The Project Gutenberg eBook, Aucassin & Nicolette, Edited by Eugene Mason, Translated by Eugene Mason This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Aucassin & Nicolette And Other Mediaeval Romances and Legends Editor: Eugene Mason Release Date: November 23, 2011 [eBook #38110] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK AUCASSIN & NICOLETTE*** E-text prepared by Bethanne M. Simms, Diane Monico, and the Online Distributed Proofreading Team (http://www.pgdp.net) EVERYMAN'S LIBRARY EDITED BY ERNEST RHYS ROMANCE AUCASSIN & NICOLETTE AND OTHER MEDIÆVAL ROMANCES AND LEGENDS. WITH AN INTRODUCTION BY EUGENE MASON THE PUBLISHERS OF EVERYMAN'S LIBRARY WILL BE PLEASED TO SEND FREELY TO ALL APPLICANTS A LIST OF THE PUBLISHED AND PROJECTED VOLUMES TO BE COMPRISED UNDER THE FOLLOWING THIRTEEN HEADINGS: TRAVEL · SCIENCE · FICTION THEOLOGY & PHILOSOPHY HISTORY · CLASSICAL FOR YOUNG PEOPLE ESSAYS · ORATORY POETRY & DRAMA BIOGRAPHY REFERENCE ROMANCE IN FOUR STYLES OF BINDING: CLOTH, FLAT BACK, COLOURED TOP; LEATHER, ROUND CORNERS, GILT TOP; LIBRARY BINDING IN CLOTH, & QUARTER PIGSKIN London: J. M. DENT & SONS, Ltd. New York: E. P. DUTTON & CO. A ROMANCE, AND IT ME TOOK TO READ & DRIVE THE NIGHT AWAY CHAUCER AUCASSIN & NICOLETTE and other Mediaeval Romances and Legends translated from the French by Eugene Mason LONDON & TORONTO PUBLISHED BY J. M. DENT & SONS Ltd & IN NEW YORK BY E. P. DUTTON & CO FIRST ISSUE OF THIS EDITION . . 1910 REPRINTED . . . . . . . . . . . . 1912, 1915 INTRODUCTION The little tales brought together in this volume are drawn from the literature of the Middle Ages, and in many cases were written in France of the thirteenth century. I hope that they may be found interesting in themselves, but to appreciate them fully they should be considered in their relations to a definite historical background. Their conceptions of society, of religion, of politics, of humour—that precious gift which always dies so young—are not common to all of us to-day. They are of the thirteenth century, and we of the twentieth. We may not be better than our forefathers, but a great chasm of seven hundred years yawns between us and them. To enjoy their work without reserve it is necessary for a time to breathe the same air that was breathed—roughly speaking—by the subjects of St. Louis of France. It is possible to love the period known as the Middle Ages, or it is possible to detest it. But you cannot ignore it, nor find it flavourless on the palate, because that period possesses character, "character, that personal quality, that idiosyncrasy which, no doubt, you are the richer for possessing, be it morally bad or good—for it is surely better to have a bad character than none, and if you are a church, better to be like the Badia than the City Temple." Indeed, it is [Pg vii] evident that the personal equation must largely determine what any writer's conception of the Middle Ages is. A great modern poet, for instance, loved the Middle Ages because economic conditions pressed less hardly on the poor; because London was small and white and clean; because chivalry afforded opportunity for that decorative treatment of knightly episodes which makes his poetry so attractive. Yet across the Channel, much at the same time, an equally distinguished poet treated of the same period in a book of poems which it is instructive to consider side by side with the work of William Morris, and the Frenchman's verse is lurid with fire and bigotry, and the tale of man's inhumanity to man. And the strange point is that both writers could give chapter and verse for the very different type of story they selected. Again, the religious temperament is apt to look back fondly to the Middle Ages as the "Age of Faith." To such minds mediævalism is a period of easy acquiescence in spiritual authority, a state of health before the world grew sick with our modern disease of doubt. Certainly these centuries produced saints whose arresting examples and haunting words must always be the glory of Christianity, and it is equally certain that the offices and doctrines of the Church entered far more intimately into the lives of the common folk than they do to-day. But side by side with faith there was a "spirit of rebellion and revolt against the moral and religious ideas of the time." It may be found in many strangely different shapes: in the life of Abelard; in the extraordinary spread of witchcraft; and—in its supreme literary expression, perhaps—in a famous passage of "Aucassin and Nicolette." And, to take a third illustration of the same difficulty, were the Middle Ages years of sheer lyric beauty, or rather years of inexpressible ugliness and filth? "If you love the very words 'Middle Age'; if they conjure up to your mind glowing old folios of black letter with gilt and florid initials; crimson and green and blue pages in which slim ladies with spiked head-dresses walk amid sparse flowers and trees like bouquets, or where men-at-arms attack walled cities no bigger than themselves, or long-legged youths with tight waists and frizzed hair kiss girls under apple-trees; or a king is on a dais with gold lilies for his background, minstrels on their knees before him, lovers in the gallery"—well, if you accept all this dainty circumstance, you get sheer lyric beauty, and nothing else. Only there is another side, a side not very pleasant to dwell upon, and it may perhaps be hinted at by saying that such a necessary of the toilet as a pocket-handkerchief was not generally known in this Age of Beauty. Perhaps it would be truer to hold that the Middle Ages comprised all these things—the knight-errant and the tormentor; the altar and the witch's Sabbath; a dream of loveliness having its roots in slime and squalor. These centuries were both "enormous and delicate." They were great enough to include opposites, and to square the circle. You may love them, or you may hate them; but they cannot be given the go-by. The philosophy of the Middle Ages—that is to say, the idea which governed their political and theological conceptions —was both simple and profound. The Emperor or King was considered to be the guardian of the temporal