For the study of this text, Erec and Enide, we will use the edition of Jean-Marie Fritz, based on the BN manuscript. Fr 1376, The book de Poche, “Gothic letters” n° 4526, 1992. Here is the seventh part of the study: Explanation of the story.
The Prologue (verses 1-26)
A classic prologue
The first chansons de geste had already preceded the story with a few introductory verses praising the “good song” (William's song) or the "song of joy and boldness" (Raoul of Cambrai) ; the author of Coronation Louis had even added a few derogatory words about the jugglers:
I don't know why the ugly juggler boasts
He doesn't say a word until he is ordered.
But the first courtly romances, like the Novel of Thebes, make a decisive modification: it is now a real prologue, developed over twenty verses; and the author is not content with announcing a story of “joy and battles”: he poses as a philosopher, inspired by the authors of Antiquity, and determined to share his wisdom. A wisdom that only the cleric and the knight can understand and appreciate: others are invited to withdraw, because
they couldn't listen to me
than like a donkey listening to the sound of the harp.
This affirmation of wisdom and truth is universal, including for works whose didactic nature is not obvious.
The prologue ofErec and Enidus follow this pattern to the letter.
Towards 1 to 12: a moral and didactic intention.
Chrétien begins with a popular proverb. Here he refers to the "villain": not a peasant, but quite simply one who is neither cleric nor knight: the bourgeois, the merchant are therefore also "villains".
Two essential elements follow:
- “For this / good fact which its estuide atorne a sens”: the expression “atorne a sens” is doubly emphasized, by the enjambment, and by the accent on “sense”. The main thing is to teach wisdom – which means that we will have to interpret each event, each description in a symbolic sense. Everything makes sense, in the Middle Ages, nothing is free.
- But at the same time, the rhyme emphasizes the word "pleasure": the didactic character in no way goes hand in hand with boredom; it is court literature, primarily intended to please the refined and educated public to which it is addressed.
It is also in this passage that the name of Chrétien de Troyes appears for the first time, who asserts himself here as the author. See his biography.
Verses 13-18: sources and “junction”
The author indicates two essential points here:
- He “characterizes an adventure tale” in his story: which means that he refers to an oral tradition, or to previous works; in none of his novels does he claim originality; all his work (and that of his contemporaries) consists of “giving meaning” to a pre-existing “matter”, of revealing its true value… even if it means correcting the sources, if it does not seem convincing to him!
- We also find here, for the first time, this term " spouse » to which we will have to return, and which designates the work of composition, of formatting, in which the genius of the poet is expressed.
Towards 19-26: attack against the “jugglers”
This last passage finally gives the title (Erec and Enidus) and insists on the genre: it is a “tale” and not a gesture: a courtly novel, and not an epic.
We also find the classic attack against the jugglers, but here with an interesting nuance: these people “conter vivre vuelent”: they are therefore mercenaries, and “villains”; Chrétien, for his part, affirms the dignity of the author, who transmits his knowledge free of charge. This is obviously fiction!
Finally, we find a new mention of his name, "Christian", this time more directly linked to the notion of "Christendom"; However, it is a secular literature, in which religion intervenes relatively little…
Text 2 (towards 125-274): Erec leaves the Court.
Introduction
This rather long passage (149 lines), located between two red initials, takes place after King Arthur decided to hunt white deer, against the advice of his nephew Gawain who feared dissension at court. All the knights participate, with the exception of young Erec, who remains aside near Queen Guinevere accompanied by a servant. Why this withdrawal? This is because Érec does not yet have a friend: he is therefore not completely a knight, and is not worthy of participating fully in the activities of the Court. We will find this trait in the Don Quixote by Cervantes: the hero begins by inventing a Lady, Dulcinea, without whom he is no knight...
This text will constitute the starting point of Érec's adventures. It begins with a triple encounter: a knight, a maid and a dwarf (the number 3 will be repeated over and over throughout the novel)
- a first part evokes the normal gait of Queen Guinevere: she asks the unknown knight and his retinue to introduce themselves. (v. 138-162).
- The second part recounts the first affront to the Queen: her servant is struck by the dwarf. (c. 163-193)
- The third part (v. 194-233) recounts the second affront: this time it is Erec himself who is struck. Without weapons, he cannot defend himself, and very wisely decides to retreat.
- The fourth and final part (v. 234-274) sees the departure of Erec: he must avenge his humiliation and follow the knight; before three days he will be back, lost or avenged.
