Charles d'Orléans

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Charles d'Orléans:

see Orléans, Charles, duc d'Orléans, Charles, duc d'
, 1391–1465, French prince and poet; nephew of King Charles VI. After the assassination of his father, Louis d'Orléans, he became (1407) titular head of the Armagnacs (see Armagnacs and Burgundians).
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References in periodicals archive ?
Now four of these books - the celebrated Jazz (1947), Posies de Stphane Mallarm (1932), Pasipha, Chant de Minos (1944) and Pomes de Charles d'Orleans (1950) - are going on public show for the first time ever in the UK, at the Walker Art Gallery from next week.
As Charles d'Orleans put it, ``Gentle spring, in sunshine clad, well dost thy power display
She further speculates that the so-called Corpus Master was employed by Charles d'Orleans during his captivity.
In Les fleurs du mal there are lyrics worthy of Charles d'Orleans or the young Victor Hugo; fables with stinging morals reminiscent of La Fontaine; speeches and dramatic monologues equal to those of Racine or Corneille.
Familiar friends, such as Vernon, the Gawain manuscript, and the Corpus Troilus, or those giants of liturgical book production such as the Sherborne Missal, the Bedford Psalter, the Beaufort Hours, and the prayer book of Charles d'Orleans, rub bindings with unfamiliar volumes from private collections or from less well-researched public collections blinking uncertainly in the unfamiliar light of scholarly examination.
Le poete et le prince; L'evolution du lyrisme courtois de Guillaume de Machaut a Charles d'Orleans.
Parallels with contemporary works are explored by Adrian Armstrong, who convincingly argues for affinities between Villon and the grands rhetoriqueurs, and by Muhlethaler, who sees Villon as comparable to Adam de la Halle and Charles d'Orleans in the way in which the barrier posed to self-expression by the unreliability of language becomes a vehicle for poetic creation.
Le Poete et le prince: Levolution du lyrisme courtois de Guillaume de Machaut a Charles d'Orleans.
In the present volume, Arn and a group of Charles d'Orleans specialists return to the Duke, and from a variety of perspectives, historical and literary, which illuminate Charles's imprisonment in interesting and unexpected ways.
This study of the poetic `I' in late medieval French poetry focuses on works by Guillaume de Machaut, Jean Froissart, Eustache Deschamps, Christine de Pizan, Alain Chartier, and Charles d'Orleans.
In her study of the Findern lyrics possibly authored by women, Sarah McNamer argued that with the exception of verses written by men actually imprisoned (not just by love), such as Charles d'Orleans and his friend and imitator William de la Pole, Duke of Suffolk, verses about lovers cruelly separated by Fortune were more likely to be written by women than by men since women suffered greater restraints on their mobility.
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