The ages, we call barbarous, present us
with many a subject of curious speculation.
What, for instance, is more remarkable than
the Gothic Chivalry? or than the spirit of
Romance, which took its rise from that singular
institution?
Nothing in human nature, my dear friend,
is without its reasons. The modes and fashions
of different times may appear, at first sight,
fantastic and unaccountable. But they, who
look nearly into them, discover some latent
cause of their production.
“Nature once known, no prodigies remain,”
as sings our philosophical bard; but to come
at this knowledge, is the difficulty. Sometimes
a close attention to the workings of the
human mind is sufficient to lead us to it:
sometimes more than that, the diligent observation
of what passes without us, is necessary.
This last I take to be the case here. The
prodigies we are now contemplating, had their
origin in the barbarous ages. Why then, says
the fastidious modern, look any further for
the reason? Why not resolve them at once
into the usual caprice and absurdity of barbarians?
This, you see, is a short and commodious
philosophy. Yet barbarians have their own,
such as it is, if they are not enlightened by our
reason. Shall we then condemn them unheard,
or will it not be fair to let them have the telling
of their own story?
Would we know from what causes the institution
of Chivalry was derived? The time
of its birth, the situation of the barbarians
amongst whom it arose, must be considered:
their wants, designs, and policies, must be
explored: we must inquire when, and where,
and how, it came to pass that the Western
world became familiarized to this prodigy,
which we now start at.
Another thing is full as remarkable, and
concerns us more nearly. The spirit of Chivalry
was a fire which soon spent itself: but
that of Romance, which was kindled at it,
burnt long, and continued its light and heat
even to the politer ages.
The greatest geniuses of our own and foreign
countries, such as Ariosto and Tasso in
Italy, and Spenser and Milton in England,
were seduced by these barbarities of their forefathers;
were even charmed by the Gothic
Romances. Was this caprice and absurdity in
them? Or, may there not be something in
the Gothic Romance peculiarly suited to the
views of a genius, and to the ends of poetry?
And may not the philosophic moderns have gone
too far in their perpetual ridicule and contempt
of it?
To form a judgment in the case, the rise,
progress, and genius of Gothic Chivalry must
be explained.
The circumstances in the Gothic fictions
and manners, which are proper to the ends of
poetry (if any such there be) must be pointed
out.
Reasons, for the decline and rejection of the
Gothic taste in later times, must be given.
You have in these particulars both the Subject
and the Plan of the following Letters.
I look upon Chivalry, as on some mighty
river, which the fablings of the poets have
made immortal. It may have sprung up
amidst rude rocks, and blind deserts. But
the noise and rapidity of its course, the extent
of country it adorns, and the towns and palaces
it ennobles, may lead a traveller out of
his way, and invite him to take a view of those
dark caverns,
unde supernè
Plurimus Eridani per sylvam volvitur amnis.
I enter, without more words, on the subject
I began to open to you in my last letter.
The old inhabitants of these North-West
parts of Europe were extremely given to the
love and exercise of arms. The feats of Charlemagne
and our Arthur, in particular, were
so famous as in later times, when books of
Chivalry were composed, to afford a principal
subject to the writers of them44.
But Chivalry, properly so called, and under
the idea of “a distinct military order,
conferred in the way of investiture, and accompanied
with the solemnity of an oath
and other ceremonies, as described in the
old historians and romancers,” was of later
date, and seems to have sprung immediately
out of the Feudal Constitution.
The first and most sensible effect of this
constitution, which brought about so mighty
a change in the policies of Europe, was the
erection of a prodigious number of petty tyrannies.
For, though the great barons were
closely tied to the service of their Prince by
the conditions of their tenure, yet the power
which was given them by it over their own
numerous vassals was so great, that, in effect,
they all set up for themselves; affected an independency;
and were, in truth, a sort of absolute
Sovereigns, at least with regard to one
another. Hence, their mutual aims and interests
often interfering, the feudal state was, in
a good degree, a state of war: the feudal chiefs
were in frequent enmity with each other: the
several combinations of feudal tenants were so
many separate armies under their head or
chief: and their castles were so many fortresses,
as well as palaces, of these puny princes.
In this state of things one sees, that all imaginable
encouragement was to be given to the
use of arms, under every different form of attack
and defence, according as the safety of
these different communities, or the ambition
of their leaders, might require. And this
condition of the times, I suppose, gave rise to
that military institution, which we know by
the name of Chivalry.
Further, there being little or no security to
be had amidst so many restless spirits and the
clashing views of a neighbouring numerous
and independent nobility, the military discipline
of their followers, even in the intervals of
peace, was not to be relaxed, and their ardour
suffered to grow cool, by a total disuse of martial
exercises. And hence the proper origin
of Justs and Turnaments; those images of
war, which were kept up in the castles of the
barons, and, by an useful policy, converted
into the amusement of the knights, when their
arms were employed on no serious occasion.
I call this the proper origin of Justs and
Turnaments; for the date of them is carried
no higher, as far as I can find, even in France
(where unquestionably they made their first
appearance) than the year 1066; which was
not till after the introduction of the feudal government
into that country. Soon after, indeed,
we find them in England and in Germany;
but not till the feudal policy had spread itself
in those parts, and had prepared the way for
them.
You see, then, my notion is, that Chivalry
was no absurd and freakish institution, but the
natural and even sober effect of the feudal policy;
whose turbulent genius breathed nothing
but war, and was fierce and military even in
its amusements.
I leave you to revolve this idea in your own
mind. You will find, I believe, a reasonable
foundation for it in the history of the feudal
times, and in the spirit of the feudal government.
If the conjecture, I advanced, of the rise of
Chivalry, from the circumstances of the feudal
government, be thought reasonable, it will not
be difficult to account for the several CHARACTERISTICS
of this singular profession.
I. “The passion for arms; the spirit of enterprize;
the honour of knighthood; the
rewards of valour; the splendour of equipages;”
in short, every thing that raises our
ideas of the prowess, gallantry, and magnificence
of these sons of Mars, is naturally and
easily explained on this supposition.
Ambition, interest, glory, all concurred,
under such circumstances, to produce these
effects. The feudal principles could terminate
in nothing else. And when, by the necessary
operation of that policy, this turn was given to
the thoughts and passions of men, use and
fashion would do the rest; and carry them to
all the excesses of military fanaticism, which
are painted so strongly, but scarcely exaggerated,
in the old Romances.
II. “Their romantic ideas of justice; their
passion for adventures; their eagerness to
run to the succour of the distressed; and the
pride they took in redressing wrongs, and
removing grievances;” all these distinguishing
characters of genuine Chivalry are explained
on the same principle. For, the feudal
state being a state of war, or rather of almost
perpetual violence, rapine, and plunder, it
was unavoidable that, in their constant skirmishes,
stratagems, and surprizes, numbers of
the tenants or followers of one Baron should
be seized upon and carried away by the followers
of another: and the interest, each had
to protect his own, would of course introduce
the point of honour, in attempting by all
means to retaliate on the enemy, and especially
to rescue the captive sufferers out of the
hands of their oppressors.
It would be meritorious, in the highest degree,
to fly to their assistance, when they
knew where they were to be come at; or to
seek them out with diligence, when they did
not. This last feudal service soon introduced,
what may be truly called romantic, the going
in quest of adventures; which at first, no
doubt, was confined to those of their own
party, but afterwards, by the habit of acting
on this principle, would be extended much
further. So that in process of time, we find
the Knights errant, as they were now properly
styled, wandering the world over in search of
occasions on which to exercise their generous
and disinterested valour, indifferently to friends
and enemies in distress;
Ecco quei, che le charte empion di sogni,
Lancilotto, Tristano, e gli altri erranti.
III. “The courtesy, affability, and gallantry,
for which these adventurers were so
famous, are but the natural effects and consequences
of their situation.”
For the castles of the Barons were, as I said,
the courts of these little sovereigns, as well as
their fortresses; and the resort of their vassals
thither in honour of their chiefs, and for their
own proper security, would make that civility
and politeness, which is seen in courts and insensibly
prevails there, a predominant part in
the character of these assemblies.
This is the poet’s own account of
——court and royal citadel,
The great school-maistresse of all Courtesy.
B. III. C. vi. s. 1.
And again, more largely in B. VI. C. i. s. 1.
Of Court it seems men Courtesie do call,
For that it there most useth to abound;
And well beseemeth that in Princes hall
That Virtue should be plentifully found,
Which of all goodly manners is the ground
And root of civil conversation:
Right so in faery court it did resound,
Where courteous knights and ladies most did won
Of all on earth, and made a matchless paragon.
For Faery Court means the reign of Chivalry;
which, it seems, had undergone a fatal
revolution before the age of Milton, who tells
us that Courtesy
——is sooner found in lonely sheds
With smoaky rafters, than in tap’stry halls
And courts of princes, where it first was nam’d,
And yet is most pretended.
Mask.
Further, the free commerce of the ladies, in
those knots and circles of the great, would
operate so far on the sturdiest knights, as to
give birth to the attentions of gallantry. But
this gallantry would take a refined turn, not
only from the necessity there was of maintaining
the strict form of decorum, amidst a
promiscuous conversation under the eye of the
Prince and in his own family; but also from
the inflamed sense they must needs have of
the frequent outrages committed, by their
neighbouring clans of adversaries, on the honour
of the sex, when by chance of war they
had fallen into their hands. Violations of
chastity being the most atrocious crimes they
had to charge on their enemies, they would
pride themselves in the merit of being its protectors:
and as this virtue was, of all others,
the fairest and strongest claim of the sex itself
to such protection, it is no wonder that the
notions of it were, in time, carried to so platonic
an elevation.
Thus, again, the great master of Chivalry
himself, on this subject,
It hath been thro’ all ages ever seen,
That, with the praise of arms and chivalry,
The prize of beauty still hath joined been;
And that for reason’s special privity:
For either doth on other much rely;
For He mee seems most fit the fair to serve,
That can her best defend from villainy;
And She most fit his service doth deserve,
That fairest is, and from her faith will never swerve.
Spenser, B. IV. C. v.
Not but the foundation of this refined gallantry
was laid in the ancient manners of the
German nations. Cæsar tells us how far they
carried their practice of chastity, which he
seems willing to account for on political principles.
However that be, their consideration
of the sex was prodigious, as we see in the
history of their irruptions into the Empire;
where among all their ravages and devastations
of other sorts, we find they generally abstained
from offering any violence to the honour of
the women.
IV. It only remains to account for that “character
of Religion,” which was so deeply imprinted
on the minds of all knights, and was
essential to their institution. We are even
told, that the love of God and of the ladies
went hand in hand, in the duties and ritual of
Chivalry.
Two reasons may be assigned for this singularity:
First, the superstition of the times, in which
Chivalry arose; which was so great, that no
institution of a public nature could have found
credit in the world, that was not consecrated
by the churchmen, and closely interwoven with
religion.
Secondly, the condition of the Christian
states; which had been harassed by long wars,
and had but just recovered a breathing-time
from the brutal ravages of the Saracen armies.
The remembrance of what they had lately
suffered from these grand enemies of the faith,
made it natural, and even necessary, to engage
a new military order on the side of religion.
And how warmly this principle, a zeal for
the faith, was acted upon by the professors of
Chivalry, and how deeply it entered into their
ideas of the military character, we see from
the term so constantly used by the old Romancers,
of Recreant [i. e. Apostate] Knight;
by which they meant to express, with the utmost
force, their disdain of a dastard or vanquished
knight. For, many of this order
falling into the hands of the Saracens, such of
them as had not imbibed the full spirit of their
profession, were induced to renounce their
faith, in order to regain their liberty. These
men, as sinning against the great fundamental
laws of Chivalry, they branded with this name;
a name of complicated reproach, which implied
a want of the two most essential qualities
of a Knight, COURAGE and FAITH.
Hence too, the reason appears why the
Spaniards, of all the Europeans, were furthest
gone in every characteristic madness of true
chivalry. To all the other considerations,
here mentioned, their fanaticism in every way
was especially instigated and kept alive by the
memory and neighbourhood of their old infidel
invaders.
