[This is the twentieth of a series of articles giving a
brief description of each of the 26 ancient Anglican cathedrals coupled with a
sketch of a person, activity or
institution connected to the area]
Canterbury Cathedral
is the mother Church of the Anglican Communion and the senior bishop of the
Church of England is Archbishop of Canterbury and Primate of All-England. The
Cathedral’s origins stretch back to a church founded in 597 by St
Augustine, (no connection with the earlier famed theologian St
Augustine of Hippo) the Benedictine abbot of an abbey in Rome, who had been sent by Pope Gregory as a
missionary to the Anglo-Saxons. The huge building we see now was started at
1070 and developed piecemeal over the following centuries, rather compromising
its artistic unity. It remains however one of the great sights of England.
Canterbury Cathedral |
After several earlier structures, the Cathedral (at that
time the church of a monastic abbey) was built in the Norman style by the first
Norman archbishop Lanfranc. The east end was greatly extended, doubling the length
of the cathedral by 1126, still in the Romanesque style. In 1174 a fire
seriously damaged the choir and it was recreated partly in the early English
Gothic manner. The murder in the Cathedral of the politically abrasive Thomas
Becket in 1170, after he opposed Henry II, appalled Europe and the Cathedral
became a major place of pilgrimage to St
Thomas – enormously swelling the coffers of the Church.
The Trinity Chapel in the East end and the Corona, to house Becket’s shrine and relics,
followed in 1184. The Corona’s stained glass is
the finest in England.
The Nave and transepts eventually fell into disrepair and
were rebuilt from 1377 in spectacular Perpendicular style by the famous
master-mason Henry Yevele, who also beautified Westminster Abbey. A lovely
lierne vault was also raised at this time, and despite an earthquake in 1384,
the cloister and chapter house were rebuilt; money was short and the south-west
tower did not replace the Norman one until 1453. Astonishingly the north -west
tower was not replaced until 1834 when a Perpendicular replica of the
south-west one was erected, now known as the Arundel Tower.
The fine main crossing tower with its fan-vaulted lantern was not completed
until the early 1500s.
The Choir |
The Nave at Canterbury |
It is not easy to do justice to this wonderful historic
building with its many embellishments and its extensive precincts. It must be
peacefully explored in person.
Canterbury
as a place of pilgrimage evokes The
Canterbury Tales, that wonderful sequence of poetic stories written by Geoffrey Chaucer (1343-1400). Chaucer
was not only a great medieval poet but assuredly one of the pre-eminent poets
in the Pantheon of the English language.
A 17th century image of Chaucer |
Canterbury Pilgrims |
Many schoolboys will recall the Middle English opening lines
of his Prologue:
Whan that Aprill, with his
shoures soote
The droghte of March hath perced to the roote
And bathed every veyne in swich licour,
Of which vertu engendred is the flour;
Whan Zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halfe cours yronne,
And smale foweles maken melodye,
(That slepen al the nyght with open eye)
So priketh hem Nature in hir corages
Thanne longen folk to goon on pilgrimages
And palmeres for to seken straunge strondes
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of Engelond, to Caunterbury they wende,
The hooly blisful martir for to seke
That hem hath holpen, whan that they were seeke.
The droghte of March hath perced to the roote
And bathed every veyne in swich licour,
Of which vertu engendred is the flour;
Whan Zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halfe cours yronne,
And smale foweles maken melodye,
(That slepen al the nyght with open eye)
So priketh hem Nature in hir corages
Thanne longen folk to goon on pilgrimages
And palmeres for to seken straunge strondes
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of Engelond, to Caunterbury they wende,
The hooly blisful martir for to seke
That hem hath holpen, whan that they were seeke.
The Prologue describes most
felicitously each of the pilgrims in turn, with many a memorable thumbnail
line. Thus the Knight is “a very perfect gentle Knight”, the Squire “fresh as
is the month of May”, the lax Monk declares “let Austin have his swynk (work)
to him reserved”, the persuasive Friar ”his
eyes twinkled in his head alright”, the Clerk of Oxenford “gladly would he
learn and gladly teach”, the Good Wife of Bath “She was a worthy woman all her
life, husbands at church door she had five”. Of the Poor Parson he wrote
admiringly “first he wrought and afterward he taught”, or the Ploughman “living in peace and perfect
charity, God loved he best, with all his whole heart”, less admiringly of the
Summoner “as hot he was, and lecherous as a sparrow” or the smooth shaven
Pardoner “I trowe he were a gelding or a mare”. The Prologue is carried off
with great geniality and wry observation.
The Tales themselves include some
of surpassing quality – The Knight’s
(Hazlitt thought “In depth of simple pathos, and intensity of conception,
never swerving from his subject, I think no other writer comes near him, not
even the Greek tragedians”) or The Wife
of Bath’s, The Pardoner’s and The
Nun’s Priest’s, with its delightful fable of the Cock and the Fox, not to mention the hilariously bawdy The Miller's Tale.
Chaucer had a busy career as a
courtier and diplomat attached to the court of Edward III and Richard II and
enjoying the patronage of the grandee John of Gaunt. He had travelled to France and Italy and it is likely he had met
Froissart and possibly he had contact with Petrarch and Boccaccio, whose poetry
had substantially influenced him. His other works include The Parliament of Fowls and The
Legend of Good Women but in my view the finest thing he did was Troilus and Criseyde, an epic love story
crowned by a beautifully compassionate Envoi
in the last 12 stanzas, where Troilus philosophises on the absurdity of human
existence: (I attach a modernised extract)
Such
ending has Troilus, lo, through love:
Such
ending has all his great worthiness,
Such
ending has his royal estate above,
Such
ending his desire, his nobleness
Such
ending has false words’ fickleness
And
thus began his loving of Cressid,
And
in this way he died, as I have said
O young fresh folks, he or she,
in whom love grows when you age,
return home from worldly vanity,
and of your heart cast up the visage
to that same God who in His image
made you, and think it but a fair,
this world that passes soon as flowers
fair.
The note Chaucer strikes here and
in many of his other works is that serene medieval voice, self-contained and
confident, yet full of sympathy. I find it very attractive and Chaucer surely
deserves the highest possible poetic rating.
SMD
29.11.12
Text Copyright © Sidney Donald
2012
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