I. HISTORY OF THE PERIOD
Political Changes. The century and a half following the death of Chaucer (1400-1550) is the most volcanic2 period of English history. The land is swept by vast changes, inseparable from the rapid accumulation of national power; but since power is the most dangerous of gifts until men have learned to control it, these changes seem at first to have no specific aim or direction. Henry V--whose erratic3 yet vigorous life, as depicted4 by Shakespeare, was typical of the life of his times--first let Europe feel the might of the new national spirit. To divert that growing and unruly spirit from rebellion at home, Henry led his army abroad, in the apparently5 impossible attempt to gain for himself three things: a French wife, a French revenue, and the French crown itself. The battle of Agincourt was fought in 1415, and five years later, by the Treaty of Troyes, France acknowledged his right to all his outrageous6 demands.
The uselessness of the terrific struggle on French soil is shown by the rapidity with which all its results were swept away. When Henry died in 1422, leaving his son heir to the crowns of France and England, a magnificent recumbent statue with head of pure silver was placed in Westminster Abbey to commemorate7 his victories. The silver head was presently stolen, and the loss is typical of all that he had struggled for. His son, Henry VI, was but the shadow of a king, a puppet in the hands of powerful nobles, who seized the power of England and turned it to self-destruction. Meanwhile all his foreign possessions were won back by the French under the magic leadership of Joan of Arc. Cade's Rebellion (1450) and the bloody9 Wars of the Roses (1455-1485) are names to show how the energy of England was violently destroying itself, like a great engine that has lost its balance wheel. The frightful10 reign8 of Richard III followed, which had, however, this redeeming11 quality, that it marked the end of civil wars and the self-destruction of feudalism, and made possible a new growth of English national sentiment under the popular Tudors.
In the long reign of Henry VIII the changes are less violent, but have more purpose and significance. His age is marked by a steady increase in the national power at home and abroad, by the entrance of the Reformation "by a side door," and by the final separation of England from all ecclesiastical bondage13 in Parliament's famous Act of Supremacy14. In previous reigns15 chivalry16 and the old feudal12 system had practically been banished17; now monasticism, the third medi?val institution with its mixed evil and good, received its death-blow in the wholesale18 suppression of the monasteries19 and the removal of abbots from the House of Lords. Notwithstanding the evil character of the king and the hypocrisy20 of proclaiming such a creature the head of any church or the defender21 of any faith, we acquiesce22 silently in Stubb's declaration[105] that "the world owes some of its greatest debts to men from whose memory the world recoils23."
Illustration: SPECIMEN24 OF CAXTON'S PRINTING IN THE YEAR 1486
SPECIMEN OF CAXTON'S PRINTING IN THE YEAR 1486
While England during this period was in constant political strife25, yet rising slowly, like the spiral flight of an eagle, to heights of national greatness, intellectually it moved forward with bewildering rapidity. Printing was brought to England by Caxton (c. 1476), and for the first time in history it was possible for a book or an idea to reach the whole nation. Schools and universities were established in place of the old monasteries; Greek ideas and Greek culture came to England in the Renaissance26, and man's spiritual freedom was proclaimed in the Reformation. The great names of the period are numerous and significant, but literature is strangely silent. Probably the very turmoil27 of the age prevented any literary development, for literature is one of the arts of peace; it requires quiet and meditation28 rather than activity, and the stirring life of the Renaissance had first to be lived before it could express itself in the new literature of the Elizabethan period.
The Revival of Learning. The Revival of Learning denotes, in its broadest sense, that gradual enlightenment of the human mind after the darkness of the Middle Ages. The names Renaissance and Humanism, which are often applied29 to the same movement, have properly a narrower significance. The term Renaissance, though used by many writers "to denote the whole transition from the Middle Ages to the modern world,"[106] is more correctly applied to the revival of art resulting from the discovery and imitation of classic models in the fourteenth and fifteenth centuries. Humanism applies to the revival of classic literature, and was so called by its leaders, following the example of Petrarch, because they held that the study of the classics, literae humaniores,--i.e. the "more human writings," rather than the old theology,--was the best means of promoting the largest human interests. We use the term Revival of Learning to cover the whole movement, whose essence was, according to Lamartine, that "man discovered himself and the universe," and, according to Taine, that man, so long blinded, "had suddenly opened his eyes and seen."
