STUDIA MEDIAEVALIA Curt WITTLIN DICATA
MEDIAEVAL STUDIES in Honour Curt Wittlin
Estudis Medievals en Homenatge a Curt Wittlin ENTITATS COL·LABORADORES
Grup de recerca consolidat de la Generalitat de Catalunya SGR 2014-119 (2014-2016): «Cultura i literatura a la baixa edat mitjana» (NARPAN)
Grup de recerca de literatura catalana medieval de la Universitat d’Alacant (LICATMED)
Grup d’investigació de la Universitat d’Alacant «EXPLANAT: Recerques de llengua i literatura catalanes»
Projecte de recerca FFI2013-45931-P del Ministerio de Economía y Competitividad: «La cultura literària medieval i moderna en la tradició manuscrita i impresa» (V).
Projecte de recerca FFI2014-52380-C2-2 del Ministerio de Economía y Competitividad: «El contexto literario de las poesías de Ausiàs March»
Fundació Carulla
Institució de les Lletres Catalanes. Generalitat de Catalunya
University of Saskatchewan. College of Arts and Science
Universitat de València. Departament de Filologia Catalana STUDIA MEDIAEVALIA Curt WITTLIN DICATA
MEDIAEVAL STUDIES in Honour Curt Wittlin
Estudis Medievals en Homenatge a Curt Wittlin
Edició a cura de Lola Badia, Emili Casanova i Albert Hauf
INSTITUT INTERUNIVERSITARI DE FILOLOGIA VALENCIANA «SYMPOSIA PHILOLOGICA», 25 Alacant, 2015 Studia mediaevalia Curt Wittlin dicata = Mediaeval studies in honour Curt Wittlin = Estudis medievals en homenatge a Curt Wittlin / edició a cura de Lola Badia, Emili Casanova i Albert Hauf. – Alacant : Institut Interuniversitari de Filologia Valenciana, 2015. – 366 p. ; 23 x 17 cm. – («Symposia philologica» ; 25) Textos en català, castellà i anglés. – Inclou referències bibliogràfiques
ISBN: 978-84-606-8839-6 D.L. A 505–2015
1. Wittlin, Curt – Discursos, assaigs, conferències. 2. Literatura catalana – Anterior a 1500 – Història i crítica. 3. Català medieval (Llengua) – Història. I. Badia, Lola (1951-). II. Casanova, Emili . III. Hauf i Valls, Albert Guillem. IV. Institut Interuniversitari de Filologia Valenciana. V. Sèrie
821.134.1’04.09 811.134.1”04/14
Director de la col·lecció: Josep Martines
© Els autors
© D’aquesta edició: Institut Interuniversitari de Filologia Valenciana Universitat d’Alacant
Primera edició: juny de 2015
Portada: Llorenç Pizà
Il·lustració de la coberta: signatura de Curt Wittlin
Imprimeix: Quinta Impresión S. L.
ISBN: 978-84-606-8839-6 Dipòsit legal: A 505-2015
Cap part d’aquesta publicació no pot ser reproduïda, emmagatzemada o transmesa de cap manera ni per cap mitjà, ja siga electrònic, químic, mecànic, òptic, de gravació o de fotocòpia, sense el permís previ de l’editor. Pròleg
Curt Wittlin, romanista format a l’escola de Basilea, és un dels millors conei- xedors de la cultura medieval. Es tracta d’un estudiós estimat per les seues qualitats humanes i valorat públicament amb diversos premis i distincions atorgats per les principals institucions literàries i polítiques catalanes, com ara l’Institut d’Estudis Catalans, la Reial Acadèmia de Bones Lletres de Barcelona o la Generalitat de Catalunya, que li va concedir la Creu de Sant Jordi. Ja és hora que els col·legues i amics de professió també expressem el nostre respecte i admiració per la seua llarga i fructífera trajectòria. Per això li oferim la present miscel·lània sobre temes de les especialitats que compartim amb la voluntat de mostrar fins a quin punt li estem agraïts i com, de fet, ens sentim beneficiaris dels seus ensenyaments. En efecte, un nombre prou representatiu d’especialistes, vint-i-sis, cultiva- dors de la cultura medieval i moderna, hem volgut oferir un tastet del nostre treball, amb sentiment de gratitud, a la tasca d’en Wittlin, que a partir d’una completa formació grecollatina i una àmplia visió romanística fou pioner en molts aspectes, com en l’aprofitament de la informàtica per a estudiar les fonts, els temes i la llengua d’autors medievals: en especial, les concordances inèdi- tes de l’obra de Roís de Corella, o el repertori d’expressions multinominals, o continuador excel·lent de l’escola canadenca en l’estudi de l’obra d’Eiximenis. Wittlin, malgrat regir una càtedra de lingüística romànica dedicada especial- ment al francés a la Universitat de Saskatchewan, Saskatoon (Canadà), no perdé mai el contacte amb els territoris de parla catalana, dels quals es va enamorar a través del testimoni i passió de Germà Colón, venint a Barcelona i València contínuament i estudiant majoritàriament temes de cultura i llengua del nostre territori, com el Tresor de Guillem de Copons, traducció medieval de Brunetto Latini, el Tirant lo Blanc, la Doctrina Compendiosa, que atribueix a Ramon Soler, Antoni Canals o la primera traducció de la Vida de Santa Caterina de Sena. Encara lola badia, emili casanova & albert hauf recordem com ens demanava que li microfilmàrem els manuscrits d’Eiximenis i d’altres, com aprofitava cada viatge de recerca per a impartir conferències i classes als professors i alumnes de les nostres universitats i compartir experièn- cies i projectes, sovint inici i camí de noves investigacions i noves perspectives en la nostra ciència. Voldríem, Curt, que prengueres aquesta miscel·lània d’estudis com un obse- qui dels teus col·legues i amics que valoren la teua tasca, la teua aportació i la teua bonhomia, que et portava a enfrontar-te a qualsevol tema nou sense por ni dubtes. Estem segurs que et farà goig que siga editada en terres valencia- nes, en l’Institut Interuniversitari de Filologia Valenciana, a les quals tu tantes contribucions has fet, acadèmiques i personals, quan començares a venir en els anys 80, quan ací no teníem ni tradició ni especialistes en la matèria que tu dictaves, que tantes inquietuds crearen. Una bona part dels col·legues que t’estimen no ha pogut contribuir a esta obra per altres compromisos previs, però hi ha volgut estar present des de la Tabula Gratulatoria. En esta miscel·lània està representada tota la filologia catalana, la qual has divulgat pel món amb desenes de ressenyes i ponències en congressos, totes les universitats amb què tu t’has relacionat, les de dins (UA, UAB, UB, UdG, UJI, UOC i UV) i les de fora (Basilea, Binghamton, Toronto i Temple), i una bona part dels col·legues que més has estimat o amb qui més t’has relacionat. Volem agrair de tot cor la col·laboració de les institucions, universitats, fundacions i projectes de recerca que han fet possible l’edició d’aquest volum, i, en especial, la de l’IIFV. Per molts anys, amic i col·lega Curt, català de Basilea i suís de València.
