La Chanson D Antioche

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Selon une dynamique vidente mais, apparemment, irr sistible, les textes m di vaux mal connus tendent le rester, et leur obscurit se justifier d'elle-m me. La raison imm diate en est, cette fois, une r p tition r guli re d'une tr s vieille hypoth se, jamais v rifi e, sur la nature de la Chanson d'Antioche. La pr sente tude vise en premier lieu briser, au profit d'une litt rature parfois incroyablement m connue, le cercle vicieux des crits de seconde main; elle peut aussi, l'occasion, servir l' tude du processus d'obscurcissement lui-m me. Nous nous effor ons donc de r pondre ici une double question historique et critique. Comment se fait-il qu'on entend parler si peu--et si m chamment--d'un cycle pique majeur et unifi , celui de la Croisade? Quelle est l'origine du topos critique qui assigne ce Cycle un rang inf rieur aux autres, quelquefois en le rejetant totalement hors du genre pique? Car nous avons affaire un topos, dont il s'agit de bien mesurer l' tendue.

The Old-French Chanson d'Antioche has long intrigued historians and literary scholars. Unusually among epic poems, it follows closely a well documented historical event - the First Crusade - and appears to include substantial and genuine historical content. At one time it was believed to be based on an account by an eye-witness, 'Richard the Pilgrim'. Carol Sweetenham and Susan Edgington have combined forces to investigate such claims, and their findings are set out in a comprehensive introduction which, firstly, examines the textual history of the poem from its possible oral beginnings through several re-workings to its present form, achieved early in the thirteenth century. A second chapter assesses the Chanson's value as a source for the crusade, and a third considers its status as a literary text. A complete prose translation follows, the first in English and based on the definitive edition. The Chanson is revealed as a lively narrative, with tales of chivalry, villainy, and even episodes of humour. There are extensive footnotes to the translation, and an appendix provides supplementary material from a different manuscript tradition. There is also a cast list of heroes and villains with biographical information for the 'real' ones and literary analogues for the fictional characters. The Chanson d'Antioche can now be read for enjoyment, and for a whole new perspective on crusading in the twelfth and thirteenth centuries.