the Lays of Marie de France
Feb. 19th, 2014 08:11 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
silverflight8I read twelve of Marie de France's lays yesterday. I read the version by Burgess and Busby (published by Penguin, 1999), who translate them into (modern 1) English prose. If you're not familiar, they're lays attributed to a twelfth-century author, who lived in England (hence the appellation of "from France"). She is quite upfront about where she has gotten these stories; I think all of them I read had an introductory few lines saying they were Breton lays, and that they were true stories at the end.
I think they are the most courtly things I've ever read. Many of them are quite short--even translated into prose, they are are two small pages. Others are longer, but they are full of knights and ladies (generally unnamed), usually suffering one way or another because of love. The first one was about a man, who, stag-hunting one day, kills the hind and it curses him (in words) to never be cured until he is loved by someone who suffers terribly for love (and he has to suffer too.) He gets on a boat that is sitting inexplicably in his harbour, and it spirits him away to a woman whose husband, being jealous, has locked her in an island keep. They are of course discovered, but before they are separated they tie complex knots into each other--the woman has a belt tied, and the man has his shirt-tails knotted. It's very Cinderella at the end; they eventually identify each other because the knots cannot be untied by anyone else.
Then there are ones like the one where the king falls in love with his seneschal's wife, and they plot to kill the seneschal by preparing two baths, one with warm water and the other with scalding. Well, they set them out in the chamber while the seneschal went out, and of course he returned while they were in bed. The king leaps out of bed hastily to conceal his purpose and lands most in the scalding one, where he dies. (Then so does the seneschal's wife.)
Lots of love, adultery, jealousies, and surprisingly lots of happily-ever-afters. There's just a lot of variety--sometimes they persevere and have a happy ending, sometimes they die horribly/tragically, and others just...culminate in revenge attained. There was also the story of the couple who sent each other messages in a swan for twenty years (the woman was married). I am not sure but I think it was just the one swan. I had to Wikipedia this but apparently swans can and do live up to twenty! Other things which appeared: werewolf husbands, men shapeshifting into hawks, and jealousy leading to killing nightingales. OK, so I exaggerate, there's only one of each. But the werewolf one took me aback.
Something I've begun to associate with medieval writing is the bald assertion, when setting up characterization, that the protagonist of this story is a worthy, humble, generous, good, athletic and skilled. I'm not retaining the words very well, but you get the gist. I like it. It gets some description out and you are free to just drop it and follow the action and see how your idea of "good" lines up with the writer's.
My edition has a few of the original Old French (in verse) in the back. My modern French is decent enough, especially in reading, but Old French has definitely changed enough that you catch some, miss most. Sounding out helps. It was interesting though, because you can see that her lines are very short, and she speaks very directly. Reading the looooong introductions and seeing the poems for yourself are two different things. And speaking of long introductions, the introduction should be short and give as little information as is possible. If there are notes on translation and context and everything it should go in the back. I waded almost fifteen pages through an excruciatingly detailed introduction on each different lay before I gave up and just went for the actual lays.
1 It's always interesting to read translations through epubs from Project Gutenberg--you're reading two separate layers of historical writing. The first is whenever the original was written, and the second is the undeniably early-20th-century prose.
I think they are the most courtly things I've ever read. Many of them are quite short--even translated into prose, they are are two small pages. Others are longer, but they are full of knights and ladies (generally unnamed), usually suffering one way or another because of love. The first one was about a man, who, stag-hunting one day, kills the hind and it curses him (in words) to never be cured until he is loved by someone who suffers terribly for love (and he has to suffer too.) He gets on a boat that is sitting inexplicably in his harbour, and it spirits him away to a woman whose husband, being jealous, has locked her in an island keep. They are of course discovered, but before they are separated they tie complex knots into each other--the woman has a belt tied, and the man has his shirt-tails knotted. It's very Cinderella at the end; they eventually identify each other because the knots cannot be untied by anyone else.
Then there are ones like the one where the king falls in love with his seneschal's wife, and they plot to kill the seneschal by preparing two baths, one with warm water and the other with scalding. Well, they set them out in the chamber while the seneschal went out, and of course he returned while they were in bed. The king leaps out of bed hastily to conceal his purpose and lands most in the scalding one, where he dies. (Then so does the seneschal's wife.)
