summit. These touches of mystical religion are rarer in the later Romans d'Aventures than in the Arthurian Romances proper, but with them one of the most remarkable elements of romance disappears. Philippe de Rémy, Seigneur de Beaumanoir (who has other claims to literary distinction) is held to be author of two Romans d'Aventures105, La Manekine (the story of the King of Hungary's daughter, who cut off her hand to save herself from her father's incestuous passion) and Blonde d'Oxford, where a young French squire carries off an English heiress. Joufrois de Poitiers106, which has not come down to us complete, is chiefly remarkable for the liveliness of style with which adventures, in themselves tolerably hackneyed, are handled. Other Romans d'Aventures, which are either as yet in manuscript or of less importance, are Ille et Galeron and Eracle, both by Gautier d'Arras, Cristal et Larie, La Dame à la Licorne, Guy de Warwike, Gérard de Nevers or La Violette107, Guillaume de Dole, Elédus et Séréna, Florimont.
General Character.
Like most kinds of mediaeval poetry, these Romans d'Aventures have a very considerable likeness the one to the other. It may indeed be said that they possess a 'common form' of certain incidents and situations, which reappear with slight changes and omissions in all or most of them. Their besetting sins are diffuseness and the recurrence of stock descriptions and images. On the other hand, they have their peculiar merits. The harmony of their versification is often very considerable; their language is supple, picturesque, and varied, and the moral atmosphere which they breathe is one of agreeable refinement and civilisation. In them perhaps is seen most clearly the fanciful and graceful side of the state of things which we call chivalry. Its mystical and transcendental sides are less vividly and touchingly exhibited than in the older Arthurian Romances; and its higher passions are also less dealt with. The Romans d'Aventures supply once more, according to the Aristotelian definition, an Odyssey to the Arthurian Iliad; they are complex and deal with manners. Nor ought it to be omitted that, though they constantly handle questions of gallantry, and though their uniform theme is love, the language employed on these subjects is almost invariably delicate, and such as would not fail to satisfy even modern standards of propriety. The courtesy which was held to be so great a knightly virtue, if it was not sufficient to ensure a high standard of morality in conduct, at any rate secured such a standard in matter of expression. In this respect the Court literature of the thirteenth and fourteenth centuries stands in very remarkable contrast to that which was tolerated, if not preferred, from the time of Louis the Eleventh until the reign of his successor fourteenth of the name.
Last Chansons. Baudouin de Sebourc.
Reference has already been made to the influence which these poems had on the Chansons de Gestes. Few of the later developments of these are worth much attention, but what may be called the last original Chanson deserves some notice. Baudouin de Sebourc108 and its sequel the Bastard of Bouillon109 worthily close this great division of literature, and, setting as they do a finish to the sub-cycle of the Chevalier au Cygne, hardly lose except in simplicity by comparison with its magnificent opening in the Chanson d'Antioche. They contain together some 33,000 verses, and the scene changes freely. It is sometimes in Syria, where the Crusaders fight against the infidel, sometimes in France and Flanders, where Baudouin has adventures of all kinds, comic and chivalrous, sometimes on the sea, where among other things the favourite mediaeval legend of St. Brandan's Isle is brought in. Not a little of its earlier part shows the sarcastic spirit common at the date of its composition, the beginning of the fourteenth century. The length of the two poems is enormous, as has been said; but, putting two or three masterpieces aside, no poem of mediaeval times has a more varied and livelier interest than Baudouin de Sebourc, and few breathe the genuine Chanson spirit of pugnacious piety better than Le Bastart de Bouillon.
CHAPTER IX
LATER SONGS AND POEMS
The Artificial Forms of Northern France.
Not the least important division of early French literature, in point of bulk and peculiarity, though not always the most important in point of literary excellence, consists of the later lyrical and miscellaneous poems of the fourteenth and early fifteenth centuries. By the end of the thirteenth century the chief original developments had lost their first vigour, while, on the other hand, the influence of the regular forms of Provençal poetry had had time to make itself fully felt. There arose in consequence, in northern France, a number of artificial forms, the origin and date of which is somewhat obscure, but which rapidly attained great popularity, and which continued for fully two centuries almost to monopolise the attention of poets who did not devote themselves to narrative. These forms, the Ballade, the Rondeau, the Virelai, etc., have already been alluded to as making their appearance among the later growths of early lyrical poetry. They must now be treated in the abundant development which they received at the hands of a series of poets from Lescurel to Charles d'Orléans.
General Character. Varieties.
The principle underlying all these forms is the same, that is to say, the substitution for the half-articulate refrain of the early Romances, of a refrain forming part of the sense, and repeated with strict regularity at the end or in the middle of stanzas rigidly corresponding in length and constitution. In at least two cases, the lai and the pastourelle, the names of earlier and less rigidly exact forms were borrowed for the newer schemes; but the more famous and prevailing models110, the Ballade, with its modification the Chant Royal, and the Rondel, with its modifications the Rondeau and the Triolet, are new. It has been customary to see in the adoption of these forms a sign of decadence; but this can hardly be sustained in face of the fact that, in Charles d'Orléans and Villon respectively, the Rondel and the Ballade were the occasion of poetry far surpassing in vigour and in grace all preceding work of the kind, and also in presence of the service which the sonnet – a form almost if not quite as artificial – has notoriously done to poetry. It may be admitted, however, that the practitioners of the Ballade and the Rondeau soon fell into puerile and inartistic over-refinements. The forms of Ballade known as Équivoquée, Fratrisée, Couronnée, etc., culminating in the preposterous Emperière, are monuments of tasteless ingenuity which cannot be surpassed in their kind, and they have accordingly perished. But both in France and in England the Ballade itself and a few other forms have retained popularity at intervals, and have at the present day broken out into fresh and vigorous life.
Jehannot de Lescurel.
Guillaume de Machault.
Eustache Deschamps
The chief authors of these pieces during the period we are discussing were Jehannot de Lescurel, Guillaume de Machault, Eustache Deschamps, Jean Froissart, Christine de Pisan, Alain Chartier, and Charles d'Orléans. Besides these there were many others, though the epoch of the Hundred Years' War was not altogether fertile in lighter poetry or poetry of any kind. Jehannot de Lescurel111 is one of those poets of whom absolutely nothing is known. His very name has only survived in the general syllabus of contents of the manuscript which contains his works, and which is in this part incomplete. The thirty-three poems – sixteen Ballades, fifteen Rondeaus112, and two nondescript pieces – which exist are of singular grace, lightness, and elegance. They cannot be later and are probably earlier than the middle of the fourteenth century, and thus they are anterior to most of the work of the school. Guillaume de Machault was a person sufficiently before the world, and his work is very voluminous. As usual with all these poets, it contains many details of its author's life, and enables us to a certain extent to construct that life out of these indications. Machault was probably born about 1284,
Both edited in extract by Bordier. Paris, 1869. Complete edition begun by Suchier. Paris, 1884.
Ed. Hofmann and Muncker. Halle, 1880.
Ed. Michel.
Ed. Boca. 2 vols. Valenciennes, 1841.
Ed. Schéler. Brussels, 1877.
The following is an account of these forms, in their more important developments. The
Ed. Montaiglon. Paris, 1855.
The Rondeau is not in Lescurel systematised into any regular form.
