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Charles d'Orléans (Medieval Studies)

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  1. Introduction
  2.  
  3. Charles’s reputation as not only one of the two premier lyric poets of 15th-century France but also a vital figure in the complex history of that time has produced an abundant bibliography that can focus with some conviction on the person as well as the poet. Charles was a duke royal, in line at one point for the throne of France. He was also a prisoner of the English for twenty-five years (1415–1440). The archives of the House of Orléans (chambre de compte), while far from complete, provide the scholar with a treasure trove of information about his personal, political, literary, intellectual, religious, and family life. We offer items here that will enable scholars to begin to track his life in England and to follow his life after his return home. From a series of inventories and other documents we are also well informed about his books and his reading. We know what books he had with him (or acquired) in England; what books he had at Blois at various times. Because so many were later incorporated into the Royal Library (later the Bibliothèque nationale de France; BnF), we can sometimes access the copies he himself read—and sometimes annotated. Charles is important for his own work (in three languages), which was rich and profusely copied, but he was also the center of a shifting population of poets and the creator of poetic coteries. After 1440 Blois became a gathering place for poets and writers from all over the French-speaking world, among them some of the most accomplished, as well as for distinguished visitors on personal or diplomatic visits. It is probably inevitable that the authorship of a major French poet’s compositions in another language would be questioned. We include some account of the more-than-a-century-old debate that surrounded the English poems of British Library MS Harley 682 (and of a few other English poems). The numbers of scholars who accept the attribution today is growing steadily on both sides of the Atlantic. In recent years the poet and the work have been taken up as part of the burgeoning, largely Anglo-American, field of English/Anglo-French/French studies. Finally, Charles’s life and work continued and continue to inspire both scholarly and artistic efforts. His poetry was admired well into the Renaissance, for which reason we include material on the afterlife of his work in the age of print and, later, across the centuries, as the focus of artists, musicians, and poets to the present day.
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  5. Bibliographies
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  7. Bibliographical resources on the life and work of Charles d’Orléans are abundant, both in print and on the web, and their production does not seem to be waning. Champion 1911 (cited under Biography) and Cigada 1960 provide good bibliographies of older works. Nelson 1990 is a solid bibliography from an American point of view, but Galderisi 2012 is the most up-to-date bibliography in print, wide-ranging, with useful annotations. Online, ARLIMA (Archives de littérature du Moyen Âge) and the CharlesdOrleans.net website both offer occasionally annotated entries. The former is much more complete but deals only with literary matters.
  8.  
  9. ARLIMA: Archives de littérature du Moyen Âge.
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  12.  
  13. Selective, partially annotated bibliography that lists many reviews, regularly updated, and therefore unusually up-to-date (date of latest update recorded).
  14.  
  15. Find this resource:
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  17.  
  18. Charles, duc d’Orléans – Bibliography of Recent Work. In CharlesdOrleans.net.
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  22. Online largely unannotated bibliography that began as a list of work post-1990 produced for paper publication. Includes some reviews. More recently, lists most new work and some older work. The site also includes a brief biography and other information about the poet.
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  24. Find this resource:
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  26.  
  27. Cigada, Sergio. L’opera poetica di Charles d’Orléans. Milan: Vita e Pensiero, 1960.
  28.  
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  30.  
  31. Very good bibliography on early material. Includes English poetry, though the author disputed Charles’s authorship of it. See pp. 1–16.
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  35.  
  36. Galderisi, Claudio. Charles d’Orléans. Bibliographie des écrivains français 33. Turnhout, Belgium: Brepols, 2012.
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  39.  
  40. Updates an earlier bibliography by the same author (Charles d’Orléans: “Plus dire que penser,” Bari, Italy: Adriatica, 1994). An attempt at an annotated, comprehensive bibliography of Charles’s life and work. Emphasizes older work.
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  43.  
  44.  
  45. Nelson, Deborah Hubbard. Charles d’Orléans: An Analytical Bibliography. Research Bibliographies and Checklists 49. London: Grant & Cutler, 1990.
  46.  
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  48.  
  49. Thorough, annotated, and reasonably complete to 1988. Divided into manuscripts, followed by studies, editions, and translations. Items, given in order of date of publication, also include details of reviews. Indexes of “scholars, translators, composers, illustrators, etc.” and subjects.
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  52.  
  53.  
  54. Research Tools
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  56. A vital tool for the study of Charles’s verse is the regularly updated ARLIMA bibliographical website—a first port of call. An invaluable resource building up an index of first lines for the medieval lyric is available online); for music in particular, the Fallows 1999 catalogue offers access to sources of late medieval music (and therefore lyrics) in any European language. GALLICA is invaluable for its on-line potential (more items are constantly added). For a complete, nuanced understanding of Charles’s verse, there are two specialised and important lexicons (see Poirion 1967 and Galderisi 1993), but it is essential also to consult dictionaries of 15th-century French, in particular the on-line Dictionnaire du Moyen Français. For the English poetry, Cohen 1915 is the only work dedicated to the subject of the ballade but see also Davenport 2000, cited under Form, Language, Style, Rhetoric. The Middle English Dictionary (Kurath, et al. 1956–2001) is available both in print and online. The old Brown and Robbins Index of Middle English Verse (New York: Index Society, 1943) is now available in two supplemented versions: Boffey and Edwards 2005 produced a paper index; Mooney, et al. 1995–, a digital one.
  57.  
  58. French
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  60. Standard dictionaries of medieval French have been overtaken by the online Dictionnaire du Moyen Français, though the digital Godefroy 1881–1902 offers historical citations. The digitized version of the Trésor de la langue française is useful for investigating etymologies. GALLICA contains a huge database of medieval French texts, but access can be limited. The Fallows 1999 catalogue offers access to sources of late medieval music (and therefore lyrics) in any European language.
  61.  
  62. Dictionnaire du Moyen Français.
  63.  
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  65.  
  66. Now the authoritative dictionary for Middle French; gives full range of meanings, with multiple examples, for each lexeme; based principally on literary but also to a degree on archival sources.
  67.  
  68. Find this resource:
  69.  
  70.  
  71. Fallows, David. A Catalogue of Polyphonic Songs. Oxford: Oxford University Press, 1999.
  72.  
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  74.  
  75. This extremely useful resource has indexed citations for the eleven of Charles’s French poems that are set to surviving music. The index (pp. 731–732) lists poems in alphabetical order of first line; the entries proper have detailed information about sources, editions, and scholarship and expert notes about the musical modes and notations.
  76.  
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  78.  
  79.  
  80. GALLICA.
  81.  
  82. Save Citation »Export Citation »E-mail Citation »
  83.  
  84. The digital arm of the BnF, through which one can access a small but increasing number of manuscripts and very large number of out-of-copyright printed materials, is accessible via the GALLICA button on the BnF website or simply via the BnF catalogue. Note that GALLICA resources are being constantly enhanced. Not all resources are readable outside France or outside the BnF.
  85.  
  86. Find this resource:
  87.  
  88.  
  89. Godefroy, Frédéric, ed. Dictionnaire de l’ancienne langue française et de tous ses dialectes du IXe au XVe siècle. Paris: F. Vieweg, 1881–1902.
  90.  
  91. Save Citation »Export Citation »E-mail Citation »
  92.  
  93. Clunky to use online, and largely redundant since the advent of the Dictionnaire du Moyen Français, but does contain examples, especially from archival sources, which the Dictionnaire du Moyen Français does not always include. Searchable facsimile available online or via the BnF and its GALLICA program.
  94.  
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  96.  
  97.  
  98. Trésor de la langue française.
  99.  
  100. Save Citation »Export Citation »E-mail Citation »
  101.  
  102. Dictionary of modern French, but can be useful in tracing etymologies and offering glosses from the 16th century onward.
  103.  
  104. Find this resource:
  105.  
  106.  
  107. English
  108.  
  109. For the English poetry, Cohen 1915 is the only dedicated work on the subject of the ballade but see also Davenport 2000, cited under Form, Language, Style, Rhetoric. The Middle English Dictionary (Kurath, et al. 1956–2001) is available both in print and online. The old Brown and Robbins Index of Middle English Verse (Carleton Brown and Rossell Hope Robbins. Index of Middle English Verse. New York: Index Society, 1943) is now available in two supplemented versions: Boffey and Edwards 2005 produced a paper index; Mooney, et al. 1995–, a digital one.
  110.  
  111. Boffey, Julia, and A. S. G. Edwards. A New Index to Middle English Verse. London: British Library, 2005.
  112.  
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  114.  
  115. Updates Carleton Brown and Rossell Hope Robbins, Index of Middle English Verse (New York: Index Society, 1943) and the 1943 and 1965 supplements.
  116.  
  117. Find this resource:
  118.  
  119.  
  120. Cohen, Helen Louise. “The Middle English Ballade.” In The Ballade. By Helen Louise Cohen, 222–299. New York: Columbia University Press, 1915.
  121.  
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  123.  
  124. Very little scholarly work has been published on fixed forms in medieval English lyrics. Cohen at least includes a long chapter on “The Middle English Ballade.” If it is difficult to find, see her book, Lyric Forms from France: Their History and their Use (New York, Harcourt, Brace, 1922), which contains a chapter on the Middle English ballade (pp. 38–47), and one on the rondeau in England (pp. 66–72).
  125.  
  126. Find this resource:
  127.  
  128.  
  129. Kurath, Hans, Sherman M. Kuhn, John Reidy, et al., eds. Middle English Dictionary. Ann Arbor: University of Michigan Press, 1956–2001.
  130.  
  131. Save Citation »Export Citation »E-mail Citation »
  132.  
  133. The authoritative dictionary for Middle English. Entries historically organized with copious examples. Available online. See also Arn 1994 (pp. 541–622, cited under Editions of the English Poetry) for glosses chosen specifically for Charles’s poetry.
  134.  
  135. Find this resource:
  136.  
  137.  
  138. Mooney, Linne, Daniel Mosser, and Elizabeth Solopova, eds. The DIMEV: An Open-Access, Digital Edition of the Index of Middle English Verse, 1995–.
  139.  
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  141.  
  142. A publication completely separate (online only) from Boffey and Edwards 2005. Likewise an update of Brown and Robbins. The production of two such databases unkeyed to one another makes the work of the scholar a bit more difficult.
  143.  
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  145.  
  146.  
  147. Biography
  148.  
  149. The duke’s life has frequently been retold briefly in studies of his life and work and in various historical studies (with varying degrees of accuracy). The very massiveness of the biography by Pierre Champion seems to have dampened enthusiasm for the production of an up-to-date revision or a completely new biography (Champion 1911). The attempt by McLeod 1970 to produce an equivalent in English is less useful but can be handy for preliminary work. The digital Dictionary of National Biography (Arn 2006) now contains a succinct entry (about two thousand words) on Charles.
  150.  
  151. Arn, Mary-Jo. “Charles, duke of Orléans (1394–1465)” Oxford Dictionary of National Biography, 2006.
  152.  
  153. Save Citation »Export Citation »E-mail Citation »
  154.  
  155. A change in policy by the Oxford Dictionary of National Biography now allows inclusion of important figures in English history who are not themselves English. By subscription only.
  156.  
  157. Find this resource:
  158.  
  159.  
  160. Champion, Pierre. Vie de Charles d’Orléans (1394–1465). Bibliothèque du XVe siècle 13. Paris: Honoré Champion, 1911.
  161.  
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  163.  
  164. Champion amassed a huge amount of information to produce his biography, which is still the standard. A goldmine for research on any number of topics in both history and literature, though facts should be checked against other sources. Contains a number of plates as well as an itinerary/chronology of the duke’s movements from 1408 until his death, with archival references. (pp. 658–687). Falls occasionally into romantic traps.
  165.  
  166. Find this resource:
  167.  
  168.  
  169. McLeod, Enid. Charles d’Orléans, Prince and Poet. New York: Viking, 1970.
  170.  
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  172.  
  173. Much inferior to the biography by Champion 1911, but it remains the only useful biography in English. To a greater degree than Champion, McLeod reads Charles’s life out of his poetry, which leads her into some unwarranted suppositions. Work should be treated with caution and checked against other sources.
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  176.  
  177.  
  178. Historical Background
  179.  
  180. In addition to Champion’s full biography of the duke and the many publications on the Hundred Years’ War (Champion 1911, cited under Biography), many scholars have chosen to focus on much smaller slices of history. Détrez 1954 presents records of the events surrounding the duke’s marriage to his third wife. Angulo 1967 is concerned with the relations between the two princes captive in England. The author of Kovacs 1981 has discovered an early representation of Charles’s badge of the Porc-Épic. Contamine 1986, whose author has written many articles on Charles and his historical period, presents a picture of the end of the duke’s life. Jones 2000 outlines the historical context for the invasion of the duke’s lands while he was imprisoned. Warner 1997 takes a broader view than most, describing the political tensions among the French, the Burgundians, and the English in the first half of the 14th century. See also Gonzalez 2004 (cited under Life at Blois and Charles’s Coterie), which provides, in spectacular detail, the workings of the duke’s household in the broadest sense.
  181.  
  182. Angulo, Lucy de. “Charles and Jean d’Orléans: An Attempt to Trace the Contacts between them during their Captivity in England.” In Miscellanea di studi e ricerche sul quatttrocento francese. Edited by Franco Simone, 60–92. Turin, Italy: Giapichelli Editore, 1967.
  183.  
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  185.  
  186. Outlines the circumstances surrounding Jean’s captivity in England and suggests that Charles and his brother Jean (hostage for some thirty-three years) had at times more freedom than is generally supposed, and actually lived together for a time in the care of Sir John Cornwall of Burford. Contains some unsupported inferences.
  187.  
  188. Find this resource:
  189.  
  190.  
  191. Contamine, Philippe. “Les derniers mois de la vie de Charles d’Orléans d’après un document inédit.” Bulletin de l’Association des amis du Centre Jeanne d’Arc 10 (1986): 193–204.
  192.  
  193. Save Citation »Export Citation »E-mail Citation »
  194.  
  195. Based on archival documents not available to Pierre Champion in writing his biography (Champion 1911, cited under Biography). Deals with the final two years of the duke’s life, 1463–1465.
  196.  
  197. Find this resource:
  198.  
  199.  
  200. Détrez, L. “Le mariage de Charles d’Orléans et de Marie de Clèves à Saint-Omer (26 novembre 1440).” Annales du Comité flamand de France 45 (1954): 329–340.
  201.  
  202. Save Citation »Export Citation »E-mail Citation »
  203.  
  204. Based on records in the Archives du Nord, it paints a good picture in a short space of the many issues surrounding the marriage. Contains images of the duke and his wife that are also reproduced in Collas 1911 (cited under Charles’s Family).
  205.  
  206. Find this resource:
  207.  
  208.  
  209. Jones, Michael K. “Gardez mon corps, sauvez ma terre—Immunity from War and the Lands of a Captive Knight: The Siege of Orléans (1428–29) Revisited.” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 9–26. Woodbridge, UK: D. S. Brewer, 2000.
  210.  
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  212.  
  213. Lays out the legal framework and the progress of events that resulted in the duke’s excessively long imprisonment. The shifting balance of power in England during Henry VI’s minority, the play of allegiances among the duke’s followers and enemies, Gloucester’s regency, his conflict with his brother and military leader John, duke of Bedford, the return of trust between Orléans and Burgundy, the development of authority under Charles VII.
  214.  
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  216.  
  217.  
  218. Kovacs, Éva. “L’Ordre du Camail des ducs d’Orléans.” Acta historiae artium 27 (1981): 225–231.
  219.  
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  221.  
  222. The Ordre du Camail (also called Ordre du Porc-Épic) was founded in 1393 by Louis d’Orléans on the occasion of the baptism of his son Charles. Kovács identifies the earliest depiction of the badge of the duke’s Order in a tryptich from the circle of Rogier van der Weyden of about 1455.
  223.  
  224. Find this resource:
  225.  
  226.  
  227. Warner, Mark. “The Anglo-French Dual Monarchy and the House of Burgundy, 1420–1435: The Survival of an Alliance.” French History 11 (1997): 103–130.
  228.  
  229. DOI: 10.1093/fh/11.2.103Save Citation »Export Citation »E-mail Citation »
  230.  
  231. A good source of background information on the French–English situation during the duke’s captivity in England. Emphasizes the complexity of the interactions among the English, the Burgundians, and the French.
  232.  
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  234.  
  235.  
  236. Charles’s Family
  237.  
  238. As prince of the blood, Charles was part of a family that is historically important by definition. The duke royal was the grandson of Charles V and nephew of Charles VI. In 1422 Charles was first in line for the throne of France. His father Louis, a powerful presence, was cut down by assassins hired by the duke of Burgundy, Jean sans Peur; Jarry 1889 paints a (somewhat antiquated) picture of his life and times. His mother Valentina was scion of the powerful duke of Milan, Giangaleazzo Visconti, and his wife, Isabelle de Valois, daughter of Charles V. Collas 1911 recounts the life of Charles’s mother. The duke’s siblings were also notable: Jean d’Angoulême, a prisoner and book collector held prisoner by the English for thirty-three years (Du Port 1852 gives readers a 16th-century view of his life; Dupont-Ferrier 1896 provides a very scholarly account of his years in captivity); his brother Philippe de Vertus, a staunch supporter of his exiled brother until his own death in 1420; his sister Marguerite de Vertus; and especially his brother Jean de Dunois, le bâtard d’Orléans, son of Louis d’Orléans and Mariette d’Enghien. This last has often been written about, but Contamine 2008 gives a succinct account of his life and importance. Charles’s first wife (Isabelle de Valois) was a French princess and widow of Richard II of England. Mirot 1904 is an account of the life of the princess in five parts. Charles’s second wife, Bonne d’Armagnac, was the daughter of Bernard VII of Armagnac; his third, Marie de Clèves, daughter of Adolph de Clèves, was the niece of Philippe le Bon, duke of Burgundy. Müller 2001 gives of a picture of her as a poet and patron; Maulde 1888 paints her from the perspective of her role as mother of Louis XII.
  239.  
  240. Champollion-Figeac, Aimé. Louis et Charles ducs d’Orléans: leur influence sur les arts, la littérature et l’esprit de leur siècle. 1 vol., 3 parts. Paris: Comptoir des imprimeurs-unis, 1844.
  241.  
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  243.  
  244. Charles d’Orléans’s father Louis, brother of Charles VI, was murdered in 1407 by henchmen of Jean sans Peur of Burgundy. By all accounts a charismatic and extremely talented prince, he was also an enthusiastic book collector. There is no more recent, full account of the cultured and cultural side of his life, though many scholars allude to it. Part 1, pp. 1–267, deals with Louis’s life and work. Reprinted in 1980 (Geneva, Switzerland: Slatkine Reprints).
  245.  
  246. Find this resource:
  247.  
  248.  
  249. Collas, Émile. Valentine de Milan, duchesse d’Orléans. 2d ed. Paris: Plon-Nourrit, 1911.
  250.  
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  252.  
  253. No up-to-date biography of Valentina (1366–1408) has been written, so we are forced to fall back on the work of Collas. In his biography of her son Charles, Champion 1911 (cited under Biography) provides some further scholarly material. A panoramic view of the life and times of the duchess.
  254.  
  255. Find this resource:
  256.  
  257.  
  258. Contamine, Philippe. “Le chef de guerre, l’homme de pouvoir, le prince: le Bâtard d’Orléans.” Art de l’enluminure: art & métiers du livre 25 (2008): 2–11.
  259.  
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  261.  
  262. A brief life of Charles’s half-brother (1402–1468) by a noted historian, followed by a discussion of Dunois’s Book of Hours (London, BL MS Yates Thompson 3) by Albert Châtelet (“Les Heures de Dunois,” pp. 12–73), with many color reproductions.
  263.  
  264. Find this resource:
  265.  
  266.  
  267. Crane, Susan. “Duxworth Redux: The Paris Manuscript of the Canterbury Tales.” In Manuscript, Narrative, Lexicon: Essays on Literary and Cultural Transmission in Honor of Whitney F. Bolton. Edited by Robert Boenig and Kathleen Davis, 17–43. Cranbury, NJ: Associated University Presses, 2000.
  268.  
  269. Save Citation »Export Citation »E-mail Citation »
  270.  
  271. Discusses Jean’s manuscript of Chaucer’s Canterbury Tales and the scribe who copied it as well as other manuscripts for him, John Duxworth. Useful for understanding the brothers’ knowledge of and appreciation for the English language and poetry.
  272.  
  273. Find this resource:
  274.  
  275.  
  276. Du Port, Jean. La vie de Jean d’Orléans, dit le Bon, comte d’Angoulême, aïeul de François Ier. Edited by J.-F. Eusèbe Castaigne. Angoulême, France: J. Lefraise, 1852.
  277.  
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  279.  
  280. Charles’s younger brother (1400–1467) was a prisoner in England for thirty-three years, first sent as a hostage in 1412 and not ransomed until after Charles’s return to France. Du Port’s encomium of Jean was first published in 1589. Includes a number of other primary documents on Jean’s life. See also Lucy de Angulo 1967 (cited under Historical Background). Reprinted in 1971 (Geneva, Switzerland: Slatkine Reprints).
  281.  
  282. Find this resource:
  283.  
  284.  
  285. Dupont-Ferrier, Gustave. “La captivité de Jean d’Orléans, comte d’Angoulême (1412–1445).” Revue historique 62 (1896): 42–74.
  286.  
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  288.  
  289. This heavily-documented account of the thirty-three-year captivity of Charles’s pious brother is useful for the light it throws on the captivity of Charles himself. Jean had reason to believe that his sojourn abroad would be brief, but it was not. Describes the Frenchmen who came and went around him, his financial situation, and the many efforts to raise his ransom.
  290.  
  291. Find this resource:
  292.  
  293.  
  294. Jarry, Eugène. La vie politique de Louis de France, duc d’Orléans, 1372–1407. Paris: A. Picard, 1889.
  295.  
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  297.  
  298. A scholarly biography that tells the story of the king’s brother against a backdrop of English and Continental history. Fully footnoted, with nearly a hundred pages of primary source material.
  299.  
  300. Find this resource:
  301.  
  302.  
  303. Maulde, R. de. “La mère de Louis XII: Marie de Clèves, duchesse d’Orléans.” Revue historique 36 (1888): 81–112.
  304.  
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  306.  
  307. Draws on archive sources for life of Charles’s third wife (1426–1487). Stresses straitened circumstances of court at Blois; details expenses of her household. Shows Marie’s piety and her interests in hunting, books, and the arts. Uses Charles’s verses as evidence of their marriage. Refutes, very largely, stories of love affairs before and after Charles’s death (hence doubts about parentage of Louis XII).
  308.  
  309. Find this resource:
  310.  
  311.  
  312. Mirot, Léon. “Isabelle de France, reine d’Angleterre, comtesse d’Angoulême, duchesse d’Orléans, 1389–1409: épisode des relations entre la France et l’Angleterre pendant la guerre de Cent Ans.” Revue d’histoire diplomatique 18.1 (1904): 545–573.
  313.  
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  315.  
  316. A serialized article (Revue d’histoire diplomatique 19.1 (1905): 60–95; 19.2 (1905): 161–191; 19.4 (1905): 481–509; and 19.4 (1905): 510–522), detailed and well-documented, if somewhat antiquated, account of the life of Isabelle, Charles’s first wife, in the context of political history. The final installment, titled “Le second mariage et les dernières annnées d’Isabelle,” deals with her days as duchess of Orleans.
  317.  
  318. Find this resource:
  319.  
  320.  
  321. Müller, Catherine M. “Marie de Clèves, poétesse et mécène du XVe siècle.” Le Moyen Français 48 (2001): 57–76.
  322.  
  323. DOI: 10.1484/J.LMFR.3.62Save Citation »Export Citation »E-mail Citation »
  324.  
  325. Focused, as the title indicates, on the duchess’s literary life, her associations, her patronage, and her own poetry. Highly informative.
  326.  
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  328.  
  329.  
  330. Life at Blois and Charles’s Coterie
  331.  
  332. Blois was both a seat of government and the home of Charles’s family. As duke of Orléans he managed estates and governed a duchy, but Charles also surrounded himself with poets and musicians and created a life at Blois known for its arts and culture. Champion 1911 sketches the scene based on a variety of kinds of historical records. Pinkernell 1987 uses a poem by Villon to shed light on the court. Regalado 1995 looks at Villon’s visit(s) to Blois from the point of view of the poetry he wrote there. Pinkernell 1997 focuses his attention on the lyrics written by Charles’s third wife, Marie de Clèves. Gonzalez 2004 presents a detailed study of the workings of the court as a legal entity (the Hôtel). Taylor 2010 delineates the coterie aspect of life at Blois, particularly through the writing of a set of ballades.
  333.  
  334. Champion, Pierre. “La vie à Blois” In Vie de Charles d’Orléans (1394–1465). By Pierre Champion, 380–512. Bibliothèque du XVe siècle 13. Paris: Honoré Champion, 1911.
  335.  
  336. Save Citation »Export Citation »E-mail Citation »
  337.  
  338. See also “La poésie: collaborateurs poétiques” (pp. 595–642). Contains much valuable information about Blois as a place to live and conduct business but also as a social—and especially a literary—community. Some of the people Champion introduces also appear in Gonzalez 2004 as attached to the duke’s household, viewed from a different angle.
  339.  
  340. Find this resource:
  341.  
  342.  
  343. Gonzalez, Elizabeth. Un Prince en son hôtel: les serviteurs des ducs d’Orléans au XVe siècle. Histoire Ancienne et Médiévale 74. Paris: Publications de la Sorbonne, 2004.
  344.  
  345. Save Citation »Export Citation »E-mail Citation »
  346.  
  347. With accompanying CD. Details the personnel and the operation of the household. Provides insight into the relationships among those serving in various capacities and the kinds of rewards they received for their services.
  348.  
  349. Find this resource:
  350.  
  351.  
  352. Pinkernell, Gert. “La ballade franco-latine Parfont conseil eximium: une satire peu connue de Villon contre Fredet, favori de Charles d’Orléans.” Zeitschrift für Romanische Philologie 103 (1987): 300–318.
  353.  
  354. DOI: 10.1515/zrph.1987.103.3-4.300Save Citation »Export Citation »E-mail Citation »
  355.  
  356. Concentrates on Charles’s macaronic dialogue in ballade form with Villon and his earlier exchanges with Fredet. Believes them to illuminate the creative dynamic of the court at Blois and also to explain Villon’s sudden departure.
  357.  
  358. Find this resource:
  359.  
  360.  
  361. Pinkernell, Gert. “La femme aux côtés de Charles d’Orléans: Marie de Clèves (1426–1487), poète virtuel de talent.” In Italica et Romanica: Festschrift für Max Pfister. Vol. 3. Edited by Gunter Holtus, Johannes Kramer, and Wolfgang Schweickard, 313–321. Tübingen, Germany: Niemeyer, 1997.
  362.  
  363. Save Citation »Export Citation »E-mail Citation »
  364.  
  365. Evaluates the two rondeaux by Marie contained in Charles’s manuscript and very briefly explores their context in the album and in the verse-making of the Blois circle. Rather too apt to read biography into lyric.
  366.  
  367. Find this resource:
  368.  
  369.  
  370. Regalado, Nancy Freeman. “En ce saint livre: mise en page et identité lyrique dans les poèmes autographes de Villon dans l’album de Blois (Bibl. Nat. MS. fr. 25458).” In L’hostellerie de pensée: études sur l’art littéraire au Moyen Âge offertes à Daniel Poirion par ses anciens élèves. Edited by Michel Zink and Danielle Bohler, 355–372. Cultures et Civilisations Médiévales 12. Paris: Presses de l’Université de Paris-Sorbonne, 1995.
  371.  
  372. Save Citation »Export Citation »E-mail Citation »
  373.  
  374. Painstaking codicological study of a number of lyrics in f. fr. 25458, centering on Villon’s contributions but also an exploration of Charles’s poetic relations with his own courtiers and visitors as adumbrated in the manuscript. Six plates from f. fr. 25458.
  375.  
  376. Find this resource:
  377.  
  378.  
  379. Taylor, Jane H. M. “L’oral et l’écrit: pratique de la ballade à la cour de Blois.” In Lectures de Charles d’Orléans: les ballades. Edited by Denis Hüe, 141–152. Collection “Didact Français.” Rennes, France: Presses Universitaires de Rennes, 2010.
  380.  
  381. Save Citation »Export Citation »E-mail Citation »
  382.  
  383. Uses les ballades des contradictions in f. fr. 25458 to consider collaborative, social ballade writing at Blois.
  384.  
  385. Find this resource:
  386.  
  387.  
  388. François Villon
  389.  
  390. The encounter of Charles and Villon at Blois and Villon’s contribution to the so-called Concours de Blois—a sequence of thirteen ballades all opening with the first line Je meurs de soif auprés de la fontaine—have created so much interest that it is probably right to allow the subject a separate section. The circumstances of Villon’s arrival at Blois and his interactions with Charles remain unknown—although that has not prevented avid speculation—but relations between Villon and Charles, and Villon’s and Charles’s associates, can be read from the manuscript context in which Villon copied three of his own poems. Cigada 1960 deals with the dating of the Concours. Poirion 1968 contrasts Charles’s use of the governing oxymoron with Villon’s. Pinkernell 1985 focuses on Villon’s contribution to the Concours. Pinkernell 1992 brings together and develops a number of the author’s previous studies. An excellent article examining the codicological context of François Villon’s three lyrics enshrined in Charles’s manuscript, Regalado 1995 (cited under Life at Blois and Charles’s Coterie) pays meticulous attention to the page that not only shows Villon’s audacity but allows us better to understand the dynamics of the manuscript and its poets. Taylor 2001 is a study of the (poetic) interaction between all the participants in the Concours.
  391.  
  392. Cigada, Sergio. “Studi su Charles d’Orléans e François Villon relativi al ms. B. N. fr. 25458.” Studi Francesi 4 (1960): 201–219.
  393.  
  394. Save Citation »Export Citation »E-mail Citation »
  395.  
  396. Important article proposing first clear dating for the Concours against chronological details of the participants, with a study of the codicological context. With four plates from f. fr. 25458.
  397.  
  398. Find this resource:
  399.  
  400.  
  401. Pinkernell, Gert. “La Ballade du Concours de Blois, de François Villon, ou les affres d’un courtisan marginal.” Le Moyen français 17 (1985): 48–72.
  402.  
  403. DOI: 10.1484/J.LMFR.3.110Save Citation »Export Citation »E-mail Citation »
  404.  
  405. Sees Villon’s contribution as a plea for patronage from Charles. Sees it as evidence of Villon’s “real” state of mind.
  406.  
  407. Find this resource:
  408.  
  409.  
  410. Pinkernell, Gert. François Villon et Charles d’Orléans, d’après les poésies diverses de Villon. Heidelberg, Germany: Winter, 1992.
  411.  
  412. Save Citation »Export Citation »E-mail Citation »
  413.  
  414. Chapter 2 (pp. 42–66) deals with the Concours. Discusses Charles’s relations with Villon—but some dangerous readings from Villon’s Blois poems to his and Charles’s relationship.
  415.  
  416. Find this resource:
  417.  
  418.  
  419. Poirion, Daniel. “Le fol et le sage ‘auprès de la fontaine’: la rencontre de François Villon et Charles d’Orléans.” Travaux de linguistique et de littérature 6.2 (1968): 53–68.
  420.  
  421. Save Citation »Export Citation »E-mail Citation »
  422.  
  423. Early discussion of the Concours. Tends to make frame of reference biographical rather than rhetorical.
  424.  
  425. Find this resource:
  426.  
  427.  
  428. Taylor, Jane H. M. Text and Context: The Poetry of François Villon. Cambridge, UK: Cambridge University Press, 2001.
  429.  
  430. Save Citation »Export Citation »E-mail Citation »
  431.  
  432. See pp. 58–68. From the perspective of Villon’s unexplained visit to Blois and his contribution to Charles’s manuscript, analyzes the contributions of Charles and others to the Concours.
  433.  
  434. Find this resource:
  435.  
  436.  
  437. Blois and its Library
  438.  
