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March 19, Experiences from: Previous Managerial Economics, Second Edition: Storms after the Storm Katrina Secrets Book 1. Without the pressure of academic assumptions about traditional distinctions between text and gloss, about canons of relevance in explications, and about adherence to a textual tradition, the translators played. The earliest translators inherited from the Latin tradition the convention of philosophical and mythological glosses. They also exhibited a seemly inhibition in their strict adherence to prose throughout their versions.
But translators like Bonaventura and Pierre merely imitated the outward form of the scholastic texts while resorting to their own popular resources for the medievalizing substance. Further decay of the academic format can be seen in those early mixed versions in which the glosses are selective and uncontroversial.
As long as the Consolatio maintained its prestige in the schools against the encroachments of Aristotelianism, nominalism, and the contempt of familiarity, the production of vernacular versions formally reflected that reverence. But the Dominican and Benedictine religious who later romanced and refined the verse versions were exploiting the relaxation of academic conventions by certain kinds of poetic experimentation, unruffled by the intellectual storms higher up.
According to Ernst Curtius, St. Thomas Aquinas viewed poetry as the lowest of all sciences—his Aristotelian source being the Metaphysics and not the Poetics —and this was essentially a new view in opposition to the older northern rhetorical tradition embodied in the poetic epics of Bernard Silvester and Alain of Lille, and in the literary studies of John of Salisbury and William of Conches.
It is possible to see, in consequence, a progressive weakening of the bonds between the two medieval cultures downward from Dante through the early Italian humanists and the English classicizers to the French translators, and this deterioration parallels the dissolution of that marriage of poetry and philosophy—successful in Dante—but on severe trial in the French adaptations of the Consolatio. The late classical union of philosophy and poetry achieved by Boethius was, as I have sketched, partly a formal matter of alternating the styles appropriate to prose and verse, partly an epistemological matter involving the quest for divine knowledge by both human reason, metaphorized as an ascent, and by Platonic reminiscence, made concrete through allusions to human and mythological history.
Beyond this, the late medieval translators often lost the Boethian formal distinction by rendering the Consolatio entirely in prose or verse. In Dante the result is a series of dramatic narratives arrayed within an eschatological scheme; in the classicizing friars something of the same motivation produced pagan tales and moralitates set within explications of Holy Writ; while in certain of the French versions of Boethius the result is an attractive mixture of translation, gloss, and narrative elaboration.
Here, I shall glance back at some of those results in terms of the failures and successes of the narratives as they extend or subvert Boethian meanings. One of the structural effects of eclecticism results from drawing together several tellings of a story with much overlap of detail. This is neutral as regards meaning and may simply produce, as in the case of the relation of the Orpheus legend in the earliest prose translation, a mechanically repetitive account.
But two of the narratives by the Anonymous of Meun realize two aesthetic possibilities of inorganic structure. The first of these successes is also partly owing to the shrinking interest among vernacular writers in the allegorical lucubrations of the schoolmen. Because he could discard much of the allegorizing that accompanied the narrative details gleaned from Fulgentius, Vincent of Beauvais, and the glosses, the Anonymous of Meun could also let those details fall in the direction of newer categories like the panorama of Deadly Sins.
And the problematical redundancy of his account could be refined away by such revisions as that in MS B. By associating Orpheus with acedia and Boethius with Orpheus, the Anonymous set the characterization of the Boethian malady of paralyzing ignorance within a rich medieval framework of greater accessibility.
The collection of reversals that the Anonymous assembled add up to a clear structural realization of the ideas that Fortune strikes with mechanical dispassion and that tragedy bewails such clockwork. The tonal results of such inorganicism as we find exhibited in these translations appear to be even more mixed than those effected in structure. It must be granted, I think, that a number of the interpolated narratives, particularly those which were identified as pure fable—having little purpose beyond the merely informative—occasionally and inadvertently sabotaged the tone of their context.
Partly this is due to the very limited range of tones permitted by the solemn purposes and lofty audience of the original Consolatio, but the apparent damage is also the result of the very freedom with which medieval authors assembled their bits and pieces into art. When a translator intrudes into a hymn of universal love a rape story, he may impede our comprehension of universal love. Between these extremes occur some interesting effects of medieval literary eclecticism. I have claimed that the translators who reproduced the tendentious arguments of apologists for Christian cosmology shared their failure to significantly Christianize the Consolatio.
