Marie de France: An analytical bibliography, Supplement No. 3 (Research Bibliographies and Checklists: new series)

GLYN S. BURGESS

Marie de France Supplement 3 Research Bibliographies and Checklists: New Series 8

Research Bibliographies and Checklists New Series, 8

Marie de France

Research Bibliographies and Checklists

New Series issn  1476–9700

general Editors Alan Deyermond Abigail Lee Six

Marie de France An analytical bibliography Supplement No. 3

Glyn S. Burgess with the assistance of Giovanna Angeli

TAMESIS

© Glyn S. Burgess 2007 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2007 by Tamesis, Woodbridge ISBN  978–1–85566–154–7

Tamesis is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library Reproduced from CRC supplied by the author This publication is printed on acid-free paper Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wiltshire

MARIE DE FRANCE AN ANALYTICAL BIBLIOGRAPHY

Supplement No. 3

GLYN S. BURGESS with the assistance of Giovanna Angeli

TAMESIS

CONTENTS Introduction

vii

Abbreviations

ix

I. Bibliography

1

II. Editions and translations (a) The Lais

1

(b) The Fables

6

(c) The Espurgatoire seint Patriz

7

III. Concordance

8

IV. Journal

8

V. Books and articles

8

VI. Theses and Dissertations

116

Index of Marie de France’s works

119

Index of scholars and translators

122

Index of geographical, historical, and literary references

128

INTRODUCTION As in the case of the original volume (1977) and the first two Supplements (1986, 1997), the fundamental aim of this Third Supplement is to list and describe all editions, translations, and studies relating to the three works commonly attributed to Marie de France: the Lais, the Fables, and the Espurgatoire seint Patriz. The period covered in this volume is from c. 1995 to 2006, with the occasional inclusion of items omitted from earlier volumes. A second aim, to which I attach particular importance, is to document as many as possible of the books and articles that contain material on Marie de France without her name appearing in the title. No claim even for near completeness is made for these items, and I shall be pleased to hear from readers who have discovered material I have missed and can be included in the next Supplement. A significant development in the course of the last ten years or so is the amount of material now to be found online. With the exception of articles in online journals, this material has not been included here (but see items 1199 and 1358), as there can be no guarantee that it will be accessible in its present form when a reader comes to consult this Supplement. All that can be said is that readers are urged to consult the Internet in conjunction with this volume. In addition, the Journal of the International Marie de France Society, Le Cygne, founded in 1995 (see 733 and section IV below), continues to thrive and is a valuable source of information on an annual basis. There is also a real possibility that a fourth work, the Vie de sainte Audree, will come to be attributed to Marie, and readers are also encouraged to take into account material relating to this text (see 1425). Items I have not been able to consult are again indicated by an asterisk. Numbering follows on from Supplement 2. Numbers out of sequence (i.e. 1– 1160) are to entries in earlier volumes. Where items were difficult to obtain, the growth of electronic communication has made it possible to contact authors directly and request copies of their work. I am grateful to all those who have taken the trouble to provide such copies. I owe a particular debt of gratitude to Giovanna Angeli, who took on responsibility for items published in Italy, and to my former research student Eliza Hoyer-Millar, who located numerous items for me. Valuable assistance in the preparation of this volume has also been provided by Albrecht Classen, Chantal Maréchal, and Sarah-Jane Murray. Glyn S. Burgess Alsager December 2006

ABBREVIATIONS (I) PERIODICAL AND SERIES TITLES AUMLA BBSIA CCM DAI DFS FFRSH FMLS FR FS FSB GRM LR MA Med. Aev MedPer MLN MLR MP MR NM N&Q NZJFS QFLRM REF RF RJ RLiR RMS RomN RomQ RR SF SM SMV Tralili Traliphi VR ZfSL ZrP

Journal of the Australasian Universities Language and Literature Association Bulletin Bibliographique de la Société Internationale Arthurienne Cahiers de Civilisation Médiévale Dissertation Abstracts International Dalhousie French Studies Fatsugo-Futsubungaku-Ronshu Forum for Modern Language Studies French Review French Studies French Studies Bulletin Germanisch-romanische Monatsschrift Lettres Romanes Le Moyen Âge Medium Aevum Medieval Perspectives Modern Language Notes Modern Language Review Modern Philology Medioevo Romanzo Neuphilologische Mitteilungen Notes & Queries New Zealand Journal of French Studies Quaderni di Filologia e di Lingue Romanze Revue des Études Françaises Romanische Forschungen Romanistisches Jahrbuch Revue de Linguistique Romane Reading Medieval Studies Romance Notes Romance Quarterly Romanic Review Studi Francesi Studi Medievali Studi Mediolatini e Volgari Travaux de Linguistique et de Littérature Travaux de Linguistique et de Philologie Vox Romanica Zeitschrift für französische Sprache und Literatur Zeitschrift für romanische Philologie

x

MARIE DE FRANCE

(II) GENERAL ABBREVIATIONS ARTFL BL BNF CFMA CNED ed. edn fr. nouv. acq. fr. ns repr. Rev. revd

American and French Research on the Treasury of the French Language British Library Bibliothèque Nationale de France Classiques Français du Moyen Âge Centre National d’Enseignement à Distance edited by edition français nouvelles acquisitions françaises new series reprint Review(s) revised

(III) COLLABORATIVE VOLUMES The following collaborative volumes are referred to three or more times: The Court and Cultural Diversity The Court and Cultural Diversity: Selected Papers from the Eighth Triennial Congress of the International Courtly Literature Society, The Queen’s University of Belfast 26 July–1 August 1995, ed. Evelyn Mullally & John Thompson (Cambridge: D. S. Brewer, 1997). The Court Reconvenes The Court Reconvenes: Courtly Literature across the Disciplines: Selected Papers from the Ninth Triennial Congress of the International Courtly Literature Society, University of British Columbia 25–31 July 1998, ed. Barbara K. Altmann & Carleton W. Carroll (Cambridge: D. S. Brewer, 2003). Courtly Arts Courtly Arts and the Art of Courtliness: Selected Papers from the Eleventh Triennial Congress of the International Courtly Literature Society, University of Wisconsin-Madison 29 July–4 August 2004, ed. Keith Busby & Christopher Kleinhenz (Cambridge: D. S. Brewer, 2006). Il racconto nel medioevo romanzo Quaderni di Filologia Romanza della Facoltà di Lettere e Filosofia dell’Università di Bologna, 15 (Il racconto nel medioevo romanzo: atti del convegno, Bologna, 23–24 ottobre 2000, con altri contributi di filologia romanza) (2001).

ABBREVIATIONS

xi

Discourses on Love Discourses on Love, Marriage, and Transgression in Medieval and Early Modern Literature, ed. Albrecht Classen (Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2004). Mélanges Ménard Miscellanea mediaevalia: mélanges offerts à Philippe Ménard, ed. JeanClaude Faucon, Alain Labbé, & Daniel Quéruel, Nouvelle Bibliothèque du Moyen Âge, 46, 2 vols (Paris: Champion, 1998). Reception and Transmission The Reception and Transmission of the Works of Marie de France, 1774– 1974, ed. Chantal Maréchal, Mediaeval Studies, 23 (Lewiston, NY: Edwin Mellen Press, 2003). See 1439.

I. BIBLIOGRAPHY 1161

Burgess, Glyn S., Marie de France: An Analytical Bibliography, Supplement No. 2 (London: Grant & Cutler, 1997) 168 pp. Rev.:

.1 .2 .3 .4 .5 .6

S. Amer, FR, 73 (2000), 1216–17. L. C. Brook, Med. Aev, 67 (1998), 341. S. L. Burch, FS, 53 (1999), 318. K. Busby, ZfSL, 110 (2000), 58–59. M. Thiry-Stassin, MA, 105 (1999), 569–70. M. J. Walkley, NZJFS, 21 (2000), 34–35.

II. EDITIONS AND TRANSLATIONS (a) The Lais 1162

Alvar, Carlos, María de Francia, Lais: introducción, traducción y notas, El Libro de Bolsillo, Literatura (Madrid: Alianza, 1994; repr. 2004) 181 pp. Contains an introduction (pp. 7–24), a translation of the Lais into Spanish with copious annotations (pp. 25–180), and an index of names, objects, and themes cited in the notes (pp. 181–88).

737

Angeli, Giovanna, Maria di Francia: Lais, Biblioteca Medievale, 24 (Rome: Carocci, 1999). A reprint by a new publisher.

1163

Baswell, Christopher, and Anne H. Schotter, eds, The Longman Anthology of British Literature, vol. 1: The Middle Ages (New York: Longman, 1999). Contains a brief introduction to Marie de France, and translations, taken from Hanning and Ferrante (544), of the Prologue to the Lais and of Lanval (pp. 170–85).

1164

Berg, R. J., and Fabrice Leroys, eds, Littérature française: textes et contextes, 2 vols (Fort Worth, TX: Holt, Rinehart & Winston, 1997). Contains a French translation of Lanval (pp. 76–82).

1165

Blue, Walter, ‘Les Deus Amanz’, Le Cygne, 4 (1998), 21–27. A verse translation of the Deus Amanz.

1166

——, ‘Bisclavret’, Le Cygne, 6 (2000), 36–43. A verse translation of Bisclavret.

1167

Bonifazi, Francesca, ‘Per un’edizione del lai di Equitan’, QFLRM, 12 (1997), 141–62.

2

MARIE DE FRANCE An edition of Equitan preceded by a short introduction (pp. 143–44). The edition is based on MS H, but provides variants from MS S. Differences between this new edition and those of Lods (8) and Rychner (13) are noted. Rev.:

1168

.1

G. Paradisi, La Critica del Testo, 1 (1998), 1122.

Bordier, Jean-Pierre, and Philippe Walter, Marie de France, Lais, Bibliothèque Gallimard, Éducation (Paris: Gallimard, 2004) 222 pp. Contains Walter’s translation of the Lais (1197), without the facing text (pp. 19–196), and an Introduction (pp. 5–16) by Bordier. The translation is also interspersed with four ‘arrêts de lecture’ by Bordier (pp. 44–51, 84–92, 131– 38, 197–222).

738

Burgess, Glyn S., and Keith Busby, The Lais of Marie de France, Translated with an Introduction: Second Edition with Two Further Lais in the Original Old French (London: Penguin Books, 1999) 164 pp. Includes new editions of Lanval (pp.139–55) and Chevrefoil (pp. 159–64).

1169

Cormier, Raymond J., ‘Rewriting Marie de France’, Le Cygne, 5 (1999), 37–45. A retelling of Lanval under the title ‘Ana Vail, Amazon Woman’. In this pedagogical experiment the male hero is replaced by a female in order to encourage students to think about Marie’s poem in feminist terms.

1170

Desgrugillers, Nathalie, Marie de France, œuvres complètes: les lais, les fables, le Purgatoire de saint Patrick, traduits de l’ancien français, Le Miroir de Toute Chevalerie, 1 (Clermont-Ferrand: Éditions Paleo, 2003) 156 pp. Contains a translation of all the lays (pp. 7–141), three fables (‘Le Loup et l’agneau’, ‘Le Corbeau et le renard’, ‘La Veuve et le chevalier’, pp. 145–48) and a short extract from the Espurgatoire (pp. 151–54). No introduction or bibliography.

1171

Dufournet, Jean, Renaut, Galeran de Bretagne, traduit en français moderne (Paris: Champion, 1996). Includes Pierre Jonin’s translation of Le Fresne (546).

1172

Furtado, António L., Lais de Maria de França, tradução e introdução de Antonio L. Furtado, prefácio de Marina Colasanti (Petrópolis: Editora Vozes, 2001) 155 pp. Contains a Preface (pp. 9–17), an Introduction (pp. 19–34), a Bibliography (pp. 35–36), and a translation of the Lais into Portuguese prose.

1173

Harf-Lancner, Laurence, Marie de France: Le Lai de Lanval, présentation, traduction et notes de Laurence Harf-Lancner, suivi de Jean d’Arras, Le Roman de Mélusine, extraits traduits par Michèle Perret, Le Livre de Poche, 13813, Les Classiques d’Aujourd’hui (Paris: Livre de Poche, 1995) 93 pp.

EDITIONS AND TRANSLATIONS

3

Contains an Introduction (pp. 11–19) and the text of Lanval with a facing line-by-line translation.

1174

——, Lais de Marie de France, Le Livre de Poche, 3148, Classiques Médiévaux (Paris: Le Livre de Poche, 1998) 189 pp. A reprint of 741 without the facing text. Includes a short Introduction (pp. 7– 22).

49

Hertz, Wilhelm, Marie de France: poetische Erzählungen nach altbretonischen Liebes-Sagen (Stuttgart: Mundus Verlag, 2002). A reprint with an afterword by Günther Schweikle (pp. 263–81).

1175

Joynes, Andrew, Medieval Ghost Stories: An Anthology of Miracles, Marvels and Prodigies (Woodbridge, Suffolk: Boydell Press, 2001), paperback 2003. Contains a section entitled ‘The Lays of Marie de France’ (pp. 133–37), which consists of a short introduction to Marie and a re-telling of Bisclavret, based on the version by Tuffrau (67).

1176

Jubany, Joan, Marie de France, Lais, Biblioteca Minima, 27 (Barcelona: Quaderns Crema, 1997) 140 pp. A translation of the Lais into Catalan. The introduction is by Jaume Vallcorba.

1177

Kisling, Corine, and Paul Verhuyck, Marie de France, Lais: twaalf liefdessprookjes uit de twaalfde eeuw (Deventer: Uitgeverij AnkhHermes, 1986) 380 pp. Item omitted from Supplement 2. Contains an introduction (pp. 11–65), Karl Warnke’s text of the Lais (17) and a facing translation into Dutch.

1178

Lacy, Norris J., ed., Early French Tristan Poems, Arthurian Archives, 1, 2 vols (Cambridge: D. S. Brewer, 1998). Contains an edition and facing translation of Chevrefoil by Richard O’Gorman (pp. 188–93), plus, side-by-side, the text of this lay as found in MS S (Paris, BNF, nouv. acq. fr. 1104) and MS H, London, BL, Harley 978 (pp.195–97). Preceded by a short introduction (p. 187).

1179

Lais bretons féeriques au Moyen Âge (Osaka: Cercle d’Études Médiévales du Kansaï, 1998) 296 pp. Includes a Japanese translation of Guigemar by Hideo Morimoto, of Lanval and Bisclavret by Tadao Honda, and of Yonec by Kuniko Dendi and Yôko Kawaguchi. See BBSIA, 51 (1999), item 645.

1180

Larsen, Anne R., and Colette H. Winn, Writings by PreRevolutionary French Women from Marie de France to Elizabeth Vigee-Le Brun (New York: Garland, 2000). Contains translations of Chevrefoil, Laüstic, and Bisclavret (pp. 1–16).

4 1181

MARIE DE FRANCE Laskaya, Anna, and Eve Salisbury, The Middle English Breton Lays (Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 1995). Appendix A contains translations of Le Fresne (pp. 409–14) and Lanval (pp. 415–22), taken from Mason (59).

1182

Leyser, Henrietta, Medieval Women: A Social History of Women in England 450–1500 (London: Weidenfeld & Nicolson, 1995). Contains a reprint (pp. 308–13) of the translation of Le Fresne in Burgess and Busby (738). Comments on Le Fresne are found on pp. 254–55.

1183

Lupack, Alan, and Barbara Tepa Lupack, Arthurian Literature by Women (New York: Garland, 1999). Contains translations of Chevrefoil (pp. 33–34) and Lanval (pp. 35–42) by Norris J. Lacy.

1184

McCarthy, Conor, Love, Sex and Marriage in the Middle Ages: A Sourcebook (London: Routledge, 2004). Contains, with a brief introduction, a translation of Yonec (pp. 184–91), taken from Burgess and Busby (738).

1185

Mack, Maynard, ed., The Norton Anthology of World Masterpieces, expanded edition in one volume (New York: W. W. Norton, 1997). Contains the translation of Eliduc by John Fowles (47).

1186

——, and Sarah Lawall, eds, The Norton Anthology of World Masterpieces: The Western Tradition, 2 vols, 7th ed. (New York: W. W. Norton, 1999). Contains translations, taken from Burgess and Busby (738), of Lanval (pp. 1170–76) and Laüstic (pp. 1176–78), preceded by an introduction (pp. 1169–70).

1187

Marchello-Nizia, Christiane, ed., Tristan et Iseut, les premières versions européennes, Bibliothèque de la Pléiade (Paris: Gallimard, 1995). Contains a translation of Chevrefoil by Mireille Demaules, with the original text at the foot of the page (pp. 213–16). Also includes an introduction to Chevrefoil and a diplomatic edition of MS S (pp. 1287–1309).

59

Mason, Eugene, French Mediaeval Romances from the Lays of Marie de France. Repr. Mineola, NY: Dover Publications, 2003, under the title Medieval Lays and Legends of Marie de France. Also repr. Whitefish, MN: Kessinger Publishing, 2004.

1188

Micha, Alexandre, and Jean-Marie Bourguignon, Les Lais de Marie de France, Étonnants Classiques (Paris: GF-Flammarion, 1996) 102 + xvi pp.

EDITIONS AND TRANSLATIONS

5

A French prose translation by Micha of four lais (Guigemar, Bisclavret, Lanval, and Eliduc), adapted from 744. Bourguignon provides a short introduction (pp. 9–19) and, at the end of the volume (pp. iii–xvi), some questions intended for classroom use.

1189

Morvan, Françoise, Marie de France, Le Lai du rossignol et autres lais courtois, traduction, présentation et notes (Paris: Librio, 2001) 157 pp. Contains Modern French translations of the Lais, preceded by a short introduction (pp. 5–9). Includes notes (pp. 141–55), but no bibliography.

1190

*Outremont, Gaston Laurion, Les Lais de Marie de France, transposés en français contemporain, Petite Collection Lanctôt (Paris: Lanctôt, 1997). Rev.:

1191

.1

C. Doutrelepont, Études Francophones, 14.2 (1999), 200–03.

*Rajnavölgyi, Géza, Tizenkét szerelmes rege (Les Lais) (Budapest: Eötvös József Kiadó, 2001). A translation of the Lais into Hungarian. See BBSIA, 54 (2002), item 623.

1192

Roccati, G. Matteo, ed., Il Medioevo (Allessandria: Dell’Orso, 2000). Contains Philippe Walter’s text of Chevrefoil (1197) with a Modern French translation and a short introduction (pp. 106–13).

756

Terry, Patricia, The Honeysuckle and the Hazel Tree: Medieval Stories of Men and Women (Berkeley: University of California Press, 1995). Rev.:

1193

.1

G. S. Burgess, CCM, 40 (1997), 308.

Tozer, Jane, ‘Laüstic: The Lay of the Nightingale’, Acumen, 47 (2003), 51–54. A free translation of Laüstic in verse.

1194

——, ‘The General Prologue and Prologue to lai I, Guigemar, from Knights of Love after the Lais of Marie de France’, Comparative Critical Studies, 2.12 (2004), 119–23. Contains verse translations of the General Prologue and the prologue to Guigemar.

1195

——, ‘Chevrefoil: The Lai of Withywind from Knights of Love after the Lais of Marie de France (fl.c.1180)’, Poetry Cornwall / Bardhonyeth Kernow, 4.2 (2005), 35-39. A verse translation of Chevrefoil with a facing text. The term chevrefoil is translated as ‘withywind’.

1196

*Tuffrau, Paul, Laure Adler and Gabriel Lefebvre, Marie de France, Les Deux Amants, La Plume et le Pinceau (Brussels: Éditions Complexe, 2005) 141 pp.

6

MARIE DE FRANCE Tuffrau’s translation of the Deus Amanz (67) is accompanied by a preface by L. Adler and illustrations by G. Lefebvre.

1197

Walter, Philippe, Marie de France, Lais. Préface, traduction nouvelle et notes: édition bilingue, Collection Folio Classique, 3395 (Paris, Gallimard, 2000) 484 pp. An edition of the Lais, based on that of Alfred Ewert (3), which is seen as the most faithful to MS H. Rev.:

.1 .2 .3 .4

L. C. Brook, Med. Aev, 70 (2001), 336–37. G. S. Burgess, CCM, 46 (2003), 101–22. M. Gilles, SF, 46 (2002), 412. G. Holtus, ZrP, 117 (2001), 669.

70

Weston, Jessie L., Guingamor, Lanval, Tyolet, Le Bisclavret: Four Lais Rendered into English Prose from the French of Marie de France, repr. Felinfach: Llanerch, 1994.

1198

Wogan-Browne, Jocelyn, et al., Voicing Medieval Women: An Anthology of Texts by, about, and for Women in the Middle Ages (Liverpool: no publisher given, 1996). Includes two cassettes. Contains (pp. 10–19) an edition of Laüstic with a facing English prose translation, taken from Burgess and Busby (738), and a brief introduction (p. 10).

1199

Corpus de la littérature narrative du Moyen Âge au XXe siècle: romans - contes - nouvelles. (http://www.lib.uchicago.edu/efts/ ARTFL/databases/champion/baile/) Part of the University of Chicaco ARTFL project. This is the first volume of BASILE. (Base Internationale de Littérature Électronique), co-produced by Éditions Champion and the CNED. Contains Rychner’s edition of the Lais (13) and Jonin’s translation (51). See also Leyser 1414, Mistacco 1453, and Thomas, 1552.

(b) The Fables 1200

Boivin, J.-M., and L. Harf-Lancner, Fables françaises du Moyen Âge (Paris: GF-Flammarion, 1996) 347 pp. Contains an introduction to medieval fables and a selection of Old French fables based on existing editions with a translation into Modern French. Includes Marie’s fables 25 (p. 87), 44 (p. 91), 45 (p. 95), 53 (p. 99), 57 (p. 103), 58 (p. 107), 60 (p. 109), 73 (p. 113), 81 (p. 119), 94 (p. 121), 95 (p. 125), and 101 (p. 129).

747

Brucker, Charles, Marie de France: Les Fables, édition critique accompagnée d’une introduction, d’une traduction, de notes et d’un glossaire, 2nd ed., 1998. Rev.:

.1

R. Trachsler, VR, 58 (1999), 268–70.

EDITIONS AND TRANSLATIONS 1201

7

Morosini, Roberta, ‘An Italian Translation of a Selection from Marie de France’s Fables’, Le Cygne, 3 (1997), 61–64. Line-by-line translations of four fables: nos 27 (‘De ventre et membris’), 48 (‘De fure et sortilega’), 55 (‘De rustico stulte orante’) and 102 (‘De femina et gallina’).

1202

——, Maria di Francia, Favole, Biblioteca Medievale, 104 (Rome: Carocci, 2006). A translation of the Fables into Italian with the edition of Karl Warnke (22). Contains an introduction (pp. 9–40), but no notes.

748

Spiegel, Harriet, Marie de France, Fables. Reprinted in Medieval Academy Reprints for Teaching, 32 (Toronto: University of Toronto Press, 1997).

1203

Vecchi, Silvia, ‘Le favole del leone e della volpe nell’Ysopet di Maria di Francia: edizione critica’, QFLRM, 15 (2000), 107–57. An edition of sixteen fables, preceded by a short introduction dealing with Marie’s life and work. Eight of the fables involve the fox and eight the lion. Uses three manuscripts considered by Warnke (22) to belong to three different families: H (A: Warnke), P, and B. The fables are conservatively edited from MS H.

(c) The Espurgatoire seint Patriz 1203a

Barillari, Sonia Maria, Maria di Francia, Il purgatorio di San Patrizio, Gli Orsatti, Testi per un Altro Medioevo, 17 (Alessandria: Edizioni dell’Orso, 2004) 347 pp. Contains a lengthy introduction (pp. 1-141), bibliography and notes (pp. 143-64) and the text of the Espurgatoire with a facing translation in Italian (pp. 166-345).

749

Curley, Michael J., Saint Patrick’s Purgatory: A Poem by Marie de France, Translated with an Introduction and Notes, Medieval and Renaissance Texts and Studies, 94 (Binghamton, NY: Centre for Medieval and Early Renaissance Studies, 1993). Rev.:

1204

.1

M. J. Walkley, Parergon, 12 (1995), 165–66.

Lachin, Giosuè, Maria di Francia, Il Purgatorio di san Patrizio, Biblioteca Medievale, 88 (Rome: Carocci, 2003) 379 pp. Contains an introduction (pp. 9–110), an edition of the Espurgatoire with a facing Italian translation (pp. 114–239, notes pp. 240–77), a text with a facing Italian translation of the Tractatus de purgatorio sancti Patricii (pp. 280–351), notes (pp. 352–59), a bibliography (pp. 361–74), a glossary (pp. 375–78), and an index of proper names (p. 379).

750

Pontfarcy, Yolande de, Marie de France, L’Espurgatoire seint Patriz (Louvain: Peters, 1995). Rev.:

.1

R. de Cesare, Aevum, 70 (1996), 401–02.

8

MARIE DE FRANCE .2 .3 .4

1205

W. Meliga, SF, 48 (2004), 158. D. Quéruel, Scriptorium, 52 (1998), 228*–29*, no 559. J. van der Straeten, Analecta Bollandiana, 113 (1995), 440–41.

Muela, Julián, Benedeit, Viaje de san Borondón; María de Francia, Purgatorio de san Patricio: dos viajes al otro mundo, Clásicos Medievales, 27 (Madrid: Gredos, 2002). Contains an introduction (pp. 9–81) and a copiously annotated translation of the Espurgatoire (pp. 163–250).

III. CONCORDANCE 758

Otaka, Yorio, Lexique de Marie de France (Tokyo: Maison d’Édition Kazama, 1994). Rev.:

.1

C. Buridant, RLiR, 61 (1997), 272–80.

IV. JOURNAL 739

Le Cygne: Bulletin of the International Marie de France Society: Abstracts, Notes and Queries. First published in April 1995, this journal continues to provide bibliographical information, articles on Marie de France and abstracts of conference papers. From issue no. 3 (1997), items entitled ‘Who’s Who in Marie de France Studies’ became a regular feature. A new series of the journal was launched in 2002 under a revised title: Le Cygne: Journal of the International Marie de France Society. Articles published in this journal are listed separately below.

V. BOOKS AND ARTICLES 1206

Adams, Tracy, ‘Making sens in BnF fr. 19152’, NZJFS, 23 (2002), 22–33. Examines the organizing principle of the manuscript concerned, which contains 88 works, including Marie’s Fables. The purpose of the collection is seen as the development of individual sens, i.e. the ability to analyse exempla situationally, not according to a fixed moral code. The first two works in the manuscript introduce the ethical analysis which is to be applied in the moral interpretation of the stories themselves; in this way the works are considered to interact.

1207

Agamben, Giorgio, Sacer homo: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford, CA: Stanford University Press, 1998). Chapter 6 (‘The Ban and the Wolf’, pp. 104–11) deals with the relationships between the sacred man, werewolves, and outlaws and includes remarks on

BOOKS AND ARTICLES

9

Bisclavret. States that in this lay ‘both the werewolf’s particular nature as the threshold of passage between nature and politics, animal world and human world, and the werewolf’s close tie to sovereign power are presented with extraordinary vividness’ (p. 107). It is important that the final transformation back into a human being takes place on the very bed of the sovereign (p. 108).

1208

Airò, Anna, ‘Tessitrici di parole (Philomena, Fresne…)’, Il racconto nel medioevo (2001), pp. 181–95. Examines the motif of weaving, as linked to the power of speech and feminine identity in several texts, including Laüstic (pp. 187–88) and Le Fresne (pp. 190–93). Of the texts studied only the heroines of Chrétien de Troyes’s Philomena and Le Fresne find a solution to their problem, and they do so through another woman. The lady in Laüstic remains isolated from the world of women, as no other women are mentioned in this lay.

1209

——, ‘La tenda sacra nel Roman d’Alexandre’, in La regalità, ed. Carlo Donà & Francesco Zambon, Biblioteca Medievale, Saggi, 9 (Rome: Carocci, 2002), pp. 165–87. Includes remarks on the motif of the tent in Lanval (pp. 165–66, 174) and on Le Fresne (p. 175).

1210

Alvar, Carlos, ‘A propósito del marco de los lais narrativos’, in Mélanges Ménard (1998), I, pp. 14–31. Examines the prologues and epilogues to both Marie’s lays and the anonymous lays, with the aim of finding a common denominator to help in the establishment of a typology for the narrative lay. The twenty-two lays considered show similar characteristics: the use of the terms lai and aventure/avenir, references to the content of the tale, to the title of the lay or to the Bretons who preserved it, and to the desire of the author to transmit the story (expressed through the verbs cunter, dire, mustrer). Other elements are less frequent, e.g. the time at which the adventure took place and emphasis on the truth of the story contained in the lay.

1211

Amer, Sahar, ‘A Fox is not always a Fox! Or how not to be a Renart in Marie de France’s Fables’, Rocky Mountain Review, 51 (1997), 9– 20. In the Fables Marie rejects the typological approach to animals in medieval animal literature, where they were seen not as imaginary or entertaining characters but as instruments of social and moral edification. A study of the first and last appearance of the fox demonstrates that Marie did not accept its traditional symbolism as trickster. In fable 10 (‘De vulpe et aquila’) the fox is a victim of an eagle, which steals one of its children. For Marie the character of the fox is determined by circumstances, not by its inherent nature. In the fox’s last appearance, in fable 98 (‘De catto et vulpe’), it boasts to a cat that it possesses a hundred ruses, whereas the cat claims to know only one. But the fox is caught and torn to pieces by dogs and the cat escapes. The fox’s defeat dissociates it from the traditional ‘Renart-rusesuccess’ formula (Marie’s fox is always a ‘goupil’, not a ‘renard’). So the

10

MARIE DE FRANCE fox is an open signifier, and with each appearance its interpetation must be constructed and renewed.

1212

——, ‘Marie de France Rewrites Genesis: The Images of Woman in Marie de France’s Fables’, Neophilologus, 81 (1997), 489–99. Concentrates primarily on fable 53 (‘De eremita’), in which a peasant continuously asks a hermit he lives with why Adam caused the Fall by eating the forbidden fruit. The hermit hides a mouse under a basin and tells the hermit not to look beneath it. But the peasant does so and the mouse escapes. The story recalls the Temptation and the Fall, yet there is no woman in the story. Marie thus questions woman’s responsibility for the Fall and her association with vice. The fable raises the issue of the stereotyping of sexual roles. The moral of this fable is directed at the peasant, who should stop blaming others and look to his own failings. Elsewhere in the Fables Marie exposes the arbitrariness of the traditional symbolism of women by presenting a variety of female behaviour, e.g. the Matron of Ephesus story in fable 25 and the lewd women who give bad advice to their husbands (fables 54, 72, 95). In both the Lais and the Fables Marie’s aim is responsible teaching; by eliminating woman from her role in Original Sin she marks the emergence of the female voice.

1213

——, Ésope au féminin: Marie de France et la politique de l’interculturalité, Faux Titre, 169 (Amsterdam: Rodopi, 1999). Argues that the Fables illustrate an eastern element in the transmission of culture from earlier civilizations to the Anglo-Norman world. Twelfthcentury England was culturally diverse, and Marie would have drawn on many traditions. Compares the eastern and western fable traditions. Some of the fables could have derived from Arabic sources. Marie could have obtained information on eastern fables from the English scholar Alfred of Sareshel, who was perhaps her ‘reis Alvrez’. Although the Romulus Nilantii provided Marie with many of her themes, her aesthetic could have come from Kalilah wa Dimnah, in which, like Marie, the narrator indicates that the reader should follow the political teachings of the fables. Chapter headings are: (1) ‘Deux discours fabulesques au XIIe siècle: discours occidental et discours oriental’ (pp. 28–62); (2) ‘La construction poétique et interculturelle de l’Esope’ (pp. 63–131); (3) ‘Les animaux de l’Esope: enrichissement sémantique et politique de la représentation’ (pp. 132–68); (4), ‘La femme, le dialogue, et la responsabilité’ (pp. 169–200). For a fuller summary and discussion, see Jambeck 1371. Rev.:

.1 .2 .3 .4 .5 .6 .7 .8 .9 .10

L. C. Brook, Med. Aev, 79 (2001), 146–47. M. T. Bruckner, Substance, 31 (2002), 288–92. S. L. Burch, FS, 55 (2001), 526–27. K. Jambeck, French Forum, 28 (2003), 115–16. G. Jucquois, LR, 54 (2000), 395–96. J. Koopmans, Rapports - Het Franse Boek, 70 (2000), 141–42. L. M. Porter, Women in French Literature, 10 (2002), 260. R. S. Sturges, Speculum, 77 (2002), 462–64. A. P. Tudor, FR, 77 (2004), 582. P. Walter, RF, 112 (2000), 500–01.

BOOKS AND ARTICLES 1214

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Angeli, Giovanna, ‘Le Dialogue nocturne conjugal: entre cadre et topos’, in Mélanges Ménard (1998), I, pp. 51–63. A study of the circumstances of nocturnal conversations between husband and wife. Includes remarks on Lanval and Bisclavret (pp. 58–59), which, although they do not contain a noctural conversation, have a number of elements indicating that they are sources for the Chastelaine de Vergy. These three texts, and several others, have in common a misogynistic spirit.

1215

——, Le strade della fortuna: da Marie de France a François Villon, Studi di Letterature Moderne e Comparate, 10 (Pisa: Pacini Editore, 2003). Contains a reprint of 765 (pp. 13–26) and versions in Italian of 763 (pp. 27– 40), 764 (pp. 41–50), and 1214 (pp. 51–67).

1216

——, ‘Lanval et l’oubli du roi Arthur’, Mediaevalia, 26 (2005), 83– 94. There is apparently no reason why Lanval, as a foreigner, had offered his service to Arthur, or why this service had not been rewarded by the king. W. McBain (1420) points out that Lanval was a foreigner, an outsider. Angeli looks at the way in which a hospes ‘guest’ can become a hostis ‘enemy’. Texts examined include the Roman d’Eneas, Graelent, Chrétien’s Chevalier de la charrette, and the Roman d’Yder.

1217

Archibald, Elizabeth, ‘The Breton Lay in Middle English: Genre, Transmission and the Franklin’s Tale’, in Medieval Insular Romance: Translation and Innovation, ed. Judith Weiss, Jennifer Fellows, & Morgan Dickson (Cambridge: D. S. Brewer, 2000), pp. 55–70. Reprints and discusses the Shrewsbury School list of lays (101). Contains a number of references to Marie’s lays. Points out that by the late twelfth century there seem to have been several types of lay in circulation in England, in both French and English, dealing with classical and nonclassical material.

1218

——, ‘Lai le Freine: The Female Foundling and the Problem of Romance Genre’, in The Spirit of Medieval English Popular Romance, ed. Ad Putter & Jane Gilbert, Longman Medieval and Renaissance Library (Harlow: Longman, 2000), pp. 39–55. Deals principally with the Middle English Lai le Freine, but contains frequent references to Marie de France. The English poem is said to be a ‘fairly close rendering’ of Le Fresne (p. 39).

1219

——, Incest and the Medieval Imagination (Oxford: Clarendon Press, 2001). Contains a brief study of Le Fresne (pp. 226–26), which makes the point that even a single act of sexual intercourse constituted a copula carnalis (a bond of flesh between partners), and it was forbidden to marry any relative of a previous sexual partner. The medieval audience would have realized that La

12

MARIE DE FRANCE Codre’s marriage to Gurun therefore constituted a sin against the laws of the Church as well as against the laws of love.

1220

Arden, Heather, ‘The End Game in Marie de France’s Lais: The Search for a Solution’, DFS, 61 (2002), 3–11. Studies the importance of Marie’s female characters in fashioning the solutions and endings to the lais, but sees male personages as creating the ultimate resolutions. For example, the endings of Equitan and Bisclavret are decided by men, who punish a guilty woman. In lays such as Guigemar and the Deus Amanz it appears as if the woman, respectively by fleeing her husband and coming up with the idea of the potion, has brought the lovers together, but the ending is dominated by male decisions: Guigemar’s need to rescue the woman from Meriaduc and the young man’s refusal to cooperate with the potion. Males and females in the Lais respond differently to crises. Marie’s view of women’s role in society may be pessimistic, as she seems to have accepted that the final word would go to men. This is also reflected in the names by which the lays are known.

1221

Armstrong, Grace Morgan, ‘Recent Gender Benders’, Women in French Studies, 6 (1998), 114–26. The first part of the article reviews a number of studies on Marie de France, which have focused on female poetics, orality, and the intersection between textuality and sexuality. The studies concerned are by Bruckner (813), De Looze (840), Freeman (605, 870), Pickens (1475), and Sturges (700).

1222

——, ‘Engendering the Text: Marie de France and Dhuoda’, in Translatio Studii: Essays by his Students in Honor of Karl D. Uitti for his Sixty-Fifth Birthday, ed. Renata Blumenfeld-Kosinski, Kevin Brownlee, Mary B. Speer, & Lori Walters (Amsterdam: Rodopi, 2000), pp. 27–49. Analyses the interlace between discourse and reproduction in Marie’s poetics and compares the findings to the work of a Frankish noblewoman, Dhuoda, who in the year 841 began to compose a manual of instruction for her absent son. Studies in particular Le Fresne and Milun. In the former there is a close association between mothering a child and telling a story. The interlace between the two is seen even in the abbess’s decision to identify Le Fresne as her niece. By so doing, the abbess, like Marie heself, creates a public story for the child, which is different from the hidden, true story. Le Fresne takes charge of her own story when she leaves to go with Gurun, but his allusion to her possible pregnancy reminds the reader of the procreation/storytelling theme. At the end, the rich paile, connected with the marriage bed, a locus of fertility, is crucial to the mother’s story, which permits the completion of Le Fresne’s birth story. Milun celebrates the permanence of narratives of love and procreation; isolated individuals continue to communicate with each other. The swan, a living symbol of the couple’s love, acts as messenger and message. The child and the swan are thus doubled and defined by the text(s) they carry.

1223

Bagley, Ayers, ‘A Wolf at School’, Studies in Medieval and Renaissance Teaching, ns, 4 (1993), 35–69.

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Studies the theme of the ‘wolf who went to school’ in the visual imagination of medieval Europe. Includes remarks (pp. 43–45) on Marie’s fable 81 (‘De presbytero et lupo’) in which a priest tries to teach a wolf to understand the alphabet. Is Marie saying that hypocrites are born that way, like wolves, and are thus unchangeable, or that people in general are inclined to hypocrisy?

1224

Barban, Judith, ‘The Case for a Possible Acrostic in the Lais of Marie de France’, Le Cygne, ns, 1 (2002), 25–39. Examines the religious elements in Marie’s works and the use of the acrostic in Christian and secular literature, a device which authors are said to have used as a means of identifying themselves and for the process of remembrance. It is proposed that the first letter of the titles of the twelve lays in the Harley collection of lays make the sequence GE FABLAY MCC G+G, interpreted as ‘I told stories (in the year) 1200 G and G’. G+G could well be 3 + 3, thus making 1206 the year an elderly Marie arranged her poems in the order found in the Harley manuscript.

1225

——, ‘Lai ester: Acceptance of the Status Quo in the Fables of Marie de France’, RomQ, 49 (2002), 3–11. The phrase lai ester occurs five times in the Lais and seven times in the Fables. It conveys the command to go away from the speaker or to desist from activity such as questioning, seeking, or striving. It is linked to the wider message of the Fables: accept your own personality traits and physical endowments and the social conditions in which you live, including your own material worth. Also studies the role of women in the Fables. When it is necessary to save their children, their marriage, or their honour, women are remarkably ingenious and creative in coping with the constraints and compulsions of their world. Marie’s lai ester concept is simple and practical, and is not opposed to the Judeo-Christian tradition.

1226

——, ‘The Making of the Man: Woman as Consummator in the Lais of Marie de France’, The South Carolina Modern Language Review, 1.1 (2002). Electronic journal; no page numbers. (http://www. alpha1.fmarion.edu/~scmlr/) An analysis of the female personages of the Lais. Although one can point to the similarity of the situations within the tales, one of Marie’s principal concerns was to make each character unique. Her personages are typical knights and malmariées, not great kings or queens. Rothschild (1023) has called the females ‘controlling women’, but they are in fact active forces within the stories; each is a primum mobile, altering the course of destiny for those who love her. Sometimes they attempt to extract themselves from dilemmas created by human weaknesses. In so doing, they can precipitate the destruction of others and occasionally of themselves.

1227

——, ‘Provocation of the Paranormal in the Lais of Marie de France’, MedPer, 17.2 (2002), 23–37. Guigemar, Lanval, and Yonec contain scenes that correspond to paranormal activity: ‘In a moment of physical or psychological despair, the protagonist steps into another realm, a world of beauty, love, and generosity’ (p. 25). The supernatural encounters in the three lays are similar in that they are

14

MARIE DE FRANCE signalled by the strange behaviour of an animal, the protagonist is alone, in a supine position, and undergoing internal or external suffering. Water is also present. The Other World in the three tales contains gold and white, and the atmosphere is one of luxury. In this world the mortal experiences for the first time an ideal and total love. Another feature uniting the lays is that entry into the Other World is a form of near-death experience. If the pagan Other World was originally Celtic, Marie has transformed it into a representation of the Kingdom of God, on the model of the two cities in St Augustine’s City of God.

1228

——, ‘Saints Clerical and Courtly in the Espurgatoire seint Patriz of Marie de France’, Le Cygne, ns, 2.1 (2004), 7–18. Examines the saintly male figures of the Espurgatoire: St Patrick, the old Irish prior, the knight Owein, the clerics and the hermits of the four concluding tales. In her portrait of Owein Marie emphasizes his saintliness, but, unlike his equivalent in Henry of Saltrey’s Tractatus, he does not change his nature on his return from his adventure and enter a monastic order. Marie was writing for a courtly audience, and she wanted to show that sainthood was not the preserve of popes, priests, monks, and nuns alone. Throughout the narrative she demonstrates her linguistic skills; in the case of Owein she turns him into a man who bridges the gap between church and castle.

1229

Barron, W. R. J., ed., The Arthur of the English: The Arthurian Legend in Medieval English Life and Literature, Arthurian Literature in the Middle Ages, 2 (Cardiff: University of Wales Press, 1999; revd paperback edn, 2002). Chapter 3 (‘The Romance Tradition’, by Catherine Batt & Rosalind Field) contains remarks on Marie’s identity and the lays of Chevrefoil and Lanval (pp. 62–63), and chapter 5 (‘Chivalric Romance’, by Elizabeth Williams) deals with the Lanval story as a source for the English poems Sir Landevale, Sir Launfal, and Sir Lambewell (pp. 130–35).

1230

Bartlett, Robert, England under the Norman and Angevin Kings 1075–1225, The New Oxford History of England (Oxford: Clarendon Press, 2000). The section ‘Love and Sex’ in chapter 11 (‘The Course of Life’) contains a study of love in the Lais (pp. 558–62). Concludes that intensity, loyalty, and reciprocity are the marks of true love (p. 561).

1231

Batany, Jean, ‘Les Fables de Marie et Kalila et Dimna’, Mediaevalia, 26 (2005), 127–48. Marie’s Fables must be treated as a work with a past, and not compared simply to the Romulus Nilantii. Latin, Greek, and Oriental traditions are important. Only when we know what is new in Marie can we study the Fables in the context of the politics of the reign of Henry II. Of particular interest in this article is the Kalila et Dimna collection (composed in the eighth century by Ibn-al-Muqaffa), which had a profound influence on western medieval literature, even though the earliest translations are a good deal later than Marie’s work.

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Benaïssa, Zinelabidine, Études sur les rimes des Lais de Marie de France, Linguistique, 7 (Tunis: Publications de la Faculté de Lettres de la Manouba, 1995). A detailed study of the rhymes found in the Lais, from the point of view of the sound association between two successive phonemes and the whole word containing the rhyming element. Consists of three parts: (I) ‘Homophones et correspondances sonores en finales de vers’ (pp. 23-68); (II) ‘Techniques de la rime’ (pp. 69–156); (III) ‘Phonétique de la rime’ (pp. 157–232). Also includes an Appendix providing a statistical and descriptive study of the rhyming schemes (pp. 233–63).

1233

Bennett, Philip E., ‘Marie de France, lectrice de Gaimar? Le cas d’Equitan’, in Filologia romanza e cultura medievale: studi in onore di Elio Melli, ed. Andrea Fasso, Luciano Formisano, & Mario Mancini, 2 vols (Alexandria: Edizioni dell’Orso, 1998), I, pp. 87– 102. Examines the question of whether Marie de France’s Equitan and Lanval show evidence of borrowing from Gaimar’s Estoire des Engleis. Concludes that they do, but any direct textual borrowings are of less significance than thematic or structural elements. Marie’s knowledge of Gaimar’s account of the trial of Godwin, Count of Essex, may have helped her to resolve Lanval’s fate, and it is even more likely that the story of Edgar and Elftroed influenced the confrontation between fin’amor and Christianity which one finds in Equitan. Rev.:

1234

1

G. Paradisi, Critica del Testo, 2 (1999), 1164.

Berthelot, Anne, Le Roman courtois: une introduction (Paris: Nathan, 1998). A brief introduction to Marie (pp. 34–35) is followed by a discussion of Lanval (pp. 35–37). Concludes that Lanval is a hybrid text; beginning as a tale centred on cortoisie, it ends up as a much older tale, the structure of which is hidden behind its deceptive décor.

1235

Bloch, R. Howard, ‘Other Worlds and Other Words in the Works of Marie de France’, in The World and its Rival: Essays on Literary Imagination in Honor of Per Nykrog, ed. Kathryn Karczewska & Tom Conley (Amsterdam: Rodopi, 1999), pp. 39–57. Begins by looking at what critics have said about Marie de France over the years and then examines her ‘conscious concretization of language’ (p. 43). Language is perhaps the main character in the Lais, ‘an ever-present, global principle eliciting all the emotions connected to various human figures (trust, love, fear, jealousy, betrayal)’. The Fables are also full of problematic, and often dangerous, speech acts (false accusations, false seductions, promises, pleas, bad advice, false flattery, etc.). In the Lais language is thrown into question, but in the Fables it is a theme conceived in social terms, with good and bad uses of words. The Fables no longer reflect Marc Bloch’s first feudal age; they present a world in which it is each man for himself, where rules are determined by a more urban economy, based on markets and money rather than on bonds of homage and honour. The Espurgatoire stands

16

MARIE DE FRANCE between the linguistic fatalism of the Lais and the potentially optimistic linguistic mediations of the Fables. The knight Owein submits to an ordeal of silence and speech; he has to repeat one syllable, ‘nun’, and thus use an incantatory language. Of importance in the Espurgatoire are ports of entry and escape (doors, caves, pits, etc.), and the way in which Marie herself is seeking a place of entry for the feminine voice within a masculine world; through translation, she leaves Latin behind and enters the vernacular world.

1236

——, ‘Gaston Paris (1839–1903). Paris France: Marie on the Margin’, in Reception and Transmission (2003), pp. 91–109. Examines the life and work of Gaston Paris with particular reference to his contribution to the study of Marie de France. He accorded little attention to Marie’s works, but throughout his life he was obsessed with legitimized triangles, a man with two women or a women with two men, and he was therefore drawn towards Eliduc, to which he devoted a chapter of his La Poésie du Moyen Âge (350).

