The Romaunt of the Rose (The Romaunt) is a partial translation into Middle English of the French allegorical poem, Le Roman de la Rose (Le Roman). Originally believed to be the work of Chaucer, the Romaunt inspired controversy among 19th-century scholars when parts of the text were found to differ in style from Chaucer's other works. Also the text was found to contain three distinct fragments of translation. [1] Together, the fragments—A, B, and C—provide a translation of approximately one-third of Le Roman.
There is little doubt that Chaucer did translate Le Roman de la Rose under the title The Romaunt of the Rose: in The Legend of Good Women , the narrator, Chaucer, states as much. The question is whether the surviving text is the same one that Chaucer wrote. The authorship question has been a topic of research and controversy. As such, scholarly discussion of the Romaunt has tended toward linguistic rather than literary analysis. [2]
Scholars today generally agree that only fragment A is attributable to Chaucer, although fragment C closely resembles Chaucer's style in language and manner. Fragment C differs mainly in the way that rhymes are constructed. [3] And where fragments A and C adhere to a London dialect of the 1370s, Fragment B contains forms characteristic of a northern dialect. [1]
Guillaume de Lorris completed the first 4,058 lines of le Roman de la Rose circa 1230. Written in Old French, in octosyllabic, iambic tetrameter couplets, the poem was an allegory of what D. S. Brewer called fine amour. [4] About 40 years later, Jean de Meun continued the poem with 17,724 additional lines. In contrasting the two poets, C. S. Lewis noted that Lorris' allegory focused on aspects of love and supplied a subjective element to the literature, but Meun's work was less allegory and more satire. Lewis believed that Meun provided little more than a lengthy series of digressions. [5]
Geoffrey Chaucer began translating Le Roman into Middle English early in his career, perhaps in the 1360s. [6] Chaucer may have selected this particular work because it was highly popular both among Parisians and among French-speaking nobles in England. [7] He might have intended to introduce the poem to an English audience as a way of revising or extending written English. [8] Moreover, Le Roman was controversial in its treatment of women and sex, especially in the verses written by Meun. [9] Chaucer may even have believed that English literature would benefit from this variety of literature. [10]
Chaucer's experience in translating Le Roman helped to define much of his later work. It is a translation which shows his understanding of French language. Russell Peck noted that Chaucer not only drew upon the poem for subject matter, but that he trained himself in the poem's literary techniques and sensibilities. "Le Roman" enabled Chaucer to introduce a "stylish wit and literary manner" to his English audience and then to claim these attributes as his own. [11]
The Romaunt is written in octosyllabic, iambic tetrameter couplets in the same meter as le Roman. [12] The translation is one of near-minimal change from the original. Raymond Preston noted that "a better poem in English would have meant a lesser translation." [13]
An early fifteenth-century manuscript of the Romaunt of the Rose was included in the library William Hunter donated to the University of Glasgow in 1807.
In 1532, William Thynne published the first collected edition of Chaucer's work. Commissioned by Henry VIII to search for copies of Chaucer's manuscripts in the libraries and monasteries of England, Thynne printed a collection that included the Romaunt of the Rose. [14]
By 1870, Henry Bradshaw had applied his method of studying rhymes to Chaucer's poetry. Working independently, Bradshaw and Dutch philologist Bernard ten Brink concluded that the existing version of the Romaunt was not Chaucer's translation of le Roman, and they placed the work on a list that included other disqualified poems no longer considered to have been written by Chaucer. [15]
Citing research by both Linder and Kaluza, Walter Skeat, a nineteenth-century scholar, divided the Romaunt into the following three fragments that correspond to French text in le Roman:
Breaks in the Romaunt | Text in the Romaunt | Corresponding text in le Roman |
---|---|---|
Fragment A | lines 1–1,705 | lines 1–1,678 |
Fragment B | lines 1,706–5,810 | lines 1,679–5,169 |
Fragment C | lines 5,811–7,698 | lines 10,716–12,564 note: 5,547 untranslated lines occur between fragments B and C |
Le Roman continues another 9,510 lines without a corresponding English translation in the Romaunt. When the 5,547 untranslated lines between fragments B and C are included, the English translation is roughly one-third of the original French poem.
Skeat subjected the Romaunt text to a number of tests, and he found that on average, fragment A required 101.6 lines of English poetry for every 100 lines of French poetry. Fragment C required 102.1 English lines for 100 French lines. But Fragment B required 117.5 English lines for 100 French lines. Skeat also found that a northern dialect was present in fragment B, where Chaucer almost exclusively used a London dialect. Fragment B also broke with Chaucer's rule in rhyming words that end in y. Finally, Skeat discovered that where Chaucer did not employ assonant rhymes, fragment B depended upon them. These discoveries led nineteenth-century scholars to conclude that fragment B was not written by Chaucer.
