From Chaucer to Tennyson. Henry A. Beers

From Chaucer to Tennyson

From Chaucer to Tennyson - Henry A. Beers

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stimulated, perhaps, by the coming into general use of linen paper instead of the more costly parchment. The scriptoria of the monasteries were the places where the transcribing and illuminating of MSS. went on, professional copyists resorting to Westminster Abbey, for example, to make their copies of books belonging to the monastic library. Caxton's choice of a spot was, therefore, significant. His new art for multiplying copies began to supersede the old method of transcription at the very head-quarters of the MS. makers. The first book that bears his Westminster imprint was the Dictes and Sayings of the Philosophers, translated from the French by Anthony Woodville, Lord Rivers, a brother-in-law of Edward IV. The list of books printed by Caxton is interesting, as showing the taste of the time, since he naturally selected what was most in demand. The list shows that manuals of devotion and chivalry were still in chief request, books like the Order of Chivalry, Faits of Arms, and the Golden Legend, which last Caxton translated himself, as well as Reynard the Fox, and a French version of the Aeneid. He also printed, with continuations of his own, revisions of several early chronicles, and editions of Chaucer, Gower, and Lydgate. A translation of Cicero on Friendship, made directly from the Latin, by Thomas Tiptoft, Earl of Worcester, was printed by Caxton, but no edition of a classical author in the original. The new learning of the Renaissance had not, as yet, taken much hold in England. Upon the whole the productions of Caxton's press were mostly of a kind that may be described as mediæval, and the most important of them, if we except his edition of Chaucer, was that "noble and joyous book," as Caxton called it, Le Morte Dartur, written by Sir Thomas Malory in 1469, and printed by Caxton in 1485. This was a compilation from French Arthur romances, and was by far the best English prose that had yet been written. It may be doubted, indeed, whether, for purposes of simple story telling, the picturesque charm of Malory's style has been improved upon. The episode which lends its name to the whole romance, the death of Arthur, is most impressively told, and Tennyson has followed Malory's narrative closely, even to such details of the scene as the little chapel by the sea, the moonlight, and the answer which Sir Bedwere made the wounded king, when bidden to throw Excalibur into the water, "'What saw thou there?' said the king. 'Sir,' he said, 'I saw nothing but the waters wap and the waves wan.'"

      I heard the ripple washing in the reeds

       And the wild water lapping on the crag.

      And very touching and beautiful is the oft-quoted lament of Sir Ector over Launcelot, in Malory's final chapter: "'Ah, Launcelot,' he said, 'thou were head of all Christian knights; and now I dare say,' said Sir Ector, 'thou, Sir Launcelot, there thou liest, that thou were never matched of earthly knight's hand; and thou were the courtiest knight that ever bare shield; and thou were the truest friend to thy lover that ever bestrode horse; and thou were the truest lover of a sinful man that ever loved woman; and thou were the kindest man that ever strake with sword; and thou were the goodliest person that ever came among press of knights; and thou were the meekest man and the gentlest that ever ate in hall among ladies; and thou were the sternest knight to thy mortal foe that ever put spear in the rest.'"

      Equally good, as an example of English prose narrative, was the translation made by John Bourchier, Lord Berners, of that most brilliant of the French chroniclers, Chaucer's contemporary, Sir John Froissart. Lord Berners was the English governor of Calais, and his version of Froissart's Chronicles was made in 1523–1525, at the request of Henry VIII. In these two books English chivalry spoke its last genuine word. In Sir Philip Sidney the character of the knight was merged into that of the modern gentleman. And although tournaments were still held in the reign of Elizabeth, and Spenser cast his Faerie Queene into the form of a chivalry romance, these were but a ceremonial survival and literary tradition from an order of things that had passed away. How antagonistic the new classical culture was to the vanished ideal of the Middle Age may be read in Toxophilus, a treatise on archery published in 1545, by Roger Ascham, a Greek lecturer in Cambridge, and the tutor of the Princess Elizabeth and of Lady Jane Grey: "In our forefathers' time, when papistry as a standing pool covered and overflowed all England, few books were read in our tongue saving certain books of chivalry, as they said, for pastime and pleasure, which, as some say, were made in monasteries by idle monks or wanton canons: as one, for example, Morte Arthure, the whole pleasure of which book standeth in two special points, in open manslaughter and bold bawdry. This is good stuff for wise men to laugh at or honest men to take pleasure at. Yet I know when God's Bible was banished the court, and Morte Arthure received into the prince's chamber."

      The fashionable school of courtly allegory, first introduced into England by the translation of the Romaunt of the Rose, reached its extremity in Stephen Hawes's Passetyme of Pleasure, printed by Caxton's successor, Wynkyn de Worde, in 1517. This was a dreary and pedantic poem, in which it is told how Graunde Amoure, after a long series of adventures and instructions among such shadowy personages as Verite, Observaunce, Falshed, and Good Operacion, finally won the love of La Belle Pucel. Hawes was the last English poet of note whose culture was exclusively mediæval. His contemporary, John Skelton, mingled the old fashions with the new classical learning. In his Bowge of Courte (Court Entertainment or Dole), and in others of his earlier pieces, he used, like Hawes, Chaucer's seven-lined stanza. But his later poems were mostly written in a verse of his own invention, called after him Skeltonical. This was a sort of glorified doggerel, in short, swift, ragged lines, with occasional intermixture of French and Latin.

      Her beautye to augment.

       Dame Nature hath her lent

       A warte upon her cheke,

       Who so lyst to seke

       In her vyságe a skar

       That semyth from afar

       Lyke to the radiant star,

       All with favour fret,

       So properly it is set.

       She is the vyolet,

       The daysy delectáble,

       The columbine commendáble,

      Skelton was a rude railing rhymer, a singular mixture of a true and original poet with a buffoon; coarse as Rabelais, whimsical, obscure, but always vivacious. He was the rector of Diss, in Norfolk, but his profane and scurrilous wit seems rather out of keeping with his clerical character. His Tunnyng of Elynoure Rummyng is a study of very low life, reminding one slightly of Burns's Jolly Beggars. His Phyllyp Sparrowe is a sportive, pretty, fantastic elegy on the death of a pet bird belonging to Mistress Joanna Scroupe, of Carowe, and has been compared to the Latin poet Catullus's elegy on Lesbia's sparrow. In Spake, Parrot, and Why Come ye not to Courte? he assailed the powerful Cardinal Wolsey with the most ferocious satire, and was, in consequence, obliged to take sanctuary at Westminster, where he died in 1529. Skelton was a classical scholar, and at one time tutor to Henry VIII. The great humanist, Erasmus, spoke of him as the "one light and ornament of British letters." Caxton asserts that he had read Vergil, Ovid, and Tully, and quaintly adds, "I suppose he hath dronken of Elycon's well."

      In refreshing contrast with the artificial court poetry of the 15th and first three quarters of the 16th century, was the folk poetry, the popular ballad literature which was handed down by oral tradition. The English and Scotch ballads were narrative songs, written in a variety of meters, but chiefly in what is known as the ballad stanza.

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