CHAPTER I

WILLIAM OF WARWICK STANDS FOR THE MATURE GUY OF WARWICK

Towards the end of his book, the author of _Tirant lo Blanch_ annexed to the life of his hero, with extensive modifications however, the latter part of the career of the famous Catalan hero, Roger de Flor, whose life from childhood to death is related in Muntaner’s _Chronica_. It is not so strange, then, that those who have read _Tirant lo Blanch_ and are acquainted with the life of Roger de Flor should designate Martorell’s work as a kind of historical novel.

In his excellent _Estudio crítico de Tirant lo Blanch_, Givanel Mas exclaims:

Cuán acertado estuvo Amador de los Ríos al indicar que la principal fuente del libro de caballerías catalán, fueron las proezas de aquel caudillo [Roger de Flor] cuyas hazañas llenan bastantes páginas de la Crónica de Muntaner.[32]

[32] _Op. cit._, p. 117.

In Denk’s _Geschichte der altcatalanischen Litteratur_ we read the following statement:

Jeder Kenner der catalanischen Geschichte sieht in Tirant nichts als die novellistisch behandelte Gestalt des kühnen Abenteurers Roger de Flor, dessen Thaten Muntaner und Moncada erzählen und schildern.[33]

[33] Dr. V.M. Otto Denk, _Einführung in die Geschichte der altcatalanischen Litteratur_, Munich, 1893; pp. 144 and 145.

In Menéndez y Pelayo’s _Orígenes de la Novela_ we find the following passage:

El tema principal de la novela, las empresas de Tirante en Grecia y Asia ... dan al Tirante cierto sello de novela histórica, donde se reconoce no muy disfigurada (dentro de los límites que separan siempre la verdad de la ficción), la heróica expedición de catalanes y aragoneses á Levante y el trágico destino de Roger de Flor.[34]

[34] D.M. Menéndez y Pelayo, _Orígenes de la Novela_, Madrid, 1905; tomo I, p. ccliv.

But when we compare this book of chivalry with Muntaner’s _Chronica_ and with _Guy of Warwick_, we see that these quotations, while true in general, are at the same time more or less misleading, for the English romance has provided more material than is generally believed, not only that which furnished the basis of the William of Warwick episode, but also elements that were utilized in different parts of the work. Therefore we shall point out all the constituents or features that seem to owe their origin to the English romance, _Guy of Warwick_, or to that part of Muntaner’s _Chronica_ which contains the life of Roger de Flor.

In the William of Warwick episode, with which we have begun our analysis, Martorell has given us a kind of free reproduction of an important part of _Guy of Warwick_. But the Catalan author is not a servile imitator; the incidents that he has taken from the English romance he has treated in such a way as to render them more interesting than the original.

The episode is based upon the following events which we find in the fourteenth-century versions of the Guy of Warwick romance[35]: After many knightly combats and adventures on the continent, and after slaying the dragon in Northumberland, Guy married Felice, the daughter of Earl Rohold. The newly married couple lived in great happiness for two weeks. One evening, after a hunt, Guy mounted a high tower, where he admired the stars of heaven. He thought of the many honors that had been bestowed upon him by Christ, our Saviour, and then it occurred to him that he had never done anything for the Lord in return. On the contrary, he had engaged in wars, wrought much woe, and slain many of his fellow-men. He became deeply repentant and resolved to spend the rest of his life as a pilgrim, and thus make amends for his transgressions. He informed Felice of his resolution. She, in tears, begged him to remain with her, but he was firm. Before his departure, she gave him a ring as a remembrance of her. He crossed the sea and proceeded on his way to Jerusalem.

[35] These fourteenth-century versions were edited from the Auchinleck MS. in the Advocates’ Library, Edinburgh, and from MS. 107 in Caius College, Cambridge, by Julius Zupitza, and published for the Early English Text Society, London, 1883, 1887, and 1891. For the beginning of the episode, cf. p. 396.

After many adventures abroad Guy finally returned to England. During his absence the Danes had invaded the country and wrought great destruction. When he arrived at Winchester none that saw him recognized him. Just at the time of his arrival, the English king, Aethelstan, was holding a council with the leading men of the realm. They were considering the demand of the Danish king that the English surrender the kingdom and pay tribute to Denmark or bring some one forth to engage in combat with the giant, Colbrond, the champion of the Danes. If this giant should be vanquished, the invaders would leave the soil of England; but if, on the other hand, he should be victorious, the English would be obliged to pay tribute to the Danes. King Aethelstan asked his assembled men if they knew any knight who would dare to fight against Colbrond, but they all stood silent with downcast eyes. The king could not sleep that night, and was praying incessantly that God might send some one to champion the cause of England, when an angel appeared before him and bade him arise early the following morning and go to church, where he would find a pilgrim who would undertake the fight against the giant. Early the next morning the king met the pilgrim. The latter at first declined the king’s behest, pleading feebleness and old age, but finally consented. On the day appointed the pilgrim went to the spot where the combat was to take place, knelt down and prayed for victory. Then came Colbrond on foot, for he was too heavy for any horse. All his armor was black, and his appearance such as to make one shudder. Guy rode towards him and the combat began. The giant cut Guy’s steed in two without much delay. Guy was then obliged to fight on foot, and he was scarcely able to reach his adversary’s shoulder with his sword. Nevertheless he succeeded in inflicting an ugly wound on Colbrond, who returned the blow, cutting Guy’s shield in twain. A moment later Guy struck a vigorous blow with his sword and broke it. Thereupon he seized one of the axes of the giant, who immediately drove his sword at him with all his might, but missed him, the sword going three feet into the earth. While he was stooping to pull it out, Guy cut off his right arm. The giant made a desperate effort to extricate his weapon with his left, but before he could do so, Guy severed his head from the body. Thus was Colbrond, champion of the Danes, vanquished, and the invaders, true to their word, boarded their ships and returned to their country.

