By telling the story and giving some explanation of difficult terms, we are often able to create an interest in poems that would otherwise remain unread. The best of old English ballads are so full of martial spirit that they may well prove an inspiration to many a boy in these days when war has so recently rent the whole world and proved the courage of our own young men. Back of the action that brought bloodshed and suffering is a spirit of loyalty, a genuine patriotism that is as much needed now as when it animated the souls of the British soldiery in those days of long ago. It is part of our inheritance, and may not be forgotten. It is to be hoped that we may never need it again amid the smoke and carnage of the battlefield, or in the silent horror of the trenches, but we have each for himself conflicts to wage with foes more insidious than the armed forces of rival nations, and we can win them only by the same spirit of devotion that brought victory at Agincourt. The Ballad of Agincourt (Volume V, page 95), is followed by notes that make clear its historical setting, but a few comments may help to a better appreciation of the inspirational value of the selection.
It is natural that in verses written about three hundred years ago there should be found some crudities in style, some lapses in syntax, and not a few words strange to us or having a meaning somewhat different from their present significance. Among such lapses in syntax we find the slight confusion of tenses in the first stanza, caused in the poet’s mind by the necessity of making a rhyme for France, though this might have been obviated by writing “stands” for “stood” and using the present tense throughout. The necessities of rhyme troubled Drayton not a little: he must pronounce “Agincourt” as it is written to rhyme with “sort,” which, by the way, is not a perfect rhyme for “fort” in the sixth stanza, and “great” does not rhyme with “seat” nor “feat”; in the seventh, “rear,” “there” and “were” do not rhyme; other instances are easily found. Of words not now familiar, or used in an unfamiliar sense, the following are examples: We do not frequently speak of the wind “standing” in a certain direction; we do not often “advance” our sails nor “prove” our chance; “vaward” and “bilboes” are old words; “ding” in the sense used here has long been forgotten; of “archery” except as a sport we know nothing; “Spanish yew” is no longer valuable for bows, and few can tell how long a “clothyard” (the English ell, 45 inches long) is, or whether it differs from any other “yard” as a measure of length.
If the things just mentioned are defects they are of little moment and add to the quaintness of the verses without detracting from their force. Anyone who reads for inspiration and for his own betterment puts aside the critical spirit, places himself in the position of the writer, harmonizes thoughts and reads for the message without much concern for the medium. But there are force, action, rhythm, clearness and beauty in this old ballad. Let us see what we can find without carrying analysis to the point where it destroys the spirit. All we need is an understanding of the meaning of the sentences and an expressive reading aloud. The former, we can supply here, the latter the reader must contribute. Poetry must be read aloud to be appreciated by any but those who can listen to their thoughts and hear the words their eyes garner from the printed page. Such readers are few.
Here is the paraphrase that makes the meaning clear.
With a wind blowing straight for France the English soldiery spread their sails to try one more campaign against their ancient enemies. Crossing the open sea they landed at the mouth of the Seine river, following King Henry and his noble courtiers.
There was fighting all the way, and many a strongly garrisoned fort was taken, to the joy of all the English. Every day had its skirmish with the French, who stoutly defended the way to Agincourt where lay their commander with all his great army of fifty thousand men. Here the Frenchman sent to King Henry the sarcastic message: “You are going to your doom. Better get your ransom ready before you advance further.” To this insult the English king made no answer, but an angry smile that foreshadowed the fall of his vile opponents flashed from his eyes.
Turning to his men, however, the brave king spoke: “Don’t be alarmed if they do outnumber us ten to one. We have begun nobly. Battles so bravely won as these we have fought, have always been lauded to the skies. Your fame shall never die. And as for myself, this is my task. I shall not ask England to mourn for me nor to praise me. If I am not victor here, or if I am slain, never shall she be asked for one penny to redeem me. From the great battles of Poitiers and Cressy we learn that when the French were the most swollen with pride they fell beneath our swords. Our skill is none the less than that of those who fought under our great grandsire when he defeated the French and cut their national emblems to the ground.”
What a battle array it was! The vanguard was led by the dread Duke of York; the king himself in the midst of his brave guards sped in the center with the main body of the troops, while the valiant rearguard was captained by Excester, courageous as any man in the great army.
And now the fight begins! Armour on armour shines; drum now to drum does groan,—to hear is wonder; that, with the cries they make, shakes the very earth; trumpet to trumpet speaks, thunder to thunder.
From the ambuscade of our hidden forces the noble Erpingham gives the signal for the English archers to fire. Now like a storm the cloth-yard-long arrows sped by the strong bows of Spanish yew strike the French horses, stinging them like serpents through the withers. Every bowman stands to his place, not one deserting; every true English heart rejoices in the slaughter.