ABBREVIATIONS: AND: The Anglo-Norman Dictionary; DMF: Dictionnaire du Moyen Français (1330–1500); DR: Duke Roland and Sir Otuel of Spain; Hassell: Hassell, Middle French Proverbs, Sentences, and Proverbial Phrases; OK: Otuel a Knight; OR: Otuel and Roland; Otinel: Anglo-Norman Otinel; Pseudo-Turpin: The Chronicle of Pseudo-Turpin, ed. and trans. Poole; RV: Roland and Vernagu; Song of Roland: The Song of Roland: An Analytical Edition, ed. and trans. Brault.

Chart: Comparative passages in the Anglo-Norman Otinel and the English Otuel Romances This chart is designed to aid comparisons among the romances and the chanson de geste as it survives in the Cologny manuscript (the text of Otinel presented in this volume). Each of the English romances is an adaptation of the French chanson. The Cologny Otinel is not, however, the exact version used by each English poet, nor is the Vatican City Otinel (ed. Guessard and Michelant). All surviving copies of Otinel are incomplete and exhibit much variation among themselves. The chanson de geste no doubt circulated in a range of versions, subject to scribal variation.

6 duze pers. “Twelve peers.” According to legend, Charlemagne recognized twelve knights as his greatest, noblest warriors. See also the note to lines 630–34 below.

17 le jor . . . li innocent. Holy Innocents’ Day (December 28), the feast day commemorating Herod’s slaughter of the infants (Matthew 2:16). Two of the Middle English poets borrow this detail. Compare OK, line 55; and OR, line 48.

17–44 Seingnurs . . . . desk’al talun. These two laisses are in alexandrines, not decasyllabic lines. According to Hardman and Ailes, “It raises the possibility that there was second source manuscript, now lost, which had a version of the narrative in alexandrines” (Legend of Charlemagne, p. 365).

18 Paris en France. Although the poet identifies Paris as the location of Charlemagne’s court, this is historically inaccurate. The Roman town of Lutetia Parisiorum did not develop into the administrative center of France until the eleventh and twelfth centuries. Hugh Capet, count of Paris and duke of the Franks, was elected king of the Franks in 987, and subsequent Capetian kings expanded the city’s size and influence. During the Carolingian age, Aix-la-Chapelle, also called Aachen, was where Charlemagne lived and ruled. The Middle English Otuel romances also set this scene in or near Paris. In OK, Charlemagne appears to arrive from Saint-Denis to hold court in Paris (lines 57–58). In OR, the situation is the opposite: he appears to dwell in Paris and hold court in Saint-Denis (lines 50–51). In DR, Charlemagne dwells in Paris (line 39).
Clermunt. This place-name apparently refers to what is today Clermont-Ferrand in central France, one of the oldest of French cities. Beyond its rich Roman and Carolingian history, the city is famous as the starting point of the First Crusade (1095–99).

36 fluri gernun. “white moustache.” On Charles’ iconic white beard, see the explanatory note to DR, lines 80 and 82. See also RV, line 664; and OR, line 71.

68 Curçuse. Corçuse is Otuel’s famous sword. In OK, it is Corsouse; in OR, Cursins; in DR, Corsu. On named swords, see the note to lines 873–77 below.

124 ne valt une alie. “Une alie” is a sorb-apple, an acidic, gritty-textured fruit. The AND notes that it is “used to designate a worthless object.” Proverbial. See Hassell A78. See also line 1225.

129–31 Il te dorra . . . . e la navie. On the historically inaccurate notion that Charlemagne controlled Normandy and England, see Hardman and Ailes, who comment that “Charlemagne’s actual empire has long since disappeared from sight” (Legend of Charlemagne, p. 364). It is typical in chansons de geste (as in the Song of Roland) that Charlemagne is depicted as the ruler of all Christendom.

