By Keith Busby, Keith Busby, Roger Dalrymple

ISBN-10: 0859917452

ISBN-13: 9780859917452

ISBN-10: 1417524464

ISBN-13: 9781417524464

The texts analyzed underline the extensive dissemination of the Arthurian tale in medieval and post-medieval Europe, from Scotland to Italy, whereas a number of the analyses of the manifestations of comedy refute the inspiration of romance as a humourless style. certainly, the comedian remedy of traditional topics and motifs seems to be not just attribute of later romance yet an important component of the style from its beginnings and from its earliest improvement. Authors of Arthurian romance, from Chr?tien de Troyes to Malory, writing in French, Italian, heart Dutch, and center English, and the creators of an Irish prose-tale, all query the elemental assumptions of romance and romance values in the course of the medium of comedy. The subject matter of comedy in Arthurian romance has been constructed from the orignal consultation on the Arthurian Congress in Toulouse.

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Extra info for Arthurian Literature XIX: Comedy in Arthurian Literature

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L’épisode de l’Ile d’Or (vv. ) reprend l’aventure de la Joie de la Cour d’Erec et Enide (vv. ). Certes, à la suite d’A. Philipot, il est possible d’éclairer cette parenté par un prototype commun,55 que l’on retrouverait aussi dans les oeuvres étrangères apparentées, Wigalois, Carduino et Lybeaus Desconus. Cependant le nombre et la précision des points communs sont tels que l’hypothèse d’un emprunt littéraire est vraisemblable. Par ailleurs, pour le lecteur moderne, la familiarité que l’on peut prêter au lecteur médiéval avec les archétypes supposés, peut-être encore présents dans les traditions orales, a disparu, tandis que le texte de Chrétien, écrit, est accessible et suscite des rapprochements.

150). Dans la suite du texte, les regards des personnages varient et l’on apprend, à travers Calogrenant, que le monstre est haut ‘com uns donjons, de la color a charree’, qu’il a ‘une trece autresinc grosse de chevols come ses braz et estoit si longue que ele li batoit jusqu’au jarrez trestote rosse et voit la teste grose et le vis plat et les elz gros et noirs et le visage si hydeus qu’il n’estoit si hardiz hom en cest siecle a cui granz paors n’en poist prendre’ (p. 152). A ce moment-là, seule la partie supérieure du corps est évoquée, ce qui s’explique à la fois par le jeu sur le portrait topique28 26 A supposer qu’il y ait une inadvertance de la part de Chrétien de Troyes, elle participe au processus merveilleux.

Vp 17 September 2002 09:43:31 Color profile: Generic CMYK printer profile Composite Default screen MERVEILLEUX ET COMIQUE DANS LES ROMANS FRANÇAIS Cette pirouette qui joue sur la confusion entre le personnage et le lecteur annonce l’ellipse: Je ne sai s’il le fist s’amie Car n’i fui pas, ne n’en vi mie, Mais non de pucele perdi La dame dalés son ami. (vv. ) La merveille, nécessairement extrême, donne lieu à des descriptions paradoxales, fondées à la fois sur la surenchère et l’ellipse qui traduit le trouble du spectateur et qui nourrit le mystère: le sourire naît de cette inflation qu’une longue tradition romanesque banalise, ainsi que des ellipses qui trompent l’attente.

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Arthurian Literature XIX: Comedy in Arthurian Literature by Keith Busby, Keith Busby, Roger Dalrymple


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