Part 4 (1/2)
”I was saying just now that the hymns of Prudentius, by the dramatic rapidity of the narrative, by the composition of the strophe, and by their wit, remind me very forcibly of our English ballads. Let us take the story of St Laurence, written in iambics, in verses of four lines each. In the time of the persecutions of Valerian, the Roman prefect, devoured by greed, summoned St Laurence, the treasurer of the church, before him, and on the plea that parents were making away with their fortunes to the detriment of their children, demanded that the sacred vessels should be given up to him. 'Upon all coins is found the head of the Emperor and not that of Christ, therefore obey the order of the latter, and give to the Emperor what belongs to the Emperor.'
”To this speech, peppered with irony and sarcasm, St Laurence replies that the church is very rich, even richer than the Emperor, and that he will have much pleasure in offering its wealth to the prefect, and he asks for three days to cla.s.sify the treasures. Transported with joy, the prefect grants the required delay. Laurence collects the infirm who have been receiving charity from the church; and in picturesque grouping the poet shows us the blind, the paralytic, the lame, the lepers, advancing with trembling and hesitating steps. Those are the treasures, the golden vases and so forth, that the saint has catalogued and is going to exhibit to the prefect, who is waiting in the sanctuary. The prefect is dumb with rage; the saint observes that gold is found in dross; that the disease of the body is to be less feared than that of the soul; and he developes this idea with a good deal of wit. The boasters suffer from dropsy, the miser from cramp in the wrist, the ambitious from febrile heat, the gossipers, who delight in tale-bearing, from the itch; but you, he says, addressing the prefect, you who govern Rome,[1] suffer from the _morbus regius_ (you see the pun). In revenge for thus slighting his dignity, the prefect condemns St Laurence to be roasted on a slow fire, adding, 'and deny there, if you will, the existence of my Vulcan.' Even on the gridiron Laurence does not lose his good humour, and he gets himself turned as a cook would a chop.
”Now, do you not understand what I mean when I say that the hymns of Prudentius are an antic.i.p.ation of the form of the English ballad?... And in the fifth hymn the story of St Vincent is given with that peculiar dramatic terseness that you find nowhere except in the English ballad.
But the most beautiful poem of all is certainly the fourteenth and last hymn. In a hundred and thirty-three hendecasyllabic verses the story of a young virgin condemned to a house of ill-fame is sung with exquisite sense of grace and melody. She is exposed naked at the corner of a street. The crowd piously turns away; only one young man looks upon her with l.u.s.t in his heart. He is instantly struck blind by lightning, but at the request of the virgin his sight is restored to him. Then follows the account of how she suffered martyrdom by the sword--a martyrdom which the girl salutes with a transport of joy. The poet describes her ascending to Heaven, and casting one last look upon this miserable earth, whose miseries seem without end, and whose joys are of such short duration.
”Then his great poem 'Psychomachia' is the first example in mediaeval literature of allegorical poetry, the most Christian of all forms of art.
”Faith, her shoulders bare, her hair free, advances, eager for the fight. The 'cult of the ancient G.o.ds,' with forehead chapleted after the fas.h.i.+on of the pagan priests, dares to attack her, and is overthrown.
The legion of martyrs that Faith has called together cry in triumphant unison.... Modesty (Pudicitia), a young virgin with brilliant arms, is attacked by 'the most horrible of the Furies' (Sodomita Libido), who, with a torch burning with pitch and sulphur, seeks to strike her eyes, but Modesty disarms him and pierces him with her sword. 'Since the Virgin without stain gave birth to the Man-G.o.d, l.u.s.t is without rights in the world.' Patience watches the fight; she is presently attacked by Anger, first with violent words, and then with darts, which fall harmlessly from her armour. Accompanied by Job, Patience retires triumphant. But at that moment, mounted on a wild and unbridled steed, and covered with a lionskin, Pride (Superbia), her hair built up like a tower, menaces Humility (Mens humilis). Under the banner of Humility are ranged Justice, Frugality, Modesty, pale of face, and likewise Simplicity. Pride mocks at this miserable army, and would crush it under the feet of her steed. But she falls in a ditch dug by Fraud. Humility hesitates to take advantage of her victory; but Hope draws her sword, cuts off the head of the enemy, and flies away on golden wings to Heaven.
”Then l.u.s.t (Luxuria), the new enemy, appears. She comes from the extreme East, this wild dancer, with odorous hair, provocative glance and effeminate voice; she stands in a magnificent chariot drawn by four horses; she scatters violet and rose leaves; they are her weapons; their insidious perfumes destroy courage and will, and the army, headed by the virtues, speaks of surrender. But suddenly Sobriety (Sobrietas) lifts the standard of the Cross towards the sky. l.u.s.t falls from her chariot, and Sobriety fells her with a stone. Then all her saturnalian army is scattered. Love casts away his quiver. Pomp strips herself of her garments, and Voluptuousness (Voluptas) fears not to tread upon thorns, &c. But Avarice disguises herself in the mask of Economy, and succeeds in deceiving all hearts until she is overthrown finally by Mercy (Operatica). All sorts of things happen, but eventually the poem winds up with a prayer to Christ, in which we learn that the soul shall fall again and again in the battle, and that this shall continue until the coming of Christ.”