1237

——, The Anonymous Marie de France (Chicago: University of Chicago Press, 2003) 367 pp. Describes Marie as being amongst ‘the most self-conscious, sophisticated, complicated, obscure, tricky, and disturbing figures of her time’ (p. 19). Her work can be seen ‘to portray and to participate in the workings of historical change’ (p. 311). This complex study examines individually and comparatively the three works attributed to Marie, stressing their thematic unity and her awareness of the polyvalence and capriciousness of language. Chapter headings are: (1) ‘The Word aventure and the Adventure of Words’ (pp. 25–50); (2) ‘If Words Could Kill: The Lais and Fatal Speech’ (pp. 51– 82); (3) ‘The Voice in the Tomb of the Lais’ (pp. 83–110); (4) ‘Beastly Talk: The Fables’ (pp. 111–38); (4) ‘Changing Places: The Fables and Social Mobility at the Court of Henry II’ (pp. 139–74); (6) ‘Marie’s Fables and the Rise of the Monarchic State’ (pp. 175–205); (7) ‘A Medieval “Best Seller”’ (pp. 206–40); (8) ‘Between Fable and Romance’ (pp. 241–66); (9) ‘The Anglo-Norman Conquest of Ireland and the Colonization of the Afterlife’ (pp. 267-310). Rev.:

1238

.1 .2 .3 .4 .5 .6 .7 .8 .9 .10 .11 .12 .13

S. Amer, Speculum, 79 (2004), 738–39. S. Burch, FS, 58 (2004), 236–37. A. Classen, Mediaevistik, 17 (2004), 362–66. R. J. Cormier, Choice, 41 (2003), 547. P. Creamer, RR, 95 (2004), 362–64. A. Denny–Brown, Le Cygne, ns, 3 (2005), 41–44. J. Gilbert, MLR, 100 (2005), 808. J. Kellogg, Biography, 27 (2004), 605–08. E. J. Mickel, Jr., MP, 103 (2005), 230–35. Y. de Pontfarcy, CCM, 48 (2005), 261–62. P. V. Rockwell, RomQ, 52 (2005), 78–79. S. Spence, Clio, 34 (2004), 144-47. L. E. Whalen, FR, 79 (2005), 153.

——, ‘Altérité et animalité dans les Fables de Marie de France’, in Littérature, 130 (2003), 26–38.

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Marie is the most profound, complex, refined, astute, and subtle author of the twelfth century. She reflected constantly on the relationship between language and social institutions and on the role of the writer within the restoration of culture in the multicultural Anglo-Norman world of her time. In the Lais words have a tragic power; they can haunt or even kill the person who utters them. The Fables, however, offer an optimistic view of the link between words and acts. Here language is envisaged from an existential perspective, as the various fables display an understanding of the good and bad use of words, and of the difference between truth and lies, and good and bad advice. Words are intruments of the ‘rapport de force’ existing between animals and humans. The Fables have a scholastic and a pedagogical dimension. They act as a mirror for princes, helping with an individual’s ethical education and introducing young people to both rhetoric and politics. Marie’s examination of the contradiction between the true nature of facts and the inherent nature of each animal opens up the way to thirteenthcentury Aristotelian logic. The ethic of the Fables is opposed to the vertical and personalized nature of feudalism and favours a moral engagement of individuals with each other.

1239

——, ‘The Wolf in the Dog: Animal Fables and State Formation’, Differences: A Journal of Feminist Cultural Studies, 15 (2004), 69– 83. Fables tend to appear at crucial moments in the development of cities and courts, and this is true of Marie’s Fables. The article examines a sub-genre of the animal fable that has a special role to play in the creation of urban space as well as state values and institutions. Important here are those fables that involve changing places. These tales are about the struggle for territory in the Anglo-Norman world. In general, the Fables present lessons that affirm the values of the court and the market place: vigilance, an ability to look ahead, suspicion of others, flexibility, endurance. These are the values of the new monarchic state, as opposed to the feudal world, which is dominated by violence, oaths, honour, etc. It was the man in the beast rather than the beast in the man that preoccupied Marie.

1240

Blons-Pierre, Catherine, ‘Le Statut de la mère célibataire dans la littérature médiévale’, in Bien Dire et Bien Aprandre, 18 (1998: La Mère au Moyen Âge), 35–47. Giving birth to an illegitimate child was considered as a double sin by the medieval Church. Among the texts discussed in this article is Milun. Here the girl is seduced and afraid of what might happen to her, so she conceals her state as single mother. Marie shows that society condemns sexual relations outside marriage and this is perhaps why Milun did not marry her. All is well at the end, as Milun marries her after the death of the husband whom her father had forced her to take.

800

Boland, Margaret M., Architectural Structure in the Lais of Marie de France (New York: Peter Lang, 1995). Rev.:

.1 .2 .3

L. C. Brook, RF, 109 (1997), 348–50. C. A. Maréchal, Speculum, 74 (1999), 391–93. P. Noble, RMS, 24 (1998), 255.

18 1241

MARIE DE FRANCE Bouillot, Carine, ‘Quand l’homme se fait animal, deux cas de métamorphose chez Marie de France: Yonec et Bisclavret’, in Magie et illusion au Moyen Âge, Senefiance, 42 (Aix-en-Provence: Publications du CUER MA, 1999), pp. 65–78. In Marie’s day there was both a Greco-Roman and a folklore tradition of metamorphosis. The roots of Bisclavret and Yonec are to be found in the most ancient Celtic tradition, imbued with elements of magic and the merveilleux (but Bisclavret may have been influenced by Apuleius’s Golden Ass). The article studies the way Marie treats the theme of metamorphosis in the two lays. She does not just emphasize the magic involved, but places her narratives in the human and rational world; Bisclavret and Muldumarec have a double nature: man-wolf and man-bird. The two lays have different meanings and different structures. Concludes that ‘Yonec est un récit à metamorphose et Bisclavret un récit de métamorphose’ (p. 77).

1242

Braet, Herman, ‘Marie de France, poète du visuel?’, in Mélanges Ménard (1998), I, pp. 185–94. It has been said that, for medieval and Renaissance man, hearing and touch were more important than sight. This article examines the visual element in Marie’s brief descriptions. She provides few details, but stresses the prodigious luxury of certain elements; the descriptions become part of the escapist dimension to the poems. The characters, who are not individualized, are presented differently from the objects. In the love stories the visual element is important; passion is inspired by the sight of the other.

1243

Brainerd, Madeleine, ‘Stolen Pain: Romance and the Redistribution of Suffering’, in One Hundred Years of Masochism: Literary Texts, Social and Cultural Contexts, ed. Michael C. Finke & Carl Niekerk (Amsterdsam: Rodopi, 2000), pp. 71–90. Discusses Bisclavret and Lanval. It has become common to declare that medieval romance is sadomasochistic, but Brainerd questions this. Works such as those by Marie and Chrétien de Troyes claim that their personages are suffering more pain than anyone has ever suffered (the author calls this competitive martyrdom). Such hyperbolic displays of idealized pain set in motion an assortment of emotional energies, interpersonal rearrangements, and cultural adjustments. Lanval can be read as a portrait of a selfdestructive syndrome. His preoccupation with his fantasy life puts him out of favour at court. His dependence on an unpredictable woman works in tandem with his fear of financial ruin. Bisclavret’s wife also turns from adoring to loathing him; his exile from humanity derives from the hands of his wife. The lays can disorient in a line or two, but they introduce an element of cyclicity, with fantasy endings rescuing the hero. But a text like Lanval exposes fantasy as a dead-end. Bisclavret’s ‘weekly werewolf syndrome’ (p. 80) finds no resolution.

1244

Branson, Stephanie, ‘“A Plant for Women’s Troubles”: Rue in Marie de France’s Eliduc and Ellen Glasgow’s The Past’, The Ellen Glasgow Newsletter, 33 (1994), 4–5. Ellen Glasgow complained in 1943 that there was a paucity of valid woman myths and she set about the task of providing them. But this task had already

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been accomplished by Marie de France. The article concentrates on Eliduc, which is compared to Glasgow’s short story The Past. In both stories the motif of rue is important, but in a different sense, a medicinal herb in Marie and regret in Glasgow. In Eliduc rue (rura graveolens) takes on mythical proportions. It becomes the instrument whereby Guildelüec demonstrates extraordinary compassion towards her rival.

1245

Bruckner, Matilda Tomaryn, ‘Conteur oral/recueil écrit: Marie de France et la clôture des Lais’, op. cit.: Revue de Littératures Française et Comparée, 5 (1995), 5–13. Marie intertwines oral and literary elements in her lays, thereby inscribing on them her own textual identity. She ‘translates’ the tales of Breton storytellers and passes them on to future readers. In the Prologue she tries to appear as both an author, using the arguments and techniques of the clerc, and a storyteller (one notes the verbs oïr, cunter, and dire). She was both a woman and a clerc, and this unusual combination helped her to record the truth of human experience and also embrace the authority of both written texts and the Latin tradition. Within her stories she creates fluid links between herself and her characters. To convey the diversity of the world, she required the scope of a collection. The closure of the lays, in which the role of women in the production of the lays is often stressed, involves the various rites of passage of human life: reunion of lovers, marriage, death. Sometimes she explains the title or comments on the narrative.

1245a

——, and Glyn S. Burgess, ‘Arthur in the Narrative Lay’, in The Arthur of the French: The Arthurian Legend in Medieval French and Occitan Literature, ed. Glyn S. Burgess and Karen Pratt, Arthurian Literature in the Middle Ages, 4 (Cardiff: University of Wales Press, 2006), pp. 186–214. Contains a section on Marie de France by Bruckner (pp. 187–98) and one on the ‘anonymous lays’ by Burgess (pp. 198–208). Of Marie’s lays, only Lanval ‘operates directly in the Arthurian context’ (p. 187), but the Tristan legend, represented by Chevrefoil, has been brought into the Arthurian orbit. Bruckner provides a general introduction to Marie, and the analysis of Lanval draws on the folklore of twins and doubling, in this case the duality of good and bad (Marie may have been the daughter of Waleran, one of the Beaumont twins). Lanval and Chevrefoil, operating from within the collection, are twinned in that they both present the ‘queen and her lover’ motif. Burgess studies the Lanval-type story as found in Lanval, Graelent, Guingamor and, to an extent, in Desiré (pp. 204-05).

1246

Brumlik, Joan, ‘Thoughts on Renaut’s Use of Marie’s Fresne in Galeran de Bretagne’, Florilegium, 14 (1995–96), 87–98. Renaut took from Marie’s Le Fresne only the general plot at the beginning and the end of the lay. Whereas Marie’s poem contains a number of things not explained, Renaut’s work offers an abundance of explanations and digressions. He eliminates the hatred surrounding Le Fresne’s mother, and there is no suggestion of infanticide. In Galeran Le Fresne and Galeran are brought up together, and in his work Le Fresne is far from Marie’s Griseldatype figure. The couple do finally marry, but in different circumstances from those in Marie. Many of Renaut’s transformations are misogynistic, and he

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MARIE DE FRANCE creates a dramatic change in the character of the abbess, who comes to oppose the love between Le Fresne and Galeran. Marie wanted to juxtapose art and life to show the difference between everyday life for women and the roles in romance. When Renaut wrote, society was even harder on women and he composed an unproblematic romance.

1247

——, ‘The Lyric malmariée: Marie’s Subtext in Guigemar’, RomQ, 43 (1996), 67–80. Begins with a description of the typical malmariée, a figure found in a variety of lyric poems. In Guigemar Marie presents the lady as a malmariée (vv. 209–17), and the lady herself confirms this when she speaks to Guigemar (vv. 339–54). In this lay, the first in the Harley collection, Marie experiments generically with her heroine in order to show that fiction, whether courtly or non-courtly, has a male bias and fails the female reader. She targets in particular the poet of the first-person chanson de malmariée, who usurps the woman’s voice and creates beautiful and attainable women.

1248

——, ‘Secondary Characters in Equitan and Eliduc’, in The Court and Cultural Diversity (1997), pp. 189–95. Individual secondary characters are rare in the Lais. Equitan has only one, the maiden enlisted to guard the door (vv. 285–86), who is created to add suspense to the dénouement. In general, there are few secondary characters in lays in which illicit love is portrayed. Eliduc offers a much larger number of individual characters and groups of people than Equitan, including, in the opening section, Eliduc’s friends and the hostile courtiers. The town and inhabitants of Exeter are progressively reduced to the space that is Guilliadun’s chamber, and to the classic grouping of two lovers and a gobetween. For the lovers the outside world disappears completely. Back in Brittany, and then in Exeter, more secondary characters occur: Eliduc’s two nephews, his chamberlain and squires, etc. In the Lais Marie portrays the domain of private personal fantasy set against public aspects of the world inhabited by the lovers.

1249

——, ‘Incest and Death in Marie de France’s Deus Amanz’, in The Court Reconvenes (2003), pp. 169–77. Surveys the issue of incest in contemporary law and literature. In the Deus Amanz there is no specific reference to it, but Marie has made use of its thematics. Indeed, the lay can be said to be about incest, as she has crossed the folktale motif of a task that the lover accomplishes with the Apollonius of Tyre variation. Marie’s tale must end with the death of the young man, which fits in with her frequent use of an unconventional ending. In her lay the young man’s démesure consists in taking on the king, as he is convinced he will never give up his daughter.

1250

Bruno, Stéphanie, ‘Exil, monstruosité et tare héréditaire: analyse comparative entre le Genji Monogatari de Murasaki Shikibu et les Lais de Marie de France’, Nouvelle Plume: Revue d’Études Mythologiques et Symboliques, 1 (2000), 79–91. Eliduc, Lanval, and Genji, all of noble birth, are unjustly exiled from the court society to which they belong, and all experience the envy of their

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peers. Their banishment reveals their true nature and it leads to a meeting with a female personage. All three cross water and are capable of entering another world. They possess a certain exoticism and a disconcerting strangeness that marginalizes them; they are all associated with sexual deviancy. The banishment undergone by the three heroes is both an attempt at purification and a sign of their abnormality. In the end, society is purified.

1251

——, ‘Un aspect de la stylisation des descriptions, théâtralité, mensonge, et émoi esthétique: analyse comparative entre le Genji Monogatari de Murasaki Shikibu et les Lais de Marie de France’, Plume: Études de Langue et de Littérature Françaises, 5 (2001), 62– 71. The similarity between the portraits in the Lais and those in the Genji Monogatari suggest that they are the product of theatricality and artificiality, even of duplicity. An example of theatricality in Marie is the fairy’s arrival at Arthur’s court in Lanval. Duplicity is illustrated by Equitan, in which the seneschal’s wife is depicted as the archetype of the sinner, and by Eliduc, in which the reader knows that Eliduc is a liar and that the young girl’s esteem for him is based on a ‘jeu de personnage’ (p. 67). Physical beauty is not synonymous with moral beauty. The portrait of the fairy figure in Lanval has been borrowed from the official canon of mortal women, yet there is an element of disembodiment about it, a perfection that could not be that of a real woman. The personages in the Lais are described in terms of the effect they have on others; one has to like and admire them, and the reader recognizes that they are eminently courtly.

1252

——, ‘Le Meurtre rituel de l’homme-animal dans le lai de Yonec et les contes japonais de type Miwa’, Nouvelle Plume: Revue d’Études Mythologiques et Symboliques, 2 (2001), 131–37. Yonec and the Miwa-type tales are linked to the traditional tale in which a young woman has a relationship with a man who possesses an animal component (a bird in Yonec, a serpent in the Japanese tales). The woman betrays the lover unwittingly, follows him to his kingdom and discovers his divine or supernatural nature. The tragic end of the lover is conditioned by his animal component, which gives him access to a female but confers on him a form of vulnerability (vv. 316–80 of Yonec contain nine allusions to blood). The woman’s husband in Yonec is a vigorous knight who loves hunting, and he hunts Muldumarec like prey. The ritual murder of the lover in all these tales puts an end to his capacity to move between two worlds, but the woman, through a magic act of ingestion, takes the lover inside her and conceives a child who will gain access to his father’s sovereignty and preserve his divine origin without the animal component.

1253

——, ‘La Gémellité féminine: sur les pas de la Déesse-mère: à partir du rapprochement du Genji Monogatari de Murasaki Shikibu et des lais de Le Frêne et d’Eliduc de Marie de France’, in Tous les hommes virent le même soleil: hommage à Philippe Walter, ed. Kôji Watanabe (Tokyo: CEMT Éditions, 2002), pp. 34–51. Twins are normally male and, traditionally, just as a new city or a new order is about to be founded one twin kills the other. Mythical twins were

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MARIE DE FRANCE represented as having some link with animals (twin births are more common amongst animals). This article examines female twins. Important aspects are the signs associated with the birth of twins, their names, the possibility that one twin has a divine origin, the relationship of one twin with the sun and the other with the moon. Amongst Marie’s lays, Le Fresne is an obvious example of twinning, and this lay is discussed in some detail. But the theme is also important in Eliduc. The abduction of Guilliadun from England is based on dissimulation and, as Eliduc has a wife, her relationship with Eliduc is destined to remain clandestine. The storm leads to a rejection of Guilliadun by Eliduc’s men and provokes a crisis of identity for her. As a result of her coma, a form of artificial death that takes her into another world, she confronts her rival and twin, Eliduc’s wife. Through her link to water and this otherworldly visit, Guilliadun can be interpreted as a form of fairy figure. The fate of the twins is safeguarded by their entry into a convent, a type of social death. This contrasts with Le Fresne, which has an exemplary ending. All the twins in the two lays and the Genji Monogatar can be assimilated to the figure of the ‘déesse-mère des origines’ (p. 51).

1254

——, ‘Par la fenêtre du toit: l’union mystique à l’époux animal, à partir du lai de Yonec de Marie de France et de récits mythologiques celtes et japonais’, in Par la fenestre: études de littérature et de civilisation médiévales. Actes du 27e colloque du CUER MA 21–22– 23 février 2002, ed. Chantal Connochie-Bourgne, Senefiance, 49 (Aix-en-Provence: Publications du CUER MA, 2003), pp. 57–65. A roof-window is like a stained-glass window placed high up in a church; light can come in, as can the divine presence, or a divine creature. In Yonec the lady’s window, high up in the tower where she is confined, likewise allows a celestial creature to enter, as a result of the prayer she addresses to God; the woman’s powerful invocation is analogous to communication with the Other World. The bird-knight is thus like the Angel Gabriel, who communicates with the Virgin Mary and announces the conception of a child. The article compares the circumstances in Yonec with those in the Celtic stories of Conary Môr and Japanese chronicles such as Kojiki (compiled in AD 712) and Nihon-gi or Nihon-shoki (compiled in AD 720).

1255

Bruno-Meylan, Stéphanie, ‘Les Chevelures indisciplinées, enracinées dans l’autre monde: observation de textes occidentaux (Yvain ou Le Chevalier au lion de Chrétien de Troyes, les Lais de Marie de France) et d’un texte nippon (Le Genji Monogatari de Murasaki Shikibu)’, in La Chevelure dans la littérature et l’art du Moyen Âge, ed. Chantal Connochie-Bourgne, Senefiance, 50 (Aixen-Provence: Publications du CUER MA, 2004), pp. 47–57. Marie mentions hair colouring only three times in the Lais. When commenting that the lady in Lanval has blonde hair but brown eyebrows, she is showing that the lady has real beauty (vv. 567–70), and when Lanval’s friends tell him that the lady has neither tawny nor brown hair the emphasis is on the absence of any wickedness in her. In Guigemar the old priest has hoary-white hair (v. 255), indicating that he conforms to the Christian ideal of wisdom and ascetic purity. Milun’s son feels pity for him when he sees his white hair, a sign of honour and respectability (v. 423). The mention of

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hair adds not to the physical portrait of a personage but to the moral portrait. Also points out that when Guildelüec takes the veil in Eliduc (‘La dame i fet sun chef veler’, v. 1142) she is renouncing the futilities of the secular world.

1256

Brusegan, Rosanna, ‘Le Cutel et le bastun: mort et vie de Tristan dans le Chèvrefeuille de Marie de France’, in Tristan - Tristrant: mélanges en l’honneur de Danielle Buschinger à l’occasion de son 60ème anniversaire, ed. André Crépin & Wolfgang Spiewok, WODAN, 66 (Greifswald: Reineke Verlag, 1996), pp. 531–55. Begins by examining the themes and language of Chevrefoil in the context of their appearance in other Tristan texts. The Roman d’Eneas is also seen as an important source for Marie’s lay, in spite of the views of Hoepffner (223); for example, the tragic love of Tristan and Iseut can be compared with that of Aeneas and Dido. Points out that lay has a double structure, being part tragic and part joyful. The bastun, which is a metaphor for Tristan himself, is seen as central to the meaning of the text. Tristan’s despair leads him to cut it down, an act that is a form of suicide. Also suggests that the accord between Tristan and Mark (‘Del rei avrat acordement’, v. 99) symbolizes, on the metapoetic level, the poetic efforts of Marie herself, as accorder is a technical term in literature for the union of letters and syllables, and in music for the art of musical composition. In rhetoric the bastun designates the verse, and breaking the stick in half (‘trencher par mi’, v. 51) equates with the act of breaking the couplet into two hemistichs, which is what happens in v. 78 (‘Ne vus sanz mei, ne mei sanz vus’).

1257

——, ‘La Mémoire du texte: l’art de l’allusion dans le Chievrefoil de Marie de France’, Mediaevalia, 26 (2005), 17–56. The allusive quality of Marie’s Lais is central to their creation and structure, especially to Chevrefoil. Allusion has a wide variety of characteristics (trope, argument, intertext, poetic programme, etc.). The article examines four elements of Chevrefoil: (i) allusion through proper names; (ii) allusion through summary; (iii) the ‘mise en abyme’ of both what is written and what is said; (iv) allusion through symbol. The allusive heart of the lay is centred on the expression ‘summe de l’escrit’ (v. 61). Within the poem as a whole the art of allusion has two aspects: open allusion in the first part and closed allusion in the second (Marie has composed a ‘double lai’, p. 41). This is linked to Marie’s transformation of the song she inherited from the Breton authors into a tale; through the use of allusion she unites the two stages of composition within a single poetic reality.

1258

Burch, Sally L., ‘The Prologue to Marie’s Lais: Back to the littera’, AUMLA, 89 (1998), 15–42. A detailed study of the Prologue to the Lais. Pays particular attention to vv. 17–22 and decides in favour of the following text and translation: ‘Li philesophe le saveient / E par eus memes entendeient: / Cum plus trespasserunt le tens / Plus serreient sutil de sens, / E plus se savreient garder / De ceo ki ert a trespasser’ (‘The philosophers knew it, and they themselves understood that the further they [i.e. their works] pass through time, the richer they would be with meaning, and the better they would be able to preserve themselves from that which was to pass’). Concludes that for Marie the obscurity of the ancients was a survival strategy, designed to ensure that

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MARIE DE FRANCE their works continued to live through the vicissitudes of future centuries. Also examines the theme of remembrance and the issue of the sending forward (avant enveier, Prologue, v. 38; porter avant, Chaitivel, v. 233) of the lays once they had been composed (pp. 32–36).

1259

Burgess, Glyn S., ‘The Fables of Marie de France: Some Recent Scholarship’, FSB, 61 (1996), 8–13. In the period covered by Supplement 2 (1161), i.e. approximately 1984 to 1995, an unusually large number of studies on the Fables appeared. This article brings together their bibliographical details and conclusions.

1260

——, ‘Marie de France’s Le Fresne: A Bibliographical Note’, Le Cygne, 2 (1996), 41–47. Brings together the bibliographical details and conclusions of the large number of studies devoted to Le Fresne in Supplement 2 (1161).

1261

——, ‘Alfred Ewert (1891–1969): The First English Edition of the Lais’, in Reception and Transmission (2003), pp. 251–59. Surveys Ewert’s life and contribution to Marie de France studies. His first publication devoted to Marie was a selection of the fables (1942, with R. C. Johnston). In 1944 he produced the first English edition of the Lais, in which he stated that the textual editor should emend ‘only when a scribal corruption seemed amply proven’ (p. xxi).

1262

——, ‘Marie de France’, in Women in the Middle Ages: An Encyclopedia, ed. Katharina M. Wilson & Nadia Margolis, 2 vols (Westport, CT: Greenwood Press, 2004), II, pp. 600–06. A general introduction to Marie and her writings. Concludes that Ewert’s comment that Marie in her three works progressed ‘from entertainment through moralization to edification’ (3, p. vii) cannot be accepted. These ingredients are found in each of Marie’s works; each text has its own philosophie (Fables, Prologue, vv. 24–25).

1263

Burgwinkle, William E., Sodomy, Masculinity, and Law: France and England, 1050–1230 (Cambridge: Cambridge University Press, 2004). Chapter 4, ‘Queering the Celtic: Marie de France and the Men who don’t Marry’ (pp. 138–69), discusses Guigemar (pp. 139–60), Lanval (pp. 162– 64), and Bisclavret (pp. 165–69). Guigemar, like other young men of his time, was expected to complete his training and take up his preordained position in aristocratic society through marriage, preocreation, patronage, and military defence. He lives in a world in which male-male affection and rivalry is encouraged and the feminine is distanced. Guigemar is a tale of a ‘queer young buck led to a heterosexual trough and taught to drink’ (p. 160). Male sexuality also plays a central role in Lanval and Bisclavret. Forgotten by Arthur, Lanval was not supported by his fellow knights because he was not one of them. For Guinevere he is the perfect candidate for adultery and sacrifice. When saved by his lady, his victory forces him to leave the court that had betrayed him. Bisclavret’s queer nature is ascribed to a natural phenomenon; the issue of his three-day disappearances is explicity eroticized

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from the beginning. When betrayed, he loses the markers of his class and his identity; he ceases to exist. He regains only fragments of his former self, and his new identity is so imbued with homosocial affection that it shows no sign of veering towards heteronormative knighthood in which excellence in arms and devotion to a lady feed off each other.

1264

Burns, E. Jane, Courtly Love Undressed: Reading Through Clothes in Medieval French Culture (Philadelphia: University of Pennsylvania Press, 2002). Contains a section entitled ‘Redefining Gender in the lai de Lanval’ (pp. 167–78). Lanval’s lady dresses him in fine garments (vv. 173–76), thus fashioning him in her ornate image. It is she who takes on the role of lord and knight in this narrative, even though, when he first sees her, she is a scantily clad seductress. She lives in a world dominated by women and by luxury textiles. The courtly economy of her domain upsets the gender distribution in Arthur’s courtly world, and the overall effect of falling in love in this scenario is to recast the Genesis story of falling into clothes and dividing the world into two sexes.

1265

Burrichter, Brigitte, ‘Die narrative Funktion der Feen und ihrer Welt in der französischen Artusliteratur des 12. und 13. Jahrhunderts’, in Das Wunderbare in der arthurischen Literatur: Probleme und Perspektiven, ed. Friedrich Wolfzettel (Tübingen: Niemeyer, 2003), pp. 281–96. Contains a section on Marie de France (pp. 284–86). Marie presents the fairy in Lanval as a creature specifically located outside the realm of King Arthur and of humanity. Clear demarcation lines are established between, on the one hand, physical reality and, on the other hand, magic and the miraculous.

1266

Busby, Keith, Codex and Context: Reading Old French Verse Narrative in Manuscript, 2 vols, Faux Titre, 221 (Amsterdam: Rodopi, 2002). Contains a large number of references to Marie’s works. For MS H, see esp. pp. 472–73, 483, 498–99, and for MS S, described as ‘the best illustration of generic consciousness as a determinant for the contents of a collection of lais’ (p. 470), see esp. pp. 470–72, 499. As MS H is ‘a good deal earlier’ than manuscripts containing lais with no authorial attribution, it may well be that the genre of the lai ‘became largely divorced from the name of its most celebrated practitioner in less than a century after her death’ (p. 473). On the four manuscripts of the Fables containing author-portraits, see pp. 473–78.

1267

Bussell, Donna Alfano, ‘The Fantasy of Reciprocity and the Enigma of the Seneschal in Marie de France’s Equitan’, Le Cygne, ns, 2 (2003), 7–48. It is generally assumed that, when the seneschal seeks vengeance on his wife by scalding her in the water intended for himself, his action is perfectly justified. However, Marie would have expected her audience to regard the killing as questionable, if not objectionable. In order to achieve private satisfaction, the seneschal must violate social boundaries and obligations, i.e. private desire subverts public good. Equitan’s name suggests the legal

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MARIE DE FRANCE principle of equity, a quality diminished by himself and the seneschal. For Marie’s audience the king is the arbiter of justice and in the poem this duty has devolved to the seneschal. In the early stages of the lay Marie comments on mesure (vv. 17–20), and the marital infidelity occurring in the narrative is related metonymically to excess. For his part, the pleasure-loving king neglects and harms the body politic. The article examines the legal and moral issues in Equitan and relates them to the reign of Henry II and to the feud between Henry and Becket. From the literary point of view, Marie’s poem is compared to Beroul’s Tristan and other texts. Equitan is seen as a text of political philososphy in which ‘the failures of the body politic are mapped out on the naked bodies and the punishment of these bodies’ (p. 33).

1268

Bynum, Caroline Walker, Metamorphosis and Identity (New York: Zone Books, 2001). The section entitled ‘Werewolf Stories as Testing of Boundaries’ (pp. 92– 98) contains remarks on Bisclavret. Comments on the ‘horror of shapechanging’ (p. 95) in Bisclavret, Melion, and Guillaume de Palerne. Bisclavret’s metamorphosis from animal to human on the king’s bed recalls the wife’s refusal to share his bed, and also perhaps reflects the theological explanation of shape-shifting as dream or illusion. Bisclavret is also discussed in the section ‘Some stories about Werewolves: Marie de France’s Bisclavret’ (pp. 170–73). Marie’s retelling of the tale is seen as raising complex questions about civilization, trust, and gender. Through the course of the story Bisclavret learns discretion and trust, whereas his wife’s character makes no progress.

1269

Callahan, Leslie Abend, ‘The Widow’s Tears: The Pedagogy of Grief in Medieval France and the Image of the Grieving Widow’, in Constructions of Widowhood and Virginity in the Middle Ages, ed. Cindy L. Carlson & Angela Jane Weisl (Basingstoke: Macmillan, 1999), pp. 245–63. Contains a brief discussion of Marie’s fable 25 (‘De vidua’), which tells of a grieving widow who soon accepts the love of a knight and helps him to avoid being hanged. Marie gives no hint that the emotion is not genuine. In Chaitivel there is also a scene of mourning (vv. 127–39), but the grief here is overwhelmingly male.

1270

——, ‘“En remembrance e en memoire”: Grief, Memory and Memorialization in the Lais of Marie de France’, RomN, 40 (1999– 2000), 259–70. Memoria was a fundamental organizing principle of medieval life and included objects and actions though which memory was preserved. This article examines how grief is represented in the Lais and sees the function of the tomb as a repository of grief and memory. The lays considered are the Deus Amanz, Yonec, Chaitivel, Eliduc, and Laüstic. In the construction of a tomb for a loved one, the lamenting voice remains powerful, and also present is the voice of the author who forecloses loss by preserving the lays. The lays perpetuate the memory of an aventure, but they also express and contain grief.

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Caluwé, Jean-Michel, ‘Du chant du rossignol au Laöstic de Marie de France: sources et fiction dans le lai’, in Chant et enchantement au Moyen Âge (Toulouse: Éditions Universitaires du Sud, 1997), pp. 171–88. Studies the term lai and related terms (aventure, conte, etc) and moves on to a discussion of Laüstic, which crystallizes such issues as source, metaphor, and title. The Breton lays are more of a pretext than a true source. Like the lay in general, whether Breton or French, the nightingale is a source of joy and pain. In Laüstic and other lays ‘le discours d’amour se transforme en amour du discours’ (p. 188). Emphasizes the link with the Occitan lyric, and especially the razo. Once the nightingale is dead, the characters act in the full knowledge that their love is now only a récit. The casket is a metonymy for the heart. The stories themselves have no end: initially, the Breton lay becomes Marie’s lay, then at a later stage the stories told by Marie’s listeners.

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——, ‘Le Titre et la glose: l’art du “brief sermun” dans les Lais de Marie de France’, in Bagatelles pour l’éternité: l’art du bref en littérature, ed. Philippe Baron & Anne Mantero (Besançon: Presses Universitaires de Franche Comté, 2000), pp. 181–201. In the Middle Ages the genre of the lay never received a true definition; the term ‘lay’ is vague and confused. Marie made the concept popular, without clarifying its meaning. It certainly belongs to the category of ‘genres narratifs brefs’, which are differentiated by tone. The article examines the relative position of the lay within the various forms of the short narrative, discussing matters such as narrative technique (pp. 182–84), the retricted number of personages (p. 184), the concept of aventure (pp. 185–86), length (pp. 187–88), the chronology of Marie’s lays (pp. 188–89), brevity (pp. 189– 90), titles (pp. 191–92), and the analogy with the genre of the razo (pp. 193– 94). Concludes with studies of the three shortest lays, Laüstic (pp. 194–96), Chevrefoil (pp. 196–98), and Chaitivel (vv. 199–201).

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Capusso, Maria Grazia, ‘Appunti sui Lais di Maria di Francia’, SMV, 42 (1996), 79–117. The Lais have a double prologue: the General Prologue and the prologue to Guigemar. It is also noticeable that, unlike the Fables and the Espurgatoire, the Lais have no Epilogue. Marie may have composed what appears as the prologue to Guigemar in response to attacks by such people as Denis Piramus and Gautier d’Arras, and it should be placed at the end of the Lais; this is reinforced by the manuscript tradition. The article also examines the influence on the Lais of Apollonius of Tyre, especially on the storm scene in Eliduc. In v. 830 of Eliduc editors read ‘un des escipres’, but a case is made out here for the retention of the reading of MS H: ‘un des deciples’. Rev.:

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N. T. Mazzone, Critica del Testo, 2 (1999), 1161–63.

——, ‘Il nuvel lay di Tristano: ancora sul Chievrefoil di Maria di Francia’, in Studi di filologia romanza offerti a Valeria Bertolucci Pizzorusso, ed. P. G. Beltrami, M. G. Capusso, F. Cigni, & S. Vatteroni (Pisa: Pacini, 2006). Forthcoming.

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MARIE DE FRANCE Provides a structural analysis of Chevrefoil and places it within the context of both Marie’s collection of lays and the anonymous lays. An examination of the prologues and epilogues to these lays offers details concerning textual production and evidence of various levels of discourse and perspective; this reveals the dynamic relationship between the narrator, the text, and the public. Concludes that Marie’s intention was to compete with earlier accounts of the love between Tristan and Iseut.

1274

Caraffi, Patrizia, ‘“Entre les deux out grant amour”: alleanze femminile nei Lais di Maria di Francia’, L’Immagine Riflessa, ns, 2 (1993), 233–49; reprinted under the title ‘Alleanze e saperi femminili nei Lais di Maria di Francia’, in her Figure femminile del sapere (XII–XV secoli) (Rome: Carocci, 2003), pp. 15–36. Analyses the relationships between women in the Lais. The spatial framework involved is often a tower or bedroom in which they are imprisoned. One factor dominates the development of the plot: if there is some feminine solidarity, there can be a happy ending (Guigemar, Milun, Le Fresne, and, to a certain extent, the Deus Amanz), but if there is no such solidarity (or even hostility) this can generate tragedy (Yonec). In the analysis of Le Fresne the author emphasizes the symbolic value of the symmetry between the uncle-nephew relationship (found in epic and romance) and that between aunt and niece.

1275

Chandler, John, A Higher Reality: The History of Shaftesbury’s Royal Nunnery (Salisbury: Hobnob Press, 2003). The suggestion, originally made by John C. Fox (183–84), that Marie de France should be identified with Marie, illegitimate half-sister of Henry II and abbess of Shaftesbury, is speculative, but there is nothing incongruous about a twelfth-century Shaftesbury abbess being an author who, in her native French, spun ‘exquisite tales of love and treachery, foundlings and adulterers, villainy, lust and murder’ (p. 65). The abbess Marie held office from the 1170s until about 1215 (p. 148, n. 6).

1276

Chapman, Anne Andrews, ‘Nom du père/nom d’auteur: les origines énigmatiques du Fresne’, Paroles Gelées (UCLA French Studies), 10 (1992), 21–37. In the Prologue Marie presents the reader with a Tree of Jesse and a ‘généalogie naturalisante de l’écriture’ (p. 21). In Le Fresne Marie has taken the myth of the exposed child and added to it her ‘surplus de sens’. The aventure in this lay is the search for the name of the father. Le Fresne can bear fruit only when her mother glosses the meaning of her brocade and her ring. The ash tree casts a shadow (‘pur umbre fere i fu plenté’, v. 170) over Le Fresne as a person and a text, and it too is a Tree of Jesse. When baptized by the abbess, symbol of the feminine and the Christian origin of things, Le Fresne is removed from her father; she and the text are given new names. Gurun removes Le Fresne in stages from the monastery and places her in the feudal world. When his followers insist that he should marry, Le Fresne is rejected by the ‘discours féodal’ and remains a ‘signe stérile’ until the symbols linking her to her origin are revealed. When she and Gurun are married, a ‘nouvelle ramification’ grows from the symbolic tree trunk (p. 36).

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Chicote, Gloria Beatriz, ‘Lais y romances: un ejemplo de recontextualización de motivos tradicionales’, Filologia, 30 (1997), 183–90. Medieval works are composed in a constantly changing form and language, and there is a slow evolution from oral to written texts. The article examines the folklore theme of the child abandoned at birth, with special reference to Le Fresne and the Spanish Romance de Espinelo. In both texts the need to abandon the child is linked to the motif of the mother’s adultery. The stories show how the folklore motifs migrate, and they are discussed in terms of what the author calls decontextualization and recontextualization.

1278

Classen, Albrecht, ‘Die guten Monster im Orient und in Europa: Konfrontationen mit dem Fremden als anthropologische Erfahrung im Mittelalter’, Mediaevistik, 9 (1996), 11–37. Contains a section on Marie de France, demonstrating that monstrous appearance does not reflect the true nature of an individual. Marie criticizes Bisclavret’s wife for her inability to comprehend the noble nature of the beast (pp. 13–16).

1279

——, ‘The Cry-Baby Kings in Courtly Romances: What is Wrong with Medieval Kingship?’, SM, 39 (1998), 833–63. In some of Marie’s lays, tragedy and harm result from the evil and lack of inner nobility of the various kings. In Equitan the king is an undisciplined and foolish lover. In Yonec Marie stresses the evil of the old ruler, married to a young woman who does not love him, and in Eliduc the king listens to his jealous courtiers and banishes Eliduc. Marie also includes positive images of kings, but she shows that all those who exert power can easily abuse it to the detriment of true love.

1280

——, ‘Happiness in the Middle Ages? Hartmann von Aue and Marie de France’, Neohelicon, 25 (1998), 247–74. The Church preached that lasting happiness was possible only in the afterlife, but some authors, including Marie de France, thought otherwise. She composed her lays with the specific purpose of outlining ways and models of behaviour to show that happiness could be achieved through moderation and reason. Three lays in particular, the Deus Amanz, Eliduc, and Equitan, are discussed. In the Deus Amanz the girl’s father and her beloved show no regard for her happiness, and Marie makes her disapproval known. In Eliduc Guildelüec places her personal happiness below that of her husband, and he enjoys a happy life with Guilliadun. Equitan and his lady could have been happy if they had not behaved irrationally. Marie did not consider marriage an absolute value, but she does indicate that happiness in marriage is very much to be desired.

1281

——, ‘Love, Marriage, and Transgession in Medieval and Early Modern Literature: Discourse, Communication, and Social Interaction’, in Discourses on Love (2004), pp. 1–42. Marie is discussed on pp. 20–22 and 34–35. In the Middle Ages women’s voices were strong because they knew how to control language. Each of

30

MARIE DE FRANCE Marie’s lays is predicated on a different model of marriage. She always emphasizes the significance of the human world and its meaningful employment in order to establish a harmonious and fully functioning community.

1282

——, Der Liebes-und Ehediskurs vom hohen Mittelalter bis zum frühen 17. Jarhundert, Volksliedstudien, 5 (Münster: Waxmann, 2005). Chapter 1 (pp. 32–72) deals with Marie de France. Marie utilized her Lais as a discourse forum in order to explore for a courtly audience the wide range of problems affecting marital life and happiness, and especially marital communication. She also examines the dangers of arranged marriages and expresses her explicit criticism of mismatched marriages (old husband, young woman).

1283

Coates, Alan, English Medieval Books: The Reading Abbey Collections from Foundation to Dispersal (Oxford: Clarendon Press, 1999). Appendix F (pp. 143–70) lists the surviving manuscripts and printed books from Reading Abbey and Leominster Priory. Item 97 (pp. 162–63) is now MS London, BL, Harley 978. Gives the contents of this manuscript and names three owners: Dr Edward Lapworth, Dr Edward Stillingfleet, and Robert Harley. States (p. 74) that this manuscript is important because of the juxtaposition of the literary works it contains with music, which reflects the established interest at Reading in both music and poetry. The Lais and the Fables are written in the same late-thirteenth-century gothic text hand, which does not appear to have written any other works in the manuscript.

1284

Corbellari, Alain, ‘L’Haleine vierge du loup: quelques réflexions autour d’une fable de Marie de France “Le loup qui fut roi”’, Romania, 119 (2001), 196–218. Provides an analysis of Marie’s fable 29 (‘De lupo regnante’) in which the animals have to elect a new king, as the lion has decided to go and live in another land. The wolf is elected, and his abuse of power is seen here as presenting the eternal problem of the way in which excessive power crushes subjects, but weakness fails to protect them. The fable is a denunciation of the tyrant as one who devours his people. The wolf’s mouth is a source of food for him, but also of words, and the fable illustrates a society that is afraid of the wolf, but that forgets that loss of language is a prelude to barbarity. The article examines the reason for the lion’s abdication and also places the wolf in the fable tradition, both before and after Marie, and in the traditions of the bestiary and the animal epic. The wolf appears more frequently in Marie’s fables than any other animal. Within the various versions of fable 29 Marie displays considerable originality.

1285

——, ‘Joseph Bédier (1864–1938). De la fragilité des lais à l’éternel féminin: le poids de la passion’, in Reception and Transmission (2003), pp. 111–27. Bédier wrote only one article on Marie de France, in the Revue des Deux Mondes (1891, see 89), but he maintained his interest in her and was

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planning an edition of the Lais when he died in 1938. The article is a work of popularization, but it illustrates the ambivalence in Bédier’s thinking on the notions of literature and science. He is seemingly the first person to use the term ‘renaissance’ when talking about the literature of the court of Henry II (p. 843). Bédier distinguishes three new elements in the Breton lay and Anglo-Angevin literature: (i) an egalitarian conception of love; (ii) the merveilleux, i.e. an imaginary space; (iii) a conception of the writer’s art which is genuine literature. However, his conclusion concerning Marie herself was that, although she wrote with a graciousness that was not without its charm, there was no passion in her work; she just stopped short of being a true artist (‘elle s’arrête sur le seuil de l’art’, p. 858).

1286

Cottille-Foley, Nora, ‘The Structuring of Feminine Empowerment: Gender and Triangular Relationships in Marie de France’, in Gender Transgressions: Crossing the Normative Barrier in Old French Literature, ed. Karen J. Taylor (New York: Garland, 1998), pp. 153– 80. Marie’s female figures are capable of changing positions in the plot and thus of upsetting traditional power relationships. This is seen especially in triangular relationships, which are sites for conflict. Marie worked in a tradition that forced females into becoming scheming women or obedient wives. But she subverts the traditional triangles and turns their conflictual nature into harmony and love. Her new configurations increasingly involve the female sphere of activity. Figures such as powerful aunts (Deus Amanz, Le Fresne) and sisters (Le Fresne, Eliduc) empower the heroine and undo systems of exchange based on patriarchy and brotherhood. Various textual devices enforce the process of empowerment. Religious motifs are used to present the heroine’s choices as legitimate or sacred. There can be no doubt that Marie’s ‘rendition of life’ (p. 177) was especially pleasing to ladies, as Denis Piramus indicated (364, vv. 46–48).

1287

Cowell, Andrew, ‘Deadly Letters: Deus Amanz, Marie’s Prologue to the Lais and the Dangerous Nature of the Gloss’, RR, 88 (1997), 337–56. Examines the Deus Amanz in terms of Marie’s comments in the Prologue, especially in relation to the Parable of the Talents. Notions such as revealing (mustrer), flourishing (flurir), and spreading (espandre) are relevant to the Deus Amanz, in which the girl’s action at the end parallels that of Marie herself as she puts her tales into circulation. The king also ‘spreads’ the word of the custom that will secure his daughter’s hand, but, rather than flourishing, his act produces a ‘sterile translatio’ (p. 338). The daughter’s fear of remaining unmarried echoes Marie’s fears for herself as a female author in a male literary tradition. The Deus Amanz is at the centre of the collection and is central to her literary concerns; the woman is the object of masculine, physical, and textual desires, but she chooses to engage with these dangerous desires. Like the Tristan legend, the lay is dominated by secrecy and silence. As elsewhere in the collection, there is a progressive publicizing of secrets, but revelation can lead to catastrophe. Concludes with an examination of the implications, more complex than has been thought, of Marie’s use of the Parable of the Talents, as it is connected with the proper

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MARIE DE FRANCE nature of gloss and with ‘deep semiotic contradictions’ (p. 345). There is a strong association between money, signs, and the female body.

1288

Creamer, Paul, ‘Woman-Hating in Marie de France’s Bisclavret’, RR, 93 (2002), 259–74. In each of Marie’s lays the lovers’ suffering yields reflection on how males and females behave when entranced by love and faced by its obstacles. In Bisclavret the couple fall out of, not into, love. Here, in progressive and incremental ways, Marie builds the wife up into a contemptible traitor and turns her into a loathsome violator of the marriage bond. Marie examines here three types of being: werewolf, man, and woman. From the time she asks her question as to whether, as a wolf, her husband goes about dressed or nude, Bisclavret’s wife betrays him; she extracts from him the data needed to seal his doom. As the lay progresses, her behaviour slides from the regrettable to the execrable. The agent of the misogyny is Marie herself. She brings to her audience a truly loathsome female while at the same time showing that the men in the story are judicious, steadfast, and loyal to their allies. The poem acts as an exemplum, reinforcing the fact that in the real world there was male control over females.

1289

Curtis, Renée L., ‘Physical and Mental Cruelty in the Lais of Marie de France’, Arthuriana, 6.1 (1996), 22–35. Each of Marie’s lays contains at least one person whose behaviour displays great cruelty, either physical or mental. In some cases it is the hero or heroine who performs such acts, or it can be another important personage. The unprincipled behaviour is often seen in characters who have been initially praised by Marie. The behaviour often suggests a total lack of social awareness and responsibility. For example, Milun’s son is prepared to kill someone who happens to be in his way, and Eliduc and Yonec commit murder. The behaviour of both Bisclavret’s wife and the knight is inexcusable. In Lanval the queen is vindictive and spiteful, and the heroine of Chaitivel displays deceitfulness, vanity, and selfishness. It is very often love which brings out the cruel streak in Marie’s characters. Courtliness is a very thin veneer when characters find themselves thwarted.

