A corrupt horse rises from a stable to the royal palace, winning the admiration of kings, clergy, and courtiers alike. Sonja Maurer-Dass tells us about Le Roman de Fauvel, one of the sharpest political satires of the Middle Ages, exposing the greed, ambition, and moral decay they saw in fourteenth-century France.
By Sonja Maurer-Dass
“Not all villains are people.” These words, spoken by author Anthony T. Hincks, certainly ring true in the poetry and music of the French satirical work Le Roman de Fauvel. Originally credited to the fourteenth-century poet and royal chancery clerk Gervais du Bus—with music, images, and additional text later interpolated by Chaillou de Pesstain—Le Roman de Fauvel centres on its titular villain: a self-serving and rapacious horse named Fauvel who rises from his humble beginnings in a stable to an extremely influential and prominent position of political and religious authority.
In conjunction with his increasing power and influence, Fauvel gradually exhibits numerous vices. These vices are embedded within his name: “Fauvel” is an acrostic for Flatterie, Avarice, Vilainie, Variété (fickleness), Envie, and Lâcheté (cowardice). Fundamentally, Fauvel’s monstrous character is an amalgamation of humanity’s iniquities.
Three vices sitting at a table – Detail from Bibliothèque nationale de France MS Français 146 fol. 13v
Laced with allegorical texts that reflect the tumultuous political and ecclesiastical climate of France during the final years of Philip IV’s reign, Le Roman de Fauvel educates its readers on the consequences of greed and insatiable ambition through both word and song. Specifically, these allegorical texts refer—often subliminally—to abuses of power exhibited by Philip IV’s administrators, most notably his chamberlain Enguerrand de Marigny, who is widely believed to have inspired Fauvel’s avaricious character.
The Story of Fauvel
Bibliothèque nationale de France MS Français 146 fol. 1v
Our story begins in a Parisian stable. Here, we are introduced to a tawny-colored horse named Fauvel (“fauve,” which translates to “tawny” in English, is a color that represents vanity) who is dissatisfied with his simple life and dwelling space. Soon after, Lady Fortune casts her favor upon him – much to the dismay of her more sagacious sister Raison (“Reason”) – and decides to exalt the ambitious Fauvel to a revered position within the royal palace.
There, he is senselessly admired, adulated, and curried to by those who are deemed most elite in society, including the king and the pope. (In fact, the expression “to curry favor” derives from the saying “to curry Fauvel”. This expression refers to the manner in which nobles and clergy curried, or groomed, Fauvel in exchange for his attention.)
Fauvel’s power and influence over France’s leaders and ecclesiastical affairs continue to increase, and his numerous vices and capriciousness result in religious corruption and turmoil that cause irreparable damage to the Church. Not only has the Church suffered at the hands of the empowered stallion, but politics and secular society have also been severely tainted by Fauvel’s corruption.
Fauvel – now at the peak of his power and dwelling in a lavishly decorated palace alongside his unscrupulous courtiers, including Envy, Deceit, Vanity, and Perjury – fears that Lady Fortune (who is fickle by nature) may withdraw her favor from him. Thus, to ensure the continuity of his success, Fauvel plots to marry Fortune so that he may forever possess absolute authority over his destiny.
Fauvel at his wedding – Bibliothèque nationale de France MS Français 146 fol. 32b
Accompanied by his band of dishonorable courtiers, Fauvel travels to Lady Fortune’s home and proposes to her; however, his proposal is swiftly rejected since Fortune is aware of his moral depravity. Additionally, she has foreseen that Fauvel’s descendants will eventually bring forth the Antichrist. Alternatively, Fortune suggests that Fauvel marry Lady Vainglory, a proposal that he gladly accepts.
Fauvel and Vainglory soon marry, and their wedding is attended by many guests who represent vices, including Envy and Hypocrisy. In addition to these guests are virtuous figures such as Chastity and Humility, who attend in the hope that they may bring about Fauvel’s destruction. Following the wedding, a jousting tournament is arranged between the Vices and the Virtues. Ultimately, the Virtues triumph; however, in this instance, Fauvel has not been destroyed. Consolingly, Lady Fortune prophesies that although he will continue to spread evil through children born of Vainglory, Fauvel will eventually meet his demise.
