Chapter 25

[Footnote 28: This allegorical tribute to "largesse" is quite in the spirit of the age. When professional poets lived upon the bounty of their patrons, it is not strange that their poetry should dwell upon the importance of generosity in their heroes. For an exhaustive collection of "chastisements" or "enseignements", such as that here given to Alexandre by his father, see Eugen Altner, "Ueber die chastiements in den altfranzosischen chansons de geste" (Leipzig, 1885).]

[Footnote 29: As Miss Weston has remarked ("The Three Days' Tournament", p. 45), the peculiar georgraphy of this poem "is distinctly Anglo-Norman rather than Arthurian".]

[Footnote 210: For this intimate relation between heroes, so common in the old French heroic and romantic poems, see Jacques Flach, "Le compagnonnage dans les chansons de geste" in "Etudes romances dediees a Gaston Paris" (Paris, 1891). Reviewed in "Romania", xxii. 145.]

[Footnote 211: Here begins one of those long dialogues, where one person is represented as taking both sides of an argument. This rhetorical device, so wearisome to modern readers, is used by Chrétien preferably when some sentiment or deep emotion is to be portrayed. Ovid may well have suggested the device, but Ovid never abuses it as does the more prolix mediaeval poet. For the part playing by the eyes in mediaeval love sophistry, see J.F. Hanford, "The Debate of Heart and Eye" in "Modern Language Notes", xxvi. 161-165; and H.R. Lang, "The Eyes as Generators of Love." id. xxiii. 126-127.]

[Footnote 212: For play upon words and for fanciful derivation of proper names in mediaeval romance literature, see the interesting article of Adolf Tobler in "Vermischte Beitrage", ii. 211-266. Gaston Paris ("Journal des Savants", 1902, p. 354) points out that Thomas used the same scene and the play upon the same words "mer", "amer", and "amers" in his "Tristan" and was later imitated by Gottfried von Strassburg.]

[Footnote 213: According to the 12th century troubadours, the shafts of Love entered the victim's body through the eyes, and thence pierced the heart.]

[Footnote 214: For fanciful derivation of proper names, cf. A. Tobler, "Vermischte Beitrage", ii. 211-266.]

[Footnote 215: Ganelon, the traitor in the "Chanson de Roland", to whose charge is laid the defeat of Charlemagne's rear-guard at Ronceval, became the arch-traitor of mediaeval literature. It will be recalled that Dante places him in the lowest pit of Hell ("Inferno", xxxii. 122). (NOTE: There is a slight time discrepance here. Roland, Ganelon, and the Battle of Ronceval were said to have happened in 8th Century A.D., fully 300 years after Arthur and the Round Table.--DBK).]

[Footnote 216: For the ceremonies attendant upon the conferring of knighthood, see Karl Treis, "Die Formalitaten des Ritterschlags in der altfranzosischen Epik" (Berlin, 1887).]

[Footnote 217: The "quintainne" was "a manikin mounted on a pivot and armed with a club in such a way that, when a man struck it unskilfully with his lance, it turned and landed a blow upon his back" (Larousse).]

[Footnote 218: This conventional attitude of one engaged in thought or a prey to sadness has been referred to by G.L. Hamilton in "Ztsch fur romanische Philologie", xxxiv. 571-572.]

[Footnote 219: Many traitors in old French literature suffered the same punishments as Ganelon, and were drawn asunder by horses ("Roland", 3960-74).]

[Footnote 220: The same rare words "galerne" and "posterne" occur in rhyme in the "Roman de Thebes", 1471-72.]

[Footnote 221: This qualified praise is often used in speaking of traitors and of Saracens.]

[Footnote 222: The failure to identify the warriors is due to the fact that the knights are totally encased in armour.]

[Footnote 223: A reference to the "Roman de Thebes", 1160 circ.]

[Footnote 224: The disregard of Alis for his nephew Cligés is similar to that of King Mark for Tristan in another legend. In the latter, however, Tristan joins with the other courtiers in advising his uncle to marry, though he himself had been chosen heir to the throne by Mark. cf. J. Bedier, "Le Roman de Tristan", 2 vols. (Paris, 1902), i. 63 f.]

[Footnote 225: See Endnote #14 above.]

