European Literature

This book breaks important new ground in the study of Chaucer's various engagements with Italian literary culture, taking a more dynamic approach to Chaucer's Italian sources than has previously been available. Most treatments of such influences do not take sufficient account of the material contexts in which these sources were available to Chaucer and his contemporaries. Manuscripts of the major works of Dante, Boccaccio, and Petrarch circulated in a variety of formats, and often the margins of their texts were loci for extensive commentary and glossing. These traditions of glossing and commentary represent one of the most striking features of fourteenth-century Italian literary culture. Not only that, but the authors themselves were responsible for some of this commentary material, from Dante's own prosimetra Vita nova and Convivio, to the extensive commentary accompanying Boccaccio's Teseida. The startling example of Francesco d'Amaretto Mannelli's glosses in his copy of the Decameron, copied in 1384, is discussed in detail for the first time. His refiguring of Griselda offers an important perspective on the reception of this story that is exactly contemporary with Chaucer. Chaucer and Italian Textuality offers readers a new perspective on Chaucer and Italy by highlighting the materiality of his sources, reconstructing his textual, codicological horizon of expectation. It provides new ways of thinking about Chaucer's access to, and use of, these Italian sources, stimulating, in turn, new ways of reading his work. This attention to the materiality of Chaucer's sources is further explored and developed by reading the Tales through their early fourteenth-century manuscripts, taking account not just of the text but also of the numerous marginal glosses. Within this context, then, the question of Chaucer's authorship of some of these glosses is considered.

This book examines all four verse continuations that follow Chrétien's unfinished Grail story, a powerful site of rewriting from the late 12th through the 15th centuries. By focusing on the dialogue between Chrétien and the verse continuators, this study demonstrates how the patterns and puzzles inscribed in the first author's romance continue to guide his successors, whose additions and reinventions throw new light back on the problems medieval readers and writers found in the mother text: questions about society and the individual; love, gender relations, and family ties; chivalry, violence, and religion; issues of collective authorship and doubled heroes, interpretation, rewriting, and canon formation. However far the continuations appear to wander from the master text, the manuscript tradition supports an implicit claim of oneness extending across the multiplicity of discordant voices combined in a dozen different manuscript compilations, the varying ensembles in which most medieval readers encountered Chrétien's Conte. Indeed, considered as a group the continuators show remarkable fidelity in integrating his romance's key elements, as they respond sympathetically to the dynamic incongruities and paradoxical structure of their model, its desire for and deferral of ending, its non-Aristotelian logic of ‘and/both’ in which contiguity forces interpretation and further narrative elaboration. Unlike their prose competitors, the verse continuators remain faithful to the dialectical movement inscribed across the interlace of two heroes' intertwined stories, the contradictory yet complementary spirit that propels Chrétien's decentered Conte du Graal. Chrétien de Troyes's unfinished Grail story generated numerous rewritings in verse and prose from the late 12th through the 15th centuries. Cycles and sequels invariably raise questions about how stories are joined and how they end, what makes a whole, and what changes in meaning emerge across their continuities and discontinuities. In the context of medieval invention and manuscript culture, what is the nature of collective authorship? The central argument of this study addresses these questions to demonstrate how the patterns and puzzles inscribed in Chrétien's Conte du Graal continue to guide his four continuators in verse. However much they seem to stray from the originating text, close examination reveals how faithfully they use the distinctive narrative techniques of their common model and ask the questions about love, chivalry, religion, and violence that entered Arthurian romance so problematically in the first ‘Story of the Grail’.

The Familiar Enemy re‐examines the linguistic, literary, and cultural identities of England and France within the context of the Hundred Years War. During this war, two highly intertwined peoples developed complex strategies for expressing their aggressively intimate relationship. The special connection between the English and the French has endured into the modern period as a model for Western nationhood. This book reassesses the concept of ‘nation’ in this period through a wide‐ranging discussion of writing produced in war, truce or exile from the thirteenth to the fifteenth century, concluding with reflections on the retrospective views of this time of war created by the trials of Jeanne d'Arc and by Shakespeare's Henry V. It considers works and authors writing in French, ‘Anglo‐Norman’, and in English, in England and on the continent, with attention to the tradition of comic Anglo‐French jargon (a kind of medieval franglais), to Machaut, Deschamps, Froissart, Chaucer, Gower, Charles d'Orléans and many lesser‐known or anonymous works. Chaucer traditionally has been seen as a quintessentially English author. This book argues that he needs to be resituated within the deeply francophone context, not only of England but the wider multilingual cultural geography of medieval Europe. It thus argues that a modern understanding of what ‘English’ might have meant in the fourteenth century cannot be separated from ‘French’, and that this has far‐reaching implications both for our understanding of English and the English, and of French and the French.

What do stories about animals have to tell us about human beings? This book analyses the shrewd perceptions about human life—and especially human language—that emerge from narratives in which the main figures are ‘talking animals’. Its guiding question is not ‘what’ but ‘how’ animals mean. Drawing a clear distinction between beast fable and beast epic, it examines the complex variations of these forms that are to be found in the literature of medieval Britain, in English, French, Latin, and Scots (modern English translations are provided for all quotations). The analytical method of the book combines theoretical and literary‐critical discussion with a constant awareness of the historical development of the tradition. The works selected for study are the fables of Marie de France, the Speculum stultorum of Nigel of Longchamp, the Middle English poem The Owl and the Nightingale, Chaucer's Parliament of Fowls and the tales of the Squire, Manciple and Nun's Priest, the Reynardian tale of The Vox and the Wolf, and the Moral Fabillis of Robert Henryson.

