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In Search of 'Kynde Knowynge'
Piers Plowman and the Origin of Allegory
Series: - Costerus New Series Online, Volume: 168
- Costerus New Series, Volume: 168
Author:
Readers today no longer relish sustained allegorical narratives the way they did in the Middle Ages, when the art of âother-speakingâ was as dominant in poetic discourse as it was elsewhere. Yet we live in an age which, following the postmodernist dictum that any sign can only refer to other signs, has declared all language liable to the âallegorical conditionâ.
This paradox has led the author to question the epistemological assumptions underlying allegories composed in an era which, conversely, favoured the oblique form of expression while professing its belief in the divine Logos as the ultimate ground of all meaning. If art and doctrine appear so divided on the subject of allegory in our own day, then might not the relationship between allegorical writing and interpretation in the Middle Ages have been more complex than is often assumed? How solid are the grounds on which Michel Foucault has based his distinction between early modernity and its past - a time when, he claims, the languages of the world were still perceived to make up âthe image of the truthâ?
The present study addresses these and related questions through a heuristic comparison between historically and culturally different approaches to narrative allegory. In her analysis of the late-fourteenth century dream poem Piers Plowman by William Langland, Kasten sets up a critical dialogue between this extraordinary work and Walter Benjamin's study of German baroque allegory, The Origin of German Tragic Drama. Far from serving the narrow purposes of didacticism, she contends, Piers Plowman invites a reconsideration of the very grounds on which (post-) modernity has tried to distance itself from its cultural past.
This paradox has led the author to question the epistemological assumptions underlying allegories composed in an era which, conversely, favoured the oblique form of expression while professing its belief in the divine Logos as the ultimate ground of all meaning. If art and doctrine appear so divided on the subject of allegory in our own day, then might not the relationship between allegorical writing and interpretation in the Middle Ages have been more complex than is often assumed? How solid are the grounds on which Michel Foucault has based his distinction between early modernity and its past - a time when, he claims, the languages of the world were still perceived to make up âthe image of the truthâ?
The present study addresses these and related questions through a heuristic comparison between historically and culturally different approaches to narrative allegory. In her analysis of the late-fourteenth century dream poem Piers Plowman by William Langland, Kasten sets up a critical dialogue between this extraordinary work and Walter Benjamin's study of German baroque allegory, The Origin of German Tragic Drama. Far from serving the narrow purposes of didacticism, she contends, Piers Plowman invites a reconsideration of the very grounds on which (post-) modernity has tried to distance itself from its cultural past.
Madeleine Kasten is a lecturer at the Literary Studies Department of Leiden University, The Netherlands. She has published on allegory, on Shakespeare, and on personification and performance.
Acknowledgements
Introduction
PART ONE:
I. âSuch Stuff As Dreams Are Made Onâ: Allegory and Dream Poetry
II. âMusynge On This Metelsâ: The Rhetoric of Allegorical Dynamics
III. âThe Seal Of The All-Too-Earthlyâ: Walter Benjamin and the Dialectic of the Allegorical Sign
PART TWO
IV. Piers Plowman: Life of a Text
V. âSpeche, That Spire Is Of Graceâ: Piers Plowman and the Magic of Language
VI. Piers Plowman â The Second Dream
VII. Piers Plowman â The Fourth and Fifth Dreams
VIII. Piers Plowman â The Sixth, Seventh, and Eighth Dreams
Afterword: The Will to âKynde Knowyngeâ
Appendix (Piers Plowman: A Summary of the B Version)
Abbreviations
Bibliography
Index of Names
Introduction
PART ONE:
I. âSuch Stuff As Dreams Are Made Onâ: Allegory and Dream Poetry
II. âMusynge On This Metelsâ: The Rhetoric of Allegorical Dynamics
III. âThe Seal Of The All-Too-Earthlyâ: Walter Benjamin and the Dialectic of the Allegorical Sign
PART TWO
IV. Piers Plowman: Life of a Text
V. âSpeche, That Spire Is Of Graceâ: Piers Plowman and the Magic of Language
VI. Piers Plowman â The Second Dream
VII. Piers Plowman â The Fourth and Fifth Dreams
VIII. Piers Plowman â The Sixth, Seventh, and Eighth Dreams
Afterword: The Will to âKynde Knowyngeâ
Appendix (Piers Plowman: A Summary of the B Version)
Abbreviations
Bibliography
Index of Names