C. S. Lewis (essay date 1958)
SOURCE: Lewis, C. S. “Allegory.” The Allegory of Love, pp. 98-109. New York: Oxford University Press: New York, 1958.
[In the following excerpt, Lewis analyses the Anticlaudianus as a secular rather than a religious work, noting that its importance lies in the influence it exerted on writers like Castiglione and Spenser.]
The Anticlaudianus1 of Alanus ab Insulis is a work in every respect inferior to the De Mundi Universitate, and may be described as nearly worthless except from the historical point of view. From that point of view it is important. It was written to be a kind of pendant to Claudian's In Rufinum. In that glorified lampoon Claudian had tried to give an original turn to the abuse of an enemy by a setting of the allegorical mythology which was congenial to his age. In the opening of his first book Allecto is introduced lamenting the return of the golden age, and the consequent diminution of her old empire, under Theodosius. An infernal council is summoned and Megaera carries the proposal of entrusting to her nursling Rufinus the championship of the cause of evil. Alanus reverses the idea and describes the creation of a perfect man by Natura as her champion against Allecto; and hence the title anti-Claudian. Since the perfect man, at the end of the poem, proves his mettle in combat against the vices, the poem may be described as a Psychomachia with a lengthy introduction; and Alanus, like Prudentius, probably believed himself to be composing an epic. The work is written throughout in hexameters and always couched in the same monotonous rhetoric. It is a principle with Alanus that whatever is worth saying once is worth saying several times. Thus ‘she thinks about the way to heaven’ becomes
She thinks, inquires, devises, seeks, elects What way, or path, or road may guide her steps To high heav'n and the Thunderer's secret throne.(2)
‘She bids them make a chariot’ becomes
She bids, commands, orders, enjoins, begs one Of those in Wisdom's train, with hand and heart And faith and zeal and sweat and toil to effect The carriage into being of her carriage.(3)
But no quotation can do justice to the effect of the book as a whole. Those who have read it to the end—a small company—and those only, can understand how speedily amused contempt turns into contempt without amusement, and how even contempt at last settles into something not far removed from a rankling personal hatred of the author. Nor are the vices of the style redeemed, as their much more pardonable counterparts were redeemed in Bernardus, by any real profundity or freshness in the matter. Once or twice, when he is describing external nature, the author shows a trace of real feeling; once or twice, in moral passages, he attains a certain dignity; for the rest this book is one of the melancholy kind that claim our attention solely as influences and as examples of a tendency.
Natura, the story says, once resolved to sum up in a single crowning work all the goodness that lay scattered among her creatures. But her old anvil was worn away and the task beyond her powers. Therefore she called her sisters to council, in her secret place. Thither they came—Concord and Youth, Laughter who clears the clouds of the mind, and Reason who is the measure of good: Honesty, Prudence, Good Faith, and that Virtue par excellence (for she is called Virtus simply).
Who scatters wealth and pours her gifts abroad Nor lets her treasure basely fust in ease.(4)
Last of all came Nobility. To these Natura opened her heart. In all her works she saw nothing that was wholly blessed. The old stain could not be removed; but still it might be possible to make one work which could redeem the whole, and be the mirror of themselves. In the meantime, they knew that her decrees were scorned by mortals and Tisiphone triumphed on the earth. To this the Virtues replied that such a project showed the divine wisdom of the speaker, but that among themselves there was no power to perform it. Let Prudence and Reason be dispatched to heaven to ask of God a soul for the perfect man. Prudence at first was coy (‘Fluctuat haec, se nolle negat nec velle fatetur’),5 but Concord overruled her. A chariot was built and to it they yoked the five horses whose names are Sight, Hearing, Smell, Taste, and Touch, and the two virtues ascended in it to heaven, passing as they went, the aerios cives quibus aer carcer.6 On the brow of the world they met Theology, who unyoked Hearing and setting Prudence on his back—for Reason could come no farther—conducted her to the throne of the Almighty; to whom she offered her prayer, representing the ill treatment which she and her sisters now suffered on earth, and rounding all off with the cogent argument
A neighbour's house on fire imperils thine.(7)
God then called Noys to bring him an exemplar out of her treasury and impressed its likeness with his seal upon the new soul which he gave to Prudence. She rejoined her sister Reason whom she found waiting at the celestial frontier, and the two returned together to the house of Natura. A perfect body was fashioned and united to the soul gumphis subtilibus,8 and the Virtues in turn endowed the man with their choicest gifts. Only Nobility could do nothing until he had visited his mother Fortune and secured her goodwill. Meanwhile Fame had carried as far as Hell the tidings of this new creation. Allecto summoned the infernal peers, whose deliberations were so effective that the new man was scarcely living before an army of vices was advancing to attack him. The whole concludes with the psychomachy, and the victory of the perfect man ushers in the golden age.
