Part 4 English Literature - 🍇GrapeNovel.com

Part 4

More important than any translation is the _English_ or _Saxon Chronicle_.

This was probably at first a dry record, especially of important births and deaths in the West-Saxon kingdom. Alfred enlarged this scant record, beginning the story with Caesar's conquest. When it touches his own reign the dry chronicle becomes an interesting and connected story, the oldest history belonging to any modern nation in its own language. The record of Alfred's reign, probably by himself, is a splendid bit of writing and shows clearly his claim to a place in literature as well as in history. The _Chronicle_ was continued after Alfred's death, and is the best monument of early English prose that is left to us. Here and there stirring songs are included in the narrative, like "The Battle of Brunanburh" and "The Battle of Maldon."[38] The last, entered 991, seventy-five years before the Norman Conquest, is the swan song of Anglo-Saxon poetry. The _Chronicle_ was continued for a century after the Norman Conquest, and is extremely valuable not only as a record of events but as a literary monument showing the development of our language.

CLOSE OF THE ANGLO-SAXON PERIOD. After Alfred's death there is little to record, except the loss of the two supreme objects of his heroic struggle, namely, a national life and a national literature. It was at once the strength and the weakness of the Saxon that he lived apart as a free man and never joined efforts willingly with any large body of his fellows. The tribe was his largest idea of nationality, and, with all our admiration, we must confess as we first meet him that he has not enough sense of unity to make a great nation, nor enough culture to produce a great literature. A few n.o.ble political ideals repeated in a score of petty kingdoms, and a few literary ideals copied but never increased,--that is the summary of his literary history. For a full century after Alfred literature was practically at a standstill, having produced the best of which it was capable, and England waited for the national impulse and for the culture necessary for a new and greater art. Both of these came speedily, by way of the sea, in the Norman Conquest.

SUMMARY OF ANGLO-SAXON PERIOD. Our literature begins with songs and stories of a time when our Teutonic ancestors were living on the borders of the North Sea. Three tribes of these ancestors, the Jutes, Angles, and Saxons, conquered Britain in the latter half of the fifth century, and laid the foundation of the English nation. The first landing was probably by a tribe of Jutes, under chiefs called by the chronicle Hengist and Horsa. The date is doubtful; but the year 449 is accepted by most historians.

These old ancestors were hardy warriors and sea rovers, yet were capable of profound and n.o.ble emotions. Their poetry reflects this double nature. Its subjects were chiefly the sea and the plunging boats, battles, adventure, brave deeds, the glory of warriors, and the love of home. Accent, alliteration, and an abrupt break in the middle of each line gave their poetry a kind of martial rhythm. In general the poetry is earnest and somber, and pervaded by fatalism and religious feeling. A careful reading of the few remaining fragments of Anglo-Saxon literature reveals five striking characteristics: the love of freedom; responsiveness to nature, especially in her sterner moods; strong religious convictions, and a belief in Wyrd, or Fate; reverence for womanhood; and a devotion to glory as the ruling motive in every warrior's life.

In our study we have noted: (1) the great epic or heroic poem _Beowulf_, and a few fragments of our first poetry, such as "Widsith," "Deor's Lament," and "The Seafarer." (2) Characteristics of Anglo-Saxon life; the form of our first speech. (3) The Northumbrian school of writers. Bede, our first historian, belongs to this school; but all his extant works are in Latin. The two great poets are Caedmon and Cynewulf. Northumbrian literature flourished between 650 and 850. In the year 867 Northumbria was conquered by the Danes, who destroyed the monasteries and the libraries containing our earliest literature. (4) The beginnings of English prose writing under Alfred (848-901). Our most important prose work of this age is the Anglo-Saxon Chronicle, which was revised and enlarged by Alfred, and which was continued for more than two centuries. It is the oldest historical record known to any European nation in its own tongue.

SELECTIONS FOR READING. _Miscellaneous Poetry_. The Seafarer, Love Letter (Husband's Message), Battle of Brunanburh, Deor's Lament, Riddles, Exodus, The Christ, Andreas, Dream of the Rood, extracts in Cook and Tinker's Translations from Old English Poetry[39] (Ginn and Company); Judith, translation by A.S. Cook. Good selections are found also in Brooke's History of Early English Literature, and Morley's English Writers, vols. 1 and 2.

