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2 - Marvels of translation and crises of transition in the romances of Antiquity

from Part 1 - The origins, forms, and contexts of medieval romance

Published online by Cambridge University Press:  28 May 2006

Roberta L. Krueger
Affiliation:
Hamilton College, New York
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Summary

Alexander the Great approaches the beautiful and rich Queen Candace. He is disguised as his own messenger, and travels under the protection of Candace’s son. Long ago she had sent Alexander letters offering both her realm and her love, but only if he would take her as his equal (“si a pier la volt avoir”). Since then he has heard a prophecy of his approaching death and has defeated his last great enemy, the emperor Porrus of India, but now he puts aside both militancy and impending mortality. Candace awaits, gorgeously dressed, attended by minstrels,

E se fist vieler e harper un nouvel son

Coment danz Eneas ama dame Didon,

E coment s’en ala par mer od son dromon,

Cum ele s’en pleint sus as estres en son,

E cum au de roin se art en sa meson.

Pensive en est Candace del torn de la chançon.

Es vous donc son fiz! Candeules ot non,

E tient par le poing destre son noble compaignon.

And she had them playing on viol and harp a new tune

How lord Eneas loved lady Dido,

And how he went off to sea in his swift galley,

How she cried her lament up to the rooftop,

And how at last she burned herself in her palace.

Candace was pensive at the close of that song,

When behold! Here’s her son, Candeules was his name,

Holding his noble companion by the right hand.

(Roman de Toute Chevalerie, 7650–57)
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Publisher: Cambridge University Press
Print publication year: 2000

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