165–67 Une cité . . . . Atelie. Lombardy, a region in north Italy, figures prominently in many of the Otuel-cycle romances. Medieval Lombardy bordered on France. In The Siege of Milan, the central conflict between Saracens and Christians is over the city of Milan and the surrounding Lombard region. In Otinel, OK, OR, and DR, the Saracen Emperor Garcy has conquered many key Christian cities and made Lombardy his command center. The location of Atelie as a major Lombard city situated between two rivers makes it likely that the poet is referencing Pavia, the capital of Lombardy in the seventh and eighth centuries, which is located on the Ticino River three miles upstream from its confluence with the Po River. The Ticino (which the Otinel poet names “Ton River” in line 668) rises in the Swiss Alps, descends into Italy through Lake Maggiore, and is the largest left-bank tributary of the Po. It is over the Ton/Ticino that Charlemagne builds the bridge over which the French will pass to attack the city; see the notes to lines 664–68 and 674–80 below. Pavia is named only at line 578.

175 K’escufle n’i entre ne corneile ne pie. This line refers to birds (crows and magpies) that scavenge the dead left lying on a battlefield.

199 Charle de Seint-Denis. Saint-Denis, located near Paris, is the site of the Basilica of Saint-Denis, housing the relics of the martyred first bishop of Paris. It has long been connected to the royal line, and was the burial site for almost all French kings from the tenth century until the French Revolution. Charlemagne’s parents — Pepin le Bref and Bertrada of Laon — were interred in the basilica at Saint-Denis, the construction of which was begun by Pepin and completed by Charlemagne.

226 Seint-Omer. Saint-Omer is a place in northern France named for Saint Audomarus (Omer), a seventh-century bishop and founder of the monastery alluded to here. The OR and DR poets borrow this detail; see OR, line 239, and DR, line 329.

230 Durendal. Durendal is the name of Roland’s famous sword. In Rocamadour, France, one may see a chapel with a sword embedded in its outside wall. By local legend, this sword is Durendal. De Veyrières notes the claim (found in l’abbé Cheval’s 1862 guidebook, Guide du Pélerin à Roc-Amadour) that the real Durendal was stolen in 1183 when Henry II pillaged the chapel, and he includes a drawing of the current sword (“L’Épée de Roland,” pp. 139–41).

245 cel apostle ki que rent penant. The reference could be to any of the twelve disciples of Jesus who suffered martyrdom. A good guess would be Saint Peter, whose legend reported that he was crucified upside-down.

255–75 L’unze per . . . . feite d’un Almant. On the arming of Roland, compare OR, lines 280–324; the shield there depicts a “lyon . . . raumpande” (line 301). In DR, see lines 349–72, where it is merely “a schelde of faire coloure” (line 364).

259–60 Ço fu le healme . . . . il occist Brachant. Hardman and Ailes, Legend of Charlemagne, p. 357, note that the detail of Goliath’s helmet, previously won by Charlemagne, is perhaps the most interesting of several enhancements found in the Anglo-Norman scene of Roland’s arming, compared to the French version.

267–73 Peint a azur . . . . par grant estudiement. The cosmological grandeur of Roland’s shield adds an ambitious heroic touch to Otinel. On it are depicted the four winds and the heavens, with the twelve zodiacal signs, as well as earth and ocean, sky and sun. Symbolically, it sets Roland at the center of the universe. The description is reminiscent, on a lesser scale, of Aeneas’ massive shield forged for him by Vulcan (Virgil, Aeneid, 8.788-955; trans. Mandelbaum).

276 Puis li aportent un fort espé trenchant. Roland seems to receive here a second sword; see Hardman and Ailes, Legend of Charlemagne, p. 358.

280 Bruiant. In addition to Roland’s steed Bruiant, other warhorses named in Otinel include: Otinel’s Migrados (line 350) and Flori (line 1029); Clarel’s Turnevent (line 1279); Volant, gifted by Charlemagne to Naimes (lines 1518–19); and Oliver’s Fauvel (line 1605). Roland’s killing of Migrados and Otinel’s consequent killing of Bruiant begin their duel in an exceptionally brutal way (lines 403–19).

283 arpent. A French measure of length, equal to about 64 yards or 71.5 meters, largely archaic, but still used in Quebec.

327–63 Belisent apele . . . . n’en ert tenu citez. This scene of Otinel armed and tended to by three ladies is balanced later with one of Ogier healed by three ladies; see the note to lines 978–84 below.

