Letters on Literature Part 4

_To Lady Violet Lebas_.

Dear Lady Violet,--Who can admire too much your undefeated resolution to admire only the right things? I wish I had this respect for authority!

But let me confess that I have always admired the things which nature made me prefer, and that I have no power of accommodating my taste to the verdict of the critical. If I do not like an author, I leave him alone, however great his reputation. Thus I do not care for Mr. Gibbon, except in his Autobiography, nor for the elegant plays of M. Racine, nor very much for some of Wordsworth, though his genius is undeniable, nor excessively for the late Prof. Amiel. Why should we force ourselves into an affection for them, any more than into a relish for olives or claret, both of which excellent creatures I have the misfortune to dislike? No spectacle annoys me more than the sight of people who ask if it is "right" to take pleasure in this or that work of art. Their loves and hatreds will never be genuine, natural, spontaneous.

You say that it is "right" to like Virgil, and yet you admit that you admire the Mantuan, as the Scotch editor joked, "wi' deeficulty." I, too, must admit that my liking for much of Virgil's poetry is not enthusiastic, not like the admiration expressed, for example, by Mr.

Frederic Myers, in whose "Cla.s.sical Essays" you will find all that the advocates of the Latin singer can say for him. These heights I cannot reach, any more than I can equal that eloquence. Yet must Virgil always appear to us one of the most beautiful and moving figures in the whole of literature.

How sweet must have been that personality which can still win our affections, across eighteen hundred years of change, and through the mists of commentaries, and school-books, and traditions! Does it touch thee at all, oh gentle spirit and serene, that we, who never knew thee, love thee yet, and revere thee as a saint of heathendom? Have the dead any delight in the religion they inspire?

_Id cinerem aut Manes credis curare sepultos_?

I half fancy I can trace the origin of this personal affection for Virgil, which survives in me despite the lack of a very strong love of parts of his poems. When I was at school we met every morning for prayer, in a large circular hall, round which, on pedestals, were set copies of the portrait busts of great ancient writers. Among these was "the Ionian father of the rest," our father Homer, with a winning and venerable majesty. But the bust of Virgil was, I think, of white marble, not a cast (so, at least, I remember it), and was of a singular youthful purity and beauty, sharing my affections with a copy of the exquisite Psyche of Naples. It showed us that Virgil who was called "The Maiden"

as Milton was named "The Lady of Christ's." I don't know the archeology of it, perhaps it was a mere work of modern fancy, but the charm of this image, beheld daily, overcame even the tedium of short sc.r.a.ps of the "AEneid" daily pa.r.s.ed, not without stripes and anguish. So I retain a sentiment for Virgil, though I well perceive the many drawbacks of his poetry.

It is not always poetry at first hand; it is often imitative, like all Latin poetry, of the Greek songs that sounded at the awakening of the world. This is more tolerable when Theocritus is the model, as in the "Eclogues," and less obvious in the "Georgics," when the poet is carried away into naturalness by the pa.s.sion for his native land, by the longing for peace after cruel wars, by the joy of a country life. Virgil had that love of rivers which, I think, a poet is rarely without; and it did not need Greece to teach him to sing of the fields:

_Propter aquam, tardis ingens ubi flexibus_ _Mincius et tenera praetexit arundine ripas_.

"By the water-side, where mighty Mincius wanders, with links and loops, and fringes all the banks with the tender reed." Not the Muses of Greece, but his own _Casmenae_, song-maidens of Italy, have inspired him here, and his music is blown through a reed of the Mincius. In many such places he shows a temper with which we of England, in our late age, may closely sympathize.

Do you remember that mediaeval story of the building of Parthenope, how it was based, by the Magician Virgilius, on an egg, and how the city shakes when the frail foundation chances to be stirred? This too vast empire of ours is as frail in its foundation, and trembles at a word. So it was with the Empire of Rome in Virgil's time: civic revolution muttering within it, like the subterranean thunder, and the forces of destruction gathering without. In Virgil, as in Horace, you constantly note their anxiety, their apprehension for the tottering fabric of the Roman state. This it was, I think, and not the contemplation of human fortunes alone, that lent Virgil his melancholy. From these fears he looks for a shelter in the sylvan shades; he envies the ideal past of the golden world.

_Aureus hanc vitam in terris Saturnus agebat_!

"Oh, for the fields! Oh, for Spercheius and Taygetus, where wander the Lacaenian maids! Oh, that one would carry me to the cool valleys of Haemus, and cover me with the wide shadow of the boughs! Happy was he who came to know the causes of things, who set his foot on fear and on inexorable Fate, and far below him heard the roaring of the streams of h.e.l.l! And happy he who knows the rural deities, Pan, and Sylva.n.u.s the Old, and the sisterhood of the nymphs! Unmoved is he by the people's favour, by the purple of kings, unmoved by all the perfidies of civil war, by the Dacian marching down from his hostile Danube; by the peril of the Roman state, and the Empire hurrying to its doom. He wasteth not his heart in pity of the poor, he envieth not the rich, he gathereth what fruits the branches bear and what the kindly wilderness unasked brings forth; he knows not our laws, nor the madness of the courts, nor the records of the common weal"--does not read the newspapers, in fact.

