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・ Pamphalea
・ Pamphile
・ Pamphile (disambiguation)
・ Pamphile of Epidaurus
・ Pamphile Réal Du Tremblay
・ Pamphile-Gaspard Verreault
・ Pamphili family
・ Pamphilia to Amphilanthus
・ Pamphilida
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Pamphilus de amore
・ Pamphilus of Alexandria
・ Pamphilus of Caesarea
・ Pamphilus of Sulmona
・ Pamphilus the Theologian
・ Pamphlebia
・ Pamphlet
・ Pamphlet of Rigas Feraios
・ Pamphlet wars
・ Pamphleteer
・ Pamphobeteus
・ Pamphobeteus nigricolor
・ Pamphorichthys
・ Pamphylia
・ Pamphylia Tanailidi


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Pamphilus de amore : ウィキペディア英語版
Pamphilus de amore

''Pamphilus de amore'' (or, simply, ''Pamphilus'') is a 780-line, twelfth-century Latin comedic play, probably composed in France but possibly Spain.〔Vincente Cristóbal, 'Ovid in Medieval Spain', in ''Ovid in the Middle Ages'', ed. by James G. Clark, Frank T. Coulson and Kathryn L. McKinley (Cambridge: Cambridge University Press, 2011), pp. 231-56 (p. 241).〕 It was 'one of the most influential and important of all the many pseudo-Ovidian productions concerning the "arts of Love" ' in medieval Europe,〔Thomas Jay Garbaty, 'Pamphilus, de Amore: An Introduction and Translation', ''The Chaucer Review'', 2 (1967), 108-34 (p. 108), http://www.jstor.org/stable/25093043.〕 and 'the most famous and influential of the medieval elegiac comedies, especially in Spain'.〔Vincente Cristóbal, 'Ovid in Medieval Spain', in ''Ovid in the Middle Ages'', ed. by James G. Clark, Frank T. Coulson and Kathryn L. McKinley (Cambridge: Cambridge University Press, 2011), pp. 231-56 (p. 241).〕 The main protagonists are Pamphilus and Galatea. Pamphilus seeks to woo Galatea through the mediation of a procuress (inspired by the procuress in Book 1.8 of Ovid's ''Amores'').〔Vincente Cristóbal, 'Ovid in Medieval Spain', in ''Ovid in the Middle Ages'', ed. by James G. Clark, Frank T. Coulson and Kathryn L. McKinley (Cambridge: Cambridge University Press, 2011), pp. 231-56 (p. 241).〕
==Style==

According to Thomas Jay Garbaty, 'The Latin original abounds in all aspects of medieval rhetoric as outlined by Geoffrey de Vinsauf, in his ''Poetria Nova'', specifically ''repetitio'', paradox, oxymoron, alliteration. It is obvious that the author sacrificed much dramatic tension and liveliness for elegance of style'.〔Thomas Jay Garbaty, 'Pamphilus, de Amore: An Introduction and Translation', ''The Chaucer Review'', 2 (1967), 108-34 (p. 110), http://www.jstor.org/stable/25093043.〕

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