My intention is to show in this article the role of emotions in the reception and dissemination of the Griselda story. Petrarch’s affective reactions to Boccaccio’s tale opened the path that many authors would pursue. I propose to trace the transition from the strange and confusing story to didactic and exemplary and explain the place of Griselda in courtesy literature addressed to women in the late Middle Ages.
The paper is a comparison of the two narrative and dramatic medieval miracles. The texts come from different times, but they both, tell the same story - a miraculous intervention of the Virgin Mary on a life of a young nun. Written in the 14th century, the dramatic version is an adaptation of Gautier de Coincy narrative miracle. The author of the paper intends to seize the spatial transformations that occur between narrative “hypotexte” and dramatic “hypertexte”. Indirectly, this analysis evokes a question of rewriting in French medieval literature.
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