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Cultures courtoises en mouvement

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Isabelle Arseneau
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Francis Gingras

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Conventions of Courtly Description and the Language of Art: Lancelot’s Belle Enfance in the Prose Lancelot

Patricia Harris Stablein Gillies

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Extrait du texte

In the Dame du Lac’s courtly formation of Lancelot, she is attentive to confine the extraordinary qualities of the enfant to the shaping force of courtly models. True to convention he shows prowess in all aspects of training in courtly pursuits such as archery, horsemanship, hospitality and playing at board games. If his excellence is achieved according to these social models, his talent for riding his horse so close to the Other world of the lake, “non mie loig mais pres tozjorz,”1 suggests a hybridity elaborated in the dualisms subsequently used to describe his appearance. These paradoxical dualisms define Lancelot’s nature as his skin appears both dark and light at once and his face itself is a site where colours mingle, his face, delicate and joyous yet in anger fierce and terrible,

Il fu de mout bele charneüre, ne bien blans ne bien bruns, mais entremeslez d’un et d’autre; si puet an apeler ceste sanblance clers brunez. Il ot lo vaire enluminé de nature[l] color vermoille, si pa...

Auteur

University of Essex

© Presses de l’Université de Montréal, 2011

Conditions d’utilisation : http://www.openedition.org/6540

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