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These Fabliaux, as they were called, are on the whole of no great value as works of art; their poetical form is usually poor, and their substance exceedingly gross. Their chief interest lies in the fact that they reveal, no less clearly than the aristocratic Chansons, some of the most abiding qualities of the French genius.
Lord Byron, Goethe, Schiller, Walter Scott, Hugo, Lamartine, Crabbe, Moore, the great works of the 17th and 18th centuries, history, drama, and fiction, from Astraea to Manon Lescaut, from Montaigne's Essays to Diderot, from the Fabliaux to the Nouvelle Heloise, in short, the thought of three lands crowded with confused images that girlish head, august in its cold guilelessness, its native chastity, but from which there sprang full-armed, brilliant, sincere, and strong, an overwhelming admiration for genius.
But it was in France also, in a very important sense, that the Renaissance had begun; and French writers, who are so fond of connecting the creations of Italian genius with a French origin, who tell us how Francis of Assisi took not his name only, but all those notions of chivalry and romantic love which so deeply penetrated his thoughts, from a French source, how Boccaccio borrowed the outlines of his stories from the old French fabliaux, and how Dante himself expressly connects the origin of the art of miniature-painting with the city of Paris, have often dwelt on this notion of a Renaissance in the end of the twelfth and the beginning of the thirteenth century, a Renaissance within the limits of the middle age itself a brilliant, but in part abortive effort to do for human life and the human mind what was afterwards done in the fifteenth.
And so it came about that in the enforced loneliness of her childhood she ransacked a library in which the "Picara Justina" of Fray Andrs Perez stood side-by-side with the Kalevala, a library in which works stupid as the Koran and dead as Coptic touched covers with the "Idyls of the King" and the fabliaux of mediæval France.
These beads themselves, moreover, are only the old anecdotes of "coney-catching," over-reaching, and worse, which had separately filled a thousand fabliaux, novelle, "jests," and so forth: and which are now flung together in gross, chiefly by the excessively clumsy and unimaginative expedient of making the personages tell long strings of them as their own experience.
For example, how attractive is the whole literature of the "Roman de la Rose," the "Fabliaux," and the gai science of the French Troubadours! Yet who in Boston has time for that? But one of our company shall undertake it, shall study and master it, and shall report on it, as under oath; shall give us the sincere result, as it lies in his mind, adding nothing, keeping nothing back.
Its innate love of absolute realism and its peculiar capacity for cutting satire these characteristics appear in the Fabliaux in all their completeness. In one or two of the stories, when the writer possesses a true vein of sensibility and taste, we find a surprising vigour of perception and a remarkable psychological power.
Resembling the Fabliaux in their realism and their bourgeois outlook, but far more delicate and witty, the group of poems known as the Roman de Renard takes a high place in the literature of the age.
Some of them became famous and have been passed down from one age to another. The Renard of Goethe, and the Zaire of Voltaire were taken from the old fabliaux. In the fourteenth century the coming of the Popes and the Roman Court to Avignon introduced an Italian element, and the language of Tuscany took the place of the Provencal among the upper classes.
The poets and reciters of tales, giving the name of Troubadour a French termination, called themselves Trouveres. They originated the brilliant romances of chivalry, the fabliaux or tales of amusement, and the dramatic invention of the Mysteries. Out of this legend arose some of the boldest creations of the human fancy.
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