1290

Datta, Evelyne, ‘Variations sur l’espace dans le lai du Chaitivel’, in The Court Reconvenes (2003), pp. 215–21. In the early stages of Chaitivel the four lovers occupy an ‘espace courtois’ (p. 217). The number four symbolizes the temporal, the terrestrial, the totality of created things, something which can perish, and also the notions of stagnation and cessation. It is as a group that the lady regards them and holds power over them. The tournament ends the stagnation and changes the location from city to open space. The knights are then transferred back to the closed space of the city, but even after the tragedy the lady still regards them as one: ‘Ne volt les treis perdre pur l’un’ (v. 55). They are still caught in her web. Again time stands still, immobilized in grief. In wishing to compose a lay about the four lovers, the lady wants to create an ‘espace poétique’ (p. 219), in which she will be included alongside the lovers. The surviving lover, however, wants to dissociate himself from the group. Like the new lay, he wants to be born and exist. The lady agrees. Her new web will be a

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text in which she is not the centre; she will transcribe the voice of the Chaitivel.

1291

——, ‘Le Lai du Laüstic: espace poétique où forme et fond fusionnent’, in Courtly Arts (2006), pp. 365–71. Marie has adopted in Laüstic the traditional theme of the malmariée, but more important than the content are the lay’s form and creativeness. In the poem’s artistic space, form and content are inextricably linked, making it an extremely moving and human story. The entire structure of the lay revolves around the gold casket. There is a series of interlocking movements in which space gradually shrinks. The dead bird is wrapped in the precious samite, embroidered with its story, and the lady is wrapped in her blood-stained dress, a prisoner of the grey stone walls. The lay itself is set within Marie’s collection, just as the casket is encased within the lay; in its turn the lay, through a ‘mise en abyme’, is enclosed within the casket.

1292

Dauphin-Persuy, Camille, ‘“L’aventure li manderai”: désir de communication dans les Lais de Marie de France’, Women in French Studies, 13 (2005), 110–21. Studies Laüstic, Milun, Yonec, and Eliduc in order to show that female characters in the Lais achieve happiness through the act of speech and through their reaction to the oppressive world that was the source of their unhappiness. Marie attaches a good deal of importance to the words she allows the female personages to speak. The most remarkable example is the lady in Yonec who indulges in a long tirade in which she expresses her desire for a lover (vv. 67–104). The sending of letters is also an important form of communication, especially in Milun. When society reduces women to silence, Marie uses artistic communication, for example the song of the nightingale in Laüstic and the silk material in both Laüstic and Le Fresne.

1293

Dean, Ruth J., and Maureen B. M. Boulton, Anglo-Norman Literature: A Guide to Texts and Manuscripts, Occasional Publications Series, 3 (London: Anglo-Norman Text Society, 1999). Entries 176 and 179 provide details of manuscripts and editions for Marie’s Lais and Fables. Entry 547 queries the identification of the Espurgatoire to Marie de France, citing McBain (see Supplement 2, 942).

1294

De Conca, Massimiliano, ‘Il racconto esemplare: excursus ornitologico intorno all fin’amor’, in Il racconto nel medioevo romanzo (2002), pp. 53–78. Examines the function and meaning of bird episodes in a variety of texts, including Yonec (pp. 65–66) and Laüstic (pp. 66–67).

1295

Delclos, Jean-Claude, ‘A la recherche du chèvrefeuille: réflexions sur un lai de Marie de France’, MA, 106 (2000), 37–47. Reviews the opinions of other scholars on the difficulties of interpretation raised by Chevrefoil. Amongt the conclusions reached are that Tristan wrote only his name on the stick, and that this is the escrit referred to in v. 61. The que in v. 62 is a relative pronoun, the antecedent of which is the ceo of v. 61. Iseut will recognize that the hazel indicates that Tristan cannot live without

34

MARIE DE FRANCE her, but the honeysuckle must also be there somewhere. Tristan is the honeysuckle and his name is wapped round the hazel. The lay cannot have been written during the encounter in the wood. Vv. 107–11 must indicate that Tristan wanted to preserve what constitutes the heart of the lay: the subtle way in which he had informed the queen of what it was that summed up their destinies.

1296

Delcourt, Denyse, ‘Oiseaux, ombre, désir: écrire dans les Lais de Marie de France’, MLN, 120 (2005), 807–24. Examines Milun, Yonec, and Laüstic in the light of what the Prologue says about the process of interpretation. These three lays involve a bird and a lady who is kept enclosed within a bedroom by a jealous husband. In Milun the ‘cygne’ is also a ‘signe’, which corresponds to the way St Augustine speaks of the sign, as adding aliud aliquid, something new and intangible. Marie establishes a link between the bird, continuity, and life. In Yonec the lady who wants an ‘aventure’ of the type which happened in days gone by is virtually a poet; what transpires after she has expressed her desire is similar to the process of poetic creation. Here the lady experiences ‘joie’, a concept demanding responsibility, but she fails to master it and thereby destroys her happiness. Her journey to her lover’s domain corresponds to a regressus ad uterum, implying a form of rebirth. In Laüstic the lady’s reply to her husband is not a lie; it is simply obscure. The reference to the nightingale shows that it is love rather than the lover that causes ‘nuit’ to rhyme with ‘deduit’ (vv. 87–88). The lover himself is only a shadow, the contours of which are virtually inseparable from the night. This lay shows that to love and to sing are one and the same thing; the night is positive and the day negative.

1297

Denis, Françoise, ‘Religion et héroïsme féminin au XIIe siècle: variations narratives et manipulations d’auteurs’, in Féminités et masculinités dans le texte narratif avant 1800: la question du ‘gender’. Actes du XIVe colloque de la SATOR (Amsterdam/Leyde, 2000) (Louvain: Peeters, 2002), pp. 271–81. Examines three texts: Girart de Roussillon, Eliduc, and Ille et Galeron. These narratives help to define a type of feminine heroism characterized by renunciation and self-sacrifice, one that allows further developments in the story. A comparion of the treatment of this motif in Marie’s Eliduc and Gautier d’Arras’s Ille et Galeron reveals a feminine and a masculine voice, as the narrative is manipulated differently by the two writers. In Eliduc Marie stresses the ‘duplicité du jeu courtois’ (p. 276), but Gautier emphasizes Ille’s deeds and presents him as a model of martial virtue. Marie, for her part, tries to increase the women’s dignity.

1298

Dessaint, Micheline, La Femme médiatrice dans de grandes œuvres romanesques du XIIe siècle, Essais sur le Moyen Âge, 24 (Paris: Champion, 2001). Examines the role of woman as mediator in the Lais of Marie de France, the anonymous Breton lays, the verse Tristan stories in French, and the Chevalier au lion and Chevalier de la charrette of Chrétien de Troyes.

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Dickson, Morgan, ‘Female Doubling and Male Identity in Medieval Romance’, in The Matter of Identity, ed. Phillipa Hardman (Cambridge: D. S. Brewer, 2002), pp. 59–72. Examines a number of texts of which the title privileges a male character. In Eliduc Marie states that the name has been changed to the ladies’ names, Guildelüec and Guilliadun, which suggests that the narrative primacy for the female characters has been suppressed (pp. 63–66). The article looks at the way in which the primacy of the hero has been re-inforced by female doubling. In Eliduc the similarity of the names suggests that the characters are variations on one another. Eliduc shares with other texts the motif of exile, which both allows the hero to meet another woman and shows the mobility of males in comparison with females. It is hard to sympathize with Eliduc, who clearly attempts to live within the letter and not the spirit of the law, at least as far as fidelity is concerned. He has a second youthful courtship in England, which leads to a doubling of the plot.

1300

Donà, Carlo, ‘Guigemar: poetica dell’oscurità e tessitura del racconto’, L’Immagine Riflessa, ns, 2 (1993), 199–232. Looks at the narrative ambiguities in Guigemar and relates them to the obscurity of the books composed by the Ancients, referred to in the Prologue. Thus a poetics of obscuritas, which characterizes the first lay, is unearthed. Guigemar is a hybrid resulting from an amalgam of (i) a fairy abduction tale; (ii) the literary theme of lovers reunited once the woman has been rescued. An analysis of the bipartite structure of Guigemar brings out the numerous contaminations between the mythical and the literary elements. In addition to reviewing the known sources of Guigemar (folklore, myth, and narrative), the author advances some suggestions concerning the totality of the motifs, often poorly identified, which constitute the UrGuigemar. In particular he emphasizes, in the first part, the traces of a funereal element (the vessel, the king, and the kingdom of the dead), the anonymity of the otherworldly personages, and in the second part the influence of an account inserted into Servius’s commentary on the Aeneid (the forced separation of the lovers, Alexis and Meliboea, the woman’s suicide attempt, the flight, the mysterious, crewless boat left on the shore, and the way it departs and is controlled by magic). Rev.:

1301

.1

I. De Pourq, SF, 43 (1999), 132.

——, ‘La cerva divina: Guigemar e il viaggio iniziatico’, MR, 3rd series, 20 (1996), 321–77; 21 (1997), 3–68. Guigemar is based on an ancient tale from which the Bretons composed a lay (v. 20). This article reconstructs this tale, which is of a purely mythical nature. Behind Guigemar lies the canvas of a fairy-abduction story, a narrative pattern often found in Celtic tradition but attested as early as the Hittite myth of Hilluyankas. All the characteristic themes of this story are present in Guigemar: the fatal hunt, the voyage on a self-moving boat, the strange, uninhabited land where only a mysterious lord and a wonderful lady dwell, etc. But there are also some quite unintelligible themes, e.g. the figure of the supernatural horned hind and the motif of the wounded hero. The hind is the last metamorphosis of an animal-shaped fairy, and the black, selfpropelling boat is a funeral ship (the boat used by the sun to reach his

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MARIE DE FRANCE otherworldly dwelling). Guigemar is the medieval version of an ancient initiation myth, probably stemming from a shamanistic-type culture; it celebrates the voyage of a hero in the land of death and the love affair between this hero and the wonderful but terrible queen of this otherworldly realm. Marie did not fully understand the nature of what she was telling us. Rev.:

1302

.1

G. Paradisi, La Critica del Testo, 1 (1998), 1122.

——, ‘Il racconto’, in Mario Mancini, ed., La letteratura francese medievale (Bologna: Il Mulino, 1997), pp. 271–344. Contains an introduction to both the Lais (‘I lais di Maria di Francia e la tradizione cortese’, pp. 298–310) and the Fables (‘La favola esopica e l’Esope di Maria di Francia’, pp. 310–17).

1303

——, ‘L’animale guida nella letteratura del Medioevo’, in Il racconto nel medioevo romanzo (2002), pp. 33–52. A wide-ranging study of theme of animals acting as a guide. Includes a study of the narrative mechanisms and the meaning of some short stories, including Marie’s Lais.

1304

Dubuis, Roger, ‘Les .XII. Joies de Marie’, in Mélanges Ménard (1998), I, pp. 447–63. Begins by examining the form des in the first lines of Bisclavret and Yonec and in v. 47 of the Prologue, then studies v. 47 of the Prologue (‘A ki tute joie se encline’) and Marie’s use in the Lais of joie and related terms (s’esjoïr, joius, liez, deduit). The verb s’esjoïr is the outward expression of the feeling conveyed by liez. Joie is a much deeper sensation than mere pleasure, as it involves the whole person. The highest source of joie is love; indeed, love is joie. Joie is stronger than deduit; it can transform a person and be evident from looking at someone’s semblant. Joie is at the heart of Marie’s stories.

1305

Dunton-Downer, Leslie, ‘Wolf Man’, in Becoming Male in the Middle Ages, ed. Jerome J. Cohen & Bonnie Wheeler (New York: Garland, 1997), pp. 203–18. Principally a study of Bisclavret. Marie differs from tradition by invoking sympathy for the werewolf. Although he cannot speak, Bisclavret as a wolf uses signs, showing that he has ratio, which St Augustine said was the prerequisite for salvation. There are two moments of violence in the narrative: against the new husband (vv. 196–210) and against the wife (vv. 232–40). Marie transforms violence into meanings that reflect on the problematic nature of humanness, and on the necessity of living, whether socially or spiritually, publicly, or internally, with the fragile distinction between violence and language. That Bisclavret’s human nature remains in beast form is a miracle, and this links with contemporary debates about the human/divine nature of Christ and the Eucharistic rite. Marie explores the notions of being male and becoming human.

1306

Dziedzic, Andrzej, ‘L’Espace surnaturel dans les Lais de Marie de France’, Aevum, 69 (1995), 389–402.

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Examines the coexistence of the supernatural and the human element in Guigemar, Lanval, and Yonec. The two elements can coexist peacefully within the same lay, as the supernatural can be added to the human level without doing the latter any harm or destroying its coherence. These three lays are composed in the form of a triptych. The action begins in the terrestrial world, then moves to an intermediary zone in which human and supernatural elements combine, then culminates in the Other World. Guigemar, however, has a fourth episode situated half way between the real and the supernatural. The supernatural corresponds to two requirements of the narrative: (i) a structural need to resolve insoluble problems; (ii) a need for consolation and hope, to show that dreams can be realized and obstacles overcome. It satisfies the aspirations of the heart, permitting a character to love and be loved. Rev.:

1307

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G. M. Roccati, SF, 41 (1997), 351.

Eccles, Jacqueline, ‘Feminist Criticism and the Lay of Lanval: A Reply’, RomN, 38 (1997–98), 281–85. Written in reaction to an article by Sharon Kinoshita (924). The criticism found in Lanval is directed not merely at male dominance but at feudal society as a whole. Feminist criticism should be applied to Marie’s work with great caution. Marie was conscious of her power to effect change through her writing. She presents Lanval, and perhaps King Arthur, as naïve and demanding adolescent-type characters in need of strict supervision. Lanval’s mistress is allowed a depth of power not afforded the king. Arthur receives a stern rebuke from her when she points out that he had known full well that the queen had been lying. Marie issues a well-balanced challenge to feudal society, and male and female weaknesses and strengths are presented alongside each other in an effort to criticize an unjust society.

1308

——, ‘Marie de France and the Law’, in Les Lieux interdits: Transgression and French Literature, ed. Larry Duffy & Adrian Tudor (Hull: University of Hull Press, 1998), pp. 15–30. Marie challenged established social conventions, as seen in her use of the law and legal vocabulary in Lanval. Here she was clearly reacting to changes made in the Assize of Clarendon of 1166. By favouring trials over ordeals, the Assize took power away from the Church and gave it to the State. But Marie may have felt strongly that there was a lack of progress in arriving at a fairer judicial system. She deals with the moral dilemma of criminal trials, thus offering her patron, Henry II, a work which acknowledges his successes yet indicates his potential failures. Lanval is a foreigner and Henry was not known for his hospitality towards foreigners. The trial shows that Marie had an incredible grasp of the machinery of justice. Lanval had insulted his overlord, as there should never be a woman more beautiful than the wife of one’s king, but this is set against the queen’s own misdemeanour. Henry would have realized that Lanval, who had lost his only witness, faced a dilemma. In the Lais Marie presented her public with challenging situations so that they would learn more about the inadequacies of their own society.

1309

Eckard, Gilles, ‘“Li oiseaus dit en sun latin”: chant et langage des oiseaux dans trois nouvelles courtoises du Moyen Âge français’, Critica del Testo, 2 (1999), 677-93.

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MARIE DE FRANCE The three texts mentioned in the title are the Lai de l’Oiselet, the Donnei des Amants, and Laüstic. All three contain the motif of the song of the nightingale as a central image. In Laüstic the nightingale is an emblem of love in its purest state. When the lady wraps the dead bird in samite, there are clear echoes of Ovid’s Procne and Philomena tale. For example, the death of the bird, which reduces the love to silence, recalls the removal of Philomena’s tongue to ensure her silence. The casket in Laüstic becomes the unalterable memorial of the love. In general, the Lais teach us that perfect love is unrealizable in the real world, but it can be achieved if there is an element of transcendence and transfer to the ‘plan idéal de la contemplation et de la mémoire’ (p. 692).

1310

——, ‘“Ne jeo sanz vus” ou “Ne mei sanz vus”? Un problème de critique textuelle réexaminé à la lumière des recherches en syntaxe du français médiéval (Marie de France, Chievrefoil, v. 78)’, in ‘Ce est li fruis selonc la letre’: mélanges offerts à Charles Méla, ed. Olivier Collet, Yasmina Foehr-Janssens, & Sylviane Messerli (Paris: Champion, 2002), pp. 295–304. For v. 78 MS H has ‘Ne vus sanz mei ne mei sanz vus’, whereas MS S has ‘Ne vos sanz moi ne ge sanz vos’. Rychner (13) prints ‘Ne vus sanz mei, ne jeo sanz vus’; he has thus chosen the text of S, but for ‘mei’ and ‘vus’ he has used the orthography of H. From the literary point of view, ‘mei’ in ‘ne mei sanz vus’ could be justified on the basis of symmetry, and ‘ge/jeo’ on the basis of dissonance, the chosen reading being related to the motif of the hazel and the honeysuckle. But only linguistic criteria can be used in making the choice. The article examines the use of pronouns in MS H in similar contexts (e.g. ‘Vus orguiluse e jeo preiant’, Equitan, v. 176). At first sight Rychner seems justified in preferring ‘jeo’, but the precise syntax of Chevrefoil, v. 78, is not found elsewhere in Marie’s works. In Old French syntax, when there is no verb involved, as in Chevrefoil, the object pronoun (here ‘mei’) is necessary. Concludes that it is not justified to reject the reading of MS H.

1311

——, ‘Jean Rychner (1916–1989): Marie de France lue par un maître de la philologie et de la stylistique du texte médiéval’, in Reception and Transmission (2003), pp. 271–84. Surveys Rychner’s life and contribution to Marie de France studies. His first publication on Marie was his critical edition in 1958 of Lanval, accompanied by a diplomatic edition of the four manuscripts preserving this text (14). In 1966 he published a complete edition of the Lais in Classiques Français du Moyen Âge (13). For other studies by Rychner see 689, 1036, and 1038.

1312

Edwards, Robert R., ‘Marie de France and Le Livre Ovide’, Mediaevalia, 26 (2005), 57–81. Marie associates her lays with the Bretons, but her work depends fundamentally on established traditions of writing, reading, and commentary. In particular, it is in Ovid’s erotico-didactic poems that she finds a topic and conceptual frame for serious poetic invention. Ovid furnished more than narrative parallels (the Deus Amanz, Laüstic, etc); he provided a way for her to imagine the workings of love and desire within the

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courtly social sphere as a topic of complex thematic interest. Marie reworked Ovid’s four phases of the erotic project: finding, capturing, keeping, and abandoning a lover. Throughout the lays, lovers attempt to construct a ‘fragile interim of pleasure’ (p. 62). Unlike Ovid’s, her erotic interim is all about consequences, and it is represented ‘under time and contingency’ (p. 79).

1313

Eley, Penny, ed. and trans., Gautier d’Arras, Ille et Galeron, King’s College London Medieval Studies, 13 (London: Centre for Late Antique and Medieval Studies, King’s College London, 1996). The introduction contains a section entitled ‘Ille et Galeron and Eliduc’ (pp. xxx–xxxiv). A summary of the plots of the two works indicates that they are ‘closely related’ (p. xxx). But does Gautier’s poem derive from Marie’s lay, or was there a common source telling the story of ‘the man with two wives’? The ‘balance of probability’ would suggest that Gautier knew Eliduc (p. xxxii). But the two works represent fundamentally different conceptions of the story. The recurrence of the expression ‘Ille, le fil Eliduc’ might indicate that Gautier has re-modelled the story to show Ille as succeeding where Marie’s Eliduc failed. Gautier seems to have wanted to outdo his model. The ending of Ille is something of an anti-climax in comparison with that of Eliduc.

1314

Evitt, Regula Meyer, ‘When Echo Speaks: Marie de France and the Poetics of Remembrance’, in Minding the Body: Women and Literature in the Middle Ages, 800–1500, ed. Monica Brzezinski Potkay & Regula Meyer Evitt (New York: Twayne, 1997), pp. 77– 102 (notes, pp. 209–12). Marie’s poetic project, as she envisages it in the Prologue to the Lais, is the recuperation of the shame of Echo, who in Book III of Ovid’s Metamorphoses discovers that her responses to Narcissus are circumscribed by the content of his voice, the male voice. Throughout the Lais Marie revises traditional masculine conventions of romance narratives and presents an unusually nuanced understanding of what it is to view courtly culture from the perspective of the displaced. The article studies Guigemar, Lanval, and Yonec. In Guigemar, for example, Marie suggests that in a culture that turns women into commodities, public conflict, as seen in the Meriaduc episode, inevitably involves private costs, and personal loss can easily escalate into social disruption and loss. In these lays Guigemar and his beloved, Lanval and his fairy mistress, and the lady in Yonec all voice their experiences of loss and gain, of suffering and fulfilment. Like Marie herself, they speak from the space of the displaced.

1315

Fenster, Thelma, ed., Arthurian Women (New York: Routledge, 1996). The Introduction contains a section entitled ‘Fairy Women’, which includes a discussion of Lanval (pp. xxxviii–xli).

1316

Ferrante, Joan M., To the Glory of her Sex: Women’s Roles in the Composition of Medieval Texts (Bloomington: Indiana University Press, 1997).

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MARIE DE FRANCE Chapter 6 (‘Women Representing Women’, pp. 175–213) contains a section on Marie (pp. 195–204). Analyses the lays individually from the perspective of a woman in Marie’s audience, in order to discover the characters with whom she might have sympathized or identified. Also includes a discussion of the Fables (pp. 202–04), concluding that Marie’s fables ‘offer a rather subtle counter to misogynist moralizing’ (p. 204). In general, the author sees Marie as an assertive writer, keen for the audience to be aware of her abilities and accomplishments. She was particularly concerned with different perceptions of truth.

1317

——, ‘Way, Ellis, Weston, and Mason: Do Preconceptions Influence Translations?’, in Reception and Transmission (2003), pp. 209–24. Begins with comments on Marie as translator and her evident desire that the reader/listener should also ‘translate’ her poems by adding to their meaning. The fact that some lays can have different titles also serves this end. The article goes on to examine the way in which the translators named in its title render the lays of Lanval and Bisclavret. It is clear that they not only fail to translate the text accurately in some cases, but they also add material to the text which underscores their own preoccupations, e.g. to preserve the goodness of the male-run court or to show that woman cannot have independent power and wealth in the real world. Such translations detract from the complexity and subtlety of Marie’s poems.

1318

Finke, Laurie A., Women’s Writing in English: Medieval England (London: Longman, 1999). Contains a section entitled ‘Romance’ (pp. 98–106), which includes comments on Marie de France. Chapter 4 (‘Major Authors’) contains a lengthy introduction to Marie’s works, especially the Lais, with special reference to female sexuality and the status of women (pp. 155–65). Comments, for example, that Eliduc illustrates the instabilities and uncertainties of the homosocial bonding system that uses women as the social glue (p. 163).

1319

——, and Martin B. Shichtman, ‘Magical Mistress Tour: Patronage, Intellectual Property, and the Dissemination of Wealth in the Lais of Marie de France’, Signs, 25 (2000), 479–503. In the Lais Marie explores the situations of the most marginalized members of the Norman aristocracy, especially women and bachelor knights. Studies in particular how the patronage system regulated aristocratic masculinity, and how women, once they no longer represented simply prizes to be won by successful clients, became active participants in patronage networks. Patronage relations involved the exchange of different kinds of resources: material, economic, political, and military. Lanval offers a ‘textbook’ view of how patronage operated (p. 487). Lanval transfers the love he would owe Arthur, if the latter had been a reliable patron, to a fairy mistress; issues of economics become issues of courtly love (although the text never loses sight of the economic motives which fuel even extramarital love). Marie ‘eroticizes’ wealth (p. 480); Lanval’s lady is a powerful patron, enabling the activity of others. Guinevere’s position in the text reveals the contradictions at the heart of gender relations within twelfth-century aristocracy; she needs to be both a chaste wife and sexually available to others. The article

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concludes with a look at enchantment as an instrument of economic protection.

1320

Foehr-Janssens, Yasmina, ‘Le Corps glorieux de la lettre: lire “au plus haut sens”’?, in Cinquante années d’études médiévales: à la confluence de nos disciplines: Actes du colloque organisé à l’occasion du Cinquantenaire du CÉSCM, Poitiers, 1er–4 septembre 2003, ed. Claude Arrignon, Marie-Hélène Debiès, Claudio Galderisi, & Éric Palazzo, Culture et Société Médiévales (Turnhout: Brepols, 2005), pp. 771–82. Marie invites her public to ‘gloser la lettre’ (Prologue, v. 15). This article examine the concept of the ‘lettre’ in relation to other concepts such as hearing and interpretation, i.e. to the antagonistic pairs ‘lettre/voix’ and ‘lettre/esprit’ (which are linked in turn to the dichotomies body/soul and mortality/immortality). The lay of Laüstic and fable 81 (‘De presbytero et lupo’) are discussed at length. In Laüstic the death of the nightingale is seemingly the death of the ‘voix’, the song of the bird and the conversations between the lovers, to be replaced by the samite ‘tut escrit’ (v. 136). The fable in which the priest teaches the wolf the alphabet seems simple, but the learning process reveals the wolf’s unconscious knowledge; when asked to say what he thinks and spell it, the wolf replies with the truth: ‘Aignel, aignel!’ (v. 12).

1321

Folena, Gianfranco, Volgarizzare e tradurre (Turin: Einaudi, 1991). Includes comments (pp. 13–16) on the prologues and epilogues in Marie’s works.

1322

Franceschini, Barbara, ‘Engin nelle Fables di Maria di Francia’, Il racconto nel medioevo romanzo (2002), pp. 197–207. The terms engin, enginner, etc. have both positive and negative connotations. The concept of engin is important in several of Marie’s lays, in which the term is predominantly negative. But in the Fables, although there are negative examples, the usage is significantly more positive than in the Lais. Amongst the fables referred to are nos 12, 42–45, 48, 60, 77, and 78. In the fables with human protagonists engin is presented as a feminine prerogative (44, 45, 48).

1323

Gaffke, Carol, et al., Poetry Criticism: Excerpts from Criticism of the Works of the Most Significant and Widely Studied Poets of World Literature, vol. 22 (Detroit: Gale Research Inc., 1999). Contains a section on Marie de France (pp. 236–41).

1324

Gally, Michèle, ‘Invention d’une langue et signature’, in Auctor et auctoritas: invention et conformisme dans l’écriture médiévale. Actes du colloque tenu à l’Université de Versailles-Saint-Quentinen-Yvelines (14–16 juin 1999), ed. Michel Zimmermann (Paris: École des Chartes, 2001), pp. 523–30. Examines Wace, Marie de France, Jean de Meung, and Dante, all ‘traducteurs-translateurs’, to see how their modernity in rejecting Latin is

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MARIE DE FRANCE based on a recognition of the multiplicity of languages. Marie refuses to be anonymous; she creates a place for herself within the genealogy of both her ancient models and her noble patrons.

1325

*García Pradas, Ramón, ‘Sobre el conflicto entre lo maravilloso y lo real en los Lais de Marie de France’, Estudios Humanísticos: Filología, 26 (2004), 85–100.

1326

——, ‘María de Francia y su universo femenino’, in La Littérature au féminin, ed. Montserrat Serrano Mañes, María Carmen Molino Romero, & Lina Aventaño Anquita (Granada: Universidad de Granada, 2005), pp. 239–49. Marie established in her work a new and delicate sentiment of the feminine. Her incomparable sensibility makes her stand out from her contemporaries. Her consciousness of herself as a woman writer appears in the Prologue to the Lais. In the poems themselves a good number of the protagonists are women and many are connected with writing, thus becoming authors of lays. The article contains some discussion of the woman in Chaitivel; she is the author of the lay of Quatre Dols, but she is forced to accept a change in title, thus modifying her poetic creation in accordance with the requirement of the male protagonist. The women in Laüstic, Milun, and the Deus Amanz are all linked to writing and messages. But not all Marie’s female characters are positive. The queen in Lanval and the wife in Bisclavret transgress the demands of courtliness. The queen displays rancour, egoism and an implacable desire for vengeance. Marie herself transgresses a large number of the patriarchal values of her era.

1327

Gaunt, Simon, Retelling the Tale: An Introduction to Medieval French Literature (London: Duckworth, 2001). Contains ‘Fictions of Orality in Marie de France’s Lais’ (pp. 49–70). The Lais treat the themes of authorship and remembrance. Also of fundamental importance to this work are the concepts or orality, writing, and storytelling. The oral tradition Marie invokes suggests nostalgia for the immediacy and unproblematic authenticity of a world before writing, a world prone to provide magic solutions to insoluble problems. But her world is one of a written culture. Her references to orality are contrived and the product of an author’s skill and intelligence. Concludes that the Lais as a whole constitutes a single authorial project by a woman. The lays are highly self-conscious and they create a textual space dependent on the author’s awareness of the power and value of storytelling as an act of commemoration. Contains discussion of Laüstic (pp. 60–63), Chaitivel (pp. 63–65), and Chevrefoil (pp. 66–68).

1328

——, Love and Death in Medieval French and Occitan Literature: Martyrs to Love (Oxford: Oxford University Press, 2006). Contains discussions of Chevrefoil (pp. 114–16) and Eliduc (pp. 145–47, 151–55). The former shows that Marie has understood perfectly that a shared death is a form of jouissance. After their brief meeting, they are separated, but contrary to the metaphor of the hazel and the honeysuckle, they do not die immediately. But the moment when the lovers will be truly inseparable is death (mentioned in the prologue, v. 10). In Eliduc, when

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Guildelüec weeps and regrets Guilliadun’s death, it is on her own account not out of pity for Eliduc’s grief. The text is more about a woman’s sacrifice for, and solidarity with, another woman than about her sacrifice for a man.

1329

Gemenne, Louis, ‘Comment des élèves de l’enseignement secondaire lisent-ils le lai de Bisclavret de Marie de France?’, in Conjointure arthurienne: Actes de la ‘Classe d’excellence’ de la Chaire Francqui 1998, Liège, 20 février 1998, Textes-ÉtudesCongrès, 20 (Louvain-la-Neuve: Université Catholique de Louvain, Publications de l’Institut d’Études Médiévales), pp. 54–65. Medievalists should make medieval texts known not just to a ‘happy few’ but to the broadest possible public, including pupils in secondary school. This article shows how different groups of sixteen-year-old pupils reacted to Marie’s Bisclavret. Overall, the readers were able to detect ambiguous passages and to reveal the principal features of the text’s structure.

1330

Gérard, Jacquin, ‘Les Démonstratifs dans les Lais de Marie de France (d’après l’édition de Karl Warnke)’, REF, 8 (2003), 137–41. Examines the use of the forms cist, cil, ceo, and variants as they appear in Warnke’s edition of the Lais (17). Contains a table (p. 140) showing the number of occurrences of cist and cil forms (65 and 249 respectively) and of each variant, and of their usage as a demonstrative adjective (62 and 74 cases respectively) and as a pronoun (3 and 175 cases respectively).

1331

Gertz, SunHee Kim, ‘Transforming Lovers and Memorials in Ovid and Marie de France’, Florilegium, 14 (1995–96), 99–122. From the twelfth to the fourteenth centuries classical literature functioned as the canon for readers and writers. Medieval writers transformed classical texts in many ways, one of which was to explore what writing meant in their own literary circles. The article looks at the way Ovid and Marie probe the relationships between readers and writers, and studies in particular Marie’s adaptation of the Pyramus and Thisbe tale in the Deus Amanz. Both texts end with natural memorials that become metaphors for living literature, for tales that generate other stories. Stresses that Ovid’s lovers operate at night, whereas Marie’s lovers do so in the full glare of daylight. Marie’s lovers are also reminiscent of Tristan and Iseut. The article looks at the use of metaphor in both the Deus Amanz and Chevrefoil, two lays which differ almost completely on their narrative levels. The potion, although not mentioned in Chevrefoil (a lay which must be read in terms of other texts), lies at the centre of the differences between the two pairs of lovers. It is the hazel intertwined with the honeysuckle that is the new metaphor in Chevrefoil, i.e. Marie has again created a new tale from familiar material.

1332

——, ‘Echoes and Reflections of Enigmatic Beauty in Ovid and Marie de France’, Speculum, 73 (1998), 372–96. Begins with some remarks on beauty and love by Socrates in Plato’s Phaedrus, then examines the relationship between these two concepts in Ovid and Marie de France (especially in Guigemar). Often thought to be superficial and transitory, beauty can have depth and inspire figurative understanding, which in turn gives value to form. Marie’s tale of Guigemar

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MARIE DE FRANCE and his lady has close links with Ovid’s tale of Narcissus and Echo, and in points of detail the lay has ‘obvious Ovidian influences’ (p. 379). Studies the mural in Guigemar, in which Venus is depicted as throwing one of Ovid’s books into the fire (vv. 233–44), in relation to Ovid’s image of the selfabsorbed Narcissus, which adds depth to Marie’s own depiction of how a lover such as Guigemar can similarly become self-absorbed. Both Ovid and Marie explore how images can acquire symbolic value. Such images in Guigemar are the hind, the wound, the dressing applied to the wound, the knot in Guigemar’s shirt, and the lady’s belt. The knotted shirt and the belt become symbols of the world of the lay and are vehicles of meaning.

1333

——, ‘Wrapping Memory around the Metaphor in Marie de France’s Chievrefoil’, in Philologies Old and New: Essays in Honor of Peter Florian Dembowski, ed. Joan Tasker Grimbert & Carol J. Chase (Princeton: Armstrong Monographs, 2001), pp. 213–26. Discusses a number of issues relating to Chevrefoil: the notions of reading and writing, memory, metaphor, etc. The central metaphor of the lay is a meeting place for readers and writers. Within the poem, hope, belief, comprehension, and lyric language intertwine readerly and writerly functions, and Marie ‘wraps memory about the metaphor‘ (pp. 216, 218). Memory is a touchstone for exploring the dynamics of poetry.

1334

——, Poetic Prologues: Medieval Conversations with the Literary Past, Analecta Romanica, 56 (Frankfurt: Klostermann, 1996). Deals with Marie’s General Prologue (pp. 16–22 and 31–40). Chapter 4 is entitled ‘The Poet in Marie de France’s Le Chaitivel’ (pp. 126–50). Her Prologue is described as a ‘touchstone’ (p. 17) for the issues examined in the volume. It links the past with the present in terms of poetic art. Although the Prologue seems realistic, it is fiction. What defines a good poet is a theme running throughout the Lais.

1335

——, Echoes and Reflections: Memory and Memorials in Ovid and Marie de France, Faux Titre, 232 (Amsterdam: Rodopi, 2003). Examines the way in which Ovid and Marie de France explore the tensions between memorializing, essentially an activity intended for present and future audiences, and memory, essentially a personal experience, as articulated in the Metamorphoses and the Lais. Chapter headings are: (1) ‘Echoes and Reflections of Memorials’ (pp. 43–64); (2) ‘Echoes and Reflections of Enigmatic Beauty’ (pp. 65–96); (3) ‘Echoes and Reflections of Destruction’ (pp. 97–126); (4) ‘Echoes and Reflections of the Poet’ (pp. 127–56). These chapters draw on items published elsewhere. Rev.:

.1 .2 .3 .4

1336

P. Gaffney, The Irish Journal of French Studies, 3 (2003), 117–. 18. M.-J. Heijkant, ZrP, 121 (2005), 285–87. S. Kay, FS, 58 (2004), 235–36. L. E. Whalen, FR, 78 (2004), 144–45.

——, ‘Transforming Genres in Marie de France’s Eliduc’, in Semiotic Rotations: Modes of Meaning in Cultural Worlds, ed.

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SunHee Kim Gertz, Jean-Paul Breaux, & Jann Valsiner (Greenwich, CT: Information Age Press, 2006), pp. 253–79. Focuses on the way in which Marie plays with expectations created by genres in order to suggest how linear structures, such as writing and narratives, may nevertheless capture the sense of discovery when perceiving a totum simul. To this end, Marie presents a variety of readerly personae, who are identified with genres and hermeneutic practices. The sailor emerges as a ‘reader’ associated with biblical writing and the hermeneutic practices of exegesis. But because he is so focused on the text he is a weak reader. Eliduc is associated with the epic and courtly genres and he interprets hermeneutically with respect to himself. He is a stronger reader than the sailor, but evinces a strong tendency to linear thinking and storytelling, as witnessed in his trips back and forth across the Channel and the stories he tells himself as well as others. The ideal and strongest reader is Guildelüec, who is associated with folklore; she is able to perceive immediately (totum simul) and create new, non-traditional tales.

1337

Gilmore, Gloria Thomas, ‘Marie de France’s Bisclavret: What the Werewolf Will and Will not Wear’, in Encountering Medieval Textiles and Dress: Objects, Texts, Images, ed. Désirée Koslin & Janet E. Snyder (Basingstoke: Palgrave Macmillan, 2002), pp. 67– 84. The shroud in Laüstic and the quilt in Le Fresne are feminine subtexts, because textiles were associated with women. Analyses the two opposing functions of clothing in Bisclavret. The wearing, or not wearing, of his clothes represents for Bisclavret the exercise of his free agency, and as such is a major aspect of his existence; it is a primary sign of his two states of being. Discusses the difference between two words for clothing: dras, associated with covering, which highlights the social relationships in his life, and despoille, which represents the inner self, which is violated when his clothes are taken. Also discusses the reasons why Bisclavret does not want to put on his clothes in front of other people. The fact that he spends three days a week as a wolf and four as a knight shows that he valued the opportunities offered by society slightly higher than than the self-indulgent act of roaming the woods as a beast.

1338

Gingras, Francis, Érotisme et merveilles dans le récit français des XIIe et XIIIe siècles (Paris: Champion, 2002). Contains reference to, and discussion of, a number of Marie’s lays, in particular Bisclavret (esp. pp. 191–97) and Lanval (esp. pp. 146–49, 270–71, 274–77).

1339

——, ‘Par mi une estreite fenestre’- l’espace d’une vision et les cadres du désir dans le récit français du XIIe siècle’, in Par la fenestre: études de littérature et de civilisation médiévales. Actes du 27e colloque du CUER MA, 21–22–23 février 2002, ed. Chantal Connochie-Bourgne, Senefiance, 49 (Aix-en-Provence: Publications du CUER MA, 2003), pp. 167–79.

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MARIE DE FRANCE Examines several texts, including Yonec and Laüstic, from the period 1170– 90, a time when a window could define a narrative point of view, directing the reader’s attention from interior to exterior, or concealing some elements whilst highlighting others. For the unhappily married women in the Lais the window is the focal point of their desire. In Yonec the lady achieves sexual pleasure when her figure of fantasy enters her chamber through the window, and she makes her way to the Other World through the window. In Laüstic, as in Yonec, there is a link between love, blood, and writing; the nightingale and the window have erotic connotations and provide compensation for the lovers.

1340

Grandperrin, Nathalie, ‘Le Roi, mari trahi: par sa femme, son imagination ou ses hommes? (lais et romans arthuriens des XIIe et XIIIe siècles)’, in Bien Dire et Bien Aprandre, 17–18 (1999-2000: La Figure du roi, ed. Marie-Madeleine Castellani), 2 vols, I, 143–58. Contains remarks on Lanval (pp. 144–45). Discusses this lay in the context of tales in which kings are betrayed by their wives. Arthur in Lanval adopts a more equivocal attitude than the kings in Graelent and Guingamor.

1341

Green, D. H., The Beginnings of Medieval Romance: Fact and Fiction, 1150–1220 (Cambridge: Cambridge University Press, 2002). Chapter 6 (‘Fiction and History’, pp. 134–201) contains a discussion of Lanval (pp. 180–81). This lay illustrates the transition from historia to fabula. The initial Arthurian setting is real and corresponds to the historical account of Arthur’s wars by Geoffrey of Monmouth and Wace. But by the end of the narrative, when Lanval accompanies his mistress to the unreal world of Avalon, the transition to fabula is irreversible. In this Marie differs from Chrétien de Troyes in Erec et Enide and Cligés, where there is a return to topical history at the end.

1342

Green, Richard Firth, ‘Ricardian “Trouthe”: A Legal Perspective’, in Essays on Ricardian Literature in Honour of J. A. Burrow, ed. A. J. Minnis, Charlotte C. Morse, & Thorlac Turville-Petre (Oxford: Clarendon Press, 1997), pp. 179–202. Contains an analysis of the trial in Lanval (pp.187–90). Lanval is tried not for felunie, which he denies, but for a mesfait. The barons face a dilemma, and the solution is to get Lanval to produce his witness in court. She is summoned not as a mere witness, but as the principal in the case. Other scholars who have examined the legal terminology of the trial have neglected the importance of the term desrainié in v. 629, which implies exoneration by compurgation or witness proof. Which of the two it is constitutes a ‘nice question’ (p. 190). The court is trying to establish a kind of anthropomorphous truth that makes factual evidence subservient to the concrete interests of the group.

1343

Griffin, Miranda, ‘Gender and Authority in the Medieval French lai’, FMLS, 35 (1999), 42–56. Accepting that a Marie is the author of the lays in the Harley collection and that the anonymous lays were composed by men provides a possibly

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unreliable gendering of the texts. The lay is a genre that is preoccupied with its own origins and with the problematics of origin, but in reality there is a good deal of confusion concerning discourses of beginnings. For example, in Tyolet lays are traced back to the narratives of Arthurian knights, written down in Latin; thus the Breton lay becomes a product of, not an inspiration for, tales told at court. Questions of genesis and the naming of lays are problematic in Lecheor, Chaitivel, Chevrefoil, Laüstic, and Eliduc. Some lays, such as Tydorel, Yonec, and Milun problematize the ultimate myth of origin, i.e. paternity. Concludes that the origins of both the lays and the characters lie within the texts themselves, and that the textual tradition within which the lays exist is characterized by fluidity and flux.

1344

Grimbert, Joan T., ‘Love and Death? Reading Marie de France’s Chievrefoil against Bédier’s Roman de Tristan et Iseut’, BBSIA, 52 (2000), 311–22. Bédier conceived of the Tristan legend as a tale of love and death, but for Marie it was one of loyal love. In Chevrefoil she evokes the three components which medieval poets associated with Tristan and Iseut: suffering, cunning, and ardour.

1345

Grisward, Joël H., ‘Les Trois Dons de l’oiseau-prophète: esquisse sur Yonec’, in L’Hostellerie de pensée: études sur l’art littéraire au Moyen Âge offertes à Daniel Poirion par ses anciens élèves, ed. Michel Zink, Danielle Bohler, Eric Hicks, & Manuela Python, Cultures et Civilisations Médiévales, 12 (Paris: Presses de l’Université de Paris – Sorbonne, 1995), pp. 187–94. In Yonec the dying bird-lover gives the lady three gifts: a ring, a sword, and a bliaut (vv. 415–40). Critics have neglected or misrepresented this trio of gifts, which are syntactically linked in Marie’s text and, on a broader scale, correspond to the three functions studied by Georges Dumézil in reference to Indo-European legend. In Yonec the ring is magic (the husband will be unaware of what has happened), the sword is military (it will be the instrument of violence and revenge), and the bliaut is sexual (it will cover up the lady’s nudity, mentioned in v. 314).

1346

Gros, Gérard, ‘Où l’on devient Bisclavret; étude sur le site de la métamorphose (Marie de France, Bisclavret vers 86–96)’, in Mélanges Ménard (1998), I, pp. 573–83. In vv. 89–96 of Bisclavret Marie tells us that Bisclavret’s metamorphosis takes place beside a wood and near the path on which he travels. There is an old chapel there, and a broad, hollow stone beneath a bush. The chapel suggests a modest and deserted place of worship. Similar important chapels occur in Beroul’s Romance of Tristan and Marie’s Eliduc. The hollow stone might indicate the tomb of a dead hermit (in Eliduc the hermit had died a week before Eliduc’s arrival at the chapel); such a conection between a tomb and the act of metamorphosis recalls Petronius’s story in which the soldier undresses amidst tombs. Or else the stone could have been a baptismal font. Both a tomb and a font are a locus of passage from one life to another. The relationship between the religious and the merveilleux element in Bisclavret, as in Yonec, is finally resolved in favour of religion.

48 1347

MARIE DE FRANCE Grünkorn, Gertrud, Die Fikionalität des höfischen Romans um 1200, Philologische Studien und Quellen, 129 (Berlin: Schmidt, 1994). Contains a section entitled ‘Chrétien de Troyes und Marie de France’ (pp. 111–18) which discusses the concept of integumentum as alluded to by Marie in the Prologue to the Lais.

1348

Guy-Bray, Stephen, ‘Civilizing Sexuality: Marie de France’s Lay with Two Names’, in Norbert Elias and Human Interdependencies, ed. Thomas Salumets (Montreal: McGill-Queen’s University Press, 2001), pp. 149–58. Marie highlights the literary code governing the naming of texts, especially in her decision to give two titles to Chaitivel and Eliduc, one connected to a feminine, the other to a masculine interpretation. The article makes use of comments by Norbert Elias in The Civilizing Process (1994). Marie was concerned, like Elias, with the connection between gender relations and issues of power and control within society. Chaitivel shows that women are subject to male control not only in their own persons but also in the products of their bodies. The lady reads a social text that restricts female sexuality to one object and adds to it the surplus, i.e. more men and more pleasure than women are normally allowed. The lady is the double of Marie, as the glossing of a text is the first step to becoming a writer. The lay demonstrates that violence was always just beneath the surface of courtly life. The ending of the poem is neither a triumph nor a defeat for the lady. Although men have a monopoly on violence, women as writers can ensure that they do not have a monopoly of how events are perceived and remembered.

1349

Haidu, Peter, The Subject Medieval/Modern: Text and Governance in the Middle Ages (Stanford: Stanford University Press, 2004). Contains a chapter entitled ‘Marie de France: The Postcolonial lais’ (pp. 121–41). Comments that the three Maries who wrote the Lais, the Fables, and the Espurgatoire could have been one, but could also have been three different writers. The Marie who wrote the Lais understood the marginalization of women. She was probably a noblewoman, perhaps a ‘solitary woman in a patriarchal world’ (p. 123). But she transcends marginalization and transforms it into ‘an actively hybrid multiculturalism’ (p.124). The chapter includes discussions of all the lays. For example, the interest of Chaitivel is not in the narrative events, but in the metadiscourse of two characters who survive their known story and assume it as already existing (p. 125). The stick in Chevrefoil is a ‘pure sign of purely sexual desire’ and ‘a hilarious put-down of phallocentrism’ (p. 132). Marie has the astounding ability to filter other voices through her own, safeguarding both the others’ distinctiveness and her own narrational ‘I’ (p. 140).

1350

Hamilton, Janet, ‘Ruses du destin: blessures et guérisons dans l’univers chevaleresque’, in Écriture de la ruse, ed. Elzbieta Grodek (Amsterdam: Rodopi, 2000), pp. 261–69. Marie’s Lais is one of the works in which the motif of the wounded knight appears. It is found in Guigemar, when the hero is wounded by the arrow rebounding from the hind, and in Chaitivel, where the fourth knight is wounded in the thigh and made impotent. This motif links chivalry and love.

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It brings into play the figure of the healing woman, who herself is linked to the notion of fertility.

