"Giovanna, first of the name, Queen of Jerusalem, Naples, and Sicily, d.u.c.h.ess of Apulia and Calabria, Countess of Provence, etc., was a daughter of Charles of Sicily, Duke of Calabria, who died in 1328, before his father Robert, and of Marie of Valois, his second wife. She was only nineteen years of age when she a.s.sumed the government of her dominions after her grandfather's death in 1343. She had already been married by him to his nephew, Andrea of Hungary. This was not a happy marriage; for the inclinations of both were extremely contrary, and the prince was controlled by a Franciscan monk named Robert, and the princess by a washerwoman called Filippa Catenese. These indiscreet advisers brought matters to extremes, so that Andrea was strangled in 1345. The disinterested historians state ingenuously that Joanna was not guilty of this crime, although the others accuse her of it. She married again, on the 2d of August, 1346. Her second husband was Louis of Tarento, her cousin; and she was obliged to leave Naples to avoid the armed attack of Louis, King of Hungary, who committed acts of extreme violence in this state. Joanna, however, quieted all these things by her prudence, and after losing this second husband, on the 25th of March, 1362, she married not long afterward a third, James of Aragon, Prince of Majorca, who, however, tarried not long with her. So seeing herself a widow for the third time, she made a fourth match in 1376 with Otto of Brunswick, of the House of Saxony; and as she had no children, she adopted a relative, Charles of Duras.... This ungrateful prince revolted against Queen Joanna, his benefactress.... He captured Naples, and laid siege to the Castello Nuovo, where the Queen was. She surrendered.

Charles of Duras had her taken to Muro, in the Basilicata, and had her put to death seven or eight months afterward. She was then in her fifty-eighth year.... Some authors say that he caused her to be smothered, others that she was strangled; but the more probable view is that she was beheaded, in 1382, on the 5th of May. It is said that a Provencal astrologer, doubtless a certain Anselme who lived at that time, and who is very famous in the history of Provence, being questioned as to the future husband of the young princess, replied, 'Maritabitur c.u.m ALIO.' This word is composed of the initials of the names of her four husbands, Andrea, Louis, James, and Otto. This princess, furthermore, was exceedingly clever, fond of the sciences and of men of learning, of whom she had a great many at her court, liberal and beautiful, prudent, wise, and not lacking in piety. She it is that sold Avignon to the popes. Boccaccio, Balde, and other scholars of her time speak of her with praise."

In offering an explanation of the great popularity enjoyed by Joanna of Naples among the people of Provence, the poet does not hesitate to acknowledge that along with her beauty, her personal charm, her brilliant arrival on the gorgeous galley at the court of Clement VI, whither she came, eloquent and proud, to exculpate herself, her long reign and its vicissitudes, her generous efforts to reform abuses, must be counted also the grewsome procession of her four husbands; and this popularity, he says, is still alive, after five centuries. The poet places her among such historic figures as Caius Marius, Ossian, King Arthur, Count Raymond of Toulouse, the good King Rene, Anne of Brittany, Roland, the Cid, to which the popular mind has attached heroic legends, race traditions, and mysterious monuments. The people of Provence still look back upon the days of their independence when she reigned, a sort of good fairy, as the good old times of Queen Joanna. Countless castles, bridges, churches, monuments, testify to her life among this enthusiastic people. Roads and ruins, towers and aqueducts, bear her name. Proverbs exist wherein it is preserved. "For us," says Mistral, "the fair Joanna is what Mary Stuart is for the Scotch,--a mirage of retrospective love, a regret of youth, of nationality, of poetry pa.s.sed away. And a.n.a.logies are not lacking in the lives of the two royal, tragic enchantresses." Petrarch, speaking of her and her young husband surrounded by Hungarians, refers to them as two lambs among wolves. In a letter dated from Vancluse, August, 1346, he deplores the death of the King, but makes no allusion to the complicity of the Queen.

Boccaccio proclaims her the special pride of Italy, so gracious, gentle, and kindly, that she seemed rather the companion than the queen of her subjects.

