FOOTNOTES:

FOOTNOTES:[77]This is an account of the battle of thirty Englishmen and thirty Bretons in the Edwardian wars.[78]There is, it appears, no authority for the Christian name of Robert which used to be given to Wace.[79]Wace'sBrutis not the only one. The title seems to have become a common name.[80]The old edition of theRoman de Rou, by Pluquet, has been entirely superseded by that of Dr. Hugo Andresen. 2 vols. Heilbronn, 1877-1879.[81]Discovered recently in the Middlehill collection, and known chiefly by an article inRomania(Jan. 1882), giving an abstract and specimens.[82]Ed. Reiffenberg. Brussels, 1835-1845.[83]Ed. Schéler. Brussels, 1866-1868.[84]Well edited by Koch. Heilbronn, 1879.[85]See especiallyHysminias and Hysmine.[86]Ed. F. Michel. 2 vols. Paris, 1864.[87]Dangieris not exactly 'danger.' To be 'en dangier de quelqu'un' is to be 'in somebody's power.'Dangieris supposed to stand for the guardian of the beloved, father, brother, husband, etc. This at least has been the usual interpretation, and seems to me to be much the more probable. M. Gaston Paris, however, and others, see inDangierthe natural coyness and resistance of the beloved object, not any external influence.[88]Chaucer's authorship of the existing translation has been denied. It is, however, certain that he did translate the poem.[89]Ed. Stehlich. Halle, 1881.[90]Ed. Förster. Berne, 1880.

[77]This is an account of the battle of thirty Englishmen and thirty Bretons in the Edwardian wars.

[78]There is, it appears, no authority for the Christian name of Robert which used to be given to Wace.

[79]Wace'sBrutis not the only one. The title seems to have become a common name.

[80]The old edition of theRoman de Rou, by Pluquet, has been entirely superseded by that of Dr. Hugo Andresen. 2 vols. Heilbronn, 1877-1879.

[81]Discovered recently in the Middlehill collection, and known chiefly by an article inRomania(Jan. 1882), giving an abstract and specimens.

[82]Ed. Reiffenberg. Brussels, 1835-1845.

[83]Ed. Schéler. Brussels, 1866-1868.

[84]Well edited by Koch. Heilbronn, 1879.

[85]See especiallyHysminias and Hysmine.

[86]Ed. F. Michel. 2 vols. Paris, 1864.

[87]Dangieris not exactly 'danger.' To be 'en dangier de quelqu'un' is to be 'in somebody's power.'Dangieris supposed to stand for the guardian of the beloved, father, brother, husband, etc. This at least has been the usual interpretation, and seems to me to be much the more probable. M. Gaston Paris, however, and others, see inDangierthe natural coyness and resistance of the beloved object, not any external influence.

[88]Chaucer's authorship of the existing translation has been denied. It is, however, certain that he did translate the poem.

[89]Ed. Stehlich. Halle, 1881.

[90]Ed. Förster. Berne, 1880.

Distinguishing features of Romans d'Aventures.

The remarkable fecundity of early French literature in narrative poetry on the great scale was not limited to the Chanson de Geste, the Arthurian Romance, and the classical story wrought into the likeness of one or the other of these. Towards the end of the twelfth or the beginning of the thirteenth century a new class of narrative poems arose, derived from each and all of these kinds, but marked by important differences. The new form immediately reacted on the forms which had given it birth, and produced new Chansons de Gestes, new Arthurian Romances, and new classical stories fashioned after its own image. This is what is called the Roman d'Aventures, of which the first and main feature is open and almost avowed fictitiousness, and the second the more or less complete abandonment of any attempt at cyclic arrangement or subordination to a central theme.

Looser application of the term.

Classes of Romans d'Aventures.