The story therefore strictly follows the chronological order of the sequence; the events, in the obvious symbolic sense, follow each other rigorously, painting a first portrait of Erec.
First part: the meeting.
Isolated heroes, at rest (v. 125-137)
The entire passage is in the imperfect tense, and composed of state verbs: “estoit”… The characters find themselves in an “essart”, that is to say a deforested land, a clearing; the hunt, very lively, only reaches them through a few noises that they try to perceive; we have the impression of a peaceful vignette: three beautiful characters (the author insisted on the beauty of Erec; and here he emphasizes that of the maid, who will remain anonymous), far from the noise of the Court …
The meeting itself (v. 138-162)
The setting – a forest – is itself symbolic: it is the place of all adventures, of all encounters, good and most often bad. The three characters find themselves apart from society.
The meeting, expected, will therefore occur. It depicts three characters (eminently symbolic number: 3):
- A fully armed knight on his steed, a battle horse par excellence: although a simple witness in the encounter (he does not intervene directly), he appears ready for combat, “lance in hand”; his warlike appearance contrasts with the trio he encounters, two women and an unarmed knight.
- A virgin “de grant estre”, that is to say of noble condition; she will not act either; but her presence shows that she symbolizes pride.
- Finally, a dwarf, being connected to the dark forces in most mythologies Indo-European, and who alone will act here, in the name of the other two. Chrétien does everything to make him despicable and unsympathetic: he rides on a “roussin” (a bad horse, or a second category horse, intended for subordinates; the term will give the “ross”… and the name “Rocinante” of the Don Quixote !); he holds a whip, a weapon also devoid of any nobility.
As R. Bezzola says (op. cit. p. 98), “It’s a sinister trio, violence, pride and wickedness. »
Faced with this unexpected event, the Queen remains calm and perfectly courteous: she sends her attendant to invite the knight to introduce himself. The next one goes “at amble” towards the group: that is to say at a gentle pace, reserved for the ladies; we know that she rides a “white palfrey”: here again, the name and the appearance of the horse symbolize the peaceful character of the young girl.
Second part: the affront to the Following (v. 163-193)
The courtesy of the Queen will be matched by the extreme brutality of the Dwarf, who seems to serve as his master's "bodyguard": it is he who intervenes, forbidding the "noble maid" from speaking to him, and the treating with the utmost contempt: she has “no right” to speak to the Knight, and he hits her with his whip, treatment reserved for villains!
The text here gives an overview of the very real violence to which the weak, and in particular women, were victims: here the dwarf hits a young girl; a little further on, it is the Count of Limors who will strike Enide, who is not as docile as he wishes...
The adjectives describing the dwarf make him a figure of Evil, a "type" more than a real character: he is "full of felony" (v. 164), "fel et de put'aire" (felon and bad air”, v. 171); finally, her “smallness” is deceptive: it arouses contempt in the imprudent young girl, but hides an evil force.
Through the humiliation suffered by the next one, it is the Queen herself who is targeted: the “blecie” concerning the young girl responds “corrocie” affecting the Queen. It was she, through an intermediary, who was despised and beaten.
And in the same way, the Dwarf is only the “creature” of the knight; through this, it is this which reveals its vile and evil nature:
Mout est li naughty knights
When he suffered that such and such made
Won't be such a beautiful creature
Third part: the affront at Erec (v. 194-233).
The story strictly follows the same pattern as for the previous encounter:
- Érec advances, but this time the pace is more energetic: he “spurs” his horse and “poke straight” towards the knight.
- A brief dialogue begins: but whereas the dwarf had simply called out to the young girl with “Damoisele, estez!” » not very engaging, but correct, he addresses Érec by calling him “Vassaux”; now the term has a precise meaning; it designates the one who, by paying homage to a suzerain, recognizes duties towards him. There is therefore no equality between Erec and the knight: the second, through the Dwarf, poses as overlord. But Érec only has one: King Arthur…
- It is therefore a challenge, and perceived as such: Érec refuses to comply. Negative names with regard to the Dwarf multiply: "cuvers", "fel", "ennuious", "contralïous" (note the rhyme), and again "fel": he embodies evil and treachery, without possible remedy.
- The blow also seems multiplied: whereas for the young girl, four verses had sufficed (183-186), here six are needed, and Chrétien adds concrete details: the traces left by the strips.
- Finally, the young girl returned to the Queen in tears; Érec, for his part, engages in a whole reasoning, a debate between his valor, which commands him to respond, and his “wisdom” which recommends him to do nothing. He has no weapons, and “Madness is not vasalages” (“Folly is not valor”, v. 231). He is therefore operating a strategic withdrawal.
