The image of the Frankish kings in the poetry of Venantius Fortunatus

The poetry of Venantius Fortunatus is a sadly neglected historical source for sixth-century Gaul. Amongst the literary material that has survived from that age, the works of Gregory of Tours loom large. Since Gregory provides us with the sole narrative history of Gaul for much of this century, we are forced to see Merovingian society through his eyes. Venantius wrote panegyric, and an age such as ours, which values sincerity of expression, finds little that is attractive in that genre. Despite this, Venantius' poetry affords us a vantage point from which to view the Frankish kings. It also provides important evidence for the nature of the cultural fusion of Germanic, Roman and Christian elements that was taking place in the Gaul of Gregory of Tours and King Chilperic. The poems written for the Merovingian monarchs suggest that Venantius sensed a Frankish hankering after the trappings of Roman imperial authority. He wrote, perhaps with didactic intent, to give full exposition to the traditional Roman conception of the just ruler, coupled with the more recent ideal of the orthodox Christian monarch that was still current in the Byzantine Empire. When Venantius Fortunatus journeyed to the courts of the barbarian kings, he brought with him his cultural baggage from Byzantine Ravenna.     

Letter-writing and literary culture in Merovingian Gaul

This essay discusses Gregory of Tours' claim that literary culture was in decline in light of the considerable quantity of poetry and letters composed by Merovingian authors. Scholars have come to appreciate the importance of letter-writing for historical inquiry, yet the contrast between Gregory's assessment and aristocratic literary activity remains under-explored. This essay discusses fifth-century precedents and examines the continuity and discontinuity that occurred in the literary transition from late Antique to early-medieval Gaul. It examines the place of literary culture within Merovingian elite friendship networks, focusing on the interconnected writings of three Merovingian authors. Venantius Fortunatus was an Italian-born poet who spent most of his career writing for Merovingian elites. The royal officials Dynamius and Gogo composed letters found in a compilation of sixth-century letters called the Epistolae Austrasicae. Using the letters and poetry of these three writers, this essay argues that literary skill facilitated the creation and maintenance of connections across distance and was a necessary part of elite identity. It shows that Gregory of Tours' dramatic rhetorical claim did not reflect the true state of literature in Gaul.     

LIVING IN A TIME OF MADNESS: LAST DAYS OF JAVA'S LAST PROPHETIC POET

Shortly before his death in December 1873, the renowned Javanese court poet R. Ng. Ronggawarsita composed a short work of social criticism and Islamic ethics that is among the most celebrated of Javanese literary texts. Serat Kalatidha (The Time of Darkness) reflects upon the avenues that remain open to the ethical subject in what Ronggawarsita calls the “time of madness,” the time of darkness and error that marked his dismal present in high colonial Java. Most celebrated as a prophecy, the poem is, in part, a critical reworking of an early nineteenth‐century prophetic reflection on the Javanese past. My article explores the troubled context in which the author wrote this twelve‐stanza (108‐line) poem and how its text forms both a critical commentary on the state of the poet's current‐day society and a pensive reflection on the ethical imperatives of Islam. In the course of this exploration, I reveal how Ronggawarsita's poem forms a prophecy, not as a foretelling of an already determined future, but rather as a work that moves along prophetic time to provoke in his readers a productive intimacy with both pasts and futures.     

The Patronage of Rembrandt's Passion Series: Art,Politics, and Princely Display at the Court of Orange in the Seventeenth Century

This article sets out a new reading of a neglected poem by Sir Robert Howard, The Duell of the Stags (1668). It places the poem in the political context of the fall of Clarendon and rise of Howard’s friend and ally the Duke of Buckingham, and of Howard’s concurrent falling-out with his brother-in-law John Dryden. It explores the influence of Thomas Hobbes’ political theory on Howard’s poem, especially refracted through Sir William Davenant’s Hobbesian epic Gondibert (1651). The author argues that Howard’s poem implicitly attacked Dryden’s mode of panegyric for the Restoration regime by offering a radically alternative reading of Hobbes, casting royal power as fragile and contingent.     

Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore

The odes of the ancient Greek poet Anacreon, celebrating wine, women and song, were made newly popular in the nineteenth century through the efforts of Thomas Moore, a writer whose first volume of verse, a loose translation of the Odes of Anacreon, published in 1800, marks him out today as a poet of Romantic sociability par excellence. I argue that the Anacreontic ode popularised by Moore continued to resonate through nineteenth-century Ireland – albeit in a heavily mediated form – in the work of the poet's successor, James Clarence Mangan, who picked up the cup in the series of drinking songs he wrote periodically throughout the 1830s and 1840s, the decades during which Mangan sank into alcoholism and emotional estrangement. The easy charm of Moore's Anacreontic song mutates in Mangan's verse into a more complex, often allusive and fragmented form, a perverse Anacreontics, which corresponds both to the poet's psychic trauma (his alcoholism and self-alienation) and to a broader cultural and political dislocation experienced by Ireland under British rule. This discomfort is registered in Mangan's verse in the playful refusal of a single authorial voice and in the poet's tendency both to ventriloquise and to distort influence – not just that of Moore but also of the British Romantics, notably Byron and Coleridge.     

Negotiating episcopal support in the Merovingian kingdom of Reims (ad 561–75)

Minimal scholarly attention has been paid to the ecclesiastical policies of King Sigibert I of Reims (r. 561–75). An examination of Sigibert's policies suggests the lengths to which the king went to attract and maintain episcopal allies in strategic and politically divided civitates. While Gregory of Tours in his Decem Libri Historiarum blamed Sigibert's death on his stubborn refusal to heed episcopal counsel, the bishop of Tours recognized that the king of Reims was not consistently hostile to the church and its bishops, and saw the circumstances of Sigibert's untimely death as ultimately tragic.     

Virgilian Imitation in Johannes Pratensis’ Latin Pastoral Daphnis (Copenhagen 1563)

The Latin pastoral Daphnis by the Dane Johannes Pratensis (known today as a close friend of the astronomer Tycho Brahe) was published in Copenhagen in 1563 for the wedding of the Danish hymn writer Hans Thomesen. This article analyses its use of references to Virgil's Eclogues. The overall composition of the poem is modelled on Virgil's 8, eclogue. But the references to that poem are fused with references to the Bucolica (1560) of the Danish poet Erasmus Laetus.     

'Being Martin': Saint and Successor in Sixth-Century Tours

Utilising the poetry of Venantius Fortunatus ( c . 530–600), this article explores the literary fashioning of an idealized episcopal identity for the sixth-century bishops of Tours as successors to Martin, the celebrated fourth-century saint of the city. It is argued that the poet's deployment of the model was of political use to his patron, Bishop Gregory of Tours, both in the establishment of his authority in the town and in dealings with the Frankish kings about matters of taxation. It is suggested that this crafting of an episcopal identity allowed the poet to put pressure on Gregory himself to be Martin and intervene in such matters as a legal case or the affairs of a diocese outside his jurisdiction as metropolitan. The legitimating Martinian model of episcopal behaviour is presented therefore as potentially coercive.     

Jean Lemaire de Belges's Rhetorical Masks in L’Amant Vert and “Les Regretz de la Dame Infortunée”

A prominent feature of the poetry of Franco-Burgundian poet and rhetorician Jean Lemaire de Belges (1473–1524) is his use of a rhetorical mask—a persona—through which to proffer his utterances and assert his identity. Because the early sixteenth-century court poet's financially and politically subservient position vis-à-vis powerful aristocratic patrons demands an encomiastic rhetoric that leaves little room for the poet's self-assertion within the body of the poetic text, Lemaire must employ the indirect means of a narrative mask to assert his own existence and concerns. This article examines first the narrative mask of the parrot-lover in the 1505 Epîtres de l’Amant Vert, through which Lemaire is able to voice concerns about his precarious position as a writer almost entirely at the mercy of his patron's good health and good will. A discussion of “Les Regretz de la Dame Infortunée” (1506) follows, in which Lemaire takes an intriguing narratological stance that unites his voice to that of his patroness, Margaret of Austria (1480–1530), ultimately forging an authorial je that speaks for both poet and patron. This nearly mystical union of narrative voices allows Lemaire to express his own concerns about the volatility of the patronage system while concomitantly giving voice to Margaret's mourning at the death of her brother, Philip the Handsome (1478–1506).     

