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Topic: The Lais of Marie de France

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	Marie De France - LoveToKnow 1911
		France," generally interpreted to mean that Marie was a native of the Ile de France, she seems to have been of Norman origin, and certainly spent most of her life in England.
		The manuscripts in which Marie's poems are preserved date from the late 13th or even the 14th century, but the language fixes the date of the poems in the second half of the 12th century.
		Marie's Ysopet is translated from an English original which she erroneously attributed to Alfred the Great, who had, she said, translated it from the Latin.
	www.1911encyclopedia.org /Marie_De_France (1282 words)

	Cult Movies: The Lais of Marie de France (Penguin Classics) - $9.60
		Marie de France рrеsеnts an old man with a young beautiful wife in "Yonec." For sеvеn years she is locked in a tower whеrе she ages and loses her beauty - it is a kind of death to be out of love.
		Marie de France uses clever аnd subtle ways to describe the complications of love аnd marriage, which make her writing so uniquely profound.
		Their introduction is equally fascinating, as they explore the possibilities that Marie de France was not actually a woman аnd that she may not have written all of the lais.
	www.cultmoviesstore.com /tvr30313430343437353938.html (1468 words)

	Marie de France
		Marie de France's identity remains obscure, but it is clear that she was a woman of French origin writing in England in the later decades of the twelfth century, widely educated, and in touch with the royal court.
		Marie de France may be trying less to propound a critique of the received stories of Arthur than to recall her readers' attention to elements that tradition has left aside, as she suggests in her prologue.
		This is only one of Marie’s dozen lais; the others in her collection (including one on the Tristan legend) view love from other points of view, rendering a very kaleidoscopic picture of the relationships of men and women, of individuals and society, and of power and authority in her time.
	faculty.winthrop.edu /kosterj/ENGL512/Marie.htm (1379 words)

	Marie de France's Comedy (Site not responding. Last check: 2007-10-19)
		Marie de France uses comic elements like sarcasm and the grotesque in both the Fables and Lais.
		In addition, both the prologue and epilogue of the Fables and the prologue of the Lais are presented here, with possible class discussions ranging from Marie's justification of her position as a female author to her role as a teacher of moral conduct.
		Freeman, M. "Marie de France's Poetics of Silence: The Implications for a Feminine Translatio." PMLA 99(1984): 860-863.
	home.earthlink.net /~dianska/mariedefrance.htm (892 words)

	Marie de France
		Lais (or lays) are a musical and poetic form consisting of rhymed stanzas of 6-16 lines with 4-8 syllables per line.
		Marie wrote Breton lais (link to http://en.wikipedia.org/wiki/Breton_lai) in octosyllabic couplets, crediting Breton minstrels as the source for the material of her poems.
		Draws some dubious insights about Marie’s life from his analysis of her lais, and his conclusions are too dependent on his arrangement of a chronology for the composition of the lais.
	www.csun.edu /~sk36711/WWW/engl630AL/reports/bliss.htm (1540 words)

	The Lais of Marie de France - Wikipedia, the free encyclopedia
		The Lais of Marie de France are a series of twelve short narrative poems in Anglo-Norman, generally focused on glorifying the concepts of courtly love through the adventures of their main characters.
		Marie de France's lais, told in octosyllabic verse, are notable for their celebration of love, individuality of character, and vividness of description – hallmarks of the emerging literature of the times.
		Marie's lais were precursors to later works on the subject, and Marie was a contemporary of Chrétien de Troyes, another writer of Arthurian tales.
	en.wikipedia.org /wiki/The_Lais_of_Marie_de_France (290 words)

	Marie de France
		Marie de France, a French poet and fabulist of the 12th century.
		In spite of her own statement in the epilogue to her fables: "Marie ai num, si suis de France", generally interpreted to mean that Marie was a native of the Île de France, she seems to have been of Norman origin, and certainly spent most of her life in England.
		The Lais are dedicated to an unknown king, who is identified as King Henry II of England; and the fables, her Ysopet, were written according to the Epilogus for a Count William, generally recognized to be William Longsword, Earl of Salisbury.
	www.nndb.com /people/898/000094616 (946 words)

