Legacy of Chaucer's Troilus and Criseyde 1. Lydgate's Troy Book
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Lydgate and the Roman Antique
FLORILEGIUM 11, 1992 LYDGATE AND THE ROMAN ANTIQUE Paul M. Clogan The obsession with Lydgate's style, according to Derek Pearsall, "is endless, and to some extent self-sufficient, for there is no other poet in whom 'style' becomes so nearly an end in itself, a fixed entity, whose relation to 'subject' is one of abstract congruence not expressive embodiment."1 For John Ganim Lydgate's "often prolix narrative style . can be understood as part of a process of literary history that begins to include an audience broader than the court or monastery. His style comes about from a union of the perspectives of the court and the cloister; ... his creation of a voice that could speak to prince and merchant on the same level."2 This paper focusses on the relation of narrative and moral generalization in The Siege of Thebes and suggests that it springs from a elaboration of elements in the tradition of the roman antique and, in particular, the recovery and assimilation of Le Roman de Thebes into the prose text of the Histoire ancienne jusqu'a Cesar, the earliest ancient history written in Old French. Lydgate's "anxiety of influence"3 to "complete" Chaucer's Knight's Tale by narrating the beginnings of the story of Thebes led him to choose the prose Thebes in the Histoire ancienne as his source rather than the verse Roman de Thebes, which Chaucer negotiates in his adaptation of Statius's Thebaid in the Knight's Tale. And that has made all the difference. Lydgate makes explicit the moral significance of the story of Thebes, which Chaucer 7 8 FLORILEGIUM 11, 1992 left implicit. -
Davies. Troilus and Siege
! ‘Wereyed on every side:’ Chaucer’s Troilus and Criseyde and the Logic of Siege Warfare* D"#$%& D"'$%( Geo)rey Chaucer’s Troilus and Criseyde is a narrative of war that disavows any interest in recounting the events of war. Set towards the end of the Trojan War, Chaucer’s tale turns its back on valorous deeds and bloody battles in favour of the love a)air between a Trojan prince and a beautiful widow, Troilus and Criseyde. *is attitude is epitomized by a line from the opening of the poem that Chaucer closely translated from Giovanni Boccaccio’s Il Filostrato: ‘*e thynges fellen, as they don of werre’ (+.+!,).+ *ings happened, as they do in war: armies attacked the city, the city fought back; pitched battles occurred, soldiers died; the war of attrition continued. *e events of the Trojan War are ‘wel wist’ (+.-.), and it is not Chaucer’s task or his intention to recapitulate what we already know about the war. *is idea is repeated at the end of the poem, where Chaucer states that if he had intended to write ‘*e armes of this ilke worthi man, / *an wolde ich of his batailles endite; / But for that I to writen /rst bigan / Of his love, I have seyd as I kan’ (-.+.0-–+.01). If Chaucer had meant to write about Troilus’ military endeavours, then * For their criticism, commentary and support, I would like to thank Kellie Robertson and the two anonymous readers of New Medieval Literatures, Aaron Bartels-Swindells, Arthur Bahr, Rita Copeland, Helen Cushman, Jonathan Morton, Paul Saint-Amour, Emily Steiner, Spencer Strub and David Wallace, and audiences at the Sewanee Medieval Colloquium, Delaware Medieval Association and La Poésie dans les temps de guerre for comments and suggestions. -
Lydgate's Metrical Inventiveness and His Debt to Chaucer
/\GJDWH V0HWULFDO,QYHQWLYHQHVVDQGKLV'HEWWR&KDXFHU 0DUWLQ-'XIIHOO Parergon, Volume 18, Number 1, July 2000, pp. 227-249 (Article) 3XEOLVKHGE\$XVWUDOLDQDQG1HZ=HDODQG$VVRFLDWLRQRI0HGLHYDO DQG(DUO\0RGHUQ6WXGLHV ,QF DOI: 10.1353/pgn.2000.0038 For additional information about this article http://muse.jhu.edu/journals/pgn/summary/v018/18.1.duffell.html Access provided by Boston College (25 Aug 2015 19:59 GMT) Lydgate's Metrical Inventiveness and his Debt to Chaucer Martin J. Duffell Most modem critics and editors of John Lydgate's work feel it necessary to address the problem of his reputation as a versifier: why did his contemporaries rate him so highly when twentieth-century writers regard him, at best, as idiosyncratic and, at worst, as incompetent? Thus, for example, Saintsbury dismissed him as 'a doggerel poet with an insensitive ear' and Hammond demonstrated that Lydgate's roughness was due, not to ignorant copyists, but to an ignorant poet; 'The study of Lydgate's mentality,' she concluded, 'may not be worth the student's candle.' In the last sixty years a number of writers, from Pyle to Hascall, have made important contributions to our understanding of Lydgate's metrics, but have not succeeded in making us admire his versification. Yet he was the most prolific and admired versifier in England during his own lifetime and for a century after his death. 1 George Saintsbury, A History of English Prosody from the Twelfth Century to the Present Day, Y.From the Origins to Spenser (London and New York: Macmillan, 1906), p. 223; Eleanor Prescott Hammond, English Verse between Chaucer and Surrey (Durham, NC: Duke University Press, 1927), p.l 52. -
