Роберт Льюис Стивенсон
Familiar Studies of Men and Books
IV
If it were given each of us to transplant his life wherever he pleased in time or space, with all the ages and all the countries of the world to choose from, there would be quite an instructive diversity of taste. A certain sedentary majority would prefer to remain where they were. Many would choose the Renaissance; many some stately and simple period of Grecian life; and still more elect to pass a few years wandering among the villages of Palestine with an inspired conductor. For some of our quaintly vicious contemporaries, we have the decline of the Roman Empire and the reign of Henry III. of France. But there are others not quite so vicious, who yet cannot look upon the world with perfect gravity, who have never taken the categorical imperative to wife, and have more taste for what is comfortable than for what is magnanimous and high; and I can imagine some of these casting their lot in the Court of Blois during the last twenty years of the life of Charles of Orleans.
The duke and duchess, their staff of officers and ladies, and the high-born and learned persons who were attracted to Blois on a visit, formed a society for killing time and perfecting each other in various elegant accomplishments, such as we might imagine for an ideal watering-place in the Delectable Mountains. The company hunted and went on pleasure-parties; they played chess, tables, and many other games. What we now call the history of the period passed, I imagine, over the heads of these good people much as it passes over our own. News reached them, indeed, of great and joyful import. William Peel received eight livres and five sous from the duchess, when he brought the first tidings that Rouen was recaptured from the English. 46 A little later and the duke sang, in a truly patriotic vein, the deliverance of Guyenne and Normandy. 47 They were liberal of rhymes and largesse, and welcomed the prosperity of their country much as they welcomed the coming of spring, and with no more thought of collaborating towards the event. Religion was not forgotten in the Court of Blois. Pilgrimages were agreeable and picturesque excursions. In those days a well-served chapel was something like a good vinery in our own, an opportunity for display and the source of mild enjoyments. There was probably something of his rooted delight in pageantry, as well as a good deal of gentle piety, in the feelings with which Charles gave dinner every Friday to thirteen poor people, served them himself, and washed their feet with his own hands. 48 Solemn affairs would interest Charles and his courtiers from their trivial side. The duke perhaps cared less for the deliverance of Guyenne and Normandy than for his own verses on the occasion; just as Dr. Russell’s correspondence in The Times was among the most material parts of the Crimean War for that talented correspondent. And I think it scarcely cynical to suppose that religion as well as patriotism was principally cultivated as a means of filling up the day.
It was not only messengers fiery red with haste and charged with the destiny of nations, who were made welcome at the gates of Blois. If any man of accomplishment came that way, he was sure of an audience, and something for his pocket. The courtiers would have received Ben Jonson like Drummond of Hawthornden, and a good pugilist like Captain Barclay. They were catholic, as none but the entirely idle can be catholic. It might be Pierre, called Dieu d’amours, the juggler; or it might be three high English minstrels; or the two men, players of ghitterns, from the kingdom of Scotland, who sang the destruction of the Turks; or again Jehan Rognelet, player of instruments of music, who played and danced with his wife and two children; they would each be called into the castle to give a taste of his proficiency before my lord the duke. 49 Sometimes the performance was of a more personal interest, and produced much the same sensations as are felt on an English green on the arrival of a professional cricketer, or round an English billiard table during a match between Roberts and Cooke. This was when Jehan Nègre, the Lombard, came to Blois and played chess against all these chess-players, and won much money from my lord and his intimates; or when Baudet Harenc of Chalons made ballades before all these ballade-makers. 50
It will not surprise the reader to learn they were all makers of ballades and rondels. To write verses for May day, seems to have been as much a matter of course, as to ride out with the cavalcade that went to gather hawthorn. The choice of Valentines was a standing challenge, and the courtiers pelted each other with humorous and sentimental verses as in a literary carnival. If an indecorous adventure befell our friend Maistre Estienne le Gout, my lord the duke would turn it into the funniest of rondels, all the rhymes being the names of the cases of nouns or the moods of verbs; and Maistre Estienne would make reply in similar fashion, seeking to prune the story of its more humiliating episodes. If Frédet was too long away from Court, a rondel went to upbraid him; and it was in a rondel that Frédet would excuse himself. Sometimes two or three, or as many as a dozen, would set to work on the same refrain, the same idea, or in the same macaronic jargon. Some of the poetasters were heavy enough; others were not wanting in address; and the duchess herself was among those who most excelled. On one occasion eleven competitors made a ballade on the idea,
“I die of thirst beside the fountain’s edge”
(Je meurs de soif emprès de la fontaine).
