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THE OLD FRENCH CHANSONS DEL TOILE. [Portions of Text in German and Old French]

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THE OLD FRENCH CHANSONS DEL TOILE. [Portions of Text in German and Old French] This dissertation has been n, / l_ r . microfilmed* j exactly as received. j 69-15,960 SCHARFF, Arthur Bernard, 1911- THE OLD FRENCH CHANSONS DEL TOILE. [Portions of Text in German and Old French]. The Ohio State University, Ph.D., 1969 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan @ Arthur Bernard Scharff ---- ALL RIGHTS RESERVED THE OLD FRENCH CHANSONS DE TOILE DISSERTATION Presented in Partial Fulfillment of the Requirements for Degree Doctor of Philosophy in the Graduate School of The Ohio State university Arthur b £ Scharff, B.A., M.A. The Ohio State university 1969 Approved by Adviser Department of Romance Languages VITA May 18, 1911 Born - Memphis, Tennessee 193 2 ........ B.A., The Ohio State University, Columbus, Ohio 193 3 ........ M.A., Columbia University, New York, New York 1933-1936 . Teacher of English and French, Shelby County, Tennessee public schools 1936-1937 . Student at the Sorbonne, Paris, France 1937-1939 . Administrative assistant, Cit£ Universitaire de Paris, Paris, France 1939-1942 . Budget Analyst, U.S. Department of Agriculture, Washington, D .C . 1942-1945 . U.S. Army, Psychological Warfare Branch, Civilian Morale Division, North Africa, Italy, France 1946-1954 . Foreign Service of the United States of America, Department of State, France, Italy, Spain, the Philippines and the Far East, administrative and i civilian morale work 1954-1963 . Travel consultant, American Express Company, Thos. Cook & Sons, Ltd. 1963-1964 . Instructor in French, University of Virginia, Charlottesville, Virginia 1964-1967 . Instructor in French, Wright State University, Dayton, Ohio 1967-1969 . Instructor in French and Comparative Litera­ ture, Washington and Lee University, Lexington, Virginia ii FIELDS OF STUDY Major Field: French Literature Studies in Medieval French Literature. Professor Eleanor Webster Bulatkin Studies in Provencal Literature. Professor Eleanor Webster Bulatkin Studies in Medieval and Modern Italian Literature. Professor Albert N. Mancini TABLE OF CONTENTS Page VITA ----------------------------------------------------- ii TABLE OF THE CHANSONS DE TOILE-------------------------- vi INTRODUCTION------------------------------------------ 1 Chapter I. ESTABLISHMENT OF THE CO R P U S ---------------------- 8 A. The selection of the poems and the problem of the name of the genre B. A definition of the genre 1. Form a. Subject matter II. THE ORIGIN OF THE CHANSON DE TOILE ------------ 27 A. Provenience 1. Manuscripts 2. interpolation in romans d 1 aventure 3. Geographical origins 4. Dates of origin and purpose III. ANALYSIS OF THE CHANSON DE TOILE -------------- 95 A. Salient characteristics 1. Love 2. Woman 3. The milieu 4. Setting B. Plot structure C. Characters 1. Major a. Heroines b. Heroes c. Mothers d. Fathers e. Husbands and the theme of the '•rnal mar±ee" iv Page 2. Minor characters 3. Names: origin and possible significance IV. THE PLACE OP THE CHANSON DE TOILE IN LITERATURE------------------------------------- 177 A. Relationship with the chanson de geste B. Relationship with the roman d 1aventure C. Relationship with other lyric genres D. Relationship with other literatures 1. The Portuguese cantigas d 1 amigo 2. The German Minnesinger 3. The English and Scotch ballads 4. Other ballads E. Possible folk origins of the chanson de toile P. The chanson de toile after the XIIIth century 1. The importance of the chanson de toile APPENDIX - Translation of the chansons de toile------ 216 BIBLIOGRAPHY------------------------------------------ 266 v TABLE OF THE "CHANSONS DE TOILE" Name of Number No. First Line Heroine according to :Saba : Bartsch: Group A - Love Frustrated by Outside Influences I. Siet soi bele Aye as piez sa male maistre Aye II 12 II. Fille et mere se sieftnt a l'orfrois Aude I 14 III. Quant vient en mai, que l1 on dit as Ions jors Erembor XI 1 IV. Bele Aiglentine, en roial chamberine Aiglentine IV 2 V. Bele Doette as fenestres se siet Doette X 3 VI. La bele Doe siet au vent Doe III 15 Group B - Studies in the Emotion of Love VII. Bele Yolanz en ses chambres seoit Yolanz VIII 7 VIII. Bele Yolanz en chambre koie Yolanz XII 6 IX. An halte tour se siet belle Yzabel Yzabel XIII 4 X. En un vergier lez une fontenele Fille a VII 9 roi Group C - Incomplete Fragments XI. Siet soi belle Eurtaus, seule est enclose Euriaus VI 16 XII. Or viennent pasques les beles en avril Aigline V 13 Group D - A Special Case XIII. Lou samedi a soir, fat la semainne Gaiete § XIV Oriour Group E - Pieces Showing Later Influences XIV. Oriolanz en haut solier Oriolanz IX 10 XV. Belle Amelot soule an chanbre feloit Amelot XV 8 Group F - Works by Audefroi le Batard XVI. Au nouvels tans pascor ke florist 1' aube espine Argentine XVI 59 XVII. An chambre a or se siet la belle Beatris Beatris XVII 58 XVIII. Bele Ysabiaus, pucele bien aprise Ysabiaus XVIII 56 XIX. Bele Ydoine se siet desous la verde olive