Catalog

Lecture 1 ...................................................................................................................................................................... 2

INTRODUCTION ................................................................................................................................. 2

Chapter 1 .............................................................................................................................................. 2

Other side -but important- headlines .........................................................................................4

Lecture 2 ...................................................................................................................................................................... 5

Introduction ........................................................................................................................................ 5

English Literature before the Conquest. .................................................................................. 5

From the Conquest to Chaucer .....................................................................................................9

The Making of the English Language. .......................................................................................9

Lecture 3 .................................................................................................................................................................... 12

THE AGE OF CHAUCER 1340-1400 .......................................................................................... 12

Lecture 4 .................................................................................................................................................................... 15

CONTINUATION OF THE AGE OF CHAUCER 1340-1400 .................................................15

Chaucer's Life. ...................................................................................................................................16

Chaucer's Work in General. ......................................................................................................... 17

The Canterbury Tales. ....................................................................................................................17

 Lecture 1

INTRODUCTION

To study literature you have to study :

 The historical background
 The writer (his themes, the conditions of his society that affected
his style)

Chapter 1

Elements
1 = what is a history of English literature?
2= English literature and English history
3= periods of English literature

details
1 = what is a history of English literature?
It's a chronological account (order)1 of the book which have been
written in the English language2,so we can not think of the book
without thinking also of the author.
‫ ًض‬ ً‫ا‬ ً ً ‫ا‬ ‫ً ًز ا ا‬
‫ا‬  ً ‫ًً ا‬ ً ‫ ً ا‬Ǟ ‫الاي‬Ᏸ ً
‫ا‬Ᏸ‫لي ب‬Ᏸ‫ل ب اا‬ㄭ‫م ا‬Ᏸ ‫اا  ًل أذ‬ ‫ا‬ ً
‫فل ب‬Ᏸ ‫ ل أفكر أف‬Ᏸ ‫ فللا‬Ᏸ‫ك لا أ‬Ᏸ‫ ل‬، ‫لا ب ألكر أيي‬
‫ ل أفكر  أ يا‬Ᏸ ‫اا دون‬ ǟ ‫لفل ب‬Ᏸ ( ‫ أر بي‬Ᏸ‫ر‬Ᏸ( ‫ أن‬ſ ‫ يي سرد‬ǟ
ً  ً
.3‫ أف  لؤل‬

So we have two important axis = Book - - - author

2= English literature and English history

 History of English literature has a national as well as a personal

character and interest.
ً ً ‫ا‬ Ǟً  ً Ǟ‫ا أ‬
.‫وخ أن‬‫ي ا باع واه ام و ز أن و‬Ᏸ ‫لا ب ألك ًر أذ‬ ‫ ي لا ب‬ſ‫ا‬Ᏸ
ǟ ‫دا‬

 We are brought into Direct and living contact with the motive
forces of the Inner life of each successive generation.
‫ا‬ ‫ً ا‬ ‫ا‬ ‫ً ا‬ ‫ا‬  ‫ا‬
.‫ ألاا  ل أللي لكل ب ألل الاع بي‬Ᏸ ‫ؤلل  بأ ًلا علن  ا يال بلاسر وو أن مع ؤللذ  لدلي‬

 Authors has affected of race and age and this race is a part of the
English culture.4

3= periods of English literature

We Will learn :
how it looked at Life

1
Keyword
2
Keyword also

google translate ‫غالبية النصوص المترجمة ترجمت بواسطة‬3

4
For instance, The Age of reason affected the style of writing, made it more materialistic and realistic.(The Age
of Enlightenment or the Enlightenment, also known as the Age of Reason, was an intellectual and
philosophical movement that occurred in Europe, especially Western Europe, in the 17th and 18th centuries
(source : Wikipedia))
by what passion it was most deeply stirred
by what standard of content and of taste it was governed.
‫ًا‬
:‫لللم‬
‫ا‬  ًً ً
‫ لف  ألاا‬ǟ ‫دا‬
‫ أ ل نر لا ب‬ㄭ
‫باع‬ Ǟ‫ً ا ً ا‬ 
‫ي ق‬ㄭ‫ اي حر‬Ᏸ‫كا‬ ‫ أذ عاعلي‬
‫لا‬ 
.‫ ك ي‬Ǟ‫ ن  للذ و ًلوق كان أ‬ſ‫ا أذ م أللا‬Ᏸ‫ب‬

Other side -but important- headlines

Literature genres order

1. Poetry is the first form of literature.

2. The drama (the work of art that produced to be acted)
3. Then with the rise of printing press, novel emerged in the late
17th century and early 18th century
4. And the last genre is short story.

Differences between novel and short stories

Novel emerged in the late 17th century and short stories emerged in
the early 20th century

The main difference between novel (detailed or very detailed) and

short stories (concise and more hectic) is length.

