Part 5

As it is with peoples, so also is it with ideas; scarcely has a scheme of life or of philosophy or of art taken shape and consistence before, from out of the inexhaustible chaos of mediæval thought and feeling, there issue new necessities, new aspirations, which put into confusion all previous ones. The Middle Ages were like some financial crisis: a little time, a little credit, money will fructify, wealth will reappear, the difficult moment will be tided over; and so with civilization. But unfortunately the wealth of ideas began to accumulate in the storehouse only just long enough to bring down a rout of creditors, people who rifled the bank, and went home to consume or invest their money in order to be succeeded by others. Hence, in the matter of civilization, the Middle Ages ended in an extraordinary slow ruin, a bankruptcy like that which overtook France before '89, and from which, as France was restored by the bold seizure and breaking up of property of the revolution, the world was restored by the bold breaking of feudal and spiritual mortmain, the restoring of wasted energies to utility, of that great double revolution, the Renaissance and the Reformation. Be this as it may, mankind throughout the Middle Ages appears to have been in a chronic condition of packing up and unpacking, and packing up again; one after another a nation, a race, a philosophy, a political system came to the front and was pushed back again into limbo: Germans and Kelts and Latins, French civilization of the day of Abélard, Provençal civilization of the days of the Raymonds, brilliant and evanescent Hohenstauffen supremacy, papacy at Canossa and at Avignon, Templars triumphant and Templars persecuted; scholasticism, mysticism, feudalism, democracy, communism: influences all these perpetually rising up and being trodden down, till they all rotted away in the great stagnation of the fifteenth century; and only in one part of the world, where the conflict was more speedily ended, where one set of tendencies early triumphed, where stability was temporarily obtained, in Italy alone did civilization continue to be nurtured and developed for the benefit of all mankind. In such a state of affairs only such things could flourish and mature as were safe from what I have called, for want of a better expression, the perpetual unpacking and repacking, the perpetual being on the move, of the Middle Ages; and among such things foremost was art, the essential art of the times, architecture, which, belonging to the small towns, to the infinite minority of the democracy, who worked and made money and let the great changes pass over their heads, thrived almost as something too insignificant for notice. But it was different with literature. Cathedrals once built cannot so easily be changed; new peoples, new ideas, must accept them. But poetry--the thing which every nation insists upon having to suit its own taste, the thing which every nation and every generation carries about with it hither and thither, the thing which can be altered to suit every passing whim--poetry was, of all the fluctuating things of the Middle Ages, perhaps the most fluctuating. And fluctuating also because, as none of these various nations, tendencies, aspirations, dominated sufficiently long to produce any highly organized art, there remained no standard works, nothing recognizedly perfect, which would be kept for its perfection and gather round it imitations, so as to form the nucleus of any homogeneous tradition. The Middle Ages, so full of fashions in literary matters, possessed no classics; the minnesingers knew nothing of the stern old Teutonic war songs; the meistersängers had forgotten the minnesingers; the trouvères and troubadours knew nothing of "The Chanson de Roland," and Villon knew nothing of them; only in Italy, where the Middle Ages came to an end and the Renaissance began with the Lombard league, was there established a tradition of excellence, with men like Dante, Petrarch, and Boccaccio, handed down from generation to generation; even as, while in the north there came about the strange modification which substituted the French of Rabelais for the French of Chrestien de Troyes, the German of Luther for the German of Wolfram von Eschenbach, the Italian language, from Ciullo d'Alcamo almost to Boiardo and Lorenzo dei Medici, remained virtually identical. The result of this, which I may call the heterogeneousness and instability of the Middle Ages was that not merely literary forms were for ever arising