In this contribution the ambiguous and «multiple» Lai de l’Ombre by Jean Renart is analysed, trying to offer a more precise definition of this work and reveal a thick net of references and echoes (and crossed compliments) between Jean Renart, Chrétien de Troyes and Renaut’s Galeran de Bretagne [de Beaujeu, as many scholars rightly state], who was, in our opinion, Renart’s contemporary and probably friend. The theme is developed around a basic myth for Jean Renart: Tristram and Iseult with, as further leitmotiv, the question of mescheance. Juxtaposing to this myth there is the intratextual question, with clear links between the Lai de l’Ombre, l’Escoufle and Guillaume de Dole. We aim to conclude that in the Lai de l’Ombre there is a fusion between the lyrical and the narrative lai, during the climax of an important opportunity: to call upon the lady to speak and, secondarily, to reply (with due but friendly detachment) to the problem of the appearance which is proposed by Renaut in Galeran and defined by him as an ombre. So, to Jean Renart Fine Amour overcomes Tristram and Iseult’s mescheance: in our Lai this fact can occur thanks to the strength of the lady’s reply to love, achieved in the «sound of silence» which follows the trouvère’s chanson.

Per una lettura del Lai de l’Ombre come chanson de trouvère

MOLLE, JOSE VINCENZO
2005-01-01

Abstract

In this contribution the ambiguous and «multiple» Lai de l’Ombre by Jean Renart is analysed, trying to offer a more precise definition of this work and reveal a thick net of references and echoes (and crossed compliments) between Jean Renart, Chrétien de Troyes and Renaut’s Galeran de Bretagne [de Beaujeu, as many scholars rightly state], who was, in our opinion, Renart’s contemporary and probably friend. The theme is developed around a basic myth for Jean Renart: Tristram and Iseult with, as further leitmotiv, the question of mescheance. Juxtaposing to this myth there is the intratextual question, with clear links between the Lai de l’Ombre, l’Escoufle and Guillaume de Dole. We aim to conclude that in the Lai de l’Ombre there is a fusion between the lyrical and the narrative lai, during the climax of an important opportunity: to call upon the lady to speak and, secondarily, to reply (with due but friendly detachment) to the problem of the appearance which is proposed by Renaut in Galeran and defined by him as an ombre. So, to Jean Renart Fine Amour overcomes Tristram and Iseult’s mescheance: in our Lai this fact can occur thanks to the strength of the lady’s reply to love, achieved in the «sound of silence» which follows the trouvère’s chanson.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11567/209742
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