Chapter 5

"To die--to sleep;-- To sleep! perchance to dream;--ay, there's the rub: For in that sleep of death what dreams may come!"

And you see at once how a man's notions of death and dying are deepened by a wider experience. Middle age may fear death quite as little as youth fears it; but it has learned seriousness, and it has no heart to poke fun at the lean ribs, or to call it fond names like a lover, or to stick a primrose in its grinning chaps, and draw a strange pleasure from the irrelevancy.

The man who has reached thirty, feels at times as if he had come out of a great battle. Comrade after comrade has fallen; his own life seems to have been charmed. And knowing how it fared with his friends--perfect health one day, a catarrh the next, blinds drawn down, silence in the house, blubbered faces of widow and orphans, intimation of the event in the newspapers, with a request that friends will accept of it, the day after--a man, as he draws near middle age, begins to suspect every transient indisposition; to be careful of being caught in a shower, to shudder at sitting in wet shoes; he feels his pulse, he anxiously peruses his face in a mirror, he becomes critical as to the colour of his tongue. In early life illness is a luxury, and draws out toward the sufferer curious and delicious tendernesses, which are felt to be a full over-payment of pain and weakness; then there is the pleasant period of convalescence, when one tastes a core and marrow of delight in meats, drinks, sleep, silence; the bunch of newly-plucked flowers on the table, the sedulous attentions and patient forbearance of nurses and friends. Later in life, when one occupies a post, and is in discharge of duties which are accumulating against recovery, illness and convalescence cease to be luxuries. Illness is felt to be a cruel interruption of the ordinary course of things, and the sick person is harassed by a sense of the loss of time and the loss of strength. He is placed _hors de combat_; all the while he is conscious that the battle is going on around him, and he feels his temporary withdrawal a misfortune. Of course, unless a man is very unhappily circumstanced, he has in his later illnesses all the love, patience, and attention which sweetened his earlier ones; but then he cannot rest in them, and accept them as before as compensation in full. The world is ever with him; through his interests and his affections he has meshed himself in an intricate net-work of relationships and other dependences, and a fatal issue--which in such cases is ever on the cards--would destroy all these, and bring about more serious matters than the shedding of tears. In a man's earlier illnesses, too, he had not only no such definite future to work out, he had a stronger spring of life and hope; he was rich in time, and could wait; and lying in his chamber now, he cannot help remembering that, as Mr. Thackeray expresses it, there comes at last an illness to which there may be no convalescence. What if that illness be already come? And so there is nothing left for him, but to bear the rod with patience, and to exercise a humble faith in the Ruler of all. If he recovers, some half-dozen people will be made happy; if he does not recover, the same number of people will be made miserable for a little while, and, during the next two or three days, acquaintances will meet in the street--"You've heard of poor So-and-so? Very sudden! Who would have thought it? Expect to meet you at ----'s on Thursday. Good-bye." And so to the end. Your death and my death are mainly of importance to ourselves. The black plumes will be stripped off our hearses within the hour; tears will dry, hurt hearts close again, our graves grow level with the church-yard, and although we are away, the world wags on. It does not miss us; and those who are near us, when the first strangeness of vacancy wears off, will not miss us much either.

We are curious as to death-beds and death-bed sayings; we wish to know how the matter stands; how the whole thing looks to the dying. Unhappily--perhaps, on the whole, happily--we can gather no information from these. The dying are nearly as reticent as the dead. The inferences we draw from the circumstances of death, the pallor, the sob, the glazing eye, are just as likely to mislead us as not. Manfred exclaims, "Old man, 'tis not so difficult to die!" Sterling wrote Carlyle "that it was all very strange, yet not so strange as it seemed to the lookers on." And so, perhaps, on the whole it is. The world has lasted six thousand years now, and, with the exception of those at present alive, the millions who have breathed upon it--splendid emperors, horny-fisted clowns, little children, in whom thought has never stirred--_have_ died, and what they have done, we also shall be able to do. It may not be so difficult, may not be so terrible, as our fears whisper. The dead keep their secrets, and in a little while we shall be as wise as they--and as taciturn.

[1] Montaigne.

[2] Bacon.