The WorldWe shall understand this better if we remember that in the Middle Ages man's whole world consisted of the narrow Mediterranean30 and the nations that clustered about it; and that this little world seemed bounded by impassable barriers, as if God had said to their sailors, "Hitherto shalt thou come, but no farther." Man's mind also was bounded by the same narrow lines. His culture as measured by the great deductive system of Scholasticism consisted not in discovery, but rather in accepting certain principles and traditions established by divine and ecclesiastical authority as the basis of all truth. These were his Pillars of Hercules, his mental and spiritual bounds that he must not pass, and within these, like a child playing with lettered blocks, he proceeded to build his intellectual system. Only as we remember their limitations can we appreciate the heroism31 of these toilers of the Middle Ages, giants in intellect, yet playing with children's toys; ignorant of the laws and forces of the universe, while debating the essence and locomotion32 of angels; eager to learn, yet forbidden to enter fresh fields in the right of free exploration and the joy of individual discovery.
The Revival stirred these men as the voyages of Da Gama and Columbus stirred the mariners33 of the Mediterranean. First came the sciences and inventions of the Arabs, making their way slowly against the prejudice of the authorities, and opening men's eyes to the unexplored realms of nature. Then came the flood of Greek literature which the new art of printing carried swiftly to every school in Europe, revealing a new world of poetry and philosophy. Scholars flocked to the universities, as adventurers to the new world of America, and there the old authority received a deathblow. Truth only was authority; to search for truth everywhere, as men sought for new lands and gold and the fountain of youth,--that was the new spirit which awoke in Europe with the Revival of Learning.
II. LITERATURE OF THE REVIVAL
The hundred and fifty years of the Revival period are singularly destitute34 of good literature. Men's minds were too much occupied with religious and political changes and with the rapid enlargement of the mental horizon to find time for that peace and leisure which are essential for literary results. Perhaps, also, the floods of newly discovered classics, which occupied scholars and the new printing presses alike, were by their very power and abundance a discouragement of native talent. Roger Ascham (1515-1568), a famous classical scholar, who published a book called Toxophilus (School of Shooting) in 1545, expresses in his preface, or "apology," a very widespread dissatisfaction over the neglect of native literature when he says, "And as for ye Latin or greke tongue, every thing is so excellently done in them, that none can do better: In the Englysh tonge contrary, every thinge in a maner so meanly, both for the matter and handelynge, that no man can do worse."
On the Continent, also, this new interest in the classics served to check the growth of native literatures. In Italy especially, for a full century after the brilliant age of Dante and Petrarch, no great literature was produced, and the Italian language itself seemed to go backward.[107] The truth is that these great writers were, like Chaucer, far in advance of their age, and that the medi?val mind was too narrow, too scantily35 furnished with ideas to produce a varied36 literature. The fifteenth century was an age of preparation, of learning the beginnings of science, and of getting acquainted with the great ideals,--the stern law, the profound philosophy, the suggestive mythology37, and the noble poetry of the Greeks and Romans. So the mind was furnished with ideas for a new literature.
With the exception of Malory's Morte d'Arthur (which is still medi?val in spirit) the student will find little of interest in the literature of this period. We give here a brief summary of the men and the books most "worthy38 of remembrance"; but for the real literature of the Renaissance one must go forward a century and a half to the age of Elizabeth.
Praise of FollyThe two greatest books which appeared in England during this period are undoubtedly40 Erasmus's[108] Praise of Folly39 (Encomium Moriae) and More's Utopia, the famous "Kingdom of Nowhere." Both were written in Latin, but were speedily translated into all European languages. The Praise of Folly is like a song of victory for the New Learning, which had driven away vice41, ignorance, and superstition42, the three foes43 of humanity. It was published in 1511 after the accession of Henry VIII. Folly is represented as donning cap and bells and mounting a pulpit, where the vice and cruelty of kings, the selfishness and ignorance of the clergy44, and the foolish standards of education are satirized45 without mercy.