  439. At the age of fourteen, Charles inherited the dukedom and with it the château at Blois. Although he owned other châteaux, Blois was his primary residence. On the duke’s return from captivity in 1440, he set about in earnest reconstructing and improving it. He rebuilt a range along one of the four sides of the courtyard and installed his books in a newly outfitted library in one of the towers. Though many renovations were carried out by his descendants (esp. Louis XII), some of the work ordered by Charles can still be seen. Jarry 1873 was the first to present serious work describing the buildings and their development (partially reprinted as “La librairie de Charles d’Orléans (Châtelet d’Orléans) 1455” in Jean-Luc Deuffic’s Livres et bibliothèques au Moyen Âge (Le livre médiéval 1. Saint-Denis, France: Pecia, 2005, pp. 33–58). Lesueur and Lesueur 1922 brought the work up to date in the early 20th century. More recently, Thibault 1989 and Baurmeister and Laffitte 1992 deal with the library specifically, focusing more on the books in it than the fabric of the library.
  440.  
  441. Baurmeister, Ursula, and Marie-Pierre Laffitte. Des livres et des rois: la bibliothèque royale de Blois. Paris: Bibliothèque nationale, 1992.
  442.  
  443. Save Citation »Export Citation »E-mail Citation »
  444.  
  445. Catalogue of an exhibition held at the château in 1992 and the BnF in 1992–1993. See especially “Aux origines de la Librairie royale de Blois, 2. L’installation à Blois de la librairie de Charles d’Orléans” (pp. 45–61). Includes many plates. On the buildings and the manuscripts and catalogues.
  446.  
  447. Find this resource:
  448.  
  449.  
  450. Jarry, Louis. Le châtelet d’Orléans au XVe siècle et la librairie de Charles d’Orléans en 1455. Orléans, France: H. Herluison, 1873.
  451.  
  452. Save Citation »Export Citation »E-mail Citation »
  453.  
  454. In four parts: “Description du châtelet au XVe siècle” (pp. 1–12); “La librairie de Charles d’Orléans au châtelet” (pp. 13–19); “La bibliothèque de Charles d’Orléans” (pp. 19–26); and “Influence de Charles d’Orléans sur le progrès des lettres et des arts dans l’Orléanais” (pp. 26–39), followed by a plan of the château showing the location of the library.
  455.  
  456. Find this resource:
  457.  
  458.  
  459. Lesueur, Frédéric, and Pierre Lesueur. Le château de Blois: notice historique et archéologique. Paris: D. A. Longuet, 1922.
  460.  
  461. Save Citation »Export Citation »E-mail Citation »
  462.  
  463. In two parts: History and Description. Contains a history of the château from earliest times to the early 20th century, with a number of illustrations and plans. See especially pp. 16–43 and pp. 165–211. Not to be confused with F. Lesueur, Le château de Blois: tel qu’il fut, tel qu’il est, tel qu’il aurait pu être (Paris, A. & J. Picard, 1970), a much abbreviated version.
  464.  
  465. Find this resource:
  466.  
  467.  
  468. Thibault, Pascale. La bibliothèque de Charles d’Orléans et de Louis XII au château de Blois. Les Cahiers de la Bibliothèque Municipale de Blois 4. Blois, France: Les Amis de la Bibliothèque de Blois, 1989.
  469.  
  470. Save Citation »Export Citation »E-mail Citation »
  471.  
  472. Concise account (forty-eight pages) that begins with the influence of the bibliophile-king Charles V, Louis d’Orléans’s father, and traces the collecting through the poet’s lifetime to that of his son, Louis XII.
  473.  
  474. Find this resource:
  475.  
  476.  
  477. Manuscripts and Collections Belonging to Charles and his Family
  478.  
  479. Charles lived very much in a world of books. His parents, his siblings, and his wives all owned books, and it is more accurate to speak of libraries in the plural, as they often overlapped, one member of the family sharing books with another (see Doyle 1989, cited under Charles’s Intellectual World, Sacred and Secular), one leaving books to another in a will, or one receiving books as gifts from another. The duke inherited when he was very young a collection that belonged to his parents. After his capture in 1415, he collected books in England. He returned to France with many of them and continued to acquire more throughout his life. Various inventories record these transactions. His libraries became the kernel of what eventually became the holdings of a national library. In 1843, Le Roux de Lincy produced a careful catalogue of the books in Charles’s library in 1427, which is still very useful today; in 1890 Louis Jarry produced a complementary inventory of the books of Charles’s brother Jean, also a captive of the English for many years (both reprinted in Jean-Luc Deuffic, Livres et bibliothèques au Moyen Âge (Le livre médiéval 1. Saint-Denis, France: Pecia, 2005), and seven years later Gustave Dupont-Ferrier published the 1467 inventory of Jean’s books (Jean d’Orléans, comte d’Angoulême d’après sa bibliothèque (1467). Paris: Félix Alcan, 1897). Pierre Champion’s (Champion 1910b) attempt to identify the specific volumes that Charles owned; though still often referred to, has been superseded by the work of Gilbert Ouy. Ouy 1955 is one of a number of articles by Ouy on the books owned by Charles and his brother Jean; they overlap in various ways, but all are reliable and therefore extremely useful. Colenbrander 1996 connects Charles to the Très riches heures by positing him as the patron for the work. Scott 2000 identifies Charles as the man dressed in gold in the “Troilus frontispiece” and suggests that he is the probable patron behind the manuscript. More recently, Scott 2007 suggests Charles as the patron of Oxford MS All Souls 10. Stratford 1987 discusses Charles’s patronage of the Grande Bible. Arn 2009 discusses the movement of Charles’s books within France and England and between the two countries.
  480.  
  481. Arn, Mary-Jo. “A Need for Books: Charles d’Orléans and His Traveling Libraries in England and France.” Journal of the Early Book Society 12 (2009): 77–98.
  482.  
  483. Save Citation »Export Citation »E-mail Citation »
  484.  
  485. Discusses the collection at Blois both before and after his captivity as well as the collection he assembled in England and brought back to France on his release in 1440.
  486.  
  487. Find this resource:
  488.  
  489.  
  490. Boffey, Julia. “‘Cy ensuent trois chaunceons’: Groups and Sequences of Middle English Lyrics.” In Medieval Texts in Context. Edited by Graham D. Caie and Denis Renevey, 85–95. Context and Genre in English Literature. London: Routledge, 2008.
  491.  
  492. Save Citation »Export Citation »E-mail Citation »
  493.  
  494. Identifies a number of manuscripts/texts that were owned by the duke but also circulated in England during his captivity.
  495.  
  496. Find this resource:
  497.  
  498.  
  499. Champion, Pierre. “Un liber amicorum du XVe siècle: notice d’un manuscrit d’Alain Chartier ayant appartenu à Marie de Clèves, femme de Charles d’Orléans (Bibl. Nat. ms français, 20026).” Revue des bibliothèques (1910a): 320–336.
  500.  
  501. Save Citation »Export Citation »E-mail Citation »
  502.  
  503. Describes the contents of the manuscript and discusses the many signatures of servitors and visitors to Blois, including some women, a number of them also contributors to the duke’s personal manuscript. Contains a number of black-and-white plates from the manuscript.
  504.  
  505. Find this resource:
  506.  
  507.  
  508. Champion, Pierre. La librairie de Charles d’Orléans. Bibliothèque du XVe siècle 11. Paris: Honoré Champion, 1910b.
  509.  
  510. Save Citation »Export Citation »E-mail Citation »
  511.  
  512. A largely superseded but still useful first attempt to compile a list of and identify all books belonging to the poet, including transcriptions of a number of documents. Separate Album contains plates of historical documents, signatures, and examples of the duke’s hand. Three appendices list books owned by Marie de Clèves, Jean d’Angoulême, Dunois, and others. Reprinted in 1975 (Geneva, Switzerland: Slatkine Reprints).
  513.  
  514. Find this resource:
  515.  
  516.  
  517. Colenbrander, Herman Th. “Les Très riches heures de Jean, duc de Berry: un document politique?” In En Berry, du Moyen-Âge à la Renaissance: pages d’histoire et d’histoire de l’art offertes à Jean-Yves Ribault. Edited by Philippe Goldman and Christian-E. Roth, 109–114. Cahiers d’archéologie et d’histoire du Berry. Bourges, France: Société d’archéologie et d’histoire du Berry, 1996.
  518.  
  519. Save Citation »Export Citation »E-mail Citation »
  520.  
  521. Sketches the political situation that gave rise to the cortège represented in the miniature for May, involving the duke, Jean de France, Bernard, comte d’Armagnac, Jean, comte de Clermont, and Jean sans Peur of Burgundy. Suggests that the manuscript was commissioned by the duc d’Orléans and offered to Jean de France.
  522.  
  523. Find this resource:
  524.  
  525.  
  526. DuBruck, Edelgard E. La Passion Isabeau: une édition du manuscrit fr. 966 de la Bibliothèque Nationale de Paris. American University Studies, Series 2: Romance Languages and Literature 141. New York: Peter Lang, 1990.
  527.  
  528. Save Citation »Export Citation »E-mail Citation »
  529.  
  530. The text was translated from Latin for the queen of Charles VI. Fr. 966 was executed for Charles and Marie de Clèves (whose signature it carries) in 1440 and bears their arms. Illuminated, with a crucifixion flanked by a kneeling duke and duchess. Contains a note on its location in the library at Blois.
  531.  
  532. Find this resource:
  533.  
  534.  
  535. Ouy, Gilbert. “Recherches sur la librairie de Charles d’Orléans et de Jean d’Angoulême pendant leur captivité en Angleterre et étude de deux manuscrits autographes de Charles d’Orléans récemment identifiés.” Comptes rendus de l’Académie des inscriptions et belles-lettres 99.2 (1955): 273–288.
  536.  
  537. DOI: 10.3406/crai.1955.10447Save Citation »Export Citation »E-mail Citation »
  538.  
  539. Builds on work in Champion 1910a and Champion 1910b and Dupont-Ferrier (Jean d’Orléans, comte d’Angoulême d’après sa bibliothèque (1467). Paris: Félix Alcan, 1897). Announces identification of nineteen more extant manuscripts, two of them autograph. Determines on paleographic and linguistic grounds that the Canticum amoris in BnF f. lat. 1203 was composed by Charles. Notes Franciscan influence, modeled on a work of John of Howden.
  540.  
  541. Find this resource:
  542.  
  543.  
  544. Ouy, Gilbert. La librairie des frères captifs: les manuscrits de Charles d’Orléans et Jean d’Angoulême. Texte, Codex & Contexte 4. Turnhout, Belgium: Brepols, 2007.
  545.  
  546. Save Citation »Export Citation »E-mail Citation »
  547.  
  548. Supersedes Pierre Champion’s work on the manuscripts. “Manuscrits des frères d’Orléans” (pp. 27–33) is a concordance of the two libraries, followed by a transcription of the inventories of 1417 and post-1440 (pp. 35–115) with many new identifications of extant manuscripts, with extensive notes, followed by an index of authors and one of names.
  549.  
  550. Find this resource:
  551.  
  552.  
  553. Perret, Noëlle-Laetitia. Les traductions françaises du “De regimine principum” de Gilles de Rome: parcours matériel, culturel et intellectuel d’un discours sur l’éducation. Leiden, The Netherlands: Brill, 2011.
  554.  
  555. DOI: 10.1163/ej.9789004206199.i-466Save Citation »Export Citation »E-mail Citation »
  556.  
  557. See pp. 158–161. Charles returned home from England with a copy of Du Gouvernement des roys et princes, en françois (BnF f. fr. 1203); in 1445 Charles acquired a copy in Latin (BnF f. lat. 6695). Brief but useful discussions of Louis d’Orléans, Charles d’Orléans, and Louis XII as book owners.
  558.  
  559. Find this resource:
  560.  
  561.  
  562. Scott, Kathleen. “Limner-Power: A Book Artist in England, c. 1420.” In Prestige, Authority and Power in Late Medieval Manuscripts and Texts. Edited by Felicity Riddy, 55–75. York Manuscripts Conferences, Proceedings Series 4. York, UK: York Medieval, 2000.
  563.  
  564. Save Citation »Export Citation »E-mail Citation »
  565.  
  566. Suggests the duke as patron of the lavish but incomplete Corpus Christi College Cambridge MS 61: Chaucer’s “Troilus and Criseyde.” The “frontispiece” depicts a speaker apparently addressing a group of nobles in a park-like setting, of which the central figure, dressed in gold, represents the duke of Orléans.
  567.  
  568. Find this resource:
  569.  
  570.  
  571. Scott, Kathleen L. “The Enigma of All Souls 10.” In Tradition and Innovation in Later Medieval English Manuscripts. By Kathleen L. Scott, 33–60. London: British Library, 2007.
  572.  
  573. Save Citation »Export Citation »E-mail Citation »
  574.  
  575. Suggests the duke as possible patron of All Souls 10, part of the second volume of a Bible historiale complète made in England.
  576.  
  577. Find this resource:
  578.  
  579.  
  580. Stratford, Jenny. “The Manuscripts of John, Duke of Bedford: Library and Chapel.” In England in the Fifteenth Century: Proceedings of the 1986 Harlaxton Symposium. Edited by D. Williams, 332–336. Woodbridge, UK: Boydell, 1987.
  581.  
  582. Save Citation »Export Citation »E-mail Citation »
  583.  
  584. Recounts the history of the eleven-volume Bible: the Grande Bible or La Bible de Jean de Sy, begun for Jean le Bon, Charles’s grandfather and continued by first his father Louis and then Charles himself.
  585.  
  586. Find this resource:
  587.  
  588.  
  589. Charles’s Intellectual World, Sacred and Secular
  590.  
  591. The duke of Orléans appears quite differently depending on whether the viewer’s interest is the history of the book, literature, biography, language, political history, or intellectual history. This last is frequently overlooked, but the intellectual and spiritual contents of his libraries and his family association with and interest in Jean Gerson and franciscanism suggest that there is much to be explored in this field. Newman 1979 is concerned with Charles’s spiritual life seen through his only long religious poem. Newman’s article was later published in French as “Le château de l’esprit: retraite et isolement dans la poésie de Charles d’Orléans,” in Lectures de Charles d’Orléans: les ballades (edited by Denis Hüe. Collection “Didact Français.” Rennes, France: Presses Universitaires de Rennes, 2010, pp. 163–176). Contamine 1987, the author of which has also written about Charles elsewhere, here discusses the duke’s piety in the last years of his life. Doyle 1989 associates Charles with a number of religious texts. Minet-Mahy 1999 finds spiritual meaning in a single poem read allegorically. See also Ouy 1955 (cited under Manuscripts and Collections Belonging to Charles and his Family), in which Ouy concludes with an interesting estimation of Charles’s mental world. See also Ouy 2007 (pp. 145–53, cited under Manuscripts and Collections Belonging to Charles and his Family).
  592.  
  593. Contamine, Philippe. “La piété quotidienne dans la haute noblesse à la fin du Moyen Âge: l’exemple de Charles d’Orléans (1463–1465).” In Horizons marins, itinéraires spirituels (Ve–XVIIIe siècles). Vol. 1, Mentalités et sociétés. Edited by Henri Dubois, Jean-Claude Hocquet, and André Vauchez, 35–42. Mélanges Michel Mollat du Jourdin. Histoire ancienne et médiévale 20. Paris: Publications de la Sorbonne, 1987.
  594.  
  595. Save Citation »Export Citation »E-mail Citation »
  596.  
  597. Based on archival documents not available to Pierre Champion when he was writing his biography (Champion 1911, cited under Biography). Deals with the final two years of the duke’s life, 1463–1465. Reprinted in Philippe Contamine’s collected essays: De Jeanne d’Arc aux guerres d’Italie: figures, images et problèmes du XVe siècle (pp. 205–212. Varia 16. Orléans, France: Paradigme, 1994).
  598.  
  599. Find this resource:
  600.  
  601.  
  602. Doyle, A. I. “The European Circulation of Three Latin Spiritual Texts.” In Latin and Vernacular: Studies in Late-Medieval Texts and Manuscripts. Edited by A. J. Minnis, 129–141. York Manuscripts Conferences 1. Wolfboro, NH: Boydell and Brewer, 1989.
  603.  
  604. Save Citation »Export Citation »E-mail Citation »
  605.  
  606. Discusses three anonymous works found in English and Continental manuscripts, the third of which is the Donatus devocionis, an English text that saw fairly wide distribution in Europe and is associated in various ways with Charles and his brother Jean d’Angoulême.
  607.  
  608. Find this resource:
  609.  
  610.  
  611. Linker, Robert W. “Charles d’Orléans and Medicine.” In Middle Ages, Reformation, Volkskunde: Festschrift for John G. Kunstmann. 94–100. Chapel Hill: University of North Carolina Press, 1959.
  612.  
  613. Save Citation »Export Citation »E-mail Citation »
  614.  
  615. Brief treatment of Charles’s collection of medical manuscripts.
  616.  
  617. Find this resource:
  618.  
  619.  
  620. Minet-Mahy, Virginie. “Charles d’Orléans et son moulin de pensée: allégorie et polysémie.” Les Lettres romanes 53 (1999): 13–27.
  621.  
  622. Save Citation »Export Citation »E-mail Citation »
  623.  
  624. Focuses on a single rondeau (Champion 1923, no. CCLXXXV; Fox and Arn 2010, no. 300, both cited under Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) and explores it and its governing metaphor the moulin mystique in the light of religious allegory, Latin and vernacular—but Minet-Mahy stresses that hers is not a positivistic search for “sources.” More wide-ranging than one might expect; discusses sermons, iconography.
  625.  
  626. Find this resource:
  627.  
  628.  
  629. Newman, Karen. “The Mind’s Castle: Containment in the Poetry of Charles d’Orléans.” Romance Philology 33.2 (1979): 317–328.
  630.  
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  632.  
  633. Unusually, pays attention to the Canticum Amoris; argues that Charles’s poetry has a greater spiritual content than most critics have recognized. See also BnF f. lat. 1203, ff. 48r–56v in Canticum amoris.
  634.  
  635. Find this resource:
  636.  
  637.  
  638. Ouy, Gilbert. “Charles d’Orléans and his Brother Jean d’Angoulême in England: What their Manuscripts Have to Tell.” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 47–60. Woodbridge, UK: D. S. Brewer, 2000.
  639.  
  640. Save Citation »Export Citation »E-mail Citation »
  641.  
  642. Describes Charles’s Franciscan sympathies, his contact with the Greyfriars of London and Thomas Wynchelsey, master of theology, his (and his brother’s) interest in the work of Jean Gerson and his contact with Gerson’s younger brother (known as Jean Gerson the Celestine) after Gerson’s death. Describes the circulation of manuscripts among all these players.
  643.  
  644. Find this resource:
  645.  
  646.  
  647. Essay Collections Dedicated to Charles d’Orléans
  648.  
  649. These volumes gather together a variety of kinds of articles about the duke, his life, and his work, many of which will be listed and annotated in other categories. They are a good place to start for recent attitudes toward and work on Charles’s life and work. Authors in Arn 2000 focus on his life in England between 1415 and 1440. Huë 2010 limits discussion to the duke’s ballades. Croizy-Naquet and Paupert 2011 broadens the field to include all literary matters. Van Hemelryck and Marzano 2012 includes articles on any subject related to Charles d’Orléans. Basso and Gally 2012 includes articles about Charles and his contemporaries.
  650.  
  651. Arn, Mary-Jo, ed. Charles d’Orléans in England, 1415–1440. Woodbridge, UK: D. S. Brewer, 2000.
  652.  
  653. Save Citation »Export Citation »E-mail Citation »
  654.  
  655. This interdisciplinary volume (history, art history, French and English literature, manuscripts, translation) focuses on a twenty-five-year period in the duke’s life in a foreign land. Contributors: M. K. Jones, W. Askins, G. Ouy, M. Arn, C. Galderisi, J. Fox, R. C. Cholakian, A. C. Spearing, D. Pearsall, J. Backhouse, J.-C. Mühlethaler, and A. E. B. Coldiron.
  656.  
  657. Find this resource:
  658.  
  659.  
  660. Basso, Hélène, and Michèle Gally, eds. Être poète au temps de Charles d’Orléans. Collection En-jeux. Avignon, France: Editions Universitaires d’Avignon, 2012.
  661.  
  662. Save Citation »Export Citation »E-mail Citation »
  663.  
  664. A collection built around the central figure of Charles which deals in large part with poets writing in the same period. Contributors: J.-C. Mühlethaler, C. Lucken, P. Frieden, J. Cerquiglini-Toulet, F. Bouchet, H. Basso, M. Gally, C. Atwood, C. Dauphant, and N. Koble.
  665.  
  666. Find this resource:
  667.  
  668.  
  669. Croizy-Naquet, Catherine, and Anne Paupert, eds. Special Issue: Charles d’Orléans, une aventure poétique. Cahiers Textuels 34 (2011).
  670.  
  671. Save Citation »Export Citation »E-mail Citation »
  672.  
  673. Papers for Agrégation 2011, that is, the advanced examination and competition that qualifies young scholars in France to work in universities. Deals with a broad range of literary issues: allegory, verse-forms, intertextualities, narrativities, and anthologization. Contributors: J. Cerquiglini-Toulet, C. Lucken, D. Lechat, G. Gros, I. Bétemps, G. Parussa, C. Galderisi, J.-M. Fritz, and A. Strubel.
  674.  
  675. Find this resource:
  676.  
  677.  
  678. Huë, Denis, ed. Lectures de Charles d’Orléans: les ballades. Collection “Didact français.” Rennes, France: Presses Universitaires de Rennes, 2010.
  679.  
  680. Save Citation »Export Citation »E-mail Citation »
  681.  
  682. Papers from Agrégation 2011. Focuses specifically on the French ballades. Contributors: D. Hüe, M. Arn, C. Lucken, G. Gros, C. Attwood, J.-Fr. Kosta-Théfaine, J.-C. Mühlethaler, E. Doudet, J. H. M. Taylor, C. Galderisi, and K. Newman.
  683.  
  684. Find this resource:
  685.  
  686.  
  687. Van Hemelryck, Tania, and Stefania Marzano, eds. Special Issue: Charles d’Orléans. Le Moyen français: revue d’études linguistiques et littéraires 70 (2012).
  688.  
  689. Save Citation »Export Citation »E-mail Citation »
  690.  
  691. A variety of articles on literary themes and ideas, literary forms, historical documents, and the duke’s manuscript. Contributors: J. Cerquiglini-Toulet, F. Bouchet, E. Doudet, H. Basse, M. Gally, and O. Delsaux.
  692.  
  693. Find this resource:
  694.  
  695.  
  696. The French Poetry
  697.  
  698. For ease of use, the editors have divided the material on Charles d’Orléans’s poetry along linguistic lines. Most users will probably search for material on his (larger and more well-known) French body of poetry, but many will want studies on his work written in English. The English material follows the French.
  699.  
  700. 15th-Century Poetics: Background
  701.  
  702. Charles’s verse emerges from a rich and dynamic poetic climate operating within his own aristocratic circles and also in the more urban environment of Paris and other cities. His verse-forms are conventional—Charles is no prosodic innovator—and the themes he addresses are rarely in themselves unusual. His early ballade sequence, with its purportedly autobiographical love story, is anchored in the contemporary poetic practice dating at least from Machaut; his rondeaux—more playful, more lyrically agile—still remain largely standard, and, if we are to measure his originality, it is important to understand the milieu from which his voice emerges. The following will provide starting points for such an exploration. Poirion 1965, the author’s remarkably complete and very informative doctoral thesis, covers a very wide range: the essential work on Charles’s verse and one of the most interesting and fulfilling. Zumthor 1972 is a highly important and deeply influential study of medieval poetics, which stresses language as the starting-point. The initial focus of Kelly 1978 is imagination but this work is far more wide ranging.
  703.  
  704. Armstrong, Adrian. The Virtuoso Circle: Competition, Collaboration, and Complexity in Late Medieval French Poetry. Medieval and Renaissance Texts and Studies 415. Tempe, AZ: ACMRS, 2012.
  705.  
  706. Save Citation »Export Citation »E-mail Citation »
  707.  
  708. Late medieval poetry like Charles’s is an essentially collaborative, sometimes competitive enterprise. This book sets the scene for court poetry and its actualization in anthology volumes and focuses especially and fruitfully on the poets’ technical expertise: prosody, language in general.
  709.  
  710. Find this resource:
  711.  
  712.  
  713. Jauss, Hans Robert, ed. Grundriss der romanischen literaturen des mittelalters. Vol. 8, La littérature française aux XIVe et XVe siècles. Heidelberg, Germany: Carl Winter Universitätsverlag, 1988.
  714.  
  715. Save Citation »Export Citation »E-mail Citation »
  716.  
  717. This monumental, multi-volume history of medieval literature covered all genres and periods. Directly useful for Charles’s poetry in this volume, are pp. 45–160 on lyric genres and the context of late-medieval lyric, but there is a wealth of background information. Includes careful and quite complete studies of the ballade, the rondeau, and the dit.
  718.  
  719. Find this resource:
  720.  
  721.  
  722. Kelly, Douglas. Medieval Imagination: Rhetoric and the Poetry of Courtly Love. Madison: University of Wisconsin Press, 1978.
  723.  
  724. Save Citation »Export Citation »E-mail Citation »
  725.  
  726. Deals with second rhetoric (i.e., vernacular prosody), “courtly love,” and their interrelationship. Addresses, among others, Guillaume de Lorris and the Rose, Machaut, and Froissart. Then turns to later courtly poetry in general, and finishes (pp. 204–229) with a chapter on Charles and René d’Anjou. A subtle, scholarly book, indispensable to the study of 15th-century prosody and allegorical expression.
  727.  
  728. Find this resource:
  729.  
  730.  
  731. Poirion, Daniel. Le poète et le prince: l’évolution du lyrisme courtois de Guillaume de Machaut à Charles d’Orléans. Grenoble, France: Imprimerie Allier, 1965.
  732.  
  733. Save Citation »Export Citation »E-mail Citation »
  734.  
  735. Deals with the courts of France and Blois and their reflection in poetry; the poet as part of an artistic élite at court; verse forms and their variety; the language and rhetoric of poetry and, finally, for Charles, poetic topics in general, courtly attitudes, melancholy, the “I,” and poetry as consolation. Reprinted in 1978 and 1993 (Geneva, Switzerland: Slatkine Reprints).
  736.  
  737. Find this resource:
  738.  
  739.  
  740. Regalado, Nancy Freeman. “Gathering the Works: The ‘œuvres de Villon’ and the Intergeneric Passage of the Medieval French Lyric into Single-Author Collections.” Special Issue: Intergenres: Intergeneric Perspectives on Medieval French Literature. Edited by Sara Sturm-Maddox and Donald Maddox. L’Esprit créateur 33 (1993): 87–100.
  741.  
  742. Save Citation »Export Citation »E-mail Citation »
  743.  
  744. Promises focus on Villon but covers a much wider late-medieval field. An important study of the growing predilection for framing and “narrativizing” an oeuvre, both in manuscript and print.
  745.  
  746. Find this resource:
  747.  
  748.  
  749. Zumthor, Paul. Essai de poétique médiévale. Collection Poétique. Paris: Seuil, 1972.
  750.  
  751. Save Citation »Export Citation »E-mail Citation »
  752.  
  753. Deals with development of the lyric from orality to textuality; only pages 279–285 deal directly with Charles, but indispensable source for anyone working on late-medieval lyric.
  754.  
  755. Find this resource:
  756.  
  757.  
  758. Form and Fixed Forms
  759.  
  760. Any discussion of verse-forms should start with Langlois 1902: the “second rhetoric” deals with vernacular prosody in the later Middle Ages. Chatelain 1907 is a pioneering—though oddly downbeat—study that also has to be a starting point for discussion of 15th-century verse forms. Wilkins 1960 discusses the 14th-century rondeau specifically, while Tietz 1987 deals more broadly with late-medieval fixed forms. Zink 1980 covers a wide range—from the 12th to the 15th century—but this is a wonderfully brisk and intelligent survey of fixed-form poetry. Pensom 1996 proposes a reading of the sonorities and verse-patterns of late-medieval French verse based on tonic accent. The volume edited by Mühlethaler and Cerquiglini 2002 is a compendium of information and discussion on verse-forms.
  761.  
  762. Chatelain, Henri. Recherches sur le vers français au XVe siècle: rimes, mètres et strophes. Paris: Honoré Champion, 1907.
  763.  
  764. Save Citation »Export Citation »E-mail Citation »
  765.  
  766. Covers rhyme, stanza-form, and the different verse-forms (ballade, chant royal, virelai, rondeau, fatras) though with an odd lack of enthusiasm. Reprinted in 1974 (Geneva, Switzerland: Slatkine Reprints).
  767.  
  768. Find this resource:
  769.  
  770.  
  771. Langlois, Ernest, ed. Recueil d’arts de seconde rhétorique. Collection de documents inédits sur l’histoire de France. 2nd series, Histoire des lettres et des sciences. Paris: Imprimerie Nationale, 1902.
  772.  
  773. Save Citation »Export Citation »E-mail Citation »
  774.  
  775. This volume edits a series of treatises that list and, to some extent, prescribe the forms and mechanics of the verse-forms of the 15th century. They show no interest in “inspiration” and are interested in “rhetoric” only as a range of devices but are essential reading to understand the context in which Charles’s verse-forms are elaborated.
  776.  
  777. Find this resource:
  778.  
  779.  
  780. Mühlethaler, Jean-Claude, and Jacqueline Cerquiglini, eds. Special Issue: Poétiques en transition: entre Moyen Âge et Renaissance. Études de lettres 4 (2002).
  781.  
  782. Save Citation »Export Citation »E-mail Citation »
  783.  
  784. Useful and broad-ranging collection of articles that survey current thinking on late-medieval poetics.
  785.  
  786. Find this resource:
  787.  
  788.  
  789. Pensom, Roger. “La magie de la métrique dans le Testament de Villon.” Romania 114 (1996): 182–202.
  790.  
  791. Save Citation »Export Citation »E-mail Citation »
  792.  
  793. Concerns Villon but is important reading for any study of the metrical patterns of late-medieval verse.
  794.  
  795. Find this resource:
  796.  
  797.  
  798. Tietz, M. “Die französische Lyrik des 14. und 15. Jahrhunderts.” In Die französische Lyrik. Edited by Dieter Janik, 109–177. Darmstadt, Germany: Wissenchaftliche Buchgesellschaft, 1987.
  799.  
  800. Save Citation »Export Citation »E-mail Citation »
  801.  
  802. A useful, informative study, principally devoted, systematically, to the formes fixes of the later Middle Ages and paying attention to the arts of poetry and rhetoric. Stresses the distinction between the court amateur poet (such as Charles), and the professional poet (such as Villon). A particularly useful point of reference for German criticism, which can otherwise be neglected.
  803.  
  804. Find this resource:
  805.  
  806.  
  807. Wilkins, Nigel. “The Structure of Ballades, Rondeaux and Virelais in Froissart and in Christine de Pizan.” French Studies 23 (1960): 337–348.
  808.  
  809. DOI: 10.1093/fs/23.4.337Save Citation »Export Citation »E-mail Citation »
  810.  
  811. Provides a useful way of understanding the development of the rondeau and the dynamics of the refrain.
  812.  
  813. Find this resource:
  814.  
  815.  
  816. Zink, Michel. “Le lyrisme en rond: esthétique et séduction des poèmes à forme fixe au Moyen Âge.” Cahiers de l’Association internationale des études françaises 32 (1980): 71–90.
  817.  
  818. DOI: 10.3406/caief.1980.1209Save Citation »Export Citation »E-mail Citation »
  819.  
  820. Provides an excellent background to the reading of Charles’s poetry. Particularly useful on the aesthetics of the rondeau. Reprinted in Les voix de la conscience: parole du poète et parole de Dieu dans la littérature médiévale, by Michel Zink (Caen, France: Paradigme, 1992, pp. 177–196).
  821.  
  822. Find this resource:
  823.  
  824.  
  825. General Literary Studies
  826.  
