ART. IV. 1. Roman de la Violette, ou de Gerard de Nevers, en vers du xiiime Siècle, par Gibert de Montreuil; publié pour la première fois, d'après deux Manuscrits de la Bibliothèque Royale. Par Francisque Michel. Paris, 1834. 8vo.

2. Roman d'Eustache le Moine, Pirate Fameux du xiiime Siècle; publié pour la première fois, d'après un Manuscrit de la Bibliothèque Royale. Par Francisque Michel. Paris et Londres,

1834. Svo.

3. La Riote du Monde. Le Roi d'Angleterre et le Jongleur. d'Ely (xime Siècle); publié d'après deux Manuscrits, l'un de la Bibliothèque Royale, l'autre du Musée Britannique. Paris,

..1834. 8vo.

4. Tristan: Recueil de ce qui reste des Poëmes relatifs à ses Aventures, composés en François, en Anglo-Normand, et en Grèc, dans les xiime et xiiime Siècles; publié par Francisque Michel. Paris et Londres, 1835. 2 tomes. 8vo.

SIR Robert Walpole pronounced "History a fiction:" we shall not here stop to inquire into the validity of the principles upon which his assertion was founded, but, believing the converse of the proposition, namely, that all fiction is history, to be nearer the truth, we purpose recommending to our readers the curious specimen of early Romance, the title of which heads the list of works arranged at the commencement of this article, as deserving of their attention in a two-fold manner-firstly, with regard to its character as a work of fiction; and secondly, with reference to the historical illustrations of contemporary manners with which the narrative is interspersed.

The Roman de la Violette, by Gibert or Gyrbert de Montreuil, and which appears to have been written about the year 1225, was long since pronounced by Roquefort to be one of the most agreeable productions of the thirteenth century; and the perusal of it justifies, in the fullest, this eulogium. The plot, which resembles that of Cymbeline, is ingeniously contrived and clearly developed, while it is at the same time related in a style which adds new charms to it, the narrative never being interrupted, as is too frequently the case in compositions of this period, by long digressions on theology or love. Although the subject of the romance is not historical, for there never existed a Count of Nevers of the name of Gerard, or of any other name, to whom the adventures related by our poet can possibly be referred, yet the work, from the admirable delineations of ancient manners which are scattered over its pages, is of great historical value.

En outre, cet ouvrage," says M. Michel, in his admirable introductory notice," indépendamment du plaisir qui peut procurer sa lecture, nous

VOL. XVII, NO. XXXIII,

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fournit presque tous les moyens d'étudier complétement la tournure de l'esprit françois et l'état de la langue romane d'oil dans le premier quart environ du xiiime siècle."

And, in fact, the Roman de la Violette presents a picture of le bon vieux temps, as charming and characteristic as any one of the time of Louis Quatorze from the aristocratic and social pencil of Watteau.

"As Watteau painted so did Gibert sing!"

It is, in sooth, a Fashionable Novel of the thirteenth century, by the Bulwer of the day; and as such we think it cannot fail to amuse our readers, and to give them some correct notions of the spirit of the age in which it was produced.

After a few introductory remarks, the story commences as follows: :

"Whilom in France there reigned a king,
Who handsome was, bold and daring,
Young, and withal intelligent,
Hardy in arms too, and aidant;
High in his favour knights aye rose;
Wise men he for his council chose,
Counsel he trusted, counsel prized,
Counsel he ne'er the least despised;
He'd been well taught, was wise withal,
And right good were his customs all.
Maidens and dames he held full dear,
And oftentimes made them good cheer.
Courageous too, and of great fame,

Was this King. Louis was his name."

The monarch here referred to is Louis the Eighth, who is represented as holding upon an Easter day in the month of April a cour biele et gentil" at Pont-de-l'Arche. Never since Noah made the ark were seen such numbers assembled. The king feasted them royally; and their joy found utterance in song. Countess of Besançon, sister of the Bishop of Lincoln, commenced with the ballad

"Alés bielement, que d'amor me dueil."

"Il ot en France .j. roi jadis,
Qui molt fu bials, preus et hardis,

Jouenes hom fu et entendans,

Hardis as armes et aidans;
Molt honora les chevaliers;
Des sages fist ses consilliers,
Consel crei, consel ama,
Ainc consel ne mesaesma;
Bien estoit ensaigniés et sages,
Et molt estoit boins ses usages.
Dames, pucieles tenoit chières,
Souvent lor faisoit bieles chières.
Molt fu preux et de grant renon:
Loeys ot li rois à non."-page 6.

The

She was followed by the Duchess de Bourgoigne, who had a "clear voice and good song," and she again was succeeded by a host of noble ladies, whose names and performances are duly recorded.

When this amusement had continued for some time, the party ranged themselves hand in hand along each side of the hall, and the King passed down between them, making his remarks as he went along. The royal attention was speedily arrested by a noble youth who, with falcon on his wrist, displayed so much manly beauty that every lady who beheld him was captivated. This was of course no less a person than the hero of the poem..