[Footnote 226: Cf. Shakespeare, "Othello", ii. I, where Cassio, speaking of Othello's marriage with Desdemona, says: "he hath achieved a maid That paragons description and wild fame; One that excels the quirks of blazoning pens, And in the essential vesture of creation Does tire the enginer."]

[Footnote 227: Ovid ("Metamorphosis", iii. 339-510) is Chrétien's authority.]

[Footnote 228: Cf. L. Sudre, "Les allusions a la legende de Tristan dans la litterature du moyen age", "Romania", xv. 435 f. Tristan was famed as a hunter, fencer, wrestler, and harpist.]

[Footnote 229: "The word 'Thessala' was a common one in Latin, as meaning 'enchantress', 'sorceress', 'witch', as Pliny himself tells us, adding that the art of enchantment was not, however, indigenous to Thessaly, but came originally from Persia." ("Natural History", xxx. 2).--D.B. Easter, "Magic Elements in the romans d'aventure and the romans bretons, p. 7. (Baltimore, 1906). A Jeanroy in "Romania", xxxiii. 420 note, says: "Quant au nom de Thessala, il doit venir de Lucain, tres lu dans les ecoles au XIIe siecle." See also G. Paris in "Journal des Savants", 1902, p. 441 note. Thessala is mentioned in the "Roman de la Violetta", v. 514, in company with Brangien of the Tristan legend.]

[Footnote 230: Medea, the wife of Jason, is the great sorceress of classic legend.]

[Footnote 231: This personage was regarded in the Middle Ages as an Emperor of Rome. In the 13th-century poem of "Octavian" (ed. Vollmuller, Heilbronn, 1883) he is represented as a contemporary of King Dagobert!]

[Footnote 232: This commonplace remark is quoted as a proverb of the rustic in "Ipomedon", 1671-72; id., 10, 348-51; "Roman de Mahomet", 1587-88; "Roman de Renart", vi. 85-86; Gower's "Mirour de l'omme", 28, 599, etc.]

[Footnote 233: It is curious to note that Corneille puts almost identical words in the mouth of Don Gomes as he addresses the Cid ("Le Cid", ii. 2).]

[Footnote 234: For this tournament and its parallels in folk-lore, see Miss J.L. Weston, "The Three Days' Tournament" (London, 1902). She argues (p. 14 f. and p. 43 f.) against Foerster's unqualified opinion of the originality of Chrétien in his use of this current description of a tournament, an opinion set forth in his "Einleitung to Lancelot", pp. 43, 126, 128, 138.]

[Footnote 235: Note that Chrétien here deliberately avoids such a list of knights as he introduces in "Erec". (F.)]

[Footnote 236: It must be admitted that the text, which is offered by all but one MS., is here unintelligible. The reference, if any be intended, is not clear. (F.)]

[Footnote 237: Much has been made of this expression as intimating that Chrétien wrote "Cligés" as a sort of disavowal of the immorality of his lost "Tristan". Cf. Foerster, "Cligés" (Ed. 1910), p. xxxix f., and Myrrha Borodine, "La femme et l'amour au XXIe Seicle d'apres les poemes de Chrétien de Troyes" (Paris, 1909). G. Paris has ably defended another interpretation of the references in "Cligés" to the Tristan legend in "Journal des Savants", 1902, p. 442 f.]

[Footnote 238: This curious moral teaching appears to be a perversion of three passages form St. Paul's Epistles: I Cor. vii. 9, I Cor. x. 32, Eph. v. 15. Cf. H. Emecke, "Chrétien von Troyes als Personlichkeit und als Dichter" (Wurzburg, 1892).]

[Footnote 239: "This feature of a woman who, thanks to some charm, preserves her virginity with a husband whom she does not love, is found not only in widespread stories, but in several French epic poems. In only one, "Les Enfances Guillaume", does the husband, like Alis, remain ignorant of the fraud of which he is the victim, and think that he really possesses the woman.... If Chrétien alone gave to the charm of the form of a potion, it is in imitation of the love potion in "Tristan". (G. Paris in "Journal des Savants", 1902, p. 446). For many other references to the effect of herb potions, cf. A. Hertel, "Verzauberte Oerlichkeiten und Gegenstande in der altfranzosische erzahlende Dichtung", p. 41 ff. (Hanover, 1908).]

