Epic and Romance Part 9

This difference of taste goes very far to explain the difference between English and Norse epic; to appreciate the difference of style is to understand the history of the early poetry. It was natural that the more equable form of the English and the Continental German narrative poetry should prove itself fit for extended and continuous epic narrative; it was inevitable that the Norse intolerance of tame expression, and of everything unimpa.s.sioned or unemphatic, should prevent the growth of any of the larger and slower kinds of poetry.

The triumphs of alliterative poetry in the first or English kind are the long swelling pa.s.sages of tragic monologue, of which the greatest is in the Saxon _Genesis_,--the speech of Satan after the fall from heaven. The best of the Northern poetry is all but lyrical; the poem of the Sibyl, the poems of Sigrun, Gudrun, Hervor.

The nature of the two forms of poetry is revealed in their respective manners of going wrong. The decline of the old English poetry is shown by an increase of diffuseness and insipidity. The old Norse poetry was attacked by an evil of a different sort, the malady of false wit and over-decoration. The English poetry, when it loses strength and self-control, is p.r.o.ne to monotonous lamentation; the Norse poetry is tempted to overload itself with conceits.

In the one there is excess of sentiment, in the other the contrary vice of frigidity, and a premeditated and ostentatious use of figurative expressions.

The poem of _Beowulf_ has known the insidious approach and temptation of diffuse poetic melancholy. The Northern poems are corrupted by the vanity of metaphor. To evade the right term for everything has been the aim of many poetic schools; it has seldom been attained more effectually than in the poetry of the Norwegian tongue.

Periphrastic epithets are part of the original and common stock of the Teutonic poetry. They form a large part of the vocabulary of common phrases which bear witness to the affinity existing among the remains of this poetry in all the dialects.[33]

[Footnote 33: Compare the index to Sievers's edition of the _Heliand_ for ill.u.s.trations of this community of poetical diction in old Saxon, English, Norse, and High German; and J. Grimm, _Andreas und Elene_ (1840), pp. xxv.-xliv.]

But this common device was differently applied in the end, by the two literatures, English and Icelandic, in which the old forms of verse held their ground longest against the rhyming forms. The tendency in England was to make use of the well-worn epithets, to ply the _Gradus_: the duller kind of Anglo-Saxon poetry is put together as Latin verses are made in school,--an old-fas.h.i.+oned metaphor is all the more esteemed for its age. The poets, and presumably their hearers, are best content with familiar phrases. In Iceland, on the other hand, there was an impatience of the old vocabulary, and a curiosity and search for new figures, that in the complexity and absurdity of its results is not approached by any school of "false wit" in the whole range of literature.

Already in the older forms of Northern poetry it is plain that there is a tendency to lyrical emphasis which is unfavourable to the chances of long narrative in verse. Very early, also, there are symptoms of the familiar literary plague, the corruption of metaphor. Both these tendencies have for their result the new school of poetry peculiar to the North and the courts of the Northern kings and earls,--the Court poetry, or poetry of the Scalds, which in its rise and progress involved the failure of true epic. The German and English epic failed by exhaustion in the compet.i.tion with Latin and Romance literature, though not without something to boast of before it went under. The Northern epic failed, because of the premature development of lyrical forms, first of all within itself, and then in the independent and rival modes of the Scaldic poetry.

The Scaldic poetry, though later in kind than the poems of _Codex Regius_, is at least as old as the tenth century;[34] the latest of the epic poems, _Atlamal_ (the Greenland poem of Attila), and others, show marks of the influence of Court poetry, and are considerably later in date than the earliest of the Scalds.

[Footnote 34: See _Bidrag til den aeldste Skaldedigtnings Historie_, by Dr. Sophus Bugge (1894).]

