Guillaume de Machaut and the mise en page of medieval French sung verse

257 Pages·2009·0.825 MB·English

by  Sheila Kate Maxwell

Guillaume de Machaut and the mise en page of
medieval French sung verse
Sheila Kate Maxwell
M.A.(hons), M.Phil
Submitted in fulfilment of the requirements for the
Degree of Doctor of Philosophy
Departments of French and Music
Faculty of Arts
University of Glasgow
May 2009
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If you want to know to whom this thesis is dedicated,
rearrange the sixth and seventh words from the end of the Conclusion.
There you will find the name you are looking for.
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Abstract
The aim of this thesis is to examine what a study of the visual presentation of
the fourteenth-century poet-composer Guilluame de Machaut's songs can tell
us that studying them simply as pre-defined works cannot. This has involved
two distinct, but related fields of enquiry.
Firstly, I have developed of a way of considering the six manuscripts of
Machaut containing what appear to be his complete works which focuses on
the visual impact of each codex as a whole, from the materials used to the
content it contains (text, images, music). This methodology, which draws on
the works of such scholars as B. Cerquiglini (Eloge de la variante, 1989), S.
Huot (From Song to Book, 1987), and D. Leech-Wilkinson (The Modern
Invention of Medieval Music, 2002) and relies heavily on primary sources, is
founded on the premise that each of the manuscripts is a complete and unique
artefact, irrespective of who created it and for what purpose. Building on this, I
argue that each manuscript can be considered a performance. When one of
Machaut’s compositions (poetical, musical, or both) is preserved in more than
one source, each such manuscript is considered as a performance in its own
right. This performative approach allows for and indeed welcomes variations in
interpretation and presentation, including those that appear to entail
manipulations of the work itself, by performers as diverse as copyists (involved
in internal, possibly mnemonic performance), oral interpreters (singing or
reading out loud, either from memory or from a copy), editors (whatever their
purpose and medium, be it a paper edition based on all sources or a digital
edition of just one: perhaps these are the equivalent of today's copyists?), and
readers (scholarly and leisurely, from any era).
Having established this approach in my thesis, I then assess the role of
the individuals involved in such a manuscript performance. The differing role
of the scribes and the author in a manuscript's production is considered,
particularly with reference to the manuscripts over whose compilation the
author is perceived to have had some control. The role of the reader is
considered in terms of the reception of the manuscript and especially the
extent to which manuscript layout and design subconsciously ‘control’ reader
interpretation. In the light of this I analyse the manuscript presentation of
Machaut's songs in each of the six principal manuscripts transmitting his
works, with particular focus on the literary works that contain musical notation,
the Remede de Fortune and the Voir Dit, the series of lays set to music, and
the Messe de Notre Dame. The methodology adopted throughout considers the
visual impact of the presence of music on the manuscript page and assesses
the extent of this impact both on the reader and on its relevance to manuscript
design: what can the layout of the music tell us about the manuscript's
readers, patrons and creators? This analysis offers insights as to the role of
artists in the society of mid- and late-fourteenth-century France, the changing
perceptions of words and music, and the role of reading, writing, and memory
in society.
