Reference > Cambridge History > The End of the Middle Ages > “Piers the Plowman” and its Sequence > The Third Vision
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The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.

I. “Piers the Plowman” and its Sequence.

§ 16. The Third Vision.


The third vision, passus IX-XII of the A-text, differs from the first two, as has been said above, in very material respects. The theme is not presented by means of vitalised allegory; there are allegorical figures, to be sure, but their allegorical significance is only superficial, not essential; they engage in no significant action, but merely indulge in debate and disquisition; and what they say might be said by anyone else quite as appropriately and effectively. Moreover, the clearness of phrasing, the orderliness and consecutiveness of thought, which so notably characterise the early visions, are entirely lacking, as are also the wonderful visualisation and vivid picturesqueness of diction. These differences are so striking that they cannot be overlooked by anyone whose attention has once been directed to them. To the present writer they seem to justify the conclusion that in the third vision we have, not a poem written by the author of the first two, either immediately after them or even a few years later, but the work of a continuator, who tried to imitate the previous writer, but succeeded only superficially, because he had not the requisite ability as a writer, and because he failed to understand what were the distinctive features in the method of his model; but students of the poems have heretofore felt—without, I think, setting definitely before their minds the number and the character of these differences—that they were not incompatible with the theory of a single author for all the poems.   45
  It is not intended to argue the question here, and, consequently, the differences will not be discussed further; but it may be of interest, to those who believe in a single author no less than to those who do not, to note, in addition, certain minor differences. The first writer seems not in the least interested in casuistry or theological doctrine, whereas notable features of the later passus are scholastic methods and interests, and a definite attitude towards predestination, which had been made by Bradwardine the foremost theological doctrine of the time, as we may infer from Chaucer and the author of Pearl. Indeed, the questions that interest the author of passus IX-XI are not only entirely different, but of a different order from those which interest the author of the first two visions. Further, the use of figurative language is entirely different; of the twelve similes in passus IX-XI four are rather elaborate, whereas all the twenty found in the earlier passus are simple, and, for the most part, stock phrases, like “clear as the sun,” only four having so much as a modifying clause. The versification also presents differences in regard to the number of stresses in the half-line and in regard to run-on lines and masculine endings. Some of these differences begin to manifest themselves in the last fifty-three lines of passus VIII; and it is possible that the continuator began, not at IX, I, but at VIII, 131. Of course, no one of the differences pointed out is, in itself, incompatible with the theory of a single author for all the passus of the A-text; but, taken together, they imply important differences in social and intellectual interests and in mental qualities and habits. They deserve, therefore, to be noted; for, if the same person is the author of all three visions, he has at least undergone profound and far-reaching changes of the most various kinds, and no mere general supposition of development or decay of his powers will explain the phenomena.   46

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  The Scene in the Ale-house The Search for Do-well, Do-better and Do-best  
 
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