Pub Date : 2022-01-01DOI: 10.1215/10829636-9478524
Ryan Netzley
In celebrating a poet-overseer who turns everything on an estate, even social opposition, to account, country house poems treat form itself as a managerial technique whose expansion regulates catastrophe. Ben Jonson's, Thomas Carew's, and Robert Herrick's procataleptic presentations of what's absent from the country house—a rude steward counting one's cups—repurpose resentment into a celebration of lordly generosity. Yet this solution to the problem of resentment is paradoxical insofar as the plenty underlying the lords’ generosity does not require management. Aemilia Lanyer and Andrew Marvell use the rhyming couplet, the genre's paratactic generative principle, to depict decision-making's growth as a botanical phenomenon. Together these formal features show how problem-solving stewardship grows mindlessly, impractically, and very much like a plant. In that respect, these poems hint that problem-solving can never avert a climate catastrophe, precisely because of managerial decision-making's impulse to produce ever more of itself.
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Pub Date : 2022-01-01DOI: 10.1215/10829636-9478510
W. Rhodes
Lists can suggest both a complete written account and the open-ended accumulation of terms. In this, their frequent appearance in apocalyptic texts formally mirrors apocalypticism's combination of divinely created order and the chaotic description of catastrophic events. Medieval and early modern poetic prophecies often list local manifestations of disorder and exclude the cosmic frame of divine order, making poems like Wynnere and Wastoure, which draws heavily on the tradition of poetic prophecy, seem not particularly apocalyptic. But the list-like passages in Wynnere and Wastoure join its focus on economics to the implicit apocalypticism of its prophetic passages. The sense that lists can appear as both an ordered account and a disordered accumulation allows the lists of Wynnere and Wastoure to suggest the comforting bounds of an apocalyptic framework while performing its dissolution by a vision of political economy based on endless cycles of winning and wasting.
{"title":"The Apocalyptic Aesthetics of the List: Form and Political Economy in Wynnere and Wastoure","authors":"W. Rhodes","doi":"10.1215/10829636-9478510","DOIUrl":"https://doi.org/10.1215/10829636-9478510","url":null,"abstract":"Lists can suggest both a complete written account and the open-ended accumulation of terms. In this, their frequent appearance in apocalyptic texts formally mirrors apocalypticism's combination of divinely created order and the chaotic description of catastrophic events. Medieval and early modern poetic prophecies often list local manifestations of disorder and exclude the cosmic frame of divine order, making poems like Wynnere and Wastoure, which draws heavily on the tradition of poetic prophecy, seem not particularly apocalyptic. But the list-like passages in Wynnere and Wastoure join its focus on economics to the implicit apocalypticism of its prophetic passages. The sense that lists can appear as both an ordered account and a disordered accumulation allows the lists of Wynnere and Wastoure to suggest the comforting bounds of an apocalyptic framework while performing its dissolution by a vision of political economy based on endless cycles of winning and wasting.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47440047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/10829636-9478440
Shannon Gayk, E. Reynolds
This special issue considers how depictions of premodern catastrophe—environmental, social, political—shape and are shaped by literary form. The issue's introduction explores what form has to do with catastrophe and offers a case study of how form moves in a Middle English lyric about three fourteenth-century catastrophes: a revolt, a plague, and an earthquake. The six essays that follow approach the dynamics of catastrophic form in their own ways while sharing a set of assumptions about how catastrophe invites formal experimentation. Form, these essays agree, can manage or even contain the chaotic accumulation of catastrophe, as well as being a means of gesturing toward catastrophe's often inexpressible surplus. As literary forms depict catastrophe, they attempt to structure or manage disorder but in doing so often throw into relief their own fragility, their inability to contain what they aim to express. This collection of essays thus reflects on how forms not only represent but also embody catastrophe's continuities and discontinuities, its rhythms and ruptures, its order and disorder, and its anxieties, uncertainties, and possibilities.
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Pub Date : 2022-01-01DOI: 10.1215/10829636-9478482
R. Trilling
The Old English poem known as The Fortunes of Men offers a catalogue of potential fates, both good and bad, that can befall a person in the early medieval world, from being eaten by a wolf to thriving as a poet. Straining against the limits of human knowledge about the future, the poem contains its existential anxiety within the strict metrical forms of the alliterative long line. Its structure balances assorted visions of death with images of joy, but traditional Old English formulas afford very specific ideas of joy that describe an idealized heroic male world. By reading social context as a variety of form, this article articulates a reciprocal relationship between aesthetics and the social world that reveals the limitations of The Fortunes of Men's attempts at consolation. It attends to the questions of what and who is excluded by the social forms of Old English verse.
古英语诗歌《人的命运》(The fortune of Men)列出了中世纪早期人类可能遭遇的命运，有好有坏，从被狼吃掉到成为一名诗人。这首诗对人类关于未来的知识的限制进行了挑战，在头韵的长行严格的韵律形式中包含了存在主义的焦虑。它的结构平衡了各种各样的死亡景象和快乐的形象，但传统的古英语公式提供了非常具体的快乐概念，描述了一个理想化的英雄男性世界。通过将社会语境解读为多种形式，本文阐明了美学与社会世界之间的相互关系，揭示了《人类的命运》试图安慰的局限性。它关注的是古英语诗歌的社会形式排除了什么和谁的问题。
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Pub Date : 2022-01-01DOI: 10.1215/10829636-9478454
E. V. Thornbury
Medieval authors of literature on Doomsday faced a structural challenge of their own making: their audiences knew too much about the coming end of days to be as terror-stricken as they should. This difficulty was compounded by the comic structure of the Christian salvation narrative, which looked forward to Christ's return as—technically speaking—its catastrophe, when all the confusion and unhappiness of the universal plot would be unravelled and total clarity would reign. The author of the Old English Doomsday poem called Christ III, however, devised an ingenious strategy to restore its audience to a state of wholesome uncertainty. By destabilizing the predictable flow of Old English meter with an unusually varied and challenging range of hypermetric verses, the poet of Christ III used metrical form to undermine the confidence of audiences in their powers of prediction—and in so doing, restored suspense to the experience of Doomsday.
{"title":"Form versus Catastrophe in the Old English Christ III","authors":"E. V. Thornbury","doi":"10.1215/10829636-9478454","DOIUrl":"https://doi.org/10.1215/10829636-9478454","url":null,"abstract":"Medieval authors of literature on Doomsday faced a structural challenge of their own making: their audiences knew too much about the coming end of days to be as terror-stricken as they should. This difficulty was compounded by the comic structure of the Christian salvation narrative, which looked forward to Christ's return as—technically speaking—its catastrophe, when all the confusion and unhappiness of the universal plot would be unravelled and total clarity would reign. The author of the Old English Doomsday poem called Christ III, however, devised an ingenious strategy to restore its audience to a state of wholesome uncertainty. By destabilizing the predictable flow of Old English meter with an unusually varied and challenging range of hypermetric verses, the poet of Christ III used metrical form to undermine the confidence of audiences in their powers of prediction—and in so doing, restored suspense to the experience of Doomsday.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44663755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/10829636-9478468
E. Reynolds
The Old English poem Christ III represents the Crucifixion not by focusing on Christ's suffering but by depicting natural disasters. In its representation of creation's upheavals, Christ III establishes an ecopoetics in which language can sketch but never fully fathom either the extent or, importantly, the causes of ecological catastrophe. Its forms suggest that creation's compassion for Christ's suffering actually results in violent self-destruction—a suggestion that troubles twenty-first-century narratives of ecological catastrophe and human responsibility. Although the motif of creation's sympathy with Christ appears throughout medieval theology, Christ III's treatment of this motif raises two sets of questions about medieval depictions of catastrophe, one set focused on represention of ecological catastrophe and one focused on causes of catastrophe. Christ III leads the reader to experience the impossibility of fully understanding catastrophe, forcing the reader to question the individual's role in catastrophe.
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Pub Date : 2022-01-01DOI: 10.1215/10829636-9478496
P. Ingham
Engaged with insights from trauma theory, this essay offers a reading of Geoffrey Chaucer's Knight's Tale as a profound meditation on catastrophe and survival. This account refocuses the Knight's Tale's famous oscillation between consolation and devastation, philosophy and fate, to consider the unexpected forms that poetic representations of catastrophe take in a premodern poem.
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Pub Date : 2021-09-01DOI: 10.1215/10829636-9295016
Simone Waller
This essay argues that Christopher St. German made tactical use of the dialogue form to cultivate a public in his print controversy with Thomas More on the subject of reform. Publishing in the early 1530s, More accused St. German of disseminating disgruntled speech in print absent a real constituency of speakers voicing such complaints. St. German countered More's critique by incorporating a dialogue between the characters Salem and Bizance that conflated the reading of his printed works with the speaking and sharing of their political concerns. Although the role of performance in early modern politics has long been recognized in connection to the theater and theatricality, St. German's work demonstrates that early print also invoked the bodily interactivity and iterability characteristic of performance in order to script readers’ use of the relatively new medium. St. German's Salem and Bizance dialogue thus prompted print readers to understand themselves as, and indeed to become, partisan members of a public speaking in and about the debate.
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Pub Date : 2021-09-01DOI: 10.1215/10829636-9295058
L. Levine
Toward the end of the 1628 pamphlet A Briefe Description of the Notorious Life of Iohn Lambe, the pamphleteer describes the violence a crowd inflicts on John Lambe, a cunning man who dabbled in the dark arts. This violence, ultimately fatal, seems to be a response to Lambe's rape of an eleven-year-old child, a rape which he is convicted of but ultimately pardoned for. Earlier in his career, however, Lambe is indicted for using magic to disable the body of a gentleman as well as for invoking evil spirits. What connection exists between the charges against Lambe as a witch and magician and the charges against him as a rapist? This essay argues that long before Lambe gives those around him a basis for violence, he triggers anxieties about what he is, and that these anxieties play a role in the violence against him. The text of A Briefe Description demonstrates the way mechanisms of justice ultimately repeat—reenact and perform—versions of the crimes they seek to examine.
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Pub Date : 2021-09-01DOI: 10.1215/10829636-9295023
J. Ingram
This article draws on performance theory to examine perambulation practices in late medieval and early modern England. Rogation was originally a devotional celebration that also entailed a ritual walking of parish boundaries to define communities as legal and administrative units. Perambulators sometimes seized upon the occasion to draw attention to a culture of obligation that had been neglected. This essay looks at two such moments—the 1381 Revolt of St. Albans, when the commons rose against the abbot in the form of a perambulation, and a 1520–21 property dispute at South Kyme, Lincolnshire at Ashby Heath. In these instances, perambulators used the occasion of the public recognition of property boundaries as an opportunity to stage a complaint in an act of “performative law.” The complainants asserted their rights and liberties by means of a theatrical form that invited participants and spectators to assent in specific legal claims to the land in dispute.
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