me solace et acompaigne,(C'est dame Astenance-Contrainte),
Autre desguiséure mainte,
Si cum il li vient à plesir
Por acomplir le sien désir.
Autre ore vest robe de fame;
Or sui damoisele, or sui dame,
Autre ore sui religieuse,
Or sui rendue, or sui prieuse,
Or sui nonain, or sui abesse,
Or sui novice, or sui professe;
Et vois par toutes régions
Cerchant toutes religions. Mès de religion, sans faille,
G'en pren le grain et laiz la paille;
Por gens avulger i abit,
Ge n'en quier, sans plus, que l'abit.
Que vous diroie? en itel guise
Cum il me plaist ge me desguise;
Moult sunt en moi mué li vers,
Moult sunt li faiz aux diz divers.
Si fais chéoir dedans mes piéges
Le monde par mes priviléges;
Ge puis confesser et assoldre,
(Ce ne me puet nus prélas toldre,)
Toutes gens où que ge les truisse;
Ne sai prélat nul qui ce puisse,
Fors l'apostole solement
Qui fist cest establissement
Tout en la faveur de nostre ordre.'
CHAPTER VIII
ROMANS D'AVENTURES
Distinguishing features of Romans d'Aventures.
The remarkable fecundity of early French literature in narrative poetry on the great scale was not limited to the Chanson de Geste, the Arthurian Romance, and the classical story wrought into the likeness of one or the other of these. Towards the end of the twelfth or the beginning of the thirteenth century a new class of narrative poems arose, derived from each and all of these kinds, but marked by important differences. The new form immediately reacted on the forms which had given it birth, and produced new Chansons de Gestes, new Arthurian Romances, and new classical stories fashioned after its own image. This is what is called the Roman d'Aventures, of which the first and main feature is open and almost avowed fictitiousness, and the second the more or less complete abandonment of any attempt at cyclic arrangement or subordination to a central theme.
Looser application of the term.
Classes of Romans d'Aventures.
Until quite recently it was not unusual to apply the term Roman d'Aventures with less strictness, and to make it include the Romances of the Round Table. There can, however, be no doubt that it is far better to adopt Jean Bodel's three classes as distinguishing into separate groups the epic poetry of the eleventh and twelfth centuries, and to restrict the title Romans d'Aventures to the later narrative developments of the thirteenth and fourteenth. For the second distinguishing mark which we have just indicated is striking and of more or less universal application. In these later poems the ambition of the writer to class his work under and with some precedent work is almost entirely absent. He allows himself complete freedom, though he may sometimes, in order to give his characters greater interest, connect them nominally with some famous personage or event of the earlier cycles. This tendency to shake off the shackles of cyclicism is early apparent. There are episodes even in the Chansons de Gestes which have little or no reference to Charlemagne or his peers: the Arthurian Romances in prose and verse contain long digressions, holding but very loosely to the Table Round, such as the adventures of Tristram and Percivale, and still more the singular episode of Grimaud in the Saint Graal. As for the third class, the Trouvères almost from the beginning assumed the greatest licence in their handling of the classical legends. These accordingly were less affected than any others by the change. It is possible to divide the Romans d'Aventures themselves under the three headings. It is further possible to indicate a large class of Chansons de Gestes over which the influence of the Roman d'Aventures has passed. But the Chanson having a special formal peculiarity – the assonanced or rhymed tirade – survived the new influence better than the other two, and keeps its name, and to some extent its character, while the Romances of Arthur and antiquity are simply lost in the general body of tales of adventure. These tales are for the most part written in octosyllabic couplets on the model of Chrestien, but a very few, such as Brun de la Montaigne, imitate the exterior characteristics of the Chanson.
It is further to be noticed that while the earlier poems are mostly anonymous, the Romans d'Aventures are generally, though not always, signed, and bear characteristics of particular authorship. In some cases, notably in those of Adenès le Roi and Raoul de Houdenc, we have a body of work signed or otherwise identified, which enables us to attribute a definite literary character and position to its authors. This, as we have noted, is impossible in the case of the national epics, and not too easy in that of the Arthurian Romances. Until quite recently however the Roman d'Aventures has had less of the attention of editors than its forerunners, and the works which compose the class are still to some extent unpublished.
Adenès le Roi.
Adenès or Adans le Roi perhaps derived his surname from the function of king of the minstrels, if he performed it, at the court of Henry III, duke of Brabant. He was, most likely, born in the second quarter of the thirteenth century, and the last probable allusion to him which we have occurs in the year 1297. The events of his life are only known from his own poems, and consist chiefly of travels in company with different princesses and princes of Flanders and Brabant. His literary work is however of great importance. It consists partly of refashionings of three Chansons de Gestes, Les enfances Ogier, Berte aus grans Piés, and Bueves de Commarchis91. In these three poems Adenès works up the old epics into the form fashionable in his time, and as we possess the older versions of the first and last, the comparison of the two forms affords a literary study of the highest interest. His last, longest, and most important work is the Roman d'Aventures of Cléomadès92, a poem extending to 20,000 verses, and not less valuable for its intrinsic merit than as a type of its class. Its popularity in the middle ages was immense. Froissart gives it the place occupied in the Inferno by Lancelot in his description of his declaration of love to his mistress, and allusions to it under its second title of Le Cheval de Fust93 are frequent. The most prominent feature in the story is the introduction of a wooden horse, like that known to everybody in the Arabian Nights, which, started and guided by means of pegs, transports its rider whithersoever he will. Its great length allows of a very long series of adventures, all of which are told in spirited and flowing verse, though with considerable prolixity and a certain abuse of stock descriptions. These two faults characterise all the Romans d'Aventures and the Chansons which were remodelled in their style. The merits of Cléomadès are not so universally found, but its extreme length is not common. Few other Romans d'Aventures exceed 10,000 lines. An extract from this poem will well illustrate the manner of this important class of composition: —
Cleomadés vit un chastel
encoste un plain, tres fort et bel,
ou il ot mainte bele tour.
bos et rivieres vit entour,
vignes et praieries grans.
mult fu li chastiaus bien sëans.
la façon dou castel deïsse,
mais je dout mult que ne meïsse
trop longement au deviser:
pour ce m'en voel briément passer.
Du
Ed. Schéler. Brussels, v. d.
Ed. van Hasselt. Brussels, 1866.