UtopiaMore's Utopia, published in 1516, is a powerful and original study of social conditions, unlike anything which had ever appeared in any literature.[109] In our own day we have seen its influence in Bellamy's Looking Backward, an enormously successful book, which recently set people to thinking of the unnecessary cruelty of modern social conditions. More learns from a sailor, one of Amerigo Vespucci's companions, of a wonderful Kingdom of Nowhere, in which all questions of labor46, government, society, and religion have been easily settled by simple justice and common sense. In this Utopia we find for the first time, as the foundations of civilized47 society, the three great words, Liberty, Fraternity, Equality, which retained their inspiration through all the violence of the French Revolution and which are still the unrealized ideal of every free government. As he hears of this wonderful country More wonders why, after fifteen centuries of Christianity, his own land is so little civilized; and as we read the book to-day we ask ourselves the same question. The splendid dream is still far from being realized; yet it seems as if any nation could become Utopia in a single generation, so simple and just are the requirements.
Tyndale's New TestamentGreater than either of these books, in its influence upon the common people, is Tyndale's translation of the New Testament48 (1525), which fixed49 a standard of good English, and at the same time brought that standard not only to scholars but to the homes of the common people. Tyndale made his translation from the original Greek, and later translated parts of the Old Testament from the Hebrew. Much of Tyndale's work was included in Cranmer's Bible, known also as the Great Bible, in 1539, and was read in every parish church in England. It was the foundation for the Authorized50 Version, which appeared nearly a century later and became the standard for the whole English-speaking race.
Wyatt and Surrey. In 1557 appeared probably the first printed collection of miscellaneous English poems, known as Tottel's Miscellany. It contained the work of the so-called courtly makers51, or poets, which had hitherto circulated in manuscript form for the benefit of the court. About half of these poems were the work of Sir Thomas Wyatt (1503?-1542) and of Henry Howard, Earl of Surrey (1517?-1547). Both together wrote amorous52 sonnets54 modeled after the Italians, introducing a new verse form which, although very difficult, has been a favorite ever since with our English poets.[110] Surrey is noted55, not for any especial worth or originality56 of his own poems, but rather for his translation of two books of Virgil "in strange meter." The strange meter was the blank verse, which had never before appeared in English. The chief literary work of these two men, therefore, is to introduce the sonnet53 and the blank verse,--one the most dainty, the other the most flexible and characteristic form of English poetry,--which in the hands of Shakespeare and Milton were used to make the world's masterpieces.
Malory's Morte d'Arthur. The greatest English work of this period, measured by its effect on subsequent literature, is undoubtedly the Morte d'Arthur, a collection of the Arthurian romances told in simple and vivid prose. Of Sir Thomas Malory, the author, Caxton[111] in his introduction says that he was a knight57, and completed his work in 1470, fifteen years before Caxton printed it. The record adds that "he was the servant of Jesu both by day and night." Beyond that we know little[112] except what may be inferred from the splendid work itself.
Malory groups the legends about the central idea of the search for the Holy Grail. Though many of the stories, like Tristram and Isolde, are purely58 pagan, Malory treats them all in such a way as to preserve the whole spirit of medi?val Christianity as it has been preserved in no other work. It was to Malory rather than to Layamon or to the early French writers that Shakespeare and his contemporaries turned for their material; and in our own age he has supplied Tennyson and Matthew Arnold and Swinburne and Morris with the inspiration for the "Idylls of the King" and the "Death of Tristram" and the other exquisite59 poems which center about Arthur and the knights60 of his Round Table.