  827. The earliest studies—even Champion 1911 (cited under Biography)—have as their primary focus Charles’s life and tend therefore to explore his poetry primarily as autobiographical. More recent work focuses on the poetry as poetry: its meanings, its themes, its motifs, and its prosody. Studies in the current section address all or most of these facets. Cigada 1960 provides a general introduction and looks at Charles’s biography, afterlife, and critical problems raised. Galderisi 2007 interleaves Charles’s poetry with that of modernity—French and English. The work is very richly annotated. Mühlethaler 2010 picks up and revises a number of his previous essays on Charles—but recontextualizes them in a coherent whole. In addition to these sources, see Poirion 1965, cited under 15th-Century Poetics: Background.
  828.  
  829. Cigada, Sergio. L’opera poetica di Charles d’Orléans. Milan: Vita e Pensiero, 1960.
  830.  
  831. Save Citation »Export Citation »E-mail Citation »
  832.  
  833. Deals with authorship of the English poems, Latin poems and Charles’s spiritual self, chronology of his poetry and its editing, and influences and predecessors. Charles’s poetic development falls into three phases: to 1440, in England (where he works in metaphor); in France, 1440 to 1450 (naturalisme précieux); and at Blois, 1450 to 1463 (humor and realism). Impressive readings of the poems.
  834.  
  835. Find this resource:
  836.  
  837.  
  838. Galderisi, Claudio. Charles d’Orléans: une poésie des présents. “En regardant vers le païs de France.” Medievalia 59. Orléans, France: Paradigme, 2007.
  839.  
  840. Save Citation »Export Citation »E-mail Citation »
  841.  
  842. Discusses—sometimes leaning on earlier articles—Charles’s “melancholy,” his “identity,” his use of personification and reification, and his attitude to time and pastime.
  843.  
  844. Find this resource:
  845.  
  846.  
  847. Mühlethaler, Jean-Claude. Charles d’Orléans, un lyrisme entre Moyen Age et modernité. Paris: Éditions Classiques Garnier, 2010.
  848.  
  849. Save Citation »Export Citation »E-mail Citation »
  850.  
  851. Covers Charles’s debt to predecessors, especially the Rose; Charles’s humor; Charles’s position on the cusp between Middle Ages and Renaissance; his reception in the 16th and 19th centuries. An elegant, inspiring study.
  852.  
  853. Find this resource:
  854.  
  855.  
  856. Editions of the French Poetry
  857.  
  858. Though the French poetry was known in the early modern period, the first modern editions date to the mid-19th century. From that point on, the poetry has been edited repeatedly, either in part or as a whole, and that trend continues. Editors have generally focused on the poet’s own copy of his poetry (BnF MS f. fr. 25458), but the French poetry in the Grenoble MS (BM 583) has also been edited separately. The Latin poetry apparently translated under his supervision remains to be edited. For translations into modern French, see Galderisi 2012 (pp. 35–36; into English, pp. 37–38; into other languages, pp. 38–40; cited under Bibliographies).
  859.  
  860. Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)
  861.  
  862. Of the manuscripts containing Charles’s verse, f. fr. 25458 (O) has attracted by far the most attention: it was structured and composed over many years; it is in part autograph; its contents are eloquent evidence of the dynamic poetic milieu of Charles’s court at Blois. Virtually all existing modern editions are based on this manuscript; they vary from those that reproduce all the poems from the manuscript, including those of Charles’s associates, in their entirety (Champion 1923; Fox and Arn 2010) to those that focus only on those poems that can confidently be said to be from Charles’s own pen. Gros 1962 includes only about a quarter of the duke’s French oeuvre. Mühlethaler 1996, which is intended for the general public, includes partial modern French prose translations, with helpful notes on Middle French lexis and meaning. (A first printing in 1992, not distinguishable from later copies, does not include the concordance). Charles d’Orléans (2010) offers translations into modern French. This edition contains only that poetry composed after the duke’s return to France, including poetry from other hands at the court of the duke (edited from f. fr. 25458), omitting, oddly, apparently for lack of space, the suite of ballades usually referred to as the concours de Blois, although included are Champion’s ballades 100 and 120, here numbered 83 and 104. Fox and Arn 2010 is a monumental and admirable edition of f. fr. 25458 containing all the poems, from Charles’s and other hands, published according to the chronologies of composition proposed by Arn 2008 (cited under Manuscript Studies and Textual Scholarship: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)).
  863.  
  864. Champion, Pierre, ed. Charles d’Orléans: poésies. 2 vols. Classiques français du Moyen Âge 34. Paris: Honoré Champion, 1923.
  865.  
  866. Save Citation »Export Citation »E-mail Citation »
  867.  
  868. Frequently reprinted. Remains point of reference for most critics, even to the present. Gives the entire content (with one accidental omission), including all poems by other hands. Subject to some criticism for reordering of the poems and for representation of refrains, errors in transcription, and idiosyncratic punctuation and capitlisation. Useful index to topics and poets, with some biographical information and index of first lines. Volume 56 was published in 1927.
  869.  
  870. Find this resource:
  871.  
  872.  
  873. Fox, John, and Mary-Jo Arn, eds. Poetry of Charles d’Orléans and his Circle: A Critical Edition of BnF MS. 25458, Charles d’Orléans’s Personal Manuscript. Translated by R. Barton Palmer. Medieval and Renaissance Texts and Studies 383; Arizona Studies in the Middle Ages and the Renaissance 34. Turnhout, Belgium: Brepols, 2010.
  874.  
  875. Save Citation »Export Citation »E-mail Citation »
  876.  
  877. Includes an excursus on the literary context by Stephanie A. V. G. Kamath. Includes background information on Charles and his literary context; verse-forms; the manuscript and its ordering; Charles’s language (skimpily dealt with). Also includes useful research tools (textual notes; index of first lines; concordance with Champion edition; assessment of which lyrics are in Charles’s hand (updated from Champion 1923); some explanatory notes on the text; glossary; bibliography. With translation, with some inaccuracies, of each poem into English.
  878.  
  879. Find this resource:
  880.  
  881.  
  882. Gros, Gerard, ed. Charles d’Orléans: En la forêt de longue attente et autres poèmes. Poésie 365. Paris: Gallimard, 1962.
  883.  
  884. Save Citation »Export Citation »E-mail Citation »
  885.  
  886. Includes 163 poems (out of 656), of which 36 are ballades, 5 are chansons, and 122 are rondeaux. With a chronology, bibliography, notes, and index of first lines. Bilingual edition with translations into modern French. Postface by Jean Tardieu. Reprinted in 2001.
  887.  
  888. Find this resource:
  889.  
  890.  
  891. Minet-Mahy, Virginie, and Jean-Claude Mühlethaler, ed. and trans. Le livre d’amis: poésies à la cour de Blois, 1440–1465. Champion classiques: Série “Moyen Âge” 28. Paris: Honoré Champion, 2010.
  892.  
  893. Save Citation »Export Citation »E-mail Citation »
  894.  
  895. Translations draw on those of Mühlethaler 1996, considerably revised, and this time completed. Poems numbered according to the numberings in the manuscript, without cross-reference to Champion 1923, other than in the notes, or to Mühlethaler 1996, making comparisons difficult (although page numbers of f. fr. 25458 are given). Offers copious notes, index of refrains and first lines, brief glossary, and indices of collaborators, proper names, and personifications.
  896.  
  897. Find this resource:
  898.  
  899.  
  900. Mühlethaler, Jean-Claude, ed. Charles d’Orléans: ballades et rondeaux. 2d ed. Le livre de poche: Lettres gothiques 4531. Paris: Honoré Champion, 1996.
  901.  
  902. Save Citation »Export Citation »E-mail Citation »
  903.  
  904. Confined to ballades, rondeaux, Retenue d’Amours, and Songe en complainte; omits chansons, caroles, complaintes, and epistles. Does not include poetry from other hands. Renumbers poems (in manuscript order), with cross-reference to Champion 1923. Indexes of names, personifications, dates, proverbs, and concordance to the numbering of Champion. First published in 1992.
  905.  
  906. Find this resource:
  907.  
  908.  
  909. Tucci, Patrizio, ed. Charles d’Orléans e i poeti di Blois: Rondò di conversazione. Biblioteca Medievale 148. Rome: Carocci editore, 2015.
  910.  
  911. Save Citation »Export Citation »E-mail Citation »
  912.  
  913. Consists of an introduction, three ballades, followed by 147 chansons and rondels (following Champion’s order, for which see Champion 1923; with shortened refrains, for which see Rondeau Refrain), with facing-page Italian translation, textual notes, explanatory notes, a brief sketch of each poet, bibliography, and an index of first lines.
  914.  
  915. Find this resource:
  916.  
  917.  
  918. Paris, Bibliothèque nationale de France f. lat. 1203, ff. 48r–56v
  919.  
  920. Contains the Canticum amoris, the only Latin religious work (apart from one carole) known from the duke’s hand. See Newman 1979 (cited under Charles’s Intellectual World, Sacred and Secular). Ouy 1959 announces its discovery. Ouy 2007 provides a more developed look at the poem and of what it might mean in the context of Charles’s life. The manuscript contains work in Charles’s hand and in that of his brother Jean.
  921.  
  922. Ouy, Gilbert. “Un poème mystique de Charles d’Orléans: le ‘Canticum Amoris.’” Studi francesi 7 (1959): 64–84.
  923.  
  924. Save Citation »Export Citation »E-mail Citation »
  925.  
  926. A follow-up to Ouy’s article on the Orléans libraries (Ouy 1955, cited under Manuscripts and Collections Belonging to Charles and his Family). He announces the discovery of Charles as author of the Canticum, transcribes it, and analyzes it in light of Charles’s (and, in fact, his family’s) inclinations toward Franciscanism, intensified by his contact with Franciscans in England. Associates the Canticum with other works of a religious nature in his library. Plates of MSS f. lat. 1203 and f. lat. 1196.
  927.  
  928. Find this resource:
  929.  
  930.  
  931. Ouy, Gilbert. “Un poème mystique de Charles d’Orléans: le Canticum Amoris.” In La librairie des frères captifs. Edited by Gilbert Ouy, 145–185. Turnhout, Belgium: Brepols, 2007.
  932.  
  933. Save Citation »Export Citation »E-mail Citation »
  934.  
  935. Though it bears the same title as the previous entry and some of the material overlaps, it differs in its emphasis of the importance of the text and what it tells us about Charles’s spirituality. Prints Charles’s Carole en latin as well as reprinting the Canticum. Includes eight plates taken from f. lat. 1203 and f. lat 1196.
  936.  
  937. Find this resource:
  938.  
  939.  
  940. Grenoble, Bibliothèque Municipale MS 873 (G)
  941.  
  942. The Champollion-Figeac 1842 edition of this manuscript was published within weeks of an edition based on the BnF f. fr. 25458 manuscript edited by Jean-Marie Guichard, and the war of words between the two editors as to which was the better manuscript was loud and long. History has since proven that Guichard made the better choice (though his work has been superseded), but this is an invaluable edition nonetheless. Prints for the first time (but attributes to Louis XII) the short poem “Le Livre contre tout péche,” composed by Charles when he was ten years old. Jansen 1988 establishes that there are no English poems in the Champollion-Figeac 1842 edition.
  943.  
  944. Champollion-Figeac, Aimé. Les poésies du duc Charles d’Orléans publiées sur le manuscrit de la Bibliothèque de Grenoble. Paris: J. Belin-Leprieur et Colomb de Batines, 1842.
  945.  
  946. Save Citation »Export Citation »E-mail Citation »
  947.  
  948. Contains, in addition to Charles’s French poems, notes, and glossary, poems from BnF MS f. fr. 1104 including “Le Livre contre tout péché,” poems from other hands, transcriptions of a few documents and letters, an account of known manuscripts of the duke’s poetry, and an index of first lines. Ignores the Latin translation, that also appears in this manuscript, for which, see Coldiron 2000 (cited under Manuscript Studies and Textual Scholarship: Grenoble, Bibliothèque municipale MS 873 (G)).
  949.  
  950. Find this resource:
  951.  
  952.  
  953. Jansen, J. P. M. “The French Manuscripts of the English Poems of Charles of Orleans.” Notes and Queries (1988): 439–440.
  954.  
  955. Save Citation »Export Citation »E-mail Citation »
  956.  
  957. Jansen corrects an error probably originated by MacCracken 1911 (cited under Attribution of the Poems in Harley 682)—whose author may have misread Champollion-Figeac’s 1842 edition—that the Grenoble manuscript contains a handful of English poems. This error has been repeated in scholarly publications into the 21st century. The manuscript contains no English poems.
  958.  
  959. Find this resource:
  960.  
  961.  
  962. London, British Library MS Royal 16 F II (C)
  963.  
  964. Fox 1973 contains an edition of only those poems in the manuscript by Charles d’Orléans. This manuscript contains, in addition to the duke’s poetry, Pseudo-Heloise, “Les epistres de l’abesse Heloys,” “Les Demandes d’Amour,” and “Le livre dit Grace entiere sur le fait du gouvernement d’un prince.” Six full-page miniatures, including the famous view of London with Charles in the Tower, illustrate the texts. See also Manuscript Studies: London, British Library MS Royal 16 F II (C).
  965.  
  966. Fox, John, ed. Charles d’Orléans, Choix de poésies: éditées d’après le ms Royal 16 F II du British Museum. Textes littéraires 9. Exeter, UK: University of Exeter, 1973.
  967.  
  968. Save Citation »Export Citation »E-mail Citation »
  969.  
  970. Ballades and chansons edited from this luxurious 16th-century manuscript with six miniatures, containing a selection of poetry by the duke (1r–136v). Introduction contains analysis of the collection and of the order of the poems as well as comments on the manuscript and its ownership. Tipped in color frontispiece, notes, and short bibliography.
  971.  
  972. Find this resource:
  973.  
  974.  
  975. Manuscript Studies and Textual Scholarship
  976.  
  977. The manuscripts of the work of the poet made during or immediately after his lifetime, especially those made for him and for his third wife, have elicited a number of analyses and studies. The partially autograph manuscript (f. fr. 25458) is by far the most important to the work of most scholars and has naturally attracted the most scholarly work. We use a capacious definition of manuscript studies, including any work that claimed to work with a specific manuscript.
  978.  
  979. Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)
  980.  
  981. The duke of Orléans’s personal copy of his poetry, commissioned in England and written partly in his own hand over a period of some twenty-five years and including a large number of poems from courtiers, associates, and visitors to Blois, has naturally attracted the most study. At issue are the order in which the poems were composed, where (France or England) and when (before or after 1440) the manuscript was made, where in the manuscript the poet’s hand can be found, and what this tells us about the maker or the poetry made. Champion 1910b (cited under Manuscripts and Collections Belonging to Charles and his Family) establishes that the manuscript was partially written in Charles’s own hand (see pp. i–lxvii: “La librairie de Charles d’Orléans”). See also Ouy 1955 (cited under Manuscripts and Collections Belonging to Charles and his Family). Stirnemann 1987 discovered that the manuscript was made in England. Gros 1995b makes a close study of some of the corrections to the manuscript, thought to be the work of Charles himself and in his own hand. Gros 1995a is a study of the structure of the collection. Lucken 2005 argues for a new way of representing the duke’s poetry in print. Arn 2008 presents a detailed codicological study of the manuscript. Minet-Mahy 2010 focuses on the “voices” in the rondeaux.
  982.  
  983. Arn, Mary-Jo. The Poet’s Notebook: The Personal Manuscript of Charles d’Orléans (Paris BnF MS fr. 25458. Texts and Translations 3. Turnhout, Belgium: Brepols, 2008.
  984.  
  985. Save Citation »Export Citation »E-mail Citation »
  986.  
  987. With accompanying CD. A reconsideration of f. fr. 25458 from a codicological standpoint, in response to Champion’s study (Champion 1923 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)). Takes the reader through a series of copying stints to demonstrate how the manuscript came to be and suggests a revision in the poem order used by Champion in his edition.
  988.  
  989. Find this resource:
  990.  
  991.  
  992. Gros, Gérard. “Écrire et lire au Livre de pensée: étude sur le manuscrit personnel des poésies de Charles d’Orléans (Paris, B.N.F. Fr. 25458).” Special Issue: Le manuscrit littéraire: son statut, son histoire, du Moyen Âge à nos jours. Edited by Luc Fraisse. Travaux de littérature 11 (1995a): 55–74.
  993.  
  994. Save Citation »Export Citation »E-mail Citation »
  995.  
  996. Begins with the Retenue, stressing the “pseudo-autobiographical,” romance nature of it and the ballades; with the rondeaux, f. fr. 25458 becomes a journal poétique that records the courtly conversations whose nature Gros explores. The manuscript is itself a cue to further poetic inspiration, for Charles and his court. With two plates from f. fr. 25458.
  997.  
  998. Find this resource:
  999.  
  1000.  
  1001. Gros, Gerard. “L’écriture du prince: étude sur le souci graphique de Charles d’Orléans dans son manuscrit personnel (Paris, Bibl. Nat. Fr. 25458).” In L’hostellerie de pensée: études sur l’art littéraire au Moyen Âge offertes à Daniel Poirion par ses anciens élèves. Compiled by Michel Zink and Danielle Bohler. Edited by Eric Hicks and Manuela Python, 195–204. Cultures et Civilisations Médiévales 12. Paris: Presses de l’Université de Paris-Sorbonne, 1995b.
  1002.  
  1003. Save Citation »Export Citation »E-mail Citation »
  1004.  
  1005. His analysis shows the duke to be a meticulous stylist interested in euphony and semantic precision.
  1006.  
  1007. Find this resource:
  1008.  
  1009.  
  1010. Lucken, Christopher. “‘Le poème délivré’: le désœuvrement de Fortune et le passe-temps de l’écriture dans le manuscrit personnel de Charles d’Orléans.” In Mouvances et jointures: du manuscrit au texte médiéval. Edited by Milena Mikhaïlova, 283–313. Medievalia 55. Orléans, France: Paradigme, 2005.
  1011.  
  1012. Save Citation »Export Citation »E-mail Citation »
  1013.  
  1014. Given the nature of the manuscript, considers it essential for a proper understanding of the poetry to devise ways of representing its complexities, typographically, in any modern edition; a plea to take full advantage of modern printing and reproduction technologies in editing collections of medieval poetry.
  1015.  
  1016. Find this resource:
  1017.  
  1018.  
  1019. Minet-Mahy, Virginie. “Polyphonie et problèmes de langage dans l’album poétique de Charles d’Orléans (Paris, BnF, f. fr. 25458).” In Le recueil au Moyen Âge: la fin du Moyen Âge. Edited by Tania Van Hemelryck and Stefania Marzano, 213–232. Texte, Codex & Contexte 9. Turnhout, Belgium: Brepols, 2010.
  1020.  
  1021. Save Citation »Export Citation »E-mail Citation »
  1022.  
  1023. Stresses the importance of a plurality of voices (polyphony) in f. fr. 25458, the interactions of participants, and the importance of play and debate in the composition of rondeaux at Charles’s court.
  1024.  
  1025. Find this resource:
  1026.  
  1027.  
  1028. Stirnemann, Patricia Danz. “222. Français 25458.” In Manuscrits enluminés d’origine insulaire VIIe–XXe siècle. By François Avril and Patricia Danz Stirnemann, 180–181. Paris: Bibliothèque nationale, 1987.
  1029.  
  1030. Save Citation »Export Citation »E-mail Citation »
  1031.  
  1032. Detailed description of the manuscript. By stating in a BnF publication that the decoration of f. fr. 25458 is English (see Ouy 1955, cited under Manuscripts and Collections Belonging to Charles and his Family), Stirnemann brings to the fore the fact that the manuscript with the earliest work copied into it must have been made in England and so made before 1440, when the duke was released. Also contains a description of f. lat. 1196, the duke’s prayerbook (pp. 178–79) and of other manuscripts belonging to the duke.
  1033.  
  1034. Find this resource:
  1035.  
  1036.  
  1037. Paris, Bibliothèque nationale de France MS f. lat. 1196
  1038.  
  1039. This large and exceptionally fine manuscript, made for Charles and decorated in England, includes prayers of the duke’s choosing and from his own pen. Though not heavily illuminated, it contains fine borders in the English style and many fine illuminated initials. See Stirnemann 1987 (cited under Manuscript Studies and Textual Scholarship: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) for a description of the manuscript. Baurmeister and Laffitte 1992 contains a catalogue description. Scott 1996 provides a fuller description. Ouy 2007 lists the contents.
  1040.  
  1041. Baurmeister, Ursula, and Marie-Pierre Laffitte, eds. Des livres et des rois: la bibliothèque royale de Blois. Paris: Bibliothèque Nationale, 1992.
  1042.  
  1043. Save Citation »Export Citation »E-mail Citation »
  1044.  
  1045. A catalogue from an exhibition in 1992 at Blois and in the Bibliothèque nationale, it contains a brief description of the manuscript (pp. 56–59). Three color plates on pp. 57–59.
  1046.  
  1047. Find this resource:
  1048.  
  1049.  
  1050. Ouy, Gilbert. “Notices de manuscrits: Paris, BnF lat. 1196.” In La librairie des frères captifs: les manuscrits de Charles d’Orléans et Jean d’Angoulême. Texte, Codex & Contexte 4. Turnhout, Belgium: Brepols, 2007.
  1051.  
  1052. Save Citation »Export Citation »E-mail Citation »
  1053.  
  1054. See pp. 145–176 and figures 6 and 7. Detailed list of the contents of f. lat. 1196 and plates from it and from f. lat. 1203, the manuscript from which some of it was copied.
  1055.  
  1056. Find this resource:
  1057.  
  1058.  
  1059. Scott, Kathleen. “57. Paris, Bibliothèque nationale MS lat. 1196.” In Later Gothic Manuscripts, 1390–1490. A Survey of Manuscripts Illuminated in the British Isles 6. London: Harvey Miller, 1996.
  1060.  
  1061. Save Citation »Export Citation »E-mail Citation »
  1062.  
  1063. See vol. 2 (pp. 178–182) and vol. 1 (plates 232–238). Full codicological description, with black-and-white plates, of the duke’s great prayerbook, copied and illuminated in England.
  1064.  
  1065. Find this resource:
  1066.  
  1067.  
  1068. Grenoble, Bibliothèque municipale MS 873 (G)
  1069.  
  1070. This is the Latin translation (in double columns with the French) of many of the poet’s lyrics, made by Antonio Astesano in the early 1460s and arranged in a completely new order. The translator’s brother Nicholas was the copyist. The manuscript also contains a number of other texts in prose. At issue here is how involved the poet was in the translation of the poetry (given that the duke was an excellent Latinist, for which see Ouy 2000, cited under Charles’s Intellectual World, Sacred and Secular and Ouy 2007). Balzaretti 1985, a very brief article, sees the Latin translation as intended to take Charles’s work to an international audience. Coldiron 2000 characterizes this new selection and reordering by the duke as a shift to “world lyric” (p. 112).
  1071.  
  1072. Balzaretti, Marco. “Antonio Astesano traduttore di Charles d’Orléans.” Studi francesi 29 (1985): 58–62.
  1073.  
  1074. Save Citation »Export Citation »E-mail Citation »
  1075.  
  1076. Focuses especially on Antonio Astesano’s preface, of which he gives a transcription, in relation to humanist translation practice.
  1077.  
  1078. Find this resource:
  1079.  
  1080.  
  1081. Coldiron, A. E. B. “Bibliographic Observations on Grenoble Ms. 873.” In Canon, Period, and the Poetry of Charles of Orleans: Found in Translation. Ann Arbor: University of Michigan Press, 2000.
  1082.  
  1083. Save Citation »Export Citation »E-mail Citation »
  1084.  
  1085. See pp. 191–200. An excellent description and discussion of the manuscript containing a selection of Charles d’Orléans’s French poetry translated into Latin by his Italian secretary, Antonio Astesano, under Charles’s direction and copied by Astesano’s brother Nicolas. Figures 2 to 8 are black-and-white and color plates from the manuscript.
  1086.  
  1087. Find this resource:
  1088.  
  1089.  
  1090. Carpentras, Bibliothèque Inguimbertine MS 375 (M)
  1091.  
  1092. The Carpentras manuscript was prepared in ca. 1456 for Charles’s duchess, Marie de Clèves, herself something of a poet. It was copied from the poet’s own manuscript (f. fr. 25458) but differs from it in some intriguing ways. Because it seems to copy its source meticulously, it allows us to glimpse the state of the poet’s manuscript at that date. The manuscript has often been mentioned in print but no thorough study of it yet exists. Taylor 2007 focuses on changes made to her husband’s collection and the reasons for them. It is concerned with the manuscript as evidence of the dynamics of the anthology, and thus with the poems Marie’s copyist adds to the original corpus.
  1093.  
  1094. Taylor, Jane H. M. The Making of Poetry: Late-Medieval French Poetic Anthologies. Texts and Transitions 1. Turnhout, Belgium: Brepols, 2007.
  1095.  
  1096. Save Citation »Export Citation »E-mail Citation »
  1097.  
  1098. See pp. 147–163. Concerned with the manuscript as evidence of the dynamics of the anthology and thus with the poems Marie’s copyist adds to the original corpus.
  1099.  
  1100. Find this resource:
  1101.  
  1102.  
  1103. London, British Library MS Royal 16 F II (C)
  1104.  
  1105. This manuscript was once thought to have been produced ca. 1500 for Henry VII, but Backhouse 1987 discerns that a large part of it must be older. Backhouse 2000 takes up “the only medieval manuscript copy of [Charles’s] work to have been supplied with major illustrations” (p. 157). Bossy 2013 discusses the manuscript as a mirror for princes. For the contents of the manuscript, see London, British Library MS Royal 16 F II (C).
  1106.  
  1107. Backhouse, Janet. “Founders of the Royal Library: Edward IV and Henry VII as Collectors of Illuminated Manuscripts.” In England in the Fifteenth Century: Proceedings of the 1986 Harlaxton Symposium. Edited by Daniel Williams, 23–41. Woodbridge, UK: Boydell, 1987.
  1108.  
  1109. Save Citation »Export Citation »E-mail Citation »
  1110.  
  1111. See especially pp. 36–39. Points out that the decoration represents “two distinct campaigns, probably separated by up to fifteen years.” The manuscript was originally made for Edward IV but is not consistent with the style of most of Edward IV’s books. Argues persuasively that much of the manuscript was copied in Calais. Description and digital facsimile from the British Library available on online.
  1112.  
  1113. Find this resource:
  1114.  
  1115.  
  1116. Backhouse, Janet. “Charles of Orléans Illuminated.” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 157–163. Woodbridge, UK: D. S. Brewer, 2000.
  1117.  
  1118. Save Citation »Export Citation »E-mail Citation »
  1119.  
  1120. Points out that the text of Charles’s poems takes up more than half the manuscript (more than 160 poems) and is related to three of the six full-page illuminations. The poems are copied at the beginning of the manuscript by one scribe. Analyzes the presentation of coats-of-arms and the subjects of the miniatures. Suggests Calais as a possible place of production.
  1121.  
  1122. Find this resource:
  1123.  
  1124.  
  1125. Bossy, Michel-André. “Charles d’Orléans and the Wars of the Roses: Yorkist and Tudor Implications of British Library MS Royal 16 F II.” In Shaping Courtliness in Medieval France: Essays in Honor of Matilda Tomaryn Bruckner. Edited by Daniel E. O’Sullivan and Laurie Shepard, 61–80. Woodbridge, UK: Boydell and Brewer, 2013.
  1126.  
  1127. Save Citation »Export Citation »E-mail Citation »
  1128.  
  1129. Cites historical parallels (found in the decoration). Useful, with ample bibliography.
  1130.  
  1131. Find this resource:
  1132.  
  1133.  
  1134. London, British Library MS Lansdowne 380 (L)
  1135.  
  1136. An apparently miscellaneous collection that includes moral, pious, and medical texts as well as the lyrics for which it is generally known. Probably made in England for a woman in the second half of the 15th century (?1460s). Contains nearly the entire corpus of French work the poet wrote while in England (twenty-two ballades are unaccountably absent). The manuscript finds a place in David Fallows’s Catalogue of Polyphonic Songs, 1415–1480 (Fallows 1999, cited under Research Tools: French) because twenty-eight of fifty-nine of the lyrics in the manuscript (none from Charles’s hand) are “known to have had musical settings” (p. 22), which suggests, yet again, a possible association of Charles’s lyrics with music. Sewright 2009 determines that “Lans 380 was written as a kind of catechetical and cultural ‘textbook’ for the use of a young, unmarried woman of the merchant-gentry class” (p. 673).
  1137.  
  1138. Sewright, Kathleen. “An Introduction to British Library MS Lansdowne 380.” Notes: Quarterly Journal of the Music Library Association 65 (2009): 633–729.
  1139.  
  1140. DOI: 10.1353/not.0.0179Save Citation »Export Citation »E-mail Citation »
  1141.  
  1142. Contains an extensive introduction, a description of the manuscript, and a complete catalogue of the contents and table of first lines, including well over a hundred by Charles d’Orléans. Notes that the collection of Charles’s French verse has been “cleansed” of any trace of French-English politics and suggests that all the lyrics may once have been supplied with music (p. 662). Indicates musical settings where applicable. Associates the manuscript with the Rohan chansonnier, with which it shares twenty-eight texts.
  1143.  
  1144. Find this resource:
  1145.  
  1146.  
  1147. Manuscript Anthologies
  1148.  
  1149. Charles’s poetry circulated not only in manuscripts specifically dedicated to his own verse but also, and more widely, in anthology manuscripts deriving from particular coteries attached to other courts. In these manuscripts are found selections of poems by the duke and his associates, along with poems often written by those associates but not included in Charles’s own manuscript; other poets, outside Charles’s circle, have also picked up themes of his (such as En la forest de longue attente) and composed additional verses. To read only the manuscripts specifically devoted to Charles is to misunderstand the circulation of lyric poetry in the late Middle Ages. Mühlethaler 1998 provides a model for analyzing the travels of a lyric poem. Taylor 2007 is devoted to the study of the dynamics of some late-medieval and early Renaissance poetic anthologies. In the author’s introduction, Sewright 2008 discusses the role of and structuring of anthologies and includes mini-biographies of the known poets represented in her manuscript. Ouy 2010 shows that in England, Charles and his brother Jean actively sought to create manuscript anthologies especially of spiritual works. Armstrong 2012 (cited under 15th-Century Poetics: Background) shows how the essentially collaborative or competitive poetics of the 15th and 16th centuries is made manifest in manuscript anthologies.
  1150.  
  1151. Mühlethaler, Jean-Claude. “‘Gardez vous bien de ce Fauveau!’: co-textualisation et symbolique animale dans un rondeau de Pierre d’Anché.” Reinardus 11 (1998): 131–148.
  1152.  
  1153. DOI: 10.1075/rein.11.10muhSave Citation »Export Citation »E-mail Citation »
  1154.  
  1155. Takes just one rondeau, by Pierre d’Anché, from Charles’s personal manuscript and shows how its meaning shifts according to the manuscript or early-printed context in which it is placed.
  1156.  
  1157. Find this resource:
  1158.  
  1159.  
  1160. Ouy, Gilbert. “Deux frères à l’œuvre: Charles d’Orléans et Jean d’Angoulême compositeurs de recueils.” In Le recueil au Moyen Âge: la fin du Moyen Âge. Edited by Tania Van Hemelryck and Stefania Marzano, 233–251. Texte, Codex & Contexte 9. Turnhout, Belgium: Brepols, 2010.
  1161.  
  1162. Save Citation »Export Citation »E-mail Citation »
  1163.  
  1164. Draws attention, invaluably, to the range of anthologies among the brothers’ Latin books (list, note 5).
  1165.  
  1166. Find this resource:
  1167.  
  1168.  
  1169. Sewright, Kathleen Frances. “Poetic Anthologies of Fifteenth-Century France and Their Relationship to Collections of the French secular polyphonic chanson.” PhD diss., University of North Carolina at Chapel Hill, 2008.
  1170.  
  1171. Save Citation »Export Citation »E-mail Citation »
  1172.  
