CHAPTER V
FABLIAUX. THE ROMAN DU RENART

Foreign Elements in Early French Literature.

Singular as the statement may appear, no one of the branches of literature hitherto discussed represents what may be called a specially French spirit. Despite the astonishing popularity and extent of the Chansons de Gestes, they are, as is admitted by the most patriotic French students, Teutonic in origin probably, and certainly in genius. The Arthurian legends have at least a tinge both of Celtic and Oriental character; while the greater number of them were probably written by Englishmen, and their distinguishing spirit is pretty clearly Anglo-Norman rather than French. On the other hand, Provençal poetry represents a temperament and a disposition which find their full development rather in Spanish and Italian literature and character than in the literature and character of France. All these divisions, moreover, have this of artificial about them, that they are obviously class literature – the literature of courtly and knightly society, not that of the nation at large. Provençal literature gives but scanty social information; from the earlier Chansons at least it would be hard to tell that there were any classes but those of nobles, priests, and fighting men; and though, as has been said, a more complicated state of society appears in the Arthurian legends, what may be called their atmosphere is even more artificial.

The Esprit Gaulois makes its appearance.

It is far otherwise with the division of literature which we are now about to handle. The Fabliaux⁶⁰, or short verse tales of old France, take in the whole of its society from king to peasant with all the intervening classes, and represent for the most part the view taken of those classes by each other. Perhaps the bourgeois standpoint is most prominent in them, but it is by no means the only one. Their tone too is of the kind which has ever since been specially associated with the French genius. What is called by French authors the esprit gaulois– a spirit of mischievous and free-spoken jocularity – does not make its appearance at once, or in all kinds of work. In most of the early departments of French literature there is a remarkable deficiency of the comic element, or rather that element is very much kept under. The comedy of the Chansons consists almost entirely in the roughest horse-play; while the knightly notion of gabz or jests is exemplified in the Voyage de Charlemagne à Constantinople, where it seems to be limited to extravagant, and not always decent, boasts and gasconnades. More comic, but still farcical in its comedy, is the curious running fire of exaggerated expressions of poltroonery which the Red Lion keeps up in Antioche, while the names and virtues of the Christian leaders are being catalogued to Corbaran. In the Arthurian Romances also the comic element is scantily represented, and still takes the same form of exaggeration and horse-play. At the same time it is proper to say that both these classes of compositions are distinguished, at least in their earlier examples, by a very strict and remarkable decency of language.

In the Fabliaux the state of things is quite different. The attitude is always a mocking one, not often going the length of serious satire or moral indignation, but contenting itself with the peculiar ludicrous presentation of life and humanity of which the French have ever since been the masters. In the Fabliaux begins that long course of scoffing at the weaknesses of the feminine sex which has never been interrupted since. In the Fabliaux is to be found for the first time satirical delineation of the frailties of churchmen instead of adoring celebration of the mysteries of the Church. All classes come in by turns for ridicule – knights, burghers, peasants. Unfortunately this freedom in choice of subject is accompanied by a still greater freedom in the choice of language. The coarseness of expression in many of the Fabliaux equals, if it does not exceed, that to be found in any other branch of Western literature.

Definition of Fabliaux.

The interest of the Fabliaux as a literary study is increased by the precision with which they can be defined, and the well-marked period of their composition. According to the excellent definition of its latest editor, the Fabliau⁶¹ is 'le récit, le plus souvent comique, d'une aventure réelle ou possible, qui se passe dans les données moyennes de la vie humaine,' the recital, for the most part comic, of a real or possible event occurring in the ordinary conditions of human life. M. de Montaiglon, to be rigidly accurate, should have added that it must be in verse, and, with very rare, if any, exceptions, in octosyllabic couplets. Of such Fabliaux, properly so called, we possess perhaps two hundred. They are of the most various length, sometimes not extending to more than a score or so of lines, sometimes containing several hundreds. They are, like most contemporary literature, chiefly anonymous, or attributed to persons of whom nothing is known, though some famous names, especially that of the Trouvère Rutebœuf, appear among their authors. Their period of composition seems to have extended from the latter half of the twelfth century to the latter half of the fourteenth, no manuscript that we have of them being earlier than the beginning of the thirteenth century, and none later than the beginning of the fifteenth. If, however, their popularity in their original form ceased at the latter period, their course was by no means run. They had passed early from France into Italy (as indeed all the oldest French literature did), and the stock-in-trade of all the Italian Novellieri from Boccaccio downwards was supplied by them. In England they found an illustrious copyist in Chaucer, whose Canterbury Tales are perfect Fabliaux, informed by greater art and more poetical spirit than were possessed by their original authors. In France itself the Fabliaux simply became farces or prose tales, as the wandering reciter of verse gave way to the actor and the bookseller. They appear again (sometimes after a roundabout journey through Italian versions) in the pages of the French tale-tellers of the Renaissance, and finally, as far as collected appearance is concerned, receive their last but not their least brilliant transformation in the Contes of La Fontaine. In these the cycle is curiously concluded by a return to the form of the original.

Subjects and character of Fabliaux.

