DOCSLIB.ORG

For Saracens): a Footnote to Aspremont’S Afterlife in Italy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For Saracens): a Footnote to Aspremont’S Afterlife in Italy War is Hell (for Saracens): A Footnote to Aspremont’s Afterlife in Italy Leslie Zarker Morgan reat was the goodness of the knights of old!” Ariosto proclaims in the sixteenth century as Ferraù, a Saracen, offers Ga ride to Rinaldo, a Christian.1 But before Ariosto’s classic, selected “knights of old” developed distinctly peninsular characters and roles in Franco-Italian chansons de geste, texts written from the thirteenth through the fifteenth centuries in a mixed French and Italian, initially preserving French rhyme and form, but, like the characters, ultimately developing into Italian forms and language. As an Italianist saluting a scholar of Old French literature, and epic in particular, who first used the term “chanson d'aventures,”2 it is ap- propriate that I should examine a Franco-Italian chanson de geste that subsumes the Old French Chanson d'Aspremont to the distinctly Italian Commedia.3 There Christian and Saracen do not always peace- fully share protagonist roles and “our” French offer positive examples and values to the public. 1 “O gran bontà de’ cavallieri antiqui!” (Orlando Furioso I 22: 1). For the English, see Ariosto: Orlando Furioso, tr. Guido Waldman (London: Oxford University Press, 1974); the Italian, Ariosto: Orlando furioso. ed. Marcello Turchi, 2 vols., I grandi libri (Milan: Garzanti, 1974). 2 William W. Kibler, “Relectures de l’épopée,” in Au Carrefour des routes d’Europe: La Chanson de geste. Actes du Xe Congrès International de la Société Rencesvals pour l’Etude des Epopées Romanes, 2 vols., Sénéfiance 20–21 (Aix-en-Provence: Publications du CUER MA, 1987) 103–40, here 110. 3 See Aspremont: Chanson de geste du XIIe siècle. Présentation, édition et traduction par François Suard d’après le manuscrit 25529 de la Bnf (Paris: Champion, 2008) for the French and, for the English, The Song of Aspremont (La Chanson d’Aspremont), ed. Michael A. Newth, (New York: Garland, 1989). Italian editions include: Andrea da Barberino. L’Aspramonte, romanzo cavalleresco inedito, ed. Marco Boni (Bologna: Palmaverde, 1951), and Andrea da Barberino, Storia d’Ugone d’Alvernia, ed. Francesco Zambrini (Bologna: Romagnoli, 1882; rpt. Bologna: Commissione per i testi di lingua, 1968). 290 Leslie Zarker Morgan Huon d'Auvergne: Background In Franco-Italian texts that have become points of reference, like the Entrée d’Espagne, edited in 1913, and the Prise de Pampelune, edited in 1864, developing the “set ans tut pleins” that Charlemagne spent in Spain before Roncevaux, the Saracens remain foes to be conquered and converted.4 But one partially-edited Franco-Italian text, Huon d’Auvergne,5 that neither exists in any French form nor con- tinues any French text, Old French chanson de geste Saracens appear out of their usual element: they fight in the Christian afterlife beyond Roncevaux, in the time of Charles Martel.6 There are three almost- complete manuscripts of Huon d’Auvergne dating from 1341 to 1441, in addition to the Barbieri fragment of the fourteenth century, and an Italian prose version by Andrea da Barberino from the end of the fourteenth or early fifteenth century. In one branch of these, Aspre- mont's pagan leaders join Guillaume d'Orange's foe, Charlemagne's betrayers, and chanson de geste queens in hell, to create a unique re- interpretation of Dante's Inferno for the chanson de geste connoisseur. Agolant, Ulien, and Helmont fight demons thinking that they combat Christians: Tot celle jeste que fu Aspremont a·l campt Parquoy en lor vie n’amerent Deu ni sanct 4 L’Entrée d’Espagne: Chanson de geste franco-italienne, ed. Antoine Thomas, Société des anciens textes français (Paris: Firmin Didot, 1913); and La Prise de Pampelune: Ein altfranzösisches Gedicht, ed. Adolfo Mussafia, Altfranzösische Gedichte aus venezianischen Handschriften 1 (Vienna: Carl Gerold, 1864), re-edited by Franca DiNinni in Niccolò da Verona: Opere (Venice: Marsilio Editori, 1992), under the title Continuazione dell’ “Entrée d’Espagne,” 205-381. 5 I am working from my own transcription, but see also Edmund Stengel, Huons aus Auvergne Höllenfahrt Nach der Berliner und Paduaner Hs, Festschrift der Universität Greifswald (Greifswald: F. W. Kunike, 1908). 6 The timing is historically an anachronism, of course, since Charles Martel was Charlemagne’s grandfather. Huon d'Auvergne stands alone as a unique creation, though traces of its existence are documented from the twelfth through the sixteenth centuries in French tradition as well as Italian. For the tradition, see Leslie Zarker Morgan, “Chrétien de Troyes comme sous-texte de Huon d’Auvergne,” in Les Chansons de Geste: Actes du XVIe Congrès International de la Société Rencesvals, pour l’Étude des Épopées Romanes, Granada, 21–25 juillet 2003, ed. Carlos Alvar et Juan Paredes (Granada: Editorial Universidad de Granada, 2005) 649–63. .
