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By Matilda Tomaryn Bruckner

Matilda Tomaryn Bruckner offers the 1st book-length exam of all 4 verse continuations that stick to Chr?tien's unfinished Grail tale, a strong website of rewriting from the overdue 12th in the course of the 15th centuries. through targeting the discussion among Chr?tien and the verse continuators, this research demonstrates how the styles and puzzles inscribed within the first author's romance proceed to steer his successors, whose additions and reinventions throw new gentle again at the difficulties medieval readers and writers present in the mummy textual content: questions on society and the person; love, gender relatives, and kin ties; chivalry, violence, and faith; problems with collective authorship and doubled heroes, interpretation, rewriting, and canon formation.However a ways the continuations seem to wander from the grasp textual content, the manuscript culture helps an implicit declare of oneness extending around the multiplicity of discordant voices mixed in a dozen various manuscript compilations, the various ensembles during which such a lot medieval readers encountered Chr?tien's Conte. certainly, regarded as a bunch the continuators express awesome constancy in integrating his romance's key parts, as they reply sympathetically to the dynamic incongruities and paradoxical constitution in their version, its wish for and deferral of finishing, its non-Aristotelian common sense of 'and/both' within which contiguity forces interpretation and additional narrative elaboration. not like their prose rivals, the verse continuators stay devoted to the dialectical move inscribed around the interlace of 2 heroes' intertwined tales, the contradictory but complementary spirit that propels Chr?tien's decentered Conte du Graal.

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V E R S E A N D P RO S E / C E N T R I PE TA L AND CENTRIFUGAL TEXTUALITY Since the better-known prose romances serve as a point of comparison throughout this study and clearly operate within the same horizon of expectation for medieval (as well as modern) readers and writers, a brief comparison between the Lancelot-Grail and the verse continuations, based on their relationship to Chre´tien, helps identify both the nature of their differences as well as the features they share in rewriting his romances.

Oneness’ produced by a ‘molt bele conjointure’ (Erec 14), however anomalous it may seem to us, still requires our critical attention as part of the production of meaning in this romance at both the narrative and semantic levels. Of course, this is not the first time that Chre´tien has composed a romance with more than one hero, but his previous examples look quite different: the establishment and testing of the couple in Erec et Enide, the two-generational stories of father and son consecutively told in Clige`s.

Dragonetti (1987: 9, 18), Baumgartner (1985a). In the context of troubadour poetry, chansonniers are frequently arranged by poets, and proper names abound in rubrics, as well as in the tornadas (envois) which name patrons, fellow poets, jongleurs, etc. 1170–75). 1189–1208). As we shall see, these are the most likely, though not the only places to Wnd author’s names. ) to confer authentiWcation, see Fraenkel’s study of the signature, based on documents from the 7th to the 16th cent. (1992). Her discussion of the philosophical problems surrounding the proper name and its referent, the ease with which a proper name can make Wctional beings appear to be real (108–21), is particularly interesting in light of named medieval authors for whom we have no biographical information to verify their historical existence.

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