order of things, just as the Pope was held to be the supreme authority in matters of eternal and spiritual concern. It was an idea fascinating in its simplicity, but life is a tangled and complex matter, and in practice, planets, which in theory moved strictly in their own orbits, were continually striking across each other's path. Even St. Louis, the King, who carried saintliness to the extreme limit permitted to man, was involved in frequent political quarrels with the supreme head of his Church, and by one of the little ironies of fate came within measurable distance of excommunication. The King—again in theory—was the owner of all his realm. This was necessary to abolish Heptarchies. But for the support of the Crown he parcelled out his realm amongst great lords, and thus established Heptarchies again. The great barons, in their turn, divided their estates amongst knights, bound to assist them in their quarrels, and to furnish a certain number of soldiers to their service. Amongst these knights sprang up one of the supreme institutions of the Middle Ages—the institution of chivalry. "It took its birth in the interior of the feudal mansions, without any set purpose beyond that of declaring, first, the admission of the young man to the rank and occupation of the warrior; secondly, the tie which bound him to his feudal superior—his lord, who conferred upon him the arms of knighthood. But when once the feudal society had acquired some degree of stability and confidence, the usages, the feelings, the circumstances of every kind which attended the young man's admission among the vassal warriors, came under two influences, which soon gave them a fresh direction, and impressed them with a novel character. Religion and imagination, poetry and the Church, laid hold on chivalry, and used it as a powerful means of attaining the objects they had in view, of meeting the moral wants which it was their business to provide for." Throughout a long apprenticeship, in a castle which contained practically but one woman, the wife of his lord and she removed how infinitely from him in distance and in station, the young squire was trained to feel towards all women something of the dreamy devotion with which art and religion taught him to regard Our Lady herself. And the apprenticeship culminated in the ceremony of knighthood, with all the mystical significance of the symbolism preserved for us in the little story of Sir Hugh of Tabarie and the Sultan Saladin, carefully calculated to impress the recipient in the highest degree. Devotion to God, to his king, and to his lady—these were the ideals of knighthood, not always, unfortunately, its realities. But ideals are difficult of realization in so faulty a world as ours. The Black Prince was the very pattern of chivalry in his youth, yet Froissart remarks in his account of the battle of Poitiers that "the Prince of Wales, who was as courageous and cruel as a lion, took great pleasure this day in fighting and chasing his enemies." The conduct of that perfect gentle knight, Sir Graelent, towards the lady he discovered bathing in the fountain, was far from chivalrous, according to modern notions, and yet I can assure the reader that I have walked delicately as Agag, and gone to the verge of weakness, in recounting the incident. Finally, here is a passage from a letter written by a knight of the fourteenth century to the Tyrant of Mantua, relating to a French girl, Jeannette, which is sufficiently explicit. "Let her be detained at my suit, for if you should have a thousand golden florins spent for her, I will pay them without delay, for if I should have to follow her to Avignon I will obtain this woman. Now, my lord, should I be asking a trifle contrary to law, yet ought you not to cross me in this, for some day I shall do more for you than a thousand united women could effect; and if there be need of me in a matter of greater import, you shall have for the asking a thousand spears at my back." Ah, well, ideals that are realized cease to be ideals. Just as this worship of woman was the great social note of the Middle Ages, so the devotion to the Blessed Virgin was [Pg viii] [Pg ix] [Pg x] the distinguishing religious feature of those times. In honour of Our Lady were erected the magnificent Gothic cathedrals —those masterpieces of moral elevation—which stud the fair land of France like painted capitals upon a written page. In these buildings the genius of the Middle Ages found its supreme expression. Above the crowded market-place and narrow mediæval street rose those incomparable churches, "like Gothic queens at prayer, alone, silent and adorned." In her honour, too, they were made beautiful with glass and statuary, so that never before nor since were churches filled with such an entrancing congregation, never had buildings such wonderful eyes. And at a time when masons built to her honour and theologians defined her position, the story-tellers were not slack in her praise. The three legends relating to the Virgin, which I have included in this book of translations, are but specimens of an immense literature devoted to her service. "Our Lady's Tumbler" is, to the modern taste, one of the most appealing of all these legends, but there are others nearly, if not quite, so beautiful. Once upon a time there was a monk who was so ignorant that he was exposed to the rebuke of his brethren. But in his devotion to Our Lady he took for his meditation five psalms, each commencing with a letter of her name. And when it pleased God that his end should come, there happened a very beauteous miracle, for from his mouth came forth five fresh roses, sweet, crimson and leafy, in honour of the five letters of the name of Maria. Again, how exquisite is the story of the nun who by frailty of heart fled from her cloister to give herself over to sin. After many long years she returned to the nunnery, having lost her innocence, but not her faith, for during all her wanderings she had never omitted her habit of prayer to Our Lady. But, to her surprise, always she was addressed by her sisters as if she had never gone from amongst them. For the Blessed Virgin, having clothed herself