Lola Badia Emili Casanova Albert Hauf
8 Ekphrasis and the Mirrored Image: The Allegory of Despair in La noche by Francesc Moner, a Catalan Writer of the Late Fifteenth Century
Written Text and Its Pictorial Counterpart
In 1528 Carles Amorós, renowned printer from Barcelona, produced in that city what has been regarded one of the most attractive books published in Spain during the transitional period from the Middle Ages to the Renaissance.1 The book contains virtually all the extant bilingual (Catalan-Castilian) production by the gifted Catalan writer, Francesc Moner (1462/1463-1492).2
1. For a detailed description of Amorós’s book, listed in the bibliography below under «A,» see my Introducció 86-90, and I Introducción 65-9. 2. Moner’s oeuvre comprises a miscellaneous collection of seventy-four pieces. These consist of fifty-six poems and eighteen prose works of varying length, written some in Castilian, some in Catalan. For a comprehensive look at Moner’s life and works see my Introducció 9-23 and 1 Introducción 3-38. A Catalan to the marrow of his bones, Fra Francesc Moner was born in Perpignan in Decem- ber, 1462, or January, 1463. In all probability he received the baptismal name of Pere, the same as his father’s. At a very young age he served as a page at the court of John II of Aragon, father of Ferdinand, better known as Fernando el Católico, husband of Isabel of Castile. In his late teens, Moner spent two years in France in the entourage of an unidentified nobleman. In 1481 Moner enlisted in the military, first at sea and later on land, under the leadership of Joan Ramon Folch III, Count of Cardona, and became involved in the war against Granada, the last stronghold of the Islamic civilization in the Iberian Peninsula . In 1485 or thereabouts, he entered a period of intense literary activity as he took up residence in Barcelona in the household of his Maecenas, Joan Ramon Folch IV, first Duke of Cardona, son and successor of the homonymous leader just mentioned. Moner’s career flourished despite a rather turbulent relationship with a woman, who proved to be the obsession of his life. The crisis precipitated by this unfortunate affair, led the author to join the religious community of the Observancia, the most rigorous branch of the Franciscan order. The period Moner spent in the monastery first in Lleida and later in Barcelona lasted no more than one year, the last of his life. As for Moner’s untimely death at the age of twenty-nine, it is useful to quote directly from the invaluable account provided by a Miguel Berenguer de Barutell, who identifies himself as the author’s «primo hermano que fue mío» (‘a cousin of mine’). Here is Barutell’s pertinent statement (231): peter cocozzella
In Amorós’s masterpiece there is a detail that calls for special attention. On fol. A2v we find a woodcut (grabado), which provides the pictorial epitome of La noche, Moner’s longest composition, written in Castilian mostly in prose with some interspersed short passages in verse. The grabado encapsulates the essential plot of La noche, which consists of the successive encounters of the first-person narrator, the auctorial persona, with various allegorical personages. These represent his emotions, eleven in all, and kindred entities, such as Cos- tumbre (Lady Custom), Razón (Lady Reason), and Cuidado (Apprehension). It is highly instructive to analyze, in a broad perspective, the interface between the image illustrated by the grabado and the grabado’s counterpart: the written text of La noche. Here I intend to review the salient techniques Moner employs in order to portray his auctorial persona in accordance with the post-troubadour tradition of the mártir de amor (‘the martyr of love’), who exhibits the distinctive characteristics of an «exemplary sufferer,» to borrow a phrase from Susan Sontag. Moner projects said portrait onto the verbal and visual dimensions of a complex composition, inspired, in all likelihood, by the influential Roman de la rose. We may start with the Quintilian’s model, which Robert Archer finds eminently applicable to Ausiàs March’s poetry.3 It bears pointing out that the stellar Ausiàs exercised a powerful influence on a group of emulators (Moner included), outstanding authors in their own right, who flourished in Barcelona or Valencia in the second half of the fifteenth century.4 Archer relies on Quintil-
Murió [Moner] en esta casa de Barçelona de la misma orden, a do vino por serle más natural, y paresce que no sin misterio, porque al cabo del año o poco más, el día mismo que le hizieron professo…
An aura of suspicion envelops the bare-bone facts. Evidently Moner’s death occurred the very day he took his final vows. One may ponder the ominous implications of that most laconic of remarks: «y paresce que no sin misterio.» Did Moner commit suicide? (For additional biographic information, see Barutell and my Introducció 9-28 and 1 Introducción 3-38.) 3. See «The Workings of Allegory in Ausiàs March.» The most authoritative biography of Ausiàs March is found in Chiner Gimeno’s Ausiàs March i la València del segle xv (1400-1459). Very handy is the updated overview of March’s biography provided by Di Girolamo (Nota informativa / noticia biográfica). On the basis of recently discovered evidence, Jaume Chiner Gimeno proposes convincingly the year 1400 and the city of Valencia for March’s date and place of birth. Chiner Gimeno lays to rest the previous widely accepted belief that March was born in Gandia (a town in the vicinities of Valencia) in 1397 («1997, any March? » 14). 4. In «Una aproximació a March en set punts,» Lola Badia provides a birds-eye view of March’s influential standing in the history of Catalan letters. With respect to March’s impressive contri- bution and cultural legacy, worthy of special mention are the seven essays included in Badia’s Tradició i modernitat als segles xiv i xv: Estudis de cultura literària i lectures d’Ausiàs March 143-242. Among the various studies that appear in the volume (Ausiàs March y las literaturas de su época) ed. Sánchez Rodrigo and Nogueras Valdivieso, see, particularly, Alemany, «Ausiàs March y las letras valencianas del s. XV: vasos comunicantes» 110-31, and Paredes, «Ausiàs March y las literaturas romances medievales» 9-25. For the wide range of March’s influence on Catalan and Valencian writers of the second half of the fifteenth century, see Cabré.