These eleven ballades still exist; and one of them arrests the attention rather from the name of the author than from any special merit in itself. It purports to be the work of François Villon; and so far as a foreigner can judge (which is indeed a small way), it may very well be his. Nay, and if any one thing is more probable than another, in the great tabula rasa, or unknown land, which we are fain to call the biography of Villon, it seems probable enough that he may have gone upon a visit to Charles of Orleans. Where Master Baudet Harenc, of Chalons, found a sympathetic, or perhaps a derisive audience (for who can tell nowadays the degree of Baudet’s excellence in his art?), favour would not be wanting for the greatest ballade-maker of all time. Great as would seem the incongruity, it may have pleased Charles to own a sort of kinship with ragged singers, and whimsically regard himself as one of the confraternity of poets. And he would have other grounds of intimacy with Villon. A room looking upon Windsor gardens is a different matter from Villon’s dungeon at Méun; yet each in his own degree had been tried in prison. Each in his own way also, loved the good things of this life and the service of the Muses. But the same gulf that separated Burns from his Edinburgh patrons would separate the singer of Bohemia from the rhyming duke. And it is hard to imagine that Villon’s training amongst thieves, loose women, and vagabond students, had fitted him to move in a society of any dignity and courtliness. Ballades are very admirable things; and a poet is doubtless a most interesting visitor. But among the courtiers of Charles, there would be considerable regard for the proprieties of etiquette; and even a duke will sometimes have an eye to his teaspoons. Moreover, as a poet, I can conceive he may have disappointed expectation. It need surprise nobody if Villon’s ballade on the theme, was but a poor performance. He would make better verses on the lee-side of a flagon at the sign of the Pomme du Pin, than in a cushioned settle in the halls of Blois.
“I die of thirst beside the fountain’s edge,”
Charles liked change of place. He was often not so much travelling as making a progress; now to join the king for some great tournament; now to visit King René, at Tarascon, where he had a study of his own and saw all manner of interesting things – oriental curios, King René painting birds, and, what particularly pleased him, Triboulet, the dwarf jester, whose skull-cap was no bigger than an orange. 51 Sometimes the journeys were set about on horseback in a large party, with the fourriers sent forward to prepare a lodging at the next stage. We find almost Gargantuan details of the provision made by these officers against the duke’s arrival, of eggs and butter and bread, cheese and peas and chickens, pike and bream and barbel, and wine both white and red. 52 Sometimes he went by water in a barge, playing chess or tables with a friend in the pavilion, or watching other vessels as they went before the wind. 53 Children ran along the bank, as they do to this day on the Crinan Canal; and when Charles threw in money, they would dive and bring it up. 54 As he looked on at their exploits, I wonder whether that room of gold and silk and worsted came back into his memory, with the device of little children in a river, and the sky full of birds?
