A Companion to Guillaume De Machaut Brill’S Companions to the Christian Tradition
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A Companion to Guillaume de Machaut Brill’s Companions to the Christian Tradition A series of handbooks and reference works on the intellectual and religious life of Europe, 500–1800 Editor-in-Chief Christopher M. Bellitto (Kean University) VOLUME 33 The titles published in this series are listed at brill.nl/bcct A Companion to Guillaume de Machaut Edited by Deborah McGrady and Jennifer Bain LEIDEN • BOSTON 2012 Cover illustrations: Images accompanying the complaintes and the Dit de la harpe in the Ferrell manuscript (folios 31r and 216r respectively), formerly New York, Wildenstein (widely known as MS Vg), currently on loan at Corpus Christi. With kind permission of the James E. and Elizabeth J. Ferrell Collection and The Master and Fellows of Corpus Christi College, Cambridge. Library of Congress Cataloging-in-Publication Data A companion to Guillaume de Machaut / edited by Deborah McGrady and Jennifer Bain. p. cm. — (Brill’s companions to the Christian tradition ; 22) Includes bibliographical references and index. ISBN 978-90-04-22581-7 (hardback : acid-free paper) 1. Guillaume, de Machaut, ca. 1300–1377— Criticism and interpretation. I. McGrady, Deborah L., 1967– II. Bain, Jennifer. PQ1483.G5C66 2012 841’.1—dc23 2012008001 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.nl/brill-typeface. ISSN 1871-6377 ISBN 978 9004 22581 7 (hardback) ISBN 978 9004 22819 1 (e-book) Copyright 2012 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper. For Terry and Simon Guillaume’s competitors for our attention CONTENTS Acknowledgements ........................................................................................ xi List of Contributors ........................................................................................ xiii List of Tables, Figures and Examples ........................................................ xvii Introduction ..................................................................................................... 1 Deborah McGrady and Jennifer Bain SECTION I MACHAUT IN PERSPECTIVE 1. The Poetic I ................................................................................................. 15 Helen J. Swift 2. Guillaume de Machaut and the Forms of Pre-Humanism in Fourteenth-Century France ................................................................... 33 Anne-Hélène Miller 3. Poet as Musician ....................................................................................... 49 Elizabeth Eva Leach SECTION II SELECT WORKS IN DISCIPLINARY DIALOGUE 4. “Ma fin est mon commencement”: The Essence of Poetry and Song in Guillaume de Machaut ............................................................ 69 Jacqueline Cerquiglini-Toulet 5. ‘. et mon commencement ma fin’: Genre and Machaut’s Musical Language in His Secular Songs ............................................. 79 Jennifer Bain 6. Machaut and Debate Poetry .................................................................. 103 Emma Cayley viii contents 7. Moving across Media: Machaut’s Lais and the Judgement Tradition ..................................................................................................... 119 Benjamin Albritton SECTION III SITUATING MACHAUT’S MUSIC 8. Machaut’s Musical Heritage ................................................................. 143 Mark Everist 9. Self-Citation and Compositional Process in Guillaume de Machaut’s Lyrics with and without Music: The Case of “Dame, se vous n’avez aperceü” (Rondeau 13) ............................... 159 Yolanda Plumley 10. The Motets Read and Heard ................................................................ 185 Alice V. Clark 11. Declamation as Expression in Machaut’s Music ........................... 209 Lawrence Earp SECTION IV CONTEXTUALIZING MACHAUT’S LITERATURE 12. Guillaume de Machaut and the Classical Tradition: Individual Talent and (Un)Communal Tradition .......................... 241 R. Barton Palmer 13. ‘Laissier le mal, le bien eslire’: History, Allegory, and Ethical Reading in the Works of Guillaume de Machaut .......................... 261 Daisy Delogu 14. History’s Fixers: Informants, Mediators, and Writers in the Prise d’Alexandre ...................................................................................... 