Message #27271

[Guardian]

(Vv. 6713-6809.) The King had two thrones of white ivory, well constructed and new, of one pattern and style. He who made them beyond a doubt was a very skilled and cunning craftsman. For so precisely did he make the two alike in height, in breadth, and in ornamentation, that you could nor look at them from every side to distinguish one from the other and find in one aught that was not in the other. There was no part of wood, but all of gold and fine ivory. Well were they carved with great skill, for the two corresponding sides of each bore the representation of a leopard, and the other two a dragon's shape. A knight named Bruiant of the Isles had made a gift and present of them to King Arthur and the Queen. King Arthur sat upon the one, and upon the other he made Erec sit, who was robed in watered silk. As we read in the story, we find the description of the robe, and in order that no one may say that I lie, I quote as my authority Macrobius, (44) who devoted himself to the description of it. Macrobius instructs me how to describe, according as I have found it in the book, the workmanship and the figures of the cloth. Four fairies had made it with great skill and mastery. (45) One represented there geometry, how it estimates and measures the extent of the heavens and the earth, so that nothing is lacking there; and then the depth and the height, and the width, and the length; then it estimates, besides, how broad and deep the sea is, and thus measures the whole world. Such was the work of the first fairy. And the second devoted her effort to the portrayal of arithmetic, and she strove hard to represent clearly how it wisely enumerates the days and the hours of time, and the water of the sea drop by drop, and then all the sand, and the stars one by one, knowing well how to tell the truth, and how many leaves there are in the woods: such is the skill of arithmetic that numbers have never deceived her, nor will she ever be in error when she wishes to apply her sense to them. The third design was that of music, with which all merriment finds itself in accord, songs and harmonies, and sounds of string: of harp, of Breton violin, and of viol. This piece of work was good and fine; for upon it were portrayed all the instruments and all the pastimes. The fourth, who next performed her task, executed a most excellent work; for the best of the arts she there portrayed. She undertook astronomy, which accomplishes so many marvels and draws inspiration from the stars, the moon, and the sun. Nowhere else does it seek counsel concerning aught which it has to do. They give it good and sure advice. Concerning whatever inquiry it make of them, whether in the past or in the future, they give it information without falsehood and without deception. This work was portrayed on the stuff of which Erec's robe was made, all worked and woven with thread of gold. The fur lining that was sewed within, belonged to some strange beasts whose heads are all white, and whose necks are as black as mulberries, and which have red backs and green bellies, and dark blue tail. These beasts live in India and they are called "barbiolets". They eat nothing but spices, cinnamon, and fresh cloves. What shall I tell you of the mantle? It was very rich and fine and handsome; it had four stones in the tassels -- two chrysolites on one side, and two amethysts on the other, which were mounted in gold.

(Vv. 6810-6946.) As yet Enide had not come to the palace. When the King sees that she delays, he bids Gawain go quickly to bring her and the Queen. Gawain hastens and was not slow, and with him King Cadoalant and the generous King of Galloway. Guivret the Little accompanies them, followed by Yder the son of Nut. So many of the other nobles ran thither to escort the two ladies that they would have sufficed to overcome a host; for there were more than a thousand of them. The Queen had made her best effort to adorn Enide. Into the palace they brought her the courteous Gawain escorting her on one side, and on the other the generous King of Galloway, who loved her dearly on account of Erec who was his nephew. When they came to the palace, King Arthur came quickly toward them, and courteously seated Enide beside Erec; for he wished to do her great honour. Now he orders to be brought forth from his treasure two massive crowns of fine gold. As soon as he had spoken and given the command, without delay the crowns were brought before him, all sparkling with carbuncles, of which there were four in each. The light of the moon is nothing compared with the light which the least of the carbuncles could shed. Because of the radiance which they shed, all those who were in the palace were so dazzled that for a moment they could see nothing; and even the King was amazed, and yet filled with satisfaction, when he saw them to be so clear and bright. He had one of them held by two damsels, and the other by two gentlemen. Then he bade the bishops and priors and the abbots of the Church step forward and anoint the new King, as the Christian practice is. Now all the prelates, young and old, came forward; for at the court there were a great number of bishops and abbots. The Bishop of Nantes himself, who was a very worthy and saintly man, anointed the new King in a very holy and becoming manner, and placed the crown upon his head. King Arthur had a sceptre brought which was very fine. Listen to the description of the sceptre, which was clearer than a pane of glass, all of one solid emerald, fully as large as your fist. I dare to tell you in very truth that in all the world there is no manner of fish, or of wild behest, or of man, or of flying bird that was not worked and chiselled upon it with its proper figure. The sceptre was handed to the King, who looked at it with amazement; then he put it without delay into King Erec's right hand; and now he was King as he ought to be. Then he crowned Enide in turn. Now the bells ring for Mass, and they go to the main church to hear the Mass and service; they go to pray at the cathedral. You would have seen weeping with joy the father of Queen Enide and her mother, Carsenefide. In truth this was her mother's name, and her father's name was Liconal. Very happy were they both. When they came to the cathedral, the procession came out from the church with relics and treasures to meet them. Crosses and prayerbooks and censers and reliquaries, with all the holy relics, of which there were many in the church, were all brought out to meet them; nor was there any lack of chants made. Never were seen so many kings, counts, dukes, and nobles together at a Mass, and the press was so great and thick that the church was completely filled. No low-born man could enter there, but only ladies and knights. Outside the door of the church a great number still remained, so many were there come together who could not get inside the church. When they had heard all the Mass they returned to the palace. It was all prepared and decorated: tables set and cloths spread five hundred tables and more were there; but I do not wish to make you believe a thing which does not seem true. It would seem too great a lie were I to say that five hundred tables were set in rows in one palace, so I will not say it; rather were there five hails so filled with them that with great difficulty could one make his way among the tables. At each table there was in truth a king or a duke or a count; and full a hundred knights were seated at each table. A thousand knights served the bread, and a thousand served the wine, and a thousand the meat -- all of them dressed in fresh fur robes of ermine. All are served with divers dishes. Even if I did not see them, I might still be able to tell you about them; but I must attend to something else than to tell you what they had to eat. They had enough, without wanting more; joyfully and liberally they were served to their heart's desire.

