LE TOURNOI DE CHAUVENCY (THE NIGHT'S TALE) Anne Azéma, directing the Ensemble Aziman with Annie Dufresne, Jennifer Ellis Kampani, Els Jannsens, David Allen Newman, Marc Mauillon, Stephan Olry, Jean-Paul Rigaud: voice Shira Kammen: bowed strings, harp Tom Zajac: Wind instruments, jews harp, psaltery This Cdbaby re-edition is dedicated to the memory of our late friend and colleague Tom Zajac (d. September 2015). I. Prologue 1 Por mal tens ne por gelee Thibault de Champagne (1201-1253) 0’58 II. Armes 2 En ma Dame - Trop souvent me dueil Anonymous 3’06 3 Abundance de Félonie Jehan L’Escurel (?-1304) 3’00 4 Vous arez la Druerie - Vous n’alès pas Anonymous 2’06 5 Se par force de merci Gauthier d’Espinal (1230-1270?) 2’57 6 Aussi comme Unicorne sui Thibault de Champagne 3’16 7 Or est Baiars en la pasture Adam de la Halle (vers 1237-1288) 2’39 8 Saltarello Anonymous 3’40 9 Souvent souspire Anonymous 2’16 10 Prendes i garde - prennès i garde Guillaume d’Amiens - Anonymous 1’43 11 Li dous regars de ma dame Adam de la Halle 1’25 12 Jamais ne serai saous Anonymous 1’08 13 Se par force de merci Gauthier d’Espinal (1230-1270?) 1’37 14 En l’an que chevalier sont Huon d’Oisy (?-1191) 3’39 III. Amours 15 Aussi comme Unicorne sui (reprise) Thibault de Champagne 3’46 16 Toute soule Anonymous 1’12 17 Trois serors sor rive mer Anonymous 1’41 18 Le Robardel Anonymous 2’06 19 En ce dous temps d’esté (extrait) Anonymous 9’59 20 Dame par vos dous regars Jehan L’Escurel 2’15 21 Bien se lace Jehan L’Escurel 2’13 22 Le Chapelet - La sestieme estampie Real Anonymous 2’43 23 Au renouvel Anonymous 3’01 24 Bonne amourette Adam de la Halle 2’18 25 C’est la fin - La quarte estampie Real Anonymous 1’44 IV. Coda 26 Por mal tens ne por gelee Thibault de Champagne 1’35 > total timing: 68’25 manuscript source for the poem: Oxford Bodleian Douce 308 (c.1310) musical editions and arrangements by Anne Azéma ABOUT THIS PROGRAM Le Tournoi de Chauvency is part of a medieval manuscript from Metz probably copied in 1310, Oxford Bodleian Douce 308. In this poem of more than 4000 lines (an eyewitness report? an oneiric narrative? a monologue on love?), Jacques Bretel relates with verve a week of combats and jousting accompanied by the amorous exchanges of young people from the duchy of Lorraine and from all over Europe who gathered in the autumn of 1285 for a tournament at Chauvency. This narrative is interwoven with musical events, quotes the first lines of song texts, describes dances and instrumental music performed in the course of the day (the jousts and the tournament) and the evening (amorous conversations, relaxation, games). Why should we be interested in Le Tournoi? The first reason is the intrinsic value of the manuscript that contains Le Tournoi de Chauvency. The manuscript, and more especially the account of Le Tournoi, are of great interest in literary, historic, visual, aesthetic and musical terms; they are largescale works recording human history, amorous relationships, and the social context within which they blossomed in Lorraine. In the course of this narrative all the keys to what is termed Courtly Love are revealed. What, then, is Courtly Love? A new amorous relationship that is possible between two partners on a basis of equality. A game of medieval political society, but also a poetic, aesthetic game, where the tension lies in the fact that one of the partners may either refuse or accept the homage done to him or her. The tournament, the joust, the battle, whether physical, poetic, or emotional, is one of the stages that will lead the two partners to the plenitude of shared love: ‘Amour fait un cœur de deux’, Love makes two hearts one, Jacques Bretel tells us. The act of awaiting the Other, who will be capable of asking the true question (the Homage), then carrying on the (physical and poetic) joust and will in the end obtain the Answer (the Gift, given in total freedom), will permit Love and the Joy that is its consequence. Human nature has a certain permanency: our society, much preoccupied with all sorts of equalities and combats, can draw from its history a strength and a gaze at once eternal and new on these games of love. This extremely beautiful manuscript breathes music, dance, celebration. Yet it does not contain a single note of music! Here is another reason to be interested in Le Tournoi of Chauvency. Despite the many descriptions of musical and choreographic occasions, or the first lines of songs mentioned by Jacques Bretel here and there in his narrative, we are obliged here to create a new work. The purely musical clues that have been left to us are at once problematical and liberating. Problematical, because if we wish to follow Bretel’s indications to the letter, we will only find an answer to our quest with the aid of other, similar sources, if indeed we find an answer at all! Liberating, because some people go so far as to see some of the titles given by Jacques Bretel in the course of his work as a poetic licence. Hence we are producing here a work of our own time, composed from medieval elements (from the same manuscript or closely related manuscripts), transcribed with all necessary care, then unfolded in a framework left to us by Jacques Bretel. Whatever their origins, the songs we have chosen to include here retrace a narrative of tournament (Armes), then the world of conversations and reflections on love (Amour), with the aid of readings of excerpts from the