IN LITERATURE
collections, the amazing thing is that though they picture villainy, cruelty, and treachery, they picture no effects of villainy, cruelty, or treachery; their escapades continue to be merry; there is no hint of possible tragedy for man nor of pity for woman. To be sure, the medieval story-teller does chronicle sorrow, and he does treat womanhood sympathetically, but never when dealing with such themes as we are thinking of. Patient Griselda is a medieval heroine; Tess of the D'Urbervilles is not. The middle ages, moreover, defined tragedy as a fall from good fortune to bad, and comedy as a rise from bad fortune to good; doubtless God punished the wicked and rewarded the righteous, but in His own miraculous way, not in the inherent consequences of a moral choice. It is only by the caprice of her husband that Griselda is rewarded; to a dramatic
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