Book contents
- Frontmatter
- Contents
- Dedication
- Editorial Note
- Acknowledgements
- Abbreviations
- Introduction
- Chapter 1 Southwark Gower: Augustinian Agencies in Gower’s Manuscripts and Texts – Some Prolegomena
- Chapter 2 The Place of Egypt in Gower’s Confessio Amantis
- Chapter 3 Topical and Tropological Gower: Invoking Armenia in the Confessio Amantis
- Chapter 4 Saving History: Gower’s Apocalyptic and the New Arion
- Chapter 5 Gower’s Poetics of the Literal
- Chapter 6 Romance, Popular Style and the Confessio Amantis: Conflict or Evasion?
- Chapter 7 John Gower: Prophet or Turncoat?
- Chapter 8 The Parliamentary Source of Gower’s Cronica Tripertita and Incommensurable Styles
- Chapter 9 John Gower’s Legal Advocacy and ‘In Praise of Peace’
- Chapter 10 Se-duction and Sovereign Power in Gower’s Confessio Amantis Book V
- Chapter 11 The Fifteen Stars, Stones and Herbs: Book VII of the Confessio Amantis and its Afterlife
- Chapter 12 ‘Of the parfite medicine’: Merita Perpetuata in Gower’s Vernacular Alchemy
- Chapter 13 Inside Out in Gower’s Republic of Letters
- Chapter 14 Gower’s Business: Artistic Production of Cultural Capital and the Tale of Florent
- Chapter 15 Genius and Sensual Reading in the Vox Clamantis
- Chapter 16 Irony v. Paradox in the Confessio Amantis
- Chapter 17 Sinning Against Love in Confessio Amantis
- Chapter 18 The Woman’s Response in John Gower’s Cinkante Balades
- Chapter 19 Rich Words: Gower’s Rime Riche in Dramatic Action
- Chapter 20 Florent’s Mariage sous la potence
- Chapter 21 Why did Gower Write the Traitié?
- Chapter 22 Rival Poets: Gower’s Confessio and Chaucer’s Legend of Good Women
- Chapter 23 Reassessing Gower’s Dream-Visions
- Chapter 24 John Gower’s French and His Readers
- Chapter 25 Conjuring Gower in Pericles
- Bibliography
- Index
Chapter 4 - Saving History: Gower’s Apocalyptic and the New Arion
Published online by Cambridge University Press: 02 March 2023
- Frontmatter
- Contents
- Dedication
- Editorial Note
- Acknowledgements
- Abbreviations
- Introduction
- Chapter 1 Southwark Gower: Augustinian Agencies in Gower’s Manuscripts and Texts – Some Prolegomena
- Chapter 2 The Place of Egypt in Gower’s Confessio Amantis
- Chapter 3 Topical and Tropological Gower: Invoking Armenia in the Confessio Amantis
- Chapter 4 Saving History: Gower’s Apocalyptic and the New Arion
- Chapter 5 Gower’s Poetics of the Literal
- Chapter 6 Romance, Popular Style and the Confessio Amantis: Conflict or Evasion?
- Chapter 7 John Gower: Prophet or Turncoat?
- Chapter 8 The Parliamentary Source of Gower’s Cronica Tripertita and Incommensurable Styles
- Chapter 9 John Gower’s Legal Advocacy and ‘In Praise of Peace’
- Chapter 10 Se-duction and Sovereign Power in Gower’s Confessio Amantis Book V
- Chapter 11 The Fifteen Stars, Stones and Herbs: Book VII of the Confessio Amantis and its Afterlife
- Chapter 12 ‘Of the parfite medicine’: Merita Perpetuata in Gower’s Vernacular Alchemy
- Chapter 13 Inside Out in Gower’s Republic of Letters
- Chapter 14 Gower’s Business: Artistic Production of Cultural Capital and the Tale of Florent
- Chapter 15 Genius and Sensual Reading in the Vox Clamantis
- Chapter 16 Irony v. Paradox in the Confessio Amantis
- Chapter 17 Sinning Against Love in Confessio Amantis
- Chapter 18 The Woman’s Response in John Gower’s Cinkante Balades
- Chapter 19 Rich Words: Gower’s Rime Riche in Dramatic Action
- Chapter 20 Florent’s Mariage sous la potence
- Chapter 21 Why did Gower Write the Traitié?
- Chapter 22 Rival Poets: Gower’s Confessio and Chaucer’s Legend of Good Women
- Chapter 23 Reassessing Gower’s Dream-Visions
- Chapter 24 John Gower’s French and His Readers
- Chapter 25 Conjuring Gower in Pericles
- Bibliography
- Index
Summary
In the Prologue to Confessio Amantis, apocalyptic is the vehicle for a farreaching statement about the shape of history and about good political order. This is political theology of a different order from the noon-day demon and animal Armageddon fireworks of Vox Clamantis. The thoroughness of the poem's apocalyptic indicates how full and theorized is the Confessio's idea of earthly politics. The Prologue's apocalyptic history is mirrored in the lover's personal, penitential apocalypse at the end of the poem. This implies a fulcrum between the political and the personal, and this fulcrum bears a special, politically positive load in Gower's idiosyncratic inflection of apocalyptic with a wished-for new Arion.
Apocalyptic and apocalypse are overlapping but not coterminous categories. Bernard McGinn sets out the distinctions: ‘The word apocalypse means “revelation”, the unveiling of a divine secret.’ Apocalypse in this sense might not be apocalyptic in the sense of ‘linking the succession of time and its end’. Apocalyptic or apocalypticism is ‘a species of the genus eschatology’distinguished by the urgency of its concern for ‘the structure and End of history’. It might not be presented in the form of an apocalypse.
The apocalyptic in the Confessio is more coherent than that of the Vox, but, focusing on the figure of a new Arion, it also introduces a level of contingency untypical of apocalyptic writing in general. Helen Cooper has observed that apocalyptic writing ‘in the Middle Ages, and later’, uses ‘the idea of the nonnegotiable judgments of God to take political and moral discourse out of the realm of debate and replace it with a religious absolute’. God's sense of right and wrong functions in such a way in the Confessio, but the new Arion passage posits that the timing of Judgment is contingent, and depends on human disunity or social reform. This gives the poem's apocalyptic theory a very significant pro-history twist, imagining for lay poetry and politics independent (if divinely monitored) power on the threshold of the religious absolute.
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- John Gower, Trilingual PoetLanguage, Translation, and Tradition, pp. 46 - 58Publisher: Boydell & BrewerPrint publication year: 2010
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