Book contents
- Frontmatter
- Contents
- Dedication
- Editorial Note
- Acknowledgements
- Abbreviations
- Introduction
- Chapter 1 Southwark Gower: Augustinian Agencies in Gower’s Manuscripts and Texts – Some Prolegomena
- Chapter 2 The Place of Egypt in Gower’s Confessio Amantis
- Chapter 3 Topical and Tropological Gower: Invoking Armenia in the Confessio Amantis
- Chapter 4 Saving History: Gower’s Apocalyptic and the New Arion
- Chapter 5 Gower’s Poetics of the Literal
- Chapter 6 Romance, Popular Style and the Confessio Amantis: Conflict or Evasion?
- Chapter 7 John Gower: Prophet or Turncoat?
- Chapter 8 The Parliamentary Source of Gower’s Cronica Tripertita and Incommensurable Styles
- Chapter 9 John Gower’s Legal Advocacy and ‘In Praise of Peace’
- Chapter 10 Se-duction and Sovereign Power in Gower’s Confessio Amantis Book V
- Chapter 11 The Fifteen Stars, Stones and Herbs: Book VII of the Confessio Amantis and its Afterlife
- Chapter 12 ‘Of the parfite medicine’: Merita Perpetuata in Gower’s Vernacular Alchemy
- Chapter 13 Inside Out in Gower’s Republic of Letters
- Chapter 14 Gower’s Business: Artistic Production of Cultural Capital and the Tale of Florent
- Chapter 15 Genius and Sensual Reading in the Vox Clamantis
- Chapter 16 Irony v. Paradox in the Confessio Amantis
- Chapter 17 Sinning Against Love in Confessio Amantis
- Chapter 18 The Woman’s Response in John Gower’s Cinkante Balades
- Chapter 19 Rich Words: Gower’s Rime Riche in Dramatic Action
- Chapter 20 Florent’s Mariage sous la potence
- Chapter 21 Why did Gower Write the Traitié?
- Chapter 22 Rival Poets: Gower’s Confessio and Chaucer’s Legend of Good Women
- Chapter 23 Reassessing Gower’s Dream-Visions
- Chapter 24 John Gower’s French and His Readers
- Chapter 25 Conjuring Gower in Pericles
- Bibliography
- Index
Chapter 21 - Why did Gower Write the Traitié?
Published online by Cambridge University Press: 02 March 2023
- Frontmatter
- Contents
- Dedication
- Editorial Note
- Acknowledgements
- Abbreviations
- Introduction
- Chapter 1 Southwark Gower: Augustinian Agencies in Gower’s Manuscripts and Texts – Some Prolegomena
- Chapter 2 The Place of Egypt in Gower’s Confessio Amantis
- Chapter 3 Topical and Tropological Gower: Invoking Armenia in the Confessio Amantis
- Chapter 4 Saving History: Gower’s Apocalyptic and the New Arion
- Chapter 5 Gower’s Poetics of the Literal
- Chapter 6 Romance, Popular Style and the Confessio Amantis: Conflict or Evasion?
- Chapter 7 John Gower: Prophet or Turncoat?
- Chapter 8 The Parliamentary Source of Gower’s Cronica Tripertita and Incommensurable Styles
- Chapter 9 John Gower’s Legal Advocacy and ‘In Praise of Peace’
- Chapter 10 Se-duction and Sovereign Power in Gower’s Confessio Amantis Book V
- Chapter 11 The Fifteen Stars, Stones and Herbs: Book VII of the Confessio Amantis and its Afterlife
- Chapter 12 ‘Of the parfite medicine’: Merita Perpetuata in Gower’s Vernacular Alchemy
- Chapter 13 Inside Out in Gower’s Republic of Letters
- Chapter 14 Gower’s Business: Artistic Production of Cultural Capital and the Tale of Florent
- Chapter 15 Genius and Sensual Reading in the Vox Clamantis
- Chapter 16 Irony v. Paradox in the Confessio Amantis
- Chapter 17 Sinning Against Love in Confessio Amantis
- Chapter 18 The Woman’s Response in John Gower’s Cinkante Balades
- Chapter 19 Rich Words: Gower’s Rime Riche in Dramatic Action
- Chapter 20 Florent’s Mariage sous la potence
- Chapter 21 Why did Gower Write the Traitié?
- Chapter 22 Rival Poets: Gower’s Confessio and Chaucer’s Legend of Good Women
- Chapter 23 Reassessing Gower’s Dream-Visions
- Chapter 24 John Gower’s French and His Readers
- Chapter 25 Conjuring Gower in Pericles
- Bibliography
- Index
Summary
R. F. Yeager's 2005 article asks: ‘Why did Gower write two sequences of ballades in French?’ In this essay I want to reopen the question of why one of the two sequences, the Traitié pour essampler les amantz marietz, was written, and propose a new reason for its composition, a new intended audience and perhaps a new date. It must be said that the Traitié's framing material discourages this kind of investigation: Gower makes clear statements about the reason for its composition and its intended audience. The modern title of the poem, given to it by Macaulay, comes from the prose passage that appears after the Confessio Amantis and before the Traitié in most Traitié manuscripts. Gower says that he has written ‘a tout le monde en general un traitie selonc les auctours pour essampler les amantz marietz, au fin q’ils la foi de lour seintes espousailes pourront par fine loialte guarder, et al honour de dieu salvement tenir’ (‘a treatise for all the world generally, following the authorities, as an example for married lovers, in order that they might be able to protect the promise of their sacred spousal through perfect loyalty, and truly hold fast to the honour of God’). There is also an apparently clear indication of the date of composition. The poem ends with some Latin verse, of which the final lines are: ‘Hinc vetus annorum Gower sub spe meritorum | Ordine sponsorum tutus adhibo thorum’ (‘Thus I, Gower, old in years, in hope of favour, / Safely approach the marriage bed in the order of husbands’). Since we know that Gower married Agnes Groundolf in 1398, Macaulay makes the reasonable assumption that it must have been written around that date, in 1397–8. In some ways it seems a pity to unsettle all this. However, the poem's glaring unsuitability either as an occasional piece written for the author's own marriage or as a poem of advice on how to maintain a good Christian marriage must prompt a reassessment.
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- John Gower, Trilingual PoetLanguage, Translation, and Tradition, pp. 263 - 275Publisher: Boydell & BrewerPrint publication year: 2010
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