Gliglois: A French Arthurian Romance of the Thirteenth Century [Reprint 2014 ed.] 9780674184909, 9780674333758

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HARVARD STUDIES IN ROMANCE LANGUAGES PUBLISHED UNDER THE DIRECTION OF THE DEPARTMENT OF FRENCH AND OTHER ROMANCE LANGUAGES AND LITERATURES

VOLUME VIII

LONDON : H U M P H R E Y MILFORD O X F O R D U N I V E R S I T Y PRESS

GLIGLOIS A FRENCH ARTHURIAN ROMANCE OF T H E T H I R T E E N T H C E N T U R Y

EDITED WITH AN INTRODUCTION BY

C H A R L E S H. L I V I N G S T O N BOWDOIN

COLLEGE

CAMBRIDGE HARVARD UNIVERSITY PRESS 1932

COPYRIGHT, I 9 3 2 BY THE PRESIDENT AND FELLOWS OF HARVARD COLLEGE

PRINTED AT THE HARVARD UNIVERSITY PRESS CAMBRIDGE, MASS., U. S . A .

TO DR. ARTHUR LANGFORS I N TOKEN OF ESTEEM AND ADMIRATION

Molt voldroie que j'an seüsse Autre tant con vous en savez. Perceval, 1476-1477

PREFACE MY INTEREST in the Old French Arthurian Romance Gliglois dates from 1915 when, as a member of the Romance Seminary of Harvard University, I heard its qualities discussed by Professor Edward S. Sheldon. In 1915 occurred the death of Wendelin Foerster, who had frequently announced an edition of the Gliglois for his Romanische Bibliothek. It was then that I decided to undertake a study of that romance, if circumstances permitted, but it was not until after the war that my researches became active. I have traced in my chapter on the manuscripts, the difficulties which had to be overcome before this edition became a reality. As a medieval manuscript of the Gliglois no longer exists, the capital importance of Foerster's papers and copies is evident. The disorder of those documents has, however, complicated the editor's task, which would have been much simpler if the manuscript, which perished in the fire in Turin in 1904, could have been consulted. I wish here to acknowledge my indebtedness to Professor J. R. Reinhard of Michigan University, through whose agency the precious portfolio containing Foerster's documents was acquired by Harvard University in 1920, and to Professor George Lyman Kittredge, whose interest in the Gliglois was the most important factor in the purchase of the Foerster portfolio by the Widener Library. I cannot here adequately express my thanks to Professor Arthur Längfors of the University of Helsingfors for his friendly aid and advice in the preparation of this edition. During our frequent conferences on the text of the romance in Paris in 1925, he was always ready and willing to place at my disposal his perfect knowledge of Old French and his wide experience in text criticism,

viii

PREFACE

in spite of the pressure of his duties at the Embassy of Finland. To Professor Mario Roques of the Sorbonne my thanks are due for a number of useful suggestions. Finally I desire to express my gratitude to Professor J. D. M. Ford of Harvard University, whose interest in my work is of long date. Through his kind offices the Gliglois appears in the Harvard Studies in Romance Languages. CHARLES H . LIVINGSTON BRUNSWICK, MAINE December i , 1931

CONTENTS INTRODUCTION I. II. III.

3

T U E MANUSCRIPTS AND THE EDITION

3

A N A L Y S I S OF THE POEM

14

L I T E R A R Y BACKGROUND OF THE " GLIGLOIS " .

.

.

T V . T H E POET V. VI.

T H E L A N G U A G E OF THE BODY OF THE POEM

.

22 36

. . . .

38

T H E L A N G U A G E OF THE POET

46

1.

VERSIFICATION

46

2.

SYLLABLE COUNT

48

3.

RHYME

51

4.

LOCALIZATION

55

5.

DATE

56

GLIGLOIS: T E X T AND V A R I A N T S

59

NOTES

153

T A B L E OF PROPER N A M E S

175

GLOSSARY

177

GLIGLOIS INTRODUCTION

I THE MANUSCRIPTS AND THE EDITION THE fire which swept the National Library of Turin on the night of January 25th, 1904, destroyed the greater part of a very important general collection of manuscripts. Paul Meyer, reporting the loss in French manuscripts, s a y s : 1 L a Bibliotheque de Turin etait riche en manuscrits franjais. L a plupart sont decrits, mais assez mal, dans le catalogue de Pasini (1749); d'autres, acquis posterieurement ä la redaction de ce catalogue, etaient restes jusqu'ici ä peu pres inconnus. Quels sont parmi ces livres ceux qui ont ete arraches aux flammes? On ne sait pas encore; on signale comme sauve l'enorme manuscrit de Huon de Bordeaux qui se defendait par sa masse imposante, et l'ancienne traduction (XVI e siecle) de VEnfer de Dante. Nous ne tarderons pas ä etre plus completement renseignes. Peyron, l'un des anciens bibliothecaires de Turin, avait prepare un catalogue des manuscrits franjais qui etait reste manuscrit. L'impression, commencee avant l'incendie, doit etre bientot terminee et ce sera, pour ceux qui ont la direction de cette publication, l'occasion d'indiquer avec precision ce qui subsiste (ce sera peu de chose) de cette precieuse collection. The Old French romance of Gliglois, which was preserved in a unique medieval manuscript in this library, can now be definitely said to have perished in the fire of 1904. In 1920 I wrote to the librarian of the National Library in Turin for information about M S . L IV 33, which contained it, and he informed me that this manuscript had suffered from fire and water to such an extent that it could not be opened. During the summer of 1922, my friend Professor Olin Moore, then in Turin, reported to me that a process had been invented by which the pacchi of the burned manuscripts, which presented the appearance of solid pieces of rock due to the fusion of paper and parchment, were being loosened and freed from carbon and earth, and that the manuscript 1

Romania, X X X I I I (1904), 306-307.

4

THE MANUSCRIPTS AND THE EDITION

containing the Gliglois was among those which were being submitted to the process. As a result of this information, I went to Turin in August, 1923, to examine what was left of MS. L IV 33. A study of several days of the burned and almost illegible paper folios, which enabled me to arrive at a rearrangement and classification according to catalogue indications, established the following facts: (1) that folios 1-56 of the manuscript still exist, but in a state which renders them generally useless for purposes of collation or edition; (2) that the Gliglois which had occupied folios 63-81 is entirely missing. There is therefore extant no medieval manuscript of this romance. Fortunately the manuscript has been described by several editors of texts and catalogues and we have thus a certain amount of information regarding it. Earliest mention of it is to be found in the catalogue of Pasini 1 of 1749, who describes it: "chartaceus, habens folia 129, saeculi XIV, plurima opuscula." He notes that the Gliglois is contained on folios 63-81 and gives an incipit of seven verses. From Pasini's preface to the first volume of his catalogue, it appears probable that the manuscript formed part of the great library of the Princes of Savoy, which, under Vittorio Amedeo II (1720), passed to the library of the University of Turin and became subsequently the nucleus of the National Library. As Paul Meyer says, Peyron, one of the librarians, had prepared a work on the history of the growth of this collection and had gathered together extensive bibliographical data which the Turin authorities were preparing for publication in 1904. Unfortunately this material was in the manuscript room of the library at the time of the fire and was destroyed.2 We are therefore forced to rely, for information regarding our manuscript, on notices of it printed in the several editions of Meraugis de Portlesguez of Raoul de Houdenc, which in the manuscript followed the Gliglois, and on an all too summary catalogue of the French 1 Josephus Pasinus, Codices Manuscripti Bibliothecae Regit Taurinensis Athenaei, Taurini, M D C C X L I X , II, 466, col. 2. 2 Peyron Bernardinus, Codices italici manu exarati qui in bibliotheca Taurinensis Athenaei ante diem 26 Januari 1904 asservabantur, Taurini, 1904. Cf. Introduction.

THE MANUSCRIPTS AND THE EDITION

5

manuscripts of Turin, published by Edmund Stengel in 1873.1 From the latter and the two editions of the Meraugis of Michelant 2 and Friedwagner,3 we may now describe this manuscript. It bore the number g 1, 29 in the Pasini catalogue and L IV 33 in the more modern catalogue of Stengel. It was an in-quarto volume of paper folios, 0.295 m. X 0.220 m., written in two columns of about forty verses or lines to a column, in a mauvaise semi-cursive of the end of the fourteenth or the beginning of the fifteenth centuries, "dont toute l'ornementation consiste en grossieres majuscules vermilion. II est couvert d'une mauvaise basane, usee et dechiree, sur ais vermoulus, et son exterieur est peu prevenant." 4 Friedwagner dates this manuscript at the end of the fourteenth century; Michelant and Stengel both place it in the fifteenth century. After a careful study of the handwriting of the folios which are still extant, I agree with the latter opinion.5 According to Stengel, who supplies certain omissions of Pasini and Michelant, the contents of the manuscript were: (1) Folios 1-14: Roman de Troyes in prose.6 (2) Folios 15 v°-29 v°, col. 1: Chronique de Charlemagne in prose, falsely ascribed to Turpin, translated by Jean.7 (3) Folios 30 r°~3i v°: Li dis de droit or Des droitz au clerc de Vouday.8 1 Mittheilungen aus Französischen Handschriften der Turiner Universitäts-Bibliothek von Edmund Stengel, Halle, 1873, p. 10. 2 Meraugis de Portlesguez, Roman de la Table Ronde par Raoul Houdenc, publi6 pour la premiere fois par Η. Michelant, Paris, 1869. 3 Meraugis von Portlesguez, Altfranzösischer Abenteuerroman von Raoul von Houdenc, herausgegeben von Dr. Mathias Friedwagner, Halle, 1897. 4 Stengel, op. cit., p. 10. 5 Cf. Μ. Prou, Manuel de paUographie latine et franqaise, Paris, 1924, pp. 20-21. Paper was rarely employed for books before the fifteenth century, although it was used before for correspondence. 6 No mention is made of this manuscript, which must be fragmentary, by L. Constans in his chapter concerning the prose versions of the Roman de Troie, VI, 264 f., of his edition of the Roman de Troie (S. A. T. F.), Paris, 1909. 7 Cf. Romania, X V I , 61 f. I have found no mention elsewhere of our manuscript. Other versions of the " Pseudo-Turpin " were edited by F. Wulf, Lund, 1881, and Th. Auracher in Z. R. P., I, 259 f. 8 For editions and manuscripts cf. A. Langfors, Les Incipits des poentes fran^ais anterieurs au XVI" siedle, Paris, 1918, p. 254.

6

T H E GLIGLOIS

(4) Folios 32 r°-5o v°, col. 1 : Chroniques d'Outre-Mer.1 (5) Folios 51-59 v°: D'une aventure du roi Artu.2 (6) Folios 60-63 r°, col. 1: C'est comment Melton fu dechieus de safemme.3 (7) Folios 63 r°, col. 1-81 v°, col. 1 : C'est de Gliglois comment il eut grant painne pour s'amie. (8) Folios 82 r°-ii9 r°, col. 2: C'est de Μer augin de Pollesgues.4 (9) Folios 119 v°-i29: l'Istoire de Thebes in prose.5 We know that the manuscript was the work of at least two scribes. The handwriting changed in the section which reproduced the Meraugis, and it is not unlikely that the first of these scribes had a part in the transcription of the Gliglois which immediately preceded it. This scribe's dialect has been characterized as Picard, and Friedwagner says of him, speaking of the Meraugis, that he followed his text faithfully and that practically no retouches are to be attributed to him. His mistakes of omission and inaccuracy in the Meraugis seem to have been involuntary, and he did not always understand his model. These observations in the main apply to the version of the Gliglois also, as we shall see. So much for the medieval manuscript which contained the Gliglois. This edition of the poem is not based directly upon it, but upon a series of modern copies and collations which fortu1 Eistoire litteraire de la France, ouvrage commend par des religieux benedictins.. et continue par des membres de VInstitut (Η. L. F.), X X I , 679, and Edmund Stengel, Li Romans de Durmart le Galois, Tübingen, 1873 (Bibliothek des Litterarischen Vereins in Stuttgart, CXVI), pp. 451-452. 2 Foerster copied this poem in 1872. He says of it: "Diese Aventure du roi Artu hat leider ihrerseits ein anderes Abenteuer nicht überlebt. Als ich, die einzelnen Blätter der Abschrift in der Hand, einmal in der Via di Po wandelte, befreite mich ein plötzlicher Windstoss von der Werthlosen Last." Cf. Z. R. P., II (1878), 78. The manuscript of Turin, which had also been copied by Stengel, has served for two editions of this episode of the romance Les Merveilles de Rigomer (vv. 15923-17271). Cf. the edition of Foerster and Breuer, II, 2 {Gesellschaft für romanische Literatur, Band 39, Dresden, 1915). 3 A copy of this manuscript was made by Foerster in 1872 and was used by W. Horak in his edition: Lai von Melion, Z. R. P., VI, 94 f. 4 Cf. p. 5, notes 2 and 3. 6 On the value of this manuscript cf. L. Constans, Le Roman de Thebes, tome II, p. cxl (S. A. T. F., 1890).

T H E MANUSCRIPTS AND THE EDITION

7

nately have survived the original. Gaston Paris in his article concerning our romance, in volume X X X of the Histoire Litteraire de la France (p. 161), says that he read the Gliglois in a carefully collated copy of the Turin manuscript, which had been loaned to him by Wendelin Foerster, who proposed to publish it. In fact an edition was announced for many years before Foerster's death (1915) as being in preparation for his Romanische Bibliothek, "nach der einzigen jetzt zerstörten Turiner Handschrift." 1 In 1921, when I was upon the point of proceeding from Paris to Bonn to consult with Dr. Foerster, son of Wendelin Foerster, as to the whereabouts of the precious copy, what was not my surprise to learn from Professor E. S. Sheldon of Harvard University, who had been following my researches, that it had come into the possession of the Widener Library of Harvard College in 1920! Its acquisition was due to the farsightedness of Professor George L. Kittredge, to whom the possibility of its purchase had been indicated by Professor J. R. Reinhard, who had had occasion to deal with Dr. Foerster the year before in another matter. The series of documents relating to the Gliglois which were formerly in Foerster's possession, and which are now contained in a portfolio bearing the shelf mark 27271.57 F* in the Widener Library, now call for a careful inventory. I shall refer to them as F, M, F1, F2, and F3, and shall describe them in that order: F consists of three large sheets, double column, 34 lines to a column, containing the first seventy-two (1-72) and the last sixty-two (2881-2942) verses of the Gliglois, in Foerster's hand. This copy was apparently made by Foester directly from the manuscript, and seems to have been an experiment, for he has reproduced in the margin, simulating the hand of the scribe, several readings concerning the transcription of which he was in doubt. There is no punctuation, no textual criticism, and Foerster apparently had nothing more in mind than a diplomatic copy of an incipit and an excipit of the poem. This copy may have been 1 This announcement appeared for many years on the yellow backs of the volumes of Foerster's Romanische Bibliothek.

8

THE

GLIGLOIS

made on a visit to Turin before that of 1872 (see under F1). An excipit of the Melion appears in Foerster's hand on the first sheet. Μ is a series of forty-seven sheets, double column, averaging thirty-one verses to the column, containing the entire poem minus the first seventy-one verses. This document is meant to be a diplomatic transcription of the original manuscript, and was completed at Turin, April 21st, 1875, by Professor J . Müller, who has signed his name with the date on the last sheet. Foerster himself says of i t : 1 "Vor zwei Jahren shickte mir mein verehrter Freund Prof. J . Müller in Turin, eine vollständige, diplomatische Abschrift desselben." M, as will appear, becomes an extremely important factor in our edition. It is regrettable that Müller was not a more experienced paleographer. His errors and careless omissions are numerous for the first 800 verses, but thereafter become progressively fewer and are almost entirely absent toward the end. F1 is a complicated document, and its description is somewhat difficult. In the first place, it is not, as I had at first supposed, the copy of some 300 verses of the beginning of the Gliglois which Foerster says that he himself made in Turin in 1872.2 I have found no trace of this in the portfolio. Perhaps Foerster, writing some years later, merely had in mind his transcription of the incipit and excipit referred to above as F. In any case, F\ which is written on two large sheets in five and one half columns of about 56 verses to a column, represents a transcription by Foerster in a very neat hand of F and Μ down to verse 314, with a line of demarcation drawn after verse 72, the end of F. Foerster here reproduced Μ (vv. 72 f.) with its faults, leaving blanks in the text where passages were unintelligible or illegible, placing question marks after doubtful readings, with a query, as, for example, between verses 226 and 227, as to the existence of a lacuna in the 1 Z. R. P., I I (1878), 77 f. Ibid.: Ich hatte mich im August 1872 eingehend mit der Hs. beschäftigt, den Melion sowie eine Aventure du Roi Artus und den Anfang des Gliglois, etwas 300 Zeilen daraus copirt, den Rest in der Hs. durchgelesen. 2

THE MANUSCRIPTS AND THE EDITION

9

manuscript. This document was then sent to Professor Müller in Turin to be collated with the manuscript, and was collated by him and returned to Foerster, as a note in Müller's hand at the end indicates. He there informs Foerster that he has compared the document with the original manuscript and will continue the collation further as time permits, and that he is having less difficulty in deciphering the manuscript. In fact this collation clears up many difficulties, especially in the portion (vv. 71-314) copied formerly by Müller (Μ). The marginal notes are in his hand, finer and rounder than that of Foerster. He verifies the lacuna at verses 106-107, rectifies verses 267-268, garbled by him in his first copy, reports in the margin that the faulty identical rhyme in verses 299-300 actually exists in the manuscript, fills in certain of the blanks left by Foerster, etc. Certain words of the original, still unintelligible to him, he reproduces in the margin, simulating the hand of the scribe. This document is, however, something more than a transcription of F and Μ down through verse 314 by Foerster with collation on the original by Müller. Foerster has there attempted some textual criticism in occasional marginal notes. In the beginning he explains his use of brackets and parentheses, and uses them where corrections are evident to remedy metrical defects. We do not have in F1, however, a finished edition of verses 1-314. Difficulties are indicated by Foerster without being solved either by him or by Müller's collation. The punctuation is only partially carried through. In spite of its complexity, F 1 is an important document for the edition, and practically eliminates F and Μ down to verse 314. Foerster and Müller executed it between April 21st, 1875, and August 30th, 1878, the date of F2, described below. We have no evidence to show that Müller continued his collation of Μ after verse 314, and no other notes in his hand are in the portfolio. Foerster probably found this method unsatisfactory and decided to carry out the collation himself for the remainder of the document.

ΙΟ

T H E GLIGLOIS

F2 is a series of notes on the margin of Μ in Foerster's hand made by him after collation of Μ with the manuscript. We know from a statement of Gaston Paris that Foerster had carried out this work,1 and in fact a date in Foerster's hand on the last sheet of M, August 30th, 1878, indicates when it was terminated. The nature of many of these marginalia shows that Foerster had seen the manuscript. Hopelessly garbled passages in Μ are rectified, omissions are supplied, missing verses are interpolated, etc. A series of marks and interrogation points indicates difficulties which the manuscript did not solve. Furthermore, certain notations seem to stand for conjectural criticism on Foerster's part, and there is a lack of uniformity and order. Occasionally corrections are merely written in a heavy hand over Μ tiller's faulty forms. Foerster would have undoubtedly distinguished his own personal notes from those which represent manuscript readings, but F 2 as it stands is fairly disconcerting to an editor who is attempting to get at the original. F 2 may be said to begin after verse 314, although it is almost certain that Foerster rechecked Müller's collation of F1. Its importance for the edition, even under the circumstances, is evident. F3 is a series of 148 sheets containing the entire poem (2942 vv.), single column, twenty verses to a sheet, neatly written in Foerster's hand. The first 350 verses have been polished by Foerster,2 and down to verse 314 represent a transcription and mise au point of F1. From verse 315 to verse 350 F3 is apparently a combination of Μ and F 2 ; but the document throughout is not punctuated. The portion 1-314 does not even reproduce the punctuation of F1. Rare marginal notes down through verse 350 are not continued. It will be seen that F3 in no wise represents the edition of the poem. In fact a close examination shows that it was very hastily thrown together, is full of errors in copying, and merely 1 H. L. F., X X X , 161: II [Foerster] en a fait prendre une copie qu'il a soigneusement collationnee et qu'il a eu l'obligeance de nous communiquer pour cette notice. 2 A note in Foerster's hand on the cover of F3 indicates clearly the nature of the document: "vollständige Abscrift vv. 1-2944 (Ende) bis v. 350 von Foerster gearbeitet."

THE MANUSCRIPTS AND THE EDITION

11

represents a hurried effort to get a readable version of the entire poem on paper, probably for communication to Gaston Paris. Its value after verse 350 is negligible for the editor, and F 1 and Μ offer a far more reliable base for verses 1-314, as do Μ and F2 for verses 315-350. I have rarely had occasion to mention F3, therefore, in the establishment of the text. F3 was written by Foerster, doubtless, between August 30th, 1878, and some time in 1888, when Paris' article appeared in the H. L. F. Such, then, are the documents contained in the Foerster portfolio. It has seemed advisable once for all to consider them in all their detail, since they are all we have to replace the medieval original. THE EDITION

In establishing the text of the Gliglois it has been the editor's intention to utilize to the fullest extent all of the documents cited above, according to their value, in an effort to keep as nearly as possible to the reading of the Turin manuscript. F1 for verses 1 314, and Μ (corrected by F2) for verses 315-2942, have served as a basis for the text. The Turin manuscript was a very fair one in spite of its late date. No effort at uniformity of orthography and no rectification of case violation or of grammatical detail have been attempted. Rhyme syllables have rarely been retouched, and then only where the scribal fault is evident or is indicated by the syntax of the older language. We have adopted the principle of admitting only verses having the number of syllables called for by the metre. In practically all cases the retouches have imposed themselves and would, we believe, have been made by any editor. In all cases of modification, the rejected readings of the basic manuscripts F1 and Μ (F2) have been listed at the bottom of each page of the text, in spite of recent editorial practice to the contrary, so that the nature of such modifications will be at once evident. In the matter of diacritical marks, accents, diaereses, etc., we have followed the practical

12

T H E GLIGLOIS

rules recommended by the committee of the Societe des Anciens Textes Frangais in its recent report.1 The abbreviations in the Turin manuscript have been reproduced in F and M. It has not been considered necessary to list them in detail. Μ'It has been constantly printed molt, the usual full form of the manuscript. The proper name Gliglois (Gligloiz) is very frequently found in full in the manuscript, but more often is represented as Gli. (once as Gligois). The abbrevation G. has been resolved as Gavain or Gamins, the constant unabbreviated forms. Both F and Μ show occasional scribal confusion of c and t, and r and t, as is common in late manuscripts, but we have not thought it necessary to list the cases. In substituting variant long forms of such words as avuec (avoecques), dont (donques), ainc (onques), etc., to accommodate the metre, we have first verified their use by the author elsewhere in his text. The following is a complete list of verses by number, in which readings of the basic manuscripts F1 and Μ (F2) have been retouched. Verses in which rhyme syllables have been altered are marked with an asterisk; and in the case of changes which are accompanied by a note, the number of the verse is given in italics: (1) As suggested by Foerster's critical note in F, which does not represent the manuscript reading: 12. (2) As suggested by Foerster's critical notes in Fl, which do not represent manuscript readings: 2, 23, 27, 32, 35, 69, 84, 93, log*, 127*, 138, 140, 141, 178, 185, 196, 198, 239. (3) As suggested by F3 in the portion worked over by Foerster: 163, 171, 190, 201, 209, 234, 260, 272, 279, 284, 301, 306, 329. (4) On the initiative of the editor: 21, 38, 58, 68, 99, 124, 143, 147, 183, 203, 223, 325*, 327, 328, 333*, 354, 358, 359, 367, 368*, 375, 398, 399, 420, 428, 434, 436, 438, 455, 456, 504, 506, 512, 523, 534, 535, 543, 547, 549, 5 5 ' * , 568, 57 1 , 576, 579, 593, 599, 600, 602, 611, 614, 615, 638, 639, 644, 662, 668, 706, 709, 713, 730, 740, 741, 745, 747, 753, 757, 782, 800, 803,807, 810, 818, 831, 840, 847, 854, 1

Compte Rendu de la stance tenue d Paris les 18 et 19 octohre 1925, Romania, LII, 243 f.

pion, 1926, pp. 3 f., also in

Paris, Cham-

THE MANUSCRIPTS AND THE EDITION

13

876, 895, 9°3, 9 2 5*, 978, 989*, 997; i o 6 3 , 1080, 1089, 1120, 1124*, 1138, 1163, 1207, 1227, 1235*, 1252, 1287, 1293, I3°9> I 3 2 6 . Ϊ33 8 , 1340, I374*> 1394, 140Q, 14*3, i 4 i 6 , 1421, 1435, 1453, ^ 8 2 , 1497, 1499, 1516*, 1569*, 1571, 1586, 1602, 1616, 1633, 1641, 1651*, 1664, 1674*, 1681, 1685, 1709*, 1712, 1719*, 1759, 1779, 1781, 1786*, 1801, 1807, 1814, 1832, 1843, 1871*, 1907*, 1911, 1929*, 1933, 1947, I 9 8 5 , !99 6 , 2016, 2046, 2065*, 2070*, 2071*, 2098, 2105, 2118, 2125*, 2148*, 2150, 2176, 2198, 2242, 2291, 2325, 2330, 2346, 2350, 2409, 2438, 2448, 2490, 2493*, 2 5 1 2 , 2527, 2545, 2546*. 2549, 2579, 2596*, 2675*, 2680, 2773*, 2841, 2846, 2868, 2884, 2885*, 2886*, 2911*, 2913, 2929*, 2930*. In the following verses Roman numerals in the manuscript have been transcribed into the modern French equivalents: 1 10, 21, 81, 100, 18a, 182, 183, 235, 316, 380, 416, 691, 739, 773, 850, 881 (sept), 920, 1010, 1182, 1183, 1369, 1388, 1424, 1516, 1565, 1574, 1625, 1766, 1793, 1876, 1907, 1911, 2020, 2046, 2069, 2095, 2174, 2346 (trois), 2399, 2480, 2522, 2539, 2584 (soixante, trois), 2629, 2813. A space has been left in the text at each point where a passage of the manuscript was introduced by a capital letter. T h e foliation of the Turin manuscript is indicated in italics in the margin to the right of the text. 1 In accordance with the rules recommended by the committee of the S. A. T. F. Cf. p. 12, note i.

