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

Literature 10Literature 10

Thomas HoneggerThomas Honegger

t.m.honegger@swissonlt.m.honegger@swissonline.chine.ch

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

content/top/index.xml

Jean Renart’s Le Lai de l’ombre

Next time: medieval ‘arts of Next time: medieval ‘arts of love’love’

Last time: transformation of Last time: transformation of the courtly love traditionthe courtly love tradition

Lai de l’ombreLai de l’ombre

narrativisation of a thematic narrativisation of a thematic nucleus found in the troubadoursnucleus found in the troubadours

Mais aucun dialogue n’a autant Mais aucun dialogue n’a autant d’ampleur, de vivacité et de brio d’ampleur, de vivacité et de brio que celui du que celui du lai de l’Ombrelai de l’Ombre. Avant . Avant Jean Renart nul écrivain courtois au Jean Renart nul écrivain courtois au XIIe et au XIIIe siècle n’avait donné XIIe et au XIIIe siècle n’avait donné à la déclaration amoureuse le à la déclaration amoureuse le caractère d’une affrontement, d’un caractère d’une affrontement, d’un véritable duel. Ménard (1969:218)véritable duel. Ménard (1969:218)

Lai de l’ombre 2Lai de l’ombre 2 509 lines of dialogue509 lines of dialogue

vs. 962 lines total length of the poemvs. 962 lines total length of the poem Les répliques de Jean Renart Les répliques de Jean Renart

apparaissent incisives, rapides, apparaissent incisives, rapides, appropriées à chaque état du appropriées à chaque état du personnage; elles sont si naturelles que personnage; elles sont si naturelles que nombre de scènes du nombre de scènes du Lai de l’OmbreLai de l’Ombre, , de l’de l’EscoufleEscoufle et de et de Guillaume de DoleGuillaume de Dole pourraient à bon droit passer pour des pourraient à bon droit passer pour des scènes de théâtre. scènes de théâtre. Rita Lejeune-Dehousse (1935:348-349)Rita Lejeune-Dehousse (1935:348-349)

Lai de l’ombre 3Lai de l’ombre 3

written between 1221 and 1222written between 1221 and 1222 extant in 7 manuscripts (c. 1250-extant in 7 manuscripts (c. 1250-

1310)1310) N’i convient mes baer de rienN’i convient mes baer de rien

Jean Renart a lor afere.Jean Renart a lor afere. (l. 953) (l. 953)

It isn’t suitable for that Jean It isn’t suitable for that Jean Renart to concern himself further Renart to concern himself further with their relationship.with their relationship.

Lai de l’ombre 4Lai de l’ombre 4

Guillaume de DoleGuillaume de Dole: : “Qu’il en“Qu’il entra en retra en religion”ligion”anagram of ‘ren(e)art’anagram of ‘ren(e)art’

Le roman de la rose ou deLe roman de la rose ou de Guillaume de DoleGuillaume de Dole (c. 1212- (c. 1212-13/1228) 13/1228)

EscoufleEscoufle (c. 1202) (c. 1202) Plait Renart de Dammartin contre Plait Renart de Dammartin contre

Vairon son roncinVairon son roncin

Lai de l’ombre 5Lai de l’ombre 5

De Renart et de PiaudoueDe Renart et de Piaudoue AuberéeAuberée Galeran de BretagneGaleran de Bretagne Editions of Editions of Lai de l’ombreLai de l’ombre by by

Joseph Bédier in 1890 Joseph Bédier in 1890 (‘normalised’ version based on (‘normalised’ version based on MS A), 1913 (MS A), and 1929 MS A), 1913 (MS A), and 1929 (MS E)(MS E)

Lai de l’ombre 6Lai de l’ombre 6

mes nus n’oï onques son non mes nus n’oï onques son non (line 62)(line 62)

but we do not know his namebut we do not know his name GuingamorGuingamor: “ne sai, por voir, : “ne sai, por voir,

nomer son non”nomer son non”

Lai de l’ombre 7Lai de l’ombre 7

Illustrates the knight’s ability to Illustrates the knight’s ability to use his ‘reson’ and to influence use his ‘reson’ and to influence his interlocutors.his interlocutors.