Until MM. de Montaiglon and Raynaud undertook their edition, which has been slowly completed, the study of the Fabliaux was complicated by the somewhat chaotic conditions of the earlier collections. Barbazan and his followers printed as Fabliaux almost everything that they found in verse which was tolerably short. Thus, not merely the mediaeval poems called dits and débats, descriptions of objects either in monologue or dialogue, which come sometimes very close to the Fabliau proper, but moral discourses, short romances, legends like the Lai d'Aristote, and such-like things, were included. This interferes with a comprehension of the remarkably characteristic and clearly marked peculiarities of the Fabliau indicated in the definition given above. As according to this the Fabliau is a short comic verse tale of ordinary life, it will be evident that the attempts which have been made to classify Fabliaux according to their subjects were not very happy. It is of course possible to take such headings as Priests, Women, Villeins, Knights, etc., and arrange the existing Fabliaux under them. But it is not obvious what is gained thereby. A better notion of the genre may perhaps be obtained from a short view of the subjects of some of the principal of those Fabliaux whose subjects are capable of description. Les deux Bordeors Ribaux is a dispute between two Jongleurs who boast their skill. It is remarkable for a very curious list of Chansons de Gestes which the clumsy reciter quotes all wrong, and for a great number of the sly hits at chivalry and the chivalrous romances which are characteristic of all this literature. Thus one Jongleur, going through the list of his knightly patrons, tells of Monseignor Augier Poupée —

 
'Qui à un seul coup de s'espee
Coupe bien à un chat l'oreille;'
 

and of Monseignor Rogier Ertaut, whose soundness in wind and limb is not due to enchanted armour or skill in fight, but is accounted for thus —

 
'Quar onques ne ot cop feru' (for that never has he struck a blow).
 

Le Vair Palefroi contains the story of a lover who carries off his beloved on a palfrey grey from an aged wooer. La Housse Partie, a great favourite, which appears in more than one form, tells the tale of an unnatural son who turns his father out of doors, but is brought to a better mind by his own child, who innocently gives him warning that he in turn will copy his example. Sire Hain et Dame Anieuse is one of the innumerable stories of rough correction of scolding wives. Brunain la Vache au Prestre recounts a trick played on a covetous priest. In Le Dit des Perdrix, a greedy wife eats a brace of partridges which her husband has destined for his own dinner, and escapes his wrath by one of the endless stratagems which these tales delight in assigning to womankind. Le sot Chevalier, though extremely indecorous, deserves notice for the Chaucerian breadth of its farce, at which it is impossible to help laughing. The two Englishmen and the Lamb is perhaps the earliest example of English-French, and turns upon the mistake which results in an ass's foal being bought instead of the required animal. Le Mantel Mautaillié is the famous Arthurian story known in English as 'The Boy and the Mantle.' Le Vilain Mire is the original of Molière's Médecin malgré lui. Le Vilain qui conquist Paradis par Plaist is characteristic of the curious irreverence which accompanied mediaeval devotion. A villein comes to heaven's gate, is refused admission, and successively silences St. Peter, St. Thomas, and St. Paul, by very pointed references to their earthly weaknesses. As a last specimen may be mentioned the curiously simple word-play of Estula. This is the name of a little dog which, being pronounced, certain thieves take for 'Es tu là?'

Sources of Fabliaux.

Such are a very few, selected as well as may be for their typical character, of these stories. It is not unimportant to consider briefly the question of their origin. Many of them belong no doubt to that strange common fund of fiction which all nations of the earth indiscriminately possess. A considerable number seem to be of purely original and indigenous growth: but an actual literary source is not wanting in many cases. The classics supplied some part of them, the Scriptures and the lives of the saints another part; while not a little was due to the importation of Eastern collections of stories resulting from the Crusades. The chief of these collections were the fables of Bidpai or Pilpai, in the form known as the romance of 'Calila and Dimna,' and the story of Sendabar (in its Greek form Syntipas). This was immensely popular in France under the verse form of Dolopathos, and the prose form of Les sept Sages de Rome. The remarkable collection of stories called the Gesta Romanorum is apparently of later date than most of the Fabliaux; but the tales of which it was composed no doubt floated for some time in the mouths of Jongleurs before the unknown and probably English author put them together in Latin.

The Roman du Renart.

Closely connected with the Fabliaux is one of the most singular works of mediaeval imagination, the Roman du Renart⁶². This is no place to examine the origin or antiquity of the custom of making animals the mouthpieces of moral and satirical utterance on human affairs. It is sufficient that the practice is an ancient one, and that the middle ages were early acquainted with Aesop and his followers, as well as with Oriental examples of the same sort. The original author, whoever he was, of the epic (for it is no less) of 'Reynard the Fox,' had therefore examples of a certain sort before his eyes. But these examples contented themselves for the most part with work of small dimension, and had not attempted connected or continuous story. A fierce battle has been fought as to the nationality of Reynard. The facts are these. The oldest form of the story now extant is in Latin. It is succeeded at no very great interval by German, Flemish, and French versions. Of these the German as it stands is apparently the oldest, the Latin version being probably of the second half of the twelfth century, and the German a little later. But (and this is a capital point) the names of the more important beasts are in all the versions French. From this and some minute local indications, it seems likely that the original language of the epic is French, but French of the Walloon or Picard dialect, and that it was written somewhere in the district between the Seine and the Rhine. This, however, is a matter of the very smallest literary importance. What is of great literary importance is the fact that it is in France that the story receives its principal development, and that it makes its home. The Latin, Flemish, and German Reynards, though they all cover nearly the same ground, do not together amount to more than five-and-twenty thousand lines. The French in its successive developments amounts to more than ninety thousand in the texts already published or abstracted; and this does not include the variants in the Vienna manuscript of Renart le Contrefait, or the different developments of the Ancien Renart, recently published by M. Ernest Martin.

The Ancien Renart.