poem. The sources of this music which has been handed down to us over the centuries give few indications of possible performance options (particularly concerning questions of rhythm, the presence or absence of instruments, pronunciation, and so on). We recreate here a vocal and instrumental sonority that strikes a balance between poetry and music, guided now by the texts of the songs themselves, now by knowledge of the medieval universe gleaned from other sources. Following in the footsteps of the jongleurs and minstrels, our instrumental approach creates its own world, taking its inspiration from the few medieval dances that have come down to us, from the songs themselves, from their language, and from the teaching practices of the Middle Ages (learning by heart, improvisation, and discerning knowledge of rhetoric). It is in this spirit that we hope to recreate a medieval ‘sound’, in vocal and instrumental performance that is at once rhetorical and playful. Reflecting the beautiful manuscript from Metz that contains the account of the Tournoi de Chauvency, and following in the footsteps of Jacques Bretel, our journey in sound combines song, instrumental music and the spoken word in an attempt to recreate a poetic space devoted to Love, ‘whose deeds are gracious’. Anne Azéma, April 2007 Translation: Charles Johnston LE TOURNOI DE CHAUVENCY: THE SONG TEXTS 1. Por mal temps ne por gelee Por mal tens ne por gelee Ne por froide matinee Ne por nule autre riens nee Ne partirai ma pensee D’amors que j’ai, Que trop l’ai amee De cuer verai. Valara! Neither for bad weather nor for frost Nor for an icy morning Or anything else on earth Will I turn my thoughts From the love I have, For I have so dearly loved her With a true heart: Valarara 2. En ma Dame - Trop souvent me dueil En ma dame ai mis mon cuer et mon penser ; n’en partiroie a nul fuer. En ma dame ai mis mon cuer, si m’ont sorpris si vair œil riant et cler. En ma dame ai mis mon cuer et mon penser Trop souvent me dueil (triplum) et sui en grieté et tout por celi, qui j’ai tant amé par son grant orgueil et par sa fierté : A ma dame ai mis mon cuer et mon pensé. Brunete a qui j’ai mon cuer doné, (duplum) por voz ai maint grief mal enduré ; Por Deu, pregne voz de moi pitié, fins cuers amorous [et douz!] vient amors. I have placed my heart and my mind upon my lady; I would not leave at any price. I have placed my heart upon my lady, I am taken by her eyes so clear and grey. I have placed my heart and my mind upon my lady. I so often mourn And lie grieving All because of The great pride and arrogance Of the one I loved so much: I have entrusted my heart And my thoughts to my lady. Dark-haired lady to whom I have given my heart, I have endured much grievous pain on account of you. For God’s sake have pity on me Sweet, loving, true heart! Love comes from such goodness. [spoken:] D’amors et d’armes et de joie Est ma matiere et de tel gent Qui son et bon et bel et gent […] Amors est beau commencemans : Or doit Diex que li finemens Soit aussi biaus en son fenir Come li commansers el venir!” Love, arms and joy Are my subject, and such people Who are good and beautiful and courteous [...] Love is a great beginning: God grant us that its end Be as beautiful, in its finishing, As its beginning will be! 3. Abundance de Félonie Abundance de felonnie Me fait tieus moz dire et trouver, Que j’ai du tout en ma mestrie Mon cuer, je ne le quier celer. S’aucuns autres en veult ouvrer Par haussage en maniere dure, Bien l’en prendra par aventure. Qui desirre merci d’amie De li servir se doit pener Et amer joie et courtoisie, et tout orgueil doit eschever : Qui ainsinc se veilt demener, Je di par roison et droiture, Bien l’en prendra par aventure. Or peut l’une ou l’autre partue Amans maintenir en amer, Ou estre humbles, ou seignourie Sur celle qu’il aime clamer ; Preigne le mieux pout agréer A sa dame, et, s’en se peint dure, Bien l’en prendrea par aventure. An excess of treachery Compels me to sing and to compose such words As I have in my power, I do not wish to hide my heart. If someone else wishes to act Arrogantly and cruelly, Perhaps he will benefit from it. Anyone who desires his amie’s grace Must strive to serve her, And to love joy and courtesy, And eschew all pride. If anyone wishes to behave in that way, I say by all that is right and just, Perhaps he will benefit by it. A lover may take either tack In loving: Either be humble, or claim mastery Over her whom he loves. Let him do whichever will please his lady, And if he drives himself, Perhaps he will benefit by it. 4. Vous arez la drüerie Vous arez la drüerie, amis, de moi, che que mes maris n’a mie. Vos l’avez bien deservie en bone foi ; vos arez la drüerie, amis de moi. Mesdisanz sont en envie et main et soir por nos faire vilonie. vos arez la drüerie, amis de moi, che que mes maris n’a mie. Vous n’alés pas, si que je fais, ne vous, ne vous n’i sariés/savez aler. (bis) Bele Aliz par main se leva (vous n’alez pas, si com je faz) biau se vesti, mieus se para. Bon jor ait cele que n’os nomer ; sovant, sovant mi fait soupirer. Vous n’alés pas, si que je fais, ne vous, ne vous n’i sariés/savez aler. (bis) You shall have the sweet delight, Lover, from me, Which Husband never has at all; You have deserved it, In truth. You shall have the sweet delight, Lover, from me. The slanderers speak their spite Both day and night To do us villainy. You shall have the sweet delight, Lover, from