It would be wrong to suggest that the Black Death was solely and directly responsible for the metamorphosis. ‘In the thirteenth century’, wrote Émile Mâle,{530} ‘all the inspiring aspects of Christianity are reflected in art – kindness, humanity, love…. In the fifteenth century this light from heaven has long ceased to shine. Most of the works from this period… are sombre and tragic. Art offers only a representation of grief and of death.’ Yet Mâle saw this evolution at its most rapid in the last quarter of the fourteenth century, the fruit not of the plague itself but of the great wave of terror and dismay which engulfed Europe even after the plague was passed. Whatever the exact timing, however, the mood of the age pervades its religious art and the explanation of that mood forces itself upon the historian.
In a relatively primitive society religion and magic are seldom far apart; the shadow of the sorcerer lurks in the churchyard, the relics of the saints and the bones of the witch doctor’s mumbo-jumbo provide alike a picturesque pendant to an inner mystery. The terrors of the Black Death drove man to seek a more intense, a more personal relationship with the God who thus scourged him, it led him out of the formal paths of establishment religion and, by only a short remove, tumbled him into the darkest pit of Satanism. The Europeans of the 1350s and 1360s were no more saints or devils than their ancestors but such emotional disturbance had been generated that they were often within a step of believing themselves one or the other. They had been tested to the uttermost and even a touch was henceforth enough to tip them from their precarious balance. For anyone who had lived through the Black Deaths hysteria could never be far away.
We have already referred to Mr Thompson’s analogy between the after-effects of the Black Death and the Great War of 1914–18.{531} In both cases, he says, complaints of contemporaries were the same: ‘economic chaos, social unrest, high prices, profiteering, depravation of morals, lack of production, industrial indolence, frenetic gaiety, wild expenditure, luxury, debauchery, social and religious hysteria, greed, avarice, maladministration, decay of manners.’ In both the immense loss of life and ‘psychophysical shock’ made it a long time before the vitality and the initiative of the survivors was regained. In both the ‘texture of society’ was modified; new openings were created; the old nobility largely passed away and parvenu upstarts took their place; chivalry and courtesy vanished, manners became uncouth and brutal, refinement in dress disappeared. In both the administrative machine and the Church were almost crippled. Thousands of ignorant, incompetent, dishonest men were thrust abruptly into positions of authority far beyond their merit. In both, in a word, the whole population was ‘shell-shocked’, a state from which they were not fully to emerge for many years.
There is, of course, much which is exaggerated or unacceptable in this thesis. Neither after 1918 nor after 1350 did the ‘old nobility’ pass away; chivalry and courtesy did not vanish; dress and manners evolved, perhaps more dramatically than usual, but certainly not with the drastic absoluteness suggested by Thompson. But the analogy is still of value in that it conveys an impression, expressed in contemporary terms, of the magnitude of the experience in which medieval man had been involved. The two experiences are properly comparable but comparison can only show how much more devastating the Black Death was for its victims than the Great War for their descendants. Their chances of death were of course immeasurably higher; even the front-line infantry man had a better chance of surviving the war than the medieval peasant the plague. Another distinction perhaps even more important for the morale of those involved, was the omnipresence of the Black Death. The First World War was more or less confined to contending armies on fixed battle lines; the second cast its net more widely but still left great areas virtually untouched. The Black Death was everywhere; in every hamlet and in every home. No escape was possible.
And then, in the Great War, the warring nations knew their enemies and knew, too, that they were merely mortal. They had a defined target to hate and to contend with. The plague victim could hate only his God or himself, with occasional not wholly convincing forays in persecution of Jews, lepers or other even less substantial surrogates. For the rest his affliction was totally mysterious and far the more dreadful for being so. And finally the Great War was spread over more than four years; for each locality the great pestilence worked its mischief in a tenth the time. It can be argued that protracted agony is worse than a sudden and explosive shock, but if one is considering the impact on the mind of the survivor then it is surely the second which will produce the graver consequences.
The ‘shell-shock’ which Mr Thompson finds in the survivors of the two catastrophes should therefore have been more violent and more lasting among those who endured the Black Death. But is this not particularly striking generalization of any value? What form did the ‘shell-shock’ take? Was it the kind of shock which galvanized into action or which stunned into apathy? Is it possible to detect any significant and consistent change in the attitude of medieval man between the first and second halves of the fourteenth century? Does the statement that modern man was forged in the crucible of the Black Death have any real validity? Does it, indeed, mean anything at all?
To some at least of these questions this book may provide a tentative answer. But it is only necessary to pose them to see how far we are, and will always be from a definitive solution. In a field so amorphous any attempt at the precise or the categoric would be futile. But if one were to seek to establish one generalization, one cliché perhaps, to catch the mood of the Europeans in the second half of the fourteenth century, it would be that they were enduring a crisis of faith. Assumptions which had been taken for granted for centuries were now in question, the very framework of men’s reasoning seemed to be breaking up. And though the Black Death was far from being the only cause, the anguish and disruption which it had inflicted made the greatest single contribution to the disintegration of an age.
Faith disappeared, or was transformed; men became at once sceptical and intolerant. It is not at all the modern, serenely cold, and imperturbable scepticism; it is a violent movement of the whole nature which feels itself impelled to burn what it adores; but the man is uncertain in his doubt, and his burst of laughter stuns him; he has passed as it were, through an orgy, and when the white light of the morning comes he will have an attack of despair, profound anguish with tears and perhaps a vow of pilgrimage and a conspicuous conversion.{532}
Jusserand’s classic description of the European in the second half of the fourteenth century captures admirably the twin elements of scepticism and timorous uncertainty. The generation that survived the plague could not believe but did not dare deny. It groped myopically towards the future, with one nervous eye always peering over its shoulder towards the past. Medieval man during the Black Death, had seemed as if silhouetted against a background of Wagnerian tempest. All around him loomed inchoate shapes redolent with menace. Thunder crashed, lightning blazed, hail cascaded; evil forces were at work, bent on his destruction. He was no Siegfried, no Brunnhilde heroically to defy the elements. Rather, it was as if he had wandered in from another play: an Edgar crying plaintively, ‘Poor Tom’s a-cold; poor Tom’s a-cold!’ and seeking what shelter he could against the elements.