Aiol and Mirabel

The manuscript, BnF Français 25516, also contains a version of Elie de Saint Gille, and is possibly from the library of Margaret of Flanders, Duchess of Brabant; the two are called the "small cycle" of Saint-Gilles.

With Aiol and Mirabel, it forms the 'small cycle of Saint-Gilles'.

Aiol and Mirabel is an Old French chanson de geste.

The manuscript, BnF Français 25516, also contains a version of Elie de Saint Gille, and is possibly from the library of Margaret of Flanders, Duchess of Brabant; the two are called the "small cycle" of Saint-Gilles.

Aiol and Mirabel is an Old French chanson de geste.

It was translated into Middle Dutch, Italian, and Spanish.

The narrative recounts the adventures of the young knight Aiol who attempts to restore his father's fiefdom, and along the way marries a Saracen princess.

The poem may have been performed in 1212 at the court of Philip II of France, on the occasion of a royal wedding. A version of the two poems may have been presented in 1212 at the court of Philip II of France, during wedding festivities for Baldwin of Flander's daughter Joan and Ferdinand, Count of Flanders.

Dressed in the rusty armor of his father, goes to the court of Louis the Pious to restore his father's good name and have his fiefdom returned to him.

All is well that ends well: Mibrien converts to Christianity, Makaire is quartered (like Ganelon ), Aiol and Mirabel, and his father Elie, go back to Burgundy; the two sons go to Venice.

Metrically, it has two distinctly different parts—the first in decasyllables (divided 6/4, an unusual measure ), the second in alexandrines.

Metrically, it has two distinctly different parts—the first in decasyllables (divided 6/4, an unusual measure ), the second in alexandrines.

The manuscript, BnF Français 25516, also contains a version of Elie de Saint Gille, and is possibly from the library of Margaret of Flanders, Duchess of Brabant; the two are called the "small cycle" of Saint-Gilles.

It was written 1275-90 and hails from Picardie, but is based on a version probably written around 1170.

A version of the two poems may have been presented in 1212 at the court of Philip II of France, during wedding festivities for Baldwin of Flander's daughter Joan and Ferdinand, Count of Flanders.

A version of the two poems may have been presented in 1212 at the court of Philip II of France, during wedding festivities for Baldwin of Flander's daughter Joan and Ferdinand, Count of Flanders.

A version of the two poems may have been presented in 1212 at the court of Philip II of France, during wedding festivities for Baldwin of Flander's daughter Joan and Ferdinand, Count of Flanders.

An edition of the poem was first published by Jacques Normand and Gaston Raynaud in France.

Shortly after, an edition of the poem, coupled with Elie de Saint-Gilles, was published by Austrian philologist Wendelin Förster in 1876–1882 (and republished, unaltered, by Martin Sändig, Wiesbaden, 1967) An English edition and translation, by Sandra C. Malicote and A. Richard Hartman, was published in 2014.

The first dates from the end of the 14th century and is a prose romance by Andrea da Barberino; B. Finet-van der Schaaf surmises this is based on a now-lost Italian version.

Scholars have noted the multilingualism which is quite prevalent throughout the poem.

Catherine M. Jones, grouping Aiol and Mirabel with seven other chansons de geste (including Aliscans and La Prise d'Orange) that have important "polyglot motif[s]", says that the description of Mirabel (she speaks fourteen languages ) is characteristic of the trope.

Catherine M. Jones, grouping Aiol and Mirabel with seven other chansons de geste (including Aliscans and La Prise d'Orange) that have important "polyglot motif[s]", says that the description of Mirabel (she speaks fourteen languages ) is characteristic of the trope.