{"id":14523,"date":"2021-10-18T17:07:41","date_gmt":"2021-10-18T17:07:41","guid":{"rendered":"https:\/\/mythslegendes.com\/?page_id=14523"},"modified":"2022-12-03T22:12:07","modified_gmt":"2022-12-03T22:12:07","slug":"erec-et-enide-explication","status":"publish","type":"page","link":"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/","title":{"rendered":"Erec and Enide: explanation of the story"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"14523\" class=\"elementor elementor-14523\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-0fff12f elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"0fff12f\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-2c6127d\" data-id=\"2c6127d\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-854e9e3 elementor-align-justify elementor-widget elementor-widget-button\" data-id=\"854e9e3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">Breton mythology<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-849af5f\" data-id=\"849af5f\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-faf85c9 elementor-align-justify elementor-widget elementor-widget-button\" data-id=\"faf85c9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/fr.wikisource.org\/wiki\/%C3%89rec_et_%C3%89nide\" target=\"_blank\" rel=\"noopener\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">Wiki<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-50f6aba elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"50f6aba\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-a0b3a3f\" data-id=\"a0b3a3f\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-80b7a15 elementor-widget elementor-widget-text-editor\" data-id=\"80b7a15\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>For the study of this text, Erec and Enide, we will use the edition of Jean-Marie Fritz, according to the manuscript BN. En 1376, The <a href=\"https:\/\/mythslegendes.com\/en\/book-libraries\/\">book<\/a> de Poche, \u201cGothic Letters\u201d No. 4526, 1992. Here is the seventh part of the study: Explanation of the story.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-9347 size-full\" src=\"https:\/\/mythslegendes.com\/wp-content\/uploads\/2020\/09\/cropped-AlphaOmega-e1602613368367.png\" alt=\"erec and enide Explanation of the story\" width=\"25\" height=\"25\" title=\"\"><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f430e6c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"f430e6c\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-e19da37\" data-id=\"e19da37\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-449eacd elementor-widget elementor-widget-heading\" data-id=\"449eacd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewbox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewbox=\"0 0 24 24\" version=\"1.2\" baseprofile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Explication-du-recit\" >Explanation of the story<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Le-Prologue-vers-1-26\" >The Prologue (verses 1-26)<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Un-prologue-tout-a-fait-classique\" >A classic prologue<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Vers-1-a-12-une-intention-morale-et-didactique\" >Towards 1 to 12: a moral and didactic intention.<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Vers-13-18-sources-et-%C2%AB-conjointure-%C2%BB\" >Verses 13-18: sources and \u201cjunction\u201d<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Vers-19-26-attaque-contre-les-%C2%AB-jongleurs-%C2%BB\" >Towards 19-26: attack against the \u201cjugglers\u201d<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Texte-2-vers-125-274-Erec-quitte-la-Cour\" >Text 2 (towards 125-274): Erec leaves the Court.<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Introduction\" >Introduction<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Premiere-partie-la-rencontre\" >First part: the meeting.<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Des-heros-isoles-au-repos-v-125-137\" >Isolated heroes, at rest (v. 125-137)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#La-rencontre-elle-meme-v-138-162\" >The meeting itself (v. 138-162)<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Seconde-partie-laffront-a-la-Suivante-v-163-193\" >Second part: the affront to the Maid (v. 163-193)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Troisieme-partie-laffront-a-Erec-v-194-233\" >Third part: the affront to Erec (v. 194-233).<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Quatrieme-partie-le-depart-dErec-v-234-274\" >Fourth part: the departure of Erec (v. 234-274)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Conclusion\" >Conclusion<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Texte-2-vers-2430-2573-%C2%AB-Con-mar-i-fus-%C2%BB\" >Text 2 (around 2430-2573): \u201cCon mari fus! \u00bb<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#introduction\" >introduction<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#La-folie-dErec-v-2430-2438\" >The Madness of Erec (c. 2430-2438).<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Reactions-face-a-la-folie\" >reactions to madness<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Le-deuil-de-ses-compagnons-v-2439-2458\" >The mourning of his companions (v. 2439-2458)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#La-reaction-dEnide\" >Aeneid&#039;s reaction<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Le-reveil-dErec\" >The awakening of Erec.