Chapter X: Poetic Achievement in Vernacular (2)

I seye that first with heigh style he endyteth,[37]
Er he the body of his tale wryteth,
A proheme, in the which discryveth he
Pemond and of Saluces the contree,
And speketh of Apennyn, the hilles hye
That been the boundes of West Lumbardye,
And of Mount Vesulus in special,
Where as the Poo, out of a welle smal,
Taketh his firste springing and his sours,
That estward ay encreseth in his cours
To Emelward, to Ferrare, and Venyse,
The whiche a long thing were to devyse.
And trewely, as to my Iugement,
Me thinketh it a thing impertinent.

_Clerk’s Prologue_, E. 41-54.

What the Clerk is made to challenge here in the application of “heigh style” to a tale is the separable description. No device for dilation was more magnified in the _poetriæ_. More than apostrophe, contrast, and other “colours,” it was inculcated to give poetry what Chaucer’s eagle calls

gret prolixitee
Of termes of philosophye,
Of figures of poetrye,
Or colours of rethoryke.

_Hous of Fame_, 856-859.

Chaucer’s _bête noire_ of “prolixitee” among these pedagogues was Geoffroi de Vinsauf; and that brings us to the familiar sarcasms of the Nun’s Priest.[38] They pursue not merely an ass, but still more a perverted poetic. Chaucer pillories Geoffrey not merely because the _Nova poetria_ is an Ovidian nightmare, but because its constant object, alike in the rules and in the manufactured examples, is to inculcate the stalling of composition by “colours.”[39]

The separable description challenged by the Clerk is challenged also by the Squire, and in terms that confirm the significance of the Franklin’s.

A doghter hadde this worthy king also,
That yongest was, and highte Canacee.
But for to telle yow al hir beautee,
It lyth nat in my tonge, n’in my conning.
I dar nat undertake so heigh a thing.
Myn English eek is insufficient.
It moste been a rethor excellent
That coude his colours longing for that art,
If he sholde hir discryven every part.

F. 32-40.

The Squire’s later sarcasm is more open and more constructive. It may well sum up Chaucer’s criticism of the deviation of poetic by rhetoric.

The knotte, why that every tale is told,
If it be taried til that lust be cold
Of hem that han it after herkned yore,
The savour passeth ever lenger the more
For fulsomnesse of his prolixitee.
And by the same reson thinketh me
I sholde to the knotte condescende,
And maken of hir walking sone an ende.

F. 401-408.

A rhetoricated poetic, though in other mouths than Geoffrey’s it has often had a fairer sound, is always a perversion. The confusion of poetic with rhetoric has always tended to obscure the imaginative value to narrative of onward movement. The medieval pedagogues who reduced the greatness of Vergil to mastery of all “three styles” of rhetoric would doubtless have recommended embellishing the eloquences of _Aucassin et Nicolete_ at the expense of the story, dilating the _Tombeor de Notre Dame_, and making the _Chastelaine de Vergi_ static. Their conception of narrative has no room for such composition as makes the Pardoner’s Tale a fatal sequence.

Even Chaucer is too responsive to the taste of his time to abandon the accepted means of dilation. Some of his own apostrophes differ from Geoffrey’s to Friday[40] only in eloquence, not in method. But as early as the House of Fame he was critically aware of the “prolixitee” inherent in “colours of rethoryk.” The interpolated description, which he had elaborated to make the Knight’s Tale magnificent,[41] he parodied in _Sir Thopas_ and challenged through the Clerk and the Squire. In these passages he reminds us that his achievement of narrative composition had taught him to distrust rhetoric as a means of enhancing when the tale, Pardoner’s, Squire’s, or Franklin’s, was really the thing. Further he implies general denunciation of the staleness and ineptitude of medieval rhetoric as poetic method.

4. The Poetic of the _Canterbury Tales_

Within the Canterbury frame narrative composition is widely various. The early tale of the Man of Law follows the pattern of a saint’s legend; the Clerk’s is rather iterative than progressive. In such cases Chaucer has not recomposed; he has limited his art to style. What distinction he could achieve even so is most conspicuous in the exquisite tale of the Prioress. Without crisis, without even salience of moment, with no more reshaping than the shift of focus from the horror of ancient superstition to the beauty of childlike devotion, he wrought by adjustment of tone and cadence a marvel of simplicity. The Merchant infuses into his _fableau_ realistic suggestions of senile sexuality; but the _fableaux_ generally, Miller’s, Reeve’s, etc., are told in their typical form for their typical values. Beast epic in the mouth of the Nun’s Priest, never livelier and seldom so rich in suggestion, is little reshaped as a story. Even the Wife of Bath tells her fairy mistress tale without originality of composition.

The artistic interest of the narrative couplet in the Knight’s Tale has been heightened by Dryden. Beneath the superficial differences which mark each verse with its time is a difference of conception. Chaucer’s time gave him easier variations; but he himself bent them narratively. The larger movement of the Knight’s Tale conveys the magnificence of princely chivalry less in action than in pageantry. Romance as story was not for Chaucer, one might say but for the tale of the Franklin. Here he shapes a plot complementary to that of _Troilus and Criseyde_ in briefer compass, but with equal onwardness. The issue again is convincing because it is reached by distinct stages. The fourth, for instance, culminates upon the squire’s desperate triumph.

Doth as yow list; have your biheste in minde;
For quik or deed, right ther ye shul me finde.
In yow lyth al, to do me live or deye;
But wel I woot the rokkes been aweye.

F. 1385-1338.

And the next begins:

He taketh his leve; and she astonied stood.
In al hir face nas a drope of blood.

F. 1339-1340.

The crisis upon Dorigen’s taking all to her husband, thus fulfilling her character while she flies in the face of the code of secrecy, is rendered in dialogue of sharp interaction.

“Is ther oght elles, Dorigen, but this?”
“Nay, nay”, quod she, “God help me so, as wis;
This is to muche, and it were Goddes wille.”
“Ye, wyf”, quod he, “lat slepen that is stille.
It may be wel, paraventure, yet to-day.
Ye shul your trouthe holden, by my fay!
For God so wisly have mercy on me,
I hadde wel lever ystiked for to be,
For verray love which that I to yow have,
But if ye sholde your trouthe kepe and save.
Trouth is the hyeste thing that man may kepe.”
But with that word he brast anon to wepe.

F. 1469-1480.

No less eloquent is her reply to the squire at their meeting.

[He] asked of hir whiderward she wente.
And she answerde, half as she were mad,
“Unto the gardin, as myn housbond bad,
My trouthe for to holde, allas! allas!”

F. 1510-1513.

Such passages, as in _Troilus and Criseyde_, are narrative leads. The last leads directly to the squire’s fine renunciation; for the tale of generosity has been embodied in individuals working out its issue. Even the illusion of the rocks is lifted above magic because they were first an obsession of the anxious wife. An _exemplum_ and a tale of marvel have been reconceived and recomposed in a moving story.

No triumph of Chaucer’s is more evident than the art of narrative swiftness in the tale of the Pardoner. Verse narrative has nothing more seizing, more breathless, more fatal. Yet even this is no greater than the art that reveals the Pardoner himself. The tale is no more triumphant than the interlude and the prologue. Rather they belong together. So the ordinary romance told by the Wife of Bath is heard amid the echoes of her brutal realism. The familiar story of the cock and the fox takes both color and shape from the Nun’s Priest. Readers opening their _Canterbury Tales_ for the second time, or the third or the tenth, are as likely to turn to an interlude as to a tale. Even an adequate account of the poetic of every tale would fall short of the total artistic value. For the interludes play a part in a scheme more ambitious than any other medieval “framework”. Gower’s plan in the _Confessio Amantis_ is no more than a classified series. The preface to the _Decameron_ proposes “a hundred tales ... told in ten days by a noble company of seven ladies and three youths in the time of the late pestilence ... in the which tales appear pleasant or rude chances of love and other incidents of fortune happening as well in modern times as in ancient.” After describing the plague in Florence, the “noble company”, and the fair country house to which they withdrew for safety, Boccaccio makes each of his ten persons tell a tale each day on the same general theme. Thus he arranges ten groups of ten tales each, with charming interludes of conversation, song, and description. But only the charm of style saves the connective from monotony. The narrators are merely mouthpieces; the interludes are not used, as by Chaucer, to bring about contrast and interchange; the setting, though more attractive than the allegorical fiction of the _Confessio Amantis_, is merely repeated with variations. The ancient plan of _The Seven Sages_ remains inflexible through all the versions. The king, stayed by the tale of the first sage, finds the queen in tears, and is won back by her counter-tale to reaffirm his sentence on the prince. With mere variation of the dialogue this scene is repeated six times. Instead of being always different, as in the _Canterbury Tales_, the interlude is always substantially the same. Not only are the tales generally alike in form, being all by the necessity of the plan _exempla_, but the plan itself is little more than a vehicle.

