II.

We are apt to think of the Middle Ages as if they were the companion-piece to Antiquity; but no such ideal correspondence exists between the two periods. Antiquity is all of a piece, and the Middle Ages, on the contrary, are heterogeneous and chaotic. For Antiquity is the steady and uniform development of civilization in one direction and with one meaning; there are great differences between its various epochs, but they are as the differences between the budding, the blossoming, and the fading stages of one plant: life varies, but is one. The Middle Ages, on the other hand, are a series of false starts, of interruptions and of new departures; a perpetual confusion. For, if we think over them, we shall see that these centuries called mediaeval are occupied by the effort of one people, or one generation, to put to rights and settle down among as much as it can save of the civilization of Antiquity. And the sudden overwhelming of this people or this generation by another, which puts all the elaborate arrangements into disarray, adds to the ruins of Antiquity the ruins of more recent times; and then this destroying generation tries to put things straight, to settle down, and is in its turn interrupted by the advent of some new comer who begins the game afresh.

As it is with peoples, so also is it with ideas; scarcely has a scheme of life or of philosophy or of art taken shape and consistence before, from out of the inexhaustible chaos of mediaeval thought and feeling, there issue new necessities, new aspirations, which put into confusion all previous ones. The Middle Ages were like some financial crisis: a little time, a little credit, money will fructify, wealth will reappear, the difficult moment will be tided over; and so with civilization. But unfortunately the wealth of ideas began to accumulate in the storehouse only just long enough to bring down a rout of creditors, people who rifled the bank, and went home to consume or invest their money in order to be succeeded by others. Hence, in the matter of civilization, the Middle Ages ended in an extraordinary slow ruin, a bankruptcy like that which overtook France before '89, and from which, as France was restored by the bold seizure and breaking up of property of the revolution, the world was restored by the bold breaking of feudal and spiritual mortmain, the restoring of wasted energies to utility, of that great double revolution, the Renaissance and the Reformation. Be this as it may, mankind throughout the Middle Ages appears to have been in a chronic condition of packing up and unpacking, and packing up again; one after another a nation, a race, a philosophy, a political system came to the front and was pushed back again into limbo: Germans and Kelts and Latins, French civilization of the day of Abélard, Provençal civilization of the days of the Raymonds, brilliant and evanescent Hohenstauffen supremacy, papacy at Canossa and at Avignon, Templars triumphant and Templars persecuted; scholasticism, mysticism, feudalism, democracy, communism: influences all these perpetually rising up and being trodden down, till they all rotted away in the great stagnation of the fifteenth century; and only in one part of the world, where the conflict was more speedily ended, where one set of tendencies early triumphed, where stability was temporarily obtained, in Italy alone did civilization continue to be nurtured and developed for the benefit of all mankind. In such a state of affairs only such things could flourish and mature as were safe from what I have called, for want of a better expression, the perpetual unpacking and repacking, the perpetual being on the move, of the Middle Ages; and among such things foremost was art, the essential art of the times, architecture, which, belonging to the small towns, to the infinite minority of the democracy, who worked and made money and let the great changes pass over their heads, thrived almost as something too insignificant for notice. But it was different with literature. Cathedrals once built cannot so easily be changed; new peoples, new ideas, must accept them. But poetry—the thing which every nation insists upon having to suit its own taste, the thing which every nation and every generation carries about with it hither and thither, the thing which can be altered to suit every passing whim—poetry was, of all the fluctuating things of the MiddleAges, perhaps the most fluctuating. And fluctuating also because, as none of these various nations, tendencies, aspirations, dominated sufficiently long to produce any highly organized art, there remained no standard works, nothing recognizedly perfect, which would be kept for its perfection and gather round it imitations, so as to form the nucleus of any homogeneous tradition. The Middle Ages, so full of fashions in literary matters, possessed no classics; the minnesingers knew nothing of the stern old Teutonic war songs; the meistersängers had forgotten the minnesingers; the trouvères and troubadours knew nothing of "The Chanson de Roland," and Villon knew nothing of them; only in Italy, where the Middle Ages came to an end and the Renaissance began with the Lombard league, was there established a tradition of excellence, with men like Dante, Petrarch, and Boccaccio, handed down from generation to generation; even as, while in the north there came about the strange modification which substituted the French of Rabelais for the French of Chrestien de Troyes, the German of Luther for the German of Wolfram von Eschenbach, the Italian language, from Ciullo d'Alcamo almost to Boiardo and Lorenzo dei Medici, remained virtually identical. The result of this, which I may call the heterogeneousness and instability of the Middle Ages was that not merely literary forms were for ever arising and being superseded, but literary subject matter was continually undergoing a process of transformation. While in Antiquity the great epic and tragic stuffs remained well-nigh unaltered, and the stories of Valerius Flaccus and Apollonius Rhodius were merely the stories which had been current since the days of Homer, during the course of the Middle Ages every epic cycle, and every tale belonging thereunto, was gradually adulterated, mingled with, swamped by, some other cycle or tale; nay, rather, every other, cycle and every other tale, the older ones trying to save their popularity by admixture with the more recent, till at last all mythical significance, all historical meaning, all national character, all psychological reality, were lost in the chaotic result. And meanwhile, in the absence of any stable language, of any durable literary fashion, the Middle Ages were unable to give to these epic stuffs, at any one period of their life of metamorphose, a form sufficiently artistically valuable to secure anything beyond momentary vogue, to secure for them the immortality of the great Greek tales of adventure and warfare and love. Thus it came about that the epic cycle of Charlemagne, after supplanting in men's minds the grand sagas of the pagan North, was itself supplanted by the Arthurian cycle; that the Frankish stories absorbed the wholly discrepant elements of their more fortunate Keltic rivals; that both cycles, having lost all character through fusion and through obliteration by time, became more meaningless generation by generation and year by year, until when the Middle Ages had come to an end, and the great poets of the Renaissance were ready to give this old mediaeval epic stuff a definitive and durable artistic shape, there came to the hands of Boiardo and Ariosto, of Tasso and Spenser, only a strange, trumpery material, muddled by jongleurs and romance writers, and reduced to mere fairy stuff, taken seriously only by Don Quixote, and by the authors of the volumes of insane twaddle called after Amadis of Gaul and all his kinsmen.

Such a condition of perpetual change as explains, in my belief, why the mediaeval epic subjects were wanted, can be made clear only by examples. I shall therefore try to show the transformations which were undergone by one or two principal mediaeval epic subjects as a result of a mixture with other epic cycles; of a gradual adaptation to a new state of civilization; and finally of their gradual separation from all kind of reality and real interests.

