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The first English translation of three chansons de geste inspired by the Romance epic, the Song of Roland. The success of the eleventh-century Song of Roland gave rise to a series of around twenty related chansons de geste, known collectively as the Cycle of the King. In addition to reworkings of the Song of Roland in Old French and other medieval languages, these poems are devoted to the numerous military campaigns of Charlemagne against the Muslims before and after the tragic Battle of Roncevaux. These texts provide valuable insights into the medieval reception of the Roland material, exemplifying the process of cycle formation and attesting to the diversity of the Romance epic. Far from presenting a simplistic view of the clash of civilizations, these chansons de geste display a web of contradictions, offering both a glorification and a critique of hatred and violence. This volume offers the first English translations of the three epic poems whose action directly precedes the events of the Song of Roland. Gui of Burgundy extends the period of time spent in Spain by Charles and his army from seven to twenty-six years, which gives the sons of the Twelve Peers the opportunity to reach adulthood and come to the rescue of their fathers. Roland at Saragossa, composed in Occitan, takes place in the days immediately preceding the decisive defeat and relates in an heroi-comic manner how Roland sneaks into Saragossa at the request of the pagan Queen Braslimonda, who has been enraptured by his strength and beauty. Finally, Otinel tells of a Saracen envoy who comes to Paris to challenge Charlemagne on behalf of the Emir Garsile, who has his capital in Lombardy. The action takes place in France and northern Italy in a lull between the capture of Pamplona and the defeat at Roncevaux. The translations are presented with notes, and the volume includes an introduction placing the poems in their wider historical and cultural contexts.
Here at last is a fully annotated critical edition of the Châteauroux text of the Chanson de Roland. Even in the Corpus edition, C was represented by a simple transcript. The Roland Corpus edition of 2005 took Venice 7 as the base text and V7 laisses 92A and 108A were relegated to Appendix A. This obscured crucial evidence demonstrating the greater authority of C as representing the shared model and the role of V7 as modifier of that model. Close comparison of C with V7 and of both texts with the other versions disproves the Segre thesis of the anteriority of V7. In this edition, the aim is always to provide an authentic text with minimal emendation, so as to show the salient characteristics of C, but to discuss its readings in detailed footnotes. All arguments are solidly based on textual analysis throughout and particularly in C’s repetitions and associated assonanced passages. In addition, the linguistic characteristics are studied and the historical background to C pre-1328 and its possible route from Venice to Paris between 1746 and 1792 investigated.
This book focuses on the literary artistry of the texts of Old French and bilingual motets, notably the special feature of motets that distinguished them from other medieval lyric forms: the phenomenon of polytextuality.
In parallel columns of French and English, lists over 4,000 reference works and books on history and the humanities, breaking down the large divisions by subject, genre, type of document, and province or territory. Includes titles of national, provincial, territorial, or regional interest in every subject area when available. The entries describe the core focus of the book, its range of interest, scholarly paraphernalia, and any editions in the other Canadian language. The humanities headings are arts, language and linguistics, literature, performing arts, philosophy, and religion. Indexed by name, title, and French and English subject. Annotation copyrighted by Book News, Inc., Portland, OR