  1173. Impressive unpublished thesis, principally devoted to the chanson and hence concerned specifically with the chansonnier; examines the Rohan chansonnier and BnF f. fr. 1719 as well as the “Jardin de Plaisance” and BL MS Lansdowne 380. Downloadable at the Carolina Digital Repository.
  1174.  
  1175. Find this resource:
  1176.  
  1177.  
  1178. Taylor, Jane H. M. The Making of Poetry: Late Medieval French Poetic Anthologies. Turnhout, Belgium: Brepols, 2007.
  1179.  
  1180. Save Citation »Export Citation »E-mail Citation »
  1181.  
  1182. Studies the ways in which some late-medieval and early Renaissance poetic anthologies allow an understanding of the socio-cultural role of lyric composition in the 15th century court. With eight plates from f. fr. 25458.
  1183.  
  1184. Find this resource:
  1185.  
  1186.  
  1187. Paris, Bibliothèque nationale de France MS f. fr. 9223 (R)
  1188.  
  1189. Contains eleven of Charles’s own rondeaux and a number of the poems by other hands that appear in his personal manuscript. It also has a number of poems on themes familiar from Charles’s own manuscript but not included there and perhaps composed subsequently and independently. Raynaud 1889 provides the only modern edition of the manuscript, with notes. Champion 1922 updates Raynaud’s work based on newer evidence. Taylor 2007 (cited under Manuscript Anthologies) focuses on this and other manuscripts as “coterie” volumes.
  1190.  
  1191. Champion, Pierre. “Remarques sur un recueil de poésies du milieu du XVe siècle (B.N. f. fr. 9223).” Romania 48 (1922): 106–114.
  1192.  
  1193. Save Citation »Export Citation »E-mail Citation »
  1194.  
  1195. Corrects some of the identifications proposed by Raynaud 1889.
  1196.  
  1197. Find this resource:
  1198.  
  1199.  
  1200. Raynaud, Gaston, ed. Rondeaux et autres poésies du XVe siècle, publiés d’après le manuscrit de la Bibliothèque nationale. Société des Anciens Textes Français 30. Paris: Firmin Didot, 1889.
  1201.  
  1202. Save Citation »Export Citation »E-mail Citation »
  1203.  
  1204. Raynaud’s work is now to some extent superseded by Inglis 1985 (cited under Paris, Bibliothèque nationale de France MS nouv. acq. fr. 15771), identifying the majority of the poets. Reprinted in 1968 (New York: Johnson Reprint).
  1205.  
  1206. Find this resource:
  1207.  
  1208.  
  1209. Paris, Bibliothèque nationale de France MS f. fr. 1719 (S)
  1210.  
  1211. Miscellaneous manuscript, carelessly produced, including nine poems of Charles’s, along with a number by the associates who had contributed to Charles’s own manuscript, including some by those associates not included in f. fr. 1719. Féry-Hue 1990–1991 edits the poems not already edited by Marcel Schwob, including those by Charles d’Orléans.
  1212.  
  1213. Féry-Hue, Françoise, ed. Special Issue: Au grey d’amours: pieces inédites du manuscrit Paris, Bibl. nat. f. fr. 1719. Le Moyen français 27–28 (1990–1991).
  1214.  
  1215. Save Citation »Export Citation »E-mail Citation »
  1216.  
  1217. Marcel Schwob’s Le Parnasse satyrique du quinzième siècle (Paris: Welter, 1905), gives only the more comic or obscene pieces (and hence not Charles’s). Féry-Hue’s edition includes an invaluable catalogue of all poems in the manuscript, cross-referenced to all other manuscript, early-printed, and modern-edited sources. She also provides an index of first lines and a glossary and table of proper names.
  1218.  
  1219. Find this resource:
  1220.  
  1221.  
  1222. Paris, Bibliothèque nationale de France MS nouv. acq. fr. 15771
  1223.  
  1224. Miscellaneous manuscript containing five of Charles’s poems, with a large number by the associates whose work appears in his own manuscript; also contains additional poems by the same associates as well as a welter of other ballades and rondeaux from other hands. Inglis 1985 is the only modern edition of the manuscript. Angrémy 1974 focuses on the verses by one “Blosseville.” Taylor 2007 (cited under Manuscript Anthologies) focuses on this and other manuscripts as “coterie” volumes, which allow glimpses of social relationships.
  1225.  
  1226. Angrémy, Anne. “Un nouveau recueil de poésies françaises du XVe siècle: le ms. B. N. nouv. acq. fr. 15771.” Romania 95 (1974): 3–53.
  1227.  
  1228. Save Citation »Export Citation »E-mail Citation »
  1229.  
  1230. Suggests that this anthology seems particularly intended to preserve verses by the “Blosseville” who figures large in Charles’s personal manuscript, f. fr. 25458.
  1231.  
  1232. Find this resource:
  1233.  
  1234.  
  1235. Inglis, Barbara L. S., ed. Le manuscrit B.N. nouv. acq. fr. 15771: une nouvelle collection de poésies lyriques et courtoises du XVe siècle. Geneva, Switzerland: Droz, 1985.
  1236.  
  1237. Save Citation »Export Citation »E-mail Citation »
  1238.  
  1239. Closely related to f. fr. 9223. Inglis suggests that the collection records poems from a group of French and Breton nobles attached to the French court.
  1240.  
  1241. Find this resource:
  1242.  
  1243.  
  1244. Berlin, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett 78.B.17 (olim 674)
  1245.  
  1246. A small manuscript containing some 663 miscellaneous lyrics, principally rondeaux and chansons. Löpelmann 1923 is the only modern edition of the manuscript.
  1247.  
  1248. Löpelmann, Martin. Chansonnier du Cardinal de Rohan: Die Liederhandschrift des Cardinals de Rohan (XV. Hahrh.): Nach der Berliner Hs. Hamilton 674. Gesellschaft für romanische Literatur 44. Göttingen, Germany: Die Gesellschaft, 1923.
  1249.  
  1250. Save Citation »Export Citation »E-mail Citation »
  1251.  
  1252. Produced for Louis Malet de Graville, in around 1470, it includes, anonymously, fourteen of Charles’s chansons.
  1253.  
  1254. Find this resource:
  1255.  
  1256.  
  1257. Early Printed Books in France, to 1600
  1258.  
  1259. Société des Anciens Textes Français is a remarkable collection, the first printed anthology, of late-medieval (early 16th century) courtly narratives and lyric verse. Arthur Piaget was the first to identify Charles’s poems in this collection (Romania 20, 1892, pp. 580–596). In the authors’ facsimile of it, Société des Anciens Textes Français identify Charles’s poems and others by his courtiers and associates. La Chasse et le départ d’amour 1509 redeploys many of Charles’s lyrics—though without acknowledgment, as Picot and Piaget 1893 realizes. Le Triumphe de l’Amant vert 1535 incorporates twenty-five of Charles’s lyrics into a rather charming story framework. Mühlethaler 2000 discusses the metaphor of “prison”; Mühlethaler 2002 discusses Vérard’s ordering of his material; Mühlethaler 2007 is an excellent article exploring the transition from manuscript to print. Armstrong 2007 and Taylor 2009 consider the borrowing of Charles’s verse, anonymously, to contribute to 16th-century court poetry. (See also Taylor 2007, pp. 229–291, cited under Manuscript Anthologies.)
  1260.  
  1261. Armstrong, Adrian. “Is This an Ex-Parrot? The Printed Afterlife of Jean Lemaire de Belges’ Epîtres de l’Amant Vert.” Journal de la Renaissance 5 (2007): 323–336.
  1262.  
  1263. DOI: 10.1484/J.JR.2.302509Save Citation »Export Citation »E-mail Citation »
  1264.  
  1265. Stresses the importance of the economics of printing for our understanding of Renaissance anthologies and collections and draws attention in particular to textual materiality.
  1266.  
  1267. Find this resource:
  1268.  
  1269.  
  1270. La Chasse et le départ d’amour faict et composé par le reverend père en Dieu Octovien de Sainct Gelais evesque d’Angoulesme et par noble homme Blaise d’Auriol bachelier en chascun droit demourant a Thoulouze. Paris: Antoine Vérard, 1509.
  1271.  
  1272. Save Citation »Export Citation »E-mail Citation »
  1273.  
  1274. Contains 62 ballades and 191 rondeaux of Charles’s, presented as though they were Saint Gelais’s; first major publication of Charles’s poems. The modern edition (Mary Beth Winn, ed., La Chasse d’amours, poème publié en 1509 attribué à Octovien de Saint-Gelais. Geneva, Switzerland: Droz, 1984) focuses on one of the framing poems rather than the lyrics: indispensible discussion of the poetic context provided by the major publisher of the turn of the 16th century.
  1275.  
  1276. Find this resource:
  1277.  
  1278.  
  1279. Le Jardin de plaisance et fleur de rhetorique nouvellement imprimé à Paris. Paris: Antoine Vérard, 1501.
  1280.  
  1281. Save Citation »Export Citation »E-mail Citation »
  1282.  
  1283. Contains only four of Charles’s rondeaux but remains an indispensible source for study of courtly and lyric context of verse at end of Middle Ages and into the Renaissance. Facsimile edition: E. Droz and A. Piaget, eds, 2 volumes, Société des Anciens Textes Français (Paris: Firmin-Didot and Édouard Champion, 1910–1925).
  1284.  
  1285. Find this resource:
  1286.  
  1287.  
  1288. Mühlethaler, Jean-Claude. “Charles d’Orléans, une prison en port-à-faux: co-texte courtois et ancrage referential: Les ballades de la captivité dans l’édition d’Antoine Vérard (1509).” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 165–182. Woodbridge, UK: D. S. Brewer, 2000.
  1289.  
  1290. Save Citation »Export Citation »E-mail Citation »
  1291.  
  1292. Discusses the lyrics including a “prison” metaphor in Charles’s collection, then their recycling, and especially re-ordering, in the Chasse et départ. Vérard’s editor here makes the poems too concrete and autobiographical, thus losing the subtleties of the metaphor.
  1293.  
  1294. Find this resource:
  1295.  
  1296.  
  1297. Mühlethaler, Jean-Claude. “Ouvertures, clotures, paratexte—réflexions sur le montage d’un recueil: La Chasse et le Départ d’Amours, imprimé en 1509 par Antoine Vérard.” In Seuils de l’œuvre dans le texte médiéval. Edited by Emmanuèle Baumgartner and Laurence Harf-Lancner, 223–247. Paris: Presses de la Sorbonne Nouvelle, 2002.
  1298.  
  1299. Save Citation »Export Citation »E-mail Citation »
  1300.  
  1301. Meticulous article analyzing Vérard’s shaping of this disparate volume and his control of its content. A model for exploring miscellaneity.
  1302.  
  1303. Find this resource:
  1304.  
  1305.  
  1306. Mühlethaler, Jean-Claude. “Inversions, Omissions and the Co-Textual Reorientation of Reading: The Ballades of Charles d’Orléans in Vérard’s La Chasse et le départ d’Amours, 1509.” In Book and Text in France, 1400–1600: Poetry on the Page. Edited by Adrian Armstrong and Malcolm Quainton, 31–48. Aldershot, UK: Ashgate, 2007.
  1307.  
  1308. Save Citation »Export Citation »E-mail Citation »
  1309.  
  1310. Subtle, incisive article discussing the transition from manuscript to print, and the ways in which the meaning of Charles’s lyrics is inflected by new orderings, perhaps deliberately devised to appeal to a potential new readership.
  1311.  
  1312. Find this resource:
  1313.  
  1314.  
  1315. Picot, Emile, and Arthur Piaget. “Une supercherie d’Antoine Vérard.” Romania 22 (1893): 244–260.
  1316.  
  1317. Save Citation »Export Citation »E-mail Citation »
  1318.  
  1319. The authors discuss La Chasse et le Départ as an act of plagiarism (because Vérard does not name Charles); Picot makes Vérard himself responsible rather than Saint-Gelais.
  1320.  
  1321. Find this resource:
  1322.  
  1323.  
  1324. Taylor, Jane H. M. “‘Balades & Rondeaux nouueaux fort ioyeulx’: Joie de vivre in a Renaissance miscellany.” In Joie de vivre in French Literature and Culture: Essays in Honour of Michael Freeman. Edited by Susan Harrow and Timothy Unwin, 51–63. Amsterdam: Rodopi, 2009.
  1325.  
  1326. Save Citation »Export Citation »E-mail Citation »
  1327.  
  1328. Argues that the editorial framing of this collection suggests its social, performative character.
  1329.  
  1330. Find this resource:
  1331.  
  1332.  
  1333. Le Triumphe de l’Amant vert, comprins en deux épistres fort joyeuses, enuoyées à Madame Marguerite Auguste, composées par Jehan le Maire de Belges . . . avec plusieurs missives amoureuses, plusieurs balades et rondeaux nouveaux. Paris: Denis and Simon Janot, 1535.
  1334.  
  1335. Save Citation »Export Citation »E-mail Citation »
  1336.  
  1337. Adds to Jean Lemaire’s Amant Vert poems seven rondeaux by Charles and another eleven by members of his circle. Valuable for the Renaissance reception of Charles’s verse.
  1338.  
  1339. Find this resource:
  1340.  
  1341.  
  1342. Modern edition: Jean Frappier, ed., Les Epîtres de l’amant vert. Textes littéraires français. Geneva, Switzerland: Droz, 1948.
  1343.  
  1344. Save Citation »Export Citation »E-mail Citation »
  1345.  
  1346. Discusses the ways in which the publishers, Denis and Simon Janot, select and order Charles’s poems for a new readership.
  1347.  
  1348. Find this resource:
  1349.  
  1350.  
  1351. Translations into Modern French
  1352.  
  1353. The editors would caution the reader against relying on translations too heavily: the translation of poetry is hazardous, especially when attempts are made to render verse-forms, and none of the translations mentioned is syntactically or semantically problem free. All or part of the duke’s French poetry has been translated into English, Catalan, Italian, Romanian, Hungarian, Dutch, Polish, Serbo-Croat, and Czech, for all of which consult Galderisi 2012 (pp. 35–40, cited under Bibliographies). Gros 1962 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) provides dutiful translations into modern French of a selection of poems chosen from various verse forms. Frieden and Minet-Mahy 2010 translates all of the duke’s poetry except the rondeaux.
  1354.  
  1355. Frieden, Philippe, and Virginie Minet-Mahy, trans. Poèsies. Vol. 1. By Charles d’Orléans. Edited by Pierre Champion. Traductions des classiques du Moyen Âge 88. Paris: Honoré Champion, 2010.
  1356.  
  1357. Save Citation »Export Citation »E-mail Citation »
  1358.  
  1359. Translation into Modern French of the first volume of Champion 1923 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)); intended for the general reader and therefore permitted some license: attempts to represent verse-form and rhythm can distort precise meaning. Translations draw distantly on those given in Mühlethaler 1996 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)). Does not include Charles’s rondeaux, which will, as with Champion, presumably appear in a second volume.
  1360.  
  1361. Find this resource:
  1362.  
  1363.  
  1364. Translations from French into Modern English
  1365.  
  1366. Many translations of individual lyrics are available in print and on the web. In 1929, N. Hardy Wallis, in Anonymous French Verse (Wallis 1929, cited under Modern Anthologies), published a group of French lyrics, with English translations, from London, British Library MS Lansdowne 380 (L) suggesting that among them were lyrics by the duke, but only one (Mon seul plaisir) is actually from his pen. The chanson “Le temps a laissié son manteau” has been translated many times, but Smith 1967 is the best known. Fox and Arn 2010 is the first translation of all the poems in f. fr. 25458.
  1367.  
  1368. Fox, John, and Mary-Jo Arn, eds. Poetry of Charles d’Orléans: A Critical Edition of BnF MS. f. fr. 25458. Charles d’Orléans’s Personal Manuscript. Translated by Barton R. Palmer. Medieval and Renaissance Texts and Studies 383. Arizona Studies in the Middle Ages and the Renaissance 34. Turnhout, Belgium: Brepols, 2010.
  1369.  
  1370. Save Citation »Export Citation »E-mail Citation »
  1371.  
  1372. A highly meritorious effort, although the reader should be wary of some semantic and syntactic misunderstandings. Includes a contribution by Stephanie Kamath.
  1373.  
  1374. Find this resource:
  1375.  
  1376.  
  1377. Smith, William Jay, comp. Poems from France. Drawings by Roger Duvoisin. New York: Thomas Y. Crowell, 1967.
  1378.  
  1379. Save Citation »Export Citation »E-mail Citation »
  1380.  
  1381. Facing-page English translation. Contains translations of three of the duke’s poems: Richard Wilbur, Le temps a laissié son manteau (pp. 18–19); Barbara Howes, En la forest de Longue Actente/Chevauchant (pp. 18–21); and Ezra Pound, Dieu, qu’il la fait bon regarder (pp. 22–23).
  1382.  
  1383. Find this resource:
  1384.  
  1385.  
  1386. Issues of Translation
  1387.  
  1388. Because he composed poetry in three languages and because his poetry was often translated by others, Charles is a subject of great interest to scholars studying translation. Meier 1981 presents an important argument for the temporal priority of the French over the equivalent English poems. Coldiron 1996 presents a well-informed analysis of Charles’s French-English poetics. Coldiron 2001 pairs the comparatist approach to Charles’s poetry and the new historicist approach to it. Coldiron handles translation theory better than anyone working in English on Charles’s poetry. Folkart 2002 is devoted to problems of translation, stressing it as a creative and therefore heuristic process. Focusing on a single lyric, Crane 2003 gives us a useful reanalysis of the Burgundy correspondence in ballades. Hokenson and Munson 2007 summarizes arguments and authors very usefully, concluding that the term “bilingualism” doesn’t entirely represent the richness of Charles’s writings. Butterfield 2012 and Hsy 2013 fruitfully bring recent thinking about translation in the French-English world of the 15th century to bear on Charles’s work: Butterfield borrows the term “roughness” from postcolonial writers to describe some kinds of translation not properly served by the old model of translation in a bilingual culture; Hsy frames Charles’s work with that of many English and Continental poets. See also Huë 2010 (pp. 7–15, cited under Essay Collections Dedicated to Charles d’Orléans), an introductory article in his Lectures.
  1389.  
  1390. Butterfield, Ardis. “Rough Translation: Charles d’Orléans, Lydgate and Hoccleve.” In Rethinking Medieval Translation: Ethics, Politics, Theory. Edited by Emma Campbell and Robert Mills, 204–225. Woodbridge, UK: D. S. Brewer, 2012.
  1391.  
  1392. Save Citation »Export Citation »E-mail Citation »
  1393.  
  1394. Attempting to “think bilingually,” Butterfield illustrates the deep interconnections of French and English vernaculars in England. Posits Charles’s “double vernacularity” and juxtaposes Charles’s English to a Hoccleve translation from French and a Lydgate version of a spring song. (All three writers present in Cambridge, Trinity College MS R.3.20, a plurilingual manuscript.) Terms texts like Harley 682 “incomplete registers of non-literary English” (p. 217).
  1395.  
  1396. Find this resource:
  1397.  
  1398.  
  1399. Coldiron, A. E. B. “Translatio, Translation, and Charles d’Orléans’s Paroled Poetics.” Exemplaria 8 (1996): 169–192.
  1400.  
  1401. DOI: 10.1179/exm.1996.8.1.169Save Citation »Export Citation »E-mail Citation »
  1402.  
  1403. Discusses fidelity of translation, the “social politics of language,” “translatio imperii,” and the “discontinuities” of translation.
  1404.  
  1405. Find this resource:
  1406.  
  1407.  
  1408. Coldiron, A. E. B. “Toward a Comparative New Historicism: Land Tenures and Some Fifteenth-Century Poems.” Comparative Literature 53 (2001): 97–115.
  1409.  
  1410. DOI: 10.1215/-53-2-97Save Citation »Export Citation »E-mail Citation »
  1411.  
  1412. Concerns “the need to join comparatist with historicist methods” (p. 97). Discusses the French, English, and Latin poems of the duke as a “complicated example of cross-cultural literary production” (p. 101). Compares contexts of the exchange of epistolary ballades between Burgundy and Charles, one in the legal-economic tradition, the other in the tradition of love literature. Then turns to the Charles’s Latin and the context of late-medieval “globalization.”
  1413.  
  1414. Find this resource:
  1415.  
  1416.  
  1417. Crane, Susan. “Charles of Orleans: Self-Translation.” In The Theory and Practice of Translation in the Middle Ages: Seventh International Conference on the Theory and Practice of Translation in the Middle Ages. Edited by Rosalynn Voaden, René Tixier, Teresa Sanchez Roura, and Jenny Rebecca Rytting, 169–177. The Medieval Translator 8. Turnhout, Belgium: Brepols, 2003.
  1418.  
  1419. Save Citation »Export Citation »E-mail Citation »
  1420.  
  1421. Compares English Ballade 111 with French Ballade 88 (by Burgundy, B129 in Fox and Arn 2010, cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)). Takes issue with the opinion that, in translating Burgundy’s poem/epistle, Charles disguised a political poem as a love poem. Rather he used “love poetry as a political instrument” (p. 176).
  1422.  
  1423. Find this resource:
  1424.  
  1425.  
  1426. Folkart, Barbara. “The Poem as Unit of Translation: Deriving Poems in English from Apollinaire and Charles d’Orléans.” In Double Vision: Studies in Literary Translation. Edited by Jane H. M. Taylor, 177–201. Durham Modern Languages Series 24. Durham, UK: University of Durham, 2002.
  1427.  
  1428. Save Citation »Export Citation »E-mail Citation »
  1429.  
  1430. Interesting demonstration of the process of translation, using certain of Charles’s rondeaux and Apollinaire’s verses and showing it as a holistic practice needing to account for the poem as a coherent body. Reprinted as “The Poem as Unit of Invention” in Second Finding: A Poetics of Translation (Perspectives on Translation. Ottawa, ON: University of Ottawa Press, 2007, chapter 5).
  1431.  
  1432. Find this resource:
  1433.  
  1434.  
  1435. Hokenson, Jan Walsh, and Marcella Munson. “Vernacular Doubles and Literary Subjectivity: Charles d’Orléans.” In The Bilingual Text: History and Theory of Literary Self-Translation. By Jan Walsh Hokenson and Marcella Munson, 51–64. Manchester, UK: St. Jerome, 2007.
  1436.  
  1437. Save Citation »Export Citation »E-mail Citation »
  1438.  
  1439. Charles is “one of the earliest verifiable examples of a vernacular–vernacular self-translator” (p. 51), but “troubled discussion of his bilingualism accompanied his texts from the moment of their production” (p. 51). Discusses many issues of his bicultural life and work. Marks out the work of A. E. B. Coldiron as the best available analysis of these.
  1440.  
  1441. Find this resource:
  1442.  
  1443.  
  1444. Hsy, Jonathan. Trading Tongues: Merchants, Multilingualism, and Medieval Literature. Interventions: New Studies in Medieval Culture. Columbus: Ohio State University Press, 2013.
  1445.  
  1446. Save Citation »Export Citation »E-mail Citation »
  1447.  
  1448. In “Coda: Contact Literatures, Medieval/Postcolonial” (pp. 194–209), Hsy begins from the “exilic imagination” of Charles d’Orléans, bringing to bear the entire discussion of multilingual issues that precede it (including the work of Chaucer, Gower, Boccaccio, Caxton, Kempe, various London merchants, and many others).
  1449.  
  1450. Find this resource:
  1451.  
  1452.  
  1453. Meier, Hans H. “Middle English Styles in Translation: The Case of Chaucer and Charles.” In So meny people longages and tonges: Philological Essays in Scots and Mediaeval English Presented to Angus McIntosh. Edited by Michael Benskin and M. L. Samuels, 367–376, 413–414. Edinburgh: Middle English Dialect Project, 1981.
  1454.  
  1455. Save Citation »Export Citation »E-mail Citation »
  1456.  
  1457. In his brief treatment of Charles’s translation techniques, Meier demonstrates that the French poetry must be prior to the English, and not the other way around. Closely focuses on a single rondel and situates it in a larger view of Chaucer’s techniques with French and Italian. Insightful and useful.
  1458.  
  1459. Find this resource:
  1460.  
  1461.  
  1462. Modern Anthologies
  1463.  
  1464. Charles’s French poetry has been frequently anthologized and incorporated in anthologies of French poetry in general and medieval French poetry in particular (see Galderisi 2012, pp. 29–34, cited under Bibliographies); it would be impossible and unnecessary to list them all. The following, however, are creative responses to Charles’s verse that might repay exploration. See also Fine Press and Illustrated Collections. The French poet Jean Tardieu (Tardieu 1932), who has written about Charles more than once, is probably the best of the French modernizers. Wilkins 1969 sets Charles in the company of a number of late-medieval predecessors (e.g., Machaut) and contemporaries (e.g., Froissart, Christine de Pizan, Chartier), making comparison of forms easy. Purcell 1973 is a very sound and accessible collection for the undergraduate or interested amateur.
  1465.  
  1466. Purcell, Sally, comp. The Poems of Charles of Orleans. Fyfield Series. Cheadle, UK: Carcanet, 1973.
  1467.  
  1468. Save Citation »Export Citation »E-mail Citation »
  1469.  
  1470. Billed as “the first popular selection of Charles of Orleans’ poems [into English]” (book jacket). Contains a selection of nineteen English lyrics, twenty-six French lyrics, and translations into modern English of sixteen of the French lyrics in various forms. With an introduction that includes a brief biography and family tree, a note on allegory, a comparison of Steele and Champion editions, notes at the foot of the page, and a brief bibliography.
  1471.  
  1472. Find this resource:
  1473.  
  1474.  
  1475. Tardieu, Jean, ed. Choix de rondeaux. La cri de la France. Freiburg, Germany: Egloff, 1932.
  1476.  
  1477. Save Citation »Export Citation »E-mail Citation »
  1478.  
  1479. Selection of rondeaux, lightly modernized by Tardieu (1903–1985), poet, dramatist and artist. Responds poetically to the duke’s work.
  1480.  
  1481. Find this resource:
  1482.  
  1483.  
  1484. Wallis, N. Hardy, ed. and trans. Anonymous French Verse: An Anthology of Fifteenth Century Poems Collected from Manuscripts in the British Library. London: University of London Press, 1929.
  1485.  
  1486. Save Citation »Export Citation »E-mail Citation »
  1487.  
  1488. Though said to contain a number of the duke’s poems edited from BL MS Lansdowne 380, the book contains only one: Mon seul plaisir et ma doulce joye. Three lyrics Wallis claims are Charles’s are said more recently to be anonymous by Sewright 2009 (266n., cited under London, British Library MS Lansdowne 380 (L)): Celle belle vermeille bouche, Dangier a fait une faillie, and Puis que tant voulles estre mien (pp. 379–800).
  1489.  
  1490. Find this resource:
  1491.  
  1492.  
  1493. Wilkins, Nigel, ed. One Hundred Ballades, Rondeaux and Virelais from the Late Middle Ages. Cambridge, UK: Cambridge University Press, 1969.
  1494.  
  1495. Save Citation »Export Citation »E-mail Citation »
  1496.  
  1497. Includes fifteen lyrics by Charles d’Orléans as well as extensive notes on the poetic forms. Some musical examples, glossary, and indices.
  1498.  
  1499. Find this resource:
  1500.  
  1501.  
  1502. Fine Press and Illustrated Collections
  1503.  
  1504. These books “enrich” the reading experience of Charles’s poetry with artwork or illustrations or with fine hand book production. In some cases the visual work is of more importance (and use) than is the text. It is interesting that they cease to appear around the middle of the last century. Charles d’Orléans 1908, which follows Champion’s order, sampling lyrics from successive sections of the manuscript, is enriched by art from an anonymous hand. Charles d’Orléans 1914 is a large book printed in Gothic type without apparatus or even a title page but with a colophon. Charles d’Orléans 1926 contains a collection of ballades, chansons, rondels, and the Songe en complainte (107 lyrics) divided into “Jeunesse,” “En la Prison de Desplaisance,” and “En mes Pays.” Charles d’Orléans 1932 is a selection of chansons, including two in English, based on the Champion 1923 edition (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)), with introduction and glossary by the editor. Charles d’Orléans 1942 contains a selection of forty-seven lyrics, with a tiny glossary and index. Charles d’Orléans 1944, published in Paris, is undoubtedly related to the war effort. Charles d’Orléans 1945 from the press of Cheval Ailé is done up in elaborate Renaissance style. Illustrations and text for Charles d’Orléans 1950 were drawn by Henri Matisse in crayon and then lithographed. Charles d’Orléans 1958 is illustrated by Raoul Dufy. Charles d’Orléans 1975 contains a large selection of the duke’s lyrics (ballades, chançons, caroles, complaintes, rondeaulx) with facing-page Romanian text.
  1505.  
  1506. Charles d’Orléans. Poèmes, ballades, caroles, chansons, complaintes, rondeaux. Edited by Alphonse Séché. Bibliothèque des poètes français et étrangers. Paris: Louis-Michaud, 1908.
  1507.  
  1508. Save Citation »Export Citation »E-mail Citation »
  1509.  
  1510. Artist and engraver unknown. With an etching of the head of a young Charles d’Orléans in a roundel on the cover and above the text on the opening page of the introduction. Frontispiece of the young duke dressed in ermine and seated in a grand chair, his feet on a carpet, holding a pair of gloves in his left hand, his right hand in a fist. See Charles d’Orléans 1926.
  1511.  
  1512. Find this resource:
  1513.  
  1514.  
  1515. Charles d’Orléans. Poésies. Edited by Georges Tournoux, Georges. Leipzig: Kurt Wolff, 1914.
  1516.  
  1517. Save Citation »Export Citation »E-mail Citation »
  1518.  
  1519. Contains the “Retenue d’Amours,” ballades, chansons, Songe en Complainte, La Requeste, and rondeaux; ends with “Deux Chansons de Beaulté”: Au besoing congnoist and Mon seul amy. Unillustrated except for the duke’s (polychrome) coat-of-arms on the vellum wrapper (boards laced to bookblock). Printed on hand-made paper in gothic type, with wide margins. No diacritics or punctuation in the text, except virgules. Three hundred copies printed.
  1520.  
  1521. Find this resource:
  1522.  
  1523.  
  1524. Charles d’Orléans. Poésies de Charles d’Orléans. Edited by Albert Pauphilet. Les chefs-d’œuvre de la poésie française 50. Paris: Le livre français, 1926.
  1525.  
  1526. Save Citation »Export Citation »E-mail Citation »
  1527.  
  1528. Likeness of the poet engraved after a portrait by Pierre Courtois. Contains a re-drawing of the young duke from the image in Séché, perhaps based on a medieval source, the main difference being the duke’s glance to his left, rather than downward. Some headings in red. With preface and brief table of contents. Liberal use is made of elaborate Renaissance-style borders and cartouches. 2800 copies printed.
  1529.  
  1530. Find this resource:
  1531.  
  1532.  
  1533. Charles d’Orléans. Chansons. Blaricum, The Netherlands: Editions “De Waelburgh,” 1932.
  1534.  
  1535. Save Citation »Export Citation »E-mail Citation »
  1536.  
  1537. Introduction and glossary by P. Valkhoff. Frontispiece woodcut of the duke by Fokko Mees after a miniature in the Dutch Royal Library (see Statuts, Ordonnances et Armorial de l’Ordre de la Toison d’Or, cited under Charles as Depicted in Medieval Art and Literature). Cover: the duke’s coat of arms, by B. H. Boissevain: crowned coat-of-arms of Orléans-Visconti from which depends a Porc-Épic, and collar of the toison d’or. Ex libris: a facsimile of Charles’s signature. Three hundred copies printed.
  1538.  
  1539. Find this resource:
  1540.  
  1541.  
  1542. Charles d’Orléans. La fleur des rondeaux de Charles d’Orléans. Complied by Jacques Mégret. Le coffret de Fleurette. Paris: Henri Jonquières, 1942.
  1543.  
  1544. Save Citation »Export Citation »E-mail Citation »
  1545.  
  1546. Dry-point engravings by Hermine David. Forty-seven rondeaux. Six full-page illustrations with elaborate borders in a modern style, produced from hand-colored dry-point engravings by David. Large decorative initials in color and a fine cloth binding, with a parchment paper wrapper. 568 copies printed.
