A History of English Literature Part 4

GEOFFREY CHAUCER, 1338-1400. Chaucer (the name is French and seems to have meant originally 'shoemaker') came into the world probably in 1338, the first important author who was born and lived in London, which with him becomes the center of English literature. About his life, as about those of many of our earlier writers, there remains only very fragmentary information, which in his case is largely pieced together from scattering entries of various kinds in such doc.u.ments as court account books and public records of state matters and of lawsuits. His father, a wine merchant, may have helped supply the cellars of the king (Edward III) and so have been able to bring his son to royal notice; at any rate, while still in his teens Geoffrey became a page in the service of one of the king's daughters-in-law. In this position his duty would be partly to perform various humble work in the household, partly also to help amuse the leisure of the inmates, and it is easy to suppose that he soon won favor as a fluent story-teller. He early became acquainted with the seamy as well as the brilliant side of courtly life; for in 1359 he was in the campaign in France and was taken prisoner. That he was already valued appears from the king's subscription of the equivalent of a thousand dollars of present-day money toward his ransom; and after his release he was transferred to the king's own service, where about 1368 he was promoted to the rank of esquire. He was probably already married to one of the queen's ladies-in-waiting. Chaucer was now thirty years of age, and his practical sagacity and knowledge of men had been recognized; for from this time on he held important public positions. He was often sent to the Continent--to France, Flanders, and Italy--on diplomatic missions; and for eleven years he was in charge of the London customs, where the uncongenial drudgery occupied almost all his time until through the intercession of the queen he was allowed to perform it by deputy. In 1386 he was a member of Parliament, knight of the shire for Kent; but in that year his fortune turned--he lost all his offices at the overthrow of the faction of his patron, Duke John of Gaunt (uncle of the young king, Richard II, who had succeeded his grandfather, Edward III, some years before). Chaucer's party and himself were soon restored to power, but although during the remaining dozen years of his life he received from the Court various temporary appointments and rewards, he appears often to have been poor and in need. When Duke Henry of Bolingbroke, son of John of Gaunt, deposed the king and himself a.s.sumed the throne as Henry IV, Chaucer's prosperity seemed a.s.sured, but he lived after this for less than a year, dying suddenly in 1400. He was buried in Westminster Abbey, the first of the men of letters to be laid in the nook which has since become the Poets' Corner.

Chaucer's poetry falls into three rather clearly marked periods. First is that of French influence, when, though writing in English, he drew inspiration from the rich French poetry of the period, which was produced partly in France, partly in England. Chaucer experimented with the numerous lyric forms which the French poets had brought to perfection; he also translated, in whole or in part, the most important of medieval French narrative poems, the thirteenth century 'Romance of the Rose' of Guillaume de Lorris and Jean de Meung, a very clever satirical allegory, in many thousand lines, of medieval love and medieval religion. This poem, with its Gallic brilliancy and audacity, long exercised over Chaucer's mind the same dominant influence which it possessed over most secular poets of the age.

Chaucer's second period, that of Italian influence, dates from his first visit to Italy in 1372-3, where at Padua he may perhaps have met the fluent Italian poet Petrarch, and where at any rate the revelation of Italian life and literature must have aroused his intense enthusiasm. From this time, and especially after his other visit to Italy, five years later, he made much direct use of the works of Petrarch and Boccaccio and to a less degree of those of their greater predecessor, Dante, whose severe spirit was too unlike Chaucer's for his thorough appreciation. The longest and finest of Chaucer's poems of this period, 'Troilus and Criseyde' is based on a work of Boccaccio; here Chaucer details with compelling power the sentiment and tragedy of love, and the psychology of the heroine who had become for the Middle Ages a central figure in the tale of Troy. Chaucer's third period, covering his last fifteen years, is called his English period, because now at last his genius, mature and self-sufficient, worked in essential independence. First in time among his poems of these years stands 'The Legend of Good Women,' a series of romantic biographies of famous ladies of cla.s.sical legend and history, whom it pleases Chaucer to designate as martyrs of love; but more important than the stories themselves is the Prolog, where he chats with delightful frankness about his own ideas and tastes.

