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8327173
Amino, Eriko
"LE MORTIFIEMENT DE VAiNE PLAISANCE" OF RENE D’ANJOU: TEXT,
TRANSLATION AND COMMENTARY
Columbia University Ph.D. 1981
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Copyright 1981
by
Amino, Eriko
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LE MORTIFIEMENT DE VAINE PLAISANCE
OF RENE D‘ANJOU
TEXT, TRANSLATION AND COMMENTARY
Eriko Amino
Submitted in partial fulfillment af the requirements
for the degree of Doctor of Philosophy in
the Graduate School of Arts and Sciences
COLUMBIA UNIVERSITY
1981
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ABSTRACT
LE MORTIFIEMENT DE VAINE PLAISANCE
OF RENE D*ANJOU
TEXT, TRANSLATION AND COMMENTARY
Eriko Amino
This study of Rend d*Anjou’s Le Mortifiement de Vaine
Plaisance (c. 1453) comprises a diplomatic edition of MS.
Morgan 705, with emendations from MS. Royal Library of Brussels
10300; an English translation; a line-by-line commentary; and
an introduction which examines the author, his corpus, the
manuscripts of the Mortifiement. and the miniatures of MS.
Morgan 705, and which provides a critical and historical anal
ysis of the work.
The Mortifiement is an allegorical religious piece of
2666 lines, in prose, except for occasional verse insets. It
commences with the Soul lamenting the tendency of her heart
to fall victim to the vain pleasures of this world. The Soul
is approached by two ladies, Fear of Sod and Contrition, who,
in a dialogue, encourage the Soul to entrust her heart to
them. The interaction of these figures is described by the
Acteur, who is also present in the allegory, though chiefly
as an observer and commentator. Fear and Contrition accomplish
their task by instructing the Soul, mainly through presenting
and interpreting three protracted exemola. The Soul then
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voluntarily commits her heart to the two ladies, who sub
sequently take it to a paradisaical garden where four addi
tional ladies— Faith, Hope, Love and Divine Grace— nail it to
a cross, in imitation of Christ, to purge it of its sin.
Following this sacrificial bloodletting, Fear and Contrition
return the purified heart to the Soul, who is moved to joyful
and ecstatic expression of her love for God.
The nortifiement synthesizes several central medieval
literary traditions. The intent to instruct marks the piece
as part of the homiletic tradition which became widespread
after the rise of the mendicant orders in the fourteenth cen
tury. Tent’s allegorical style draws on standard late antique
and medieval models, such as Prudentius, Boethius, and the
P.oman de la Hose. His deployment of characters, action and
dialogue reflects qualities present in the drama, and his
exegetical impulse reflects the importance of sermons and
exemola in later medieval religious literature. Additionally,
Bend draws upon the mystical tradition and evinces a personal
religious devotion reminiscent of St. Bernard and 5t. Anselm.
As a nobleman and patron of arts and letters whose work en
compasses ail these traditions, Heni provides an accomplished
example of lay piety in the later fliddle Ages.
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For Nancy G. Siraisi,
friend and teacher
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