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luf-talkyng’ in luf-talkyng’ in Medieval Medieval Literature 6 Literature 6 Thomas Honegger Thomas Honegger t.m.honegger@swissonli t.m.honegger@swissonli ne.ch ne.ch

‘luf-talkyng’ in Medieval Literature 6

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‘luf-talkyng’ in Medieval Literature 6. Thomas Honegger [email protected]. Narratives 2. http:// www. db-thueringen.de/ content/top/ index.xml. Next time. Triviale Liebeserklärungen? Bemerkungen zu einem problematischen Sprechakt in der mittelenglischen Literatur. - PowerPoint PPT Presentation

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Page 1: ‘luf-talkyng’ in Medieval Literature 6

‘‘luf-talkyng’ in luf-talkyng’ in Medieval Medieval

Literature 6Literature 6

Thomas HoneggerThomas Honegger

[email protected]@swissonline.chine.ch

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Narratives 2Narratives 2

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http://www.db-thueringen.de/

content/top/index.xml

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Next timeNext time

Triviale Liebeserklärungen? Triviale Liebeserklärungen? Bemerkungen zu einem Bemerkungen zu einem problematischen Sprechakt in problematischen Sprechakt in der mittelenglischen Literatur.der mittelenglischen Literatur.

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Guigemar & Guigemar & LanvalLanval

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GuigemarGuigemar young knight, no lady-loveyoung knight, no lady-love goes hunting, white hindgoes hunting, white hind wounded in the thigh, prophecywounded in the thigh, prophecy passage to the Otherworldpassage to the Otherworld is discovered by a lady (‘mal mariée’)is discovered by a lady (‘mal mariée’) hostess-guest relationshiphostess-guest relationship fall in love & enjoy their lovefall in love & enjoy their love separationseparation reunion & marriagereunion & marriage

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Guigemar’s strategyGuigemar’s strategy

Hostess/nurse Hostess/nurse - guest/patient - guest/patient relationshiprelationship

quisse = thighquisse = thigh

Nurse/beloved Nurse/beloved - patient/lover - patient/lover relationshiprelationship

quors = heartquors = heart

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The lady’s reactionThe lady’s reaction

[..] Amis,[..] Amis,Cist cunseilz sereit trop hastisCist cunseilz sereit trop hastisD’otrïer vus ceste priere:D’otrïer vus ceste priere:Jeo ne sui mie acustumiere.Jeo ne sui mie acustumiere.((GuigemarGuigemar, Rychner 1983:21, ll. , Rychner 1983:21, ll. 509-512)509-512)Friend, / such a decision would be Friend, / such a decision would be too rash, / to grant you this request. too rash, / to grant you this request. / I am not accustomed [to such / I am not accustomed [to such requests]requests]

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Don’t be so hasty …Don’t be so hasty …

Andreas Capellanus: tam Andreas Capellanus: tam festinanter postula[re] amorem festinanter postula[re] amorem ….….to ask for love with such haste [is to ask for love with such haste [is unseemly]unseemly]

GraelentGraelent: Tu ne dois estre si : Tu ne dois estre si hardishardisYou must not be so impatient.You must not be so impatient.

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Guigemar’s response 1Guigemar’s response 1

Dame, fet il, pur Deu merci!Dame, fet il, pur Deu merci!Ne vus ennoit si jol vus di:Ne vus ennoit si jol vus di:

My lady, he replied, in God’s My lady, he replied, in God’s name, mercy!name, mercy!Do not be angry if I tell you this:Do not be angry if I tell you this:

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Guigemar’s response 2Guigemar’s response 2

Femme jolive de mestierFemme jolive de mestierSe deit lunc tens faire preierSe deit lunc tens faire preierPur sei cherir, que cil ne quitPur sei cherir, que cil ne quitQue ele eit usé cel deduit,Que ele eit usé cel deduit,a woman who is fickle by habit / lets a woman who is fickle by habit / lets herself be courted for a long time / herself be courted for a long time / to make herself feel important and to make herself feel important and so that he [the suitor] does not so that he [the suitor] does not realise / that she has practised such realise / that she has practised such pleasure.pleasure.