The great work of the period, however, and the crowning achievement of Chaucer's life, is 'The Canterbury Tales.' Every one is familiar with the plan of the story (which may well have had some basis in fact): how Chaucer finds himself one April evening with thirty other men and women, all gathered at the Tabard Inn in Southwark (a suburb of London and just across the Thames from the city proper), ready to start next morning, as thousands of Englishmen did every year, on a pilgrimage to the shrine of St. Thomas a Becket at Canterbury. The travelers readily accept the proposal of Harry Bailey, their jovial and domineering host, that he go with them as leader and that they enliven the journey with a story-telling contest (two stories from each pilgrim during each half of the journey) for the prize of a dinner at his inn on their return. Next morning, therefore, the Knight begins the series of tales and the others follow in order. This literary form--a collection of disconnected stories bound together in a fict.i.tious framework--goes back almost to the beginning of literature itself; but Chaucer may well have been directly influenced by Boccaccio's famous book of prose tales, 'The Decameron' (Ten Days of Story-Telling). Between the two works, however, there is a striking contrast, which has often been pointed out. While the Italian author represents his gentlemen and ladies as selfishly fleeing from the misery of a frightful plague in Florence to a charming villa and a holiday of unreflecting pleasure, the gaiety of Chaucer's pilgrims rests on a basis of serious purpose, however conventional it may be.

Perhaps the easiest way to make clear the sources of Chaucer's power will be by means of a rather formal summary.

1. _His Personality_. Chaucer's personality stands out in his writings plainly and most delightfully. It must be borne in mind that, like some others of the greatest poets, he was not a poet merely, but also a man of practical affairs, in the eyes of his a.s.sociates first and mainly a courtier, diplomat, and government official. His wide experience of men and things is manifest in the life-likeness and mature power of his poetry, and it accounts in part for the broad truth of all but his earliest work, which makes it essentially poetry not of an age but for all time. Something of conventional medievalism still clings to Chaucer in externals, as we shall see, but in alertness, independence of thought, and a certain directness of utterance, he speaks for universal humanity. His practical experience helps to explain as well why, unlike most great poets, he does not belong primarily with the idealists. Fine feeling he did not lack; he loved external beauty--some of his most pleasing pa.s.sages voice his enthusiasm for Nature; and down to the end of his life he never lost the zest for fanciful romance. His mind and eye were keen, besides, for moral qualities; he penetrated directly through all the pretenses of falsehood and hypocrisy; while how thoroughly he understood and respected honest worth appears in the picture of the Poor Parson in the Prolog to 'The Canterbury Tales.' Himself quiet and self-contained, moreover, Chaucer was genial and sympathetic toward all mankind. But all this does not declare him a positive idealist, and in fact, rather, he was willing to accept the world as he found it--he had no reformer's dream of 'shattering it to bits and remoulding it nearer to the heart's desire.' His moral nature, indeed, was easy-going; he was the appropriate poet of the Court circle, with very much of the better courtier's point of view. At the day's tasks he worked long and faithfully, but he also loved comfort, and he had nothing of the martyr's instinct. To him human life was a vast procession, of boundless interest, to be observed keenly and reproduced for the reader's enjoyment in works of objective literary art. The countless tragedies of life he noted with kindly pity, but he felt no impulse to dash himself against the existing barriers of the world in the effort to a.s.sure a better future for the coming generations. In a word, Chaucer is an artist of broad artistic vision to whom art is its own excuse for being. And when everything is said few readers would have it otherwise with him; for in his art he has accomplished what no one else in his place could have done, and he has left besides the picture of himself, very real and human across the gulf of half a thousand years. Religion, we should add, was for him, as for so many men of the world, a somewhat secondary and formal thing. In his early works there is much conventional piety, no doubt sincere so far as it goes; and he always took a strong intellectual interest in the problems of medieval theology; but he became steadily and quietly independent in his philosophic outlook and indeed rather skeptical of all definite dogmas.

Even in his art Chaucer's lack of the highest will-power produced one rather conspicuous formal weakness; of his numerous long poems he really finished scarcely one. For this, however, it is perhaps sufficient excuse that he could write only in intervals hardly s.n.a.t.c.hed from business and sleep. In 'The Canterbury Tales' indeed, the plan is almost impossibly ambitious; the more than twenty stories actually finished, with their eighteen thousand lines, are only a fifth part of the intended number. Even so, several of them do not really belong to the series; composed in stanza forms, they are selected from his earlier poems and here pressed into service, and on the average they are less excellent than those which he wrote for their present places (in the rimed pentameter couplet that he adopted from the French).

2. _His Humor_. In nothing are Chaucer's personality and his poetry more pleasing than in the rich humor which pervades them through and through. Sometimes, as in his treatment of the popular medieval beast-epic material in the Nun's Priest's Tale of the Fox and the c.o.c.k, the humor takes the form of boisterous farce; but much more often it is of the finer intellectual sort, the sort which a careless reader may not catch, but which touches with perfect sureness and charming lightness on all the incongruities of life, always, too, in kindly spirit. No foible is too trifling for Chaucer's quiet observation; while if he does not choose to denounce the hypocrisy of the Pardoner and the worldliness of the Monk, he has made their weaknesses sources of amus.e.m.e.nt (and indeed object-lessons as well) for all the coming generations.

