Raises in front of some hoar glacier,
Painting the bleak ice with a thousand hues.
Old Play.
Leaving the Earl of Oxford in attendance on the stubborn Duke of Burgundy during an expedition which the one represented as a brief excursion, more resembling a hunting-party than a campaign, and which the other considered in a much graver and more perilous light, we return to Arthur de Vere, or the younger Philipson, as he continued to be called, who was conducted by his guide with fidelity and success, but certainly very slowly, upon his journey into Provence.
The state of Lorraine, overrun by the Duke of Burgundy's army, and infested at the same time by different scattered bands, who took the field, or held out the castles, as they alleged, for the interest of Count Ferrand de Vaudemont, rendered journeying so dangerous, that it was often necessary to leave the main road, and to take circuitous tracks, in order to avoid such unfriendly encounters as travellers might otherwise have met with.
Arthur, taught by sad experience to distrust strange guides, found himself, nevertheless, in this eventful and perilous journey, disposed to rest considerable confidence in his present conductor, Thiebault, a Provençal by birth, intimately acquainted with the roads which they took, and, as far as he could judge, disposed to discharge his office with fidelity. Prudence alike, and the habits which he had acquired in travelling, as well as the character of a merchant which he still sustained, induced him to wave the morgue, or haughty superiority of a knight and noble towards an inferior personage, especially as he rightly conjectured that free intercourse with this man, whose acquirements seemed of a superior cast, was likely to render him a judge of his opinions and disposition towards him. In return for his condescension, he obtained a good deal of information concerning the province which he was approaching.
As they drew near the boundaries of Provence, the communications of Thiebault became more fluent and interesting. He could not only tell the name and history of each romantic castle which they passed, in their devious and doubtful route, but had at his command the chivalrous history of the noble knights and barons to whom they now pertained, or had belonged in earlier days, and could recount their exploits against the Saracens, by repelling their attacks upon Christendom, or their efforts to recover the Holy Sepulchre from Pagan hands. In the course of such narrations, Thiebault was led to speak of the Troubadours, a race of native poets of Provençal origin, differing widely from the minstrels of Normandy, and the adjacent provinces of France, with whose tales of chivalry, as well as the numerous translations of their works into Norman-French and English, Arthur, like most of the noble youth of his country, was intimately acquainted and deeply imbued. Thiebault boasted that his grandsire, of humble birth indeed, but of distinguished talent, was one of this gifted race, whose compositions produced so great an effect on the temper and manners of their age and country. It was, however, to be regretted that, inculcating as the prime duty of life a fantastic spirit of gallantry, which sometimes crossed the Platonic bound prescribed to it, the poetry of the Troubadours was too frequently used to soften and seduce the heart, and corrupt the principles.[8]
Arthur's attention was called to this peculiarity by Thiebault singing, which he could do with good skill, the history of a Troubadour, named William Cabestainy, who loved, par amours, a noble and beautiful lady, Margaret, the wife of a baron called Raymond de Roussillon. The jealous husband obtained proof of his dishonour, and, having put Cabestainy to death by assassination, he took his heart from his bosom, and causing it to be dressed like that of an animal, ordered it to be served up to his lady; and when she had eaten of the horrible mess, told her of what her banquet was composed. The lady replied, that since she had been made to partake of food so precious, no coarser morsel should ever after cross her lips. She persisted in her resolution, and thus starved herself to death. The Troubadour who celebrated this tragic history had displayed in his composition a good deal of poetic art. Glossing over the error of the lovers as the fault of their destiny, dwelling on their tragical fate with considerable pathos, and, finally, execrating the blind fury of the husband, with the full fervour of poetical indignation, he recorded, with vindictive pleasure, how every bold knight and true lover in the south of France assembled to besiege the baron's castle, stormed it by main force, left not one stone upon another, and put the tyrant himself to an ignominious death. Arthur was interested in the melancholy tale, which even beguiled him of a few tears; but as he thought further on its purport, he dried his eyes, and said, with some sternness,—"Thiebault, sing me no more such lays. I have heard my father say that the readiest mode to corrupt a Christian man is to bestow upon vice the pity and the praise which are due only to virtue. Your Baron of Roussillon is a monster of cruelty; but your unfortunate lovers were not the less guilty. It is by giving fair names to foul actions that those who would start at real vice are led to practise its lessons, under the disguise of virtue."
"I would you knew, Seignor," answered Thiebault, "that this Lay of Cabestainy and the Lady Margaret of Roussillon is reckoned a masterpiece of the joyous science. Fie, sir, you are too young to be so strict a censor of morals. What will you do when your head is grey, if you are thus severe when it is scarcely brown?"
"A head which listens to folly in youth will hardly be honourable in old age," answered Arthur.