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Guigemar’s response 3Guigemar’s response 3

Mes la dame de bon purpens,Mes la dame de bon purpens,Ki en sei eit valur ne sens,Ki en sei eit valur ne sens,S’ele treve hume a sa maniere,S’ele treve hume a sa maniere,Ne se ferat vers lui trop fiere,Ne se ferat vers lui trop fiere,But the well-intentioned lady / But the well-intentioned lady / who has in herself worth and who has in herself worth and wisdom, / if she finds the man to wisdom, / if she finds the man to her liking, / should not show her liking, / should not show herself too forbidding.herself too forbidding.

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Guigemar’s response 4Guigemar’s response 4

Ainz ke nuls le sachet ne l’oieAinz ke nuls le sachet ne l’oieAvrunt il mut de lur pru fait.Avrunt il mut de lur pru fait.Bele dame, finum cest plait!Bele dame, finum cest plait!((GuigemarGuigemar, Rychner 1983:21, ll. 513-, Rychner 1983:21, ll. 513-526)526)But she should [rather] love him and But she should [rather] love him and enjoy it. / Unless anyone knows or enjoy it. / Unless anyone knows or hears of it, / they will profit greatly hears of it, / they will profit greatly from it. / Fair lady, let us put an end from it. / Fair lady, let us put an end to this discussion.to this discussion.

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Guigemar’s response 5Guigemar’s response 5

rhetorical sleight-of-hand rhetorical sleight-of-hand (Zaubertrick)(Zaubertrick)

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2 levels of Guigemar’s 2 levels of Guigemar’s responseresponse

‘‘interactional’ interactional’ level:level:Attends to the Attends to the lady’s positive lady’s positive face-needs.face-needs.

Level of narrative Level of narrative organisation:organisation:tongue-in-cheek tongue-in-cheek depiction of the depiction of the protagonists’ protagonists’ endeavour to endeavour to keep up keep up appearancesappearances

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traditionstraditions

lyrical traditionlyrical tradition rational-argumentative traditionrational-argumentative tradition

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Separation of the loversSeparation of the lovers

She ties a knot into the tailpiece She ties a knot into the tailpiece of his shirtof his shirt

He ‘girds her loins’ with a belt or He ‘girds her loins’ with a belt or girdle that is secured by a bucklegirdle that is secured by a buckle

Separation = belated trial of loveSeparation = belated trial of love

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Lay vs. lyricLay vs. lyric Auctorial narrator Auctorial narrator

guarantees guarantees genuineness of genuineness of lovelove

Lady gains a voiceLady gains a voice DialogueDialogue ‘‘interactive’ ladiesinteractive’ ladies

Characterisation Characterisation via dialogues and via dialogues and interactioninteraction

First-person First-person narrator narrator predominatespredominates

Silent ladySilent lady MonologueMonologue Distant and Distant and

passive ladiespassive ladies Self-defined via Self-defined via

monologuesmonologues

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LanvalLanval

by Marie de Franceby Marie de France

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Basic ElementsBasic Elements

the hero leaves the romance world the hero leaves the romance world and enters into the Otherworldand enters into the Otherworld

he encounters a fairy and receives he encounters a fairy and receives gifts and a taboogifts and a taboo

he returns, breaks the taboo, and he returns, breaks the taboo, and runs into difficultiesruns into difficulties

finally, the Otherworld finally, the Otherworld protagonists intervene on his protagonists intervene on his behalf and take him into the behalf and take him into the OtherworldOtherworld

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Similar talesSimilar tales

anonymous French lay anonymous French lay GraelentGraelent (composed after 1178 and before 1230)(composed after 1178 and before 1230)

anonymous French lay anonymous French lay GuingamorGuingamor (composed c. 1189-1200)(composed c. 1189-1200)

the English the English Sir LandevalSir Landeval (composed (composed between 1300 and 1350)between 1300 and 1350)

Thomas Chestre’s Thomas Chestre’s Sir LaunfalSir Launfal (c. 1350) (c. 1350) Sir LambewellSir Lambewell (composed in the 16th (composed in the 16th

c.)c.)

