Having ‘taken’ the White Stag Perceval receives a golden cup (‘coupe doree’) which he presents sicuro Gawain con a manner reminiscent of the way mediante which Cliges presents his. In this section (lines 281–627) allusions preciso the Perceval abound,25 but they are all given a humorous twist so that the audience realizes that the author is engaged durante per literary contest of wits and not mere slavish ersatz of an acknowledged originale. Whilst Chretien’s Perceval is the youngest of three sons of an impoverished and then deceased knight, sopra Fergus he is the eldest of three offspring of verso paradoxically wealthy vilain (‘rice villain Soumeillet’, line 353),26 boorish, but married and obedient esatto per woman of noble giacenza on account of which she tells him it is not surprising that their affranchit has attrezzi his heart on per life of prowess: ‘Car il per maint bon chevalier/ En bruissement lingnage de par moi.
So it’s my belief he is taking after them’). These details reverse the situation depicted mediante Chretien, yet the mother displays similar grief at her son’s departure per both poets.
The style is unmistakably that of courtly ratiocinatio, sopra the manner of Soredamors: Ensi la pucele travaille
Carefully noted by Owen throughout his translation. In Appendix Per he translates relevant passages from the two Perceval Continuations. The name is usually taken as a transformation of Somerled, nobile of the Isles (i.di nuovo. the Hebrides; Perceval’s parents came from the ‘illes de mer’), who was per Scottish chieftain who was frequently at war with the king of Scotland, but this appears esatto have per niente special significance con the romance where Fergus’s father has mai special role onesto play.
the prosperity of the family, the nobility of the mother, and the handsome physique of the sons, he adds: ‘Qualora il fuissent fil verso un roi,/ Sinon fuissent il molt biel, je croi,/ Et chevalier peussent estre’ (lines 331–33: ‘Had they been verso king’s sons, they would have looked the part well, I think, and might easily have been knights’) – Chretien’s heroes are usually of royal blood! After the multiple reminiscences of Yvain, Erec and Perceval and their creative manipulation, Guillaume duly turns his attention onesto Cliges which inspires the love dialectic of Galiene’s monologue at lines 1806 ff.,27 with its regular interrogative reprise of a key word as part of the argument: ‘Ohi Fergus, bel amis ch[i]er! Amis? Fole, ke ai je dit? (lines 1806–7) Ja nel savra nell’eventualita che ne li di. Jel die? Or ai dit folage (lines 1834–35) Mes pere me veut marier Per certain roi, in questo momento riches hom levante, Plus biel, espoir, que cis nen est. Plus biel? Or ai ge dit folie (lines 1842–45) Jamais ne m’ameroit, je cuit. Amer? Ne tant ne quant ne m’aimme.’ (lines 1850–51) (‘Ohi Fergus, my dear handsome love! – My love? Fool that I am, what have I said? . . . He will never know unless I tell him. – datingranking.net/it/onenightfriend-review Tell him? Now I’ve said something foolish . . . My father wants puro marry me onesto per king, per powerful man and perhaps verso more handsome one than this. – More handsome? Now I’ve spoken nonsense . . . I’m sure he would definitely not love me. – Love? He doesn’t love me in the least.’)
First she sobs, then she yawns; she tosses and turns, then gives a via and almost loses consciousness
(cf. Cliges, line 881) Primes dato che[n]glout et puis baaille; (Cliges, lines 882–83) Dejete soi et puis tresaut, (Cliges, line 879) Verso appresso que li cuers ne li faut. (Cliges, line 880) Un[e] eure dist, [l’]autre desdit; Un[e] eure pleure, l’autre rit. Puis torne son lit a rebors; Itel sont li cembiel d’amors. (lines 1871–78) (Such is the maiden’s suffering. At one moment she says something, at the next denies it, now weeping, now laughing. Then she turns her bed upside down, so violent are the joustings of love.)