Our author cites likewise some of her accusers, and considers most of the current sayings against her as apocryphal. Some of these will not bear quotation in English. Mistral evidently wishes to believe her innocent, and he makes out a pretty good case. He approves the remark of Scipione Ammirato, that she contracted four successive marriages through a desire to have direct heirs. Another notices that had she been dissolute, she would have preferred the liberty of remaining a widow.

The poet cites Pope Innocent VI, who gave her the golden rose, and sets great store upon the expression of Saint Catherine of Siena, who calls her "Venerabile madre in Gesu Cristo," and he concludes by saying, "We prefer to concur in the judgment of the good Giannone (1676-1748), which so well agrees with our traditions."

The first act opens with a picture that might tempt a painter of Italian scenes. The Queen and her gay court are seated on the lawn of the palace garden at Naples, overlooking the bay and islands. At the very outset we hear of the Gai Savoir, and the Queen utters the essentially Provencal sentiment that "the chief glory the world should strive for is light, for joy and love are the children of the sun, and art and literature the great torches." She calls upon Anfan of Sisteron to speak to her of her Provence, "the land of G.o.d, of song and youth, the finest jewel in her crown," and Anfan, in long and eloquent tirades, tells of Toulouse and Nice and the Isles of Gold, reviews the settling of the Greeks, the domination of the Romans, and the sojourn of the Saracens; Aix and Arles, les Baux, Toulon, are glorified again; we hear of the old liberties of these towns where men sleep, sing, and shout, and of the magnificence of the papal court at Avignon.

"Enfin, en Avignoun, i'a lou papo! grandour Poude, magnificenci, e poumpo e resplendour, Que mestrejon la terro e fan, senso messorgo, Boufa l'alen de Dieu i ribo de la Sorgo."

Lastly, in Avignon, there's the Pope! greatness, power, magnificence, pomp, and splendor, dominating the earth, and without exaggeration, causing the breath of G.o.d to blow upon the banks of the Sorgue.

We learn that the brilliancy and animation of the court at Avignon outshine the glories of Rome, and in language that fairly glitters with its high-sounding, highly colored words. We hear of Petrarch and Laura, and the a.s.sociations of Vaucluse.

At this juncture the Prince arrives, and is struck by the resemblance of the scene to a court of love; he wonders if they are not discussing the question whether love is not drowned in the nuptial holy water font, or whether the lady inspires the lover as much with her presence as when absent. And the Queen defends her mode of life and temperament; she cannot brook the cold and gloomy ways of the north. Were we to apply the methods of Voltaire's strictures of Corneille to this play, it might be interesting to see how many _vers de comedie_ could be found in these scenes of dispute between the prince consort and his light-hearted wife.

"A l'avans! zou! en festo arrouinas lou Tresor!"

Go ahead! that's right, ruin the treasury with your feasts!

and to his objections to so many flattering courtiers, the Queen replies:--

"Voules que moun palais devengue un mounastie?"

Do you want my palace to become a monastery?

Joanna replies n.o.bly and eloquently to the threats of her husband to a.s.sume mastery over her by violent means, and, in spite of the anachronism (the poet makes her use and seemingly invent the term _Renascence_), her defence of the arts and science of her time is forceful and enthusiastic, and carries the reader along. That this sort of eloquence is dramatic, appears, however, rather doubtful.

The next scene interests us more directly in the characters before us.

The Prince, left alone with his confidant, Fra Rupert, gives expression to his pa.s.sionate love for the Queen, and pours forth the bitterness of his soul to see it unrequited. The fierce Hungarian monk denounces, rather justly, it appears to us, the license and levity of the Italian court, and incites Andrea to an appeal to the Pope, "a potentate that has no army, whose dominion extends from pole to pole, who binds and unbinds at his will, upholds, makes, or unmakes thrones as an almighty master."

But Andrea fears the Queen would never pardon him.

"E se noun ai en plen lou meu si caresso, L'emperi universal! m'es un gourg d'amaresso!"