Gerard, who was as courteous as handsome, complied with her request, and the song, which of course touched upon the tender passion, prompted him to boast of the charms and fidelity of his mistress, the fair Oriaut, Gerard was too good-looking and agreeable not to stir up a feeling of jealousy and discontent in the hearts of some of his hearers. Among those whom he thus grievously displeased was Lisiart Comte de Forois, who sought to represent him as an empty boaster, and offered, with the King's permission, to stake his lands against those of Gerard, that the fidelity of the lady would not withstand his temptations. Gerard, fired at the observation, accepted the wager, which the King was at length induced to sanction.

Upon this Lisiart took his departure, accompanied by ten chevaliers, all in the garb of pilgrims, and drew nigh to Nevers, where the fair heroine Oriaut was espied seated at a turret window, listening to the pleasant warbling of the birds, sighing at the thoughts of her absent lover, and seeking solace for his absence in "un bon son poitevin."

"Quant canté ot la damoisselle

Sa main a mise à sa maisiele."

Into this tower Lisiart and his companions were received for the night, and Oriaut descended into the hall, accompanied by her

*"Li vasaus ot Gérars à non,

Qui molt estoit de grant renom;

Et pour chou qu'il cantoit si bien,

Li ot proié sour toute rien

La chastelaine de Dijon

K'il die .j. vier d'une chançon."-page 11.

"Maistresse" or Duenna, to welcome him. No sooner was this ceremony concluded, however, than Lisiart poured forth a violent declaration of attachment; the lady turned a deaf ear to his advances, returning him, instead of her affections, a snatch of song. She then rose and ordered refreshments. Tables were laid, cloths spread, &c.; venison, roast meats, and fresh fish, in abundance, were laid before her guest, who, however, was too busied with thinking of his scheme of villany, and with the consequences of its failure the forfeiture of his lands-to have much appetite for the repast.

--

This worthy coadjutor in a piece of villany immediately guessed that the pensiveness of the Count arose from his passion for her mistress; accordingly no sooner was the repast concluded, than, prompted by her love of mischief, she sought a conference with him, obtained his confidence, and his promises of great rewards if she would enable him to accomplish the object he had in view, and thereby save him from losing his wager. Gondree bade him be of good cheer, trust to her ingenuity and guile, and retire to rest, for that his broad lands were safe. Two servants, bearing wax tapers, then drew nigh to conduct the Count to his sleeping

* "La vielle qui Maistresse fu
Oriaut, sist dalés le fu;
Laide et oscure avoit la chière,
Molt estoit desloiaus sorchière,
Gondrée avoit la vielle a non,
Fille est Gontacle le larron;
Cil l'ot d'une fausse béguine,

Qui maint meschief fist de s'eskine;
Pour chou di-jou, tels est m'entente :
'De pute rachine pute ente.""

".Ij. enfans ot qu'ele ot mordris,
Qu'engenrés avoit dans Baudris,

Uns moignes de la Carité."-pp. 27, 28.

chamber, and the treacherous hag went and prepared her lady's bed:

f

No sooner was Oriaut in bed than the old woman, coming to her bed side, inquired of her why, during the several years she had waited on her, she had so scrupulously concealed her person. Oriaut explained that there was a particular mark upon her skin, known only to her lover and to herself, the discovery of which by another would be considered by Gerard as a proof of her infidelity. The traitress, having learned thus much, departed for the night; and in the morning, when she had prepared the bath for her mistress, and left the chamber as she commanded her, she pierced a hole in the door, and, as the fair Oriaut entered the bath, discovered upon her right breast a mark of the very shape and colour of a violet.

Alas! had bathing dresses been invented, what a world of misery would Oriaut and her doating lover have been spared! for Gondree, without delay, summoned the Count to share her discovery, who, having seen the secret violet, hastened back to the court, and demanded that Oriaut might be sent for as a necessary witness to prove that he had won his wager. A messenger was accordingly dispatched for her, with whom she returned, and made her appearance before the assembled nobles in a costume, the poet's description of which rivals the elaborate, but somewhat mystic, language of Maradan Carson; and is there as much overwhelmed with shame and confusion, as Gerard is with anger and disgust, at hearing Lisiart boast of her favours, and instance, in proof of his assertion, the fatal violet.

"On her left breast
A mole cinque-spotted, like the crimson drops
I' the bottom of a cowslip: Here's a voucher,
Stronger than ever law could make: this secret

Will force him think I've picked the lock, and ta'en
The treasure of her honour.'

But we do not purpose analysing the whole romance; we have recommended our readers to peruse it, and in the set phrase of critic-craft, "we shall not mar the interest of the denouement by particularizing the means by which the happiness of the lovers is brought about." Moreover, we have something to say touching Eustace le Moine, a poem in which, from its historical character, many perhaps will find metal more attractive.