that, at least as regards poetry, he proved that English was “sufficient.”
Chaucer borrowed both his stanza forms and his “decasyllabic” couplets (mostly with an extra syllable at the end of the line) from Guillaume Machault, and his music, like that of his French master and his successors, depends very largely on assigning to every syllable its full value, and more especially on the due pronunciation of the final -e. The slower movement of change in Scotland allowed time for Chaucer to exercise a potent influence on Scottish poetry, but in England this final -e, to which most of the earlier grammatical forms by Chaucer’s time had been reduced, itself fell rapidly into disuse during the 15th century, and a serious barrier was thus raised to the appreciation of the artistic value of his verse. His disciples, Hoccleve and Lydgate, who at first had caught some echoes of his rhythms, gradually yielded to the change in pronunciation, so that there was no living tradition to hand down his secret, while successive copyists reduced his text to a state in which it was only by accident that lines could be scanned correctly. For fully three centuries his reputation was sustained solely by his narrative power, his warmest panegyrists betraying no consciousness that they were praising one of the greatest technical masters of poetry. Even when thus maimed, however, his works found readers and lovers in every generation, and every improvement in his text has set his fame on a surer basis.
Bibliography.—The Canterbury Tales have always been Chaucer’s most popular work, and, including fragments, upwards of sixty 15th-century manuscripts of it still survive. Two thin volumes of his minor poems were among the little quartos which Caxton printed by way of advertisement immediately on his return to England; the Canterbury Tales and Boethius followed in 1478, Troilus and a second edition of the Tales in 1483, the Hous of Fame in 1484. The Canterbury Tales were subsequently printed in 1492 (Pynson), 1498 (de Worde) and 1526 (Pynson); Troilus in 1517 (de Worde) and 1526 (Pynson); the Hous of Fame in 1526 (Pynson); the Parlement of Foules in 1526 (Pynson) and 1530 (de Worde), and the Mars, “Venus” and Envoy to Bukton by Julyan Notary about 1500. Pynson’s three issues in 1526 almost amounted to a collected edition, but the first to which the title The Workes of Geffray Chaucer was given was that edited by William Thynne in 1532 for Thomas Godfray. Of this there was a new edition in 1542 for John Reynes and William Bonham, and an undated reprint a few years later for Bonham, Kele, Petit and Toye, each of whom put his name on part of the edition. In 1561 a reprint, with numerous additions, edited by John Stowe, was printed by J. Kyngston for J. Wight, and this was re-edited, with fresh additions by Thomas Speght, in 1598 for G. Bishop and again in 1602 for Adam Islip. In 1687 there was an anonymous reprint, and in 1721 John Urry produced the last and worst of the folios. By this time the paraphrasers were already at work, Dryden rewriting the tales of the Knight, the Nun’s Priest and the Wife of Bath, and Pope the Merchant’s. In 1737 (reprinted in 1740) the Prologue and Knight’s Tale were edited (anonymously) by Thomas Morell “from the most authentic manuscripts,” and here, though by dint of much violence and with many mistakes, Chaucer’s lines were for the first time in print given in a form in which they could be scanned. This promise of better things (Morell still thought it necessary to accompany his text with the paraphrases by Betterton and Dryden) was fulfilled by a fine edition of the Canterbury Tales (1775–1778), in which Thomas Tyrwhitt’s scholarly instincts produced a comparatively good text from second-rate manuscripts and accompanied it with valuable illustrative notes. The next edition of any importance was that edited by Thomas Wright for the Percy Society in 1848–1851, based on the erratic but valuable British Museum manuscript Harley 7334, containing readings which must be either Chaucer’s second thoughts or the emendations of a brilliantly clever scribe. In 1866 Richard Morris re-edited this text in a more scholarly manner for the Aldine edition of the British Poets, and in the following year produced for the Clarendon Press Series a school edition of the Prologue and Tales of the Knight and Nun’s Priest, edited with the fulness and care previously bestowed only on Greek and Latin classics.
