English Literature Part 2

There is a flash of illumination, like that which comes to a dying man, in which his mind runs back over his long life and sees something of profound meaning in the elemental sorrow moving side by side with magnificent courage. Then follows the fight with the firedrake, in which Beowulf, wrapped in fire and smoke, is helped by the heroism of Wiglaf, one of his companions. The dragon is slain, but the fire has entered Beowulf's lungs and he knows that Wyrd is at hand. This is his thought, while Wiglaf removes his battered armor:

"One deep regret I have: that to a son I may not give the armor I have worn, To bear it after me. For fifty years I ruled these people well, and not a king Of those who dwell around me, dared oppress Or meet me with his hosts. At home I waited For the time that Wyrd controls. Mine own I kept, Nor quarrels sought, nor ever falsely swore.

Now, wounded sore, I wait for joy to come."[11]

He sends Wiglaf into the firedrake's cave, who finds it filled with rare treasures and, most wonderful of all, a golden banner from which light proceeds and illumines all the darkness. But Wiglaf cares little for the treasures; his mind is full of his dying chief. He fills his hands with costly ornaments and hurries to throw them at his hero's feet. The old man looks with sorrow at the gold, thanks the "Lord of all" that by death he has gained more riches for his people, and tells his faithful thane how his body shall be burned on the Whale ness, or headland:

"My life is well paid for this h.o.a.rd; and now Care for the people's needs. I may no more Be with them. Bid the warriors raise a barrow After the burning, on the ness by the sea, On Hronesness, which shall rise high and be For a remembrance to my people. Seafarers Who from afar over the mists of waters Drive foamy keels may call it Beowulf's Mount Hereafter." Then the hero from his neck Put off a golden collar; to his thane, To the young warrior, gave it with his helm, Armlet and corslet; bade him use them well.

"Thou art the last Waegmunding of our race, For fate has swept my kinsmen all away.

Earls in their strength are to their Maker gone, And I must follow them."[12]

Beowulf was still living when Wiglaf sent a messenger hurriedly to his people; when they came they found him dead, and the huge dragon dead on the sand beside him.

Then the Goth's people reared a mighty pile With s.h.i.+elds and armour hung, as he had asked, And in the midst the warriors laid their lord, Lamenting. Then the warriors on the mount Kindled a mighty bale fire; the smoke rose Black from the Swedish pine, the sound of flame Mingled with sound of weeping; ... while smoke Spread over heaven. Then upon the hill The people of the Weders wrought a mound, High, broad, and to be seen far out at sea.

In ten days they had built and walled it in As the wise thought most worthy; placed in it Rings, jewels, other treasures from the h.o.a.rd.

They left the riches, golden joy of earls, In dust, for earth to hold; where yet it lies, Useless as ever. Then about the mound The warriors rode, and raised a mournful song For their dead king; exalted his brave deeds, Holding it fit men honour their liege lord, Praise him and love him when his soul is fled.

Thus the [Geat's] people, sharers of his hearth, Mourned their chief's fall, praised him, of kings, of men The mildest and the kindest, and to all His people gentlest, yearning for their praise.[13]

One is tempted to linger over the details of the magnificent ending: the unselfish heroism of Beowulf, the great prototype of King Alfred; the generous grief of his people, ignoring gold and jewels in the thought of the greater treasure they had lost; the memorial mound on the low cliff, which would cause every returning mariner to steer a straight course to harbor in the remembrance of his dead hero; and the pure poetry which marks every n.o.ble line. But the epic is great enough and simple enough to speak for itself. Search the literatures of the world, and you will find no other such picture of a brave man's death.

Concerning the history of _Beowulf_ a whole library has been written, and scholars still differ too radically for us to express a positive judgment.

This much, however, is clear,--that there existed, at the time the poem was composed, various northern legends of Beowa, a half-divine hero, and the monster Grendel. The latter has been interpreted in various ways,--sometimes as a bear, and again as the malaria of the marsh lands.