And because of the magnitude, the short story is very symbolic

having many layers of interpretation and having a different diction
from the novel.
 Lecture 2

Introduction

 It is true that we can trace the gradual growth of Chaucer's

language

 Chaucer's Middle English is full of words and idioms which

puzzle us, we rightly feel that it is only an archaic form of the
same tongue that we use to-day. So with literary style: that of
Caedmon is based on principles radically different from ours;
that of Chaucer, on principles which are substantially those of
our own poetry

 the history of English literature is from the fifth century to the

twentieth, we may still hold that literature before Chaucer
constitutes a special field of study, and that it is only with
Chaucer that modern English literature definitely begins.

English Literature before the Conquest.

 A considerable body of Anglo-Saxon poetry has been preserved,

including one piece of immense interest, the epic Beowulf. Of
the authorship of this nothing is known, and its history is still a
matter of controversy.

 But it is probable that it grew up in the form of ballads 5among

the ancestors of the English in Denmark and South Sweden, that
in this form it was brought by invaders to this country, and that

5
Ballads = short poems / a poem or a song that narrates a story through short stanzas (like a group of short
stories)
 it was here fashioned into an epic, perhaps by some
Northumbrian poet, about the eighth century.

 Manifestly heathen in origin, it is as it stands the work of a

Christian writer. It tells with rude vigour of the mighty feats of
the hero whose name it bears; how, first, he fought and killed
the monster Grendel, who for twelve years had wasted the land
of the King of the Danes; how, next, he slew Grendel's mother;
and how at last, a very old man, he went out to destroy a fiery
dragon, receiving as well as giving a mortal wound. Vivid
pictures of life in war and peace among our remote forefathers
add greatly to the value of a fine old poem
‫الي واجه وقاتل‬
‫ ل‬،‫وبتحي عن أعماله البطولية العظيمة‬ ‫ل‬ ‫مسيي بيحمل اسم البطل‬
‫ل‬ ‫هو عمل لكاتب‬
‫ وبعد كدة قام‬،‫ سنة بحالهم‬12‫ككي لـ‬‫ي‬ ‫الي بدد أاض ملك الددماا ن‬ ‫ش‬
‫ي‬ ‫ الوحش الرير ل‬،‫وحش اسمه جراددل‬
‫كرت‬ ‫وو الخر وبعد ما العضمة ب‬ ‫ش‬
‫ ل‬.‫اايح بكوولف البطل المغواا علشان يدبح ام الوحش الرير جراددل‬
fery ‫الي بيطلع داا من وداده( هو مكتوب اده‬ ‫ييق عي ن ي‬ ‫الراجل بكوولف المغواا خرج عشان ي‬
‫التني ل‬ ‫ل‬
‫ق‬
‫التني المشطشط يتلى‬ ‫ ) وبسبب هذا ن ي‬، ‫افرضت إن الناا بتطلع من وداده عادي‬ ‫فيط بس ادا ق‬dragon
‫ي عبااة عن صوا واضحة للحياة وسط‬ ‫ فبييولك بيا ان هذه الحبشتكنات ل‬.‫بكوولف المغواا جرح مميت‬
‫ي‬
.‫اللعي‬ ‫اأدد‬ ‫ي‬
‫ن‬ ‫ وقد ايه السلم نبي أجداد أجداددا يضيف بشكل عظيم لييمة العمل ب ل‬،‫الحرب‬

 Caedmon and Cynewulf, both of whom belong to the north, and

to the period immediately following the conversion of the Anglo-
Saxons to Christianity, which began at the end of the sixth
century.

 CAEDMON, who died about 680, was a servant attached to the

monastery of Whitby in Yorkshire. According to a pretty tale told
by the Venerable Bede, the power of verse came to him suddenly
as a divine gift. He had never been able to sing to the harp as
others did in festive gatherings in the monastery hall, and when
his turn came round, he had always been used to retire in
humiliation. But one night, having gone to the stables to look
after the horses of which he had charge, he fell asleep, and an
angel appeared to him in a vision, and told him to sing. Then
when he asked, "what shall I sing?" the heavenly visitor replied,
"Sing the beginning of created things"; and waking, he found
himself, to his astonishment, endowed with the faculty of
poetry.
‫ي‬ ‫ي‬
‫ وعي حسب قصة لطيفة‬،‫ويتت يواكشاير‬‫وكان خادم لو دير لو ب ل‬،680 ‫حواي سنة‬
‫ل‬ ‫الراجل كيدمون دة مات‬
‫ ليه ؟‬divine gif ،‫ فالراجل دة كان عنده موهبة شعرية من السماكدة‬Venerable Bede ‫خفيفة من‬
‫ي‬ ‫ي‬ ‫ي‬
‫وو وسط‬
‫ وفجأة ل‬،‫بتيي دواه بتتني‬
‫يغت عي الهااب زي صحابه لو الدير وكان لما ب ل‬
‫الراجل مكانش بيعرف ل‬
 ‫الي كان مسؤول عنها قام عامل ايه بيا؟ حط أكل للخكول؟ أ‪.‬‬
‫اي الخكول ل‬
‫وهو اايح للسطبل عشان ير ل‬
‫ي‬ ‫طب حطلهم مية ش‬
‫يربوا؟ أ برضوا‪ .‬طب ااح يتطمن علكهم طيب؟ لو الحييية ل برضوا‪ .‬أمال ااح يعمل‬
‫عالي فيه‬
‫ل‬ ‫ايه؟ ل هو ااح دام عادي جدا ويتحرق ام السطبل‬