The scheme of the _Canterbury Tales_ is at once more flexible and larger in scope. The fiction of a traveling company offers more opportunity than that of a confession, a trial, or even a house-party. But further the interludes, instead of being pauses, whether pleasant as Boccaccio’s or tedious as Gower’s, act upon the tales. They add an individualized teller in action and interaction. The parody romance of _Sir Thopas_ gains in point by the rude interruption of the host. Revenge for this may be meant as excuse for the dulness of the following prose morality. At any rate, the host’s rueful comparison between the wife of Melibeus and his own, and the domestic comedy of Chantecler and Pertelote, suggest cues for the marvelous prologue of the Wife of Bath; and her tale opens the way for other _maistrye_ of women in marriage.[42] Though the grouping remains conjectural because the scheme remained incomplete and the manuscripts do not agree in the order, there is no doubt that Chaucer projected a larger technic of dramatic setting. The general prologue describes each teller by summary indications of make-up, costume, and personal style, not in order to review medieval social classes, but to prepare for the various interaction of the interludes. Far from exemplifying Chaucer’s descriptive habit, it is specifically adjusted to a list of _dramatis personæ_.

Medieval verse narrative was recited or read aloud. Chaucer had learned early that setting need not interrupt its oral course. Making description run instead in that course, he had learned further that inanimate background is both less tractable orally and less significant narratively than the environment of men and women. Dialogue, the most oral means of liveliness, he pointed by gesture, and from mood and emotion advanced it to interaction. Finally he staged his tales by characterizing the tellers and suggesting their interplay with an audience. Though this is not often carried out so dramatically as with the Pardoner, it is evident as a narrative scheme. For the “framework” of the _Canterbury Tales_ is human.

FOOTNOTES:

[1] For Anglo-Saxon epic see above, Chapter V. E.

[2] For the Prose Edda as “a textbook for apprentice poets” see A. G. Brodeur’s introduction to his translation (New York, 1916), which includes the _Skáldskaparmál_ entire, and Gustav Necker’s introduction to his German translation (Jena, 1925, vol. 20 of the series _Thule_). Parts of the _Skáldskaparmál_ are included in R. B. Anderson’s translation, _The Younger Edda_, Chicago, 1880.

[3] “Nulle intention littéraire, nul souci de l’effet ne gâtent l’absolue simplicité du récit. Le style, tel quel, purement déclaratif, ne s’interpose pas entre l’action et les vers.” Lanson, _Histoire de la littérature française_, 25.

[4] For this see Faral, _Les arts poétiques du xiie et du xiiie siècle_, 93-97.

[5] Edited for the Camden Society by Thomas Wright, London, 1850; reëdited by Montague Rhodes James in Anecdota Oxoniensia, Oxford, 1914; translated and edited by James, Lloyd, and Hartland, London, 1923; by Tupper and Ogle, London, 1924. See Hinton in _Studies in Philology_, 20: 448 (Oct., 1923).

[6] See the _exemplum_ quoted above, page 246.

[7] References are to the books and _distinctiones_ into which the collection was grouped by some compiler, evidently not by Walter himself.

[8] The charm of Marie’s _lais_ as poetry is suggested by the metrical versions of F. B. Luquiens, New York, 1911, which has a bibliography and a valuable introduction. There are several prose translations.

[9] The appendix of adventures in _Aucassin et Nicolete_ seems to be a later addition, not part of the original composition. Among the translations, Andrew Lang’s keeps its distinction.

[10] Translation by Alice Kemp-Welch, London, 1903, with the French text.

[11] Prose translation of _Erec_, _Cligés_, _Yvain_, and _Lancelot_ by W. W. Comfort, Everyman’s Library, 1914, with introduction, notes, and bibliography. The fourteenth-century English translation of _Yvain_ (_Ywain and Gawain_) has been edited by G. Schleich with study of its relation to the original, Oppeln and Leipzig, 1887.

[12] Lady Charlotte Guest, _The Mabinogion_ (1877), 162.

[13] See note 52 to Chapter VII, and Lizette A. Fisher, _The Mystic vision in the Grail legend and in the Divine Comedy_, New York, 1917 (Columbia University Press).

[14] Book II of Dante’s unfinished _De vulgari eloquentia_ has several passages suggestive of the preoccupations of his time and of his own bent: “Si poesim recte consideremus: quæ nihil aliud est quam fictio rethorica musicaque composita” (III, page 393 of the Oxford 1 vol. text of the Works); “magister noster Horatius” (_ibid._); “grandiosa modo vocabula sub prælato stilo digna consistere....” (VII. 395); “ornativa vero dicimus omnia polysyllaba....” (VII. 396); “tota igitur ars cantionis circa tria videtur consistere: ... cantus divisionem ... partium habitudinem ... numerum carminum et syllabarum” (IX. 397).

For the three styles, see the indexes to ARP and to this volume.

[15] The references are to book, canto, and line. I refers to _Inferno_; II, to _Purgatorio_; III, to _Paradiso_. The translations are adapted from the convenient and familiar edition in Temple Classics.

[16] Tanto vilmente nel eterno esilio. I. xxiii. 125.

La concreata e perpetua sete. III. ii. 19.

E la sua volontate è nostra pace. III. iii. 85.

Non fu dal vel del cor giammai disciolta. III. iii. 117.

[17] See ARP, 128.

[18] See the introduction to Cook’s edition, Boston, 1900.

[19] See above, page 240.

[20] For ecphrasis, see the index.

[21] For the demonstration of this see Gratia Eaton Baldwin, _The new Beatrice, or the virtue that counsels_, New York, Columbia University Press, 1928.

Neglect of this medieval habit has hindered the interpretation of _Pearl_. See the study of it by Sister M. Madaleva, New York, 1925.

[22] The passage refers specifically, though not in the usual medieval terms, to Vergil’s diction. So do I. ii. 67, “la tua parola ornata”; and II. vii. 16, “O gloria de’ Latin ... per cui mostrò ciò che potea la lingua nostra.”

There are many references and allusions to specific passages; e.g., to the fourth Eclogue, often interpreted symbolically in the middle age, in II. xxii. 70; to Dido’s “Agnosco veteris vestigia flammæ” (_Æn._ IV. 23), in II. xxx. 48.

Justinian’s vision of Rome in III. vi may be said to carry out the idea of the _Æneid_ in having the same Romanism.

[23] See above, page 271. The sculptured reliefs in II. x, though doubtless reminiscent, as many a medieval ecphrasis, of the wall-pictures in Dido’s palace, are _exempla_, not decoration.

[24] See note 21 above. I owe to this book the interpretation of Dante’s intention as the progressive freeing of the will.

[25] _Chaucer and his poetry_, Cambridge, 1915, page 58.

[26] A similar touch is added in the English _Ywain and Gawain_.

He bad his lyoun go to rest;
And he laid him sone onane
Doun byfore tham everilkane.
Bitwene his legges he layd his tail,
And so biheld to the batayl.

2592-2596.

[27] Lecoy de la Marche quotes from a versified morality on the Blessed Virgin a passage exemplifying simple use of linking refrain.

Ne trova pas l’angeles vostre cuer vain ne vole,
Quand il semma an vos la saintisme parole;
Ne li fiz Deu meismes ne vos tint pas a fole,
Quant il sor totes femmes vos retint a s’escole.

A sor vos retint li verais gloriox ...

_La chaire française au moyen âge_, 284.

Thus it is used in the stanzaic _Morte Arthur_.

...
Lancelot sayd: “yiff I sayd nay,
I were wele worthy to be brent.

Brent to bene worthy I were”
...

3696-3698.

[28] _De planctu naturæ_, translated by D. M. Moffat, New York, 1908 (Yale Studies in English).

[29] “We have already here some of that variety of tone, that dramatic briskness, that air of gaiety mingled with romance.” Legouis, _Chaucer_, 85.

[30] “From Italy, and primarily I think from Dante, came the inspiration to tell the story of Troilus in the _bel stilo alto_, to write in the vernacular with the dignity and elevation which mark the great ancients.” Root, _The book of Troilus and Criseyde ..._ Princeton University Press, 1926, page xlv.

[31] For Chaucer’s sources see the critical summary in the introduction to Root’s edition (Princeton University Press, 1926) and the bibliography, pages 567-569.

[32] Price finds the movement typically dramatic: rising action with suspense and complication to the climax in Book III, peripety in the exchange of prisoners, falling action in the yielding to Diomed, conclusion on the despair and death of Troilus. PMLA 11 (1896): 307-322.

