It was not only in religious questions and by their philosopho- theologians that the middle ages, before the Renaissance, displayed their activity and fecundity. In literature and in art, in history and in poesy, in architecture and in sculpture, they had produced great and beautiful works, which were quite worthy of surviving, and have, in fact, survived the period of their creation. Here, too, the Renaissance of Greek and Roman antiquity came in, and altered the originality of the earliest productions of the middle ages, and gave to literature and to art in France a new direction. It will be made a point here to note with some exactness the peculiar and native character of French literature at its origin. It is a far cry from the middle ages to the time of Louis XIV.; but the splendors of the most lovely days do not efface the charm belonging to the glimmerings of dawn.
The first amongst the literary creations of the middle ages is that of the French language itself. When we pass from the ninth to the thirteenth century, from the oath of Charles the Bald and Louis the Germanic at Strasbourg, in 842, to the account of the conquest of Constantinople in 1203, given by Geoffrey de Villehardouin, seneschal of Champagne, what a space has been traversed, what progress accomplished in the language of France! It was, at first, nothing but a coarse and irregular mixture of German and Latin, the former still in a barbarous and the latter already in a corrupted state; and amidst this mixture appear some fragments of the Celtic idioms of Gaul, without any literary tradition to regulate this mass of incoherence and confusion. As for following the development, regulation, and transformation of the French national language during these three centuries, and marking how it issued from this formless and vulgar chaos, there are not facts and documents enough for our guidance throughout that long travail; but when the thirteenth century begins, when Villehardouin tells the tale of the crusade, which put, for seventy years, Constantinople and the Greek empire of the East in the hands of the Latin and German warriors of the West, the French language, though still rude and somewhat fluctuating, appears already rich, varied, and capable of depicting with fidelity and energy events, ideas, characters, and the passions of men. There we have French prose and French poesy in their simple and lusty youth; the Conquest of Constantinople by Geoffrey de Villehardouin, and the Song of Roland by the unknown poet who collected and put together in the form of an epopee the most heroic amongst the legends of the reign of Charlemagne, are the first great and beautiful monuments of French literature in the middle ages.
The words are French literature; and of that alone is there any intention of speaking here. The middle ages had, up to the sixteenth century, a Latin literature; philosophers, theologians, and chroniclers all wrote in Latin. The philosophers and theologians have already been spoken of. Amongst the chroniclers some deserve the name of historians; not only do they alone make us acquainted with the history of their times, but they sometimes narrate it with real talent as observers and writers. Gregory of Tours, Eginhard, William of Tyre, Guibert of Nogent, William of Jumieges, and Orderic Vital are worthy of every attention from those whose hearts are set upon thoroughly understanding the history of the periods and the provinces of which those laborers of the middle ages have, in Latin, preserved the memorials. The chief of those works have been gathered together and translated in a special collection bearing the name of Guizot. But it is with the reign of Francis I. that, to bid a truce to further interruption, we commence the era of the real grand literature of France, that which has constituted and still constitutes the pride and the noble pleasure of the French public. Of that alone we would here denote the master-works and the glorious names, putting them carefully at the proper dates and places in the general course of events; a condition necessary for making them properly understood and their influence properly appreciated. As to the reign of Francis I., however, it must be premised as follows: several of the most illustrious of French writers, in poesy and prose, Ronsard, Montaigne, Bodin, and Stephen Pasquier, were born during that king’s lifetime and during the first half of the sixteenth century; but it is to the second half of that century and to the first of the seventeenth that they belong by the glory of their works and of their influence; their place in history will be assigned to them when we enter upon the precise epoch at which they performed and shone. We will at present confine ourselves to the great survivors of the middle ages, whether in prose or poesy, and to the men who shed lustre on the reign of Francis I. himself, and led French literature in its first steps along the road on which it entered at that period.