And thus we seem to have a fair account of
that PROWESS, GENEROSITY, GALLANTRY, and
RELIGION, which were the peculiar and vaunted
characteristics of the purer ages of Chivalry.
Such was the state of things in the Western
world, when the Crusades to the Holy Land
were set on foot. Whence we see how well
prepared the minds of men were for engaging in
that enterprize. Every object, that had entered
into the views of the institutors of Chivalry,
and had been followed by its professors,
was now at hand, to inflame the military and
religious ardor of the knights, to the utmost.
And here, in fact, we find the strongest and
boldest features of their genuine character:
daring to madness, in enterprises of hazard:
burning with zeal for the delivery of the oppressed;
and, which was deemed the height
of religious merit, for the rescue of the holy
city out of the hands of infidels; and, lastly,
exalting their honour of chastity so high
as to profess celibacy; as they constantly did,
in the several orders of knighthood created on
that extravagant occasion.
What think you, my good friend, of this
learned deduction? Do not you begin to favour
my conjecture, as whimsical as it might
seem, of the rise and genius of Knight-errantry.
And yet (so slippery is the ground, on which
we system-makers stand) from what I observed
of the spirit, with which the Crusades were
carried on, a hint may be taken, which threatens
to overturn my whole system.
It is, “That, whereas I derive the Crusades
from the spirit of Chivalry, the circumstances
attending the progress of the Crusades,
and even as pointed out by myself, seem to
favour the opposite opinion of Chivalry’s
taking its rise from that enterprize.”
For thus the argument is drawn out by a
learned person45, to whom I communicated the
substance of my last Letter.
“On the crumbling of the Western empire
into small states, with regular subordinations
of vassals and their chiefs, who looked up to a
common sovereign, it was soon found that
those chiefs had it in their power to make
themselves very formidable to their masters;
and, just in that crisis of European manners
and empire, the Saracens having expelled
Christianity from the East, the Western Princes
seized the opportunity, and with great
craft turned the warlike genius of their feudataries,
which would otherwise have preyed
upon themselves, into the spirit of Crusades
against the common enemy.
But when, now, the ardour of the Crusades
was abated in some sort, though not extinguished,
the Gothic princes and their families
had settled into established monarchies. Then
it was, that the restless spirit of their vassals,
having little employment abroad, and being
restrained in a good degree from exerting itself
with success in domestic quarrels, broke out in
all the extravagances of KNIGHT-ERRANTRY.
Military fame, acquired in the Holy land,
had entitled the adventurers to the insignia of
arms, the source of Heraldry; and inspired
them with the love of war and the passion of
enterprize. Their late expeditions had given
them a turn for roving in quest of adventures;
and their religious zeal had infused high notions
of piety, justice, and chastity.
The scene of action being now more confined,
they turned themselves, from the world’s
debate, to private and personal animosities.
Chivalry was employed in rescuing humble and
faithful vassals, from the oppression of petty
lords; their women, from savage lust; and the
hoary heads of hermits (a species of Eastern
monks, much reverenced in the Holy land),
from rapine and outrage.
In the mean time the courts of the feudal sovereigns
grew magnificent and polite; and, as
the military constitution still subsisted, military
merit was to be upheld; but, wanting its old
objects, it naturally softened into the fictitious
images and courtly exercises of war, in justs
and tournaments: where the honour of the
ladies supplied the place of zeal for the holy
Sepulchre; and thus the courtesy of elegant
love, but of a wild and fanatic species, as being
engrafted on spiritual enthusiasm, came to
mix itself with the other characters of the
Knights-errant.”
In this way, you see, all the characteristics
of Chivalry, which I had derived from the
essential properties of the feudal government,
are made to result from the spirit of Crusades,
which with me was only an accidental effect of
it: and this deduction may be thought to agree
best with the representation of the old Romancers.
This hypothesis, so plausible in itself, is
very ingeniously supported. Yet I have something
to object to it; or rather, which flatters
me more, I think I can turn it to the advantage
of my own system.
For what if I allow (as indeed I needs must)
that Chivalry, such as we have it represented
in books of Romance, so much posterior to the
date of that military institution, took its colour
and character from the impressions made on
the minds of men by the spirit of crusading
into the Holy land? Still it may be true, that
Chivalry itself had, properly, another and an
earlier origin. And I must think it certainly
had, if for no other, yet, for this reason: that,
unless the seeds of that spirit, which appeared
in the Crusades, had been plentifully sown and
indeed grown up into some maturity in the
feudal times preceding that event, I see not
how it could have been possible for the Western
princes to give that politic diversion to
their turbulent vassals, which the new hypothesis
supposes.
In short, there are TWO DISTINCT PERIODS
to be carefully observed, in a deduction of the
rise and progress of Chivalry.
The FIRST is that in which the empire was
overturned, and the feudal governments were
every where introduced on its ruins, by the
Northern nations. In this æra, that new policy
settled itself in the West, and operated so
powerfully as to lay the first foundations, and
to furnish the remote causes, of what we know
by the name of Chivalry.
The OTHER period is, when these causes had
taken a fuller effect, and shewed themselves in
that signal enterprize of the Crusades; which
not only concurred with the spirit of Chivalry,
already pullulating in the minds of men, but
brought a prodigious encrease, and gave a singular
force and vigour, to all its operations. In
this æra, Chivalry took deep root, and at the
same time shot up to its full height and size.
So that now it was in the state of Virgil’s
Tree—
—Quæ quantum vertice ad auras
Æthereas, tantum radice in Tartara tendit.
Ergo non hiemes illam, non flabra, neque imbres
Convellunt: immota manet, multosque per annos
Multa virûm volvens durando sæcula vincit.
From this last period, the Romancers, whether
in prose or verse, derive all their ideas of
Chivalry. It was natural for them to do so;
for they were best acquainted with that period:
and, besides, it suited their design best; for
the manners, they were to paint, were then
full formed, and so distinctly marked as fitted
them for the use of description.
But that the former period, notwithstanding,
really gave birth to this institution may be
gathered, not only from the reason of the
thing, but from the surer information of authentic
history. For there are traces of Chivalry,
in its most peculiar and characteristic
forms, to be found in the age preceding the
Crusades; and even justs and tournaments,
the image of serious Knight-errantry, were
certainly of earlier date than that event, as I
had before occasion to observe to you.
Though I think, then, my notion of the
rise of Chivalry stands unimpaired, or rather
is somewhat illustrated and confirmed, by what
the excellent person has opposed to it, yet I
could not hold it fair to conceal so specious
and well supported an objection from you.
You are too generous to take advantage of the
arms I put into your hands; and are, besides,
so far from any thoughts of combating my system
itself, that your concern, it seems, is only
to know, where I learned the several particulars,
on which I have formed it.
You are willing, you say, to advance on
sure grounds; and therefore call upon me to
point out to you the authorities, from which I
pretend to have collected the several marks and
characteristics of true Chivalry.
Your request is reasonable; and I acknowledge
the omission, in not acquainting you that
my information was taken from its proper
source, the old Romances. Not that I shall
make a merit with you in having perused these
barbarous volumes myself; much less would I
impose the ungrateful task upon you. Thanks
to the curiosity of certain painful collectors,
this knowledge may be obtained at a cheaper
rate. And I think it sufficient to refer you to
a learned and very elaborate memoir of a
French writer, who has put together all that is
requisite to be known on this subject. Materials
are first laid in, before the architect goes
to work; and if the structure, I am here raising
out of them, be to your mind, you will
not think the worse of it because I pretend not,
myself, to have worked in the quarry. In a
word, and to drop this magnificent allusion, if
I account to you for the rise and genius of
Chivalry, it is all you are to expect; for an
idea of what Chivalry was in itself, you may
have recourse to tom. xx. of the Memoirs of
the Academy of Inscriptions and Belles
Lettres.
And with this explanation I return, at length,
to my proper business.
Supposing my idea of Chivalry to be fairly
given, the conjecture I advance on the origin
and nature of it, you incline to think, may
deserve to be admitted. But you will, perhaps,
admit it the more readily, if you reflect,
“That there is a remarkable correspondency
between the manners of the old heroic times,
as painted by their great romancer, Homer,
and those which are represented to us in
books of modern knight-errantry.” A fact,
of which no good account, I believe, can be
given but by the assistance of another, not less
certain, “That the political state of Greece, in
the earlier periods of its story, was similar in
many respects to that of Europe, as broken
by the feudal system into an infinite number
of petty independent governments.”
It is not my design to encroach on the province
of the learned person46, to whom I owe
this hint, and who hath undertaken, at his leisure,
to enlarge upon it. But some few circumstances
of agreement between the Heroic
and Gothic manners, such as are most obvious
and occur to my memory, while I am writing,
may be worth putting down, by way of specimen
only of what may be expected from a professed
inquiry into this curious subject.
And, FIRST, “the military enthusiasm of
the Barons is but of a piece with the fanaticism
of the Heroes.” Hence the same particularity
of description, in the account of battles,
wounds, deaths, in the Greek poet, as in
the Gothic romancers: hence that perpetual
succession of combats and deeds of arms, even
to satiety, in the Iliad: and hence that minute
curiosity, in the display of the dresses, arms,
accoutrements of the combatants, which we
find so strange, in that poem. The minds of
all men being occupied and in a manner possessed
with warlike images and ideas, were
much gratified by the poet’s dwelling on the
very slightest circumstances of these things,
which now, for want of their prejudices, appear
cold and unaffecting to modern readers.
But the correspondency holds in more particular
considerations. For,
2. “We hear much of Knights-errant encountering
Giants, and quelling Savages, in
books of Chivalry.”
These Giants were oppressive feudal Lords;
and every Lord was to be met with, like the
Giant, in his strong hold, or castle. Their
dependants of a lower form, who imitated the
violence of their superiors, and had not their
castles, but their lurking-places, were the
Savages of Romance. The greater Lord was
called a Giant, for his power; the less a Savage,
for his brutality.
All this is shadowed out in the Gothic tales,
and sometimes expressed in plain words. The
objects of the Knight’s vengeance go indeed by
the various names of Giants, Paynims, Saracens,
and Savages. But of what family they
all are, is clearly seen from the poet’s description:
What Mister wight, quoth he, and how far hence
Is he, that doth to travellers such harms?
He is, said he, a man of great defence,
Expert in battle, and in deeds of arms;
And more embolden’d by the wicked charms
With which his daughter doth him still support;
Having great Lordships got and goodly farms
Thro’ strong oppression of his power extort;
By which he still them holds and keeps with strong effort.
And daily he his wrong encreaseth more:
For never wight he lets to pass that way
Over his bridge, albee he rich or poor,
But he him makes his passage penny pay.
Else he doth hold him back or beat away.
Thereto he hath a Groom of evil guise,
Whose scalp is bare, that bondage doth bewray,
Which polls and pills the poor in piteous wise,
But he himself upon the rich doth tyrannize.
Spenser, B. V. C. ii.
Here we have the great oppressive Baron
very graphically set forth: and the Groom of
evil guise is as plainly the Baron’s vassal. The
Romancers, we see, took no great liberty with
these respectable personages, when they called
the one a Giant, and the other a Savage.
“Another terror of the Gothic ages was,
Monsters, Dragons, and Serpents.” These
stories were received in those days for several
reasons: 1. From the vulgar belief of enchantments:
2. From their being reported, on the
faith of Eastern tradition, by the adventurers
into the Holy Land: 3. In still later times,
from the strange things told and believed, on
the discovery of the new world.
This last consideration we find employed
by Spenser to give an air of probability to
his Fairy Tales, in the preface to his second
book.
Now in all these respects Greek antiquity
very much resembles the Gothic. For what
are Homer’s Læstrigons and Cyclops, but
bands of lawless savages, with, each of them,
a Giant of enormous size at their head? And
what are the Grecian Bacchus and Hercules,
but Knights-errant, the exact counter-parts of
Sir Launcelot and Amadis de Gaule?
For this interpretation we have the authority
of our great poet:
Such first was Bacchus, that with furious might
All th’ East, before untam’d, did overcome,
And wrong repressed and establish’d right,
Which lawless men had formerly fordonne.