He is shown as exercising the He is shown as exercising the utmost discretion concerning his utmost discretion concerning his true intentions and as being able true intentions and as being able to keep his feelings and motives to keep his feelings and motives secret, even from his own secret, even from his own companionscompanions.

Lai de l’ombre 8Lai de l’ombre 8

Chevaliers ne doit onques / Chevaliers ne doit onques / trespasser ne chemin ne voie / ou trespasser ne chemin ne voie / ou bele dame ait qu’il nel voie. bele dame ait qu’il nel voie. (Lecoy 1983:9, ll. 262-264)(Lecoy 1983:9, ll. 262-264)

Knights ought never / to pass by Knights ought never / to pass by a road or a highway / where a a road or a highway / where a lady dwells without stopping to lady dwells without stopping to see her.see her.

Lai de l’ombre 9Lai de l’ombre 9

Frame of ‘neighbouring knight Frame of ‘neighbouring knight pays his respects to the lady of pays his respects to the lady of the castle who receives him and the castle who receives him and his companions graciously’his companions graciously’

Lai de l’ombre 10Lai de l’ombre 10

flattering and polite, form of flattering and polite, form of address => gives positive faceaddress => gives positive face

autonomous heart that interferes autonomous heart that interferes and dominates his “pensser”and dominates his “pensser”

purpose of offering her his purpose of offering her his serviceservice

‘‘troubadouresque’ “joie” as a troubadouresque’ “joie” as a potential rewardpotential reward

Lai de l’ombre 11Lai de l’ombre 11

appeal to God and His mercy appeal to God and His mercy A) increase the credibility of his A) increase the credibility of his

protestations of love by linking them protestations of love by linking them with undisputed religious valueswith undisputed religious values

B) model of repenting sinner and B) model of repenting sinner and graceful God may (hopefully) inspire graceful God may (hopefully) inspire the lady to similarly ‘merciful’ the lady to similarly ‘merciful’ behaviour towards the knightbehaviour towards the knight

Lai de l’ombre 12Lai de l’ombre 12

““Diex” Diex” ““Amors”Amors” Thus I can attain joy: / since Thus I can attain joy: / since

there is no other being that I there is no other being that I love so much / as you, if Amors / love so much / as you, if Amors / lets me, repenting, come to his lets me, repenting, come to his mercy.mercy.

Lai de l’ombre 13Lai de l’ombre 13

gentelise et pitiezgentelise et pitiez Car ce serait une bonne action si Car ce serait une bonne action si

l’on priait à l’église pour ceux qui l’on priait à l’église pour ceux qui n’ont d’autre intention que n’ont d’autre intention que d’aimer loyalement.d’aimer loyalement.

For a man who would say prayers For a man who would say prayers in a minster would do well to pray in a minster would do well to pray for those who understand nothing for those who understand nothing of love or who know not how to be of love or who know not how to be a loyal love.a loyal love.

Lai de l’ombre 14Lai de l’ombre 14

a) the proposed interactional a) the proposed interactional framework is the traditional framework is the traditional courtly one of knightly servant courtly one of knightly servant and ladyand lady

b) explicit amatory aspects of the b) explicit amatory aspects of the hoped-for relationship are hoped-for relationship are subordinated to the service subordinated to the service aspectsaspects

Lai de l’ombre 15Lai de l’ombre 15

c) the sincerity of the feelings c) the sincerity of the feelings are pointed out yet not unduly are pointed out yet not unduly stressedstressed

d) possible doubts as to the d) possible doubts as to the moral acceptability of such a moral acceptability of such a liaison are diverted.liaison are diverted.

Lai de l’ombre 16Lai de l’ombre 16

Ha! sire, por l’ame de mi, / fet Ha! sire, por l’ame de mi, / fet ele, qu’avez vous or dit?” ele, qu’avez vous or dit?”

(Lecoy 1983:12, ll. 368-369)(Lecoy 1983:12, ll. 368-369) Ha! Sir, by my soul, / said she, Ha! Sir, by my soul, / said she,

what have you said?what have you said?

Lai de l’ombre 17Lai de l’ombre 17

Vous me savriiez ja mout bien / par Vous me savriiez ja mout bien / par parole et par l’ueil a trere / la pene, parole et par l’ueil a trere / la pene, et ce que ne vueil fere / a entendre, et ce que ne vueil fere / a entendre, par verité!par verité!