	The Lais of Marie De France
		Marie de France, perhaps the most highly regarded French female writers in history, pioneered the literary genre of love with the composition of her lays.
		These lays, defined by the crises that the characters must overcome, approach issues that would be regarded as indecent and vulgar to readers of her time.
		Marie punishes these characters for their actions, to show that her views toward adultery are not consistent with courtly standards.
	www.geocities.com /tmkallday/marie.html (973 words)

	Brightsurf: The Lais of Marie de France (Penguin Classics) by Marie de France by Glyn S. Burgess, Keith Busby (Site not responding. Last check: 2007-10-19)
		Marie de France presents an old man with a young beautiful wife in "Yonec." For seven years she is locked in a tower where she ages and loses her beauty - it is a kind of death to be out of love.
		The Lais of Marie de France, aside from being a landmark in the history of literature, are a collection of romantic stories that transcend time.
		Their introduction is equally fascinating, as they explore the possibilities that Marie de France was not actually a woman and that she may not have written all of the lais.
	www.brightsurf.com /item.php?ASIN=0140447598 (2967 words)

	Notes on Marie De France's Eliduc
		Although Eliduc is the longest of Marie's lais, it is only about 1180 lines long; Fowles in his translation attempts to reproduce a trait noted by Burgess and Busby, "Marie's rather short staccato phrases, often no more than a line long" (37), which Burgess and Busby "renounce," attempting to give more "flow" to their translation.
		If "Marie de France" was indeed the Marie from the wrong side of the Angevin blanket who became abbess of Shaftesbury, she must have been born before 1150, and we know that the abbess survived until about 1216.
		Twice Marie is very formal about the way her hero visits the wayward princess he is in love with; he does not crash into her rooms; he has himself properly announced.
	www.aug.edu /~nprinsky/Humn2001/ELIDUCNQ.htm (4192 words)

	Wholism and Fusion: Success in/of the Lais of Marie de France
		Two particularly cross-referential lais are "Lanval" and "Yonec," placed in manuscript H and in modern editions as the fifth and seventh positions in her collection.
		Marie's prologue has always attracted a great deal of interest if only for its outline of a twelfth-century theory of literary creation and reception, and the difficulty of precisely interpreting her lines related to the obscurity of and subsequent interpretation of the ancients.
		For further commentary on Marie's poetics, the prologue, and the relationship between prologue and lais, the reader is directed to the appropriate sections of Burgess's bibliography.
	laurentian.ca /engl/ARACHNE/VOL51/WILSON.HTM (856 words)

	“Recibir con ambas mejillas”
		Marie presents her readers with a fine variety of ladies, each faced with her own set of difficult circumstances.
		Lais, Hanning and Ferrante write: “Unlike earlier medieval epics, in which heroic values are universally acknowledged even though cowardise or treachery may cause their subversion, twelfth-century courtly tales and romances usually portray the protagonist's gradual discovery of real values through love” (5) and elsewhere, “.
		When her lover is mortally wounded by the husband's trap, the pregnant lady, the most daring of Marie's females, leaps unharmed from her tower and follows the droplets of her lover’s blood through a dark tunnel into his world.
	alpha1.fmarion.edu /~scmlr/barban.htm (3229 words)

	J. Root: Marie de France and Philippe de Beaumanoir
		A juxtaposition of this trace of historical women and social practice with the literary representation of women in Marie de France brings a cultural perspective to the literary representation of women and to the role of "courtly love" in that representation.
		Marie de France does not map out a new feminine space, nor does she articulate a new prescriptive narration for women.
		Freeman, Michelle A. "Marie de France's Poetics of Silence: The Implications for a Feminine Translatio." PMLA 99.5 (1984): 860-883.
	rmmla.wsu.edu /ereview/57.2/articles/root.asp (6476 words)

