Illuminations, heraldry and King Edward III
2009; Taylor & Francis; Volume: 25; Issue: 3 Linguagem: Inglês
10.1080/02666280802426089
ISSN1943-2178
Autores Tópico(s)Renaissance Literature and Culture
ResumoClick to increase image sizeClick to decrease image size Acknowledgements Early versions of this paper were presented at Professor G. Venet's seminar in January 2005 and at the Epistémè conference on 'Baroque(s) et maniérisme(s) littéraires' (University of the Sorbonne, Paris, June 2005). I am indebted to Professor Drakakis for his generous support and advice, and to the Besançon Library, the BnF and the Pierpont Morgan Library for their technical help and kindness. Notes 1. – All references are to King Edward III, ed. Giorgio Melchiori, The New Cambridge Shakespeare (Cambridge: Cambridge University Press, 1998). 2. – Melchiori, p. 201. 3. – See Michael Camille, Image on the Edge: The Margins of Medieval Art (London: Reaktion Books, 1992). 4. – See the battles of Guernsey (fol. 118), Bourgneuf (fol. 388v), La Rochelle (fol. 393) in Froissart's Chroniques (ms. fr. 2643, BnF, Paris), and the battle of Sluys (fol. 276) in Jean de Wavrin's Chronique d'Angleterre (Royal 14 E.IV, British Library, London) for a similar composition. 5. – See the battles of Crécy and Poitiers in Froissart's Chroniques (fol. 165v and fol. 207, ms. fr. 2643, BnF, Paris). 6. – The rendering of the battle of Poitiers by the Boucicaut Master (c.1415) in the Grandes Chroniques de France (Cotton Nero E II pt. 2, fol.166, British Library) is an example of the limitations imposed by smaller spaces. The two kings on horseback, with foot soldiers, are engaged in single combat against a plain red background, all figures standing in the shallow foreground space of the composition. 7. – James A.W. Heffernan, 'Ekphrasis and Representation', NLH 22/2 (Spring 1991), pp. 297–316, p. 299. See also Murray Krieger, Ekphrasis: The Illusion of the Natural Sign (Baltimore: Johns Hopkins University Press, 1992); W.J.T. Mitchell, 'Space, Ideology, and Literary Representation', Poetics Today, 10/1 (Spring 1989), pp. 91–102; Shahar Bram, 'Ekphrasis as a shield: ekphrasis and the mimetic tradition', Word & Image, 22/4 (2006). 8. – See Tamar Yacobi, 'Pictorial Models and Narrative Ekphrasis', Poetics Today, 16/4 (Winter 1995), pp. 599–649. 9. – Jean H. Hagstrum, The Sister Arts: The Tradition of Literary Pictorialism from Dryden to Gray (Chicago: University of Chicago Press, 1958), p. xxii. 10. – Heffernan, p. 300. 11. – Louis Marin, De la Représentation (Paris: Seuil, 1994), p. 316, my translation; also pp. 342–63. Also Jacques Derrida, The Truth in Painting (1978; Chicago: University of Chicago Press, 1987). 12. – Marin, p. 330. 13. – The observer/painter is then displaced by the beholder (the Black Prince, King Edward), who is displaced by the spectator's gaze, in a complex relay of looks. 14. – See Jacques Derrida, Memoirs of the Blind (1990; Chicago: University of Chicago Press, 1993). 15. – Alberti, On Painting, trans. John R. Spencer (New Haven, CT: Yale University Press, 1966), p. 77. 16. – Marin, p. 319 (my translation). 17. – Designation, as Lyotard claimed, is figural, not discursive, introducing visible to textual space: 'The indicated space, the here, is apprehended in a sensible field, as its focal point no doubt, but not so that its surroundings are eliminated as is the case in the choices that a speaker makes; they remain, in an uncertain and undeniable presence, curvilinear, the presence of that which lies at the edge of vision, a reference absolutely necessary to the indication of place … but whose nature is completely different from that of a linguistic operation: the latter refers back to a discontinuous inventory, vision refers to a topological space.' J.