[Footnote 240: I have pointed out the curious parallel between the following passage and Dante's "Vita Nova", 41 ("Romantic Review", ii. 2). There is no certain evidence that Dante knew Chrétien's work (cf. A. Farinelli, "Dante e la Francia", vol. i., p. 16 note), but it would be strange if he did not know such a distinguished predecessor.]

[Footnote 241: For the legend of Solomon deceived by his wife, see Foerster "Cligés" (ed. 1910), p. xxxii. f., and G. Paris in "Romania", ix. 436-443, and in "Journal des Savants", 1902, p. 645 f. For an additional reference, add "Ipomedon", 9103.]

[Footnote 242: For an imitation of the following scene, see Hans Herzog in "Germania", xxxi. 325.]

[Footnote 243: "Porz d'Espaingne" refers to the passes in the Pyrenees which formed the entrance-ways to Spain. Cf. The "Cilician Gates" in Xenophon's "Anabasis".]

[Footnote 244: Chrétien here insists upon his divergence from the famous dictum attributed to the Countess Marie de Champagne by Andre le Chapelain: "Praeceptum tradit amoris, quod nulla etiam coniugata regis poterit amoris praemio coronari, nisi extra coniugii foedera ipsius amoris militae cernatur adiuneta". (Andreae Capellini, "De Amore", p. 154; Ed. Trojel, Havniae, 1892).

YVAIN

or, The Knight with the Lion

(Vv. 1-174.) Arthur, the good King of Britain, whose prowess teaches us that we, too, should be brave and courteous, held a rich and royal court upon that precious feast-day which is always known by the name of Pentecost. [31] The court was at Carduel in Wales. When the meal was finished, the knights betook themselves whither they were summoned by the ladies, damsels, and maidens. Some told stories; others spoke of love, of the trials and sorrows, as well as of the great blessings, which often fall to the members of its order, which was rich and flourishing in those days of old. But now its followers are few, having deserted it almost to a man, so that love is much abased. For lovers used to deserve to be considered courteous, brave, generous, and honourable. But now love is a laughing-stock, for those who have no intelligence of it assert that they love, and in that they lie. Thus they utter a mockery and lie by boasting where they have no right. [32] But let us leave those who are still alive, to speak of those of former time. For, I take it, a courteous man, though dead, is worth more than a living knave. So it is my pleasure to relate a matter quite worthy of heed concerning the King whose fame was such that men still speak of him far and near; and I agree with the opinion of the Bretons that his name will live on for evermore. And in connection with him we call to mind those goodly chosen knights who spent themselves for honour's sake. But upon this day of which I speak, great was their astonishment at seeing the King quit their presence; and there were some who felt chagrined, and who did not mince their words, never before having seen the King, on the occasion of such a feast, enter his own chamber either to sleep or to seek repose. But this day it came about that the Queen detained him, and he remained so long at her side that he forgot himself and fell asleep. Outside the chamber door were Dodinel, Sagremor, and Kay, my lord Gawain, my lord Yvain, and with them Calogrenant, a very comely knight, who had begun to tell them a tale, though it was not to his credit, but rather to his shame. The Queen could hear him as he told his tale, and rising from beside the King, she came upon them so stealthily that before any caught sight of her, she had fallen, as it were, right in their midst. Calogrenant alone jumped up quickly when he saw her come. Then Kay, who was very quarrelsome, mean, sarcastic, and abusive, said to him: "By the Lord, Calogrenant, I see you are very bold and forward now, and certainly it pleases me to see you the most courteous of us all. And I know that you are quite persuaded of your own excellence, for that is in keeping with your little sense. And of course it is natural that my lady should suppose that you surpass us all in courtesy and bravery. We failed to rise through sloth, forsooth, or because we did not care! Upon my word, it is not so, my lord; but we did not see my lady until you had risen first." "Really, Kay," the Queen then says, "I think you would burst if you could not pour out the poison of which you are so full. You are troublesome and mean thus to annoy your companions." "Lady," says Kay, "if we are not better for your company, at least let us not lose by it. I am not aware that I said anything for which I ought to be accused, and so I pray you say no more. It is impolite and foolish to keep up a vain dispute. This argument should go no further, nor should any one try to make more of it. But since there must be no more high words, command him to continue the tale he had begun." Thereupon Calogrenant prepares to reply in this fashion: "My lord, little do I care about the quarrel, which matters little and affects me not. If you have vented your scorn on me, I shall never be harmed by it. You have often spoken insultingly, my lord Kay, to braver and better men than I, for you are given to this kind of thing. The manure-pile will always stink, [33] and gadflies sting, and bees will hum, and so a bore will torment and make a nuisance of himself. However, with my lady's leave, I'll not continue my tale to-day, and I beg her to say no more about it, and kindly not give me any unwelcome command." "Lady," says Kay, "all those who are here will be in your debt, for they are desirous to hear it out. Don't do it as a favour to me! But by the faith you owe the King, your lord and mine, command him to continue, and you will do well." "Calogrenant," the Queen then says, "do not mind the attack of my lord Kay the seneschal. He is so accustomed to evil speech that one cannot punish him for it. I command and request you not to be angered because of him, nor should you fail on his account to say something which it will please us all to hear; if you wish to preserve my good-will, pray begin the tale anew." "Surely, lady, it is a very unwelcome command you lay upon me. Rather than tell any more of my tale to-day, I would have one eye plucked out, if I did not fear your displeasure. Yet will I perform your behest, however distasteful it may be. Then since you will have it so, give heed. Let your heart and ears be mine. For words, though heard, are lost unless understood within the heart. Some men there are who give consent to what they hear but do not understand: these men have the hearing alone. For the moment the heart fails to understand, the word falls upon the ears simply as the wind that blows, without stopping to tarry there; rather it quickly passes on if the heart is not so awake as to be ready to receive it. For the heart alone can receive it when it comes along, and shut it up within. The ears are the path and channel by which the voice can reach the heart, while the heart receives within the bosom the voice which enters through the ear. Now, whoever will heed my words, must surrender to me his heart and ears, for I am not going to speak of a dream, an idle tale, or lie, with which many another has regaled you, but rather shall I speak of what I saw."

