Love's Meinie: Three Lectures on Greek and English Birds. Ruskin John

et de papegaux

      De calendre, et de mesangel.

      Il semblait que ce fut une angle

      Qui fuz tout droit venuz du ciel.

      36. There are several points of philology in this transitional French, and in Chaucer's translation, which it is well worth your patience to observe. The monkish Latin "angelus," you see, is passing through the very unpoetical form "angle," into "ange;" but, in order to get a rhyme with it in that angular form, the French troubadour expands the bird's name, "mesange," quite arbitrarily, into "mesangel." Then Chaucer, not liking the "mes" at the beginning of the word, changes that unscrupulously into "arch;" and gathers in, though too shortly, a lovely bit from another place about the nightingales flying so close round Love's head that they strike some of the leaves off his crown of roses; so that the English runs thus:

      But nightingales, a full great rout

      That flien over his head about,

      The leaves felden as they flien

      And he was all with birds wrien,

      With popinjay, with nightingale,

      With chelaundre, and with wodewale,

      With finch, with lark, and with archangel.

      He seemed as he were an angell,

      That down were comen from Heaven clear.

      Now, when I first read this bit of Chaucer, without referring to the original, I was greatly delighted to find that there was a bird in his time called an archangel, and set to work, with brightly hopeful industry, to find out what it was. I was a little discomfited by finding that in old botany the word only meant "dead-nettle," but was still sanguine about my bird, till I found the French form descend, as you have seen, into a mesangel, and finally into mesange, which is a provincialism from μειον [Greek: meion], and means, the smallest of birds—or, specially here,—a titmouse. I have seldom had a less expected or more ignominious fall from the clouds.

      37. The other birds, named here and in the previous description of the garden, are introduced, as far as I can judge, nearly at random, and with no precision of imagination like that of Aristophanes; but with a sweet childish delight in crowding as many birds as possible into the smallest space. The popinjay is always prominent; and I want some of you to help me (for I have not time at present for the chase) in hunting the parrot down on his first appearance in Europe. Just at this particular time he contested favor even with the falcon; and I think it a piece of good fortune that I chanced to draw for you, thinking only of its brilliant color, the popinjay, which Carpaccio allows to be present on the grave occasion of St. George's baptizing the princess and her father.

      38. And, indeed, as soon as the Christian poets begin to speak of the singing of the birds, they show themselves in quite a different mood from any that ever occurs to a Greek. Aristophanes, with infinitely more skill, describes, and partly imitates, the singing of the nightingale; but simply as beautiful sound. It "fills the thickets with honey;" and if in the often-quoted—just because it is not characteristic of Greek literature—passage of the Coloneus, a deeper sentiment is shown, that feeling is dependent on association of the bird-voices with deeply pathetic circumstances. But this troubadour finds his heart in heaven by the power of the singing only:—

      Trop parfoisaient beau servise

      Ciz oiselles que je vous devise.

      Il chantaient un chant ytel

      Com fussent angle esperitel.

      We want a moment more of word-chasing to enjoy this. "Oiseau," as you know, comes from "avis;" but it had at this time got "oisel" for its singular number, of which the terminating "sel" confused itself with the "selle," from "ancilla" in domisella and demoiselle; and the feminine form "oiselle" thus snatched for itself some of the delightfulness belonging to the title of a young lady. Then note that "esperitel" does not here mean merely spiritual, (because all angels are spiritual) but an "angle esperitel" is an angel of the air. So that, in English, we could only express the meaning in some such fashion as this:—

      They perfected all their service of love,

      These maiden birds that I tell you of.

      They sang such a song, so finished-fair,

      As if they were angels, born of the air.

      39. Such were the fancies, then, and the scenes, in which Englishmen took delight in Chaucer's time. England was then a simple country; we boasted, for the best kind of riches, our birds and trees, and our wives and children. We had now grown to be a rich one; and our first pleasure is in shooting our birds; but it has become too expensive for us to keep our trees. Lord Derby, whose crest is the eagle and child—you will find the northern name for it, the bird and bantling, made classical by Scott—is the first to propose that wood-birds should have no more nests. We must cut down all our trees, he says, that we may effectively use the steam-plow; and the effect of the steam-plow, I find by a recent article in the Cornhill Magazine, is that an English laborer must not any more have a nest, nor bantlings, neither; but may only expect to get on prosperously in life, if he be perfectly skillful, sober, and honest, and dispenses, at least until he is forty-five, with the "luxury of marriage."

      40. Gentlemen, you may perhaps have heard me blamed for making no effort here to teach in the artisans' schools. But I can only say that, since the future life of the English laborer or artisan (summing the benefits to him of recent philosophy and economy) is to be passed in a country without angels and without birds, without prayers and without songs, without trees and without flowers, in a state of exemplary sobriety, and (extending the Catholic celibacy of the clergy into celibacy of the laity) in a state of dispensation with the luxury of marriage, I do not believe he will derive either profit or entertainment from lectures on the Fine Arts.

      LECTURE II.8

      THE SWALLOW

      41. We are to-day to take note of the form of a creature which gives us a singular example of the unity of what artists call beauty, with the fineness of mechanical structure, often mistaken for it. You cannot but have noticed how little, during the years of my past professorship, I have introduced any questions as to the nature of beauty. I avoided them, partly because they are treated of at length in my books; and partly because they are, in the last degree, unpractical. We are born to like or dislike certain aspects of things; nor could I, by any arguments, alter the defined tastes which you received at your birth, and which the surrounding circumstances of life have enforced, without any possibility of your voluntary resistance to them. And the result of those surrounding circumstances, to-day, is that most English youths would have more pleasure in looking at a locomotive than at a swallow; and that many English philosophers would suppose the pleasure so received to be through a new sense of beauty. But the meaning of the word "beauty" in the fine arts, and in classical literature, is properly restricted to those very qualities in which the locomotion of a swallow differs from that of an engine.

      42. Not only from that of an engine; but also from that of animals in whose members the mechanism is so complex as to give them a resemblance to engines. The dart of the common house-fly, for instance, in full strength, is a more wonderful movement than that of a swallow. The mechanism of it is not only more minute, but the swiftness of the action so much greater, that the vibration of the wing is invisible. But though a school-boy might prefer the locomotive to the swallow, he would not carry his admiration of finely mechanical velocity into unqualified sympathy with the workmanship of the God of Ekron; and would generally suppose that flies were made only to be food for the more graceful fly-catcher,—whose finer grace you will discover, upon reflection, to be owing to the very moderation and simplicity of its structure, and to the subduing of that infinitude of joints, claws, tissues, veins, and fibers which inconceivably vibrate in the microscopic9 creature's motion, to a quite intelligible and simple balance of rounded body upon edged plume, maintained not without visible, and sometimes fatigued, exertion, and raising the lower creature into fellowship with the volition and the virtue of humanity.

      43.

8

Delivered at Oxford, May 2d, 1873.

9

I call it so because the members and action of it cannot be seen with the unaided eye.