_Beowulf_. J.R.C. Hall's prose translation; Child's Beowulf (Riverside Literature Series); Morris and Wyatt's The Tale of Beowulf; Earle's The Deeds of Beowulf; Metrical versions by Garnett, J.L. Hall, Lumsden, etc.

_Prose_. A few paragraphs of the Anglo-Saxon Chronicle in Manly's English Prose; translations in Cook and Tinker's Old English Prose.

BIBLIOGRAPHY.[40]

_HISTORY_. For the facts of the Anglo-Saxon conquest of England consult first a good text-book: Montgomery, pp. 31--57, or Cheyney, pp. 36-84. For fuller treatment see Green, ch. 1; Traill, vol. 1; Ramsey's Foundations of England; Turner's History of the Anglo-Saxons; Freeman's Old English History; Allen's Anglo-Saxon England; Cook's Life of Alfred; a.s.ser's Life of King Alfred, edited by W.H. Stevenson; C. Plummer's Life and Times of Alfred the Great; E. Dale's National Life and Character in the Mirror of Early English Literature; Rhys's Celtic Britain.

_LITERATURE. Anglo-Saxon Texts_. Library of Anglo-Saxon Poetry, and Albion Series of Anglo-Saxon and Middle English Poetry (Ginn and Company); Belles Lettres Series of English Cla.s.sics, sec. 1 (Heath & Co.); J.W. Bright's Anglo-Saxon Reader; Sweet's Anglo-Saxon Primer, and Anglo-Saxon Reader.

_General Works_. Jusserand, Ten Brink, Cambridge History, Morley (full t.i.tles and publishers in General Bibliography).

_Special Works_. Brooke's History of Early English Literature; Earle's Anglo-Saxon Literature; Lewis's Beginnings of English Literature; Arnold's Celtic Literature (for relations of Saxon and Celt); Longfellow's Poets and Poetry of Europe; Hall's Old English Idyls; Gayley's Cla.s.sic Myths, or Guerber's Myths of the Northlands (for Norse Mythology); Brother Azarias's Development of Old English Thought.

Beowulf, prose translations by Tinker, Hall, Earle, Morris and Wyatt; metrical versions by Garnett, J.L. Hall, Lumsden, etc. The Exeter Book (a collection of Anglo-Saxon texts), edited and translated by Gollancz. The Christ of Cynewulf, prose translation by Whitman; the same poem, text and translation, by Gollancz; text by Cook. Caedmon's Paraphrase, text and translation, by Thorpe. Garnett's Elene, Judith, and other Anglo-Saxon Poems. Translations of Andreas and the Phoenix, in Gollancz's Exeter Book.

Bede's History, in Temple Cla.s.sics; the same with the Anglo-Saxon Chronicle (one volume) in Bohn's Antiquarian Library.

SUGGESTIVE QUESTIONS.[41]

1. What is the relation of history and literature? Why should both subjects be studied together? Explain the qualities that characterize all great literature. Has any text-book in history ever appealed to you as a work of literature? What literary qualities have you noticed in standard historical works, such as those of Macaulay, Prescott, Gibbon, Green, Motley, Parkman, and John Fiske?

2. Why did the Anglo-Saxons come to England? What induced them to remain?

Did any change occur in their ideals, or in their manner of life? Do you know any social or political inst.i.tutions which they brought, and which, we still cherish?

3. From the literature you have read, what do you know about our Anglo- Saxon ancestors? What virtues did they admire in men? How was woman regarded? Can you compare the Anglo-Saxon ideal of woman with that of other nations, the Romans for instance?

4. Tell in your own words the general qualities of Anglo-Saxon poetry. How did it differ in its metrical form from modern poetry? What pa.s.sages seem to you worth learning and remembering? Can you explain why poetry is more abundant and more interesting than prose in the earliest literature of all nations?

5. Tell the story of _Beowulf_. What appeals to you most in the poem? Why is it a work for all time, or, as the Anglo-Saxons would say, why is it worthy to be remembered? Note the permanent quality of literature, and the ideals and emotions which are emphasized in _Beowulf_. Describe the burials of Scyld and of Beowulf. Does the poem teach any moral lesson? Explain the Christian elements in this pagan epic.

