Bodies, Saracen giants, and the medieval romance : transgression, difference, and assimilation

Bodies, Saracen Giants, and the Medieval Romance: Transgression, Difference, and Assimilation explore le traitement des corps de trois géants Sarasins dans les romances de Roland and Vernagu (c. 1330), Sir Beues of Hamtoun (c. 1330), et The Taill of Rauf Coilyear (c. 1513-42).Grâce à une étude de la représentation de ces trois géants Sarasin, la signification du corps humain au Moyen Age, et des pratiques de la Chrétienté an accord avec les discours et idéologies envers le Proche-Orient qui existaient dans l’Occident médiéval, ce mémoire de maîtrise juxtapose le géant Sarasin et le héros de la romance pour indiquer une similarité apparente entre leur deux corps et leur religion respective. La romance démontre avec hésitation un désir d’assimiler le géants Sarasin dans le code héroïque ainsi que dans la religion chrétienne, mais souvent rejette avec suspicion le corps du géant par sa mort sur le champ de bataille. Malgré sa mort ou son assimilation dans le code héroïque et la Chrétienté, le corps du géant Sarasin demeure toujours important dans le contexte de la Romance, puisqu’il contribue à la construction de l’identité du héros, de sa foi, et de sa société.

Medieval romance, English

Annotated bibliography of romance from medieval England. It focuses on medieval romances in various languages written in England or translated into English before 1500.

Raluca L. Radulescu and Cory James Rushton, eds. 2009: A Companion to Medieval Popular Romance. Studies in Medieval Romance 10. Cambridge: D. S. Brewer. XIV + 209 pp. ISBN 9781843841920

This review is part of a research project funded by the Spanish Ministry of Science and Innovation (ref. FFI 2008-02165).

A medieval romance of friendship: Eger and Grime.

Cover title and half title: Eger and Grime.

The king's champion: re-enacting Arthurian romance at the English coronation banquet

Recent scholarship has emphasised the extent to which historical events are reflected in medieval romance. This paper seeks to draw attention to an instance where that relationship appears to have been inverted and a romance motif was carefully recreated at a particularly important event in the historical world. From the fourteenth century onwards, a mounted knight ceremonially rode into the English coronation banquet and issued a challenge to all assembled. The visual detail of the ritual strikingly echoes that of the romance motif of the “intruder at the feast”. This motif crops up in numerous romances, and is particularly associated with Arthurian narratives where it usually serves as a catalyst for adventure, providing the court and the king with an opportunity to justify their authority and reputation. This paper analyses the precise nature of the historical ritual and explores how the romance resonances of the ceremony at the coronation feast could be used to underpin political authority and courtly identity. In doing so, it seeks to underscore the centrality of Arthurian romance to English monarchical self-imagining and the symbolic power which could be ascribed to the genre's themes and conventions.

Arthur’s refusal to eat: ritual and control in the romance feast

Arthur's refusal to begin feasting before he has seen a marvel or heard a tale of adventure is a recurring motif in medieval romance. Previous comment on this ritual has suggested that the source for such a taboo on eating may be found in earlier narratives in the Celtic languages. This paper argues that, although the ritual almost certainly originates in pre-chivalric society, romance authors adapted and developed it to reflect the courtly-chivalric preoccupations of their own world. Arthur's ritual gesture may be seen as a means of containing and controlling both interior moral threats and exterior physical peril, and is intimately connected to the courtly conception of the feast. This study draws on the evidence of religious writing and courtesy manuals and explores some highly-developed treatments of the motif in romance in order to suggest that literary engagements with Arthur's refusal to eat have much to say about contemporary ideas of ritual and reality as mediated through the symbolically-charged arena of the medieval feast.

A lost insular version of the romance of Octavian

This article is the first full examination of the Irish translation of the popular and influential medieval romance "Octavian". I argue that the source for this Irish translation was an insular version of the romance, probably in Middle English. I show how the Irish translator incorporated material from another romance, "Fierabras", in order to introduce the characters of Charlemagne and his vassals into the story. This is the only version of "Octavian" that gives the text a Carolingian setting. I also demonstrate that the version of the romance from which the Irish translation was produced differed in significant ways from any of the surviving versions in other languages. I suggest that the Irish translation provides our only witness to a lost variant version of "Octavian" and, as such, extends our knowledge of the corpus of insular romance in the Middle Ages.

