The foreign debt of English literature

by T. G. Tucker

III
LITERARY CURRENTS OF THE DARK AGES

Latin literature, despite its decline after the classical period, is marked by a number of names which merit eminence in their several domains. The era succeeding the silver age hardly deserves to be called leaden. Literature does, indeed, both descend from the Virgilian and Ciceronian style of language, and also adopt a less classic attitude in its themes and sentiment, but it is not without a life and value of its own. Some of the writers are pagan, some are Christian, but their religious professions are not to be determined by their dates. Apuleius, the African writer, a professional rhetorician and man of letters, who wrote his prose Metamorphoses or Golden Ass in the second century, is, of course, a pagan, and by no means a model one. The work just mentioned, probably based on current folk-tales, is entirely fiction, narrating the story of a man turned by sorcery into an ass, and describing his adventures, scandalous, distressful, or amusing, in the hands of robbers and other low types of a society which, we may trust, was not really so bad as it is here painted. Yet into this otherwise not very edifying work there comes the exquisite story of Cupid and Psyche, which has been so frequently translated or recast in literature—best of all by William Morris in the Earthly Paradise—and so frequently utilized as the subject of pictorial or plastic art.

From the beginning of the third century until the fifth, Christian views find their exponents in Tertullian, Lactantius, Ambrose, Prudentius, Jerome, and Augustine. To Jerome is due in particular that Latin version of the Bible of which the present Vulgate represents successive partial revisions, to Augustine the City of God, to Ambrose the initiation of the Christian hymn, and to Prudentius its development. Christian also is the Gallo-Roman poet Ausonius, of the later fourth century, but his verse is by no means dedicated to Christian teaching. In him appears what might seem to be a modern, if not fully “romantic,” partiality for affectionate observation of natural scenery, best illustrated by his well-known description of the stream and banks of the Moselle.

Meanwhile among pagan writers must be reckoned Ammianus, a picturesque and interesting historian, who undertook to bring the work of Tacitus up to the year 378; Macrobius, whose Saturnalia discourses in a desultory fashion on a variety of literary and social topics; and Claudian, the composer of polished poems on contemporary history, in which extremely skilful polish of verse is united to brilliant gifts of description. The religion of Boethius, the last man of letters who can be said to linger on the border of the classical world, but who in style and thought stands nearer to it than many an earlier writer, is doubtful. In all probability he was a pagan, but he concerned himself, not with religion, but with philosophy as reflected from Plato. His De Consolatione, or Consolations of Philosophy, is a prose work interspersed with verses, and in virtue of this production, which often rises to great excellence, Boethius stood to the Dark Ages for the exemplar of the philosopher. His place in mediaeval reading was a very high one, and may be gauged from the fact that in England Alfred the Great translated his Consolations into Anglo-Saxon, though with insertions and comments of his own. To Chaucer, as to all the mediaeval world, “Boece” was part of the staple library.

During the centuries from the decay of the literature of Rome till the emergence of the modern literatures of western Europe there occur the great migrations of conquering peoples and the forming of the new nations. The Gothic conquests of Italy and Spain, the movements of the Franks, Burgundians, and Lombards, the story of Alaric or Theodoric, of Pharamond or Clovis, belong to history, as do the settlement of the Anglo-Saxon and Danish tribes in Britain and the occupation of Normandy by the men from whom it is named. Against these Teutonic triumphs and their influence to the north must be set the Moslem triumphs and influence to the south. Not only did the Moors conquer and hold for centuries the greater part of the Spanish peninsula, but Sicily also passed for five generations into the hands of the Saracens. In England a national history commences with Alfred at the close of the ninth century, but its development, both from a literary and social point of view, was deeply modified at the Norman Conquest. In France and Germany the empire of Charlemagne, the great fact of the eighth century, had done much towards consolidating culture and reviving learning. At the end of the eleventh century began the Crusades, which helped to bring the western nations into closer touch with each other and also into contact with the Greek world and with legends of the east. Meanwhile, the Christians of north-west Spain were gradually winning back their country from the Moors, but, in the process, absorbing no little of their Arabic culture.

By the twelfth century the modern Romance tongues, Italian, French, Provençal, and Castilian, are sufficiently formed for literary purposes, and the speakers of those languages have attained to the position of steady and settled communities. Though the English language is temporarily in abeyance for literary uses, the English nation is free from further disturbance, while nevertheless it is now happily placed in direct communication with continental tendencies and ideas. In the meantime it must not be forgotten that Europe had now become Christian, and that in the west the teaching of one great Church was common to all the nations.

This long period of disintegration and reconstruction is for the most part so little studied, and is, in fact, comparatively so studiously ignored, that we are apt to forget how long it actually was. The literary productions of nearly seven hundred years are regarded as of so little moment that we forget there were any at all. Yet for a proper comprehension of the inter-relations of literature as affecting the development of our own, it is necessary to form some conception of the various literary currents of these “Dark Ages.”

As might perhaps be anticipated after a survey of the historical movements and situations, we have to reckon with:

(1) Such Latin literature, of classical or later date, as survived after the wreck of the empire and still formed part of, at least, the higher reading.

(2) Such new productions in Latin as appeared before the new tongues were formed.