First of all, let us look at the epic cycle, which, although known to us only in poems no older than those of the trouvères and minnesingers who sang of Charlemagne and Arthur, is in reality far more ancient, and on account of its antiquity and its consequent disconnection with mediaeval religious and political interests, was thrown aside even by the nations to which it belonged, by the Scandinavians who took to writing sagas about the wars of Charlemagne against Saracens, and by the Germans who preferred to hear the adventures of Welsh and Briton, Launcelots and Tristrams. I am alluding to the stories connected with the family and life of the hero called Sigurd by the Scandinavians, and Siegfried by the Germans. Of these we possess a Norse version called the Volsunga Saga, magnificently done into English by Mr. William Morris; which, although written down at the end of the twelfth century, in the very time therefore of Chrestien de Troyes, Wolfram von Eschenbach, and Gottfried von Strassburg, and subsequently to the presumed writing of "The Chanson de Roland" and the Nibelungenlied, shows us in reality the product of a people, the distant Scandinavians of Iceland, who were five or six hundred years behind the French, Germans, and English of the twelfth century. In the Volsunga Saga, neither Christianity nor feudalism is yet dreamed of; and it is for this reason that I wish to compare it with the Nibelungenlied, in order to show how enormously the old epic stuff was altered by the new civilization. The whole social and moral condition of the two versions is different. In the old Scandinavian civilization, where the Viking is surrounded and served by clansmen, the feeling of blood relationship is the strongest in people's hearts; strangely and fearfully shown in the introductory tale of Signy, who, in order to avenge her father Volsung, killed by her husband, murders her children by the latter, and then, altered in face by magic arts, goes forth to the woods to her brother Sigmund, that, un-wittingly, he may beget with her the only man fit to avenge the Volsungs. And then she sends the boy Sinfjotli to the man he has hitherto considered merely as his uncle, bidding the latter kill him if he prove unworthy of his incestuous birth, or train him to vengeance. The three together murder the husband and legitimate children of Signy, and set the palace on fire; which, being done, the queen, having accomplished her duty to her kin, accomplishes that towards her husband, and calmly returns to die in the burning hall. Here (and apparently again in the case of the children of Sigurd and Brynhilt) incest becomes a family virtue. This being the frightful preponderance of the feeling of blood relationship, it is quite natural that the Scandinavian Chriemhilt (called in the Volsunga Saga, Gudrun) should not resent the murder of her husband Siegfried or Sigurd by her brothers at the instigation of the jealous Brynhilt (who has in a manner been Sigurd's wife before he made her over to Chriemhilt's eldest brother); and that, so far from seeking any revenge against them,she should, when her second husband Atli sends for her brothers in order to rob and murder them, first vainly warn them of the plot, and then, when they have been massacred, kill Atli and her children by him in order to avenge her brothers. The slackening of the tribal feeling, the idea of fidelity in love and sanctity of marriage belonging to Christianity and feudalism, rendered such a story unintelligible to the Germans of the Othos and Henrys. In the Nibelungenlied, the whole story of the massacre of the brothers is changed. Chriemhilt never forgives the murder of Siegfried, and it is not Etzel—Atli for the sake of plunder, but she herself for the sake of revenge, who decoys her brothers and murders them; it is she who with her own hand cuts off the head of Gunther to expiate his murder of Siegfried. To our feelings, more akin to those of the feudal Christians of Franconia than to those of the tribal Scandinavians of the Edda, the second version is far more intelligible and interesting—the story of this once gentle and loving Chriemhilt, turned by the murder of her beloved into a fury, and plotting to avenge his death by the death of all his kinsfolk, must be much grander and more pathetic than the story of this strange Gudrun, who sits down patiently beneath the injury done to her by her brothers, but savagely avenges them on her new husband, and her own and his innocent children; to us this persistence of tribal feeling, destroying all indignation and love, is merely unnatural, confusing, and repulsive. But this alteration for the better in one of the incidents of the tale is a mere fluke; and the whole main plot of the originally central figures are completely obliterated by the new state of civilization, and rendered merely trivial and grotesque. In the Volsunga Saga Sigurd, overcome by enchantments, has forgotten his wife (or mistress, a vague mythical relationship); and, with all sense of the past obliterated, has made her over to the brother of his new wife Gudrun; and Brynhilt kills her faithless love to dissolve the second marriage and be reunited with him in death. In the Nibelungenlied Siegfried, although the flower of knighthood, conquers by foul play the Amazon Brunhilt to reward Gunther for the hand of his sister; nay, in a comic and loathsome scene he forces her into the embraces of the craven Gunther; and then he gets killed by Brunhilt's machinations; when, after most unqueenly bickerings, the proud Amazon is brutally told by Siegfried's wife of the dirty trick which has given her to Gunther. After this, it is impossible to realize, when Siegfried is murdered and all our sympathies called on to his side, the utterly out-of-character, blackguardly behaviour which has brought the hero to his death. Similarly the conception of the character and position of Brynhilt is entirely disfigured and rendered inane in the Nibelungenlied: of that superb demi-goddess of the Scandinavians, burnt on the pyre with her falcons and dogs and horses and slaves, by the side of the demi-god Sigurd, whom she has loved and killed, lest the door of Valhalla, swinging after him, should shut her out from his presence; of her there remains in the German mediaeval poem only a virago (more like the giantesses of the Amadis romances) enraged at having been defeated and grotesquely and grossly pummelled into wedlock by a man not her husband, and then slanged like a fishwife by her envious sister-in-law.

The old, consistent, grandly tragic tale of the mysterious incests and revenges of a race of demi-gods has lost its sense, its point in the attempt to arrange it to suit Christian and feudal ideas. The really fine portions of the Nibelungenlied are exactly those which have no real connection with the original story, gratuitous additions by mediaeval poets. The delicately indicated falling in love of Siegfried and Chriemhilt, the struggles of Markgraf Rüdger between obedience to his feudal superior and fidelity towards his friends and guests; and, above all, the canto of the death of Siegfried. This last is different, intensely different, from the rugged and dreary monotony of the rest; this most poetical, almost Spenserian or Ariostesque realization of the scene; this beautiful picture (though worked with the needle of the arras-worker rather than with pencil or brush) of the wood, the hunt", the solitary fountain in the Odenwald, where, with his spear leaned against the lime-tree, Siegfried was struck down into the clover and flowers, and writhed with Hagen's steel through his back. This canto is certainly interpolated by some first-rate poet, at least a Gottfried or a Walther, to whom that passage of the savage old droning song of death had suggested a piece of new art; it is like the fragments of exquisitely chiselled leafage and figures which you sometimes find encrusted—by whom? wherefore?—quite isolated in the midst of the rough and lichen-stained stones of some rude Lombard church. All the rest of the Nibelungenlied gives an impression of effeteness; there is no definiteness of idea such as that of the Volsunga Saga; the battles are mere vague slaughter, no action, no realized movement, or (excepting Rudger) no realized motive of conduct. Shape and colour would seem to have been obliterated by repetition and alteration. Yet even these alterations could not make the tale of Siegfried survive among the Germans of the Middle Ages; nay, the more the alterations the less the interest; the want of consistency and colour due to rearrangement merely accelerated the throwing aside of a subject which, dating from pagan and tribal times, had become repugnant to the new generations. All the mutilations in the world could not make the old Scandinavian tales of betrayed trust, of revenge and triumphant bloodshed, at all sympathetic to men whose religious and social ideals were those of forgiveness and fidelity; even stripped of its incestuous mysteries and of its fearful tribal love, the tale of Sigurd and Brynhilt, reduced to the tale of Chriemhilt's revenge, was unpalatable: no more attempts were made at re-writing it, and the poems of Walther, of Gottfried, of Wolfram, of Ulrich, and of Tannhäuser, full as they are of references to stories of the Carolingian and Arthurian cycles, nay, to Antique and Oriental tales, contain no allusion to the personages of the Nibelungenlied. The old epic of the Gothic races had been pushed aside by the triumphant epic of the obscure and conquered Kelts.

There are few phenomena in the history of ideas and forms more singular than that of the sudden conquest of the poetry of dominant or distant nations by the poetic subjects of a comparatively small race, sheared of all political importance, restricted to a trifling territory, and well-nigh deprived of their language; and of this there can be found no more striking example than the sudden ousting of the Carolingian epic by the cycle of Arthur.

