Book contents
- Frontmatter
- Contents
- List of Plates
- List of Contributors
- Abbreviations
- Introduction
- ‘Gardez mon corps, sauvez ma terre’ – Immunity from War and the Lands of a Captive Knight: The Siege of Orléans (1428–29) Revisited
- The Brothers Orléans and their Keepers
- Charles d'Orléans and his Brother Jean d'Angoulême in England: What their Manuscripts Have to Tell
- Two Manuscripts, One Mind: Charles d'Orléans and the Production of Manuscripts in Two Languages (Paris, BN MS fr. 25458 and London, BLMS Harley 682)
- Charles d'Orléans et l'‘autre’ langue: Ce français que son ‘cuer amer doit’
- Glanures
- Le monde vivant
- Dreams in The Kingis Quair and the Duke's Book
- The Literary Milieu of Charles of Orléans and the Duke of Suffolk, and the Authorship of the Fairfax Sequence
- Charles of Orléans Illuminated
- Charles d'Orléans, une prison en porte-à-faux. Co-texte courtois et ancrage référentiel: les ballades de la captivité dans l'édition d'Antoine Vérard (1509)
- Translation, Canons, and Cultural Capital: Manuscripts and Reception of Charles d'Orléans English Poetry
- Bibliographical Supplement
- Index
Le monde vivant
Published online by Cambridge University Press: 12 September 2012
- Frontmatter
- Contents
- List of Plates
- List of Contributors
- Abbreviations
- Introduction
- ‘Gardez mon corps, sauvez ma terre’ – Immunity from War and the Lands of a Captive Knight: The Siege of Orléans (1428–29) Revisited
- The Brothers Orléans and their Keepers
- Charles d'Orléans and his Brother Jean d'Angoulême in England: What their Manuscripts Have to Tell
- Two Manuscripts, One Mind: Charles d'Orléans and the Production of Manuscripts in Two Languages (Paris, BN MS fr. 25458 and London, BLMS Harley 682)
- Charles d'Orléans et l'‘autre’ langue: Ce français que son ‘cuer amer doit’
- Glanures
- Le monde vivant
- Dreams in The Kingis Quair and the Duke's Book
- The Literary Milieu of Charles of Orléans and the Duke of Suffolk, and the Authorship of the Fairfax Sequence
- Charles of Orléans Illuminated
- Charles d'Orléans, une prison en porte-à-faux. Co-texte courtois et ancrage référentiel: les ballades de la captivité dans l'édition d'Antoine Vérard (1509)
- Translation, Canons, and Cultural Capital: Manuscripts and Reception of Charles d'Orléans English Poetry
- Bibliographical Supplement
- Index
Summary
Ne m'en racontez plus, mes yeulx,
De beaulté que vous prizez tant,
Car plus voys ou monde vivant
Et mains me plaist, ainsi m'aist Dieux (R 216).
Posing the Problem
Is the invented narrator in Charles of Orleans's poetry a split personality? Are there two distinct poetic personae, the persona of the captivity years, introspective and forlorn, and a second post-captivity persona, more confidant, more happily attuned to the world around him? In short, is Charles in 1440 suddenly transformed into an active viewer of and participant in le monde vivant? Such would appear to be the consensus among critics to date:
The first stage tends to portray the interior world, the poet striving to capture the immediacy of his mental and emotional experience. With the second stage another dimension is added to his work, namely, the perception of the natural and human world surrounding him and a new perspective of himself as a part of this world.
In the following pages I propose to compare the ballades composed during Charles's capitivity years in England (1415–1440) with the more than 300 rondeaux written after his return to Blois. In doing so, I will ask whether the poet's attitudes towards his surroundings changed significantly.
Feeling is Seeing: Prosopopeia
By the fifteenth century the endlessly repetitive courtly romance had become a kind of allegorical shorthand for love. There was no longer any need to tell the entire story; it was already known well enough.
- Type
- Chapter
- Information
- Charles d'Orléans in England, 1415–1440 , pp. 109 - 122Publisher: Boydell & BrewerPrint publication year: 2000