Old English poetry

“ Poetry always clings fast to old words, long after they have been dropped by prose; and this was the case in England before the Conquest. If we take a piece of Old English prose, say the tales translated by Alfred, or Ælfric's Homilies, or a chapter of the Bible, we shall find that we keep to this day three out of four of all the nouns, adverbs, and verbs em­ployed by the old writer; but of the nouns, adverbs, and verbs used in any English poem, from the Beowulf to the song on Edward the Confessor's death, about half have dropped for ever. ”

“ What is the explanation of this revival, and this sudden great vogue of alliterative poetry? It cannot have been a new invention, or a reconstruction; it would not in that case have copied, as it sometimes does, the rhythm of the old English verse in a way which is unlike the ordinary rhythms of the fourteenth century. The only reasonable explanation is that somewhere in England there was a tradition of alliterative verse, keeping in the main to the old rules of rhythm as it kept something of the old vocabulary, and escaping the disease which affected the old verse elsewhere. ”

“ If there did not something else go to the making of literature besides mere literary parts, even the best of them, how long ago the old bards and the Biblical writers would have been superseded by the learned professors and the gentlemanly versifiers of later times! Is there to-day a popular poet, using the English language, who does not, in technical acquirements and in the artificial adjuncts of poetry,—rhyme, metre, melody, and especially sweet, dainty fancies,—surpass Europe's and Asia's loftiest and oldest? ”

“ The English mind has passed through phases of thought and cultivation so various and so opposed during these three centuries of Poetry, that a rapid passage between Old and New, like rapid alteration of the eye's focus in looking at the landscape, will always be wearisome and hurtful to the sense of Beauty. ”

“ The English have lost sight of the fact that poetry exists to speak the spiritual law, and that no wealth of description or of fancy is yet essentially new, and out of the limits of prose, until this condition is reached. Therefore the grave old poets, like the Greek artists, heeded their designs, and less considered the finish. ”

“ Our oldest English Poetry.—The verse written by our old English writers was very different in form from the verse that appears now from the hands of Tennyson, or Browning, or Matthew Arnold. The old English or Anglo-Saxon writers used a kind of rhyme called head-rhyme or alliteration; while, from the fourteenth century downwards, our poets have always employed end-rhyme in their verses. ”

“ There is abundant evidence that the Anglo-Saxon and Norman ancestors from whom sprang the English-speaking peoples were in this respect richly endowed, and that they early went far in the development of this power. The old ballads of our language are so rich and so enduringly beautiful that we are proved to come from a stock endowed with a rich susceptibility to poetry. ”

“ The ten years from 1580 to 1590 present a set of critical essays, giving a picture of English poetry of which, though there are gleams of a better hope, and praise is specially bestowed on a "new poet," the general character is feebleness, fantastic absurdity, affectation and bad taste. Force, and passion, and simple truth, and powerful thoughts of the world and man, are rare; and poetical reformers appear maundering about miserable attempts at English hexameters and sapphics. ”

“ If it be true, as we are told on high authority, that the greatest glory of England is her literature, and the greatest glory of English literature is its poetry, it is not less true that the greatest glory of English poetry lies rather in its dramatic than its epic or its lyric triumphs. ”

“ Let us, however, be reminded, that he who wholly neglects the study of our ancient poets must submit to the loss of knowledge which a philosopher would value; the manners of the age, the modes of feeling, the stream of thought, the virgin fancies, and that position which the human character takes in distant ages—these will imbue his memory with the genius of his country and the eternal truth of authentic nature. No English poet should wholly resign these masses of vernacular poetry to the lone closet of the antiquary ”

“ Whenever he touches a historical or literary theme his whole being seems to undergo a transformation. The real nature flashes out through his twinkling eyes. While he muses the fire burns, and, like the Psalmist, he speaks with his tongue. Dates and details, facts and traditions, cantos and poetry, reams of prose, English and Latin and Greek and French, come tumbling out in headlong but not disorderly array. ”

“ As poetry they mark an epoch. They are the first direct expression of an intimate and personal experience in English literature, struck off in the white heat of passion, and though they are coloured at times with that over-fantastic imagery which is at once a characteristic fault and excellence of the writing of the time, they never lose the one merit above all others of lyric poetry, the merit of sincerity. ”

“ He is, as all good poets must be, at once original and in the stream of national tradition, and in no respect more traditional than in his affection for and knowledge of the English landscape which has breathed its fragrance into so much of our great poetry in all ages. ”

“ Yet one can hardly say that our natural scenery has ever been really incarnate in our literature as a whole, or that a pervasive national spirit, a spirit at once large and precise, has entered fundamentally into our verse. What has been most effectual in our literature has been closely imitative, has followed at a little distance, yet step for step, the development of the English literature from which it sprang. This continuous imitation, now more superficial, now more indirect and elusive, has been the mainspring of our poetry even more than our prose, during the century just gone by. ”

“ There is such an overflowing life, such a superb exuberance of abounding and exulting strength, in the dramatic poetry of the half century extending from 1590 to 1640, that all other epochs of English literature seem as it were but half awake and half alive by comparison with this generation of giants and of gods. ”

“ First, fairy tales—then ballads of adventure, love, and war—then a new tinge of foreign thought and feeling, generally French, as it was with the English nation in the twelfth and thirteenth centuries—then elegiac and reflective poetry—then classic art begins to influence our ripening youth, as it did the youth of our nation in the sixteenth century, and delight in dramatic poetry follows as a natural consequence—and last, but not least, as the fruit of all these changes, a vigorous and matured prose. For indeed, as elocution is the highest melody, so is true prose the highest poetry. ”