‐F. Lyotard, Discours, Figure (Paris: Klincksieck, 1971), p. 38, trans. Bill Readings in Introducing Lyotard: Art and Politics (New York: Routledge, 1991), p. 16. 18. – On the relationship between text and image in Froissart, see M. Meiss, French Painting in the Time of Jean de Berry: The Limbourgs and their Contemporaries (London: Thames & Hudson; New York: Pierpont Morgan Library, 1974); L. Harf‐Lancner and M.‐L. Le Guay, 'L'Illustration du Livre IV des Chroniques de Froissart: les rapports entre texte et image', Le Moyen Âge, 46 (1990), pp. 93–112; M.‐L. Le Guay, 'Les manuscrits enluminés du Livre IV de Froissart: les rapports entre le texte et l'illustration', Perspectives médiévales, 18 (1992), pp. 129–31; Peter Ainsworth, 'A Passion for Townscape: Depictions of the City in a Burgundian Manuscript of Jean Froissart's Chroniques', in Regions and Landscapes. Reality and Imagination in Late Medieval and Early Modern Europe, eds Peter Ainsworth and Tom Scott (Bern: Peter Lang, 2000), pp. 69–111. 19. – See Kurt Weitzmann, Illustration in Roll and Codex (Princeton, 1946); Marilyn Aronberg Lavin, The Place of Narrative: Mural Decoration in Italian Churches, 1431–1600 (Chicago: University of Chicago Press, 1990). For Leonardo (A Treatise on Painting), the capacity of painting to compress successive moments in a single image contributed to its superiority over poetry. 20. – On the theater and the visual arts, see Leonard Barkan, 'Making Pictures Speak: Renaissance Art, Elizabethan Literature, Modern Scholarship', Renaissance Quarterly, 48/2 (Summer 1995), pp. 326–51; S.K. Heninger Jr., 'Sidney's Speaking Pictures and the Theater', Style, 23 (1989), pp. 395–404. 21. – Murray Krieger, 'Ekphrasis and the Still Moment of Poetry; or Laokoön Revisited', in The Poet as Critic, ed. Frederick P.W. McDowell (Evanston IL: Northwestern University Press, 1967), p. 5. 22. – Melchiori, p. 43. 23. – Melchiori, p. 207. 24. – The arms of England quartered with those of France (quarterly, 1st and 4th azure, three fleur‐de‐lys or, 2nd and 3rd gules, three Lions passant guardant in pale or armed and langued azure) were first used in 1340. 25. – A sign of the prominence of the chivalric ethos is the number of heralds in the play. The guardians of rituals and signs, they managed ceremonies, proclaimed victory, judged tournaments, issued letters of defiance, and called for truce. In addition to herald figures, the protagonists assume some of these functions — delivering a message, a challenge, procuring safe conduct, supervising a knighting ceremony, proclaiming defeat — turning into de facto heralds of arms. Thus disseminated, the herald figure exerts a hold over the play, shaping its ritual and formalizing its content. 26. – Melchiori, p. 43. 27. – Louis Marin, Utopiques: Jeux d'espace (Paris: Editions de minuit, 1973), p. 257 (my translation). 28. – A chevron is a V‐shaped charge; a canton a square on the top left‐ or right‐hand side of the field. 29. – The raven, like the luce, represents arms parlantes or canting, proceeding by verbal–visual punning, like a sound image, a cipher or a hieroglyph, translating names into a visible code (e.g. Corbet, Corbett, Ravenscroft, Lucy). 30. – John Shakespeare had applied in vain for a coat of arms in the mid‐1570s. His son renewed the application in October 1596. On heraldry in early‐modern literature, see J.F.R. Day, 'Primers of Honor: Heraldry, Heraldry Books, and English Renaissance Literature', Sixteenth Century Journal, 21/1 (Spring 1990), pp. 93–103; on heraldry in Shakespeare, see Charles Wilfrid Scott‐Giles, Shakespeare's Heraldry (London: Dent, 1950). 