Until quite recently it was not unusual to apply the term Roman d'Aventures with less strictness, and to make it include the Romances of the Round Table. There can, however, be no doubt that it is far better to adopt Jean Bodel's three classes as distinguishing into separate groups the epic poetry of the eleventh and twelfth centuries, and to restrict the title Romans d'Aventures to the later narrative developments of the thirteenth and fourteenth. For the second distinguishing mark which we have just indicated is striking and of more or less universal application. In these later poems the ambition of the writer to class his work under and with some precedent work is almost entirelyabsent. He allows himself complete freedom, though he may sometimes, in order to give his characters greater interest, connect them nominally with some famous personage or event of the earlier cycles. This tendency to shake off the shackles of cyclicism is early apparent. There are episodes even in the Chansons de Gestes which have little or no reference to Charlemagne or his peers: the Arthurian Romances in prose and verse contain long digressions, holding but very loosely to the Table Round, such as the adventures of Tristram and Percivale, and still more the singular episode of Grimaud in theSaint Graal. As for the third class, the Trouvères almost from the beginning assumed the greatest licence in their handling of the classical legends. These accordingly were less affected than any others by the change. It is possible to divide the Romans d'Aventures themselves under the three headings. It is further possible to indicate a large class of Chansons de Gestes over which the influence of the Roman d'Aventures has passed. But the Chanson having a special formal peculiarity—the assonanced or rhymed tirade—survived the new influence better than the other two, and keeps its name, and to some extent its character, while the Romances of Arthur and antiquity are simply lost in the general body of tales of adventure. These tales are for the most part written in octosyllabic couplets on the model of Chrestien, but a very few, such asBrun de la Montaigne, imitate the exterior characteristics of the Chanson.

It is further to be noticed that while the earlier poems are mostly anonymous, the Romans d'Aventures are generally, though not always, signed, and bear characteristics of particular authorship. In some cases, notably in those of Adenès le Roi and Raoul de Houdenc, we have a body of work signed or otherwise identified, which enables us to attribute a definite literary character and position to its authors. This, as we have noted, is impossible in the case of the national epics, and not too easy in that of the Arthurian Romances. Until quite recently however the Roman d'Aventures has had less of the attention of editors than its forerunners, and the works which compose the class are still to some extent unpublished.

Adenès le Roi.

Adenès or Adans le Roi perhaps derived his surname from the function of king of the minstrels, if he performed it, at the court of Henry III, duke of Brabant. He was, most likely, born in the second quarter of the thirteenth century, and the last probable allusion to him which we have occurs in the year 1297. The events of his life are only known from his own poems, and consist chiefly of travels in company with different princesses and princes of Flanders and Brabant. His literary work is however of great importance. It consists partly of refashionings of three Chansons de Gestes,Les enfances Ogier,Berte aus grans Piés, andBueves de Commarchis[91]. In these three poems Adenès works up the old epics into the form fashionable in his time, and as we possess the older versions of the first and last, the comparison of the two forms affords a literary study of the highest interest. His last, longest, and most important work is the Roman d'Aventures ofCléomadès[92], a poem extending to 20,000 verses, and not less valuable for its intrinsic merit than as a type of its class. Its popularity in the middle ages was immense. Froissart gives it the place occupied in theInfernobyLancelotin his description of his declaration of love to his mistress, and allusions to it under its second title ofLe Cheval de Fust[93]are frequent. The most prominent feature in the story is the introduction of a wooden horse, like that known to everybody in the Arabian Nights, which, started and guided by means of pegs, transports its rider whithersoever he will. Its great length allows of a very long series of adventures, all of which are told in spirited and flowing verse, though with considerable prolixity and a certain abuse of stock descriptions. These two faults characterise all the Romans d'Aventures and the Chansons which were remodelled in their style. The merits ofCléomadèsare not so universally found, but its extreme length is not common. Few other Romans d'Aventures exceed 10,000 lines. An extract from this poem will well illustrate the manner of this important class of composition:—

