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@prefix cnt: <http://www.w3.org/2011/content#> .
@prefix dc: <http://purl.org/dc/elements/1.1/> .
@prefix dcterms: <http://purl.org/dc/terms/> .
@prefix dctypes: <http://purl.org/dc/dcmitype/> .
@prefix dm: <http://dm.drew.edu/ns/> .
@prefix exif: <http://www.w3.org/2003/12/exif/ns#> .
@prefix foaf: <http://xmlns.com/foaf/0.1/> .
@prefix oa: <http://www.w3.org/ns/oa#> .
@prefix ore: <http://www.openarchives.org/ore/terms/> .
@prefix perm: <http://vocab.ox.ac.uk/perm#> .
@prefix sc: <http://www.shared-canvas.org/ns/> .
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dc:title "BNF f. fr. 22545";
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dc:title "Fountain as visual artifact ";
cnt:chars "<a href=\"https://collab.itc.virginia.edu/access/content/group/658f937f-3041-433a-86c3-c9394b36163d/Readings%20for%202_13/fren5150.huot.a-late-redaction-of-machauts-oeuvre.pdf\">Sylvia Huot, in her reading of Machaut's oeuvre</a>, asserts that the presence of Machaut's <i>Roman de la Rose</i> in <i>La Fonteinne Amoureuse</i> is suggested by the description of the fountain and the corresponding images. And, as in the <i>Roman</i>, there is a coupling of Guillaume de Machaut and Jean de Berry; and \"once again the orally expressed, lyric lament of the lover-singer is transformed into a written text by the poet-writer, whose intervention allows for a fulfillment, at least poetically, of the lover's dilemma\" (296). <div><br/></div><div><br/></div><div>Though Huot is referring to the <a href=\"http://gallica.bnf.fr/ark:/12148/btv1b84490444/f347.image\">illuminations in MS A</a>, the illuminations of the fountain in F occur at the same point in the text, and in both A and F the depiction of the fountain is rather vague as compared to the detailed description in the text. Nevertheless, the prominent role of the visual artifact in both MSS is stressed, and readers who are familiar with the <i>Rose</i> and its illuminations are able to recognize the reference and understand the parallels between the two works. </div>" .
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oa:exact "Occioit tant de gens a traire" .
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dc:title "Miniatures ";
cnt:chars "<p>As stated by Earp in <i>Guillaume de Machaut : A Guide to Research</i> (Garland, 1995), there is a remarkable similarity in the locations of the miniatures in MSS A and F-G, which suggests that they shared the same exemplars. The contents of the miniatures, though, differ greatly. </p><div><br/></div><div>For a comparison of these two miniatures in MSS A and F-G, refer to <i>Guillaume de Machaut : The Prologue and Four Love Poems</i>, edited by R. Barton Palmer, pages 102 and 106. </div><div><br/></div><div>[then go in and do more specific differences]</div>" .
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dc:title "Illumination comparison with other folio in F";
cnt:chars "<p>In this folio of MS F, the two illuminations depict the lover and poet looking at the Fountain of Love. Though the surrounding text provides a detailed description of the decoration of the fountain, the illuminations keep the reader within the narrative frame of lover and poet, rather than that of Hector and Achilles or Jupiter and Venus. </p><div><br/></div><div>To compare, in <a href=\"http://gallica.bnf.fr/ark:/12148/btv1b60007997/f252.image\" style=\"text-decoration: underline; \">folio 122v of the same MS</a>, there is a high concentration of illuminations (4) illustrating the myth of Ceyx and Alcyone, which calls attention to its narration as opposed to that of the poet hearing and writing down the lover's lament. </div><div><br/></div><div>Comparing these illuminations with those of folio 127r, we can understand how the illuminations guide the reader to stay within a certain narrative frame. <a href=\"https://collab.itc.virginia.edu/access/content/group/658f937f-3041-433a-86c3-c9394b36163d/Readings%20for%202_13/fren5150.huot.a-late-redaction-of-machauts-oeuvre.pdf\">As Huot has suggested</a>, the \"truth\" of the text (in this case the detailed description of the figures carved into the fountain) is not called into question. Instead, the narrative focus is on that of the poet and the lover (299).</div>" .
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oa:exact "Et Troïllus moult se traveille" .
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oa:exact "Mais n’i pooit rien conquester." .
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oa:exact "Et que Jupiter l’ordonna" .
