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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 22 лютого 2023

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Статті в журналах з теми "Patience (Middle English poem)"

1

Pittman, Josh. "The Most Important Virtue?" Renascence 71, no. 1 (2019): 57–75. http://dx.doi.org/10.5840/renascence20197114.

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The narrator of the Middle English Cleanness states that God punishes sexual sin more harshly than any other sin. This essay argues that the rest of the BL Cotton Nero A.x manuscript continues to develop the virtue of temperance, which governs sexual behavior, as a central theme. Pearl uses temperance to bring home the dreamer’s sin and God’s justice, while Patience and SGGK employ the interrelation between temperance and fortitude in ways that make temperance foundational. Interrogating the interdependence of the virtues allows the poet to challenge the traditional hierarchy of virtues, in which temperance is the lowest, thus making the case that temperance is paradoxically foundational to other virtues, like justice and fortitude. In this way, the poems not only make a case for the value of temperance, but they also expose ambiguities in orthodox accounts of the virtues.

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Stanley, E. G. "The Middle English Lyric and Short Poem." Notes and Queries 49, no. 1 (March 1, 2002): 113–14. http://dx.doi.org/10.1093/nq/49.1.113.

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Stanley, E. G. "The Middle English Lyric and Short Poem." Notes and Queries 49, no. 1 (March 1, 2002): 113–14. http://dx.doi.org/10.1093/nq/490113.

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4

Palti, K. "The Bound Earth in Patience and Other Middle English Poetry." Interdisciplinary Studies in Literature and Environment 20, no. 1 (February 6, 2013): 31–51. http://dx.doi.org/10.1093/isle/ist001.

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5

BURROW, J. A. "TWO NOTES ON THE MIDDLE ENGLISH PATIENCE , lines 56 and 329." Notes and Queries 36, no. 3 (September 1, 1989): 300–303. http://dx.doi.org/10.1093/nq/36-3-300.

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6

Smith, Ross. "J. R. R. Tolkien and the art of translating English into English." English Today 25, no. 3 (July 30, 2009): 3–11. http://dx.doi.org/10.1017/s0266078409990216.

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ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is of the anonymous 14th Century poem Sir Gawain and the Green Knight, which was published posthumously with two other translations from Middle English in the volume Sir Gawain and the Green Knight, Pearl and Sir Orfeo (Allen & Unwin 1975). The translation of Middle English texts constitutes the bulk of his output in this field, both in the above volume and in the fragments that appear in his lectures and essays. However, his heart really lay in the older, pre-Norman form of the language, and particularly in the greatest piece of literature to come down to us from the Old English period, the epic poem Beowulf.

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7

Coleman, Janet. "The Owl and the Nightingale and Papal Theories of Marriage." Journal of Ecclesiastical History 38, no. 4 (October 1987): 517–68. http://dx.doi.org/10.1017/s0022046900023630.

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In English and American Studies in German, summaries of theses and monographs, a supplement to Anglia, 1983, there is a notice of Hans Sauer's edition of the Middle English poem the Owl and the Nightingale with a German translation. Sauer stresses ‘that no completely satisfactory interpretation of this fascinating poem has been suggested so far. At best, only some of the aspects of O & N are covered by the various allegorical explanations or by reading it as a burlesque-satirical poem - these interpretations by no means explain its significance as a whole.’ The present paper suggests that a knowledge of the papacy's changing attitude t o marriage in the twelfth century, as expressed in the development of canon law, as well as in the deliberations of English provincial synods, goes far to illuminating the scope and purpose of this Middle English satire/burlesque.

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Morrison, Susan Signe. "Slow Practice as Ethical Aesthetics: The Ecocritical Strategy of Patience." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (September 17, 2020): 118–27. http://dx.doi.org/10.37536/ecozona.2020.11.2.3453.