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Plot elementsPlot elements L. a knight at Arthur’s court who runs L. a knight at Arthur’s court who runs

into financial difficulties, has to leaveinto financial difficulties, has to leave Encounter with the fairy who offers Encounter with the fairy who offers

her love and financial support on her love and financial support on condition of absolute secrecycondition of absolute secrecy

L. back at court, advances by the L. back at court, advances by the queenqueen

Fall from grace, accusation, breaking Fall from grace, accusation, breaking of promise of secrecyof promise of secrecy

Rescue by the fairyRescue by the fairy

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English adaptationsEnglish adaptations

Sir LandevalSir Landeval (composed between (composed between 1300 and 1350)1300 and 1350)

Thomas Chestre’s Thomas Chestre’s Sir LaunfalSir Launfal (c. (c. 1350)1350)

Sir LambewellSir Lambewell (composed in the (composed in the 16th c.)16th c.)

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Encounter with the fairy Encounter with the fairy 11

Sire Lanval, ma dameisele,Sire Lanval, ma dameisele,Ki tant est pruz e sage e bele,Ki tant est pruz e sage e bele,Ele nus enveie pur vus;Ele nus enveie pur vus;Kar i venez ensemble od nus!Kar i venez ensemble od nus!Sauvement vus i cundurums:Sauvement vus i cundurums:Veez, pres est li paveilluns.Veez, pres est li paveilluns.

Sir Lanval, my mistress, / who is very Sir Lanval, my mistress, / who is very worthy, wise and fair, / has sent us worthy, wise and fair, / has sent us for you. / Therefore come with us! / for you. / Therefore come with us! / We will conduct you safely there. / We will conduct you safely there. / Look, her tent is near.Look, her tent is near.

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Encounter with the fairy Encounter with the fairy 22

Il s’est devant le lit asis.Il s’est devant le lit asis.‘Lanval,’ fet ele, ‘beus amis,‘Lanval,’ fet ele, ‘beus amis,Pur vus vienc jeo fors de ma tere;Pur vus vienc jeo fors de ma tere;De luinz vus sui venu[e] quere.De luinz vus sui venu[e] quere.Se vus estes pruz e curteis,Se vus estes pruz e curteis,Emperere ne quens ne reisEmperere ne quens ne reisN’ot unkes tant joie ne bien;N’ot unkes tant joie ne bien;Kar jo vus aim sur tute rien.’Kar jo vus aim sur tute rien.’

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Encounter with the fairy Encounter with the fairy 33

He sat before the bed. / ‘Lanval,’ He sat before the bed. / ‘Lanval,’ she said, ‘fair friend, / for you she said, ‘fair friend, / for you I’ve come from my country. / I I’ve come from my country. / I have come far in search of you / have come far in search of you / and if you are worthy and and if you are worthy and courtly, / no emperor, count or courtly, / no emperor, count or king / will have felt as much joy king / will have felt as much joy or good fortune as you, / for I or good fortune as you, / for I love you above all else.’love you above all else.’

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Encounter with the Encounter with the queen 1queen 1

Quant la reïne sul le veit,Quant la reïne sul le veit,Al chevaler en va tut dreit;Al chevaler en va tut dreit;Lunc lui s’asist, si l’apela,Lunc lui s’asist, si l’apela,Tut sun curage li mustra:Tut sun curage li mustra:‘Lanval, mut vus ai honuré‘Lanval, mut vus ai honuréE mut cheri e mut amé;E mut cheri e mut amé;Tute m’amur poëz aveir.Tute m’amur poëz aveir.Kar me dites vostre voleir!Kar me dites vostre voleir!Ma drüerie vus otrei;Ma drüerie vus otrei;Mut devez estre liez de mei.’Mut devez estre liez de mei.’