Next Hercules his like ensample shew’d,
Who all the West with equal conquest wonne,
And monstrous tyrants with his club subdu’d,
The club of justice drad, with kingly pow’r endu’d.
B. V. C. i.
Even Plutarch’s life of Theseus reads,
throughout, like a modern Romance: and Sir
Arthegal himself is hardly his fellow, for
righting wrongs and redressing grievances. So
that Euripides might well make him say of
himself, that he had chosen the profession and
calling of a Knight-errant: for this is the
sense, and almost the literal construction, of
the following verses:
Ἔθος τόδ’ εἰς Ἕλληνας ἐξελεξάμην
Ἀεὶ ΚΟΛΑΣΤΗΣ ΤΩΝ ΚΑΚΩΝ καθεστάναι.
Ἱκέτιδες, ver. 340.
Accordingly, Theseus is a favourite Hero (witness
the Knight’s Tale in Chaucer) even with
the Romance-writers.
Nay, could the very castle of a Gothic giant
be better described than in the words of Homer,
High walls and battlements the courts inclose,
And the strong gates defy a host of foes.
Od. B. XVII. ver. 318.
And do not you remember that the Grecian
Worthies were, in their day, as famous for
encountering Dragons and quelling Monsters
of all sorts, as for suppressing Giants?
——per hos cecidere justâ
Morte Centauri, cecidit tremendæ
Flamma Chimæræ.
3. “The oppressions, which it was the glory
of the Knight to avenge, were frequently carried
on, as we are told, by the charms and enchantments
of women.”
These charms, we may suppose, are often
metaphorical; as expressing only the blandishments
of the sex, by which they either
seconded the designs of their Lords, or were
enabled to carry on designs for themselves.
Sometimes they are taken to be real; the ignorance
of those ages acquiescing in such conceits.
And are not these stories matched by those
of Calypso and Circe, the enchantresses of the
Greek poet?
Still there are conformities more directly to
our purpose.
4. “Robbery and piracy were honourable in
both; so far were they from reflecting any discredit
on the ancient or modern redressers of
wrongs.”
What account can be given of this odd circumstance,
but that, in the feudal times and
in the early days of Greece, when government
was weak, and unable to redress the frequent
injuries of petty sovereigns, it would be glorious
for private adventurers to undertake this
work; and, if they could accomplish it in no
other way, to pay them in kind by downright
plunder and rapine?
This, in effect, is the account given us, of
the same disposition of the old Germans, by
Cæsar: “Latrocinia,” says he, “nullam habent
infamiam, quæ extra fines cujusque civitatis
fiunt.” And the reason appears from
what he had just told us—“in pace, nullus est
communis magistratus; sed principes regionum
atque pagorum inter suos jus dicunt, controversiasque
minuunt.” De Bello Gall. l. vi.
§ 21.
5. Their manners, in another respect, were
the same. “Bastardy was in credit with both.”
They were extremely watchful over the chastity
of their own women; but such as they could
seize upon in the enemy’s quarter were lawful
prize. Or, if at any time they transgressed in
this sort at home, the heroic ages were complaisant
enough to cover the fault by an ingenious
fiction. The offspring was reputed divine.
Nay, so far did they carry their indulgence to
this commerce, that their greatest Heroes were
the fruit of Goddesses approached by mortals;
just as we hear of the doughtiest Knights being
born of Fairies.
6. Is it not strange, that, together with the
greatest fierceness and savageness of character,
“the utmost generosity, hospitality, and courtesy,
should be imputed to the heroic ages?”
Achilles was at once the most relentless, vindictive,
implacable, and the friendliest of men.
We have the very same representation in
the Gothic Romances, where it is almost true
what Butler says humorously of these benign
heroes, that
They did in fight but cut work out
T’ employ their courtesies about.
How are these contradictions, in the characters
of the ancient and modern men of arms,
to be reconciled, but by observing that, as in
those lawless times dangers and distresses of all
sorts abounded, there would be the same demand
for compassion, gentleness, and generous
attachments to the unfortunate, those especially
of their own clan, as of resentment, rage,
and animosity against their enemies?
7. Again: consider the martial Games,
which ancient Greece delighted to celebrate on
great and solemn occasions: and see if they
had not the same origin, and the same purpose,
as the Tournaments of the Gothic warriors.
8. Lastly, “the passion for adventures, so
natural in their situation, would be as naturally
attended with the love of praise and glory.”
Hence the same encouragement, in the old
Greek and Gothic times, to panegyrists and
poets; the Bards being as welcome to the
tables of the feudal Lords, as the ΑΟΙΔΟΙ of
old, to those of the Grecian Heroes.
And, as the same causes ever produce the
same effects, we find that, even so late as Elizabeth’s
reign, the savage Irish (who were
much in the state of the ancient Greeks, living
under the anarchy, rather than government,
of their numberless puny chiefs) had their
Rhymers in principal estimation. It was for
the reason just given, for the honour of their
panegyrics on their fierce adventures and successes.
And thus it was in Greece:
For chief to Poets such respect belongs,
By rival nations courted for their Songs;
These, states invite, and mighty kings admire,
Wide as the Sun displays his vital fire.
Od. B. XVII.
The purpose of the casual hints, suggested
in my last letter, was only to shew that the resemblance
between the Heroic and Gothic ages
is great: so great that the observation of it did
not escape the old Romancers themselves, with
whom, as an ingenious critic observes, the siege
of Thebes and Trojan war were favourite
stories; the characters and incidents of which
they were mixing perpetually with their Romances47.
And to this persuasion and practice
of the Romance-writers Cervantes plainly alludes,
when he makes Don Quixote say——If
the stories of Chivalry be lies, so must it
also be, that there ever was a Hector, or an
Achilles, or a Trojan war48—a sly stroke
of satire, by which this mortal foe of Chivalry
would, I suppose, insinuate that the Grecian
Romances were just as extravagant and as little
credible, as the Gothic. Or, whatever his
purpose might be, the resemblance between
them, you see, is confessed, and hath now
been shewn in so many instances that there
will hardly be any doubt of it. And though
you say true, that ignorance and barbarity itself
might account for some circumstances of
this resemblance; yet the parallel would hardly
have held so long, and run so closely, if the
civil condition of both had not been much the
same.
So that when we see a sort of Chivalry,
springing up among the Greeks, who were
confessedly in a state resembling that of the
feudal barons, and attended by the like symptoms
and effects, is it not fair to conclude that
the Chivalry of the Gothic times was owing to
that common corresponding state, and received
its character from it?
And this circumstance, by the way, accounts
for the constant mixture, which the modern
critic esteems so monstrous, of Pagan fable
with the fairy tales of Romance. The passion
for ancient learning, just then revived, might
seduce the classic poets, such as Spenser and
Tasso for instance, into this practice; but the
similar turn and genius of ancient manners,
and of the fictions founded upon them, would
make it appear easy and natural in all.
I am aware, as you object to me, that, in
the affair of religion and gallantry, the resemblance
between the Hero and Knight is not
so striking.
But the religious character of the Knight
was an accident of the times, and no proper
effect of his civil condition.
And that his devotion for the sex should so
far surpass that of the Hero, is a fresh confirmation
of my system.
For, though much, no doubt, might be
owing to the different humour and genius of
the East and West, antecedent to any customs
and forms of government, and independent of
them; yet the consideration had of the females
in the feudal constitution will, of itself, account
for this difference. It made them capable
of succeeding to fiefs as well as the men.
And does not one see, on the instant, what respect
and dependence this privilege would draw
upon them?
It was of mighty consequence who should
obtain the grace of a rich heiress. And though,
in the strict feudal times, she was supposed to
be in the power and disposal of her superior
Lord, yet this rigid state of things did not last
long; and, while it did last, could not abate
much of the homage that would be paid to the
fair feudatary.
Thus, when interest had begun the habit,
the language of love and flattery would soon do
the rest. And to what that language tended,
you may see by the constant strain of the Romances
themselves. Some distressed damsel
was the spring and mover of every Knight’s
adventure. She was to be rescued by his arms,
or won by the fame and admiration of his
prowess.
The plain meaning of all which was this:
that, as in those turbulent feudal times a protector
was necessary to the weakness of the sex,
so the courteous and valorous knight was to
approve himself fully qualified for that office.
And we find, he had other motives to set him
on work than the mere charms and graces,
though ever so bewitching, of the person addressed.
Hence then, as I suppose, the custom was
introduced: and, when introduced, you will
hardly wonder it should operate much longer
and further than the reason may seem to require,
on which it was founded.
If you still insist that I carry this matter too
far, and that, in fact, the introduction of the
female succession into fiefs was too late to
justify me in accounting for the rise of feudal
gallantry from that circumstance; you will
only teach me to frame my answer in a more
accurate manner.
First then, I shall confess that the way to
avoid all confusion on this subject would be, to
distinguish carefully between the state of things
in the early feudal times, and that in the later,
when the genius of the feudal law was much
changed and corrupted; and that, whoever
would go to the bottom of this affair, should
keep a constant eye on this reasonable distinction.
But then, secondly, I may observe that this
distinction is the less necessary to be attended
to in the present case, because the law of female
succession, whenever it was introduced,
had certainly taken place long before the Romancers
wrote, from whom we derive all our
ideas of the feudal gallantry. So that, if you
take their word for the gallantry of those times,
you may very consistently, if you please, accept
my account of it. For it is but supposing
that the feudal gallantry, such as they paint it,
was the offspring of that privilege, such as they
saw the ladies then possess, of feudal succession.
And the connexion between these two
things is so close and so natural, that we cannot
be much mistaken in deducing the one from
the other.
In conclusion of this topic, I must just observe
to you, that the two poems of Homer
express in the liveliest manner, and were intended
to expose, the capital mischiefs and inconveniencies
arising from the political state
of old Greece; the Iliad, the dissensions that
naturally spring up amongst a number of independent
chiefs; and the Odyssey, the insolence
of their greater subjects, more especially
when unrestrained by the presence of their sovereign.
These were the subjects of his pen. And
can any thing more exactly resemble the condition
of the feudal times, when, on occasion
of any great enterprise, as that of the Crusades,
the designs of the confederate Christian states
were perpetually frustrated, or interrupted at
least, by the dissensions of their leaders; and
their affairs at home as perpetually distressed
and disordered by domestic licence, and the
rebellious usurpations of their greater vassals?
It is true, as to the charge of domestic licence,
so exactly does the parallel run between
old Greece and old England, I find one exception
to it, in each country: and that one,
a Romance-critic would shew himself very uncourteous,
if he did not take a pleasure to celebrate.
Guy, the renowned earl of Warwick,
old stories say, returned from the holy wars to
his lady in the disguise of a pilgrim or beggar,
as Ulysses did to Penelope. What the suspicions
were of the Knight and the Hero, the
contrivance itself but too plainly declares. But
their fears were groundless in both cases. Only
the Knight seems to have had the advantage of
the Prince of Ithaca: for, instead of rioting
suitors to drive out of his castle, he had only
to contemplate his good lady in the peaceful
and pious office of distributing daily alms to
XIII poor men.
No conclusion, however, is to be drawn
from a single instance; and, in general, it is
said, the adventurers into the Holy Land could
no more depend on the fidelity of their spouses,
than of their vassals. So that, in all respects,
Jerusalem was to the European, what Troy
had been to the Grecian heroes. And, though
the Odyssey found no rival among the Gothic
poems, you will think it natural enough from
these corresponding circumstances, that Tasso’s
immortal work should be planned upon the
model of the Iliad.
Let it be no surprise to you that, in the
close of my last Letter, I presumed to bring
the Gierusalemme liberata into competition
with the Iliad.
So far as the heroic and Gothic manners are
the same, the pictures of each, if well taken,
must be equally entertaining. But I go further,
and maintain that the circumstances, in
which they differ, are clearly to the advantage
of the Gothic designers.
You see, my purpose is to lead you from
this forgotten Chivalry to a more amusing subject;
I mean, the Poetry we still read, though
it was founded upon it.
