Beroul the Minstrel

READING MEDlEY AL STU:JIES Beroul the Minstrel This study makes no :Jttempt to examine Befoul's R01'lOnce of Tristran from the point of view of linguistics, nor is it 0 detailed consideratio.""I of the derivation and development of the plot of the story. Such studies have been published by experts in tho;e p:nticular fields and can be consulted by those for who" they ore of special interest. The present study is an attempt to fe-assess the poem in its twel fth century context sa that the reader may be able to visu:l1 ise the story as the author conceived it and as it wO'Jld have been received by its contemporary audience, but it must not be considered as a comprehensive commentary on the poem. That would be impossible in the sp.Jce >:lvoiloble. It is merely a discussion on so:ne points raised by the text and on a few aspects of CO:1- temporary Cornish history which may explain the stcxy. Beroul's romance belongs to the second half of the twel fth century when literacy was rare o'Jtside clerical circles and story-telling for secular entertainment was largely in the hands of minstrels. The te rm 'minstrel' has been loosely used to cover a wide range of persons. Some were from the upper classes, men who, for a variety of reasons of health, wealth, 0 :- tempera ment, preferred the role of entertainer to the more usual profession of knight at--arms, and who travelled from one baronial home to :mother, bringing news and entertainment to brighten the 10"'\3 dark hours of winter . At the other end of the social scale there were the coarse but quick-witted jon3leurs, often accompanied by doncers or acrobats, who cO'Jld entertain the peasants on the village green or stage a show at the local foir . There were 0150 ,:)thers, more sedentary by nature, who sought a post attached to a royal or baronial court, whose task it was to co"'pose works 0'1 themes suggested by the ir p:Jtro.,s. In considering B~roul's poem it is impartant to iemember that it was almost certainly intend·ed fo:- oral recitation, delivered in successive perio:h over quite a long time. The poet makes frequent appeals to l,is audience for their sympathy with the hero ,:;>r condemnation of the villains. Moreover, a minstrel h:ld to :ope with the problem of an audience which might vary from one evening to another, or with the imp:fct of speciol occasions . There seem to ':Ie at least two instances where Bero'Jl has bro~<en his narrative in order to interpolate on episode ad:lpted for some special event. The first occurs just after Iseut and Tristron have escaped from the leper bond and have reached the forest. Beroul interpolates the episode of the dwarf Frocin and his betrayal of the secret that King Mark is afflicted by the p05session of a pair of horses' ears. It is a farcical incident, 1 unique to this version of the Tristron legend, akin to the folklore 'Midas' tale of Mark 34 ~EADING MEDIEVAL STUDIES po?ulor in Wales and :3rittany. One con o.""lly suggest that it is introduced ;)ec~;Jse the occosio·... was one of those feasts such as Christmastide, when :J recital of the hardships and sorrows of the exiled lovers m'ight be considered too sombre; or, possibly, a time when on important but youthful guest was expected. The seco.,d instonce is the disproportionate amount of attention th:.t is given to the adventures of Tristran's hO'Jnd, Husdent, its escape from capti vityat lancien, its trockin3 of Tristran's Right, the reunion in the forest, del ightfully told, Tristran IS onx iety that its barking w ill betray the fug itives, and the de tailed 'Jccount of the way in which the hound wos trained to hunt in silence. 