<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Le-reveil-physique\" >physical awakening<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Un-reveil-moral\" >A moral awakening<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-25\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Le-terrible-aveu-dEnide\" >The terrible confession of Enide<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-26\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Nouveau-depart\" >New start<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-27\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Conclusion-2\" >Conclusion.<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-28\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#La-Joie-de-la-Cour-lentree-au-verger-v-5664-5821\" >The Joy of the Court: Entrance to the Orchard (c. 5664-5821)<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-29\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Introduction-2\" >Introduction<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-30\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#les-preparatifs-dErec-5664-5687\" >preparations for Erec (5664-5687)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-31\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Le-trajet-jusquau-verger-et-la-desolation-de-la-foule-qui-laccompagne-5688-5721\" >The journey to the orchard, and the desolation of the accompanying crowd (5688-5721)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-32\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#La-description-du-verger-dabord-merveilleuse-5722-5766-puis-terrifiante-5767-5778\" >The description of the orchard, first marvelous (5722-5766), then terrifying (5767-5778)<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-33\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Un-verger-merveilleux\" >A marvelous orchard<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-34\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Lirruption-de-lhorreur-v-5767-5778\" >The irruption of horror (c. 5767-5778)<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-35\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#le-discours-du-roi-Evrain-et-son-depart-5779-5821\" >the speech of King \u00c9vrain and his departure (5779-5821)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-36\" href=\"https:\/\/mythslegendes.com\/en\/breton-mythology\/erec-and-enide-explanation\/#Conclusion-3\" >Conclusion<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2 class=\"elementor-heading-title elementor-size-default\"><span class=\"ez-toc-section\" id=\"Explication-du-recit\"><\/span>Explanation of the story<span class=\"ez-toc-section-end\"><\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2ed80ac elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2ed80ac\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-73b8443\" data-id=\"73b8443\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a993305 elementor-widget elementor-widget-text-editor\" data-id=\"a993305\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><span class=\"ez-toc-section\" id=\"Le-Prologue-vers-1-26\"><\/span>The Prologue (verses 1-26)<span class=\"ez-toc-section-end\"><\/span><\/h2><h3><span class=\"ez-toc-section\" id=\"Un-prologue-tout-a-fait-classique\"><\/span>A classic prologue<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The first chansons de geste had already preceded the story with a few introductory verses praising the \u201cgood song\u201d (<i>William&#039;s song<\/i>) or the &quot;song of joy and boldness&quot; (<i>Raoul of Cambrai<\/i>); the author of <i>Coronation Louis<\/i> even added a few derogatory words about the jugglers:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0<i>I don&#039;t know why the ugly juggler boasts<\/i><br \/>\u00a0\u00a0\u00a0\u00a0\u00a0<i>He doesn&#039;t say a word until ordered.<\/i><\/p><p>But the first courtly romances, like the <i>Novel of <a href=\"https:\/\/mythslegendes.com\/en\/wind-pelasges-mythology\/\">Thebes<\/a><\/i>, bring a decisive modification: it is now a real prologue, developed on about twenty verses; and the author does not content himself with announcing a story of \u201cjoy and battles\u201d: 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: the others are invited to withdraw, because<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0<i>they couldn&#039;t listen to me<\/i><br \/>\u00a0\u00a0\u00a0\u00a0\u00a0<i>than like a donkey listening to the sound of the harp.<\/i><\/p><p>This affirmation of wisdom and truth is universal, including for works whose didactic nature is not obvious.<\/p><p>The prologue of<i>Erec and Enidus<\/i> follow this pattern to the letter.<\/p><h3><span class=\"ez-toc-section\" id=\"Vers-1-a-12-une-intention-morale-et-didactique\"><\/span>Towards 1 to 12: a moral and didactic intention.<span class=\"ez-toc-section-end\"><\/span><\/h3><p>Chr\u00e9tien begins with a popular proverb. He refers here to the \u201cvillain\u201d: not a peasant, but quite simply someone who is neither cleric nor knight: the bourgeois, the merchant are therefore also \u201cvillains\u201d.<\/p><p>Two essential elements follow:<\/p><ul><li>\u201cFor this \/ does well who his study atorne a sens\u201d: the expression \u201catorne a sens\u201d is doubly highlighted, by the enjambment, and by the accent on \u201cmeaning\u201d. The main thing is to teach wisdom \u2013 which means interpreting every event, every description in a symbolic sense. Everything makes sense, in the Middle Ages, nothing is free.<\/li><li>But at the same time, the rhyme insists on the word &quot;pleasure&quot;: the didactic character does not go hand in hand with boredom; it is a court literature, primarily intended to please the refined and educated public to which it is addressed.