For those interested in symbols the simplest interpretation of these myths is to regard Beowulf's successive fights with the three dragons as the overcoming, first, of the overwhelming danger of the sea, which was beaten back by the d.y.k.es; second, the conquering of the sea itself, when men learned to sail upon it; and third, the conflict with the hostile forces of nature, which are overcome at last by man's indomitable will and perseverance.

All this is purely mythical; but there are historical incidents to reckon with. About the year 520 a certain northern chief, called by the chronicler Chochilaicus (who is generally identified with the Hygelac of the epic), led a huge plundering expedition up the Rhine. After a succession of battles he was overcome by the Franks, but--and now we enter a legendary region once more--not until a gigantic nephew of Hygelac had performed heroic feats of valor, and had saved the remnants of the host by a marvelous feat of swimming. The majority of scholars now hold that these historical events and personages were celebrated in the epic; but some still a.s.sert that the events which gave a foundation for _Beowulf_ occurred wholly on English soil, where the poem itself was undoubtedly written.

The rhythm of _Beowulf_ and indeed of all our earliest poetry depended upon accent and alliteration; that is, the beginning of two or more words in the same line with the same sound or letter. The lines were made up of two short halves, separated by a pause. No rime was used; but a musical effect was produced by giving each half line two strongly accented syllables. Each full line, therefore, had four accents, three of which (i.e. two in the first half, and one in the second) usually began with the same sound or letter. The musical effect was heightened by the harp with which the gleeman accompanied his singing.. The poetical form will be seen clearly in the following selection from the wonderfully realistic description of the fens haunted by Grendel. It will need only one or two readings aloud to show that many of these strange-looking words are practically the same as those we still use, though many of the vowel sounds were p.r.o.nounced differently by our ancestors.

... Hie dygel lond Warigeath, wulf-hleothu, windige naessas, Frecne fen-gelad, thaer fyrgen-stream Under naessa genipu nither gewiteth, Flod under foldan. Nis thaet feor heonon, Mil-gemearces, thaet se mere standeth, Ofer thaem hongiath hrinde bearwas ... They (a) darksome land Ward (inhabit), wolf cliffs, windy nesses, Frightful fen paths where mountain stream Under nesses' mists nether (downward) wanders, A flood under earth. It is not far hence, By mile measure, that the mere stands, Over which hang rimy groves.

WIDSITH. The poem "Widsith," the wide goer or wanderer, is in part, at least, probably the oldest in our language. The author and the date of its composition are unknown; but the personal account of the minstrel's life belongs to the time before the Saxons first came to England.[14] It expresses the wandering life of the gleeman, who goes forth into the world to abide here or there, according as he is rewarded for his singing. From the numerous references to rings and rewards, and from the praise given to generous givers, it would seem that literature as a paying profession began very early in our history, and also that the pay was barely sufficient to hold soul and body together. Of all our modern poets, Goldsmith wandering over Europe paying for his lodging with his songs is most suggestive of this first recorded singer of our race. His last lines read:

Thus wandering, they who shape songs for men Pa.s.s over many lands, and tell their need, And speak their thanks, and ever, south or north, Meet someone skilled in songs and free in gifts, Who would be raised among his friends to fame And do brave deeds till light and life are gone.

He who has thus wrought himself praise shall have A settled glory underneath the stars.[15]

DEOR'S LAMENT. In "Deor" we have another picture of the Saxon scop, or minstrel, not in glad wandering, but in manly sorrow. It seems that the scop's living depended entirely upon his power to please his chief, and that at any time he might be supplanted by a better poet. Deor had this experience, and comforts himself in a grim way by recalling various examples of men who have suffered more than himself. The poem is arranged in strophes, each one telling of some afflicted hero and ending with the same refrain: _His sorrow pa.s.sed away; so will mine_. "Deor" is much more poetic than "Widsith," and is the one perfect lyric[16] of the Anglo-Saxon period.

