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1 results

  • Chapter 10 - Metalepsis and Allegory

  • from Part III - Unfinished Business
  • Edited by Jonathan Morton, Tulane University, Louisiana, Marco Nievergelt, University of Warwick
  • With John Marenbon
  • Book:
    The ‘Roman de la Rose' and Thirteenth-Century Thought
    Published online:
    17 June 2020
    Print publication:
    16 July 2020, pp 210-232

  • Summary

    In the metalepsis situated at the centre of the text, the God of Love disorients the reader with the revelation that the romance that the latter was sure of having read has not yet been written and that it will be the work of two authors of which the first is in danger of dying and the second has not yet been born. In the verses in question, which take their inspiration not only from ‘Parisian philosophy’ but also from the ‘legalists’ of Orléans and the teachings of Joachim of Fiore (by means of Gerard de Borgo San Donnino), an authorial hypostasis takes place (or a supposition according to Scholastic terminology), which is expressed through the triad ‘Guillaume de Lorris’ – ‘God of Love’ – ‘Jean Chopinel’, and which provides the romance’s underlying unity, its allegorical mysteries, and its modalities of enunciation.