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Poets, Patrons, and Printers Crisis of Authority in Late Poets, Patrons, and Printers Also by Cynthia J. Brown: Critical edition of Andre de la Vigne's La Ressource de la Chrestiente ( 1494) The Shaping of History and Poetry in Late Medieval France: Propaganda and Artistic Expression in the Works of the Rhetoriqueurs POETS, PATRONS, AND PRINTERS CRISIS OF AUTHORITY IN LATE MEDIEVAL FRANCE CYNTHIA J. BROWN CORNELL UNIVERSITY PRESS Ithaca and London Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. Cornell University Press gratefully acknowledges a subvention from the University of California, Santa Barbara, that aided in bringing this book to publication. Copyright © 1995 by Cornell University First paperback printing 2019 The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. To use this book, or parts of this book, in any way not covered by the license, please contact Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978-0-8014-3071-8 (cloth: alk. paper) ISBN 978-1-5017-4252-1 (pbk.: alk. paper) ISBN 978-1-5017-4253-8 (pdf) ISBN 978-1-5017-4254-5 (epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress Cover illustration: Dedication miniature, from L’art de rhétorique, 1st ed., B.L., IB.41139, fol. 2. By permission of the British Library. To the memory of my father W. Stimpson Brown, Jr. (1916-1992) CONTENTS List of Illustrations ix Acknowledgments xi Introduction 1 Chapter 1 Late Medieval Writers as Owners and Protectors of Their Texts 17 Chapter 2 Para textual Interaction between Poets and Book Producers 61 Chapter 3 The Changing Image of the Poet 99 Chapter 4 Changing Authorial Signatures in Late Medieval Books 153 Chapter 5 Authorial and Narrative Voices in Late Medieval Vernacular Texts 197 Contents Afterword 247 Appendix 1 Documentation of Andre de Ia Vigne's 1504 Lawsuit and Bibliographical Data 255 Appendix 2 Bibliographical Data for Jean Lemaire de Belges 258 Appendix 3 Bibliographical Data for Jean Bouchet 259 Appendix 4 Bibliographical Data for Jean Molinet 261 Appendix 5 Bibliographical Data for Pierre Gringore 264 Bibliography 269 Index 285 {viii } ILLUSTRATIONS 1.1. False authorship attribution of Sebastian Brant instead of Jean Bouchet, fromLes regnars traversant, 1st ed. 1.2. Jean Bouchet's acrostic signature, from Les regnars traversant, 1st ed. 1.3. Pierre Gringore's first privilege, from Les folles entreprises, 1st ed. 1.4. Omission of publisher's name (Gringore) from printing announcement, from Les folles entreprises, 1st ed. 1.5 . Jean Marot offeringhis work to Queen Anne of Brittany, from Le voyage de Genes. 1.6. Jean Lemaire's first privilege, from La legende des Venitiens, 1st ed. 1.7. Jean Lemaire's coat of arms, from La legende des Venitiens. 2.1. Title without identification of author, from Le temple de Mars. 2.2. Title without identification of author, from Le temple de Mars, 1st ed. 2.3. A prince, representing Mars, enthroned and surrounded by courtiers, from Le temple de Mars, 2d ed. 2.4. A prince, representing Mars, observes a tournament, from Le temple de Mars, 3d ed. 2.5. Mars as a violent god, from Le temple de Mars, 4th ed. 2.6. Title with identificationof author, from Le temple de Mars. 2.7. Title with identification of author, fromLesfa ictz et dictz, 1531 ed. 2.8. Pigouchet's printer's mark, from Le chasteau de labour, 1st ed. 2.9. Michel Le Noir's printer's mark, from Le chasteau d'amours, 2d ed. 2.10. Title page, from Le vergier d'honneur, 1st ed. 2.11. Title pages, from Les ballades de Bruyt Commun and Le libelle des cinq villes d'Ytallye. Illustrations 3 .1. Poet offeringhis work to King Charles VIII, from La ressource de la Chrestiente. 3.2. Author-woodcut, fromLe vergier d'honneur, 1st ed. 3·3· Author-woodcut, from Le vergier d'honneur, 5th ed. 3+ Poet composing his work with his created characters, Lady Christianity, Lady Nobility, and Good Counsel, before him, from Le vergier d'honneur, 2d ed. 3·5· Dedication woodcut, from L'art de rhetorique, 1st ed. 3.6. Dedication miniature, from L'art de rhetorique, 1st ed. 3·7· Dedication miniature, from L'art de rhetorique, 1st ed. 3.8. Dedication miniature, from Le roman de la rose moralise. 3·9· Dedication miniature, from Le roman de la rose moralise. 3.10. Dedication miniature, from Le roman de la rose moralise. 3.11. Author's publication mark, from La naissance de Charles d'Au triche, 1st ed. 3.12. Author-woodcut, from La naissance de Charles d' Autriche, 2d ed. 3.13. Dedication miniature, from Les folies entreprises, 1st ed. 3.14. Author's bookseller mark, from Les folies entreprises, 1st ed. 3.15. The Mere Sotte illustration, three author's marks, from Les folies entreprises. 