The Renaissance: Studies in Art and Poetry. Walter Pater
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sorrow, yet it claims to be a thing of joy and refreshment, to be entertained not for its matter only, but chiefly for its manner; it is cortois, it tells us, et bien assis.
*Recently, Aucassin and Nicolette has been edited and translated into English, with much graceful scholarship, by Mr. F. W. Bourdillon. More recently still we have had a translation—a poet's translation—from the ingenious and versatile pen of Mr. Andrew Lang. The reader should consult also the chapter on "The Out-door Poetry," in Vernon Lee's most interesting Euphorion; being Studies of the Antique and Mediaeval in the Renaissance, a work abounding in knowledge and insight on the subjects of which it treats.
For the student of manners, and of the old language and literature, it has much interest of a purely antiquarian order. To say of an ancient literary composition that it has an antiquarian interest, often means that it has no distinct aesthetic interest for the reader of to-day. Antiquarianism, by a purely historical effort, by putting its object in perspective, and setting the reader in a certain point of view, from which what gave pleasure to the past is pleasurable for him also, may often add greatly to the charm we receive from ancient literature. But the first condition of such aid must be a real, direct, aesthetic charm in the thing itself; unless it has that charm, unless some purely artistic quality went to its original making, no merely antiquarian effort can ever give it an aesthetic value, or make it a proper subject of aesthetic criticism. This quality, wherever it exists, it is always pleasant to define, and discriminate from the sort of borrowed interest which an old play, or an old story, may very likely acquire through a true antiquarianism. The story of Aucassin and Nicolette has something of this quality. Aucassin, the only son of Count Garins of Beaucaire, is passionately in love with Nicolette, a beautiful girl of unknown parentage, bought of the Saracens, whom his father will not permit him to marry. The story turns on the adventures of these two lovers, until at the end of the piece their mutual fidelity is rewarded. These adventures are of the simplest sort, adventures which seem to be chosen for the happy occasion they afford of keeping the eye of the fancy, perhaps the outward eye, fixed on pleasant objects, a garden, a ruined tower, the little hut of flowers which Nicolette constructs in the forest whither she has escaped from her enemies, as a token to Aucassin that she has passed that way. All the charm of the piece is in its details, in a turn of peculiar lightness and grace given to the situations and traits of sentiment, especially in its quaint fragments of early French prose.
All through it one feels the influence of that faint air of overwrought delicacy, almost of wantonness, which was so strong a characteristic of the poetry of the Troubadours. The Troubadours themselves were often men of great rank; they wrote for an exclusive audience, people of much leisure and great refinement, and they came to value a type of personal beauty which has in it but little of the influence of the open air and sunshine. There is a languid Eastern deliciousness in the very scenery of the story, the full-blown roses, the chamber painted in some mysterious manner where Nicolette is imprisoned, the cool brown marble, the almost nameless colours, the odour of plucked grass and flowers. Nicolette herself well becomes this scenery, and is the best illustration of the quality I mean—the beautiful, weird, foreign girl, whom the shepherds take for a fay, who has the knowledge of simples, the healing and beautifying qualities of leaves and flowers, whose skilful touch heals Aucassin's sprained shoulder, so that he suddenly leaps from the ground; the mere sight of whose white flesh, as she passed the place where he lay, healed a pilgrim stricken with sore disease, so that he rose up, and returned to his own country. With this girl Aucassin is so deeply in love that he forgets all his knightly duties. At last Nicolette is shut up to get her out of his way, and perhaps the prettiest passage in the whole piece is the fragment of prose which describes her escape from this place:—
"Aucassin was put in prison, as you have heard, and Nicolette remained shut up in her chamber. It was summer-time, in the month of May, when the days are warm and long and clear, and the nights coy and serene.
"One night Nicolette, lying on her bed, saw the moon shine clear through the little window, and heard the nightingale sing in the garden, and then came the memory of Aucassin, whom she so much loved. She thought of the Count Garins of Beaucaire, who so mortally hated her, and, to be rid of her, might at any moment cause her to be burned or drowned. She perceived that the old woman who kept her company was asleep; she rose and put on the fairest gown she had; she took the bed-clothes and the towels, and knotted them together like a cord, as far as they would go. Then she tied the end to a pillar of the window, and let herself slip down quite softly into the garden, and passed straight across it, to reach the town.
"Her hair was yellow in small curls, her smiling eyes blue-green, her face clear and feat, the little lips very red, the teeth small and white; and the daisies which she crushed in passing, holding her skirt high behind and before, looked dark against her feet; the girl was so white!
"She came to the garden-gate and opened it, and walked through the streets of Beaucaire, keeping on the dark side of the way to avoid the light of the moon, which shone quietly in the sky. She walked as fast as she could, until she came to the tower where Aucassin was. The tower was set about with pillars, here and there. She pressed herself against one of the pillars, wrapped herself closely in her mantle, and putting her face to a chink of the tower, which was old and ruined, she heard Aucassin crying bitterly within, and when she had listened awhile she began to speak."
But scattered up and down through this lighter matter, always tinged with humour and often passing into burlesque, which makes up the general substance of the piece, there are morsels of a different quality, touches of some intenser sentiment, coming it would seem from the profound and energetic spirit of the Provencal poetry itself, to which the inspiration of the book has been referred. Let me gather up these morsels of deeper colour, these expressions of the ideal intensity of love, the motive which really unites together the fragments of the little composition. Dante, the perfect flower of ideal love, has recorded how the tyranny of that "Lord of terrible aspect" became actually physical, blinding his senses, and suspending his bodily forces. In this Dante is but the central expression and type of experiences known well enough to the initiated, in that passionate age. Aucassin represents this ideal intensity of passion—
Aucassin, li biax, li blons,
Li gentix, li amorous;
the slim, tall, debonair figure, dansellon, as the singers call him, with curled yellow hair, and eyes of vair, who faints with love, as Dante fainted, who rides all day through the forest in search of Nicolette, while the thorns tear his flesh, so that one night have traced him by the blood upon the grass, and who weeps at evening because he has not found her—who has the malady of his love, so that he neglects all knightly duties. Once he is induced to put himself at the head of his people, that they, seeing him before them, might have more heart to defend themselves; then a song relates how the sweet, grave figure goes forth to battle, in dainty, tight-laced armour. It is the very image of the Provencal love-god, no longer a child, but grown to pensive youth, as Pierre Vidal met him, riding on a white horse, fair as the morning, his vestment embroidered with flowers. He rode on through the gates into the open plain beyond. But as he went, that great malady of his love came upon him, so that the bridle fell from his hands; and like one who sleeps walking, he was carried on into the midst of his enemies, and heard them talking together how they might most conveniently kill him.
One of the strongest characteristics of that outbreak of the reason and the imagination, of that assertion of the liberty of the heart, in the middle age, which I have termed a medieval Renaissance, was its antinomianism, its spirit of rebellion and revolt against the moral and religious ideas of the time. In their search after the pleasures of the senses and the imagination, in their care for beauty, in their worship of the body, people were impelled beyond the bounds of the Christian ideal; and their love became sometimes a strange idolatry, a strange rival religion. It was the return of that ancient Venus, not dead, but only hidden for a time in the caves of the Venusberg, of those old pagan gods still going to and fro on the earth, under all sorts of disguises. And this element in the middle age, for the most part ignored by those writers who have treated it pre-eminently as the "Age of Faith"—this rebellious and antinomian element, the recognition of which has made the delineation of the middle age by the writers of the Romantic school in France, by Victor Hugo for instance in Notre-Dame de Paris, so suggestive and exciting, is found alike in