Deflection/Reflection In the Lyric Poetry Of Charles d'Orléans. A Psychosemiotic Reading (PDF)
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Through a meticulous analysis of syntax, this psychosemiotic reading of the ballades and rondeaux of Charles d'Orléans demonstrates how both content and form reveal the paradoxes and complexities of the poetic persona created by this fifteenth century French poet.
"Cholakian's analysis is perceptive, thought-provoking, and intriguing... the author avoids gratuitous observations, and responsibly defends his views on the psychological tensions underlying Charles' poetry. In addressing the complicated question of Charles' persona, focusing on imagery and especially on the use of syntax, Cholakian has made an important contribution to the study of Charles d'Orléans... His book demonstrates, at the very least, that there is much more to these deceptively simple poems than meets the eye."-David A. Fein, French Review.
"The book is cleanly organized, tersely written, provocative and rational at the same time." -Ann Tukey Harrison, Fifteenth Century Studies.
Folie et Sens me gouvernent tous deux. (Ballade 120)
Through the poetic conventions of the "allegorical mode"1 the persona of the ballade engages in an intriguing and untiring auto-critique, in a dialectic between anxiety and hope, deflection and reflecton.
On occasion, the persona appears to argue with himself, to urge himself to take up the "avirons d`Espoir" so as not to stagnate in "1`eau de Fortune si quoye." (93) More frequently, however, he concludes that the correct course of action is retreat in the face of "Dangier." Instead of acting as aggressor, he prefers to draw back. How, for example, does he react, when Dame Fortune boasts, in the well-known series of "Fortune" ballades, of her power over helpless, victimized humanity?
Car, quant aucuns en mes mains prens,
D`en bas je les monte en haultesse
Et d`en hault en bas les descens,
Monstrant que suis Dame et maistresse,. . .(113)
Instead of a vigorous defense, one hears the feeble, unsure and wavering voice of the persona timidly echo:
Souventesfoiz, centre raison,
Boutez de hault plusieurs en bas
Et de bas en hault, telz debas
Vous usez en vostre maison. (114)
And as if this quiet resignation to mistreatment were not enough, the cowering "moi" gives way to strident self-deprecation: "On me deust bien, sans flaterie,/Chastier, despoillie tout nu. . . (117) What is more, this morose self-censureship seems to provoke incurable, psychosomatic disorders:
Guerir ne se puet maladie
Par phisique, ne cireurgie,
Astronomians n`enchanteurs,
Des maulx que seuffrent povers cueurs
Par le vent [de Merencolie]. (Ill)
Allegorical enemies gather around the plagued persona, pursue it, hold it prisoner, and force it to wear a mask of compliant pleasantness:
Quant je deusse bonne chiere
Demener en compaignie,
Je n`en fais que la maniere:
Car quoy que ma bouche rie,
Du parle parolle lye,
Dangler et
Boutent monplaisir arriere,
Je pry Dieu qu`il les maudie! (25)
And so the "moi" inhabits the darkness of "boys de Merencolie" (43), suffers from "fievre .. . de merencolie" (107), sees himself as inescapably "deffie . .. de Merencolie et douleur. " (99) Mind and body together bear the intolerable weight of a crushing and debilitating insecurity.
The love imagery, while it conforms to the customary courtly topology: idealized female, incomparable suffering of the lover, torn between desire and frustration, expectancy and hesitation, suggests also anxieties at a much deeper, psychological level.3 The created "moi", poet-lover, would like to believe that love (faith) can defeat death (fear).
- Autor: Rouben Charles Cholakian
- 1985, 1. Auflage, 101 Seiten, Englisch
- Verlag: Digitalia
- ISBN-10: 0916379213
- ISBN-13: 9780916379216
- Erscheinungsdatum: 01.01.1985
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- Dateiformat: PDF
- Grösse: 3.57 MB
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