DOCSLIB.ORG

Guillaume De Lorris Et Jean De Meung ; Publ

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guillaume De Lorris Et Jean De Meung ; Publ Le roman de la rose / par Guillaume de Lorris et Jean de Meung ; publ. d'après des ms. par Ernest Langlois Source gallica.bnf.fr / Bibliothèque nationale de France Guillaume de Lorris (1200?-1260?),Jean de Meung (124.?-1304?). Le roman de la rose / par Guillaume de Lorris et Jean de Meung ; publ. d'après des ms. par Ernest Langlois. 1914-1924. 1/ Les contenus accessibles sur le site Gallica sont pour la plupart des reproductions numériques d'oeuvres tombées dans le domaine public provenant des collections de la BnF.Leur réutilisation s'inscrit dans le cadre de la loi n°78-753 du 17 juillet 1978 : *La réutilisation non commerciale de ces contenus est libre et gratuite dans le respect de la législation en vigueur et notamment du maintien de la mention de source. *La réutilisation commerciale de ces contenus est payante et fait l'objet d'une licence. Est entendue par réutilisation commerciale la revente de contenus sous forme de produits élaborés ou de fourniture de service. Cliquer ici pour accéder aux tarifs et à la licence 2/ Les contenus de Gallica sont la propriété de la BnF au sens de l'article L.2112-1 du code général de la propriété des personnes publiques. 3/ Quelques contenus sont soumis à un régime de réutilisation particulier. Il s'agit : *des reproductions de documents protégés par un droit d'auteur appartenant à un tiers. Ces documents ne peuvent être réutilisés, sauf dans le cadre de la copie privée, sans l'autorisation préalable du titulaire des droits. *des reproductions de documents conservés dans les bibliothèques ou autres institutions partenaires. Ceux-ci sont signalés par la mention Source gallica.BnF.fr / Bibliothèque municipale de ... (ou autre partenaire). L'utilisateur est invité à s'informer auprès de ces bibliothèques de leurs conditions de réutilisation. 4/ Gallica constitue une base de données, dont la BnF est le producteur, protégée au sens des articles L341-1 et suivants du code de la propriété intellectuelle. 5/ Les présentes conditions d'utilisation des contenus de Gallica sont régies par la loi française. En cas de réutilisation prévue dans un autre pays, il appartient à chaque utilisateur de vérifier la conformité de son projet avec le droit de ce pays. 6/ L'utilisateur s'engage à respecter les présentes conditions d'utilisation ainsi que la législation en vigueur, notamment en matière de propriété intellectuelle. En cas de non respect de ces dispositions, il est notamment passible d'une amende prévue par la loi du 17 juillet 1978. 7/ Pour obtenir un document de Gallica en haute définition, contacter [email protected]. SOCIÉTÉ DES ANCIENS TEXTES FRANCAIS LE ROMAN DE LA ROSE PAR GUILLAUME DE LORRIS ET JEAN DE MEUN 1 Le R. et Pny. Imp. Marchesson. Peyriller, Rofchon Gamon, successeur LE ROMANDE LAROSE PAR GUILLAUME DE LORRIS ET JEAN DE MEUN PUBLIÉ D'APRÈS LES MANUSCRITS PAR ERNEST LANGLOIS TOME PREMIER INTRODUCTION PARIS LIBRAIRIE DE FIRMIN-DIDOT ET C'e RUE JACOB, 56 M DCCCCXIV Publication proposée à la Société le ty mai iQt2. Approuvée par le Conseil dans sa séance du 2t.juillet 1912, sur le rapport d'une Commission composée de MM. J. Bédier, P. Meyer et A. Thomas. Commissaire responsable M: A. THOMAS. A MA COURAGEUSE COLLABORATRICE, A MA FEMME, GEORGETTE LANGLOIS EN TÉMOIGNAGE DE PROFONDE AFFECTION ET DE RECONNAISSANCE JE DÉDIE CETTE ÉDITION E. L. INTRODUCTION I. LE ROMAN ET SES AUTEURS LES AUTEURS. Le Roman de la Rose est l'œuvre collective de deux auteurs