II ANALYSIS OF THE POEM 1

GLIGLOIS is son of a German chatelain. Endowed with excellent qualities, at the age of fourteen he understands thoroughly hunting dogs and birds, and woodcraft. His father decides to send him to King Arthur's Court in "Bretaigne" (Great Britain) to take service with Gauvain and to be dubbed knight. He is richly fitted out, takes along a goodly supply of wealth, and with two companions travels day and night until he arrives at Carduel in the month of May. (Vv. 1-42.) He enters the castle and finds Gauvain playing at backgammon with a knight. Gliglois kneels before him in homage, and Gauvain immediately retains him to perform his apprenticeship in arms, even before he learns who he is. During his first three months at court, Gliglois endears himself to the king and to all of the courtiers because of the earnestness of his service, his knowledge of "bois et rivieres et esbanoiz," his skill in jousting, and his generosity. (Vv. 43-91.) At the festival of Pentecost, King Arthur holds full court in Carhaix. Fifteen kings, thirty counts, and many other nobles from far and near come to celebrate the occasion. King Arthur and his knights, clothed in silk, go through the streets, which are covered with rich tapestries, to attend service in church. After the service the king and queen (who is not named in the poem) 1 An analysis of the Gliglois with several short extracts was published by Gaston Paris in 1888 (Η. L. F., XXX, 161-170). Since then this has served as a basis for the discussion of the sources and literary relationships of the poem. As Paris' analysis does not closely follow the text (then unedited) nor refer to it systematically, and as it does not bring out all of its interest for the cultural history of the times, it has seemed to me that it might be useful to give a more thorough account of the poem somewhat in the manner of Charles V. Langlois for the romans d'aventures in La Vie en France au Moyen Age — d'apres des romans mondains du temps, Paris, 1926.

ANALYSIS OF THE POEM

are crowned, surrounded by their barons. The author cuts short the description of the ceremonies to come directly to his story: " D ' u n varlet et d'une pucelle, Qui molt fu biax et eile belle." (Vv. 92-133.) During the dinner which follows the ceremonies, a maiden very richly dressed rides into the banquet hall upon a "mulet bon pour anbler," and stops before the king. Gauvain jumps up to aid her dismount. She, however, addresses the king directly. She has come to court to serve him. The king welcomes her and bids his nephew Gauvain to accompany her to the queen, under whose special care she is thenceforth to be. On the way through the "salle longue et belle" she tells Gauvain who she is. She was born at Landemore, is an orphan, the younger of two sisters. Her name is Beaute. Gauvain offers her his service, which she accepts with reserve. He then presents her to the queen, transmits to the latter the king's instructions, and asks the queen that Beaute be given special consideration for his sake too. The queen replies that the maiden will be well served because of her great beauty, and that she will not be envious of her. (Vv. 134-208.) Gauvain leaves them. But he has fallen in love with Beaute at sight ("priz a laz courant") and returns to the queen's apartment to seek her love immediately. Beaute rises to meet him, and then Gauvain seats himself on the bed between her and the queen. He makes his declaration to Beaute, which she refuses. She has not come to Arthur's Court to love any knight. Gauvain, ashamed at this rebuff, appeals to the queen for aid, reminding her of his numerous services. She chides him for falling in love so easily and bids him moderate his passion. Let him strive by arms and chivalry to conquer Beaute. She promises him to do what she can to further his suit. (Vv. 209-334.) As Gauvain returns through the hall, Gliglois approaches, his garments torn and pierced by jousting. After committing Gliglois to secrecy, Gauvain tells him of his love for Beaute. Gliglois' counsel is that he make his love known to her "par un bon messaige." Gauvain then bids Gliglois to serve Beaute henceforth in

ι6

THE GLIGLOIS

the queen's apartments as "ecuyer tranchant." She will not fail to remark this attention. (Vv. 335-404.) Gliglois accepts the service joyfully. He enters the ladies' apartment to offer the water for washing before the meal. T h e queen felicitates Beaute upon having as squire " l e valet le plus saige Qu'ainc ve'issiez de son eage," and emphasizes the great " courtoisie " that Gauvain has shown her. Beaute does not reply. Gliglois, distracted by her beauty and hauteur, forgets to carve the viands before her. She gives him a look of reproach, and he, much ashamed, resumes his carving. In his turn he has fallen in love with her, but, he asks himself, is not this disloyalty to his master, Gauvain? T h e queen praises Gliglois' qualities and again insists on the honor which Gauvain is doing Beaute in placing him in her service. Beaute remains silent. (Vv. 405-498.) Gliglois returns to his quarters, but sleeps little during the night. He debates upon his disloyalty to Gauvain. The following day he serves again before Beaute, but as he reflects upon his plight he forgets to carve. This time she calls him to order. He decides not to yield his love, but to love Beaute whether she will or not, and to continue his service. " Ge say bien que par biel servir C'on recouvre amour mainte foiz." (Vv. 499-607.) A t court Gliglois is the only squire who is versed in the art of falconry. Early one morning he goes into the garden to attend to his hawks. Beaute, who cannot sleep, gets up, clothes herself lightly, and goes out into the garden. As Gliglois feeds a hawk he catches sight of her. He notes that she is having some difficulty in lacing her robe at the side and offers his services. She accepts, and as he kneels before her she rests her arms upon his head. He is so distracted when he sees her white skin that he forgets to proceed with the lacing. Beaute calls him to order. When she demands an explanation of his conduct, he confesses his love to her. She flies into a rage and bids him never again to appear in her presence. (Vv. 608-718.) He retires to his bed overcome with shame and remorse because of his disloyalty to Gauvain. He debates as to whether he will

ANALYSIS OF THE POEM

17

leave court or whether he will again appear before Beaute. He decides to return to the ladies' apartments at meal time. If Beaute does not have pity on him, he will kill himself. A s he serves before her she pays no attention to him, and he is overjoyed. (Vv. 719-785.) Some time later a messenger arrives, rides through the castle right up to the queen's apartment, dismounts, and proposes to the queen a tournament offered by "Chelle de l'Orgilleux Castiel." Let each of the knights be present with his "amie." The queen sends Gliglois to summon Gauvain to act as guarantor for the tournament. Gauvain, pleased at this opportunity of showing his prowess in arms before Beaute, urges the queen to accept the invitation, and it is Gliglois who concludes the arrangements. (Vv. 786-866.) Preparations of ladies and knights for the tournament. Gauvain has 140 lances colored and has Beaute's portrait painted on the inside of his shield as an inspiration to feats of arms. A week before the date set for the event, Gliglois returns home, renews the clothes and equipment of himself and his companions, and replenishes his wealth. He remains with his parents but one day, and then returns to Arthur's Court. Gauvain greets him and urges him to serve Beaute to the best of his ability. Gliglois says to himself that he loves her better than does his master. T h e queen greets Gliglois, but Beaute takes no notice of him. (Vv. 867-1018.) Continued preparations at court for the tournament. T h e night before the departure, Gliglois richly entertains his companions and distributes generous gifts. Gauvain summons all of his squires and assigns to each his task. Much to Gliglois' astonishment, Gauvain bids him remain behind to care for the hawks. He returns to his quarters and curses the day when he learned the art of falconry. He declares that the birds may die; he will not feed them. (Vv. 1019-1084.) All set out early in the morning; Gliglois alone remains. He consoles himself and decides to feed his birds. As he passes through the apartment of the ladies he notices Beaute seated at a

ι8

THE GLIGLOIS

window. She has refused to accompany Gauvain, not wishing to be considered his " amie." Gliglois offers to find her an escort, and outside the castle he meets a chevalier, richly equipped, riding rapidly along with sixty squires. He carries a hawk on his wrist. Gliglois obtains without difficulty his consent to escort Beaute. She mounts and they ride away, leaving Gliglois behind. (Vv. 1085-1244.) Gliglois quickly decides to follow on foot without his cloak. The weather is warm and the pace rapid. After a league, the knight notices Gliglois. Beaute refuses to allow him to mount, in spite of the knight's repeatedly expressed desire that he do so. Gliglois throws off his outer garment and leaves it. After a while he puts aside his shoes. The hard ground causes his feet to bleed. Beaute pays no attention to his suffering but jokes with the knight Aharer, who feeds his falcon ("D'un oisiel gorge li faisoit"). It is agreed that the falcon is to be given as a reward by Beaute to the knight who triumphs at the tournament. She accepts the bird and places it on her wrist. When two thirds of the journey have been traversed, Gliglois is reaching the limit of his endurance. Beaute is unrelenting. (Vv. 1245-1403.) They approach a small chapel by the roadside and Beaute proposes that they stop to pray. Aharer sends his squires on ahead; Gliglois holds Beaute's horse. She enters the chapel and finds the monk writing, "car d'autre cose ne vivoit Se de chou non que il escrist." She dictates to him a letter which he writes in Latin on parchment. They set out again. Gliglois' feet bleed and he flinches. The knight in pity rebels and threatens to dismount and accompany him on foot. Beaute then speaks with Gliglois alone, but cannot persuade him to return. If they outdistance him, he will kill himself with his knife. When Beaute sees that she cannot overcome his obstinacy, she places a signet ring on his finger, and gives him the letter with the command to take it to her sister, who lives in the Castle of Landemore close by, and to bid her carry out its instructions to the smallest detail. Beaute and Aharer continue their journey to join the king, leaving Gliglois by the roadside. (Vv. 1404-1606.)

ANALYSIS OF THE POEM

19

Gliglois soon locates the castle in the middle of a meadow. He meets the provost of the region, who takes him up behind him on his horse and then directs him to Beaute's sister. The letter is presented to her and she is shown the "enseignes" of the ring. She summons a chaplain and has the letter read. She is directed therein to make a knight of Gliglois, give him arms and retinue, and send him to the tournament. Gliglois dines and retires to bed. The provost departs in search of thirty knights and equipment. Beaute's sister bids her maidens prepare a warm bath. She wakes Gliglois and bathes him herself. He is clothed in rich attire (described in detail). After midnight the provost arrives with the knights and all swear to serve Gliglois as their lord. Beaute's sister then acquaints Gliglois with Beaute's love for him and sends him and his men to the tournament. (Vv. 1607-2016.) Gliglois and his companions proceed on their way singing. The provost rides beside him giving him instruction. They agree to send on ahead ten of their squires to take up quarters. No expense is to be spared, and minstrels and jongleurs are to be invited to visit them in the evening. Gliglois' name is to be kept secret. When the advance guard arrives at the castle, they find that Arthur and his retinue have completed their installation and that the town is full to overflowing. A bourgeois, " qui la vile avoit a garder," directs them to a "grange" surrounded by a moat, outside the city, but in plain sight of Arthur's quarters. They rapidly complete their preparations and supply the kitchen with fine foods and wines. The curiosity of all in the castle is aroused, and all await eagerly the arrival of the unknown knight. Gauvain sets out to meet him, but, deceived by his rich following, fails to recognize him. Beaute alone knows who he is. At Gliglois' quarters a rich dinner is served and minstrels, jongleurs, "prisons," and "croisies" are welcomed in great number. All receive splendid gifts. After dinner lights are lit and there is music. Nothing is neglected, not even the "fruit al nuit al gesir." No one has spent half as much as Gliglois. Finally beds are prepared and the knights retire. (Vv. 2017-2326.)

20

THE GLIGLOIS

T h e Dame de l'Orgilleux Castiel has spared no effort in assembling knights for the tournament. The opponents of the knights of the Round Table are three times more numerous than the latter. The King of Wales has come largely on account of his son, a new knight, who has a following of three hundred. King Arthur has ordered the gates of the town closed so that his knights may not sally forth rashly. He wishes that those outside come forward to the lists. In the morning, bright and clear, his knights inside, fitted out, hold themselves in readiness. (Vv. 2327-2366.) Gliglois, outside the city, has a free hand. He and his companions attend mass in a chapel outside the walls. Those who wish partake of a light breakfast, and then all equip themselves for the fray. Those on the other side of the town are already out looking for trouble. T h e provost arms Gliglois and gives him the accolade. He mounts on his steed Ferrant; ten squires mount with him and bear his lances. The provost explains the plan of attack and defense. (Vv. 2367-2440.) T h e first joust is gained by Gliglois, who unhorses his adversary and seizes his mount, much to the joy of the spectators. T h e ladies now appear on the walls of the town to follow the jousting. Gliglois takes two more horses. Those inside the castle blame King Arthur for keeping them shut up. T h e King of Wales and his band now beset Gliglois' men, and Gliglois turns back and joins the melee. All grant him the prize of valor. T h e gates of the castle are at last opened and Girflet with two hundred men issues forth in the rear of the opponents. Gliglois takes two knights prisoner and receives their foi. B y afternoon he has taken more horses than any two knights. Finally the son of the King of Wales rides up on a "destrier d'Espagne." Gliglois rushes to meet him on Ferrant. T h e King's son strikes first, but the counter stroke unhorses him and brings him down dead. In the melee which ensues, Gliglois and his men are outnumbered five to one by the companions of the king's son, and in the thick of the battle the King of Wales seizes the bridle of Ferrant and leads Gliglois away a prisoner. He is forced to give his word that he will present

ANALYSIS OF THE POEM

21

himself to the queen and say that the King of Wales is sending her the best knight in the tournament. The king then learns of the death of his son, and those of Wales withdraw bearing the son's body on a shield. (Vv. 2441-2639.) Gliglois and his men draw away to disarm as the entire court comes up. Beaute arrives on a mule, places the prize of valor, the falcon, on Gliglois' wrist, and kisses him. The time before dinner is spent by Gliglois in dividing horses and booty among his companions, and among " prisons " and " croisies " as well. After dinner he presents himself at court. King Arthur embraces him and retains him as a member of his table (the Round Table). The queen, accompanied by Beaute, takes him to her chamber, where all sit upon an ivory bed. Shamefaced, Gliglois delivers the message of the King of Wales. The queen guesses that he is Gliglois, and Beaute explains the situation. She wanted to put him to the test because she loves him. The queen is delighted with the match and promises Beaute "bone rente, fief et terre et iretage." The circumstances are then explained to King Arthur and Gauvain. The king has already identified Gliglois, and retains him in his "maisnie." When Gauvain hears that Gliglois and Beaute are affianced, he is at first saddened, but then generously urges the king to consent to the marriage and reward them. He perceives that his love is not as serious as he had thought. Beaute kisses Gliglois to seal the engagement. The marriage will take place in Carduel and there will be a great festival. (Vv. 2640-2902.) The author then draws the moral of the story, in the manner of the lyric poets: perserverance and long suffering through trial in "fine amour" bring their ultimate reward: Amors fait mainte gente fremir, Mais bien le sait al loins merir. Amours set bien homme grever; Amors li set gueredonner. Gliglois' experience proves this.

(Vv. 2903-2942.)

III LITERARY BACKGROUND OF THE GLIGLOIS

THE metrical romance of Gliglois was preserved until 1904 in a unique medieval manuscript. In spite of its merit, it does not seem to have been well known in the Middle Ages. It has left no trace in the prose literature, and there is no evidence to show that it was known outside of France by translation or adaptation in any foreign language. U p to the present time no sure reference to it has been found in medieval French or Provencal literatures, which are so rich in allusions to celebrated romances. The name of Gliglois does not figure in any of the lists of knights of the Round Table from Erec et Enide down through the prose romances, lists which give us an insight into the importance of the lost literature of the Arthurian cycle. Mestre Requis, author of the romance of adventure Richars li Biaus, written about 1275, in the opening verses of his romance ( w . 1-32) proclaims that the conte which he is about to tell is infinitely superior to a number of well-known works: Seignour, un petit m'entendes; En entendant, sens aprendes. Car chilz qui ot et riens n'entent, Ch'est chilz qui cace et riens ne prent. Mes pourpoz est, do>nt ie weil dire, Telz c'on ne puet de millour lire. Ains Ii contes de Lanselot, D'Erech ne de Bielliennort, De Maden ne de Piercheual, D'Ieuwain, de Keu le senescal, Ne de Cliget ne de Clipois Ne ualurent pas .1. liegois, Ne li rois Mars ne dans Tristans, Que ceste ne uaille .X* tans. Pour nient oriez de Charlemainne Qui en Espagne ot mainte painne

L I T E R A R Y BACKGROUND OF THE

GLIGLOIS

23

Ne de Rollant ne d'Oliuier Ne dou due Namlon ne d'Ogier Ne de Gerart le Vienois Ne dou bon Berart l'Ardenois, Ne Bauduin ne de Sebille, D'Alixandre le roy nobille Ne d'Izembart ne de Guillaume Qui tant paiien fri (sic) sour hyaume Ne d'Aimmery le sien chier pere, D 'Orson ne d'Ughe son compere, De Parise ne d'Ughechon Ne de dame Aye d'Auignon — Tout chil que ie uous ai conte N'ont de ualour ne de bonte Vaillant .II. nois enuiers chestui Dont uous m'orres conter ancui. This list contains, among a number of references to medieval literary works which may be readily identified, some obscure allusions, and in verse 11 we find the name Clipois, which Foerster in his edition of the poem does not explain. 1 Gaston Paris proposed to read in place of Clipois, in rhyme with liegois, Gliglois, and saw therein a reference to our poem.2 The unique manuscript of Richars li Biaus, like that of the Gliglois, was destroyed by the burning of the Library of the University of Turin in 1904, so that verification of the passage is now impossible. Paris' emendation is an attractive one and would place the Gliglois in very distinguished company, but unfortunately it is only a conjecture. The Gliglois is a biographical romance of the second epoch (thirteenth century), loosely and superficially connected with the cycle of King Arthur and the Round Table. It is one of about twenty of the sort which have come down to us, the best known of which from the thirteenth century are Meraugis de Portlesguez, Durmart le Gallois, Meriadeuc ou le Chevalier as deux Espees, Guiglain ou le Bel Inconnu, Yder, Fergus, and Claris et Laris. All of these romances were doubtless modeled more or less directly on 1 2

W. Foerster, Richars li Biaus, Vienna, 1874, p. 153. Romania, IV, 479.

24

T H E GLIGLOIS

biographical romances of the twelfth century, the Tristan poems, and those of Chretien de Troyes: Erec, Yvain, and especially Cliges and Perceval. However original the Gliglois may have appeared to Foerster and Gaston Paris, 1 who were the first to consider it, a close study of its plot reveals that its author utilized fully, though skilfully, themes that were going the rounds, the materiel roulant of his epoch: the noble youth, endowed with the finest qualities, versed in the knowledge of dogs, falcons, and woodcraft, who comes from a distance to Arthur's Court to be dubbed knight; the taking of service with the king's nephew Gauvain; the extreme generosity of the young squire; the arrival at court of the young lady on a mule; the enamourment at first sight; the celebration at Pentecost; the traditional traits of character of Gauvain; the contest between Gauvain and the hero, here not in tournament, but for the love of the heroine; the supreme haughtiness of the heroine toward the squire of low degree; love distraction and love sickness; the tournament proposed and guaranteed; the hawk awarded as prize of valor; the test of love, tinged with a certain originality in the Gliglois·, the r61e played by the two sisters; the providing of arms for her lover by the lady; the picture of the town full of folk on tournament day; the unknown knight at the tournament who proves his worth over all the others before the eyes of his lady, who alone recognizes him; the queen's part in the affiancing of hero and heroine; the retention of the hero in Arthur's "maisnie" as a member of the Round Table; the marriage festival at Carduel. Step by step, then, following these themes which make up completely the plot of the Gliglois, the reader will readily see that the author's invention consists in the rearrangement of commonplaces and motifs which were in the air, and in the new combination of widely separated details which produced the effect of originality. 1

Foerster suggested that the Gliglois might be based on actual happenings. Cf. Kristian Von Troyes, Wörterbuch zu seinen sämtlichen Werken, Halle, 1914, pp. 127 f. Gaston Paris repeatedly maintained that the Gliglois is not based on traditional material. B. L. F., X X X , 161 f.; Esquisse d'histoire lilliraire de la France au moyen-dge, pp. 1 1 5 , 1 2 1 f.

L I T E R A R Y BACKGROUND OF T H E GLIGLOIS

25

The allusion of the author to a source (v. 1406), "Ensi comme li conte dist," is not to be taken seriously. The medieval romancers who do not refer vaguely to a conte, istoire, livre, or matiere or to letres to give their work a semblance of authority are rare, and even when they dared invent their subject matter they carefully disguised that fact from their public. The author of the Gliglois was undoubtedly well read in the literature of his time, although with the exception of the classic citation of Tristan and Yseut (vv. 339 f.) we do not have a reference, direct or indirect, to any work. We have not found any romance which served the author as an immediate model. However, certain episodes of the Gliglois and the manner of their use do suggest reminiscences of more than one famous work, which, because of their widespread popularity, must have been known to him. The name Gliglois as it appeared in the rubric of the Turin manuscript cited in Stengel's account,1 "C'est de Gliglois comment il eut grant painne pour s'amie," caused Gaston Paris 2 to think of Giglain (Guinglain), hero of Le Bel Inconnu of Renaud de Beaujeu, and the German Wigalois. Kolbing,3 in his study of the cycle of the Bel Inconnu, did not investigate Paris' idea and was taken to task for it by Stengel,4 who was evidently of the opinion that there was a relationship between that cycle and the Gliglois. Foerster was the first to read the Gliglois in the manuscript, and denied any connection between the two,5 and Paris, who utilized Foerster's copy of the poem in redacting his article in the Ξ. L. F. ( X X X , 161-170), agreed with Foerster. The Gliglois, he says, "ne contient certainement aucun element traditionnel." On the other hand, Professor W. H. Schofield refused to be satisfied with these judgments and, basing his observations solely 1 E. Stengel, Mittheilungen aus Französischen Handschriften der Turiner Universiläts-Bibliothek, Halle, 1873, p. 10. 1 Romania, III, 109 f.; IV, 47g. 3 Quelle des Mittelenglischen Gedichtes Ly beaus disconnus, in Englische Studien, I, 121-169. 4 In his review of Kölbing's article in Ζ. R. P., I, 486. ' Ζ. R. P., II, 77·

26

T H E GLIGLOIS

on the summary and extracts published by Paris, was of the opinion that the author of the Gliglois, when he placed the action of it within the framework of the Round Table, " l e f t the incident in the same setting in which he found it, merely telling at greater length and with increased charm an old story of the hero whose name forms the title of his poem, and who is none other than Wigalois, Perceval li Galois, who elsewhere became best known as Li Beaus Disconneus." 1 Professor Schofield brings forward several episodes from the cycle in support of this idea: from Peredur of the Mabinogion, the supplying of splendid equipment to Peredur by the princess, and his triumph at the tournament as a knight known only to her; from Carduino, the coming of the youth of noble birth to Arthur's Court, his taking service with Gauvain, the arrival shortly afterward of the beautiful maiden whose mother and father are dead, and who, with her sister, is heir to a vast land; from the main theme of the French Le Bel Inconnu, certain other general resemblances. It is not unlikely that the author of the Gliglois was acquainted with the themes of this cycle, but we are convinced, after a careful study, that it was not in the least his intention to reproduce that legend in his poem, which, aside from the several incidents that may be regarded as commonplaces, is totally different in conception from the poems of the Bel Inconnu cycle. Especially is this difference marked when we consider the French romance Le Bel Inconnu of Renaud de Beaujeu. Gliglois is in no sense a " b e i inconnu," he is not the son of Gauvain, his mother is not a fairy, his parentage is well established before and after he arrives at Arthur's Court. Furthermore there can be no possible relationship between the long series of mystifying and supernatural adventures of Le Bel Inconnu, including the fier baiser and the intervention of fairies and sorcerers, and the simple, natural and realistic plot of the Gliglois. A number of the biographical romances bear a general resemblance to the Perceval of Chretien de Troyes in their beginnings, but the early youth of Gliglois is 1

Studies and Notes in Philology and Literature, Boston, 1895, IV, 180 f.

L I T E R A R Y B A C K G R O U N D O F T H E GLIGLOIS

27

hardly touched upon, and has little or nothing in common with that of either Perceval or the Bel Inconnu. The theme of the sisters in the Gliglois,1 on the other hand, might well have been suggested by Melior and Urraque of the Partonopeus de Blois. Melior provides her lover with everything both before and after he leaves her. Melior's apparent cruelty toward Partonopeus distantly resembles that of Beaute toward Gliglois. Urraque, Melior's sister, furnishes Partonopeus with arms, he is later recognized among the combatants at the tournament by Melior, and the romance ends with the conventional happiness. In our opinion the Gliglois seems closer to the Partonopeus de Blois in these details than it does to the romances of the Bel Inconnu cycle. A s to the proper names in the Gliglois, which Professor Schofield seems to include in his argument, they are relatively few in number and do not shed much light on the question. Gliglois, it is true, bears a certain resemblance to Guiglain, Wigalois, etc. Aharer, who escorts Beaute to the tournament, is not mentioned in any other romance. Girflet (son of Do) is a well-known knight of the Round Table. Landemore is a place name which appears in the Meraugis and the Fergus. Chastel Orgueilleux (Orgilleux Castiel) figures in the Perceval. The choice of the name Beaute for the heroine is easily explicable. Love in all these romances is a sudden passion inspired by beauty, whose power is irresistible and which almost immediately renders the hero slave of his lady. Such was the fate of both Gauvain and Gliglois in our romance. Beaute 2 quite naturally takes her place alongside of 1 This motif occurs elsewhere — for example, in the Mule sans Frein. It might well be that the roles of Dido and her sister Anne of the Roman d'Eneas account for variations of the theme in our romances — for example, the episode of the two orphan daughters of the Sire de la Noire Espine in Chretien's Yvain (vv. 4704 f.). 2 The name Beaute figures in the episode of the Amazons in the Alexander romance. Cf. H. Michelant, Li Romans d'Alixandre, Stuttgart, 1846 (Bibl. Lit. Ver. 13), pp. 447-458. Beaute and Flore are two young virgins sent with rich presents by the queen of the Amazons to Alexander on a mission to offer him the sovereignty of the land. They become affianced to two of Alexander's generals. There is no reason for supposing that the name Beaute was suggested to the author of the Gliglois by this romance.

