The essays in this volume reflect to a large degree the scholarly interests of the honorand: Arthurian romance, the fabliaux, and Villon, just to mention the principal ones. Over the years, Norris Lacy's contribution to, and influence on, the study of Old French literature has been practically incalculable.

These essays are a tribute to one of North America’s most distinguished scholars of Old French literature, Norris J. Lacy. Dealing with a wide range of medieval works, they reflect the honorand’s own scholarly interests in medieval narrative and its reception in later periods. Together, the contributions are witness not only to the esteem in which Norris Lacy is held by the profession but also to the collegial spirit of the international community of medievalists.

Unique in combining a comprehensive and comparative study of genre with a study of romance, this book constitutes a significant contribution to ongoing critical debates over the definition of romance and the genre and artistry of Malory's Morte Darthur. K.S. Whetter offers an original approach to these issues by prefacing a comprehensive study of romance with a wide-ranging and historically diverse study of genre and genre theory. In doing so Whetter addresses the questions of why and how romance might usefully be defined and how such an awareness of genre-and the expectations that come with such awareness-impact upon both our understanding of the texts themselves and of how they may have been received by their contemporary medieval audiences. As an integral part the study Whetter offers a detailed examination of Sir Thomas Malory's Le Morte Darthur, a text usually considered a straightforward romance but which Whetter argues should be re-classified and reconsidered as a generic mixture best termed tragic-romance. This new classification is important in helping to explain a number of so-called inconsistencies or puzzles in Malory's text and further elucidates Malory's artistry. Whetter offers a powerful meditation upon genre, romance and the Morte which will be of interest to faculty, graduate students and undergraduates alike.

This collection of essays examines the various dynamic processes by which texts are preserved, transmitted, and modified in medieval multi-text codices, focusing on the meanings generated by new contexts and the possible reader experiences provoked by novel configurations and material presentation. Containing essays on text collections from many different European countries and in a wide range of medieval languages, this volume sheds new light on common trends and regional differences in the history of book production and reading practices.

Emma O. Bérat shows the centrality of women's legacies to medieval political and literary thought in chronicles, hagiography, and genealogy.

The renowned and illustrious tales of King Arthur, his knights and the Round Table pervade all European vernaculars, as well as the Latin tradition. Arthurian narrative material, which had originally been transmitted in oral culture, began to be inscribed regularly in the twelfth century, developing from (pseudo-)historical beginnings in the Latin chronicles of "historians" such as Geoffrey of Monmouth into masterful literary works like the romances of Chrétien de Troyes. Evidently a big hit, Arthur found himself being swiftly translated, adapted and integrated into the literary traditions of almost every European vernacular during the thirteenth and fourteenth centuries. This Handbook seeks to showcase the European character of Arthurian romance both past and present. By working across national philological boundaries, which in the past have tended to segregate the study of Arthurian romance according to language, as well as by exploring primary texts from different vernaculars and the Latin tradition in conjunction with recent theoretical concepts and approaches, this Handbook brings together a pioneering and more complete view of the specifically European context of Arthurian romance, and promotes the more connected study of Arthurian literature across the entirety of its European context.

This major reference work is the fourth volume in the series "Arthurian Literature in the Middle Ages". Its intention is to update the French and Occitan chapters in R.S. Loomis’ "Arthurian Literature in the Middle Ages: A Collaborative History" (Oxford, 1959) and to provide a volume which will serve the needs of students and scholars of Arthurian literature. The principal focus is the production, dissemination and evolution of Arthurian material in French and Occitan from the twelfth to the fifteenth century. Beginning with a substantial overview of Arthurian manuscripts, the volume covers writing in both verse (Wace, the Tristan legend, Chretien de Troyes and the Grail Continuations, Marie de France and the anonymous lays, the lesser known romances) and prose (the Vulgate Cycle, the prose Tristan, the Post-Vulgate Roman du Graal, etc.).

"[A]n eminently readable text, done clearly and accurately . . . it gives as good an idea as a translation can of the complexity and subtlety of Chrétien's originals. . . . The text is provided by a translator who understands the spirit as well as the letter of the original and renders it with style. . . . [T]his translation should attract a wide audience of students and Arthurian enthusiasts." —Speculum "[A] significant contribution to the field of medieval studies [and] a pleasure to read." —Library Journal "These are, above all, stories of courtly love and of knights tested in their devotion to chivalric ideals (with passion and duty often at odds); but they are also thrilling wonder stories of giants, wild men, tame lions, razor-sharp bridges and visits to the Other World." —Washington Post Book World "This tastefully produced book will be the standard general translation for many years to come." —Choice This new translation brings to life for a new generation of readers the stories of King Arthur, Lancelot, Guinevere, Gawain, Perceval, Yvain, and the other "knights and ladies" of Chrétien de Troyes' famous romances.

What is love? Popular culture bombards us with notions of the intoxicating capacities of love or of beguiling women who can bewitch or heal—to the point that it is easy to believe that such images are timeless and universal. Not so, argues Laine Doggett in Love Cures. Aspects of love that are expressed in popular music—such as “love is a drug,” “sexual healing,” and “love potion number nine”—trace deep roots to Old French romance of the high Middle Ages. A young woman heals a poisoned knight. A mother prepares a love potion for a daughter who will marry a stranger in a faraway land. How can readers interpret such events? In contrast to scholars who have dismissed these women as fantasy figures or labeled them “witches,” Doggett looks at them in the light of medical and magical practices of the high Middle Ages. Love Cures argues that these practitioners, as represented in romance, have shaped modern notions of love. Love Cures seeks to engage scholars of love, marriage, and magic in disciplines as diverse as literature, history, anthropology, and philosophy.

This 1998 study serves as a contribution to both reception history, examining the medieval response to Chrétien's poetry, and genre history, suveying the evolution of Arthurian verse romance in French. It describes the evolutionary changes taking place between Chrétien's Eric et Enide and Froissart's Meliador, the first and last examples of the genre, and is unique in placing Chrétien's work, not as the unequalled masterpieces of the whole of Arthurian literature, but as the starting point for the history of the genre, which can subsequently be traced over a period of two centuries in the French-speaking world. Beate Schmolke-Hasselmann's study was first published in German in 1985, but her radical argument that we need urgently to redraw the lines on the literary and linguistic map of medieval Britain and France is only now being made available in English.