The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
§ 10. The Grotesque in Dunbar
In considering the satirical and occasional poems of Dunbar, which constitute at once the greater and more important portion of his work, it is well, in the first place, to see how far the Chaucerian influence holds. Here, at least, it is difficult to allow the aptness of the title “the Scottish Chaucer,” unless it mean nothing more than that Dunbar, by analogical compliment, has the first place in Early and Middle Scots, as Chaucer has in Middle English. It cannot mean that he shows Chaucer’s spirit and outlook, as Henryson has shown; nor that Dunbar is, in these satirical and occasional pieces, on which his wider reputation rests, a whole-hearted pupil in the craft of verse. The title would have appeared more fitting in his own day, when his appeal to contemporaries (apart from any acknowledged debt to his forerunner) was of the same technical kind which Chaucer had made to his; but a comparison, nowadays, has to take account of other matters. Both poets are richly endowed with humour: it is the outstanding quality of each; but in no respect do their differences appear more clearly. Here, Dunbar is unlike Henryson in lacking the gentler and more intimate fun of their master. He is a satirist in the stronger sense; more boisterous in his fun, and showing, in his the wildest frolics, an imaginative range which has no counterpart in the southern poet. His satirical powers are best seen in his Tiodings from the Session, an attack on the law courts, and in his Satire on Edinburgh, in which he denounces the filthy condition of the capital; in his verses on his old friends the Franciscans, and on the flying friar of Tungland who came to grief because he had used hen’s feathers; in his fiercer invectives of the General Satire and The Epitaph on Donald Owre; and in the vision of The Dance of the Sevin Deidlie Synnis. The last is one of the best examples of Dunbar’s realism and literary cunning in suiting the word and line to the sense, as in the description of Sloth—
Of lyrical, as of strictly dramatic, excellence, there is little in Dunbar. His love poems are few and, taken as a whole, undistinguished. His religious and moral verses, the one of the hymn type, the other on the hackneyed themes of Good Counsel, Vanitas vanitatum and (when he is cheery in mood) Blitheness, deserve commendation for little beyond their metrical facility. They are too short to be tedious to the modern reader. He uses the old device of the “testament” to good purpose in the comic poem on the physician Andrew Kennedy; and, here again, his imagination transforms the old convention. In all Goliardic literature there is nothing to excel this stanza:
In The Dance, already referred to, Dunbar works up the familiar material of the Danse Macabre. In his Flyting of Dunbar and Kennedie (his poetic rival Walter Kennedy) we have a Scottish example of the widely-spread European genre in its extremest form. It remains a masterpiece of scurrility. The purpose of the combatants in this literary exercise was to outdo each other in abuse, and yet not to quarrel. It is hard for the most catholic modern to believe that they kept the peace, though Dunbar speaks kindly of his “friend” in his Lament. The indirect value ofThe Flyting is great—linguistically, in its vocabulary of invective; biographically, for it tells us more of the poet than we derive from any other source; historically, in respect of its place in the development of this favourite genre in Scots, and its testimony to the antipathies of Celtic and Lowland civilisations in the early sixteenth century. A like indirect interest attaches to The Lament for the Makaris, which Dunbar wrote “quhen he was seik.” It is a poem on the passing of human endeavour, a motif which had served the purpose of scores of fifteenth century laments. If it was written under the influence of Villon’s master ballades, praise must be allowed to Dunbar that he endenised the Frenchman’s art with some success. The solemn effect of the burden, Timor mortis conturbat me, occasional happy turns, as