le second en date, après l'avoir terminé, a pris la sage précaution d'y introduire, vers le milieu (v.io526- 652), une courte digression où sont donnés, en rime pour plus de sécurité, le nom de celui qui a commencé le poème, le nom et le lieu de naissance du continua- teur le vers où le premier s'est arrêté et celui où l'autre a repris l'œuvre interrompue. Guillaume de Lorris est l'auteur des ~o58 premiers vers la suite est de Jean Chopinel, né à Meun-sur-Loire, qui l'a écrite plus de ~.o ans après la mort de Guillaume. GUILLAUME DE LORRIS. Lorris est apparemment le pays de Guillaume; c'est une petite ville du Gâtinais, sise entre Orléans et Tome I. t 2 INTRODUCTION!. 1 Montargis. Les particularités dialectales du poème ne s'opposent pas à cette identification; il est à noter pourtant que Guillaume, ayant à mentionner un grand fleuve, nomme la Seine et non la Loire (v. n2) et, nez d'autre part, qu'il fait une allusion peu flatteuse au des Orléanaises (v. 1:04). Guillaume savait le latin, il n'était cependant pas un grand clerc, car il prenait Scipion pour un roi. avoir Son poème est le récit d'un songe -~j'il prétend eu « il y a cinq ans ou plus », alors qu'il était dans sa ou vingtième année; on peut supposer qu'il avait 25 26 ans lorsqu'il le commença. Paris Dans la Littérature française du moyen ag'e, G. dit que Guillaume, ayant connu le Tournoiement d'An- techr ist, de Huon de Méry, écrit en 1235, on ne peut faire remonter plus haut la première partie du Roman de la Rose (§ iti). J'ai montré ailleurs combien était faiblement fondée cette assertion'. Cependant si Jean de Meun a terminé sa continuation entre 1275 et !28o, comme j'essaierai plus loin de le montrer, et s'il est vrai de la date que Guillaume était mort depuis plus 4o ans, donnée par G. Paris, « vers 123y », est admissible, mais elle n'est pas assurée on pourrait la reculer au moins jusqu'en t2z5 et l'avancer au moins jusqu'en 1240 r. Supposer que par le fleuve « qui estoit po mendre de Seine ') ['auteur a voulu désigner la Loire serait faire une hypo- thèse sans fondement. 2. Ortg-tMM et Sources ~M.RoMMM de la Rose, p. 83. Aux rap- prochements entre les deux poèmes signalés dans mes Origines, j'en ai ajouté quelques autres dans les notes de mon édition (v. 635, gog, t6g3, 1945, 2o93, 38o3). 3. Les termes dont se sert J. de Meun pour marquer le temps écoulé entre la composition de son poème et la mort de Guillaume sont très vagues « Jehans le continuera Emprès sa mort. Anz trespassez plus de quarante Que faut-il ajouter à ~o ? Ce chiffre de s'applique-t-il à la date du commencement bu à celle l'achève- ment de la continuation ? GUILLAUME DE LORRIS 3 Guillaume ne termina son pas poème la mort pro- bablement l'en Il semble empêcha. pourtant qu'il était près de la conclusion l'amant a conquis le cœur de la jeune fille et obtenu d'elle des gages de son amour. Honte, Peur et se Danger sont rendus; l'amie a été touchée par les « brandons » de Vénus elle agrée les « granz privetez » de l'amant, elle « est preste a recevoir ses jeus », elle lui a donné le baiser doux et savoureux sachant bien c'est « que erres dou remanant ». Elle répond entièrement à son amour et n'est plus séparée de lui que par l'étroite surveillance de ses parents; et cette surveillance est confiée à une duègne, « qui sait toute la vieille dance », mais de qui les largesses de 1 amant auront facilement raison. En somme, il ne reste plus qu'à réduire Male-Bouche et à tromper Jalousie l'amant après quoi pourra cueillir la rose et se réveiller ensuite. SUCCÈS DE LA PREMIÈRE PARTIE DU ROMAN. Le poème de Guillaume a joui