He was a bit of a book-fancier, and had vied with his brother Angoulême in bringing back the library of their grandfather Charles V., when Bedford put it up for sale in London. 55 The duchess had a library of her own; and we hear of her borrowing romances from ladies in attendance on the blue-stocking Margaret of Scotland. 56 Not only were books collected, but new books were written at the court of Blois. The widow of one Jean Fougère, a bookbinder, seems to have done a number of odd commissions for the bibliophilous count. She it was who received three vellum-skins to bind the duchess’s Book of Hours, and who was employed to prepare parchment for the use of the duke’s scribes. And she it was who bound in vermilion leather the great manuscript of Charles’s own poems, which was presented to him by his secretary, Anthony Astesan, with the text in one column, and Astesan’s Latin version in the other. 57
Such tastes, with the coming of years, would doubtless take the place of many others. We find in Charles’s verse much semi-ironical regret for other days, and resignation to growing infirmities. He who had been “nourished in the schools of love,” now sees nothing either to please or displease him. Old age has imprisoned him within doors, where he means to take his ease, and let younger fellows bestir themselves in life. He had written (in earlier days, we may presume) a bright and defiant little poem in praise of solitude. If they would but leave him alone with his own thoughts and happy recollections, he declared it was beyond the power of melancholy to affect him. But now, when his animal strength has so much declined that he sings the discomforts of winter instead of the inspirations of spring, and he has no longer any appetite for life, he confesses he is wretched when alone, and, to keep his mind from grievous thoughts, he must have many people around him, laughing, talking, and singing. 58
While Charles was thus falling into years, the order of things, of which he was the outcome and ornament, was growing old along with him. The semi-royalty of the princes of the blood was already a thing of the past; and when Charles VII. was gathered to his fathers, a new king reigned in France, who seemed every way the opposite of royal. Louis XI. had aims that were incomprehensible, and virtues that were inconceivable to his contemporaries. But his contemporaries were able enough to appreciate his sordid exterior, and his cruel and treacherous spirit. To the whole nobility of France he was a fatal and unreasonable phenomenon. All such courts as that of Charles at Blois, or his friend René’s in Provence, would soon be made impossible; interference was the order of the day; hunting was already abolished; and who should say what was to go next? Louis, in fact, must have appeared to Charles primarily in the light of a kill-joy. I take it, when missionaries land in South Sea Islands and lay strange embargo on the simplest things in life, the islanders will not be much more puzzled and irritated than Charles of Orleans at the policy of the Eleventh Louis. There was one thing, I seem to apprehend, that had always particularly moved him; and that was, any proposal to punish a person of his acquaintance. No matter what treason he may have made or meddled with, an Alençon or an Armagnac was sure to find Charles reappear from private life, and do his best to get him pardoned. He knew them quite well. He had made rondels with them. They were charming people in every way. There must certainly be some mistake. Had not he himself made anti-national treaties almost before he was out of his nonage? And for the matter of that, had not every one else done the like? Such are some of the thoughts by which he might explain to himself his aversion to such extremities; but it was on a deeper basis that the feeling probably reposed. A man of his temper could not fail to be impressed at the thought of disastrous revolutions in the fortunes of those he knew. He would feel painfully the tragic contrast, when those who had everything to make life valuable were deprived of life itself. And it was shocking to the clemency of his spirit, that sinners should be hurried before their judge without a fitting interval for penitence and satisfaction. It was this feeling which brought him at last, a poor, purblind blue-bottle of the later autumn, into collision with “the universal spider,” Louis XI. He took up the defence of the Duke of Brittany at Tours. But Louis was then in no humour to hear Charles’s texts and Latin sentiments; he had his back to the wall, the future of France was at stake; and if all the old men in the world had crossed his path, they would have had the rough side of his tongue like Charles of Orleans. I have found nowhere what he said, but it seems it was monstrously to the point, and so rudely conceived that the old duke never recovered the indignity. He got home as far as Amboise, sickened, and died two days after (Jan. 4, 1465), in the seventy-fourth year of his age. And so a whiff of pungent prose stopped the issue of melodious rondels to the end of time.
