Briefly noted for The March for Science: in the margins, a little faith, a little reason, a little unclarity

 

This morning, the British Library tweeted that a manuscript of Henry of Huntington’s Historia AnglorumArundel MS 48, had just been digitized, so, rather than get into some real writing, I took a brief tour. Among its many treasures (so many marginal faces!), including a cute little miter, I found this bit, where Brutus seeks an omen from Diana about his future. Here’s a 19th-century edition of the Latin, if you like.

You’ll notice, however, that a much later commentator has issues. Earlier, they had complained about the avarice of contemporary clerics; here, they write ‘de veritate huius, doctores dubita[n]t’, ‘about the truth of this, theologians/scholars/teachers doubt.’ Of course Brutus didn’t hear from a sylvan goddess about his future passage to Britain! That’d be absurd!

But then, in response to ‘cui dea respondit’ [to whom the goddess responded], that is, Diana’s answer to Brutus’ supplication, our same commentator sniffingly intervenes, ‘cui diabolus respondit,’ ‘to whom the devil responds.’

I’m reminded, as I’m sure you are, of François Hédelin, whose 1627 treatise, Des satyres, brutes, monstres et démons, takes up the question of the famous talking satyr from Jerome’s Life of Saint Paul, the First Hermit. It’s perhaps a hard story to believe. Jerome himself offered proof, namely, that the corpse was sent along, salted, to the emperor in Antioch [postea cadauer exanime, ne calore aestatis dissiparetur, sale infusum et Antiochiam, ut ab Imperatore uideretur, adlatum est]. The skeptical and scientific Hédelin, however, insists that Constantine was already dead, so clearly this was impossible. And, anyway, the corpse must have been a monkey.

As for the talking satyr? Obviously a demon.

Skin color and musical notation: A few fascinating manuscript images

One of my (many!) procrastination habits is poking around in manuscripts online to see what might turn up. Recently, I’ve found the following–

To start you off lightly, here’s a multicolored embroidered repair to a hole in a Historia Scholastica manuscript, in a section about the various woods used to manufacture Jesus’s Cross:

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Aarau, Aargauer Kantonsbibliothek, MsWettF 9 203r

And then this – the Occitan Abreviamen [or Abreujamen] de las Estorias, Egerton MS 1500, c. 1321-1324, an illustrated universal history, specifically, a diagrammic chronicle, remarkable, to me at any rate, for its representations of differences in skin color. Here’s one image:

and here’s another, 52v, from the same manuscript:

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Guy of Lusignan and Sibilla of Jersualem;  Isabella, below, with 3 of her 4 husbands [Almaric, Henry & Conrad]

There is work on the manuscript by Catherine Leglu and especially by Federico Botana, but to my exceedingly limited knowledge, nothing on its skin tones. We could use further comparison. Botana’s superb codicology puts Egerton 1500 alongside Venice’s Biblioteca Nazionale Marciana, MS Zanetti Latino 399, but unfortunately, as the latter manuscript isn’t online, I don’t know how it shows its sultans, nor its Sibilla or Isabella. Nor do I know enough about diagrammic chronicles even to know whether it’s more or less unusual to decorate genealogies with faces: for example, click through for a Biblical genealogy from the Aargauer Kantonsbibliothek, MsWettF 9 239v, mostly a list of names, but also featuring a delightfully nonplussed bird, grumpy at being dragooned into the Flood story. Cambridge, Trinity Library O.1.78 provides only the names of the English kings; see also this mixture of the two in the Biblical genealogies in Dijon Bibliothèque municipale Ms 634, a manuscript of Peter of Poitiers’ Compendium.

As further evidence that I poked around a bit, I can also cite these from the British Library: Royal MS 14 B VI (genealogy of the Kings of England, faces and for most kings, full bodies); Royal MS 14 B V (similar but with the full complement of silly medieval marginalia – snails, animal doctors, deer-hunting rabbits, &c); Add MS 48976 (the Rous Roll, so delicately drawn, whose genealogy diagrams are just names, sometimes becrowned); Cotton MS Domitian A VIII (English kings, just names); Cotton MS Nero D I (Matthew Paris’s notes, just names); Harley MS 7353 (Edward IV and biblical typography plus an actual genealogical tree with potentate portraits as leaves, and, well, just click through). The Abington Chronicle [Cambridge Trinity R.17.7] sadly isn’t online yet.

