French Mediaeval Romances from the Lays of Marie de France

- By Marie de France
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Medieval French poet For the French princesses named Marie (or Mary), see Mary of France (disambiguation). In this medieval name, the personal name is Marie and de France is an appellation or descriptor. There is no family name. Marie de FranceMarie de France from an illuminated manuscriptDiedEnglandOccupationPoetLanguageOld French (Francien)Period1160–1215GenreLais, fables, saints' livesLiterary movementMedieval French literature Marie de France (fl. 1160–1215) was a poet, possibly born in what is now France, who lived in England during the late 12th century. She lived and wrote at an unknown court, but she and her work were almost certainly known at the royal court of King Henry II of England. Virtually nothing is known of her life; both her given name and its geographical specification come from manuscripts containing her works. However, one written description of her work and popularity from her own era still exists. She is considered by scholars to be the first woman known to write francophone verse.[1] Marie de France wrote in Francien, with some Anglo-Norman influence. She was proficient in Latin, as were most authors and scholars of that era, as well as Middle English and possibly Breton. She is the author of the Lais of Marie de France. She translated Aesop's Fables from Middle English into Anglo-Norman French and wrote Espurgatoire seint Partiz, Legend of the Purgatory of St. Patrick, based upon a Latin text. Recently, she has been (tentatively) identified as the author of a saint's life, The Life of Saint Audrey. Her Lais were and still are widely read and influenced the subsequent development of the romance/heroic literature genre. Life and works[edit] "Marie de France presents her book of poems to Henry II of England" by Charles Abraham Chasselat The actual name of the author now known as Marie de France is unknown; she has acquired this nom de plume from a line in one of her published works: "Marie ai num, si sui de France," which translates as "My name is Marie, and I am from France."[2] Some of the most commonly proposed suggestions for the identity of this 12th-century poet are Marie of France, Countess of Champagne; Marie, Abbess of Shaftesbury and half-sister to Henry II, King of England; Marie, Abbess of Reading; Marie I of Boulogne;[3] Marie, Abbess of Barking;[4][5][better source needed] and Marie de Meulan, wife of Hugh Talbot and daughter of Waleran de Meulan.[6][7][8] Based on evidence from her writings, it is clear that, despite being born in France, she spent much of her life living in England.[9] Four works, or collections of works, have been attributed to Marie de France. She is principally known for her authorship of The Lais of Marie de France, a collection of twelve narrative poems, mostly of a few hundred lines each. She claims in the preambles to most of these Breton lais that she has heard the stories they contain from Breton minstrels, and it is in the opening lines of the poem Guigemar that she first reveals her name to be Marie. There are 102 Ysopet fables that have also been attributed to her besides a retelling of the Legend of the Purgatory of St. Patrick and, recently, a saint's life called La Vie seinte Audree about Saint Audrey of Ely, although this last attribution is not accepted by all critics. The Woman and the Wolf in Marie de France’s “Bisclavret” Scholars have dated Marie's works to between about 1160 and 1215, the earliest and latest possible dates respectively. It is probable that the Lais were written in the late 12th century; they are dedicated to a "noble king", usually assumed to be Henry II of England or possibly his eldest son, Henry the Young King. Another of her works, the Fables, is dedicated to a "Count William", who may have been either William of Mandeville or William Marshall. However, it has also been suggested that Count William may refer to William Longsword. Longsword was a recognized illegitimate son of Henry II. If Marie was actually Henry II's half-sister, a dedication to his son (who would be her nephew), might be understandable.[10] It is likely that Marie de France was known at the court of King Henry II and his wife, Eleanor of Aquitaine.[11] A contemporary of Marie, the English poet Denis Piramus, mentions in his Life of Saint Edmund the King, written in around 1180, the lais of a Marie, which were popular in aristocratic circles. It is clear from her writing that Marie de France was highly educated and multilingual; this level of education was not available to the common or poor at this time, so we can infer that Marie de France was of noble birth,[12] as other noble women such as Heloise and Christine de Pizan were also educated and wrote. In addition to secular wealthy women, a number of religious women of this period also used their education and pursued writing (Hrotsvitha, Héloïse, Bridget of Sweden, and Hildegard of Bingen, to name a few). She was first called "Marie de France" by the French scholar Claude Fauchet in 1581, in his Recueil de l'origine de la langue et poesie françoise, and this name has been used ever since.[13] She wrote in Francien, a dialect localized around Paris and Île-de-France, but there is presence of an Anglo-Norman dialect in her writings. Hence scholars generally deduce she lived in the parts of Île-de-France close to Normandy, or alternatively in an area in-between such as Brittany or Vexin. But Anglo-Norman influence may be due to her living in England during her adult life, which is also suggested by the fact that so many of her texts were found in England.[3][14] The signification of the phrase "si sui de France", however, is ambiguous and equivocal. Marie might possibly not have stated that she was from France if she was originally from a region governed by Henry II such as Brittany, Normandy, Anjou or Aquitaine, unless she had been thoroughly anglicized.[citation needed] Three of the five surviving manuscript copies of the Lais are written in continental French, whilst British Library MS Harley 978, written in Anglo-Norman French in the mid-13th century, may reflect the dialect of the copyist.[14] Breton lais[edit] Main articles: Lais of Marie de France and Breton lai Breton lais were certainly in existence before Marie de France chose to recast the themes that she heard from Breton minstrels into poetic narratives in Anglo-Norman verse, but she may have been the first to present a "new genre of the lai in narrative form."[15] Her lays are a collection of 12 short narrative poems written in eight-syllable verse that were based on Breton or Celtic legends, which were part of the oral literature of the Bretons.[16] The lais of Marie de France had a huge impact on the literary world.[17] They were considered a new type of literary technique derived from classical rhetoric and imbued with such detail that they became a new form of art. Marie may have filled her detailed poems with imagery so that her audience would easily remember them. Her lais range in length from 118 (Chevrefoil) to 1,184 lines (Eliduc),[18] frequently describe courtly love entangled in love triangles involving loss and adventure, and "often take up aspects of the merveilleux [marvellous], and at times intrusions from the fairy world."