The prose fragment, which has always been correctly listed as the Roman des Sept Sages, filled f. Smith pointed out that these two remnants, by then numbered 26 bis and 26 ter, should have been placed before 26 proper, rather than after it p. The prose text was far from whole ; it lacked the first few sentences as well as several folios from the middle, and a small miniature had been cut out from 26d.
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This was an illustration for the tale known as Canis, in which a loyal greyhound, after a fearful combat, succeeds in killing a serpent that threatened the life of the dog's master's heir. When the master sees his son's cradle upside down and covered with blood, he jumps to the conclusion that the dog has murdered the baby.
Not until after he has slain the dog does he learn the truth Very little of the prose Sept Sages in Chartres has been recorded. Smith listed the titles of all the stories, which were told alternately by the Queen and Sages, and the names of the Sages that figured in the fragment : Queen, Arbor ; Baucillas, Canis ; Queen, Aper ; Augustus, Medicus ; Queen, Gaza ;. Sage's name lost through excision of miniature , Puteus ; Queen, Senescalcus ; Sage's name lost , Tentamina, first part only p.
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And Meyer published about three from the beginning, not including the incipit, which was already missing in :. II ot jadis. II ot eii famme. D'icelle femme li fu remis. Li empereres fu vieuz et li enfez out bien. Li empereres apela les. The sentences in roman type above constitute the beginning of the Chartres fragment. Meyer quoted the opening of the romance, in italics, from Le Roux de Lincy's edition, based on B. Following the prose Sept Sages came a line fragment of the verse romance, which filled f.
Paris bestowed the siglum C on the rhymed text, but he failed to include the prose one in his list of prose Smith made a still more important discovery : that the verse fragment picked up the story exactly where the prose text left off, i. Thus, the prose and verse pieces were not fragments in the true sense of the word since someone assembled them to obtain a complete, if hybrid, romance. Smith argued that the rhymed text was copied to finish out a deficient prose fragment.
His hypothesis was based on two observations : 1 the prose text comes to a halt at the very bottom of a folio, and 2 a copyist using a text like the verse model of D, the derhymed redaction published by Paris from B. This hypothesis seems quite plausible but cannot, of course, be verified. Meyer apparently considered the handwriting of the prose and verse sections to be the same since he mentioned a different hand only for the Vie de sainte Marguerite.
My own study of f. Variations in the decorative styles of the two parts support the notion of a change. Chartres and the Sept Sages Prose Tradition. When we corne to inquire into the nature of Chartres 's prose Sept Sages fragment and its relationship to the rather confusing Sept Sages prose tradition, we encounter reticence and disinterest in those same scholars to whom we are so greatly indebted for their descriptions of the physical appearance and contents of the manuscript.
The point of departure for modern research in this area seems to be the table drawn up by Lewis Thorpe in the preliminary study to his edition of Le Roman de Laurin, the second continuation in the Seven Sages cycle Runte, who are preparing a critical edition of the more widespread redaction an A version have provided additional information about some manuscripts Basically, the prose Sept Sages redactions fall into two families, A and L.
The A family contains the same fifteen tales as the sole complete verse redaction, K, but sets. In a subgroup of A the last four tales show clear evidence of having been derhymed from a verse source rather like K ; this subsection of the A redaction is called A2. The L-family text resembles the A version at the beginning of the romance but then diverges from A and replaces some of the intercalated stories with new tales.
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Le Roux de Lincy the L text of B. Loiseleur-Deslong- champs's Essai sur les fables indiennes 20 ; for the passages where L resembles A, he appended selected variants from an A manuscript, B. Plomp transcribed the A text of B.
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The relatively straightforward picture of filiations sketched above is complicated by the presence of abridged versions, conflated versions, and variant endings in individual manuscripts or subgroups of manuscripts. These complications need not concern us here. The problem is obvious : were they referring to A or L? As we have just seen, Le Roux de Lincy published the complete text of L, with variants from A, and also the text of four tales in A2.
This summing-up, however, Meyer. In the most limited sense, he must have meant Le Roux de Lincy's L text because he quoted from that text in establishing the context for the truncated beginning of the Chartres fragment see Part I above and because in that edition only the L text contains the tales which appear in Chartres Killis Campbell, on reading Meyer, understood him to group the Chartres fragment in the L family The second piece of evidence adduced by Berne in classifying Chartres rests on an observant reading of Smith's chart of tales and narrators.
She notices that the second Sage is named Augustus here, as in B. Folio 26V, then, supplies the first significant textual evidence in a case based heretofore on conjecture and deduction.
Let us now turn our attention to this brief but precious text. Margaret M. Thomas E. A Structural Study D. Joseph R. Eustache d'Amiens, Du Bouchier d'Abevile. Robert Harrison, Gallic Salt.
Erik V. Kraemer, Le jeu d'Amour W. Charles E. Jean Froissart, La Prison amoureuse J. Diana B. Peter S. Noble ed. Jean-Claude Riviere, Pastourelles. Christa Schlumbohm, Jocus und Amor.
Ernstpeter Ruhe, De Amasio ad Amasiam. Zur Gattungsgeschichte des mittelalterlichen Liebesbriefes. Keith Bate. Richard A. Dwyer, Boethian Fictions.
Vladimir R. Wirklichkeit und Spiel Lynette R. Studien und Berichte Nicholas Mann. Peter F. Marie-Madeleine de la Garanderie, Christiarrisme et Lettres profanes. Mary E. Vachon, Rabelais tel quel Dorothy Gabe Coleman.
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