Load more

Recommended publications
  • Orlando Furioso Narrado En Prosa Del Poema De Ludovico Ariosto
    Orlando furioso narrado en prosa del poema de Ludovico Ariosto Italo Calvino Traducción del italiano de Aurora Bernárdez y Mario Muchnik Versos de Ariosto traducidos por el capitán general don Juan de la Pezuela, conde de Cheste, de la Real Academia Española Biblioteca Calvino Los versos de Ariosto citados en esta edición castellana provienen de la traducción, publicada en 1883, de Juan de la Pezuela, una elec- ción aprobada por Italo Calvino. En cuanto a esta edición en sí, se trata de la única versión calificada por el autor como «perfecta», por contener capítulos ausentes de la primera edición italiana de Einaudi, por citar exactamente los versos de Ariosto seleccionados por Calvino y por ser, siempre según el parecer del autor, traducción fiel, supervi- sada paso a paso por él mismo, del texto original. (N. del E.) Presentación 1. Rotholandus, Roland, Orlando En todo atlas histórico de la Edad Media hay un pequeño mapa en el que, generalmente coloreadas de violeta, se indi- can las conquistas de Carlomagno, rey de los francos y luego emperador. Una gran nube violeta se extiende sobre Europa, se expande más allá del Elba y el Danubio, pero se detiene a occidente en el confín de una España todavía sarracena. Solo el borde inferior de la nube salva los Pirineos y llega a cubrir Cataluña; es la Marca Hispánica, todo lo que Carlomagno logró arrancar, en los últimos años de su vida, al Emir de Córdoba. Entre las tantas guerras que Carlomagno libró y ganó contra bávaros, frisones, eslavos, ávaros, bretones, longobardos, las que libró contra los árabes, en la historia del emperador de los francos, ocupan relativamente poco lugar; en la literatura, en cambio, se agigantaron hasta alcanzar todo el orbe terráqueo, y llenaron las páginas de bibliotecas enteras.
