Download Women's Power in Late Medieval Romance (Studies in Medieval by Amy N. Vines PDF
By Amy N. Vines
The cultural and social strength of girls within the heart a while may be not easy to track, with facts for it scarce. This e-book argues that medieval romances offer a imperative, yet under-explored, resource for and examples of such authority.
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Extra resources for Women's Power in Late Medieval Romance (Studies in Medieval Romance)
As it stands, Pandarus “unwittingly furthers Diomede’s love suit as well as Troilus’s when he tells Criseyde to ‘do way’ her book” (Sanok, “Women and the Theban Subtext,” p. 53, note 27). Criseyde’s lament recalls the narrator’s fear that the women in the audience will indict him for his depiction of Criseyde (V. 1774–1776). In this passage Criseyde, already speaking as a text, fears the same thing. We may recall the debate between Chaucer and the god of Love in the Legend of Good Women (see note 14 above).
61) in Troilus and Criseyde are glossed, such as “Thesiphone … thow goddesse of torment” (I. 6–8), but that “Chaucer feels no need to gloss the first appearance of major figures like Hector (I. 110)” (Strohm, p. 61).
70). In addition to the recital or preaching scene at the bottom of the picture, we can see the retinue scene as an adaptation of the late fourteenth- and early fifteenth-century pictorial convention of the author composing among the events about which he writes (Parkes and Salter, p. 22). The connections between the meeting of the two retinues and the exchange in Troilus and Criseyde of Antenor for Criseyde are striking. In the case of the Corpus manuscript, then, the poet/preacher could be reciting the tale to an audience while the event he is relating occurs in the backdrop.