This book is the first study to investigate both the relation between gender and violence in the Old Norse Poetic Edda and key family and contemporary sagas, and the interrelated nature of these genres. Beginning with an analysis of Eddaic attitudes to heroic violence and its gendered nature through the figures of Guðrún and Helgi, the study broadens out to the whole poetic compilation and how the past (and particularly the mythological past) inflects the heroic present. This paves the way for a consideration of the comparable relationship between the heroic poems themselves and later reworkings of them or allusions to them in the family and contemporary sagas. Accordingly, the study moves on to consider the use of Eddaic allusion in Gísla saga’s meditation on violent masculinity and sexuality, assesses the impact of the Church on attitudes to revenge in family and contemporary sagas, and finally explores the scapegoating of women for male violence in the contemporary sagas. Although the Eddaic poems themselves present a complex and conflicting attitude to vengeance, revenge and other forms of violence are in later texts regularly associated with the past, often represented by Eddaic figures. Moreover, saga authors often attempt to construct a national narrative which shows moderation and peace-making as the only viable alternative to what is seen as the traditional destructive model of vengeance. Nevertheless, the picture the sagas present is far from uniform, rather being one of conflicting voices as the attractions of heroic violence for many prove difficult to resist. The book’s thematic concentration on gender/sexuality and violence, and its generic concentration on Poetic Edda and later texts which rework or allude to it, enable a diverse but coherent exploration of both key and neglected Norse texts and the way in which their authors display a dual fascination with and rejection of heroic vengeance

The book examines the literary deployment of the figure of John the Evangelist in Middle High German texts, with particular reference to the question of imitatio. John is a major and multi-faceted saint, the biography and cult of whom have continuously raised questions about authorship, religious contemplation, spirituality, visions, and even sexuality, through most of the Christian period. The book identifies two parallel hagiographic uses of John in Middle High German texts: the devotional and the poetological. These uses are to a large extent contingent on genre: sermons and religious treatises typically use John to direct and control the devotional practices and attitudes of the audience, while poetological uses of John become apparent in genres characterised by a self-conscious narrative or lyrical persona, for whom John, in his capacity as visionary author, constitutes not only a role-model, but also a rival. Ultimately, both of these uses relate to the fundamental question of imitatio, i.e., of the extent to which it is possible or appropriate for ordinary individuals to seek to re-create the extreme experiences and achievements of John. However, whereas devotional contexts focus on the relationship between John and the literary audience, the more poetologically oriented texts foreground the potentially imitative relationship between John and the author's persona.

This book presents a narratological analysis of the Kaiserchronik, or chronicle of the emperors, an account of the Roman and Holy Roman emperors from the foundation of Rome to the run-up to the Second Crusade that was remarkably popular in medieval Germany. Previous research has concentrated on the structure and sources of the work and emphasized its role as a Christian narrative of history, but this study shows that the Kaiserchronik does not simply illustrate a didactic religious message: it also provides an example of how techniques of story-telling in the vernacular were developed and explored in twelfth-century Germany. Four aspects of narrative are described (time and space, motivation, perspective, and narrative strands), each of which is examined with reference to the story of a particular emperor (Constantine the Great, Charlemagne, Otto the Great, and Henry IV). Rather than dogmatically imposing a single analytical framework on the Kaiserchronik, the book takes account of the fact that modern theory cannot always be applied directly to works from premodern periods: it draws critically on, and where necessary refines, a variety of approaches, including those of Gérard Genette, Boris Uspensky, and Eberhard Lämmert. Throughout the book, the narrative techniques described are contextualized by means of comparisons with other texts in both Middle High German and Latin, so that the place of the Kaiserchronik as a literary narrative in the twelfth century becomes clear.

This is a study of the intellectual history and religious culture of German‐speaking Europe in the late Middle Ages. Its focus is the bilingual oeuvre of the Franciscan Marquard von Lindau (d. 1392), arguably the most widely read author in the German language before the Reformation. His most successful works were those which were aimed at a broad implicit audience and dealt with pragmatic issues of the Christian life. This book deals with three of those pragmatic issues most central to late medieval religious life: Christ's Passion, the sacrament of the Eucharist, and devotion to the Virgin Mary. Marquard's approach is understood and contextualized in each case in comparison with the works of his predecessors, his contemporaries, and his successors, in Germany and in the wider European world, in order to locate his contribution ‐ and theirs ‐ in this way within a wide temporal framework. It is argued that the dominant approaches hitherto taken towards these aspects of fourteenth‐century religious life, and the patterns of behaviour and thought which those approaches had fostered, represented problematic challenges to Marquard. These were challenges which he met in a distinctive and influential manner, often in direct and remarkable opposition to the affectively charged devotional practices encouraged by many within and without his order, and which have been considered normative for the religious culture of the late Middle Ages in modern historiography. The ethos projected by his works determined a new trajectory for intellectual life in Germany into the fifteenth century and beyond.