The Renaissance: Studies in Art and Poetry. Walter Pater

Latin of the middle age. At the foot of that early Gothic tower, which the next generation raised to grace the precincts of Abelard's school, on the "Mountain of Saint Genevieve," the historian Michelet sees in thought "a terrible assembly; not the hearers of Abelard alone, fifty bishops, twenty cardinals, two popes, the whole body of scholastic philosophy; not only the learned Heloise, the teaching of languages, and the Renaissance; but Arnold of Brescia—that is to say, the revolution." And so from the rooms of this shadowy house by the Seine side we see that spirit going abroad, with its qualities already well defined, its intimacy, its languid sweetness, its rebellion, its subtle skill in dividing the elements of human passion, its care for physical beauty, its worship of the body, which penetrated the early literature of Italy, and finds an echo in Dante.

      That Abelard is not mentioned in the Divine Comedy may appear a singular omission to the reader of Dante, who seems to have inwoven into the texture of his work whatever had impressed him as either effective in colour or spiritually significant among the recorded incidents of actual life. Nowhere in his great poem do we find the name, nor so much as an allusion to the story of one who had left so deep a mark on the philosophy of which Dante was an eager student, of whom in the Latin Quarter, and from the lips of scholar or teacher in the University of Paris, during his sojourn among them, he can hardly have failed to hear. We can only suppose that he had indeed considered the story and the man, and had abstained from passing judgment as to his place in the scheme of "eternal justice." In the famous legend of Tannhaeuser, the erring knight makes his way to Rome, to seek absolution at what was then the centre of Christian religion. "So soon," thought and said the Pope, "as the staff in his hand should bud and blossom, so soon might the soul of Tannhaeuser be saved, and no sooner; and it came to pass not long after that the dry wood of a staff which the Pope had carried in his hand was covered with leaves and flowers." So, in the cloister of Godstow a petrified tree was shown, of which the nuns told that the fair Rosamond, who had died among them, had declared that, the tree being then alive and green, it would be changed into stone at the hour of her salvation. When Abelard died, like Tannhaeuser, he was on his way to Rome: what might have happened had he reached his journey's end is uncertain; and it is in this uncertain twilight that his relation to the general beliefs of his age has always remained. In this, as in other things, he prefigures the character of the Renaissance, that movement in which, in various ways, the human mind wins for itself a new kingdom of feeling and sensation and thought, not opposed to, but only beyond and independent of the spiritual system then actually realised. The opposition into which Abelard is thrown, which gives its colour to his career, which breaks his soul to pieces, is a no less subtle opposition than that between the merely professional, official, hireling ministers of that system, with their ignorant worship of system for its own sake, and the true child of light, the humanist, with reason and heart and senses quick, while theirs were almost dead. He reaches out towards, he attains, modes of ideal living, beyond the prescribed limits of that system, though possibly contained in essential germ within it. As always happens, the adherents of the poorer and narrower culture had no sympathy with, because no understanding of, a culture richer and more ample than their own: after the discovery of wheat they would still live upon acorns—apres l'invention du ble ils voulaient encore vivre du gland; and would hear of no service to the higher needs of humanity with instruments not of their forging.

      But the human spirit, bold through those needs, was too strong for them. Abelard and Heloise write their letters—letters with a wonderful outpouring of soul—in medieval Latin; and Abelard, though he composes songs in the vulgar tongue, writes also in Latin those treatises in which he tries to find a ground of reality below the abstractions of philosophy, as one bent on trying all things by their congruity with human experience, who had felt the hand of Heloise, and looked into her eyes, and tested the resources of humanity in her great and energetic nature. Yet it is only a little later, early in the thirteenth century, that French prose romance begins; and in one of the pretty volumes of the Bibliotheque Elzevirienne some of the most striking fragments of it may be found, edited with much intelligence. In one of these thirteenth-century stories, Li Amitiez de Ami et Amile, that free play of human affection, of the claims of which Abelard's story is an assertion, makes itself felt in the incidents of a great friendship, a friendship pure and generous, pushed to a sort of passionate exaltation, and more than faithful unto death. Such comradeship, though instances of it are to be found everywhere, is still especially a classical motive; Chaucer expressing the sentiment of it so strongly in an antique tale, that one knows not whether the love of both Palamon and Arcite for Emelya, or of those two for each other, is the chiefer subject of the Knight's Tale—

      He cast his eyen upon Emelya,

       And therewithal he bleynte and cried, ah!

       As that he stongen were unto the herte.

      What reader does not refer part of the bitterness of that cry to the spoiling, already foreseen, of that fair friendship, which had hitherto made the prison of the two lads sweet with its daily offices—though the friendship is saved at last?

      The friendship of Amis and Amile is deepened by the romantic circumstance of an entire personal resemblance between the two heroes, so that they pass for each other again and again, and thereby into many strange adventures; that curious interest of the Doppelgaenger, which begins among the stars with the Dioscuri, being entwined in and out through all the incidents of the story, like an outward token of the inward similitude of their souls. With this, again, like a second reflexion of that inward similitude, is connected the conceit of two marvellously beautiful cups, also exactly like each other—children's cups, of wood, but adorned with gold and precious stones. These two cups, which by their resemblance help to bring the friends together at critical moments, were given to them by the Pope, when he baptized them at Rome, whither the parents had taken them for that purpose, in thankfulness for their birth, and cross and recross in the narrative, serving the two heroes almost like living things, and with that well-known effect of a beautiful object kept constantly before the eye in a story or poem, of keeping sensation well awake, and giving a certain air of refinement to all the scenes into which it enters; with a heightening also of that sense of fate, which hangs so much of the shaping of human life on trivial objects, like Othello's strawberry handkerchief; and witnessing to the enjoyment of beautiful handiwork by primitive people, almost dazzled by it, so that they give it an oddly significant place among the factors of a human history.

      Amis and Amile, then, are true to their comradeship through all trials; and in the end it comes to pass that at a moment of great need Amis takes the place of Amile in a tournament for life or death. "After this it happened that a leprosy fell upon Amis, so that his wife would not approach him, and wrought to strangle him; and he departed from his home, and at last prayed his servants to carry him to the house of Amile"; and it is in what follows that the curious strength of the piece shows itself:—

      "His servants, willing to do as he commanded, carried him to the place where Amile was: and they began to sound their rattles before the court of Amile's house, as lepers are accustomed to do. And when Amile heard the noise he commanded one of his servants to carry meat and bread to the sick man, and the cup which was given to him at Rome filled with good wine. And when the servant had done as he was commanded, he returned and said, Sir, if I had not thy cup in my hand, I should believe that the cup which the sick man has was thine, for they are alike, the one to the other, in height and fashion. And Amile said, Go quickly and bring him to me. And when Amis stood before his comrade Amile demanded of him who he was, and how he had gotten that cup. I am of Briquam le Chastel, answered Amis, and the cup was given to me by the Bishop of Rome, who baptized me. And when Amile heard that, he knew that it was his comrade Amis, who had delivered him from death, and won for him the daughter of the King of France to be his wife. And straightway he fell upon him, and began to weep greatly, and kissed him. And when his wife heard that, she ran out with her hair in disarray, weeping and distressed exceedingly, for she remembered that it was he who had slain the false Ardres. And thereupon they placed him in a fair bed, and said to him, Abide with us until God's will be accomplished in thee, for all that we have is at thy service. So he and the two servants abode with them.

      "And it came to pass one night, when Amis and Amile lay in one chamber without other companions, that God sent His angel Raphael to Amis, who said to him, Amis, art thou asleep? And he, supposing that Amile had called him, answered and said, I am