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II
FABLES, AND RENARD THE FOX

The desire of ecclesiastical writers in the Middle Ages to give prominence to that part of classical literature which seemed best suited to the purpose of edification caused the fables of Phædrus and Avianus to be regarded with special honour. Various renderings from the thirteenth century onwards were made under the title of Isopets,⁷ a name appropriated to collections of fables whether derived from Æsop or from other sources. The twelfth-century fables in verse of Marie de France, founded on an English collection, include apologues derived not only from classical authors but from the tales of popular tradition. A great collection made about 1450 by Steinhoewel, a physician of Ulm, was translated into French, and became the chief source of later collections, thus appearing in the remote ancestry of the work of La Fontaine. The æsthetic value of the mediæval fables, including those of Marie de France, is small; the didactic intention was strong, the literary art was feeble.

It is far otherwise with the famous beast-epic, the ROMAN DE RENARD. The cycle consists of many parts or "branches" connected by a common theme; originating and obscurely developed in the North, in Picardy, in Normandy, and the Isle of France, it suddenly appeared in literature in the middle of the twelfth century, and continued to receive additions and variations during nearly two hundred years. The spirit of the Renard poems is essentially bourgeois; the heroes of the chansons de geste achieve their wondrous deeds by strength and valour; Renard the fox is powerful by skill and cunning; the greater beasts—his chief enemy the wolf, and others—are no match for his ingenuity and endless resources; but he is powerless against smaller creatures, the cock, the crow, the sparrow. The names of the personages are either significant names, such as Noble, the lion, and Chanticleer, the cock, or proper names, such as Isengrin, the wolf, Bruno, the bear, Tibert, the cat, Bernard, the ass; and as certain of these proper names are found in the eastern district, it has been conjectured that a poet of Lotharingia in the tenth century first told in Latin the wars of fox and wolf, and that through translations the epic matter, derived originally from popular tradition, reached the trouvères of the North. While in a certain degree typical figures, the beasts are at the same time individual; Renard is not the representative merely of a species; he is Renard, an individual, with a personality of his own; Isengrin is not merely a wolf, he is the particular wolf Isengrin; each is an epic individual, heroic and undying. Classical fable remotely exerted an influence on certain branches of the Romance; but the vital substance of the epic is derived from the stores of popular tradition in which material from all quarters—the North of Europe and the Eastern world—had been gradually fused. In the artistic treatment of such material the chief difficulty lies in preserving a just measure between the beast-character and the imported element of humanity. Little by little the anthropomorphic features were developed at the expense of verisimilitude; the beast forms became a mere masquerade; the romances were converted into a satire, and the satire lost rather than gained by the inefficient disguise.

The earliest branches of the cycle have reached us only in a fragmentary way, but they can be in part reconstructed from the Latin Isengrinus of Nivard of Ghent (about 1150), and from the German Reinhart Fuchs, a rendering from the French by an Alsatian, Henri le Glichezare (about 1180). The wars of Renard and Isengrin are here sung, and the failure of Renard's trickeries against the lesser creatures; the spirit of these early branches is one of frank gaiety, untroubled by a didactic or satirical intention. In the branches of the second period the parody of human society is apparent; some of the episodes are fatiguing in their details; some are intolerably gross, but the poem known as the Branch of the Judgment is masterly—an ironical comedy, in which, without sacrifice of the primitive character of the beast-epic, the spirit of mediæval life is transported into the animal world. Isengrin, the accuser of Renard before King Noble and his court, is for a moment worsted; the fox is vindicated, when suddenly enters a funeral cortège—Chanticleer and his four wives bear upon a litter the dead body of one of their family, the victim of Renard's wiles. The prayers for the dead are recited, the burial is celebrated with due honour, and Renard is summoned to justice; lie heaped upon lie will not save him; at last he humbles himself with pious repentance, and promising to seek God's pardon over-sea, is permitted in his pilgrim's habit to quit the court. It is this Judgment of Renard which formed the basis of the Reineke Fuchs, known to us through the modernisation of Goethe.

