A Literary History of the English People, from the Origins to the RenaissanceJusserand, J. J. (Jean Jules)
History
A Literary History of the English People, from the Origins to the Renaissance
Jusserand, J. J. (Jean Jules)
English literature -- History and criticism
The same phenomenon already pointed out in connection with the
Anglo-Saxons occurs again with regard to the new English people. For a
long time (and not to speak of practical useful works), poetry alone
seems worthy of being remembered; most of the early monuments of the new
language for the sake of which the expense of parchment is incurred are
poems; verse is used, even in works for which prose would appear much
better fitted, such as history. Robert of Gloucester writes his
chronicles in English verse, just as Wace and Benoit de Sainte-More had
written theirs in French verse. After some while only it is noticed that
there is an art of prose, very delicate, very difficult, very worthy of
care, and that it is a mistake to look upon it in the light of a vulgar
instrument, on which every one can play without having learnt how, and
to confine oneself to doing like Moliere's Monsieur Jourdain "de la
prose sans le savoir."
At the epoch at which we have arrived, and owing to the renovation and
new beginnings occasioned by the Conquest, English prose found itself
far behind French. In the fourteenth century, if French poets are poor,
prose-writers are excellent; as early as the twelfth and thirteenth
there were, besides Joinville, many charming tale writers who had told
in prose delightful things, the loves of Aucassin and Nicolette, for
example; now, without speaking of the novelists of the day, there is
Froissart, and to name him is to say enough; for every one has read at
least a few pages of him, and a single page of Froissart, taken
haphazard in his works, will cause him to be loved. The language glides
on, clear, limpid, murmuring like spring water; and yet, in spite of
its natural flow, art already appears. Froissart selects and chooses;
the title of "historian," which he gives himself, is no mean one in his
eyes, and he strives to be worthy of it. The spring bubbles up in the
depths of the wood, and without muddying the water the artist knows how
to vary its course at times, to turn it off into ready prepared
channels, and make it gush forth in fountains.
Public-domain text, read in full here on John Shaqi.
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