with the vesture and seeming of the truant who loved her, even in sin, took also upon her the duties of a sacristan from which she had fled, so that no single person had noticed the absence from her cloister of the faithless nun. Yet, after all, the Middle Ages delighted to honour Our Lady as the tender Mother rather than as the Queen of Heaven. In numberless miniatures, and on the portals of the cathedrals raised to her glory, she stands presenting her Child to the adoration of men. It is as the instrument of the Incarnation that her ultimate dignity consists. Indeed, the religion of the Middle Ages can only be appreciated by regarding it in the light of the doctrine of the Incarnation. Christ is God. The Mass—the popular service instituted by Himself—is an extension of His Incarnation. The Blessed Virgin is to be held in peculiar veneration as the Mother of God. The two threads can easily be seen twined together in that story of how Our Lady tourneyed whilst the knight was at Mass. But belief in the Incarnation is the keystone of mediæval theology, and the only explanation of the lives of those saints who poured out their years like water in the service of God and man. The authors of the stories brought together in this book from various sources are, in some cases, identified, but in others are unknown. They may, perhaps, be regarded as representative of the three classes who are responsible for this kind of fiction—the monk, the trouvère and the professional minstrel. The monk, for his part, wrote in French seldom enough. He was a scholar, and when he had something to say, preferred to deliver himself in Latin, the language common to all educated men. But, for once, in the thirteenth century, a monk of Soissons, named Gautier de Coinci, translated into French verse a great collection of the miracles of Our Lady. From this garner I have selected the legend "Of a Jew who took as Surety the Image of Our Lady." Gautier de Coinci may not have been a supreme poet—that saving grace comes seldom enough—but his industry was certainly abnormal. His labour of love must have been the occupation of a lifetime, and it is pleasant to recall the old monk, in silent scriptorium and shady cloister, turning the Latin legends into fluent and pious verse. The trouvère was drawn from the same class as the troubadour, and the circumstances of their lives were in essentials much the same. He lived very probably in some nobleman's castle, where he composed his stories as a sort of amateur, and recited the verses to an audience more or less select. His pride forbade him to appear personally before the populace, but it permitted him to provide wandering minstrels with copies of these poems, and so entertain the common folk by deputy. In the lord's castle it was, of course, another matter. On summer afternoons he would recite before the baron's household, where they were seated on the steps of the garden terrace, each in his order and degree. You can feel the hush and heat of the Provençal evening, whilst the sombre cypresses spire into the sky, and the olives whisper, and, far below, the broad stretches of the Rhone are suffused with the lovely light and colour of southern France. Or, in winter, after supper, when the tables were cleared, the trouvère would recite in hall. At the feet of the ladies sat their knights on silken cushions, fettered with silver chains, each to his friend. It was an audience rich and idle, familiar with the fantastic lives of the troubadours, and with the wanton judgments of the Courts of Love. For such a company no flower of sentiment could be too highly scented, and no tale come amiss, save only that it spoke of love. If the trouvères were "the aristocracy of this literature," the minstrel was its "democracy." Sometimes he rose almost to the status of the trouvère, composing his own stories, and reciting them even in kings' houses. Generally, however, the minstrel was but a strolling player, speaking other men's thoughts, and wandering over the length and breadth of the land. Occasionally he went alone with his viol. At other times he was accompanied by bears, or a little troupe of singing boys or dancing girls. The minstrel might have the good fortune to give his entertainment before some knight or count. At any rate, the common folk heard him gladly, before the church or on the village green. If he was lucky, the homeless minstrel got free lodgings for the night at some hospitable monastery, but occasionally he was turned from the door, with hard words, because of St. Bernard's saying that "the tricks of the jongleurs can never please God." Once upon a time such a minstrel as this knocked at a monastery door, and asked for hospitality. He was received without indecent joy, and the guest-master, forgetting that a grace conferred unwillingly is no favour at all, provided the guest with black bread, salted vegetables, cold water, and a hard and dirty pallet. The abbot obviously felt no passion for strolling vagabonds, and had appointed a guest-master after his own heart. On the morrow, when the minstrel was leaving the monastery, he met the abbot returning from a short journey. To revenge himself, at any rate, on one of the two, the minstrel accosted him effusively. "My lord," said he, "I thank you and all the community from the bottom of my heart, for [Pg xi] [Pg xii] [Pg xiii] Brother such-an-one has welcomed me like Christ Himself last night. He lighted a fire in my chamber, and served me with choice wines, excellent fish, and more dishes than I am able to recall. And this morning when he bade me farewell he gave me shoes, and these leathern laces, and a knife." When the abbot heard this he was filled with anger, and, parting shortly from the minstrel, he hastened to the monastery, and promptly relieved the guest-master of his office, before the latter could offer a word of explanation. Thus was the minstrel revenged on this grudging heart. If, however, any reader would like to see closer the actual life of a minstrel of the thirteenth century, I would suggest that he obtain the excellent little book on Rutebeuf, one of the most famous of them all, published in the