Cleomadés vit un chastelencoste un plain, tres fort et bel,ou il ot mainte bele tour.bos et rivieres vit entour,vignes et praieries grans.mult fu li chastiaus bien sëans.la façon dou castel deïsse,mais je dout mult que ne meïssetrop longement au deviser:pour ce m'en voel briément passer.Du chastel vous dirai le non:miols sëant ne vit aine nus hom,lors l'apieloit on Chastel-noble.n'ot tel dusque en Constantinoble,ne de la dusque en Ostericen'ot plus bel, plus fort ne plus rice.carmans a cel point i estoitque Cleomadés vint la droit.forment li sambloit li chastiausde toutes pars riches et biaus.Cleomadés lors s'avisaque viers le chastel se trera.bien pensoit qu'en tel liu manoientgent qui de grant afaire estoient.che fu si qu'apriés l'ajourneemult faisoit bele matinee,car mais estoit nouviaus entrés:c'est uns tans ki mult est améset de toutes gens conjoïs;pour çou a non mais li jolis.une tres grant tour haute et forteavoit asés priés de la porte,ki estoit couverte de plon,plate deseure, car adonles faisoit on ensi couvrirpour engins et pour assallir.Cleomadés a aviseela tour ki estoit haute et lee;lors pense qu'il s'aresterasor cele tour tant qu'il savra,se il puet, la certainitéquel païs c'est la verité.lors a son cheval adrechiéviers la tour de marbre entaillié.les chevilletes si tournaque droit sour la tour aresta.si coiement s'est avalésque sour aighe coie vait nés.

Raoul de Houdenc.

Raoul de Houdenc is an earlier poet than Adenès, and represents the Roman d'Aventures in its infancy, when it still found it necessary to attach itself to the great cycle of the Round Table. His works, besides some shorter poems[94], consist of theRoman des Eles(Ailes), a semi-allegorical composition, describing the wings and feathers of chivalry, that is to say, the great chivalrous virtues, among which Raoul, like a herald as he was, gives Largesse the first place; ofMéraugis de Portlesguez, an important composition, possessing some marked peculiarities of style; and possibly also of theVengeance de Raguidel, in which the author works out one of the innumerable unfinished episodes of the great epic ofPercevale. Thus Raoul de Houdenc occupies no mean place in French literature, inasmuch as he indicates the starting-point of two great branches, the Roman d'Aventures and the allegorical poem, and this at a very early date. This date is not known exactly; but it was certainly before 1228, when the Trouvère Huon de Méry alludes to him, and classes him with Chrestien as a master of French verse. He has in truth some very noteworthy peculiarities. The chief of these, which must soon strike any reader ofMéraugis, is his tendency toenjambementor overlapping of couplets. It is a curious feature in the history of French verse that the isolation of the couplet has constantly recurred in its history, and that as constantly reformers have striven to break up the monotony so produced by this process ofenjambement. Perhaps Raoul is the earliest who thus, as an indignant critic put it at the first representation ofHernani, 'broke up verses, and threw them out of window.' Besides this metrical characteristic, the thing most noteworthy in his poems (as might indeed have been expected from his composition of theRoman des Eles) is a tendency to allegorising, and to scholastic disquisitions on points of amatory casuistry. The whole plot ofMéraugisindeed turns on the enquiry whether physical or metaphysical love is the sincerest, and on the quarrel which a difference on thispoint brings on between the hero and Gorvein Cadrus his friend and his rival in the love of the fair Lidoine.

Chief Romans d'Aventures.

