The Waning of the Middle Ages

The Waning of the Middle Ages

by Johan Huizinga

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Overview

The Waning of the Middle Ages by Johan Huizinga

This work is a classic -- a thorough examination of life and culture in the Middle Ages as it progressed toward the Renaissance. The author shows how the 14th and 15th century history marked not only the birth of a dramatically new era -- the Renaissance -- but the fullest, ripest phase of medieval life and thought.

Product Details

ISBN-13: 9780464999546
Publisher: Blurb
Publication date: 10/08/2018
Pages: 342
Product dimensions: 6.00(w) x 9.00(h) x 0.76(d)

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The Waning of the Middle Ages


By Johan Huizinga

Dover Publications, Inc.

Copyright © 1999 Dover Publications, Inc.
All rights reserved.
ISBN: 978-0-486-81469-8



CHAPTER 1

THE VIOLENT TENOR OF LIFE


To the world when it was half a thousand years younger, the outlines of all things seemed more clearly marked than to us. The contrast between suffering and joy, between adversity and happiness, appeared more striking. All experience had yet to the minds of men the directness and absoluteness of the pleasure and pain of child-life. Every event, every action, was still embodied in expressive and solemn forms, which raised them to the dignity of a ritual. For it was not merely the great facts of birth, marriage and death which, by the sacredness of the sacrament, were raised to the rank of mysteries; incidents of less importance, like a journey, a task, a visit, were equally attended by a thousand formalities : benedictions, ceremonies, formulae.

Calamities and indigence were more afflicting than at present; it was more difficult to guard against them, and to find solace. Illness and health presented a more striking contrast; the cold and darkness of winter were more real evils. Honours and riches were relished with greater avidity and contrasted more vividly with surrounding misery. We, at the present day, can hardly understand the keenness with which a fur coat, a good fire on the hearth, a soft bed, a glass of wine, were formerly enjoyed.

Then, again, all things in life were of a proud or cruel publicity. Lepers sounded their rattles and went about in processions, beggars exhibited their deformity and their misery in churches. Every order and estate, every rank and profession, was distinguished by its costume. The great lords never moved about without a glorious display of arms and liveries, exciting fear and envy. Executions and other public acts of justice, hawking, marriages and funerals, were all announced by cries and processions, songs and music. The lover wore the colours of his lady; companions the emblem of their confraternity; parties and servants the badges or blazon of their lords. Between town and country, too, the contrast was very marked. A medieval town did not lose itself in extensive suburbs of factories and villas; girded by its walls, it stood forth as a compact whole, bristling with innumerable turrets. However tall and threatening the houses of noblemen or merchants might be, in the aspect of the town the lofty mass of the churches always remained dominant.

The contrast between silence and sound, darkness and light, like that between summer and winter, was more strongly marked than it is in our lives. The modern town hardly knows silence or darkness in their purity, nor the effect of a solitary light or a single distant cry.

All things presenting themselves to the mind in violent contrasts and impressive forms, lent a tone of excitement and of passion to everyday life and tended to produce that perpetual oscillation between despair and distracted joy, between cruelty and pious tenderness, which characterize life in the Middle Ages.

One sound rose ceaselessly above the noises of busy life and lifted all things unto a sphere of order and serenity : the sound of bells. The bells were in daily life like good spirits, which by their familiar voices, now called upon the citizens to mourn and now to rejoice, now warned them of danger, now exhorted them to piety. They were known by their names : big Jacqueline, or the bell Roland. Every one knew the difference in meaning of the various ways of ringing. However continuous the ringing of the bells, people would seem not to have become blunted to the effect of their sound.

Throughout the famous judicial duel between two citizens of Valenciennes, in 1455, the big bell, "which is hideous to hear," says Chastellain, never stopped ringing. What intoxication the pealing of the bells of all the churches, and of all the monasteries of Paris, must have produced, sounding from morning till evening, and even during the night, when a peace was concluded or a pope elected.