Grands Écrivains Français series. There he may read of the poet's bare cupboard, and the unfurnished lodging, where he lived with his ugly and dowerless old wife, who brought him but fifty years with her soup. He coughs with cold and gapes with hunger. He has no mattress, but only straw, and a bed of straw is not a bed. He fears to face his wife without money for food and rent. If he cannot dig, emphatically, to beg he is not ashamed. All his goods are in pawn, and his time is wasted in the tavern, playing dice, which are his curse and his downfall. Well, Rutebeuf is not the first nor the last to be ruined by dice. How the Devil must smile! Do you remember the legend of the making of these little figures? A merchant who sold himself to the Devil was bidden by him to make a six-sided piece of bone, and to mark each side with a number. One point was to insult the only true God. Two points were to insult God and the Blessed Virgin. Three points to insult the Holy Trinity. Four points to insult the four Evangelists. Five points to insult the Sacred Wounds; and six points to insult the Days of Creation. From that hour the little figures spread rapidly through the world, to man's confusion. Such is the picture Rutebeuf paints of his life—a life curiously anticipative of that of many a Bohemian poet since. It is not a very attractive picture, and though for artistic and other reasons the shadows may be unduly darkened, yet in the main it is doubtless substantially correct. The stories written by such men as these are racy of their soil, and give the very form and pressure of their times. I have tried to make my little selection representative, and have included in this book not only romances of love and chivalry, but legends of devotion and moralities. Greatly daring, I have translated a specimen of their humour even—not too characteristic, I hope, of the robust merriment of the feudal period. These stories will be found illustrative of some of the ideas with which the mind of the Middle Ages was concerned. The devotion to the Blessed Sacrament and to Our Lady; the languid and overwrought sentiment of love; the mystical ceremonies of knighthood; all these things are illuminated by the tales which follow this Introduction. Bound up with them are customs and ideas which to the modern mind are, perhaps, less happy. It seems odd, for instance, that the feudal knight should see nothing repugnant in accepting money and clothing from the lady who had given him already the supreme favour of her love. It is possible to entertain a high ideal of friendship without being prepared to cut the throats of your children for the sake of your friend. Yet this is what Amile did for Amis in the great epic of friendship of the Middle Ages. In its stark adherence to a superhuman standard, it puts one in mind of the animal-like patience of Griselda—which story (not included here) may perhaps be regarded as the modest ideal of the mediæval husband. It is strange, too, to find in stories so concerned with the knightly exercises of the tourney and the joust, no hint of the singular disfavour in which these games (or, perhaps, pursuits) were held by the Church. Popes prohibited them; St. Louis forbade them. Those slain therein were refused burial in consecrated ground. The Church testified, "Of those who fell in tournament there is no question but that they go down to hell, unless they are aided by the great benefit of absolution." At Cologne sixty knights and squires were killed, and the cries were heard all about of demons carrying off their souls to perdition. Apparently all this tremendous machinery failed utterly in its purpose. The most pious knights strove in tournaments equally with the most reckless, and—according to Miss Knox, to whose admirable Court of a Saint I am indebted—a son of St. Louis himself was thrown at a tourney, and was afterwards weak in intellect as a consequence. Nor is it only with the lives of the rich that the mediæval minstrel was concerned. He dealt, too, with the lives and aspirations of that yet more numerous class, the poor. Such a story as "The Three Thieves" is indeed a picture of the home of the hind. We see the mean mud and timber hovel, into which the thieves broke so easily, with its cauldron upon the fire of fagots, its big bedstead, and the little lean-to byre. The peasant's tools stood around the wall, whilst outside was the garden, in which a wise ordinance of St. Louis required that pot-herbs should be planted. And if the tale of "The Three Thieves" shows us the home of the peasant, his soul is stripped for us to the quick, in—of all places in the world of literature—"Aucassin and Nicolette." Amongst the full-blown flowers of sentiment in that incomparable love- story is placed an episode which, in its violence and harsh realism, has been likened to a spot of blood and mud on a silver ground. Possibly it was inserted merely to show the hero's good heart, or is simply an instance of that artistic use of contrast so noticeable throughout the book. Any way, there are few things in feudal literature more striking than the meeting of the "dansellon" with the tattered, hideous ploughman, the one weeping in delicate grief, the other telling, dry- eyed, the sordid story of the abject poor. It is very far from being the happiest incident in the romance, but it is certainly one of the most memorable. One wonders how it was taken by an audience that concerned itself so little with the interests of the serf, and whose literature never mentioned that class, except in scorn. Was the author possibly of the ploughman's kindred, like Chaucer's parish priest in The Canterbury Tales? Had the stinging whips of captivity taught him sympathy with unpoetical sorrows; or is this an early hint of the coming storm! "They are clothed in velvet, and warm in their furs and their ermines, while we are covered with rags. They have wine and spices and fair bread; and we, oat-cake and straw, and water to drink. They have leisure and fine houses; we have pain and labour, the rain and the wind in the fields." We cannot tell; but comparing this dainty make-belief with that tragic misery, we feel