Of Layamon, Garnett said in his "English Literature" (Garnett and Gosse): "It would have sufficed for the fame of Layamon had he been no more than the first minstrel to celebrate Arthur in English song, but his own pretensions as a poet are by no means inconsiderate. He is everywhere vigorous and graphic, and improved upon his predecessor, Wace, alike by his additions and expansions, and by his more spiritual handling of the subjects common to both." Even more important in the history of language than these is The Ancren Riwle (The Anchorites' Rule). This was probably written by Richard Poore, Bishop of Salisbury, for three Cistercian nuns. Its place in English literature may be judged from a quotation or two with regard to it. Mr. Kington-Oliphant says: "The Ancren Riwle is the forerunner of a wondrous change in our speech. More than anything else written outside the Danelagh, that piece has influenced our standard [{451}] English." Garnett says: "The Ancren Riwle is a work of great literary merit and, in spite of its linguistic innovations, most of which have established themselves, well deserves to be described as 'one of the most perfect models of simple eloquent prose in our language.'"
The religious poetry of the time is not behind the great prose of The Ancren Riwle, and one of them, the Luve Ron (Love Song) of Thomas de Hales, is very akin to the spirit of that work, and has been well described as "a contemplative lyric of the simplest, noblest mold." Garnett says: "The reflections are such as are common to all who have in all ages pleaded for the higher life under whatsoever form, and deplored the frailty and transitoriness of man's earthly estate. Two stanzas on the latter theme as expressed in a modernized version might almost pass for Villon's:—
"Paris and Helen, where are they,
Fairest in beauty, bright to view?
Amadas, Tristrem, Ideine, yea
Isold, that lived with love so true?
And Caesar, rich in power and sway,
Hector the strong, with might to do?
All glided from earth's realm away,
Like shaft that from the bow-string flew.
"It is as if they ne'er were here.
Their wondrous woes have been a' told,
That it is sorrow but to hear;
How anguish killed them sevenfold,
And how with dole their lives were drear;
Now is their heat all turned to cold.
Thus this world gives false hope, false fear;
A fool, who in her strength is bold."
XVIII. GREAT ORIGINS IN MUSIC.
In the chapter on the Great Latin Hymns a few words were said about one phase of the important musical development in the Thirteenth Century, that of plain chant. In that simple mode the musicians of the Thirteenth Century succeeded in reaching a climax of expression of human feeling in such chants as the Exultet and the Lamentation that has never been surpassed. Something was also said about the origin of part music, but so little that it might easily be thought that in this the century lagged far behind its achievements in other departments. M, Pierre Aubry has recently published (1909) Cent Motets du XIIIe Siècle in three volumes. His first volume contains a photographic reproduction of the manuscript of Bamberg from which the hundred musical modes are secured, the second a transcription in modern musical notation of the old music, and the third volume studies and commentaries on the music and the times. If anything were needed to show how utterly ignorant we have been of the interests and artistic achievements of the Middle Ages, it is this book of M. Aubry.
Victor Hugo said that music dates from the Sixteenth Century, and it has been quite the custom, even for people who thought they [{452}] knew something about music, to declare that we had no remains of any music before the Sixteenth Century worth while talking about. Ancient music is probably lost to us forever, but M. Aubry has shown conclusively that we have abundant remains to show us that the musicians of the Thirteenth Century devoted themselves to their art with as great success as their rivals in the other Gothic arts and, indeed, they thought that they had nearly exhausted its possibilities and tried to make a science of it. By their supposedly scientific rules they succeeded in binding music so firmly as to bring about its obscuration in succeeding centuries. This is, however, the old story of what has happened in every art whenever genius succeeds in finding a great mode of expression. A formula is evolved which often binds expression so rigorously as to prevent natural development.
XIX. A CHAPTER ON MANNERS.
Whatever the people of the Middle Ages may have been in morals, their manners are supposed to have been about as lacking in refinement as possible. As for nearly everything else, however, this impression is utterly false, and is due to the assumption that because we are better-mannered than the generations of a century or two ago, therefore we must be almost infinitely in advance, in the same respect, of the people of seven centuries ago. There are ups and downs in manners, however, as there are in education, and the beginnings of the formal setting forth of modern manners are, like everything else modern, to be found in the Thirteenth Century. About the year 1215 Thomasin Zerklaere wrote in German a rather lengthy treatise, Der Wälsche Gast, on manners. It contains most of the details of polite conduct that have been accepted in later times. Not long afterwards, John Garland, an Oxford man who had lived in France for many years, wrote a book on manners for English young men. He meant this to be a supplement to Dionysius Cato's treatise, written probably in the Fourth Century in Latin, which was concerned more with morals than manners and had been very popular during the Middle Ages. Garland's book was the first of a series of such treatises on manners which appeared in England at the close of the Middle Ages. Many of them have been recently republished, and are a revelation of the development of manners among our English forefathers. The book is usually alluded to in literature as Liber Faceti, or as Facet; the full title was, "The Book of the Polite Man, Teaching Manners for Men, Especially for Boys, as a Supplement to those which were Omitted by the Most Moral Cato." The "Romance of the Rose" has, of course, many references to manners which show us how courtesy was cultivated in France. In Italy, Dante's teacher, Bruneto Latini, published his "Tesoretto," which treats of manners, and which was soon followed by a number of similar treatises in [{453}] Italian. In a word, we must look to the Thirteenth Century for the origin, or at least the definite acceptance, of most of those conventions which make for kindly courtesy among men, and have made possible human society and friendly intercourse in our modern sense of those words.
We are prone to think that refinement in table manners is a matter of distinctly modern times. In "The Babees' Book," which is one of the oldest books of English manners, the date of which in its present form is about the middle of the Fourteenth Century, many of our rules of politeness at table are anticipated. This book is usually looked upon as a compilation from preceding times, and the original of it is supposed to be from the preceding century. A few quotations from it will show how closely it resembles our own instructions to children:
"Thou shalt not laugh nor speak nothing
While thy mouth be full of meat or drink;
Nor sup thou not with great sounding
Neither pottage nor other thing.
At meat cleanse not thy teeth, nor pick
With knife or straw or wand or stick.
While thou holdest meat in mouth, beware
To drink; that is an unhonest chare;
And also physic forbids it quite.
Also eschew, without strife.
To foul the board cloth with thy knife.
Nor blow not on thy drink or meat,
Neither for cold, neither for heat.
Nor bear with meat thy knife to mouth.
Whether thou be set by strong or couth.
Lean not on elbow at thy meat,
Neither for cold nor for heat.
Dip not thy thumb thy drink into;
Thou art uncourteous if thou it do.
In salt-cellar if thou put
Or fish or flesh that men see it,
That is a vice, as men me tells;
And great wonder it would be else."