By Denis Renevey
Language, Self and Love bargains a distinct perception into the improvement of the language of interiority within the medieval literature encouraged through the tune of Songs and its commentaries. It strains the evolution of a medieval id within the means of self-fashioning and, in exhibiting the significance of mystical writing for knowing medieval subjectivity, means that the 'self' isn't the early glossy invention it's always claimed to be. Denis Renevey discusses the correspondences among the discourse of affection within the track of Songs and the language of mysticism within the writings of William of St Thierry and Richard Rolle, the place the self is defined in its makes an attempt at developing an instantaneous dating with God. He additionally exhibits how the textual options provided in mystical writing for using lady recipients interact with questions of misogyny and the connection among Latin and vernacular cultures.
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Extra info for Language, Self and Love: Hermeneutics in Richard Rolle and the Commentaries of the Song of Songs
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38 If the commentator must delve in the deepest recesses of his own self to make meaning, it is more often than not a meaning which makes sense of the role of the Church and mediates its position with God. 39 At times Bernard moves away from the allegorical frame and into effusive passages inspired by images of the Song. The literal force of the imagery soon asks, then, for an emotive involvement best expressed via metaphorical discourse. Bernard then becomes imitator rather than interpres. His decoding of the meaning of the highly charged words of the Song becomes a hymn of praise to the poetic beauty of the Song, equally abounding with sensual imagery: On all these occasions he is kind and gentle, full of merciful love.
You would not be so insistent were it only a small matter. Your many letters, and the vehemence which animates them, are a clear enough indication of how serious you are in the matter and what great store you lay by it. And the more anxious I feel you to be, the more diffident do I become. Why so? 18 Although the humble tone of this letter perhaps serves partly as the rhetorical device characteristic of most of the epistolary exchanges of that time, the same anxiety on Bernard’s part finds a more genuine voice in a second letter addressed to the same recipient: My vexation gnaws at me like a worm, and my grief is ever with me.
When the soul converses with the bridegroom, it is under the jurisdiction of the Church, and as part of its body. The Bernardine mystical theology never credits the soul with an individual entity. Rather it serves a social role within the body of the Hermeneutics and Degrees of Love 33 Church. The anagogical level is therefore the allegorical level in disguise, personified through the depiction of one of the elements constituting the whole social body. When dealing with the modus scribendi of this work, Bernard affirms his allegorical interpretation, with emphasis on the humanity of Jesus: With good reason then I avoid trucking with visions and dreams; I want no part with parables and figures of speech; even the very beauty of the angels can only leave me wearied.