A Short History of French Literature. Saintsbury George

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      2

      La Littérature Française du Moyen Age (Paris, 1888).

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      A preface is but an ill place for controversy. As however M. Scherer, thanks chiefly to the late Mr. Matthew Arnold, enjoys some repute in England, I may give an example of his censure. He accuses me roundly of giving in my thirty dates of Corneille's plays 'une dizaine de fausses,' and he quotes (as I do) M. Marty-Laveaux. As since the beginning, years ago, of my Cornelian studies, I have constantly used that excellent edition, though, now as always, reserving my own judgment on points of opinion, I ve

1

Note to Third Edition.– M. Gaston Paris expresses some surprise at my saying 'one of the authors,' and attributes both versions to the Troyes clerk (see pp. 52, 53). I can only say that so long as Renart le Contrefait is unpublished, if not longer, such a question is difficult to decide: and that the accepted monograph on the subject (that of Wolf) left on my mind the impression of plural authorship as probable.

2

La Littérature Française du Moyen Age (Paris, 1888).

3

A preface is but an ill place for controversy. As however M. Scherer, thanks chiefly to the late Mr. Matthew Arnold, enjoys some repute in England, I may give an example of his censure. He accuses me roundly of giving in my thirty dates of Corneille's plays 'une dizaine de fausses,' and he quotes (as I do) M. Marty-Laveaux. As since the beginning, years ago, of my Cornelian studies, I have constantly used that excellent edition, though, now as always, reserving my own judgment on points of opinion, I verified M. Scherer's appeal with some alarm at first, and more amusement afterwards. The eminent critic of the Temps had apparently contented himself with turning to the half-titles of the plays and noting the dates given, which in ten instances do differ from mine. Had his patience been equal to consulting the learned editor's Notices, he would have found in every case but one the reasons which prevailed and prevail with me given by M. Marty-Laveaux himself. The one exception I admit. I was guilty of the iniquity of confusing the date of the publication of Othon with the date of its production, and printing 1665 instead of 1664. So dangerous is it to digest and weigh an editor's arguments, instead of simply copying his dates. Had I done the latter, I had 'scaped M. Scherer's tooth.

4

The remarks on M. Scherer in this preface (and I need hardly say still more those which occur in the body of the book with reference to a few others of his criticisms) were written long before his fatal illness, and had been sent finally to press some time before the announcement of his death. I had at first thought of endeavouring to suppress those which could be recalled. But it seemed to me on reflection that the best compliment to the memory of a man who was himself nothing if not uncompromising, and towards whom, whether alive or dead, I am not conscious of having entertained any ill-feeling, would be to print them exactly as they stood, with the brief addition that I have not known a critic more acute within his range, or more honest according to what he saw, than M. Edmond Scherer. (March 20, 1889.)

5

'Fama bonorum operum, quia praevalebat non tantum in Teutonica sed in Romana lingua, Lotharii regis ad aures usque perveniente,' says his life. The chronicler Sigebert confirms the statement that he was made bishop 'quod Romanam non minus quam Teutonicam calleret linguam.' Lingua Latina and Lingua Romana are from this time distinguished.

6

The Latin form of the song is given by Helgaire, Bishop of Meaux, who wrote a life of St. Faron, his predecessor, towards the end of the ninth century. Helgaire uses the words 'juxta rusticitatem,' 'carmen rusticum;' and Lingua Rustica is usually if not universally synonymous with Lingua Romana.

7

'Si vulgari id est romana lingua loqueretur omnium aliarum putares inscium.'

8

The Reichenau Glossary is at Carlsruhe. It was published in 1863 by Holtzmann. The Cassel Glossary, which came from Fulda, was published in the last century (1729).

9

Ordered by the Councils of Tours, Rheims, and Arles (813-851).

10

In the Library at Valenciennes.

11

Les plus anciens Monuments de la Langue Française. Paris, 1875.

12

The subject of the Cantilenae is discussed at great length by M. Léon Gautier, Les Epopées Françaises, Ed. 2, vol. i. caps. 8-13. Paris, 1878.

13

These, which are for the most part very vague and not very early, will be found fully quoted and discussed in Gautier, l. c.

14

Published by Hoffmann von Fallersleben (1837).

15

This word (= arranger or putter-in-order) is familiar in Homeric discussion, and therefore seems appropriate. M. Gaston Paris speaks with apparent confidence of the pre-existing chants, and, in matter of authority, no one speaks with more than he: but it can hardly be said that there is proof of the fact.

16

The older and in this case more usual form.

17

Gesta or Geste has three senses: (a) the deeds of a hero; (b) the chronicle of those deeds; and (c) the family which that chronicle illustrates. The three chief gestes are those of the King, of Doon de Mayence, and of Garin de Montglane. Each of these is composed of many poems. Contrasted with these are the 'petites gestes,' which include only a few Chansons.

18

La Chanson de Roland, ed. Fr. Michel, Paris, 1837. The MS. is in the Bodleian Library (Digby 23). Another, of much later date in point of writing but representing the same text, exists at Venice. Of later versions there are six manuscripts extant. The Chanson de Roland has since its editio princeps been repeatedly re-edited, translated, and commented. The most exact edition is that of Prof. Stengel, Heilbronn, 1878, who has given the Bodleian Manuscript both in print and in photographic facsimile. The best for general use is that of Léon Gautier (seventh edition), 1877.

19

Wace (Roman de Rou, iii. 8038 Andresen) speaks of the Norman Taillefer as singing at Hastings 'De Karlemaigne et de Rollant.' It has been sought, but perhaps fancifully, to identify this song with the existing chanson.

20

'Ci falt la geste que Turoldus declinet.' The sense of the word declinet is quite uncertain, and the attempts made to identify Turoldus are futile.

21

Amis et Amiles, ed. Hoffmann. Erlangen, 1852.

22

This series is given, sometimes in whole, sometimes in extracts, by Dr. Jonckbloet, Guillaume d'Orange. The Hague, 1854.

23

Ed. P. Paris. Paris, 1848.

24

Ed. Boca. Valenciennes, 1841.

25

Ed. Schéler. Brussels, 1877.

26

Ed. Barrois. Paris, 1842.

27

There exists a Provençal version of it, evidently translated from the French. The most convenient edition is that of Kroeber and Servois, Paris, 1860. There is an English fourteenth-century version published by Mr. Herrtage for the Early English Text Society, 1879.

28

Published partially by MM. P. Paris and E. du Méril and by Herr Stengel.

29

Ed. Le Glay. Paris, 1840.

30

Ed. Michel. Paris, 1856.

31

Ed. La Grange. Paris, 1864.

32

Ed. Guessard. Paris, 1866.

33

Ed. Guessard et Grandmaison. Paris,