By Keith Busby, Keith Busby, Roger Dalrymple

The texts analyzed underline the broad dissemination of the Arthurian tale in medieval and post-medieval Europe, from Scotland to Italy, whereas some of the analyses of the manifestations of comedy refute the idea of romance as a humourless style. certainly, the comedian therapy of traditional subject matters and motifs seems to be not just attribute of later romance yet an important component to the style from its beginnings and from its earliest improvement. Authors of Arthurian romance, from Chr?tien de Troyes to Malory, writing in French, Italian, heart Dutch, and center English, and the creators of an Irish prose-tale, all query the basic assumptions of romance and romance values throughout the medium of comedy. The subject of comedy in Arthurian romance has been constructed from the orignal consultation on the Arthurian Congress in Toulouse.

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Certes, à la suite d’A. Philipot, il est possible d’éclairer cette parenté par un prototype commun,55 que l’on retrouverait aussi dans les oeuvres étrangères apparentées, Wigalois, Carduino et Lybeaus Desconus. Cependant le nombre et la précision des points communs sont tels que l’hypothèse d’un emprunt littéraire est vraisemblable. Par ailleurs, pour le lecteur moderne, la familiarité que l’on peut prêter au lecteur médiéval avec les archétypes supposés, peut-être encore présents dans les traditions orales, a disparu, tandis que le texte de Chrétien, écrit, est accessible et suscite des rapprochements.

On peut d’ailleurs se demander si le nom de Galiene n’est pas motivé par un écho du surnom de Perceval (le Gallois). 61 Les références données sont celles de l’édition E. Martin (Halle, 1872). Nous n’avons pu consulter celle de W. Frescoln (Philadelphie, 1983). vp 17 September 2002 09:43:36 Color profile: Generic CMYK printer profile Composite Default screen CHRISTINE FERLAMPIN-ACHER Ne ne set que estre pooit. Molt volentiers l’esgarde et voit Et tot i metoit sa pensee, Et dist que c’est cose faee Qui’st venue por lui aider.

2161). Quand l’affreuse créature se dresse enfin, le texte glisse sur ce que voit le chevalier et adopte le point de vue du monstre qui devient le centre d’un développement merveilleux. C’est en effet lui qui, affamé, ‘irié’ (v. 2164), est dans des conditions psychologiques telles que sa vue risque d’être perturbée. C’est lui qui regarde et s’interroge sur le mode merveilleux: La teste lieve, et quant il voit Florimont que vers lui venoit, Mout en ait eüt grant mervelle, Qu’ainz tel beste ne sa paraille Ne vit en terre ne en mer.

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