Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Learn more about Amazon Prime. Get to Know Us. Delivery and Returns see our delivery rates and policies thinking of returning an item? See our Returns Policy. Visit our Help Pages. Amazon Music Stream millions of songs. Shopbop Designer Fashion Brands. Amazon Business Service for business customers. Amazon Second Chance Pass it on, trade it in, give it a second life. Le pas de la mart, written by Ame de Montgesoie. La Marche mentions this book in line 5 of this stanza. Is this work known to all those read Den camp vander dootl Probably not, Pertcheval must have thought, for he does not mention this book; yet he does refer to its Dutch translation: Pertcheval adapts his translation to his readers.
His Dutch reading public do not really benefit of the advice to read the French book written by Montgesoie, that is why they should study the Dutch translation. In line 4 of stanza 5 La Marche writes either about the book Pas la mart, or about its writer, Ame de Montgesoie: Pertcheval found a problem in this: He solves this by referring explicitly to the writer who was in this case the translator of Ame' de Montgesoie, Colijn Cail- lieu: He also passes a judgement on the writer, Caillieu is known to be quite malign at times: La Marche informs his readers in stanza of the importance to keep up to date with literature, to study and to reflect on matters that concern life and death: But what is to be studied remains unexplained.
It is likely that La Marche refers here again to Montgesoie's book.
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Pertcheval is more explicit in this: That is a clear piece of advice and that is of use to the reader. La Marche wrote his chevalier delibere for a titled public. He could afford to use expressions that were commonplace in those circles. Jan Pertcheval had a problem: In some instances it is about the military ; old- hat for the nobility, yet unknown territory to the commoners.
The nobility knew exactly what La Marche meant in stanza 11 with 'harnas de guerre'. If Pertcheval wrote for commoners he could be presented with a small problem here: Of course everyone had seen a suit of armour at some point in their lives, so this is not a major problem; and yet some explanation might be asked for: Pertcheval points out that it is all about proper armour, his readers picture an armoured knight in full regalia. Anyone that is familiar with the military knows that the righthand glove of a suit of armour is a heavily armoured one.
La Marche writes in stanza Amongst the nobility this did not want any further explana- tion, it is quite probable that the Dutch reading public Pertcheval had in mind, were not fully aware of the applications of various parts of the battledress. Pertcheval explains about the glove: In that manner his readers were able to understand that it did not concern any old glove but a very heavy one, in other words, an armoured glove ".
Titles in nobility were probably a great deal clearer to members of the nobili- ty ; they definitely dealt with it in a different way, for the Dutch commoners not all ins and outs concerning this matter spoke for itself. It is up to him to clarify who these 'grand lords' might be: He categorizes the lords into princes and dukes. A perfect explicit refer- ence to the Burgundian ducal court, by the way. Now I will briefly discuss the remaining rationalisations: It seems that Pertcheval thinks it is so obvious that there were no tournaments at night that he leaves it out, he translates it with: Apparently Pertcheval considered this form of imagery carried a lit- tle too far, he thinks that if you mean since you were born, you should write it down as such.
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This fight is not a life-and-death struggle; that fight will take place a lot later in the arena of Atropos. In stanza 10, however, La Marche mentions Maladie as a contestant who should be challenged in a tournament, 'plus vis' the longer you live. Pertcheval intervenes and does 15 Literature for Brussels's citizens and their way of approaching literature for the nobility is object to the studies of H.
As a matter of fact Pertcheval commits a translating-error when he mentions Outheit in stanza 17 where it should be Crancheit: Sickness, Accident's companion is meant here, not Old Age. There it says that there is no device to fight death: Seeming- ly it is so evident to Pertcheval that a helmet is part of a suit of armour that he actu- ally leaves the helmet out.