The importance of this work, whose literary merits I have already denied, is twofold. In the first place it conferred new prestige on the allegorical method, of which it was a specimen more attractive to that age than any of its predecessors. It was the last word in poetic style as style was then understood. It was longer and more encyclopaedic than the Psychomachia. It was a good deal easier and more popular than Bernardus. In the second place, it is significant by reason of its moral content: as a document of the ‘humanism’ of Chartres, as the celebration of a tertium quid between the courtly and the religious conceptions of the good life, it is perhaps more important than the De Mundi Universitate itself. For when we come to examine in detail the perfect man presented by Alanus, we find much that accords ill, by any strict standard, with the theological framework of the poem. The Virtues who are summoned to his making are purely secular virtues. If Fides appears, it is made clear that Fides means ‘good faith’—the virtue that keeps promises and plays fair in friendship—and not ‘Faith’ in the Christian sense.9 If Pietas appears, Pietas means ‘Pite’ and not piety.10 And among the virtues we find some whom a very moderate ascetism might exclude from that title altogether, such as Favor (popularity), Risus, and Decus;11 and others whom no philosophy can treat as virtues at all, such as Copia, Juventus, and Nobilitas.12 Again, in the psychomachy which concludes the whole we find among the army of the vices such unexpected champions as Pauperies, Infamia, and Senectus:13 characters very proper to be excluded from the garden of Amor—as ‘Poverte’ and ‘Elde’ are excluded in the Romance of the Rose—but very oddly included among ‘vices’ from the theologian's point of view. Is it not, then, apparent that Alanus is depicting not so much a perfect man by the standards of the Church as a ‘noble and virtuous gentleman’ according to the standards of chivalry? Is not Alanus, in fine, to be numbered less among the followers of Prudentius than among the predecessors of Castiglione, of Elyot, and of Spenser? We have already seen that he appropriates the common name of Virtus to the typically courtly virtue of Largesse; and the scene in which the Virtues adorn the new man puts the question beyond doubt. He is not complete without Nobilitas, though Nobilitas admittedly depends upon Fortuna.14Fides, in words later to be echoed by Guillaume de Lorris, recommends to him the choice of a confidant:
To whom he may entrust his complete self, Lay bare his mind and speak his perfect will Showing the secret places of the heart.(15)
—advice much more useful to a gentleman than to a saint. Ratio, in direct defiance of the gospel teaching, recommends to him moderation, not abstinence, as regards the desire for fame:
Not swayed with popular applause, nor yet Spitting it out, unless it bear the stamp Of flattery and would purchase wealth for words; It smacks too much of sour austerity To scorn all fame.(16)
Modestia, who turns out to be none other than the old Hellenic and Provençal virtue of mesura, actually gives him lessons in deportment, and even in hairdressing:
Let not the hair, too wanton-fine, appear Like woman's bravery and belie the man. Nor too unkempt, lacking its due regard, Lest that proclaim thee by its tangled shock In thy fresh years too philosophical.(17)
We do wrong to laugh at such a passage. Once we have decided to describe, not the perfect man, but the perfect gentleman, we cannot stop short of these externals, which are, as a matter of fact, included in the character: a really exhaustive treatise on music must range from aesthetic philosophy to methods of fingering, and the same defence holds good for...
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