28

THE

GLIGLOIS

Blonde Esmeree, Blonde d'Oxford, Ydoine, Lidoine, Soredamors, Flor Desiree, and so many other idealized heroines. On the other hand, certain of the episodes which make up the plot of Amadas et Ydoine are closely paralleled in the Gliglois and merit attention. Amadas, serving as "ecuyer tranchant" to the duke's daughter, Ydoine, is so struck by her beauty that the knife falls from his hand and he faints. In Gliglois the theme is thrice repeated. Under the same circumstances, Gliglois is so lost in wonder at the beauty of his lady that he forgets to carve (vv. 458 f.). A look of reproach from Beaute causes him to resume his service. After a sleepless night, the following day he again pauses distractedly in his carving. Beaute commands him to proceed (vv. 578 f.). Some time later in the garden, Gliglois helps Beaute lace her robe, but is so impressed by the sight of her white skin that he interrupts the operation in a daze. Under her reproach he declares his love and is promptly banished. The monologues and reflections of Amadas and Gliglois in these situations are quite similar. The episodes are, however, only variants of the old story of Joseph and Suleika, which appears in many literatures, ancient and modern.1 Yet, they assume for us a certain importance in our comparison when we note other points of similarity between the two romances. They both utilize the 1 Cf. Reinhold Köhler in Germania, X I V (1869), 243 f.; ibid., X X V I I I (1883), 11-14; A. Rambaud, La Russie Epique, Paris, 1876, p. 96, where many variations of the story are given. Neither its occurrence in Amadas et Ydoine nor in the Gliglois is mentioned in these works. The episode is also found in the romance Jehan et Blonde, where its similarity to that of the Amadas et Ydoine is so pronounced as to lead us to believe that Philippe de Beaumanoir knew and imitated it. In Jehan el Blonde one of the interviews of hero and heroine takes place in a meadow, and the details are somewhat suggestive of the scene in the garden in Gliglois where Beaut6 repulses Gliglois' love. Jehan et Blonde was composed some time after the Gliglois. The character of Beaute is much more interesting than that of the other heroines in this episode. Ydoine and Blonde are extremely naive and yield to their lovers' entreaties. A passage in the little poem Gautier d'Aupais ( w . 262 f.) seems also to have been inspired by this theme. It is while Gautier is serving his master as ecuyer tranchant before his daughter that his love for the latter becomes desperate, although the carving incident is omitted. The Amadas et Ydoine, to which allusion is made several times in the poem, might well be the source. J. J. Rousseau tells of himself an adventure in Turin, which is somewhat like this incident of our romances (Confessions, Part I, Livre III). W e wonder if he has not used his imagination and drawn upon this old story.

L I T E R A R Y BACKGROUND OF T H E

GLIGLOIS

29

themes of the haughty lady, the squire of low degree, and the test of worth of the hero by hardship and tournament. Professor Reinhard has dealt fully with these incidents in his recent work on Amadas et Ydoine, and has shown them to be common to many poems.1 However, in the case of the Gliglois and the Amadas et Ydoine, we can carry the comparison down to closer details: Gliglois and Amadas both threaten suicide in their despair; the interest of Gliglois' companions in his illness is much the same as that of Amadas' men in his malady; the host at Lucca in Amadas et Ydoine fits out Amadas for the tournament at Ydoine's request, and in her absence plays about the same role as does the sister of Beaute at Landemore; and Amadas, the unknown knight, gains the prize at the tournament, as does Gliglois. It seems almost as if the author of the Gliglois has rejected the supernatural and fantastic elements of the Amadas et Ydoine, and has imitated its rational situations. The resemblance here appears much closer than that between the Gliglois and the romances of the Bel Inconnu cycle upon which Professor Schofield insists. Let us, however, be satisfied with having pointed it out, and form no conclusions. We cannot be sure. The relationship of the romances of Chretien de Troyes to the later Arthurian romances has formed the thesis of numerous German doctoral dissertations. It is not our intention here to dwell at great length upon the similarity at many points between the Gliglois and these romances. We have reread them and looked in vain for textual borrowing. Love as a stimulus to deeds of knightly valor became a common literary theme following Chretien's Cliges. It furnishes almost the entire plot of the Gliglois. The romance of Alexander, father of Cliges, and Soredamors is not unlike that of Gliglois and Beaute. There is absent from it the magical and supernatural elements of the second part of the 1 J. R. Reinhard, The Old French Romance of Amadas et Ydoine: An Historical Study, Durham, 1927, pp. 18-44. The theme of the squire of low degree is found in Eracle, Gui de Warwick, Fergus among other romances; that of the haughty lady in Gui de Warwick, Hippomedon (La Fiere de Calabre), Blancandin (L'Orgueilleuse d'Amour), CMtelain de Coucy, Cliges (Soredamors); the test of worth is an extremely common incident, as Professor Reinhard shows (p. 42).

30

THE GLIGLOIS

Cliges, and we note in it the same terseness, unity, and compression as in the Gliglois, to the exclusion of sub-plots and lengthy descriptive scenes, which Chretien says repeatedly that he passes over purposely. He has not the same scruples, however, as regards long monologues and tiresome conceits. The reader knows at once that Alexander and Soredamors are both wounded by the same golden arrow, but they themselves do not know it until the end of the summer (vv. 1052 f.). The psychological situation is much more interesting and " m o d e r n " in the Gliglois, where the reader is kept in ignorance of B'eaute's real attitude toward the hero until well along toward the end of the romance. Short monologues are uttered by Gauvain and Gliglois, but we have none by Beaute. The women of the Arthurian romances have in general more individuality and are better able to control their feelings than those of the chansons de geste. Here the character of Beaute seems to depart further from the conventional and to mark progress in the direction of verity and naturalness. We cannot help thinking that there is a fairly close similarity of idea in the episode of the journey to which Enide was submitted by Erec in Chretien's Erec et Enide, and the trial through which Beaute put Gliglois during the journey to the tournament. In Chretien's poem, Enide's suffering is mainly mental. She is attired in her finest clothes and is riding her best palfrey, and Erec has some regard for her physical comfort. Nevertheless we believe that Erec's treatment of her was intended as a test of love and nothing else (vv. 4920 f.). Beaute's test of Gliglois' love for her (vv. 2798 f.), by physical endurance and the exercise of his will power, seems natural in view of the approaching tournament and by reason of the inversion of the roles. There is little in common between the Yvain and the Gliglois, and little that serves as basis for comparison between the Perceval and our romance. In the Perceval, the eldest daughter of Tiebaut de Tintaguel refuses to grant her love to Meliant de Liz until he shall have proved his valor before her eyes in a tournament (vv. 4819 f.). She watches the exploits of her knight, and cannot help singing his praises before the assembled ladies The test of

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31

worth here reminds us of Beaute's trial of Gliglois. In fact we have hardly to go outside of the romances of Chretien de Troyes to parallel situations, figures, and even verbal expressions of our poem. Much to our author's credit, he seems to have resisted close imitation and textual borrowing (others were not so scrupulous) , and to have contributed a certain variety and freshness to the conventional themes. We believe beyond a doubt that he was acquainted with Chretien's works, as were all serious authors of Arthurian romances in the twelfth and thirteenth centuries. T h a t the poet of the Gliglois was well versed in the theories of courtly love is evident from the general tone of the poem and from the lengthy moral which he draws (vv. 2903 f.) in the manner of the lyric poets, and in which he addresses to his readers, in reduced form, a code of love — the one which succeeded so well for Gliglois. Although this didactic strain makes us think of similar and more numerous passages of the sort in other rom a n c e s , — Partonopeus de Blois, Le Bel Inconnu, and Joufrois in particular, — Gliglois is less of a handbook of courtly love than others. One of the few well-developed figures in our poem appears to be an imitation of a strophe of a lyric poem of Conon de Bethune, who probably composed his poetry shortly before the Gliglois. We give here the two passages: Gliglois (Vv. 450 f.) Diex, fait-il, male flame m'arde S'onquez maiz vy plus belle femme. Se Diex ait part en la moie ame, Se g'iere en paradys entrez, Se me vozist amer Beltez, S'y venroye jou a ly droit, Ja tant seroit a grant destroit Revenir com seroit folie.

Conon de Bethune 1 Belle doce Dame chiere, Vostre grans beautes entiere Μ'a si pris Ke, se iere em Paradis, Si revenroie je arriere, Por convent ke ma proiere M'eüst mis L a ou fuisse vostre amis Ne vers moi ne fuissies fiere, Car ainc ens nule maniere Ne forfis Par coi fuissies ma guerriere.

1 Α Wallensköld, Les Chansons de Conon de Bithune, franiais du moyen age), p. 12, chanson V I I .

Paris, 1921

(Classiques

32

T H E GLIGLOIS

If the originality of the author of the Gliglois in regard to subject matter is then only apparent, in spite of the fact that we seem to have little or no servile imitation, his conception of an Arthurian romance seems to be unique. There is a Greek proverb which says that half is better than the whole, and we may apply this to the Gliglois as we compare it in length with many of the poems of the Round Table. It numbers barely three thousand verses.1 The author has been able to restrict his pen and avoid sub-plots and digressions that do not advance the main story. His centre of interest is less the incident than the hero, and what does not directly concern him and his love affairs has no place in his romance. The number of characters is unusually small. The tournament scene which forms the denouement is soberly but vividly described, and this theme, which is drawn out through three and four days in Cliges, Hippomedon, and other poems, is here limited to a single day.2 That this extraordinary unity and proportion is the result of a conscious effort seems certain, for there were no models to follow in this respect. The rational preoccupation of the author has furthermore eliminated the most characteristic feature of Breton romance, the marvellous and the fantastic. " Ce fu fable d'Artu et ςο fu faerie," says the poet of one romance. " L i conte de Bretagne sont si vain et plaisant," says another. Yet the author of the Gliglois does not admit this vanite, this incoherent suite of adventures of which the 1 There are several poems of the Arthurian cycle which are of smaller compass than the Gliglois. La Mule sans Frein numbers only 1136 verses, but it is an awkward combination of old fantastic motifs. The Chevalier a I'Epee has only 1206 verses, but it is a patchwork of well-known episodes in which the supernatural plays its part. Medieval romancers frequently praise brevity, but few attain it and keep the romance well proportioned. The author of the Durmart le Gallois says: Car cil n'est mie bons contere Qui trop alonge sa matere. (v. 6075.) Gaston Paris says of this remark: " Malheureusement, ici comme dans bien d'autres po^mes du moyen age, ces sages reflexions sur les avantages de la concision ne font que mieux ressortir combien la pratique est opposee ä la theorie" (Ξ. L. F., X X X , 143). 2 On the subject of the unknown knight at the tournament, cf. Gaston Paris, Journal des Savants, 1902, p. 499; Jessie L. Weston, The Three Days Tournament, London, 1902 (Grimm Library 1$); C. H. Carter, Ipomedon, 1909 (Eaverford Essays).

L I T E R A R Y B A C K G R O U N D O F T H E GLIGLOIS

33

extravagance borders on the absurd. It is certain that he has not drawn upon the Celtic tradition, that there is no folk-tale motif, and that there was no legend of Gliglois. T h e work shows no trace of Welsh or Breton sources utilized by other romancers. One other Arthurian romance only may be compared to it in this respect, the Durmart le Gallois, which, although more than four times as long, has also an exceptional unity and symmetry. But in the Durmart, if the supernatural element is nearly eliminated, the improbability of the incidents frequently borders upon the comic. There is nothing in the Gliglois which seems improbable to a modern reader. Gaston Paris appreciates this when he says, 1 "L'auteur, en placant son action dans le cadre des romans de la Table Ronde, lui a donne un caractere assez particulier: son ouvrage en changeant quelques noms serait tout aussi bien un roman d'aventure ou meme un roman au sens moderne." This will appear all the more unusual when we note that the later Arthurian romances in verse had a clear tendency to exaggerate the improbable and the fantastic. W e may see in the Gliglois, composed probably during the first half of the thirteenth century, signs of a new orientation in taste. Just as certain chansons de geste of the twelfth century show the influence of fantastic elements, presumably those of the romans bretons, — for example, Huon de Bordeaux, — the Gliglois departs from the conventional Arthurian romance of the thirteenth century and exhibits the effect of a rationalizing influence, of an interest in the real, which culminated in the second part of the Roman de la Rose. T h e growing predilection for the romances of adventure — the Chatelaine de Vergy, for example — is another result of this taste. Curiously enough we note this tendency in 1 B. L. F., X X X , 161. Paris remarks elsewhere (ibid., 16-17): Durmart et Gliglois sont tout a fait exempts d'elements merveilleux, et n'excitent notre interet que par le recit d'evcnements possibles, la peinture des caracteres et l'analyse des sentiments; il est vrai qu' evenements, sentiments et caracteres ne sont pas encore modeles avec rigueur sur la realite, mais ils s'en rapprochent dejä, et l'importance attachee ä des faits tout moraux, d'un caractere individuel, ä des nuances, ä des conflits intimes, est bien difierente de l'exposition tout extirieure et des grands partis pris qui caracterisent l'epopee.

34

THE GLIGLOIS

certain Arthurian romances in prose, the production of which was already assuming a certain importance before 1250. Although they show an even greater diffuseness and lack of unity than the metrical romances, there is in them a clear effort to rationalize folk-lore and fairy-tale elements. The romance of Gliglois offers with its unity of plot a smoothness which effectively conceals the patchwork of commonplaces. In general the simple plot is well motivated. There are only one or two reproaches that may be made against the author. No sufficient reason seems to bring Beaute to Arthur's Court. Gauvain, who prepares so carefully for the tournament, never plays a part in it. The hero of King Arthur's forces, besides Gliglois, is Girflet, and no others are mentioned. Everything seems to be set for a combat between Gauvain and Gliglois, the unknown knight, a decided feature of other romances. Gauvain's magnanimity and insignificance at the end of the poem strike us as being a bit unusual. The style of the romance is simple and natural. Figures are rare. The beauty of the heroine is not even given the conventional treatment. Her name seems to suffice, and she is merely compared several times to a rose. There are but few proverbs and proverbial expressions in the poem, and the Gliglois is of far less interest to the lexicographer than certain other romances. Decency of expression is at all times observed, and the author might have said with Raoul de Houdenc, although it is not always true in the latter's case, that the reader will not find in his romance un seul mot de vilonie. The Gliglois then carries through perfectly the ideals and the moral tone common to the majority of the poems of the Round Table, which are a decided compliment to the elegantes lectrices for whom they were primarily destined. Our poet has, perhaps, too conscientiously resisted the temptation to give us descriptive scenes of the sort, for example, that must have charmed the medieval reader of the Flamenca and other romances, and that fascinate the modern reader. Notwithstanding this simplicity, which at times seems exaggerated, we can fully en-

LITERARY BACKGROUND OF THE GLIGLOIS

35

dorse Gaston Paris' estimate of this work, which he finds charming and natural as opposed to the "longs romans ennuyeux." "On remarque," he says,1 "dans toute la conduite du recit et surtout dans l'execution, le goüt de l'observation reel, de la peinture, idealisee naturellement mais exacte en maint detail interessant du milieu oü vivait l'auteur et pour lequel il ecrivait. La langue est familiere, aisee et l'exposition souvent fort agreable. Le poeme se lit d'un bout ä l'autre avec plaisir." Although the mode of romances in verse had, by the end of the thirteenth century, given way to romances in prose and to new poetical genres, they were not entirely forgotten for a long time. A number of them were recopied in the fourteenth and fifteenth centuries. The Joufrois, for example, exists only in a fourteenth century manuscript. Froissart composed his Meliador in the fourteenth century. Christine de Pisan relates that she had read Durmart le Gallois. A manuscript of the Chätelain de Coucy is listed as having belonged to the library of Charles V. The unique manuscripts of Galeran de Bretagne and Eledus et Sirene are of the fifteenth century, and the manuscript (fifteenth century) which contains the Gliglois preserves also copies of the Meraugis de Portlesguez and of a portion of the Merveilles de Rigomer. However, it is certain that good fortune alone is responsible for the transmission of these romances in late manuscripts — double good fortune in the case of the Gliglois, which has, in nineteenth century copies, survived the Turin Library fixe of 1904. 1

H.L. F., X X X , 161-162.

IV THE POET

THE author of the Gliglois, faithful to the manner of so many medieval romancers, does not name himself nor give us any information in the poem which might enable us to identify him or determine his social position. In the closing verses we have no engin to challenge our powers of divination. The poet only rarely uses the first person and then in purely banal fashion ( w . 105, 548, 2488, etc.). His name will probably always remain unknown. Was he a professional trouvere or a gentilhomme trying his hand at narrative poetry in the fashion of Renaud de Beaujeu, Philippe de Beaumanoir, or the author of the Joufrois? We cannot say with certainty. He addresses no patron. His poem contains no historical references and remains purely idealistic from beginning to end. His reading must have been wide, although he avoids direct mention of it. He was thoroughly acquainted with the ideals of courtly love, and his romance was certainly written to be read in the chambres des dames, "ces cercles raffines de jeunes seigneurs et de jeunes femmes, grands connaisseurs de casuistique sentimentale," 1 a milieu which he seems to have known well, and which he appears to mention in verses 877 f., where, in speaking of the preparations for the tournament, he says: Cascuns a fait tout son pooir. Qui le pris en porra avoir Bien s'en pora tous jours vanter E t en canbres a dame entrer.

His poem must have made a special appeal to the feminine public for which the Arthurian romances were in the main destined, because of the predominant part played by love and the relief given the female characters. 1

J. Bedier, La Chdtelaine de Vergy, Paris, no date, p. ix.

T H E POET

37

The Gliglois, although only a mediocre composition, offers unity and extreme simplicity as its chief originality. In fact the author leaves us the impression that he was an amateur rather than a professional. The latter would have been only too ready to capitalize what really assured the success of the Breton romances : the marvellous, the fantastic, and the supernatural, features which doubtless occasioned the much greater popularity of the romances of the jongleur Raoul de Houdenc, probably a contemporary of our author. T h e elementary character of the versification of the Gliglois would also support the hypothesis that the author was not a professional trouvere or a jongleur de metier. However, as Gaston Paris says, 1 "l'histoire litter aire doit savoir gre ä l'auteur des efforts qu'il a faits dans ce sens: le roman entre dans une nouvelle voie, meilleure et plus conforme ä l'art que l'ancienne." 1 H. L. F., X X X , p. 151. Paris is speaking particularly of the Durmart le Gallois, but what he says also applies to the Gliglois, which he has grouped elsewhere with the Durmart. Ibid., pp. 16-17.

ν THE LANGUAGE OF THE BODY OF THE POEM A s the following analysis will show, the body of the text of the Gliglois exhibits very distinct dialectal traits. These features, as in the case of most of the manuscripts of medieval literary works, are not carried through consistently. Some are almost general, others are frequent; some are rare, still others unique. Even local charts and documents, although much more uniform in their dialectal traits, often show the influence of the literary language after the twelfth century. 1 As regards the Gliglois, which is doubtless of the thirteenth century, we cannot say how often it was copied before arriving at its form in our fifteenth century manuscript. Furthermore, the assigning of any exact locality to its dialectal phenomena is all the more difficult in that many of them are not limited to the speech of a small circumscribed area. The following is a tableau of the noteworthy linguistic features of the body of our text, as indicated by the graphic conditions. Most of the dialectal forms, let us repeat, appear alongside of central French forms. 2 Romania, X V I I (1888), 542 f. The remarks of Suchier on the Picard and Walloon dialects in his Aiicassin et Nicolette (9th ed., Heilbronn, 1922) have been fully utilized in this chapter. N o separate references will be made to that work. The chief characteristics of Picard and Walloon are known in detail from a series of works which have been of use here also: F. Neumann, Zur Laut und Flexionslehre des Altfranzösischen hauptsächlich aus Pikardischen Urkunden von Vermandois, Heilbronn, 1878; G. Raynaud, Etude sur le dial. pic. dans le Ponthieu, in Bibl. de l'Ecole des Ch., X X X V I I ; M . Wilmotte, Etudes de dialectologiewallonne, in Romania, X V I I (1888), 542 f.; X V I I I (1889), 209 f.; X I X (1890), 73 f. The thesis of F. Hummel, Zur Sprache und Verstechnik des Sone de Nausay (Berlin 1913), shows that the dialect of the body of the text of that romance closely approaches that of the Gliglois. Hummel's researches in the Atlas Linguistique are especially useful. D. Behrens, Materiaux pour servir d'introduction ά l'etude des dialectes franqais (Part I I I of the Grammar of Schwan-Behrens, 3rd ed., Leipzig, 1923, translated by O. Bloch) has been frequently consulted. 1

2

T H E L A N G U A G E O F T H E B O D Y OF T H E P O E M

39

L . c, initial or after a consonant, before a remains in general: canbre 890; caut 1267; caitis 1571; acater 1044, 1774, 2176, etc. There are relatively few exceptions: chambre 49; char 621, etc. L. c, initial or after a consonant, before e, ie (from L. a) remains (transcribed c, k, qu): mance 139; cemise 620; cief 1138; cier 2887; blanques 663, 1x79; kerqueray 1954, etc.; rice (Germ, k + i) 16, 103; ricement 19. Forms with ch are numerous: chier 8; chienz 12; chiez 619, etc. Chevalier always with ch. L. c, initial or after a consonant, before e, i is represented by c but often also by ch, as is also the case before any vowel for ci and for ti after a consonant: chil 5; merchy 33; cheler 1197; fache 2883; lanche 2502; douche 406; atendanche 531; serviche 533, etc. L. g 1 initial before a remains: gardin 614, 625, 647, etc. Τ (L. t or d) final unsupported often remains after e, ie, u of the accented syllable: 2 congiet 36, 335-,finet 128; piet 792; envoiet 806; gret 911, 1160; courut 1271, 1383; mangiet 1384; but 1384, etc. In most cases no intermediate sounds are indicated between a nasal and a liquid. (1) n-r: tinrent 8; engenra 408; venroit 740; menre 930; mainre 1038, etc. (the exceptions are rare: remaindre 1269). (2) m-l: forms of sanbler in most cases introduce the b, but sanlant 2262, 2268, 2753; sattle 1891, 2156. In general there is no intermediate dental between I and r: volra 1829; valra ig2q; faura 1786, etc.; but mieudre 2124. L before a consonant frequently vocalizes into u after i: fius (fiuls) 1625, 2552, 2563, 2571, etc.; gentius 2815; cius 2272. On the other hand -ivus > -is: caitis 1571; pensiz 343, 501. -ts > -s: foris 6; presentes 29; asses 689. Cf. bras 1239. -sts > -s: provos 1623, 1647; cis 1036, 1311. 1 Still so pronounced in the patois of Picardy and Hainaut. Cf. Hummel, p. 19, n. 2. 2 The bibliography on this point is wide and not entirely in agreement. I t appears that this phenomenon persisted in Lorraine, East Picardy, Flanders, Vermandois, and Hainaut, but is found only sporadically in the Artois (after e and i especially in the poets of Arras). The western limit of its preservation in the Northeast is approximately the line Aire, Bethune, Arras, St. Quentin. Its frequent occurrence after e, ie, u in our text would seem to point to the dialect spoken in Flanders and Hainaut.

40

T H E GLIGLOIS

Cons. + er > cons. + re (matethesis of r) in the syllable before the accent: 1 fremer 2348; haubregon 2420; fremee 2425; desfremee 2501, alongside of central French forms of this verb. The inverse phenomenon occurs in certain futures and conditionals: 2 meskerres 2271; enteroit 2413; recouverrez 260; recoverrons 2421; soufferoie 1294; souferes 654. -els > -es: tes 1036; hostes 2142; ques 2209, alongside of central French forms. ol + cons. > a u ? The phenomenon occurs especially in the perfect of voloir: vaut 146, 1724, 2366, but also volt 149; vault 1726; valt 1652. The inverse phenomenon in volsist 1732 for valsist.i Forms in 0 are also found: vora 591, 1575; vosist 1489. While in central French and Lorraine e early passed to ä, Picard and Walloon long preserved the e. The two are distinct in the Gliglois to judge by the graphic conditions. There are some exceptions, especially those common to Picard literary texts: tans 1, 1376, etc.; sanle 1891, 2156, etc.; tranler, tranblant 702, 771; sans 1524, 1561, etc. Numerous examples of menger,5 132, 369, 387, 417, etc. The graph ai is in general preserved. It is only rarely represented by e and never when it ends a word: set 763, 911, 1596; plest 832 (but elsewhere plaist 909, 974, etc.); mes 919; mestre 1655; repestrai 1083. e checked especially before I, r, s, > ie:6 apries 474, 786, etc.; 1 Cf. Tobler, Archiv, CVII, 121; Neumann, p. 69. This phenomenon is frequent in Picard but not limited to Picardy. The verb fremer still exists in the patois of the Northeast. Cf. Hummel, p. 11. 2 Cf. Suchier, Reimpredigt, Halle, 187g (Bibl. Norm. I), p. xxx. 3 A characteristic of Picard and Walloon. It is found in the Ponthieu (Raynaud, p. 22), but is much more common to the East 4 Cf. Foerster, Chevalier as II Espees, Halle, 1877, p. xlvi. 6 Menger is found in the present day patois of the Northeast, especially in the neighborhood of Lille. Cf. Hummel, p. 2. 6 Cf. G. Paris, La vie de St. Alexis, Paris, 1872, p. 269; Romania, XVII, 557; XVIII, 214; X I X , 77. According to Suchier, A-ucassin et Nicolette, this diphthongization points to Hainaut, Cambrai, Maubeuge, Namur, Li£ge, and the district north. Present day patois has it, sporadically in the Picard region but currently in Walloon. Cf. Hummel, p. 29.