and being superseded, but literary subject matter was continually undergoing a process of transformation. While in Antiquity the great epic and tragic stuffs remained well-nigh unaltered, and the stories of Valerius Flaccus and Apollonius Rhodius were merely the stories which had been current since the days of Homer, during the course of the Middle Ages every epic cycle, and every tale belonging thereunto, was gradually adulterated, mingled with, swamped by, some other cycle or tale; nay, rather, every other, cycle and every other tale, the older ones trying to save their popularity by admixture with the more recent, till at last all mythical significance, all historical meaning, all national character, all psychological reality, were lost in the chaotic result. And meanwhile, in the absence of any stable language, of any durable literary fashion, the Middle Ages were unable to give to these epic stuffs, at any one period of their life of metamorphose, a form sufficiently artistically valuable to secure anything beyond momentary vogue, to secure for them the immortality of the great Greek tales of adventure and warfare and love. Thus it came about that the epic cycle of Charlemagne, after supplanting in men's minds the grand sagas of the pagan North, was itself supplanted by the Arthurian cycle; that the Frankish stories absorbed the wholly discrepant elements of their more fortunate Keltic rivals; that both cycles, having lost all character through fusion and through obliteration by time, became more meaningless generation by generation and year by year, until when the Middle Ages had come to an end, and the great poets of the Renaissance were ready to give this old mediæval epic stuff a definitive and durable artistic shape, there came to the hands of Boiardo and Ariosto, of Tasso and Spenser, only a strange, trumpery material, muddled by jongleurs and romance writers, and reduced to mere fairy stuff, taken seriously only by Don Quixote, and by the authors of the volumes of insane twaddle called after Amadis of Gaul and all his kinsmen.

Such a condition of perpetual change as explains, in my belief, why the mediæval epic subjects were wanted, can be made clear only by examples. I shall therefore try to show the transformations which were undergone by one or two principal mediæval epic subjects as a result of a mixture with other epic cycles; of a gradual adaptation to a new state of civilization; and finally of their gradual separation from all kind of reality and real interests.

First of all, let us look at the epic cycle, which, although known to us only in poems no older than those of the trouvères and minnesingers who sang of Charlemagne and Arthur, is in reality far more ancient, and on account of its antiquity and its consequent disconnection with mediæval religious and political interests, was thrown aside even by the nations to which it belonged, by the Scandinavians who took to writing sagas about the wars of Charlemagne against Saracens, and by the Germans who preferred to hear the adventures of Welsh and Briton, Launcelots and Tristrams. I am alluding to the stories connected with the family and life of the hero called Sigurd by the Scandinavians, and Siegfried by the Germans. Of these we possess a Norse version called the Volsunga Saga, magnificently done into English by Mr. William Morris; which, although written down at the end of the twelfth century, in the very time therefore of Chrestien de Troyes, Wolfram von Eschenbach, and Gottfried von Strassburg, and subsequently to the presumed writing of "The Chanson de Roland" and the Nibelungenlied, shows us in reality the product of a people, the distant Scandinavians of Iceland, who were five or six hundred years behind the French, Germans, and English of the twelfth century. In the Volsunga Saga, neither Christianity nor feudalism is yet dreamed of; and it is for this reason that I wish to compare it with the Nibelungenlied, in order to show how enormously the old epic stuff was altered by the new civilization. The whole social and moral condition of the two versions is different. In the old Scandinavian civilization, where the Viking is surrounded and served by clansmen, the feeling of blood relationship is the strongest in people's hearts; strangely and fearfully shown in the introductory tale of Signy, who, in order to avenge her father Volsung, killed by her husband, murders her children by the latter, and then, altered in face by magic arts, goes forth to the woods to her brother