The frequent processions, too, were a continual source of pious agitation. When the times were evil, as they often were, processions were seen winding along, day after day, for weeks on end. In 1412 daily processions were ordered in Paris, to implore victory for the king, who had taken up the oriflamme against the Armagnacs. They lasted from May to July, and were formed by ever-varying orders and corporations, going always by new roads, and always carrying different relics. The Burgher of Paris calls them "the most touching processions in the memory of men." People looked on or followed, "weeping piteously, with many tears, in great devotion." All went barefooted and fasting, councillors of the Parlement as well as the poorer citizens. Those who could afford it, carried a torch or a taper. A great many small children were always among them. Poor country-people of the environs of Paris came barefooted from afar to join the procession. And nearly every day the rain came down in torrents.

Then there were the entries of princes, arranged with all the resources of art and luxury belonging to the age. And, lastly, most frequent of all, one might almost say, uninterrupted, the executions. The cruel excitement and coarse compassion raised by an execution formed an important item in the spiritual food of the common people. They were spectacular plays with a moral. For horrible crimes the law invented atrocious punishments. At Brussels a young incendiary and murderer is placed in the centre of a circle of burning fagots and straw, and made fast to a stake by means of a chain running round an iron ring. He addresses touching words to the spectators, "and he so softened their hearts that every one burst into tears and his death was commended as the finest that was ever seen." During the Burgundian terror in Paris in 1411, one of the victims, Messire Mansart du Bois, being requested by the hangman, according to custom, to forgive him, is not only ready to do so with all his heart, but begs the executioner to embrace him. "There was a great multitude of people, who nearly all wept hot tears."

When the criminals were great lords, the common people had the satisfaction of seeing rigid justice done, and at the same time finding the inconstancy of fortune exemplified more strikingly than in any sermon or picture. The magistrate took care that nothing should be wanting to the effect of the spectacle : the condemned were conducted to the scaffold, dressed in the garb of their high estate. Jean de Mon-taigu, grand maître d'hôtel to the king, the victim of Jean sans Peur, is placed high on a cart, preceded by two trumpeters. He wears his robe of state, hood, cloak, and hose half red and half white, and his gold spurs, which are left on the feet of the beheaded and suspended corpse. By special order of Louis XI, the head of maître Oudart de Bussy, who had refused a seat in the Parlement, was dug up and exhibited in the market-place of Hesdin, covered with a scarlet hood lined with fur "selon la mode des conseillers de Parlement," with explanatory verses.

Rarer than processions and executions were the sermons of itinerant preachers, coming to shake people by their eloquence. The modern reader of newspapers can no longer conceive the violence of impression caused by the spoken word on an ignorant mind lacking mental food. The Franciscan friar Richard preached in Paris in 1429 during ten consecutive days. He began at five in the morning and spoke without a break till ten or eleven, for the most part in the cemetery of the Innocents. When, at the close of his tenth sermon, he announced that it was to be his last, because he had no permission to preach more, "great and small wept as touchingly and as bitterly as if they were watching their best friends being buried; and so did he." Thinking that he would preach once more at Saint Denis on the Sunday, the people flocked thither on Saturday evening, and passed the night in the open, to secure good seats.

Another Minorite friar, Antoine Fradin, whom the magistrate of Paris had forbidden to preach, because he inveighed against the bad government, is guarded night and day in the Cordeliers monastery, by women posted around the building, armed with ashes and stones. In all the towns where the famous Dominican preacher Vincent Ferrer is expected, the people, the magistrates, the lower clergy, and even prelates and bishops, set out to greet him with joyous songs. He journeys with a numerous and ever-increasing following of adherents, who every night make a circuit of the town in procession, with chants and flagellations. Officials are appointed to take charge of lodging and feeding these multitudes. A large number of priests of various religious orders accompany him everywhere, to assist him in celebrating mass and in confessing the faithful. Also several notaries, to draw up, on the spot, deeds embodying the reconciliations which this holy preacher everywhere brings about. His pulpit has to be protected by a fence against the pressure of the congregation which wants to kiss his hand or habit. Work is at a stand-still all the time he preaches. He rarely fails to move his auditors to tears. When he spoke of the Last Judgment, of Hell, or of the Passion, both he and his hearers wept so copiously that he had to suspend his sermon till the sobbing had ceased. Malefactors threw themselves at his feet, before every one, confessing their great sins. One day, while he was preaching, he saw two persons, who had been condemned to death — a man and a woman — being led to execution. He begged to have the execution delayed, had them both placed under the pulpit, and went on with his sermon, preaching about their sins. After the sermon, only some bones were found in the place they had occupied, and the people were convinced that the word of the saint had consumed and saved them at the same time.