138 ekphrasis and the mirrored image: the allegory of despair in la noche ian’s definition of allegory as «continua metaphora» (‘continued or extended metaphor’) (see Quintilian 11.2.46; qtd. in Archer 170) and adopts from current literary criticism the paradigm of the interaction between two types of subject: one (primary) signifying what the allegory is about actually, the other (second- ary) consisting of what is presented as the imaginary or figurative aspect of the trope (Archer 170-1).5 In the case of La noche the birth of the allegory in its imaginary dimension may be readily determined at the precise moment when the protagonist and first-person narrator catches, for the first time, a glimpse of a wondrous castle:
Estonces me vi delante una maraviloza fortaleza en una montaya muy alta, pero sin padrastro. Tenía barrera y cava ancha y honda a quatro anglos hecha, y a cada uno de ellos, un cubo. En el cuerpo del castillo, en un lado, la torre d’omenage. (La noche, ll. 101-106; TMPW 82-85)
The passage brings to light the «secondary subject» of the metaphor-allegory embodied in Moner’s emblematic castle. As for the other «subject,» the primary one, we will have to wait for the following statement delivered by none other than Lady Reason at an advanced stage of the plot:
Esta casa y fortaleza se llama Vida Humana. La verdadera bi- enandança d’ella es el mérito y la malandança la culpa. Y porque parezca que estas palabras son mías, quiero llevar alguna orden, començando a la portera, Costumbre, que tiene la entrada de la scalera. (La noche, ll. 911-917; TMPW 150)
A close reading of La noche reveals that, in the broad context of his esthetic, Moner is quite capable of enlivening Razón’s bare-bone theorizing by a number
5. For a list of the seminal studies on metaphor by the authors mentioned above, see Archer 170, n. 4. For the all-important paradigm one may take into account the following explanation that Archer provides in the same essay (170-171):
According to the theory of «interaction» in metaphor, each of the two terms of which a metaphor is composed predicates of the other term its own inherent associations, and there is a process of adjustment whereby one term integrates into its own body of associations those «projected» by the other term, or else modifies, contrasts or rejects them. The first mentioned term can be called the «primary subject» and the other the «secondary subject;» these would correspond, for instance to «society» and «sea» respectively in the statement «Society is a sea.» The secondary subject, in turn, projects its inherent body of associations back to the primary subject and then there takes place, each subject acting as a «screen» or «filter» for the associations of the other, a reciprocal process of adjustment, modification, contrast or rejection.
139 peter cocozzella of techniques that remain to be investigated. In our approach to those tech- niques, we can do no better than to focus on one of the most striking passages of La noche: the protagonist’s recounting of his encounter with Desesperación (‘Despair’). The presentation of Despair follows the same pattern employed to introduce the other personages. The eye of the beholder rests on the details of physical appearance—the apparel, expression, demeanor—and the overall mood they evoke. The narrator is struck by a sense of tangible gloom:
Las oras subí más arriba, y luego sentí abrir otra puerta al lado esquierdo, y vi sallir por ella otro personaje d’esta manera: traýa el gesto triste quanto ell Esperança le tenía alegre. Sus días de la edad tercera, la barba un poco crecida, los cabellos muy largos. Vestía un jubón de terciopelo negro, con un sayo de luto, y loba que rastrava una por tierra, bonete y todo lo al negro. No le vi invención broslada ni chapada, sino que se sacó un papel del seno y me lo dio cerrado. (La noche, ll. 669-728; TMPW 132-137)6
The Miniature of Despair
The narrator foreshadows the extraordinary significance of this passage by highlighting its exceptionality. The key here is the adversative conjunction «sino
6. In the case of Despair Moner follows, with the notable variant to be explained presently, the basic pattern established in the presentation of the other interlocutors that approach his persona in La noche. He adduces two essential features: the invención and the letra. These were common- place in the courtly entertainment in vogue in Moner’s lifetime. Macpherson provides the precise definition of the essential terminology:
The invención of one, two, or three octosyllables, occasionally supplemented by a line of pie quebrado (half line), aspired at its best to be a harmonious combination of divisa and letra and grew naturally from the tournaments of the fifteenth century. In Spain the participants would ride into the lists with an elaborate crest (cimera), painted upon or affixed to their helms, or a striking emblem (divisa) embroidered on their clothing, the scabbard of their sword, or the trappings of their horse. This image was designed to be interpreted in conjunction with the letra in verse composed to accompany it. («The Game of Courtly Love» 104).
To complement Macpherson’s definition, it is useful to taken into account the details added by González Cuenca (2: 575):
La invención consta de dos partes, el cuerpo y el alma, es decir, una parte plástica o icónica (una reja, un pelicano, una noria, unas plumas. . .), bien en forma de objeto, que solía llevarse sobre el yelmo como cimera . . , bien en pintura o bordado, y otra literaria, de letra o mote, es decir, una copla o lema alusivos al icono.
140 ekphrasis and the mirrored image: the allegory of despair in la noche
que» (‘except that’). In diametric contrast to the representations of the other personages, Despair makes for a clear exception because he does not exhibit outright an invención—that is, a picture with its appropriate inscription—inte- grated as an important feature of his garments. Then, as we read on, we find out, surprisingly enough, that Despair produces, after all, a full-fledged inven- ción, complete with letras (‘inscription’). The difference in this case, we must conclude, resides in the unusual and, as it turns out, very meaningful manner in which the invención is exhibited. The following passage leaves no doubt as to the vivacious painterly effect of the exhibition:
Yo lo tomé y l’abrí. Stava de dentro pintado; una nave en el mar con muy gran tormenta, el mástel y velas rompidas, y ella con furia para dar una peña cortada muy alta, sin reparo; y por más desventura, muy gran fuego metido en la popa, por donde el viento venía. Eran ya tan encendidas las llamas qu’el humo escurecía ell aire, y las centellas subían al cielo. Mostrava ser la pintura de muy buena mano. Yo la mirava tanto que me olvidé las letras hasta que él me lo dixo. Estonçes las lehí. Lo que dezían era esto: ¿Qué hará él que está dentro? (La noche, ll. 680-692; TMPW 133-135)
There can be little doubt that this eye-catching passage unfolds in full display according to the characteristics of a trope called ekphrasis, which Stephen G. Nichols, in a seminal essay on the subject, succinctly defines as «the descrip- tion of a visual art work» (134). Evidently, when confronted by his interlocutor with a folio of an illuminated manuscript, the protagonist of La noche proceeds to describe the miniature in minute detail. As we peruse the protagonist’s description, we begin to perceive in Moner’s ekphrastic technique implications that eventually unfold in a variety of ways. At the outset of our analysis we may consider in La noche in general and in the allegory of Despair in particular the same two factors—namely, brevitas and copia—that Sol Miguel-Prendes discerns in Cárcel de amor, the outstanding novela sentimental by Diego de San Pedro (Miguel-Prendes 20-21). In view of Miguel-Prendes’s commentary, it is useful to ponder the respective connection of brevitas and copia with the two primary facets of the act of looking, namely the glance and the gaze. In Moner’s passage we have just quoted, the glance pertains to the beholder’s capacity to capture in the blink of an eye, with the efficiency of a snapshot, so to speak, a quintessential visual unit; the gaze, by contrast, refers to the contemplation and prolonged reflection elicited by that unit. Upon following Moner’s probing into the psychology of the lover’s despair, we gain an insight into how Moner develops his ekphrastic technique by the assimilation of his sources. There are two poems—one by Juan de Dueñas and the other by El Comendador Escrivá—which may well have inspired
141 peter cocozzella
firsthand Moner’s vivid verbal picture of the doomed ship.7 Both poems bear the title of «Nao [‘Nave’] de amor.» The «Nao» by Juan de Dueñas appears in the Cancionero de Estúñiga, while the homonymous composition by Escrivá is anthologized in the Cancionero general.8 A close reading brings to light Moner’s familiarity with both «naos.» It is not hard to perceive, for instance, an affinity of Moner’s depiction of the ship of Desesperación with the following verses excerpted from Dueñas’s text:
Lo qual, sennor, me destierra, de tal guisa me embaraça que las undas me dan caça los uientos me fasen guerra, las montannas et la syerra se me fazen desear, fortuna non da lugar que pueda tornar en tierra nin me lançe de la mar.
