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Poetique de Charlemagne, 2d. Reiser, , 1, This view was opposed by Stefanovic, who argued pp. The Oriental versions of the story fall into three groups Wallenskold, 1, p. Schmidt, Stuttgart, which in part at least goes back to a very ancient Sanskrit original now imperfectly represented by the Soukasaptati or the Sixty-Six Tales of a Parrot.

A fifteenth- century Turkish version of the tale of the chaste Merhuma in the Touti-Nameh is extant G. Rosen, , 1, In the famous Arabian collection of the Thousand and One Nights , there are three versions of the story of the Chaste Wife, and in the Thousand and One Days , of which the earliest known manuscript is a Turkish redaction written in , occurs the tale of the chaste Repsima. The brothers become rival suitors for the daughter and ultimately the younger brother Esmert wins the lady and thereby becomes Emperor of Rome. There are four theories in regard to the original narrative embodying all or part of these episodes.

The first part of his conclusion may, on this ground, be disregarded. In Mus- safia, 11 convinced despite the lateness of the extant Oriental texts, of their actual priority, set forth the theory that the story was of eastern origin, and that it was introduced into the west in the abbreviated form now found in the Kaiserchronik and in the Miracle group.

In this form the seventh and eighth episodes are omitted. Later, he thought, therfe was a second importation of the story from the East from which the complete versions were derived. This theory was in part discredited by Wallens- kold, although in general he believed in the Oriental origin of unsupported accusation, and incidents 3 and 4 follow directly. In Florence the falsity of the accusation is known almost at once, but Miles gets the lady into his power by pretending that he has been sent as an escort to bring her to Esmeri.

After new attempts to force his love upon her he abandons her in a forest. Child, Ballads, n, 34 ff. He argued that since the European versions have an incident, the imprisonment of the brother-in-law in a tower, which is lacking in all the Eastern tales, it is improbable that in two successive western adaptations of the Eastern tale, the same invention should have been made.

This episode and the fact that the husband of the heroine is invariably in the western versions a person of exalted rank, an emperor or king, indicate that they had a common source which Wallenskold believed was an Oriental tale introduced into Europe about the end of the eleventh century. The latter argued that the Crescentia story, in which St. Yet stories of such miracles were current long before the Mary- 1J Cf. Kohler, Klemere Schriften, xi, , who dted numerous proverbs showing how widespread was the popular belief that anyone who freed a criminal justly condemned to the gallows, thereby made an enemy.

Genesius or by Christ. It is also important to notice in regard to the chronology of the Crescentia and the Kaiserckronik stories, that the Tower episode, already noted as a distinctive feature of the Western versions and appearing, of course, in the Kaiserckronik , could not have been an original element in the original Miracle version since it is lacking in several derivative texts. This fact also favors the priority of the Crescentia tale. The many details in the versions of Florence which describe the building and somewhat fantastic appearance of the Tower, do not conceal that it was originally conceived, as in the Kaiserckronik , simply as a prison.

In further refutation of the Oriental hypothesis, Stefanovic p. The punishment to which the heroine is subjected differs somewhat in each group: So also is the manner of her delivery different. These characteristic differences, like the details which are unique in the western versions, prove little in themselves, but when parallels can be drawn between them and the themes and incidents in European story which precede by two centuries or more the possibility of Oriental influence — granting that this did not become effective in fiction until the end of the eleventh century — the possibility of European origin becomes more convincing.

He noted that three of the five groups into which the European versions of the story may be divided, the Gesta , the long French poem Florence, and the Miracle, make mention of Hungary. In the first the heroine is a princess of Hungary; in the second her husband is a prince of that land, though by his marriage he becomes Emperor of Rome; and in the third he is a king of Hungary. These local references Karl explained as being due to the influence of the story of St.