Many other Romans d'Aventures deserve mention, both for their intrinsic merits and for the immense popularity they once enjoyed. Foremost among these must be mentionedPartenopex de Blois[95]andFlore et Blanchefleur[96]. The former (formerly ascribed to Denis Pyramus and now denied to him, but said to date from the twelfth century) is a kind of modernisedCupid and Psyche, except that Cupid's place is taken by the fairy Melior, and Psyche's by the knight Parthenopeus or Parthenopex. This poem has great elegance and freshness of style, and though the author is inclined to moralise (as a near forerunner of theRoman de la Rosewas bound to do), his moralisings are gracefully and naively put.Flore et Blanchefleuris perhaps even superior. Its theme is the love of a young Christian prince for a Saracen girl-slave, who has been brought up with him. She is sold into a fresh captivity to remove her from him, but he follows her and rescues her unharmed from the harem of the Emir of Babylon. The delicacy of the handling is very remarkable in this poem, and it has some links of connection withAucassin et Nicolette.Le Roman de Dolopathos[97]has a literary history of great interest which we need not touch upon here. Its versification has more vigour than that of almost any other Roman d'Aventures.Blancandin et l'Orguilleuse d'Amour[98]is more promising at the beginning than in the sequel. A young knight, hearing of the pride and coyness of a lady, accosts and kisses her as she rides past with a great following of knights. Her coldness is of course changed to love at first sight, and the audacious suitor afterwards delivers her from her enemies; but the working out of the story is rather dully managed.Brun de la Montaigne[99], as has been already mentioned, is written in Chanson form, and deals with the famous Forest of Broceliande in Britanny.Guillaume de Palerne[100]is a still more interesting work. It introduces the favourite mediaeval idea of lycanthropy, the hero being throughouthelped and protected by a friendly were-wolf, who is before the end of the poem freed from the enchantment to which he is subjected. This Romance was early translated into English. Of the same class is theRoman de l'Escouffle, where a hawk carries away the heroine's ring, as in a well-known story of the Arabian Nights.Amadas et Idoine[101]is one of the numerous histories of the success of a squire of low degree, but is distinguished from most of them by the originality of its conception and the vigour of its style. The scenes where the hero is recovered of his madness by his beloved, and where, keeping guard over her tomb, he fights with ghostly enemies, after a time of trial of his fidelity, and rescues her from death, are unusually brilliant.Le Bel Inconnu[102], which (from a curious misunderstanding of its older formLi Biaus Desconnus) occurs in English form asLybius Diasconus, tells the story of a son of Gawain and the fairy with the white hands, and thus is one of the numerous secondary Romances of the Round Table. So also is the long and interestingRoman du Chevalier as Deux Espées[103]; this extends to more than 12,000 lines, and, though the adventures recorded are of the ordinary Round Table pattern, there is noticeable in it a better faculty of maintaining the interest and a completer mastery over episodes than usual. A still longer poem (also belonging to what may be called the outer Arthurian cycle) isDurmart le Gallois[104], which contains almost 16,000 verses. The loves of the hero and Fenise, the Queen of Ireland, are somewhat lengthily handled; but there are passages of merit, especially one most striking episode in which the hero, riding through a forest by night, comes to a tree covered from top to bottom with burning torches, while a shining naked child is enthroned on the summit. These touches of mystical religion are rarer in the later Romans d'Aventures than in the Arthurian Romances proper, but with them one of the most remarkable elements of romance disappears. Philippe de Rémy, Seigneur de Beaumanoir (who has other claims to literary distinction) is held to be author of two Romans d'Aventures[105],LaManekine(the story of the King of Hungary's daughter, who cut off her hand to save herself from her father's incestuous passion) andBlonde d'Oxford, where a young French squire carries off an English heiress.Joufrois de Poitiers[106], which has not come down to us complete, is chiefly remarkable for the liveliness of style with which adventures, in themselves tolerably hackneyed, are handled. Other Romans d'Aventures, which are either as yet in manuscript or of less importance, areIlle et GaleronandEracle, both by Gautier d'Arras,Cristal et Larie,La Dame à la Licorne,Guy de Warwike,Gérard de NeversorLa Violette[107],Guillaume de Dole,Elédus et Séréna,Florimont.

General Character.