<\/li><\/ul><p>It is also in this passage that appears for the first time the name of Chretien de Troyes, who asserts himself here as the author. See her <a href=\"https:\/\/philo-lettres.fr\/old\/litterature_francaise\/chretien_de_troyes.html\" target=\"_blank\" rel=\"noopener\">biography<\/a>.<\/p><h3><span class=\"ez-toc-section\" id=\"Vers-13-18-sources-et-%C2%AB-conjointure-%C2%BB\"><\/span>Verses 13-18: sources and \u201cjunction\u201d<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The author makes two essential points here:<\/p><ol><li>He \u201ccharacterizes\u201d his narrative with an adventure tale: which means that he refers to an oral tradition, or to earlier works; in none of his novels does he claim originality; all his work (and that of his contemporaries) consists in \u201cgiving meaning\u201d to a pre-existing \u201cmatter\u201d, in revealing its true value\u2026 even if it means correcting the sources, if it does not seem convincing to him!<\/li><li>We also find here, for the first time, this term &quot;\u00a0<a href=\"https:\/\/philo-lettres.fr\/old\/litterature_francaise\/chretien_erec_enide.html#conjointure\" target=\"_blank\" rel=\"noopener\">spouse<\/a>\u00a0to which we will have to return, and which designates the work of composition, of formatting, in which the poet&#039;s genius is expressed.<\/li><\/ol><h3><span class=\"ez-toc-section\" id=\"Vers-19-26-attaque-contre-les-%C2%AB-jongleurs-%C2%BB\"><\/span>Towards 19-26: attack against the \u201cjugglers\u201d<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This last passage finally gives the title (<i>Erec and Enidus<\/i>) and insists on the genre: it is a &quot;tale&quot; and not a gesture: a courtly novel, not an epic.<\/p><p>We also find the classic attack against the jugglers, but here with an interesting nuance: these people &quot;to tell live see&quot;: they are therefore mercenaries, and &quot;villains&quot;; Chr\u00e9tien affirms the dignity of the author, who freely transmits his knowledge. This is obviously a fiction!<\/p><p>Finally, we find a new mention of his name, \u201cChristian\u201d, this time more directly linked to the notion of \u201cChristianity\u201d; but it is a secular literature, in which religion intervenes relatively little...<\/p><h2><span class=\"ez-toc-section\" id=\"Texte-2-vers-125-274-Erec-quitte-la-Cour\"><\/span><a name=\"125-274\"><\/a>Text 2 (towards 125-274): Erec leaves the Court.<span class=\"ez-toc-section-end\"><\/span><\/h2><h3><span class=\"ez-toc-section\" id=\"Introduction\"><\/span>Introduction<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This rather long passage (149 verses), located between two red initials, is located after King Arthur decided to hunt the white stag, against the advice of his nephew Gauvain who feared dissension at court. All the knights take part in it, with the exception of the young Erec, who has remained aside near Queen Guinevere accompanied by a servant. Why this withdrawal? It&#039;s because Erec doesn&#039;t have a girlfriend yet: he&#039;s not a full knight, and he&#039;s not worthy of participating fully in the activities of the Court. We will find this feature in the <i>Don Quixote<\/i> of Cervantes: the hero begins by inventing a Lady, Dulcinea, without whom there is no knight...<\/p><p>This text will be the starting point of the adventures of Erec. It begins with a triple encounter: a knight, a maiden and a dwarf (the number 3 will be repeated over and over throughout the novel)<\/p><ul><li>a first part evokes the normal gait of Queen Guinevere: she asks the unknown knight and his retinue to introduce themselves. (v. 138-162).<\/li><li>The second part recounts the first affront to the Queen: her servant is struck by the dwarf. (c. 163-193)<\/li><li>The third part (v. 194-233) narrates the second affront: this time it is Erec himself who is struck. Without weapons, he cannot defend himself, and very wisely decides to withdraw.<\/li><li>The fourth and last 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.<\/li><\/ul><p>The story therefore strictly follows the chronological order of the sequence; the events, in the obvious symbolic sense, follow one another with rigor, drawing up a first portrait of \u00c9rec.<\/p><h3><span class=\"ez-toc-section\" id=\"Premiere-partie-la-rencontre\"><\/span>First part: the meeting.<span class=\"ez-toc-section-end\"><\/span><\/h3><h4><span class=\"ez-toc-section\" id=\"Des-heros-isoles-au-repos-v-125-137\"><\/span>Isolated heroes, at rest (v. 125-137)<span class=\"ez-toc-section-end\"><\/span><\/h4><p>The whole passage is in the imperfect, and composed of state verbs: \u201cestoit\u201d\u2026 The characters find themselves in a \u201cclearing\u201d, that is to say deforested land, a clearing; the hunt, very lively, only reaches them through a few noises which they try to hear; one has the impression of a peaceful vignette: three beautiful characters (the author insisted on the beauty of \u00c9rec; and here he underlines that of the maiden, who moreover will remain anonymous), far from the noises of the Court \u2026<\/p><h4><span class=\"ez-toc-section\" id=\"La-rencontre-elle-meme-v-138-162\"><\/span>The meeting itself (v. 138-162)<span class=\"ez-toc-section-end\"><\/span><\/h4><p>The setting \u2013 a forest \u2013 is itself symbolic: it is the place of all the adventures, of all the encounters, good and most often bad. The three characters find themselves apart from society.<\/p><p>The meeting, expected, will therefore occur. It depicts three characters (eminently symbolic number: 3):<\/p><ol><li>A knight fully armed on his steed, battle horse par excellence: although a mere witness in the encounter (he does not intervene directly), he appears ready for battle, \u201cspear in hand\u201d; his warlike appearance contrasts with the trio he encounters, two women and an unarmed knight.