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The Great Events by Famous Historians [Volumes 1-14]

Электронная книга - «The Great Events by Famous Historians [Volumes 1-14]». Краткое содержание книги:

Антология содержит:
The Great Events by Famous Historians, Volume 01
The Great Events by Famous Historians, Volume 02 / (From the Rise of Greece to the Christian Era)
The Great Events by Famous Historians, Volume 03
The Great Events by Famous Historians, Volume 04
The Great Events by Famous Historians, Volume 05 / (From Charlemagne to Frederick Barbarossa)
The Great Events by Famous Historians, Volume 06 / (From Barbarossa to Dante)
The Great Events by Famous Historians, Volume 07
The Great Events by Famous Historians, Volume 08 / The Later Renaissance: from Gutenberg to the Reformation
The Great Events by Famous Historians, Volume 09
The Great Events by Famous Historians, Volume 10
The Great Events by Famous Historians, Volume 11
The Great Events by Famous Historians, Volume 12
The Great Events by Famous Historians, Volume 13
The Great Events by Famous Historians, Volume 14
The Great Events by Famous Historians, Volume 17
The Great Events by Famous Historians, Volume 21 / The Recent Days (1910-1914)
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That chivalry may be considered a great military confraternity as well as an eighth sacrament, will be conceded. But, before familiarizing themselves with these ideals, the rough spirits of the ninth, tenth, and eleventh centuries had to learn the principles of them. The chivalrous ideal was not conceived "all of a piece," and certainly it did not triumph without sustained effort; so it was by degrees, and very slowly, that the church succeeded in inoculating the almost animal intelligence and the untrained minds of our ancestors with so many virtues.

In the hands of the church, which wished to mould him into a Christian knight, the feudal baron was a very intractable individual. No one could be more brutal or more barbarous than he. Our more ancient ballads—those which are founded on the traditions of the ninth and tenth centuries—supply us with a portrait which does not appear exaggerated. I know nothing in this sense more terrible than Raoul de Cambrai, and the hero of this old poem would pass for a type of a half-civilized savage. This Raoul was a kind of Sioux or other redskin, who only wanted tattoo and feathers in his hair to be complete. Even a redskin is a believer, or superstitious to some extent, while Raoul defied the Deity himself. The savage respects his mother, as a rule; but Raoul laughed at his mother, who cursed him. Behold him as he invaded the Vermandois, contrary to all the rights of legitimate heirs. He pillaged, burned, and slew in all directions: he was everywhere pitiless, cruel, horrible. But at Origni he appears in all his ferocity. "You will erect my tent in the church, you will make my bed before the altar, and put my hawks on the golden crucifix." Now that church belonged to a convent. What did that signify to him? He burned the convent, he burned the church, he burned the nuns! Among them was the mother of his most faithful servitor, Bernier—his most devoted companion and friend—almost his brother! but he burned her with the others. Then, when the flames were still burning, he sat himself down, on a fast-day, to feast amid the scenes of his sanguinary exploits—defying God and man, his hands steeped in blood, his face lifted to heaven. That was the kind of soldier, the savage of the tenth century, whom the church had to educate!

Unfortunately this Raoul de Cambrai is not a unique specimen; he was not the only one who had uttered this ferocious speech: "I shall not be happy until I see your heart cut out of your body." Aubri de Bourguignon was not less cruel, and took no trouble to curb his passions. Had he the right to massacre? He knew nothing about that, but meanwhile he continued to kill. "Bah!" he would say, "it is always an enemy the less." On one occasion he slew his four cousins. He was as sensual as cruel. His thick-skinned savagery did not appear to feel either shame or remorse; he was strong and had a weighty hand—that was sufficient. Ogier was scarcely any better, but notwithstanding all the glory attaching to his name, I know nothing more saddening than the final episode of the rude poem attributed to Raimbert of Paris. The son of Ogier, Baudouinet, had been slain by the son of Charlemagne, who called himself Charlot. Ogier did nothing but breathe vengeance, and would not agree to assist Christendom against the Saracen invaders unless the unfortunate Charlot was delivered to him. He wanted to kill him, he determined to kill him, and he rejoiced over it in anticipation. In vain did Charlot humble himself before this brute, and endeavor to pacify him by the sincerity of his repentance; in vain the old Emperor himself prayed most earnestly to God; in vain the venerable Naimes, the Nestor of our ballads, offered to serve Ogier all the rest of his life, and begged the Dane "not to forget the Saviour, who was born of the Virgin at Bethlehem." All their devotion and prayers were unavailing. Ogier, pitiless, placed one of his heavy hands on the youthful head, and with the other drew his sword, his terrible sword "Courtain." Nothing less than the intervention of an angel from heaven could have put an end to this terrible scene in which all the savagery of the German forests was displayed.

