The Thirteenth Part 17

While the existence of libraries of various kinds, and even circulating libraries, in the Thirteenth Century may seem definitely settled, it will appear to most people that to speak of book collecting at this time must be out of place. That fad is usually presumed to be of much later origin and indeed to be comparatively recent in its manifestations. We have said enough already, however, of the various collections of books in libraries especially in France to show that the book collector was abroad, but there is much more direct evidence of this available from an English writer. Richard de Bury's Philobiblon is very well known to all who are interested in books for their own sake, but few people realize that this book practically had its origin in the Thirteenth Century. The writer was born about the beginning of the last quarter of that century, had completed his education before its close, and it is only reasonable to attribute to the formative influences at work in his intellectual development as a young man, the germs of thought from which were to come in later life the interesting book on bibliophily, the first of its kind, which was to be a treasure for book-lovers ever afterwards.

Philobiblon tells us, among other things, of Richard's visits to the continent on an Emba.s.sy to the Holy See and on subsequent occasions to the Court of France, and the delight which he experienced in handling many books which he had never seen before, in buying such of them as his purse would allow, or his enthusiasm could tempt from their owners and in conversing with those who could tell him about books and their contents. Such men were the chosen comrades of his journeys, sat with him at table, as Mr. Henry Morley tells us in his English Writers (volume IV, page 51), and were in almost constant fellows.h.i.+p with him.

It was at Paris particularly that Richard's heart was satisfied for a time because of the great treasures he found in the magnificent libraries of that city. He was interested, of course, in the University and the opportunity for intellectual employment afforded by Academic proceedings, but above all he found delight in books, which monks and monarchs and professors and churchmen of all kinds and scholars {158} and students had gathered into this great intellectual capital of Europe at that time. Anyone who thinks the books were not valued quite as highly in the Thirteenth Century as at the present time should read the Philobiblon. He is apt to rise from the reading of it with the thought that it is the modern generations who do not properly appreciate books.

One of the early chapters of Philobiblon argues that books ought always to be bought whatever they cost, provided there are means to pay for them, except in two cases, "when they are knavishly overcharged, or when a better time for buying is expected." "That sun of men, Solomon," Richard says, "bids us buy books readily and sell them unwillingly, for one of his proverbs runs, 'Buy the truth and sell it not, also wisdom and instruction and understanding.'" Richard in his own quaint way thought that most other interests in life were only temptations to-draw men away from books. In one famous paragraph he has naively personified books as complaining with regard to the lack of attention men now display for them and the unworthy objects, in Richard's eyes at least, upon which they fasten their affections instead, and which take them away from the only great life interest that is really worth while--books.

"Yet," complain books, "in these evil times we are cast out of our place in the inner chamber, turned out of doors, and our place taken by dogs, birds, and the two-legged beast called woman. But that beast has always been our rival, and when she spies us in a corner, with no better protection than the web of a dead spider, she drags us out with a frown and violent speech, laughing us to scorn as useless, and soon counsels us to be changed into costly head-gear, fine linen, silk and scarlet double dyed, dresses and divers tr.i.m.m.i.n.gs, linens and woolens.

And so," complain the books still, "we are turned out of our homes, our coats are torn from our backs, our backs and sides ache, we lie about disabled, our natural whiteness turns to yellow--without doubt we have the jaundice. Some of us are gouty, witness our twisted extremities. Our bellies are griped and wrenched and are consumed by worms; on each side the dirt cleaves to us, n.o.body binds up our wounds, we lie ragged and weep in dark corners, or meet with Job upon a dunghill, or, as seems hardly fit to be said, we are hidden in abysses of the {159} sewers. We are sold also like slaves, and lie as unredeemed pledges in taverns. We are thrust into cruel b.u.t.teries, to be cut up like sheep and cattle; committed to Jews, Saracens, heretics and Pagans, whom we always dread as the plague, and by whom some of our forefathers are known to have been poisoned."