	Marie de France: Lais
		Marie's language is Anglo-Norman, the dialect spoken among the aristocracy of England and large parts of Northern France; she was part of a generation of writers (notable among them Chretien de Troyes) who were in the process of inventing the French verse romance.
		Marie uses an "historical present" tense often, switching from past to present and back again in a way that is much commoner in French than in English.
		Among the translations of the Lais available are the vaguely free-verse one by Joan Ferrante and Robert Hanning (Durham, N. C.: Labyrinth Press, 1982), a prose translation by Glyn Burgess and Keith Busby (Newy York: Viking Penguin, 1986), and a verse translation of five of the lais and some other short romances by Patricia A.
	web.english.ufl.edu /exemplaria/intro.html (825 words)

	Amazon.com: The Lais of Marie de France: Books: Robert W. Hanning,Joan M. Ferrante (Site not responding. Last check: 2007-10-19)
		Marie de France is known for using a marvel as a plot device.
		Marie de France was likely a slyly disruptive force in the masculine court that she seems to be writing for.
		Although many of the lais are short in length, you gain a valuable understanding of the way of life in ancient France as well as helpful knowledge for problems you may have in the love department.
	www.amazon.com /Lais-Marie-France-Robert-Hanning/dp/080102031X (1079 words)

	Notes on Marie de France from Kira Swab
		It is a common critical consensus that 'Marie' was a French-born female author who lived in England, probably in religious orders, and that she wrote the Lais, the Fables and the Espurgatoire, all in octosyllabic verse.
		Many also believe that Marie's direct yet sophisticated style; her artful compilation of stories that examine in diverse yet related ways the vexing problems of love, sexuality, maturation, marriage, family, communities, death; and her depiction of magical, moral and spiritual transformations place her works among the most remarkable vernacular productions in medieval literature.
		Although Marie de France may well have been a member of a religious order, her audience in the Lais and the Fables is a specifically courtly one that would have included young noblewomen and married ladies as well as feudal lords, knights and clerics.
	www.english.iup.edu /mhayward/EN210/Marie.htm (481 words)

	CATHOLIC ENCYCLOPEDIA: Marie de France
		She has this trait in common with the other trouvères, that she had no biographer; at least no biography of her has come down to us, and it is mostly by inference that scholars have been able to gather the meagre information that we possess about her.
		She was a native of Normandy and lived in the second half of the twelfth century, because she uses the pure Norman dialect of that time, and the two personages alluded to in her works were Henry II of England and his son William, Count of Salisbury.
		Marie's contributions to French literature consist of lays, the "Ysopet", and a romance published by Roquefort under the title, "Legend of the Purgatory of Saint Patrick".
	www.newadvent.org /cathen/09667a.htm (411 words)

	H-France Reviews
		There is something almost old-fashioned (I use the term non-pejoratively) about the task Bloch has undertaken: a close reading of the entire extant works of a poet from which is to be derived a sense of her (gendered) identity, and which aims to confirm the high level, and the coherence, of her artistry.
		As he puts it in his conclusion, “what I have offered here is a psychological portrait of Marie from the point of departure of salient aspects of her works, a reconstructed internal portrait and a cultural biography based upon a great artist’s language as a ‘sensitive index’...to the world around her” (p.
		Thus, we shall trace in the Lais Marie’s articulation of the fatal effects of language conceived to be independent of the world, a view associated with theological attitudes toward the relation of words to material reality characteristic of the early Middle Ages.
	h-france.net /vol4reviews/hanning.html (1345 words)

	Marie de France and the Breton Lais
		That lais were Breton is important, because during the fifth and sixth centuries, British storytellers fleeing from the Saxon expansion through Britain settled in Brittany, and brought with them tales from their homeland.
		Marie de France, who wrote twelve lais, was probably attached to the court of Henry II of England.
		The lais are, of course, vitally important to the development of Arthurian literature, since it was through them that the legend was transmitted from Brittany to France.
	www.moval.edu /faculty/adderleym/Arthur/marie-breton-lais.htm (714 words)

