Aucassin and Nicolete Part 1

Auca.s.sin and Nicolete.

by Andrew Lang.

INTRODUCTION

There is nothing in artistic poetry quite akin to "Auca.s.sin and Nicolete."

By a rare piece of good fortune the one ma.n.u.script of the Song-Story has escaped those waves of time, which have wrecked the bark of Menander, and left of Sappho but a few floating fragments. The very form of the tale is peculiar; we have nothing else from the twelfth or thirteenth century in the alternate prose and verse of the _cante-fable_. {1} We have fabliaux in verse, and prose Arthurian romances. We have _Chansons de Geste_, heroic poems like "Roland," unrhymed a.s.sonant _laisses_, but we have not the alternations of prose with _laisses_ in seven-syllabled lines. It cannot be certainly known whether the form of "Auca.s.sin and Nicolete" was a familiar form--used by many _jogleors_, or wandering minstrels and story-tellers such as Nicolete, in the tale, feigned herself to be,--or whether this is a solitary experiment by "the old captive" its author, a contemporary, as M. Gaston Paris thinks him, of Louis VII (1130). He was original enough to have invented, or adopted from popular tradition, a form for himself; his originality declares itself everywhere in his one surviving masterpiece. True, he uses certain traditional formulae, that have survived in his time, as they survived in Homer's, from the manner of purely popular poetry, of _Volkslieder_. Thus he repeats s.n.a.t.c.hes of conversation always in the same, or very nearly the same words. He has a stereotyped form, like Homer, for saying that one person addressed another, "ains traist au visconte de la vile si l'apela" [Greek text] . . . Like Homer, and like popular song, he deals in recurrent epithets, and changeless courtesies.

To Auca.s.sin the hideous plough-man is "Biax frere," "fair brother," just as the treacherous Aegisthus is [Greek text] in Homer; these are complimentary terms, with no moral sense in particular. The _jogleor_ is not more curious than Homer, or than the poets of the old ballads, about giving novel descriptions of his characters. As Homer's ladies are "fair- tressed," so Nicolete and Auca.s.sin have, each of them, close yellow curls, eyes of vair (whatever that may mean), and red lips. War cannot be mentioned except as war "where knights do smite and are smitten," and so forth. The author is absolutely conventional in such matters, according to the convention of his age and profession.

Nor is his matter more original. He tells a story of thwarted and finally fortunate love, and his hero is "a Christened knight"--like Tamlane,--his heroine a Paynim lady. To be sure, Nicolete was baptized before the tale begins, and it is she who is a captive among Christians, not her lover, as usual, who is a captive among Saracens. The author has reversed the common arrangement, and he appears to have cared little more than his reckless hero, about creeds and differences of faith. He is not much interested in the recognition of Nicolete by her great Paynim kindred, nor indeed in any of the "business" of the narrative, the fighting, the storms and tempests, and the burlesque of the kingdom of Torelore.

What the nameless author does care for, is his telling of the love-story, the pa.s.sion of Auca.s.sin and Nicolete. His originality lies in his charming medley of sentiment and humour, of a smiling compa.s.sion and sympathy with a touch of mocking mirth. The love of Auca.s.sin and Nicolete--

"Des grans paines qu'il soufri,"

that is the one thing serious to him in the whole matter, and that is not so very serious. {2} The story-teller is no Mimnermus, Love and Youth are the best things he knew,--"deport du viel caitif,"--and now he has "come to forty years," and now they are with him no longer. But he does not lament like Mimnermus, like Alcman, like Llwyarch Hen. "What is Life, what is delight without golden Aphrodite? May I die!" says Mimnermus, "when I am no more conversant with these, with secret love, and gracious gifts, and the bed of desire." And Alcman, when his limbs waver beneath him, is only saddened by the faces and voices of girls, and would change his lot for the sea-birds. {3}

"Maidens with voices like honey for sweetness that breathe desire, Would that I were a sea-bird with limbs that never could tire, Over the foam-flowers flying with halcyons ever on wing, Keeping a careless heart, a sea-blue bird of the spring."