Skeat found that Fragment C departs from Chaucer's usage, beginning again with words ending in y that the author rhymed with words ending in ye. Where Chaucer rhymed the words wors and curs in The Canterbury Tales, the author of fragment C rhymed hors and wors. In what Skeat said would be a "libellous" attribution to Chaucer, the author of fragment C rhymed paci-ence with venge-aunce and force with croce. Fragment C rhymes abstinaunce with penaunce and later abstinence with sentence. These and other differences between fragment C and the works of Chaucer led Skeat to disqualify fragment C.
Further research in the 1890s determined that the existing version of the Romaunt was composed of three individual fragments—A, B, and C--and that they were translations of le Roman by three different translators. [1] The discussion about the authorship of the Romaunt of the Rose is by no means ended. In a recent metrical analysis of text, Xingzhong Li concluded that fragment C was in fact written by Chaucer or at least "88% Chaucerian." [3]
The story begins with an allegorical dream, in which the narrator receives advice from the god of love on gaining his lady's favor. Her love being symbolized by a rose, he is unable to get to the rose.
The second fragment is a satire on the mores of the time, with respect to courting, religious order, and religious hypocrisy. In the second fragment, the narrator is able to kiss the rose, but then the allegorical character Jealousy builds a fortress encircling it so that the narrator does not have access to it.
The third fragment of the translation takes up the poem 5,000 lines after the second fragment ends. At its beginning, the god of love is planning to attack the fortress of Jealousy with his barons. The rest of the fragment is a confession given by Fals-Semblant, or false-seeming, which is a treatise on the ways in which men are false to one another, especially the clergy to their parishioners. The third fragment ends with Fals-Semblant going to the fortress of Jealousy in the disguise of a religious pilgrim. He speaks with Wikked-Tunge that is holding one of the gates of the fortress and convinces him to repent his sins. The poem ends with Fals-Semblant absolving Wikked-Tunge of his sins.
Geoffrey Chaucer was an English poet, author, and civil servant best known for The Canterbury Tales. He has been called the "father of English literature", or, alternatively, the "father of English poetry". He was the first writer to be buried in what has since come to be called Poets' Corner, in Westminster Abbey. Chaucer also gained fame as a philosopher and astronomer, composing the scientific A Treatise on the Astrolabe for his 10-year-old son Lewis. He maintained a career in the civil service as a bureaucrat, courtier, diplomat, and member of parliament.
Piers Plowman or Visio Willelmi de Petro Ploughman is a Middle English allegorical narrative poem by William Langland. It is written in un-rhymed, alliterative verse divided into sections called passus.
Le Roman de la Rose is a medieval poem written in Old French and presented as an allegorical dream vision. As poetry, The Romance of the Rose is a notable instance of courtly literature, purporting to provide a "mirror of love" in which the whole art of romantic love is disclosed. Its two authors conceived it as a psychological allegory; throughout the Lover's quest, the word Rose is used both as the name of the titular lady and as an abstract symbol of female sexuality. The names of the other characters function both as personal names and as metonyms illustrating the different factors that lead to and constitute a love affair. Its long-lasting influence is evident in the number of surviving manuscripts of the work, in the many translations and imitations it inspired, and in the praise and controversy it inspired.
Rhyme royal is a rhyming stanza form that was introduced to English poetry by Geoffrey Chaucer. The form enjoyed significant success in the fifteenth century and into the sixteenth century. It has had a more subdued but continuing influence on English verse in more recent centuries.
John Lydgate of Bury was an English monk and poet, born in Lidgate, near Haverhill, Suffolk, England.
Medieval literature is a broad subject, encompassing essentially all written works available in Europe and beyond during the Middle Ages. The literature of this time was composed of religious writings as well as secular works. Just as in modern literature, it is a complex and rich field of study, from the utterly sacred to the exuberantly profane, touching all points in-between. Works of literature are often grouped by place of origin, language, and genre.
The Parlement of Foules, also called the Parlement of Briddes or the Assemble of Foules, is a poem by Geoffrey Chaucer made up of approximately 700 lines. The poem, which is in the form of a dream vision in rhyme royal stanza, contains one of the earliest references to the idea that St. Valentine's Day is a special day for lovers.
