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MARGINAL ANNOTATION IN MEDIEVAL ROMANCE MANUSCRIPTS

MARGINAL ANNOTATION IN MEDIEVAL ROMANCE MANUSCRIPTS

MARGINAL ANNOTATION IN MEDIEVAL ROMANCE MANUSCRIPTS

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y God or chance or destiny, but a failure to protect himself against feminine intrigue has<br />

jeopardized that favor, on a level as much – and probably more – personal than it is<br />

public. As Alexander’s motivation in secretly visiting Candace is personal (sexual), so<br />

he remains in her thrall only until his regal identity is revealed.<br />

As the story races onward towards its end, Candace’s claims to have brought<br />

Alexander low, in the pattern of a new Delilah, do not seem fully justified: Alexander’s<br />

death from poisoning comes at another’s hand, and without any overt causal relation<br />

between the events. Yet this incident’s occurrence late in the romance, very close to<br />

Alexander’s ultimate demise, contributes to an impression of correlation, even if<br />

causation remains elusive. The moral trajectory of the last episodes of the Alisaunder is<br />

one that reflects on the king’s human frailty, and susceptibility to the common lot of all<br />

mankind, a subjugation to the Wheel of Fortune:<br />

Jn þis world falliþ mony cas<br />

Boþe lite blisse and schort solas<br />

Jponydoun and Pallidanas<br />

And Alsolon þat so fair was<br />

Þey lyued here bote lite ras<br />

And sone vchon forȝete was<br />

Þeo ladies schynen so þe glas<br />

And þis maidenes wiþ rody face<br />

Passen sone so flour on gras<br />

So stong [sic] so fair neuer non nas<br />

Þat he no passiþ wiþ allas<br />

Auenture so haþ turned his pas<br />

Aȝeynes þe kyng his mas<br />

(Smithers, Alisaunder, 1:426.6541-6553)<br />

Ladies and maidens, biblical heroes and chivalric ones, all are subject to the<br />

changeability of fortune, a fate, like that of man by woman deceived, cast as a universal<br />

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