Deborah McGrady, Jennifer Bain, Jeanette Patterson's A companion to Guillaume de Machaut PDF

By Deborah McGrady, Jennifer Bain, Jeanette Patterson

ISBN-10: 9004228195

ISBN-13: 9789004228191

Providing the 1st accomplished examine of Guillaume de Machaut's colossal corpus of textual content and tune, the 18 essays during this assortment discover the author's engagement with the moral, political, and aesthetic matters of his time. development on interdisciplinary curiosity in Machaut, this assortment broadens dialogue of his paintings by means of exploring overlapping pursuits in his poetry and track; addressing lesser-studied writings; supplying clean views on lyric, authorial voice, and function; and interesting extra severely along with his reception via medieval bookmakers, glossy editors, and the track undefined. the result's a promising map for destiny learn within the box that may be of curiosity to scholars and experts alike.

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244. 37 cf. De Looze, Pseudo-Autobiography, p. 22. 38 Voir dit, line 4254. 39 See, for example, Cerquiglini-Toulet, “Un engin si soutil,” pp. 181–200. 40 A further type of truth that has repeatedly been interrogated is the historical truth of the Voir dit, asking whether Guillaume’s female correspondent, Peronne, existed in reality. 28 helen j. swift in Le Poète et le prince, critics have detected a special interest in the paradox of lyric composition in Machaut’s work. While his persona in both the Remede de Fortune and the Voir dit affirms that true lyric expression entails no feigning: “Car qui de sentement ne fait, / Son oeuvre et son chant contrefait” (“For whoever does not write with feeling, counterfeits his deed and his song,” Remede de Fortune, lines 407–8),41 the form of artistic creation that his work promotes is one which valorises literary craftsmanship and is thus inevitably a form of artifice.

In the Voir dit, this is manifested in Guillaume’s frantic annominatio on acord as he tries to manufacture his and Toute-Belle’s happy ending. What he wants to be harmonious chimes of reconciliation are instead an ironically jangling sequence whose ludicrously overdetermined affirmation of concord conveys in fact the discord that characterises the end of his and Toute-Belle’s relationship. In particular, the pairing of “recorder”/“recorder” at the start of the sequence – Ainsi fumes nous racordé, Com je vous ay ci recordé Thus we were reconciled, as I have recounted to you here, Voir dit, lines 8966–67.

At the work’s close (en la fin), disclosure of the individual identities of the poem’s two subjectivities is promised, so that the audience may determine retrospectively with whom they have been dealing from the outset (droit au commencement). ]. 19 Machaut’s manoeuvrings with his anagrammatic signature communicate an important message: he teases us with the equation we want to make between Guillaume de Machaut, the I as poet as identified in the Prologue’s rubric, and the poetic I of the particular dit.

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A companion to Guillaume de Machaut by Deborah McGrady, Jennifer Bain, Jeanette Patterson

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