The trouvère tradition continues to provide a broader context for reading the two lyrics commonly ascribed to Chrétien, especially because he was one of the earliest known trouvères. This in turn has inspired further investigation (related to Rb) of links he may have had with certain troubadours, perhaps through the Angevin court of Eleanor of Aquitaine. See Ae for editions.

Studies

6 Lavis, Georges, L'Expression de l'affectivité dans la poésie lyrique française du Moyen Age (XIIe–XIIIe s.): étude sémantique et stylistique du réseau lexical ‘joie’-‘dolor’, BFPLUL, 200 (Paris: Belles Lettres, 1972).

7 Bec, Pierre, ‘Genres et registres dans la lyrique médiévale des XIIe et XIIIe siècles: essai de classement typologique,’ RLingR, 38 (1974), 26–39.

8 Zai, Marie-Claire, ‘Chrétien de Troyes, poète lyrique,’ RITL, 24 (1975), 53–56.

9 Dembowski, Peter F., ‘Vocabulary of Old French Courtly Lyrics – Difficulties and Hidden Difficulties,’ CI, 2 (1975–76), 763–79.

10 Bec, Pierre, La Lyrique française au Moyen Age (XIIe–XIIIe siècles): contribution à une typologie des genres poétiques médiévaux: études et textes. Vol. 1: Etudes (Paris: Picard, 1977).

11 Allen, Judson Boyce, ‘The grand chant courtois and the Wholeness of the Poem: The Medieval assimilatio of Text, Audience, and Commentary,’ Esp, 18:3 (1978), 5–17.

12 Haidu, Peter, ‘The Narrative of the Appropriated Self: Chrétien de Troyes, D'amors qui m'a tolu a moi, Stanza I,’ Esp, 18:3 (1978), 19–27.