Xne Library of Alice Chaucer, Jducness of Suffolk? a Fifteenfk-Century Owner of a Jdoke Ot Le ^L/Itee De Juames
Misericordia International Xne Library of Alice Chaucer, JDucness of Suffolk? A Fifteenfk-Century Owner of a JDoke ot le ^L/itee de JUames Karen K. Jambeck At the end of the Treasury of the City of Ladies, Christine de Pizan writes, I thought that I would multiply this work throughout the world in various copies, whatever the cost might be, and present it in various places to queens, princesses, and noble ladies. Through their efforts, it will be... circulated among other women.... Seen and heard by many valiant ladies and women of authority, both at the present time and in times to come, they will pray to God on behalf of their faithful servant Christine, ...wishing they might have known her.1 As Charity Canon Willard observes, Christine accurately predicted her own subsequent fame and her audience which would span centuries.2 Indeed, the rolls of this readership reveal generations of women of achievement and distinction, many of whom Willard has identified as patrons and owners of Christine's work: Isabeau of Bavaria, Anne of France, Isabel of Portugal, and Margaret of 1 A Medieval Woman's Mirror of Honor. The Treasury of the City of Ladies, trans. Charity Canon Willard (New York: Bard Hall Press/Persea Books, 1989) 224. 2 Charity Canon Willard, Christine de Pizan. Her Life and Works (New York: Persea Books, 1984) 211-212. 106 The Profane Arts / Les Arts Profanes Austria, among them.3 These and many other women who owned works by Christine de Pizan, Willard points out, played a significant role in the social and political life of their time.4 To this list of distinguished women can be added the name of Alice Chaucer, a fifteenth-century English book owner who possessed a copy of at least one of Christine's works. -
Downloaded on 2017-02-12T08:18:26Z Reading Lydgate's Troy Book: Patronage, Politics, and History In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cork Open Research Archive Title Reading Lydgate's Troy Book: patronage, politics, and history in Lancastrian England Author(s) Fawsitt, Diana Publication date 2014 Original citation Fawsitt, D. 2014. Reading Lydgate's Troy Book: patronage, politics, and history in Lancastrian England. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2014, Diana Fawsitt. http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/2121 from Downloaded on 2017-02-12T08:18:26Z Reading Lydgate's Troy Book: Patronage, Politics, and History in Lancastrian England. Diana Fawsitt, B.A., M.A. Presented for PHD Degree National University of Ireland, Cork. School of English, University College Cork. November, 2014. Head of School Prof. Claire Connolly Supervisors Dr. Andrew King Dr. Kenneth Rooney Dr. Margaret Connolly Supervisor: Dr. Kenneth Rooney. Diana Fawsitt CONTENTS Declaration . ii Abstract . iii Dedication . v Acknowledgements . vi Abbreviations . vii INTRODUCTION . 1 CHAPTER ONE Translating and Contrasting the Historia and the Troy Book . 16 CHAPTER TWO The Appropriation of Chaucer's Legacy, and its Impact on Lydgate and His Troy Book . 45 CHAPTER THREE Humanism, Myth, and Lydgate's Application of Antiquity to Fifteenth-Century Ideals of Religious Ethos . 80 CHAPTER FOUR Women: In Defence of Lydgate . 114 CHAPTER FIVE A Trojan Mirror for a Lancastrian King: The Troy Book as a Speculum for Henry V. 162 CHAPTER SIX Human Relationships and the Seven Deadly Sins within the Troy Book . -
Copy 2 of DOC003
