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This collection of essays explores consolation and mourning in the varied, sometimes provocative, readings of Boethius and of Stoic consolation by French, English, Italian and German authors, including Dante, Petrarch, Boccaccio, Machaut, Chaucer, Wyatt and Queen Elizabeth I.
This collection of essays explores consolation and mourning in the varied, sometimes provocative, readings of Boethius and of Stoic consolation by French, English, Italian and German authors, including Dante, Petrarch, Boccaccio, Machaut, Chaucer, Wyatt and Queen Elizabeth I.
This collection provides a comprehensive reading of Machaut’s literary and musical corpus that privileges his engagement with contemporary political, ethical, and aesthetic concerns of late medieval culture as well as his reception by artists and thinkers, medieval and modern.
At once a royal secretary, a poet, and a composer, Guillaume de Machaut was one of the most protean and creative figures of the late Middle Ages. Rather than focus on a single strand of his remarkable career, Elizabeth Eva Leach gives us a book that encompasses all aspects of his work, illuminating it in a distinctively interdisciplinary light. The author provides a comprehensive picture of Machaut's artistry, reviews the documentary evidence about his life, charts the different agendas pursued by modern scholarly disciplines in their rediscovery and use of specific parts of his output, and delineates Machaut's own poetic and material presentation of his authorial persona. Leach treats Machaut's central poetic themes of hope, fortune, and death, integrating the aspect of Machaut's multimedia art that differentiates him from his contemporaries' treatment of similar thematic issues: music. In restoring the centrality of music in Machaut's poetics, arguing that his words cannot be truly understood or appreciated without the additional layers of meaning created in their musicalization, Leach makes a compelling argument that musico-literary performance occupied a special place in the courts of fourteenth-century France.
Medieval writers such as Chaucer, Abelard, and Langland often overlaid personal story and sacred history to produce a distinct narrative form. The first of its kind, this study traces this widely used narrative tradition to Augustine's two great histories: Confessions and City of God .
Re-examining key passages in Dante’s oeuvre in the light of the crucial issue of moral choice, this book provides a new thematic framework for interpreting the Divine Comedy. Olivia Holmes shows how Dante articulated the relationship between the human and the divine as an erotic choice between two attractive women—Beatrice and the “other woman.” Investigating the traditions and archetypes that contributed to the formation of Dante’s two beloveds, Holmes shows how Dante brilliantly overlaid and combined these paradigms in his poem. In doing so he re-imagined the two women as not merely oppositional condensations of apparently conflicting cultural traditions but also complementary versions of the same. This visionary insight sheds new light on Dante’s corpus and on the essential paradox at the poem’s heart: the unabashed eroticism of Dante’s turn away from the earthly in favor of the divine.
As a pandemic swept across fourteenth-century Europe, the Decameron offered the ill and grieving a symphony of life and love. For Florentines, the world seemed to be coming to an end. In 1348 the first wave of the Black Death swept across the Italian city, reducing its population from more than 100,000 to less than 40,000. The disease would eventually kill at least half of the population of Europe. Amid the devastation, Giovanni Boccaccio’s Decameron was born. One of the masterpieces of world literature, the Decameron has captivated centuries of readers with its vivid tales of love, loyalty, betrayal, and sex. Despite the death that overwhelmed Florence, Boccaccio’s collection of novelle was, in Guido Ruggiero’s words, a “symphony of life.” Love and Sex in the Time of Plague guides twenty-first-century readers back to Boccaccio’s world to recapture how his work sounded to fourteenth-century ears. Through insightful discussions of the Decameron’s cherished stories and deep portraits of Florentine culture, Ruggiero explores love and sexual relations in a society undergoing convulsive change. In the century before the plague arrived, Florence had become one of the richest and most powerful cities in Europe. With the medieval nobility in decline, a new polity was emerging, driven by Il Popolo—the people, fractious and enterprising. Boccaccio’s stories had a special resonance in this age of upheaval, as Florentines sought new notions of truth and virtue to meet both the despair and the possibility of the moment.
Remembering Boethius explores the rich intersection between the reception of Boethius and the literary construction of aristocratic identity, focusing on a body of late-medieval vernacular literature that draws on the Consolation of Philosophy to represent and reimagine contemporary experiences of exile and imprisonment. Elizabeth Elliott presents new interpretations of English, French, and Scottish texts, including Machaut's Confort d'ami, Remede de Fortune, and Fonteinne amoureuse, Jean Froissart's Prison amoureuse, Thomas Usk's Testament of Love, and The Kingis Quair, reading these texts as sources contributing to the development of the reader's moral character. These writers evoke Boethius in order to articulate and shape personal identities for public consumption, and Elliott's careful examination demonstrates that these texts often write not one life, but two, depicting the relationship between poet and aristocratic patron. These works associate the reception of wisdom with the cultivation of memory, and in turn, illuminate the contemporary reception of the Consolation as a text that itself focuses on memory and describes a visionary process of education that takes place within Boethius's own mind. In asking how and why writers remember Boethius in the Middle Ages, this book sheds new light on how medieval people imagined, and reimagined, themselves.