1351

Hanning, Robert W., ‘The Talking Wounded: Desire, Truth Telling, and Pain in the Lais of Marie de France’, in Desiring Discourse: The Literature of Love, Ovid through Chaucer, ed. James J. Paxson & Cynthia A. Gravlee (Selinsgrove, PA: Susquehanna University Press, 1998), pp. 140–61. In Guigemar Marie presents herself as a liminal figure, operating perilously along her culture’s gender boundaries; the figures of the wounded bise and the imprisoned Venus are representations of her as a poet. In the prologue to Guigemar she describes herself as having been wounded by cowardly, treacherous dogs (vv. 12–13), so, like the bise, she is an example of a ‘talking wounded’ figure. Through the persona of Venus she proclaims herself as an authority and as a post-Ovidian female court poet. Also discusses the possible antecedents and influences on the stag episode in Guigemar (the stories of St Eustace and St Giles, Silvie’s deer in the Eneas, etc.) and the plaie ‘wound’, plait ‘plea’, plait ‘knot’ homonymy (the three homonyms constitute an encrypted description of Marie’s poetic trajectory). As a collection, the Lais articulate a female-centred perspective on the expression and the pursuit of desire, and they emphazise the problematics of gender as a crucial component of the author’s difficulties as a poet.

1352

Haug, Walter, ‘Gloser la lettre oder Marie de France, die Liebe und die Allegorie’, in Die Wahrheit der Fiktion: Studien zur weltlichen und geistlichen Literatur des Mittelalters und der frühen Neuzeit (Tübingen: Niemeyer, 2003), pp. 187–204. A reprint of 897. Begins with a new translation and interpretation of the Prologue to the Lais, which is analysed from the perspective of the theory of prologues in the medieval period. Focuses in particular on vv. 15–19, which are viewed as an attempt to describe the transformation of an oral poetical tradition into written form, a process out of which a new sen emerges.

1353

Hazell, Dinah, ‘Rethinking Marie’, Medieval Forum, 2 (2003). No page numbers. (http://www.sfsu.edu/~medieval/volume2.html) Questions the traditional assumptions concerning Marie de France. For example, did Marie reside in England and did she write for the court of Henry II? Did she dedicate the Lais to him? Did she know English? Argues that the appearance of English localities in Marie’s poems does not prove long-term residence in England, nor does the appearance of English words prove that she had a thorough knowledge of English. The preservation of her works in Anglo-Norman manuscripts likewise does not confirm an association between Marie and England. Accepts that criticism in Lanval was aimed at Henry’s court (Arthur can be identified with Henry and the queen with Eleanor of Aquitaine), but the Lais could have been dedicated to Louis VII, or more likely to Philip Augustus. The criticism of Henry could have been presented as a contrast to the strengths of kings such as Philip.

1354

Hindman, Sandra, ‘Aesop’s Cock and Marie’s Hen: Gendered Authorship in Text and Image in Manuscripts of Marie de France’s

50

MARIE DE FRANCE Fables’, in Women and the Book: Assessing the Visual Evidence, ed. Jane H. M. Taylor & Leslie Smith (London: British Library, 1996), pp. 45–56. Examines the manuscripts of the Fables to determine whether the concerns voiced in the text, especially in the Prologue and Epilogue, are expressed in the accompanying illustrations. In at least two manuscripts, Paris BNF, fr. 2173 (Q), and Paris, Arsenal 3142 (H), the pictures visually enforce ideas found in Marie’s poetics. They give visual form to the concept of translatio studii and also call attention to Marie’s gendered authorship. Imagery in manuscripts of the Fables asserts a connection with grammar, the branch of philosophy which teaches how to write and read correctly, thus combining human and divine wisdom.

1355

Ho, Cynthia, ‘Words Alone Cannot Express: Epistles in Marie de France and Murasaki Shikibu’, in Crossing the Bridge: Comparative Essays on Medieval and Heian Japanese Woman Writers, ed. Barbara Stevenson & Cynthia Ho (Basingstoke: Macmillan, 2000), pp. 133–52. The romantic worlds of Marie and Murasaki Shikibu necessitate messages to fill the gap of silence or separation. Letters fulfil the human desire for private, direct, and evocative communication. In both authors they deliver information, make arrangements, offer advice, and convey courtly sentiments. In Marie letters are static signs of constant love, but in Murasaki they are dynamic and persuasive symbols. In Marie letters circumvent the surveillance placed on the women, who are guarded, enclosed, and silenced. Milun, Laüstic, and Chevrefoil are discussed in detail, with some comments on Eliduc. In Milun the letters simulate union and are both static and a sure sign of the lover. In Laüstic the message substitutes for unrecoverable love. Chevrefoil is seen as centred on one ‘complex and highly digested letter’ (p. 139). At the end of Eliduc, Eliduc writes spiritually inquisitive letters to both his women (vv. 1174–75).

1356

Hopkins, Amanda, ‘Female Vulnerability as Catalyst in the Middle English Breton Lays’, in The Matter of Identity, ed. Phillipa Hardman (Cambridge: D. S. Brewer, 2002), pp. 43–58. Adult males in the Breton lays must overcome enemies and gain, or regain, property, social position, and often a wife. Women are defined by their ability to bear offspring in order to fulfil their husbands’ reproductive destiny. Marie de France portrays the figure of the malmariée, but only in Equitan and Bisclavret does she depict female characters as victims of violent acts. But there are potential threats to women in Guigemar, Yonec, Milun, and Eliduc. In Laüstic the atmosphere is menacing. When sexual congress takes place in the Lais, it is through mutual desire, not rape. The Middle English narratives have a much greater volume of violence against women; here a woman’s physical well-being is much less important than her moral superiority.

1357

——, ‘Bisclavret to Biclarel via Melion and Bisclaret: The Development of a Misogynist Lai’, in The Court Reconvenes (2003), pp. 317–23.

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In Bisclavret the guilt of the wife is marginable and arguable, whereas the authors of Melion and Biclarel are more judgemental, thereby making the poems function to an extent as exempla of the treacherous nature of women. In Bisclavret v. 108 (‘Pur ki sun seignur ot trahi’) undermines the original depiction of the lady as faithful to her husband and re-presents her motives for wishing to be rid of him.

1358

——, Melion and Biclarel: Two Old French Werwolf Tales, Edited and Translated, Liverpool Online Series, Critical Editions of French Texts, 10. (http://www.liv.ac.uk/sml/los/index.htm) The introduction (pp. 7–49) contains remarks on Bisclavret. Includes a table providing a comparative structure of Bisclavret, Milun, and Biclarel (p. 16).

1359

Horton, Ingrid, ‘A Bachelardian Reading of Marie de France’s Guigemar’, Chimères, 27 (2003), 131–39. Studies the symbolic space in Guigemar, using Gaston Bachelard’s model of the birth house and the dream-like house. Ostensibly, Guigemar’s birthhouse lacks nothing; it is his future that is problematic. Disillusioned with his return to his birth-house, he seeks a mysterious and limitless unknown, a third archetypal house (a cosmic house). In the wood Guigemar seeks to subdue what he cannot control: his passions. The ship acts as a transitional house, allowing him contact with his subconscious. In the lady’s tower, a place that encourages attainable dreams, he no longer attempts to destroy his passions; he allows them to exist and deepen. The painting in the lady’s room encourages the contrary of what the husband had expected. Before Guigemar’s arrival, the lady had listened to religious lessons on how to be a good wife, but now she listens to lessons of love; what kept her imprisoned was her lack of imagination. She too needed the daydream of the cosmic house, i.e. a happy house, and to descend into the unconscious which allows her to open the door. Guigemar must destroy Meriaduc’s castle, thus freeing his lady physically and spiritually and allowing her to dream again of a cosmic house.

1360

*Horváth, Krisztina, ‘Tündérdisputa: A Morgana-és a Melusinemesék’, Filológiai Közlöny, 2 (1995), 97–113. Examines the structure of Marie’s lays and the anonymous lays in which the plot centres on the figure of the fairy (based on the summary in BBSIA, 48, 1996, item 530).

1361

——, ‘Les Complexes de Marie de France’, in Études de littérature médiévale: recherches actuelles en Hongrie, Studia Romanica de Debrecen, Series Litteraria, 22, ed. Katalin Halász (Debrecen: Kossuth Lajo Tudományegyetem, 2000), pp. 47–61. Studies Equitan and Le Fresne to show that they are inseparable and complementary, being opposing versions of the Griselda complex. The situation in both lays is similar. Equitan and Gurun fall in love with a woman they have heard praised, but not seen. They have dynastic responsibilities and are urged to take a wife in order to produce a legitimate heir, but neither the seneschal’s wife nor Le Fresne would be acceptable, the former because she is of inferior birth, the latter because she is a concubine

52

MARIE DE FRANCE of unknown origin. Le Fresne reacts to her situation with form of passivity, albeit one which conceals her discreet activity, but the seneschal’s wife uses psychological blackmail. The women’s behaviour determines the outcome. The problem with the seneschal’s wife lies not in the fact that she is married, or in her wish to become queen, but in her desire to be exclusive and not share her lover. Le Fresne’s mother is not just a function within the story, but a woman with realistic emotions and human depth. It is wrong to see a lack of psychology in Marie’s personages.

1362

Houg, Candace R., ‘Trickery and Betrayal in the Lais of Marie de France’, MedPer, 16 (2001), 50–62. Each of Marie’s lays contains some element of trickery and betrayal. The article examines the tales one by one in an attempt to discover the motivation for the deception. The most common form of deceit is adultery, found in seven lays. Most of the protagonists deceive others for personal gain; some are motivated by envy or jealousy, some by fear or desire for revenge, and many by lust or other deadly sins.

1363

Howlett, David R., The English Origins of Old French Literature (Dublin: Four Courts Press, 1996). Contains a section on Marie de France (pp. 121–23). Prints the Prologue, which contains 303 words. In the central line, 28, the central word, començai, is echoed by the last word, commencement (v. 56). Also prints the twenty-two lines of the Epilogue to the Fables. These lines divide by symmetry at 11 and 11, and the 132 words at 66 and 66.

1364

Hüe, Denis, ‘Marie de France exemplaire’, École des Lettres II, 10– 11 (1995–96), 1–12. A general presentation of Marie’s Lais, and the way her work fits into the contemporary literary context, is followed by a detailed analysis of Equitan (pp. 6–11), the hero of which is seen as an anti-Guigemar figure. Guigemar had no interest in love, but Equitan assimilates hunting, pleasure, and love into a concept of chivalry dominated by ‘frivolité mondaine’ (p. 7). The woman in Equitan becomes a criminal and a sinner, and the courtly image seen at the beginning of the narrative is supplanted by the figure of the destructive woman, which is closer to the vision of the cleric than to that of the troubadour. The lay has a binary structure, an apology for courtly love being followed by a demonstration of its tragic consequences. Marie’s lays are an apology, not for love but for prowess and worth.

1365

Hunt, Tony, Popular Medicine in Thirteenth-Century England: Introduction and Texts (Cambridge: D. S. Brewer, 1990). Includes a description of the contents of MS Harley 978 (pp. 101–04).

1366

Huot, Sylvia, ‘Troubadour Lyric and Old French Narrative’, in The Troubadours: An Introduction, ed. Simon Gaunt & Sarah Kay (Cambridge: Cambridge University Press, 1999), pp. 262–78. Includes comments on Laüstic and on Marie’s adaptation of Ovid (pp. 270– 74). In Laüstic she establishes associations linking the subjective experience of desire, the lyric tradition in which this desire finds expression, and the

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Breton lay. These factors are incorporated into narrative structures reminiscent of Ovidian motifs. The nightingale in this lay becomes a magnet for linguistic and literary associations.

1367

——, Madness in Medieval French Literature: Identities Lost and Found (Oxford: Oxford University Press, 2003). Contains remarks on Bisclavret (esp. pp. 188–89 and 192–98) and Lanval (pp. 125–26). Bisclavret can be considered to suffer a form of madness or amnesia of the body, which has forgotten its human identity. When he describes the bestial rampaging of his altered body (vv. 63–66), he identifies himself with his animal body. As in the Biblical story of Adam and Eve, the culprit for his loss of bodily control is a woman. Bisclavret is re-identified through his role as a social actor. In Lanval, whether or not Lanval is innocent of homoerotic relations, he is guilty of erotic pleasures that flout the legal and social frameworks supposedly set up to control sexual activity. Lanval puts sexual pleasure above all else, and he finally vanishes into the Other World, which is similar to the world inhabited only partially by madmen.

1368

Hurtig, Dolliann Margaret, ‘“I do, I do”: Medieval Models of Marriage and Choice of Partners in Marie de France’s Le Fresne’, RR, 92 (2001), 363–79. Marie views love as a constant presence, which creates a reciprocal harmony of love within the poems and makes for a unified collection. In Le Fresne Gurun’s marriages, first to La Codre and then to Le Fresne, combine the two medieval models of marriage. The first of these is an aristocratic marriage, in which the patriarchal family locks its sons and daughters into a power structure controlled by the family and by the hierarchical social structure. The marriage to Le Fresne is similar in that it is the result of a network of alliances. But this marriage is also a marriage of love and has the blessing of the Church, for which consent was the principal element. The device of twins in this lay is a dynamic medium to present both the traditional and the ecclesiastical way of looking at marriage.

1369

*Inoue, Tomié, ‘Voyage dans l’autre monde: comparaison de “Urashima-Tarô” avec les lais bretons et les romans en France’, Memoirs of Beppu University, 39 (1998), 1–10 (in French).

1370

Jambeck, Karen, ‘Textual Explorations: The Fables of Marie de France and Beyond’, Le Cygne, 6 (2000), 54–67. Begins with a lengthy review of the contribution made to the study of the Fables by Sahar Amer book Ésope au féminin (1213), and concludes with a series of questions constituting directions for research. Scholars should investigate the place of Marie’s fables within the medieval Latin and vernacular traditions, and search for analogues and sources across cultural boundaries, examining both western and eastern folklore. It is also important to investigate language and codes of meaning (using pragmatics and discourse analysis, etc.) and to pinpoint relationships between Marie’s fables and her other works. Stresses that the Fables are in many ways the key to Marie’s other writings.

54 1371

MARIE DE FRANCE ——, ‘Warton, Tyrwhitt, & De La Rue: Marie de France in the Eighteenth Century’, in Reception and Transmission (2003), pp. 31– 89. Examines the life and contribution to Marie de France studies of Thomas Warton (1728–90), Thomas Tyrwhitt (1730–86), and Gervais de La Rue (1751–1835). Begins with a discussion of the concept of antiquarianism and the history of literary scholarship before the eighteenth century. The growth in Marie de France studies can be traced to Warton, whose History of English Poetry (458) was a pioneering work. Marie’s œuvre was established by Tyrwhitt in his edition of Chaucer’s Canterbury Tales (444); he stated that the lays in MS Harley 978 were the work of a single author known as Marie. The abbé de La Rue emphasized the literary worth of Marie’s work and attributed to her the authorship of the Espurgatoire seint Patriz. His ‘Dissertation on the Life and Writings of Marie, an Anglo-Norman Poetess of the 13th century’ (279), written in 1800, introduced her to a remarkable number of readers. His researches on Marie continued for a number of years and appeared in print as late as 1834 (280–81). The three scholars studied in this chapter established the foundational principles on which much presentday Marie de France scholarship still rests (p. 67).

1372

——, ‘“Femmes et tere”: Marie de France and the Discourses of Lanval’, in Discourses on Love (2004), pp. 109–45. On the basis that apparently fabulous and demonstrably realistic elements occur in Lanval, the article examines in detail the mythic and legal discourse within this lay. Concludes that Marie, who was writing at a time when legal practices were encroaching on marriage, offered practical observations on human nature and the limits of law, and provided a means of enriching the lives of men and women emotionally and materially. There may also be thinly disguised socio-economic and political lessons in the narrative, as the lay indicates a way to find love and choice in marriage. Through its mythic discourse the lay characterizes love as deeply interiorized, yet interpersonal; it is defined by mutual respect, mutual loyalty, and mutual obligation. The article provides details concerning the concepts of land and power as they are related to women and marriage.

1373

Jonin, Pierre, ‘Marie de France’, in Patrimoine littéraire européen: le Moyen Âge, de l’Oural à l’Atlantique, littératures d’Europe occidentale: anthologie en langue française, ed. J.-Cl. Polet (Brussels: De Boeck Université, 1993), vol. 4b, pp. 467–76. A brief introduction to Marie, dealing principally with the Lais (p. 467), is followed by extracts in Modern French from six of the lays, taken from a variety of translations (pp. 468–76).

1374

Jorgensen, Jean, ‘The Lycanthropy Metaphor in Marie de France’s Bisclavret’, Selecta: Journal of the Pacific Northwest Council on Foreign Languages, 15 (1994), 24–30. In Bisclavret the physical metamorphosis of Bisclavret from human into animal is counterbalanced by an equally dramatic transformation of his wife’s character. Although as a wolf he loses his speech, and thus his ability to communicate his humanity, Marie allows Bisclavret to communicate

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through gesture. She thereby rehumanizes him and explores the man within the beast as well as the beast within the man. As he is humanized, the wife is gradually animalized. The wife violates a social system based on the honouring of verbal contracts, and she is expelled from this system. Marie insists that the story is true. The moral lesson is one of loyalty to one’s obligations.

1375

*Kato, Kyôko, ‘L’Amour dans les œuvres des contemporains de Chrétien de Troyes’, FFRSH, 25 (1990), 5–23 (in Japanese). Includes a study of the notion of love in the Lais. See BBSIA, 49 (1997), item 367.

1376

*Kawaguchi, Yôko, ‘Les Héros de Yonec’, EBOK, Groupe de Recherches en Langue et Littérature Françaises de l’Université de Kobe, 8 (1996), 5–23 (in Japanese). Marie’s other lays have a single hero or a couple, but Yonec has three heroes, corresponding to two different textual levels, the story of the love between the lady and Muldumarec, and the story of Yonec (based on the author’s summary in BBSIA, 49, 1997, item 368).

1377

*——, ‘Le Mot amer dans les Lais de Marie de France’, Bulletin Annuel d’Ėtudes Françaises, 33 (1999), 43–56 (in Japanese). A study of the examples of the verb amer in the Lais shows that it refers to love between the two sexes, to non-erotic love between humans, and to the love for God. It can also designate love for an object such as a swan or for an abstract notion. Knowledge of the full range of meanings of this term helps one to achieve a thorough understanding of the characters in the Lais (based on the author’s summary in BBSIA, 53, 2001, item 832).

1378

*——, ‘Les Mots amur, amistié, druerie dans les Lais de Marie de France’, Bulletin Annuel d’Études Françaises (Société d’Études Françaises de l’Université de Kwansei-Gakuin), 34 (2000), 13–25 (in Japanese). The three terms in the title of the article can all have the meaning ‘love’. Amur has a broad meaning and includes the other two, amistié conveys love allied to a feeling of confidence, and druerie includes physical love and its symbolic gifts (based on the author’s summary in BBSIA, 54, 2002, item 683).

1379

Kay, Sarah, Courtly Contradictions: The Emergence of the Literary Object in the Twelfth Century, Figurae, Reading Medieval Culture (Stanford, CA: Stanford University Press, 2001). Chapter 5 is entitled ‘The Virgin and the Lady: The Abject and the Object in Adgar’s Gracial and the Lais Attributed to Marie de France’ (pp. 179–215). The narratives in Lanval and Le Fresne are seen as presenting striking analogies with miracles of the Virgin. The article concentrates on the fetishistic character of these two lays. Splendid clothing and accoutrements have a starring role in Lanval, and in Le Fresne the fetishistic solution prevails when Le Fresne’s objects of adornment, the cloth and the ring, are dramatically produced to underwrite social identities in order to ensure the

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MARIE DE FRANCE correct outcome in terms of inheritance and marriage. The lays are structured in such a way that the problems and deficiencies of the personages are imaginatively recast in the visual field as a series of covers fixing the reality of the objects behind them.

1380

Kelly, Douglas, ‘Forlorn Hope: Mutability topoi in some Medieval Narratives’, in The World and its Rival: Essays on Literary Imagination in Honor of Per Nykrog, ed. Kathryn Karczewska & Tom Conley (Amsterdam: Rodopi, 1999), pp. 59–77. Human mutability occurs when changes take place from which there is no return; irreparable harm and irretrievable loss occur. Amongst the texts analysed here are Bisclavret and Equitan. In both, wives who are happily married at the outset end by betraying their husbands. The fate of the two women is determined not by their adultery, but by the plot they hatch to rid themselves of their husbands. In both cases a good feudal marriage is followed by a new, extraordinary event, which in turn leads to an inner transformation in the wife’s affections. All this is linked to medieval common places (which are distinguished here from commonplaces).

1381

Kerr, Julie, ‘The Open Door: Hospitality and Honour in Twelfth/Early Thirteenth-Century England’, History, 87 (2002), 322–35. Marie’s lays are amongst the texts examined in this study of the significance of honour as an incentive behind hospitality. Lanval’s lavish hospitality is cited as an example of how an assessment of an individual’s merit might be based on his conduct as a host (p. 324). Marie’s fable 46, in which the cuckoo does not react when the titmouse defecates on its head, illustrates that a show of discourtesy from a guest did not inevitably injure a host’s reputation, but it did demand a response (pp. 334–35).

1382

Kick, Linda L., ‘Marie de France: Inclusion of the Outsider’, in The Image of the Outsider in Literature, Media, and Society: Selected Papers of the Society for the Interdisciplinary Study of Social Imagery, February 28–March 3, 2002, Colorado Springs, ed. Will Wright & Steven Kaplan (Pueblo, CO: Society for the Interdisciplinary Study of Social Imagery, University of Southern Colorado, 2002), pp. 93–96. The concept of the outsider is central to Marie’s thinking. When in England, she herself was a foreigner. The article examines Guigemar, Lanval, and Bisclavret. Concludes that Marie’s sympathetic treatment of the outsider expands the concept of knighthood, enriches the concept of fin’amor, and rejects the misogyny of the Church. The notion of the outside brings a ‘surplus’ that benefits society.

1383

*Kim, Myoung, ‘The Role of Women in Marie de France’s Lais’, Medieval English Studies, 6 (1998), 101–29 (in Korean).

1384

Kinoshita, Sharon, ‘Two for the Price of One: Courtly Love and Serial Polygamy in the Lais of Marie de France’, Arthuriana, 8.2 (1998), 33–55.

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Marie’s lays examine the question of the compatibility of love and marriage. The article studies in particular Le Fresne and Eliduc. In the former Marie never questions the equation of nobility and lineage, and no impediment is voiced to Gurun’s separation and remarriage, which requires the complicity of the Archbishop of Dol. Eliduc has often been read as a palinode, repudiating the treatment of desire found in the other lays. But in its sociopolitical context the last-minute abandonment of the ethos of the courtly romance is quite the opposite: a bold assertion of the feudal nobility’s freedom to conduct its own marital politics. However, this freedom comes at the cost of female sacrifice, by Le Fresne and Guildelüec.

1385

——, ‘Royal Pursuits: Adultery and Kingship in Marie de France’s Equitan’, Essays in Medieval Studies, 16 (2000), 41–51. Equitan represents the interplay between courtly forms and the responsibilities of kingship. A king was expected to take a mistress and a queen to be the object of young men’s fantasies. Courtly love, which inverted gender hierarchies, was a game, but for a king it was a dangerous game. When Equitan falls in love with his seneschal’s wife, he rationalizes away all responsibilities for his vassal and his kingdom and plunges into the alternate reality of desire. He is titillated by the notion of the transfer of power to the woman in accordance with the conventional tropes of courtly love, but the lady, realizing that what he proposes is dangerous to her, wants their love to be equal, which is a more subversive view of love. The king can accomplish an exchange with the seneschal, who takes responsibility for the king’s public functions, but he cannot beget an heir by proxy. For him to marry the wife of his vassal, the latter has to pay with his life. It is not the moral at the end of the text (vv. 309–10) that is crucial, but the failure to heed the maxim about maintaining mesure (vv. 17–20). By surrendering to courtly fantasy, the king jeopardizes his succession.

1386

——, ‘Colonial Possessions: Wales and the Anglo-Norman Imaginary in the Lais of Marie de France’, in Discourses on Love (2004), pp. 147–62. Studies Yonec and Milun, which the author calls Marie’s Welsh lays. Although they vary in plot and tone, these two lays dare to imagine what more traditional romance cannot: the genealogical consequences of fin’amor. Both are set in South Wales and they explore the transgressive sexuality associated with Wales. Welsh custom and practice differed from the emerging European norm, for example in its treatment of illegitimate children, found in both Yonec and Milun, and in the fact that marriage did not become official until after seven years (the lady in Yonec speaks out only after more than seven years have elapsed, v. 37). These lays are a political commentary on the uses of the past. In Yonec the past is a ‘repository of nostalgia and desire that promises escape from the harsh demands of feudal politics and lineage’ (p. 161). In Milun the past is merciless and capable of selling unwed mothers into bondage, but hope lies in the idealized future seen in Sanz Per. Milun’s fine characteristics (e.g. his chivalry and loyalty) propose a new Cambro-Norman society based on merit and transcending old divisions.

58 1387

MARIE DE FRANCE ——, Medieval Boundaries: Rethinking the Difference in Old French Literature (Philadelphia: University of Pennsylvania Press, 2006). Chapter 4 (pp. 105–32, notes pp. 261–67) contains an expanded version of 1387.

1388

Kiss, Kornélia, ‘Hány sort lehet egy mogyoróvesszőre írni? Vegetáció és titkosírás Marie de France Chievrefoil című művében. (Combien de lignes peuvent être écrites sur un bâton de coudrier? Végétation et écriture chiffrée dans le lai Chievrefoil de Marie de France)’, in Szabadpart, Társadalomtudományi és Művészeti Folyóirat, 13 (2003). (http://www.kodolanyi.hu/szabadpart/ default.htm) Analyses the message sent by Tristan to the queen. The main problem is the length of the message and the space on the stick. The body of the message is significant because of the power attributed to the hazel in the Middle Ages. Tristan must have used Ogam script, which was well known at the time. The message was communicated by these two means (summary taken from BBSIA, 56, 2004, item 729).

1389

Klerks, Suzanne, ‘The Pain of Reading Female Bodies in Marie de France’s Guigemar’, DFS, 33 (1995), 1–14. Marie allows us to explore, from an alternative perspective, female representation as a site of male violence. Normally, the act of reading becomes a rape of the female text, the silent female text being stripped of extraneous meanings so that the truth/flesh can be penetrated by the reader. In Guigemar Marie challenges the antifemale violence of this paradigm. When Venus burns Ovid’s book, she presents herself as an alternative, female authority on love. In this lay Marie analyses female pain, which is inflicted on Guigemar’s beloved by her husband and by Meriaduc. But female anguish is tempered by the mutual desire of Guigemar and the lady. Early in the narrative Guigemar has a thigh wound, figuring castration, but he goes on to act as the perfect reader/lover, someone who can perform without violence. Concludes with a discussion of Eliduc, which continues Marie’s resistance to the heterosexual violence of both hermeneutic and cultural discourses. Here the problematic male-female love relationship is replaced by the powerful union of a same-sex couple.

1390

Kong, Katherine, ‘Guilty as Charged? Subjectivity and the Law in La Chanson de Roland and Lanval’, in Essays in Medieval Studies, 17 (2001), 35–47. Lanval is a liminal figure at the court of King Arthur, neither within nor fully outside the law. Neglected by Arthur, he enters into a contractual relationship with his lady, who enables him to dispense largesse; she thus supplants Arthur and introduces a parallel jurisdiction. Like Ganelon, who is defined by his relationship with Roland and Charlemagne, Lanval’s ‘intersubjectivity’ defines him in relation to Arthur and the lady. Also like Ganelon, Lanval admits part of the charge against him whilst insisting on his innocence in his own terms. He repents of his boast, not because it was an

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insult to the queen but because it caused him to lose his amie. The two trial narratives suggest a troubled working-out of what it means to be a culpable subject.

1391

Koopmans, Jelle, ‘“La Première de son sexe”: waarom Marie?’, in Oerteksten, ed. Joep Leerssen & Marita Mathijsen (Amsterdam: ICG, 2002), pp. 83–93. The article is part of a volume concerned with the early-nineteenth-century obsession with literary origins within a framework of new cultural nationalism. It shows that the situation in France was exceptional and explains how Marie de France came into being. Relies heavily on the work of Richard Baum (85).

1392

Kordecki, Lesley, ‘Losing the Monster and Recovering the NonHuman in Fable(d) Subjectivity’, in Animals and the Symbolic in Mediaeval Art and Literature, ed. L. A. J. R. Houwen (Groningen: Egbert Forsten, 1997), pp. 25–37. Discusses Marie’s fable 52 (‘De dracone et homine’) in the light of the traditional symbolism of dragons. In this fable the dragon, normally the symbol of primordial evil, is a good character, one representing all humans. The plot includes mythic elements associated with dragons: an egg and a treasure. The dragon becomes the subject of the story, the one in control of the plot. Marie’s view may derive from Eastern beliefs, which are more favourable towards the dragon. The story may portray fear of the poor plotting to undermine the economic élite, represented by the rich dragon.

1393

Krause, Virginia, and Christian Martin, ‘Topoï et utopie de l’amour dans les Lais de Marie de France’, DFS, 42 (1998), 3–15. Looks at descriptions of the lovers in the Lais, then studies the development of love (gradus amoris) and the nature of love relationships and their outcome (passio amoris). The portraits are idealized, not individualized: a perfect lover must be handsome, courtly, and wise. Love comes out of necessity (the verbs deveir and estoveir are used) and is the result of destiny. There are several specific phases in the development of love: sight, speech, seduction, sleeplessness, suffering, exchange of vows, etc. There is a contractual, even mercantile element, as in the feudal system. Marie presents a pessimistic view of love. Pain and death are never far away. Ideal love is contrary to the collective interest. Lovers can be separated, banished, or killed. In Guigemar and Milun the story comes to an end before the lovers experience a period of happiness. Death and tragedy always hover over the love.

1394

Krstović, Jelena O., ed., Classical and Medieval Literature Criticism: Excerpts from Criticism of the Works of World Authors from Classical Antiquity through the Fourteenth Century, from the First Appraisals to Current Evaluations, vol. 8 (Detroit: Gale Research, 1992), pp. 111–96. A brief introduction and bibliography (pp. 111–13) precede reprints of the following items: Rickert (64), pp. 113–14; Mickel (331), p. 113; KempWelch (262), pp. 114–20; Damon (139), pp. 120–29; Ewert (3), pp. 129–32;

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MARIE DE FRANCE Frey (193), pp. 132–37; Stevens (428), pp. 137–45; Donovan (151), pp. 145–50; Mickel (332), pp. 150–57; Fowles (544), pp. 157–58; Hanning and Ferrante (544), pp. 158–66; Mudrick (1457), pp. 166–71; Malvern (646), pp. 171–76; Sankovitch (1043), pp. 177–85; Faust (859), pp. 185–89; Spiegel (1052), pp. 189–95.

1395

Krueger, Roberta L., ‘Transforming Maidens: Singlewomen’s Stories in Marie de France’s Lais and Later French Courtly Narratives’, in Singlewomen in the European Past, 1250–1800, ed. Judith M. Bennett & Amy M. Froide (Philadelphia: University of Pennsylvania Press, 1999), pp. 146–91. Examines a number of courtly narratives, including the Lais, in order to discover what were the possibilities and limitations for an adolescent girl’s social activities. Six of the lays tell of girls or young women who are not attached to a husband for at least an important section of the story. Concludes that, with the exception of the lady in Chaitivel, the maidens experience serious psychological or social constraints, but they all display boldness in loving. They overcome difficulties through their inner resources: courage, fortitude, patience, generosity, forbearance, and trust. But only the maiden in Lanval succeeds by her efforts alone. The rest depend on others, especially on other women.

1396

——, ‘Female Voices in Convents, Courts and Households: The French Middle Ages’, in A History of Women’s Writing in France, ed. Sonya Stephens (Cambridge: Cambridge University Press, 2000), pp. 10–40. Includes a general introduction to the Lais, the Fables, and the Espurgatoire (pp. 19–22). The Lais are seen as presenting a multiplicity of perspectives on problems of love and death, desire and transgression, birth and rediscovery. The criss-crossing of motifs invites the readers to compare the protagonists’ ethical crises and solutions. In the Fables Marie evidences not only a particular concern for the plight of female animals and characters, but also sensitivity to injustice and a keen concern with realities in a way that recalls the Lais. The Espurgatoire is a harrowing tale of spiritual perdition and salvation, but at the end it includes a tale of a priest’s temptation (vv. 2181– 2296) that is reminiscent of the enigmatic, sexually troubled world of the Lais.

1397

——, ‘Beyond Debate: Gender in Play in Old French Courtly Fiction’, in Gender in Debate from the Early Middle Ages to the Renaissance, ed. Thelma S. Fenster & Clare A. Lees (New York: Palgrave, 2002), pp. 79–95. The Lais are studied on pp. 81–85. In twelfth- and thirteenth-century vernacular narratives, the gender roles of élite culture are articulated, examined, and put to the test. During the course of adventures, comely damsels are shaped into submissive wives and bold youths into accomplished knights. In the Lais, however, Marie confounds the straightforward identification of gender with moral action, and invites her readers to ponder conflicting sexual identities, desires, and motivations, as

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seen, for example, in the scene in which Ovid’s book is thrown into the flames (Guigemar, vv. 229–45).

1398

——, ‘Marie de France’, in The Cambridge Companion to Medieval Women’s Writing, ed. Carolyn Dinshaw & David Wallace (Cambridge: Cambridge University Press, 2003), pp. 172–83. A general introduction to Marie’s three works in the context of the ‘strong female voices that characterize French vernacular culture from its earliest manifestations’ (p. 182). One can detect a progression in the Lais, the Fables, and then the Espurgatoire, in which the changing relations between a woman writer and her audience are examined. Beginning with a blend of elements making up love stories, then moving on in mature years to address ethical, social, and political concerns in a key curricular text, Marie finally embarked on a spiritual journey which probed ‘the terrain of moral flaws and failings in the earlier works and offered hope of salvation’ (p. 181).

1399

Labbé, Alain, ‘Le Vêtement déchiré et l’ensauvagement par la forêt dans quelques textes médiévaux’, in Le Nu et le vêtu au Moyen Âge (XIIe–XIIIe siècles): Actes du colloque du CUER MA 2–3–4 mars 2000), Senefiance, 47 (Aix-en-Provence: Publications du CUER MA, 2001), pp. 203–16. Bisclavret provides the clearest case of the double process by which clothes are the sign par excellence of humanity, and nudity is the decisive step towards the animal state. What is only latent or metaphorical in the other texts studied (e.g. the Tristan legend and Renaut de Montauban) appears in Bisclavret in a more literal form. Bisclavret, driven by some enigmatic fatality or nigromance, removes his clothes, thus linking up with obscure forces. In Bisclavret the dialectic between constraint and liberty finds its most telling form. Marie’s lay serves as the reference point for the study of other texts in which entry into the forest stems from a crisis in the relationship between the hierarchical and the codified world.

1400

Lachet, Claude, ‘La Mort des héros dans les Lais de Marie de France’, in La Mort du héros dans la littérature française (du Moyen Âge à nos jours): Actes du colloque (13 et 14 décembre 1996), ed. Jean-Pierre Landry (Lyons: CEDIC, Université Jean Moulin – Lyon 3, 1997), pp. 21–31. Deaths in the Lais can be natural, accidental, or criminal; they are never heroic. They are linked to love and are often the result of characters failing to observe the principle of mesure. They are also connected with the different traditions on which Marie draws. The situation in Yonec derives from her use of the chanson de malmariée (vv. 65–72), and sometimes she writes under the influence of fin’amor (e.g. Guigemar, vv. 501–06). The Pyramus and Thisbe tale is evident in the Deus Amanz and Chevrefoil. In Equitan, the Deus Amanz, Yonec, and Chaitivel there are tragic deaths, but these derive from failure to observe mesure. Marie herself is very restrained in her depiction of death; a brutal death is related in a few lines in Equitan. In Laüstic and Chevrefoil she uses a substitute for human death: a nightingale and two plants respectively. Life always triumphs over death in

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MARIE DE FRANCE the Lais. The vision of death portrayed in Eliduc is not only courtly and Christian, but very feminine.

1401

——, ‘De l’incipit à l’explicite: les titres des Lais de Marie de France’, in A plus d’un titre: les titres des œuvres dans la littérature française du Moyen Âge au XXe siècle. Actes du colloque (18 et 19 mai 2000), ed. Claude Lachet (Lyons: CEDIC, Université Jean Moulin – Lyon 3, 2000), pp. 9–18. Many titles are found only in the incipit or the explicit of a work, but in the Lais they form part of the text itself, even part of the sen. Nine of the lays in the Harley collection have a title (the case of Lanval is not clear, and the Deus Amanz is named after the mountain not the lovers themselves), and five have more than one possible title (Laüstic, Bisclavret, Chevrefoil, Chaitivel, and Eliduc). Titles vary in their nature and in their position within the text; they affirm ‘le triomphe de la vie et de l’amour’ (p. 18).

1402

Lachin, Giosuè, ‘Bisclavret, Melion, Gorlagon’, L’Immagine Riflessa, ns, 2 (1993), 251–70. Bisclavret is the oldest and most important of a group of werewolf stories linking classical tradition to Celtic legends; a man risks remaining a wolf because of the intervention of a woman. In addition to Bisclavret, Melion, and Arthur and Gorlagon, the theme appears in Renart le contrefait, Guillaume de Palerne, and the Vita Ronani. There are also echoes of the theme in some sermons dating from as early as the eighth century. The article concludes by citing passages from Geoffrey of Monmouth’s Vita Merlini (ed. E. Faral, vv. 1417–22 and 1452–60), a text which dates from 1148 and could have been a source for Marie.

1403

——, ‘Il prologo come chiave della struttura narrativa dell’Espurgatoire seint Patriz di Maria di Francia’, in Strategie del testo: Preliminari, Partizione, Pause: Atti del XVI e del XVIII Convegno Interuniversitario (Bressanone, 1988 e 1989), ed. Gianfelice Peron, Quaderni del Circolo Filologico Linguistico Padovano, 16 (Padua: Esedra Editrice, 1995), pp. 95–110. Marie’s Espurgatoire is the most successful of the seven surviving metrical versions of the Tractatus de purgatorio sancti Patricii. Her version has a complex structure, and one particular difficulty is to distinguish the narrator’s voice from that of the author. The article provides a diplomatic edition of the Prologue and analyses it, looking for elements that are important for the poem’s structure, and for authorial interventions in the entire poem. From the narrative and stylistic point of view, Marie’s poem must be read in terms of its probable Latin source. The translator of a vernacular work stands at the point of intersection between the various strands of the original and the new version.

1404

——, ‘De la vulgarisation à la création: Marie de France et la réécriture’, Mediaevalia, 26 (2005), 149–72. Marie’s three works are all popularizations, translations, and rewritings. To explore this in detail, we should require the original text of all three works. The lays were based on oral tales, and for the Fables we do not have

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Alfred’s original text. But for the Espurgatoire we have the Tractatus. The article begins by examining the structure of the long and short versions of the Tractatus; Marie’s poem is closer to the short version, but it also contains elements from the long version. Concludes that Marie preserved the entire content of the Tractatus, but made radical changes to it, displaying ‘une grande finesse architecturale’ (p. 165).

1405

Lacroix, Daniel W., ‘Le Prologue des Lais de Marie de France au travers de sa traduction norvégienne (traduction et analyse du Prologue des Strengleikar norvégiens)’, in Chemins ouverts: mélanges offerts à Claude Sicard, ed. Sylvie Vignes (Toulouse: Presses Universitaires du Mirail, 1998), pp. 25–34. Compares the Prologue to the Lais with the Prologue to the Strengleikar. The Strengleikar Prologue is divided into two main parts. The first part is original and takes the form of a laudatio temporis acti; it refers to King Hákon Hákonarson, who commissioned the collection, and mentions the musical instruments used to interpret the Breton lays. The second part is a largely faithful rendering of Marie’s Prologue. Lines 21–22 (‘E plus se savreient garder / De ceo k’i ert, a trespasser’, ed. A. Ewert) are the most difficult, and the Norse translator does not translate them precisely, substituting the idea that the teaching of the Ancients can become more accessible, not through commentary but by being transposed into a large number of languages. The tone of the Strengleikar Prologue is edifying.

1406

Larmat, Jean, ‘Les Héroïnes des Lais de Marie de France’, in Mélanges Ménard (1998), II, pp. 839–47. Surveys the characteristics of the heroines in the Lais and then studies the ‘femmes courtoises’ and the ‘femmes amoureuses’. Marie’s women are privileged by Nature and Fortune, being noble, beautiful, and rich, but they are often deprived of liberty and unhappy in love. In spite of the development of courtliness, life was still cruel and unjust for women. Thus the climate of the Lais is sombre, with just the fidelity and devotion of a few women and the occasional happy couple to lighten things up.

1407

Laurent, Françoise, Plaire et édifier: les récits hagiographiques composés en Angleterre aux XIIe et XIIIe siècles, Nouvelle Bibliothèque du Moyen Âge, 45 (Paris: Champion, 1998). Contains a number of references to Marie de France.

1408

Lecco, Margherita, ‘“Ad or brusdé et tout escrit”: Marie de France e la naissance dei Lais’, Mediaevalia, 26 (2005), 173–90. Aims to show the influence of Wace’s Brut on the way Marie developed the Breton lay. It is possible to detect the source of the genre in the lines in which Wace speaks of King Blegabred, his knowledge of music, instruments (estrumenz), and singing (chanterie) (vv. 3694–702, ed. I. Arnold). Marie’s innovation consists of adding to the lays a sens deriving from classical sources (Priscian) and the new courtly vision of the world.

1409

——, ‘Traduzioni e adattamenti dei Lais di Maria di Franci. Il lai de Lanval medio-inglese’, in Medioevo romanzo e medioevo germanico

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MARIE DE FRANCE a confronto: Atti del convegno, Bologna, 12 ottobre 2001 (Bologna: Pàtron Editore, 2003), pp. 47–66. Deals mainly with the Middle English adaptations of Lanval. Of all Marie’s lays, Lanval is the one that has enjoyed the greatest fortune. This is not only because of its literary quality and expressive intensity, but because its narrative structure is based on two well-known folklore themes: (i) the love of a mortal and a supernatural person; (ii) a woman scorned in love.

1410

Le Duc, Gwénaël, ‘Les Lais de Marie de France’, in Regards étonnés: de l’expression de l’altéralité à la contruction de l’identité: mélanges offerts au Professeur Gaël Milin (Brest: Les Amis de Gaël Milin, 2003), pp. 299–316. Reviews the issues surrounding the search for Marie de France’s sources and the Breton element in her lays, coming to the conclusion that there are very few certainties (pp. 299–307). Brittany seems to be more an exotic theme than a source. Concludes with an examination of the Breton elements in Marie’s lays and the anonymous lays. For example, Guigemar originated between Saint-Pol-de-Léon and Plougoulm, and the archetype for the character of Equitan is Pascwethen (the French form being explained by the term acquit rather than equit).

1411

Leicester, H. Marshall, Jr., ‘The Voice of the Hind: The Emergence of Feminine Discontent in the Lais of Marie’, in Reading Medieval Culture, ed. Robert M. Stein & Sandra Pierson Prior (Notre Dame, IN: University of Notre Dame Press, 2005), pp. 132–69. Presents a reading of the Lais, especially the first five lays in the Harley collection, from the perspective of the ‘voice of the hind’ in Guigemar. The hind’s voice is seen as resonating throughout the collection, from her use as the merest device to move the plot forward, and set the hero on the path to love, to her role as a ‘marker of romance’ and a representative of symbolic discourse. The central themes of the collection can be considered in terms of Marie’s ‘psychology and socio-anthropology of her culture’s technologies of desire’. The conventions, narremes, and tropes of fin’amor and romance are represented as techniques people use to negotiate their interests in the register of desire, and their desires in accordance with their interests. Marie consistently develops the difference in the way the structuring of desire affects women and men. For her, a woman’s body is a marker for the actuality of female oppression. She sees that men oppress women and that women fight back by turning the instruments of their oppression to their own purposes, but also, especially in Lanval, she bears witness to the ongoing politics of representation in courtly life and the way in which politics is persistently shaped as much by what the actors try to escape as by what they try to affirm.

1412

Le Nan, Frédérique, Le Secret dans la littérature narrative arthurienne (1150–1250): du lexique au motif, Nouvelle Bibliothèque du Moyen Âge, 62 (Paris: Champion, 2002). Contains references to a number of Marie’s lais, in sections dealing with topics such as the search for identity and the objects assisting recognition. Devotes a good deal of space to Bisclavret in the section entitled ‘L’Homme

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et l’attribut animal’ (pp. 230–52, esp. pp. 231–46). The motif of the secret and the theme of metamorphosis are seen as closely linked (p. 240).

1413

Le Prévost, Thierry, Promenades en Normandie avec des écrivains médiévaux (Condé-sur-Noireau: Charles Corlet, 1996). Contains a section on Marie de France (pp. 153–62).

1413a

Le Saux, Françoise, ‘“Gloser la lettre”: Identity and Power in the Poetry of Marie de France’, in Writers of the Reign of Henry II: Twelve Essays, ed. Ruth Kennedy and Simon Meecham-Jones (New York: Palgrave Macmillan, 2006), pp. 205-19. Examines the issues raised in the Lais and the Fables by the exercise of power and by the concept of cultural identity. In fable 23 (‘De vespertilione’) Marie focuses on the problem of dual lordship and split loyalties when the bat has to decide between supporting the animals or the birds in their war. This issue would have been of concern to members of the nobility who held cross-Channel estates, and to Henry II, who was a cultural hybrid. In fable 94 (‘De homine et uxore litigosa’) Marie describes the temptation to pervert the order of things by imposing a lie, and fable 34 (‘De simiarum imperatore’) shows that kings can wilfully deceive themselves. In Bisclavret the werewolf is torn between two mutually incompatible identities. This lay is usually read as a tale of a werewolf, who is truthful and honourable, and his wife, who is a ‘treacherous hussy’, richly deserving her mutilation and exile (p. 209). Le Saux, however, sees an element of subversion in the tale. The wife, rather than being the villain, is a scapegoat, necessary for a lie to be sustained. She loses her looks, her possessions, and her social identity in order to allow her husband to maintain his status. The king in this lay is a morally and spiritually flawed person.

1414

Leyser, Henrietta, Medieval Women: A Social History of Women in England 450–1500 (London: Weidenfeld & Nicolson, 1995). Contains a section on Marie de France (pp. 254–55) and a reprint (pp. 307– 13) of the translation of Le Fresne in Burgess and Busby (738). Marie is concerned with the problems of both men and women in her society (p. 255).

1415

Liborio, Mariantonia, ‘La cancellazione delle madri: l’incesto nel romanzo medievale’, in Trame parentali, trame letterarie, ed. Maria del Sapio Garbero (Naples: Liguori, 2000), pp. 11–22. Cites the Deus Amanz in the context of a general study of incest in literary works from later Greek and Roman narratives to early French romances (including Apollonius of Tyre and its derivatives, the Roman de Thèbes, and the various versions of the Life of St Gregory). Attempts to show that when incest becomes a social taboo the mother’s role is effaced and the father’s increased.