277 Zrinka Stahuljak 15. Instrumental Comparisons: Machaut’s Shorter Dits ..................... 293 Julie Singer contents ix SECTION V TRADITION AND RECEPTION 16. Guillaume de Machaut’s Lyric Poetry ............................................... 311 Barbara K. Altmann 17. Performing Machaut’s Messe de Notre Dame: From Modernist Allegiances to the Postmodern Hinterland ..................................... 333 Kirsten Yri 18. Machaut and His Material Legacy ...................................................... 361 Deborah McGrady Bibliography ..................................................................................................... 387 Index ................................................................................................................... 407 ACKNOWLEDGEMENTS We would like to thank the many people and institutions who helped shape this volume in witting and unwitting ways. First and foremost are the authors whose essays are included here, who made us think in new ways and who responded so engagingly to our comments and criticisms. We are indebted as well to our early test readers, students in Jennifer’s seminar on Machaut in the winter semester of 2010 (Joan Chandler, Alex Cook, Catherine Doane, Mishona Frost and Ryan Kirk), and more recently to our anonymous peer reviewers for their insightful remarks on the complete draft. Our music typesetter, Don Giller, provided the fast- est turnaround on corrections we have ever encountered, and the Society for Music Theory provided us with a publication grant so that we could pay him. The various members of the editorial staff at Brill have been ever helpful and supportive along the way, particularly Julian Deahl who was behind the project from the beginning. The Oxford, Bodleian Library, the Bibliothèque nationale de France, the Bibliothèque du château de Chantilly, the James E. and Elizabeth J. Ferrell Collection and the Mas- ter and Fellows of Corpus Christi College, Cambridge kindly granted us permission to use their extraordinary manuscript images. Perhaps most importantly, we are indebted immeasurably to the International Machaut Society, whose early members insisted that the President and Vice-Presi- dent of the Executive Committee must always represent two disciplines in the broad field of Machaut studies, a stipulation that has ensured a multi- disciplinary focus in the society and in a concrete way brought the two of us in regular contact with each other, inspiring this fruitful collabora- tion. Finally, on a personal note, we would like to thank our long-suffering husbands, Simon and Terry, who know far more about the other man in our lives than they probably care to. Jennifer Bain Deborah McGrady LIST OF CONTRIBUTORS Benjamin Albritton is Digital Medieval Projects Manager at Stanford University Library. He specializes in late-medieval monophony and his recent work includes his Ph.D. dissertation “Citation and Allusion in the Lays of Guillaume de Machaut” and an essay in the collection Citation, Intertextuality and Memory in the Middle Ages and Renaissance, ed. by Yolanda Plumley et al. Barbara K. Altmann is Professor of French and Director of the Oregon Humanities Center at the University of Oregon. Her area of research is late-medieval French narrative and lyric poetry. Her publications include Questions of Gender and Love: Late Medieval English and French Debate Poetry (jointly with R. Barton Palmer; UP Florida, 2006) and Christine de Pizan: A Casebook (jointly with Deborah McGrady; Routledge, 2003). Jennifer Bain is Chair of the Department of Music at Dalhousie Univer- sity. She has published widely on medieval music, recently editing a spe- cial issue on early music for the Journal of Music Theory. Emma Cayley is Senior Lecturer in French at the University of Exeter. She specializes in late-medieval French poetry, debate, and manuscript cul- ture. Her recent publications include Debate and Dialogue: Alain Chartier in his Cultural Context (Oxford, 2006) and Chartier in Europe with Ashby Kinch (Woodbridge, 2008). Jacqueline Cerquiglini-Toulet, Professor of Medieval French Litera- ture at Paris-Sorbonne, specializes in 14th- and 15th-century literature, especially Guillaume de Machaut, Christine de Pizan and Villon. Her more recent books are The Color of Melancholy (The Johns Hopkins UP, 1997) and La Littérature française: dynamique et histoire (Gallimard,