[19] One may have a better sense of Marie de France from her very first lay, or rather, the Prologue she uses to prepare her readers for what is to come. The first line dictates “Whoever has received knowledge/ and eloquence in speech from God/ should not be silent or secretive/ but demonstrate it willingly” [20] Marie de France, in so many words, credits her literary skills to God and is therefore allowed to write the lays without her patron’s permission (her patron likely being Henry II of England). She wants people to read what she has produced, along with her ideas, and as such urges readers to search between the lines, for her writing will be subtle. In this Prologue alone, Marie de France has deviated from common poets of her time by adding subtle, delicate, and weighted writing to her repertoire. Marie de France took her opportunity as a writer to make her words be heard, and she took them during a time where the production of books and codexes was a long, arduous, and expensive process where just copying the Bible took fifteen months until the text’s completion.[21] Unlike the heroes of medieval romances, the characters in Marie’s stories do not seek out adventure. Instead, adventures happen to them. While the settings are true to life, the lais often contain elements of folklore or of the supernatural, such as Bisclavret.[22] While the setting is described in realistic detail, the subject is a werewolf, sympathetically portrayed.[22] Marie moves back and forth between the real and the supernatural, skillfully expressing delicate shades of emotion. Lanval features a fairy woman who pursues the titular character and eventually brings her new lover to Avalon with her at the end of the lai. The setting for Marie's lais is the Celtic world, embracing England, Wales, Ireland, Brittany and Normandy.[11][19] Only five manuscripts containing some or all of Marie’s lais exist now, and the only one to include the general prologue and all twelve lais is British Library MS Harley 978. That may be contrasted with the 25 manuscripts with Marie's Fables and perhaps reflects their relative popularity in the late Middle Ages. In these Fables, she reveals a generally aristocratic point of view with a concern for justice, a sense of outrage against the mistreatment of the poor, and a respect for the social hierarchy.[23] Nevertheless, Marie's lais have received much more critical attention in recent times. Fables[edit] Along with her lais, Marie de France also published a large collection of fables. Many of the fables she wrote were translations of Aesop’s fables into English and others can be traced to more regional sources, fables to which Marie would have been exposed at a young age.[24] Among her 102 fables, there are no concrete guidelines for morality; and men, women, and animals receive varying treatments and punishments. Marie de France introduces her fables in the form of a prologue, where she explains the importance of moral instruction in society. In the first section of the prologue, she discusses the medieval ideal of "clergie".[25] Clergie is the notion that people have a duty to understand, learn, and preserve works of the past for future peoples. Here, in the prologue, she is referencing the duty of scholars to preserve moral philosophy and proverbs. The rest of Marie de France’s prologue outlines how Aesop took up this duty for his society and how she must now preserve his fables and others for her present culture. Structurally, each of the fables begins with the recounting of a tale, and at the end Marie de France includes a short moral. Some of these morals, like those translated from Aesop’s fables, are expected and socially congruous. For instance, the fable of The Wolf and the Lamb, also known as Fable 2 in Marie’s collection, follows a well-known and established storyline. Just as in Aesop’s original fable, Marie de France’s translation describes a lamb and a wolf drinking from the same stream, the wolf unjustly condemning the lamb to death for drinking inoffensively downstream from him. Marie de France repeats the established moral at the end, "But these are things rich nobles do…destroy folk with false evidence".[26] However, in the new fables, featuring human female characters, Marie de France asserts female power and cunning, disparaging men who are ignorant or behave foolishly. One character, a peasant woman, makes multiple appearances in the fables and is praised for her shrewd and sly ways. Fables 44, The Woman Who Tricked Her Husband and 45, A Second Time, a Woman Tricks Her Husband, both recount tales of the same peasant woman successfully carrying out an affair despite her husband having caught her with her lover both times. In the first fable, the peasant woman convinces her husband that her lover was merely a trick of the eye and in the second, persuades her husband that he has had a vision of her and a man, foreshadowing her death. Marie lauds the woman for her crafty ways and faults the peasant husband with idiocy. The morality, or lack thereof, in these two female-centered fables is interesting and takes root in the tradition of "wife tricking her husband" stories, such as The Merchant’s Tale and Scots-Irish tradition.[27] Fable 51, Del cok e del gupil ("Concerning the Cock and the Fox"), is considered an early version of the Reynard the Fox tales, and was an inspiration for Geoffrey Chaucer's Nun's Priest's Tale.[28][29][30][31] According to the epilogue of the Fables, they are translated from an English version by Alfred the Great.[32] Love[edit] In most of Marie de France’s Lais, love is associated with suffering, and over half of them involve an adulterous relationship.[33] In Bisclavret and Equitan, the adulterous lovers are severely condemned, but there is evidence that Marie approved of extramarital affairs under certain circumstances: "When the deceived partner has been cruel and merits deception and when the lovers are loyal to one another."[34] In Marie's Lais, "love always involves suffering and frequently ends in grief, even when the love itself is approved."[35] Marie's lovers are usually isolated and relatively unconcerned with anything outside the immediate cause of their distress, whether a jealous husband or an envious society. However, "the means of overcoming this suffering is beautifully and subtly illustrated."[36] "Marie concentrates on the individuality of her characters and is not very concerned with their integration into society. If society does not appreciate the lovers, then the lovers die or abandon society, and society is the poorer for it."[37] Defying church traditions[edit] Marie de France's lais not only portray a gloomy outlook on love but also defied the traditions of love within the church at the time. She wrote about adulterous affairs, women of high stature who seduce other men, and women seeking escape from a loveless marriage, often to an older man, which gave the idea that women can have sexual freedom. She wrote lais, many of which seemed to endorse sentiments that were contrary to the traditions of the church, especially the idea of virginal love and marriage. The lais also exhibit the idea of a stronger female role and power. In this, she may have inherited ideas and norms from the troubadour love songs that were common at the Angevin courts of England, Aquitaine, Anjou and Brittany; songs in which the heroine "is a contradictory symbol of power and inarticulacy; she is at once acutely vulnerable and emotionally overwhelming, irrelevant and central."[38] Marie's heroines are often the instigators of events, but events that often end in suffering. The heroines in Marie's Lais are often imprisoned. This imprisonment may take the form of actual incarceration by elderly husbands, as in Yonec, and in Guigemar, where the lady who becomes Guigemar's lover is kept behind the walls of a castle which faces the sea, or "merely of close surveillance, as in Laustic, where the husband, who keeps a close watch on his wife when he is present, has her watched equally closely when he is away from home."[39] Perhaps it reflects some experience within her own life.