Modern Provencal Literature

The best of the pastoral poets was Francois de Cortete (157i 1655), of Prades, whose comedies, Ramounet and Miramoundo (published, unfortunately with alterations, by his son in 1684), are written with such true feeling and in so pure a style that they can be read with real pleasure. A comedy of his dealing with Sancho Panza in the palace of the Duke has been edited. Daubasse (1664-1727), of Quercy, who belonged to the working classes, was patronized by the nobility in exchange for panegyrics. Gas cony produced two typical works in the 17th century: Ader's Gen tilliomme gascoun (I6io) and G. d'Astros's Trinfe de la lengo gascouo (1642). Gabriel Bedout (Parterre gascoun, 1642) is chiefly noted for his amorous solitari. Louis Baron (b. 1612), celebrated with great tenderness his native village of Pouyloubrin.

In the 18th century the number of authors is much larger, but the bulk of good work produced is not equally great in pro portion. The priests are mainly responsible for the literary output of Languedoc. The chief of the band is the Abbe Favre (1727 1783), the prior of Celleneuve, whose Ou sermoun de Moussu Sis tre delivered a drunken priest against intemperance, is a master piece. He also wrote a successful mock-heroic poem (Siege de Caderouss) travesties of Homer and Virgil, a prose novel depict ing the country manners of the time (Histouero de Jean-l'an-pres), and two comedies, which likewise give a vivid picture of the vil lage life he knew so well. Two genuine poets are the brothers Rigaud of Montpellier: Auguste's (176o-1835) description of a vintage is deservedly famous; and Cyrille (1750-1824) produced an equally delightful poem in the Amours de Mounpeie. Pierre Hellies of Toulouse (d. 1724) a poet of the people, whose vicious life finds an echo in his works, has a certain rude charm, at times distantly recalling Villon. In Provence Toussaint Gros (1698 1748), of Lyons, holds undisputed sway. His style and language are admirable, but unfortunately he wasted his gifts largely on trivial pieces d' occasion. Coye's (1711-1777) comedy, ou Novy para, is bright and still popular, while Germain's description of a visit paid by the ancient gods to Marseilles (Bourrido dei Dious, 1760) has considerable humour. In Gascony the greatest poet is Cyrien Despourrins (1698-1755).

The 19th Century.

The Revolution produced a large body of literature, but nothing of lasting interest. Scholars like Raynouard (1761-1863), of Aix, occupied themselves with the brilliant literary traditions of the middle ages; newspapers sprang up (the Provencal Bouil-Abaisso, started by Desanat, and the bilingual Lou Tambourin et le menestrel, edited by Bellot, both in 1841) ; poets banded together and collected their pieces in volume form (thus, the nine troubaire who published Lou Bouquet prou vencaou in 1823). Much has been written about the precurseurs de Felibrige, and critics are sorely at variance as to the writers that most deserve this appellation. We shall not go far wrong if we include in the list Hyacinthe Morel (1756-1829), Louis Aubanel (1758-1842) ; Auguste Tandon, "the troubadour of Montpellier"; Fabre d'Olivet (1767-1825) ; Diouloufet 184o) ; Jacques Azais (1778-1856) ; D'Astros (178o-1863), Castil Blaze (1784-1857) ; the Marquis de Fare-Alais (1791-1846). While these writers were all more or less academic, and appealed to the cultured few, four poets of the people addressed a far wider public: Verdie (1779-182o), of Bordeaux, who wrote comic and satirical pieces; Jean Reboul (1796-1864), the baker of Nimes, who never surpassed his first effort, L'Ange et l'enf ant (1828) ; Victor Gelu (18o6-1885), relentless and brutal, but undeniably powerful of his kind (Fenian et Gromnan; dix chansons proven (ales, 1840) ; and, greatest of them all, the true and acknowledged forerunner of the felibres, Jacques Jasmin (q.v.).

Roumanille and Mistral.

