There are few changes in the history of literature more remarkable than that which came over European art in the later years of the eleventh century and the beginning of the twelfth. The epic is concerned with the world of action, the romance is occupied almost exclusively with the world of feeling and emotion. For this is the real character of the romance. It has sometimes been said that the essence of the romance lies in the strange and mysterious circumstances of the world, in stories of mystery and wonder, of fairyland and magic. And it is quite true that it often uses these forms of human experience. But this is not its real quality. From the story of Tristan and the 'lais' of Mary of France, down to the Vita Nuova of Dante, that with which it is occupied is the human heart, its hopes and fears, its joys and sorrows, its exultation and despair. We have only to read the earliest and greatest forms in which the story of Tristan and Iseult have come down to us to see this for ourselves. It is indeed true that we can see or that we can conjecture that behind the present romance there may have lain an epic story of the hero's actions, but what we see now is nothing but the story of the 'infinite passion', the 'infinite pain' of the human heart. It is the story of their fatal love, of the passion which drives them out of the homes of men into the wilderness, the fatal passion which separation only makes deeper, which nothing can change, nothing can end, the story of a man and woman to whom the world is well lost for love. And if you wish to see the whole meaning of life as the romance actually understood it, you have but to turn again to that 'lai' of Mary of France, which tells us in a few lines how Tristan and Iseult, long parted, succeed in meeting in the forest for a few moments—meet and then part—and over it all there is nothing but a certain exquisite sentiment of love and pain, of love and tears.
This romance poetry is indeed strange, so strange that no one has yet succeeded in finding or explaining its real origin. Only the day before, the great artists were singing the gallant deeds of men, but now they can see nothing, think of nothing but the human heart. And what is perhaps strangest of all, this great reality of feeling, of passion, is presented under the form of a world almost wholly unreal and conventional. The men and women of the epic were great heroic figures, of larger stature, of greater passions than the common run, but they were quite real people, moving and acting in the real world. The figures of romance are for the most part, but for the intense reality of their love, the unreal, conventional figures of a world of knights and ladies, of unreal and conventional actions. We understand the epic world, we see and recognize their people, their dwellings, their ways of acting and thinking, but the romantic knights and ladies are mere conventions.
The truth is that the chivalrous or romantic world is unreal, partly perhaps because the artists are occupied with nothing but the emotions, and profound though these are, it is perhaps because of their abstraction that the romance ended in the strange allegorical movement of the thirteenth century. In the hands of the later and lesser poets, the romantic method finally loses almost all sense of personality, and becomes a picture and analysis of abstract emotion. It is to these abstractions that Guillaume de Lorris gave a new life and a singular grace in the personifications of the Romance of the Rose, and the charm and grace of his art carried Europe off its feet, so that for nearly three hundred years it tended to dominate European poetry. Even the greatest artists of these centuries, Dante and Chaucer, at least started with this method, and at the very end of the fifteenth century William Dunbar in Scotland still used it with grace and vivacity.
But I have lingered too long in the Middle Ages. I have done so because, if we could only make more clear to ourselves the homogeneity of the Europe out of which we all came, it would, I think, greatly help to clear up the superstitious exaggeration of the conception of nationality in art. There is not time to deal with it, or we might stay to observe that the characteristic of mediaeval literature is that of all mediaeval art and life. To myself, indeed, it is clear that the notion that the people of the Middle Ages desired or worked for a unified political organization is indeed a great mistake. But, on the other hand, it is equally certain that in general civilization, as in religion, there was a real unity, and that it was only very slowly indeed that the self-conscious nationalities of the modern world were formed out of the welter of the confused races and tribes of Europe: indeed, in some parts of Europe this development was not reached till the nineteenth century and in south-eastern Europe it is only coming to-day.
European art still transcends nationality; in its essence it is differentiated by the personality of the artist, not by the distinction of nationality. This may seem at first sight a paradox, for you may be inclined to say that surely the modern national literatures are in many ways different, you will say that there is surely some great difference between Dutch and Italian painting, some great contrast between English and French poetry. Many people used to speak, perhaps some do still, of the warm and passionate and romantic south, and of the cold and ungracious and passionless north. But this is merely a delusion. Dante is not more imaginative or passionate than Shakespeare.
