The Portable Medieval Reader

by James Bruce Ross

  Be gracious, O Ivory Tower!

  My anguish touch and allay.

  All that I had is spent:

  In nothingness am I drest;

  Make me thine instrument,

  Thy servant ransomed and blest:

  —He who drank from thy breast,

  Madonna, the price will pay.

  Thy Son, who loved me first,—

  By His dear love I entreat,

  Madonna, pity my thirst,

  Grant me thy counsel meet!

  Succor me, Lily most sweet!

  Haste, and do not delay!

  From Lauda I, trans. Mrs. T. Beck in E. Underhill, Jacopone da Todi (London: Dent, 1919).

  Merciless Beauty: A Triple Roundel

  GEOFFREY CHAUCER

  English; fourteenth century

  I

  Your two bright eyes will slay me suddenly,

  The beauty of them I cannot sustain,

  So keenly strikes it through my heart and brain.

  Unless your word will heal right speedily

  Mine head’s confusion and mine heart’s sore pain,

  Your two bright eyes will slay me suddenly,

  The beauty of them I cannot sustain.

  Upon my troth I tell you faithfully,

  You of my life and death are sovereign,

  And by my death the world shall see it plain—

  Your two bright eyes will slay me suddenly,

  The beauty of them I cannot sustain,

  So keenly strikes it through my heart and brain.

  II

  So has your Beauty from your bosom chaséd

  Pity, that it avails not to complain;

  For Pride fetters your Mercy in his chain.

  To death all guiltless thus am I abaséd—

  I say the sooth, I have no need to feign;

  So has your Beauty from your bosom chaséd

  Pity, that it avails not to complain.

  Alas, that Nature in your visage placéd

  Beauty so great that no man shall attain

  To Mercy, though he perish for the pain!

  So has your Beauty from your bosom chaséd

  Pity, that it avails not to complain;

  For Pride fetters your Mercy in his chain.

  III

  Since I from Love escapéd am so fat,

  I think no more to be in prison lean;

  Since I am free, I count him not a bean.

  He may reply, and say or this or that;

  I reck not on’t, I speak right as I mean—

  Since I from Love escapéd am so fat,

  I think no more to be in prison lean.

  For evermore Love has abjured me flat,

  And he for evermore is stricken clean

  Out of my books, as he had never been.

  Since I from Love escapéd am so fat,

  I think no more to be in prison lean;

  Since I am free, I count him not a bean.

  Explicit.

  Trans. J. S. P. Tatlock and P. MacKaye, The Modern Reader’s Chaucer (New York: Macmillan, 1912).

  Roundel

  CHRISTINE DE PISAN

  French; fifteenth century

  Laughing grey eyes, whose light in me I bear.

  Deep in my heart’s remembrance and delight,

  Remembrance is so infinite delight

  Of your brightness, O soft eyes that I fear.

  Of love-sickness my life had perished here,

  But you raise up my strength in death’s respite,

  Laughing grey eyes, whose light in me I bear.

  Certes, by you my heart, I see full clear,

  Shall of desire attain at last the height,

  Even that my lady, through your sovereign might,

  May we continue in her service dear,

  Laughing grey eyes, whose light in me I bear.

  From The Book of the Duke of True Lovers, trans. Alice Kemp-Welch (London: Chatto and Windus, 1908).

  Miracles of the Virgin

  JOHANNES HEROLT

  Latin; fifteenth century

  I

  A CERTAIN woman of simple and upright life used to worship the Holy Mary, Mother of God, often strewing flowers and herbs before her image.

  Now it chanced that the woman’s only son was taken prisoner. And the mother weeping for him would not be comforted, and prayed with all her heart to the Blessed Virgin Mary for her son’s deliverance. But seeing it was all in vain, she entered the church and thus addressed the image of the Blessed Virgin, “O Blessed Virgin Mary, often have I asked thee for the deliverance of my son and thou hast not heard me. Therefore, as my son was taken from me, so will I take away thine and will put him in durance as hostage for mine.”