If anyone’s fishing around for an essay topic, then, you might want this in the mix as well:

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King Penda, a red-faced pagan. Houghton Library 40, Chronicle c 1470

No other king in the manuscript is so colored; and if you’d like to try to guess by reading about Penda in a proximate English history, be my guest.

Finally!

Marvel at this notation of hunting horns, represented as floating in air, as sound, in Hardouin de Fontaines-Guérin’s Livre du Tresor de Vanerie. There are just the three manuscripts, one of which, I believe, is a postmedieval copy, and the other unillustrated. But one, BnF 855 is so, so wonderful:

Notation like this graces so many of its illustrations. Of course your humble procrastinator is not the first to notice these: as of the 1990s, the modern expert is Eva Marie HeaterJulien Brunelliere has written on it more recently; and Henri Kling cracked the code in 1911.

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Finally, it was edited twice in the nineteenth century, its illustrations reproduced both times, and once in a style that, at least for those of us who read independent comics in the 1990s, recalls nothing other than Dame Darcy’s legendary Meat Cake

Please compare, and with that, I am done, and back to much more mundane medieval matters:

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Dame Darcy, Meat Cake #0, 1996.

You know, the one with the Rocks – Trinity Colllege R.3.3

CaptureIn last night’s Chaucer class, while trying to illustrate a point about the Manciple’s Tale. I found myself in Cambridge, Trinity College R.3.3, a Canterbury Tales manuscript of c. 1450-1475. This is what grabbed me, above: at 108r, you’ll see the ending of the Prioress’s Tale (here reading “for the reverence of his moder Marie. Amen”), followed not by Thopas, but by the FRANKLIN.

Dividing the Prioress from the Franklin, we have: “Hic incipit prologus de Frankeleyun cum fabula sua de Rokkes de Brytaine” (here begins the Franklin’s prologue with his tale of the Rocks of Briton [or Bretagne]”)

Forgive me if I’m repeating something someone already said: I’m not a manuscripts scholar, my paleography is weak, and various quick, morning searches in various databases for Trinity R.3.3 commentary haven’t been successful, even though I know some of you have written about it: but I love this incipit. I would suspect our students, and most of us too, think of the Franklin’s Tale as mostly about honor, truth, the problem of sovereignty, class conflict in narrative and rhetoric, and the indifference or nonexistence of the gods. But here’s someone who, like Jeffrey (eg here and here), thinks it’s a tale mostly about ROCKS.

(by the way, Jeffrey’s Stone: An Ecology of the Inhuman is available here!)

(quick check suggests there are no other such incipit summaries in the mss (the others are just tags like “here begins the Cook’s Tale,” etc, but we do have this this rather self-satisfied, nonmedieval manicule at 38r)Capture2

(I don’t suppose anyone knows off hand if any of the other fifteenth-century copies of the Franklin’s Tales are marked this way?)

Fire, Air, Earth, Water: Elemental Order vs. Phenomenological Order

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Here’s a T-O Map from the Mandeville epitome that begins that famous fifteenth-century Carthusian miscellany, British Library Add 37049, f. 2v. (also famous for including the unique copy of the Middle English “Disputation between the Body and the Worms,” which I write about here).

Warning: I’m not a map scholar, and, as Chet van Duzer probably already said what I’m about to say here, I apologize. Be patient and imagine briefly that you’re one of my students, befuddled, curious, and confused. Or imagine you’re one of my colleagues, ideally one who knows more about paleography, maps, and medieval science than I do. I humbly submit myself to the correction of all.

I’m fond of this map because it comprises two intersecting two-dimensional planes, which together generate an approximation of three dimensions. Note, first, the geography: the left bottom quadrant is Europa, the right bottom quadrant Affrica, and the top half Asya (if I’m reading that right). Various cities and regions have been labeled: Syria, Alpes, Roma, Gallia (France), Hispania, Ethiopia, Carthago, etc.

Meanwhile, at the very top we find a band of red, which is Fire; below that, a band of clouds running through a scribble of blue, which is Air; below that, written below a band of trees, Earth; and then, dividing the Asia, Europe, and Africa, the element of Water.

If fire, being lightest, is above the slightly heavier air, and if both of these are above the surface of the earth, then the labeling of elements intersects the world map at a perpendicular. There’s a catch, though: as earth is heavier than water, the labeling of elements reverses the final two, as it places water below the earth. The simple explanation is that this reversal just represents our experience of our world: so long as we’re not wading or drowning (or being rained upon), earth, for us, is above the water, whatever the claims of natural science.