However, he does add something: A coat of armour does not do the trick, and neither does a sound piece of advice. The author appeals to the hospitality the hermit must grant because of the works of charity: In stanza 26 La Marche has the hermit say: Pertcheval must have found this slightly problematic, for he translates it with: An additional direction for the reader that the author not just begs for hospitality, but that it was about time to look for shelter anyway, it had already grown dark.
In what manner he heard this name, he explains as follows: So in fact he heard it mentioned. Pertcheval ratio- nalises this: When you are talking ; the hermit was talking to his servant and he called him by his name: Pertcheval does not think this was enough, he adds a lit- tle extra to the description of this man: He looks wise, but because of his fasting he has the appearance of a ghost. The reader is able to learn more from this description: With the jawbone of a donkey, and not with his bare hands.
And yet La Marche writes the following: Pertcheval finds this odd and clarifies the matter.
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In the first place, it is not about a plowshare at all, but the jawbone of a donkey used as a plowshare, I must add. Apart from this all it is an apocryphal story ; according to the bible Kain killed Abel Genesis 4: The fact that Kain used a jawbone, means that he did not kill his brother with his bare hands.
Pertcheval applies the omission as rationalisation here: Does Pertcheval believe his readers to be so dim-witted that they need additional explanation about Holofemes? Meaning that he lived a long time ago? This is highly unlikely, and yet he does provide this additional explanation: Strictly speaking this is rationalising, but it is more plausible that Pertcheval in fact just needed a rhyme- word.
Here La Marche writes about lobab murdering Amaza ; the two embrace and loab stabs Amaza with a knife. Pertcheval elaborates on this: Pertcheval seems to emphasize the fact that it was a treacherous embrace: The antithesis 'openbaer' in public - 'heymelijc' in secret has been applied here very appro- priately.
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Or is it a rhyme-stopgap 'openbaer-daer'? Or is it a rationalisation? Or could it be all three at the same time? The fact remains that Pertcheval explains a great deal more than La Marche and that it concerns a rationalisation here, in any case. In his point of view old age also says something about quality.
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The hermit is not only a good person, he is old and wise with it. He is given a beard after he lost his fight with Ouderdom. La Marche writes in stanza 'barbe meslee', translated by Pertcheval with a 'grij- sen baert', a grey beard. But he does not leave it at that; illustrating that it is no small matter to get rid of your grey beard, the first-person narrator is given a grey beard that keeps growing and growing: Being an old man you are recognizable and will always be so.
Pertcheval does not think this fit for his readers: Might this kind of metaphor be unknown in the Dutch field of language? PertchevaFs translation is certainly clearer than the original.
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Pertcheval finds this a little overdone, for him the plain is too large to gain a prop- er insight. He edits it into 'tuschen Paris ende Schelde', between Paris and the river the Schelde. This should seem a great deal more comprehensible for the Dutch readers than the comparison with Spain which, after all, is quite a long way away. Would it have been less clear-cut for Pertcheval's readers? At any rate, Pertcheval thinks it worth-while to be a little more explicit about history: La Marche makes the mistake to think that everybody knows that his work was written in when he writes 'Cy sont ceulx que Mort oppressa depuis 1'an trente cinq en ca' stanza Pertcheval is clearer in this, the dead he describes are given a date: A date is more objective, he must have thought.
Both caused a schisma, because both were too proud, both wanted to be the Pope and neither of them would listen to reason. Fortunately they both died. La Marche places them snugly underneath one stone stanza , but he says that death ended the war 'ceste guerre' between the popes.
Pertcheval regards it more subtly, he is not concerned about the war but about the pride of the pope and the antipope, it was this pride that was ended by death: Pertcheval felt this jarring, for he translated it with 'van sulcker doot'. In this way he removes the ambiguity in this sentence. Pertcheval takes the position of the metafictional writer16, he makes clear that you, reader, are reading a poem and in this poem objects have symbolic names.