WILLIAM DUNBAR

If it be assumed that the North Briton is, to an appreciable extent, a different creature from the Englishman, the assumption is not likely to provoke dispute. No one will deny us the prominence of our cheek-bones, and our pride in the same. How far the difference extends, whether it involves merit or demerit, are questions not now sought to be settled. Nor is it important to discover how the difference arose; how far chiller climate and sourer soil, centuries of unequal yet not inglorious conflict, a separate race of kings, a body of separate traditions, and a peculiar crisis of reformation issuing in peculiar forms of religious worship, confirmed and strengthened the national idiosyncrasy. If a difference between the races be allowed, it is sufficient for the present purpose. _That_ allowed, and Scot and Southern being fecund in literary genius, it becomes an interesting inquiry to what extent the great literary men of the one race have influenced the great literary men of the other. On the whole, perhaps, the two races may fairly cry quits. Not unfrequently, indeed, have literary influences arisen in the north and travelled southwards. There were the Scottish ballads, for instance, there was Burns, there was Sir Walter Scott, there is Mr. Carlyle. The literary influence represented by each of these arose in Scotland, and has either passed or is passing "in music out of sight" in England. The energy of the northern wave has rolled into the southern waters. On the other hand, we can mark the literary influences travelling from the south northward. The English Chaucer rises, and the current of his influence is long afterwards visible in the Scottish King James, and the Scottish poet Dunbar. That which was Prior and Gay in London, became Allan Ramsay when it reached Edinburgh. Inspiration, not unfrequently, has travelled, like summer, from the south northwards; just as, when the day is over, and the lamps are lighted in London, the radiance of the setting sun is lingering on the splintered peaks and rosy friths of the Hebrides. All this, however, is a matter of the past; literary influence can no longer be expected to travel leisurely from south to north, or from north to south. In times of literary activity, as at the beginning of the present century, the atmosphere of passion or speculation envelop the entire island, and Scottish and English writers simultaneously draw from it what their peculiar natures prompt--just as in the same garden the rose drinks crimson and the convolvulus azure from the superincumbent air.

Chaucer must always remain a name in British literary history. He appeared at a time when the Saxon and Norman races had become fused, and when ancient bitternesses were lost in the proud title of Englishman. He was the first great poet the island produced; and he wrote for the most part in the language of the people, with just the slightest infusion of the courtlier Norman element, which gives to his writings something of the high-bred air that the short upper-lip gives to the human countenance. In his earlier poems he was under the influence of the Provençal Troubadours, and in his "Flower and the Leaf," and other works of a similar class, he riots in allegory; he represents the cardinal virtues walking about in human shape; his forests are full of beautiful ladies with coronals on their heads; courts of love are held beneath the spreading elm, and metaphysical goldfinches and nightingales, perched among the branches green, wrangle melodiously about the tender passion. In these poems he is fresh, charming, fanciful as the spring-time itself: ever picturesque, ever musical, and with a homely touch and stroke of irony here and there, suggesting a depth of serious matter in him which it needed years only to develop. He lived in a brilliant and stirring time; he was connected with the court; he served in armies; he visited the Continent; and, although a silent man, he carried with him, wherever he went, and into whatever company he was thrown, the most observant eyes perhaps that ever looked curiously out upon the world. There was nothing too mean or too trivial for his regard. After parting with a man, one fancies that he knew every line and wrinkle of his face, had marked the travel-stains on his boots, and had counted the slashes of his doublet. And so it was that, after mixing in kings' courts, and sitting with friars in taverns, and talking with people on country roads, and travelling in France and Italy, and making himself master of the literature, science, and theology of his time, and when perhaps touched with misfortune and sorrow, he came to see the depth of interest that resides in actual life,--that the rudest clown even, with his sordid humours and coarse speech, is intrinsically more valuable than a whole forest full of goddesses, or innumerable processions of cardinal virtues, however well mounted and splendidly attired. It was in some such mood of mind that Chaucer penned those unparalleled pictures of contemporary life that delight yet, after five centuries have come and gone. It is difficult to define Chaucer's charm. He does not indulge in fine sentiment; he has no bravura passages; he is ever master of himself and of his subject. The light upon his page is the light of common day. Although powerful delineations of passion may be found in his "Tales," and wonderful descriptions of nature, and although certain of the passages relating to Constance and Griselda in their deep distresses are unrivalled in tenderness, neither passion, nor natural description, nor pathos, are his striking characteristics. It is his shrewdness, his conciseness, his ever-present humour, his frequent irony, and his short, homely line--effective as the play of the short Roman sword--which strikes the reader most. In the "Prologue to the Canterbury Tales"--by far the ripest thing he has done--he seems to be writing the easiest, most idiomatic prose, but it is poetry all the while. He is a poet of natural manner, dealing with out-door life. Perhaps, on the whole, the writer who most resembles him--superficial differences apart--is Fielding. In both there is constant shrewdness and common-sense, a constant feeling of the comic side of things, a moral instinct which escapes in irony, never in denunciation or fanaticism; no remarkable spirituality of feeling, an acceptance of the world as a pleasant enough place, provided good dinners and a sufficiency of cash are to be had, and that healthy relish for fact and reality, and scorn of humbug of all kinds, especially of that particular phase of it which makes one appear better than one is, which--for want of a better term--we are accustomed to call _English_. Chaucer was a Conservative in all his feelings; he liked to poke his fun at the clergy, but he was not of the stuff of which martyrs are made. He loved good eating and drinking, and studious leisure and peace; and although in his ordinary moods shrewd, and observant, and satirical, his higher genius would now and then splendidly assert itself--and behold the tournament at Athens, where kings are combatants and Emily the prize; or the little boat, containing the brain-bewildered Constance and her child, wandering hither and thither on the friendly sea.

