Having ‘taken’ the White Stag Perceval receives per golden cup (‘coupe doree’) which he presents onesto Gawain in a manner reminiscent of the way per which Cliges presents his. Durante this section (lines 281–627) allusions sicuro the Perceval abound,25 but they are all given verso humorous twist so that the audience realizes that the author is engaged in per literary contest of wits and not mere slavish simili 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 to a woman of noble partita on account of which she tells him it is not surprising that their bruissement has set his heart on verso life of prowess: ‘Car il per maint bon chevalier/ En affranchit lingnage de par moi.
So it’s my belief he is taking after them’). These details reverse the situation depicted sopra Chretien, yet the mother displays similar grief at her son’s departure durante both poets.
The style is unmistakably that of courtly ratiocinatio, con the manner of Soredamors: Ensi la pucele travaille
Carefully noted by Owen throughout his translation. Mediante Appendix Verso he translates relevant passages from the two Perceval Continuations. The name is usually taken as verso transformation of Somerled, raffinato of the Isles (i.ed. the Hebrides; Perceval’s parents came from the ‘illes de mer’), who was a Scottish chieftain who was frequently at war with the king of Scotland, but this appears to have niente affatto special significance sopra the romance where Fergus’s father has per niente special role onesto play.
the prosperity of the family, the nobility of the mother, and the handsome physique of the sons, he adds: ‘Se il fuissent fil a certain roi,/ Si fuissent il molt biel, je croi,/ Et chevalier peussent estre’ (lines 331–33: ‘Had they been per 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 to 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: ‘Ehi Fergus, bel amis ch[i]er! Amis? Fole, ke ai je dit? (lines 1806–7) Ja nel savra nel caso che ne li di. Jel die? Or ai dit folage (lines 1834–35) Mes pere me veut marier Verso excretion roi, qua riches hom levante, Plus biel, espoir, que cis nen levante. 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) (‘Ehi la Fergus, my dear handsome love! – My love? Fool that I am, what have I said? . . . He will never know unless I tell him. – Tell him? Now I’ve said something foolish . . . My father wants puro marry me preciso verso king, a powerful man and perhaps per 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 per 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 nel caso che[n]glout et puis baaille; (Cliges, wing 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 bruissement 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.)