By Association française d'astronomie

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Furthermore, both Perceforest and Ysaÿe introduce a new element by making poet heroines into guardians of memory and history. As chapter five argues, Perceforest makes the originary roles of its poet heroines especially clear, showing how their lyric works eventually give rise to a prose chronicle, putative ancestor of the romance we are reading. In commemorating the prowess of knights, the poet heroines of Perceforest perform their own acts of lyric prowess, but their voices must eventually be superseded by and enclosed within the prose text.

In reembracing her adoptive identity, Nicolette allows another’s recognition of her to supersede her own, and the acculturation of her French family to override her origin. The subsequent recovery of her pale, beautiful French identity is accompanied by a return indoors, and a strange immobility. [S]i s’assist en le canbre sor une cueute pointe de drap de soie, si apela la dame et li dist qu’ele alast por Aucassin son ami. ] Nicolette’s fiddling was previously associated with her mobility, allowing her a metaphorical means of transportation that carried her back to Aucassin: “si prist se viele, si ala vielant par le païs” (38–21–22) [she took her fiddle and went fiddling through the land].

Des aventures” (35–36) [to commemorate the adventures]. However, orality, and the embodiment that figures it, is not gendered feminine in the Lais. ” Sylvia Huot has read the trapped and eventually entombed nightingale in this poem as a figure of 20 P O E T H E R O I N E S — M E D I E VA L F R E N C H N A R R A T I V E the lyric poem trapped within the narrative. ”97 Layers of signification are added to the dead bird, to form a commemorative object that stands in for the lai, containing the lost oral poem at its center.

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