Much has been said, and with great truth,
of the felicity of Homer’s age, for poetical
manners. But, as Homer was a citizen of the
world, when he had seen in Greece, on the
one hand, the manners he has described, could
he, on the other hand, have seen in the West
the manners of the feudal ages, I make no
doubt but he would certainly have preferred
the latter. And the grounds of this preference
would, I suppose, have been, “the improved
gallantry of the Gothic knights; and the
superior solemnity of their superstitions.”
If any great poet, like Homer, had flourished
in these times, and given the feudal
manners from the life (for, after all, Spenser
and Tasso came too late, and it was impossible
for them to paint truly and perfectly what
was no longer seen or believed); this preference,
I persuade myself, had been very sensible.
But their fortune was not so happy:
——omnes illacrymabiles
Urgentur, ignotique longâ
Nocte, carent quia vate sacro.
As it is, we may take a guess of what the
subject was capable of affording to real genius,
from the rude sketches we have of it in the old
Romancers. And it is but looking into any of
them to be convinced, that the Gallantry,
which inspired the feudal times, was of a
nature to furnish the poet with finer scenes
and subjects of description in every view, than
the simple and uncontrolled barbarity of the
Grecian.
The principal entertainment arising from the
delineation of these consists in the exercise of
the boisterous passions, which are provoked
and kept alive, from one end of the Iliad to
the other, by every imaginable scene of rage,
revenge, and slaughter. In the other, together
with these, the gentler and more humane
affections are awakened in us by the most interesting
displays of love and friendship; of
love, elevated to its noblest heights; and of
friendship, operating on the purest motives.
The mere variety of these paintings is a relief
to the reader, as well as writer. But their
beauty, novelty, and pathos, give them a vast
advantage, on the comparison.
So that, on the whole, though the spirit,
passions, rapine, and violence, of the two sets
of manners were equal, yet there was an elegance,
a variety, a dignity in the feudal, which
the other wanted.
As to RELIGIOUS MACHINERY, perhaps the
popular system of each was equally remote
from reason; yet the latter had something in
it more amusing, as well as more awakening to
the imagination.
The current popular tales of Elves and
Fairies were even fitter to take the credulous
mind, and charm it into a willing admiration
of the specious miracles which wayward fancy
delights in, than those of the old traditionary
rabble of Pagan divinities. And then, for the
more solemn fancies of witchcraft and incantation,
the Gothic are above measure striking
and terrible.
You will tell me, perhaps, that these fancies,
as terrible as they were, are but of a piece with
those of Pagan superstition; and that nothing
can exceed what the classic writers have related
or feigned of its magic and necromantic horrors.
To spare you the trouble of mustering up
against me all that your extensive knowledge
of antiquity would furnish, let me confess to
you that many of the ancient poets have occasionally
adorned this theme. If, among twenty
others, I select only the names of Ovid, Seneca,
and Lucan, it is, because these writers,
by the character of their genius, were best
qualified for the task, and have, besides, exerted
their whole strength upon it. Lucan,
especially, has drawn out all the pomp of his
eloquence in celebrating those Thessalian
Charms,
ficti quas nulla licentia monstri
Transierat, quarum, quicquid non creditur, ars est.
Yet STILL I pretend to shew you that all his
prodigies, fall short of the Gothic: and you
will come the less reluctantly into my sentiments,
if you reflect, “That the thick and
troubled stream of superstition, which flowed
so plentifully in the classic ages, has been constantly
deepening and darkening by the confluence
of those supplies, which ignorance and
corrupted religion have poured in upon it.”
First, you will call to mind that all the
gloomy visions of dæmons and spirits, which
sprung out of the Alexandrian or Platonic philosophy,
were in the later ages of Paganism
engrafted on the old stock of classic superstition.
These portentous dreams, new hatched
to the woful time, as Shakespear speaks, enabled
Apuleius to outdo Lucan himself, in
some of his magic scenes and exhibitions.
Next, you will observe that a fresh and exhaustless
swarm of the direst superstitions took
their birth in the frozen regions of the North,
and were naturally enough conceived in the
imaginations of a people involved in tenfold
darkness; I mean, in the thickest shades of
ignorance, as well as in the gloom of their
comfortless woods and forests. I call these the
direst superstitions; for though the South and
East may have produced some that shew more
wild and fantastic, yet those of the North have
ever been of a more sombrous and horrid aspect,
agreeably to the singular circumstances and
situation of that savage and benighted people.
These dismal fancies, which the barbarians
carried out with them in their migrations into
the North-west, took the readier and the faster
hold of men’s minds, from the kindred darkness
into which the Western world was then
fallen, and from the desolation (so apt to engender
all fearful conceits and apprehensions)
which every where attended the incursions of
those ravagers.
Lastly, before the Romancers applied themselves
to dress up these dreadful stories, Christian
superstition had grown to its height, and
had transferred on the magic system all its additional
and supernumerary horrors.
Taking, now, the whole together, you will
clearly see what we are to conclude of the
Gothic system of prodigy and enchantment;
which was not so properly a single system, as
the aggregate,
—of all that nature breeds
Perverse; all monstrous, all prodigious things,
Which fables yet had feign’d or fear conceiv’d.
For, to the frightful forms of ancient necromancy
(which easily travelled down to us, when
the fairer offspring of pagan invention lost its
way, or was swallowed up in the general darkness
of the barbarous ages) were now joined the
hideous phantasms which had terrified the
Northern nations; and, to complete the horrid
groupe, with these were incorporated the
still more tremendous spectres of Christian superstition.
In this state of things, as I said, the Romancers
went to work; and with these multiplied
images of terror on their minds, you will
conclude, without being at the pains to form
particular comparisons, that they must manage
ill indeed, not to surpass, in this walk of magical
incantation, the original classic fablers.
But, if you require a comparison, I can tell
you where it is to be made, with much ease,
and to great advantage: I mean, in Shakespear’s
Macbeth, where you will find (as his
best critic observes) “the Danish or Northern,
intermixed with the Greek and Roman enchantments;
and all these worked up together
with a sufficient quantity of our own
country superstitions. So that Shakespear’s
Witch-Scenes (as the same writer adds) are
like the charms they prepare in one of them:
where the ingredients are gathered from every
thing shocking in the natural world; as
here, from every thing absurd in the moral.”
Or, if you suspect this instance, as deriving
somewhat of its force and plausibility from the
magic hand of this critic, you may turn to
another in a great poet of that time; who has
been at the pains to make the comparison himself,
and whose word, as he gives it in honest
prose, may surely be taken.
In a work of B. Jonson, which he calls
The Masque of Queens, there are some
Witch-scenes; written with singular care, and
in emulation, as it may seem, of Shakespear’s;
but certainly with the view (for so he tells us
himself) of reconciling the practice of antiquity
to the neoteric, and making it familiar
with our popular witchcraft.
This Masque is accompanied with notes of
the learned author, who had rifled all the
stores of ancient and modern Dæmonomagy,
to furnish out his entertainment; and who
takes care to inform us, under each head,
whence he had fetched the ingredients, out of
which it is compounded.
In this elaborate work of Jonson you have,
then, an easy opportunity of comparing the
ancient with the modern magic. And though,
as he was an idolater of the ancients, you will
expect him to draw freely from that source,
yet from the large use he makes, too, of his
other more recent authorities, you will perceive
that some of the darkest shades of his
picture are owing to hints and circumstances
which he had catched, and could only catch,
from the Gothic enchantments. Even such of
these circumstances, as, taken by themselves,
seem of less moment, should not be overlooked,
since (as the poet well observes of them)
though they be but minutes in ceremony, yet
they make the act more dark and full of
horror.
Thus MUCH, then, may serve for a cast of
Shakespear’s and Jonson’s magic: abundantly
sufficient, I must think, to convince
you of the superiority of the Gothic charms
and incantations, to the classic.
Though, after all, the conclusion is not to
be drawn so much from particular passages, as
from the general impression left on our minds,
in reading the ancient and modern poets. And
this is so much in favour of the latter, that
Mr. Addison scruples not to say, “The ancients
have not much of this poetry among
them; for indeed (continues he) almost the
whole substance of it owes its original to the
darkness and superstition of later ages—Our
forefathers looked upon nature with more
reverence and horror, before the world was
enlightened by learning and philosophy; and
loved to astonish themselves with the apprehensions
of witchcraft, prodigies, charms,
and inchantments. There was not a village
in England, that had not a ghost in it; the
church-yards were all haunted; every large
common had a circle of fairies belonging to
it; and there was scarce a shepherd to be
met with, who had not seen a spirit.”
We are upon enchanted ground, my friend;
and you are to think yourself well used, that
I detain you no longer in this fearful circle.
The glympse, you have had of it, will help
your imagination to conceive the rest. And
without more words you will readily apprehend
that the fancies of our modern bards are
not only more gallant, but, on a change of
the scene, more sublime, more terrible, more
alarming, than those of the classic fablers. In
a word, you will find that the manners they
paint, and the superstitions they adopt, are
the more poetical for being Gothic.
But nothing shews the difference of the two
systems under consideration more plainly,
than the effect they really had on the Two
greatest of our Poets; at least the two which
an English reader is most fond to compare
with Homer; I mean, Spenser and Milton.
It is not to be doubted but that each of
these bards had kindled his poetic fire from
classic fables. So that, of course, their prejudices
would lie that way. Yet they both
appear, when most inflamed, to have been
more particularly rapt with the Gothic fables
of Chivalry.
Spenser, though he had been long nourished
with the spirit and substance of Homer
and Virgil, chose the times of Chivalry for
his theme, and Fairy Land for the scene of
his fictions. He could have planned, no
doubt, an heroic design on the exact classic
model: or, he might have trimmed between
the Gothic and classic, as his contemporary
Tasso did. But the charms of fairy prevailed.
And if any think, he was seduced by Ariosto
into this choice, they should consider that it
could be only for the sake of his subject; for
the genius and character of these poets was
widely different.
Under this idea then of a Gothic, not classical
poem, the Fairy Queen is to be read and
criticized. And on these principles it would
not be difficult to unfold its merit in another
way than has been hitherto attempted.
Milton, it is true, preferred the classic model
to the Gothic. But it was after long hesitation;
and his favourite subject was Arthur
and his Knights of the round table. On this
he had fixed for the greater part of his life.
What led him to change his mind was, partly,
as I suppose, his growing fondness for religious
subjects; partly, his ambition to take a different
rout from Spenser; but chiefly perhaps,
the discredit into which the stories of
Chivalry had now fallen by the immortal satire
of Cervantes. Yet we see through all his
poetry, where his enthusiasm flames out most,
a certain predilection for the legends of Chivalry
before the fables of Greece.
This circumstance, you know, has given
offence to the austerer and more mechanical
critics. They are ready to censure his judgment,
as juvenile and unformed, when they
see him so delighted, on all occasions, with
the Gothic romances. But do these censors
imagine that Milton did not perceive the defects
of these works, as well as they? No: it
was not the composition of books of Chivalry,
but the manners described in them, that took
his fancy; as appears from his Allegro—
Towred cities please us then
And the busy hum of men,
Where throngs of knights and barons bold
In weeds of peace high triumphs hold,
With store of ladies, whose bright eyes
Rain influence, and judge the prize
Of wit, or arms, while both contend
To win her grace, whom all commend.
And when in the Penseroso he draws, by a
fine contrivance, the same kind of image to
sooth melancholy which he had before given
to excite mirth, he indeed extols an author,
or two, of these romances, as he had before,
in general, extolled the subject of them: but
they are authors worthy of his praise; not the
writers of Amadis, and Sir Launcelot of the
Lake; but Fairy Spenser, and Chaucer
himself, who has left an unfinished story on
the Gothic or feudal model.
Or, call up him that left half-told
The story of Cambuscan bold,
Of Camball and of Algarsiff,
And who had Canace to wife,
That own’d the virtuous ring and glass,
And of the wondrous horse of brass,
On which the Tartar king did ride;
And if aught else great bards beside
In sage and solemn tunes have sung
Of turneys and of trophies hung,
Of forests and inchantments drear,
Where more is meant than meets the ear.
The conduct then of these two poets may
incline us to think with more respect, than is
commonly done, of the Gothic manners; I
mean, as adapted to the uses of the greater
poetry.