And if I have not fully the honey of her caresses The empire of the world is to me a gulf of bitterness.

Finally the monk and La Catanaise stand alone before us. This woman is the Queen's nurse, who loves her with a fierce sort of pa.s.sion, and it is she who commits the crime that causes the play to be called a tragedy. This final scene brings out a flood of the most violent vituperation from this veritable virago, some of it exceedingly low in tone. The friar leaves with the threat to have a red-hot nail run through her h.e.l.lish tongue, and La Catanaise, standing alone, gives vent to her fury in threats of murder.

The next act reveals the Hall of Honor in the Castel-Nuovo at Naples.

Andrea in anger proclaims himself king, and in the presence of the Queen and the Italian courtiers gives away one after another all the offices and honors of the realm to his Hungarian followers. A conflict with drawn swords is about to ensue, when the Queen rushes between the would-be combatants, reminding them of the decree of the Pope; but Andrea in fury accuses the Queen of conduct worthy a shameless adventuress, and cites the reports that liken her to Semiramis in her orgies. The Prince of Taranto throws down his glove to the enraged Andrea, who replies by a threat to bring him to the executioner. The Prince of Taranto answers that the executioner may be the supreme law for a king,

"Mai per un qu'a l'ounour dins lou pies e dins l'amo, Uno escorno, cousin, se purgo eme la lamo."

But for one who has honor in his breast and his soul, An insult, cousin, is purged with the sword.

Andrea turns to his knights, and leaving the room with them points to the flag bearing the block and axe as emblems. The partisans of Joanna remain full of indignation. La Catanaise addresses them. The Sicilians, she says, waste no time in words, but have a speedier method of punishing a wrong, and she reminds them of the ma.s.sacre at Palermo. The Prince of Taranto discountenances the proposed crime, for the Queen's fair name would suffer. But the fierce woman points to the flag. "Do you see that axe hanging from a thread? You are all cowards! Let me act alone." And the Prince n.o.bly replies, "Philippine, battles are fought in the sunlight; men of our renown, men of my stamp, do not crouch down in the dark shadow of a plot." And the Catanaise again shows the flag. "Do you see the axe falling upon the block?"

Joanna enters to offer the Prince her thanks for his chivalrous defence of her fair name, and dismisses the other courtiers. The ensuing brief scene between the Queen and the Prince is really very eloquent and very beautiful. The Queen recalls the fact that she was married at nine to Andrea, then only a child too; and she has never known love. The poorest of the shepherdesses on the mountains of Calabria may quench her thirst at the spring, but she, the Queen of the Sun, if to pa.s.s away the time, or to have the appearance of happiness, she loves to listen to the echo of song, to behold the joy and brilliancy of a n.o.ble fete, her very smile becomes criminal. And the Prince reminds her that she is the Provencal queen, and that in the great times of that people, if the consort were king, love was a G.o.d, and he recalls the names of all the ladies made famous by the Troubadours. Thereupon the Queen in an outburst of enthusiasm truly Felibrean invokes the G.o.d of Love, the G.o.d that slew Dido, and speaks in the spirit of the days of courtly love, "O thou G.o.d of Love, hearken unto me. If my fatal beauty is destined sooner or later to bring about my death, let this flame within me be, at least, the pyre that shall kindle the song of the poet! Let my beauty be the luminous star exalting men's hearts to lofty visions!"

The chivalrous Prince is dismissed, and Joanna is alone with, her thoughts. The little page Dragonet sings outside a plaintive song with the refrain:--

"Que regret!

Jamai digues toun secret."

What regret!

Never tell thy secret.

La Catanaise endeavors to excite the fears of the Queen, insinuating that the Pope may give the crown to Andrea. Joanna has no fear.

"We shall have but to appear before the country with this splendor of irresistible grace, and like the smoke borne away by the breeze, suddenly my enemies shall disappear."

