Produced by Kevin Handy, Dave Maddock and PG Distributed Proofreaders ENGLISH LITERATURE ITS HISTORY AND ITS SIGNIFICANCE FOR THE LIFE OF THE ENGLISH-SPEAKING WORLD A TEXT-BOOK FOR SCHOOLS BY WILLIAM J. LONG, PH.D. (Heidelberg) * * * * * TO MY FRIEND C H T IN GRATITUDE FOR HIS CONTINUED HELP IN THE PREPARATION OF THIS BOOK * * * * * PREFACE This book, which presents the whole splendid history of English literature from Anglo-Saxon times to the close of the Victorian Era, has three specific aims. The first is to create or to encourage in every student the desire to read the best books, and to know literature itself rather than what has been written about literature. The second is to interpret literature both personally and historically, that is, to show how a great book generally reflects not only the author's life and thought but also the spirit of the age and the ideals of the nation's history. The third aim is to show, by a study of each successive period, how our literature has steadily developed from its first simple songs and stories to its present complexity in prose and poetry. To carry out these aims we have introduced the following features: (1) A brief, accurate summary of historical events and social conditions in each period, and a consideration of the ideals which stirred the whole nation, as in the days of Elizabeth, before they found expression in literature. (2) A study of the various literary epochs in turn, showing what each gained from the epoch preceding, and how each aided in the development of a national literature. (3) A readable biography of every important writer, showing how he lived and worked, how he met success or failure, how he influenced his age, and how his age influenced him. (4) A study and analysis of every author's best works, and of many of the books required for college-entrance examinations. (5) Selections enough--especially from earlier writers, and from writers not likely to be found in the home or school library--to indicate the spirit of each author's work; and directions as to the best works to read, and where such works may be found in inexpensive editions. (6) A frank, untechnical discussion of each great writer's work as a whole, and a critical estimate of his relative place and influence in our literature. (7) A series of helps to students and teachers at the end of each chapter, including summaries, selections for reading, bibliographies, a list of suggestive questions, and a chronological table of important events in the history and literature of each period. (8) Throughout this book we have remembered Roger Ascham's suggestion, made over three centuries ago and still pertinent, that "'tis a poor way to make a child love study by beginning with the things which he naturally dislikes." We have laid emphasis upon the delights of literature; we have treated books not as mere instruments of research--which is the danger in most of our studies--but rather as instruments of enjoyment and of inspiration; and by making our study as attractive as possible we have sought to encourage the student to read widely for himself, to choose the best books, and to form his own judgment about what our first Anglo-Saxon writers called "the things worthy to be remembered." To those who may use this book in their homes or in their class rooms, the writer ventures to offer one or two friendly suggestions out of his own experience as a teacher of young people. First, the amount of space here given to different periods and authors is not an index of the relative amount of time to be spent upon the different subjects. Thus, to tell the story of Spenser's life and ideals requires as much space as to tell the story of Tennyson; but the average class will spend its time more pleasantly and profitably with the latter poet than with the former. Second, many authors who are and ought to be included in this history need not be studied in the class room. A text-book is not a catechism but a storehouse, in which one finds what he wants, and some good things beside. Few classes will find time to study Blake or Newman, for instance; but in nearly every class there will be found one or two students who are attracted by the mysticism of Blake or by the profound spirituality of Newman. Such students should be encouraged to follow their own spirits, and to share with their classmates the joy of their discoveries. And they should find in their text-book the material for their own study and reading. A third suggestion relates to the method of teaching literature; and here it might be well to consider the word of a great poet,--that if you would know where the ripest cherries are, ask the boys and the blackbirds. It is surprising how much a young person will get out of the _Merchant of Venice_, and somehow arrive at Shakespeare's opinion of Shylock and Portia, if we do not bother him too much with notes and critical directions as to what he ought to seek and find. Turn a child and a donkey loose in the same field, and the child heads straight for the beautiful spots where brooks are running and birds singing, while the donkey turns as naturally to weeds and thistles. In our study of literature we have perhaps too much sympathy with the latter, and we even