me, Which my Husband never has at all. You are not following the same path I do You do not know where you are going (bis) Beautiful Alice rises (You are not following the same path I do) Early in the morning, and dresses elegantly. Good morning, dear, whose name I do not dare speak, Often, too often, you make me sigh. You are not following the same path I do You do not know where you are going (bis) 5. Se par force de merci Se par force de merci ne descent Amors coraux en la moillour de loiaus, ja ne m’en verrai saisi de bien qui ne me soit maus ; mais se pities avec aux par lor douz comandement un petit desforcement meïssent en lor pooir, alors porroie joie avoir. Beau Deus, que ne fu ensi l’amors fine comunaus, que haut et has fust igaus! Mais ce qu’ennors est en li tiennent a honte li faus, Deus, qui les orroit entr’aus conter et dire sovent lor faus adevinement de faire mençonge voir por fins amanz decevoir. Ne tieng pais a fin amin ki s’esmaie riens por eaus, por teils felons deloiaus. Tant on jangleit et menti ke j’ai n’en serait uns saus. Franche riens esperitaus, ce celestïaus present sont vostre amerous samblant, ke nuls ne vos puet veoir, ki jai s’en kesist movoir. De vos remirer ensi c’es m’uevre chascun jornal ; et la colors naturaus de la face que je vi c’est fins rubiz et cristaux ; li sorciz semblent esmaus en or assis finement par devin comandement ; et li huil me font, por voir, l’estoile jornal paroir. Dames pour vos et por honor bien voroient estre signor d’amours et de toz ces deduit. (3661) If the property of mercy Does not make true love descend Upon the most fair of all I will never be endowed With any property [good] that is not loss [harm] to me. But if pity with them By their sweet command Should place a little expropriation In their power, Then I could have joy! Fair God, why was noble love Never so universal That high and low were equal? But what is honourable in it The false ones hold to be shame. God, you should hear them talking Among themselves, often relating Their false conjectures To spread lies To deceive noble lovers. I do not consider a noble lover One who is at all daunted By such treacherous villains. They have gossiped and lied so much That no one is safe from them. Noble spiritual creature, Your lovely looks Are like heaven, For no one who can see you Ever wished to leave you. Daily I gaze Upon you, And the natural tint Of the face that I see Is fine ruby and crystal; Your brows seem enamel Set finely into gold By divine command, And truly your eyes make The day star appear to me. 6. Ausi come unicorne sui Ausi come unicorne sui Qui s’ebahit en regardant Quand la pucelle va mirant. Tant est liee de son ennui, Pasmee chiet en son giron ; Lors l’ocit on en traison. Et moi ont mort d’autel semblant Amors et ma dame, por voir ; Mon cuer ont, n’en puis point ravoir. Dame, quant je devant vos fui Et je vos vi premierement, Mes cuers aloit si tressaillant Qu’il vos remest quant je m’en mui. Lors fu menes sanz reançon En la douce charter en prison, Dont li piler sont de talent Et li huis sont de biau veoir Et li annel de bon espoir. […] I am like the unicorn, who, astonished gazes, Beholding the virgin. He is so rejoiced by his chagrin, He falls in a faint in her lap; Then they kill him, in treachery. Now Love and my lady Have killed me just that way: They have my heart, I cannot get it back. Lady, when I was around you And say you for the first time, My heart leaped over so, It stayed with you when I went away. Then I was led without ransom Into sweet captivity in prison, Where the pillars are made of Desire, The gates of Pleasant Sight, The chains of Good Hope. […] [spoken] Demain verrés lancer brisier chevaus crever et eslaissier. (1384) Tomorrow, you will see lances break, Horses die and [others] gallop forth. 7. Or est Baiars en la pasture Or est Baiars en la pasture, Hure! des deus piés defferrés, (bis) Il porte souef l’amble ure, Hure, Or est Baiars en la pasture, Hure, Avoir li ferai converture, Hure! au repairier des prés, au repairier des prés. Or est Baiars en la pasture, hure! des deus piés defferrés. (bis) There’s Bayard in the pasture, Hure! Unshod on two feet, (bis) He trots softly, Hure! There’s Bayard in the pasture, Hure! I will have a cover given to him, Hure! When he returns from the fields, When he returns from the fields. There’s Bayard in the pasture, Hure! Unshod on two feet. (bis) 8. Saltarello 9. Souvent souspire Souvent souspire mon cuer plein d’ire pour la plus bele de l’enpire. Si me martire que ne l’os dire. Souvent mi fet plorer et rire. Ele mi set bien escondire et moi seur touz autres despire. Descrire en cire ne porroit nus son cors ne lire. Ocire defrire mi fet quant la remire. Dex s’or povoie tenir la voie Par quoi g’eusse de li joie. Assez auroie plus ne querroie Tant ne desir dras ne mouroie. Dous dex s’amor tant mi guerroie Quant el ne veut que je sein soie Le foie mi noie plus ai dolor que cil de Troie Ne croie que noie le jor que sire en soie Tant ai servi e ma douce ami e bien croi que q’en perdrai la vie. Quant de la prie el me dit vie : “Fui de ci gars ke ne t’aim mie.” Douz Dex s’amor mi contralie qui en mon cuer s’est encormie. N’est mie en vie Qui m’en poist donner aie. M’amie ma vie de vous ai grant envie. Ele se paine de metre en paine moi toste longue la semaine. Si me demaine com sien demaine ; plus est fiere que castelaine. onques ne fu si bele Elaine ne n’ot onques si douce