‫ي‬ ‫ي‬
‫هتغت ياكيدمون" فياله‬
‫ل‬ ‫خر جاله ملك كدة وقاله "ادت ل‬
‫الي‬ ‫خر اللهم اجعله ن‬
‫وو وسط دومه‪ ،‬ن‬‫ولكن‪ ،‬ل‬
‫ولى دفسه‬‫"ا يت ايه يسطا عالصبح؟" قاله " يت " ‪ the beginning of created things‬قام صاي ق‬
‫ل‬ ‫ل‬ ‫ل‬
‫يغت‬‫فجأة بيعرف ي‬
‫ل‬

‫‪ A miraculous element also enters into the story of CYNEWULF'S‬‬

‫‪career. Born, it is conjectured, between 720 and 730, he was in‬‬
‫‪earlier life, as he himself tells us in his Dream of the Rood, a‬‬
‫‪wandering gleeman* and a lover of pleasure, but converted by a‬‬
‫‪vision of the cross, he dedicated himself henceforth to religious‬‬
‫‪themes. His works include a poem called Christ, treating of the‬‬
‫‪Incarnation, the Descent into Hell, the Ascension, and the Last‬‬
‫‪Judgment; Elene, an account of the finding of the true cross.‬‬
‫ي‬ ‫ستكنولف دة بيا ليه قصة مختلفة شوية‪ ،‬ييال اده اتولد ن ي‬
‫بي ‪ .730 - 720‬وحسب ما هو قال لو كتاب‬
‫ي‬
‫ترفكي متجول ‪-‬شغلدة البا‪ -‬محب للسعادة‪،‬‬
‫ل‬ ‫‪Dream of the Rood‬فهوكان لو بداية حياته *ااجل‬
‫ولكنه حول مسااه بفضل اؤيا للصليب‪ ،‬فكرس دفسه للمواضكع الدينية‪ .‬ومن ضمن اعماله قصيدة‬
‫اأخرة؛ و ‪Elene ،‬سد للعثوا عي‬
‫ن‬ ‫" ‪Christ‬تتناول التجسد‪ ،‬والهبوط إي الجحيم‪ ،‬والصعود‪ ،‬والدينودة‬
‫ق‬
‫الحييى‪".‬‬ ‫الصليب‬
‫ل‬

‫‪ While generally sacred in subject, and profoundly earnest in‬‬

‫‪feeling, Anglo-Saxon poetry is full of a love of adventure and‬‬
‫‪fighting, and sometimes its martial spirit bursts out into regular‬‬
‫‪war poetry.‬‬
‫ي‬ ‫ي‬ ‫ي‬
‫اأدجلوسكسود ميدس بشكل عام لو الموضوع‪ ،‬وجاد للغاية لو الشعوا‪ ،‬إل أده‬
‫ل‬ ‫عي الر م من أن الشعر‬
‫ي‬ ‫ي‬
‫وو بعض اأحيان تنفجر اوحه اليتالية لو شعر الحرب العادي‪.‬‬
‫ميء بحب المغامرة واليتال‪ ،‬ل‬
‫ل‬

‫‪ A fondness for the sea, ingrained in our English character, is also‬‬
‫‪another striking feature of it. In form, it rests upon principles of‬‬
‫‪composition radically different, as I have said, from those which‬‬
‫‪govern modern English versification.‬‬
‫ض‬ ‫ني‬ ‫ي‬
‫اإدجلرية‪ ،‬هو أيضا سمة أخرى ملفتة للنظر‪ .‬من حيث الشكل‪،‬‬ ‫إن الولع بالبحر‪ ،‬المتأصل لو الشخصية‬
‫ني‬ ‫ق‬ ‫ض‬ ‫ق‬
‫اإدجلري‬ ‫الت تحكم دظم الشعر‬
‫الت تختلف جذايا‪ ،‬كما قلت‪ ،‬عن تلك ل‬
‫فهو يعتمد عي مبادئ التأليف ل‬
‫الحديث‪.‬‬
 In place of our rime (or "end rime" as it is more strictly called) it
employs "beginning rime," or alliteration, that is, the regular and
emphatic repetition of the same letter
‫ي‬ ‫ي‬
‫الي‬
‫اليافية بتاعتنا دي ي ل‬i - ‫مكتوبة لو الكتاب بالـ‬ ‫ي اليافية ل‬
‫يعت بس‬ ‫الي ل‬rime
‫ل‬ - ‫فمثل بالنسبة لموضع اا‬
‫ي‬ ‫ي‬ ‫ي‬
‫سااسود بتتم توظيفها لو‬
‫ل‬ ‫ بنلقكها لو الشعر الدجلو‬end rime ‫احنا متعودين علكها لو الخر وبنسمكها‬
(‫ )التكراا المنتظم والمؤكد لنفس الحرف‬alliteraton ‫ أو‬beginning rime ‫البداية‬

 while the lines are quite irregular in regard to the number of

unaccented syllables introduced. To state the broad rule: each
line of an Anglo-Saxon poem consisted of two divisions; the first
of these contained two accented syllables, the second at least
one; and the accented syllables in each case began with the
same letter. This gives us the normal type of Anglo-Saxon verse,
as in this line from Beowulf:

Grendel gongan, Godes yrre baer (Grendel going God's anger bore).