3. _He is one of the greatest of all narrative poets_. Chaucer is an exquisite lyric poet, but only a few of his lyrics have come down to us, and his fame must always rest largely on his narratives. Here, first, he possesses unfailing fluency. It was with rapidity, evidently with ease, and with masterful certainty, that he poured out his long series of vivid and delightful tales. It is true that in his early, imitative, work he shares the medieval faults of wordiness, digression, and abstract symbolism; and, like most medieval writers, he chose rather to reshape material from the great contemporary store than to invent stories of his own. But these are really very minor matters. He has great variety, also, of narrative forms: elaborate allegories; love stories of many kinds; romances, both religious and secular; tales of chivalrous exploit, like that related by the Knight; humorous extravaganzas; and jocose renderings of coa.r.s.e popular material--something, at least, in virtually every medieval type.

4. _The thorough knowledge and sure portrayal of men and women which, belong to his mature work extend through, many various types of character._ It is a commonplace to say that the Prolog to 'The Canterbury Tales' presents in its twenty portraits virtually every contemporary English cla.s.s except the very lowest, made to live forever in the finest series of character sketches preserved anywhere in literature; and in his other work the same power appears in only less conspicuous degree.

5. _His poetry is also essentially and thoroughly dramatic_, dealing very vividly with life in genuine and varied action. To be sure, Chaucer possesses all the medieval love for logical reasoning, and he takes a keen delight in psychological a.n.a.lysis; but when he introduces these things (except for the tendency to medieval diffuseness) they are true to the situation and really serve to enhance the suspense. There is much interest in the question often raised whether, if he had lived in an age like the Elizabethan, when the drama was the dominant literary form, he too would have been a dramatist.

6. _As a descriptive poet (of things as well as persons) he displays equal skill._ Whatever his scenes or objects, he sees them with perfect clearness and brings them in full life-likeness before the reader's eyes, sometimes even with the minuteness of a nineteenth century novelist. And no one understands more thoroughly the art of conveying the general impression with perfect sureness, with a foreground where a few characteristic details stand out in picturesque and telling clearness.

7. _Chaucer is an unerring master of poetic form._ His stanza combinations reproduce all the well-proportioned grace of his French models, and to the pentameter riming couplet of his later work he gives the perfect ease and metrical variety which match the fluent thought. In all his poetry there is probably not a single faulty line. And yet within a hundred years after his death, such was the irony of circ.u.mstances, English p.r.o.nunciation had so greatly altered that his meter was held to be rude and barbarous, and not until the nineteenth century were its principles again fully understood. His language, we should add, is modern, according to the technical cla.s.sification, and is really as much like the form of our own day as like that of a century before his time; but it is still only _early_ modern English, and a little definitely directed study is necessary for any present-day reader before its beauty can be adequately recognized.

The main principles for the p.r.o.nunciation of Chaucer's language, so far as it differs from ours, are these: Every letter should be sounded, especially the final _e_ (except when it is to be suppressed before another vowel). A large proportion of the rimes are therefore feminine. The following vowel sounds should be observed: Stressed _a_ like modern _a_ in father. Stressed _e_ and _ee_ like _e_ in _fete_ or _ea_ in breath. Stressed _i_ as in _machine_, _oo_ like _o_ in _open_. _u_ commonly as in _push_ or like _oo_ in _spoon_, _y_ like _i_ in _machine_ or _pin_ according as it is stressed or not. _ai_, _ay_, _ei_, and _ey_ like _ay_ in _day_. _au_ commonly like _ou_ in _pound_, _ou_ like _oo_ in _spoon_.

_-ye_ (final) is a diphthong. _g_ (not in _ng_ and not initial) before _e_ or _i_is like _j_.

Lowell has named in a suggestive summary the chief quality of each of the great English poets, with Chaucer standing first in order: 'Actual life is represented by Chaucer; imaginative life by Spenser; ideal life by Shakspere; interior life by Milton; conventional life by Pope.' We might add: the life of spiritual mysticism and simplicity by Wordsworth; the completely balanced life by Tennyson; and the life of moral issues and dramatic moments by Robert Browning.