6. Name some other of our earliest poems, and describe the one you like best. How does the sea figure in our first poetry? How is nature regarded?

What poem reveals the life of the scop or poet? How do you account for the serious character of Anglo-Saxon poetry? Compare the Saxon and the Celt with regard to the gladsomeness of life as shown in their literature.

7. What useful purpose did poetry serve among our ancestors? What purpose did the harp serve in reciting their poems? Would the harp add anything to our modern poetry?

8. What is meant by Northumbrian literature? Who are the great Northumbrian writers? What besides the Danish conquest caused the decline of Northumbrian literature?

9. For what is Bede worthy to be remembered? Tell the story of Caedmon, as recorded in Bede's History. What new element is introduced in Caedmon's poems? What effect did Christianity have upon Anglo-Saxon literature? Can you quote any pa.s.sages from Caedmon to show that Anglo-Saxon character was not changed but given a new direction? If you have read Milton's _Paradise Lost_, what resemblances are there between that poem and Caedmon's _Paraphrase?_

10. What are the Cynewulf poems? Describe any that you have read. How do they compare in spirit and in expression with _Beowulf_? with Caedmon? Read _The Phoenix_ (which is a translation from the Latin) in Brooke's History of Early English Literature, or in Gollancz's Exeter Book, or in Cook's Translations from Old English Poetry, and tell what elements you find to show that the poem is not of Anglo-Saxon origin. Compare the views of nature in Beowulf and in the Cynewulf poems.

11. Describe the Anglo-Saxon Chronicle. What is its value in our language, literature, and history? Give an account of Alfred's life and of his work for literature. How does Anglo-Saxon prose compare in interest with the poetry?

CHAPTER III

THE ANGLO-NORMAN PERIOD (1066-1350)

I. HISTORICAL INTRODUCTION

THE NORMANS. The name Norman, which is a softened form of Northman, tells its own story. The men who bore the name came originally from Scandinavia,--bands of big, blond, fearless men cruising after plunder and adventure in their Viking ships, and bringing terror wherever they appeared. It was these same "Children of Woden" who, under the Danes' raven flag, had blotted out Northumbrian civilization in the ninth century. Later the same race of men came plundering along the French coast and conquered the whole northern country; but here the results were altogether different.

Instead of blotting out a superior civilization, as the Danes had done, they promptly abandoned their own. Their name of Normandy still clings to the new home; but all else that was Norse disappeared as the conquerors intermarried with the native Franks and accepted French ideals and spoke the French language. So rapidly did they adopt and improve the Roman civilization of the natives that, from a rude tribe of heathen Vikings, they had developed within a single century into the most polished and intellectual people in all Europe. The union of Norse and French (i.e.

Roman-Gallic) blood had here produced a race having the best qualities of both,--the will power and energy of the one, the eager curiosity and vivid imagination of the other. When these Norman-French people appeared in Anglo-Saxon England they brought with them three noteworthy things: a lively Celtic disposition, a vigorous and progressive Latin civilization, and a Romance language.[42] We are to think of the conquerors, therefore, as they thought and spoke of themselves in the Domesday Book and all their contemporary literature, not as Normans but as _Franci_, that is, Frenchmen.

THE CONQUEST. At the battle of Hastings (1066) the power of Harold, last of the Saxon kings, was broken, and William, duke of Normandy, became master of England. Of the completion of that stupendous Conquest which began at Hastings, and which changed the civilization of a whole nation, this is not the place to speak. We simply point out three great results of the Conquest which have a direct bearing on our literature. First, notwithstanding Caesar's legions and Augustine's monks, the Normans were the first to bring the culture and the practical ideals of Roman civilization home to the English people; and this at a critical time, when England had produced her best, and her own literature and civilization had already begun to decay.

Second, they forced upon England the national idea, that is, a strong, centralized government to replace the loose authority of a Saxon chief over his tribesmen. And the world's history shows that without a great nationality a great literature is impossible. Third, they brought to England the wealth of a new language and literature, and our English gradually absorbed both. For three centuries after Hastings French was the language of the upper cla.s.ses, of courts and schools and literature; yet so tenaciously did the common people cling to their own strong speech that in the end English absorbed almost the whole body of French words and became the language of the land. It was the welding of Saxon and French into one speech that produced the wealth of our modern English.

