Sir Gawain and the Green Knight: With Pearl and Sir Orfeo. Джон Руэл Толкиен
disparity in age makes the assumption of this relationship far less probable. The depth of sorrow portrayed for a child so young belongs rather to parenthood. And there seems to be a special significance in the situation where the doctrinal lesson given by the celestial maiden comes from one of no earthly wisdom to her proper teacher and instructor in the natural order.
A modern reader may be ready to accept the personal basis of the poem, and yet may feel that there is no need to assume any immediate or particular foundation in autobiography. It is admittedly not necessary for the vision, which is plainly presented in literary or scriptural terms; the bereavement and the sorrow may also be imaginative fictions, adopted precisely because they heighten the interest of the theological discussion between the maiden and the dreamer.
This raises a difficult and important question for general literary history: whether the purely fictitious ‘I’ had yet appeared in the fourteenth century, a first person feigned as narrator who had no existence outside the imagination of the real author. Probably not; at least not in the kind of literature that we are here dealing with: visions related by a dreamer. The fictitious traveller had already appeared in ‘Sir John Mandeville’, the writer of whose ‘voyages’ seems not to have borne that name, nor indeed, according to modern critics, ever to have journeyed far beyond his study; and it is difficult to decide whether this is a case of fraud intended to deceive (as it certainly did), or an example of prose fiction (in the literary sense) still wearing the guise of truth according to contemporary convention.
This convention was strong, and not so ‘conventional’ as it may appear to modern readers. Although by those of literary experience it might, of course, be used as nothing more than a device to secure literary credibility (as often by Chaucer), it represented a deep-rooted habit of mind, and was strongly associated with the moral and didactic spirit of the times. Tales of the past required their grave authorities, and tales of new things at least an eyewitness, the author. This was one of the reasons for the popularity of visions: they allowed marvels to be placed within the real world, linking them with a person, a place, a time, while providing them with an explanation in the phantasies of sleep, and a defence against critics in the notorious deception of dreams. So even explicit allegory was usually presented as a thing seen in sleep. How far any such narrated vision, of the more serious kind, was supposed to resemble an actual dream experience is another question. A modern poet would indeed be very unlikely to put forward for factual acceptance a dream that in any way resembled the vision of Pearl, even when all allowance is made for the arrangement and formalizing of conscious art. But we are dealing with a period when men, aware of the vagaries of dreams, still thought that amid their japes came visions of truth. And their waking imagination was strongly moved by symbols and the figures of allegory, and filled vividly with the pictures evoked by the scriptures, directly or through the wealth of medieval art. And they thought that on occasion, as God willed, to some that slept blessed faces appeared and prophetic voices spoke. To them it might not seem so incredible that the dream of a poet, one wounded with a great bereavement and troubled in spirit, might resemble the vision in Pearl.1 However that may be, the narrated vision in the more serious medieval writing represented, if not an actual dream at least a real process of thought culminating in some resolution or turning-point of the interior life – as with Dante, and in Pearl. And in all forms, lighter or more grave, the ‘I’ of the dreamer remained the eyewitness, the author, and facts that he referred to outside the dream (especially those concerning himself) were on a different plane, meant to be taken as literally true, and even by modern critics so taken. In the Divina Commedia the Nel mezzo del cammin di nostra vita of the opening line, or la decenne sete of Purgatorio xxxii, are held to refer to real dates and events, the thirty-fifth year of Dante’s life in 1300, and the death of Beatrice Portinari in 1290. Similarly the references to Malvern in the Prologue and Passus VII of Piers Plowman, and the numerous allusions to London, are taken as facts in someone’s life, whoever the critic may favour as the author (or authors) of the poem.
It is true that the ‘dreamer’ may become a shadowy figure of small biographical substance. There is little left of the actual Chaucer in the ‘I’ who is the narrator in The Boke of the Duchesse. Few will debate how much autobiography there is in the bout of insomnia that is made the occasion of the poem. Yet this fictitious and conventional vision is founded on a real event: the death of Blanche, the wife of John of Gaunt, in 1369. That was her real name, White (as she is called in the poem). However heightened the picture may be that is drawn of her loveliness and goodness, her sudden death was a lamentable event. Certainly it can have touched Chaucer far less deeply than the death of one ‘nearer than aunt or niece’; but even so, it is this living drop of reality, this echo of sudden death and loss in the world, that gives to Chaucer’s early poem a tone and feeling that raises it above the literary devices out of which he made it. So with the much greater poem Pearl, it is overwhelmingly more probable that it too was founded on a real sorrow, and drew its sweetness from a real bitterness.
And yet to the particular criticism of the poem decision on this point is not of the first importance. A feigned elegy remains an elegy; and feigned or unfeigned, it must stand or fall by its art. The reality of the bereavement will not save the poetry if it is bad, nor lend it any interest save to those who are in fact interested, not in poetry, but in documents, whose hunger is for history or biography or even for mere names. It is on general grounds, and considering its period in particular, that a ‘real’ or directly autobiographical basis for Pearl seems likely, since that is the most probable explanation of its form and its poetic quality. And for this argument the discovery of biographical details would have little importance. Of all that has been done in this line the only suggestion of value was made by Sir Israel Gollancz:1 that the child may have been actually called a pearl by baptismal name, Margarita in Latin, Margery in English. It was a common name at the time, because of the love of pearls and their symbolism, and it had already been borne by several saints. If the child was really baptized a pearl, then the many pearls threaded on the strands of the poem in multiple significance receive yet another lustre. It is on such accidents of life that poetry crystallizes:
And goode faire White she het;
That was my lady name ryght.
She was bothe fair and bryght;
She hadde not hir name wrong.
(Boke of the Duchesse, 948–51).
‘O perle’, quod I, ‘in perle
It has been objected that the child as seen in Heaven is not like an infant of two in appearance, speech, or manners: she addresses her father formally as sir, and shows no filial affection for him. But this is an apparition of a spirit, a soul not yet reunited with its body after the resurrection, so that theories relevant to the form and age of the glorified and risen body do not concern us. And as an immortal spirit, the maiden’s relations to the earthly man, the father of her body, are altered. She does not deny his fatherhood, and when she addresses him as sir she only uses the form of address that was customary for medieval children. Her part is in fact truly imagined. The sympathy of readers may now go out more readily to the bereaved father than to the daughter, and they may feel that he is treated with some hardness. But it is the hardness of truth. In the manner of the maiden is portrayed the effect upon a clear intelligence of the persistent earthliness of the father’s mind; all is revealed to him, and he has eyes, yet he cannot see. The maiden is now filled with the spirit of celestial charity, desiring only his eternal good and the cure of his blindness. It is not her part to soften him with pity, or to indulge in childish joy at their reunion. The final consolation of the father was not to be found in the recovery of a beloved daughter, as if death had not after all occurred or had no significance, but in the knowledge that she was redeemed and saved and had become a queen in Heaven. Only by resignation to the will of God, and through death, could he rejoin her.
And this is the main purpose of the poem as distinct from its genesis or literary form: the doctrinal theme, in the form of an argument on salvation, by