(Vv. 175-268.) "It happened seven years ago that, lonely as a countryman, I was making my way in search of adventures, fully armed as a knight should be, when I came upon a road leading off to the right into a thick forest. The road there was very bad, full of briars and thorns. In spite of the trouble and inconvenience, I followed the road and path. Almost the entire day I went thus riding until I emerged from the forest of Broceliande. [34] Out from the forest I passed into the open country where I saw a wooden tower at the distance of half a Welsh league: it may have been so far, but it was not anymore. Proceeding faster than a walk, I drew near and saw the palisade and moat all round it, deep and wide, and standing upon the bridge, with a moulted falcon upon his wrist, I saw the master of the castle. I had no sooner saluted him than he came forward to hold my stirrup and invited me to dismount. I did so, for it was useless to deny that I was in need of a lodging-place. Then he told me more than a hundred times at once that blessed was the road by which I had come thither. Meanwhile, we crossed the bridge, and passing through the gate, found ourselves in the courtyard. In the middle of the courtyard of this vavasor, to whom may God repay such joy and honour as he bestowed upon me that night, there hung a gong not of iron or wood, I trow, but all of copper. Upon this gong the vavasor struck three times with a hammer which hung on a post close by. Those who were upstairs in the house, upon hearing his voice and the sound, came out into the yard below. Some took my horse which the good vavasor was holding; and I saw coming toward me a very fair and gentle maid. On looking at her narrowly I saw she was tall and slim and straight. Skilful she was in disarming me, which she did gently and with address; then, when she had robed me in a short mantle of scarlet stuff spotted with a peacock's plumes, all the others left us there, so that she and I remained alone. This pleased me well, for I needed naught else to look upon. Then she took me to sit down in the prettiest little field, shut in by a wall all round about. There I found her so elegant, so fair of speech and so well informed, of such pleasing manners and character, that it was a delight to be there, and I could have wished never to be compelled to move. But as ill luck would have it, when night came on, and the time for supper had arrived. The vavasor came to look for me. No more delay was possible, so I complied with his request. Of the supper I will only say that it was all after my heart, seeing that the damsel took her seat at the table just in front of me. After the supper the vavasor admitted to me that, though he had lodged many an errant knight, he knew not how long it had been since he had welcomed one in search of adventure. Then, as a favour, he begged of me to return by way of his residence, if I could make it possible. So I said to him: 'Right gladly, sire!' for a refusal would have been impolite, and that was the least I could do for such a host."