Andreas: The Legend of St. Andrew | Page 4

omitted the sign of the cross? We are unable
to answer until we read in the Beowulf (721) that at the coming of the
monster Grendel to Heorot "the door quickly opened ... soon as he
touched it with his hands."
[Sidenote: The Poem as a Work of Art.]

How shall we rank the Legend of St. Andrew among the other poems of
the Anglo-Saxons? and what are its chief merits as a work of art? The
Old English epics may be divided into two general classes: the heroic
epic, of which the Beowulf is the chief example; and the larger group of
religious epics, including the poems of Cynewulf, of Pseudo-Cædmon,
the Judith_, and the _Andreas.
In spite of occasional Christian interpolations the Beowulf is essentially
pagan, the expression of English sentiments and ideals before
Augustine led his little band of chanting monks through the streets of
Canterbury. In the Andreas we see better, perhaps, than in any of the
religious epics, these same sentiments and ideals softened and ennobled
by the sweet spirit of the Christian religion. We see the conversion of
England in the very process of its accomplishment. We see the beauties
of Paganism and those of Christianity blending with each other, much
as the Medieval and the Renaissance are blended in Spenser. In the one
aspect Andrew is the valiant hero, like Beowulf, crossing the sea to
accomplish a mighty deed of deliverance; in the other he is the saintly
confessor, the patient sufferer, whose whole trust is in the Lord.
If we compare the poem with the other epics of its class, its most
formidable competitors are the anonymous Judith and Cynewulf's
Christ_. But _Judith, though unquestionably more brilliant, is but a
fragment of 350 lines, and the Christ, in spite of its many beautiful
passages, is entirely lacking in movement. The Andreas is complete,
and, if we except the long dialogue of Andrew and the Lord at sea,
moves steadily towards the end with considerable variety of action. If
the characterization is crude, the descriptions are vivid, the speeches
are often vigorous, and the treatment of nature is throughout charming.
It seems to me eminently suited by its subject and manner to stand as
an example of the Old English religious epic, an example of a form of
literature with which every serious student of our English poetry should
be familiar. For English literature does not begin with Chaucer. He who
would understand it well must know it also in its purer English form
before the coming of the Normans.
[Sidenote: The Argument.]

It only remains to give a brief synopsis of the poem. It has fallen to the
lot of Matthew to preach the Gospel to the cannibal Mermedonians;
they seize him and his company, binding him and casting him into
prison, where he is to remain until his turn comes to be eaten (1-58). He
prays to God for help, and the Lord sends Andrew to deliver him
(59-234). Andrew and his disciples come to the seashore and find a
bark with three seamen, who are in reality the Lord and His two angels.
On learning that Andrew is a follower of Jesus, the shipmaster agrees to
carry him to Mermedonia (234-359). A storm arises, at which the
disciples of Andrew are greatly terrified; he reminds them how Christ
stilled the tempest, and they fall asleep (360-464). A dialogue ensues,
in which Andrew relates to the shipmaster many of Christ's miracles
(465-817). He falls asleep, and is carried by the angels to Mermedonia.
On awaking, he beholds the city, and his disciples sleeping beside him.
They relate to him a vision which they had seen. The Lord appears and
bids him enter the city, covering him with a cloud (818-989). He
reaches the prison, the doors of which fly open at his touch, and rescues
Matthew, whom he sends away with all his company (990-1057). The
Mermedonians, confronted with famine, choose one of their number by
lot to serve as food for the rest. He offers his son as a substitute, but, as
the heathen are about to slay their victim, Andrew interposes and
causes their weapons to melt away like wax (1058-1154). Instigated by
the Devil, they seize Andrew, and for three days subject him to the
most cruel torments (1155-1462). On the fourth the Lord comes to his
prison and heals him of his wounds. Beside the prison wall Andrew
sees a marble pillar, which, at his command, sends forth a great flood,
destroying many of the people (1462-1575). Andrew takes pity upon
them and causes the flood to cease. The mountain is cleft and swallows
up the waters, together with fourteen of the worst of the heathen. The
others are restored to life and baptized. After building a church and