This allegorical romance is imbued with Provençal fancy, and probably emulated the “Roman de la Rose,” which could not fail to be a favourite with the royal patron, among those French books which he loved. Fertile in invention, it is, however, of the old stock; fresh meads and delicious gardens,—ladies in arbours,—magical trials of armed knights on horses of steel, which, touched by a secret spring, could represent a tourney. We strike the shield at the castle-gate of chivalry, and we view the golden roof of the hall, lighted up by a carbuncle of prodigious size; we repose in chambers walled with silver, and enamelling many a story. There are many noble conceptions among the allegorical gentry. She, whom Graunde Amour first beheld was mounted on her palfrey, flying with the wind, encircled with tongues of fire, and her two milkwhite greyhounds, on whose golden collars are inscribed in diamond letters, Grace and Governance. She is Fame, her palfrey is Pegasus, and her burning tongues are the voice of Posterity! There are some grotesque incidents, as in other romances; a monster wildly created, the offspring of Disdain and Strangeness—a demon composed of the seven metals! We have also a dwarf who has to encounter a giant with seven heads; our subdolous David mounts on twelve steps cut in the rock; and to the surprise of the giant, he discovered in “the boy whom he had mocked,” his equal in stature, and his vanquisher, notwithstanding the inconceivable roar of his seven heads!
Warton transcribed a few lines to show this poet’s “harmonious versification and clear expression;” but this short specimen may convey an erroneous notion. Our verse was yet irregular, and its modulation was accidental rather than settled; the metrical lines of Hawes, for the greater part, must be read rhythmically, it was a barbarism that even later poets still retained. He also affected an ornate diction; and Latin and French terms cast an air of pedantry, more particularly when the euphony of his verse is marred by closing his lines with his elongated polysyllables; he probably imagined that the dimensions of his words necessarily lent a grandeur to his thoughts. With all these defects, Hawes often surpasses himself, and we may be surprised that, in a poem composed in the court of Henry the Seventh, about 1506, the poet should have left us such a minutely-finished picture of female beauty as he has given of La Pucelle; Hawes had been in Italy, and seems with an artist’s eye to have dwelt on some picture of Raphael, in his early manner, or of his master Perugino, in his hard but elaborate style.
The reign of Henry the Seventh was a misty morning of our vernacular literature, but it was the sunrise; and though the road be rough, we discover a few names by which we may begin to count—as we find on our way a mile-stone, which, however rudely cut and worn out, serves to measure our distances.
[1] Speed’s “History,” 995.
[2] This forlorn volume of Anthony’s “Stalls” is now a gem placed in the caskets of black-letter. This poetic romance, by its excessive rarity,—the British Museum is without a copy,—has obtained most extraordinary prices among our collectors. A copy of the first edition at the Roxburgh sale reached 84l., which was sold at Sir M. M. Sykes’ for half the price; later editions, for a fourth. A copy was sold at Heber’s sale for 25l. It may, however, relieve the distress of some curious readers to be informed that it may now be obtained at the most ordinary cost of books. Mr. Southey, with excellent judgment, has preserved the romance in his valuable volume of “Specimens of our Ancient Poets,” from the time of Chaucer; it is to be regretted, however, that the text is not correctly printed, and that the poem has suffered mutilation—six thousand lines seem to have exhausted the patience of the modern typographer. [A more perfect and accurate edition, from that printed in 1555, was published by the Percy Society in 1845, under the editorship of Mr. Thos. Wright.]
FIRST SOURCES OF MODERN HISTORY.