En esta pena padesce, Rey poderoso, mi alma, que nin la mar faze calma nin la playa me basteçe… (Vv. 154-166; Cancionero de Estúñiga 245)9
A detailed comparative study would reveal as the distinctive aspect of Moner’s use of the ekphrasis the elaboration of a technique that may be described—to borrow some terms from the field of chemistry—as extraction, condensation, and transformation. What Moner extracts and condenses from the «nao de amores» in particular and from cancionero lyricism in general—not to exclude, of course, Ausiàs March’s cants—is the pervasive mood of melancholy verg- ing on despair. The crowning achievement of Moner’s esthetic chemistry is
7. The account that Salvador Miguel (78-84) provides of Dueñas’s career as a writer and prominent figure at the courts of Castile and Aragon during the first half of the fifteenth century is sketchy, understandably so in view of the scarcity of the available data. Salvador Miguel dates the «Nao» around 1437 (83). Presotto conjectures that Dueñas was born in the first decade of the fifteenth century in the village in the province of Palencia that bears his name (11). Presotto detects in Dueñas’s life three successive periods, which correspond to the poet’s residence in the court of, respectively, Castile (Juan II), Navarre (Juan, Infante of Aragon and his wife Blanca, who inherited the throne), and Naples (Alfonso V) (11-17). Around 1440 Dueñas returned to Spain (Presotto 18-19). For the problematic identification of Escrivá, see Cancionero general, ed. González Cuenca 2: 472-473, n. 2. 8. For the essential information about these poems, see the bibliography below. 9. According to Salvador Miguel the «sennor» and «Rey poderoso» mentioned in this passage are references to Alfonso V (1416-1458) (83). This view is shared by Presotto, who dates Dueñas’s «Nao» in the summer of 1439 (Presotto 19-20).
142 ekphrasis and the mirrored image: the allegory of despair in la noche the radical transformation of that mood into a verbal picture—the ontological correlative, that is, of the illuminated manuscript that Despair delivers to the protagonist of La noche.
To Glance or, else, to Gaze
This preliminary discussion of Moner’s artistry invites a closer look at Moner’s deft handling of the glance/gaze dialectic. A reflection on the dra- matic representation of Despair provides the first step toward that reading. By emulating the technique of the miniaturist, Moner carries to a full extent the function of the glance in devising an eye-filling representation of brevitas pregnant with copia. It is useful to illustrate Moner’s artistry with analogues readily available in the numerous manuscripts of the Roman de la rose, a work that, as is well known, enjoyed for centuries a vast readership, still prevalent in Moner’s lifetime.10 Before continuing with the discussion of the twofold complementarity—glance and gaze concomitant with brevitas and copia—a side note is in order concerning some traces of a coincidence between the Roman de la rose and Moner’s literary production (especially La noche). According to the trustworthy account provided by his cousin (see note 2, above), Moner in his late teens spent two years (from 1479 to 1481) in France, where, to quote Barutell directly, «sirvió […] dos años un gran señor de aquel reyno, a donde aprendió la lengua françesa» (230). These facts alone support the probability that Moner was familiar with not only the Roman but also some illuminated codices of the famous masterpiece of French literature.11 What with these significant biographical circumstances, there is some textual evidence —complete with its miniature-like counterpart— that we need to turn our attention to. Let us examine the first allegorical personage that appears in La noche. As for now we need not consider the narrative and descriptive details by which the protagonist —that is, the auctorial persona— evokes the setting and the
10. Huot (1-15) provides a clear overview of the remarkable diffusion of the manuscripts in question and addresses the arduous task of classifying them. 11. Luquiens provides concrete evidence of some influence of the renowned French poem on Span- ish literature of the late Middle Ages. In her recent essay, Marta Marfany illustrates with abundant documentation the influence of French poetry on Catalan literature of the first six decades of the fifteenth century. Of great interest is Marfany’s following statement:
A mitjan segle xv els poetes catalans llegien poesia francesa. No era una novetat ni una moda efímera, sinó un hàbit cultural adquirit per tradició, l’origen del qual es remunta a la segona meitat del segle xiv, sobretot a partir del matrimoni el 1380 de Joan d’Aragó (1350-1396) amb Violant de Bar (c. 1365-1431), directament emparentada amb la Corona francesa. […] Tots dos monarques tingueren […] un paper decisiu en la circulació de textos poètics francesos, per exemple del Roman de la Rose […] (259).
143 peter cocozzella mood of bewildered anticipation leading to the apparition of that personage. The first-person account effectively conveys the startling confrontation of a stunningly beautiful woman:
En esto vi que me havía abierto la puerta una donzella moça y hermosa en cabellos rubios y crespos. Trahía vestido un brial de terciopelo verde, broslado alrededor d’unas luzérnigas muy naturales y de letras que dezían:
Quando el sol de la doctrina falta en los grandes y grey, yo soy tenida por ley.
No trahía otra cosa encima. Descobría los pechos toda desbro- chada. Eran tan lindos qu’era maravilla. Vi que no me hablava sino que se reýa. (La noche, ll. 132-143; TMPW 88-92.)
