Abstract
Guillaume de Machaut’s Le Remede de Fortune has often been described as a didactic work addressed to would-be poets. This essay argues that the Remede also should be read as an implicit work of rhetorical and musical instruction. To this end, the Remede is placed in dialogue with Machaut’s more explicit account of the creative process in the Prologue, with other romans à chansons, such as Nicole de Margival’s Dit de la panthère d'amours, and with medieval theories of rhetoric and music, eventually arriving at a rhetorical reading of the Remede's large-scale structure, a didactic reading of the work's musical interpolations, and a fresh insight into Machaut's understanding of his own creative process.
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