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Encounter with the Encounter with the queen 2queen 2

When the queen saw him alone, / she When the queen saw him alone, / she approached the knight straightaway. approached the knight straightaway. / Sitting down beside him, she spoke / Sitting down beside him, she spoke to him / and opened her heart: / to him / and opened her heart: / ‘Lanval, I have honoured you much, / ‘Lanval, I have honoured you much, / and cherished and loved you much. / and cherished and loved you much. / You may have all my love. / You may have all my love. / Therefore tell me what you desire! / Therefore tell me what you desire! / I grant you my love / you should be I grant you my love / you should be glad to have me.’ glad to have me.’

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Fairy vs. Queen 1Fairy vs. Queen 1 Pre-sequencePre-sequence Forms of Forms of

address: positive address: positive politenesspoliteness

Maximises cost Maximises cost to herself: to herself: positive positive politeness, politeness, ‘service’ => ‘service’ => imposition not imposition not severesevere

-------------------------- Forms of Forms of

address: neutraladdress: neutral Maximises cost Maximises cost

to herself: to herself: positive positive politeness, politeness, ‘emotions’ => ‘emotions’ => imposition imposition severe (neg. severe (neg. FTA)FTA)

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Form of addressForm of address

Fairy to Lanval: Fairy to Lanval: name + ‘beus amis’ + courtly V name + ‘beus amis’ + courtly V => social deictic expressions => social deictic expressions that express both her coutliness that express both her coutliness (‘vous’) and her graceful (‘vous’) and her graceful disposition towards or even disposition towards or even affection for the knight (‘beus affection for the knight (‘beus amis’)amis’)

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Fairy vs. Queen 2Fairy vs. Queen 2

conditionalconditional Declaration of Declaration of

love given as love given as reason for reason for benefitsbenefits

---------------------------- ----------------------------

-------------------------- On-record On-record

offer of love offer of love (neg. FTA)(neg. FTA)

Order/offer Order/offer (neg. FTA)(neg. FTA)

Expected Expected reaction made reaction made explicitexplicit

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Encounter with the fairyEncounter with the fairy

He sat before the bed. / ‘Lanval,’ she He sat before the bed. / ‘Lanval,’ she said, ‘fair friend, / for you I’ve come said, ‘fair friend, / for you I’ve come from my country. / I have come far in from my country. / I have come far in search of you /search of you / and if you are and if you are worthy and courtly, / no emperor, worthy and courtly, / no emperor, count or king / will have felt as count or king / will have felt as much joy or good fortune as much joy or good fortune as youyou, , / for I love you above all else.’/ for I love you above all else.’

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EffectEffect

Perlocutionary effect = hearer’s Perlocutionary effect = hearer’s reactionreaction

Declaration of love perceived as a Declaration of love perceived as a non-coercive proposalnon-coercive proposal

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Intrusion of the Intrusion of the OtherworldOtherworld

falcon-knight in Marie de falcon-knight in Marie de France’s lay France’s lay YonecYonec

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Fairy vs. QueenFairy vs. Queen Pre-sequencePre-sequence Forms of Forms of

address: positive address: positive politenesspoliteness

Maximises cost Maximises cost to herself: to herself: positive positive politeness, politeness, ‘service’ => ‘service’ => imposition not imposition not severesevere

-------------------------- Forms of Forms of

address: neutraladdress: neutral Maximises cost Maximises cost

to herself: to herself: positive positive politeness, politeness, ‘emotions’ => ‘emotions’ => imposition imposition severe (neg. severe (neg. FTA)FTA)

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Encounter with the Encounter with the queen 2queen 2

‘‘Lanval, I have honoured you Lanval, I have honoured you much, / and cherished and much, / and cherished and loved you much. / You may loved you much. / You may have all my love. / Therefore have all my love. / Therefore tell me what you desire! / I tell me what you desire! / I grant you my love / you grant you my love / you should be glad to have me.’should be glad to have me.’