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How can cultural works from the distant past –such as the Middle Ages—teach us ethical modes of behavior for today? One form of ecopoetics emerges through slow practice, making the reader collaborate in the measured process of co-creating the emotional impact of an imaginative text. Drawing on rich debates about slow cinema, this essay suggests how Chaucer’s The Clerk’s Tale—from his grand fourteenth-century poem, The Canterbury Tales—evokes a slow eco-aesthetics with ethical impact. The relative slowness of walking shapes how individuals respond to their environment. In turn, a deceleration of perception affects how travel comes to be written about, as seen in the tale of Patient Griselda. Introduced by Giovanni Boccaccio and adapted by such writers as Francesco Petrarch, Geoffrey Chaucer, and Christine de Pizan, she acts dynamically through her apparent silence and notorious patience. The environmental humanities offer paradigms for us to consider the strategies of slowness and patience. This essay shows how medieval pilgrimage literature evokes a slow aesthetic which is at the same time an ecocritical strategy. Slowness results in an enduring impact and heightened sensitivity to the ecological damage for which we all are culpable. Slower somatically inculcates key aspects of environmental awareness. Pilgrimage texts from the Middle Ages teach us slow ethical aesthetics, suggesting that the medieval moment—finally and a long time coming— is now.

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TARVERS, JOSEPHINE KOSTER. "A HITHERTO UNNOTICED MIDDLE ENGLISH POEM IN UNIVERSITY OF PENNSYLVANIA MS ENGLISH 6 1." Notes and Queries 32, no. 4 (December 1, 1985): 447–49. http://dx.doi.org/10.1093/nq/32-4-447.

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Boffey, Julia, and Paula Simpson. "A Middle English Poem on a Binding Fragment: an Early Valentine?" Review of English Studies 67, no. 282 (July 20, 2016): 844–54. http://dx.doi.org/10.1093/res/hgw074.

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Дисертації з теми "Patience (Middle English poem)"

1

Jones, Caroline. "The Gawain-poet's use of the Beatitudes." Thesis, University of Wales Trinity Saint David, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683285.

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Johnson, Eric Jerome. "'In dryz dred and daunger' : the tradition and rhetoric of fear in Cleanness and Patience." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14031/.

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This dissertation is a study of medieval theological interpretations of fear and their influence on the rhetorical and didactic discourses of two late-fourteenth century Middle English homiletic poems, Cleanness and Patience. In Chapter 1 I analyze the various medieval conceptualizations of dread (morally valueless timor naturalis, morally culpable timor libidinosus, and morally laudable timor gratuitus) as discussed by scholars such as Peter Lombard, St. Thomas Aquinas and St. Bonaventure and in works such as biblical exegesis and theological encyclopaedias. In the second chapter, I examine ways in which these formal, learned Latin interpretations of fear were disseminated to a wider, vernacular Middle English audience. I do so by discussing how medieval preaching theory and practice and vernacular didactic and devotional treatises actively employed rhetorical and exhortative discourses of fear in an effort to encourage their audiences to forsake sin and pursue virtue. In Chapters 3 and 4 I show how Cleanness and Patience incorporate and employ the various theological conceptualizations of dread discussed in Chapter I and the rhetorical and didactic discourses of fear analyzed in chapter 2. I examine fear's presence within the larger narrative, thematic, rhetorical, and didactic structures of each poem, discussing the poet's precise use of scholastic interpretations of fear in his representations of characters, his vivid descriptions of death and destruction, and the ways in which he both implicitly and explicitly confronts his audiences with a variety of fearful discourses. I argue that the poet utilizes fear to promote a specific rhetorical strategy, one based upon a well-developed understanding of dread which should inspire in his audience the desire to flee from sin and damnation and approach fear-inspired, reverent perfection. Cleanness and Patience illustrate the power of God and the threat of sin, exhorting their readers to embrace and learn from the senses of dread they utilize and promote. Both poems provide remarkable examples of how particular elements oflearned Latin thought were adopted and developed by Middle English vernacular traditions.

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Menner, Robert James. "Purity a Middle English poem." Ann Arbor, Mich. : University of Michigan Library, 2006. http://quod.lib.umich.edu/cgi/t/text/text-idx?c=cme;cc=cme;view=toc;idno=ACS0188.0001.001.

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4

Hopkins, Stephen Chase Evans. "Solving the Old English Exodus: An Active Problem Solving Approach to the Poem." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303488106.

