UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON.
FOOTNOTES[1]Pronounce as in the English wordcrow.[2]Translation by Duncan Craig, author ofMiejour.[3]It is difficult to find any but contradictory evidence about the frescoes of the Papal Palace, but most writers ascribe them to Giotto or Giottino, or their school.[4]"Memoires pour l'histoire naturelle de la province de Languedoc."—Astuc.[5]Some of these originally Celtic names appear to have been Romanised. My chief authorities for these details are Lenthérie and Paul Mariéton.[6]In this author I have found the clearest short account of this period, and have taken the main facts in the following few paragraphs from his much-quoted volume.[7]It is a curious fact, and somewhat difficult for the Western mind to realise, that just at this darkest moment of European history—or at any rate during the three later centuries of the period—the woman of Japan "held a higher social and intellectual rank than she then did in any other part of the world."In an interesting work on "Feudal and Modern Japan," by Arthur May Knapp, occur the following arresting passages:—"Aston also, in speaking of the fact that the author of this classic" (the "Jôsa Nikki") "professes to write as a woman, calls attention to the extraordinarily preponderant influence of woman in the field of ancient Japanese literature. It has long been recognised that woman occupies a much higher place in Japan than in any other Oriental country, but it is none the less surprising, especially in view of the supposed lack of intelligence among the sex in Japan to-day, to be told that by far the larger number of works of the best age of Japanese literature were of feminine authorship."The writer quotes from the transactions of the Asiatic Society of Japan to the same effect: "that a very large proportion of the best writings of the best age of Japanese literature was the work of women."This golden age in Japan was from the eighth to the eleventh century. During that time the men were chiefly engaged in pedantic studies in Chinese, while the women were developing a native and living literature. And during that time and for centuries before, the women of the West had not so much as arrived at the possession of human rights worthy the name![8]See "History of Provençal Poetry," Fauriel, Rowbotham, Hueffer, etc.[9]"When Aurora enshrined in her robe of satin, unbars without noise, the doors of the morning."—Jasmin.[10]b.c.46.[11]Gallienus made this edict of withdrawala.d.260.[12]Mentioned by M. Fauriel in his work on Provençal Poetry.[13]The story is given very fully by Duncan Craig in his bookMiejourfrom which these verses and details are taken.[14]This translation is taken from a small volume, entitled "Some Poets of the People in Foreign Lands," by J. W. Crombie (Elliot Stock).[15]The translation of this and the following songs is given by Hueffer in his book on the troubadours.[16]"It rains my father.""Ah! well, if it rains, it is good weather for the sowing."[17]Mistral's poetical version of the story occurs in his "Nerto" as follows:—"Quand bastiguè lou Pont dóu Gard,Lou prefachié dóu mau regardS'èro reserva pèr soun comteLa proumiero amo, dis lou conte,Que passarié sus lis arcas.Pèr se tira dóu marrit cas,Lou tour es devengu célèbre,Jé bandiguèron uno lèbre.Lou Diable, que tenié d'à ment,Mando lis arpo vitamen;Mai pensas-vous un pau sa tufo,Entre counèisse qu'es la trufo!De la maliço que n'aguè,Sus la muraio l'empeguè.Contro lou pont se vèi encaro.Lorsqu'il bâtit le Pont du Gard,L'entrepreneur au mauvais oeilS'était réservé pour salaireLa première âme, dit le conte,Qui passerait sur les grands arcs.Pour se tirer du vilain cas,Le tour est devenu célèbre,On lâcha devers lui un lièvre.Le Diable, qui était aux aguets,Lance les griffes aussitôt;Mais figurez-vous sa grimace,Dès qu'il se reconnaît la dupe!De la colère qu'il en eut,Il le plaqua sur la muraille.Contre le pont on peut le voir encore."[18]The Crau is pronounced as the English word "crow."[19]Lenthéric also mentions an analogous story in the Book of Joshua (x. 7, 8, 9): "The Lord caused stones to fall from the sky on the enemies of Israel." Moreover, it appears that Joshua's camp was called Galgal (Hebrew,rolled stone), and a few miles from Betheron has been found a "Crau" like that of Provence.[20]Presumably the rhyme has reference to "Le guet de Saint Victor," a cavalcade that has taken place at Marseilles from time immemorial, just after sunset, on the eve of thefête, or procession itself; the latter a ceremony of imposing magnificence.[21]Bauxmeanscliffsin Provençal.[22]The name of the inn has unfortunately been changed since the days of the discovery of the golden hair.[23]The story has already been sketched in Chapter VII.[24]See Justin Smith'sTroubadours at Home.[25]See "History of Provençal Poets," M. Fauriel.[26]Ross and McGibbon.[27]Of the Académie Française and Professor of the College de France.[28]Gaston Paris.[29]Other verses of his on this occasion are quoted at head of chapter.[30]An ancient bed of river, now deserted by main streams.[31]When the Rhone makes new mouths it deserts its old course, leaving stagnant canals which are called Aigues Mortes.[32]See illustrations, pp.86and391.[33]Maulde de la Clavière, "Women of the Renaissance."