After Olivier Maillard had been preaching Lenten sermons at Orleans, the roofs of the houses surrounding the place whence he had addressed the people had been so damaged by the spectators who had climbed on to them, that the roofer sent in a bill for repairs extending over sixty-four days.

The diatribes of the preachers against dissoluteness and luxury produced violent excitement which was translated into action. Long before Savonarola started bonfires of "vanities" at Florence, to the irreparable loss of art, the custom of these holocausts of articles of luxury and amusement was prevalent both in France and in Italy. At the summons of a famous preacher, men and women would hasten to bring cards, dice, finery, ornaments, and burn them with great pomp. Renunciation of the sin of vanity in this way had taken a fixed and solemn form of public manifestation, in accordance with the tendency of the age to invent a style for everything.

All this general facility of emotions, of tears and spiritual upheavals, must be borne in mind in order to conceive fully how violent and high-strung was life at that period.

Public mourning still presented the outward appearance of a general calamity. At the funeral of Charles VII, the people are quite appalled on seeing the cortège of all the court dignitaries, "dressed in the deepest mourning, which was most pitiful to see; and because of the great sorrow and grief they exhibited for the death of their master, many tears were shed and lamentations uttered throughout the town." People were especially touched at the sight of six pages of the king mounted on horses quite covered with black velvet. One of the pages, according to a rumour, had neither eaten nor drunk for four days. "And God knows what doleful and piteous plaints they made, mourning for their master."

Solemnities of a political character also led to abundant weeping. An ambassador of the king of France repeatedly bursts into tears while addressing a courteous harangue to Philip the Good. At the meeting of the kings of France and of England at Ardres, at the reception of the dauphin at Brussels, at the departure of John of Coimbre from the court of Burgundy, all the spectators weep hot tears. Chastellain describes the dauphin, the future Louis XI, during his voluntary exile in Brabant, as subject to frequent fits of weeping.

Unquestionably there is some exaggeration in these descriptions of the chroniclers. In describing the emotion caused by the addresses of the ambassadors at the peace congress at Arras, in 1435, Jean Germain, bishop of Chalons, makes the auditors throw themselves on the ground, sobbing and groaning. Things, of course, did not happen thus, but thus the bishop thought fit to represent them, and the palpable exaggeration reveals a foundation of truth. As with the sentimentalists of the eighteenth century, tears were considered fine and honourable. Even nowadays an indifferent spectator of a public procession sometimes feels himself suddenly moved to inexplicable tears. In an age filled with religious reverence for all pomp and grandeur, this propensity will appear altogether natural.

A simple instance will suffice to show the high degree of irritability which distinguishes the Middle Ages from our own time. One can hardly imagine a more peaceful game than that of chess. Still, like the chansons de gestes of some centuries back, Olivier de la Marche mentions frequent quarrels arising over it: "le plus saige y pert patience."


A scientific historian of the Middle Ages, relying first and foremost on official documents, which rarely refer to the passions, except violence and cupidity, occasionally runs the risk of neglecting the difference of tone between the life of the expiring Middle Ages and that of our own days. Such documents would sometimes make us forget the vehement pathos of medieval life, of which the chroniclers, however defective as to material facts, always keep us in mind.