Naturally such momentous changes in a nation were not brought about suddenly. At first Normans and Saxons lived apart in the relation of masters and servants, with more or less contempt on one side and hatred on the other; but in an astonishingly short time these two races were drawn powerfully together, like two men of different dispositions who are often led into a steadfast friendship by the attraction of opposite qualities, each supplying what the other lacks. The _Anglo-Saxon Chronicle_, which was continued for a century after Hastings, finds much to praise in the conquerors; on the other hand the Normans, even before the Conquest, had no great love for the French nation. After conquering England they began to regard it as home and speedily developed a new sense of nationality.

Geoffrey's popular _History_,[43] written less than a century after the Conquest, made conquerors and conquered alike proud of their country by its stories of heroes who, curiously enough, were neither Norman nor Saxon, but creations of the native Celts. Thus does literature, whether in a battle song or a history, often play the chief role in the development of nationality.[44] Once the mutual distrust was overcome the two races gradually united, and out of this union of Saxons and Normans came the new English life and literature.

LITERARY IDEALS OF THE NORMANS. The change in the life of the conquerors from Nors.e.m.e.n to Normans, from Vikings to Frenchmen, is shown most clearly in the literature which they brought with them to England. The old Norse strength and grandeur, the magnificent sagas telling of the tragic struggles of men and G.o.ds, which still stir us profoundly,--these have all disappeared. In their place is a bright, varied, talkative literature, which runs to endless verses, and which makes a wonderful romance out of every subject it touches. The theme may be religion or love or chivalry or history, the deeds of Alexander or the misdeeds of a monk; but the author's purpose never varies. He must tell a romantic story and amuse his audience; and the more wonders and impossibilities he relates, the more surely is he believed. We are reminded, in reading, of the native Gauls, who would stop every traveler and compel him to tell a story ere he pa.s.sed on. There was more of the Gaul than of the Norseman in the conquerors, and far more of fancy than of thought or feeling in their literature. If you would see this in concrete form, read the _Chanson de Roland_, the French national epic (which the Normans first put into literary form), in contrast with _Beowulf_, which voices the Saxon's thought and feeling before the profound mystery of human life. It is not our purpose to discuss the evident merits or the serious defects of Norman-French literature, but only to point out two facts which impress the student, namely, that Anglo-Saxon literature was at one time enormously superior to the French, and that the latter, with its evident inferiority, absolutely replaced the former. "The fact is too often ignored," says Professor Schofield,[45] "that before 1066 the Anglo-Saxons had a body of native literature distinctly superior to any which the Normans or French could boast at that time; their prose especially was unparalleled for extent and power in any European vernacular." Why, then, does this superior literature disappear and for nearly three centuries French remain supreme, so much so that writers on English soil, even when they do not use the French language, still slavishly copy the French models?

To understand this curious phenomenon it is necessary only to remember the relative conditions of the two races who lived side by side in England. On the one hand the Anglo-Saxons were a conquered people, and without liberty a great literature is impossible. The inroads of the Danes and their own tribal wars had already destroyed much of their writings, and in their new condition of servitude they could hardly preserve what remained. The conquering Normans, on the other hand, represented the civilization of France, which country, during the early Middle Ages, was the literary and educational center of all Europe. They came to England at a time when the idea of nationality was dead, when culture had almost vanished, when Englishmen lived apart in narrow isolation; and they brought with them law, culture, the prestige of success, and above all the strong impulse to share in the great world's work and to join in the moving currents of the world's history. Small wonder, then, that the young Anglo-Saxons felt the quickening of this new life and turned naturally to the cultured and progressive Normans as their literary models.