d'un grand succès, attesté par différents témoignages indirects que je vais énumérer. Il a suscité deux continuations celle de Jean de Meun, et une autre, Celle-ci est anonyme. très probablement la plus ancienne; bien ne se qu'elle distingue du roman ni par le dialecte ni par la versification, il serait tout à fait déraisonnable de l'attribuer à Guillaume lui-même. C'est une finale postiche, maladroite, beaucoup trop courte; dans ses 78 vers ne figurent pas moins de cinq personnages nouveaux. En voici le. contenu Pitié, Beauté, Bel-Accueil, Loyauté, Doux-Regart, Simplece, profitant de ce que Jalousie s'est endormie, sortent, malgré Peur et à l'insu de Mâle-Bouche, de la tour dont Bonne-Amour leur a ouvert la porte, et viennent à INTRODUCTION I. 4 « le douz bou- l'amant, à qui dame Beauté présente ». une nuit « de ton », dont il fait « con dou sien Après à l'amant soulaz et de deduit », Beauté recommande « celeement » le bouton de rester fidèle, puis reconduit à la tour, Mais totes vois la douce rose close. Au departir ne fu'pas Et le songeur s'éveille. de la Il existe encore un ms. (Bibl. nat. fr. 12786) avec la conclusion sans i~ partie du roman, anonyme, un la suite de Jean de Meun. Gui de Mori en a possédé six manuscrits semblable. Je ne connais pas moins de cette continuation insérée entre les deux qui ont gardé roman. parties du d'abord le Le ms. Bibl. nat. fr. 1573 ne donnait que sans aucune continuation on y poème de Guillaume, celle de Jean. Il est que a. joint ultérieurement probable d'autres manuscrits ont été ainsi formés lorsque parut la seconde partie du roman. les De la classification des manuscrits, il ressort que étaient diversement altérées, copies de la ire partie déjà vint s'y ajouter et par conséquent nombreuses, lorsque la seconde partie. au de Les auteurs qui ont fait des emprunts poème de celui de Jean sont Guillaume avant l'apparition à le croire.
Load more

Recommended publications
  • Jean Gerson and the Debate on the Romance of the Rose
    JEAN GERSON AND THE DEBATE ON THE ROMANCE OF THE ROSE Renate Blumenfeld-Kosinski What was at stake in the debate on the Romance of the Rose? Why would a learned authoress, a famous theologian and a group of intel- lectual clerics spend untold hours either attacking or defending a work written in French that was at that point over a hundred years old? For the debaters nothing less was at stake than the function and power of literature in their society. Does vernacular literature have a moral responsibility toward its audience? This was one of the fundamental questions addressed by all the participants in the debate. Yet their opinions on the book’s value differed enormously. By its adversaries the Rose was seen as inciting husbands to domes- tic violence; as leading to bad morals and from there to heresy; as a book that destroys the very fabric of medieval society and should therefore be burned. By its supporters it was praised as a marvelous compendium teaching good morals and overflowing with the learn- ing of an almost divine theologian named Jean de Meun. Who was right, the rhodophiles or the rhodophobes?1 The Romance of the Rose was one of the most popular texts of the Middle Ages. Over two hundred manuscripts (many of them beau- tifully illuminated) and printed editions survive from the period between the thirteenth and sixteenth centuries. The Rose was also an infinitely rich work, open to almost as many interpretations as there were readers.2 Composed by two different authors, Guillaume de Lorris and Jean de Meun, the two quite distinct parts of the romance date from c.