The Court poetry is lyric, not epic. The aim of the Court poets was not the narrative or the dramatic presentation of the greater heroic legends; it was the elaborate decoration of commonplace themes, such as the praise of a king, by every possible artifice of rhyme and alliteration, of hard and exact construction of verse, and, above all, of far-sought metaphorical allusions. In this kind of work, in the praise of kings alive or dead, the poet was compelled to betake himself to mythology and mythical history, like the learned poets of other nations with their mythology of Olympus. In the mythology of Asgard were contained the stores of precious names and epithets by means of which the poems might be made to glitter and blaze.[35] It was for the sake of poets like these that Snorri wrote his _Edda_, and explained the mythical references available for the modern poetry of his time, though fortunately his spirit and talent were not limited to this didactic end, nor to the pedantries and deadly brilliance of fas.h.i.+onable verse. By the time of Snorri the older kind of poetry had become very much what Chaucer was to the Elizabethan sonneteers, or Spenser to the contemporaries of Pope. It was regarded with some amount of honour, and some condescension, but it had ceased to be the right kind of poetry for a "courtly maker."

[Footnote 35: Compare _C.P.B._, ii. 447, Excursus on the Figures and Metaphors of old Northern Poetry.]

The Northern poetry appears to have run through some of the same stages as the poetry of Greece, though with insufficient results in most of them. The epic poetry is incomplete, with all its n.o.bility.

The best things of the old poetry are dramatic--lyrical monologues, like the song of the Sibyl, and Gudrun's story to Theodoric, or dialogues like those of Helgi and Sigrun, Hervor and Angantyr. Before any adequate large rendering had been accorded to those tragic histories, the Northern poetry, in its impatience of length, had discovered the idyllic mode of expression and the dramatic monologue, in which there was no excuse for weakness and tameness, and, on the contrary, great temptation to excess in emphatic and figurative language. Instead of taking a larger scene and a more complex and longer story, the poets seem to have been drawn more and more to cut short the story and to intensify the lyrical pa.s.sion of their dialogue or monologue. Almost as if they had known the horror of infinite flatness that is all about the literature of the Middle Ages, as if there had fallen upon them, in that Alean plain, the shadow of the enormous beast out of Aristotle's _Poetics_, they chose to renounce all superfluity, and throw away the makes.h.i.+ft wedges and supports by which an epic is held up. In this way they did great things, and _Volospa_ (the _Sibyl's Prophecy_) is their reward. To write out in full the story of the Volsungs and Niblungs was left to the prose compilers of the _Volsunga Saga_, and to the Austrian poet of the _Nibelungenlied_.

The _Volospa_ is as far removed from the courtly odes and their manner and ingenuity as the _Marriage Hymn_ of Catullus from the _Coma Berenices_. The _Volospa_, however, has this in common with the mechanical odes, that equally with these it stands apart from epic, that equally with these it fuses epic material into an alien form. The sublimity of this great poem of the _Doom_ is not like the majesty or strength of epic. The voice is not the voice of a teller of stories.

And it is here, not in true epic verse, that the Northern poetry attains its height.

It is no ign.o.ble form of poetry that is represented by the _Sibyl's Song_ and the _Lament of Gudrun_. But it was not enough for the ambition of the poets. They preferred the composition of correct and elaborate poems in honour of great men, with much expenditure of mythology and without pa.s.sion;[36] one of the forms of poetry which may be truly said to leave nothing to be desired, the most artificial and mechanical poetry in the world, except possibly the closely-related kinds in the traditional elaborate verse of Ireland or of Wales.

[Footnote 36: These may be found in the second volume of the _Corpus Poetic.u.m Boreale_.]

It was still possible to use this modern and difficult rhetoric, occasionally, for subjects like those of the freer epic; to choose a subject from heroic tradition and render it in the fas.h.i.+onable style.

