Reviewed by:

• The Roman de Troie by Benoît de Sainte-Maure by Glyn S. Burgess and Douglas Kelly, and: The Romance of Thebes (Roman de Thèbes) by Joan M. Ferrante and Robert W. Hanning
• Andrew Lynch

The Roman de Thèbes and Roman de Troie first appeared in the period 1150–1170, within the cultural ambience of Henry II’s and Eleanor of Aquitaine’s dominions. These romans antiques, based on classical and later Latin sources, were popular [End Page 185] and influential. As the translators of the Roman de Troie remark, against the forty-five known manuscripts that contain one of the romances of Chrétien de Troyes, now much better known, there are fifty-eight for Benoît’s poem, including thirty with the complete text—all 30,300 lines of it. The anonymous Roman de Thèbes survives in six manuscripts and also remained well known: when Pandarus visits Criseyde in Chaucer’s Troilus and Criseyde he finds her with her ladies in a ‘paved parlour’ listening to a ‘romaunce of Thebes’ that is likely to be a version of this poem.

The Roman de Thèbes probably appeared somewhat before the Roman de Troie. It is based on the Thebaid of Statius, written around 91 ce, surviving in over 100 manuscripts, and widely studied in the medieval period. Dante movingly introduces Statius into Purgatorio 21, and Chaucer adapted the Thebaid’s closing tribute to Virgil in a passage at the end of his own Troilus. Statius’s epic is a noted horror story, in which war stemming from unnatural brotherly hatred brings the participants, just and unjust alike, to a bad end. The translators show that the Roman reduces much descriptive detail in the classical text, plays down the role of the gods, emphasizes ‘feudal and courtly’ elements in the narrative, and favours the Greek side in the war as surrogate Christians. More generally, they give an excellent short overview of how the romans antiques ‘translated’ ancient works into their own cultural milieu. The translation is based on a version in a later fourteenth-century manuscript, London, British Library, MS Add. 34114, also including crusades material, and clearly associated with Henry Despenser, Bishop of Norwich 1370–1406, and a noted soldier. There is detailed discussion of this connection, drawing on Christopher Baswell’s research to suggest that it served the ‘battling bishop’ ‘as an exercise in compensatory nostalgia, recuperating disappointment and disaster through the filter of narratives of crusading and chivalric glory’.

The Roman de Troie boldly reworked late classical anti-Homeric supposed eye-witness accounts of the Trojan War by Dares Phrygius and Dictys Cretensis, unbiased observers from the Trojan and Greek camps respectively. These works, originally written in Greek but known in Latin versions, were thought to be historically reliable, unlike those of the ‘lying’ poets. In this first-ever English translation, Glyn Burgess and Douglas Kelly expertly summarize what Benoît did with his originals—he prided himself on adding his own bons dits—and offer a helpful overview and outline of the narrative, with its nineteen battles, along with an appendix discussing key narrative terms, and indexes to names and places. They too stress the confidence with which the Roman assimilates ancient ‘history’ into familiar cultural and political norms, without fear of anachronism; Troy, even more than Thebes, was a truly ‘contemporary’ twelfth-century matter. The Introduction, organized by themes—including historiography, causality, trauma, corteisie and its ambiguities, women in war, and the gods—gives necessary information on these matters to readers poised on the brink of the abundant text. [End Page 186]

The two volumes take interestingly different approaches to translation. Ferrante and Harding render the Roman de Th...

审核人：

• 格洛· S·伯吉斯和道格拉斯·凯利的《贝诺·德·圣莫尔》的《罗马的三重奏》，以及琼·费兰特和罗伯特·汉宁的《底比斯的浪漫》（罗曼·德·贝斯）
• 安德鲁·林奇

在罗马去底比斯和罗马去Troie最早出现在1150年至1170年期间，亨利二世的和阿基坦埃莉诺领地的文化氛围中。这些罗马古董以古典和后来的拉丁文渊源为基础，很受欢迎[End Page 185]并且很有影响力。正如罗马·德·特洛伊的译者所说，反对45种已知的手稿，其中包含克洛蒂安·德·特鲁瓦的浪漫史之一，如今已广为人知。贝诺特的诗歌中有58首，其中有30首带有全文。 30,300行。匿名的罗曼·德·贝斯（Roman deThèbes）保留了六份手稿，并且仍然广为人知：当熊猫人（Pandarus）在乔uc（Chaucer）的克里斯西德（Crisseyde）访问在Troilus和Criseyde的陪同下，他发现她和她的女士们在“铺砌的客厅”中听着“ Thebes的浪漫”，这很可能是这首诗的版本。

罗曼·德·塞贝斯（Roman deThèbes）可能早于罗曼·德·特洛伊（Roman de Troie）出现。它基于Statius的《Thebaid》，写于公元91年左右，幸存于100多种手稿中，并在中世纪进行了广泛的研究。但丁（Dante）轻松地将Statius引入了Purgatorio 21，乔uc（Chaucer）在特洛伊鲁斯（Troilus）末段的一段话中，将塞拜德（Thebaid）对维吉尔（Virgil）的闭幕致意。Statius的史诗是一个著名的恐怖故事，其中源于不自然的兄弟般仇恨的战争使参与者，无论是公正还是不公正，都陷入了糟糕的境地。翻译人员表明，罗马人减少了古典文字中的许多描述性细节，淡化了神灵的作用，在叙事中强调“封建和礼貌”元素，并在战争中偏爱希腊一方作为替代基督徒。更笼统地说，它们对罗马古董是一个很好的简短概述。将古代作品“翻译”成自己的文化环境。该翻译基于14世纪后期的手稿，伦敦，大英图书馆，MS Add。34114，还包括十字军东征，显然与亨利·德斯彭瑟，诺威奇的主教1370–1406和著名的士兵有关。关于这种联系的详细讨论，借鉴了克里斯托弗·巴斯威尔（Christopher Baswell）的研究，表明它为“战斗主教”服务，“是一种补偿性的怀旧之举，通过对十字军和骑士精神的叙事过滤，减轻了失望和灾难”。

在罗马德Troie大胆整顿分别特洛伊战争中以敢于弗里时斯和迪克特斯·克里特西斯，从特洛伊公正观察员和希腊营的后期古典抗荷马应该目击者帐户。这些作品最初是用希腊语写成的，但以拉丁文版本而著称，与那些“撒谎”的诗人不同，它们被认为在历史上可靠。在这有史以来的第一本英文译本中，格林（Glyn Burgess）和道格拉斯·凯利（Douglas Kelly）专业总结了贝诺特（Benoît）对原始作品的所作所为-他以添加自己的糖果为荣-并提供了有用的概述和叙事概述，以及19场战斗以及讨论关键叙事术语的附录，以及名称和位置的索引。他们也强调罗马人的信心将古老的“历史”吸收到熟悉的文化和政治规范中，而不必担心过时的情况；特洛伊（Troy），甚至比底比斯（Thebes）还要多，是一个真正的“当代”十二世纪问题。导论由主题（包括史学，因果关系，外伤，科蒂西及其模糊性，战争中的妇女和神灵）组织，为处于充裕文本边缘的读者提供了有关这些问题的必要信息。[完第186页]

有趣的是，这两本书采用了不同的翻译方法。费兰特（Ferrante）和哈丁（Harding）演绎《罗马日报》（Roman de Th ...