insist that the child come back from his own quest of the ideal to join us in our critical companionship. In reading many text-books of late, and in visiting many class rooms, the writer has received the impression that we lay too much stress on second-hand criticism, passed down from book to book; and we set our pupils to searching for figures of speech and elements of style, as if the great books of the world were subject to chemical analysis. This seems to be a mistake, for two reasons: first, the average young person has no natural interest in such matters; and second, he is unable to appreciate them. He feels unconsciously with Chaucer: And as for me, though that my wit be lytë, On bookës for to rede I me delytë. Indeed, many mature persons (including the writer of this history) are often unable to explain at first the charm or the style of an author who pleases them; and the more profound the impression made by a book, the more difficult it is to give expression to our thought and feeling. To read and enjoy good books is with us, as with Chaucer, the main thing; to analyze the author's style or explain our own enjoyment seems of secondary and small importance. However that may be, we state frankly our own conviction that the detailed study and analysis of a few standard works--which is the only literary pabulum given to many young people in our schools--bears the same relation to true literature that theology bears to religion, or psychology to friendship. One is a more or less unwelcome mental discipline; the other is the joy of life. The writer ventures to suggest, therefore, that, since literature is our subject, we begin and end with good books; and that we stand aside while the great writers speak their own message to our pupils. In studying each successive period, let the student begin by reading the best that the age produced; let him feel in his own way the power and mystery of _Beowulf_, the broad charity of Shakespeare, the sublimity of Milton, the romantic enthusiasm of Scott; and then, when his own taste is pleased and satisfied, a new one will arise,--to know something about the author, the times in which he lived, and finally of criticism, which, in its simplicity, is the discovery that the men and women of other ages were very much like ourselves, loving as we love, bearing the same burdens, and following the same ideals: Lo, with the ancient Roots of man's nature Twines the eternal Passion of song. Ever Love fans it; Ever Life feeds it; Time cannot age it; Death cannot slay. To answer the questions which arise naturally between teacher and pupil concerning the books that they read, is one object of this volume. It aims not simply to instruct but also to inspire; to trace the historical development of English literature, and at the same time to allure its readers to the best books and the best writers. And from beginning to end it is written upon the assumption that the first virtue of such a work is to be accurate, and the second to be interesting. The author acknowledges, with gratitude and appreciation, his indebtedness to Professor William Lyon Phelps for the use of his literary map of England, and to the keen critics, teachers of literature and history, who have read the proofs of this book, and have improved it by their good suggestions. WILLIAM J. LONG STAMFORD, CONNECTICUT * * * * * CONTENTS CHAPTER I. INTRODUCTION--THE MEANING OF LITERATURE The Shell and the Book. Qualities of Literature. Tests of Literature. The Object in studying Literature. Importance of Literature. Summary of the Subject. Bibliography. CHAPTER II. THE ANGLO-SAXON OR OLD-ENGLISH PERIOD Our First Poetry. "Beowulf." "Widsith." "Deor's Lament." "The Seafarer." "The Fight at Finnsburgh." "Waldere." Anglo-Saxon Life. Our First Speech. Christian Writers. Northumbrian Literature. Bede. Cædmon. Cynewulf. Decline of Northumbrian Literature. Alfred. Summary. Bibliography. Questions. Chronology. CHAPTER III. THE ANGLO-NORMAN PERIOD The Normans. The Conquest. Literary Ideals of the Normans. Geoffrey of Monmouth. Work of the French Writers. Layamon's "Brut." Metrical Romances. The Pearl. Miscellaneous Literature of the Norman Period. Summary. Bibliography. Questions. Chronology. CHAPTER IV. THE AGE OF CHAUCER History of the Period. Five Writers of the Age. Chaucer. Langland. "Piers Plowman." John Wyclif. John Mandeville. Summary. Bibliography. Questions. Chronology. CHAPTER V. THE REVIVAL OF LEARNING Political Changes. Literature of the Revival. Wyatt and Surrey. Malory's "Morte d'Arthur." Summary. Bibliography. Questions. Chronology. CHAPTER VI. THE AGE OF ELIZABETH Political Summary. Characteristics of the Elizabethan Age. The Non-Dramatic Poets. Edmund Spenser. Minor Poets. Thomas Sackville. Philip Sidney. George Chapman. Michael Drayton. The Origin of the Drama. The Religious Period of the Drama. Miracle and Mystery Plays. The Moral Period of the Drama. The Interludes. The Artistic Period of the Drama. Classical Influence upon the Drama. Shakespeare's Predecessors in the Drama. Christopher Marlowe. Shakespeare. Decline of the Drama. Shakespeare's Contemporaries and Successors. Ben Jonson. Beaumont and Fletcher. John Webster. Thomas Middleton. Thomas Heywood. Thomas