  And taking the image of the Child from the bosom of Mary, she went home, wrapped him up in a clean cloth, and shut him up carefully in a chest. And, behold, the following night the Blessed Mary appeared to the captive youth bidding him to go forth and said to him: “Tell your mother to give me my Son.” And he coming to his mother, described how he had been set free. But she with great rejoicing carried back the image of Jesus to Mary and gave her thanks.

  II

  In a certain convent of nuns many years ago there lived a virgin named Beatrice under vow of chastity. Devout in soul and a zealous servant of the Mother of God, she counted it her greatest joy to offer up her prayers to her in secret and, when she was made custodian, her devotion increased with her greater freedom. A certain cleric, seeing and desiring her, began to use enticements. When she scorned his wanton talk, he became so much the more eager, and the old serpent hotly tempted her, so that her heart could no longer endure the fires of passion, but going to the altar of the Blessed Virgin Mary, who was the patron saint there, she said: “Lady, I have served thee as faithfully as I could; behold I resign to thee thy keys. I can no longer withstand the temptations of the flesh.” Placing the keys on the altar she went in secret after the cleric, and he, after dishonouring her, within a few days deserted her. And she having no means of living and being ashamed to return to the cloister, became a harlot.

  Having lived publicly for many years in this wickedness, one day she came in her secular dress to the gate of the convent, and said to the gatekeeper: “Do you know one Beatrice, formerly the custodian of this convent?” And he replied: “Yes, she is a very worthy lady, holy and without reproach from her childhood, who has lived in this convent to this day.”

  She, hearing these words, but not weighing their meaning, was about to go away, when the Mother of Mercy appeared to her in the form of a woman and said: “For fifteen years I have filled your office in your absence. Return now to your home and do penance, for no one knows of your departure.” The Mother of God had actually in her shape and dress taken her place as guardian. At once she returned, and as long as she lived gave thanks to the Virgin Mary, and in confession made known to her confessor all that had happened to her.

  III

  A certain man lived carnally with another woman, his wife being aware of it. She finding it hard to endure this, made complaint in the church of St. Mary, praying to be avenged on her who had taken away her husband. St. Mary, appearing to her, said, “How can I bring harm upon her, for each day she bends her knee a hundred times to me?” But the woman in much vexation said: “Why will you not avenge me? I will make my complaint to your Son.”

  She went out of the church muttering those words. But the adulteress met her, and when she inquired what she was saying, the other replied: “I was complaining about you to the Virgin Mary, and she replied that she would do you no harm because every day you made a hundred genuflexions to her, and it is for that I am murmuring. But I hope that her Son will avenge me.” Hearing that, the adulteress at once threw herself at her feet begging her pardon and faithfully promising never again to commit sin with her husband.

  From Miracles of the Blessed Virgin Mary, trans. C. C. S. Bland (London: Routledge, 1928).

  PAINTERS AND BUILDERS


  Of Pictures and Images

  WILLIAM DURANDUS

  Thirteenth century

  PICTURES and ornaments in churches are the lessons and the scriptures of the laity. Whence Gregory: It is one thing to adore a picture, and another by means of a picture historically to learn what should be adored. For what writing supplieth to him which can read, that doth a picture supply to him which is unlearned, and can only look. Because they who are uninstructed, thus see what they ought to follow: and things are read, though letters be unknown. True is it that the Chaldeans, which worship fire, compel others to do the same, and burn other idols.... But we worship not images, nor account them to be gods, nor put any hope of salvation in them: for that were idolatry. Yet we adore them for the memory and remembrance of things done long agone. . . .

  But Gregory saith, that pictures are not to be put away because they are not to be worshipped: for paintings appear to move the mind more than descriptions: for deeds are placed before the eyes in paintings, and so appear to be actually carrying on. But in description, the deed is done as it were by hearsay: which affecteth the mind less when recalled to memory. Hence, also, is it that in churches we pay less reverence to books than to images and pictures.

