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A History of English Literature
by Robert Huntington Fletcher
TO MY MOTHER TO WHOM I OWE A LIFETIME OF A MOTHER'S MOST SELF-SACRIFICING
DEVOTION
PREFACE
This book aims to provide a general manual of English Literature for
students in colleges and universities and others beyond the high-school
age. The first purposes of every such book must be to outline the
development of the literature with due regard to national life, and to give
appreciative interpretation of the work of the most important authors. I
have written the present volume because I have found no other that, to my
mind, combines satisfactory accomplishment of these ends with a selection
of authors sufficiently limited for clearness and with adequate accuracy
and fulness of details, biographical and other. A manual, it seems to me,
should supply a systematic statement of the important facts, so that the
greater part of the student's time, in class and without, may be left free
for the study of the literature itself.
I hope that the book may prove adaptable to various methods and conditions
of work. Experience has suggested the brief introductory statement of main
literary principles, too often taken for granted by teachers, with much
resulting haziness in the student's mind. The list of assignments and
questions at the end is intended, of course, to be freely treated. I hope
that the list of available inexpensive editions of the chief authors may
suggest a practical method of providing the material, especially for
colleges which can provide enough copies for class use. Poets, of course,
may be satisfactorily read in volumes of, selections; but to me, at least,
a book of brief extracts from twenty or a hundred prose authors is an
absurdity. Perhaps I may venture to add that personally I find it advisable
to pass hastily over the seventeenth and eighteenth centuries and so gain
as much time as possible for the nineteenth.
R. H. F.
_August, 1916._
CONTENTS
PRELIMINARY. HOW TO STUDY AND JUDGE LITERATURE
A TABULAR VIEW OF ENGLISH LITERATURE
REFERENCE BOOKS
I. PERIOD I. THE BRITONS AND THE ANGLO-SAXONS.
TO A.D. 1066
II. PERIOD II. THE NORMAN-FRENCH PERIOD.
A.D. 1066 TO ABOUT 1350
III. PERIOD III. THE END OF THE MIDDLE AGES.
ABOUT 1350 TO ABOUT 1500
IV. THE MEDIEVAL DRAMA
V. PERIOD IV. THE SIXTEENTH CENTURY. THE
RENAISSANCE AND THE REIGN OF ELIZABETH
VI. THE DRAMA FROM ABOUT 1550 TO 1642
VII. PERIOD V. THE SEVENTEENTH CENTURY,
1603-1660. PROSE AND POETRY
VIII. PERIOD VI. THE RESTORATION, 1660-1700
IX. PERIOD VII. THE EIGHTEENTH CENTURY,
PSEUDO-CLASSICISM AND THE BEGINNINGS
OF MODERN ROMANTICISM
X. PERIOD VIII. THE ROMANTIC TRIUMPH, 1798
TO ABOUT 1830
XI. PERIOD IX. THE VICTORIAN PERIOD. ABOUT
1830 TO 1901
A LIST OF AVAILABLE EDITIONS FOR THE
STUDY OF IMPORTANT AUTHORS
ASSIGNMENTS FOR STUDY
INDEX
PRELIMINARY. HOW TO STUDY AND JUDGE LITERATURE
TWO ASPECTS OF LITERARY STUDY. Such a study of Literature as that for which
the present book is designed includes two purposes, contributing to a
common end. In the first place (I), the student must gain some general
knowledge of the conditions out of which English literature has come into
being, as a whole and during its successive periods, that is of the
external facts of one sort or another without which it cannot be
understood. This means chiefly (1) tracing in a general way, from period to
period, the social life of the nation, and (2) getting some acquaintance
with the lives of the more important authors. The principal thing, however
(II), is the direct study of the literature itself. This study in turn
should aim first at an _understanding_ of the literature as an
expression of the authors' views of life and of their personalities and
especially as a portrayal and interpretation of the life of their periods
and of all life as they have seen it; it should aim further at an
_appreciation_ of each literary work as a product of Fine Art,
appealing with peculiar power both to our minds and to our emotions, not
least to the sense of Beauty and the whole higher nature. In the present
book, it should perhaps be added, the word Literature is generally
interpreted in the strict sense, as including only writing of permanent
significance and beauty.
The outline discussion of literary qualities which follows is intended to
help in the formation of intelligent and appreciative judgments.
SUBSTANCE AND FORM. The most thoroughgoing of all distinctions in
literature, as in the other Fine Arts, is that between (1) Substance, the
essential content and meaning of the work, and (2) Form, the manner in
which it is expressed (including narrative structure, external style, in
poetry verse-form, and many related matters). This distinction should be
kept in mind, but in what follows it will not be to our purpose to
emphasize it.
GENERAL MATTERS. 1. First and always in considering any piece of literature
a student should ask himself the question already implied: Does it present
a true portrayal of life--of the permanent elements in all life and in
human nature, of the life or thought of its own particular period, and (in
most sorts of books) of the persons, real or imaginary, with whom it deals?
If it properly accomplishes this main purpose, when the reader finishes it
he should feel that his understanding of life and of people has been
increased and broadened. But it should always be remembered that truth is
quite as much a matter of general spirit and impression as of literal
accuracy in details of fact. The essential question is not, Is the
presentation of life and character perfect in a photographic fashion? but
Does it convey the _underlying_ realities? 2. Other things being
equal, the value of a book, and especially of an author's whole work, is
proportional to its range, that is to the breadth and variety of the life
and characters which it presents. 3. A student should not form his
judgments merely from what is technically called the _dogmatic_ point
of view, but should try rather to adopt that of _historical_
criticism. This means that he should take into account the limitations
imposed on every author by the age in which he lived. If you find that the
poets of the Anglo-Saxon 'Béowulf' have given a clear and interesting
picture of the life of our barbarous ancestors of the sixth or seventh
century A. D., you should not blame them for a lack of the finer elements
of feeling and expression which after a thousand years of civilization
distinguish such delicate spirits as Keats and Tennyson. 4. It is often
important to consider also whether the author's personal method is
_objective_, which means that he presents life and character without
bias; or _subjective_, coloring his work with his personal tastes,
feelings and impressions. Subjectivity may be a falsifying influence, but
it may also be an important virtue, adding intimacy, charm, or force. 5.
Further, one may ask whether the author has a deliberately formed theory of
life; and if so how it shows itself, and, of course, how sound it is.
INTELLECT, EMOTION, IMAGINATION, AND RELATED QUALITIES. Another main
question in judging any book concerns the union which it shows: (1) of the
Intellectual faculty, that which enables the author to understand and
control his material and present it with directness and clearness; and (2)
of the Emotion, which gives warmth, enthusiasm, and appealing human power.
The relative proportions of these two faculties vary greatly in books of
different sorts. Exposition (as in most essays) cannot as a rule be
permeated with so much emotion as narration or, certainly, as lyric poetry.