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dc:title "Identifying lover and poet";
cnt:chars """<p>The illuminator has made the lover and the poet quite distinguishable. The poet's less vibrantly colored robes contrast the deep red of those of the lover, which is indicative of the class difference. Furthermore, the lover/price is wearing an illuminated, decorative sash. </p><div><br/></div><div>While the illumination does elucidate the difference between poet and lover/prince, and <a href="https://collab.itc.virginia.edu/access/content/group/658f937f-3041-433a-86c3-c9394b36163d/Readings%20for%202_13/fren5150.huot.a-late-redaction-of-machauts-oeuvre.pdf">Huot</a> notes that <i style="font-style: italic; ">La Fonteinne</i> is the poem in which Machaut most explicitly presents himself as poet in
the service of an aristocratic patron (293), certain aspects reinforce the more egalitarian relationship suggested in the text. Lines 1243-6 read, </div><div><br/></div><div><p>"Every day I heard so much said about you </p>
<p>That reason drew my will </p>
<p>Toward loving and obeying you, </p>
<p>As well as, and gladly, <i style="font-style: italic; ">seeing</i> you."</p><p>(emphasis mine)</p><p><br/></p><p>The poet does not merely wish to blindly love and obey the prince, he also wishes to <i style="font-style: italic; ">see</i> him, to interact with him. Soon after, in line 1271, the prince addresses the poet as his "sweet friend." Their relationship has a more friendly, egalitarian dynamic rather than the submissive poet/noble patron relationship more typical of Machaut's other work. </p><p><br/></p><p>This is depicted in the illumination: the poet is standing at the same height as the lover/prince, with a relaxed posture. Additionally, the decorative detailing on the poet's shoes catch the attention of the reader's eye. Avril has noted that Remy, the illuminator of this MS, usually drew his figures flat and with few details (Éditions Klincksieck, 1982, pg. 129). Because he took care to decorate the poet's shoes, we can imagine that the poet is just as important as the lover in this illumination.</p></div>""" .
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dc:title "Vine decoration";
cnt:chars "<p>The vine decoration surrounding the two illuminations is intertwined, which could lead the reader to assume that the images themselves intertwine to represent the same story. The supporting text does indeed reinforce the similarity of the illuminations' program. They both depict the lover and poet looking at the fountain, and the text on this folio, before and after both illuminations, carefully describes the fountain's carvings and the physical space surrounding it. </p>" .
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oa:exact "overtly" .
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oa:exact "Que c’estoit une grant merveille." .
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dc:title "Fountain sets up dream space";
cnt:chars """<p>The two illuminations on this folio illustrate the Fountain of Love, though they do not necessarily depict word-for-word the detailed descriptions of the carvings on the fountain given in the surrounding text. Because we still see the poet and the lover, as well as the fountain, it seems that the illuminations seek to set up them up in the dream space. </p><div><br/></div><div>The image of the fountain, with its twelve-headed serpent, certainly suggests a mythological atmosphere. Additionally, in lines 1305-07, the text reads, </div><div><br/></div><div>"But there was no sheep or ewe, </div>
<p>No bitch, stag, or household animal </p>
<p>Who ever drank there, for it was mounted atop </p>
<p>A great pillar of ivory"</p><p><br/></p><p>The reader understands that the fountain does not serve the practical purpose of providing water for animals. Rather, it is a fountain for lovers, whose decoration evokes gods and mythological figures. <a href="http://www.jstor.org/stable/pdfplus/3526160.pdf?acceptTC=true">As Anne Stone has written</a> in a piece about Ciconia's <i>Sus une fontanye</i>, "the image of the fountain was a common-place of medieval French poetry, in which its real-life role as a source of water represented metaphorically a source of more abstract attributes-love, virtue and so on" (375). </p><p><br/></p><p>Because these illuminations illustrate the fountain <i style="font-style: italic; ">as well as</i> the surrounding nature and the poet and lover, it seems to guide the reader into the dream space without letting them get too involved in the image of the fountain itself, where the focus is on the story of the lover and the poet. </p><p><br/></p><p><br/></p>""" .
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oa:exact "Pour la fille Calcas de Troie" .
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dc:title "Clothes";
cnt:chars "<br/>" .
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oa:exact "states" .
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oa:exact "N’a ses mortels cops contrester." .
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oa:exact "Briseÿda. Que vous diroie?" .
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oa:exact "Et le mervilleus sagittaire" .
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oa:exact "caption" .
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oa:exact "as facilitator of the dream space" .
