No More Learning

Of Chatterton's method
of antiquating something has already been said. He made himself an
antique lexicon out of the glossary to Speght's _Chaucer_, and such
words as were marked with a capital O, standing for 'obsolete' in the
Dictionaries of Kersey and Bailey. Now even had his authorities been
well informed, which they were not by any means, and had Chatterton
never misread or misunderstood them, which he very frequently did, it
was impossible that his work should have been anything better than
a mosaic of curious old words of every period and any dialect. Old
English, Middle English, and Elizabethan English, South of England
folk-words or Scots phrases taken from the border ballads--all
were grist for Rowley's mill. It is only fair to say that he seldom
invented a word outright, but he altered and modified with a free
hand. Professor Skeat indeed estimates that of the words contained in
Milles' Glossary to the Rowley Poems only seven percent are genuine
old words correctly used. The Professor in his modernized edition is
continually pointing out with kindly reluctance that such and such
a word never bore the meaning ascribed to it--that because, for
instance, Bailey had explained _Teres major_ as a smooth muscle of the
arm it was not therefore any legitimate inference of Chatterton's
that _tere_ (singular form) meant a muscle and could be translated
'health'. Only occasionally does one find the note (written with an
obviously sincere pleasure) 'This word is correctly used. ' Of
course it was impossible that Chatterton should have produced even a
colourable imitation of fifteenth-century poetry at a time when
even Malone--for all his acknowledged reputation as an English
Scholar--could not quote Chaucer so as to make his lines scan. The
_Rowley Poems_ and Percy's _Reliques_ mark the beginning of that
renascence of our older poetry so conspicuous in the time of Lamb
and Hazlitt. Before this epoch was the Augustan age, much too
well satisfied with its own literature to concern itself with an
unfashionable past.

But, after all, however absurd from any historical point of view the
language and metres of the boy-poet may be, at least he invented a
practicable language which admirably conveyed his impression of the
latest period of the middle ages--that after-glow which began with
the death of Chaucer. Chatterton's poetry is a pageant staged by an
impressionist. It cannot be submitted to a close examination, and it
is all wrong historically, yet it presents a complete picture with an
artistic charm that must be judged on its own merits. An illusion
is successfully conveyed of a dim remote age when an idle-strenuous
people lived only to be picturesque, to kill one another in tourneys,
to rear with painful labour beautiful elaborate cathedrals, and yet
had so much time on their hands that they could pass half their lives
cracking unhallowed sconces in the Holy Land and, in that part of
their ample leisure which they devoted to study, spell 'flourishes' as
'Florryschethe'.
But if any one still anxious for literal truth should
insist--'Is not the impression as false as the medium that conveys
it? Were the middle ages really like that? Is it not a fact that the
average baron stayed at home in his castle devising abominable schemes
to wring money or its equivalent from miserable and half-starved
peasants? '--such a one can only be answered with another question: 'Is
Pierrot like a man, and has it been put beyond question that
Pontius Pilate was hanged for beating his wife? ' The Rowley writings
are--properly considered--entirely fanciful and unreal. They have
many faults, but are seen at their worst when Chatterton is trying
to exhibit some eternal truth. There is a horrible (but perfectly
natural) didacticism--the inevitable priggishness of a clever
boy--which occasionally intrudes itself on his best work. Thus that
charming fanciful fragment which begins--

As onn a hylle one eve fittynge
At oure Ladie's Chyrche mouche wonderynge

embodies this truism fit for a bread-platter--or to be the 'Posy of a
ring'--'Do your best. '

Canynges and Gaunts culde doe ne moe.

And the poet's boyishness demands still further consideration. He
has a crude violence of expression which is apt to shock the mature
person--some of the descriptions of wounds in the two Battles of
Hastings would sicken a butcher; while in another vein such a phrase
as

Hee thoughte ytt proper for to cheese a wyfe,
And use the sexes for the purpose gevene.
(_Storie of William Canynge_)

has an absurd affectation of straightforward good sense divested of
sentiment which could not appeal to any one on a higher plane of
civilization than a medical student.

And this is easily explicable if only it is borne in mind that the
Rowley poems were written by a boy, and that such lovely things as
the Dirge in _AElla_ suggest a maturity that Chatterton did not by any
means perfectly possess. In some respects he was as childish (to use
the word in no contemptuous sense) as in others he was precocious. And
it is a thousand pities that the difficulties of Chatterton's language
and the peculiar charm and invention of his metrical technique cannot
be appreciated till the boyish love of adventure, delight in imagined
bloodshed, and ignorance of sentimental love, have generally been left
behind. Nothing--to give an example--could be more frigid than the
description of Kennewalcha--

White as the chaulkie clyffes of Brittaines isle,
Red as the highest colour'd Gallic wine

(an unthinkable study in burgundy and whitewash, _Battle of Hastings_,
II, 401); nothing, on the other hand, more vivid, more obviously
written with a pen that shook with excitement, than

The Sarasen lokes _owte_: he doethe feere, &c.