<\/li><li>A maiden &quot;de grant estre,&quot; that is to say, of noble condition; it will not act either; but her presence shows that she symbolizes pride.<\/li><li>Finally, a dwarf, being connected to the dark forces in most <a href=\"https:\/\/mythslegendes.com\/en\/\">mythologies<\/a> Indo-European, and who alone will act here, in the name of the other two. Chr\u00e9tien does everything to make him contemptible and unsympathetic: he is mounted on a &quot;roussin&quot; (a bad horse, or a second-class horse, intended for subordinates; the term will give the &quot;rosse&quot;... and the name &quot;Rossinante&quot; of the <i>Don Quixote<\/i> !); he holds a whip, a weapon also devoid of any nobility.<\/li><\/ol><p>As R. Bezzola says (<i>op. cit.<\/i> p. 98), <cite>\u201cIt&#039;s a sinister trio, violence, pride and wickedness. \u00bb<\/cite><\/p><p>Faced with this unexpected event, the Queen remains calm and perfectly courteous: she sends her maid to invite the knight to introduce himself. The next one walks \u201cat an amble\u201d towards the group: that is to say, at a gentle pace, reserved for the ladies; we know that she rides a \u201cwhite palfrey\u201d: here again, the name and the gait of the horse symbolize the peaceful character of the young girl.<\/p><h3><span class=\"ez-toc-section\" id=\"Seconde-partie-laffront-a-la-Suivante-v-163-193\"><\/span>Second part: the affront to the Maid (v. 163-193)<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The Queen&#039;s courtesy will be answered by the extreme brutality of the Dwarf, who seems to serve as a &quot;bodyguard&quot; for his master: it is he who intervenes, forbidding the &quot;noble maiden&quot; to speak to him, and the treating with the utmost contempt: she has &quot;no right&quot; to speak to the Knight, and he hits her with his whip, treatment reserved for villains!<\/p><p>The text here gives an overview of the very real violence of which the weak, and in particular the women, were victims: here the dwarf strikes a young girl; a little further, it is the Count of Limors who will strike \u00c9nide, too little docile for his liking...<\/p><p>The adjectives describing the dwarf make him a figure of Evil, a &quot;type&quot; more than a real character: he is &quot;full of felony&quot; (v. 164), &quot;fel et de put&#039;aire&quot; (felon and bad tune\u201d, v. 171); finally, her &quot;smallness&quot; is deceptive: she arouses the contempt of the imprudent young girl, but hides an evil force.<\/p><p>Through the humiliation suffered by the next, it is the Queen herself who is targeted: to the \u201cblecie\u201d concerning the young girl responds \u201ccorrocie\u201d concerning the Queen. It was she who, through someone else, was despised and beaten.<\/p><p>And in the same way, the Dwarf is only the &quot;creature&quot; of the knight; through this, it is this that reveals his vile and evil nature:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0<i>Mout est li naughty knights<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0When he suffered that such and such made<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0Won&#039;t be such a beautiful creature<\/i><\/p><h3><span class=\"ez-toc-section\" id=\"Troisieme-partie-laffront-a-Erec-v-194-233\"><\/span>Third part: the affront to Erec (v. 194-233).<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The story strictly follows the same pattern as for the previous affront:<\/p><ul><li>Erec advances, but this time the pace is more energetic: he \u201cspurs\u201d his horse and \u201cspurs right\u201d towards the knight.<\/li><li>A brief dialogue ensues: but while the dwarf had simply called out to the young girl with a &quot;Damoisele, estez!&quot; uninviting, but correct, he addresses Erec as &#039;Vassals&#039;; but the term has a precise meaning; it designates the one who, by paying homage to a suzerain, recognizes his duties towards him. There is therefore no equality between Erec and the knight: the second, through the intermediary of the Dwarf, poses as suzerain. But Erec has only one: King Arthur...<\/li><li>It is therefore a challenge, and perceived as such: Erec refuses to comply. The negative denominations with regard to the Dwarf multiply: &quot;cuvers&quot;, &quot;fel&quot;, &quot;boredom&quot;, &quot;contral\u00efous&quot; (note the rhyme), and again &quot;fel&quot;: he embodies evil and treachery, without possible remedy.<\/li><li>The blow also seems multiplied: whereas for the young girl, four verses had sufficed (183-186), here six are needed, and Chr\u00e9tien adds concrete details: the traces left by the strips.<\/li><li>Finally, the young girl had returned in tears to the Queen; \u00c9rec, on the other hand, engages in a whole line of reasoning, debating between his bravery, which commands him to retaliate, and his \u201cwisdom\u201d which recommends that he do nothing. He has no weapons, and <cite>&quot;Madness is not vasalages&quot;<\/cite> (&quot;Folly is not valor&quot;, v. 231). It therefore operates a strategic retreat.<\/li><\/ul><h3><span class=\"ez-toc-section\" id=\"Quatrieme-partie-le-depart-dErec-v-234-274\"><\/span>Fourth part: the departure of Erec (v. 234-274)<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This 4<sup>th<\/sup> part consists essentially of a long direct speech by 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 discourse here is centered not on him, but on the Knight &quot;who is naughty and outrageous&quot;. (note that the term &quot;villains&quot; here, as in verse 198, has a moral and not a social meaning. To claim to be above one&#039;s condition is to descend below!).