JOHN GOWER. The three other chief writers contemporary with Chaucer contrast strikingly both with him and with each other. Least important is John Gower (p.r.o.nounced either Go-er or Gow-er), a wealthy landowner whose tomb, with his effigy, may still be seen in St. Savior's, Southwark, the church of a priory to whose rebuilding he contributed and where he spent his latter days. Gower was a confirmed conservative, and time has left him stranded far in the rear of the forces that move and live. Unlike Chaucer's, the bulk of his voluminous poems reflect the past and scarcely hint of the future. The earlier and larger part of them are written in French and Latin, and in 'Vox Clamantis' (The Voice of One Crying in the Wilderness) he exhausts the vocabulary of exaggerated bitterness in denouncing the common people for the insurrection in which they threatened the privileges and authority of his own cla.s.s. Later on, perhaps through Chaucer's example, he turned to English, and in 'Confessio Amantis' (A Lover's Confession) produced a series of renderings of traditional stories parallel in general nature to 'The Canterbury Tales.' He is generally a smooth and fluent versifier, but his fluency is his undoing; he wraps up his material in too great a ma.s.s of verbiage.

THE VISION CONCERNING PIERS THE PLOWMAN. The active moral impulse which Chaucer and Gower lacked, and a consequent direct confronting of the evils of the age, appear vigorously in the group of poems written during the last forty years of the century and known from the t.i.tle in some of the ma.n.u.scripts as 'The Vision of William Concerning Piers the Plowman.' From the sixteenth century, at least, until very lately this work, the various versions of which differ greatly, has been supposed to be the single poem of a single author, repeatedly enlarged and revised by him; and ingenious inference has constructed for this supposed author a brief but picturesque biography under the name of William Langland. Recent investigation, however, has made it seem at least probable that the work grew, to its final form through additions by several successive writers who have not left their names and whose points of view were not altogether identical.

Like the slightly earlier poet of 'Sir Gawain and the Green Knight,' the authors belonged to the region of the Northwest Midland, near the Malvern Hills, and like him, they wrote in the Anglo-Saxon verse form, alliterative, unrimed, and in this case without stanza divisions. Their language, too, the regular dialect of this region, differs very greatly, as we have already implied, from that of Chaucer, with much less infusion from the French; to the modern reader, except in translation, it seems uncouth and unintelligible. But the poem, though in its final state prolix and structurally formless, exhibits great power not only of moral conviction and emotion, but also of expression--vivid, often homely, but not seldom eloquent.

The 'first pa.s.sus' begins with the sleeping author's vision of 'a field full of folk' (the world), bounded on one side by a cliff with the tower of Truth, and on the other by a deep vale wherein frowns the dungeon of Wrong.

Society in all its various cla.s.ses and occupations is very dramatically presented in the brief description of the 'field of folk,' with incisive pa.s.sing satire of the sins and vices of each cla.s.s. 'Gluttonous wasters'

are there, lazy beggars, lying pilgrims, corrupt friars and pardoners, venal lawyers, and, with a lively touch of realistic humour, cooks and their 'knaves' crying, 'Hot pies!' But a sane balance is preserved--there are also worthy people, faithful laborers, honest merchants, and sincere priests and monks. Soon the allegory deepens. Holy Church, appearing, instructs the author about Truth and the religion which consists in loving G.o.d and giving help to the poor. A long portrayal of the evil done by Lady Meed (love of money and worldly rewards) prepares for the appearance of the hero, the st.u.r.dy plowman Piers, who later on is even identified in a hazy way with Christ himself. Through Piers and his search for Truth is developed the great central teaching of the poem, the Gospel of Work--the doctrine, namely, that society is to be saved by honest labor, or in general by the faithful service of every cla.s.s in its own sphere. The Seven Deadly Sins and their fatal fruits are emphasized, and in the later forms of the poem the corruptions of wealth and the Church are indignantly denounced, with earnest pleading for the religion of practical social love to all mankind.

In its own age the influence of 'Piers the Plowman' was very great. Despite its intended impartiality, it was inevitably adopted as a partisan doc.u.ment by the poor and oppressed, and together with the revolutionary songs of John Ball it became a powerful incentive to the Peasant's Insurrection.

Piers himself became and continued an ideal for men who longed for a less selfish and brutal world, and a century and a half later the poem was still cherished by the Protestants for its exposure of the vices of the Church.

Its medieval form and setting remove it hopelessly beyond the horizon of general readers of the present time, yet it furnishes the most detailed remaining picture of the actual social and economic conditions of its age, and as a great landmark in the progress of moral and social thought it can never lose its significance.

THE WICLIFITE BIBLE. A product of the same general forces which inspired 'Piers the Plowman' is the earliest in the great succession of the modern English versions of the Bible, the one connected with the name of John Wiclif, himself the first important English precursor of the Reformation.