369 Les duze pers. At this moment there can be only nine of the “twelve peers” with Charlemagne because Roland, Ogiers, and Naimes are in the meadow. This line shows how loosely the term duze pers is used. Compare the note to lines 630–34 below.

516–18 A ices parole . . . . descent. The dove that alights upon Otuel is the Holy Spirit (“Sainz Espiriz”), hence his immediate conversion. Compare OK, lines 585–88; OR, lines 568–73; and DR, lines 578–79.

528–29 Mahun . . . . Jovin le puant. Middle English romances often misrepresent Muslims as polytheists who worship idols, naming three or four gods as central to their fictionalized faith: here, Mahomet, Tervagant, Apolin, and Jove. See the discussion in the General Introduction, p. 16, and compare the notes to lines 1209–10, 1265–1305, and 1292–96 below.

551 un mul amblant. Here, Otinel rides an ambling mule. Belisant will later ride a swift Hungarian mule (lines 656–58).

555 Turpin de Reins. Archbishop Turpin is a key militant and ecclesiastical character in the Song of Roland and other Charlemagne romances. In Otinel, his role is limited to episcopal duties: performing Mass and baptizing the converted Otuel. In OR, lines 40–41, Turpin is named as an eyewitness chronicler of events, as in Pseudo-Turpin. On Turpin’s role in the Song of Roland, see the explanatory note to OR, line 2114.

562 Le nun li leissent. Otinel keeps his Saracen name despite the common practice of a convert adopting a Christian name when baptized (“christened”) — as instanced in the famous conversion of Saul to Paul (Acts 9:16–20, 13:9).

565 bele que la rose. Proverbial. See Hassell R69.

630–34 Li duze pier . . . . Daneis Ogiers. This passage offers the only instance in Otinel and the Middle English Otuel romances where there is an attempt to list the twelve peers in total. Here, they are: Roland, Oliver, Ansels, Girard, Engeler, Estult of Lengres, Turpin, Girier, Bertoloi, Otinel, Duke Naimes, and Ogier the Dane. The names vary in different accounts. As named by Charlemagne in his plaint for their deaths in the Song of Roland, they are Roland and Oliver, Gerin and Gerier, Oton and Berenger, Yvoire and Yvon, Engelier, Duke Samson and Anseis, and Gerard of Roussillon (Song of Roland, lines 2402–10). That list is confused, however, because Charlemagne also names Archbishop Turpin. See also the note to line 369 above.

645 Munmartre. Montmartre is a hill in what is now the northern part of Paris, and the location where Saint Denis was purportedly beheaded by Romans. According to legend, after he was decapitated, he picked up his head and carried it some distance away before he died on the site thereafter known as Saint-Denis. For more, see “St. Denis” in the Catholic Encyclopedia.

656–58 Belisent munte . . . . nef ne galie. Here, Belisant rides a swift Hungarian mule. Earlier, Otinel had ridden an ambling mule (line 551). The detail of Belesent riding a mule is retained in OR, lines 679–81, and DR, line 736.

664–68 Desuz Versels . . . . en la praerie. These lines describe the final stages of Charlemagne’s journey to his encampment outside Atelie. “Versels” is Vercelli, a city on the Po River around forty-five miles west-northwest of Pavia, in the province of Piedmont on the border with Lombardy. An ancient site, settled around 600 BCE, Vercelli became an independent commune in 1120, and in the years that followed was a member of the first and second Lombard leagues. The city housed the University of Pavia from 1228 to 1372. “Muntferant” suggests Casale Monferrato, which lies on the Po River between Vercelli and Pavia, around forty-five miles due west of Pavia, at the foot of the Monferrat Hills from which one can see across the Po Valley to Pavia (as specified in line 665). It was originally a Roman town. The “Ton” River is most likely the Ticino, on the left bank of which lies Pavia. “Atelie” almost definitely refers to Pavia. The historical Charlemagne laid siege to Pavia, then the Lombard capital, in the winter and spring of 773–74, after which he had himself crowned king of Pavia and its surrounding territories. “Munpoun” is likely a name made up by the poet: while Pavia itself is situated on a small hill, the plains surrounding Pavia are quite flat, with no significant heights between the Monferrat Hills and Pavia. The plain where the French army encamps is across the Ton/Ticino from Pavia, around five miles from the city. See the notes to lines 165–67 and 674–80; and compare OR, lines 688–93, and DR, lines 742–46.

