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The complete text of John Gower's Confessio Amantis is a three-volume edition, including all Latin components - with translations - of this bilingual poem and extensive glosses, bibliography, and explanatory notes. Volume 2 contains Books 2, 3, and 4, which follow in their structure the outline of Vice and its children found in the early French poem the Mirour de l'Omme.
The Mirour de l'Omme (The Mirror of Mankind) is an encyclopedia of moral topics, including a vivid allegory of the Seven Deadly Sins. Author John Gower (1330-1408) was a poet, personal friend of Chaucer, and the most prominent member of his literary circle.
Essays considering the relationship between Gower's texts and the physical ways in which they were first manifested.
Gower's use of the persona, the figure of the writer implicated in the text, is the main theme of this book. While it traces the development of Gower's voice through his major works, it concentrates on the dialogue of Amans and Genius in the Confessio Amantis. It argues that Gower negotiates problems of politics and problems of love by means of an analogy between political ethics and the rules of fin amour; Amans and Genius are both drawn from and occupied with amatory and ethical traditions, and their discourse produces a series of attempts to find a coherent and rational union of lover and ruler. The volume also argues that Gower's goal is poetic as well as political: through the personae, Gower's readers experience the pains and pleasures of erotic and social love. Gower's personae voice potential responses to exemplary experience, prompting readers to feel and to judge, and moving them to become better lovers and better rulers. Gower's analogy between fin amour and politics brings the affects of the lover to the action of government, and suggests for both love and rule the moderation that brings peace and joy. Matthew W. Irvin is Assistant Professor in the Department of English and Chair of the Medieval Studies Program at Sewanee.
John Gower's Poetic is a new study of Gower's complete poetry. Considered are Vox Clamantis, Mirour de l'Omme, Traitié pour les Amantz marietz, Cinkante Balades, Confessio Amantis, and `To King Henry IV, In Praise of Peace'. In fiveintegrative chapters, Yeger demonstrates that Gower - far from being the lugubrious moralist and journeyman craftsman as which he is often portrayed -was in fact a writer of broad learning and ambition, whose work was consistently shaped bya poetic theory of profound originality. To demonstrate this, John Gower's Poetic re-examines Gower's work from the basic levels of orthography, grammar, vocabulary, and metrics, to his enduring macrocosmic themes; in the process, Yeager shows that Gower saw himself as an `auctor', or `poete', in the manner of Dante, Machaut, Froissart, and Deschamps. The book concludes with an extensive, fresh reading of Gower's greatest poem, the Confessio Amantis. Professor R. F. Yeager teaches in the Department of English and Foreign Languages, University of West Florida, Pensacola.
A Handbook to the Reception of Ovid presents more than 30 original essays written by leading scholars revealing the rich diversity of critical engagement with Ovid’s poetry that spans the Western tradition from antiquity to the present day. Offers innovative perspectives on Ovid’s poetry and its reception from antiquity to the present day Features contributions from more than 30 leading scholars in the Humanities. Introduces familiar and unfamiliar figures in the history of Ovidian reception. Demonstrates the enduring and transformative power of Ovid’s poetry into modern times.
Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.
The Gender of Money in Middle English Literature: Value and Economy in Late Medieval England explores the vital and under-examined role that gender plays in the conceptualization of money and value in a period that precedes and shapes what we now recognize as the discipline of political economy. Through readings of a range of late Middle English texts, this book demonstrates the ways in which gender ideology provided a vocabulary for articulating fears and fantasies about money and value in the late Middle Ages. These ideas inform beliefs about money and value in the West, particularly in realms that are often seen as outside the sphere of economy, such as friendship, love and poetry. Exploring the gender of money helps us to better understand late medieval notions of economy, and to recognize the ways in which gender ideology continues to haunt our understanding of money and value, albeit often in occluded ways.