We may ask whether such self-praise comes gracefully from the Queen herself, whether she might not be less conscious of her own charm. La Catanaise is again alone on the scene, threatening. "The bow is drawn, the hen setting." This last comparison, the reader will remark, would be simply impossible as the termination of an act in a serious English play. This last scene, too, is wofully weak and purposeless.

The conversation of three courtiers at the beginning of Act III apprises us of the fact that the Pope has succeeded in bringing about a reconciliation between the royal pair, and that they are both to be crowned, and as a matter of precaution, the nurse Philippine, and the monk Fra Rupert are to be sent upon their several ways. The scene is next filled by the conspirators, La Catanaise directing the details of the plots. It is made clear that the Queen is utterly ignorant of these proceedings, which are after all useless; for we fail to see what valid motive these plotters have to urge them on to their contemptible deed. A brilliant banquet scene ensues, wherein Anfan of Sisteron sings a song of seven stanzas about the fairy Melusine, and seven times Dragonet sings the refrain, "Sian de la raco di lesert" (We are of the race of the lizards). And there are enthusiastic tirades in praise of the Queen and of Provence, and all is merry. But Andrea spills salt upon the table, which evil augury seems to be taken seriously. This little episode is foolish, and unwrorthy of a tragedy. We are on the verge of an a.s.sa.s.sination. Either the gloomy forebodings and the terror of the event should be impressed upon us, or the exaggerated gayety and high spirits of the revellers should by contrast make the coming event seem more terrible; but the spilling of salt is utterly trivial. After the feast La Catanaise and her daughter proceed to their devilish work, in the room now lighted only by the pale rays of the moon, while the voice of the screech-owl is heard outside. The trap is set for the King; he is strangled just out of sight with the silken noose. The Queen is roused by her nurse. The palace is in an uproar, and the act terminates with a pa.s.sionate demand for vengeance and justice on the part of Fra Rupert.

And now the Fourth Act. Here Mistral is in his element; here his love of rocky landscapes, of azure seas and golden islands, of song and festivity, finds full play. The tragedy is forgotten, the dramatic action completely interrupted,--never mind. We accompany the Queen on her splendid galley all the way from Naples to Ma.r.s.eilles. She leaves amid the acclamations of the Neapolitans, recounts the splendors of the beautiful bay, and promises to return "like the star of night coming out of the mist, laurel in hand, on the white wings of her Provencal galley." The boat starts, the rowers sing their plaintive rhythmic songs, the Queen is enraptured by the beauty of the fleeing sh.o.r.es, the white sail glistens in the glorious blue above. She is lulled by the motion of the boat and the waving of the hangings of purple and gold.

Midway on her journey she receives a visit from the Infante of Majorca, James of Aragon, who seems to be wandering over that part of the sea; then the astrologer Anselme predicts her marriage with _Alio_ and her death. She shall be visited with the sins of her ancestors; the blood spilled by Charles of Anjou cries for vengeance. The Queen pa.s.ses through a moment of gloom. She dispels it, exclaiming: "Be it so, strike where thou wilt, O fate, I am a queen; I shall fight, if need be, until death, to uphold my cause and my womanly honor. If my wild planet is destined to sink in a sea of blood and tears, the glittering trace I shall leave on the earth will show at least that I was worthy to be thy great queen, O brilliant Provence!"

She descends into the ship, and the rowers resume their song. Later we arrive at Nice, where the Queen is received by an exultant throng. She forgets the awful predictions and is utterly filled with delight. She will visit all the cities where she is loved, her ambition is to see her flag greeted all along the Mediterranean with shouts of joy and love.

She feels herself to be a Provencale. "Come, people, here I am; breathe me in, drink me in! It is sweet to me to be yours, and sweet to please you; and you may gaze in love and admiration upon me, for I am your queen!"

The journey is resumed. We pa.s.s the Isles of Gold, and the raptures are renewed. At Ma.r.s.eilles the Queen is received by the Consuls, and swears solemnly to respect all the rights, customs, and privileges of the land, and the Consul exacts as the last oath that she swear to see that the n.o.ble speech of Arles shall be maintained and spoken in the land of Provence. The act closes with the sentiment, "May Provence triumph in every way!"

