The Temple Of Fame: A Vision

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The Temple Of Fame: A Vision

The Temple Of Fame: A Vision

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Josephus, a scholar of Jewish history, standing on a column of lead and iron and holding the fame of the Jewish people. He is accompanied by seven others, unnamed, who help him carry the burden. Chaucer notes that the reason the column is of lead and iron is because they wrote of battles as well as wonders, and iron is the metal of Mars and lead is the metal of Saturn. Smith, William, ed. (1867). "Herostratus". Dictionary of Greek and Roman Biography and Mythology. Vol.II. Boston: Little, Brown and Company. p.439.

Troy Book 5.3483–84. For another discussion of meter and style, see Schirmer, John Lydgate, pp. 70 ff. The Elysian Fields present a much more ambitious scheme of associations; they require a visitor to compare ancient virtue with its modern counterpart . . . to register the political significance of the British Worthies, which in turn required noticing that a line was missing from a Virgilian quotation, and to appreciate that the Temple of Ancient Virtue called to mind the Roman Temple of Vesta . . . at Tivoli, and the Temple of British Worthies some other modern Italian examples.

When the second book begins, Chaucer has attempted to flee the swooping eagle but is caught and lifted up into the sky. Chaucer faints, and the eagle rouses him by calling his name. The eagle explains that he is a servant of Jove, who seeks to reward Chaucer for his unrewarded devotion to Venus and Cupid by sending him to the titular House of the goddess Fame, who hears all that happens in the world.

The man goes on to make his own complaint to Venus (lines 701–847), pleading for Cupid to strike the lady with his firebrand so that she becomes enflamed with passion. But if she is the same lady, then why should he have to ask? It has been suggested that the man’s complaint about unrequited love is “rather ungrateful, and Venus’s promise of help unnec­es­sary.” 31 Probably the lover does not know as much as Pearsall thinks he should, and it is right to recall that the lady loves him “albeit secreli” (line 365). Here we must recognize that the lady enjoys an uncommon autonomy and priority in the narrative of events — and that the man’s perspective is particularly incomplete and his understanding belated. 32 Lydgate is managing a narrative of self-discovery and disclosure for the male lover as for the narrator and the reader, presenting events in an allegory that compresses time and space for poetic effect. Part of reading The Temple of Glas is learning how to read. Of the unreasoning humours of mankind it seems that (fame) is the one of which the philosophers themselves have disengaged themselves from last and with the most reluctance: it is the most intractable and obstinate; for [as St. Augustine says] it persists in tempting even minds nobly inclined.” Windsor-Forest. To the Right Honourable George Lord Lansdown (London: Printed for Bernard Lintott, 1713).On an iron pillar, holding up the fame of Troy: Homer, Dares, Dictys, "Lollius", Guido delle Colonne, and Geoffrey of Monmouth.

Fountains Abbey was founded in 1132 and by the middle of the C13 it was one of the richest religious houses in England. Following the Dissolution the buildings and some of the land was sold to Richard Gresham who later sold them to Stephen Proctor. After several changes of ownership the Abbey ruins and Fountains Hall were acquired by the Messenger family who sold them to William Aislabie (c 1700-81), owner of the adjacent estate of Studley Royal, in 1767. The Works of Alexander Pope, edited by Whitwell Elwin and W. J. Courthope, 10 volumes (London: Murray, 1871-1889). Walhalla was inspired by Valhöll (in English usually Valhalla), the hall of the slain where heroes who had died in battle would join the god Odin according to Norse mythology. However, in the modern Walhalla, inductees need neither be military heroes nor have died in battle. The poet registers some uncertainty himself about the nature of the dream and requires “leiser” to “expoune my forseid visioun, / And tel in plein the significaunce, / . . . So that herafter my lady may it loke” (lines 1388–92). Davidoff suggests the import of the dream has been fulfilled already in the poet’s desire to communicate with the lady: by writing to her he is putting into practice Venus’ advice to the male protagonist: “For specheles nothing maist thou spede” (line 905). 44 But if so, the speech he has chosen to make (i.e., the poem) is encrypted. In the concluding lines, in a variation on a favorite Chaucerian envoy, the poet sends off his work to an unnamed beloved, “I mene that benygne and goodli of hir face” (line 1402), em­ploying words used earlier by the man inside the dream to describe the lady. The poem invites us to make such connections, however tenuous, between the vision and the framing fiction, as is typical of Middle English dream visions. They are not as a rule mere flights of fancy: “the dream world is not to be thought of as wholly different from waking experience, but in some measure a different account of it, although the connections are not always im­mediately obvious.” 45 Indeed so much remains unknown. Chaucer makes reference to Herostratus [13] in The House of Fame: "I am that ylke shrewe, ywis, / That brende the temple of Ysidis / In Athenes, loo, that citee." / "And wherfor didest thou so?" quod she. / "By my thrift," quod he, "madame, / I wolde fayn han had a fame, / As other folk hadde in the toun..." [14]Chaucer, Geoffrey (1379–1380). "The House of Fame". The Works of Geoffrey Chaucer. Georgetown University. Archived from the original on 10 August 2011 . Retrieved 19 September 2011. Of The Use of Riches, An Epistle To the Right Honorable Allen Lord Bathurst (London: Printed by J. Wright for Lawton Gilliver, 1732). In reply, Venus promises that some day the lady will have what she desires, though she must wait patiently, and that meanwhile the man will be made to love her devotedly (lines 370–453). The lady then praises the goddess for her beneficence (lines 461–502). Venus bestows on her a green and white hawthorn chaplet along with instructions about constancy in love (lines 503–23). The first part of the poem ends with great promise.



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