Chapter 8

This, I have said, is an effect which winter produces, nay, even a southern winter, with those comparatively few and slight elements at its disposal. We see it, notice it, and enjoy its delicate loveliness; but while so doing we do not think, or we forget, that the habit of noticing, nay, the power of perceiving such effects as this, is one of those habits and powers which we possess, so to speak, only since yesterday. The possibility of reproducing in painting effects like this one; or, more truthfully, the wish to reproduce them, is scarcely as old as our own century; it is, perhaps, the latest born of all our artistic wishes and possibilities. But the possibility of any visible effect being perceived and reproduced by the painter, usually precedes--at least where any kind of pictorial art already exists--the perception of such effects by those who are not painters, and the attempt to reproduce them by means of words. We do not care to admit that our grandfathers were too unlike ourselves, lest ourselves should be found too unlike our grandchildren. We hold to the metaphysic fiction of man having always been the same, and only his circumstances having changed; not admitting that the very change of circumstances implies something new in the man who altered them; and similarly we shrink from the thought of the many things which we used never to notice, and which it has required a class of men endowed with special powers of vision to find out, copy, and teach us to see and appreciate. Yet there is scarcely one of us who has not a debt towards some painter or writer for first directing his attention to objects or effects which may have abounded around him, but unnoticed or confused with others. The painters, as I have said, the men who see more keenly and who study what they have seen, naturally come first; nor does the poet usually describe what his contemporary painter attempts not to paint. An exception might, perhaps, require to be made for Dante, who would seem to have seen and described many things left quite untouched by Giotto, and even by Raphael; but in estimating Dante we must be careful to distinguish the few touches which really belong to him, from the great mass of colour and detail which we have unconsciously added thereto, borrowing from our own experience and from innumerable pictures and poems which, at the moment, we may not in the least remember; and having done so, we shall be led to believe that those words which suggest to us so clear and coloured a vision of scenes often complex and uncommon, presented to his own mind only a comparatively simple and incomplete idea: the atmospheric effects, requiring a more modern painter than Turner, which we read between the lines of the "Inferno" and the "Purgatorio," most probably existed as little for Dante as they did for Giotto; the poet seeing and describing in reality only salient forms of earth and rock, monotonous in tint and deficient in air, like those in the backgrounds of mediæval Tuscan frescoes and panels. Be this as it may, the fact grows daily on me that men have not at all times seen in the same degree the nature which has always equally surrounded them; and that during some periods they have, for explicable reasons, seen less not only than their successors, but also than their predecessors; and seen that little in a manner conventional in proportion to its monotony. There are things about which certain historic epochs are strangely silent; so much so, indeed, that the breaking of the silence impresses us almost as the more than human breaking of a spell; and that silence Is the result of a grievous wrong, of a moral disease which half closes the eyes of the fancy, or of a moral poison which presents to those sorely aching eyes only a glimmer amid darkness. And it is as the most singular instance of such conditions that I should wish to study, in themselves, their causes and effects, the great differences existing between the ancients and ourselves on the one hand, and the men of the genuine Middle Ages on the other, in the degree of interest taken respectively by each in external nature, the seasons and that rural life which seems to bring us into closest contact with them both.