In 1868 the foundation of the Chaucer Society, with Dr Furnivall as its director and chief worker, and Henry Bradshaw as a leading spirit, led to the publication of a six-text edition of the Canterbury Tales, and the consequent discovery that a manuscript belonging to the Earl of Ellesmere, though undoubtedly “edited,” contained the best available text. The Chaucer Society also printed the best manuscripts of Troilus and Criseyde and of all the minor poems, and thus cleared the way for the “Oxford” Chaucer, edited by Professor Skeat, with a wealth of annotation, for the Clarendon Press in 1894, the text of which was used for the splendid folio printed two years later by William Morris at the Kelmscott Press, with illustrations by Sir Edward Burne-Jones. A supplementary volume of the Oxford edition, entitled Chaucerian and other Pieces, issued by Professor Skeat in 1897, contains the prose and verse which his early publishers and editors, from Pynson and Thynne onwards, included among his Works by way of illustration, but which had gradually come to be regarded as forming part of his text. The reasons for their rejection are fully stated by Professor Skeat in the work named and also in The Chaucer Canon (1900). Many of these pieces have now been traced to other authors, and their exclusion has helped to clear not only Chaucer’s text but also his biography, which used (as in the “Life” published by William Godwin in two quarto volumes in 1803) to be encumbered with inferences from works now known not to be Chaucer’s, notably the Testament of Love written by Thomas Usk. All information about Chaucer’s life available in 1900 will be found summarized by Mr R. E. G. Kirk in Life-Records of Chaucer, part iv., published by the Chaucer Society in that year. See also Chaucer; a Bibliographical Manual, by Eleanor P. Hammond (1909). (A. W. Po.)
CHAUDESAIGUES, a village of central France, in the department of Cantal, at the foot of the mountains of Aubrac, 19 m. S.S.W. of St Flour by road. Pop. (1906) town, 937; commune, 1558. It is celebrated for its hot mineral springs, which vary in temperature from 135° to 177° Fahr., and at their maximum rank as the hottest in France. The water, which contains bicarbonate of soda, is employed not only medicinally (for rheumatism, &c.), but also for the washing of fleeces, the incubation of eggs, and various other economic purposes; and it furnishes a ready means of heating the houses of the town during winter. In the immediate neighbourhood is the cold chalybeate spring of Condamine. The warm springs were known to the Romans, and are mentioned by Sidonius Apollinaris.
CHAUFFEUR (from Fr. chauffer), to heat, a term primarily used in French of a man in charge of a forge or furnace, and so of a stoker on a locomotive or in a steamship, but in its anglicized sense more particularly confined to a professional driver of a motor vehicle. (See also Brigandage.)
CHAULIEU, GUILLAUME AMFRYE DE (1639–1720), French poet and wit, was born at Fontenay, Normandy, in 1639. His father, maître des comptes of Rouen, sent him to study at the Collège de Navarre. Guillaume early showed the wit that was to distinguish him, and gained the favour of the duke of Vendôme, who procured for him the abbey of Aumale and other benefices. Louis Joseph, duke of Vendôme, and his brother Philippe, grand prior of the Knights of Malta in France, at that time had a joint establishment at the Temple, where they gathered round them a very gay and reckless circle. Chaulieu became the constant companion and adviser of the two princes. He made an expedition to Poland in the suite of the marquis de Béthune, hoping to make a career for himself in the court of John Sobieski; he saw one of the Polish king’s campaigns in Ukraine, but returned to Paris without securing any advancement. Saint-Simon says that the abbé helped his patron the grand prior to rob the duke of Vendôme, and that the king sent orders that the princes should take the management of their affairs from him. This account has been questioned by Sainte-Beuve, who regards Saint-Simon as a prejudiced witness. In his later years Chaulieu spent much time at the little court of the duchesse du Maine at Sceaux. There he became the trusted and devoted friend of Mdlle Delaunay, with whom he carried on an interesting correspondence. Among his poems the best known are “Fontenay” and “La Retraite.” Chaulieu died on the 27th of June 1720.
His works were edited with those of his friend the marquis de la Fare in 1714, 1750 and 1774. See also C. A. Sainte-Beuve, Causeries du lundi, vol. i.; and Lettres inédites (1850), with a notice by Raymond, marquis de Berenger.
CHAUMETTE, PIERRE GASPARD (1763–1794), French revolutionist, was born at Nevers. Until the Revolution he lived a somewhat wandering life, interesting himself particularly in botany. He was a student of medicine at Paris in 1790, became one of the orators of the club of the Cordeliers, and contributed anonymously to the Révolutions de Paris. As member of the insurrectionary Commune of the 10th of August 1792, he was delegated to visit the prisons, with full power to arrest suspects. He was accused later of having taken part in the massacres of September, but was able to prove that at that time he had been sent by the provisional executive council to Normandy to oversee a requisition of 60,000 men. Returning