FOOTNOTES
[1]Pronounce as in the English wordcrow.
[1]Pronounce as in the English wordcrow.
[2]Translation by Duncan Craig, author ofMiejour.
[2]Translation by Duncan Craig, author ofMiejour.
[3]It is difficult to find any but contradictory evidence about the frescoes of the Papal Palace, but most writers ascribe them to Giotto or Giottino, or their school.
[3]It is difficult to find any but contradictory evidence about the frescoes of the Papal Palace, but most writers ascribe them to Giotto or Giottino, or their school.
[4]"Memoires pour l'histoire naturelle de la province de Languedoc."—Astuc.
[4]"Memoires pour l'histoire naturelle de la province de Languedoc."—Astuc.
[5]Some of these originally Celtic names appear to have been Romanised. My chief authorities for these details are Lenthérie and Paul Mariéton.
[5]Some of these originally Celtic names appear to have been Romanised. My chief authorities for these details are Lenthérie and Paul Mariéton.
[6]In this author I have found the clearest short account of this period, and have taken the main facts in the following few paragraphs from his much-quoted volume.
[6]In this author I have found the clearest short account of this period, and have taken the main facts in the following few paragraphs from his much-quoted volume.
[7]It is a curious fact, and somewhat difficult for the Western mind to realise, that just at this darkest moment of European history—or at any rate during the three later centuries of the period—the woman of Japan "held a higher social and intellectual rank than she then did in any other part of the world."In an interesting work on "Feudal and Modern Japan," by Arthur May Knapp, occur the following arresting passages:—"Aston also, in speaking of the fact that the author of this classic" (the "Jôsa Nikki") "professes to write as a woman, calls attention to the extraordinarily preponderant influence of woman in the field of ancient Japanese literature. It has long been recognised that woman occupies a much higher place in Japan than in any other Oriental country, but it is none the less surprising, especially in view of the supposed lack of intelligence among the sex in Japan to-day, to be told that by far the larger number of works of the best age of Japanese literature were of feminine authorship."The writer quotes from the transactions of the Asiatic Society of Japan to the same effect: "that a very large proportion of the best writings of the best age of Japanese literature was the work of women."This golden age in Japan was from the eighth to the eleventh century. During that time the men were chiefly engaged in pedantic studies in Chinese, while the women were developing a native and living literature. And during that time and for centuries before, the women of the West had not so much as arrived at the possession of human rights worthy the name!
[7]It is a curious fact, and somewhat difficult for the Western mind to realise, that just at this darkest moment of European history—or at any rate during the three later centuries of the period—the woman of Japan "held a higher social and intellectual rank than she then did in any other part of the world."
In an interesting work on "Feudal and Modern Japan," by Arthur May Knapp, occur the following arresting passages:—
"Aston also, in speaking of the fact that the author of this classic" (the "Jôsa Nikki") "professes to write as a woman, calls attention to the extraordinarily preponderant influence of woman in the field of ancient Japanese literature. It has long been recognised that woman occupies a much higher place in Japan than in any other Oriental country, but it is none the less surprising, especially in view of the supposed lack of intelligence among the sex in Japan to-day, to be told that by far the larger number of works of the best age of Japanese literature were of feminine authorship."
