The Bridling of Pegasus: Prose Papers on Poetry. Alfred Austin
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briefly what I mean by this Feminine Note, I should say that I mean the private or domestic note, the compassionate note or note of pity, and the sentimental note or note of romantic love.
Now I am well aware there are numbers of people who look on poetry as something essentially and necessarily feminine, and who will say, “What do you mean by speaking of the Feminine Note in English poetry? Surely it has no other note, poetry being an effeminate business altogether, with which men, real robust men, need not concern themselves.” The people who hold this opinion can have but a very limited acquaintance with English poetry, and a yet more limited familiarity with the poetry of other ages and other nations that has come down to us. As a matter of fact, though the feminine note has rarely, if ever, been wholly absent from poetry, it is only of late years comparatively that it has become a very audible note. I should be carried too far away from my subject if I attempted to demonstrate the accuracy of this assertion by a survey, however rapid, of all the best-known poetry in languages, dead and living, of other times and other peoples. But to cite one or two familiar examples, is the feminine note, I may ask, the predominant, or even a frequent, note in the Iliad? The poem opens, it is true, with a dispute among the Argive chiefs, and mainly between Agamemnon and Achilles, concerning two young women. But how quickly Chryseis and Bryseis fall into the background, and in place of any further reference to them, we have a tempest of manly voices, the clang of arms, the recriminations of the Gods up in Olympus, and the cataloguing of the Grecian ships! Lest perhaps tender interest should be absent overmuch, just when Paris is being worsted in his duel with Menelaus for the determination of the siege, Venus carries him off under cover of a cloud, and brings Helen to his side. Then follows a scene in which the fair cause of strife and slaughter stands distracted between her passion for Paris, her shame at his defeat and flight, and her recollection of the brave Argive Chief she once called her lord. But more fighting promptly supervenes, and, save in such a passing episode as the lovely leave-taking of Hector and Andromache, the poem moves on through a magnificent medley of fighting, plotting, and speech-making. Even in that exceptionally tender episode what are the farewell words of Hector to his wife, “Go to your house and see to your own duties, the loom and the distaff, and bid your handmaidens perform their tasks. But for war shall man provide.” It is over the dead body of Patroclus that Achilles weeps; and whatever tears are shed in the Iliad are shed by heroes for heroes. Life, as represented in that poem, is a life in which woman plays a shadowy and insignificant part, and wherein domestic sentiments are subordinated to the rivalries of the Gods and the clash of chariot-wheels.
This subordinating of woman to man, of individual aims and private feelings to great aims and public issues, is equally present in the great Latin poem, the Æneid. “Arms and the Man, I sing,” says Virgil at once, and in the very first line of his poem; and though in one book out of the twelve of which it consists he sings of the woman likewise, it is but to leave her to her fate and to liberate Æneas from her seductions. Virgil is rightly esteemed the most tender and refined writer of antiquity. Yet to the modern reader, accustomed to the feminine note in poetry, there is something amazingly callous, almost cruel, in the lines with which, while the funeral pyre of Dido is still smoking, he tells us how Æneas, without a moment’s hesitation, makes for the open sea, and sails away from Carthage. But then the main business of Æneas was not to soothe or satisfy the Carthaginian queen, but to build the city and found the Empire of Rome. “Spirits,” says Shakespeare, “are not finely touched save to fine issues”; and it never would have occurred to Virgil to allow the hero of the Æneid to be diverted from his masculine purpose by anything so secondary as the love, or even the self-immolation, of a woman.
Let us, however, overleap the intervening centuries, and betake ourselves to the poetry of our own land and our own language. Chaucer, the first great English poet, was, like all writers of supreme genius, a prolific and voluminous writer, and we have thousands of verses of his besides the Prologue to the Canterbury Tales. But it is by this latter work that he is best known; and it is pre-eminently and adequately representative, both of his own genius and of the temper of the times in which he lived. You will have to hunt very diligently through his description of the Knight, the Squire, the Yeoman, the Prioress, the Monk, the Merchant, the Sergeant of the Law, the Franklin, the Miller, the Manciple, and the rest of his jovial company, in order to find anything approaching the feminine note. He says little about what any of them thought, and absolutely nothing concerning what they felt, but confines himself to descriptions of their personal appearance, of their conduct and their character, in a word, of their external presentation of themselves. The Knight who wore a doublet all stained by his coat of mail, was well mounted, and had ridden far, no man farther. The Squire, or page, had curly locks, and had borne himself well in Flanders and Picardy. The Yeoman bore a weighty bow, handled his arrows and tackle in admirable fashion, and was dressed in a coat of green. The Monk was fat and in good case, and loved a roast swan more than any other dish. The Friar, we are told, had made many a marriage at his own cost, and would get a farthing out of a poor widow, though she had only one shoe left. The Franklin had a white beard and a high complexion, kept a capital table, and blew up his cook loudly if the sauces were not to his liking. The Wife of Bath had married five husbands, not to speak of other company in her youth; and the Sumpnor loved garlic, onions, and leeks, had a fiery face, and doated on strong wine. There is nothing very feminine in all this, is there? The one sole touch of tenderness that I can remember, and it is very elementary and introduced quite casually, is that in which we are told that the Prioress is so full of pity that she would weep if she saw a mouse caught in a trap. One can easily surmise what sort of tales would proceed from such downright, hearty, unromantic personages; and, save where any of them recite well-known stories from ancient poets, their own narratives are as buxom, burly, and as unsentimental as themselves. If princes and princesses, fine lords and ladies, be the heroes and heroines of the Tale, a certain amount of conventional pity is extended to their woes. But if the personages of the story be, as they for the most part are, common folk, and such as the story-tellers themselves would be likely to know, their misfortunes and mishaps are used merely as a theme for mirth and merciless banter. The humour displayed is excellent, but it is not the humour of charity. It is not compassionate, and it is not feminine. The feminine note is not absent from Chaucer’s Tales, but it is generally a subordinate note, a rare note, a note scarcely heard in his great concert of masculine voices.
Passing from the pages of Chaucer to those of Spenser is like passing from some cheery tavern where the ale is good and the jokes are excellent, but a trifle coarse, and the company diverting but a little mixed, to the banqueting-hall of some stately palace, where the wines and meats are of the choicest, where all the guests are of high degree, the women all fair, the men all courtly, and where fine manners and dignified speech leave no place for loud lewd laughter or even for homely familiarity. Surely in one who is such a poet, and such a gentleman, and in every respect, to quote a line of his own “a very perfect gentle knight,” we shall come across, ever and anon at least, the feminine note. And indeed we do. The first three stanzas of the Fairy Queen are dedicated to the description of the Knight that was pricking on the plain. But listen to the fourth:
A lovely lady rode him fair beside,
Upon a lowly ass more white than snow;
Yet she much whiter; but the same did hide
Under a veil that wimpled was full low,
And over all a black stole did she throw;
As one that inly mourned, so was she sad,
And heavy sate upon her palfrey slow.
Seemëd at heart some hidden care she had.
And by her in a line a milk-white lamb she lad.
So pure and innocent as that same lamb
She was, in life and every virtuous lore.
She by descent from royal lineage came.
Her name, as doubtless you well know, was Una, and, when by foul enchantment she is severed a while from her true knight, harken with what a truly feminine note Spenser bewails her misfortune:
Nought is there under heaven’s wide hollowness
Did recover more dear compassion of the mind
Than beauty brought