Amenities of Literature. Disraeli IsaacЧитать онлайн книгу.
seem never to have received the honours conferred on the prose.3
These Romances, in their manuscript state, were cherished objects;4 the mighty tomes, sometimes consisting of forty or fifty thousand lines, described as those “great books of parchment,” or “the great book of Romances,” were usually embellished by the pen and the pencil with every ornament that fancy could suggest; bound in crimson velvet, guarded by clasps of silver, and studded with golden roses; profuse of gorgeous illuminations, and decorated with the most delicate miniatures, “lymned with gold of graver’s work” on an azure ground; or the purple page setting off the silvery letters;—objects then of perpetual attraction to the story-believing reader, and which now charm the eye which could not as patiently con the endless page. The fashions of the times are exactly shown in the dresses and the domestic furniture; as well as their instruments, military and musical.
Studies for the artist, as for the curious antiquary,5 we may view the plumage in a casque curved and falling with peculiar grace, and a lady’s robe floating in its amplitude; and ornaments of dress arranged, which our taste might emulate. A French amateur who possessed le Roman de la Violette, a romance of a fabulous Count of Nevers, was so deeply struck by its exquisite and faithful miniatures, that he employed the best artists to copy the most interesting, and placed them in his collection of the costume and fashions of the French nation; a collection preserved in the Royal Library of France.6 If their hard outline does not always flow into grace, their imagination worked under the mysterious influence of the Romance through all their devoted labour. In a group of figures we may observe that the heads are not mechanically cast by one mould, but the distinct character looks as if the thoughtful artist had worked out his recollections on which he had meditated. In some of the heads, portraits of distinguished persons have been recognised. Not less observable are the arabesques often found on the margins, where the playful pencil has prodigally flung flowers and fruit, imitating the bloom, or insects which look as if they had lighted on the leaf. These margins, however, occasionally exhibit arabesques of a very different character; figures or subjects which often amused the pencil of the monastic limners, satirical strokes aimed at their brothers and sisters—the monks and the nuns! I have observed a wolf, in a monk’s frock and cowl, stretching its paw to bless a cock bending its submissive head; a cat, in the habit of an abbess, holding a platter in its paws to a mouse approaching to lick it, alluding to the allurements of abbesses to draw young women into the convents; and a sow, in a nun’s veil, mounted on stilts. A pope appears to be thrown by devils into a cauldron, and cardinals are roasting on spits. All these expressions of suppressed opinion must have been executed by the monks themselves. These reformers before the Reformation sympathised with the popular feeling against the haughty prelate and the luxurious abbot.
The great Romance of Alexander, preserved in the Bodleian Library, reveals a secret of the cost of time freely bestowed on that single and mighty tome. The illuminator, by preserving the date when he had completed his own work compared with that of the transcriber when he had finished his part, appears to have employed nearly six years on the paintings which embellish this precious volume.7
Such a metrical Romance was a gift presented to royalty, when engrossed by the rapturous hand of the Romancer himself; the autograph, in a presentation copy, might count on the meed of “massy goblets” when the munificent patron found the new volume delectable to his taste, which indeed had been anticipated by the writer. This incident occurred to Froissart in presenting his Romance to Richard the Second, when, in reply to his majesty’s inquiry after the contents, the author exultingly told that “the book treated of Amour!”
To the writers of these ancient Romances we cannot deny a copious invention, a variegated imagination, and, among their rambling exuberances and their grotesque marvels, those enchanting enchantments which the Greeks and Romans only partially and coldly raised. We may often, too, discover that truth of human nature which is not always supposed to lie hid in these desultory compositions. Amid their peculiar extravagances, which at least may serve to raise an occasional smile, the strokes of nature are abundant, and may still form the studies of the writers of fiction, however they may hang on the impatience of the writers and the readers of our duodecimos. Ancient writers are pictorial: their very fault contributes to produce a remarkable effect—a fulness often overflowing, but which at least is not a scantiness leaving the vagueness of imperfect description. Their details are more circumstantial, their impressions are more vivid, and they often tell their story with the earnestness of persons who had conversed with the actors, or had been spectators of the scene. We may be wearied, as one might be at a protracted trial by the witnesses, but we are often struck by an energetic reality which we sometimes miss in their polished successors. Their copiousness, indeed, is without selection; they wrote before they were critics, but their truth is not the less truth because it is given with little art.
The dilations of the metrical Romances into tomes of prose, Warton considered as a proof of the decay of invention. Was not this censure rather the feeling of a poet for his art, than the decision of a critic? for the more extended scenes of the Romances in prose required a wider stage, admitted of a fuller dramatic effect in the incidents, and a more perfect delineation of the personages through a more sustained action. If the prose Romances are not epics by the conventional code of the Stagyrite, at least they are epical; and some rude Homers sleep among these old Romancers, metrical or prosaic. A living poetic critic, one best skilled to arbitrate, for he is without any prepossessions in favour of our ancient writers, has honestly acknowledged their faithfulness to nature in their touching simplicity; “nor,” he adds, “do they less afford, by their bolder imagination, adequate subjects for the historical pencil.” And he has more particularly noticed “Le bone Florence de Rome,”—thus written by our ungrammatical minstrels. “Classical poetry has scarcely ever conveyed in shorter boundaries so many interesting and complicated events as may be found in this good old Romance.”8 This indeed is so true, that we find these romantic tales were not only recited or read, but their subjects were worked into the tapestries which covered the walls of their apartments. The Bible and the Romance equally offered subjects to eyes learned in the “Estoires” never to be forgotten.
Our master poets have drawn their waters from these ancient fountains. Sidney might have been himself one of their heroes, and was no unworthy rival of his masters: Spenser borrowed largely, and repaid with munificence: Milton in his loftiest theme looked down with admiration on this terrestrial race,
| ————and what resounds In fable or romance of Uther’s son, Begirt with British or Armoric knights. |
“In ‘Amadis of Gaul,’ ” has said our true laureate, “may be found the Zelmane of the ‘Arcadia,’ the Masque of Cupid of the ‘Faery Queen,’ and the Florizel of the ‘Winter’s Tale.’ Sidney, Spenser, and Shakspeare imitated this book: was ever book honoured by three such imitators?”9
A great similarity is observable among these writers of fiction, both in their incidents and the identity of their phrases; an evidence that these inventors were often drawing from a common source. In these ages of manuscripts they practised without scruple many artifices, and might safely appropriate the happiest passages of their anonymous brothers.10 One Romance would produce many by variations; the same story would serve as the groundwork of another: and the later Romancer, to set at rest the scruples of the reader, usually found fault with his predecessors, who, having written the same story, had not given “the true one!” By this innocent imposture, or this ingenious impudence, they designed to confer on their Romance the dignity of History. The metrical Romances pretend to translate some ancient “Cronik” which might be consulted