[11] The willingness to endorse such thoughts as adultery in the 12th century is perhaps remarkable. "It certainly reminds us that people in the Middle Ages were aware of social injustices and did not just accept oppressive conditions as inevitable by the will of God."[40] In addition to her defying the construct of love exhibited by the contemporary church, Marie also influenced a genre that continued to be popular for another 300 years, the medieval romance. By the time Marie was writing her lais, France already had a deep-rooted tradition of the love-lyric, specifically in Provence. Marie's Lais represent, in many ways, a transitional genre between Provençal love lyrics from an earlier time and the romance tradition that developed these themes.[41] Influence on literature[edit] Her stories exhibit a form of lyrical poetry that influenced the way that narrative poetry was subsequently composed, adding another dimension to the narration through her prologues and the epilogues, for example. She also developed three parts to a narrative lai: aventure (the ancient Breton deed or story); lai (Breton melodies); conte (recounting the story narrated by the lai).[42] Additionally, Marie de France brought to the fore a new genre known as chivalric literature. In the late 14th century, at broadly the same time that Geoffrey Chaucer included The Franklin's Tale, itself a Breton lai, in his Canterbury Tales,[43] a poet named Thomas Chestre composed a Middle English romance based directly upon Marie de France's Lanval, which, perhaps predictably, spanned much more now than a few weeks of the hero's life, a knight named Sir Launfal.[44] In 1816, the English poet Matilda Betham wrote a long poem about Marie de France in octosyllabic couplets, The Lay of Marie. See also[edit] Tristan and Iseult References[edit] ^ Funchion, John. "Marie de France". Retrieved 31 August 2017. ^ Burgess 7. ^ a b Classen, Albrecht (2003-09-15). "Marie de France". The Literary Encyclopedia. Retrieved 2009-10-12. ^ Rossi, Carla (2007). Marie, ki en sun tens pas ne s'oblie; Maria di Francia: la Storia oltre l'enigma. Rome: Bagatto Libri. ^ Rossi, Carla (2009). Marie de France et les èrudits de Cantorbéry. Paris: Editions Classiques Garnier. ^ Holmes, Urban T. (1932). "New thoughts on Marie de France". Studies in Philology. 29: 1–10. ^ Grillo, Peter R. (1988). "Was Marie de France the Daughter of Waleran II, Count of Meulan?". Medium Aevum. 57 (2): 269–273. doi:10.2307/43629213. JSTOR 43629213. ^ Pontfarcy, Yolande de (1995). "Si Marie de France était Marie de Meulan" (PDF). Cahiers de Civilisation Medievale (Xe-XIIe Siecles). 38 (152): 353–61. doi:10.3406/ccmed.1995.2630. ^ Simpson, James, and Alfred David. "Marie de France." The Norton Anthology of English Literature Volume 1, edited by Stephen Greenblatt, W. W. Norton & Company, 2012, pp. 142-143. ^ Kibler, William W. and Grover A. Zinn, p 589 ^ a b c Burgess, Glyn S., and Busby, Keith, 1986. ^ Petersen, Zina Nibley, Dr. "Middle English, Oral (folk) and Written (clerical) and Mixed (civic)." British Literary History 1. Brigham Young University, Provo. 24 Sept. 2013. Lecture. ^ Burgess, Glyn S., and Busby, Keith, 1986, p 11. ^ a b Hazell, Dinah, 2003. Rethinking Marie. Medieval Forum Volume 2. ^ Whalen, Logan E, p 63 ^ Webb, Shawncey J. "Marie de France." Reference Guide to World Literature. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 1: Authors. Detroit: St. James Press, 2003. 658-659. Gale Virtual Reference Library. Web. 8 February 2015. ^ Burgess, Glyn S., and Busby, Keith, 1986, p 11: "[A twelfth century poet-contemporary of Marie wrote:] Marie's poetry has caused great praise to be heaped on her and it is much appreciated by counts and barons and knights who love to have her writings read out again and again." ^ Burgess, Glyn S., and Busby, Keith, 1986, p 8. ^ a b Whalen, Logan E, p 62 ^ Marie de France (1995) [1978]. The lais of Marie de France. Hanning, Robert W., Ferrante, Joan M., 1936- (Pbk. ed.). Grand Rapids, MI.: Baker Books. ISBN 080102031X. OCLC 34140523. ^ Murray, Stuart (2009). The library : an illustrated history. New York, NY: Skyhorse Pub. ISBN 9781602397064. OCLC 277203534. ^ a b "Marie de France." The Middle Ages: An Encyclopedia for Students. Ed. William Chester Jordan. Vol. 3. New York: Charles Scribner's Sons, 1996. 120-121. Gale Virtual Reference Library. Web. 8 February 2015. ^ "Marie de France." Arts and Humanities Through the Eras. Ed. Edward I. Bleiberg, et al. Vol. 3: Medieval Europe 814-1450. Detroit: Gale, 2005. 207-208. Gale Virtual Reference Library. Web. 8 February 2015. ^ Shoaf, Judy (December 11, 2014). "The Lais of Marie de France". UF College of Liberal Arts and Sciences. The University of Florida. Retrieved November 29, 2016. ^ Gilbert, Dorothy (2015). Marie de France Poetry. New York: W W Norton & Co. pp. 175–6. ISBN 9780393932683. ^ Gilbert, Dorothy (2015). Marie de France Poetry. New York: W W Norton & Co. p. 177. ISBN 9780393932683. ^ Gilbert, Dorothy (2015). Marie de France Poetry. New York: W W Norton & Co. pp. 191–3. ISBN 9780393932683. ^ "CHAUNTECLEER". www.columbia.edu. ^ "7.6 The Nun's Priest's Tale". chaucer.fas.harvard.edu. ^ Concerning the Cock and the Fox ^ Routledge Library Editions: Chaucer. Routledge. August 29, 2021. ISBN 9781000682533 – via Google Books. ^ David, Alfred, ed. (2000). The Norton Anthology of English Literature: The Middle Ages. p. 126. ^ Mickel, Emanuel J. Jr. ^ Mickel, Emanuel J. Jr., p 100, citing Professor Schiött, author of L'Amour et les amoureux dans les Lais de Marie de France. ^ Mickel, Emanuel J. Jr., p 102 ^ Burgess, Glyn S., and Busby, Keith, 1986, p 31. ^ Burgess, Glyn S., and Busby, Keith, 1986, p 27. ^ Butterfield, Ardis, 2009, p 200. ^ Mickel, Emanuel J. Jr., p 58. ^ Steinberg, Theodore L. Reading the Middle Ages: an Introduction to Medieval Literature.Jefferson: McFarland, 2003. Print, p 58. ^ Burgess, Glyn S., and Busby, Keith, 1986, p 26. ^ Mickel, Emanuel J. Jr., pp 57–66 ^ Burgess, Glyn S., and Busby, Keith, 1986, p 36. ^ Laskaya, Anne, and Salisbury, Eve (Eds), 1995. The Middle English Breton Lays. Kalamazoo, Michigan: Western Michigan University for TEAMS. Medieval Institute Publications. Bibliography[edit] Blain, Virginia, et al. "Marie de France," The Feminist Companion to Literature in English (Yale UP, 1990, 714). Bloch, R. Howard. The Anonymous Marie de France. Chicago: U. of Chicago Press, 2003. Brown, Mary Ellen, et al. Encyclopedia of Folklore and Literature. Santa Barbara: ABC-CLIO, 1998. Print. Burgess, Glyn Sheridan, and Keith Busby, 1986. The Lais of Marie de France. Translated into Modern English prose with an introduction. Penguin Books Limited. Bürger, Christa. "Die Ordnung der Liebe. Marie de France". Sinn und Form. 1 (2019). Burgess, Glyn Sheridan (1987). The Lais of Marie de France: text and context. Manchester UP. ISBN 978-0-7190-1923-4. Butterfield, Ardis, 2009. England and France. In: Brown, Peter (Ed), 2009. A Companion to Medieval English Literature and Culture c.1350–c.1500. Wiley-Blackwell. Part IV: Encounters with Other Cultures, pp 199–214. Calabrese, Michael, 2007. Controlling Space and Secrets in the Lais of Marie de France. In: Place, Space, and Landscape in Medieval Narrative. Knoxville: U of Tennessee P, pp 79–106. Rpt. in Classical and Medieval Literature Criticism. Ed. Jelena O. Krstovic. Vol. 111. Detroit: Gale, 2009. Literature Resource Center. Web. 28 September 2010. Gallagher, Edward J., ed. and trans. The Lays of Marie de France, Translated, with Introduction and Commentary. Hackett: Indianapolis, 2010. Kibler, William W. and Grover A. Zinn. Medieval France: An Encyclopedia. New York: Garland, 1995. Kinoshita, Sharon, Peggy McCracken. Marie de France: A Critical Companion. Woodbridge, D.S.Brewer, 2012 (Gallica). Kunitz, Stanley J., and Vineta Colby. European Authors 1000-1900 A Biographical Dictionary of European Literature. New York: The H.W. Wilson Company. 