Merlin—also presently converted into prose—on suggestions derived from Geoffrey of Monmouth, brought the great enchanter into Arthurian romance. By the middle of the thirteenth century the cycle had received its full development. Towards the middle of the fourteenth century, in Perceforest, an attempt was made to connect the legend of Alexander the Great with that of King Arthur.
Beside the so-called Breton romances, the Épopée courtoise may be taken to include many poems of Greek, of Byzantine, or of uncertain origin, such as the Roman de la Violette, the tale of a wronged wife, having much in common with that novel of Boccaccio with which Shakespeare's Cymbeline is connected, the Floire et Blanchefleur; the Parténopeus de Blois, a kind of "Cupid and Psyche" story, with the parts of the lovers transposed, and others. In the early years of the thirteenth century the prose romance rivalled in popularity the romance in verse. The exquisite chante-fable of Aucassin et Nicolette, of the twelfth century, is partly in prose, partly in assonanced laisses of seven-syllable verse. It is a story of the victory of love: the heir of Count Garin of Beaucaire is enamoured of a beautiful maiden of unknown birth, purchased from the Saracens, who proves to be daughter of the King of Carthage, and in the end the lovers are united. In one remarkable passage unusual sympathy is shown with the hard lot of the peasant, whose trials and sufferings are contrasted with the lighter troubles of the aristocratic class.
In general the poems of the Épopée courtoise exhibit much of the brilliant external aspect of the life of chivalry as idealised by the imagination; dramatic situations are ingeniously devised; the emotions of the chief actors are expounded and analysed, sometimes with real delicacy; but in the conception of character, in the recurring incidents, in the types of passion, in the creation of marvel and surprise, a large conventional element is present. Love is independent of marriage, or rather the relation of wedlock excludes love in the accepted sense of the word; the passion is almost necessarily illegitimate, and it comes as if it were an irresistible fate; the first advance is often made by the woman; but, though at war with the duty of wedlock, love is conceived as an ennobling influence, prompting the knight to all deeds of courage and self-sacrifice. Through the later translation of the Spanish Amadis des Gaules, something of the spirit of the mediæval romances was carried into the chivalric and pastoral romances of the seventeenth century.
CHAPTER II
LYRICAL POETRY—FABLES, AND RENARD THE FOX—FABLIAUX—THE ROMANCE OF THE ROSE
I
LYRICAL POETRY
Long before the date of any lyrical poems that have come down to us, song and dance were a part of the life of the people of the North as well as of the South of France; religious festivals were celebrated with a gaiety which had its mundane side; love and malicious sport demanded an expression as well as pious joy. But in tracing the forms of lyrical verse anterior to the middle of the twelfth century, when the troubadour influence from the South began to be felt, we must be guided partly by conjecture, derived from the later poetry, in which—and especially in the refrains—earlier fragments have been preserved.
The common characteristic which distinguishes the earlier lyrics is the presence in them of an objective element: they do not merely render an emotion; they contain something of a story, or they suggest a situation. In this literature of sentiment, the singer or imagined singer is commonly a woman. The chanson d'histoire is also known as chanson de toile, for the songs were such as suited "the spinsters and the knitters in the sun." Their inspiring motive was a girl's joy or grief in love; they lightly outline or suggest the facts of a miniature drama of passion, and are aided by the repeated lyrical cry of a refrain. As yet, love was an affair for the woman; it was she alone who made a confession of the heart. None of these poems are later than the close of the twelfth century. If the author be represented as actor or witness, the poem is rather a chanson à personnages than a chanson d'histoire; most frequently it is a wife who is supposed to utter to husband, or lover, or to the poet, her complaint of the grievous servitude of marriage. The aube is, again, a woman's song, uttered as a parting cry when the lark at daybreak, or the watcher from his tower, warns her lover to depart. In the pastourelle—a form much cultivated—a knight and a shepherdess meet; love proposals are made, and find a response favourable or the reverse; witnesses or companions may be present, and take a part in the action. The rondet is a dancing-song, in which the refrain corresponds with one of the movements of the dance; a solo-singer is answered by the response of a chorus; in the progress of time the rondet assumed the precise form of the modern triolet; the theme was still love, at first treated seriously if not tragically, but at a later time in a spirit of gaiety. It is conjectured that all these lyrical forms had their origin in the festivities of May, when the return of spring was celebrated by dances in which women alone took part, a survival from the pagan rites of Venus.
The poésie courtoise, moulded in form and inspired in its sentiment by the Provençal lyrics, lies within the compass of about one hundred and thirty years, from 1150 to 1280. The Crusade of 1147 served, doubtless, as a point of meeting for men of the North and of the South; but, apart from this, we may bear in mind the fact that the mediæval poet wandered at will from country to country and from court to court. In 1137, Louis VII. married Éléonore of Aquitaine, who was an ardent admirer of the poetry of courtesy. Her daughters inherited her taste, and themselves became patronesses of literature at the courts of their husbands, Henri de Champagne and Thibaut de Blois. From these courts, and that of Paris, this poetry of culture spread, and the earlier singers were persons of royal or noble rank and birth. The chief period of its cultivation was probably from 1200 to 1240. During the half-century before its sudden cessation, while continuing to be a fashion in courts and high society, it reached the wealthy bourgeoisie of the North. At Arras, where Jacques Bretel and Adam de la Halle, the hunchback, were eminent in song, it had its latest moments of splendour.
It is essentially a poetry of the intellect and of the imagination, dealing with an elaborated theory of love; the simple and spontaneous cry of passion is rarely heard. According to the amorous doctrine, love exists only between a married woman and the aspirant to her heart, and the art of love is regulated by a stringent code. Nothing can be claimed by the lover as a right; the grace of his lady, who is placed far above him, must be sought as a favour; for that favour he must qualify himself by all knightly virtues, and chief among these, as the position requires, are the virtues of discretion and patience. Hence the poet's ingenuities of adoration; hence often the monotony of artificial passion; hence, also, subtleties and curiosities of expression, and sought-out delicacies of style. In the earlier chansons some outbreak of instinctive feeling may be occasionally present; but, as the amorous metaphysics developed, what came to be admired was the skill shown in manipulating a conventional sentiment; the lady became an abstraction of exalted beauty, the lover an interpreter of the theory of love; the most personal of passions lost the character of individuality. Occasionally, as in the poems of the Châtelain de Couci, of Conon de Béthune, of Thibaut de Champagne, and of Adam de la Halle, something personal to the writer may be discerned; but in general the poetry is that of a doctrine and of a school.
In some instances the reputation of the lyrical trouvère was founded rather on his music than his verse. The metrical forms were various, and were gradually reduced to rule; the ballette, of Provençal origin, was a more elaborate rondet, consisting of stanzas and refrain; the estampie (stampôn, to beat the ground with the foot) was a dancing-song; the lyric lai, virtually identical with the descort, consisted of stanzas which varied in structure; the motet, a name originally applied to pieces of church music, was freer in versification, and occasionally dealt with popular themes. Among forms which cannot be included under the general title of chansons, are those in dialogue derived from the Provençal literature; in the tenson or débat the two interlocutors put forth their opinions on what theme they may please; in the jeu parti one of the imagined disputants proposes two contrary solutions of some poetical or amorous question, and defends whichever solution his associate refuses to accept; the earliest jeu parti, attributed to Gace Brulé and Count Geoffroi of Brittany, belongs to the second half of the twelfth century. The serventois were historical poems, and among them songs of the crusades, or moral, or religious, or