  1547.  
  1548. Find this resource:
  1549.  
  1550.  
  1551. Charles d’Orléans. Complainte de France. Paris: Claude Sézille. 1944.
  1552.  
  1553. Save Citation »Export Citation »E-mail Citation »
  1554.  
  1555. This complainte has been printed on a number of occasions and in various countries as a separate work. One hundred copies printed.
  1556.  
  1557. Find this resource:
  1558.  
  1559.  
  1560. Charles d’Orléans. Ballades, rondels, chansons. Paris: Cheval Ailé, 1945.
  1561.  
  1562. Save Citation »Export Citation »E-mail Citation »
  1563.  
  1564. The editor is unknown. A fine-press volume with frontispiece plus nine woodcuts in late medieval style. Renaissance-style dust wrapper with fleurs-de-lis, printed in black and red. Incipits in red. Sans apparatus. Ch. de Bruycker is identified in the heart-shaped colophon as “le maitre imprimeur.” Three hundred copies printed.
  1565.  
  1566. Find this resource:
  1567.  
  1568.  
  1569. Charles d’Orléans. Ballades, rondeaux et complaintes. Compiled by Jean Frélaut. Paris: Lacourière, 1949.
  1570.  
  1571. Save Citation »Export Citation »E-mail Citation »
  1572.  
  1573. Contains forty-three dry-point original etchings of scenes by Jean Frélaut. 220 copies printed.
  1574.  
  1575. Find this resource:
  1576.  
  1577.  
  1578. Charles d’Orléans. Poèmes de Charles d’Orléans. Handwritten and illustrated by Henri Matisse. Paris: Tériade, 1950.
  1579.  
  1580. Save Citation »Export Citation »E-mail Citation »
  1581.  
  1582. A selection of Charles’s rondeaux and ballades, copied out in crayon in the artist’s hand and charmingly illustrated with leaf-patterns, curlicued frames, fleurs-de-lys, and some sketch portraits; 1,200 copies printed on vellum, with thirty additional presentation copies signed by Matisse. Discussed insightfully by Nathalie Koble in “De l’encre de mélancolie au crayon d’écolier: Charles d’Orléans enluminé par Matisse.” In Être poète au temps de Charles d’Orléans (XVe siècle). Edited by Hélène Basso and Michèle Gally. Avignon, France: Éditions Universitaires d’Avignon, 2012.
  1583.  
  1584. Find this resource:
  1585.  
  1586.  
  1587. Charles d’Orléans. Poésies de Charles d’Orléans. Drawings by Raoul Dufy. Lausanne, France: Mermod, 1958.
  1588.  
  1589. Save Citation »Export Citation »E-mail Citation »
  1590.  
  1591. Contains a selection of sixty-nine rondeaux and ballades taken from Champion 1923 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) and illustrated with six scenes sketched in pen and ink. With table of incipits.
  1592.  
  1593. Find this resource:
  1594.  
  1595.  
  1596. Charles d’Orléans. Poezi: balade, cântece, carole, lamente, rondeluri. Edited and illustrated by Romulus Vulpescu. Bucharest, Romania: Univers, 1975.
  1597.  
  1598. Save Citation »Export Citation »E-mail Citation »
  1599.  
  1600. An extravagantly decorated, oversized, bilingual (French-Romanian), soft-cover edition. Color reproductions on inside covers, many woodcuts, printed in blue and black. Rich in ancillary material (pp. 146–250), including biographies of twenty-five notables in the history of publications by and about the duke followed by an extensive colophon.
  1601.  
  1602. Find this resource:
  1603.  
  1604.  
  1605. “Autobiography” and the “I”
  1606.  
  1607. In understandable reaction to those who looked for biography in poetry—as to a degree with Champion 1911 (cited under Biography), for instance—critics of the 1970s, in particular, influenced by structuralist approaches, preferred to see lyric poetry as consisting of a grid of textual coordinates only, allowing no access to an individual subjectivity. More recent critics, in reaction again, while rejecting the possibility of reading a life in the verse, would nevertheless accept that poetry can show us a particular and individual “I” grappling with the contingences of an external, social world. Planche 1975 discusses the construction and identity of the poet’s “self.” Cholakian 1984 is an interesting attempt at a psychopoetic analysis of Charles’s poetry. Zumthor 1975 is an important article devoted to a consideration of the poetic “I,” and to the distinction between poet and persona. Classen 1991 deals in part with Charles, but the whole book is a comprehensive and systematic exploration of the lyric “I.” Attwood 1998 does not actually deal with Charles, but the author’s work is important to ensure understanding of how the “I” is conceived in late-medieval verse. Spearing 2005 investigates how subjectivity is encoded in the texts of a wide variety of medieval texts. The full effects of Spearing’s work have yet to be seen in the scholarship: he mounts a major offensive against the idea of the persona or narrator.
  1608.  
  1609. Attwood, Catherine. Dynamic Dichotomy: The Poetic “I” in Fourteenth- and Fifteenth-Century Poetry. Faux Titre 149. Amsterdam: Rodopi, 1998.
  1610.  
  1611. Save Citation »Export Citation »E-mail Citation »
  1612.  
  1613. Close textual analysis. Carefully distinguishes the literary self and the first-person speaker. Deals also with Machaut, Deschamps, and Christine de Pizan.
  1614.  
  1615. Find this resource:
  1616.  
  1617.  
  1618. Cholakian, Rouben Charles. Deflection/Reflection in the Lyric Poetry of Charles d’Orléans: A Psychosomatic Reading. Potomac, MD: Scripta Humanistica 1984.
  1619.  
  1620. Save Citation »Export Citation »E-mail Citation »
  1621.  
  1622. Based on a careful, and acute analysis of the poems themselves. Perhaps not altogether successful but pioneering and thought-provoking.
  1623.  
  1624. Find this resource:
  1625.  
  1626.  
  1627. Classen, Albrecht. Die autobiographische Lyrik des europäischen Spätmittelalters. Amsterdamer Publikationen zur Sprache und Literatur. Amsterdam: Rodopi, 1991.
  1628.  
  1629. Save Citation »Export Citation »E-mail Citation »
  1630.  
  1631. See pp. 269–345. Sees Charles’s lyrics as the high point of the autobiographical lyric; stresses the subtlety of his different “selves”: je, coeur, and their interplay with the landscapes of allegory; considers Charles more self-revealing and autobiographical than allegory might promise.
  1632.  
  1633. Find this resource:
  1634.  
  1635.  
  1636. Planche, Alice. Charles d’Orléans ou la recherche d’un langage. Bibliothèque du XVème siècle 38. Paris: Honoré Champion, 1975.
  1637.  
  1638. Save Citation »Export Citation »E-mail Citation »
  1639.  
  1640. See pp. 675–703. Stresses that the poet’s persona appears authentic but is actually chimeric. Sees Charles’s verse as a way of deflecting and diluting all unhappiness. Tends to stray into reading the poetry as necessarily reflecting the “true” self.
  1641.  
  1642. Find this resource:
  1643.  
  1644.  
  1645. Spearing, A. C. Textual Subjectivity: The Encoding of Subjectivity in Medieval Narratives and Lyrics. Oxford: Oxford University Press, 2005.
  1646.  
  1647. DOI: 10.1093/acprof:oso/9780198187240.001.0001Save Citation »Export Citation »E-mail Citation »
  1648.  
  1649. A major work (begun in Spearing 2000, cited under Dreams) that focuses on the relationship between textuality and subjectivity (which is shown to be fragmented and unstable) and the importance of absence to the epistolary work, “which hovers between drama and miscellany” (p. 247). See chapters 6 and 7: “Lyrics” and “Epistolary Poems” (174–247), but the entire work is deeply relevant to Charles’s poetry.
  1650.  
  1651. Find this resource:
  1652.  
  1653.  
  1654. Zumthor, Paul. “Le ‘je’ de la chanson et le moi du poète.” In Langue, texte, énigme. By Paul Zumthor, 181–196. Paris: Seuil, 1975.
  1655.  
  1656. Save Citation »Export Citation »E-mail Citation »
  1657.  
  1658. This is the starting-point for most French critics addressing the question, although discussed primarily through the work of the 13th-century poet Rutebeuf.
  1659.  
  1660. Find this resource:
  1661.  
  1662.  
  1663. “Social,” Collaborative Poetry
  1664.  
  1665. As early as 1988, Poirion 1965 (cited under 15th-Century Poetics: Background) had discussed late-medieval lyric as a collective phenomenon; Poirion develops this further in Jauss 1988 (cited under 15th-Century Poetics: Background), which addresses social poetry, the ballade, and the rondeau in the late Middle Ages. Cerquiglini 1988 (cited under Rondeau) speaks of the rondeau in particular as a pratique sociale, a game indulged especially in court circles. It is clear from surviving accounts, fictional and other, that courtly societies promoted poetry and expected their members to participate. Charles’s manuscript, BnF f. fr. 25458, because of its hybrid nature, is regarded universally as prime, first-hand evidence for the collaborative mechanisms operating in such societies in the 15th century. Poirion 1965, with a rich overview of the functioning of court poetry, is the indispensible starting-point. Consenstein 2002 discusses Charles’s poetry within the framework of the ludic. Galderisi 2004 is a dense, important, and highly informative article, based on wide reading in linguistics. Taylor 2007b overall addresses the manuscript and incunable context for the late-medieval lyric, seeing poetic skill and craftsmanship as assets in the complex socio-cultural world of the late-medieval court. Taylor 2007a explores Charles’s manuscript, among others, as “carriers of relationships.”
  1666.  
  1667. Consenstein, Peter. “Games, the Oulipian Sonnet, and the Court of Charles d’Orléans.” In Literary Memory, Consciousness, and the Group Oulipo. By Peter Consenstein, 137–163. Faux titre 220. Amsterdam: Rodopi, 2002.
  1668.  
  1669. Save Citation »Export Citation »E-mail Citation »
  1670.  
  1671. Discusses the interplay of freedom and constraint; the duke’s coterie and the communal game; metrics, mathematics, and rhythm; and poetry as a way of knowing oneself.
  1672.  
  1673. Find this resource:
  1674.  
  1675.  
  1676. Galderisi, Claudio. “Les incipits des poèmes de concours auréliens: du refrain aux marges locutionnelles.” In “Pour acquerir honneur et pris”: mélanges de Moyen Français offerts à Giuseppe Di Stefano. Edited by Maria Colombo Timelli and Claudio Galderisi, 527–538. Montreal: CERES, 2004.
  1677.  
  1678. Save Citation »Export Citation »E-mail Citation »
  1679.  
  1680. Looks at the role of first-line refrains in generating rondeaux, especially in the case of poetic “competitions.” Shows, systematically, how the refrain and its metaphor (forest, fontaine) governs the semantic field and the syntax of the lyric and establishes useful typologies for refrains of this kind.
  1681.  
  1682. Find this resource:
  1683.  
  1684.  
  1685. Taylor, Jane H. M. “Courtly Gatherings and Poetic Games: ‘Coterie’ Anthologies in the Late Middle Ages in France.” In Book and Text in France, 1400–1600. Edited by Adrian Armstrong and Malcolm Quainton, 13–29. Aldershot, UK: Ashgate, 2007a.
  1686.  
  1687. Save Citation »Export Citation »E-mail Citation »
  1688.  
  1689. Provides evidence of the sociology of poetry at aristocratic courts in the late Middle Ages.
  1690.  
  1691. Find this resource:
  1692.  
  1693.  
  1694. Taylor, Jane H. M. The Making of Poetry: Late-Medieval French Poetic Anthologies. Texts and Transitions 1. Turnhout, Belgium: Brepols, 2007b.
  1695.  
  1696. Save Citation »Export Citation »E-mail Citation »
  1697.  
  1698. See pp. 83–212. Chapter 2 (83–145, with plates) deals with f. fr. 25458 and explores the relations between Charles and his courtiers and friends.
  1699.  
  1700. Find this resource:
  1701.  
  1702.  
  1703. Anthologization
  1704.  
  1705. Where most poets of the earlier French Middle Ages seem content to find their verses preserved adventitiously in miscellaneous manuscripts, the poets of the later Middle Ages take pains to impose permanence and order by supervising the preparation of particular manuscript “complete works” or by constructing around them a compelling autobiographical or other framework. Cerquiglini 1987 and Altmann 1996 look at the elaboration of anthology manuscripts, especially author-manuscripts, in the later Middle Ages in general. Fritz 2011 deals exclusively with the first ballade section (as in BnF f. fr. 15458), from the Retenue to the Songe; Gros 2011 and Lucken 2011 consider the structuring of Charles’s anthology of ballades. Mühlethaler 2012 deals with the tension between form and meaning in Charles’s and other anthology manuscripts.
  1706.  
  1707. Altmann, Barbara K. “Last Words: Reflections on a ‘Lay Mortel’ and the Poetics of Lyric Sequences.” French Studies 50 (1996): 385–399.
  1708.  
  1709. Save Citation »Export Citation »E-mail Citation »
  1710.  
  1711. Focuses largely on lyric sequences in the poetry of Christine de Pizan but outlines a strategy of cross-reading that is highly relevant to Charles’s personal manuscript.
  1712.  
  1713. Find this resource:
  1714.  
  1715.  
  1716. Cerquiglini, Jacqueline. “Quand la voix s’est tue: la mise en recueil de la poésie lyrique aux XIVe et XVe siècles.” In La Présentation du livre: Actes du colloque de Paris X-Nanterre (4, 5, 6 décembre 1985). Edited by Emmanuèle Baumgartner and Nicole Boulestreau, 313–327. Nanterre, France: Université de Paris X-Nanterre, 1987.
  1717.  
  1718. Save Citation »Export Citation »E-mail Citation »
  1719.  
  1720. Very perceptive and instructive article setting f. fr. 25458 in the aesthetic and codicological context of the collections and anthologies seemingly orchestrated by poets of the late Middle Ages, including also Machaut and Villon.
  1721.  
  1722. Find this resource:
  1723.  
  1724.  
  1725. Fritz, Jean-Marie. “Lettres patentes, quittance, livre, roman: jeux d’écriture dans la première partie de l’œuvre de Charles d’Orléans.” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 121–135.
  1726.  
  1727. Save Citation »Export Citation »E-mail Citation »
  1728.  
  1729. Focuses especially on the poet’s consciousness of the material text, as shown especially in the fictions juridiques that close the section and on the tension between the spoken and the written. Careful, thoughtful piece, with interesting things to say also on the refrain.
  1730.  
  1731. Find this resource:
  1732.  
  1733.  
  1734. Gros, Gérard. “Les ballades du prince après le Livre d’Amour: un entre-deux poétique.” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 53–69.
  1735.  
  1736. Save Citation »Export Citation »E-mail Citation »
  1737.  
  1738. Focuses especially on the earliest ballades copied into f. fr. 25458. Is particularly concerned with intratextual echoes and relations.
  1739.  
  1740. Find this resource:
  1741.  
  1742.  
  1743. Lucken, Christopher. “Le Roman de plaisant penser de Charles d’Orléans ou la mise en poésie des illusions.” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 19–41.
  1744.  
  1745. Save Citation »Export Citation »E-mail Citation »
  1746.  
  1747. Substantial paper considering the relationship between Charles’s livre qu’il fit en Inglant and the final structure it assumes when the ballades are incorporated into f. fr. 25458. Valuable analysis of the narrativity of the ballades.
  1748.  
  1749. Find this resource:
  1750.  
  1751.  
  1752. Mühlethaler, Jean-Claude. “Ouvrir le recueil, prendre la parole: postures lyriques entre effusion affective et maîtrise de soi chez Charles d’Orléans.” In Être poète au temps de Charles d’Orléans (XVe siècle). Edited by Hélène Basso and Michèle Gally, 18–44. Collection En-jeux. Avignon, France: Éditions Universitaires d’Avignon, 2012.
  1753.  
  1754. Save Citation »Export Citation »E-mail Citation »
  1755.  
  1756. Typically thorough and perceptive article placing Charles’s lyric poetry and the emotionality it evinces in the context of other late-medieval French poets such as Christine de Pizan. Is particularly interested in the tension between personal emotion and prosodic control.
  1757.  
  1758. Find this resource:
  1759.  
  1760.  
  1761. Intertextuality
  1762.  
  1763. The art of poetry in the later Middle Ages is essentially interactive: poets respond, cite, quote, and derive from their fellow writers. None of the critics dealing with Allegory can ignore the Roman de la Rose in the literary background. Charles had a substantial library and a comfortable knowledge of two languages other than French: unsurprisingly, his lyrics start from a network of literary reference. Mühlethaler 1996 presents a substantial article exploring the poet’s je, as defined by its place in a mesh of intertextual voices (biblical, classical, literary). Minet-Mahy 2001 is interesting not just because of the topic, but because the author shows very clearly how Charles’s metaphors derive from and build on traditional medieval systems of reference—biblical, classical, and literary—and which are current in Charles’s different circles. Bouchet 2008 examines the concept of joie in the work of Charles and others.
  1764.  
  1765. Bouchet, Florence. “La joie dans la peine au XVe siècle: du paradoxe à la sublimation.” Le Moyen français 62 (2008): 7–26.
  1766.  
  1767. DOI: 10.1484/J.LMFR.1.100140Save Citation »Export Citation »E-mail Citation »
  1768.  
  1769. Shows how the oxymoron joy/pain derives not only from classical and biblical sources but also from contemporaries, and demonstrates its connection with mélancolie.
  1770.  
  1771. Find this resource:
  1772.  
  1773.  
  1774. Minet-Mahy, Virginie. “Charles d’Orléans et la tradition des métaphores maritimes.” Studi Francesi 135.3 (2001): 473–497.
  1775.  
  1776. Save Citation »Export Citation »E-mail Citation »
  1777.  
  1778. Has a broad field of reference, useful in showing just how dependent Charles is on existing traditions specifically on maritime matters and also how deft he is in manipulating metaphor.
  1779.  
  1780. Find this resource:
  1781.  
  1782.  
  1783. Mühlethaler, Jean-Claude. “J’ayme qui m’ayme: intertextualité, polyphonie et subjectivité dans les rondeaux de Charles d’Orléans.” Romania 114 (1996): 413–444.
  1784.  
  1785. Save Citation »Export Citation »E-mail Citation »
  1786.  
  1787. Shows how other poets can adopt an existing refrain and use it as a cue to very different thematic development. A model of how close reading of a single poem can illuminate the procedures of an entire oeuvre.
  1788.  
  1789. Find this resource:
  1790.  
  1791.  
  1792. Allegory
  1793.  
  1794. Central to any discussion of Charles’s poetry are questions of metaphor, abstraction, and allegory. Champion 1923 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) invites debate by systematically capitalizing abstract nouns, thus treating them all as personifications (the absence of definite or indefinite articles before abstractions in Middle French makes the distinction otherwise difficult). Using the poetry to illuminate Charles’s poetic and spiritual progression, Champion is tempted to identify the abstractions with historical reality. More recent editions have been considerably more sparing.
  1795.  
  1796. Charles and Allegorization
  1797.  
  1798. Poirion 1965 (pp. 466–473 and passim, cited under 15th-Century Poetics: Background), and Poirion 1967 (cited under Language) consider the widespread use of allegory in poetic circles at Blois and differentiate Charles’s more concrete, visualized figures from the abstractions of his contemporaries; he considers that it serves as a means of self-knowledge and thus that Charles’s personal and spiritual progress can be read via the development of his allegorical dramatis personae—something that more recent critical accounts such as Zumthor 1969 and Sturm-Maddox 1980 find critically dubious. Zumthor 1969 provides tools to discuss Charles in his poetic context. Poirion 1970 and Strubel 2011 discuss allegorical figures across the whole spectrum of late-medieval poetry, deriving the initial impulse from the Roman de la Rose. Planche 1975 is a monumental study of Charles’s language, but with particular and lengthy attention to allegory, which Planche sees as constituting a théâtre symbolique, a mode of self-projection and hence self-exploration and highly personal. Sturm-Maddox 1980 presents a precise summary of the tangled debate, to 1980 or so, on Charles as allegorist. Strubel 1990 presents a nice study of what the author calls Charles’s art de l’allégorie miniature (see also Armand Strubel, Grant senefiance a. Paris: Champion, 2002). In an important article, Galderisi 1996 insists that “allegory” is too loose a term to account for Charles’s treatment of abstracta agentia.
  1799.  
  1800. Galderisi, Claudio. “Personnifications, réifications et métaphores créatives dans le système rhétorique de Charles d’Orléans.” Romania 114 (1996): 385–412.
  1801.  
  1802. Save Citation »Export Citation »E-mail Citation »
  1803.  
  1804. Charles’s allegory is a system regulated by semantic and rhetorical tropes. Based, fruitfully, on recent work of linguisticians and rhetoricians exploring the functioning of metaphor.
  1805.  
  1806. Find this resource:
  1807.  
  1808.  
  1809. Planche, Alice. Charles d’Orléans ou la recherche d’un langage. Bibliothèque du XVème siècle 38. Paris: Honoré Champion, 1975.
  1810.  
  1811. Save Citation »Export Citation »E-mail Citation »
  1812.  
  1813. Refutes any suggestion that, in resorting to allegory, Charles is simply composing in a fashionable mode. His allegory is rather a way of apprehending a complex and otherwise indefinable poetic je, a new reality: a way of transferring Charles’s pensée to paper. Insists on the mutability of the personifications: they do not remain stable across Charles’s oeuvre but rather mutate as, progressively, his moi develops.
  1814.  
  1815. Find this resource:
  1816.  
  1817.  
  1818. Poirion, Daniel. “La nef d’espérance: symbole et allégorie chez Charles d’Orléans.” In Mélanges de langue et de littérature du Moyen Âge et de la Renaissance offerts à Jean Frappier, professeur à la Sorbonne, par ses collègues, ses élèves et ses amis. Vol. 2. 913–928. Publications romanes et françaises 112. Geneva, Switzerland: Droz, 1970.
  1819.  
  1820. Save Citation »Export Citation »E-mail Citation »
  1821.  
  1822. Takes as starting point the image of the ship of hope and insists on the intellectual underpinning of Charles’s allegory and its coherence across his personal manuscript. More wide-ranging than the title suggests. Reprinted in Écriture poétique et composition romanesque (Orléans, France: Paradigme, 1994, pp. 339–357).
  1823.  
  1824. Find this resource:
  1825.  
  1826.  
  1827. Strubel, Armand. “En la foret de longue actente’: réflexions sur le style allégorique de Charles d’Orléans.” In Styles et valeurs: pour une histoire de l’art littéraire au Moyen Âge. Edited by Daniel Poirion, 167–186. Paris: SEDES, 1990.
  1828.  
  1829. Save Citation »Export Citation »E-mail Citation »
  1830.  
  1831. Focuses primarily on the ballades and rondeaux with the incipit En la forest de longue attente, with implications for the reading of the whole oeuvre. Distinguishes with admirable clarity between “allegory,” “personification,” and “reification” and suggests ways of making use of the distinction. Stresses Charles’s originality in his use of the different tropes. A model for analysis.
  1832.  
  1833. Find this resource:
  1834.  
  1835.  
  1836. Strubel, Armand. “Entre le pont de Soussy et l’acointance de Réconfort: peut-on se passer du concept d’allégorie?” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 137–151.
  1837.  
  1838. Save Citation »Export Citation »E-mail Citation »
  1839.  
  1840. A nice article pointing out that even if Charles’s is not thought to be “true allegory,” it is simpler and convenient to see his personifications as partaking in allegory—in which case we should salute a renewal and a new coherence of allegory.
  1841.  
  1842. Find this resource:
  1843.  
  1844.  
  1845. Sturm-Maddox, Sara. “Charles d’Orléans devant la critique: vers une poétique de l’allégorie.” Special Issue: Réception des textes lyriques. Edited by David Lee Rubin. Œuvres et critiques 5 (1980): 9–24.
  1846.  
  1847. Save Citation »Export Citation »E-mail Citation »
  1848.  
  1849. Clear-headed, critical approach. Concludes that discussion of allegory should avoid the biographical approach and concentrate on allegory-as-system; attempts to discover the coherence of Charles’s body of verse.
  1850.  
  1851. Find this resource:
  1852.  
  1853.  
  1854. Zumthor, Paul. “Charles d’Orléans et le langage de l’allégorie.” In Mélanges offerts à Rita Lejeune. Vol. 2. 1481–1502. Gembloux, France: Éditions J. Duculot, 1969.
  1855.  
  1856. Save Citation »Export Citation »E-mail Citation »
  1857.  
  1858. Focuses firmly on the operation of allegory and abstraction in the text, insisting that Charles’s personifications must be seen not individually but as part of an allegorical system; only thus can any particular abstraction and the overall development of Charles’s allegorical universe be understood. Should be read in the context of Zumthor 1972 (cited under 15th-Century Poetics: Background). Reprinted in Zumthor’s Langue, texte, énigme (Paris, Seuil, 1975, pp. 197–213).
  1859.  
  1860. Find this resource:
  1861.  
  1862.  
  1863. Allegorical Figures
  1864.  
  1865. The dramatis personae of Charles’s allegorical world are rich and various (see Planche 1975). Four personifications seem particularly to have represented his “I” (and have often been taken as directly autobiographical): mélancolie, cœur, fortune, and nonchaloir. Starobinski 1963 explores the “black bile” that medieval medicine thought responsible for melancholy. Sasaki 1974, more broad ranging than the title would suggest, traces the figure of Nonchaloir to classical consolation literature (Boethius, the Stoics, Seneca, the mystical tradition). Planche 1975 provides an analysis of the four hundred instances of the lexeme cœur: Planche 1977 is a study exploring the lexeme cœur in addition across a broad range of 15th-century writers of lyric. Although Cerquiglini 1993 does not often concern Charles directly, it is an indispensable study of poetic melancholy in the later Middle Ages. Wolfzettel 1996 is a broadly based article stressing the relation between Boethian “Fortune” and le moi profond du poète. Attwood 2007 has no specific section devoted to Charles, but it is ubiquitous. Galderisi 2007 returns to melancholy.
  1866.  
  1867. Attwood, Catherine. Fortune la contrefaite: l’envers de l’écriture médiévale. Paris: Honoré Champion, 2007.
  1868.  
  1869. Save Citation »Export Citation »E-mail Citation »
  1870.  
  1871. A nice careful survey of Fortune more generally (the trope stems from Boethius) that illuminates Charles’s figure. Attention paid to imprisonment—again as from Boethius—but includes Villon, Régnier, and La Marche.
  1872.  
  1873. Find this resource:
  1874.  
  1875.  
  1876. Cerquiglini, Jacqueline. La couleur de la mélancolie: la fréquentation des livres au XIVe siècle. Paris: Hatier, 1993.
  1877.  
  1878. Save Citation »Export Citation »E-mail Citation »
  1879.  
  1880. Argues that melancholy is largely an aesthetic stance, provoked by a sense of wearying inspiration. Translated by Lydia G. Cochrane as The Colour of Melancholy: The Uses of Books in the Fourteenth Century (Baltimore: Johns Hopkins Univ. Press, 1997).
  1881.  
  1882. Find this resource:
  1883.  
  1884.  
  1885. Galderisi, Claudio. Charles d’Orléans: une poésie des présents: “En regardant vers le païs de France.” Medievalia 59. Orléans, France: Paradigme, 2007.
  1886.  
  1887. Save Citation »Export Citation »E-mail Citation »
  1888.  
  1889. See pp. 31–64. Useful and engaging discussion, starting from “prison” and moving on to traces of melancholy throughout the poet’s oeuvre.
  1890.  
  1891. Find this resource:
  1892.  
  1893.  
  1894. Planche, Alice. Charles d’Orléans ou la recherche d’un langage. Bibliothèque du XVème siècle 38. Paris: Honoré Champion, 1975.
  1895.  
  1896. Save Citation »Export Citation »E-mail Citation »
  1897.  
  1898. See pp. 375–396, 626–673. Relates Fortune to Charles’s other analogous reifications. Teases out the complexity of Charles’s cœur, as against his penser (or pensee) and his moy.
  1899.  
  1900. Find this resource:
  1901.  
  1902.  
  1903. Planche, Alice. “Des vertus de l’imprécision dans le lexique du ‘cœur’ en moyen français.” In Linguistique et philologie: application aux textes médiévaux. Edited by Danielle Buschinger, 243–259. Paris: Honoré Champion, 1977.
  1904.  
  1905. Save Citation »Export Citation »E-mail Citation »
  1906.  
  1907. Useful not only for the poetic context but also for Charles himself.
  1908.  
  1909. Find this resource:
  1910.  
  1911.  
  1912. Sasaki, Shigemi. Sur le thème de nonchaloir dans la poésie de Charles d’Orléans. Paris: Nizet, 1974.
  1913.  
  1914. Save Citation »Export Citation »E-mail Citation »
  1915.  
  1916. Focuses on poems composed at Blois. Analyzes the development of Nonchaloir across Charles’s verse, seeing it as a figure of antithesis and thus placing it in the context of conventional allegory and, poetically speaking, of “debate” poetry.
  1917.  
  1918. Find this resource:
  1919.  
  1920.  
  1921. Starobinski, Jean. “L’encre de la mélancolie.” Nouvelle revue française 123 (1963): 410–423.
  1922.  
  1923. Save Citation »Export Citation »E-mail Citation »
  1924.  
  1925. Analyzes Charles’s poetry for signs of melancholy as then understood and as now imagined.
  1926.  
  1927. Find this resource:
  1928.  
  1929.  
  1930. Wolfzettel, Friedrich. “La fortune, le moi et l’œuvre: remarques sur la fonction poétologique de fortune au Moyen Âge tardif.” In The Medieval Opus: Imitation, Rewriting, and Transmission in the French Tradition. Edited by Douglas Kelly, 197–210. Faux Titre 116. Amsterdam: Rodopi, 1996.
  1931.  
  1932. Save Citation »Export Citation »E-mail Citation »
  1933.  
  1934. Charles’s Fortune is more philosophically complex than it generally is in late-medieval poetry such as that of Machaut or Christine de Pizan.
  1935.  
  1936. Find this resource:
  1937.  
  1938.  
  1939. Versification and Fixed Forms
  1940.  
  1941. The prosody of the late Middle Ages has long been a topic of fascination, dealt with in detail by, for instance, Poirion 1965 but also by contemporary theorists whose works are increasingly available in good modern editions and who are particularly adept in listing and describing poetic forms. Although Charles avoids the more recondite, not to say baroque, verse-forms, his mastery of rhyme, rhythm, and sonorities is remarkable and deserves careful consideration. Defaux 1972 deals with Charles’s use of the refrain. For the relationship of words to music, see Gilbert 2011 (cited under Charles and Music in Late-Medieval France and in England). Defaux 1972 deals specifically with the refrain and its context.
  1942.  
  1943. Defaux, Gérard. “Charles d’Orléans ou la poétique du secret: à propos du rondeau XXXIII de l’édition Champion.” Romania 93 (1972): 194–243.
  1944.  
  1945. Save Citation »Export Citation »E-mail Citation »
  1946.  
  1947. An important article; much more far-reaching than the title suggests, discussing the refrain in the context of Second Rhetoric and language and syntax more generally.
  1948.  
  1949. Find this resource:
  1950.  
  1951.  
  1952. Poirion, Daniel. “La structure du poème et le mouvement lyrique.” Le poète et le prince: l’évolution du lyrisme courtois de Guillaume de Machaut à Charles d’Orléans. By Daniel Poirion, 311–480. Grenoble, France: Imprimerie Allier, 1965.
  1953.  
  1954. Save Citation »Export Citation »E-mail Citation »
  1955.  
  1956. Essential reading. Deals with all the verse-forms employed by Charles, tracing their development across the 14th and 15th centuries and then focusing directly on Charles’s own usage. Goes well beyond the mechanics of each genre to discuss its dynamics and its musicality. Includes a discussion of rhyme and rhythm and a chapter on rhetoric—but treated as a tool, not an end in itself. Encyclopedic. Reprinted in 1978 and 1993 (Geneva, Switzerland: Slatkine Reprints).
