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Updated: August 1, 2024
Guillems de Nevers, "who could still grow," this brilliant knight and troubadour, in his white silken and crimson and purple garments and soundless shoes embroidered with flowers, this prince of tournaments and tensos, who hearing the sorrows of the beautiful Flamenca, loves her unseen, sits sighing in sight of her prison bower, and faints like a hero of the Arabian Nights at her name, and has visions of her as St.
But this King Love, as long as a mere infant, is a sweet and gracious divinity, surrounded by somewhat of the freshness and hawthorn sweetness of spring which seem to accompany his favourite Guillems.
About her she has no equals; her daughters, scarcely out of the nurse's hands, are given away in marriage; and her companions, if companions they may be called, are the waiting ladies, poor gentlewomen situated between the maid of honour and the ladies' maid, like that Brangwaine whom Yseult sacrifices to her intrigue with Tristram, or those damsels whom Flamenca gives over to the squires of her lover Guillems; at best, the wife of one of her husband's subalterns, or some sister or aunt or widow kept by charity.
"Flamenca" is simply the narrative of the loves of the beautiful wife of the bearish and jealous Count Archambautz, and of Guillems de Nevers, a brilliant young knight who hears of the lady's sore captivity, is enamoured before he sees her, dresses up as the priest's clerk, and speaks one word with her while presenting the mass book to be kissed, every holiday; and finally deceives the vigilance of the husband by means of a subterranean corridor, which he gets built between his inn and the bath-room of the lady at the famous waters of Bourbon-les-Bains.
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