There is, of course, a considerable difference between the manner in which the country, its aspects and occupations, are treated by the poets of Antiquity and by those of our own day; in the mode of enjoying them of an ancient who had read Theocritus and Virgil and Tibullus, and a modern whose mind is unconsciously full of the influence of Wordsworth or Shelley or Ruskin. But it is a mere difference of mode; and is not greater, I think, than the difference between the descriptions in the "Allegro," and the descriptions in "Men and Women;" than the difference between the love of our Elizabethans for the minuter details of the country, the flowers by the stream, the birds in the bushes, the ferrets, frogs, lizards, and similar small creatures; and the pleasure of our own contemporaries in the larger, more shifting, and perplexing forms and colours of cloud, sunlight, earth, and rock. The description of effects such as these latter ones, nay, the attention and appreciation given to them, are things of our own century, even as is the power and desire of painting them. Landscape, in the sense of our artists of to-day, is a very recent thing; so recent that even in the works of Turner, who was perhaps the earliest landscape painter in the modern sense, we are forced to separate from the real rendering of real effects, a great deal in which the tints of sky and sea are arranged and distributed as a mere vast conventional piece of decoration. Nor could it be otherwise. For, in poetry as in painting, landscape could become a separate and substantive art only when the interest in the mere ins and outs of human adventure, in the mere structure and movement of human limbs, had considerably diminished. There is room, in epic or drama, only for such little scraps of description as will make clearer, without checking, the human action; as there is place, in a fresco of a miracle, or a little picture of carousing and singing bacchantes and Venetian dandies, only for such little bits of laurel grove, or dim plain, or blue alpine crags, as can be introduced in the gaps between head and head, or figure and figure.

Thus, therefore, a great difference must exist between what would be felt and written about the country and the seasons by an ancient, by a man of the sixteenth century, or by a contemporary of our own: a difference, however, solely of mode; for we feel sure that of the three men each would find something to delight himself and wherewith to delight others among the elm-bounded English meadows, the fiat cornfields of central France, the vine and olive yards of Italy-- wherever, in short, he might find himself face to face and, so to speak, hand in hand with Nature. But about the man of the Middle Ages (unless, perhaps, in Italy, where the whole Middle Ages were merely an earlier Renaissance) we could have no such assurance; nay, we might be persuaded that, however great his genius, be he even a Gottfried von Strassburg, or a Walther von der Vogelweide, or the unknown Frenchman who has left us "Aucassin et Nicolette," he would bring back impressions only of two things, authorized and consecrated by the poetic routine of his contemporaries--of spring and of the woods.

There is nothing more characteristic of mediæval poetry than this limitation. Of autumn, of winter; of the standing corn, the ripening fruit of summer; of all these things so dear to the ancients and to all men of modern times, the Middle Ages seem to know nothing. The autumn harvests, the mists and wondrous autumnal transfiguration of the humblest tree, or bracken, or bush; the white and glittering splendour of winter, and its cosy life by hearth or stove; the drowsiness of summer, its suddenly inspired wish for shade and dew and water, all this left them stolid. To move them was required the feeling of spring, the strongest, most complete and stirring impression which, in our temperate climates, can be given by Nature. The whole pleasurableness of warm air, clear moist sky, the surprise of the shimmer of pale green, of the yellowing blossom on tree tops, the first flicker of faint shadow where all has been uniform, colourless, shadeless; the replacing of the long silence by the endless twitter and trill of birds, endless in its way as is the sea, twitter and trill on every side, depths and depths of it, of every degree of distance and faintness, a sea of bird song; and along with this the sense of infinite renovation to all the earth and to man's own heart. Of all Nature's effects this one alone goes sparkling to the head; and it alone finds a response in mediæval poetry. Spring, spring, endless spring--for three long centuries throughout the world a dreary green monotony of spring all over France, Provence, Italy, Spain, Germany, England; spring, spring, nothing but spring even in the mysterious countries governed by the Grail King, by the Fairy Morgana, by Queen Proserpine, by Prester John; nay, in the new Jerusalem, in the kingdom of Heaven itself, nothing but spring; till one longs for a bare twig, for a yellow leaf, for a frozen gutter, as for a draught of water in the desert. The green fields and meadows enamelled with painted flowers, how one detests them! how one would rejoice to see them well sprinkled with frost or burnt up to brown in the dry days! the birds, the birds which warble through every sonnet, canzone, sirventes, glosa, dance lay, roundelay, virelay, rondel, ballade, and whatsoever else it may be called,--how one wishes them silent for ever, or their twitter, the tarantarantandei of the eternal German nightingale especially, drowned by a good howling wind J After any persistent study of mediæval poetry, one's feeling towards spring is just similar to that of the morbid creature in Schubert's "Müllerin," who would not stir from home for the dreadful, dreadful greenness, which he would fain bleach with tears, all around:

Ich möchte ziehn in die Welt hinaus, hinaus in die weite Welt, Wenn's nur so grün, so grün nicht war da draussen in Wald und Feld.