The circulation of romances from England in late-medieval Ireland

The fifteenth century saw a striking upturn in the number of texts from foreign vernaculars that were translated into Irish. Indeed, one might go so far as to speak in terms of a ‘translation trend’ in Ireland during the mid to late fifteenth century. A notable feature of this trend is that a particularly high number of these Irish translations are of romances; contextual and textual evidence suggests that the original exemplars for many of these translated texts appear to have come from England, though not all of them were necessarily in English. Irish translations of eight romances have survived to the present day: Guy of Warwick; Bevis of Hampton; La Queste de Saint Graal; Fierabras; Caxton’s Recuyell of the Histories of Troie; William of Palerne; the Seven Sages of Rome; and Octavian. This paper addresses two aspects of these texts of particular relevance to romance scholars who do not work within the sphere of Celtic studies. Firstly, it argues that certain aspects of the dissemination and reception of romance in Ireland are quite distinctive. Manuscript and textual evidence suggests that the religious orders, particularly the Franciscans, seem to have played a role in the importation and translation of these narratives. Secondly, examination of the Irish versions of romance tends to bear out an observation made by Flower many years ago, but not pursued by subsequent scholars: ‘texts of an unusual kind were current in Ireland, and it may be that interesting discoveries are to be made here’. Certain narrative features of several of these Irish translations diverge from all the surviving versions of the relevant romance in other languages and may witness to a variant exemplar that has since been lost from its own linguistic corpus.

"Ladyes, damesels, and jantilwomen": female autonomy and authority in Sir Thomas Malory's Morte Darthur

Popular medieval English romances were composed and received within the social consciousness of a distinctly patriarchal culture. This study examines the way in which the dynamic of these texts is significantly influenced by the consequences of female endeavour, in the context of an autonomous feminine presence in both the real and imagined worlds of medieval England, and the authority with which this is presented in various narratives, with a particular focus on Sir Thomas Malory’s Morte Darthur. Chapter One of this study establishes the social and economic positioning of the female in fifteenth-century England, and her capacity for literary engagement; I will then apply this model of female autonomy and authority to a wider discussion of texts contemporary with Malory in Chapters Two and Three, in anticipation of a more detailed study of Le Morte Darthur in Chapters Four and Five. My research explores the female presence and influence in these texts according to certain types: namely the lover, the victim, the ruler, and the temptress. In the case of Malory, the crux of my observations centres on the paradox of the capacity for power in perceived vulnerability, incorporating the presentation of women in this patriarchal culture as being vulnerable and in need of protection, while simultaneously acting as a significant threat to chivalric society by manipulating this apparent fragility, to the detriment of the chivalric knight. In this sense, women can be perceived as being an architect of the romance world, while simultaneously acting as its saboteur. In essence, this study offers an innovative interpretation of female autonomy and authority in medieval romance, presenting an exploration of the physical, intellectual, and emotional placement of women in both the historical and literary worlds of fifteenth-century England, while examining the implications of female conduct on Malory’s Arthurian society.

Sex, Politics and Religion: The Transformation of the Figure of the Fairy Queen from Thomas off Ersseldoune to ‘‘Thomas Rymer’’

Our earliest version of the Thomas Rymer story is the medieval romance Thomas off Ersseldoune (c.1430). There is a four hundred year lacuna before the ballad “Thomas Rymer”, our next surviving version, is recorded in the early 1800s. In the intervening time the narrative changed very little but the dynamic of the piece, radically. The romance transformed into the highly subversive ballad, “Thomas Rymer”. Central to this transformation is the reconceptualization of the romance's heroine. Referred to simply as the “lufly lady” and caught between her husband, the fay King, and a mere mortal, Thomas, she becomes in the ballad the powerful Queen of the Fairies. The ballad is structured around a series of revelations in which the enigmatic Queen assumes the roles of Eve and Mary, and finally Christ Himself. I will explore the implications of this extraordinary ballad. Moreover, I suggest that it is Queen Elizabeth herself who, ironically, enables the heroine's transformation. “Ironically” because it appears that it was Elizabeth's own restrictions, designed to suppress heretical, seditious or radical literature, which forced Thomas off Ersseldoune (and many other romances which employed religious imagery or figures) out of the written domain and into the oral tradition. And yet, it is Elizabeth who, in creating the image of herself as a female prince, as the Faerie Queen, inspires a new literary vocabulary designed to describe female executive power, without which it would have been impossible to imagine a figure such as the ballad's Queen of the Fairies.