‫ي‬ ‫ي‬ ‫ي‬

‫فى حاجة‬‫المحارة ل‬ ‫الي أدا فهمته من الفيرة دي وبعد اليليل من البحث واستحضاا ما قيل لو‬،
‫بص ل‬
‫ي‬
‫ ف‬،‫ أو الشدة لو اللغة العربية‬stress ‫الي علكها‬
‫ ودي المياطع الصوتية ل‬accented syllables ‫اسمها‬
‫ي‬ ‫ي‬ ‫ي‬
: ‫قسمي‬
‫ن‬ ‫اللعي هو إن كل سطر مكون من‬ ‫ن‬ ‫سااسود‬
‫ل‬ ‫بييولك بيا إن الياعدة العامة للشعر اأدجلو‬
‫اأول فيه ن ي‬
accented syllables‫اتني‬
‫ي ي‬
‫والتاد لو واحد بس عي اأقل‬
‫ل‬
‫ي‬
Grendel gongan, Godes ‫ فمثل لو بيت الشعر‬،‫ مبدوء بنفس الحرف‬accented syllables ‫وكل‬
‫ي‬ ‫ي‬ ‫ي ي‬ ‫ق‬
‫التاد‬
‫ل‬ ‫مرتي لو اللين اأول ومرة لو‬g
‫ن‬ ‫بتبدأ بالـ‬accented syllables ‫هتلو إن الـ‬yrre
‫ل‬ baer.

 Anglo-saxon poetry flourished most in the north; prose

developed later in the south "King ALFRED ((901-849 as an
example"

 But the greatest monument of Old English prose is the Anglo-

Saxon Chronicle, which, though it already existed before
Alfred, was under his guidance transformed into a national
history, and which was so continued till 1154, when it closed
with the record of the death of King Stephen.
 ‫ي‬
‫ل‬
‫ي‬
‫التاايي‬ ‫بالعرد السجل‬
‫بل‬
‫ني‬
‫اإدجلرية اليديمة ‪ = the Anglo-Saxon Chronicle‬أو‬ ‫أعظم أثر لو ثدر اللغة‬
‫للدجلو سااسون‬

‫ي‬
‫الي فاتت لو مادة‬
‫اي كان واكل دما نا السنة ل‬
‫السجل دة بالمناسبة كان موجود بالفعل قبل الملك ألفريد ل‬
‫ي‬
‫التاايي إي‬ ‫الهيستواي اللعكنة‪ ،‬ولكن وتحت قيادته وتوجكهاته الرشيدة العنيدة اتحول هذا السجل‬
‫ل‬
‫حت سنة ‪ 1154‬لغاية ما اتيفل بتسجيل موت ‪King‬‬ ‫ي‬
‫وطت‪ ،‬هذا السجل ‪ /‬التاايـ ــخ فضل مستمر ق‬ ‫تاايـ ــخ‬
‫ل‬
‫‪Stephen‬‬

‫‪From the Conquest to Chaucer‬‬

‫‪ The loss of the French possessions of the English crown tended‬‬
‫‪still further to confirm the growing unity of the nation. In these‬‬
‫‪circumstances English began to assert itself beside the rival‬‬
‫‪tongue, which was already losing ground, and with this English‬‬
‫‪literature assumes a certain historical interest. It now becomes‬‬
‫‪clear how much has been gained in the meantime by the‬‬
‫‪accumulation of fresh materials from various sources‬‬
‫ني‬
‫اإدجلرية‬ ‫ي‬
‫يعت‪ -‬ابتدت اللغة‬ ‫ني‬
‫اإدجلري ‪-‬السلطة ل‬ ‫الملي‬
‫ل‬ ‫بعد الخسااة الفرنسية ‪6‬لستحواذها عي التاج‬
‫والي كان بالفعل بيخر أاضية كل‬
‫ل‬ ‫‪rival‬الي هو الفرنساوي‬
‫ل‬ ‫تفرض دفسها جنبا إي جنب الـ ‪tongue‬‬
‫ي‬
‫تاايي‪.‬‬ ‫ني‬
‫اإدجلري كان بيكتسب اهتمام‬ ‫شوية‪ ،‬دة نر إن اأدب‬
‫ل‬

‫‪The Making of the English Language.‬‬

‫‪ The period between the Conquest and Chaucer is, however,‬‬
‫‪much more important from the point of view of our language‬‬

‫‪6‬أنا دماغي عطلت هنا‪ ،‬ايه اللي جاب الفرنسية في الموضوع؟ ولكن حسب ما بحثت ف اللي وصلتله التي‪:‬‬

‫إنجلترا كانت تحت حكم المملكة الرومانية اللي كانت بتتكلم لتيني لحد سنة‪ ، 410‬حلو؟ حلو‬