674–80 Le fiz Pepin . . . . hum passer. The bridge that Charlemagne orders that his men build over the Ton/Ticino helps to locate Pavia as the site of Atelie. When Roland, Oliver, and Ogier cross the bridge to seek Saracens, they meet Clarel and his companions “a good league” from Atelie, that is, about three to four miles from the city. See the notes to lines 165–67 and 664–68 above. Compare OK, lines 697–706; OR, lines 697–702; and DR, lines 754–56.

691 une liue. The length of a league is more than three miles.

766 ne . . . valt un peis. Proverbial. See Hassell P218. The phrase reappears at line 769.

793 Naimant! Clarel’s war cry means “For Naimant!,” referring to his birth city. See lines 1142–43, where he shouts it again, riding next to the Turk Arapater from Floriant, who shouts “Floriant!”

807 Mellee. This is the name of Clarel’s sword. Compare OR, line 1240, where it is named “Melyn”; and DR, lines 847 and 1207, where it is named “Melle” and “Modlee.” On other named swords, see the note to lines 873–77 below.

814–17 Seingnurs . . . . Rollant la prent. The ritual of Clarel giving his sword to his captors as a guarantee of his safety is reproduced in OK. See the explanatory note to OK, line 834.

860 Munjoie. “Mountjoy,” the war cry of the French. See MED mon-joie (n.) and Godefroy, Dictionnaire de L’Ancienne Langue Française, 5:400 (“ancien cri de guerre des chevaliers français”; an ancient war cry of French knights). Compare DR, lines 881, 1067, and 1476.

863 Qui plus . . . neir que mure. “blacker than a mulberry.” Proverbial. See Hassell M246. The simile emphasizes the black skin of the pagan, perhaps an African.

873–77 Halteclere . . . . Curteine. Oliver’s sword is named “Halteclere,” and Ogier’s is “Curtein.” Like Roland’s Durendal and Otinel’s Corçuse, the mightiest warriors’ swords in chansons de geste often acquire names that associate them with their owners. Oliver’s sword is also named in OR, line 904 (“Haunchecler”), and in DR, line 914 (“Haunkclere”). Ogier’s sword is named Cursable in OR, line 900.

890 ne . . . valt une fie. Proverbial. The AND (fie¹, sense 2) notes that a figurative meaning of a fig is “a worthless object.”

900–01 Alfamie . . . . li promist druerie. Oddly, this maiden (kinswoman of Alfage and seemingly also his beloved) bears the same name as Clarel’s sweetheart Alfamie (King Garsie’s daughter), an important female Saracen character in Otinel (see line 949).

919–22 Oi Curteine . . . . vus voil esprover. Ogier’s speech to his sword is reminiscent of Roland’s famous dying speech to Durendal in the Song of Roland, lines 2297–2354, which is adapted in the Middle English OR, lines 2326–49 (see explanatory note).

978–84 Ces treis puceles . . . . sil mettent culchier. The scene of Ogier with the three Saracen ladies, led by Alfamie, nicely balances the earlier scene of Otinel’s arming by three Christian ladies, led by Belisant (lines 327–63). Both episodes depict women softly touching a warrior’s flesh as they dress or undress him, in order to heal or protect him. These two scenes of a warrior among ladies provide brief relief from the all-male violence of war, and they also inject the text with moments of mild eroticism. Their balanced presence indicates the poet’s artfulness.

1012 Trop se volt faire sur tuz hummes loer! Otinel raises here the most common fault attributed to Roland: that he is too eager for fame and therefore prone to behave bravely but rashly, without careful deliberation. This paradoxical virtue-as-flaw is characteristically featured in legends about Roland. Here, he is faulted by Otinel for leading himself and his comrades Oliver and Ogier into danger unnecessarily. The accusation echoes Oliver’s criticism of Roland’s refusal to summon Charlemagne in the Song of Roland, especially at lines 1100–05, 1170–73, and 1715–18.