Like most kinds of mediaeval poetry, these Romans d'Aventures have a very considerable likeness the one to the other. It may indeed be said that they possess a 'common form' of certain incidents and situations, which reappear with slight changes and omissions in all or most of them. Their besetting sins are diffuseness and the recurrence of stock descriptions and images. On the other hand, they have their peculiar merits. The harmony of their versification is often very considerable; their language is supple, picturesque, and varied, and the moral atmosphere which they breathe is one of agreeable refinement and civilisation. In them perhaps is seen most clearly the fanciful and graceful side of the state of things which we call chivalry. Its mystical and transcendental sides are less vividly and touchingly exhibited than in the older Arthurian Romances; and its higher passions are also less dealt with. The Romans d'Aventures supply once more, according to the Aristotelian definition, an Odyssey to the Arthurian Iliad; they are complex and deal with manners. Nor ought it to be omitted that, though they constantly handle questions of gallantry, and though their uniform theme is love, the language employed on these subjects is almost invariably delicate, and such as would not fail to satisfy even modern standards of propriety. The courtesy which was held to be so great a knightly virtue, if it was not sufficient to ensure a high standard of morality in conduct, at any rate secured such a standard inmatter of expression. In this respect the Court literature of the thirteenth and fourteenth centuries stands in very remarkable contrast to that which was tolerated, if not preferred, from the time of Louis the Eleventh until the reign of his successor fourteenth of the name.

Last Chansons. Baudouin de Sebourc.

Reference has already been made to the influence which these poems had on the Chansons de Gestes. Few of the later developments of these are worth much attention, but what may be called the last original Chanson deserves some notice.Baudouin de Sebourc[108]and its sequel theBastard of Bouillon[109]worthily close this great division of literature, and, setting as they do a finish to the sub-cycle of theChevalier au Cygne, hardly lose except in simplicity by comparison with its magnificent opening in theChanson d'Antioche. They contain together some 33,000 verses, and the scene changes freely. It is sometimes in Syria, where the Crusaders fight against the infidel, sometimes in France and Flanders, where Baudouin has adventures of all kinds, comic and chivalrous, sometimes on the sea, where among other things the favourite mediaeval legend of St. Brandan's Isle is brought in. Not a little of its earlier part shows the sarcastic spirit common at the date of its composition, the beginning of the fourteenth century. The length of the two poems is enormous, as has been said; but, putting two or three masterpieces aside, no poem of mediaeval times has a more varied and livelier interest thanBaudouin de Sebourc, and few breathe the genuine Chanson spirit of pugnacious piety better thanLe Bastart de Bouillon.

FOOTNOTES:[91]Ed. Schéler. Brussels, v. d.[92]Ed. van Hasselt. Brussels, 1866.[93]The wooden horse.[94]TheSonge d'Enferand theVoie de Paradis, published by Jubinal, as theRoman des Eleshas been by Schéler,Méraugisby Michelant, and theVengeance de Raguidelby Hippeau.[95]Ed. Crapelet. Paris, 1834.[96]Ed. Du Méril. Paris, 1856.[97]Ed. Brunet et Montaiglon. Paris, 1856.[98]Ed. Michelant. Paris, 1867.[99]Ed. Meyer. Paris, 1875.[100]Ed. Michelant. Paris, 1876.[101]Ed. Hippeau. Paris, 1863.[102]Ed. Hippeau. Paris, 1860.[103]Ed. Förster. Halle, 1877.[104]Ed. Stengel. Tübingen, 1873.[105]Both edited in extract by Bordier. Paris, 1869. Complete edition begun by Suchier. Paris, 1884.[106]Ed. Hofmann and Muncker. Halle, 1880.[107]Ed. Michel.[108]Ed. Boca. 2 vols. Valenciennes, 1841.[109]Ed. Schéler. Brussels, 1877.

[91]Ed. Schéler. Brussels, v. d.

[92]Ed. van Hasselt. Brussels, 1866.

[93]The wooden horse.

[94]TheSonge d'Enferand theVoie de Paradis, published by Jubinal, as theRoman des Eleshas been by Schéler,Méraugisby Michelant, and theVengeance de Raguidelby Hippeau.

[95]Ed. Crapelet. Paris, 1834.

[96]Ed. Du Méril. Paris, 1856.

[97]Ed. Brunet et Montaiglon. Paris, 1856.

[98]Ed. Michelant. Paris, 1867.

[99]Ed. Meyer. Paris, 1875.

[100]Ed. Michelant. Paris, 1876.

[101]Ed. Hippeau. Paris, 1863.

