The Story of Fifine by Bernard Capes — Read

Throughout Provence and Languedoc there are accredited songsters, severally honoured in the districts which gave them birth. They may be tillers of the soil or owners of it; propriétaires or ploughboys -- it is no matter: they are expected and accepted quite simply and seriously, much as our own village folk-lorists are accepted as the legitimate inheritors of an age-long tradition. They continue a succession never broken since the days of de Borneil, Daniel, Riquier, and those other glorious primitives who, in the twelfth and thirteenth centuries, exalted the dialect of Romance to a metrical art. Yet, though they wear the shoes of their lyrical forefathers, these latter-day minstrels are to be likened for the most part rather to the jongleurs, or hired singing-men, who were used to voice their masters' productions, than to the producers themselves, the genuine troubadours who originated the songs. They play, or at best do little more than ring new changes on, antique themes. Still, now and again, a solitary figure, on whom the Paraclete of ancient inspiration would appear in some light measure to have laid hands, will stand out from the rest, and to that extent that his fame will presently enlarge from the purely local to the departmental; and, proportionately, perhaps, his vanity. They are "throw-backs," in the true poetic sense.

Such, I take it, had been the case with this Carabas Cabarus. He was quite a natural bard, individual in his way, and with a real gift for extempore. To do him that justice is right, for all, I think, the admission redounds to my credit; for the man came to be an entire nuisance to me. His skin was as thick as his vanity was sensitive. He seemed to have a congenital incapacity for diffidence, as regarded both himself and his wares. It never occurred to him that he could possibly be _de trop_ anywhere.