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Fairy vs. QueenFairy vs. Queen

conditionalconditional Declaration of Declaration of

love given as love given as reason for reason for benefitsbenefits

---------------------------- ----------------------------

-------------------------- On-record On-record

offer of love offer of love (neg. FTA)(neg. FTA)

Order/offer Order/offer (neg. FTA)(neg. FTA)

Expected Expected reaction made reaction made explicitexplicit

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Soredamor in Chrétien Soredamor in Chrétien de Troyes’ de Troyes’ CligésCligés

Comant? Proierai le je donques?Comant? Proierai le je donques?Nenil! Por coi? Ce n’avint onquesNenil! Por coi? Ce n’avint onquesQue fame tel forfet feïstQue fame tel forfet feïstQue d’amors home requeïst,Que d’amors home requeïst,Se plus d’autre ne fu desvee. Se plus d’autre ne fu desvee.

What? Shall I ask him? / No! Why What? Shall I ask him? / No! Why not? It never happened / that a not? It never happened / that a woman acted so wrongly / as to woman acted so wrongly / as to propose love to a man, / unless she propose love to a man, / unless she were strangely out of her mind.were strangely out of her mind.

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La Fière in Ipomedon

Jeo nel devraie pas prier,Jeo nel devraie pas prier,Par droit devraie estre prié. Par droit devraie estre prié.

I must not ask him,I must not ask him, by right I must be asked. by right I must be asked.

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The Queen to LanvalThe Queen to Lanval

Mut devez estre lié de meiMut devez estre lié de mei You should be glad to have meYou should be glad to have me

[literally: ‘You should be glad about [literally: ‘You should be glad about me’]me’]

Marie does not present clear Marie does not present clear innocence and guilt, but a situation innocence and guilt, but a situation in which each person is surprised in which each person is surprised into an overhasty reaction.into an overhasty reaction.

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Fairy vs. queenFairy vs. queen

both six linesboth six lines one turn per protagonistone turn per protagonist plot motivation rather than plot motivation rather than

protagonist characterisationprotagonist characterisation informational content more or informational content more or

less identicalless identical declarations of love differ on declarations of love differ on

pragmatic levelpragmatic level

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Fairy vs. queenFairy vs. queen

plausible motivationplausible motivation Potiphar’s wife syndromePotiphar’s wife syndrome

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The Middle English The Middle English VersionsVersions

Sir LandevalSir Landeval (composed between (composed between 1300 and 1350)1300 and 1350)

Thomas Chestre’s Thomas Chestre’s Sir LaunfalSir Launfal (c. (c. 1350)1350)

Sir LambewellSir Lambewell (composed in the (composed in the 16th c.)16th c.)

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Sir Lambewell 1Sir Lambewell 1

My Lady thats bright as blossome My Lady thats bright as blossome or flower,or flower,thee greets, Sthee greets, Siir Lamwell, as her r Lamwell, as her paramoure;paramoure;

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Sir Lambewell 2Sir Lambewell 2

when of her he had had a sight,when of her he had had a sight,down of his knees then fell the down of his knees then fell the KKnighnight,t,& saluted her w& saluted her wiith mild steuenth mild steuenas though that shee had come fro as though that shee had come fro heauen,heauen,& spake to her when he had space,& spake to her when he had space,“I put me, lady, into yo“I put me, lady, into youur grace.”r grace.”

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ME versions vs. Marie de ME versions vs. Marie de France’s France’s LanvalLanval

The ‘ME queen’ explicitly The ‘ME queen’ explicitly announces her intention to announces her intention to address Landevaleaddress Landevale

Marie de France’s queen Marie de France’s queen addresses Lanval rather abruptly addresses Lanval rather abruptly and without a preceding and without a preceding introduction.introduction.