Wiclif was born about 1320, a Yorkshireman of very vigorous intellect as well as will, but in all his nature and instincts a direct representative of the common people. During the greater part of his life he was connected with Oxford University, as student, teacher (and therefore priest), and college head. Early known as one of the ablest English thinkers and philosophers, he was already opposing certain doctrines and practices of the Church when he was led to become a chief spokesman for King Edward and the nation in their refusal to pay the tribute which King John, a century and a half before, had promised to the Papacy and which was now actually demanded. As the controversies proceeded, Wiclif was brought at last to formulate the principle, later to be basal in the whole Protestant movement, that the final source of religious authority is not the Church, but the Bible. One by one he was led to attack also other fundamental doctrines and inst.i.tutions of the Church--transubstantiation, the temporal possessions of the Church, the Papacy, and at last, for their corruption, the four orders of friars. In the outcome the Church proved too strong for even Wiclif, and Oxford, against its will, was compelled to abandon him; yet he could be driven no farther than to his parish of Lutterworth, where he died undisturbed in 1384.

His connection with literature was an unforeseen but natural outgrowth of his activities. Some years before his death, with characteristic energy and zeal, he had begun to spread his doctrines by sending out 'poor priests'

and laymen who, practicing the self-denying life of the friars of earlier days, founded the Lollard sect. [Footnote: The name, given by their enemies, perhaps means 'tares.'] It was inevitable not only that he and his a.s.sociates should compose many tracts and sermons for the furtherance of their views, but, considering their att.i.tude toward the Bible, that they should wish to put it into the hands of all the people in a form which they would be able to understand, that is in their own vernacular English. Hence sprang the Wiclifite translation. The usual supposition that from the outset, before the time of Wiclif, the Church had prohibited translations of the Bible from the Latin into the common tongues is a mistake; that policy was a direct result of Wiclif's work. In England from Anglo-Saxon times, as must be clear from what has here already been said, partial English translations, literal or free, in prose or verse, had been in circulation among the few persons who could read and wished to have them.

But Wiclif proposed to popularize the entire book, in order to make the conscience of every man the final authority in every question of belief and religious practice, and this the Church would not allow. It is altogether probable that Wiclif personally directed the translation which has ever since borne his name; but no record of the facts has come down to us, and there is no proof that he himself was the actual author of any part of it--that work may all have been done by others. The basis of the translation was necessarily the Latin 'Vulgate' (Common) version, made nine hundred years before from the original Hebrew and Greek by St. Jerome, which still remains to-day, as in Wiclif's time, the official version of the Roman church. The first Wiclifite translation was hasty and rather rough, and it was soon revised and bettered by a certain John Purvey, one of the 'Lollard' priests.

Wiclif and the men a.s.sociated with him, however, were always reformers first and writers only to that end. Their religious tracts are formless and crude in style, and even their final version of the Bible aims chiefly at fidelity of rendering. In general it is not elegant, the more so because the authors usually follow the Latin idioms and sentence divisions instead of reshaping them into the native English style. Their text, again, is often interrupted by the insertion of brief phrases explanatory of unusual words. The vocabulary, adapted to the unlearned readers, is more largely Saxon than in our later versions, and the older inflected forms appear oftener than in Chaucer; so that it is only through our knowledge of the later versions that we to-day can read the work without frequent stumbling.

Nevertheless this version has served as the starting point for almost all those that have come after it in English, as even a hasty reader of this one must be conscious; and no reader can fail to admire in it the st.u.r.dy Saxon vigor which has helped to make our own version one of the great masterpieces of English literature.

THE FIFTEENTH CENTURY. With Chaucer's death in 1400 the half century of original creative literature in which he is the main figure comes to an end, and for a hundred and fifty years thereafter there is only a single author of the highest rank. For this decline political confusion is the chief cause; first, in the renewal of the Hundred Years' War, with its sordid effort to deprive another nation of its liberty, and then in the brutal and meaningless War of the Roses, a mere cut-throat civil butchery of rival factions with no real principle at stake. Throughout the fifteenth century the leading poets (of prose we will speak later) were avowed imitators of Chaucer, and therefore at best only second-rate writers. Most of them were Scots, and best known is the Scottish king, James I. For tradition seems correct in naming this monarch as the author of a pretty poem, 'The King's Quair' ('The King's Quire,' that is Book), which relates in a medieval dream allegory of fourteen hundred lines how the captive author sees and falls in love with a lady whom in the end Fortune promises to bestow upon him. This may well be the poetic record of King James'

eighteen-year captivity in England and his actual marriage to a n.o.ble English wife. In compliment to him Chaucer's stanza of seven lines (riming _ababbcc_), which King James employs, has received the name of 'rime royal.'