Even for a casual reader of the Roman, Moner’s presentation of Costumbre (‘Lady Custom’) cannot but bring to mind Amant’s memorable encounter with Oiseuse (Roman de la rose, vv. 522-628). It takes but a quick juxtaposition of the pertinent illustrations to bring to light the essential parallelism between the episode of La noche and the corresponding one in the Roman. One may observe that such a juxtaposition attests to the reliability of the viewer’s glance for a self-evident affinity between the two passages. To be sure, a close scrutiny does not reveal a one-to-one coincidence in detail between the two figures (Oiseuse and Costumbre). Quite pronounced, on the other hand, is the correspondence at a more general level by virtue of such items as the rich attire of the two personages, their captivating beauty, and the function of each as guardian of the entrance of an all-important enclosure. Beyond these overt similarities, not to be missed are the less-than-obvious terms of comparison that bespeak Moner’s distinctive method of assimilating a variety of sources. In order to identify these, we may draw on Alvar’s informative study on the iconography of Oiseuse. Without doubt, one item that takes pride of place in Moner’s presentation of Costumbre consists of the firebrand and related flame imagery, which Moner situates within the space of the lascivious maiden. The protagonist’s own words reveal how the significance of a prominent symbol increases through spatial circumstance at a crucial juncture of the narrative. The semiotic impact invested upon the verbal compound of fuego (‘fire’) / llama (‘flame’) / tizón ‘burning stick’) / tea (‘resinous wood’) comes to bear on a distinctive moment occurring immediately before and after the encounter with Costumbre. It bears pointing out that each of these two moments is laden with a considerable charge of emotions. On the one hand, the anticipation of the encounter is manifested in an unlikely amalgamation of amazement, fear, and paradoxically enough, a
144 ekphrasis and the mirrored image: the allegory of despair in la noche curious kind of daring that would boast of a morbid attraction to misadventure. The protagonist unburdens himself of some rather dark musings:
[M]e esforçé no a ffin de poner la vida en deffença, mas porque con el miedo no desconociesse el peligro, pues por amigo lo tengo, que después que me sententia, me da pena. Toda desventura me plaze pues vergonçosa no sea. (La noche, ll. 123-131; TMPW 87)
On the other hand, after conversing with the provocative damsel, the smit- ten beholder cannot refrain from uttering a stream of reproaches admixed with lamentations:
O mugeril hermosura, ¿por qué, siendo tan engañosa, puedes tanto? ¡O enemiga de quien más te quiere! Quien no te conosse te sigue. Húyete de quien detrás te mira, porque donde tú eres mandan soberbia, crueldad y desconocimiento. Salada d’antojos y mudanssas, a tu te siguen sin causa. (La noche, ll. 153-159; TMPW 92-93)
The Mirror of Eros
We are beginning to make out the profile of a bold new schema that Moner conceives as a function of an unconventional adaptation of traditional motifs borrowed from the Roman de la rose. By resuming our analysis of the ekphrastic process as it unfolds in La noche, we may trace the evolution of Moner’s poetics from the rapid operation of the glance to the meditative or reflective purview of the gaze. By the dramatic representation of the protagonist’s tense confron- tation of Costumbre, Moner moves into the convoluted psychology —not to say pathology— of what Nichols calls «vision as somatic, producing its effects through bodily sensation» (137). In the wake of Nichols’s argumentation it may be shown that Moner elabo- rates his own adaptation of the «somatic vision» that, as Nichols demonstrates, Guillaume de Lorris derives from Virgil. Now enter, torch in hand, Moner’s persona, the protagonist of La noche, so graphically portrayed in the grabado. The torch itself, generated by the fire that rages in Costumbre’s courtyard, represents —we know by now— the virulence of passion, the erotic drive, or, to use Moner’s own terminology, «la enamorada soberbia.» A close-up of the grabado reveals a curious counterbalance between, on the upper section of the illustration, a torch held upward by the male figure at eye level and, on the lower portion of the picture, a naked body from the waist down, depicted with some vague suggestions of a rampant member of the male anatomy. Is it a frontal or backside view? Is it a tail or something else?
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The plot proper of La noche does not get into the clarification of these net- tlesome details; it does account, nevertheless, for some rather momentous turns of great iconographic interest. Witness, for instance, the crucial moment that precedes the spirited altercation between the protagonist and Amor. A perusal of the encounter brings to light in the following passage the mention of a circum- stantial factor —the mirror effect, that is— that begs to be addressed presently:
La tea que tenía ardiendo en la mano dava en el peto y reluzía tanto que bien como en un grande spejo yo me vi todo de dentro. Estonçes le conossí, y con un dolor tan acussioso que sospirar no dexa, le dixe […] (La noche, ll. 185-189; TMPW 99)
What makes this passage stand out is the specular dimension, which enhances the symbolic impact of the burning stick. In other words: the coalescence of the tea and the peto brings into play a process of mutual complementation. The tea provides the light, and the peto, the reflection; and that reflection harks back, no doubt, to the mirror so conspicuous in the portrait of Oiseuse:
En sa main tint un mirroër, si ot d’un riche treçoër son chief trecié mout richement. (Vv. 555-557)
In La noche we see, then, a most eloquent understatement of a salient motif: the mirror, left out in the representation of Costumbre, is fully restored in the specular function of Amor’s breastplate. The result, in the case of Costumbre, is the replacement of the mirror with the torch and the restoration of a fla- grant eroticism, which many critics have denied to the semiotics of the mirror of Oiseuse. What we witness in the encounter with Amor is the significant consequence of the somatic vision or, to put it differently, the full evolution of the lover’s gaze. The protagonist’s transition from Costumbre to Amor comes to head in the phenomenology of recognition —or anagnorisis, to use the technical Aristotelian term. The reflection that triggers the recognition is operative at more levels than one. In seeing himself in the breastplate that acts as a mirror, the protagonist openly declares that he recognizes his interlocutor «[e]stonces le conossí.» Thus, Amor does not need to identify himself as do all the other personified emotions. The ultimate meaning of the protagonist’s declaration resides in what he leaves unsaid. Unstated but not less important is a deeper level of recognition —that of the self as an integral feature of Amor’s coat of arms or, indeed, of Amor’s identity. Beyond this dizzying display of the optics of the mirror, the pattern of anagnorisis reverberates with remarkable parallelism from the verbal sparring
146 ekphrasis and the mirrored image: the allegory of despair in la noche
with Amor to the aforementioned melancholic dialogue with Desesperación. In both instances there is the same assertion of the existential nexus between the protagonist and the allegorical personage. The narrative of the shipwreck we have already mentioned apropos of the emblem of Desesperación, adds an unusual aspect, which we may call «transgendering» for want of a better term. Contrary to the manner in which the other allegorical characters are identified, the feminine gender of the noun that designates Desesperación does not correspond to the male figure —«la barba un poco crecida, los cabellos muy largos»— that impersonates the allegory. Moner, we see, has devised a technique that facilitates the superimposition of the image of the protagonist with that of the allegorized personage. Here the mirror effect evinced in the confrontation with Amor is substituted with the overlapping of the two iden- tities. The conflation highlights the moment of anagnorisis through the intui- tion of self-recognition by virtue of the ekphrastic process: the individual in the picture —«el que está dentro»— turns out to be not only the embodiment of Desesperación but also the epiphany of the protagonist himself. We have arrived, then, at the insight of the existential fusion between the primary and secondary subject of the metaphor/allegory.