I shall add nothing to what I before observed
of Shakespear, because the sublimity
(the divinity, let it be, if nothing else
will serve) of his genius kept no certain rout,
but rambled at hazard into all the regions of
human life and manners. So that we can
hardly say what he preferred, or what he rejected,
on full deliberation. Yet one thing is
clear, that even he is greater when he uses
Gothic manners and machinery, than when he
employs classical: which brings us again to
the same point, that the former have, by their
nature and genius, the advantage of the latter
in producing the sublime.
I spoke “of criticizing Spenser’s poem
under the idea, not of a classical, but Gothic
composition.”
It is certain, much light might be thrown
on that singular work, were an able critic to
consider it in this view. For instance, he
might go some way towards explaining, perhaps
justifying, the general plan and conduct
of the Fairy Queen, which, to classical readers,
has appeared indefensible.
I have taken the fancy, with your leave, to
try my hand on this curious subject.
When an architect examines a Gothic structure
by Grecian rules, he finds nothing but
deformity. But the Gothic architecture has
its own rules, by which when it comes to be
examined, it is seen to have its merit, as well
as the Grecian. The question is not, which
of the two is conducted in the simplest or truest
taste: but whether there be not sense and design
in both, when scrutinized by the laws on
which each is projected.
The same observation holds of the two
sorts of poetry. Judge of the Fairy Queen
by the classic models, and you are shocked
with its disorder: consider it with an eye to its
Gothic original, and you find it regular. The
unity and simplicity of the former are more
complete: but the latter has that sort of unity
and simplicity, which results from its nature.
The Fairy Queen then, as a Gothic poem,
derives its METHOD, as well as the other characters
of its composition, from the established
modes and ideas of Chivalry.
It was usual, in the days of knight-errantry,
at the holding of any great feast, for knights
to appear before the prince, who presided at
it, and claim the privilege of being sent on
any adventure to which the solemnity might
give occasion. For it was supposed that,
when such a throng of knights and barons
bold, as Milton speaks of, were got together,
the distressed would flock in from all quarters,
as to a place where they knew they might find
and claim redress for all their grievances.
This was the real practice, in the days of
pure and ancient Chivalry. And an image
of this practice was afterwards kept up in the
castles of the great, on any extraordinary festival
or solemnity: of which, if you want an instance,
I refer you to the description of a feast
made at Lisle in 1453, in the court of Philip
the good, duke of Burgundy, for a Crusade
against the Turks: as you may find it given
at large in the memoirs of Matthieu de Conci,
Olivier de la Marche, and Monstrelet.
That feast was held for twelve days: and
each day was distinguished by the claim and
allowance of some adventure.
Now, laying down this practice as a foundation
for the poet’s design, you will see how
properly the Fairy Queen is conducted.
----“I devise,” says the poet himself in
his letter to Sir W. Raleigh, “that the Fairy
Queen kept her annual feaste xii days: upon
which xii several days, the occasions of the
xii several adventures happened; which
being undertaken by xii several knights, are
in these xii books severally handled.”
Here you have the poet delivering his own
method, and the reason of it. It arose out of
the order of his subject. And would you desire
a better reason for his choice?
Yes; you will say, a poet’s method is not
that of his subject. I grant you, as to the order
of time, in which the recital is made; for
here, as Spenser observes (and his own practice
agrees to the rule), lies the main difference
between the poet historical, and the historiographer:
the reason of which is drawn from
the nature of Epic composition itself, and
holds equally let the subject be what it will,
and whatever the system of manners be, on
which it is conducted. Gothic or Classic
makes no difference in this respect.
But the case is not the same with regard to
the general plan of a work, or what may be
called the order of distribution, which is and
must be governed by the subject-matter itself.
It was as requisite for the Fairy Queen to consist
of the adventures of twelve Knights, as for
the Odyssey to be confined to the adventures
of one Hero: justice had otherwise not been
done to his subject.
So that if you will say any thing against the
poet’s method, you must say that he should
not have chosen this subject. But this objection
arises from your classic ideas of Unity,
which have no place here; and are in every
view foreign to the purpose, if the poet has
found means to give his work, though consisting
of many parts, the advantage of Unity.
For in some reasonable sense or other, it is
agreed, every work of art must be one, the
very idea of a work requiring it.
If you ask then, what is this Unity of Spenser’s
Poem? I say, It consists in the relation
of its several adventures to one common original,
the appointment of the Fairy Queen;
and to one common end, the completion of
the Fairy Queen’s injunctions. The knights
issued forth on their adventures on the breaking
up of this annual feast: and the next annual
feast, we are to suppose, is to bring them
together again from the atchievement of their
several charges.
This, it is true, is not the classic Unity,
which consists in the representation of one
entire action: but it is an Unity of another
sort, an unity resulting from the respect which
a number of related actions have to one common
purpose. In other words, it is an unity
of design, and not of action.
This Gothic method of design in poetry
may be, in some sort, illustrated by what is
called the Gothic method of design in gardening.
A wood or grove cut out into many
separate avenues or glades was among the most
favourite of the works of art, which our fathers
attempted in this species of cultivation. These
walks were distinct from each other, had each
their several destination, and terminated on
their own proper objects. Yet the whole was
brought together and considered under one
view, by the relation which these various
openings had, not to each other, but to their
common and concurrent center. You and I
are, perhaps, agreed that this sort of gardening
is not of so true a taste as that which Kent
and Nature have brought us acquainted with;
where the supreme art of the designer consists
in disposing his ground and objects into an
entire landskip; and grouping them, if I may
use the term, in so easy a manner, that the
careless observer, though he be taken with the
symmetry of the whole, discovers no art in the
combination:
In lieto aspetto il bel giardin s’aperse,
Acque stagnanti, mobili cristalli,
Fior vari, e varie piante, herbe diverse,
Apriche collinette, ombrose valli,
Selve, e spelunche in UNA VISTA offerse:
E quel, che’l bello, e’l caro accresce à l’opre,
L’arte, che tutto sà, nulla si scopre.
Tasso, C. XVI. s. ix.
This, I say, may be the truest taste in gardening,
because the simplest: yet there is a
manifest regard to unity in the other method;
which has had its admirers, as it may have
again, and is certainly not without its design
and beauty.
But to return to our poet. Thus far he
drew from Gothic ideas; and these ideas, I
think, would lead him no further. But, as
Spenser knew what belonged to classic composition,
he was tempted to tie his subject still
closer together by one expedient of his own,
and by another taken from his classic models.
His own was, to interrupt the proper story
of each book, by dispersing it into several; involving
by this means, and as it were intertwisting
the several actions together, in order
to give something like the appearance of one
action to his twelve adventures. And for this
conduct, as absurd as it seems, he had some
great examples in the Italian poets, though,
I believe, they were led into it by different
motives.
The other expedient, which he borrowed
from the classics, was, by adopting one superior
character, which should be seen throughout.
Prince Arthur, who had a separate adventure
of his own, was to have his part in each of the
other; and thus several actions were to be embodied
by the interest which one principal
Hero had in them all. It is even observable,
that Spenser gives this adventure of Prince
Arthur, in quest of Gloriana, as the proper
subject of his poem. And upon this idea the
late learned editor of the Fairy Queen has attempted,
but, I think, without success, to defend
the unity and simplicity of its fable. The
truth was, the violence of classic prejudices
forced the poet to affect this appearance of
unity, though in contradiction to his Gothic
system. And, as far as we can judge of the
tenour of the whole work from the finished
half of it, the adventure of Prince Arthur,
whatever the author pretended, and his critic
too easily believed, was but an after-thought;
and, at least, with regard to the historical
fable, which we are now considering, was only
one of the expedients by which he would conceal
the disorder of his Gothic plan.
And if this was his design, I will venture to
say that both his expedients were injudicious.
Their purpose was, to ally two things, in nature
incompatible, the Gothic, and the classic
unity; the effect of which misalliance was to
discover and expose the nakedness of the
Gothic.
I am of opinion then, considering the Fairy
Queen as an epic or narrative poem constructed
on Gothic ideas, that the poet had
done well to affect no other unity than that of
design, by which his subject was connected.
But his poem is not simply narrative; it is
throughout allegorical: he calls it a perpetual
allegory or dark conceit: and this character,
for reasons I may have occasion to observe hereafter,
was even predominant in the Fairy
Queen. His narration is subservient to his
moral, and but serves to colour it. This he
tells us himself at setting out,
Fierce wars and faithful loves shall moralize my song;
that is, shall serve for a vehicle, or instrument
to convey the moral.
Now under this idea, the Unity of the
Fairy Queen is more apparent. His twelve
knights are to exemplify as many virtues, out
of which one illustrious character is to be composed.
And in this view the part of Prince
Arthur in each book becomes essential, and
yet not principal; exactly, as the poet has
contrived it. They who rest in the literal
story, that is, who criticize it on the footing
of a narrative poem, have constantly objected
to this management. They say, it necessarily
breaks the unity of design. Prince Arthur,
they affirm, should either have had no part in
the other adventures, or he should have had
the chief part. He should either have done
nothing, or more. This objection I find insisted
upon by Spenser’s best critic49; and, I
think, the objection is unanswerable; at least,
I know of nothing that can be said to remove
it, but what I have supposed above might be
the purpose of the poet, and which I myself
have rejected as insufficient.
But how faulty soever this conduct be in the
literal story, it is perfectly right in the moral:
and that for an obvious reason, though his
critics seem not to have been aware of it. His
chief hero was not to have the twelve virtues
in the degree in which the knights had, each
of them, their own (such a character would be
a monster;) but he was to have so much of
each as was requisite to form his superior character.
Each virtue, in its perfection, is exemplified
in its own knight; they are all, in a
due degree, concentrated in Prince Arthur.
This was the poet’s moral: and what way
of expressing this moral in the history, but by
making Prince Arthur appear in each adventure,
and in a manner subordinate to its proper
hero? Thus, though inferior to each in his
own specific virtue, he is superior to all by
uniting the whole circle of their virtues in himself:
and thus he arrives, at length, at the
possession of that bright form of Glory, whose
ravishing beauty, as seen in a dream or vision,
had led him out into these miraculous adventures
in the land of Fairy.
The conclusion is, that, as an allegorical
poem, the method of the Fairy Queen is governed
by the justness of the moral: as a narrative
poem, it is conducted on the ideas and
usages of Chivalry. In either view, if taken
by itself, the plan is defensible. But from the
union of the two designs there arises a perplexity
and confusion, which is the proper,
and only considerable, defect of this extraordinary
poem.
No doubt, Spenser might have taken one
single adventure, of the Twelve, for the subject
of his Poem; or he might have given the
principal part in every adventure to Prince
Arthur. By this means his fable had been
of the classic kind, and its unity as strict as
that of Homer and Virgil.
All this the poet knew very well; but his
purpose was not to write a classic poem. He
chose to adorn a Gothic story; and, to be consistent
throughout, he chose that the form of
his work should be of a piece with his subject.
Did the poet do right in this? I cannot tell:
but, comparing his work with that of another
great poet, who followed the system you seem
to recommend, I see no reason to be peremptory
in condemning his judgment.
The example of this poet deserves to be considered.
It will afford, at least, a fresh confirmation
of the point, I principally insist
upon, the pre-eminence of the Gothic manners
and fictions, as adapted to the ends of poetry,
above the classic.
I observed of the famous Torquato Tasso,
that, coming into the world a little of the latest
for the success of the pure Gothic manner, he
thought fit to trim between that and the classic
model.
It was lucky for his fame, that he did so.
For the Gothic fables falling every day more
and more into contempt, and the learning of
the times, throughout all Europe, taking a
classic turn, the reputation of his work has
been chiefly founded on the strong resemblance
it has to the ancient Epic poems. His fable
is conducted in the spirit of the Iliad; and with
a strict regard to that unity of action which we
admire in Homer and Virgil.
But this is not all; we find a studied and
close imitation of those poets, in many of the
smaller parts, in the minuter incidents, and
even in the descriptions and similes of his
poem.