The _Death-Song of Ragnar Lodbrok_[37] is the chief of those secondary dramatic idylls. It is marked off by difference of verse, for one thing, from the _Hamismal_ and the _Atlakvia_; and, besides this, it has the characteristic of imitative and conventional heroic literature--the unpersuasive and unconvincing force of the heroic romance, the rhetoric of Almanzor. The end of the poem is fine, but it does not ring quite true:--

The G.o.ds will welcome me; there is nothing to bewail in death. I am ready to go; they are calling me home, the maidens whom Odin has sent to call me. With gladness will I drink the ale, set high among the G.o.ds. The hours of life are gone over; laughing will I die.

[Footnote 37: _C.P.B._, ii. 339.]

It is not like the end of the sons of Gudrun; it is not of the same kind as the last words of Sorli, which are simpler, and infinitely more imaginative and true:--

We have fought; if we die to-day, if we die to-morrow, there is little to choose. No man may speak when once the Fates have spoken (_Hamismal_, s.f.).

It is natural that the _Song of Ragnar Lodbrok_ should be appreciated by modern authors. It is one of the doc.u.ments responsible for the conventional Valkyria and Valhalla of the Romantic School, and for other stage properties, no longer new. The poem itself is in spirit rather more nearly related to the work of Tegner or Oehlenschlager than to the _Volospa_. It is a secondary and literary version, a "romantic" version of ideas and images belonging to a past time, and studied by an antiquarian poet with an eye for historical subjects.[38]

[Footnote 38: Translated in Percy's _Runic Poetry_ (1763), p. 27, and often since.]

The progress of epic was not at an end in the rise of the new Court poetry that sounded sweeter in the ears of mortals than the old poems of _Sigurd_ and _Brynhild_. The conceits and the hard correctness of the Scalds did not satisfy all the curiosity or the imaginative appet.i.te of their patrons. There still remained a desire for epic, or at least for a larger and freer kind of historical discourse. This was satisfied by the prose histories of the great men of Iceland, of the kings of Norway and the lords of the Isles; histories the nearest to true epic of all that have ever been spoken without verse. That the chief of all the masters of this art should have been Snorri Sturluson, the exponent and pract.i.tioner of the mystery of the Court poets, is among the pleasantest of historical paradoxes.

The development of the Court poetry to all extremes of "false wit,"

and of glaring pretence and artificiality of style, makes the contrast all the more vivid between its brocaded stiffness and the ease and freedom of the Sagas. But even apart from the Court poetry, it is clear that there was little chance for any development of the Northern heroic poetry into an Homeric fulness of detail. In the Norse poetry, as in Greek, the primitive forms of heroic dirges or hymns give place to narrative poetry; and that again is succeeded by a new kind of lyric, in which the ancient themes of the _Lament_ and the _Song of Praise_ are adorned with the new ideas and the new diction of poets who have come to study novelty, and have entered, though with far other arms and accoutrements, on the same course as the Greek lyric authors of dithyrambs and panegyrical odes. In this progress of poetry from the unknown older songs, like those of which Tacitus speaks, to the epic form as it is preserved in the "Elder Edda," and from the epic form to the lyrical form of the Scalds, the second stage is incomplete; the epic form is uncertain and half-developed. The rise of the Court poetry is the most obvious explanation of this failure. The Court poetry, with all its faults, is a completed form which had its day of glory, and even rather more than its share of good fortune. It is the characteristic and successful kind of poetry in Iceland and Norway, just as other kinds of elaborate lyric were cultivated, to the depreciation of epic, in Provence and in Italy. It was to the Court poet that the prizes were given; the epic form was put out of favour, generations before the fragments of it were gathered together and preserved by the collector from whose books they have descended to the extant ma.n.u.scripts and the editions of the "Elder Edda."