1967. 604–5. Print. McCash, June Hall, La Vie seinte Audree, A Fourth Text by Marie de France. Speculum (July 2002): 744-777. Mickel, Emanuel J. Jr. Marie de France. New York: Twayne, 1974. Print. Pipkin, Christopher Lee. “Love Without Measure: Proverb Problems in the Lais of Marie de France”. Neophilologus vol. 103, no. 3, 2019, pp. 307-321. Watt, Diane, Medieval Women's Writing: Works by and for women in England, 1100-1500. Polity, 2007. ISBN 978-0-7456-3256-8. Whalen, Logan E. (2008). Marie de France and the poetics of memory. Catholic U of America P. ISBN 978-0-8132-1509-9. Wright, Monica L. Material Marie: The Power of Textiles in the Lais. Le Cygne 3 (2016): 39–52. https://www.jstor.org/stable/26392839. External links[edit] Works by or about Marie de France at Wikisource Wikiquote has quotations related to Marie de France. French Wikisource has original text related to this article: Marie de France Wikimedia Commons has media related to Marie de France. Works by Marie de France in eBook form at Standard Ebooks Works by Marie de France at Project Gutenberg Works by or about Marie de France at Internet Archive Works by Marie de France at LibriVox (public domain audiobooks) International Marie de France Society Le Cygne, published by the International Marie de France Society Complete bibliography of her works, including secondary literature (Archives de littérature du Moyen Âge, Arlima) Herbermann, Charles, ed. (1913). "Marie de France" . Catholic Encyclopedia. New York: Robert Appleton Company. Roles of Women in the Middle Ages vteWomen writers of the Middle Ages8th century Khosrovidukht Sahakdukht 9th century Kassia 10th century Hrotsvitha 11th century Ava 12th century Anna Komnene Héloïse Hildegard of Bingen Marie de France Trota of Salerno 13th century Clare of Assisi Gertrude the Great Mechthild of Magdeburg 14th century Bridget of Sweden Catherine of Siena Christine de Pizan Julian of Norwich Margery Kempe Women in the Middle Ages Authority control databases International FAST ISNI 2 3 VIAF 2 3 National Norway Spain France BnF data Catalonia Germany Italy Israel Finland Belgium United States Sweden Latvia Japan Czech Republic Korea Croatia Netherlands Poland Vatican Artists MusicBrainz People Deutsche Biographie Other RISM IdRef
PROLOGUE BY WAY OF DEDICATION
Those to whom God has given the gift of comely speech, should not hide their light beneath a bushel, but should willingly show it abroad. If a great truth is proclaimed in the ears of men, it brings forth fruit a hundred-fold; but when the sweetness of the telling is praised of many, flowers mingle with the fruit upon the branch.
According to the witness of Priscian, it was the custom of ancient writers to express obscurely some portions of their books, so that those who came after might study with greater diligence to find the thought within their words. The philosophers knew this well, and were the more unwearied in labour, the more subtle in distinctions, so that the truth might make them free. They were persuaded that he who would keep himself unspotted from the world should search for knowledge, that he might understand. To set evil from me, and to put away my grief, I purposed to commence a book. I considered within myself what fair story in the Latin or Romance I could turn into the common tongue. But I found that all the stories had been written, and scarcely it seemed the worth my doing, what so many had already done. Then I called to mind those Lays I had so often heard. I doubted nothing-for well I know-that our fathers fashioned them, that men should bear in remembrance the deeds of those who have gone before. Many a one, on many a day, the minstrel has chanted to my ear. I would not that they should perish, forgotten, by the roadside. In my turn, therefore, I have made of them a song, rhymed as well as I am able, and often has their shaping kept me sleepless in my bed.
In your honour, most noble and courteous King, to whom joy is a handmaid, and in whose heart all gracious things are rooted, I have brought together these Lays, and told my tales in seemly rhyme. Ere they speak for me, let me speak with my own mouth, and say, "Sire, I offer you these verses. If you are pleased to receive them, the fairer happiness will be mine, and the more lightly I shall go all the days of my life. Do not deem that I think more highly of myself than I ought to think, since I presume to proffer this, my gift." Hearken now to the commencement of the matter.
II THE LAY OF GUGEMAR
Hearken, oh gentles, to the words of Marie. When the minstrel tells his tale, let the folk about the fire heed him willingly. For his part the singer must be wary not to spoil good music with unseemly words. Listen, oh lordlings, to the words of Marie, for she pains herself grievously not to forget this thing. The craft is hard-then approve the more sweetly him who carols the tune. But this is the way of the world, that when a man or woman sings more tunably than his fellows, those about the fire fall upon him, pell-mell, for reason of their envy. They rehearse diligently the faults of his song, and steal away his praise with evil words. I will brand these folk as they deserve. They, and such as they, are like mad dogs-cowardly and felon-who traitorously bring to death men better than themselves. Now let the japer, and the smiler with his knife, do me what harm they may. Verily they are in their right to speak ill of me.
Hearken, oh gentles, to the tale I set before you, for thereof the Bretons already have made a Lay. I will not do it harm by many words, and here is the commencement of the matter. According to text and scripture, now I relate a certain adventure, which bechanced in the realm of Brittany, in days long gone before.
In that time when Arthur maintained his realm, the now in peace, the now in war, the King counted amongst his vassals a certain baron, named Oridial. This knight was lord of Leon, and was very near to his prince's heart, both in council chamber and in field. From his wife he had gotten two children, the one a son and the other a fair daughter. Nogent, he had called the damsel at the font, and the dansellon was named Gugemar-no goodlier might be found in any realm. His mother had set all her love upon the lad, and his father shewed him every good that he was able. When the varlet was no more a child, Oridial sent him to the King, to be trained as a page in the courtesies of the Court. Right serviceable was he in his station, and meetly praised of all. The term of his service having come, and he being found of fitting years and knowledge, the King made him knight with his own hand, and armed him in rich harness, according to his wish. So Gugemar gave gifts to all those about his person, and bidding farewell, took leave, and departed from the Court. Gugemar went his way to Flanders, being desirous of advancement, for in that kingdom ever they have strife and war. Neither in Loraine nor Burgundy, Anjou nor Gascony, might be found in that day a better knight than he, no, nor one his peer. He had but one fault, since of love he took no care. There was neither dame nor maiden beneath the sky, however dainty and kind, to whom he gave thought or heed, though had he required her love of any damsel, very willingly would she have granted his desire. Many there were who prayed him for his love, but might have no kiss in return. So seeing that he refrained his heart in this fashion, men deemed him a strange man, and one fallen into a perilous case.
