From Chaucer to Tennyson
of conventional epithets; "the red, red gold," "the good green wood,"
"the gray goose wing." Such are certain recurring terms of phrase like,
But out and spak their stepmother.
Such is, finally, a kind of sing-song repetition, which doubtless helped
the ballad singer to memorize his stock, as, for example,
She had'na pu'd a double rose,
A rose but only twae.
Or again,
And mony ane sings o' grass, o' grass,
And mony ane sings o' corn;
An mony ane sings o' Robin Hood,
Kens little whare he was born.
It was na in the ha', the ha',
Nor in the painted bower;
But it was in the gude green wood,
Amang the lily flower.
Copies of some of these old ballads were hawked about in the 16th
century, printed in black letter, "broadsides," or single sheets. Wynkyn
de Worde printed in 1489 _A Lytell Geste of Robin Hood_, which is a sort
of digest of earlier ballads on the subject. In the 17th century a few
of the English popular ballads were collected in miscellanies called
_Garlands_. Early in the 18th century the Scotch poet, Allan Ramsay,
published a number of Scotch ballads in the _Evergreen_ and _Tea-Table
Miscellany_. But no large and important collection was put forth until
Percy's _Reliques_ (1765), a book which had a powerful influence upon
Wordsworth and Walter Scott. In Scotland some excellent ballads in the
ancient manner were written in the 18th century, such as Jane Elliott's
_Lament for Flodden_, and the fine ballad of _Sir Patrick Spence_.
Walter Scott's _Proud Maisie is in the Wood_, is a perfect reproduction
of the pregnant, indirect method of the old ballad makers.
In 1453 Constantinople was taken by the Turks, and many Greek scholars,
with their manuscripts, fled into Italy, where they began teaching their
language and literature, and especially the philosophy of Plato. There
had been little or no knowledge of Greek in western Europe during the
Middle Ages, and only a very imperfect knowledge of the Latin classics.
Ovid and Statius were widely read, and so was the late Latin poet,
Boethius, whose _De Consolatione Philosophiae_ had been translated into
English by King Alfred and by Chaucer. Little was known of Vergil at
first hand, and he was popularly supposed to have been a mighty wizard,
who made sundry works of enchantment at Rome, such as a magic mirror and
statue. Caxton's so-called translation of the _Aeneid_ was in reality
nothing but a version of a French romance based on Vergil's epic. Of the
Roman historians, orators, and moralists, such as Livy, Tacitus, Caesar,
Cicero, and Seneca, there was almost entire ignorance, as also of poets
like Horace, Lucretius, Juvenal, and Catullus. The gradual rediscovery
of the remains of ancient art and literature which took place in the
15th century, and largely in Italy, worked an immense revolution in the
mind of Europe. Manuscripts were brought out of their hiding places,
edited by scholars, and spread abroad by means of the printing-press.
Statues were dug up and placed in museums, and men became acquainted
with a civilization far more mature than that of the Middle Age, and
with models of perfect workmanship in letters and the fine arts.
In the latter years of the 15th century a number of Englishmen learned
Greek in Italy and brought it back with them to England. William Grocyn
and Thomas Linacre, who had studied at Florence under the refugee,
Demetrius Chalcondylas, began teaching Greek at Oxford, the former as
early as 1491. A little later John Colet, Dean of St. Paul's and the
founder of St. Paul's School, and his friend, William Lily, the
grammarian, and first master of St. Paul's (1500), also studied Greek
abroad; Colet in Italy, and Lily at Rhodes and in the city of Rome.
Thomas More, afterward the famous chancellor of Henry VIII., was among
the pupils of Grocyn and Linacre at Oxford. Thither also, in 1497, came,
in search of the new knowledge, the Dutchman, Erasmus, who became the
foremost scholar of his time. From Oxford the study spread to the sister
university, where the first English Grecian of his day, Sir John Cheke,
who "taught Cambridge and King Edward Greek," became the incumbent of
the new professorship founded about 1540. Among his pupils was Roger
Ascham, already mentioned, in whose time St. John's College, Cambridge,
was the chief seat of the new learning, of which Thomas Nashe testifies
that it "was an universitie within itself; having more candles light in
it, every winter morning before four of the clock, than the four of
clock bell gave strokes." Greek was not introduced at the universities
without violent opposition from the conservative element, who were
nicknamed Trojans. The opposition came in part from the priests, who
feared that that new study would sow seeds of heresy. Yet many of the
most devout churchmen were friends of a more liberal culture, among them
Thomas More, whose Catholicism was undoubted and who went to the block
for his religion. Cardinal Wolsey, whom More succeeded as chancellor,
was also a munificent patron of learning, and founded Christ Church
College at Oxford. Popular education at once felt the impulse of the new
studies, and over twenty endowed grammar schools were established in
England in the first twenty years of the 16th century. Greek became a
passion even with English ladies. Ascham in his _Schoolmaster_, a
treatise on education, published in 1570, says that Queen Elizabeth
"readeth here now at Windsor more Greek every day, than some prebendarie
of this Church doth read Latin in a whole week." And in the same book he
tells how, calling once on Lady Jane Grey, at Brodegate, in
Leicestershire, he "found her in her chamber reading _Phaedon Platonis_
in Greek, and that with as much delite as some gentlemen would read a
merry tale in _Bocase_," and when he asked her why she had not gone
hunting with the rest, she answered, "I wisse,[18] all their sport in
the park is but a shadow to that pleasure that I find in Plato."
