Jauffred (or Geffrey) de Rudel is yet more famous, and his story will strikingly illustrate the manners of those times. Rudel was the favourite minstrel of Geffrey Plantagenet de Bretagne, the elder brother of our Richard Cœur de Lion, and like the royal Richard, a patron of music and poetry. During the residence of Rudel at the court of England, where he resided in great honour and splendour, caressed for his talents and loved for the gentleness of his manners, he heard continually the praises of a certain Countess of Tripoli; famed throughout Europe for her munificent hospitality to the poor Crusaders. The pilgrims and soldiers of the Cross, who were returning wayworn, sick and disabled, from the burning plains of Asia, were relieved and entertained by this devout and benevolent Countess; and they repaid her generosity, with all the enthusiasm of gratitude, by spreading her fame throughout Christendom.
These reports of her beauty and her beneficence, constantly repeated, fired the susceptible fancy of Rudel: without having seen her, he fell passionately in love with her, and unable to bear any longer the torments of absence, he undertook a pilgrimage to visit this unknown lady of his love, in company with Bertrand d'Allamanon, another celebrated Troubadour of those days. He quitted the English court in spite of the entreaties and expostulations of Prince Geffrey Plantagenet, and sailed for the Levant. But so it chanced, that falling grievously sick on the voyage, he lived only till his vessel reached the shores of Tripoli. The Countess being told that a celebrated poet had just arrived in her harbour, who was dying for her love, immediately hastened on board, and taking his hand, entreated him to live for her sake. Rudel, already speechless, and almost in the agonies of death, revived for a moment at this unexpected grace; he was just able to express, by a last effort, the excess of his gratitude and love, and expired in her arms: thereupon the Countess wept bitterly, and vowed herself to a life of penance for the loss she had caused to the world.[11] She commanded that the last song which Rudel had composed in her honour, should be transcribed in letters of gold, and carried it always in her bosom; and his remains were inclosed in a magnificent mausoleum of porphyry, with an Arabic inscription, commemorating his genius and his love for her.
It is in allusion to this well-known story, that Petrarch has introduced Rudel into the Trionfo d'Amore.
Gianfré Rudel ch' uso la vela e 'l remo,
A cercar la suo morte.
The song which the minstrel composed when he fell sick on this romantic expedition, and found his strength begin to fail, and which the Countess wore, folded within her vest, to the end of her life, is extant, and has been translated into most of the languages of Europe; of these translations, Sismondi's is the best, preserving the original and curious arrangement of the rhymes, as well as the piety, naïveté, and tenderness of the sentiment.
Irrité, dolent partirai
Si ne vois cet amour de loin,
Et ne sais quand je le verrai
Car sont par trop nos terres loin.
Dieu, qui toutes choses as fait
Et formas cet amour si loin,
Donne force à mon cœur, car ai
L'espoir de voir m'amour au loin.
Ah, Seigneur, tenez pour bien vrai
L'amour qu'ai pour elle de loin.
Car pour un bien que j'en aurai
J'ai mille maux, tant je suis loin.
Ja d'autr'amour ne jouirai
Sinon de cet amour de loin—
Qu'une plus belle je n'en sçais
En lieu qui soit ni près ni loin!
Mrs. Piozzi and others have paraphrased this little song, but in a spirit so different from the antique simplicity of the original, that I shall venture to give a version, which has at least the merit of being as faithful as the different idioms of the two languages will allow; I am afraid, however, that it will not appear worthy of the honour which the Countess conferred on it.
"Grieved and troubled shall I die,
If I meet not my love afar;
Alas! I know not that I e'er
Shall see her—for she dwells afar.
O God! that didst all things create,
And formed my sweet love now afar;
Strengthen my heart, that I may hope
To behold her face, who is afar.
O Lord! believe how very true
Is my love for her, alas! afar,
Tho' for each joy a thousand pains
I bear, because I am so far.
Another love I'll never have,
Save only she who is afar,
For fairer one I never knew
In places near, nor yet afar."
Bertrand d'Allamanon, whom I have mentioned as the companion of Rudel on his romantic expedition, has left us a little ballad, remarkable for the extreme refinement of the sentiment, which is quite à la Petrarque: he gives it the fantastic title of a demi chanson, for a very fantastic reason: it is thus translated in Millot. (vol. i. 390).
"On veut savoir pourquoi je fais une demi chanson? c'est parceque je n'ai qu'un demi sujet de chanter. Il n'y a d'amour que de ma part; la dame que j'aime ne veut pas m'aimer! mais au défaut des oui qu'elle me refuse, je prendrai les non qu'elle me prodigue:—espérer auprès d'elle vaut mieux que jouir avec tout autre!"