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Contents
Abstract p. 3
List of Figures p. 5
Acknowledgements p. 13
Preface: The mise en page and Reading p. 15
Chapter 1: Identity and Performance p. 23
Chapter 2: Education and Performance in the Remede de Fortune p. 49
Chapter 3: The Lays and the Performance of Love p. 93
Chapter 4: Performing Memory in the Mass p. 128
Chapter 5: Scribal Memory and Authorial Performance in the Voir Dit p. 168
Conclusion: Performance and the mise en page p. 220
Bibliography p. 226
Appendix 1: Manuscript Details p. 250
Appendix 2: Anagrams p. 254
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List of Figures
Preface: The mise en page and Reading
Fig. P.1: A fol. Fv (detail) p. 15
The third miniature from the Prologue in manuscript A
Chapter 1: Indentity and Performance
Figure 1.1: Manuscript C, fols. 58-58v (detail) p. 32
The anagram directions from the Remede de Fortune
Figure 1.2: Manuscript C, fol. 58v (detail) p. 32
The end of the Remede, including the anagram passage
Fig. 1.3: A, fol. 306 (detail) p. 35
The anagram passage from the Voir Dit in manuscript A
Fig. 1.4: C fol. 26 (detail) p. 37
Guillaume composing (from the Remede de Fortune in C)
Chapter 2: Education and Performance in the Remede de Fortune
Fig. 2.1: C fol. 23 (detail) p. 52
The lady's castle (from the Remede de Fortune in C)
Fig. 2.2: C fol. 24 (detail) p. 54
Guillaume and Love (from the Remede de Fortune in C)
Fig. 2.3: C fol. 44v (detail) p. 54
Guillaume and Hope (from the Remede de Fortune in C)
Fig. 2.4: C fol. 37v (detail) p. 55
Guillaume and Hope (from the Remede de Fortune in C)
Fig. 2.5: C fol. 56 (detail) p. 56
The exchange of rings (from the Remede de Fortune in C)
Fig. 2.6: C fol. 58 (detail) p. 56
Guillaume and his lady (from the Remede de Fortune in C)
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Fig. 2.7: C fol. 51 p. 59
The virelai from the Remede de Fortune in C
Fig. 2.8: C fol. 59 p. 60
The chanson roial from the Remede de Fortune in C
Fig. 2.9: A fol. 49v (detail) p. 62
The opening miniature to the Remede de Fortune in A
Fig. 2.10: C fol. 38 (detail) p. 63
The arms of love from the Remede de Fortune in C
Fig. 2.11: A fol. 62 (detail) p. 63
The arms of love from the Remede de Fortune in A
Fig. 2.12: A fol. 72 (detail) p. 64
Guillaume and the lady's castle (from the Remede de Fortune in A)
Fig. 2.13: A fol. 78v (detail) p. 64
Guillaume and the lady (from the Remede de Fortune in A)
Fig 2.14: A fol. 80 (detail) p. 65
Guillaume and the god of love (from the Remede de Fortune in A)
Fig. 2.15: C fol. 57 p. 68
The rondelet from the Remede de Fortune in C
Fig. 2.16: A fol. 78v p. 69
The rondelet from the Remede de Fortune in A
Fig. 2.17: Vg fol. 90 (detail) p. 72
The opening miniature to the Remede de Fortune in Vg
Fig. 2.18: Vg fol. 95v (detail) p. 73
A king and courtiers (from the Remede de Fortune in Vg)
Fig. 2.19: Vg fol. 111 (detail) p. 74
Guillaume and Hope (from the Remede de Fortune in Vg)
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Fig. 2.20: B fol. 119v p. 78
The rondelet from the Remede de Fortune in B
Fig. 2.21: B fol. 93 p. 81
Extract from the lay from the Remede de Fortune in B
Fig. 2.22: E fol. 35v p. 85
The rondelet from the Remede de Fortune in E
Fig. 2.23: E fol. 23v (detail) p. 86
Extract from the lay from the Remede de Fortune in E
Fig. 2.24: F fol. 40 (detail) p. 89
The opening miniature to the Remede de Fortune in F-G
Fig. 2.25: F fol. 62v p. 91
The rondelet from the Remede de Fortune in F-G
Chapter 3: The Lays and the Performance of Love
Fig. 3.1: C fol. 165 (detail) p. 98
Miniature to the first lay in manuscript C ("Loyauté que point ne delay")
Fig. 3.2: C fol. 170 (detail) p. 98
Miniature to the third lay in manuscript C ("Pour ce qu'on puist")
Fig. 3.3: C fol. 26 (detail) p. 99
Guillaume composing (from the Remede de Fortune in C)
