Though English poets, in the fourteenth century, had a full command of rhyme, and of many forms, simple or complicated, of rhyming verse, there began a return to the old Anglo-Saxon alliterative verse, sometimes combined with rhyme. Chaucer, later, makes his parson say,

I am a Southren man,
I can nat geste—rum, ram, ruf—by lettre;
Ne, God wot, rym holde I but litel bettre.

The parson\'s Opinion is his own, not that of Chaucer, who certainly "liked rhyme," whether he liked alliterative rhythm or not.

Gawain and the Green Knight.

A famous and really amusing alliterative romance, with a rhymed close to each passage, is "Gawain and the Green Knight". This tale is found in a manuscript which also contains two devout poems, "Patience," and "Cleanness," with an elegy of remarkable merit, "The Pearl". All four poems are attributed by several critics to the same author, and some of the Scottish learned believe that author to have been a very prolific and accomplished Scot. A few words may be said on this question later, meanwhile "Gawain and the Green Knight" has the merit of being readable. Though Gawain is best known in modern times through Tennyson\'s "Idylls of the King," in the romance he was by no means the "false, fleeting, perjured" knight of the great Laureate. In the Welsh Triads and other early Welsh versions, he is one of the three "golden-mouthed heroes," one of the three most courteous.[Pg 73] He was the eldest son of King Llew, Loth or Lot, a contemporary of Arthur, from whom he received Lothian. In Geoffrey of Monmouth, Gawain appears as Walwainus. The figure of Lancelot comes later, as we saw, into romance, and Lancelot and Gawain then become foes. When Tristram (or Tristan) was introduced into the circle of Arthur, later, the authors of the Tristan (under Henry II and Henry III) had, for some reason, a bitter spite against King Lot and all his family; and calumniated Gawain on every occasion. This vein of detraction pervades Malory\'s "Morte Arthur," where Tennyson, looking for a false fleeting knight, found the Gawain of the "Idylls".

In "Gawain and the Green Knight," Arthur\'s friend displays great courage, courtesy, tact, and chastity under severe temptations, while, if he falls for a moment short of heroic virtue, he redeems his character by frank confession. The story is too good to be spoiled by a brief summary: grotesque as is the figure of the gigantic Green Knight, who suffers no inconvenience from the loss of his head, the trials of Gawain are most ingeniously invented, and he overcomes them like the Flower of Chivalry. He is rewarded by the magical "green lace" which may, it has been suggested, symbolize the Order of the Garter (about 1345), though the ribbon of the Garter is now dark blue.

Pearl.

In the manuscript volume containing "Gawain and the Green Knight," is the singular poem, "Pearl," which has been described as the "In Memoriam" of the fourteenth century. It is, indeed, an elegy by one who has lost a "Pearl," probably a Margaret, who dies before she is two years old. The poet bewails his loss, and speaks, in a vision, with his Pearl, concerning religion and the future life. The poem (edited, paraphrased, and annotated by Mr. Gollancz) was praised by Tennyson as "True pearl of our poetic prime".

"Pearl" is written in stanzas of twelve lines, with some resemblance to the form of the Italian sonnet (in fourteen lines), with which the author may have been familiar. The system of rhyming may be roughly illustrated thus,

[Pg 74]

Pearl that for princes\' pleasure may
Be cleanly closed in gold so clear,
Out of the Orient dare I say,
Never I proved her precious peer;
So round, so rich, and in such array,
So small, so smooth the sides of her were,
Whenever I judged of jewels gay
Shapeliest still was the sight of her.
Alas, in an arbour I lost her here,
Through grass to ground she passed, I wot,
I dwine, forsaken of sweet love\'s cheer,
Of my privy Pearl without a spot.

The same rhymes persevere through the first eight lines, as in a sonnet, the rhyme of the second, fourth, sixth, and eighth lines continues in the ninth and eleventh; a new rhyme appears in the tenth and twelfth lines: and throughout there is much alliteration. In stanzas 1 to 5, "pearl withouten spot" comes always as a "refrain" at the close, and other refrains end each set of five or six stanzas, as in the old French ballade. The form is thus difficult and highly artificial, the making of the poem was, as Tennyson says, "the dull mechanic exercise" to deaden the pain of the singer.

The poet, fallen on the grassy grave of the lost child, lies entranced, but his spirit floats forth to a strange land of cliffs and woods, where the leaves shine as burnished silver, and birds of strange hues float and sing. He comes to a river crystal-clear, whose pearls glow like sapphire and emerald, but that river has no ford, and may not be crossed by living man. On the farther shore he sees a maiden clad in white and in pearls, fresh as a fleur-de-lis; she is the Blessed Damosel, the Lady Pearl. Her locks are golden, and her crown is of pearls and gold. She tells the dreamer that she is not lost: his Pearl is in a coffer; safely set in the garden of Paradise. She comforts him with the ............