After Gundovald,before Pseudo‐Isidore: episcopal jurisdiction,clerical privilege and the uses of Roman law in the Frankish kingdoms

The article focuses on the mobilization and reconfiguration of Roman law in the Merovingian kingdoms. It pays particular attention to a collection of legal texts first compiled in the late sixth century, in preparation for the Second synod of Mâcon in 585. Drawing heavily on an extraordinary collection of late Roman imperial laws, the so‐called Sirmondian Constitutions, the bishops sought to declare themselves untouchably sacrosanct. A close analysis of the synodal canons shows that the bishops adapted these imperial rulings to legitimate their position in ways that had no basis in the original laws themselves. The study closes by linking the synod of Mâcon with a debate over episcopal privilege as reflected in the writings of Gregory of Tours, and with a brief look at the further history of the debate in the Carolingian period.     

Rewriting Merovingian history in the tenth century: Aimoin of Fleury's Gesta Francorum

Aimoin of Fleury's Gesta Francorum has mostly been ignored apart from its importance as a source for the Grandes Chroniques de France. Aimoin's editorial techniques in reworking his Merovingian‐era sources deserve more attention, however. Through a process of selective editing, strategic silence, and rhetorical invention he compiled a history that would appeal to its probable target audience, King Robert II of West Francia. The most noteworthy changes wrought by Aimoin are the assignment of a divinely appointed imperial and evangelizing mission to the Franks and the transformation of Clovis into an exemplary Christian king.     

Paul Valéry on Photography: A Poetic Writing of Light and Time

This article studies Paul Valéry's personal reflection on photography, as it appears in his essay “Le Discours du Centenaire de la Photographie,” based on a speech given at the Sorbonne in 1939 to members of the French Academy. It stresses the relationship between this essay and the French poet's writings on painting and aesthetics, in particular his work on Corot. Moreover, it analyzes the synthetic character of Valéry's critical approach, which attempts to bring together the language of poetry, philosophy and science when dealing with this utterly modern visual language. Photography is celebrated here as a unique art form that can at the same time imitate and reproduce nature perfectly, while allowing mankind to create a cosmological vision of life and the universe. In other words, the poet underlines in this text the utmost modernity of photography, at a time when many in France were still reluctant to acknowledge its artistic identity.     

Zu papyri osloenses III

The sixth Roman ode of Horace has usually been dated to 29/28 B.C. from the reference to the great temple restoration programme in the first stanza. This dating, however, tends to affect our reading of the whole cycle. An ‘inner’ dramatic date deliberately established by the poet (post Actium but before 28 B.C.) should not be mistaken for the time of writing (after 28, probably about 25 B.C.). There are even calculated effects arising from the poet's use of a dramatic date. Moreover, the poem is not independent to the effect that it is a self‐contained expression of the poet's political stance. Its provoking diagnosis of contemporary society is a warning reflecting Augustus’ policy and paving the way for reforms. It is instructive to compare epode XVI, to which III 6 bears resemblances which seem to support the late dating of the epode (cf. the author's Horaz und Actium 1984).     

The presence of Sikelianos in the poetry of George Seferis

Abstract

Echoes of Sike1ianos' poetry can be detected in many poets, but his presence in Seferis is particularly interesting in the light of the close personal relationship which developed between the two poets from the 1940s. The poetic dialogue starts with Seferis' Στρo?η (1931) and develops continuously until his last book of poems, Tρια Kρυ?? Φoιημα&tauα (1966). Seferis, attracted by Sikelianos' linguistic richness, recreates the older poet's words ingeniously in his search for a new poetics. I examine this dialogue chronologically to show that exploring the presence of Sikelianos in Seferis' poetry enhances the understanding of the younger poet and reveals that, however great the differences in matters of technique between the two poets, their attitudes to poetry and poetics are in the end closely related.     