Guy was led back into the town of Winchester in a great triumphal procession. King Aethelstan wished to reward him, but the pilgrim would accept nothing. The king asked him to reveal his name. The stranger replied that if he would accompany him out of the city, his wish should be granted. Aethelstan went with him and was amazed when he found out that the pilgrim was none other than Guy of Warwick. He asked him to remain with him, but the request was denied. Both weeping, they kissed each other and parted. Guy, in his pilgrim garb, went to the city of Warwick, where he presented himself before his wife, Felice, who gave him food without recognizing him. She asked him to come every day, and he should always receive food and drink from her; but he never returned. Going instead to visit a certain hermit, he found that the latter had died during his absence. Guy then decided to pass the remainder of his days in the deserted hermitage. One night an angel appeared to him and announced that on the morning of the eighteenth day he should exchange this world for heaven. When the period had almost expired he sent a messenger to Felice with the ring that she had given him when he set out on his pilgrimage. Recognizing the ring, she fell unconscious. After recovering, she immediately went to him. Guy kissed her tenderly and then passed away. A few days later Felice was buried at his side.

This part of the English romance was utilized by Martorell to form the foundation of the William of Warwick episode. He made changes and additions to suit his purpose, following the general plan, but inventing the details. The simple ring he describes as a complicated double ring; the Danish invasion as an incursion of the Moors; and the angel that appeared to the king as the Virgin and the Child. When the Danish champion is defeated, the Danes withdraw from England; but when the Moorish king is vanquished, the Moors do not leave the kingdom as they had agreed to do. Consequently a campaign to exterminate the Moors results, and William of Warwick becomes the commander of the English forces.

But all of the episode is not based on _Guy of Warwick_. We have seen in the beginning of the analysis that, after the Moors had been annihilated, William again returned to a hermitage. Up to this point Martorell followed his model rather faithfully, but thereafter he abandoned it. However, he continued the episode, drawing his material from a different source. In order to point out to the reader what parts of the episode are not based on the English romance, and at the same time to give a concrete example of the method followed by Martorell in the composition of his work, we shall note the procedure of the author in the continuation of this episode.

In the prologue of Lull’s _Libre del Orde d’Cauayleria_ Martorell had read of a great knight who likewise had retired to a hermitage, and doubtless this striking coincidence, which apparently had attracted his attention even before he began writing his romance, caused him to incorporate in the episode the incident related by Lull. The prologue recites how, in a certain country, a knight, who for a long time had been an honor to knighthood, finally realized that the end of his days was approaching, whereupon he decided to spend the rest of his life as a hermit. Accordingly he went to live in a dense forest. It was his custom to come every day to a clear spring under a large tree, where he was wont to contemplate and pray. Now it happened that a great king had announced an assembly of his court, and a certain mounted squire was proceeding on his way to attend that court in order that knighthood might be conferred upon him. Overcome by the fatigue of the journey, the squire fell asleep. His steed left the road, entered the wood, and came to a spring at a time when the hermit was there. The latter discontinued his prayers when he saw the squire approaching and began to read in a book. When the steed stopped at the spring to drink, the rider awoke and was surprised to see the aged hermit before him. After exchanging greetings, the hermit spoke to the youth of things pertaining to knighthood, and when they parted, asked him to come back after he had been made a knight.

The author of _Tirant lo Blanch_ incorporated in his work the incident just mentioned by paraphrasing it and by reproducing certain parts almost literally, as we have already observed, making such changes as he saw fit. In the reproduction of this incident the unknown hermit is William of Warwick; the unnamed king is the King of England; and the squire is Tirant lo Blanch. In Lull’s work the hermit invites the squire to return, but he never comes back. Martorell makes his hero accept the hermit’s invitation, and Tirant with his companions returns to William of Warwick, when the principal events that took place at the English court, including the marvelous feats of Tirant, are related to him. The deeds that Martorell ascribes to Tirant while at the court of the English king are not similar to those of Guy of Warwick as described in the English romance. They are probably inventions of the author, based on what he witnessed, heard, or read in connection with tournaments or knightly affairs. Tirant remained with the hermit for a few days and then returned to his native land, Brittany. Here ends the William of Warwick episode.

To sum up: All that part of the episode up to and including the retirement of William of Warwick to a hermitage after the extermination of the Moors, is based on the English romance, but only on that portion of it that treats of the latter part of the career of the English hero. The subsequent part of the episode at first seems to reveal no other traces of the romance, but suddenly a resemblance emerges.