Richard De Bury must not be thought to have been some mere wandering scholar of the beginning of the Fourteenth Century, however, for he was, perhaps, the most important historical personage, not even excepting royalty or n.o.bility, of this era and one of the striking examples of how high a mere scholar might rise in this period quite apart from any achievement in arms, though this is usually supposed to be almost the only basis of distinguished reputation and the reason for advancement at this time. While he was only the son of a Norman knight, Aungervyle by name, born at Bury St. Edmund's, he became the steward of the palace and treasurer of the royal wardrobe, then Lord Treasurer of England and finally Lord Keeper of the Privy Seal. While on a mission to the Pope he so commended himself to the Holy See that it was resolved to make him the next English bishop. Accordingly he was made Bishop of Durham shortly after and on the occasion of his installation there was a great banquet at which the young King and Queen, the Queen Mother Isabelle, the King of Scotland, two Archbishops, five bishops, and most of the great English lords were present. At this time the Scots and the English were actually engaged in war with one another and a special truce was declared, in order to allow them to join in the celebration of the consecration of so distinguished an individual to the See of Durham near the frontier.

Before he was consecrated Bishop, Richard De Bury had been for some time the treasurer of the kingdom. Before the end of the year in which he was consecrated he became Lord Chancellor, at a time when the affairs of the kingdom needed a master hand and when the French and the Scots were seriously disturbing English peace and prosperity. He resigned his office of Chancellor, as Henry Morley states, only to go abroad in the royal service as amba.s.sador that he might exercise his own trusted sagacity in carrying out the peaceful policy he had {160} advised. During this diplomatic mission to the continent he visited the courts of Paris, of Flanders, of Hainault and of Germany. He succeeded in making terms of peace between the English king and the Counts of Hainault and Namur, the Marquis of Juliers and the Dukes of Brabant and Guelders. This would seem to indicate that he must be considered as one of the most prominent men of Europe at this time.

His att.i.tude toward books is then all the more noteworthy. Many people were surprised that a great statesman like Gladstone in the Nineteenth Century, should have been interested in so many phases of thought and of literature and should himself have been able to find the time to contribute important works to English letters. Richard De Bury was at least as important a man in his time as Gladstone in ours, and occupied himself as much with books as the great English commoner.

This is what will be the greatest source of surprise to those who in our time have been accustomed to think, that the great scholars deeply interested in books who were yet men of practical worth in helping their generation in its great problems, are limited to modern times and are least of all likely to be found in the heart of the Middle Ages. In spite of his occupations as a politician and a bookman, Richard De Bury was noted for his faithfulness in the fulfilment of his duties as a churchman and a bishop. It is worthy of note that many of the important clergymen of England, who were to find the highest church preferment afterwards, were among the members of his household at various times and that the post of secretary to the bishop, particularly, was filled at various times by some of the best scholars of the period, men who were devoted friends to the bishop, who dedicated their works to him and generally added to the reputation that stamped him as the greatest scholar of England and one of the leading lights of European culture of his time.

This is not so surprising when we realize that to be a member of Richard's household was to have access to the best library in England, and that many scholars were naturally ambitious to have such an opportunity, and as the results showed many took advantage of it.

Among Richard of Durham's chaplains were Thomas Bradwardine who afterwards became Archbishop of Canterbury, Richard Fitzraufe, subsequently Archbishop of {161} Armagh, Walter Seagrave, afterwards Bishop of Chichester, and Richard Bentworth, who afterwards became Bishop of London Among the distinguished scholars who occupied the post were Robert Holcot, John Manduit, the astronomer of the Fourteenth Century, Richard Kilmington, a distinguished English theologian, and Walter Burley, a great commentator on Aristotle, who dedicated to the bishop, who had provided him with so many opportunities for study, his Commentaries upon the Politics and Ethics of the ancient Greek philosopher.

That Richard's love for books and the time he had necessarily devoted to politics did not dry up the fountains of charity in his heart, nor cause him to neglect his important duties as the pastor of the people and especially of the poor, we know very well from certain traditions with regard to his charitable donations. According to a standing rule in his household eight quarters of wheat were regularly every week made into bread and given to the poor. In his alms giving Richard was as careful and as discriminating as in his collection of books, and he used a number of the regularly organized channels in his diocese to make sure that his bounty should be really helpful and should not encourage lack of thrift. This is a feature of charitable work that is supposed to be modern, but the personal service of the charitably inclined in the Thirteenth Century, far surpa.s.sed in securing this even the elaborate organization of charity in modern times. Whenever the bishop traveled generous alms were distributed to the poor people along the way. Whenever he made the journey between Durham and New Castle eight pounds sterling were set aside for this purpose; five pounds for each journey between Durham and Stockton or Middleham, and five marks between Durham and Auckland. Money had at that time at least ten times the purchasing power which it has at present, so that it will be easy to appreciate the good bishop's eminent liberality.