The writer quotes from the transactions of the Asiatic Society of Japan to the same effect: "that a very large proportion of the best writings of the best age of Japanese literature was the work of women."
This golden age in Japan was from the eighth to the eleventh century. During that time the men were chiefly engaged in pedantic studies in Chinese, while the women were developing a native and living literature. And during that time and for centuries before, the women of the West had not so much as arrived at the possession of human rights worthy the name!
[8]See "History of Provençal Poetry," Fauriel, Rowbotham, Hueffer, etc.
[8]See "History of Provençal Poetry," Fauriel, Rowbotham, Hueffer, etc.
[9]"When Aurora enshrined in her robe of satin, unbars without noise, the doors of the morning."—Jasmin.
[9]"When Aurora enshrined in her robe of satin, unbars without noise, the doors of the morning."—Jasmin.
[10]b.c.46.
[10]b.c.46.
[11]Gallienus made this edict of withdrawala.d.260.
[11]Gallienus made this edict of withdrawala.d.260.
[12]Mentioned by M. Fauriel in his work on Provençal Poetry.
[12]Mentioned by M. Fauriel in his work on Provençal Poetry.
[13]The story is given very fully by Duncan Craig in his bookMiejourfrom which these verses and details are taken.
[13]The story is given very fully by Duncan Craig in his bookMiejourfrom which these verses and details are taken.
[14]This translation is taken from a small volume, entitled "Some Poets of the People in Foreign Lands," by J. W. Crombie (Elliot Stock).
[14]This translation is taken from a small volume, entitled "Some Poets of the People in Foreign Lands," by J. W. Crombie (Elliot Stock).
[15]The translation of this and the following songs is given by Hueffer in his book on the troubadours.
[15]The translation of this and the following songs is given by Hueffer in his book on the troubadours.
[16]"It rains my father.""Ah! well, if it rains, it is good weather for the sowing."
[16]
"It rains my father.""Ah! well, if it rains, it is good weather for the sowing."
"It rains my father.""Ah! well, if it rains, it is good weather for the sowing."
"It rains my father.""Ah! well, if it rains, it is good weather for the sowing."
"It rains my father."
"Ah! well, if it rains, it is good weather for the sowing."
[17]Mistral's poetical version of the story occurs in his "Nerto" as follows:—"Quand bastiguè lou Pont dóu Gard,Lou prefachié dóu mau regardS'èro reserva pèr soun comteLa proumiero amo, dis lou conte,Que passarié sus lis arcas.Pèr se tira dóu marrit cas,Lou tour es devengu célèbre,Jé bandiguèron uno lèbre.Lou Diable, que tenié d'à ment,Mando lis arpo vitamen;Mai pensas-vous un pau sa tufo,Entre counèisse qu'es la trufo!De la maliço que n'aguè,Sus la muraio l'empeguè.Contro lou pont se vèi encaro.Lorsqu'il bâtit le Pont du Gard,L'entrepreneur au mauvais oeilS'était réservé pour salaireLa première âme, dit le conte,Qui passerait sur les grands arcs.Pour se tirer du vilain cas,Le tour est devenu célèbre,On lâcha devers lui un lièvre.Le Diable, qui était aux aguets,Lance les griffes aussitôt;Mais figurez-vous sa grimace,Dès qu'il se reconnaît la dupe!De la colère qu'il en eut,Il le plaqua sur la muraille.Contre le pont on peut le voir encore."