Fourth part: the departure of Erech (v. 234-274)
This 4th part consists essentially of a long direct speech from Erec addressed to the Queen. The first part takes up what we already know: the humiliation suffered, of which the Dwarf was only the instrument: the whole speech, here, is centered not on him, but on the Knight “qui villains est et outrageus” (note that the term “villains” here, as in line 198, has a moral and not a social meaning. To claim to be above your condition is to descend below it!).
A second part explains the speed of his departure: he does not take the time to return to get his weapons from Caradigan: he immediately sets out in pursuit of his adversary, counting on chance to provide him with weapons. Note that he speaks of “chance”: “if I do it…”; Providence has absolutely no role here, we are faced with a purely secular text.
The text then gives a chronological indication: the adventure must last “three days” (v. 265); but is it really a duration, or once again a symbolic figure?
Finally, the Knight leaves alone, with the Queen's recommendation to God as his only viaticum. This is the only time religion is mentioned.
Conclusion
This text is therefore the beginning of the adventure, and of the training of Érec. Knight without a lady, therefore isolated from society, excluded from the royal hunt, he must find one; he must also fight Evil, in the person of the sinister trio encountered: violence, pride and wickedness. When he has passed this first test, he will fully belong to the Court and will finally be able to fully play his role among the Knights of the Round Table.
Text 2 (around 2430-2573): “Con mari fus! »
introduction
The text that we propose to explain here takes place just after the marriage, which opens the second part (and is therefore an integral part of the “crisis”; cf. above composition of the novel. The text first describes the “madness of Erec” (v. 2430-2438), then the successive reactions it arouses:
- That of his companions (v. 2439-2458)
- That of Enide (c. 2460-2504)
Then, we will witness the gradual awakening of Erec:
- his literal awakening and the first denials of Enide (v. 2505-2535)
- Finally, the confession of the young woman (2536-2571)
- In two lines, Érec takes stock of the situation; the rest of his speech will already be an action.
We will see, in conclusion, that this text presents some similarity with Don Quixote : in both cases, a character plunges into a madness that banishes him from society, to the great displeasure of those around him; in both cases, this madness is presented as a "sleep", an "enchantment" that makes you forget the real, and in both cases, a woman will have the difficult role of disenchanting the sleeper. And the cause of madness is exactly the opposite: if in the Don Quixote, it is the chivalrous values which make the hero mad, here on the contrary, it is the temporary abandonment of these same values which constitute the madness and the fault of Érec.
The madness of Erec (c. 2430-2438).
Eight lines are enough for Chrétien de Troyes to describe the state of Erec: and the author to insist on the negative character of this state;
- He begins by abandoning what he was born to do, what made him what he is, a perfect knight: weapons. Negations multiply: “ne li chaloit, n’a tornoiement mas n’alloit, ne mas soing de tornoier”…
- His “Lady” is now conquered, marriage has made her available without him having to fight to possess her; love then loses its chivalrous value; it becomes simple enjoyment of a good, without surpassing oneself; and the “Lady” herself loses her quality. She is nothing more than “his fame”, “his friend”, “his drue” (his lover).
It should be noted that this passage still belongs to the description of the marriage, which begins with a blue initial (v. 2351): this means very clearly that the marriage, which seemed at first glance to be the consecration of the new knight, and the happy ending of its history, actually constituted a formidable obstacle on the path to perfection. It was a trap, into which Erec fell.
reactions to madness
The mourning of his companions (v. 2439-2458)
The red initial, marking a new stage, only appears in line 2439, when we change point of view, and go from that of Erec (in a somewhat blissful happiness) to that of his companions (sorry and critical ).
Erec's behavior is twofold:
- His madness itself translates into aberrant behavior: he does not get up before noon (at a time when natural light played a much more important role than today: we got up and went to bed normally with the day...) ; he does not move away from his wife and therefore remains at the castle, almost feminine behavior; he refuses not only adventure, but even the distractions of the aristocracy, such as tournaments... If he were not so happy, these would be all the signs of depression!
Another element that can bring him closer to Don Quixote: his superb indifference to the protests of those around him!
“He was beautiful, as he weighed”
(“whoever wanted to be upset, this life pleased him”). - Nevertheless, his noble nature does not fade, and is reflected in an unchanged generosity, which borders on liberality: if he does not participate in tournaments himself, he gives his knights sumptuous equipment and horses of great quality. price.