In the flower of his deeds the good knight returned to his own land, that he might see again his father and lord, his mother and his sister, even as he very tenderly desired. He lodged with them for the space of a long month, and at the end of that time had envy to hunt within the wood. The night being come, Gugemar summoned his prickers and his squires, and early in the morning rode within the forest. Great pleasure had Gugemar in the woodland, and much he delighted in the chase. A tall stag was presently started, and the hounds being uncoupled, all hastened in pursuit-the huntsmen before, and the good knight following after, winding upon his horn. Gugemar rode at a great pace after the quarry, a varlet riding beside, bearing his bow, his arrows and his spear. He followed so hotly that he over-passed the chase. Gazing about him he marked, within a thicket, a doe hiding with her fawn. Very white and wonderful was this beast, for she was without spot, and bore antlers upon her head. The hounds bayed about her, but might not pull her down. Gugemar bent his bow, and loosed a shaft at the quarry. He wounded the deer a little above the hoof, so that presently she fell upon her side. But the arrow glanced away, and returning upon itself, struck Gugemar in the thigh, so grievously, that straightway he fell from his horse upon the ground. Gugemar lay upon the grass, beside the deer which he had wounded to his hurt. He heard her sighs and groans, and perceived the bitterness of her pity. Then with mortal speech the doe spake to the wounded man in such fashion as this, "Alas, my sorrow, for now am I slain. But thou, Vassal, who hast done me this great wrong, do not think to hide from the vengeance of thy destiny. Never may surgeon and his medicine heal your hurt. Neither herb nor root nor potion can ever cure the wound within your flesh: For that there is no healing. The only balm to close that sore must be brought by a woman, who for her love will suffer such pain and sorrow as no woman in the world has endured before. And to the dolorous lady, dolorous knight. For your part you shall do and suffer so great things for her, that not a lover beneath the sun, or lovers who are dead, or lovers who yet shall have their day, but shall marvel at the tale. Now, go from hence, and let me die in peace."
Gugemar was wounded twice over-by the arrow, and by the words he was dismayed to hear. He considered within himself to what land he must go to find this healing for his hurt, for he was yet too young to die. He saw clearly, and told it to his heart, that there was no lady in his life to whom he could run for pity, and be made whole of his wound. He called his varlet before him, "Friend," said he, "go forthwith, and bring my comrades to this place, for I have to speak with them."
The varlet went upon his errand, leaving his master sick with the heat and fever of his hurt. When he was gone, Gugemar tore the hem from his shirt, and bound it straitly about his wound. He climbed painfully upon the saddle, and departed without more ado, for he was with child to be gone before any could come to stay him from his purpose. A green path led through the deep forest to the plain, and his way across the plain brought him to a cliff, exceeding high, and to the sea. Gugemar looked upon the water, which was very still, for this fair harbourage was land-locked from the main. Upon this harbour lay one only vessel, bearing a rich pavilion of silk, daintily furnished both without and within, and well it seemed to Gugemar that he had seen this ship before. Beneath the sky was no ship so rich or precious, for there was not a sail but was spun of silk, and not a plank, from keel to mast, but showed of ebony. Too fair was the nave for mortal man, and Gugemar held it in sore displeasure. He marvelled greatly from what country it had come, and wondered long concerning this harbour, and the ship that lay therein. Gugemar got him down from his horse upon the shore, and with mighty pain and labour climbed within the ship. He trusted to find merchantmen and sailors therein, but there was none to guard, and none he saw. Now within the pavilion was a very rich bed, carved by cunning workmen in the days of King Solomon. This fair bed was wrought of cypress wood and white ivory, adorned with gold and gems most precious. Right sweet were the linen cloths upon the bed, and so soft the pillow, that he who lay thereon would sleep, were he sadder than any other in the world. The counterpane was of purple from the vats of Alexandria, and over all was set a right fair coverlet of cloth of gold. The pavilion was litten by two great waxen torches, placed in candlesticks of fine gold, decked with jewels worth a lord's ransom. So the wounded knight looked on ship and pavilion, bed and candle, and marvelled greatly. Gugemar sat him down upon the bed for a little, because of the anguish of his wound. After he had rested a space he got upon his feet, that he might quit the vessel, but he found that for him there was no return. A gentle wind had filled the sails, and already he was in the open sea. When Gugemar saw that he was far from land, he was very heavy and sorrowful. He knew not what to do, by reason of the mightiness of his hurt. But he must endure the adventure as best he was able; so he prayed to God to take him in His keeping, and in His good pleasure to bring him safe to port, and deliver him from the peril of death. Then climbing upon the couch, he laid his head upon the pillow, and slept as one dead, until, with vespers, the ship drew to that haven where he might find the healing for his hurt.
Gugemar had come to an ancient city, where the King of that realm held his court and state. This King was full of years, and was wedded to a dame of high degree. The lady was of tender age, passing fresh and fair, and sweet of speech to all. Therefore was the King jealous of his wife beyond all measure. Such is the wont of age, for much it fears that old and young cannot mate together, and that youth will turn to youth. This is the death in life of the old.
The castle of this ancient lord had a mighty keep. Beneath this tower was a right fair orchard, together with a close, shut in by a wall of green marble, very strong and high. This wall had one only gate, and the door was watched of warders, both night and day. On the other side of this garden was the sea, so that none might do his errand in the castle therefrom, save in a boat. To hold his dame in the greater surety, the King had built a bower within the wall; there was no fairer chamber beneath the sun. The first room was the Queen's chapel. Beyond this was the lady's bedchamber, painted all over with shapes and colours most wonderful to behold. On one wall might be seen Dame Venus, the goddess of Love, sweetly flushed as when she walked the water, lovely as life, teaching men how they should bear them in loyal service to their lady. On another wall, the goddess threw Ovid's book within a fire of coals. A scroll issuing from her lips proclaimed that those who read therein, and strove to ease them of their pains, would find from her neither service nor favour. In this chamber the lady was put in ward, and with her a certain maiden to hold her company. This damsel was her niece, since she was her sister's child, and there was great love betwixt the twain. When the Queen walked within the garden, or went abroad, this maiden was ever by her side, and came again with her to the house. Save this damsel, neither man nor woman entered in the bower, nor issued forth from out the wall. One only man possessed the key of the postern, an aged priest, very white and frail. This priest recited the service of God within the chapel, and served the Queen's plate and cup when she ate meat at table.
Now, on a day, the Queen had fallen asleep after meat, and on her awaking would walk a little in the garden. She called her companion to her, and the two went forth to be glad amongst the flowers. As they looked across the sea they marked a ship drawing near the land, rising and falling upon the waves. Very fearful was the Queen thereat, for the vessel came to anchorage, though there was no helmsman to direct her course. The dame's face became sanguine for dread, and she turned her about to flee, because of her exceeding fear. Her maiden, who was of more courage than she, stayed her mistress with many comforting words. For her part she was very desirous to know what this thing meant. She hastened to the shore, and laying aside her mantle, climbed within this wondrous vessel. Thereon she found no living soul, save only the knight sleeping fast within the pavilion. The damsel looked long upon the knight, for pale he was as wax, and well she deemed him dead. She returned forthwith to the Queen, and told her of this marvel, and of the good knight who was slain.
