Musicologists disagree as to whether this folk song
should be categorized as a carol or an early ballad. Its
Nativity setting seemingly aligns it with the carol tradi-
tion. However, others point out that it does not include
a REFRAIN, as most carols do, and exhibits some of the
narrative techniques that typify later ballads.
See also VIRGIN LYRICS.
FURTHER READING
Rosenberg, Bruce A. “The ‘Cherry-Tree Carol’ and The
Merchant’s Tale.” The Chaucer Review 5, no. 4 (1971):
264–276.
Royston, Pamela L. “ ‘The Cherry-Tree Carol’: Its Sources and
Analogues.” Folklore Forum 15, no. 1 (Winter 1982): 1–16.
SOUND RECORDINGS
Anonymous 4. “The Cherry Tree Carol.” On Wolcum Yule:
Celtic and British Songs and Carols. Harmonia Mundi, 2003.
Cambridge Singers. “The Cherry-Tree Carol.” Arranged by
David Willcocks. On Christmas Night: Carols of the Nativ-
ity. Collegium Records, 1987.
Lori A. Wallach
CHESTRE, THOMAS See SIR LAUNFAL.
“CHEVREFOIL” (“THE HONEYSUCKLE”)
MARIE DE FRANCE (late 12th century) This 118-
line poem, written in octosyllabic COUPLETs, is the
shortest of MARIE DE FRANCE’s lais, short poems or songs
Marie adapted from the Breton lai tradition (see LAY).
The preferred manuscript of Marie’s lais is Harley 978
in the British Library, which is the only manuscript to
contain all 12 lais.
“Chevrefoil” concentrates on a brief moment in the
larger story of the legendary lovers Tristan and Iseult.
It is generally assumed that Marie’s audience would be
familiar with the crucial crisis in the lovers’ relation-
ship: Tristan, nephew and knight of King Mark of
Cornwall, has fallen in love with Mark’s wife, Queen
Iseult, who reciprocates Tristan’s love. Marie’s poem
briefl y alludes to the dismal fate the two lovers will
have to endure, but the primary focus is on a brief
moment of joy (with its full sexual connotation) amid
their trials. The shortest of Marie’s lais, “Chevrefoil” is
widely regarded as one of her fi nest.
Marie characteristically opens the lai by calling
attention to the poem as a work of artistic creation.
Then, after quickly mentioning that Tristan and Iseult
are destined for suffering and death, Marie provides a
bit of background to bring us up to the present of the
story. Tristan, having been exiled as a result of his
betrayal of King Mark, has subjected himself to dan-
gers, including death, as will happen with faithful lov-
ers who cannot attain their desires. Unable to remain
apart from Iseult, Tristan returns to Cornwall; he
spends the day in the forest so as not to be seen, and
fi nds shelter with some peasants that night. Tristan
learns from the peasants that Mark’s knights are sup-
posed to return to court, as is the queen; he is happy
because he will get a glimpse of her going past.
On the day when Mark’s entourage goes by, Tristan
carves his name into a piece of hazelwood and waits to
see if the queen will spot it. When Iseult rides by, she
does indeed see the message and orders her retinue to
stop so that she may rest. Iseult enters the woods, fi nds
Tristan, and they experience great joy (joie) with each
other. Iseult suggests that Tristan will be reconciled
with Mark, and then the lovers tearfully depart, Tristan
going to Wales to await word from the king. An accom-
plished harp player, Tristan composes a lai to memori-
alize the joy he experienced with Iseult.
Some literal problems of interpretation complicate
this seemingly simple lay. First, the message that
Tristan carves to signal his beloved is, according to
lines 53–54, his name, but lines 61–78 suggest that
there may be a much longer message regarding Tristan’s
and Iseult’s feelings for one another. These lines,
whether intended to be Tristan’s own words or Marie’s
commentary, compare the two lovers to a hazel and a
honeysuckle: The honeysuckle wraps itself around the
hazel, and if the two are separated, they both perish.
The section concludes with a famous couplet: “my
love, so is it with us: neither you without me, nor I
without you [can live]” (ll. 77–78). There has been sig-
nifi cant debate over whether the hazel stick contains
Tristan’s name alone, whether the couplet is also to be
included, or whether the lengthier sentiment regarding
the hazel and honeysuckle is to be considered part of
the writing. Perhaps Tristan’s name is a sign, which
Iseult is able to interpret as implying the deeper mes-
sage. Or the lovers may have met at a prior time and
exchanged words that will allow Iseult to understand112 CHESTRE, THOMAS