    [Show full text]
  • French (08/31/21)
    Bulletin 2021-22 French (08/31/21) evolved over time by interpreting related forms of cultural French representation and expression in order to develop an informed critical perspective on a matter of current debate. Contact: Tili Boon Cuillé Prerequisite: In-Perspective course. Phone: 314-935-5175 • In-Depth Courses (L34 French 370s-390s) Email: [email protected] These courses build upon the strong foundation students Website: http://rll.wustl.edu have acquired in In-Perspective courses. Students have the opportunity to take the plunge and explore a topic in the Courses professor’s area of expertise, learning to situate the subject Visit online course listings to view semester offerings for in its historical and cultural context and to moderate their L34 French (https://courses.wustl.edu/CourseInfo.aspx? own views with respect to those of other cultural critics. sch=L&dept=L34&crslvl=1:4). Prerequisite: In-Perspective course. Undergraduate French courses include the following categories: L34 French 1011 Essential French I Workshop Application of the curriculum presented in French 101D. Pass/ • Cultural Expression (French 307D) Fail only. Grade dependent on attendance and participation. Limited to 12 students. Students must be enrolled concurrently in This course enables students to reinforce and refine French 101D. their French written and oral expression while exploring Credit 1 unit. EN: H culturally rich contexts and addressing socially relevant questions. Emphasis is placed on concrete and creative L34 French 101D French Level I: Essential French I description and narration. Prerequisite: L34 French 204 or This course immerses students in the French language and equivalent. Francophone culture from around the world, focusing on rapid acquisition of spoken and written French as well as listening Current topic: Les Banlieues.
    [Show full text]
  • 1 the Middle Ages
    THE MIDDLE AGES 1 1 The Middle Ages Introduction The Middle Ages lasted a thousand years, from the break-up of the Roman Empire in the fifth century to the end of the fifteenth, when there was an awareness that a ‘dark time’ (Rabelais dismissively called it ‘gothic’) separated the present from the classical world. During this medium aevum or ‘Middle Age’, situated between classical antiquity and modern times, the centre of the world moved north as the civil- ization of the Mediterranean joined forces with the vigorous culture of temperate Europe. Rather than an Age, however, it is more appropriate to speak of Ages, for surges of decay and renewal over ten centuries redrew the political, social and cultural map of Europe, by war, marriage and treaty. By the sixth century, Christianity was replacing older gods and the organized fabric of the Roman Empire had been eroded and trading patterns disrupted. Although the Church kept administrative structures and learning alive, barbarian encroachments from the north and Saracen invasions from the south posed a continuing threat. The work of undoing the fragmentation of Rome’s imperial domain was undertaken by Charlemagne (742–814), who created a Holy Roman Empire, and subsequently by his successors over many centuries who, in bursts of military and administrative activity, bought, earned or coerced the loyalty of the rulers of the many duchies and comtés which formed the patchwork of feudal territories that was France. This process of centralization proceeded at variable speeds. After the break-up of Charlemagne’s empire at the end of the tenth century, ‘France’ was a kingdom which occupied the region now known as 2 THE MIDDLE AGES the Île de France.
    [Show full text]
  • 05.01.21, Heller-Roazen, Fortune's Faces
    05.01.21, Heller-Roazen, Fortune's Faces Main Article Content The Medieval Review baj9928.0501.021 05.01.21 Heller-Roazen, Daniel. Fortune's Faces: The Roman de la Rose and the Poetics of Contingency. Series: Parallax. Baltimore: Johns Hopkins University Press, 2003. Pp. xiii, 206. ISBN: 0-8018-7191-3. Reviewed by: Suzanne Conklin Akbari University of Toronto [email protected] Fortune's Faces is, in some ways, a difficult book to review, because it is not really written by a medievalist. This is in no way a criticism, for Heller-Roazen is in fact a highly skilled comparatist of a kind only rarely seen nowadays: he is comfortable in a range of vernacular and classical languages, and committed to unraveling the tangled relationship of philosophy and poetics rather than simply excavating a dusty corner of medieval culture. Heller- Roazen is probably best known for his intelligent translations of the work of Giorgio Agamben, but he has also written on subjects as diverse as the great library at Alexandria and aphasia in literature. His wide range of expertise, encompassing several languages and humanistic disciplines, truly makes him what used to be called a "Renaissance man," with the added dimension of his engagement with the political as well as the philosophical. It is necessary to have some sense of Heller-Roazen's scholarly perspective in order to assess the very real merits of Fortune's Faces. If the reader is looking for a reading of the Roman de la Rose in the context of the intellectual history of late thirteenth-century Paris, the book will disappoint.
