Amenities of Literature. Disraeli IsaacЧитать онлайн книгу.
discomfited, they took their last refuge in those “mountain heights” of Cambria.
Their shadowy Arthur has left an undying name in romance, and is a nonentity in history. Whether Arthur was a mortal commander heading some kings of Britain, or whether religion and policy were driven to the desperate effort for rallying their fugitives by a national name, and “a hope deferred,” like the Sebastian of Portugal, this far-famed chieftain could never have been a fortunate general; he displayed his invincibility but in some obscure and remote locality; he struck no terror among his enemies, for they have left his name unchronicled: nor living, have the bards distinguished his pre-eminence. “The grave of Arthur is a mystery of the world,” exclaimed Taliessin, the great bard of the Britons. But the mortal who vanished in the cloud of conflict had never seen death; and to the last the Britons awaited for the day of their Redeemer when Arthur should return in his immortality, accompanied by “the Flood-King of the Deluge,” from the Inys Avallon, the Isle of the Mystic Apple-tree, their Eden or their Elysium. Arthur was a myth, half Christian and half Druidical. In Armorica, as in Wales, his coming was long expected, till “Espérance brétonne” became proverbial for all chimerical hopes.
Thus the aborigines of this island vanished, but their name is still attached to us. The Anglo-Saxons became our progenitors, and the Saxon our mother-tongue. Yet so complex and incongruous is the course of time, that we still call ourselves Britons, and “true Britons;” and the land we dwell in Great Britain. Nor is it less remarkable, that the days of the Christian week commemorate the names of seven Saxon idols.8 There are improbabilities and incongruities in authentic history as hard to reconcile as any we meet with in wild romance.
During six centuries the Saxons and the Normans combined to banish from the public mind the history of the Britons: it was lost; it did not exist even among the Britons in Wales. In the reign of Henry the First, an Archdeacon of Oxford, who was that king’s justiciary, being curious in ancient histories, opportunely brought out of “Britain in France,” “a very ancient book in the British tongue.” This book, which still forms the gordian knot of the antiquary, he confided to the safe custody and fertile genius of Geoffry, the Monk of Monmouth. It contained a regular story of the British kings, opening with Brute, the great grandson of Priam in this airy generation; kings who, Geoffry “had often wondered, were wholly unnoticed by Gildas and Bede.” “Yet,” adds our historian, “their deeds were celebrated by many people in a pleasant manner, and by heart, as if they had been written.” This remarkable sentence aptly describes that species of national songs which the early poets have always provided for the people, traditions which float before history is written. Whether this very ancient British book, almost five centuries old, was a volume of these poetical legends, which our historian might have arranged into that “regular history” which is furnished by his Latin prose version, we are left without the means of ascertaining, since it proved to be the only copy ever found, and was never seen after the day of the translation. The Monk of Monmouth does not arrogate to himself any other merit than that of a faithful translator, and with honest simplicity warns of certain additions, which, even in a history of two thousand years contained in a small volume, were found necessary.
We are told that the Britons who passed over into France carried with them “their archives.” But there were other Britons who did not fly to the sixty leagues of Armorica; and of these the only “archives” we hear of are those which the romancers so perpetually assure us may be consulted at Caerleon, or some other magical residence of the visionary Arthur. The Armorican colony must have formed but a portion of the Britons; and it would be unreasonable to suppose, that these fugitives could by any human means sequestrate and appropriate for themselves the whole history of the nation, without leaving a fragment behind. Yet nothing resembling the Armorican originals has been traced among the Welsh. Our Geoffry modestly congratulates his contemporary annalists, while he warns them off the preserve where lies his own well-stocked game. And thus he speaks:—“The history of the kings who were the successors in Wales of those here recorded, I leave to Karadoc of Lancarven, as I do also the kings of the Saxons to William of Malmesbury and Henry of Huntingdon; hut I advise them to be silent concerning the British kings, since they have not that book written in the British tongue which Walter, Archdeacon of Oxford, brought out of Britain.” Well might Geoffry exult. He possessed the sole copy ever found in both the Britains.
The British history is left to speak for itself in a great simplicity of narrative, where even the supernatural offers no obstacle to the faith of the historian—a history which might fascinate a child as well as an antiquary. These remote occurrences are substantiated by the careful dates of a romantic chronology. Events are recorded which happened when David reigned in Judea, and Sylvius Latinus in Italy, and Gad, Nathan, and Asaph prophesied in Israel. And the incidents of Lear’s pathetic story occurred when Isaiah and Hosea flourished, and Rome was built by the two brothers. It tells of one of the British monarchs, how the lady of his love was concealed during seven years in a subterraneous palace. On his death, his avengeful queen cast the mother and her daughter into the river which still bears that daughter’s name, Sabrina, or the Severn, and was not forgotten by Drayton. Another incident adorns a canto of Spenser; the Lear came down to Shakspeare, as the fraternal feuds of Ferrex and Porrex created our first tragedy by Sackville. There are other tales which by their complexion betray their legendary origin.
Whatever assumed the form of history was long deemed authentic; and such was the authority of this romance of Geoffry, that when Edward the First claimed the crown of Scotland in his letter to the pope, he founded his right on a passage in Geoffry’s book; doubtless this very passage was held to be as veracious by the Scots themselves, only that on this occasion they decided to fight against the text. Four centuries after Geoffry had written, when Henry the Seventh appointed a commission to draw up his pedigree, they traced the royal descent from the imaginary Brutus, and reckoning all Geoffry’s British kings in the line—the fairies of history—made the English monarch a descendant in the hundredth degree. We now often hear of “the fabulous” History of Geoffry of Monmouth; but neither his learned translator in 1718, nor the most eminent Welsh antiquaries, attach any such notion to a history crowded with domestic events, and with names famous yet unknown.
After the lapse of so many centuries, the scrutinising investigation of a thoughtful explorer in British antiquities has demonstrated, through a chain of recondite circumstances, that this History of Geoffry of Monmouth, and its immediate predecessor, the celebrated Chronicle of the pseudo-Archbishop Turpin, were sent forth on the same principle on which to this day we publish party pamphlets, to influence the spirit of two great nations opposed in interest and glory to each other; in a word, that they were two Tales of a Tub thrown out to busy those mighty whales, France and England.9
One great result of their successful grasp of the popular feelings could never have been contemplated by these grave forgers of fabulous history. The Chronicle of Archbishop Turpin and the British History of Geoffry of Monmouth became the parents of those two rival families of romances which commemorate the deeds of the Paladins of Charlemagne, and the Knights of Arthur, the delight of three centuries.
The Welsh of this day possess very ancient manuscripts, which they cherish as the remains of the ancient Britons. These preserve the deep strains of poets composed in triumph or in defeat, the poetry of a melancholy race. Gray first attuned the Cymry harp to British notes, more poetical than the poems themselves, while others have devoted their pens to translation, unhappily not always master of the language of their version. These manuscripts contain also a remarkable body of fiction in the Mabinogion, or juvenile amusements, a collection of prose tales combining the marvellous and the imaginative. Some are chivalric and amatory, stamped with the manners and customs of the middle ages; others apparently of a much higher antiquity, like all such national remains, are considered mythological; some there are not well adapted, perhaps, to the initiation of youth. Obviously they are nothing more than short romances; but we are solemnly assured that the Mabinogion abound with occult mysteries, and that simple fiction only served to allure the British neophyte to bardic mysticism. A learned writer, who is apt to view old things in a new light, and whose boldness invigorates the creeping toil of the