Moreover this mediæval spring is the spring neither of the shepherd, nor of the farmer, nor of any man to whom spring brings work and anxiety and hope of gain; it is a mere vague spring of gentle-folk, or at all events of well-to-do burgesses, taking their pleasure on the lawns of castle parks, or the green holiday places close to the city, much as we see them in the first part of "Faust;" a sweet but monotonous charm of grass, beneath green lime tree, or in the South the elm or plane; under which are seated the poet and the fiddler, playing and singing for the young women, their hair woven with chaplets of fresh flowers, dancing upon the sward. And poet after poet, Provençal, Italian, and German, Nithart and Ulrich, and even the austere singer of the Holy Grail, Wolfram, pouring out verse after verse of the songs in praise of spring, which they make even as girls wind their garlands: songs of quaint and graceful ever-changing rythm, now slowly circling, now bounding along, now stamping out the measure like the feet of the dancers, now winding and turning as wind and twine their arms in the long-linked mazes; while the few and ever-repeated ideas, the old, stale platitudes of praise of woman, love pains, joys of dancing, pleasure of spring (spring, always spring, eternal, everlasting spring) seem languidly to follow the life and movement of the mere metre. Poets, these German, Provençal, French, and early Italian lyrists, essentially (if we venture to speak heresy) not of ideas or emotions, but of metre, of rythm and rhyme; with just the minimum of necessary thought, perpetually presented afresh just as the words, often and often repeated and broken up and new combined, of a piece of music--poetry which is in truth a sort of music, dance or dirge or hymn music as the case may be, more than anything else.

As it is in mediæval poetry with the seasons, so it is likewise with the country and its occupations: as there is only spring, so there is only the forest. Of the forest, mediæval poetry has indeed much to say; more perhaps, and more familiar with its pleasures, than Antiquity. There is the memorable forest where the heroes of the Nibelungen go to hunt, followed by their waggons of provisions and wine; where Siegfried overpowers the bear, and returns to his laughing comrades with the huge thing chained to his saddle; where, in that clear space which we see so distinctly, a lawn on to which the blue black firs are encroaching, Siegfried stoops to drink of the spring beneath the lime tree, and Hagen drives his boarspear straight through the Nibelung's back. There is the thick wood, all a golden haze through the young green, and with an atmosphere of birds' song, where King Mark discovers Tristram and Iseult in the cave, the deceitful sword between them, as Gottfried von Strassburg relates with wonderful luscious charm. The forest, also, more bleak and austere, where the four outlawed sons of Aymon live upon roots and wild animals, where they build their castle by the Meuse. Further, and most lovely of all, the forest in which Nicolette makes herself a hut of branches, bracken, and flowers, through which the stars peep down on her whiteness as she dreams of her Lord Aucassin. The forest where Huon meets Oberon; and Guy de Lusignan, the good snake-lady; and Parzival finds on the snow the feathers and the drops of blood which throw him into his long day-dream; and Owen discovers the tomb of Merlin; the forest, in short, which extends its interminable glades and serried masses of trunks and arches of green from one end to the other of mediæval poetry. It is very beautiful, this forest of the Middle Ages; but it is monotonous, melancholy; and has a terrible eeriness in its endlessness. For there is nothing else. There are no meadows where the cows lie lazily, no fields where the red and purple kerchiefs of the reapers overtop the high corn; no orchards, no hayfields; nothing like those hill slopes where the wild herbs encroach upon the vines, and the goats of Corydon and Damoetas require to be kept from mischief; where, a little lower down, the Athenian shopkeeper of Aristophanes goes daily to look whether yesterday's hard figs may not have ripened, or the vine wreaths pruned last week grown too lushly. Nor anything of the sort of those Umbrian meadows, where Virgil himself will stop and watch the white bullocks splashing slowly into the shallow, sedgy Clitumnus; still less like those hamlets in the cornfields through which Propertius would stroll, following the jolting osier waggon, or the procession with garlands and lights to Pales or to the ochre-stained garden god. Nothing of all this: there are no cultivated spots in mediæval poetry; the city only, and the castle, and the endless, all-encompassing forest.