Dekker. Massinger, Ford, Shirley. Prose Writers. Francis Bacon. Richard Hooker. Sidney and Raleigh. John Foxe. Camden and Knox. Hakluyt and Purchas. Thomas North. Summary. Bibliography. Questions. Chronology. CHAPTER VII. THE PURITAN AGE The Puritan Movement. Changing Ideals. Literary Characteristics. The Transition Poets. Samuel Daniel. The Song Writers. The Spenserian Poets. The Metaphysical Poets. John Donne. George Herbert. The Cavalier Poets. Thomas Carew. Robert Herrick. Suckling and Lovelace. John Milton. The Prose Writers. John Bunyan. Robert Burton. Thomas Browne. Thomas Fuller. Jeremy Taylor. Richard Baxter. Izaak Walton. Summary. Bibliography. Questions. Chronology. CHAPTER VIII. PERIOD OF THE RESTORATION History of the Period. Literary Characteristics. John Dryden. Samuel Butler. Hobbes and Locke. Evelyn and Pepys. Summary. Bibliography. Questions. Chronology. CHAPTER IX. EIGHTEENTH-CENTURY LITERATURE History of the Period. Literary Characteristics. The Classic Age. Alexander Pope. Jonathan Swift. Joseph Addison. "The Tatler" and "The Spectator." Samuel Johnson. Boswell's "Life of Johnson." Later Augustan Writers. Edmund Burke. Edward Gibbon. The Revival of Romantic Poetry. Thomas Gray. Oliver Goldsmith. William Cowper. Robert Burns. William Blake. The Minor Poets of the Romantic Revival. James Thomson. William Collins. George Crabbe. James Macpherson. Thomas Chatterton. Thomas Percy. The First English Novelists. Meaning of the Novel. Precursors of the Novel. Discovery of the Modern Novel. Daniel Defoe. Samuel Richardson. Henry Fielding. Smollett and Sterne. Summary. Bibliography. Questions. Chronology. CHAPTER X. THE AGE OF ROMANTICISM Historical Summary. Literary Characteristics of the Age. The Poets of Romanticism. William Wordsworth. Samuel Taylor Coleridge. Robert Southey. Walter Scott. Byron. Percy Bysshe Shelley. John Keats. Prose Writers of the Romantic Period. Charles Lamb. Thomas De Quincey. Jane Austen. Walter Savage Landor. Summary. Bibliography. Questions. Chronology. CHAPTER XI. THE VICTORIAN AGE Historical Summary. Literary Characteristics. Poets of the Victorian Age. Alfred Tennyson. Robert Browning. Minor Poets of the Victorian Age. Elizabeth Barrett. Rossetti. Morris. Swinburne. Novelists of the Victorian Age. Charles Dickens. William Makepeace Thackeray. George Eliot. Minor Novelists of the Victorian Age. Charles Reade. Anthony Trollope. Charlotte Brontë. Bulwer Lytton. Charles Kingsley. Mrs. Gaskell. Blackmore. Meredith. Hardy. Stevenson. Essayists of the Victorian Age. Macaulay. Carlyle. Ruskin. Matthew Arnold. Newman. The Spirit of Modern Literature. Summary. Bibliography. Questions. Chronology. GENERAL BIBLIOGRAPHY INDEX * * * * * CHAPTER I INTRODUCTION--THE MEANING OF LITERATURE Hold the hye wey, and lat thy gost thee lede. Chaucer's _Truth_ On, on, you noblest English, ... Follow your spirit. Shakespeare's _Henry V_ THE SHELL AND THE BOOK. A child and a man were one day walking on the seashore when the child found a little shell and held it to his ear. Suddenly he heard sounds,--strange, low, melodious sounds, as if the shell were remembering and repeating to itself the murmurs of its ocean home. The child's face filled with wonder as he listened. Here in the little shell, apparently, was a voice from another world, and he listened with delight to its mystery and music. Then came the man, explaining that the child heard nothing strange; that the pearly curves of the shell simply caught a multitude of sounds too faint for human ears, and filled the glimmering hollows with the murmur of innumerable echoes. It was not a new world, but only the unnoticed harmony of the old that had aroused the child's wonder. Some such experience as this awaits us when we begin the study of literature, which has always two aspects, one of simple enjoyment and appreciation, the other of analysis and exact description. Let a little song appeal to the ear, or a noble book to the heart, and for the moment, at least, we discover a new world, a world so different from our own that it seems a place of dreams and magic. To enter and enjoy this new world, to love good books for their own sake, is the chief thing; to analyze and explain them is a less joyous but still an important matter. Behind every book is a man; behind the man is the race; and behind the race are the natural and social environments whose influence is unconsciously reflected. These also we must know, if the book is to speak its whole message. In a word, we have now reached a point where we wish to understand as well as to enjoy literature; and the first step, since exact definition is impossible, is to determine some of its essential qualities. QUALITIES OF LITERATURE. The first significant thing is the essentially artistic quality of all literature. All art is the expression of life in forms of truth and beauty; or rather, it is the reflection of some truth and beauty which are in the world, but which remain unnoticed until brought to our attention by some sensitive human soul, just as the delicate curves of the shell reflect sounds and harmonies too faint to be otherwise noticed. A hundred men may pass a hayfield and see only the sweaty toil and the windrows of dried grass; but here