<\/p><p>A second part explains the speed of his departure: he does not take the time to return to get his weapons in Caradigan: he immediately sets off in pursuit of his opponent, counting on chance to provide him with weapons. Note that he speaks of \u201cchance\u201d: \u201cif I truis\u2026\u201d; Providence has absolutely no role here, we are dealing with a purely profane text.<\/p><p>The text then gives a chronological indication: the adventure must last \u201cthree days\u201d (v. 265); but is it really a duration, or again a symbolic figure?<\/p><p>Finally, the Knight leaves alone, with the Queen&#039;s recommendation to God as his only viaticum. This is the only time when religion is mentioned.<\/p><h3><span class=\"ez-toc-section\" id=\"Conclusion\"><\/span>Conclusion<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This text is therefore the beginning of the adventure, and of the formation of Erec. Knight without a lady, therefore apart 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 belong by right to the Court and will finally be able to fully play his role among the Knights of the Round Table.<\/p><h2><span class=\"ez-toc-section\" id=\"Texte-2-vers-2430-2573-%C2%AB-Con-mar-i-fus-%C2%BB\"><\/span><a name=\"2430-2573\"><\/a>Text 2 (around 2430-2573): \u201cCon mari fus! \u00bb<span class=\"ez-toc-section-end\"><\/span><\/h2><h3><span class=\"ez-toc-section\" id=\"introduction\"><\/span>introduction<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The text that we propose to explain here takes place just after the wedding, which opens the second part (and is therefore an integral part of the \u201ccrisis\u201d; cf. above the <a href=\"https:\/\/philo-lettres.fr\/old\/litterature_francaise\/chretien_erec_enide.html#conjointure_crise\" target=\"_blank\" rel=\"noopener\">composition of the novel.<\/a> The text first describes the &quot;madness of Erec&quot; (v. 2430-2438), then the successive reactions it arouses:<\/p><ul><li>That of his companions (v. 2439-2458)<\/li><li>That of Aenid (c. 2460-2504)<\/li><\/ul><p>Then we will witness the gradual awakening of Erec:<\/p><ul><li>his awakening in the proper sense and the first denials of Aenid (c. 2505-2535)<\/li><li>Finally, the confession of the young woman (2536-2571)<\/li><li>In two lines, \u00c9rec takes stock of the situation; the rest of his speech will already be an action.<\/li><\/ul><p>We will see, in conclusion, that this text presents some similarity with <i>Don Quixote<\/i> : 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 &quot;sleep&quot;, an &quot;enchantment&quot; 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 <i>Don Quixote<\/i>, it is the chivalrous values that drive the hero mad, here on the contrary, it is the temporary abandonment of these same values that constitute the madness and fault of Erec.<\/p><h3><span class=\"ez-toc-section\" id=\"La-folie-dErec-v-2430-2438\"><\/span>The <a name=\"folie_erec\"><\/a>madness of \u00c9rec (v. 2430-2438).<span class=\"ez-toc-section-end\"><\/span><\/h3><p>Eight verses are enough for Chretien de Troyes to describe the state of Erec: and the author to insist on the negative character of this state;<\/p><ul><li>He begins by abandoning what he was born to do, which makes him what he is, a perfect knight: arms. Negations multiply: &quot;ne li chaloit, n&#039;a tornoiement mas n&#039;alloit, n&#039;avoir ma care de tornoier&quot;...<\/li><li>His &quot;Lady&quot; is henceforth conquered, marriage has made her available without his needing henceforth to struggle to possess her; love then loses its chivalrous value; it becomes simple enjoyment of a good, without surpassing oneself; and the &quot;Lady&quot; herself loses her quality. She is no longer anything but &quot;his fame&quot;, &quot;his friend&quot;, &quot;his drue&quot; (his lover).<\/li><\/ul><p>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 sight to be the consecration of the new knight, and the happy ending of its history, was in fact a formidable obstacle on the way to perfection. It was a trap, where Erec fell.<\/p><h3><span class=\"ez-toc-section\" id=\"Reactions-face-a-la-folie\"><\/span>reactions to madness<span class=\"ez-toc-section-end\"><\/span><\/h3><h4><span class=\"ez-toc-section\" id=\"Le-deuil-de-ses-compagnons-v-2439-2458\"><\/span>The mourning of his companions (v. 2439-2458)<span class=\"ez-toc-section-end\"><\/span><\/h4><p>The red initial, marking a new stage, does not appear until verse 2439, when we change our point of view, and pass from that of Erec (in a somewhat blissful happiness) to that of his companions (sorry and critical ).<\/p><p>Erec&#039;s behavior is twofold:<\/p><ul><li>His actual madness 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\u2026) ; he does not move away from his wife and therefore remains at the castle, an almost feminine behavior; he refuses not only adventure, but even the distractions of the aristocracy, such as tournaments\u2026 If he weren&#039;t so happy, these would all be the signs of depression!<br \/>Another element that can bring him closer to Don Quixote: his superb indifference to the protests of those around him!<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0<cite>\u201cHe was beautiful, as he weighed\u201d<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0(\u201cwhoever wanted to be upset, this life pleased him\u201d).<\/cite><\/li><li>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.<\/li><\/ul><p>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.