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See Elspeth Kennedy, ‘The Narrative Techniques Used to Give Arthurian Romance a “Historical” Flavour,’ in Conjunctures: Medieval Studies in Honor of Douglas Kelly, ed. Keith Busby and Norris J. Lacy (Amsterdam and Atlanta, GA, 1994), pp. 219–33. 14 A Question of Time The matière of the Lancelot-Grail is indeed partly ‘recycled’ from other texts. In particular, Chrétien de Troyes and Wace have been major influences for, respectively, the romance and historiographic aspects of the Cycle. But even if the architect of the Lancelot-Grail drew on these authors, he also modified their legacy profoundly.
6, and ‘Etudes sur le Lancelot en prose, I: Les allusions au conte Lancelot et à d’autres contes dans le Lancelot en prose,’ Romania, 105 (1984), 34–46. THE MAKING OF THE CYCLE 17 Florence, Biblioteca Mediceo-Laurenziana, Laur. 89. inf. 61). These manuscripts, having described Lancelot’s great grief that his friend and benefactor has ‘por lui mort receue,’ conclude thus: Ensi est remés avoc lo roi. Si tast atant li contes de lui, que plus n’en parole, car bien a a chief menees totes les avantures qi li avindrent puis qe la reine Helaine, qui sa mere fu, lo perdié par l’aventure que cist livres conta el comencement.
35–54 et passim; E. Baumgartner, ‘Masques de l’écrivain et masques de l’écriture dans les proses du Graal,’ in Masques et déguisements, ed. Marie-Louise Ollier (Montreal and Paris, 1988), pp. 167–75. The first part of this important compilation is edited by Mary Coker Joslin, The Heard Word: A Moralized History. , 1986). Further sections are now available in the edition by Marijke de Visser-van Terwisga, Histoire ancienne jusqu’a César (Estoires Rogier), vols. 1–2 (Orleans, 1995–99). See the useful list of over sixty manuscripts in Jung, Légende de Troie, pp.