Ydoine XIX 57 XX. Bele Emmelos es pres, desouz l'arbroie Emmelot XX 60 INTRODUCTION A study of the Old French chansons de toile poses one or two problems at the outset which must be considered be­ fore even the general direction of the study can be deter­ mined. With which of the general types of poetry are they to be classified? They are narrative in that they tell a story. They are also dramatic: characters address each other and reply; there is even change of scene and a small amount of staging. However, it is in their lyric quality that they are most outstanding and in which lies their greatest worth. The feelings of one or more of the characters are always expressed. It is as lyrics that they assume great impor­ tance, and it is as lyrics that most anthologies include them. Gustave Lanson in his Histoire illustr^e de la litterature franpaise^ classifies them under "ancien lyrisme franqais", even though he does not evince too high an opinion of them. B^dier & Hazard2 classify them under the "genres •kparis: Hachette, 1923, p. 64 ff. 2Joseph B^dier and Paul Hazard, Histoire de la litterature franqaise, (Paris: Larousse, 1948), Vol. I. 1 2 lyriques", but at the very end of the genre since they con­ sider those that we have today as artificial reconstructions. Carla Cremonesi's volume on the Lirica francese del Medio O A EvoJ includes several of them. Lagarde & Michard place them under 11 les dAbuts du lyrisme", give one as an example (No. XIII), and remark: ... lorsque le lyrisme trouve son expression litteraire (vers le milieu du Xlle si&cle) ... La forme la plus ancienne est la chanson de toile ou chanson d*histoire. This opinion that the chansons de toile represent the oldest form of lyric in French literature is rather general­ ly held today. Robert Bossuat^ states that: 11 n'est pas douteux que les premieres manifesta­ tions de la po^sie populaire furent des chansons h. danser, chansons tr&s simples et toujours dramatiques, formees de couplets chantes par un soliste et d'un refrain qu'on reprenait en choeur. Ce type nous est conserv^ par les chansons d*histoire. while Alfred Schossig in Per Ursprung der altfranzdsischen L y n..6 k says: 3 Varese: istituto Editoriale Cisalpmo, 1955. 4Andr£ Lagarde and Laurent Michard, Les grands auteurs franpais du programme, Vol. I, Le Moyen £ge, (Paris: Bordas, 1965), p. 181 ff. ^La po^sie lyrigue en France, aux Xlle et Xllle si&cles, l&re partie, (Paris: Centre de Documentation Universitaire, after 1948), Vol. I, p. 4. ^Halle: Max Niemeyer Verlag, 1957, p. 184. 3 Die chansons ^ toile, d'histoire, sind die aitesten Lieder der altfranzOsischer Lyrik. The above statements are in contrast to an older opinion, not yet completely abandoned, that the lyric poetry of France came up from the South and was the creation of Provenqal poets in their language. This idea was expressed by Sir Paul Harvey and J. E. HesseItine in The Oxford Companion to French Literature: The lyric genre in French poetry appears to have originated in Provence, where the material pros­ perity of the 11th and 12th centuries favored the growth of culture.^ However, it seems that the chansons de toile, even if they were not the oldest lyrics composed in the French language, are at least the oldest that remain to us today. Their predecessors may have come from a number of sources, p including the Provencal. Gaston Paris, in an article0 which starts out as a review of another publication but ends up by giving us many of his own ideas on the origins of French lyric poetry, says: Les chansons de danse, soit poitevines, soit limousines, ont p£n£tr£ dans la France du nord bien avant les productions des troubadours ... ^Oxford: University Press, 1959, p. 429. ®" La po£sie lyrique" in Melanges de literature franqaise du moyen £ge publics par Mario Roques, (Paris: Champion, 1912), p. 611. 4 and Aurelio Roncaglia, speaking of the refrains in the chansons de toile and in some other early French lyrics, notes that there must have been lyric poetry in France prior to that of the troubadours: ... di forma e intente poco diversa, cancellata del tempo, e preceduta a sua volta da una poesia popolareggiante, di cui resta qualche vestigio nei cosidetti refrains o ritornelli.® It is from this poetry that the chansons de toile sprung and they are in the language of Northern France, not that of the troubadours. It would appear to be accepted that they are the old­ est lyric expressions that remain today and that they are prior to the massive influence of the troubadours and their poetry. As such their worth is attested by Karl Bartsch in the Introduction to his AltfranzBsische Romanzen und Pastourelien; Bei dem bedauerlichen Verluste, der die romanische Volkslyrik des Mittelalters betroffen hat, sind die daher von hohem Werthe; sie bilden die hervorragendsten und bedeutendsten Gattungen der nordfranzBsischen Lyrik, neben denen die tlbringen farblos erscheinen und von der reichern sttd- franzdsischen tlberstrahlt werden.-*-® ^Aurelio Roncaglia^ 'bi una tradizione lirica pre- trovaresca in lingua volgare" in Cultura Neolatina 11 (1951), p.
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