Alain Chartier
Chartier, Alain (1380/90-c.1430). Chartier entered the service of Charles VII—then dauphin—shortly before 1417, and remained there as royal notary and secretary until after 1428. A trusted emissary, he acted on several occasions as ambassador to various European courts. Nearly 200 manuscripts of his work are extant, a measure of his prestige.
His literary production was considerable, in Latin and in French; the former mainly consists of official discourses interesting for the light they throw on Chartier's own Latinity. His French writings, prose and verse, accounted for his reputation in his own time. His earliest poems are courtly and conventional, but his first notable work, Le Livre des quatre dames (c.1416), holds a typically delicate balance between poet as lover and poet as commentator. The poet as character meets four ladies lamenting their distress in the wake of what is clearly the battle of Agincourt; all four castigate those who fled. The poem is a debate: which of them has suffered the most, the first who is widowed, the second whose husband is imprisoned, and so on.
Certain formal features—the poet as observer, the debate form—recur in his best-known and most popular poem, La Belle Dame sans mercy (1424), whose tone is an interesting mixture of the courtly and the mildly satirical. The poet overhears a conversation between a mournful, languishing Amant and a briskly sceptical, rational Belle Dame proof against all the Lover's emotional appeals. Elsewhere in his writings debate goes hand in hand with despair at the plight of France. The Debat du herault, du vassault et du villain (after 1415) externalizes this despair with a debate between a despondent knight, a herald looking for a return to the old values, and a brusque peasant. The poem anticipates his best-known prose work, the Quadrilogue invectif (1422). This stages another debate, this time between France herself and representatives of the different estates: a nobility cowardly and idle, a clergy intent on worldly pleasure, a people demanding and discontented. The debate, conducted with a sophisticated dialectic, is couched in an eloquent, rhetorical, Latinate prose, its austere and measured periods balancing the sense of distance created by allegory and a genuine indignation inspired by contemporary disasters. His last major work, the unfinished Lai d'esperance (1428-9), betrays a growing sense of disillusionment: in this allegory, Defiance, Indignation, and Desesperance invite him to suicide; he is rescued from his despair only by the three theological virtues.
[Jane Taylor]
Bibliography
- F. Rouy, L'Esthétique du traité moral d'après les œuvres d'Alain Chartier (1980)






