By Logan E. Whalen
After approximately 8 centuries and masses examine and writing on Marie de France, the one biographical info we all know approximately her, with any measure of sure bet, is that she used to be from France and wrote for the Anglo-Angevin court docket of Henry II. but Marie de France is still at the present time essentially the most fashionable literary voices of the tip of the twelfth century and was once the 1st girl of letters to put in writing in French. The chapters during this publication are composed by way of students who've really good in Marie de France reviews, mostly for a few years. providing conventional perspectives along new serious views, the authors talk about many alternative elements of her poetics.
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Additional resources for A Companion to Marie de France (Brill's Companions to the Christian Tradition)
1–6)63 [For a good work and for a good purpose / should each person use his time. ] She begins here with the same justification for writing that she offered in the opening verses of the General Prologue and the prologue of the Fables, that each person should spend his or her time on a worthy cause. She also highlights here the importance of memory (souvenir), just as she has done before in her prologues. Furthermore, Marie ends the Audree with an epilogue that emphasizes material from previous prologues and epilogues, particularly the significance of memory: Issi ay ceo livre finé En romanz dit et translaté De la vie seintë Audree Si com en latin l’ay trové, Et les miracles ay oÿ, Ne voil nul mettrë en obli.
Thus she assures that she will always be remembered as the author of her works. V. Conclusion In all major prologues and epilogues to her writings, Marie de France explicitly uses rhetorical literary devices to capture the attention of her audience, to present her justification for writing, and to demonstrate that she participates in the processes of inventio and translatio studii as she adapts her source material for her audience. Her prologues and epilogues often contain references to themes that are ubiquitous in the works that they open and close, as is the case with her opening and closing remarks to the individual lais that often mention the word aventure.
She is participating in the poetics of translatio studii as she brings into French a Latin work that enjoyed great success dur- in her edition of the text, Marie de France, L’Espurgatoire Seint Patriz: nouvelle édition critique accompagnée du De Purgatorio Sancti Patricii (éd. de Warnke), d’une introduction, d’une traduction, de notes et d’un glossaire (Louvain, 1995). All references to the Espurgatoire are from this edition. All English translations of the Espurgatoire are from Saint Patrick’s Purgatory: A Poem by Marie de France, Translated with an Introduction and Notes, trans.