is one who pauses by a Roumanian meadow, where girls are making hay and singing as they work. He looks deeper, sees truth and beauty where we see only dead grass, and he reflects what he sees in a little poem in which the hay tells its own story: Yesterday's flowers am I, And I have drunk my last sweet draught of dew. Young maidens came and sang me to my death; The moon looks down and sees me in my shroud, The shroud of my last dew. Yesterday's flowers that are yet in me Must needs make way for all to-morrow's flowers. The maidens, too, that sang me to my death Must even so make way for all the maids That are to come. And as my soul, so too their soul will be Laden with fragrance of the days gone by. The maidens that to-morrow come this way Will not remember that I once did bloom, For they will only see the new-born flowers. Yet will my perfume-laden soul bring back, As a sweet memory, to women's hearts Their days of maidenhood. And then they will be sorry that they came To sing me to my death; And all the butterflies will mourn for me. I bear away with me The sunshine's dear remembrance, and the low Soft murmurs of the spring. My breath is sweet as children's prattle is; I drank in all the whole earth's fruitfulness, To make of it the fragrance of my soul That shall outlive my death.[1] One who reads only that first exquisite line, "Yesterday's flowers am I," can never again see hay without recalling the beauty that was hidden from his eyes until the poet found it. In the same pleasing, surprising way, all artistic work must be a kind of revelation. Thus architecture is probably the oldest of the arts; yet we still have many builders but few architects, that is, men whose work in wood or stone suggests some hidden truth and beauty to the human senses. So in literature, which is the art that expresses life in words that appeal to our own sense of the beautiful, we have many writers but few artists. In the broadest sense, perhaps, literature means simply the written records of the race, including all its history and sciences, as well as its poems and novels; in the narrower sense literature is the artistic record of life, and most of our writing is excluded from it, just as the mass of our buildings, mere shelters from storm and from cold, are excluded from architecture. A history or a work of science may be and sometimes is literature, but only as we forget the subject-matter and the presentation of facts in the simple beauty of its expression. The second quality of literature is its suggestiveness, its appeal to our emotions and imagination rather than to our intellect. It is not so much what it says as what it awakens in us that constitutes its charm. When Milton makes Satan say, "Myself am Hell," he does not state any fact, but rather opens up in these three tremendous words a whole world of speculation and imagination. When Faustus in the presence of Helen asks, "Was this the face that launched a thousand ships?" he does not state a fact or expect an answer. He opens a door through which our imagination enters a new world, a world of music, love, beauty, heroism,--the whole splendid world of Greek literature. Such magic is in words. When Shakespeare describes the young Biron as speaking In such apt and gracious words That aged ears play truant at his tales, he has unconsciously given not only an excellent description of himself, but the measure of all literature, which makes us play truant with the present world and run away to live awhile in the pleasant realm of fancy. The province of all art is not to instruct but to delight; and only as literature delights us, causing each reader to build in his own soul that "lordly pleasure house" of which Tennyson dreamed in his "Palace of Art," is it worthy of its name. The third characteristic of literature, arising directly from the other two, is its permanence. The world does not live by bread alone. Notwithstanding its hurry and bustle and apparent absorption in material things, it does not willingly let any beautiful thing perish. This is even more true of its songs than of its painting and sculpture; though permanence is a quality we should hardly expect in the present deluge of books and magazines pouring day and night from our presses in the name of literature. But this problem of too many books is not modern, as we suppose. It has been a problem ever since Caxton brought the first printing press from Flanders, four hundred years ago, and in the shadow of Westminster Abbey opened his little shop and advertised his wares as "good and chepe." Even earlier, a thousand years before Caxton and his printing press, the busy scholars of the great library of Alexandria found that the number of parchments was much too great for them to handle; and now, when we print more in a week than all the Alexandrian scholars could copy in a century, it would seem impossible that any production could be permanent; that any song or story could live to give delight in future ages. But literature is like a river in flood, which gradually purifies itself in two ways,--the mud settles to the bottom, and the scum rises to the top. When we examine the writings that by common consent constitute our literature, the clear stream purified