The Flourishing of Romance and the Rise of Allegory | Page 2

Welsh and Irish I know only in translations. Now it so happens that--for the period--French is, more than at any other time, the capital literature of Europe. Very much of the rest is directly translated from it; still more is imitated in form. All the great subjects, the great mati��res, are French in their early treatment, with the exception of the national work of Spain, Iceland, and in part Germany. All the forms, except those of the prose saga and its kinsman the German verse folk-epic, are found first in French. Whosoever knows the French literature of the twelfth and thirteenth centuries, knows not merely the best literature in form, and all but the best in matter, of the time, but that which all the time was imitating, or shortly about to imitate, both in form and matter.
Again, England presents during this time, though no great English work written "in the English tongue for English men," yet the spectacle, unique in history, of a language and a literature undergoing a sea-change from which it was to emerge with incomparably greater beauty and strength than it had before, and in condition to vie with--some would say to outstrip--all actual or possible rivals. German, if not quite supreme in any way, gives an interesting and fairly representative example of a chapter of national literary history, less brilliant and original in performance than the French, less momentous and unique in promise than the English, but more normal than either, and furnishing in the epics, of which the Nibelungenlied and Kudrun are the chief examples, and in the best work of the Minnesingers, things not only of historical but of intrinsic value in all but the highest degree.
Proven?al and Icelandic literature at this time are both of them of far greater intrinsic interest than English, if not than German, and they are infinitely more original. But it so happens that the prominent qualities of form in the first, of matter and spirit in the second, though intense and delightful, are not very complicated, various, or wide-ranging. If monotony were not by association a question-begging word, it might be applied with much justice to both: and it is consequently not necessary to have read every Icelandic saga in the original, every Proven?al lyric with a strictly philological competence, in order to appreciate the literary value of the contributions which these two charming isolations made to European history.
Yet again, the production of Spain during this time is of the smallest, containing, perhaps, nothing save the Poem of the Cid, which is at once certain in point of time and distinguished in point of merit; while that of Italy is not merely dependent to a great extent on Proven?al, but can be better handled in connection with Dante, who falls to the province of the writer of the next volume. The Celtic tongues were either past or not come to their chief performance; and it so happens that, by the confession of the most ardent Celticists who speak as scholars, no Welsh or Irish texts affecting the capital question of the Arthurian legends can be certainly attributed to the twelfth or early thirteenth centuries. It seemed to me, therefore, that I might, without presumption, undertake the volume. Of the execution as apart from the undertaking others must judge. I will only mention (to show that the book is not a mere compilation) that the chapter on the Arthurian Romances summarises, for the first time in print, the result of twenty years' independent study of the subject, and that the views on prosody given in chapter v. are not borrowed from any one.
I have dwelt on this less as a matter of personal explanation, which is generally superfluous to friends and never disarms foes, than in order to explain and illustrate the principle of the Series. All its volumes have been or will be allotted on the same principle--that of occasionally postponing or antedating detailed attention to the literary production of countries which were not at the moment of the first consequence, while giving greater prominence to those that were: but at the same time never losing sight of the general literary drift of the whole of Europe during the whole period in each case. It is to guard against such loss of sight that the plan of committing each period to a single writer, instead of strapping together bundles of independent essays by specialists, has been adopted. For a survey of each time is what is aimed at, and a survey is not to be satisfactorily made but by one pair of eyes. As the individual study of different literatures deepens and widens, these surveys may be more and more difficult: they may have to be made more and more "by allowance." But they are also more