The last act brings us to the great hall of the papal palace at Avignon, where the Pope is to p.r.o.nounce judgment upon the Queen. Fra Rupert, disguised as a pilgrim, harangues the throng, and two Hungarian knights are beaten in duel by Galeas of Mantua. This duel, with its alternate cries of Dau! Dau! Te! Te! Zou! Zou! is difficult to take seriously and reminds us of Tartarin. The Queen enters in conversation with Petrarch.

The Hungarian knights utter bitter accusations against the Queen, who gives them in place of iron chains the golden chains about her neck, whereupon the knights gallantly declare their hearts are won forever.

The doors open at the back and we see the papal court. Bertrand des Baux gives a hideous account of the torture and death of those who had a hand in the death of Andrea. The Queen makes a long speech, expressing her deep grief at the calumnies and slander that beset her. The court and people resolve themselves into a kind of opera chorus, expressing their various sentiments in song. The Queen next reviews her life with Andrea, and concludes:--

"And it seemed to me n.o.ble and worthy of a queen to melt with a glance the cold of the frost, to make the almond tree blossom with a smile, to be amiable to all, affable, generous, and lead my people with a thread of wool! Yes, all the thought of my mad youth was to be loved and to reign by the power of love. Who could have foretold that, afterward, on the day of the great disaster, all this should be made a reproach against me! that I should be accused, at the age of twenty, of instigating an awful crime!"

And she breaks down weeping. The page, the people, the pilgrim, and the astrologer again sing in a sort of operatic ensemble their various emotions. The Pope absolves the Queen, the pilgrim denounces the verdict furiously, and is put to death by Galeas of Mantua. So ends the play.

_La Reino Jano_ is a pageant rather than a tragedy. It is full of song and sunshine, glow and glitter. The characters all talk in the exaggerated and exuberant style of Mistral, who is not dramatist enough to create independent being, living before us. The central personage is in no sense a tragic character. The fanatical Fra Rupert and the low, vile-tongued Catanaise are not tragic characters. The psychology throughout is decidedly upon the surface.

The author in his introduction warns us that to judge this play we must place ourselves at the point of view of the Provencals, in whom many an expression or allusion that leaves the ordinary reader or spectator untouched, will possibly awaken, as he hopes, some particular emotion.

This is true of all his literature; the Provencal language, the traditions, the memories of Provence, are the web and woof of it all.

It is interesting to note the impression made by the language upon a Frenchman and a critic of the rank of Jules Lemaitre. He says in concluding his review of this play:--

"The language is too gay, it has too much sing-song, it is too harmonious. It does not possess the rough gravity of the Spanish, and has too few of the _i_'s and _e_'s that soften the sonority of the Italian. I may venture to say it is too expressive, too full of onomatopia. Imagine a language, in which to say, "He bursts out laughing," one must use the word _s'escacala.s.so_! There are too many _on_'s and _oun_'s and too much _ts_ and _dz_ in the p.r.o.nunciation. So that the Provencal language, in spite of everything, keeps a certain patois vulgarity. It forces the poet, so to say, to perpetual song-making. It must be very difficult, in that language, to have an individual style, still more difficult to express abstract ideas. But it is a merry language."

The play has never yet been performed, and until a trial is made, one is inclined to think it would not be effective, except as a spectacle. It is curious that the Troubadours produced no dramatic literature whatever, and that the same lack is found in the modern revival.

Aubanel's _Lou Pan dou Pecat_ (The Bread of Sin), written in 1863, and performed in 1878 at Montpellier, seems to have been successful, and was played at Paris at the Theatre Libre in 1888, in the verse-translation made by Paul Arene. Aubanel wrote two other plays, _Lou Pastre_, which is lost, and _Lou Raubatn_, a work that must be considered unfinished. Two plays, therefore, const.i.tute the entire dramatic production in the new language.