« Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion
This article discusses the first folio of the Lyon manuscript of La Chanson de Roland, in which the battle of Roncevaux is preceded by the first ten verses of Chrétien de Troyes’ Yvain ou le Chevalier au lion. These verses about King Arthur and his court function as an introduction to what follows a...
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| Format: | Article |
| Language: | Spanish |
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Ecole Normale Supérieure de Lyon
2011-06-01
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| Series: | Atalaya |
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| Online Access: | https://journals.openedition.org/atalaya/776 |
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| author | Sofia Lodén Vanessa Obry |
| author_facet | Sofia Lodén Vanessa Obry |
| author_sort | Sofia Lodén |
| collection | DOAJ |
| description | This article discusses the first folio of the Lyon manuscript of La Chanson de Roland, in which the battle of Roncevaux is preceded by the first ten verses of Chrétien de Troyes’ Yvain ou le Chevalier au lion. These verses about King Arthur and his court function as an introduction to what follows and influence the reading of the chanson de geste. By comparing the opening of Chrétien’s romance to that of the German, Old Norse, Swedish and French renaissance adaptations of Le Chevalier au lion, we can see how Chrétien’s prologue changes from one context to another, while the need to refer to an authority remains unchanged. In the Nordic adaptations, Charlemagne is the starting point in the presentation of King Arthur, attesting the need to introduce Arthur to an audience that does not know him. In the Lyon manuscript it is the other way around: Arthur and his court are the starting point for a story about Charlemagne and his battles, adapting the chanson to new needs and expectations. In both cases, it is the king – Charlemagne or Arthur – who brings authority to the other king and to the texts themselves. In the Lyon manuscript, the picture of the court, in which stories are told, replaces the orality of the chanson de geste. Chrétien’s prologue, atypical of its author, is thus given a new role, that of a standard prologue. |
| format | Article |
| id | doaj-art-e9f01f018c804b4da7d6da57538df972 |
| institution | OA Journals |
| issn | 1167-8437 2102-5614 |
| language | Spanish |
| publishDate | 2011-06-01 |
| publisher | Ecole Normale Supérieure de Lyon |
| record_format | Article |
| series | Atalaya |
| spelling | doaj-art-e9f01f018c804b4da7d6da57538df9722025-08-20T02:22:02ZspaEcole Normale Supérieure de LyonAtalaya1167-84372102-56142011-06-011210.4000/atalaya.776« Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lionSofia LodénVanessa ObryThis article discusses the first folio of the Lyon manuscript of La Chanson de Roland, in which the battle of Roncevaux is preceded by the first ten verses of Chrétien de Troyes’ Yvain ou le Chevalier au lion. These verses about King Arthur and his court function as an introduction to what follows and influence the reading of the chanson de geste. By comparing the opening of Chrétien’s romance to that of the German, Old Norse, Swedish and French renaissance adaptations of Le Chevalier au lion, we can see how Chrétien’s prologue changes from one context to another, while the need to refer to an authority remains unchanged. In the Nordic adaptations, Charlemagne is the starting point in the presentation of King Arthur, attesting the need to introduce Arthur to an audience that does not know him. In the Lyon manuscript it is the other way around: Arthur and his court are the starting point for a story about Charlemagne and his battles, adapting the chanson to new needs and expectations. In both cases, it is the king – Charlemagne or Arthur – who brings authority to the other king and to the texts themselves. In the Lyon manuscript, the picture of the court, in which stories are told, replaces the orality of the chanson de geste. Chrétien’s prologue, atypical of its author, is thus given a new role, that of a standard prologue.https://journals.openedition.org/atalaya/776manuscriptChrétien de TroyesYvain ou le Chevalier au lionLa Chanson de RolandprologueNordic adaptations |
| spellingShingle | Sofia Lodén Vanessa Obry « Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion Atalaya manuscript Chrétien de Troyes Yvain ou le Chevalier au lion La Chanson de Roland prologue Nordic adaptations |
| title | « Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion |
| title_full | « Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion |
| title_fullStr | « Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion |
| title_full_unstemmed | « Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion |
| title_short | « Li chivalier se desportoient / Lai ou dames les apeloient. » Exemples de circulation des premiers vers d’Yvain ou le Chevalier au lion |
| title_sort | li chivalier se desportoient lai ou dames les apeloient exemples de circulation des premiers vers d yvain ou le chevalier au lion |
| topic | manuscript Chrétien de Troyes Yvain ou le Chevalier au lion La Chanson de Roland prologue Nordic adaptations |
| url | https://journals.openedition.org/atalaya/776 |
| work_keys_str_mv | AT sofialoden lichivaliersedesportoientlaioudameslesapeloientexemplesdecirculationdespremiersversdyvainoulechevalieraulion AT vanessaobry lichivaliersedesportoientlaioudameslesapeloientexemplesdecirculationdespremiersversdyvainoulechevalieraulion |