‫بعد ‪ 410‬جم النجلو ساكسون علشان يحكموا إنجلترا‪ ،‬حلو؟ حلو‬

‫النجلو ساكسون دول لما جم إنجلترا كانوا بيتكلموا وبيكتبوا ‪ old English‬واللي هي أقدم شكل من أشكال النجليزية‪ ،‬جميل؟ جميل‬

‫النجلو ساكسون دول بقا فضلوا لبدين لحد ما جه الـ‪ ،norman Conquest‬والنورمانز دول كانوا بيتكلموا فرنسي‪ ،‬تمام؟ تمام‬

‫فبقى عندنا دلوقتي إنجلترا اللي عدى عليها الرومان ثم النجلو ساسكسون ثم النورمانز‪ ،‬يعني عندنا ‪ 3‬لغات‪ ،‬اللتينية للكنيسة‪ ،‬النجليزية للعوام‪،‬‬
‫الفرنسية للطبقة الرستقراطية ‪.‬وهنا بقا انت بتعرف بعد خسارة الستحواذ الفرنسي ايه اللي حصل وبزوغ فجر اللغة النجليزية وكدة‪.‬‬
 than from that of our literature. During these three hundred
years, while little was being produced in prose or verse of any
intrinsic value, modern English was gradually evolving out of the
conflict of opposing tongues, and assuming national rank as the
speech of the whole people
‫بي الغزو وششوس ي ث‬
.‫أار أهمية من وجهة دظر لغتنا منها من وجهة دظر أدبنا‬ ‫ فإن ق‬،‫ومع ذلك‬
‫الفرة ن ي‬
‫ل‬
‫ بتنما لم يتم إدتاج سوى اليليل من ث‬،***‫خلل هذه الثلثمائة سنة‬
،‫النر أو الشعر ذي الييمة الجوهرية‬
‫ض‬
‫ وتحتل المرتبة الوطنية‬،‫تدايجيا خااج راع األسنة المتعااضة‬ ‫ني‬
‫اإدجلرية الحديثة تتطوا‬ ‫كادت اللغة‬
.‫باعتبااها خطاب الشعب بأكمله‬

‫ي‬
‫ بتنما ششوسكان لو‬11‫***بالمناسبة فحسب ما بحثت برضوا ف الغزو النواماددي كان بدأ من اليرن الـ‬
14‫الـ‬

 It is enough for us to note that the final product of it was a

mixed or compound language, the grammatical structure and
vocabulary of which alike were the result of Norman French
influences acting upon the old Anglo- Saxon material.
‫ي‬
‫ كان ترككبها النحوي ومفرداتها عي حد‬،‫النهاد لهاكان لغة مختلطة أو مركبة‬
‫ل‬ ‫ويكفكنا أن دلحظ أن الناتج‬
.‫للتأثرات الفرنسية النواماددية المؤثرة عي المادة اأدجلوسكسودية اليديمة‬
‫ن‬ ‫سواء دتيجة‬

 It was this new tongue which ultimately displaced that of the

Conquerors. Norman French long continued, indeed, to be the
only recognised official language and, to some extent, the
language of fashion. But by the beginning of the fourteenth
century it had entirely lost its hold upon English life at large, and
the complete triumph of English was signalised by a statute of
1362, which proclaimed that henceforth all proceedings in the
law courts should be in that language instead of French.
‫ن ي‬ ‫ي‬
‫ استمرت اللغة الفرنسية‬.‫الفاتحي‬ ‫ليد كان هذا اللسان الجديد هو الذي حل لو النهاية محل لغة‬
‫ق‬ ‫ي‬ ‫النواماددية ق‬
‫ ولكن مع‬.‫ لغة الموضة‬،‫ وىي حد ما‬،‫المعرف بها‬ ‫لفرة طويلة لو كودها اللغة الرسمية الوحيدة‬
‫ني‬
‫ وتم اإشااة إي‬،‫اإدجلرية بشكل عام‬ ‫ فيدت اللغة سيطرتها ض‬،‫عر‬
‫تماما عي الحياة‬ ‫بداية اليرن الرابع ش‬
‫ض‬ ‫ني‬
‫ يجب أن تتم‬،‫ الذي أعلن أده من الن فصاعدا‬،1362 ‫اإدجلرية من خلل قادون عام‬ ‫الدتصاا الكامل للغة‬
‫ل‬ ‫ي‬
.‫جمكع اإجراءات لو المحاكم بهذه اللغة بدا الفرنسية‬

 We must, however, remember that while French was thus

disappearing, there was as yet no standard form of the new
tongue to take its place. English was broken up into dialects.
 There was a Northern English, a Mid- land English, and a
Southern English, which differed fundamentally from one
another, and which were yet subdivided within themselves into
numerous minor varieties.
‫ لم يكن هناك ق‬،‫تختى عي هذا النحو‬
‫حت هذه‬ ‫ي‬ ‫ يجب أن دتذكر أده بتنماكادت اللغة الفرنسية‬،‫ومع ذلك‬
‫ل‬
‫ي‬
‫ كادت هناك‬.‫اإدجلرية كادت ميسمة إي لهجات‬‫ن‬ ‫ اللغة‬.‫قياي للغة الجديدة ليحل محلها‬ ‫اللحظة شكل‬
‫ل‬
‫أساي عن بعضها‬ ‫والت تختلف بشكل‬ ‫ق‬ ‫ي‬ ‫ي‬ ‫ني‬
‫ل‬ ‫ ل‬،‫واإدجلرية الجنوبية‬
‫ن‬ ،‫واإدجلرية الوسط‬
‫ن‬ ،‫اإدجلرية الشمالية‬
.‫والت كادت مع ذلك ميسمة داخل دفسها إي أصناف ثادوية عديدة‬ ‫ق‬
‫ ل‬،‫البعض‬