After a life of signal piety, she was canonized in Before , however, the influence of her story is perceptible in the Miracle of Gautier de Coincy. Whether the romantic story was influenced, as Karl p. Ritson, , m, ; W. See here, Emare, note 2. Das geduldige Weib, pp. Etude de littdrature Comparde. Acta Societatis Scien- tiarium Fennicae, xxxiv, Die Fassungen der Sage von Florence de Rome u.

Letters are forged and the young wife, instead of being kindly treated, as her husband has commanded, is exposed in a forest or set adrift in a rudderless boat. In the one case the Outcast Wife and her two sons are saved by a hermit; in the other, the mother and her one son drift across the sea and when they arrive at last in Rome, find refuge in the house of a noble senator or merchant Suchier, Beaumanoir, i, pp.

To England belong three notable versions of this story. This Latin chronicle emanated from St. Albans and may be ascribed to the abbacy, if not to the actual authorship of the learned, pious, and somewhat credulous John de Celia, Rickert, 2, The Vita Offae 1 See note 8. The poem alludes to the exile of a wife, to her sorrow for her husband, to the treacherous kinsmen who have separated them, to her own life in what seems to be a forest cave.

After the birth of her children and the lapse of many years, Offa goes to aid the vassal king of Northumbria against the Scots. The mother and children stay with him until they are found by the despairing Offa. A century or so after this inspired account, a second version of the story was introduced by Nicholas Trivet, a learned Dominican friar, into his Chronique Anglo-Normande, Originals and Analogues, pp. From this prose text, in which the gentle heroine is called Constance, comes the generic name of the legend.

Constance, the daughter of Emperor Tiberius of Rome, leaves her maiden home in order to wed and convert a heathen Sultan. At the wedding feast there is a massacre of the Christian guests, a crime instigated by the first of the two incredibly similar and wicked mothers-in-law in the story. The young bride is set adrift on the sea. She reaches Northumbria 8 The first Offa, it is thought, reigned in Schleswig in the fourth century. Allusions to him are found in Widsith, v. Klaeber, Beowulf , N. S 3 ff-J below, note At this point the type story begins. They are set adrift and come at last to Rome.

There the long separated family is at last reunited. What it became in romance is shown in the third version of the story that arose in England, namely, the romance of Emare, a poem of lines. This was written in the last half of the fourteenth century, or possibly as late as , since it is notably lacking in archaic forms Rickert, 1, p. Its popular style, its twelve-line, tail-rime metre, its familiar allusions to minstrels 1. The single extant manuscript of the poem was written between and ibid. The story curiously combines the motifs of the two earlier versions.

It begins with the episode of the Incestuous Father. This episode is practically identical with one in Florence of Rome. The episode is found in the mid-twelfth century Kaiserchronik and must have been borrowed from some subsequent version of the story by Trivet. The accusation of an innocent person by the true assassin is a motif frequently found in popular tales Wallenskold, La Femme Chaste, p. In Manekme the king has promised to wed no one save a woman like his dead wife; he is reluctant when his nobles wish to make him marry his daughter.

In the Catalan tale, Historia del rey de Hungrie, the father loves the daughter because of the beauty of her white hands, and for this reason she cuts them off Suchier, Beaumanovr, 1, p. There are no references in Emare to any mutilation of the heroine, or to the heavenly vengeance on her murderous lover, such as occur in so many versions of Constance. To a large extent the story has been rationalized and its earlier barbarity softened. Suchier Beaumanoir , i, xxv ff. In this last chronicle, the heroine, when she is assailed by a wicked suitor, pushes him overboard with her own hands.

For folk versions see Suchier, Beaumanoir, 1, lviii-lxxii, forty-two tales; Rom. See also Hudepohl, mentioned here under Amadas, note 2. Zubke, Roma - nisches Mus. I, Greifswald, ; a romance, La belle Hilbte de Constantinople? Three versions belong to Spain: For a detailed analysis of the long fifteenth-century poetic version in monorimed laisses see Albert Leon, Une Pastorale Basque, Etude historique et critique, Paris, , pp.

