Roman de la Rose

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.


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.


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.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
E un testo adespoto e anepigrafo, ritrovato e edito per la prima volta da Ferdinand Castets nel 1881, formato da 232 sonetti, libera traduzione e riduzione del Roman de la Rose di Guillaume de Lorris et Jean de Meung, opera scritta tra il 1237, per mano del primo autore, e il 1275-1280, per la parte redatta dal secondo.
Marco Nievergelt compares the rhetoric and didactics of the fourteenth-century Pelerinage of the Cistercian Guillaume de Deguileville with those of the Roman de la Rose, Marcel Elias looks at emotions in late Middle English Charlemagne romances as a means for exposing diverging views on crusading culture, Philip Knox examines the blurring of medieval generic boundaries between lyric and narrative writing, and Sebastian Langdell argues that Chaucer as represented in Hoccleve's Regiment of Princes is a result of the increasingly militant and repressive English Church.
The presence of Dame Oiseuse (Lady Idleness), a figure plucked from the Roman de la Rose, may in itself bespeak a basoche connection.
Exploring Fortune in the pseudo-Boethian De Disciplina Scholarium (and its English commentators Trevet and Wheatley; de Lille's Anticlaudianus; de Meun's Roman de la Rose; Chaucer's Fortune and his other works; Lydgate's The Fall of Princes; and Charles, Duke of Orleans's Fortunes Stabilnes) and relating the texts to sumptuary laws and authorial biography, Denny-Brown reveals Fortune's self-fashioning; how her changeability of dress fuses with the new concept of fashion; the relationship of her clothing to morality; and ultimately (in Orleans's poem), her constancy in an ever-changing world.
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".
In secular representations of rock crystal, one can see lapidary and religious symbolism in tension with an engagement with crystal that registers the heterogeneous experience of various effects--a "dark transparency." (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.
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 14 papers are from a June 2010 conference at Oxford.