    [Show full text]
  • Nature and Divine Love in Guillaume De Lorris and Jean De Meun's Le Roman De La Rose
    NATURE AND DIVINE LOVE IN LE ROMAN DE LA ROSE NATURE AND DIVINE LOVE IN GUILLAUME DE LORRIS AND JEAN DE MEUN'S LE ROMAN DE LA ROSE By DEBORAH ANGELA VAN VELDHUIZEN, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Deborah Angela Van Veldhuizen, 1997 MASTER OF ARTS (1997) McMaster University (English) Hamilton, Ontario TITLE: Nature and Divine Love in Guillaume de Lorris and Jean de Meun's Le Roman de la Rose AUTHOR: Deborah Angela Van Veldhuizen, B.A. (Carleton University) SUPER VISOR: Professor Anne Savage NUMBER OF PAGES: vi, 86 11 ABSTRACT This study examines the relationship between nature and divine love in Guillaume de Lorris (c. 1200-1240) and Jean de Meun's (c. 1235-1305) Le Roman de la Rose. My approach contextualizes the allegorical representations of nature and divine love in the religious, historical, and cultural milieu of the poem. The introductory chapter foregrounds the poem in two ways: first, in the theologization of 'nature' by the thirteenth century; second, in terms of a vernacular theology about Christ's Incarnation and Passion being for and about everyone because they redeem the human body and soul. Chapter Two introduces natural and cupidinous love, the framework in which the philosophical discussion of the redemption of the human body and soul occurs. The third chapter compares and contrasts Nature and Genius, the allegorical representations of nature and divine love in the poem. Chapter Four, through an examination of the Park of the Lamb, the garden of Deduit and the hierarchy of 'worlds' presented in the Roman, reveals how it is possible for humankind to live according to God's purpose.
    [Show full text]
  • Peter Abelard's Carmen Ad Astralabium and Medieval Parent-Child Didactic Texts
    Juanita Feros Ruys (Centre for Medieval Studies, University of Sydney) Peter Abelard's Carmen ad Astralabium and Medieval Parent-Child Didactic Texts: The Evidence for Parent-Child Relationships in the Middle Ages In his Introduction to this volume, Albrecht Classen relates the story of Konrad von Wiirzburg's Engelhard, and asks whether the parental behaviors displayed in medieval narratives can be taken as indicative of real medieval parental attitudes. This is a key question, since a scarcity of other sources often requires medievalists to press fictional narratives into service in this way, as for example Doris Desclais Berkvam's study of childhood and maternity in the romances and epics of medieval France,1 and Classen's own study of family life in medieval German literary sources indicate.2 A modern reader of the actions that Engelhard undertakes and the arguments he espouses might find them so contradictory as to nullify their usefulness as evidence of true medieval attitudes towards children, but this is not necessarily the case. In fact, Engelhard's views match remarkably well with those stated by the twelfth-century French philosopher and theologian Peter Abelard, who was himself the father of a son named Astralabe. Like the fictional Engelhard, Abelard is capable of expressing great parental love, and his Planctus Jacob super filios suos (Lament of Jacob over his Sons) contains touching images of the elderly Jacob recalling with fondness the lisping first words of his son Benjamin: "informes in facie teneri sermones / omnem eloquentie favum transcendentes" ("as yet unformed upon your lips, the tender words surpassing 1 I wish to thank the Australian Research Council for the provision of a post-doctoral Fellowship which has funded this research.