Sigmund, that, un-wittingly, he may beget with her the only man fit to avenge the Volsungs. And then she sends the boy Sinfjotli to the man he has hitherto considered merely as his uncle, bidding the latter kill him if he prove unworthy of his incestuous birth, or train him to vengeance. The three together murder the husband and legitimate children of Signy, and set the palace on fire; which, being done, the queen, having accomplished her duty to her kin, accomplishes that towards her husband, and calmly returns to die in the burning hall. Here (and apparently again in the case of the children of Sigurd and Brynhilt) incest becomes a family virtue. This being the frightful preponderance of the feeling of blood relationship, it is quite natural that the Scandinavian Chriemhilt (called in the Volsunga Saga, Gudrun) should not resent the murder of her husband Siegfried or Sigurd by her brothers at the instigation of the jealous Brynhilt (who has in a manner been Sigurd's wife before he made her over to Chriemhilt's eldest brother); and that, so far from seeking any revenge against them, she should, when her second husband Atli sends for her brothers in order to rob and murder them, first vainly warn them of the plot, and then, when they have been massacred, kill Atli and her children by him in order to avenge her brothers. The slackening of the tribal feeling, the idea of fidelity in love and sanctity of marriage belonging to Christianity and feudalism, rendered such a story unintelligible to the Germans of the Othos and Henrys. In the Nibelungenlied, the whole story of the massacre of the brothers is changed. Chriemhilt never forgives the murder of Siegfried, and it is not Etzel--Atli for the sake of plunder, but she herself for the sake of revenge, who decoys her brothers and murders them; it is she who with her own hand cuts off the head of Gunther to expiate his murder of Siegfried. To our feelings, more akin to those of the feudal Christians of Franconia than to those of the tribal Scandinavians of the Edda, the second version is far more intelligible and interesting--the story of this once gentle and loving Chriemhilt, turned by the murder of her beloved into a fury, and plotting to avenge his death by the death of all his kinsfolk, must be much grander and more pathetic than the story of this strange Gudrun, who sits down patiently beneath the injury done to her by her brothers, but savagely avenges them on her new husband, and her own and his innocent children; to us this persistence of tribal feeling, destroying all indignation and love, is merely unnatural, confusing, and repulsive. But this alteration for the better in one of the incidents of the tale is a mere fluke; and the whole main plot of the originally central figures are completely obliterated by the new state of civilization, and rendered merely trivial and grotesque. In the Volsunga Saga Sigurd, overcome by enchantments, has forgotten his wife (or mistress, a vague mythical relationship); and, with all sense of the past obliterated, has made her over to the brother of his new wife Gudrun; and Brynhilt kills her faithless love to dissolve the second marriage and be reunited with him in death. In the Nibelungenlied Siegfried, although the flower of knighthood, conquers by foul play the Amazon Brunhilt to reward Gunther for the hand of his sister; nay, in a comic and loathsome scene he forces her into the embraces of the craven Gunther; and then he gets killed by Brunhilt's machinations; when, after most unqueenly bickerings, the proud Amazon is brutally told by Siegfried's wife of the dirty trick which has given her to Gunther. After this, it is impossible to realize, when Siegfried is murdered and all our sympathies called on to his side, the utterly out-of-character, blackguardly behaviour which has brought the hero to his death. Similarly the conception of the character and position of Brynhilt is entirely disfigured and rendered inane in the Nibelungenlied: of that superb demi-goddess of the Scandinavians, burnt on the pyre with her falcons and dogs and horses and slaves, by the side of the demi-god Sigurd, whom she has loved and killed, lest the door of Valhalla, swinging after him, should shut her out from his presence; of her there remains in the German mediæval poem only a virago (more like the giantesses of the Amadis romances) enraged at having been defeated and grotesquely and grossly pummelled into wedlock by a man not her husband, and then slanged like a fishwife by her envious sister-in-law.