[17]Mistral's poetical version of the story occurs in his "Nerto" as follows:—
"Quand bastiguè lou Pont dóu Gard,Lou prefachié dóu mau regardS'èro reserva pèr soun comteLa proumiero amo, dis lou conte,Que passarié sus lis arcas.Pèr se tira dóu marrit cas,Lou tour es devengu célèbre,Jé bandiguèron uno lèbre.Lou Diable, que tenié d'à ment,Mando lis arpo vitamen;Mai pensas-vous un pau sa tufo,Entre counèisse qu'es la trufo!De la maliço que n'aguè,Sus la muraio l'empeguè.Contro lou pont se vèi encaro.Lorsqu'il bâtit le Pont du Gard,L'entrepreneur au mauvais oeilS'était réservé pour salaireLa première âme, dit le conte,Qui passerait sur les grands arcs.Pour se tirer du vilain cas,Le tour est devenu célèbre,On lâcha devers lui un lièvre.Le Diable, qui était aux aguets,Lance les griffes aussitôt;Mais figurez-vous sa grimace,Dès qu'il se reconnaît la dupe!De la colère qu'il en eut,Il le plaqua sur la muraille.Contre le pont on peut le voir encore."
"Quand bastiguè lou Pont dóu Gard,Lou prefachié dóu mau regardS'èro reserva pèr soun comteLa proumiero amo, dis lou conte,Que passarié sus lis arcas.Pèr se tira dóu marrit cas,Lou tour es devengu célèbre,Jé bandiguèron uno lèbre.Lou Diable, que tenié d'à ment,Mando lis arpo vitamen;Mai pensas-vous un pau sa tufo,Entre counèisse qu'es la trufo!De la maliço que n'aguè,Sus la muraio l'empeguè.Contro lou pont se vèi encaro.Lorsqu'il bâtit le Pont du Gard,L'entrepreneur au mauvais oeilS'était réservé pour salaireLa première âme, dit le conte,Qui passerait sur les grands arcs.Pour se tirer du vilain cas,Le tour est devenu célèbre,On lâcha devers lui un lièvre.Le Diable, qui était aux aguets,Lance les griffes aussitôt;Mais figurez-vous sa grimace,Dès qu'il se reconnaît la dupe!De la colère qu'il en eut,Il le plaqua sur la muraille.Contre le pont on peut le voir encore."
"Quand bastiguè lou Pont dóu Gard,Lou prefachié dóu mau regardS'èro reserva pèr soun comteLa proumiero amo, dis lou conte,Que passarié sus lis arcas.Pèr se tira dóu marrit cas,Lou tour es devengu célèbre,Jé bandiguèron uno lèbre.Lou Diable, que tenié d'à ment,Mando lis arpo vitamen;Mai pensas-vous un pau sa tufo,Entre counèisse qu'es la trufo!De la maliço que n'aguè,Sus la muraio l'empeguè.Contro lou pont se vèi encaro.
"Quand bastiguè lou Pont dóu Gard,
Lou prefachié dóu mau regard
S'èro reserva pèr soun comte
La proumiero amo, dis lou conte,
Que passarié sus lis arcas.
Pèr se tira dóu marrit cas,
Lou tour es devengu célèbre,
Jé bandiguèron uno lèbre.
Lou Diable, que tenié d'à ment,
Mando lis arpo vitamen;
Mai pensas-vous un pau sa tufo,
Entre counèisse qu'es la trufo!
De la maliço que n'aguè,
Sus la muraio l'empeguè.
Contro lou pont se vèi encaro.
Lorsqu'il bâtit le Pont du Gard,L'entrepreneur au mauvais oeilS'était réservé pour salaireLa première âme, dit le conte,Qui passerait sur les grands arcs.Pour se tirer du vilain cas,Le tour est devenu célèbre,On lâcha devers lui un lièvre.Le Diable, qui était aux aguets,Lance les griffes aussitôt;Mais figurez-vous sa grimace,Dès qu'il se reconnaît la dupe!De la colère qu'il en eut,Il le plaqua sur la muraille.Contre le pont on peut le voir encore."
Lorsqu'il bâtit le Pont du Gard,
L'entrepreneur au mauvais oeil
S'était réservé pour salaire
La première âme, dit le conte,
Qui passerait sur les grands arcs.
Pour se tirer du vilain cas,
Le tour est devenu célèbre,
On lâcha devers lui un lièvre.