That Richard was justified in his admiration of the books of the time we know from those that remain, for it must not be thought for a moment that because the making of books was such a time-taking task in the Thirteenth Century, they were not therefore made beautiful. On the contrary, as we shall see {162} shortly, no more beautiful books have ever been made than at this time. This of itself would show how precious in the eyes of the collectors of the time their books were, since they wanted to have them so beautifully made and were satisfied to pay the high prices that had to be demanded for such works of art.

Very few books of any size cost less than the equivalent of $100 in our time and illuminated books cost much higher than this, yet seem never to have been a drug on the market. Indeed, considering the number of them that are still in existence to this day, in spite of the accidents of fire, and water, and war, and neglect, and carelessness, and ignorance, there must have been an immense number of very handsome books made by the generations of the Thirteenth Century.

While illumination was not an invention of the Thirteenth Century, as indeed were very few of the great art features of the century, during this time book decoration was carried to great perfection and reached that development which artists of the next century were to improve on in certain extrinsic features, though the intrinsic qualities were to remain those which had been determined as the essential characteristics of this branch of art in the earlier time. The Thirteenth Century, for instance, saw the introduction of the miniature as a princ.i.p.al feature and also the drawing out of initials in such a way as to make an illuminated border for the whole side of the page. After the development thus given to the art in the Thirteenth Century further evolution could only come in certain less important details. In this the Thirteenth Century generations were accomplis.h.i.+ng what they had done in practically everything else that they touched, laying foundations broad and deep and giving the superstructure the commanding form which future generations were only able to modify to slight degree and not always with absolute good grace.

Humphreys in his magnificent volume on The Illuminated Books of the Middle Ages, which according to its t.i.tle contains an account of the development and progress of the art of illumination as a distinct branch of pictorial ornamentation from the Fourth to the Seventeenth centuries, [Footnote 17] has some very striking words of praise for Thirteenth Century illuminations and the artists who made them. He says:

[Footnote 17: The Illuminated Books of the Middle Ages, by Henry Noel Humphreys Longman. Green, Brown and Longmans, London, 1848.]

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"Different epochs of the art of illumination present widely different and distinct styles; the most showy and the best known, though the least pure and inventive in design, being that of the middle and end of the Fifteenth Century; whilst the period perhaps the least generally known, that of the Thirteenth Century, may be considered as the most interesting and original, many of the best works of that period displaying an astonis.h.i.+ng variety and profusion of invention. The ma.n.u.script, of which two pages form the opposite plate, may be ranked among the most elaborate and profusely ornamented of the fine books of that era; every page being sufficient to make the fortune of the modern decorator by the quaint and unexpected novelties of inventions which it displays at every turn of its intricate design."

The illuminations of the century then are worthy of the time and also typical of the general work of the century. It is known by experts for its originality and for the wealth of invention displayed in the designs. Men did not fear that they might exhaust their inventive faculty, nor display their originality sparingly, in order that they might have enough to complete other work. As the workmen of the Cathedrals, the artist illuminators devoted their very best efforts to each piece of work that came to their hands, and the results are masterpieces of art in this as in every other department of the period. The details are beautifully wrought, showing the power of the artist to accomplish such a work and yet his designs are never overloaded, at least in the best examples of the century, with details of ornamentation that obscure and minimize the effect of the original design. This fault was to be the error of his most sophisticated successors two centuries later.

Nor must it be thought the high opinion of the century is derived from the fact that only a very few examples of its illumination and bookmaking are now extant, and that these being the chosen specimens give the illumination of the century a higher place than it might otherwise have. Many examples {164} have been preserved and some of them are the most beautiful books that were made. Paris was particularly the home of this form of art in the Thirteenth Century, and indeed the school established there influenced all the modes of illumination everywhere, so much so that Dante speaks of the art with the epithet "Parisian," as if it were exclusively done there. The incentive to the development of this form of art came from St. Louis who, as we have said, was very much interested in books. His taste as exhibited in La Sainte Chapelle was such as to demand artistic excellence of high grade in this department of art, which has many more relations with the architecture of the period, and especially with the stained gla.s.s, than might possibly be thought at the present time, for most of the decoration of books partook of the character of the architectural types of the moment.