The old, consistent, grandly tragic tale of the mysterious incests and revenges of a race of demi-gods has lost its sense, its point in the attempt to arrange it to suit Christian and feudal ideas. The really fine portions of the Nibelungenlied are exactly those which have no real connection with the original story, gratuitous additions by mediæval poets. The delicately indicated falling in love of Siegfried and Chriemhilt, the struggles of Markgraf Rüdger between obedience to his feudal superior and fidelity towards his friends and guests; and, above all, the canto of the death of Siegfried. This last is different, intensely different, from the rugged and dreary monotony of the rest; this most poetical, almost Spenserian or Ariostesque realization of the scene; this beautiful picture (though worked with the needle of the arras-worker rather than with pencil or brush) of the wood, the hunt, the solitary fountain in the Odenwald, where, with his spear leaned against the lime-tree, Siegfried was struck down into the clover and flowers, and writhed with Hagen's steel through his back. This canto is certainly interpolated by some first-rate poet, at least a Gottfried or a Walther, to whom that passage of the savage old droning song of death had suggested a piece of new art; it is like the fragments of exquisitely chiselled leafage and figures which you sometimes find encrusted--by whom? wherefore?--quite isolated in the midst of the rough and lichen-stained stones of some rude Lombard church. All the rest of the Nibelungenlied gives an impression of effeteness; there is no definiteness of idea such as that of the Volsunga Saga; the battles are mere vague slaughter, no action, no realized movement, or (excepting Rüdger) no realized motive of conduct. Shape and colour would seem to have been obliterated by repetition and alteration. Yet even these alterations could not make the tale of Siegfried survive among the Germans of the Middle Ages; nay, the more the alterations the less the interest; the want of consistency and colour due to rearrangement merely accelerated the throwing aside of a subject which, dating from pagan and tribal times, had become repugnant to the new generations. All the mutilations in the world could not make the old Scandinavian tales of betrayed trust, of revenge and triumphant bloodshed, at all sympathetic to men whose religious and social ideals were those of forgiveness and fidelity; even stripped of its incestuous mysteries and of its fearful tribal love, the tale of Sigurd and Brynhilt, reduced to the tale of Chriemhilt's revenge, was unpalatable: no more attempts were made at re-writing it, and the poems of Walther, of Gottfried, of Wolfram, of Ulrich, and of Tannhäuser, full as they are of references to stories of the Carolingian and Arthurian cycles, nay, to Antique and Oriental tales, contain no allusion to the personages of the Nibelungenlied. The old epic of the Gothic races had been pushed aside by the triumphant epic of the obscure and conquered Kelts.

There are few phenomena in the history of ideas and forms more singular than that of the sudden conquest of the poetry of dominant or distant nations by the poetic subjects of a comparatively small race, sheared of all political importance, restricted to a trifling territory, and well-nigh deprived of their language; and of this there can be found no more striking example than the sudden ousting of the Carolingian epic by the cycle of Arthur.

The Kelts of Britain and Ireland possessed an epic cycle of their own, which came to notice only when they were dispossessed of their last strongholds by Saxons and Normans, and which immediately spread with astounding rapidity all over Europe. The vanquished race became fashionable; themselves, their art and their poetry, began to be sought for as a precious and war-enhanced loot. The heroic tales of the Kelts were transcribed in Welsh, and translated into Latin, by order of the Norman and Angevine kings, glad, it would seem, to oppose the Old Briton to the Saxon element. The Keltic songs were carried all over France by Breton bards, to whose music and rhymes, with only a general idea of the subjects, the neo-Latin-speaking Franks listened with the sort of stolid satisfaction with which English or Germans of a hundred years ago listened to Italians singing Metastasio's verses. But soon the songs and tales were translated; and French poets imitated in their language, northern and southern, the graceful metres of the Keltic lays, and altered and arranged their subjects. So that, in a very short time, France, and through it Germany, was inundated with Keltic stories. This triumph of the vanquished race was not without reason. The Kelts, early civilized by Rome and Christianity, had a set of stories and a set of heroes extremely in accordance with mediæval ideas, and requiring but very little alteration. The considerable age of their civilization had long obliterated all traces of pagan and tribal feeling in their tales. Their