THE 'POPULAR' BALLADS. Largely to the fifteenth century, however, belong those of the English and Scottish 'popular' ballads which the accidents of time have not succeeded in destroying. We have already considered the theory of the communal origin of this kind of poetry in the remote pre-historic past, and have seen that the ballads continue to flourish vigorously down to the later periods of civilization. The still existing English and Scottish ballads are mostly, no doubt, the work of individual authors of the fifteenth and sixteenth centuries, but none the less they express the little-changing mind and emotions of the great body of the common people who had been singing and repeating ballads for so many thousand years. Really essentially 'popular,' too, in spirit are the more pretentious poems of the wandering professional minstrels, which have been handed down along with the others, just as the minstrels were accustomed to recite both sorts indiscriminately. Such minstrel ballads are the famous ones on the battle of Chevy Chase, or Otterburn. The production of genuine popular ballads began to wane in the fifteenth century when the printing press gave circulation to the output of cheap London writers and subst.i.tuted reading for the verbal memory by which the ballads had been transmitted, portions, as it were, of a half mysterious and almost sacred tradition. Yet the existing ballads yielded slowly, lingering on in the remote regions, and those which have been preserved were recovered during the eighteenth and nineteenth centuries by collectors from simple men and women living apart from the main currents of life, to whose hearts and lips they were still dear. Indeed even now the ballads and ballad-making are not altogether dead, but may still be found nourishing in such outskirts of civilization as the cowboy plains of Texas, Rocky Mountain mining camps, or the nooks and corners of the Southern Alleghenies.

The true 'popular' ballads have a quality peculiarly their own, which renders them far superior to the sixteenth century imitations and which no conscious literary artist has ever successfully reproduced. Longfellow's 'Skeleton in Armor' and Tennyson's 'Revenge' are stirring artistic ballads, but they are altogether different in tone and effect from the authentic 'popular' ones. Some of the elements which go to make this peculiar 'popular' quality can be definitely stated.

1. The 'popular' ballads are the simple and spontaneous expression of the elemental emotion of the people, emotion often crude but absolutely genuine and unaffected. Phrases are often repeated in the ballads, just as in the talk of the common man, for the sake of emphasis, but there is neither complexity of plot or characterization nor attempt at decorative literary adornment--the story and the emotion which it calls forth are all in all.

It is this simple, direct fervor of feeling, the straightforward outpouring of the authors' hearts, that gives the ballads their power and ent.i.tles them to consideration among the far more finished works of conscious literature. Both the emotion and the morals of the ballads, also, are pagan, or at least pre-Christian; vengeance on one's enemies is as much a virtue as loyalty to one's friends; the most shameful sins are cowardice and treachery in war or love; and the love is often lawless.

2. From first to last the treatment of the themes is objective, dramatic, and picturesque. Everything is action, simple feeling, or vivid scenes, with no merely abstract moralizing (except in a few unusual cases); and often much of the story or sentiment is implied rather than directly stated. This too, of course, is the natural manner of the common man, a manner perfectly effective either in animated conversation or in the chant of a minstrel, where expression and gesture can do so much of the work which the restraints of civilized society have transferred to words.

3. To this spirit and treatment correspond the subjects of the ballads.

They are such as make appeal to the underlying human instincts--brave exploits in individual fighting or in organized war, and the romance and pathos and tragedy of love and of the other moving situations of simple life. From the 'popular' nature of the ballads it has resulted that many of them are confined within no boundaries of race or nation, but, originating one here, one there, are spread in very varying versions throughout the whole, almost, of the world. Purely English, however, are those which deal with Robin Hood and his 'merry men,' idealized imaginary heroes of the Saxon common people in the dogged struggle which they maintained for centuries against their oppressive feudal lords.

4. The characters and 'properties' of the ballads of all cla.s.ses are generally typical or traditional. There are the brave champion, whether n.o.ble or common man, who conquers or falls against overwhelming odds; the faithful lover of either s.e.x; the woman whose constancy, proving stronger than man's fickleness, wins back her lover to her side at last; the traitorous old woman (victim of the blind and cruel prejudice which after a century or two was often to send her to the stake as a witch); the loyal little child; and some few others.

5. The verbal style of the ballads, like their spirit, is vigorous and simple, generally unpolished and sometimes rough, but often powerful with its terse dramatic suggestiveness. The usual, though not the only, poetic form is the four-lined stanza in lines alternately of four and three stresses and riming only in the second and fourth lines. Besides the refrains which are perhaps a relic of communal composition and the conventional epithets which the ballads share with epic poetry there are numerous traditional ballad expressions--rather meaningless formulas and line-tags used only to complete the rime or meter, the common useful sc.r.a.p-bag reserve of these unpretentious poets. The license of Anglo-Saxon poetry in the number of the unstressed syllables still remains. But it is evident that the existing versions of the ballads are generally more imperfect than the original forms; they have suffered from the corruptions of generations of oral repet.i.tion, which the scholars who have recovered them have preserved with necessary accuracy, but which for appreciative reading editors should so far as possible revise away.