Lots of love, adultery, jealousies, and surprisingly lots of happily-ever-afters. There's just a lot of variety--sometimes they persevere and have a happy ending, sometimes they die horribly/tragically, and others just...culminate in revenge attained. There was also the story of the couple who sent each other messages in a swan for twenty years (the woman was married). I am not sure but I think it was just the one swan. I had to Wikipedia this but apparently swans can and do live up to twenty! Other things which appeared: werewolf husbands, men shapeshifting into hawks, and jealousy leading to killing nightingales. OK, so I exaggerate, there's only one of each. But the werewolf one took me aback.
Something I've begun to associate with medieval writing is the bald assertion, when setting up characterization, that the protagonist of this story is a worthy, humble, generous, good, athletic and skilled. I'm not retaining the words very well, but you get the gist. I like it. It gets some description out and you are free to just drop it and follow the action and see how your idea of "good" lines up with the writer's.
My edition has a few of the original Old French (in verse) in the back. My modern French is decent enough, especially in reading, but Old French has definitely changed enough that you catch some, miss most. Sounding out helps. It was interesting though, because you can see that her lines are very short, and she speaks very directly. Reading the looooong introductions and seeing the poems for yourself are two different things. And speaking of long introductions, the introduction should be short and give as little information as is possible. If there are notes on translation and context and everything it should go in the back. I waded almost fifteen pages through an excruciatingly detailed introduction on each different lay before I gave up and just went for the actual lays.
1 It's always interesting to read translations through epubs from Project Gutenberg--you're reading two separate layers of historical writing. The first is whenever the original was written, and the second is the undeniably early-20th-century prose.
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no subject
Date: Feb. 20th, 2014 10:32 pm (UTC)You should definitely sound out old French! Especially anything pre-Ordonnance de Villers-Cotteret (1539), since they wrote down how the words sounded, and not much else. I still think it's (barely) readable, though, even if there are places where you can see the breton influence (eostig, anyone?).
no subject
Date: Feb. 22nd, 2014 03:34 am (UTC)Actually the other thing about the lays is that the protagonist names are so alien to me. I'm almost used to the Germanic ones (Hilde-whatever this, Gusdjkj that). But Bisclavret? (faintly ridiculous) Milun? Chaitivel? (too many i's.) Guigemar? Even things like "Chlotar" (of Neustria) look weird to me.
Yeah...I think the Breton influence is probably why the names too. It's surprising since a lot of English names are of French provenance (or at least came through Norman French), especially women's names.
no subject
Date: Feb. 22nd, 2014 10:26 pm (UTC)You better not tell the Bretons they're like the Normans, omg, are you insane?Edit: Having looked it up, Guigemar is a form of Guyomarch (or Guyomarc'h), which is definitely a breton last name, while the others only seem to exist in the lays. (Btw, any breton name ending with a ch/c'h ends with a r sound, not a sh sound. It's one of those ways that breton french is subtly different from parisian french.)
no subject
Date: Feb. 22nd, 2014 11:51 pm (UTC)No no, I meant the other way! That they're unfamiliar to English-speaking me because the names are Breton, because English absorbed French names from Norman French :)
Hmm, interesting. When you say r, do you mean /x/ or like /ʁ/? (Though honestly I don't think I can say the distinction myself >.>)
no subject
Date: Feb. 23rd, 2014 10:55 pm (UTC)That makes more sense.
I don't know anything about IPA and have spent far too long listening to the sound clips, but it's this one (http://en.wikipedia.org/wiki/Voiceless_velar_fricative), I'm pretty sure. I also poked around forvo a little and found two voice clips: trawalc'h (http://fr.forvo.com/word/trawalc%27h/) and kenavo deoc'h (http://fr.forvo.com/word/kenavo_deoc%27h/). Does that help?
no subject
Date: Feb. 25th, 2014 03:09 am (UTC)Hee. Sorry about springing IPA on you without asking if you knew it. It's just that when discussing stuff like pronunciation it gets into such a mess quickly; what is totally standardized in your accent of any language can be totally different in mine, and never mind when we're trying to talk across languages. It does, thanks! I can do /x/ fine but I've always had problems with the uvular r (I think I approximate in French with something like /x/ for R's actually.)
no subject
Date: Feb. 25th, 2014 11:09 pm (UTC)no subject
Date: Feb. 26th, 2014 01:23 am (UTC)no subject
Date: Feb. 26th, 2014 09:22 pm (UTC)I like forvo too, even though it's not always super super accurate or good quality sound.
no subject
Date: Feb. 27th, 2014 05:52 am (UTC)Yeah, it looks like it's user-submitted, so there's always problems. I bet if people continue using it, it'll accumulate a nice database of pronunciations eventually.