The Renaissance: Studies in Art and Poetry. Walter Pater

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СКАЧАТЬ walking, he was carried on into the midst of his enemies, and heard them talking together how they might most conveniently kill him.

      One of the strongest characteristics of that outbreak of the reason and the imagination, of that assertion of the liberty of the heart, in the middle age, which I have termed a medieval Renaissance, was its antinomianism, its spirit of rebellion and revolt against the moral and religious ideas of the time. In their search after the pleasures of the senses and the imagination, in their care for beauty, in their worship of the body, people were impelled beyond the bounds of the Christian ideal; and their love became sometimes a strange idolatry, a strange rival religion. It was the return of that ancient Venus, not dead, but only hidden for a time in the caves of the Venusberg, of those old pagan gods still going to and fro on the earth, under all sorts of disguises. And this element in the middle age, for the most part ignored by those writers who have treated it pre-eminently as the "Age of Faith"—this rebellious and antinomian element, the recognition of which has made the delineation of the middle age by the writers of the Romantic school in France, by Victor Hugo for instance in Notre-Dame de Paris, so suggestive and exciting, is found alike in the history of Abelard and the legend of Tannhaeuser. More and more, as we come to mark changes and distinctions of temper in what is often in one all-embracing confusion called the middle age, this rebellious element, this sinister claim for liberty of heart and thought, comes to the surface. The Albigensian movement, connected so strangely with the history of Provencal poetry, is deeply tinged with it. A touch of it makes the Franciscan order, with its poetry, its mysticism, its "illumination," from the point of view of religious authority, justly suspect. It influences the thoughts of those obscure prophetical writers, like Joachim of Flora, strange dreamers in a world of flowery rhetoric of that third and final dispensation of a "spirit of freedom," in which law shall have passed away. Of this spirit Aucassin and Nicolette contains perhaps the most famous expression: it is the answer Aucassin gives when he is threatened with the pains of hell, if he makes Nicolette his mistress. A creature wholly of affection and the senses, he sees on the way to paradise only a feeble company of aged priests, "clinging day and night to the chapel altars," barefoot or in patched sandals. With or even without Nicolette, "his sweet mistress whom he so much loves," he, for his part, is ready to start on the way to hell, along with "the good scholars," as he says, and the actors, and the fine horsemen dead in battle, and the men of fashion,* and "the fair courteous ladies who had two or three chevaliers apiece beside their own true lords," all gay with music, in their gold and silver and beautiful furs—"the vair and the grey."

      *Parage, peerage—which came to signify all that ambitious youth affected most on the outside of life, in that old world of the Troubadours, with whom this term is of frequent recurrence.

      But in the House Beautiful the saints too have their place; and the student of the Renaissance has this advantage over the student of the emancipation of the human mind in the Reformation, or the French Revolution, that in tracing the footsteps of humanity to higher levels, he is not beset at every turn by the inflexibilities and antagonisms of some well-recognised controversy, with rigidly defined opposites, exhausting the intelligence and limiting one's sympathies. The opposition of the professional defenders of a mere system to that more sincere and general play of the forces of human mind and character, which I have noted as the secret of Abelard's struggle, is indeed always powerful. But the incompatibility of souls really "fair" is not essential; and within the enchanted region of the Renaissance, one needs not be for ever on one's guard: here there are no fixed parties, no exclusions: all breathes of that unity of culture in which "whatsoever things are comely" are reconciled, for the elevation and adorning of our spirits. And just in proportion as those who took part in the Renaissance become centrally representative of it, just so much the more is this condition realised in them. The wicked popes, and the loveless tyrants, who from time to time became its patrons, or mere speculators in its fortunes, lend themselves easily to disputations, and, from this side or that, the spirit of controversy lays just hold upon them. But the painter of the Last Supper, with his kindred, live in a land where controversy has no breathing-place, and refuse to be classified. In the story of Aucassin and Nicolette, in the literature which it represents, the note of defiance, of the opposition of one system to another, is sometimes harsh: let me conclude with a morsel from Amis and Amile, in which the harmony of human interests is still entire. For the story of the great traditional friendship, in which, as I said, the liberty of the heart makes itself felt, seems, as we have it, to have been written by a monk—La vie des saints martyrs Amis et Amile. It was not till the end of the seventeenth century that their names were finally excluded from the martyrology; and their story ends with this monkish miracle of earthly comradeship, more than faithful unto death:—

      "For, as God had united them in their lives in one accord, so they were not divided in their death, falling together side by side, with a host of other brave men, in battle for King Charles at Mortara, so called from that great slaughter. And the bishops gave counsel to the king and queen that they should bury the dead, and build a church in that place; and their counsel pleased the king greatly; and there were built there two churches, the one by commandment of the king in honour of Saint Oseige, and the other by commandment of the queen in honour of Saint Peter.

      "And the king caused the two chests of stone to be brought in the which the bodies of Amis and Amile lay; and Amile was carried to the church of Saint Peter, and Amis to the church of Saint Oseige; and the other corpses were buried, some in one place and some in the other. But lo! next morning, the body of Amile in his coffin was found lying in the church of Saint Oseige, beside the coffin of Amis his comrade. Behold then this wondrous amity, which by death could not be dissevered!

      "This miracle God did, who gave to His disciples power to remove mountains. And by reason of this miracle the king and queen remained in that place for a space of thirty days, and performed the offices of the dead who were slain, and honoured the said churches with great gifts: and the bishop ordained many clerks to serve in the church of Saint Oseige, and commanded them that they should guard duly, with great devotion, the bodies of the two companions, Amis and Amile."

      1872.

PICO DELLA MIRANDOLA

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      No account of the Renaissance can be complete without some notice of the attempt made by certain Italian scholars of the fifteenth century to reconcile Christianity with the religion of ancient Greece. To reconcile forms of sentiment which at first sight seem incompatible, to adjust the various products of the human mind to each other in one many-sided type of intellectual culture, to give humanity, for heart and imagination to feed upon, as much as it could possibly receive, belonged to the generous instincts of that age. An earlier and simpler generation had seen in the gods of Greece so many malignant spirits, the defeated but still living centres of the religion of darkness, struggling, not always in vain, against the kingdom of light. Little by little, as the natural charm of pagan story reasserted itself over minds emerging out of barbarism, the religious significance which had once belonged to it was lost sight of, and it came to be regarded as the subject of a purely artistic or poetical treatment. But it was inevitable that from time to time minds should arise, deeply enough impressed by its beauty and power to ask themselves whether the religion of Greece was indeed a rival of the religion of Christ; for the older gods had rehabilitated themselves, and men's allegiance was divided. And the fifteenth century was an impassioned age, so ardent and serious in its pursuit of art that it consecrated everything with which art had to do as a religious object. The restored Greek literature had made it familiar, at least in Plato, with a style of expression concerning the earlier gods, which had about it much of the warmth and unction of a Christian hymn. It was too familiar with such language to regard mythology as a mere story; and it was too serious to play with a religion.

      "Let me briefly remind the reader"—says Heine, in the Gods in Exile, an essay full of that strange blending of sentiment which is characteristic of the traditions of the middle age СКАЧАТЬ