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oa:exact "Par Pymalion, qui bien ouevre," .
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oa:exact "," .
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dc:title "Placement of illuminations";
cnt:chars """<p>MS A includes a heading declaring that it has been organized according to Guillaume de Machaut's wishes, declaring the effort of the aged author to order his works definitively. <a href="https://collab.itc.virginia.edu/access/content/group/658f937f-3041-433a-86c3-c9394b36163d/Readings%20for%202_13/EarpJournalofAmerMusSoc.pdf" style="text-decoration: underline; ">Earp</a> has proposed that MS F was copied from the same exemplar as MS A, given that the placement and program of the miniatures is almost identical (489). <a href="http://gallica.bnf.fr/ark:/12148/btv1b84490444/f348.image" style="text-decoration: underline; ">Though the program of these 2 illuminations differs from that of MS A</a>, their placement within the text is most likely that desired by Machaut himself. </p><div><br/></div><div>The first illumination occurs amidst supplementary information about the decoration on the fountain. More specifically, lines 1330-3 state, </div><div><br/></div><div>"Lower down was the battle
<p>Where Achilles in the melee </p>
<p>Was fighting against Hector."</p><p><br/></p><p>The next space contains the illumination, and the 7 lines following pertain to the story of Hector and Achilles, but not necessarily the description of the carvings in the fountain. Although the program of the illumination does not correspond exactly to the authoritative MS A, neither depict the exact description narrated in the text. It seems probable that Machaut wanted the reader to remain within the narrative frame of the poet and the lover in the garden with the fountain, rather than getting caught up in the story of Hector and Achilles. </p><p><br/></p><p>The second illumination on this folio resembles very closely the first. It occurs just after a description of the nature surrounding the fountain, which further sets up the garden as a dream space. The major difference between the two illuminations is that in the second, the poet and prince are seated. Additionally, whereas the first occurred in the middle of a narration of a description of the fountain, the second seems to indicate a new, fresh thought. The text goes from a description of the area surrounding the fountain, to the illumination, to a narration of the poet and lover's actions: </p><p><br/></p><p>"He sat down and made me sit </p>
<p>To listen and look over </p>
<p>The fountain’s design" (lines 1371-1373).</p><p><br/></p><p>Given that the two characters are now seated and that the illumination breaks up two trains of thought, it seems to prepare the reader to focus on the description of the fountain that continues. </p><p> </p><div><br/></div></div>""" .
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dc:title "Poet's clothing";
cnt:chars "<p>Art historian François Avril, referring to MS C, states that the secular clothing of Machaut in the illuminations indicates that it was illuminated during a period of his career when he frequented the Court of France, in the 1360s. (Éditions Klincksieck, 1982). </p><div><br/></div><div>MS F is believed to have been illuminated in the late 1380s/early 1390s, after Machaut's death in 1377 (<a href=\"https://collab.itc.virginia.edu/access/content/group/658f937f-3041-433a-86c3-c9394b36163d/Readings%20for%202_13/EarpJournalofAmerMusSoc.pdf\">see Earp diagram, pg. 474</a>). Thus, following Avril's pattern, the ecclesiastical robes of the poet/Machaut in MS F suggest that the illuminations represent Machaut's position of canon near the end of his life. </div>" .
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oa:exact "Qui de ce serpent l’or donna," .
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oa:exact "22545 fol. 127r" .
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cnt:chars """<p>"Livre de la Fonteinne Amoureuse," edited by R. Barton Palmer</p><p>lines 1333-1340</p><p><br/></p><p><span about="urn:uuid:465e1e14-982d-41db-9212-1e85cd41b888" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Mais n’i pooit rien conquester. </span></p>
<p><span about="urn:uuid:87db7e1b-c639-4fb9-9077-ffb568a09ee7" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">N’a ses mortels cops contrester. </span></p>
<p><span about="urn:uuid:8978e35c-c09f-4c3a-b5e5-0251f0cb4022" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Et le mervilleus sagittaire </span></p>
<p><span about="urn:uuid:27c7c474-d0e2-4150-950b-80c884202ca2" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Occioit tant de gens a traire </span></p>
<p><span about="urn:uuid:5bc17780-a725-4dbd-9028-c7ea5b287dbd" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Que c’estoit une grant merveille. </span></p>
<p><span about="urn:uuid:3dbd38ff-2747-4f11-bf0e-ca61dc582535" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Et Troïllus moult se traveille </span></p>
<p><span about="urn:uuid:7e4f32d3-ae2a-4f07-a4c7-4f566ff91a35" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Pour la fille Calcas de Troie</span><span about="urn:uuid:a9fd450f-619b-4ba0-bdd2-a7f66d440cbc" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">, </span></p>
<p><span about="urn:uuid:89320355-d2be-4eff-b547-85e713a6bf08" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Briseÿda. Que vous diroie?</span> </p>""" .