1416

Lobato, Maria de Nazareth Corrêa Accioli, ‘O rei e a nobreza nas fábulas de Marie de France: uma contribuição para o estudo do poder na Idade Média’, REDES (Rio de Janeiro), 3 (1999), 18–33. Marie wrote her Fables at the court of Henry II; she includes political fables in which kings and nobles are the protagonists. Such fables are an

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MARIE DE FRANCE appropriate source for the study of power in the twelfth century as they reveal the political values of the milieu in which they were written.

1417

——, ‘A águia: uma representação do rei ideal no Esope de Marie de France’, in Actas da IV Semana de Estudos Medievais do Programa de Estudos Medievais da UFRJ (Rio de Janeiro: Márcia Cristina da Rocha Martins, 2001), pp. 193–200. Important amongst Marie’s fables are those dealing with royalty and the political relations of the time. Although the lion survives as the symbol of royalty, the animal chosen by Marie to represent the ideal king was the eagle. This was not a gratuitous choice, as the eagle was able to convey the attributes of the perfect sovereign and capable therefore of reinforcing the power of Henry II’s new dynasty.

1418

——, ‘Alfredo, o Grande: um rei saxão no Esope de Marie de France’, Brathair, 2 (2002), 13–26. Memories of King Alfred were being revived at the same time as those of King Arthur. The article examines the government of King Alfred and points to links between the reigns of Alfred and Henry II, which could justify Marie’s allusion to King Alfred in the Fables.

1419

Lochrie, Karma, ‘Between Women’, in The Cambridge Companion to Medieval Women’s Writing, ed. Carolyn Dinshaw & David Wallace (Cambridge: Cambridge University Press, 2003), pp. 70–88. Includes a discussion of Eliduc (pp. 82–84). When Guildelüec goes to the hermitage and discovers the cause of Eliduc’s anguish, what is ostensibly a heterosexual romance is transformed into something more. On seeing Guilliadun, she feels love or pity for her, deriving from recognition of her beauty and nobility. The love Guildelüec feels for Guilliadun, although it is diffused and displaced by the weasel scene, serves as a transition between perfect heterosexual love and perfect spiritual love. After Guildelüec’s sacrifice of her husband to Guilliadun, the two ladies finally join together in sororal fellowship.

1420

McBain, William, ‘The Outsider at Court, or What Is so Strange about the Stranger?’, in The Court and Cultural Diversity (1997), pp. 357–65. Although romances contain many strangers at court, there rarely seems to be any language barrier. Heroes such as Eliduc, Guigemar, Lanval, and Ille in Ille et Galeron communicate easily with those they meet in places a good distance from their home. Nor does foreignness show itself in clothing or behaviour: Lanval, for example, shares the values of the court. But he is perceived as an outsider; to other members of the court he is not one of them. Many members of the court were envious of him on account of the very qualities in which he excelled: prowess, generosity, and good looks. When the queen’s duplicity is unmasked, the only possible solution is for him to depart for a different world, leaving Arthur’s male-dominated society for one in which feminine values are prized.

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McCash, June Hall, ‘Images of Women in the Lais of Marie de France’, MedPer, 11 (1996), 96–112. Studies the role of the sixty-eight women in the Lais within the contemporary sociological context. Concludes that Marie saw women, like men, as creatures of this world and as being capable of both good and evil, strength and weakness. The women are often nameless, exceptions being the positive pairs of women, Le Fresne and La Codre, and Guildelüec and Guilliadun. Most of her women are powerless, exceptions being the abbess in Le Fresne, the girl’s aunt in the Deus Amanz, the fairy in Lanval, and the woman in Chaitivel. Women had few options; they could escape into an uncertain world, indulge in fantasy, or come up with some creative solution. As in contemporary society, marriage to a man they loved was unlikely. In Eliduc the two women end up as brides of Christ, which corresponds to the increasing numbers of women in the late twelfth and thirteenth centuries who flocked to convents.

1422

——, ‘Amor in Marie de France’s Equitan and Fresne: The Failure of the Courtly Ideal’, in The Court and Cultural Diversity (1997), pp. 179–88. The position of Equitan and Le Fresne after Guigemar in the Harley manuscript seems deliberate, as Equitan probes issues left unresolved in Guigemar, and Le Fresne explores a different solution to a fundamental problem raised in Equitan. In Equitan there are a number of deliberate echoes of Guigemar, e.g. the presentation of love as a wound and the motif of the hunt. In each lay the lover presents the lady with a life-or-death plea and throws himself on her mercy. Equitan is the logical next step after Guigemar; it warns the reader of the dangers and destructiveness of the courtly ideal of love. The description of the love relations in Equitan and Le Fresne invites comparison. In both lays the lover falls in love on the basis of what he has heard about the lady’s extraordinary qualities. Equitan and Gurun are both pressed by courtiers to take a wife, but, unlike the lady in Equitan. Le Fresne accepts her lover’s decision with serenity. Like Guildelüec, Le Fresne demonstrates the nobility of which women are capable, contrary to the contemporary misogynistic view. Both Le Fresne and Guildelüec are linked to a life devoted to God and to the world of the convent.

1423

——, ‘“Ensemble poënt bien durer”: Time and Timelessness in the Chevrefoil of Marie de France’, Arthuriana, 9.4 (1999), 32–44. One should not oversimplify by seeing the vérité, or primary purpose, of Chevrefoil as its focus on the lovers’ moment of joy and its recollection. It is important to consider this moment within the lay, and also the place of the lay within both the Tristan legend and Marie’s own collection. Chevrefoil underscores the fragility of love’s joy. Joy is a treasure, but it does not endure. The lay focuses not only on joy but also on sorrow, suffering, and death. Chevrefoil can be compared to Chaitivel; the latter shows the superficiality of love based on social convention that traps lovers in a meaningless and deadly game. As the shortest lay in the collection, it can also be compared to the longest, Eliduc (or Guildelüec ha Guilliadun),

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MARIE DE FRANCE which relates a story of a love which cannot be changed by time, in spite of absence and separation.

1424

——, ‘The Lady in Le Chaitivel: Villainous or Vilified ?’, MedPer, 14 (1999), 140–51. All the characters in this lay are victims of the courtly society that bred them. The lady is no more villainous or selfish than the surviving lover. Rather than vilifying her, the text (especially vv. 19–22, which are difficult to interpret) seems to justify the lady’s actions and to suggest that it could be dangerous to follow any other route. Rejected lovers can strike back, and the lady is also bound by the rules of courtliness and ‘bone volunté’. She seeks a reason to differentiate between the lovers, but her wise reflection does not produce a conclusion. The two titles for the lay are the perspectives of two imperfect people caught up in a society that cannot allow them both a free choice. The lady’s decision to acquiesce in the wounded knight’s title reflects the reality of a world that privileges the masculine over the feminine.

1425

——, ‘La Vie de seinte Audree: A Fourth Text by Marie de France?’, Speculum, 77 (2002), 744–77. Examines the possible attribution to Marie de France of the Vie de sainte Audree. The language in which the text was originally written is ‘basically consistent with what we know of the language of Marie de France’ (p. 756). The style of Marie, the author of the Vie de saint Audree, is not as dry as some scholars have claimed, and the text belongs to the lively tradition of hagiographical romance (p. 761). This Marie and Marie de France have a talent for ‘concisely distilling’ (p. 771), and for choosing words carefully for economy and to convey action. Concludes that there is ‘little to refute at least the possibility’ that the two Maries were one and the same (p. 773).

1426

——, ‘Sydney Painter (1902–1960): The Issue of Patronage for Marie de France’, in Reception and Transmission (2003), pp. 171– 203. Surveys Painter’s life and works. His article ‘To Whom Were Dedicated the Fables of Marie de France ?’ (348) is used as a starting-point for a review of the identity of the Count William to whom the Fables were dedicated. Painter opted for William of Mandeville, a view that still has supporters (although the identification with William Marshal is gaining ground). The identity of the ‘nobles reis’ to whom the Lais were presented and that of Marie herself are also examined.

1427

——, ‘Philomena’s Window: Issues of Intertextuality and Influence in Works of Marie de France and Chrétien de Troyes’, in ‘De sens rassis’: Essays in Honor of Rupert T. Pickens, ed. Keith Busby, Bernard Guidot, & Logan E. Whalen (Amsterdam: Rodopi, 2005), pp. 415–30. Compares Marie’s Laüstic with Chrétien’s Philomena with the aim of noting similarities and differences, of attempting to determine which of the two was written first, whether one influenced the other, and what the respective attitudes of the authors were towards Ovid. There are a number of striking similarities between the two narratives, e.g. the mention of samite (Laüstic,

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v. 135, Philomena, v. 207), the motif of the window, the act of throwing a bloody object, and the use of a small vessel, the contents of which will serve as a memory of what happened. It seems more logical to assume that Marie’s lay preceded Chrétien’s work and that he paid tribute to her within his poem. The reference to a lai in v. 200 of Chrétien’s text (ed. C. de Boer) could be an allusion to Marie. Marie’s poem is anti-Ovidian, whereas Chrétien in Philomena is an admirer and a fairly faithful disciple of Ovid.

1428

——, ‘The Mulier mediatrix in the Deus Amanz of Marie de France’, in Courtly Arts (2006), pp. 455–64. Guildelüec and Le Fresne are the only characters in the Lais who represent anything approaching an ideal. There is something self-sacrificing and allembracing in their nature which goes beyond petty jealousies and the vicissitudes of this world. An inherent tranquillity in their souls allows them to set aside their own needs and put the happiness of their beloveds above their own, thus providing a resolution for a seemingly impossible situation. A third example is the maiden in the Deus Amanz, who also puts aside her own needs for those of others and seeks to find a satisfactory solution to conflicting demands. She is torn between two male characters, her father and her lover, both of whom are selfish and egotistical. The mediating (and ultimately generative) nature of woman is nowhere clearer in the Lais than in this tale. As an obedient daughter, she accepts her father’s demands that her lover pass the ‘test’ of carrying her to the top of the mountain, while at the same time, as a loyal lover, doings all in her power to help her beloved. This is a simple but eternal story of womanhood, trying to balance all the demands made on her and yet maintain harmony within the (prospective) household.

1429

McCracken, Peggy, The Curse of Eve, the Wound of the Hero: Blood, Gender, and Medieval Literature (Philadelphia: University of Pennsylvania Press, 2003). Examines the gendered cultural values affirmed through scenes of bloodletting, including that in Equitan (pp. 110–17).

1430

McCreesh, Bernadine, ‘Translation and Adaptation in Lay le Freine’, FMLS, 35 (1999), 386–95. The Lay le Freine is more a translation than an adaptation of Marie’s Le Fresne, but there are some differences between the two texts. More value is placed on female virtue in Marie’s world, and the husbands in Marie are crueller than in the English version. The English author seems more concerned with people as individuals than as members of society. The abbess is a more tender-hearted person than in Le Fresne, and the English characters are less wooden than those in Marie. The English text contains a detailed description of the English countryside and of the wintry landscape. Its author seems to have regarded himself as an editor and literary critic as well as a translator.

1431

McTurk, Rory, ‘Marie de France, Geirmundar páttr heljarskinns, and Reader-Response Criticism’, in Hugur: mélanges d’histoire, de littérature et de mythologie offerts à Régis Boyer pour son 65e

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MARIE DE FRANCE anniversaire, ed. Claude Lecouteux, Voix Germaniques (Paris: Presses de l’Université de Paris–Sorbonne, 1997), pp. 193–209. Presents the outline of Le Fresne and then suggests that the story is ‘not wholly satisfactory’, moving too speedily and giving a ‘truncated impression’ (pp. 194–95). Was there at some stage a longer version? Traces of it might be found in the Scottish ballad of Fair Annie, but some of the lost features appear in the Old Icelandic prose narrative Geirmundar páttr heljarskinns, dating from around 1300, e.g. a story about twin brothers, Geirmundr and Hàmundre, born to a king and queen in Norway. The twins are exceptionally ugly at birth, so the mother exchanges them for a slave’s son, thus depriving them of royal status. Later their true identity is revealed. Geirmundr had a daughter named Ýrr ‘yew-tree’, and the rowan tree figures prominently in the story. It is possible that Marie found a source for Le Fresne that included elements reflected in Geirmundar páttr heljarskinns. The article concludes with a discussion of the ‘implied’ and the ‘real’ reader’ of a text.

1432

Maddox, Donald, Fictions of Identity in Medieval France, Cambridge Studies in Medieval Literature, 43 (Cambridge: Cambridge University Press, 2000). Chapter 1 (pp. 24–82) studies the Lais from the perspective of the specular encounter, i.e. one in which a protagonist makes a most extraordinary discovery concerning his own identity. Such experiences, common in world literature, are here called ‘fictions of identity’, and each of Marie’s twelve lays contains at least one encounter. These ensure that the collection is perceived as homogeneous. Guigemar is discussed at length (pp. 25–38), as the specular encounter found in the collection’s initial lay is ‘programmatic’ (p. 25), anticipating the highly specialist development of the theme in the remaining lays. The chapter concludes with an analysis of the way in which the twelve lays cohere on the basis of their narrative and discursive properties. The twelve poems illustrate three varieties of plot: courtly, elegiac, and comic. In the courtly plot the couple finally enjoy a reciprocal relationship outside marriage; in the elegiac plot there are unfortunate or destructive circumstances; in the comic plot negative situations are displaced to the benefit of the protagonists. The first three lays (Guigemar, Equitan, and Le Fresne) provide an example of each category.

1433

——, ‘Rewriting Marie de France: The Anonymous Lai du conseil’, Speculum, 80 (2005), 399–436. Compares Chaitivel to the Lai du Conseil and finds ‘a considerable number of remarkably dense, curiously entangled relations’ (pp. 402–03). Concludes that Conseil is a critically motivated rewriting of Chaitivel; in Macrobius’s terms it is not an imitatio of Chaitivel, but an aemulatio, as it seeks to modify its model. The early parts suggest that the author is responding to perceived difficulties in the organization and ethical clarity of Chaitivel. Marie’s poem broaches an important topic, the woman with multiple suitors, but does not resolve it adequately. In Conseil the couple’s dialogue turns into a chastoiement, in which the fourth knight, instead of being just a neutral party, becomes an authoritative figure who finally, and ironically, opts for himself as the lady’s lover. Conseil does not mention Marie de

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France, but the reason for the rewriting of her lay may have been a sense of rivalry. The anonymous author has provided an extensive gloss on Marie’s poem in the form of a corrective treatise, and the new lay is a valuable indicator of the ‘intellectually arresting tensions’ (p. 436) underlying the earliest reception of the Lais.

1434

——, ‘Le Lai et l’esthésie chez Marie de France’, Mediaevalia, 26 (2005), 191–208. Begins with comments on the Prologue, which is seen as presenting the notion of deferred interpretation (i.e. the time lag between production and reception), and also of the imperfection of the interpretative process. The lays do not have any ‘sens strictement univoque’ (p. 191). Continues by building on remarks made in earlier studies (950, 1432) on the concept of specularity. In the twelve lays there are four categories of speculative encounter: warning, advice, judgement, and recognition. In addition, the lays are organized in accordance with a triangular intersubjectivity, in which two subjects are united and a third excluded. All the lays end with a degree of obscurity; thus the reader/listener is invited to reflect on the lay’s implications and significance.

1435

Makward, Christine P., and Madeleine Cottenet-Hage, Dictionnaire littéraire des femmes de langue française: de Marie de France à Marie NDiaye (Paris: Karthala, 1996). The brief entry on Marie de France, by Mary-Helen Becker, is found on pp. 406–07.

1436

Malatrait, Solveig, ‘Zeitlose Märchen? Anmerkungen zur Zeit in den Lais der Marie de France’, RJ, 51 (2000), 108–27. Opposes the view of older scholarship, which had been content to correlate the Lais with the genre of the fairy-tale, in which time does not really matter. In virtually every lay, Marie refers to the passing of time and emphasizes that she drew inspiration from ancient oral sources. She also has narrative voices prophesy and reflect on the passage of time, and she even structures some of her lays according to a calendar of events, adding numerous realistic details to the narratives. The author stresses, however, that Marie’s references to time are rather imprecise in absolute terms, yet precise in relation to one another. This explains the superficial impression of Marie’s tales, such as Lanval, as being comparable to fairy tales.

954

Maréchal, Chantal A., ed., In Quest of Marie de France: A TwelfthCentury Poet (Lewiston, NY: Edwin Mellen Press, 1992). Rev.:

1437

.1

C. Cannon Willard, Synopsis, 4 (1992–96), 51–52.

——, ‘Marie de France as sapientia: Author Portraits in the Manuscripts of the Fables’, Le Cygne, 3 (1997), 45–58. Examines the integration of author portraits within the iconographic programmes of four illuminated manuscripts of the Fables: (i) Paris, BNF, fr. 2173 (Q); (ii) Paris, Arsenal 3142 (H); (iii) Paris, BNF, fr 1446 (0); (iv) Vatican, Ottob. 3064 (Z). Concludes that a tight weaving of meaning and form is attained through the collaboration of scribes, compilers, and

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MARIE DE FRANCE illuminators. The various portraits are reminiscent of figures such as the Sybils, the Wisdom of Solomon, the Virgin Mary, St Catherine, and Boethius’s Philosophy, all manifestations of the figure of Sapientia.

1438

——, ‘Marie de France Studies: Past, Present, and Future’, Envoi, 8 (1999), 105–25. Traces their development from Fauchet (165), Du Chesne (155), Warton (458), and Tyrwhitt (444) to the modern period; includes suggestions for future research (pp. 112–15). The inclusion of Eliduc in the 1985 edition of The Norton Anthology of World Masterpieces (1186), replaced in the 1999 edition by Lanval and Laüstic, and of Lanval and Laüstic in The Longman Anthology of British Literature shows (1163) how far Marie has come and allows her to ‘send a message of wisdom to thousands’ (p. 106). The last decades of the nineteenth century were the first privileged moment in the development of Marie de France scholarship (25 publications before the 1860s, 49 between 1860 and 1900). The second such period was the 1970s, with 177 publications. In the last two decades of the twentieth century, feminist/gender studies and textual analysis/editing have been to the fore.

1439

——, ed., The Reception and Transmission of the Works of Marie de France, 1774–1974, Mediaeval Studies, 23 (Lewiston, NJ: Edwin Mellen Press, 2003) vi + 346pp. Contains an Introduction (see next item) and twelve chapters (see separate entries) dealing with contributions to the reception and transmission of the works of Marie de France made by scholars from the eighteenth to the twentieth centuries (pp. 31–270). Also includes a section entitled ‘The “Surplus”: A Never-Ending Story’ (pp. 285–97), listing the varying interpretations of vv. 9–22 of the Prologue, and a Bibliography (pp. 299– 338). Rev.:

1440

.1

R. J. Cormier, Choice, 41 (2004), 1671.

——, ‘“Si un riche hume vus trovast …”. Emanuel J. Mickel Jr. and Marie de France: An Encounter’, in Reception and Transmission (2003), pp. 1–28. An examination of Mickel’s life and contribution to Marie de France studies is preceded by remarks on the surplus (Prologue, v. 16) and a study of the first fable (‘De gallo et gemma’). Emphasizes Marie’s use in this fable of the terms gemme (vv. 5, 9, 19) and clarté (v. 13). Marie’s predecessors have as the goal of this fable the return of the gem to its proper environment, but she turns her eyes to the future, a possible clue for the understanding of her notion of the surplus (see also the Appendix: ‘The “Surplus”: A NeverEnding Story’, pp. 285–97). Points out that Mickel’s book Marie de France (331) was published in 1974, two hundred years after the first attested reference to MS Harley 978 by Thomas Warton (458) and at a turning point in the history of Marie de France studies.

1441

Martineau, Anne, Le Nain et le chevalier: essai sur les nains français du Moyen Âge (Paris: Presses de l’Université de Paris – Sorbonne, 2003).

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The catalogue of dwarfs in Arthurian romance (pp. 153–253) includes a section on Equitan (pp. 160–61), in which King Equitan is described as ‘Sire de Nauns’ in MS H (v. 12) and ‘Sire des Nains’ in MS S.

1442

Masuyama, Kyoko, ‘The Long Distance Flight of Lanval from Brittany to Ladinia’, Plume, 5 (2001), 25–29. Examines the theme of the love of a mortal for a fée as it is found in Lanval, an Italian story song (cantare) entitled Liombruno (dating from the fourteenth century), and the legend, based on oral tradition, of Cianbolpin in the Val di Fassa in Ladinia.

1443

Méla, Charles, ‘Lire à plus haut sens: lecture du prologue des lais de Marie de France’, in Cinquante années d’études médiévales: à la confluence de nos disciplines: Actes du colloque organisé à l’occasion du Cinquantenaire du CÉSCM, Poitiers, 1er–4 septembre 2003, ed. Claude Arrignon, Marie-Hélène Debiès, Claudio Galderisi, & Éric Palazzo, Culture et Société Médiévales (Turnhout: Brepols, 2005), pp. 763–71. The Prologue to the Lais is at the heart of the medieval practice of reading and writing. It is highly structured, with two principal sections each based on a topos which is commented upon and expanded: (i) the exordium, dealing with matters relating to the act of writing, and making use of writing strategies inherited from the Ancients; (ii) the value of work, which helps one to avoid temptation. The second topos allows her to present her work. Marie begins with a metaphor concerning the importance of imparting knowledge and the themes of flowers, fruit, and hearing. Points out that if Marie is the flower (she shares her name with the Virgin Mary), the fruit is Christ (p. 764), and in the end Christ and the meaning of the text become identical (p. 765). Marie resurrects the letter of the text and its meaning. In the dedication to the king, the two terms encline (v. 45) and racine (v. 46) sum up the metaphors on which the whole Prologue is constructed.

1444

Ménard, Philippe, ‘L’Art de Marie de France dans les Fables’, in Favola, mito ed altri saggi di letteratura e filologia in onore di Gianni Mombello, ed. Antonella Amatuzzi & Paola Cifarelli, Franco-Italica, 23–24 (Alessandria: Edizioni dell’Orso, 2003), pp. 3–16. Offers a comparative analysis of Marie’s Fables and related Latin collections. Emphasises the complexity, sometimes excessive, of Marie’s use of brevity, and asks whether such brevity is a sign of deficiency in her narrative art, an attempt to highlight the moral of the fable by striking a rhetorical balance, or an aspect of her art aiming at simplicity and the choice of the ‘droite voie’. In Marie’s day the fable was not a literary genre; the moral of the fable is more important than the tale itself. Contains observations on Marie’s realistic and picturesque details, her humour, and the way in which she uses dialogue for purposes of drama and also to seek out the essential element in the tale (these aspects feature in particular in her longer lays, one fifth of the fables having more than fifty lines). In the choices she makes, Marie reveals her authorial presence and the subtle and delicate nature of her art.

74 1444a

MARIE DE FRANCE ——, ‘Histoires de loups-garous’, Tralili, 17 (2004), 97–117. Bisclavret is one of the texts discussed. Marie’s lay has the classic schema found in Petronius’s Satyricon. The reference to the chapel where Bisclavret hides his clothes shows that his metamorphosis is not due to demonic intervention. Unlike many werewolf stories, Bisclavret and Melion are not deeply troubling narratives, nor are they horror stories.

1445

*Mendoza Ramos, María del Pilar, ‘Le Discours indirect dans les Lais de Marie de France’, in La Littérature au féminin, ed. Montserrat Serrano Mañes, María Carmen Molino Romero, & Lina Aventaño Anquita (Granada: Universidad de Granada, 2005), pp. 433–39.

1446

Merceron, Jacques, ‘Des souris et des hommes: pérégrination d’un motif narratif et d’un exemplum d’Islam en chrétienté: à propos de la fable de “L’Ermite” de Marie de France et du fabliau de La Sorisete des Estopes’, CCM, 46 (2003), 53–69. In Marie’s fable 53 (‘De eremita’), a mouse trapped in a dish is used as a test of curiosity. This motif has long been known to scholars, but no source or prior version has been discovered. Merceron points to several Arabic (Sufi) versions of the tale, one of which predates Marie’s fable by around a hundred and fifty years. Beginning in the eleventh century, the motif became a traditional French tale, then a fable. It is also found in an Anglo-Norman fabliau and continued to be known into modern times. The meaning of the motif depends on its specific context.

1447

Mickel, Emanuel J., Jr., ‘Ernest Hoepffner (1879–1956): Geography and Sources: Seeking Marie’, in Reception and Transmission (2003), pp. 129–48. Surveys Hoepffner’s life and contribution to Marie de France studies. He began his academic career with work on fourteenth-century French narrative romance of the dream-allegory type and on the poetry of the chanson. But in due course he worked on early narratives, and in 1921 he produced an edition of the Lais. Then, between 1927 and 1935, he published eight articles on Marie. In 1935 he published his important book, Les Lais de Marie de France (221). Mickel examines at length the wide-ranging issues that Hoepffner sought to clarify. Although scholarship has moved on, he established much of the modern framework within which Marie and the genre of the lay are now studied. He focused on the material reality of her world, with a particular interest in such matters as her linguistic and literary borrowings, the geographical and personal names in the Lais, the manuscripts that have preserved her work, and the ethical values in her writings.

1448

Mikhaïlova, Milena, Le Présent de Marie (Paris: Diderot, 1996) 298pp. The title refers to the present of the collection of lays to the king (Lais, Prologue, v. 55). Collecting and then presenting material are seen as key features of the work as a whole. In each lay the author finds some element of assembling, uniting, separating, or giving. Many parallels, reversals,

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symbolic elements, and examples of word play are revealed. Giving is associated with the notions of fecundity and generosity, and Lanval is interpreted as a metaphorical expression of Marie’s act of writing. Chapter headings are: (1) ‘Le départ du sens’ (pp. 51–63); (2) ‘Dépiècement et intégrité’ (pp. 65–102); (3) ‘La paternité stérile’ (pp. 105–52); (4) ‘Aléas de la justice’ (pp. 155–98); (5) ‘Assemblages: la parole comme remembrance et comme re-membrance’ (pp. 201–38); (6) ‘Les attendus de la largesse’ (pp. 241–83). The Introduction, ‘Une fleur dans l’oreille’, is by Roger Dragonetti (pp. 13–49, see 847). Rev.:

.1 .2 .3 .4 .5

1449

A. Arens, VR, 59 (2000), 315–17. L. C. Brook, Med. Aev, 66 (1997), 343–44. I. de Pourcq, LR, 52 (1998), 146–48, and SF, 42 (1998), 542– 43. A. Gier, Archiv für das Studium der neueren Sprache, 150 (1998), 458–60. C. A. Maréchal, Speculum, 73 (1998), 234–36.

——, ‘De la différence aux resemblances: du lai de Fresne au roman de Galeran’, PRIS-MA, 13 (1997), 199–207. There are two contrary tensions to be found within the twins in Le Fresne and Galeran: (i) the natural resemblance between the girls as twins; (ii) the difference established between them by conflict and rivalry. The romance is not simply an amplification of the lay; fidelity to its source is a pretext for a free interpretation of the story. This article is more important for the study of Galeran than of Le Fresne; the romance is seen as showing nostalgia for its source but creating its own metaphorical cohesion.

1450

——, ‘L’Espace dans Lais de Marie de France: lieux, structure, rhétorique’, CCM, 40 (1997), 145–57. Movement and locations (e.g. castles, forests, and water) are not only necessary for adventure in the Lais but have an important narrative and rhetorical role. Places can be either open or closed, a typical closed space being the feudal court with its locked rooms, its traditional laws of morality, and its social prejudices. The open world is often the Other World, the world of nature as opposed to the world of culture, a happy, wealthy placed which can meet expectations; access is via rivers, forests, or open spaces. Closed spaces are linked to tragedy, open ones to solutions and to a movement towards ‘l’imaginaire’ (p. 147). Space is associated with universal human symbolism. The article examines Pierre Gallais’s concept of hexagonal structure (CCM, 18, 1975, 1–14) and suggests a structure for Guigemar and Equitan. The Lais are closer to gothic structure, which looks outwards and upwards, than to romanesque structure, which looks inwards. Also important is speech, which can engender action. The world of the Lais is one of ambivalent words. Words can put an end to love, or they can inspire it, prolong it, and save it.

1451

——, ‘A l’ombre de la lettre: la voix, la note, le chant, la langue …’, Mediaevalia, 26 (2005), 223–38. Argues that the prologues and epilogues to the lays have been insufficiently studied and proceeds to examine them under various headings: (i) ‘diversité’

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MARIE DE FRANCE (different information provided; Marie’s interest in the association between writing and orality; the principle of ‘mouvance’; (ii) ‘les voix’ (only partial information provided; the archeology of the lay from original aventure to the truth of the aventure heard by Marie’s public; exterior and interior voices); (iii) ‘l’aventure dans le lai / l’aventure du lai’ (appropriateness of the term ‘lai’ for Marie’s poems; analogy between lay and personage); (iv) ‘la voix’ (orality and writing); (v) ‘la note’ (the lay is ‘trovez’, both as writing and as melody); (vi) ‘la langue’ (titles provide stability, whereas the ‘voices’ are ambiguous and the registers diverse). Concludes that around the letter of her tales Marie unfolds ‘un éventail de voix et de sonorités’ (p. 237).

1452

Mistacco, Vicki, ‘The Metamorphosis of Philomel’, Women in French Studies, special issue (2005: Écriture courante: Critical Perspectives on French and Francophone Women in Honor of Annabelle M. Rea: Selected Essays from Women in French International Conference 2004), 205–18. Studies various examples of the Philomel myth including Laüstic (pp. 206– 08). This myth is seen as a metaphor for the woman writer and her strategies for circumventing the silence brutally imposed on her by a patriarchal culture. Female arts provide an alternative, covert woman’s speech.

1453

——, Les Femmes et la tradition littéraire: anthologie du Moyen Âge à nos jours (New Haven: Yale University Press, 2006). Chapter 1 (‘Philomèle et les soeurs de Procné’, pp. 1–58) includes remarks on Laüstic (pp. 9–10). The section on Marie de France (pp. 75–108) provides a general introduction to Marie and her work (pp. 75–82), Pierre Jonin’s translation of the General Prologue (pp. 82–83), a text of vv. 1–26 of Guigemar accompanied by Laurence Harf-Lancner’s translation (pp. 83–84), the latter’s translation of Guigemar, vv. 26–886 (pp. 84–106), and Jonin’s translation of Laüstic (pp. 106–08).

1454

Mizuno, Hisashi, ‘Un essai de lecture de Guigemar, lai de Marie de France’, Nouvelle Plume: Revue d’Études Mythologiques et Symboliques, 1 (2000), 66–72. Situates Guigemar in its twelfth-century context. The poem represents the rebirth of civilization witnessed in this century. Marie makes sure her audience gets a feel of the Breton element in her tales. Guigemar also reflects the chivalric world and the relationship between feudal values and courtly love. The definition of love provided by this lay (vv. 483–95) shows the intellectual character of love and that an individual is destined to love; indeed, part of Marie’s tale is a manual illustrating the very nature of courtly love. There was tension at the time between the view of marriage held by the Church and by the nobles, who often practised concubinage. In addition to courtly love, Marie’s poem is dominated by a Christian ethic. Her insistence on her own individuality, seen in the use of first-person interventions and in the reference to the wicked behaviour to which she had been subjected (vv. 12–14), would have contributed to the awakening of an individual consciousness in her audience.

1455

Molle, Jose Vincenzo, ‘La Nudité et les habits du garulf dans Bisclavret (et dans d’autres récits de loups et de louves)’, in Le Nu et

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le vêtu au Moyen Âge (XIIe–XIIIe siècles): Actes du colloque du CUER MA 2–3–4 mars 2000, Senefiance, 47 (Aix-en-Provence: Publications du CUER MA, 2001), pp. 255–69. In the medieval period there was not just a single kind of werewolf, rather a series of examples of metamorphosis and several levels of understanding of this phenomenon. Werewolves can be studied in the light of the concepts of the external soul, the Double, or the alter ego. Animal metamorphoses owe a great detail to classical antiquity. In asking her husband whether he goes naked or clothed, the wife touches on one of the essential elements in the structure of werewolf stories. Also traditional are the inability of the werewolf to revert to human form if there are any witnesses, and the fact that the werewolf is both human and animal at the same time. Clothes are the substitute for the body (but in Bisclavret the motif of sleep is unexplained and inexplicable). The article also examines attitudes towards the werewolf in the sixteenth century.

1456

Mottershead, Kathleen, ‘Le Scénario de l’épreuve chez Marie de France et Chrétien de Troyes: une ruse du destin?’, in Écriture de la ruse, ed. Elzbieta Grodek (Amsterdam: Rodopi, 2000), pp. 271–81. The trial is a fundamental aspect of popular tales. Scholars such as Vladimir Propp and Max Lüthi attempted to classify the way in which it functions, but some stories do not entirely follow the constraints imposed by their classifications. Guigemar, the Deus Amanz, and Chrétien de Troyes’s Conte du Graal are studied here. Guigemar has the happy ending of the traditional tale, but the Deus Amanz ends with the death of the lovers. The trial is central to both texts; in Guigemar it is launched by the white hind and in the Deus Amanz by the king. This is the sole function of the hind and the king in their respective narratives.

1457

Mudrick, Marvin, ‘Love, Careless Love’, The Hudson Review, 32 (1979), 429–40. Omitted from Supplement 1. A humorous article, based on the HanningFerranti translation (544), dealing with the theme of love in the Lais (reprinted in 1395).

1458

Murray, K. Sarah-Jane, ‘The Ring and the Sword: Marie de France’s Yonec in Light of the Vie de saint Alexis’, Romance Quarterly, 53 (2006), 25–42. The episode in Yonec in which Muldumarec entrusts his ring and sword to his lady bears a striking resemblance to the scene in which St Alexis gives his bride his ring and his sword. The two poems share many themes and poetic ways of expressing them. The focus in Yonec is not on an adulterous relationship; by giving her the ring and the sword, Muldumarec effectively marries his lady. Both Marie’s lay and the Vie de saint Alexis emphasize the themes of lineage and paternity, and there are miraculous circumstances surrounding the births of both Alexis and Yonec. In both texts the anonymous female protagonists embody the determination and courage of the sponsa in the Song of Songs, and there is a final revelation of the truth on the discovery of Alexis’s body and Muldumarec’s tomb. In Yonec Marie

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MARIE DE FRANCE invites us to reflect on the true nature of marriage. Those doing wrong are not the lovers.

1459

Nelson, Deborah Hubbard, ‘Silent Women’, RomN, 40 (1999–2000), 13–24. Women were officially admonished by St Paul to be silent, but in practice it is difficult to ascertain the opinions and reactions of historical men and women. Marie is one of the authors chosen for study. She tends to present contemporary attitudes towards women and their speech realistically. Her female characters suffer criticism and dire consequences for asserting their independence and speaking their minds. They are often obliged to seek out other solutions, including sometimes a simple escape into their fantasies to compensate for the disempowerment of their state.

1460

——, ‘A Woman is Like …’, RomQ, 46 (1999), 67–73. Female characters have been identified as negative or sinful by linking them with animals such as horses, deer, monkeys, mules, fleas, and vultures. Marie de France and Chrétien de Troyes relate women to animals in a seemingly favourable way (e.g. the nightingale in Laüstic), but the subtext reflects misogynist assumptions and beliefs.

1461

Nelson-Campbell, Deborah, ‘Coping with Isolation: Strategies of Some Medieval French Noblewomen’, Publications of the Medieval Society of the Midwest, 8 (2001), 71–84. Christine de Pizan was probably the first woman in medieval Europe to verbalize her personal anguish and her feelings of solitude after the death of her husband. Marie de France’s female protagonists are often depicted as isolated within their marriages, both literally and psychologically, but they try to change their situation. The article discusses the actions of the ladies in Laüstic, Yonec, and Guigemar. In Guigemar the young wife’s obvious resentment at her confinement sets the stage for her extra-marital affair. The ladies are physically separated from the world by stone walls, and psychologically separated by their husbands’ jealousy.

1462

Neumeyer, Martina, Vom Kriegshandwerk zum ritterlichen Theater: Das Turnier im mittelalterlichen Frankreich, Abhandlungen zur Sprache und Literatur, 89 (Bonn: Romanistischer Verlag, 1998). Includes discussion of the role of the tournament in the Lais (pp. 204–07).

1463

Ocampo, Anxo Fernández, ‘Traductions et survivances du Laüstic au dix-neuvième siècle’, Le Cygne, 6 (2000), 44–53. Presents two Breton texts, by Théodore de La Villemarqué and Auguste Brisieux: (i) Ann eostik (text and Modern French translation); (ii) L’Éostik ou le Rossignol (a reconstruction in Modern French based on Marie’s Laüstic and a contemporary Breton tale).

1464

——, ‘Tristan otiosus dans le débat sur la traduction du Chèvrefeuille’, Tristania, 21 (2001–02), 1–12. The context of the lay of Chevrefoil must be viewed in terms of the psychology of desire. There is a link to the Persian story of the loves of Vis

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and Ramin, in which Vis takes hold of an engraved arrow and thereby rekindles Ramin’s desire. In Chevrefoil it was probably the content of vv. 78–79 that was engraved on the stick, not Tristan’s name (the readings of MSS H and S for vv. 61–62 show that in the thirteenth century there were already different interpretations of what was on the stick). An important element is the leisure Tristan had to prepare the scene (Tristan otiosus). The act of incising his name and writing the message recalls the process of writing and copying a manuscript (chemin=par-chemin). Tristran’s acts and words have erotic overtones (penetration into the forest, etc.). In the second difficult passage (vv. 110–11), it was probably Tristan’s words not Iseut’s that formed the content of the lay. In v. 80 the reading ‘tut un pendant’ is to be preferred to Warnke’s ‘.I. poi avant’.

1465

Ollier, Marie-Louise, La Forme du sens, textes narratifs des XIIe et XIIIe siècles: études littéraires et linguistiques, Medievalia, 33 (Orléans: Paradigme, 2000). Contains a reprint of 987 (pp. 5–16).

1466

Pairet, Ana, ‘Les mutacions des fables’: figures de la métamorphose dans la littérature française du Moyen Âge, Essais sur le Moyen Âge, 26 (Paris: Champion, 2002). Contains a discussion of Bisclavret (pp. 62–65). Like other authors, Marie attenuates the ‘effrayante contiguïté de l’animal et de l’humain’ (p. 62). She rejects the wolf as the terrifying monster of the past; her bisclavret has fewer menacing traits and is endowed with ‘entente e sens’. At the end of the narrative, the bisclavret’s animal features are transferred to his wife’s descendants.

1467

Panza, Massimo, ‘Lais e Strengleikar’, in Il racconto nel medioevo romanzo (2001), pp. 209–38. Principally concerns the Norse Strengleikar collection, but makes a number of references to Marie. The corpus of twenty-one lays in the Strengleikar (all of Marie’s Harley collection except for Eliduc) constitutes an important example of the translation techniques used at the court of King Hákon Hákonarson (1217–63).

1468

Pappa, Joseph, ‘The Bewildering Bounded/Bounding Bisclavret, or Lycanthropy, Lieges and a Lotta Leeway in Marie de France’, Crossings, 4 (2000), 117–43. Traces the trajectory of becoming male in Bisclavret, a lay that shows the workings of masculinity’s cultural components. Critics have misread this narrative, partly because they have neglected the werewolf’s wife. Her refusal to sleep with Bisclavret sets the plot in motion, and her torture reveals the secret of his identity. Her function shows that male and female are relational and oppositional, not just binaries. Marie demonstrates that chivalric ideology is savagely hostile to women. By associating chivalric ideals with the violence of the werewolf’s behaviour, she exposes the monstrous misogyny endemic in her culture. She blurs the human/monster categories and strips away the outer skin of courtly culture to reveal its monstrous characteristics. Divested of property and clothing, Bisclavret is

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MARIE DE FRANCE feminized, whilst his wife assumes masculine privileges and sees herself as free to remarry. Sexual violence authenticates masculine identity and enacts a homoerotic fantasy. His wife’s noseless children represent bodies that are identifiable without cultural characteristics, their identities being inscribed in their flesh. The wife’s disfigurement acts as an example of how the chivalric court fashions bodies according to an image of itself.

1469

Pappano, Margaret Aziza, ‘Marie de France, Aliénor d’Aquitaine, and the Alien Queen’, in Eleanor of Aquitaine: Lord and Lady, ed. Bonnie Wheeler & John Carmi Parsons (Basingstoke: Palgrave Macmillan, 2002), pp. 337–67. Studies Lanval in terms of Marie’s historical engagement with, or intervention in, contemporary controversies surrounding Eleanor of Aquitaine’s career as queen of France and England. Marie’s works may represent the only surviving contemporary view of Eleanor from a woman’s perspective. Eleanor may have been the model for Marie’s malmariée figures, women who seek love and a better life outside marriage, as Eleanor did when she divorced Louis VII and married the future Henry II. Lanval presents the two types of model for a queen: either an adulteress, whose aberrant libido would cause disruption to the feudal system in which women were exchanged from man to man like land, or a supremely powerful figure like Lanval’s fairy, who has unlimited wealth and whose power is not dependent upon a male. The fairy’s love takes Lanval beyond the material constraints of the feudal system. Her Avalon is reminiscent of Eleanor’s Aquitaine. The article suggests that reading and writing literature, by its very function in court culture, serves as a self-documenting historical process in its own right.

1470

Parayre, Catherine, ‘Une glose contemporaine de Bisclavret: doit-on vraiment “le surplus mettre”?’, Le Cygne, ns, 2 (2003), 49–59. A comparison between Bisclavret and the twentieth-century Occitan tale by Joan Bodon entitled L’Auca (‘The Goose’). Common to both texts are the apparently contradictory motifs of eloquence and silence, the union of which is fundamental to the storyteller’s art. The notion of the secret is alluded to in Marie’s Prologue (vv. 9–16), which emphasizes that the desire for clarity involves at the same time ‘une certaine épaisseur’ (p. 56). Bodon’s tale is a reflection on the art of dissimulation. His story reveals that ‘gloser la lettre’ is a problematic act, and that for the reader to add the ‘surplus’ to Bisclavret merely produces a harmful and inconclusive interpretation.

1471

Parussa, Gabriella, ‘De l’ancien au moyen français, ou comment transcrire les Fables de Marie de France au XVe siècle’, Traliphi, 38 (2000), 27–50. Late manuscripts of medieval works are often neglected, or little studied, by editors. This article examines three fifteenth-century manuscripts of the Fables: MS Cologny-Genève, Bodmer 1130 (Q’); MS BNF, fr. 4939 (G); MS BNF, fr. 24310 (I). They bear witness to the three attitudes scribes can adopt: (i) to respect the text being copied, intervening very rarely (Q’); (ii) to intervene in order to make a text more readable (G); (iii) to modify a manuscript, taking liberties with both the letter of the text and its meaning (I). Concludes that modern editions are inadequate in conveying the

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extraordinary range of variants in late manuscripts. One solution to this would be to have an early and a late manuscript side by side, so that one could judge the importance of the remaniement.

1472

Peron, Gianfelice, ‘La “mère amère”: du Fresne de Marie de France à Galeran de Bretagne’, Bien Dire et Bien Aprandre, 16 (1998: La Mère au Moyen Âge), 217-27. In Galeran de Bretagne Renaut uses the rhetorical process of amplificatio, including complex expressions, description, repetitions, and dialogue, to turn Marie’s lay into a romance. The figure of the mother is dealt with differently by Marie and Renaut. The latter gives the mother a name, Gente ‘noble, kind’, and in the course of the narrative he demonstrates that she deserves her name and recovers her identity. In Marie’s Le Fresne the mother wants one of her twin girls killed to avoid incurring shame, but in Galeran the maternal instinct surfaces and the mother asks her servant to leave the baby in a safe place. Gente’s maternal feelings are seen in particular in vv. 559–87 (ed. Lucien Foulet), a passage rich in rhetorical figures. Marie’s portrait of the mother is psychologically nuanced, but Renaut goes further and shows himself to be sensitive to the issue of natural love faced by the mother.

1473

Picherit, Jean-Louis, ‘Le Châtiment des amants dans le lai d’Equitan de Marie de France’, MA, 102 (1996), 419–24. The choice of punishment for the two lovers in Equitan was deliberate and bears witness to Marie’s knowledge of criminal law. There was a form of punishment for base coiners, which consisted in hurling the criminals into a cauldron of scalding water or oil. The incoherence of the punishment scene in Equitan may be due to Marie’s desire to draw attention to the symbolic nature of the punishment. The message of the lay would be the assimilation of the adulterers to base coiners. The Latin adulter meant both ‘male adulterer’ and ‘counterfeiter’, so adultery was a form of faking of a suzerain’s seal or money. Thus Equitan is not as different from the other lays as has been suggested.

1474

——, ‘La Domesticité féminine dans quelques œuvres médiévales’, MA, 104 (1998), 257–73. A study of secondary characters in a number of Old French works. Includes references to Lanval, and especially to Guigemar, in which the husband’s niece, who looks after Guigemar’s beloved, has a role similar to that of Lunete in Chrétien de Troyes’s Chevalier au lion (pp. 259–60).

1475

Pickens, Rupert T., ‘Marie de France and the Body Poetic’, in Gender and Text in the Later Middle Ages, ed. Jane Chance (Gainesville: University Press of Florida, 1996), pp. 135–71. Examines Marie’s poetics in the light of her preoccupation with the generation, transmission, and reception of discourse. She is deeply concerned with questions of narrativity, specularity, the nature of textuality, and the woman writer. She focuses on the mechanics of discourse and on the human body, which is frequently sexually ambiguous, as both object and purveyor of fruitful, meaningful discourse. Deals with (i) physical and psychological violence (conventional chivalric activity; brutal, non-

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MARIE DE FRANCE conventional acts, found in eleven of the lays; psychological abuse); (ii) ambiguous sexuality (the shape-shifting hawk-knight in Yonec, the androgynous white hind in Guigemar, the wounded knight in Chaitivel, Bisclavret’s lupine sexual ambiguity); (iii) the explosive production of the living artifact (the aunt’s potion in the Deus Amanz, where the generation of grasses reflects the metaphorical language of the Prologue; the text-reflexive tapestry and the chasse in Laüstic); (iv) the violent production of discourse (Bisclavret); (v) the violent insemination of discourse (Yonec and its mirror, Milun). The white hind in Guigemar and the flower-bearing weasel in Eliduc are emblems of Marie’s narrativity (the sexually ambiguous weasels are engaged in a fruitful textual production).

1476

——, ‘Courtly Acculturation in the Lais and Fables of Marie de France’, in The Court and Cultural Diversity (1997), pp. 27–36. Acculturation is the process whereby information is exchanged between cultures and the result of that process. Marie’s fable of a monstrous bat (fable 23) shows her appropriation of foreign matter to extol Anglo-Norman virtues. Similarly, monstrous beasts in the Lais act as models of her appropriation of the matiere de Bretagne for the entertainment and edification of the Anglo-Norman court. Animals are prominent in six lays, all set in Celtic territory. In three (Laüstic, Milun, and Eliduc) animals behave naturally and in three unnaturally (Bisclavret, Guigemar, and Yonec). The unnatural, monster-type animals are the most compelling. The last image of the werewolf is of a monster domesticated, sleeping in the royal bed. This taming is a multivalent reflection of Marie’s artistry and the process of acculturation.