From the date of the Branch of the Judgment the Renard Romances declined. The Judgment was imitated by inferior hands, and the beasts were more and more nearly transformed to men; the spirit of gaiety was replaced by seriousness or gloom; Renard ceased to be a light-footed and ingenious rogue; he became a type of human fraud and cruelty; whatever in society was false and base and merciless became a form of "renardie," and by "renardie" the whole world seemed to be ruled. Such is the temper expressed in Le Couronnement Renard, written in Flanders soon after 1250, a satire directed chiefly against the mendicant orders, in which the fox, turned friar for a season, ascends the throne. Renard le Nouveau, the work of a poet of Lille, Jacquemart Gelée, nearly half a century later, represents again the triumph of the spirit of evil; although far inferior in execution to the Judgment, it had remarkable success, to which the allegory, wearying to a modern reader, no doubt contributed at a time when allegory was a delight. The last of the Renard romances, Renard le Contrefait, was composed at Troyes before 1328, by an ecclesiastic who had renounced his profession and turned to trade. In his leisure hours he spun, in discipleship to Jean de Meun, his interminable poem, which is less a romance than an encyclopædia of all the knowledge and all the opinions of the author. This latest Renard has a value akin to that of the second part of Le Roman de la Rose; it is a presentation of the ideas and manners of the time by one who freely criticised and mocked the powers that be, both secular and sacred, and who was in sympathy with a certain movement or tendency towards social, political, and intellectual reform.

III
FABLIAUX

The name fabliaux is applied to short versified tales, comic in character, and intended rather for recitation than for song. Out of a far larger number about one hundred and fifty have survived. The earliest—Richeut—is of the year 1159. From the middle of the twelfth century, together with the heroic or sentimental poetry of feudalism, we find this bourgeois poetry of realistic observation; and even in the chansons de geste, in occasional comic episodes, something may be seen which is in close kinship with the fabliaux. Many brief humorous stories, having much in common under their various disguises, exist as part of the tradition of many lands and peoples. The theory which traces the French fabliaux to Indian originals is unproved, and indeed is unnecessary. The East, doubtless, contributed its quota to the common stock, but so did other quarters of the globe; such tales are ubiquitous and are undying, only the particular form which they assume being determined by local conditions.

The fabliaux, as we can study them, belong especially to the north and north-east of France, and they continued to be put forth by their rhymers until about 1340, the close of the twelfth and the beginning of the thirteenth century being the period of their greatest popularity. Simple and obvious jests sufficed to raise a laugh among folk disposed to good humour; by degrees something of art and skill was attained. The misfortunes of husbands supplied an inexhaustible store of merriment; if woman and the love of woman were idealised in the romances, the fabliaux took their revenge, and exhibited her as the pretty traitress of a shameless comedy. If religion was honoured in the age of faith, the bourgeois spirit found matter of mirth in the adventures of dissolute priests and self-indulgent monks. Not a few of the fabliaux are cynically gross—ribald but not voluptuous. To literary distinction they made small pretence. It sufficed if the tale ran easily in the current speech, thrown into rhyming octosyllables; but brevity, frankness, natural movement are no slight or common merits in mediæval poetry, and something of the social life of the time is mirrored in these humorous narratives.

To regard them as a satire of class against class, inspired by indignation, is to misconceive their true character; they are rather miniature comedies or caricatures, in which every class in turn provides material for mirth. It may, however, be said that with the writers of the fabliaux to hold woman in scorn is almost an article of faith. Among these writers a few persons of secular rank or dignified churchmen occasionally appeared; but what we may call the professional rhymers and reciters were the humbler jongleurs addressing a bourgeois audience—degraded clerics, unfrocked monks, wandering students, who led a bohemian life of gaiety alternating with misery. In the early part of the fourteenth century these errant jongleurs ceased to be esteemed; the great lord attached a minstrel to his household, and poetry grew more dignified, more elaborate in its forms, more edifying in its intention, and in its dignity grew too often dull. Still for a time fabliaux were written; but the age of the jongleurs was over. Virelais, rondeaux, ballades, chants royaux were the newer fashion; and the old versified tale of mirth and ribaldry was by the middle of the century a thing of the past.