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Of course there is no real sword bearing the name of Quaet Aventuere but in literature this is quite viable. In La Marche's correspond- ing stanza there is no trace of the writer and reader meeting each other beyond the book to reflect on the tale. According La Marche he does, in stanza he writes that death gets the best of everybody: Pertcheval thinks death does not have any friends, just enemies: Concluding from these rationalisations Jan Pertcheval had a different public in mind than Olivier de la Marche did.
Whereas la Marche wrote his poetry for a French reading public primarily amongst the nobility, Pertcheval translated for the Dutch middle-classes. And yet the number of rationalisations remains quite limit- ed. The distinction between middle class and nobility can only be detected in a 16 See for this very postmodern idea of metafiction: This modest number of real rationalisations also proves that Jan Pertcheval did not really take on the French text as far as this matter is concerned, he translated Le chevalier delibere and did not edit it.
The rationalisations do not indicate that Jan Pertcheval followed his own programme. De-clarification No matter how one classifies Le chevalier delibere, it is not a realistic work. Translator Pertcheval does add some realism by means of rationalisations, but that does not make it a realistic romance.
The book depicts how people should idealis- tically live or fight. Jan Pertcheval felt free to de-clarify the text where it seemed too concrete and also too realistic to him. In some cases idealisation establishes itself and the story or the characters mentioned in the text is or are elevated onto a higher level. Pertcheval here adheres to the original text as well and generally refrains from action. The number of de-clarification remains limited and so does the number of idealisation correspondingly, he occasionally makes matters seem more beautiful than they realy are, but he does not commit the sins of excres- cences and idolizing.
That de-clarifying may lead to idealising is illustrated in stanza But on the other hand it definitely determines something - as far as England. La Marche was at the Burgundian court in Brussels, so if he writes this we can work out the size of the area he had in mind. It is quite likely it concerns a 'by way of speaking', but the definition of place as in England does not leave much to the reader's imagination.
Pertcheval thought even bigger: By declarifying to this degree an idealisation presents itself; this beautiful place is not between here and England, but 'somewhere'. An other de-clarification in a three-dimensional sense can be found in stanza Even this is too explicit for Pertcheval, he just thinks 'De grootste vanden hertoghe hij bekint was'. So also compared to the dukes in the East, Philip is the greatest.
This clear description is not right according to Pertcheval, due to the fact that the story covers more than one day. The period of time Ghepeys Pensee kept him company, geselscapte him, is kept unresolved by Pertcheval.
It is quite amus- ing that Pertcheval himself finds this declarification very clear: La Marche describes this in the active voice, which gives a lively impression. Pertcheval opts for the passive voice here: The result is that the reader does not and cannot visualize two strong knights. It remains vague what the situation is exactly and who does what. Pertcheval sees the fight against ill- fortune in a wider context, not only the young and strong, but also the old-aged will have to fend for themselves against Accident the Savage: And that means everyone, he is more implicit here and so more undefined than La Marche who merely mentions the young.
Very clear and appropriate within the story where a person sets out to fight old-age, sickness and ill-fate. Pertcheval is a little less explicit, he speaks of a road, a path: The reader will understand what he is talking about, but it certainly is less well-defined. He met his end through poi- soning. Because of this he died when he was in fact too young: Assuming that a human being should reach the age of seventy, Hannibal had turned somewhere between 46 and Pertcheval does not allow us this arithmetic.
Voer sijn tijt apparently is sufficient. Remondin kills his uncle Fromont. In the dusk par le serin he thinks he is a wild boar. Of course Pertcheval refers "to the story, but he omits to observe that the mistake Raeymondijn made, occurred due to poor visibility. Raeymondijn kills Froomont, but exactly how and when remains unclear. Old Age says that he is known par mon grant vasselaige because of my great loyalty.
Pertcheval also has him say that he is known, but he does not mention from what we are supposed to know him. He does tell us from where: But it remains obscure which poem is meant and what can be read about Old Age in this poem. This clarifies the situation for the reader: