order and history of the building up of this vast composition are as follows. The oldest known 'branches,' as the separate portions of the story are called, date from the beginning of the thirteenth century. These are due to a named author, Pierre de Saint Cloud. But it is impossible to say that they were actually the first written in French: indeed it is extremely improbable that they were so. However this may be, during the thirteenth century a very large number of poets wrote pieces independent of each other in composition, but possessing the same general design, and putting the same personages into play. In what has hitherto been the standard edition of Renart, Méon published thirty-two such poems, amounting in the aggregate to more than thirty thousand verses. Chabaille added five more in his supplement, and M. Ernest Martin has found yet another in an Italianised version. This last editor thinks that eleven branches, which he has printed together, constitute an 'ancient collection' within the Ancien Renart, and have a certain connection and interdependence. However this may be, the general plan is extremely loose, or rather non-existent. Everybody knows the outline of the story of Reynard; how he is among the animals (Noble the lion, who is king, Chanticleer the cock, Firapel the leopard, Grimbart the badger, Isengrin the wolf, and the rest) the special representative of cunning and valour tempered by discretion, while his enemy Isengrin is in the same way the type of stupid headlong force, and many of the others have moral character less strongly marked but tolerably well sustained. How this general idea is illustrated the titles of the branches show better than the most elaborate description. 'How Reynard ate the carrier's fish;' 'how Reynard made Isengrin fish for eels;' 'how Reynard cut the tail of Tybert the cat;' 'how Reynard made Isengrin go down the well;' 'of Isengrin and the mare;' 'how Reynard and Tybert sang vespers and matins;' 'the pilgrimage of Reynard,' and so forth. Written by different persons, and at different times, these branches are of course by no means uniform in literary value. But the uniformity of spirit in most, if not in all of them, is extremely remarkable. What is most noticeable in this spirit is the perpetual undertone of satirical comment on human life and its affairs which distinguishes it. The moral is never obtrusively put forward, and it is especially noteworthy that in this Ancien Renart, as contrasted with the later development of the poem, there is no mere allegorising, and no attempt to make the animals men in disguise. They are quite natural and distinct foxes, wolves, cats, and so forth, acting after their kind, with the exception of their possession of reason and language.
Le Couronnement Renart.
The next stage of the composition shows an alteration and a degradation. Renart le Couronné, or Le Couronnement Renart63, is a poem of some 3400 lines, which was once attributed to Marie de France, for no other reason than that the manuscript which contains it subjoins her Ysopet or fables. It is, however, certainly not hers, and is in all probability a little later than her time. The main subject of it is the cunning of the fox, who first reconciles the great preaching orders Franciscans and Dominicans; then himself becomes a monk, and inculcates on them the art of Renardie; then repairs to court as a confessor to the lion king Noble who is ill, and contrives to be appointed his successor, after which he holds tournaments, journeys to Palestine, and so forth. It is characteristic of the decline of taste that in the list of his army a whole bestiary (or list of the real and fictitious beasts of mediaeval zoology) is thrust in; and the very introduction of the abstract term Renardie, or foxiness, is an evil sign of the abstracting and allegorising which was about to spoil poetry for a time, and to make much of the literature of the fourteenth and fifteenth centuries tedious and heavy. The poem is of little value or interest. The only chronological indication as to its composition is the eulogy of William of Flanders, killed ('jadis,' says the author) in 1251.
Renart le Nouvel.
The next poem of the cycle is of much greater length, and of at least proportionately greater value, though it has not the freshness and verve of the earlier branches. Renart le Nouvel was written in 1288 by Jacquemart Giélée, a Fleming. This poem is in many ways interesting, though not much can be said for its general conception, and though it suffers terribly from the allegorising already alluded to. In its first book (it consists of more than 8000 lines, divided into two books and many branches) Renart, in consequence of one of his usual quarrels with Isengrin, gets into trouble with the king, and is besieged in Maupertuis. But the sense of verisimilitude is now so far lost, that Maupertuis, instead of being a fox's earth, is an actual feudal castle; and more than this, the animals which attack and defend it are armed in panoply, ride horses, and fight like knights of the period. Besides this the old familiar and homely personages are mixed up with a very strange set of abstractions in the shape of the seven deadly sins. All this is curiously blended with reminiscences and rehandlings of the older and simpler adventures. Another remarkable feature about Renart le Nouvel is that it is full of songs, chiefly love songs, which are given with the music. Its descriptions, though prolix, and injured by allegorical phrases, are sometimes vigorous.
Renart le Contrefait.
The cycle was finally completed in the second quarter of the fourteenth century by the singular work or works called Renart le Contrefait. This has, unfortunately, never been printed in full, nor in any but the most meagre extracts and abstracts. Its length is enormous; though, in the absence of opportunity for examining it, it is not easy to tell how much is common to the three manuscripts which contain it. Two of these are in Paris and one in Vienna, the latter being apparently identical with one which Ménage saw and read in the seventeenth century. One of the Parisian manuscripts contains about 32,000 verses, the other about 19,000; and the Vienna version seems to consist of from 20,000 to 25,000 lines of verse, and about half that number of prose. The author (who, in so far as he was a single person, appears to have been a clerk of Troyes, in Champagne) wrote it, as he says, to avoid idleness, and seems to have regarded it as a vast commonplace book, in which to insert the result not merely of his satirical reflection, but of his miscellaneous reading. A noteworthy point about this poem is that in one place the writer expressly disowns any concealment of his satirical intention. His book, he says, has nothing to do with the kind of fox that kills pullets, has a big brush, and wears a red skin, but with the fox that has two hands and, what is more, two faces under one hood64. Notwithstanding this, however, there are many passages where the old 'common form' of the epic is observed, and where the old personages make their appearance. Indeed their former adventures are sometimes served up again with slight alterations. Besides this there is a certain number of amusing stories and fabliaux, the most frequently quoted of which is the tale of an ugly but wise knight who married a silly but beautiful girl in hopes of having children uniting the advantages of both parents, whereas the actual offspring of the union were as ugly as the father and as silly as the mother. Combined with these things are numerous allusions to the grievances of the peasants and burghers of the time against the upper classes, with some striking legends illustrative thereof, such as the story of a noble dame, who, hearing that a vassal's wife had been buried in a large shroud of good stuff, had the body taken up and seized the shroud to make horsecloths of. This original matter, however, is drowned in a deluge not merely of moralising but of didactic verse of all kinds. The history of Alexander is told in one version by Reynard to the lion king in 7000 verses, and is preluded and followed by an account of the history of the world on a scarcely smaller scale. This proceeding, at least in the Vienna version, seems to be burdensome even to Noble himself, who, at the reign of Augustus, suggests that Reynard should exchange verse for prose, and 'compress.' The warning cannot be said to be unnecessary: but works as long as Renart le Contrefait, and, as far as it is possible to judge, not more interesting, have been printed of late years; and it is very much to be wished that the publication of it might be undertaken by some competent scholar.
Fauvel.
Renart is not the only bestial personage who was made at this time a vehicle of satire. In the days of Philippe le Bel a certain François de Rues composed a poem entitled Fauvel, from the name of the hero, a kind of Centaur, who represents vice of all kinds. The direct object of the poem was to attack the pope and the clergy.
Some extracts from
The necessary expression of the genitive by
This is a free translation of the last line of the original, which is as follows: —
Pour renard qui gelines tue,
Qui a la rousse peau vestue,
Qui a grand queue et quatre piés,
N'est pas ce livre communiés;
Mais pour cellui qui a deux mains
Dont il sont en ce siècle mains,
Qui ont sous la chappe Faulx Semblant.
Wolf,
The final allusion is to a personage of the