This nobility persisting in madness responds point by point to the praise of Enide preceding this passage (v. 2409-2429): what is in question here in no way calls into question the perfection of the young woman, totally innocent of what happens, nor the good nature of the hero himself. He is simply the victim of temporary blindness.
At the beginning, the only reaction of his companions is therefore pain, sorrow: “duel”, “se dementoient”, “granz duelx et granz domages”…; the criticism only intervenes after the fact (v. 2459), but then it spreads so quickly, reaching down to the “sergeants” that is to say the valets-at-arms, that Enide ends up realize.
Enide's reaction
Enide hears a single word, but it is a terrible word, a condemnation without appeal: “RECREANZ” (v. 2462). This word, which means “who gives up fighting, discouraged, spineless” carries with it the very negation of chivalry: there is no more cruel reprimand.
Enide's first reaction is to say nothing, so as not to hurt Erec; but it is also an extreme pain, which she translates in an elegiac way. She reproaches herself the most, not that she has committed a voluntary fault, but she knows that she is the cause of the knight's decline, which brings with it her own (we have seen that she was no longer " lady ").
This scene includes several strongly symbolic elements:
- He sleeps, she watches: Erec's sleep symbolizes his unconsciousness, and also the fact that it will be up to her, the "lady", to wake him up and push him into action. It was love for Enide that lost Érec, it was Enide's tears that would save him.
- The power of words: as in Roman times, a word is never trivial; he carries within himself a force of his own, almost magical. This is why speech is so important in the novel. Here, a first word triggers Enide's awareness: “recreanz”; and it is also an imprudent word, which escapes him, which will wake Erec: “Con mari i fus” (you came here for your misfortune).
This double word will then be regretted by Enide, who will try in vain to save the lost happiness; but at the same time, this happiness, based on the abandonment of chivalrous values and the renunciation of oneself, could not last and had something inauthentic which condemned it.
The awakening of Erec.
physical awakening
Erec, who was sleeping, first wakes up in the literal sense of the term; he heard Enide crying and speaking; the last words spoken, "Con mari i fus", struck him, undoubtedly by contrast with the situation of perfect happiness that he lives or believes he is experiencing, then by their fatal character.
His attitude is then somewhat ambiguous: he mixes deep tenderness (“bele ami chiere”, “my sweet friend”) with veiled threats (“ I will know, my uel« , « Don't hold back on me“…
A moral awakening
While Enide desperately tries to make up for her unfortunate words, which condemn the happiness where the lovers lived (and we find one of the traditional images of the "dangerous woman": the jailer of the "prison of love" who prevents the man to truly fulfill himself; and it is not for nothing that at the end of the novel, the "Lady" of the "Joy of the Court" who imprisons Mabonagrain is precisely Enide's cousin...), Érec restores suddenly a distance: we move from the intimacy of the “sweet friend” (v. 2515) to “my lady” (v. 2524): Enide regains her role, a sign that Érec will regain his.
Enide's terrible confession
Openly accused of lying – a behavior totally contrary to her values, Enide “breaks”, not without a certain cruelty.
The truth will be told to Erec without any care. At first the blame seems to have extended to the whole earth: first limited to companions, then to servants, now it is on everyone's lips:
“Through this land where they were killed,
Li black and li blond and li pink…” (v. 2540-2541)
“Now they are silent about your gabant,
Old and jone, small and big…” (v. 2549-2550).
Unanimous, the blame is also merciless: “recreant”, that is to say “cowardly”, the knight has lost all value: “Your price is lowered” (v. 2544); “all lose your prize”, (v. 2560). Everything must therefore be redone, and even more: because before meeting his Lady, Erec was certainly excluded from hunting, but he at least had the esteem of the Court. Now he has lost everything.
Finally, worse still: the blame fell on the Lady; but we saw in the text 2 that the affront given to a lady was precisely the spur which pushed the knight to action. Here, the word “blasma” is repeated 4 times (v. 2556-2565); and these reproaches – unjustified – cause unbearable pain in Enide: “bores me” (v. 2552; be careful, the word here has the strong meaning that it will keep until the 17thth century) ; “poises me” (v. 2554, 2555, 2557); “ of anguish, crying comes to me” (v. 2568), “weight” (v. 2569)… Such insistence takes on an injunctive value for the knight: his Lady has suffered an affront, she is suffering, his reaction cannot be delayed. Especially since Enide, once again fully a lady, clearly expresses her demands:
“Other advice suitable for you to take” (v. 2562).
