The article analyses the vision of the devil in the selected tales of the Vie des peres, a collection of pious tales from the thirteenth century, freely inspired by patristic literature and medieval exempla. The period in which the collection was written, the thirteenth century, bridges the gap between the early and late Middle Ages: it is a time when the perception of the devil is changing, and he is becoming increasingly feared. The analysis focuses mainly on four stories in which the devil is at the centre of the story, and in which his very image is a source of fear and a key element of the story: 'Devil's Mouth', 'Devils Vision' and two versions of 'Devil's Image'. The vision of the devil in these stories coincides with the teratological vision that is dominant in the iconography, to which the stories directly allude. The message of these stories is generally positive: the protagonists almost always manage to overcome their fears and free themselves from the power of the devil. In this way, the authors avoid the trap of Manichaeism: the devil, despite his cunning and sophistication, is in the end only a caricature of an angel, unable to oppose God effectively. The fear of the devil appears several times on the pages of Vie des peres, but it is the message of hope that dominates.
Agata sobczyK Duchowe pożytki z podróży i diabelskie pułapki na drodze do zbawienia na przykładzie dwóch tekstów z XIII w. ............ 31 Joanna augustyn Schronienie czy pułapka? Rola przestrzeni zamkniętej w XIII-wiecznych opowieściach o kobietach uciekających w męskim przebraniu ..
L’article analyse la place du mépris dans Le Roman de Tristan de Béroul. Dès son apparition dans la littérature, l’amour de Tristan et d’Iseut est l’objet d’une double perception : image valorisée du « martyre d’amour » d’une part, et d’autre part celle, nettement moins positive, d’une passion dégradante, voire méprisable. Il est intéressant de constater que le mépris n’apparaît pas seulement dans les œuvres polémiques, mais qu’il est au contraire bien présent déjà dans le texte-source, surtout dans la version de Béroul. Une étude approfondie des termes utilisés pour qualifier la passion (y compris ceux qu’emploient les protagonistes eux-mêmes), l’analyse du jeu de masques et des épisodes qui mettent en scène les situations particulièrement humiliantes, dans lesquelles se retrouvent tous les personnages sans exception, révèle un regard ironique et narquois de l’auteur, et met en valeur une tonalité parfois brutale, voire cynique, de l’ œuvre. L’analyse s’organise autour des grands épisodes du récit : le « rendez-vous épié », le déguisement de Tristan en lépreux et le « serment ambigu » d’Iseut (le passage du marais).
Tristan i demon południa Artykuł proponuje odczytanie średniowiecznych powieści o Tristanie autorstwa Béroula i Thomasa z Anglii w świetle doktryny acedii Ewagriusza z Pontu. Punktem wyjścia jest pojęcie „demona południa”, rozumianego przez Ewagriusza jako demon popychający mnicha do acedii – stanu apatii i duchowego odrętwienia. Dzisiaj terminem tym określa się często „kryzys wieku średniego”, dotykający żonatych mężczyzn i skłaniający ich do poszukiwań erotycznych i seksualnych. Analiza zmierza do udowodnienia, że początków pomieszania tych dwóch pojęć można szukać już w średniowiecznej legendzie Tristana, zwłaszcza w wersji Thomasa. W istocie, często przywoływana melancholia Tristana przypomina acedię zdefiniowaną przez Ewagriusza, z jej podstawowymi cechami – niestabilnością, niestałością, pragnieniem nowości i wiecznym poczuciem niespełnienia. Tristan and the Noonday Demon. The paper analyses medieval Tristan romances by Béroul and Thomas of Britain in the light of Evagrius of Pontus’doctrine of acedia. The starting point is the concept of ‘Noonday Demon’: understood by Evagrius as the devil tempting the monk into acedia –a state of listlessness and spiritual torpor. It is used today to describe a ‘midlife crisis’ affecting married men in their erotic and sexual behaviour. The analysis tends to prove that the confusion between these two meanings can be traced back to the medieval Tristan legend, especially in Thomas’ version: in fact, Tristan’s supposed melancholy resembles acedia as defined by Evagrius, with its essential characteristics: instability, inconstancy, desire of novelty and perpetual dissatisfaction.
The Ugly Truth". Cahus' Dream Revisited The aim of this paper is to propose an analysis of the Cahus' Dream, a well known episode of the Perlesvaus, Arthurian romance from the 13 th century, within the context of the medieval dream theories. Inspired mostly by Macrobius' Commentary on the Dream of Scipio-fo cusing on the divinatory (or deceptive/ illusory) role of dreams-as well as by Tertullian's and Augustine's Christian refl ections on the relations between the soul and the sleeping body, these theories permit to shed a new light on the oneiric adventure of the squire. In fact, the author furnishes numerous clues which make it look as an insomnium or fantasma: a false, illusory dream, deprived of any deeper signifi cation. Thus, unable of uncovering some hidden, symbolic meaning, the mirage paradoxically turns out to be a material, "ugly", as the text has it, truth, blurring the border between dream and reality in a most confusing way, and setting the specifi c Perlesvaus tone from the very beginning of the romance.
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