A History of English Literature

eality the men of the Middle Ages were moved by the same emotions and
impulses as our own, and their lives presented the same incongruous mixture
of nobility and baseness. Yet it is true that the externals of their
existence were strikingly different from those of more recent times. In
society the feudal system--lords with their serfs, towns struggling for
municipal independence, kings and nobles doing, peaceably or with violence,
very much what they pleased; a constant condition of public or private war;
cities walled as a matter of course for protection against bands of robbers
or hostile armies; the country still largely covered with forests,
wildernesses, and fens; roads infested with brigands and so bad that travel
was scarcely possible except on horseback; in private life, most of the
modern comforts unknown, and the houses, even of the wealthy, so filthy and
uncomfortable that all classes regularly, almost necessarily, spent most of
the daylight hours in the open air; in industry no coal, factories, or
large machinery, but in the towns guilds of workmen each turning out by
hand his slow product of single articles; almost no education except for
priests and monks, almost no conceptions of genuine science or history, but
instead the abstract system of scholastic logic and philosophy, highly
ingenious but highly fantastic; in religion no outward freedom of thought
except for a few courageous spirits, but the arbitrary dictates of a
despotic hierarchy, insisting on an ironbound creed which the remorseless
process of time was steadily rendering more and more inadequate--this
offers some slight suggestion of the conditions of life for several
centuries, ending with the period with which we are now concerned.
In medieval literature likewise the modern student encounters much which
seems at first sight grotesque. One of the most conspicuous examples is the
pervasive use of allegory. The men of the Middle Ages often wrote, as we
do, in direct terms and of simple things, but when they wished to rise
above the commonplace they turned with a frequency which to-day appears
astonishing to the devices of abstract personification and veiled meanings.
No doubt this tendency was due in part to an idealizing dissatisfaction
with the crudeness of their actual life (as well as to frequent inability
to enter into the realm of deeper and finer thought without the aid of
somewhat mechanical imagery); and no doubt it was greatly furthered also by
the medieval passion for translating into elaborate and fantastic symbolism
all the details of the Bible narratives. But from whatever cause, the
tendency hardened into a ruling convention; thousands upon thousands of
medieval manuscripts seem to declare that the world is a mirage of shadowy
forms, or that it exists merely to body forth remote and highly surprising
ideas.
Of all these countless allegories none was reiterated with more unwearied
persistence than that of the Seven Deadly Sins (those sins which in the
doctrine of the Church lead to spiritual death because they are wilfully
committed). These sins are: Covetousness, Unchastity, Anger, Gluttony,
Envy, Sloth, and, chief of all, Pride, the earliest of all, through which
Lucifer was moved to his fatal rebellion against God, whence spring all
human ills. Each of the seven, however, was interpreted as including so
many related offences that among them they embraced nearly the whole range
of possible wickedness. Personified, the Seven Sins in themselves almost
dominate medieval literature, a sort of shadowy evil pantheon. Moral and
religious questions could scarcely be discussed without regard to them; and
they maintain their commanding place even as late as in Spenser's 'Faerie
Queene,' at the very end of the sixteenth century. To the Seven Sins were
commonly opposed, but with much less emphasis, the Seven Cardinal Virtues,
Faith, Hope, Charity (Love), Prudence, Temperance, Chastity, and Fortitude.
Again, almost as prominent as the Seven Sins was the figure of Fortune with
her revolving wheel, a goddess whom the violent vicissitudes and tragedies