Author: mcyzyk

As explained under “Narrative Mapping” in the site, citation practice for the Roman de la Rose and most medieval texts has traditionally referenced the currently accepted critical editions. Yet this scholarly protocol inhibits the cross-manuscript comparative study that the Roman de la Rose Digital Library promotes. Since the number of lines for the work varies from one manuscript to another, depending on interpolations or excisions, the narrative mapping of the Roman de la Rose divides the text into reading segments instead of lines. In the Roman de la Rose, G and J represent the authors Guillaume de Lorris and Jean de Meun while Arabic numerals and roman letters indicate segments and shorter sub-segments within them. For example, a section such as “g3” includes two segments, “g3a” (Amans discovers the Garden of Deduiz) ranging from verses 129 to 138 in Felix Lecoy’s edition, and segment “g3b” (Ekphrastic description of the portraits of the courtly vices) ranging from 139 to 460. The second segment is further subdivided in individual descriptions: “g3b.1” (Haïne 139-151), “g3b.2” (Felonie 152-155), “g3b.3” (Vilanie 156-168), “g3b.4” (Covoitise 169-194), “g3b.5” (Avarice 195-234), “g3b.6” (Envie 235-290), “g3b.7” (Tritesce 291-338), “g3b.8” (Vielleice 339-404), “g3b.9” (Ypocrisie 405-438), “g3b.10” (Povreté 439-460).

These divisions and the range of verses means that comparable passages across different manuscript can be readily locatable while number of lines given for each section facilitate tracking variations in section length from one exemplar to another. The narrative mapping protocol (and the explanation on which I base this blog) was devised by Prof. Stephen G. Nichols borrowing from that used for classical texts, where one cites not a page number or a given edition or translation but a segment of the text. Jeun de Meun’s section was done by Prof. Tracy Adams and a full revision by Jeanette Patterson. Prof. Sylvia Huot added information on some of the main known interpolations. These interpolations have been given different numbering, such as “g20a.5*1” (Anonymous continuation in which Jealousy falls asleep, and the Lover gets to spend a night of bliss with the Rose) or “j2d*1” (‘Litany of Love’ in which Reason describes spiritual love, refers to the Passion of Christ, and outlines a mystical ascent through contemplation, ultimately advising the Lover to select the Virgin Mary as love object).

Once the Roman de la Rose was divided into the narrative segments explained above we started to match particular manuscripts to these general narrative segments. Some exemplars were matched manually, segment by segment, and in those an actual transcription of the manuscript’s first line is included. For this case see Bodmer 79, where a section like G5e (Cortoisie invites Amans to dance) starts with the actual transcription “La karole quiert si plaisant”, followed by the verse number in Lecoy’s edition (L775).

In most cases, however, the matching of a specific exemplar with the narrative segments was generated automatically through an algorithm and so it will only approximate the actual start of each reading segment. Most of the remaining narrative mapping will be generated automatically. In these automatically generated cases, the first line of text is provided but instead of matching the actual manuscript it matches the transcription of Selden Supra 57. The line will thus start with (SS57) and the narrative segment will include a question mark. For an example see Arsenal 3338, where section “g6a?” (Amors introduced & described) is transcribed as “(SS57) A lui se tint de l’autre part.”

The transcription from SS57 allows users to check themselves for the actual placement of the starting line. Although generated automatically the algorithm gives a fairly good approximation and should be accurate within one to two columns to the actual start of each reading segment.

To access narrative segments in the manuscripts that have been mapped so far select Narrative sections in the Home page and click on the desired section id. The available narrative segments can also be accessed through the Page Turner view with the drop-down menu.

If you gather more accurate information on narrative segments please feel free to let us know at contactus@romandelarose.org.

Images of a 15th century Roman de La Rose in the Philadelphia Museum of Art (The Philip S. Collins Collection, 1945-65-3) have just been added to the site. The manuscript’s 75 miniatures are thought to have been painted by two artists in the workshop of the Maître Francois, illuminator of a French translation of Augustine’s de Civitate Dei now in Paris (BnF, ms. fr. 18-19). This Rose has elaborate floral and foliate marginal borders and its bâtarde text incorporates the cleric Gui de Mori’s additions and revisions to the poem. There are also many marginal inscriptions added by a reader in the 16th century.

11 manuscripts from the Bibliothèque nationale have just been added to the digital library. A Rose in the University of Manchester’s John Rylands University Library and one at the University of Pennsylvania are now up as well. We are in the process of cropping images and adding scholarly content. There are new codicological descriptions of two manuscripts, Penn 906 and Walters 143, and more to come. We are also improving the French language site by offering new translations of pages, and would appreciate feedback on these or on any aspect of the project.

The site now includes a Rose manuscript from the 14th century known as Bodmer 79. These digital images of Bodmer 79 were taken from color slides. Also, along with other small updates, users are now able to read the illustration title and a brief description of each illustration to the right of images in the page turner. These searchable descriptions name the characters depicted, costumes and objects in the scene, and elements of landscape and architecture. To view them choose “illustration description” in the drop down menu above the image. This menu also gives you the option of seeing the images alone (“show”), images with a transcription when there is one (“transcription”), and images with a transcription giving line numbers from Félix Lecoy’s edition of the Rose (“transcription [Lecoy]”).

In 1907, the French translation of a 13th-century Latin text, Le Jeu des échecs moralisé (The Moralized Game of Chess), which accompanied a 14th-century Parisian copy of the Roman de la Rose, was separated from the poem and bound into a second volume. The Roman de la Rose text (including Le Testament and Codicille of the author Jean de Meun), was also given a new binding of red leather at this time. The volume of Le Jeu des échecs moralisé, with 39 folios and 13 miniatures, was purchased by the University of Chicago in 1931 and is now University of Chicago Library MS 392. In 2007, the University of Chicago Library was able to reunite the two works with their purchase of the Roman de la Rose volume, which has 171 folios and 42 miniatures and is now University of Chicago Library MS 1380 (or UC 1380). Both texts appear to have been written by the same hand, and the miniatures of Le Jeu des échecs moralisé and the Roman de la Rose seem to be the work of a single illuminator. (This artist has been called the Master of Saint Voult and linked to illuminators working for Charles V.) Images of the copy of Le Jeu des échecs moralisé can be viewed at the University of Chicago Library’s Rose & Chess
site, while the Roman de la Rose is part of this Digital Library. With these digital surrogates, we can see how a 14th-century artist illuminated two different secular texts, and compare the illustrations of courtly love in UC 1380 to those of an ideal society in UC 392.