[33] For Chaucer’s knowledge of the _poetriæ_ see J. M. Manly, _Chaucer and the rhetoricians_, Warton Lecture on English Poetry XVII (read June 2, 1926), printed in Proceedings of the British Academy.

The following pages on Chaucer’s criticism of the _poetriæ_ are adapted from my _Cicero on Parnassus_, PMLA 42: 106-112 (March, 1927).

For the _poetriæ_ see above, Chapter VII. B.

[34] It is advanced, however, by Tatlock’s interpretation of the evidence as suggesting rather Chaucer’s adoption of the “lay” as a literary form than his use of a particular “lay” as a source (_The Scene of the Franklin’s Tale Visited_, London, Chaucer Society, 1914).

Skeat notes the reminiscence of the prologue (appearing in better manuscripts as an epilogue) to the _Satires_ of Persius.

Nec fonte labra prolui caballino,
nec in bicipiti somniasse Parnaso
memini, ut repente sic poeta prodirem.

[35] See above, Chapter VII. B.

[36] The “heigh style” in the Squire’s joke may have the same reference.

Accordant to his wordes was his chere,
As techeth art of speche hem that it lere.
Albeit that I can nat soune his style,
Ne can nat climben over so heigh a style,
Yet seye I this, as to commune entente,
Thus muche amounteth al that ever he mente.

F. 103-108.

For _dictamen_ see above, Chapter VIII.

[37] If _endyteth_ here also refers to _dictamen_, Chaucer is underlining Petrarch’s rhetoric. But the word is not necessarily technical.

[38] B. 4537, seq.

[39] The reference to romance which follows the Nun’s Priest’s sarcastic dilation of truisms suggests that here too, as well as in the direct reference to Geoffrey, Chaucer was glancing at rhetorication of narrative.

God woot that worldly joye is sone ago;
And if a rethor coude faire endyte,
He in a cronique saufly mighte it wryte,
As for a sovereyn notabilitee.
Now every wys man lat him herkne me.
This storie is also trewe, I undertake,
As is the book of Launcelot de Lake.

B. 4396-4402.

Perhaps also he was thinking of Geoffrey’s dilation on the instability of “worldly joye” (277-291, _Quid gaudia tanta_).

[40] “O Veneris lacrimosa dies!” 375. Chaucer’s reference is at B 4531. The Pardoner’s apostrophes (C 512, 534, 551, 895) are subtly tinged, as everything else that he says, with demagogy. Those of the Nun’s Priest (B 4416, 4529), of course, are played flat. But in other places (E 2056, 2242, G 1076) Chaucer’s use of this “colour” seems conventional.

[41] The rehearsal of all the conventionally appropriate _loci_ of description at the funeral of Arcite (A 2919-2966) sounds to modern ears impatient, if not sarcastic. But, after all, the whole long passage is the “colour” _occupatio_ (præteritio). The shorter _occupatio_ in the Squire’s Tale (F 63-75) suggests sarcasm less by itself than in its connection with lines 32-40 and 401-408 quoted above.

[42] See W. W. Lawrence in _Modern Philology_, 11: no. 2 (October, 1913), with his references to Kittredge and Tatlock; and for a summary of considerations of the order of the tales, R. K. Root, _The poetry of Chaucer_, 153-159.

SYNOPTIC INDEX

[For further references see the alphabetical index following.]

MEDIEVAL RHETORIC
A. SOURCES
I. Inheritance of _declamatio_, as typically through Sidonius, 77-87
II. Authorities
1. _De inventione_ (_rhetorica prima_), 89, 152, 175
2. _Rhetorica ad Herennium_ (_rhetorica secunda_), 90, 181
3. _Ars poetica_, 86, 88, 129, 159
4. (secondary) Martianus Capella, 92-95, 179, 193
5. (occasional) Cicero, _De oratore_, 143; Quintilian, 169, 175
B. FIELDS [Of the three ancient fields, deliberative, forensic, and
occasional, the characteristically medieval use was of the
third.]
I. _Dictamen_, 206-227
II. _Preaching_, 51-73, 228-257
C. COMPONENTS
I. Investigation (_inventio_) largely transferred to _dialectica_
(which see, and also _judicium_, _status_, _topica_), 172,
182, 192
1. _inventio_ perverted, 187, 191
II. Order (_dispositio_) little taught, 171, 180, 196; perverted,
179
1. conventional items for encomium, 30-32, 187
2. natural order and artistic, 180
3. traditional parts
a. exordium (in _dictamen_), 215, 221
b. statement (_narratio_, in _dictamen_), 215, 222
(1) _narratio_ perverted to narrative, 193
(2) _fabula_, _historia_, _argumentum_, 161, 175
c. argument (_confirmatio_, _refutatio_) largely transferred
to _dialectica_
(1) _petitio_ (in _dictamen_), 215, 222
d. conclusion, 222
III. Style (elocutio)
1. diction
a. three styles (_tenue_, _medium_, _grande_), 68, 144, 216
(1) _Rota Virgili_, 192
(2) high style, 270, 292
b. elegance (with review of correctness), 82, 216
c. aptness
(1) conformity to type, 35, 159, 187
(2) in _dictamen_, especially important for _salutatio_, 220,
221
d. elaboration (_ornatus_, _dignitas_), 79, 82, 216, 219
(1) descriptive dilation (through _poetria_), 85, 174, 180,
186, 294
(2) figures (in _poetria_ and _dictamen_) from _Rhetorica
ad Herennium_
(a) _figuræ verborum_
1. _repetitio_, initial repetition
2. _conversio_, end repetition
3. _complexio_, 1 with 2
4. _traductio_, iteration
5. _contentio_, antithesis
6. _exclamatio_, exclamation
7. _interrogatio_, summary challenge
8. _ratiocinatio_, questioning oneself
9. _sententia_, apothegm
10. _contrarium_, putting the opposite
11. _membrum_, clause in relation
12. _articulus_, staccato
13. _continuatio_, closing series
14. _compar_, balance
15. _similiter cadens_, rime on inflections
16. _similiter desinens_, rime
17. _annominatio_, word-play
18. _subiectio_, suggestion of reply
19. _gradatio_, linking repetition
20. _definitio_, definition
21. _transitio_, linking summary
22. _correctio_, substitution
23. _occupatio_ (_occultatio_, _præteritio_) specifying
under cover of passing over
24. _disiunctio_, syntactical separation
25. _coniunctio_, syntactical combination
26. _adiunctio_, salient key-word
27. _conduplicatio_, iteration
28. _interpretatio_, repetition in other words
29. _commutatio_, chiasmus
30. _permissio_ (_concessio_), yielding
31. _dubitatio_, feigned hesitation
32. _expeditio_, logical exclusion
33. _dissolutio_, asyndeton
34. _præcisio_ (_aposiopesis_), unfinished sentence
35. _conclusio_, syllogistic summary
[the ten _tropi_]
36. _nominatio_, onomatopœia
37. _pronominatio_, title or epithet for name
38. _denominatio_, metonymy
39. _circuitio_, periphrasis
40. _transgressio_, hyperbaton
41. _superlatio_, hyperbole
42. _intellectio_, synecdoche
43. _abusio_, catachresis
44. _translatio_, metaphor
45. _permutatio_, allegorical or ironical allusion
(b) _figuræ sententiarum_
1. _distributio_, itemizing
2. _licentia_, boldness
3. _diminutio_, disparagement
4. _descriptio_, descriptive detail
5. _divisio_, dilemma
6. _frequentatio_, cumulation
7. _expolitio_, iteration
8. _sermocinatio_, direct discourse
9. _commoratio_, iteration
10. _contentio_, antithesis
11. _similitudo_, simile
12. _exemplum_, instance
13. _imago_, comparison
14. _effictio_, portrait
15. _notatio_, ethopœia
16. _conformatio_, prosopopœia
17. _significatio_, suggestion, insinuation
18. _brevitas_, rapid narration
19. _demonstratio_, ecphrasis
2. sentence movement (_compositio_), 83, 216
a. _prosaicum_ (_epistolare_), _metricum_, _rhythmicum_, 220
b. _stilus Aurelianensis_, _Hilarianus_, _Isidorianus_,
_Romanus_, _Tullianus_, 194, 217
c. _distinctiones_
(1) _dependens_ (_cæsum_), 218
(2) _constans_ (_membrum_), 218
(3) _periodus_ (_circuitus_), 219
d. euphony, 83, 218, 221
e. balance, 42-48, 80, 145, 252
(1) prose rime, 252, 253
(2) refrain, 254-257
f. cadence, 69, 70, 250
(1) _cursus_: _planus_, _tardus_, _velox_, 223-227
IV. Delivery (237) and V. Memory (163) little discussed

