English Literature Part 3

OUR FIRST SPEECH. Our first recorded speech begins with the songs of Widsith and Deor, which the Anglo-Saxons may have brought with them when they first conquered Britain. At first glance these songs in their native dress look strange as a foreign tongue; but when we examine them carefully we find many words that have been familiar since childhood. We have seen this in _Beowulf_; but in prose the resemblance of this old speech to our own is even more striking. Here, for instance, is a fragment of the simple story of the conquest of Britain by our Anglo-Saxon ancestors:

Her Hengest and aesc his sunu gefuhton with Bryttas, on thaere stowe the is gecweden Creccanford, and thaer ofslogon feower thusenda wera.

And tha Bryttas tha forleton Cent-lond, and mid myclum ege flugon to Lundenbyrig. (At this time Hengest and Aesc, his son, fought against the Britons at the place which is called Crayford and there slew four thousand men. And then the Britons forsook Kentland, and with much fear fled to London town.)[26]

The reader who utters these words aloud a few times will speedily recognize his own tongue, not simply in the words but also in the whole structure of the sentences.

From such records we see that our speech is Teutonic in its origin; and when we examine any Teutonic language we learn that it is only a branch of the great Aryan or Indo-European family of languages. In life and language, therefore, we are related first to the Teutonic races, and through them to all the nations of this Indo-European family, which, starting with enormous vigor from their original home (probably in central Europe)[27] spread southward and westward, driving out the native tribes and slowly developing the mighty civilizations of India, Persia, Greece, Rome, and the wilder but more vigorous life of the Celts and Teutons. In all these languages--Sanskrit, Iranian, Greek, Latin, Celtic, Teutonic--we recognize the same root words for father and mother, for G.o.d and man, for the common needs and the common relations of life; and since words are windows through which we see the soul of this old people, we find certain ideals of love, home, faith, heroism, liberty, which seem to have been the very life of our forefathers, and which were inherited by them from their old heroic and conquering ancestors. It was on the borders of the North Sea that our fathers halted for unnumbered centuries on their westward journey, and slowly developed the national life and language which we now call Anglo- Saxon.

It is this old vigorous Anglo-Saxon language which forms the basis of our modern English. If we read a paragraph from any good English book, and then a.n.a.lyze it, as we would a flower, to see what it contains, we find two distinct cla.s.ses of words. The first cla.s.s, containing simple words expressing the common things of life, makes up the strong framework of our language. These words are like the stem and bare branches of a mighty oak, and if we look them up in the dictionary we find that almost invariably they come to us from our Anglo-Saxon ancestors. The second and larger cla.s.s of words is made up of those that give grace, variety, ornament, to our speech. They are like the leaves and blossoms of the same tree, and when we examine their history we find that they come to us from the Celts, Romans, Normans, and other peoples with whom we have been in contact in the long years of our development. The most prominent characteristic of our present language, therefore, is its dual character. Its best qualities--strength, simplicity, directness--come from Anglo-Saxon sources; its enormous added wealth of expression, its comprehensiveness, its plastic adaptability to new conditions and ideas, are largely the result of additions from other languages, and especially of its gradual absorption of the French language after the Norman Conquest. It is this dual character, this combination of native and foreign, of innate and exotic elements, which accounts for the wealth of our English language and literature. To see it in concrete form, we should read in succession _Beowulf_ and _Paradise Lost_, the two great epics which show the root and the flower of our literary development.

III. CHRISTIAN WRITERS OF THE ANGLO-SAXON PERIOD

The literature of this period falls naturally into two divisions,--pagan and Christian. The former represents the poetry which the Anglo-Saxons probably brought with them in the form of oral sagas,--the crude material out of which literature was slowly developed on English soil; the latter represents the writings developed under teaching of the monks, after the old pagan religion had vanished, but while it still retained its hold on the life and language of the people. In reading our earliest poetry it is well to remember that all of it was copied by the monks, and seems to have been more or less altered to give it a religious coloring.