An Impassioned Anagnorisis
The mirror-centered implications we have been examining confront us with the multilayered complexity of Moner’s textuality. Moner, in fact, challenges his reader to recapture in an act of creative perception the imaginative integration of various motifs: the ambiance of interiority, the mood of obsession or fixa- tion, the plight of despair, the insight into a disturbing process of anagnorisis. At this juncture in our discussion, it is useful to bring to bear upon Moner’s handling of the ekphrastic technique Nichols’s commentary on a crucial pas- sage of the Roman de la rose —the passage that pertains to the portrait of Envy (vv. 235-90). Here we need not go into the subtleties and complexity of the ingenious interplay that Nichols brings to light between Guillaume’s descrip- tion and the corresponding miniature in one of the most attractive codices of the Roman (Pierpont Morgan, New York, ms. 132, fol. 3v). One aspect of the analogy between the portrait of Envie and that of Desesperación, as fashioned, respectively, by Guillaume de Lorris and Moner, remains to be highlighted. It consists of what Nichols, apropos of Guillaume’s presentation, calls «the shift […] from impersonal ekphrasis to subjective reception of the Lover» (153). We have had already occasion to meditate on what may pass as Moner’s impas- sioned ekphrasis inspired by the «nao» of Desesperación. To complement our previous meditation on the miniature of the «nao,» a quotation of the passage ensuing from the description of the miniature is well in order. In the passage we find precisely the protagonist’s «subjective reception» —the reaction, that
147 peter cocozzella is, that the auctorial persona expresses in a dialogue with a literary image that, in the final analysis, proves to be an unsympathetic reflection of himself. The overall effect of the entire encounter with Desesperación is that of an objective- subjective interplay exhibiting the dynamics of a dialogue that gradually mutates into a dramatic monologue. Here is, then, the intriguing passage:
Preguntéle quién era. Respondió: —Desesperaçión me llamo. ¿Qué te paresce de la nave? No me lo dizes. Respondíle: —Digo que es pintura bien pintada y en gran estrechura. Todos los elementos la desafían: ell agua la enbevesse, el viento la rompe, el fuego la quema, la tierra do corre empinada no la coie. ¿Qué hará él que está dentro? No sabe nadar. No puede salvarçe por la bravez de la mar. Ni ay dónde salga a la tierra. El viento no se mesura. Pues, ¿cómo escapará del fuego entre tantas maneras de muertes que avorreserá allí? No ay menor mal qu’escoger ni, por ende, consejo. Las oras me dixo: —Pues, dime, ¿por qué finges esperanças vanas —tú que solo eres dentro esta nave? ¿Quién sino tú tiene tantos contrarios? Yo sé que tus males te saben bien y tu coraçón se mantiene de enamorada soberbia. Y haún ¿qué pienças? ¿Que tus lágrimas y sospiros han de ser pagados? ¡O quán desvariado eres si crees ell asperança después de haverte engañado! Mira cómo está empinada la tierra que desseavas. Echate en la mar, a los peçes, y muere antes del encuentro de la tierra escassa. ¿Dónde corres? No la dexas gozar de la carne, pues no puedes quitalle los huessos. Estonçes me dio el papel y me dixo que no le perdiesse. Yo quise escusarme de lo que me culpava, como crea Vuestra Señoría que con razón podía. Pero lo que me consejava era lo mismo que tenía en la voluntad, en que me contentó tanto que me enmudessí, bien que no me alegrasse. (La noche, ll.693-728; TMPW 135-137)
Thus, the author fathoms the farthest reaches of the lover’s gaze. At this point, the lover’s introspection lays bare the ultimate content or the primary subject of the metaphor/allegory. From our overall discussion we may deduce that Moner develops his introspection ekphrastically from glance to gaze. To this we may add that Moner’s allegory affects the reader in much the same manner as do the workings of a typical metaphor by Ausiàs March.
148 ekphrasis and the mirrored image: the allegory of despair in la noche
The Mimesis of Narcissism
The gaze of the protagonist in La noche opens our eyes into the panorama of the wide and complex phenomenology of Narcissism. A number of scholars enhance our appreciation for the salient aspects of that phenomenology that we have touched upon in the course of this discussion. It is instructive to turn to Frederick Goldin’s study of Narcisus (the title thus spelled), the twelfth-century French poem by an anonymous author. Goldin comes across some motifs that we find resonating in close accord with Moner’s La noche. Witness, for instance, the production of a palpable sense of immediacy thanks to the consummate articulation of rhetorical and structural factors. As Goldin points out,
the experience of Narcisus [sic] unfolds in a pattern that reveals its meaning. It is precisely when the formal elements of rhetoric and structure are united with the impression of immediate and intense emotion that medieval literature achieves its finest and most characteristic quality. (22)
Goldin speaks of the «burgeoning of self-consciousness» (25), «the formal and traditional rhetoric» that «imitates the movement of impassioned thought» (30), «the inner life» (32), the recognition of the self (34), «the birth and increase of consciousness» (35)… to name but a few esthetic and epistemological features of the type that in the course of time would become grist for the mill of Moner’s artistry. In the following statement Goldin describes a special eureka moment that a reader would see replicated, mutatis mutandis, in La noche:
He [Narcissus] has discovered the moi, a body whose form and climate are distinguishable from every other, and an inner life whose events are invisible to everyone else, revealing its existence to a consciousness newly awakened by pain and desire. In a passage like this [Narcisus vv. 747-754], Amors is transformed from an al- legorical abstraction to the experience he personifies. His icy realm, his hard heart, his veins of iron, his infernal nature (755-770)—all these attributes of the allegorical figure are now rediscovered in the torment Narcisus experiences, in the suffering that reveals to him the identity of the sufferer. Here Love is not the fatuous and sentimental master of ceremonies so often found in courtly litera- ture, but a condition of the inner life, defined and known in the sensations of experience. (31)
This is how Narcissus attains, as eventually does Moner’s protagonist reflected in the mirror of Amor, a full conception of self-awareness. The discovery of the moi that Moner takes to heart in his characterization of the auctorial persona in La noche, reflects the embryonic stage of the meticulous process of introspection that determines Moner’s abiding emulation of Ausiàs March’s strain of subjectivity.