[102]Ed. Hippeau. Paris, 1860.

[103]Ed. Förster. Halle, 1877.

[104]Ed. Stengel. Tübingen, 1873.

[105]Both edited in extract by Bordier. Paris, 1869. Complete edition begun by Suchier. Paris, 1884.

[106]Ed. Hofmann and Muncker. Halle, 1880.

[107]Ed. Michel.

[108]Ed. Boca. 2 vols. Valenciennes, 1841.

[109]Ed. Schéler. Brussels, 1877.

The Artificial Forms of Northern France.

Not the least important division of early French literature, in point of bulk and peculiarity, though not always the most important in point of literary excellence, consists of the later lyrical and miscellaneous poems of the fourteenth and early fifteenth centuries. By the end of the thirteenth century the chief original developments had lost their first vigour, while, on the other hand, the influence of the regular forms of Provençal poetry had had time to make itself fully felt. There arose in consequence, in northern France, a number of artificial forms, the origin and date of which is somewhat obscure, but which rapidly attained great popularity, and which continued for fully two centuries almost to monopolise the attention of poets who did not devote themselves to narrative. These forms, the Ballade, the Rondeau, the Virelai, etc., have already been alluded to as making their appearance among the later growths of early lyrical poetry. They must now be treated in the abundant development which they received at the hands of a series of poets from Lescurel to Charles d'Orléans.

General Character. Varieties.

The principle underlying all these forms is the same, that is to say, the substitution for the half-articulate refrain of the early Romances, of a refrain forming part of the sense, and repeated with strict regularity at the end or in the middle of stanzas rigidly corresponding in length and constitution. In at least two cases, thelaiand thepastourelle, the names of earlier and less rigidly exact forms were borrowed for the newer schemes; but the more famous and prevailing models[110], the Ballade, with its modification the ChantRoyal, and the Rondel, with its modifications the Rondeau and the Triolet, are new. It has been customary to see in the adoption of these forms a sign of decadence; but this can hardly be sustained in face of the fact that, in Charles d'Orléans and Villon respectively, the Rondel and the Ballade were the occasion of poetry far surpassing in vigour and in grace all preceding work of the kind, and also in presence of the service which the sonnet—a form almost if not quite as artificial—has notoriously done to poetry. It may be admitted, however, that the practitioners of the Ballade and the Rondeau soon fell into puerile and inartistic over-refinements. The forms of Ballade known as Équivoquée, Fratrisée, Couronnée, etc., culminating in the preposterous Emperière, are monuments of tasteless ingenuity which cannot be surpassed in their kind, and they have accordingly perished. But both in France and in England the Ballade itself and a few other forms have retained popularity at intervals, and have at the present day broken out into fresh and vigorous life.

Jehannot de Lescurel.

Guillaume de Machault.