But at the same time it may be represented that the Court poetry was as much effect as cause of the depreciation of epic. The lyrical strain declared itself in the Northern epic poetry too strongly for any such epic work as either _Beowulf_ or the _Heliand_. The bent was given too early, and there was no recovery possible. The Court poetry, in its rhetorical brilliance and its allusive phrases, as well as in the hardness and correctness of its verse, is carrying out to completion certain tastes and principles whose influence is manifest throughout the other orders of old Northern poetry; and there is no need to go to the Court poetry to explain the difference between the history of Northern and of English alliterative verse, though it is by means of the Court poetry that this difference may be brought into the strongest light. The contrast between the English liking for continuous discourse and the Norse liking for abrupt emphasis is already to be discerned in the oldest literary doc.u.ments of the two nations.

V

THE PROGRESS OF EPIC

VARIOUS RENDERINGS OF THE SAME STORY

Due (1) to accidents of tradition and impersonal causes: (2) to calculation and selection of motives by the poets, and intentional modification of traditional matter.

_Beowulf_, as the poem stands, is quite a different sort of thing from the poems in the Copenhagen ma.n.u.script. It is given out by its scribes in all the glory of a large poem, handsomely furnished with a prelude, a conclusion, and divisions into several books. It has the look of a substantial epic poem. It was evidently regarded as something considerable, as a work of eminent virtue and respectability. The Northern poems, treasured and highly valued as they evidently were, belong to a different fas.h.i.+on. In the _Beowulf_ of the existing ma.n.u.script the fluctuation and variation of the older epic tradition has been controlled by editors who have done their best to establish a text of the poem. The book has an appearance of authority. There is little of this in the Icelandic ma.n.u.script. The Northern poems have evidently been taken as they were found. Imperfections of tradition, which in _Beowulf_ would have been glossed over by an editorial process, are here left staring at the reader. The English poem pretends to be a literary work of importance--a book, in short; while the Icelandic verses are plainly gathered from all quarters, and in such a condition as to defy the best intentions of the editor, who did his best to understand what he heard, but had no consistent policy of improvement or alteration, to correct the accidental errors and discrepancies of the oral communications.

Further, and apart from the accidents of this particular book, there is in the poems, even when they are best preserved, a character of fluctuation and uncertainty, belonging to an older and less literary fas.h.i.+on of poetry than that of _Beowulf_.

_Beowulf_ has been regarded by some as a composite epic poem made out of older and shorter poems. _Codex Regius_ shows that this hypothesis is dealing with an undoubted _vera causa_ when it talks of short lays on heroic subjects, and of the variations of treatment to be found in different lays on one and the same theme, and of the possibilities of contamination.

Thus, in considering the story of Beowulf's descent under water, and the difficulties and contradictions of that story as it stands, Ten Brink has been led to suppose that the present text is made up of two independent versions, run together by an editor in a hazardous way without regard to the differences in points of detail, which still remain to the annoyance of the careful reader.

There is no great risk in the a.s.sumption that there were different versions of the fight with Grendel's mother, which may have been carelessly put together into one version in spite of their contradictions. In the _Codex Regius_ there are three different versions of the death of the Niblungs, the _Atlakvia_, _Atlamal_, and the _Lament of Oddrun_. The _Lament of Oddrun_ is vitally different from the other two poems, and these differ from one another, with regard to the motive of Atli's feud with Gunnar. It is possible for the human mind to imagine an editor, a literary man, capable of blending the poems in order to make a larger book. This would be something like the process which Ten Brink has suspected in the composition of this part of _Beowulf_. It is one thing, however, to detect the possibility of such misdemeanours; and quite another thing to suppose that it is by methods such as these that the bulk of the larger epic is swollen beyond the size of common lays or ballads. It is impossible, at any rate, by any reduction or a.n.a.lysis of _Beowulf_, to get rid of its stateliness of narrative; it would be impossible by any fusion or aggregation of the Eddic lays to get rid of their essential brevity. No acc.u.mulation of lays can alter the style from its trick of detached and abrupt suggestions to the slower and more equable mode.