The coming of Christianity meant not simply a new life and leader for England; it meant also the wealth of a new language. The scop is now replaced by the literary monk; and that monk, though he lives among common people and speaks with the English tongue, has behind him all the culture and literary resources of the Latin language. The effect is seen instantly in our early prose and poetry.

NORTHUMBRIAN LITERATURE. In general, two great schools of Christian influence came into England, and speedily put an end to the frightful wars that had waged continually among the various petty kingdoms of the Anglo-Saxons. The first of these, under the leaders.h.i.+p of Augustine, came from Rome. It spread in the south and center of England, especially in the kingdom of Ess.e.x. It founded schools and partially educated the rough people, but it produced no lasting literature. The other, under the leaders.h.i.+p of the saintly Aidan, came from Ireland, which country had been for centuries a center of religion and education for all western Europe.

The monks of this school labored chiefly in Northumbria, and to their influence we owe all that is best in Anglo-Saxon literature. It is called the Northumbrian School; its center was the monasteries and abbeys, such as Jarrow and Whitby, and its three greatest names are Bede, Caedmon, and Cynewulf.

BEDE (673-735)

The Venerable Bede, as he is generally called, our first great scholar and "the father of our English learning," wrote almost exclusively in Latin, his last work, the translation of the Gospel of John into Anglo-Saxon, having been unfortunately lost. Much to our regret, therefore, his books and the story of his gentle, heroic life must be excluded from this history of our literature. His works, over forty in number, covered the whole field of human knowledge in his day, and were so admirably written that they were widely copied as text-books, or rather ma.n.u.scripts, in nearly all the monastery schools of Europe.

The work most important to us is the _Ecclesiastical History of the English People_. It is a fascinating history to read even now, with its curious combination of accurate scholars.h.i.+p and immense credulity. In all strictly historical matters Bede is a model. Every known authority on the subject, from Pliny to Gildas, was carefully considered; every learned pilgrim to Rome was commissioned by Bede to ransack the archives and to make copies of papal decrees and royal letters; and to these were added the testimony of abbots who could speak from personal knowledge of events or repeat the traditions of their several monasteries.

Side by side with this historical exactness are marvelous stories of saints and missionaries. It was an age of credulity, and miracles were in men's minds continually. The men of whom he wrote lived lives more wonderful than any romance, and their courage and gentleness made a tremendous impression on the rough, warlike people to whom they came with open hands and hearts.

It is the natural way of all primitive peoples to magnify the works of their heroes, and so deeds of heroism and kindness, which were part of the daily life of the Irish missionaries, were soon transformed into the miracles of the saints. Bede believed these things, as all other men did, and records them with charming simplicity, just as he received them from bishop or abbot. Notwithstanding its errors, we owe to this work nearly all our knowledge of the eight centuries of our history following the landing of Caesar in Britain.

CaeDMON (Seventh Century)

Now must we hymn the Master of heaven, The might of the Maker, the deeds of the Father, The thought of His heart. He, Lord everlasting, Established of old the source of all wonders: Creator all-holy, He hung the bright heaven, A roof high upreared, o'er the children of men; The King of mankind then created for mortals The world in its beauty, the earth spread beneath them, He, Lord everlasting, omnipotent G.o.d.[28]

If _Beowulf_ and the fragments of our earliest poetry were brought into England, then the hymn given above is the first verse of all native English song that has come down to us, and Caedmon is the first poet to whom we can give a definite name and date. The words were written about 665 A.D. and are found copied at the end of a ma.n.u.script of Bede's _Ecclesiastical History_.

LIFE OF CaeDMON. What little we know of Caedmon, the Anglo-Saxon Milton, as he is properly called, is taken from Bede's account[29] of the Abbess Hilda and of her monastery at Whitby. Here is a free and condensed translation of Bede's story:

There was, in the monastery of the Abbess Hilda, a brother distinguished by the grace of G.o.d, for that he could make poems treating of goodness and religion. Whatever was translated to him (for he could not read) of Sacred Scripture he shortly reproduced in poetic form of great sweetness and beauty. None of all the English poets could equal him, for he learned not the art of song from men, nor sang by the arts of men. Rather did he receive all his poetry as a free gift from G.o.d, and for this reason he did never compose poetry of a vain or worldly kind.

