Chapter 2 No.2

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Augu

e reaction was at first gradual, timid, and unconscious. It did not reach importance until the seventh decade of the century, and culminated only in the early years of the nineteenth century. The medieval revival was only an incident-though a leading incident-of this movement; but it is the side of it with which

of the Scottish Highlands," and Gray's translations form the Welsh and the Norse, relate to periods which antedate that era of Christian chivalry and feudalism, extending roughly from the eleventh century to the fifteenth, to which the term, "Middle Ages," more strictly applies. The same thing is true of the ground-work, at least, of ancient hero-epics like

the work of their English disciples, Spenser and Sidney; while the entire Spanish and English drama of the sixteenth and seventeenth centuries (down to 1640, and with an occasional exception, like Ben Jonson) is romantic. Calderon is romantic; Shakspere and Fletcher are romantic. If we agree to regard medieval literature, then, as comprising all the early literature of Europe which drew its inspiration from other than Greek-Latin sources, we

h seemed neither quaint nor picturesque to the men who lived it, but only to the man who turns to it for relief form the prosaic, or at least familiar, conditions of the modern world. The offspring of the modern imagination, acting upon medieval material, may be a perfectly legitimate, though not an original, form of art. It may even have a novel charm of its own, unlike either parent, but like Euphorion, child of Faust by Helen of Troy, a blend of Hellas and the Middle Age. Scott's verse tales are bet

s and influences of his time and was a follower of its literary fashions. In his version of the "Romaunt of the Rose," his imitations of Machault, and his early work in general he used the mediaeval machinery of allegory and dreams. In "Troilus and Cresseide" and the tale of "Palamon and Arcite," he carries romantic love and knightly honor to a higher pitch than his model, Boccaccio. But the shrewdly practical Pandarus of the former poem-a character almost wholly of Chaucer's creation-is the very embodiment of the anti-romantic attitude, and a remarkable anticipation of Sancho Panza; while the "Rime of Sir Thopas" is a distinct burlesque

intense spirituality and his passion for symbolism, has been sometimes called classic, by

ainly in the artistic value of their product. Mediaeval literature, wonderful and stimulating as a whole and beautiful here and there in details of execution, affords few models of technical perfection. The civilization which it reflected, though higher in its possibilities than the classic civilization, had not yet arrived at an equal grade of development, was inferior in intelligence and the natur

ments of a half-forgotten civilization were pieced together; Greek manuscripts sought out, cleaned, edited, and printed: statues, coins, vases dug up and ranged in museums: debris cleared away from temples, amphitheaters, basilicas; till gradually the complete image of the antique world grew forth in august beauty, kindling an excitement of mind to which there are few parallels in history; so, in the e

y the same limits which had bounded them two centuries before. The progress in the sciences and mechanic arts, the discovery and colonizing of America, the invention of printing and gunpowder, and the Protestant reformation had indeed drawn deep lines between modern and mediaeval life. Christianity, however, formed a connecting link, though, in Protestant countries, the continuity between the earlier and later forms of the religion had b

rs; and that was only a symptom of the return of warmth and color-that is, of emotion and imagination-into English life and thought: into the Church, into politics, into philosophy. Romanticism, which sought to evoke from the past a beauty that it found wanting in the present, was but one phase of that revolt against the coldness and spiritual deadness of the first half of the eighteenth century which had other side

of antiquarianism. "Men like Malone and Stevens were beginning those painful researches which have accumulated a whole literature upon the scanty records of our early dramatists. Gray, the most learned of poets, had vaguely designed a history of English poetry, and the design was executed with great industry by Thomas Warton. His brother Joseph ventured to uphold the then paradoxical thesis that Spenser was as great a man as Pope. Everywhere a new interest was awakening in the minuter details of the past." At first, Mr. Stephen says, the result of these inquiries was "an unreasonable contempt for the past. The modern philosopher, who could spin all knowledge out of his own brain; the skeptic, who had exploded the ancient dogma; or the free-thinker of any shade, who rejoiced in the destruction of ecclesiastical tyranny, gloried in his conscious superiority to his forefathers. Whatever was old was absurd; and Gothic-an epithet applied to all medieval art, philosophy, or social order-became a simple term of contempt." But an antiquarian is naturally a conservative, and men soon began to love the times whose peculiarities they were so diligently studying. Men of imaginat

