Amenities of Literature. Disraeli Isaac

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3 Among our ancestors all proper names were significant; and when they are not, we have the strongest presumptive reasons for suspecting that the name has been borrowed from some other tongue. The piety of many monks in their pilgrimages in the Holy Land would induce them to acquire some knowledge of the Hebrew or even the Chaldee—Bede read Hebrew. A scholar who has justly observed this, somewhat cabalistically has discovered that “the initial word of Genesis in Chaldee,” and printed in Hebraic characters בהדסין, exhibits the presumed name of the Saxon monk.

4 This sort of cento seems to have been a favourite fancy with this masterly versifier; for of another Anglo-Saxon bard who composed on warlike subjects, this critic says—“If the names of Patroclus and Menelaus were substituted for Byrthnoth and Godric, some of the scenes might be almost literally translated into a cento of lines from Homer.” Homer’s claim to originality, however, is secure from any critical collation with the old Saxon monk.

5 Notwithstanding the information with which I was favoured, I cannot divest myself of the notion that “the rebellion of the angels” must be more explicitly described among the Jewish traditions than yet appears; because we find allusions to it in two of the apostolical writings. In the epistle of Jude, ver. 6: “The angels which kept not their first estate, but left their own habitation, He hath reserved in everlasting chains under darkness unto the judgment of the great day.” And in Peter, ii. 4: “God spared not the angels that sinned, but cast them down to Hell, and delivered them unto chains of darkness to be reserved unto judgment.” These texts have admitted of some dispute; but it seems, however, probable that the apostles, just released from their Jewish bondage, had not emancipated themselves from the received Hebraical doctrines.

6 Paradise Lost, ii. 594.

7 Inferno, Canto iii. 5.

8 Cædmon, p. 29.

9 Paradise Lost, i. 221.

10 Paradise Lost, i. 592.

11 Paradise Lost, v. 798.

12 Guest’s “History of English Rhythms,” ii. 23.

13 This curious literary information has been disclosed by Roger Williams, the founder of the State of Rhode Island, who was despatched to England in 1651, to obtain the repeal of a charter granted to Mr. Coddington. I give this remarkable passage in the words of this Anglo-American:—“It pleased the Lord to call me for some time and with some persons to practise the Hebrew, the Greek, Latin, French and Dutch. The secretary of the council, Mr. Milton, for my Dutch I read him, read me many more languages. Grammar rules begin to be esteemed a tyranny. I taught two young gentlemen, a parliament-man’s sons, as we teach our children English—by words, phrases, and constant talk, &c.” This vague &c. stands so in the original, and leaves his “wondrous tale half-told.” “Memoirs of Roger Williams, the Founder of the State of Rhode Island, by James D. Knowles, Professor of Pastoral Duties in the Newton Theological Institution,” 1834, p. 264.

      I am indebted for this curious notice to the prompt kindness of my most excellent friend Robert Southey; a name long dear to the public as it will be to posterity; an author, the accuracy of whose knowledge does not yield to its extent.

14 Mr. Southey observes, in a letter now before me, that “Vondel’s ‘Lucifer’ was published in 1654. His ‘Samson,’ the same subject as the ‘Agonistes,’ 1661. His ‘Adam,’ 1664. Cædmon, Andreini, and Vondel, each or all, may have led Milton to consider the subject of his ‘Paradise Lost.’ But Vondel is the one who is most likely to have impressed him. Neither the Dutch nor the language were regarded with disrespect in those days. Vondel was the greatest writer of that language, and the Lucifer is esteemed the best of his tragedies. Milton alone excepted, he was probably the greatest poet then living.”

      This critical note furnishes curious dates. Milton was blind when the Lucifer was published; and there is so much of the personal feelings and condition of the poet himself in his “Samson Agonistes,” that it is probable little or no resemblance could be traced in the Hollander. The “Adam” of Milton, and the whole “Paradise” itself, was completed in 1661. As for Cædmon, I submit the present chapter to Mr. Southey’s decision.

      No great genius appears to have made such free and wise use of his reading as Milton has done, and which has led in several instances to an accusation of what some might term plagiarism. We are not certain that Milton, when not yet blind, may not have read some of those obscure modern Latin poets whom Lauder scented out.

15 Guest’s “History of English Rhythms.”

16 This speech, in which Satan appeals to and characterises his Infernals, may be read in Parfait’s analysis of the Mystery.—Hist. du Théâtre François, i. 79.

17 L’Angeleida of Valvasone, the Adamo of Andreini, and others.—Hayley’s Conjectures on the Origin of “Paradise Lost.” See also Tiraboschi, and Ginguéné.

18 These singular attempts at art may be inspected in above fifty plates, in the Archæologia, vol. xx. We may rejoice at their preservation, for art, even in the attempts of its children, may excite ideas which might not else have occurred to us.

      BEOWULF; THE HERO-LIFE.

      The Anglo-Saxon poetical narrative of “The Exploits of Beowulf” forms a striking contrast with the chronological paraphrase of Cædmon. Its genuine antiquity unquestionably renders it a singular curiosity; but it derives an additional interest from its representation of the primitive simplicity of a Homeric period—the infancy of customs and manners and emotions of that Hero-life, which the Homeric poems first painted for mankind:—that Hero-life of which Macpherson in his Ossian caught but imperfect conceptions from the fragments he may have collected, while he metamorphosed his ideal Celtic heroes into those of the sentimental romance of another age and another race.

The northern hordes under their petty chieftains, cast into a parallel position with those princes of Greece whose realms were provinces, and whose people were tribes, often resembled them in the like circumstances, the like characters, and the like manners. Such were those kinglings who could possess themselves of a territory in a single incursion, and whose younger brothers, stealing out of their lone bays, extended their dominion as “Sea-Kings” on the illimitable ocean.1 The war-ship and the mead-hall bring us back to that early era of society, when great men knew only to be heroes, flattered by their bards, whose songs are ever the echoes of their age and their patrons.

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