The classic reader was pleased with this deference
to the public taste: he saw with delight
the favourite beauties of Homer and Virgil
reflected in the Italian poet; and was almost
ready to excuse, for the sake of these, his
magic tales and fairy enchantments.
I said, was almost ready; for the offence
given by these tales to the more fashionable
sort of critics was so great, that nothing, I believe,
could make full amends, in their judgment,
for such extravagancies.
However, by this means, the Gierusalemme
Liberata made its fortune amongst the French
wits, who have constantly cried it up above the
Orlando Furioso, and principally for this reason,
that Tasso was more classical in his fable,
and more sparing in the wonders of Gothic
fiction, than his predecessor.
The Italians have indeed a predilection for
their elder bard; whether from their prejudice
for his subject; their admiration of his language;
the richness of his invention; the
comic air of his style and manner; or from
whatever other reason.
Be this as it will, the French criticism has
carried it before the Italian, with the rest of
Europe. This dextrous people have found
means to lead the taste, as well as set the
fashions, of their neighbours: and Ariosto
ranks but little higher than the rudest Romancer
in the opinion of those who take their notions
of these things from their writers.
But the same principle, which made them
give Tasso the preference to Ariosto, has
led them by degrees to think very unfavourably
of Tasso himself. The mixture of the Gothic
manner in his work has not been forgiven. It
has sunk the credit of all the rest; and some
instances of false taste in the expression of his
sentiments, detected by their nicer critics,
have brought matters to that pass, that, with
their good will, Tasso himself should now follow
the fate of Ariosto.
I will not say, that a little national envy did
not perhaps mix itself with their other reasons
for undervaluing this great poet. They aspired
to a sort of supremacy in letters; and finding
the Italian language and its best writers standing
in their way, they have spared no pains to
lower the estimation of both.
Whatever their inducements were, they succeeded
but too well in their attempt. Our obsequious
and over-modest critics were run down
by their authority. Their taste of letters, with
some worse things, was brought among us at
the Restoration. Their language, their manners,
nay their very prejudices, were adopted
by our polite king and his royalists. And the
more fashionable wits, of course, set their
fancies, as my Lord Molesworth tells us the
people of Copenhagen in his time did their
clocks, by the court-standard.
Sir W. Davenant opened the way to this
new sort of criticism in a very elaborate preface
to Gondibert; and his philosophic friend,
Mr. Hobbes, lent his best assistance towards
establishing the credit of it. These two fine
letters contain, indeed, the substance of whatever
has been since written on the subject.
Succeeding wits and critics did no more than
echo their language. It grew into a sort of
cant, with which Rymer, and the rest of that
school, filled their flimsy essays and rambling
prefaces.
Our noble critic himself50 condescended to
take up this trite theme: and it is not to be
told with what alacrity and self-complacency
he flourishes upon it. The Gothic manner, as
he calls it, is the favourite object of his raillery;
which is never more lively or pointed,
than when it exposes that “bad taste which
makes us prefer an Ariosto to a Virgil,
and a Romance (without doubt he meant, of
Tasso) to an Iliad.” Truly, this critical sin
requires an expiation; which yet is easily made
by subscribing to his sentence, “That the
French indeed may boast of legitimate authors
of a just relish; but that the Italian
are good for nothing but to corrupt the taste
of those who have had no familiarity with
the noble antients51.”
This ingenious nobleman is, himself, one of
the gallant votaries he sometimes makes himself
so merry with. He is perfectly enamoured
of his noble ancients; and will fight with any
man who contends, not that his Lordship’s
mistress is not fair, but that his own is fair
also.
It is certain the French wits benefited by
this foible. For pretending, in great modesty,
to have formed themselves on the pure taste of
his noble ancients, they easily drew his Lordship
over to their party: while the Italians,
more stubbornly pretending to a taste of their
own, and chusing to lye for themselves, instead
of adopting the authorised lyes of Greece,
were justly exposed to his resentment.
Such was the address of the French writers,
and such their triumphs over the poor Italians.
It must be owned, indeed, they had every
advantage on their side, in this contest with
their masters. The taste and learning of Italy
had been long on the decline; and the fine
writers under Louis XIV. were every day advancing
the French language, such as it is
(simple, clear, exact, that is, fit for business
and conversation; but for that reason, besides
its total want of numbers, absolutely unsuited
to the genius of the greater poetry), towards
its last perfection. The purity of the ancient
manner became well understood, and it was
the pride of their best critics to expose every
instance of false taste in the modern writers.
The Italian, it is certain, could not stand so
severe a scrutiny. But they had escaped better,
if the most fashionable of the French
poets had not, at the same time, been their
best critic.
A lucky word in a verse, which sounds well
and every body gets by heart, goes further than
a volume of just criticism. In short, the exact,
but cold Boileau happened to say something
of the clinquant of Tasso; and the magic of
this word, like the report of Astolfo’s horn
in Ariosto, overturned at once the solid and
well-built reputation of the Italian poetry.
It is not perhaps strange that this potent
word should do its business in France. What
was less to be expected, it put us into a fright
on this side the water. Mr. Addison, who
gave the law in taste here, took it up, and sent
it about the kingdom in his polite and popular
essays52. It became a sort of watchword among
the critics; and, on the sudden, nothing was
heard, on all sides, but the clinquant of Tasso.
After all, these two respectable writers might
not intend the mischief they were doing. The
observation was just; but was extended much
further than they meant, by their witless followers
and admirers. The effect was, as I
said, that the Italian poetry was rejected in
the gross, by virtue of this censure; though
the authors of it had said no more than this,
“that their best poet had some false thoughts,
and dealt, as they supposed, too much in
incredible fiction.”
I leave you to make your own reflexions on
this short history of the Italian poetry. It is
not my design to be its apologist in all respects.
However, with regard to the first of these
charges, I presume to say, that, as just as it
is in the sense in which I persuade myself it
was intended, there are more instances of natural
sentiment, and of that divine simplicity
we admire in the ancients, even in Guarini’s
Pastor Fido, than in the best of the French
poets.
And as to the last charge, I pretend to shew
you, in my next Letter, that it implies no
fault at all in the Italian poets.
Chi non sa che cosa sia Italia?—If this
question could ever be reasonably asked on
any occasion, it must surely be when the wit
and poetry of that people were under consideration.
The enchanting sweetness of their
tongue, the richness of their invention, the
fire and elevation of their genius, the splendour
of their expression on great subjects, and
the native simplicity of their sentiments on
affecting ones; all these are such manifest advantages
on the side of the Italian poets, as
should seem to command our highest admiration
of their great and capital works.
Yet a different language has been held by
our finer critics. And, in particular, you hear
it commonly said of the tales of Fairy, which
they first and principally adorned, “that they
are extravagant and absurd; that they surpass
all bounds, not of truth only, but of
probability; and look more like the dreams
of children, than the manly inventions of
poets.”
All this, and more, has been said; and, if
truly said, who would not lament
L’arte del poëtar troppo infelice?
For they are not the cold fancies of plebeian
poets, but the golden dreams of Ariosto, the
celestial visions of Tasso, that are thus derided.
But now, as to the extravagance of these
fictions, it is frequently, I believe, much less
than these laughers apprehend.
To give an instance or two, of this sort.
One of the strangest circumstances in those
books, is that of the women-warriors, with
which they all abound. Butler, in his Hudibras,
who saw it only in the light of a poetical
invention, ridicules it, as a most unnatural
idea, with great spirit. Yet in this representation,
they did but copy from the manners of
the times. Anna Comnena tells us, in the
life of her father, that the wife of Robert the
Norman fought side by side with her husband,
in his battles; that she would rally the flying
soldiers, and lead them back to the charge:
and Nicetas observes, that, in the time of
Manuel Comnena, there were in one Crusade
many women, armed like men, on horseback.
What think you now of Tasso’s Clarinda,
whose prodigies of valour I dare say you have
often laughed at? Or, rather, what think you
of that constant pair,
“Gildippe et Odoardo amanti e sposi,
In valor d’arme, e in lealtà famosi?”
C. III. s. 40.
Again: what can be more absurd and incredible,
it is often said, than the vast armies
we read of in Romance? a circumstance, to
which Milton scruples not to allude in those
lines of his Paradise Regained—
Such forces met not, nor so wide a camp,
When Agrican with all his northern powers
Besieg’d Albracca, as Romances tell,
The city of Gallaphrone, from thence to win
The fairest of her sex, Angelica.
B. III. ver. 337.
The classical reader is much scandalized on
these occasions, and never fails to cry out on
the impudence of these lying fablers. Yet if
he did but reflect on the prodigious swarms
which Europe sent out in the Crusades, and
that the transactions of those days furnished
the Romance-writers with their ideas and
images, he would see that the marvellous in
such stories was modest enough, and did not
very much exceed the strict bounds of historical
representation.
The first army, for instance, that marched
for the Holy Land, even after all the losses it
had sustained by the way, amounted, we are
told, when it came to be mustered in the plains
of Asia, to no less than seven hundred thousand
fighting men: a number, which would
almost have satisfied the Romancer’s keenest
appetite for wonder and amplification.
A third instance may be thought still more
remarkable.
“We read perpetually of walls of fire raised
by magical art to stop the progress of knights-errant.
In Tasso, the wizard Ismeno guards
the inchanted forest with walls of fire. In
the Orlando Inamorato, L. III. c. i. Mandricardo
is endeavoured to be stopped by
enchanted flames; but he makes his way
through all.”
Thus far the learned editor of the Fairy
Queen [Notes on B. III. C. xi. s. 25.] who contents
himself, like a good Romance-critic, with
observing the fact, without the irreverence of
presuming to account for it. But if the profane
will not be kept within this decent reserve,
we may give them to understand, that this
fancy, as wild as it appears, had some foundation
in truth. For I make no question but
these fires, raised by magical art, to stop the
progress of assailants, were only the flames of
FEUGREGEOIS, as it was called, that is of WILDFIRE,
which appeared so strange, on its first
invention and application, in the barbarous ages.
We hear much of its wonders in the history
of the Crusades; and even so late as Spenser’s
own time they were not forgotten. Davila,
speaking of the siege of Poitiers in 1569, tells
us——Abbondavano nella citta le provisioni
da guerra; tra le quali, quantita inestimabile
di FUOCHI ARTIFICIATI, lavorati in diverse
maniere, ne’quali avenano i defensori posta
grandissima speranza di respingere gli assalti
de’nemici. Lib. v.
Hence, without doubt, the magical flames
and fiery walls, of the Gothic Romancers53;
and who will say, that the specious miracles
of Homer himself had a better foundation?
But, after all, this is not the sort of defence
I mean chiefly to insist upon. Let others explain
away these wonders, so offensive to certain
philosophical critics. They are welcome
to me in their own proper form, and with all
the extravagance commonly imputed to them.
It is true, the only criticism, worth regarding,
is that which these critics lay claim to,
the philosophical. But there is a sort which
looks like philosophy, and is not. May not
that be the case here?
This criticism, whatever name it deserves,
supposes that the poets, who are lyars by profession,
expect to have their lyes believed.
Surely they are not so unreasonable. They
think it enough, if they can but bring you to
imagine the possibility of them.
And how small a matter will serve for this?
A legend, a tale, a tradition, a rumour, a superstition;
in short, any thing is enough to be
the basis of their air-formed visions. Does
any capable reader trouble himself about the
truth, or even the credibility of their fancies?
Alas, no; he is best pleased when he is made
to conceive (he minds not by what magic) the
existence of such things as his reason tells him
did not, and were never likely to, exist.
But here, to prevent mistakes, an explanation
will be necessary. We must distinguish
between the popular belief, and that of the
reader. The fictions of poetry do, in some
degree at least, require the first (they would,
otherwise, deservedly pass for dreams indeed):
but when the poet has this advantage on his
side, and his fancies have, or may be supposed
to have, a countenance from the current superstitions
of the age in which he writes, he
dispenses with the last, and gives his reader
leave to be as sceptical, and as incredulous, as
he pleases.
A fashionable French critic diverts himself
with imagining “what a person, who comes
fresh from reading Mr. Addison and Mr.
Locke, would be apt to think of Tasso’s
Enchantments54.”