1056 Ne li valt mie . . . un denier. Proverbial. See Hassell D28.

1142–43 Naimant! . . . . Floriant! See the note to line 793 above.

1191 complie. “compline,” approximately 9 pm. This time reference uses a term from the seven liturgical hours — matins, lauds, prime, terce, sext, none, vespers, compline — which marked a day’s moments for regular prayer. See also lines 1564 and 1903.

1209–10 Fai dreit Mahun . . . . ta lei k’as guerpie. In Otinel, Clarel is consistently shown to be earnestly pious in his devotion to Mahomet; the Middle English poets all adhere to this depiction of Clarel’s character as well. Here, Clarel’s argument that Otinel should “make amends” with Mahomet illustrates how Western authors often painted the Muslim faith as an inverted mirror to Christianity: its basic tenets of belief were similar (repent and be forgiven), but their worship was idolatrous and misdirected toward false gods. The Otinel poet uses Clarel’s character as a devout Saracen as a foil to Otinel’s denunciation of pagan belief. See also the note to lines 1265–1305 below.

1225 ne valt un alie. See the note to line 124 above.

1265–305 El chief li lacent . . . . al quor dolent. This passage accentuates Clarel’s devotion to Mahomet and loyalty to Garsie, beginning with his arming — etched on his helmet is a trinity of his gods — and ending with his prayer. On the snake’s-head helmet as a sign of Clarel’s pagan “alterity,” see Hardman and Ailes, Legend of Charlemagne, pp. 358–59, and compare OR, lines 1225–36, and DR, lines 1201–04. See also the note to lines 1209–10 above.

1292–96 Mahumet levent . . . . n’ariere n’avant. This passage depicts the great lengths that the pagans go to in order to erect a statue of Mahomet to oversee the battle and bring victory. Corresponding scenes occur in OR, lines 1249–60, and DR, 1213–21. To a medieval Christian audience, the care taken to secure the statue with chains would have emphasized how inert, unstable, and false this idol was. In chansons de geste, Muslims, as Saracens, are typically depicted inaccurately as idol-worshipers. On Western Christian beliefs about Muslim idolatry, see Strickland, Saracens, Demons, and Jews, pp. 166–69; and the discussion in the General Introduction, p. 16.

1299 besant. A bezant is a Byzantine coin of gold or silver (DMF besant).

1307 l’eue del col. Charlemagne and his knights are at the fork or confluence of the Ticino and Po Rivers when Clarel shouts to them from across the Ticino.

1344 ne valt . . . oefs. Proverbial. See Hassell O17.

1363 Tartarun. Clarel is saying that upon his death Jesus was sent to Tartarus, the pit or abyss in which Greek mythology assigns the wicked to suffer eternal punishment. In 2 Peter 2:4, Tartarus appears as the place of punishment for the angels who joined Lucifer in rebelling against God.

1464 fiers que liuns. Proverbial. See Hassell L68.

1497 festu. “straw.” The AND (festu¹, sense 2) notes that the word is used figuratively to connote a “worthless object.” See Hassell F59. The idiom reappears at lines 1588 and 1593.

1498 Dulcejoie. “Sweetjoy” is the name of King Garcy’s horn.

1503 Rollant le cunte e Oliver sun dru. These lines epitomize the legendary close friendship between Roland and Oliver, brothers-in-arms. While, in Otinel, Otinel and Clarel both have female love interests, and Ogier experiences some flirtation with Clarel’s paramour, the bond between Roland and Oliver exists mainly without women. In its brash, brave heroics, it stands for the masculine strength of Charlemagne’s army. The companionship of Roland and Oliver is central to the Song of Roland, as appears notably in Roland’s tearful eulogy upon Oliver’s death (lines 2021–30).

1554–64 De cheres armes . . . . devant midi sonant. This passage epitomizes the grim irony of war, common to all war literature, and yet notable amid a chanson de geste poet’s glorification of battle. The gallant Turk who wants the honor of defeating Roland has only just departed from his girlfriend, who lovingly and laughingly armed him, and he will be dead by noon.

