Abstract
Parodic displacement in a medieval work occurs in three directions : vertically : from top to bottom (burlesque), from bottom to top (the heroi-comical) and horizontally – between two literary spaces that exist at the same level in the hierarchy of genres (epico-courtly transposition). The latter is studied based on the treatment of the epic motif of the oath in version A of Prise d’Orange. The stable nature of the motif due to the fixed choice of formulae that constitute it (its formal characteristic), on the one hand, and its flexibility or its ability to be modified (its content), on the other, insure that the motif operates by enabling it to be changed in parodic ways. Parody works not only on the inter-textual level (from an epic tone to a courtly tone), but also within the poem itself : from one manifestation of the motif to another, to the extent that each manifestation becomes a parodic re-writing of the previous one.
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