Tekst en opvoering van de abele spelen: het kopieerwerk in het handschrift-Van Hulthem en de geïntendeerde voorstellingen
- Author
- Joris Reynaert (UGent)
- Organization
- Abstract
- In the Van Hulthem manuscript (Brussels, Royal Library MS 15.589-623), the only document in which they have survived, the so-called abele spelen, four serious secular plays which designate themselves as abel spel (noble, fair or ingenious plays, the meaning of abele in the given context is uncertain), each of these plays is followed by a farce (sotternie), with which it clearly constitutes a pair, as in each case the sotternie is already announced in the rubric introducing the abel spel. The serious play and the sotternie are often also textually linked by a transitional passage at the end of the abel spel, in which the audience is directly addressed and informed of the fact that a farce will follow. It has been justly argued by Hans Van Dijk that these links must have been added for the purpose of a specific performance and do not, as such, indicate that the pairs of serious play and ensuing farce were conceived as a unit at the same time. Van Dijk, and others meanwhile, have also advanced that not only these transitional passages, but other passages as well in which the audience is addressed directly, mainly the prologues and the concluding lines spoken by a 'last' character, may well be later additions. This view is challenged here. A close examination of the possible arguments pro and against leads us to the conclusion that there is no reason to doubt the authenticity of these addresses to the public and - as a consequence - to discard them as representatives of the originally intended form and tenor of the plays.
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Citation
Please use this url to cite or link to this publication: http://hdl.handle.net/1854/LU-5949961
- MLA
- Reynaert, Joris. “Tekst En Opvoering van de Abele Spelen: Het Kopieerwerk in Het Handschrift-Van Hulthem En de Geïntendeerde Voorstellingen.” SPIEGEL DER LETTEREN, vol. 56, no. 4, Peeters, 2014, pp. 453–75, doi:10.2143/SDL.56.4.1000001.
- APA
- Reynaert, J. (2014). Tekst en opvoering van de abele spelen: het kopieerwerk in het handschrift-Van Hulthem en de geïntendeerde voorstellingen. SPIEGEL DER LETTEREN, 56(4), 453–475. https://doi.org/10.2143/SDL.56.4.1000001
- Chicago author-date
- Reynaert, Joris. 2014. “Tekst En Opvoering van de Abele Spelen: Het Kopieerwerk in Het Handschrift-Van Hulthem En de Geïntendeerde Voorstellingen.” SPIEGEL DER LETTEREN 56 (4): 453–75. https://doi.org/10.2143/SDL.56.4.1000001.
- Chicago author-date (all authors)
- Reynaert, Joris. 2014. “Tekst En Opvoering van de Abele Spelen: Het Kopieerwerk in Het Handschrift-Van Hulthem En de Geïntendeerde Voorstellingen.” SPIEGEL DER LETTEREN 56 (4): 453–475. doi:10.2143/SDL.56.4.1000001.
- Vancouver
- 1.Reynaert J. Tekst en opvoering van de abele spelen: het kopieerwerk in het handschrift-Van Hulthem en de geïntendeerde voorstellingen. SPIEGEL DER LETTEREN. 2014;56(4):453–75.
- IEEE
- [1]J. Reynaert, “Tekst en opvoering van de abele spelen: het kopieerwerk in het handschrift-Van Hulthem en de geïntendeerde voorstellingen,” SPIEGEL DER LETTEREN, vol. 56, no. 4, pp. 453–475, 2014.
@article{5949961,
abstract = {{In the Van Hulthem manuscript (Brussels, Royal Library MS 15.589-623), the only document in which they have survived, the so-called abele spelen, four serious secular plays which designate themselves as abel spel (noble, fair or ingenious plays, the meaning of abele in the given context is uncertain), each of these plays is followed by a farce (sotternie), with which it clearly constitutes a pair, as in each case the sotternie is already announced in the rubric introducing the abel spel. The serious play and the sotternie are often also textually linked by a transitional passage at the end of the abel spel, in which the audience is directly addressed and informed of the fact that a farce will follow. It has been justly argued by Hans Van Dijk that these links must have been added for the purpose of a specific performance and do not, as such, indicate that the pairs of serious play and ensuing farce were conceived as a unit at the same time. Van Dijk, and others meanwhile, have also advanced that not only these transitional passages, but other passages as well in which the audience is addressed directly, mainly the prologues and the concluding lines spoken by a 'last' character, may well be later additions. This view is challenged here. A close examination of the possible arguments pro and against leads us to the conclusion that there is no reason to doubt the authenticity of these addresses to the public and - as a consequence - to discard them as representatives of the originally intended form and tenor of the plays.}},
author = {{Reynaert, Joris}},
issn = {{0038-7479}},
journal = {{SPIEGEL DER LETTEREN}},
language = {{dut}},
number = {{4}},
pages = {{453--475}},
publisher = {{Peeters}},
title = {{Tekst en opvoering van de abele spelen: het kopieerwerk in het handschrift-Van Hulthem en de geïntendeerde voorstellingen}},
url = {{http://dx.doi.org/10.2143/SDL.56.4.1000001}},
volume = {{56}},
year = {{2014}},
}
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