Chaucer was born about 1328, and died about 1380; and although he had, both in Scotland and England, contemporaries and immediate successors, no one of them can be compared with him for a moment. The "Moral Gower" was his friend, and inherited his tediousness and pedantry without a sparkle of his fancy, passion, humour, wisdom, and good spirits. Occleve and Lydgate followed in the next generation; and although their names are retained in literary histories, no line or sentence of theirs has found a place in human memory. The Scottish contemporary of Chaucer was Barbour, who although deficient in tenderness and imagination, deserves praise for his sinewy and occasionally picturesque verse. "The Bruce" is really a fine poem. The hero is noble, resolute, and wise. Sir James Douglas is a very perfect, gentle knight. The old Churchman had the true poetic fire in him. He rises into eloquence in an apostrophe to Freedom, and he fights the battle of Bannockburn over again with great valour, shouting, and flapping of standards. In England, nature seemed to have exhausted herself in Chaucer, and she lay quiescent till Lord Surrey and Sir Thomas Wyatt came, the immediate precursors of Spenser, Shakspeare, and their companions.

While in England the note of the nightingale suddenly ceased, to be succeeded by the mere chirping of the barn-door sparrows, the divine and melancholy voice began to be heard further north. It was during that most barren period of English poetry--extending from Chaucer's death till the beginning of Elizabeth's reign--that Scottish poetry arose, suddenly, splendidly--to be matched only by that other uprising nearer our own time, equally unexpected and splendid, of Burns and Scott. And it is curious to notice in this brilliant outburst of northern genius how much is owing to Chaucer; the cast of language is identical, the literary form is the same, there is the same way of looking at nature, the same allegorical forests, the troops of ladies, the same processions of cardinal virtues. James I., whose long captivity in England made him acquainted with Chaucer's works was the leader of the poetic movement which culminated in Dunbar, and died away in Sir David Lindsay just before the noise and turmoil of the Reformation set in. In the concluding stanza of the "Quair," James records his obligation to those--

"Masters dear, Gower and Chaucer, that on the steppes sate Of retorick, while they were livand here, Superlative as poets laureate Of morality and eloquence ornate."

But while, during the reigns of the Jameses, Scottish genius was being acted upon by the broader and deeper genius of England, Scotland, quite unconsciously to herself, was preparing a liquidation in full of all spiritual obligations. For even then, in obscure nooks and corners, the Scottish ballads were growing up, quite uncontrolled by critical rules, rude in structure and expression, yet, at the same time, full of vitality, retaining in all their keenness the mirth of rustic festivals, and the piteousness of domestic tragedies. The stormy feudal time out of which they arose crumbled by process of gradual decay, but they remained, made brighter by each succeeding summer, like the wildflowers that blow in the chinks of ruins. And when English poetry had become artificial and cold, the lucubrations of forgotten Scottish minstrels, full of the touches that make the whole world kin, brought new life with them. Scotland had invaded England more than once, but the blue bonnets never went over the border so triumphantly as when they did so in the shape of songs and ballads.

James IV., if not the wisest, was certainly the most brilliant monarch of his name; and he was fortunate beyond the later Stuarts in this, that during his lifetime no new popular tide had set in which it behooved him to oppose or to float upon. For him in all its essentials to-day had flowed quietly out of yesterday, and he lived unperplexed by fear of change. With something of a Southern gaiety of spirit, he was a merrier monarch than his dark-featured and saturnine descendant who bore the appellation. He was fond of martial sports, he loved to glitter at tournaments, his court was crowded with singing men and singing women. Yet he had his gloomy moods and superstitious despondencies. He could not forget that he had appeared in arms against his father; even while he whispered in the ear of beauty the iron belt of penance was fretting his side, and he alternated the splendid revel with the cell of the monk. In these days, and for long after, the Borders were disturbed, and the Highland clans, setting royal authority at defiance, were throttling each other in their mists. The Catholic religion was yet unsapped, and the wealth of the country resided in the hands of the nobles and the churchmen. Edinburgh towered high on the ridge between Holyrood and the Castle, its streets reddened with feud at intervals, and its merchants clustering round the Cathedral of St. Giles like bees in a honeycomb; and the king, when he looked across the faint azure of the Forth, beheld the long coast of Fife dotted with little towns, where ships were moored that traded with France and Holland, and brought with them cargoes of silk and wines. James was a popular monarch; he was beloved by the nobles and by the people. He loved justice, he cultivated his marine, and he built the _Great Michael_--the _Great Eastern_ of that day. He had valiant seamen, and more than once Barton sailed into Leith with a string of English prizes. When he fell with all his nobility at Flodden, there came upon Scotland the woe with which she was so familiar--

"Woe to that realme that haith an ower young king."