Among the most precious treasures from the century are three books which belonged to St. Louis himself. One of these is the Hours or Office Book; a second, is his Psalter, which contains some extremely beautiful initials; a third, which is in the Library of the a.r.s.enal at Paris, is sometimes known as the Prayer Book of St. Louis himself, though a better name for it would be the Prayer Book of Queen Blanche, for it was made at Louis' orders for his mother, the famous Blanche of Castile, and is a worthy testimonial of the affectionate relations which existed between mother and son.

Outside of Paris there are preserved many books of great value that come from this century. One of them, a Bestiarum or Book of Beasts, is in the Ashmoleam Museum at Oxford. This is said to be a very beautiful example of the illumination of the Thirteenth Century, but it is even more interesting because it shows the efforts of the artists of the time to copy nature in the pictures of animals as they are presented.

There is said to be an acuity of observation and a vigor of representation displayed in the book which is highly complimentary to the powers of the Thirteenth Century artists.

Even these brief notes of the books and libraries of the Thirteenth Century, will serve to make clear how enthusiastic was the interest of the generations of this time in beautiful books and in collections of them that were meant for show as {165} well as for practical usefulness. There is perhaps nothing more amusing in the att.i.tude of modern generations with regard to the Middle Ages, than the a.s.sumption that all the methods of education and of the distribution of knowledge worth while talking about, are the inventions of comparatively modern times. The fact that libraries were also a creation of that time and that most of the regulations which are supposed to be the first fruit of quite recent science in the circulation of books had been adopted by these earlier generations, is commonly ignored utterly, though it is a precious bit of knowledge that cannot help but increase our sympathy with those bookmen of the olden times, who thought so much of their books, yet wished to share the privilege of their use with all those who would employ them properly, and who, in their great practical way succeeded in working out the scheme by which many people could have the opportunity of consulting the treasures they thought so much of, without risk of their loss or destruction, even though use might bring some deterioration of their value.

[Ill.u.s.tration]

DECORATION (XIII. CENT. PSALTER MSS.)

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X

THE CID, THE HOLY GRAIL, THE NIBELUNGEN.

Anyone who has studied even perfunctorily the Books of the Arts and of the Deeds of the Thirteenth Century, who has realized its accomplishments in enduring artistic creations, sublime and exemplary models and inspirations for all after time, who has appreciated what it succeeded in doing for the education of the cla.s.ses and of the ma.s.ses, the higher education being provided for at least as large a proportion of the people as in our present century, while the creation of what were practically great technical schools that culled out of the ma.s.ses the latent geniuses who could accomplish supreme artistic results in the arts and crafts and did more and better for the ma.s.ses than any subsequent generation, can scarcely help but turn with interest to read the Book of the Words of the period and to find out what forms of literature interested this surprising people. One is almost sure to think at the first moment of consideration that the literature will not be found worthy of the other achievements of the times. In most men's minds the Thirteenth Century does not readily call up the idea of a series of great works in literature, whose influence has been at all as profound and enduring as that of the universities in the educational order, or of the Cathedrals in the artistic order.

This false impression, however, is due only to the fact that the literary creations of the Thirteenth Century are so diverse in subject and in origin, that they are very seldom a.s.sociated with each other, unless there has been actual recognition of their contemporaneousness from deliberate calling to mind of the dates at which certain basic works in our modern literatures were composed. It is not the least surprise that comes to the student of the Thirteenth Century, to find that the great origins of what well deserves the name of cla.s.sic modern literature, comprising a series of immortal works in prose and poetry, were initiated by the contemporaries of the makers of the {167} universities and the builders of the Cathedrals. If we stop to think for a moment it must be realized, that generations who succeeded in expressing themselves so effectively in other departments of esthetics could scarcely be expected to fail in literature alone, and they did not. From the Cid in Spain, through the Arthur Legends in England, the Nibelungen in Germany, the Minnesingers and the Meistersingers in the southern part of what is now the German Empire, the Trouveres in North France, the Troubadours in South France and in Italy, down to Dante, who was 35 before the century closed, there has never been such a ma.s.s of undying literature written within a little more than a single hundred years, as came during the period from shortly before 1200 down to 1300. Great as was the Fifth Century before Christ in this matter it did not surpa.s.s the Thirteenth Century after Christ in its influence on subsequent generations.

