Andrew Lang - Aucassin and Nicolete

Aucassin’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 shines 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 grass, and deep dew, and the shining of the star that Aucassin 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 Aucassin 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 kingship of the dead outworn. He was hind and hireling to a villein,

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 Aucassin in his own castle of Biaucaire. The burlesque interlude of the country of Torelore is like a page out of Rabelais, stitched into the cante-fable by mistake. At such lands as Torelore Pantagruel and Panurge touched many a time in their vague voyaging. Nobody, 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;

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: -

This service it did for M. Bida, the painter, as he tells us when he translated Aucassin in 1870. In dark and darkening days, patriai tempore iniquo , we too have turned to Aucassin et Nicolete . 5 5 I have not thought it necessary to discuss the conjectures, – they are no more, – about the Greek or Arabic origin of the cante-fable, about the derivation of Aucassin’s name, the supposed copying of Floire et Blancheflor , the longitude and latitude of the land of Torelore, and so forth. In truth “we are in Love’s land to-day,” where the ships sail without wind or compass, like the barques of the Phaeacians. Brunner and Suchier add nothing positive to our knowledge, and M. Gaston Paris pretends to cast but little light on questions which it is too curious to consider at all. In revising the translation I have used with profit the versions of M. Bida, of Mr. Bourdillon, the glossary of Suchier, and Mr. Bourdillon’s glossary. As for the style I have attempted, if not Old English, at least English which is elderly, with a memory of Malory.

ENVOY.

A. L.

ENVOY.

GRAHAM R. TOMSON

’Tis of Aucassin and Nicolete.

So say they, speak they, tell they the Tale:

How the Count Bougars de Valence made war on Count Garin de Biaucaire, war so great, and so marvellous, and so mortal that never a day dawned but alway he was there, by the gates and walls, and barriers of the town with a hundred knights, and ten thousand men at arms, horsemen and footmen: so burned he the Count’s land, and spoiled his country, and slew his men. Now the Count Garin de Biaucaire was old and frail, and his good days were gone over. No heir had he, neither son nor daughter, save one young man only; such an one as I shall tell you. Aucassin was the name of the damoiseau: fair was he, goodly, and great, and featly fashioned of his body, and limbs. His hair was yellow, in little curls, his eyes blue and laughing, his face beautiful and shapely, his nose high and well set, and so richly seen was he in all things good, that in him was none evil at all. But so suddenly overtaken was he of Love, who is a great master, that he would not, of his will, be dubbed knight, nor take arms, nor follow tourneys, nor do whatsoever him beseemed. Therefore his father and mother said to him;

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