And to this narrowness of mediæval notions of outdoor life, inherited together with mediæval subjects by the poets even of the sixteenth century, must be referred the curious difference existing between the romance poets of antiquity, like Homer in the Odyssey, and the romance poets--Boiardo, Ariosto, Tasso, Spenser, Camoens--of modern times, in the matter of--how shall I express it?--the ideal life, the fortunate realms, the "Kennaqwhere." In Homer, in all the ancients, the ideal country is merely a more delightful reality; and its inhabitants happier everyday men and women; in the poetry sprung from the Middle Ages it is always a fairy-land constructed by mechanicians and architects. For, as we have seen, the Middle Ages could bequeath to the sixteenth century no ideal of peaceful outdoor enjoyment. Hence, in the poetry of the sixteenth century, still permeated by mediæval traditions, an appalling artificiality of delightfulness. Fallerina, Alcina, Armida, Acrasia, all imitated from the original Calypso, are not strong and splendid god-women, living among the fields and orchards, but dainty ladies hidden in elaborate gardens, all bedizened with fashionable architecture: regular palaces, pleasaunces, with uncomfortable edifices, artificial waterfalls, labyrinths, rare and monstrous plants, parrots, apes, giraffes; childish splendours of gardening and engineering and menageries, which we meet already in "Ogier the Dane" and "Huon of Bordeaux," and which later poets epitomized out of the endless descriptions of Colonna's "Hypnerotomachia Poliphili," the still more frightful inventories of the Amadis romances. They are, each of them, a kind of anticipated Marly, Versailles, Prince Elector's Friedrichsruhe or Nymphenburg, with clipped cypresses and yews, doubtless, and (O Pales and Pan!) flower-beds filled with coloured plaster and spas, and cascades spirting out (thanks to fifty invisible pumps) under your feet and over your head. All the vineyards and cornfields have been swept away to make these solemn terraces and water-works; all the cottages which, with their little wooden shrine, their humble enclosure of sunflowers and rosemary and fruit trees, their buzzing hives and barking dogs, were loved and sung even by town rakes like Catullus and smart coffeehouse wits like Horace; all these have been swept away to be replaced by the carefully constructed (? wire) bowers, the aviaries, the porticoes, the frightful circular edifice (_tondo è il ricco edificio_), a masterpiece of Palladian stucco work, in which Armida and Rinaldo, Acrasia and her Knight, drearily disport themselves. What has become of Calypso's island? of the orchards of Alcinous? What would the noble knights and ladies of Ariosto and Spenser think of them? What would they say, these romantic, dainty creatures, were they to meet Nausicaa with the washed linen piled on her waggon? Alas! they would take her for a laundress. For it is the terrible aristocratic idleness of the Middle Ages, their dreary delicacy, which hampers Boiardo, Ariosto, Tasso, Spenser, even in the midst of their most unblushing plagiarisms from Antiquity: their heroes and heroines have been brought up, surrounded by equerries and duennas, elegant, useless things, or at best (the knights at least) good only for aristocratic warfare. Plough or prune! defile the knightly hands! wash or cook, ply the loom like Nausicaa, Calypso, or Penelope! The mere thought sends them very nearly into a faint. No: the ladies of mediæval romance must sit quiet, idle; at most they may sing to the lute; and if they work with their hands, it must be some dreary, strictly useless, piece of fancy work; they are hot-house plants, all these dainty folk.