Until of mature age he lived as a layman and had never learned any poetry.

Indeed, so ignorant of singing was he that sometimes, at a feast, where it was the custom that for the pleasure of all each guest should sing in turn, he would rise from the table when he saw the harp coming to him and go home ashamed. Now it happened once that he did this thing at a certain festivity, and went out to the stall to care for the horses, this duty being a.s.signed to him for that night. As he slept at the usual time, one stood by him saying: "Caedmon, sing me something." "I cannot sing," he answered, "and that is why I came hither from the feast." But he who spake unto him said again, "Caedmon, sing to me." And he said, "What shall I sing?" and he said, "Sing the beginning of created things." Thereupon Caedmon began to sing verses that he had never heard before, of this import: "Now should we praise the power and wisdom of the Creator, the works of the Father." This is the sense but not the form of the hymn that he sang while sleeping.

When he awakened, Caedmon remembered the words of the hymn and added to them many more. In the morning he went to the steward of the monastery lands and showed him the gift he had received in sleep. The steward brought him to Hilda, who made him repeat to the monks the hymn he had composed, and all agreed that the grace of G.o.d was upon Caedmon. To test him they expounded to him a bit of Scripture from the Latin and bade him, if he could, to turn it into poetry. He went away humbly and returned in the morning with an excellent poem. Thereupon Hilda received him and his family into the monastery, made him one of the brethren, and commanded that the whole course of Bible history be expounded to him. He in turn, reflecting upon what he had heard, transformed it into most delightful poetry, and by echoing it back to the monks in more melodious sounds made his teachers his listeners. In all this his aim was to turn men from wickedness and to help them to the love and practice of well doing.

[Then follows a brief record of Caedmon's life and an exquisite picture of his death amidst the brethren.] And so it came to pa.s.s [says the simple record] that as he served G.o.d while living in purity of mind and serenity of spirit, so by a peaceful death he left the world and went to look upon His face.

CaeDMON'S WORKS. The greatest work attributed to Caedmon is the so-called _Paraphrase_. It is the story of Genesis, Exodus, and a part of Daniel, told in glowing, poetic language, with a power of insight and imagination which often raises it from paraphrase into the realm of true poetry. Though we have Bede's a.s.surance that Caedmon "transformed the whole course of Bible history into most delightful poetry," no work known certainly to have been composed by him has come down to us. In the seventeenth century this Anglo-Saxon _Paraphrase_ was discovered and attributed to Caedmon, and his name is still a.s.sociated with it, though it is now almost certain that the _Paraphrase_ is the work of more than one writer.

Aside from the doubtful question of authors.h.i.+p, even a casual reading of the poem brings us into the presence of a poet rude indeed, but with a genius strongly suggestive at times of the matchless Milton. The book opens with a hymn of praise, and then tells of the fall of Satan and his rebel angels from heaven, which is familiar to us in Milton's _Paradise Lost_.

Then follows the creation of the world, and the _Paraphrase_ begins to thrill with the old Anglo-Saxon love of nature.

Here first the Eternal Father, guard of all, Of heaven and earth, raised up the firmament, The Almighty Lord set firm by His strong power This roomy land; gra.s.s greened not yet the plain, Ocean far spread hid the wan ways in gloom.

Then was the Spirit gloriously bright Of Heaven's Keeper borne over the deep Swiftly. The Life-giver, the Angel's Lord, Over the ample ground bade come forth Light.

Quickly the High King's bidding was obeyed, Over the waste there shone light's holy ray.

Then parted He, Lord of triumphant might, Shadow from s.h.i.+ning, darkness from the light.

Light, by the Word of G.o.d, was first named day.[30]

After recounting the story of Paradise, the Fall, and the Deluge, the _Paraphrase_ is continued in the Exodus, of which the poet makes a n.o.ble epic, rus.h.i.+ng on with the sweep of a Saxon army to battle. A single selection is given here to show how the poet adapted the story to his hearers:

Then they saw, Forth and forward faring, Pharaoh's war array Gliding on, a grove of spears;--glittering the hosts!