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Lecklider, Jane K. "An analysis of the structure and meaning of the Middle English poem Cleanness based upon a comprehensive examination of source materials." Thesis, King's College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363844.

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Timmermann, Anke. "The circulation and reception of a Middle English alchemical poem : the Verses upon the Elixir and the associated corpus of alchemica." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613055.

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Whitelock, Jill. "'The Seven Sages of Rome' and Orientalism in Middle English literature, with an edition of the poem from Cambridge, University Library, Dd.1.17." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624686.

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8

Roberts, Aled William. "Quoynt Soffraunce: Patience and Late Medieval English Literature." Thesis, 2020. https://doi.org/10.7916/d8-294n-zt13.

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This dissertation examines three literary treatments of patience in late medieval English literature. I argue that patience appears in the literature of late medieval England in a new and surprising form. Langland’s Patience in the B-text of Piers Plowman is an impoverished minstrel that disrupts and antagonizes his interlocutors through gnomic riddles and comic vignettes. The homiletic poem Patience, through a narrator hyperactively keen to transform suffering into “play” or “jape,” unpicks the deficiencies of a theology that views patience as “ease” or even pleasure and illuminates the Book of Jonah as a unique scriptural witness to the difficulty and estrangement of living within the patientia Dei. The “morality play” Mankind stages its grappling with the difficulties of Jobean patience through the antics of foul-mouthed diabolical and hamartiological agents who perpetually trouble the patience of both the characters and the audience. By reading these poems and plays very closely amidst their scriptural and patristic intertexts I argue that the works studied in this dissertation constitute an intense literary interest in the theology of patience in late medieval England, both as a spiritual and as a hermeneutic ideal. In Piers Plowman, Patience and Mankind, patience becomes a discomforting concatenation of mirth and despair. In Piers Plowman, Haukyn is brought to the belief that living “[s]o hard it is” by Patience’s comic vignettes. God’s “meschef” in Patience brings Jonah to cry, twice, that his life is “to longe.” Mankind loses his patience and sinks into acedia in Mankind via a theatrical “jape” by the professional minstrel Titivillus, a “jape” that the audience are repeatedly invited to be patient for. I argue that this unusual collocation of frivolity and sorrow can be understood partly in relation to the patristic focus on differentiating Christian patience from stoic fortitude and apatheia. This created a foundational concept of patience as participatory with the patientia Dei. The patience of God, as conceived in patristic treatises on patience, was a non-suffering (impassible) patience. The problem of conceptualizing the impassible patience of God produced, I argue, enduring formulations of God’s patience as a form of pleasure and, accordingly, of human patience as participatory with the pleasure of God. Yet, the pleasures that Piers Plowman, Patience and Mankind associate with their treatments of patience are not rarefied spiritual joys. Rather, in each text studied here, patience is particularly associated with the low-brow entertainments of minstrelsy, “jape” and “game.” This produces a disorienting concatenation of low-comedy and grave suffering through which, I argue, these writers align their explorations of the theology of patience with their own literary practice. In Piers Plowman, through Patience’s strange minstrelsy, Langland is making an important statement of his own learned “meddling with makings.” In Patience, the poem speaks in multiple voices to produce a contradictory and dissonant account of God’s patience and how it might be understood. In Mankind, the play’s central episode of the breaking of Mankind’s patience turns to the social and economic realities of the theatrical production itself to explain a theology of patience that will attend to a Creation of invisible and visible parts. Patience, often a wan-faced and inscrutable virtue, has a vibrant and unique life in the vernacular literature of late medieval England. The three texts studied here are a case study in the under-explored novelty of late medieval conceptions of patience that, I hope, might illuminate unexpected areas of late medieval devotional and literary practice.

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Psonak, Kevin Damien. "The long line of the Middle English alliterative revival : rhythmically coherent, metrically strict, phonologically English." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5044.