We have already pointed out in discussing the Cathedrals that one of the most characteristic features of the Gothic architecture was the marvelous ease with which it lent itself to the expression of national peculiarities. Norman Gothic is something quite distinct from German Gothic which arose in almost contiguous provinces, but so it is also from English Gothic; these two were very closely related in origin and undoubtedly the English Cathedrals owe much to the Norman influence so prevalent in England at the end of the Twelfth Century, and the beginning of the Thirteenth Century. Italian Gothic has the princ.i.p.al characteristic peculiarities of the architectural style which pa.s.ses under the name developed to a remarkable degree, and yet its finished product is far distant from any of the three other national forms that have been mentioned, yet is not lacking in a similar interest. Spanish Gothic has an ident.i.ty of its own that has always had a special appeal for the traveler. Any one who has ever visited the sh.o.r.es of the Baltic sea and has seen what was accomplished in such places as Stralsund, Greifswald, Lubeck, and others of the old Hansa towns, will appreciate still more the power of Gothic to lend itself to the feelings of the people and to the materials that they had at hand.

Here in the distant North they were far away from any sources of the stone that would ordinarily be deemed absolutely {168} necessary for Gothic construction. How effectively they used brick for ecclesiastical edifices can only be realized by those who have seen the remains of the Gothic monuments of this portion of Europe.

The distinguis.h.i.+ng mark of all these different styles is the eminent opportunity for the expression of nationality which, they afford. It might be expected that since they were all Gothic, most of them would be little better than servile copies, or at best scarce more than good imitations of the great originals of the North of France. As a matter of fact, the a.s.sertion of national characteristics, far from destroying the effectiveness of Gothic, rather added new beauties to this style of architecture. This was true even occasionally when mistakes were made by architects and designers. As Ferguson has said in his History of Architecture, St. Stephen's at Vienna is full of architectural errors and yet the attractiveness of the Cathedral remains. It was a poet who designed it and something of his poetic soul gleams out of the material structure after the lapse of centuries.

In nearly this same way the literatures of the different countries during the Thirteenth Century are eminently national and mirror with quite wonderful appropriateness the characteristics of the various people. This is true even when similar subjects, as for instance the Graal stories, are treated from nearly the same standpoint by the two Teutonic nations, the Germans and the English. Parsifal and Galahad are national as well as poetic heroes with a distinction of character all their own. As we shall see, practically every nation finds in this century some fundamental expression of its national feeling that has been among its most cherished cla.s.sics ever since.

{opp168} [Ill.u.s.tration]

SANTA MARIA SOPRA MINERVA (ROME'S GOTHIC CATHEDRAL)

The first of these in time is the Cid, which was written in Spain during the latter half of the Twelfth Century, but probably took its definite form just about the beginning of the Thirteenth. It might well be considered that this old-fas.h.i.+oned Spanish ballad would have very little of interest for modern readers, and yet there are very few scholars of the past century who have not been interested in this literary treasure. Critics of all nations have been unstinted in their praise of it. Since the Schlegels recalled world attention to Spanish {169} literature, it has been considered almost as unpardonable for anyone who pretended to literary culture not to have read the Cid, as it would be not to have read Don Quixote.

As is true of all the national epics founded upon a series of ballads which had been collecting in the mouth of the people for several centuries before a great poetic genius came to give them their supreme expression, there has been some doubt expressed as to the single authors.h.i.+p of Cid. We shall find the same problem to be considered when we come to discuss the Nibelungen Lied. A half a century ago or more the fas.h.i.+on of the critics for insisting on the divided authors.h.i.+p of such poems was much more prevalent than it is at present. At that time a great many scholars, following the initiative of Wolf and the German separatist critics, declared even that the Homeric poems were due to more than one mind. There are still some who cling to this idea with regard to many of these primal national epics, but at the present time most literary men are quite content to accept the idea of a single authors.h.i.+p. With regard to the Cid in this matter Mr. Fitzmaurice Kelly, in his Short History of Spanish Literature in the Literatures of the World Series, says very simply:

"There is a unity of conception and of language which forbids our accepting the Poema (del Cid) as the work of several hands; and the division of the poem into several cantares is managed with a discretion which argues a single artistic intelligence. The first part closes with the marriage of the hero's daughters; the second with the shame of the Infantes de Carrion, and the proud announcement that the Kings of Spain are sprung from the Cid's loins. In both the singer rises to the level of his subject, but his chiefest gust is in the recital of some brilliant deed of arms."