31. – On the 'coat' pun, see the discussion of Justice Shallow's arms in The Merry Wives of Windsor (1.1.14–18). The Norton Shakespeare, eds Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katherine Eisaman Maus (New York: Norton, 1997). 32. – Heraldic tinctures are divided into metals, yellow or gold (or), white or silver (argent), and colors: black (sable), blue (azure), red (gules), green (vert) and purple (purpure). The sea at Sluys is made 'purple' by blood (3.1.161); the sky at Poitiers is 'azure' (4.5.115). The palette of the play is limited to the range of heraldic colors. 33. – The Garden of Eden, if not the orchard of the Hesperides (29), is a recorded device figuring Adam and Eve on either side of a tree on a mount vert. 34. – Eric Sams, ed., Shakespeare's Edward III: An Early Play Restored to the Canon (New Haven, CT and London: Yale University Press, 1996), p. 132. 35. – See Lucien Dällenbach, The Mirror in the Text, trans. Jeremy Whitely and Emma Hughes (Chicago: University of Chicago Press, 1989). 36. – Other examples include Party: parted; [em]battled: crenellated; roundel: disk — their names vary according to what tincture is applied to them: plate is the name of the roundel argent, pendent: hanging down; cuffed: used of a sleeve or maunch, of which the cuff is in a different tincture; replenished: sown with, semé or semy; a height consists of feathers placed in a row on a crest. A probably spurious legend, but one the dramatist might have been aware of, is that the feathers on the crest of the Prince of Wales were received by Prince Edward from the helmet of John of Luxemburg at Crécy. 37. – Details of attribution and dating are from the description of ms M 804, Pierpont Morgan Library (26 July 1950). 38. – The artist's choice was dictated by considerations of readability, too, as the size allotted to each pennon made it virtually impossible to deal with fine details. Simplification and the corruption of pigments over time (white has turned dun) make identification problematic. Identifiable on the English side are the arms of (1) Edward III (not quartered); (2) ? Edward, Prince of Wales, or Henry Plantagenet, Earl of Derby; (3) ? (4) Bartholomew, Lord Burghersh; (5) Thomas Beauchamp, Earl of Warwick; (6) Robert Ufford, Earl of Suffolk; (7) Reginald, Lord Cobham; (8) Ralph, Lord Stafford; (9) John Chandos; (10) Geoffrey d'Harcourt; (11) William, Lord Latimer; (12) Roger, Lord de la Warr; (13) Thomas Clifford; (14) Nicholas Audley; (15) ? Sir Maurice de Berkeley, or Thomas, Lord Berkeley; (16) Robert, Lord Willoughby; (17) Sir Robert Neville. 39. – J.‐F. Lyotard, Discours, Figure (Paris: Klinksieck, 1985), pp. 163–79. 40. – Lyotard, p. 170. 41. – Lyotard, p. 13; trans. Bill Readings, Introducing Lyotard: Art and Politics (New York: Routledge, 1991), p. 25. 42. – Lyotard, p. 172 (my translation). 43. – See W.L. Godshalk, 'Shakespeare's Edward III', Shakespeare and Renaissance Association of West Virginia: Selected Papers, 21 (1998), pp. 69–84; p. 73. 44. – Philip Sidney, Defence of Poesie, ed. Elizabeth Porges Watson (London: Dent, 1997), p. 89. 45. – Sidney, p. 122. On this paradox, see Barkan, pp. 344–5. 46. – Sidney, p. 121. 47. – Ernest B. Gilman, Iconoclasm and Poetry in the English Reformation: Down Went Dagon (Chicago: University of Chicago Press, 1986). On the impact of iconoclasm on the theatre see Michael O'Connell, The Idolatrous Eye: Iconoclasm and Theater in Early‐Modern England (New York: Oxford University Press, 2000). 48. – O'Connell, p. 32.
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