But our old captive, having said farewell to love, has yet a kindly smiling interest in its fever and folly. Nothing better has he met, even now that he knows "a lad is an a.s.s." He tells a love story, a story of love overmastering, without conscience or care of aught but the beloved.

And the _viel caitif_ tells it with sympathy, and with a smile. "Oh folly of fondness," he seems to cry, "oh merry days of desolation"

"When I was young as you are young, When lutes were touched and songs were sung, And love lamps in the windows hung."

It is the very tone of Thackeray, when Thackeray is tender, and the world heard it first from this elderly, nameless minstrel, strolling with his viol and his singing boys, perhaps, like a blameless d'a.s.soucy, from castle to castle in "the happy poplar land." One seems to see him and hear him in the twilight, in the court of some chateau of Picardy, while the ladies on silken cus.h.i.+ons sit around him listening, and their lovers, fettered with silver chains, lie at their feet. They listen, and look, and do not think of the minstrel with his grey head and his green heart, but we think of him. It is an old man's work, and a weary man's work.

You can easily tell the places where he has lingered, and been pleased as he wrote. They are marked, like the bower Nicolete built, with flowers and broken branches wet with dew. Such a pa.s.sage is the description of Nicolete at her window, in the strangely painted chamber,

"ki faite est par grant devisse panturee a miramie."

Thence

"she saw the roses blow, Heard the birds sing loud and low."

Again, the minstrel speaks out what many must have thought, in those incredulous ages of Faith, about Heaven and h.e.l.l, h.e.l.l where the gallant company makes up for everything. When he comes to a battle-piece he makes Auca.s.sin "mightily and knightly hurl through the press," like one of Malory's men. His hero must be a man of his hands, no mere sighing youth incapable of arms. But the minstrels heart is in other things, for example, in the verses where Auca.s.sin transfers to Beauty the wonder-working powers of Holiness, and makes the sight of his lady heal the palmer, as the shadow of the Apostle, falling on the sick people, healed them by the Gate Beautiful. The Flight of Nicolete is a familiar and beautiful picture, the daisy flowers look black in the ivory moonlight against her feet, fair as Bombyca's "feet of carven ivory" in the Sicilian idyll, long ago. {4} It is characteristic of the poet that the two lovers begin to wrangle about which loves best, in the very mouth of danger, while Auca.s.sin is yet in prison, and the patrol go down the moonlit street, with swords in their hands, sworn to slay Nicolete. That is the place and time chosen for this ancient controversy. Auca.s.sin's threat that if he loses Nicolete he will not wait for sword or knife, but will dash his head against a wall, is in the very temper of the prisoned warrior-poet, who actually chose this way of death. Then the night scene, with its fantasy, and shadow, and moonlight on flowers and street, yields to a picture of the day, with the birds singing, and the shepherds laughing, in the green links between wood and water. There the shepherds take Nicolete for a fairy, so bright a beauty s.h.i.+nes about her. Their mockery, their independence, may make us consider again our ideas of early Feudalism. Probably they were in the service of townsmen, whose good town treated the Count as no more than an equal of its corporate dignity. The bower of branches built by Nicolete is certainly one of the places where the minstrel himself has rested and been pleased with his work. One can feel it still, the cool of that clear summer night, the sweet smell of broken boughs, and trodden gra.s.s, and deep dew, and the s.h.i.+ning of the star that Auca.s.sin deemed was the translated spirit of his lady. Romance has touched the book here with her magic, as she has touched the lines where we read how Consuelo came by moonlight to the Canon's garden and the white flowers. The pleasure here is the keener for contrast with the luckless hind whom Auca.s.sin encountered in the forest: the man who had lost his master's ox, the ungainly man who wept, because his mother's bed had been taken from under her to pay his debt.