    [Show full text]
  • The Voyage of Columbus As a “Non Pensato Male”: the Search for Boundaries, Grammar, and Authority in the Aftermath of the New World Discoveries
    THE VOYAGE OF COLUMBUS AS A “non PENSATO male”: THE SEARCH FOR BOUNDARIES, GRAMMAR, AND AUTHORITY IN THE AFTERMATH OF THE NEW WORLD DISCOVERIES Erin McCarthy-King Ma volgendosi gli anni, io veggio uscire da l’estreme contrade di ponente nuovi Argonauti e nuovi Tifi, e aprire la strada ignota infin al dì presente: altri volteggiar l’Africa, e seguire tanto la costa de la negra gente, che passino quel segno onde ritorno fa il sole a noi, lasciando il Capricorno; e ritrovar del lungo tratto il fine, che questo fa parer dui mar diversi; e scorrer tutti i liti e le vicine isole d’Indi, d’Arabi e di Persi: altri lasciar le destre e le mancine rive che due per opra Erculea fêrsi; e del sole imitando il camin tondo, ritrovar nuove terre e nuovo mondo. (Orlando Furioso 15.21–22)1 Canto 15 of the Orlando Furioso glorifies the exploratory enterprises of fif- teenth- and sixteenth-century navigators. While the English duke Astolfo journeys westward from India toward Europe, he asks his guide Andron- ica about the possibility of reaching the same destination by going in the opposite direction: “s’andar può senza toccar mai terra,/ chi d’India scioglia, in Francia o in Inghilterra” (“was it possible to set sail from India 1 Ludovico Ariosto, Orlando furioso (Milan: Rizzoli, 1997). “But with the passage of time I see new Argonauts, new Tiphyses hailing from the lands which lie furthest to the West, who shall open routes unknown to this day. Some of them shall round Africa, following the shores of the black peoples right on past the limits whence the sun returns to us after leaving Capricorn;/ they shall discover the limit of the long stretch of land which makes us imagine two separate seas.
    [Show full text]
  • THE HISTORY of ORLANDO FURIOSO
    ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto.
    [Show full text]
  • PONTIFICAL INSTITUTE of MEDIAEVAL STUDIES Karlamagnús Saga. the Saga of Charlemagne and His Heroes. Volume 2: Part IV. Translat
    PONTIFICAL INSTITUTE OF MEDIAEVAL STUDIES Karlamagnús Saga. The Saga of Charlemagne and His Heroes. Volume 2: Part IV. Translated by Constance B. Hieatt. Mediaeval Sources in Translation 17. 1975; 443 pp. Paperbound. ISBN 0–88844–266–1; 978–0–88844–266–6. $54.95 While the most celebrated literature of medieval Scandinavia is the native literature of Iceland, medievalists are also aware of the important body of Norse literature that is neither native nor Icelandic: the translations into Old Norse of English and Continental literature, mainly in Norway. Among these is a large body of translations from the chansons de geste and Carolingian romances of France, including the Karlamagnús Saga, a thirteenth-century version of poems sometimes known as “Geste du Roi” or “Gestes du Charlemagne et de Roland.” The contents of this collection range from fairly close versions of surviving French poems, such as the Pelerinage (or Voyage en Orient) de Charlemagne, to translations of works of which there is no surviving close analogue; it includes a version of the Song of Roland which is very close to the Oxford manuscript, but probably translated from an even earlier version – possibly from a source of that manuscript. The Saga is of interest in indicating a medieval translator’s interpretation of terms which modern scholars find crucial to the understanding of texts; or it preserves or provides clues to the contents of older versions than the extant originals. As a work of literature, it bears interesting resemblance to Malory’s compilation of the Arthurian cycle of tales, although the Saga is evidently the work of several hands, and not of one individual.
    [Show full text]
  • Repatriating Romance: Politics of Textual Transmission in Early Modern France
    Repatriating Romance: Politics of Textual Transmission in Early Modern France By Linda Danielle Louie A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Romance Languages and Literatures and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Timothy Hampton, Chair Professor Mairi McLaughlin Professor Victoria Kahn Fall 2017 Repatriating Romance: Politics of Textual Transmission in Early Modern France © 2018 by Linda Danielle Louie Abstract Repatriating Romance: Politics of Textual Transmission in Early Modern France by Linda Danielle Louie Doctor of Philosophy in Romance Languages and Literatures Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Timothy Hampton, Chair This dissertation reveals the central role that transcultural literary exchange plays in the imagining of a continuous French literary history. The traditional narrative of French literary history describes the vernacular canon as built on the imitation of the ancients. However, this dissertation demonstrates that Early Modern French canon formation also depends, to a startling extent, on claims of inter-vernacular literary theft. Throughout the sixteenth and seventeenth centuries, a central preoccupation of French authors, translators, and literary theorists was the repatriation of the romance genre. Romance was portrayed as a cornerstone of French literary patrimony that Italian and Spanish authors had stolen. The repatriation of individual romance texts entailed a skillful co-opting of the language of humanist philology, alongside practices of translation and continuation usually associated with the medieval period. By looking at romance translation as part of a project of national canon formation, this dissertation sheds new light on the role that chivalric romance plays in national and international politics.