of Landor? If the "Dunciad," and the "Essay on Man," are classical, what is Keats' "Hyperion"? And with what propriety can we bring under a common rubric things so far asunder as Prior's "Carmen Seculare" and Tennyson's "Ulysses," or as Gay's "Trivia" and Swinburne's "Atalanta in Calydon"? Evidently the Queen Anne writers took hold of the antique by a different side from our nineteenth-century poets. Their classicism was of a special type. It was, as has been often pointed out, more Latin than

imes of ho

the patch

Hugo's generation, who wore their hair long and flowing-cheveaux mérovigiennes-and affected an outré freedom in the cut and color of their clothes. Similarly the Byronic collar became, all ove

of the éclaircissement apprehended them as critics. In Elizabeth's day the new learning stimulated English genius to creative activity. In royal progresses, court masques, Lord Mayors' shows, and public pageants of all kinds, mythology ran mad. "Every procession was a pantheon." But the poets were not careful to keep the two worlds of pagan antiquity and mediaeval Christianity distinct. The art of the renaissance was the flower of a double root, and the artists used their complex stuff na?vely. The "Fa?rie Queene" is the typical work of the English renaissance; there hamadryads, satyrs,

the reform against this fashion. Malherbe and Boileau insisted upon the need of discarding tawdry ornaments of style and cultivating simplicity, clearness, propriety, decorum, moderation; above all, good sense. The new Academy, founded to guard the purity of the French language, lent its weight to the precepts of the critics, who applied the rules of Aristotle, as commented by Longinus and Horace, to modern conditions. The appearance of a number of admirable writers-Corneille, Molière,

ature and a belief in its aesthetic code. That French influence would have spread into England without the aid of these political accidents is doubtless true, as it is also true that a reform of English versification and poetic style would have worked itself out upon native lines independent of foreign exa

like thee, and

mple, as it

clear, though gen

rage, without o

French upon English literary fashions, in the latter hal

of literary anarchy. The religious tension of the Commonwealth period had relaxed-men cannot be always at the heroic pitch-and theological disputes had issued in indifference and a skepticism which took the form of deism, or "natural religion." But the deists were felt to be a nuisance. They were unsettling opinions and disturbing that decent conformity with generally received beliefs which it is the part of a good citizen to maintain. Addison instructs his readers that, in the absence of certainty, it is the part of a prudent m

e universe; he is in presence of eternity and infinity; life is a brief drama; heaven and hell are behind the veil of phenomena; at every step our friends vanish into the abyss of ever present mystery. To all such thoughts the writers of the eighteenth century seemed to close their eyes as resolutely as possible. . . The absence of any deeper speculative ground makes the immediate practical questions of life all t

Man," Pope versified, without well understanding, the optimistic deism of Leibnitz, as expounded by Shaftesbury and Bolingbroke. The Anglican Church itself was in a strange condition, when Jonathan Swift, a dean and would-be bishop, came to its defense with his "Tale of a Tub" and his ironical "Argument against the Abolition of Christianity." Among the Queen Anne wits Addison was the man of most genuine religious feeling. He is always reverent, and "the feeling infinite" stirs faintly in one or two of his hymns. But, in general, his religion is of the rationalizing type, a religion of common sense, a bel

y bound," the shadow that rounds man's little life, and fixed its attention only upon what it could thoroughly comprehend.[13] Thereby it escaped obscurity. The writings of the Augustans in both verse and prose are distinguished by a perfect clearness, but it is a clearness without subtlety or depth. They never try t

, the court and the town, the salons, clubs, coffee-houses, assemblies, ombre-parties. It was social, urban, gregarious, intensely though not broadly human. It cared little for the country or outward nature, and nothing for the life of remote times and places. Its interest was centered upon civilization and upon that peculiarly artificial type of civilization which it found prevailing. It was as indifferent to Venice, Switzerland, the Alhambra, the Nile, the American forest

only the universal, abstract, permanent truths of human character and passion.[15] The impression of the mysterious East upon modern travelers and poets like Byron, Southey, De Quincey, Moore, Hugo,[16] Ruckert, and Gérard de Nerval, has no counterpart in the eighteenth century. The Oriental allegory or moral apologue, as practiced by Addison in such papers as "The Vision of Mirza," and by Johnson in "Rasselas," is rather faintly colored and gets what color it has from the Old Testament. It is significant that the romantic Collins en