II. LITERATURE OF THE NORMAN PERIOD

In the Advocates' Library at Edinburgh there is a beautifully illuminated ma.n.u.script, written about 1330, which gives us an excellent picture of the literature of the Norman period. In examining it we are to remember that literature was in the hands of the clergy and n.o.bles; that the common people could not read, and had only a few songs and ballads for their literary portion. We are to remember also that parchments were scarce and very expensive, and that a single ma.n.u.script often contained all the reading matter of a castle or a village. Hence this old ma.n.u.script is as suggestive as a modern library. It contains over forty distinct works, the great bulk of them being romances. There are metrical or verse romances of French and Celtic and English heroes, like Roland, Arthur and Tristram, and Bevis of Hampton. There are stories of Alexander, the Greek romance of "Flores and Blanchefleur," and a collection of Oriental tales called "The Seven Wise Masters." There are legends of the Virgin and the saints, a paraphrase of Scripture, a treatise on the seven deadly sins, some Bible history, a dispute among birds concerning women, a love song or two, a vision of Purgatory, a vulgar story with a Gallic flavor, a chronicle of English kings and Norman barons, and a political satire. There are a few other works, similarly incongruous, crowded together in this typical ma.n.u.script, which now gives mute testimony to the literary taste of the times.

Obviously it is impossible to cla.s.sify such a variety. We note simply that it is mediaeval in spirit, and French in style and expression; and that sums up the age. All the scholarly works of the period, like William of Malmesbury's _History_, and Anselm's[46] _Cur Deus h.o.m.o_, and Roger Bacon's _Opus Majus_, the beginning of modern experimental science, were written in Latin; while nearly all other works were written in French, or else were English copies or translations of French originals. Except for the advanced student, therefore, they hardly belong to the story of English literature.

We shall note here only one or two marked literary types, like the Riming Chronicle (or verse history) and the Metrical Romance, and a few writers whose work has especial significance.

GEOFFREY OF MONMOUTH. (d. 1154). Geoffrey's _Historia Regum Britanniae_ is noteworthy, not as literature, but rather as a source book from which many later writers drew their literary materials. Among the native Celtic tribes an immense number of legends, many of them of exquisite beauty, had been preserved through four successive conquests of Britain. Geoffrey, a Welsh monk, collected some of these legends and, aided chiefly by his imagination, wrote a complete history of the Britons. His alleged authority was an ancient ma.n.u.script in the native Welsh tongue containing the lives and deeds of all their kings, from Brutus, the alleged founder of Britain, down to the coming of Julius Caesar.[47] From this Geoffrey wrote his history, down to the death of Cadwalader in 689.

The "History" is a curious medley of pagan and Christian legends, of chronicle, comment, and pure invention,--all recorded in minute detail and with a gravity which makes it clear that Geoffrey had no conscience, or else was a great joker. As history the whole thing is rubbish; but it was extraordinarily successful at the time and made all who heard it, whether Normans or Saxons, proud of their own country. It is interesting to us because it gave a new direction to the literature of England by showing the wealth of poetry and romance that lay in its own traditions of Arthur and his knights. Shakespeare's _King Lear_, Malory's _Morte d'Arthur_, and Tennyson's _Idylls of the King_ were founded on the work of this monk, who had the genius to put unwritten Celtic tradition in the enduring form of Latin prose.

WORK OF THE FRENCH WRITERS. The French literature of the Norman period is interesting chiefly because of the avidity with which foreign writers seized upon the native legends and made them popular in England. Until Geoffrey's preposterous chronicle appeared, these legends had not been used to any extent as literary material. Indeed, they were scarcely known in England, though familiar to French and Italian minstrels. Legends of Arthur and his court were probably first taken to Brittany by Welsh emigrants in the fifth and sixth centuries. They became immensely popular wherever they were told, and they were slowly carried by minstrels and story-tellers all over Europe. That they had never received literary form or recognition was due to a peculiarity of mediaeval literature, which required that every tale should have some ancient authority behind it. Geoffrey met this demand by creating an historical ma.n.u.script of Welsh history. That was enough for the age. With Geoffrey and his alleged ma.n.u.script to rest upon, the Norman- French writers were free to use the fascinating stories which had been-for centuries in the possession of their wandering minstrels. Geoffrey's Latin history was put into French verse by Gaimar _(c_. 1150) and by Wace (_c_.

1155), and from these French versions the work was first translated into English. From about 1200 onward Arthur and Guinevere and the matchless band of Celtic heroes that we meet later (1470) in Malory's _Morte d' Arthur_ became the permanent possession of our literature.

< Prev TOC

Add to Library Next