1559 aligod. Instead of this otherwise unknown word, the Vatican City Otinel has the reading levrier (greyhound), adopted here for the translation.

1564 midi. “sext,” approximately noon, here sounded by the ringing of church bells. On time marked by the seven liturgical hours, see the note to line 1191 above.

1600 almuafle. The word here in the Vatican City Otinel is amirans (emir).

1612 Ne . . . la reinie d’un prunier. Proverbial. See Hassell P290.

1618 Berrvier. It seems odd that the Bavarians are named twice in this list (first at line 1616). This word may refer to occupants of another region, but no other solution presents itself. Compare, too, line 1799.

1644 Maneis. Inhabitants of Le Mans.

1660 Guineman. This French warrior is apparently not the more important Guinemant (line 1521), who remains alive for later action (lines 1807, 1810).

1671 Mallo! This is the war cry of the Bretons, meaning something like “Onward!” It is repeated at line 1763. For another example, see Godefroy, Dictionnaire de L’Ancienne Langue Française, 5:125. Compare Clarel’s war cry of “Naimant!” at lines 793 (see note above) and 1142.

1693–94 Forment le pleint . . . . del rei Corsabrez. That is, Count Eliens is the uncle of Troias. His revenge against King Corsabrez will occur a few lines later, when Amirez crushes one of his eyes and sends him as a captive to Charlemagne (lines 1728–45).

1763 Mallo! See the note to line 1671 above.

1836–69 Sore eust Ogier . . . . ferir chevaler. In this scene, Ogier frees his hands and feet, kills four guards with a woodblock and throws three others down from the tower, breaks his remaining chains, finds his horse and arms himself, and shouts out threats as he gallops off. For alternate scenarios, see OK, lines 1629–78; OR, lines 1616–36; and DR, lines 1543–60.

1870–907 Quant sunt . . . . paiens a traverser. The rhyme pattern indicates that these lines divide into six short laisses, even though the scribe has not marked them with large initials. The short laisses seem to bring a new tempo to the poem — either a quickening up or a quieting down — as it draws to a close.

1882–86 Pur Deu . . . . manger a burgeis. Otinel’s insult is certainly about the aristocratic class and refined tastes of the French. It may also contain an anti-Muslim slur about dietary laws that forbid pork and lard. On this passage, see Hardman and Ailes, Legend of Charlemagne, pp. 362–63. On the possibility of a proverbial or medical sense, compare Hassell L15 and AND lard.

1899–904 Li dui barun . . . . prise la cité. In this ending, unique to the Cologny manuscript, Garsie is captured and then the chanson is over. The ending of the Cologny Otinel is more abrupt than that in the Vatican City version, which extends the ending to include another eighty lines. There, the following events occur in rapid succession: Ogier kills a fleeing pagan; Garcy dies in prison; the French capture Atelie and slaughter its inhabitants; Otinel and Belisant wed; Otinel takes control of the country surrounding Atelie; Charlemagne returns to Paris; Otinel protects his kingdom and exalts Holy Christianity to the end of his days. On the different endings, see Hardman and Ailes, Legend of Charlemagne, pp. 363–64. At the end of OK, Garcy does homage to Charles, without conversion being specified. At the end of OR, Garcy is taken to Paris, converts to Christianity, and is blessed by Turpin. At the end of DR, Otuel weds Belesent and becomes a peer.

1903 vespre. “vespers,” approximately 6 pm. On time marked by the seven liturgical hours, see the note to line 1191 above.

1905–07 Quant l’um . . . . a traverser. The final three lines of Otinel offer an epitaph for the titular Saracen hero of the chanson de geste. Readers are asked to pray for Otinel’s soul; he should be remembered as both messenger and warrior for Christians. The term “messagier” seems now to rise to a new meaning: cross-cultural ambassador. Otinel brought a message to Charlemagne’s court, where he received a message (God’s Word), and then he heroically delivered it back, with holy vengeance, to the community that initially sent him.

ABBREVIATIONS: MS: Cologny, Fondation Martin Bodmer Cod. Bodmer 168, fols. 211ra–22rb; OF: Old French.

121 Rucie. MS: bucie.

138 tant. MS: tarat.