The Kelts of Britain and Ireland possessed an epic cycle of their own, which came to notice only when they were dispossessed of their last strongholds by Saxons and Normans, and which immediately spread with astounding rapidity all over Europe. The vanquished race became fashionable; themselves, their art and their poetry, began to be sought for as a precious and war-enhanced loot. The heroic tales of the Kelts were transcribed in Welsh, and translated into Latin, by order of the Norman and Angevine kings, glad, it would seem, to oppose the Old Briton to the Saxon element. The Keltic songs were carried all over France by Breton bards, to whose music and rhymes, with only a general idea of the subjects, the neo-Latin-speaking Franks listened with the sort of stolid satisfaction with which English or Germans of a hundred years ago listened to Italians singing Metastasio's verses. But soon the songs and tales were translated; and French poets imitated in their language, northern and southern, the graceful metres of the Keltic lays, and altered and arranged their subjects. So that, in a very short time, France, and through it Germany, was inundated with Keltic stories. This triumph of the vanquished race was not without reason. The Kelts, early civilized by Rome and Christianity, had a set of stories and a set of heroes extremely in accordance with mediaeval ideas, and requiring but very little alteration. The considerable age of their civilization had long obliterated all traces of pagan and tribal feeling in their tales. Their heroes, originally, like those of all other people, divinities intimately connected with natural phenomena, had long lost all cosmic characteristics, long ceased to be gods, and, manipulated by the fancy of a race whose greatness was quite a thing of the past, had become a sort of golden age ideals—the men of a distant period of glory, which was adorned with every kind of perfection, till it became as unreal as fairyland. Fairyland, in good sooth, was this country of the Keltic tales; and there is a sort of symbolical significance in the fact of its lawgiver Merlin, and its emperor Arthur, being both of them not dead, like Sigurd, like Dietrich, like Charlemagne and Roland, but lying in enchanted sleep. Long inaction and the day-dreaming of idleness had refined and idealized the heroes of this Keltic race—a race of brilliant fancy and almost southern mobility, and softened for a long time by contact with Roman colonists and Christian priests. They were not the brutal combatants of an active fighting age, like the heroes of the Edda and of the Carolingian cycles; nor had they any particular military work to do, belonging as they did to a people huddled away into inactivity. Their sole occupation was to extend abroad that ideal happiness which reigned in the ideal court of Arthur; to go forth on the loose and see what ill-conditioned folk there might yet be who required being subdued or taught manners in the happy kingdom, which the poor insignificant Kelts connected with some princelet of theirs who centuries before may have momentarily repelled the pagan Saxons. Hence in the Keltic stories, such as they exist in the versions previous to the conquest by the Norman kings, and previous also to any communications with other peoples, the distinct beginning of what was later to be called knight-errantry; of heroes, creations of an inactive nation, having no special military duties, going forth to do what good they may at random, unforced by any necessity, and following a mere aesthetico-romantic plan of perfecting themselves by deeds of valour to become more worthy of their God, their King, and their Lady: religion, loyalty, and love, all three of them mere aesthetic abstractions, becoming the goal of an essentially aesthetic, unpractical system of self-improvement, such as was utterly incompatible with any real and serious business in life. Idle poetic fancies of an inert people, the Knights of the Round Table have no mission save that of being poetically perfect. Such was the spirit of Keltic poetry; and, as it happened, this spirit satisfied the imaginative wants of mediaeval society just at the moment when political events diffused in other countries the knowledge of the Arthurian legends. The old Teutonic tales of Sigurd, Gudrun, and Dietrich, had long ceased to appeal, in their mutilated and obliterated condition, to a society to whom tribal feeling and pagan heroism were odious, and whose religion distinctly reproved revenge. These semi-mythological tales had been replaced by another cycle: the purely realistic epic, which had arisen during the struggles between the Christian west against the pagan north-east and the Mohammedan south, and which, originating in the short battle-songs narrating the exploits of the predecessors and help-mates of Charlemagne, had constituted itself into large narratives of which the "Song of Roland" represents artistic culmination. These narratives of mere military exploits, of the battles of a strong feudal aristocracy animated by feudal loyalty and half-religious, half-patriotic fury against invading heathenness, had perfectly satisfied the men of the earliest Middle Ages, of the times when feudalism was being established and the church being reformed; when the strong military princelets of the North were embarking with their barons to conquer new kingdoms in England and in Italy and Greece; when the whole of feudal Europe hurled itself against Asia in the first Crusades. But the condition of things soon altered: the feudal hierarchy was broken up into a number of semi-independent little kingdoms or principalities, struggling, with the assistance of industrial and mercantile classes, to become absolute monarchies; princes who had been mere generals became stay-at-home diplomatists, studious of taxation and intrigue, surrounded no longer by armed vassals, but by an essentially urban court, in constant communication with the money-making burghers. Religion, also, instead of being a matter of fighting with infidel invaders, turned to fantastic sectarianism and emotional mysticism. With the sense of futility, of disappointment, attendant on the later Crusades, came also a habit of roaming in strange countries, of isolated adventure in search of wealth or information, a love of the distant, the half-understood, the equivocal; perhaps even a hankering after a mysterious compromise between the religion of Europe and the religions of the East, such as appears to have existed among the Templars and other Franks settled in Asia.

There was, throughout feudal society, a sort of enervated languor, a morbid longing for something new, now that the old had ceased to be possible or had proved futile; after the great excitement of the Crusades it was impossible to be either sedately idle or quietly active, even as it is with all of us during the days of weariness and restlessness after some long journey. To such a society the strongly realistic Carolingian epic had ceased to appeal: the tales of the Welsh and Breton bards, repeated by trouvère and jongleur, troubadour and minnesinger, came as a revelation. The fatigued, disappointed, morbid, imaginative society of the later Crusades recognized in this fairyland epic of a long refined, long idle, nay, effete race, the realization of their own ideal: of activity unhampered by aim or organization, of sentiment and emotion and action quite useless and unnecessary, purely subservient to imaginative gratification. These Arthurs, Launcelots, Tristrams, Kays, and Gawains, fantastic phantoms, were also far more artistically malleable than the iron Rolands, Olivers, and Renauds of earlier days; that unknown kingdom of Britain could much more easily be made the impossible ideal, in longing for which squeamish and lazy minds might refuse all coarser reality. Moreover, those who listened to the tales of chivalry were different from those who had listened to the Carolingian stories; and, therefore, required something different. They were courtiers, and one half of them were women. Now the Carolingian tales, originally battle-songs, sung in camps and castles to mere soldiers, had at first possessed no female characters at all; and when gradually they were introduced, it was in the coarsest barrack or tap-room style. The Keltic tales, on the contrary, whether from national tradition, or rather from longer familiarity with Christian culture and greater idleness of life, naturally made women and women's love the goal of a great many adventures which an effete nation could no longer ascribe to patriotic movements. But this was not all. The religious feeling of the day was extremely inclined to mysticism, in which aesthetic, erotic, and all kinds of morbid and ill-defined tendencies were united, which was more than anything else tinged with a semi-Asiatic quietism, a longing for the passive ecstasy of Nirvâna. This religious side of mediaeval life was also gratified by the Arthurian romances. Oddly enough, there existed an old Welsh or Breton tale about the boy Peredur, who from a complete simpleton became the prince of chivalry, and his many adventures connected with a certain mysterious blood-dripping lance, and a still more mysterious basin orgrail(an allusion to which is said by M. de la Villemarqué to be contained in the originally Keltic name of Percival), which possessed magic properties akin to those of the purse of Fortunatus, or the pipkin in the story of "Little pot, boil!" The story, whose original mythical meaning had been lost in the several centuries of Christianity, was very decayed and obscure; and the fact of the blood on the lance being that of a murdered kinsman of Peredur, and of the basin containing the head of the same person cut off by Gloucester witches, was evidently insufficient to account for all the mystery with which these objects were surrounded. The French poets of the Middle Ages, strongly imbued with Oriental legends brought back by the Crusaders, saw at a glance the meaning of the whole story: the lance was the lance with which Longinus had pierced the Saviour's side; the Grail was the cup which had received His blood, nay, it was the cup of the Last Supper. A tale about the preservation of these precious relics by Joseph of Arimathaea, was immediately connected therewith; a theory was set up (doubtless with the aid of quite unchristian, Oriental legends) of a kind of kingdom of the keepers of the Grail, of a vague half-material, half-spiritual state of bliss connected with the service of the Grail, which fed its knights (and here the Templars and their semi-oriental mysteries, for which they were later so frightfully misused, certainly come into play) with food which is at once of the body and of the soul. Thus the Keltic Peredur, bent upon massacring the Gloucester witches to avenge his uncle, was turned into a saintly knight, seeking throughout a more and more perfect life for the kingdom of the Grail: the Perceval of Chrestien de Troyes, the Parzifal of Wolfram von Eschenbach, whom later romance writers (wishing to connect everything more closely with Arthur's court) replaced by the Sir Galahad of the "Morte d'Arthur," while the guest of the Grail became a sort of general mission of several knights, a sort of spiritual crusade to whose successful champions Percival, Bors, and Galahad, the Middle Ages did not hesitate to add the arch-adulterer Launcelot.

Thus did the Arthurian tales answer the requirements of the languid, dreamy, courtly, lady-serving and religiously mystic sons and grandsons of those earlier Crusaders whose aspirations had been expressed by the rough and solemn heroes of Carolingian tales. The Carolingian tales were thrown aside, or were kept by the noble mediaeval poets only on condition of their original meaning being completely defaced by wholesale admixture of the manners and adventures belonging to the Arthurian cycles. The paladins were forced to disport themselves in the same fairyland as the Knights of the Round Table; and many mediaeval poems the heroes of which, like Ogier of Denmark and Huon of Bordeaux, already existed in the Carolingian tales, are in reality, with their romantic loves, their useless adventures, their Morgana's castles and Oberon's horns, offshoots of the Keltic stories, which were as rich in every kind of supernatural (being, in fact, pagan myths turned into fairy tales) as the genuine Carolingian subjects, whose origin was entirely historical, were completely devoid of such things. Arthur and his ladies and knights: Guenevere, Elaine, Enid, Yseult, Launcelot, Geraint, Kay, Gawain, Tristram, and Percival-Galahad, were the real heroes and heroines of the courtly nobles and the courtly poets of this second phase of mediaeval life. The Teuton Charlemagne, Roland and Oliver were as completely forgotten of the poets who met in that memorable combat of the Wartburg, as were the Teuton Sigurd and Dietrich. And if the Carolingian cycle survived, however much altered, I think it must have been thanks to the burghers and artizans of the Netherlands and of Provence, to whom the bluff, matter-of-fact heroism, the simple, gross, but not illegitimate amours of Carolingian heroes, were more satisfactory than any mystic quest of the Grail, any refined adultery of Guenevere or Yseult.