Fassungen des Roman de la belle Httbie, Dias. For reproductions of the illuminations of the prose romance by Jean Wauquelin see J. Suchier, Beaumanoir, 1, xxvii-xxxii, dated the original romance in the thirteenth century; he noted the doubtful attribution of the romance to Alexander de Bernay; the evident familiarity of the author with Tours and certain localities in Flanders, and with such legends as those of St.

Eustache, and of la reme Sibille. They are stolen from her by animals, are saved by a hermit, and are named by him Lyon and Bras, — the last, because the boy carries always with him his mother's severed arm, and the first, because the lad had been stolen by a lion. When they are baptized they receive the names Martin and Brice. These versions, as Dr. The direct source of Emare must have been a French lay, which may or may not have been of Breton origin, but was very probably called, as our poem asserts, UEgarie 1.

In Emare are preserved many common words of French origin, besides numerous proper names. Among these the two names of the heroine, Emare, which comes either from esmarie afflicted, troubled or from esmaree in the sense of one of rare worth , and Egare from esgarie outcast 10 indicate a French source. In its extant form Emare shows the influence of motifs popular in romantic story from the middle of the twelfth century. This last was known not only through such a romance as Apollonius of Tyre , but also, in all probability, through folk-tales of the type represented by Catskin Peau d'ane, or Allerleirauh.

To this combination of the Persecuted Wife and the Catskin type of story, Suchier 1, p.

Introduction

By the end of the eighth century, genuine romantic coloring had been given to this legend Rickert, 1, p. Also here, Chevalere Assigne. The more important early versions localize the story in England, Scotland, or Wales, and commonly in the ancient kingdoms of Northumbria and Mercia. The two Ofias of whom legend and history know are the fourth- century Offa, king of the continental Angles, and the historic Offa of Mercia But the Valkyrie-like Thryth, the woman who is pientioned in Beowulf 1.

Yet a comparison of these facts and legends suggests certain possibilities of important connections. She was falsely accused and was condemned to death in a forest. Her executioners were to bring back as evidence of her death her heart or tongue. Though this story of an Innocent Persecuted Wife may have been partly instrumental in suggesting a similar tale for the Offa tradition, and though the influence of the Berte legend, especially in those elements suggestive of its Swan- Maiden origin, is evident in various versions of the Constance legend, it is improbable that the latter was in any ultimate sense derived from the other.

Their essential features are too different. Scheler, by Adenes le Roi, was confessedly based on much older versions. Poet, de Charlemagne, , pp. The story of the Hired Murderers and the Evidence of Death which they fabricate, is current in many forms. Polivka, Anmerkungen zu den Kinder - und Hausmdrchen der Briider Grimm, Leipzig, , 1, ; for bibliography of texts and studies to , Daumling, pp. For a Philippine version of Constance, see Amer. In effect, however, the pietistic intention is the same, for the final Divine restoration of the severed hand is, in the exempla and the romance, a reward for chastity and religious zeal.

Ritson, n, ; A. Gough, Old and Middle Eng. Studie uber den Typus des Mddchens ohne Hdnde inner- halb des Konstanzezyklus. Marchen des Mittel- alters. Left by her husband in the charge of two false knights, the Empress of Almayne is traitorously wooed by them. When she rejects their advances, they in vengeance introduce a youth into her room, kill him in the presence of various nobles, and accuse her of infidelity to her lord.

She is condemned to death, her husband concurring in the judgment, but is saved at the last moment by a champion who kills in judicial combat one of her accusers and forces the other to confess. The Emperor richly rewards the rescuer of his wife and only then discovers him to be his own former enemy, the chivalrous Earl of Toulouse. In his study of the versions of this most characteristically mediaeval tale, Liidtke distinguished four main groups or types.