	Marie de France Study Questions
		Recall that while Marie de France lived and wrote in England, her language was the French dialect spoken at the Anglo-Norman court (rather than English, the Germanic language spoken by the peasantry).
		Read carefully through the Prologue to "Guigemar," noting passages in which Marie expresses her pride in her literary work; her comments on the "truth" of fiction; and her statements about "slanderers." Consider at whom or what she could be aiming these words.
		Read the lai carefully, noting the references to writing (the message or sign recognized by Isolde; the writing of the lai itself) as well as to the multiple languages which are involved in the translatio that produced this vernacular narrative.
	cla.calpoly.edu /~dschwart/engl203/lais.html (1027 words)

	Marie de France
		Marie de France: French author, active in the 12th century, perhaps associated with the court of Henry II and Eleanor of Aquitaine
		Rise of women like Eleanor of Aquitaine (1122-1204) and her daughter, Marie de Champagne, to positions of power and influence; role of women as patrons in the development of courtly culture; powerful women as centers of a courtly culture of love promoting values of courtesy and refinement in human behavior and relationships
		Bernart de Ventadorn, in southern France) and trouvères (e.g.
	fajardo-acosta.com /worldlit/marie (468 words)

	Marie de France
		Marie wrote in what was still, in the reigns of Henry II and his son Richard I, the dominant language of England, where she probably lived at least part of her life.
		The lais of Marie de France / translated with an introduction and notes by Robert Hanning and Joan Ferrante.
		After the opening and dedication, which are all hers, Marie made two major changes from her original: the knight Owen becomes much more an adventurer than a penitent, and the dignity of the lay life is constantly stressed.
	home.infionline.net /~ddisse/marie.html (3151 words)

	Amazon.co.uk: The Lais of Marie De France: With Two Further Lais in the Original Old French (Penguin Classics): Books: ... (Site not responding. Last check: 2007-10-19)
		This is a prose translation of the lais or poems attributed to Marie de France.
		Little is known of her but she was probably the Abbess of the abbey at Shaftesbury in the late 12th century, illegitimate daughter of Geoffrey Plantagenet and hence the half-sister of Henry II of England.
		In the North of France you had Chrétien de Troyes and his Arthurian romances and the Lais of Marie de France, to name only two of the most important.
	www.amazon.co.uk /Lais-Marie-France-Original-Classics/dp/0140447598 (625 words)

	Bibliography
		"Lai ester: Acceptance of the Status Quo in the Fables of Marie de France." Romance Quarterly 49.1 (Winter 2002): 3-12.
		Maréchal, Chantal A. In Quest of Marie de France, A Twelfth-Century Poet.
		Marie de France as Sapientia: Author Portraits in the Manuscripts of the Fables
	lucy3621.tripod.com /id9.html (532 words)

	The Lais of Marie de France
		Marie makes no clear distinction between the two, and authorities on both sides of the channel have claimed her.
		The lais are generally known as "Breton lais." Her most likely source was Anglo-Saxon, still spoken by many commoners in the 12th Century, with many of the tales probably having even earlier sources in Old Welsh, the language in which the earliest Arthurian legends were told.
		Seneschals are routinely depicted as villains in romances and lays because they were the gatekeepers to the courts who decided which entertainers would be employed in the courts.
	www.wsu.edu:8080 /~brians/love-in-the-arts/marie.html (2896 words)

	The Lais of Marie de France
		Marie identifies Equitan in line 9 as “a most courtly man.” Does the lai show him as being the master of (or subject to) the sort of discourse and beliefs expressed in the first two books of The Art of Courtly Love?
		Marie addresses her contemporaries (rather than us) in her “Prologue”: what might be some of the benefits of inviting the readers to “gloss the letter” (line 15)?
		You may draw your ideas from all of the assigned lais.
	english.ucsb.edu /faculty/cpaster/courses/engl156/marie_sqs.html (399 words)

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