Exile and return in John Mauropous,Poem 47

Abstract

The author reads an epigram by John Mauropous as an engagement with epic and biblical traditions. Critical studies of exile and return from different eras of the Greek literary tradition by Émile Benveniste, Gregory Nagy and Nancy Sultan are used to provide a theoretical approach to the tradition with which Mauropous engages. It is suggested that Mauropous' wanderings in the territory of the xenos and return to the familiar world of the philos, and especially his personification of his home as a trophos (nurse), allude to Homer, and that epic language and motifs strengthen the poet's assertion of selfhood and make ancient literary themes relevant to Mauropous' life as a scholar and churchman.     

An exile's hopes: the search for a liberator in Michael Marullus

Abstract

Michael Marullus, fifteenth-century Greek, soldier and Latin poet, lived almost all his life in exile. In his earliest poetry revanchist thoughts directed at his country's Ottoman conquerors are hardly present, and superhuman powers are held responsible for the catastrophe. Later, Byzantine reliance on foreign forces is blamed. With time however and political developments in central and western Europe, a crusade or Türkenzug seemed to become more likely, and Marullus turned to the Habsburg Maximilian I and Charles VIII of France as possible liberators. This paper attempts to describe the poet's developing treatment of the themes of defeat and exile and his response in the last decade of the fifteenth century to the possibility of military action against the Ottomans.     

Moyes,Menzies, and the Vietnam War: New Insights Into the Public Correspondence Between the Prime Minister and the Bishops

In March 1965 a group of Anglican bishops signed an open letter to the prime minister of Australia, Sir Robert Menzies, expressing its concerns about the rapid deterioration of the situation in Vietnam. The letter had been composed by the retired Bishop of Armidale, John Stoward Moyes. The bishops urged Menzies to use his influence with the United States Government to ensure that the possibility of a negotiated settlement of the conflict could be explored to the full. The letter, and the prime minister's public response, thrust John Moyes and his episcopal co‐signatories into the centre of a national debate on Vietnam. Following Menzies's brusque reply, Moyes composed a second and more critical open letter. The prime minister then issued a more detailed response one week before he committed Australian combat troops to the Vietnam War. The initiative taken by Bishop Moyes constituted the first major instance of public debate in Australia concerning the wisdom and morality of the government's policy on Vietnam.     

Dünya Giizeli: Cavafy's folkloric Odalisque

Abstract

Cavafy's overlooked poem ‘Dünya Güzeli’ reflects the seminal influence of folklore on the early writings of the poet, an influence which significantly shaped the contours of the Cavafy canon. The poem is a sophisticated attempt to synthesize the flourishing discourse of λαoγρα??α with the fashionable literary and painterly trends of Orientalism. It thus warrants a fuller appreciation as a complex text that documents Cavafy's emerging craft and anticipates his poetic hybridisation of East and West which finds its fullest expression in Cavafy's Orientalising Hellenism.     

Fragments of the Modern City: Material Culture and the Rhythms of Everyday Life in Victorian London

This essay analyses the influence of Charles Baudelaire's and Théophile Gautier's fetishist poetics on the early works of Algernon Charles Swinburne. If the crucial role played by the Victorian poet as a cultural ‘passeur’ between France and England has often been highlighted in recent criticism, his aesthetic delight in certain forms of sexual deviance such as podophilia has rarely been explored in relation to the verse of his French mentors. Swinburne, Gautier, and Baudelaire may have indeed shared this erotic fascination with feet: this is a fascination that was partly grounded in these poets' common interest in antique literary models, in particular in Sappho's poetry. Rather than extolling the Hellenic ‘sweetness and light’ which some of his contemporaries set so high, Swinburne indulged in dangerously eroticised Dionysian aesthetics which were perceived as both ‘too Hellenic’ and ‘too French’. I argue that the fetishism of the poetic foot may be read as one of the keys to the Victorian poet's subversive shift away from the serenity often associated with Victorian neoclassicism in favour of a Dionysian energy that anticipates Friedrich Nietzsche's works.