Fig. 3.4: C fol. 173r (detail) p.100
Miniature to the fourth lay in manuscript C ("Aus amans")
Fig. 3.5: C fol. 28v (detail) p. 100
Guillaume reading his lay to his lady (from the Remede de Fortune in C)
Fig. 3.6: C fol. 188v p. 102
Extract from the tenth lay in manuscript C ("Lay de Plour")
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Fig. 3.7: C fol. 189r (detail) p. 105
Miniature to the eleventh lay in manuscript C ("Ne say comment")
Fig. 3.8: C fol. 194v (detail) p. 106
Miniature to the fourteenth lay in manuscript C ("On parle de richesses")
Fig. 3.9: A fol. 367 (detail) p. 108
The opening miniature to the lays in manuscript A
Fig. 3.10: A fol. 373v p. 112
Extract from the third lay in manuscript A ("Pour ce qu'on puist")
Fig. 3.11: A fol. 410v p. 113
Extract from the twenty-second lay in manuscript A ("Lay de Plour")
Fig. 3.12: Vg fol. 251 (detail) p. 115
Extract from the sixteenth lay in manuscript Vg ("Je ne cesse de prier")
Fig. 3.13: B fol. 249 (detail) p. 116
Extract from the sixteenth lay in manuscript B ("Je ne cesse de prier")
Fig. 3.14: E fol. 157 (detail) p. 119
The opening miniature to the lays in manuscript E
Fig. 3.15: E fol. 16r (detail) p. 120
The opening miniature to the rondeaux in the Louange des dames in
manuscript E
Fig. 3.16: E fol. 113v (detail) p. 124
Opening of the eighth lay in manuscript E ("Pour ce qu'on puist")
Fig. 3.17: G fol. 74 (detail) p. 125
Opening miniature to the lays in manuscript F-G
Fig. 3.18: G fol. 87v (detail) p. 126
Extract from the twelfth lay in manuscript F-G ("Lay mortel")
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Chapter 4: Performing Memory in the Mass
Fig. 4.1: A fol. 438v p. 131
The opening of the Kyrie in manuscript A
Fig. 4.2: A fol. 447 (detail) p. 134
Tenor and Contratenor from the Credo Amen in manuscript A
Fig. 4.3: A fol. 448 (detail) p. 134
Tenor and Contratenor from the Sanctus in manuscript A
Fig. 4.4: A fols. 444v-445 p. 137
Extract from the Credo in manuscript A
Fig. 4.5: Vg fol. 283v p. 140
The opening of the Mass in manuscript Vg
Fig. 4.6: Vg folios 288v-289 p. 141
The opening of the Credo in manuscript Vg
Fig 4.7: Vg fols 294v-295 p. 143
Extract from the Agnus Dei in manuscript Vg
Fig. 4.8: B fol. 281v p. 145
The opening of the Mass in manuscript B
Fig. 4.9: B fols 287v-288 p. 147
Extract from the Credo in manuscript B
Fig. 4.10: B fol. 282v p. 150
Extract from the Kyrie in manuscript B
Fig. 4.11: Vg fol. 284v p. 150
Extract from the Kyrie in manuscript Vg
Fig. 4.12: E fols 164v-165 p. 152
The opening of the Mass in manuscript E
Fig. 4.13: E fols 167v-168 p. 158
Extract from the Credo in manuscript E
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Fig. 4.14: G fols 125v-126 p. 160
The opening of the Mass in manuscript F-G
Fig. 4.15: G fols 129 (detail) and 130 (detail) p. 162
Extract from the Credo in manuscript F-G
Chapter 5: Scribal Memory and Authorial Performance in the Voir Dit
Fig. 5.1: A fol. 224 p. 170
The first letter from the Voir Dit in manuscript A
Fig. 5.2: A fol. B (detail) p. 172
The entry of the Voir Dit in the index to manuscript A
Fig. 5.3: A fol. 221 (detail) p. 174
The opening miniature to the Voir Dit in manuscript A
Fig. 5.4: A fol. 235 (detail) p. 176
The delivery of the portrait from the Voir Dit in manuscript A
Fig. 5.5: A fol. 293 (detail) p. 177
The portrait in the dream from the Voir Dit in manuscript A
Fig. 5.6, A fol. 297 (detail) p. 178
The portrayal of Toute Belle as Fortune from the Voir Dit in manuscript A
Fig 5.7: A fol. 255 (detail) p. 180
Venus and the lovers from the Voir Dit in manuscript A
Fig. 5.8: A fol. 301v (detail) p. 181
The lover as Fortune from the Voir Dit in manuscript A
Fig. 5.9: A fol. 226 p. 183
The ballade "Pleurez dames" from the Voir Dit in manuscript A
Fig. 5.10: A fol. 242 (detail) p. 184
The lover composing in the lady's presence from the Voir Dit in
manuscript A