A Book of The Riviera. Baring-Gould Sabine
it could not subsist along with a material relation such as marriage. It was because this connexion was ideal only that the counts and viscounts and barons looked with so much indifference, or even indulgence, on their wives contracting it. There were exceptions, where the lady carried her condescension too far. But the very extravagance of terms employed towards the ladies is the best possible evidence that the Troubadours knew them very little, and by no means intimately. Bertram, to Helena, was “a bright particular star,” but only so because he was much away from Roussillon, and —
“So high above me
In his bright radiance and collateral light
Must I be computed, not in his sphere.”
When she became his wife she discovered that he was a mere cub. Cœlia was no goddess to Strephon. So the privileged “servant,” worshipped, and only could frame his mind to worship, because held at a great distance, too far to note the imperfections in temper, in person, in mind, of the much-belauded lady.
A friend told me that he was staggered out of his posture of worship to his newly acquired wife by seeing her clean her teeth. It had not occurred to him that her lovely pearls could need a toothbrush.
William de Balaun, a good knight and Troubadour, loved and served Guillelmine de Taviac, wife of a seigneur of that name. He debated in his mind which was the highest felicity, winning the favour of a lady, or, after losing it, winning it back again. He resolved to put this question to the proof, so he affected the sulks, and behaved to the lady with rudeness – would not speak, turned his back on her. At first she endeavoured to soothe him, but when that failed withdrew, and would have no more to say to him. De Balaun now changed his mood, and endeavoured to make her understand that he was experimentalising in the Gai Saber, that was all. She remained obdurate till a mutual friend intervened. Then she consented to receive William de Balaun again into her favour, if he would tear out one of his nails and serve it up to her on a salver along with a poem in praise of her beauty. And on these terms he recovered his former place.
Geofrey Rudel had neither seen the Countess of Tripoli nor cast his eyes on her portrait, but chose to fall in love with her at the simple recital of her beauty and virtue. For long he poured forth verses in her honour; but at last, drawn to Syria by desire of seeing her, he embarked, fell mortally ill on the voyage, and arrived at Tripoli to expire; satisfied that he had bought at this price the pleasure of casting his eyes on the princess, and hearing her express sorrow that he was to be snatched away.
In a great many cases, probably in the majority of cases, there was no amorous passion excited. It was simply a case of bread and butter. The swarm of knights and Troubadours that hovered about an exalted lady, was drawn to her, not at all by her charms, but by her table, kitchen, and cellar – in a word, by cupboard love.
In their own little bastides they led a dull life, and were very impecunious. If they could get some lady of rank to accept their services, they obtained free quarters in her castle, ate and drank of her best, and received gratuities for every outrageously flattering sonnet. If she were elderly and plain – that mattered not, it rather favoured the acceptance, for she would then not be nice in selecting her cher ami. All that was asked in return was, that he should fetch her gloves, hold her stirrup, fight against any one who spoke a disparaging word, and turn heels over head to amuse her on a rainy day.
A little poem by Pierre de Barjac is extant. He loved and served a noble lady De Javac. One day she gave him to understand that he was dismissed. He retired, not a little surprised and mortified, but returned a few days later with a poem, of which these are some of the strophes: —
“Lady, I come before you, frankly to say good-bye for ever. Thanks for your favour in giving me your love and a merry life, as long as it suited you. Now, as it no longer suits you, it is quite right that you should pick up another friend who will please you better than myself. I have naught against that. We part on good terms, as though nothing had been between us.
“Perhaps, because I seem sad, you may fancy that I am speaking more seriously than usual; but that you are mistaken in this, I will convince you. I know well enough that you have some one else in your eye. Well, so have I in mine – some one to love after being quit of you. She will maintain me; she is young, you are waxing old. If she be not quite as noble as yourself, she is, at all events, far prettier and better tempered.
“If our mutual oath of engagement is at all irksome to your conscience, let us go before a priest – you discharge me, and I will discharge you. Then each of us can loyally enter on a new love affair. If I have ever done anything to annoy you, forgive me; I, on my part, forgive you with all my heart; and a forgiveness without heart is not worth much.”
During the winter these professional lovers resided at the castles of the counts and viscounts. In the spring they mounted their horses and wandered away, some in quest of a little fighting, some to loiter in distant courts, some to attend to their own farms and little properties. Each as he left doubtless received a purse from the lady he had served and sung, together with a fresh pair of stockings, and with his linen put in order.
“Love,” says Mr. Green, in his History of the English People, “was the one theme of troubadour and trouveur; but it was a love of refinement, of romantic follies, of scholastic discussions, of sensuous enjoyment – a plaything rather than a passion. Nature had to reflect the pleasant indolence of man; the song of the minstrel moved through a perpetual May-time; the grass was ever green; the music of the lark and the nightingale rang out from field and thicket. There was a gay avoidance of all that is serious, moral, or reflective in man’s life. Life was too amusing to be serious, too piquant, too sentimental, too full of interest and gaiety and chat.”
That this professional, sentimental love-making went beyond bounds occasionally is more than probable, for human nature cannot be controlled by such a spider-web system. It will break through. Every one knows the story of William de Cabestaing, who loved and served among others – for he was to one thing constant never – Sermonde, wife of Raymond de Roussillon, whereupon the husband had him murdered, and his heart roasted and dished up at table. When Sermonde was told what she had eaten, she threw herself out of a window. But is the story true? Much the same tale occurs thrice in Boccaccio; once of Sermonde, something of the same in the Cup, and again in the Pot of Basil; moreover, the same tale is told of others.
This artificial theory of love was carried to the Court of Naples, and to that of Frederick II. at Palermo. It brought after it an inevitable reaction, and this found its fullest expression in Boccaccio.
“All the mediæval enthusiasms,” says Mr. Addington Symonds, “are reviewed and criticised from the standpoint of the Florentine bottega and piazza. It is as though the bourgeois, not content with having made nobility a crime, were bent upon extinguishing its spirit. The tale of Agilult vulgarises the chivalrous conception of love ennobling men of low estate, by showing how a groom, whose heart is set upon a queen, avails himself of opportunity. Tancred burlesques the knightly reverence for a stainless scutcheon, by the extravagance of his revenge. The sanctity of the Thebaid, that ascetic dream of purity and self-renunciation for God’s service, is made ridiculous by Ailbech. Sen Ciappelletto brings contempt upon the canonisation of saints. The confessional, the worship of relics, the priesthood, and the monastic orders, are derided with the deadliest persiflage. Christ Himself is scoffed at in a jest which points the most indecent of these tales. Marriage offers a never-failing theme for scorn; and when, by way of contrast, the novelist paints an ideal wife, he runs into such hyperboles that the very patience of Griselda is a satire on its dignity.”5
CHAPTER III
MARSEILLES
AS has