La Chanson de Roland: a modern French translation of Theodor Müller's text of the Oxford manuscript, with introduction, bibliography, notes, and index, map, illustrations, and manuscript readings |
Contents
ILLUSTRATIONS | xvi |
CARTE TOPOGRAPHIQUE DE LA CHANSON Page DE ROLAND xvi | xvi |
INTRODUCTION | xvii |
Historical events of the reigns of Dagobert and Charlemagne confused | xviii |
The disaster of Roncesvalles the origin his torically of the Chanson de Roland | xix |
Historical indications regarding Roland | xx |
Rise and development of the legend | xxi |
Unity of the poem | xxiv |
F Michels princeps edition followed by texts and translations | lxxxv |
A standard text of the Chanson | lxxxvi |
Bibliographical | lxxxvii |
SAINT GILLES lxxxix | lxxxviii |
BIBLIOGRAPHIE | lxxxix |
Bibliographies | xci |
Premiers travaux | xcii |
Les manuscrits | xciii |
The motive of the poem | xxvi |
Primitive poets unable to depict the manners and customs of foreign peoples differently from their own | xxviii |
Charlemagne | xxix |
Roland | xxx |
Oliver | xxxi |
Ganelon | xxxii |
Naimes | xxxiv |
The twelve peers | xxxvi |
Marsile | xxxvii |
Blancandrin | xxxviii |
The Baligant episode | xxxix |
Baligant | xl |
Subordinate characters in the pagan army | xlii |
Bramimonde | xliv |
Aude | xlv |
Who was the author of the poem as we know it from the Oxford manuscript? | xlvi |
Page | xlvii |
What indications point to in regard to the author | xlviii |
Approximate date of the poem | xlix |
Verse structure of the Chanson | li |
Unsolved problems in regard to the Roland material | liv |
The manuscript | lv |
Peculiar significance of the primitive epic | lvi |
The poem a series of tableaux | lvii |
Artistic construction of the central feature of the poem the battle of Roncesvalles | lviii |
Characteristics of the style of the Chanson | lx |
Strophe repetition or les couplets similaires | lxi |
The contradictions in the poem | lxii |
Sentiment and emotion in the poem | lxiii |
Absence of the comic element | lxiv |
Absence of the miraculous | lxv |
Popularity of the Chanson in its day and in later times due to its inspiration | lxvi |
Gradual transformation in the form of the Chanson de Roland to suit the spirit of the times | lxviii |
Roland in Germany | lxix |
The Netherlands | lxx |
England | lxxii |
Spain | lxxiii |
Portugal and other countries | lxxv |
STATUES DE ROLAND ET DOLIVIER lxxvi | lxxvi |
French versions written by Italians | lxxvii |
reali di Francia | lxxviii |
A new kind of epic peculiar to Italy | lxxix |
Complete transformation of Roland | lxxx |
Roland almost forgotten during three cen turies | lxxxi |
Nineteenth century studies | lxxxii |
Allusions to Roland in nineteenth century literature | lxxxiii |
Scholars the first to make known the old French epic poetry | lxxxiv |
Éditions | xcv |
Traductions françaises | xcvii |
Traductions étrangères | ciii |
Les analyses | cvi |
Date de la composition | cvii |
Auteur et lieu dorigine | cviii |
De deux rédactions de la Chanson de Roland qui ne sont point parvenues jusquà nous | cx |
Historique de la Chanson | cxiii |
Géographie du Roland | cxiv |
Les remaniements en vers et les versions en prose | cxvii |
Grammaire | cxxiii |
Roland dans lart | cxxxvii |
GROUPE DE SAINTFARON À MEAUX cxxxviii | cxxxviii |
Strophe and verse numbering | clxii |
FACSIMILE DU MANUSCRIT DOxford | 2 |
À Cordoue Conseil tenu par Charlemagne | 6 |
LES FAUCONS | 7 |
Départ voyage et trahison de Ganelon | 16 |
Roland est placé à larrièregarde | 29 |
Préparatifs des Sarrasins | 35 |
UN CHEVALIER 38 | 38 |
MILLE CLAIRONS RÉSONNENT 42 | 42 |
LA BATAILLE DE RONCEVAUX | 43 |
ROLAND FRAPPANT LA ROCHE ET SONNANT DU COR 44 | 44 |
PIÈCES DE LARMURE DUN CHEVALIER 52 | 52 |
CHEVALIER À PIED 75 | 75 |
CHARLEMAGNE EN PRÉSENCE DUN ANGE 97 | 97 |
Poursuite des Sarrasins ΙΟΙ | 101 |
Désespoir de Marsile et Bramimonde | 107 |
BALIGANT AU MILIEU DE SES ROIS 110 | 110 |
Lémir met son armée en mouvement | 115 |
Lempereur partage son armée en dix colonnes | 122 |
Baligant divise son armée en trente bataillons | 128 |
La suprême bataille commence | 136 |
LA MÊLÉE 137 | 137 |
Joyeuse contre Précieuse | 144 |
Procès de Ganelon | 151 |
Châtiment de Ganelon | 159 |
UN JONGLEUR 162 | 161 |
ARMURE DÉFENSIVE 190 | 190 |
ARMES OFFENSIVES 191 | 190 |
LORIFLAmme le Cor LÉPÉE SACRÉE 221 | 221 |
CHEVALIERS À PIED 235 | 235 |
LE PAVEMENT DE BRINDISI 267 | 266 |
LA PETITE CHAPELLE DIBAGNETA 316 | |
Copyright | |