In a great book the relation of the two faculties will of course properly
correspond to form and spirit. Largely a matter of Emotion is the Personal
Sympathy of the author for his characters, while Intellect has a large
share in Dramatic Sympathy, whereby the author enters truly into the
situations and feelings of any character, whether he personally likes him
or not. Largely made up of Emotion are: (1) true Sentiment, which is fine
feeling of any sort, and which should not degenerate into Sentimentalism
(exaggerated tender feeling); (2) Humor, the instinctive sense for that
which is amusing; and (3) the sense for Pathos. Pathos differs from Tragedy
in that Tragedy (whether in a drama or elsewhere) is the suffering of
persons who are able to struggle against it, Pathos the suffering of those
persons (children, for instance) who are merely helpless victims. Wit, the
brilliant perception of incongruities, is a matter of Intellect and the
complement of Humor.
IMAGINATION AND FANCY. Related to Emotion also and one of the most
necessary elements in the higher forms of literature is Imagination, the
faculty of making what is absent or unreal seem present and real, and
revealing the hidden or more subtile forces of life. Its main operations
may be classified under three heads: (1) Pictorial and Presentative. It
presents to the author's mind, and through him to the minds of his readers,
all the elements of human experience and life (drawing from his actual
experience or his reading). 2. Selective, Associative, and Constructive.
From the unorganized material thus brought clearly to the author's
consciousness Imagination next selects the details which can be turned to
present use, and proceeds to combine them, uniting scattered traits and
incidents, perhaps from widely different sources, into new characters,
stories, scenes, and ideas. The characters of 'Silas Marner,' for example,
never had an actual existence, and the precise incidents of the story never
took place in just that order and fashion, but they were all constructed by
the author's imagination out of what she had observed of many real persons
and events, and so make, in the most significant sense, a true picture of
life. 3. Penetrative and Interpretative. In its subtlest operations,
further, Imagination penetrates below the surface and comprehends and
brings to light the deeper forces and facts--the real controlling instincts
of characters, the real motives for actions, and the relations of material
things to those of the spiritual world and of Man to Nature and God.
Fancy may for convenience be considered as a distinct faculty, though it is
really the lighter, partly superficial, aspect of Imagination. It deals
with things not essentially or significantly true, amusing us with striking
or pleasing suggestions, such as seeing faces in the clouds, which vanish
almost as soon as they are discerned. Both Imagination and Fancy naturally
express themselves, often and effectively, through the use of metaphors,
similes, and suggestive condensed language. In painful contrast to them
stands commonplaceness, always a fatal fault.
IDEALISM, ROMANCE, AND REALISM. Among the most important literary qualities
also are Idealism, Romance, and Realism. Realism, in the broad sense, means
simply the presentation of the actual, depicting life as one sees it,
objectively, without such selection as aims deliberately to emphasize some
particular aspects, such as the pleasant or attractive ones. (Of course all
literature is necessarily based on the ordinary facts of life, which we may
call by the more general name of Reality.) Carried to the extreme, Realism
may become ignoble, dealing too frankly or in unworthy spirit with the
baser side of reality, and in almost all ages this sort of Realism has
actually attempted to assert itself in literature. Idealism, the tendency
opposite to Realism, seeks to emphasize the spiritual and other higher
elements, often to bring out the spiritual values which lie beneath the
surface. It is an optimistic interpretation of life, looking for what is
good and permanent beneath all the surface confusion. Romance may be called
Idealism in the realm of sentiment. It aims largely to interest and
delight, to throw over life a pleasing glamor; it generally deals with love
or heroic adventure; and it generally locates its scenes and characters in
distant times and places, where it can work unhampered by our consciousness
of the humdrum actualities of our daily experience. It may always be asked
whether a writer of Romance makes his world seem convincingly real as we
read or whether he frankly abandons all plausibility. The presence or
absence of a supernatural element generally makes an important difference.
Entitled to special mention, also, is spiritual Romance, where attention is
centered not on external events, which may here be treated in somewhat
shadowy fashion, but on the deeper questions of life. Spiritual Romance,
therefore, is essentially idealistic.
DRAMATIC POWER. Dramatic power, in general, means the presentation of life
with the vivid active reality of life and character which especially
distinguishes the acted drama. It is, of course, one of the main things to
be desired in most narrative; though sometimes the effect sought may be
something different, as, for instance, in romance and poetry, an atmosphere
of dreamy beauty. In a drama, and to some extent in other forms of
narrative, dramatic power culminates in the ability to bring out the great
crises with supreme effectiveness.
CHARACTERS. There is, generally speaking, no greater test of an author's
skill than his knowledge and presentation of characters. We should consider
whether he makes them (1) merely caricatures, or (2) type characters,
standing for certain general traits of human nature but not convincingly
real or especially significant persons, or (3) genuine individuals with all
the inconsistencies and half-revealed tendencies that in actual life belong
to real personality. Of course in the case of important characters, the
greater the genuine individuality the greater the success. But with
secondary characters the principles of emphasis and proportion generally
forbid very distinct individualization; and sometimes, especially in comedy
(drama), truth of character is properly sacrificed to other objects, such
as the main effect. It may also be asked whether the characters are simple,
as some people are in actual life, or complex, like most interesting
persons; whether they develop, as all real people must under the action of
significant experience, or whether the author merely presents them in brief
situations or lacks the power to make them anything but stationary. If
there are several of them it is a further question whether the author
properly contrasts them in such a way as to secure interest. And a main
requisite is that he shall properly motivate their actions, that is make
their actions result naturally from their characters, either their
controlling traits or their temporary impulses.
STRUCTURE. In any work of literature there should be definite structure.
This requires, (1) Unity, (2) Variety, (3) Order, (4) Proportion, and (5)
due Emphasis of parts. Unity means that everything included in the work
ought to contribute directly or indirectly to the main effect. Very often a
definite theme may be found about which the whole work centers, as for
instance in 'Macbeth,' The Ruin of a Man through Yielding to Evil.
Sometimes, however, as in a lyric poem, the effect intended may be the
rendering or creation of a mood, such as that of happy content, and in that
case the poem may not have an easily expressible concrete theme.
Order implies a proper beginning, arrangement, progress, and a definite
ending. In narrative, including all stories whether in prose or verse and
also the drama, there should be traceable a Line of Action, comprising
generally: (1) an Introduction, stating the necessary preliminaries; (2)
the Initial Impulse, the event which really sets in motion this particular
story; (3) a Rising Action; (4) a Main Climax. Sometimes (generally, in
Comedy) the Main Climax is identical with the Outcome; sometimes (regularly
in Tragedy) the Main Climax is a turning point and comes near the middle of
the story. In that case it really marks the beginning of the success of the
side which is to be victorious at the end (in Tragedy the side opposed to
the hero) and it initiates (5) a Falling Action, corresponding to the
Rising Action, and sometimes of much the same length, wherein the losing
side struggles to maintain itself. After (6) the Outcome, may come (7) a
brief tranquilizing Conclusion. The Antecedent Action is that part of the
characters' experiences which precedes the events of the story. If it has a
bearing, information about it must be given either in the Introduction or
incidentally later on. Sometimes, however, the structure just indicated may
not be followed; a story may begin in the middle, and the earlier part may
be told later on in retrospect, or incidentally indicated, like the
Antecedent Action.