But some translators were more successful in imparting a broadly Christian tone to the work. Thus, while Boethius certainly asserts the omnipotence of God, the vernacular adaptors extended the range of illustrations to include qualities of mercy and forgiveness in him. Similarly, the conception of human psychology that emerges from the interpolation of the homely instances that Pierre de Paris and Renaut de Louhans gathered of failed scholars and repentant thieves is more complex and more tolerant of complexity.
And while those methods may at times have cast an icon ungainly as a hawk in armor, more frequently they reflect the consolation His creatures have taken in the witty diversity of their imperfection. An Essay Edinburgh, , p. Richard Green Indianapolis, , pp. See the commentators mentioned in note 14 to the Introduction. For the source of this passage, see Georg H. Bode, Scriptores rerum mythicarum latini tres Cellis, , p. Loeb Classical Library London, , vol. Bode, Scriptores rerum mythicarum latini tres Cellis, , pp.
Paris, , vol.
I have used MS B. Helm Leipzig, , pp. But Grosseteste saw curiositas like a backward glance? Harvey Wood, 2nd ed. Howard, The Three Temptations: Medieval Man in Search of the World Princeton, , pp. Boetius usi sunt n. In Remigius; see Acta Sanctorum Jan. To cite the opinion of C. The Theological Tractates, ed. This tale is reminiscent of the popular medieval story of Eppo the thief; see J.
Crosland, Medieval French Literature Oxford, , p. This work also alludes to the story of the cat and the candle, lines Willard Trask New York, , pp. Jordan, Chaucer and the Shape of Creation: I have used the following generally accepted principles for the transcription of Middle French texts: The selections are the following:.
Calixto fu fille del roi Pandion. Il descendi as terres e prist la forme de Diana sa dame, e vint a li. Calixto ot un enfant au tens que ot nom Arcas. Juno descendi a la terre e bati la damoisele durement, e si li dist: Arcas li enfes crut e fu bachelier e alot sovent chacier. In turn the print lacks line For line 33, MS Roy. Il fist les selves moveir e corre a sei par ses plorables chanz, e constreinst les [fol.
Orpheus prie pardon par dolce proiere as seignors des armes. Les treis deesses serors, Megera, Alleto, Tesiphone, vengerresses des felonies les quels demeinent les armes noissantz par paor, e eles tristes ja emmostissent de lermes.
Li voltors, quant il est saols par les chantz, ne depecea la gole de Ticii, del geiant. Nuls ne le poet doner. Amors est la plus grantz leis a sei. Ce est, amors est senz lei. Amors a lei estre senz lei. Heu las, Orpheus vit la soe Euridicem issi aveit nom sa femme pres de le issue de la nuit, ce est del oscur enfer. La glose de cest metre: Nos devons saveir que li demonstrementz des auctors e des philosofes est feite par treis manieres: Hystoire si est chose feite recontee [fol. Ce est la fable de Orpheo.
It aveit une femme qui aveit a nom Euridice. Ele esteit molt bele e delitable. Li serpentz la morst, e ele fu morte. Li cers aleit segurement ensemble le lion. Il se compleinst des damnedeus desus, e descendi en enfer. Iloec comencea a chanter au mielz que il sot e pot, e vint devant le seignor des armes, e si li dist: Les armes comencerent a plorer por le dolz chant. Li torment de Ixyon de la roe cessa. Yxion fu uns geiante qui apela Junone, la femme de Jupiter, de gesir od sei, e por ce il a tel poine en enfer que il est torneez en une roe.
Par Junonem devoms entendre la vie temporel. Par Yxion, qui vost gesir o Junone e qui est tornoiez en la roe, devoms entendre celui qui quiert delit as temporels choses, mais ne poet venir a fin. Il sofreit tel poine en enfer: Par Tantalus qui despist Pallas entendoms les usuriers qui despisent la sapience spirital. Li voltors ne traist la gole de Ticii por les douz chanz.
Venus est deesse de delit. Sapience senz eloquence petit parfite, car ele est come li tresors resconduz e li arcs que non est tenduz. Euridice ce est bien disantz. Ele esteit bele e delitable, ce est, qui bien dit, si est de bones murs e delitables e amiables.
Ou par Euridice pooms entendre la sapience del sages. Ares en grezeis, ce est vertus en romans. Theos, ce est Dex. Mais ele fuit par les prez, ce est, par les delitz del siecle. Orpheus conut la mort de sa moillier e fist grantz plaignementz. Il chanteit dolcement par sa harpe por sei conforter, ce est, il diseit dolces paroles e raisnables. Li lievres ne doteit neient le chien.