Among the best or most representative single ballads are: The Hunting of the Cheviot (otherwise called The Ancient Ballad of Chevy Chase--clearly of minstrel authorship); Sir Patrick Spens; Robin Hood and Guy of Gisborne; Adam Bell, Clym of the Clough, and William of Cloudeslee; Captain Car, or Edom o' Gordon; King Estmere (though this has been somewhat altered by Bishop Percy, who had and destroyed the only surviving copy of it); Edward, Edward; Young Waters; Sweet William's Ghost; Lord Thomas and Fair Annet.

Kinmont Willie is very fine, but seems to be largely the work of Sir Walter Scott and therefore not truly 'popular.'

SIR THOMAS MALORY AND HIS 'MORTE DARTHUR.' The one fifteenth century author of the first rank, above referred to, is Sir Thomas Malory (the _a_ is p.r.o.nounced as in _tally_). He is probably to be identified with the Sir Thomas Malory who during the wars in France and the civil strife of the Roses that followed was an adherent of the Earls of Warwick and who died in 1471 under sentence of outlawry by the victorious Edward IV. And some pa.s.sing observations, at least, in his book seem to indicate that if he knew and had shared all the splendor and inspiration of the last years of medieval chivalry, he had experienced also the disappointment and bitterness of defeat and prolonged captivity. Further than this we know of him only that he wrote 'Le Morte Darthur' and had finished it by 1467.

Malory's purpose was to collect in a single work the great body of important Arthurian romance and to arrange it in the form of a continuous history of King Arthur and his knights. He called his book 'Le Morte Darthur,' The Death of Arthur, from the t.i.tle of several popular Arthurian romances to which, since they dealt only with Arthur's later years and death, it was properly enough applied, and from which it seems to have pa.s.sed into general currency as a name for the entire story of Arthur's life. [Footnote: Since the French word 'Morte' is feminine, the preceding article was originally 'La,' but the whole name had come to be thought of as a compound phrase and hence as masculine or neuter in gender.] Actually to get together all the Arthurian romances was not possible for any man in Malory's day, or in any other, but he gathered up a goodly number, most of them, at least, written in French, and combined them, on the whole with unusual skill, into a work of about one-tenth their original bulk, which still ranks, with all qualifications, as one of the masterpieces of English literature. Dealing with such miscellaneous material, he could not wholly avoid inconsistencies, so that, for example, he sometimes introduces in full health in a later book a knight whom a hundred pages earlier he had killed and regularly buried; but this need not cause the reader anything worse than mild amus.e.m.e.nt. Not Malory but his age, also, is to blame for his sometimes hazy and puzzled treatment of the supernatural element in his material. In the remote earliest form of the stories, as Celtic myths, this supernatural element was no doubt frank and very large, but Malory's authorities, the more skeptical French romancers, adapting it to their own age, had often more or less fully rationalized it; transforming, for instance, the black river of Death which the original heroes often had to cross on journeys to the Celtic Other World into a rude and forbidding moat about the hostile castle into which the romancers degraded the Other World itself. Countless magic details, however, still remained recalcitrant to such treatment; and they evidently troubled Malory, whose devotion to his story was earnest and sincere. Some of them he omits, doubtless as incredible, but others he retains, often in a form where the impossible is merely garbled into the unintelligible. For a single instance, in his seventh book he does not satisfactorily explain why the valiant Gareth on his arrival at Arthur's court asks at first only for a year's food and drink. In the original story, we can see to-day, Gareth must have been under a witch's spell which compelled him to a season of distasteful servitude; but this motivating bit of superst.i.tion Malory discards, or rather, in this case, it had been lost from the story at a much earlier stage. It results, therefore, that Malory's supernatural incidents are often far from clear and satisfactory; yet the reader is little troubled by this difficulty either in so thoroughly romantic a work.

Other technical faults may easily be pointed out in Malory's book. Thorough unity, either in the whole or in the separate stories so loosely woven together, could not be expected; in continual reading the long succession of similar combat after combat and the constant repet.i.tion of stereotyped phrases become monotonous for a present-day reader; and it must be confessed that Malory has little of the modern literary craftsman's power of close-knit style or proportion and emphasis in details. But these faults also may be overlooked, and the work is truly great, partly because it is an idealist's dream of chivalry, as chivalry might have been, a chivalry of faithful knights who went about redressing human wrongs and were loyal lovers and zealous servants of Holy Church; great also because Malory's heart is in his stories, so that he tells them in the main well, and invests them with a delightful atmosphere of romance which can never lose its fascination.

