The national epic1 in France bears the characteristic name of Chanson de Geste, or song of deed, because the trouvères in the north and the troubadours in the south wandered from castle to castle singing the prowesses of the lords and of their ancestors, whose reputations they thus made or ruined at will.
In their earliest form these Chansons de Geste were invariably in verse, but in time the most popular were turned into lengthy2 prose romances. Many of the hundred or more Chansons de Geste still preserved were composed in the northern dialect, or langue d'oil, and, although similar epics3 did exist in the langue d'oc, they have the "great defect of being lost," and only fragments of Flamen?a, etc., now exist.
There are three great groups or cycles of French epics: first the Cycle of France, dealing4 specially5 with Charlemagne,—the champion of Christianity,—who, representing Christ, is depicted6 surrounded by twelve peers instead of twelve disciples7. Among these, to carry out the scriptural analogy, lurks8 a traitor9, Ganelon; so, in the course of the poems, we are favored with biblical miracles, such as the sun pausing in its course until pagans can be punished, and angels appearing to comfort dying knights10. The finest sample of this cycle is without doubt the famous Chanson de Roland, of which a complete synopsis12 follows. Other remarkable13 examples of this cycle are Aliscans, Raoul de Cambrai, Garin le Lorrain, Guillaume d'Orange, Les Quatre Fils d'Aymon, Ogier le Danois, etc.
Even the character of the hero varies from age to age, for whereas Charlemagne in the Chanson de Roland—which dates perhaps as far back as the tenth century—is a heroic figure, he becomes during later periods, when vassals14 rise up against their overlords,—an object of contempt and ridicule15. A marked example of this latter style of treatment is furnished by Les Quatre Fils d'Aymon.[7]
The second group, or cycle of Brittany, animated16 by a chivalrous17 spirit, and hence termed court epic, finds its greatest exponent18 in the poet Chrestien de Troyes, whose hero Arthur, King of Brittany, gathers twelve knights around his table, one of whom, Mordred, is to prove traitor. The principal poems of this cycle are Launcelot du Lac, Ivain le Chevalier au Lion, Erec and Enide, Merlin, Tristan, and Perceval. These poems all treat of chivalry19 and love, and introduce the old pagan passion-breeding philtre, as well as a whole world of magic and fairies. These epics will be noticed at greater length when we treat of the English versions of Arthur and the Knights of the Round Table, because many of the poems have been reworked in modern English and are hence most popular in that language.
Besides the Chansons de Geste pertaining20 to various phases of this theme, the Breton cycle includes many shorter works termed lais, which also treat of love, and were composed by Marie de France or her successors. The best known of all these "cante-fables" is the idyllic21 Aucassin et Nicolette, of which a full account is embodied22 in this volume.
One of the best samples of the domestic epic in this cycle is the twelfth century Amis and Amiles, in which two knights, born and baptized on the same day, prove so alike as to become interchangeable. Still, brought up in separate provinces, Amis and Amiles meet and become friends only when knighted by Charlemagne, whose graciousness toward them rouses the jealousy23 of the felon24 knight11 Hardré. When Charlemagne finally offers his niece to Amiles (who, through modesty25, passes her on to Amis), the felon accuses the former of treacherously26 loving the king's daughter Bellicent, and thereupon challenges him to fight. Conscious of not being a traitor, although guilty of loving the princess, Amiles dares not accept this challenge, and changes places with Amis, who personates him in the lists. Because Amis thus commits perjury27 to rescue his friend from a dilemma28, he is in due time stricken with leprosy, deserted29 by his wife, and sorely ill treated by his vassals. After much suffering, he discovers his sole hope of cure consists in bathing in the blood of the children which in the meanwhile have been born to Amiles and to his princess-wife. When the leper Amis reluctantly reveals this fact to his friend Amiles, the latter, although broken-hearted, unhesitatingly slays30 his children. Amis is immediately cured, and both knights hasten to church together to return thanks and inform the mother of the death of her little ones. The princess rushes to their chamber31 to mourn over their corpses32, only to discover that meantime they have been miraculously33 restored to life! This story is very touchingly34 told in the old Chanson, which contains many vivid and interesting descriptions of the manners of the time.
In this cycle are also included Gérard de Roussillon, Hugues Capet, Macaire (wherein occurs the famous episode of the Dog of Montargis), and Huon de Bordeaux, which latter supplied Shakespeare, Wieland, and Weber with some of the dramatis personae of their well-known comedy, poem, and opera. We must also mention what are often termed the Crusade epics, of which the stock topics are quarrels, challenges, fights, banquets, and tournaments, and among which we note les Enfances de Godefroi, Antioche, and Tudela's Song of the Crusade against the Albigenses.
