Roman de la Rose


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Roman de la Rose

 

(Tale of the Rose), a classic of medieval French literature. The first section of the poem was written in the 1220’s by Guillaume de Lorris. The narration is in the form of an allegorical dream, and the characters are personified vices and virtues. The work allegorically recounts the poet’s love for the Rose, which personifies ideal femininity and divine grace.

The second part of the poem was written circa 1260 by the clergyman Jean de Meun. Reviewing the concepts of courtly love as well as a number of contemporary philosophic views, the author champions free love, reason, and equality. At the same time, he proves to be an outstanding satirist and depictor of mores. The Roman de la Rose was popular from the 14th through 16th centuries.

EDITIONS

Roman delà Rose, vols. 1–3. Paris, 1965–70.
In Russian translation:
In Khrestomatiia po zarubezhnoi literature: Literatura srednikh vekov. Compiled by V. I. Purishev and R. O. Shor. Moscow, 1953.

REFERENCES

Istoriia frantsuzskoi literatury, vol. 1. Moscow-Leningrad, 1946. Pages 150–54.
Jung, M. R. Etudes sur le poème allégorique en France au Moyen Age. Bern, 1971.
Hilder, G. Der scholastische Wortschatz bei Jean de Meun. Tübingen, 1972.

A. D. MIKHAILOV

References in periodicals archive ?
En el Roman de la Rose, el amante entra a un jardin de placer, de mano de la Dama Ociosa, y ahi participa en un baile guiado por la Alegria.
The first article of current edition, "The Letter of The God of Love (1399): The First Literary Quarrelling Set up by a Woman to be Found in the French Language", analyzes the letter of Christine de Pisan, written in the Middle Ages, in a struggle against the misogyny of the Jean de Meun's Roman de la Rose.
Howard Graham Harvey, an early historian of the basochiens, noted their fondness for the Roman de la Rose, their "natural taste for the literary debats which stemmed from the Roman de la Rose as well as from the study of Roman Law.
La segunda parte del Roman de la Rose es mucho mas extensa que la primera y al mismo tiempo notablemente dificil de resumir.
Sin embargo, se debe tener en cuenta que el barbaro posee otro elemento: el "buen salvaje", cuyo origen se remonta al Roman de la rose en el siglo xiii, en quien se representaba la bondad que reinaba en el mundo en el tiempo "de los primeros padres".
Ellen Lorraine Friedrich's essay on the Roman de la rose which argues that each author provided a defence of masculinity certainly extends the current scholastic thought and is the result of a thorough investigation and reading of the text and subtext.
3) In examples that range from descriptions of palaces in the Latin east to vernacular courtly romance and lyric (Le Roman de la Rose, Gottfrieds Tristan, troubadour lyric), crystal acts as a medium for illusory effects and multiple sensory experiences that often celebrate carnal love.
In its choice of texts--narratives collected into thirteenth-century cyclical manuscripts such as the epic Cycle de Guillaume, the Vulgate and Tristan cycles of Arthurian prose romance, and the Roman de Renart--Sunderland's book is an example of recent efforts to rethink medieval literature from the viewpoint of manuscript production and dissemination rather than the modern critical edition (perhaps best exemplified by Digital Humanities projects such as the Roman de la Rose Digital Library and Medieval Francophone Literary Culture Outside France).
Working within the broad themes of transformations, senses and intellect, and textuality and translatio, they consider such aspects as comparative hermeneutics of desire in Dante and 'Attar, Augustine and the object of desire in Purgatorio X, sexualities and knowledges in Purgatorio XXVI and Inferno V, expressions of desire in the strophic poems of Hadewijch, and queer metaphors and queerer reproductions in Alain de Lille's De planctu natura and Jean de Meun's Roman de la rose.
The works identified as emergent novels were published in a time at which there was a frantic rewriting in prose both of courtly romances such as Amadis and works of allegory modeled on the Roman de la Rose.
Subsequent chapters track the presence of this Ovidian discourse of erotic violence through the Roman de la Rose (Chapter 4) and the Wife of Bath's Prologue (Chapter 5).
Champier's allegorical figures, like Christine's, are reminiscent of the dream vision in the Roman de la rose, but they grace only his prologue, suggesting that he added them later as well.