By Denis Renevey
Language, Self and Love deals 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 identification within the strategy of self-fashioning and, in exhibiting the significance of mystical writing for knowing medieval subjectivity, means that the 'self' isn't the early sleek invention it is usually 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 immediate dating with God. He additionally indicates how the textual options provided in mystical writing for using woman recipients interact with questions of misogyny and the connection among Latin and vernacular cultures.
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Sample text
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. I am troubled enough on other accounts but, I must confess, on none so much as on this. 20 Bernard of Portes may not be the sole reason for the writing of such a piece, as Bernard, in his first sermon, introduces in his explanatio the Sermones as the concluding book of his monastic programme.
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.
Most writers note their awareness of the dangers of such a task in their prologues. As there is no real prologue to this series of sermons, evidence for the caution with which Bernard begins this enterprise is found in a letter addressed to the Carthusian Bernard of Portes: It is not as though you were asking me to do some little thing that would be quite easy and ordinary. 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.