If in any narrative there is one or more Secondary Action, a story which
might be separated from the Main Action and viewed as complete in itself,
criticism should always ask whether the Main and Secondary Actions are
properly unified. In the strictest theory there should be an essential
connection between them; for instance, they may illustrate different and
perhaps contrasting aspects of the general theme. Often, however, an author
introduces a Secondary Action merely for the sake of variety or to increase
the breadth of his picture--in order to present a whole section of society
instead of one narrow stratum or group. In such cases, he must generally be
judged to have succeeded if he has established an apparent unity, say by
mingling the same characters in the two actions, so that readers are not
readily conscious of the lack of real structural unity.
Other things to be considered in narrative are: Movement, which, unless for
special reasons, should be rapid, at least not slow and broken; Suspense;
general Interest; and the questions whether or not there are good
situations and good minor climaxes, contributing to the interest; and
whether or not motivation is good, apart from that which results from
character, that is whether events are properly represented as happening in
accordance with the law of cause and effect which inexorably governs actual
life. But it must always be remembered that in such writing as Comedy and
Romance the strict rules of motivation must be relaxed, and indeed in all
literature, even in Tragedy, the idealization, condensation, and
heightening which are the proper methods of Art require them to be slightly
modified.
DESCRIPTIVE POWER. Usually secondary in appearance but of vital artistic
importance, is the author's power of description, of picturing both the
appearance of his characters and the scenes which make his background and
help to give the tone of his work. Perhaps four subjects of description may
be distinguished: 1. External Nature. Here such questions as the following
are of varying importance, according to the character and purpose of the
work: Does the author know and care for Nature and frequently introduce
descriptions? Are the descriptions concrete and accurate, or on the other
hand purposely general (impressionistic) or carelessly superficial? Do they
give fine variations of appearance and impression, such as delicate
shiftings of light and shade and delicate tones of color? Are they
powerfully sensuous, that is do they appeal strongly to the physical
senses, of sight (color, light, and movement), sound (including music),
smell, taste, touch, and general physical sensation? How great is their
variety? Do they deal with many parts of Nature, for example the sea,
mountains, plains, forests, and clouds? Is the love of external beauty a
passion with the author? What is the author's attitude toward Nature--(1)
does he view Nature in a purely objective way, as a mass of material
things, a series of material phenomena or a mere embodiment of sensuous
beauty; or (2) is there symbolism or mysticism in his attitude, that
is--does he view Nature with awe as a spiritual power; or (3) is he
thoroughly subjective, reading his own moods into Nature or using Nature
chiefly for the expression of his moods? Or again, does the author describe
with merely expository purpose, to make the background of his work clear?
2. Individual Persons and Human Life: Is the author skilful in descriptions
of personal appearance and dress? Does he produce his impressions by full
enumeration of details, or by emphasis on prominent or characteristic
details? How often and how fully does he describe scenes of human activity
(such as a street scene, a social gathering, a procession on the march)? 3.
How frequent and how vivid are his descriptions of the inanimate background
of human life--buildings, interiors of rooms, and the rest? 4. Does the
author skilfully use description to create the general atmosphere in which
he wishes to invest his work--an atmosphere of cheerfulness, of mystery, of
activity, or any of a hundred other moods?
STYLE. Style in general means 'manner of writing.' In the broad sense it
includes everything pertaining to the author's spirit and point of
view--almost everything which is here being discussed. More narrowly
considered, as 'external style,' it designates the author's use of
language. Questions to be asked in regard to external style are such as
these: Is it good or bad, careful or careless, clear and easy or confused
and difficult; simple or complex; terse and forceful (perhaps colloquial)
or involved and stately; eloquent, balanced, rhythmical; vigorous, or
musical, languid, delicate and decorative; varied or monotonous; plain or
figurative; poor or rich in connotation and poetic suggestiveness;
beautiful, or only clear and strong? Are the sentences mostly long or
short; periodic or loose; mostly of one type, such as the declarative, or
with frequent introduction of such other forms as the question and the
exclamation?
POETRY. Most of what has thus far been said applies to both Prose and
Poetry. But in Poetry, as the literature especially characterized in
general by high Emotion, Imagination, and Beauty, finer and more delicate
effects are to be sought than in Prose. Poetry, generally speaking, is the
expression of the deeper nature; it belongs peculiarly to the realm of the
spirit. On the side of poetical expression such imaginative figures of
speech as metaphors and similes, and such devices as alliteration, prove
especially helpful. It may be asked further of poetry, whether the meter
and stanza structure are appropriate to the mood and thought and so handled
as to bring out the emotion effectively; and whether the sound is adapted
to the sense (for example, musical where the idea is of peace or quiet
beauty). If the sound of the words actually imitates the sound of the thing
indicated, the effect is called Onomatopoeia. Among kinds of poetry,
according to form, the most important are: (1) Narrative, which includes
many subordinate forms, such as the Epic. (2) Lyric. Lyric poems are
expressions of spontaneous emotion and are necessarily short. (3) Dramatic,
including not merely the drama but all poetry of vigorous action. (4)
Descriptive, like Goldsmith's 'Deserted Village' and Tennyson's 'Dream of
Fair Women.' Minor kinds are: (5) Satiric; and (6) Didactic.
Highly important in poetry is Rhythm, but the word means merely 'flow,' so
that rhythm belongs to prose as well as to poetry. Good rhythm is merely a
pleasing succession of sounds. Meter, the distinguishing formal mark of
poetry and all verse, is merely rhythm which is regular in certain
fundamental respects, roughly speaking is rhythm in which the recurrence of
stressed syllables or of feet with definite time-values is regular. There
is no proper connection either in spelling or in meaning between rhythm and
rime (which is generally misspelled 'rhyme'). The adjective derived from
'rhythm' is 'rhythmical'; there is no adjective from 'rime' except 'rimed.'
The word 'verse' in its general sense includes all writing in meter. Poetry
is that verse which has real literary merit. In a very different and
narrower sense 'verse' means 'line' (never properly 'stanza').
CLASSICISM AND ROMANTICISM. Two of the most important contrasting
tendencies of style in the general sense are Classicism and Romanticism.
Classicism means those qualities which are most characteristic of the best
literature of Greece and Rome. It is in fact partly identical with
Idealism. It aims to express the inner truth or central principles of
things, without anxiety for minor details, and it is by nature largely
intellectual in quality, though not by any means to the exclusion of
emotion. In outward form, therefore, it insists on correct structure,
restraint, careful finish and avoidance of all excess. 'Paradise Lost,'
Arnold's 'Sohrab and Rustum,' and Addison's essays are modern examples.
