The Arabs were as fond of letters as of war. In the eighth century, when they overran the Asiatic provinces, they found many Greek books which they read with eagerness. They translated such as best pleased them into Arabic. Greek poetry they rejected because it was polytheistic. Of Greek history they made no use, because it recorded events prior to the advent of their prophet. The politics of Greece and its eloquence were not congenial to their despotic notions, and so they passed them by. Grecian ethics were suspended by the Koran, hence Plato was overlooked. Mathematics, metaphysics, logic, and medicine, accorded with their tastes. Hence they translated and studied Aristotle, Galen, and Hippocrates, and illustrated them with voluminous commentaries. These works stimulated native authors to write new treatises. The Arabs, therefore, became distinguished for their skill in logic, medicine, mathematics, and kindred studies. They founded universities during the eighth century in the cities of Spain and Africa. Charlemagne commanded their books to be translated into Latin; thus Aristotle entered Europe through Asia by the double door of the Arabic and Latin tongues, and, by long prescription, still holds his place in European schools.
Charlemagne founded the universities of Bononia, Pavia, Paris, and Osnaburg, in Hanover. These became centres for propagating the new sciences. The Normans, too, shared in the general progress of learning, and carried with them their attainments into England. The wild imagination of the Saracens kindled a love of romantic fiction, wherever their influence was felt. The crusades made the Europeans intimately acquainted with the literature of the Arabs. Says Marton, who maintains that romantic fiction originated in Arabia, in his "History of English Poetry," "Amid the gloom of superstition, in an age of the grossest ignorance and credulity, a taste for the wonders of oriental fiction was introduced by the Arabians into Europe, many countries of which were already seasoned to a reception of its extravagancies by means of the poetry of the Gothic scalds, who, perhaps, originally derived their ideas from the same fruitful region of invention.
"These fictions coinciding with the reigning manners, and perpetually kept up and improved in the tales of troubadours and minstrels, seem to have centred about the eleventh century in the ideal histories of Turpin and Geoffrey of Monmouth, which record the suppositious achievements of Charlemagne and King Arthur, where they formed the groundwork of that species of narrative called romance. And from these beginnings or causes, afterwards enlarged and enriched by kindred fancies fetched from the crusades, that singular and capricious mode of imagination arose, which at length composed the marvellous machineries of the more sublime Italian poets, and of their disciple Spenser." The theory which traces romantic fiction to the Arabs is but partially true. The entire literature of that age was monstrous, full of the most absurd and extravagant fancies. History was fabulous; poetry mendacious and philosophy erroneous. Theology abounded in pious frauds. Monks and minstrels vied with each other in the invention of lying legends to adorn the lives of heroes and saints. All classes of the community shared in the general delusion, and the supernatural seemed more credible than the natural. In tracing the progress of learning, in England, I propose, during the remainder of the present paper to discuss one inconsiderable yet important element of modern civilization, which is often entirely overlooked. I refer to "Lyric Poetry."
The lyre is one of the oldest of musical instruments. Its invention is ascribed to a god. Its Saxon name is harp. It was the favorite instrument of the ancient Hebrews, as well as of the Greeks. The Saxons, Britons and Danes regarded it with veneration, and protected by legal enactments those who played upon it. Their persons were esteemed inviolable and secured from injuries by heavy penalities. By the laws of Wales, slaves were forbidden to practice upon it; and no creditor could seize the harp of his debtor. That minstrels were a privileged class is manifested from king Alfred's penetrating the Danish camp (878) disguised as a harper. Sixty years after a Danish king visited King Athelstan's camp in the same disguise. It was also said of Aldhelm, one of the leading scholars of the eighth century: "He was an excellent harper, a most eloquent Saxon and Latin poet, a most expert chanter, or a singer, a doctor egregius, and admirably versed in scriptures and liberal sciences." The minstrel was a regular and stated officer of the Anglo-Saxon kings. Poetry is always the earliest form of literature; song the earliest form of poetry. The Muse adapts her lessons to the nation's infancy and adds the charm of melody to verse. No nation is destitute of lyric poetry. Even the North American Indians have their war songs, though their individual worship of their gods has prevented the creation of any national poetry for associated worship. The Scandinavians have but one term for the poet and the singer. The Northern scald invented and recited his own songs and epics. In other countries the poet and minstrel performed separate duties. "The Minstrels," says Bishop Percy, "were an order of men in the Middle Ages who subsisted by the arts of poetry and music, and sang to the harp verses composed by themselves and others. They appear to have accompanied their songs with mimicry and action. They are called in Latin of the day histriones, Mimi and Scurræ. Such arts rendered them exceedingly popular in this and in neighboring countries, where no high scene of festivity was esteemed complete that was not set off with the exercise of their talents; and where so long as the spirit of chivalry existed, they were protected and caressed, because their songs tended to do honor to the ruling passion of the times, and to encourage and foment a martial spirit."
They were the legitimate successors of the bards and scalds of early times whose art was considered divine and their songs worthy of regal patronage. They were the historians, genealogists, poets, and musicians, of the land. The word minstrel is derived from the Latin minister, a servant, because they were classed among the King's attendants. An earlier Saxon name for this class of performers was "Gleeman," in rude English, a Jogeler or Jocular; Latin, "Joculator." The word "glee" is from the Saxon "gligg," meaning music; and the meaning now attached to that word shows how intimately associated were pleasure and music in the national mind. The harp was the most ancient of Saxon musical instruments. It continued in use for a thousand years. It was well known in the time of Chaucer. His Frere could play upon it and sing to it; the merry "wife of Bath" had frequently danced to it in her youth. It was an ordinary accompaniment of revels and tavern festivals. It continued in use till the reign of Elizabeth. In Dr. Percy's "Reliques of ancient English poetry" he speaks of the minstrels as an order of men in the Middle Ages, highly honored, retained and pensioned by kings, lavishly rewarded by nobles, and kindly entertained by the common people.[3] Ritson in his "Ancient Songs" admits that such an "order" of singers existed in France, but never in England; that individuals wandered up and down the country chanting romances and singing songs or ballads to the harp or fiddle; but that they never enjoyed the respect of the high born or received favors from them. The church evidently looked upon them with disfavor, as the enemies of sobriety and the promoters of revelry and mirth. In the sixteenth century they lost all credit and were classed, in penal enactments, with "rogues and vagabonds." One reason of the decline of minstrelsy was the introduction of printing and the advance of learning: that which might afford amusement and pleasure when sung to the harp, lost its point and spirit when read in retirement from the printed page. Their composition would not bear criticism. Besides, the market had become overstocked with these musical wares; as the religious houses had with homilies and saintly legends. The consideration bestowed on the early minstrels "enticed into their ranks idle vagabonds," according to the act of Edward I, who went about the country under color of minstrelsy; men who cared more about the supper than the song; who for base lucre divorced the arts of writing and reciting and stole other men's thunder. Their social degeneracy may be traced in the dictionary. The chanter of the "gests" of kings, gesta ducum regumque, dwindled into a gesticulator, a jester: the honored jogelar of Provence, into a mountebank; the jockie, a doggrel ballad-monger.
Beggars they are by one consent,
And rogues by act of Parliament.
What a fall was there from their former high estate and reverence. The earliest minstrels of the Norman courts, doubtless, came from France, where their rank was almost regal.
Froissart, describing a Christmas festival given by Comte de Foix in the fourteenth century, says: