Renaissance Fancies and Studies: Being a Sequel to EuphorionLee, Vernon
History
Renaissance Fancies and Studies: Being a Sequel to Euphorion
Lee, Vernon
Art, Italian; Art, Renaissance -- Italy
No other two individuals could have been found to illustrate, by the
force of contrast, the intellectual and moral aridity of that eleventh
century, which yet, in a degree, was itself a beginning of better things.
For Héloïse and Abélard were not merely among the finest intellects
of the Middle Ages; they were both, in different ways, to the highest
degree passionately innovating natures. No woman has ever been more rich
and bold and warm of mind and heart than Héloïse; nor has any woman ever
questioned the unquestioned ideas and institutions of her age, of any
age, with such vehemence and certainty of intuition. She judges questions
which are barely asked and judged of now-a-days, applying to consecrated
sentimentality the long-lost instinctive human rationalism of the ancient
philosophers. How could St. Luke recommend us to desist from getting
back our stolen property? She feels, however obscurely, that this is
foolish, antisocial, unnatural. Nay, why should God prefer the penitence
of one sinner to the constant goodness of ninety-nine righteous men? She
is, this learned theologian of the eleventh century, as passionately
human in thought as any Mme. Roland or Mary Wolstonecraft of a hundred
years ago.
Abélard, on the other hand, we know to have been one of the most subtle
and solvent thinkers of the Middle Ages; pursued by the greatest
theologians, crushed by two Councils, and remaining, in the popular
fancy, as a sort of Friar Bacon, a forerunner of the wizard Faustus; a
man whom Bernard of Clairvaux called a thief of souls, a rapacious wolf,
a Herod; a man who reveals himself a Pagan in his attempts to turn Plato
into a Christian; a man who disputes about Faith in the teeth of Faith,
and criticises the Law in the name of the Law; a man, most enormous of
all, who sees nothing as symbol or emblem (_per speculum in ænigmate_),
but dares to look all things in the face (_facie ad faciem omnia
intuetur_). _Facie ad faciem omnia intuetur_, this, which is the
acknowledged method of all modern, as it had been of all antique, thought,
nay, of all modern, all antique, all healthy spiritual life--this was
the most damnable habit of Abélard; and, as the letters show, of Héloïse.
What shall we think, in consequence, of the intellectual and moral
sterility of the orthodox world of the eleventh century, when we find
this heretical man, this rebellious woman, arguing incessantly about
unrealities, crushing out all human feeling, judging all questions of
cause and effect, settling all relations of life, with reference to a
system of intricate symbolical riddles? These things are exceedingly
difficult for a modern to realise; we feel as though we had penetrated
into some Gulliver's world or kingdom of the Moon; for theology and
its methods have been relegated, these many hundred years, to a sort
of _Hortus inclusus_ where nothing human grows. These mediæval men
of science apply their scientific energies to mastering, collecting,
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