V
The futility of Charles’s public life was of a piece throughout. He never succeeded in any single purpose he set before him; for his deliverance from England, after twenty-five years of failure and at the cost of dignity and consistency, it would be ridiculously hyperbolical to treat as a success. During the first part of his life he was the stalking horse of Bernard d’Armagnac; during the second, he was the passive instrument of English diplomatists; and before he was well entered on the third, he hastened to become the dupe and catspaw of Burgundian treason. On each of these occasions, a strong and not dishonourable personal motive determined his behaviour. In 1407 and the following years, he had his father’s murder uppermost in his mind. During his English captivity, that thought was displaced by a more immediate desire for his own liberation. In 1440 a sentiment of gratitude to Philip of Burgundy blinded him to all else, and led him to break with the tradition of his party and his own former life. He was born a great vassal, and he conducted himself like a private gentleman. He began life in a showy and brilliant enough fashion, by the light of a petty personal chivalry. He was not without some tincture of patriotism; but it was resolvable into two parts: a preference for life among his fellow-countrymen, and a barren point of honour. In England, he could comfort himself by the reflection that “he had been taken while loyally doing his devoir,” without any misgiving as to his conduct in the previous years, when he had prepared the disaster of Agincourt by wasteful feud. This unconsciousness of the larger interests is perhaps most happily exampled out of his own mouth. When Alençon stood accused of betraying Normandy into the hands of the English, Charles made a speech in his defence, from which I have already quoted more than once. Alençon, he said, had professed a great love and trust towards him; “yet did he give no great proof thereof, when he sought to betray Normandy; whereby he would have made me lose an estate of 10,000 livres a year, and might have occasioned the destruction of the kingdom and of all us Frenchmen.” These are the words of one, mark you, against whom Gloucester warned the English Council because of his “great subtility and cautelous disposition.” It is not hard to excuse the impatience of Louis XI., if such stuff was foisted on him by way of political deliberation.
This incapacity to see things with any greatness, this obscure and narrow view was fundamentally characteristic of the man as well as of the epoch. It is not even so striking in his public life, where he failed, as in his poems, where he notably succeeded. For wherever we might expect a poet to be unintelligent, it certainly would not be in his poetry. And Charles is unintelligent even there. Of all authors whom a modern may still read and read over again with pleasure, he has perhaps the least to say. His poems seem to bear testimony rather to the fashion of rhyming, which distinguished the age, than to any special vocation in the man himself. Some of them are drawing-room exercises and the rest seem made by habit. Great writers are struck with something in nature or society, with which they become pregnant and longing; they are possessed with an idea, and cannot be at peace until they have put it outside of them in some distinct embodiment. But with Charles literature was an object rather than a mean; he was one who loved bandying words for its own sake; the rigidity of intricate metrical forms stood him in lieu of precise thought; instead of communicating truth, he observed the laws of a game; and when he had no one to challenge at chess or rackets, he made verses in a wager against himself. From the very idleness of the man’s mind, and not from intensity of feeling, it happens that all his poems are more or less autobiographical. But they form an autobiography singularly bald and uneventful. Little is therein recorded beside sentiments. Thoughts, in any true sense, he had none to record. And if we can gather that he had been a prisoner in England, that he had lived in the Orleannese, and that he hunted and went in parties of pleasure, I believe it is about as much definite experience as is to be found in all these five hundred pages of autobiographical verse. Doubtless, we find here and there a complaint on the progress of the infirmities of age. Doubtless, he feels the great change of the year, and distinguishes winter from spring; winter as the time of snow and the fireside; spring as the return of grass and flowers, the time of St. Valentine’s day and a beating heart. And he feels love after a fashion. Again and again, we learn that Charles of Orleans is in love, and hear him ring the changes through the whole gamut of dainty and tender sentiment. But there is never a spark of passion; and heaven alone knows whether there was any real woman in the matter, or the whole thing was an exercise in fancy. If these poems were indeed inspired by some living mistress, one would think he had never seen, never heard, and never touched her. There is nothing in any one of these so numerous love-songs to indicate who or what the lady was. Was she dark or fair, passionate or gentle like himself, witty or simple? Was it always one woman? or are there a dozen here immortalised in cold indistinction? The old English translator mentions gray eyes in his version of one of the amorous rondels; so far as I remember, he was driven by some emergency of the verse; but in the absence of all sharp lines of character and anything specific, we feel for the moment a sort of surprise, as though the epithet were singularly happy and unusual, or as though we had made our escape from cloudland into something tangible and sure. The measure of Charles’s indifference to all that now preoccupies and excites a poet, is best given by a positive example. If, besides the coming of spring, any one external circumstance may be said to have struck his imagination, it was the despatch of fourriers, while on a journey, to prepare the night’s lodging. This seems to be his favourite image; it reappears like the upas-tree in the early work of Coleridge: we may judge with what childish eyes he looked upon the world, if one of the sights which most impressed him was that of a man going to order dinner.