In subject-matter the book belongs to the medi?val age; but Malory himself, with his desire to preserve the literary monuments of the past, belongs to the Renaissance; and he deserves our lasting61 gratitude62 for attempting to preserve the legends and poetry of Britain at a time when scholars were chiefly busy with the classics of Greece and Rome. As the Arthurian legends are one of the great recurring63 motives64 of English literature, Malory's work should be better known. His stories may be and should be told to every child as part of his literary inheritance. Then Malory may be read for his style and his English prose and his expression of the medi?val spirit. And then the stories may be read again, in Tennyson's "Idylls," to show how those exquisite old fancies appeal to the minds of our modern poets.
Summary of the Revival of Learning Period. This transition period is at first one of decline from the Age of Chaucer, and then of intellectual preparation for the Age of Elizabeth. For a century and a half after Chaucer not a single great English work appeared, and the general standard of literature was very low. There are three chief causes to account for this: (1) the long war with France and the civil Wars of the Roses distracted attention from books and poetry, and destroyed of ruined many noble English families who had been friends and patrons of literature; (2) the Reformation in the latter part of the period filled men's minds with religious questions; (3) the Revival of Learning set scholars and literary men to an eager study of the classics, rather than to the creation of native literature. Historically the age is noticeable for its intellectual progress, for the introduction of printing, for the discovery of America, for the beginning of the Reformation, and for the growth of political power among the common people.
In our study we have noted: (1) the Revival of Learning, what it was, and the significance of the terms Humanism and Renaissance; (2) three influential65 literary works,--Erasmus's Praise of Folly, More's Utopia, and Tyndale's translation of the New Testament; (3) Wyatt and Surrey, and the so-called courtly makers or poets; (4) Malory's Morte d'Arthur, a collection of the Arthurian legends in English prose. The Miracle and Mystery Plays were the most popular form of entertainment in this age; but we have reserved them for special study in connection with the Rise of the Drama, in the following chapter.
Selections for Reading. Malory's Morte d'Arthur, selections, in Athenaeum Press Series, etc. (It is interesting to read Tennyson's Passing of Arthur in connection with Malory's account.) Utopia, in Arber's Reprints, Temple Classics, King's Classics, etc. Selections from Wyatt, Surrey, etc., in Manly's English Poetry or Ward's English Poets; Tottel's Miscellany, in Arber's Reprints. Morris and Skeat's Specimens66 of Early English, vol. 3, has good selections from this period.
Bibliography67.[113]
History. Text-book, Montgomery, pp. 150-208, or Cheyney, pp. 264-328. Greene, ch. 6; Traill; Gardiner; Froude; etc.
Special Works. Denton's England in the Fifteenth Century; Flower's The Century of Sir Thomas More; The Household of Sir Thomas More, in King's Classics; Green's Town Life in the Fifteenth Century; Field's Introduction to the Study of the Renaissance; Einstein's The Italian Renaissance in England; Seebohm's The Oxford68 Reformers (Erasmus, More, etc.).
Literature. General Works. Jusserand; Ten Brink69; Minto's Characteristics of English Poets.
Special Works. Saintsbury's Elizabethan Literature; Malory's Morte d'Arthur, edited by Sommer; the same by Gollancz (Temple Classics); Lanier's The Boy's King Arthur; More's Utopia, in Temple Classics, King's Classics, etc.; Roper's Life of Sir Thomas More, in King's Classics, Temple Classics, etc.; Ascham's Schoolmaster, in Arber's English Reprints; Poems of Wyatt and Surrey, in English Reprints and Bell's Aldine Poets; Simonds's Sir Thomas Wyatt and His Poems; Allen's Selections from Erasmus; Jusserand's Romance of a King's Life (James I of Scotland) contains extracts and an admirable criticism of the King's Quair.
Suggestive Questions. 1. The fifteenth century in English literature is sometimes called "the age of arrest." Can you explain why? What causes account for the lack of great literature in this period? Why should the ruin of noble families at this time seriously affect our literature? Can you recall anything from the Anglo-Saxon period to justify70 your opinion?
2. What is meant by Humanism? What was the first effect of the study of Greek and Latin classics upon our literature? What excellent literary purposes did the classics serve in later periods?
