Lay (poetry)
See also: Lay
The lay , is a fixed form of the Poésie appeared with and which indicated rather different kinds of poetry successively.
With the the Middle Ages, this word was employed within the meaning of “Chant” (or rather sung account) or of “melody”; one knows the lay narrative one, ancestor of the Fabliau and lay the Lyrique.
The origin of lay and its name was perhaps born from old Celtic literary memories: hard limestone in cymraeg or laoith in Gaelic) because the old legends of the “Matière of Brittany” hold a great place to with it, but one finds there always also the Matière of France and the Matière of Rome.
The lay narrative one
To, the lay one, in France, is attached closely to the novel of adventures, from which it differs especially by a less extent. It is, strictly speaking, only the reduction. Such are the lay one of Haveloc , by Gaimar, the lay one of Ignaurès , by Renaut, various alluviums on Tristan and Iseut , etc and which are the shortened accounts of a legend in love and dramatic or of one of its episodes.The lay one is then about synonymous with Fabliau, with this difference that the lay one was impresses of sensitivity and melancholy, while the French tale in verse opened more readily with liveliness and the Gauloiserie. For this reason, the lay narrative one is considered among the precursors of the literary Genre of the Nouvelle.
The lay one, in this form of romantic account, is especially represented, with, by Marie de France. The subject of the many alluviums preserved under its name is almost always borrowed from the matter of Brittany, and it has the care to point out it itself. They liked much, known as an author of time, with the Count S, baron S and knight S, and especially with the ladies, “of which they flattered the wills. ” The tender feeling and melancholic person printed by Marie de France with the kind itself is marked perfectly in this passage of the Lai of chèvrefeuille in connection with Tristan and Iseut:
-
Of euls deus fu it concealed autresi,
- Ki with the codre preneit:
- E concealed entur the fust were put,
- But ki then the volt desevrer,
- And chevrefoil ensemblement
- seen sanz mei, mei sanz seen.
The lay lyric one
Like those of this time, alluviums of Marie de France are in Octosyllabe S and are fixed with no particular combination of rhymes. Soon, instead of being a continuous account, the lay one becomes a song itself, with distinct Stance S, even with Refrain. The Lay of the lady of Fael , of the same century, meets already this double condition of the song.Practiced by the Troubadour S, it takes a great extension to the 14th century and gives itself fixed and precise rules with Guillaume de Machaut: divided into two parts of eight worms, each huitain being divided itself into two parts which form a quarter of the Strophe. Each quarter of Stanza, with Rhyme S embraced, heterometric, i.e. consists of worms different length (seven and four Syllabe S generally). Eustace Deschamps and Jean Froissart practices it.
As from the 15th century, the lay one ends up being confused with the Virelai, which is the last artificial and erudite transformation, and decays.
| Random links: | Epistle in Philippiens | Amphiprion clarkii | Priscillien | Munsbach | Online Computer Library Center | Mounanchou |