  1957.  
  1958. Find this resource:
  1959.  
  1960.  
  1961. La Retenue d’Amours and Songe en complainte
  1962.  
  1963. It has been common for critics, especially in general studies, to focus on Charles as lyric poet and, therefore, on his ballades, rondeaux, and chansons. He is, however, also the author at the beginning of his poetic career of two longer poems in the tradition of, for instance, the Roman de la Rose—both of which have been somewhat neglected. In an early article, Poirion 1958 deals with La Retenue d’Amours and Songe en complainte, as well as with the ballades appearing between them in f. fr. 25458. Kelly 1978 sees these longer poems (as opposed to the lyrics) as convincingly allegorical. Attwood 2010 sets the Retenue in the context of allegory/autobiography in the late Middle Ages. Lechat 2011 discusses Charles’s own account of his entry into poetry.
  1964.  
  1965. Attwood, Catherine. “Charles d’Orléans ou la ‘Retenue d’Amour.’” In Lectures de Charles d’Orléans: les ballades. Edited by Denis Hüe, 83–94. Collection “Didact Français.” Rennes, France: Presses Universitaires de Rennes, 2010.
  1966.  
  1967. Save Citation »Export Citation »E-mail Citation »
  1968.  
  1969. Explores the legal framework, and some of the semantic echoes as between it and Charles’s ballades.
  1970.  
  1971. Find this resource:
  1972.  
  1973.  
  1974. Kelly, Douglas. Medieval Imagination: Rhetoric and the Poetry of Courtly Love. Madison: University of Wisconsin Press, 1978.
  1975.  
  1976. Save Citation »Export Citation »E-mail Citation »
  1977.  
  1978. See pp. 204–229. In the ballades, the “personifications rarely go beyond simply metonymy;” Close and pleasing analyses of some rondeaux. Compares Charles’s allegory to the developed narrative allegory of René d’Anjou. Brief but important.
  1979.  
  1980. Find this resource:
  1981.  
  1982.  
  1983. Lechat, Didier. “La vocation poétique de Charles d’Orléans dans la Retenue d’Amour et les ballades.” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 43–52.
  1984.  
  1985. Save Citation »Export Citation »E-mail Citation »
  1986.  
  1987. A nice study of how Charles narrativizes his discovery of a poetic vocation, in the Retenue regarded as a prologue. Regards the entry into Love’s service as part of that initiation.
  1988.  
  1989. Find this resource:
  1990.  
  1991.  
  1992. Poirion, Daniel. “Création poétique et composition romanesque dans les premiers poèmes de Charles d’Orléans.” Revue des sciences humaines 90 (1958): 185–211.
  1993.  
  1994. Save Citation »Export Citation »E-mail Citation »
  1995.  
  1996. Very concerned with order (seen as thematic) and with what can be gleaned about composition (only very occasionally to be attached to Charles’s biography); discusses dating but concedes that it is impossible to pin down. Useful on Charles’s relationship to other contemporary poets. Reprinted in Poirion’s Écriture poétique et composition romanesque (Orléans, France: Paradigme, 1994, pp. 307–337).
  1997.  
  1998. Find this resource:
  1999.  
  2000.  
  2001. Chanson
  2002.  
  2003. Charles’s sixty-three chansons, at least as far as the French corpus is concerned, are also rather neglected—perhaps because of problems in distinguishing them from the rondeaux. Fox and Arn 2010 (pp. lv–lix, cited under Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) offers a useful conspectus of the characteristics that distinguish the two. The chansons remain relatively conventional, using standard courtly tropes without the variation evinced by the rondeaux. Budini 1987 seeks to distinguish the chanson from the rondeau on prosodic grounds. Spence 1989 argues that the chansons are the work of a poet increasingly disillusioned with courtly commonplace. Tomasik 1994–1995 suggests that the chansons are more interesting—and less conventional—than usually suggested.
  2004.  
  2005. Budini, Paolo. “La metrica delle canzoni di Charles d’Orléans.” Francofonia 13 (1987): 35–55.
  2006.  
  2007. Save Citation »Export Citation »E-mail Citation »
  2008.  
  2009. Stresses the importance of the tonic accent and the caesura in creating the originality of the chanson. Close analyses from this angle of a number of chansons.
  2010.  
  2011. Find this resource:
  2012.  
  2013.  
  2014. Spence, Sarah. “The French Chansons of Charles d’Orléans: A Study in the Courtly Mode.” Fifteenth-Century Studies 15 (1989): 283–294.
  2015.  
  2016. Save Citation »Export Citation »E-mail Citation »
  2017.  
  2018. Suggests that the poet’s disillusionment will cause him to abandon the chanson form in favor of the more complex and revitalized rondeau.
  2019.  
  2020. Find this resource:
  2021.  
  2022.  
  2023. Tomasik, Timothy Joseph. “Les chansons de Charles d’Orléans: des jalons pour une poésie inconvenante.” Le Moyen français 35–36 (1994–1995): 49–66.
  2024.  
  2025. DOI: 10.1484/J.LMFR.3.179Save Citation »Export Citation »E-mail Citation »
  2026.  
  2027. Nice article, especially in view of what Tomasik sees as a proliferation, in what seems to be a courtly corpus, of tropes from the semantic fields of medieval finance and commerce.
  2028.  
  2029. Find this resource:
  2030.  
  2031.  
  2032. Rondeau
  2033.  
  2034. It is arguable that Charles’s major poetic achievement is to revivify and individualize the rondeau, to make it meaningful beyond mere virtuosity, and to exploit its prosody. The indispensible starting point, for theme and prosody, is Poirion 1965 (cited under 15th-Century Poetics: Background). Cerquiglini 1988 deals with the origins, etymology, and history of the rondeau. Fox 1969 focuses on the originality of Charles’s rondeaux. For the fundamental role of the refrain, see Zink 1980. Recent scholars such as Mühlethaler 1996 (cited under Intertextuality) and Armstrong 2012 (cited under 15th-Century Poetics: Background) show how analysis of Charles’s rondeaux brings out their originality. Much attention has been paid to the refrain as the motor of the rondeau.
  2035.  
  2036. Cerquiglini, Jacqueline. “Le rondeau.” In Grundriss der romanischen literaturen des mittelalters. Vol. 8, La littérature française aux XIVe et XVe siècles. Edited by Hans Robert Jauss, 55–58. Heidelberg, Germany: Winter, 1988.
  2037.  
  2038. Save Citation »Export Citation »E-mail Citation »
  2039.  
  2040. Contains brief but illuminating discussions of the aesthetics of the rondeau and its social function. Tends to believe that whereas the refrain of the earliest rondeaux is indeed fixed, by Charles’s time, it is flexible.
  2041.  
  2042. Find this resource:
  2043.  
  2044.  
  2045. Fox, John. The Lyric Poetry of Charles d’Orléans. Oxford: Clarendon, 1969.
  2046.  
  2047. Save Citation »Export Citation »E-mail Citation »
  2048.  
  2049. Insists on the importance of distinguishing Charles’s rondeaux from the rondeaux in vogue beyond the end of the 15th century. Again discusses form and rhyme but largely in terms of the mechanics of verse. Compares Charles’s rondeaux, interestingly, to more modern instances (Swinburne, Banville, Voiture, etc.). See also Fox’s comments on form in Fox and Arn 2010 (pp. li–lix, cited under Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)).
  2050.  
  2051. Find this resource:
  2052.  
  2053.  
  2054. Zink, Michel. “Le lyrisme en rond: esthétique et séduction des poèmes à forme fixe au Moyen Âge.” Cahiers de l’Association internationale des études françaises 32 (1980): 71–90.
  2055.  
  2056. DOI: 10.3406/caief.1980.1209Save Citation »Export Citation »E-mail Citation »
  2057.  
  2058. An important and groundbreaking discussion of the dynamics of the rondeau and especially the refrain. Reprinted in Zink’s Les voix de la conscience: parole du poète et parole de Dieu dans la littérature médiévale (Caen, France: Paradigme, 1992, pp. 177–196).
  2059.  
  2060. Find this resource:
  2061.  
  2062.  
  2063. Rondeau Refrain
  2064.  
  2065. The rondeau refrain picks up the opening of the poem and repeats it at the end of the second and third stanzas, but it is noted by some that to economize, copyists generally quote only the first word or phrase. Is the refrain therefore only the first line of the first verse, the first couplet of the first verse, or the first three lines—or even the complete first verse? Champion (Champion 1923, cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) is inconsistent, but his introduction gives no explanation, and he seems to have chosen according to the semantic content of each poem. This has created a long and still unresolved debate: Françon 1941–1942 presents the most conservative approach to the problem; Poirion 1965 (cited under 15th-Century Poetics: Background) considers that the length of the refrain must be sense driven; Jodogne 1973 argues that the length of the refrain is rule driven. Galderisi 1986 presents the most flexible approach. The debate is still unresolved: Minet-Mahy and Mühlethaler 2010 (cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) reverts to giving only the manuscript catch words.
  2066.  
  2067. Françon, Marcel. “Les refrains dans les rondeaux et les chansons de Charles d’Orléans.” Modern Philology 39 (1941–1942): 259–263.
  2068.  
  2069. DOI: 10.1086/388526Save Citation »Export Citation »E-mail Citation »
  2070.  
  2071. Considers that the refrain should simply pick up the first line—or indeed merely the first words—of the rondeau, no more.
  2072.  
  2073. Find this resource:
  2074.  
  2075.  
  2076. Galderisi, Claudio. “Sui rondeaux di Charles d’Orléans.” Micromégas 13 (1986): 79–98.
  2077.  
  2078. Save Citation »Export Citation »E-mail Citation »
  2079.  
  2080. Devotes pp. 88–98, “Il refrain: fra musica e ritmo,” to the refrain. Argues from poetic rhythm and contemporary music that the refrain is sense driven and flexible in length.
  2081.  
  2082. Find this resource:
  2083.  
  2084.  
  2085. Jodogne, Pierre. “Le rondeau du quinzième siècle mal compris: ‘Du dit et de l’écrit.’” In Mélanges de langue et de littérature médiévales offerts à Pierre Le Gentil. 399–408. Paris: SEDES, 1973.
  2086.  
  2087. Save Citation »Export Citation »E-mail Citation »
  2088.  
  2089. Excellent summary of Champion’s inconsistencies (which Jodogne sees as deriving from Champion’s goût et intelligence) and of the debate about refrains up to the date of publication. Argues largely in favor of a rule driven refrain—although with some flexibility according to sense.
  2090.  
  2091. Find this resource:
  2092.  
  2093.  
  2094. Ballade
  2095.  
  2096. Jung 2002 recognizes, with reference to the ballade mode and to the late-medieval arts of poetry, that the ballade by Charles’s time would soon seem old fashioned. Taylor 2010 analyzes the “Concours de Blois” sequence of ballades in its manuscript context to argue for the (social) prestige of such sequences.
  2097.  
  2098. Jung, Marc-René. “La ballade à la fin du XVe siècle et au début du XVIe siècle: agonie ou reviviscence?” Special Issue: Poétiques en transition: entre Moyen Âge et Renaissance. Edited by Jean-Claude Mühlethaler and Jacqueline Cerquiglini-Toulet. Etudes de lettres 4 (2002): 7–29.
  2099.  
  2100. Save Citation »Export Citation »E-mail Citation »
  2101.  
  2102. Interesting study of the poetic potential of the traditional ballade and Charles’s dexterity with it.
  2103.  
  2104. Find this resource:
  2105.  
  2106.  
  2107. Taylor, Jane H. M. “L’oral et l’écrit: pratique de la ballade à la cour de Blois.” In Lectures de Charles d’Orléans: les ballades. Edited by Denis Hüe. Collection “Didact Français.” 141–152. Rennes, France: Presses Universitaires de Rennes, 2010.
  2108.  
  2109. Save Citation »Export Citation »E-mail Citation »
  2110.  
  2111. Uses f. fr. 25458 to consider collaborative, social ballade-writing at Blois and the social importance attached to it.
  2112.  
  2113. Find this resource:
  2114.  
  2115.  
  2116. Sonority
  2117.  
  2118. Frumholtz 1914 is primarily a study of Charles’s treatment of vowels. Galderisi 2011 is concerned with the nature of “music” in poetry once the earlier-medieval link between lyricism and music is broken.
  2119.  
  2120. Frumholtz, Johann. Sprachliche Untersuchungen zu Charles d’Orléans. Halle, Germany: Gerhardt Karras, 1914.
  2121.  
  2122. Save Citation »Export Citation »E-mail Citation »
  2123.  
  2124. Deals with vowel quality, diphthongization, elision, and hiatus, with some more selective treatment of consonants. Of some use for study of rhyme and meter.
  2125.  
  2126. Find this resource:
  2127.  
  2128.  
  2129. Galderisi, Claudio. “Des ‘enrouées cornemuses’? François langage et forme fixe.” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 107–120.
  2130.  
  2131. Save Citation »Export Citation »E-mail Citation »
  2132.  
  2133. Analyzes the euphonies created in Charles’s verse not only by rhyme or rhythm but also from syntactic, morphological, and phonetic patterns.
  2134.  
  2135. Find this resource:
  2136.  
  2137.  
  2138. Language
  2139.  
  2140. Studies of Charles’s language have been intermittent, partly because Middle French itself has been until recently insufficiently codified. Understanding of his lexicon has been much enhanced in particular by the publication on line of the Dictionnaire du moyen français and of his syntax by wider studies such as Christine Marchello Nizia’s Histoire de la langue française au XIVe et XVe siècles (Paris: Nathan, 1997) and Robert Martin and Marc Wilmet’s Syntaxe du moyen français (Bordeaux, France: Éditions Bière, 1980). One might also usefully add, on the proverbs that punctuate Charles’s poems, Giuseppe Di Stefano’s Dictionnaire des locutions en moyen français (Montreal: CERES, 1991). Poirion 1967 is an indispensible source for all studies of Charles’s ballades and lyrics in general. The starting point for Defaux 1972 is a single rondeau, but this is very broad ranging and suggestive study of language. Galderisi 1993 is an indispensible source for all studies of Charles’s rondeaux and his poetry in general. Hüe 2011 is a computer-generated concordance for Charles’s ballades only. Parussa 2011 uses Hüe 2011 to explore Charles’s morphological variants.
  2141.  
  2142. Defaux, Gérard. “Charles d’Orléans ou la poétique du secret: à propos du rondeau XXXIII de l’édition Champion.” Romania 93 (1972): 194–243.
  2143.  
  2144. Save Citation »Export Citation »E-mail Citation »
  2145.  
  2146. Focuses on what he sees as the deliberately complex syntactic ambiguities created by the lack of punctuation and the indeterminacy of the refrain. An invitation to syntactic analysis that has rarely been followed up.
  2147.  
  2148. Find this resource:
  2149.  
  2150.  
  2151. Galderisi, Claudio. Le lexique de Charles d’Orléans dans les “rondeaux.” Geneva, Switzerland: Droz, 1993.
  2152.  
  2153. Save Citation »Export Citation »E-mail Citation »
  2154.  
  2155. Introduction includes studies of mélancolie and vieillesse; refutation of the belief that Charles’s rondeaux are simple or even facile; a brief study of refrain and rhyme; a study of certain semantic fields; a list of personifications; an overall list of lexemes appearing only in the rondeaux; and a study of the contribution of prepositions, pronouns, conjunctions, and clitics to rhythm.
  2156.  
  2157. Find this resource:
  2158.  
  2159.  
  2160. Hüe, Denis, ed. Charles d’Orléans, Ballades: concordancier complet des formes graphiques occurentes. Agrégation des Lettres Modernes, 2011.
  2161.  
  2162. Save Citation »Export Citation »E-mail Citation »
  2163.  
  2164. Computer-generated concordance for Charles’s ballades only, drawn up from Champion’s edition: prepared for the 2011 Agrégation.
  2165.  
  2166. Find this resource:
  2167.  
  2168.  
  2169. Parussa, Gabriella. “Espelant lettre de mondaine clergie: les graphies du manuscrit personnel de Charles d’Orléans (Paris, BnF, fr. 25458).” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 91–105.
  2170.  
  2171. Save Citation »Export Citation »E-mail Citation »
  2172.  
  2173. Shows that Charles and his copyists are particularly concerned to ensure that phonology and orthography coincide; to adopt new orthographical trends; to iron out differences in orthography between particular poets; and to create a “polyphonie graphique bien ordonnée.”
  2174.  
  2175. Find this resource:
  2176.  
  2177.  
  2178. Poirion, Daniel. Le lexique de Charles d’Orléans dans les ballades. Geneva, Switzerland: Droz, 1967.
  2179.  
  2180. Save Citation »Export Citation »E-mail Citation »
  2181.  
  2182. Set out as a glossary, with translations and (almost) complete references; the lexemes are and then distributed in the introduction into different “semantic fields.” Adds a brief comparison of Charles’s lexicon with that, more conventional, of his predecessors and contemporaries.
  2183.  
  2184. Find this resource:
  2185.  
  2186.  
  2187. General Literary Themes
  2188.  
  2189. Charles is not, by and large, especially original in the tropes and motifs that inform his poetry, but even if his allegorizations are unoriginal, his deployment of them is adept and individual. There are, on the other hand, certain specifics in his role in life that mean that relatively hackneyed courtly motifs—imprisonment, for instance—acquire resonances beyond the cliché. Beyond that, there are a certain number of recurrent motifs and themes that require attention for their meaning and sometimes for possible relations with his life.
  2190.  
  2191. The Political Charles d’Orléans
  2192.  
  2193. As royal duke and at one time heir to the throne, as scion of a family involved in the struggles between the Burgundians and the Armagnacs, and as political prisoner under France’s archenemy England, Charles is necessarily implicated in the politics of his era; his poetry, however, remains largely lyric and only intermittently impinges on the political, as Planche 1991 shows. Gros 2010 deals with what the author considers the duke’s political ballades.
  2194.  
  2195. Gros, Gérard. “‘Paix est trésor qu’on ne peut trop louer’: étude sur les ballades politiques du prince courtois.” In Lectures de Charles d’Orléans: les ballades. Edited by Denis Hüe, 63–79. Collection “Didact Français.” Rennes, France: Presses Universitaires de Rennes, 2010.
  2196.  
  2197. Save Citation »Export Citation »E-mail Citation »
  2198.  
  2199. Focuses, unusually, on Charles’s poetic reaction to his exile in England and the political ballades in which he expresses his longing for peace.
  2200.  
  2201. Find this resource:
  2202.  
  2203.  
  2204. Planche, Alice. “Présence et absence de l’événement dans l’œuvre de Charles d’Orléans.” In Histoire et littérature au Moyen Âge: actes du colloque du Centre d’études médiévales de l’Université de Picardie (Amiens 20–24 mars 1985). Edited by Danielle Buschinger, 389–402. Göppinger Arbeiten zur Germanistik 546. Göppingen, Germany: Kümmerle Verlag, 1991.
  2205.  
  2206. Save Citation »Export Citation »E-mail Citation »
  2207.  
  2208. Article demonstrating how surprisingly little political poetry Charles produced, given his role at the center of 15th-century politics; only in England does his poetry shade into politics, and on his return to France, there are no further essays—although this may be explained by his lack of political success, which Planche brings out well, if briefly.
  2209.  
  2210. Find this resource:
  2211.  
  2212.  
  2213. Prison and Exile
  2214.  
  2215. Charles was, of course, notoriously a prisoner in England for some twenty-five years—an experience that marks his poetry and that also makes any hackneyed use of “prison” as a courtly metaphor significant in his particular case. Oddly, a number of poets roughly contemporary with him also experienced prison, most notably Villon (see François Villon) and Scotland’s James I. Kasprzyk 1988 sets Charles’s exile in the context of 15th-century history. Göller 1990 presents a general article on “prison,” meant literally or figuratively, in medieval literature and poetry. Notz 1992 is an interesting study of the relations between prison-as-metaphor and exterior reality. Zink 2000 is a brief but telling article, based on the prison motif. Cerquiglini-Toulet 2011 is a short but telling piece exploring images of enclosure and immobility, deriving from the experience of imprisonment.
  2216.  
  2217. Cerquiglini-Toulet, Jacqueline. “L’errance immobile: poétique de l’espace chez Charles d’Orléans.” Special Issue: Charles d’Orléans, une aventure poétique. Edited by Catherine Croizy-Naquet and Anne Paupert. Cahiers Textuels 34 (2011): 11–18.
  2218.  
  2219. Save Citation »Export Citation »E-mail Citation »
  2220.  
  2221. Finds Charles’s worldview notably restricted in an age of exploration.
  2222.  
  2223. Find this resource:
  2224.  
  2225.  
  2226. Göller, Karl-Heinz. “The Metaphorical Prison as an Exegetical Image of Man.” Fifteenth Century Studies 17 (1990): 121–144.
  2227.  
  2228. Save Citation »Export Citation »E-mail Citation »
  2229.  
  2230. Starting from Boethius’s Consolation, traces the development of prison itself as a poetic theme and then comes, finally, to the entirely metaphorical prison that Charles employs in his later career.
  2231.  
  2232. Find this resource:
  2233.  
  2234.  
  2235. Kasprzyk, Krystyna. “L’expérience de la prison et de l’exil chez quelques poètes de la fin du Moyen Âge.” In La Souffrance au Moyen Âge en France (XII–XVe siècles): actes du colloque organisé par l’Institut d’études romanes et le Centre d’études françaises de l’Université de Varsovie, octobre 1984. Edited by Nicole Taillade, 165–179. Warsaw, Poland: Éditions de l’Université de Varsovie, 1988.
  2236.  
  2237. Save Citation »Export Citation »E-mail Citation »
  2238.  
  2239. Explores prison-as-metaphor for Charles and also addresses other famous contemporary poet-prisoners such as Villon and poet-exile Marot.
  2240.  
  2241. Find this resource:
  2242.  
  2243.  
  2244. Notz, M. F. “Le regard et l’exil: la mesure poétique et l’espace de la représentation dans l’œuvre de Charles d’Orléans.” Perspectives médiévales 18 (1992): 92–98.
  2245.  
  2246. Save Citation »Export Citation »E-mail Citation »
  2247.  
  2248. Argues that Charles’s longing for France and for Orléans is part of a complex of emotions driving his “interiority.”
  2249.  
  2250. Find this resource:
  2251.  
  2252.  
  2253. Zink, Michel. “‘Mis pour meurir ou feurre de prison’: le poète, leurre du prince.” In Guerre, pouvoir et noblesse au Moyen Âge: mélanges en l’honneur de Philippe Contamine. Edited by Jacques Paviot and Jacques Verger, 677–685. Cultures et civilisations médiévales 22. Paris: Presses de l’Université de Paris-Sorbonne, 2000.
  2254.  
  2255. Save Citation »Export Citation »E-mail Citation »
  2256.  
  2257. Shows how surprisingly little of the prince there is in the poetry as compared to the poet.
  2258.  
  2259. Find this resource:
  2260.  
  2261.  
  2262. Finance and Commerce
  2263.  
  2264. Readers have sometimes been surprised to discover the prevalence in Charles’s work of the vocabulary of the marketplace, and it has been variously explained. On his use of mercantile language see also Tomasik 1994–1995 (cited under Chanson) and Hsy 2013 (cited under Maritime Metaphor). Urquhart 2004 is an interesting article exploring the metaphors Charles draws from commerce. Lucken 2009 sees the poet as the merchant “selling” poems to readers.
  2265.  
  2266. Lucken, Christopher. “Mirlifiques oberliques: Charles d’Orléans marchand de chansons.” In L’offrande lyrique. Edited by Jean-Nicolas Illouz, 109–140. Collection Savoir. Lettres. Paris: Hermann, 2009.
  2267.  
  2268. Save Citation »Export Citation »E-mail Citation »
  2269.  
  2270. Traces the merchant metaphor across Charles’s oeuvre. Draws interesting conclusions as to the shift from a purely courtly to a mercantile economy where the lover-poet’s gift demands recompense.
  2271.  
  2272. Find this resource:
  2273.  
  2274.  
  2275. Urquhart, Steven. “La vision économique dans les ballades et les rondeaux de Charles d’Orléans.” Orbis Litterarum 59.6 (2004): 397–415.
  2276.  
  2277. DOI: 10.1111/j.0105-7510.2004.00815.xSave Citation »Export Citation »E-mail Citation »
  2278.  
  2279. Relates the commercial metaphors to the economic realities of 15th-century France.
  2280.  
  2281. Find this resource:
  2282.  
  2283.  
  2284. Specific Themes
  2285.  
  2286. A number of studies over the years have attempted to map specific themes and metaphors in Charles’s poetry, making particular use of Poirion 1967 and Galderisi 1993 (both cited under Language): sometimes these consist largely of lexical catalogues, but others (Hsy 2013; Minet-Mahy 2001) attempt to relate specific settings to Charles’s biography, or to specific court occasions.
  2287.  
  2288. Maritime Metaphor
  2289.  
  2290. As a poet who crossed the Channel many times and identified it as “that which separates me from the place I belong,” Charles often uses the sea thematically in his work. Minet-Mahy 2001—one of the most interesting of critics currently writing on metaphor—has a broad field of reference, useful in showing just how dependent Charles is on existing systems of tradition. Hsy 2013 focuses on the differences in his use of metaphor in two languages. See also Poirion 1970 (cited under Charles and Allegorization).
  2291.  
  2292. Hsy, Jonathan. “Channel Crossings: Charles d’Orléans and the Limits of Translatio.” In Trading Tongues: Merchants, Multilingualism, and Medieval Literature. By Jonathan Hsy, 79–87. Interventions: New Studies in Medieval Culture. Columbus: Ohio State University Press, 2013.
  2293.  
  2294. Save Citation »Export Citation »E-mail Citation »
  2295.  
  2296. Discusses the use the poet makes of the sea (specifically the channel) differently in his French and his English poetry and the ways he transmutes physical space into poetic space.
  2297.  
  2298. Find this resource:
  2299.  
  2300.  
  2301. Minet-Mahy, Virginie. “Charles d’Orléans et la tradition des métaphores maritimes.” Studi Francesi 135 (2001): 473–497.
  2302.  
  2303. Save Citation »Export Citation »E-mail Citation »
  2304.  
  2305. Interesting not so much because of the topic, but because Minet-Mahy shows very clearly how Charles’s metaphors derive from and build on traditional medieval systems of reference, biblical, classical, and literary and which are current in Charles’s different circles.
  2306.  
  2307. Find this resource:
  2308.  
  2309.  
  2310. Valentine’s Day
  2311.  
  2312. The centrality of love poetry to the late-medieval lyric favors occasional poetry celebrating St Valentine’s Day (14 February), especially among poets of the later Middle Ages. Poems on this theme might seem purely conventional or even dutiful, but Charles himself and some of his coterie exploit the theme to play with convention. Fässler-Caccia 1986 explores Valentine’s Day in relation to occasional verse. Rodriguez 1998 shows that what are apparently topical references are very much conventional.
  2313.  
  2314. Fässler-Caccia, Giuliana. “La poésie de cironstance chez Charles d’Orléans.” In Studi francesi e provenzali 84–85. Edited by Marc-René Jung and Giuseppe Tavani, 93–115. Romanica Vulgaria Quaderni 8–9. L’Aquila, Italy: Japadre, 1986.
  2315.  
  2316. Save Citation »Export Citation »E-mail Citation »
  2317.  
  2318. Starts from the rondeau “A ce jour de Saint Valentin” to suggest that this poem, carefully set in the calendar, is typical of a new, late-medieval attitude to time and the passage of time that gives rise to nostalgia tinged with irony. Well documented and analyzed.
  2319.  
  2320. Find this resource:
  2321.  
  2322.  
  2323. Rodriguez, Antonio. “‘A ce jour de Saint Valentin’: les objectivations lyriques de l’affectivité chez Charles d’Orléans.” Le moyen français 42 (1998): 7–18.
  2324.  
  2325. DOI: 10.1484/J.LMFR.3.200Save Citation »Export Citation »E-mail Citation »
  2326.  
  2327. Charles’s Valentine poems, seemingly autobiographical, in fact challenge notions of subjectivity by complicating narrative impulses in the reader—who, finally, cannot get beyond poetic technique.
  2328.  
  2329. Find this resource:
  2330.  
  2331.  
  2332. The Bed
  2333.  
  2334. Mühlethaler 2010 is a nice article, more wide ranging that it appears and leads into a discussion of Charles’s more meditative poetry.
  2335.  
  2336. Mühlethaler, Jean-Claude. “Le prince-poète au lit: jeux avec l’horizon d’attente dans l’œuvre de Charles d’Orléans.” In Lectures de Charles d’Orléans: les ballades. Edited by Denis Hüe, 109–122. Collection “Didact Français.” Rennes, France: Presses Universitaires de Rennes, 2010.
  2337.  
  2338. Save Citation »Export Citation »E-mail Citation »
  2339.  
  2340. Sets the motif in its poetic context (Froissart, Christine de Pizan, etc.), which has thus created audience expectations. Sees the bed, unconventionally, as a site for reflection.
  2341.  
  2342. Find this resource:
  2343.  
  2344.  
  2345. The Book
  2346.  
  2347. Later medieval poetry—no longer necessarily spoken, still less sung—is particularly conscious of poetry as writing, of the value of the book as a site of poetic and intellectual endeavor, and of the virtue of “collected” and “inscribed” poetry.
  2348.  
  2349. Attwood, Catherine. “A propos du ‘Livre de Joie’ chez Charles d’Orléans.” In L’écrit et le manuscrit à la fin du Moyen Age. Edited by Tania Van Hemelryck and Céline Van Hoorebeeck, 35–42. Texte, Codex & Contexte 1. Turnhout, Belgium: Brepols, 2006.
  2350.  
  2351. Save Citation »Export Citation »E-mail Citation »
  2352.  
  2353. Brief article focusing on the metaphor of the book, its relationship to the je of the poet, and the possible resonances with the jois of the troubadours.
  2354.  
  2355. Find this resource:
  2356.  
  2357.  
  2358. Dreams
  2359.  
  2360. In the wake of the Roman de la Rose, the poetic dream becomes a prime setting for the exploration of the poet’s subjectivity. Spearing 2000 explores the dream as poetic pretext on both sides of the Channel.
  2361.  
  2362. Spearing, A. C. “Dreams in The Kingis Quair and the Duke’s Book.” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 123–144. Woodbridge, UK: D. S. Brewer, 2000.
  2363.  
  2364. Save Citation »Export Citation »E-mail Citation »
  2365.  
  2366. An excellent discussion of the similarities and differences in the dreamwork of these two authors (using Charles’s English poetry), showing how they mark turning points in each work, not only foretelling the future but also shaping it. Pertinent references to the work of Boethius, Macrobius, and Machaut as well as to the Rose.
  2367.  
  2368. Find this resource:
  2369.  
  2370.  
  2371. Food
  2372.  
  2373. In a late-medieval court in which feasting and banquets were occasions for conviviality, “food” in the broadest sense acts as an important metaphor for social interactions.
  2374.  
  2375. Marks, Diane R. “Food for Thought: The Banquet of Poetry in Dante and Charles of Orleans.” In Medieval Food and Drink. Edited by Mary-Jo Arn. 85–95. ACTA 21. Binghamton, NY: Center for Medieval and Early Renaissance Studies, 1995.
  2376.  
  2377. Save Citation »Export Citation »E-mail Citation »
  2378.  
  2379. A brief but interesting broad consideration of poetry as food, followed by a short discussion of the function and significance of the banquet in the work of the two poets.
  2380.  
  2381. Find this resource:
  2382.  
  2383.  
  2384. Reception and Afterlife
  2385.  
  2386. Charles’s verse remained current in anthologies well into the Renaissance (see Manuscript Anthologies and Early Printed Books in France, to 1600; see also Mühlethaler 2007). This section shows a continuing readership for his verse. Champion 1913 is a very early attempt to demonstrate that the poet’s work was the subject of continued interest after his death. Coldiron 2000 (more than eighty years later) shows that it was translated and read outside France. Gros 2001 focuses on Martin le Franc’s mention of Charles’s poetry during the poet’s lifetime. Mühlethaler 2001 is devoted to the Retenue d’Amours and shows that, although it is based on the Rose, Charles studiously renews his source.