The sorrows of the poor, the luxury of the rich, the peril of the Empire, the shame and dread of each day's news, we too know them; like Virgil we too deplore them. We, in our reveries, long for some such careless paradise, but we place it not in Sparta but in the Islands of the Southern Seas. It is in pa.s.sages of this temper that Virgil wins us most, when he speaks for himself and for his age, so distant, and so weary, and so modern; when his own thought, unborrowed and unforced, is wedded to the music of his own unsurpa.s.sable style.

But he does not always write for himself and out of his own thought, that style of his being far more frequently misapplied, wasted on telling a story that is only of feigned and foreign interest. Doubtless it was the "AEneid," his artificial and unfinished epic, that won Virgil the favour of the Middle Aces. To the Middle Ages, which knew not Greek, and knew not Homer, Virgil was the representative of the heroic and eternally interesting past. But to us who know Homer, Virgil's epic is indeed, "like moonlight unto sunlight;" is a beautiful empty world, where no real life stirs, a world that shines with a silver l.u.s.tre not its own, but borrowed from "the sun of Greece."

Homer sang of what he knew, of spears and ships, of heroic chiefs and beggar men, of hunts and sieges, of mountains where the lion roamed, and of fairy isles where a G.o.ddess walked alone. He lived on the marches of the land of fable, when half the Mediterranean was a sea unsailed, when even Italy was as dimly descried as the City of the Sun in Elizabeth's reign. Of all that he knew he sang, but Virgil could only follow and imitate, with a pale antiquarian interest, the things that were alive for Homer. What could Virgil care for a tussle between two stout men-at-arms, for the clash of contending war-chariots, driven each on each, like wave against wave in the sea? All that tide had pa.s.sed over, all the story of the "AEneid" is mere borrowed antiquity, like the Middle Ages of Sir Walter Scott; but the borrower had none of Scott's joy in the noise and motion of war, none of the Homeric "delight in battle."

Virgil, in writing the "AEneid," executed an imperial commission, and an ungrateful commission; it is the sublime of hack-work, and the legend may be true which declares that, on his death-bed, he wished his poem burned.

He could only be himself here and there, as in that earliest picture of romantic love, as some have called the story of "Dido," not remembering, perhaps, that even here Virgil had before his mind a Greek model, that he was thinking of Apollonius Rhodius, and of Jason and Medea. He could be himself, too, in pa.s.sages of reflection and description, as in the beautiful sixth book, with its picture of the under world, and its hints of mystical philosophy.

Could we choose our own heavens, there in that Elysian world might Virgil be well content to dwell, in the shadow of that fragrant laurel grove, with them who were "priests pure of life, while life was theirs, and holy singers, whose songs were worthy of Apollo." There he might muse on his own religion and on the Divinity that dwells in, that breathes in, that is, all things and more than all. Who could wish Virgil to be one of the spirits that

_Lethaeum ad flumen Dues evocat agmine magno_,

that are called once more to the Lethean stream, and that once more, forgetful of their home, "into the world and wave of men depart?"

There will come no other Virgil, unless his soul, in accordance with his own philosophy, is among us to-day, crowned with years and honours, the singer of "Ulysses," of the "Lotus Eaters," of "t.i.thonus," and "OEnone."

So, after all, I have been enthusiastic, "maugre my head," as Malory says, and perhaps, Lady Violet, I have shown you why it is "right" to admire Virgil, and perhaps I have persuaded n.o.body but myself.

P.S.--Mr. Coleridge was no great lover of Virgil, inconsistently. "If you take from Virgil his diction and metre, what do you leave him?" Yet Mr. Coleridge had defined poetry as "the _best_ words, in the best order"--that is, "diction and metre." He, therefore, proposed to take from Virgil his poetry, and then to ask what was left of the Poet!

AUCa.s.sIN AND NICOLETTE

_To the Lady Violet Lebas_.

Dear Lady Violet,--I do not wonder that you are puzzled by the language of the first French novel. The French of "Auca.s.sin et Nicolette" is not French after the school of Miss Pinkerton, at Chiswick. Indeed, as the little song-story has been translated into modern French by M. Bida, the painter (whose book is very scarce), I presume even the countrywomen of Auca.s.sin find it difficult. You will not expect me to write an essay on the grammar, nor would you read it if I did. The chief thing is that "s"

appears as the sign of the singular, instead of being the sign of the plural, and the nouns have cases.