Fluttered there the banners, there the folk the march trod.

Onwards surged the war, strode the spears along, Blickered the broad s.h.i.+elds; blew aloud the trumpets....

Wheeling round in gyres, yelled the fowls of war, Of the battle greedy; hoa.r.s.ely barked the raven, Dew upon his feathers, o'er the fallen corpses-- Swart that chooser of the slain! Sang aloud the wolves At eve their horrid song, hoping for the carrion.[31]

Besides the _Paraphrase_ we have a few fragments of the same general character which are attributed to the school of Caedmon. The longest of these is _Judith_, in which the story of an apocryphal book of the Old Testament is done into vigorous poetry. Holofernes is represented as a savage and cruel Viking, reveling in his mead hall; and when the heroic Judith cuts off his head with his own sword and throws it down before the warriors of her people, rousing them to battle and victory, we reach perhaps the most dramatic and brilliant point of Anglo-Saxon literature.

CYNEWULF (Eighth Century)

Of Cynewulf, greatest of the Anglo-Saxon poets, excepting only the unknown author of _Beowulf_, we know very little. Indeed, it was not till 1840, more than a thousand years after his death, that even his name became known. Though he is the only one of our early poets who signed his works, the name was never plainly written, but woven into the verses in the form of secret runes,[32] suggesting a modern charade, but more difficult of interpretation until one has found the key to the poet's signature.

WORKS OF CYNEWULF. The only signed poems of Cynewulf are _The Christ, Juliana, The Fates of the Apostles_, and _Elene_. Unsigned poems attributed to him or his school are _Andreas_, the _Phoenix_, the _Dream of the Rood_, the _Descent into h.e.l.l_, _Guthlac_, the _Wanderer_, and some of the Riddles. The last are simply literary conundrums in which some well-known object, like the bow or drinking horn, is described in poetic language, and the hearer must guess the name. Some of them, like "The Swan"[33] and "The Storm Spirit," are unusually beautiful.

Of all these works the most characteristic is undoubtedly _The Christ_, a didactic poem in three parts: the first celebrating the Nativity; the second, the Ascension; and the third, "Doomsday," telling the torments of the wicked and the unending joy of the redeemed. Cynewulf takes his subject-matter partly from the Church liturgy, but more largely from the homilies of Gregory the Great. The whole is well woven together, and contains some hymns of great beauty and many pa.s.sages of intense dramatic force. Throughout the poem a deep love for Christ and a reverence for the Virgin Mary are manifest. More than any other poem in any language, _The Christ_ reflects the spirit of early Latin Christianity.

Here is a fragment comparing life to a sea voyage,--a comparison which occurs sooner or later to every thoughtful person, and which finds perfect expression in Tennyson's "Crossing the Bar."

Now 'tis most like as if we fare in s.h.i.+ps On the ocean flood, over the water cold, Driving our vessels through the s.p.a.cious seas With horses of the deep. A perilous way is this Of boundless waves, and there are stormy seas On which we toss here in this (reeling) world O'er the deep paths. Ours was a sorry plight Until at last we sailed unto the land, Over the troubled main. Help came to us That brought us to the haven of salvation, G.o.d's Spirit-Son, and granted grace to us That we might know e'en from the vessel's deck Where we must bind with anchorage secure Our ocean steeds, old stallions of the waves.

In the two epic poems of _Andreas_ and _Elene_ Cynewulf (if he be the author) reaches the very summit of his poetical art. _Andreas_, an unsigned poem, records the story of St. Andrew, who crosses the sea to rescue his comrade St. Matthew from the cannibals. A young s.h.i.+p-master who sails the boat turns out to be Christ in disguise, Matthew is set free, and the savages are converted by a miracle.[34] It is a spirited poem, full of rush and incident, and the descriptions of the sea are the best in Anglo-Saxon poetry.