IV
THE ROMANCE OF THE ROSE

The most extraordinary production in verse of the thirteenth century is undoubtedly Le Roman de la Rose. It is indeed no single achievement, but two very remarkable poems, written at two different periods, by two authors whose characters and gifts were not only alien, but opposed—two poems which reflect two different conditions of society. Of its twenty-two thousand octosyllabic lines, upwards of four thousand are the work of GUILLAUME DE LORRIS; the remainder is the work of a later writer, JEAN DE MEUN.

Lorris is a little town situated between Orleans and Montargis. Here, about the year 1200, the earlier poet was born. He was a scholar, at least as far as knowledge of Latin extends, and learned above all in the lore of love. He died young, probably before 1230, and during the five years that preceded his death the first part of Le Roman de la Rose was composed. Its subject is an allegorised tale of love, his own or imagined, transferred to the realm of dreams. The writer would fain win the heart of his beloved, and at the same time he would instruct all amorous spirits in the art of love. He is twenty years of age, in the May-morn of youth. He has beheld his beautiful lady, and been charmed by her fairness, her grace, her courtesy; she has received him with gentleness, but when he declares his love she grows alarmed. He gains at last the kiss which tells of her affection; but her parents intervening, throw obstacles between the lovers. Such, divested of ornament, allegory, and personification, is the theme of the poem.

To pluck the rose in the garden of delight is to win the maiden; her fears, her virgin modesty and pride, her kindness, her pity, are the company of friends or foes by whom the rose is surrounded; and to harmonise the real and the ideal, all the incidents are placed in the setting of a dream. Wandering one spring morning by the river-banks, the dreamer finds himself outside the walls of a fair orchard, owned by Déduit (Pleasure), of which the portress is Oiseuse (Idleness); on the walls are painted figures of Hatred, Envy, Sadness, Old Age, Poverty, and other evil powers; but unterrified by these, he enters, and finds a company of dancers on the turf, among whom is Beauty, led by the god of Love. Surrounded by a thorny hedge is the rosebud on which all his desire now centres. He is wounded by the arrows of Love, does homage to the god, and learns his commandments and the evils and the gains of love. Invited by Bel-Accueil, the son of Courtoisie, to approach the rose, he is driven back by Danger and his companions, the guardians of the blossom. Raison descends from a tower and discourses against the service of Love; Ami offers his consolations; at length the lover is again admitted to the flowery precinct, finds his rosebud half unclosed, and obtains the joy of a kiss. But Jealousy raises an unscalable wall around the rose; the serviceable Bel-Accueil is imprisoned, and with a long lament of the lover, the poem (line 4068) closes.

Did Guillaume de Lorris ever complete his poem, or did he die while it was still but half composed? We may conjecture that it wanted little to reach some dénouement—perhaps the fulfilment of the lover's hopes; and it is not impossible that a lost fragment actually brought the love-tale to its issue. But even if the story remained without an end, we possess in Guillaume's poem a complete mediæval Art of Love; and if the amorous metaphysics are sometimes cold, conventional, or laboured, we have gracious allegories, pieces of brilliant description, vivid personifications, and something of ingenious analysis of human passion. Nevertheless the work of this Middle-Age disciple of Ovid and of Chrétien de Troyes owes more than half its celebrity to the continuation, conceived in an entirely opposite spirit, by his successor, Jean de Meun.

The contrast is striking: Guillaume de Lorris was a refined and graceful exponent of the conventional doctrine of love, a seemly celebrant in the cult of woman, an ingenious decorator of accepted ideas; Jean de Meun was a passionate and positive spirit, an ardent speculator in social, political, and scientific questions, one who cared nothing for amorous subtleties, and held woman in scorn. Guillaume addressed an aristocratic audience, imbued with the sentiments of chivalry; Jean was a bourgeois, eager to instruct, to arouse, to inflame his fellows in a multitude of matters which concerned the welfare of their lives. He was little concerned for the lover and his rose, but was deeply interested in the condition of society, the corruptions of religion, the advance of knowledge. He turned from ideals which seemed spurious to reason and to nature; he had read widely in Latin literature, and found much that suited his mood and mind in Boethius' De Consolatione Philosophiæ and in the De Planctu Naturæ of the "universal doctor" of the twelfth century, Alain de Lille, from each of which he conveyed freely into his poem. Of his life we know little; Jean Clopinel was born at Meun on the Loire about the year 1240; he died before the close of 1305; his continuation of Guillaume's Roman was made about 1270. His later poems, a Testament, in which he warned and exhorted his contemporaries of every class, the Codicille, which incited to almsgiving, and his numerous translations, prove the unabated energy of his mind in his elder years.