157 duc. MS: dur.

252 Fait Oliver Mult parlez haltement. MS: laisse opening not marked.

309 Oriant. MS: Becliant.

312 cunterai. MS: curterai.

382 mult. MS: ment.

398 ki les. MS: kis.

411 fuerre. MS: suerre.

639 Flamenes. MS: Framenes.

652 Lumbardie. MS: lurbardie.

662 compaingnie. MS: compaingine (second i dotted).

664 Versels. MS: Vergels.

683 duze. MS: virze.

691 Defors Hatillie a une liue grant. MS: laisse opening not marked.

700 Forz. MS: Fozz.

727 vent. MS: veno.

770 penun. MS: penuer.

840 juste. MS: iute.

848 est. MS: omitted. An abbreviation of unknown meaning occurs here.

849 al rei. MS: omitted.

852 Sire. This word is marked with a large initial, but the rhyme matches the preceding laisse.

862 Rollant feri un paien Berruier. MS: laisse opening not marked.

879 Atant est venu Carmel de Tabarie. MS: laisse opening not marked.

892–93 ki ke peist u rie . . . . ki ke peist u ki rie. The similarity of these lines could be a copying error.

918 Lores. MS: Loes.

958 en estur. MS: en’ estur (apostrophe-type mark inserted).

996 enhacier. MS: superscript r above ha.

1009 prover. MS: proue.

1018 Nostre emperere a fait un corn soner. A large colored initial marks this line as the opening of a new laisse, even though the rhymes match the preceding laisse. The initial indicates a transition in narrative action, so the manuscript’s laisse break is retained.

1066 escuz. MS: escur.

1074 A batu la . . . . MS: words obscured by fold; this laisse is not found in the OF Otinel.

1077 sun. MS: su.

1135 Arepater. MS: Arepairer.

1217 Satanie. MS: Gatanie.

1227 Dist li convers Diable sunt en tei. MS: laisse opening not marked.

1242 Belisent. MS: Letter B obscured by fold; the lower portions of other letters are visible.

1314 dit. MS: eit.

1368 Ja ne. MS: words obscured by fold; compare OF Otinel, line 1405.

1397 purpensez. MS: purpensez (ur abbreviated), with abbreviation for ur repeated in the right margin.

1409 espee. MS: letters pe obscured by fold.

1412 Otinel broche sun arabi curant. MS: laisse opening not marked.

1431 Curçuse. MS: curcecesu.

1451 blanchoier. MS: word obscured by fold; compare OF Otinel, line 1489.

1462 iriez. MS: barnez.

1511 Le fiz Pepin a ordané sa gent. MS: laisse opening not marked.

1536 esmuevent serré. MS: words obscured by fold; compare OF Otinel, line 1613.

1568 se. MS: ge.

1577 le paien. MS: words obscured by fold; for other words in this line, the upper halves of the letters are visible. Compare OF Otinel, line 1657.

1579 de eus. MS: deeus (second e marked for deletion).

1604 L’almuafle se leisse a Oliver. MS: laisse opening not marked.

1610 par. MS: par with letter p canceled.

1619 enseignes-bessier. MS: words obscured by fold; compare OF Otinel, line 1696.

1621 vet. MS: vec.

1629 Quant ces fiers osz se furent a justees. MS: laisse opening not marked.

1662 Munjoie escrie Ore a . . . . MS: words obscured by fold; this laisse is not found in the OF Otinel.

1704 Paiens complissent si est . . . tez. MS: words obscured by fold; this laisse is not found in the OF Otinel.

1734 entrez. MS: entez.

1768 treis. MS: treis (s superscript) or treier.

1799 Beiver. MS: letters obscured by tear; compare OF Otinel, line 1819.

1830 n’oreit Deu. MS: words obscured by fold; compare OF Otinel, line 1859.

1876 Otes l’enchasce par un grant valee. MS: laisse opening not marked.

1882 Pur Deu dit il dite mei sire reis. MS: laisse opening not marked.

1899 Li dui barun ont le rei mené. MS: laisse opening not marked.

1905 Quant l’um orra de itel messagier. MS: laisse opening not marked.