This man was in that estate which Achilles, in Hades, preferred above the kings.h.i.+p of the dead outworn. He was hind and hireling to a villein,

[Greek text]

It is an unexpected touch of pity for the people, and for other than love- sorrows, in a poem intended for the great and courtly people of chivalry.

At last the lovers meet, in the lodge of flowers beneath the stars. Here the story should end, though one could ill spare the pretty lecture the girl reads her lover as they ride at adventure, and the picture of Nicolete, with her brown stain, and jogleor's attire, and her viol, playing before Auca.s.sin in his own castle of Biaucaire. The burlesque interlude of the country of Torelore is like a page out of Rabelais, st.i.tched into the _cante-fable_ by mistake. At such lands as Torelore Pantagruel and Panurge touched many a time in their vague voyaging.

n.o.body, perhaps, can care very much about Nicolete's adventures in Carthage, and her recognition by her Paynim kindred. If the old captive had been a prisoner among the Saracens, he was too indolent or incurious to make use of his knowledge. He hurries on to his journey's end;

"Journeys end in lovers meeting."

So he finishes the tale. What lives in it, what makes it live, is the touch of poetry, of tender heart, of humorous resignation. The old captive says the story will gladden sad men:-

"Nus hom n'est si esbahis, tant dolans ni entrepris, de grant mal amaladis, se il l'oit, ne soit garis, et de joie resbaudis, tant par est douce."

This service it did for M. Bida, the painter, as he tells us when he translated Auca.s.sin in 1870. In dark and darkening days, _patriai tempore iniquo_, we too have turned to _Auca.s.sin et Nicolete_. {5}

BALLADE OF AUCa.s.sIN

Where smooth the Southern waters run Through rustling leagues of poplars gray, Beneath a veiled soft Southern sun, We wandered out of Yesterday; Went Maying in that ancient May Whose fallen flowers are fragrant yet, And lingered by the fountain spray With Auca.s.sin and Nicolete.

The gra.s.sgrown paths are trod of none Where through the woods they went astray; The spider's traceries are spun Across the darkling forest way; There come no Knights that ride to slay, No Pilgrims through the gra.s.ses wet, No shepherd lads that sang their say With Auca.s.sin and Nicolete.

'Twas here by Nicolete begun Her lodge of boughs and blossoms gay; 'Scaped from the cell of marble dun 'Twas here the lover found the Fay; O lovers fond, O foolish play!

How hard we find it to forget, Who fain would dwell with them as they, With Auca.s.sin and Nicolete.

ENVOY.

Prince, 'tis a melancholy lay!

For Youth, for Life we both regret: How fair they seem; how far away, With Auca.s.sin and Nicolete.

A. L.

BALLADE OF NICOLETE

All bathed in pearl and amber light She rose to fling the lattice wide, And leaned into the fragrant night, Where brown birds sang of summertide; ('Twas Love's own voice that called and cried) "Ah, Sweet!" she said, "I'll seek thee yet, Though th.o.r.n.i.e.s.t pathways should betide The fair white feet of Nicolete."

They slept, who would have stayed her flight; (Full fain were they the maid had died!) She dropped adown her prison's height On strands of linen featly tied.

And so she pa.s.sed the garden-side With loose-leaved roses sweetly set, And dainty daisies, dark beside The fair white feet of Nicolete!

Her lover lay in evil plight (So many lovers yet abide!) I would my tongue could praise aright Her name, that should be glorified.

Those lovers now, whom foes divide A little weep,--and soon forget.

How far from these faint lovers glide The fair white feet of Nicolete.

ENVOY.

My Princess, doff thy frozen pride, Nor scorn to pay Love's golden debt, Through his dim woodland take for guide The fair white feet of Nicolete.

GRAHAM R. TOMSON

THE SONG-STORY OF AUCa.s.sIN AND NICOLETE