The representative of the second group is our Middle English Lay, a poem of verses in twelve-line stanzas. Rubid y Lluch, , as one of the Catalan group of the Erie of Tolous stories. The oldest and best is the early fifteenth-century manuscript A now in the University Library, Cambridge; the next oldest C is in Lincoln Cathedral; and the two Ashmolean manuscripts BD are both of the sixteenth century. These four texts seem to be independent derivatives AB and CD of two versions xy which had a common source. This is a typical miracle play, a characteristic instance of the transformation for religious purposes of romantic themes.

The fourth group of versions seems to have been derived, though indirectly, from the same source as the English poem. In this tale the champion is called Pitto or Carellus and the significance of the diminutive is made clear in the legend attached to the name of Gunhild, daughter of Canute, and wife of him who became the Emperor Henry III In this legend, according to William of Malmesbury De Gestis, n, c.

In the late English ballad Sir Aldingar Child, no. Cundegund, ; of Emma, wife of Canute cf. In Tristan Biroul, ff. Schoepperle, Tristan, 1, ; n, , Unlawful Love in O. Child n, 43, n. Potthast, Bibliotheca historica medU cevi, 2d ed. Within this type of narrative minor variations are of small consequence: The heroine of the story, an Empress in the Catalan and English groups, was identified by Liidtke pp. She was a brilliant, beautiful, and masterful woman, whose exertions to secure a kingdom for her son Charles the Bald led to strange chances and changes of fortune.

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• Diario de greg 6. !Atrapados en la nieve! (Spanish Edition).

Twice at least Judith was exiled from the imperial court, charged with illicit relations with Bernard, Count of Barcelona, son of that famous William of Toulouse who is known in romance as William of Orange and in religious legends as St. Guillaume de Gellone; ch. Calmette, La Famille de St. Guilhem, Annales du Midi, xvm, When no one accepted his offer, he withdrew to Barcelona. The identity of this Bernard with the Bernard, Count of Toulouse, of the English poem and of its Old French prototype is not to be doubted.

It is evident that the historical situation was dramatic enough to have appealed to the popular imagination and that it was peculiarly capable of romantic transformations. History tells of two political enemies of the Empress, Hugo, Count of Tours, and Matfrid, Count of Orleans, partisans of her stepson Lothair; the legend describes two accusers fired by guilty love and fear. In neither case is the change other than what might well be expected in a romance-loving age, and especially in a story as obviously made up of romantic accretions as the Erie of Tolous.

Notable among these is the change from the unsupported accusation, which it seems probable belonged to the original story, to the rather elaborate conspiracy in which the evidence against the heroine is fabricated. It is a matter of unnoted interest that the first wife of St. If, as Child n, 38 suspected, the exoneration story was told of GunhUd, , daughter of Canute, because after her marriage she was called Cunigund and so was confused with St. Together with the stratagem motif may also be noted the Prophetic Dream of the Emperor.

He dreams his wife is attacked by wild beasts and so hastens home, only to be met there by the false accusation of her infidelity. Mentz, Die Traume, p. A second important addition to the original story, according to Gaston Paris p. Ludtke thought this a part of the primitive story because there was some suggestion for it in the historic tradition. This legend is now found only in an eighteenth-century manuscript copy of a lost text dating from the end of the fifteenth or early sixteenth century, but there is no reason to doubt that the association of it with Goufier is of much older antiquity.

See Guy of Warwick here. Thomas has raised pertinent questions as to when and where this legend was thus ascribed to Goufier, and has suggested that it may have been derived from a Provencal version of the Erie of Tolous which preceded the French original of the English poem. Its simplicity at any rate points to a fairly early date.

Even in the Erie of Tolous , the most romantic of all the versions, this disinterested service of chivalry dominates the situation. When danger threatens her, unlike more passionate lovers for whom it is a principle of courtly love to make no question of right or wrong in regard to the Beloved, he pauses to assure himself of her innocence before attempting her defense.