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This study contributes to the search for metrical order in the 90,000 extant long lines of the late fourteenth-century Middle English Alliterative Revival. Using the 'Gawain'-poet's 'Patience' and 'Cleanness', it refutes nineteenth- and twentieth-century scholars who mistook rhythmic liveliness for metrical disorganization and additionally corrects troubling missteps that scholars have taken over the last five years. 'Chapter One: Tame the "Gabble of Weaker Syllables"' rehearses the traditional, but mistaken view that long lines are barely patterned at all. It explains the widely-accepted methods for determining which syllables are metrically stressed and which are not: Give metrical stress to the syllables that in everyday Middle English were probably accented. 'Chapter Two: An Environment for Demotion in the B-Verse' introduces the relatively stringent metrical template of the b-verse as a foil for the different kind of meter at work in the a-verse. 'Chapter Three: Rhythmic Consistency in the Middle English Alliterative Long Line' examines the structure of the a-verse and considers the viability of verses with more than the normal two beats. An empirical investigation considers whether rhythmic consistency in the long line depends on three-beat a-verses. 'Chapter Four: Dynamic "Unmetre" and the Proscription against Three Sequential Iambs' posits an explanation for the unusual distributions of metrically unstressed syllables in the long line and finds that the 'Gawain'-poet's rhythms avoid the even alternation of beats and offbeats with uncanny precision. 'Chapter Five: Metrical Promotion, Linguistic Promotion, and False Extra-Long Dips' takes the rest of the dissertation as a foundation for explaining rhythmically puzzling a-verses. A-verses that seem to have excessively long sequences of offbeats and other a-verses that infringe on b-verse meter prove amenable to adjustment through metrical promotion. 'Conclusion: Metrical Regions in the Long Line' synthesizes the findings of the previous chapters in a survey of metrical tension in the long line. It additionally articulates the key theme of the dissertation: Contrary to traditional assumptions, Middle English alliterative long lines have variable, instead of consistent, numbers of beats and highly regulated, instead of liberally variable, arrangements of metrically unstressed syllables.
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Schoen, Jenna. "Romantic Theology: Contemplating Genre in Late Medieval England." Thesis, 2021. https://doi.org/10.7916/d8-jc43-jk69.

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This dissertation explores the use of romance across religious poetry in late medieval England. Medieval devotional poems frequently borrow motifs and devices from romance; they might, for example, figure Jesus as a knight jousting with the devil or adopt the romance technique of interlace to narrate the Passion. Critics most frequently read these borrowings as a popularizing method, arguing that the poets of these religious texts turn to romance in order to appeal to their secular audience. I argue instead that late 14th century Middle English poets use romance to explore difficult theological paradoxes and Christian practices. In Pearl, the romance descriptio personae helps articulate the paradoxes of divine reward, at once hierarchical and egalitarian. In Piers Plowman, the romance incognito demonstrates the shifting and multivalent nature of the Trinity. In St. Erkenwald, the slow indulgence of romance wonder stands in contrast to God’s time, which is simultaneously immediate and drawn-out. In the Canterbury Tales, the romance parody of Thopas primes the reader for the prudential lessons of Melibee. This dissertation adds to a growing body of scholarship that reads medieval romance, and in particular Middle English romance, as a genre that does not simply entertain audiences but also interrogates, challenges, or reiterates medieval values and ideas. However, this project adds to current scholarship by examining romance out of its native context and inside or beside religious genres instead. In the first three chapters, I argue that by triggering a romantic reading, the Middle English poems Pearl, Piers Plowman, and St. Erkenwald enact and demonstrate the conceptual difficulties of certain theological paradoxes. In these poems, romance serves as a contemplative tool by demonstrating the reader’s comprehensive limits in the face of the divine. My fourth chapter, which explores Chaucer’s romance parody Sir Thopas alongside his pedagogical treatise Melibee, instead considers the Christian virtue of prudence; here, the exaggerated romance tropes of Sir Thopas prepare the pilgrims to pay penance prudentially by feeling and contemplating time in daily Christian life. While romance does not articulate a paradox about God in Thopas-Melibee, it still prompts contemplation about a difficult Christian virtue, prudence. In all four chapters, I find that romance serves as a vehicle for spiritual contemplation because of its own modes of thinking, whether that be social, economic, or temporal. Whether romance is set within or beside devotional texts, the secular genre allows the reader to contemplate difficult Christian theology and practices and to experience them as difficult in contemplation. Romance, I argue, is a critical tool in the vernacular theologian’s toolkit.