of its dross, we find at least two more qualities, which we call the tests of literature, and which determine its permanence. TESTS OF LITERATURE. The first of these is universality, that is, the appeal to the widest human interests and the simplest human emotions. Though we speak of national and race literatures, like the Greek or Teutonic, and though each has certain superficial marks arising out of the peculiarities of its own people, it is nevertheless true that good literature knows no nationality, nor any bounds save those of humanity. It is occupied chiefly with elementary passions and emotions,--love and hate, joy and sorrow, fear and faith,--which are an essential part of our human nature; and the more it reflects these emotions the more surely does it awaken a response in men of every race. Every father must respond to the parable of the prodigal son; wherever men are heroic, they will acknowledge the mastery of Homer; wherever a man thinks on the strange phenomenon of evil in the world, he will find his own thoughts in the Book of Job; in whatever place men love their children, their hearts must be stirred by the tragic sorrow of _Oedipus_ and _King Lear_. All these are but shining examples of the law that only as a book or a little song appeals to universal human interest does it become permanent. The second test is a purely personal one, and may be expressed in the indefinite word "style." It is only in a mechanical sense that style is "the adequate expression of thought," or "the peculiar manner of expressing thought," or any other of the definitions that are found in the rhetorics. In a deeper sense, style is the man, that is, the unconscious expression of the writer's own personality. It is the very soul of one man reflecting, as in a glass, the thoughts and feelings of humanity. As no glass is colorless, but tinges more or less deeply the reflections from its surface, so no author can interpret human life without unconsciously giving to it the native hue of his own soul. It is this intensely personal element that constitutes style. Every permanent book has more or less of these two elements, the objective and the subjective, the universal and the personal, the deep thought and feeling of the race reflected and colored by the writer's own life and experience. THE OBJECT IN STUDYING LITERATURE. Aside from the pleasure of reading, of entering into a new world and having our imagination quickened, the study of literature has one definite object, and that is to know men. Now man is ever a dual creature; he has an outward and an inner nature; he is not only a doer of deeds, but a dreamer of dreams; and to know him, the man of any age, we must search deeper than his history. History records his deeds, his outward acts largely; but every great act springs from an ideal, and to understand this we must read his literature, where we find his ideals recorded. When we read a history of the Anglo-Saxons, for instance, we learn that they were sea rovers, pirates, explorers, great eaters and drinkers; and we know something of their hovels and habits, and the lands which they harried and plundered. All that is interesting; but it does not tell us what most we want to know about these old ancestors of ours,--not only what they did, but what they thought and felt; how they looked on life and death; what they loved, what they feared, and what they reverenced in God and man. Then we turn from history to the literature which they themselves produced, and instantly we become acquainted. These hardy people were not simply fighters and freebooters; they were men like ourselves; their emotions awaken instant response in the souls of their descendants. At the words of their gleemen we thrill again to their wild love of freedom and the open sea; we grow tender at their love of home, and patriotic at their deathless loyalty to their chief, whom they chose for themselves and hoisted on their shields in symbol of his leadership. Once more we grow respectful in the presence of pure womanhood, or melancholy before the sorrows and problems of life, or humbly confident, looking up to the God whom they dared to call the Allfather. All these and many more intensely real emotions pass through our souls as we read the few shining fragments of verses that the jealous ages have left us. It is so with any age or people. To understand them we must read not simply their history, which records their deeds, but their literature, which records the dreams that made their deeds possible. So Aristotle was profoundly right when he said that "poetry is more serious and philosophical than history"; and Goethe, when he explained literature as "the humanization of the whole world." IMPORTANCE OF LITERATURE. It is a curious and prevalent opinion that literature, like all art, is a mere play of imagination, pleasing enough, like a new novel, but without any serious or practical importance. Nothing could be farther from the truth. Literature preserves the ideals of a people; and ideals--love, faith, duty, friendship, freedom, reverence--are the part of human life most worthy of preservation. The Greeks were a marvelous people; yet of all their mighty works we cherish only a few ideals,--ideals of beauty