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• W260400992 abstract "In Chaucer's description of hail of Fame, we notice a series of figures representing famous ancient authors, most of them writing in Latin. They are shown as titanic, Atlas-like figures standing on columns, and bearing on their shoulders great weight of subject matter which they deal with in their work. For example Ebrayke Josephus, that is Josephus Flavius, author of History of Jewish War, is shown standing on a pillar made of lead and iron and he bears on his shoulders the fame of Jewrye, i.e. fame of Jewish people. This burden, however, is so heavy that he needs seven other, unidentified figures to help him cope with it. The fame of ancient city of Troy is supported by five figures besides the great Homer, namely Dares and Dictys, Guido delle Colonne, Lollius, and Geoffrey of Monmouth, with Homer being considered, in spite of his greatness, rather inadequate because he, allegedly, sided too much with Greeks in portrayal of their conflict with Trojans, and indulged in literary fiction instead of reporting. They all are standing apparently on one pillar made of iron, whereas Ovid, the clerk of Venus, is standing on a copper column, copper being metal of Venus. The Latin poet Statius is shown, as author of poems Thebaid and Achilleid, to carry on his shoulders fame of Thebes, and also that of cruelle Achilles (cf. Phillips - Havely 1997: 184-187). The passage described above seems to be a good illustration of medieval concept of authorship. We should first mention here tendency to see medieval authors as essentially anonymous. As has been put by J.A. Burrow (1982: 36): Many of writings are formally anonymous, in simplest sense - name of author has been lost ... and even where name of author is known, we may think of his work as anonymous in a deeper sense. The authors of this period, we believe, rarely talk about themselves, and their works are most often unmarked by any distinctive personality. Their subjects are traditional, their styles conventional. Like medieval sculpture and architecture, in fact, medieval literature is supposed to be public, impersonal, monumental. We seem to have to do here with a stereotype that contrasts collective, impersonal, and traditional nature of Middle Ages with individualistic, often egocentric, or even egomaniac, experimental and, at least ostensibly, innovative character of modem, or modernist writing. The post-modernist literature would, interestingly enough, with its explicitly eclectic nature, and its programmatic distrust towards grand project of revolutionising culture, veer more towards supposedly medieval anonymity. This stereotype of medieval has actually been questioned by E.R. Curtius, who claims that in Middle Ages we often have to do with opposite phenomenon, namely writer's unadulterated pride of authorship (Curtius 1990: 517). The collectivist vision of Middle Ages is clearly a myth that, even though it has some real foundation, led to many misunderstandings and anachronistic interpretations, for instance, G.G. Coulton in his Medieval panorama claims that it was study of medieval architecture that led William Morris to embrace ideas of socialism (1976: 571). We should distinguish now between situation of writer's talking, or choosing to be silent, on subject of his own authorship, and writer's dealing with somebody else's authorship. In latter case we can encounter a great variety of attitudes, ranging from a complete neglect of author's person to a veritable cult of author. The whole matter seems to be neatly summarised in following passage from St Bonaventure, who talks about four modi faciendi librum ('ways of making a book'): There are four ways of making a book. Sometimes a man writes others' words, adding nothing and changing nothing; and is simply called a scribe [scriptor]. …" @default.
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• W260400992 date "2001-01-01" @default.
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• W260400992 title "The Idea of Cultural Continuity in G. Chaucer's House of Fame" @default.
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