historyВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2022-4-32-49history-1137Research ArticleКУЛЬТУРНО-ИСТОРИЧЕСКИЕ ИССЛЕДОВАНИЯSTUDIES IN CULTURAL HISTORY«Принцесса Грёза»: между литературным образом и историческим персонажем“La Princesse Lointaine”. Between literary image and historical characterЛучицкаяC. И.LuchitskayaS. I.

Cветлана И. Лучицкая - доктор исторических наук.

119334, Москва, Ленинский пр-т, д. 32a

Svetlana I. Luchitskaya - Dr. of Sci. (History).

Bld. 32a, Leninsky Av., Moscow, 119334

svetlana-luchitskaya@yandex.ruИнститут всеобщей истории, РАНРоссияInstitute of World History, Russian Academy of SciencesRussian Federation202209062022043249Copyright © Лучицкая C.И., 20222022Лучицкая C.И.Luchitskaya S.I.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/1137

Cтатья представляет собой попытку реконструкции исторического контекста известной в средневековой литературе легенды, которая возникла на основе стихов о «дальней любви» (amor de lohn) провансальского поэта Джауфре Рюделя. Романтический сюжет о трубадуре, который влюбился в Прекрасную Даму, обрел необычайную популярность у романтиков XIX в. Он был переработан в целом ряде литературных произведений разного жанра – от стихов Франческо Петрарки, Генриха Гейне, Людвига Уландa, до пьесы Эдмона де Ростана «Дальняя принцесса» (La Princesse Lointaine), в русском переводе получившей название «Принцесса Грёза». Впервые «Дальняя Принцесса», в которую якобы был заочно влюблен поэт, была отождествлена с «графиней Триполитанской» в середине XIII в. в vida трубадура. Затем этот сюжет много раз воспроизводился в литературных памятниках, включая произведения романтиков XIX–XX вв. Избегая традиционной для литературоведов дискуссии, в которой обсуждается вопрос о том, считать ли «графиню Триполитанскую» вымышленной фигурой или историческим персонажем, автор статьи стремится выявить те события и факты в истории Триполитанского дома и его представителей, которые могли быть переосмыслены в народном воображении и исторической памяти в процессе создания легенды.

This article attempts to reconstruct the historical context in which the well-known verses on “distant love” (amor de lohn), composed by the Provençal poet Jaufré Rudel, gave rise to a legend that became popular in medieval literature. A romantic story about a troubadour who fell in love with a Beautiful Lady gained extraordinary popularity among the romantics of the 19th century. It was used in a number of literary works of various genres – from the poems of Francesco Petrarca, Heinrich Heine, Ludwig Uhland, to Edmond Rostand’s play “The Distant Princess” (La Princesse Lointaine). For the first time the Distant Princess, with whom the troubadour supposedly fell in love without ever seeing her, was identified with the Countess of Tripoli in the legendary vida of the troubadour dating from the mid-13th century. Later, we see the story repeated many times in the literary monuments including the works of romantics of the 19th and 20th centuries. Traditionally, literary scholars debate the question whether the Countess of Tripoli should be considered as a fictitious character or a historical figure. Avoiding that dispute, the author seeks to single out those events and facts in the history of the house of Tripoli and its members that could be reinterpreted in the folk imagination and historical memory.

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The authors declare that there are no conflicts of interest present.