Finally, the fatal expression, “Con mari i fustes” is repeated by the young woman: it is this enchantment that must be overcome.
New start
The text – at least the passage we are explaining – ends with two pithy lines:
“ – Lady, he says, straight in eüstes
Because those who blame me have the right. » (v. 2572-2573)
Now, the Knight is fully awake from his crazy sleep, he takes note of the situation and recognizes his fault. Each of her words counts: “My Lady” restores Enide to her rank and role; he recognizes his right to complain, and therefore takes over the fatal word. Happiness is therefore destroyed, the adventure can (re)start. This will be done from the next verse.
Conclusion.
In the chivalrous society of the 12thth century, women cannot play an active role. Victim of an affront, or a blame, Enide, like the Queen of text 2, is reduced to complaining, or to suffering in silence. On the other hand, his word takes on considerable weight, because it represents a categorical imperative for the Knight. Enide therefore delayed her word as long as possible, knowing that it would immediately sign the death of her peaceful happiness – which is sure to happen.
Torn from his sleep, and from his madness, Érec reacts immediately: he starts from scratch, to win back his lady, and find himself again.
The Joy of the Court: entry to the orchard (v. 5664-5821)
Introduction
We are now on the threshold of the ultimate adventure that will make Erec a perfect knight and a king. Irresistibly attracted by the fame of the “Joy of the Court” (a mysterious name whose meaning we will only know at the end), our hero came to the court of King Évrain; the latter begged him in vain to give up an almost impossible enterprise, but Érec persisted.
The text consists of several clearly distinct parts:
- the preparations of Erec (5664-5687);
- The journey to the orchard, and the desolation of the crowd that accompanies it (5688-5721)
- The description of the orchard, first marvelous (5722-5766), then terrifying (5767-5778)
- Finally, the speech of King Évrain and his departure (5779-5821)
This text introduces previously unpublished elements into the novel: while for the first time Erec separates from Enide, the marvelous makes its appearance, with its corollary, horror. Finally, the entire text is placed under the sign of ambiguity: the name of the adventure announces “Joy”, but on the contrary everything contributes to despair and fear.
the preparations of Erec (5664-5687)
This first part is already under the sign of contrast and ambiguity: Érec is already entirely in the project and impatience; the positive signs are multiplying: we are “morning”; Chrétien insists on “light” (“ajorné” v. 5665, “esveil” v. 5666, “clear dawn and sun” (v. 5667)…
Conversely, Enide is plunged into anguish and darkness:
Enide is extremely bored,
And Mut is sad and angry.
The night is getting worse
Of sopeçon and paor
What she had from her lord,
who sees himself put in such danger.
The separation between the two spouses begins here: they are not experiencing the same thing. And for the first time, Enide is not at the origin of this adventure.
the points of view alternate: always internal, we first see that of Erec, then that of Enide, and again that of Erec.
The story follows a strictly chronological line, from getting up to clothing and weapons - and here again, for the first time since his very first adventure, Érec carries new weapons offered by the King: it is yet another sign of renewal . Then we witness the departure itself: in a sort of slow motion, Chrétien spares us no detail, even the descent of the stairs, as if to create anticipation and delay the fateful moment.
The journey to the orchard, and the desolation of the crowd that accompanies it (5688-5721)
This scene produces a strong contrast with the previous one:
- The isolation of the two characters when they wake up responds here to an increasingly numerous and compact crowd: Chrétien expresses the number by means of numerous plurals (“the houses, the people of importance, all, these words and these speeches” ), enumerations and totalizing terms, noting an impressive unanimity (Home is not famous, right is not wrong, great is not small, weak is not strong... The big people and the small ones..."
- The silence of the heroes responds here to a multiplicity of speeches, all of which go in the same direction: the announcement of misfortune and death – with the repetition of a formula that we know well: “Con mar y fut” (v. 5708): it is therefore truly a (re)beginning… These cries resonate in the most sinister way, with the repetition of “Ahi! Ahi! » which evokes the lamentations of an ancient choir; the dire words follow one another: mourning, death, anguish, pain... But we know that words have an almost magical power...
- This is the first time that the adventure attempted by Érec has taken on such a collective dimension: it is therefore the fate of an entire people that will be at stake.
The ambiguity and the mystery thicken, through this oxymoronic “Joy”, which we curse, and which produces only betrayal and sadness.