_Elene_ has for its subject-matter the finding of the true cross. It tells of Constantine's vision of the Rood, on the eve of battle. After his victory under the new emblem he sends his mother Helena (Elene) to Jerusalem in search of the original cross and the nails. The poem, which is of very uneven quality, might properly be put at the end of Cynewulf's works. He adds to the poem a personal note, signing his name in runes; and, if we accept the wonderful "Vision of the Rood" as Cynewulf's work, we learn how he found the cross at last in his own heart. There is a suggestion here of the future Sir Launfal and the search for the Holy Grail.

DECLINE OF NORTHUMBRIAN LITERATURE. The same northern energy which had built up learning and literature so rapidly in Northumbria was instrumental in pulling it down again. Toward the end of the century in which Cynewulf lived, the Danes swept down on the English coasts and overwhelmed Northumbria. Monasteries and schools were destroyed; scholars and teachers alike were put to the sword, and libraries that had been gathered leaf by leaf with the toil of centuries were scattered to the four winds. So all true Northumbrian literature perished, with the exception of a few fragments, and that which we now possess[35] is largely a translation in the dialect of the West Saxons. This translation was made by Alfred's scholars, after he had driven back the Danes in an effort to preserve the ideals and the civilization that had been so hardly won. With the conquest of Northumbria ends the poetic period of Anglo-Saxon literature. With Alfred the Great of Wess.e.x our prose literature makes a beginning.

ALFRED (848-901)

"Every craft and every power soon grows old and is pa.s.sed over and forgotten, if it be without wisdom.... This is now to be said, that whilst I live I wish to live n.o.bly, and after life to leave to the men who come after me a memory of good works."[36]

So wrote the great Alfred, looking back over his heroic life. That he lived n.o.bly none can doubt who reads the history of the greatest of Anglo-Saxon kings; and his good works include, among others, the education of half a country, the salvage of a n.o.ble native literature, and the creation of the first English prose.

LIFE AND TIMES OF ALFRED. For the history of Alfred's times, and details of the terrific struggle with the Northmen, the reader must be referred to the histories. The struggle ended with the Treaty of Wedmore, in 878, with the establishment of Alfred not only as king of Wess.e.x, but as overlord of the whole northern country. Then the hero laid down his sword, and set himself as a little child to learn to read and write Latin, so that he might lead his people in peace as he had led them in war. It is then that Alfred began to be the heroic figure in literature that he had formerly been in the wars against the Northmen.

With the same patience and heroism that had marked the long struggle for freedom, Alfred set himself to the task of educating his people. First he gave them laws, beginning with the Ten Commandments and ending with the Golden Rule, and then established courts where laws could be faithfully administered. Safe from the Danes by land, he created a navy, almost the first of the English fleets, to drive them from the coast. Then, with peace and justice established within his borders, he sent to Europe for scholars and teachers, and set them over schools that he established. Hitherto all education had been in Latin; now he set himself the task, first, of teaching every free-born Englishman to read and write his own language, and second, of translating into English the best books for their instruction.

Every poor scholar was honored at his court and was speedily set to work at teaching or translating; every wanderer bringing a book or a leaf of ma.n.u.script from the pillaged monasteries of Northumbria was sure of his reward. In this way the few fragments of native Northumbrian literature, which we have been studying, were saved to the world. Alfred and his scholars treasured the rare fragments and copied them in the West-Saxon dialect. With the exception of Caedmon's Hymn, we have hardly a single leaf from the great literature of Northumbria in the dialect in which it was first written.

WORKS OF ALFRED. Aside from his educational work, Alfred is known chiefly as a translator. After fighting his country's battles, and at a time when most men were content with military honor, he began to learn Latin, that he might translate the works that would be most helpful to his people. His important translations are four in number: Orosius's _Universal History and Geography_, the leading work in general history for several centuries; Bede's _History_,[37] the first great historical work written on English soil; Pope Gregory's _Shepherds' Book_, intended especially for the clergy; and Boethius's _Consolations of Philosophy_, the favorite philosophical work of the Middle Ages.