The Music of Le Roman de Fauvel
Bibliothèque nationale de France MS Français 146 fol. 1r
Accompanying the moral lessons taught in Fauvel’s poetry are exquisitely illuminated musical compositions. A number of different musical styles and textures appear throughout Le Roman de Fauvel as evinced by the presence of both monophonic and polyphonic pieces (monophonic refers to compositions that consist of a single, unaccompanied melody, and polyphonic refers to more complex compositions that consist of multiple independent musical lines that are sung or played together) and secular and sacred genres.
The texts belonging to these compositions are written in either French or Latin and generally complement the work’s poetry (for example, some of the characters such as Fauvel and Lady Fortune sing at different points throughout the work) or provide moral commentary on various events described throughout the tale. This is evident in folio 1r of the manuscript. As observed, the story’s poetry is positioned in the center of the folio and is encapsulated by illuminations and musical notation.
The poetry in the middle of the folio describes Fauvel’s fortuitous transition from his stable to palace life and power. This is also depicted in the folio’s illuminations.
Detail from Bibliothèque nationale de France MS Français 146 fol. 1r
The image above shows three scenes of Fauvel’s transition from stable to palace: the lower left corner of the image portrays Fauvel in his stable; the right hand corner depicts Fauvel being led upstairs by Lady Fortune (perhaps representing his ascent to power); and the top of the image shows Fauvel in his luxurious new living arrangements.
Detail from Bibliothèque nationale de France MS Français 146 fol. 1r
The image situated at the bottom of the folio shows Fauvel being praised by nobility and clergy. These events are described in the folio’s poetry as follows:
Fauvel no longer lies in the stable, he has a more honourable house, he requests a high manger, a fine hayrack, and enough food. He has lodged himself in the hall, the better to display his royal prerogatives. And nevertheless in his wisdom, in the Chambers in great honour, and in the privy chambers, he soon assembles his Faithful, who rub him so carefully. No muck can remain on him. Fortune, contrary to reason, has made him lord of her house. She labours to raise him on high, for in the Royal palace she leads him. She does not cease to make him honoured. Around Fauvel there is such a crowd of folk from every nation and from every rank that it is a very great wonder: there is no one there who does not make ready to curry Fauvel gently. There is a great gathering there. ~ translation from “Labouring in the Midst of Wolves: Reading a Group of ‘Fauvel’ Motets” by Edward H. Roesner from Early Music History Vol. 22 (2003).
Framing Fauvel’s story on folio 1r are musical lines that comment on Fauvel’s story as described in the poem. For example, the text of the vocal line situated on the left-hand side of the folio (referred to as “Favellandi vicium”) laments and rebukes the corruption that Fauvel has unleashed on France’s political sphere:
The vice of fauvelling and the muck of avarice are now occupying the throne and the highest position in the court. A gift makes the judge favourable and gentle. Law passes into exile, and the judgement of law is up for sale. O what an infection, how great the boils that daily plague the flanks of the mighty! Flattering voices ascend to power. Fraudulent justice rules. Merciful God, apply here counsel! ~ translation from “Labouring in the Midst of Wolves: Reading a Group of ‘Fauvel’ Motets” by Edward H. Roesner from Early Music History Vol. 22 (2003).
Although composed in the fourteenth century, Le Roman de Fauvel tells a tale of vices such as political corruption, villainy, and greed that have persisted in each generation since its creation. Certainly, the work’s imagery is firmly situated in the Middle Ages, but its cautionary message continues to be valuable and relatable regardless of the epoch.
Dr. Sonja Maurer-Dass is a Canadian musicologist and harpsichordist. She holds a PhD in Musicology from The University of Western Ontario and a master’s degree in Musicology specializing in late medieval English music from York University. Sonja has taught Baroque music history at McMaster University and undergraduate tutorials on different topics in musicology and music theory at The University of Western Ontario. Her work has been published in the Medieval Magazine, Ancient History Magazine, Ceræ: An Australasian Journal of Medieval and Early Modern Studies, and Medievalists.net
A corrupt horse rises from a stable to the royal palace, winning the admiration of kings, clergy, and courtiers alike. Sonja Maurer-Dass tells us about Le Roman de Fauvel, one of the sharpest political satires of the Middle Ages, exposing the greed, ambition, and moral decay they saw in fourteenth-century France.
