A Short History of French Literature. Saintsbury George

A Short History of French Literature - Saintsbury George


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fet ele, 'Sathanas!

      couvertes sont por tenir chaudes.'

      (He accepts the excuse; bids her lay the table, and goes to sharpen his knife. The priest arrives. She tells him that her husband is plotting outrage against him, and as a proof shows him sharpening his knife. The priest flies, and she tells her husband that he has run off with the partridges. The husband pursues, but in vain, and the Fabliau thus concludes: – )

      A l'ostel li vilains retorne,

      et lors sa feme en araisone:

      'diva,' fait il, 'et quar me dis

      coment tu perdis les pertris?'

      cele li dist 'se diex m'aït,

      tantost que li prestres me vit,

      si me prïa, se tant l'amasse,

      que je les pertris li moustrasse,

      quar moult volentiers les verroit

      et je le menai la tout droit

      ou je les avoie couvertes.

      il ot tantost les mains ouvertes,

      si les prist et si s'en fuï.

      mes je gueres ne le sivi,

      ains le vous fis moult tost savoir.'

      cil respont 'bien pués dire voir

      or le laissons a itant estre.'

      ainsi fu engingniés le prestre

      et Gombaus qui les pertris prist.

      par example cis fabliaus dist:

      fame est faite por decevoir.

      mençonge fait devenir voir

      et voir fait devenir mençonge.

      cil n'i vout metre plus d'alonge

      qui fist cest fablel et ces dis.

      ci faut li fabliaus des pertris.

      (Reynard and Isengrin go a-fishing.)

      Ce fu un poi devant Noël

      que l'en metoit bacons en sel,

      li ciex fu clers et estelez,

      et li vivier fu si gelez,

      ou Ysengrin devoit peschier,

      qu'on pooit par desus treschier,

      fors tant c'un pertuis i avoit,

      qui des vilains faiz i estoit,

      ou il menoient lor atoivre

      chascune nuit juër et boivre:

      un seel i estoit laissiez.

      la vint Renarz toz eslaissiez

      et son compere apela.

      'sire,' fait il, 'traiiez vos ça:

      ci est la plenté des poissons

      et li engins ou nos peschons

      les anguiles et les barbiaus

      et autres poissons bons et biaus.'

      dist Ysengrins 'sire Renart,

      or le prenez de l'une part,

      sel me laciez bien a la qeue.'

      Renarz le prent et si li neue

      entor la qeue au miex qu'il puet.

      'frere,' fait il, 'or vos estuet

      moult sagement a maintenir

      por les poissons avant venir.'

      lors s'est en un buisson fichiez:

      si mist son groing entre ses piez

      tant que il voie que il face.

      et Ysengrins est seur la glace

      et li sëaus en la fontaine

      plains de glaçons a bone estraine.

      l'aive conmence a englacier

      et li sëaus a enlacier

      qui a la qeue fu noëz:

      de glaçons fu bien serondez.

      la qeue est en l'aive gelee

      et en la glace seelee.

      This chapter would be incomplete without a reference to the Ysopet of Marie de France65, which may be said to be a link of juncture between the Fabliau and the Roman du Renart. Ysopet (diminutive of Aesop) became a common term in the middle ages for a collection of fables. There is one known as the Ysopet of Lyons, which was published not long ago66; but that of Marie is by far the most important. It consists of 103 pieces, written in octosyllabic couplets, with moralities, and a conclusion which informs us that the author wrote it 'for the love of Count William' (supposed to be Long-Sword), translating it from an English version of a Latin translation of the Greek. Marie's graceful style and her easy versification are very noticeable here, while her morals are often well deduced and sharply put. The famous 'Wolf and Lamb' will serve as a specimen.

      Ce dist dou leu e dou aignel,

      qui beveient a un rossel:

      li lox a lo sorse beveit

      e li aigniaus aval esteit.

      irieement parla li lus

      ki mult esteit cuntralïus;

      par mautalent palla a lui:

      'tu m'as,' dist il, 'fet grant anui.'

      li aignez li ad respundu

      'sire, eh quei?' 'dunc ne veis tu?

      tu m'as ci ceste aigue tourblee:

      n'en puis beivre ma saolee.

      autresi m'en irai, ce crei,

      cum jeo ving, tut murant de sei.'

      li aignelez adunc respunt

      'sire, ja bevez vus amunt:

      de vus me vient kankes j'ai beu.'

      'qoi,' fist li lox, 'maldis me tu?'

      l'aigneus respunt 'n'en ai voleir.'

      lous li dit 'jeo sai de veir:

      ce meïsme me fist tes pere

      a ceste surce u od lui ere,

      or ad sis meis, si cum jeo crei.'

      'qu'en retraiez,' feit il, 'sor mei?

      n'ere pas nez, si cum jeo cuit.'

      'e cei pur ce,' li lus a dit:

      'ja me fais tu ore cuntraire

      e chose ke tu ne deiz faire.'

      dunc prist li lox l'engnel petit,

      as denz l'estrangle, si l'ocit.

Moralité

      Ci funt li riche robëur,

      li vesconte e li jugëur,

      de ceus k'il unt en lur justise.

      fausse aqoison par cuveitise

      truevent assez pur eus cunfundre.

      suvent les funt as plaiz semundre,

      la char lur tolent e la pel,

      si cum li lox fist a l'aingnel.

      CHAPTER VI

      EARLY LYRICS

      Early and Later Lyrics.

      The lyric poetry of the middle ages in France divides itself naturally into two periods, distinguished by very strongly marked characteristics. The end of the thirteenth century is the dividing point in this as in many other branches of literature. After that we get the extremely interesting, if artificial, forms of the Rondeau and Ballade, with their many varieties and congeners. With these we shall not busy ourselves in the present chapter. But the twelfth and thirteenth centuries are provided with a lyric


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<p>65</p>

Ed. Roquefort, vol. ii. See next chapter.

<p>66</p>

By Dr. W. Förster. Heilbronn, 1882.