order stroking him to make sure "no dung can remain on him." Church and secular leaders far and wide make pilgrimages to see him, and bow to him in servitude. These potentates condescend to brush and clean Fauvel from his tonsured head to tail. These fawning groomers are said to "curry" () Fauvel in the original phrasing of the work, and this is where the English expression "curry favour" has originated, corrupted from the earlier form "curry fauvel." Fauvel travels to Macrocosmos and asks Dame Fortune for her hand in marriage. She denies him, but in her stead she proposes he wed Lady Vainglory. Fauvel agrees, and the wedding takes place, with such guests present as Flirtation, Adultery, Carnal Lust, and Venus, in a technique similar to that of the Morality plays of the 15th and 16th centuries. Finally, Dame Fortune reveals that Fauvel's role in the world is to give birth to more iniquitous rulers like himself, and to be a harbinger of the Antichrist. The manuscript was written to criticise King Philip IV, but direct attacks on his character were too dangerous. Instead, the king's second in command, Enguerrand de Marigny was the model for Fauvel. Text The Roman de Fauvel is a poem of 3280 octasyllabic rhyming couplets, divided into two books: Book 1 in 1226 verses, completed 1310 according to its last verse; and Book 2, in 2054 verses, completed 1314 according to its explicit. In 1316–7 Chaillou de Pe[s]stain (a still unidentified member of a family of bureaucrats) augmented this text with an additional 3000 verses spanning both books (1800 lines of which are spent on Fauvel's wedding). Surviving copies The earliest manuscript to survive contains Chaillou's expanded version in his own hand (Paris, BN fr. 146). The dozen or so other extant manuscripts are of the non-interpolated form, and these continued to be copied into the fifteenth century. Chaillou's deluxe manuscript is illustrated with 78 miniatures, and inserts 169 musical pieces, woven into a complex mise-en-page. Music Of all the surviving manuscript versions of Le Roman de Fauvel, the copy compiled by Chaillou de Pesstain (BN fr. 146), has attracted the most musicological attention due to the interpolated musical pieces in musical notation, which span the gamut of thirteenth- and early fourteenth-century genres and textures. The 169 pieces all have lyrics, 124 in Latin, 45 in French. The genres cover the liturgical and devotional,