A long regency followed; disturbing elements of religion entered into the life of the nation, and the historical stream which had flowed smoothly for a series of years became all at once convulsed and turbulent, as if it had entered upon a gorge of rapids. It was in this pleasant interregnum of the reign of the fourth James, when ancient disorders had to a certain extent been repressed, and when religious difficulties ahead were yet undreamed of, that the poet Dunbar flourished--a nightingale singing in a sunny lull of the Scottish historical storm.

Modern readers are acquainted with Dunbar chiefly through the medium of Mr. David Laing's beautiful edition of his works published in 1834, and by good Dr. Irving's intelligent and admirable compacted "History of Scottish Poetry," published the other day. Irving's work, if deficient somewhat in fluency and grace of style, is characterised by conscientiousness of statement and by the ripest knowledge. Yet, despite the researches of these competent writers, of the events of the poet's life not much is known. He was born about 1460, and from an unquotable allusion in one of his poems, he is supposed to have been a native of the Lothians. His name occurs in the register of the University of St. Andrews as a Bachelor of Arts. With the exception of these entries in the college register, there is nothing authentically known of his early life. We have no portrait of him, and cannot by that means decipher him. We do not know with certainty from what family he sprang. Beyond what light his poems may throw on them, we have no knowledge of his habits and personal tastes. He exists for the most part in rumour, and the vague shadows of things. It appears that in early life he became a friar of the order of St. Francis; and in the capacity of a travelling priest tells us that "he preached in Derntown kirk and in Canterbury;" that he "passed at Dover across the Channel, and went through Picardy teaching the people." He does not seem to have taken kindly to his profession. His works are full of sarcastic allusions to the clergy, and in no measured terms he denounces their luxury, their worldly-mindedness, and their desire for high place and fat livings. Yet these denunciations have no very spiritual origin. His rage is the rage of a disappointed candidate, rather than of a prophet; and, to the last, he seems to have expected preferment in the Church. Not without a certain pathos he writes, when he had become familiar with disappointment, and the sickness of hope deferred--

"I wes in youth an nureiss knee, Dandely! bischop, dandely! And quhen that age now dois me greif, Ane sempill vicar I can nocht be."

It is not known when he entered the service of King James. From his poems it appears that he was employed as a clerk or secretary in several of the missions despatched to foreign courts. It is difficult to guess in what capacity Dunbar served at Holyrood. He was all his life a priest, and expected preferment from his royal patron. We know that he performed mass in the presence. Yet when the king in one of his dark moods had withdrawn from the gaieties of the capital to the religious gloom of the convent of Franciscans at Stirling, we find the poet inditing a parody on the machinery of the Church, calling on Father, Son, and Holy Spirit, and on all the saints of the calendar, to transport the princely penitent from Stirling, "where ale is thin and small," to Edinburgh, where there is abundance of swans, cranes, and plovers, and the fragrant clarets of France. And in another of his poems, he describes himself as dancing in the queen's chamber so zealously that he lost one of his slippers, a mishap which provoked her Majesty to great mirth. Probably, as the king was possessed of considerable literary taste, and could appreciate Dunbar's fancy and satire, he kept him attached to his person, with the intention of conferring a benefice on him when one fell vacant; and when a benefice _did_ fall vacant, felt compelled to bestow it on the cadet of some powerful family in the state,--for it was always the policy of James to stand well with his nobles. He remembered too well the deaths of his father and great-grandfather to give unnecessary offense to his great barons. From his connexion with the court, the poet's life may be briefly epitomised. In August, 1500, his royal master granted Dunbar an annual pension of 10 pounds for life, or till such time as he should be promoted to a benefice of the annual value of 40 pounds. In 1501, he visited England in the train of the ambassadors sent thither to negotiate the king's marriage. The marriage took place in May, 1503, on which occasion the high-piled capital wore holiday attire, balconies blazed with scarlet cloth, and the loyal multitude shouted as bride and bridegroom rode past, with the chivalry of two kingdoms in their train. Early in May, Dunbar composed his most celebrated poem in honour of the event. Next year he said mass in the king's presence for the first time, and received a liberal reward. In 1505, he received a sum in addition to his stated pension, and two years thereafter his pension was doubled. In August, 1510, his pension was increased to 80 pounds per annum, until he became possessed of a benefice of the annual value of 10 pounds or upwards. In 1513, Flodden was fought, and in the confusion consequent on the king's death, Dunbar and his slowly-increasing pensions disappear from the records of things. We do not know whether he received his benefice; we do not know the date of his death, and to this day his grave is secret as the grave of Moses.