the significance of the peasant's cry, "Woe to those who shall sorrow at the tears of such as these." I hope I have not dwelt unduly on these stories considered as pictures of the customs and philosophy of their times. Perhaps, after all, these matters are of interest to the archæologist and the ecclesiologist rather than to the general [Pg xiv] [Pg xv] [Pg xvi] reader. Not being a scholar myself, I have no pretension to write for scholars. My object is more modest. I have tried to bring together a little garland for the pleasure of the amateurs of beautiful tales. To me these mediæval stories are beautiful, and I have striven to decant them from one language into another with as little loss as may be. To this end I have refined a phrase, or, perhaps, softened an incident here and there. I do not pretend that they are perfect works of art. "All poets are unequal, except the bad, and they are uniformly bad." Sometimes a story drags, or there are wearisome repetitions. The psychology occasionally strikes a modern reader as remarkably summary. When Amis, for example, became a leper, we are gravely told that his wife held him in bitter hatred, and many a time strove to strangle him. Here is an author who, obviously, is astonished at nothing. But in reading these narratives you will remember how they have delighted, and been used by, writers in some cases greater than their own authors. Is it possible, for instance, to peruse "The Lay of the Little Bird" without recalling Shelley's "Sensitive Plant"? The tale of "The Divided Horsecloth" is told, in another version, both by Montaigne and Browning. The principal incident of "King Florus and the Fair Jehane" is used by Shakespeare in "Cymbeline." "Our Lady's Tumbler" and "A Jew who took as Surety the Image of Our Lady" have been re-written by Monsieur Anatole France with such perfection of art and artistry as to be the admiration and despair of all who come after him. It should not be forgotten that the majority of these stories were intended to be recited, and not read. Repetition, therefore, is the more easily excused. This also accounts for the dramatic use of dialogue, so noticeable in "The Palfrey" and in "Aucassin and Nicolette." But it is evident that this Introduction, already over-long, will not permit me to go seriatim through these tales, "Item, a grey eye or so. Item, two lips, indifferent red." Let me therefore content myself with appreciating the most lovely of them all, "Aucassin and Nicolette." A single copy of "Aucassin and Nicolette," transcribed in the thirteenth century, and preserved as by miracle, has retained for us not only a charming tale, but also an unique specimen of the minstrel's craft. Without it we could not have gathered that so elaborate a blending of prose and verse was possible to a strolling player of mediæval France. The cante-fable was designed for recitation, with illustrative gesture, to the accompaniment of viol and pipes. In this, and not only in this, it seems to suggest an Eastern origin, and to-day, in any Moorish coffee-house, the tales of the Arabian Nights are delivered in a manner very similar to that witnessed in Provence seven hundred years ago. The peculiar quality of pleasure afforded by "Aucassin and Nicolette" is not to be found in the story itself. That, indeed, is very simple, and, perhaps, a trifle hackneyed. Aucassin, the only son of the Count of Beaucaire, is passionately in love with Nicolette, a beautiful girl of unknown parentage, bought of the Saracens, whom his father will not permit him to marry. The story turns on the adventures of these fond lovers, until at the end their common fidelity is rewarded. Portions have faded sadly, like old tapestry, and the laughter sounds especially hollow, for of all precious things fun dies soonest. But in "Aucassin" the part is emphatically greater than the whole, and its charm must rather be sought in its graceful turns of speech—jewels, five words long—and in the pictorial quality which makes it more a series of pictures than a narrative. Who can forget the still night of May on which Nicolette escapes from her prison, and hurries through the garden, kilting her skirt against the dew; or the ruined tower in whose kindly shadow she remains hidden, whilst the watch march along the moonlit street, their swords beneath their mantles; or that bower of branches, built by her own white hands, through the trellis-work of which her lover looks upon the stars! In such felicitous picture-making the dainty little classic is equalled by no work of its period. May I express the pious wish that every reader may find it all as delightful to read as I have found it to transcribe? Eugene Mason. Note.—The originals of these narratives are to be found in Romania; in the Fabliaux et Contes des Poètes François, edited by Barbazan et Méon; in two volumes of the Nouvelles Françoises en prose, edited by Moland and D'Héricault; and in Les Miracles de la Sainte Vierge, by Gautier de Coinci. CONTENTS PAGE 'TIS OF AUCASSIN AND OF NICOLETTE 1 THE STORY OF KING CONSTANT, THE EMPEROR 39 OUR LADY'S TUMBLER 53 THE LAY OF THE LITTLE BIRD 67 THE DIVIDED HORSECLOTH 75 SIR HUGH OF TABARIE 85 [Pg xvii] [Pg xviii] [Pg xix] THE STORY OF KING FLORUS AND OF THE FAIR JEHANE 91 OF THE COVETOUS MAN AND OF THE ENVIOUS MAN 129 OF A JEW WHO TOOK AS SURETY THE IMAGE OF OUR LADY 133 THE LAY OF GRAELENT 145 THE THREE THIEVES 161 THE FRIENDSHIP OF AMIS AND AMILE 173 OF THE KNIGHT WHO PRAYED WHILST OUR LADY TOURNEYED IN HIS STEAD 195 THE PRIEST AND THE MULBERRIES 199 THE STORY OF ASENATH 203 THE PALFREY 213 MEDIÆVAL ROMANCE 'TIS OF AUCASSIN AND OF NICOLETTE Who will deign to hear the song Solace of a captive's wrong, Telling how two children met, Aucassin and Nicolette; How by grievous pains distraught, Noble deeds the varlet wrought For his love, and her bright face! Sweet my rhyme, and full of grace, Fair my tale, and debonair. He who lists—though full of care, Sore astonied, much amazed, All cast down, by men mispraised, Sick in body, sick in soul, Hearing shall be glad and whole, So sweet the tale. Now they say and tell and relate: How the Count Bougars of Valence made war on Count