A Short History of French Literature

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Saintsbury George. A Short History of French Literature

BOOK I. MEDIAEVAL LITERATURE

CHAPTER I. THE ORIGINS

CHAPTER II. THE CHANSONS DE GESTES

CHAPTER III. PROVENÇAL LITERATURE

CHAPTER IV. ROMANCES OF ARTHUR AND OF ANTIQUITY

CHAPTER V. FABLIAUX. THE ROMAN DU RENART

CHAPTER VI. EARLY LYRICS

CHAPTER VII. SERIOUS AND ALLEGORICAL POETRY

CHAPTER VIII. ROMANS D'AVENTURES

CHAPTER IX. LATER SONGS AND POEMS

CHAPTER X. THE DRAMA

CHAPTER XI. PROSE CHRONICLES

CHAPTER XII. MISCELLANEOUS PROSE

INTERCHAPTER I. SUMMARY OF MEDIAEVAL LITERATURE

BOOK II. THE RENAISSANCE

CHAPTER I. VILLON, COMINES, AND THE LATER FIFTEENTH CENTURY

CHAPTER II. MAROT AND HIS CONTEMPORARIES

CHAPTER III. RABELAIS AND HIS FOLLOWERS

CHAPTER IV. THE PLÉIADE

CHAPTER V. THE THEATRE FROM GRINGORE TO GARNIER

CHAPTER VI. CALVIN AND AMYOT

CHAPTER VII. MONTAIGNE AND BRANTÔME

CHAPTER VIII. THE SATYRE MÉNIPPÉE. REGNIER

INTERCHAPTER II. SUMMARY OF RENAISSANCE LITERATURE

BOOK III. THE SEVENTEENTH CENTURY

CHAPTER I. POETS

CHAPTER II. DRAMATISTS

CHAPTER III. NOVELISTS

CHAPTER IV. HISTORIANS, MEMOIR-WRITERS, LETTER-WRITERS

CHAPTER V. ESSAYISTS, MINOR MORALISTS, CRITICS

CHAPTER VI. PHILOSOPHERS

CHAPTER VII. THEOLOGIANS AND PREACHERS

INTERCHAPTER III. SUMMARY OF SEVENTEENTH-CENTURY LITERATURE

BOOK IV. THE EIGHTEENTH CENTURY

CHAPTER I. POETS

CHAPTER II. DRAMATISTS

CHAPTER III. NOVELISTS

CHAPTER IV. HISTORIANS, MEMOIR-WRITERS, LETTER-WRITERS

CHAPTER V. ESSAYISTS, MINOR MORALISTS, CRITICS

CHAPTER VI. PHILOSOPHERS

CHAPTER VII. SCIENTIFIC WRITERS

INTERCHAPTER IV. SUMMARY OF EIGHTEENTH-CENTURY LITERATURE

BOOK V. THE NINETEENTH CENTURY

CONCLUSION

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Of all European literatures the French is, by general consent, that which possesses the most uniformly fertile, brilliant, and unbroken history. In actual age it may possibly yield to others, but the connection between the language of the oldest and the language of the newest French literature is far closer than in these other cases, and the fecundity of mediaeval writers in France far exceeds that of their rivals elsewhere. For something like three centuries England, Germany, Italy, and more doubtfully and to a smaller extent, Spain, were content for the most part to borrow the matter and the manner of their literary work from France. This brilliant literature was however long before it assumed a regularly organized form, and in order that it might do so a previous literature and a previous language had to be dissolved and precipitated anew. With a few exceptions, to be presently noticed, French literature is not to be found till after the year 1000, that is to say until a greater lapse of time had passed since Caesar's campaigns than has passed from the later date to the present day. Taking the earliest of all monuments, the Strasburg Oaths, as starting-point, we may say that French language and French literature were nine hundred years in process of formation. The result was a remarkable one in linguistic history. French is unquestionably a daughter of Latin, yet it is not such a daughter as Italian or Spanish. A knowledge of the older language would enable a reader who knew no other to spell out, more or less painfully, the meaning of most pages of the two Peninsular languages; it would hardly enable him to do more than guess at the meaning of a page of French. The long process of gestation transformed the appearance of the new tongue completely, though its grammatical forms and the bulk of its vocabulary are beyond all question Latin. The history of this process belongs to the head of language, not of literature, and must be sought elsewhere. It is sufficient to say that the first mention of a lingua romana rustica is found in the seventh century, while allusions in Latin documents show us its gradual use in pulpit and market-place, and even as a vehicle for the rude songs of the minstrel, long before any trace of written French can be found.

Meanwhile, however, Latin was doing more than merely furnishing the materials of the new language. The literary faculty of the Gauls was early noticed, and before their subjection had long been completed they were adepts at using the language of the conquerors. It does not fall within our plan to notice in detail the Latin literature of Gaul and early France, but the later varieties of that literature deserve some little attention, because of the influence which they undoubtedly exercised on the literary forms of the new language. In early French there is little trace of the influence of the Latin forms which we call classical. It was the forms of the language which has been said to have 'dived under ground with Naevius and come up again with Prudentius' that really influenced the youthful tongue. Ecclesiastical Latin, and especially the wonderful melody of the early Latin hymn-writers, had by far the greatest effect upon it. Ingenious and not wholly groundless efforts have been made to trace the principal forms of early French writing to the services and service-books of the church, the chronicle to the sacred histories, the lyric to the psalm and the hymn, the mystery to the elaborate and dramatic ritual of the church. The Chanson de Geste, indeed, displays in its matter and style many traces of Germanic origin, but the metre with its regular iambic cadence and its rigid caesura testifies to Latin influence. The service thus performed to the literature was not unlike the service performed to the language. In the one case the scaffolding, or rather the skeleton, was furnished in the shape of grammar; in the other a similar skeleton, in the shape of prosody, was supplied. Important additions were indeed made by the fresh elements introduced. Rhyme Latin had itself acquired. But of the musical refrains which are among the most charming features of early French lyric poetry we find no vestige in the older tongue.

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Rutebœuf (whose name appears to be a nickname only) has been more fortunate than most of the poets of early France in leaving a considerable and varied work behind him, and in having it well and collectively edited74. Little or nothing, however, is known about him, except from allusions in his own verse. He was probably born about 1230; he was certainly married in 1260; there is no allusion in his poems to any event later than 1285. By birth he may have been either a Burgundian or a Parisian. His work which, as has been said, is not inconsiderable in volume, falls into three well-marked divisions in point of subject. The first consists of personal and of comic poems; the second of poems sometimes satirical, sometimes panegyrical, on public personages and events; the third, which is apparently with reason assigned to the latest period of his life, of devotional poems. In the first division La Pauvreté Rutebœuf, Le Mariage Rutebœuf, etc., are complaints of his woeful condition; complaints, however, in which there is nearly as much satire as appeal. Others, such as Renart le Bestourné, Le Dit des Cordeliers, Frère Denise, Le Dit de l'Erberie, are poems of the Fabliau kind. In all these there are many lively strokes of satire, and not a little of the reckless gaiety, chequered here and there with deeper feeling, which has always been a characteristic of a certain number of French poets. Rutebœuf's sarcasm is especially directed towards the monastic orders. The second class of poems, which is numerous, displays a more elevated strain of thought. Many of these poems are complaintes or elaborate elegies (often composed on commission) for distinguished persons, such as Geoffroy de Sargines and Guillaume de Saint Amour. Others, such as the Complainte d'Outremer, the Complainte de Constantinople, the Dit de la Voie de Tunes, the Débat du Croisé et du Décroisé, are comments on the politics and history of the time, for the most part strongly in favour of the crusading spirit, and reproaching the nobility of France with their degeneracy. 'Mort sont Ogier et Charlemagne' is an often-quoted exclamation of Rutebœuf in this sense. The third class includes La Mort Rutebœuf, otherwise La Repentance Rutebœuf, La Voie de Paradis, various poems to the Virgin, the lives of St. Mary of Egypt and St. Elizabeth of Hungary, and the miracle play of Théophile. Rutebœuf's favourite metres are either the continuous octosyllabic couplet, or else a stanza composed of an octosyllabic couplet and a line of four syllables, the termination of the latter being caught up by the succeeding couplet. In this the Mariage is written, of which a specimen may be given: —

Though he has less of the 'lyrical cry' than some others, Rutebœuf is perhaps the most vigorous poet of his time.

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