Parlement of Foules

by Geoffrey Chaucer

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The Poem

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Parlement of Foules opens with comments on the hardships of love, which, the poet and narrator assures his reader, he knows only through his books; and books, he says, are the source of all people’s new discoveries. The narrator, Chaucer, has read Cicero’s Somnium Scipionis, one of the most popular stories during the Middle Ages. Chaucer tells the reader how, in this story, Scipio Africanus appears to the younger Scipio in a dream and shows him all the universe, pointing out how small the earth is in comparison with the rest. He advises the younger man to live virtuously and with knowledge that he is immortal, so that he might come swiftly to heaven after death.

Darkness forces the narrator to put his book aside; and, falling asleep, he dreams that the same Scipio Africanus comes to him and leads him to the gate of a beautiful garden. Over one-half of the gate is a message promising happiness to those who enter; above the other half is a warning of pain and sorrow. As the dreamer deliberates, his guide pushes him through the gates, explaining that neither motto applies to him because he is not a lover but adding that he might discover there something about which to write.

The two men arrive in a garden filled with every kind of tree and bird. Deer, squirrels, and other small animals are playing there. Music and fragrant breezes permeate the atmosphere. Around the garden are familiar personifications: Cupid, tempering his arrows, as well as Pleasure, Beauty, Youth, Jollity, Flattery, and many others. Nearby stands a temple of brass upon pillars of jasper. Women are dancing around it, and doves sit on the roof. Before the doors sits Dame Peace and Dame Patience “on a hill of sand.” When he enters the temple, the dreamer sees the goddess Jealousy, the cause of the great sighing he hears around him; Venus and the youth Richess; Bacchus, god of wine; and Ceres, who relieves hunger. Along the walls are painted the stories of many unhappy lovers.

Returning to the garden, the dreamer notices Dame Nature, so fair that she surpasses all others as much as the sunlight does the stars. Around her are all the birds, ready to choose their mates, for it is St. Valentine’s Day. Dame Nature decrees that the tercel eagle, the bird of highest rank, should have the first choice.

The tercel eagle asks for the lovely formel eagle who sits on Dame Nature’s own hand, but immediately two other high-ranking fowls interrupt; they, too, love the formel eagle. A lengthy debate follows. One has loved her longest; another says that he has loved as deeply, if not as long. (This kind of discussion was popular in court circles in Chaucer’s day.) The other birds, thought by scholars to represent different levels of English society, along with the clergy, peasants, and the bourgeoisie, soon weary of the debate, since they want to pick their own mates. They decide that each group should elect a spokesperson to give its opinion of the “cursed pleading.”

The birds of prey choose the tercelet falcon, who suggests that the formel wed the worthiest knight, the bird of gentlest blood. The goose, speaking for the waterfowls, says simply, “If she won’t love him, let him love another.” The gentle turtledove dissents, and the seed fowls hold that a lover should serve his lady until he dies, whether or not she loves him in return.

The duck offers a saucy retort: “There are more stars, God wot, than a pair.” The tercel chides him for...

(This entire section contains 800 words.)

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having no idea of love. Then the cuckoo gives the verdict of the worm fowls: Give us our mates in peace, and let the eagles argue as long as they wish. Let them be single all their lives if they can reach no decision. One of the noble birds insults the cuckoo, calling him a murderer because of his usual diet, and Dame Nature has to intervene to keep peace.

Since none of the birds’ opinions provides a solution, Dame Nature orders the formel eagle to choose the one she loves best. Although she advises the formel to wed the royal tercel, since he seems noblest, she says that the bird herself must make a choice. The formel pleads that she is still too young to marry; she wants to wait a year to decide. Dame Nature agrees, and at last all the birds are permitted to choose their own mates. Before they depart, they sing a charming roundel. The noise the birds make as they fly away awakens the poet, who immediately picks up other books, hoping that someday he will read something that will give him a dream to make him fare better.

Bibliography

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Bennett, J. A. W. “The Parlement of Fouls”: An Interpretation. Oxford, England: Clarendon Press, 1957. Compares Chaucer’s style to that of various poets in both antiquity and his own time. Contains several plates of illustrations, including a medieval representation of birds.

Braddy, Haldeen. Chaucer’s “Parlement of Foules,” in Its Relation to Contemporary Events. New York: Octagon Books, 1969. Discusses the poem as a retrospective account of Chaucer’s attempts to negotiate a marriage contract between the king of England and a princess of France. Although more recent scholars maintain that it celebrates Richard II’s marriage to Anne of Bohemia in 1380, Braddy nevertheless offers a thorough piece of research on the international nuptial negotiations, which began in 1376. He also provides chapters discussing Chaucer’s view of various social classes and his use of personified birds.

Howard, Donald R. Chaucer: His Life, His Works, His World. New York: Dutton, 1987. Discusses in detail several of Chaucer’s major poems, including Parlement of Foules. It also offers a glimpse into the milieu of fourteenth century England, with chapters on such topics as the Black Death, the Peasants’ Revolt, and life in a royal court.

Rowland, Beryl. Birds with Human Souls. Knoxville: University of Tennessee Press, 1978. Contains detailed analyses of sixty birds, discussing their symbolic significance throughout the ages. Includes many black-and-white illustrations from medieval manuscripts, mostly of birds in their symbolic forms.

Rowland, Beryl. Blind Beasts: Chaucer’s Animal World. Kent, Ohio: Kent State University Press, 1971. Discusses Chaucer’s use of personified animals, including birds. Also contains chapters on the medieval and ancient symbolic significance of the boar, hare, wolf, horse, sheep, and dog.

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