Romanticism, which in general prevails in modern literature, lays most
emphasis on independence and fulness of expression and on strong emotion,
and it may be comparatively careless of form. The Classical style has well
been called sculpturesque, the Romantic picturesque. The virtues of the
Classical are exquisiteness and incisive significance; of the Romantic,
richness and splendor. The dangers of the Classical are coldness and
formality; of the Romantic, over-luxuriance, formlessness and excess of
emotion. [Footnote: All these matters, here merely suggested, are fully
discussed in the present author's 'Principles of Composition and
Literature.' (The A. S. Barnes Co.)]
A TABULAR VIEW OF ENGLISH LITERATURE
I. The Britons and the Anglo-Saxon Period, from the
beginning to the Norman Conquest in 1066 A. D.
A. The Britons, before and during the Roman occupation,
to the fifth century.
B. Anglo-Saxon Poetry, on the Continent in prehistoric
times before the migration to England, and in England
especially during the Northumbrian Period, seventh and
eighth centuries A. D. Ballads, 'Beowulf,' Caedmon,
Bede (Latin prose), Cynewulf.
C. Anglo-Saxon Prose, of the West Saxon Period, tenth
and eleventh centuries, beginning with King Alfred,
871-901. The Anglo-Saxon Chronicle.
II. The Norman-French, Period, 1066 to about 1350.
Literature in Latin, French, and English. Many different
forms, both religious and secular, including the
religious drama. The Metrical Romances, including the
Arthurian Cycle. Geoffrey of Monmouth, 'Historia
Regum Britanniae' (Latin), about 1136. Wace, 'Brut'
(French), about 1155. Laghamon, 'Brut' (English),
about 1200.
III. The End of the Middle Ages, about 1350 to about 1500.
The Hundred Years' War. 'Sir John Mandeyille's'
'Voyage.' Chaucer, 1338-1400. John Gower. 'The
Vision Concerning Piers the Plowman.' Wiclif and
the Lollard Bible, about 1380. Popular Ballads. The
War of the Roses. Malory's 'Morte Darthur,' finished
1467. Caxton and the printing press, 1476. Morality
Plays and Interludes.
IV. The Renaissance and the Elizabethan Period, about 1500
to 1603.
Great discoveries and activity, both intellectual and
physical. Influence of Italy. The Reformation.
Henry VIII, 1509-47. Edward VI, to 1553. Mary, to 1558.
Elizabeth, 1558-1603. Defeat of the Armada, 1588.
Sir Thomas More, 'Utopia.' Tyndale's New Testament
and other translations of the Bible.
Wyatt and Surrey, about 1540.
Prose Fiction. Lyly's 'Euphues,' 1578. Sidney's
'Arcadia.'
Spenser, 1552-1599. 'The Shepherd's Calendar,' 1579.
'The Faerie Queene,' 1590 and later.
Lyric poetry, including sonnet sequences. John Donne.
The Drama. Classical and native influences. Lyly,
Peele, Greene, Marlowe. Shakspere, 1564-1616. Ben
Jonson and other dramatists.
V. The Seventeenth Century, 1603-1660.
The First Stuart Kings, James I (to 1625) and Charles I.
Cavaliers and Puritans. The Civil War and the Commonwealth.
Cromwell.
The Drama, to 1642.
Francis Bacon.
The King James Bible, 1611.
Lyric Poets. Herrick. The 'Metaphysical' religious
poets--Herbert, Crashaw, and Vaughan. Cavalier and
Puritan poets.
Milton, 1608-1674.
John Bunyan, 'Pilgrim's Progress.' 1678.
VI. The Restoration Period, from the Restoration of Charles II
in 1660 to the death of Dryden in 1700.
Charles II, 1660-1685. James II, 1685 to the Revolution
in 1688. William and Mary, 1688-1702.
Butler's 'Hudibras.' Pepys' 'Diary.' The Restoration
Drama. Dryden, 1631-1700.
VII. The Eighteenth Century.
Queen Anne, 1702-1715. The four Georges, 1715-1830.
PSEUDO-CLASSIC
LITERATURE.
Swift, 1667-1745.
Addison, 1672-1719.
Steele, 1672-1729.
Pope, 1688-1744.
Johnson, 1709-1784.
THE LATER PROSE.
Burke, 1729-1797.
Gibbon, 'Decline and
Fall,' 1776-1788.
Boswell, 'Life of
Johnson,' 1791.
THE NOVEL.
'Sir Roger de Coverly,'
1711-12.
Defoe, 1661-1731.
'Robinson Crusoe,'
1718-20.
Richardson, 1689-1761.
'Clarissa Harlowe,'
1747-8.
Fielding, 1707-1754.
Smollett.
Sterne.
Goldsmith, 'Vicar of
Wakefield,' 1766.
Historical and 'Gothic'
Novels.
Miss Burney, 'Evelina,'
1778.
Revolutionary Novels
of Purpose. Godwin,
'Caleb Williams.'
Miss Edgeworth.
Miss Austen.
THE ROMANTIC REVOLT
--Poetry.
Thomson, 'The Seasons,'
1726-30.
Collins, 'Odes,' 1747.
Gray, 1716-71.
Percy's 'Reliques,'
1765.
Goldsmith, 'The Deserted
Village,'
1770.
Cowper.
Chatterton.
Macpherson, Ossianic
imitations.
Burns, 1759-96.
Blake.
THE DRAMA.
Pseudo-Classical Tragedy,
Addison's
'Cato,' 1713.
Sentimental Comedy.
Domestic Tragedy.
Revival of genuine
Comedy of
Manners. Goldsmith,
'She Stoops to
Conquer,' 1773.
Sheridan.
VIII. The Romantic Triumph, 1798 to about 1830.
Coleridge, 1772-1834. Wordsworth, 1770-1850. Southey,
1774-1843. Scott, 1771-1832.
Byron, 1788-1824. Shelley, 1792-1822. Keats, 1759-1821.
IX. The Victorian Period, about 1830-1901.
Victoria Queen, 1837-1901.
ESSAYISTS. POETS. NOVELISTS.
Macaulay, 1800-1859. Mrs. Browning, 1806- Charlotte Bronté,
Carlyle, 1795-1881. 1861. 1816-1855.
Ruskin, 1819-1900. Tennyson, 1809-1892. Dickens, 1812-1870.
Browning, 1812-1889. Thackeray, 1811-1863.
Matthew Arnold, Kingsley, 1819-1875.
poems, 1848-58. George Eliot, 1819-
Rossetti, 1828-82. 1880.
Matthew Arnold, Morris, 1834-96. Reade, 1814-1884.
essays, 1861-82. Swinburne, 1837-1909. Trollope, 1815-1882.
