Leslie C. Brook - Böcker

This prose translation of twenty-four lays from the French Middle Ages brings to the general reader as well as to scholars a complement to the twelve well-known lays by Marie de France, the possible creator of the genre. These lays are mostly anonymous, and the majority, but by no means all of them, are, like Marie’s lays, centred on a love interest of some kind in a variety of settings. But, unlike Marie’s lays, their treatment varies from the courtly and sophisticated to the comic or the tragic, thereby illustrating the range of poems covered by the term lai in twelfth- and thirteenth-century France. A significant number of these lays, based in the courtly world, contain supernatural elements or magic objects that are fundamental to the story as it is related, and sometimes the heroes leave the real world to dwell forever in an otherworldly domain. Other lays have a more mundane feel to them and seem closer to the fabliau in tone. In one instance, the lay of Haveloc, the tale owes more to legendary history than to pure fantasy. Overall, this collection stakes a claim to make an important contribution to the Medieval French lay within the wider European tradition of the short story and the literature of love.

This prose translation of twenty-four lays from the French Middle Ages brings to the general reader as well as to scholars a complement to the twelve well-known lays by Marie de France, the possible creator of the genre. These lays are mostly anonymous, and the majority, but by no means all of them, are, like Marie’s lays, centred on a love interest of some kind in a variety of settings. But, unlike Marie’s lays, their treatment varies from the courtly and sophisticated to the comic or the tragic, thereby illustrating the range of poems covered by the term lai in twelfth- and thirteenth-century France. A significant number of these lays, based in the courtly world, contain supernatural elements or magic objects that are fundamental to the story as it is related, and sometimes the heroes leave the real world to dwell forever in an otherworldly domain. Other lays have a more mundane feel to them and seem closer to the fabliau in tone. In one instance, the lay of Haveloc, the tale owes more to legendary history than to pure fantasy. Overall, this collection stakes a claim to make an important contribution to the Medieval French lay within the wider European tradition of the short story and the literature of love.

Text with facing translation of an undeservedly neglected, humorous French lay, in which the women of Arthur's court have their virtue challenged by a magic mantle.The Old French lay of Mantel belongs to the group of anonymous lays that were composed in the late twelfth or thirteenth century. These short narratives vary in tone and usually deal with some aspect of love, usually in anaristocratic, courtly setting. Here, this is Arthur's court, with its well-known characters involved, and the tone is satiric and comic; the story is a chastity test, which the ladies of the court undergo in public by donning themantle - if it does not fit, their behaviour is betrayed. The poem plays on the insecurities of the knights, who are at first confident of their loves' fidelity, but in the end are all too anxious to ignore their transgressions.The popularity of the lay is attested by its survival in five manuscripts, an unusually high number. It is edited here from MS Paris, Bibliothèque Nationale de France, nouv. acq. fr. 1104, a manuscript containing twenty-four lays, including nine by Marie de France whose work has to some extent defined the genre. The text is accompanied by a facing translation, and presented with introduction, elucidatory notes, bibliography, and indices.Glyn S. Burgess is Emeritus Professor of French, University of Liverpool; Leslie C. Brook is Honorary Senior Research Fellow in French, University of Birmingham.