Le roman des récits croisés : le vol du temps dans la Suite du Merlin
Combes, Annie
Le roman des récits croisés : le vol du temps dans la Suite du Merlin - 2010.
17
The romance of crossed narratives : the theft of time in the Suite du Merlin More than any other author of the Lancelot-Graal, the author of the Suite found himself at a crossroads of narratives. The writing of this text reflects a desire to put in the last piece of a puzzle and then discovering that this indispensable piece did not fit. Indeed, Merlin and Lancelot were drafted without any thought of the assembly that would one day unite them and the first of these texts plans events that the second either ignores or contradicts. Furthermore, there is not enough time between these two works for a connection to exist. Despite this, the author borrows characters from Merlin and the circumstances that put them in conflict with each other from Lancelot. Thus he gains a virtual period of time, a temporal fault in which he can unfold his narrative. But he then develops his work for its own sake and endangers the “continuation” function inherent in the Suite. The flight into the future of the diegesis is suspended in extremis, but not before irredeemable harm has been done to the cycle’s coherence.
Le roman des récits croisés : le vol du temps dans la Suite du Merlin - 2010.
17
The romance of crossed narratives : the theft of time in the Suite du Merlin More than any other author of the Lancelot-Graal, the author of the Suite found himself at a crossroads of narratives. The writing of this text reflects a desire to put in the last piece of a puzzle and then discovering that this indispensable piece did not fit. Indeed, Merlin and Lancelot were drafted without any thought of the assembly that would one day unite them and the first of these texts plans events that the second either ignores or contradicts. Furthermore, there is not enough time between these two works for a connection to exist. Despite this, the author borrows characters from Merlin and the circumstances that put them in conflict with each other from Lancelot. Thus he gains a virtual period of time, a temporal fault in which he can unfold his narrative. But he then develops his work for its own sake and endangers the “continuation” function inherent in the Suite. The flight into the future of the diegesis is suspended in extremis, but not before irredeemable harm has been done to the cycle’s coherence.
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