The Spanish ballad epic is a characteristic example of the epics formed by the earliest poetic genius of a country, on the basis of the patriotic stories of national origin that had been acc.u.mulating for centuries. Of course the Cid had to be the Christian hero who did most in his time against the Moslem in Spain. So interesting has his story been made, and so glorious have been his deeds as recorded by the poets, that there has been even some doubt of his existence expressed, but that he {170} was a genuine historical character seems to be clear. Many people will recall the Canons' argument in the forty-ninth chapter of Don Quixote in which Cervantes, evidently speaking for himself, says: "That there was a Cid no one will deny and likewise a Bernardo Del Carpio, but that they performed all the exploits ascribed to them, I believe there is good reason to doubt." The Cid derives his name from the Arabic Seid which means Lord and owes his usual epithet.

El Campeador (champion), to the fact that he was the actual champion of the Christians against the Moors at the end of the Eleventh Century. How gloriously his warlike exploits have been described may be best appreciated from the following description of his charge at Alcocer:

"With bucklers braced before their b.r.e.a.s.t.s, with lances pointing low.

With stooping crests and heads bent down above the saddle-bow.

All firm of hand and high of heart they roll upon the foe.

And he that in good hour was born, his clarion voice rings out, And clear above the clang of arms is heard his battle-shout, 'Among them, gentlemen! Strike home for the love of charity!

The Champion of Bivar is here--Ruy Diaz--I am he!'

Then bearing where Bermuez still maintains unequal fight.

Three hundred lances down they come, their pennons flickering white; Down go three hundred Moors to earth, a man to every blow; And, when they wheel, three hundred more, as charging back they go.

It was a sight to see the lances rise and fall that day; The s.h.i.+vered s.h.i.+elds and riven mail, to see how thick they lay; The pennons that went in snow-white come out a gory red; The horses running riderless, the riders lying dead; While Moors call on Muhamed, and 'St. James!' the Christians cry."

While the martial interest of such early poems would be generally conceded, it would usually be considered that they would be little likely to have significant domestic, and even {171} what might be called romantic, interests. The Cid's marriage is the result of not what would exactly be called a romance nowadays, though in ruder times there may have been a certain sense of sentimental reparation in it at least. He had killed in fair fight the father of a young woman, who being thus left without a protector appealed to the king to appoint one for her. In the troublous Middle Ages an heiress was as likely to be snapped up by some unsuitable suitor, more literally but with quite as much haste, as in a more cultured epoch. The king knew no one whom he could trust so well with the guardians.h.i.+p of the rich and fair young orphan than the Cid, of whose bravery and honor he had had many proofs. Accordingly he suggested him as a protector and the Cid himself generously realizing how much the fair Jimena had lost by the death of her father consented, and in a famous pa.s.sage of the poem, a little shocking to modern ideas, it must be confessed, frankly states his feelings in the matter:

"And now before the altar the bride and bridegroom stand, And when to fair Jimena the Cid stretched forth his hand, He spake in great confusion: 'Thy father have I slain Not treacherously, but face to face, my just revenge to gain For cruel wrong; a man I slew, a man I give to thee; In place of thy dead father, a husband find in me.'

And all who heard well liked the man, approving what he said; Thus Rodrigo the Castilian his stately bride did wed."

There are tender domestic scenes between the Cid and his wife and his daughters, which serve to show how sincere was his affection and with what sympathetic humanity a great poet knew how to depict the tender natural relations which have an interest for all times. Some of these domestic scenes are not unworthy to be placed beside Homer's picture of the parting of Hector and Andromache, though there is more naive self-consciousness in the work of the Spanish bard, than in that of his more artistic colleague of the Grecian olden times. There is particularly a famous picture of the duties of n.o.ble ladies in Spain of this time and of the tender solicitude of a father for his daughters' innocence, that is quite beyond expectation at {172} the hands of a poet whose forte was evidently war and its alarms, rather than the expression of the ethical qualities of home life. The following pa.s.sage, descriptive of the Cid's parting from his wife, will give some idea of these qualities better than could be conveyed in any other way:

"Thou knowest well, senora, he said before he went, To parting from each other our love doth not consent; But love and joyance never may stand in duty's way, And when the king commandeth the n.o.ble must obey.