d on the Taking of Namur" and "The Country Mouse and the City Mouse"; Buckingham's "Rehearsal" and Swift's "Meditation on a Broomstick"; mock-heroics, like the "Dunciad" and "MacFlecknoe" and Garth's "Dispensary," and John Phillips' "Splendid Shilling" and Addison's "Machinae Gesticulantes"; Prior's "Alma," a burlesque of philosophy; Gay's "Trivia" and "The Shepherd's Week," and "The Beggars' Opera"-a "Newgate pastoral"; "Town Eclogues" by Swift and Lady Montague and others. Literature was a polished mirror in which the gay world saw its own grinning face. It threw back a most brilliant picture of the surface of society, showed manners but not the elementary passions of human nature. As a whole, it leaves an impression of hardness, shallowness, and levity. The polite cynicism of Congreve, the ferocious cynicism of Swift, the m

th conventions, and chastise lawlessness. In a word, its spirit was academic. Horace was its favorite master-not Horace of the Odes, but Horace of the Satires and Epistles, and especially Horace as interpreted by Boileau.[17] The "Ars Poetica" had been englished by the Earl of Roscommon, and imitated by Boileau in his "

in order that you may follow nature, observe the rules, whic

r ancient rules

ture is to

eemed above the critic's law, but when he came to study Home

s the bol

rict his labor'

ng precept of this whole critical school. Literature, in the state in w

for Valerius Flaccus and Sidonius Apollinaris. The gentle flow of the Ticino brings a line of Silius to his mind. The sulphurous stream of Albula suggests to him several passages of Martial. But he has not a word to say of the illustrious dead of Santa Croce; he crosses the wood of Ravenna[21] without recollecting the specter huntsman, and wanders up and down Rimini without one thought of Francesca. At Paris he had eagerly sought an introduction to Boileau; bu

writer's duty to be "correct." It was well indeed to be "bold," but bold with discretion. Dryden thought Shakspere a great poet than Jonson, but an inferior artist. He was to be admired, but not approved. Homer, again, it was generally conceded, was not so correct as Vergil, though he had more "fire." Chesterfield preferred Vergil to Homer, and both of them to Tasso. But of all epics the one he read with most pleasure was the "Henriade." As for "Paradise Lost," he could not read it through. William Walsh, "the muses' judge and friend," ad

his muse

ights and pruned

were defended. Yet Johnson, in his own tragedy "Irene," conformed to the rules of Aristotle. He pronounced "Cato" "unquestionably the noblest production of Addison's genius," but acknowledge that its success had "introduced, or confirmed among us, the use of dialogue too declamatory, of unaffecting elegance

] Dryden made some experiments in tragi-comedy, but, in general, classical comedy was pure comedy-the prose comedy of manners-and classical tragedy admitted no comic intermixture. Whether tragedy should be in rhyme, after the French manner, or in blank verse, after the precedent of the old English stage, wa

tamped with the authority of the French tragic alexandrine; and, secondly, it meant constraint where blank verse meant freedom, "ancient liberty, recovered to heroic poem from the troublesome and modern bondage of rhyming."[26] Pope, among his many thousand rhymed couplets, has left no blank verse except the few lines contributed to Thomson's "Seasons." Even the heroic couplet as written by earlier poets was felt to have been too loose in structure. "The excellence and dignity of it," says Dryden, "were never fully known till Mr. Waller taught it; he first made writing easily an art; first showed us how to conclude the sense most commonly in distichs, which, i

uman, to for

ing, that he

ye, but merit wins t

was employed. The sonnet, for instance, disappeared entirely, until revived by Gray, Stillingfleet, Edwards, and Thomas Warton, about the middle of the eighteenth century.[28] When the poets wished to be daring and irregular, they were

sty of the Parthenon-the noble proportions of the temple of Theseus-the chaste enrichment which adorns the Choragic monument of Lysicrates, were ascribed less to the fertile imagination and refined perceptions of the ancient Greek, than to the dry and formal precepts which were invented centuries after their erection. Little was said of the magnificent sculpture which filled the metopes of the temple of the Minerva; but the exact height and breadth of the triglyphs between them were considered of the greatest importance. The exquisite drapery of caryatids and canephorae, no English artist, a hundred years ago, thought fit to imitate; but the cornices which they supposed were measured inch by inch with the utmost nicety. Ingenious devices were i

as is proper, or ab ovo Ledae, as Horace has said that an epic ought not? Does it bring in the introductory matter by way of episode, after the approved recipe of Homer and Vergil? Has it allegorical characters, contrary to the practice of the ancients? Does the poet intrude personally into his poem, thus mixing the lyric and epic styles? etc. Not a word as to Milton's puritanism, or his Weltanschauung, or the relation of his wo

l and didactic verse. "It stooped to truth and moralized its song," finding its favorite occupation in the sententious expressio

ne is happi

th You

ion is the th

h Johns

orth by pover

closing lines of "The Dunciad"-so strangely overpraised by Thackeray-with their metallic clank and grandiose verbiage, are not truly imaginative. The poet is simply w

