Signs of Change [25]
to the onlookers; a world that scarcely needed hope in its eager life of adventure and love, amidst the sunlit blossoming meadows, and green woods, and white begilded manor-houses. A kindly and human muse is Chaucer's, nevertheless, interested in and amused by all life, but of her very nature devoid of strong aspirations for the future; and that all the more, since, though the strong devotion and fierce piety of the ruder Middle Ages had by this time waned, and the Church was more often lightly mocked at than either feared or loved, still the HABIT of looking on this life as part of another yet remained: the world is fair and full of adventure; kind men and true and noble are in it to make one happy; fools also to laugh at, and rascals to be resisted, yet not wholly condemned; and when this world is over we shall still go on living in another which is a part of this. Look at all the picture, note all and live in all, and be as merry as you may, never forgetting that you are alive and that it is good to live.
That is the spirit of Chaucer's poetry; but alongside of it existed yet the ballad poetry of the people, wholly untouched by courtly elegance and classical pedantry; rude in art but never coarse, true to the backbone; instinct with indignation against wrong, and thereby expressing the hope that was in it; a protest of the poor against the rich, especially in those songs of the Foresters, which have been called the mediaeval epic of revolt; no more gloomy than the gentleman's poetry, yet cheerful from courage, and not content. Half a dozen stanzas of it are worth a cartload of the whining introspective lyrics of to-day; and he who, when he has mastered the slight differences of language from our own daily speech, is not moved by it, does not understand what true poetry means nor what its aim is.
There is a third element in the literature of this time which you may call Lollard poetry, the great example of which is William Langland's "Piers Plowman." It is no bad corrective to Chaucer, and in FORM at least belongs wholly to the popular side; but it seems to me to show symptoms of the spirit of the rising middle class, and casts before it the shadow of the new master that was coming forward for the workman's oppression. But I must leave what more I have to say on this subject of the art and literature of the fourteenth century for another occasion. In what I have just said, I only wanted to point out to you that the Middle Ages had by this time come to the fullest growth; and that they could express in a form which was all their own, the ideas and life of the time.
That time was in a sense brilliant and progressive, and the life of the worker in it was better than it ever had been, and might compare with advantage with what it became in after periods and with what it is now; and indeed, looking back upon it, there are some minds and some moods that cannot help regretting it, and are not particularly scared by the idea of its violence and its lack of accurate knowledge of scientific detail.
However, one thing is clear to us now, the kind of thing which never is clear to most people living in such periods--namely, that whatever it was, it could not last, but must change into something else.
The complete feudalism of the fourteenth century fell, as systems always fall, by its own corruption, and by development of the innate seeds of change, some of which indeed had lain asleep during centuries, to wake up into activity long after the events which had created them were forgotten.
The feudal system was naturally one of open war; and the alliances, marriages, and other dealings, family with family, made by the king and potentates, were always leading them into war by giving them legal claims, or at least claims that could be legally pleaded, to the domains of other lords, who took advantage of their being on the spot, of their strength in men or money, or their popularity with the Baronage, to give immediate effect to THEIR claims. Such a war was that by which Edward I. drew on England the enmity of
That is the spirit of Chaucer's poetry; but alongside of it existed yet the ballad poetry of the people, wholly untouched by courtly elegance and classical pedantry; rude in art but never coarse, true to the backbone; instinct with indignation against wrong, and thereby expressing the hope that was in it; a protest of the poor against the rich, especially in those songs of the Foresters, which have been called the mediaeval epic of revolt; no more gloomy than the gentleman's poetry, yet cheerful from courage, and not content. Half a dozen stanzas of it are worth a cartload of the whining introspective lyrics of to-day; and he who, when he has mastered the slight differences of language from our own daily speech, is not moved by it, does not understand what true poetry means nor what its aim is.
There is a third element in the literature of this time which you may call Lollard poetry, the great example of which is William Langland's "Piers Plowman." It is no bad corrective to Chaucer, and in FORM at least belongs wholly to the popular side; but it seems to me to show symptoms of the spirit of the rising middle class, and casts before it the shadow of the new master that was coming forward for the workman's oppression. But I must leave what more I have to say on this subject of the art and literature of the fourteenth century for another occasion. In what I have just said, I only wanted to point out to you that the Middle Ages had by this time come to the fullest growth; and that they could express in a form which was all their own, the ideas and life of the time.
That time was in a sense brilliant and progressive, and the life of the worker in it was better than it ever had been, and might compare with advantage with what it became in after periods and with what it is now; and indeed, looking back upon it, there are some minds and some moods that cannot help regretting it, and are not particularly scared by the idea of its violence and its lack of accurate knowledge of scientific detail.
However, one thing is clear to us now, the kind of thing which never is clear to most people living in such periods--namely, that whatever it was, it could not last, but must change into something else.
The complete feudalism of the fourteenth century fell, as systems always fall, by its own corruption, and by development of the innate seeds of change, some of which indeed had lain asleep during centuries, to wake up into activity long after the events which had created them were forgotten.
The feudal system was naturally one of open war; and the alliances, marriages, and other dealings, family with family, made by the king and potentates, were always leading them into war by giving them legal claims, or at least claims that could be legally pleaded, to the domains of other lords, who took advantage of their being on the spot, of their strength in men or money, or their popularity with the Baronage, to give immediate effect to THEIR claims. Such a war was that by which Edward I. drew on England the enmity of