By Sonja Maurer-Dass
“Not all villains are people.” These words, spoken by author Anthony T. Hincks, certainly ring true in the poetry and music of the French satirical work Le Roman de Fauvel. Originally credited to the fourteenth-century poet and royal chancery clerk Gervais du Bus—with music, images, and additional text later interpolated by Chaillou de Pesstain—Le Roman de Fauvel centres on its titular villain: a self-serving and rapacious horse named Fauvel who rises from his humble beginnings in a stable to an extremely influential and prominent position of political and religious authority.
In conjunction with his increasing power and influence, Fauvel gradually exhibits numerous vices. These vices are embedded within his name: “Fauvel” is an acrostic for Flatterie, Avarice, Vilainie, Variété (fickleness), Envie, and Lâcheté (cowardice). Fundamentally, Fauvel’s monstrous character is an amalgamation of humanity’s iniquities.
Laced with allegorical texts that reflect the tumultuous political and ecclesiastical climate of France during the final years of Philip IV’s reign, Le Roman de Fauvel educates its readers on the consequences of greed and insatiable ambition through both word and song. Specifically, these allegorical texts refer—often subliminally—to abuses of power exhibited by Philip IV’s administrators, most notably his chamberlain Enguerrand de Marigny, who is widely believed to have inspired Fauvel’s avaricious character.
The Story of Fauvel
Our story begins in a Parisian stable. Here, we are introduced to a tawny-colored horse named Fauvel (“fauve,” which translates to “tawny” in English, is a color that represents vanity) who is dissatisfied with his simple life and dwelling space. Soon after, Lady Fortune casts her favor upon him – much to the dismay of her more sagacious sister Raison (“Reason”) – and decides to exalt the ambitious Fauvel to a revered position within the royal palace.
There, he is senselessly admired, adulated, and curried to by those who are deemed most elite in society, including the king and the pope. (In fact, the expression “to curry favor” derives from the saying “to curry Fauvel”. This expression refers to the manner in which nobles and clergy curried, or groomed, Fauvel in exchange for his attention.)
Fauvel’s power and influence over France’s leaders and ecclesiastical affairs continue to increase, and his numerous vices and capriciousness result in religious corruption and turmoil that cause irreparable damage to the Church. Not only has the Church suffered at the hands of the empowered stallion, but politics and secular society have also been severely tainted by Fauvel’s corruption.
Fauvel – now at the peak of his power and dwelling in a lavishly decorated palace alongside his unscrupulous courtiers, including Envy, Deceit, Vanity, and Perjury – fears that Lady Fortune (who is fickle by nature) may withdraw her favor from him. Thus, to ensure the continuity of his success, Fauvel plots to marry Fortune so that he may forever possess absolute authority over his destiny.
Accompanied by his band of dishonorable courtiers, Fauvel travels to Lady Fortune’s home and proposes to her; however, his proposal is swiftly rejected since Fortune is aware of his moral depravity. Additionally, she has foreseen that Fauvel’s descendants will eventually bring forth the Antichrist. Alternatively, Fortune suggests that Fauvel marry Lady Vainglory, a proposal that he gladly accepts.
Fauvel and Vainglory soon marry, and their wedding is attended by many guests who represent vices, including Envy and Hypocrisy. In addition to these guests are virtuous figures such as Chastity and Humility, who attend in the hope that they may bring about Fauvel’s destruction. Following the wedding, a jousting tournament is arranged between the Vices and the Virtues. Ultimately, the Virtues triumph; however, in this instance, Fauvel has not been destroyed. Consolingly, Lady Fortune prophesies that although he will continue to spread evil through children born of Vainglory, Fauvel will eventually meet his demise.
The Music of Le Roman de Fauvel
Accompanying the moral lessons taught in Fauvel’s poetry are exquisitely illuminated musical compositions. A number of different musical styles and textures appear throughout Le Roman de Fauvel as evinced by the presence of both monophonic and polyphonic pieces (monophonic refers to compositions that consist of a single, unaccompanied melody, and polyphonic refers to more complex compositions that consist of multiple independent musical lines that are sung or played together) and secular and sacred genres.
