These are not editions in the usual sense of the word, because our intention is not to establish “the text” of either song but rather to make visible the plurality of each, especially as regards the degrees of repetition to which they may give rise. Bold font draws attention to words or roots that have actual or potential echoes elsewhere in the same song. Italics are used for emendations not in any manuscript. Full variants are not provided but can be found in Madeleine Tyssens, “Les deux chansons de Chrétien de Troyes. Propositions nouvelles,” in Omaggio a Gianfranco Folena, 2 vols (Padua: Programma, 1993), vol. 1, pp. 195–206 for R.-S. 121 and in Marie-Claire Zai, Les Chansons courtoises de Chrétien de Troyes (Bern and Frankfurt: Peter Lang, 1974) for R.-S. 1664.

Preserved in the closely related chansonniers CU; anonymous in U but attributed to cresteien de troies in C. Base U (as for both Zai and Tyssens). I have adopted Tyssens's stanza order which interverts stanzas III and IV thereby heightening the echo effect between the new stanzas IV and V. I have also adopted Tyssens's emendation aïe in line 37, where both manuscripts have aiue, for the sake of rhyme.