The reversal also neatly represents our world’s slightly off-kilter arrangement of elements, as explained by one far-seeing mid-fourteenth-century theorist. Jean Buridan’s commentaries on Aristotle’s De caelo et mundi and Meteorologica consider the question of whether the whole earth is habitable. His answer? One quarter, yes, the rest not. He doesn’t get to that conclusion without some struggle. In Joel Kaye’s summary, Buridan first:

raises a question that Aristotle had never considered: why would any one quarter of the earth be more likely to remain above water and habitable than any other quarter?…Given the spherical nature of the earth, given that according to Aristotelian physics all earth falls naturally to the earth’s center, given the great abundance of water with respect to land, and assuming with Aristotle…that the universe is eternal…why in the fullness of time should any portion of land whatsoever remain habitable above water? (94)

To save the world from drowning, Buridan concocts “an interconnected physical system in dynamic equilibrium” (95), in which heat and cold make the earth above waters slightly lighter than drowned earth, so that the earth’s weight and its center of magnitude slightly differ. Only the earth below the waters is as cold as it naturally should be. The off-kilter interaction of earths of varying density, balanced in an eternal motion of unbalance, keeps exactly one ever-shifting quarter of the earth above water (96).

Is this eternal, Weeble Wobbly unbalance what’s represented by the T-O map of BL Add 37049? Doubtful. More likely, it represents the lived, human experience of elements, with the earth below us, and the water, we hope, even lower. But were some Carthusian bro a committed Aristotelian (unlikely!), we can imagine him looking at this map, on the verge of unloosing yet another “well, actually,” but then thinking back to his studies, and resting content, temporarily above the waters.

A nice elemental chart

ElementsFrom Einsiedeln, Stiftsbibliothek, Codex 149(558), page 172, a 10th-c. manuscript. Drawn at the very end of Boethius’s Consolation of Philosophy. Here we see the four element, from left to right: Fire (Ignis), Air (Aer), Water (Aqua), and Earth (Terra), with their constituent qualities of dryness (Siccus), heat (Calids*), wetness (Humida), and coldness (Frigida).

  • Maybe someone with better Latin & better Paleographical chops than mine can tell me why this is “calids”

An Early Modern Child’s Drawing, in Melusine

by KARL STEEL

While looking for a suitable illustration to help teach Geoffrey of Auxerre’s version of the Melusine story (n35 here for more), I ran across this, in Jean d’Arras’ prose Roman de Melusine, BnF fr. 1485:

That’s GREAT. I’m pretty sure this drawing’s escaped (for now) the attention of Erik Kwakkel, that indefatigable emissary for medieval manuscripts, though he has blogged on doodles, and even children’s doodles.
Please let me know if you’ve seen this before, and where. Google searches for child drawing Melusine or l’enfant dessin Melusine get me nothing useful. For now, we’ll just observe that this drawing, dating from, I guess, the late 16th or early 17th century, is all too appropriate in a story so concerned with lineage.
And, uh, dinosaurs and maces.
(parenthetically, because I’m far outside my expertise here, but I’ve been asked to explain why I think this is a child’s drawing. My stupid response is just that it looks like one. More considered, and even less expertly, I’d say that the elongation of limbs coupled with the enlargement of areas to accommodate detail (in this case, in clothing) that can’t be rendered finely with a child’s typically gross motor skills coupled (tripled?) with the complete indifference to the image’s interaction with the text just says child to me. But it could be Paul Klee too! If this touches on your field, hazard a guess in comments, please.)

Chaucerian Chromophobia? Beige Hengwrts and Bawdy Ellesmeres

Screenshot-Hengwrt Chaucer Digital Facsimile - Mozilla FirefoxI thank Michael Moon’s “Do You Smoke? Or, Is There Life? After Sex?” in After Sex? On Writing since Queer Theory (SAQ Summer 2007) for its reference to David Batchelor’s Chromophobia, a work that argues that:

The love of bright hues is an affliction as well as an alleged moral failing that has been routinely ascribed throughout the modern period to “orientals,” sensuous women, children, and “primitives” of “all stripes”…(Moon, 540)

I haven’t (yet?) read Chromophobia, but I like what I know about it (e.g., his observations on the privilege of drawing over coloring in), and in my gleanings from here and there, I’ve been happy to turn up gemlike prejudices from our foundational thinkers. Aristotle called color a “pharmakon” (31), Isaiah 1:18 aligns color with sin and whiteness with purity, and Goethe observed

that savage nations, uneducated people, and children have a great predilection for vivid colours; that animals are excited to rage by certain colours; that people of refinement avoid vivid colours in their dress and the objects that are about them, and seem inclined to banish them altogether from their presence (qtd 112).