    [Show full text]
  • Jonesexcerpt.Pdf
    2 The Texts—An Overview N’ot que trois gestes en France la garnie; ne cuit que ja nus de ce me desdie. Des rois de France est la plus seignorie, et l’autre aprés, bien est droiz que jeu die, fu de Doon a la barbe florie, cil de Maience qui molt ot baronnie. De ce lingnaje, ou tant ot de boidie, fu Ganelon, qui, par sa tricherie, en grant dolor mist France la garnie. La tierce geste, qui molt fist a prisier, fu de Garin de Monglenne au vis fier. Einz roi de France ne vodrent jor boisier; lor droit seignor se penerent d’aidier, . Crestïenté firent molt essaucier. [There were only threegestes in wealthy France; I don’t think any- one would ever contradict me on this. The most illustrious is the geste of the kings of France; and the next, it is right for me to say, was the geste of white-beardedPROOF Doon de Mayence. To this lineage, which was full of disloyalty, belonged Ganelon, who, by his duplic- ity, plunged France into great distress. The thirdgeste , remarkably worthy, was of the fierce Garin de Monglane. Those of his lineage never once sought to deceive the king of France; they strove to help their rightful lord, . and they advanced Christianity.] Bertrand de Bar-sur-Aube, Girart de Vienne Since the Middle Ages, the corpus of chansons de geste has been di- vided into groups based on various criteria. In the above prologue to the thirteenth-century Girart de Vienne, Bertrand de Bar-sur-Aube classifies An Introduction to the Chansons de Geste by Catherine M.
    [Show full text]
  • Hallazgo De La Traducción Perdida
    21. Martín Zulaica color 23/05/2018 19:21 Página 893 Hallazgo de la traducción perdida del Orlando furioso (1604) de Gonzalo de Oliva, ms 000.029 de la Biblioteca de la Universidad de Navarra, y comparación con las otras traducciones contemporáneas* Discovery of the Lost Translation of the Orlando furioso (1604) by Gonzalo de Oliva, ms 000.029 of the Library of the University of Navarra, and its Comparison with the other Contemporary Translations MARTÍN ZULAICA LÓPEZ RECIBIDO: 5 DE OCTUBRE DE 2017 ACEPTADO: 15 DE NOVIEMBRE DE 2017 Departamento de Filología Universidad de Navarra 31009 Pamplona [email protected] Orcid ID: 0000-0002-7911-4822 Resumen: El presente artículo tiene por objeto –centrándonos en la de Jiménez de Urrea–, incidi- dar a conocer el hallazgo de un manuscrito perdido remos en la tarea de reescritura llevada a cabo so- que contiene una traducción áurea del Orlando fu- bre él, y, por último, enjuiciaremos el valor que esta rioso. A la vista del panorama de circulación del traducción tiene tanto para los estudiosos del Siglo poema de Ariosto en español durante el Siglo de de Oro como para cualquier lector. Oro, ofreceremos una descripción codicológica del Palabras clave: Gonzalo de Oliva. Ariosto. Orlando manuscrito, señalaremos la procedencia de los di- furioso. Traducción. Poesía. Siglo de Oro. versos paratextos que lo integran, lo comparare- mos con las otras traducciones áureas del texto * El presente trabajo se enmarca dentro del Proyecto I+D+i del Ministerio de Economía y Com- petitividad FFI2015-64050: Magia, épica e historiografía hispánicas: relaciones literarias y nomológicas.
    [Show full text]
  • Euriskodata Rare Book Series
    POPULAR EPICS MIDDLE AGES. POPULAR EPICS MIDDLE AGES NORSE-GERMAN AND CARLOVINGIAN C YCLES. JOHN MALCOLM LUDLOW. VOL. II. Bonbon anb Cambribge : MACMILLAN AND CO. 1865. OCambribg* : PRINTED BY JONATHAN PALMER, SIDNEY STREET. CONTENTS. PART III. CHAP. PAGE I. The Sub-Cycles of the Carlovingian Epic . 3 II. Sub-Cycle of the Lorrainers. .12 III. Sub-Cycle of the Lords of Vermandois : Raoul of Cambray ...... 142 IV. Sub-Cycles of Gerard of Roussillon, and of William of Orange . 1 7 1 V. Sub-Cycle of the Peers : Ogier of Denmark . 247 VI. Fusing of the Carlovingian Sub-Cycle Proper and of the Feudal Sub-Cycles .... 304 APPENDIX A. The Novalesian Chronicle and Wil- liam's Monkship . .411 APPENDIX B. English Carlovingian Poems . 418 ERRATA. " Page 320, heading -for Epic of Chivalry" read "Grotesque Epic." Line 9 from top -for "writer" read "minstrel." PAET III. THE FRENCH OR CARLOVINGIAN CYCLE. (Continued.) VOL. II. I CHAPTER I. THE SUB-CYCLES OF THE CARLOVINGIAN EPIC. IN VlLMAR's ' History of the National Literature of Germany,'* (an able and interesting work, and which has perhaps only missed being a first-rate one through that amazing national conceit of con- temporary Germans which pervades it, with its consequent undervaluing and ignoring of foreign nations and their achievements), it is claimed as the unique prerogative of Germany, that she has had two "classical periods," has twice "stood on the summit of the times ;" whilst the writer speaks elsewhere of the French as having been led to take up the Arthurian legend partly through their "almost complete want of national epic poetry" (eines Nationalepos).
    [Show full text]
  • Cahiers De Recherches Médiévales Et Humanistes, 12 | 2005 the Epic Tradition of Charlemagne in Italy 2
    Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 12 | 2005 La tradition épique, du Moyen Âge au XIXe siècle The epic tradition of Charlemagne in Italy Jane E. Everson Electronic version URL: http://journals.openedition.org/crm/2192 DOI: 10.4000/crm.2192 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 December 2005 Number of pages: 45-81 ISSN: 2115-6360 Electronic reference Jane E. Everson, « The epic tradition of Charlemagne in Italy », Cahiers de recherches médiévales [Online], 12 | 2005, Online since 30 December 2008, connection on 13 October 2020. URL : http:// journals.openedition.org/crm/2192 ; DOI : https://doi.org/10.4000/crm.2192 This text was automatically generated on 13 October 2020. © Cahiers de recherches médiévales et humanistes The epic tradition of Charlemagne in Italy 1 The epic tradition of Charlemagne in Italy Jane E. Everson Introduction 1 From the late thirteenth century to the end of the Renaissance, Carolingian narratives centred on the deeds of Charlemagne, Roland and the peers of France enjoyed immense popularity in Italy at all levels of society. Some of the greatest writers of this period were attracted to the genre and produced in it their masterpieces. And if, for the early period, the most important compositions are often anonymous, for the fifteenth and sixteenth centuries the names of Andrea da Barberino, Pulci, Boiardo, Ariosto and Tasso, to name only the best known and most influential, serve to underline the status of Carolingian narrative literature as the pre-eminent literary genre in the vernacular. As I have pointed out elsewhere, the sheer length of time during which the Carolingian narrative tradition flourished in Italy, the large number of writers involved with the genre, the wealth of material both in content and style, the range of developments and modifications, all pose major problems for the scholar aiming to produce a comprehensive historical and thematic survey of the genre.1 2 The magnitude of the task had already taxed E.
