mains nues et si deschauzQue il ne s'est lessiez an pié
Souler nè chauce n'avanpié.
De ce guères ne s'esmaioit
S'ès mains et ès piez se plaioit;
Mialz se voloit-il mahaignier
Que chéoir el pont et baignier
An l'ève dont jamès n'issist.
A la grant dolor con li sist
S'an passe outre et à grant destrece:
Mains et genolz et piez se blece.
Mès tot le rasoage et sainne
Amors qui le conduist et mainne:
Si li estoit à sofrir dolz.
A mains, à piez et à genolz
Fet tant que de l'autre part vient.
Romances of Antiquity. Chanson d'Alixandre.
About the same time as the flourishing of the Arthurian cycle there began to be written the third great division of Jean Bodel, 'la matière de Rome la grant55.' The most important beyond all question of the poems which go to make up this cycle (as it is sometimes called, though in reality its members are quite independent one of the other) is the Romance of Alixandre. Of the earliest French poem on this subject only a few fragments exist. This is supposed to have been a work of the eleventh or very early twelfth century, composed in octosyllabic verses, and in the mixed dialect common at the time in the south-east, by Alberic or Auberi of Besançon or Briançon. The Chanson d'Alixandre is, however, in all probability a much more important work than Alberic's. It is in form a regular Chanson de Geste, written in twelve-syllabled verse, of such strength and grace that the term Alexandrine has cleaved ever since to the metre. Its length, as we have it56, is 22,606 verses, and it is assigned to two authors, Lambert the Short57 and Alexander of Bernay, though doubt has been expressed whether any of the present poem is due to Lambert; if we have any of his work, it is not later than the ninth decade of the twelfth century. Lambert, Alexander, and perhaps others, are thought to have known not Alberic, but a later ten-syllabled version into Northern French by Simon of Poitiers. The remoter sources are various. Foremost among them may undoubtedly be placed the Pseudo-Callisthenes, an unknown Alexandrian writer translated into Latin about the fourth century by Julius Valerius, who fathered upon the philosopher a collection of stories partly gathered from Plutarch, Quintus Curtius, and a hundred other authorities, partly elaborated according to the fashion of Greek romancers. Some oriental traditions of Alexander were also in the possession of western Europe. Out of all these, and with a considerable admixture of the floating fables of the time, Lambert and Alexander wove their work. There is, of course, not the slightest attempt at antiquity of colour. Alexander has twelve peers, he learns the favourite studies of the middle ages, he is dubbed knight, and so forth. Many interesting legends, such as that of the Fountain of Perpetual Youth, make their first appearance in the poem, and it is altogether one of extraordinary merit. A specimen laisse may be given: —
En icele forest, dont vos m'oëz conter,
nesune male choze ne puet laianz entrer.
li home ne les bestes n'i ozent converser,
onques en nesun tans ne vit hon yverner
ne trop froit ne trop chaut ne neger ne geler.
ce conte l'escripture que hom n'i doit entrer,
se il nen at talent de conquerre ou d'amer.
les deuesses d'amors i doivent habiter,
car c'est lor paradix ou el doivent entrer,
li rois de Macedoine en a oï parler,
qui cercha les merveilles dou mont et de la mer,
et ce fist il meïsmes enz ou fons avaler
en un vessel de voirre, ce ne puet n'on fausser,
qu'il fist faire il meïsmes fort et rëont et cler
et enclorre de fer qu'il ne pëust quasser,
s'il l'estëust a roche ou aillors ahurter,
et si que il poet bien par mi outre esgarder,
por vëoir les poissons tornoier et joster
et faire lor agaiz et sovent cembeler.
et quant il vint a terre, nou mist a oublïer:
la prist la sapïence dou mont a conquester
et faire ses agaiz et sa gent ordener
et conduire les oz et sagement mener,
car ce fust toz li mieudres qui ainz pëust monter
en cheval por conquerre ne de lance joster,
li gentiz et li larges et ii prex por doner.
la forest des puceles ot oï deviser,
cil qui tot volt conquerre i ot talent d'aler:
souz ciel n'a home en terre qui l'en pëust torner.
While the figure of Alexander served as centre to one group of fictions, most of which were composed in Chanson form, the octosyllabic metre, which had made the Arthurian romances its own, was used for the versification of another numerous class, most of which dealt with the tale of Troy divine.
Roman de Troie.
Here also the poems were neither entirely fictitious, nor on the other hand based upon the best authorities. Dares Phrygius and Dictys Cretensis, with some epitomes of Homer, were the chief sources of information. The principal poem of this class is the Roman de Troie of Benoist de Sainte More (c. 1160). This work58, which extends to more than thirty thousand verses, has the redundancy and the long-windedness which characterise many, if not most, early French poems written in its metre. But it has one merit which ought to conciliate English readers to Benoist. It contains the undoubted original of Shakespeare's Cressida. The fortunes of Cressid (or Briseida, as the French trouvère names her) have been carefully traced out by MM. Moland, Héricault59, and Joly, and form a very curious chapter of literary history. Nor is this episode the only one of merit in Benoist. His verse is always fluent and facile, and not seldom picturesque, as the following extract (Andromache's remonstrance with Hector) will show: —
Quant elle voit qe nëant iert,
o ses dous poinz granz cous se fiert,
fier duel demaine e fier martire,
ses cheveus trait e ront e tire.
bien resemble feme desvee:
tote enragiee, eschevelee,
e trestote fors de son sen
court pour son fil Asternaten.
des eux plore molt tendrement,
entre ses braz l'encharge e prent.
vint el palés atot arieres,
o il chauçoit ses genoillieres.
as piez li met e si li dit
'sire, por cest enfant petit
qe tu engendras de ta char
te pri nel tiegnes a eschar
ce qe je t'ai dit e nuncié.
aies de cest enfant pitié:
jamés des euz ne te verra.
s'ui assembles a ceux de la,
hui est ta mort, hui est ta fins.
de toi remandra orfenins.
cruëlz de cuer, lous enragiez,
par qoi ne vos en prent pitiez?
par
This expression occurs in the
Ed. Michelant. Stuttgart, 1846.
Ed. Joly. Rouen, 1870.
Moland and Héricault's