<\/p><p>At the beginning, the only reaction of his companions is therefore pain, sorrow: \u201cduel\u201d, \u201cse dementoent\u201d, \u201cgranz duelx et granz domages\u201d\u2026; the criticism only intervenes after the fact (v. 2459), but then it spreads so quickly, reaching down to the \u201csergeants\u201d that is to say the valets-at-arms, that Enide ends up realize.<\/p><h4><span class=\"ez-toc-section\" id=\"La-reaction-dEnide\"><\/span>Aeneid&#039;s reaction<span class=\"ez-toc-section-end\"><\/span><\/h4><p>Enide hears a single word, but it is a terrible word, a condemnation without appeal: \u201cRECREANZ\u201d (v. 2462). This word, which means \u201cwho gives up fighting, discouraged, spineless\u201d carries with it the very negation of chivalry: there is no more cruel reprimand.<\/p><p>Enide&#039;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 willful fault, but she knows that she is the cause of the knight&#039;s decline, which brings with it her own (we have seen that she was no longer &quot; lady &quot;).<\/p><p>This scene includes several strongly symbolic elements:<\/p><ul><li>He sleeps, she watches: Erec&#039;s sleep symbolizes his unconsciousness, and also the fact that it will be up to her, the &quot;lady&quot;, to wake him up and push him to action. It was love for Enide that lost \u00c9rec, it was Enide&#039;s tears that would save him.<\/li><li>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&#039;s awareness: \u201crecreanz\u201d; and it is also an imprudent word, which escapes him, which will wake Erec: \u201cCon mari i fus\u201d (you came here for your misfortune).<\/li><\/ul><p>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.<\/p><h3><span class=\"ez-toc-section\" id=\"Le-reveil-dErec\"><\/span>The awakening of Erec.<span class=\"ez-toc-section-end\"><\/span><\/h3><h4><span class=\"ez-toc-section\" id=\"Le-reveil-physique\"><\/span>physical awakening<span class=\"ez-toc-section-end\"><\/span><\/h4><p>Erec, who was sleeping, first wakes up in the literal sense of the term; he heard Enide crying and speaking; the last words spoken, &quot;Con mar i fus&quot;, struck him, undoubtedly by contrast with the situation of perfect happiness that he lives or believes he is experiencing, then by their fatal character.<\/p><p>His attitude is then somewhat ambiguous: he mixes deep tenderness (\u201cbele ami chiere\u201d, \u201cmy sweet friend\u201d) with veiled threats (\u201c\u00a0<cite>I will know, my uel<\/cite>\u00ab , \u00ab\u00a0<cite>Don&#039;t hold back on me<\/cite>\u201c\u2026<\/p><h4><span class=\"ez-toc-section\" id=\"Un-reveil-moral\"><\/span>A moral awakening<span class=\"ez-toc-section-end\"><\/span><\/h4><p>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 &quot;dangerous woman&quot;: the jailer of the &quot;prison of love&quot; who prevents the man to truly fulfill himself; and it is not for nothing that at the end of the novel, the &quot;Lady&quot; of the &quot;Joy of the Court&quot; who imprisons Mabonagrain is precisely Enide&#039;s cousin...), \u00c9rec restores suddenly a distance: we move from the intimacy of the \u201csweet friend\u201d (v. 2515) to \u201cmy lady\u201d (v. 2524): Enide regains her role, a sign that \u00c9rec will regain his.<\/p><h4><span class=\"ez-toc-section\" id=\"Le-terrible-aveu-dEnide\"><\/span>The terrible confession of Enide<span class=\"ez-toc-section-end\"><\/span><\/h4><p>Openly accused of lying \u2013 a behavior totally contrary to her values, Enide \u201cbreaks\u201d, not without a certain cruelty.<\/p><p>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&#039;s lips:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0<cite>\u201cThrough this land where they were killed,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0Li black and li blond and li pink\u2026\u201d<\/cite> (v. 2540-2541)<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0<cite>\u201cNow they are silent about your gabant,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0Old and jone, small and big\u2026\u201d<\/cite> (v. 2549-2550).<\/p><p>Unanimous, the blame is also merciless: \u201crecreant\u201d, that is to say \u201ccowardly\u201d, the knight has lost all value: <cite>\u201cYour price is lowered\u201d <\/cite> (v. 2544); <cite>\u201call lose your prize\u201d<\/cite>, (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.<\/p><p>Finally, worse still: the blame fell on the Lady; but we saw in the <a href=\"https:\/\/philo-lettres.fr\/old\/litterature_francaise\/chretien_erec_enide.html#125-274\" target=\"_blank\" rel=\"noopener\">text 2<\/a> that the affront given to a lady was precisely the spur which pushed the knight to action. Here, the word \u201cblasma\u201d is repeated 4 times (v. 2556-2565); and these reproaches \u2013 unjustified \u2013 cause unbearable pain in Enide: \u201cbores me\u201d (v. 2552; be careful, the word here has the strong meaning that it will keep until the 17th<sup>th<\/sup> century) ; \u201cpoises me\u201d (v. 2554, 2555, 2557); \u201c\u00a0<cite>of anguish, crying comes to me\u201d<\/cite> (v. 2568), \u201cweight\u201d (v. 2569)\u2026 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:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0<cite>\u201cOther advice suitable for you to take\u201d<\/cite> (v. 2562).<\/p><p>Finally, the fatal expression, \u201cCon mari i fustes\u201d is repeated by the young woman: it is this enchantment that must be overcome.