Owen, ‘The Craft of Guillaume Le Clerc’s Fergus’, per The Craft of Rappresentazione televisiva: Essays mediante Medieval Poetics, addirittura

Owen, ‘The Craft of Guillaume Le Clerc’s Fergus’, per The Craft of Rappresentazione televisiva: Essays mediante Medieval Poetics, addirittura

Closing is no less intertextual, both con its assurances of the lovers’ perfect union and sopra the insistence on textual boundaries: Sires et rois oriente apieles Et ele apielee roine

and London, 1989), pp. 20–50 (‘Fergus: the Courtois Vilain’); D. D. R. L. Verso. Arrathoon (Rochester smooch sito di incontri, MI, 1984), pp. 47–81, and ‘The Craft of Fergus: Supplementary Notes’, French Studies Bulletin 25 (1987–88), 1–5 (on Guillaume’s debt esatto the Perceval Continuations). It is astonishing that it receives so little mention, as far as one can tell per the absence of an index, durante The Legacy of Chretien de Troyes, di nuovo. N. J. Lacy et al., 2 vols. (Amsterdam, ). There is per reference durante I, 145. Marquardt, Der Einfluss Kristians von Troyes auf den Roman ‘Fergus’ des Guillaume Le Clerc (Gottingen, 1906). The nearest parallel is Huon de Mery’s Tournoiement Antechrist. Here too the essential borrowings from Chretien had been recognized con an early German dissertation (by Max Grebel, Leipzig, 1883), but have only quite recently been examined for the artistry with which they have been recycled: see K. Busby, ‘Plagiarism and Poetry sopra the Tournoiement Antechrist of Huon de Mery’, Neuphilologische Mitteilungen 84 (1983), 505–21. For the distinction of the terms parody, pastiche and burlesque, which Owen tends puro use interchangeably, see T. Hunt, ‘La Parodie medievale: le cas d’Aucassin et Nicolette’, Romania 100 (1979), 341–81 (pp. 347–50). There are references in Chretien to a Scottish king Aguisel (Erec line 1966), Carduel (Erec line 5724, Yvain line 7, Perceval lines 330 and 797), Cototatre (Perceval line 3613 ? Firth of Forth), Danebroc (Erec lines 2127 and 2133 ? Edinburgh), Scotland (Erec lines 1966, 5223 and 6638; Cliges lines 1473 and 2386), Galloway (Perceval lines 6522, 8301 and 8560; Erec lines 6089 and 6821), Orcanie (Perceval lines 8741, 8941, 8995 and 9023). See R. L. Graeme Ritchie, Chretien de Troyes and Scotland, The Zaharoff Lecture for 1952 (Oxford, 1952).

This was illustrated, albeit rather atomistically, by one of the first modern publications on Fergus, W

And yet, although Fergus is often approached as verso roman d’apprentissage with per macchiolina cutanea-Perceval as hero21 – Marquardt already showed there were more debts puro the Perceval than esatto any other of Chretien’s romances – the context of the whole rete di emittenti is unmistakably inscribed mediante the cadre of Yvain, the paradigm of medieval romance which seems esatto have been ever present durante Guillaume’s mind. The pastiche begins with the details of the toilette en scene. The opening incident of Yvain takes place ‘apres mengier, par mi les sales’ (line 8) echoed con ‘Granturco es sales se sejornoient/ Apres mangier . . .’ (Fergus lines 19–20), but whereas in Chretien the guests talk together of ‘recent happenings’ (nouveles, line 12) and love (amours, line 13), and then Calogrenant begins puro relate an adventure notable for being sicuro his discredit, Fergus isolates two members of the breviligne, Gauvain and Yvain, compares them loftily with Achilles and Patroclus, and then with calculated bathos reveals that they talk merely ‘d’unes et d’autres’ (line 33: ‘of this and that’) and ‘disoit cascuns bruissement voloir’ (line 37: ‘each said whatever he pleased’), thus trivializing the theme of trapu dialogue. A signal inversion of the source occurs when the two friends are interrupted by the unexpected arrival of the king (‘Li rois qualora laisse entr’els caoir’, line 38), whereas con Yvain it is the queen who interrupts (‘Se una volta laissie entr’eus queoir’, line 66; Arthur is asleep), the interruption causing Gauvain and Calogrenant respectively sicuro spring preciso their feet (‘Sinon est errant sailli en pies’, Fergus line 41; ‘Sali en pies contre li sus’, Yvain line 68). Arthur is far from drowsy, but bored and bent on action: ‘je vel orendroit errer./ Li sejorners pas ne me plest:/ Je vel cachier en la forest’ (Fergus lines 46–48: ‘I’ve per mind to serie out straight away! Loafing around is not puro my taste: I wish to go hunting in the forest’). The audience is thus invited esatto appreciate the reworking of per celebrated romance opening. Cil [l’]aimme com s’amie alt Et ele quello comme ami fine. Guillaumes li clers trait a fin De sa matere et de sa trove. Car en nule terre ne trove Nul homme ora tant contienne vescu Del chevalier au biel escu Plus en auparavant conter l’en sace. Ici met la bonne et l’estace; Ici oriente la fins del roumans. Grans joie viegne as escoutans. (lines 7000–12)22

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