Blackmore, 'Lorna
Doone,' 1869.
Shorthouse,' John
Inglesant,' 1881.
Meredith, 1828-1910.
Thomas Hardy, 1840-
Stevenson, 1850-1894.
Kipling, 1865- Kipling, 1865-
REFERENCE BOOKS
It is not a part of the plan of this book to present any extended
bibliography, but there are certain reference books to which the student's
attention should be called. 'Chambers' Cyclopedia of English Literature,'
edition of 1910, published in the United States by the J. B. Lippincott Co.
in three large volumes at $15.00 (generally sold at about half that price)
is in most parts very satisfactory. Garnett and Gosse's 'Illustrated
History of English Literature, four volumes, published by the Macmillan Co.
at $20.00 and in somewhat simpler form by Grosset and Dunlap at $12.00
(sold for less) is especially valuable for its illustrations. Jusserand's
'Literary History of the English People' (to 1642, G. P. Putnam's Sons,
three volumes, $3.50 a volume) should be mentioned. Courthope's 'History of
English Poetry' (Macmillan, six volumes, $3.25 a volume), is full and after
the first volume good. 'The Cambridge History of English Literature,' now
nearing completion in fourteen volumes (G. P. Putnam's Sons, $2.50 a
volume) is the largest and in most parts the most scholarly general work in
the field, but is generally too technical except for special students. The
short biographies of many of the chief English authors in the English Men
of Letters Series (Macmillan, 30 and 75 cents a volume) are generally
admirable. For appreciative criticism of some of the great poets the essays
of Lowell and of Matthew Arnold are among the best. Frederick Byland's
'Chronological Outlines of English Literature' (Macmillan, $1.00) is very
useful for reference though now much in need of revision. It is much to be
desired that students should have at hand for consultation some good short
history of England, such as that of S. E. Gardiner (Longmans, Green, and
Co.) or that of J. R. Green.
CHAPTER I
PERIOD I. THE BRITONS AND THE ANGLO-SAXONS. TO A. D. 1066.
FOREWORD. The two earliest of the nine main divisions of English Literature
are by far the longest--taken together are longer than all the others
combined--but we shall pass rather rapidly over them. This is partly
because the amount of thoroughly great literature which they produced is
small, and partly because for present-day readers it is in effect a foreign
literature, written in early forms of English or in foreign languages, so
that to-day it is intelligible only through special study or in
translation.
THE BRITONS. The present English race has gradually shaped itself out of
several distinct peoples which successively occupied or conquered the
island of Great Britain. The earliest one of these peoples which need here
be mentioned belonged to the Celtic family and was itself divided into two
branches. The Goidels or Gaels were settled in the northern part of the
island, which is now Scotland, and were the ancestors of the present
Highland Scots. On English literature they exerted little or no influence
until a late period. The Britons, from whom the present Welsh are
descended, inhabited what is now England and Wales; and they were still
further subdivided, like most barbarous peoples, into many tribes which
were often at war with one another. Though the Britons were conquered and
chiefly supplanted later on by the Anglo-Saxons, enough of them, as we
shall see, were spared and intermarried with the victors to transmit
something of their racial qualities to the English nation and literature.
The characteristics of the Britons, which are those of the Celtic family as
a whole, appear in their history and in the scanty late remains of their
literature. Two main traits include or suggest all the others: first, a
vigorous but fitful emotionalism which rendered them vivacious, lovers of
novelty, and brave, but ineffective in practical affairs; second, a
somewhat fantastic but sincere and delicate sensitiveness to beauty. Into
impetuous action they were easily hurried; but their momentary ardor easily
cooled into fatalistic despondency. To the mysterious charm of Nature--of
hills and forests and pleasant breezes; to the loveliness and grace of
meadow-flowers or of a young man or a girl; to the varied sheen of rich
colors--to all attractive objects of sight and sound and motion their fancy
responded keenly and joyfully; but they preferred chiefly to weave these
things into stories and verse of supernatural romance or vague
suggestiveness; for substantial work of solider structure either in life or
in literature they possessed comparatively little faculty. Here is a
description (exceptionally beautiful, to be sure) from the story 'Kilhwch
and Olwen':
'The maid was clothed in a robe of flame-colored silk, and about her neck
was a collar of ruddy gold, on which were precious emeralds and rubies.
More yellow was her head than the flowers of the broom, and her skin was
whiter than the foam of the wave, and fairer were her hands and her fingers
than the blossoms of the wood anemone amidst the spray of the meadow
fountain. The eye of the trained hawk, the glance of the three-mewed
falcon, was not brighter than hers. Her bosom was more snowy than the
breast of the white swan, her cheeks were redder than the reddest roses.
Who beheld her was filled with her love. Pour white trefoils sprang up
wherever she trod. And therefore was she called Olwen.'
This charming fancifulness and delicacy of feeling is apparently the great
contribution of the Britons to English literature; from it may perhaps be
descended the fairy scenes of Shakspere and possibly to some extent the
lyrical music of Tennyson.
THE ROMAN OCCUPATION. Of the Roman conquest and occupation of Britain
(England and Wales) we need only make brief mention, since it produced
virtually no effect on English literature. The fact should not be forgotten
that for over three hundred years, from the first century A. D. to the
beginning of the fifth, the island was a Roman province, with Latin as the
language of the ruling class of Roman immigrants, who introduced Roman
civilization and later on Christianity, to the Britons of the towns and
plains. But the interest of the Romans in the island was centered on other
things than writing, and the great bulk of the Britons themselves seem to
have been only superficially affected by the Roman supremacy. At the end of
the Roman rule, as at its beginning, they appear divided into mutually
jealous tribes, still largely barbarous and primitive.
The Anglo-Saxons. Meanwhile across the North Sea the three Germanic tribes
which were destined to form the main element in the English race were
multiplying and unconsciously preparing to swarm to their new home. The
Angles, Saxons, and Jutes occupied territories in the region which includes
parts of the present Holland, of Germany about the mouth of the Elbe, and
of Denmark. They were barbarians, living partly from piratical expeditions
against the northern and eastern coasts of Europe, partly from their flocks
and herds, and partly from a rude sort of agriculture. At home they seem to
have sheltered themselves chiefly in unsubstantial wooden villages, easily
destroyed and easily abandoned; For the able-bodied freemen among them the
chief occupation, as a matter of course, was war. Strength, courage, and
loyalty to king and comrades were the chief virtues that they admired;
ferocity and cruelty, especially to other peoples, were necessarily among
their prominent traits when their blood was up; though among themselves
there was no doubt plenty of rough and ready companionable good-humor.