T H E L A N G U A G E OF T H E BODY OF T H E POEM

41

fieste 109; estinchielle 212; biel 596; iestre 728, etc.; ie is also found in the pretonic syllable: apiella 1461, 1788; ensieres 2367, etc. -el (L. -ell, Germ, -el) + cons. > -iau: biaus, etc., 55, 57, 67, 108, etc.; oisiaux 6 1 1 ; castiaus 1616, 1617; noviauls 2086; isniaus 2555; etc. -el'+ cons. > -au: vermaulx 1344; solaus 2026, 2360; consaux 404. Unaccented diphthongs ending in i before certain palatal sounds > i:1 ensignies 5;signour 275, 524, 535, etc.; millours 1025; orgilleux 797, 824; grignour 2283, etc. -iee>-ie2 without exception: liemant 1214; lie 1975; brisie 2530, etc. -ieu > -iu very often: 3 Diu 1047, 1066, 1410, etc., (Dieu 1805; Dieus 1898, etc.); liu{s) 1777, 2157, 2730 (lieu 221, 267, 718); miudres 1776 (mieudre 2124). L. a. appears frequently as a in the pretonic open syllable: caoir 1963; caüx 606 (cheüx 694); chaiens 465 (cheenz 309); laiens 1770. Palatal I is very often written both I and 11:4 vuelle 600; duel 507; vuel 508; sommelle 545; s'agenolla 356; consel 15, 240, 751, etc. Doubling of certain consonants and simplification of geminated, consonants: si-s; rr-r\ nn-n\ ll-l·, ss for 5 is especially frequent in the portion of the poem before verse 850 and may represent something more than a graphical phenomenon. Cf. page 45, note 1, and the possibility of a change of scribe toward that point in the text. L. e, ϊ in the accented syllable before a nasal + vowel are almost without exception written ai\ mainent n o ; painent 114; mainne 177, etc. Before ge, ch, an i is frequently written after a: saichans 292, 422; saige 301, 538 (sage 942, etc.); coraige 302; faiche 495; outraige 537, etc. The forms without i are numerous. 1 There are traces of this phenomenon to-day in the patois of the Pas-de-Calais and Hainaut. Cf. Hummel, p. 4. 1 For bibliography and discussion of this point cf. G. Wacker, Über das Verhältnis von Dialekt und Schriftsprache im Altfranzösischen, Halle, 1916, pp. 69 f. * Neumann, p. 42. -iu begins to appear in the Northeast alongside of -ieu about the middle of the thirteenth century. 4 Suchier, Reimpredigt, p. xxxiii.

THE GLIGLOIS

42

A n i is also often found written after a before -ss in the imperfect subjunctive of verbs in -er: pensaisses 527; atournaise(s) 528, 588; aidaisse 655; osaiise 2266; laissaisse 1314, etc. T h e first person pres. indie, of certain verbs ends in ς, ch:1 cuiq 1475, 1476, 1729 (cuit 1332, i486, 2779, etc.); cuich 548; faich 846. Futures and conditionals of verbs in -dre such as pendera 1571; perderont 2490; descenderoie 1287; and very frequently the shortened forms fra, etc., 328, 375, 399, etc. These forms are scribal because they render the metre imperfect. Forms of the imperfect subjunctive in -isse,2 etc.; peuist 2913; euist 2330; peuissent 2365; peuisse 1895Suisse 519 ;fuisse 520, 666, ig8g; fuissies 1487; feuissies 2847; deuisent 2183. Pronouns. Jou, the most frequent form (alongside of je, jo, ge). My 2428; mi 1197 ( = moi) — in rhyme with otry 2427 but probably scribal. Le fem. acc. sing, of unaccented pers. pron. very often: 7 1 , 1 5 6 , 1 6 7 , 1 7 0 , 1 9 3 , etc. Auz stressed nom. pi. 232. Men, sen, masc. acc. sing, of unstressed poss. adj. (men) 328, 916, (sen) 196, 333, 2021, 2251, 2520, 2932. T h e form ten is not attested. Mon and son are frequent. Se 3 fem. sing, of unstressed poss. adj. 603, 799. Chiax masc. acc. pi. dem. pron. 828 (elsewhere cheus, ceus); cis masc. nom. sing. 1036, 1311, etc. (cist 1355); chou (ecce hoc) the most frequent form (also che, ce, ςο). Tout masc. pi. nom. pron. occurs in about equal proportion to tuit. Articles. Li fem. nom. sing. 133,182,1640; le fem. acc. sing. 13, 148, 347, 432 (more than 20 times). In verse 1100, " L i e v e te sus hastivement," we have unaccented te used after the imperative, as frequently found in Picard texts. Cf. L . Foulet, Petite Syntaxe de l'Ancien Franqais, Paris, 1930, (C.F.M.A.) §169. 1

On this trait of Picard and Walloon, cf. Suchier, Z. R. P., X X X , 516; Meyer-

Lübke, Grammaire, II, 191. Cf. also ainch v. 184, poruech (poruec) v. 420.

2 This points especially to the Walloon region. Cf. Behrens, op. eil., chartes X (Hainaut belge-Tournai), X I I (Hainaut belge-Mons), XIV, X V (Liege), X X (Luxembourg beige). 3 In verse 644 we have my volenti where my may be scribal for me, fern. sing, of unstressed poss. adj.

T H E L A N G U A G E OF T H E BODY OF T H E P O E M

43

Phenomena exemplified by the following forms are also noteworthy: osteil1 1055 (oslel 2050); bassier 519, fasomes 1463, fates2 1985; angousseux3 719 (angoisseus 340); Biatei 1216, 1814 (for Biaute); aimera 5 (= aimerai) 2853; forms of prendre:6 pres. ind. prendez 843, prendent 2068, etc., pres. subj. prengent 2050; verra (= venra) 894; fisent 1850; desist 1006 (deist 1399); perf. of avoir: ou (ist. pers.; cf. note to 2606), eut 2, 4 , 1 0 , etc., out 2328, ot 9, 21, 81, etc.; perf. of savoir: sent 799, sot, 12, 13, 225, etc.; double forms of future and conditional of avoir and savoir:7 ar— 206, 471, 910, 974, etc., avr— 646, 709, 808, 873, etc., sar— 190, 403, 909, 2915, etc., savr— 743, 1160, 1161, etc.; vait 60, 78, 115, etc., va 425, 719, 762,1071, etc.; -ariu > -ier always; en + le — ou 203, el 212, etc.; u (übi) 56, 1038, etc., ou 1108, 1389, 1810, etc.; dales 2751 {deles 2241, 2750, etc.), anuy, anuie, 503, 618, etc.; anchois 919, etc., enchois 363, etc.; enssy, 196, etc.; femme 8 the constant scribal form; ju 9 (jeu) 2324; candoilles10 1043, 2006; dont, adont 1 The unique case. Its frequent occurrence would place a text east of a line ArrasTournai or Valenciennes-Mons. Cf. J . Zemlin, Der Nachlaut i in der Dialekten Nord und Est Frankreichs, Halle, 1881, p. 29. 2 This feature (at pretonic>o) if frequent would point to the Belgo-romance region. It exists to-day in the patois about Lille, in the depts. of the Nord and Pasde-Calais and beyond. Cf. Hummel, p. 2. 3 The only case of 0 (ou) pretonic for oi. Cloetta, Rom. Forsch. I I I (1887), 76, stamps this as a feature of Walloon. Neumann, p. 53, says that it occurs sporadically in the whole North and East. * The fall of I after vowels other than i isa phenomenon to be located in the East and in the Walloon region. Cf. Schwan-Behrens, op. cit., § 281 R , and Behrens, op. cit., p. 127, §34. 6 On forms in -a of the ist pers. perf. and fut. cf. Nyrop, Grammaire historique de la langue franqaise, Copenhague, I I (1903), 166; Meyer-Lübke, op. cit., I I , 349, 350. This is a trait of Lorraine but also is found in northeastern France and the Walloon region. ' Cf. Schwan-Behrens, op. cit., pp. 253 (§ 398), 227 (§ 348, 3b R ) and Behrens, op. cit., chartes V I I (Pas-de-Calais), X I (Hainaut belge-Tournai). 7 Cf. Nyrop, op. cit., I I , 158. ' For femme, the usual form in Picard texts, cf. Metzke in Archiv., L X I V , 136. * Cf. H. Müller, Untersuchung der Reime des altfranzosischen Artus-romans von "Durmart le Galois," p. 30. The form/« (feu) corresponding to ju has left traces in the patois of northeastern France. 10 Cf. H. Müller, op. cit., p. 39; candoille presumably with palatalization of I is a form found especially in Picard and eastern texts.

44

T H E GLIGLOIS

continually for done, adonc; boin1 1005, 1329, 1377, 2886, etc.; leus2 {lupus) 690, 730; pau3 148 (poy 1014, 1193, etc.); aigue 2411 (eve 773, etc.; euwe 2129); puing4 1367, 2648, 2653 (poing 1187); 2222, 2504 (andoy 37, 1864, etc.); varlet5 21, 107; 6 1594; iretage6 2819, hiretage 2824. The language of the body of the text of the Gliglois, therefore, exhibits to a marked degree, features of the French dialects spoken in the Middle Ages in the north and east portions of the Picard territory, in French Flanders, and in Hainaut. This is indeed the region in which Friedwagner7 localizes the copy of Meraugis de Portlesguez of Raoul de Houdenc, which followed immediately the Gliglois in the Turin manuscript. The date of our manuscript (fifteenth century) has been determined with sufficient accuracy upon paleographical evidence. Many scribal traits corroborate this date: χ = s frequently at the end of a word: Dieux 287, 318, 358, etc.; biaux 351, 357, etc.; oissiaux 611; leux 683, 690; mieux 803, etc.; t supported has frequently fallen at the end of a word, especially in gran (grant) n o , 117, 205, 261, etc., aubert 2387; g at the end of a word to mark nasalization: ving 256, retieng 67, 298, etc., preng 801, 8 1 1 ; numerous etymological and overladen forms: draps 988, escript 1940,double 764, yeulx 581, 783, biaulz 888, hault 892, chevauls 931,1421 ,fiuls 1 Common Picard form for bon in the thirteenth century. Cf. Raynaud, p. 14; Wailly, Bib. de l'Ecole des Ch., X X X I I , 308. It appears in the archives of Ponthieu only toward the beginning of the fourteenth century (Raynaud, p. 14), is lacking in Vermandois (Neumann, p. 44) and is only occasional in Walloon charts. It exists in the present day patois of the Somme and sporadically throughout the northeast. (Hummel, p. 8.) 1 10 is attested for the patois of the Somme, Nord, and Hainaut (Hummel, p. 7). But cf. note to v. 683. 3 Possibly a latinism, but in the patois of the extreme Northeast we find to-day po, po (Hummel, pp. 9-10). 4 Patois of eastern Belgium have pun, those of the Nord and Pas-de-Calais pwe (Hummel, p. 7). 5 For the r in these words, which passes for a dialectal trait of Picard, cf. MeyerLtibke, op. cit., I, § 529; Romania, XV, 617-620. ' This form, probably with metathesis, is frequent in Picard texts (Neumann, p. 22). 7 Friedwagner, op. cit., p. l v i : " Die spräche dieser Hs. weist somit auf den Norden des Picard Gebiets (Artois oder Henegau) hin."

T H E L A N G U A G E OF T H E B O D Y OF T H E P O E M

45

1625, nepveu 2716; y frequently replaces i both in the interior and at the end of a word: luy 229, moy 249, respondy 251, oysiax 12, parodys 453, etc.; ζ stands frequently for s, appearing also as a sign of the plural after e:1 putz 40, mez 70, cloquez 1 1 3 , tablez 1 3 1 , eglizes τττ, devizer 142, cemize 622, Artuz i,etc.; the breaking of enclises in favor of uncontracted forms: 190, 1163, 2841 etc.; fem. of adj. of two terminations occasionally with -e where the form without -e is called for by the metre: tele 542, 713, 1807, etc., grande 127; frequent violations of the two case declensions; ist pers. indie, of -er verbs in several cases shows analogical -e: oze 358, pense 359, aime 593; analogical -5 at the end of ist person forms of verbs in a small number of cases: suis 1144, vois 1526, 1709; suppression of pretonic unaccented vowel in hiatus: mus 978, maille 434; occasional interpolation of subject pronouns; qui (qu'i) = qu'il 1048, 1666; si (s'i) = s'il 30; carelessness in spellings with s: petit 122, resne 1242, este (estes) 179, poitrisne 263, le (les) 2130, most (mot) 2735, faite (faites) 2764, etc. Many of these scribal liberties render the metre imperfect. Such modifications exist in our manuscript to a much less degree than might be expected in a fifteenth century copy of a thirteenth century poem. Even if he did not always understand what he was copying, the scribe exercised a certain amount of care. Barring several garbled passages and lacunae, and making due allowance for the dialectal features, we have, doubtless, a fairly accurate version of the poem. Friedwagner has remarked the same care on the part of the first scribe of the Meraugis in the Turin manuscript, who possibly had a hand in the copying of the Gliglois. 1 This is especially marked in the portion of the poem before verse 850. This may possibly denote a change of scribe toward that point or perhaps a more careful copying of the original text in the later part of the manuscript.

VI T H E L A N G U A G E OF T H E POET I.

VERSIFICATION

THE reflections of Philippe de Beaumanoir upon the difficulty of composition in rich rhyme are well known: 1 Et se je ne sai leonime, Merveillier ne s'en doit on mie; Car mout petit sai de clergie, Ne onques mais rime ne fis. But Philippe, who was not a professional trouvere or a jongleur de metier, was writing some time after 1250, when the use of rich rhyme had almost become a prescribed manner of narrative poetry. The poets of many narrative poems of the first half of the thirteenth century made no effort to produce rich rhyme and offered no excuses. Thus in the Amadas el Ydoine and Le Bel Inconnu, both of which the poet of the Gliglois may have known, 2 the employ of rich rhyme seems purely accidental. 3 The Gliglois, like the two romances just mentioned, is written in eight-syllable rhyming couplets. The poet is a careful and correct rhymer, although his aim was not to turn out rich rhyme. In fact the rich rhymes, both masculine and feminine, constitute only about 17 per cent of all the rhymes (rich masc. 14 per cent, fem. 3 per cent), including the convenient rich rhymes, made easy by the similarity of inflections, of morphological endings, and by the rhyming of compounds with simplices, etc. About 62 § per 1 H. Suchier, Oeuvres poetiques de Philippe de Remi, Sire de Beaumanoir, Paris, 1884 (S. A. T. F.), vol. I, La Manekine, vv. 30 f. 2 See Chapter III, "Literary Background of the Gliglois." ' E. Freymond, Über den reichen Reim bei altfranzösischen Dichtern bis zum Anfang des XIV Jahrh., in Z. R. P., VI, 1 f. Freymond has shown that the use of rich rhyme in narrative poetry increases progressively down through the thirteenth century.

T H E L A N G U A G E OF T H E

POET

47

cent of the rhymes are sufficient as masculine and 20 per cent are sufficient as feminine. The only imperfect rhymes for the poet are the following: nu: venus 1708, and gogleor: court 2058, and in them we have good assonance. 1 In other verses where the manuscripts have not preserved a perfect rhyme, it is possible to assume that modifications have been introduced by copyists, and corrections which restore the rhyme are evident. As might be expected in the case of a poem which shows no predilection for rich rhyme, the more artificial modes of rhyming are practically nonexistent. No effort has been made by the poet to attain grammatical rhyme 2 or rime equivoque. Homonymie and identical rhymes, which are frequently used by poets for the sake of convenience, are not present in large number. 3 We note, however, a goodly number of the so-called double rhymes 4 which may be attributed to chance, although it is possible that the poet, who did not seek rich rhyme, did prefer double rhymes. In at least one case we have the same rhyme extending through four successive verses (2543-2546), a phenomenon which is not without precedent in other poems of the epoch. Our poet has broken the couplet at will, but as Paul Meyer has shown, 5 this tendency goes back to the initiative of Chretien de Troyes and is a feature of the verse of Raoul de Houdenc. There are frequent cases of enjambement in the Gliglois, but there is no occurrence of the division of a word between two verses. T h e versification of the Gliglois, because of its simple character, would seem to point to a period before 1250. In Freymond's table 6 we should place it 1 W e might add here sage: large 1714, a combination which is often found in poems of the 12th and 13th centuries. 2 A favorite of the jongleur Raoul de Houdenc, who was probably a contemporary of the author of the Gliglois. 3 The only real case of homonymic rhyme is in vv. 1865-1866, Hoste: hoste. Identical rhymes may be found in 300 (probably corrupt), 558, 17x0 (emended), 1762 (probably corrupt), 2108, 2184, 2332, 2478, 2628, 2690. There is little or no variety in use or in sense in the majority of the words used in identical rhyme. * On the pattern of ensignies: baptisiez 6, alourt: a court 24, mener: lever 76, etc. Cf. Tobler, Le Vers Franqais, Paris, 1884, p. 179. 6 Romania, X X I I I (1894), 1 f. « Z. R. P., V I , 22.

48

T H E GLIGLOIS

next to the Bible au seignor de Berze, a short point ahead of Amadas et Ydoine. and Le Bel Inconnu. In a poem in which there is so small a percentage of rich rhymes, the study of the language of the poet must necessarily be restricted, in the rhyming words, to the accented vowel and the elements which follow it, all of which were likely to resist scribal alteration. 1 Add to this the phenomena revealed by the unvarying syllable count of the octosyllabic verse. 2.

SYLLABLE COUNT

The following features of the language of the poet appear from the syllable count: The general usage of Old French is observed in regard to elision and hiatus (noted as E. and H. in the following list): E. obligatory with one-syllable words me, te, se, le, la (Picard le), de, ma, ta, sa (Pic. me, se); ne (L. nec) mostly E. 339, 442, 529, etc., H. 1000, 1726; ne (L. non) always E.; que (rel.) E. 63, 379, 1276, etc., H. 785, 1773, etc.; que (conj.) E. 1, 42, 161, etc., H. 23, 199, etc.; se (L. si) E. 394, 451, 1002, etc., H. 526, 1324, 1639, etc. (less f r e q u e n t ) ; si ( L . sic) E . 268, 908, 1972, e t c . , H . 8 3 , 4 9 0 , 1 1 0 6 , e t c . ; je

Ε . 275,

2 79>

9*6,

e t c . , H . 727, 407, e t c . ; ce E . 289, 3 7 1 , 1067,

e t c . , H . 280, 550, 5 5 1 , e t c . ; qui H . 247, 344, 369, e t c . , c r a s i s 2285,

2473 both before iluec (cf. 1431); li (article) masc. sing, always H. 1026, 2162, 2632, etc. (but cf. I'escuier 1453); f e m · article li is not used before a vowel; li (article) masc. pi. always H. n o , 1105, 1394, etc.; Ii (dat. of pron.) E. only before en (L. inde) 209, 476, 778, etc. Always E . of e final in words of more than one syllable 191, 705, 771, etc. (but cf. 1438 and the note). The variation apelle/on 1742, and parole on 2666, is well known. Germanic h always as a consonant 424, 472, 1263, 1332, etc., elmes always without

h but

the

examples

2388, 2567, 2585 a r e

not

We cannot, therefore, take into account such good dialectal rich rhymes as: mengier: couchier 48, appella: agenolla 356, mengier: trenchier 388, mengier: huchier 424, dangier: chier 524, apela: agenoilla 950, mangier: atargier 980, apparillier: chevalier 1028, faillanche: lanche 1778, pourcachier: mangier 2044, etc. 1

T H E LANGUAGE OF T H E POET

49

conclusive as regards the hiatus. H. is primary in such learned words as decision 800, creature 1807, glorieuls 888. Enclises are numerous and varied: al, as, del, des, el, es, ou (en + le), nel, nes (;ne + les), sei (L. sic), ses (L. sic), sei (L. si), gel (jel), quil (L. qui). Of special dialectal interest is a + Picard le (—la) > al: al nuit 2141, 2304, but a le rescouse 2575. Cf. note to v. 2141. Preservation of pretonic vowel in H. 1 (more than 50 cases). There are only a few exceptions: teus (1 syl.) 1300 (teüs 1297), repeut (2 syl.) 1351 (repeüst 610), but 1384, guaignaissent 2540 (gaaigna 2480, 2672, gaaignast 2631), mesquanche 2570.2 Nes 82, 2686, etc., nis 2200, 2304, etc., always monosyllabic but appear so in early texts. Eglize constantly instead of Picard glize with aphaeresis. The latter is the only form used in Durmart le Gallois. Demonstrative pronouns occasionally with prosthetic i: ychil 157, icest 2735. La ou (u) as two syllables 1038, 1389, 2415, 2492. Shortened forms of the poss. pron. adj. alongside of the longer forms nostre and vostre: vos 1519, nos 2229, vo 29, 174, 274, 1164, 1x95, etc. (18 examples), no 1292, 2148, 2897. The declension of nouns and adjectives (Lat. I I declension in -5) is regular: sages (saiges) 5, 61, 1884, 2002, larges 305, 422, mornes 1072, moines 1408, meismes 1378, vostres 1492, 2850. In verse 2291 sage (nom. pi.) is required by the metre instead of sages. Sire nom. sing, (or vocative) continually without -s: 69, 730, 952, 955, 1414, 1633, 1646, 2085, 2118, 2144. Exceptions: 532, 665, 1413· The adjective of two terminations (Lat. I l l declension) ordinarily has no e in the feminine 3 : always grant 93, n o , 188, etc., 1 The vowel has to be supplied for metrical reasons: maaille 434, metis 978 (cf. meüs 2342). * A simple emendation, the dropping of the second grant, would enable us to keep the full form mesquaanche. 1 Cf. Schwan-Behrens, op. cit., p. 181. Quele — quel 512, tele = tel 542, 713, 1807. Gentius, fem. nom. sing. 28x5.

5°

THE

GLIGLOIS

tel 409, 522, 1208, etc. (but teles 1775). Cf. also granment 844, forment 83, 86, 198, etc. Continually douce 179, 704, 2808 and doucement 2093, but these forms appear in the earliest texts and correspond to a V . L . *dulcia. Imparisyllabic nouns of the L a t . I l l declension are used correctly without exception: sire 357, 820,1194, seignor 275, 535, 846, etc.; hom (on) 128, 627, 1016, etc., home(s) 1395, 1507, 1924, etc.; compains 2849, compaignon(s) 1042, 2040, 2439, etc.; nies 1 56, 169, 2255, etc., neveu, 168, 1122, etc.; cuens 1040, 1996, conte 100; suer 1669, 1681, 1692 etc., seror(s) 180, 1556, 1638; lechieres 707, leceors 2205; and where the nom. sing, is not found: empereour 153, gougleor(s) 2057, 2193, 2206, canteor 2194, crteour 2186, garchon 1321, enfant 110, etc. T h e i s t sing. pres. indie, of -er verbs is still without analogical -e; no exceptions in a large number of cases.2 The 3rd pers. sing. pres. subj. of -er verbs has no analogical -e; no exceptions in many cases.3 T h e ist pers. plur. pres. indie, and fut. with one-syllable ending -ons 867, 2106, 2110, 2417, etc. Just as frequent, however, is the ending -om(m)es, a Picard form (but found sporadically in other dialects): fasomes 1463, ferommes 1995, 1997, avom(m)es 2152, 2408, 2419, entrommes 2423 (pres. subj.). The 2nd pers. pi. endings of the imperfect ind. and conditional are dissyllabic: daingn'iez 297, faissUz 1285, poriies 1436, poles 1488, volries 1743, Jenes 1988. One exception sauries 1160. Several futures and conditionals of the second and third conjugations intercalate an e: averoie 646, 709, descendera 1327. 4 Some verbs whose radical ends in η drop the e of the infinitive 1

Nies as acc. 2721 but it is so used in early texts. Cf. Godefroy, Dictionnaire, V,

497, col. 3, under nies, mitddres 1776, mieudre 2124, may be scribal, but cf. SchwanBehrens, op. cit., p. 185. 2 oze 358, 571 (cf. 2105, 2119), pense 359, must be corrected to suit the metre. 3 maine 803 = maint (cf. 896) to suit the metre. Analogical forms such as doinse 154, 2022, 2191 (doinst 72, 1047, 1898), noise 1299 (1wist 1296,1472, 2214, aille 769), ajuce 2727 (αϊ/ 287, 318, 358, 412), are well known in the twelfth century. 4 Elsewhere these forms may be considered scribal: descenderoie 1287, pendera 1571, perderont 2490.

T H E L A N G U A G E OF T H E P O E T

51

in the future and conditional: donroie 1357, donrez 400, donray 961, 2818, donres 1363, 2059, donrons 2109, redonra 2821, mainra 1038, 1220, mainras 1059. T h e future of faire offers double forms: fray 34, 589 (but simple textual emendations in each case would restore the full forms); elsewhere feray 273, 908, 916, etc. 1 3.