Garin of Beaucaire, war so great, so wonderful, and so mortal, that never dawned the day but that he was at the gates and walls and barriers of the town, with a hundred knights and ten thousand men-at-arms, on foot and on horse. So he burned the Count's land, and spoiled his heritage, and dealt death to his men. The Count Garin of Beaucaire was full of years, and frail; he had long outworn his day. He had no heir, neither son nor daughter, save one only varlet, and he was such as I will tell you. Aucassin was the name of the lad. Fair he was, and pleasant to look upon, tall and shapely of body in every whit of him. His hair was golden, and curled in little rings about his head; he had grey and dancing eyes, a clear, oval face, a nose high and comely, and he was so gracious in all good graces that nought in him was found to blame, but good alone. But Love, that high prince, so utterly had cast him down, that he cared not to become knight, neither to bear arms, nor to tilt at tourneys, nor yet to do aught that it became his name to do. His father and his mother spake him thus— "Son, don now thy mail, mount thy horse, keep thy land, and render aid to thy men. Should they see thee amongst them the better will the men-at-arms defend their bodies and their substance, thy fief and mine." "Father," said Aucassin, "why speakest thou in such fashion to me? May God give me nothing of my desire if I become knight, or mount to horse, or thrust into the press to strike other or be smitten down, save only that thou give me Nicolette, my sweet friend, whom I love so well." "Son," answered the father, "this may not be. Put Nicolette from mind. For Nicolette is but a captive maid, come hither from a far country, and the Viscount of this town bought her with money from the Saracens, and set her in this place. He hath nourished and baptized her, and held her at the font. On a near day he will give her to some young bachelor, [Pg 1] [Pg 2] who will gain her bread in all honour. With this what hast thou to do? Ask for a wife, and I will find thee the daughter of a king, or a count. Were he the richest man in France his daughter shalt thou have, if so thou wilt." "Faith, my father," said Aucassin, "what honour of all this world would not Nicolette, my very sweet friend, most richly become! Were she Empress of Byzantium or of Allemaigne, or Queen of France or England, low enough would be her degree, so noble is she, so courteous and debonair, and gracious in all good graces." Now is sung: Aucassin was of Beaucaire, Of the mighty castle there, But his heart was ever set On his fair friend, Nicolette. Small he heeds his father's blame, Or the harsh words of his dame. "Fool, to weep the livelong day, Nicolette trips light and gay. Scouring she from far Carthàge, Bought of Paynims for a wage. Since a wife beseems thee good Take a wife of wholesome blood." "Mother, naught for this I care, Nicolette is debonair; Slim the body, fair the face, Make my heart a lighted place; Love has set her as my peer, Too sweet, my dear." Now they say and tell and relate: When the Count Garin of Beaucaire found that in nowise could he withdraw Aucassin his son from the love of Nicolette, he sought out the Viscount of the town, who was his man, and spake him thus— "Sir Count, send Nicolette your god-child straightly from this place. Cursed be the land wherefrom she was carried to this realm; for because of her I lose Aucassin, who will not become knight, nor do aught that it becometh knight to do. Know well that were she once within my power I would hurry her to the fire; and look well to yourself, for you stand in utmost peril and fear." "Sire," answered the Viscount, "this lies heavy upon me, that ever Aucassin goes and he comes seeking speech with my ward. I have bought her with my money, and nourished and baptized her, and held her at the font. Moreover, I am fain to give her to some young bachelor, who will gain her bread in all honour. With this Aucassin your son had nought to do. But since this is your will and your pleasure, I will send her to so far a country that nevermore shall he see her with his eyes." "Walk warily," replied the Count Garin, "for great evil easily may fall to you of this." So they went their ways. Now the Viscount was a very rich man, and had a rich palace standing within a garden. In a certain chamber of an upper floor he set Nicolette in ward, with an old woman to bear her company, and to watch; and he put there bread and meat and wine and all things for their need. Then he placed a seal upon the door, so that none might enter in, nor issue forth, save only that there was a window looking on the garden, strict and close, whereby they breathed a little fresh air. Now is sung: Nicolette is prisoned fast, In a vaulted chamber cast, Shaped and carven wondrous well, Painted as by miracle. At the marble casement stayed On her elbow leaned the maid; Golden showed her golden hair, Softly curved her eyebrows rare, Fair her face, and brightly flushed, Sweeter maiden never blushed. In the garden from her room She might watch the roses bloom, Hear the birds make tender moan; [Pg 3] [Pg 4] Then she knew herself alone. "'Lack, great pity 'tis to place Maid in such an evil case. Aucassin, my liege, my squire, Friend, and dear, and heart's desire, Since thou dost not hate me quite Men have done me foul despite, Sealed me in this vaulted room, Thrust me to this bitter doom. But by God, Our Lady's Son, Soon will I from here begone, So it be won." Now they say and tell and relate: Nicolette was prisoned in the chamber, as you have heard and known. The cry and the haro went through all the land that Nicolette was stolen away. Some said that she had fled the country, and some that the Count Garin of Beaucaire had done her to death. Whatever man may have rejoiced, Aucassin had no joy therein, so he sought out the Viscount of the town and spake him thus— "Sir Viscount, what have you done with Nicolette, my very sweet friend, the thing that most I love in all the world? Have you borne her off, or hidden her from my sight? Be sure that should I die hereof, my blood will be required of you, as is most just, for I