The Knight seems isolated, insensitive to this general desolation, as he had been to the pain and anguish of Enide in the previous passage. The only feeling he expresses is impatience to know: the heroization of the character is at its peak, a far cry from Érec's prudence at the very beginning of the novel! But at the same time, his impatience has also changed in nature: he seeks here neither exploit nor glory, but rather knowledge: and Chrétien insists, in line 5719, in a beautiful ascending ternary rhythm, reinforced by the polysyndeton:
“Let him know and see and understand”
The description of the orchard, first marvelous (5722-5766), then terrifying (5767-5778)
The King, Erec and all their escort finally reach an orchard; and we witness an intervention by the Narrator, intended to underline the “truthful”, “historical” character of the description he is going to give us; However, the orchard is a highly symbolic space in the Middle Ages, whether it is inspired by Greco-Roman antiquity (let's think of the "Garden of the Hesperides", the mecca of an exploit of Hercules, or even the marvelous garden of Alcinous, king of the Phaeacians in theOdyssey) or the Judeo-Christian tradition (the word “paradise” actually designates a garden, or an orchard).
A marvelous orchard
As in ancient or oriental gardens, the marvelous seems at first to prevail: this one is surrounded by an invisible wall, made of air and not of stone; it is a closed, protected place, away from the town and the castle (that is to say the real world).
All the ingredients of the topical “Locus amoenus” can be found there: the enclosed and protected place, the abundance of fruits and curative and beneficial plants, the presence of birds of all kinds and their songs...
But already, within this ideal vision, the worrying emerges: the garden was closed “by nigromance” (v. 5734), that is to say by black magic! And moreover, a strange prohibition strikes this orchard: nothing can be taken out of it; the fruits must be consumed on site.
But Erec did not care: overjoyed, he entered “through a narrow entrance” into the orchard, with the King and all his retinue; and he is all in his exaltation:
Erec aloit, launch sor fault,
Among the riding orchard,
which mout disintegrates or sings
Birds singing;
His joy represented him,
The thing he loves more.
The irruption of horror (v. 5767-5778)
It is at the precise moment when Erec lets himself go to Joy that the “wonder”, that is to say the horror, appears to him (v. 5766); the adversative conjunction “but” underlines this break. He sees stakes, bearing severed heads; and the last, which seems to be intended for him, only wears a horn.
The references to the songs of gesture multiply: allusion to characters like Thibaut l'Esclavon, Opinel or Fernagu, and especially this sinister "horn", which cannot fail to evoke that of Roland... This shows once again that the adventure d'Érec changed dimension, because the heroes of the songs of gesture belonged to a collective epic: like them, Érec carries the hope and the fear of an entire people.
the speech of King Évrain and his departure (5779-5821)
This frightening vision, which contrasts violently with the beauty of the orchard, is an enigma that King Évrain, faithful to his role as host and guide, will solve.
The speech he gives is rigorously structured:
- An introduction, both benevolent (“Friends”) and tragically ironic: “if you value your life…” But the mere presence of Érec in this orchard shows that it is already too late. Even if he has to be frightened by the threat, he can no longer escape it! The threat was vague, because no one knew which knight was going to appear: this remark carries both a terrible threat and a promise: because Erec, appearing as an “angel of light”, is obviously the one we are waiting for.
- Then Évrain suddenly switches to familiarity: “Guard, your head is not exposed” : the threat is getting closer. The curse of the orchard seems infinite: if Erec's destiny is to perish, other pious ones will come, eternally, to be added to the previous ones. The paradise orchard then takes on the appearance of Hell.
- finally, the explanation of the horn: it is also a magical object, similar to the weapons that only the predestined hero can take (bow, sword, etc.). The King's words can only encourage Erec even more to try the adventure.
- Finally, he takes leave of Erec, and invites him to send everyone away: the hero leans one last time towards Enide, who must leave him alone: for the first time, she will not accompany him. Her silence is eloquent: whatever her pain, she understands that Érec must complete his adventure, to become fully himself, and to give her, too, fully, her status as a lady.
Conclusion
This entry into the cursed orchard, and this last adventure, allows us to measure the path traveled by Erec and Enide since their departure: he first fought for himself and for her, then for others (the young lady of the forest) ; now, he must take on a new dimension, which brings him closer to the heroes of the songs of gesture: it is for the whole of the community that he must face death, once again endanger acquired happiness, and overcome the evil. It is only on this condition that he will have fulfilled his destiny – and that he will in turn be able to be King.