1477

——, ‘Rencontres culturelles: monde francophone et matière de Bretagne’, in A French Forum: mélanges de littérature française offerts à Raymond C. et Virginie A. La Charité, ed. Gérard Defaux & Jerry C. Nash (Paris: Klincksieck, 2000), pp. 21–30. At the time Marie was writing, there had developed a myth of the uncouth Celt. For example, Abelard, who spent five years at the monastery of SaintGildas-de-Rhuys, stated that Brittany was a barbaric country, and Geoffrey of Monmouth helped propagate this myth. But, unusually, Marie de France favoured Breton material and ‘translated’ it to the Anglo-Norman court. Her lays are largely situated in Celtic regions; Lanval begins in Carlisle, on the Scottish border. For her, such regions are places of cultural exchange. She operates a ‘poétique de la médiation et de la translation’ (p. 26). She imports the wildness and savagery of Wales and Brittany into Francophone territory, a procedure implying the discovery of hidden truths.

1478

——, ‘Marie de France et la culture de la cour anglo-normande: correspondances entre les Lais et les Fables’, in ‘Plaist vos oïr bonne cançon vallant?’ Mélanges de langue et de littérature médiévales offerts à François Suard, ed. Dominique Boutet, Marie-Madeleine Castellani, Françoise Ferrand, & Aimé Petit, Université Charles de Gaulle – Lille 3, Collection, Travaux et Recherches, 2 vols (Lille: SEGES, 1999), pp. 713–22.

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The traditional distinction between the perfect courtliness of the Lais and the pragmatic feudal values of the Fables can no longer be maintained. The article examines the similarities between the two works, concentrating on the lay of Equitan, described as an important intersection point. For example, the feudal system, especially the way in which the king abandons his obligations, is a key theme of Equitan and of the Fables. Concludes that the animals in the Fables act as models of moral behaviour that assist in our judgement of the characters of the humans in the Lais. In this way the ‘matière de Rome’ links up with the ‘matière de Bretagne’.

1479

——, ‘Marie de France Translatrix’, Le Cygne, ns, 1 (2002), 7–22. Examines the Espurgatoire in light of its Latin source and situates it within the context of Marie’s other works. In this text Marie advances a poetics of translatio, showing how, for her, translation implies textual appropriation. She champions vernacular as opposed to Latin writing. Her translatio removes the work from the monastery and relocates it in the vernacular court, near the centre of the Plantagenet sphere, where she, a paradoxical figure of a learned woman translator, can find resources and exercise the power to refashion a man’s world to her own liking. The article contains a study of the Latin version that Mary was using for her poem. She transforms Hugh of Sartis, turning him into her own anonymous patron and addressing him directly (v. 16). In spite of the pious Christian content of the Tractatus, Marie may have been particularly attracted to the Celtic matter it contained (the geography of Purgatory resembles that of Muldumarec’s mysterious kingdom in Yonec).

1480

——, ‘Reading Harley 978: Marie de France in Context’, in Courtly Arts (2006), pp. 527–42. MS Harley 978 has been described by a dozen scholars since Ward discussed it in 1883 and 1893 (452). Kingsford (264) brought to light the manuscript’s composite nature and discussed its various hands, one of which produced both of Marie’s collections. Taylor (1550, pp. 100–10) has speculated about the compiler, William of Winchester, a monk at Reading Abbey, and the way the manuscript reflects his career and personality. Karl Warnke (17, p. lx) implied that the whole of Harley 978 was written ‘in clear, beautiful strokes’, but this is valid only for Marie’s texts. The thirty or so other works, collections, and fragments have largely been ignored, as writers give the impression that it is a coherent and cohesive work copied by a single scribe. The hand which copied Marie’s two collections is found nowhere else in Harley 978 and they are presented in exactly the same format, which is likewise unique. They are separated by a number of texts, at least one of which, The Song of Lewes, is surprisingly and meaningfully juxtaposed with them. Harley 978 is a compilation of a number of diverse French, Latin, and English texts and consists of independent segments brought together from different sources. This indicates that, in addition to its status as a codex-artifact (dated between 1261 and 1265), it has a pre-history as well as a post-history. Attention is focused here on Herefordshire, Simon de Montfort, and William of Winchester’s connections, as well as those of Waleran de Meulan, who was perhaps Marie’s father, with Leominster Priory.

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MARIE DE FRANCE ——, ‘En bien parler and mesparler: Fecundity and Sterility in the Works of Marie de France’, Le Cygne, ns, 3 (2005), 7–22. The opposition between en bien parler and mesparler (Guigemar, vv. 6, 18) is the major theme of Guigemar. These contrasting themes relate to the concepts of praise/slander, the productive/the destructive, courtliness/vilenie, etc. The use of language is also linked to the notion of florescence mentioned in the Prologue (vv. 5–8). In the prologue to Guigemar Marie refers to dogs that bite people treacherously (vv. 13–14) and the article examines what she says about dogs in the Fables. These concerns are also reflected throughout the Lais. For example, in Lanval the queen’s mesparler contrasts with the bountiful courtesy of the fairy mistress, and in Le Fresne it is shown that the act of mesparler is not beyond redemption. The article also examines the themes under discussion in the Vie de sainte Audree, a text that has been attributed to Marie de France (see 1425).

1482

Picone, Michelangelo, ‘Il motivo della nave magica: da Marie de France a Petrarca’, in ‘Ensi firent li ancessor’: mélanges de philologie médiévale offerts à Marc-René Jung, 2 vols (Alessandria: Edizioni dell’Orso, 1996), II, pp. 813–30. Explores the themes of navigatio and peregrinatio in Guigemar, which provide a framework for the lay’s central motif: the magic ship. The positive outcome of Guigemar’s voyage, which aids his personal development by integrating him into the world of love, has to be set against the negative aspect of the voyage, which is governed by supernatural forces. The negative element is reminiscent of the transfer of the lifeless body of the Damoiselle d’Esclalot in the Mort le roi Artu. In the Italian tradition one finds both the resurgence of motif of the ship in Christian tradition (Dante, Purgatorio, II, 10–51) and the destruction of the myth of courtly love (Petrarch, Rerum vulgarium fragmenta, CCCXXIII).

1483

Pike, David L., ‘“Le dreit enfer vus mosterruns”: Marie de France’s Espurgatoire seint Patriz’, Viator, 32 (2001), 43–57. Examines the ‘patterns of variation’ (p. 44) between Marie’s Espurgatoire and Henry of Saltrey’s Tractatus. Marie’s text places itself within the Latin tradition of otherworld journeys, and her site for entering the underworld, Station Island in Lough Derg, is the second enduring geographical location, after Lake Avernus on the Bay of Naples. The article looks at some of the terms Marie uses in the translation, e.g. mustrer, errer, dreit enfer. Before Marie, the traditional medieval vision of the Other World was Paul’s apocryphal vision of a true but resolutely siteless hell, but she reintroduces the Aeneid’s description of easy descent and difficult return, ‘reimagining its physical and metaphysical strictures as a dictum on translation’ (p. 56). She welds the realm of poetry to everyday reality, complicating every issue through the words she uses.

1484

Pomel, Fabienne, Les Voies de l’au-delà et l’essor de l’allégorie au Moyen Âge, Nouvelle Bibliothèque du Moyen Âge, 57 (Paris: Champion, 2001).

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Makes frequent references to the Espurgatoire within the wide range of issues examined: technical terms, question of genre and the evolution of the genre, typology of the texts studied, the didactic nature of the narratives, etc.

1485

——, ‘Les Belettes et la florete magique: le miroir trouble du merveilleux dans Eliduc’, in ‘Furent les merveilles pruvees et les aventures truvees’: hommage à Francis Dubost, ed. Francis Gingras, Françoise Laurent, Frédérique Le Nan, & Jean-René Valette (Paris: Champion, 2005), pp. 509–23. The episode of the weasel and magic flower in Eliduc is important not only in terms of the lay’s structure and themes but also for the collection as a whole, for which it is a ‘point nodal’ (p. 509). There are many analogies between this episode and rest of the narrative. The flower is a symbol of Guildelüec’s pity and compassion, a metaphor for her love, which brings Guilliadun back to life. In this episode the couple Eliduc/Guilliadun moves towards the couple Guildelüec/Guilliadun. The merveilleux element in the episode is an antidote to the scene on the boat in which the sailor attributes the storm to the presence of Guilliadun; the sailor is Eliduc’s double. The motifs of the mouth and the ear are important in this episode and elsewhere in the lay. The flower is a metaphor for the magic power of writing. By suggesting a new title for an old Breton lay, Marie is resurrecting and recreating the original story.

1486

Pontfarcy, Yolande de, ‘L’Autre Monde dans les visions irlandaises’, in Lire l’espace, ed. Jean-Jacques Wunenberger & Jacques Poirier (Brussels: Ousia; Paris: Vrin, 1995), pp. 11–24. Comments on the Espurgatoire and the Tractatus de purgatorio sancti Patricii as examples of texts that narrate the search for the Other World. In the Irish tradition, the Other World is not celestial; it is found in a variety of locations on earth or beneath the ground.

1487

——, ‘The Heredity of Power and Paternity of the Text in some Medieval Works’, in Paternity and Fatherhood: Myths and Realities, ed. Lieve Spaas (London: Macmillan Press, 1998), pp. 62–73. In Indo-European society power was transmitted through the woman, but by the mid-eleventh century the image of the father and the exaltation of the son had taken on greater significance than in earlier periods. In the absence of the son, the relationship between father and daughter was highlighted and incest between them became a political crime. The taboo of incest is discussed in a variety of texts including the Deus Amanz. In addition to being based on a royal inauguration ritual (see 1004), this lay is used to condemn the king’s abusive love for his daughter and his love of power, a condemnation perpetuated both in the name of the hill and in the Breton lay told by Marie.

1488

——, ‘L’Imaginaire des espaces secrets cachés et/ou interdits dans quelques textes de la littérature des XIe et XIIe siècles’, in Études sur l’imaginaire: mélanges offerts à Claude-Gilbert Dubois, ed. Gérard Peylet (Paris: L’Harmattan, 2001), pp. 287–99.

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MARIE DE FRANCE Guigemar, Yonec, and the Espurgatoire are discussed in the context of a study of secrets and forbidden places. The hidden place in the Espurgatoire is below ground. It is another world, one accessible to the living, but it is also dangerous, as not everyone returns. In Guigemar and Yonec the forbidden place is the tower in which the husbands keep their wives locked away. The tower is a substitute for the woman’s heart over which the husbands cannot gain possession. By imprisoning their wives, the husbands open the way to love, freedom, and even procreation, whilst condemning themselves to illusion, solitude, and death.

1489

——, ‘Jeanne Lods (1907–1990): Listening to Marie de France’s Voice’, in Reception and Transmission (2003), pp. 261–70. Surveys Lods’s life and contribution to Marie de France studies. In 1959 Lods published an edition of the Lais in the CFMA series in which the lengthy introduction includes an excellent analysis of the literary value of the poems. Amongst Lods’s arguments are: (i) unlike contemporary romance writers, Marie got right to the point and built a single aventure in linear fashion; (ii) she gave preference to psychology over morality, the only moral principle being the emotional harmony of the couple.

1490

Porter, Laurence M., Women’s Vision in Western Literature: The Empathic Community (Westport, CA: Praeger, 2005). Contains a chapter on Marie de France entitled ‘The Situation Ethics of Marie de France’ (pp. 35-57). Marie is situated within a study of women’s vision in the western tradition, from Sapho to Christa Wolf. Porter argues that in her works Marie does not have just one ethical perspective that is advanced in each of her stories, rather she sets similar or contrasting narratives side-by-side. Bisclavret and Guigemar are examined, and also several fables and the structure of the Espurgatoire. Marie has a predilection for moral complexity; the meaning of her stories is always situationally determined.

1491

Power, Rosemary, ‘Le Lai de Lanval and Helga tháttr Thórissonar’, Opuscula, 7 (Bibliotheca Arnamagnæana, 38) (1985), 158–61. The opening of Helga tháttr Thórissonar is reminiscent of Lanval, especially in the elaborate descriptions of the women’s clothes, their pavilion, and their utensils. The opening of Lanval has been lost from the Strengleikar manuscript, but what does remain is very close to Marie’s lay.

1492

Predelli, Maria, ‘Monstruous Children of Lanval: The Cantare of Ponzela Gaia’, in Courtly Arts (2006), pp. 543–51. That Lanval was known in Italy is attested by the presence of the story in a number of cantari, in particular Liombruno and Ponzela Gaia. Both of these cantari (made of two cantos each) use the Lanval story only in their first canto, at the end of which the hero is abandoned in the depth of despair, after the fairy has saved him from death. The second canto is devoted to the quest and recovery of the lost fairy lover. Concentrates on the fifteenth-century Ponzela Gaia, which combines topoi from sources as disparate as Lanval and Aymeri de Narbonne and shows how blurred the boundaries between Arthurian and Carolingian narratives had become in Italy.

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Prior, Sandra Pierson, ‘“Kar des dames est avenu / L’aventure”: Displacing the Chivalric Hero in Marie de France’s Eliduc’, in Desiring Discourse: The Literature of Love, Ovid through Chaucer, ed. James J. Paxson & Cynthia A. Gravlee (Selinsgrove, PA: Susquehanna University Press, 1998), pp. 123–39. The title ‘Guildelüec ha Gualadun’ in Eliduc is unusual: its placement (v.22), its inaccuracy (the name never caught on) and its relevance to the issue of who or what the lay is about andto the lay’s central strategy (displacement). Marie has displaced a chivalric story that reflects the conditions of a working knight in the twelfth century and turned it into a tale of desire (with the unusual plot motifs of a shipboard incident and a weasel episode), and later to one depicting the world of Christian monastic service. Prior argues that this final switch relates to the syntax of the naming found in the prologue, the statement ‘des dames est avenu / L’aventure dunt li lais fu’ (vv. 25–26) impying that lays are told about aventures, not about people. Another switch relating to the naming is that from Anglo-Norman to Celtic (the Celtic form ha is used in v. 22). In the course of the story Eliduc learns that love is something quite different from war or vassalage. In dealing with the sailor, he acts as an angry bully not as a prudent leader. The solution to his conflicts is provided not by violence, nor by Ovidian seduction or persuasion, but by Guildelüec’s compassion and alertness to opportunity and also by moving into the mode of Christian myth and sacrifice.

1494

Purdy, Susan (=Susan Small, see 1615), ‘Radical Chic(k): The American Roots of Marie de France’, Paroles Gelées, 15.2 (1997), 55–64. Examines the concept of flowering as it appears in the Prologue to the Lais, linking it to Marie’s concern with the dissemination of her works and the notions of semantic overdetermination and what Burgess and Busby call ‘semantic difference’ (738, p. 37). Students who do not know Old French must read in translation, but translation is a process through which the word can live again. American students should tap into their own cultural experience, hence the idea of ‘radical chic(k)’ in the title of the article.

1495

Raby, Michel Jean, ‘Marie de France’s fable[s] de folie: Fables or Fabliaux?’, Analecta Malacitana, 21 (1998), 33–56. Within Marie’s one hundred and two fables, there are around six that, on the basis of theme, character, situations portrayed, and spirit, could be designated as fabliaux. Concludes, after a close study of these tales, that they are true fables in the Aesopic sense. In all cases they share the pattern of other fables: a proverb or metaphor can be derived directly from a combination of deep oppositions and/or some type of irrational element. The key factor required to differentiate fables from fabliaux is verisimilitude.

1496

Ramm, Ben, ‘Making Something of Nothing: The Excesses of Storytelling in the Lais of Marie de France and La Chastelaine de Vergi’, FS, 60 (2006), 1–13. There is a difference between the proclaimed didacticism of the narratives of the Lais and the Chastelaine de Vergi and the way the example is then worked, or not worked, through the text. In other words, a literary text’s

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MARIE DE FRANCE claim to exemplarity leaves itself open to deconstruction. On the one hand, an example is an unrepeatable one-off, but, on the other, it is a paradigm that must be copied or aspired to. Only Equitan makes a specific claim to exemplarity (‘Ki bien vodreit reisun entendre, / Ici purreit ensample prendre’, vv. 307–08), but others have an indisputable moral or edifying tone. In Lanval, which shares its narrative material with the Chastelaine, the story is one of an absence, caused by the secret love pact between Lanval and his mistress, turning into a presence when the fairy puts in an appearance. Thus the otherworldly lover functions as an example, as her climactic appearance provides a model against which to judge the queen’s beauty. Once this issue is settled, the lay can achieve closure, albeit problematic closure.

1497

Reed, Thomas L., Jr., Middle English Debate Poetry and the Aesthetics of Irresolution (Columbia: University of Missouri Press, 1990). Contains a section entitled ‘Raimbaut’s Gaita ben and Marie’s Lanval: Experience as Debate’ (pp. 410–18). On one level, the message of Lanval seems to be that love in good faith does not require the blessing of marriage, but that disloyalty is a vice in the married and the unmarried alike. But there is ‘interpretive ambiguity’ (p. 417) in the text, and it may contain an allegory of the spiritual life. Lanval could be seen as presenting a perfect mirror of earthly experiences and motives, and as reflecting the impossibility of serving the flesh and the Word. There are analogies between the fée and the Virgin Mary.

1498

——, ‘Glossing the Hazel: Authority, Intention, and Interpretation in Marie de France’s Tristan, Chievrefoil’, Exemplaria, 7 (1995), 99– 143. Begins by examining the nature of the Tristan tradition within which Marie was writing. She turns a legend stressing the difficulties of evaluating behavioural motives into a meditation on literary interpretation. The lay’s prime thematic concern is with signals, which are well or poorly understood. The scene in which Tristan writes on the stick and Iseut sees it is about reading a verbally inscribed artifact, the rough likes of which she had seen before. The phallic stick stands for Tristan, and she adds a gloss representing herself as the entwining and enclosing honeysuckle. His ‘letter’ is embellished by her understanding, just as his life is enhanced by her love. Their relationship is a model for that between politically endangered authors and audiences, the implication being that the relationship between Tristan and Iseut is natural and symbiotic. Reed looks at the characteristics of the hazel and the honeysuckle and their position in medieval lore. The hazel signifies the wisdom or granz biens of poetry, and the honeysuckle the interpretative gloss, which can be fruitful or destructive.

1499

——, ‘Marie de France’s Guigemar as Art of Interpretation (and Ambiguity)’, in Speaking Images: Essays in Honor of V. A. Kolve, ed. Robert F. Yeager & Charlotte C. Morse (Asheville, NC: Pegasus Press, 2001), pp. 1–26. Guigemar can be seen as Marie’s handbook on how to interpret the imagerich language of poetry, which is also the language of love. It is uncertain

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when Guigemar was written in relation to the other lays, but it is the text on which we are meant to ‘cut our exegetical teeth’ (p. 3). Through a series of images, central to the plot and theme, Marie either guides the reader to understanding or provides the opportunity for a more autonomous kind of glossing. The article examines Guigemar’s two wounds, the crewless ship, the painted chamber and chapel, and the knotted shirt and belt. Guigemar is a perfect feudal youth, except that he gives no thought to love. The lay is ‘most simply about the human need to love’ (p. 20). As the lay progreses, Guigemar grows up pychologically and the reader grows up exegetically.

1500

Ribard, Jacques, ‘Pour une lecture allégorique et religieuse des œuvres littéraires médiévales’, in Littérature et religion au Moyen Âge et à la Reniasance, ed. J.-C. Vallecalle (Lyons: Presses Universitaires de Lyon, 1997), pp. 15–26. Medieval literature has been studied from a number of perspectives, but it must not be forgotten that its overall design is religious. The authors were clerics and they wrote with a didactic intention. All heroes are figures of Adam, who in turn is a figure of Christ. Heroes who aspire to, or suffer for, love, such as we find in Guigemar, Lanval, or Yonec, are, in the author’s view, figures of the Divine Law and the Synagogue. Sometimes a being from the Other World comes as a sign of destiny, or of God, to provide an ‘aventure’, which will overcome man’s powerlessness to escape his condition. Such beings represent God’s Grace. These figures launch the heroes on quests: Lanval seeks to be with his beloved and finally leaves the real world with her; Guigemar sets off on a magic ship; the young man in the Deus Amanz climbs his mountain of suffering, etc.

1501

——, ‘Le Symbolisme dans les Lais de Marie de France’, in Mélanges Ménard (1998), II, pp. 1099–1108. There are three terms of considerable importance in the Lais: verité, remembrance, and aventure, but the ‘clef de lecture’ for the collection is symbolism (p. 1100). The article surveys the large number of objects and concepts which can be interpreted symbolically, prisons (Guigemar and Yonec), doors, windows, water, forests, Nature, ‘voyages initiatiques’, etc. Many lays, at least until close to the end, leave the protagonists where they were at the outset, i.e. their ‘parcours initiatique’ has not taken them anywhere. Why does Marie tell us that she can say no more? Is she deliberately leaving it to us to add the ‘surplus’? This is the risk she takes, and it is the reader’s aventure.

1502

——, Symbolisme et christianisme dans la littérature médiévale, Essais sur le Moyen Âge, 25 (Paris: Champion, 2001). Contains reprints of 1501 (pp. 73–82), 1015 (pp. 83–94), 1014 (pp. 95–106), and 697 (pp. 107–114).

1503

Rider, Jeff, ‘The Other Worlds of Romance’, in The Cambridge Companion to Medieval Romance, ed. Roberta L. Krueger (Cambridge: Cambridge University Press, 2000), pp. 115–31. Lanval is one of the texts studied (pp. 119–20, 125–26). This text is seen as one of the most ‘intriguing’ examples of otherworldly intervention in

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MARIE DE FRANCE response to a fault in the central aristocratic world (p. 119). The intervention of Lanval’s mistress is intended to punish Arthur for his lapse. Often the otherworldly intervention launches the story, but in Lanval it keeps the story going. This text also shows that the other worlds of romance are invested with the erotic desires of the audience, as well as their utopian and acquisitive ones.

1504

Rieger, Dietmar, Chanter et dire: études sur la littérature du Moyen Âge, Champion-Varia, 12 (Paris: Champion, 1997). Contains a reprint of 681 (pp. 65–88). Also, the chapter ‘Le Motif de la jalousie dans le roman arthurien: l’exemple d’Yder’ (first published in Romania, 110, 1989, 364–82) contains comments on Lanval (pp. 186–89).

1505

Riggs, Don, ‘The Survival of the Goddess in Marie de France and Marion Zimmer Bradley’, The Survival of the Goddess: Journal of the Fantastic in the Arts, 9 (1998), 15–23. Neolithic Europe (8,000–9,000 years ago) had a balanced, non-patriarchal and non-matriarchal social system with a goddess-centred religion. Although overthrown by Indo-European invaders and their successors, the myth and ritual of this ancient culture survived, in a semantically depleted fashion, into the twelfth century and is seen in Lanval. Here Arthur’s court constitutes the reality principle. Forgotten by Arthur, Lanval withdraws by accident into the fairy realm. He rides off in search of relaxation, a prelude for going into a trance. His lady’s realm stands in opposition to the reality principle. The tale exemplifies the tendency of the disenfranchised to escape into a trance, and for an earlier divine figure to provide an ‘underdogs’ religion’ (p. 20). The fact that the lady can tempt Lanval to abandon his heritage and flee to Avalon would have horrified medieval lords.

1506

Rimpau, Laetitia, ‘Die aventure der escriture: zu einem poetologischen Strukturprincip der Lais von Marie de France’, in Das Wunderbare in der arthurischen Literatur: Probleme und Perspektiven, ed. Friedrich Wolfzettel (Tübingen: Niemeyer, 2003), pp. 249–80. Discusses the Lais from a poetological perspective. Marie’s major strategies are analysed in order to discover to what extent they reflect on the element of fictionality within the narratives and also to help us understand the process of writing. Marie’s strategies enabled her to address her own role as a writer, and they highlight the basic features of her literary discourse.

1507

Rivera Garretas, María-Milagros, Textos y espacios de mujeres (Europa siglos iv–xv) (Barcelona: Icaria, 1990). Contains a chapter entitled ‘María de Francia: el infanticidio’ (pp. 131–58), which contains some comments on Le Fresne in the context of the killing of female children. Infanticide is a way of maintaining a satisfactory relationship between humans and their environment. Le Fresne, an amalgam of Breton lyric and narrative traditions with Occitan courtly literature, provides an example of frustrated infanticide and also of the attempt to readjust the level of power existing between men and women.

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Rockwell, Paul Vincent, Rewriting Resemblance in Medieval French Romance: ‘Ceci n’est pas un graal’ (New York: Garland, 1995). Contains a revised version of 1020 (pp. 25–42).

1509

Roman, Joyce E., ‘Reclaiming the Self through Silence: The Riverside Counselor’s Stories and the Lais of Marie de France’, in Crossing the Bridge: Comparative Essays on Medieval European and Heian Japanese Women Writers, ed. Barbara Stevenson & Cynthia Ho (New York: Palgrave, 2000), pp. 175–88. Silence is a frequently encountered and universal element in female communication. It offers an alternative code of truth and can serve in poetic endeavours as the highest form of articulation. The article examines instances of silence in the Lais and Heian Japanese literature. The communicative role of silence is nowhere more prominent than in monasticism, as illustrated by Eliduc. Here, and in ‘Haizumi’, silence serves as the most effective response to the husband’s act of bigamy. Guildelüec’s silence contrasts with Eliduc’s constant verbal communication, in which he makes promises he cannot keep. Throughout Eliduc silence appears as a well-defined space, and in its clear spatialization it takes on a visual aspect and reflects Christianity’s idea of a substantive soul. The monastic space of the simple hermitage, surrounded by the silence of the forest, in which Guilliadun is laid in state, becomes a locus of prayer, where in silent meditation Eliduc resolves to found an abbey.

1510

Root, Jerry, ‘Courtly Love and the Representation of Women in the Lais of Marie de France and the Coutumes de Beauvaisis of Philippe de Beaumanoir’, Rocky Mountain Review of Language and Literature, 57 (2003), 7–24. Comparing Marie’s Lais with the Coutumes produces a sense of the cultural constraints surrounding the representation of women. What were the limits, in social practice, of what one could say about women and what women themselves had the space to say? Did the doctrine of courtly love give women more space to speak? Concludes that the female subjects speak in surprisingly similar ways in legal and literary discourse. In the Coutumes the only space in which women are to be believed is the biological domain of reproduction and virginity. In Equitan the discourse of courtly love circumscribes female behaviour by providing a certain ideal character for the lady that contrasts with accepted legal and religious customs. Similarly the description of the painting in the lady’s chamber in Guigemar suggests that women are locked into a predisposition to love. Narration addressing or describing women tends to be both prescriptive and proscriptive; it imposes an image of women as the ideal object of male desire. Beyond this image lies only domesticity or transgression. Marie’s own voice is emblematic of the limited space for women to speak. Her narrating ‘je’ appears in selfeffacing contexts, and Marie herself is the only ‘real’ female character in the Lais.

1511

Rossi, Luciano, ‘Observations sur l’origine et la signification du mot flabel’, Romania, 117 (1999), 342–62.

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MARIE DE FRANCE Contains remarks on the Fables (pp. 356–58). Although the term flabel took on its connotation of ‘short tale composed in octosyllables’ in Picardy at the end of the twelfth century, in the works of Jehan Bodel and others, the invention of the flabel is due to Marie de France. Twenty per cent of her fables contain human personages, and in MS S fable 50 (‘De lupo et ariete’) is described as a flabel (‘Par cest flabel vos uueil monstrer’, ed. Warnke, 22, p. 336).

1512

Rothschild, Judith Rice, ‘Leo Spitzer (1887–1960): Unfolding the Text’, in Reception and Transmission (2003), pp. 149–70. Reviews Spitzer’s life and those of his publications in which Marie is the principal or partial focus. Spitzer wrote about the most difficult aspects of Marie’s lays, to which he brought encyclopaedic knowledge, his particular aesthetic appreciation of a literary work of art, and his method of close reading. Spitzer stressed that Marie was more than a storyteller; she was a poet. His work pointed the way to later investigations of Marie’s narrative artistry.

1513

——, ‘Clerics, Abbeys, Tombs: End-Days in Marie de France’s Lais’, Le Cygne, ns, 2.1 (2004), 19–28. Surveys a number of studies dealing with the religious elements in the Lais and goes on to examine the presence of clerical figures: the eunuch-priest in Guigemar, the abbess and Archbishop of Dol in Le Fresne, the chaplain and the abbot in Yonec, and the mention of nuns, monks, canons, and a hermit in Eliduc. Concludes with some remarks on tombs. All these elements reflect the background of the times in which Marie wrote.

1514

——, ‘Minor Characters in Marie de France’s Lais: Messengers and their Messages’, in Courtly Arts (2006), pp. 601–11. Examines the narrative function of the figure of the messenger, who is present in the majority of the lays, and of the contents of the messages. Most human messengers are male, an exception being the serving maiden in Le Fresne. Objects can also bear a message (letters, a golden ring, and silken cloth in Le Fresne, the bastun in Chevrefoil), as can animals (birds in Laüstic and Milun). In relation to the narrative space of the respective stories, most living messengers appear briefly, then disappear, exceptions being the swan which in Milun carries letters between the lovers for twenty years and the young lover in the Deus Amanz, who is one of the protagonists in the story. The reader learns that Tristan had used the bastun previously, before its creation and appearance in the eternal present of Marie’s narrative. Also analyses Marie’s use of language to describe messages with varying purposes.

1515

——, ‘The Brutish World of Marie de France: Death and Violence in the Lais’, Le Cygne, ns, 3 (2005), 23–34. Considers violent episodes in six of the lays (Guigemar, Equitan, Bisclavret, Yonec, Laüstic, and Eliduc) with particular reference to their relation to punishment. The most important element in these scenes is betrayal or treachery, sometimes underlying, sometimes dramatically represented. When deep human emotions are betrayed, relationships are violently broken, but human relationships are also just as capable of being maintained.

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Rothwell, William, ‘The Trial Scene in Lanval and the Development of the Legal Register of Anglo-Norman’, NM, 101 (2000), 17–36. Uses the legal language in Lanval’s trial and studies of it by Eccles (1308), Francis (187), Otaka (989), and Rychner (14) as the starting-point for a discussion of (i) the relationship between Latin, Anglo-Norman, and English in the period following the Norman Conquest; (ii) the Anglo-Norman legal register. Comments on the failure of many scholars to take a broad view of both the overall linguistic systems in use at the time and the legal vocabulary used in literary and non-literary texts. States that the importance of the language of the trial scene in Lanval is that it is Anglo-Norman and not Anglo-Latin, and rejects in particular the notion that French may not have been used in law courts until the middle of the thirteenth century. Concludes with an appendix of legal terms drawn from around twenty literary texts.

1517

Runte, Hans R., ‘Marie de France’s Fables as Trilingual Palimpsest’, DFS, 38 (1997), 17–24. Marie cannot, as is often supposed, have translated into French an English collection of fables; the status of the English language was too lowly. She must have translated a Latin collection and supplemented it with examples from her own literary and cultural background, including some from English. One can detect within her collection the Latin, English, and French strata. Her socio-political fables are definitely Latin, and there is a clear difference between the Latinesque and Britonesque fables. But distinguishing between Englishness and Frenchness is more problematic (the difference is less thematic than stylistic). The English fables often have flat morals, whereas the French ones are intellectualized jousts between theses and antitheses, and dialectic games sometimes ending in surprising paradoxes. Different languages inspired Marie to write different fables. Her writing also reflects linguistic history. The article concludes by examining word order in the fables, which can be different in the Latin, English, and French fables.

1518

——, ‘Marie de France’s Courtly Fables’, in ‘Por le soie amisté’: Essays in Honor of Norris J. Lacy, ed. Keith Busby & Catherine M. Jones, Faux Titre, 183 (Amsterdam: Rodopi, 2000), pp. 453–62. The quality of Marie’s Fables is uneven, perhaps due to the fact that it was not a labour of love, but a commission. But what use could Count William have had for Alfred’s fables, depicting an uneducated, low-class, Englishspeaking world in need of a book of basic moral concepts? Marie often sidestepped Alfred and took inspiration directly from Latin fables. Some of the lays can be described as sociological. They describe the rigid stratification of society and contain some echoes of ‘courtspeak’. William would have wanted a book about how to be a good lord, not a bad one, and Marie obliges with courtly fables. The ideal lord is characterized in fable 46 (‘De volucribus et rege eorum’), and other fables deal in detail with the qualities she enumerates. Marie’s concept of cortoisie is double-edged, revealing both the honour and loyalty of the courtly knight and the realities of court life. She was aware that to accommodate onself to the times it was necessary to cover up one’s thoughts and display a degree of shrewdness and verbal deception.

94 1519

MARIE DE FRANCE ——, ‘Karl Warnke (1854–1944): A Reconstructive Approach to Marie de France’s Works’, in Reception and Transmission (2003), pp. 241–50. Surveys Warnke’s life and contribution to Marie de France studies. He was an anglicist, whose 1878 dissertation dealt with English words formed by means of Ablaut. He became a secondary school teacher of French and English in Coburg and a school administrator. The first edition of the Lais appeared in 1885, and in it he attempted to reconstruct Marie’s writing, providing her with a perfect declension system and regular rules of spelling (but Gaston Paris criticized the lack of unity in his spelling system). In general, his editions (the Fables appeared in 1898 and the Espurgatoire in 1938), and other studies of her works, ‘put Marie on the map’ (p. 246), opening up debate on many issues, including her biography, her language, and the definition of the lay as a genre.

1520

Salisbury, Joyce E., The Beast Within: Animals and Bestiality in the Middle Ages (New York: Routledge, 1994). Deals with a number of fables (pp. 117–21, 131–33, 139) and with Bisclavret (pp. 164–66). In Bisclavret the faithless wife cannot see beyond the beast in the man, whereas the wise king can see the man within the beast. Marie shows us in this lay that we are all subject to a loss of humanity if we focus on the wrong things.

1521

——, ‘Human Animals of Medieval Fables’, in Animals in the Middle Ages: A Book of Essays, ed. Nona C. Flores (New York: Garland, 1996), pp. 49–65. Medieval fables portray animals somewhat differently from classical fables. This article studies the fables of Marie de France and Odo of Cheriton, which reflect the writers’ social concerns and political stance. Moreover, the view of animals found in imaginative literature of this type shaped people’s views of animals in the real world. For example, the lion, which in classical fables can be both a predator and a prey for other animals, becomes the most noble of animals, often the symbol of a just king. If Marie’s predators cause social ills, it is because they had not observed the rules of correct behaviour, especially moderation. She reflected the view of people in power, who were committed to maintaining the social hierarchy. The social criticism of classical fables has been transformed into social conservatism. Those who aspire to a higher estate than that of their birth are portrayed as stupid. There was little interest in the activities of the weak and poor. Dogs, depicted as servants, lost the status they had in classical fables. But both rich and poor must live by Christian and moral principles. The politically conservative quality of the fables made them more readily distributable throughout society.

1522

Sangster, Minnie B., ‘A Study of the Legend and the Location of Les Deux Amanz from the Middle Ages to Modern Times’, Le Cygne, 4 (1998), 11–20. On the Côte des Deux Amants is located the ‘Maison des Deux Amants’, which houses a series of nineteenth-century paintings depicting key scenes from the local legend of the two lovers. A possible source of Marie’s poem

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is Gregory of Tour’s Historia Francorum, but Marie is the first to tell the story as we have it today. The tale has been preserved by the locals in different versions, as seen in the stories printed on postcards and depicted in paintings. The persistence of the legend in the countryside around Pîtres and the Côte des Deux Amants suggests that Marie had first-hand knowledge of the area.

1523

——, ‘Marie de France and Two Eighteenth-Century Poets’, Le Cygne, ns, 2.1 (2004), 31–41. The seventeenth- and eighteenth-century references to the legend of the two lovers found in local archives do not refer to Marie’s Deus Amanz, which was relatively unknown in the area before the discovery of MS Harley 978. The article presents two poems connected to the legend, one by David Duval de Sanadon, the other by Jean-François Ducis. Neither poem has the trip to Salerno found in Marie’s lay; this may have been Marie’s invention rather than an enduring part of the tradition. Her version is still the most compelling.

1524

Sansone, Giuseppe E., ‘Some Poetical Structure in the Lais of Marie de France’, Esperienze Letterarie, 25 (2000), 3–13. Although difficult to follow because of the poor quality of the English, and very general in scope, the article makes a number of useful points. Tries to identify the ‘real poetic core’ of the Lais. Like other medieval fiction, the lays have a realistic outlook. Any passage, however fantastic, is made to appear ‘logical, lucid and consequential’ by the way it fits into the general narrative scheme (p. 4). Supernatural elements acquire a realistic character by being part of the narrative structure. Important to each lay is Marie’s ‘code of justice’ (p. 7); the narrative is built around the balance between guilt and punishment. There is also a perfect balance between predestination and free will, a view clearly influenced by St Augustine. There is a providential plan behind all the adventures in the lays. Overall, the collection is ‘highly idyllic and elegiac’ (p. 11). Rev.:

1525

.1

M. Mocan, Critica del Testo, 5 (2002), 831–32.

Santina, Mary Arlene, The Tournament and Literature: Literary Representations of the Medieval Tournament in Old French Works 1150–1226, Studies in the Humanities: Literature-Politics-Society, 49 (New York: Peter Lang, 1999). Examines references to tournaments in Guigemar, Le Fresne, and Chaitivel (pp. 160–61). States that the tournament ‘serves as a vehicle to move the hero from place to place’ (p. 160; see also p. 3).

1526

Santucci, Monique, Pierre Demarolle, and Lydie Louison, ‘Le Galeran de Bretagne de Renaut: trois points de vue sur une traduction récente’, MA, 104 (1998), 527–33. Includes the translation of Le Fresne by Pierre Jonin (51). Asserts that Galeran de Bretagne is situated between Marie’s Le Fresne, the hypotext, and Jean Renart’s Escoufle, the model or counter-model.

96 1527

MARIE DE FRANCE Sasu, Voichiţa, Voix du texte (Moyen Âge - Renaissance) (Sibiu: Editura Socieţătii Academice din România, 1999). Prints vv. 37–96 of Chevrefoil in Modern French and provides a commentary aimed at introducing students to the complexity of medieval literature (pp. 24–29). Includes a paragraph taken from an article by Lucien Foulet (178, p. 287).

1528

Saunders, Corinne J., The Forest of Medieval Romance: Avernus, Broceliande, Arden (Cambridge: D. S. Brewer, 1993). Contains a section entitled ‘The Breton Lay’ (pp. 46–57). The Breton lays clearly illustrate the development of the forest as a specialized romance landscape. The forest is a place of destiny, wonder, and aventure. Although it is often symbolic, it also has a realistic quality when it serves as a locus for hunting. The marvel and peril of the forest become part of its appeal. The section of the book entitled ‘Sir Launfal’ (pp. 142–48) contains references to Marie’s Lanval.

1529

Sayers, William, ‘Marie de France’s Chievrefoil, Hazel Rods, and the Ogam Letters Coll and Uillen’, Arthuriana, 14.2 (2004), 3–16. Chevrefoil is replete with the terminology of communication and artistic creation. But, in order to interpret the text and its meaning, a better understanding of the hazel coppice and of Irish Ogam inscriptions along the edges of stone or wood is required. Of particular importance are the Ogam letters coll ‘hazel’ and uillen ‘honeysuckle’. The hazel and its nuts were associated with wisdom and poetic inspiration. Vv. 51–54 are interpreted here as: ‘He cut out the central length of a hazel shoot and split it so that it was quite square in cross-section. When he had thus prepared the rod, he carved his name with his knife’ (p. 8). Critical attention has centred on the information in Tristan’s message(s) to Iseut and on the sequence of his communications with her. But more important are materiality, form, the telescoping of time, and the creative process itself, as illustrated by the lines following v. 61 (‘Ceo fu la summe de l’escrit’). Experience here is refined into art, a transformation that plays the role assigned in Marie’s other lays to the supernatural.

1530

——, ‘Naval Architecture in Marie de France’s Guigemar’, GRM, 54 (2004), 379–91. Examines the construction of the boat in Guigemar, which has a smooth, apparently seamless hull. There seem to be at least two antecedents for this: the tarred, leather-hulled craft of the Celts and the carvel-built hulls of the Mediterranean, the edge-to-edge planking of which was also tarred. The chevilles that Marie mentions (v. 156) were treenails or wooden assembly pins. The term closture (also v. 156) has troubled translators; it appears to refer to something that effected closure and acted as a joint within the system of frames or the bulkhead. The use of ebony and the costly and lavish fittings complement the construction of a luxury vessel. One can also link the single sail (sails were exclusively women’s work at the time) to the knot the lady ties in Guigemar’s shirttail. The bed also seems to be an allomorph of the boat itself, its rich frame and bedclothes replicating the vessel’s hull and sail.

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Schulze, Joachim, ‘Der Tod im Zuber. Zu Vorgeschichte und Kontext des lai Equitan’, RF, 108 (1996), 365–95. Investigates the possible range of Celtic sources in the lay of Equitan, focusing on the motif of the king’s death in the tub. Suggests that the tragic outcome of the tale might have been influenced by the tradition of court criticism again the rex iniquus. Rev.:

1532

.1

G. M. Roccati, SF, 43 (1999), 373.

Schulze-Busacker, Elisabeth, ‘Proverbes et expressions proverbiales dans l’Esope de Marie de France’, Romania, 115 (1997), 1–21. In addition to its literary creativity, the second half of the twelfth century was a period of intense ethical, theological, and philosophical reflection. Marie’s Fables fit into this development. The article examines the fables in terms of their classical heritage, the didactic tradition, and the ancient and contemporary store of proverbs. Amongst the works of importance for the way in which Marie presents the morals to the fables are the Disticha Catonis and the Liber Catonianus. Twelve fables in particular show similarities with the Disticha (see pp. 12–13). Marie’s morals are closely connected with the tale related in the fable and they are introduced by a number of formulae. There is often a direct connection with the ethics of the feudal class and with historical reality. Her most significant contribution to the fable tradition is the use of contemporary proverbs, for she wrote at a time of a growing consciousness of the existence of a vernacular tradition of proverbs and adapts this tradition for her own purpose. A number of the proverbs she uses are found in the collection published by Joseph Morawski (Paris, 1925, CFMA, 47). There is a ‘forte présence’ of Anglo-Norman proverbs (p. 19).

1533

——, ‘Le Romulus vers 1180: Walter l’Anglais, Alexander Nequam and Marie de France’, in Mélanges Ménard (1998), II, pp. 1213–33. In 1180 the Romulus vulgaris was represented by the fable collections of Walter the Englishman, Alexander Nequam, and Marie de Frence. This article examines the three collections from the point of view of the treatment of the prologue and epilogue, the choice of fables, and the type of moral. Marie is the only one of the three authors, in fact the first medieval poet, to conceive of the fable as an independent literary genre. The reference to herself in her Epilogue represents not only her pride as an author, but a reflection of the ‘joute littéraire’ taking place around 1180.

1534

Schwam-Baird, Shira, ‘Would a Gentleman Belt a Lady? Chastity Belts (and Knots) in Marie de France’s Guigemar’, Mediaevalia, 22 (1999), 323–42. It is often assumed that the belt (ceinture, v. 570) that Guigemar girds around his beloved’s waist is a chastity belt, but there is no evidence for a mechanically efficacious belt of this sort before the fifteenth century (the history of the chastity belt, however, remains to be written). Moreover, the folkloric nature of Marie’s lay precludes identification as a chastity belt. Both the knot and the belt fit into the category of geis. The belt is not simply a physical barrier; it can be opened only by a certain individual. The knot

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MARIE DE FRANCE and the belt are exchanged tokens, and the belief that magic knots can win or retain a lover is widespread (rings and bracelets are imitations of primitive knotted cords). These tokens or talismans demonstrate a balance of devotion and sexual fidelity in tune with courtly literature, whereas a chastity belt, akin to an instrument of torture, would not be in keeping with the spirit of Marie’s poems.

1535

Sconduto, Leslie A., ‘Rewriting the Werewolf in Guillaume de Palerne’, Le Cygne, 6 (2000), 23–35. Guillaume de Palerne has been neglected by scholars; it should be included with Bisclavret, Melion, and Arthur and Gorlagon. The article identifies and analyses four motifs common to all four texts: (i) the noble werewolf who is both hero and victim; (ii) the submission theme; (iii) the king-protector who discerns the humanity of the beast; (iv) the werewolf’s sudden violent behaviour that prompts inquiries into his true nature and identity. Bisclavret is discussed on pp. 24–27.

1536

Seaman, Myra, ‘Thomas Chestre’s Sir Launfal and the Englishing of Medieval Romance’, MedPer, 15 (2000), 23–35. Mainly concerns Sir Launfal, but contains a large number of references to Lanval. Thomas Chestre’s poem has been widely criticized for failing to live up to Marie’s standard, but he was working two centuries later than Marie and writing for an audience that was culturally and chronologically separate from hers. Marie’s poem revolves around the opposition between the idealized, spiritual world represented by the fairy lover and the flawed, earthly world of the court. Marie prefers the world of love, but Chestre replaces the idealizing of a superior world with an acceptance and appreciation of the material, secular world.

1537

Segre, Cesare, Ecdotica e comparatistica romanze (Milan: Ricciardi, 1998). Contains reprints of 414 (pp. 169–76) and 413 (pp. 753–62).

1538

Sethuraman, Jayshree, ‘Tale-Type and Motif Indexes to the Fables of Marie de France’, Le Cygne, 5 (1999), 19–35. Provides an index of tale-types (pp. 22–25) and motifs (pp. 26–35) for the Fables. The indexes reveal that many of Marie’s fables are structurally and thematically similar to those listed by Stith Thompson and Antti Aarne. Warnke (454) lists the sources of a number of fables as unknown, but many of them correspond to tales widespread in folklore.

1539

Shea, Kerry, ‘Male Bonding, Female Body: The Absenting of Woman in Bisclaretz ljód’, in Cold Counsel: Women in Old Norse Literature and Mythology, ed. Sarah M. Anderson & Karen Swenson (London: Routledge, 2002), pp. 245–59. Largely an analysis of the Norse Bisclaretz ljód, but the argument is relevant to Bisclavret. The truth of the tale is about women and he story is concerned with sexuality and its place within society. The only woman is exiled from the male community occupied by Bisclavret and the king. She tries to infiltrate the male court system and is thwarted. When Bisclavret allows

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himself to be verbally and sexually seduced into revealing his secret, he accords his wife power over himself and relinquishes his subjectivity. When hunted by the king, he takes on the female sexual role, becoming the prey of a male court. The emphasis on lycanthropy suggests that the boundary between human and animal does not exist. The wolf constitutes a mysterious side of man, but by no means the truly bestial side. In Bisclavret the woman’s nose is torn off as an act of revenge, but in Bisclaretz ljód Bisclaret tears off her clothing. The tearing off of the nose in Marie’s lay robs the woman of her power and position in society; her noseless descendants are branded and become a visible sign of female sexuality.