The story must be as old as the end of the twelfth century, and must have received its present form in Picardy. It is written, as you see, in alternate s.n.a.t.c.hes of verse and prose. The verse, which was chanted, is not rhymed as a rule, but each _laisse_, or screed, as in the "Chanson de Roland," runs on the same final a.s.sonance, or vowel sound throughout.

So much for the form. Who is the author? We do not know, and never shall know. Apparently he mentions himself in the first lines:

"Who would listen to the lay, Of the captive old and gray;"

for this is as much sense as one can make out of _del deport du viel caitif_.

The author, then, was an old fellow. I think we might learn as much from the story. An old man he was, or a man who felt old. Do you know whom he reminds me of? Why, of Mr. Bowes, of the Theatre Royal, Chatteris; of Mr. Bowes, that battered, old, kindly sentimentalist who told his tale with Mr. Arthur Pendennis.

It is a love story, a story of love overmastering, without conscience or care of aught but the beloved. And the _viel caitif_ tells it with sympathy, and with a smile. "Oh, folly of fondness," he seems to cry; "oh, pretty fever and foolish; oh, absurd happy days of desolation:

"_When I was young, as you are young_, _And lutes were touched, and songs were sung_!

_And love-lamps in the windows hung_!"

It is the very tone of Thackeray, when Thackeray is tender; and the world heard it first from this elderly nameless minstrel, strolling with his viol and his singing boys, a blameless D'a.s.soucy, from castle to castle in the happy poplar land. I think I see him and hear him in the silver twilight, in the court of some chateau of Picardy, while the ladies around sit listening on silken cushions, and their lovers, fettered with silver chains, lie at their feet. They listen, and look, and do not think of the minstrel with his gray head, and his green heart; but we think of him. It is an old man's work, and a weary man's work. You can easily tell the places where he has lingered and been pleased as he wrote.

The story is simple enough. Auca.s.sin, son of Count Garin, of Beaucaire, loved so well fair Nicolette, the captive girl from an unknown land, that he would never be dubbed knight, nor follow tourneys; nor even fight against his father's mortal foe, Count Bougars de Valence. So Nicolette was imprisoned high in a painted chamber. But the enemy were storming the town, and, for the promise of "one word or two with Nicolette, and one kiss," Auca.s.sin armed himself and led out his men. But he was all adream about Nicolette, and his horse bore him into the press of foes ere he knew it. Then he heard them contriving his death, and woke out of his dream.

"The damoiseau was tall and strong, and the horse whereon he sat fierce and great, and Auca.s.sin laid hand to sword, and fell a-smiting to right and left, and smote through helm and headpiece, and arm and shoulder, making a murder about him, like a wild boar the hounds fall on in the forest. There slew he ten knights, and smote down seven, and mightily and knightly he hurled through the press, and charged home again, sword in hand." For that hour Auca.s.sin struck like one of Mallory's men in the best of all romances. But though he took Count Bougars prisoner, his father would not keep his word, nor let him have one word or two with Nicolette, and one kiss. Nay, Auca.s.sin was thrown into prison in an old tower. There he sang of Nicolette,

"Was it not the other day That a pilgrim came this way?

And a pa.s.sion him possessed, That upon his bed he lay, Lay, and tossed, and knew no rest, In his pain discomforted.

But thou camest by his bed, Holding high thine amice fine And thy kirtle of ermine.

Then the beauty that is thine Did he look on; and it fell That the Pilgrim straight was well, Straight was hale and comforted.

And he rose up from his bed, And went back to his own place Sound and strong, and fair of face."

Thus Auca.s.sin makes a Legend of his lady, as it were, a.s.signing to her beauty such miracles as faith attributes to the excellence of the saints.

Meanwhile, Nicolette had slipped from the window of her prison chamber, and let herself down into the garden, where she heard the song of the nightingales. "Then caught she up her kirtle in both hands, behind and before, and flitted over the dew that lay deep on the gra.s.s, and fled out of the garden, and the daisy flowers bending below her tread seemed dark against her feet, so white was the maiden." Can't you see her stealing with those "feet of ivory," like Bombyca's, down the dark side of the silent moonlit streets of Beaucaire?

Then she came where Auca.s.sin was lamenting in his cell, and she whispered to him how she was fleeing for her life. And he answered that without her he must die; and then this foolish pair, in the very mouth of peril, must needs begin a war of words as to which loved the other best!

"Nay, fair sweet friend," saith Auca.s.sin, "it may not be that thou lovest me more than I love thee. Woman may not love man as man loves woman, for a woman's love lies no deeper than in the glance of her eye, and the blossom of her breast, and her foot's tip-toe; but man's love is in his heart planted, whence never can it issue forth and pa.s.s away."

So while they speak

"In debate as birds are, Hawk on bough,"