But the inevitable fate of all mediaeval epics awaited this triumphant Arthurian cycle: the fate of being obliterated by passing from one nation and civilization to another, long before the existence of any poetic art adequate to its treatment. Of this I will take as an example one of the mediaeval poems which has the greatest reputation the masterpiece (according to most critics, with whom I find it difficult, in the presence of a poet like Gottfried von Strassburg, to agree) of probably the most really poetical and earnest school of poetry which the pre-Dantesque Middle Ages possessed—the "Parzifal" of Wolfram von Eschenbach.

The paramount impression (I cannot say the strongest, for strong impressions are incompatible with such work as this) left by the masterpiece of Wolfram von Eschenbach, is that of the most astonishing vagueness, fluidity, haziness, vaporousness. In reading it one looks back to that rudely hewn and extremely obliterated Nibelungenlied, as to something ?quite astonishingly clear, detailed and strongly marked as to something distinctly artistic. Indeed by the side of "Parzifal" everything seems artistic; Hartmann von Aue reads like Chaucer, "Aucassin et Nicolette" is as living as "Cymbeline," "Chevy Chase" seems as good as the battles of Homer. It is not a narrative, but a vague mooning; a knight illiterate, not merely like his fellow minnesingers, in the way of reading and writing, but in the sense of complete absence of all habit of literary form; extremely noble and pure of mind, chaste, gentle, with a funny, puzzled sense of humour, reminding one distantly of Jean Paul in his drowsy moments; a hanger-on of courts, but perfectly simple-hearted and childlike; very poor and easily pleased: such is, for good and for bad, Herr Wolfram von Eschenbach, the only real personality in his poem. And he narrates, in a mooning, digressive, good-natured, drowsy tone, with only a rare awaking of interest, a story which he has heard from some one else, and that some one else from a series of other some one elses (Chrestien de Troyes, a legendary Provençal Chiot or Guyot, perhaps even the original Welsh bard); all muddled, monotonous, and droning; events and persons ill-defined, without any sense of the relative importance of anything, without clear perception of what it is all about, or at least without the power of keeping the matter straight before the reader. A story, in point of fact, which is no story at all, but a mere series of rambling adventures (adventures which are scarcely adventures, having no point or plot) of various people with not much connection and no individuality—Gachmuret, Parzifal, Gawain, Loherangrein,Anfortas, Feirefis—pale ghosts of beings, moving in a country of Kennaqwhere, Aquitaine, Anjou, Brittany, Wales, Spain, and heaven knows what wondrous Oriental places; a misty country with woods and towns and castles which are infinitely far apart and yet quite near each other; which seem to sail about like cloud castles round the only solid place in the book, Plimizöl, where Arthur's court, with round table constantly spread, Is for ever established. A no place, nowhere; yet full of details; minute inventories of the splendid furniture of castles (castles where? how reached?); infinitely inferior in this matter even to the Nibelungenlied, where you are made to feel so vividly (one of the few modern and therefore clear things therein) the long, dreary road from Worms to Bechlarn, and thence to Etzelburg, though of none of them is there anything beyond a name. For the Nibelungen story had been localized in what to narrator and audience was a reality, the country in which themselves lived, where themselves might seek out the abbey in which Siegfried was buried, the well in the Odenwald near which he was stabbed; where they knew from merchant and pilgrim the road taken by the Nibelungs from Santen to Worms, by the Burgundians from Worms to Hungary. But here in "Parzifal" we are in a mere vague world of anywhere, the world of Keltic and Oriental romance become mere cloudland to the Thuringian knight. And similarly have the heroes of other nations, the Arthurs, Gawains, Gachmurets, of Wales and Anjou, become mere vague names; they have become liquified, lost all shape and local habitation. They are mere names, these ladies and knights of Herr Wolfram, names with fair pink and white faces, names magnificently draped in bejewelled Oriental stuffs and embossed armour; they have no home, no work, nothing to do. This is the most remarkable characteristic of "Parzifal," and what makes it so typical of the process of growing inane through overmuch alteration, which prevented the mediaeval epics ever turning into an Iliad or an Odyssey; this that it is essentially idle and all about nothing. The feudal relations strongly marked in the German Nibelungenlied have melted away like the distinctions of race: every knight is independent, not a vassal nor a captain, a Volker or Hagen, or Roland or Renaud followed by his men; but an isolated individual, without even a squire, wandering about alone through this hazy land of nowhere. Knight-errantry, in the time of the great Guelph and Ghibelline struggles, every bit as ideal as that of Spenser or Cervantes; and with the difference that Sir Calidore and Sir Artegal have an appointed task, some Blatant Beast or other nuisance to overcome; and that Don Quixote has the general rescuing of all the oppressed Princesse Micomiconas, and the destruction of all windmills, and the capturing of all helmets of Mambrino, and the establishing all over the world of the worship of Dulcinea. But these knights of Wolfram von Eschenbach have no more this mission than they have the politico-military missions, missions of a Rüdger or a Roland. They are all riding about at random, without any particular pagans, necromancers, or dragons to pursue. The very service of the Holy Grail, which is the main interest of the poem, consists in nothing apparently except living virtuously at the Castle of Montselväsche, and virtuously eating and drinking the victuals provided miraculously. To be admitted to this service, no initiation, no mission, nothing preliminary seems required. Parzifal himself merely wanders about vaguely, without doing any specified thing. The fact is that in this poem all has become purely ideal; ideal to the point of utter vacuity: there is no connection with any human business. Of all the heroes and heroines we hear that they are perfectly chaste, truthful, upright; and they are never put into any situation to test these qualities: they are never placed in the way of temptation, never made to fight with evil, or to decide between it and good. The very religion of the Holy Grail consists in doing nothing: not a word about relieving the poor or oppressed, of tending the sick, of delivering the Holy Sepulchre, of defending that great injured One, Christ. To be Grail Knight or even Grail King means to be exactly the same as before. Where in this vague dreamland of passive purity and heroism, of untempted chastity and untried honour, where are the earthly trials of Tristram, of Guenevere, of Rüdger, of Renaud? Where the moral struggles of the Middle Ages? Where is Godfrey, or Francis, or Dominick? Nowhere. All has disappeared, melted away; Christianity and Paganism themselves have melted away or into each other, as in the easy meeting of the Pagan Feirefis and the Christian Parzifal, and in the double marriage of Gachmuret with the Indian Belakane and the Welsh Herzeloid; there remains only a kind of Buddhistic Nirvâna of vague passive perfection, but without any renunciation; and in a world devoid of evil and full of excellent brocade and armour and eatables, and lovely maidens who dress and undress you, and chastely kiss you on the mouth; a world without desire, aspiration, or combat, vacantly happy and virtuous. A world purely ideal, divorced from all reality, unsubstantial like the kingdom of Gloriana, but, unlike Spenser's, quite unshadowed by any puritan sadness, by any sense of evil, untroubled by allegorical vices; cheerful, serene, filled with flowers and song of birds, but as unreal as the illuminated arabesques of a missal. In truth, perhaps more to be compared with an eighteenth century pastoral, an ideal created almost in opposition to reality; a dream of passiveness and liberty (as of light leaves blown about) as the ideal of the fiercely troubled, struggling, tightly fettered feudal world. The ideal, perhaps, of only one moment, scarcely of a whole civilization; or rather (how express my feeling?) an accidental combination of an instant, as of spectre vapour arisen from the mixture of Kelt and Teuton, of Frank and Moslem. Is it Christian, Pagan, Mohammedan? None of all these.... A simple-looking vaporous chaos of incongruous, but not conflicting, elements: a poem of virtue without object, of knighthood without work, of religion without belief; in this like its central interest, the Grail: a mystery, a cup, a stone; a thing which heals, feeds, speaks; animate or inanimate? Stone of the Caaba or chalice of the Sacrament? Merely a mysterious holy of holies and good of goods, which does everything and nothings means nothing and requires nothing—is nothing.