2 The loving care with which the scenes ore worked O'Jt would be justified if the recitotio.'1 took place CIt the ~'o~e of some large hunting party. The su!:>ject was one that might hope to catch the interest of tired men :md to provo'<e a spirited discussion of alternative methods of d<>3- troining~ For itinerant minstrels such 'as Beroul, flexibility in the presentation of a story was a necessary gift and a quick-moving plot with little or no philO'iophisin3 but plenty of vivid detail was needed. If it could be spiced with a compliment to the host, or a reference to .orne rec003nisobie place name, so much the better. This, of course, meant that a tale might have to be revamped to meet local cO'1ditions and the re-shaping might leave loose ends of a plot and 0 danger of inconsistency in the treatment of some incidents. Those critics who accuse Bera~1 of carelessness in such matters are forgetting the difference ~etween the skill of a minstrel and that of a poet preparing his wa"k for issue as a written ':>00'<. In his third edition of Bero;JI's Tristran, Muret makes the significant point that the frogment of the po2m which survives is not a 'fair' copy, 3 but is rather 'un ':lrauillan de I'exemplaire qui servait ~ 10 fois ~ la cam~ition et ~ la recitation du ra'1lOn' . Such::l copy might easily contain certain passages for interpalatio.'1 on ipecial occasions which the minstrel would pion either to integrate smoothly into the finished whole, or omit in the finJI re daction. We do not know whether the performance followed the text exactly as we have it written. It is more th~n likely that some of the incons istencies were 'ironed O;Jt' in the actual recital. For instance, much has been :node of the kill in; of one of the wicked barons early in the adventures of Tristran and Iseut in the forest, 4 on incident ending with 0 grisly ioke when Governal, Tristran's tuto!' and comp:mion, hangs the decapitated head in the fork of a tree so ~h:lt it confro~ts the lovers as they wake. later on, Bero;JI seems to forget this incident and introduces all three of the boro,."s, alive and energetic~ oily harassing King MJrk with the oim of tropping Iseut into 0 trial by ordeal . 35 ~EADING MWIEVAL STUDIES It seems no· o~ all improb~ble that when it COl1e to the reCital, B~roul had rer second thoughts about the e;]rlier incident, Dnd decided to Q·"it it but d id no· n'" bother to d~lete it from the MS.; possibly he thought it might be useful on co some other occos ;0;"1. tic to Nothing is known about Bf!roul the m:m. Arguments drO"Nn from in- sp< ternJI evidence led to conflicti"'J conclusions as to ""is n:Jtio:1:llity and the probable dote of his po~;n. These -3re :.lsefully summarised by Ewert in the introduction to his commentary. 5 The general consemus of modern opinion wr suggests th:Jt Beroul was a Norman, probably from the south of the province. tic As 0 minstrel he would have travelled and he betrays so;ne kno'NleoJe of ~E Carh.lix in Brittany. er cr Nothing precise is known about the d'Jte of B~roul's Co:Jreer but he 1" seems to hove been active during the last q1Jorter of the twelfth century. T0- d; wards the end of the poem":) spy m:Jkes a reference to MJlpertuis, 6 the lair n of the fo)( in the Roman de ~enart which 'NOS co:-npo:;ed :Jbout 1180, which of indico:Jtes th·,t Bflo~~work could not hove been earlier th:Jn th:Jt. On the ;t other hond, if we accept Tristran's remark that his disfigured hands, when he W· was po:; ing as a leper, were the resul t of the m::J1 d' Ac.re, 7 ne appe.:Jrs to be cl referring to the epidemic which :Jfflicted the CrusoJ,;;:;-ot the siege of Acre 51 in 1190 -Jnd 1191, which suggests th.Jt Bfloroul was writin~ at least until the 0 ' end of the century. This particular indicator is no· Qo3reed by ')11 critics as n. it rests 0.' on obscure p:JSsage . It is prob::Jbly safest to thin'< o. Bf!ro1J1 simply d as living in the lost quarter of the twelfth century . b s; When or where B~roul visited England has been :J :noHer for much d~bate but it is now widely accepted that he had sorne first-hond i<no"Nl ed,ge "q of Cornwall. He alludes to places in the north a,'ld ,~ost of En~land out shows no knowle~e of the south-east . A minstrel, unless he 'Nos a :"on of substance, needed ::J patron. Again, in B~ro;JI's case, we have no direct evidence but T one or two po~ible ;>ersol'ls can be sU9:;!ested and will be discussed . h j. B~ro'Jl was almost certainly a c lericus thoi..l'3h not a priest. Nor does he seem to have been of a scholarly tempera;:;'~-nt though he ca" ~rin3 OiJt the t taas of classical references when he thin~s they are required. Possibly he k received his edJcaHon in one of the larger mon':lstic schools where, in some instances, po~try W::JS beind cultivated. One wonders whether he 'NOS a pupil at the Abbey of St Evro'Jl in Ouche, Normandy.

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