DIVISION OF THE HUMANITIES AND SOCIAL SCIENCES CALIFORNIA INSTITUTE OF TECHNOLOGY PASADENA, CALIFORNIA 91125 MUTAVIT VULTUM: FORTUNE AND THE WIFE OF BATH'S TALE David Burchmore HUMANITIES WORKING PAPER 33 August 1979 MUTAVIT VULTUM: FORTUNE AND THE WIFE OF BATH'S TALE The Wife of Bath concludes the lengthy discussion of marriage in her Prologue with an account of the means by which she taught obedience to her fifth husband, Jankyn. The immediate result of his submission, according to her story, was a sudden and dramatic transformation in her character. Where before she had been stubborn and shrewish, a "janglaresse" at home who wandered abroad without Jankyn's permission and against his will, she is now as kind to him and as true as any wife from Denmark to India. Having made this rather astonishing confession, she then proceeds to tell a story which embodies the lessons of her experience in a striking emblem: the physical trans formation of a loathly hag into a young and beautiful woman upon being granted sovereignty in marriage. Clearly this transformation is meant to represent in a symbolic way the kind of change in demeanor which the Wife claims to have displayed herself., But in her figurative or emblematic characterization the Hag bears an even more striking resemblance to another figure familiar to every member of Chaucer's audience. That is the image of Fortune, who was often portrayed as a woman with two different faces: young, lovely and smiling on one side, but hideously old and unpleasant on the other. Exactly how the likeness of this familiar image to Chaucer's transformed Hag might have influenced the response of his audience to the Wife of Bath's Tale will be the subject of this essay. -
Peter Saccio
William Shakespeare: Comedies, Histories, and Tragedies Part I Professor Peter Saccio THE TEACHING COMPANY ® Peter Saccio, Ph.D. Leon D. Black Professor of Shakespearean Studies Dartmouth College Peter Saccio has taught at Dartmouth College since 1966. He chaired the English department from 1984 to 1988; in addition, he has won Dartmouth’s J. Kenneth Huntington Memorial Award for Outstanding Teaching. He has served as visiting professor at Wesleyan University and at University College in London. He received a B.A. from Yale University and a Ph.D. from Princeton. He is the author of The Court Comedies of John Lyly (1969) and Shakespeare's English Kings (1977), the latter a classic in its field. He edited Middleton’s comedy A Mad World, My Masters for the Oxford Complete Works of Thomas Middleton (1996). He has published or delivered at conferences more than twenty papers on Shakespeare and other dramatists. Professor Saccio has directed productions of Twelfth Night, Macbeth, and Cymbeline. He has devised and directed several programs of scenes from Shakespeare and from modern British drama, and he served as dramaturg for the productions of his Dartmouth colleagues. He has acted the Shakespearean roles of Casca, Angelo, Bassanio, and Henry IV as well as various parts in the ancient plays of Plautus and the modern plays of Harold Pinter, Tom Stoppard, and Peter Shaffer. ©1999 The Teaching Company Limited Partnership i Table of Contents William Shakespeare: Comedies, Histories, and Tragedies Part I Professor Biography ........................................................................................... i Foreword .......... ................................................................................................. 1 Lecture One Shakespeare Then and Now...................................... 3 Lecture Two The Nature of Shakespeare’s Plays.......................... -
Illiad & Odyssey
The Iliad The name means "The Tale of Troy" (called Ilium/Ilion). Yet the main subject, Homer says, is the "Wrath of Achilles". The poem moves between the Achaian (Greek) army, led by Agamemnon, and the Trojan forces under Priam and his sons; it shows the sway of fortunes, and also the conflicts between the gods which influence events. But the greatness of the epic lies in its intense humanity. It is divided into 24 books. At the beginning, already many years have passed since the Greeks first arrived to attack Troy. The poem begins with an invocation that was later imitated by Milton: Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Books 1-8 tell how Agamemnon, obliged to return to her father a girl he has captured, forces the Greeks to let him take from Achilles a Trojan girl he has taken. Achilles is offended and withdraws from the fighting, spending the days sitting in his tent with his friend Patroklos. -
Troy Myth and Reality
Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition. -
Pantysyllya As Virgin Warrior in Lydgate's Troy Book