Thus was obliterated, in all its national and traditional meaning, the heroic cycle of Arthur; and by the same process of slow adaptation to new intellectual requirements which had completely wiped out of men's memory the heroic tales of Siegfried, which had entirely altered the originally realistic character of the epic of Charlemagne. But unreal and ideal as had become the tales of the Round Table, and disconnected with any national tradition, the time came when even these were not sufficiently independent of reality to satisfy the capricious imagination of the later Middle Ages. At the end of the fourteenth century was written, most probably in Portuguese by Vasco de Lobeira, the tale of "Amadis de Gaula," which was followed by some forty or fifty similar books telling the adventures of all the brothers, nephews, sons, grandsons sons, and great-grandsons, an infinite succession, of the original Amadis; which, translated into all languages and presently multiplied by the press, seem to have usurped the place of the Arthurian stories in feudal countries until well-nigh the middle of the sixteenth century; and which were succeeded by no more stories of heroes, but by the realistic comic novels of the type of "Lazarillo de Tormes," and the buffoon philosophic extravaganzas of "Gargantua." Further indeed it was impossible to go than did mediaeval idealism in the Amadises. Compared with them the most fairy-tale-like Arthurian stories are perfect historical documents. There remains no longer any ?connection whatsoever with reality, historical or geographical: the whole world seems to have been expeditiously emptied of all its contents, to make room for kingdoms of Gaul, of Rome, of the Firm Island, of Sobradisa, etc., which are less like the Land West of the Moon and East of the Sun than they are like Sancho Panza's island. All real mankind, past, present, and future, has similarly been swept away and replaced by a miraculous race of Amadises, Lisvarts, Galaors, Gradasilias, Orianas, Pintiquinestras, Fradalons, and so forth, who flit across our vision, in company with the indispensable necromancers, fairies, dwarfs, giants, and duennas, like some huge ballet: things without character, passions, pathos; knights who are never wounded or killed, princesses who always end with marrying the right man, enchanters whose heads are always chopped off, foundlings who are always reinstated in their kingdom, inane paper puppets bespangled with impossible sentiment, tinsel and rags which are driven about like chaff by the wind-puffs of romance. The advent of the Amadises is the coming of the Kingdom of Nonsense, the sign that the last days of chivalric romance have come; a little more, and the Licentiate Alonzo Perez will take his seat in Don Quixote's library, and Nicholas the Barber light his faggots in the yard.

But, as if in compensation of the usurpation of which they had been the victims, the Carolingian tales, pushed out of the way by the Arthurian cycle, were not destined to perish. Thrown aside with contempt by the upper classes, engrossed with the Round Table and the Holy Grail, the tales of Charlemagne and his paladins, largely adulterated with Arthurian elements, were apparently cherished by a lower class of society: burgesses, artizans, and such-like, for whom that Arthurian world was far too etherial and too delicately immoral; and to this circumstance is due the fact that the humiliated Carolingian tales eventually received an artistic embodiment which was not given to the Arthurian stories. While troubadours and minnesingers were busy with the court of Arthur, and grave Latinists like Rusticiano of Pisa wrote of Launcelot and Guenevere; the Carolingian epics seem to have been mainly sung about by illiterate jongleurs, and to have busied the pens of prose hackwriters for the benefit of townsfolk. The free towns of the Netherlands and of Germany appear to have been full of this unfashionable literature: the Carolingian cycle had become democratic. And, inasmuch as it was literature no longer for knights and courtiers, but for artizans and shopkeepers, it went, of course, to the pre-eminently democratic country of the Middle Ages—Italy. This was at a time when Italian was not yet a recognized language, and when the men and women who talked in Tuscan, Lombard, or Venetian dialects, wrote in Latin and in French; and while Francesca and Paolo read the story of Launcelot most probably in good mediaevallangue d'oil, as befitted people of high birth; the jongleurs, who collected crowds so large as to bar the streets and require the interference of the Bolognese magistrates, sang of Roland and Oliver in a sort oflingua Francaof French Lombard. French jongleurs singing in impossible French-Italian; Italian jongleurs singing in impossible French; Paduan penny-a-liners writing Carolingian cyclical novels in French, not of Paris, assuredly, but of Padua—a comical and most hideous jabber of hybrid languages—this was how the Carolingian stories became popular in Italy. Meanwhile, the day came when the romantic Arthurian tales had to dislodge in Italy before the invasion of the classic epic. Troy, Rome, and Thebes had replaced Tintagil and Caerleon in the interest of the cultured classes long before the beginning of the fifteenth century; when Poggio, in the very midst of the classic revival, still told of the comically engrossed audience which surrounded the vagabonds singing of Orlando and Rinaldo. The effete Arthurian cycle, superseded in Spain and France by the Amadis romances, was speedily forgotten in Italy; but the Carolingian stories remained; and when Italian poetry arose once more after the long interregnum between Petrarch and Lorenzo dei Medici, and looked about for subjects, it laid its hand upon them. But when, in the second half of the fifteenth century, those old tales of Charlemagne received, after so many centuries of alterations and ephemeral embodiments, that artistic form which the Middle Ages had been unable to give them, the stories themselves, and the way in which they were regarded, were totally different from what they had been in the time of Theroulde, or of the anonymous author of "The Quatre Fils Aymon;" the Renaissance, with its keen artistic sense, made out of the Carolingian tales real works of art, but works of art which were playthings. To begin with, the Carolingian stories had been saturated with Arthurian colour: they had been furnished with all the knight-rrantry, all the gallantry, all the enchantments, the fairies, giants, and necromancers of the Keltic legends; and, moreover, they had lost, by infinite repetition, all the political realism and meaning so striking in "The Chanson de Roland" and "The Quatre Fils Aymon;" a confusion and unreality further increased by the fact that the Italians had no original connection with those tales, that to them real men and plans were no better than imaginary ones, and that the minstrels who sang in the market-place, and the laborious prose-writers who compiled such collections as that called of the "Reali di Francia," were equally free in their alterations and adaptations, creating unknown relationships, inventing new adventures, suppressing essential historical points, with no object save amusing their audience or readers with new stories about familiar heroes. Such was the condition of the stories themselves. The attitude of the public towards them was, by the middle of the fifteenth century, one of complete incredulity and frivolous amusement; the paladins were as unreal as the heroes of any granny's fairy tale. The people wanted to hear of wonderful battles and adventures, of enchantments and love-makings; but they wanted also to laugh; and, sceptical, practical, democratic, the artizans and shopkeepers of Florence—to whom, paying, as they did, expensive mercenaries who stole poultry and never got wounded on any account, all chivalry or real military honour was the veriest nursery rubbish—such people as crowded round thecantastoriaofmercato vecchio, must indeed have found much to amuse them in these tales of so different an age.

