Among a thousand thing(e)s mo[1]
A roser [2] charged full of roses,
That with an hedge about enclosed is.
Tho[3] had I such lust[4] and envy,
That for Paris nor for Pavie,
Nolde[5]I have left to go at see
There greatest heap of roses be.
When I was with this rage hent[6]
That caught hath many a man and shent[7]
Toward the roser I gan go.
And when I was not far therefro,[8]
The savor of the roses sweet
Me smote right to the heart(e) root
As I had all embalmed be.
And if I had ne[9] endoubted[10] me
To have been hated or assailed,
Me thank(e)s[11] would I not been failed
To pull a rose of all that rout,[12]
To bear(en) in my hand about
And smell(en) to it where I went;
But ever I dreaded me to repent,
And lest it grieved or forthought[13]
The lord that thilke[14] garden wrought,
Of roses there were great(e) wone,[15]
So fair(e) waxe [16] never in Rone.[17]
Of knop(e)s[18] close,[19] some saw I there
And some well better waxen[20] were,
And some there be of other moison[21]
That drew(e) nigh to their season,
And sped 'em fast(e) for to spread;
I love well such roses red;
For broad[22] roses, and open also,
Be passed in a day or two;
But knop(e)s[18] will(e) fresh(e) be
Two day(e)s at the least, or three,
The knop(e)s greatly liked[23]me,
For fairer may there no man see
Whoso might have one of all
It aught him be full lief[24]withall.
Might I one garland of 'em get
For no riches I would it let.[25]
Among the knop(e)s I chose one
So fair, that of the remnant none
Ne prize I half so well as it,
When I avise[26] it is my wit.
In it so well was enlumined
With color red, as well y-fined[27]
As nature couthe[28]it make fair.
And it had leaves well four pair,
That Kynde[29] hath set through his knowing
About the red roses springing.
The stalk(e) was as rush(e) right
And thereon stood the knop upright,
That it ne bowed upon no side,
The sweet(e) smell(e) sprang so wide
That it did[30] all the place about.
When I had smelled the savor sweet
No will had I from thence yet go
But somedeal[31] nearer it went I tho[32]
To take it: but mine hand for dread
Ne durst I to the rose bede[33]
For thistles sharp of many manners,
Nettles, thornes, and hooked briers;
For mickle they disturbed me,
For sore I dreaded to harmed be.
[1] More. [2] Rose-bush. [3] Then. [4] Desire. [5] Would not. [6]
Seized. [7] Ruined. [8] There from. [9] Not. [10] Feared. [11]
Willingly. [12] Company. [13] Caused to repent. [14] That. [15]
Quantity. [16] Waxed, grew. [17] Provence. [18] Buds. [19]
Closed. [20] Much better grown. [21] Harvest. [22] Blown. [23]
Pleased. [24] Pleasing. [25] Let go. [26] Consider.[27] Polished.
[28] Knew how. [29] Nature. [30] Filled. [31] Somewhat. [32]
Then. [33] Offer.
CHAPTER II. SPANISH LITERATURE.
The golden age of Spanish literature embraces the sixteenth and seventeenth centuries; but the twelfth and thirteenth centuries were, in Spain as in other European countries, a period of special literary activity. The impulses at work were the same as those to be noted in contemporary France, England, and Germany, and the work produced of the same general types. The chief phases of Spanish mediaeval literature are these:
1. Epic and heroic poetry. Here, as elsewhere, heroic ballads grew up about the national heroes. These were gradually fused into long epic poems by the wandering minstrels. The best of these Chansons de Geste are (1) "The Poem of the Cid", (2) "Rhymed Chronicle of the Cid". Both of them belong probably to the twelfth century.
2. Romances. Many romances, or short semi-epic poems, grew up about the Cid. Of others, some were of the Carlovingian cycle, the most famous being that concerning Bernardo del Carpio, the traditional rival and conqueror of Roland. Some were devoted to the Arthurian legend. This latter cycle of stories was immensely popular in Spain, though rather in translation and imitation than in original works. In the fourteenth century these older romances were technically called "books of chivalry" and their popularity and influence was widespread.
3. Lyric poetry. There seems to have been no special development of lyric poetry early in Spain, such as is found in France. The earliest noteworthy lyric poet is Juan Ruiz (1300-1350).
4. Didactic literature. As early as the first half of the thirteenth century, we have in Spain a strong didactic literature. Gonzalo de Berceo (d. 1268) wrote many lives of the saints, miracles, hymns to the Virgin, and other devotional pieces. But the impulse to allegorizing does not seem to come to Spain till much later.
5. Fables and tales. Though a little later in being developed in Spain than in France, the same delight was taken in fables and short tales. About the middle of the fourteenth century, Juan Manul (d. 1349) made, in his "El Conde Lucanor", a large collection of these tales.
6. Chronicles. Spain had early an excellent school of chroniclers. An example of their work is The General Chronicle of Spain, compiled under Alphonso the Wise (d. 1284).