A (Seven Sages): Difference between revisions
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{{Version | {{Version | ||
|Has Description=The prose redaction of ''The Seven Sages'' usually titled 'Version A' is widely acknowledged as one of the most influential versions of the ' | |Has Description=The prose redaction of ''The Seven Sages'' usually titled 'Version A' is widely acknowledged as one of the most influential versions of the European ''Seven Sages of Rome'' tradition. It originated in Old French, likely in the late 12th or early 13th centuries (see Speer and Foehr-Janssens, pp. 64-74), and was eventually translated into [[Middle English Version A|English]], [[French Version A: Roman des Sept Sages|French]], [[German Version A: Allegatio/Libellus|German]], [[Latin Version A: Allegatio / Libellus|Latin]], [[Dutch Version A|Dutch]], [[Old Swedish Version A|Swedish]], [[Italian Version A|Italian]], and [[Welsh Version A: Chwedleu Seith Doethon Rufein|Welsh]]. There is a consensus in scholarship that this version was also the source for the enormously popular [[H (Historia Septem Sapientum)|Versions H]] and I as well as [[M ('Male Marastre')|M]], which may all be taken as variations on the theme demonstrated by the Version A pattern. By this note, Version A of the ''Seven Sages of Rome'' is singularly influential in its spread and impact. | ||
The original Old French prose redaction of Version A likely shared a source with [[K (Sept Sages de Rome)|Version K]], and that text presumably also shared a source with [[C (Sept Sages de Rome)|Versions C]] and [[D (Sept Sages de Rome)|D]]. This proximity is assessed partially on the basis of embedded stories | The original Old French prose redaction of Version A likely shared a source with [[K (Sept Sages de Rome)|Version K]], and that text presumably also shared a source with [[C (Sept Sages de Rome)|Versions C]] and [[D (Sept Sages de Rome)|D]] ([[Foehr-Janssens (1994)|Foehr-Janssens, 1994;]] [[Speer (1981)|Speer, 1981)]]. This proximity is assessed partially based on linguistic detail, and partially on the basis of embedded stories and their order within the frame narrative. For example, Version A has the same embedded stories as Versions K and D, but their order differs. [[L (Sept Sages de Rome)|Version L]], on the other hand, has exactly the same stories in the same order as Version A for the first 11 stories, but then varies dramatically, omitting [[Vidua]] and [[Vaticinium]] and instead including [[Filia]] and [[Noverca]] (see the information about the [[Overlap of Versions A and L]] for more details about the relationship between these two, and their mingling in some manuscripts). Of all of these early Old French redactions, however, it was Version A that spread most rapidly and widely. | ||
This narrative version is identified by the story order (below). In Version A, the emperor is often named Dioclecian; his first wife is sometimes named Milicent, or Helie. The prince is named Florentine in the Middle English version, and Stefano in the Italian. | This narrative version is identified by the story order (below). In Version A, the emperor is often named Dioclecian; his first wife is sometimes named Milicent, or Helie. The prince is named Florentine in the Middle English version, and Stefano in the Italian. | ||
|Has Title=Seven Sages of Rome | |Has Title=The Seven Sages of Rome | ||
|Has Siglum=A (Seven Sages) | |Has Siglum=A (Seven Sages) | ||
|Has Branch Of Tradition= | |Has Branch Of Tradition=Seven Sages of Rome | ||
|Is Adapted From=V (Lost metrical Old French Sept Sages) | |Is Adapted From=V (Lost metrical Old French Sept Sages) | ||
|Is Adapted Into=H (Historia Septem Sapientum); I (Versio Italica); M ('Male Marastre') | |Is Adapted Into=H (Historia Septem Sapientum); I (Versio Italica); M ('Male Marastre') | ||
Latest revision as of 11:37, 12 January 2026
The original Old French prose redaction of Version A likely shared a source with Version K, and that text presumably also shared a source with Versions C and D (Foehr-Janssens, 1994; Speer, 1981). This proximity is assessed partially based on linguistic detail, and partially on the basis of embedded stories and their order within the frame narrative. For example, Version A has the same embedded stories as Versions K and D, but their order differs. Version L, on the other hand, has exactly the same stories in the same order as Version A for the first 11 stories, but then varies dramatically, omitting Vidua and Vaticinium and instead including Filia and Noverca (see the information about the Overlap of Versions A and L for more details about the relationship between these two, and their mingling in some manuscripts). Of all of these early Old French redactions, however, it was Version A that spread most rapidly and widely.
This narrative version is identified by the story order (below). In Version A, the emperor is often named Dioclecian; his first wife is sometimes named Milicent, or Helie. The prince is named Florentine in the Middle English version, and Stefano in the Italian.| Identification and general Information | |
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| Reference Number | |
| Siglum of the version of the Seven Sages | A (Seven Sages) |
| Version Number | |
| Title | The Seven Sages of Rome |
| Author | |
| Tradition and Lineage | |
|---|---|
| Branch of the tradition | Seven Sages of Rome |
| Adapted from (version) | V (Lost metrical Old French Sept Sages) |
| Adapted into (version) | H (Historia Septem Sapientum), I (Versio Italica), M ('Male Marastre') |
| Source for composition and adaptation information | Campbell (1907), Foehr-Janssens (1994) |
| Connected manuscripts |
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| Language and Composition | |
|---|---|
| Original language of version | Old French |
| Language of text | |
| Regional or specific language of version | |
| Translated into (languages) | English, Middle English, Middle Scots, French, German (High and Low German), Dutch, Italian, Old Swedish, Welsh, Swedish |
| Place of composition | France |
| Date of composition | 1175 - 1225 |
| Islamic date of composition | |
| Hebrew date of composition | |
| Source for date of composition | Campbell (1907), Speer and Foehr-Janssens (2017) |
| Notes and Commentary | |
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| Note | |
| Notes on motifs | |
| Notes on the frame | |
| Pattern of embedded stories in this version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Connected prints |
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No connected prints |