Presenting Thebes’ and Pelops’ line
And the tale of Troy divine.
The influence of Chaucer is conspicuous in all our early literature; and, more recently, not only Pope and Dryden have been beholden to him, but, in the whole society of English writers, a large unacknowledged debt is easily traced. One is charmed with the opulence which feeds so many pensioners. But Chaucer is a huge borrower. Chaucer, it seems, drew continually, through Lydgate and Caxton, from Guido di Colonna, whose Latin romance of the Trojan war was in turn a compilation from Dares Phrygius, Ovid, and Statius. Then Petrarch, Boccaccio, and the Provençal poets, are his benefactors: The Romaunt of the Rose is only judicious translation from William of Lorris and John of Meun: “Troilus and Creseide”, from Lollius of Urbino: “The Cock and the Fox”, from The Lais of Marie: “The House of Fame”, from the French or Italian: and poor Gower he uses as if he were only a brickkiln or stone-quarry out of which to build his house. He steals by this apology—that what he takes has no worth where he finds it, and the greatest where he leaves it. It has come to be practically a sort of rule in literature, that a man, having once shown himself capable of original writing, is entitled thenceforth to steal from the writings of others at discretion. Thought is the property of him who can entertain it; and of him who can adequately place it. A certain awkwardness marks the use of borrowed thoughts; but, as soon as we have learned what to do with them, they become our own.
Thus, all originality is relative. Every thinker is retrospective. The learned member of the legislature, at Westminster, or at Washington, speaks and votes for thousands. Show us the constituency, and the now invisible channels by which the senator is made aware of their wishes, the crowd of practical and knowing men, who, by correspondence or conversation, are feeding him with evidence, anecdotes, and estimates, and it will bereave his fine attitude and resistance of something of their impressiveness. As Sir Robert Peel and Mr. Webster vote, so Locke and Rousseau think for thousands; and so there were fountains all around Homer, Menu, Saadi, or Milton, from which they drew; friends, lovers, books, traditions, proverbs—all perished—which, if seen, would go to reduce the wonder. Did the bard speak with authority? Did he feel himself, overmatched by any companion? The appeal is to the consciousness of the writer. Is there at last in his breast a Delhi whereof to ask concerning any thought or thing, whether it be verily so, yea or nay? and to have answer, and to rely on that? All the debt which such a man could contract to other wit, would never disturb his consciousness of originality: for the ministrations of books, and of other minds, are a whiff of smoke to that most private reality with which he has conversed.
It is easy to see that what is best written or done by genius, in the world, was no man’s work, but came by wide social labor, when a thousand wrought like one, sharing the same impulse. Our English Bible is a wonderful specimen of the strength and music of the English language. But it was not made by one man, or at one time; but centuries and churches brought it to perfection. There never was a time when there was not some translation existing. The Liturgy, admired for its energy and pathos, is an anthology of the piety of ages and nations, a translation of the prayers and forms of the Catholic church—these collected, too, in long periods, from the prayers and meditations of every saint and sacred writer, all over the world. Grotius makes the like remark in respect to the Lord’s Prayer, that the single clauses of which it is composed were already in use, in the time of Christ, in the rabbinical forms. He picked out the grains of gold. The nervous language of the Common Law, the impressive forms of our courts, and the precision and substantial truth of the legal distinctions, are the contribution of all the sharp-sighted, strong-minded men who have lived in the countries where these laws govern. The translation of Plutarch gets its excellence by being translation on translation. There never was a time when there was none. All the truly diomatic and national phrases are kept, and all others successively picked out and thrown away. Something like the same process had gone on, long before, with the originals of these books. The world takes liberties with world-books. Vedas, Aesop’s Fables, Pilpay, Arabian Nights, Cid, Iliad, Robin Hood, Scottish Minstrelsy, are not the work of single men. In the composition of such works, the time thinks, the market thinks, the mason, the carpenter, the merchant, the farmer, the fop, all think for us. Every book supplies its time with one good word; every municipal law, every trade, every folly of the day, and the generic catholic genius who is not afraid or ashamed to owe his originality to the originality of all, stands with the next age as the recorder and embodiment of his own.
We have to thank the researches of antiquaries, and the Shakespeare Society, for ascertaining the steps
