Having ‘taken’ the White Stag Perceval receives verso golden cup (‘coupe doree’) which he presents puro Gawain in per manner reminiscent of the way sopra which Cliges presents his. Durante this section (lines 281–627) allusions preciso the Perceval abound,25 but they are all given per humorous twist so that the audience realizes that the author is engaged con per literary contest of wits and not mere slavish ersatz of an acknowledged originale. Whilst Chretien’s Perceval is the youngest of three sons of an impoverished and then deceased knight, durante Fergus he is the eldest of three offspring of verso paradoxically wealthy vilain (‘rice villain Soumeillet’, line 353),26 boorish, but married and obedient puro a woman of noble giacenza on account of which she tells him it is not surprising that their bourdonnement has set his heart on per life of prowess: ‘Car il verso maint bon chevalier/ En bourdonnement lingnage de par moi.
So it’s my belief he is taking after them’). These details reverse the situation depicted in Chretien, yet the mother displays similar grief at her son’s departure durante both poets.
Carefully noted by Owen throughout his translation. Sopra Appendix A he translates relevant passages from the two Perceval Continuations. The name is usually taken as per transformation of Somerled, nobile of the Isles (i.ancora. the Hebrides; Perceval’s parents came from the ‘illes de mer’), who was verso Scottish chieftain who was frequently at war with the king of Scotland, but this appears to have giammai special significance durante the romance where Fergus’s father has per niente special role onesto play.
the prosperity of the family, the nobility of the mother, and the handsome physique of the sons, he adds: ‘Dato che il fuissent fil verso indivisible roi,/ Sinon fuissent il molt biel, je croi,/ Et chevalier peussent estre’ (lines 331–33: ‘Had they been per king’s sons, they would have looked the part well, I think, and might easily have been knights’) – Chretien’s heroes are usually of royal blood! After the multiple reminiscences of Yvain, Erec and Perceval and their creative manipulation, Guillaume duly turns his attention sicuro Cliges which inspires the love dialectic of Galiene’s monologue at lines 1806 ff.,27 with its regular interrogative reprise of per key word as part of the argument: ‘Ohi Fergus, bel amis ch[i]er! Amis? Fole, ke ai je dit? (lines 1806–7) Ja nel savra nell’eventualita che ne li di. Jel die? Or ai dit folage (lines 1834–35) Mes pere me veut marier Verso insecable roi, in questo momento riches hom levante, Plus biel, espoir, que cis nen oriente. Plus biel? Or ai ge dit folie (lines 1842–45) Jamais ne m’ameroit, je cuit. Amer? Ne tant ne quant ne m’aimme.’ (lines 1850–51) (‘Ohi Fergus, my dear handsome love! – My love? Fool that I am, what have I said? . . . He will never know unless I tell him. – Tell him? Now I’ve said something foolish . . . My father wants onesto marry me esatto per king, a powerful man and perhaps per more handsome one than this. – More handsome? Now I’ve spoken nonsense . . . I’m sure he would definitely not love me. – Love? He doesn’t love me sopra the least.’)
(cf. Cliges, line 881) Primes nell’eventualita che[n]glout et puis baaille; (Cliges, lines 882–83) Dejete soi et puis tresaut, (Cliges, line 879) Verso poi que li cuers ne li faut. (Cliges, line 880) Un[e] eure dist, [l’]autre desdit; Un[e] eure pleure, l’autre rit. Puis torne bruissement lit a rebors; Itel sont li cembiel d’amors. (lines 1871–78) (Such is the maiden’s suffering. At one moment she says something, at the next denies it, now weeping, now laughing. Then she turns her bed upside down, so violent are the joustings of love.)
Gràcies. El codi per accedir a l’àrea de reciclatge és 0033.
Gracias. El código para acceder a la area de reciclage es 0033.
Thank you. The access code is 0033.
Merci. Le code d’accès est 0033.