"Let us go together on the ship," replied the lady. "If he be dead we may give him fitting burial, and the priest shall pray meetly for his soul. Should he be yet alive perchance he will speak, and tell us of his case."
Without more tarrying the two damsels mounted on the ship, the lady before, and her maiden following after. When the Queen entered in the pavilion she stayed her feet before the bed, for joy and grief of what she saw. She might not refrain her eyes from gazing on the knight, for her heart was ravished with his beauty, and she sorrowed beyond measure, because of his grievous hurt. To herself she said, "In a bad hour cometh the goodly youth." She drew near the bed, and placing her hand upon his breast, found that the flesh was warm, and that the heart beat strongly in his side. Gugemar awoke at the touch, and saluted the dame as sweetly as he was able, for well he knew that he had come to a Christian land. The lady, full of thought, returned him his salutation right courteously, though the tears were yet in her eyes. Straightway she asked of him from what realm he came, and of what people, and in what war he had taken his hurt.
"Lady," answered Gugemar, "in no battle I received this wound. If it pleases you to hear my tale I will tell you the truth, and in nothing will I lie. I am a knight of Little Brittany. Yesterday I chased a wonderful white deer within the forest. The shaft with which I struck her to my hurt, returned again on me, and caused this wound upon my thigh, which may never be searched, nor made whole. For this wondrous Beast raised her plaint in a mortal tongue. She cursed me loudly, with many evil words, swearing that never might this sore be healed, save by one only damsel in the world, and her I know not where to find. When I heard my luckless fate I left the wood with what speed I might, and coming to a harbour, not far from thence, I lighted on this ship. For my sins I climbed therein. Then without oars or helm this boat ravished me from shore; so that I know not where I have come, nor what is the name of this city. Fair lady, for God's love, counsel me of your good grace, for I know not where to turn, nor how to govern the ship."
The lady made answer, "Fair sir, willingly shall I give you such good counsel as I may. This realm and city are the appanage of my husband. He is a right rich lord, of high lineage, but old and very full of years. Also he is jealous beyond all measure; therefore it is that I see you now. By reason of his jealousy he has shut me fast between high walls, entered by one narrow door, with an ancient priest to keep the key. May God requite him for his deed. Night and day I am guarded in this prison, from whence I may never go forth, without the knowledge of my lord. Here are my chamber and my chapel, and here I live, with this, my maiden, to bear me company. If it pleases you to dwell here for a little, till you may pass upon your way, right gladly we shall receive you, and with a good heart we will tend your wound, till you are healed."
When Gugemar heard this speech he rejoiced greatly. He thanked the lady with many sweet words, and consented to sojourn in her hall awhile. He raised himself upon his couch, and by the courtesy of the damsels left the ship. Leaning heavily upon the lady, at the end he won to her maiden's chamber, where there was a fair bed covered with a rich dossal of broidered silk, edged with fur. When he was entered in this bed, the damsels came bearing clear water in basins of gold, for the cleansing of his hurt. They stanched the blood with a towel of fine linen, and bound the wound strictly, to his exceeding comfort. So after the vesper meal was eaten, the lady departed to her own chamber, leaving the knight in much ease and content.
Now Gugemar set his love so fondly upon the lady that he forgot his father's house. He thought no more of the anguish of his hurt, because of another wound that was beneath his breast. He tossed and sighed in his unrest, and prayed the maiden of his service to depart, so that he might sleep a little. When the maid was gone, Gugemar considered within himself whether he might seek the dame, to know whether her heart was warmed by any ember of the flame that burned in his. He turned it this way and that, and knew not what to do. This only was clear, that if the lady refused to search his wound, death, for him, was sure and speedy.
"Alas," said he, "what shall I do! Shall I go to my lady, and pray her pity on the wretch who has none to give him counsel? If she refuse my prayer, because of her hardness and pride, I shall know there is nought for me but to die in my sorrow, or, at least, to go heavily all the days of my life."
Then he sighed, and in his sighing lighted on a better purpose; for he said within himself that doubtless he was born to suffer, and that the best of him was tears. All the long night he spent in vigil and groanings and watchfulness. To himself he told over her words and her semblance. He remembered the eyes and the fair mouth of his lady, and all the grace and the sweetness, which had struck like a knife at his heart. Between his teeth he cried on her for pity, and for a little more would have called her to his side. Ah, had he but known the fever of the lady, and how terrible a lord to her was Love, how great had been his joy and solace. His visage would have been the more sanguine, which was now so pale of colour, because of the dolour that was his. But if the knight was sick by reason of his love, the dame had small cause to boast herself of health. The lady rose early from her bed, since she might not sleep. She complained of her unrest, and of Love who rode her so hardly. The maiden, who was of her company, saw clearly enough that all her lady's thoughts were set upon the knight, who, for his healing, sojourned in the chamber. She did not know whether his thoughts were given again to the dame. When, therefore, the lady had entered in the chapel, the damsel went straightway to the knight. He welcomed her gladly, and bade her be seated near the bed. Then he inquired, "Friend, where now is my lady, and why did she rise so early from her bed?"
Having spoken so far, he became silent, and sighed. "Sir," replied the maiden softly, "you love, and are discreet, but be not too discreet therein. In such a love as yours there is nothing to be ashamed. He who may win my lady's favour has every reason to be proud of his fortune. Altogether seemly would be your friendship, for you are young, and she is fair."
The knight made answer to the maiden, "I am so fast in the snare, that I pray the fowler to slay me, if she may not free me from the net. Counsel me, fair sweet friend, if I may hope of kindness at her hand."
Then the maiden of her sweetness comforted the knight, and assured him of all the good that she was able. So courteous and debonair was the maid. When the lady had heard Mass, she hastened back to the chamber. She had not forgotten her friend, and greatly she desired to know whether he was awake or asleep, of whom her heart was fain. She bade her maiden to summon him to her chamber, for she had a certain thing in her heart to show him at leisure, were it for the joy or the sorrow of their days.
Gugemar saluted the lady, and the dame returned the knight his courtesy, but their hearts were too fearful for speech. The knight dared ask nothing of his lady, for reason that he was a stranger in a strange land, and was adread to show her his love. But-as says the proverb-he who will not tell of his sore, may not hope for balm to his hurt. Love is a privy wound within the heart, and none knoweth of that bitterness but the heart alone. Love is an evil which may last for a whole life long, because of man and his constant heart. Many there be who make of Love a gibe and a jest, and with specious words defame him by boastful tales. But theirs is not love. Rather it is folly and lightness, and the tune of a merry song. But let him who has found a constant lover prize her above rubies, and serve her with loyal service, being altogether at her will. Gugemar loved in this fashion, and therefore Love came swiftly to his aid. Love put words in his mouth, and courage in his heart, so that his hope might be made plain.