1540

Sikorski, Liliana, ‘S/textual Ambiguity: Fantasy and Desire in Lanval’, Kwartalnik Neofilologiczny, 45 (1998), 319–40. Examines Lanval and the fourteenth-century English romance Sir Landevale with particular reference to the homosexual innuendoes contained in the background to the love story. These innuendoes and the queen’s adulterous moves are less prominent in Sir Landevale. The article aims to ‘deconstruct rigid definitions of homosexuality’ (p. 319). Lanval is projected as an ambiguous effeminate figure; he does not submit to the needs of romance, which requires an ‘insolent display of manly virtues and the rite of passage to manhood’ (p. 335). The secrecy of a homosexual act is equivalent to the secrecy of illicit courtly love; in both cases love depends on mystery. Lanval is thus a mysterious, androgynous figure. His fairy mistress is primarily the eroticized repository of the values and standards of the male social group. The queen does not love Lanval; she wants him as a courtly and sexual slave. Her allusions to his sexual preferences arouse suspicions, but only suspicions. Lanval is a drama of exclusion.

1541

Simon, Manon, ‘Quelques grandes figures féminines de la culture européenne médiévale’, Revue Luxembourgeoise de Littérature Générale et Comparée (1997–98), 68–95. Section III (‘Les femmes-écrivains au Moyen Âge’) contains an entry on Marie de France (pp. 90–91). Claims that the geography of several of her lays coincides with the movements of Eleanor of Aquitaine, which indicates that Marie was part of her entourage and followed her for a number of years.

1542

Small, Susan (=Susan Purdy), ‘Quelques implications sémiotiques de l’homonymie cygne/signe telle qu’elle s’applique à Milun’, Mediaevalia, 26 (2005), 95–126. In Milun there are fourteen occurrences of the term cygne/cisne/cisnes/cignë and two of enseigne. The article begins by demonstrating that in Marie’s day cygne and signe were homonyms; although the form signe does not appear in the text, its presence is latent within the form cygne and variants. The notion of the swan/sign is fundamental to the structure of Milun. The various motifs connected with the swan are studied here: its departure from Milun and return to him, its hunger (linked to carnality and love, etc.), the lady’s actions (e.g. caressing its neck and head, finding the letter in its feathers). When the swan returns to Milun with a letter, he recognizes the bird and breaks the seal on the letter (the term signe also meant ‘the seal on a letter’); the seal and the letter have the same relationship as the signifiant and signifié of a word. Milun’s act is thus ‘producteur de sens’ (p. 111).

100 1543

MARIE DE FRANCE Sobecki, Sebastian I., ‘A Source for the Magical Ship in the Partonopeu de Blois and Marie de France’s Guigemar’, N & Q, ns, 48 (2001), 220–22. The source for the mysterious ship which conveyed Guigemar to his beloved is probably Benedeit’s Anglo-Norman Voyage of St Brendan (Benedeit himself seems to have drawn on the Navigatio sancti Brendani). But the magical ship in Partonopeu de Blois can be excluded as Marie’s inspiration.

1544

Spampinato-Beretta, Margherita, ‘L’usignolo nello scrigno: poesia come remembrance nei Lais di Maria di Francia’, in Filologia romanza e cultura medievale: studi in onore di Elio Melli, 2 vols (Alessandria: Edizione dell’Orso, 1998), II, pp. 753–62. Of all Marie’s lays it is probably in Laüstic that the theme of remembrance occurs in its most concentrated form. The article examines occurrences of the motif of the nightingale in courtly and other narrative literature (from the troubadours to Boccaccio, including the Gesta Romanorum and the Renart le contrefait) and reviews earlier interpretations of the lay. In particular, the message on the piece of samite and the meaning of the casket/tomb are analysed. The costly material of the latter (‘tut […] de or fin od bones pieres’, v. 151) symbolizes the preciousness of love and relates to the dulcis memoria represented by Marie’s poetry. Rev.:

1545

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G. Paradisi, Critica del Testo, 2 (1999), 1163–64.

Speer, Mary B., ‘J. B. B. de Roquefort (1777–1834): The First Modern Editor of Marie de France’, in Reception and Transmission (2003), pp. 225–40. Surveys the life and contribution to Marie de France studies of JeanBaptiste-Bonaventure de Roquefort, who published in 1819–20 the editio princeps of all three of the works attributed to Marie. Roquefort was born in Mons, but educated in Lyons. His way of life, which included drinking and debauchery (he was once called a ‘savant crasseux’), led to constant money worries and frequent failure to impress those able to advance his career. He initially included references to Marie in the ‘Table alphabétique’ of his most famous work, the Glossaire de la langue romane (1808), and treated her as a major writer of lays and fables in his De l’état de la poésie françoise dans les XIIe et XIIIe siècles (1815). The article adds the information to item 12 that in 1832 the edition of Marie’s works, which had not sold well, was bought up by a libraire, Marescq, and sold with new covers.

1546

Spence, Sarah, Texts and the Self in the Twelfth Century, Cambridge Studies in Medieval Literature, 30 (Cambridge: Cambridge University Press, 1996). Chapter 5 is entitled ‘Writing in the Vernacular: The Lais of Marie de France’ (pp. 119–40). Marie attributes a great deal of importance to the visual, tangible world. In the Lais the association of the text and the self is perceived in terms of their interaction with reality. The concept of interweaving within the lays is stressed, and envy is seen as a fundamental theme (envy is the negative pole of the work and love the positive pole). Punning is also important: the cisne in Milun is also a signe (other important

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signs are the bastun in Chevrefoil, the bise in Guigemar, and the nightingale in Laüstic). The bise puns with bis ‘second, double’, and another pun in Milun is sans per/sanz pere.

1547

Stahuljak, Zrinka, Bloodless Genealogies of the French Middle Ages: Translatio, Kinship, and Metaphor (Gainesville: University Press of Florida, 2005). Contains a number of references to Marie, especially in the context of the conjunction of genealogy and translatio studii (see esp. pp. 157–78). Translation is a form of genealogical work (p. 158), transforming its object into what Marie calls a ‘granz biens’ (Lais, Prologue, v. 5). Translation is extraction (traire, Prologue, v. 30), and a ‘rescue mission’ (v. 162).

1548

Stokes, Myra, ‘Lanval to Sir Launfal: A Story Becomes Popular’, in The Spirit of Medieval English Popular Romance, ed. Ad Putter & Jane Gilbert, Longman Medieval and Renaissance Library (Harlow: Longman, 2000), pp. 57–77. A detailed examination of the way in which in Sir Launfal Thomas Chestre adapted Marie’s lay. In Marie’s poem Lanval is part of a ‘gift economy’ at court, and he is a foreigner. These elements are missing both from the earlier Sir Landevale and from Sir Launfal, where Lanval’s poverty and status as victim are occasioned by Arthur’s marriage to Guinevere, and it is she who leaves him out of her distribution of gifts. This is one of a number of variations on the source text, some of which may have been inspired by Graelent. For example, Marie separates the private from the public world, but this does not occur in Sir Launfal, and Lanval’s insult to the queen constitutes a much more comprehensive rejection of all the court stands for than in Chestre’s version. The latter emphasizes the mortifications and exaltations attendant on economic fortunes. In Marie there is no focus on any guilty parties. Chestre’s retelling illustrates the literary law that what happens is replaced by what should happen; a conventional moral is introduced.

1549

Sweeney, Michelle, Magic in Medieval Romance from Chrétien de Troyes to Geoffrey Chaucer (Dublin: Four Courts Press, 2000). Contains a large number of references to Marie de France, who provides the ‘guiding principle’ for the book as a whole (p. 12). Marie’s use of marvels is complementary to that of Chrétien de Troyes. They both had an appreciation of magic in society and literature (p. 56), and they both use the merveilleux as a litmus test of the morality of their characters (p. 86). The function of magic is the key to searching for a deeper purpose in their works.

1550

Taylor, Andrew, Textual Situations: Three Medieval Manuscripts and their Readers (Philadelphia: University of Pennsylvania Press, 2002). One of the three manuscripts discussed is London, BL, Harley 978 (pp. 76– 136). The study of this manuscript also includes a section entitled ‘“Le Surplus mettre”: Marie de France and her Implied Reader’ (pp. 100–10). MS Harley 978 is a ‘handsome but not princely collection of material’ (p. 83). The bulk of the manuscript is the work of several contemporary or near

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MARIE DE FRANCE contemporary scribes; the letter forms of their gothic bookhands suggest dates in the third quarter of the thirteenth century. There are at least three major scribes and their work may have been coordinated. The manuscript is a single thirteenth-century book, not an amalgam of independent booklets, and for the most part it was the work of professional scriveners in Oxford. It could have been copied over several years, but was probably copied during a fairly short period. The hand which copied the Fables also copied the final forty folios of the Lais. Folios 118r –120v of the Lais were copied by a different hand. The manuscript was associated at an early stage with the Benedictine Abbey of Reading, but it would not have belonged in the abbey’s official holdings; it must have been a personal copy, and was perhaps commissioned by William of Winchester (on whom see pp. 110– 21). One of the central themes of Harley 978 is the interplay between actual historical readers and the imaginary readers implied by the text. This is seen especially in the Lais, which explore the values of courtly society. The lays hovered between oral and written performance; on occasion they were recited, possibly by professional entertainers, but Marie evokes the apparatus of glossing and grammatical commentary which allows for a cumulative appreciation of the subtler sense of the work.

1551

Tétrel, Hélène, ‘Equitan moralisé, la version norroise du lai de Marie de France’, in Regards étonnés: de l’expression de l’altéralité à la construction de l’identité: mélanges offerts au Professeur Gaël Milin (Brest: Les Amis de Gaël Milin, 2003), pp. 227–37. Concerns the Norse translation of Equitan found in the Strengleikar collection. The translator makes a number of important changes. He was less interested in the lay as a tale of love than in using it as a sermon to condemn greed and the abuse of power. For him Equitan’s fault concerned eternal salvation rather than life on earth.

1552

Thomas, Jacques T. E., ‘Le Prologue des Lais de Marie de France, en glosant la letre’, Le Forme e la Storia, ns, 9 (1996), 7–28. Provides a line-by-line analysis and full translation of the Prologue. Findings are compared with the edition and comments of Rychner (13) and with the translations of Jonin (51) and Harf-Lancner (741).

1553

Thomasset, Claude, ‘La femme sans nez’, in Littérature et médecine II, ed. Jean-Louis Cabanès, Eidolôn, 55, (Bordeaux: Université Michel de Montaigne, Bordeaux III, 2000), pp. 57–62. Looks at various legendary, symbolic, and medical aspects of the loss of a nose. For example, forty female saints, known as Denazadas, removed their noses in order to make themselves sexually unattractive to Barbarian marauders and thus avoid rape. The loss of a nose provokes sexual revulsion, as the nose is the focal point for the male libido. Noses can be lost through illnesses such as the lepromatus type of leprosy or lupus exedens. In Marie’s day it was thought that leprosy was communicated via sexual relations. Includes a study of the loss of the lady’s nose in Bisclavret (pp. 59–61). As the nose was thought to be linked to debauchery, the lady is being punished in this way for the sin she has committed. The loss of a nose would have also been linked to original sin and feminine culpability, and seen as a visible sign of divine reprobation.

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Thorington, Ellen M., ‘La Sagesse d’une femme sage: les realia dans les Fables de Marie de France’, in Les Realia dans la littérature de fiction au Moyen Âge: Actes du colloque du Centre d’Études Médiévales de l’Université de Picardie–Jules Verne, Saint Valérysur-Somme 25–28 mars 1999, ed. Danielle Buschinger, Médiévales, 9 (Amiens: Presses du Centre d’Études Médiévales, Université de Picardie–Jules-Verne, 2000), pp. 114–21. The Fables were intended to provide instruction for those ignorant of Latin. Marie inserts a feminine translatio, which contrasts with the more frequently encountered masculine translatio. Some fables treat of feminine experiences, and in some of these the meaning of the fable and the meaning of the moral are at variance. The Prologue to the Fables indicates (vv. 23– 26) that for Marie there was a duality within the fable; on the one hand the story presents human folly, and on the other the moral or the gloss inculcates wisdom. Some fables deal with the feminine issues of male violence, pregnancy, or giving birth (e.g. 42, ‘De homine devite, qui sanguinem minuit’, and 21, ‘De lupo et sue’); these would have been of interest to the women in the audience. In fable 94 the moral attacks the folly of women, but the body of the fable treats of conjugal violence.

1555

——, ‘Sympathetic Serpents and Distrustful Dragons: Fantastic Reptiles in the Fables of Marie de France’, in ‘Par remembrance’: mélanges en mémoire de Wolfgang A. Spiewok, ed. Anne Berthelot, WODAN, 79 (Greifswald: Reineke-Verlag, 2001), pp. 298–310. Examines two of Marie’s fables containing extraordinary, otherworldly animals and humans: 52 (‘De dracone et homine’) and 72 (‘De homine et serpente’). Both include breaches of faith, which impart lessons concerning loyalty. In fable 52 the dragon appears to be benevolent, but he is not as innocent as he seems. He and the peasant distrust each other from the beginning; in the end both are guilty of trickery and deception motivated by greed. The peasant does not recognize the Devil in dragon’s clothes and the temptation he presents. In fable 72 a female serpent and a peasant pledge faith to each other. This fable combines the Garden of Eden story with the tale of a mortal meeting a fée; this is a Mélusine-type story in which the fée is the snake. The peasant’s wife recognizes that snakes are suspect and advises him to kill it, but he fails to do so and the snake kills their children and sheep. The moral cautions wise men not to listen to foolish women; the message is not anti-female. The responsibility, like that of Adam, is placed squarely on the peasant’s shoulders. Both fables fit Marie’s injunction to find philosophie (Prologue, v. 24) in the Fables.

1556

Toury, Marie-Noëlle, ‘Le Bestiaire de Marie de France dans les Lais’, op. cit.: Revue de Littératures Française et Comparée, 5 (1995), 15–18. There are six animals in Marie’s Lais. Three of them, the weasel in Eliduc, the swan in Milun, and the nightingale in Laüstic, are in the service of love (the swan is considered to be hermaphroditic). The other three, the white hind in Guigemar, the wolf in Bisclavret, and the hawk in Yonec, have a double nature and belong to the supernatural world. They reveal people’s true nature and have the ability to set the narrative in motion. Concludes that

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MARIE DE FRANCE what Marie calls love is in fact feminine desire, which she legitimizes by placing Venus, the ‘figure tutélaire’ of the heroines (p. 18), next to the lady in Guigemar (v. 234), who is the first lady to be found in the Lais.

1557

Trachsler, Richard, ‘Les Fables de Marie de France: manuscrits et éditions’, CCM, 44 (2001), 45–63. Examines the principles of textual editing as they affect the Fables, which have been preserved in over twenty manuscripts. Looks at the differences between the edition by Warnke (22) and the more modern editions by Otaka (736), Brucker (747), and Spiegel (748). From both a geographical and a chronological perspective, the manuscripts vary considerably. The article includes a presentation of fable 28, as found in a number of manuscripts, including MS X (Chantilly, Musée Condé, 474), which was unknown to Warnke (see 1061).

1558

——, ‘La Tortue, la limace et la welke: le dossier iconographique de la fable de l’aigle et de la corneille’, Reinardus, 15 (2002), 161–74. In Book II of the fables of Phaedrus there is story of an eagle which, unable to break into the shell of a tortoise (testudo), accepts the advice of the crow and drops the tortoise on to the ground from a great height, shattering its shell. The eagle shares the resulting meal with the crow. In fable 12 (‘De aquila et testudine’) Marie de France tells the story somewhat differently, replacing the testudo with the welke (v. 3). The term welke, referring to a gastronomic delicacy of the Anglo-Norman realm, seems to have troubled scribes and illustrators, as did the term eschale (v. 5), which Marie used to designate the shell of this peissun (v. 10). In the four manuscripts containing an accompanying illustration, we find different terms and different pictorial interpretations (e.g. MS, BNF, fr. 2173 has oytre for welke, and in the illustration the crow has a fish in its mouth).

1559

——, ‘Tant de lettres sur un si petit bastun: le lai du Chèvrefeuille devant la critique littéraire (1200–2000)’, MR, 27 (2003), 3–32. Examines the history of the interpretations of vv. 49–82 of Chevrefoil, then prints side by side vv. 49–62 and 107–113 as they appear in MSS H and S. Concludes that it is quite possible that MS S (whose interpretations are supported by the Norse translation in the Strengleikar collection) is closer to the original than MS H when it indicates that the whole message was carved on the stick. The scribe of H may have rewritten and rationalized vv. 57–62, to include a reference to an earlier message sent by Tristan to Iseut, because he was troubled by the notion that a stick could contain such a large number of letters. Marie may have been betrayed by the scribe in whom modern scholars have the greatest faith.

1560

Tudor, Adrian P., ‘“De Deu amer par bone fei”: Marie de France’s Lais as a Mirror of Clerical Society’, Le Cygne, ns, 2.1 (2004), 43– 58. Examines the question of whether Marie’s apparently secular text reflects the Christian society in which it was written. Concludes that Marie was a conventional Christian and the lays were an expression of Christian piety and human justice. Marie does not put forward a new morality; in fact, she

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seldom strays from the teachings of the Church. She advances no argument for social reform. Myths, stories, and legends were common property. The article discusses the concepts of fidelity and transgression in the lays and asks whether any of Marie’s characters would have been treated differently by the society that gave rise to the text.

1561

Uitti, Karl D., ‘A la recherche du texte perdu: réflexions sur la textualité en ancien français’, in L’Hostellerie de pensée: études sur l’art littéraire au Moyen Âge offertes à Daniel Poirion par ses anciens élèves, ed. Michel Zink, Danielle Bohler, Eric Hicks, & Manuela Python, Cultures et Civilisations Médiévales, 12 (Paris: Presses de l’Université de Paris – Sorbonne, 1995), pp. 467–86. Comments on a number of texts, including Chevrefoil (p. 477) and the Fables (pp. 479–80). Chevrefoil exploits the opposition between escrire (v. 107) and fere de (v. 113). The Prologue and Epilogue to the Fables distinguish between the activities of the scribe and those of the author, while at the same time exploring the complementarity of the two tasks.

1562

Van Vleck, Amelia E., ‘Textiles as Testimony in Marie de France and Philomena’, Medievalia et Humanistica, 22 (1995), 31–60. Marie’s textiles are closely linked to her exploration in the Lais of various types of contracts of engagement and marriage. Morover, her focus on love and obligation led to the action in her lays taking place in or around beds. Critical moments are marked by protagonists putting on or removing clothes. The textiles depicted by Marie have a role to play in the settling of questions of lineage, marriage, and inheritance, even of slander, murder, and rape. Textiles act as feminine narratives and serve to uncover truths. For example, in Laüstic a silenced woman speaks by sending a piece of woven silk that narrates the story she herself cannot tell.

1563

Varvaro, Alberto, ‘Élaboration des textes et modalités du récit dans la littérature française médiévale’, Romania, 119 (2001), 1–75. Contains sections dealing with general issues of textual transmission and sections dealing with specific texts, one of which is Lanval (pp. 35–36). The four manuscripts preserving Lanval present only slightly different texts, varying in length from 640 to 648 lines. Concludes that marked differences in copying texts, i.e. omission, expansion, or contraction of episodes tend not to be found in texts of less than 1000 lines.

1564

Verderber, Suzanne M., ‘Refiguring the Veil: The Transvaluation of Human History in Marie de France’s Yonec’, New Medieval Literatures, 6 (2003), 79–106. Yonec reflects an illegitimate socio-symbolic system founded on traffic in women, and ultimately on phallic law. By crying out to God, the lady is praying for a new system in which greater human liberties are possible. For her, the romance genre opens up the possibility of alternatives to the system under which she lives. It is significant that it is the shadow of the hawk that the lady first sees (vv. 107–09). The hawk is a representative of secular nobility and replaces Gabriel as a messenger from God; its shadow signifies sexual desire and the body. The lay recapitulates and transfigures salvation

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MARIE DE FRANCE history, i.e. the birth, death, and resurrection of Christ, and also the Last Judgement. The shadow recalls the Annunciation, as a shadow is associated with the conception of a saviour. Verderber argues that to prevent a literal reading of Yonec as an integumentum or deceitful veil, the lay poses as a simulacrum or shadow of the literal level of Scripture. Lacan’s psychoanalysis is used to explore how a transfer of truth from the allegorical to the literal / historical levels of meaning, and from an oppressive social sytem to a new one, is enacted in the text. The lay illustrates Marie’s view that secular as well as sacred texts can possess the authority to prefigure future realities.

1565

Vincensini, Jean-Jacques, Pensée mythique et narrations médiévales, Nouvelle Bibliothèque du Moyen Âge, 34 (Paris: Champion, 1996). Contains a number of references to Lanval, principally in the context of a discussion of lays treating the theme of a male who falls in love with a fée. See esp. pp. 124–29, 221–22.

1566

——, Motifs et thèmes du récit médiéval (Paris: Nathan, 2000). Contains references to Lanval, Yonec, and Eliduc, and to a number of other narrative lays. See esp. pp. 25–27, 51–53, 95–98, 112–14 and 120–22.

1567

Virdis, Maurizio, ‘Il Lai di Guigemar di Marie de France: tra onirico e simbolico’, Annali della Facoltà di Magisterio dell’Università di Cagliari (Miscellanea in onore del Prof. Jordi Carbonell), ns, 15 (1991–92), 191–214; reprinted in his Gloser la lettre: Marie de France, Renaut de Beaujeu, Jean Renart, Università degli Studi di Cagliari, Dipartimento di Filologie e Letterature Moderne, 21 (Rome: Bulzoni Editore, 2001), pp. 23–51. Emphasizes the dream-like nature of the journey in Guigemar and also the hero’s innate duality. These aspects of the poem are represented both by the hermaphroditic and specular nature of the hind and by the plait which is intended to unite the lay’s masculine and feminine components.

1568

——, ‘Il Lanval di Marie de France: la costruzione di una allegoria’, Annali della Facoltà di Magistero dell’Università di Cagliari, ns, 16 (1993), 19–53; reprinted in his Gloser la lettre, pp. 52–84. Attempts to decide whether Lanval should be regarded as a symbolic or an allegorical text. Concludes that it should be considered as allegorical. The way in which the hero is excluded, the fact that the framework of the poem (especially the conclusion) has a dream-like quality, certain lexical elements, the fairy-mistress figure who is an emblem of the truth, all these factors are proof of the text’s allegorical meaning. Uses Paul Ricoeur’s notion of ‘esthetic experience’ to show that in this poem the development of the individual ends in a metaphysical discovery. Lanval, whose name is an anagram of Avalun (v. 641), succeeds in finding himself by associating himself with the Other World.

1569

——, ‘La tempesta e il mancato naufragio nell’Eliduc di Marie de France’, in Naufragi: Atti del Convegno di Studi, Cagliari, 8–10 aprile 1992, ed. Sannia Nowé & Maurizio Verdis (Rome: Bulzoni

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Editore, 1993), pp. 77–91; reprinted in his Gloser la lettre, pp. 85– 97. The storm is the moment in Eliduc when the text undergoes a thematic and structural change. Also at this time the text’s literal meaning becomes figurative. Eluduc’s presumptuousness in thinking that he can realize dreams suffers shipwreck. When Guilliadun wakes up, another possibility takes shape. Guildelüec in her turn provides salvation for all three protagonists. She represents reality in contradistinction to Guilliadun, who reflects the ideal. The final episode acts as a form of doubling of the storm episode.

1570

Vitz, Evelyn Birge, Orality and Performance in Early French Romance (Cambridge: D. S. Brewer, 1999). Based on an earlier publication (1063), chapter 2 (‘Oral and written traditions in the early Tristan material: Béroul, Thomas and Marie de France’, pp. 26–46) contains a section on the Lais (pp. 38–46). The remarks on Marie deal mainly with Chevrefoil, but it is stressed that Marie, although a learned woman, intended her lays to be heard. In Chevrefoil and other lays she marginalizes the written text, but the chapter also seeks to show the complex interplay between oral and written traditions in Marie and the other Tristan material studied.

1571

Waltenberger, Michael, ‘Imaginative Präsenz und Geschlechterdifferenz. Überlegungen zu Chrétien und Marie de France’, in Situation des Erzählens: Aspekte narrativer Praxis im Mittelalter, ed. Ludger Lieb & Stephan Müller (Berlin: Walter de Gruyter, 2002), pp. 143–66. Examines the imaginative presentation of Chrétien de Troyes’s Erec et Enide and Marie’s Chaitivel and Laüstic, concentrating on their semantic and non-semantic structures, in an attempt to reconstruct the social conditions and pragmatic circumstances of the rise of courtly narrative. The functioning of gender difference is shown to be an important factor in courtly literature.

1572

Walter, Philippe, ‘Yonec, fils de l’ogre: recherches sur les origines mythiques d’un lai de Marie de France’, in ‘Plaist vos oïr bonne cançon vallant?’ Mélanges de langue et de littérature médiévales offerts à François Suard, ed. Dominique. Boutet, Marie-Madeleine Castellani, Françoise Ferrand, & Aimé Petit, Université Charles de Gaulle – Lille 3, Collection Travaux et Recherches, 2 vols (Lille: SEGES, 1999), pp. 993–1000. The direct sources of Marie’s lays were oral, and the discovery of motifs common to Marie and earlier writers proves nothing. More important than individual motifs is the mythic structure of comparable stories. Direct sources need to be distinguished from indirect ones. This article aims to show that there was a common cultural heritage for the tales told by Marie and for those found in Celtic folklore; this heritage was Indo-European. By way of example, the Celtic story of Conary, the legendary king of Tara, and an Indo-European story found in the Kathâ-sarit-Sâgara tales are compared with Yonec. The Indo-European tale has six structural elements in common

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MARIE DE FRANCE with Marie’s lay. The article concludes with remarks on the concept of the ogre, a very loosely defined figure in the Middle Ages.

1573

Ward, Susan L., ‘Fables for the Court: Illustrations of Marie de France’s Fables in Paris, BN, MS Arsenal 3142’, in Women and the Book: Assessing the Visual Evidence, ed. Leslie Smith & Jane H. M. Taylor (London: The British Library, 1997), pp. 190–203. Examines the miniatures accompanying the Fables in MS Arsenal 3142 (H), which was dedicated to Marie of Brabant. Each of the fables is headed by a prefatory miniature and has illuminated letters in red, blue, and gold heading the sections of the text. The Fables are preceded by a rectangular miniature of column width showing Marie de France seated and writing her book, and the text is closed by a second, smaller image of Marie with a completed book, seated within the letter A. These two images of Marie are unique to the Arsenal manuscript and suggest that while the reader is reading the book itself is being written. The illuminations have implicated the author and the reader in the action of reading and writing. The illuminations in the manuscript carry a complex message about women and literature. The patron, Marie of Brabant, seems to have been involved in establishing a nonperipatetic court culture with stable and artistic patronage.

1574

Whalen, Logan E., ‘A Medieval Book-Burning: objet d’art as Narrative Device in the lai of Guigemar’, Neophilologus, 80 (1996), 205–11. Marie is distinguished from her contemporaries by the way in which she glosses the letter of the Breton lays she has heard and in turn communicates them to her audience through a carefully constructed narration. An important element in her art is that concerning the descripion of non-verbal objects, which impart aesthetic qualities to the narratives. The article examines in particular the objects in Guigemar with special reference to the room in which the lady is imprisoned by her husband. The description, like the lady herself, is enclosed within the non-descriptive narrative (the passage ends with ‘La fu la dame enclose e mise’, v. 245). The painting on the walls of the room functions on different levels. On one level, it is a mise en abyme, as within the lay it tells another story. On another level, it is linked to the theme of frustration found in the lay. The book Venus is burning is probably the Remedia amoris. The painting and the book unite on the one hand Ovid and his book, and on the other Marie and Guigemar.

1575

——, ‘A Knight in Hell: The Poetics of Memory for Clerical and Courtly Worlds in Marie de France’s Espurgatoire Saint Patrice’, in Courtly Literature and Clerical Culture/Höfische Literatur und Klerikerkultur/Littérature courtoise et culture cléricale, ed. Christoph Huber & Henrike Lähnemann (Tübingen: Attempto Verlag, 2002), pp. 19–27. An important theme of the Espurgatoire is the art of memory, which in this text operates on two levels. On a narrative level, the knight remembers to invoke God’s name at the end of each torment; thus the story progresses and he is delivered from suffering at the hands of the devils. On a broader level, the lay audience of the poem is encouraged to remember the images of

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suffering they will encounter on their own journey. Marie chose to translate Henry of Saltrey’s version of the tale over other available versions. His version contains a courtly and a religious dimension, but just as important for Marie was probably that his text bore the same ‘narrative mark’ (p. 27) as her own, one incorporating detailed descriptions of events and objects, and also privileging the notions of memory and the discourse of literary rhetoric.

1576

——, ‘Marie de France and the Ancients’, in ‘De sens rassis’: Essays in Honor of Rupert T. Pickens, ed. Keith Busby, Bernard Guidot, & Logan E. Whalen (Amsterdam: Rodopi, 2005), pp. 719– 28. Traces the development of classical rhetoric and grammar and its eventual transmission into medieval arts of poetry. Marie’s corpus bears the hallmark of classical rhetoric, in which she was no doubt trained. She emphasizes the arts of memoria and descriptio through her well-developed descriptions. In the Prologue to the Lais the reference to escience (v. 1) points to memoria; it is through her storehouse of memory that she has gained the knowledge necessary to create her own version of the stories she assembles.

1577

——, ‘Ex libris Mariae: Courtly Book Iconography in the Illuminated Manuscripts of Marie de France’, in Courtly Arts (2006), pp. 745–53. Studies the modes of reception of the Lais and Fables by scribes and illuminators. The badly rubbed, bordered miniature, which opens the thirteenth-century manuscript BNF, nouv. acq. fr. 1104 (S), shows that Marie’s lays, as well as the anonymous lays interspersed with them, are associated with orality. What appears to be a king, or other influential courtly person, sits before a musician who is holding an instrument in his hand; four seated figures flank the performance of the standing musician. In the fourteenth-century Fables manuscript, Vatican Ottob. Lat. 3064 (Z), there is a paradigmatic shift in the iconography of book presentation: the embodiment of textual transmission no longer privileges oral performance, but rather favours the written artifact by foregrounding a table containing four books. Furthermore, the male figure associated with the text has now been replaced by a female one; four males kneel before her. Like the illumination in BNF 1104, this coloured and highly ornamental miniature assumes an important position in relation to the written text which follows.

1578

White, Myriam, ‘La Nuit dans L’Espurgatoire seint Patriz de Marie de France’, Questes, 6 (2003). No page numbers. (http://www. Questes.free.fr) The disturbing obscurity in Purgatory is not night, but the darkness of evil and separation from God. In Marie’s Other World time works differently from that in the real world. When the knight Owein returns from Purgatory, he enters the light, which promises him a renewed and purified life. The poem shows that demons are beings that can be seen only in the darkness of night, which is a time for communication with the forces of evil. But for Owein night is also a time of revelation, a time to open one’s eyes to other realities.

110 1579

MARIE DE FRANCE ——, ‘L’Autre Monde de l’Espurgatoire seint Patriz de Marie de France: quand le lieu géographique donne accès à l’imaginaire’, Cahiers Robinson, 17 (2005), 15–26. One of the distinguishing features of the Espurgatoire is that it provides a terrestrial entrance to the Other World. The knight Owein’s visit is necessary for the exploration, or even the establishing, of his conscience. The Purgatory of St Patrick is close to the centre of the world, where communication between earth, heaven, and hell is possible. The article explores the geographical aspect of Purgatory and the scenery encountered by Owein, and also studies the torments he witnesses. The latter impact not only on the body but also on the soul and the spiritual life; they purify and decide the fate of the sufferer. The creatures found in Purgatory, toads and dragons, etc., are also examined. Concludes with remarks on the terrestrial paradise visited by Owein, whose voyage is linked to our sense of duty and responsibility, as well as to our hopes both in this world and in the Other World.

1580

——, ‘L’Expression de la subjectivité dans L’Espurgatoire Sant Patriz de Marie de France’, Mediaevalia, 26 (2005), 209–22. Rewriting is one of the most frequent modes of creativity in the Middle Ages, and Marie rewrites the Tractatus. The article examines the ways in which she makes the material her own: the use of direct and indirect speech, and of tu and vus, etc. The voice heard within the poem is Marie’s own. When her personages speak, she borrows their voices, and their perception of the truth is hers.

1581

——, Péché et conscience de soi dans L’Espurgatoire seint Patriz de Marie de France’, Cahiers de Recherches Médiévales (XII –XVe s.), 12 (2005), 177–89. Sin and torments were constant realities for the medieval mind, and the Espurgatoire emphasizes the important of faults and their punishment. The knight Owein undergoes the dangerous penitential visit to purgatory because he feels weighed down by the weight of his sins. Although the punishments encountered by the knight are not aimed, either in the Tractatus or in Marie’s version, at precise sins, it is possible to detect a link between them and certain sins such as gluttony and debauchery. But the main aim of the text is to show that suffering, for both the body and the soul, is necessary for the purging of sins, and we also witness the knight’s struggle with his ignorance of himself. The text was composed at a privileged moment in the conquest of individual identity. In their quest for happiness individuals face not only their sin but also themselves. The Espurgatoire shows that God is there to help the believer.

1582

*——, Changer le monde: le purgatoire de saint Patrick, Essais sur le Moyen Âge, 32 (Paris: Champion, 2006) 416 pp. A wide-ranging study of the legend of St Patrick, in which Marie figures extensively. At the base of the legend there is constant movement between the real and the imaginary. This book studies the Latin source and the verse adaptations in French. The Latin original is religious in tone, but in the French versions the tone is fundamentally literary. The legend is situated on

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the border of various forms, including romance. The hero is a knight, but in certain versions he becomes a monk. The various versions reveal the nature of both man and the world in the Middle Ages.

1583

——, ‘Clé du monde ou clé de soi: la clé du Purgatoire de saint Patrick’, in Les Clefs des textes médiévaux: pouvoirs, savoir et interprétation, ed. Fabienne Pomel, Collections Interférences (Rennes: Presses Universitaires de Rennes, 2006), pp. 141–56. One of the original features of the legend of St Patrick’s Purgatory is that it establishes purgatory as a place. God allowed St Patrick to discover a cave giving access to the Other World. Patrick founded a church there and gave the prior the key to this Other World. This article examines the motifs of keys, doors, entering and leaving, etc. Concludes that Marie’s Espurgatoire is not a religious text, even though purgatory is crucial for Christianity. The opening of the door to St Patrick’s Purgatory leads to a number of revelations, for the hero and for the reader. Not only is another world discovered, but the opportunity is provided for an exploration of one’s own conscience. For Marie herself the text is presented as a salutary gesture for humanity.

1584

——, ‘Pour une lecture politique de la légende du purgatoire de saint Patrick’, Actes du colloque de Brest, septembre 2005. Forthcoming. In the St Patrick legend there is a merger of literature and reality. This association makes it possible to use the ‘vérité mythique’ of the legend for socio-political purposes. The article examines the relationship between divine and human justice, the role of compassion in society, i.e. the living praying for the dead, the ‘dialogue fécond’ between Celtic tradition and Christian thought, and the establishment of the Cistercian movement in Ireland. But there can be no single ideological interpretation of the legend.

1585

Whitfield, Pam, ‘Power Plays: Relationships in Marie de France’s Lanval and Eliduc’, MedPer, 14 (1999), 242–54. Lanval and Eliduc are lays which wrestle with issues of power between the sexes. Lanval’s lady is a fantasy lover with assertive power, which stems from her beauty, wealth, and autonomy. She moves outside the confines of the real world and suggests a form of power that may one day be available to women. Eliduc’s wife possesses a more spiritual, passive power, based on morality and selflessness; she represents the limited power available to women in Marie’s day. The male figures, Lanval and Eliduc, are bound by verbal commitments to their lord and their lady, and they are trapped by fate. The fact that the man lacks discretion is a fatal flaw that empowers the women. The women’s power maintains harmony and serves everyone’s needs, rather than individualistic goals. Neither woman exacts revenge for the man’s betrayal. The forgiveness of the woman shows the man a better morality and leads to a better world: Avalon or the monastery. The women retain control over themselves and determine the outcome of the story. The couples leave behind the competition-based society in favour of generous, non-possessive love.

112 1586

MARIE DE FRANCE Whittaker, Eve M., ‘Marie de France’s Eliduc: The Play of Adventure’, Medieval Encounters: Jewish, Christian and Muslim Cultures in Confluence and Dialogue, 6 (2000), 3–57. Marie introduces into her lays the most passionate interests of her contemporaries, e.g. war, love, and the responsibilities of the artist and the monarch. In vv. 483–88 of Eliduc she depicts the king playing chess with a foreign knight, who was teaching the game to his daughter. Whittaker argues that ‘Marie presents the whole story of Eliduc as a chess game’ (p. 3). Eliduc is seen as a ‘chess morality’, marking the transition between the Muslim game and its western counterpart. Like the Muslim game, the western equivalent teaches philosophical consideration of human life, but the central text it explicates is Christian. The article examines the history of chess, its objectives, strategies, and equipment, and then proceeds to a detailed anlayis of the text of Eliduc.

1587

Willging, Jennifer, ‘The Power of Feminine Anger in Marie de France’s Yonec and Guigemar’, Florilegium, 14 (1995–96), 123–35. Feminine anger is frequently found in the Lais. Marie presents the anger of the malmariée from a unique, feminine perspective. She was not afraid to contest the deeply ingrained attitude towards women and articulate the loneliness, frustration, and boredom of the malmariée. She juxtaposes human, often illicit, love with divine love, thereby criticizing the Church. Marie is interested in the malmariée’s happiness and well-being. Her human morality has more authentic spirituality than that of contemporary religious morality. She sees her brand of morality as workable in this world, not in the next one.

1588

Williams, Bernadette, ‘“Cursed be my Parents”: A View of Marriage from the Lais of Marie de France’, in ‘The Fragility of her Sex’? Medieval Irishwomen in their European Context, ed. Christine Meek & Katharine Simms (Blackrock, Co. Dublin: Four Courts Press, 1996), pp. 73–86. Women in the Lais permit the reader to explore the female world in a period dominated by males. Marie was well educated and a strong, resolute woman, determined to write and ensure that her work would not be interfered with. A tempting identification is with Marie de Boulogne. The lays reveal the concerns and anxieties felt by young noblewomen in the twelfth century. Marie explores the emotional life of women, whereas in Chrétien de Troyes’s romances women play only a supportive role. Marie makes it clear that courtly love had nothing to do with reality. Love is dangerous, especially for women. Marie writes in the context of the Church’s view that a daughter should not be given in marriage against her will, a view incorporated into Gratian’s Concordia discordantium. Marriages could be breeding-grounds for resentment and hatred (p. 83). In the Lais women tragically encounter overwhelming love in a society in which such a situation is not permitted. Marie’s women are portrayed as taking the initiative and being audacious. From a woman’s point of view marriage was repressive and even sinful, and within the romance genre Marie is the only writer who sees this.

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Williams, Elizabeth, ‘“A Damsell by Herself Alone”: Images of Magic and Femininity from Lanval to Sir Lambewell’, in Romance Reading on the Book: Essays on Medieval Narrative Presented to Maldwyn Mills, ed. Jennifer Fellows, Rosalind Field, Gillian Rogers, & Judith Weiss (Cardiff: University of Wales Press, 1996), pp. 155– 70. Examines the way in which Lanval’s lady is presented in Lanval and its Middle English derivatives. The scenes in which the lady and her handmaidens appear, and the aims of the authors, differ. There are radical changes in emphasis resulting from the treatment of the fairy mistress and the female body. Elements of sensuality, magic, and sheer opulence are found in differing degrees. For example, the description of the tight lacing and rich colour in the handmaidens’ dress (Lanval, vv. 57–59) is indicative of opulence and sensuality rather than magic. The picture of the lady in the tent in Marie’s poem is rich and alluring, but there is no hint of salaciousness or improper behaviour; she is described as a rich and splendid, but perfectly human lady. Marie may have been drawing on descriptions of ladies found in the romans antiques (e.g. Roman de Thèbes, vv. 2951–52, 3808–10, 3817–20) rather than on Celtic folklore. The lady progresses from Woman (Marie) to Fairy (Sir Landevale) to Queen (Sir Lambewell).

1590

Wilson, Anne, Plots and Powers: Magical Structures in Medieval Narrative (Gainesville: University Press of Florida, 2001). Contains a section on Lanval (pp. 47–50; a chart of the plot, p. 159). There is division rather than unity in the text, and two levels of thought. There are two entirely separate themes: sexual advances and the boast. The trial concerns the boast, even though Arthur’s anger at Lanval’s sexual advances to the queen would make more sense.

1591

Wilson, Katharina, and Glenda McLeod, ‘Wholism and Fusion: Success in/of the Lais of Marie de France’, Arachne, 5.1 (1998), 3– 30. Compares Lanval and Yonec, the fifth and seventh lays in the Harley collection. These two lays appropriate the Prologue’s opening pair of poetological metaphors and present male and female fantasies stemming from differing forms of injustice. Marie’s remarks in the Prologue on the roles of readers and writers indicate that she was inviting the reader to extend the discussion to all forms of human interaction, romantic, marital, and feudal. For her, all forms of interaction should be dynamic, interactive, and reciprocal.

1592

Wolf-Bonvin, Romaine, ‘Du lai du Freisne à Galeran de Bretagne: la fabrique des filles-fleurs’, in ‘Ce est li fruis selonc la letre’: mélanges offerts à Charles Méla, ed. Oliver Collet, Yasmina FoehrJanssens, & Sylvanie Messerli (Paris: Champion, 2002), pp. 571–89. The love relationships in Le Fresne and Galeran de Bretagne (and also in Floire et Blanchflor) are, through the metaphorical names Le Fresne, La Codre, Fleurie, and Floire, connected by a ‘connivence entre le végétal et l’humain’ (p. 571). The story in Le Fresne centres on the abandoned twin,

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MARIE DE FRANCE but when the name La Codre is introduced the initial narrative symmetry of the text is restored. Gurun is a man between two women and between two trees. The two girls offer him an alternative. La Codre’s name has no history within the text; it springs from the barons’ dialogue with Gurun. La Codre is opposed to Le Fresne in terms of gender. Le Fresne’s masculine gender condemns her to sterility as a woman. The ash tree, from which lances are made, is a symbol of male power. Le Fresne’s status as concubine also makes her infertile; thus Gurun and Le Fresne form a virtual homosexual couple. When Le Fresne’s mother sees the brocade on the bed, the spelling of the term paile as palie in v. 413 conveys the paleness of someone who is suffering and also her unhappiness (pas liee). The parallelism of the marriages at the end reflects the girls’ status as twins.

1593

Wolfzettel, Friedrich, Le Conte en palimpseste: Studien zur Funktion von Märchen und Mythos in französischen Mittelalter (Stuttgart: Steiner, 2005). Shows that beneath the ideological covering of extant literary texts lie the structures and themes of the fairy tale. Marie de France is referred to several times. Lanval is seen as a tale about the lack of riches; the gifts provided by the fairy mistress are only temporary, and the ideal fairy world cannot correct social deficiencies (pp. 139–44). One of the motifs discussed in the book is that of the woman imprisoned in a tower (e.g. in the fairy tale of Rapunzel). Yonec and Guigemar are included in the discussion (pp. 175–78).

1594

Worthy, Valorie, ‘Instruction and the Meshing of Literary Motifs in Three lais: Guigemar, Equitan and Sir Orfeo’, Le Cygne, ns, 2.1 (2004), 59–67. The three lays are similar in their structure, characterization, and theme. They are cautionary tales aimed at inculcating lessons of moral behaviour in accordance with the courtly code. They fit in with the didactic intention of Speculum or Mirror for Princes literature. The exemplification of ideals of dedication, such as fidelity, loyalty, and courage, is more important than the individuals themselves. In these lays Celtic elements merge with classical ones. Points to links between Guigemar and Equitan; the latter is simpler and less expansive, but it is didactic in that it reinforces the chivalric code of complete loyalty to one’s lord.

1595

Wright, Monica L., ‘Chemise and ceinture: Marie de France’s Guigemar and the Use of Textiles’, in Courtly Arts (2006), pp. 771– 77. In late-twelfth-century courtly literature, clothing and cloth are important literary devices. In Guigemar Marie exploits clothing and cloth to their fullest extent, making it possible to read the narrative of the work through the use of textiles. Moreover, she uses textiles at three distinct levels within the text: (i) character development; (ii) the use of cloth and clothing to motivate the plot through prophesies that entail the use of clothes to resolve problems; (iii) the use of clothing to structure the plot, dividing it in two parts around the central scene of the lay in which Guigemar fends off the lady’s husband with a clothes-drying rod. The lay may, in fact, be seen as a weaving together of textile references. Guigemar and his lady find each other through the healing powers of cloth, then separate only to rediscover

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each other later through their special vestimentary device. Their love, like the structure of the tale, takes on a woven form.

1596

*Yokoyama, Ayumi, ‘La Notion du titre dans les Lais de Marie de France’, Plume, 4 (1999), 24–31 (in Japanese). Marie’s titles are linked to the truth of the narration and thus to the notion of authority. See BBSIA, 52 (2000), p. 220, item 664.

1597

Zambon, Francesco, ‘Il titolo e la finzione dell’origine nei Lais di Maria di Francia’, in Il titolo e il testo, ed. M. A. Cortellazzo (Padua: Editoriale Programma, 1992), pp. 145–53; reprinted in his Romanzo e allegoria nel medioevo (Trento: La Finestra, 2000), pp. 93–101. Titles of works are rare in the medieval period. But Marie scrupulously indicates the titles of her lays, sometimes, as in Laüstic and Bisclavret, in more than one language. They can refer to a symbolic object (e.g. Chevrefoil and Le Fresne) or to the principal character (e.g. Bisclavret, Milun). In Chaitivel the title is a fundamental aspect of the story. Marie is very much concerned with the theme of remembrance (in the Fables as well as in the Lais), and she may be using the titles of the Breton lays she had heard. Perhaps almost all she knew of the lays was their title and she reconstructed the stories herself. Zambon concentrates on Milun, in which Marie uses the term nun for both the lay and the protagonist (e.g. ‘De sun ami cunut le nun’, Milun, v. 230). An important issue is the name of the son. Milun says to Sanz Per (who is also Sanz Pere ‘without a father’): ‘Cum as tu nun? Ki est ta mere? (v. 438). Names in the lays are linked to the theme of verité; Marie wants to tell the truth about their origin and the name is a means of recuperating the mythic origins of her own literary work.

1598

——, ‘L’usignolo e il cigno: sulla poetica di Maria di Francia’, L’Immagine Riflessa, ns, 2 (1993), 295–306; reprinted in his Romanzo e allegoria nel medioevo (Trento: La Finestra, 2000), pp. 103–14. Highlights the two ‘mises en abyme’ of the aventure in Laüstic and Milun. The letter hidden in the swan’s feathers in Milun corresponds to the piece of samite ‘a or brusdé e tut escrit’ in Laüstic (v. 136). These specular tales, conveyed through birds thta are perfect symbols of love and lyricism, reflect a fundamental transition in Marie’s work: the song of the bird becomes the tale of the bird. As Spitzer suggested (425), through the metamorphosis of the nightingale and the swan, erotic experience is transformed into literature.