(Vv. 6947-6958.) When this celebration was concluded, the King dismissed the assemblage of kings, dukes, and counts, of which the number was immense, and of the other humble folk who had come to the festival. He rewarded them liberally with horses, arms and silver, cloths and brocades of many kinds, because of his generosity, and because of Erec whom he loved so much. Here the story ends at last.

[End of "Erec et Enide"]


[edit] ENDNOTES:
NOTE: Endnotes supplied by Prof. Foerster are indicated by "(F.)"; all other endnotes are supplied by W.W. Comfort.

(33) There follows and excellent example of an old French lament

    for the dead.  Such a wail was known in old French as a
    "regret", a word which has lost its specific meaning in
    English.
(34) Many examples will be met of women skilled in the practice of medicine and surgery. On the subject, cf. A. Hertel, "Versauberte Oertlichkeiten und Gegenstande in der altfranzosschen Dichtung" (Hanover, 1908); Georg Manheimer, "Etwas liber die Aerzte im alten Frankreich" in "Romanische Forschungen", vi. 581-614.

(35) The reference here and in v.5891 is probably suggested by the "Roman d'Eneas", which tells the same story as Virgil's "Aeneid", in old French eight-syllable rhymed couplets, and which is dated by the most recent scholarship 1160 circ. Cf. F.M. Warren in "Modern Philology", iii. 179-209; iii. 513-539; iv. 655-675. Also M. Wilmotte, "L'Evolution du roman francais aux environs de 1150" (Paris, 1903). Scenes from classical and medieval romance were for a long time favourite subject of portrayal upon cloths and tapestries, as well as of illuminations for manuscripts.

(36) Various conjectures have been advanced concerning the significance of this strange adventure and its mysterious name "La Joie de la cour". It is a quite extraneous episode, and Tennyson in his artistic use of our hero and heroine in the Idyl of "Geraint and Enid" did well to omit it. Chretien's explanation, a little farther on, of "La Joie de la cour" is lame and unsatisfactory, as if he himself did not understand the significance of the matter upon which he was working. Cf. E. Philipot in "Romania", xxv. 258-294; K. Othmer, "Ueber das Verhaltnis Chrestiens Erec und Enide zu dem Mabinogion des rothen Buch von Hergest" (Bonn, 1889); G. Paris in "Romania", xx. 152 f.

(37) The following description of Erec's reception is repeated with variations at the time of Yvain's entrance in the "Chastel de Pesme Avanture" ("Yvain", 5107 f.) (F.).

(38) For such conventional mediaeval descriptions of other-world castles, palaces, and landscapes, cf. O.M. Johnston in "Ztsch fur romanische Philologie", xxxii. 705-710.

(39) Tiebaut li Esclavon, frequently mentioned in the epic poems, was a Saracen king, the first husband of Guibourne, who later married the Christian hero Guillaume d'Orange. Opinel was also a Saracen, mentioned in "Gaufrey", p. 132, and the hero of a lost epic poem (see G. Paris, "Historie poetique de Charlemagne", p. 127). Fernagu was another Saracen king, killed in a famous encounter by Roland, "Otinel", p. 9 (F.). For further references to these characters, see E. Langlois, "Table des noms propres de toute nature compris dans les chansons de geste" (Paris, 1904).

(40) There is a similar picket fence topped with helmets in the "Las de la Mule sanz frain", v. 433 (ed. By R.T. Hill, Baltimore, 1911).

(41) For such magic horns, cf. A. Hertel, "Verzauberte Oertlichkeiten", etc. (Hanover, 1908).

(42) In fact, nothing is known of this "lai", if, indeed, it ever existed. For a recent definition of "lai", se L. Foulet in "Ztsch. fur romanische Philologie", xxxii. 161 f.

(43) The sterling was the English silver penny, 240 of which equalled 1 Pound Sterling of silver of 5760 grains 925 fine. It is early described as "denarius Angliae qui vocatur sterlingus" ("Ency. Brit").

(44) Macrobus was a Neoplatonic philosopher and Latin grammarian of the early part of the 5th century A.D. He is best known as the author of the "Saturnalia" and of a commentary upon Cicero's "Somnium Scipionis" in that author's "De republica". It is this latter work that is probably in the mind of Chretien, as well as of Gower, who refers to him in his "Mirour l'omme", and of Jean de Meun, the author of the second part of the "Roman de la Rose".

(45) For fairies and their handiwork in the Middle Ages, cf. L.F.A. Maury, "Les Fees du moyen age" (Paris, 1843); Keightley, "Fairy Mythology" (London, 1860); Lucy A. Paton, "Studies in the Fairy Mythology of Arthurian Romance", Radcliffe Monograph (Boston, 1903); D.B. Easter, "The Magic Elements in the romans d'aventure and the romans bretons" (Baltimore, 1906).