By John MacQueen
This e-book provides an important second look of the works of the fifteenth-century Scottish poet, Robert Henryson. Encompassing the entire diversity of the poet’s paintings, Professor John MacQueen opens up formerly unexplored components of either Henryson’s literary perform and his underlying ethical and philosophical imaginative and prescient. MacQueen argues that numerology is principal to the highbrow panorama that formed Henryson’s improvement as a poet, and that numerological styles and constructions are embedded all through his corpus, revealing themselves now not easily in such brazenly allegorical works because the testomony of Cresseid, but additionally in lots of of the Fables to boot. This publication for this reason recovers for a latest viewers traits to which Henryson’s unique readers might were alert, whereas even as conveying anything of the strength and pleasure of his highbrow and poetic tradition. via a sequence of shut and delicate readings of the poems, the publication offers an unique and lucid account of Henryson’s paintings that may not basically interact experts in medieval Scottish literature, yet also will entice a much broader readership with broader pursuits in narrative and poetic shape.
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Additional resources for Complete and Full with Numbers. The Narrative Poetry of Robert Henryson (Scroll 5) (Scottish Cultural Review of Language and Literature)
Figour, a variant spelling of figure. The editors give no reason for treating the variants under separate heads. There is no etymological difference. OED treats both senses together. 19. Fox ed. 1981: 5, “and in facound purpurate”, the reading found in the Makculloch MS and the Charteris print. I have adopted “as Poete Lawriate”, the reading of the Bassandyne print, the Harleian MS, the Smith print of 1577, and the Hart print of 1621. The Bannatyne MS reads “facound and purperat”. One or other reading may indicate a Henrysonian revision of the text.
Neither practice nor theory adapted to the intellectual climate of the eighteenth- and early nineteenth-centuries. Effectually the process was forgotten, but eventually, as the example of The Wreck of the Deutschland illustrates, something of it was recovered. Cultural historians recognised it in terms mainly of art and literature. Émile Mâle, for instance, after some discussion of individual numbers, observes: “We might say that in all the great works of the Middle Ages, there is something of this sacred arithmetic.
That great epic is built on numbers” (Mâle 1984: 13). (As a consequence, parallels from the Divine Comedy will often be cited in the course of this study). F. Hopper’s influential study, published in 1938 (Hopper 1938). R. R. 16 We have also had good analyses of sixteenth- and seventeenthcentury as well as medieval vernacular prose and poetry (Hieatt 1960; Fowler 1964; Butler 1970; Fowler ed. 1970; Eckhardt ed. 1980). In mainland Britain, Chaucer made some use of the technique (MacQueen, J. 1985: 95–96).