3. What are the chief benefits to literature of the discovery of printing? What effect on civilization has the multiplication71 of books?
4. Describe More's Utopia. Do you know any modern books like it? Why should any impractical72 scheme of progress be still called Utopian?
5. What work of this period had the greatest effect on the English language? Explain why.
6. What was the chief literary influence exerted by Wyatt and Surrey? Do you know any later poets who made use of the verse forms which they introduced?
7. Which of Malory's stories do you like best? Where did these stories originate? Have they any historical foundation? What two great elements did Malory combine in his work? What is the importance of his book to later English literature? Compare Tennyson's "Idylls of the King" and Malory's stories with regard to material, expression, and interest. Note the marked resemblances and differences between the Morte d'Arthur and the Nibelungen Lied.
CHRONOLOGY
HISTORY LITERATURE
1413. Henry V
1415. Battle of Agincourt
1422. Henry VI 1470. Malory's Morte d' Arthur
1428. Siege of Orleans. Joan of Arc 1474(c). Caxton, at Bruges,
1453. End of Hundred Year's War prints the first book in
1455-1485. War of Roses English, the Recuyell of the
1461. Edward IV Histories of Troye
1483. Richard III 1477. First book printed in
England
1485. Henry VII 1485. Morte d'Arthur printed
by Caxton
1492. Columbus discovers America 1499. Colet, Erasmus, and More
1509. Henry VIII bring the New Learning to
Oxford
1509. Erasmus's Praise of
Folly
1516. More's Utopia
1525. Tydale's New Testament
1534. Act of Supremacy. The 1530(c). Introduction of the
Reformation accomplished73 sonnet and blank verse by
Wyatt and Surrey
1539. The Great Bible
1547. Edward VI
1553. Mary 1557. Tottel's Miscellany
1558. Elizabeth
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revival
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| n.复兴，复苏，（精力、活力等的）重振 | |
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volcanic
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erratic
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| adj.古怪的，反复无常的，不稳定的 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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outrageous
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| adj.无理的，令人不能容忍的 | |
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commemorate
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| vt.纪念，庆祝 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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bloody
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frightful
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| adj.可怕的；讨厌的 | |
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redeeming
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| 补偿的，弥补的 | |
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feudal
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| adj.封建的，封地的，领地的 | |
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bondage
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supremacy
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reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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banished
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wholesale
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monasteries
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hypocrisy
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defender
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acquiesce
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recoils
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| n.（尤指枪炮的）反冲，后坐力( recoil的名词复数 )v.畏缩( recoil的第三人称单数 )；退缩；报应；返回 | |
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specimen
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strife
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renaissance
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turmoil
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meditation
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applied
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Mediterranean
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heroism
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locomotion
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mariners
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destitute
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scantily
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varied
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mythology
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worthy
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folly
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undoubtedly
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vice
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superstition
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foes
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clergy
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satirized
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labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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civilized
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testament
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fixed
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authorized
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| a.委任的，许可的 | |
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makers
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| n.制造者，制造商（maker的复数形式） | |
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amorous
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sonnet
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| n.十四行诗 | |
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sonnets
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noted
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originality
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| n.创造力，独创性；新颖 | |
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knight
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| n.骑士，武士；爵士 | |
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purely
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| adv.纯粹地，完全地 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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knights
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| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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gratitude
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| adj.感激，感谢 | |
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recurring
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| adj.往复的，再次发生的 | |
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motives
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| n.动机，目的( motive的名词复数 ) | |
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influential
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| adj.有影响的，有权势的 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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bibliography
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| n.参考书目；(有关某一专题的)书目 | |
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Oxford
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| n.牛津（英国城市） | |
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brink
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| n.(悬崖、河流等的)边缘，边沿 | |
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justify
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| vt.证明…正当(或有理)，为…辩护 | |
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multiplication
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| n.增加，增多，倍增；增殖，繁殖；乘法 | |
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impractical
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| adj.不现实的，不实用的，不切实际的 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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