The foreign debt of English literature

by T. G. Tucker

It will be remembered that the influence of the literature of Greece upon that of England has been exerted in various ways, direct and indirect, and at various epochs; and that it continues still to operate upon us rather more than less, affecting both the matter and the form of what is written in our midst. The literature of Latin, again, has always exercised an influence on every generation, Latin forms and thoughts being imbedded in our English writings beyond all enucleation or analysis. The literature of mediaeval and Renaissance Italy, we shall find, had indeed much to do with shaping and polishing the literature of England during the three hundred years from the time of Chaucer to the time of Milton, but since the last-named period it has played little part in determining what our authors shall say, or how they shall say it.

Prior in date and influence to that of Italy comes the literature of France, with the debts in substance or in manner which we are bound to acknowledge to our neighbours across the Channel. Our purpose does not require that we should pretend to traverse the whole history of French literature. If we dwell upon a certain number of salient topics or famous names, it is because they in particular represent the chief types in the development of French literary history, and either directly or indirectly affect the evolution of our own.

France has, during civilized times, been politically and socially, as well as geographically, so near to us; Englishmen and Englishwomen have been generally so well acquainted with the French language and French books, that it is beyond possibility to determine exactly what effect French models have had and are having upon us, just as on the other hand it is beyond possibility to analyse exactly the effect which English models have had and are having upon France. But, without aiming at this impossible exactitude, we may at least make ourselves aware of such periods and manners of French influence as yield themselves readily to the student’s survey.

It will be found that, though the influence of French literature has been felt in every generation, there are two great periods in particular during which the creations and the critical principles of Frenchmen have dominated those of our own authors. The one is the period between the Conquest and the rise of Chaucer; the second is the period which began in the seventeenth century with writers of the age of Waller and Dryden, and continued till towards the end of the eighteenth century, that is to say, till the time of Cowper and Burns. Approximate dates are, perhaps, necessary here, and the following may roughly serve. From about the year 1100 till about the year 1370, and from about the year 1660 till 1780, England took its cue in many departments of literary work from the matter, the form, and the critical principles of contemporary France. Doubtless at all times there have been borrowings to and fro, but these are the periods when the borrowings have been most one-sided and most palpable. The interval from the maturity of Chaucer till the earlier part of the seventeenth century was more especially the era of Italian influence, introducing and supporting that mightier influence from pagan Greece and pagan Rome which began in what is justly styled the Renaissance. Again, since the latter part of the eighteenth century, the time heralded by Cowper and crowned by Burns, the English have emancipated themselves from direct literary imitation of the French, although, as is briefly stated at the end of this chapter, there have been no few currents of French influence upon various classes of our writers, and, from them, upon the reading public.

Let it then be repeated that two periods especially concern us—the period of the Norman and Plantagenet kings preceding and reaching up to Chaucer, and that period which embraces the literature of the reigns of Charles II, James II, William III, Anne, and the first two Georges; or, to put the latter period more plainly and more suitably in a literary connection, the age of Dryden, of the “Social School,” of the comedy of Wycherley and Congreve, of the essays of Addison and the Spectator, of the verse of Pope, of the prose of David Hume and Samuel Johnson.

The former period corresponds to the era of influence from the Provençal Troubadours and the Northern French Trouvères, from the epic chansons de gestes, the several kinds and cycles of “romances,” the allegories, fabliaux, and other creations of which we must take some special account. The second period answers in particular to the names of Corneille, Racine, Molière, Boileau, Voltaire, and of a number of famous French novelists, letter-writers, and critics. How and in what manner these authors came to tyrannize so completely and so long over English literature will require some terse statement. For the rest, in the period from the writers of the romans and allegories down to Corneille, and again in the period from Rousseau to the present, we shall speak of French authors only as links in the chain of French development in itself, with a passing reference to any value they may have individually for the literature of England.

The greater part of the land of Gaul—the modern France—was at an early date occupied mainly by Celts, akin to, though not precisely identical with, the present Bretons of the north-west corner of the country. There were also Germans in the north-east, and Euskarians in the south-west. Under the Roman empire the land was gradually overrun with Roman settlers, Roman merchants, and Roman soldiers, and Latin naturally became the official language, the language of high society, of literature, and of education.

The mixed people in process of time thus came to speak a provincial Latin, and to call themselves “Romans.” In reality they were very far from being true Romans, and their speech almost was as far from being true Latin. It was both corrupted and also broken up into local dialects. It was, in fact, a blend of Latin with influences from the various native peculiarities. Early in the fifth century a body of Franks, a German people and speaking a German language, invaded the heart of Gaul and permanently held its northern half. It is from them, the Franks, that the whole country obtained the name of “France.” These conquerors brought many a German word—mostly of war and feudalism—into the language of the conquered, and likewise hastened the corruption of their “Latin” syntax. The old Latin of culture became more and more widely severed from everyday speech, and hence “Romance,” the corrupted language of these modern “Romans” of Gaul, was regularly used as a term in direct opposition to the old and literary “Latin.” It came, in fact, to mean the vulgar tongue. It was about the year 800 that, in the northern half of Gaul, the popular or Romance speech was formally recognized. In the tenth century, the Northmen descended on much of this region, and became its masters. Meanwhile the southern half of Gaul, which had been subdued by other German peoples, the Visigoths and Burgundians, was forming its own particular corruption of the Latin, and, among the dialects which arose in that division, the dialect of Provence, in the south-east, took earliest shape and clearest predominance.

Before entering upon any account of “French” literature, we must remove from our minds the conception of France and French as they are, and try to see them as they were in the eleventh and twelfth centuries. North of the Loire are various provinces and a distinctly marked Romance language, the langue d’oïl, or “French.” A Celtic attachment, which has immigrated from Great Britain, exists in Brittany, much Norman blood in the north, and a Frankish influence has modified the Gallo-Roman staple. South of the Loire are other states, and, for the most part, another Romance language, the langue d’oc, or “Provençal,” with leanings rather to an Italian kindred on one side, and a Catalonian-Spanish on the other. Strictly speaking, the langue d’oc extended over the country south of a line drawn from about Charente to the Alps, while Provençal is properly the language of the south-eastern portion of that area. Corresponding to the two divisions of Gaul there arose two different forms and two different spirits of literature, one “French,” one “Provençal.” Later it was a joining of these two forms and spirits (though with a very distinct predominance of the northern) which produced modern French literature, or “French literature” in the ordinary sense; and it was both of them, though chiefly the northern, which largely controlled England during two centuries before Chaucer, and so contributed to the making of that poet and his age.

There is a fact too often forgotten by students of English writing and even of English history. It is that until Chaucer’s time England was only a portion of the King of England’s dominions; the rest was on the continent, in France. Under Henry II, King of England in the later twelfth century, more than half of modern France, namely, Normandy and other provinces north of the Loire, Poitou, Aquitaine and Gascony south of it, were part of an English or Franco-English empire. At the peace of Brétigny in 1360, Poitou, Guienne, and Gascony were still left a portion of the realms of Edward III. This fact of the oneness of England and much of France is of very great importance to early English literature. The court and official tongue, and, in a large degree, the literary language, of England were in any case French. The intercourse between England and the langue d’oïl, and (though less continued) between England and the langue d’oc, was, moreover, intimate and frequent. The writers and minstrels were, in a considerable measure, common to England and to both northern and southern France. No few of the writers belonging to old literature in French, e.g., Walter Map, and Benoît de Ste. More, had their homes in England; among them was Marie de France. The channels of communication were constantly open, and the current flowing and ebbing through.