"Lady," said he, "I die for your love. I am in fever because of my wound, and if you care not to heal my hurt I would rather die. Fair friend, I pray you for grace. Do not gainsay me with evil words." The lady hearkened with a smile to Gugemar's speech. Right daintily and sweetly she replied, "Friend, yea is not a word of two letters. I do not grant such a prayer every day of the week, and must you have your gift so quickly?"
"Lady," cried he, "for God's sake pity me, and take it not amiss. She, who loves lightly, may make her lover pray for long, so that she may hide how often her feet have trodden the pathway with another friend. But the honest dame, when she has once given her heart to a friend, will not deny his wish because of pride. The rather she will find her pride in humbleness, and love him again with the same love he has set on her. So they will be glad together, and since none will have knowledge or hearing of the matter, they will rejoice in their youth. Fair, sweet lady, be this thy pleasure?"
When the lady heard these words well she found them honest and true. Therefore without further prayings and ado she granted Gugemar her love and her kiss. Henceforward Gugemar lived greatly at his ease, for he had sight and speech of his friend, and many a time she granted him her embrace and tenderness, as is the wont of lovers when alone.
For a year and a half Gugemar dwelt with his lady, in solace and great delight. Then Fortune turned her wheel, and in a trice cast those down, whose seat had been so high. Thus it chanced to them, for they were spied upon and seen. On a morning in summer time the Queen and the damoiseau sat fondly together. The knight embraced her, eyes and face, but the lady stayed him, saying, "Fair sweet friend, my heart tells me that I shall lose you soon, for this hidden thing will quickly be made clear. If you are slain, may the same sword kill me. But if you win forth, well I know that you will find another love, and that I shall be left alone with my thoughts. Were I parted from you, may God give me neither joy, nor rest, nor peace, if I would seek another friend. Of that you need have no fear. Friend, for surety and comfort of my heart deliver me now some sark of thine. Therein I will set a knot, and make this covenant with you, that never will you put your love on dame or maiden, save only on her who shall first unfasten this knot. Then you will ever keep faith with me, for so cunning shall be my craft, that no woman may hope to unravel that coil, either by force or guile, or even with her knife."
So the knight rendered the sark to his lady, and made such bargain as she wished, for the peace and assurance of her mind. For his part the knight took a fair girdle, and girt it closely about the lady's middle. Right secret was the clasp and buckle of this girdle. Therefore he required of the dame that she would never grant her love, save to him only, who might free her from the strictness of this bond, without injury to band or clasp. Then they kissed together, and entered into such covenant as you have heard.
That very day their hidden love was made plain to men. A certain chamberlain was sent by that ancient lord with a message to the Queen. This unlucky wretch, finding that in no wise could he enter within the chamber, looked through the window, and saw. Forthwith he hastened to the King, and told him that which he had seen. When the agèd lord understood these words, never was there a sadder man than he. He called together the most trusty sergeants of his guard, and coming with them to the Queen's chamber, bade them to thrust in the door. When Gugemar was found therein, the King commanded that he should be slain with the sword, by reason of the anguish that was his. Gugemar was in no whit dismayed by the threat. He started to his feet, and gazing round, marked a stout rod of fir, on which it is the use for linen to be hung. This he took in hand, and faced his foes, bidding them have a care, for he would do a mischief to them all. The King looked earnestly upon the fearless knight, inquiring of him who he was, and where he was born, and in what manner he came to dwell within his house. So Gugemar told over to him this story of his fate. He showed him of the Beast that he had wounded to his hurt; of the nave, and of his bitter wound; of how he came within the realm, and of the lady's surgery. He told all to the ancient lord, to the last moment when he stood within his power. The King replied that he gave no credence to his word, nor believed that the story ran as he had said. If, however, the vessel might be found, he would commit the knight again to the waves. He would go the more heavily for the knight's saining, and a glad day would it be if he made shipwreck at sea. When they had entered into this covenant together, they went forth to the harbour, and there discovered the barge, even as Gugemar had said. So they set him thereon, and prayed him to return unto his own realm.
Without sail or oar the ship parted from that coast, with no further tarrying. The knight wept and wrung his hands, complaining of his lady's loss, and of her cherishing. He prayed the mighty God to grant him speedy death, and never to bring him home, save to meet again with her who was more desirable than life. Whilst he was yet at his orisons, the ship drew again to that port, from whence she had first come. Gugemar made haste to get him from the vessel, so that he might the more swiftly return to his own land. He had gone but a little way when he was aware of a squire of his household, riding in the company of a certain knight. This squire held the bridle of a destrier in his hand, though no man rode thereon. Gugemar called to him by name, so that the varlet looking upon him, knew again his lord. He got him to his feet, and bringing the destrier to his master, set the knight thereon. Great was the joy, and merry was the feast, when Gugemar returned to his own realm. But though his friends did all that they were able, neither song nor game could cheer the knight, nor turn him from dwelling in his unhappy thoughts. For peace of mind they urged that he took to himself a wife, but Gugemar would have none of their counsel. Never would he wed a wife, on any day, either for love or for wealth, save only that she might first unloose the knot within his shirt. When this news was noised about the country, there was neither dame nor damsel in the realm of Brittany, but essayed to unfasten the knot. But there was no lady who could gain to her wish, whether by force or guile.
Now will I show of that lady, whom Gugemar so fondly loved. By the counsel of a certain baron the ancient King set his wife in prison. She was shut fast in a tower of grey marble, where her days were bad, and her nights worse. No man could make clear to you the great pain, the anguish and the dolour, that she suffered in this tower, wherein, I protest, she died daily. Two years and more she lay bound in prison, where warders came, but never joy or delight. Often she thought upon her friend.
"Gugemar, dear lord, in an evil hour I saw you with my eyes. Better for me that I die quickly, than endure longer my evil lot. Fair friend, if I could but win to that coast whence you sailed, very swiftly would I fling myself in the sea, and end my wretched life." When she had said these words she rose to her feet, and coming to the door was amazed to find therein neither bolt nor key. She issued forth, without challenge from sergeant or warder, and hastening to the harbour, found there her lover's ship, made fast to that very rock, from which she would cast her down. When she saw the barge she climbed thereon, but presently bethought her that on this nave her friend had gone to perish in the sea. At this thought she would have fled again to the shore, but her bones were as water, and she fell upon the deck. So in sore travail and sorrow, the vessel carried her across the waves, to a port of Brittany, guarded by a castle, strong and very fair. Now the lord of this castle was named Meriadus. He was a right warlike prince, and had made him ready to fight with the prince of a country near by. He had risen very early in the morning, to send forth a great company of spears, the more easily to ravage this neighbour's realm. Meriadus looked forth from his window, and marked the ship which came to port. He hastened down the steps of the perron, and calling to his chamberlain, came with what speed he might to the nave. Then mounting the ladder he stood upon the deck. When Meriadus found within the ship a dame, who for beauty seemed rather a fay than a mere earthly woman, he seized her by her mantle, and brought her swiftly to his keep. Right joyous was he because of his good fortune, for lovely was the lady beyond mortal measure. He made no question as to who had set her on the barge. He knew only that she was fair, and of high lineage, and that his heart turned towards her with so hot a love as never before had he put on dame or damsel. Now there dwelt within the castle a sister of this lord, who was yet unwed. Meriadus bestowed the lady in his sister's chamber, because it was the fairest in the tower. Moreover he commanded that she should be meetly served, and held in all reverence. But though the dame was so richly clothed and cherished, ever was she sad and deep in thought. Meriadus came often to cheer her with mirth and speech, by reason that he wished to gain her love as a free gift, and not by force. It was in vain that he prayed her for grace, since she had no balm for his wound. For answer she showed him the girdle about her body, saying that never would she give her love to man, save only to him who might unloose the buckle of that girdle, without harm to belt or clasp. When Meriadus heard these words, he spoke in haste and said,
"Lady, there dwells in this country a very worthy knight, who will take no woman as wife, except she first untie a certain crafty knot in the hem of a shirt, and that without force or knife. For a little I would wager that it was you who tied this knot." When the lady heard thereof her breath went from her, and near she came to falling on the ground. Meriadus caught her in his arms, and cut the laces of her bodice, that she might have the more air. He strove to unfasten her girdle, but might not dissever the clasp. Yea, though every knight in the realm essayed to unfasten that cincture, it would not yield, except to one alone.
