Robert Edwards - Ratio and invention: a study of medieval lyric and narrative
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Ratio and Invention : A Study of Medieval Lyric and Narrative
author
:
Edwards, Robert.
publisher
:
Vanderbilt University Press
isbn10 | asin
:
0826512313
print isbn13
:
9780826512314
ebook isbn13
:
9780585106250
language
:
English
subject
Poetry, Medieval--History and criticism, Poets in literature.
publication date
:
1989
lcc
:
PN691.E48 1989eb
ddc
:
809.1/02
subject
:
Poetry, Medieval--History and criticism, Poets in literature.
Page iii
Ratio and Invention
A Study of Medieval Lyric and Narrative
Robert R. Edwards
Vanderbilt University Press Nashville, Tennessee 1989
Page iv
Library of Congress Cataloging-in-Publication Data
Edwards, Robert R., 1947 Ratio and invention.
Bibliography: p. Includes index. 1. Poetry, MedievalHistory and criticism I. Title. PN691.E48 1989 809.1'02 88-26077 ISBN 0-8265-1231-3
Copyright 1989 by Robert R. Edwards Published 1989 by Vanderbilt University Press Printed in the United States of America
Page v
For Jerome Mazzaro
Page vii
Contents
Acknowledgments
ix
Introduction
xi
Interchapter 1 Medieval Lyric
3
Chapter 1 Contrary Motions: Musical Aesthetic and the Ideal Landscape
12
Chapter 2 Phantasy: Vision, Desire, and Poetry
34
Chapter 3 Phantasms: The Secular Vision of Lyric
52
Interchapter 2 Narration and Invention
75
Chapter 4 History, Narrative, and Design in the Chanson de Roland
88
Chapter 5 Invention and Closure in Chrtien's Yvain
102
Chapter 6 Invention and Poetic Emblems: Partonopeu de Blois and Sir Gawain and the Green Knight
115
Chapter 7 The Failure of Invention: Chaucer's Squire's Tale
131
Epilogue
146
Abbreviations
151
Notes
153
Bibliography
172
Index
189
Page ix
Acknowledgments
Any project that evolves over a long period of time compiles a list of intellectual and professional debts. In writing this book I have been fortunate to have friends and colleagues who shared their learning and challenged me to clarify what I wanted to say about medieval poetry and literary theory. I want to thank R. Howard Bloch, James J. Bono, Albert S. Cook, Robert Daly, Victor Doyno, Richard Fly, James McKinnon, Paul Ruggiers, and Winthrop Wetherbee for reading sections and early drafts. My dedication records a debt to a friend who saw these chapters through several drafts. It is a great sadness that Morton W. Bloomfield cannot see the final version of some of the work he generously read long ago. This study is stronger for comments, objections, and suggestions by all these people; the errors and misunderstandings that remain are mine.
An early version of chapter 5 appeared in The Twelfth-Century: Acta II, ed. Sandro Sticca and Bernard Levy (Binghamton: Center for Medieval and Early Renaissance Studies, 1975), pp. 11929. I am grateful to the National Humanities Center, where the final version of the project took shape, for its fellowship support and environment of lively intellectual exchange. The staff of Lockwood Memorial Library at the State University of New York at Buffalo has been especially helpful. I thank Rita Keller for preparing the manuscript and Terry Martin and Thomas Berninghausen for their valuable assistance in research for the project. My greatest debt is to my wife, Emily Grosholz, for helping me to rethink this book and bring it to a final shape.
The director and staff of Vanderbilt University Press worked patiently with a complicated manuscript. Publication of the book owes much to the generosity of Roselea J. Goldberg, who established the Goldberg Prize in memory of her husband, Norman L. Goldberg, physician and scholar.
Page xi
Introduction
This book is a study of poetry and literary theory in the Middle Ages. My intention is to examine some of the ways in which medieval thinking about literature entered the imaginative world of poetry. I shall argue that the literary theory expounded by grammarians and commentators was applied to medieval poetry not only as discursive commentary but also as a constituent of aesthetic meaning. That argument is grounded, however, in large methodological issues, so by way of introduction I want to sketch a brief outline of those issues and locate my interpretive reading within them.
For most of this century, critical writing about medieval literature has been informed by a keen awareness of the historical difference between the Middle Ages and modernity. Critics generally recognize that the Middle Ages are continually redefined in a dialectic of subject and object; what we call medieval is as much a social construction of succeeding ages as a historical epoch in its own right.1 In practice, historical difference calls forth various interpretive strategies from critics and scholars. One thinks, for example, of studies that bring to bear on poetry aspects of a generalized "medieval world view"; Augustinian and Thomistic systems of analysis; the poetic categories developed within grammar, rhetoric, and exegesis; cultural-literary thematics like courtly love; and medieval theories of semiotics. All of these contextual approaches offer some kind of privileged access to medieval literature, for they claim to (and in fact do) mediate the historical distance that separates the texts from us and us from the texts. Yet in recent years the problem of such interpretation has expanded and intensified. Hans Robert Jauss has given us the term alterity to designate the fact of historical difference, and alterity has allowed us to speak of the "otherness" of the Middle Ages.2 Thus, our sense of the historical difference of medieval literature both expresses a distance between epochs and marks certain points at which the conventions of medieval culture fail to carry over directly to our modern understanding.
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