{"title":"5 The Emotional Landscape of Abelard ’s Planctus David super Saul et Ionatha","authors":"C. Williams","doi":"10.1515/9789048537174-007","DOIUrl":null,"url":null,"abstract":"In Abelard’s Letter 16 addressed to ‘Héloise, sister to be revered in Christ\n and loved’, he refers to a set of six planctus or laments written in the voices\n of a number of Old Testament characters The last of these, Planctus 6, in\n which David laments for Saul and Jonathan, is probably the most famous\n and is the only one for which a reliable, original music setting survives.\n The laments are all in the first person and provide a deeply personal\n reflection on the tragic events which inspired them; they are virtuosic in\n language and almost shockingly intense in emotional range. This study\n examines Planctus 6 considering the link between Abelard’s language\n and the expression of specific emotions and, wherever possible, examines\n how music serves to intensify that expression.","PeriodicalId":403884,"journal":{"name":"The Intellectual Dynamism of the High Middle Ages","volume":"55 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Intellectual Dynamism of the High Middle Ages","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/9789048537174-007","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
In Abelard’s Letter 16 addressed to ‘Héloise, sister to be revered in Christ
and loved’, he refers to a set of six planctus or laments written in the voices
of a number of Old Testament characters The last of these, Planctus 6, in
which David laments for Saul and Jonathan, is probably the most famous
and is the only one for which a reliable, original music setting survives.
The laments are all in the first person and provide a deeply personal
reflection on the tragic events which inspired them; they are virtuosic in
language and almost shockingly intense in emotional range. This study
examines Planctus 6 considering the link between Abelard’s language
and the expression of specific emotions and, wherever possible, examines
how music serves to intensify that expression.
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