  Of pictures and images some are above the church, as the cock and the eagle: some without the church, namely, in the air in front of the church, as the ox and the cow: others within, as images, and statues, and various kinds of painting and sculpture: and these be represented either in garments, or on walls, or in stained glass....

  The Image of the Saviour is more commonly represented in churches three ways: as sitting on His throne, or hanging on His cross, or laying on the bosom of His mother. And because John Baptist pointed to Him, saying “BEHOLD THE LAMB OF GOD,” therefore some represented Christ under the form of a Lamb. But because the light passeth away, and because Christ is very man, therefore, saith Adrian, Pope, He must be represented in the form of a man. A Holy Lamb must not be depicted on the cross, as a principal object: but there is no let when Christ hath been represented as a man, to paint a Lamb in a lower or less prominent part of the picture: since He is the True Lamb which taketh away the sins of the world. In these and divers other manners is the Image of the Saviour painted, on account of diversity of significations.

  Represented in the Cradle, the artist commemorateth His Nativity: on the bosom of His Mother, His Childhood: the painting or carving His Cross signifieth His Passion (and sometimes the sun and moon are represented on the Cross itself, as suffering an eclipse): when depicted on a flight of steps, His Ascension is signified: when on a state or lofty throne, we be taught His present power: as if He said, “All things are given to me in heaven and in earth”: according to that saying, “I saw the Lord sitting upon His throne”: that is, reigning over the angels: as the text, “Which sitteth upon the cherubim.” Sometimes He is represented as He was seen of Moses and Aaron, Nadab and Abihu, on the mountain: when “under His feet was as it were a paved work of sapphire stones, and as the body of heaven in His clearness”: and as “they shall see,” as saith St. Luke, “The Son of Man coming in the clouds with power and great glory.” Wherefore sometimes He is represented surrounded by the Seven Angels that serve Him, and stand by His Throne, each being pourtrayed with six wings, according to the vision of Isaiah, “And by it stood the Seraphim: each one had six wings: with twain he covered his face, and with twain he covered his feet, and with twain he did fly.”

  The Angels are also represented as in the flower of youthful age; for they never grow old. Sometimes St. Michael is represented trampling the dragon, according to that of John, “There was war in Heaven: Michael fought with the dragon.” Which was to represent the dissentions of the angels: the confirmation of them that were good, and the ruin of them that were bad: or the persecution of the faithful in the Church Militant. Sometimes the twenty-four Elders are painted around the Saviour, according to the Vision of the said John, with white garments, and they have on their heads crowns of gold. By which are signified the Doctors of the Old and New Testament; which are twelve, on account of Faith in the Holy Trinity preached through the four quarters of the world: or twenty-four, on account of good works, and the keeping of the Gospels. If the seven lamps be added, the Gifts of the Holy Spirit are represented: if the Sea of Glass, Baptism.

  Sometimes also representation is made of the four living creatures spoken of in the visions of Ezekiel and the aforesaid John: the face of a man and the face of a lion on the right, the face of an ox on the left, and the face of an eagle above the four. These be the Four Evangelists. Whence they be painted with books by their feet, because by their words and writings they have instructed the minds of the Faithful, and accomplished their own works. Matthew hath the figure of a man, Mark of a lion. These be painted on the right hand: because of the Nativity and the Resurrection of Christ were the general joy of all: whence in the Psalms: “And Gladness at the Morning.” But Luke is the ox: because he beginneth from Zachary the Priest, and treateth more specially of the Passion and Sacrifice of Christ: now the ox is an animal fitted for sacrifice. He is also compared to the ox, because of the two horns, as containing the two testaments; and the four hoofs, as having the sentences of the four Evangelists. By this also Christ is figured, who was the Sacrifice for us: and therefore the ox is painted on the left side, because the Death of Christ was the trouble of the Apostles. Concerning this, and how Blessed Mark is depicted, in the seventh part. But John hath the figure of the Eagle: because, soaring to the utmost height, he saith, “In the beginning was the Word.” This also representeth Christ, whose youth is renewed like the eagle’s: because, rising from the dead, He ascendeth into Heaven. Here, however, it is not pourtrayed as by the side, but as above, since it denoteth the Ascension, and the word pronounced of God.