And into such crowds there penetrated to listen and watch (even as the Magnificent Lorenzo had elbowed among the carnival ragamuffins of Florence, and had slid in among the holiday-making peasants of Poggio a Caiano) a learned man, a poet, an intimate of the Medicis, of Politian, Ficino, and Pico della Mirandola, Messer Luigi Pulci, the same who had written the semi-allegorical, semi-realistic poem about Lorenzo dei Medici's gala tournament. There was a taste in the house of the Medici, together with those for platonic philosophy, classical erudition, religious hymns, and Hebrew kabbala, for a certain kind of realism, for the language and mode of thinking of the lower classes, as a reaction from Petrarchesque conventionality. As the Magnificent Lorenzo had had the fancy to string together in more artistic shape the quaint and graceful love poems, hyperbolical, realistic, tender, and abusive, of the Tuscan peasantry; so also Messer Luigi Pulci appears to have been smitten with the notion of trying his hand at a chivalric poem like those to which he and his friends had listened among the butchers and pork-shops, the fishmongers and frying booths of the market, and giving an impression, in its ideas and language, of the people to whom such strains were sung. But Luigi Pulci was vastly less gifted as a poet than Lorenzo dei Medici; Florentine prentices are less aesthetically pleasing than Tuscan peasants, and the "Morgante Maggiore" is a piece of work of a sort utterly inferior to the "Nencia da Barberino." Still the "Morgante Maggiore" remains, and will remain, as a very remarkable production of grotesque art. Just as Lorenzo dei Medici was certainly not without a deliberate purpose of selecting the quaintness and gracefulness of peasant life; even so, and perhaps more, Luigi Pulci must have had a deliberate intention of producing a ludicrous effect; in both cases the deliberate attempt is very little perceptible, in the "Nencia da Barberino" from the genius of Lorenzo, in the "Morgante Maggiore" from the stolidity of Pulci. The "Morgante," of which parts were probably written as a mere sample to amuse a supper party, became interesting to Pulci, in the mere matter of inventing and stringing together new incidents; and despite its ludicrous passages, it must have been more seriously written by him, and more seriously listened to by his friends, than would a similar production now-a-days. For the men of the Renaissance, no matter how philosophized and cultured, retained the pleasure in mere incident, which we moderns seem to have given over to children and savages; and Lorenzo, Ficino, and Politian probably listened to the adventures of Luigi Pulci's paladins and giants with much the same interest, and only a little more conscious sense of grotesqueness, with which the crowd in the market listened to Cristofano dell' Altissimo and similar story-tellers. The "Morgante Maggiore," therefore, is neither really comic nor really serious. It is not a piece of realistic grotesqueness like "Gargantua" or "Pantagruel," any more than it is a serious ideal work like "Amadis de Gaula:" the proportion of deliberately sought effects is small; the great bulk, serious or comic, seems to have come quite at random. It is not a caricatured reproduction of the poems of chivalry sung in the market, for they were probably serious, stately, and bald, with at most an occasional joke; it is the reproduction of the joint impression received from the absurd, harum-scarum, unpractical world of chivalry of the poet, and the real world of prose, of good-humoured buffoonish coarseness with which the itinerant poet was surrounded. The paladins are no Don Quixotes, the princesses no Dulcineas, the battles are real battles; but the language is that of Florentine wool-workers, housewives, cheese-sellers, and ragamuffins, crammed with the slang of the market-place,its heavy jokes and perpetual sententious aphorism. Moreover the prominence given to food and eating is unrivalled except by Rabelais: the poet must have lounged with delight through the narrow mediaeval lanes, crowded with booths and barrows, sniffing with rapture the mingled scents of cheese, pork, fish, spices, and a hundred strange concomitant market smells. And the market, that classicmercato vecchio(alas, finally condemned and destroyed by modern sanitary prudishness, and which only those who have seen can conceive in its full barbarous, nay, barbaric Pantagruelian splendour of food, blood, and stenches) of Florence, is what we think of throughout the poem. And, when Messer Luigi comes to narrate, with real gravity and after the due invocation of the Virgin, the Trinity, and the saints, the tremendous disaster of Roncevaux, he uses such words and such similes, that above the neighing of horses and the clash of hurtling armour and the yells of the combatants we suddenly hear the nasal sing-song of Florentine tripe-vendors and pumpkin-pod-sellers, the chaffer and oaths and laughter of the gluttonous crowd pouring through the lanes of Calimala and Pellicceria; nay (horrible and grotesque miracle), there seems to rise out of the confused darkness of the battle-filled valley, there seems to disengage itself (as out of a mist) from the chaos of heaped bodies, and the flash of steel among the whirlwinds of dust, a vision, more and more distinct and familiar, of the crowded square with its black rough-hewn, smoke-stained houses, ornamented with Robbia-ware angels and lilies or painted madonnas; of its black butchers dens, outside which hang the ghastly disembowelled sheep with blood-stained fleeces, the huge red-veined hearts and livers; of the piles of cabbage and cauliflowers, the rows of tin ware and copper saucepans, the heaps of maccaroni and pastes, of spices and drugs; the garlands of onions and red peppers and piles of apples; the fetid sliminess of the fish tressels; the rough pavement oozy and black, slippery with cabbage-stalks, puddled with bullock's blood, strewn with plucked feathers—all under the bright blue sky, with Giotto's dove-coloured belfry soaring high above; a vision, finally, of one of those deep dens, with walls, all covered with majolica plates and dishes and flashing brass-embossed trenchers, in the dark depths of which crackles perennially a ruddy fire, while a huge spit revolves, offering to the flames now one now the other side of scores of legs of mutton, rounds of beef, and larded chickens, trickling with the butter unceasingly ladled by the white-dressed cooks. Roncisvalle, Charlemagne, the paladins, paganism, Christendom—what of them? "I believe in capon, roast or boiled, and sometimes done in butter; in mead and in must; and I believe in the pasty and the pastykins, mother and children; but above all things I believe in good wine "—as Margutte snuffles out in his catechism; and as to Saracens and paladins, past, present, and future, a fig for them!

But meanwhile, for all that Florentine burgesses, artizans, and humorists may think, there is in this Italy of the Renaissance something besides Florence; there is a school of poetry, disconnected with the realisms of Lorenzo and Pulci, with the Ovidian Petrarchisms of Politian. There is Ferrara. Lying, as they do, between the Northern Apennine slopes of Modena and the Euganean hills, the dominions of the House of Este appear at first sight merely as part and parcel of Lombardy, and we should expect from them nothing very different from that which we expect from Milan or Bologna or Padua. But the truth is different; all round Ferrara, indeed, stretches the fertile flatness of Lombard cornfields, and they produce, as infallibly as they produce their sacks of grain and tuns of wine and heaps of silk cocoon, the intellectual and social equivalents of such things in Renaissance Italy: industry, wealth, comfort, scepticism, art. But on either side, into the defiles of the Euganean hills to the north, into the widening torrent valleys of the Modenese Apennines to the south, the Marquisate of Este stretches up into feudalism, into chivalry, into the imaginative kingdom of the Middle Ages. Mediaevalism, feudalism, chivalry, indeed, of a very modified sort; and as different from that of France and Germany as differ from the poverty-stricken plains and forests and and moors of the north these Italian mountain slopes, along which the vines crawl in long trellises, and the chestnuts rise in endlessly superposed tiers of terraces, cultivated by a peasant who is not the serf, but the equal sharer in profits with the master of the soil. And on one of those fertile hill-sides, looking down upon a narrow valley all a green-blue shimmer with corn and vine-bearing elms, was born, in the year 1434, Matteo Maria Boiardo, in the village which gave him the title, one of the highest in the Estensian dominions, of Count of Scandiano. Here, in the Apennines, Scandiano is a fortified village, also a castle, doubtless half turned into a Renaissance villa, but mediaeval and feudal nevertheless; but the name of Scandiano belongs also, I know not for what reason, to a certain little red-brick palace on the outskirts of Ferrara, beautifully painted with half-allegorical, half-realistic pageant frescoes by Cosimo Tura, and enclosing a sweet tangled orchard-garden; to all of which, being the place to which Duke Borso and Duke Ercole were wont to retire for amusement, the Ferrarese have given the further name of Schifanoia, which means, "fly from cares." This little coincidence of Scandiano the feudal castle in the Apennines, and Scandiano the little pleasure palace at Ferrara, seems to give, by accidental allegory, a fair idea of the double nature of Matteo Boiardo, of the Ferrarese court to which he belonged, and of the school of poetry (including the more notable but less original work of Ariosto) which the genius of the man and the character of the court succeeded together in producing.

To understand Boiardo we must compare him with Ariosto; and to understand Ariosto we must compare him with Boiardo; both belong to the same school, and are men of very similar genius, and where the one leaves off the other begins. But first, in order to understand the character of this poetry which, in the main, is identical in Boiardo and in his more successful but less fascinating pupil Ariosto, let us understand Ferrara. It was, in the late fifteenth and early sixteenth centuries, a chivalric town of Ariostesque chivalry: feudalism turned courtly and elegant, and moreover, very liberal and comfortable by preponderance of democratic and industrial habits; a military court, of brave mercenary captains full of dash and adventure, not mere brigands and marauders having studied strategy, like the little Umbrian chieftains; a court orderly, elegant, and brilliant: a prince not risen from behind a counter like Medicis and Petruccis, nor out of blood like Baglionis and Sforzas, but of a noble old house whose beginnings are lost in the mist of real chivalry and real paladinism; a duke with a pretence of feudal honour and decorum, at whose court men were all brave and ladies all chaste—with the little licenses of baseness and gallantry admitted by Renaissance chivalry. A bright, brilliant court at the close of the fifteenth century; and more stable than the only one which might have rivalled it, the Feltrian court of Urbino, too small and lost among the Umbrian bandits. A bright, brilliant town, also, this Ferrara: not mercantile like Florence, not mere barracks like Perugia; a capital, essentially, in its rich green plain by the widened Po, with its broad handsome streets (so different from the mediaeval exchanges of Bologna, and the feudal alleys of Perugia), its well-built houses, so safe and modern, needing neitherbravinor iron window bars, protected (except against some stray murder by one of the Estensi themselves), by the duke's well-organized police; houses with well-trimmed gardens, like so many Paris hôtels; and with the grand russet brick castle, military with its moat and towers, urban with its belvederes and balconies, in the middle, well placed to sweep away with its guns (the wonderful guns of the duke's own making) any riot, tidily, cleanly, without a nasty heap of bodies and slop of blood as in the narrow streets of other towns Imagine this bright capital, placed, moreover, in the richest centre of Lombardy, with glitter of chivalry from the Euganean hills and Apennines (castellated with Este, Monselice,Canossa, and Boiardo's own Scandiano); with gorgeous rarities of commerce from Venice and Milan—a central, unique spot. It is the natural home of the chivalrous poets of the Renaissance, Boiardo, Ariosto, Tasso; as Florence is of the Politians and Pulcis (Hellenism and back-shopery); and Venice of the literature of lust, jests, cynicism, and adventure, Aretine, Beolco, Calmo, and Poliphilo-Colonna. In that garden, where the white butterflies crowd among the fruit trees bowed down to the tall grass of the palace of Schifanoia—a garden neither grand nor classic, but elegiac and charming—we can imagine Boiardo or Ariosto reading their poems to just such a goodly company as Giraldi Cinthio (a Ferrarese, and fond of romance, too) describes in the prologue of his "Ecatomiti:" gentle and sprightful ladies, with the splendid brocaded robes, and the gold-filleted golden hair of Dosso Dossi's wonderful Alcina Circe; graceful youths like the princely St. John of Benvenuto Garofalo; jesters like Dosso's at Modena; brilliant captains like his St. George and St. Michael; and a little crowd of pages with doublets and sleeves laced with gold tags, of sedate magistrates in fur robes and scarlet caps, of white-dressed maids with instruments of music and embroidery frames and hand looms, like those which Cosimo Tura painted for Duke Borso on the walls of this same Schifanoia palace Such is the audience; now for the poems.

