No More Learning

The plan of the most finished didactic poem in the
Latin tongue was taken from Hesiod. The Latin tragedies are bad
copies of the masterpieces of Sophocles and Euripides. The Latin
philosophy was borrowed, without alteration, from the Portico and
the Academy; and the great Latin orators constantly proposed to
themselves as patterns the speeches of Demosthenes and Lysias.

But there was an earlier Latin literature, a literature truly
Latin, which has wholly perished, which had, indeed almost wholly
perished long before those whom we are in the habit of regarding
as the greatest Latin writers were born. That literature abounded
with metrical romances, such as are found in every country where
there is much curiosity and intelligence, but little reading and
writing. All human beings, not utterly savage, long for some
information about past times, and are delighted by narratives
which present pictures to the eye of the mind. But it is only in
very enlightened communities that books are readily accessible.
Metrical composition, therefore, which, in a highly civilized
nation, is a mere luxury, is, in nations imperfectly civilized,
almost a necessary of life, and is valued less on account of the
pleasure which it gives to the ear, than on account of the help
which it gives to the memory. A man who can invent or embellish
an interesting story, and put it into a form which others may
easily retain in their recollection, will always be highly
esteemed by a people eager for amusement and information, but
destitute of libraries. Such is the origin of ballad-poetry, a
species of composition which scarcely ever fails to spring up and
flourish in every society, at a certain point in the progress
towards refinement. Tacitus informs us that songs were the only
memorials of the past which the ancient Germans possessed. We
learn from Lucan and from Ammianus Marcellinus that the brave
actions of the ancient Gauls were commemorated in the verses of
Bards. During many ages, and through many revolution, minstrelsy
retained its influence over both the Teutonic and the Celtic
race. The vengeance exacted by the spouse of Attila for the
murder of Siegfried was celebrated in rhymes, of which Germany is
still justly proud. The exploits of Athelstane were commemorated
by the Anglo-Saxons and those of Canute by the Danes, in rude
poems, of which a few fragments have come down to us.
The chants
of the Welsh harpers preserved, through ages of darkness, a faint
and doubtful memory of Arthur. In the Highlands of Scotland may
still be gleaned some relics of the old songs about Cuthullin and
Fingal. The long struggle of the Servians against the Ottoman
power was recorded in lays full of martial spirit. We learn from
Herrera that, when a Peruvian Inca died, men of skill were
appointed to celebrate him in verses, which all the people
learned by heart, and sang in public on days of festival. The
feats of Kurroglou, the great freebooter of Turkistan, recounted
in ballads composed by himself, are known in every village of
northern Persia. Captain Beechey heard the bards of the Sandwich
Islands recite the heroic achievements of Tamehameha, the most
illustrious of their kings. Mungo Park found in the heart of
Africa a class of singing men, the only annalists of their rude
tribes, and heard them tell the story of the victory which Damel,
the negro prince of the Jaloffs, won over Abdulkader, the
Mussulman tyrant of Foota Torra. This species of poetry attained
a high degree of excellence among the Castilians, before they
began to copy Tuscan patterns. It attained a still higher degree
of excellence among the English and the Lowland Scotch, during
the fourteenth, fifteenth, and sixteenth centuries. But it
reached its full perfection in ancient Greece; for there can be
no doubt that the great Homeric poems are generically ballads,
though widely distinguished from all other ballads, and indeed
from almost all other human composition, by transcendent
sublimity and beauty.

As it is agreeable to general experience that, at a certain stage
in the progress of society, ballad-poetry should flourish, so is
it also agreeable to general experience that, at a subsequent
stage in the progress of society, ballad-poetry should be
undervalued and neglected. Knowledge advances; manners change;
great foreign models of composition are studied and imitated. The
phraseology of the old minstrels becomes obsolete. Their
versification, which, having received its laws only from the ear,
abounds in irregularities, seems licentious and uncouth. Their
simplicity appears beggarly when compared with the quaint forms
and gaudy coloring of such artists as Cowley and Gongora. The
ancient lays, unjustly despised by the learned and polite, linger
for a time in the memory of the vulgar, and are at length too
often irretrievably lost.