  2387.  
  2388. Champion, Pierre. “Du succès de l’œuvre de Charles d’Orléans et de ses imitateurs jusqu’au XVIème siècle.” In Mélanges offerts à M. Emile Picot par ses amis et élèves. Vol. 1, 409–420. Paris: Damascène Morgand, 1913.
  2389.  
  2390. Save Citation »Export Citation »E-mail Citation »
  2391.  
  2392. Pioneering survey of Charles’s appearances in early print, with a brief account of Lansdowne 380 and in particular of rondeaux imitated there from Charles’s. Reprinted in 1969 (Geneva, Switzerland: Slatkine Reprints).
  2393.  
  2394. Find this resource:
  2395.  
  2396.  
  2397. Coldiron, A. E. B. Canon, Period, and the Poetry of Charles d’Orléans: Found in Translation. Ann Arbor: University of Michigan Press, 2000.
  2398.  
  2399. Save Citation »Export Citation »E-mail Citation »
  2400.  
  2401. Valuable discussion of the relationships between the English, French, and Latin poetry and their reception on both sides of the channel. Title of introduction (pp. 1–13) is “Placing Translations in Literary History and Theory.”
  2402.  
  2403. Find this resource:
  2404.  
  2405.  
  2406. Gros, Gerard. “Le livre du prince et le clerc: édition, diffusion and réception d’une œuvre (Martin Le Franc lecteur de Charles d’Orléans).” In Special Issue: L’écrivain éditeur, 1. Du Moyen Âge à la fin du XVIIIe siècle. Edited by François Bessire. Travaux de littérature 14 (2001): 43–58.
  2407.  
  2408. Save Citation »Export Citation »E-mail Citation »
  2409.  
  2410. Starts with Martin Le Franc’s citing of Charles as a poet in 1441–1442, thus showing his reputation already established on his return to France. Considers how Le Franc could have become acquainted with the prince’s oeuvre and suggests a copy might have been made for Philip the Good of Burgundy (Le Franc had connections via his patron Amédée de Savoie).
  2411.  
  2412. Find this resource:
  2413.  
  2414.  
  2415. Mühlethaler, Jean-Claude. “Récrire le Roman de la Rose au XVe siècle: les commandements d’Amour chez Charles d’Orléans et ses lecteurs.” In “Riens ne m’est seur que la chose incertaine”: études sur l’art d’écrire au Moyen Âge offertes à Eric Hicks par ses élèves, collègues, amies et amis. Edited by Jean-Claude Mühlethaler and Denis Billotte, 105–119. Geneva, Switzerland: Slatkine, 2001.
  2416.  
  2417. Save Citation »Export Citation »E-mail Citation »
  2418.  
  2419. Shows how Charles’s commandements d’Amour are borrowed by Martin Le Franc, then by René d’Anjou, and finally passed, anonymously, into Vérard’s Chasse et départ.
  2420.  
  2421. Find this resource:
  2422.  
  2423.  
  2424. The English Poetry
  2425.  
  2426. The body of English poetry that contains Charles’s name and versions of many of his French lyrics in English as well as poetry unique to this collection has been understudied largely because scholars have been preoccupied with the question of their authorship. If the publications of the last decade or so are anything to go by, the 21st century promises to pay much more attention to the poetry as poetry.
  2427.  
  2428. Context
  2429.  
  2430. Much work remains to be done on the entire English context of this body of poetry, historical, social, literary, prosodic, and linguistic. In addition to the works cited in this section, see also Askins 2000 (cited under Literary Associations in England). Green 1980 is a depiction of literature and the court that underlays much of the work that came after him. Boffey 1985 is the most significant work on courtly love lyrics to date. It is a reference work to be kept near at hand. Burrow 1988 deals with what the author calls the “bookness” of a series of late medieval lyric sequences. Butterfield 2009 gives us our best picture yet of the complex language interactions that swirled around Charles during his years in England. Spearing 2012 provides a framework within which to deal with Charles’s poetry in a new way.
  2431.  
  2432. Boffey, Julia. Manuscripts of English Courtly Love Lyrics in the Later Middle Ages. Manuscript Studies. Woodbridge, UK: D. S. Brewer, 1985.
  2433.  
  2434. Save Citation »Export Citation »E-mail Citation »
  2435.  
  2436. The essential resource for the deep context of late Middle English courtly lyrics. Discusses Charles d’Orléans’s work passim. Contains a survey of manuscripts and an incipit index to them, information on authorship, transmission, and readers and owners of the manuscripts. Also includes a fifteen-page list of manuscripts and a bibliography. Extremely useful reference work.
  2437.  
  2438. Find this resource:
  2439.  
  2440.  
  2441. Burrow, John. “The Poet and the Book.” In Genres, Themes, and Images in English Literature from the Fourteenth to the Fifteenth Century. Edited by Piero Boitani and Anna Torti, 230–245. J. A. W. Bennett Memorial Lectures, Perugia, 1986. Tübingen, Germany: Gunter Narr, 1988.
  2442.  
  2443. Save Citation »Export Citation »E-mail Citation »
  2444.  
  2445. An oft-quoted article frequently cited for its handling of the idea of “book[ish]ness” of some French, English, and Italian works of the later Middle Ages: Dante’s “Vita nuova,” Petrarch’s “Canzoniere,” the poems of Charles d’Orléans (French and English), Ruiz’s “Libro de buen amor,” Machaut’s “Livre du voir dit,” and Hoccleve’s “Series.” Touches on the matter of narrative in a lyric sequence.
  2446.  
  2447. Find this resource:
  2448.  
  2449.  
  2450. Butterfield, Ardis. The Familiar Enemy: Chaucer, Language and Nation in the Hundred Years War. Oxford: Oxford University Press, 2009.
  2451.  
  2452. DOI: 10.1093/acprof:oso/9780199574865.001.0001Save Citation »Export Citation »E-mail Citation »
  2453.  
  2454. An exciting and learned look at actual language use (and translation) on both sides of the Channel and its implications for the literature in both countries in the time of the Hundred Years’ War. Many references to Charles d’Orléans in this context, which widens the usual perspective by presenting first Chaucer, then many late-medieval poets, in a broad linguistic, historical, and temporal context.
  2455.  
  2456. Find this resource:
  2457.  
  2458.  
  2459. Green, Richard Firth. Poets and Princepleasers: Literature and the English Court in the Late Middle Ages. Toronto: University of Toronto Press, 1980.
  2460.  
  2461. Save Citation »Export Citation »E-mail Citation »
  2462.  
  2463. Green attempts “to shed some light on the condition of authors employed in the households of late medieval [English] kings and princes, and to elucidate both the kind of life they led and the kind of work, literary and otherwise, expected of them” (p. 4),, and he does so admirably. Old but still very useful. See especially pp. 94–96.
  2464.  
  2465. Find this resource:
  2466.  
  2467.  
  2468. Spearing, A. C. Medieval Autographies: The “I” of the Text. The Conway Lectures in Medieval Studies, 2008. Notre Dame, IN: University of Notre Dame Press, 2012.
  2469.  
  2470. Save Citation »Export Citation »E-mail Citation »
  2471.  
  2472. Though he deals with Charles’s work only glancingly, he offers a lens through which to view the poet at work, a view often occluded by the focus on the lover/narrator.
  2473.  
  2474. Find this resource:
  2475.  
  2476.  
  2477. Editions of the English Poetry
  2478.  
  2479. Charles d’Orléans’s body of poetry composed (or “translated”) in English before 1440 survives entire in only one manuscript: British Library MS Harley 682. (Many of the English poems are not close translations of the French but are somewhat loose treatments of the same matter. It is therefore better to refer to them as “counterparts” or “versions” of certain of the French poems.) In 1827 the English poems were first published in a small edition of forty-four copies (really little more than a transcription) by George Watson Taylor for the Roxburghe Club. The collection has since been edited twice, but excerpts have also been edited for various anthologies (e.g., Boffey 2003; Hammond 1927, both cited under Modern Anthologies). Steele and Day 1970 produced the first modern edition of the entire collection (index and text by Steele published 1941; ancillary material by Steele and Day in 1946; two volumes, with new bibliography, reprinted in one 1970). Arn 1994 updates and supplements the Steele and Day edition. Of a copy of the Harley manuscript, only two fragments remain, transcribed by Robbins 1951 (cited under the “Oxbridge” Manuscript (Ox)).
  2480.  
  2481. Arn, Mary-Jo. Fortunes Stabilnes: Charles of Orleans’s English Book of Love. Medieval and Renaissance Texts and Studies 138. Binghamton, NY: CEMERS, 1994.
  2482.  
  2483. Save Citation »Export Citation »E-mail Citation »
  2484.  
  2485. Adds to the Steele and Day 1970 edition extensive discussion of the poems in their contexts, including a summary of the missing first quire, a highly detailed description of the manuscript, indexes of first lines and refrains, the English poems not found in Harley 682 (from f. fr. 25458 and the Oxbridge manuscript), thorough explanatory notes, a very full glossary, and an updated bibliography.
  2486.  
  2487. Find this resource:
  2488.  
  2489.  
  2490. Steele, Robert, and Mable Day. The English Poems of Charles of Orleans. 2 vols. Early English Text Society 215 and 220. Oxford: Oxford University Press, 1970.
  2491.  
  2492. Save Citation »Export Citation »E-mail Citation »
  2493.  
  2494. The introduction is largely taken up with establishment of the duke as author but also contains observations on the manuscript. Sound and easy to use. Also available at Literature Online by subscription as a Kraus Reprint of the EETS volume. Going to “Charles d’Orléans” and clicking on Criticism and Reference takes the reader to a bibliography post-1972, by Cecily Clark.
  2495.  
  2496. Find this resource:
  2497.  
  2498.  
  2499. The Manuscripts
  2500.  
  2501. Unlike his French poetry, the English poetry was not widely disseminated in the 15th century. Both the Harley manuscript and the “Oxbridge” fragments have been understudied (but see Arn 1994 (pp. 101–129, cited under Editions of the English Poetry). The fact that the manuscript context for both is so sketchy has not helped to attract manuscript scholars.
  2502.  
  2503. British Library MS Harley 682 (H)
  2504.  
  2505. The Harley manuscript has many intriguing characteristics and ought to attract scholars interested in 15th-century literary manuscripts, but a certain squeamishness seems to have taken hold among them, perhaps because of the authorship debate that has gone on for so long. Arn 2010 is a comparison of certain features of the layout of f. fr. 25458 and Harley 682.
  2506.  
  2507. Arn, Mary-Jo. “Manuscrit français, manuscrit anglais: de la ductilité du propos poétique.” In Lectures de Charles d’Orléans: les ballades. Edited by Denis Hüe, 19–41. Collection “Didact Français.” Rennes, France: Presses universitaires de Rennes, 2010.
  2508.  
  2509. Save Citation »Export Citation »E-mail Citation »
  2510.  
  2511. Compares the page layout and form of the French poetry in f. fr. 25458 and Harley 682, concluding that the two manuscripts must have been planned by the same man. Contains corrections of the decription of f. fr. 25458 published in an earlier article.
  2512.  
  2513. Find this resource:
  2514.  
  2515.  
  2516. The “Oxbridge” Manuscript (Ox)
  2517.  
  2518. The Oxford fragment (first printed by Bliss in 1869, in “Reliquiae hearnianae,” vol. 1, given to Hearne by Richard Rawlinson) was first identified as the work of Charles in the third volume of Falconer Madan’s Summary Catalogue of Western MSS (Oxford, 1895). These four lyrics were first printed by Emil Hausknecht in the same year. Robbins 1951 was the first to publish all eight of the lyrics, which consist of two ballades and six roundels. See (Steele and Day 1970, p. xviii, cited under Editions of the English Poetry).
  2519.  
  2520. Robbins, Rossell Hope. “Some Charles d’Orléans Fragments.” Modern Language Notes 66 (1951): 501–505.
  2521.  
  2522. DOI: 10.2307/2908860Save Citation »Export Citation »E-mail Citation »
  2523.  
  2524. Though he was not the first to discover them (Henry Bradshaw had already transcribed but had not published them), Robbins was the first to associate the lyrics of the Cambridge fragments (CUL MS. Additional 2585 [1]) with the Oxford leaves and print them together. He established that the Harley manuscript must be prior to the fragmentary copy. His transcription is not entirely reliable.
  2525.  
  2526. Find this resource:
  2527.  
  2528.  
  2529. Modern Anthologies
  2530.  
  2531. Individual lyrics or very small groups of them have been frequently reprinted, but larger groups have not. This is in part a reflection of the difficulty modern literary scholars have in dealing with short lyrics in English. Hammond 1927 is an early edition of a large body of poetry (including lyric, despite the title) and a very useful overview of early scholarship on the French poetry. Boffey 2003 is one of the two long narratives in a collection of dream visions.
  2532.  
  2533. Boffey, Julia, comp. “Charles of Orleans, Love’s Renewal.” In Fifteenth-Century English Dream Visions: An Anthology. Edited by Julia Boffey, 158–194. Oxford: Oxford University Press, 2003.
  2534.  
  2535. Save Citation »Export Citation »E-mail Citation »
  2536.  
  2537. Contains the text of the second of the two narratives (titled by Robert Steele “Love’s Renewal”), which includes the vision of Venus and Fortune and the meeting with the “new lady,” in the context of late medieval dreams. With glosses on page and a bibliography.
  2538.  
  2539. Find this resource:
  2540.  
  2541.  
  2542. Hammond, Eleanor Prescott. English Verse between Chaucer and Surrey, Being Examples of Conventional Secular Poetry, Exclusive of Romance, Ballad, Lyric, and Drama, in the Period from Henry the Fourth to Henry the Eighth. Durham, NC: Duke University Press, 1927.
  2543.  
  2544. Save Citation »Export Citation »E-mail Citation »
  2545.  
  2546. See pp. 214–232. Extensive introduction to a selection of Charles’s lyrics taken from various manuscripts (twenty-three poems, of which twelve are in parallel French and English lyrics).
  2547.  
  2548. Find this resource:
  2549.  
  2550.  
  2551. Subjectivity
  2552.  
  2553. Spearing 1992 is on the relationship between imprisonment and subjectivity. Spearing 1995 argues against the identification of the poet with the narrator. Epstein 2003 takes issue with the description in Spearing 1995 of subjectivity in Charles’s poetry.
  2554.  
  2555. Epstein, Robert. “Prisoners of Reflection: The Fifteenth-Century Poetry of Exile and Imprisonment.” Exemplaria 15 (2003): 159–198.
  2556.  
  2557. DOI: 10.1179/exm.2003.15.1.159Save Citation »Export Citation »E-mail Citation »
  2558.  
  2559. Discusses Charles’s use of images of imprisonment but claims that “Charles’s poetic subjectivity seems stable, centered, even immutable” (p. 173). See especially pp. 170–180. Compares the poet’s work with that of Petrarch and juxtaposes the duke’s English poetry with that of James I, Hoccleve, George Ashby, and “Suffolk.” Work by earlier scholars of imprisonment as a theme in late-medieval literature is surveyed in the notes.
  2560.  
  2561. Find this resource:
  2562.  
  2563.  
  2564. Spearing, A. C. “Prison, Writing, Absence: Representing the Subject in the English Poems of Charles d’Orléans.” Modern Language Quarterly 53 (1992): 83–99.
  2565.  
  2566. DOI: 10.1215/00267929-53-1-83Save Citation »Export Citation »E-mail Citation »
  2567.  
  2568. An imaginative and incisive analysis of the poet’s use of “imprisonment” to represent subjectivity “as a disputed territory whose boundaries shift” as the relations of ‘I’” and various abstractions change (p. 91). The poem exists only because the writer is absent. Reprinted in Chaucer to Spenser: A Critical Reader, edited by Derek Pearsall (Blackwell Critical Readers in Literature. Malden, MA: Blackwell, 1999, pp. 297–311.).
  2569.  
  2570. Find this resource:
  2571.  
  2572.  
  2573. Spearing, A. C. “The Poetic Subject from Chaucer to Spenser.” In Subjects on the World’s Stage: Essays on British Literature of the Middle Ages and the Renaissance. Edited by David G. Allen and Robert A. White, 13–37. Newark: University of Delaware Press, 1995.
  2574.  
  2575. Save Citation »Export Citation »E-mail Citation »
  2576.  
  2577. An interesting precursor to Spearing’s book, Textual Subjectivity (Oxford: Oxford University Press, 2005). Argues that Charles does not correspond to the “I” of the English poetry and demonstrates why and how that is the case. On Charles, see especially pp. 25–28, 36–37.
  2578.  
  2579. Find this resource:
  2580.  
  2581.  
  2582. Literary Analysis/Interpretation
  2583.  
  2584. Literary analysis of the English poetry, especially in the form of book-length (or even article-length) studies, is still in its infancy. Nathan 1965 uses an oblique approach to connect a late-medieval (Charles) and an early-modern writer. Green 1983 grounds a lyric by Charles in an actual, physical gift (or exchange?) of tokens. Arn 1990 approaches meaning through form, specifically using the three fixed forms Charles employs in his English poetry to explain the poet’s refracted view of love. See also Coldiron 2001 (cited under Issues of Translation).
  2585.  
  2586. Arn, Mary-Jo. “Poetic Form as a Mirror of Meaning in the English Poems of Charles of Orleans.” Philological Quarterly 69 (1990): 13–29.
  2587.  
  2588. Save Citation »Export Citation »E-mail Citation »
  2589.  
  2590. Treats three of the forms Charles chose for his English poetry (ballade, narrative verse, roundel) as expressions of three different ways of looking at the love predicament, one idealized (the early ballades), one comic (narrative), and one performative (roundels).
  2591.  
  2592. Find this resource:
  2593.  
  2594.  
  2595. Green, Richard Firth. “Hearts, Minds and Some English Poems of Charles d’Orléans.” English Studies in Canada 9 (1983): 136–150.
  2596.  
  2597. Save Citation »Export Citation »E-mail Citation »
  2598.  
  2599. On the private language of love. An interesting guide to possible occasional promptings for the duke’s lyrics, in this case the use of a roundel to accompany the gift of a physical heart in the form of a piece of jewelry.
  2600.  
  2601. Find this resource:
  2602.  
  2603.  
  2604. Nathan, Leonard E. “Tradition and Newfangleness in Wyatt’s ‘They Fle from Me.’” English Literary History 32 (1965): 1–16.
  2605.  
  2606. DOI: 10.2307/2872369Save Citation »Export Citation »E-mail Citation »
  2607.  
  2608. Nathan draws on the tradition of the 15th-century artistocratic love poem (born of the Rose and the Troilus) to explain some puzzling aspects of Wyatt’s poem. Uses as his examples Charles’s ballade “O Swete thought y neuyr in no wise” and his roundel “The smylyng mouth and laughyng eyen gray” to illustrate. An early demonstration of the 15th–16th-century literary continuum.
  2609.  
  2610. Find this resource:
  2611.  
  2612.  
  2613. Form, Language, Style, Rhetoric
  2614.  
  2615. Much is yet to be done on the duke’s poetics in English. Of the works cited here, only Camargo 1991 deals with his subject at all exhaustively (see also Arn 1994, pp. 67–100, 389–91, cited under Editions of the English Poetry). A study of Charles’s Middle English is an urgent desideratum. The linguists have yet to weigh in by investigating the dialect (if one can be found), the register(s), the spellings, and the word fields. See also the introduction to Steele and Day 1970, cited under Editions of the English Poetry). However, Daunt 1949 is a sound study of Charles’s rhymes. Simmons 1968 identifies many words and forms not found in the Middle English Dictionary (Kurath, et al. 1956–2001, cited under Research Tools: English). Gradon 1971 is a useful study of his style that deserves more attention. Camargo 1991 is a study of the epistle as Charles uses it that enriches the reading of lyrics that can all come to sound the same without awareness of the epistolic textures. Davenport 2000 discusses the poet’s rhyming.
  2616.  
  2617. Camargo, Martin. The Middle English Verse Love Epistle. Studien zur Englischen Philologie n. s. 28. Tübingen, Germany: Niemeyer, 1991.
  2618.  
  2619. DOI: 10.1515/9783110910797Save Citation »Export Citation »E-mail Citation »
  2620.  
  2621. Provides a careful and detailed analysis of the poet’s love documents, epistolary ballades, and love epistles. Camargo walks the reader through the “legal formalities,” the rules of “epistolary decorum,” and “dictaminal style.” Distinguishes love epistles and pseudo-documents from epistolic ballades.
  2622.  
  2623. Find this resource:
  2624.  
  2625.  
  2626. Daunt, Marjorie. “A Study of the Rhymes Used by Charles of Orléans in his English Poems.” Transactions of the Philological Society 48.1 (1949): 135–154.
  2627.  
  2628. DOI: 10.1111/j.1467-968X.1949.tb00698.xSave Citation »Export Citation »E-mail Citation »
  2629.  
  2630. Daunt’s work would have attracted more critical attention if it had been published, as planned, in the Steele and Day edition (see Steele and Day 1970, cited under Editions of the English Poetry). A useful presentation of rhyme groups with notes on phonics attached. See also Jansen 1989b (pp. 48–51, cited under Authorship of a Group of Poems in Oxford Bodleian Library MS Fairfax 16 [Booklet 5, fols. 314r–329r]).
  2631.  
  2632. Find this resource:
  2633.  
  2634.  
  2635. Davenport, W. A. “Ballades, French and English, and Chaucer’s ‘Scarcity’ of Rhyme.” Parergon 18 (2000): 181–201.
  2636.  
  2637. DOI: 10.1353/pgn.2000.0012Save Citation »Export Citation »E-mail Citation »
  2638.  
  2639. In discussing the English form of the ballade, Davenport attends to the forms used by Quixley in his translation of Gower’s French and by Charles in the English poems as well as to Chaucer’s variations on the form. Concludes that the “scarcity” of rhyme in English is a myth.
  2640.  
  2641. Find this resource:
  2642.  
  2643.  
  2644. Gradon, Pamela. Form and Style in Early English Literature. London: Methuen, 1971.
  2645.  
  2646. Save Citation »Export Citation »E-mail Citation »
  2647.  
  2648. Discusses the poet’s “abstract style” and use of “pattern and contrast,” and his lack of “picturation.” Agrees with Anne Tukey Harrison that he does not write true allegory. See chapter 6: Mannerism and Renaissance, pp. 332–381; especially pp. 336–47.
  2649.  
  2650. Find this resource:
  2651.  
  2652.  
  2653. Simmons, Autumn. “A Contribution to the Middle English Dictionary: Citations from the English Poems of Charles, duc d’Orléans.” Journal of English Linguistics 2 (1968): 43–56.
  2654.  
  2655. DOI: 10.1177/007542426800200105Save Citation »Export Citation »E-mail Citation »
  2656.  
  2657. Identifies non-Chaucerian and unique word forms, colloquial and regional registers, new compounds, new forms, and new meanings not found in the Middle English Dictionary (Kurath, et al. 1956–2001, cited under Research Tools: English).
  2658.  
  2659. Find this resource:
  2660.  
  2661.  
  2662. Questions of Authorship
  2663.  
  2664. Most of the work on the poems in the Harley manuscript has been devoted, sadly, to the question of their authorship. Only a year after the first publication in 1827 of the English poems of BL MS Harley 682 by George Watson Taylor, who attributed them to Charles, their authorship was challenged by Francisque Michel (significantly, a Frenchman; Michel 1838) and Sir Thomas Croft, who disputed the attribution despite the self-naming of the author as “Charlis” and “duke of Orleans” in the poems. A few years later, three German scholars, Georg Bullrich in 1883, Karl Münster in 1894, and Paul Sauerstein in 1899 sided with Michel. Some scholars have debated whether Charles might be the author of another group of English lyrics in the so-called Fairfax manuscript (ca. 1450, in Booklet 5, which includes work by Chaucer, Hoccleve, Lydgate, and one lyric that can be found in f. fr. 25458), but this opinion, too, has been strongly challenged.
  2665.  
  2666. Attribution of the Poems in Harley 682
  2667.  
  2668. Michel 1838 is much quoted, probably because Michel is the first to dispute the authorship, and because he was a Frenchman. MacCracken 1911 followed with the attribution of the English poems to William de la Pole, duke of Suffolk, one of the duke’s “keepers” during his captivity. Assertion of Charles’s authorship was taken up by an Englishman, Robert Steele in the first modern edition of the poetry (Steele and Day 1970, originally published in the 1940s, cited under Editions of the English Poetry). Poirion (Poirion 1958; Poirion 1978), a hugely influential scholar, denied the duke’s authorship absolutely, and Cigada 1960 (cited under General Literary Studies and Bibliographies) was in agreement. Though Stemmler (Stemmler 1964) was of the same opinion, in his edition of some medieval English love lyrics he includes seven of the English poems as the work of “Charles d’Orléans(?).” Scattered English poems continued to appear in anthologies under various forms of attribution. Then Fox (Fox 1965), a highly regarded English scholar of French literature, undertook to refute Poirion’s arguments, and the two split the scholarly community for most of the remaining years of the 20th century. Clark 1971 surveys work by English scholars on Charles and finds most wanting. Arn 1993 took up the matter, arguing for the duke as English poet (see also Arn 2010, cited under British Library MS Harley 682 (H)), but Calin 1994 disagrees. Opinions that at one time seemed to split roughly along linguistic/cultural/national lines are now largely leaning toward the duke’s authorship, especially among younger scholars, though a significant minority of scholars (both French and non-French) object to it.
  2669.  
  2670. Arn, Mary-Jo. “Charles of Orleans and the Poems of BL MS, Harley 682.” English Studies 74 (1993): 222–235.
  2671.  
  2672. DOI: 10.1080/00138389308598857Save Citation »Export Citation »E-mail Citation »
  2673.  
  2674. Deals primarily with the language and the rhymes to demonstrate that the author of these poems was not a native speaker of Middle English.
  2675.  
  2676. Find this resource:
  2677.  
  2678.  
  2679. Calin, William. “Will the Real Charles of Orleans Please Stand! Or Who Wrote the English Poems in Harley 682?” In Conjunctures: Medieval Studies in Honor of Douglas Kelly. Edited by Keith Busby and Norris J. Lacy, 69–86. Faux titre 83. Amsterdam: Rodopi, 1994.
  2680.  
  2681. Save Citation »Export Citation »E-mail Citation »
  2682.  
  2683. In three sections: Philological and Textual; Literary Criticism; Literary History and History of Culture. Rehearses and assesses plausibility of earlier arguments. Section 1 declares the contest a draw. Section 2 considers structure, ordering, and narrativity of the collections; concludes that a biographical reading is invalid. Section 3 shows lack of evidence that Charles was interested in English poetry; concludes that it is unlikely he composed the English.
  2684.  
  2685. Find this resource:
  2686.  
  2687.  
  2688. Clark, Cecily. “Charles d’Orléans: Some English Perspectives.” Medium Aevum 40 (1971): 254–261.
  2689.  
  2690. Save Citation »Export Citation »E-mail Citation »
  2691.  
  2692. Raises the question of Charles as author of the English poems and notes some details that would be difficult to explain away, such as the use of the word “tawny.”
  2693.  
  2694. Find this resource:
  2695.  
  2696.  
  2697. Fox, John. “Charles d’Orléans, poète anglais.” Romania 86 (1965): 433–462.
  2698.  
  2699. Save Citation »Export Citation »E-mail Citation »
  2700.  
  2701. Mounts a strong attack in support of Charles d’Orléans as the author of the English poems. Deals with arguments by earlier scholars; notes that Champion was unaware of Volume 2 of Steele’s 1946 EETS edition (see Steele and Day 1970, cited under Editions of the English Poetry). Discusses language, rhymes, grammar, tone, humor, phonetic similarity, attitude, culture(s), traditions, language proficiency, and gallicisms. Rehearses the arguments of Poirion 1958 and discusses them.
  2702.  
  2703. Find this resource:
  2704.  
  2705.  
  2706. MacCracken, Henry Noble. “An English Friend of Charles of Orléans.” PMLA 26 (1911): 142–180.
  2707.  
  2708. DOI: 10.2307/456876Save Citation »Export Citation »E-mail Citation »
  2709.  
  2710. Ascribes the English lyrics in f. fr. 25458, along with unascribed lyrics from other MSS (Trinity Coll. Cambridge R.3.20, BL Fairfax 16, BL Royal 16 F II, and, mistakenly, Grenoble 873) to one of Charles’s keepers (and, apparently, a friend), William de la Pole, duke of Suffolk.
  2711.  
  2712. Find this resource:
  2713.  
  2714.  
  2715. Michel, Francisque. “Description du manuscrit du Musée britannique: Bibliothèque harléienne, no. 682.” In Rapports à M. le Ministre de l’instruction publique sur les anciens monuments de l’histoire et de la littérature de France qui se trouvent dans les bibliothèques de l’Angleterre et de l’Écosse. By Francisque Michel, 267–278. Collection de documents inédits sur l’histoire de France. Paris: Imprimerie royale, 1838.
  2716.  
  2717. Save Citation »Export Citation »E-mail Citation »
  2718.  
  2719. The first to dispute (without presenting evidence) the authorship of the poems published in 1827 by George Watson Taylor. Provides a first-line index of 147 poems, followed by a transcription of 6 samples.
  2720.  
  2721. Find this resource:
  2722.  
  2723.  
  2724. Poirion, Daniel. “Création poétique et composition romanesque dans les premiers poèmes de Charles d’Orléans.” Revue des sciences humaines 90 (1958): 185–211.
  2725.  
  2726. Save Citation »Export Citation »E-mail Citation »
  2727.  
  2728. Poirion’s argument follows his title: the higher degree of narrativity (and orderliness) in Harley demonstrates that the duke, an “essentially” lyric poet, could not have composed the English poems. His belief that the French MS (f. fr. 25458) was made in 1444 in France supports a number of his arguments. Discusses envoys, language, tone, manner, and style. Reprinted in his Écriture poétique et composition romanesque (Orléans, France: Paradigme, 1994, pp. 307–337).
  2729.  
  2730. Find this resource:
  2731.  
  2732.  
  2733. Poirion, Daniel. “Charles d’Orléans et l’Angleterre: un secret désir.” Special Issue: Mélanges de philologie et de littératures romanes offerts a Jeanne Wathelet-Willem. Edited by Jacques de Caluwé. Marche romane (1978): 505–527.
  2734.  
  2735. Save Citation »Export Citation »E-mail Citation »
  2736.  
  2737. Deals with the poetic exchange between Charles and Burgundy, possibilities of amorous relationships in England, double meanings/word play/conscious obscurities, political games he played, his friendship and ongoing relationship with Suffolk, his “mysticism,” and a list of what Poirion considers mistranslations. The English do not “know the secret” of Charles d’Orléans in England, which involves both a kind of mysticism and a kind of nostalgia. Reprinted in his Écriture poétique et composition romanesque (Orléans, France: Paradigme, 1994, pp. 359–379).
  2738.  
  2739. Find this resource:
  2740.  
  2741.  
  2742. Stemmler, Theo. “Zur Verfasserfrage der Charles d’Orléans zugeschriebenen englischen Gedichte.” Anglia 82 (1964): 458–473.
  2743.  
  2744. DOI: 10.1515/angl.1964.1964.82.458Save Citation »Export Citation »E-mail Citation »
  2745.  
  2746. Draws on work by two 19th-century German commentators as well as MacCracken 1911. Takes issue with Steele and Day 1970; argues that the author of the English poetry was perhaps a professional English minstrel. Points to “mistranslations,” the looser rhyme scheme, the less pictorial impression it makes, and the fact that the English poems contain more humor. Sees the naked Venus and the tone of her exchange with the narrator inappropriate to Charles’s style.
  2747.  
  2748. Find this resource:
  2749.  
  2750.  
  2751. Authorship of a Group of Poems in Oxford Bodleian Library MS Fairfax 16 [Booklet 5, fols. 314r–329r]
  2752.  