Ascham's _Schoolmaster_, as well as his earlier book, _Toxophilus_, a
Platonic dialogue on archery, bristles with quotations from the Greek
and Latin classics, and with that perpetual reference to the authority
of antiquity on every topic that he touches, which remained the fashion
in all serious prose down to the time of Dryden.
One speedy result of the new learning was fresh translations of the
Scriptures into English out of the original tongues. In 1525 William
Tyndal printed at Cologne and Worms his version of the New Testament
from the Greek.
[Footnote 18: Surely; a corruption of the Anglo-Saxon _gewis_.]
Ten years later Miles Coverdale made, at Zurich, a translation of the
whole Bible from the German and Latin. These were the basis of numerous
later translations, and the strong beautiful English of Tyndal's
Testament is preserved for the most part in our Authorized Version
(1611). At first it was not safe to make or distribute these early
translations in England. Numbers of copies were brought into the
country, however, and did much to promote the cause of the Reformation.
After Henry VIII. had broken with the pope the new English Bible
circulated freely among the people. Tyndal and Sir Thomas More carried
on a vigorous controversy in English upon some of the questions at issue
between the Church and the Protestants. Other important contributions to
the literature of the Reformation were the homely sermons preached at
Westminster and at Paul's Cross by Bishop Hugh Latimer, who was burned
at Oxford in the reign of Bloody Mary. The English Book of Common Prayer
was compiled in 1549-1552. More was, perhaps, the best representative of
a group of scholars who wished to enlighten and reform the Church from
the inside, but who refused to follow Henry VIII. in his breach with
Rome. Dean Colet and John Fisher, Bishop of Rochester, belonged to the
same company, and Fisher was beheaded in the same year (1535) with More,
and for the same offense, namely, refusing to take the oath to maintain
the act confirming the king's divorce from Catharine of Arragon and his
marriage with Anne Boleyn. More's philosophy is best reflected in his
_Utopia_, the description of an ideal commonwealth, modeled on Plato's
_Republic_, and printed in 1516. The name signifies "no place" [Greek:
oy thopst], and has furnished an adjective to the language. The _Utopia_
was in Latin, but More's _History of Edward V. and Richard III._ written
1513, though not printed till 1557, was in English. It is the first
example in the tongue of a history as distinguished from a chronicle;
that is, it is a reasoned and artistic presentation of an historic
period, and not a mere chronological narrative of events.
The first three quarters of the 16th century produced no great original
work of literature in England. It was a season of preparation, of
education. The storms of the Reformation interrupted and delayed the
literary renascence through the reigns of Henry VIII., Edward VI., and
Queen Mary. When Elizabeth came to the throne, in 1558, a more settled
order of things began, and a period of great national prosperity and
glory. Meanwhile the English mind had been slowly assimilating the new
classical culture, which was extended to all classes of readers by the
numerous translations of Greek and Latin authors. A fresh poetic impulse
came from Italy. In 1557 appeared _Tottel's Miscellany_, containing
songs and sonnets by a "new company of courtly makers." Most of the
pieces in the volume had been written years before by gentlemen of Henry
VIII.'s court, and circulated in manuscript. The two chief contributors
were Sir Thomas Wiat, at one time English embassador to Spain, and that
brilliant noble, Henry Howard, the Earl of Surrey, who was beheaded in
1547 for quartering the king's arms with his own. Both of them were dead
long before their work was printed. The verses in _Tottel's Miscellany_
show very clearly the influence of Italian poetry. We have seen that
Chaucer took subjects and something more from Boccaccio and Petrarch.
But the sonnet, which Petrarch had brought to perfection, was first
introduced into England by Wiat. There was a great revival of
sonneteering in Italy in the 16th century, and a number of Wiat's poems
were adaptations of the sonnets and _canzoni_ of Petrarch and later
poets. Others were imitations of Horace's satires and epistles. Surrey
introduced the Italian blank verse into English in his translation of
two books of the _Aeneid_. The love poetry of _Tottel's Miscellany_ is
polished and artificial, like the models which it followed. Dante's
Beatrice was a child, and so was Petrarch's Laura. Following their
example, Surrey addressed his love complaints, by way of compliment, to
a little girl of the noble Irish family of Geraldine. The Amourists, or
love sonneteers, dwelt on the metaphysics of the passion with a tedious
minuteness, and the conventional nature of their sighs and complaints
may often be guessed by an experienced reader from the titles of their
poems: "Description of the restless state of a lover, with suit to his
lady to rue on his dying heart;" "Hell tormenteth not the damned ghosts
so sore as unkindness the lover;" "The lover prayeth not to be
disdained, refused, mistrusted nor forsaken," etc. The most genuine
utterance of Surrey was his poem written while imprisoned in Windsor--a
cage where so many a song-bird has grown vocal. And Wiat's little piece
of eight lines, "Of his Return from Spain," is worth reams of his
amatory affectations. Nevertheless the writers in _Tottel's Miscellany_
were real reformers of English poetry. They introduced new models of
style and new metrical forms, and they broke away from the mediaeval
traditions which had hitherto obtained. The language had undergone some