“Our own tongue should be written clean and pure, unmixt and unmangled with borrowing of other tongues, wherein, if we take not heed, by time, ever borrowing and never paying, she shall be fain to keep her house as bankrupt. For then doth our tongue naturally and praisably utter her meaning, when she borroweth no counterfeitness of other tongues to attire herself withal; but used plainly her own, with such shift as nature, craft, experience, and following of other excellent, doth lead her unto; and if she want at any time (as, being imperfect, she must), yet let her borrow with such bashfulness that it may appear, that if either the mould of our own tongue could serve us to fashion a word of our own, or if the old denizened words could content and ease this need, we would not boldly venture on unknown words. This I say, not for reproof of you, who have scarcely and necessarily used, where occasion seemeth, a strange word so, as it seemeth to grow out of the matter, and not to be sought for; but for my own defence, who might be counted overstraight a deemer of things, if I give not this account to you, my friend, of my marring this your handy work.”
Such was the tone even of our primitive critics! the terrors of neologism were always before their eyes. All those accessions of the future opulence of the vernacular language were either not foreseen or utterly proscribed, while, at the same time, the wants and imperfections of the language, amid all its purity or its poverty, were felt and acknowledged. We perceive that even this stern champion of his vernacular idiom confesses that “he may want at time, being imperfect, and must borrow with bashfulness.” The cries of the critics suddenly break on us. Another contemporary critic of not inferior authority laments that “there seemed to be no mother-tongue.” “The far-journeyed gentlemen” returned home not only in love with foreign fashions, but equally fond “to powder their talk with over-sea language.” There was French-English, and English Italianated. Professional men disfigured the language by conventional pedantries; the finical courtier would prate “nothing but Chaucer.” “The mystical wisemen and the poetical clerks delivered themselves in quaint proverbs and blind allegories.”5 The pedantic race, in their furious Latinisms, bristling with polysyllabic pomposity, deemed themselves fortunate when they could fall upon “dark words,” which our critic aptly describes “catching an ink-horn term by the tail.” The eloquence of the more volatile fluttered in the splendid patches of modern languages. It seemed as if there were to be no longer a native idiom, and the good grain was choked up by the intruding cockle which flourished by its side. Another contemporary critic announces that “our English tongue was a gallimaufry or hodge-podge of all other speeches.” Arthur Golding grieves over the disjected members of the language:—
| “Our English tongue driven almost out of kind (nature), Dismember’d, hack’d, maim’d, rent, and torn, Defaced, patch’d, marr’d, and made in scorn.” |
A critic who has left us “An Arte of English Poetry,” written perhaps about 1550 or 1560, exhorting the poet to render his language, which, however, he never could in his own verses, “natural, pure, and the most usual of all his country,” seemed at a loss where to fix on the standard of style. He would look to the Court to be the modellers of speech, but there he acknowledges that “the preachers, the secretaries, and travellers,” were great corrupters, and not less “our Universities, where scholars use much peevish affectation of words out of the primitive languages.” The coarse bran of our own native English was, however, to be sifted; but where was the genuine English idiom to be gathered? Our fastidious critic remonstrates against “the daily talk of northern men.” The good southern was that “we of Middlesex or Surrey use.” Middlesex and Surrey were then to regulate the idiom of all British men! and all our England was doomed to barbarism, as it varied from “the usual speech of the Court, and that of London within sixty miles, and not much above.” But was our English more stable within this assigned circumference of the metropolis than any other line of demarcation? About 1580, Carew informs us that “Within these sixty years we have incorporated so many Latin and French words as the third part of our language consisteth in them.”
Some there were among us who, alarmed that such ceaseless infusions were polluting the native springs of English, would look back with veneration and fondness on our ancient masters. Our great poet Spenser,6 then youthful, declared that the language of Chaucer was the purest English; and our bard hailed, in a verse often quoted by the critics—
Dan Chaucer, well of English undefiled.
But in this well are deposited many waters. Chaucer has been accused of having enriched the language with the spoils of France, blending the old Saxon with the Norman-French and the modern Gallic of his day, for which he has been vehemently censured by the austerity of philological antiquaries. Skinner and his followers have condemned Chaucer for introducing “a waggon-load of words,” and have proclaimed that Chaucer “wrote the language of no age;” a reproach which has been transferred to our Spenser himself, who has transplanted many an exotic into the English soil, and re-cast many an English word for the innocent forgery of a rhyme! So that two of the finest geniuses in our literature, for recasting the language, must lay their heads down to receive the heavy axe of verbal pedantry.
Descending a complete century, in 1656 we are surprised at discovering Heylin, at a period relatively modern, reiterating the language of his ancient predecessors. This latter critic published his animadversions on the pedantic writings of Hamon L’Estrange, who had opened on us a floodgate of Latinisms. Heylin observes: “More French and Latin words have gained ground upon us since the middle of Queen Elizabeth’s reign than were admitted by our ancestors, not only since the Norman, but the Roman conquest.” This was written before the Restoration of Charles the Second, when we were to be overrun by Gallicisms. This complaint did not cease with Heylin, for it has often been renewed. Heylin drew up in alphabetical order the uncouth and unusual words which are to be found in Hamon L’Estrange’s “History,” and yet many of these foreigners since the days of Heylin have become denizens. So unsettled were the notions of our philology with regard to style, that L’Estrange could venture in his rejoinder, which contains sufficient vinaicre, as he writes it, a defence of these hard words, which is entertaining. “As to those lofty words, I declare to all the world this not uningenuous acknowledgment, that having conversed with authors of the noblest and chief remark in several languages, not only their notions but their very words especially being of the most elegant import, became at length so familiar with me, as when I applied myself to this present work I found it very difficult to renounce my former acquaintance with them; but as they freely offered themselves, so I entertained them upon these considerations. First, I was confident that among learned men they needed no other passe than their own extraction; and for those who were mere English readers I saw no reason they should wonder at them, considering that for their satisfaction I had sent along with every foreigner his interpreter, to serve instead of a dictionary.” Hamon L’Estrange’s “Life of Charles I.” was certainly a piece of infelicitous pedantry, as we may judge by this specimen.7
Even great authors glanced with a suspicious eye on these vicissitudes of language, not without a conviction that they themselves were personally interested in these uncertain novelties. It would seem as if Milton, from the new invasion of Gallic words and Gallic airiness which broke in at the Restoration, had formed some uneasy anticipations that his own learned diction and sublime form of poetry might suffer by the transition, and that Milton himself might become as obsolete as some of his great predecessors appeared to his age. The nephew of Milton, in the preface to his “Theatrum Poetarum,” where the critical touch of the great master