Ce est, li feibles ne doteit neient le fort, car li fortz esteit atemprez par les dolces paroles. Ce senefie que li sages parole reisnablement des temporels choses. Par les treis serors que plorerent devoms entendre que nos pechoms en treis manieres en cest siecle, que nos entendoms par enfer: Quant li sages hom parole, cez treis serors deivent plorer e repentir.
The following are the major deletions and revisions of this section to be found in MS B. For lines read: The following readings from MS N. There are many variants in the MSS and the Croquet print; e. Lines closely follow the text of Renaut in MS B. Philosophie raconte en ceste part. Si vint une matinee pres de une tour ou Aristote estudoit, et estoit cele tour assize en une belle praerie.
Et lors sailly avant Alixandre et escria et reprist son maistre Aristote et se il fu vergoingnos, nous ne le doit demander. For other variants of lines and end, see the article by Astrik Gabriel cited in the discussion. The following are unassigned MSS: Thompson Collection 45 and 87; Heidelberg, Univ. NB 87; Leningrad, Publichnaja Bibl. Glasgow, Hunterian Museum ; Bern, Burgerbibl. Adalbold of Utrecht, 6 , 9 , Adam, 82 - 83 , Aemilius Paulus, 19 , 44 , Alain of Lille, 21 , Alcibiades, 78 - 79 , - Alexander the Great, 63 , 79 , - Alexandria, school of, 4. Alfred king of England , 5 , 8 , 19 , See Consolatio , version See Consolatio , version 1.
See Consolatio , version 8. See Consolatio , version 2. Apollo, 41 , 58 , Arcas, 31 - 32 , Arion, 57 - 60 , Aristaeus, 54 - 55 , 57 , 63 , - Aristotle philosopher , 7 , 11 , 78 , 83 , 85 ; character , 79 , - Asser bishop , 5.
Atys son of Croesus , 37 , 46 , Augustine, Saint, 7 , 76 , Bacchus, 55 , Badius Ascensius, Jodocus, 7. Belshazzar, 45 - 47 , 93 , 95 - Bernard Silvester, 51 , Boccaccio, 2 , 36 , 39 , Boethius fictional persona , 12 , 21 - 22 , 28 - 30 , 33 - 34 , 75 , 80 , - See Consolatio , version 3. Bovo of Corvey abbot , 5 - 6. Callisto, 31 - 32 , 89 - Cerberus, 26 , 56 - 57 , , Cicero, 21 , 68 , Circe, 24 - 25 , 28 , Anonymous Wallonian, 10 , 23 , 25 , 3.
Bonaventura da Demena, 9 - 10 , 23 , 25 , 73 , 84 , 4. First mixed version, 13 , 25 - 26 , 68 - 69 , 7. Revised mixed version, 13 - 14 , 19 , 23 , 35 , 41 , 55 , 68 , 8. Anonymous Benedictine, 15 - 16 , 29 , 64 , 69 - 70 , 72 , , , , - Abbreviation of Renaut, 16 , 69 , 71 , Second mixed version, 16 , Croesus, 36 - 49 , 87 , 90 - Daniel prophet , 45 - 47 , Dante, 83 - Death personification , 81 - 83 , - Delisle, Leopold, 2 n, 10 , 69 n.
Denis the Carthusian, 7. Diana, 31 , 89 - Dronke, Peter, 12 n. Epicureans, 51 , See Scotus Eriugena, John. Eurydice, 53 - 57 , 61 n, 62 , - , , Fabricius, 14 , 19 , Frye, Northrop, 49 n. Fulgentius, 56 - 57 , 59 , Furies, 55 , 57 , 63 , , Gabriel, Astrik, 28 , 79 - 80 , Gros Louis, Kenneth, 54 n, 63 n, Guillaume de Machaut, Helen of Troy, 58 , , Henryson, Robert, 56 , 62 - Herodotus, 37 - Horace, 7 , 31 , Jean de Cis, See also Consolatio , version 5.
John of Garland, 51 , John of Salisbury, 51 , Jourdain, Charles, 7 , 54 n. Langlois, Charles-Victor, 2 n, 14 n. Langlois, Ernest, 11 - 12 , 78 n.
Laurent de Premierfait, 40 , Lucan, 45 , Lydgate, John, 37 , 40 , 47 - Lynceus, 78 - Marie de France, Martianus Capella, 20 - 21 , 45 , 65 , Menippus of Gadara, Mercury, 24 , 28 , Mussato, Albertino, 84 - Notker Labeo, 4 , 8. Ovid, 26 , 39 , Paris, Paulin, 10 , 35 n.
