§20. B’s Continuation of the Poems. I. “Piers the Plowman” and its Sequence. Vol. 2. The End of the Middle Ages. The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. 1907

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.

§ 20. B’s Continuation of the Poems.

As will be seen from this fairly representative passage, the author does not control or direct his own thought, but is at the mercy of any chance association of any chance association of words and ideas; as Jusserand well says, il est la victime et non le maître de sa pens´e.

In the series of visions forming B’s continuation of the poems, the same qualities are manifest, and the same difficulty awaits the student who attempts a synopsis or outline of them. It is possible, indeed, to state briefly the general situation and movement of each vision, to say, e.g. that this presents the tree of Charity, and this the Samaritan; but the point of view is frequently and suddenly and unexpectedly shifted; topics alien to the main theme intrude because of the use of a suggestive word; speakers begin to expound views in harmony with their characters and end as mere mouthpieces of the author; dramatis personae that belong to one vision suddenly begin to speak and act in a later one as if they had been present all the time; others disappear even more mysteriously than they come.

Even the first of the added visions shows nearly all these peculiarities. At the beginning of passus xi, continuing the conversation of passus X, Scripture scorns the author and he begins to weep. Forgetting that he is already asleep and dreaming, the author represents himself as falling asleep and dreaming a new dream. Fortune that he is already asleep and dreaming, the author represents himself as falling asleep and dreaming a new dream. Fortune ravished him alone into the land of Longing and showed him many marvels in a mirror called Mydlerd (i.e. the World). Following Fortune were two fair damsels, Concupiscencia-carnis and Covetyse-of-eyes, who comforted him, and promised him love and lordship. Age warned him, but Recklessness and Fauntelte (Childishness) made sport of the warning. Concupiscence ruled him, to the grief of age and Holiness, and Covetyse comforted him forty-five years, telling him that, while Fortune was his friend, friars would love and absolve him. He followed her guidance till he forgot youth and ran into age, and Fortune was his foe. The friars forsook him. The reader expects to learn that this is because of his poverty, but, apparently, another idea has displaced this in the author’s mind; for the reason given by him is that he said he would be buried at his parish church. For this, the friars held him a fool and loved him the less. He replied that they would not care where his body was buried provided they had his silver—a strange reply in view of the poverty into which he had fallen—and asked why they cared more to confess and to bury than to baptise, since baptism is needful for salvation. Lewte (Loyalty) looked upon him, and he loured. “Why dost thou lour?” said Lewte. “If I durst avow this dream among men?” “Yea,” said he. “They will cite ‘Judge not!’” said the author.

Of what service were Law if no one used it? It is lawful for laymen to tell the truth, except parsons and priests and prelates of holy church; it is not fitting for them to tell tales, though the tale were true, if it touched sin. What is known to everybody, why shouldst thou spare to declare; but be not the first to blame a fault. Though thou see evil, tell it not first; be sorry it were not amended. Thing that is secret, publish it never; neither laud it for love nor blame it for envy.

“He speaks truth,” said Scripture (who belongs not to this vision but to the preceding), and skipped on high and preached. “But the subject she discussed, if laymen knew it, they would love it the less, I believe. This was her theme and her text: ‘Many were summoned to a feast, and, when they were come, the porter plucked in a few and let the rest go away.’” Thereupon the author begins a long discussion with himself on predestination.

It is obvious that such writing as this defies analytical presentation; and this is no isolated or rare instance. In certain passages where the author is following a narrative already organised for him, as in the rat-parliament of the prologue, or the account of the life of Christ in passus xvi, the rambling is less marked; but, if the narrative is long or elaborate , the author soon loses sight of the plan, as may be seen in the curious treatment, in passus xix and xx, of the themes derived from The Castle of Love. In the instance last cited, the hopeless wandering occurs on so large a scale that it appears even in the synopses prepared by Skeat and others. Of the instances which disappear in synopsis, one of the most interesting is that of Activa-Vita, in passus xiii and xiv. Skeat’s synopsis is as follows: “Soon they meet with one Activa-Vita, who is a minstrel and seller of wafers. Patience instructs Activa-Vita, and declares that beggars shall have joy hereafter.” But the significant features are here omitted. Activa-Vita is the honest labourer, who provides bread for everybody, but, because he cannot please lords with lies and lewd jests, receives little reward. He is the friend and follower of Piers the Plowman. Yet, since he is Activa-Vita, in contact with the world, he is not spotless. The author therefore begins to tell us of the spots on Activa-Vita’s coat, and, naturally, distributes them in the categories of the seven deadly sins. As soon as he enters upon this task he is perfectly helpless; he cannot control himself or his conceptions; and, consequently, he represents poor Activa-Vita as guilty of every one of the sins in its most wicked and vilest forms. The author of the C-text removed these passages to the confessions that followed the preaching of Conscience in the second vision, possibly, as Skeat thinks, in order to bring together passages of similar content and treatment, but, possibly, because such a contradiction in the character of Activa-Vita was too gross and glaring.