The texts belonging to these compositions are written in either French or Latin and generally complement the work’s poetry (for example, some of the characters such as Fauvel and Lady Fortune sing at different points throughout the work) or provide moral commentary on various events described throughout the tale. This is evident in folio 1r of the manuscript. As observed, the story’s poetry is positioned in the center of the folio and is encapsulated by illuminations and musical notation.
The poetry in the middle of the folio describes Fauvel’s fortuitous transition from his stable to palace life and power. This is also depicted in the folio’s illuminations.
The image above shows three scenes of Fauvel’s transition from stable to palace: the lower left corner of the image portrays Fauvel in his stable; the right hand corner depicts Fauvel being led upstairs by Lady Fortune (perhaps representing his ascent to power); and the top of the image shows Fauvel in his luxurious new living arrangements.
The image situated at the bottom of the folio shows Fauvel being praised by nobility and clergy. These events are described in the folio’s poetry as follows:
Fauvel no longer lies in the stable, he has a more honourable house, he requests a high manger, a fine hayrack, and enough food. He has lodged himself in the hall, the better to display his royal prerogatives. And nevertheless in his wisdom, in the Chambers in great honour, and in the privy chambers, he soon assembles his Faithful, who rub him so carefully. No muck can remain on him. Fortune, contrary to reason, has made him lord of her house. She labours to raise him on high, for in the Royal palace she leads him. She does not cease to make him honoured. Around Fauvel there is such a crowd of folk from every nation and from every rank that it is a very great wonder: there is no one there who does not make ready to curry Fauvel gently. There is a great gathering there. ~ translation from “Labouring in the Midst of Wolves: Reading a Group of ‘Fauvel’ Motets” by Edward H. Roesner from Early Music History Vol. 22 (2003).
Framing Fauvel’s story on folio 1r are musical lines that comment on Fauvel’s story as described in the poem. For example, the text of the vocal line situated on the left-hand side of the folio (referred to as “Favellandi vicium”) laments and rebukes the corruption that Fauvel has unleashed on France’s political sphere:
The vice of fauvelling and the muck of avarice are now occupying the throne and the highest position in the court. A gift makes the judge favourable and gentle. Law passes into exile, and the judgement of law is up for sale. O what an infection, how great the boils that daily plague the flanks of the mighty! Flattering voices ascend to power. Fraudulent justice rules. Merciful God, apply here counsel! ~ translation from “Labouring in the Midst of Wolves: Reading a Group of ‘Fauvel’ Motets” by Edward H. Roesner from Early Music History Vol. 22 (2003).
Although composed in the fourteenth century, Le Roman de Fauvel tells a tale of vices such as political corruption, villainy, and greed that have persisted in each generation since its creation. Certainly, the work’s imagery is firmly situated in the Middle Ages, but its cautionary message continues to be valuable and relatable regardless of the epoch.
Dr. Sonja Maurer-Dass is a Canadian musicologist and harpsichordist. She holds a PhD in Musicology from The University of Western Ontario and a master’s degree in Musicology specializing in late medieval English music from York University. Sonja has taught Baroque music history at McMaster University and undergraduate tutorials on different topics in musicology and music theory at The University of Western Ontario. Her work has been published in the Medieval Magazine, Ancient History Magazine, Ceræ: An Australasian Journal of Medieval and Early Modern Studies, and Medievalists.net
Click here to read more from Sonja Maurer-Dass
Further Readings:
Dillon, Emma. Medieval Music-Making and the Roman de Fauvel. Cambridge University Press, 2002.
Fassler, Margot. Music in the Medieval West: Western Music in Context. W.W. Norton and Company, 2014.
Roesner, Edward H. “Labouring in the Midst of Wolves: Reading a Group of ‘Fauvel’ Motets”. Early Music History, vol. 22, 2003, pp. 169–245.
Rosenberg, Samuel N., and Hans Tischler, editors. The Monophonic Songs in the Roman de Fauvel. University of Nebraska Press, 1991.
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