am slain of your two hands, since you steal from me the thing that most I love in all the world." "Fair sire," answered the Viscount, "put this from mind. Nicolette is a captive maid whom I brought here from a far country. For her price I trafficked with the Saracens, and I have bred and baptized her, and held her at the font. I have nourished her duly, and on a day will give her to some young bachelor who will gain her bread in honourable fashion. With this you have nought to do; but only to wed the daughter of some count or king. Beyond this, what profit would you have, had you become her lover, and taken her to your bed? Little enough would be your gain therefrom, for your soul would lie tormented in Hell all the days of all time, so that to Paradise never should you win." "In Paradise what have I to do? I care not to enter, but only to have Nicolette, my very sweet friend, whom I love so dearly well. For into Paradise go none but such people as I will tell you of. There go those agèd priests, and those old cripples, and the maimed, who all day long and all night cough before the altars, and in the crypts beneath the churches; those who go in worn old mantles and old tattered habits; who are naked, and barefoot, and full of sores; who are dying of hunger and of thirst, of cold and of wretchedness. Such as these enter in Paradise, and with them have I nought to do. But in Hell will I go. For to Hell go the fair clerks and the fair knights who are slain in the tourney and the great wars, and the stout archer and the loyal man. With them will I go. And there go the fair and courteous ladies, who have friends, two or three, together with their wedded lords. And there pass the gold and the silver, the ermine and all rich furs, harpers and minstrels, and the happy of the world. With these will I go, so only that I have Nicolette, my very sweet friend, by my side." "Truly," cried the Viscount, "you talk idly, for never shall you see her more; yea, and if perchance you spoke together, and your father heard thereof, he would burn both me and her in one fire, and yourself might well have every fear." "This lies heavy upon me," answered Aucassin. Thus he parted from the Viscount making great sorrow. Now is sung: Aucassin departed thus Sad at heart and dolorous; Gone is she his fairest friend, None may comfort give or mend, None by counsel make good end. To the palace turned he home, Climbed the stair, and sought his room. In the chamber all alone Bitterly he made his moan, Presently began to weep For the love he might not keep. "Nicolette, so gent, so sweet, Fair the faring of thy feet, Fair thy laughter, sweet thy speech, Fair our playing each with each, Fair thy clasping, fair thy kiss, Yet it endeth all in this. Since from me my love is ta'en [Pg 5] [Pg 6] [Pg 7] I misdoubt that I am slain; Sister, sweet friend." Now they say and tell and relate: Whilst Aucassin was in the chamber lamenting Nicolette, his friend, the Count Bougars of Valence, wishful to end the war, pressed on his quarrel, and setting his pikemen and horsemen in array, drew near the castle to take it by storm. Then the cry arose, and the tumult; and the knights and the men-at-arms took their weapons, and hastened to the gates and the walls to defend the castle, and the burgesses climbed to the battlements, flinging quarrels and sharpened darts upon the foe. Whilst the siege was so loud and perilous the Count Garin of Beaucaire sought the chamber where Aucassin lay mourning, assotted upon Nicolette, his very sweet friend, whom he loved so well. "Ha, son," cried he, "craven art thou and shamed, that seest thy best and fairest castle so hardly beset. Know well that if thou lose it thou art a naked man. Son, arm thyself lightly, mount to horse, keep thy land, aid thy men, hurtle into the press. Thou needest not to strike another, neither to be smitten down, but if they see thee amongst them, the better will they defend their goods and their bodies, thy land and mine. And thou art so stout and strong that very easily thou canst do this thing, as is but right." "Father," answered Aucassin, "what sayest thou now? May God give me nought that I require of Him if I become knight, or mount to horse, or thrust into the press to strike knight or be smitten down, save only thou givest me Nicolette, my sweet friend, whom I love so well." "Son," replied the father, "this can never be. Rather will I suffer to lose my heritage, and go bare of all, than that thou shouldest have her, either as woman or as dame." So he turned without farewell. But when Aucassin saw him part he stayed him, saying— "Father, come now, I will make a true bargain with thee." "What bargain, fair son?" "I will arm me, and thrust into the press on such bargain as this, that if God bring me again safe and sound, thou wilt let me look on Nicolette, my sweet friend, so long that I may have with her two words or three, and kiss her one only time." "I pledge my word to this," said the father. Of this covenant had Aucassin much joy. Now is sung: Aucassin the more was fain Of the kiss he sought to gain, Rather than his coffers hold A hundred thousand marks of gold. At the call his squire drew near, Armed him fast in battle gear; Shirt and hauberk donned the lad, Laced the helmet on his head, Girt his golden-hilted sword, Came the war-horse at his word, Gripped the buckler and the lance, At the stirrups cast a glance; Then most brave from plume to heel Pricked the charger with the steel, Called to mind his absent dear, Passed the gateway without fear Straight to the fight. Now they say and tell and relate: Aucassin was armed and horsed as you have heard. God! how bravely showed the shield about his neck, the helmet on his head, and the fringes of the baldric upon his left thigh. The lad was tall and strong, slender and comely to look upon, and the steed he bestrode was great and speedy, and fiercely had he charged clear of the gate. Now think not that he sought spoil of oxen and cattle, nor to smite others and himself escape. Nay, but of all this he took no heed. Another was with him, and he thought so dearly upon Nicolette, his fair friend, that the reins fell from