Anglo-Saxon Literature. Earle John

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СКАЧАТЬ which juvenile students usually get some taste of old Latin is Terence, in whose plays, though they are from Greek originals, something is heard of that rippling movement which has lived through the ages and still survives in Italian conversation. Reaching backwards from Terence we come to Plautus and Ennius, and then to Nævius (B.C. 274–202), who composed an epic on the first Punic war. He lamented even in his time the Grecising of his mother-tongue. He wrote an epitaph upon himself, to say that if immortals could weep for mortals, the Camenæ might well weep for Nævius, the last representative of the Latin language.

      The splendour of classical Latin was short-lived. The time of its highest elevation is called the Golden Age, of which the early period is marked by the names of Cicero and Cæsar; the latter (the Augustan period) by the names of Virgil and Horace. There is a fine forward movement in Cicero, who studied the best Greek models; but gradually there came in a taste for curious felicity suggested by the secondary Greek literature. This adorned the poetry of Virgil; but when it began to spread to the prose, though the æsthetic effect might be beautiful in a masterpiece, it was apt to be embarrassing in weaker hands. Æsthetic prose appears in its most intense and most perfect form in Tacitus, the great historian of the Silver Age. As new tastes and fashions grew, the oldest and purest models were neglected, and, however strange it may sound, Cicero and Cæsar were antiquated long before the end of the first century.

      The extreme limit of the classical period of Latin literature is the middle of the second century. The life was gone out of it before that time, but it had still a zealous representative in Fronto, the worthy and honoured preceptor of Marcus Aurelius. After this last of the Good Emperors had passed away, the reign of barbarism began to manifest itself in art and literature. The accession of Commodus was a tremendous lapse.

      The point here to be observed is that the classical Latin literature was not a natural growth, but rather the product of an artificial culture. It presents the most signal example of the great results that may spring from the enthusiastic cultivation of a foreign and superior literature. And it is of the greatest value to us as an example, because it will enable us better to understand the growth and development of Anglo-Saxon literature. For just as Latin classical literature was stimulated by the Greek, so also was Anglo-Saxon literature assisted by the influence of the Latin. And as the classical student seeks to distinguish that which is native from that which is foreign in Latin authors, so also is the same distinction of essential importance in the study of Anglo-Saxon literature.

      The influence of Greek upon Latin literature was so far like that of Latin upon Anglo-Saxon, that it was single and unmixed. But then the influence of Greek upon Latin was altogether an external and invading influence, like the influence of Latin on modern English; whereas in the case of Anglo Saxon the literary faculty was first acquired through Latin culture; the Saxons were exercised in Latin literature before they discovered the value of their own; they obtained the habits and instruments of literature through the education that Latin gave them.

Up to the end of the classical period the Latin had not yet attained, in literature, the position of a universal language. It was rather the scholastic language of the Roman aristocracy. There was but one field in which it occupied the whole area of the Roman world, and that was the field of law. To this we should add the Latin poetry, which was also absolute in its own domain. In every other subject Latin was a second and a subject literary language, the supreme language of literature being Greek. Greek was the chief literary language even of the Roman Empire. Of the two languages, Greek was by far the more convenient for general use. Human thought is naturally serial, and the language that is to be an acceptable medium of general literature must, above all things, possess the art of moving forward. In this art the Greek was far in advance of the Latin, and the curious culture which produced the Latin classics had, indeed, been productive of much artistic beauty, but had withal entangled the movement. It is not in Latin but in Greek books that the knowledge of the ancient world has been preserved. The greatest works in botany, medicine, geography, astronomy were written not in Latin but in Greek, even in the most flourishing times of the Roman power. It is sufficient to mention such names as Dioscorides, Galen, Strabo, Ptolemy. The greatest works in history, biography, travel, antiquities, ethics, philosophy were also written in Greek. Such names as Polybius, Plutarch, Josephus, Pausanias, Dionysius, Epictetus, Lucian will give the reader means of proof. Fronto could not prevail with a Roman emperor, his old pupil, to prefer Latin to Greek. Marcus Aurelius wrote his “Meditations” in Greek. The language of the infant Church, even in Italy and the West, was not Latin, but Greek. The names of the first bishops of Rome are Greek names, the Christian Scriptures are in Greek, and so is the oldest extant Liturgy—the Clementine—which seems to represent the practice of the West no less than of the East. Not only the Canonical Scriptures of the New Testament are in Greek, but also those which were partially or for a time received, as the Epistle of Clement, the Hermas, the Epistle of Barnabas. And a further set of writings beyond these and inferior to these, but ultimately of great popularity, were in Greek: I mean the legendary and romantic apocryphal writings, such as the Acts of Peter and Paul, the Acts of Pilate, and many others.1 This latter set was already growing in the second century, and reached their mature form in the time of Gregory the Great.

      It is not clear how early Latin began to be used as the official language of the Church, but everything points to an important change soon after the middle of the second century. Before that time, Justin, living at Rome, and writing (A.D. 138), for the Roman people to read, a defence of Christianity, which was addressed to the emperor Antoninus Pius, wrote it in Greek; but before long another apologetic writer, Minucius Felix, wrote in Latin. This coincides with other indications to mark a great transition in the latter half of the second century. Up to this time two languages were in literary currency, a foreign scholastic language and an æsthetic vernacular. It was chiefly the wealthy class that sustained these literary languages in Rome. When in A.D. 166 the Oriental plague was brought to Italy with the army returning from Parthia, cultivated society was wrecked, and the literary movement was greatly interrupted in both languages. This was a blow to the artificial culture of Greek in Italy, just as the plague of 1349 and following years was a blow to the artificial culture of French in England. After A.D. 166 a check was given to progress, which lasted, in the secular domain, until the sixteenth century.

      Let us spend a moment upon the sequel of the old literature, before we come to the new, which is our proper subject here.

Under the altered times that now ensued, the continuity of classicism is seen in two forms of literature—namely, philological criticism and poetry. The acknowledged model of Latin poetry was Virgil, and his greatest imitator was Claudian, who had made himself a Latin scholar by study, much as the moderns do. Claudian is commonly called the last of the heathen poets. He has also been called the transitional link between ancient and modern, between heathen and Christian poetry.2 One characteristic may be mentioned, namely, his personification of moral or personal qualities, a sort of allegory destined to flourish for many centuries, of which the first mature example appears in the “Soul’s Fight” of Prudentius, the Christian poet, who was a contemporary of Claudian. The school study of the classics produced grammars, and two authors became chiefly celebrated in this branch, namely, Donatus and Priscian. Their books were standards through the Dark and Middle Ages.3

      There was one department of prose literature in which Latin was undisturbed and unsophisticated. This was the department of law and administration. The legal diction escaped, in a great measure, from the influence of classicism; it kept on its even way through the whole period, and as it was an ordinary school subject under the empire, the language of the law books exercised great influence in the formation of the prose style that continued through the Middle Ages.

      We now come to the new Latin literature with which we are intimately concerned.

      By the side of this diminished stream of the elder literature there rose, after the middle of the second century, a new series of writings, СКАЧАТЬ