You know very well, / by means of You know very well, / by means of your words and looks, how to pull / your words and looks, how to pull / the wool over my eyes / and to make the wool over my eyes / and to make me want to do what I do not want to, me want to do what I do not want to, truly!truly!

Lai de l’ombre 18Lai de l’ombre 18

discourse on a metaleveldiscourse on a metalevel takes away the knight’s most takes away the knight’s most

powerful weapon: his speechpowerful weapon: his speech Challenges the propositional Challenges the propositional

content condition (the speaker content condition (the speaker feels love for the hearer) and the feels love for the hearer) and the sincerity condition (the speaker sincerity condition (the speaker believes that he feels love for the believes that he feels love for the hearer).hearer).

Lai de l’ombre 19Lai de l’ombre 19

Le Roman de la RoseLe Roman de la Rose: Bel Accueil : Bel Accueil (warm welcome)(warm welcome)

Argues that her verbal resistance Argues that her verbal resistance does not express her true does not express her true feelingsfeelings

Lai de l’ombre 20Lai de l’ombre 20

retenez moi a chevalier / et, retenez moi a chevalier / et, quant vous plera, a ami (Lecoy quant vous plera, a ami (Lecoy 1983:13, ll. 414-415) 1983:13, ll. 414-415)

retain me as your knight / and, retain me as your knight / and, when it pleases you, as your lovewhen it pleases you, as your love

Lai de l’ombre 21Lai de l’ombre 21

how to interpret correctly the non-how to interpret correctly the non-verbal element(s) of an interactionverbal element(s) of an interaction

framework has been that of framework has been that of ‘courteously welcoming and ‘courteously welcoming and entertaining a guest’entertaining a guest’

vs. framework of ‘opening moves vs. framework of ‘opening moves between lovers’between lovers’

Lai de l’ombre 22Lai de l’ombre 22

simultaneous use of (at least) simultaneous use of (at least) two communicative frameworks two communicative frameworks (one remains implicit)(one remains implicit)

Lai de l’ombre 23Lai de l’ombre 23

Pitié et deboneretéPitié et debonereté n’onques ne failli a amie / nus en n’onques ne failli a amie / nus en

la fin, qui bien amast (Lecoy la fin, qui bien amast (Lecoy 1983:14, ll. 454-455) 1983:14, ll. 454-455)

Never has a beloved lady Never has a beloved lady forsaken, / in the end, one who forsaken, / in the end, one who loved well.loved well.

Lai de l’ombre 24Lai de l’ombre 24 Tristan wounded Tristan wounded

during his fight during his fight with Morholtwith Morholt

Tristan’s wounds Tristan’s wounds cannot be cannot be healed by the healed by the surgeons at surgeons at King Mark’s King Mark’s courtcourt

only Iseut can only Iseut can heal himheal him

the knight the knight wounded by Amorwounded by Amor

the knight the knight suffers from suffers from ‘amor hereos’‘amor hereos’

only the lady can only the lady can heal himheal him

Lai de l’ombre 25Lai de l’ombre 25 Lady gives an ‘objective’ reason why it is Lady gives an ‘objective’ reason why it is

not possible for her to love him or not possible for her to love him or anyone else: she is married to a husband anyone else: she is married to a husband who cherishes and honours her.who cherishes and honours her.

=> departure from arguing on a => departure from arguing on a metalevelmetalevel

=> the knight’s sincerity as an => the knight’s sincerity as an interactional partner is doubted no interactional partner is doubted no more, and the lady no longer refuses to more, and the lady no longer refuses to discuss with him matters on a content discuss with him matters on a content level.level.

Lai de l’ombre 26Lai de l’ombre 26

qui d’amors chant [et] lisequi d’amors chant [et] lise les poètes [et] les doctesles poètes [et] les doctes les poètes [et] les théoriciens de les poètes [et] les théoriciens de

l’amourl’amour ““Ha! dame, fet il, mort m’avez!”Ha! dame, fet il, mort m’avez!”

(Lecoy 1983:16, l. 512) (Lecoy 1983:16, l. 512) Ah, lady, he said, you have slain Ah, lady, he said, you have slain

me!me!

