During the last five years an admirable society, formed in London, and called the Early English Text Society, has been reproducing at a cheap rate a large number of curious and valuable works written in the thirteenth, fourteenth, fifteenth, and sixteenth centuries. Many of these existed in manuscript only, while others were out of print, and very difficult of attainment. They range over a variety of different subjects, and being beautifully printed, amply supplied with notes and glossaries, and each edited by an accomplished Anglo-Saxon scholar, they afford clergymen, antiquarians, and men of letters in general an excellent opportunity of becoming familiar with the earlier forms of the English language, and the best authors during a literary period hitherto regarded as obscure.
These publications synchronize with, and have partly grown out of, a movement which, though retrograde, has been really an improvement and an advance—a movement, namely, from Latinized to Saxon English. We may perhaps date its commencement from the time when Dr. Johnson was approaching his sixtieth year. He had, for a long time, been lending the weight of his great name to the practice of using very long words, and those chiefly of Latin origin. In doing this he had not merely followed a crowd of classical English writers, but had put himself at their head. The genius of the language was being lost, and when it seemed to be gaining strength, it was in reality growing weaker. Its original tendency had been toward words of one syllable, but under Shaftesbury, Bolingbroke, and a multitude of essayists and pamphleteers of the eighteenth century, it tended strongly toward the use of words of many syllables. Thus sound was frequently substituted for sense, and sentences, though they ran more smoothly, had in them far less fibre. An air of pedantry was thrown over expressions, when such a word as "tremulousness" was substituted for "quivering," and "exsiccation" for "drying." Mannerism was certainly the mildest epithet that could be applied to such changes, when they became frequent and systematic. An instance of the habit in question is often quoted from Johnson's Dictionary, where, in defining "net" and "network," he calls the first, "anything made with interstitial vacuities," and the second, "anything reticulated or decussated, at equal distances, with interstices between the intersections."
Yet Johnson himself had, in the grammar prefixed to his Dictionary, pointed out clearly how very monosyllabic English was originally, how "our ancestors were studious to form borrowed words, however long, into monosyllables;" how they cut off terminations, cropped the first syllable, rejected vowels in the middle, and weaker consonants, retaining the stronger, which seem "the bones of words." Thus, from "excrucio" they made "screw;" from "exscorio," "scour;" from "excortico," "scratch;" from "hospital," "spittle;" and the like. By such processes, performed not according to rule, but by the unconscious working of national instincts, our forefathers produced a wonderful agreement between the sound of their words and the thing signified. Squeak, crush, brawl, whirl, bustle, twine, are but a few among a multitude of instances which will occur to any one who gives attention to the subject. Wallis, indeed, a writer often quoted in the grammar referred to, establishes the fact of a great agreement subsisting between even the letters, in the native words of our language, and the thing signified; and his analysis of the meaning conveyed by sn, str, st, thr, wr, sw, cl, sp, and other combinations is highly ingenious and, on the whole, satisfactory. He comes to the conclusion that one of our monosyllable words "emphatically expresses what in other languages can scarce be explained but by compounds, or decompounds, or sometimes a tedious circumlocution."
But although Dr. Johnson, like Wallis, appreciated highly the Saxon origin and character of English, though he fully recognized the strength which it derives from its native sources as opposed to southern innovations, his own practice was eminently faulty, and sure, in the hands of his imitators, to degenerate into pedantry and stilts. It was well, therefore, that when his career was drawing to a close, an obscure but highly gifted boy in Bristol ransacked the muniment room of St. Mary Redcliffe's Church, and found, or pretended to have found, in its old chests, the poems of Rowley, who was said to have written in the time of Edward III. The poems were not without merit in themselves, but, when Chatterton had, amid the pangs of hunger, put an end to his short and weary existence, they attracted attention in consequence of the antiquated form in which they appeared. They were like the fossil remains of extinct animals, and spoke of a literary period little known at that time even to the best English scholars. They breathed the language and the spirit of Chaucer; and from the moment of their appearance may be traced the reaction in favor of Saxon phraseology which marks the literature of the present day. The boy-author saw by intuition what Dr. Wallis had reduced to rules. Perhaps he had never analyzed very closely his own reasons, nor traced attentively the process of nature in the formation of words, so as to produce in them an agreement between the sound and the thing signified; but his youthful ear was charmed with the native energy of what Byron called our "northern guttural," and he loved to imitate, in such lines as these, the rugged sweetness of the early English poets:
"The rodie welkin sheeneth to the eyne;
In dasied mantles is the mountain dight,
The neshe young cowslip bendeth with the dew."
In these lines, all the words are of the pure Saxon type; and the same may be said of almost every stanza in Chaucer's Tales.
"The flowrs of many divers hue
Upon their stalkis gonin for to spread,
And for to splay out their leavis ill brede,
Again the sun, gold-burned in his sphere,
That down to them y-cast his beamis clear.'
And again, as we read in "The Clerke's Tale:"
"And whanne sche com hom sche wolde brynge
Wortis and other herbis tymes ofte,
The which sche shred and seth for her lyvyng
And made her bed ful hard, and nothing softe."
This, as regards language, is the mould in which the Tales are cast. The same Saxon stamp imprinted on the verse of Spenser, though the Fairie Queen came two centuries after the Canterbury Tales. One stanza shall suffice as a specimen: