Four Arthurian Romances | Page 4

cult of European society. The Countess Marie, possessing her royal mother's tastes and gifts, made of her court a social experiment station, where these Provencal ideals of a perfect society were planted afresh in congenial soil. It appears from contemporary testimony that the authority of this celebrated feudal dame was weighty, and widely felt. The old city of Troyes, where she held her court, must be set down large in any map of literary history. For it was there that Chretien was led to write four romances which together form the most complete expression we possess from a single author of the ideals of French chivalry. These romances, written in eight-syllable rhyming couplets, treat respectively of Erec and Enide, Cliges, Yvain, and Lancelot. Another poem, "Perceval le Gallois", was composed about 1175 for Philip, Count of Flanders, to whom Chretien was attached during his last years. This last poem is not included in the present translation because of its extraordinary length of 32,000 verses, because Chretien wrote only the first 9000 verses, and because Miss Jessie L. Weston has given us an English version of Wolfram's wellknown "Parzival", which tells substantially the same story, though in a different spirit. To have included this poem, of which he wrote less than one-third, in the works of Chretien would have been unjust to him. It is true the romance of "Lancelot" was not completed by Chretien, we are told, but the poem is his in such large part that one would be over-scrupulous not to call it his. The other three poems mentioned are his entire. In addition, there are quite generally assigned to the poet two insignificant lyrics, the pious romance of "Guillaume d'Angleterre", and the elaboration of an episode from Ovid's "Metamorphoses" (vi., 426- 674) called "Philomena" by its recent editor (C. de Boer, Paris, 1909). All these are extant and accessible. But since "Guillaume d'Angleterre" and "Philomena" are not universally attributed to Chretien, and since they have nothing to do with the Arthurian material, it seems reasonable to limit the present enterprise to "Erec and Enide", "Cliges", "Yvain", and "Lancelot".
Professor Foerster, basing his remark upon the best knowledge we possess of an obscure matter, has called "Erec and Enide" the oldest Arthurian romance extant. It is not possible to dispute this significant claim, but let us make it a little more intelligible. Scholarship has shown that from the early Middle Ages popular tradition was rife in Britain and Brittany. The existence of these traditions common to the Brythonic peoples was called to the attention of the literary world by William of Malmesbury ("Gesta regum Anglorum") and Geoffrey of Monmouth ("Historia regum Britanniae") in their Latin histories about 1125 and 1137 respectively, and by the Anglo-Norman poet Wace immediately afterward. Scholars have waged war over the theories of transmission of the so-called Arthurian material during the centuries which elapsed between the time of the fabled chieftain's activity in 500 A.D. and his appearance as a great literary personage in the twelfth century. Documents are lacking for the dark ages of popular tradition before the Norman Conquest, and the theorists may work their will. But Arthur and his knights, as we see them in the earliest French romances, have little in common with their Celtic prototypes, as we dimly catch sight of them in Irish, Welsh, and Breton legend. Chretien belonged to a generation of French poets who rook over a great mass of Celtic folk-lore they imperfectly understood, and made of what, of course, it had never been before: the vehicle to carry a rich freight of chivalric customs and ideals. As an ideal of social conduct, the code of chivalry never touched the middle and lower classes, but it was the religion of the aristocracy and of the twelfth-century "honnete homme". Never was literature in any age closer to the ideals of a social class. So true is this that it is difficult to determine whether social practices called forth the literature, or whether, as in the case of the seventeenth-century pastoral romance in France, it is truer to say that literature suggested to society its ideals. Be that as it may, it is proper to observe that the French romances of adventure portray late mediaeval aristocracy as it fain would be. For the glaring inconsistencies between the reality and the ideal, one may turn to the chronicles of the period. Yet, even history tells of many an ugly sin rebuked and of many a gallant deed performed because of the courteous ideals of chivalry. The debt of our own social code to this literature of courtesy and frequent self-sacrifice is perfectly manifest.
What Chretien's immediate and specific source was for his romances is of deep interest to the student. Unfortunately, he has left us in doubt. He speaks in