The style, also, in the narrower sense, is strong and good, and does its part to make the book, except for the Wiclif Bible, unquestionably the greatest monument of English prose of the entire period before the sixteenth century. There is no affectation of elegance, but rather knightly straightforwardness which has power without lack of ease. The sentences are often long, but always 'loose' and clear; and short ones are often used with the instinctive skill of sincerity. Everything is picturesque and dramatic and everywhere there is chivalrous feeling and genuine human sympathy.

WILLIAM CAXTON AND THE INTRODUCTION OF PRINTING TO ENGLAND, 1476. Malory's book is the first great English cla.s.sic which was given to the world in print instead of written ma.n.u.script; for it was shortly after Malory's death that the printing press was brought to England by William Caxton. The invention of printing, perhaps the most important event of modern times, took place in Germany not long after the middle of the fifteenth century, and the development of the art was rapid. Caxton, a shrewd and enterprising Kentishman, was by first profession a cloth merchant, and having taken up his residence across the Channel, was appointed by the king to the important post of Governor of the English Merchants in Flanders. Employed later in the service of the d.u.c.h.ess of Burgundy (sister of Edward IV), his ardent delight in romances led him to translate into English a French 'Recueil des Histoires de Troye' (Collection of the Troy Stories). To supply the large demand for copies he investigated and mastered the new art by which they might be so wonderfully multiplied and about 1475, at fifty years of age, set up a press at Bruges in the modern Belgium, where he issued his 'Recueil,' which was thus the first English book ever put into print. During the next year, 1476, just a century before the first theater was to be built in London, Caxton returned to England and established his shop in Westminster, then a London suburb. During the fifteen remaining years of his life he labored diligently, printing an aggregate of more than a hundred books, which together comprised over fourteen thousand pages.

Aside from Malory's romance, which he put out in 1485, the most important of his publications was an edition of Chaucer's 'Canterbury Tales.' While laboring as a publisher Caxton himself continued to make translations, and in spite of many difficulties he, together with his a.s.sistants, turned into English from French no fewer than twenty-one distinct works. From every point of view Caxton's services were great. As translator and editor his style is careless and uncertain, but like Malory's it is sincere and manly, and vital with energy and enthusiasm. As printer, in a time of rapid changes in the language, when through the wars in France and her growing influence the second great infusion of Latin-French words was coming into the English language, he did what could be done for consistency in forms and spelling. Partly medieval and partly modern in spirit, he may fittingly stand at the close, or nearly at the close, of our study of the medieval period.

CHAPTER IV

THE MEDIEVAL DRAMA

For the sake of clearness we have reserved for a separate chapter the discussion of the drama of the whole medieval period, which, though it did not reach a very high literary level, was one of the most characteristic expressions of the age. It should be emphasized that to no other form does what we have said of the similarity of medieval literature throughout Western Europe apply more closely, so that what we find true of the drama in England would for the most part hold good for the other countries as well.

JUGGLERS, FOLK-PLAYS, PAGEANTS. At the fall of the Roman Empire, which marks the beginning of the Middle Ages, the corrupt Roman drama, proscribed by the Church, had come to an unhonored end, and the actors had been merged into the great body of disreputable jugglers and inferior minstrels who wandered over all Christendom. The performances of these social outcasts, crude and immoral as they were, continued for centuries unsuppressed, because they responded to the demand for dramatic spectacle which is one of the deepest though not least troublesome instincts in human nature. The same demand was partly satisfied also by the rude country folk-plays, survivals of primitive heathen ceremonials, performed at such festival occasions as the harvest season, which in all lands continue to flourish among the country people long after their original meaning has been forgotten. In England the folk-plays, throughout the Middle Ages and in remote spots down almost to the present time, sometimes took the form of energetic dances (Morris dances, they came to be called, through confusion with Moorish performances of the same general nature). Others of them, however, exhibited in the midst of much rough-and-tumble fighting and buffoonery, a slight thread of dramatic action. Their characters gradually came to be a conventional set, partly famous figures of popular tradition, such as St. George, Robin Hood, Maid Marian, and the Green Dragon. Other offshoots of the folk-play were the 'mummings' and 'disguisings,'

collective names for many forms of processions, shows, and other entertainments, such as, among the upper cla.s.ses, that precursor of the Elizabethan Mask in which a group of persons in disguise, invited or uninvited, attended a formal dancing party. In the later part of the Middle Ages, also, there were the secular pageants, spectacular displays (rather different from those of the twentieth century) given on such occasions as when a king or other person of high rank made formal entry into a town.