By Deborah McGrady, Jennifer Bain, Jeanette Patterson
Delivering the 1st finished learn of Guillaume de Machaut's massive corpus of textual content and tune, the 18 essays during this assortment discover the author's engagement with the moral, political, and aesthetic issues of his time. construction on interdisciplinary curiosity in Machaut, this assortment broadens dialogue of his paintings by means of exploring overlapping pursuits in his poetry and tune; addressing lesser-studied writings; providing clean views on lyric, authorial voice, and function; and fascinating extra significantly along with his reception by way of medieval bookmakers, sleek editors, and the track undefined. the result's a promising map for destiny study within the box that might be of curiosity to scholars and experts alike.
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Extra info for A companion to Guillaume de Machaut
McGrady makes the important point that this activity generates an essentially plural identity, on account of the many agencies involved in the production of poetic manuscript, real or fictional: Controlling Readers, p. 15. 11 Calin, “Le Moi,” p. 250. 12 Jugement dou Roy de Behaingne, line 1, echoes Le Roman de la rose, ed. Félix Lecoy (Paris, 1965–75), 2, line 49. On the dog, see Palmer, “Metafictional Machaut”. 18 helen j. swift perspective on certain assumptions that underpin the position of the Prologue as a programmatic statement of Machaldian poetics.
9 In fact, Car qui de sentement ne fait, Son oeuvre et son chant contrefait Because whoever does not compose according/ to his feelings fakes his work and his voice, lines 407–408. Here, Machaut asserts that, in order to be truthful, one must explore possible intersections between abstract truth and personal sincerity (lines 387–400). In fact, in this poem, the poet interiorizes the duplicity of Fortune. For example, in the Garden of Hesdin, which evokes the locus amoenus of fin’amors, the poet recognizes his dual disposition coming from Fortune, as part of the human love experience: Las!
241–52 and including Kevin Brownlee, Poetic Identity in Guillaume de Machaut (Madison, 1984); Jacqueline Cerquiglini, “Un engin si soutil”: Guillaume de Machaut et l’écriture au XIV e siècle (Geneva, 1985); Didier Lechat, “Dire par fiction”: métamorphoses du Je chez Guillaume de Machaut, Jean Froissart et Christine de Pizan (Paris, 2005); Laurence De Looze, PseudoAutobiography in the Fourteenth Century: Juan Riz, Guillaume de Machaut, Jean Froissart, and Geoffrey Chaucer (Gainesville, 1998); Sarah Kay, Place of Thought: The Complexity of One in Late Medieval French Didactic Poetry (Philadelphia, 2007); Deborah McGrady, Controlling Readers: Guillaume de Machaut and his Late Medieval Audience (Toronto, 2006); R.