Their bleak country, where the foggy and unhealthy marshes of the coast
gave way further inland to vast and somber forests, developed in them
during their long inactive winters a sluggish and gloomy mood, in which,
however, the alternating spirit of aggressive enterprise was never
quenched. In religion they had reached a moderately advanced state of
heathenism, worshipping especially, it seems, Woden, a 'furious' god as
well as a wise and crafty one; the warrior Tiu; and the strong-armed Thunor
(the Scandinavian Thor); but together with these some milder deities like
the goddess of spring, Éostre, from whom our Easter is named. For the
people on whom they fell these barbarians were a pitiless and terrible
scourge; yet they possessed in undeveloped form the intelligence, the
energy, the strength--most of the qualities of head and heart and
body--which were to make of them one of the great world-races.
THE ANGLO-SAXON CONQUEST AND SETTLEMENT. The process by which Britain
became England was a part of the long agony which transformed the Roman
Empire into modern Europe. In the fourth century A. D. the Angles, Saxons,
and Jutes began to harry the southern and eastern shores of Britain, where
the Romans were obliged to maintain a special military establishment
against them. But early in the fifth century the Romans, hard-pressed even
in Italy by other barbarian invaders, withdrew all their troops and
completely abandoned Britain. Not long thereafter, and probably before the
traditional date of 449, the Jutes, Angles, and Saxons began to come in
large bands with the deliberate purpose of permanent settlement. Their
conquest, very different in its methods and results from that of the
Romans, may roughly be said to have occupied a hundred and fifty or two
hundred years. The earlier invading hordes fixed themselves at various
points on the eastern and southern shore and gradually fought their way
inland, and they were constantly augmented by new arrivals. In general the
Angles settled in the east and north and the Saxons in the south, while the
less numerous Jutes, the first to come, in Kent, soon ceased to count in
the movement. In this way there naturally came into existence a group of
separate and rival kingdoms, which when they were not busy with the Britons
were often at war with each other. Their number varied somewhat from time
to time as they were united or divided; but on the whole, seven figured
most prominently, whence comes the traditional name 'The Saxon Heptarchy'
(Seven Kingdoms). The resistance of the Britons to the Anglo-Saxon advance
was often brave and sometimes temporarily successful. Early in the sixth
century, for example, they won at Mount Badon in the south a great victory,
later connected in tradition with the legendary name of King Arthur, which
for many years gave them security from further aggressions. But in the long
run their racial defects proved fatal; they were unable to combine in
permanent and steady union, and tribe by tribe the newcomers drove them
slowly back; until early in the seventh century the Anglo-Saxons were in
possession of nearly all of what is now England, the exceptions being the
regions all along the west coast, including what has ever since been, known
as Wales.
Of the Roman and British civilization the Anglo-Saxons were ruthless
destroyers, exulting, like other barbarians, in the wanton annihilation of
things which they did not understand. Every city, or nearly every one,
which they took, they burned, slaughtering the inhabitants. They themselves
occupied the land chiefly as masters of scattered farms, each warrior
established in a large rude house surrounded by its various outbuildings
and the huts of the British slaves and the Saxon and British bondmen. Just
how largely the Britons were exterminated and how largely they were kept
alive as slaves and wives, is uncertain; but it is evident that at least a
considerable number were spared; to this the British names of many of our
objects of humble use, for example _mattoc_ and _basket_, testify.
In the natural course of events, however, no sooner had the Anglo-Saxons
destroyed the (imperfect and partial) civilization of their predecessors
than they began to rebuild one for themselves; possessors of a fertile
land, they settled down to develop it, and from tribes of lawless fighters
were before long transformed into a race of farmer-citizens. Gradually
trade with the Continent, also, was reestablished and grew; but perhaps the
most important humanizing influence was the reintroduction of Christianity.
The story is famous of how Pope Gregory the Great, struck by the beauty of
certain Angle slave-boys at Rome, declared that they ought to be called not
_Angli_ but _Angeli_ (angels) and forthwith, in 597, sent to
Britain St. Augustine (not the famous African saint of that name), who
landed in Kent and converted that kingdom. Within the next two generations,
and after much fierce fighting between the adherents of the two religions,
all the other kingdoms as well had been christianized. It was only the
southern half of the island, however, that was won by the Roman
missionaries; in the north the work was done independently by preachers
from Ireland, where, in spite of much anarchy, a certain degree of
civilization had been preserved. These two types of Christianity, those of
Ireland and of Rome, were largely different in spirit. The Irish
missionaries were simple and loving men and won converts by the beauty of
their lives; the Romans brought with them the architecture, music, and
learning of their imperial city and the aggressive energy which in the
following centuries was to make their Church supreme throughout the Western
world. When the inevitable clash for supremacy came, the king of the
then-dominant Anglian kingdom, Northumbria, made choice of the Roman as
against the Irish Church, a choice which proved decisive for the entire
island. And though our personal sympathies may well go to the
finer-spirited Irish, this outcome was on the whole fortunate; for only
through religious union with Rome during the slow centuries of medieval
rebirth could England be bound to the rest of Europe as one of the family
of coöperating Christian states; and outside that family she would have
been isolated and spiritually starved.
One of the greatest gifts of Christianity, it should be observed, and one
of the most important influences in medieval civilization, was the network
of monasteries which were now gradually established and became centers of
active hospitality and the chief homes of such learning as was possible to
the time.
ANGLO-SAXON POETRY. THE EARLY PAGAN POETRY AND 'BÉOWULF.' The Anglo-Saxons
doubtless brought with them from the Continent the rude beginnings of
poetry, such as come first in the literature of every people and consist
largely of brief magical charms and of rough 'popular ballads' (ballads of
the people). The charms explain themselves as an inevitable product of
primitive superstition; the ballads probably first sprang up and developed,
among all races, in much the following way. At the very beginning of human
society, long before the commencement of history, the primitive groups of
savages who then constituted mankind were instinctively led to express
their emotions together, communally, in rhythmical fashion. Perhaps after
an achievement in hunting or war the village-group would mechanically fall
into a dance, sometimes, it might be, about their village fire. Suddenly
from among the inarticulate cries of the crowd some one excited individual
would shout out a fairly distinct rhythmical expression. This expression,
which may be called a line, was taken up and repeated by the crowd; others
might be added to it, and thus gradually, in the course of generations,
arose the regular habit of communal composition, composition of something
like complete ballads by the throng as a whole. This procedure ceased to be
important everywhere long before the literary period, but it led to the
frequent composition by humble versifiers of more deliberate poems which
were still 'popular' because they circulated by word of mouth, only, from
generation to generation, among the common people, and formed one of the
best expressions of their feeling. At an early period also professional
minstrels, called by the Anglo-Saxons scops or gleemen, disengaged
themselves from the crowd and began to gain their living by wandering from
village to village or tribe to tribe chanting to the harp either the
popular ballads or more formal poetry of their own composition. Among all
races when a certain stage of social development is reached at least one
such minstrel is to be found as a regular retainer at the court of every
barbarous chief or king, ready to entertain the warriors at their feasts,
with chants of heroes and battles and of the exploits of their present
lord. All the earliest products of these processes of 'popular' and
minstrel composition are everywhere lost long before recorded literature
begins, but the processes themselves in their less formal stages continue
among uneducated people (whose mental life always remains more or less
primitive) even down to the present time.
