The Renaissance | Page 5

of which the nuns told that the fair Rosamond, who had died among them, had declared that, the tree being then alive and green, it would be changed into stone at the hour of her salvation. When Abelard died, like Tannh?user, he was on his way to Rome. What might have happened had he reached his journey's end is uncertain; and it is in this uncertain twilight that his relation to the general beliefs of his age has always remained. In this, as in other things, he prefigures the character of the Renaissance, that movement in [7] which, in various ways, the human mind wins for itself a new kingdom of feeling and sensation and thought, not opposed to but only beyond and independent of the spiritual system then actually realised. The opposition into which Abelard is thrown, which gives its colour to his career, which breaks his soul to pieces, is a no less subtle opposition than that between the merely professional, official, hireling ministers of that system, with their ignorant worship of system for its own sake, and the true child of light, the humanist, with reason and heart and senses quick, while theirs were almost dead. He reaches out towards, he attains, modes of ideal living, beyond the prescribed limits of that system, though in essential germ, it may be, contained within it. As always happens, the adherents of the poorer and narrower culture had no sympathy with, because no understanding of, a culture richer and more ample than their own. After the discovery of wheat they would still live upon acorns--apr��s l'invention du bl�� ils voulaient encore vivre du gland; and would hear of no service to the higher needs of humanity with instruments not of their forging.
But the human spirit, bold through those needs, was too strong for them. Abelard and Helo?se write their letters--letters with a wonderful outpouring of soul--in medieval Latin; and Abelard, though he composes songs in the vulgar tongue, writes also in Latin those [8] treatises in which he tries to find a ground of reality below the abstractions of philosophy, as one bent on trying all things by their congruity with human experience, who had felt the hand of Helo?se, and looked into her eyes, and tested the resources of humanity in her great and energetic nature. Yet it is only a little later, early in the thirteenth century, that French prose romance begins; and in one of the pretty volumes of the Biblioth��que Elzevirienne some of the most striking fragments of it may be found, edited with much intelligence. In one of these thirteenth-century stories, Li Amitiez de Ami et Amile, that free play of human affection, of the claims of which Abelard's story is an assertion, makes itself felt in the incidents of a great friendship, a friendship pure and generous, pushed to a sort of passionate exaltation, and more than faithful unto death. Such comradeship, though instances of it are to be found everywhere, is still especially a classical motive; Chaucer expressing the sentiment of it so strongly in an antique tale, that one knows not whether the love of both Palamon and Arcite for Emelya, or of those two for each other, is the chiefer subject of the Knight's Tale--
He cast his eyen upon Emelya, And therewithal he bleynte and cried, ah! As that he stongen were unto the herte.
What reader does not refer something of the [9] bitterness of that cry to the spoiling, already foreseen, of the fair friendship, which had made the prison of the two lads sweet hitherto with its daily offices?
The friendship of Amis and Amile is deepened by the romantic circumstance of an entire personal resemblance between the two heroes, through which they pass for each other again and again, and thereby into many strange adventures; that curious interest of the Doppelg?nger, which begins among the stars with the Dioscuri, being entwined in and out through all the incidents of the story, like an outward token of the inward similitude of their souls. With this, again, is connected, like a second reflection of that inward similitude, the conceit of two marvellously beautiful cups, also exactly like each other--children's cups, of wood, but adorned with gold and precious stones. These two cups, which by their resemblance help to bring the friends together at critical moments, were given to them by the Pope, when he baptized them at Rome, whither the parents had taken them for that purpose, in gratitude for their birth. They cross and recross very strangely in the narrative, serving the two heroes almost like living things, and with that well-known effect of a beautiful object, kept constantly before the eye in a story or poem, of keeping sensation well awake, and giving a certain air of refinement to