Car moi, qui suis l’aînée
On me met au couvent.
Si ce malheur arrive
J’mettrai feu dedans!
(Vous qui menez la ronde,
Menez-le rondement.)[1751]
Many folk-songs take the form of a dialogue between a mother and daughter, sometimes (as in two of the rounds quoted above) preserved only in the refrain. An old song taken down at Fontenay-le-Marmion contains a charmingly frivolous conversation. “Mother,” says the daughter of fifteen, “I want a lover.” “No, no, no, my child, none of that,” says her mother, “you shall go to town to a convent and learn to read.” “But tell me, mother, is it gay in a convent?”:
“Dites-moi, ma mère, ah! dites-moi donc,
Dedans ce couvent, comme s’y comporte-t-on?
Porte-t-on des fontanges et des beaux habits,
Va-t-on à la danse, prend-on ses plaisis?”
“Non, non, non, ma fille, point de tout cela;
Une robe noire et elle vous servira,
Une robe noire et un voile blanc;
Te voilà, ma fille, à l’état du couvent.”
“No, mother, to a convent I will not go; never will I leave the lad I love”; as she speaks her lover enters. “Fair one, will you keep your promise?” “I will keep all the promises I ever made to you, in my youth I will keep them; it is only my mother who does not wish it—but all the same, do not trouble yourself, for it shall be so. My father is very gentle when he sees me cry; I shall speak to him of love and I shall soon make him see that without any more delay I must have a lover”[1752]. In another of these dialogues the seventeen-year-old girl begs her mother to find her a husband. “You bold wicked girl,” says the mother:
Effrontée, hélas! que vous êtes!
Si je prends le manche à balai,
Au couvent de la sœur Babet
Je te mets pour la vie entière,
Et à grands coups de martinet
On apaisera votre caquet!
But “Mother,” says the girl, “When you were my age, weren’t you just the same? When love stole away your strength and your courage, didn’t you love your sweetheart so well that they wanted to put you into a convent? don’t you remember, mother, that you once told me that it was high time my dear father came forward, for you had more than one gallant?” The horrified mother interrupts her, “I see very well that you have a lover”:
Mariez-vous, n’en parlons plus
Je vais vous compter mille écus![1753]
Another group of songs (in narrative form and more banal than the rounds and dialogues) deals with the escape from the convent. Among folk-songs collected in Velay and Forez there is one in which the girl is shut in a nunnery, whence her lover rescues her by the device of dressing himself as a gardener and getting employment in the abbess’s garden[1754]; and another in which a soldier returns from the Flemish wars to find his mistress in a convent and takes her away with him in spite of the remonstrances of the abbess[1755]. In a version from Low Normandy (which probably goes back to the seventeenth century) the lover invokes the help of a chimney sweep, who goes to sweep the convent chimneys and pretends to be seized with a stomach-ache, so that the abbess hurries away for a medicine bottle and enables him to pass the young man’s letter to his mistress; on a second visit the sweep carries the girl out in his sack, under the very nose of the reverend mother[1756]. An Italian version is less artificial:
In this city there is a little maid, a little maid in love. They wish to chastise her until she loves no more. Says her father to her mother: “In what manner shall we chastise her? Let us array her in grey linen and put her into a nunnery.” In her chamber the fair maiden stood listening. “Ah, woe is me, for they would make me a nun!” Weeping she wrote a letter and when she had sealed it well, she gave it to her serving man, and bade him bear it to her lover. The gentle gallant read the letter and began to weep and sigh: “I had but one little love and now they would make her a nun!” He goes to the stable where his horses are and saddles the one he prizes most. “Arise, black steed, for thou art the strongest and fairest of all; for one short hour thou must fly like a swallow down by the sea.” The gentle gallant mounts his horse and spurs forward at a gallop. He arrives just as his fair one is entering the nunnery. “Hearken to me, mother abbess, I have one little word to say.” As he spake the word to the maiden, he slipped the ring on her finger. “Is there in this city no priest or no friar who will marry a maiden without her banns being called?” “Goodbye to you, Father, goodbye to you, Mother, goodbye to you all my kinsfolk. They thought to make me a nun, but with joy I am become a bride”[1757].
Another very ribald Italian folk-song of the fourteenth or fifteenth century is specially interesting because it is founded upon Boccaccio’s famous tale of the Abbess and the breeches. It is somewhat different from the usual nun-song; less plaintive and more indecent, as befits its origin in a conte gras; it is a fabliau rather than a song, but it is worth quoting: