Sovereign Fantasies
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Patricia Clare Ingham. Sovereign Fantasies
Отрывок из книги
Sovereign Fantasies
Ruth Mazo Karras, Series Editor
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I [Geoffrey] … pressed my rustic reed-pipe to my lips and, modulating on it in all humility, I translated into Latin this work written in a language which is unknown to you. All the same, I am greatly surprised that you should have deigned to commit the task to so poor a pen as mine, when your all-powerful wand could command the service of so many men more learned and more splendid than I … Leaving on one side all the wise men of this entire island of Britain, I feel no shame at all in maintaining that it is you and you alone who should … declaim it with bold accompaniment, if only the highest honour had not called you away to other preoccupations…. [S]ince it has pleased you that Geoffrey of Monmouth should sound his own pipe in this piece of soothsaying, do not hesitate to show favour to his music-makings. If he produces any sound which is wrong or unpleasant, force him back into correct harmony with your own Muses’ baton. (Thorpe 170–71; VII, 1)
Alexander’s power becomes a magician’s wand; Geoffrey maintains proudly that Alexander “alone should declaim [the prophecies] with bold accomplishment,” despite the fact that their original language is “unknown” to him. In place of Alexander’s “all powerful wand,” Geoffrey offers his own more modest “rustic reed pipe,” a figuration which marks authorial power with tropes of male virility while simultaneously placing Alexander as an imaginary intermediary between Geoffrey and Merlin. This description compliments Alexander’s majesty while distancing Geoffrey’s own artistry from Merlin’s prophetic authorship. Geoffrey is merely the humble medium; he mediates the creations of a fictional magician and the desires of a powerful bishop. Through this dedication Geoffrey displays the usefulness of imaginative ventures like prophetic soothsaying to those in power. Powerful bishops like Alexander, Geoffrey reminds us, have access to their own muses; it is their aesthetic pleasures—their designations of “correct harmony” and “favorable music-makings”—that determine which sounds will gain a fair hearing and which will fall on deaf ears.
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