alaine. Estraine de paine mi fet neis au diemaine. Vilaine n’a vaine qui d’orgueil ne soir plaine. De m’amie m’estuet retrere Quant veil que je ne li pluis plere Ele est tant douce et debonaire Qu’el ne porroit a nul desplere. Dex porquoi m’est el si contrere Qu’e ne prise riens mon afere ? Atrere la here m’estuet quant je ne li puis plere Retrer me fere m’estuet de son repere. Often my heart full of grief Sighs for the most beautiful one in the empire. She torments me so much that I dare not describe it. Often she makes me weep and laugh. She knows well how to refuse me And to despise me more than all others. No one could describe her body on wax, nor read about it. When I look at her she kills me and sets me on fire. God, if now I could be set on the path By which I would obtain joy from her I would have enough; I would not ask for anything more. I do not wish as strongly for clothing nor money Sweet Lord, her love would cure me completely! When she doesn’t want me to be hers my liver fails me. I have more pain than the fellow from Troy. I do not think that I will see the day when I will be master of her. So long have I served my sweet beloved That I believe truly that it will cost me my life. When I entreat her she replies with refusal: ‘Get out of here, fellow, I don’t love you at all!’ Sweet Lord, the love for her that has settled into my heart is fighting against me. There’s no one alive Who can give me help. My love, my life, I desire you greatly. She takes pains to hurt me All week long. She treats me like her domain; She is more haughty than a chatelaine. Never was there such a fair Helen, Not one with such sweet breath. She rewards me with pain even on Sunday. There is not a wench so weak that she is not full of spitefulness. I must renounce my beloved Since I see that I cannot please her. She is so sweet and seemly That she could not displease anyone. God, why is she so opposed to me That she takes no thought for my good? I must draw grief onto myself since I cannot please her. I must make myself leave her presence 10. Prendés i garde Prendés i garde, s’on mi regarde! S’on mi regarde, dites le moi. C’est tout la jus en cel boschaige ; Prendés i garde, s’on mi regarde! La pastourele i gardoit vaches : “Plaisant brunete a vous m’otroi!” Prendés i garde, s’on mi regarde! S’on mi regarde, dites le moi. S’on me regarde, (triplum) dites le moi ; trop sui gaillarde, bien l’aperchoi. Ne puis laissier, que mon regard ne s’esparde, car tes m’esgarde, dont mout me tarde, qu’il m’ait o[u] soi, qu’il a en foi de m’amour plain otroi. Mais tel ci voi, qui est, je croi, (feu d’enfer l’arde!) jalous de moi. Mais pour li d’amer ne recroi, car par ma foi pour nient m’esgarde, bien pert sa garde : J’arai rechoi! Prennés i garde, (duplum) on me regarde ; trop sui gaillarde. dites le moi, pour Dieu vous proi. Car tes m’esgarde, dont mout me tarde, qu’il m’ait o[u] soi, bien l’apercoi ; et tel chi voi, qui est, je croi, (feu d’enfer l’arde!) jalous de moi. Mais pour li d’amer ne recroi, pour nient m’esgarde, bien pert sa garde : J’arai rechoi et de mon ami le dosnoi! Faire le doi, ne serai plus couarde. Take care, if anyone look, If anyone stare, tell it to me! In the leafy thickets over there; Beware, beware, if anyone stare!— The herding-lass with kine for care. ‘Pretty dark maiden to you I give me!’ Take care, if anyone look, If anyone stare, tell it to me! If anyone is looking at me, Tell me. I see well That I am too daring; I can’t stop my eyes From wandering, For when a certain one looks at me, I can hardly wait For him to have me with him And receive in faith the gift Of my love in full measure. But I see another here Who is, I believe (May hellfire burn him!), Jealous of me. But I refuse To cease loving on his account, for by my faith It doesn’t do him any good to watch me, He’s wasting his time: I’ll find an escape! Take note if someone looks at me; I am too daring, So tell me, In the name of God, I beg you. For when one looks at me, I can hardly wait For him to have me with him, I see well. And I see another here Who is, I believe (May hellfire burn him!), Jealous of me. But I refuse to cease loving on his account; It doesn’t do him any good to watch me, He’s wasting his time: I’ll find an escape And have the love of my sweet heart. I must do it; I will be a coward no longer. 11. Li dous regars Li dous regars de ma Dame Me fait espérer merchi ; Diex gart son gent cor de blasme. Li dous regars de ma Dame. Je ne vi onques par m’ame Dame plus plaisant de li. Li dous regars de ma Dame Me fait espérer merchi. The sweet glance of my Lady Makes me hope for her mercy; May God keep her noble heart from blame. The sweet glance of my Lady. I have never seen A Lady more fair than her. The sweet glance of my Lady Makes me hope for her mercy. 