MEDIEVAL POETIC
A. POETICA IN SCHOOL
I. _Prælectio_, 88, 129, 160-164
II. Metric and Verse-writing, 87, 96, 129, 131, 184
1. coöperative and cumulative school verse, 141, 191
2. merging of poetic with rhetoric, 76, 186, 193
a. doctrine from _Ars poetica_, 86, 159
b. figures from _Rhetorica ad Herennium_ (see above)
III. Kinds of Poetry, 131, 175
B. LATIN POETRY
I. Ambrosian Development, 116-118, 132
II. _Corde natus_ Development, 119-121, 134, 201
III. Other Hymn Measures, 121, 122, 136-141
IV. Dactylic and Spondaic Effects, 122, 137, 198
V. Rime and Stanza, 141, 197-203
C. SYMBOLISM
I. Allegory, 92, 104, 172, 173
II. Type, Prefiguration, Mysticism, 120, 124, 203-205, 239-245,
273-276
D. VERNACULAR NARRATIVE
I. Epic: Germanic (intensive), 145-149; French (extensive), 259, 260
II. Romance
1. conventions of composition, 196, 261, 267, 281
2. salience and movement, 263, 268, 269, 275-277, 297
a. dialogue, 266, 286
3. characterization, 265-267, 287-289, 298
III. Oral Values and Habits, 245, 285, 301

GENERAL INDEX

A

Abbo of Fleury, 130, 144

Abelard, 138, 167

_Abjiciamus_, 236

Abrahams, P., 141

_abusio_, 305

accentual verse, 107-123, 133, 141, 148, 184, 189, 190, 191, 194,
195, 197-205, 220, 226, 281

_accentus_, 219

Achard of St. Victor, 252

Adam of St. Victor, 201-204

_Adesto, Christe, vocibus_, 133

_adjunctio_, 304

_Adnue, Christe, sæculorum Domine_, 136

_Adoro te devote_, 205

Advent antiphons, 203, 273

Æsop, 23, 190

_Agnus et leo, mitis et terribilis_, 136

Alain de Lille (Alanus de Insulis), 79, 104, 172-174, 175, 189, 190,
238, 239, 241, 254, 284

Alberic of Monte Cassino, 214, 219, 223

Alcuin, 127, 128, 130, 136, 140, 142

_Ales diei nuntius_, 117

Alexandre de Villedieu, 184-186, 190, 198, 219

Alexandrianism, 19, 20

allegory, 92, 104, 130, 172, 173, 174, 185, 237, 240, 273

_Alleluia, dulce carmen_, 135

Allen, P., 184

alliteration, 44, 47, 105, 144, 145, 148

allusion, 40, 77, 79-82, 86

Alphorabius, 175

Ambrose, St., 56, 71, 102, 107, 108, 116, 123, 125, 137, 250

Ambrosian hymns, 111, 112, 116, 117

Ameringer, T. E., 1, 17

Ammianus, 22

_amour courtois_, 267, 281, 282, 286

_anagoge_, 237, 240

Anderson, R. B., 259

_Angularis fundamentum_, 134

_annominatio_, 43, 304

Anselm, St., 151, 152, 229, 254

Anthony, St., of Padua, 234, 249

_Anticlaudianus_ (Alain de Lille), 79, 104, 172-174, 189, 190

antithesis, 6, 43, 47, 80, 81, 237, 252, 294, 304, 305

_apangelticon_, 131

Aphthonius, 23, 31

_Apollonii_, _Gesta_, 141

_apostrophe_, 42, 188, 239, 296

_Apotheosis_ (Prudentius), 105

_Apparebit repentina_, 111, 119

appropriateness to type, 33, 35, 78, 83, 159, 187, 191, 194, 215,
220, 235, 261, 268, 274, 281, 284

aptness, 54, 62, 64, 78, 159, 162, 187, 191, 194, 214, 215, 216, 219,
220

Aquila Romanus, 95

Aquinas, St. Thomas, 202, 204, 205, 229

Arabic versions, 153, 175

archaism, 40, 65, 86, 100, 110, 227, 250

_argumentum_, 161, 175, 193, 222, 260

Aristotle, 3-6, 8, 18, 39, 42, 48, 66, 88, 90, 93, 97, 98, 100, 132,
151, 165, 167, 168, 170, 171, 173, 177, 178, 182, 230, 238, 249

Arnim, H. von, 8

Arnold, M., 271

Arnold, T., 144

_ars notaria_, 213

_Ars Poetica_; see Horace

_Ars versificatoria_ (Matthieu de Vendôme), 185-187, 190

_artes liberales_, 91, 92, 95, 96, 128, 153, 155, 158-161, 172-181,
189, 245

_articulus_, 304

_A solis ortus cardine_, 106

_Assint nobis sublimia_, 133

Atticism, 9, 41

_attributa_, 187

Aubry, P., 112, 113, 183, 201, 204

_Aucassin et Nicolete_, 261, 263, 267, 295

_Auctores_, 189, 190

_Audi me, Deus, peccatorem_, 136

_Audite, fratres, famina_, 133

_Audite, omnes amantes_, 114

Augustine, St., 17, 41, 43, 51-73, 88, 123, 130, 141, 143, 164, 190,
194, 252

_Aurelianensis_, _stilus_, 194, 195, 208, 217, 223, 226

Ausonius, 75-78, 89

_Ave, Maria, salvatoris_, 220

_Ave, maris stella_, 135

B

Baker, W. J. V., 51

_balade_, 283

balance, 6, 21, 42-48, 54, 61, 76, 80, 81, 83, 144, 194, 251-254

Baldwin, G. E., 275

_Bangor antiphonary_, 113, 118, 120, 122

Barry, Sister M. Inviolata, 18, 43, 51, 52, 70

Basil, St., 22

_Bataille des sept arts_, 181

_Battle of Lewes_, 198

Baudry de Bourgeuil, 141, 197

Bec, 151, 152

Becker, H., 38

Bede, 105, 110-112, 117, 119, 120, 123, 127, 128, 130, 131, 133, 145,
151, 175, 185, 193

_Benchuir bona regula_, 115

Bene of Florence, 213

Bene of Lucca, 213

_benevolentiæ captatio_, 215, 221, 238

Benoît, 288

_Beowulf_, 145-147

Bergman, J., 104, 105

Bernard of Chartres, 160, 162-164, 167, 168, 171

Bernard, St. of Clairvaux, 229, 232, 236, 242, 243, 248, 250-252,
254-257

Bernard of Morlaix, 109, 198-200

Bernard Silvester, 153, 190

bestiaries, 235, 236

_Bevis of Hampton_, 268

Bickersteth, C., 51

Blume, C., 99, 107, 113-115, 117, 120, 122, 123, 126, 136, 183

Boccaccio, 263, 280, 281, 285, 286, 288, 289, 299

Boethius, 88, 98, 100-103, 108, 121, 122, 129, 131, 137, 141, 151,
153, 155, 165, 173

Boissier, G., 74

Bologna, 208

Bonaventure, St., 176-178

Boncompagno, 212, 213

Bonnard, Fourier, 154

Bordeaux, 9, 75-78

Bornecque, H., 206

Boulanger, A., 1, 8, 9, 10, 13, 23, 41

Bourgain, L., 228, 229, 232, 234, 236, 241, 247, 248, 254

breastplate verses (_lorica_), 121, 133

_brevitas_, 305

Britt, M., O. S. B., 99, 183

Brodeur, A. G., 259

Browne, Sir Thomas, 46

Brunetto Latini, 178-182, 189, 193

Bunyan, 229, 245, 246

Burgess, T. C., 1, 17, 21, 31, 33, 40

Butow, A., 206

Byrne, M. J., 75

Byron, 285

C

cadence, 48, 49, 54, 61, 63, 69, 79, 83, 95, 144, 145, 163, 194, 218,
223-227

Cæsarius of Arles, 117

_cæsum_ (_incisum_, _comma_), 61, 218

_cæsura_, 103, 119, 122, 148, 197, 199, 283

Campbell, J. M., 1, 9, 22, 43

_Candelabrum_, 213, 214, 216-223, 226

_Cantemus in omni die_, 135

_Carmen de S. Liudgero_ (Uffing), 141

_Carmen paschale_ (Sedulius), 106

Carolingians, 126-149, 151

Carré, G., 184, 190

Cassiodorus, 90, 92, 95

catachresis, 185, 305

cathedral schools, 127, 151

_Cathemerinon_ (Prudentius), 104, 119, 137

_Cathonet_ (_Distichs of Cato_), 190

Chabaille, P., 178

Chaix, L. A., 78

Chambers, R. W., 145, 147

chancery, Papal, 223

_chanson de geste_, 259-260

characterization, 34, 187, 245, 261, 265-267, 287-289, 298

Chartres, 89, 95, 130, 151-153, 160, 162-164, 168, 184, 237

Chase, W. J., 87

_Chastelaine de Vergi_, 263, 267, 295

Chaucer, 16, 109, 188, 196, 245, 246, 260, 261, 263, 280-301

_chiasmus_, 47

Chrétien de Troyes, 196, 261, 264-267, 286

_chria_, 26

_Christ_ (Cynewulf), 273, 277

_Christe, redemptor omnium_, 113

_Christe, salvator hominis_, 136

Christopher, J. P., 51

Cicero, 6, 39, 42, 43, 48, 51, 54, 55, 56, 60, 65, 68, 87-90, 93, 94,
97, 142, 143, 152, 153, 156, 157, 160, 161, 168, 174, 175, 178,
181, 189, 192, 193, 214, 217, 227, 291, 292