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Another medievalist that comes to mind is Suzanne Conklin Akbari, who in her recent study of the Roman de la rose takes up two motifs that bear at- tentive consideration because of the significant resonance they find in La noche (Akbari 45-77). First, Akbari points out the image of the castle itself as meticu- lously described in vv. 3779-3908 of the Roman. Besides locating an influential antecedent of that image in Book I, dialogue 5, of Andreas Capellanus’s De arte honeste amandi,12 Akbari dwells on not only the gloomy ambiance of the forbidding fortress, in which Fair Welcome (Bel Accueil) and the Rose is im- mured, but also the salient features of a mirroring process that betokens a special existential bond between Dangiers and Amors.13 Akbari touches upon the symptoms of the lover’s distress and the various details of the inhospitable environment —symptoms and details that hispanists instinctively associate with the so-called infierno de los enamorados— a type of composition well represented in Moner’s production and in that of numerous Spanish authors of the fifteenth century.14 Here we cannot expatiate upon the self-evident aspects of the infierno recaptured by Moner especially in La noche. Instead, we will call attention to Akbari’s remarks that, while laying emphasis on the prisoner’s confusion and disorientation, establish a connection with the pivotal mirror imagery derived from William of Conches’s Glosae super Platonem (Akbari 71). The second motif that Akbari takes up is that of the special rose bud re- flected in the fountain of Narcissus.15 In agreement with Marta Powell Harley, Akbari interprets the bud as a phallic symbol and argues that the image is not simply, as Daniel Poirion maintains, «le reflet du désir masculine» but «the
12. See Capellanus 102-3 for the essential description of Love’s palatium. 13. See, especially, the following statement:
Amors and Dangiers are both reflections of the lover, but at the same time they mirror one another, Dangiers an opposite, inverted image of Amors. (71) 14. See the discussion of the «hell of lovers» in Post 75-102. 15. The image to be borne in mind is that of vv. 1653-1665:
Entre les autres en eslui un si tres bel, envers celui nul des autres rien ne prisé puis que celui bien avisé; 1656 car un color l’enlumine qui est si vermeille et si fine con Nature le pot plus faire. Des fueilles i a quatre paire, 1660 que Nature par grant maistire i ot asisses tire a tire; la tige ere droite con jons, et par desus siet li boutons 1664 si qu’i ne cline ne ne pent.
150 ekphrasis and the mirrored image: the allegory of despair in la noche
reflection of the lover’s desire for the self, a desire which took shape as he gazed into the mirror of Narcissus» (74-75). Thus, in her critique of Lorris’s narrative centered on the garden and fountain of Narcissus (vv. 1439-1670), Akbari explores at length the lover’s self-engrossed and, at heart, homoerotic fixation (55-77). In effect, Akbari diagnoses the traits of a paradigmatic narcis- sism, analogues of which emerge time and again in the works of many if not all the aforementioned infiernos and in La noche.
Conclusion
What conclusion may we draw from this analysis of the ekphrasis in La no- che? As we have seen, Moner’s presentation turns out to be a highly-dramatized and emotionally-charged rendition of his artistic self-portrait. Demonstrably, a particularly suggestive aspect of Moner’s ekphrasis is the motif of the mirror, which Moner adopts from the Roman de la rose and, consequently, adapts to his own artistic creation. Alvar shows that Guillaume de Lorris carries the mirror from the iconography of Venus over to that of the alluring maiden that guards the Garden of Delight (113-114). As Alvar points out,
Oiseuse a emprunté un miroir qui était l’attribut le plus fréquent de Vénus. A ce moment-là, la déesse s’est trouvée sans un symbole pouvant l’identifier aisément. C’est alors que le poète lui a donné un attribute tout à fait nouveau dans l’inconographie de Vénus: un falmbeau. (114)
We witness, then, an analogous pattern in the creativity of Guillaume and Moner: the former transfers the torch of Cupid to Venus and the mirror of Venus to Oiseuse; the latter associates with Costumbre the torch, formerly at- tributed to Cupid and Venus, and directly assigns to Amor the mirror originally held by Venus and later taken over by Oiseuse. The memorable result of this intricate manipulation of traditional symbols is the anagnorisis process —that is, the act of recognizing the self as the mirror image of Amor and, vice versa, Amor as the re-creation of the lover’s identity. There can be little doubt that in Moner’s imaginative recycling of the mirror motif derived from the Roman de la rose we may envisage a bold manifestation of the lover’s narcissistic gaze. Evidently, the purview of this gaze, which pre- vails throughout La noche, determines the nature of the dynamic that emanates from the plot. It may be observed that in La noche the texture of the narrative proper is somewhat thin —one is tempted to say «threadbare.» In fact, the tenor of that narrative is determined not by the succession of the various episodes —the movement or the course of the ambulation from one encounter to the next— but, rather, by the psychic impact and concomitant experience delivered
151 peter cocozzella by the coming into contact with the personified emotions that the protagonist meets along the walk up the spiraling staircase of the castle. It is a question, then, of tempo and perspective, two factors that may be perceived through their analogues in religious ceremonies and devotional practices —the processions of Corpus Christi, for example, and the Stations of the Cross— that feature the rhythm of a progress from one station to the another.16 That rhythm is of far less significance than the perspective at play in the intermittent stops, which, needless to say, halt the physical action in order to make way for specific meditation in each of the aforementioned stations. There are two points to be made here. First, there is a radical difference between the pageantry of the procession and the self-contained spectacle proposed in La noche. The former bespeaks communal participation; the latter constitutes a stage-worthy «happening,» custom-made for an intimate circle: a coterie of courtiers and other members of the aristocracy. Secondly, what we perceive in La noche is the orientation of the plot not toward an unfolding narrative but, rather, toward the assembling of a fixed, picture-perfect design. The design is embedded in the configuration of the allegorical castle and encapsulated in the grabado. The esthetic exemplified in La noche brings into effect the conversion of the reader into a spectator, thus privileging the insight to be derived from the arrested glance and the prolonged gaze. The fact remains that, as contextualized and perspectivized in La noche, the ekphrastic portrait of the author’s persona confirms the notion of a centralized mártir de amor to be contemplated by the spectator. Along Moner’s freshly blazed trail of innovative creativity, the interaction of perspective and structure in rela- tion to the aforementioned portrait assumes an extraordinary prominence that invites further investigation. What eventually comes into view is an intriguing sense of space and a plot impelled by an unusual dynamism. In short, the factors of this newly conceived plot and place that Moner sets in operation in La noche determine the momentous adaptation of the iconography of the cas- tle to the plan of dramatizing, in the manner of a stage-worthy spectacle, the psycho-drama that rages within the inner world of the lover’s self-absorbed consciousness. A close look at these spatial, contextual, and structural coordi- nates allows us to adumbrate the birth of a theatrical mode, undisputedly the crowning achievement of Moner’s creativity.
Peter Cocozzella Department of Romance Languages and Literatures Binghamton University
16. Ronald Surtz discusses the Auto de la huida a Egipto (mid to late fifteenth century) as a specific example of ambulatory devotion, complete with the recitation of a text and suitable dramatiza- tion, performed with the participation of a small congregation within the precincts of a convent.