The Book of the Duchess, also known as The Deth of Blaunche, is the earliest of Chaucer's major poems, preceded only by his short poem, "An ABC", and possibly by his translation of The Romaunt of the Rose. Based on the themes and title of the poem, most sources put the date of composition after 12 September 1368 and before 1372, with many recent studies privileging a date as early as the end of 1368.
Guillaume de Lorris was a French scholar and poet from Lorris. He was the author of the first section of the Roman de la Rose. Little is known about him, other than that he wrote the earlier section of the poem around 1230, and that the work was completed forty years later by Jean de Meun. He is only known by mention of Jean de Meun,, in Roman de la Rose.
Jean de Meun was a French author best known for his continuation of the Roman de la Rose.
Tail rhyme is a family of stanzaic verse forms used in poetry in French and especially English during and since the Middle Ages, and probably derived from models in medieval Latin versification.
Medieval French literature is, for the purpose of this article, Medieval literature written in Oïl languages during the period from the eleventh century to the end of the fifteenth century.
A dream vision or visio is a literary device in which a dream or vision is recounted as having revealed knowledge or a truth that is not available to the dreamer or visionary in a normal waking state. While dreams occur frequently throughout the history of literature, visionary literature as a genre began to flourish suddenly, and is especially characteristic in early medieval Europe. In both its ancient and medieval form, the dream vision is often felt to be of divine origin. The genre reemerged in the era of Romanticism, when dreams were regarded as creative gateways to imaginative possibilities beyond rational calculation.
Sir Richard Ros, was an English poet, the son of Sir Thomas Ros, lord of Hamlake (Helmsley) in Yorkshire and of Belvoir in Leicestershire.
The Pilgrim's Tale is an English anti-monastic poem. It was probably written ca. 1536–38, since it makes references to events in 1534 and 1536 – e.g. the Lincolnshire Rebellion – and borrows from The Plowman's Tale and the 1532 text by William Thynne of Chaucer's Romaunt of the Rose, which is cited by page and line. It remains the most mysterious of the pseudo-Chaucerian texts. In his 1602 edition of the Works of Chaucer, Thomas Speght mentions that he hoped to find this elusive text. A prefatory advertisement to the reader in the 1687 edition of the Works speaks of an exhaustive search for The Pilgrim's Tale, which had proved fruitless
Chanticleer and the Fox is a fable that dates from the Middle Ages. Though it can be compared to Aesop's fable of The Fox and the Crow, it is of more recent origin. The story became well known in Europe because of its connection with several popular literary works and was eventually recorded in collections of Aesop's Fables from the time of Heinrich Steinhowel and William Caxton onwards. It is numbered 562 in the Perry Index.
Chaucer's influence on 15th-century Scottish literature began towards the beginning of the century with King James I of Scotland. This first phase of Scottish "Chaucerianism" was followed by a second phase, comprising the works of Robert Henryson, William Dunbar, and Gavin Douglas. At this point, England has recognised Scotland as an independent state following the end of the Wars of Scottish Independence in 1357. Because of Scottish history and the English’s recent involvement in that history, all of these writers are familiar with the works of Geoffrey Chaucer.
Hein van Aken, also called Hendrik van Aken or van Haken, was the parish priest in Korbeek-Lo, between Leuven and Brussels. He was born in Brussels, probably in the thirteenth century. He translated the Roman de la Rose by Guillaume de Lorris and Jean de Meun to Dutch, with the title Het Bouc van der Rosen,. Hein's translation, also commonly called Die Rose, was widespread. This is notable due to the many manuscripts and excerpts that are still preserved, for example in the University Library of Ghent. He is probably also the poet of a Dutch reworking of the French Ordene de chevalerie. With less reason, some also attribute the Natuurkunde van het Geheel-al to him, but a poem by him must be kept in the Comburger manuscript.
The Floure and the Leafe is an anonymous Middle English allegorical poem in 595 lines of rhyme royal, written around 1470. During the 17th, 18th, and most of the 19th century it was mistakenly believed to be the work of Geoffrey Chaucer, and was generally considered to be one of his finest poems. The name of the author is not known but the poem presents itself as the work of a woman, and some critics are inclined to take this at face value. The poet was certainly well-read, there being a number of echoes of earlier writers in the poem, including Geoffrey Chaucer, John Lydgate, John Gower, Andreas Capellanus, Guillaume de Lorris, Guillaume de Machaut, Jean Froissart, Eustache Deschamps, Christine de Pizan, and the authors of the "Lai du Trot" and the Kingis Quair.
Nicole de Margival was an Old French poet active around 1300. His two known works are Le Dit de la panthère d'amours and Les trois mors et les trois vis.