Weland for a woman knew too well exile.

Strong of soul that earl, sorrow sharp he bore; To companions.h.i.+p he had care and weary longing, Winter-freezing wretchedness. Woe he found again, again, After that Nithhad in a need had laid him-- Staggering sinew-wounds--sorrow-smitten man!

_That he overwent; this also may I_.[17]

THE SEAFARER. The wonderful poem of "The Seafarer" seems to be in two distinct parts. The first shows the hards.h.i.+ps of ocean life; but stronger than hards.h.i.+ps is the subtle call of the sea. The second part is an allegory, in which the troubles of the seaman are symbols of the troubles of this life, and the call of the ocean is the call in the soul to be up and away to its true home with G.o.d. Whether the last was added by some monk who saw the allegorical possibilities of the first part, or whether some sea-loving Christian scop wrote both, is uncertain. Following are a few selected lines to show the spirit of the poem:

The hail flew in showers about me; and there I heard only The roar of the sea, ice-cold waves, and the song of the swan; For pastime the gannets' cry served me; the kittiwakes' chatter For laughter of men; and for mead drink the call of the sea mews.

When storms on the rocky cliffs beat, then the terns, icy-feathered, Made answer; full oft the sea eagle forebodingly screamed, The eagle with pinions wave-wet....

The shadows of night became darker, it snowed from the north; The world was enchained by the frost; hail fell upon earth; 'T was the coldest of grain. Yet the thoughts of my heart now are throbbing To test the high streams, the salt waves in tumultuous play.

Desire in my heart ever urges my spirit to wander, To seek out the home of the stranger in lands afar off.

There is no one that dwells upon earth, so exalted in mind, But that he has always a longing, a sea-faring pa.s.sion For what the Lord G.o.d shall bestow, be it honor or death.

No heart for the harp has he, nor for acceptance of treasure, No pleasure has he in a wife, no delight in the world, Nor in aught save the roll of the billows; but always a longing, A yearning uneasiness, hastens him on to the sea.

The woodlands are captured by blossoms, the hamlets grow fair, Broad meadows are beautiful, earth again bursts into life, And all stir the heart of the wanderer eager to journey, So he meditates going afar on the pathway of tides.

The cuckoo, moreover, gives warning with sorrowful note, Summer's harbinger sings, and forebodes to the heart bitter sorrow.

Now my spirit uneasily turns in the heart's narrow chamber, Now wanders forth over the tide, o'er the home of the whale, To the ends of the earth--and comes back to me.

Eager and greedy, The lone wanderer screams, and resistlessly drives my soul onward, Over the whale-path, over the tracts of the sea.[18]

THE FIGHT AT FINNSBURGH AND WALDERE. Two other of our oldest poems well deserve mention. The "Fight at Finnsburgh" is a fragment of fifty lines, discovered on the inside of a piece of parchment drawn over the wooden covers of a book of homilies. It is a magnificent war song, describing with Homeric power the defense of a hall by Hnaef[19] with sixty warriors, against the attack of Finn and his army. At midnight, when Hnaef and his men are sleeping, they are surrounded by an army rus.h.i.+ng in with fire and sword. Hnaef springs to his feet at the first alarm and wakens his warriors with a call to action that rings like a bugle blast:

This no eastward dawning is, nor is here a dragon flying, Nor of this high hall are the horns a burning; But they rush upon us here--now the ravens sing, Growling is the gray wolf, grim the war-wood rattles, s.h.i.+eld to shaft is answering.[20]

The fight lasts five days, but the fragment ends before we learn the outcome: The same fight is celebrated by Hrothgar's gleeman at the feast in Heorot, after the slaying of Grendel.

