In the ensuing chapters, the study follows a rough chronology, starting with the earliest tradition (i.e. These are the Physiologus-tradition, the typically English genre of ‘bird debates’, and the ‘beast epic and beast fable’ traditions. Yet, of this plethora of genres which use animals as their main protagonists, or at least objects, only three traditions are of importance for vernacular English literature. The introductory part provides a general historical survey of medieval animal literature, its roots, its various genres, and its relation to the history of ideas. It is thus the intention of the present study to fill this gap and to provide an in-depth analysis of the major ‘animal poems’. Although a wealth of critical literature exists on most of the poems treated, no comprehensive comparative study which discusses the function of the animal-protagonists has been available so far. This 240-page study on the use and function of animals in medieval English vernacular literature covers a period of roughly 700 years (A.D. What might he have made of such a show? What can this nexus of simian imagery with its examination of mimicry, theft, diligence and indolence, besynesse and ydlenes, tell us about early print, authorship, translation, power and patronage? This richly illustrated talk seeks to examine the fascinating, potentially complex role of the ape in medieval iconography and at the birth of English print. Caxton, merchant of London, governor of the English nation in Bruges, and diplomat at the court of Charles the Bold, would certainly have been present. Though not noted by anyone before, this exactly echoes another entertainment at the wedding, where a sleeping merchant was robbed by apes and his merceries distributed among the audience. In New York’s Metropolitan Museum of Art a lavishly enamelled 15th century Burgundian beaker depicts a sleeping merchant, his stockings being pulled off, his pockets picked and his packs rifled by a troop of apes.
At the wedding of Margaret to Charles the Bold, shortly before Caxton began his translation, pies were presented as the duke’s towns ready to be broken into by marmosets bearing axes, picks and shovels. Easily overlooked, mediating between the merchant and the lady, mirroring Caxton’s pose, is the figure of a cheeky, smiling ape. Caxton maintained Margaret had been instrumental in encouraging his translation of this French romance. The woman is Margaret of York, the king of England’s sister and recently married duchess of Burgundy, Caxton’s patroness the volumes are the first English printed book, The Recuyell of the Historyes of Troye. In what may perhaps be the only contemporary portrait of William Caxton, England’s first printer, a kneeling author hands two substantial volumes to a standing woman. In the Huntington Library’s copy of the first book printed in English is a unique engraved frontispiece. For the volumes 1–20 and for 21–25 (= Jaarboek 1–5) see For the volumes 26 ( Jaarboek 6) up to now see illustrations please see the accompanying Powerpoint).
Almost all articles are available on line. It must be mentioned, however, because it always pays attention to the visual representation of Reynardian stories and characters. Its articles range from scholarly important to just of local interest. Tiecelijn is a periodical for people interested in Reynardian stories, especially Van den vos Reynaerde.
1–20 ( Tijdschrift voor Reynaerdofielen), 21- ( Jaarboek van het Reynaertgenootschap) In an illustrated publication accompanying an exhibition in various municipal libraries of France, this article gives an overview of the French fable and beast epic traditions, with reproductions of several miniatures ( Fleur de vertu, Isopets, Roman de Fauvain, Roman de Fauvel, Roman de Renart, two marginalia and an historiated initial). 2004 “ Quand le ‘Roman de Renart’ veut se montrer sérieux.” In.
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