Lai de l’ombre 27Lai de l’ombre 27

cortoisie et bien (Lecoy 1983:16, cortoisie et bien (Lecoy 1983:16, l. 514)l. 514)

‘ ‘Faire cortoisie’Faire cortoisie’ Exchanging tokens of love: ‘joiel’ Exchanging tokens of love: ‘joiel’

– jewel, ‘çainture’ – girdel or belt, – jewel, ‘çainture’ – girdel or belt, or ‘anel’ – ringor ‘anel’ – ring

Cf. Guillaume IX, SGGK, Cf. Guillaume IX, SGGK, Merchant of VeniceMerchant of Venice

Lai de l’ombre 28Lai de l’ombre 28

une grant cortoisie (Lecoy une grant cortoisie (Lecoy 1983:18, l. 565)1983:18, l. 565)

plus que mestre / de cest artplus que mestre / de cest art

(Lecoy 1983:19-20, ll. 620-621) (Lecoy 1983:19-20, ll. 620-621) he is a past master / in this arthe is a past master / in this art

Lai de l’ombre 29Lai de l’ombre 29

Jean-Paul Sartre:Jean-Paul Sartre: L’être et le néant L’être et le néant (1948)(1948)

‘‘sprezzatura’ = ‘nonchalance’sprezzatura’ = ‘nonchalance’ Sir Thomas Hoby (1561 translation of Sir Thomas Hoby (1561 translation of

Castiglione’s Castiglione’s Il cortegianoIl cortegiano) gives the ) gives the advice to avoid affectation of manners advice to avoid affectation of manners “and (to speak a new word) to use in “and (to speak a new word) to use in every thyng a certain Reckelesness, to every thyng a certain Reckelesness, to cover art withall, and seeme whatsoever cover art withall, and seeme whatsoever he doth and sayeth to do it wythout pain, he doth and sayeth to do it wythout pain, and (as it were) not myndyng it”and (as it were) not myndyng it”

Lai de l’ombre 30Lai de l’ombre 30

““Si latet ars, prodest; adfert deprensa Si latet ars, prodest; adfert deprensa pudorem / Atque adimit merito pudorem / Atque adimit merito tempus in omne fidem” (Ovid, tempus in omne fidem” (Ovid, Ars Ars amatoriaamatoria, Book II, ll. 313-314; , Book II, ll. 313-314; Bornecque 1983:43). Artfulness is Bornecque 1983:43). Artfulness is useful if it remains useful if it remains unobtrusive/hidden; if it is uncovered, unobtrusive/hidden; if it is uncovered, it causes embarrassment and destroys it causes embarrassment and destroys with good cause the trust forever.with good cause the trust forever.

Lai de l’ombre 31Lai de l’ombre 31

““un exemple et un modèle de un exemple et un modèle de conversation courtoise, tel fut conversation courtoise, tel fut son dessein, et par là son poème son dessein, et par là son poème appartient surtout, peut-on dire, appartient surtout, peut-on dire, au genre didactique.”au genre didactique.” Bédier Bédier (1913:iii)(1913:iii)

Lai de l’ombre 32Lai de l’ombre 32

intra-textual level: the lady intra-textual level: the lady repeatedly voices her doubts as repeatedly voices her doubts as to the trustworthiness of the to the trustworthiness of the courteous verbal surfacecourteous verbal surface

textual level: the dialogues textual level: the dialogues always lead up to an impasse always lead up to an impasse casts serious doubts on their casts serious doubts on their suitability as ‘model dialogues’suitability as ‘model dialogues’

Lai de l’ombre 33Lai de l’ombre 33

De amoreDe amore and and Lai de l’ombreLai de l’ombre:: a) the protagonists in both works a) the protagonists in both works

remain nameless; b) there are remain nameless; b) there are similarities in genre and similarities in genre and treatmenttreatment

Lai de l’ombre 34Lai de l’ombre 34

Jean Renart’s poetic skill Jean Renart’s poetic skill transforms the commonplaces of transforms the commonplaces of troubadour poetry and troubadour poetry and conventional amorous dialogues conventional amorous dialogues “into one of the most elegant and “into one of the most elegant and vivacious small masterpieces of vivacious small masterpieces of medieval fiction” (Sargent medieval fiction” (Sargent 1965:79).1965:79).

Next time: Next time: medieval medieval

‘arts of love’‘arts of love’