The Flourishing of Romance and the Rise of Allegory: (Periods of European Literature, vol. II)Saintsbury, George
History
The Flourishing of Romance and the Rise of Allegory: (Periods of European Literature, vol. II)
Saintsbury, George
Allegory; Literature, Medieval -- History and criticism; Romances -- History and criticism
The smaller range and more delicate--however indelicate--argument of
the _fabliaux_ not only invited but almost necessitated a different
kind of handling. The story had to draw to point in (on an average)
two or three hundred lines at most--there are _fabliaux_ of a thousand
lines, and _fabliaux_ of thirty or forty, but the average is as just
stated. The incidents had to be adjusted for best effect, neither too
many nor too few. The treatment had to be mainly provocative--an
appeal in some cases by very coarse means indeed to very coarse
nerves, in others by finer devices addressed to senses more tickle o'
the sere. And so grew up that unsurpassed and hardly matched product
the French short story, where, if it is in perfection, hardly a word
is thrown away, and not a word missed that is really wanted.
[Sidenote: _The appearance of irony._]
The great means for doing this in literature is irony; and irony
appears in the _fabliaux_ as it had hardly done since Lucian. Take,
for instance, this opening of a piece, the rest of which is at least
as irreverent, considerably less quotable, but not much less
pointed:--
"Quant Dieus ot estore lo monde,
Si con il est a la reonde,
Et quanque il convit dedans,
Trois ordres establir de genz,
Et fist el siecle demoranz
Chevalers, clers et laboranz.
Les chevalers toz asena
As terres, et as clers dona
Les aumosnes et les dimages;
Puis asena les laborages
As laborenz, por laborer.
Qant ce ot fet, sanz demeler
D'iluec parti, et s'en ala."
What two orders were left, and how the difficulty of there being
nothing left for them was got over, may be found by the curious in the
seventy-sixth _fabliau_ of the third volume of the collection so often
quoted. But the citation given will show that there is nothing
surprising in the eighteenth-century history, literary or poetical, of
a country which could produce such a piece, certainly not later than
the thirteenth. Even Voltaire could not put the thing more neatly or
with a more complete freedom from superfluous words.
[Sidenote: _Fables proper._]
Public-domain text, read in full here on John Shaqi.
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