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‘Anonymous’ Machaut: Guillaume de Machaut in Paris, BnF, NAF 6221

Boulton, Maureen

Digital philology, 2016-04, Vol.5 (1), p.116-126 [Periódico revisado por pares]

Baltimore: Johns Hopkins University Press

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  • Título:
    ‘Anonymous’ Machaut: Guillaume de Machaut in Paris, BnF, NAF 6221
  • Autor: Boulton, Maureen
  • Assuntos: 400-1499 Medieval period ; anthologies ; approximately 1300-1377 ; ballade ; Bibliothèque Nationale de France ; Chartier, Alain (1385?-after 1433) ; de Machaut ; France ; French literature ; Guillaume ; Guillaume de Machaut ; Guillaume, de Machaut (1300-1377) ; lay ; manuscript study ; Manuscripts, Medieval ; MS NAF 6221 ; Nouv. acq. fr. 6221 ; Plumetot, Simon de ; poetry ; reader response
  • É parte de: Digital philology, 2016-04, Vol.5 (1), p.116-126
  • Descrição: NAF 6220 opened the compilation with Laurent de Premierfait's Livre de vieillesse, a translation of Cicero's treatises On Old Age (Marzano) and On Friendship.4 The lyric anthology formed the second section, followed by NAF 6222 containing a political poem (the Songe véritable, Moranvillé) and Jacques Bruyant's Voie et Adresse de Povreté et de Richesse (Långfors).5 Jean Créton's verse Histoire de Richard II, Epistre and ballades (Webb; Dillon) formed the fourth section (NAF 6223).6 The final part of the book (NAF 6224) comprised a series of documents relating to diplomatic relations between England and France, most relating to the Hundred Years' War.7 As constituted by the sixteenth century, the broader codicological context of the lyric anthology was a compilation of didactic and historical texts. After line 100 (f. 1r2), Plumetot marked the end of the stanza and then copied all seven stanzas of Lai 2. Since Lai 2 is unusually short, the combination is only slightly longer than the normal length of a lai (twelve stanzas). The form is disguised, however, because, from this point on, the scribe drew a line under each half-stanza, making it appear that there are fourteen short stanzas. Since the previous stanza ends with a references to his lady "whom I adore" ("que j'aour"; line 100), and the new section opens with the declaration "J'ain la flour de valour," the amalgam is smooth in both rhyme and syntax. In particular, because the final stanza is copied in this way-apparently six hexasyllablic and two heptasyllabic verses-it occupies a similar amount of space to the first stanza (eight octosyllables) of the Lai mortel. [...]the beginning and end of the hybrid lai balance each other, at least visually, as is typical by the genre.
  • Editor: Baltimore: Johns Hopkins University Press
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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