    [Show full text]
  • L'héroisme Chevaleresque Dans Le "Roland Amoureux" De
    L'héroïsme chevaleresque dans le Roland Amoureux de Boiardo Couverture : Illustration extraite de la Nouvelle traduction de Roland l'Amou- reux par LESAGE, Paris, 1717 (cliché Bibliothèque Municipale de Lyon) INSTITUT D'ÉTUDES DE LA RENAISSANCE ET DE L'AGE CLASSIQUE Denise ALEXANDRE-GRAS L'héroïsme chevaleresque dans le - Roland Amoureux de Boiardo Publications de l'Université de Saint-Etienne 0 Institut d'études de la Renaissance et de l'Age Classique, 1988 34, rue Francis-Baulier — 42100 Saint-Etienne ISBN 2-86724-032-8 INTRODUCTION Matteo Maria Boiardo est un écrivain dont l'œuvre et la personnalité, complexes et contradictoires, demeurent parmi les plus déroutantes qui soient. Il n'est en effet pas possible de réduire toute son activité à la seule composition du «poème» 1, d'ignorer notamment ses œuvres latines et d'imaginer qu'il ait oublié sa culture humaniste durant les quinze dernières années de sa vie. Or, le contraste est évident entre ses œuvres mineures de goût humaniste (les œuvres latines, les Eglogues en italien , le Timon inspiré de Lucien) et son poème cheva- leresque modelé sur des œuvres populaires que les humanistes méprisaient volontiers. Son Canzoniere, dont le titre classicisant, Amorum libri, est signifi- catif, combine certes diverses sources, mais il apparaît précisément comme une tentative de synthèse raffinée dans laquelle la poésie latine et les thèmes néo- platoniciens viennent enrichir le legs de la poésie lyrique médiévale et du pé- trarquisme, ce qui semble fort éloigné de l'esprit général du poème, si éloigné même que Pier Vincenzo Mengaldo a pu parler d'un tel hiatus entre les deux œuvres, qu'on n'en saurait trouver d'équivalent dans l'histoire italienne toute entière 2.
    [Show full text]
  • La Chronique Du Pseudo-Turpin Et La Chanson De Roland In: Revue De L'occident Musulman Et De La Méditerranée, N°25, 1978
    Paulette Duval La chronique du pseudo-Turpin et la Chanson de Roland In: Revue de l'Occident musulman et de la Méditerranée, N°25, 1978. pp. 25-47. Citer ce document / Cite this document : Duval Paulette. La chronique du pseudo-Turpin et la Chanson de Roland. In: Revue de l'Occident musulman et de la Méditerranée, N°25, 1978. pp. 25-47. doi : 10.3406/remmm.1978.1802 http://www.persee.fr/web/revues/home/prescript/article/remmm_0035-1474_1978_num_25_1_1802 Abstract It seems to the author that the Chronique du Pseudo-Turpin and the Chanson de Roland refer to different Spains, both of them Christian, foes nevertheless : Navarre and Castille. Although the Pseudo- Turpin is impregnated with the Clunisian spirit of Croisade, the adoptionnist heresy appears in the controverse between Roland and Ferragus about the Trinity. So, one of the authors might have been a Spanish writer. The Santiago codex was registered by three people (instead of two, as it is too often said) and one may think the answer lays in this third author, — a woman. In the Chanson de Roland, the Norman poet seems devoted to the Islamic culture and to a mysticism derived from shi'ism. The name Baligant would refer to the Arabic name of the emir of Babylone (Babylone in Kgypt, not in Mesopotamia) ; the sword Joseuse would refer to the sword of the Imam, and Charles, too, would represent the Imam, himself. Last, the mentions of Apolin and Terrangan mean knowledge of the Table d'Emeraude translated by Hugh de Santalla for Miguel, the bishop of Tarrazone (1125-1151).
    [Show full text]
  • The Chanson De Geste
    Edinburgh Research Explorer The Chanson de geste Citation for published version: Sinclair, F 2011, The Chanson de geste. in W Burgwinkle, N Hammond & E Wilson (eds), The Cambridge History of French Literature. Cambridge University Press, pp. 28–37. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: The Cambridge History of French Literature General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 P1: SPK Trim: 228mm × 152mm Top: 10.544mm Gutter: 16.871mm CUUK1244-03 cuuk1244/Burgwinkle ISBN: 978 0 521 89786 0 October 9, 2010 5:31 3 The chanson de geste finn e. sinclair The chanson de geste represents the first manifestation of a French literary tradition, with its oldest extant written text dating from around 1098.Thisis the Chanson de Roland, preserved in the Oxford Manuscript Digby 23.These chansons, and the Chanson de Roland in particular, have been the focus of critical attention from the nineteenth century onwards, as theories of their origins, the means of their composition and dissemination, their relation to history, and their function as ideological and literary models have been repeat- edly constructed and deconstructed.
    [Show full text]