodamas, <36> and other mo’, And all that used clarion In Catalogne and Aragon, That in their times famous were To learne, saw I trumpe there. There saw I sit in other sees, Playing upon sundry glees, Whiche that I cannot neven, *name More than starres be in heaven; Of which I will not now rhyme, For ease of you, and loss of time: For time lost, this knowe ye, By no way may recover’d be.

There saw I play jongelours,* jugglers <37> Magicians, and tregetours,<38> And Pythonesses, <39> charmeresses, And old witches, and sorceresses, That use exorcisations, And eke subfumigations; <40> And clerkes eke, which knowe well scholars All this magic naturel, That craftily do their intents, To make, in certain ascendents, <41> Images, lo! through which magic To make a man be whole or sick. There saw I the queen Medea, <42> And Circes <43> eke, and Calypsa.<44> There saw I Hermes Ballenus, <45> Limote, <46> and eke Simon Magus. <47> There saw I, and knew by name, That by such art do men have fame. There saw I Colle Tregetour <46> Upon a table of sycamore Play an uncouth thing to tell; strange, rare I saw him carry a windmell Under a walnut shell. Why should I make longer tale Of all the people I there say, *saw From hence even to doomesday?

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topics: censorship and the press · magic, witchcraft, and the occult · music and song

The Canterbury Tales, and Other Poems · Geoffrey Chaucer · 1387–1400