The Rôle of the Lion in Chretien de Troyes' Yvain

PMLA ◽  
1949 ◽  
Vol 64 (5) ◽  
pp. 1143-1163 ◽  
Author(s):  
Julian Harris

Although the lion plays a considerable rôle in Chrétien de Troyes' Chevalier au Lion, his function in the poem has traditionally attracted relatively little attention on the part of Arthurian scholars. Gaston Paris, in one of his notable articles on Chrétien, relegated the story of the noble beast to a footnote in which he said: “cette historiette … ne sert à rien dans le récit où Chrétien a jugé bon de l'insérer.”1Naturally enough, scholars who regard Yvain as a Celtic otherworld tale dressed up in French clothing, finding no close analog to the lion in Celtic lore, have paid little attention to him. And those who have con-cerned themselves with demonstrating that the source of the lion story was Latin or Greek have been interested more in the relation between Yvain's lion and that of Androcles (or some other one) than in his function in the poem. Those who have studied particularly the structure of the poem have attached more importance to the lion,2 but so far as I know no one has pointed out what seems to me to be his symbolic significance. Since Chrétien repeatedly said that he was concerned both with the “matière” and the “sens” of his romances,3 and as he called Yvain the roman du Chevalier au Lion,4 it seems reasonable to examine the poem in some detail and try to see if he attached more significance to the lion than modern scholarship has pointed out.

2007 ◽  
Vol 40 (1-2) ◽  
pp. 167-175
Author(s):  
Miha Pintarič

Chretien de Troyes, the most famous of the French 12th-century authors of chivalric romaces, comes to a very personal view of violence towards the end of his writing career, in his Perceval or the grail story. While in his previous works, the first of which was Erec and Enid, the object of the present article, he abided by the commonly accepted norms concerning the description of »violence«: there's no »abstract violence«, and it should never befall and idea or a tradition while the violence against the individual is a common occurrence considered "creative" and legitimate, if not indispensable, for the making of social hierarchy and order, violence ceases to be a topic of interest in his last, unfinished text.


2020 ◽  
Vol 8 (1) ◽  
pp. 38-60
Author(s):  
Erich Poppe

AbstractThis article explores the devices employed by the medieval Welsh narrator of Owain, or Chwedyl Iarlles y Ffynnawn (‘The Story of the Lady of the Well’), to convey emotions and the mental states of his characters to his audiences. Although he generally remains inaudible, he uses, at some crucial points, words and phrases denoting emotions in a narrow sense, such as love, sadness and shame, in order to direct and steer the audiences’ perception and their understanding of the narrative. A comparison with thematically related texts, Chrétien de Troyes’ Yvain, and its Old Norse, Old Swedish and Middle English translations, helps to assess the narrative role of literary emotions in the Welsh text.


1979 ◽  
Vol 34 (5) ◽  
pp. 943-955 ◽  
Author(s):  
Bruce A. Rosenberg ◽  
D. Laurent ◽  
R. J. Cormier

La littérature médiévale en langue vulgaire est plus largement imprégnée d'éléments folkloriques que celle de n'importe quelle autre période. Les oeuvres savantes — écrits philosophiques, théologiques ou autres — étaient toujours en latin (les sermons, toutefois, étaient émaillés de proverbes, de récits facétieux ou de légendes populaires). Les récits en langue vulgaire, eux, ont souvent pour cadre le monde merveilleux du conte. Même les romans courtois, tels ceux de Chrétien de Troyes, ou les lais de Marie de France, les Nouvelles de Boccace et les Contes de Canterbury de Chaucer sont étonnamment proches des contes populaires dont ils dérivent ou qui, à l'inverse, en dérivent. Magie, croyances et savoir populaires sont partout. Théoriquement, donc, le médiéviste devrait connaître le folklore au moins aussi bien que le latin, mais, bien souvent, tel n'est pas le cas. Joseph Bédier tournait en dérision, à cause sans doute de leurs excès, ses collègues (les « folkloristes ») qui étudiaient les origines du conte populaire. Mais, ce faisant, il a retardé de plusieurs décennies le développement des études de folklore en France.


Romania ◽  
1884 ◽  
Vol 13 (50) ◽  
pp. 399-400
Author(s):  
G. P.

Romania ◽  
1931 ◽  
Vol 57 (225) ◽  
pp. 13-74
Author(s):  
Ernest Hoepffner

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