    [Show full text]
  • Jean De Meun's Narrative Stylistics and Readership
    Jean De Meun’s Narrative Stylistics and Readership Lee Dongchoon [Abstract] Unlike a popular narrative, meanings in Jean de Meun’s narratives cannot be pursued by simply following the omniscient narrator’s guideline. His narrator intends to keep distance between himself and his audience rather than a perfect accord in understanding a tale or figuring out the authorial meaning. It is through the various narrative devices that Jean de Meun frustrates his audience from accepting the narrator’s words and attitudes at face value. By calling his narrator’s trustworthiness into question, he offers his audience the chance to rely on the judicious and thoughtful independence of the mind in sorting out the complex messages within a narrative. The effect of distancing between the narrator and the audience through the storytelling devices is to make it possible for them to exert their own imagination and intelligence in grasping the meaning. In short, the audience with keen perception and intelligence are required actively to mine for meaning or decide upon the truth or authenticity among multiple voices. Reading Jean de Meun demands of the audience an act of will. Key Words: Jean de Meun, Roman de la Rose, Rhetorical Devices, Narratology, Readership 34 영미연구 제37집 Although it might be difficult to demonstrate the full extent of Ovid’s influence on Jean de Meun, we can see the glimpses of Ovid in Jean de Meun’s work, Le Roman de la Rose on a variety of levels. First, Jean de Meun’s debt to Ovid is immense in the former’s borrowings of such Ovidian myths as the story of Venus and Adonis (15645-737) and the Pygmalion story (20787-21184).1) In fact, the critics have been wrestling over how and why Jean de Meun adapted the Ovidan myths in his tale.2) Besides Ovid’s role as a provider of storytelling materials for the French raconteur, Ovid’s influence on Jean de Meun on the level of narrative technique is found in Jean de Meun’s work as well.
    [Show full text]
  • "Romance of the Rose": the Function of Reason, Nature and Genius
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1972 Artistic and Thematic Unity in the "Romance of the Rose": The Function of Reason, Nature and Genius Esme O'Connor College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons, and the Medieval Studies Commons Recommended Citation O'Connor, Esme, "Artistic and Thematic Unity in the "Romance of the Rose": The Function of Reason, Nature and Genius" (1972). Dissertations, Theses, and Masters Projects. Paper 1539624770. https://dx.doi.org/doi:10.21220/s2-5kb6-d391 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. ARTISTIC AND THEMATIC UNITY IN THE ROMANCE OF THE ROSE: THE FUNCTION OF REASON, NATURE, AND GENIUS A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Esme1 0 1 Connor 1972 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author App roved, May 19 7 2 ( ^ / a Si a i/o Charles E. Davidson -ABSTRACT The Romance of the Rose, by Guillaume de Lorris and Jean de Meun, is a thirteenth century French poem.
    [Show full text]
  • New Studies in Medieval Culture Ethan Knapp, Series Editor
    INTERVENTIONS: NEW STUDIES IN MEDIEVAL CULTURE Ethan Knapp, Series Editor Eschatological Subjects Divine and Literary Judgment in Fourteenth- Century French Poetry J. M. Moreau The Ohio State University Press • Columbus Copyright © 2014 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Moreau, J. M. (John M.), 1983– Eschatological subjects : divine and literary judgment in fourteenth-century French poetry / J. M. Moreau. — First edition. pages cm. — (Interventions : new studies in medieval culture) Includes bibliographical references and index. ISBN-13: 978-0-8142-1269-1 (hardback) ISBN-10: 0-8142-1269-7 (cloth) ISBN-13: 978-0-8142-9373-7 (cd) 1. French poetry—To 1500—History and criticism. 2. Eschatology in literature. 3. Judgment Day in literature. 4. French poetry—Appreciation—History—14th century. 5. Guillaume, de Deguileville, active 14th century—Criticism and interpretation. 6. Guillaume, de Machaut, ap- proximately 1300–1377—Criticism and interpretation. 7. Froissart, Jean, 1338? –1410?—Criticism and interpretation. I. Title. II. Title: Divine and literary judgment in fourteenth-century French poetry. PQ193.E83 2014 841'.109—dc23 2014008291 Cover design by Janna Thompson-Chordas Text design by Juliet Williams Type set in Adobe Garamond Printed by Sheridan Books The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments vii INTRODUCTION Literature as Eschatological Scene 1 I. La scène judiciaire: Big and Little Judges 1 II. The Eschatological Procès 25 III.