The rose is plucked by the lover in the end; but lover and rose are almost forgotten in Jean's zeal in setting forth his views of life, and in forming an encyclopædia of the knowledge of his time. Reason discourses on the dangers of passion, commends friendship or universal philanthropy as wiser than love, warns against the instability of fortune and the deceits of riches, and sets charity high above justice; if love be commendable, it is as the device of nature for the continuation of the species. The way to win woman and to keep her loyalty is now the unhappy way of squandered largess; formerly it was not so in the golden age of equality, before private property was known, when all men held in common the goods of the earth, and robber kings were evils of the future. The god of Love and his barons, with the hypocrite monk Faux-Semblant—a bitter satirist of the mendicant orders—besiege the tower in which Bel-Accueil is imprisoned, and by force and fraud an entrance is effected. The old beldame, who watches over the captive, is corrupted by promises and gifts, and frankly exposes her own iniquities and those of her sex. War is waged against the guardians of the rose, Venus, sworn enemy of chastity, aiding the assailants. Nature, devoted to the continuance of the race, mourns over the violation of her laws by man, unburdens herself of all her scientific lore in a confession to her chaplain Génius, and sends him forth to encourage the lover's party with a bold discourse against the crime of virginity. The triumph of the lover closes the poem.

The graceful design of the earlier poet is disregarded; the love-story becomes a mere frame for setting forth the views of Jean de Meun, his criticism of the chivalric ideal, his satire upon the monkish vices, his revolutionary notions respecting property and government, his advanced opinions in science, his frank realism as to the relations of man and woman. He possesses all the learning of his time, and an accomplished judgment in the literature which he had studied. He is a powerful satirist, and passages of narrative and description show that he had a poet's feeling for beauty; he handles the language with the strength and skill of a master. On the other hand, he lacks all sense of proportion, and cannot shape an imaginative plan; his prolixity wearies the reader, and it cannot be denied that as a moral reformer he sometimes topples into immorality. The success of the poem was extraordinary, and extended far beyond France. It was attacked and defended, and up to the time of Ronsard its influence on the progress of literature—encouraging, as it did, to excess the art of allegory and personification—if less than has commonly been alleged, was unquestionably important.

CHAPTER III
DIDACTIC LITERATURE—SERMONS—HISTORY

I
DIDACTIC LITERATURE

The didactic literature, moral and scientific, of the Middle Ages is abundant, and possesses much curious interest, but it is seldom original in substance, and seldom valuable from the point of view of literary style. In great part it is translated or derived from Latin sources. The writers were often clerks or laymen who had turned from the vanities of youth—fabliau or romance—and now aimed at edification or instruction. Science in the hands of the clergy must needs be spiritualised and moralised; there were sermons to be found in stones, pious allegories in beast and bird; mystic meanings in the alphabet, in grammar, in the chase, in the tourney, in the game of chess. Ovid and Virgil were sanctified to religious uses. The earliest versified Bestiary, which is also a Volucrary, a Herbary, and a Lapidary, that of Philippe de Thaon (before 1135), is versified from the Latin Physiologus, itself a translation from the work of an Alexandrian Greek of the second century. In its symbolic zoology the lion and the pelican are emblems of Christ; the unicorn is God; the crocodile is the devil; the stones "turrobolen," which blaze when they approach each other, are representative of man and woman. A Bestiaire d'Amour was written by Richard de Fournival, in which the emblems serve for the interpretation of human love. A Lapidary, with a medical—not a moral—purpose, by Marbode, Bishop of Rennes, was translated more than once into French, and had, indeed, an European fame.