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Книги з теми "Patience (Middle English poem)"

1

Gilligan, Janet Agnes. Neoplatonic cosmology and the Middle English "Patience". Ann Arbor, MI: University Microfilms International, 1986.

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2

Huval, Barbara Jane. Anglo-Saxon lexical and literary implications in the works of the Gawain-poet. Ann Arbor, MI: University Microfilms International, 1985.

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3

Newman, Barbara Florence. Sin, judgment, and grace in the works of the Gawain-poet. Ann Arbor, MI: University Microfilms International, 1986.

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4

The numerical universe of the Gawain-Pearl poet: Beyond phi. Gainesvillle: University Press of Florida, 2002.

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5

Putter, Ad. An introduction to the Gawain-poet. New York: Longman, 1996.

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6

The fayre formez of the Pearl poet. East Lansing: Michigan State University Press, 1996.

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7

Lawman's Brut, an early Arthurian poem: A study of Middle English formulaic composition. Lewiston [N.Y.]: E. Mellen Press, 1991.

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8

Malcolm, Andrew, ed. The Gawain poems: A reference guide, 1978-1993. Albany, N.Y: Whitston Pub. Co., 2000.

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9

Anderson, J. J. Language and imagination in the Gawain-poems. Manchester, UK: Manchester University Press, 2005.

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10

The art of the Gawain-Poet. London: Athlone Press, 1991.

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Частини книг з теми "Patience (Middle English poem)"

1

"Patience:." In Middle English Biblical Poetry and Romance, 119–46. Boydell UK, 2021. http://dx.doi.org/10.2307/j.ctv1grbbgj.11.

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2

"Query: How Real Are the Geats? And Why Does this English Poem Never Mention the English?" In Studies in the Early Middle Ages, 65–71. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.sem-eb.4.00060.

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3

Davies, Joshua. "Ruins and wonders: The poetics of cultural memory in and of early medieval England." In Visions and ruins. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526125934.003.0002.

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The Old English poem known as The Ruin meditates on the material remains of a long-passed civilisation and has often been read as typical of the nostalgic poetry of the Anglo-Saxons, but its reception history reveals how cultural memories of the Anglo-Saxons have been rewritten in the modern world and the importance of the idea of ruination to modern conceptions of the Middle Ages. This chapter constitutes the first extended study of the disciplinary and translation histories of The Ruin, traces the history of the poem from 1826 to the twenty-first century and explores the meanings of ruins in the Middle Ages and modernity.

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4

Knox, Philip. "Courtly Encounters." In The Romance of the Rose and the Making of Fourteenth-Century English Literature, 33–90. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192847171.003.0002.

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The aim of this chapter is to examine a number of different medieval English readings of the Rose that took place within what can be loosely described as a ‘courtly’ environment. Courtly reading practices are examined, including the difficult example of the Middle English poem Pearl. The main body of this chapter focuses on two pairs of texts that constitute, in different ways, examples of readers ‘answering back’ to an earlier reading of the Rose, asserting or disputing a collective attitude towards the text. They reveal one way in which the Rose carried out its work on late medieval culture, mobilizing different ideas about the place of literature in communal identity. Both pairs also cross national borders: Geoffrey Chaucer and Oton de Granson; Christine de Pizan and Thomas Hoccleve.

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Dresvina, Juliana. "Thirteenth-century anonymous Margaret poems and their later redactions." In A Maid with a Dragon. British Academy, 2016. http://dx.doi.org/10.5871/bacad/9780197265963.003.0002.

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Chapter 2 examines thirteenth-century verse lives of St Margaret that continued to be copied, rewritten, and adapted well into the sixteenth century. These include multiple versions of two Middle English poems, a free-standing Meidan Maregrete, and the saint’s life from the South English Legendary corpus, their variations, deviations, manuscript context, raising the question of their genre – a hagiography–romance hybrid. Then it looks into Anglo-Norman and French versified lives of St Margaret, paying special attention to the so-called G version, immensely popular in Europe and preserved in over one hundred manuscripts. This popularity appears to result from the text’s claim that a copy of the poem can itself act as the saint’s relic.

