Selections from the Prose Works of Matthew Arnold. Arnold Matthew

its productions in the langue d'oïl and its productions in the langue d'oc, the poetry of the langue d'oc,90 of southern France, of the troubadours, is of importance because of its effect on Italian literature;—the first literature of modern Europe to strike the true and grand note, and to bring forth, as in Dante and Petrarch it brought forth, classics. But the predominance of French poetry in Europe, during the twelfth and thirteenth centuries, is due to its poetry of the langue d'oïl, the poetry of northern France and of the tongue which is now the French language. In the twelfth century the bloom of this romance-poetry was earlier and stronger in England, at the court of our Anglo-Norman kings, than in France itself. But it was a bloom of French poetry; and as our native poetry formed itself, it formed itself out of this. The romance-poems which took possession of the heart and imagination of Europe in the twelfth and thirteenth centuries are French; "they are," as Southey justly says, "the pride of French literature, nor have we anything which can be placed in competition with them." Themes were supplied from all quarters: but the romance-setting which was common to them all, and which gained the ear of Europe, was French. This constituted for the French poetry, literature, and language, at the height of the Middle Age, an unchallenged predominance. The Italian Brunetto Latini,91 the master of Dante, wrote his Treasure in French because, he says, "la parleure en est plus délitable et plus commune à toutes gens." In the same century, the thirteenth, the French romance-writer, Christian of Troyes,92 formulates the claims, in chivalry and letters, of France, his native country, as follows:—

        "Or vous ert par ce livre apris,

        Que Gresse ot de chevalerie

        Le premier los et de clergie;

        Puis vint chevalerie à Rome,

        Et de la clergie la some,

        Qui ore est en France venue.

        Diex doinst qu'ele i soit retenue

        Et que li lius li abelisse

        Tant que de France n'isse

        L'onor qui s'i est arestee!"

      "Now by this book you will learn that first Greece had the renown for chivalry and letters: then chivalry and the primacy in letters passed to Rome, and now it is come to France. God grant it may be kept there; and that the place may please it so well, that the honor which has come to make stay in France may never depart thence!"

      Yet it is now all gone, this French romance-poetry, of which the weight of substance and the power of style are not unfairly represented by this extract from Christian of Troyes. Only by means of the historic estimate can we persuade ourselves now to think that any of it is of poetical importance.

      But in the fourteenth century there comes an Englishman nourished on this poetry; taught his trade by this poetry, getting words, rhyme, meter from this poetry; for even of that stanza93 which the Italians used, and which Chaucer derived immediately from the Italians, the basis and suggestion was probably given in France. Chaucer (I have already named him) fascinated his contemporaries, but so too did Christian of Troyes and Wolfram of Eschenbach.94 Chaucer's power of fascination, however, is enduring; his poetical importance does not need the assistance of the historic estimate; it is real. He is a genuine source of joy and strength, which is flowing still for us and will flow always. He will be read, as time goes on, far more generally than he is read now. His language is a cause of difficulty for us; but so also, and I think in quite as great a degree, is the language of Burns. In Chaucer's case, as in that of Burns, it is a difficulty to be unhesitatingly accepted and overcome.

      If we ask ourselves wherein consists the immense superiority of Chaucer's poetry over the romance-poetry—why it is that in passing from this to Chaucer we suddenly feel ourselves to be in another world, we shall find that his superiority is both in the substance of his poetry and in the style of his poetry. His superiority in substance is given by his large, free, simple, clear yet kindly view of human life,—so unlike the total want, in the romance-poets, of all intelligent command of it. Chaucer has not their helplessness; he has gained the power to survey the world from a central, a truly human point of view. We have only to call to mind the Prologue to The Canterbury Tales. The right comment upon it is Dryden's: "It is sufficient to say, according to the proverb, that here is God's plenty."95 And again: "He is a perpetual fountain of good sense." It is by a large, free, sound representation of things, that poetry, this high criticism of life, has truth of substance; and Chaucer's poetry has truth of substance.