The stuff of Boiardo and Ariosto is the same: that old mediaeval stuff of the Carolingian poems, coloured, scented with Arthurian chivalry and wonder. The knight-errantry of the Keltic tales is cleverly blended with the pseudo-historical military organization of the Carolingian cycle. Paladins and Saracens are ingeniously manoeuvred about, now scattered in little groups of twos and threes, to encounter adventures in the style of Sir Launcelot or Amadis; now gathered into a compact army to crash upon each other as at Roncevaux; or else wildly flung up by the poet to alight in fairyland, to find themselves in the caverns of Jamschid, in the isles where Oberon's mother kept Caesar, and Morgana kept Ogier, in the boats, entering subterranean channels, of Sindbad and Huon of Bordeaux; a constant alternation of individual adventure and wholesale organized campaigns, conceived and carried out with admirable ingenuity. So much for the deeds of arms. The deeds of love are also compounded of Carolingian and Arthurian, but flavoured with special Renaissance feeling. There is a great deal of rapid love-making between too gallant knights and too impressionable ladies; licentious amours which we moderns lay at the door of Boiardo and Ariosto, not knowing that the licentiousness of the Olivers and Ogiers and Guerins and Huons of mediaeval poetry, of the sentimental Amadises, Galaors, and Lisvarts of the fourteenth century, whom the Renaissance has toned down in Rogers and Rinaldos and Ricciardettos, is by many degrees worse. A moral improvement also (for all the immorality of the Renaissance) in the eschewing of the never-failing adultery of the Arthurian romances, and the appropriation to legitimately faithful love of the poetical devotion which Tristram and Launcelot bear to other men's wives. To this are added, and more by Ariosto than by Boiardo, two essentially Italian elements: something of the nobility of passion of the Platonic sonneteers; and a good dose of the ironical, scurrilous, moralizing immoral anecdote gossiping of Boccaccio and Sacchetti. Such is the stuff. The conception, though rarely comic, and sometimesbonâ fideserious, is never earnest. All this is a purely artistic world, a world of decorative arabesque incident, intended to please, scarcely ever to move, or to move, at most, like some Decameronian tale of Isabella and the Basil Plant, or Constance and Martuccio. On the other hand, there is none of the grotesque irreverence of Pulci. Boiardo and Ariosto are not in earnest; they are well aware that their heroes and heroines are mere modern men and women tricked out in pretty chivalric trappings, driven wildly about from Paris to Cathay, and from Spain to the Orkneys—on Tony Lumpkin's principle of driving his mother round and round the garden plot till she thought herself on a heath six miles off—without ever really changing place. But they do not, like Pulci, make fun of their characters. They write chivalry romances not for Florentine pork-butchers and wool-carders, but for gallant ladies and gentlemen, to whom, with duels, tournaments, serenades, and fine speeches, chivalry is an admired name, though no longer a respected reality.

The heroes of Boiardo and of Ariosto are always bold and gallant and glittering, the spirit of romance is in them; a giant Sancho Panza like Morgante, redolent of sausage and cheese, would never be admitted into the society of a Ferrarese Orlando. The art of Boiardo and of Ariosto is eminently pageant art, in which sentiment and heroism are but as one element among many; there is no pretence at reality (although there is a good deal of incidental realism), and no thought of the interest in subject and persons which goes with reality. It is a masquerade, and one whose men and women must, I think, be imagined in a kind of artistic fancy costume: a mixture of the Renaissance dress and of the antique, as we see it in the prints of contemporary pageants, and in Venetian and Ferrarese pictures; that Circe of Dosso's, in the Borghese gallery of Rome, seated in her stately wine-lees and gold half-heraldically and half-cabalistically patterned brocade, before the rose-bushes of the little mysterious wood, is the very ideal of the Falerinas and Alcinas, of the enchantresses of Boiardo and Ariosto. Pageant people, these of the Ferrarese poets; they only play at being in forests and deserts, as children play at being on volcanoes or in Green-land by the nursery fire. It is a kind of dressing up, a masquerading of the fancy; not disguising in order to deceive, but rather laying hold of any pretty or brilliant impressive garb that comes to hand, and putting that on in conjunction with many odds and ends, as an artist's guests might do with the silks and velvets and Oriental properties of a studio. These knights and ladies, for ever tearing about from Scotland to India, never, in point of fact, get any further than the Apennine slopes where Boiardo was born, where Ariosto governed the Garfagnana. They ride for ever (while supposed to be in the Ardennes or in Egypt) across the velvet moss turf, all patterned with minute starry clovers and the fallen white ropy chestnut blossom, amidst the bracken beneath the slender chestnut trees, the pale blue sky looking in between their spreading branches; at most they lose their way in the intricacies of some seaside pineta, where the feet slip on the fallen needles, and the sun slants along the vistas of serried, red, scaly trunks, among the juniper and gorse and dry grass and flowers growing in the sea sand. Into the vast mediaeval forests of Germany and France, Boiardo and Ariosto's fancy never penetrated.

Such is the school: a school represented in its typical character only by Boiardo and Ariosto, but to which belong, nevertheless, with whatever differences, Tasso, Spenser, Camoens, all the poets of Renaissance romance. Now of the two leaders thereof. Here I feel that I can speak only personally; tell only of my own personal impressions and preferences. Comparing together Boiardo and Ariosto, I am, of course, aware of the infinite advantages of the latter. Ariosto is a man of far more varied genius; he is an artist, while Boiardo is an amateur; he is learned in arranging and ornamenting; he knows how to alternate various styles, how to begin and how to end. Moreover, he is a scholarly person of a more scholarly time: he is familiar with the classics, and, what is more important, he is familiar with the language in which he is writing. He writes exquisitely harmonious, supple, and brilliant Tuscan verse, with an infinite richness of diction; while poor Boiardo jogs along in a language which is not the Lombard dialect in which he speaks, and which is very uncouth and awkward, as is every pure language for a provincial; indeed, so much so, that the pedantic Tuscans require Berni to make Tuscan, elegant, toingentilire, with infinite loss to quaintness and charm, the "Orlando Innamorato" of poor Ferrarese Boiardo. Moreover, Ariosto has many qualities unknown to Boiardo; wit, malice, stateliness, decided eloquence and power of simile and apostrophe; he is a symphony for full orchestra, and Boiardo a mere melody played on a single fiddle, which good authorities (and no one dare contest with Italians when they condemn anything not Tuscan as jargon) pronounce to be no Cremona. All these advantages Ariosto certainly has; and I do not quarrel with those who prefer him for them. But many of them distinctly take away from my pleasure. I confess that I am bored by the beautifully written moral and allegorical preludes of Ariosto's cantos; I would willingly give all his aphorism and all his mythology to get quickly to the story. Also, I resent his admirable rhetorical flourishes about his patrons, his Ercoles, Ippolitos, and Isabellas they ring false, dreadfully false and studied; and Boiardo's quickly despatched friendly greeting of his friends, his courteous knights and gentle ladies, pleases me much better. Moreover, the all-pervading consciousness of the existence of Homer, Virgil, nay, Statius and Lucan, every trumpery antique epic-monger, annoys me, giving an uncomfortable doubt as to whether Ariosto did not try to make all this nonsense serious, and this romance into an epic; all this occasional Virgilian stateliness, alternated with a kind of polished Decameronian gossipy cynicism, diverts my attention, turns paladins and princesses too much into tutor-educated gentlemen, into Bandello and Cinthio-reading ladies of the sixteenth century. The picture painted by Ariosto is finer, but you see too much of the painter; he and his patrons take up nearly the whole foreground, and they have affected, idealized faces and would-be dignified and senatorial poses. For these and many other reasons, I personally prefer Boiardo; and perhaps the best reason for my preference is the irrational one that he gives me more pleasure. My preferences, my impressions, I have said, are in this matter, much less critical than personal. Hence I can speak of Boiardo only as he affects me.