“ It is hardly too much to say that in modern English literature there are but two poems which fulfill the conditions of the ancient ballads in their simplicity, directness, and originality of language, their power upon the mind and heart through the ear, and the indefinable flavor of primitive emotion, and those very different in style, subject, and form of expression. ”

“ But no man with an artist’s eye, and no man with Chaucer and Shakespeare in his heart, could fail to see the beauty of this mediæval picture, nor fail to feel the old thrill in that heritage of ancient customs which belong to the poetry and the heart of England. ”

“ As the English poets of the sixteenth century were emancipated by the study of Greek and Latin and by the removal of the trammels of the mediæval church, is there not hope that from the mass of noble poetry, lyrical, narrative, descriptive, which England offers to them and which they read with avidity and delight may come some inspiration to experiment in form and language and thought unknown to those who are still in the bonds of our decadent Mediævalism? And prose, written for an artistic or a popular scientific purpose can learn much from foreign models ”

“ It is only fair to observe that the Romantic Revivalist often borrows largely from some Classical writer so obscured by Time and corrupt texts as to seem a comparative Romantic. This complicated dog-eat-dog process is cheerfully called “The Tradition of English Poetry.” ”

“ For a hundred and thirty years English poetry had been mainly artificial, the product of conscious effort ranging down from the superb art of Paradise Lost to the prettinesses of Pope's imitators, but seldom or never wearing the aspect of a spontaneous growth. ”

“ But in spite of this discredit, which was more of a personal literary quarrel than a critical attack upon the quality of the poetry itself, its value was at once instinctively recognized as a new and original revelation, as an appeal to sensibilities in human nature which had been stifled by the narrow and dry reasoning of English and Continental poetry at the time, and as a breath from the wide air of nature itself. ”

“ It is this direct relation which the more progressive modern poets are trying to restore. In this effort they discard not only archaic diction but also the shop-worn subjects of past history or legend, which have been through the centuries a treasure-trove for the second-rate.
This effort at modern speech, simplicity of form, and authentic vitality of theme, is leading our poets to question the authority of the accepted laws of English verse, and to study other languages, ancient and modern, in the effort to find out what poetry really is. ”

“ As if now, at length, released from the captivity of earthly bonds, he soars aloft to higher thoughts, and pours forth from an overflowing soul the lofty strains of his unrivalled poem, the glory of English literature, the wonder and delight of every succeeding age. Not often does the history of the world present to us a spectacle so sublime. ”

“ Especially in the rapid survey of English literature given in most of our colleges, a collection of translations covering the Anglo-Saxon period and reflecting the form and spirit of the original poems should add much to a fuller appreciation of the varied and rich, though uneven, literary output of our earliest singers.
In subject-matter these Old English poems are full of the keenest interest to students of history, of customs, of legend, of folk-lore, and of art. They form a truly national literature ”

“ But this impropriety, it is presumed, will disappear, when it is declared that these poems are presented to your Ladyship, not as labours of art, but as effusions of nature, showing the first efforts of ancient genius, and exhibiting the customs and [Pg 2] opinions of remote ages: of ages that had been almost lost to memory, had not the gallant deeds of your illustrious ancestors preserved them from oblivion.
No active or comprehensive mind can forbear some attention to the reliques of antiquity. ”

“ Of this he said, in his “Essay on Lyric Poetry,” prefixed to the poem—“For the more harmony likewise I chose the frequent return of rhyme, which laid me under great difficulties. But difficulties overcome give grace and pleasure. Nor can I account for the pleasure of rhyme in general (of which the moderns are too fond) but from this truth.” Yet the moderns surely deserve not much censure for their fondness of what, by their own confession, affords pleasure, and abounds in harmony. ”

“ In this way it is that the associations with the poetry we remember come up when we find ourselves surrounded by English scenery. The great poets build temples of song, and fill them with images and symbols which move us almost to adoration; the lesser minstrels fill a panel or gild a cornice here and there, and make our hearts glad with glimpses of beauty. I felt all this as I looked around and saw the hawthorns in full bloom, in the openings among the oaks and other trees of the forest. ”

“ We should learn that in the seventeenth century this style of poetry—sometimes called the romantic—was succeeded by another and very different [6] fashion in poetic composition, introduced into England in imitation of continental and classical models: that this new style of versification—ignoring nature and making everything subservient to art—was purely artificial, characterized by "an oratorical pomp, a classical correctness, a theatrical dressing, abundance of moralizing" ”

“ The antique sense of form and proportion, the antique observance of the mean and avoidance of extravagance and excess, the antique dislike for the unlimited or the monstrous, the antique feeling for literary unity, and abstention from irrelevancy, the frank love for all that is beautiful or charming, for the beauty of the body and for everything connected with the joy of mortal life, the antique reticence as to hopes or fears of what was beyond the grave,—these qualities cease in medieval Latin poetry. ”

“ And this challenge, repeated by later poets, compels us to inquire briefly into the origins of English poetry, in the effort to get behind and underneath the instinctive prejudice that English poetry, to be poetry, must conform to prescribed metres. ”

“ The sentiment, the pathos, the eloquence of medieval French poetry is derived from Virgil and Ovid. The Latin poets are the originals of medieval romance, far beyond what can be reckoned by any comparison of plots and incidents. And the medieval poets in their turn are the ancestors of the Renaissance and show the way to modern poetry. ”