We can now readily understand that Usk's praise of Chaucer must have been more embarrassing than acceptable; and perhaps it was not altogether without design that the poet, in his House of Fame, took occasion to let the world know how he devoted his leisure time to other than political subjects.
§ 10. Some of the events of his life are alluded to by Usk in the present treatise. He justifies his betrayal of Northampton (p. 26, ll. 53-103, p. 28, ll. 116-201), and is grateful for the king's pardon (p. 60, ll. 120-4). He refers to his first imprisonment (p. 60, l. 104), and tells us that he offered wager of battle against all who disputed his statements (p. 60, l, 116; p. 31, l. 10); but no one accepted the wager.
He further tells us how he endeavoured to make his peace with the Church. Taking his cue from the parable of the merchantman seeking goodly pearls (p. 16, l. 84), he likens the visible Church of Christ to the pearl of great price (p. 145, l. 103; p. 94, l. 121), and piteously implores her mercy (p. 8, l. 135); and the whole tone of the piece shews his confidence that he is reasonably safe (p. 144, l. 120). He sees clearly that lollardy is unacceptable, and indulges in the usual spiteful fling against the cockle (_lolia_) which the Lollards were reproached with sowing (p. 48, l. 93). He had once been a heretic (p. 99, l. 29), and in danger of 'never returning' to the true Church (p. 99, l. 38); but he secured his safety by a full submission (p. 105, l. 133).
At the same time, there is much about the piece that is vague, shifty, and unsatisfactory. He is too full of excuses, and too plausible; in a word, too selfish. Hence he has no real message for others, but only wishes to display his skill, which he does by help of the most barefaced and deliberate plagiarism. It was not from the Consolatio Philosophiae of Boethius, but from the English translation of that work by Chaucer, that he really drew his materials; and he often takes occasion to lift lines or ideas from the poem of Troilus whenever he can find any that come in handy. In one place he turns a long passage from the House of Fame into very inferior prose. There are one or two passages that remind us of the Legend of Good Women (i. pr. 100, ii. 3. 38, iii. 7. 38); but they are remarkably few. But he keeps a copy of Chaucer's Boethius always open before him, and takes from it passage after passage, usually with many alterations, abbreviations, expansions, and other disfigurements; but sometimes without any alteration at all. A few examples will suffice, as a large number of parallel passages are duly pointed out in the Notes.