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dc:title "Prince Depiction in BNF f. fr. 9221 fol. 86 v.";
cnt:chars """<p>As noted in the annotation of the <span about="urn:uuid:d34ddc41-6c5c-4c42-9fd6-86eec28a010c" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">depiction of the poet</span> on this folio, the prince is shown here in a manner befitting his stature; he is taller than the poet, who bows his head deferentially to him, and wears jewelry, indicating his wealth, as well as a sword, indicating his position as nobility. The prince is also differentiated from the poet-clerk through his beard, which is consistently portrayed throughout the other illuminations in Manuscript E (see also <a href="http://gallica.bnf.fr/ark:/12148/btv1b6000795k/f201.item" style="text-decoration: underline; ">fr. 9221 fol. 89r</a> and <a href="http://gallica.bnf.fr/ark:/12148/btv1b6000795k/f204.item" style="text-decoration: underline; ">fr. 9221 fol. 90v</a>). </p><div><br/></div><div>[Side note: the body language in the image on <a href="http://gallica.bnf.fr/ark:/12148/btv1b6000795k/f204.item" style="text-decoration: underline; ">fr. 9221 fol. 90v</a> also serves to portray the power of the prince versus that of the poet: after the dream, though the poet is the one who recounts most of the story, the prince appears to be the one taking control of the conversation in this image. His raised and pointed index finger, in conjunction with his slightly-forward body position, contrasts with the reclined and unassuming position of the poet, giving the impression of confidence and assuredness on the part of the prince--which isn't at all how he is portrayed at this point in the text.] </div><div><div><br/></div><div>The sword further serves to highlight the difference between the simple poet-clerk, who, as stated by the poet himself at the beginning of the <i style="font-style: italic; ">Fontaine</i>, would be better suited to the art of wordplay, versus a warrior-lord, trained in the art swordplay:<div><br/></div><div>(Cited from <i style="font-style: italic; ">Guillaume de Machaut: The Prologue and Four Love Poems</i>, ed. R. Barton Palmer)</div><div><br/></div><div>
<p class="">"Let he who thinks himself a good example, think about his worth, </p><p class="">For I intend to testify and state </p><p class="">That a cowardly knight </p><p class="">And a clerk who would be brave</p>
<p class="">Aren’t worth my hand full of straw </p><p class="">In a passage of arms or battle</p>
<p class="">For each is acting against what is right; </p><p class="">And so if they do well it’s luck" (Palmer 41, lines 131-138)</p></div><div><div><br/></div><div>The color of the robes of the prince serves further to distinguish him from the poet. The bold color red of his tunic presents a striking contrast with the muted purple of the poet's habits, implying bravery and nobility. </div><div><br/></div><div><br/></div></div></div></div>""" .
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cnt:chars "<div>This illumination occurs just before line 1371: \"He sat down and made me sit,\" which describes an order from lover to poet. The text that follows, however, equalizes the relationship. The lover asks the poet if he thinks the fountain needs any improvement, though the fountain had been created by the gods Jupiter and Venus! </div><div><br/></div><div>The hand gestures of both the lover <i>and</i> the poet reinforce their relationship more as equals than as poet-patron. The inclusion of the poet's hand gesture suggests a mutual conversation, where the lover is asking the poet's opinion on the fountain, inviting his participation, rather than an order or a lecture.</div>" .