”'Tis very curious, very curious indeed. I know nothing of this literature.”
”Very few do.”
”And you have, I suppose, translated some of these poems?”
”I give a complete translation of the second hymn, the story of St Laurence, and I give long extracts from the poem we have been speaking about, and likewise from 'Hamartigenia,' which, by the way, some consider as his greatest work. And I show more completely, I think, than any other commentator, the a.n.a.logy between it and the 'Divine Comedy,'
and how much Dante owed to it.... Then the 'terza rima' was undoubtedly borrowed from the fourth hymn of the 'Cathemerinon.'”...
”You said, I think, that Prudentius was a contemporary of Claudian.
Which do you think the greater poet?”
”Prudentius by far. Claudian's Latin was no doubt purer and his verse was better, that is to say, from the cla.s.sical standpoint it was more correct.”
”Is there any other standpoint?”
”Of course. There is pagan Latin and Christian Latin: Burns' poems are beautiful, and they are not written in Southern English; Chaucer's verse is exquisitely melodious, although it will not scan to modern p.r.o.nunciation. In the earliest Christian poetry there is a tendency to write by accent rather than by quant.i.ty, but that does not say that the hymns have not a quaint Gothic music of their own. This is very noticeable in Sedulius, a poet of the fifth century. His hymn to Christ is not only full of a.s.sonance, but of all kinds of rhyme and even double rhymes. We find the same thing in Sedonius, and likewise in Fortunatus--a gay prelate, the morality of whose life is, I am afraid, open to doubt...
”He had all the qualities of a great poet, but he wasted his genius writing love verses to Radegonde. The story is a curious one. Radegonde was the daughter of the King of Thuringia; she was made prisoner by Clotaire I., son of Clovis, who forced her to become his wife. On the murder of her father by her husband, she fled and founded a convent at Poictiers. There she met Fortunatus, who, it appears, loved her. It is of course humanly possible that their love was not a guilty one, but it is certain that the poet wasted the greater part of his life writing verses to her and her adopted daughter Agnes. In a beautiful poem in praise of virginity, composed in honour of Agnes, he speaks in a very disgusting way of the love with which nuns regard our Redeemer, and the recompence that awaits them in Heaven for their chast.i.ty. If it had not been for the great interest attaching to his verse as an example of the radical alteration that had been effected in the language, I do not think I should have spoken of this poet. Up to his time rhyme had slipped only occasionally into the verse, it had been noticed and had been allowed to remain by poets too idle to remove it, a strange something not quite understood, and yet not a wholly unwelcome intruder; but in St Fortunatus we find for the first time rhyme cognate with the metre, and used with certainty and brilliancy. In the opening lines of the hymn, 'Vexilla Regis,' rhyme is used with superb effect....
”But for signs of the approaching dissolution of the language, of its absorption by the national idiom, we must turn to St Gregory of Tours.
He was a man of defective education, and the _lingua rustica_ of France as it was spoken by the people makes itself felt throughout his writings. His use of _iscere_ for _escere_, of the accusative for the ablative, one of St Gregory's favourite forms of speech, _pro or quod_ for _quoniam_, conformable to old French _porceque_, so common for _parceque_. And while national idiom was oozing through grammatical construction, national forms of verse were replacing the cla.s.sical metres which, so far as syllables were concerned, had hitherto been adhered to. As we advance into the sixth and seventh centuries, we find English monks attempting to reproduce the characteristics of Anglo-Saxon alliterative verse in Latin; and at the Court of Charlemagne we find an Irish monk writing Latin verse in a long trochaic line, which is native in Irish poetry.
”Poets were plentiful at the court of Charlemagne. Now, Angilbert was a poet of exquisite grace, and surprisingly modern is his music, which is indeed a wonderful antic.i.p.ation of the lilt of Edgar Poe. I compare it to Poe. Just listen:--
”'Surge meo Domno dulces fac, fistula versus: David amat versus, surge et fac fistula versus.
David amat vates, vatorum est gloria David Qua propter vates cuncti concurrite in unum Atque meo David dulces cantate camoenas.
David amat vates, vatorum est gloria David.
Dulcis amor David inspirat corda canentum, Cordibus in nostris faciat amor ipsius odas: Vates Homerus amat David, fac, fistula, versus.
David amat vates, vatorum est gloria David.'”
”I should have flogged that monk--'ipsius,' oh, oh!--'vatorum.'... It really is too terrible.”