in perishable stone, and ideals of truth in imperishable prose and poetry. It was simply the ideals of the Greeks and Hebrews and Romans, preserved in their literature, which made them what they were, and which determined their value to future generations. Our democracy, the boast of all English-speaking nations, is a dream; not the doubtful and sometimes disheartening spectacle presented in our legislative halls, but the lovely and immortal ideal of a free and equal manhood, preserved as a most precious heritage in every great literature from the Greeks to the Anglo-Saxons. All our arts, our sciences, even our inventions are founded squarely upon ideals; for under every invention is still the dream of _Beowulf_, that man may overcome the forces of nature; and the foundation of all our sciences and discoveries is the immortal dream that men "shall be as gods, knowing good and evil." In a word, our whole civilization, our freedom, our progress, our homes, our religion, rest solidly upon ideals for their foundation. Nothing but an ideal ever endures upon earth. It is therefore impossible to overestimate the practical importance of literature, which preserves these ideals from fathers to sons, while men, cities, governments, civilizations, vanish from the face of the earth. It is only when we remember this that we appreciate the action of the devout Mussulman, who picks up and carefully preserves every scrap of paper on which words are written, because the scrap may perchance contain the name of Allah, and the ideal is too enormously important to be neglected or lost. SUMMARY OF THE SUBJECT. We are now ready, if not to define, at least to understand a little more clearly the object of our present study. Literature is the expression of life in words of truth and beauty; it is the written record of man's spirit, of his thoughts, emotions, aspirations; it is the history, and the only history, of the human soul. It is characterized by its artistic, its suggestive, its permanent qualities. Its two tests are its universal interest and its personal style. Its object, aside from the delight it gives us, is to know man, that is, the soul of man rather than his actions; and since it preserves to the race the ideals upon which all our civilization is founded, it is one of the most important and delightful subjects that can occupy the human mind. BIBLIOGRAPHY. (NOTE. Each chapter in this book includes a special bibliography of historical and literary works, selections for reading, chronology, etc.; and a general bibliography of texts, helps, and reference books will be found at the end. The following books, which are among the best of their kind, are intended to help the student to a better appreciation of literature and to a better knowledge of literary criticism.) _GENERAL WORKS_. Woodberry's Appreciation of Literature (Baker & Taylor Co.); Gates's Studies in Appreciation (Macmillan); Bates's Talks on the Study of Literature (Houghton, Mifflin); Worsfold's On the Exercise of Judgment in Literature (Dent); Harrison's The Choice of Books (Macmillan); Ruskin's Sesame and Lilies, Part I; Matthew Arnold's Essays in Criticism. _ESSAYS_. Emerson's Books, in Society and Solitude; Dowden's The Interpretation of Literature, in Transcripts and Studies (Kegan Paul & Co.), and The Teaching of English Literature, in New Studies in Literature (Houghton, Mifflin); The Study of Literature, Essays by Morley, Nicolls, and L. Stephen, edited by A.F. Blaisdell (Willard Small). _CRITICISM_. Gayley and Scott's An Introduction to the Methods and Materials of Literary Criticism (Ginn and Company); Winchester's Principles of Literary Criticism (Macmillan); Worsfold's Principles of Criticism (Longmans); Johnson's Elements of Literary Criticism (American Book Company); Saintsbury's History of Criticism (Dodd, Mead). _POETRY_. Gummere's Handbook of Poetics (Ginn and Company); Stedman's The Nature and Elements of Poetry (Houghton, Mifflin); Johnson's The Forms of English Poetry (American Book Company); Alden's Specimens of English Verse (Holt); Gummere's The Beginnings of Poetry (Macmillan); Saintsbury's History of English Prosody (Macmillan). _THE DRAMA_. Caffin's Appreciation of the Drama (Baker & Taylor Co.). _THE NOVEL_. Raleigh's The English Novel (Scribner); Hamilton's The Materials and Methods of Fiction (Baker & Taylor Co.). * * * * * CHAPTER II THE ANGLO-SAXON OR OLD-ENGLISH PERIOD (450-1050) I. OUR FIRST POETRY BEOWULF. Here is the story of Beowulf, the earliest and the greatest epic, or heroic poem, in our literature. It begins with a prologue, which is not an essential part of the story, but which we review gladly for the sake of the splendid poetical conception that produced Scyld, king of the Spear Danes.