The middle ages bequeathed to French literature four prose-writers whom we cannot hesitate to call great historians: Villehardouin, Joinville, Froissart, and Commynes. Geoffrey de Villehardouin, after having taken part, as negotiator and soldier, in the crusade which terminated in the capture of Constantinople, and having settled in Thessaly, at Messinopolis, as holder of considerable fiefs, with the title of Marshal of Romania (Roumelia), employed his leisure in writing a history of this great exploit. He wrote with a dignified simplicity, epic and at the same time practical, speaking but little of himself, narrating facts with the precision of one who took part in them, and yet without useless detail or personal vanity, finding pleasure in doing justice to his comrades, amongst others the veteran Doge of Venice, Henry Dandolo, and sometimes intermingling with his story the reflections of a judicious and sincere Christian, without any pious fanaticism and without ostentation. Joinville wrote his History of St. Louis at the request of Joan of Navarre, wife of Philip the Handsome, and five years after that queen’s death; his manuscripts have it thus: “The things which I personally saw and heard were written in the year of grace 1309, in the month of October.” He was then eighty-five, and he dedicated his book to Louis le Hutin (the quarreller), great-grandson of St. Louis. More lively and more familiar in style than Villehardouin, he combines the vivid and natural impressions of youth with an old man’s fond clinging to the memories of his long life; he likes to bring himself upon the scene, especially as regards his relations towards and his conversations with St. Louis, for whom he has a tender regard and admiration, at the same time that he maintains towards him a considerable independence of ideas, conduct, and language; he is a valiant and faithful knight, who forms a very sensible opinion as to the crusade in which he takes part, and who will not enter upon it a second time even to follow the king to whom he is devoted, but whose pious fanaticism and warlike illusions he does not share; his narrative is at one and the same time very full of himself without any pretension, and very spirited without any show of passion, and fraught with a graceful and easy carelessness which charms the reader and all the while inspires confidence in the author’s veracity. Froissart is an insatiable Fry, who revels in all the sights of his day, events and personages, wars and galas, adventures of heroism or gallantry, and who is incessantly gadding about through all the dominions and all the courts of Europe, everywhere seeking his own special amusement in the satisfaction of his curiosity. He has himself given an account of the manner in which he collected and wrote his Chronicles. “Ponder,” says he, “amongst yourselves, such of ye as read me, or will read me, or have read me, or shall hear me read, how I managed to get and put together so many facts whereof I treat in so many parts. And, for to inform you of the truth, I began young, at the age of twenty years, and I came into the world amidst the deeds and adventures, and I did always take great delight in them, more than in aught else. And God gave me such grace that I was well with all parties, and with the households of the kings, and, especially, the household of King Edward of England, and the noble queen his wife, Madame Philippa of Hainault, unto whom, in my youth, I was clerk, and I did minister unto her with beautiful ditties and amorous treatises. And for love of the service of the noble and valiant dame with whom I was, all the other lords, kings, dukes, counts, barons, and knights, of whatsoever nation they might be, did love me and hear me and see me gladly, and brought me great profit. . . . Thus, wherever I went, I made inquiry of the old knights and squires who had been at deeds of arms, and who were specially fit to speak thereof, and also of certain heralds in good credit for to verify and justify all matters. Thus have I gotten together this lofty and noble history.” This picture of Froissart and his work by his own hand would be incomplete without the addition of a characteristic anecdote. In one of his excursions in search of adventures and stories, “he fell in at Pamiers with a good knight, Messire Espaing of Lyons, who had been in all the wars of the time, and managed the great affairs of princes. They set out to travel together, Messire Espaing telling his comrade what he knew about the history of the places whereby they passed, and Froissart taking great care to ride close to him for to hear his words. Every evening they halted at hostels where they drained flagons full of white wine as good as the good canon had ever drunk in his life; then, after drinking, so soon as the knight was weary of relating, the chronicler wrote down just the substance of his stories, so as to better leave remembrance of them for time to come, as there is no way of retaining so certain as writing down.”
There is no occasion to add to these quotations; they give the most correct idea that can be formed of Froissart’s chronicles and their literary merit as well as their historical value.