<\/p><h3><span class=\"ez-toc-section\" id=\"Nouveau-depart\"><\/span>New start<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The text \u2013 at least the passage we are explaining \u2013 ends with two pithy lines:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0<cite>\u201c \u2013 Lady, he says, straight in e\u00fcstes<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0Because those who blame me have the right. \u00bb<\/cite> (v. 2572-2573)<\/p><p>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: \u201cMy Lady\u201d 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.<\/p><h3><span class=\"ez-toc-section\" id=\"Conclusion-2\"><\/span>Conclusion.<span class=\"ez-toc-section-end\"><\/span><\/h3><p>In the chivalrous society of the 12th<sup>th<\/sup> century, women cannot play an active role. Victim of an affront, or a blame, Enide, like the Queen of <a href=\"https:\/\/philo-lettres.fr\/old\/litterature_francaise\/chretien_erec_enide.html#125-274\" target=\"_blank\" rel=\"noopener\">text 2<\/a>, 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 \u2013 which is sure to happen.<\/p><p>Torn from his sleep, and from his madness, \u00c9rec reacts immediately: he starts from scratch, to win back his lady, and find himself again.<\/p><h2><span class=\"ez-toc-section\" id=\"La-Joie-de-la-Cour-lentree-au-verger-v-5664-5821\"><\/span><a name=\"5664_5821\"><\/a>The Joy of the Court: Entrance to the Orchard (c. 5664-5821)<span class=\"ez-toc-section-end\"><\/span><\/h2><h3><span class=\"ez-toc-section\" id=\"Introduction-2\"><\/span>Introduction<span class=\"ez-toc-section-end\"><\/span><\/h3><p>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 \u201cJoy of the Court\u201d (a mysterious name whose meaning we will only know at the end), our hero came to the court of King \u00c9vrain; the latter begged him in vain to give up an almost impossible enterprise, but \u00c9rec persisted.<\/p><p>The text consists of several clearly distinct parts:<\/p><ul><li>the preparations of Erec (5664-5687);<\/li><li>The journey to the orchard, and the desolation of the accompanying crowd (5688-5721)<\/li><li>The description of the orchard, first marvelous (5722-5766), then terrifying (5767-5778)<\/li><li>Finally, the speech of King \u00c9vrain and his departure (5779-5821)<\/li><\/ul><p>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 \u201cJoy\u201d, but on the contrary everything contributes to despair and fear.<\/p><h3><span class=\"ez-toc-section\" id=\"les-preparatifs-dErec-5664-5687\"><\/span>preparations for Erec (5664-5687)<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This first part is already under the sign of contrast and ambiguity: \u00c9rec is already entirely in the project and impatience; the positive signs are multiplying: we are \u201cmorning\u201d; Chr\u00e9tien insists on \u201clight\u201d (\u201cajorn\u00e9\u201d v. 5665, \u201cesveil\u201d v. 5666, \u201cclear dawn and sun\u201d (v. 5667)\u2026<\/p><p>Conversely, Enide is plunged into anguish and darkness:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<cite>Enide is extremely bored,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0And Mut is sad and angry.<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The night is getting worse<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Of sope\u00e7on and paor<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0What she had from her lord,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0who sees himself put in such danger.<\/cite><\/p><p>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.<\/p><p>the points of view alternate: always internal, we first see that of Erec, then that of Enide, and again that of Erec.<\/p><p>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, \u00c9rec carries new weapons offered by the King: it is yet another sign of renewal . Then we witness the actual departure: in a sort of slow motion, Chr\u00e9tien spares us no detail, even the descent of the stairs, as if to create anticipation and delay the fateful moment.<\/p><h3><span class=\"ez-toc-section\" id=\"Le-trajet-jusquau-verger-et-la-desolation-de-la-foule-qui-laccompagne-5688-5721\"><\/span>The journey to the orchard, and the desolation of the accompanying crowd (5688-5721)<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This scene produces a strong contrast with the previous one:<\/p><ul><li>The isolation of the two characters when they wake up responds here to an increasingly numerous and compact crowd: Chr\u00e9tien expresses the number by means of numerous plurals (\u201cthe houses, the people of importance, all, these words and these speeches\u201d ), enumerations and totalizing terms, noting an impressive unanimity (<cite>Home is not famous, right is not wrong, great is not small, weak is not strong... The big people and the small ones...&quot;<\/cite><\/li><li>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 \u2013 with the repetition of a formula that we know well: <cite>\u201cCon mar y fut\u201d<\/cite> (v. 5708): it is therefore truly a (re)beginning\u2026 These cries resonate in the most sinister way, with the repetition of \u201cAhi!\u201d Ahi! \u00bb 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...<\/li><li>This is the first time that the adventure attempted by \u00c9rec has taken on such a collective dimension: it is therefore the fate of an entire people that will be at stake.<\/li><\/ul><p>The ambiguity and the mystery thicken, through this oxymoronic \u201cJoy\u201d, which we curse, and which produces only betrayal and sadness.