They are the despair of the anthologists.[30] Here and there among the brilliant reasoners, raconteurs, and satirists in verse, occurs a clever epigrammatist like Prior, or a ballad writer like Henry Carey, whose "Sally in Our Alley" shows the singing, and not talking, voic

India's co

seen in dia

is Afric's

is ivory

uteous prospec

ul some charm

ribe nothing, and generalities at second hand from older poets, who may once, perhaps, have written with their "eyes upon the object." Blushing Flora paints the enameled ground; cheerful murmurs fluctuate on the gale; Eridanus through flowery meadows strays; gay gilded[32] scenes and shining prospects ri

vales, the rocks

bursts from all

worth protested was an outward sign of the classical preference for the general over the concrete. The vocabulary was Latinized because, in English, the mot propre is commonly a Saxon word, while its Latin synonym has a convenient indefi

bard the frigi

n roared whilst

irtue deign the

ained though N

ly hailed th

nd Song confirm

Liberty, Science, Melancholy, Night. Even vaccin

heavenly maid,

f sheep as "the fleecy care"; of fishes as "the scaly tribe"; and of a picket fence as a "spiculated paling." Lowell says of Pope's followers: "As the master had made it an axiom to avoid what wa

eather that enc

fee

uice of Mocha's

g these conventional counters for groups of ideas was that the personal, the exact, was lost in literature. Apples were the treasures of Pomona, but so were cherries, too, and if one wished to allude to peaches, they also were the treasures of Pomona. This decline from particular to general language was regarded as a great gain in elegance. It was supposed that to use one of these genteel counters, which passed for coin of poetic language, brought the speaker closer to the grace of Latinity. It was thought that the old direct manner of

w," is certainly a strange poem to come out of the heart of the eighteenth century. But these are eddies and back currents in the stream of literary tendency. We are always in danger of forgetting that the literature of an age does not express its entire, but only its prevailing, spirit. There is commonly a latent, silent body of thought and feeling underneath which remains inarticulate, or nearly so. It is t

labors in endeavors to revive it, not in reality, but on the stage of fiction: endeavors which were the best of the kind that modernism made, but still successful only so far as Scott put under the old armor the everlasting human nature which he knew; and totally uns

t at popular fiction in

s also trewe,

ok of Launce

ld in ful gre

t in the Eighteenth Century,"

subject through the feelings; ro

is state was inevitable, and accordingly men steal out to the fields and mountains; and, finding among these color and liberty and variety and power, rejoice in all the wildest shattering of the mountain side, as an opposition to Gower Street. It is not, however, only to existing inanimate nature that our want of beauty in person and dress has driven us. The i

. The seventeenth century comprehended Homer no better than Pindar. What we miss in them is exactly what we like best in his epopee-the vast living picture of semi-barbarous civilization. . . No society could be less fitted than that of the seventeenth century to feel and understand the spirit of primitive antiquity. In order to appreciate Homer, it was thought necessary to civilize the barbarian, make him a

ace to "

etry," section lxi. Vol II

pere to Pope: An Inquiry into the Causes and Phenomena of the

e. Johnson, who was really devout, angrily affirmed that his celebrated let

l. II. chap. xii. Section iv. See also "Selections from Newma

pectator, Nos. 185, 1

s says to Plato: "I meddle not at present with infinity or eternity: when I can comprehend them, I will talk about

m Newman," Introduct

om epoch to epoch, from country to country, without causing surprise. Their Achilles is no more a Greek than is Porus an Indian; Andromache feels

ime and place; and this is precisely what the romanticists seek under the name of particular reality.-Ibid. p. 220. Similarly Montezuma's Mexicans in Dryden's "Indian Emperor" have no more national individuality than the Spanish Moors in his "Conques

nd Nerval's "Les Nuits de Rhamadan

a nation, born

ill in right o

ssay on C

by this order of the peerage; for, somewhat later, we have one, "On Unnat

stle to S

say on A

r of twilight!

orest, and th

Ravenna's imm

ce the Adrian w

ast Caesarian