Troianalexandrina

The recent critical edition of the work of Godfrey of Rheims by Elmar Bröcker is the first attempt to bring to light the poetic epistles and epigrams of the eleventh-century author from the existing manuscripts. This article will comment on some aspects of Godfrey's poetic environment, as well as discussing some of the editor's selected lectiones, always keeping in mind the evidence in the manuscripts. An explanation will also be given of the various editions of the best-known of Godfrey's epistles, the so-called Satyra de quadam puella uirgine.

The description of Hector's tomb in the Castilian translation of Benoît de Sainte Maure's Roman de Troie (ca. 1350) presents interesting variations that may be considered as a result of the interaction with the artistic and political context of the Iberian Peninsula in the thirteenth and fourteenth centuries.

Medieval modes of 'literary' composition, transmission and reception substantially differed from those of today. This difference explains that the only extant text of the Libro de Apolonio, like the texts of many other medieval works, shows a somewhat startling mixture of elements, some characteristic of textual transmission and others typical of primarily vocal dissemination. This paper analyses in detail the intermingling of textual and vocal features in the Spanish Libro de Apolonio. By means of a systematic comparison with its Latin source (the Historia Apollonii Regis Tyri) and on the basis of what the very Libro de Apolonio has to tell us, the paper also offers a suggestion regarding the Libro de Apolonio's primary modes of delivery and reception, and the kind of audience it addressed. In light of the analysis, it seems that the poem was intended to be read aloud to a homogeneous audience in a closed and learned context (perhaps clerical, but more likely courtly), which would allow the public to have direct or indirect access to the poem as a whole, through visual contact with the codex and/or through attendance in successive reading sessions.

This article studies the great influence that the elegiac comedy exercised to the Libro de buen amor, in a detailed way. Not only does it take into account its main aspects, but it also pays attention to the smallest and the most literal ones, especially with regard to feminine descriptions and the most obscene episodes, including the old woman seduction. That is why this influence has not been tackled by motives or topics, but through the most representative works of this genre, from De nuntio sagaci to De vetula, and even Geta by Vitalis de Blois and Alda by Guglielmo de Blois. As far as the first comedy is concerned, it has been clarified -contrary to what Félix Lecoy and María Rosa Lida de Malkiel had thought- that the messenger neither falls in love with the poet's lady nor has sexual relations with her. In this sense, he and Ferran García do not almost look alike. Furthermore, it has been proved that the dialogues between the messenger and the lady have inspired the ones between the procuress and the nun Garoça. In addition, the indelible trace that De vetula has left in some episodes of the Libro -not only in the passage between don Melón y doña Endrina- has also been pointed out.