Chaucer's French Sources — Literary and Codicological Play and the Author's Persona

This dissertation studies the ways that Chaucer and his French contemporaries, Guillaume de Machaut, Jean Froissart, Oton de Graunson, and Eustache Deschamps, craft poetic authority. They do so in relation to the books that convey their writing and literary reputations to their audiences. Chaucer, translating the work of these French poets, reacts to the constructions of authority he finds in medieval sources, in manuscripts, and in a scribal culture in which the transmission of texts can be unpredictable. I argue that Chaucer adapts Machaut's pseudo-autobiographical narrative voice in his own poetry. He responds to a contrast evident in manuscript culture between the single-author codex — for example, surviving books of Froissart's poetry, Paris, BNF f.fr. 830 and 831 — and the ubiquitous miscellany, a contrast that seems to operate along gendered and poetic as well as codicological lines. Chaucer adapts the poetic form of Graunson's "Cinq Ballades" to ensure that his "Complaint of Venus" circulates as a single piece, unlike some copies of his source text. Finally, I argue that Deschamps invites Chaucer to participate in a cross-Channel exchange of invective, one that is part of a bookish and literary tradition. The main argument of my dissertation is that Chaucer puts ideas about books into play in his poetry. He imagines manuscripts as forms for literature and as forms for authority, like the way the disordered aesthetic of the Canterbury Tales creates — ironically — a work of literature resembling a single-author manuscript: a collection of works by one author that circulates intact. Chaucer's investigation of bookish forms is playful, but it also has high poetic stakes: for Chaucer, as for his French contemporaries, play locates the poet in an authoritative literary tradition and secures his future renown.Ph.D.2018-07-29 00:00:0