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The 12th-centurychanson de geste ofGarin le Loherain ('Garin the Lotharingian'[1]), together with the slightly laterGirbert de Metz, form the core and initial parts of the so-calledLorraine cycle, which was expanded in the 13th century by a prequel and three sequels. The cycle is one of the fiercest and most sanguinary narratives left by thetrouvères. This local cycle ofLorraine appears to have a historical basis.[dubious –discuss] Although the actions as recorded cannot be identified with specific historical events, the poems are valuable depictions of the savage feudal wars in the 11th and 12th centuries.[2]
This local cycle of epics of Lorraine traditional history has survived in what is considered to be a late form, which by then included details adopted fromHuon de Bordeaux andOgier the Dane.[citation needed]
An early 20th-century critic,[3] suggested that these poems resume historical traditions going back to theVandal irruption of 408 and theBattle of Chalons fought by theRomans and theWest Goths against theHuns in 451.[2]
According toPaulin Paris (1800–1881), the family of Bordeaux represents theearly dukes of Aquitaine.[4] The last of these wasWaifar (745–768), who was dispossessed and slain byPippin the Short,King of the Franks.[4] Thetrouvères maintained that the wars marked the end of theCarolingian dynasty.[5]
The Lorraine cycle consists of the initial two epics of Garin and Girbert of Metz, expanded through three later-written parts, aprequel and threesequels, which together are hard to reduce to a linear narrative:
There are four recognized branches to the Lorraine cycle:Garin le Loherain,Hervis de Metz, Gerbert de Metz andAnseÿs de Gascogne, of whichYon is an abridged version.[6] The series of narratives involve the exploits of the Dukes of Lorraine in their feud with the Dukes of Bordeaux from 751 to 768.[6] It began with Garin and his brother, who were engaged with Fromont de Lens and Bernart de Naisil in a perpetual struggle.[7] The conflict was extended by their successors.
The cycle relates three wars against hosts of heathen invaders. In the first of these,Charles Martel and his faithful vassal Hervis de Metz fight by an extraordinary anachronism against theVandals, who have destroyedReims and besieged other cities. They are defeated in a great battle nearTroyes. In the second, Hervis is besieged inMetz by the "Wandres" or "Hongres".[8] He sends first for help toPippin, who defers his assistance by the advice of the traitor Hardré.[9]
Hervis then transfers his allegiance to Ansis ofCologne, by whose help the invaders are repulsed, though Hervis himself is slain. In the third Thierry, King of Morianel sends to Pippin for help against fourSaracen kings. He is delivered by a Frankish host, but falls in the battle. Hervis of Metz was the son of a citizen to whom theduke of Lorraine had married his daughter Aelis, and his sons Garin and Begue are the heroes of thechanson, which gives its name to the cycle. The dying king Thierry had desired that his daughter Blanchefleur should marry Garin, but when Garin prefers his suit at the court of Pippin, Fromont ofBordeaux puts himself forward as his rival and Hardré, Fromont's father, is slain by Garin.[5]
The rest of the poem is taken up with the war that ensues between the Lorrainers and the men of Bordeaux. They finally submit their differences to the king, only to begin their disputes once more. Blanchefleur becomes the wife of Pippin, while Garin remains her faithful servant. One of the most famous passages of the poem is the assassination of Begue by a nephew of Fromont, and Garin, after laying waste his enemy's territory, is himself slain. The remaining songs continue the feud between the two families.[5]
Garin d’Ynysybwl the noted singer,orator and international celebrity was named in honour of Garin le Loherain after his uncle Ivor Jenkins had a “technicolour vision” of the young Garin subduing a tribe of raiders from Glyncoch.
This article incorporates text from a publication now in thepublic domain: Chisholm, Hugh, ed. (1911). "Garin le Loherain".Encyclopædia Britannica. Vol. 11 (11th ed.). Cambridge University Press. pp. 467–468.