RHYME

The following are the important linguistic features of the poet, based on a complete and systematic study of the rhyme. Pure a rhymes only with itself; no reason to believe that the numerous forms in -aige (L. -aticu), saige, and imperfect subj. in -aisse, etc., are due to the poet; L. vadit >va and not vait, 1055. a + nasal + cons.:e + nasal + cons.: ojfrande: commande 1448, maintenant: Uement 1214, doucemant: venant 2094, femme: ante 452, the only cases in about 70 rhymes. Rhymes of pres. part, -ant with -ment, and femme with ame, have been noted as not uncommon in Picard literary texts. 2 e < L. a rhymes only with itself, never with ie. e < L. e, ϊ in checked syllable rhymes only with itself. e < L. e in checked syllable rhymes only with itself; no reason to believe that e >ie in many rhymes is due to the poet: 156, 212, 6 4 0 , 7 9 8 , 9 1 2 , etc. e + nasal and e + nasal rhyme together, ent (inde) attested 1602.

L. e + j >i: 3 5 7 , 7 0 8 , 8 2 0 , 9 1 7 , etc. Pal. + e >i: 3 3 , 6 8 , 2 5 2 , 3 1 6 , etc. -tee >-ie everywhere, but there are no conclusive rhymes for the poet: 350, 1640, 1682, 1846, etc. -Itiu >-ise. servise 72, 112, 533, but richoise3 2097. fray 3 2 8, 399, 831, fra 327, 375 may be considered scribal. H. Haase, Das Verhalten der pikardischen und wallonischen Denkmäler in Bezug auf α und e vor gedecktem n, Halle, 1880, p. 44; G. Wacker, op. cit., p. 49 f., treats the subject in excellent fashion. 3 For richoise as a form found especially in texts of the North and East, cf. Breuer, Umbaut, Dresden, 1914 (Gesellschaft für rom. Lit. 35), p. 108, and Boehmer, Rom. Stud., I, 600 f. 1

2

52

T H E GLIGLOIS

o (L. δ, ü in checked syllable): ο (L. δ, ü in open syllable): 246, 544,606, 706, etc. (mostly before r and with amour in many of the cases); -osus > -eus 340, 888; leux (L. lüpum) perhaps attested 683. 0 and 0 constantly differentiated in rhyme. For the rhyme keu: preu cf. note to 2289. L . f o r i s >fors\ bos 1 1 5 2 9 (bois 88); no cases of diphthongization of L. δ before a nasal; 0 and ρ have equal value before a nasal 1924, 2590; on -ier 760, 1847. mestier 1398, 1744, 2189. L. e (open syllable) > ie and rhymes with ie from pal. + L. a and -arium 440, 1260 (cf. 1848, 1889, 1918, 2326). $ + I + cons, {-iau) rhymes only with itself; a + I + cons, (s) rhymes only with itself ahd never with words of the type vermaus, solaus, consaus < el' + s); no examples of ρ + I + cons. > -au. e (open syllable) >oi 1228, 1841, 2028, 2281; oi < 0 + i, ρ + i, au + i and e had the same sound; apoie 661, doy 2827, but anuy 503·

δ + i >ui 1278, 2323. ui does not rhyme with i L. -ilis does not rhyme with -ivus and -iosus. Final I: I', gentil: fil 4. No rhymes to show the intercalation of intermediate consonants in the groups n-r, m-l, l-r. s has disappeared before t 630, 1406, 1703, 2771, etc. No proof that final unsupported t in certain rhyme words is due to the poet. Cf. 1384, 1606. ζ (ts) has everywhere become s. Conclusive rhymes are numerous 665, 887, 1377, 1530, 1592, 1608, etc. Two mixed palatal rhymes: 2 lanchesMattques 1184; riches: liches 2516. 1 Cf. A. Wallensköld in Melanges Wahlund, Macon, 1896; F. Neumann, op. cit., p. S3· The form bos occurs sporadically all through the North and East, bo is attested for modern patois in Hainaut, Flanders, Depts. of Nord, Pas-de-Calais, and Somme. Cf. Atlas Linguistique, carte 144. b. 2 On this whole question cf. G. Wacker, op. cit., pp. 54 f.

THE LANGUAGE OF THE POET

S3

Artus continually without the r form: 1716, 2135, 2236, etc.; always entier, never entir, 1010, 1272; estrange 2125 and not estragne, but the rhyme is perhaps not conclusive; estraine 2470 and not estrine) ronchi attested for the poet: 2071, 2675. Declension. T h e two-case declension of nouns and adjectives is still everywhere intact and in conformity with the state of affairs at the end of the twelfth century. Feminines of Class I I have without exception an 5 in the nom. sing.: fins 774, 2295, raisons 2045, verites 2524, coulours 1180, biautes 1929, etc. Amours may be interpreted as plural: 245. Gent is regularly declined in accordance with the older system, in spite of scribal alteration: 79, 551, 749, 871, 927,1966, 2018, 2148, 2228, 2246, 2278, 2583. Rien appears continually without s in the acc.: 400, 655, 681, 1760, 2805. Suer (Class I I I ) is without s in the nom. sing.: 1669, 1815. Masculines of Class I have flexional s in the nom. sing.: jours 543, chevaliers 1181, 1219, 1918, dis 1377, mostiers 1404, maulz 1696, mantiaus 1852, miedis 2072, pres 2156, tournois 2547, 2639, compains 2849; the nom. pi. appears without s: conte 100, enfant no, servant 131, 446, 772, chevalier 760, 1028, 1052, 2182, 2326, 2504, 2696, 2704, escuier 934, 2435, martir 1583, seignour 2163, serfant 2316, 2354, compaignon 2439. T h e only exception is escuier (nom. sing.) 1453. Masculines of Class I I in -re are without 5 in the nom. sing.: pere 408, 929. Sire (Class III) has no s in the nom. sing. 1989. Vocative is always the same as the nom. sing.: amis 57, 67, 383, 578, etc., flours 179, sire 357, 820, 1194, 1317, 1651, 2106. Proper names of all classes are regularly declined: Diex (nom. sing.) 1573, Artus 1716, 1023, 2603, Biautes (nom. sing.) 454, xoo6, etc., I sens (nom. sing.) 339. Gliglois is always invariable. Gavains is always abbreviated in the nom. sing. T h e only exception Germain (non. sing.) 318. Adjectives follow the rules of declension with perfect regularity: -s in nom. sing.: lies 163, 780, 848, 2678, 2848, cois 813, 1136, Maus 1138, 1354, plains 2101, grans 2173, gens 2345, sos 2506,

T H E GLIGLOIS

54

riches 2515, hardis 2519, cuites 2775, preus 2814; without -5 in nom. plur.: menour 118, novel 1911, vaillant 1993, coy 2518. The only exception to be noted here is floris (acc.) 1615. Fire 917, nom. sing, without s. Avenans 1 1822, fem. sing. nom. with -s. Debonnaire is invariable: 53. Trois nom. pi. masc. 232 (cf. troy 2717 and 2773). The feminine of adjectives of two terminations never has e: always grant 109, 127, 580, 776, 1381, 2391, 2897, loiaulz 1695, avenans 1822, preus 1823, vaillans 291, vivant 1560, grignour 2283. Fole 714, 2830 is a good old form. The neuter adjective is frequent in impersonal constructions: bei 842, grief 1549, destroit 972, petit 1502, but continually drois S5o, 1995· Past participles with avoir and estre follow the laws of the early period as regards agreement. With avoir agreement with a preceding direct object takes place but it is not obligatory: 2062, 2522. Pronouns are regular in accord with central French. Nothing to prove that my 2428 (otry = probably otroi) is due to the poet. For cheluy 368 (acc. fem. sing.) the poet probably wrote cheli or celt (in rhyme with dy). Verbs, ist pers. pi. pres. indie, ending-ons: raisons: prenons 2046; 2nd pers. pi. pres. indie, subjunctive and fut. ending -es (-Us): paries 1470, lasses 1526, daignies 1569, voellies 1570, meskerres (fut.) 2271, seres 2826, remanres 2855; endings of impf, indie., including the first conjugation (-abam: -ebam), are -oie, -oit: daignoit 373, gardoie 514, desiroit 982; lachoit: faisoit 652, cantoit: faisoit 1410, amoie: voloie 2800, etc.; conditional: josteroit 886, volroie 1437, etc.; ist pers. sing. pres. ind. of -er verbs without analogical -e (no exceptions): pris 160, envoy 171, pry 198, pressent 812, demant 1226, etc.; 3rd pers. sing. pres. subjunctive of -er verbs without analogical -e (no exceptions): atourt 23,802,891, saut 157,1931, alt 1501, otroit i960, etc. Voise early analogical form 1299 (voist 1472); no analogical 5 in ist pers. sing, of verbs of other classes: 1

Cf. Foulet, op. tit., § 118.

THE LANGUAGE OF T H E

POET

55

requier 64,1200, dy (di) 197,420,1938, doy 255, say (sai) 272,402, 589, 2124, 2733, 2790, we/ 593, suy 1633, 1919, vy 1892, 2841; forms of the perfect such as desist (cf. 1006) and fisent (cf. 1850) not attested in rhyme; fuisse: euisse in rhyme 519-520 probably scribal. 4.

LOCALIZATION

It is evident from the examination of the syllable count and the rhyme that the Gliglois does not show any dialectal consistency. Dialectal traits are mingled with good central French forms. The poet writing at a time when the Picard dialect, especially, had exerted a certain influence on the literary language was undoubtedly endeavoring to use the latter in his poem. Such features as the tendency to separate ä and e, mixed rhymes such as lanches: blanques 1184, riches: liches 25x6, z: s, and the use of no, vo, etc., alongside of nostre and vostre,1 cannot therefore be accepted as criteria for fixing the dialect of the poet.2 Other Picard traits admitted in the literary language are not attested for the poet: -tee > -ie, imperfects in -ot, infinitives in -ir such as seir, cair, veir, pronouns such as mi, ti. The text of the Gliglois, notwithstanding, retains a certain dialectal savor: al nuit in two cases, the frequency of the -ommes forms and such forms as averoie, descendera, donroie, mainra,fray, the differentiation of ai and e rhymes, word forms such as eni, bos, apoie, dot, richoise, ronchi. We believe that the poet was from the Picard region. In default of any evidence outside of the linguistic facts, it would seem futile to speculate on a more definite localization. At any rate, he was probably from a region nearer the He de France than that indicated by the prevailing dialect of the body of the text which we have localized in the North and East of the Picard territory, French Flanders and Hainaut, and in which the dialectal traits are more numerous and more characteristic. B u t the use of no, vo, etc., is v e i y frequent (no less than 23 times). * W e have adopted the thesis of Gertrud Wacker (op. cit.) throughout.

1

THE

5.

GLIGLOIS

DATE

In default of any historical evidence inside or outside of the poem which would enable us to assign an exact date to the Gliglois, the following points are of importance: (1) the regularity of the conjugation (verbs in -er have not yet -e in the ist pers. sing. pres. ind. or in the 3rd pers. sing. pres. subj.; there is no trace of -5 in the ist person sing, of other conjugations); (2) the regularity of the two case declension of nouns and adjectives and the conservation of the nom. sing, of such types as pere and sire without -s; (3) the accurate use of imparisyllabics of the Latin 3rd declension; (4) adjectives of two terminations still without analogical -e in the feminine; (5) the number and variety of enclises; (6) the general conservation (with relatively few exceptions) of the pretonic vowel in hiatus; (7) the distinction between ξ and e (in checked syllable) in the rhyme; (8) the simple character of the versification. These features would seem to point to the period before 1250 or to the first half of the thirteenth century. T h e falling together of the oi's in the rhyme, 1 a tendency (see No. 6 above) to drop the pretonic vowel in hiatus, a rhyme such as keu: preu (2290), the equivalence in rhyme of 0 checked and 0 unchecked, -osus = eus, would perhaps keep us from dating the poem earlier than 1200. F a r a l 2 has placed the Gliglois in the first half of the thirteenth century and Gaston Paris 3 has assigned it to the period before 1226. The linguistic facts are not out of harmony with this last conjecture, that the Gliglois was written in the first quarter of the thirteenth century. It is probably through no fault of method that editors of the majority of Arthurian romances in verse, after those of Chretien de Troyes, have been led to date them in the first half of the Cf. H. Suchier, Les Voyelles tonique du Vieux Frankens, Paris, 1906, p. 94. Bedier et Hazard, Eistoire de la littirature fran^aise illuslree, Paris, 1924,1, 38. 3 Esquisse hislorique de la literature frangaise au moyeti-dge, Paris, 1907, pp. us, " I · 1

2

THE LANGUAGE OF THE POET

57

thirteenth century. It was precisely during this period that the poetry of the court, sponsored by rich patrons, was reaching its high point. The beau monde had now turned away from the chansons de geste, which had progressively, during the latter part of the twelfth century, come to limit their appeal to a less distinguished public. 1 1

Cf. J. Bedier in La Revue de France, Vol. I, No. ι (1921), p. 107.

GLIGLOIS : TEXT AND VARIANTS

C'est une chose ki doit plaire Α tos ciaus ki raison entendent. Car mout voi conteors ki tendent A bien dire et a recorder Contes ou ne puis acorder Mon euer, car raisons ne me laisse. Car ki verte trespasse et laisse Et fait venir son conte a fable, Ce ne doit estre chose estable Ne recitee en nule court. L'Escoufle, w . 8-17.

GLIGLOIS C'est de Gliglois comment il eut grant

63 r. 2

paine pour s'amie

4

8

12

16

20

24

2 Almaigne F 23 dist quil F

Au tans c'Artuz fu en Bretaigne, Eut a eel jour en Alemaigne Un castelain preu et gentil. De sa mouillier eut un bei fil. Chil fu saigez et ensignies. Quant il fu de fons baptisiez Par droit non Glygloiz le nommerent; Molt le tinrent chier et amerent. De bonnes techez ot assez. Quant il eut quatorze anz passes, Sy fu molt biaux ly damoisiax; Molt sot de chienz et molt d'oysiax, De cascun sot bien le maniere, Si soit de boiz et de riviere. Ly perez prist en son consel K'il ly feroit rice aparel, Droit a la court l'envoieroit, Ses armez y desserviroit. Molt ricement fu atillies Quant il fu touz aparillies, S'ot deux varlles quil serviront Et avuec luy a court iront. Ly perez dist que il s'atourt: "Jou vuel que vous alliez a court Pour aprendre sens et savoir, Et sy prendez de mon avoir 12 chienz et d'o. Fl

21 qui le s. F, qui s. F 1

62

THE

28

32

36

40

44

48

52

56

GLIGLOIS

Tant qu'il vous en vient a talent, Si vous deduissiez largement. Gavain pressentes vo service; S'i vous retient, n'aiez cointize, Mais servez le dessy qu'al pie Si chier con aves m'amistie. — Sire, fait il, vostre merchy, Ensi le fray. Adieu vous d y . " Plus de cent foiz baisa sa mere, E t puis prent congiet a son pere. A Dieu sont andoy commande, E t lors sont ly ceval mande. Gliglois monte, d'iluec tourna, Onques puiz jour ne sejourna E t par nuit pau dormy de l'uel; Tant erra qu'il vint a Carduel. Ce fu en may, en jour d'este, Que Gligloiz vint a la cite. Dessenduz est au pie dou pont, Par lez degrez en monte amont. II estoit ja apriez mengier E t ly rois iert ales couchier En sa chanbre pour repozer. Gavains commenchoit a jouer A tablez a un chevalier. Gliglois encontre un escuier, Molt fu courtois et debonnaire, E t ly demande de l'afaire: " A m i z , biau frere, ditez moy, U est Gavains Ii nies au r o y ? " Chex ly respont: " B i a x douz amiz, Vez le la a eel mantel gris,

27 Tant comme FF1 38 Et omis dans FF1

63 v. 1

32 con vous aves FF1 35 le baisa FFl 58 Veez le la a eel mante de gris

FF1

T E X T AND VARIANTS

60

64

68

72

76

80

84

88

63

Or endroit commenche a jouer." Gliglois vait devant luy ester. Molt fu saiges et ensengniez, Devant luy s'est agenoulliez. Nuz honz n'i seüst qu'ensengnier. " Sire, fait il, je vous requier, Retenez moy pour vouz servir." Gavains respondy par laissir: "Je vous retieng, biaux douz amiz. Dont estez ne de quel paiiz? — Sire, en Alemaigne fui nes E t jou et tous mez parentez, Sy con la marche le devize. Diex me doinst faire tel service Que mez armes puise conquerre E t retourner puise en ma tere." Gavains le rueve a mont lever, A son hostel le fait mener; E t quant chou vint a l'avesprir, Gliglois vait a la court servir. Molt se fist amer de la gent, Car molt se deduist largement. II n'i ot paz este trois mois Que tout l'amerent, nez li rois L'ama forment et si eut droit, Car onquez nuz en nul endroit Ne se pena plus de servisse. Pour chou l'aime forment et prize. II s'entremet souvent de bois, De rivieres, et d'esbanoiz, E t sy faisoit molt a loer Que tous lez vaint de behourder. Molt y despent et molt li couste.

68 Dont estez vo' nez ne de quel paiiz 72 Dernier vers de F, premier vers de Μ

FFl

69 Almaigne F 84 Car o. unz F1

04

T H E GLIGLOIS

92

96

100

104

108

112

116

120

Che fu a unne Pentecouste Que Artus tint grant court pleniere. Cascunz s'atourne a sa maniere. Chelle court fu en Carahes. Ne remest de loinz ne de prez Qui a la court dou roy n'alast, U se ce non, il l'amendast.

63 v. 2

Je ne vous fray pluz lone aconte, Mais quinze roiz et trente conte Vinrent pour la feste tenir Que Ii rois y ot fait venir. L a veissiez maint rice atour, Mainte aventure y ot ce jour, Mais je n'en vuel conte tenir D'un varlet et d'une pucelle, Qui molt fu biax et eile belle. En la ville font fieste grant, Gran joie mainent ly enfant, Se veissiez par cez eglizes Le jour faire maint biau service, E t cez cloquez a glaz sonner. Chil clerc se painent d'orgener. L y rois Artuz vait au moustier E t avuec luy maint chevalier Quy l'adestrent a gran honnour. E t ly greignour et ly menour Furent vestu de draz de soie, Sy veissiez en my la voie Devant ses piez paillez estendre. Molt sens y peüt on entendre. L y royz fu coronnez le jour,

93 tint unne si grande c. p. F1 109 En la ville fait on fieste F 1

99 ne manque d F1

TEXT AND VARIANTS

124

128

132

136

140

144

148

152

124 140 143 147

Si ot maint haut baron entour; La roine y fu ensement Couronnee molt hautement. Le jour y ot ofrande grant, Et quant on ot finet le cant, L y roiz Artuz fist sa proiere, En la sale revint ariere. Les tablez metent li servant; Mengier y ot et bon et grant. Molt fu Ii cours et bone et belle. A tant e vous unne pucelle Qui vint a court molt noblement. Molt fu vestue ricement De draz de soie et de samiz, S'ot par dessouz un ρΐϊςοη griz, Ouvres d'orfrois dusqu'en la mance. Tant par estoit et belle et blanque Que nulz ne poroit raconter De sa biaute ne devizer Que voirs n'en fust u molt u tant. Sour un mulet vint cevauchant.

65

64 r. 1

L y mulez fu bonz pour anbler. Onquez ne se vaut arester Jusqu'elle vint devant le roy; Lors trait un pau le resne a soy. Gavains saut sus, volt la dessendre. Un petitet le rueve atendre; Le roy salue hautement: "Chil Diex quy fist le firmament, II saut et gart l'empereour, E t se ly doinse grant honnour."

S'ot maint F l 127 grande F l 138 ρΐϊςοη de griz F estoit belle F l 141 ne le poroit F l l Que vs ne f. molt M, Que il n'en f. molt F , Que voirs nen f. molt F 2 Jusque eile F l

l

66

T H E GLIGLOIS

156

160

164

168

X72

176

180

L y roiz Artus vit la pucelle, Molt le vit bien vestue et bielle. "Douce, fait il, ychil vous saut Qui touz nous fist et maint en hault. — Sire, de loinz vous ay requis Pour vous servir, et tant vous pris Qu'o vous volentiers remanray Et volentiers vous serviray." L y roiz Artus en fu molt lies, Encontre ly saly en piez, Et dist: "Bien soiez vous venue." Entre ses braz l'a dessendue. L y roiz le saissy par la main, Son neveu apela Gavain: "Biau niez, tenez ceste mescine, Menez le moy a la ro'ine, Se ly ditez jou ly envoy; Tout autretant comme de moy Faice de ly, par vous ly mant. — Sire, fait il, a vo commant." Gavains a saissy la pucelle. La sale fu et longue et belle, Et il la mainne bellement, Sy ly a dit molt doucement: "Dont este vous, ma douce flours? — Sire, nous sommez deux serours. A la Landemore fuy nee, De nous deux suy jou ly mainsnee. Ma mere est morte y a deux ans, Mon pere ne vy ainch sa^ans. — Comment aves vous non? — Beltes. — Bielle, ge suy tous aprestes

163 E t ly roiz Fl 178 molt manque d F1 171 ditez que jou F 1 183 morte bien a. 11. a. F1 185 Belletes F1

T E X T AND VARIANTS

188

192

196

200

204

208

212

216

De faire tout vostre service. — Sire, vous ditez grant franquize, E t quant je le vous requeray Sei faitez et gre vous saray." A tant sont en la canbre entre, Gavains tint par le main Belte, A la ro'ine le commande: "Dame, fait il, ly roiz vous mande Que ceste pucelle servez, Enssy que sen corps honeres. II le vous mande et gel vous dy E t ci endroit forment vous pry Que honeur ly portez pour moy. — Sire, pour vous et pour le roy Serra servye hautement," (Et saciez bien certainement Que ens ou euer l'en aime et prise E t si n'en fist gairez de noisse) " E t pour la gran biaute qu'elle a, Car envie ne m'ara j a . " E t non pour quant molt ly afie Que hautement sera servie. Gavains l'en rendy molt saluz. A tant de la canbre est yssus, Molt est pensys pour la pucelle, E l euer l'a point d'une estinchielle Dont il est priz a laz courant. En la sale s'en vint disant: "Sainte Marie couronnee, Qui ainc maiz vit si belle nee!" Gavains dist qu'il retournera E t de s'amour ly requera,

67

64 r. 2

190 Se le faitez et g. v. en saray F1 196 s. corps e h. f 1 198 Et en droit F1 201 Serra servuye Fl 203 Ques ou euer Fl 209 molt de saluz F1

68

THE GLIGLOIS

220

224

228

232

236

240

244

248

Car autrement ne puet garir. De molt parfont gete un souspir. Gavains ne peut en un lieu estre, Ester vint en une fenestre, Iluec fremist fort et tresaut. L'amours de ly souvent l'asaut. De luy ne sot nule maniere, En la canbre revint ariere. Et la pucelle se drecha Encontre luy molt simplement, Et Gavains le voit, si le prent Par le pan del mantel d'orfrois. Sour un lit sont assiz auz trois. La roüne fu deviers destre, Et Biautez si fu a senestre, Entre lez deux s'assist Gavains. Onques n'i ot parle de sainz Ne que cascun fist en sa vie, Mais d'amourz, de cevalerie. Gavains se tourna vers Belte, A consel dist sa volente: "Entendez cha, ma douce amie: U soit savoirs u soit folie, Jou vous requier pour vous amer, Car autrement ne puiz durer. Se vous me refuzes d'amours, N'atendray maiz aucun secours De femme qui el siecle soit. Trop m'avez mis en gran destroit. Secourez moy, ma douce amie, Car autrement pris peu ma vie."

223 fr. forment F1

234 si manque d F1

64 v. 1

239 Belete F 1

TEXT AND VARIANTS

252

256

260

264

268

272

276

280

69

L a pucelle ly respondy: " A v o y , sire, pour Dieu merchy! Ne m'en requieres vous ja mais, Maiz laissiez moy trestoute en paiz, Car par la foy que je vous doy, Pour chou ne ving jou paz au roy Que je doie amer chevalier, E t se vous vuel bien acointier Que ja tant ne m'en requierez Que vous nient y recouverrez." Gavains rougy, molt ot gran honte, L y sans del courps el viz ly monte, L y cuers ly bat en la poitrisne, Retourna soy viers la royne: "Dame, merchy je vous requier, Car aidiez vostre chevalier Qui en maint lieu vous a servie, S'ay fait mainte cevalerie Pour vostre corps, bien le saves. Le gueredon huy m'en rendez, Jel vous requier, mestier en ay. — Sire, se je puis et je say, Tout le feray jou bonnement. J e vouz met tout en vo present, Tout quanque j'ay, comme a signour, Fors de mon corps, saulve m'onour. — Dame, molt avez bien parle. Molt tost m'avrez guerredonne Le gran service que j'ay fait. Chou est la fins: tout entresait M'estuet morir tot pour Belte, De nule autre n'ay volente, Si le m'en aidiez a proier.

260 vous dement F1

272 et se je s. Fl

64 v. 2

279 q. je ay f. F1

70

T H E GLIGLOIS

284

288

292

296

300

304

308

312

316

Chou vous pri jou, jou vous requier. Refuse m'a, ne sai que faire. Or en parlez sy qu'il y paire. Sy m'aüt Dieux, miex vuel morir Que longement tel mal souffrir." Dist la rome: "C'est folie. Se vous volez avoir amie, J a en amez de pluz vaillans, Mais or soiez auquez saichans: Bien vous devez amesurer. J e n'oy onquez maiz parier De femme qui vous refuzast E t qui molt miex ne s'en prisast Se vous le daingn'iez avoir. J e ne tieng paz a gran savoir Quant vous estez si tost soupris. Estez vous ja si tost soupris? J e ne vous en tieng pas a saige. Tenez un poy vostre coraige E t souffrez a unne autre fois, Si ne soiez si tost destrois, Si soiez largez et donnes, E t si pour s'amour vous penez D'armez et de cevalerie. Ensy puet on conquere amie. E t g'iere cheenz toute jour, E t moy et ly tout a sejour, Si ly diray de vous gran bien E t s'y metray engoiz del mien Que vous n'aiez vostre voloir. E t vous devez auques valoir, Si ne soiez si tost soupriz.

