The Parson’s Tale: Prologue

Glosses from the Purves edition of 1870, printed beside the lines (Project Gutenberg #2383). · W. W. Skeat, Notes to the Canterbury Tales (Oxford, 1900; Project Gutenberg #43016)

1. Stanza 1 rising · in the middle of · village’s · govern · vicar · faith · wallet
2. Stanza 1, line 10 the mones exaltacioun, the moon's exaltation. I have discussed this passage in my Preface to Chaucer's Astrolabe, (E. E. T. S.), p. lxiii. Of course Chaucer uses exaltation here (as in other passages) in its ordinary astrological sense. The 'exaltation' of a planet is that sign in which it was believed to exert its greatest influence; and, in accordance with this, the old tables call Taurus the 'exaltation of the Moon,' and Libra the 'exaltation of Saturn.' These results, founded on no reasons, had to be remembered by sheer effort of memory, if remembered at all. I have no doubt, accordingly, that Chaucer (or his scribes) has made a mistake here, and that the reading should be 'Saturnes,' as proposed by Tyrwhitt. The sentence then means--'Therewith Saturn's exaltation, I mean Libra, kept on continually ascending above the horizon.' This would be quite right, as the sign of Libra was actually ascending at the time supposed. The phrase 'I mene Libra' may be paralleled by the phrase 'I mene Venus'; Kn. Tale, 1358 (A. 2216); see also Group B. 1860, 2141. alwey, continually, is common in Chaucer; see Clerkes Tale, E. 458, 810. gan ascende, did ascend, is the opposite to gan descende; Clerkes Tale, E. 392. It is somewhat remarkable that the astrologers also divided each sign into three equal parts of ten degrees each, called 'faces'; mentioned in Chaucer's Astrolabe, ii. 4. 39, and in the Squieres Tale, F. 50. According to this arbitrary scheme, the first 10 degrees of Libra were called the 'face of the moon,' or 'mones face.' This suggests that Chaucer may, at the moment, have confused face with exaltation, thus giving us, as the portion of the zodiac intended, the first ten degrees of Libra. I doubt if the phrase is worth further discussion. For further information, see my Preface to Chaucer's Astrolabe (as above); and, for an ingenious (but impossible and unconvincing) theory, offered in explanation of the whole passage, see Mr. Brae's edition of the same, p. 74. Most unfortunately, more than one attempt has been made to fix the date of the Canterbury Tales, by adopting as the true reading the phrase 'In mene Libra,' and then pretending that the moon itself (not its exaltation) was 'in the middle of Libra.' But this reading is evolved out of a mistake in MS. Hl., which (after all) has not In mene, but In mena (!); neither does In mene mean 'in the middle.' All calculations fou
3. Stanza 2 weive soothfastness,: forsake truth · chaff, refuse · relate stories · mince matters · opinion · scholars · meaning, sense · for to do’n,: a thing worth doing · discourse · fruitful; profitable
4. Stanza 2, line 14 rum, ram, ruf are of course nonsense words, chosen to represent alliteration, because they all alike begin with r. In most alliterative poetry, the number of words in a line beginning with a common letter is, as Chaucer suggests, three. The word geste here means no more than 'tell a story,' without reference to the form of the story. It is, however, worth noting that one very long alliterative poem on the siege of Troy, edited by Panton and Donaldson (Early English Text Society), bears the title of 'Gest Hystoriale.' The number of distinctively Northern words in it is very considerable. I think that this line has been forced by some out of its true meaning, and made to convey a sneer against alliterative poetry which was by no means intended. Neither Chaucer himself nor his amiable parson would have spoken slightingly of other men's labours. The introduction of the words rum, ram, ruf conveys no more than a perfectly good-humoured allusion. That this is the true view is clear from the very next line, where the Parson declares that 'he holds rime but little better.' The most interesting question is--why should Chaucer allude to alliterative poetry at all? The answer is, in my view, that he distinctly wished to recognise the curious work of his contemporary William, whose Vision of Piers the Plowman had, by this time, passed, as it were, into a second edition, having been extremely popular in London, and especially amongst the lower classes. The author was not a Southerner, but his poem had come to London, together with himself, before A. D. 1377. In his play entitled The Old Wives' Tale, Peele introduces a character named Huanebango who imitates the spluttering hexameters used by Stanyhurst in his translation of a part of Vergil's Æneid, and afterwards says:--'I'll now set my countenance, and to her in prose; it may be, this rim-ram-ruf is too rude an encounter.' He evidently borrowed the expression from Chaucer. I may further observe that Chaucer did not invent these nonsense words himself; he probably borrowed them from some French source. For, in Sigart's Walloon Dictionary, we find these entries following. 'Rim ni ram (ça n'a ni), cela n'a ni rime ni raison. Rim-ram, protocole, formulaire: C'est toudi l'même rim-ram, c'est toujours la même chanson.' Again, in the Dispute between the Soul and the Body (Vernon MS.), printed in Wright's edition of Walter Mapes
5. Stanza 2, line 28 textuel, literally exact in giving the text. The next line means 'I only gather (and give you) the general meaning.' Most quotations at this period were very inexact, and Chaucer was no more exact than others.