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[THE noble vindication of true love, as an exalting, purifying, and honour-conferring power, which Chaucer has made in “The Court of Love,” is repeated in “The Cuckoo and the Nightingale.” At the same time, the close of the poem leads up to “The Assembly of Fowls;” for, on the appeal of the Nightingale, the dispute between her and the Cuckoo, on the merits and blessings of love, is referred to a parliament of birds, to be held on the morrow after Saint Valentine’s Day. True, the assembly of the feathered tribes described by Chaucer, though held on Saint Valentine’s Day, and engaged in the discussion of a controversy regarding love, is not occupied with the particular cause which in the present poem the Nightingale appeals to the parliament. But “The Cuckoo and the Nightingale” none the less serves as a link between the two poems; indicating as it does the nature of those controversies, in matters subject to the supreme control of the King and Queen of Love, which in the subsequent poem we find the courtiers, under the guise of birds, debating in full conclave and under legal forms. Exceedingly simple in conception, and written in a metre full of musical irregularity and forcible freedom, “The Cuckoo and the Nightingale” yields in vividness, delicacy, and grace to none of Chaucer’s minor poems. We are told that the poet, on the third night of May, is sleepless, and rises early in the morning, to try if he may hear the Nightingale sing. Wandering by a brook-side, he sits down on the flowery lawn, and ere long, lulled by the sweet melody of many birds and the well-according music of the stream, he falls into a kind of doze — “not all asleep, nor fully waking.” Then (an evil omen) he hears the Cuckoo sing before the Nightingale; but soon he hears the Nightingale request the Cuckoo to remove far away, and leave the place to birds that can sing. The Cuckoo enters into a defence of her song, which becomes a railing accusation against Love and a recital of the miseries which Love’s servants endure; the Nightingale vindicates Love in a lofty and tender strain, but is at last overcome with sorrow by the bitter words of the Cuckoo, and calls on the God of Love for help. On this the poet starts up, and, snatching a stone from the brook, throws it at the Cuckoo, who flies away full fast. The grateful Nightingale promises that, for this service, she will be her champion’s singer all that May; she warns him against believing the Cuckoo, the foe of Love; and then, having sung him one of her new songs, she flies away to all the other birds that are in that dale, assembles them, and demands that they should do her right upon the Cuckoo. By one assent it is agreed that a parliament shall be held, “the morrow after Saint Valentine’s Day,” under a maple before the window of Queen Philippa at Woodstock, when judgment shall be passed upon the Cuckoo; then the Nightingale flies into a hawthorn, and sings a lay of love so loud that the poet awakes. The five-line stanza, of which the first, second, and fifth lines agree in one rhyme, the third and fourth in another, is peculiar to this poem; and while the prevailing measure is the decasyllabic line used in the “Canterbury Tales,” many of the lines have one or two syllables less. The poem is given here without abridgement.]

 

 THE God of Love, ah! benedicite,
 

 How mighty and how great a lord is he! <1>
 

 For he can make of lowe heartes high,
 

 And of high low, and like for to die,
 

 And harde heartes he can make free.