Now Meriadus made the lists ready for a great jousting, and called to that tournament all the knights who would aid him in his war. Many a lord came at his bidding, and with them Gugemar, amongst the first. Meriadus had sent letters to the knight, beseeching him, as friend and companion, not to fail him in this business. So Gugemar hastened to the need of his lord, and at his back more than one hundred spears. All these Meriadus welcomed very gladly, and gave them lodging within his tower. In honour of his guest, the prince sent two gentlemen to his sister, praying her to attire herself richly, and come to hall, together with the dame whom he loved so dearly well. These did as they were bidden, and arrayed in their sweetest vesture, presently entered in the hall, holding each other by the hand. Very pale and pensive was the lady, but when she heard her lover's name her feet failed beneath her, and had not the maiden held her fast, she would have fallen on the floor. Gugemar rose from his seat at the sight of the dame, her fashion and her semblance, and stood staring upon her. He went a little apart, and said within himself, "Can this be my sweet friend, my hope, my heart, my life, the fair lady who gave me the grace of her love? From whence comes she; who might have brought her to this far land? But I speak in my folly, for well I know that this is not my dear. A little red, a little white, and all women are thus shapen. My thoughts are troubled, by reason that the sweetness of this lady resembles the sweetness of that other, for whom my heart sighs and trembles. Yet needs must that I have speech of the lady."
Gugemar drew near to the dame. He kissed her courteously, and found no word to utter, save to pray that he might be seated at her side. Meriadus spied upon them closely, and was the more heavy because of their trouble. Therefore he feigned mirth. "Gugemar, dear lord, if it pleases you, let this damsel essay to untie the knot of your sark, if so be she may loosen the coil."
Gugemar made answer that very willingly he would do this thing. He called to him a squire who had the shirt in keeping, and bade him seek his charge, and deliver it to the dame. The lady took the sark in hand. Well she knew the knot that she had tied so cunningly, and was so willing to unloose; but for reason of the trouble at her heart, she did not dare essay. Meriadus marked the distress of the damsel, and was more sorrowful than ever was lover before.
"Lady," said he, "do all that you are able to unfasten this coil." So at his commandment she took again to her the hem of the shirt, and lightly and easily unravelled the tie. Gugemar marvelled greatly when he saw this thing. His heart told him that of a truth this was his lady, but he could not give faith to his eyes.
"Friend, are you indeed the sweet comrade I have known? Tell me truly now, is there about your body the girdle with which I girt you in your own realm?" He set his hands to her waist, and found that the secret belt was yet about her sides. "Fair sweet friend, tell me now by what adventure I find you here, and who has brought you to this tower?"
So the lady told over to her friend the pain and the anguish and the dolour of the prison in which she was held; of how it chanced that she fled from her dungeon, and lighting upon a ship, entered therein, and came to this fair haven; of how Meriadus took her from the barge, but kept her in all honour, save only that ever he sought for her love; "but now, fair friend, all is well, for you hold your lady in your arms." Gugemar stood upon his feet, and beckoned with his hand.
"Lords," he cried, "hearken now to me. I have found my friend, whom I have lost for a great while. Before you all I pray and require of Meriadus to yield me my own. For this grace I give him open thanks. Moreover I will kneel down, and become his liege man. For two years, or three, if he will, I will bargain to serve in his quarrels, and with me, of riders, a hundred or more at my back."
Then answered Meriadus, "Gugemar, fair friend, I am not yet so shaken or overborne in war, that I must do as you wish, right humbly. This woman is my captive. I found her: I hold her: and I will defend my right against you and all your power."
When Gugemar heard these proud words he got to horse speedily, him and all his company. He threw down his glove, and parted in anger from the tower. But he went right heavily, since he must leave behind his friend. In his train rode all those knights who had drawn together to that town for the great tournament. Not a knight of them all but plighted faith to follow where he led, and to hold himself recreant and shamed if he failed his oath.
That same night the band came to the castle of the prince with whom Meriadus was at war. He welcomed them very gladly, and gave them lodging in his tower. By their aid he had good hope to bring this quarrel to an end. Very early in the morning the host came together to set the battle in array. With clash of mail and noise of horns they issued from the city gate, Gugemar riding at their head. They drew before the castle where Meriadus lay in strength, and sought to take it by storm. But the keep was very strong, and Meriadus bore himself as a stout and valiant knight. So Gugemar, like a wary captain, sat himself down before the town, till all the folk of that place were deemed by friend and sergeant to be weak with hunger. Then they took that high keep with the sword, and burnt it with fire. The lord thereof they slew in his own hall; but Gugemar came forth, after such labours as you have heard, bearing his lady with him, to return in peace to his own land.
From this adventure that I have told you, has come the Lay that minstrels chant to harp and viol-fair is that song and sweet the tune.

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Word Lists:

Text : a book or other written or printed work, regarded in terms of its content rather than its physical form

Damsel : a young unmarried woman.

Knight : (in the Middle Ages) a man who served his sovereign or lord as a mounted soldier in armor.

Dolorous : feeling or expressing great sorrow or distress

Realm : a kingdom

Pavilion : a summerhouse or other decorative building used as a shelter in a park or large garden.

Orison : a prayer.

Maiden : a girl or young woman, especially an unmarried one

Nave : the central part of a church building, intended to accommodate most of the congregation. In traditional Western churches it is rectangular, separated from the chancel by a step or rail, and from adjacent aisles by pillars.

Hearken : listen

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Additional Information:

Rating: B Words in the Passage: 7451 Unique Words: 1,418 Sentences: 386
Noun: 1718 Conjunction: 780 Adverb: 480 Interjection: 7
Adjective: 429 Pronoun: 1010 Verb: 1226 Preposition: 897
Letter Count: 30,160 Sentiment: Positive / Positive / Positive Tone: Conversational Difficult Words: 909
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