<\/p><p>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 \u00c9rec&#039;s prudence at the very beginning of the novel! But at the same time, his impatience has also changed in nature: here he seeks neither exploit nor glory, but rather knowledge: and Chr\u00e9tien insists, in line 5719, in a beautiful ascending ternary rhythm, reinforced by the polysyndeton:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<cite>\u201cLet him know and see and understand\u201d<\/cite><\/p><h3><span class=\"ez-toc-section\" id=\"La-description-du-verger-dabord-merveilleuse-5722-5766-puis-terrifiante-5767-5778\"><\/span>The description of the orchard, first marvelous (5722-5766), then terrifying (5767-5778)<span class=\"ez-toc-section-end\"><\/span><\/h3><p>The King, Erec and all their escort finally reach an orchard; and we witness an intervention by the Narrator, intended to underline the \u201ctruthful\u201d, \u201chistorical\u201d 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&#039;s think of the &quot;Garden of the Hesperides&quot;, the mecca of an exploit of Hercules, or even the marvelous garden of Alcinous, king of the Phaeacians in the<i>Odyssey<\/i>) or the Judeo-Christian tradition (the word \u201cparadise\u201d actually designates a garden, or an orchard).<\/p><h4><span class=\"ez-toc-section\" id=\"Un-verger-merveilleux\"><\/span>A marvelous orchard<span class=\"ez-toc-section-end\"><\/span><\/h4><p>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 an enclosed, protected place, away from the town and the castle (that is to say the real world).<\/p><p>All the ingredients of the topical <i>\u201cLocus amoenus\u201d<\/i> 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...<\/p><p>But already, within this ideal vision, the worrying emerges: the garden was closed <cite>\u201cby nigromance\u201d<\/cite> (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.<\/p><p>But Erec did not care: overjoyed, he entered \u201cthrough a narrow entrance\u201d into the orchard, with the King and all his retinue; and he is all in his exaltation:<\/p><p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <cite>Erec aloit, launch sor fault,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Among the riding orchard,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0which mout disintegrates or sings<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Birds singing;<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0His joy represented him,<br \/>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The thing he loves more.<\/cite><\/p><h4><span class=\"ez-toc-section\" id=\"Lirruption-de-lhorreur-v-5767-5778\"><\/span>The irruption of horror (c. 5767-5778)<span class=\"ez-toc-section-end\"><\/span><\/h4><p>It is at the precise moment when Erec lets himself go to Joy that the \u201cwonder\u201d, that is to say the horror, appears to him (v. 5766); the adversative conjunction \u201cbut\u201d underlines this break. He sees stakes, bearing severed heads; and the last, which seems to be intended for him, only wears a horn.<\/p><p>References to songs of gesture multiply: allusion to characters like Thibaut l&#039;Esclavon, Opinel or Fernagu, and especially this sinister &quot;horn&quot;, which cannot fail to evoke that of Roland... This shows once again that the adventure d&#039;\u00c9rec changed dimension, because the heroes of the songs of gesture belonged to a collective epic: like them, \u00c9rec carries the hope and the fear of an entire people.<\/p><h3><span class=\"ez-toc-section\" id=\"le-discours-du-roi-Evrain-et-son-depart-5779-5821\"><\/span>the speech of King \u00c9vrain and his departure (5779-5821)<span class=\"ez-toc-section-end\"><\/span><\/h3><p>This frightening vision, which contrasts violently with the beauty of the orchard, is an enigma that King \u00c9vrain, faithful to his role as host and guide, will resolve.<\/p><p>The speech he gives is rigorously structured:<\/p><ul><li>An introduction, both benevolent (\u201cFriends\u201d) and tragically ironic: \u201cif you value your life\u2026\u201d But the mere presence of \u00c9rec in this orchard testifies 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 \u201cangel of light\u201d, is obviously the one we are waiting for.<\/li><li>Then \u00c9vrain suddenly switches to familiarity: <cite>\u201cGuard, your head is not exposed\u201d<\/cite> : the threat is getting closer. The curse of the orchard seems infinite: if Erec&#039;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.<\/li><li>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&#039;s words can only encourage Erec even more to try the adventure.<\/li><li>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 \u00c9rec must complete his adventure, to become fully himself, and to give her, too, fully, her status as a lady.<\/li><\/ul><h3><span class=\"ez-toc-section\" id=\"Conclusion-3\"><\/span>Conclusion<span class=\"ez-toc-section-end\"><\/span><\/h3><p>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 \u2013 and that he will in turn be able to be King.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>Breton Mythology Wiki For the study of this text, Erec and Enide, we will use the edition of Jean-Marie Fritz, according to the manuscript \u2026 <\/p>","protected":false},"author":1,"featured_media":0,"parent":96,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-14523","page","type-page","status-publish","hentry"],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/pages\/14523","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/comments?post=14523"}],"version-history":[{"count":1,"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/pages\/14523\/revisions"}],"predecessor-version":[{"id":25233,"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/pages\/14523\/revisions\/25233"}],"up":[{"embeddable":true,"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/pages\/96"}],"wp:attachment":[{"href":"https:\/\/mythslegendes.com\/en\/wp-json\/wp\/v2\/media?parent=14523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}