his hand, and he struck never a blow. Then the charger, yet smarting from the spur, bore him into the battle, amidst the thickest of the foe, so that hands were laid upon him from every side, and he was made prisoner. Thus they spoiled him of shield and lance, and forthwith led him from the field a captive, questioning amongst themselves by what death he should be slain. When Aucassin marked their words, [Pg 8] [Pg 9] "Ha, God," cried he, "sweet Creature, these are my mortal foes who lead me captive, and who soon will strike off my head; and when my head is smitten, never again may I have fair speech with Nicolette, my sweet friend, whom I hold so dear. Yet have I a good sword, and my horse is yet unblown. Now if I defend me not for her sake, may God keep her never, should she love me still." The varlet was hardy and stout, and the charger he bestrode was right fierce. He plucked forth his sword, and smote suddenly on the right hand and on the left, cutting sheer through nasal and headpiece, gauntlet and arm, making such ruin around him as the wild boar deals when brought to bay by hounds in the wood; until he had struck down ten knights, and hurt seven more, and won clear of the mêlée, and rode back at utmost speed, sword in his hand. The Count Bougars of Valence heard tell that his men were about to hang Aucassin, his foe, in shameful wise, so he hastened to the sight, and Aucassin passed him not by. His sword was yet in hand, and he struck the Count so fiercely upon the helm, that the headpiece was cleft and shattered upon the head. So bewildered was he by the stroke that he tumbled to the ground, and Aucassin stretched forth his hand, and took him, and led him captive by the nasal of the helmet, and delivered him to his father. "Father," said Aucassin, "behold the foe who wrought such war and mischief upon you! Twenty years hath this war endured, and none was there to bring it to an end." "Fair son," replied his father, "better are such deeds as these than foolish dreams." "Father," returned Aucassin, "preach me no preachings; but carry out our bargain." "Ha, what bargain, fair son?" "How now, father, hast thou returned from the market? By my head, I will remember, whosoever may forget; so close is it to my heart. Didst thou not bargain with me when I armed me and fared into the press, that if God brought me again safe and sound, thou wouldst grant me sight of Nicolette, my sweet friend, so long that I might have with her two words or three, and kiss her once? Such was the bargain, so be thou honest dealer." "I," cried the father, "God aid me never should I keep such terms. Were she here I would set her in the flames, and thou thyself might well have every fear." "Is this the very end?" said Aucassin. "So help me God," said his father; "yea." "Certes," said Aucassin, "grey hairs go ill with a lying tongue." "Count of Valence," said Aucassin, "thou art my prisoner?" "Sire," answered the Count, "it is verily and truly so." "Give me thy hand," said Aucassin. "Sire, as you wish." So each took the other's hand. "Plight me thy faith," said Aucassin, "that so long as thou drawest breath, never shall pass a day but thou shalt deal with my father in shameful fashion, either in goods or person, if so thou canst!" "Sire, for God's love make me not a jest, but name me a price for my ransom. Whether you ask gold or silver, steed or palfrey, pelt or fur, hawk or hound, it shall be paid." "What!" said Aucassin; "art thou not my prisoner?" "Truly, sire," said the Count Bougars. "God aid me never," quoth Aucassin, "but I send thy head flying, save thou plight me such faith as I said." "In God's name," cried he, "I plight such affiance as seems most meet to thee." He pledged his troth, so Aucassin set him upon a horse, and brought him into a place of surety, himself riding by his side. Now is sung: When Count Garin knew his son Aucassin still loved but one, That his heart was ever set Fondly on fond Nicolette; Straight a prison he hath found, Paved with marble, walled around, Where in vault beneath the earth [Pg 10] [Pg 11] [Pg 12] Aucassin made little mirth, But with wailing filled his cell In such wise as now I tell. "Nicolette, white lily-flow'r, Sweetest lady found in bow'r; Sweet as grape that brimmeth up Sweetness in the spicèd cup. On a day this chanced to you; Out of Limousin there drew One, a pilgrim, sore adread, Lay in pain upon his bed, Tossed, and took with fear his breath, Very dolent, near to death. Then you entered, pure and white, Softly to the sick man's sight, Raised the train that swept adown, Raised the ermine-bordered gown, Raised the smock, and bared to him Daintily each lovely limb. Then a wondrous thing befell, Straight he rose up sound and well, Left his bed, took cross in hand, Sought again his own dear land. Lily-flow'r, so white, so sweet, Fair the faring of thy feet, Fair thy laughter, fair thy speech, Fair our playing each with each. Sweet thy kisses, soft thy touch, All must love thee over much. 'Tis for thee that I am thrown In this vaulted cell alone; 'Tis for thee that I attend Death, that comes to make an end, For thee, sweet friend." Now they say and tell and relate: Aucassin was set in prison as you have heard tell, and Nicolette for her part was shut in the chamber. It was in the time of summer heat, in the month of May, when the days are warm, long and clear, and the nights coy and serene. Nicolette lay one night sleepless on her bed, and watched the moon shine brightly through the casement, and listened to the nightingale plain in the garden. Then she bethought her of Aucassin, her friend, whom she loved so well. She called also to mind the Count Garin of Beaucaire, her mortal foe, and feared greatly to remain lest her hiding-place should be told to him, and she be put to death in some shameful fashion. She made certain that the old woman who held her in ward was sound asleep. So she rose, and wrapped herself in a very fair silk mantle, the best she had, and taking the sheets from her bed and the towels of her bath, knotted them together to make so long a rope as she was able, tied it about a pillar of the window, and slipped down into the garden....