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The ME queen (The ME queen (Sir Sir LandevaleLandevale))

‘‘Yender,’ she said, ‘ys Landavall;Yender,’ she said, ‘ys Landavall;Of all the kOf all the knynyghtys that ben hereghtys that ben hereThere is none so faire a bachyl[e]r;There is none so faire a bachyl[e]r;And he haue noder leman ne wyf,And he haue noder leman ne wyf,J wold he louyde me as his lif.J wold he louyde me as his lif.Tide me good or tyde me ille,Tide me good or tyde me ille,J wille assay the kJ wille assay the knynyghtys wille.’ghtys wille.’

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The ME queen (The ME queen (Sir Sir LaunvalLaunval))

All All ππey seyde, ham betwene,ey seyde, ham betwene,ππat knewe at knewe ππe maners of e maners of ππe Quenee QueneAnd And ππe queste toke,e queste toke,ππe Quene bar los of swych a worde Quene bar los of swych a wordππat sche louede lemmannes without at sche louede lemmannes without her lord;her lord;Har neuir on hyt foresoke;Har neuir on hyt foresoke;

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ME texts vs. Marie de ME texts vs. Marie de FranceFrance

ME texts are interested in ME texts are interested in creating moral oppositions creating moral oppositions between the main antagonists.between the main antagonists.

Marie is more concerned to Marie is more concerned to evoke a psychologically and evoke a psychologically and socially familiar experience in a socially familiar experience in a situation that is atypical than to situation that is atypical than to take up moral positions.take up moral positions.

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ME Landevale vs. LanvalME Landevale vs. Lanval

Lanval is alone and the prototype Lanval is alone and the prototype of the melancholy loverof the melancholy lover

Landevale leads the Landevale leads the merrymaking and the dance merrymaking and the dance together with Gawain and the together with Gawain and the queen.queen.

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Declaration of love in Declaration of love in Sir LaunfalSir Launfal

Sertaynlyche, Syre Kny3t,Sertaynlyche, Syre Kny3t,I haue I haue ππe louyd with all my my3te louyd with all my my3tMore More ππan an ππys seuen 3ere;ys seuen 3ere;But-But-ππat at ππou louye me,ou louye me,Sertes y dye fore loue of Sertes y dye fore loue of ππe,e,Launfal, my lemman dere!Launfal, my lemman dere!

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Typical courtly love Typical courtly love elementselements

Long and patient wait (7 years)Long and patient wait (7 years) Danger of dying of love-longingDanger of dying of love-longing Cf. Anglo-Norman Cf. Anglo-Norman Amurs curteizAmurs curteiz

(dated 1299)(dated 1299)

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Forms of addressForms of address

formal-polite “Syre Kny3t” formal-polite “Syre Kny3t” replaced by replaced by affective-informal affective-informal “Launfal, my lemman dere!”“Launfal, my lemman dere!”

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Launfal’s answerLaunfal’s answer

‘‘Madame,’ he said, ‘be god, nay!Madame,’ he said, ‘be god, nay!

I wil be traitour neuer, parfay!I wil be traitour neuer, parfay!J haue do the kyng oth & feaulté J haue do the kyng oth & feaulté ––He shall not be traid for me!’He shall not be traid for me!’

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Marie vs. ME versionsMarie vs. ME versions

The 6 un-prefaced lines spoken by The 6 un-prefaced lines spoken by the queen in Marie de France’s the queen in Marie de France’s LanvalLanval are not only used for plot are not only used for plot motivation, but also for protagonist motivation, but also for protagonist characterisation => the few lines characterisation => the few lines carry a heavy burdencarry a heavy burden

ME versions add a preceding ME versions add a preceding monologue and inform us about the monologue and inform us about the queen’s reputation => more round queen’s reputation => more round character, less abrupt declaration of character, less abrupt declaration of love, better motivatedlove, better motivated

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ConclusionConclusion

Overall picture remains the Overall picture remains the same, and even a pre-sequenced same, and even a pre-sequenced ‘nymphomaniac’ queen is not ‘nymphomaniac’ queen is not likely to gain the approval of the likely to gain the approval of the audience.audience.