Eustache Deschamps

The chief authors of these pieces during the period we are discussing were Jehannot de Lescurel, Guillaume de Machault, Eustache Deschamps, Jean Froissart, Christine de Pisan, Alain Chartier, and Charles d'Orléans. Besides these there were many others, thoughthe epoch of the Hundred Years' War was not altogether fertile in lighter poetry or poetry of any kind. Jehannot de Lescurel[111]is one of those poets of whom absolutely nothing is known. His very name has only survived in the general syllabus of contents of the manuscript which contains his works, and which is in this part incomplete. The thirty-three poems—sixteen Ballades, fifteen Rondeaus[112], and two nondescript pieces—which exist are of singular grace, lightness, and elegance. They cannot be later and are probably earlier than the middle of the fourteenth century, and thus they are anterior to most of the work of the school. Guillaume de Machault was a person sufficiently before the world, and his work is very voluminous. As usual with all these poets, it contains many details of its author's life, and enables us to a certain extent to construct that life out of these indications. Machault was probably born about 1284, and may not have died till 1377. A native of Champagne and of noble birth, he early entered, like most of the lesser nobility of the period, the service of great feudal lords. He was chamberlain to Philip the Fair, and at his death became the secretary of John of Luxembourg, the well-known king of Bohemia. After the death of this prince at Cressy, he returned to the service of the court of France and served John and Charles V., finally, as it appears, becoming in some way connected with Pierre de Lusignan, king of Cyprus. His works were very numerous, amounting in all to some 80,000 lines, of which until recently nothing but a few extracts was in print. In the last few years, however,La Prise d'Alexandrie[113], a rhymed chronicle of the exploits of Lusignan, and theVoir Dit[114],a curious love poem in the style of the age, have been printed. Besides these his works include numerous ballades, etc., and several long poems in the style of those of Froissart, shortly to be described. On the other hand, the works of Eustache Deschamps, which are even more voluminous than those of Machault, his friend and master, are almost wholly composed of short pieces, with one notable exception, theMiroir de Mariage, a poem of 13,000 lines[115]. Deschamps has left no less than 1175 ballades, and as the ballade usually contains twenty-four lines at least, and frequently thirty-four, this of itself gives a formidable total. Rondeaus, virelais, etc., also proceeded in great numbers from his pen; and he wrote an important 'Art of Poetry,' a treatise rendered at once necessary and popular by the fashion of artificial rhyming. The life of Deschamps was less varied than that of Machault, whose inferior he was in point of birth, but he held some important offices in his native province, Champagne. Both Deschamps and Machault exhibit strongly the characteristics of the time. Their ballades are for the most part either moral or occasional in subject, and rarely display signs of much attention to elegance of phraseology or to weight and value of thought. In the enormous volume of their works, amounting in all to nearly 200,000 lines, and as yet mostly unpublished, there is to be found much that is of interest indirectly, but less of intrinsic poetical worth. The artificial forms in which they for the most part write specially invite elegance of expression, point, and definiteness of thought, qualities in which both, but especially Deschamps, are too often deficient. When, for instance, we find the poet in his anxiety to discourage swearing, filling, in imitation of two bad poets of his time, one, if not two ballades[116]with a list of the chief oaths in use, it is difficult not to lament the lack of critical spirit displayed.

Froissart.

Froissart, though inferior to Lescurel, and though far less remarkable as a poet than as a prose writer, can fairly hold his ownwith Deschamps and Machault, while he has the advantage of being easily accessible[117]. The later part of his life having been given up to history, he is not quite so voluminous in verse as his two predecessors. Yet, if the attribution to him of theCour d' Amourand theTrésor Amoureuxbe correct, he has left some 40,000 or 50,000 lines. The bulk of his work consists of long poems in the allegorical courtship of the time, interspersed with shorter lyrical pieces in the prevailing forms. One of these poems, theBuisson de Jonece, is interesting because of its autobiographical details; and some shorter pieces approaching more nearly to theFabliaustyle,Le Dit du Florin,Le Débat du Cheval et du Lévrier, etc., are sprightly and agreeable enough. For the most part, however, Froissart's poems, like almost all the poems of the period, suffer from the disproportion of their length to their matter. If the romances of the time, which are certainly not destitute of incident, be tedious from the superabundance of prolix description, much more tedious are these recitals of hyperbolical passion tricked out with all the already stale allegorical imagery of theRoman de la Roseand with inappropriate erudition of the fashion which Jean de Meung had confirmed, if he did not set it.

Christine de Pisan.

Christine de Pisan, who was born in 1363, was a pupil of Deschamps, as Deschamps had been a pupil of Machault. She was an industrious writer, a learned person, and a good patriot, but not by any means a great poetess. So at least it would appear, though here again judgment has to be formed on fragments, a complete edition of Christine never having been published, and even her separate poems being unprinted for the most part, or printed only in extract. Besides a collection of Ballades, Rondeaux, and so forth, she wrote severalDits(theDit de la Pastoure, theDit de Poissy, theDittié de Jeanne d'Arc, and someDits Moraux), besides aMutation de Fortune, aLivre des Cent Histoires de Troie, etc., etc.

Alain Chartier.