Le Diable, qui était aux aguets,
Lance les griffes aussitôt;
Mais figurez-vous sa grimace,
Dès qu'il se reconnaît la dupe!
De la colère qu'il en eut,
Il le plaqua sur la muraille.
Contre le pont on peut le voir encore."
[18]The Crau is pronounced as the English word "crow."
[18]The Crau is pronounced as the English word "crow."
[19]Lenthéric also mentions an analogous story in the Book of Joshua (x. 7, 8, 9): "The Lord caused stones to fall from the sky on the enemies of Israel." Moreover, it appears that Joshua's camp was called Galgal (Hebrew,rolled stone), and a few miles from Betheron has been found a "Crau" like that of Provence.
[19]Lenthéric also mentions an analogous story in the Book of Joshua (x. 7, 8, 9): "The Lord caused stones to fall from the sky on the enemies of Israel." Moreover, it appears that Joshua's camp was called Galgal (Hebrew,rolled stone), and a few miles from Betheron has been found a "Crau" like that of Provence.
[20]Presumably the rhyme has reference to "Le guet de Saint Victor," a cavalcade that has taken place at Marseilles from time immemorial, just after sunset, on the eve of thefête, or procession itself; the latter a ceremony of imposing magnificence.
[20]Presumably the rhyme has reference to "Le guet de Saint Victor," a cavalcade that has taken place at Marseilles from time immemorial, just after sunset, on the eve of thefête, or procession itself; the latter a ceremony of imposing magnificence.
[21]Bauxmeanscliffsin Provençal.
[21]Bauxmeanscliffsin Provençal.
[22]The name of the inn has unfortunately been changed since the days of the discovery of the golden hair.
[22]The name of the inn has unfortunately been changed since the days of the discovery of the golden hair.
[23]The story has already been sketched in Chapter VII.
[23]The story has already been sketched in Chapter VII.
[24]See Justin Smith'sTroubadours at Home.
[24]See Justin Smith'sTroubadours at Home.
[25]See "History of Provençal Poets," M. Fauriel.
[25]See "History of Provençal Poets," M. Fauriel.
[26]Ross and McGibbon.
[26]Ross and McGibbon.
[27]Of the Académie Française and Professor of the College de France.
[27]Of the Académie Française and Professor of the College de France.
[28]Gaston Paris.
[28]Gaston Paris.
[29]Other verses of his on this occasion are quoted at head of chapter.
[29]Other verses of his on this occasion are quoted at head of chapter.
[30]An ancient bed of river, now deserted by main streams.
[30]An ancient bed of river, now deserted by main streams.
[31]When the Rhone makes new mouths it deserts its old course, leaving stagnant canals which are called Aigues Mortes.
[31]When the Rhone makes new mouths it deserts its old course, leaving stagnant canals which are called Aigues Mortes.
[32]See illustrations, pp.86and391.
[32]See illustrations, pp.86and391.
[33]Maulde de la Clavière, "Women of the Renaissance."
[33]Maulde de la Clavière, "Women of the Renaissance."
Transcriber's Note:Inconsistent hyphenation and spelling in the original document have been preserved. Obvious typographical errors have been corrected.Inconsistent or incorrect accents and spelling in passages in French, Italian, and Provençal have been left unchanged.On page 42, "ferrurues de portes" should possibly be "ferrures de portes".On page 68, the Sonnet number should possibly be CCL.On page 370, "Basque Words in Provençale" should possibly be "Basque Words in Provençal".The index entry for "Béziers, Viscount of" is missing page numbers.
Transcriber's Note:
Inconsistent hyphenation and spelling in the original document have been preserved. Obvious typographical errors have been corrected.
Inconsistent or incorrect accents and spelling in passages in French, Italian, and Provençal have been left unchanged.
On page 42, "ferrurues de portes" should possibly be "ferrures de portes".
On page 68, the Sonnet number should possibly be CCL.
On page 370, "Basque Words in Provençale" should possibly be "Basque Words in Provençal".
The index entry for "Béziers, Viscount of" is missing page numbers.