heroes, originally, like those of all other people, divinities intimately connected with natural phenomena, had long lost all cosmic characteristics, long ceased to be gods, and, manipulated by the fancy of a race whose greatness was quite a thing of the past, had become a sort of golden age ideals--the men of a distant period of glory, which was adorned with every kind of perfection, till it became as unreal as fairyland. Fairyland, in good sooth, was this country of the Keltic tales; and there is a sort of symbolical significance in the fact of its lawgiver Merlin, and its emperor Arthur, being both of them not dead, like Sigurd, like Dietrich, like Charlemagne and Roland, but lying in enchanted sleep. Long inaction and the day-dreaming of idleness had refined and idealized the heroes of this Keltic race--a race of brilliant fancy and almost southern mobility, and softened for a long time by contact with Roman colonists and Christian priests. They were not the brutal combatants of an active fighting age, like the heroes of the Edda and of the Carolingian cycles; nor had they any particular military work to do, belonging as they did to a people huddled away into inactivity. Their sole occupation was to extend abroad that ideal happiness which reigned in the ideal court of Arthur; to go forth on the loose and see what ill-conditioned folk there might yet be who required being subdued or taught manners in the happy kingdom, which the poor insignificant Kelts connected with some princelet of theirs who centuries before may have momentarily repelled the pagan Saxons. Hence in the Keltic stories, such as they exist in the versions previous to the conquest by the Norman kings, and previous also to any communications with other peoples, the distinct beginning of what was later to be called knight-errantry; of heroes, creations of an inactive nation, having no special military duties, going forth to do what good they may at random, unforced by any necessity, and following a mere æsthetico-romantic plan of perfecting themselves by deeds of valour to become more worthy of their God, their King, and their Lady: religion, loyalty, and love, all three of them mere æsthetic abstractions, becoming the goal of an essentially æsthetic, unpractical system of self-improvement, such as was utterly incompatible with any real and serious business in life. Idle poetic fancies of an inert people, the Knights of the Round Table have no mission save that of being poetically perfect. Such was the spirit of Keltic poetry; and, as it happened, this spirit satisfied the imaginative wants of mediæval society just at the moment when political events diffused in other countries the knowledge of the Arthurian legends. The old Teutonic tales of Sigurd, Gudrun, and Dietrich, had long ceased to appeal, in their mutilated and obliterated condition, to a society to whom tribal feeling and pagan heroism were odious, and whose religion distinctly reproved revenge. These semi-mythological tales had been replaced by another cycle: the purely realistic epic, which had arisen during the struggles between the Christian west against the pagan north-east and the Mohammedan south, and which, originating in the short battle-songs narrating the exploits of the predecessors and help-mates of Charlemagne, had constituted itself into large narratives of which the "Song of Roland" represents artistic culmination. These narratives of mere military exploits, of the battles of a strong feudal aristocracy animated by feudal loyalty and half-religious, half-patriotic fury against invading heathenness, had perfectly satisfied the men of the earliest Middle Ages, of the times when feudalism was being established and the church being reformed; when the strong military princelets of the North were embarking with their barons to conquer new kingdoms in England and in Italy and Greece; when the whole of feudal Europe hurled itself against Asia in the first Crusades. But the condition of things soon altered: the feudal hierarchy was broken up into a number of semi-independent little kingdoms or principalities, struggling, with the assistance of industrial and mercantile classes, to become absolute monarchies; princes who had been mere generals became stay-at-home diplomatists, studious of taxation and intrigue, surrounded no longer by armed vassals, but by an essentially urban court, in constant communication with the money-making burghers. Religion, also, instead of being a matter of fighting with infidel invaders, turned to fantastic sectarianism and emotional mysticism. With the sense of futility, of disappointment, attendant on the later Crusades, came also a habit of roaming in strange countries, of isolated adventure in search of wealth or information, a love of the distant, the half-understood, the equivocal; perhaps even a hankering after a mysterious compromise between the religion of Europe and the religions of the East, such as appears to have existed among the Templars and other Franks settled in Asia.