The majority of these early heroes had no other shibboleth than "I am going to separate the head from the trunk!" It was their war-cry. But if you desire something more frightful still, something more "primitive," you have only to open the Loherains at hazard, and read a few stanzas of that raging ballad of "derring-do," and you will almost fancy you are perusing one of those pages in which Livingstone describes in such indignant terms the manners of some tribe in Central Africa. Read this: "Begue struck Isore upon his black helmet through the golden circlet, cutting him to the chine; then he plunged into his body his sword Flamberge with the golden hilt; took the heart out with both hands, and threw it, still warm, at the head of William, saying, 'There is your cousin's heart; you can salt and roast it.'" Here words fail us; it would be too tame to say with Goedecke, "These heroes act like the forces of nature, in the manner of the hurricane which knows no pity." We must use more indignant terms than these, for we are truly amid cannibals. Once again we say, there was the warrior, there was the savage whom the church had to elevate and educate!

Such is the point of departure of this wonderful progress; such are the refractory elements out of which chivalry and the knight have been fashioned.

The point of departure is Raoul of Cambrai burning Origni. The point of arrival is Girard of Roussillon falling one day at the feet of an old priest and expiating his former pride by twenty-two years of penitence. These two episodes embrace many centuries between them.

A very interesting study might be made of the gradual transformation from the redskin to the knight; it might be shown how, and at what period of history, each of the virtues of chivalry penetrated victoriously into the undisciplined souls of these brutal warriors who were our ancestors; it might be determined at what moment the church became strong enough to impose upon our knights the great duties of defending it and of loving one another.

This victory was attained in a certain number of cases undoubtedly toward the end of the eleventh century: and the knight appears to us perfected, finished, radiant, in the most ancient edition of the Chanson of Roland, which is considered to have been produced between 1066 and 1095.

It is scarcely necessary to observe that chivalry was no longer in course of establishment when Pope Urban II threw with a powerful hand the whole of the Christian West upon the East, where the Tomb of Christ was in possession of the Infidel.

In legendary lore the embodiment of chivalry is Roland: in history it is Godfrey de Bouillon. There are no more worthy names than these.

The decadence of chivalry—and when one is speaking of human institutions, sooner or later this word must be used—perhaps set in sooner than historians can believe. We need not attach too much importance to the grumblings of certain poets, who complain of their time with an evidently exaggerated bitterness, and we do not care for our own part to take literally the testimony of the unknown author of La Vie de Saint Alexis, who exclaims—about the middle of the eleventh century—that everything is degenerate and all is lost! Thus: "In olden times the world was good. Justice and love were springs of action in it. People then had faith, which has disappeared from amongst us. The world is entirely changed. The world has lost its healthy color. It is pale—it has grown old. It is growing worse, and will soon cease altogether."

The poet exaggerates in a very singular manner the evil which he perceives around him, and one might aver that, far from bordering upon old age, chivalry was then almost in the very zenith of its glory. The twelfth century was its apogee, and it was not until the thirteenth that it manifested the first symptoms of decay.

"Li maus est moult want" exclaims the author of Godfrey de Bouillon, and he adds, sadly, "Tos li biens est finés."

1 ... 496 497 498 499 500 501 502 503 504 ... 1829
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