the subject, and asks him if he knows any persons in Brabant. "Oh yes." "Does he know" her own father, his former master? "Yes." "They say," said she, "that there are pretty girls there: did you not know any?" "Precious few," quoth he, "and I cared nothing about them. Do let me go to sleep! I am dead tired." "What!" said she, "can you sleep when there is talk of pretty girls? You are not much of a lover." But he slept "like a pig."
Nevertheless, Katherine does not give up hope, though the next day things are much the same, Gerard talking of nothing but hounds and hawks, Conrad of pretty girls. At last the visitor declares that he [she] does not care for the Barrois, and will go back to Brabant. "Why?" says Gerard, "what better hunting, etc., can you get there than here?" "It has nothing," says Conrad, "like the women of Brabant," adding, in reply to a jest of his, an ambiguous declaration that she is actually in love. "Then why did you leave her?" says Gerard—about the first sensible word he has uttered. She makes a fiery answer as to Love sometimes banishing from his servants all sense and reason. But for the time the subject again drops. It is, however, reopened at night, and some small pity comes on one for the recreant Gerard, inasmuch as she keeps him awake by wailing about her love. At last she "draws" the sluggard to some extent. "Has not he been in love, and does not he know all about it? But he was never such a fool as Conrad, and he is sure that Conrad's lady is not such either." Another try, and she gets the acknowledgment of treason out of him. He tells her (what she knows too well) how he loved a noble damsel in Brabant and had to leave her, and it really annoyed him for a few days (it is good to imagine Katherine's face, even in the dark, at this), though of course he never lost his appetite or committed any folly of that sort. But he knew his Ovid (he tells her), and as soon as he came to Bar he made love to a pretty girl there who was quite amiable to him, and now he never thinks of the other. There is more talk, and Katherine insists that he shall introduce her to his new lady, that she may try this remedy of counter-love. He consents with perfect nonchalance, and is at last allowed to go to sleep. No details are given of the conversation with the rival,[82] except the bitterness of Katherine's heart at the fact, and at seeing the ring she had given to Gerard on his hand. This she actually has the pluck to play with, and, securing it, to slip on her own. But the man being obviously past praying or caring for, she arranges with her uncle to depart early in the morning, writes a letter telling Gerard of the whole thing and renouncing him, passes the night silently, leaves the letter, rises quietly and early, and departs, yet "weeping tenderly," not for the man, but for her own lost love. The pair reach home safely, and says the tale-teller, with an agreeable dryness often found here,[83] "There were some who asked them the adventures of their journey, but whatever they answered they did not boast of the chief one." The conclusion is so spirited and at the very end so scenic and even modern (or, much better, universal), that it must be given in direct translation, with a few chevilles (or pieces of padding) left out.
As for Gerard, when he woke and found his companion gone, he thought it must be late, jumped up in haste, and seized his jerkin: but, as he thrust his hand in one of the sleeves, there dropped out a letter which surprised him, for he certainly did not remember having put any there. He picked it up and saw it subscribed "To the disloyal Gerard." If he was startled before he was more so now: but he opened it at last, and saw the signature "Katherine, surnamed Conrad." Even yet he knew not what to think of it: but as he read the blood rose to his face and his heart fluttered, and his whole manner was changed. Still, he read it through, and learnt how his disloyalty had come to the knowledge of her who had wished him so well; and that not at second hand, but from himself to herself; what trouble she had taken to find him; and how (which stung him most) he had slept three nights in her company after all. [After thinking some time he decides to follow her, and arrives in Brabant on the very day of her marriage: for she has, in the circumstances, kept her word to her parents.] Then he tried to go up to her and salute her, and make some wretched excuse for his fault. But he was not allowed, for she turned her shoulder on him, and he could never manage to speak to her all through the day. He even stepped forward once to lead her out to dance, but she refused him flatly before all the company, many of whom heard her. And immediately afterwards another gentleman came, who bade the minstrels strike up, and she stepped down from her dais in full view of Gerard and went to dance with him. And so did the disloyal lover lose his lady.
Now whether this, as the book asserts and as is not at all improbable, is a true story or not, cannot matter to any sensible person one farthing. What does matter is that it is a by no means badly told story, that it resorts to no illegitimate sources or seasonings of interest, and that it offers opportunities for amplification and "diversity of administration" to almost any extent. One can fancy it told, at much greater length and with more or less adjustment to different times, by great novelists of the most widely varying classes—by Scott and by Dumas, by Charles Reade and by George Meredith, to mention no living writer, as might easily be done. Both hero and heroine have more character between them than you could extract out of fifty of the usual nouvelles, and each lends him or herself to endless further development. Not a few of the separate scenes—the good parents fussing over their daughter's intended cavalcade and her thrifty and ingenious objections; the journey of the uncle and niece (any of the first three of the great novelists mentioned above would have made chapters of this); the dramatic and risky passages at the castle en Barrois; the contrast of Katherine's passion and Gerard's sluggishness; and the fashion in which this latter at once brings on the lout's defeat and saves the lady from danger at his hands—all this is novel-matter of almost the first class as regards incident, with no lack of character-openings to boot. Nor could anybody want a better "curtain" than the falling back of the scorned and baffled false lover, the concert of the minstrels, and Katherine's stately stepping down the dais to complete the insult by dancing with another.
The interest of named personages.
One more general point may be noticed in connection with the superiority of this story, and that is the accession of interest, at first sight trivial but really important, which comes from the naming of the personages. Both in the earlier fabliaux and in these Nouvelles themselves, by far the larger number of the actors are simply called by class-names—a "knight," a "damsel," a "merchant and his wife," a "priest," a "varlet." It may seem childish to allow the mere addition of a couple of names like Gerard and Katherine to make this difference of interest, but the fact is that there is a good deal of childishness in human nature, and especially in the enjoyment of story.[84] Only by very slow degrees were writers of fiction to learn the great difference that small matters of this kind make, and how the mere "anecdote," the dry argument or abstract of incident, can be amplified, varied, transformed from a remainder biscuit to an abundant and almost inexhaustible feast, by touches of individual character, setting of interiors, details of conversation, description, nomenclature, and what not. Quite early, as we saw in the case of the St. Alexis, persons of narrative gift stumbled upon things of the kind; but it was only after long delays, and hints of many half-conscious kinds, that they became part of recognised craft. Even with such a master of that craft as Boccaccio before them, not all the Italian novelists could catch the pattern; and the French, perhaps naturally enough, were slower still.
It must be remembered, in judging the fifteenth-century French tale, that just as it was to some extent hampered by the long continuing popularity of the verse fabliau on the one hand, so it was, as we may say, "bled" on the other by the growing popularity of the farce, which consists of exactly the same material as the fabliaux and the nouvelles themselves, with the additional liveliness of voice and action. These later additions imposed not the smallest restraint on the license which had characterised and was to characterise the plain verse and prose forms,[85] and no doubt the result was all the more welcome to the taste of the time. But for that very reason the appetites and tastes, which could glut themselves with the full dramatic representation, might care less for the mere narrative, on the famous principle of segnius irritant. Nor was the political state of France during the time very favourable to letters. There are, however, two separate fifteenth-century stories which deserve notice.