_circuitio_, 305

_circuitus_ (period), 61, 219

Cistercians, 172, 233

_Claras laudes ac salubres_, 134

Clark, A. C., 206, 223, 224

Clark, J. M., 126

Claudian, 100, 105, 113, 152

_clausula_ (cadence), 48, 49, 54, 79, 95, 144, 145, 163, 174
—(sentence), 218

Clerval, A., 130, 150-153, 156, 158, 160, 206, 237, 247

climax, 45, 47, 49, 61

_cœnon_, 132

cogency, 7, 20, 21, 39, 57, 70, 247-249

_collatio_, 231

_Collationes in hexaëmeron_ (St. Bonaventure), 177

collects, cadence in, 225

_colon_ (_membrum_), 61, 218

_colores_, 152, 161, 174, 180, 186, 188, 194, 195, 290-292, 294-296

Colson, F. H., 89, 152, 169, 175

_comedia_, 175, 176

Comfort, W. W., 264

_comma_ (_cæsum_, _incisum_), 61, 218

_commoratio_, 305

communal poetic, 108, 123, 125, 139, 146, 204, 259, 273, 279

_commutatio_ (_chiasmus_), 47, 304

_compar_, 304, and see balance

complaint, 282, 286

_complexio_, 304

_compositio_ (sentence rhythm), 6, 20, 44, 48, 49, 54, 61-64, 68-70,
83, 84, 144, 145, 163, 215-227, 250-254

_conclusio_, 215, 220, 222, 305

concrete, 19, 42, 101, 105, 149, 152, 171, 203, 245, 259, 270, 282,
284, 286-288, 301

_Conditor supernus orbis_, 134

_conduplicatio_, 304

_Confessio amantis_ (Gower), 299, 300

_conflictus_ (_débat_), 140, 284

_conformatio_, 305

_conjunctio_, 304

Conrad, _Summa de arte prosandi_, 212, 214, 219, 220

_Consors paterni luminis_, 113

_constans_, _distinctio_ (_membrum_), 218

_contentio_, 304, 305

_continuatio_, 304

_contrarium_, 304

_Contra Symmachum_ (Prudentius), 105, 137

_controversia_, 79, 82, 83, 84, 215

conventions of composition, 7, 10, 15, 21-38, 48, 73, 78, 180, 187,
196, 236, 261, 267, 270, 280-282, 284, 291, 296

_conversio_, 304

_Corde natus_, 104, 119, 124, 134, 201

Cornificians, 158

Cornificius, 90

_correctio_, 304

correctness, 64, 65, 86, 160, 213, 215, 216, 221

cosmogony, poetic, 124, 173, 204, 241, 242, 244, 272, 273, 274

couplet, 199, 282, 297

courtly love, 267, 281, 282, 286

Crane, T. F., 235

Croll, M. W., 206, 223, 224, 225

Cruel, R., 228, 233, 234, 247

_cursus_, 216-218, 223-227

Cynewulf, 273, 277

Cyprian, St., 56, 67, 71

D

dactylic effects in accentual verse, 115, 117, 118, 133, 137-139,
199, 283
—in prose, 226, 250, 251

Dalton, O. M., 78

Dante, 196, 205, 224, 242, 261, 269-280, 285

Dares, 190

_De arte metrica_ (Bede), 110, 111, 120, 131, 151

_débat_ (_conflictus_), 140, 284

_Decameron_, 263, 299

_declamatio_, 10-13, 54, 77, 79, 82, 83, 84, 85, 86, 94, 105, 129,
142, 188, 215

_De clericorum institutione_ (Rabanus), 142, 143

_declinatio_, 162, 163

_De consolatione philosophiæ_, 101-103, and see Boethius

_De contemptu mundi_ (Bernard of Morlaix), 198-200

decoration, 7, 18, 39, 40, 41, 100, 186, 195, 203, 271

_De doctrina christiana_ (St. Augustine), 51-73, 130, 143

_De eruditione prædicatorum_ (Humbert de Romans), 238

_De faciebus mundi_ (Guillaume d’Auvergne), 236

_definitio_, 304

_Dei gratia_, 220

_De incarnatione Christi_ (Alain de Lille), 241

_De inventione_ (Cicero), 89, 142, 143, 152, 153, 175, 179, 181,
182, 214

_delectare_ (_docere_, _movere_), 64-68, 72, 73

Delisle, L., 181

delivery, 16, 57, 64, 97, 237

_demonstratio_ (logic), 154, 157, 164, 165
—(description), 180, 189, 305

_denominatio_, 305

_De nugis curialium_; see Map

_De nuptiis Philologiæ et Mercurii_; see Martianus Capella

_dependens_ (_suspensiva_), _distinctio_ (_cæsum_, _incisum_,
_comma_), 218, 219

_De planctu naturæ_ (Alain de Lille), 172, 284

De Quincey, T., 19, 44-47, 49

_De reductione artium ad theologiam_ (St. Bonaventure), 176-178

_De rhetoricæ cognatione_, 152

_De schematibus et tropis sacræ scripturæ_ (Bede), 130

_descriptio_, 305

description, 17-19, 35, 41, 79-81, 92, 100, 104, 105, 149, 161, 174,
186, 259, 260, 264, 265, 271, 277, 278, 281-284, 287, 289,
294-296, 301

_De scripturis et scriptoribus sacris_ (Hugh of St. Victor), 241

Desilve, J., 130, 131

_De vulgari eloquentia_ (Dante), 270

_diacrisis_, 161

_dialectica_, 88-93, 95-98, 129, 141, 142, 151-182, 190, 238, 248, 249

dialogue, 132, 140, 245, 246, 262, 266, 282, 286, 287, 301

Dick, A., 92

Dickinson, J., 156

_dictamen_, 21, 79, 143-145, 152, 181, 191-195, 206-227, 293

_dictator_, 213, 217, 219

_dictio_, 175

_Dies iræ_, 201

_dignitas_, 216, 219; see _ornatus_

dilation, 17-20, 46, 77, 85, 86, 101, 161, 174, 180, 182, 186, 188,
189, 193, 195, 237, 271, 291, 294-296

