by Sherman Tham Kin Yang
Aucassin and Nicolette adopts a unique literary form that alternates between prose and verse, combining elements of both storytelling and lyrical poetry. The version on display was published initially in 1899, translated from French by Andrew Lang, a British folklorist and literary scholar renowned for his translation work in preserving and popularising medieval and fairy-tale literature. The Roycrofters, who published the book, were a reformist community of craft workers and artists in East Aurora, New York. Their work and philosophy grew to shape the development of architecture and design in late 19th century America.
Originating from the 13th century, Aucassin and Nicolette is one of the last few surviving chantefables and uniquely stands out for its clever blend of high romance and comic and unconventional characters. Unlike conventional medieval romances which often feature chivalric ideals, this work actively subverts expectations by portraying Aucassin as an unconventionally reluctant knight who abhors and rejects violence, while his love interest, Nicolette, displays wit and agency uncommonly displayed in female characters of the 13th century’s conception of gender norms and social mores. The enduring appeal of Aucassin and Nicolette lies in its unconventional storytelling, underpinned by its clear inversion of medieval literary tropes that subvert traditionally entrenched conduct of chivalry.
The displayed edition was published by Roycroft, an American artisan community established in late 19th century America as part of the growing Arts and Crafts movement. Roycroft emphasised high-quality bookmaking and craftsmanship, often producing works with an intricate typographical design and hand-illuminated embellishments. Thus, it renders the book not merely a literary masterpiece, but also a timeless physical artifact of 19th century fine craftsmanship. Andrew Lang’s adaptation uplifted and played a fundamental role in bringing Aucassin and Nicolette to an English-speaking audience, with his rendition preserving the lyrical qualities that define the original French text. In doing so, it retains the whimsical and novel interplay between prose and verse that defines the chantefable tradition. The book’s materiality, with its handcrafted details, enhances its value not only as a reading experience but also as a collectible artifact worthy of conservation. Bound in soft suede leather, the cover has aged, giving it an organic quality that reflects the craftsmanship and artistic movement to adopt natural materials in lieu of industrialised production. The faded brown tones and worn edges enhance its artisanal definition. Furthermore, the embossed rectangular panel containing an intricately aesthetic illustration appears to be strikingly iconic. The cover blends the use of gold lettering with an elaborate, medieval-inspired design, where the depiction of figures and motifs evokes the era of the chantefable. The use of gold embossing, though carefully embedded in a subtle fashion, draws our attention to the title, underscoring an elegant yet humble state of authority. Through the careful use of detailing and use of organic materials, it strengthened its timeless quality by adopting traditional bookmaking techniques one might expect of the Arts and Crafts movement. Thus, this artistic approach serves to bridge its connection to both medieval literary traditions and the late 19th century revitalisation of artisanal production.