Neuville was also responsible for a small number of illustrations in the best-selling novel Le Tour du monde en This gloss is a translation of all that remains of the Christianizing commentary on the Consolatio written by Bishop Adalbold of Utrecht d. Ele esteit molt bele e delitable. Download e-book for iPad: The interpretation of Fortune and her wheel is divided into two tableaux, and that on the left showing Philosophy consoling Boethius in prison is traditional fig. Chaucer and the Shape of Creation:
Anne, 8 n, Perotti, Niccolo, 7 , Perses king of Macedonia , 43 - Phania daughter of Croesus , 40 - 44 , 46 , Philosophy, Lady personification , 10 , 12 , 22 , 28 , 30 , 36 , 51 , 72 - 73 , 75 , Pierre de Paris, 7. See also Consolatio , version 4. Priam, , Trond, 7 , Remigius of Auxerre, 5 - 6 , 40 , 74 n. See Consolatio , version 9. Roques, Mario, 2 , 15 - Scotus Eriugena, John, 5. Simund de Freine, 8 - 9 , 25 , Smalley, Beryl, 24 , 44 - 45 , 52 n. Solinus, 45 , Solomon, 55 , Solon, 37 - 38 , 40 - Stoics, 51 , Theodoric, 33 - Tholomaeus de Asinariis, 7.
Thomas Aquinas, Saint, 7 , Thomas Aquinas, Saint Pseudo , Tiresias, 30 - Van der Vyver, A. Vatican Mythographers, 5 , 9 , 30 , 40 - 41 , Vincent of Beauvais, 35 , 45 , 57 , 59 , Virgil, 21 , Wenzel, Siegfried, 61 , 84 n. William of Aragon, 7. William of Cortumelia, 7. Zeno, 19 , 25 , Anonymous Burgundian on Calixto. MS Vienna , fol. Renaut de Louhans on Croesus.
Anonymous of Meun on Croesus. Anonymous Burgundian on Orpheus.
MS Vienna , fols. Anonymous of Meun on the Judgment of Paris. Jean Croquet, before ], sig. Text is from MS B. Pierre de Paris on Alcibiades. Anonymous Benedictine on the Inconstant Scholar. Jean Croquet, before ], unnumbered pages In memory of William Matthews. Texts 89 Appendix II: Illustrations Following page 28 Figure 1. Boethius Protects Paulinus Figure 2. Ulysses and Circe Figure 3. Circe and the Transformed Crew Figure 4.
Another Wheel of Fortune Figure 6. The Ascent of Boethius. Introduction An unlikely emblem comes to mind concerning the medieval Boethius. As the translator says in his brief introduction: Si vueil si ordonner la chose Que li vers soient mis en rime Ou consonant ou leolime; La prose est mise plainnement. It seems that the appearance in the fable of winged Mercury was the justification, although Pierre engages in some ingenious stretching of its relevance before falling flat with his concluding advice: Here is how the Burgundian tells it: What makes this example so astonishing to us is the context into which it is set, for meter 6 of Book IV is a profound lyric expression of the theme of the common bond of mutual love by which all things seek to hold to the supreme good: Sic aeternos reficit cursus Alternus amor, sic astrigeris Bellum discors exulat oris.
II King on a Wheel The Historian in his bare was hath many times that which we call fortune to overrule the best wisdom. Sidney, Defense of Poesy.
III The Tempting Integument Now, wirthy folk, Boece, that senatour, To wryt this fenyeit fable tuk in cure, In his gay buke of Consolatioun ffor our doctrene and gud instructioun; Quhilk in the self suppoiss it fenyeid be, And hid under the cloik of poetre. Henryson, Orpheus and Eurydice, De le glosser et commenter, De le diffinir et descripre, Diminuer ou augmenter, De le canceller et prescripre De sa main et ne sceut escripre, Interpreter et donner sens, A son plaisir, meilleur ou pire: Appendix I Texts in Order of Discussion I have used the following generally accepted principles for the transcription of Middle French texts: The selections are the following: Jupiter vous arousera, Car la pluye vous moillera Qui descent de la region Ou il a fait sa mansion.
En jouer est toute ma joye. Comment es tu en ignorance De nos moers? Et pour fortune miex entendre Voel mon parler plus loing estendre De ces. Et fu lor terre desconfite 20 Par Cyrus et a lui subgite. Babilone eut double riviere: Ensi feroit sechier celle yauwe, Ensi jura, ensi le fist; En. Mais Fortune tout sans mesaise Le delivre de le main Cyre.