"Waldere" is a fragment of two leaves, from which we get only a glimpse of the story of Waldere (Walter of Aquitaine) and his betrothed bride Hildgund, who were hostages at the court of Attila. They escaped with a great treasure, and in crossing the mountains were attacked by Gunther and his warriors, among whom was Walter's former comrade, Hagen. Walter fights them all and escapes. The same story was written in Latin in the tenth century, and is also part of the old German _Nibelungenlied_. Though the saga did not originate with the Anglo-Saxons, their version of it is the oldest that has come down to us. The chief significance of these "Waldere"

fragments lies in the evidence they afford that our ancestors were familiar with the legends and poetry of other Germanic peoples.

II. ANGLO-SAXON LIFE

We have now read some of our earliest records, and have been surprised, perhaps, that men who are generally described in the histories as savage fighters and freebooters could produce such excellent poetry. It is the object of the study of all literature to make us better acquainted with men,--not simply with their deeds, which is the function of history, but with the dreams and ideals which underlie all their actions. So a reading of this early Anglo-Saxon poetry not only makes us acquainted, but also leads to a profound respect for the men who were our ancestors. Before we study more of their literature it is well to glance briefly at their life and language.

THE NAME Originally the name Anglo-Saxon denotes two of the three Germanic tribes,--Jutes, Angles, and Saxons,--who in the middle of the fifth century left their homes on the sh.o.r.es of the North Sea and the Baltic to conquer and colonize distant Britain. Angeln was the home of one tribe, and the name still clings to the spot whence some of our forefathers sailed on their momentous voyage. The old Saxon word _angul_ or _ongul_ means a hook, and the English verb _angle_ is used invariably by Walton and older writers in the sense of fis.h.i.+ng. We may still think, therefore, of the first Angles as hook-men, possibly because of their fis.h.i.+ng, more probably because the sh.o.r.e where they lived, at the foot of the peninsula of Jutland, was bent in the shape of a fishhook. The name Saxon from _seax, sax_, a short sword, means the sword-man, and from the name we may judge something of the temper of the hardy fighters who preceded the Angles into Britain. The Angles were the most numerous of the conquering tribes, and from them the new home was called Anglalond. By gradual changes this became first Englelond and then England.

More than five hundred years after the landing of these tribes, and while they called themselves Englishmen, we find the Latin writers of the Middle Ages speaking of the inhabitants of Britain as _Anglisaxones_,--that is, Saxons of England,--to distinguish them from the Saxons of the Continent.

In the Latin charters of King Alfred the same name appears; but it is never seen or heard in his native speech. There he always speaks of his beloved "Englelond" and of his brave "Englisc" people. In the sixteenth century, when the old name of Englishmen clung to the new people resulting from the union of Saxon and Norman, the name Anglo-Saxon was first used in the national sense by the scholar Camden[21] in his _History of Britain_; and since then it has been in general use among English writers. In recent years the name has gained a wider significance, until it is now used to denote a spirit rather than a nation, the brave, vigorous, enlarging spirit that characterizes the English-speaking races everywhere, and that has already put a broad belt of English law and English liberty around the whole world.

THE LIFE. If the literature of a people springs directly out of its life, then the stern, barbarous life of our Saxon forefathers would seem, at first glance, to promise little of good literature. Outwardly their life was a constant hards.h.i.+p, a perpetual struggle against savage nature and savage men. Behind them were gloomy forests inhabited by wild beasts and still wilder men, and peopled in their imagination with dragons and evil shapes. In front of them, thundering at the very dikes for entrance, was the treacherous North Sea, with its fogs and storms and ice, but with that indefinable call of the deep that all men hear who live long beneath its influence. Here they lived, a big, blond, powerful race, and hunted and fought and sailed, and drank and feasted when their labor was done. Almost the first thing we notice about these big, fearless, childish men is that they love the sea; and because they love it they hear and answer its call:

... No delight has he in the world, Nor in aught save the roll of the billows; but always a longing, A yearning uneasiness, hastens him on to the sea.[22]