The widespread diffusion of stories of the same type led Child vol. In England there is hardly any doubt that the earlier history of Gundeberg was substantially the base of the story told of Gunhild and her dwarf defender, Mimecan Lives of Edward the Confessor , ed. In England again, the Erie of Tolous, which alone of all the extant versions of the story keeps the name Bernard, shows the survival of this bit of fact in all the changes which fiction imposed on the actual story of Judith and Bernard. He also reemphasized the necessary anonymity of the characters in any contemporary story in which Bernard of Septimania played his part.

Ritson, m, ; from L to end, by 0. Emerson, Middle English Reader, N. A critical edition of all the texts was made by G. Liidtke, Berlin, , Sammlung englischer Donkmaeler in kritischer A us gab en, vol. Calmette, Annales du Midi, , pp. The earliest known version of the story embodied in the King of Tars is found in the Reimchronik Scriptores Rerum Austriacarum, in, c. In contrast to this first version, which is told in lines, the Middle English version in lines, is greatly amplified. That the story enjoyed a certain real popularity in English is suggested by the three fourteenth-century manuscripts in which it is found.

Of these the oldest is the Auchinleck manuscript , which is probably not much later than the original version. All three texts were written in the twelve-line, tail-rime stanza with the rime scheme aabaabccbddb, and with considerable use of alliteration Krause, p. The original poem was probably composed in the Midland dialect, perhaps in that North-Eastern district from which came Amis and Amiloun.

The A and V manuscripts show some mixture of forms, northern ones predominating in A and southern ones in V Krause, p. The immediate source of the King of Tars seems to be a story told under the year in the Flores Historiarum. The story is briefly alluded to in the Chronica of William Rishanger and is retold in terms practically identical with those in the Flores in the Historia Anglicana Rolls Series, pp. As Krause has pointed out, the priority of the King of Tars to this version and the omission of the suggestive passage about the voluntary sacrifice of the princess, preclude consideration of this text as a source of the romance.

For bibliographical discussion of the Flores and its true authorship see Gross, Sources of Eng. Rishanger, Chronica Rolls Ser. Like many another heroine of romance the princess dreams 1. The change is supposed to be prophetic of the moment when her heathen husband, having received baptism, is transformed from black to white.

The naive piety of the tale is perhaps its most striking feature. The misconceptions of Mohammedanism, characteristic of the period, and the fanatic zeal of the romance bear witness to its connection with the Crusading era. Ritson, n, Stud, xi, 33 , ff- Brown, Register, u, No.

Theseus, the son bom to King Floridas of Cologne and his wife, a princess of France, is ugly and deformed. A rejected suitor , of the queen convinces Floridas that the child is the son of the queen and the royal dwarf. Of these fifty-three belong to France, eleven of them antedating the sixteenth century, sixteen to Spain, — the earliest a sixteenth-century text, — three eighteenth-century texts to Portugal, eleven to England, none of which are earlier than the fifteenth century, five to the Netherlands, thirteen to Germany, these chiefly in the form of Volksbiicher, and five are related French and English legends.

In this text there are references to an earlier written source which, indeed, one would presuppose from the style of the narrative itself. The story is localized in Normandy, and Normandy is the heritage which Robert rejects at the end in order to continue in Italy his pious penances and solitude.

After his death he is buried in the cathedral of St. Robert founded in his honor. In another version, the brief Latin prose exemplum pr. From the same original as the romance and the exemplum came two prose versions, one in the Croniques de Normandie , Rouen, Breul, p.

In the romantic versions the hero regularly marries a princess and dies as the ruler of his own land. It was also widely known outside of France and served as the basis for the popular Spanish, Portuguese, Dutch, and German versions. In the sixteenth century the story was again versified in French, in the eighteenth it was revived, and in the nineteenth century the legend, in one form or another, served for a French pantomime, a ballet, a mystbre, a ballad, and a grand opera Breul, pp.