Philip de Commynes is quite another affair, and far more than Froissart, nay, than Joinville and Villehardouin. He is a politician proficient in the understanding and handling of the great concerns and great personages of his time. He served Charles the Rash and Louis XI.; and, after so trying an experience, he depicted them and passed judgment upon them with imperturbable clearsightedness and freedom of thought. With the recital of events, as well as the portrayal of character, he mingles here and there the reflections, expressed in precise, firm, and temperate language, of a profound moralist, who sets before himself no other aim but that of giving his thoughts full utterance. He has already been spoken of in the second volume of this History, in connection with his leaving the Duke of Burgundy’s service for that of Louis XI., and with his remarks upon the virtues as well as the vices of that able but unprincipled despot. We will not go again over that ground. As a king’s adviser, Commynes would have been as much in place at the side of Louis XIV. as at that of Louis XI.; as a writer, he, in the fifteenth century, often made history and politics speak a language which the seventeenth century would not have disowned.
Let us pass from the prose-writers of the middle ages to their poets.
The grand name of poesy is here given only to poetical works which have lived beyond their cradles and have taken rank amongst the treasures of the national literature. Thanks to sociability of manners, vivacity of intellect, and fickleness of taste, light and ephemeral poesy has obtained more success and occupied more space in France than in any other country; but there are successes which give no title to enter into a people’s history; quality and endurance of renown are even more requisite in literature than in politics; and many a man whose verses have been very much relished and cried up in his lifetime has neither deserved nor kept in his native land the beautiful name of poet. Setting aside, of course, the language and poems of the troubadours of Southern France, we shall find, in French poesy previous to the Renaissance, only three works which, through their popularity in their own time, still live in the memory of the erudite, and one only which, by its grand character and its superior beauties, attests the poetical genius of the middle ages and can claim national rights in the history of France. The Romance of the Rose in the erotic and allegorical style, the Romances of Renart in the satirical, and the Farce of Patelin, a happy attempt in the line of comedy, though but little known nowadays to the public, are still and will remain subjects of literary study. The Song of Roland alone is an admirable sample of epic poesy in France, and the only monument of poetical genius in the middle ages which can have a claim to national appreciation in the nineteenth century. It is almost a pity not to reproduce here the whole of that glorious epopee, as impressive from the forcible and pathetic simplicity of its sentiments and language as from the grandeur of the scene and the pious heroism of the actors in it. It is impossible, however, to resist the pleasure of quoting some fragments of it. The best version to refer to is that which has been given almost word for word, from the original text, by M. Leon Gaultier, in his beautiful work, so justly crowned by the Academie des Inscriptions et Belles-lettres, on Lee Epopees Francaises.
In 778 Charlemagne was returning from a great expedition in Spain, during which, after having taken Pampeluna, he had failed before Saragossa, and had not considered himself called upon to prolong his struggle with the Arab Mussulmans. He with the main body of his army had crossed the Pyrenees, leaving as rearguard a small division under his nephew Roland, prefect of the Marches of Brittany, Anselm, count of the palace, Oliver, Roland’s comrade, Archbishop Turpin, and several other warriors of renown. When they arrived at the little valley of Roncesvalles, between the defiles of Sizer and Val Carlos, this rearguard was unexpectedly attacked by thousands of Basque mountaineers, who were joined by thousands of Arabs eager to massacre and plunder the Christians and Franks, who, indeed, perished to a man in this ambuscade. “The news of this disaster,” says Eginhard, in his Annales, “obscured the glory of the successes the king had but lately obtained in Spain.” This fact, with large amplifications, became the source of popular legends and songs, which, probably towards the end of the eleventh century, became embodied in the Song of Roland, attributed, in two manuscripts, but without any certainty, to a certain Thuroulde (Turold), Abbot of Malmesbury and Peterborough under William the Conqueror. It must suffice to reproduce here only the most beautiful and most characteristic passages of this little national epopee, a truly Homeric picture of the quasi-barbarous times and manners of knightly Christendom.
The eighty-second strophe of the poem commences thus: