CHAPTER VIII.

TRACES OF POPULAR SONG IN THE POETRY OF THE

TROUBADOURS.-THE PASTORELA.

THE Troubadours, it has been said more than once, were court poets, their songs a court literature, taking its theme from, and reciprocally appealing to, the upper classes of society. There was an advantage and a still greater drawback connected with this exclusiveness of culture and sympathies. In the early middle ages it was of the utmost importance to raise, and abide by, a standard of refinement in opposition to the prevailing coarseness of the age. But, on the other hand, the fresh and ever-bubbling source of spontaneous feeling was absent, which their rapport with the people supplied to the French Trouvère, the German Minnesinger, and our own Elizabethan dramatists, court poets though all these were. Hence the monotony and laboured dryness. of many of the troubadours' songs, and the narrow range of thought covered by their works compared with the medieval literature of other countries, There were, however, exceptions to the rule, and although not a particle of the presumably rich fund of Provençal folklore has been thought worth pre

serving, still there is distinct evidence that its charms were appreciated by several of the knightly singers, in spite of prejudice and courtly superciliousness. The results of this appreciation are certain characteristic forms of song evidently derived from popular sources, although treated with artistic finish by the Troubadours. The tone of these poems differs so essentially from the ordinary bias of Provençal literature, that it seemed well to treat of them in separate chapters.

No better sign of the sterling value of Guiraut Riquier's talent could be required than the fact that the first name we meet with in this new field is his. The same troubadour who boldly protested against the increasing coarseness amongst the nobles was able to perceive in the natural artlessness of the people's song a new element of refined poetry. It was perhaps from the infusion of this new life-blood that he expected the revival of his art quite as much as from the artificial safeguards of the poets' social position which the King of Castile could grant. Guiraut Riquier is the Provençal representative of the Pastorela,' or 'Pastoreta,' the shepherd's song. The popular origin of this form of

1 M. Damase Arbaud some time ago published a charming collection of popular ditties (Chants Populaires de Provence,' Aix, 1862), containing amongst other pieces some beautiful Christmas songs or noëls evidently of great antiquity, although still sung in Provence. Some of these poems, the editor believes, date back from the times of the Troubadours. But the oral tradition to which they owe their preservation has unfortunately changed their linguistic character beyond recognition.

poetry cannot well be denied. There is about the life of the shepherd amongst hills and lonely places, the tending of his flocks, and the very knitting of his stockings, a touch of simple pensive poetry which has escaped few nations, and it may be asserted that in the primitive songs of every people on earth the pastoral idea is represented in one form or another. It is equally true that artistic and artificial poetry has taken up and remodelled the original subject in a somewhat arbitrary manner. From Theocritus and Virgil and Guarini and Tasso down to our modern operatic stage the shepherd with his pipe, the shepherdess with her crook and surrounded by snow-white lambkins, have been introduced in the most becoming poses. But the innate raciness of the theme could never be wholly obliterated. Adam de la Halle's 'Robin et Marion,' written in the fourteenth century, and justly claiming to be the first comic opera in France, is full of the life and the rollicking fun of the people; and the original features of broad Scotch humour and common sense may be discovered under the thin layer of rococo tinsel in Allan Ramsay's 'Faithful Shepherd.' Guiraut Riquier belongs to the more realistic class of pastoral poets. He occupies an intermediate position between Adam's broad out-spokenness and Tasso's euphuism. His shepherdess-for a shepherdess and only one is the heroine of his six pastorelas—is evidently a real being taken from real life; at the same time the coarsenesses of this reality are sufficiently toned down to suit the fastidious taste of

a courtly audience. Another uncommon feature, especially in a Troubadour's creation, is the strenuous virtue with which the rustic beauty resists the most tempting offers of her knightly lover. She is meek and courteous and affable, but she knows exactly where to draw the line between innocent flirtation and serious passion. Whether such a character in such a sphere of life partakes more of idealism or of realism the ingenuous reader must decide. But it is most improbable that a Troubadour should have doubted, or allowed others to doubt, his absolute irresistibility unless convinced of the contrary by the most undeniable proof. We may therefore assume that Guiraut Riquier's adventure with a shepherdess, if not absolutely copied from life, is at least partly drawn from autobiographical sources.

The first of Guiraut's six remaining pastorelas is dated 1260, and describes the poet's meeting with the shepherdess. The other day,' he says, 'I was walking by the side of a brook, musing and alone, for love led me to think of song, when suddenly I saw a sweet shepherdess, lovely and kind, watching her flock. I stopped before her, seeing her so comely, and she received me well.

My question was: "Sweetheart, are you loved by some one, and do you know what love is?” "Certainly, sir," she answered without guile, "and I have plighted my troth, there is no doubt on the sub ject." Maiden, I am glad to have found you, if it may be that I should please you." "Sir, you have

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thought of me too much; if I were foolish I might fancy a great deal." "Maiden, do you not believe me?" Sir, I must not."

"Sweet girl, if you accept my love I am longing for yours. Sir, it is impossible; you have a sweetheart, and I a lover." "Maiden, however that may be, it is you I love, and your love I would enjoy." "Sir, look somewhere else for one who is more worthy of you." "Better than you I do not wish for." Sir, you are foolish."

Love gives me

"Sir, I would Maiden, as I

"I am no fool, sweet mistress. leave, and I yield to your loveliness." I were rid of your wooing speech." live, you are too coy. My prayer is humbly made." "Sir, I must not forget myself so much; alas! my honour would be lost if I trusted too lightly." "Maiden, my love compels me." "Sir, it would little beseem you."

"Maiden, whatever I may say have no fear that I would dishonour you." "Sir, I am your friend, for I see your wisdom checks your passion." "Maiden, when I am in fear of doing wrong I think of 'Beautiful Semblance!'"1 "Sir, I much like your kind behaviour; for you know how to please." "Maiden, what do I hear?" "Sir, that I love you."

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"Tell me, sweet maiden, what has made you speak such pleasant words?” Sir, wherever I go I hear the sweet songs of Sir Guiraut Riquier." Maiden, let us not cease to speak of what I ask you."

Sir, does not 'Beautiful Semblance' favour

The senhal or pseudonym of his lady-love.