65 r. 1

— Dame, de Dieu cinq cents merchiz.

284 prie Fl 314 Dernier vers de Fl

301 voustiengp. F l

306 Et pour s'a. Fl

TEXT AND

320

324

328

332

336

340

344

348

71

VARIANTS

Del tout me met en vostre main; Sy m'a'it Dieux et Sain Germain, Si n'ay s'amour, moult poy me pris. De chou que vous m'aves repriz Siuray jou auquez de vos los; Mais ne vous metez en repos Que vous bien ne le requeres. — Taisiez, ja mar en parleres Que jou molt bien ne la requiere. S'elle vuet oir ma proiere, Done le fera eile de voir, Et jou feray tout men pooir." Gavain a mis en esperance. Encore a il molt grant doutanche Pour chou que refusse l'avoit. La ro'ine l'asseüroit Qu'a sen pooir ly aidera Et toutez eurez l'amera. Congiet a pris, vint en la sale, Molt ot le viz et taint et pale De mal traire et de mal penser; A la fenestre vait ester. Onquez Tristranz un jour n'Iseus Ne furent paz si angoisseus Com Gavains est a la fenestre. II prise molt petit son estre, Molt est pensiz et tout pour ly. L y damoisel quy ont servy Lievent a primez dou mengier, Aler vuelent esbanoier, Par my le sale vont esrant. Glyglois s'en vint tout de devant,

319 s'amour F2, ill. Μ 321 Sivray F"1, ill. Μ 327 fra Μ 328 fray Μ 333 aideroit Μ 344 N y damoisel M, L y d. F2

32s requere Μ 329 mis tout en e. Μ 345 a primez F2, ill. Μ

72

T H E GLIGLOIS

352

356

360

364

368

372

376

3S4 360 363 373

S'ot unne robe detrenchie. En pluiseurs lieux fu depechie De biaux behours, n'est paz mervelle, Car nuz a luy ne s'aparelle De behourder, ce m'est aviz. Gavains esgarde en mi le vis, Un poy pense, si l'apella, E t ly varlez s'agenolla. Gavains ly dist: "Gliglois, biaux sire, Sy m'a'it Deux, je ne t'os dire f o u que jou pens. — Sire, pour quoy? Or me di dont. •— A v r a il foy Que tu aillours nel raconter? •— Sire, vous poez bien jurer Qu'enchois me lairoie detraire Que ja par moy aies contraire

65 r. 2

Ne que jou de riens vous descuevre. Mais ditez moi toute vostre oevre. — Pour Dieu, Gligloiz, donques me dy Se tu veiz gehuy chely Quy apries mengier vint au roy Pour remanoir. — Οϊΐ, par foy. — Que te sanble? — C'est unne fee. — Ε Diex! Buer fust eile onquez nee S'elle ja amer me daignoit. Molt a miz mon euer en destroit, E t fera pluz encore, espoir. — Sire, se ly faites savoir E t mandez par un bon messaige T a n t que vous sachiez son coraige. — Qu'est chou, va, que dis tu, Gligloiz?

en mille le v. Μ Avra il foy F 2 , ill. Μ Qu'enchois F 2 , ill. Μ Delle ja Μ , S'elle ja F 2

358 361 367 375

ne t'oze Μ raconter F 2 , ill. Μ dont m. d. Μ Et fra Μ

359 pense Μ 368 cheluy Μ

73

T E X T AND VARIANTS

380

384

388

392

396

400

404

408

Jou l'en ay ja requiz trois foiz, Ainc ne me daingna regarder. — Comment! Se ne vous vuet amer? — Non ciertez, Gligloiz, biaux amiz. Se tu m'aimez tant que tu dis, Or y para que vous feres: Ades mais en canbres seres Et servires a son mengier En lieu de moy et de trenchier De quanqu'elle commandera. Aucun jour se pourpensera De chou que jou vous y envoy, Se li souvenra plus de moy Et le tenra a courtoizie. S'elle voloit estre m'amie, Chertez tu m'en verraz pener En cest tens d'armez ajouster. Or y para que vous feres, Par celle foy que moy devez, Car je vous feray molt gran bien. — Sire, ja mar me donrez rien, Que volentiers le serviray Et de bon euer, car trez bien say Que vous molt bon gre m'en sarez." A tant est ly consaux finnez.

65 v. 1

Gligloiz s'en part, Dieu en merchie: "Douche dame, Sainte Marie! Buer fui ge onquez nez de mere, Et buer m'engenra onquez pere Quant jou suy remez a tel coze Quy plus est belle que n'est roze

384 mainrez M, m'aimez F2 398 que vous moy d. Μ 407 B. f. g. . . . mere F2, mots

385 freres M, feres F2 399 fray Μ

illisibles Μ

400 mar ne d. F2

74

THE GLIGLOIS

412

416

420

424

428

432

436

440

Et plus blanque que flours de liz. Sy m'a'it Diex, ce m'est avis Que jou ja jour ne voie tant J a jour je ne seray refrainz Car je tenray a mez deux mainz Chou qu'elle daingnera mengier. Molt par m'en doy jou miex prissier De che que g'iere devant ly. Et sy fay jou. Poruech le dy Que jou en soie pluz vaillanz Et plus larges et miex saichanz." Quant il fu eure de mengier Gliglois oy l'eve huchier. En la canbre s'en va tout droit Et la roüne, quant le voit, Si l'apella de devant ly: " Belte, fait eile, ves le chy, Le bei valet et le plus saige Qu'ainc ve'issiez de son eage. Tenez, je vous afy par foy Qu'en trestoute le court le roy N'en a un seul qui cestuy vaille Le montanche d'une maaille Ne de pris ne de signorie. Gavains a fait gran courtoisie Cant il le vous envoia chy." Onquez Belte ne respondy N'onques ne fist sanblant ne chiere. "Diex, fait Gliglois, comme eile est fiere! Elle ne daigne mot sonner N'omme ne daigne regarder."

420 Pruech Μ 424 G. ay M, G. oy F2 2 432 trestout M, trestoute F 434 de une maille Μ 436 affait Μ 438 Belete Μ

65 v. 2

428 Belete Μ

T E X T AND V A R I A N T S

444

448

452

456

460

464

468

472

75

En suz se trait, prent la touaille Et les bachinz, l'eve ly bailie, Et la rome tout avant. As tablez mettent ly servant Hanaz et sei et puiz le pain, E t Gliglois taille de sa main Devant Biaute, molt le regarde. "Diex, fait il, male flame m'arde S'onquez maiz vy plus bele femme. Se Diex ait part en la moie ame, Se g'iere en paradys entrez, Se me vozist amer Beltez, Sy venroye jou a ly droit, J a tant seroit a grant destroit Revenir com seroit folie." Gligloiz pense sy qu'il oublie Le taillier. Biautez l'apergoit, Regarde ly. Gligloiz le voit, Gran honte en a, molt le travaille, Et prent le coutel, si retaille, Enbroncha soy, Vermel devint. L'amours de ly forment le tint. "Tant mar vin ge chaiens servir. Amours me vuet del tout trair Quy me fait a cesty penser Qui ne me daigneroit amer. E t se mez sirez le savoit, Jou say bien qu il en peseroit. Peser? Diex! Aroit il don tort? Nenil, s'il me haoit de mort."

451 Donquez m. vu M, S'onquez m. vy F2 450 Ja t. ne s. Μ 465 Τ. niar Μ, Τ. mar F2

455 Sy venroys Μ 464 L'amours F2, ill. Μ 470 quy l'en p. M, qu'il en p. F2

76

THE

476

480

484

488

492

496

500

504

GLIGLOIS

Gligloiz ne se set consillier, Et, quant che vint apries mengier, L'eve demande la rome. Gligloiz l'en bailie et la mescine Le vuet apres, Gliglois li donne, Et la ro'ine l'araissonne, Se ly a dit: "He, damoiselle, Molt se doit prissier la pucelle Quy devant ly a tel servant." Se ly a dit tout en riant: "Miex en doit estre al chevalier Quy envoioit tel escuier Devant mescine pour servir. Ainz le nuit puise jou morir Ne se Damedieux me confonde, Ne say vallet en tout le monde Que jou pluz pris en mon coraige, Et sy est de molt haut lignaige, Car il a molt ses volentes." Onquez ne respondy Beltes. Molt s'en mervelle la roüne. En la canbre n'en a meschine Ne faiche Gliglois bei sanblant, Mais Biautes ne vot faire tant C'onquez daignast un mot soner Pour nule rienz, n'a luy parier. De la canbre s'en est yssuz, A son ostel s'en est venuz. Molt est pensis pour la meschine, Un petit tint la teste encline, Car molt estoit en grant anuy. Si vallet lievent contre luy.

473 ne set c. M, ne se set c. F 2 499 s'en est venus M, s'en est yssuz F 2 504 1. encontre Μ

66 r. 1

477 Le vuet F 2 , ill. Μ 500 donni par F 2 , manque

dΜ

T E X T AND VARIANTS

508

5«

516

520

S24

528

S32

506 514 520 52s 534

77

II a le euer molt en destroit. II ly demandent qu'il avoit. "Par Dieu, dist il, un poy me duel. Faitez mon lit, dormir je vuel." Son lit ont fait, ens se coucha. Sachiez onques n'i reposa, Mais le dormir fu s'ocoisson. "Amours, fait il, quel traisson Quant tu m'az mis en ceste voie Sanz chou que jou ne m'i gardoie! Ε laz! fait il, mal y alay Es canbrez u la mort pris ay, Quy n'est mie droit ne mesure, Ne ja par nesunne aventure N'avenroit c'un bassier euisse Ne de s'amour aseiir fuisse. N'y penser maiz, trai toi ariere, Et si le serf de tel maniere Que tu n'i aiez nul dangier De ton signour qui t'a si chier. Damaige y pues tu avoir grant Se il en savoit tant ne quant Que tu de noient y pensaisses Ne que ton euer y atournaises, Ν'en ly ne pues tu nul bien faire, Et s'en puez tost avoir contraire. A, Diex! Chy a male atendanche, Que tez sires a gran fianche De recouvrer par ton serviche, Et que tu az gran paine mise

que il Μ Saiz c. M , Sanz c. F 2 fuisse F2, ill. Μ pues avoir M, pues tu avoir F2 E t tu as Μ

5i2 5i8 523 53o

quele t. Μ De ja p. Μ, Ne ja p. tu naiez Μ avoire M, avoir F2

66 r. 2

F2

T H E GLIGLOIS

536

540

544

548

552

556

560

564

535 537 542 548 551

En luy servir comme a signour. II te pourmet molt grant onour. Se tu le pers par ton outraige, Nus hons ne te tenra pour saige, Ainz en seraz touz jours honniz E t de pluissors gens escarnis. N'y penser maiz, laiz ta folie." Toute nuit a mene tel vie Dusc'a l'endemain qu'il fu jours. Gliglois fu molt soupris d'amours, Un trestout seul petit sommelle, Et puiz apries, quant il s'esvelle, Sus se leva, puiz vint a court. Jou cuich, enfoiz que s'en retourt, En sera il molt pluz destrois Qu'il n'ert ersoir que chou ert drois. Chou est coustume a mainte gent, Quant on aime bien fermement Belle dame d'amours destroite, Que plus le voit, plus le couvoite. Tout autressy faissoit Gliglois: Quant pluz le voit, plus est destrois Et pluz y a s'entente misse. Es canbrez fu la table misse. Gliglois desfuble son mantel, A genouillonz prent le coutel, Devant Belte vint sanz orguel, Molt le resgarde de bon oel. " E Diex! fait il, miex vaut Biaut6z Certez que ne fait roiautez. Ja Diex ne me puist consillier

assignour Μ le pris p. M, le pers p. F2 tele M, tel F2 s'en tourt M, s'en retourt F2 Jou e. M, Chou e. F2; gens Μ

536 538 543 549 557

66 v. I

II te peut met Μ, II te pourmet F 2 ne tenra p. M, ne te tenra p. F2 Dusi a Μ 547 et puiz Μ pluz Μ son tente M, s'entente F2

T E X T A N D VARIANTS

568

572

576

580

584

588

592

596

568 573 576 579

79

Se miex n'amoie un seul baisier Que le moitie de ceste honour, Sei me donast de fine amour. He laz! voire, s'elle m'amast E t d'aucun bien me consillast! Maiz ne ly os mander ne dire. Certez molt sueffre grant martire Chil quy d'amours est sy soupris E t quy sans amie est amis, Si com je suy." Gligloiz pensoit E t le taillier entr'oublioit. Biautez voit bien qu'il est pensiz. " U penses vous, fait eile, amis? Talliez, et si ne penses tant." Dont ot Gliglois honte molt grant; Viers la table tourna ses yeulx. E t sachiez bien qu'il aime miex E t sa ranprosne et son gaber Que rienz c'on ly peiist donner. " E Diex! fait il, sainte Marie! Certez je nel lairoie mie Pour mon signur que ne l'amaise, E t que mon euer n'i atournaise, Se fray que fols, tres bien le say, Que ja jour n'y recouveray N e ja ne me vora amer. £ou ne puet eile refuser Que jou ne l'aim pluz que je vuel. Ja contre ly n'avray orguel, Car bien le me pora merir. Ge say bien que par biel servir

Seile le me Μ 569 m'amast F2, ill. Μ 571 ly oze Μ est en sy s. M, est sy s. F2 575 Si comme M, Si com F2 entre oublioit Μ 578 Y penses M, U penses F2 et ne p. Μ 588 ni atournaise F2, ill. Μ 593 aime Μ

8o

T H E GLIGLOIS

C'on recouvre amour mainte foiz, Que jou suy tant pour luy destroiz

66 v. 2

Que bien ly vuel m'amour donner, 600

Encor ne me vuelle eile amer." E n s y fu Gligloiz longement, E t sachiez bien veraiement C'onques se doleurs n'abaissa,

604

N'onques pour coze ne laissa Que ne le servist cascun jour. M o l t est calix en grant dolour D e paine et de la nuit vellier.

608

E n la court n'avoit escuier Fors Gligloiz qui d'oissiel seüst. N'estoit jours qu'il ne repeiist L e z oissiaux enz en un gardin.

612

U n jour avint a un matin Que Gligloiz fu molt main levez, E l gardin fu molt main entrez Pour les oissiax aparillier

616

E t pour les panez affaitier. Beltez jut, si ne pot dormir C a r molt li anuie a gessir. Saigna son chiez, puis est assise,

620

Vestue s'est d'une cemise. Pluz estoit blanque sa char nue Que la cemize c'ot vestue. D ' u n court mantel s'est affublee,

624

U n z solers prent, puiz s'est levee, E l gardin vint esbanoier, Que molt faissoit bien a prissier Qu'ainc hom de char ne v i t pluz bei.

597 6oo 6io 6i5

Con recouvre amour F2, ill. Μ 599 Et que bien 1. M] m'amour F2, ill. Μ Encore M; amer F2, ill. Μ 6θ2 vraiement Μ Restoit M, N'estoit F2 611 oissiaux en Μ 614 Enz el gardin Μ apllier Μ 6i8 anuie F2, ill. Μ 623 m. fust afi. M, m. s'est a. F2

T E X T AND

628

632

636

640

644

648

652

656

628 636 641 650

VARIANTS

Gliglois repaisoit un oissiel. Molt par fu liez quant il le vit, A soy meismez se sourist, Maiz ainc n'oza un mot soner, Tant le cremoit, ne regarder Chelle part ou il le savoit. Pour sa fierte le ressaugnoit. Enbroncha soy, souvent souspire, Entre sez denz commenche a dire: "Bien de l'eure que je fui nez, Ε Diex! bien soie jou levez E t quant j'onquez apris d'oissiel, C'onques nul jour a damoissiel Ne v y maiz sy bien avenir Quant jou voy chy mon euer venir. Se Diex dou chiel par sa bonte L y donnoit viers ma volente Que me vozist de bien atraire, J a mais n'averoie contraire." Beltez s'en vait par le gardin; A unne cousture de lin Commenche a lachier sa chemize. Gliglois si voit bien et avize Que a gran paine se lachoit, E t a mal aisse le faisoit, S e l y a d i t : " H e , douche roze, Soufferes vous pour nule coze Que je vous aidaisse de rien?" f o u dist Beltez: " 0 jou, cha, vi en." Glyglois ly saut, molt en fu lies, Devant li s'est agenouillies.

ne paisoit M, repaisoit F2 Enssez denz M, Entre sez d. F1 venir M, avenir F2 G. li voit b. et sy a. M, G. si voit b.

81

67 r. 1

632 crenoit M, cremoit F2 638 soie jou nez Μ 639 jou onquez Μ 644 N y donnoit viers my v. M, L y d. F2 et a. F'2

82

THE GLIGLOIS

660

664

668

672

676

680

684

688

662 G. ly vit Μ

Biautez li a moustre lez las, Desur son chief coucha ses bras, Un petitet a luy s'apoie. Gliglois vit le car qui blancoie Et lez costez blanques a mont. " E Diex! fait il, qui fist le mont Et sirez estez de lassuz, Car fuisse jou ore tondus Si sentiroie sa char nue." Gliglois ly met si la veüe Et son penser en ly veoir Qu'il n'a en luy senz ne savoir Et qu'il oublie le lachier. Amours ly fait entrelaissier Dont est soupris. Beltez a dit: "Gliglois, qui onquez mais chou vit? Vous devez lachier mes costes E t vous restes sy trezpenses Que jou ne say de vous que dire. Lachiez moy tost." Gliglois souspire, Si recommencha a laichier. Devant luy voit son desirier, Ne couvoite tant nule rien, Et sy n'en puet avoir nul bien. II est ensy comme ly leux Quy de mengier est desireux Quant est devant le faudei's Et voit devant luy lez brebiz, Et si ne puet dedens entrer. f o u ly fait pluz le faim doubler. Encor a pis Gliglois asses Que n'avoit ly leux affatnes, Car entre ses deux mains tenoit 668 G. ly i met F 2 , ill. Μ

6y r. 2

T E X T AND VARIANTS

692

696

700

704

708

712

716

720

703 706 709 713

83

La riens el mont que plus amoit, Et se ne li oze riens dire. Molt est cheüx en grant martire. Amours le tient dont est espris. Chou dist Beltez: " Gliglois, car dis, Qu'esgardes tu? — Vous, demoiselle. — Pour quoy? — Que molt me sanblez belle. — A toy qu'en chaut? — Sy fait. — Pour quoy? — Pense tu de noient a moy? Me vues tu par amours amer?" Gliglois commencha a tranbler, Se ly a dit en souspirant: "Douche, merchy, pour Dieu le grant, Si suy soupris de vostre amour Ne puiz durer ne nuit ne jour. — Vous lechieres! Qu'aves vous dit? Que vous m'amez? A! Quel delit J'averoie de vous? Ahors! Fors del gardin! Dehait mes corps Se jou vostre signeur nel dy! Trop vous en tieng ore a hardy Quant avez dite tel parolle. Certez molt me tenez pour fole. Que vous m'amez! A vous qu'en monte De moy amer? Ahy, quel honte! Gardez que ja maiz ne vous voie 67 v. 1 En un seul lieu ou que je soie!" Gliglois s'en va mout angouseux, A son hostel vient molt honteux, En un lit couche, molt souspire. Sachies qu'il n'a talent de rire,

Se ly ade M, Se ly a dit i 7 2 Depuiz d. nuit ne j. M, Ne puiz d. nuit ne j. F 2 Ahors ahors Μ 711 De jou Μ, Se jou F Q. vous a. dite telle p. Μ

2

84

THE

724

728

732

736

740

744

748

752

727 74o 745 747

GLIGLOIS

Ainz se demente molt et pleure Et dist: "Maloite soit huy l'eure Que jou de mon lit me levay Et que jou el gardin entray Et que je onquez soy d'oissel! Miex me venist iestre messel Et touz jours vivre sanz honeur. Mez sire a fait dou leu pasteur Quy m'envoia pour luy servir. Molt par m'en doit mal avenir Quant je ly voloie forstraire. He laz, cetis! Que poray faire? Amours, tu m'az tray a tort. Ahay, Belte, com m'aves mort! Or suy jou tous de vous trais, Que ja mais n'ere tant hardis Que jou le voie entre deux yeulx. Chertes, molt il me venroit miex Que je fuise enz en ma contree. Chou est la veritez prouvee Que quant mez sires le savra Ja maiz nul jour ne m'amera. Μ 'en fuirai ? Naie, encore yray Es canbres, sy assaieray Se refuzera mon serviche. Elle est plaine de gran franquize, Ja n'en parlera devant gent. Se de moy pitiez ne ly prent, Ne say consel se ne m'ochy. Ay, Biaute, sy mar vouz vy, Sy m'a Amours tray pour vous,

E t qui onquez M , E t que je ο. f 2 730 Mez sires affait Μ Chertes il me Μ 741 fuise en m. c. Μ 742 Chou F2, ill. Μ fuirai ge Μ 746 assieray M, assaieray F2 Seile r. Μ 753 Sy amours t. Μ

T E X T AND VARIANTS

756

760

764

768

772

776

780

784

Que jou moray tout a estrous S'il ne vous prent de moy pitiez. Ε Diex! Comment puet estre lies Qui onquez n'a d'amer talent?" Molt se demente longement Desy a l'eure de mengier. A la court vont ly chevalier. Gliglois s'est de son lit levez, A la court va molt trespensez, Gran peür a, ne set que faire, Molt se doubte d'avoir contraire, Car se Biautez le ranprosnoit De nule riens ne reprouvoit Chou qu'il ot dit la matinee, Nus hons qui soit de mere nee Ne le tenroit que ne s'en aille. Amours le tient, molt le travaille. En la canbre en tre molt tranblant. Lez tablez mettent ly servant. Gliglois prent l'eve a deux bachins, Si le donna, chou est la finz. Ainc Beltez ne l'en fist sanblant, Dont ot Gliglois joie molt grant. Quant il vit qu'elle n'en parloit Ne fait sanblant ne l'en moustroit, Grant joie en ot, bien le sachiez. Ainc maiz nul jour ne fu sy lies. Devant Biaute sert au mengier, Et molt l'ezgarde volentier, Ne puet les yeulx alleurs avoir, Ne desire tant nul avoir

85

67 v. 2

757 Que onques d'amer t. M, Que onques n'a d'amer t. F2 778 Ne lait s. M, ne fait s. F2 782 E t m. lez garde Μ 783 De puet Μ, Ne puet F2

86

T H E GLIGLOIS

788

792

796

800

804

808

812

816

Ne riens que on ly puist donner. E t quant chou vient apriez disner, Gran piece apriez, e vous a tant Un messagier espouronnant Sour un ceval grant aleüre, Enz el palaiz vint l'anbleüre, Dusqu' en la canbre ne fina, Dessent a piet, sy salüa Le rome molt hautement. " D a m e , fait il, a moy entench: Jou suy chy envoies a toy Pour chou que prendre vuet tournoy Chelle de l'Orgilleux Castiel." En celuy ot bei damoissel, Sy seut bien dire se raison: " D a m e , par tel devision Preng le tournoy en vostre court Que cascuns chevaliers s'atourt Au mieux c'om puet et maint s'amie, Car la nostre chevalerie, Bien le sachiez, ensy venra. M a dame a envoiet piecha Quere ses damez et pucelles, Dont eile avra assez de belles, E t vous refaitez autresy. On le vous mande et jel vous dy. Ensy preng le tournoiement. Vechy ma foy, je le pressent." Dont se teut il et fu tous coiz. L a rome apella Gligloiz: "Amiz, en eel palaiz alez Pour Gavain, si le m'amenez,

800 ρ tele de vision Μ 8o3 mieux comme p. M; maine M, maint F2 807 Quere dames Μ 8io et je le v. d. Μ

68 r. 1

T E X T AND V A R I A N T S

820

824

828

832

836

840

844

848

87

Si revenez hastivement." Gliglois vint a Gavain, sei prent, Par le pan dou mantel le tire. " L e roine vous mande, sire. — Est chou besoinz, amis, pour quoy? — Qu'elle vuet plevir un tournoy Laienz encontre un damoisiel. Chelle de l'Orgilleux Castiel L'i envoie pour fianchier. Encontre ly vuet tournoier Si que lez damez y venront, Sy veront chiax quy miex feront, Sy vuet que vous le plevissies. •— Damediex en soit grassiies. Or feray jou chevalerie, Se Diex plest, par devant m'amie." Molt est liez del tournoiement Quy serra sy prochainement. Gavains en la canbre s'en vint Que nule rien ne le retint. L a roine contre luy va. "Sire, fait eile, venes cha. Se vous volez, consilliez moy. On me mande chy un tournoy, Chelle de l'Orgillex Castiel. — Dame, dist il, ce m'est molt bei. Vous le prendez, je le lo bien, Car g'y metray granment dou mien Al tournoier pour vostre honeur. -— Gavains, je vous en faich signeur. Venez avant, sei plevissies. — Dame, dist il, de chou suy lies.

818 se le prent Μ 840 On me demande Μ

826 tournoier F2, ill. Μ 847 se le pi. Μ

68 r. 2

831 Or fray Μ

88

T H E GLIGLOIS

852

856

860

864

868

872

876

880

Giigloiz, plevissiez, biaux amiz. De cest lundy en quinze dis Lor tenronz le tournoiement." Chil est passez avant, sy prent Le congie et el ceval monte. Onques n'i fist plus lone aconte, Par my la sale s'en reva, Tout a ceval ainc ne fina Dezque vint hors de la cite. Gavains a resgarde Belte, Molt le vit belle pluz que roze. De bon euer l'aime, maiz il n'oze A ly rienz dire ne parier. Au tournoy quide recovrer. Pour ly, chou dist, se penera, Que al tournoy recouvera, U ja mais n'i avra fianche. Pour ly brisera mainte lanche. Or devons del tournoy parier. Ε Diex! Qui poroit deviser Tantez armez et tanz escus! Ainz mais ne fu tournoiz veiiz U il eiist plus belle gent, Ε Diex! tant riche garnement De soie ouvre cellez avront Quy al tournoiement seront. En la terre n'a chevalier Ne se penast d'aparillier. Cascuns a fait tout son pooir. Qui le pris en porra avoir Bien s'en pora tous jours vanter Et en canbres a dame entrer.