1599

Zhang, Xiangyun, ‘Christine de Pizan et Marie de France’, FR, 79 (2005), 82–94. There is no specific trace of Marie de France’s writings in those of Christine de Pizan, even though, in the author’s view, these are the two most famous women writers of the Middle Ages. But both authors were concerned with females in society. In Le Fresne Marie depicts a female society capable of remedying a wrong committed by one of its members (Le Fresne’s mother). Christine’s interest in showing women the path to glory is found in particular in the Livre de la Cité des Dames and in the Livre des Trois Vertus. Both writers were preoccupied with women’s moral health, and they

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MARIE DE FRANCE both attempt to show women their weaknesses and how to surmount them. Christine’s view of love is very different from Marie’s. This is seen in Christine’s Livre du Duc des Vrais Amans, in which the experience of the two lovers reveals the failure of fin’amors. There are times when Christine seems to be reproaching Marie, but by not mentioning her by name she has avoided outright criticism of her.

VI. THESES AND DISSERTATIONS 1600

Chancellor, Robert, ‘Four lais of Marie de France: An Octosyllabic Verse Translation with Analysis’. Master’s dissertation, Arizona State University, 2004.

1601

Cottille-Foley, Nora, ‘Unsettling the Axis of Power: Triangular Relationships in Marie de France, Annie Ernaux, and Maryse Condé’. PhD thesis, Northwestern University, 1998, DAI-A, 59 (1998–99), 1596.

1602

Gilmore, Gloria Thomas, ‘Tales that Textiles Tell in the Lais of Marie de France’. PhD thesis, University of Utah, 2002. DAI-A, 63 (2002–03), 964–65.

1603

Hatton, Caroline June, ‘Narrative lai and Verse Romance: Generations and Intergeneric Play’. PhD thesis, Yale University, 2004. DAI-A, 65 (2004–05), 924.

1604

Hopkins, Amanda, ‘Identity in the Narrative Breton Lay’. PhD thesis, University of Bristol, 1999.

1605

Hoyer-Millar, Eliza, ‘The Ambiguity of Marie de France’s Chaitivel’. MPhil thesis, University of Liverpool, 2001.

1606

Jambeck, Kathy Anne Shaughnessy, ‘Sir Orfeo: A Study in Interpretive Contexts and Twelfth-Century French Generic Conventions’. PhD thesis, University of Connecticut, 1998, DAI-A, 59 (1998–99), 1565.

1607

Larson, Leah Jean, ‘Love, Troth, and Magnanimity: The Weltanschauung of the Breton Lay from Marie de France to Chaucer’. PhD thesis, University of Southwestern Louisiana, DAI-A, 57 (1996–97), 1610.

1608

Lhoste, Dimitri, ‘Le Don de l’anneau dans la littérature courtoise française du XIIe siècle (Marie de France, les poèmes français de Tristan et Iseut, Chrétien de Troyes)’. Mémoire de licence, Université Libre de Bruxelles, 1998–99.

1609

Lobato, Maria de Nazareth Corrêa Accioli, ‘Honra, leadade e félicões de poder para a nobreza e a realeza no Ysopet de Marie de

THESES AND DISSERTATIONS

117

France’. Doctoral thesis, Universidade Federal do Rio de Janeiro, 1995. 1610

Lorenz, Kathryn Mohler, ‘Writing the Werewolf: Metamorphosis in Medieval Literature’. PhD thesis, University of Cincinnati, 1991.

1611

Morosini, Roberta, ‘Le storie con personaggi umani nelle Fables di Maria di Francia’. Dissertation for the Italian Laurea, 1994 (see Le Cygne, 3, 1997, p. 78).

1612

Piguet, Thérèse E., ‘L’Ėpouse adultère dans les Lais de Marie de France’. Master’s dissertation, Florida Atlantic University, 1994.

1613

Rector, Geoff, ‘By Virtue of the Past: Pedagogy, Rhetoric and Ethics in Twelfth-Century Anglo-Norman Literature’. PhD thesis, Columbia University, 2004. DAI-A, 65 (2004–05), p. 3378. Chapter 4 is entitled ‘Marie de France and the History of the Unheard-of’ (pp. 233–314).

1614

Schutz, A. K., ‘Theriomorphic Shape-Shifting: An Experimental Reading of Identity and Metamorphosis in Selected Medieval British Texts’. PhD thesis, University of Toronto, 1995.

1615

Sethuraman, Jayshree, ‘The Impact of the Indo-Arabic Fable Tradition on the Esope of Marie de France: A Literary, Historical, and Folkloristic Study’. PhD thesis, Tulane University, 1998, DAI-A, 59 (1998–99), 3484.

1616

Small, Susan (=Susan Purdy, see 1494), ‘L’Épanouissement du langage dans six lais de Marie de France’. PhD thesis, University of Western Ontario, 2005. DAI-A, 65 (2004–05), p. 4190. The six lays are: Milun, Bisclavret, Yonec, Laüstic, and Eliduc.

1617

Thorington, Ellen M., ‘Clercs and clergie: Short Narrative Fiction and Feminine Writing in the Twelfth-Century Fables of Marie de France, the Lai de Narcisus, and the Lai de Piramus et Tisbé. PhD thesis, Princeton University, 2003. DAI-A, 64 (2003–04), p. 3288.

1618

Tudor, Adrian P., ‘Practical Religion and Christian Salvation: Concepts of Fidelity and Transgression in the Lais of Marie de France’. MA dissertation, University of Hull, 1991.

1619

Upchurch, Robert, ‘Inscribing Vision: Poetic Potency and Permanence in Selected lais of Marie de France’. Master’s dissertation, Wake Forest University, 1994.

1620

Warrington, Rachel L., ‘Secrets et puissances des figures merveilleuses dans les Lais de Marie de France’. Master’s dissertation, University of Victoria, Canada, 2005.

1621

Whalen, Logan E., ‘Description and the Architecture of Memory in the Narratives of Marie de France’. PhD thesis, University of Oklahoma, 2000. DAI-A, 61 (2000–01), p. 603.

118 1622

MARIE DE FRANCE White, Myriam, ‘Étude de la réécriture du Tractatus de Purgatorio sancti Patricii de H. de Saltry dans l’Espurgatoire St Patriz de Marie de France’. Thesis, Université de Paris III – Sorbonne Nouvelle, 2004.

INDEX OF MARIE DE FRANCE’S WORKS Figures refer to item numbers See in particular the following books: 1213, 1232, 1237, 1335, 1439, 1448, 1582. The Lais For a complete text see 737 (p. 1), 1177, 1197, 1199. For a complete or near-complete translation see 49 (p. 3), 59 (p. 4), 737 (p. 1), 1162, 1168, 1170, 1172, 1174, 1176–77, 1189–91, 1197. General Prologue Translation: 49 (p. 3), 1163, 1194, 1552. Studies: 1210, 1215-08, 1258, 1319, 1334, 1347, 1352, 1363, 1405, 1434, 1439, 1443, 1481, 1494, 1552, 1576. Guigemar Translation: 1188, 1453. Studies: 1220, 1227, 1246, 1263, 1273-74, 1300–01, 1306, 1314, 1332, 1350– 51, 1356, 1359, 1382, 1389, 1393, 1400, 1410–12, 1420, 1432, 1450, 1454, 1456. 1461, 1474–76, 1481–82, 1487, 1490, 1499–1501, 1513, 1515, 1525, 1527, 1530, 1534, 1543, 1546, 1556, 1567, 1574, 1587, 1593–95. Equitan Text: 1167. Studies: 1220, 1233, 1248, 1251, 1267, 1279–80, 1361, 1364, 1380, 1385, 1400, 1422, 1429, 1432, 1441, 1451, 1473, 1478, 1496, 1510, 1515, 1531, 1551, 1594. Bisclavret Translation: 70 (p. 6), 1175, 1179–80, 1188. Studies: 1207, 1214, 1220, 1223, 1241, 1243, 1263, 1268, 1278, 1288, 1304–05, 1317, 1326, 1329, 1337-38, 1346, 1357–58, 1367, 1374, 1380, 1382, 1398, 1401–02, 1412, 1413a, 1444a, 1455, 1466, 1468, 1470, 1476, 1490, 1515, 1520, 1535, 1539, 1553, 1556, 1597, 1603, 1615. Le Fresne Translation: 1171, 1181–82, 1526. Studies: 1208–09, 1218–19, 1222, 1246, 1252, 1260, 1274, 1276-77, 1286, 1312, 1337, 1361, 1368, 1379, 1384, 1421–22, 1430–32, 1449, 1472, 1507, 1513–14, 1525–26, 1592, 1597, 1599. Lanval Text: 738 (p. 2), 1173. Translation: 70 (p. 6), 1163–64, 1179, 1181, 1183, 1186, 1188. Studies: 1209, 1214, 1216, 1227, 1229, 1234, 1243, 1245a, 1250-51, 1255, 1263-65, 1289, 1306–08, 1315, 1317, 1319, 1326, 1238, 1340–42, 1353, 1367, 1372, 1379, 1382, 1390, 1401, 1409, 1412, 1420–21, 1436, 1442, 1448, 1469,

120

MARIE DE FRANCE

1477, 1491–92, 1496–97, 1500, 1504–05, 1516, 1528, 1536, 1540, 1548, 1563, 1565–66, 1568, 1585, 1589–91, 1593. Deus Amanz Translation: 1164, 1196. Studies: 1220, 1249, 1270, 1274, 1280, 1286–87, 1312, 1326, 1331, 1400, 1415, 1421, 1428, 1456, 1475, 1487, 1500, 1514, 1522–23. Yonec Translation: 1184. Studies: 1227, 1241, 1252, 1254, 1270, 1274, 1279, 1292, 1294, 1296, 1304, 1306, 1314, 1339, 1345–46, 1356, 1376, 1386, 1400, 1458, 1461, 1475–76, 1479, 1487, 1500–01, 1513, 1544, 1546, 1562, 1587, 1591, 1593, 1615. Laüstic Text 1198. Translation: 1180, 1186, 1193, 1198, 1453. Studies: 1208, 1270–72, 1291–92, 1294, 1296, 1309, 1312, 1319, 1327, 1337, 1339, 1343, 1355–56, 1366, 1400–01, 1427, 1452, 1460–63, 1475–76, 1514–15, 1544, 1546, 1562, 1571, 1597–98, 1615. Milun Studies: 1222, 1240, 1274, 1292, 1296, 1326, 1343, 1355–56, 1386, 1393, 1475, 1476, 1514, 1542, 1546, 1597–98, 1615. Chaitivel Studies: 1269–70, 1272, 1289, 1294, 1310, 1327–28, 1331, 1334, 1343, 1348– 50, 1395, 1400–01, 1421, 1423–24, 1475, 1525, 1571, 1603. Chevrefoil Text: 738 (p. 2), 1178, 1180, 1183, 1187, 1192, 1195, 1527. Translation: 1178, 1187, 1192, 1195. Studies: 1245a, 1256–57, 1272, 1273a, 1289, 1294, 1310, 1327–28, 1331, 1333, 1343–44, 1344, 1349, 1355, 1388, 1400–01, 1464, 1498, 1514, 1527, 1529, 1559, 1561, 1570, 1597. Eliduc Translation: 1185, 1188. Studies: 1236. 1244. 1248, 1250–51, 1255, 1270, 1273, 1279–80, 1286, 1292, 1297, 1299, 1313, 1328, 1336, 1343, 1346, 1348, 1356, 1384, 1389, 1419–20, 1421, 1467, 1475, 1484, 1493, 1509, 1513, 1515, 1556, 1566, 1569, 1585–86, 1615. The Fables Text: 747 (p. 6), 748 (p. 7), 1203. Translation: 747 (p. 6), 748 (p. 7), 1200, 1201–02. Studies: 1206, 1211, 1225, 1231, 1235, 1237–39, 1259, 1273, 1283–84, 1293, 1302, 1316, 1319, 1320, 1322, 1349, 1354, 1363, 1368, 1392, 1396, 1398, 1404, 1413a, 1416–18, 1437, 1440, 1444, 1446, 1471, 1478, 1481, 1490, 1495, 1511, 1517–18, 1521, 1532–33, 1538, 1550, 1554–55, 1557–58, 1561, 1573, 1597, 1614, 1616.

INDEX OF MARIE DE FRANCE’S WORKS

121

The Espurgatoire Seint Patriz Text: 1203a, 1204. Translation: 1170, 1204–05. Studies: 1228, 1235, 1237, 1273, 1293, 1349, 1371, 1397, 1398, 1403–04, 1478, 1483, 1485, 1487, 1490, 1575, 1577–84, 1621.

INDEX OF SCHOLARS AND TRANSLATORS Numbers in parentheses relate to item summaries Aarne, A., (1538) Adams, T., 1202 Adler, L., 1196 Agamben, G., 1207 Airò, A., 1298–09 Alvar, C., 1162, 1210 Amer, S., 1161.1, 1211–13, 1237.1, (1370) Angeli, G., 737 (p. 1), 1214–16 Archibald, E., 1217–19 Arden, H., 1220 Arens, A., 1448.1 Armstrong, G. M., 1221–22 Bagley, A., 1223 Barban, J., 1224–28 Barillari, S. M., 1203a Barron, W. R. J., 1229 Bartlett, R., 1230 Baswell, C., 1163 Batany, J., 1231 Batt, C., (1229) Baum, R., (1391) Becker, M.-H., (1435) Benaïssa, Z., 1232 Bennett, P. E., 1233 Berg, R. J., 1164 Berthelot, A., 1234 Bloch, M., (1235) Bloch, R. H., 1235–39 Blons-Pierre, C., 1240 Blue, W., 1165–66 Boivin, J.-M.. 1200 Boland, M., 800 (p. 17) Bonifazi, F., 1167 Bordier, J.-P., 1168 Bouillot, C., 1241 Boulton, M. B. M., 1293 Bourguignon, J.-M., 1188 Braet, H., 1242 Brainerd, M., 1243

Branson, S., 1244 Brasillari, S. M., 1203a Brook, L. C., 1161.2, 1197.1, 1213.1, 800.1 (p. 17), 1448.2 Brucker, C., 747 (p. 6), (1557) Bruckner, M. T., 1213.2, (1221), 1245, 1245a Brumlik, J., 1246-49 Bruno(-Meylan), S., 1250-55 Brusegan, R., 1256–57 Burch, S. L., 1161.3, 1213.3, 1237.2, 1258 Burgess, G. S., 738 (p. 2), 756.1 (p. 5), 1161, (1182), (1184), (1186), 1197.2, (1198), 1245a, 1259–62, (1414), (1494) Burgwinkle, W. E., 1263 Buridant, C., 758.1 (p. 8) Burns, J., 1264 Burrichter, B., 1265 Busby, K., 738 (p. 2), 1161.4, (1182), (1184), (1186), (1198), 1266, (1414), (1494) Bussell, D. A., 1267 Bynum, C. W., 1268 Callahan, L. A., 1269–70 Caluwé, J.-M., 1271–72 Capusso, M.G., 1273, 1273a Caraffi, P., 1274 Chancellor, R., 1600 Chandler, J., 1275 Chapman, A.A., 1276 Chicote, G. B., 1277 Classen, A., 1237.3, 1278–82 Coates, A., 1283 Colasanti, M., 1172 Corbellari, A., 1284–85 Cormier, R. J., 1237.4, 1439.1 Cottenet-Hage, M., 1435 Cottille-Foley, N., 1286, 1601

INDEX OF SCHOLARS AND TRANSLATORS Cowell, A., 1287 Creamer, P., 1237.5, 1288 Curley, M. J., 749 (p. 7) Curtis, R. L., 1289 Damon, S. F., (1394) Datta, E., 1290–91 Dean, R. J., 1293 Dauphin-Persuy, C., 1292 De Cesare, R., 750.1 (p. 7) De Conca, M., 1294 Delclos, J.-C., 1295 Delcourt, D., 1296 De Looze, L., (1221) Demaules, M., (1187) Dendi, K., (1179) Denis, F., 1297 Denny-Brown, A., 1237.6 De Pourq, I., 1300.1, 1448.3 Desgrugillers, N., 1170 Dessaint, M., 1298 Dickson, M., 1299 Donà, C., 1300–03 Donovan, M. J., (1394), Doutrelepont, C., 1190.1 Dragonetti, R., (1448) Dubuis, R., 1304 Du Chesne, A., (1438) Dufournet, J., 1171 Dunton-Downer, L., 1305 Dziedzic, A., 1306 Eccles, J., 1307–08 Eckard, G., 1309–11 Edwards, R. R., 1312 Eley, P., 1313 Elias, N., (1348) Evitt, R. M., 1314 Ewert, A., (1197), (1261), (1262), (1394) Fauchet, Cl., (1438) Faust, D. M., (1394) Fenster, T., 1315 Ferrante, J. M., (1168), 1316–17, (1394) Field, R., (1229)

123

Finke, L. A., 1218–19 Foehr-Jannsens, Y., 1320 Folena, G., 1321 Foulet, L., (1527) Fowles, J., (1185), (1385) Fox, J. C., (1275) Franceschini, B., 1322 Freeman, M., (1221) Frey, J. A., (1394) Furtado, A. L., 1172 Gaffke, C., 1323 Gaffney, P., 1335.1 Gallais, P., (1450) Gally, M., 1324 García Pradas, R., 1325–36 Gaunt, S., 1327–28 Gemenne, L., 1329 Gérard, J., 1330 Gertz, S. K., 1331–36 Gier, A., 1448.4 Gilbert, J., 1237.7 Gilles, M., 1197.3 Gilmore, G. T., 1337, 1602 Gingras, F., 1338–39 Grandperrin, N., 1340 Green, D. H., 1341 Green, R. F., 1342 Griffin, M., 1343 Grimbert, J. T., 1344 Grisward, J. H., 1345 Gros, G., 1346 Grünkorn, G., 1347 Guy-Bray, S., 1348 Haidu, P., 1349 Hamilton, J., 1350 Hanning, R. W., (1163), 1351, (1394) Harf-Lancner, L., 1173–74, 1200, (1453), 1552) Hatton, C. J., 1603 Haug, W., 1352 Hazell, D., 1353 Heijkant, M.-J., 1335.2 Heller-Roazen, D., 1207 Hertz, W., 49 (p. 3) Hindman, S., 1354

124

MARIE DE FRANCE

Ho, C., 1355 Hoepffner, E., (1256), (1447) Holtus, G., 1197.4 Honda, T., (1179) Hopkins, A., 1357–59, 1604 Horton, I., 1359 Horváth, K., 1360–61 Houg, C. R., 1362 Howlett, D. R., 1363 Hoyer-Millar, E., 1605 Hüe, D., 1364 Hunt, T., 1365 Huot, S., 1366–67 Hurtig, D. M., 1368 Inoue, T., 1369 Jambeck, J. A. S., 1606 Jambeck, K., 1213.4, 1370–72 Johnston, R. C., 1261 Jonin, P., (1199), 1373, (1453), (1552) Jorgensen, J., 1374 Joynes, A., 1175 Jubany, J., 1176 Jucquois, G., 1213.5 Kato, K., 1375 Kawagacchi, Y., (1179), 1376–78 Kay, S., 1335.3, 1389 Kellogg, J., 1237.8 Kelly, D., 1380 Kemp-Welch, A., (1394) Kerr, J., 1381 Kick, L. L, 1382 Kim, M., 1383 Kingsford, C.L., (1480) Kinoshita, S., (1307), 1384–87 Kisling, C., 1177 Kiss, K., 1388 Klerks, S., 1389 Kong, K., 1390 Koopmans, J., 1213.6, 1391 Kordecki, L., 1392 Krause, V., 1393 Krstović, J. O, 1394 Krueger, R. L., 1395–98

Labbé, A., 1399 Lachet, C., 1400–01 Lachin, G., 1204, 1403–04 Lacroix, D. W., 1405 Lacy, N. J., 1178, (1183) Larmat, J., 1406 La Rue, G. de, (1371) Larsen, A. R., 1180 Larson, L. J., 1607 Laskaya, A., 1181 Laurent, F., 1407 Lawall, S., 1186 Lecco, M., 1408–09 Le Duc, G., 1410 Lefebvre, G., 1196 Leicester, H. M., Jr., 1411 Le Nan, F., 1412 Le Prévost, T., 1413 Le Saux, F., 1413a Leroys, F., 1164 Leyser, H., 1182, 1414 Lhoste, D., 1608 Liborio, M., 1415 Lobato, M. de N. C. A., 1416–18, 1609 Lochrie, K., 1409 Lods, J. (1166), (1489) Lorenz, K. M., 1610 Lupack, A., 1183 Lupack, B. T., 1183 Lüthi, M., (1456) McBain, W., (1293), 1420 McCarthy, C., 1184 McCash, J. H., 1421–28 McLeod, G., 1590 McCracken, P., 1429 McCreesh, B., 1430 Mack, M., 1185–86 McTurk, R., 1431 Maddox, D., 1432–34 Makward, C. P., 1435 Malatrait, S., 1436 Malvern, M. M. (1394) Marchello-Nizia, C., 1187

INDEX OF SCHOLARS AND TRANSLATORS Maréchal, C. A., 800.2 (p. 17), 954 (p. 71), 1437–40, 1448.5 Martin, C., 1393 Martineau, A., 1441 Masayama, K., 1442 Mason, E., 59 (p. 4), (1181) Mazzone, N. T., 1273.1 Méla, C., 1443 Meliga, W., 750.2 (p. 7) Ménard, P., 1444, 1444a Mendoza Ramos, M. del P., 1445 Merceron, J., 1446 Micha, A., 1188 Mickel, E. J., Jr., 1237.9, (1394), (1440), 1447 Mikhaïlova, M., 1448–51 Mistacco, V., 1452–53 Mizuno, H., 1454 Molle, J. V., 1455 Morawski, J., (1532) Morcan, M., 1524 Morosini, R., 1201–02, 1611 Morvan, F., 1189 Mottershead, K., 1456 Mudrick, M.,(1394), 1457 Muela, J., 1205 Murray, K. S.-J., 1458 Nelson(-Campbell), D. H., 1459– 61 Neumeyer, M., 1462 Noble, P., 800.3 (p. 17) Ocampo, A. F., 1463–64 O’Gorman, R., (1178) Ollier, M.-L., 1465 Otaka, Y., 758 (p. 8), (1557) Outremont, G. L., 1190 Painter, S., (1426), Pairet, A., 1466 Panza, M., 1467 Pappa, J., 1468 Pappano, M. A, 1469 Paradisi, G., 1167.1, 1233.1, 1301.1, 1544.1 Parayre, C., 1470

125

Paris, G., (1236), (1519) Parussa, G., 1471 Peron, G., 1472 Picherit, J.-L., 1473–74 Pickens, R. T., (1221), 1475–81 Picone, M., 1482 Piguet, T. E., 1612 Pike, D. L., 1485 Pomel, F., 1485–86 Pontfarcy, Y. de, 750 (p. 7), 1237.10, 1486–89 Porter, L. M., 1213.7, 1490 Power, R., 1491 Predelli, M., 1492 Prior, S. P., 1493 Propp, V., (1456) Purdy, S., 1494 (see Small) Quéruel, D., 750.3 (p. 7) Raby, M. J., 1495 Rajnavölgyi, G., 1191 Ramm, B., 1496 Rector, G., 1613 Reed, T. L., 1497–99 Ribard, J., 1500–02 Rickert, E., (1394) Rider, J., 1503 Rieger, D., 1504 Riggs, D., 1505 Rimpau, L., 1506 Rivera Garretas, M.-M., 1507 Roccati, G. M., 1192, 1306.1, 1531.1 Rockwell, P.V., 1232.11, 1508 Roman, J. E., 1509 Root, J., 1510 Roquefort, J.-B.-B. de, (1545) Rossi, L., 1511 Rothschild, J. R., (1226), 1512–15 Rothwell, W., 1516 Runte, H. R., 1517 Rychner, J., (1166), (1199), (1310), (1311), (1552) Salisbury, E., 1181 Salisbury, J. E., 1520–21

126

MARIE DE FRANCE

Sangster, M. B., 1522–23 Sankovitch, T. A., (1394) Sansone, G. E., 1524 Santina, M. A., 1525 Santucci, M., 1526 Sasu, V., 1527 Saunders, C. J., 1528 Sayers, W., 1529–30 Schotter, A. H., 1163 Schulze, J., 1531 Schulze-Busacker, E., 1532–33 Schutz, A. K., 1614 Schwam-Baird, S., (49, p.4) Sconduto, L. A., 1535 Seaman, M., 1536 Segre, C., 1537 Sethuraman, J., 1538, 1615 Shea, K., 1539 Shichtman, M. B., 1319 Sikorski, L., 1540 Simon, M., 1541 Small, S., 1542 (see Purdy) Sobecki, S. I., 1543 Spampinato-Beretta, M, 1544 Speer, M. B., 1545 Spence, S., 1237.12, 1546 Spiegel, H., 748 (p. 7), (1394), (1557) Spitzer, L., (1512), (1598) Stahuljak, Z., 1547 Stevens, J., (1394) Stokes, M., 1548 Sturges, R. S., (1211), 1213.10 Sweeney, M., 1213.8, (1221) Taylor, A., 1550 Terry, P., 756 (p. 5) Tétrel, H., 1551 Thiry-Stassin, M., 1161.5 Thomas, J. T. E., 1552 Thomasset, C., 1553 Thompson, S., (1538) Thorington, E. M., 1554–55, 1617 Toury, M.-N., 1556 Tozer, J., 1193–95 Trachsler, R., 747.1 (p. 6), 1557– 58

Tudor, A. P., 1213.9, 1560, 1618 Tuffrau, P., 1196 Tyrwhitt, T., (1371) Uitti, K. D., 1561 Upchurch, R., 1619 Vallcorba, T., 1176 Van der Straeten, J., 750.4 (p. 7) Van Vleck, A. E., 1562 Varvaro, A., 1563 Vecchi, S., 1203 Verderber, S. M., 1564 Verhuyck, P., 1177 Vincensini, J.-J., 1565–66 Virdis, M., 1567–69 Vitz, E. B., 1570 Walkley, M. J., 749.1 (p. 7), 1161.6 Waltenberger, M., 1580 Walter, P., 1168, (1192), 1197, 1213.10, 1572 Ward, H. L. D., (1480) Ward, S. L., 1573 Warnke, K., (1177), (1202), (1203), (1330), (1464), (1488), (1519), (1538), (1557) Warrington, R. L., 1620 Warton, T., (1371), (1440) Weston, J. L., 70 (p.. 6) Whalen, L. E., 1237.13, 1335.4, 1574–77, 1621 White, M., 1578–84, 1622 Whitfield, P., 1585 Whittaker, E. M., 1586 Willard, C. C., 954.1 (p. 71) Willging, J., 1587 Williams, B., 1588 Williams, E., (1229), 1589 Wilson, A., 1590 Wilson, K., 1591 Winn, C. H., 1180 Wogan-Browne, J., 1198 Wolf-Bonvin, R., 1592 Wolfzettel, F., 1593 Worthy, V., 1594

INDEX OF SCHOLARS AND TRANSLATORS Wright, M. L., 1595 Yokoyama, A., 1596 Zambon, F., 1597–98 Zhang, X., 1599

127

INDEX OF GEOGRAPHICAL, HISTORICAL, AND LITERARY REFERENCES Figures refer to item numbers Abelard, 1477 Adam, 1212, 1367, 1500, 1555 Adgar, 1379 Aeneas, 1256 Aeneid, 1300, 1483 Aesop, 1495 Alexis (lover of Meliboea), 1300 Alfred, 1404, 1418, 1518 Alfred of Sareshel, 1213 Ana Vail, 1169 Anglo-Norman(s), 1213, 1237– 39, 1293, 1353, 1371, 1386, 1446, 1476–77, 1493, 1516, 1532, 1558, 1613 (see also Cambro-Norman and Norman) Ann eostik (Breton tale), 1463 Annunciation, the, 1564 Apollonius of Tyre, 1249, 1273, 1415 Apuleius, 1241 Aristotle, 1238 Arthur, King /Arthurian, 1216, 1245a, 1263–65, 1307, 1319, 1340–41, 1343, 1353, 1390, 1418, 1420, 1441, 1492, 1503, 1505, 1548, 1590 Arthur and Gorlagon, 1402, 1535 Assize of Clarendon, 1308 Auca, L’ (Occitan tale), 1470 Avalon / Avalun, 1341, 1469, 1505, 1568, 1585 Avernus, Lake, 1483 Aymeri de Narbonne, 1492 Bachelard, G., 1359 Barbarians, 1553 Beaumont twins, 1245a Becket, Thomas, 1267

Benedeit (Anglo-Norman Voyage of St Brendan), 1543 Beroul, 1267, 1346 Biclarel, lai de, 1357, 1358 Bisclaret, lai de / Bisclaretz ljód, 1357, 1539 Blegabred, King, 1408 Boccaccio, 1544 Bodon, Joan, 1470 Boethius, 1437 Breton(s), 1210, 1217, 1245, 1257, 1271, 1285, 1298, 1301, 1312, 1343, 1356, 1366, 1405, 1408, 1410, 1454, 1463, 1477, 1485, 1487, 1507, 1528, 1574, 1587, 1604, 1607 Brisieux, Auguste, 1463 Britonesque fables, 1517 Brittany, 1248, 1410, 1477 Cambro-Norman, 1386 Canterbury Tales, 1371 Carlisle, 1477 Carolingian narratives, 1492 Celtic elements, 1227, 1241, 1254, 1263, 1301, 1402, 1476– 77, 1479, 1493, 1531, 1572, 1584, 1589, 1594 Chaucer, 1371, 1607 Channel, the, 1336, 1413a Chanson de malmariée, 1247 Charlemagne, 1390 Chastelaine de Vergy, 1214, 1496 Chestre, Thomas, 1536, 1548 Chevalier au lion, 1298, 1474 Chevalier de la charrette, 1216, 1298

GEOGRAPHICAL, HISTORICAL, LITERARY REFERENCES 129 Chrétien de Troyes, 1208, 1216, 1243, 1298, 1341, 1347, 1456, 1460, 1474, 1548, 1571,1588 Christ / Christian / Christianity, 1224, 1226, 1234, 1255, 1276, 1305, 1400, 1421, 1443, 1454, 1479, 1482, 1493, 1500, 1509, 1521, 1560, 1564, 1583–84, 1586, 1618 Christine de Pizan, 1461, 1599 Cianbolpin (Italian legend), 1442 Cistercian movement, 1584 City of God, 1227 Civilizing Process, The (Norbert Elias), 1348 Cligés, 1341 Coburg, 1519 Conary (Môr), King of Tara, 1254, 1572 Concordia discordantium (Gratian), 1588 Conseil, lai du, 1433 Conte du Graal (Chrétien de Troyes), 1456 Côte des Deux Amants, 1522 Coutumes de Beauvaisis (Philippe de Beaumanoir), 1510 Damoiselle d’Esclalot, 1482 Dante, 1324, 1482 David Duval de Sanadon, 1523 Denazadas, 1553 Desiré, lai de, 1245a Dhuoda, 1222 Dido, 1256 Disticha Catonis, 1532 Divine Law, 1500 Dol, 1513 Donnei des Amants, 1309 Ducis, Jean-François, 1523 Echo, 1314, 1332 Edgar and Elftroed, story of, 1233 Eleanor of Aquitaine, 1353, 1469, 1541

Eneas, Roman d’, 1216, 1256, 1351 English, 1213, 1217, 1229, 1283, 1363, 1430, 1480, 1516–19, 1533, 1536, 1540, 1589 (see also Middle English) Éostik ou le Rossignol, 1463 Erec et Enide, 1341, 1571 Escoufle, 1526 Espinelo, Romance de, 1277 Estoire des Engleis (Gaimar), 1233 Eucharist, 1305 Eve, 1367 Exeter, 1249 Fair Annie (Scottish ballad), 1431. Fall, The, 1212 Floire et Blanchflor, 1592 Fortune, 1406 Francophone territory, 1477 French, 1480, 1516–17, 1582 Gabriel (Angel), 1254, 1564 Gaimar, 1233 Gaita ben, 1497 Galeran de Bretagne, 1246, 1472, 1526, 1592 Ganelon, 1390 Garden of Eden, 1555 Gautier d’Arras, 1273,1297, 1313 Geirmundar páttr heljarskinns, 1431 Geirmundr, 1431 Genesis, 1264 Genji Monogatari (Murasaki Shikibu), 1250 Geoffrey of Monmouth, 1341, 1402, 1477 Gesta Romanorum, 1544 Girart de Roussillon, 1297 Glasgow, Ellen, 1244 Godwin, Count of Essex, 1233 Golden Ass, 1241 Gracial (Adgar), 1379

130

MARIE DE FRANCE

Graelent, lai de, 1216, 1245a, 1340, 1548 Gratian, 1588 Greek narratives, 1415 Gregory of Tours, 1522 Griselda, 1246, 1361 Guillaume de Palerne, 1268, 1402, 1535 Guinevere, 1263, 1319, 1548 Guingamor, lai de, 1245a, 1340 Haizumi, 1509 Hákon Hákonarson, King, 1405, 1467 Hàmundre, 1431 Harley, Robert, 1283 Heian Japanese literature, 1509 Helga tháttr Thórissonar, 1491 Henry II, 1231, 1237, 1267, 1275, 1285, 1308, 1353, 1413a, 1416–18, 1469 Henry of Saltrey, 1228, 1483, 1575 Herefordshire, 1480 Hilluyankas (Hittite myth), 1301 Historia Francorum (Gregory of Tours), 1522 History of English Poetry (Thomas Warton), 1371 Hugh of Sartis, 1479 Ibn-al-Muqaffa, 1231 Ille et Galeron, 1297, 1313, 1420 Indo-European(s), 1345, 1487, 1505, 1572 Ireland, 1584 Iseut, 1256, 1331, 1344, 1498, 1529, 1559 Jean de Meung, 1324 Jean Renart, 1526 Jehan Bodel, 1511 Jesse, Tree of, 1276 Kalilah et/wa Dimnah, 1213, 1231 Kathâ-sarit-Sâgara tales, 1572

Kojiki (Japanense chronicle), 1254 Lacan, 1564 Ladinia, 1442 Lapworth, Edward, 1283 Last Judgment, the, 1564 Latin, 1231, 1235, 1335, 1345, 1324, 1343, 1370, 1403, 1473, 1479–80, 1483, 1516–18, 1554, 1582 Lecheor, lai de, 1343 Leomister Priory, 1283, 1480 Liber Catonianus, 1532 Liombruno (Italian song), 1442, 1492 Livre de la Cité des Dames (Christine de Pizan), 1599 Livre des Trois Vertus (Christine de Pizan), 1599 Livre du Duc des Vrais Amans (Christine de Pizan), 1599 Lough Derg, 1483 Louis VII, 1353, 1469 Lunete, 1474 Lyons, 1545 Macrobius, 1433 Maison des Deux Amants, 1522 Manuscripts, 1178, 1185, 1197, 1203, 1224, 1247, 1266, 1283, 1293, 1310, 1343, 1354, 1365, 1371, 1401,1437, 1440, 1467, 1471, 1480, 1523, 1545, 1550, 1557, 1559, 1573, 1577, 1591 Mark, King, 1256 Marescq, 1545 Marie de Boulogne, 1588 Marie of Brabant, 1573 Matron of Ephesus, 1212 Meliboea (lover of Alexis), 1300 Melion, lai de, 1357, 1402, 1535 Mélusine, 1555 Metamorphoses (Ovid), 1314, 1335

GEOGRAPHICAL, HISTORICAL, LITERARY REFERENCES 131 Middle English, 1181, 1217–18, 1356, 1409, 1497 (see also English) Mirror for Princes literature, 1594 Miwa-type tales, 1252 Mons, 1545 Mort le roi Artu, 1482. Murasaki Shikibu, 1250, 1355 Muslims, 1586 Naples, Bay of, 1483 Narcissus, 1314, 1332 Nature, 1406, 1501 Navigatio sancti Brendani, 1542 Neolithic Europe, 1505 Nequam, Alexander, 1533 Nihon-gi / Nihon-shoki (Japanese chronicle), 1254 Norman, 1319 (see also AngloNorman and Cambro-Norman) Norman Conquest, 1516 Norway, 1431 Occitan, 1271, 1470, 1507 Odo of Cheriton, 1521 Ogam, 1529 Oiselet, lai de, 1309 Original Sin, 1212 Ovid, 1309, 1312, 1314, 1331, 1335, 1351, 1366, 1389, 1397, 1427, 1493, 1574 Oxford, 1550 Parable of the Talents, 1287 Partonopeu de Blois, 1543 Pascwethen, 1410 Past, The (Ellen Glasgow), 1244 Petrarch, 1482) Petronius, 1444 Phaedrus, 1558 Phaedrus (Plato), 1332 Philip Augustus, 1353 Philippe de Beaumanoir, 1510 Philomel, myth of, 1452 Philomena, 1309 Philomena (Chrétien de Troyes), 1208, 1427

Picardy, 1511 Piramus, Denis, 1273, 1286 Pîtres, 1522 Plato, 1332 Plougoulm, 1410 Ponzela Gaia (Italian song), 1492 Priscian, 1408 Procne, 1309 Purgatorio (Dante), 1482 Purgatory, 1479, 1578–79, 1583 Pyramus and Thisbe tale, 1331, 1400 Raimbaut, 1497 Ramin, see Vis Rapunzel, 1593 Razo, 1271 Reading Abbey, 1283, 1480, 1550 Remedia amoris (Ovid), 1574 Renart, 1211 Renart le contrefait, 1402, 1544 Renaut (author of Galeran de Bretagne), 1246, 1472, 1544 Renaut de Montauban, 1399 Rerum vulgarium fragmenta (Petrarch), 1482 Revue des Deux Mondes, 1285 Ricoeur, Paul, 1568 Romanesque structure, 1450 Roman narratives, 1415 Romans antiques, 1589 Romulus Nilantii, 1213, 1231 Romulus vulgaris, 1533 St Alexis, 1458 St Augustine, 1227, 1296, 1305.1524 St Catherine, 1437 St Eustace, 1351 St Giles, 1351 St Gregory (Life of), 1415 St Patrick, 1579, 1582–83 St Paul, 1459, 1483 Saint-Gildas-de-Rhuys. 1477 Saint-Pol-de-Léon, 1410 Salerno, 1523 Sappho, 1490

132

MARIE DE FRANCE

Sapientia, figure of, 1437 Satyricon (Petronius), 1444 Servius, 1300 Shaftesbury, abbess of, 1275 Shrewsbury School, 1217 Silvie’s deer, 1351 Simon de Montfort, 1480 Sir Lambewell, 1229, 1589 Sir Landevale, 1229, 1540, 1548, 1589, Sir Launfal, 1229, 1528, 1536, 1548 Socrates, 1332 Solomon, 1437 Song of Lewes, 1480 Song of Songs, 1458 South Wales, 1386 (see also Wales) Speculum literature, 1594 Station Island (Lough Derg), 1483 Stillingfleet, Edward, 1283 Strengleikar, 1405, 1467, 1491, 1551, 1559 Sufi, 1446 Sybils, 1437 Synagogue, 1500 Tara, 1572 Thèbes, Roman de, 1415, 1589 Théodore de La Villemarqué, 1463 Tractatus de purgatorio sancti Patricii, 1204, 1228,1403–05, 1479, 1483, 1486, 1580–81

Tristan (legend of), 1273a, 1287, 1298, 1331, 1344, 1399, 1570 Tristan, Roman de (Beroul), 1267 Troubadours, 1544 Tydorel, lai de, 1343 Tyolet, lai de, 1343 Val di Fassa, 1442 Venus, 1332, 1351, 1389, 1556, 1574 Vie de saint Alexis, 1458 Vie de sainte Audree, 1425, 1481 Virgin Mary, 1254, 1379, 1437, 1443, 1497 Vis and Ramin (Persian lovers), 1464 Vita Merlini. 1402 Vita Ronani, 1402 Voyage of St Brendan (Benedeit), 1543 Wace, 1324, 1341, 1408 Waleran de Meulan, 1245a, 1480 Wales, 1477 (see also South Wales) Walter the Englishman, 1533 William (Count), 1518 William Marshal, 1426 William of Mandeville, 1426 William of Winchester, 1480, 1550 Wolf, Christa, 1490 Yder, Roman d’, 1216, 1503

RESEARCH BIBLIOGRAPHIES AND CHECKLISTS NEW SERIES Edited by Alan Deyermond and Abigail Lee Six 1. Hart, S.M. 2. Valis, N. 3. Kelly, D. 4. Fradejas Rueda, J.M. 5. Kennedy, Angus J. 6. Bennett, Philip E. 7. Davis, Anne   and Phil Powrie

César Vallejo: a critical bibliography of research, 2002 Leopoldo Alas (Clarín): an annotated bibliography. Supplement No 1, 2002 Chrétien de Troyes, an analytic bibliography. Supplement No 1, 2002 Bibliotheca cinegetica hispanica. Suplemento 1, 2003 Christine de Pizan: a bibliographical guide. Supplement 2, 2004 The Cycle of Guillaume d’Orange or Garin de Monglane: a critical bibliography, 2004 Carmin on Screen: An Annotated Filmography and Bibliography

RESEARCH BIBLIOGRAPHIES AND CHECKLISTS Edited by A.D. Deyermond, J.R. Little and J.E. Varey 1. Little, R. 2. Sheringham, M. 3. Sharrer, H.L. 4. Hoy, P. 5. Little, J.P. 6. Labriolle, J. de 7. Scott, J.W. 8. Wright, B. 9. Wells, M.B. 10. Bradby, D. 11. Aquila, A.J. 12. Griffin, N. 13. Crosby, J.O. 14. Smith, P.

Saint-John Perse: a bibliography for students of his poetry, 1971 Supplement No 1, 1976 Supplement No 2, 1982 André Breton: a bibliography, 1972 Supplement No 1, by Elza Adamowicz, 1992 A Critical Bibliography of Hispanic Arthurian Material, I. Texts: the prose romance cycles, 1977 Julien Gracq: essai de bibliographie, 1973 Simone Weil: a bibliography, 1973 Supplement No 1, 1979 Claudel and the English-speaking World: a critical bibliography, 1973 Madame de Lafayette: a selective critical bibliography, 1974 Eugène Fromentin: a bibliography, 1973 Supplement No 1, 1998 Du Bellay: a bibliography, 1974 Adamov, 1975 Alonso de Ercilla y Zúñiga: a basic bibliography, 1975 Jesuit School Drama: a checklist of critical literature, 1976 Supplement No 1, 1986 Guía bibliográfica para el estudio crítico de Quevedo, 1976 Vicente Blasco Ibáñez: an annotated bibliography, 1976

15. Duggan, J.J. 16. Bishop, M. 17. Kelly, D. 18. Rees, M. 19. Snow, J.T. 20. Hitchcock, R. 21. Burgess, G.S. 22. Bach, K.F. and   G. Price 23. Eisenberg, D. 24. Hare, G. 25. Geoghegan, C. 26. Lowe, D.K. 27. Mason, B. 28. Shirt, D.J. 29. McGaha, M.D. 30. Stathatos, C.C. 31. Bleikasten, A. 32. Bergman, H.E.   and S.E. Szmuk 33. Best, M. 34. Clive, H.P. 35. Sargent-Baur, B.N.   and R.F. Cook 36. Nelson, B. 37. Field, T. 38. Bell, S.M. 39. Kinder, A.G. 40. Clive, H.P. 41. Whinnom, K. 42. Kennedy, A.J. 43. Tremewan, P.

A Guide to Studies on the Chanson de Roland, 1976 Pierre Reverdy: a bibliography, 1976 Chrétien de Troyes: an analytic bibliography, 1976 French Authors on Spain 1800–1850: a checklist, 1977 The Poetry of Alfonso X: a critical bibliography, 1977 The Kharjas: a critical bibliography, 1977 Supplement No 1, 1996 Marie de France: an analytical bibliography, 1977 Supplement No 1, 1986 Supplement No 2, 1997 Romance Linguistics and the Romance Languages: a bibliography of bibliographies, 1977 Castilian Romances of Chivalry in the Sixteenth Century: a bibliography, 1979 Alphonse Daudet: a critical bibliography. I. Primary material, 1978, II. Secondary material, 1979 Louis Aragon: essai de bibliographie, I. Œuvres, Tome 1 (1918–1959), 1979, Tome 2 (1960–1977), 1979 Benjamin Constant: an annotated bibliography of critical editions and studies (1946–1978), 1979 Michel Butor: a checklist, 1979 The Old French Tristan poems: a bibliographical guide, 1980 The Theatre in Madrid during the Second Republic: a checklist, 1979 A Gil Vicente bibliography (1940–1975), 1979 Arp: bibliographie, I. Ecrits/Dichtung, 1981, II. Critique/Kritik, 1983 A Catalogue of Comedias sueltas in the New York Public Library, Vol. I (A–H), 1980, Vol. II (I–Z), 1981 Ramón Pérez de Ayala: an annotated bibliography of criticism, 1980 Marguerite de Navarre: an annotated bibliography, 1983 Aucassin et Nicolete: a critical bibliography, 1981 Emile Zola: a selective analytical bibliography, 1982 Maurice Barrès: a selective critical bibliography (1948–1979), 1982 Nathalie Sarraute: a bibliography, 1982 Spanish Protestants and Reformers in the Sixteenth Century: a bibliography, 1983 Supplement No l, 1994 Clément Marot: an annotated bibliography, 1983 The Spanish Sentimental Romance (1440–1550): a critical bibliography, 1983 Christine de Pizan: a bibliographical guide, 1984 Supplement No 1, 1994 Prévost: an analytical bibliography of criticism to 1981, 1984

44. Holloway, J.B. 45. Craddock, J.R. 46. Valis, N.M. 47. Faulhaber, C.B. 48. Powrie, P. 49. Nelson, D.H. 50. Fradejas Rueda, J.M. 51. Freire Lopez, A.M. 52. Dolamore, S.M. 53. Lima, R.

Brunetto Latini: an analytic bibliography, 1986 The Legislative Works of Alfonso X: el Sabio, 1986 Leopoldo Alas (Clarín): an annotated bibliography, 1986 Libros y bibliotecas en la España medieval: una bibliografía de fuentes impresas, 1987 René Daumal and Roger Gilbert-Lecomte: a bibliography, 1988 Charles d’Orléans: an analytical bibliography, 1990 Bibliotheca cinegética hispánica: bibliografía crítica de los libros de cetrería y montería hispano-portugueses anteriores a 1799, 1991 Poesía popular durante la Guerra de la Independencia española, 1993 French autobiographical writing 1900–1950: an annotated bibliography, 1997 Ramón del Valle-Inclán: an annotated bibliography Vo1.I. The works of Valle-Inclán, 1999

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Research Bibliographies and Checklists New Series Carmen on Screen Cycle of Guillaume d’Orange Christine de Pizan: Suppl. 2 Bibliotheca cinegetica hispanica: Suppl. 1 Chrétien de Troyes: Suppl. 1 Leopoldo Alas (Clarín): Suppl. 1 César Vallejo

ANNE DAVIES and PHIL POWRIE PHILIP E. BENNETT ANGUS J. KENNEDY JOSÉ MANUEL FRADEJAS RUEDA DOUGLAS KELLY NOËL VALIS STEPHEN M. HART

Research Bibliographies and Checklists (Original Series) Ramón del Valle-Inclán Eugène Fromentin: Suppl. 1 French Autobiographical Writing 1900–1950 Marie de France: Suppl. 2

ROBERTO LIMA BARBARA WRIGHT SUSAN M. DOLAMORE GLYN BURGESS

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