Closing is per niente less intertextual, both per its assurances of the lovers’ perfect union and durante 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. Per. Arrathoon (Rochester, MI, 1984), pp. 47–81, and ‘The Craft of Fergus: Supplementary Notes’, French Studies Bulletin 25 (1987–88), 1–5 (on Guillaume’s debt puro the Perceval Continuations). It is astonishing that it receives so little mention, as far as one can tell con the absence of an index, mediante The Legacy of Chretien de Troyes, e. N. J. Lacy et al., 2 vols. (Amsterdam, ). There is a reference mediante 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 mediante 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 con 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 Tau. Hunt, ‘La Parodie medievale: le cas d’Aucassin et Nicolette’, Romania 100 (1979), 341–81 (pp. 347–50). There are references per Chretien sicuro per 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 per roman d’apprentissage with verso difettuccio-Perceval as hero21 – Marquardt already showed there were more debts onesto the Perceval than esatto any other of Chretien’s romances – the context of the whole sistema is unmistakably inscribed in the cadre of Yvain, the paradigm of medieval romance which seems sicuro have been ever present per Guillaume’s mind. The pastiche begins with the details of the capo en scene. The opening incident of Yvain takes place ‘apres mengier, par mi les sales’ (line 8) echoed in ‘Granone es sales qualora sejornoient/ Apres mangier . . .’ (Fergus lines 19–20), but whereas durante 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 preciso his discredit, Fergus isolates two members of the capable, 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’) https://datingranking.net/it/romancetale-review/ and ‘disoit cascuns bourdonnement voloir’ (line 37: ‘each said whatever he pleased’), thus trivializing the theme of capable tete-a-tete. A signal inversion of the source occurs when the two friends are interrupted by the unexpected arrival of the king (‘Li rois nel caso che laisse entr’els caoir’, line 38), whereas con Yvain it is the queen who interrupts (‘Se ex laissie entr’eus queoir’, line 66; Arthur is asleep), the interruption causing Gauvain and Calogrenant respectively onesto spring to their feet (‘Sinon oriente 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 verso mind to arnesi out straight away! Loafing around is not preciso my taste: I wish onesto go hunting mediante the forest’). The audience is thus invited preciso appreciate the reworking of a celebrated romance opening. Cil [l’]aimme com s’amie stop Et ele esso comme ami compatissante. Guillaumes li clers trait verso delicate De sa matere et de sa trove. Car en nule terre ne trove Nul homme in questo momento tant ta vescu Del chevalier au biel escu Plus en brusquement conter l’en sace. Ici met la bonne et l’estace; Ici est la fins del roumans. Grans joie viegne as escoutans. (lines 7000–12)22