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Taking its inspiration from an identically titled tome by a fourteenth-century mystic, Steve Ely's Incendium Amoris summons, mimics, and updates the manuscripts of an earlier England.
Contractor address : Incendium House, Centurion Way,, Meridian Business Park,,
The most extensive materials appear in about the first seventy folios, then through early portions of Incendium amoris (through fol.
43 ecce illa tempestas, caligo bonorum et subita atque improvisa formido, tenebrae rei publicae, ruina atque incendium civitatis, ma pure Phil.
ideo tamen huiusmodi visio suis fuerat praesentata conspectibus, ut amicus ipse Christi praenosset, se non per martyrium carnis, sed per incendium mentis totum in Christi Iesu crucifixi expressam similitudinem transformandum.
13) He composed about twenty works in Latin, including works of biblical commentary, a poem to the Virgin, a Latin gloss on the psalter, and treatises and works of instruction such as Incendium Amoris and his most popular work, Emendatio Vitae.
Levitates quippe seditionum, et ambire propriae civitatis incendium, non est velle Romanum .
The Incendium Amoris of Richard Rolle of Hampole (Manchester U.
26) In the works of Rolle's middle period, however (the Incendium amoris, Super Canticum canticorum, Contra amatores mundi, and Melos amoris), this circular mode of reasoning is applied to the experience of love, and in particular the experience of the three characteristic motifs known by the contemplative, 'heat' (calor), 'sweetness' (dulcor), and 'song' (canor).
Ergo in tam validas humanae libertatis hostes, velim iuvenes, reservatis mentium oculis, dum formarum muliebrium arbitrii ad spectacula praesident, Troianum intueantur1 incendium.
However, the swift excuses and departure of the guests at the chaotic end of the dinner is very likely to have been the last event in the Cena proper, and again the physical departure of narrator or protagonist is a common form of poetic closure found in epic:(13) here we might compare the end of Aeneid 2, where Aeneas leaves Troy in flames with his father on his back (804), a departure from a real incendium, or the end of Aeneid 6, where Aeneas leaves the underworld, to which Trimalchio's house has been interestingly compared?
Chaucer's solution was the creation of an authorial persona; Watson suggests that the 'autobiographical' passages in Rolle's writing, especially the well-known introduction to Incendium Anton's, had a similarly manipulative function.