3.16. Dedication woodcut, from Les folies entreprises. 3.17. Author-woodcut, from Les fantasies de Mere Sotte. 3.18. Gringore's coat of arms, from Les fa ntasies de Mere Sotte. 4.1. Charles VIII acrostics, from La ressource de la Chrestiente. 4.2. Author's name at the end of final verse (emphasized}, from La ressource de la Chrestiente. 4·3· Author's name at the end of final verse (unemphasized), from La ressource de la Chrestiente, 1st ed. 4+ Second acrostic pertaining to Charles VIII, from Le vergier d'honneur, 1st ed. 4·5· Madame Catherine de Tieulliere's acrostic (emphasized) and De La Vigne's acrostic (unemphasized), from Le vergier d'honneur, 1st ed. 4.6. La Vigne's acrostic (emphasized}, from Le vergier d'honneur, 1st ed. 4·7· La Vigne's illuminated acrostic, from Le couronnement d'Anne de Bretagne. 4.8. Pigouchet's, Simon Vo stre's, and Gringore's acrostics, from Le chasteau d'amours, 1st ed. 4·9· Michel Le Noir's acrostic, from Le chasteau d'amours, 2d ed. {x} ACKNOWLEDGMENTS This book has taken shape over a period of several years during which I have profited enormously fromthe exchanges I have had with many col­ leagues and friends. Their advice and suggestions have been invaluable to me as I reworked and fine-tuned my ideas. Discussions with Marian Rothstein at an early phase of this project and Jody Enders's incisive comments at a more advanced stage proved to be formative in the con­ ceptualization of this book. I am also very grateful for the insightful re­ marks of those who generously took time to read one or more chapters of my manuscript in its various forms: Emmanuele Baumgartner, Renate Blumenfeld-Kosinski, Zelda Bronstein, Dominique Coq, Jody Enders, Robert Freeman, Leonard Johnson, Myra Orth, Mark Rose, Marian Rothstein, Susie Sutch, and Mary Beth Winn. The challengingquestions and helpful comments of Julie Carlson, Theresa Coletti, Sharon Farmer, and Carol Pasternack, and many others who read or heard papers re­ lated to this project, were likewise instrumental in my continued reeval­ uation of ideas. I am also indebted to Cynthia Skenazi and Leonard Johnson for helpful suggestions in my translations from Middle French to English and to Ernest Sturm for his stylistic comments in the book's fi­ nal stages. Besides much appreciated support, .Art Ludwig offered me the expert advice of a general reader, as he carefully combed through several versions of my manuscript. For this I am extremely appreciative. To Zelda Bronstein, who has closely watched this project develop from its inception to its completion and whose friendship has meant a great deal to me, I express my deep gratitude. At numerous libraries in Europe and the United States, I have bene­ fited from the assistance of specialists who have generously helped me during my long hours of research. I am most appreciative of their sup­ port and wish to offera special thanks to the conseroateurs in the Reserve Acknowledgments of the Bibliotheque Nationale. I am also grateful to Marianne Grivel for her important role in expediting transactions with the Service Photo­ graphique of the B.N., from which I obtained most of this book's illustrations. It is a pleasure to acknowledge the National Endowment for the Hu­ manities, which awarded me a grant to attend Henri-Jean Martin's Sum­ mer Seminar on the Early Printed Book, held at the Newberry Library in 1986, and the American Council of Learned Societies, which supported research during an early phase of my project (1987-88). The Research Committee of the Academic Senate at the University of California, Santa Barbara, has repeatedly offered supportfor my work through all stages of this project, and the Interdisciplinary Humanities Center at UCSB has likewise funded my project with grants in 1990 and 1993. UCSB's Office of Research and College of Letters and Science have generously contrib­ uted to the costly production of this volume as well. For this intramural support, I am extremely grateful. In contrast to the strained relationship between late medieval authors and publishers that figures at the center of my argument in this book, I have enjoyed a most productive association with Cornell University Press. I am especially grateful to BernhardKendler for his continued in­ terest in this project, Charles Purrenhage for his scrupulous editing of my manuscript, and Kristina Kelsey for her careful attention to the many details of the final stages of production. I also wish to thank CornellUni­ versity Press for permission to use material in parts of Chapters 2, 3, and 4 that originally appeared, in an earlier version, in my "Text, Image, and Authorial Self-Consciousness inLate Medieval Paris," a chapter in San­ dra L.
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