As might be expected, this love of the ocean finds expression in all their poetry. In _Beowulf_ alone there are fifteen names for the sea, from the _holm_, that is, the horizon sea, the "upmounding," to the _brim_, which is the ocean flinging its welter of sand and creamy foam upon the beach at your feet. And the figures used to describe or glorify it--"the swan road, the whale path, the heaving battle plain"--are almost as numerous. In all their poetry there is a magnificent sense of lords.h.i.+p over the wild sea even in its hour of tempest and fury:

Often it befalls us, on the ocean's highways, In the boats our boatmen, when the storm is roaring, Leap the billows over, on our stallions of the foam.[23]

THE INNER LIFE. A man's life is more than his work; his dream is ever greater than his achievement; and literature reflects not so much man's deed as the spirit which animates him; not the poor thing that he does, but rather the splendid thing that he ever hopes to do. In no place is this more evident than in the age we are now studying. Those early sea kings were a marvelous mixture of savagery and sentiment, of rough living and of deep feeling, of splendid courage and the deep melancholy of men who know their limitations and have faced the unanswered problem of death. They were not simply fearless freebooters who harried every coast in their war galleys. If that were all, they would have no more history or literature than the Barbary pirates, of whom the same thing could be said. These strong fathers of ours were men of profound emotions. In all their fighting the love of an untarnished glory was uppermost; and under the warrior's savage exterior was hidden a great love of home and homely virtues, and a reverence for the one woman to whom he would presently return in triumph.

So when the wolf hunt was over, or the desperate fight was won, these mighty men would gather in the banquet hall, and lay their weapons aside where the open fire would flash upon them, and there listen to the songs of Scop and Gleeman,--men who could put into adequate words the emotions and aspirations that all men feel but that only a few can ever express:

Music and song where the heroes sat-- The glee-wood rang, a song uprose When Hrothgar's scop gave the hall good cheer.[24]

It is this great and hidden life of the Anglo-Saxons that finds expression in all their literature. Briefly, it is summed up in five great principles,--their love of personal freedom, their responsiveness to nature, their religion, their reverence for womanhood, and their struggle for glory as a ruling motive in every n.o.ble life.

In reading Anglo-Saxon poetry it is well to remember these five principles, for they are like the little springs at the head of a great river,--clear, pure springs of poetry, and out of them the best of our literature has always flowed. Thus when we read,

Blast of the tempest--it aids our oars; Rolling of thunder--it hurts us not; Rush of the hurricane--bending its neck To speed us whither our wills are bent,

we realize that these sea rovers had the spirit of kins.h.i.+p with the mighty life of nature; and kins.h.i.+p with nature invariably expresses itself in poetry. Again, when we read,

Now hath the man O'ercome his troubles. No pleasure does he lack, Nor steeds, nor jewels, nor the joys of mead, Nor any treasure that the earth can give, O royal woman, if he have but thee,[25]

we know we are dealing with an essentially n.o.ble man, not a savage; we are face to face with that profound reverence for womanhood which inspires the greater part of all good poetry, and we begin to honor as well as understand our ancestors. So in the matter of glory or honor; it was, apparently, not the love of fighting, but rather the love of honor resulting from fighting well, which animated our forefathers in every campaign. "He was a man deserving of remembrance" was the highest thing that could be said of a dead warrior; and "He is a man deserving of praise"

was the highest tribute to the living. The whole secret of Beowulf's mighty life is summed up in the last line, "Ever yearning for his people's praise." So every tribe had its scop, or poet, more important than any warrior, who put the deeds of its heroes into the expressive words that const.i.tute literature; and every banquet hall had its gleeman, who sang the scop's poetry in order that the deed and the man might be remembered.

Oriental peoples built monuments to perpetuate the memory of their dead; but our ancestors made poems, which should live and stir men's souls long after monuments of brick and stone had crumbled away. It is to this intense love of glory and the desire to be remembered that we are indebted for Anglo-Saxon literature.