 In this confusion, little by little, East Midland English tended to

gain ascendancy, because it was the speech of the capital and of
the two centres of learning, Oxford and Cambridge. Then when
Chaucer began to write, he chose this as his vehicle, and it was
largely on account of his influence that what had hitherto been
only one of several provincial dialects attained the dignity of the
national language.
‫ض‬ ‫ض‬ ‫ي‬
‫ أدهاكادت لغة‬،‫ إي ااتساب الهيمنة‬East Midland English ‫ مال الـ‬،‫ شتًا فشتًا‬،‫لو ظل هذا الاتباك‬
‫ي‬
‫ اختاا هذه اللغة كوسيلة‬،‫ ثم عندما بدأ ششوس لو الكتابة‬.‫وكامريدج‬
‫ب‬ ‫ أاسفواد‬،‫العاصمة ومركزي التعلم‬
‫ق‬
‫كبر أن ماكان حت الن مجرد واحدة من لهجات المياطعات العديدة قد‬ ‫تأثره إي حد ن‬‫ وكان بسبب ن‬،‫له‬
.‫ااتسبت كرامة اللغة الوطنية‬

 We thus come round to Chaucer, the first of our really national

English poets.
 Lecture 3

THE AGE OF CHAUCER 1340-1400

 Geoffrey Chaucer was born in the reign of Edward III

 lived through that of Richard II

 and died the year after Henry IV ascended the throne.

 His life thus covers a period of glaring social contrasts and rapid
political change.

 Edward's reign marks the highest development of mediaeval

civilisation in England. It was also the midsummer of English
chivalry. 7

 The spirit of his court was that of the romantic idealism which
fills Chaucer's own "Knightes Tale"

 Strong in its newly established unity, England went forth on its

career of foreign conquest in a mood of buoyant courage,8 and
every fresh triumph served to give further stimulus to national
ambition and pride.

 The king and his nobility led a very gay and debonair life. 9

‫أو ماتسمى بالـ‬chivalry ‫ ولكن يبدوا حسب فهمي للمور إنه يقصد إن فترته كانت في منتصف الـ‬،‫الحقيقة‬Midsummer ‫مفهمتش تعبير‬7
‫ النبالة‬/ ‫أو طبقة النبلء‬nobility

‫ نشطة‬/ ‫ منتعشة‬/ ‫شجاعة مزدهرة‬8

‫حياة مرحة خالية من الهموم‬9 Gay life =

‫حياة راقية‬Debonair =
 Trade expanded, and among the commercial classes wealth
increased.

 But the masses of the people were meanwhile sunk in a

condition of deplorable misery. Pestilence after pestilence
ravaged the land.
.‫ وباء بعد وباء اجتاح البلد‬.‫لكن جماهير الشعب كانت في هذه الثناء غارقة في حالة من البؤس المؤسف‬

 Famine followed plague; vagrants10 and thieves multiplied;

tyrannous laws passed to regulate labour only made bad matters
worse.

 The French wars, which had given temporary glory to the arms
of Edward, were fraught with disastrous consequences for his
successor.

 Their enormous cost had to be met by heavy burdens of

taxation, which were the immediate cause of a general rising of
the common folk under Wat Tyler, Jack Straw, and the unfrocked
priest, John Ball.11

 social unrest. Political troubles also grew apace under Richard's

unwise and despotic rule

 Much of the glamour had gone from life, and men were more
conscious of its stern common realities.

‫ أو ناس منغمسين في ملذاتهم‬self indulgent ‫ المهم هو يقصد في العموم إنهم كانوا‬،‫طبعا ليهم ترجمات كتير بس جيبت أقرب حاجة للمعنى‬
.‫وذاتهم‬
10
‫المشردين‬
11
‫ والخير دة هو الكاهن المخلوع من الكنيسة (المشلوح) جون بول‬،‫ رموز للثورة والنتفاضة في الوقت دة‬3 ‫دول‬
 Among the causes which greatly contributed to the increasing
evils of Chaucer's age we must also reckon the corruption of the
Church.12

 The greater prelates heaped up wealth, and lived in a godless

and worldly way; the rank and file of the clergy were ignorant
and careless.

