Amenities of Literature. Disraeli IsaacЧитать онлайн книгу.
neglect, and the female character has all the pliancy of sympathy, and has performed her part in every age on the theatre of society, we discover the extraordinary fact that many ladies assumed the plumy helmet and dexterously managed the lance. The ladies rode amid armed knights resistless as themselves. It was subsequently, when we find that singularly fantastic institution of “The Courts of Love,” which delivered their “Arrets” in the style of a most refined jurisprudence, that these beautiful companions-at-arms were satisfied to conquer the conquerors by more legitimate seductions, and that the romances told of little but of loves. Ariosto and Tasso are supposed to have drawn their female warriors from the Amazonian Penthesilea and the Camilla of Homer and Virgil; but it would seem that the prototype of these feminine knights these poets also found among those old romances which they loved.
It is unquestionable that these martial romances of chivalry inflamed the restlessness of those numerous military adventurers who found an ample field for their chivalry after the crusades, in our continued incursions into France, of which country we were long a living plague, from the reign of Edward III. to that of Henry V., nearly a century of national tribulation. Many “a gentyl and noble esquyer,” if perchance the English monarch held a truce with France or Scotland, flew into some foreign service. Sir Robert Knolles was known to the French as “le véritable démon de la guerre;” and Sir John Hawkwood, when there was no fighting to be got at home, passed over into Italy, where he approved himself to be such a prodigy of “a man-at-arms,” that the grateful Florentines raised his statue in their cathedral; this image of English valour may still be proudly viewed. This chivalric race of romance-readers were not, however, always of the purest “order of chivalry.” If they were eager for enterprise, they were not less for its more prudential results. A castle or a ransom in France, a lordly marriage, or a domain in Italy, were the lees that lie at the bottom of their glory.
We continued long in this mixed state of glory clouded with barbarism; for at a time when literature and the fine arts were on the point of breaking out into the splendour of the pontificate of Leo the Tenth, in our own country the great Duke of Buckingham, about 1500, held the old romance of “The Knight of the Swan” in the highest estimation, because the translator maintained that our duke was lineally descended from that hero; the first peer of the realm was proud of deriving his pedigree from a fabulous knight in a romantic genealogy.
But all the inventions and fashions of man have their date and their termination. For three centuries these ancient romances, metrical or prose, had formed the reading of the few who read, and entranced the circle of eager listeners. The enchantment was on the wane; their admirers had become somewhat sceptical of “the true history” which had been so solemnly warranted; another taste in the more chastened writings of Roman and Grecian lore was now on the ascendant. One last effort was made in this decline of romantic literature, in that tesselated compilement where the mottled pieces drawn out of the French prose romances of chivalry were finely squared together by no unskilful workman, in Sir Thomas Malory, to the English lover of ancient romance well known by the title of La Morte d’Arthur. This last of these ancient romances was finished in the ninth year of the reign of Edward IV., about 1470. Caxton exulted to print this epical romance; and at the same time he had the satisfaction of reproaching the “laggard” age. “What do ye now,” exclaimed the ancient printer, “but go to the Bagnes, and play at dice? Leave this! leave it! and read these noble volumes.” Volumes which not many years after, when a new system of affairs had occurred to supplant this long-idolised “order of chivalry,” Roger Ascham plainly asserted only taught “open manslaughter and bold bawdry.” Such was the final fate of Love and Arms!
1 Warton and Percy, Ritson and Leyden, Ellis and Turner and Price, and recently the late Abbé de la Rue.
2 A profound and poetic genius has thrown out a new suggestion on the origin of these Eastern tales. “I think it not unlikely that the ‘Milesian Tales’ contained the germs of many of those now in the ‘Arabian Nights.’ The Greek empire must have left deep impressions on the Persian intellect—so also many of the Roman Catholic Legends are taken from Apuleius. The exquisite story of Cupid and Psyche is evidently a philosophical attempt to parry Christianity with a quasi Platonic account of the fall and redemption of man.”—Coleridge’s “Literary Remains,” i. 180. Whatever were these “Milesian Tales,” they amused the Grecian sages in the earliest period of their history.
3 Ritson and Weber have elegantly printed some of the best English metrical romances. In France they have recently enriched literature with many of these manuscript romances. See “Gentleman’s Magazine,” Oct. 1839.
4 It is a curious fact, that in 1390 Sir James Douglas, of Dalkeith, the ancestor of the Earl of Morton, apparently valued them as about equal to the statutes of the realm; for he bequeathed in his will to his son, “Omnes libros meos tam Statutorum Regni Scocie quam Romancie.”—Laing’s “Early Metrical Tales,” Edinburgh, 1826.
5 A collection of these romances formed into three folio tomes in manuscript was enriched by seven hundred and forty-seven miniatures, avec les Initiales peintes en or et couleurs. 6093, Roxburgh Cat.
6 Cat. of the Duke de la Vallière, 4507. Strutt would have done as much for ourselves, but he worked in unrequited solitude with all the passion of the French amateur, but without his “best artists.”
7 This romance was composed about the year 1200; the present copy was made in 1338. There is also a splendid manuscript with rich and delicate illuminations of the ancient romance of Alexander in prose in the Brit. Mus., Bib. Reg. 15, E. 6.
8 Campbell’s “Essay on English Poetry.”
9 Our vernacular literature owes to the unremitting ardour of our laureate recent editions of “La Morte d’Arthur,” “Palmerin of England,” and a new translation from the Portuguese of “Amadis of Gaul.” For readers who are not antiquaries, and who may recoil from the prolixity of the ancient romances, there is a work of their species which may amply gratify their curiosity, and it is of easy acquisition. It is not an unskilful compilation from the romances of chivalry made by Richard Johnson, a noted bookwright in the reign of Elizabeth; it has passed through innumerable editions, and has at last taken its station in the popular library of our juvenile literature. I suspect that the style has been too often altered in the modern editions, which has injured its raciness. It is well known as “The Renowned History of the Seven Champions of Christendom.” The compiler has metamorphosed the Rowland, Oliver, Guy, Bevis, &c., into seven saints or champions of Christendom; but “he has preserved some of the most capital fictions of the old Arabian romance.”—Warton, iii. 63, Ed. 8vo. It may serve as a substitute for the old black-letter romances, being a compendium of their rich or their grotesque fancies; or, as Ritson observes with his accustomed energetical criticism, “It is a compound of superstition, and, as it were, all the lyes in Christendom in one lye, and is in many parts of the country believed at this day to be as true as the gospel.”—“Dissertation on Romance,” xxxiv.
10 One of the most celebrated romantic histories is “the Troy-book of Guido delle Colonne,” which has been considered as the original of all the later tales of Troy. On the acute suggestion of Tyrwhit, Douce ascertained that this fabulous history, by many regarded as original, is only a Latin translation of a Norman poet,* which Guido passes off as a history collected from Dares and other fictitious authorities, but disingenuously conceals the