Out of the popular ballads, or, chiefly, of the minstrel poetry which is
partly based on them, regularly develops epic poetry. Perhaps a minstrel
finds a number of ballads which deal with the exploits of a single hero or
with a single event. He combines them as best he can into a unified story
and recites this on important and stately occasions. As his work passes
into general circulation other minstrels add other ballads, until at last,
very likely after many generations, a complete epic is formed, outwardly
continuous and whole, but generally more or less clearly separable on
analysis into its original parts. Or, on the other hand, the combination
may be mostly performed all at once at a comparatively late period by a
single great poet, who with conscious art weaves together a great mass of
separate materials into the nearly finished epic.
Not much Anglo-Saxon poetry of the pagan period has come down to us. By far
the most important remaining example is the epic 'Béowulf,' of about three
thousand lines. This poem seems to have originated on the Continent, but
when and where are not now to be known. It may have been carried to England
in the form of ballads by the Anglo-Saxons; or it may be Scandinavian
material, later brought in by Danish or Norwegian pirates. At any rate it
seems to have taken on its present form in England during the seventh and
eighth centuries. It relates, with the usual terse and unadorned power of
really primitive poetry, how the hero Beowulf, coming over the sea to the
relief of King Hrothgar, delivers him from a monster, Grendel, and then
from the vengeance of Grendel's only less formidable mother. Returned home
in triumph, Beowulf much later receives the due reward of his valor by
being made king of his own tribe, and meets his death while killing a
fire-breathing dragon which has become a scourge to his people. As he
appears in the poem, Béowulf is an idealized Anglo-Saxon hero, but in
origin he may have been any one of several other different things. Perhaps
he was the old Germanic god Béowa, and his exploits originally allegories,
like some of those in the Greek mythology, of his services to man; he may,
for instance, first have been the sun, driving away the mists and cold of
winter and of the swamps, hostile forces personified in Grendel and his
mother. Or, Béowulf may really have been a great human fighter who actually
killed some especially formidable wild beasts, and whose superhuman
strength in the poem results, through the similarity of names, from his
being confused with Béowa. This is the more likely because there is in the
poem a slight trace of authentic history. (See below, under the assignments
for study.)
'Béowulf' presents an interesting though very incomplete picture of the
life of the upper, warrior, caste among the northern Germanic tribes during
their later period of barbarism on the Continent and in England, a life
more highly developed than that of the Anglo-Saxons before their conquest
of the island. About King Hrothgar are grouped his immediate retainers, the
warriors, with whom he shares his wealth; it is a part of the character, of
a good king to be generous in the distribution of gifts of gold and
weapons. Somewhere in the background there must be a village, where the
bondmen and slaves provide the daily necessaries of life and where some of
the warriors may have houses and families; but all this is beneath the
notice of the courtly poet. The center of the warriors' life is the great
hall of the king, built chiefly of timber. Inside, there are benches and
tables for feasting, and the walls are perhaps adorned with tapestries.
Near the center is the hearth, whence the smoke must escape, if it escapes
at all, through a hole in the roof. In the hall the warriors banquet,
sometimes in the company of their wives, but the women retire before the
later revelry which often leaves the men drunk on the floor. Sometimes, it
seems, there are sleeping-rooms or niches about the sides of the hall, but
in 'Béowulf' Hrothgar and his followers retire to other quarters. War,
feasting, and hunting are the only occupations in which the warriors care
to be thought to take an interest.
The spirit of the poem is somber and grim. There is no unqualified
happiness of mood, and only brief hints of delight in the beauty and joy of
the world. Rather, there is stern satisfaction in the performance of the
warrior's and the sea-king's task, the determination of a strong-willed
race to assert itself, and do, with much barbarian boasting, what its hand
finds to do in the midst of a difficult life and a hostile nature. For the
ultimate force in the universe of these fighters and their poets (in spite
of certain Christian touches inserted by later poetic editors before the
poem crystallized into its present form) is Wyrd, the Fate of the Germanic
peoples, cold as their own winters and the bleak northern sea,
irresistible, despotic, and unmoved by sympathy for man. Great as the
differences are, very much of this Anglo-Saxon pagan spirit persists
centuries later in the English Puritans.
For the finer artistic graces, also, and the structural subtilties of a
more developed literary period, we must not, of course, look in 'Béowulf.'
The narrative is often more dramatic than clear, and there is no thought of
any minuteness of characterization. A few typical characters stand out
clearly, and they were all that the poet's turbulent and not very attentive
audience could understand. But the barbaric vividness and power of the poem
give it much more than a merely historical interest; and the careful reader
cannot fail to realize that it is after all the product of a long period of
poetic development.
THE ANGLO-SAXON VERSE-FORM. The poetic form of 'Béowulf' is that of
virtually all Anglo-Saxon poetry down to the tenth century, or indeed to
the end, a form which is roughly represented in the present book in a
passage of imitative translation two pages below. The verse is unrimed, not
arranged in stanzas, and with lines more commonly end-stopped (with
distinct pauses at the ends) than is true in good modern poetry. Each line
is divided into halves and each half contains two stressed syllables,
generally long in quantity. The number of unstressed syllables appears to a
modern eye or ear irregular and actually is very unequal, but they are
really combined with the stressed ones into 'feet' in accordance with
certain definite principles. At least one of the stressed syllables in each
half-line must be in alliteration with one in the other half-line; and most
often the alliteration includes both stressed syllables in the first
halfline and the first stressed syllable in the second, occasionally all
four stressed syllables. (All vowels are held to alliterate with each
other.) It will be seen therefore that (1) emphatic stress and (2)
alliteration are the basal principles of the system. To a present-day
reader the verse sounds crude, the more so because of the harshly
consonantal character of the Anglo-Saxon language; and in comparison with
modern poetry it is undoubtedly unmelodious. But it was worked out on
conscious artistic principles, carefully followed; and when chanted, as it
was meant to be, to the harp it possessed much power and even beauty of a
vigorous sort, to which the pictorial and metaphorical wealth of the
Anglo-Saxon poetic vocabulary largely contributed.
This last-named quality, the use of metaphors, is perhaps the most
conspicuous one in the _style_, of the Anglo-Saxon poetry. The
language, compared to that of our own vastly more complex time, was
undeveloped; but for use in poetry, especially, there were a great number
of periphrastic but vividly picturesque metaphorical synonyms (technically
called _kennings_). Thus the spear becomes 'the slaughter-shaft';
fighting 'hand-play'; the sword 'the leavings of the hammer' (or 'of the
anvil'); and a ship 'the foamy-necked floater.' These kennings add much
imaginative suggestiveness to the otherwise over-terse style, and often
contribute to the grim irony which is another outstanding trait.