152 ekphrasis and the mirrored image: the allegory of despair in la noche
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Abreviations [the works of Fra Francesc Moner] A: The editio princeps of Francesc Moner’s works (see Cocozzella, Introducció 86-90; 1 Introducción 65-9). Oc: Moner, Francesc. Obres catalanes. Ed. Peter Cocozzella. «Els Nostres Clàs- sics», 100. Barcelona, Barcino, 1970. 1 OC: Moner, Francesc. Poemas menores. Vol. 1 of Obras castellanas. Ed. Peter Cocozzella. Lewiston, NY, The Edwin Mellen P, 199l. 2 OC: Moner, Francesc. Poemas mayores. Vol. 2 of Obras castellanas. Ed. Peter Cocozzella. Lewiston, NY, The Edwin Mellen P, 1991. TMPW: Moner, Francesc. «The Two Major Prose Works of Francisco de Moner: A Critical Edition and Translation.» Ed. Peter Cocozzella. Diss. Saint Louis University, 1966.
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Marfany, Marta (2012), «La influència de la poesia francesa des d’Andreu Febrer a Ausiàs March», Estudis Romànics, 34, pp. 259-287. Miguel-Prendes, Sol (2004), «Reimagining Diego de San Pedro’s Readers at Work: Cárcel de amor», La corónica, 32/2, pp. 7-44. Moner, Francesc. [A] = Obras nueuamente imprimidas assi en prosa como en metro de Moner, Barcelona, Carles Amorós, 1528. [The editio princeps of Moner’s Works; see Cocozzella, Introducció, pp. 86-90, and 1 Introducción 65-9.] — La noche. A, fols. A3-B5; TMPW, pp. 67-203. Nichols, Stephen G. (1992), «Ekphrasis, Iconoclasm, and Desire», Kevin Brownlee & Sylvia Huot (ed.), Rethinking the Romance of the Rose: Text, Image, Recep- tion, Philadelphia, U of Pennsylvania P, pp. 133-166. Paredes, Juan (2000), «Ausiàs March y las literaturas romances medievales», Lourdes Sánchez Rodríguez & Enrique J. Nogueras Valdivieso (ed.), Granada, Editorial Universidad de Granada, pp. 9-25. Post, Chandler Rathfon (1915), Medieval Spanish Allegory, Cambridge, MA, Harvard UP. Presotto, Marco (1997), «Introduzione», La nao de amor. Misa de amores. By Juan de Dueãs. Ed. Marco Presotto. Viareggio / Lucca, Mauro Baroni, pp. 11-41. Quintilian (1920), Institutio oratoria. Ed. and trans. H. E. Butler. 4 vols. Loeb Classical Library. [Rpt. Cambridge, Harvard UP, 1980.] Salvador Miguel, Nicasio (1977), La poesía cancioneril: El cancionero de Estúñiga, Madrid, Alhambra. Shakespeare, William (1953), A Midsummer Night’s Dream. In Twenty-three Plays and the Sonnets. Ed. Thomas Marc Parrot. [Revised ed. New York, Charles Scribner’s Sons, pp. 135-161.] Sontag, Susan (1969), «The Artist as Exemplary Sufferer», Against Interpretation, New York, Laurel-Dell, pp. 49-57. Surtz, Ronald (2008), «The Auto de la huida a Egipto: Convent Theater in Con- text». [
155 ÍNDEX general
Lola Badia, Emili Casanova & Albert Hauf, Pròleg...... 7
August Bover i Font, Curt J. Wittlin, nota biogràfica i bibliogràfica.... 9 julio Torres-Recinos, Curt Wittlin: erudición, trabajo y calor humano.... 29 Rafael alemany Ferrer, Els elements d’articulació interna en les proses mitològiques de joan roís de corella...... 33 Lola Badia & Jaume Torró, Ambient internacional i cultura de cort al Curial e Güelfa: primer suplement a l’edició de quaderns crema 2011...... 51 Lluís Brines, Eiximenis i la ciència...... 67 Lluís Cabré & Jaume Torró, la data de naixement de bernat metge i d’andreu febrer, notaris i escriptors...... 81 Rosanna Cantavella, Expressions multiplicatives en textos catalans medievals...... 87 Antònia Carré, La traducció catalana abreujada del Regiment de sanitat d’Arnau de Vilanova és un abreujament de la traducció de Berenguer Sarriera?...... 103 Emili Casanova, la xàvega dels notaris de 1604: edició i estudi...... 117 Peter Cocozzella, Ekphrasis and the Mirrored Image: The Allegory of Despair in La noche by Francesc Moner, a Catalan Writer of the Late Fifteenth Century...... 137 Germà Colón Domènech, Entre la llengua i la història: Lluís Revest, valencià exemplar...... 157 Maria Conca & Josep Guia, Edicions i paratextos d’obres de finals del segle xv...... 167 Marinela Garcia Sempere, Consideracions al voltant de la transmissió impresa de les obres dels escriptors del segle xv; sobre Miquel Ortigues...... 189 Joseph Gulsoy, L’expressió «mo e issa» en la Divina Comèdia...... 203 Albert Hauf, La solució a un enigma: L’Speculum Animae (SA) i L’Ars vitae contemplativae (AV)...... 221 Llúcia Martín Pascual, El Llibre del Tresor, compendi de sabers medievals sobre filosofia natural...... 237 Tomàs Martínez Romero, Encontre d’amor: un poema de Joan Escrivà al Jardinet d’orats...... 257 Montserrat Piera, «E deya que açò devia sobiranament esquivar dona d’orde»: Francesc Eiximenis i les monges a Lo llibre de les dones...... 271 Josep Pujol, Dues notes sobre la circulació catalana de textos artúrics francesos: el Cligès de Chrétien de Troyes (1410) i La Mort Artu (1319)...... 289 Xavier Renedo, Idees i prejudicis d’Eiximenis sobre la poesia...... 301 Jaume Riera i Sans, Un nou manuscrit i una versió aragonesa del «Cercapou»...... 323 Josep E. Rubio, Alguns apunts sobre Salzinger com a traductor de Llull...... 333 Beatrice Schmid, La semàntica del verb entendre al Dotzè llibre del crestià...... 341 Jill Webster, Una mirada al tractament dels marginats i mal adaptats en el Regne de València entre 1350 i 1450...... 353
Índex general...... 385 TABULA GRATULATORIA
Archer, Robert Área de Filoloxía Románica, Universidade de Santiago de Compostela Avenoza, Gemma Beltrami, Pietro Bonner, Anthony Cabré, Miriam Casanellas, Pere Coccozzella, Peter Ferrando, Antoni Gispert-Saüch, Pilar Martí, Sadurní Martos, Josep Lluís Lleal, Coloma Massip, Maria Àngels Mérida, Rafael Moran, Josep NACS Perea-Rodriguez, Òscar Rasico, Philip Ratcliffe, Marjorie Reial Acadèmia de Bones lletres de Barcelona Ribera Llopis, Juan Miguel Santanach, Joan Schib, Gret Soler, Albert Taula de Filologia Valenciana Valero Rubio, Lluís Vidal Tibbits, Mercedes Vila Granero, Josep Carles Wheeler, Max W.