853 Chix le congie prent el ceval m. M, Le congie et el ceval m. F2 854 Ainc ni f. Μ 876 aparllier Μ

68 v. 1

T E X T AND VARIANTS

884

888

892

896

900

904

908

912

Gavains fait sept vins lanches taindre, Se fist dedens son escu paindre Biaute, s'y tenoit une rose En sa main gentilment enclose, En le pane, sy que le voit, Pour chou que miex en josteroit Quant le verroit devant ses ielz. Ε Diex, biaulz sires glorieuls, Con se racesme la roi'ne! En la canbre n'en a meschine Une sole ne s'en atort. On fist criier hault en la cort: Cascuns se paint d'aparillier, Quant chou verra al tournoyer, Ne que n'i remaigne nesuns E t que s'amie maint cascuns. N'i a un sol cui n'en soit bei, Ne chevalier ne damoisel. Li rois meismes en est liez Del tournoi quy est fianchies, E t dist que ses corps y ira E t molt riche cort i tenra. Gliglois dist: "Bien suy respasses. Bien de l'eure que je fui nes De ma mere, que me porta Mes peres, quant mes cuers irra Al tournoy u g'iere altresy; S'y feray tant par foy vers ly, Se Diex plaist, que m'en sara gre. Diex! Comme aroie conqueste Se gret m'en set ma demoisielle! Cascun jour Ii metrai sa seile

895 Que ne n'i remaignes Μ 898 Sie ch. Μ, Ne ch. F2 903 G. li dist Μ 907 Al tournoy tant par foy vers ly M, Al tournoy u g'iere altresy F2 908 manque d M, S'y feray t. p. f. v. 1. F2

89

ς»ο

THE GLIGLOIS

E t servirai molt bonnement D e fin euer et tant douchement Bien s'en devra aperchevoir, 916

Que j'en ferai tout men pooir. Ja de servir n'estra nus pire." N u s hons qui soit ne porroit dire Con Gliglois aime, mes anchois

920

H u i t jors tous plains que li tournois Venist, che fu cose prouvee, A l a Gliglois en sa contree, Car reveoir voelt ses amis,

924

E t ses avoirs li est faillis, Que nus ne puet plente despendre N e li estuet u que soit prendre. S y fait Gliglois entre sa gent,

928

Prent chou que despent largement. D e lui fist grant joie li pere, N e la fist pas menre la mere. Gliglois dras et chevauls demande.

932

II li font tout chou qu'il conmande. Sa robe fist codre et taillier, Revesti sont si escuier. Gliglois sejorne un tout seul jour,

936

A l matin s'est mis el retour. Enmaler fist tout son argent, A la cort reva richement. T a n t a fait qu'il est revenus,

940

A son hostel est descendus. E n Gliglois ot molt bei enfant, E t sage et preu et avenant, D e sens et de bien molt se prueve;

925 desplendre Μ 935 retorne M, sejorne F2

926 Sie lie est. M, Ne li est. F1

68 v. 2

T E X T AND VARIANTS

944

948

952

956

960

964

968

972

976

91

Se li sist bien sa robe nueve. A la cort vint tos desfubles. Quant il fu el palais entres, N'i a un sol qui lies n'en soit. Gavains, ses sires, quant le voit, Molt en fu lies, si l'apela E t li valles s'agenoilla. " Gliglois, quant fustes vous venus? — Sire, or endroit sui descendus. — Or me dites, Gliglois, biau frere, Que fait vo mere? E t vostre pere Est il haities? — Sire, oil, voir. — Gliglois, vous deves bien savoir Que je vous aim et ferai bien, Sy vous deves fier del mien, De chou que j'ai, de mon avoir. Quant vous vorres armes avoir, Les vous donray molt hautement. Onques vallet plus richement Ne fu armes a cort a roy. Certes vous estes bien de moy, E t sy aim molt vostre servir. — Sire, Diex me laist deservir Que vous encore plus m'ames. — Sy ferai jou, mais or penses De Biaute servir bonnement. De nulle cose n'ai talent Ne de rien qui el monde soit Fors de s'amour dont m'est destroit." Gliglois respont: " T a n t en feray, Se Dieu plaist, que gie en arai." Entre ses dens dist: "Vous Tames? Miex l'aim jou, voir, de vous asses."

948 Gavains F2, Gli. Μ

2

955 Est li M, Est il F

6g r. 1

92

THE

980

984

988

992

996

1000

1004

xoo8

GLIGLOIS

D'iluec se departi Gligois. De la cambre est meüs li rois, L'eve demande et voelt mangier. Gliglois n'a cure d'atargier, En la cambre s'en vait tout droit, Car tant fort Biaute desiroit Qu'il ne puet mais plus demourer. La roi'ne le vit entrer En la cambre, si le salue: "Gliglois, Gliglois, la revenue! Or estes vous bien rebaignies Et de nues draps apparilliez? Or me dites, amis, doulz frere, Que font vos gens et vostre mere? Sont il haitie? — Dame, οϊΐ, voir. — J a Diex ne me laist bien avoir S'il a vallet en cest pais Nesun tout seul que jou tant pris Con jou fai vos, bien le sachies. —Damediex en soit graciies!" Gliglois l'eve done a laver, Devant Biaute sert al disner, Mais ele ainc a lui ne parla Ne il a luy, car il n'osa. Molt en est en grant painne entres Qui trop aime, s'il n'est ames U de recovrer n'a fianche. Gliglois sert tos en esperanche. Boine esperanche vaut asses, Car se tant li desist Biautes Qu'il la servist en bon espoir, Vous poes bien de fit savoir

978 est mus li r. Μ iooo Sie il M, Ne il F2

69 r. 2

989 freres Μ 997 G. prent l'eve d. a. 1. Μ 1007 sentist M, servist F2

T E X T AND VARIANTS

1012

1016

1020

1024

1028

1032

1036

1040

Qu'il la servist molt volentiers Pour bien avoir, sept ans entiers, Car tout ensy comme il estoit, Que nesun bien n'i atendoit, L a servoit il molt bonnement. Assez i met, mais poi i prent. E t il avient en mainte terre, Quant hom voelt femme bien requerre, Que plus le sert et plus le proie, Elle tant vers lui plus cointoie. II est bien drois que vous sachies Li tournois est si approchies Qu'il doivent el demain movoir. On le fait par trestout savoir En la terre le roy Artu. Maint chevalier i ot vestu D e millours draps que ne soloit. Li uns pour l'autre se penoit De son corps miex apparillier. Bien s'acesment li chevalier. Ε Diex! des dames qui porroit Dire que cascune faisoit De li vestir? N'est pas merveille Se cascune s'en apparelle, C'onques tres le commenchement Que Jhesus fist le firmament, Ne desqu'en la fin mais n'estra Uns tes tournois que cis sera. Diex! comme ert belle compaignie L a u cascuns mainra s'amie! A son hostel s'en vait Gliglois. Ne ses peres fust cuens u rois,

1012 Que mes. 1. M, Que nes. 1. F2 1035 n'estra F2, ill. Μ

1025 q. ne se loit M, q. ne soloit F2

93

94

THE GLIGLOIS

1044

1048

1052

1056

1060

1064

1068

1072

Ne donnast il plus riches dons. Gliglois mande ses compaignons, II fait candoilles alumer, Vin et fruit querre et acater. Danssent, v'iellent, font grant joie. Tuit s'envoisent, et Gliglois proie Diu qu'il li doinst Biaute conquerre, Qu'i ne desire plus en terre. Grant joie font en l'avespree, Molt desirent la matinee E t le deduit del chevauchier. Couchier se vont li chevalier, Car il movront demain ains jors, Toute en remest vuide la cors. Gavains a son osteil s'en va, Trestous ses escuiers manda, E t tout si tost qu'il sont venu, A l'un dist: "Porte mon escu; Mon cheval en ta main mainras; E t tu mon hauberck porterras." A cascun le sien a donne, Encor n'a il nient commande A Gliglois de ce qu'il fera; Garda, sei vit, si l'apela:

69 v. I

"Gliglois, fait il, vous remanres. Pour Diu, de mes oisiauls penses. Ch'est une rien que j'ai molt chiere. N e vous ferai autre proiiere. Des oisiaulz penses, biaus amis." Gliglois devint tos esmaris, A son hostel s'en va dolans, Mornes et mus, tristres, pensans.

1041 Ne d. al M, Ne d. il i?2 1063 A G. que il f. Μ

1050 Μ. desirete Μ, Μ. desirent F2

T E X T AND V A R I A N T S

1076

1080

1084

1088

1092

1096

1100

1104

95

Ens en un lit s'es recouchies, E t dist qu'il est molt dehaities, Dont souspira, si se demente: " Ε Diex! pour coi mi jou m'entente En Amours qui tout m'ochira Ne ja pitie de moy n'avra? Mal de l'eure que jou fuy nes, Ne que j'onques fui engenres, Que jou onques d'oisel apris. J a par les sains de paradis Nels repestrai pour nul avoir, Ains i morront par estovoir." Or vous devons tres bien parier De cheus qui s'en doivent aler. En le vile ot maint chevalier Bien acesme de tournoier, E t mainte dame i ot venue Bien acesmee et bien vestue, Qui par matin se sont leve Et pour esrer tuit apreste. De la vile issent bonement. Gavains s'en ist molt richement, Gliglois remaint et tout s'en vont, Qui molt souspire de parfont E t longement s'est dementes. Mais or s'est auques apenses, S'Amours li recorde souvent: "Lieve te sus hastivement, Si va tes oisiauls regarder. Tu te dois tres bien porpenser Que t'amie repaiera, Et tes sire gre t'en sara

1080 jou onques Μ 1093 bonement F2, ill. Μ

1083 Nel r. M, Nels r. F2 1089 Ott Μ 1099 S'Amours F2, ill. Μ

69 v. 2

φ

THE

1108

1112

1116

1120

1124

1128

1132

1136

χι20 Dont c. Μ

GLIGLOIS

Se Ii oisiel sont bien garde, Sy en aras honor et gre." Dont s'est Gliglois leves del lit Ou il ot repose petit. Dont s'en v a ses oisiauls repaistre. Son voel fussent il tout a naistre, Car par eulz estoit il remes. Quant il fu en la sale entres, Ens en la cambre s'en v a droit, Car nus ens el gardin n'aloit Par mi la cambre n'i alast Ainchois qu'ens el gardin entrast. Dont se regarde desor destre E t voit seoir a la fenestre Biaute qui si l'avoit espris. Donques cuide estre en paradis. Ele ert remese del tournoy Pour Gavain le nepveu le roy. Quant eile primes a cort vint Li rois volentiers le retint, Gavain son nepveu appiella, A la ro'ine l'envoia. Gavain s en fu droit lues espris E t volentiers fust ses amis, Mais Belte cure n'en avoit, E t tout pour luy remese estoit, S'ele fust en la compaignie C'on ne cuidast QOU fust s'amie. Gliglois ne l'ose regarder, E l gardin s'en veut outre aler. Belte a regarde Gliglois Qui si s'en v a et mus et cois El gardin paistre ses oisiaulz. i i 2 4 retient Μ

70 r. 1

T E X T A N D VARIANTS

1140

1144

1148

1152

1156

1160

1164

1168

Le cief ot blond, si fu molt biaulz. Ele l'esgarde, si l'apele: "Gliglois. — Que vous plaist, damoisielle? — Cha, venes cha parier a moy. — Molt volentiers. — Dites pour coy Vos n'estes al tournoy ales. — Belle, je suis pour vous remes. Mais or me dites, douche dame, Se Diex ait part de la nostre ame, Pour coi n'i estes vous alee? — Gliglois, qui m'y eüst menee? — Bele, mais qui l'osast veer Se vous y vosissies aler E t vous le feissies savoir! — Gliglois, QOU sachies tout pour voir Qu'il n'a pucelle en tout le mont D e toutes celles quy i vont Qui plus volentiers y alast, Se j'eüsse qui m'y menast. — Belle, qui porroit pourcachier Par aventure un chevalier Que vous menast a cest tournoy, Savries l'en gret? — Ο jou par foy, Chou sachies que gre Ten savroie, E t que jou miex l'en ameroie. — Par foy, belle, jel vous querray, Ne say se jou vo gre arai. — Ales donques, or i parra Ja nouaus ne vous en sera." Dont met la main a son tasel, Desflible soy de son mantel,

97

70 r. 2

1138 si fust m. b. Μ 1144 Delle je s. Μ, Belle je s. F 2 ; remes F2, ill. Μ 1149 Dele m. M, Bele m. F2 1160 giet M, gret F2 1162 miex le ameroie M, miex l'en a. F~ 1163 je le v. Μ

98

THE GLIGLOIS

1196

Courant s'en vait par my la sale, Del palais les degres avale, Regarda soy par aventure, Et voit venir grant aleiire Un chevalier qui s'en aloit Apries le roy, qui mus estoit. II estoit molt bien acesmez, En cauches ert, esperonnes D'uns esperons tous fais d'argent, Sy fu vestus molt richement, Un capiel ot de blanques flors. Molt fu vermelle sa colours, Molt estoit biaus li chevaliers, Et si ot soixante escuiers Qui portoient soixante lanches Toutes taintes, n'erent pas blanques, Et en cascune ot un pignon. Li chevaliers ot un faucon Qu'il portoit sor son poing senestre, Devant luy fait mener en diestre Avec son escu un cheval Tout couvert d'un Vermel cendal. Un palefroy vait chevauchant. Gliglois li est venus devant, Par le mantel un poi le tire: "Paries a moy, fait il, biau sire, Se il vous plaist, par vo merchi. —Volentiers, fait il, frere, dy

1200

Chou que toy plaist, ne mi cheler, Jou n'ai mestier de sejorner. — Biaus sire, je vous voel proier, Et par vo merchy vous requier

1172

1176

1180

1184

1188

1192

1183 porterent M, portoient F2 1x97 toy plaist F2, ill. Μ

1192 venust M, venus F2 i200 vo requier Μ

T E X T A N D VARIANTS

1204

1208

1212

1216

1220

1224

1228

1232

Que vous menes une pucelle A chest tournoy, quy molt est bele. Li rois miex vous en amera E t Gavains gre vous en sara, Sy vous revolra molt ses gres. — Amis, ales, sy l'amenes, Car buer fust elle donques nee Quant Diex m'a tel honor donnee Que jou puis faire son plaisir. Faites le tost a val venir. — Biaus sire, molt bien dit aves, Or un petit chi m'atendes. Jou revenrai tout maintenant." Gliglois s'en va molt liemant Del chevalier qu'il a trove. En la cambre vient a Biate, U il a mis tout son corage, Se li reconte son message: " M a damoisiele, uns chevaliers, Qui vous mainra molt volentiers, Est la a val, sy vos atent. Venes a luy isnellement. — Gliglois, or aves vous bien fait, Ce sachies vous tout entresait Que jou gre vous en sai molt grant. — Damoiselle, plus ne demant." Onques mais n'ot il tant de joie. Vestue fu d'uns draps de soie. Le cief ot blont, molt li avint, E t Gliglois par la main le tint, Qui de li servir molt se painne. Par les degres a val le mainne

1207 dont nee Μ 1227 Ainc mais Μ

gg

70 v. I

1219 damoisiel M, damoisiele F2

ΙΟΟ

THE GLIGLOIS

1236

1240

1244

1248

1252

1256

1260

1264

Droit a cheluy qui l'atendoit. L y chevaliers quant il le voit, Del palefroy est descendus, Encontre Biaute est venus. Primierement l'a salüee E t puis entre ses bras combree, Sour son palefroy le leva, Son cheval prist et sus monta, A Biaute revint bonnement, L a resne del palefroy prent. Gliglois ont a Dieu commande, Donques s'en vont tout arote. Gliglois les resgarda andeus Qu'il s'en vont, il remaint tous seuls, Pourpense soy que mal a fait

70 v. 2

Quant pourcacie a et atrait Qu'ele al tournoiement aloit E t il iluec seus remanoit. " E las! dist il, que porrai faire? Bien mal ai mene mon afaire, Quant jou remain, ele s'en va. J a par celui qui me fourma N ' i remanrai apres une eure Que j'apres li a pie ne keure. Donques a pris un bastoncel, N'il n'ala pas pour son mantel Qu'il ot en la sale laissie, Mais desfubles et tout a pie S'en vint apres Biaute courant Que s'en aloit molt tost amblant, Car li chevaliers se hastoit D e tost aler, car il voloit

1234 q. ili v. M, q. il v. F2 1253 Q· jor r. M, Q. jou r. F 2 1257 Donq M, Donques F 2

1235 descendu Μ 1252 Premier mot ill. Μ 1235 Si r. M, N'i r. F2 1259 sale saissie M, sale laissie F2

T E X T AND V A R I A N T S

1268

1272

1276

1280

1284

1288

1292

1296

Ceus ataindre qui devant sont. De pluiseurs coses parlant vont. Molt faisoit caut comme en este, E t Gliglois court apries Biaute, Car il n'a cure de remaindre Αης-ois que il les puist ataindre, E t courut une lieue entiere. Li chevaliers regarde ariere E t voit Gliglois les luy venir Que les voloit aconsiuir. "Damoiselle, fait il, vees. — Qu'est gou? sire, gou dist Biautes. — Sy m'ai't Diex, ves chy celuy Qui me proia de vous gehuy D ' a cest tournoiement mener. Estes, si le faisons monter. — Avoi, sire! Biaute respont, Sy m'a'it Diex qui fist le mont, J a Gavains ne vos ameroit Mais a nul jour, ains vous hairoit, Se vous le faiss'ies monter, Car il doit les oisiauls garder, E t s'il montoit, jou descendroie E t tout a pie ariere iroie. Ce sachies vous de verite. Pour un fol, un musart prove Qui as oisiaus doit remanoir, Voles no maltalent avoir? Sy m'a'it Diex, seroit folie, E t jou nel soufferoie mie Que il montast en tel maniere, Mais voist a ses oysiaus ariere."

1281 Amoi M, Avoi F2 1293 ce seroit folie Μ

1287 descenderoie Μ

ΙΟΙ

7 1 r. 1

102

THE

1300

1304

1308

1312

1316

1320

1324

1328

GLIGLOIS

Dont s'est li chevaliers teiis. Gliglois s'est bien aperceüs Qu'ele n'a cure qu'il y voise. Tous cois s'est teus et ne fist noise. Molt faisoit caut, il ert estes. Li sans li fu el vis monies. S'il fu lasses, ne mervellies. D e sa cote s'est despoillies, D e son dos l'a a terre mise, E t remest nus en sa chemise, E t v a courant apres Biaute. Le chevaliers l'a regarde: " E damoiselle! fait il, doncques Sy m'ait Diex, ce ne fist onques Nus malvais hom que cis a fait, S'en est la fins tout entresait. Jou ne porroie plus souffrir Que jel laissaisse a pie venir." Dont rueve un escuier descendre E t a Gliglois le ronchin prendre, Quant Bialtes dist: " A v o y , biau sire! Sy m'a'it Diex, je puis bien dire Que vous n'estes pas molt courtois Quant vous ichy, sor mon defois, Voles monter un tel garchon, Dont ja n'ares se mal gre non. Che sachies vous tout vraiement : Se iere del tournoiement Deux lieues pres, sy fust monies, Je vous dy ce sera viltes S'il monte, qu'il descendera E t tout a pie arriere ira,

1309 E t d. Μ 1326 dy bien ce s. biautes M; F2a viltes pour biautes

γι r. 2

T E X T AND VARIANTS

1332

1336

1340

1344

1348

1352

1356

1360

103

Sy m'ait Diex et Ii boin jours. Cuidies vous je l'aim par amours? — Naie, belle, j'avroie tort, Ains cuit vous le haes de mort, N e jou n'en parlerai ja mais, Mais chevauchies trestout em pais, Car la proiere lais jou toute." E t Gliglois cort apres la route Grant aleiire et a malaisse. Sachies que n'estoit mie a aise, Car il n'en estoit pas apris. Donques s'est a la terre assis E t giete puer sa caucheüre. Nus pies s'en cort, la terre est dure, Car il faisoit merveillos caut, Sy que li sans vermaulz Ii saut Par my les ongles par destresce. L a terre est dure qui le bleche. Biautes v a Aharer gabant Qui s'en aloit tout repaissant Le faucon qu'avoec lui portoit, D'un oisiel gorge li faisoit. Quant l'ot repeut, sy l'aplanoie. "Belle, fait il, jou cuideroie Qu'il n'est gaires de tels oisiauls Qui soit ne sy bons ne sy biaus Con cist que report avoec moy. —• Sire, fait eile, bien le croy. — Belle, fait il, jel vous donroie Par un couvent que je diroie D e vous, si prendre le voles. •— Sire, fait elle, or devises,

1338 que ne estoit Μ 1340 Dont se est Μ 1347 va aha'r g. Μ 1354 Qui soit ne sy biaus M, Qui soit ne sy bons ne sy biaus F2

104

THE GLIGLOIS

1364

E t se je puis, je le feray. — Par foi, fait il, jou vous diray: Vous le donres et eil l'avra Qui al tournoy miex le fera. — Certes, fait elle, jel creant." L i chevaliers li puire a tant, Desor le puing li a assis.

1368

" B e l l e , fait il, je vous plevis Qu'encor l'avrai huit jours entiers

1372

1376

— Bien porra estre, biaus dous sire, Dist la pucelle, qu'il est vostre, M a i s encore est li faucons nostre Quant par armes le conquerres. T o u t a tans vous en vanteres.

1380

Miex v a u t boins fais que malvais dis.' Gliglois mei'smes en a ris D e la parolle qu'ele a dite. L'aleüre n'est pas petite,

1384

1388

1392

7 1 v. 1

Qu'il aloient, mais a molt grant L e tint Gliglois qui v a lassant, Car il ot toute jour courut E t sy n'avoit mangiet ne but, E t miedis estoit passes, S'estoit li jours molt escaufes, E t il avoient tant erre Qu'il ont bien les deux pars ale D e la ou ly rois doit jesir. II i porront par tans venir, Mais Gliglois ne puet mais aler. Qui li vei'st les pies sainer

1369 La lacune n'est indiquee ni dans Μ ni dans F2 1374 nostrez Μ 1378 en a vis M, en a ris F2 1383 tout jour M, toute jour F2

T E X T A N D VARIANTS

105

D e la destreche qu'il avoient, Li oel de pitie li larmoient. Sous d e l n'a homme sei vei'st 1396

Que grant pitie ne l'en preist. A u s y fait il al chevalier, M a i s parolle n'i a mestier E n v e r s Belte que il deist,

1400

Qu'ele pour nule rien sofrist Qu'il montast en nulle maniere, N ' i puet avoir mestier proiere Qu'encor proiast il volentiers.

1404

Iluecques pres ert uns mostiers, E n sus de la voie un petit, Ensi comme li conte dist,

7 1 v. 2

Qui de la voie est asses pres. 1408

Uns moines i manoit ades Que cascun jour messe cantoit. Proprement pour D i u le faisoit, E t s'avoit faite la capelle.

1412

Biautes le chevalier apelle: " B i a u s sires, alons au mostier. Biaus sire, ales vos tournoier? Si proions D i e u que il nous oie,

1416

Qu'il nos maint et remaint a joie. — Damoisielle, molt volentiers." II commande ses escuiers: " A l e s , ales tout belement."

