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Literary texts complicate our realizing of medieval feelings; they not just signify characters experiencing emotion and response emotionally to the behaviour of others in the textual content, but additionally evoke and play upon emotion inthe audiences which heard those texts played or learn. The presentation and depiction of emotion within the unmarried such a lot well known and influential tale topic of the center a long time, the Arthurian legend, is the topic of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays provided the following discover notions of embodiment, the affective caliber of the development of brain, and the middleman position of the voice asboth an embodied and consciously articulating emotion.
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Direction of mind as well as action is crucial, and the wits must be fittingly used: Gawain’s ‘þro þoȝt’ (eager thought, 645) is focused on the five joys of Mary. His thoughts are repeatedly emphasised, ‘Now þenk wel, Sir Gawan’ (Now think well, Sir Gawain, 487); ‘Þen þenkkez Gawan ful sone / Of his anious uyage’ (Then Gawain suddenly thought of his difficult journey, 534–5). The ‘care at … hert’ and ‘derue doel’ (distress at heart; great misery, 557–8) of the court, like Arthur’s ‘brayn wylde’ earlier, are set against Gawain’s more intellectual response, ‘What may mon do bot fonde’ (What can man do but try, 565)?
The Rose’s anonymous subject is embroiled in psychomachia, the plaything (or playground) of emotional impulses which, having taken the step from abstractum agens to full embodiment and social interaction, are as opaque as any human person would be. The Lover’s encounters with these figures lack the numinous, interpsychic quality of the affective encounters described in the first section of this chapter. 21 I do not belittle Guillaume’s Rose, which as a text projects a powerful sense of the mystery of interpsychic affectivity, and whose playful self-consciousness and irony, as well as the surprises that it pulls in its explorations of psychology and interaction, are no less disturbing than those of the Lancelot.
26–9. Brun appears in the prose Lancelot but grows fully into his epithet in the prose Tristan. See R. Trachsler, ‘Brehus sans pitié: portrait-robot du criminel arthurien’, in La Violence dans le monde médiéval, Sénéfiance 36 (Aix-en-Provence, 1994), pp. 525–54; http://books. org/pup/3180 [consulted 17 July 2014] (para. 20 of 31). Dangier (Rebuff – although the term is difficult to define or translate) is reproached for softening towards the Lover by Honte (Shame) and Peur (Fear); Rose, vol. 1, ll.