dimeter, 108, 113, 116, 117

_diminutio_, 305

Dio Chrysostom, 13, 17

Diomedes, 92, 131, 132, 193

Dionysius of Halicarnassus, 6

diplomatic, 213, 214

_disciplina_, 79, 85, 91, 155, 165, 166

_disjunctio_, 304

_dispositio_, 7, 20, 21, 94, 97, 171, 179, 180, 187, 192, 193, 196,
215, 247-249

_disserere_, 97, 155-157

_dissolutio_, 305

_distinctio_, 218

_Distinctiones_ (Pierre de Limoges), 234

_distributio_, 305

_Divina Commedia_, 205, 242, 269-280

_divisio_, 305

_docere_ (_delectare_, _movere_), 64-68, 72, 73

_Doctrinale_ (Alexandre de Villedieu), 184-186, 190, 198

Dominican preaching, 233, 236-238, 249

Donatus, 87, 97, 130, 151, 158

Douais, C., 228, 237

drama, 132, 176, 289

_dramaticon_, 131, 132

Dreves, G. M., 99, 116, 126, 183

Dryden, 297

_dubitatio_, 42, 305

Du Méril, E., 200

E

_Ecce iam noctis tenuatur umbra_, 121, 136

_ecclesiasticus_, _cursus_; see _tardus_

_ecphrasis_, 17-20, 35, 44, 104, 174, 188, 274, 294, 305

_Edda_, 145, 259

_Edric the wild_ (Walter Map), 262

_effictio_, 305

Ekkehard I of St. Gall, 145

elaboration, 17, 40-50, 142, 161, 259, 292

_electio_, 192

elegance, 19, 65, 82, 161, 213, 215-217

elegiacs, 105, 106, 140, 141, 189, 193

elementary exercises, 10, 23-38, 97, 129

_Eliduc_ (Marie), 263

Elinand, 253

_elocutio_, 39, 57, 94, 97, 142, 191, 215, 216

_eloquentia_, 128, 169

Elss, H., 106

_En cæli rutilant lumine splendido_, 138

encomium, 5, 21, 22, 30, 31, 44, 71, 78, 105, 187, 194, 236

Ennodius, 84

enthymeme, 152, 237

epic, 145-149, 258-260

epigram, 42, 48, 76, 81

_Erec_ (Chrétien), 264, 266

Ermini, F., 104, 126, 129, 141, 145, 214

_Eruditio didascalica_ (Hugh of St. Victor), 153-155

Eskredge, J. B., 55

_ethopœia_ (_ethica dictio_), 34, 83, 97

Étienne de Bourbon, 235

Étienne de Tournay, 156, 208

_Etymologiæ_; see Isidore

Eunapius, 14

euphony, 83, 217-221

Évrard de Béthune, 184, 190

Évrard l’allemand, 189-191, 194

_exclamatio_, 304

_exegematicon_, 131, 132

_exemplum_, 180, 192, 235-238, 246, 247, 260, 262, 298, 300

exordium, 57, 215, 220, 221

_expeditio_, 305

_explanatio_, 216

_expolitio_, 305

F

fable, 23, 132, 178

_fableau_, 297

_fabula_, 96, 129, 132, 161, 175, 186, 193, 222, 260

_Facetus_, 190

_Faerie Queene_, 273, 277, 284

fairy mistress, 262, 297

Farabi, 175

Faral, E., 160, 183, 185, 188, 189, 191, 196, 261

_Felix per omnes festum mundi cardines_, 137

_Festum nunc celebre magnaque gaudia_, 187

Fierville, C., 89, 184, 194, 206, 216, 218

figures, 4, 9, 40-42, 54, 62-64, 66, 79, 87, 94, 96, 130, 162, 174,
184-186, 188, 189, 191, 193-195, 214, 216, 219, 304, 305

_Filostrato_ (Boccaccio), 285, 286

_finalis_ (_finitiva_), _distinctio_ (_periodus_), 219

_Finnsburgh_, 145, 147

Fisher, L. A., 269

five parts of rhetoric, 39, 57, 94, 97, 174, 177, 179, 192, 215, 216

_Floretus_ (_Fleuret_), 190

folklore, 146, 147, 260, 262, 267, 297

form letters, 208

Fortunatianus, 87, 95

Fortunatus, 106, 107, 110, 119, 120, 124, 151

framework tales, 296-301

Franciscan sermons, 235, 238, 249

Francis de Sales, St., 236

Frater Peregrinus, 233, 234

_Fratres, alacri pectore_, 133

_frequentatio_, 305

Fulbert, 151, 152, 197, 234

Fulda, 127, 128

G

Gaiter, L., 178

_gallicus_, _stilus_ (_Aurelianensis_), 195, 223, 226

Gaskoin, C. J. B., 142

Gastoué, 113

Gaudenzi, A., 206, 212, 213

Gaul, schools of, 75-90, 142, 226, 252

_Gawain and the Green Knight_, 267, 286, 287

Geoffroi de Vinsauf, 187-189, 190, 217, 221, 270, 291, 294-296

Gerbert, 128, 130, 156, 262

Germanic epic, 145-149

Gerould, G. H., 144

_Gesta Apollonii_, 141

Gibbon, 75

Gilbert de la Porrée (Gilbertus Porretanus), 151, 153

_Gloria, laus et honor tibi sit_, 140

Glover, T. R., 74

Godescalc (Gottschalk), 139, 190

Goliardic verse, 191, 200

Gorgian figures, 9, 42-48, 86; and see balance

Gorgias, 8, 9, 13, 41, 97

Gower, 299, 300

_Graalent_, 263

_gradatio_, 61, 304

_Græcismus_ (Évrard de Béthune), 184, 190

Grail, 261, 263, 268

_grammatica_, 63, 79, 87, 88, 90-93, 96, 97, 110, 127-132, 151,
153-155, 157, 159-162, 164, 169-171, 173, 175-177, 182,
184-186, 189, 195, 214

_grammaticus_, 76, 130, 141, 160, 164

_grande_ (_genus_), 68, 70, 71, 192, 216; see three styles

Greek, 61, 97, 110, 128, 158

Greenough, J. B., 122

Greet, W. C., 184

_Gregorianus_, _stilus_, 194

Gregory the Great, St., 113, 122, 123

Gregory Nazianzen, St., 9, 12, 21, 52

Gregory of Nyssa, St., 52

grotesque, 278

Guest, C., 264

Guibert de Nogent, 236, 240

Guido Fava, 213, 221

Guignet, M., 1, 9, 17, 18, 21, 41, 43, 61

Guillaume, Maître, 226

Guillaume d’Auvergne, 236

Guy of Warwick, 268

H

Hahn, S. F., 206

Halm, K., 74, 126

_Hamartigenia_ (Prudentius), 105

Hamilton, G. L., 190

Harmon, A. M., 206

Harrington, K. P., 198

Hartland, E. S., 261

Haskins. C. H., 150, 151, 152, 160, 175, 190

Hauréau, B., 153, 252

Havet, J., 128

Havet, L., 206, 223

Henri d’Andeli, 181, 184, 190

_Heptateuchon_ (Thierry of Chartres), 153

_Herennium_, _Rhetorica ad_, 42, 90, 152, 153, 175, 181, 182, 191, 195,
214, 219, 221

Heribert of Eichstätt, 197

Hermagoras, 97

Hermogenes, 23-39, 49, 87

hexameter, 105, 140, 141, 145, 148, 173, 184, 190, 197-199

high style, 270, 285, 292, 293, 294; see _grande_ and three styles

_Hilarianus_, _stilus_, 194

Hilary of Poitiers, St., 120, 123, 125

_Hildebrand_, 145, 146, 147

Hilduin, 253

Hinton, J., 261

_historia_, 96, 161, 175, 193, 222, 260

_Historia pontificalis_ (John of Salisbury), 156

homiletic; see preaching

_Honeysuckle_ (Marie), 263

_Hora novissima_, 190, 199

Horace, _Ars Poetica_, 85, 86, 88, 129, 151, 159, 186, 188, 191, 214,
219, 270

Hrotsvitha, 141

Hubbell, H. M., 1, 6

Hucbald, 131

Hugh of St. Victor, 153-156, 165, 173, 177, 204, 241, 256

Humbert de Romans, 238

_Hymnum dicat turba fratrum_, 120, 125, 203

hymns, 104, 106, 107-125, 132-140, 194, 197-205, 258; and see first
lines

hyperbaton, 43, 47, 305

hyperbole, 44, 185, 305

hypothesis, 37, 166

I

iambic rhythms, 116-118, 132, 133

_Ignis Creator igneus_, 114, 117

_Ilias latina_, 190

_illustratio_, 161, 171

_imago_, 305

imitation, 55, 58, 64, 162, 163, 171

improvisation, 13-16

_incisum_ (_cæsum_, _comma_), 61, 218

individualizing detail; see concrete

_In natale Salvatoris_, 201, 202

_insinuatio_ (exordium), 221

_Institutiones_ (Cassiodorus), 95

_integritas_, 65

_intellectio_, 305

_intellectus_, 165, 168

_interpretatio_, 304

interpretation of Scripture, 237, 239-244; see symbolism

_interrogatio_, 42, 304

_invectio_, 175

_inventio_, 7, 56, 57, 91, 94, 97, 154-156, 164, 172, 182, 187, 191,
192, 196, 215, 237