12. Jamais ne serai saous Jamais ne serai saous D’eswarder les vairs ieus dous qui m’ont ocis. Onques mais si au desous Jamais ne serai saous Ne fu nus cuers amourous, Ne ja n’ert a tans rescous, Quant muir tous vis Ja mais ne serai saous D’eswarder les vairs ieus dous Qui m’ont ocis. Never shall I tire Of looking at the sweet, clear blue eyes Which have killed me. Never was a loving heart - Never shall I tire So vanquished, And never shall I be rescued in time Since I am dying while I live. Never shall I tire Of looking at the sweet, clear blue eyes Which have killed me. 13. Se par force de merci Se par force de merci ne descent Amors coraux en la moillour de loiaus, ja ne m’en verrai saisi de bien qui ne me soit maus ; mais se pities avec aux par lor douz comandement un petit desforcement meïssent en lor pooir, alors porroie joie avoir. If the property of mercy Does not make true love descend Upon the most fair of all I will never be endowed With any property [good] that is not loss [harm] to me. But if pity with them By their sweet command Should place a little expropriation In their power, Then I could have joy [spoken:] If you could have heard the ladies and maidens Laughing, playing and disport themselves, And singing their new songs; The trumpets blaring, the drums beating! Then flutes and pipes screech, Grooms shout and servants yell. The jousters delay no longer, The horses rush forward, the standards fly, The heralds in the lists speak To each other of arms, And Conon comes, his lance fewtered: From under his helmet he shouts his battle cry ‘Oure!’ 14. En l’an que chevalier sont En l’an que chevalier sont Abaubi, Ke d’armes noient ne font Li hardi, Lez damez tournoier vont A Laigni. Le tounoiement plevi Dient que savoir voudront Quel li colp sont Que pour eles font Lour ami. La contesce de Crespi Lez damez par tout le mont Pourchacier font Qu’elez menront Chascune od li. Et ma dame de Couci Quant es prez venuez sont, Armer se font ; Assambler vont Devant Torchi. Yolenz de Cailli Vait premierz assembler ; Margerite d’Oysi Muet a li pour jouster ; Amesse au cors hardi Li vait son fraim haper. Quant Margerite se vit Räuser, “Cambrai” crie, son fraim prist A tirer ; Ki deffendre le vëist Et meller! Quant Katherine au vix cler Se coumence a desrouter Et “Passe avant” a crier. Ki donc la vëist aler Resnes tirer Et coupz douner Et departir Et grossez lancez quasser [Haubert ferrés] Et fert souner Et retentir Des hiaumez le capeler Faire effondrer [Sans grant faïr] Par grant aïr! Deverez la coue vint Une rescousse grant, Ysabel, ki ferir Lez vait de maintenant La senescaucesse ausi Nez vait mie espargnant. La contesse de Canpaigne Briement, Vint sour un cheval d’Espaigne Bauchant, Ne fist paz longue bargaigne A lor gent : Touz lez encontre et atent, Mout s’i combat fierement ; Seur li fierent pluz de cent. Aëliz lez mainz li tent, Au fraim la prent Hastéement Od sa compaigne, Aëliz “Montfort” criant, Cele au cors gent, Qui la descent Coument k’il praigne, Et si ostage Yolent Mout bounement, Ki de noient Ne s’i desdaigne : Ele n’est pas d’Alemaigne. Ysabiauz, che savon, Vint poignant en la plaigne, Ez lour fiert a bandon, Sovent crie s’ensaigne : “Alom lour, Chastillon!” During that year when the knights Were powerless, And those bold men Performed no feats of arms, The ladies went tourneying In Ligny. The tournament having been announced, They said that they wanted to know What kinds of blows Their amis were always giving For their sakes. The ladies had The Countess of Crépy sought Everywhere, As well as Madame de Coucy, For they meant to take them both Along with them. When they got to the fields They had themselves armed; They met Before Torcy. Yolande of Cailli Went forward to fight first; Marguerite of Oisy Bore down on her for a joust; Amesse the bold Went to seize her bridle. When Marguerite saw that she was being evaded, She cried ‘Cambrai!’ And grabbed her bridle back; You should have seen her Defend herself and skirmish When Catherine of the lovely face Began to beat her back And cry ‘onward!’ You should have seen her Pulling on the reins And giving and sharing out Great blows, Shattering great lances [And making iron hauberks] Ring and Resound, And making the iron coifs in the helms Cave in and fall to pieces! [...] With great impetuosity From behind came A great help, Isabelle, who came alongside To strike them now; The seneschal’s wife also Didn’t spare them at all. Then the Countess of Champagne Came quickly On a piebald Spanish horse; She didn’t feint at her enemies For long: She went at them and struck them, And fought very fiercely there, But more than a hundred fought her. Aëlis reached out for her, Seizing her bridle Firmly, Along with her company. Crying ‘Montfort’, Noble Aëlis, Pregnant though she was, Took Yolande hostage Very courteously. Yolande didn’t resent this At all – She is no German. Isabeau, whom we know well, Came spurring over the plain, Attacking them fiercely, Shouting her rallying-cry of ‘At them, Châtillon!’ 15. Aussi comme Unicorne suis [reprise] [...] De la chartre a la clef Amors, et si a mis trois portiers : Blau semblant a non li premiers, Et biautez ceux en fait seignors ; Dangier a mis a l’huis devant, Un ort felon, villain puant, Qui moult est maus et pautoniers. Cist troi sont et viste et hardi ; Mult ont tost un home saisi. Qui pourroit soufrir la tristors Et les assaus de ces hussiers ? Onque Rollans ne Oliviers Ne vainquirent so fors estors ; Il vainquirent en conbattant, Mais cues vaint on humiliant. Souffirs en est gonfanoniers ; En cest estor dont de vos di, N’a nul secors que de merci. Dame, quant je ne sais guiler, Merciz seroit de saison mes De soutenir si grevain fes [...] Love holds the key to the prison And has set three watchmen there: The name of the first is Kindly Look, And Love makes Beauty their chief; And has put Rejection at the outer gate A dirty, cruel, vulgar, stinking Vicious scoundrel. These three are nimble and strong, They have fallen many times suddenly on a man. Who could suffer the horror And the assaults of these door keepers? Never did Roland nor Olivier Win such a hard fight; They won fighting, But these, one overcomes by humiliating them. Patience is the gonfalonier And, in fight of which I tell you, There is no other help, but mercy. Lady, as I do not know how to deceive, Mercy now would be seasonably given, To help me bear so grave a burden. 