The English reader will, perhaps, smile at
seeing these two writers so coupled together:
and, with the critic’s leave, we will put Mr.
Locke out of the question. But if he be desirous
to know what a reader of Mr. Addison
would pronounce in the case, I can undertake
to give him satisfaction.
Speaking of what Mr. Dryden calls, the
Fairy way of writing, “Men of cold fancies
and philosophical dispositions, says he, object
to this kind of poetry, that it has not
probability enough to affect the imagination.
But—many are prepossest with such false
opinions, as dispose them to believe these
particular delusions: at least, we have all
heard so many pleasing relations in favour of
them, that we do not care for seeing through
the falsehood, and willingly give ourselves
up to so agreeable an imposture.” [Spect.
No 419.]
Apply, now, this sage judgment of Mr. Addison
to Tasso’s Enchantments; and you see
that a falsehood convict is not to be pleaded
against a supposed belief, or even the slightest
hear-say.
So little account does this wicked poetry
make of philosophical or historical truth: all
she allows us to look for, is poetical truth; a
very slender thing indeed, and which the poet’s
eye, when rolling in a fine frenzy, can but
just lay hold of. To speak in the philosophic
language of Mr. Hobbes, it is something much
beyond the actual bounds, and only within the
conceived possibility of nature.
But the source of bad criticism, as universally
of bad philosophy, is the abuse of terms.
A poet, they say, must follow nature; and by
nature we are to suppose can only be meant
the known and experienced course of affairs
in this world. Whereas the poet has a world
of his own, where experience has less to do,
than consistent imagination.
He has, besides, a supernatural world to
range in. He has Gods, and Fairies, and
Witches, at his command: and,
— — — —O! who can tell
The hidden pow’r of herbes, and might of magic spell?
Spenser, B. V. C. ii.
Thus, in the poet’s world, all is marvellous
and extraordinary; yet not unnatural in one
sense, as it agrees to the conceptions that are
readily entertained of these magical and wonder-working
natures.
This trite maxim of following Nature is
further mistaken, in applying it indiscriminately
to all sorts of poetry.
In those species which have men and manners
professedly for their theme, a strict conformity
with human nature is reasonably demanded.
Non hic Centauros, non Gorgonas, Harpyiasque
Invenies: hominem pagina nostra sapit;
is a proper motto to a book of epigrams; but
would make a poor figure at the head of an
epic poem.
Still further in those species that address
themselves to the heart, and would obtain their
end, not through the imagination, but through
the passions, there the liberty of transgressing
nature, I mean the real powers and properties
of human nature, is infinitely restrained; and
poetical truth is, under these circumstances,
almost as severe a thing as historical.
The reason is, we must first believe before
we can be affected.
But the case is different with the more
sublime and creative poetry. This species,
addressing itself solely or principally to the
Imagination; a young and credulous faculty,
which loves to admire and to be deceived; has
no need to observe those cautious rules of credibility,
so necessary to be followed by him
who would touch the affections and interest
the heart.
This difference, you will say, is obvious
enough: How came it then to be overlooked?
From another mistake, in extending a particular
precept of the drama into a general maxim.
The incredulus odi of Horace ran in the
heads of these critics, though his own words
confine the observation singly to the stage:
Segnius irritant animos demissa per aurem
Quam quæ sunt oculis subjecta fidelibus, et quæ
Ipse sibi tradit Spectator——
That, which passes in representation, and
challenges, as it were, the scrutiny of the eye,
must be truth itself, or something very nearly
approaching to it. But what passes in narration,
even on the stage, is admitted without
much difficulty—
multaque tolles
Ex oculis, quæ mox narret facundia presens.
In the epic narration, which may be called
absens facundia, the reason of the thing shews
this indulgence to be still greater. It appeals
neither to the eye nor the ear, but simply to
the imagination, and so allows the poet a
liberty of multiplying and enlarging his impostures
at pleasure, in proportion to the easiness
and comprehension of that faculty55.
These general reflexions hardly require an
application to the present subject. The tales
of Fairy are exploded, as fantastic and incredible.
They would merit this contempt, if presented
on the stage; I mean, if they were
given as the proper subject of dramatic imitation,
and the interest of the poet’s plot were to
be wrought out of the adventures of these marvellous
persons. But the epic muse runs no
risque in giving way to such fanciful exhibitions.
You may call them, as one does, “extraordinary
dreams, such as excellent poets and
painters, by being over-studious, may have
in the beginning of fevers56.”
The epic poet would acknowledge the charge,
and even value himself upon it. He would
say, “I leave to the sage dramatist the merit
of being always broad awake, and always in
his senses. The divine dream57, and delirious
fancy, are among the noblest of my prerogatives.”
But the injustice done the Italian poets does
not stop here. The cry is, “Magic and enchantments
are senseless things. Therefore
the Italian poets are not worth the reading.”
As if, because the superstitions of Homer and
Virgil are no longer believed, their poems,
which abound in them, are good for nothing.
Yes, you will say, their fine pictures of life
and manners—
And may not I say the same, in behalf of
Ariosto and Tasso? For it is not true that
all is unnatural and monstrous in their poems,
because of this mixture of the wonderful. Admit,
for example, Armida’s marvellous conveyance
to the happy Island; and all the rest
of the love-story is as natural, that is, as suitable
to our common notions of that passion, as
any thing in Virgil or (if you will) Voltaire.
Thus, you see, the apology of the Italian
poets is easily made on every supposition. But
I stick to my point, and maintain that the
Fairy tales of Tasso do him more honour than
what are called the more natural, that is, the
classical parts of his poem. His imitations of
the ancients have indeed their merit; for he
was a genius in every thing. But they are
faint and cold, and almost insipid, when compared
with his Gothic fictions. We make a
shift to run over the passages he has copied
from Virgil. We are all on fire amidst the
magical feats of Ismen, and the enchantments
of Armida.
Magnanima mensogna, hor quando è il vero
Si bello, che si possa à te preporre?
I speak at least for myself; and must freely
own, if it were not for these lyes of Gothic invention,
I should scarcely be disposed to give
the Gierusalem Liberata a second reading.
I readily agree to the lively observation,
“That impenetrable armour, inchanted castles,
invulnerable bodies, iron men, flying horses,
and other such things, are easily feigned by
them that dare58.” But, with the observer’s
leave, not so feigned as we find them in the
Italian poets, unless the writer have another
quality, besides that of courage.
One thing is true, that the success of these
fictions will not be great, when they have no
longer any footing in the popular belief: and
the reason is, that readers do not usually do as
they ought, put themselves in the circumstances
of the poet, or rather of those of whom the
poet writes. But this only shews, that some
ages are not so fit to write epic poems in, as
others; not, that they should be otherwise
written.
It is also true, that writers do not succeed so
well in painting what they have heard, as what
they believe, themselves, or at least observe in
others a facility of believing. And on this account
I would advise no modern poet to revive
these Fairy tales in an epic poem. But still
this is nothing to the case in hand, where we
are considering the merit of epic poems, written
under other circumstances.
The Pagan Gods and Gothic Fairies were
equally out of credit when Milton wrote. He
did well therefore to supply their room with
Angels and Devils. If these too should wear
out of the popular creed (and they seem in a
hopeful way, from the liberty some late critics
have taken with them) I know not what other
expedients the epic poet might have recourse
to; but this I know, the pomp of verse, the
energy of description, and even the finest moral
paintings, would stand him in no stead.
Without admiration (which cannot be affected
but by the marvellous of celestial intervention,
I mean, the agency of superior natures really
existing, or by the illusion of the fancy taken
to be so) no epic poem can be long-lived.
I am not afraid to instance in the Henriade
itself; which, notwithstanding the elegance of
the composition, will in a short time be no
more read than the Gondibert of Sir W. Davenant,
and for the same reason.
Critics may talk what they will of Truth
and Nature, and abuse the Italian poets as
they will, for transgressing both in their incredible
fictions. But, believe it, my friend,
these fictions with which they have studied to
delude the world, are of that kind of creditable
deceits, of which a wise ancient pronounces
with assurance, “That they, who deceive, are
honester than they who do not deceive; and
they, who are deceived, wiser than they who
are not deceived.”
But you are weary of hearing so much of
these exploded fancies; and are ready to ask,
if there be any truth in this representation,
“Whence it has come to pass, that the classical
manners are still admired and imitated
by the poets, when the Gothic have long
since fallen into disuse?”
The answer to this question will furnish all
that is now wanting to a proper discussion of
the present subject.
One great reason of this difference certainly
was, that the ablest writers of Greece ennobled
the system of heroic manners, while it was
fresh and flourishing; and their works, being
master-pieces of composition, so fixed the
credit of it in the opinion of the world, that no
revolutions of time and taste could afterwards
shake it.
Whereas the Gothic having been disgraced
in their infancy by bad writers, and a new set
of manners springing up before there were any
better to do them justice, they could never be
brought into vogue by the attempts of later
poets; who yet, in spite of prejudice, and for
the genuine charm of these highly poetical
manners, did their utmost to recommend them.
But, FURTHER, the Gothic system was not
only forced to wait long for real genius to do
it honour; real genius was even very early
employed against it.
There were two causes of this mishap. The
old Romancers had even outraged the truth in
their extravagant pictures of Chivalry; and
Chivalry itself, such as it once had been, was
greatly abated.
So that men of sense were doubly disgusted
to find a representation of things unlike to
what they observed in real life, and beyond
what it was ever possible should have existed.
However, with these disadvantages, there was
still so much of the old spirit left, and the
fascination of these wondrous tales was so prevalent,
that a more than common degree of
sagacity and good sense was required to penetrate
the illusion.
It was one of this character, I suppose, that
put the famous question to Ariosto, which
has been so often repeated that I shall spare
you the disgust of hearing it. Yet long before
his time an immortal genius of our own (so
superior is the sense of some men to the age
they live in) saw as far into this matter, as
Ariosto’s examiner.
You will, perhaps, be as much surprised, as
I was (when, many years ago, the observation
was, first, made to me) to understand, that
this sagacious person was Dan Chaucer; who
in a reign that almost realized the wonders of
Romantic Chivalry, not only discerned the absurdity
of the old Romances, but has even ridiculed
them with incomparable spirit.
“His Rime of Sir Topaz in the Canterbury
Tales (said the curious observer, on whose
authority I am now building) is a manifest banter
on these books, and may be considered as
a sort of prelude to the adventures of Don
Quixote. I call it a manifest banter: for we
are to observe that this was Chaucer’s own
tale; and that, when in the progress of it the
good sense of the Host is made to break in
upon him, and interrupt him, Chaucer approves
his disgust, and, changing his note,
tells the simple instructive tale of Meliboeus;
a moral tale virtuous, as he terms it; to shew,
what sort of fictions were most expressive of
real life, and most proper to be put into the
hands of the people.
It is, further, to be noted, that the tale of
the Giant Olyphant and Chylde Topaz was
not a fiction of his own, but a story of antique
fame, and very celebrated in the days of Chivalry:
so that nothing could better suit the
poet’s design of discrediting the old Romances,
than the choice of this venerable legend for the
vehicle of his ridicule upon them.
But what puts the satyric purpose of the Rime
of Sir Topaz out of all question, is, that this
short poem is so managed as, with infinite humour,
to expose the leading impertinencies of
books of Chivalry; the very same, which Cervantes
afterwards drew out, and exposed at
large, in his famous history.
Indeed Sir Topaz is all Don Quixote in
little; as you will easily see from comparing
the two knights together; who are drawn with
the same features, are characterized by the
same strokes, and differ from each other but
as a sketch in miniature from a finished and
full-sized picture.
1. Cervantes is very particular in describing
the person and habit of his Hero, agreeably to
the known practice of the old Romancers.
Chaucer does the same by his knight, and in
a manner that almost equals the arch-gravity
of the Spanish author:
Sir Topaz was a doughty swaine,
White was his face as paine maine,
His lippes red as rose,
His rudde is like scarlet in graine,
And I you tell in good certaine,
He had a seemely nose.
His haire, his berde, was like safroune,
That to his girdle raught adowne,
His shoone of cordewaine,
Of Bruges were his hosen broun.