Irish epic, 145

Irish hymns, 106, 113-115, 120, 121, 122, 133

Isidore, 90, 95-98, 141, 152, 156, 175

_Isidorianus_, _stilus_, 194

Isocrates, 5, 6, 43, 46

iteration, 43, 44, 61, 252-257

Ives of Chartres, St., 151

J

Jacques de Vitry, 234, 235, 238

Jæneke, J. F. G., 38

James, M. R., 261

Jean d’Antioche, 181

Jerome, St., 62

Jocelyn of Brakelond, 233

John of Gaetà, 223

John of Garlandia (Johannes Anglicus), 190, 191-195, 215, 270

John of Salisbury, 79, 89, 151, 152, 154-173, 177, 181, 190,
208-212, 221, 224

_judicium_, 154-156, 164, 172

Julian, 54

_junctura_, 186

K

Keil, H., 74, 99, 126

Kemp-Welch, A., 263

Kennedy, M. J., 22

Ker, W. P., 145, 148

Kittredge, G. L., 282, 300

Kleutgen, J., 26

L

_Laborintus_, 189-191

Labriolle, P. de, 74

_lai_, 263, 290

_laisse_, 260

Lanfranc, 151

Lanfranchi, V., 103

Lang, A., 263

Langlois, C. V., 207, 223, 233

Lanson, G., 259

_Lanval_ (Marie), 263

_latinitas_, 216

_Lauda Sion_, 202, 204, 205

_Laudes crucis attollamus_, 203

_Laus erumpat ex affectu_ (v), 202

Lawrence, W. W., 300

Lease, E. B., 103

Lecoy de la Marche, A., 228, 229, 231, 232, 234, 235, 237, 248, 283

Legouis, E., 284

Leonine hexameters, 190, 199

Leonine (prose), rhythm, 223

letters, 21, 78, 79, 128, 143-145, 152, 156, 181, 191-195, 206-227,
293

_Libellus de exordiis et incrementis_ (Walafrid Strabo), 181

_Liber de causis_ (Gilbert), 153

_Liber pontificalis_, 223

_Liber quo ordine sermo_ (Guibert de Nogent), 236, 240

_Liber sex principiorum_ (Gilbert), 153

liberal arts, 91, 92, 95, 96, 128, 153, 155, 158-161, 172-181, 189,
245

_licentia_, 305

_litteralis expositio_, 240

Little, A. G., 235

Lloyd, J. E., 261

_loci rhetorici_, 152, 175

logic, 88-93, 95-98, 129, 141, 142, 151-182, 196, 238, 248, 249

_logica_, 97, 98, 154, 155, 157-159, 164-167, 169, 173, 175, 177

_lorica_, 121, 133

Loup de Ferrières, 128-130, 143, 144

Lucan, 100, 162

Lucian, 13, 18, 19

Luquiens, F. B., 263

_Lustra sex qui jam peregit_, 120

lyric, 123, 258; see hymns

M

Mabillon, 229, 232

_Mabinogion_, 264

Maggini, F., 178

Maigret, F., 103

_Maldon_, 145, 260

Malory, Sir Thomas, 268, 269

Manacorda, G., 74, 150, 183, 207

Manitius, M., 74, 126, 143, 190

Manly, J. M., 188, 289

Map, Walter, 196, 200, 246, 247, 261-263

Mari, G., 183

_Mariage des sept arts_, 181

_Mariale_ (Bernard of Morlaix), 198

Marie, 196, 263

Martianus Capella, 91-95, 104, 151-153, 172, 179, 190, 193

martyr poems, 105, 124, 129, 140, 141

_materia_, 192, 213

Matthieu de Vendôme, 185-187, 190, 192, 194, 218, 270

Maurice de Sully, 234

Mearns, J., 99

_media_, _distinctio_ (_membrum_, _colon_), 61, 218, 219

_Mediæ noctis tempus est_, 118

Medica, 13, 40

_medium_, _genus_ (_mediocre_, _temperatum_), 68, 69, 71, 192, 216;
see three styles

_membrum_ (_colon_, _distinctio media_), 61, 218, 219

memory, 13, 15, 57, 68, 69, 97, 162, 163, 192

Menander Rhetor, 21, 31

Méridier, L., 1, 9, 13, 17, 18, 31, 41, 43, 49, 61

_Metalogicus_ (John of Salisbury), 79, 89, 152, 154-172, 190

metaphor, 237, 305

metonymy, 185, 305

Meyer, W., 115, 136, 144, 223, 224

Mignon, A., 150, 153

_mimeticon_, 131

Misset, E., 183, 201, 204

Moffat, D. M., 172

monastic schools, 127, 128, 151

Monceaux, P., 74

_moralis expositio_, 240, 243, 244

Morte d’Arthur, stanzaic, 283

Mosher, J. A., 235

_movere_ (_docere_, _delectare_), 64-68, 72, 73

mysticism, 241; see symbolism

N

_narratio_, 57, 179, 193, 215, 221, 222

narrative movement, 20, 196, 246, 259, 260, 262-270, 275-278, 283,
284, 286-289, 293-298, 301

narrative, verse, 100, 105, 188, 260, 264-301

Neale, J. M., 198

Necker, G., 259

_Nocte surgentes vigilemus omnes_, 122

_nominatio_, 305

Norden, E., 8, 73

_Nos dicamus Christo laudem_, 134

_notarii_, 213

_notatio_, 305

_numerus_, 112, 175

O

occasional oratory, 5, 73, 78, 79, 229-231

_occupatio_ (_occultatio,_ _præteritio_), 296, 304

Odo of Morimond, 234

_œconomia_, 163, 171

Ogle, M. B., 261

_O lux beata Trinitas_, 107

Onulf of Speier, 152

_O quam glorifica luce coruscas_, 137

_O quanta qualia sunt illa sabbata_, 138

oral narrative, 245, 285, 301

order;
logical, see _dispositio_;
—narrative, see narrative movement;
—natural or artistic, 179, 193, 196

_Ordiar unde tuos, sacer O Benedicte, triumphos_, 140

_O redemptor, sume carmen_, 135

oriental tales, 261, 262

_Origines_; see Isidore

Orléans, 151, 184, 185, 194, 195, 208, 217

_ornatus_, 142, 178, 216, 219, 233, 270, 276

_O Roma nobilis_, 138

_O salutaris_, 205

Ott, E., 213

Ovid, 19, 129, 140, 141, 151, 262, 282, 294

Owst, G. R., 228

P

Paetow, L. J., 184, 190, 207

panegyric; see encomium

_Pange, lingua, gloriosi_, 106, 119

_Pange, lingua, gloriosi corporis_, 205

Panicali da Cingoli, 87

_Parabolæ_ (Alain de Lille), 190

Paris, 151, 158, 154, 184, 234

Parker, H., 199

_paronomasia_, 43, 48

parts of a discourse, 193

_Parzival_ (Wolfram), 269

_passiones_, 129, 140, 141, 144

Pater, W., 19

Paul, St., 61, 67-70, 73

Paulinus of Aquileia, 134

Paulus Albarus, 137

Paulus Diaconus, 133, 134, 136, 140

_Pearl_, 272, 277, 279, 283, 285

Pecock, R., 87, 184

Perdrizet, P., 228, 241, 252

period (_periodus_, _circuitus_, _distinctio finalis_), 61, 62, 64,
219

Peripatetics, 164

_Peristephanon_ (Prudentius), 105, 119

_permissio_, 305

_permutatio_, 305

peroration, 70, 79; see _conclusio_

Persius, 239, 290

Petit de Julleville, L., 12

_petitio_ (of a letter), 215, 220, 222

Petrarch, 292, 293

Petronius, 262

Petrus Diaconus, 134

_philosophia_, divisions of, 98, 154-156, 164, 165, 176-178, 181

Philostratus, 8-23, 38, 49, 76

Pichon, R., 74

Pierre de Blois, 208, 223, 232

Pierre de Celles, 241, 247, 250

Pierre de Limoges, 234

_Piers Plowman_, 245, 272, 273, 284

_Pilgrim’s Progress_, 245, 246, 273

plan; see _dispositio_, order

_planus_, _cursus_, 223, 225

Plato, 2-7, 39, 50, 98, 165, 167

Pliny, 12, 15

_poetica_, 157, 159, 160, 161, 174, 184, 186, 189; see _prælectio_

poetic diction, 149, 161; and see foregoing

poetic merged with rhetoric, 24, 39, 76, 85, 86, 100, 132, 144, 159,
174-176, 179-181, 186, 193, 194, 196, 215, 219, 270, 292, 295,
296

_poetria_, 185-196, 203, 214, 222, 237, 260, 261, 270, 271, 274,
289-296

_Poetria_; see John of Garlandia

_Poetria nova_; see Geoffroi de Vinsauf

poetry, kinds of, 131, 175

Poggio, 143

Polheim, K., 207, 228, 234, 252

_Policraticus_ (John of Salisbury), 79, 156, 157

Ponce, 226

Poole, R. L., 150, 156, 207, 214, 223, 224

Porphyry, 88, 98, 129, 165, 167, 173

_præcisio_ (_aposiopesis_), 42, 305

_prælectio_, 88, 129, 131, 152, 160-164, 171, 184, 186, 195

preaching, 51-73, 214, 225, 228-257

prefiguration, symbolic, 203, 240, 242, 244

Price, T. R., 289

_Primo dierum_, 194

_principium_ (exordium), 221

Priscian, 87, 92, 130, 151-153, 184

_privilegia_, 213

_probabilis_, 154, 155, 157, 165

progymnasmata; see elementary exercises

_pronominatio_, 305

_pronuntiatio_; see delivery

_prosa_, 195

_prosopopœia_, 83, 97, 141, 215, 305

proverb, 27, 180, 191, 192, 221

Prudentius, 103-105, 117, 119, 123, 124, 137, 141, 151

_Psychomachia_ (Prudentius), 104, 105

Puech, A., 103, 105

punctuation, 219

Q

Quadrivium, 153-155, 158, 159, 161, 173

_quæstiones civiles_, 142, 178

Quintilian, 39, 41-43, 48, 77, 84, 89, 90, 95, 97, 143, 152, 154,
157, 160, 161, 164, 169, 170, 171, 175, 178, 182, 222