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dc:title "Hand Gestures on BNF f. fr. 9221 fol. 86 v.";
cnt:chars """<p>Despite the striking differences in depiction of the poet and the prince on this folio, all of which seem to underscore the societal differences between the two, the placement of the hand of the prince on the shoulder of the poet serves to promote the idea of intimacy, and perhaps even a hint of equality, between them. The prince, in showing the poet his wondrous fountain and asking him what he thinks of it, is indeed asking the opinion of an <i>ami</i>, as the <span about="urn:uuid:97134447-4b17-48d4-9283-545907afb010" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">caption </span><span about="urn:uuid:59ef93c1-b955-4403-8d52-0578ef3a3f3d" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">overtly</span><span about="urn:uuid:8576eeb7-96e3-4f30-9a01-c2b248835ebc" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"> states</span>. </p><div><br/></div><div>However, perhaps this is less indicative of a true friendship crossing the boundaries of social classes, and more of a <i>collaboration </i>between poet and patron, as Wilkins describes in his article, "A Pattern of Patronage: Machaut, Froissart and the Houses of Luxembourg and Bohemia in the Fourteenth Century": "Of particular interest are those passages which reveal to us not only the stages and processes of the composition of lyrics, but also of the character of instruction and collaboration between lords and ladies and their underlings...the master invents a texts, the 'vallès' writes it down and helps him to sing it, in such a way that the eventual merits and <i>grace</i> of the piece are admitted to be due to both in equal measure..." (Wilkins 273).</div><div><br/></div><div>The artist, conscious of the Duke of Berry's long history of patronage of Machaut ("Jean's patronage of Machaut dates back at least to about 1360"(Earp 489-490)), possibly sought to depict the poet and the prince in the same way Machaut and the Duke would have interacted--a sort of <i>separate but differently equal </i>collaboration between someone gifted with status by birth, and someone gifted with poetic expression. Each is divinely gifted in his own right, but on different scales of measure.</div><div><br/></div><div>Ultimately, however, it is still the prince who is the one initiating the intimacy in this depiction, implying that it is only through the choice and the action of the socially higher-ranked individual that intimacy between these two can be achieved.</div><div><div><br/></div><div>Compare with <span about="urn:uuid:f688e1a5-111c-4e9e-9a8a-92dcb2cf74f2" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Hand Gestures on fr. 22545 fol. 127r</span>.<br/><div><br/></div><div>Text corresponding to the image (cited from <i>Guillaume de Machaut: The Prologue and Four Love Poems</i>, ed. R. Barton Palmer):</div><div><br/></div><div>"Il s’assist et me fist sëoir </div><div>Pour escouter et pour vëoir </div><div>L’ordenance de la fonteinne, </div><div>Qui n’estoit rude ne villeinne,</div>
<p class="">Et le lieu qui estoit entour </p><p class="">Compassez et fais a droit tour.</p>
<p class="">Et puis me prist a demander </p><p class="">S’il y avoit rien qu’amender" (Palmer 106, lines 1371-1378)</p></div></div>""" .
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dc:title "Illustration Caption on BNF f. fr. 9221 fol. 86 v.";
cnt:chars "<p>The rubricated caption to the illustration on this page reads, \"Co(m)me(n)t l'ama(n)t et lamy regarde(nt) la fo(n)taine.\"</p><div><br/></div><div>It is interesting to note that the caption refers to the poet as <i>l'ami</i> versus a more neutral epithet, especially given that the narrative states that the prince and the poet had only just met and were of completely different social status. The caption expresses the intention of the text in that it denotes the intense intimacy that the poet stresses, and places the focus on the relationship between the poet and the prince rather than on the fountain, which, despite the lavish description it was given in the poem, only takes a minor, background role in the narrative <span about=\"urn:uuid:a4c86f14-3d15-4ed7-82f2-4b7897cf8655\" class=\"atb-editor-textannotation\" property=\"http://www.w3.org/ns/oa#exact\">as facilitator of the dream space</span>. </div><div><br/></div><div>Indeed, even though the caption claims the illustration depicts how the <i>amant </i>and the <i>ami regardent la fontaine</i>, neither of the two men are <b>actually</b> looking at the fountain; instead, they are looking at one another, further emphasizing the importance of human relationship over object significance.</div>" .
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dc:title "Poet Depiction on BNF f. fr. 9221 fol. 86 v.";
cnt:chars "<p>Here, the poet is depicted in a manner befitting the classical nature of poet-patron representations. In contrast to the prince, the clerk is smaller in physical stature, indicating a difference of <i>hauteur</i> in social status; the prince, higher on the social ladder, is also physically taller than the poet. Instead of being clothed in a powerful red like the prince, the poet is robed in a muted purple, signifying a secular rather than noble status. </p><div><br/></div><div>The poet is \\ shaven, as opposed to having a beard, like the prince, which could also be indicative of his status as a secular clerk. (The this same depiction of bearded prince vs. clean-shaven poet also appears in <a href=\"http://www.diamm.ac.uk/jsp/AnnotationManager?imageKey=25374\">Manuscript Vg f. 206r</a> and <a href=\"http://gallica.bnf.fr/ark:/12148/btv1b84490444/f350.image\">Manuscript A f. 350v</a>.) </div><div><br/></div><div>The body language of the poet--head tilted downward, hands concealed demurely in his robes--is also indicative of his bowing (literal and figurative) to the prince. This depiction of the poet coincides with what the owner of Manuscript E, Jean de Berry, would have expected to see as the noble patron of the poet Machaut.</div><div><br/></div><div><br/></div>" .
