While the figure of Alexander served as centre to one group of fictions, most of which were composed in Chanson form, the octosyllabic metre, which had made the Arthurian romances its own, was used for the versification of another numerous class, most of which dealt with the tale of Troy divine.
Roman de Troie.
Here also the poems were neither entirely fictitious, nor on the other hand based upon the best authorities. Dares Phrygius and Dictys Cretensis, with some epitomes of Homer, were the chief sources of information. The principal poem of this class is the Roman de Troie of Benoist de Sainte More (c. 1160). This work[58], which extends to more than thirty thousand verses, has the redundancy and the long-windedness which characterise many, if not most, early French poems written in its metre. But it has one merit which ought to conciliate English readers to Benoist. It contains the undoubted original of Shakespeare's Cressida. The fortunes of Cressid (or Briseida, as the French trouvère names her) have been carefully traced out by MM. Moland, Héricault[59], and Joly, and form a very curious chapter of literary history. Nor is this episode the only one of merit in Benoist. His verse is always fluent and facile, and not seldom picturesque, as the following extract (Andromache's remonstrance with Hector) will show:—
Quant elle voit qe nëant iert,
o ses dous poinz granz cous se fiert,
fier duel demaine e fier martire,
ses cheveus trait e ront e tire.
bien resemble feme desvee:
tote enragiee, eschevelee,
e trestote fors de son sen
court pour son fil Asternaten.
des eux plore molt tendrement,
entre ses braz l'encharge e prent.
vint el palés atot arieres,
o il chauçoit ses genoillieres.
as piez li met e si li dit
'sire, por cest enfant petit
qe tu engendras de ta char
te pri nel tiegnes a eschar
ce qe je t'ai dit e nuncié.
aies de cest enfant pitié:
jamés des euz ne te verra.
s'ui assembles a ceux de la,
hui est ta mort, hui est ta fins.
de toi remandra orfenins.
cruëlz de cuer, lous enragiez,
par qoi ne vos en prent pitiez?
par qoi volez si tost morir?
par qoi volez si tost guerpir
et moi e li e vostre pere
e voz serors e vostre mere?
par qoi nos laisseroiz perir?
coment porrons sens vos gerir?
lasse, com male destinee!'
a icest not chaï pasmee
a cas desus le paviment.
celle l'en lieve isnelement
qi estrange duel en demeine:
c'est sa seroge, dame Heleine.
Other Romances on Classical subjects.
The poems of the Cycle of Antiquity have hitherto been less diligently studied and reprinted than those of the other two. Few of them, with the exception of Alixandre and Troie, are to be read even in fragments, save in manuscript. Le Roman d'Enéas, which is attributed to Benoist, is much shorter than the Roman de Troie, and, with some omissions, follows Virgil pretty closely. Like many other French poems, it was adapted in German by a Minnesinger, Heinrich von Veldeke. Le Roman de Thèbes, of which there is some chance of an edition, stands to Statius in the same relation as Enéas to Virgil. And Le Roman de Jules César paraphrases, though not directly, Lucan. To these must be added Athis et Prophilias (Porphyrias), or the Siege of Athens, a work which has been assigned to many authors, and the origin of which is not clear, though it enjoyed great popularity in the middle ages. The Protesilaus of Hugues de Rotelande is the only other poem of this series worth the mentioning.
Neither of these two classes of poems possesses the value of the Chansons as documents for social history. The picture of manners in them is much more artificial. But the Arthurian romances disclose partially and at intervals a state of society decidedly more advanced than that of the Chansons. The bourgeois, the country gentleman who is not of full baronial rank, and other novel personages appear.
Note to Third Edition.—Since the second edition was published M. Gaston Paris has sketched in Romania and summarised in his Manuel, but has not developed in book form, a view of the Arthurian romances different from his father's and from that given in the text. In this view the importance of 'Celtic' originals is much increased, and that of Geoffrey diminished, Walter Map disappears almost entirely to make room for divers unknown French trouvères, the order of composition is altered, and on the whole a lower estimate is formed of the literary value of the cycle. The 'Celtic' view has also been maintained in a book of much learning and value, Studies on the Legend of the Holy Grail (London, 1888), by Mr. Alfred Nutt. I have not attempted to incorporate or to combat these views in the text for two reasons, partly because they will most probably be superseded by others, and partly because the evidence does not seem to me sufficient to establish any of them certainly. But having given some years to comparative literary criticism in different languages and periods, I think I may be entitled to give a somewhat decided opinion against the 'Celtic' theory, and in favour of that which assigns the special characteristics of the Arthurian cycle and all but a very small part of its structure of incident to the literary imagination of the trouvères, French and English, of the twelfth century. And I may add that as a whole it seems to me quite the greatest literary creation of the Middle Ages, except the Divina Commedia, though of course it has the necessary inferiority of a collection by a great number of different hands to a work of individual genius.