R

Rabanus, 128, 129, 131, 132, 134, 142, 143

Rabe, H., 23

Rand, E. K., 89, 100

_ratiocinatio_, 304

refrain, 45, 140, 254-257, 283

_Refulget omnis luce mundus aurea_, 136

Reichling, D., 184

Remi of Auxerre, 95, 128, 130, 152

Renaissance, 226, 227, 250, 252, 261

_repetitio_, 304

_Rerum Creator optime_, 113

_Rex æterne Domine_, 118

_rhetor_, 76, 93, 97, 292, 295

_rhetorica ecclesiastica_, 213

_Rhetorica novissima_ (Boncompagno), 212, 213

rhythm (prose), 4, 6, 19, 20, 40, 43-49, 61-64, 68, 69, 70, 83, 84,
144, 145, 163, 214, 216-219, 223-227, 250-254

_rhythmus_ (accentual verse), 96, 107-123, 132-140, 152, 189-191,
194, 195, 197-205, 214, 220

Richard l’Evêque, 151

Richard of St. Victor, 253

rime (verse), 102, 103, 106, 120, 133, 135, 141, 148, 190, 194,
197-205, 220;
—(prose) 6, 47, 144, 252-254, 304

Rockinger, L., 207

Roger, M., 74

Rohde, E., 8

_Roland_, 260

_Roman de la Rose_, 109, 245, 274, 281

_Roman de Troie_ (Benoît), 288

romance, 260-269, 285-289, 291, 297

_Romanus_, _stilus_, 194, 208, 217, 223, 225

rondel, 283

Root, R. K., 285, 288, 300

_Rota Virgili_, 192, 196

Rutilius Lupus, 42

S

_Sacris sollemniis_, 204, 205

_Sadius and Galo_ (Walter Map), 262

St. Amand school, 130, 131

St. Gall school, 127, 145

saints’ legend, 260, 261, 296; see martyr poems, _passiones_

St. Victor, abbey, 153, 154, 233, 240

_salutatio_, 220

_Salve, crux sancta_, 197

_Salve, dies dierum gloria_, 202

_Salvete, flores martyrum_, 117, 123

Samson, Abbot of St. Edmund’s, 233

_Sancti, venite_, 122, 123, 136

_Sanctorum meritis inclyta gaudia_, 137

Sandys, J. E., 23

sapphics, 106, 121, 122, 136, 139

_satira_, 175

Saturnian verse, 110

Scandinavian epic, 259

_Sceva and Ollo_ (Walter Map), 262

schemata (figures), 42, 94, 96, 97, 185

Schleich, G., 264

schools; see Chartres, etc.

school verse, 76, 141, 164, 184, 186, 187, 191, 194

_Scoti_, 127, 128, 131

Scott, Sir Walter, 49, 50

Sedulius, 105, 106, 151

Sedulius Scotus, 133, 134, 136, 137, 139

Seneca, 160

Seneca Rhetor, 82, 95, 161

sentences; see _compositio_, rhythm

_sententia_, 42, 76, 304

sequence; see order

sequence, liturgical, 202

_sermocinatio_, 305

sermon; see preaching

sermon digests, 234-236

_sermones ad clerum_, _ad populum_, 232, 234, 249, 250

_Sermones vulgares_ (Jacques de Vitry), 234, 235

seven liberal arts; see _artes_

_Seven Sages_, 299, 300

Sidonius, 78-87, 89, 152, 182, 188, 190

_significatio_, 305

_similiter cadens_, _desinens_, 304

_similitudo_, 305

situation, narrative, 263, 288

_Skáldskaparmál_, 259

Snorri Sturlasson, 259

social romance, 261, 262, 286, 287

_Song of Songs_, 132, 238, 241

sophistic, 2-54, 61, 65-67, 71, 73, 75, 79, 82, 187, 188, 189

_sophistica_ (logic), 154, 155, 157, 165, 166

_Speculum doctrinale_; see Vincent

_Speculum humanæ salvationis_, 228, 241

Speier, 129, 140, 141, 152, 184, 186

Spenser, 273

spondaic effects in accentual verse, 115, 117, 118, 122, 198, 226

_Stabat mater_, 202

stanza, 201-203, 258, 283-285

statement of the facts; see _narratio_

Statius, 85, 100, 151

_status_, 89, 91, 94, 95, 175, 179

staves, Anglo-Saxon, 148;
—Latin, 199

Sterne, L., 19

Stewart, H. F., 100

_stilus_; see _Aurelianus_, _Hilarianus_, _Isidorianus_, _Romanus_,
_Tullianus_

_subjectio_, 304

_Sublime_, treatise on the, 41, 50, 66, 101, 205, 271

_sublimis_, _stilus_; see _grande_

_submissum_, _genus_ (_humile_, _tenue_), 68, 71, 192, 216

_Suffragare, Trinitatis unitas_, 121

Sulpitius Verulanus, 184, 190

_Summa de arte prædicatoria_ (Alain de Lille), 238, 239

_Summa de arte prosandi_ (Conrad), 212, 214, 219, 220

_superlatio_, 305

_suspensiva, distinctio_ (_dependens_, _comma_, _cæsum_, _incisum_),
219

syllabic equality in accentual verse, 220

syllabic scansion, 220, 260, 281

syllogism, 152, 175

symbolism, 120, 124, 125, 130, 173, 203-205, 237, 239-244, 245, 273

syncope in accentual verse, 115, 117, 118, 122, 137, 283

synecdoche, 185, 305

T

Tacitus, 22

_Tantum ergo_, 205

_tardus_ (_ecclesiasticus_), _cursus_, 223-225

Tatlock, J. P. S., 290, 300

_Tellus ac æthra jubilent_, 118

_tenue_, _genus_ (_humile_, _submissum_), 68, 71, 192, 216

_Théodolet_, 190

Theodulf, 127, 140

_Theodulus_, 190

Theon, 23

Therèse, Sister, S. N. D., 51

thesaurus, sermon, 235, 236

thesis, 36, 166

Thierry of Chartres, 152, 153

Thomas Aquinas, St., 202, 204, 205, 229

Thomas of Capua, _Dictator_, 212

Thomas of Celano, 201

three fields of oratory, 5, 72, 97, 177, 230

three functions of oratory, 64-68, 72, 73, 221, 230

three kinds of composition (_metricum_, _rhythmicum_, _prosaicum_),
214

three styles, 56, 67-72, 97, 144, 190-192, 194, 216, 270, 295

Thurot, C., 184, 207, 208, 213, 219, 226

_Tobias_ (Matthieu de Vendôme), 190

_Tombeor de Notre Dame_, 295

_topica_, 89, 167, 168

Toulouse, 153

Tours, 127, 151

Toynbee, P., 207, 224

_Tractatus de diversis materiis prædicabilibus_ (Étienne de Bourbon),
235

_traductio_, 304

_tragedia_, 132, 175, 176, 194

tragedy, 148, 285, 288, 298

_transgressio_, 305

_transitio_, 304

_translatio_, 305

Traube, L., 138

_Trésor_; see Brunetto Latini

_trispondiacus_, _cursus_, 223

Tristram, 263, 285

Trivium, 90-98, 127-132, 141-144, 151-182

trochaic rhythms in accentual verse, 119-121, 134-136, 197, 201-203

Troica, 13

trope, 42, 96, 185, 305

_tropologia_, 237, 240

troubadours, 258, 270

_Tullianus_, _stilus_, 194, 217

Tupper, F., 261

type; see appropriateness, prefiguration

U

Uffing, 141

_Urbs beata Hierusalem_, 134

V

Vacandard, E., 207, 223, 225

Valla, L., 184

Valois, N., 207, 223

Varro, 91, 98

vehemence, 16, 49, 50, 86

_velox_, _cursus_, 223-225

_Veni Creator Spiritus_, 132

_Verbum Dei Spiritumque_, 197

_Verbum supernum_, 205