In 1845 Joseph Roumanille (1818-1891) of Saint-Remy became usher in a small school at Avignon, which was attended by Frederic Mistral (q.v.). Rou manille had composed some pieces in French ; but, finding that his old mother could not understand them, he determined thence forth to write in his native dialect only. These poems revealed a new world to young Mistral, and spurred him on to the resolve that became the one purpose of his life—de remettre en lumiere et conscience de sa gloire cette noble race qu'en plein '89 Mirabeau nomme encore la nation provencale. There is no doubt that Mis

tral's is the more puissant personality, and that his finest work towers above that of his fellows; but in studying the Provencal renaissance, Roumanille's great claims should not be overlooked, and they have never been put forward with more force than by Mistral himself (in the preface of his Isclos d'oro). Roumanille's secular verse cannot fail to appeal to every lover of pure and sin cere poetry (Li Margaritedo, Li Sounjarello, 1852; Li Flour de Sauvi, 1850-1859, etc.), his noels are second only to those of Saboly, his prose works (such as Lou mege de Cucugnan, 1863) sparkling with delightful humour. He it was who in 1852 collected and published Li Prouvencalo, an anthology in which all the names yet to become famous, and most of those famous already (such as Jasmin), are represented. In 1853 he was one of the enthusiastic circle that had gathered round J. B. Gaut at Aix, and whose literary output is contained in the Roumavagi dei Troubaire and in the shortlived journal Lou gay saber At the same time the first attempt at regulating the orthography of Provencal was made by him (in the introduction to his play, La Part dou bon Dieu, 1853). And in 1854 he was one of the seven poets who, on May 2 1 , foregathered at the castle of Font segugne, near Avignon, and founded the Felibrige. (See Emile Ripert, La Renaissance Provencale.) The other six were Mistral, Aubanel, A. Mathieu (a schoolfellow of Mistral's at Avignon), E. Garcin, A. Tavan and P. Giera (owner of the castle). Of these, Theodore Aubanel (1829-1886, of Avignon, son of a printer and following the same calling) has alone proved himself worthy to rank with Mistral and Roumanille. "Zani," the girl of his youthful and passionate love, took the veil; and this event cast a shadow over his whole life, and determined the character of all his poetry (Lou miougrano entre-duberto, 186o; Li Fiho d'Avignoun, 1883). His is, without a doubt, the deepest nature and temperament among the felibres, and his lyrics are the most poignant. His powerful love drama Lou pau dou peccat was received with enthu siasm at Montpellier in 1878, and successfully produced (some years later in Arene's version) by Antoine at his Theatre Libre.

We need not do more than glance at the work of the fourth of the group of poets who alone, amidst the numerous writers of lyrics and other works that attain a high level of excellence, appear to us to have so far secured permanent fame by the magni tude of their achievement. Felix Gras (1844-1891) settled at Avignon in his youth. His rustic epic, Li Carbounie (1876) is full of elemental passion and abounds in fine descriptions of scenery, but it lacks proportion. The heroic geste of Toloza (1882), in which Simon de Montfort's invasion of the south is depicted with unbounded vigour and intensity, shows a great advance in art. Li Roumancero provencal (1887) is a collection of poems instinct with Provencal lore, and in Li Papalino (1891) we have some charming prose tales that bring to life again the Avignon of the popes. Finally, the poet gave us three tales dealing with the period of the Revolution (Li Rouge dou miejour, etc.).

Since the end of the 19th century the Felibrige has consider ably developed : it now constitutes important groups in the differ ent parts of Southern France from the Pyrenees to Auvergne, Velay and Dauphine. These groups represent the most varied opinions in politics and religion, and for the expression of their ideas they resort to the whole range of dialects and patois actually used in Southern France. The spirit of the movement, is purely literary; it has never been expressed with greater terseness, force and truth than in the three verses set by Felix Gras at the head of his Carbounie: "I love my village more than thy village; I love my Provence more than thy province; I love France more than all." See Emile Ripert, Le Filibrige (Paris, 1924. Contains an excellent bibliography). (H. 0.; L. B.)