Amenities of Literature. Disraeli Isaac
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was a mailed knight, and his gilded ensign hung like a meteor in the air, and none knew the fate it portended. The warder of the coast, for in those days many a warder kept “ocean-watch” on the sea-cliffs, takes horse, and hastens to the invader; fearlessly he asks, “Whence, and what are ye? Soonest were best to give me answer.”
The hero had come not to seek feud, nor to provoke insult, but with the free offering of his own life to relieve the sovereign of the Eastern Danes, whose thanes, for twelve years, had vainly perished, struggling with a mysterious being—one of the accursed progeny of Cain—a foul and solitary creature of the morass and the marsh. In the dead of the night this enemy of man, envious of glory and abhorrent of pleasure, glided into the great hall of state and revelry, raging athirst for the blood of the brave there reposing in slumber. The tale had spread in songs through all Gothland. This life-devourer, who comes veiled in a mist from the marshes, may be some mythic being; but though monstrous, it does little more than play the part of the Polyphemus of antiquity and the Ogre of modern fairyism.
In the timber-palace chambers were but small and few, and the guests of the petty sovereign slept in the one great hall, under whose echoing roof the Witenagemot assembled, and the royal banquet was held; there each man had his “bed and bolster” laid out, with his shield at his head, and his helmet, breastplate, and spear placed on a rack beside him—“at all times ready for combat both in house and field.”
This scene is truly Homeric; and thus we find in the early state of Greece, for the historian records this continual wearing of armour, like the barbarians, because “their houses were unfenced, and travelling was unsafe.”5
The watchman of the seas leaves not the coast, duteous in his lonely cares; while Beowulf, with his companions, marches onwards. They came to where the streets were paved; an indication in that age of a regal residence. The iron rings in their mailed coats rang as they trod in their “terrible armour.” They reach the king’s house; they hang up their shields against the lofty wall. They seat themselves on a bench, placing in a circle their mailed coats, their bucklers, and their javelins. This warlike array called forth an Ulysses, “famed for war and wisdom;” they parley; the thane hastens to announce the warlike but the friendly visitor; and the hero, so famed for valour, yet would not obtrude his person, standing behind the thane, “for he knew the rule of ceremony.” The prince of the East Danes joyfully exclaims, that “he had known Beowulf when a child; he remembered the name of his father, who married the only daughter of Hrethel the Goth. It is said that he has the strength of thirty men in the grip of his hand. God only could have sent him.”
Beowulf, he whose beautiful ship had come over “the swan-path,” may now peacefully show himself in his warlike array. Beowulf stood upon the dais; his “sark of netted mail” glittered where the armourer’s skill had wrought around the war-net. Here we discover the ornamental artist as in the Homeric period. He found the prince of the East Danes, “old and bald” like Priam, seated among his earls. Our hero, whom we have observed so decorous in “his rule of ceremony,” now launches forth in the commendation of his own prowess.
He who had come to vanquish a fiend exulted not less in a swimming-match in the seas, “when the waves were boiling with the fury of winter,” during seven whole days and nights, combating with the walruses.
The exploits of Beowulf are of a supernatural cast; and this circumstance has bewildered his translator amid mythic allusions, and thus the hero sinks into the incarnation of a Saxon idol—a protector of the human race. It is difficult to decide whether the marvellous incidents be mythical, or merely exaggerations of the northern poetic faculty. We, however, learn by these, that corporeal energies and an indomitable spirit were the glories of the hero-life; and the outbreaks of their self-complacency resulted from their own convictions, after many a fierce trial.
Such an heroic race we deem barbarous; but what are the nobler spirits of all times but the creatures of their age? who, however favoured by circumstances, can only do that which is practicable in the condition of society.
Henforth, the son of Eglaff, sate at the feet of the king; jealousy stirred in his breast at the prowess of “the proud seafarer.” This cynical minister of the king ridicules his youthful exploits, and sarcastically assured the hero, that “he has come to a worse matter now, should he dare to pass the space of one night with the fiend.” This personage is the Thersites of our northern Homer—
| With witty malice studious to defame, Scorn all his joy, and laughter all his aim. |
And like Thersites, the son of Eglaff receives a blasting reproach:—“I tell thee, son of Eglaff, drunken with mead, that I have greater strength upon the sea than any other man. We two (he alludes to his competitor), when we were but boys, with our naked swords in our hands, where the waves were fiercest, warred with the walruses. The whale-fish dragged me to the bottom of the sea, grim in his gripe; the mighty sea-beast received the war-rush through my hand. The sea became calm, so that I beheld the ocean promontories, as the light broke from the east. Never since have the sea-sailors been hindered of their way; never have I heard of a harder battle by night under the concave of heaven, nor of a man more wretched on the ocean-streams. Of such ambushes and fervour of swords I have not heard aught of thee, else had the fiend I come to vanquish never accomplished such horrors against thy prince. I boast not, therefore, son of Eglaff! but never have I slaughtered those of my kin, for which hast thou incurred damnation, though thy wit be good.”
In this state of imperfect civilization, we discover already a right conception of the female character. At the banquet the queen appears; she greeted the young Goth, bearing in her own hand the bright sweet liquor in the twisted mead-cup. She went among the young and the old mindful of their races; the free-born queen then sate beside the monarch. There was laughter of heroes. A bard sung serene on “the origin of things,” as Iopas sang at the court of Dido, and Demodocus at that of Alcinous. The same bard again excites joy in the hall by some warlike tale. Never was banquet without poet in the Homeric times.
Here our task ends, which was not to analyse the tale of Beowulf, but solely to exhibit the manners of a primeval epoch in society. The whole romance, though but short, bears another striking feature of the mighty minstrel of antiquity; it is far more dramatic than narrative, for the characters discover themselves more by dialogue than by action.
The literary history of this Anglo-Saxon metrical romance is too remarkable to be omitted. It not only cast a new light on a disputed object in our own literary history, but awoke the patriotism of a foreign nation. Beowulf had shared the fate of Cædmon, being preserved only in a single manuscript in the Cottonian Library, where it escaped from the destructive fire of 1731, not, however, without injury. In 1705, Wanley had attempted to describe it, but he did not surmount the difficulty. Our literary antiquaries, with Ritson for their leader, stubbornly asserted that the Anglo-Saxons had no metrical romance, as they opined by their scanty remains. The learned historian of our Anglo-Saxons, in the progress of his ceaseless pursuit, unburied this hidden treasure—which at once refuted the prevalent notions; but this literary curiosity was fated to excite deeper emotions among the honest Danes.
The existing manuscript of “The Exploits of Beowulf” is of the tenth century; but the poem was evidently composed at a far remoter period; though, as all the personages of the romance are Danes, and all the circumstances are Danish, it may be conjectured, if it be an original Anglo-Saxon poem, that it was written when the Danes had a settlement in some parts of Britain. At Copenhagen the patriotism of literature is ardent. The learned there claimed Beowulf as their own, and alleged that the Anglo-Saxon was the version of a Danish poem; it became one of the most ancient monuments of the early history of their country, and not the least precious to them for its connexion with English affairs. The Danish antiquaries still amuse their imagination with the once Danish kingdom of Northumbria, and still call us “brothers;” as at Caen, where the whole academy still persist in disputations on the tapestry of Bayeux, and style themselves our “masters.”
It was, therefore, a national mortification to the Danes that it was an Englishman who had first made known this relic; and further, that it existed