Although they are not inspired by any deeper motive than the common run of contemporaneous drawing-room verses, those of Charles of Orleans are executed with inimitable lightness and delicacy of touch. They deal with floating and colourless sentiments, and the writer is never greatly moved, but he seems always genuine. He makes no attempt to set off thin conceptions with a multiplicity of phrases. His ballades are generally thin and scanty of import; for the ballade presented too large a canvas, and he was preoccupied by technical requirements. But in the rondel he has put himself before all competitors by a happy knack and a prevailing distinction of manner. He is very much more of a duke in his verses than in his absurd and inconsequential career as a statesman; and how he shows himself a duke is precisely by the absence of all pretension, turgidity, or emphasis. He turns verses, as he would have come into the king’s presence, with a quiet accomplishment of grace.
Théodore de Banville, the youngest poet of a famous generation now nearly extinct, and himself a sure and finished artist, knocked off, in his happiest vein, a few experiments in imitation of Charles of Orleans. I would recommend these modern rondels to all who care about the old duke, not only because they are delightful in themselves, but because they serve as a contrast to throw into relief the peculiarities of their model. When de Banville revives a forgotten form of verse – and he has already had the honour of reviving the ballade – he does it in the spirit of a workman choosing a good tool wherever he can find one, and not at all in that of the dilettante, who seeks to renew bygone forms of thought and make historic forgeries. With the ballade this seemed natural enough; for in connection with ballades the mind recurs to Villon, and Villon was almost more of a modern than de Banville himself. But in the case of the rondel, a comparison is challenged with Charles of Orleans, and the difference between two ages and two literatures is illustrated in a few poems of thirteen lines. Something, certainly, has been retained of the old movement; the refrain falls in time like a well-played bass; and the very brevity of the thing, by hampering and restraining the greater fecundity of the modern mind, assists the imitation. But de Banville’s poems are full of form and colour; they smack racily of modern life, and own small kindred with the verse of other days, when it seems as if men walked by twilight, seeing little, and that with distracted eyes, and instead of blood, some thin and spectral fluid circulated in their veins. They might gird themselves for battle, make love, eat and drink, and acquit themselves manfully in all the external parts of life; but of the life that is within, and those processes by which we render ourselves an intelligent account of what we feel and do, and so represent experience that we for the first time make it ours, they had only a loose and troubled possession. They beheld or took part in great events, but there was no answerable commotion in their reflective being; and they passed throughout turbulent epochs in a sort of ghostly quiet and abstraction. Feeling seems to have been strangely disproportioned to the occasion, and words were laughably trivial and scanty to set forth the feeling even such as it was. Juvenal des Ursins chronicles calamity after calamity, with but one comment for them all: that “it was great pity.” Perhaps, after too much of our florid literature, we find an adventitious charm in what is so different; and while the big drums are beaten every day by perspiring editors over the loss of a cock-boat or the rejection of a clause, and nothing is heard that is not proclaimed with sound of trumpet, it is not wonderful if we retire with pleasure into old books, and listen to authors who speak small and clear, as if in a private conversation. Truly this is so with Charles of Orleans. We are pleased to find a small man without the buskin, and obvious sentiments stated without affectation. If the sentiments are obvious, there is all the more chance we may have experienced the like. As we turn over the leaves, we may find ourselves in sympathy with some one or other of these staid joys and smiling sorrows. If we do we shall be strangely pleased, for there is a genuine pathos in these simple words, and the lines go with a lilt, and sing themselves to music of their own.