In more than one respect life had still the colours of a fairy-story; that is to say, it assumed those colours in the eyes of contemporaries. The court chroniclers were men of culture, and they observed the princes, whose deeds they recorded, at close quarters, yet even they give these records a somewhat archaic, hieratic air. The following story, told by Chastellain, serves to prove this. The young count of Charolais, the later Charles the Bold, on arriving at Gorcum, in Holland, on his way from Sluys, learns that his father, the duke, has taken all his pensions and benefices from him. Thereupon he calls his whole court into his presence, down to the scullions, and in a touching speech imparts his misfortune to them, dwelling on his respect for his ill-informed father, and on his anxiety about the welfare of all his retinue. Let those who have the means to live, remain with him awaiting the return of good fortune; let the poor go away freely, and let them come back when they hear that the count's fortune has been re-established: they will all return to their old places, and the count will reward them for their patience. "Then were heard cries and sobs, and with one accord they shouted: 'We all, we all, my lord, will live and die with thee.'" Profoundly touched, Charles accepts their devotion: "Well, then, stay and suffer, and I will suffer for you, rather than that you should be in want." The nobles then come and offer him what they possess, "one saying, I have a thousand, another, ten thousand; I have this, I have that to place at thy service, and I am ready to share all that may befall thee." And in this way everything went on as usual, and there was never a hen the less in the kitchen.

Clearly this story has been more or less touched up. What interests us is that Chastellain sees the prince and his court in the epic guise of a popular ballad. If this is a literary man's conception, how brilliant must royal life have appeared, when displayed in almost magic splendour, to the naïve imagination of the uneducated!

Although in reality the mechanism of government had already assumed rather complicated forms, the popular mind pictures it in simple and fixed figures. The current political ideas are those of the Old Testament, of the romaunt and the ballad. The kings of the time are reduced to a certain number of types, every one of which corresponds, more or less, to a literary motif. There is the wise and just prince, the prince deceived by evil counsellors, the prince who avenges the honour of his family, the unfortunate prince to whom his servants remain faithful. In the mind of the people political questions are reduced to stories of adventure. Philip the Good knew the political language which the people understands. To convince the Hollanders and Frisians that he was perfectly able to conquer the bishopric of Utrecht, he exhibits, during the festivities of the Hague, in 1456, precious plate to the value of thirty thousand silver marks. Everybody may come and look at it. Amongst other things, two hundred thousand gold lions have been brought from Lille contained in two chests which every one may try to lift up. The demonstration of the solvency of the state took the form of an entertainment at a fair.


(Continues...)

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Table of Contents

I. THE VIOLENT TENOR OF LIFE
II. PESSIMISM AND THE IDEAL FO THE SUBLIME LIFE
III. THE HIERARCHIC CONCEPTION OF SOCIETY
IV. THE IDEA OF CHIVALRY
V. THE DREAM OF HEROISM AND OF LOVE
VI. ORDERS OF CHIVALRY AND VOWS
VII. THE POLITICAL AND MILITARY VALUE OF CHIVALROUS IDEAS
VIII. LOVE FORMALIZED
IX. THE CONVENTIONS OF LOVE
X. THE IDYLLIC VISION OF LIFE
XI. THE VISION OF DEATH
XII. RELIGIOUS THOUGHT CRYSTALLIZING INTO IMAGES
XIII. TYPES OF RELIGIOUS LIFE
XIV. RELIGIOUS SENSIBILITY AND RELIGIOUS IMAGINATION
XV. SYMBOLISM IN ITS DECLINE
XVI. THE EFFECTS OF REALISM
XVII. RELIGIOUS THOUGHT BEYOND THE LIMITS OF IMAGINATION
XVIII. THE FORMS OF THOUGHT AND PRACTICAL LIFE
XIX. ART AND LIFE
XX. THE ÆSTHETIC SENTIMENT
XXI. VERBAL AND PLASTIC EXPRESSION COMPARED. I
XXII. VERBAL AND PLASTIC EXPRESSION COMPARED. II
XXIII. THE ADVENT OF THE NEW FORM
BIBLIOGRAPHY
INDEX

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