In England the story seems to have made its way slowly. It was then translated from the French, and published in two editions by Wynkyn de Worde Esdaile, Eng. This English version was turned into a metrical romance Hazlitt, Remains, , 1, by some anonymous writer, and into a long dull prose romance by Thomas Lodge, Breul, p.

The Middle English romance of Sir Gowther is found in two manuscripts of the latter half of the fifteenth century, both written in the twelve-line, tail-rime stanza form. Breul did not think that the original poem, probably composed in the North-East Midland district, was written much before the beginning of the fifteenth century. To its connection with the Robert legend, Sir Gowther makes no allusion. Guthlac, founder of Croyland Abbey. One by one these conjectural identifications have been given up, for, as Breul pp. The child thus born comes into the world already possessed by evil.

He has extraordinary strength and precocity, and from the first gives evidence in his violence and wickedness of his diabolic origin. After falling to the utmost depths of human depravity, he is roused to a sense of the horror he inspires, forces his mother to tell the story of his birth, and then begins a long and arduous penance. The Wish-Child or Wonder-Child folk-tales 2 seem to have influenced the beginning of the legend. After being delivered into the keeping of this creature, a demon, wild man, or sorcerer, the child touches some forbidden object, and his hair turns golden Panzer, pp.

The three are subsequently converted, endure arduous penances, and eventually start off on those saintly wanderings, the account of which is the true purpose of the story Crane. The romance of Sir Gowther follows closely the Robert legend in the account of the childless parents, the prayer of the Duchess of Austria, etc.

On leaving he reveals himself and prophesies the demoniac nature of his son. These departures have been traced by some scholars to the influence on Sir Gowther of the Breton lays, from one of which it claims descent Ravenel. Similarly in Tydorel ed. The folk-tales of the Wish-Child, Robert , and the legends of the Child Vowed to the Devil, have the same point of departure in the vow of the mother to give her child to the Devil.

No touch of moral obloquy is laid upon the mother for her liaison with the Otherworld lover; no evil effect is traced in the nature of the child. If, however, this tale came under the grey influence of ecclesiastical thought, the splendid lover might readily be transformed, as he is in Gowther, into the Devil of Christian theology, the godlike child into a monster of iniquity, and his joy and pride in his high lineage into loathing.

This legend was current in western Europe from the fifth century, and made widely known the type story in which the grief of a childless pair leads the wife to desperate prayers and to the coming to her in an orchard pomerium of an Angelic Visitor who promises her a child of grace. Though it is difficult to see how the pious author of Gowther could ever have borrowed this story directly, as Ogle p. From this point of view Tydorel must be regarded simply as a wholly secularized fairy tale 5 and Gowther as an off-shoot from the secular type. He argued that from these legends came the passionate and wholly secular Old French lyrics known as the Weaving Songs Chansons de Totte and the Fountain Songs.

Thus equipped, he rides forth, unrecognized, and saves the day. The dumb Princess, whose power of speech is miraculously restored, subsequently proves the identity of the fool with the hero and, in Gowther, his absolution having been pronounced, marries him. Magical, strangely colored horses are found for him or he obtains them from his supernatural parent or captor, or from Grateful Animals.

The special nature of the punishment which forced a man to give up speech and apparent understanding and to live with animals, 8 in short, to degrade the human to the animal state, had its in- 6 See Ipomedon. Maynadier, Arthur of the English Poets, , p. Gibb, Forty Vezirs, p. For other references establishing the oriental origin of the motif, and indicating its wide distribution, see Kit- tredge, Arthur and Gorlagon, pp. The penances of St.

Alexius and of Valentine in Valentine u. Seelmann, were of almost equal severity. From Buddhistic practices, from the legend of the Prodigal Son and his swine, from the legend of Nebuchadnezzar 9 eating grass, the theme passed from the East to the West. Here one of its earliest appearances in vernacular form must have been the lost Carolingian poem on the proud king, Guisbert, a version of which is preserved in the Reali de Francia, v. Al- bano and of St. Appropriately, therefore, it found its way into the legend which was to be the preeminent expression of monkish meditation over the problem of extremest sin and the possibility of atonement.