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Davies, Joshua. "The language of gesture: Untimely bodies and contemporary performance." In Visions and ruins. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526125934.003.0005.

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This chapter explores the medieval interests of two twenty-first century pieces of art: Elizabeth Price’s immersive video installation, The Woolworths Choir of 1979 (2012), and Michael Landy’s Saints Alive (2013). Both of these works turn to medieval culture in order to examine the untimeliness of the body and this chapter traces their sources and explores how their work speaks with, and to, medieval representations of the body. It contextualises Price and Landy’s work with explorations of medieval effigies and the Middle English poem St Erkenwald. The methodology of this chapter is informed by Aby Warburg’s work on gesture in early modern art and interrogates moments of contact and communication across time.

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Jahner, Jennifer. "Coda." In Literature and Law in the Era of Magna Carta, 217–28. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847724.003.0006.

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The conclusion to the book expands the terrain of “jurisdictional poetics” to include both contemporary and medieval poetry. It begins with the work of Carter Revard, Osage poet and medievalist, whose discovery of the scribe of Harley 2253 has fundamentally shaped contemporary scholarship on legal and literary copying in later medieval England. His poem “Starring America” provides an entry point into the tensions between epic and local histories that resonate as well in a set of cross-Channel satires that date to the time of the Second Barons’ War. The coda examines the earliest surviving Middle English sirventes, “Richard of Almaigne,” alongside two French satires on the English revolt, the Pais aus Englois and La chartre de la pais aus Englois. In both cases, language difference serves as a synecdoche for territorial dominion, parsing the boundaries between political desire and legal authority.

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Attridge, Derek. "Lyric, Romance, and Alliterative Verse in Fourteenth-Century England." In The Experience of Poetry, 206–27. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0010.

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Fourteenth-century Europe saw the spread of literacy and increasing numbers of educated laity, creating a large audience for poetry on the page. Dante in the Commedia, Petrarch, Machaut, and others testify to great sophistication in written poetry—though oral performance remained important. This chapter and those that follow concentrate on poetry in English, which eventually displaced French and Latin as the language of the court. Attention is given to the question whether Middle English romance was an oral or written form, and evidence for the widespread enjoyment of lyric poetry is assessed. The chapter considers the increasing importance of the large household as a venue for both performances of poetry and for private reading, and the alliterative poems that may have been produced in this context are discussed. Also in alliterative verse, but from a London base, was Langland’s poem Piers Plowman, which circulated widely in manuscript.

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Snyder, Michael. "A Day after the Fair." In James Purdy, 23—C2.F4. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197609729.003.0003.

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Abstract William moved his family to Findlay, Ohio. He did accounting work and became a bank inspector, which required travel away from home. Findlay was a small city that had been enriched in the late nineteenth century by an oil and gas boom, but by 1919 it was a boomtown after the boom. Amid a conservative environment, James as a child began writing strange stories and printing his own little magazine. His older brother Richard was a gay youth who aspired to be an actor. James did not much like public school but he found a high school English teacher who encouraged him and said he could be a writer, and he won a club contest with a poem. In the middle of his high school years, his parents divorced. To make ends meet, Vera turned the family home into a boarding house.

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Jahner, Jennifer. "Classroom Historicisms." In Literature and Law in the Era of Magna Carta, 60–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847724.003.0002.

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This chapter situates the most popular compositional treatise of the later Middle Ages—Geoffrey of Vinsauf’s Poetria nova—against the backdrop of the English Interdict of 1208–14. The Poetria nova belongs to the cohort of new artes poetriae of the late twelfth and thirteenth centuries. Manuals designed to help grammar instructors teach verse and prose composition, they formulated lessons through examples drawn from the classical canon and the “real world” of contemporary affairs. Though rarely discussed as an occasional poem in its own right, Poetria nova shows itself very much concerned with the geopolitical tensions animating England and Rome during the time of its composition. Beginning with its lavish dedication to Pope Innocent III and ending with its plea on behalf of King John, the Poetria nova uses the occasion of the Interdict to explore the questions of mercy, judgment, and persuasion central to both rhetorical pedagogy and political diplomacy.

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