That there was a growth of epic among the Teutonic nations is what is proved by all the doc.u.ments. This growth was of the same general kind as the progress of any of the great forms of literature--the Drama, the Novel. Successive generations of men, speaking the same or similar forms of language, made poetical experiments in a common subject-manner, trying different ways of putting things, and changing their forms of poetry according to local and personal variations of taste; so that the same story might be told over and over again, in different times, with different circ.u.mstances.

In one region the taste might be all for compression, for increase of the tension, for suppression of the tamer intervals in the story. In another it might run to greater length and ease, and favour a gradual explication of the plot.

The "Elder Edda" shows that contamination was possible. It shows that there might be frequent independent variations on the same theme, and that, apart from any editorial work, these versions might occasionally be shuffled and jumbled by mere accidents of recollection.

Thus there is nothing contrary to the evidence in the theory that a redactor of _Beowulf_ may have had before him different versions of different parts of the poem, corresponding to one another, more or less, as _Atlamal_ corresponds to the _Atlakvia_. This hypothesis, however, does not account for the difference in form between the English and the Northern poems. No handling of the _Atlamal_ or the _Atlakvia_ could produce anything like the appearance of _Beowulf_.

The contaminating editor may be useful as an hypothesis in certain particular cases. But the heroic poetry got on very well without him, generally speaking. It grew by a free and natural growth into a variety of forms, through the ambitions and experiments of poets.

Variety is evident in the poems that lie outside the Northern group; _Finnesburh_ is of a different order from _Waldere_. It is in the Northern collection, however, that the variety is most evident. There the independent versions of the same story are brought together, side by side. The experiments of the old school are ranged there; and the fact that experiments were made, that the old school was not satisfied with its conventions, is perhaps the most legitimate inference, and one of the most significant, to be made by a reader of the poems.

Variations on similar themes are found in all popular poetry; here again the poems of the _Edda_ present themselves as akin to ballads.

Here again they are distinguished from ballads by their greater degree of ambition and self-consciousness. For it will not do to dismiss the Northern poems on the Volsung story as a mere set of popular variations on common themes. The more carefully they are examined, the less will be the part a.s.signed to chance and imperfect recollection in producing the variety of the poems. The variation, where there are different presentations of the same subject, is not produced by accident or the casual and faulty repet.i.tion of a conventional type of poem, but by a poetical ambition for new forms. _Codex Regius_ is an imperfect monument of a time of poetical energy in which old forms were displaced by new, and old subjects refas.h.i.+oned by successive poets. As in the Athenian or the English drama the story of Oedipus or of Lear might be taken up by one playwright after another, so in the North the Northern stories were made to pa.s.s through changes in the minds of different poets.

The a.n.a.logy to the Greek and the English drama need not be forced.

Without any straining of comparisons, it may be argued that the relation of the _Atlamal_ and _Atlakvia_ is like the relation of Euripides to Aeschylus, and not so much like the variations of ballad tradition, in this respect, that the _Atlamal_ is a careful, deliberate, and somewhat conceited attempt to do better in a new way what has been done before by an older poet. The idylls of the heroines, Brynhild, Gudrun, Oddrun, are not random and unskilled variations; they are considerate and studied poems, expressing new conceptions and imaginations.

It is true that this poetry is still, in many respects, in the condition of popular poetry and popular traditional stories. The difference of plot in some versions of the same subject appears to be due to the ordinary causes that produce the variants of popular tales,--defective memory, accidental loss of one point in the story, and change of emphasis in another. To causes such as these, to the common impersonal accidents of tradition, may perhaps be referred one of the strangest of all the alterations in the bearing of a story--the variation of plot in the tradition of the Niblungs.

In the "Elder Edda" the death of the Niblungs is laid to the charge of Attila; their sister Gudrun does her best to save them; when she fails in this, she takes vengeance for them on her husband.

In the German tradition, as in the version known to Saxo in the _Nibelungenlied_, in the Danish ballad of _Grimild's Revenge_ (which is borrowed from the German), the lines are laid quite differently.