Utterson, 1, ff. Breul, Oppeln, , Sprachliche Unter sue hung des abenteuerromans Robert le Diable. Introduction, i-xlviii; Text, Variants of the Goldenermarchen, pp. Menner, New Haven, , 1. As early as the Nebuchadnezzar story was carved in the cloister of the abbey church at Moissac A. Tilley, Mediaeval Prance, , pp. The Middle English version of Robert of Cisyle may be considered either a romance or an ecclesiastical legend.

In the many forms 1 of this story current in western Europe the hero had various names and titles but these are negligible for purposes of classification. In one type of story, most notably represented by the tale of the Emperor Jovianus in the Gesta Romanorum c. While on a hunting expedition he becomes over-heated and plunges into a stream. Deprived of his clothes and insignia and impersonated in court by the one who has taken them, the ruler is unrecognized and suffers in utter destitution until he has learned humility and wisdom.

The story appears in the various texts of the Latin Gesta ed. This was somewhat amplified by Kiimmel. Both discussed composite forms of the two main types of the story but only with reference to late modem forms. He falls asleep, his place is taken by an Angel, clad in his garments, and the king, waking, rushes forth to find himself mistaken for a beggar and a madman. As in the first group of tales, after his bitter lesson has been learned, he is restored to his former state. The earliest version in this group is a Middle High German poem 3 ascribed to Der Strieker , which may have been derived in part from that same German prose chronicle, now lost, in which Herrand von Wildonie said he found the source for his story Der Nackte Kaiser Comeus , written in the last half of the thirteenth century.

Knust-Hirsch- feld, , Ex. About Giovanni Sercambi of Lucca 8 3 Ed. Not only the name but also the type of the story, which belongs to the Magnificat group yet introduces the bath episode, makes impossible any relation between it and the ME. In England the legend seems to have had special popularity. Three of the eight manuscripts which contain the Middle English poem are of the last half of the fourteenth century, i. It is probable that the original poem was not composed much before , the date of the Vernon manuscript. Tender, devout, wistfully credulous about that blessed time when an Angel ruled upon earth, he tells the story with moving sweetness and unusual dramatic power.

He stresses churchly seasons and Scriptural legends. It is on St. The most distinctive influence on the Middle English poem, however, is that of the famous conversion legend of Robert the Devil.

Bulletin codicologique - Persée

On Holy Thursday he is made to enter Rome where his true spiritual penance is to begin. It is probable that the assimilation of the two legends had taken place in the thirteenth century, but in no version is there a deeper perception of the tragic irony of the situation than in this Middle English Roberd of Cisyle; nowhere is the language phrasing it more adequate. The legend was known in England not only through these various texts of the poetic narrative but also through versions of the Gesta Romanorum and through dramatic representations.

Since no texts of these plays have been preserved, their existence is known only from contemporary allusions and town records. The ultimate origin of the legend of Roberd of Sicily is, according to Vamhagen 1, pp. He and Kohler have cited a number of Indian tales which turn on the idea of the trans- 9 Ci.

Chambers, The Medueval Stage, Oxford, , n, , , In one version the hero is a weary old king longing for the renewal of youth. On a hunting expedition a wily magician persuades him to enter the body of a dead youth and immediately enters, himself, into the body of the king and assumes his royal power. But this tale, despite the royal rank of its hero and the hunting scene, is much less close to the legend of the King Deposed than are the various Jewish accounts of Solomon.

The type traits which characterize this story, the divine purpose of humiliating mortal pride, the angelic usurper, the mockery of the king, are those which define the European legend of the King Deposed. Kohler's long note on the story of the lost ring recovered from the stomach of a fish. Farber, Konig Solomon in der Tradition, Vienna, A sultan who is to be punished for his sin of doubt, is told to immerse his head in water and he will see marvels. On recovering consciousness he finds the entire experience has occupied but a moment This is a curiously rationalized version.