Recognising, then, the limitations with which every synopsis of the continuation by B must be received, we may say, briefly, that B adds seven visions, two and a fraction devoted to Do-well, two and a fraction to Do-better and two to Do-best. In the first (passus xi) there is no allegorical action; the dreamer meets various allegorical characters, such as Fortune, Recklessness, Nature and Reason, and hears them talk or talks himself either to them or to his readers. The subjects discussed are, as we have seen, very various; but chief among them are predestination, the value of poverty, incompetent priests and man’s failure to follow reason as animals do. Following this, but not a vision, though it is distinguished from one only by the fact that the author is awake, is a long disquisition by Imaginative, containing views concerning the dangers and the value of learning and wealth very different from those expressed in A XI. The second vision begins with a dinner, given by Reason, at which are present the dreamer, Conscience, Clergy, Patience and a doctor of the church. Again there is no allegorical action; the dinner is only a device to bring together the disputants, who discuss theological subtleties. Following the dinner comes the interview with Activa-Vita described above. Conscience and Patience then instruct Activa-Vita to make amends by contrition and confession, and discuss at great length the benefits of poverty. The next vision is notable, though not unique, in containing a vision within a vision. In the first part (passus XV Anima (also called Will, Reason, Love, Conscience, etc., an entirely different character from the Anima of A IX) discourses for 600 lines, mainly on knowledge, charity and the corruptions of the age due to the negligence of prelates; in the second part, when Anima, after describing the tree of Charity, says that it is under the care of Piers the Plowman, the dreamer swoons, for joy, into a dream, in which he sees Piers and the tree, and hears a long account of the fruits of the tree which gradually becomes a narrative of the birth and betrayal of Christ. At the close of this he wakes, and wanders about, seeking Piers, and meets with Abraham (or Faith), who expounds the Trinity; they are joined by Spes (Hope); and a Samaritan (identified with Jesus) cares for a wounded man whom neither Faith nor Hope will help. After this, the Samaritan expounds the Trinity, passing unintentionally to an exposition of mercy; and the dreamer wakes. In the next vision (passus XIX) he sees Jesus in the armour of Piers ready to joust with Death; but, instead of the jousting, we have an account of the crucifixion, the debate of the Four Daughters of God and the harrowing of hell. He wakes and writes his dream, and, immediately, sleeps again and dreams that Piers, painted all bloody and like to Christ, appears. Is it Jesus or Piers? Conscience tells him that these are the colours and coat-armour of Piers, but he that comes so bloody is Christ. A discussion ensues on the comparative merits of the names Christ and Jesus, followed by an account of the life of Christ. Piers is Peter (or the church), to whom are given four oxen (the evangelists) and four horses (the four fathers of the church) and four seeds to sow. A house, Unity, is built to store the grain, and is attacked by Pride and his host; but this is forgotten in the episodes of the brewer’s refusal to partake of the Sacrament, the vicar’s attack on the cardinals and the justification by the king and lords of their own exactions. The dreamer wakes and encounters Need, who gives him instruction very similar to that of Conscience in the preceding dream. Falling asleep again, he has a vision of the attack of Antichrist and Pride and their hosts upon Unity, which insensibly becomes an attack by Death upon all mankind, varied by certain actions of Life, Fortune, Sloth, Despair, Avarice and the friar Flattery. Conscience, hard beset by Pride and Sloth, calls vainly for help to Contrition, and, seizing his staff, starts out on a search for Piers the Plowman. Whereupon the dreamer wakes.

Some scholars have regarded the poem as unfinished; others, as showing have regarded the poem as unfinished; others, as showing by the nature of its ending the pessimism of the author. It is true that it ends unsatisfactorily, and that one or more visions might well have been added; but it may be doubted whether the author ever could have written an ending that would have been added; but it may be doubted whether the author ever could have written an ending that would have been artistically satisfactory. He had, as we have seen, no skill in composition, no control of his materials or his thought. The latter part of the poem is supposed to be devoted in regular order to Do-well, Do-better and Do-best; but it may be said, without injustice, that these subjects determine neither the nature of the main incidents nor the manner in which they are developed, and that what the author himself would doubtless have cited as the supreme expression of his view of Do-well, Do-better and Do-best occurs early in the vision of Do-well—I mean, of course, the famous Disce, Doce, Dilige, taught to Patience by his leman, Love. He could never have been sure of reserving to the end of his poem the subjects with which he intended to end, or of ceasing to write at the point at which he wished to cease. It remains curious, nevertheless, and, perhaps, significant, in view of the continual recurrence in the work of B of invectives against the corruptions of the age, that the poem does end with the triumph of Antichrist, and that there is no hint, as in Kirchmayer’s Pammachius, of preparations for his defeat and the coming of an age of endless peace and good.