 Chaucer himself, as we shall presently have to note, took little

serious interest in social reform; yet the portraits which he draws
for us of the fat, pleasure-loving monk, the merry and wanton
friar, and that clever rogue, the pardoner, who wanders about
hawking indulgences and relics, show that he was alive to the
shocking state of things which existed in the religious world of
his time.
‫ ومع ذلك فإن الصور التي يرسمها‬:‫ لم يبد اهتما يما جدييا بالصلح الجتماعي‬،‫ كما سنلحظ الن‬،‫تشوسر نفسه‬
،‫ وذلك المحتال الذكي‬،‫ وحاجة كدة معرفتش اترجمها بتاعت فراير دي‬،‫لنا للراهب السمين المحب للمتعة‬
‫ تظهر أنه كان معايشا لحالة الشياء المروعة‬،‫والراهب الذي يتجول بائعا ل صكوك الغفران والثار المقدسة‬
.‫التي كانت موجودة في العالم الديني في عصره‬

 Social unrest and the beginnings of a new religious movement

were thus two of the chief active forces in the England of the
later fourteenth century.

 A third influence which did much to change the current of

intellectual interests, and thus affected literature very directly,
came from the new learning

12
‫يجب أيضا أن نحسب حساب فساد الكنيسة‬
 Lecture 4

CONTINUATION OF THE AGE OF CHAUCER 1340-

1400

 scholarship had been largely the concern of the Church, and

men's thoughts and feelings about themselves and the world
had been governed almost entirely by theology.13

 spirit had arisen in Italy, chiefly from a renewed study of the

literature of classical antiquity, and from the consequent
awakening of enthusiasm not only for the art, but also for the
moral ideas of Greece and Rome.

 The leaders of this great revival were the two celebrated Italian
writers, Petrarch (74-1304) and Boccaccio (75-1313), and it was
through their work in the main that the influence of humanism
(as the new culture came to be called) passed into England,
where its effect was soon shown in the quickened sense of
beauty, the delight in life, and the free secular spirit which
began to appear in our literature.

 It is here that we mark the rise of the vast and complex

movement, which was presently to culminate in the Renaissance,
and of which we shall have much more to say later.

 humanism has to be included among the formative influences of

the literature of Chaucer's age.

13
Theology is the systematic study of the nature of the divine, or more broadly of religious belief (WIKIPEDIA)
Chaucer's Life.

 Geoffrey Chaucer, who is so much the greatest figure in the

English literature of the fourteenth century that he has thrown
all his contemporaries completely into the shade, was born
about 1340 in London, where his father did a flourishing
business as a merchant vintner.

 but it is evident from the wide and varied scholarship which

characterises his writings that he must have enjoyed the
advantages of a liberal education.

 In studying Chaucer's work it is important to remember that his

education as a poet was two-fold. Part of it came from literature;
but part of it came from life.

 He was a thorough student, and in one of his autobiographical

passages (in The House of Fame) he tells us how after a long day
over his accounts, he would go home at night and there pore
over his beloved volumes till he was com- pletely dazed.

 But he was not a mere bookman, nor was he in the least a

visionary. Like Shakespeare and Milton, he was, on the contrary,
a man of the world and of affairs.

 He had travelled much; he had seen life; his business at home

and abroad brought him into intimate relations with people of
all sorts; and with his quick insight into character and his keen
eye for everything dramatic and picturesque and humorous, he
was precisely the kind of poet to profit by such varied
experiences.
Chaucer's Work in General.

 It is usual and convenient to divide Chaucer's literary career into

three periods, which are called his French, his Italian, and his
English period, respectively.

 His genius was nourished, to begin with, on the French poetry

and romance which formed the favourite read- ing of the court
and cultivated society during the time of his youth.

 Naturally he followed the fashion, and his early work was done
on French models

The Canterbury Tales.

 These are a collection of stories fitted into a general framework

which serves to hold them together. Some of them were
certainly written earlier, and before the framework had been
thought of; but we put the Tales as a whole into Chaucer's third
period, because it was then that most of them were composed,
and that the complete design shaped itself in the poet's mind.
That design explains the title.

 A number of pilgrims on the eve of their departure meet at the

Tabard Inn in Southwark, where, as it chances, Chaucer himself
is also staying; and, as he too is bent on the same errand, he is
easily persuaded to join the party

 The jolly host of the Tabard, Harry Bailly, gives them hearty
welcome and a supper of his best-good victual and strong drink
to match; and, after they are satisfied, he makes this proposal:
that to beguile the tedium of the journey each member of the
party shall tell two tales on the way to Canterbury, and two on
the way back; that he himself shall be the judge; and that the
one who tells the best tale shall be treated by all the rest to a
supper on their return to the Tabard Inn. The suggestion is
applauded, and these Canterbury Tales are the result.
 ‫حارا ويقدم لهم عشا يءا ومشروب قوي ومغذي يناسبهم؛‬
‫يرحب بهم "هاري بايلي" المضيف المرح ترحيبيا ي‬
‫وبعد ذلك ‪ ،‬يقدم هذا القتراح‪ :‬لكي يخفف من ملل الرحلة‪ ،‬يجب على كل عضو في المجموعة أن يروي‬
‫حكايتين في الطريق إلى كانتربري‪ ،‬واثنتين في طريق العودة؛ على أن يكون هو نفسه يكون الحكم‪ .‬وأن‬
‫الشخص الذي يروي أفضل الحكاية سوف يكافأ من الخرون بالعشاء عند عودتهم إلى فندق تابارد‪ .‬تم‬
‫الترحيب بالقتراح‪ ،‬وكانت النتيجة حكايات كانتربري هذه‪.‬‬