In the European development of the King Deposed legend the essential kinship of the two stories was often recognized. In the Middle English texts the interpolated summary, already noted, of the Nebuchadnezzar story is distinctive. As an English version of that story, it is of special interest for comparison with other almost contemporary versions by such poets as Gower and Chaucer 10 and the author of Purity. Earlier than this the Nebuchadnezzar theme had certainly affected such legends as that of King Guisbert 11 of France who, having boasted that he did not fear God, thereupon became a leper and lived like a wild beast in the forest until he repented of his pride.

It had also influenced the legend of Robert the Devil. Horstmann, Archiv Lxn, ; 2 Univ. Halliwell, Nuga Poeticct, Lond. Poetry , 1, , ff. Schottky, Jahrbucher der Literatur, Wien, , v, The poem has verses. Nuck, note to lines , suggested that Chaucer knew the ME. Poetry, 1, ff. A critical edition of the poem was printed by R. Brown, Register, u, no. Catalogue of Romances, III, , , etc. See Konig im Bade. Em indisches Marchen auf seiner Wanderung durch die asiatischen u.

See Robert of Sicily, pp. The numerous versions of the famous story of Amis and Amiloun fall into two groups so nearly contemporary in their earliest forms that it is difficult to determine their relative priority. The most ancient text of all is the Epistola written in by Raoul le Tourtier Radulfus Tortarius , a monk of Fleury-sur-loire, who celebrated in Latin distichs various famous friends, among them Ami and Amile B6dier, p. Ixxiii, , written in short riming couplets; second by a French chanson de geste , extant in a single thirteenth- century Paris manuscript ed.

Hofmann, Erlangen, , in which the heroes are attached to the Charlemagne cycle; third by an inedited and much longer fifteenth-century manuscript; fourth by a fourteenth-century drama, Un Miracle de Nostre Dame d r Amis et Amile , ed. Robert, , iv ; and fifth by the Middle English romance. It was written down in twelve-line, tail-rime stanzas in the dialect of the Northeast-Midland district. Of these the best and earliest is the Auchinleck text 1 The most complete bibliography for the French versions is to be found in L.

Gautier, Les Epopies Francoises, , vol. Schwieger, Die Sage von Amis u. Amiles, Berlin, ; C. Hofmann, Amis et Amiles u. Jourdains de BUuvies, Erlangen, , pp. Stud, n, In this he argued against Ten Brink's theory that the English poem was derived from the chanson de geste. The distinction of the legendary as opposed to the romantic versions of the story, is that the heroes, under the names Amicus and Amelius, are honored as martyrs. Kolbing, Germania, , xrx, ff. The story appears in the series of religious dialogues known as Der Seelen Trost Wackemagel-Stadler, pp.

Ulrich , in which the three apples serve as a test for determining a true friend, and in the VYstoire des Sept Sages ed. Haupt and Gereke, Halle, , which makes an unexplained change of names and tales, and refers v. The thirteenth-century chanson de geste, Jourdains de Blaivies ed. Hofmann, Erlangen, , links itself loosely to the Amis story, as Jourdains is said to be the grandchild of Amis. In this the Two Friends, Olivier and Arthur, are stepbrothers, and Olivier is forced to flee because of the incestuous love of his stepmother. After various adventures he weds a princess and has by her two children.

Through a dream Olivier learns that the blood of his children will restore his friend. He slays them, but they are miraculously restored to life. English translations of this text were printed in and Esdaile, Eng. Gerould The Grateful Dead , , pp. Raoul not only asserted that the legend was 9 For studies on the work of Konrad von Wurzburg, see G. This literary version, the work probably of a French jongleur, originated, it would seem, in the little Lombard city of Mortara.