His robe was of chekelatoun,
That cost many a jane.
2. Cervantes tells us how Don Quixote
passed his time in the country, before he turned
Knight-errant. Chaucer, in the same spirit,
celebrates his knight’s country diversions of
hunting, hawking, shooting, and wrestling,
those known prolusions to feats of arms:
He couth hunt at the wilde dere,
And ride an hauking for by the rivere
With grey Goshauke on honde,
Thereto he was a good archere,
Of wrastling was there none his pere
There any Ram should stonde.
3. The Knights of Romance were used to
dedicate their services to some paragon of
beauty, such as was only conceived to exist in
the land of Fairy, and could no where be found
in this vulgar disenchanted world. Hence one
of the strongest features in Don Quixote’s
character is the sublime passion he had conceived
for an imaginary or fairy mistress. Sir
Topaz is not behind him in this extravagance:
An Elfe-queene woll I love, I wis,
For in this world no woman is
To be my make in towne,
All other women I forsake
And to an Elfe-queene I me take
By dale and eke by downe.
4. Don Quixote’s passion for this idol of
his fancy was so violent, that, after all the
bangs and bruises of the day, instead of suffering
his weary limbs to take any rest, it occupied
him all night with incessant dreams and
reveries of his mistress. Sir Topaz is in the
same woful plight:
Sir Topaz eke so weary was—
That down he laid him in that place—
Oh, Saint Mary, benedicite
What aileth this love at me
To blind me so sore?
Me dreamed all this night parde
An Elfe-queen shall my leman be
And sleepe under my gore.
5. As the chastity of the hero of La Mancha
is well known, from a variety of trying
temptations, so Sir Topaz distinguishes himself
by this knightly virtue:
Full many a maide bright in boure
They mourne for him their paramoure.
Whan hem were bet to sleepe,
But he was chaste and no lechoure,
And sweet as is the bramble floure
That bereth the red hipe.
6. The fight of Sir Topaz with the Giant of
three heads, in honour of his mistress,
For needes must he fight
With a giant with heads thre,
For paramours and jolitie
Of one that shone full bright—
together with his arming, and the whole ridiculous
preparation for the combat, described at
large in several stanzas, is exactly in the
style and taste of Cervantes, on similar occasions.
7. Cervantes gives us to understand that
it was familiar with his knight to sleep in the
open air, to endure all hardships that befell,
and to let his horse graze by him. Chaucer,
in like manner, of his knight, with much humour:
And for he was a knight auntrous,
He nolde slepen in none house
But liggen in his hood,
His bright helme was his wanger
And by him fed his destrer
Of herbes fine and good.
8. And, lastly, as Cervantes, after the example
of the Romance-writers, will have it,
that his knight surpasses all others of ancient
fame, so Dan Chaucer is careful to vindicate
this high prerogative, to his hero:
Men speaken of Romances of pris
Of Hornechild and of Ipotis,
Of Bevis and Sir Gie,
Of Sir Libeaux and Blandamoure;
But Sir Topaz, he beareth the floure
Of rial chivalrie.”
Thus far, at least to this effect, the concealed
author (for the dispensers of these
fairy favours would not be inquired after) of
this new interpretation of the Rime of Sir
Topaz. Other circumstances of resemblance
might be added (for when a well-grounded
hint of this sort is once given, and opened in
some instances, it is not difficult to pursue it),
but one needs go no further to be certain that
the general scope of this poem is, Burlesque.
Only, I would observe, that though, in
this ridiculous ballad, the poet clearly intended
to expose the Romances of the time, as they
were commonly written, he did not mean,
absolutely and under every form, to condemn
the kind of writing itself: as, I think, we
must conclude from the serious air, and very
different conduct, of the Squire’s tale; which
Spenser and Milton were so particularly
pleased with.
We learn too, from the same tale, that,
though Chaucer could be as pleasant on the
other fooleries of Romance, as any modern
critic, he let the marvellous of it escape his
ridicule, or rather esteemed this character of
the Gothic Romance, no foolery. For the tale
of Cambuscan is all over Marvellous; and
Milton, by specifying the virtuous ring and
glass, and the wondrous horse of brass, as the
circumstances that charmed him most, shews
very plainly, that, in his opinion, these
amusing fictions were well placed, and of principal
consideration, as they surely are, in this
Fairy way of writing.
But, whatever our old Bard would insinuate
by his management of this enchanting tale,
and whatever conclusions have, in fact, been
drawn from it by such superior and congenial
spirits as our two epic poets, the half-told
story of Cambuscan could never atone for the
mischiefs done to the cause of Romance, by
the pointed ridicule of the Rime of Sir Topaz.
Common readers would be naturally induced
by it to reject the old Romances, in the gross:
and thus it happened, according to the observation
I set out with, “that these phantoms
of Chivalry had the misfortune to be laughed
out of countenance by men of sense, before
the substance of it had been fairly and truly
represented by any capable writer.”
Still, the principal cause of all, which
brought disgrace on the Gothic manners of
Chivalry, no doubt, was, That these manners,
which sprang out of the feudal system, were
as singular, as that system itself: so that when
that political constitution vanished out of Europe,
the manners, that belonged to it, were
no longer seen or understood. There was no
example of any such manners remaining on
the face of the earth: and as they never did
subsist but once, and are never likely to subsist
again, people would be led of course to
think and speak of them, as romantic, and
unnatural. The consequence of which was a
total contempt and rejection of them; while
the classic manners, as arising out of the customary
and usual situations of humanity,
would have many archetypes, and appear natural
even to those who saw nothing similar to
them actually subsisting before their eyes.
Thus, though the manners of Homer are
perhaps as different from ours, as those of Chivalry
itself, yet as we know that such manners
always belong to rude and simple ages, such as
Homer paints; and actually subsist at this day
in countries that are under the like circumstances
of barbarity; we readily agree to call
them natural, and even take a fond pleasure
in the survey of them.
Your question then is easily answered, without
any obligation upon me to give up the
Gothic manners as visionary and fantastic. And
the reason appears, why the Fairy Queen,
one of the noblest productions of modern
poetry, is fallen into so general a neglect, that
all the zeal of its commentators is esteemed
officious and impertinent, and will never restore
it to those honours which it has, once
for all, irrecoverably lost.
In effect, what way of persuading the generality
of readers that the romantic manners
are to be accounted natural, when not one in
ten-thousand knows enough of the barbarous
ages, in which they arose, to believe they ever
really existed?
Poor Spenser then,
—— ——“in whose gentle spright
The pure well-head of Poesie did dwell,”
must, for aught I can see, be left to the admiration
of a few lettered and curious men:
while the many are sworn together to give no
quarter to the marvellous, or, which may seem
still harder, to the moral of his song.
However, this great revolution in modern
taste was brought about by degrees; and the
steps, that led to it, may be worth the tracing
in a distinct Letter.
The wonders of Chivalry were still in the
memory of men, were still existing, in some
measure, in real life, when Chaucer undertook
to expose the barbarous relaters of them.
This ridicule, we may suppose, hastened
the fall both of Chivalry and Romance. At
least from that time the spirit of both declined
very fast, and at length fell into such discredit,
that when now Spenser arose, and with a genius
singularly fitted to immortalize the land
of Fairy, he met with every difficulty and disadvantage
to obstruct his design.
The age would no longer bear the naked
letter of these amusing stories; and the poet
was so sensible of the misfortune, that we find
him apologizing for it on a hundred occasions.
But apologies, in such circumstances, rarely
do any good. Perhaps, they only served to
betray the weakness of the poet’s cause, and to
confirm the prejudices of his reader.
However, he did more than this. He gave
an air of mystery to his subject, and pretended
that his stories of knights and giants were but
the cover to abundance of profound wisdom.
In short, to keep off the eyes of the prophane
from prying too nearly into his subject, he
threw about it the mist of allegory: he moralized
his song: and the virtues and vices lay
hid under his warriors and enchanters. A contrivance
which he had learned indeed from his
Italian masters: for Tasso had condescended
to allegorise his own work; and the commentators
of Ariosto had even converted the extravagances
of the Orlando Furioso, into moral
lessons.
And this, it must be owned, was a sober
attempt in comparison of some projects that
were made about the same time to serve the
cause of the old, and now-expiring Romances.
For it is to be observed, that the idolizers of
those Romances did by them, what the votaries
of Homer had done by him. As the times
improved and would less bear his strange tales,
they moralized what they could, and turned the
rest into mysteries of natural science. And as
this last contrivance was principally designed
to cover the monstrous stories of the Pagan
Gods, so it served the lovers of Romance to
palliate the no less monstrous stories of magic
enchantments.
The editor or translator of the 24th book of
Amadis de Gaule, printed at Lyons in 1577,
has a preface explaining the whole secret,
which concludes with these words, “Voyla,
lecteur, le FRUIT, qui se peut recueiller du
sens mystique des Romans antiques par les
ESPRITS ESLEUS, le commun peuple soy contentant
de la SIMPLE FLEUR DE LA LECTURE
LITERALE.”
But to return to Spenser; who, as we have
seen, had no better way to take in his distress,
than to hide his fairy fancies under the mystic
cover of moral allegory. The only favourable
circumstance that attended him (and this no
doubt encouraged, if it did not produce, his
untimely project) was, that he was somewhat
befriended in these fictions, even when interpreted
according to the Letter, by the Romantic
Spirit of his age; much countenanced,
and for a time brought into fresh credit, by the
Romantic Elizabeth. Her inclination for the
fancies of Chivalry is well known; and obsequious
wits and courtiers would not be wanting,
to feed and flatter it. In short, tilts and tournaments
were in vogue: the Arcadia and the
Fairy Queen were written.
With these helps the new spirit of Chivalry
made a shift to support itself for a time, when
reason was but dawning, as we may say, and
just about to gain the ascendant over the portentous
spectres of the imagination. Its growing
splendour, in the end, put them all to flight,
and allowed them no quarter even among the
poets. So that Milton, as fond as we have
seen he was of the Gothic fictions, durst only
admit them on the bye, and in the way of
simile and illustration only.
And this, no doubt, was the main reason of
his relinquishing his long-projected design of
Prince Arthur, at last, for that of the Paradise
Lost; where, instead of Giants and Magicians,
he had Angels and Devils to supply
him with the marvellous, with greater probability.
Yet, though he dropped the tales, he
still kept to the allegories of Spenser. And
even this liberty was thought too much, as appears
from the censure passed on his Sin and
Death by the severer critics.
Thus at length the magic of the old Romances
was perfectly dissolved. They began
with reflecting an image indeed of the feudal
manners, but an image magnified and distorted
by unskilful designers. Common sense being
offended with these perversions of truth and
nature (still accounted the more monstrous, as
the antient manners, they pretended to copy
after, were now disused, and of most men forgotten),
the next step was to have recourse to
allegories. Under this disguise they walked
the world a while; the excellence of the moral
and the ingenuity of the contrivance making
some amends, and being accepted as a sort of
apology, for the absurdity of the literal story.
Under this form the tales of Fairy kept their
ground, and even made their fortune at court;
where they became, for two or three reigns,
the ordinary entertainment of our princes.
But reason, in the end (assisted however by
party, and religious prejudices), drove them
off the scene, and would endure these lying
wonders, neither in their own proper shape,
nor as masked in figures.
Henceforth, the taste of wit and poetry took
a new turn: and the Muse, who had wantoned
it so long in the world of fiction, was now constrained,
against her will,
“To stoop with disenchanted wings to truth,”
as Sir John Denham somewhere expresses her
present enforced state, not unhappily.
What we have gotten by this revolution,
you will say, is a great deal of good sense.
What we have lost, is a world of fine fabling;
the illusion of which is so grateful to the
charmed Spirit, that, in spite of philosophy
and fashion, Fairy Spenser still ranks highest
among the poets; I mean, with all those who
are either come of that house, or have any
kindness for it.
Earth-born critics, my friend, may blaspheme:
“But all the Gods are ravish’d with delight
Of his celestial song, and music’s wondrous might.”
Nichols and Son, Printers,
Red Lion Passage, Fleet Street, London.