CORE Metadata, citation and similar papers at core.ac.uk Provided by Iowa Research Online ESSAYS NOT QUITE ONE OF THE GUYS: PANTYSYLLYA AS VIRGIN WARRIOR IN LYDGATE'S TROYBOOK In her book Blood Rites: Origins and History ofthe Passions of War, Barbara Ehrenreich tells us, "War is, in fact, one of the most rigidly 'gendered' activities known to mankind" (125), Since John Lydgate's Troy Book focuses on the Trojan War, and his patron King Henry V wished to promote the masculine code of chivalry through the work (Lydgate Prologue 71-83),' we cannot be surprised that Lydgate's Troy is a highly gendered world. Male characters in the Troy Book are generally knights (Bornstein 8-9), while female characters, like most women in romances, are excluded from warfare and public speaking and merely observe and grieve over battles (Allaire 36). Predictably, Lydgate's descriptions of his characters are also rigidly gendered. Lydgate attributes some qualities, such as beauty, wisdom, and worthiness, to both sexes. But he consistently attributes bravery, strength, chivalry, prowess, manhood, and anger only to male characters and generally assigns femininity, fidelity, and chastity to female characters. But Lydgate blurs and violates his rigidly gendered characterizations in one case: the Amazon Queen Pantysyllya, as she is called in the text, or Penthesilea, as she is generally called in translation and scholarship. Lydgate's first description of her emphasizes her womanliness and chastity as well as her martial attributes (Troy Book 4.3811; 4.4817-19); she indulges in cross-gendered acts such as weeping. More importantly, her femaleness is never disguised or denied, even when she engages in battle." Lydgate always uses feminine pronouns and the feminine title queen for her. -
Chaucer's Depiction of Women in Troilus and Criseyde
DePauw University Scholarly and Creative Work from DePauw University Student research Student Work 4-2020 Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde Vanessa Balis DePauw University Follow this and additional works at: https://scholarship.depauw.edu/studentresearch Part of the Literature in English, British Isles Commons Recommended Citation Balis, Vanessa, "Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde" (2020). Student research. 133. https://scholarship.depauw.edu/studentresearch/133 This Thesis is brought to you for free and open access by the Student Work at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Student research by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. Balis 1 Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde Vanessa Balis DePauw University Honor Scholar Program Class of 2020 Primary Thesis Sponsor: Dr. Amity Reading Committee Members: Dr. Nicole Lobdell and Dr. Jonathan Nichols-Pethick Balis 2 Abstract Often considered the father of English poetry, Geoffrey Chaucer (ca. 1340s-1400 CE) produced a number of famous poems during his lifetime, the most famous arguably being The Canterbury Tales. But another of his works, Troilus and Criseyde, is often considered the best example of both his poetic ability and his creative use of sources.1 In this thesis, I will be considering whether Chaucer supports or subverts a patriarchal social structure, specifically by looking at his representation of women in Troilus and Criseyde in comparison to his source Giovanni Boccaccio’s Il Filostrato. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Listening for the Plot: The Role of Desire in the Iliad's Narrative Permalink https://escholarship.org/uc/item/5mk193gc Author Lesser, Rachel Hart Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Listening for the Plot The Role of Desire in the Iliad’s Narrative By Rachel Hart Lesser A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics and the Designated Emphasis in Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mark Griffith, Chair Professor Leslie Kurke Professor Richard P. Martin Professor Andrew Stewart Professor James G. Turner Spring 2015 © Copyright by Rachel Hart Lesser, 2015. All rights reserved. 1 ABSTRACT Listening for the Plot: The Role of Desire in the Iliad’s Narrative by Rachel Hart Lesser Doctor of Philosophy in Classics and the Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Mark Griffith, Chair This dissertation is the first study to identify desire as a fundamental dynamic in the Iliad that structures its narrative and audience reception. Building on Peter Brooks’ concept of “narrative erotics,” I show how the desires of Akhilleus and his counterpart Helen drive and shape the Iliad’s plot and how Homer captures and maintains the audience’s attention by activating its parallel “narrative desire” to plot out the Iliad’s unique treatment of the Trojan War story. I argue that Homer encodes the characters’ desires in repeated triangles of subject, object, and rival, and that Akhilleus’ aggressive desires to dominate his rivals Agamemnon and Hektor cause the heroism and suffering at the poem’s heart.