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Fabliau

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fabliau, plural fabliaux (both: fäblēō`), short comic, often bawdy tale in verse that deals realistically and satirically with middle-class or lower-class characters. Fabliaux were often directed against marriage and against members of the clergy. The form was extremely popular in France during the Middle Ages. Excellent examples of fabliaux can be found in pre-Christian Oriental literature, in Chaucer's Canterbury Tales, and in Boccaccio's Decameron.

fabliau

 or fableau

Short metrical tale made popular in medieval France by jongleurs. Fabliaux were characterized by vivid detail and realistic observation and were usually comic, coarse, and cynical, especially in their treatment of women. Though understandable to the bourgeois and common people, they frequently contain an element of burlesque that depends for its appreciation on considerable knowledge of courtly society, love, and manners. About 150 fabliaux survive, by both amateur and professional writers.


Fabliau 

a short comic or satirical verse tale in French urban literature of the 12th to early 14th centuries. About 150 fabliaux are extant, most of them anonymous, although such major poets as Rutebeuf wrote them as well.

The fabliaux were lively depictions of comic situations; they combined coarse humor with moral precepts. The main characters were sensual priests and monks, deceived husbands, and peasants. In terms of plot and ideology the fabliaux are similar to farces. The fabliaux influenced such Renaissance short stories as those of Boccaccio; their plots and stylistic features were later used by La Fontaine, Molière, Balzac (Droll Stories), and A. France.

PUBLICATION

Fablio: Starofrantsuzskie novelly, per. so starofrants. Moscow, 1971.

REFERENCES

Istoriia frantsuzskoi literatury, vol. 1. Moscow-Leningrad, 1946. Pages 138—44.
Rychner, J. Contribution à l’étude des fabliaux, vols. 1–2. Geneva-Paris, 1960.

A. D. MIKHAILOV



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She discusses his belief that three medieval forms: the epic, the fabliau and the Arthurian cycles came from three different traditions.
The second part of the book is entitled "the stories (cuentos) inserted in the treatises on magic," but before dealing with the stories themselves Zamora Calvo discusses at some length the terminology for story--cuento, fabliella, estoria, novella, and so on--and defines the categories exempla, nova, lai, fabliau, myth, miracle, and novellae.
In pardoning the knights and constructing the amphitheater, Theseus experiences (and the Knight narrator indulges in) a manner of wish-fulfillment, of the kind we observe in the French fabliau of the Butcher of Abbeville and in the Friar's exemplum of the widow and the summoner.
 
 
 
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