A History of the French Novel. Volume 1. From the Beginning to 1800. Saintsbury George
Babe"), the sensitive ear feels that there is constant danger of a relapse, and at the worst the thing becomes mere doggerel. Yet for about a quarter of a century these overgrown lines held the field in verse and drama alike, and the encouragement of them must be counted as a certain drawback to the benefits which Surrey, Wyatt, and the other contributors of the Miscellany conferred on English literature by their exercises, here and elsewhere, in the blank verse decasyllable, the couplet, the stanza, and, above all, the sonnet.
It remains to say something of the matter as distinguished from the form of this poetry, and for once the form is of hardly superior importance to the matter. It is a question of some interest, though unfortunately one wholly incapable of solution, whether the change in the character of poetical thought and theme which Wyatt and Surrey wrought was accidental, and consequent merely on their choice of models, and especially of Petrarch, or essential and deliberate. If it was accidental, there is no greater accident in the history of literature. The absence of the personal note in mediæval poetry is a commonplace, and nowhere had that absence been more marked than in England. With Wyatt and Surrey English poetry became at a bound the most personal (and in a rather bad but unavoidable word) the most "introspective" in Europe. There had of course been love poetry before, but its convention had been a convention of impersonality. It now became exactly the reverse. The lover sang less his joys than his sorrows, and he tried to express those sorrows and their effect on him in the most personal way he could. Although allegory still retained a strong hold on the national taste, and was yet to receive its greatest poetical expression in The Faërie Queene, it was allegory of quite a different kind from that which in the Roman de la Rose had taken Europe captive, and had since dominated European poetry in all departments, and especially in the department of love-making. "Dangier" and his fellow-phantoms fled before the dawn of the new poetry in England, and the depressing influences of a common form – a conventional stock of images, personages, and almost language – disappeared. No doubt there was conventionality enough in the following of the Petrarchian model, but it was a less stiff and uniform conventionality; it allowed and indeed invited the individual to wear his rue with a difference, and to avail himself at least of the almost infinite diversity of circumstance and feeling which the life of the actual man affords, instead of reducing everything to the moods and forms of an already generalised and allegorised experience. With the new theme to handle and the new forms ready as tools for the handler, with the general ferment of European spirits, it might readily have been supposed that a remarkable out-turn of work would be the certain and immediate result.
The result in fact may have been certain but it was not immediate, being delayed for nearly a quarter of a century; and the next remarkable piece of work done in English poetry after Tottel's Miscellany– a piece of work of greater actual poetical merit than anything in that Miscellany itself – was in the old forms, and showed little if any influence of the new poetical learning. This was the famous Mirror for Magistrates, or rather that part of it contributed by Thomas Sackville, Lord Buckhurst. The Mirror as a whole has bibliographical and prosodic rather than literary interest. It was certainly planned as early as 1555 by way of a supplement to Lydgate's translation of Boccaccio's Fall of Princes. It was at first edited by a certain William Baldwin, and for nearly half a century it received additions and alterations from various respectable hacks of letters; but the "Induction" and the "Complaint of Buckingham" which Sackville furnished to it in 1559, though they were not published till four years later, completely outweigh all the rest in value. To my own fancy the fact that Sackville was (in what proportion is disputed) also author of Gorboduc (see Chapter III.) adds but little to its interest. His contributions to The Mirror for Magistrates contain the best poetry written in the English language between Chaucer and Spenser, and are most certainly the originals or at least the models of some of Spenser's finest work. He has had but faint praise of late years. According to the late Professor Minto, he "affords abundant traces of the influence of Wyatt and Surrey." I do not know what the traces are, and I should say myself that few contemporary or nearly contemporary efforts are more distinct. Dean Church says that we see in him a faint anticipation of Spenser. My estimate of Spenser, as I hope to show, is not below that of any living critic; but considerations of bulk being allowed, and it being fully granted that Sackville had nothing like Spenser's magnificent range, I cannot see any "faintness" in the case. If the "Induction" had not been written it is at least possible that the "Cave of Despair" would never have enriched English poetry.
Thomas Sackville was born at Buckhurst in Sussex, in the year 1536, of a family which was of the most ancient extraction and the most honourable standing. He was educated at Oxford, at the now extinct Hart Hall, whence, according to a practice as common then as it is uncommon now (except in the cases of royal princes and a few persons of difficult and inconstant taste), he moved to Cambridge. Then he entered the Inner Temple, married early, travelled, became noted in literature, was made Lord Buckhurst at the age of thirty-one, was for many years one of Elizabeth's chief councillors and officers, was promoted to the Earldom of Dorset at the accession of James I., and died, it is said, at the Council table on the 19th of April 1608.
We shall deal with Gorboduc hereafter: the two contributions to The Mirror for Magistrates concern us here. And I have little hesitation in saying that no more astonishing contribution to English poetry, when the due reservations of that historical criticism which is the life of all criticism are made, is to be found anywhere. The bulk is not great: twelve or fifteen hundred lines must cover the whole of it. The form is not new, being merely the seven-line stanza already familiar in Chaucer. The arrangement is in no way novel, combining as it does the allegorical presentment of embodied virtues, vices, and qualities with the melancholy narrative common in poets for many years before. But the poetical value of the whole is extraordinary. The two constituents of that value, the formal and the material, are represented with a singular equality of development. There is nothing here of Wyatt's floundering prosody, nothing of the well-intentioned doggerel in which Surrey himself indulges and in which his pupils simply revel. The cadences of the verse are perfect, the imagery fresh and sharp, the presentation of nature singularly original, when it is compared with the battered copies of the poets with whom Sackville must have been most familiar, the followers of Chaucer from Occleve to Hawes. Even the general plan of the poem – the weakest part of nearly all poems of this time – is extraordinarily effective and makes one sincerely sorry that Sackville's taste, or his other occupations, did not permit him to carry out the whole scheme on his own account. The "Induction," in which the author is brought face to face with Sorrow, and the central passages of the "Complaint of Buckingham," have a depth and fulness of poetical sound and sense for which we must look backwards a hundred and fifty years, or forwards nearly five and twenty. Take, for instance, these stanzas: —
"Thence come we to the horror and the hell,
The large great kingdoms, and the dreadful reign
Of Pluto in his throne where he did dwell,
The wide waste places, and the hugy plain,
The wailings, shrieks, and sundry sorts of pain,
The sighs, the sobs, the deep and deadly groan;
Earth, air, and all, resounding plaint and moan.
"Here puled the babes, and here the maids unwed
With folded hands their sorry chance bewailed,
Here wept the guiltless slain, and lovers dead,
That slew themselves when nothing else availed;
A thousand sorts of sorrows here, that wailed
With sighs and tears, sobs, shrieks, and all yfere
That oh, alas! it was a hell to hear.
"Lo here, quoth Sorrow, princes of renown,
That whilom sat on top of fortune's wheel,
Now laid full low; like wretches whirled down,
Ev'n with one frown, that stayed but with a smile;
And now behold the thing that thou, erewhile,
Saw only in thought: and what thou now shalt hear,
Recount the same to kesar, king, and peer."7
It
The precedent descriptions of Sorrow herself, of Misery, and of Old Age, are even finer than the above, which, however, I have preferred for three reasons. First, it has been less often quoted; secondly, its subject is a kind of commonplace, and, therefore, shows the poet's strength of handling; thirdly, because of the singular and characteristic majesty of the opening lines.