16. Toute soule passerai Toute soule passerai le vert boscage, puis que compaignie n’ai. Se j’ai perdu mon ami par mon outrage, Toute seule passerai li vert boscage. Je li ferai a sovoir par un message que je li amenderai. Toute seule passerai le vert boscage, puis que compaignie n’ai All alone I will cross the green wood, Since I am without company. It is my fault that I lost my love; All alone I will cross the green wood, I will let him know with a messenger That I am ready to make amends. All alone I will cross the green wood, Since I am without company. 17. Trois serors sor rive mer Trois serors sor rive mer (quadruplum) Chantent cler La moiene a apeté Robin son ami : “Prise m’avés el bois ramé reportés mi!” Trois serors sor rive mer (triplum) Chantent cler La gonette Fu brunette De brun s’ami s’ahati : “Je suis brune, s’avrai brun ami ausi.” Trois serors sor rive mer (duplum) Chantent cler L’aisnée di[s]t a : “On doit bien bele dame amer et s’amour garder, cil qui l’a.” Three sisters at the seashore Are singing brightly. The middle one called To Robin, her sweetheart: ‘You took me first in the leafy wood, Now take me back there.’ Three sisters at the seashore Are singing brightly. The youngest, A brunette, Sought a dark-haired sweetheart: ‘Since I am dark-haired, I will have a dark-haired sweet-heart too.’ Three sisters at the seashore Are singing brightly. The eldest said: ‘One should indeed love a fair lady, And he who has her love Should keep it.’ 18. Le Robardel 19. En ce dous temps d’esté En ce dous temps d’esté, tout droit au mois de may Q’amours met par pensé maint cueur en grant esmay, Firent les herlequines ce descort dous e gay Je, la blanche princesse de cuer les em priai Et vous qu’em le faisant dëissent leur penser Si c’est sens ou folie de faire tel essay Com de mettre son cuer en par amours amer. Je, qui sui leur mestresse, avant le commençai Et en le faisant non de descort li donnay, Quar selon la matere ce non si li est vrai Puis leur dis : ”mes pucelles moult tres grant desir ai Qu’en fesant ce descort puissons tant bien parler Qu’on n’i truis que reprendre pour verité sai Que pluseurs le voudront et oïr et chanter”. “Je qui suis la duchesse Orgueilleuse d’Amours Si di qu’il mest avis que ce soit grand folours De commencier les choses pour s’en tost repentir Et pour ce le di je qu’ai veü avenir Que cil qui en amer se tiennent pour meilleurs Si y ont pou de joie et souvent grans douleurs.” La tres noble marquise si a doucement ris Amoureuse la belle puis dist : “il m’est avis Que vous avez, duchesse, un petitet mespris Qui bonne amour avez si tres forment blasmee Et si en avez ouvré comme de sa visee Qu’ont ne doit blasmer chose qui ne l’a esprouvee Mais j’en doi bien parler quar g’i ai mon cuer mis A touz jours sanz retraire, si sai bien que les dis Qu’avez aucune foiz en ces chançons oïs Vous ont par grant folour a ce dire menee, Que la joie d’amours (c’est verite prouvee) Est plus grant que nulle autre, mes chier est achetee. La parole amoureuse fu de bon cuer oïe De toutes les compaignes et löee et prisie La tres plaisant Pensive li dist : “Ma douce amie, Ains n’amai par amours a nul jour de ma vie, Si m’en est plus estrange assez ceste matire” Et quant elle ot ce dit, un pou basset soupire. Et puis en haut parla et dist : ”quoi que nuls die, Amours si est puissant et noble et seingneurie, mais la paour que j’ai (d’)en estrë enginie Si m’a tolue a (certe) de la soue mesnie. Ensi com des eschés en puis par raison dire : Qui ne donne ce qu’aimme, ne prent ce que desirre. Et pour ce bien sai qu’a painne est acomplie L’amour bien egaument entre amis et amie, Ne nous onques amer, quar dame qui otrie S’amour doit moult vouloir que bien soit emploie.” Jolie sans Amour si a dit : “Par ma foy, Fetice il m’est avis que trop grant tort avez Qui par beles paroles faire croire voulez Que c’est joie d’amer et le contraire en voi Quar ceus qui sont loiaus n’i trueuvent fors qu’anoy Et en chantant le dient comme desesperez. Et quant il bon en sont si cruelement menés L’en doit donc bien hair l’amer et prisier poi.” “Bien doi parler d’amour”, ce a dit la daufine “Quar j’ai non Bien Amee et ce non me destine Que je doie savoir auques de son couvine. […] Leur honneur et leur bien acroist monteploie Et de leur desirrer acomplir les avoie Qui est de tout ce mont la souverainne joie.” […] “Nous quatre, en affinant ce descort si y veon Qu’amours si est tant noble et de si bon renon Que de la blasmer n’a nulli bon achoison Si com par nos paroles clerement moustreron Il est si bien verite que medisant felon Si tiennent a folie par leur grant fausete L’amer pout ce qu’il veulent tollir le guerredon A ceus qui loiaument l’on touz jours desirre. Se d’estres aimé fesoit amours a chacun don Trop petit davantage y aroient li bon Mais certes ce n’est pas la seine entencion Qu’elle doint a nully confort ne garison S’en li n’a attemprance loiauté et raison Et s’elle fait aus siens souffrir peinne ou griete C’est poutant seulement qu’el puist sanz mesprison Acomplir leur desir en plus grant seürté.” In this mild time of summer, in the month of May, When the thought of love brings agitation To many a heart, The Erlking’s ladies composed this sweet and gay descort. I, the White Princess, invited them to do so And wished them, as they proceeded, to express their opinion On whether it is sensible or foolish to attempt such a thing As devoting one’s heart to being in love. I, who am their mistress, began the composition And in doing so I gave it the name of descort, For, given the subject, that name was appropriate. Then I said to them: ‘My girls, I greatly desire That in composing this descort we can speak so well That no one could find a flaw in it, for I know for a truth That many people will want both to hear and to sing it.’ ‘I, who am the Duchess Proud-about-Love, Say that it seems to me that it is great folly To begin things and then soon change your mind; And I say this because I have seen it happen That even those who in love regard themselves as most adept Find little joy in it and often find great suffering.’ The very noble Marquise, Amorous-the-Beautiful, Gently laughed and said: ‘It seems to me, Duchess, that you have made a bit of a mistake. In so very roundly condemning good love; You were ill-advised to behave that way, For one should not condemn a thing without having tried it. But I must speak well of it, for I have given my heart to it Forever, with no turning back; and well I know that the words That you have occasionally heard in these songs Have led you very foolishly to speak this way, For the joy of love (it’s a proven truth) Is greater than any other, but it carries a high price.’ The statement on love was heard with good will And praised and valued by all the companions. Very charming Thoughtful replied: ‘My dear friend, I have never ever been in love in my life, So this subject is exceedingly foreign to me.’ And when she had said that, She uttered a little sigh And then spoke up and said: ‘Whatever anyone may say, love is indeed powerful and noble and lordly, But the fear that I have of being duped by it Has certainly kept me away from its coterie. I can with reason say, as if speaking of chess: He who does not surrender what he loves, does not take what he desires. And because I well know that love tends Not to develop very smoothly between two lovers, I have never desired to love, for a lady who grants Her love must try hard to have it treated well.’ Vivacious-without-Love said: ‘Upon my word, Lovely-Form, it seems to me that you are very wrong In trying, with fine words, to make [us] believe That it is bliss to love, while [lit. and] I see the opposite; For those who are loyal encounter nothing but trouble And in their songs they express hopelessness. And as good people are so cruelly treated, One must indeed hate love and have little regard for it.’ ‘I must speak of love,’ said the Dauphine, ‘For my name is Well-Loved and this name destines Me to know something about love’s business. [...] It enhances and increases their honor and their welfare And leads them to achieve what they desire, Which is the highest bliss in the whole world.’ […] ‘We four, bringing this descort/discord to an end, see in it That love is so noble and of such good reputation That no one has good grounds to condemn it, As in our statement we shall clearly show. It is indeed the truth that criminal slanderers, In their great dishonesty, regard loving as folly Because they want to deprive of their reward Those who have always desired it loyally. If love gave to everyone the gift of being loved, The good would gain very little advantage; But it is indeed not love’s intention To grant any person comfort or remedy Who does not have temperance, loyalty, and reasonableness; And if love makes its followers suffer hardship or difficulty, It is only so that it may with no error Grant them their desire with greater surety.’ [spoken] Celle qui est très bien aprise la main dou chevalier a prise ; Chantant l’ammaine a mout grant joie.(4295) The softest-mannered lady approaches And takes the knight by the hand, And singing leads him off in very great joy. 20. Dame, par vo dous regart Dame, par vo dous regart Sui espris de vous amer. Mon cuer senz lié et gailart, Dame, par vo dous regart. Ainsi vous sers main et tart, Et touz jours m’en veil pener. Dame, par vo dous regart Sui espris de vous amer. Through your sweet glances, Lady, I have fallen for you. My heart is joyous and gay Through your sweet glances, Lady, Thus I serve you morning and evening, And every day I wish to labour. Through your sweet glances, Lady I have fallen for you. 21. Bien se lace Bien se lace Qui embrace D’Amors la jolie trace. C’est la bouche, et quant amis Son cuer a mis En desirer amie, Faite de cors et de vis A son devis Voire, il n’est plus de vie, Si tant face Amor par grace Qui baise sa douce face. Bien se lace Qui embrace D’Amors la jolie trace. He indeed becomes bound Who follows The pretty path of love. It is through the mouth, and when a lover Has his heart set On desire for his lady Fashioned in body and face To his liking, in truth, He no longer has a life, Unless love acts So graciously That he may kiss her sweet face. He who follows The pretty path of love Indeed becomes bound. 