Dream vision in the context of "Romance of the Rose"

⭐ In the context of *The Romance of the Rose*, a dream vision is considered…




⭐ Core Definition: Dream vision

A dream vision or visio is a literary device in which a dream or vision is recounted as having revealed knowledge or a truth that is not available to the dreamer or visionary in a normal waking state. While dreams occur frequently throughout the history of literature, visionary literature as a genre began to flourish suddenly, and is especially characteristic of early medieval Europe. In both its ancient and medieval form, the dream vision is often felt to be of divine origin. The genre reemerged in the era of Romanticism, when dreams were regarded as creative gateways to imaginative possibilities beyond rational calculation.

This genre typically follows a structure whereby a narrator recounts their experience of falling asleep, dreaming, and waking, with the story often an allegory. The dream, which forms the subject of the poem, is prompted by events in their waking life that are referred to early in the poem. The ‘vision’ addresses these waking concerns through the possibilities of the imaginative landscapes offered by the dream-state. In the course of the dream, the narrator, often with the aid of a guide, is offered perspectives that provide potential resolutions to their waking concerns. The poem concludes with the narrator waking, determined to record the dream – thus producing the poem. The dream-vision convention was widely used in European, Old Russian, medieval Latin, Muslim, Gnostic, Hebrew, and other literatures.

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👉 Dream vision in the context of Romance of the Rose

Le Roman de la Rose (The Romance of the Rose) is a medieval poem written in Old French and presented as an allegorical dream vision. As poetry, The Romance of the Rose is a notable instance of courtly literature, purporting to provide a "mirror of love" in which the whole art of romantic love is disclosed. Its two authors conceived it as a psychological allegory; throughout the Lover's quest, the word Rose is used both as the name of the titular lady and as an abstract symbol of female sexuality. The names of the other characters function both as personal names and as metonyms illustrating the different factors that lead to and constitute a love affair. Its long-lasting influence is evident in the number of surviving manuscripts of the work, in the many translations and imitations it inspired, and in the praise and controversy it inspired.

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Dream vision in the context of The House of Fame

The House of Fame (Hous of Fame in the original spelling) is a Middle English poem by Geoffrey Chaucer, probably written between 1374 and 1385, making it one of his earlier works. It was most likely written after The Book of the Duchess, but its chronological relation to Chaucer's other early poems is uncertain.

The House of Fame is over 2,005 lines long in three books and takes the form of a dream vision composed in octosyllabic couplets. Upon falling asleep the poet finds himself in a glass temple adorned with images of the famous and their deeds. With an eagle as a guide, he meditates on the nature of fame and the trustworthiness of recorded renown. This allows Chaucer to contemplate the role of the poet in reporting the lives of the famous and how much truth there is in what can be told.

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Dream vision in the context of Pearl (poem)

Pearl (Middle English: Perle) is a late 14th-century Middle English poem that is considered one of the most important surviving Middle English works. With elements of medieval allegory and from the dream vision genre, the poem is written in a North-West Midlands variety of Middle English and is highly—though not consistently—alliterative; there is, among other stylistic features, a complex system of stanza-linking.

A father, mourning the loss of his perle (pearl), falls asleep in a garden; in his dream, he encounters the 'Pearl-maiden'—a beautiful and heavenly woman—standing across a stream in a strange landscape. In response to his questioning and attempts to obtain her, she answers with Christian doctrine. Eventually she shows him an image of the Heavenly City, and herself as part of the retinue of Christ the Lamb. However, when the Dreamer attempts to cross the stream, he awakens suddenly from his dream and reflects on its significance.

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Dream vision in the context of Scipio's Dream

The Dream of Scipio (Latin: Somnium Scipionis), written by Cicero, is the sixth book of De re publica, and describes a (postulated fictional or real) dream vision of the Roman general Scipio Aemilianus, set two years before he oversaw the destruction of Carthage in 146 BC.

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Dream vision in the context of Legend of Good Women

The Legend of Good Women is a poem in the form of a dream vision by Geoffrey Chaucer during the fourteenth century.

The poem is the third longest of Chaucer's works, after The Canterbury Tales and Troilus and Criseyde, and is possibly the first significant work in English to use the iambic pentameter or decasyllabic couplets which he later used throughout The Canterbury Tales. This form of the heroic couplet would become a significant part of English literature possibly inspired by Chaucer.

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Dream vision in the context of Vox Clamantis

Vox Clamantis ("the voice of one crying out") is a Latin poem of 10,265 lines in elegiac couplets by John Gower (1330 – October 1408). The first of the seven books is a dream vision giving a vivid account of the Peasants' Rebellion of 1381. Macaulay described the remaining books: "The general plan of the author is to describe the condition of society and of the various degrees of men, much as in the latter portion of the Speculum Meditantis." Fisher concludes that books II-V were written in the 1370s while the author was writing similar passages in Mirour de l'Omme.

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