By Deborah M. Sinnreich-Levi, Ian S. Laurie
Eustache Deschamps studied below the tutelage of Guillaume de Marchault, traveled in Syria, Palestine, and Egypt-where he used to be stated to were made a slave-and finally turn into well-known as one of many nice French medieval poets. He was once the 1st author to dissociate lyric poetry from its musical surroundings and his witty perceptions touch upon approximately all points of way of life: from women's undies to gluttonous diners, from compliment of recognized writers to scorn for the unscrupulous of all ranks, from the delights of stripling to the horrors of struggle. This quantity presents facing-page, dual-language translations of Deschamps attractive, fun, and obtainable poems, gleaning from the mountains of verse the poems, gleaning from the mountains of verse the main edifying and traditionally suitable. Copious notes, glossaries, and a whole bibliography improve this based translation.
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Extra info for Eustache Deschamps: Selected Poems (Routledge Medieval Texts)
These instances are resolved in line with modern conventions. The later medieval fad for Latinized spelling is honored where there is no doubt about the consonant, provided that it could have been justified at that time by the relationship—often spurious, it is true—between that word and a Latin word similar in meaning, for example, dictier instead of the earlier and phonetically more correct versions with out a c. If these spellings are indeed Deschamps’s own and not merely those of his copyists, they may reveal a little of Deschamps’s fondness for droll legalistic or learned language in comically inappropriate contexts.
Abbreviation in performance of the rondeau with a three-line refrain, the form preferred by Deschamps, may also have occurred. There is a shorter variety of rondeau with a three-line refrain, not identified by the SATF editors (11:125) and incorrectly printed by them: 625, 641, 644, 658, and 1330. Here, indeed only one line of strophe should be repeated medially because only one line of strophe precedes it. There are two or three poems given the title “rondeau” or “virelai” in the manuscript that fall outside the genres: the most famous of these is the poem Sui je belle, which defies categorization.
110 Modern French accents are not used except for the acute on the final sounded e of past participles or adjectives to ensure that readers not lose count of the syllables. Most of the poems selected exist only in BNF Fonds français 840. Given the fact that the copyists of this manuscript refer to Deschamps as having died recently, it can be presumed that it must have been completed soon after 1404. It may have been planned before then, in part in fulfillment of Deschamps’s own wishes. 111 Deschamps’s text has not been emended where there appears to be a defect in metrics, given the possibility that the error may have been Deschamps’s own, for we have every reason to believe that he often wrote in haste.