Page:The Mediaeval Mind Vol 2.djvu/170

158 Nothing more need be said of the Latin of the Church Fathers and Gregory of Tours. But one must refer to the Carolingian period, in order to appreciate the Latin styles of the twelfth and thirteenth centuries.

The revival of education and classical scholarship under the strong rule and fostering care of the greatest of mediaeval monarchs has not always been rightly judged. The vision of that prodigious personality ruling, christianizing, striving to civilize masses of barbarians and barbarized descendants of Romans and provincials; at the same time with eager interest endeavouring to revive the culture of the past, and press it into the service of the Christian faith; the striking success of his endeavours, men of learning coming from Ireland, England, Spain, and Italy, creating a peripatetic centre of knowledge at the imperial court, and establishing schools in many a monastery and episcopal residence—all this has never failed to arouse enthusiasm for the great achievement, and has veiled the creative deadness of it all, a deadness which in some provinces of intellectual endeavour was quite veritably moribund, while in others it betokened the necessary preparation for creative epochs to come.

Carolingian scholarship was directed to the mastery of Latin. Grammar was taught, and the rules of composition. Then the scholars were bidden, or bade themselves, do likewise. So they wrote verse or prose according to their school lessons. They might write correctly; but they had no style of their own. This was hopelessly true as to their metrical verses; it was only somewhat less tangibly true of their prose. The "classic" of the period, in the eyes of modern classical scholars and also in the opinion of the mediaeval centuries, is Einhard's Life of Charlemagne. Numberless encomiums have been passed on it, and justly too. It was an excellent imitation of Suetonius's Life of Augustus; and the writer had made a careful study of Caesar and Livy. There is no need to quote from a writing so accessible and well known. Yet one remark may be added to what others have said: if Einhard's composition