22. Le Chapelet – La sestieme estampie Real [spoken] Douce plaisant fut la vespree Dames pucelles par la pree S’en vont jolïement jouant Et bachelers après suivant ; […] (2323) Chacun entent à son afaire. Et en chastel ou il entendent De chanter, de danciers s’estendent Et font merveilles de lor cors, Grant luminaire as quatre cors Et en milieu dance a vïele, Chevaliers contre damoiselles Et dame contre bacheler. (2398) The evening is beautiful and pleasant. Ladies and maidens go off Through the field, playing gently, Followed by young knights; [...] Everyone is at ease. And to the castle they go, To sing and dance, And do wonders with their bodies. Under the great four-branched chandelier In the middle, they dance to the vielle, Knights against damsels, Ladies against young knights. 23. Au renouvel du tens Au renouvel du tens que la florete Nest par ces prez et indete et blanchete Trouvai soz une coudroie coiallant violete Dame qui resembloit feë et sa compaignete A qui el se dementoit De deus amis qu’ele avoit Au quel el ert amie : Ou au povre qu’est cortois Preuz et large plus que rois Et biaus sans vilanie, Ou au riche qu’a assez avoir et manandie, Mes en li n’a ne biauté ne sens ne cortoisie. “Ma douce suer, mon conseil en creez : Amez le riche, grant preu I avrez ; Car se vous volez deniers, vous en avrez assez ; Ja, de chose que il ait mes sousfrete n’avrez. Il fet bon le riche amer, Qu’il a assez a doner ; Je seroie s’amie. Se je lesoie mantel D’escarlate por burel, Je feroie folie ; Car li riches veut amer et mener bone vie, Et li povres veut joër sans riens donner s’amie.“ “Or ai oï ton conseil, bele suer, Du riche amerl ; ne.l feroie a nul fuer! Certes, ja n’iert mon ami per deseure mon cuer. Dame qui a cuer joli ne.l feroit a nul fuer. Dames qui vuelent amer De bone amor sanz fausser, Comment que nus me die, Ne doivent riens demander, Pour nus qu’en sacher parler, Fors bone amor jolie. Toutes fames je le hé, et Jhesus les maudie, Qu’aiment honme pour doner c’est grant ribauderie.” “E! fine Amor, tant m’avez oublïee Que nuit et jor ne puis avoir duree, Tant m’a sa tres grant biauté tainte et descoloree ; Tant pens a li nuit et jor que toute en sui müee. Rossignol, va, si li di Les maus que je sent pour li, Et si ne m’en plaing mie ; Di li q’il avra m’amor, Car plus bele ne meillor De moi n’avra il mie ; Di li q’il avra assez puis que je suis s’amie. Q’il ne lest pas pour deniers a mener boune vie.” At the start of the new season when the flowers bloom, Under a bush, picking up violets, I came upon a lady, like a fairy she was, and her companion, to whom she complained: She had two suitors, and to whom should she give her heart? One was poor and handsome, courageous, gentle, and generous more than a king; the other rich but not fair and not courteous, and had none of these qualities. ‘Sweet sister, take my advice, love the rich man, you will profit from it. He will give you everything that you need, You’ll never be lacking. It is good to be loved that way. As the rich can give a lot, That’s what I’d do in your place, If I were to exchange a silk coat For sack cloth, I would be a fool. The rich man wants to play and love, The poor man wants to play the game of love without giving anything in return.’ ‘I’ve heard your advice, dear friend, but I shan’t follow it. He shall never be my lover; ever shall a joyful lady behave thus. A woman who loves truly, without perfidy, and without worrying about gossips, never asks for something in return, whatever the advice, except for fair love. I hate women who love for money, and may Jesus curse them -- that’s lechery.‘ ‘O Love, you have abandoned me; night and day, I am pale and wan for love of his beauty. I think of him night and day, and am all changed from it. Nightingale, go tell him of all that I undergo for him, without complaining. Tell him that he will have my love, and he’ll not find one more fair nor fine, tell him that he will have much, for he will have my love, and even without gold he’ll not be deprived of the good life.’ 24. Bonne amourete Bonne amourete Me tient gai ; Ma comaignete, Bonne amourete, Ma cançonnete Vous dirai : Bonne amourete Me tient gai. My little love Makes me happy: My little companion, My little love, My little song I’ll sing to you: My little love Makes me happy! 25. C’est la fins C’est la fins, Koi que nus die, J’amerai! C’est la jus enmi les prés, C’est la fin je veul amer! Just et baus i a levés, Bele amie ai, C’est la fins Koi que nus die, J’amerai. That’s it— no matter what anyone says, I will love! Down there in the meadows, That’s it, I want to love! They’ve started games and dancing, I have a beautiful beloved. That’s it— no matter what anyone says, I will love! [spoken] “Ovreis les eulz, dresciès les testes, Regardeis moi ans on visage Atandeis la parole saige Dont li fais sont plaisans et dous. Quant Amour fait un cuer de dous Amors est un dons precious Et li fais an sont gracious” (4346) ‘Open your eyes, and lift up your heads, Look me in the face, And listen to my words of wisdom, Whose burden is sweet and pleasant: When Love makes one heart of two Love is a precious gift, And graceful are its deeds.’ 26. Pour mal temps ne pour gelee (reprise) Dame, en la vostre baillie Ai mis mon cuer et ma vie, Por Deu, ne m’ocïez mie! La ou fins cuers d’umilie Doit on trouver Merci et aïe Pour conforter. Valara! Lady, in your keeping I’ve placed my heart and my life – For God’s sake, do not slay me! Wherever a noble heart humbles itself It should find Mercy and aid To comfort it. Valara! Translations : Samuel N. Rosenberg, Peter T. Ricketts, Regina F. Psaki, Charles Johnston, Susan Stakel, Joel C. Relihan, Stephen McCormick