  2753. MacCracken 1911 (cited under Attribution of the Poems in Harley 682) suggests that the Fairfax poems were by the same person as the poems in Harley 682 (in his opinion, that of the duke of Suffolk). Hammond 1927 (cited under Modern Anthologies) considers this and other possibilities but does not make a definite attribution. Norton-Smith 1979 attributes a group of the lyrics to Charles. Jansen 1989a and Jansen 1989b argue strongly against Charles’s authorship primarily on linguistic grounds. Steele and Day 1970 (cited under Editions of the English Poetry) also dismisses the claim. Pearsall 2000 likewise objects to MacCracken’s attribution. Neilly 2011, while denying Charles’s authorship, allows the possibility that the author is the duke of Suffolk.
  2754.  
  2755. Jansen, J. P. M. “Charles d’Orléans and the Fairfax Poems.” English Studies 70 (1989a): 206–224.
  2756.  
  2757. DOI: 10.1080/00138388908598628Save Citation »Export Citation »E-mail Citation »
  2758.  
  2759. Demonstrates the extreme unlikelihood that Charles is the author of the “Fairfax Poems.” Also denies that the duke of Suffolk wrote them. Very useful information on rhymes and rhyme schemes.
  2760.  
  2761. Find this resource:
  2762.  
  2763.  
  2764. Jansen, Johannes Petrus Maria. “The ‘Suffolk’ Poems: An Edition of the Love Lyrics in Fairfax 16 Attributed to William de la Pole.” Dissertation, University of Groningen, 1989b.
  2765.  
  2766. Save Citation »Export Citation »E-mail Citation »
  2767.  
  2768. Skeptical of Norton-Smith’s tentative suggestion of Suffolk’s authorship (Norton-Smith 1979), Jansen also names and rejects Sir John Stanley (Norton-Smith) and Sir Richard Roos (Ethel Seaton). Includes stylistic and linguistic arguments throughout. Edits the group of lyrics anew and provides an apparatus, a linguistic profile, a list of rhyme words, and full glossary. An excellent piece of work. For availability, see Karolus.
  2769.  
  2770. Find this resource:
  2771.  
  2772.  
  2773. Neilly, Mariana. “The ‘Fairfax Sequence’ Reconsidered: Charles d’Orléans, William de la Pole, and the Anonymous Poems of Bodleian MS Fairfax 16.” Fifteenth Century Studies 36 (2011): 127–136.
  2774.  
  2775. Save Citation »Export Citation »E-mail Citation »
  2776.  
  2777. Analyzes the Fairfax sequence and determines that the poetry is not the work of Charles, in part because of the clearly political tenor of some of it and its lack of subtlety and allegory as well as its lack of technical polish. Neilly finds Suffolk a more likely contender. She sees the sequence as a primary source for The Assembly of Ladies, which ends similarly.
  2778.  
  2779. Find this resource:
  2780.  
  2781.  
  2782. Norton-Smith, John. “Introduction.” Bodleian Library MS Fairfax 16. London: Scolar, 1979.
  2783.  
  2784. Save Citation »Export Citation »E-mail Citation »
  2785.  
  2786. Gives a good summary of scholarship to that date. Calls MacCracken’s attribution “wholly without foundation” but suggests that 6 lyrics (321v–327v) may be from Charles’s hand. Facsimile.
  2787.  
  2788. Find this resource:
  2789.  
  2790.  
  2791. Pearsall, Derek. “The Literary Milieu of Charles of Orléans and the Duke of Suffolk, and the Authorship of the Fairfax Sequence.” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 145–156. Woodbridge, UK: D. S. Brewer, 2000.
  2792.  
  2793. Save Citation »Export Citation »E-mail Citation »
  2794.  
  2795. Points out deep flaws in MacCracken’s arguments (MacCracken 1911 (cited under Attribution of the Poems in Harley 682) and asserts that his muddled arguments have distracted readers from evaluating this series of lyrics properly, a series that Pearsall describes as important because it is “a carefully composed [anonymous] sequence” in the “English moral tradition of love-complaint and love-epistle” (p. 155). He names the group “the Fairfax sequence.”
  2796.  
  2797. Find this resource:
  2798.  
  2799.  
  2800. Charles d’Orléans among the English and Scottish Poets
  2801.  
  2802. Because the English poems did not circulate during or after the poet’s captivity in England, it is not easy to say with certainty how his poetry relates to that of Chaucer, Gower, and those who came after them, though it is easy to find parallels with the work of other “prisoner poets,” with that of writers of fixed-form verse, and with writers who partake in the broad range of verse influenced by, for instance, Boethius’s Consolation or the Roman de la Rose. Much work remains to be done. Pearsall 1962 draws parallels between Charles’s poetry and the anonymous Assembly of Ladies. Boffey 1995 discusses Charles as a Chaucerian. Other scholars have noted the coincidence of Charles’s captivity with that of another poet, James I of Scotland, author of the Kingis Quair. However, no one has yet provided any convincing evidence that they ever met or read each other’s poetry. Mühlethaler 2010 takes issue with Arn’s contention that Charles knew the work of John Gower (esp. his lyrics written in French). For an interesting juxtaposition of Charles, Lydgate, and Hoccleve, see Butterfield 2012 (cited under Issues of Translation). Epstein discusses the work of Charles together with that of James I, Hoccleve, George Ashby, and “Suffolk” on the theme of imprisonment. See also Spearing 2000 (cited under Dreams) and Camargo 1991 (cited under Form, Language, Style, Rhetoric).
  2803.  
  2804. Boffey, Julia. “Charles of Orleans Reading Chaucer’s Dream Visions.” In Mediaevalitas: Reading the Middle Ages. Edited by Piero Boitani and Anna Torti, 43–62. J. A. W. Bennett Memorial Lectures 9th Series. Cambridge, UK: D. S. Brewer, 1995.
  2805.  
  2806. Save Citation »Export Citation »E-mail Citation »
  2807.  
  2808. Discusses fully the discernable influences of Chaucer on Charles’s dream visions, as well as the relation between Charles’s dream visions and those of James I. Also takes a broader view of “what other poets were reading Chaucer.” Names a number of owners of Chaucer manuscripts and their relations to one another.
  2809.  
  2810. Find this resource:
  2811.  
  2812.  
  2813. Mühlethaler, Jean-Claude. “Charles d’Orléans, lecteur de John Gower? à la recherche de l’intertexte évanescent.” Méthode! 18 (2010): 41–48.
  2814.  
  2815. Save Citation »Export Citation »E-mail Citation »
  2816.  
  2817. Taking issue with Arn 1994 (cited under Editions of the English Poetry), which suggests that Charles read some of Gower’s poetry, Mühlethaler argues that Charles may rather have found his inspiration in French poetry and that both Charles and Gower wrote in the long, broad tradition of the post-Consolation and post-Roman de la Rose Middle Ages.
  2818.  
  2819. Find this resource:
  2820.  
  2821.  
  2822. Pearsall, D. A. The Floure and the Leafe and the Assembly of Ladies. Old and Middle English Texts. Manchester, UK: Manchester University Press, 1962.
  2823.  
  2824. Save Citation »Export Citation »E-mail Citation »
  2825.  
  2826. Notes in the introduction the similarities in theme, style, and diction between the late-15th-century Assembly of Ladies and the duke’s English poetry. See also Steele and Day 1970 (p. xxxvii, cited under Editions of the English Poetry and Neilly 2011 (cited under Authorship of a Group of Poems in Oxford Bodleian Library MS Fairfax 16 [Booklet 5, fols. 314r–329r]).
  2827.  
  2828. Find this resource:
  2829.  
  2830.  
  2831. Literary Associations in England
  2832.  
  2833. A number of scholars have tried to tease out the lines of communication—poetic, social, political—with English or French writers during Charles’s captivity. Harrison 1980 is an early analysis of the exchange of ballades between the dukes of Orléans and Burgundy. Planche 1991 takes up the same subject, adding Bourbon to the discussion. Boffey 1994 is concerned with manuscript circulation and therefore with manuscript owners and the circulation of texts within England and between France and England (see also Boffey 1995, cited under Charles d’Orleans among the English and Scottish Poets). Askins 2000 lays out a matrix of English nobility, social class, book ownership, movements, and possible associations that provides a firm starting place from which to work.
  2834.  
  2835. Askins, William. “The Brothers Orléans and Their Keepers.” In Charles d’Orléans in England, 1415–1440. Edited by Mary-Jo Arn, 27–45. Woodbridge, UK: D. S. Brewer, 2000.
  2836.  
  2837. Save Citation »Export Citation »E-mail Citation »
  2838.  
  2839. This is the first real attempt to contextualize the duke’s life in England among the English. Askins delineates a number of the duke’s contacts and the relationships he had with men who owned and cared about books. This is a rich field, and Askins makes an excellent beginning at plowing it.
  2840.  
  2841. Find this resource:
  2842.  
  2843.  
  2844. Boffey, Julia. “English Dream Poems of the Fifteenth Century and Their French Connections.” In Literary Aspects of Courtly Culture: Selected Papers from the Seventh Triennial Congress of the International Courtly Literature Society. Edited by Donald Maddox and Sara Sturm-Maddox, 113–121. Woodbridge, UK:: D. S. Brewer, 1994.
  2845.  
  2846. Save Citation »Export Citation »E-mail Citation »
  2847.  
  2848. Discusses “the circulation of French love-visions and dits in England, or among English readers” (p. 115). Records owners of specific works and traces the movements of texts where possible. Cites the captivity of Charles and Jean (as well as other incidents and other members of the nobility) as a conduit through which texts might flow from France to England and back again.
  2849.  
  2850. Find this resource:
  2851.  
  2852.  
  2853. Harrison, Anne Tukey. “Orléans and Burgundy: The Literary Relationship.” Stanford French Review 4 (1980): 475–484.
  2854.  
  2855. Save Citation »Export Citation »E-mail Citation »
  2856.  
  2857. After a brief summary of relations between the two dukes, Charles and Philippe le Bon, a close literary analysis of the two ballades (B128, B130) by Philippe copied into f. fr. 25458 as responses to Charles’s own; briefly shows Philip as a competent poet and stresses these poems as historical and diplomatic documents.
  2858.  
  2859. Find this resource:
  2860.  
  2861.  
  2862. Planche, Alice. “Présence et absence de l’événement dans l’œuvre de Charles d’Orléans.” In Histoire et littérature au Moyen Âge: actes du colloque du Centre d’études médiévales de l’Université de Picardie, Amiens, 20–24 mars 1985. Edited by Danielle Buschinger, 389–402. Göppinger Arbeiten zur Germanistik 546. Göppingen, Germany: Kümmerle, 1991.
  2863.  
  2864. Save Citation »Export Citation »E-mail Citation »
  2865.  
  2866. Brief study of Charles’s exchanges of ballades, with Philippe de Bourgogne and Jean de Bourbon during his captivity and, further, distantly political verses after 1440. Stresses Charles’s lack of overt engagement with current events but shows that a full reading may suggest more than is often thought.
  2867.  
  2868. Find this resource:
  2869.  
  2870.  
  2871. Charles and Music in Late-Medieval France and in England
  2872.  
  2873. Until around 1350, poets generally composed music for the lyrics they composed, intended for performance together. It was inevitable therefore that readers have been curious as to whether Charles himself composed any music to accompany his own poetry, in part because he was known to have played the harp. No substantial evidence for it has been found, but it is much more likely that his lyrics were sung to tunes composed by others, and most of the scholars in this category have investigated this possibility. (The question of who put the music together with the poetry is unknown.) For detailed information on manuscript sources of contemporary musical settings, see Fallows 1999 (pp. 731–732, cited under Research Tools: French,). Important composers contemporary with the duke are Guillaume Dufay, John Bedyngham, and Gilles Binchois. All are dealt with successfully in David Fallows’s articles (Fallows 1977a; Fallows 1977b; Fallows 1983; Fallows 1987). Wilkins 1983 attempts to provide a musical context for the poet’s lyrics. Wilkins 1991 demonstrates that the spaces left in the f. fr. 25458 cannot have been left blank to receive music to accompany the poems. Gilbert 2011 proposes that a lyric from Montecassino 871 is by Charles. Sewright 2009 explores the relationship of Lansdowne 380 to the chansonniers of the 15th and 16th centuries.
  2874.  
  2875. Fallows, David. “Words and Music in Two English Songs of the Mid-15th Century: Charles d’Orléans and John Lydgate.” Early Music 5 (1977a): 38–43.
  2876.  
  2877. DOI: 10.1093/earlyj/5.1.38Save Citation »Export Citation »E-mail Citation »
  2878.  
  2879. Discusses the method of matching the lyrics of a late medieval song to surviving music and demonstrates it.
  2880.  
  2881. Find this resource:
  2882.  
  2883.  
  2884. Fallows, David, ed. “Two Mid-Fifteenth-Century English Songs.” Early Music Series 28 supp (1977b): 4.1–4.8.
  2885.  
  2886. Save Citation »Export Citation »E-mail Citation »
  2887.  
  2888. Charles d’Orléans’s “Mi verry joy” (“Mon seul plaisir”) is set by Fallows to music by John Bedyngham (with editorial note). Modern transcription of the two songs, with lyrics, discussed in Fallows 1977a.
  2889.  
  2890. Find this resource:
  2891.  
  2892.  
  2893. Fallows, David, ed. Mi verry joy: Songs of the 15th Century Englishmen. [LP]. L’Oiseau-Lyre “Florilegium” DSDL 714. London: Editions de L’Oiseau-Lyre, 1983.
  2894.  
  2895. Save Citation »Export Citation »E-mail Citation »
  2896.  
  2897. Contains John Bedyngham’s (d. 1460) setting of “Mi verry joy,” performed by the Medieval Ensemble of London, directed by Peter Davies and Timothy Davies.
  2898.  
  2899. Find this resource:
  2900.  
  2901.  
  2902. Fallows, David. “Review of Julia Boffey, Manuscripts of English Courtly Love Lyrics in the Later Middle Ages.” Journal of the Royal Music Association 112 (1987): 132–138.
  2903.  
  2904. DOI: 10.1093/jrma/112.1.132Save Citation »Export Citation »E-mail Citation »
  2905.  
  2906. Discusses ascription of “Ay mi lasse” as well as “Mon cuer chante” to Charles d’Orléans and the musical context of the lyrics.
  2907.  
  2908. Find this resource:
  2909.  
  2910.  
  2911. Fallows, David. “Binchois and the Poets.” In Binchois Studies. Edited by Andrew Kirkman and Dennis Slavin, 199–219. Oxford: Oxford University Press, 2000.
  2912.  
  2913. Save Citation »Export Citation »E-mail Citation »
  2914.  
  2915. Discusses possibilities that some lyrics of songs by Binchois might be ascribed to Charles and concludes that “Mon cuer chante” should no longer be assigned to him, though “Adieu ma tres belle maistresse” and “Va tost mon amoureux desir” may be his.
  2916.  
  2917. Find this resource:
  2918.  
  2919.  
  2920. Gilbert, Adam Knight. “Words and Music in the Sea of Long Waiting.” In Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois et bonne estrenne. Edited by Fabrice Fitch and Jacobijn Kiel, 207–217. Woodbridge, UK: Boydell, 2011.
  2921.  
  2922. Save Citation »Export Citation »E-mail Citation »
  2923.  
  2924. Deals with both text and music of the rondeau balladant, Dedans la mer de longue actente (from the “Jardin de plaisance” though without music there), and music from MS Montecassino 871. Gilbert’s careful reading suggests that the lyric could be from the hand of the duke, and he suggests two possible composers for the music: Firminus Caron and (drawing in the chanson “Gardés le trait”) Robert Morton.
  2925.  
  2926. Find this resource:
  2927.  
  2928.  
  2929. Sewright, Kathleen. “An Introduction to British Library MS Lansdowne 380.” Notes: Quarterly Journal of the Music Library Association 65 (2009): 633–736.
  2930.  
  2931. DOI: 10.1353/not.0.0179Save Citation »Export Citation »E-mail Citation »
  2932.  
  2933. Discusses the juxtaposition of Charles’s lyrics to those from other hands known to be set to music. Associates the manuscript with the court of Burgundy. See especially “The Song Texts of Lans 380” (pp. 662–673).
  2934.  
  2935. Find this resource:
  2936.  
  2937.  
  2938. Wilkins, Nigel. “Music and Poetry at Court: England and France in the Late Middle Ages.” In English Court Culture in the Later Middle Ages. Edited by V. J. Scattergood and J. W. Sherborne, 183–204, plates 16–18. London: Duckworth, 1983.
  2939.  
  2940. Save Citation »Export Citation »E-mail Citation »
  2941.  
  2942. Sets Charles in the context of music heard and played at court and discusses the circulation and influence of music, musicians, and poetry between England and France. Suggests possible musical settings for Charles’s rondeaux.
  2943.  
  2944. Find this resource:
  2945.  
  2946.  
  2947. Wilkins, Nigel. “Charles d’Orléans: avec musique ou non?” Romania 112 (1991): 268–272.
  2948.  
  2949. Save Citation »Export Citation »E-mail Citation »
  2950.  
  2951. This article should have ended the discussion of whether the spaces left above the chansons/rondeaux in f. fr. 25458 were intended for the insertion of music. Wilkins’s arguments against such an intention are conclusive. Arn 2010 (cited under British Library MS Harley 682) extends the point by presenting reproductions of chansonniers for comparison.
  2952.  
  2953. Find this resource:
  2954.  
  2955.  
  2956. Charles as Depicted in Medieval Art and Literature
  2957.  
  2958. As a prince and a poet, Charles attracted poets and artists who wanted to represent him in words or in pictures, more often ideally than realistically, as was the fashion. Champion 1927 prints encomia composed by two members of his household, Robertet and Cadier. Gros 1992 discusses Charles as he appears in a medieval drama. Gros also edited the “Mystère,” in which Charles plays a part, and translated it into modern French (Gérard Gros, ed. Mystère du siège d’Orléans. Lettres gothiques 4562. Paris: Livre de Poche, 2002, pp. 48–59, fols. 7v–11r). A Musée des arts décoratifs tapestry of the 1460s depicts a nobleman and his wife; the depiction of the chantepleure (a kind of watering can)—the devise of Valentina Visconti, taken up by Marie de Clèves on her marriage to the duke—suggests that this is a representation of Charles and his third wife. British Library MS, Royal 16 F II contains a very famous image of the duke in the Tower of London. In BnF MS f. fr. 966, Charles and Marie are depicted flanking the figure of Christ crucified. Archive nationale MS Q1 477 contains a full length depiction of the duke in an inhabited initial. The Hague: KB MS 76 E 10 contains a depiction of the duke in his Toison d’Or robes. Van Buren 2011 presents depictions of the duke and discusses the costume he wears.
  2959.  
  2960. Champion, Pierre, ed. Charles d’Orléans: poésies. Vol. 2. Classiques français du Moyen Âge, 56. Paris: Honoré Champion, 1927.
  2961.  
  2962. Save Citation »Export Citation »E-mail Citation »
  2963.  
  2964. See pp. 603–604. Champion prints two lyrics in praise of the duke taken from Marie de Clèves’s manuscript, Carpentras 375 (see Carpentras, Bibliothèque Inguimbertine MS 375 (M)), the first (Ung droit Cesar en liberalité) by Jean Robertet, one of Charles’s clercs des comptes, and the second (Vous l’ung des plus nobles du monde), by Guillaume Cadier, the duke’s treasurer.
  2965.  
  2966. Find this resource:
  2967.  
  2968.  
  2969. Charles d’Orléans et Marie de Clèves sous un dais. Brussels or Tournai, c. 1460–1465. Wool and silk tapestry, Musée des arts décoratifs, Paris. Inv. # 21121.
  2970.  
  2971. Save Citation »Export Citation »E-mail Citation »
  2972.  
  2973. The sumptuous clothing, the baldachin with drapery held up by angels, the idyllic setting with little dog are highly appropriate. The apparent youth of the duke (married at forty-six) is unlikely, though it may simply be intended as an ideal portrayal. The tapestry and an image of a chantepleure in a border of one of Marie’s manuscripts can be seen online.
  2974.  
  2975. Find this resource:
  2976.  
  2977.  
  2978. The First View of London. In London, British Library MS Royal 16 F II, fol. 73.
  2979.  
  2980. Save Citation »Export Citation »E-mail Citation »
  2981.  
  2982. Full-page miniature. This is the well-known miniature of the duke in the Tower of London, in which he is depicted three times: in the White Tower writing at a table, then looking out a window, and outside the tower greeting another man with a kiss. Also available as frontispiece of Arn 2000 (cited under Essay Collections Dedicated to Charles d’Orléans), Fox 1969 (cited under Rondeau), and elsewhere.
  2983.  
  2984. Find this resource:
  2985.  
  2986.  
  2987. Gros, Gérard. “La ville dont le prince est démuni: le duc Charles dans le Mistere du siege d’Orléans.” Perspectives médiévales 18 (1992): 67–76.
  2988.  
  2989. Save Citation »Export Citation »E-mail Citation »
  2990.  
  2991. Begins with a rhetorical and technical discussion of such plays and then moves to an analysis of the character, Charles, who appears both pious and melancholy. He blames Fortune for his situation and prays to God to relieve his misery and set him free. Juxtaposes passages from the drama with a number of the duke’s lyrics.
  2992.  
  2993. Find this resource:
  2994.  
  2995.  
  2996. Paris, Archive nationale MS Q1 477, fol. 1 (inhabited initial, c. 1460).
  2997.  
  2998. Save Citation »Export Citation »E-mail Citation »
  2999.  
  3000. Antoine de Beaumont pays homage to Charles d’Orléans for the seigneurie of Bury. Reproduced in “Dedens mon livre de pensee . . . ”: de Grégoire de Tours à Charles d’Orléans. Une histoire du livre médiéval en région Centre, edited by Élisabeth Lalou and Claudia Rabel (Paris: Somogy Éditions d’art, 1997, p. 128). See also de Croÿ, “Un portrait de Charles d’Orléans,” Mémoires de la société des sciences & lettres de Loir-et-Cher 19 (1909): 99–110: 100.
  3001.  
  3002. Find this resource:
  3003.  
  3004.  
  3005. Paris, Bibliothèque nationale de France MS f. fr. 966, f. In Gallica.
  3006.  
  3007. Save Citation »Export Citation »E-mail Citation »
  3008.  
  3009. Full-page miniature. Charles d’Orléans and Marie de Clèves at prayer Also see J. de Croÿ, “Un portrait de Charles d’Orléans,” Mémoires de la société des sciences & lettres de Loir-et-Cher 19 (1909): 99–110. Discussed briefly and reproduced. Or Google search: “francais 966.”
  3010.  
  3011. Find this resource:
  3012.  
  3013.  
  3014. Statuts, Ordonnances et Armorial de l’Ordre de la Toison d’Or. The Hague, Royal Library MS KB, 76 E 10, 57r.
  3015.  
  3016. Save Citation »Export Citation »E-mail Citation »
  3017.  
  3018. Contains more than ninety miniatures of members of Burgundy’s Order, in hooded red robes, in architectural settings, each with his coat of arms displayed. It is unlikely that any attempt was made to depict them realistically. This same manuscript contains an image of the assembly of the Order of the Golden Fleece, in which the duke also appears. Available online.
  3019.  
  3020. Find this resource:
  3021.  
  3022.  
  3023. van Buren, Anne H., and Roger S. Wieck. Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands, 1325–1515. New York: Morgan Library and Museum, 2011.
  3024.  
  3025. Save Citation »Export Citation »E-mail Citation »
  3026.  
  3027. Discusses depictions, focusing on costume, in the frontispiece of the “Judgment of the Duke of Alençon” (Munich, BSB, Cod.Gall.6, fol. 2v), and in “Presentation of the Book to Duke Charles of Orléans” (BnF, MS f. fr. 497, fol. Av). See especially p. 190 and pl. 51, f. 122 and p. 186 and pl. 50, f. 120.
  3028.  
  3029. Find this resource:
  3030.  
  3031.  
  3032. Charles and the Arts: Post-Medieval Fiction, Poetry, Drama, Music, Art
  3033.  
  3034. A certain fascination with the duke has survived to our day, evidenced by his appearance in art, fiction and lyric poems, plays, and most of all, ever more musical settings of his lyrics. Haasse 1949 is the best known representation of the duke in fiction. This work has been frequently reprinted (it has never been out of print). Wilbur 1961, a noted American poet, imagines himself joining in a poetic competition at the duke’s chateau. Banville 1973 composes two dozen rondels in the duke’s style. Drillon 1993 is a highly experimental play based on Charles’s work.
  3035.  
  3036. Banville, Théodore de. Rondels. Edited by Martin Sorrell. Textes litteraire 10. Exeter, UK: University of Exeter Press, 1973.
  3037.  
  3038. Save Citation »Export Citation »E-mail Citation »
  3039.  
  3040. Contains twenty-four lyrics presented as “Rondels composés à la manière de Charles d’Orléans, Poète et Prince Français, Père de Louis XII, Oncle de François 1er, juillet 1875.” Introduction and notes point to some specific poetic references and techniques. Brief bibliography. First published in 1898.
  3041.  
  3042. Find this resource:
  3043.  
  3044.  
  3045. Drillon, Jacques. Charles d’Orléans ou le genie mélancolique: théâtre à lire. Paris: J. C. Lattès, 1993.
  3046.  
  3047. Save Citation »Export Citation »E-mail Citation »
  3048.  
  3049. A closet drama in five acts and three interludes (the second entitled “Le monologue du livre”), in which “characters” such as “La marge,” “Le texte,” and “La citation” speak the duke’s words or their own. Highly experimental, unperformable, but interesting.
  3050.  
  3051. Find this resource:
  3052.  
  3053.  
  3054. Haasse, Hella S. Het woud der verwachting: het leven van Charles van Orléans. Amsterdam: Querido, 1949.
  3055.  
  3056. Save Citation »Export Citation »E-mail Citation »
  3057.  
  3058. A good, well-written piece of historical fiction that does not pretend to be history. Translated as In a Dark Wood Wandering, revised and edited by Anita Miller from an English translation by Lewis C. Kaplan (Chicago: Academy, 1989) as well as into French: En la forêt de Longue Attente: le roman de Charles d’Orléans (translated by Anne-Marie de Both-Diez. Paris: Seuil, 2007).
  3059.  
  3060. Find this resource:
  3061.  
  3062.  
  3063. Wilbur, Richard. “Ballade for the Duke of Orléans, Who Offered a Prize at Blois, Circa 1457, for the Best Ballade Employing the Line ‘Je meurs de soif auprès de la fontaine.’” In Advice to a Prophet and Other Poems. By Richard Wilbur, 45–46. New York: Harcourt, Brace, 1961.
  3064.  
  3065. Save Citation »Export Citation »E-mail Citation »
  3066.  
  3067. A very late offering to a poetry competition at Blois. Wilbur has also translated poetry by the duke (see Smith 1967, cited under Translations into Modern French). Reprinted in Wilbur’s collected works (Collected Poems, 1943–2004. Orlando, FL: Harcourt, 2004).
  3068.  
  3069. Find this resource:
  3070.  
  3071.  
  3072. Music
  3073.  
  3074. Many modern composers have been drawn to Charles’s poetry, most notably Debussy and Poulenc. With the help of Adam Knight Gilbert, we have chosen a sample of settings of Charles’s lyrics. For many of the other modern musicians who have set poems by the duke’s hand, see Mühlethaler 1996 (pp. 20–21 cited under Editions of the French Poetry: Paris, Bibliothèque nationale de France MS f. fr. 25458 (O)) and Galderisi 2012 (pp. 128–131, cited under Bibliographies). Debussy 1904 contains two chansons by the poet set to music. Debussy 1908–1910 contains three other chansons by the poet set to music. Poulenc 1939 sets Charles’s lyric Priez pour paix to music. Françaix 1950 sets five of Charles’s poems to music. Milhaud 1963 composes a cantata to texts by the poet. Recordings of a number of these publications are available.
  3075.  
  3076. Debussy, Claude. Trois chansons de France. Paris: Durand, 1904.
  3077.  
  3078. Save Citation »Export Citation »E-mail Citation »
  3079.  
  3080. Includes Le temps a laissié son manteau and Pour ce que plaisance est morte.
  3081.  
  3082. Find this resource:
  3083.  
  3084.  
  3085. Debussy, Claude. Trois chansons de Charles d’Orléans: à 4 voix mixtes sans accompagnement. Textes français et anglais. Paris: Durand, 1908–1910.
  3086.  
  3087. Save Citation »Export Citation »E-mail Citation »
  3088.  
  3089. Includes Dieu! qu’il la feit bon regarder!; Quant j’ai ouy de tabourin; Yver, vous n’estes qu’en villain.
  3090.  
  3091. Find this resource:
  3092.  
  3093.  
  3094. Françaix, Jean-René. Cinq poèmes de Charles d’Orléans. Édition Schott 4112. New York: Schott, 1950.
  3095.  
  3096. Save Citation »Export Citation »E-mail Citation »
  3097.  
  3098. Score for voice and piano includes En regardant ces belles fleurs; Laissez-moi penser à mon ayse; Petit mercier! Petit panier!; Je ne vois rien qui ne m’enuie; and Nouvelles ont couru en France (Encore est vive la souris).
  3099.  
  3100. Find this resource:
  3101.  
  3102.  
  3103. Milhaud, Darius. 1961. Caroles. Op. 402. Paris: Max Eshig, 1963.
  3104.  
  3105. Save Citation »Export Citation »E-mail Citation »
  3106.  
  3107. Cantata for chorus and four instrumental groups; text by Charles d’Orléans.
  3108.  
  3109. Find this resource:
  3110.  
  3111.  
  3112. Poulenc, Francis. Priez pour paix (voix moyenne). Poem by Charles d’Orléans. Paris: Salabert, 1939.
  3113.  
  3114. Save Citation »Export Citation »E-mail Citation »
  3115.  
  3116. Score, for voice and piano.
  3117.  
  3118. Find this resource:
  3119.  
  3120.  
  3121. Art
  3122.  
  3123. Charles d’Orléans has been depicted in many ways by modern artists. These are simply three of the best known images of him. Mennechet 1835 presents him as a full-figure handsome man who exudes authority. Copies of this image, some colored later (variously), are often marketed as individual works of art. François 1845 depicts him elegantly and more romantically in a setting that probably represents Blois. Matisse, by far the best-known artist to represent him, provides a sketch of his head drawn in thick lines with crayon. See also Charles d’Orléans 1908, cited under Fine Press and Illustrated Collections.
  3124.  
  3125. François, Ange. “Le poète Charles d’Orléans.” Musée de Brou, Bourg-en-Bresse, c. 1845.
  3126.  
  3127. Save Citation »Export Citation »E-mail Citation »
  3128.  
  3129. Oil on wood, 46 cm × 39 cm. The duke sits at a table with a quill in his right hand and a piece of paper or parchment in his left. The woman beside him is probably intended to be his third wife, Marie de Clèves, with a servant attending to her train. Ermine trimmed robe over a gold brocade doublet.
  3130.  
  3131. Find this resource:
  3132.  
  3133.  
  3134. Matisse, Henri. Poèmes de Charles d’Orléans. Frontispiece. Paris: Tériade, 1950.
  3135.  
  3136. Save Citation »Export Citation »E-mail Citation »
  3137.  
  3138. Printed line drawing in crayon of the duke’s head (with hat) precedes a collection of Charles’s lyrics hand-copied and decorated by the artist. Available online.
  3139.  
  3140. Find this resource:
  3141.  
  3142.  
  3143. Mennechet, Edmund. Le Plutarque français, vies des hommes et femmes illustres de la France, avec leurs portraits en pied. Engr. [Jean Alexandre] Allais from a work by Charles Abraham Chasselet. Vol. 2. Paris: L’Imprimerie de Crapelet, 1835.
  3144.  
  3145. Save Citation »Export Citation »E-mail Citation »
  3146.  
  3147. Short biographies, each with an engraved, full-length portrait of the person being described. Prefaced to a twelve-page biography, the duke is depicted in his early years, dressed in a furred robe over a doublet and hose, a short sword at his waist, holding a scroll in his left, gloved hand. Available online.
  3148.  
  3149. Find this resource:
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