Alain Chartier, who was born in or about 1390, and who died in 1458, is best known by the famous story of Margaret of Scotland,queen of France, herself an industrious poetess, stooping to kiss his poetical lips as he lay asleep. He also awaits a modern editor. Like Froissart, he devoted himself to allegorical and controversial love poems, and like Christine to moral verse. In the former he attained to considerable skill, and a ballade, which will presently be given, will show his command of dignified expression. On the whole he may be said to be the most complete example of the scholarliness which tended more and more to characterise French poetry at this time, and which too often degenerated into pedantry. Chartier is the first considerable writer of original work who Latinises much; and his practice in this respect was eagerly followed by therhétoriqueurschool both in prose and verse. He himself observed due measure in it; but in the hands of his successors it degraded French to an almost Macaronic jargon.

In all the earlier work of this school not a little grace and elegance is discoverable, and this quality manifests itself most strongly in the poet who may be regarded as closing the strictly mediaeval series, Charles d'Orléans[118]. The life of this poet has been frequently told. As far as we are concerned it falls into three divisions. In the first, when after his father's death he held the position of a great feudal prince almost independent of royal control, it is not recorded that he produced any literary work. His long captivity in England was more fruitful, and during it he wrote both in French and in English. But the last five-and-twenty years of his life, when he lived quietly and kept court at Blois (bringing about him the literary men of the time from Bouciqualt to Villon, and engaging with them in poetical tournaments), were the most productive. His undoubted work is not large, but the pieces which compose it are among the best of their kind. He is fond, in the allegorical language of the time, of alluding to his having 'put his house in the government of Nonchaloir,' and chosen that personage for his master and protector. There is thus little fervencyof passion about him, but rather a graceful and somewhat indolent dallying with the subjects he treats. Few early French poets are better known than Charles d'Orléans, and few deserve their popularity better. His Rondeaux on the approach of spring, on the coming of summer and such-like subjects, deserve the very highest praise for delicate fancy and formal skill.

Of poets of less importance, or whose names have not been preserved, the amount of this formal poetry which remains to us is considerable. The best-known collection of such work is theLivre des Cent Ballades[119], believed, on tolerably satisfactory evidence, to have been composed by the famous knight-errant Bouciqualt and his companions on their way to the fatal battle of Nicopolis. Before, however, the fifteenth century was far advanced, poetry of this formal kind fell into the hands of professional authors in the strictest sense,Grands Rhétoriqueursas they were called, who, as a later critic said of almost the last of them, 'lost all the grace and elegance of the composition' in their elaborate rules and the pedantic language which they employed. The complete decadence of poetry in which this resulted will be treated partly in the summary following the present book, partly in the first chapter of the book which succeeds it.

Meanwhile this frail but graceful poetry may be illustrated by an irregularBalladefrom Lescurel, aChanson Balladéefrom Machault, aVirelaifrom Deschamps, aBalladefrom Chartier, and aRondelfrom Charles d'Orléans.

Amour, voules-vous acorderQue je muire pour bien amer?Vo vouloir m'esteut agreer;Mourir ne puis plus doucement;Vraiement,Amours, faciez voustre talent.Trop de mauvais portent endurerPour celi que j'aim sanz fausserN'est pas par li, au voir parler,Ains est par mauparliere gent.Loiaument,Amours, faciez voustre talent.Dous amis, plus ne puis durerQuant ne puis ne n'os regarderVostre doue vis, riant et cler.Mort, alegez mon grief torment;Ou, briefment,Amours, faciez voustre talent.

Amour, voules-vous acorderQue je muire pour bien amer?Vo vouloir m'esteut agreer;Mourir ne puis plus doucement;Vraiement,Amours, faciez voustre talent.

Trop de mauvais portent endurerPour celi que j'aim sanz fausserN'est pas par li, au voir parler,Ains est par mauparliere gent.Loiaument,Amours, faciez voustre talent.

Dous amis, plus ne puis durerQuant ne puis ne n'os regarderVostre doue vis, riant et cler.Mort, alegez mon grief torment;Ou, briefment,Amours, faciez voustre talent.

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