‫‪ Though limited to what we may broadly call the middle classes,‬‬
‫‪the com- pany is still very comprehensive. The military profes‬‬
‫‪sion is represented by a knight, a squire, and a yeoman: the‬‬
‫‪ecclesiastical, by a prioress, a nun (her secretary), a monk, a friar,‬‬
‫‪a sumnour (summoner of those charged under the jurisdiction of‬‬
‫‪the ecclesiastical courts), a pardoner (or seller of pardons), a‬‬
‫‪poor parson, and a Clerk of Oxford, who is a student of divinity.‬‬
‫‪Then we have a lawyer and a physician, and, running down the‬‬
‫‪social scale, a number of miscellaneous characters whom one‬‬
‫‪cannot well classify-a franklin (freeholder of land), a merchant, a‬‬
‫‪shipman (sailor), a miller, a cook, a manciple (caterer for‬‬
‫‪colleges), a reeve (land steward), a haberdasher, a carpenter, a‬‬
‫‪weaver, a dyer, a tapycer (tapestry maker), a ploughman (the‬‬
‫‪poor parson's brother), and a well-to-do west-country cloth-‬‬
‫‪maker named Alison, who, however, is better known as the Wife‬‬
‫‪of Bath.‬‬
‫على الرغم من أن الصحبة تقتصر على ما يمكن أن نطلق عليه على نطاق واسع "الطبقات الوسطى"‪ ،‬ال أن تلك‬
‫الصحبة ل تزال شاملة للغاية‪ .‬يتم تمثيل المهنة العسكرية من قبل فارس‪ .....‬الخ‪ .‬ثم هناك عدد من الشخصيات‬
‫المتنوعة التي ل يمكن للمرء أن يصنفها جيددا‪ :‬فرانكلين (مالك حر للرض)‪ ،‬تاجر‪ ،‬ملح (بحار)‪ ....‬الخ‬

‫‪ All the characters are individualised, yet their thoroughly typical‬‬
‫‪quality gives unique value to Chaucer's picture of men and‬‬
‫‪manners in the England of his time.‬‬
‫حسب فهمي النقطة دي هنحتاج نسترجع فيها معلومة من السنة اللي فاتت في مادة القصة لما قولنا إن في‬
‫العمال الدبية عندنا نوعين من الشخصيات ‪:‬‬
‫باختصار هي شخصية طبيعية بتمثل نفسها‪ ،‬زي عبدالغفور البرعي وفاطنة كدة‪ ،‬انت = ‪Individualized‬‬
‫بتشوف قصة شخصيات طبيعية جدا مبيمثلوش غير قصتهم وبس‬

‫ودي شخصيات برضوا ولكن بتمثل فكرة أو مبدأ أو مجموعة من الناس‪ ،‬زي مسرحية تاجر = ‪Typified‬‬
‫البندقية بتاعت السنة اللي فاتت لما كان شايلوك بيمثل اليهود وتعاملتهم وأنطونيو اللي بيمثل العقلنية مع‬
‫صديقه باسانيو اللي كان بيمثل صفات الندفاع والسرف‪ ....‬إلخ‬

‫ف هنا هو بيقولك إن كل الشخصيات ‪ Individualized‬لكن على الرغم من كدة بيتميزوا بصفات صماء أو‬
‫‪typical‬بتعكس رؤية تشوسر عن الناس والخلق في إنجلترا الفترة دي‪.‬‬
 His finest work as a narrative poet is the Knightes Tale, which in
accordance with the law of dramatic propriety is heroic in
subject, chivalrous in sentiment, and romantic in tone.

 Nominally, it is a tale of the heroic age of Greece, but as yet no

notion existed of what we call historic truth, and everything in
it-characters, sentiments, setting- is mediaevalised. It is in fact an
idealised picture of the fast-vanishing middle ages, and is
steeped in the atmo- sphere of chivalry. Its account of the
tournament, its presentation of the principles of knightly ethics,
and the vividness with which it portrays the chivalrous concep-
tion of love, are among the features of it which we should
specially note in studying it from the historical point of view.
، "‫ ولكن حتى الن ل توجد فكرة عما نسميه "الحقيقة التاريخية‬،‫ إنها قصة العصر البطولي لليونان‬،‫اسمييا‬
‫ إنها في الواقع صورة‬.‫ تم تقييمه من العصور الوسطى‬- ‫ الشخصيات والمشاعر والطار‬- ‫وكل شيء فيها‬
‫ وعرضها لمبادئ‬،‫ إن سردها للبطولة‬.‫ وهي غارقة في جو الفروسية‬،‫مثالية للعصور الوسطى سريعة التلشي‬
‫ من السمات التي ينبغي أن نلحظها بشكل‬،‫ والحيوية التي تصور بها مفهوم الفروسية للحب‬،‫أخلق الفرسان‬
. .‫خاص عند دراستها من الناحية التاريخية‬