[2] At a time when the Spear Danes were without a king, a ship came sailing into their harbor. It was filled with treasures and weapons of war; and in the midst of these warlike things was a baby sleeping. No man sailed the ship; it came of itself, bringing the child, whose name was Scyld. Now Scyld grew and became a mighty warrior, and led the Spear Danes for many years, and was their king. When his son Beowulf[3] had become strong and wise enough to rule, then Wyrd (Fate), who speaks but once to any man, came and stood at hand; and it was time for Scyld to go. This is how they buried him: Then Scyld departed, at word of Wyrd spoken, The hero to go to the home of the gods. Sadly they bore him to brink of the ocean, Comrades, still heeding his word of command. There rode in the harbor the prince's ship, ready, With prow curving proudly and shining sails set. Shipward they bore him, their hero beloved; The mighty they laid at the foot of the mast. Treasures were there from far and near gathered, Byrnies of battle, armor and swords; Never a keel sailed out of a harbor So splendidly tricked with the trappings of war. They heaped on his bosom a hoard of bright jewels To fare with him forth on the flood's great breast. No less gift they gave than the Unknown provided, When alone, as a child, he came in from the mere. High o'er his head waved a bright golden standard-- Now let the waves bear their wealth to the holm. Sad-souled they gave back its gift to the ocean, Mournful their mood as he sailed out to sea.[4] "And no man," says the poet, "neither counselor nor hero, can tell who received that lading." One of Scyld's descendants was Hrothgar, king of the Danes; and with him the story of our Beowulf begins. Hrothgar in his old age had built near the sea a mead hall called Heorot, the most splendid hall in the whole world, where the king and his thanes gathered nightly to feast and to listen to the songs of his gleemen. One night, as they were all sleeping, a frightful monster, Grendel, broke into the hall, killed thirty of the sleeping warriors, and carried off their bodies to devour them in his lair under the sea. The appalling visit was speedily repeated, and fear and death reigned in the great hall. The warriors fought at first; but fled when they discovered that no weapon could harm the monster. Heorot was left deserted and silent. For twelve winters Grendel's horrible raids continued, and joy was changed to mourning among the Spear Danes. At last the rumor of Grendel crossed over the sea to the land of the Geats, where a young hero dwelt in the house of his uncle, King Hygelac. Beowulf was his name, a man of immense strength and courage, and a mighty swimmer who had developed his powers fighting the "nickers," whales, walruses and seals, in the icebound northern ocean. When he heard the story, Beowulf was stirred to go and fight the monster and free the Danes, who were his father's friends. With fourteen companions he crosses the sea. There is an excellent bit of ocean poetry here (ll. 210-224), and we get a vivid idea of the hospitality of a brave people by following the poet's description of Beowulf's meeting with King Hrothgar and Queen Wealhtheow, and of the joy and feasting and story-telling in Heorot. The picture of Wealhtheow passing the mead cup to the warriors with her own hand is a noble one, and plainly indicates the reverence paid by these strong men to their wives and mothers. Night comes on; the fear of Grendel is again upon the Danes, and all withdraw after the king has warned Beowulf of the frightful danger of sleeping in the hall. But Beowulf lies down with his warriors, saying proudly that, since weapons will not avail against the monster, he will grapple with him bare handed and trust to a warrior's strength. Forth from the fens, from the misty moorlands, Grendel came gliding--God's wrath[5] he bore-- Came under clouds, until he saw clearly, Glittering with gold plates, the mead hall of men. Down fell the door, though fastened with fire bands; Open it sprang at the stroke of his paw. Swollen with rage burst in the bale-bringer; Flamed in his eyes a fierce light, likest fire.[6] At the sight of men again sleeping in the hall, Grendel laughs in his heart, thinking of his feast. He seizes the nearest sleeper, crushes his "bone case" with a bite, tears him limb from limb, and swallows him. Then he creeps to the couch of Beowulf and stretches out a claw, only to find it clutched in a grip of steel. A sudden terror strikes the monster's heart. He roars, struggles, tries to jerk his arm free; but Beowulf leaps to his feet and grapples his enemy bare handed. To and fro they surge. Tables are overturned; golden benches ripped from their fastenings; the whole building quakes, and only its iron bands keep it from falling to pieces. Beowulf's companions are on their feet now, hacking vainly at the monster with swords and battle-axes, adding their shouts to the crashing of furniture and the howling "war song" of Grendel. Outside in the town the Danes stand shivering at the uproar. Slowly the monster struggles to the door, dragging Beowulf, whose fingers crack with the strain, but who never relaxes his first grip. Suddenly a wide wound opens in the monster's side; the sinews snap; the whole arm is wrenched off at the shoulder; and Grendel escapes shrieking across the moor, and plunges into the sea to die. Beowulf first exults in his night's work; then he hangs the huge arm with its terrible claws from a cross-beam over the king's seat, as one would hang up a bear's skin after a hunt. At daylight came the Danes; and all day long, in the intervals of singing, story-telling, speech making, and gift giving, they return to wonder at the