Читать книгу A Short History of French Literature - Saintsbury George - Страница 12

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[17] Gesta or Geste has three senses: (a) the deeds of a hero; (b) the chronicle of those deeds; and (c) the family which that chronicle illustrates. The three chief gestes are those of the King, of Doon de Mayence, and of Garin de Montglane. Each of these is composed of many poems. Contrasted with these are the 'petites gestes,' which include only a few Chansons.

[18] La Chanson de Roland, ed. Fr. Michel, Paris, 1837. The MS. is in the Bodleian Library (Digby 23). Another, of much later date in point of writing but representing the same text, exists at Venice. Of later versions there are six manuscripts extant. The Chanson de Roland has since its editio princeps been repeatedly re-edited, translated, and commented. The most exact edition is that of Prof. Stengel, Heilbronn, 1878, who has given the Bodleian Manuscript both in print and in photographic facsimile. The best for general use is that of Léon Gautier (seventh edition), 1877.

[19] Wace (Roman de Rou, iii. 8038 Andresen) speaks of the Norman Taillefer as singing at Hastings 'De Karlemaigne et de Rollant.' It has been sought, but perhaps fancifully, to identify this song with the existing chanson.

[20] 'Ci falt la geste que Turoldus declinet.' The sense of the word declinet is quite uncertain, and the attempts made to identify Turoldus are futile.

[21] Amis et Amiles, ed. Hoffmann. Erlangen, 1852.

[22] This series is given, sometimes in whole, sometimes in extracts, by Dr. Jonckbloet, Guillaume d'Orange. The Hague, 1854.

[23] Ed. P. Paris. Paris, 1848.

[24] Ed. Boca. Valenciennes, 1841.

[25] Ed. Schéler. Brussels, 1877.

[26] Ed. Barrois. Paris, 1842.

[27] There exists a Provençal version of it, evidently translated from the French. The most convenient edition is that of Kroeber and Servois, Paris, 1860. There is an English fourteenth-century version published by Mr. Herrtage for the Early English Text Society, 1879.

[28] Published partially by MM. P. Paris and E. du Méril and by Herr Stengel.

[29] Ed. Le Glay. Paris, 1840.

[30] Ed. Michel. Paris, 1856.

[31] Ed. La Grange. Paris, 1864.

[32] Ed. Guessard. Paris, 1866.

[33] Ed. Guessard et Grandmaison. Paris, 1860.

[34] Ed. Michelant. Stuttgart, 1862.

[35] Ed. Michel. Paris, 1839.

[36] Ed. Schéler. Brussels, 1874.

[37] Ed. Pey. Paris, 1859.

[38] Ed. Tarbé. Rheims, 1850.

[39] Ed. Michel. London, 1836.

[40] It is very commonly said that this feature is confined to the later Chansons. This is scarcely the fact, unless by 'later' we are to understand all except Roland. In Roland itself the presentment is by no means wholly complimentary.

[41] The Turoldus of Roland has been already noticed. Of certain or tolerably certain authors, Graindor de Douai (revisions of the early crusading Chansons of 'Richard the Pilgrim,' Antioche, &c.), Jean de Flagy (Garin), Bodel (Les Saisnes), and Adenès le Roi, a fertile author or adapter of the thirteenth century, are the most noted.

[42] Ferabras and Betonnet d'Hanstone. M. Paul Meyer has recently edited this latter poem under the title of Daurel et Beton (Paris, 1880). To these should be added a fragment, Aigar et Maurin, which seems to rank with Girartz.

[43] There has been some reaction of late years against the scepticism which questioned the 'Provençal Epic.' I cannot however say, though I admit a certain disqualification for judgment (see note at beginning of next chapter), that I see any valid reason for this reaction.