  From Rationale divinorum officiorum, trans. J. M. Neale and B. Webb (Leeds: Green, 1843).

  How to Represent the Arts and Sciences

  Early fifteenth century

  SEVEN noble pictures of the seven liberal and mechanical arts, theology, and medicine with the most excellent sentences of the philosophers.

  A bearded man in a cap: Tully [Cicero]. “It is for philosophy to investigate the causes of all human and divine things.” This in the book on utility.

  Rhetoric. The image of a woman, having in her hands sprays of flowers.

  Logic. The image of a woman standing, having a lectern before her and an open book in which she writes.

  Fourth, Grammar. The image of a beautiful woman, having a branch in one hand and a wand in the other, and she is standing.

  Fifth, Philosophy, mistress of the sciences. The image of a woman dressed in enough garments, sitting, having a sceptre in her left hand and before her a lectern with an open book, on which is placed her right hand.

  Seneca. The image of an antique man. “Philosophy forms and moulds the soul, orders life, rules the emotions, shows what things are to be done and what omitted.” . . .

  In accordance with the threefold philosophy, namely, rational, natural, and moral, the threefold science of speaking arose, namely, of the suitable, the true, and the ornamental. Of appropriate speaking is Grammar, of true speaking is Logic, of ornamental speaking is Rhetoric.

  The first of these says: “I write perfectly; what I have written I convey rightly.”

  The second says in truth: “I teach how to distinguish clearly the true from the false.”

  The third boasts thus: “I offer the means of teaching with the flower of eloquence.”

  Now this is the trivium.

  The quadrivium is made up of mathematical subjects, that is Arithmetic, Music, Geometry and Astronomy. Arithmetic is the science of numbers. It is named from “Ares,” which is courage and “rismus,” number. Music is the division of sounds and the variety of voices, which derives its name from water. Geometry is the fount of speaking and the origin of expressions and explains the measure of the earth. Astronomy is the discipline investigating space, motion, a
nd the return of the celestial bodies at certain times. On this, Hugh [of St. Victor]. . . .

  These are the things which are pictured and written on one part of the wall....

  On the other wall, on one side one old man. The first one has this verse: “It seems to me the first effort must be given to the arts, where lie the foundations of all, and pure and simple truth is revealed.” This, Hugh in the Didascalicon. The second old man from the other side speaks thus: “The glory of any kingdom whatsoever grows to immense splendour where the studies of the liberal arts flourish.” This, Alexander [of Neckam] in De naturis rerum.

  The image of a woman, having a book in her right hand and with her left she points with her forefinger to the stars of heaven. And it has written above: Astronomy.

  The second image is similarly a woman in the garb of a virgin having a circle in her right hand and a triangle in her left, and it has written above: Geometry.

  The third, Music. A woman adorned sufficiently, singing to a zither.

  The fourth, Arithmetic. A woman, having in her hand a tablet with numbers.

  Below these images is found this saying: “Among all the men of ancient authority,” etc.... These are said in the arithmetic of the venerable Boethius, first chapter.

  On the other part of the wall is depicted a storeroom with boxes, in which an apothecary pounds material in a mortar. Also an old doctor of grave countenance with all propriety is taking the pulse of a pretty woman. Also a sick man lying in bed, in front of whom stands a beautiful girl having a fan in one hand, in the other holding out a vessel to the sick man so that he may drink. Near her stands a respectable matron who is weeping. Also a young doctor examining urine.