Pub Date : 2019-08-27DOI: 10.1093/oso/9780198831709.003.0003
J. Oliver
This chapter marks the transition from portent to actuality, addressing the prospect of political shipwreck in the troubled latter part of the sixteenth century by considering not only incarnations and reconfigurations of the suave mari magno commonplace but also shipwrecks that are narrated from the inside. It explores the distinction between the struggling ship in Lucretius and the eagerly spectated shipwreck of a political enemy in Cicero’s letters, taking account of the model of the ship of state as elaborated in Plato, Cicero, and medieval sources. It argues that the role of the spectator is most often not at a safe distance, and that the ethical relationship between the spectator and those on board is significantly developed from that in Lucretius. Through the work of three writers (Michel de L’Hospital, Pierre de Ronsard and Michel de Montaigne), it shows that the powerful metaphor of the ship of state struggling on troubled waters is itself articulated in a variety of ways during the political storm of the late sixteenth century—ways that, ethically speaking, variously implicate or exonerate the politician, poet or author. This chapter poses a series of questions concerning the difference between public and private spheres, the unique moral implications of civil war, and the author or poet’s own position, be it personal, political, or philosophical—or all three—with relation to what Montaigne calls ‘cet universel naufrage du monde’.
这一章标志着从预兆到现实的过渡，通过考虑温和的mari magno平凡的化身和重新配置以及从内部叙述的沉船，解决了16世纪动荡后期政治沉船的前景。考虑到柏拉图、西塞罗和中世纪文献中所阐述的国家之船的模型，本书探讨了卢克莱修笔下挣扎的船与西塞罗书信中备受瞩目的政敌沉船之间的区别。它认为，观众的角色通常不在安全距离之外，观众和船上的人之间的伦理关系从卢克莱修那里得到了很大的发展。通过三位作家(Michel de L’hospital, Pierre de Ronsard和Michel de Montaigne)的作品，它表明，在16世纪晚期的政治风暴中，国家之船在混乱的水域中挣扎的强大隐喻本身以各种方式表达出来——从道德上讲，这些方式不同地暗示或为政治家、诗人或作家开脱。这一章提出了一系列问题，涉及公共领域和私人领域之间的差异，内战的独特道德含义，以及作者或诗人自己的立场，无论是个人的，政治的还是哲学的，或者三者都与蒙田所说的“et universsel naufrage du monde”有关。
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Pub Date : 2019-08-27DOI: 10.1093/oso/9780198831709.003.0001
J. Oliver
Over the course of the sixteenth century, the Old French word for ship—‘nef’—gradually fell out of use, being replaced by ‘navire’ and ‘vaisseau’. This chapter explores an important strand of this story; the persistence of a symbolic, literary ‘nef’, whose origins can be traced from medieval tradition through to the first decade of the sixteenth century. A mini-genre, the Nef book, capitalized on the popularity of Sebastian Brant’s Narrenschiff, and over the course of just a few years, this genre developed and changed, generating de-nauticalized compendia on a range of subjects. These compendia are significant with respect to (among other things) the beginnings of the commonplace book; two of the authors examined in this chapter (Jodocus Badius and Symphorien Champier), played important roles in the emergence of this tradition. Shipwreck often represents the fate of the sinner’s soul, but as the concerns of the Nef books become more worldly, and less spiritual, partly by contact with the Fürstenspiegel (mirrors for princes) tradition, so too the significance of shipwrecks shifts; the prospect of bodily shipwreck, in particular, comes increasingly to the fore. Besides identifying and analysing this previously neglected family of books, this chapter sheds light on several important conventions that will continue to inform the dynamics of shipwreck throughout the century. In particular, it shows that seafaring was the subject both of curiosity and of moral anxiety; it is this tension that makes the family of Nef books a particularly rich cluster of texts with which to open this study of shipwreck.
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Pub Date : 2019-08-27DOI: 10.1093/oso/9780198831709.003.0004
J. Oliver
This chapter examines the dynamics of shipwreck as played out in Renaissance travel writing. Through a reading of the work of Jean de Léry and the lesser-known Jean-Arnaud Bruneau de Rivedoux, it shows how in eyewitness or recently passed-on first-hand accounts of shipwreck, very real events were marked and shaped by the conventions established earlier in the century by allegorical, fictional and polemic shipwreck texts. But the extreme conditions of (actual) shipwreck place great strain on these otherwise persistent tropes, and both Léry’s and Bruneau’s Histoires generate new incarnations of once-familiar figures. Léry, for example, offers both a conventional narration of the storm at sea modelled on Psalm 107 and Erasmus’s ‘Naufragium’, and, later, several rearranged versions that point to the limitations of proverbial, classical, and biblical commonplace in such extraordinary circumstances. These texts, both written by Reformists intent on foregrounding their empirical approach, present the most forceful vindications of sea travel of all the texts studied here. While they describe vividly and often distressingly the suffering endured by seafarers and the victims of shipwreck, they also emphasise the value of such experience, and its power to affect even those who are spectators to it from dry land.
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Pub Date : 2019-08-27DOI: 10.1093/oso/9780198831709.003.0002
J. Oliver
This chapter tackles perhaps the most salient near-shipwreck in Renaissance French literature to the modern reader: Rabelais’s storm scene of the Quart Livre, situating it between two of its closest relatives within the broader family of Renaissance shipwreck texts: one of them familiar, the other perhaps less so. First, some important features of one of Rabelais’s major sources (Erasmus’s ‘Naufragium’ dialogue) are set out, both in order to show how the latter responds to the ship of fools tradition, and to establish the ways in which it too establishes conventions for writing about shipwreck. The reading of the famous Rabelaisian storm scene itself is focussed on the figure of Panurge, arguing that it is this character more than any other element that sets Rabelais’s (near-)shipwreck scene apart from its Renaissance relatives. Staying with Panurge, we then turn to what may be thought of as a rewriting or re-imagining of the Quart Livre storm scene: the beaching of the Thalamège in the Cinquiesme Livre. In this third section, the dynamics of co-operation may be seen to inform our understanding of shipwreck survival (whether in the sense of narrowly avoiding it, or of recovering from it) both as it is dramatised directly in Rabelais’s text(s), and as it, in turn, stages the relationship between author, text, and reader.
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