When first I read Boiardo, I was conscious of a curious phenomenon in myself. I must confess to reading books usually in a very ardent or rather weary manner, either way in a hurry to finish them. As it happened, when I borrowed Boiardo, I had a great many other things on hand which required my time and attention; yet I could not make up my mind to return the book until I had finished it, though my intention had been merely to satisfy my curiosity by a dip into it. I went on, without that eager desire to know what follows which one has in a novel; drowsily with absolute reluctance to leave off, like the reluctance to rise from the grass beneath the trees with only butterflies and shadows to watch, or the reluctance to put aside some fairy book of Walter Crane's. It was like strolling in some quaint, ill-trimmed, old garden, finding fresh flowers, fresh bits of lichened walls, fresh fragments of broken earthenware ornaments; or, rather, more like a morning in the Cathedral Library at Siena, the place where the gorgeous choir books are kept, itself illuminated like missal pages by Pinturicchio: amused, delighted, not moved nor fascinated; finding every moment something new, some charming piece of gilding, some sweet plumed head, some quaint little tree or town; making a journey of lazy discovery in a sort of world of Prince Charmings, the real realm of the "Faëry Queen," quite different in enchantment from the country of Spenser's Gloriana, with its pale allegoric ladies and knights, half-human, half-metaphysical, and its make-believe allegorical ogres and giants. This is the real Fairyland, this of Boiardo: no mere outskirts of Ferrara, with real, playfully cynical Ferrarese men and women tricked out as paladins and Amazons, and making fun of their disguise, as in Ariosto; no wonderland of Tasso, with enchanted gardens copied out of Bolognese pictures and miraculous forests learned from theatre mechanicians, wonders imitated by a great poet from the cardboard and firework wonders of Bianca Cappello's wedding feasts. This is the real fairyland, the wonderland of mediaeval romance and of Persian and Arabian tales, no longer solemn or awful, but brilliant, sunny, only half believed in; the fairyland of the Renaissance, superficially artistic, with its lightest, brightest fancies, and its charming realities; its cloistered and painted courts with plashing fountains, its tapestried and inlaid rooms, its towered and belvedered villas, its quaint clipped gardens full of strange Oriental plants and beasts; and all this transported into a country of wonders, where are the gardens of the Hesperides, the fountain of Merlin, the tomb of Narcissus, the castle of Morgan-le-Fay; every quaint and beautiful fancy, antique and mediaeval, mixed up together, as in some Renaissance picture of Botticelli or Rosselli or Filippino, where knights in armour descend from Pegasus before Roman temples, where swarthy white-turbaned Turks, with oddly bunched-up trousers and jewelled caftans, and half-naked, oak-crowned youths, like genii descended, pensive and wondering, from some antique sarcophagus, and dapper princelets and stalwart knights, and citizens and monks, all crowd round the altar of some wonder-working Macone or Apolline or Trevigante; some comic, dreadful, apish figure, mummed up in half-antique, half-oriental garb. Or else we are led into some dainty, pale-tinted panel of Botticelli, where the maidens dance in white clinging clothes, strewing flowers on to the flower-freaked turf; or into some of Poliphilo's vignettes, where the gentle ladies, seated with lute and viol under vine-trellises, welcome the young gallant, or poet, or knight.

Such is the world of Boiardo. Spenser has once or twice peeped in, painted it, and given us exquisite little pictures, as that of Malecasta's castle, all hung with mythological tapestries, that of the enchanted chamber of Britomart, and those of Sir Calidore meeting the Graces and of Hellenore dancing with the Satyrs; but Spenser has done it rarely, trembling to return to his dreary allegories. Equal to these single pictures by Spenser, Boiardo has only one or two, but he keeps us permanently in the world where such pictures are painted. Boiardo is not a great artist like Spenser: but he is a wizard, which is better. He leads us, unceasingly, through the little dreamy laurelwoods, where we meet crisp-haired damsels tied to pine-trees, or terrible dragons, or enchanted wells, through whose translucent green waters we see brocaded rooms full of fair ladies; he ferries us ever and anon across shallow streams, to the castles wheregentil donzellewave their kerchiefs from the pillared belvedere; he slips us unseen into the camps and council-rooms of the splendidly trapped Saracens, like so many figures out of Filippino's frescoes; he conducts us across the bridges where giants stand warders, to the mysterious carved tombs whence issue green and crested snakes, who, kissed by a paladin, turn into lovely enchantresses; he takes us beneath the beds of rivers and through the bowels of the earth where kings and knights turned into statues of gold, sit round tables covered with jewels, illumined by carbuncles more wonderful than that of Jamschid; or through the mazes of fairy gardens, where every ear of corn, cut off, turns into a wild beast, and every fallen leaf into a bird, where hydras watch in the waters and lamias rear themselves in the grass, where Orlando must fill his helmet with roses lest he hear the voice of the sirens; where all the wonders of Antiquity—the snake-women, the Circes, the sirens, the hydras and fauns live, strangely changed into something infinitely quaint and graceful, still half-antique, yet already half-Arabian or Keltic, in the midst of the fairyland of Merlin and of Oberon—live, move, transform themselves afresh; where the golden-haired damsels and the stripling knights, delicate like Pinturicchio's Prince Charmings, gallop for ever on their enchanted coursers, within enchanted armour, invincible, invulnerable, under a sky always blue, and through an unceasing spring, ever onwards to new adventures. Adventures which the noble, gentle Castellan of Scandiano, poet and knight and humorist, philanthropical philosopher almost from sheer goodness of heart, yet a little crazy, and capable of setting all the church bells ringing in honour of the invention of the name of Rodomonte relates not to some dully ungrateful Alfonso or Ippolito, but to his own guests, his own brilliant knights and ladies, with ever and anon an effort to make them feel, through his verse, some of those joyous spring-tide feelings which bubble up in himself; as when he remembers how, "Once did I wander on a May morning in a fair flower-adorned field on a hillside overlooking the sea, which was all tremulous with light; and there, among the roses of a green thorn-brake, a damsel was singing of love; singing so sweetly that the sweetness still touches my heart; touches my heart, and makes me think of the greatdelight it was to listen;" and how he would fain repeat that song, and indeed an echo of its sweetness runs through his verse. Meanwhile, stanza pours out after stanza, adventure grows out of adventure, each more wonderful, more gorgeous than its predecessor. To which listen the ladies, with their white, girdled dresses and crimped golden locks; the youths, with their soft beardless faces framed in combed-out hair, with their daggers on their hips and their plumed hats between their fingers; and the serious bearded men, in silken robes; drawing nearer the poet, letting go lute or violin or music-book as they listen on the villa terrace or in some darkened room, where the sunset sky turns green-blue behind the pillared window, and the roses hang over the trellise of the cloister. And as they did four hundred years ago, so do we now, rejoice. The great stalwart naked forms of Greece no longer leap and wrestle or carry their well-poised baskets of washed linen before us; the mailed and vizored knights of the Nibelungen no longer clash their armour to the sound of Volker's red fiddle-bow; the glorified souls of Dante no longer move in mystic mazes of light before the eyes of our fancy. All that is gone. But here is the fairyland of the Renaissance. And thus Matteo Boiardo, Count of Scandiano, goes on, adding adventure to adventure, stanza to stanza, in his castle villa, or his palace at Ferrara. But suddenly he stops and his bright fiddle and lute music jars and ends: "While I am singing, O Redeeming God, I see all Italy set on fire by these Gauls, coming to ravage I know not what fresh place."

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