Et elle li expose triste La vision et la sentence: Ensi ly a Fortune amere Cangiet tous biens en grant misere. Mais pour solas un petit faire Voel de. Juno si vault le vie active, Et Pallas la contemplative, Et Venus emporte delit 10 Que cascuns a bien pres eslit. Mais Pallas donne sapience De dieu et de sa congnoissance. Dont la pomme me doit donner Cui sy en voel guerredonner. Et pour tant, Paris, je te part Que se tu te tiens en ma part Contre ces. Et pour voir se tu le me noies Tu as tous mes delis perdus.
Et tout ainsi comme exposee Est dessus soit chi demenee De Juno toute la samblance A parler de parler manance, Car Pallas sapience donne De dieu et cognissance bonne.
Les chasnes et les grans ormeaux 25 Faisoit troter et courre en dance. Chant ne le povoit conforter, Amour faisoit son plour doubter. Aussi se porta Orpheus Moult bien par devers Tantalus. Quant Tantalus ouyt la note Qui par bemol fut moult devote, Tant fut sourpris et esbahys Et en joye de cueur ravis Que la fain et la soif oublie En escoutant la melodie.
En enfer va comme devant. Ja fine la fable atant. A vous recorde ceste fable Qui querez le jour perdurable, Et ja vous estes mis a voye. He, Fortune desmesuree, Com as nature bestournee. Cilz qui rendoit raison et cause De toute chose haulte et basse Maintenant a raison perdue. Or aprins autrepart son erre. Fortune doit bien estre dicte, Car en forcener si delicte.
Aussie discerne il proprement Qui cause en printemps le doulx vent, 35 Dont la terre est toute florie Et aournee cointement Des roses; aussi scet comment Autompne la vigne chargie De raisins donne plainement. Matin lever et tart couchier De jour penser et nuyt songier Et des aultres afflictions 40 Qui sont vers es prelations. Estat de clergie desprise Et dist que mieulx vault marchandise. Et cil qui avoit cueur volage Print trop a louer curtilege, Car on peut gaigner en courtil 60 Sans grant traveil et grant peril, Sans aler loing de sa maison. Sa semence pourrist en terre 65 Et ne getta germe ne grain, Dont se tint pour ung fol villain.
Et jura lors par sa main destre Que chevalier le convient estre, Car chevaliers ont les honneurs 70 Et les estas de grans seigneurs Sans mains mettre on leur apporte; Tout ce que leur fault a leur porte On les sert a grant diligence En honneur et en reverence. Asnes ne met riens en sa teste, De riens au monde ne li chaut Autant du froit come du chaut; Pour ce le dy tant seullement, Quar en tous les estas briefment A une malle circonstance Qui fait desirer la muance.
Elas, com seront mal venuz! Ilz demourront pouvres et nuz Quant ilz passeront par la mort. He is not expressive.
The faces of his characters are neutral; his locales are devoid of poetry His compositions are impersonal in the blandest and narrowest sense of the word This latter illustrator contributed, for example, the excellent portrait of Phileas Fogg and a rather fine one of Passepartout. This is the work which made Jules Verne world-famous. Finally, George Roux ? In designing the city, Roux seems to have been directly inspired by the latest advances in architecture Verne was well served by his designers to the very end.
In his final comments on Georges Roux, Sichel makes the following observation: From onwards, the rapid development of two-toned lithography, photography, and photolithography slowly began to replace the older woodcut-engraving process in most publishing houses in France—primarily because these techniques were cheaper, faster, and much less labor-intensive. Two illustrations, the first a halftone and the second a woodcut , are located within the first couple of chapters of this work And, effectively blurring the boundaries between fiction and reality, even a real photograph is included from time to time—e.
As such, this remarkable collection of early sf illustrations 29 stands as a living testament to the passing of an age—literary, ideological, and technological. Centre Culturel de la Somme, Jules Verne, Inventor of Science Fiction. Narratives of Modernity Liverpool: Liverpool UP, forthcoming in Dictionnaire des illustrateurs, Die Originalillustrationen des Romanwerks Jules Verne.
Taves, Brian and Steve Michaluk, eds. The Jules Verne Encyclopedia. Les Univers extraordinaires des illustrations de Jules Verne. Voyages et aventures du capitaine Hatteras , Voyages of Capt. Hatteras — Edouard Riou , Henri de Montaut 69 —engravers: Grant — Edouard Riou—engravers: