II

THE NATIONAL EPIC

Great events and persons, a religious and national spirit, and a genius for heroic narrative being given, epic literature arises, as it were, inevitably. Short poems, partly narrative, partly lyrical, celebrate victories or defeats, the achievements of conquerors or defenders, and are sung to relieve or to sustain the passion of the time. The French epopee had its origin in the national songs of the Germanic invaders of Gaul, adopted from their conquerors by the Gallo-Romans. With the baptism of Clovis at Reims, and the acceptance of Christianity by the Franks (496), a national consciousness began to exist—a national and religious ideal arose. Epic heroes—Clovis, Clotaire, Dagobert, Charles Martel—became centres for the popular imagination; an echo of the Dagobert songs is found in Floovent, a poem of the twelfth century; eight Latin lines, given in the Vie de Saint Faron by Helgaire, Bishop of Meaux, preserve, in their ninth-century rendering, a fragment of the songs which celebrated Clotaire II. Doubtless more and more in these lost cantilènes the German element yielded to the French, and finally the two streams of literature—French and German—separated; gradually, also, the lyrical element yielded to the epic, and the chanson de geste was developed from these songs.

In Charlemagne, champion of Christendom against Islam, a great epic figure appeared; on his person converged the epic interest; he may be said to have absorbed into himself, for the imagination of the singers and the people, the persons of his predecessors, and even, at a later time, of his successors; their deeds became his deeds, their fame was merged in his; he stood forth as the representative of France. We may perhaps regard the ninth century as the period of the transformation of the cantilènes into the chansons de geste; in the fragment of Latin prose of the tenth century—reduced to prose from hexameters, but not completely reduced—discovered at La Haye (and named after the place of its discovery), is found an epic episode of Carlovingian war, probably derived from a chanson de geste of the preceding century. In each chanson the gesta,¹ the deeds or achievements of a heroic person, are glorified, and large as may be the element of invention in these poems, a certain historical basis or historical germ may be found, with few exceptions, in each. Roland was an actual person, and a battle was fought at Roncevaux in 778. William of Orange actually encountered the Saracens at Villedaigne in 793. Renaud de Montauban lived and fought, not indeed against Charlemagne, but against Charles Martel. Ogier, Girard de Roussillon, Raoul de Cambrai, were not mere creatures of the fancy. Even when the narrative records no historical series of events, it may express their general significance, and condense into itself something of the spirit of an epoch. In the course of time, however, fantasy made a conquest of the historical domain; a way for the triumph of fantasy had been opened by the incorporation of legend into the narrative, with all its wild exaggerations, its reckless departures from truth, its conventional types of character, its endlessly-repeated incidents of romance—the child nourished by wild beasts, the combat of unrecognised father and son, the hero vulnerable only in one point, the vindication of the calumniated wife or maiden; and by the over-labour of fantasy, removed far from nature and reality, the epic material was at length exhausted.

¹ Gestes meant (1) deeds, (2) their history, (3) the heroic family.

The oldest surviving chanson de geste is the SONG OF ROLAND, and it is also the best. The disaster of Roncevaux, probably first sung in cantilènes, gave rise to other chansons, two of which, of earlier date than the surviving poem, can in a measure be reconstructed from the Chronicle of Turpin and from a Latin Carmen de proditione Guenonis. These, however, do not detract from the originality of the noble work in our possession, some of the most striking episodes of which are not elsewhere found. The oldest manuscript is at Oxford, and the last line has been supposed to give the author's name—Touroude (Latinised "Turoldus")—but this may have been the name of the jongleur who sang, or the transcriber who copied. The date of the poem lies between that of the battle of Hastings, 1066, where the minstrel Taillefer sang in other words the deeds of Roland, and the year 1099. The poet was probably a Norman, and he may have been one of the Norman William's followers in the invasion of England.