1420

A l moustier vienent esraument. Gliglois cort as chevauls tenir. Biautes descent, al recoillir Courut Gliglois, n'ert pas vilains,

1424

Les chevaus tint par les deux frains,

1394 Li oel de destreche Μ 1400 nul rien Μ 1413 Β. sire Μ I4i6 Que il Μ 1421 c. al chevauls Μ 1422 recoillier M , recoillir F 2

io6

THE GLIGLOIS

1428

1432

1436

1440

1444

1448

1452

1456

Car il sert volentiers a gre. Cil sont ens el moustier entre. Ens el canchiel Biautes s'en va. Li chevalier remest de cha. En la nef del mostier errant Biautes trova tout escrisant Le moine qui iluec servoit, Car d'autre cose ne vivoit Se de chou non que il escrist. Biautes s'asist les lui, si dist: "Biaus sire, dous et de bon aire, Poriies vos or endroit faire Unes lettres que jou volroie Envoier? — Damoiselle, oie. — Car les faites dont, sire frere." Biautes li conte la matere. Cil la retint et en latin L a escript ens el parchemin. Le bries ploia et si le rent, E t Biautes volentiers le prent. En s'aumosniere l'a boute, E t al moine par carite Dona cinq sols et pour offrande, D'iluec part, a Dieu le commande. Quant il furent hors revenu E t del moustier furent issu, Gliglois a pris sa damoisielle, Sy le leva desur la sele Del palefroi, puis l'escuier Ala tenir del chevalier. Dont se revont plus que le pas. Gliglois est devenus sy las

143S dous debonaire Μ 1441 et en latin F2, ill. Μ 1453 et puis Μ

72 r. 1

1436 P. orendroit Μ P. vos orendroit F2 1447 sols pour of. M, sols et pour of. F2

T E X T A N D VARIANTS

1460

1464

1468

1472

1476

1480

1484

1488

Que c'est mervelle quant i va. Li chevaliers le regarda, Bien voit que ne puet mais aler, E t se li voit les pies sanner. Donques en apiella Biaute: "Certes molt grant desloiaute, Damoiselle, fasomes nos, Mais les couppes en sont sour vous De cest vallet qui a piet vient. Del retourner est il mais nient, Car il est trop venus avant. Ves con li piet li vont saignant. — Sire, sire, gou dist Biautes, Certes de grant n'ient paries, N ' y montera que ne me poist, Mais ariere, s'il voelt, s'en voist, Car il i vient par sa folie, E t par amour ne l'aim jou mie, Je cuiQ que vous me mescrees. — Non fais, ains cuig vous le haes De noire mort, chou m'est avis. Sy m'aüt Diex et Saint Denis, Vous feres que il s'en rira. Ou il or endroit montera, U g'irai avoec luy a pie. Por coi dont n'aves vous pitie D e chou qu'il vient a sy grant paine? Vees comme li pie li saine. Se vous par amours l'amissies, Ja ne cuit que le souffrissies, Car trop par fuissies de mal aire, E t se vos poies tant faire

1479 Dous freres quil M, Vous feres que il F2 1482 Deux premiers mots de Μ ill.

107

72 r. 2

io8

THE GLIGLOIS

1492

1496

1500

1504

1508

1512

1516

1520 1497 l'en a r. Μ

Qu'il s'en vosist ariere aler, Puis que vous nel laissies monter, Sy m'aüt Diex, chou seroit biens Et grans honnours vostres et miens. — Ales, fait eile, un poi avant Et jou sarai qu'il va querrant." Un poy hors voie s'en tourna, Gliglois apielle et il i va. Biautes l'en a a raison mis: " Gliglois, fait eile, biaus amis, Ou ales vos? — Belle, al tournoy. — Pour coy faire? — Pour vous, par foy. — Pour moi, voire, se Diex m'ait! — De tout le mont m'est si petit Se de vous non, ensi me va, Ne sai se biens m'en avenra. — Sy m'aüt Diex, ce dist Biautes, C'est folie que vous m'ames, Car maint haut homme ay refuse N'onques n' i poi ma volente Vers eus traire que je l'amaisse. Cuidies vous dont que j'outriaisse A vous m'amour? C'estroit folie. Je ne vous ameroie mie, Mais ariere vous en ales Et des oisiauls garder penses, S'ares le gre de vo seignour. J a ains n'ierent passe huit jour Que nous serons tout revenu. Se li oisiel sont confondu Vos sires vous hara de mort, Et sy n'avra gaire de tort. 1499 Ou ales Β. Μ

72 v. 1

1516 jours Μ

TEXT AND VARIANTS

1524

1528

1532

1536

1540

1544

1548

1552

Asses me reverres souvent. — Damoiselle, c'est pour noient. Se vous ales et jou irai, J a sans vous ne retournerai. — Sy m'ai't Dieux, ce dist Biautes, J e vois tres bien que vous lasses, Ne vous ne poes mais aler, E t il vous couvenra passer Dusque ne gaires un grant bos, E t se vous par estes si sos Que vous avoec nous i entres, J e sai bien vous i remanres, Car nous irons grant aleüre." Gliglois avoit a sa gainture Un coutel qui estoit molt grant E t sy estoit agus devant. De la game le sacha, E t puis a Biaute le moustra: "Damoiselle, je sai asses Que vous feres vos volentes, Mais ja plus tost ne vous perdray Que de cest coutel m'ociray. Bien say que iere en paradis Puis que pour vous serai ocis. — Voles vous dont morir pour moy? — Oie, jel vous a f y par foy. — Puis que pour moy morir voles, Or i parra que vous feres. Vous en mores, ja n'en ert grief." De s'aumosniere trait le brief E t un anel d'or petitet, Se li a mis el doy manet,

1532 vo'ne manres M, vo'i remanres F2

109

110

T H E GLIGLOIS

1556

1560

1564

1568

1572

1576

1580

1584

Le brief apres se li puira. "Gliglois, fait eile, entendes cha: Cest brief gardes a grant honor, Sei me portes a ma seror Qui maint chi pres a un castel As ensaignes de cest anel, Si poes dire jou li mant Qu'elle ne laist pour riens vivant Que ne fache sans contredit Che qu'el brief trovera escript. Li castiaus a non Landemore. Vous i pores venir encore Bien quatre fois, se vous voles, Mais un petit vous reposes. Je ne vous sais mais plus que dire. — Damoiselle, Diex le vous mire, Quant vous commander me daignies Cose que vous faire voellies. — Ba, caitis, elle vous pendra. — M o y que caut quant pour vous sera? — Je le voel bien, sy m'a'it Diex, Mais gardes bien sor les deux ieulx Que cose qu'elle vora faire Ne refuses, mais debonnaire Soies, soufres en boin espoir, U soit de pendre u soit d'ardoir. — Damoiselle, molt bonement. Ja ne volra si grant tourment, Puis que vous l'aves commande, Que ne sueffre, car decole Furent pour Dieu maint bon martir, Sy voel jou bien pour vous morir.

1560 me 1. M, ne 1. F2 1571 pendera Μ

72 v. 2

1561 Que me M, Que ne F2 1569 me daig Μ 1583 m. bien m. M, m. bon m. F2

TEXT AND VARIANTS

1588

1592

1596

1600

1604

1608

1612

1616

ill

— E t jou le voel qu'il soit ensy, Mais si ne vous moves de chy Dusque nos soions eslongie." D'iluec se part, se prent congie. Dont s'est Gliglois a terre assis. Li chevaliers a fait un ris Quant il le vit asseoir jus. " Or i a Diex bien fait vertus," Fait li chevaliers a Biaute. "Voire, fait elle, d'un derve Qui chy nos aloit poursiuant, E t sy ne set que va querant, Mais tant li ay fait et promis Qu'il s'en rira, chou m'est avis. •— Certes, bien aves esploitie, Que j'avoie molt grant pi tie Qu'il acoroit sy faitement. — Chou est voirs, fait elle, alons ent." Dont s'en revont a grant esploit, Tant ont erre qu'al castel droit U li rois ert, en son venut, E n la sale sont descendu. Mais Gliglois est iluec remes En chemise, descaus, lasses. Belte entra el bois a destre, E t il al chemin a senestre S'en est entres, tant a erre Que il a le bosquiel passe. Quant il a passe le bosquiel, De devant luy vit le castel En my un pre large et floris. Li castiaus est molt bien assis.

1586 Mais ne vous Μ

i6o2 C'est voirs Μ

73 r. 1

i6i6 est bien assis Μ

112

THE

1620

1624

1628

1632

1636

1640

1644

1648

GLIGLOIS

De tout ert riches li castiaus, E t li pais est bons et biaus, S'erent molt riche li bourgois. Droit le chemin i va Gliglois, Mais molt ert las de grant maniere. Uns chevaliers vint la riviere Qui provos estoit del pais, Hauls horns estoit et de grant pris, E t avoit trois fiuls chevaliers, Pros et biaus, ses avoit molt chiers. Toute la terre ot a garder. Vit cheluy le chemin errer En chemise, descaut, clochant, A lui en est venus poignant. Dont l'araisone et demanda Que il est et quel part il va. "Biaus sire, uns povres gargons suy Le roi Artu, mais que ja huy Me commanda une pucelle, Sy est al roy la damoiselle, Qui me proia que je venisse A sa seror et sy veisse Qu'ele fait, se eile est haitie. Li damoiselle en ert plus lie Se eile en ot vraie nouvelle Comment le fait ma damoiselle. — Biaus dous freres, biaus dous amis, Vos envoia en cest pais? Ba, ou est eile? — Avoec le roy S'en va, biaus sire, a cest tournoy." Li provos le vit avenant E t bien sanble gentil enfant.

1633 Biaus sires Μ

2

1037 que ne v. M, que je v. F

73 r. 2

1641 Seile en Μ

TEXT AND VARIANTS

1652

1656

1660

1664

1668

1672

1676

1680

"3

" Certes, fait il, mal resanbles Povres garchons, vos me gabes. — N o n fai, certes, fait il, biaus sire." L i provost ne li v a l t plus dire, M a i s que desor son palefroy L e fist monter deriere soy. Dusqu'al mestre pont le porta D e la sale, pus li moustra Celle cambre u il troveroit L a damoiselle qu'il queroit. " S i r e , fait il, vostre m e r c h y . " D e l palefroy jus descendy, A mont s'en monte en es le pas. L i palais ert fais a comppas. E n la cambre estoit la mescine. Gliglois ne cesse ne ne fine Desqu'il vint en la cambre droit. Quant il vit cheluy qu'i queroit, D e parier ne fu esperdus: "Damoiselle, amours et salus Vous mande par moy vostre suer. E l e ne m ' a pas dit son euer D e quanqu'ele vous veut mander, M a i s un brief m ' a fait aporter. Tenes, ves le ci sans seel A s ensaignes de cest anel. Vous mande bien que ne laissies Pour nulle rien que ne fachies Chou que li bries devisera. Vous saves bien que QOU sera. J e ne vous say que dire plus. — Amis, bien seres vous venus.

1650 me gales M, me gabes F2 1664 ne cesse ne f. Μ

1651 sires Μ 1674 de cest anest Μ

7 3 v. 1

114

THE GLIGLOIS

1684

1688

1692

1696

1700

Que fait ma suer? S'ele est haitie? — Damoiselle, joiouse et lie S'en est alee a cest tournoy E t a grant feste avoec le roy." Dont s'est Gliglois asis a terre, E t la pucelle envoie querre Isnellement un cappelain. Les lettres tint ens en sa main. Quant li capelains fu venus L a pucelle n'atendy plus, A une fenestre le maine. "Sire, Biaute, ma suer germainne, Fait ele al clerc, m'a envoie Cest brief par un garchon a pie, E t ensaignes boins et loiaulz. Ne sai se c'est u biens u maulz, Mais ja les lettres ne diront T a n t soit grant cose en tout cest mont Que je puisse faire ne dire, Je ne face sans contredire. — M a damoiselle, dont mostres De cha le brief. — Sire, tenes Le brief." Apres les lettres list,

1704

1708

1681 i688 1696 1699

Mervilla soy de chou que vit. "Qu'est chou, sire? dist la pucelle. — Mervelles droites, demoiselle. Ves vous la eel descau, eel nu, Celuy qui ceens est venus? — Oil, jel vois veraiement. — V o suer vous mande vraiement Que c'est li hom qui el mont soit

suer se le est h. Μ 1685 asist Μ tint en sa m. M , tint ens en sa m. F 2 manque ά M , Ne sai se c'est u biens u maulz F 2 peuisse M , puisse F 2 1707 eel nu F 2 , ill. Μ

73 v. 2

1709 voirement Μ

T E X T AND VARIANTS

1712

1716

1720

1724

1728

1732

1736

1740

1744 1712 Que le Μ

Qu'ele plus aime, sy a droit, Qu'en tout le mont n'en a plus sage, Plus courtois vallet ne plus large, S'est chil que Gavains aime plus, E t sachies bien, Ii rois Artus L'aime forment sor toute rien, E t vostre suer vous mande bien Que c'est la rien qu'ele a plus chier E t si en fait es chevalier, Sy qu'ele et vous en ait honnour, Que ja n'avra autre seignour, Car maint mal Ii a fait sofrir N'ainc ne li vaut encor jehir Qu'ele l'amast ne tant ne quant, Ne ainc n'en vault faire samblant. Armes li done et conroy, Si l'envoies a eel tournoy, Car molt cuig jo qu'il est vaillans, E t vostre suer est sy sachans Que ja s'entente n'y meist E n luy s'il auques nel volsist. Or en faites vostre talent." E t quant la pucelle l'entent, Desfuble soy de son mantel, Corant en vint al damoisel, Si le baise molt doucement. Gliglois s'en mervelle forment E t tous s'en est il esperdus, Car il cuidoit estre pendus. "Amis, comment aves vous nom? •—Dame, Gliglois m'apelle on. — Gliglois, volries vous mangier? — Bele, j'en ai si grant mestier 1719 chiere Μ

IIS

74 r. 1

Il6

THE GLIGLOIS

1748

1752

1756

1760

1764

1768

1772

1776

Que je ne mangay des ersoir. — Non, dous amis? — Bele, non voir." Donques li a on aporte Pain et vin, nappe et un paste. Gliglois en manga molt petit. Elle li fist faire son lit En une cambre coiement. Gliglois i couga bonement, Car molt aime le reposer, E t la pucelle fist mander Molt isnellement le provost, E t il i est venus molt tost. A un conseil Ten a mene: "Provos, je vos ay molt ame E t encore vous aim jou bien. — Dame, et jou vous sor toute rien, Sy con je doy ma dame faire: De tous endrois vostre preu faire. — Provos, entendes ga a moy: Sor quanques vous tenes de moy, Me faites querre chevaliers Dusqu'a trente tous les plus chiers Que ja troveres en ma terre, E t les faites anuit tous querre Qu'il soient chy par matinet, Car j'ai laiens un mien vallet Dont je voel faire chevalier. E t trestout le millour destrier Que onques puissies recovrer, Me faites querre et acater, E t armes teles con estuet, Toutes les miudres que on puet Nul liu trover, et sans faillanche,

1759 Et encor Μ

TEXT AND VARIANTS

1780

1784

1788

1792

1796

1800

1804

1808

Que riens n'y faille, nes la lanche. Robe Ii troverai je asses, Mais dix de mes valles prenes, Si les faites la val baignier, E t si lor faites pourcachier Quanqu'a chevalier couvenra. Or i parra qui m'amera. — Damoiselle, jel feray bien. J a , se Dieux plaist, n'y faura rien." A tant li provos s'en tourna, E t la damoiselle apiella Molt isnellement ses pucelles, Car eile en a asses de belles. Un baing lor commanda a faire, E t eles l'ont envoie traire Par deux valles et aporter, Molt se painent del escaufer. Quant eles l'orent escaufe E t en une cuve coule, L a damoiselle s'en tourna, En une cambre s'en entra, En cheli u Gliglois estoit, Qui molt a aise se gisoit. II se dormoit ens en un lit, E t s'avoit süe un petit, Si ot le visage arouse. L a pucelle l'a regarde. "Dieu, fait eile, qui tout fourmas E t qui tout le mont estoras, Qui ainc mais vit tel creature, Ba, Dieu, que samble une painture

1 7 7 9 troverai jou asses Μ 1 7 8 1 le val Μ 1800 a aise gisoit M, a aise se gisoit F2 1 8 0 1 ens .1. lit Μ 1807 tele c. Μ

117

74 r. 2

1 7 8 6 riens Μ

Il8

THE GLIGLOIS

1812

1816

1820

1824

1828

1832

1836

1840

Qui soit faite pour esgarder! Ε Dieu! Ou poroit on trouver Un plus bei homme en tout le mont, Tels bras et tel col et tel front, Tels oels, tels vis, bouce ne nes? Voire, η'en puet on; mais Biates, S'elle l'aime, ma douce suer, Ne s'ele i a assis son euer, S'elle l'aime, n'est pas mervelle." Dont vient avant et si l'esvelle, Sus de son lit l'a fait lever, En le cuve l'a fait entrer. Ele meisme fu serjans. La pucele ert molt avenans Et si estoit courtoise et preus. Gliglois en estoit molt honteus, Mais Biautes li ot commande Que il preist trestot en gre, Quanque feroit, mot ne sonnast Ne de nule rien ne parlast De quankes on Ii volra faire. La pucelle ert molt debonnaire, Aussy bonnement sert Gliglois Com se chou fust Artus li rois. Nule coze ne l'en est grief. Ele li a lave son chief, Puis li afubla une huve, Issyr le fist fors de la cuve. Ses lis li fu apparillies, Et Gliglois s'i est recouchies. Braies li a on aportees D'un drap de soie bien ouvrees, Et un braiel trestot de soie. La damoisielle a molt grant joie

1814 Voirement Μ

1832 choufistΜ

74 v. 1

T E X T AND VARIANTS

1844

1848

1852

1856

i860

1864

1868

1872

1876

1x9

Li a fait molt tost soi vestir, Onques n'y fist vallet venir. Unes chauces li ot chaucies D u drap de soie et entailliez. Apries vesty son chevalier Une cote d'un drap molt chier: Toute ert de soie d'outre mer; Sarrasin le fisent ouvrer A flors, a biestes, a oisiaus. D'autretal drap ert li mantiaus, E t la pane ert de sisemus. Molt par fu richement vestus. De seble noir fu l'orleüre. Ele li gainst une gainture A une chiere boucle d'or, Bien le cuide avoir en tresor Quant eile l'a Gliglois donnee. D'une coute de paile ouvree Rova iluec un siege faire. L a pucelle ert molt debonnaire, E t Gliglois fu molt bien apris. Illuecques sont andoy assis. L a pucelle li fu bonne hoste, L a coife de son chief Ii hoste, Car volentiers le sert a gre. Donques li a on aporte De florietes un capelet, Ele mei'sme el chief li met. E t ja estoit minuis passee, Molt par est pres de la journee, E t li chevalier sont venu, L a jus al pont sont descendu, Que li provos querre envoia, E t li dix qu'ele commanda

1843 m. t. vestir Μ

1871 passes Μ

v. 2

120

THE GLIGLOIS

1880

1884

1888

1892

1896

1900

1904

1908

1880 ili M, il F2

Sont avoecques tout acesme Molt richement a volente. Lors fist li provos tout trover Quanques il sorent demander. Li provos les fist tous descendre E t sy les fait iluec atendre; A mont s'en monte trestous seuls. Li provos ert sages et prous, A l'uis hucha, on li ouvry. Quant la pucelle l'entendy, Encontre luy en est venue, Andeus ses bras al cols li rue, Qu'il ert haus hom et si l'ot chier. "Provos, ves la mon chevalier. Que t'en sanle? Coi? — Diu merchy! Mai aie jou se j'onques v y En tout le mont un plus bei homme! S'iere l'apostole de Romme, E t je peuisse estre ausy biaus Comme chils chevaliers nouviaulz, S'en guerpiroie jou ma terre, Se Dieus me doinst honor conquerre." II vint avant, sei salua. Gliglois encontre se leva, Sy respondy a ses salus. II le refait aseoir jus. L a pucelle ert en molt grant painne, Le provost a une part mainne. "Provos, entendes ga a moy. Comment vous est? — Molt bien, par foy, Car li soixante chevalier, Que vous me commandastes hier, Sont la a val tout acesme 1888 A.1T1. s. b. Μ

1907 chevaliers Μ

75 r. 1

T E X T AND

1936

Con de faire vo volente. — Sont avoecques li dix novel? — Οϊΐ, dame. — Chou m'est molt bei." Tant que la pucelle conselle, Gliglois se siet, car s'esmervelle De chou qu'il a vestus ces draps, Son cors regarde et puis ses bras Qui sont vestu de draps sy chiers. " D i e x ! fait il, jou suy chevaliers! Or ne sai je mais ou je suy." L a pucelle revint vers lui E t li provos tout ensement. Ele l'apela doucement, Par son droit non l'apelle et nomme: "Gliglois, molt a en vous bei homme, Grant et menbru de vostre eage, Bien fait de cors et de visage; En tout le mont η'en a tant bei, Mais le tace de vo mantel Ne vous valra ceste biautes, Se vous a proeche fales. Se preus estes, se Dius me saut, Nule cose del mont n'y faut, Car riches seres vos asses, E t sachies bien, ma suer Biautes Vos aime bien, s'est vostre amie. — Pour Dieu, le fil Sainte Marie,

1940

Non fait, douce dame, merchy! — Sy, fait ele, voir jel vous di, Si m'escoutes un seul petit: El brief qu'aportastes escript,

1912

1916

1920

1924

1928

1932

121

VARIANTS

75 r. 2

1911 S. avoec li d. Μ 1922 Gli. l'apela M, Ele l'apela F2 1929 ceste biaute Μ 1933 seres asses Μ 1938 Sy fait voir M, Sy fait ele voir F2

122

T H E GLIGLOIS

1944

1948

1952

1956

i960

1964

1968

1972

Quant vous venistes chy ersoir, Me manda ele tout pour voir Qu'elle n'amoit nulluy fors vous, Et sy vous a eslit sor tous, Sy gardes qu'ele sauve i soit. Et pour chou qu'ele tant me croit, Me mande ele escript ens el brief Nule cose ne me fust grief, Molt hautement vous adoubaisse Et al tournoy vous envoiaisse. Et jel feray molt richement Et volentiers et bonnement, Et de bon euer et volentiers, Et se vous kerqueray deniers, Or et argent et gent asses, Et vous largement despendes, Sy gardes bien soit emploies. Ne demant plus mais preus soies. — Sy m'a'it Diex, bei m'en estroit. Damoisele, Diex le m'otroit Et il vous en rende merchys. Vostre seray mais a tous dis." Donques li volt caoir al pie, Mais ele l'en a redrechie, Sy le baise molt douchement. " Provos, ales pour vostre gent La jus a val, fait la pucelle. — Volentiers, fait il, damoiselle." II vient a eus, sy les semont: "Seignor, venes en tout a mont. Ma damoiselle le commande, S'ores pour coi elle vous mande."

1947 escript el b. Μ 1948 fust brief M, fust grief F2 1953 manque d M, Et de bon euer et volentiers F2 1972 Soies M, S'ores F 2

T E X T AND V A R I A N T S

1976

1980

1984

1988

1992

1996

2000

2004

Et il i vont molt volentiers. Quant ele vit ses chevaliers, Molt lie fu, encontre va Et molt biau samblant lor mostra. Apries les a araisonnes: "Seignours, je vous ay chi mandes Comme la gens en cuy me fy. Mi lige homme estes tous plevi, Sy tenes de moy riches fies. Or voel jou bien que vous sachies Que j'ay un novel chevalier; Sy le menes m'en tournoier Et fates autretant d'onnour Comme vostre lige signour, Autretant Ii portes de foy Comme vous feries de moy Se jou ere homme et fuisse sire. Je ne vous sai plus chy que dire, Mais quy de bon euer m'amera, Sachies que foy li portera." Lors parlerent ly plus vaillant: "Damoiselle, vostre commant Ferommes nous, car il est drois. Ausy con s'il fust cuens u rois, Ferommes nous chou qu'il volra. Mais or le nos amenes cha Fors de la cambre, sei verrons E t de luy nous acointerons." La pucelle vint pour Gliglois. Cil estoit sages et courtois, Sy se drecha encontre ly, E t la pucelle le saisy.

1973 E t il v. M, Et il i v. F2 1985 autretant de honnour Μ

123

75 v. 1

1977 les araisonnes M, les a araisonnes f a 1996 A. comme Μ

124

THE GLIGL01S

2016

Ele fait cerges erbraser E t candoilles pour alumer. Fors de la cambre l'amena, A ses homes le commanda. A grant honor le salüerent E t petit et grant le loerent E t parollent de sa biaute. Donques ont congie demande, E t la pucelle lor donna E t dusqu'al pont les convoia. Iluecques se depart Gliglois, E t il montent es palefrois.

2020

A l tournoy s'en v a richement, A grant avoir et asses gent, Or et argent mainne et sommiers E t s'a soixante chevaliers

2008

2012

2028

D o n t il puet faire sen voloir. Or li doinse Dius tel pooir Qu'il puist conquerre honor et pris. T a n t ont chevauchie, QOU M'est vis, Que li jours fu et biaus et grans E t Ii solaus clers et luisans. Cil de la route font grant joie E t vont cantant toute la voie,

2032

E t vont molt de Gliglois parlant Que molt i avoit bei enfant E t molt le doivent avoir chier; T u i t s'aücent de li aidier.

2036

L i provos les luy chevauchoit, Qui de grant corage l'amoit E t de s'onor ne se faint mie, L e bien li dist, sy le castie,

2024

2016 el palefrois Μ

2022 doinse M , doinge F 2

75 v. 2

TEXT AND VARIANTS

2040

2044

2048

2052

2056

2060

2064

2068

E t eil molt volentiers l'entent, Car molt aime l'ensignement. Molt fu la route bonne et bele. Gliglois ses compaignons apielle, Dont prent conseil que il feront E t cuy avant envoieront Pour l'ostel querre et pourcachier E t pour atourner le mangier. II respondent: " £ou est raisons. Dix de nos escuiers prenons Quy soient preu et de bon aire E t bien sachent de tel afaire, Ses envoions droit al castel, Sy prengent ostel el plus bei De le vile u l'en puist descendre, E t sy lor faites tout deffendre Que ja ne dient vostre non Ne ja n'en entendent raison, Mais sachent par trestout huchier S'il i a povre chevalier Ne menestral ne gogleor, Qu'anuit vignent a nostre court, Car vous lor donres largement De vostre avoir et richement." Tout ont cest conseil otroie, Les escuiers ont envoie Avant pour l'ostel atourner, Sy lor commande a aprester Que ja nel laissent pour deniers De trestous les plus chiers mangiers. Cil respondent bien le feront, Le congie prendent, sy s'en vont. Cascuns des dix savoit asses,

2046 .1. de nos e. Μ

2o6$ pour denier Μ

125

76 r. 1

126

THE GLIGLOIS

2072

2076

2080

2084

2088

2092

2096

2100

N'i a un ne soit acesmes E t bien vestus, s'ont bons ronchis. Ja estoit passes mi'edis Quant il vinrent al castel droit. Li rois Artus venus estoit Et la roi'ne et sa maisnie. Toute la vile est herbegie, N'i a maison quy ne soit plaine, Car grant harnas cascuns amaine E t les dames quy sont venues. Cil ont cerchie toutes les rues C'onques nul hostel n'i troverent. Toutes les rues plaines erent De dames et de chevaliers Qui demandent as escuiers Dont lor sire est et qui est il. "Noviauls chevaliers est, font il, Qui ici vient pour tournoier, Mais il n'avra u herbergier." Que qu'il se vont sy dementant, Estes vous un bourjois errant Qui la vile avoit a garder, Sy 01 ceus molt dementer. II lor demande doucement II quant estoient la venant. "Sire, soixante chevaliers Et les harnas et les destriers. — Par foy, fait il, c'est grant richoise, Mais de