    [Show full text]
  • Heloise's Letters, Abelard Throws Himself Into A
    Entre’acte: Abelard and Heloise 200 Heloise’s letters, Abelard throws himself into a frenzy of literary activity on her behalf: in addition to the famous, if painfully diffident letters, to understand “‘the full record of what Abelard did for Heloise, we must add about a hundred hymns, thirty-five sermons, and a substantial series of solutions of Heloise’s theological problems’. One should not forget either the half-dozen Planctus which Abelard wrote, and which touch very closely on the state of mind of Heloise and himself.” Through these works, “Abelard had found an acceptable medium in which to express his love for Heloise.”49 On top of all of this, it is evident that Abelard’s heart remained with Heloise when he asked if she would bury him: “by whatever cause I go the way of all flesh, proceeding absent from you, I pray you to bring my body, whether it lie buried or exposed, to your cemetary.”50 Years later, Abelard’s request was granted, as “Peter the Venerable […] made sure to return the body to Heloise” and when Heloise herself died, she “was laid to rest next to Abelard.”51 Her jealous uncle, his hired thugs, and the society in which they lived, may have separated the lovers physically, but they could not extinguish their love. Their words and cries of desire and suffering echo yet another poem by Bernart de Ventadorn, Can vei la lauzeta mover: Ai, las! Tan cuidava saber Alas! So much, I believed I knew d’amor, e tan petit en sai, about love, and how little I really know car eu d’amor no·m posc tener because I cannot hold back from loving celeis don ja pro non aurai.
    [Show full text]
  • A Feminist Reading of La Vieille's Speech in Jean De Meun's Portion of Le Roman De La Rose by Patricia Marie Phillips-Batom
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository A FEMINIST READING OF LA VIEILLE’S SPEECH IN JEAN DE MEUN’S PORTION OF LE ROMAN DE LA ROSE BY PATRICIA MARIE PHILLIPS-BATOMA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in French in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Karen Fresco, Chair Professor Douglas Kibbee Professor Janet Smarr Associate Professor Yvette Smith Abstract This dissertation undertakes to produce a close reading of la Vieille’s speech in Jean de Meun’s portion of Le roman de la rose . This speech has been traditionally interpreted as ironic, but this analysis seeks to incorporate the work of feminist critics as well as a relatively new area of research on women’s lives in 13th-century Europe, to develop a feminist reading strategy that can be applied to this text as well as to other notoriously misogynist texts. The first chapter consists of a review of the literature on the Rose and brings to light the diverse ways in which this text has been read by critics. The second chapter focuses on a structural feature of the text as a whole, called imbricated structure, and describes how this feature can be identified in all of the major speeches of Jean’s portion of the Rose . This pattern has implications for reading and interpreting the themes and references brought up in each speech.
    [Show full text]
  • Villon's Legacy from Le Testament De Jean De Meun.Pdf
    NANCY FREEMAN REGALADO _ Le Testomellt de Jean de "'fell/1 and Villon's poem - sets up an opposition of high and low, of noble lenrning and coarse wit thnt Villon's Legacy fronl Le Testalllent of Jean links Villon's Testament to another medieval gcnre, the altel'c(l{io or de Melin: Misquotation, Memory, and the dialogue between the wise man and the fool. In Villon's Testalllel/l, however, only the fool remains, groping towards truth. Wisdoln of Fools The speaker in Villon's poems is a creature of both wisdoll1 and folly, "Ne du tout fol ne dll tOllt saige" (T, 3). Fol, however, Nancy Freeman Regalado weighs far heavier in the poet's lexicon, where it is closely associated with other key terms: amour, povre, mort and vie.3 "Povre de sens et de savoir" (T, 178), the poet's speaker is a scholar Can a poet make a mistake? What is the meaning of Villon's poetic who ran away from school: "le, FraniYois Villon, escollier" (L, 2; see mistake, his misquotation in the Testomellt (T, 113-20)1 from an T, 1886-87); "Mais quay! je fu)'oie I'escolle 1 COIllIllC fait Ie important yet largely unexamined source, Le Testomellt de Jean de mauvaiz enffant" (T, 205-06). His studies in books have profited him Meull?2 This misquotation, we will see, is not just an error but a less than his hard life: "Travail mes lllbres sentemens, 1 Esguisez poetic secret that reveals one of the great paradoxes of the comme une pelocte, 1M'ouvrist pIus que tous les comlllens 1 Testa/llent: it is a poem about wisdom spoken by a fool.
    [Show full text]