Bestiaries and Lapidaries form parts of the vast encyclopædias, numerous in the thirteenth century, which were known by such names as Image du Monde, Mappe-monde, Miroir du Monde. Of these encyclopædias, the only one which has a literary interest is the Trésor (1265), by Dante's master, Brunetto Latini, who wrote in French in preference to his native Italian. In it science escapes not wholly from fantasy and myth, but at least from the allegorising spirit; his ethics and rhetoric are derived from Latin originals; his politics are his own. The Somme des Vices et des Vertus, compiled in 1279 by Friar Lorens, is a well-composed trésor of religion and morals. Part of its contents has become familiar to us through the Canterbury discourse of Chaucer's parson. The moral experience of a man of the world is summed up in the prose treatise on "The Four Ages of Man," by Philippe de Novare, chancellor of Cyprus. With this edifying work may be grouped the so-called Chastiements, counsels on education and conduct, designed for readers in general or for some special class—women, children, persons of knightly or of humble rank; studies of the virtues of chivalry, the rules of courtesy and of manners.⁸ Other writings, the États du Monde, present a view of the various classes of society from a standpoint ethical, religious, or satirical, with warnings and exhortations, which commonly conclude with a vision of the last judgment and the pains of hell. With such a scene of terror closes the interesting Poème Moral of Étienne de Fougères, in which the life of St. Moses, the converted robber, serves as an example to monks, and that of the converted Thaïs to ladies who are proud of their beauty. Its temper of moderation contrasts with the bitter satire in the Bible by Guiot de Provins, and with many shorter satirical pieces directed against clerical vices or the infirmities of woman. The Besant de Dieu, by Guillaume le Clerc, a Norman poet (1227), preaches in verse, with eloquence and imaginative power, the love of God and contempt of the world from the texts of two Scripture parables—that of the Talents and that of the Bridegroom; Guillaume anticipates the approaching end of the world, foreshown by wars, pestilence, and famine, condemns in the spirit of Christian charity the persecution of the Albigenses, and mourns over the shame that has befallen the Holy Sepulchre.

Among the preacher poets of the thirteenth century the most interesting personally is the minstrel RUTEBEUF, who towards the close of his gay though ragged life turned to serious thoughts, and expressed his penitent feelings with penetrating power. Rutebeuf, indeed—the Villon of his age—deployed his vivid and ardent powers in many directions, as a writer of song and satire, of allegory, of fabliaux, of drama. On each and all he impressed his own personality; the lyric note, imaginative fire, colour, melody, these were gifts that compensated the poet's poverty, his conjugal miseries, his lost eye, his faithless friends, his swarming adversaries. The personification of vices and virtues, occasional in the Besant and other poems, becomes a system in the Songe d'Enfer, a pilgrim's progress to hell, and the Voie de Paradis, a pilgrim's progress to heaven, by Raoul de Houdan (after 1200). The Pèlerinage de la Vie Humaine—another "way to Paradise"; the Pèlerinage de l'Âme—a vision of hell, purgatory, and heaven; and the Pèlerinage de Jésus-Christ—a narrative of the Saviour's life, by Guillaume de Digulleville (fourteenth century), have been imagined by some to have been among the sources of Bunyan's allegories. Human life may be represented in one aspect as a pilgrimage; in another it is a knightly encounter; there is a great strife between the powers of good and evil; in Le Tornoiement Antecrist, by Huon de Méri, Jesus and the Knights of the Cross, among whom, besides St. Michael, St. Gabriel, Confession, Chastity, and Alms, are Arthur, Launcelot, and Gawain, contend against Antichrist and the infernal barons—Jupiter, Neptune, Beelzebub, and a crowd of allegorical personages. But the battles and débats of a chivalric age were not only religious; there are battles of wine and water, battles of fast and feasting, battles of the seven arts. A disputation between the body and the soul, a favourite subject for separate treatment by mediæval poets, is found also in one of the many sermons in verse; the Débat des Trois Morts et des Trois Vifs recalls the subject of the memorable painting in the Campo Santo at Pisa.