A History of French Literature / Short Histories of the Literatures of the World: II.

poems, partly narrative, partly lyrical, celebrate victories or defeats, the achievements of conquerors or defenders, and are sung to relieve or to sustain the

an echo of the Dagobert songs is found in Floovent, a poem of the twelfth century; eight Latin lines, given in the Vie de Saint Faron by Helgaire, Bishop of Meaux, preserve, in their ninth-century rendering, a fragment of the songs which celebrated Clotaire II. Doubtl

pic episode of Carlovingian war, probably derived from a chanson de geste of the preceding century. In each chanson the gesta,1 the deeds or achievements of a heroic person, are glorified, and large as may be the element of invention in these poems, a certain historical basis or historical germ may be found, with few exceptions, in each. Roland was an actual person, and a battle was fought at Roncevaux in 778. William of Orange actually encountered the Saracens at Villedaigne in 793. Renaud de Montauban lived and fought, not indeed against Charlemagne, but against Charles Martel. Ogier, Girard de Roussillon, Raoul de Cambrai, were not mere creatures of the fancy. Even when the narrative records no historical series of

ds, (2) their history,

Guenonis. These, however, do not detract from the originality of the noble work in our possession, some of the most striking episodes of which are not elsewhere found. The oldest manuscript is at Oxford, and the last line has been supposed to give the author's name-Touroude (Latinised "Turoldus")-but this may have been the name of

ke Naime, the Nestor of this Iliad; Archbishop Turpin, the warrior prelate; Oger the Dane; the traitor Ganelon. And overhead is God, who will send his angels to bear heavenwards the soul of the gallant Roland. The idea of the poem is at once national and religious-the struggle between France, as champion of Christendom, and the enemies of France and of God. Its spirit is that of the feudal aristocracy of the eleventh century. The characters are in some degree representative of general types, but that of Roland is clearly individualised; the excess of soldierly pride which will not permit him, until too late, to sound his horn and recall Charlemagne to his aid, is a glorious fault. When all his comrades have fallen, he still continues the strife; and when he dies, it is with his face to the retreating foe. His fall is not unavenged on the Saracens and on the traitor. The poem is written in decas

l-rhyme, without an ag

nted syllable. In the decasyllabic line the cesura generally

tain poems or groups of poems may be distinguished as gestes of the provinces, including the Geste des Lorrains, that of the North (Raoul de Cambrai), that of Burgundy, and others.4 Among these may be placed the beautiful tale of Amis et Amiles, a glorification of friendship between man and man, which endures all trials and self-sacrifices. Other poems, again, are unconnected with any of these cycles; and, indeed, the cyclic division is more a convenience of classification than a fact in the spontaneous developme

ibed, is wholly lost. The development of lyric poetry in

me traditional formul?, hardly appears. The passion for the marvellous is everywhere present: St. Maurice, St. George, and a shining company, mounted on white steeds, will of a sudden bear down the hordes of the infidel; an angel stands glorious behind the throne of Charlemagne; or in narrative of Celtic origin angels may be mingled with fays. God, the great suzerain, to whom even kings owe homage, rules over all; Jesus and Mary are watchful of the soldiers of the cross; Paradise receives the souls of the faithful. As for earth, there is no land so gay or so dear as la douce France. The Emperor is above all the servant and protect

. Italy made the tales of Roland, Ogier, Renaud, her own. Meanwhile the national epopee declined in France; a breath of scepticism touched and withered the leafage and blossom of imagination; it even became possible to parody-as in Audigier-the heroic manner. The employment of rhyme in place of assonance, and of the alexandrine in place of the d