The third great cycle is known as Matière de Rome la grand, or as the antique cycle. It embodies35 Christianized versions of the doings of the heroes of the Iliad, Odyssey36, Aeneid, Thebais, Alexandreid, etc. In their prose forms the Roman de Thèbes, Roman de Troie, and Roman d'Alexandre contain, besides, innumerable mediaeval embellishments, among others the first mention in French of the quest for the Fountain of Youth.
Later on in French literature we come across the animal epic, or Roman du Renard, a style of composition which found its latest and most finished expression in Germany at the hands of Goethe, and the allegorical epic, Le Roman de la Rose, wherein abstract ideas were personified, such as Hope, Slander37 (Malebouche), Danger, etc.
There are also epic poems based on Le Combat des Trente and on the doings of Du Guesclin. Ronsard, in his Franciade, claims the Franks as lineal descendants from Francus, a son of Priam, and thus connects French history with the war of Troy, just as Wace, in the Norman Roman de Rou, traces a similar analogy between the Trojan Brutus and Britain. Later French poets have attempted epics, more or less popular in their time, among which are Alaric by Scudéri, Clovis by St. Sorlin, and two poems on La Pucelle, one by Chapelain, and the other by Voltaire.
Next comes la Henriade, also by Voltaire, a half bombastic38, half satirical account of Henry IV's wars to gain the crown of France. This poem also contains some very fine and justly famous passages, but is too long and too artificial, as a whole, to please modern readers.
The most popular of all the French prose epics is, without dispute, Fénelon's Télémaque, or account of Telemachus' journeys to find some trace of his long-absent father Ulysses.
Les Martyrs39 by Chateaubriand, and La Légende des Siècles by Victor
Hugo, complete the tale of important French epics to date.
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1 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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2 lengthy | |
adj.漫长的,冗长的 | |
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3 epics | |
n.叙事诗( epic的名词复数 );壮举;惊人之举;史诗般的电影(或书籍) | |
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4 dealing | |
n.经商方法,待人态度 | |
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5 specially | |
adv.特定地;特殊地;明确地 | |
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6 depicted | |
描绘,描画( depict的过去式和过去分词 ); 描述 | |
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7 disciples | |
n.信徒( disciple的名词复数 );门徒;耶稣的信徒;(尤指)耶稣十二门徒之一 | |
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8 lurks | |
n.潜在,潜伏;(lurk的复数形式)vi.潜伏,埋伏(lurk的第三人称单数形式) | |
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9 traitor | |
n.叛徒,卖国贼 | |
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10 knights | |
骑士; (中古时代的)武士( knight的名词复数 ); 骑士; 爵士; (国际象棋中)马 | |
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11 knight | |
n.骑士,武士;爵士 | |
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12 synopsis | |
n.提要,梗概 | |
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13 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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14 vassals | |
n.奴仆( vassal的名词复数 );(封建时代)诸侯;从属者;下属 | |
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15 ridicule | |
v.讥讽,挖苦;n.嘲弄 | |
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16 animated | |
adj.生气勃勃的,活跃的,愉快的 | |
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17 chivalrous | |
adj.武士精神的;对女人彬彬有礼的 | |
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18 exponent | |
n.倡导者,拥护者;代表人物;指数,幂 | |
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19 chivalry | |
n.骑士气概,侠义;(男人)对女人彬彬有礼,献殷勤 | |
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20 pertaining | |
与…有关系的,附属…的,为…固有的(to) | |
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21 idyllic | |
adj.质朴宜人的,田园风光的 | |
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22 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
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23 jealousy | |
n.妒忌,嫉妒,猜忌 | |
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24 felon | |
n.重罪犯;adj.残忍的 | |
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25 modesty | |
n.谦逊,虚心,端庄,稳重,羞怯,朴素 | |
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26 treacherously | |
背信弃义地; 背叛地; 靠不住地; 危险地 | |
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27 perjury | |
n.伪证;伪证罪 | |
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28 dilemma | |
n.困境,进退两难的局面 | |
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29 deserted | |
adj.荒芜的,荒废的,无人的,被遗弃的 | |
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30 slays | |
杀死,宰杀,杀戮( slay的第三人称单数 ) | |
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31 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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32 corpses | |
n.死尸,尸体( corpse的名词复数 ) | |
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33 miraculously | |
ad.奇迹般地 | |
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34 touchingly | |
adv.令人同情地,感人地,动人地 | |
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35 embodies | |
v.表现( embody的第三人称单数 );象征;包括;包含 | |
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36 odyssey | |
n.长途冒险旅行;一连串的冒险 | |
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37 slander | |
n./v.诽谤,污蔑 | |
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38 bombastic | |
adj.夸夸其谈的,言过其实的 | |
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39 martyrs | |
n.martyr的复数形式;烈士( martyr的名词复数 );殉道者;殉教者;乞怜者(向人诉苦以博取同情) | |
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