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dc:title "Fountain Depiction in BNF f. fr. 9221 fol. 86 v.";
cnt:chars "<div>In this depiction, as well as in the other two that occur in Manuscript E (see <a href=\"http://gallica.bnf.fr/ark:/12148/btv1b6000795k/f201.item\">fr. 9221 fol. 89r</a> and <a href=\"http://gallica.bnf.fr/ark:/12148/btv1b6000795k/f204.item\">fr. 9221 fol. 90v</a>), the fountain itself takes a visual as well as metaphorical backseat role to that of the relationship between the poet and the prince. The fountain, rather than being depicted in the foreground of the image, or even in the same plane as the poet and the prince, as often occurs in Manuscript F (fr. <span about=\"urn:uuid:edc46f74-f4e4-4240-b06d-47cb65488223\" class=\"atb-editor-textannotation\" property=\"http://www.w3.org/ns/oa#exact\">22545 fol. 127r</span>), is behind the two men. Though the text describes the fountain in great detail, the fact that the fountain was not depicted by the artist in the way it was described by Machaut serves to downplay the actual role of the fountain in a capacity other than a narrative element used to <span about=\"urn:uuid:0c4cf534-1b5b-47d4-8baf-e481522c901b\" class=\"atb-editor-textannotation\" property=\"http://www.w3.org/ns/oa#exact\">facilitate the dream space</span>. </div>" .
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cnt:chars """<p>"Livre de La Fonteinne Amoureuse," edited by R. Barton Palmer</p><p>lines 1371-1403</p><p><br/></p><p><span about="urn:uuid:e7a15e1e-1466-4350-b55c-24a5b30ace33" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Il s’assist et me fist sëoir</span> </p>
<p>Pour escouter et pour vëoir </p>
<p>L’ordenance de la fonteinne, </p>
<p>Qui n’estoit rude ne villeinne, </p>
<p>Et le lieu qui estoit entour </p>
<p>Compassez et fais a droit tour. </p>
<p>Et puis me prist a demander </p>
<p>S’il y avoit rien qu’amender. </p>
<p>Je dis: “Par m’ame, nennil, sire.” </p>
<p>Et adont il me prist a dire </p>
<p>Que ce fu jadis li demours </p>
<p>De Cupido, le dieu d’amours, </p>
<p>Et que Jupiter et Venus </p>
<p>Y sont par maintes fois venus </p>
<p>Pour eaus deduire et solacier, </p>
<p>Pour acoler, pour embracier, </p>
<p>Et pour le deduit ou nature </p>
<p>Mist plus son entente et sa cure </p>
<p>Pour avoir plaisence et solas, </p>
<p>(Comment qu’on en soit de po las </p>
<p>Car aucune fois il anuie </p>
<p>Plus qu’apres biau temps longue pluie) </p>
<p><span about="urn:uuid:4a7bd0a7-9676-499a-95db-1df0b200d687" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Et que Jupiter l’ordonna</span> </p>
<p><span about="urn:uuid:e2f965c3-02d8-47eb-bb2e-2529dd68c867" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Qui de ce serpent l’or donna,</span> </p>
<p><span about="urn:uuid:ee3f0120-5299-46ac-884e-0eaa0b05078a" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Et Venus le marbre et l’ivoire</span> </p>
<p><span about="urn:uuid:20e0667d-a896-497f-ad18-3c52448532a1" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Fist entaillier, c’est chose voire,</span> </p>
<p><span about="urn:uuid:a7ffa6d2-9b5a-4c71-837c-4e4618a372db" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact">Par Pymalion, qui bien ouevre,</span> </p>
<p>Qui escheva toute ceste ouevre </p>
<p>— Cupido fist le remenant, </p>
<p>Qui est bel et bien avenant — </p>
<p>Et que les nimphes et les fees </p>
<p>Y faisoient leurs assamblees, </p>
<p>Et qu’encor souvent y venoient </p>""" .
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