Outlines of English and American Literature. William J. Long

      It is obvious that great literature, which appeals to all classes of men and to all times, cannot go far afield for rare subjects, or follow new inventions, or concern itself with fashions that are here to-day and gone to-morrow. Its only subjects are nature and human nature; it deals with common experiences of joy or sorrow, pain or pleasure, that all men understand; it cherishes the unchanging ideals of love, faith, duty, freedom, reverence, courtesy, which were old to the men who kept their flocks on the plains of Shinar, and which will be young as the morning to our children's children.

      Such ideals tend to ennoble a writer, and therefore are great books characterized by lofty thought, by fine feeling and, as a rule, by a beautiful simplicity of expression. They have another quality, hard to define but easy to understand, a quality which leaves upon us the impression of eternal youth, as if they had been dipped in the fountain which Ponce de Leon sought for in vain through the New World. If a great book could speak, it would use the words of the Cobzar (poet) in his "Last Song":

      The merry Spring, he is my brother,

       And when he comes this way

       Each year again, he always asks me:

       "Art thou not yet grown gray?"

       But I. I keep my youth forever,

       Even as the Spring his May.

      A DEFINITION. Literature, then, if one must formulate a definition, is the written record of man's best thought and feeling, and English literature is the part of that record which belongs to the English people. In its broadest sense literature includes all writing, but as we commonly define the term it excludes works which aim at instruction, and includes only the works which aim to give pleasure, and which are artistic in that they reflect nature or human life in a way to arouse our sense of beauty. In a still narrower sense, when we study the history of literature we deal chiefly with the great, the enduring books, which may have been written in an elder or a latter day, but which have in them the magic of all time.

      One may easily challenge such a definition, which, like most others, is far from faultless. It is difficult, for example, to draw the line sharply between instructive and pleasure-giving works; for many an instructive book of history gives us pleasure, and there may be more instruction on important matters in a pleasurable poem than in a treatise on ethics. Again, there are historians who allege that English literature must include not simply the works of Britain but everything written in the English language. There are other objections; but to straighten them all out is to be long in starting, and there is a pleasant journey ahead of us. Chaucer had literature in mind when he wrote:

      Through me men goon into that blisful place

       Of hertës hele and dedly woundës cure;

       Through me men goon unto the wells of grace,

       Ther grene and lusty May shal ever endure:

       This is the wey to al good aventure.

CHAPTER II

       Table of Contents

      BEGINNINGS OF ENGLISH LITERATURE

      Then the warrior, battle-tried, touched the sounding glee-wood:

       Straight awoke the harp's sweet note; straight a song uprose,

       Sooth and sad its music. Then from hero's lips there fell

       A wonder-tale, well told.

      Beowulf, line 2017 (a free rendering)

      In its beginnings English literature is like a river, which proceeds not from a single wellhead but from many springs, each sending forth its rivulet of sweet or bitter water. As there is a place where the river assumes a character of its own, distinct from all its tributaries, so in English literature there is a time when it becomes national rather than tribal, and English rather than Saxon or Celtic or Norman. That time was in the fifteenth century, when the poems of Chaucer and the printing press of Caxton exalted the Midland above all other dialects and established it as the literary language of England.

      [Sidenote: TRIBUTARIES OF LITERATURE]

      Before that time, if you study the records of Britain, you meet several different tribes and races of men: the native Celt, the law-giving Roman, the colonizing Saxon, the sea-roving Dane, the feudal baron of Normandy, each with his own language and literature reflecting the traditions of his own people. Here in these old records is a strange medley of folk heroes, Arthur and Beowulf, Cnut and Brutus, Finn and Cuchulain, Roland and Robin Hood. Older than the tales of such folk-heroes are ancient riddles, charms, invocations to earth and sky:

      Hal wes thu, Folde, fira moder!

       Hail to thee, Earth, thou mother of men!

      With these pagan spells are found the historical writings of the Venerable Bede, the devout hymns of Cædmon, Welsh legends, Irish and Scottish fairy stories, Scandinavian myths, Hebrew and Christian traditions, romances from distant Italy which had traveled far before the Italians welcomed them. All these and more, whether originating on British soil or brought in by missionaries or invaders, held each to its own course for a time, then met and mingled in the swelling stream which became English literature.

      [Illustration: STONEHENGE, ON SALISBURY PLAIN

       Probably the ruins of a temple of the native Britons]

      To trace all these tributaries to their obscure and lonely sources would require the labor of a lifetime. We shall here examine only the two main branches of our early literature, to the end that we may better appreciate the vigor and variety of modern English. The first is the Anglo-Saxon, which came into England in the middle of the fifth century with the colonizing Angles, Jutes and Saxons from the shores of the North Sea and the Baltic; the second is the Norman-French, which arrived six centuries later at the time of the Norman invasion. Except in their emphasis on personal courage, there is a marked contrast between these two branches, the former being stern and somber, the latter gay and fanciful. In Anglo-Saxon poetry we meet a strong man who cherishes his own ideals of honor, in Norman-French poetry a youth eagerly interested in romantic tales gathered from all the world. One represents life as a profound mystery, the other as a happy adventure.

      * * * * *

      ANGLO-SAXON OR OLD-ENGLISH PERIOD (450–1050)

      SPECIMENS OF THE LANGUAGE. Our English speech has changed so much in the course of centuries that it is now impossible to read our earliest records without special study; but that Anglo-Saxon is our own and not a foreign tongue may appear from the following examples. The first is a stanza from "Widsith," the chant of a wandering gleeman or minstrel; and for comparison we place beside it Andrew Lang's modern version. Nobody knows how old "Widsith" is; it may have been sung to the accompaniment of a harp that was broken fourteen hundred years ago. The second, much easier to read, is from the Anglo-Saxon Chronicle, which was prepared by King Alfred from an older record in the ninth century:

      Swa scrithende

       gesceapum hweorfath,

       Gleomen gumena

       geond grunda fela;

       Thearfe secgath,

       thonc-word sprecath,

       Simle, suth oththe north

       sumne gemetath,

       Gydda gleawne

       geofam unhneawne.

      So wandering on

       the world about,

       Gleemen do roam

       through many lands;

       They say their needs,

       they speak their thanks,

       Sure, south or north

       someone to meet,

       Of songs to judge

       and gifts not grudge.