mighty "grip of Grendel" and to rejoice in Beowulf's victory. When night falls a great feast is spread in Heorot, and the Danes sleep once more in the great hall. At midnight comes another monster, a horrible, half-human creature,[7] mother of Grendel, raging to avenge her offspring. She thunders at the door; the Danes leap up and grasp their weapons; but the monster enters, seizes Aeschere, who is friend and adviser of the king, and rushes away with him over the fens. The old scenes of sorrow are reviewed in the morning; but Beowulf says simply: Sorrow not, wise man. It is better for each That his friend he avenge than that he mourn much. Each of us shall the end await Of worldly life: let him who may gain Honor ere death. That is for a warrior, When he is dead, afterwards best. Arise, kingdom's guardian! Let us quickly go To view the track of Grendel's kinsman. I promise it thee: he will not escape, Nor in earth's bosom, nor in mountain-wood, Nor in ocean's depths, go where he will.[8] Then he girds himself for the new fight and follows the track of the second enemy across the fens. Here is Hrothgar's description of the place where live the monsters, "spirits of elsewhere," as he calls them: They inhabit The dim land that gives shelter to the wolf, The windy headlands, perilous fen paths, Where, under mountain mist, the stream flows down And floods the ground. Not far hence, but a mile, The mere stands, over which hang death-chill groves, A wood fast-rooted overshades the flood; There every night a ghastly miracle Is seen, fire in the water. No man knows, Not the most wise, the bottom of that mere. The firm-horned heath-stalker, the hart, when pressed, Wearied by hounds, and hunted from afar, Will rather die of thirst upon its bank Than bend his head to it. It is unholy. Dark to the clouds its yeasty waves mount up When wind stirs hateful tempest, till the air Grows dreary, and the heavens pour down tears.[9] Beowulf plunges into the horrible place, while his companions wait for him oh the shore. For a long time he sinks through the flood; then, as he reaches bottom, Grendel's mother rushes out upon him and drags him into a cave, where sea monsters swarm at him from behind and gnash his armor with their tusks. The edge of his sword is turned with the mighty blow he deals the _merewif_; but it harms not the monster. Casting the weapon aside, he grips her and tries to hurl her down, while her claws and teeth clash upon his corslet but cannot penetrate the steel rings. She throws her bulk upon him, crushes him down, draws a short sword and plunges it at him; but again his splendid byrnie saves him. He is wearied now, and oppressed. Suddenly, as his eye sweeps the cave, he catches sight of a magic sword, made by the giants long ago, too heavy for warriors to wield. Struggling up he seizes the weapon, whirls it and brings down a crashing blow upon the monster's neck. It smashes through the ring bones; the _merewif_ falls, and the fight is won. The cave is full of treasures; but Beowulf heeds them not, for near him lies Grendel, dead from the wound received the previous night. Again Beowulf swings the great sword and strikes off his enemy's head; and lo, as the venomous blood touches the sword blade, the steel melts like ice before the fire, and only the hilt is left in Beowulf's hand. Taking the hilt and the head, the hero enters the ocean and mounts up to the shore. Only his own faithful band were waiting there; for the Danes, seeing the ocean bubble with fresh blood, thought it was all over with the hero and had gone home. And there they were, mourning in Heorot, when Beowulf returned with the monstrous head of Grendel carried on a spear shaft by four of his stoutest followers. In the last part of the poem there is another great fight. Beowulf is now an old man; he has reigned for fifty years, beloved by all his people. He has overcome every enemy but one, a fire dragon keeping watch over an enormous treasure hidden among the mountains. One day a wanderer stumbles upon the enchanted cave and, entering, takes a jeweled cup while the firedrake sleeps heavily. That same night the dragon, in a frightful rage, belching forth fire and smoke, rushes down upon the nearest villages, leaving a trail of death and terror behind him. Again Beowulf goes forth to champion his people. As he approaches the dragon's cave, he has a presentiment that death lurks within: Sat on the headland there the warrior king; Farewell he said to hearth-companions true, The gold-friend of the Geats; his mind was sad, Death-ready, restless. And Wyrd was drawing nigh, Who now must meet and touch the aged man, To seek the treasure that his soul had saved And separate his body from his life.[10] 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 hoard; 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 shields 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 hoard. 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 noble 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 dykes; 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 assert 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
{'title': 'English Literature by William J. Long', 'source': 'Project Gutenberg', 'lang': 'en'}