I now have that feeling that I contract from some of my favorites works, suspicion coalesced into a master thesis. Call it paranoid desublimation. With Batchelor lodged in my brain, I compare the dangerous passion of the Big Orange Splot to the rational, calm, beige futurity of Swedish design (see the interiors in Scenes from a Marriage, or, if you’re an Ikeatiste, just look around).

I also consider the preference for the Hengwrt manuscript over the Ellesmere. At this point, and perhaps at all future points, I’ve only a hunch, a hunch, moreover, that’s not been validated by sprints through (only) three articles (the Linne Mooney Adam Pinkhurst piece in the Jan 2007 Speculum, Michael C. Seymour’s “Hypothesis, Hyperbole, and the Hengwrt Manuscript of the Canterbury Tales,” English Studies 68 (1987): 214-19, and Ralph Hanna’s “The Hengwrt Manuscript and the Canon of the Canterbury Tales), a hunch that has been validated, if we can call it that, only by a highly suspicious reading of Peter G. Beidler’s characterization of the differences between Hengwrt and Ellesmere (“…the Hengwrt manuscript, the oldest and most authentic” vs. “the lovely Ellesmere manuscript” (29)), by the predilection for the adjective “lavish” when describing Ellesmere, and by ill-remembered, misconstrued, or invented conversations and gestures from conferences, seminars, and, probably, clambakes.

Nevertheless: is it possible that the preference for Hengwrt over Ellesmere, even when expressed with hierophantic jargon of the codicologist, is fundamentally a preference for cool reason over vivid pleasures, pure judgment of the Aesopian body of one manuscript over the all too obvious lavish enticements of another? Are leading questions a valid substitute for research into critical discourse? By all means, no, but if I can’t offer my suspicions on a blog, how can I get them out of my head?

Thanks for the image, from here.


 

Jeffrey, thanks for the Fradenburg: I’m glad you had that thought at hand, and I’m glad to see that she wrote that (given that at times I think her such a psychoanalytic critic that I would expect her always to turn suspiciously on her pleasure). I remembered that I had quoted some relevant stuff here from my own work (from the written portion of my comprehensive exam!) (also see the conversation about creative writing here): so, right, I wrote:

“If we read Sir Gawain and ignore the Prick of Conscience except, perhaps, as it helps illuminate our favorite poems, we are not scholars: we are dilettantes. It is up to you to find ways to make these texts interesting, but you won’t succeed in this by attending to startling rhymes, unusual vocabulary, or any of these other purely aesthetic criteria. And if you were looking for these things in these texts, I doubt you would be successful. You may think I am arguing that scholarship requires you to suffer, but I would say that if you are bored by these works, the fault is probably yours because you don’t yet know how to read them. Scholarship—-and this is an ethical imperative—-requires that you try to apprehend cultures on their own particular historically, culturally, and materially specific terms and that as you read, as you think, you bring your own assumptions and categories under examination continuously.”

I think what saves the c. 2002 me here is the turn back to pleasure, how–if I can gloss my own work–I try to link ethics and pleasure, that in trying to recover why these terribly long, terribly alien works–the Cursor Mundi, Prick of Conscience, the Secretum Secretorum, the Wycliffite Bible(s)–should have been so popular, we might recognize ourselves as having arrived at a goal when we begin to enjoy them, when we affectively, unconsciously, account for their popularity. When we might feel the pleasure–sublimated or not–that drove so many hundreds of households to want their own Prick of Conscience.

Which is to say: it’s usual to discover the pleasure in sacrifice, but, less suspiciously, I wouldn’t doubt if Blake (and thanks Stephanie for the reminder) somehow liked chucking the Canon Yeoman’s tale.

[and, BTW, am I the only one who’s heard the story of Manly and Rickert as a story of sublimated, frustrated, peculiar pleasure, sex turned (in)to the war effort and scholarship, uncannily moving on despite death?] –

Found another one, also in the Beidler WoB edition: “Many scholars now see even the lovely Ellesmere manuscript, copied by the Hengwrt scribe and arranged by a highly intelligent editor, as a distraction rather than an aid in understanding Chaucer” (91).

I just need about 20-30 more of these, and Chaucer Review here I come! –
See more at: http://www.inthemedievalmiddle.com/2008/02/chaucerian-chromophobia-beige-hengwrts.html#sthash.I5iw3JJK.dpuf