ANGLO-SAXON POETRY. THE NORTHUMBRIAN PERIOD. The Anglo-Saxons were for a
long time fully occupied with the work of conquest and settlement, and
their first literature of any importance, aside from 'Beowulf,' appears at
about the time when 'Beowulf' was being put into its present form, namely
in the seventh century. This was in the Northern, Anglian, kingdom of
Northumbria (Yorkshire and Southern Scotland), which, as we have already
said, had then won the political supremacy, and whose monasteries and
capital city, York, thanks to the Irish missionaries, had become the chief
centers of learning and culture in Western Christian Europe. Still pagan in
spirit are certain obscure but, ingenious and skillfully developed riddles
in verse, representatives of one form of popular literature only less early
than the ballads and charms. There remain also a few pagan lyric poems,
which are all not only somber like 'Beowulf' but distinctly elegiac, that
is pensively melancholy. They deal with the hard and tragic things in life,
the terrible power of ocean and storm, or the inexorableness and dreariness
of death, banishment, and the separation of friends. In their frequent
tender notes of pathos there may be some influence from the Celtic spirit.
The greater part of the literature of the period, however, was Christian,
produced in the monasteries or under their influence. The first Christian
writer was Caedmon (pronounced Kadmon), who toward the end of the seventh
century paraphrased in Anglo-Saxon verse some portions of the Bible. The
legend of his divine call is famous. [Footnote: It may be found in Garnett
and Gosse, I, 19-20.] The following is a modern rendering of the hymn which
is said to have been his first work:
Now must we worship the heaven-realm's Warder,
The Maker's might and his mind's thought,
The glory-father's work as he every wonder,
Lord everlasting, of old established.
He first fashioned the firmament for mortals,
Heaven as a roof, the holy Creator.
Then the midearth mankind's Warder,
Lord everlasting, afterwards wrought,
For men a garden, God almighty.
After Caedmon comes Bede, not a poet but a monk of strong and beautiful
character, a profound scholar who in nearly forty Latin prose works
summarized most of the knowledge of his time. The other name to be
remembered is that of Cynewulf (pronounced Kinnywulf), the author of some
noble religious poetry (in Anglo-Saxon), especially narratives dealing with
Christ and Christian Apostles and heroes. There is still other Anglo-Saxon
Christian poetry, generally akin in subjects to Cynewulf's, but in most of
the poetry of the whole period the excellence results chiefly from the
survival of the old pagan spirit which distinguishes 'Beowulf'. Where the
poet writes for edification he is likely to be dull, but when his story
provides him with sea-voyages, with battles, chances for dramatic dialogue,
or any incidents of vigorous action or of passion, the zest for adventure
and war rekindles, and we have descriptions and narratives of picturesque
color and stern force. Sometimes there is real religious yearning, and
indeed the heroes of these poems are partly medieval hermits and ascetics
as well as quick-striking fighters; but for the most part the Christian
Providence is really only the heathen Wyrd under another name, and God and
Christ are viewed in much the same way as the Anglo-Saxon kings, the
objects of feudal allegiance which is sincere but rather self-assertive and
worldly than humble or consecrated.
On the whole, then, Anglo-Saxon poetry exhibits the limitations of a
culturally early age, but it manifests also a degree of power which gives
to Anglo-Saxon literature unquestionable superiority over that of any other
European country of the same period.
THE WEST-SAXON, PROSE, PERIOD. The horrors which the Anglo-Saxons had
inflicted on the Britons they themselves were now to suffer from their
still heathen and piratical kinsmen the 'Danes' or Northmen, inhabitants or
the Scandinavian peninsula and the neighboring coasts. For a hundred years,
throughout the ninth century, the Danes, appearing with unwearied
persistence, repeatedly ravaged and plundered England, and they finally
made complete conquest of Northumbria, destroyed all the churches and
monasteries, and almost completely extinguished learning. It is a familiar
story how Alfred, king from 871 to 901 of the southern kingdom of Wessex
(the land of the West Saxons), which had now taken first place among the
Anglo-Saxon states, stemmed the tide of invasion and by ceding to the
'Danes' the whole northeastern half of the island obtained for the
remainder the peace which was the first essential for the reestablishment
of civilization. Peace secured, Alfred, who was one of the greatest of all
English kings, labored unremittingly for learning, as for everything else
that was useful, and he himself translated from Latin into Anglo-Saxon half
a dozen of the best informational manuals of his time, manuals of history,
philosophy, and religion. His most enduring literary work, however, was the
inspiration and possibly partial authorship of the 'Anglo-Saxon Chronicle,'
a series of annals beginning with the Christian era, kept at various
monasteries, and recording year by year (down to two centuries and a half
after Alfred's own death), the most important events of history, chiefly
that of England. Most of the entries in the 'Chronicle' are bare and brief,
but sometimes, especially in the accounts of Alfred's own splendid
exploits, a writer is roused to spirited narrative, occasionally in verse;
and in the tenth century two great battles against invading Northmen, at
Brunanburh and Maldon, produced the only important extant pieces of
Anglo-Saxon poetry which certainly belong to the West Saxon period.
For literature, indeed, the West-Saxon period has very little permanent
significance. Plenty of its other writing remains in the shape of religious
prose--sermons, lives and legends of saints, biblical paraphrases, and
similar work in which the monastic and priestly spirit took delight, but
which is generally dull with the dulness of medieval commonplace
didacticism and fantastic symbolism. The country, too, was still distracted
with wars. Within fifty years after Alfred's death, to be sure, his
descendants had won back the whole of England from 'Danish' rule (though
the 'Danes,' then constituting half the population of the north and east,
have remained to the present day a large element in the English race). But
near the end of the tenth century new swarms of 'Danes' reappeared from the
Baltic lands, once more slaughtering and devastating, until at last in the
eleventh century the 'Danish' though Christian Canute ruled for twenty
years over all England. In such a time there could be little intellectual
or literary life. But the decline of the Anglo-Saxon literature speaks also
partly of stagnation in the race itself. The people, though still sturdy,
seem to have become somewhat dull from inbreeding and to have required an
infusion of altogether different blood from without. This necessary
renovation was to be violently forced upon them, for in 1066 Duke William
of Normandy landed at Pevensey with his army of adventurers and his
ill-founded claim to the crown, and before him at Hastings fell the gallant
Harold and his nobles. By the fortune of this single fight, followed only
by stern suppression of spasmodic outbreaks, William established himself
and his vassals as masters of the land. England ceased to be Anglo-Saxon
and became, altogether politically, and partly in race, Norman-French, a
change more radical and far-reaching than any which it has since undergone.
[Footnote: Vivid though inaccurate pictures of life and events at the time
of the Norman Conquest are given in Bulwer-Lytton's 'Harold' and Charles
Kingsley's 'Hereward the Wake.' Tennyson's tragedy 'Harold' is much better
than either, though more limited in scope.]