What is it then which has produced this impression? The answer to the question and the best evidence of the unity of European art will perhaps be found in examining some of the great movements in its history, since the time when the civilization of the Middle Ages reached its highest point in the thirteenth century.
With the fourteenth century we come to the beginning of a movement which culminated in the greatest literature of the modern world, in the drama of England and Spain. But its beginnings are at first sight strangely different from its fulfilment, and it is almost impossible therefore to find any phrase or term under which we can justly represent it. The first great master of the new world was Dante, but not the Dante of the exquisite sentiment but artificial form of the Vita Nuova, but the great imaginative realist of the Divine Comedy, the artist who could portray the passion and pain of Francesca and her lover, and with equal power the masterful figure of Farinata, whose dauntless soul not hell itself could quell; who could pass from the vivid drama of the fierce contemporary life of Italy to the infinite peace of those to whom 'la sua voluntade è nostra pace'. For indeed it is this which places Dante among the supreme poets of the world, that there is no aspect of the reality of human life and experience which is strange to him, and which the greatness of his imagination cannot make living to us. It has often been said that Dante is the greatest and most representative artist of the Middle Ages, but so far as this is true, and it is only partially true, it may make plain to us that there are no boundaries of time in art any more than of race or country. Dante is the first great artist of a new world, but it was not till three centuries had passed, it was not until Shakespeare, that the whole meaning of the new literature was made clear. The new literature has been thought to begin with two great artists, an Italian and an Englishman: with Boccaccio in the south and Chaucer in the north.
What is, then, the characteristic quality or note of the Decameron and the Canterbury Tales? It is not, as some absurd persons think, to be discovered in the licentiousness or grossness of some of these tales, this only represents one aspect of their realism, and indeed in this they do little more than continue the characteristics of what we know as the 'Fabliaux' of the Middle Ages. The quality of the new art lies just in this, that there is nothing in human life which is uninteresting or insignificant to these great artists, that they are bound by no traditions, hampered by no conventions. They had begun as artists of romance, and the romantic sentiment of life never ceased to interest and move them, but they had learned to go beyond the romantic conventions, and to find the material of their art in everything which was part of the reality of life. To them, as to the other tale-writers of these centuries, it was quite immaterial whether they were retelling a story which had come down from immemorial antiquity, or relating something which had happened but yesterday in their own town or village, and they knew nothing of distinctions of class or rank or circumstance; it is the universal human interest which arrests them. The example which we shall find most representative is that which is to us English people the most familiar, that is the 'Prologue' to the Canterbury Tales. Was there ever anything greater of its kind than this? Who can ever forget these figures: the Knight, the Franklyn, the Prioress, the Wife of Bath? As we read there passes before us all the company of human life, wise and foolish, grave and gay, good and bad. Chaucer and Boccaccio are the greatest artists of what has often been called the 'realistic' type, they are at least very easy to distinguish from the epic and romantic artists.
They are great artists, but it is also clear enough that their powers and their insight into human life were limited. What they began was carried out to its fulfilment by the great dramatists of the sixteenth and seventeenth centuries. For this is indeed the relation of the tale-writers to the dramatists, that they furnish the materials upon which the dramatists built up their presentation of human life, or rather, the elements which are transformed by the imagination of the great dramatists from bare 'realism' into the highest expression of reality. No doubt the dramatists take into their work other materials and influences, but the substantial quality whether of the tragedy or the comedy is intimately related to that of the tales. How often were the great dramas built up on materials which they drew from Bandello or the other Italians who continued the tradition of Boccaccio, or from similar northern sources. But the great dramatists gave their stories a life, a passion, a breadth and fullness which is far removed from that of their sources. In their hands, or rather in their creative imagination, we see not merely the external circumstance, the bare fact, but we see all the fullness and completeness, all the exquisite grace and beauty, all the passion and terror of human experience. We may call Boccaccio and Chaucer 'realists', but it is only in Marlowe and Webster, and above all in Shakespeare, that we reach reality itself.