This article offers the first comprehensive study of Manchester, John Rylands
Library, MS Latin 182, a twelfth-century codex formerly belonging to (and
possibly produced at) the Benedictine Abbey of (Mönchen-)Gladbach in Germany. I
begin with a full codicological and palaeographical analysis of the entire
manuscript, before moving on to a discussion of its contents. These include the
Venerable Bede‘s Historia ecclesiastica gentis Anglorum and the Continuatio
Bedae, as well as two hagiographical works copied at the end of the manuscript.
I then propose a new possible context of reception for Bede‘s Historia
ecclesiastica during the twelfth century, one that interlinked with the
prevalent discourses on secular ecclesiastical lordship and monastic reform at
Gladbach, as well as, perhaps, in Germany more widely. In doing so, I
essentially argue for the possibility that the Gladbach scribes and their
audiences may have used and understood the Historia ecclesiastica not only in
the conventional context of history and historiography, but also (and perhaps
equally important) as an example of the golden age of monasticism which during
the later twelfth century was re-framed and re-contextualised as both a
spiritual guide and a source of miracle stories.
What happens when Chaucer turns up where we don’t expect him to be? Transporting Chaucer draws on the work of the British sculptor Antony Gormley alongside more traditional literary scholarship to show that Chaucer’s play with textual history and chronological time prefigures how his poetry becomes incorporate with later (and earlier) texts. The shuttling of bodies, names, and sounds in and amongst works that Chaucer did write anticipates Chaucerian presences in later (and earlier) works that he did not. Chaucer’s characters, including ‘himself’ refuse to stay put in one place and time. This book bypasses the chronological borders of literary succession to read The Canterbury Tales and Chaucer’s Dream Vision poetry in present company with Chaucerian ‘apocrypha’, and works by Shakespeare, Davenant and Dryden. Conventional models of source and analogue study are re-energised to reveal unexpected (and sometimes unsettling) literary cohabitations and re-placements. Transporting Chaucer presents innovative readings of relationships between medieval texts and early modern drama, and between literary texts and material culture. Associations between medieval architecture, pilgrim practice, manuscript illustration, and the soundscapes of dramatic performance reposition how we read Chaucer’s oeuvre and what gets made of it. Written for scholars and students (undergraduate and graduate) who work in medieval English literary studies and early modern drama, Transporting Chaucer offers a new approach to how we encounter texts through time.
either from the tales that they themselves are about to narrate and/
or from those already yet to be told by their fellow pilgrims. In some
instances, visual details have no obvious cue from any textual detail
in The Canterbury Tales. They would appear to be the creative
response of the illustrator and/or his supervisor.55
While previous studies have explored the illustrated pilgrims
through codicology, through costume and through props, so far
no systematic attention has been paid to the pilgrims’ hands.56
The provision of horses for all the pilgrims
Through examination of codicology and editorial procedure Chapter Two shows how The Canterbury Interlude and The Tale of Beryn (companion texts found two thirds of the way through MS Northumberland 455), upset chronological linearity and confound normative co-ordinates of time and place. The signs of personhood (especially props and names) in all these texts, and the Anglo-Norman source, Bérinus are radically unstable. In their Canterbury setting, narrated by a Merchant pilgrim, preceded by a Chaucerian Prologue, and in the midst of a codex of The Canterbury Tales, the foreign bodies of Bérinus become persons rather familiar from the works of Chaucer, especially Gioffrey and the inconsistent cameo appearances of ‘Chaucer himself’. The borders of narrative text and literary history unravel.
Telling stories from the Cavendish financial accounts
moment. Its pages of itemised records were reference
points but the book, at the same time, served to capture and commemorate
a particular representation of the Cavendish household. Ultimately, this analysis
offers us a fresh viewpoint from which to survey the household and marriage
of Sir William and Bess Cavendish: filtered through the perspective of the
There has been no previous attempt to describe the codicology of this
1548–50 book of financial accounts; as a result, certain misconceptions have
arisen over what it was for and who created and
Saint-Germain-des-Prés type, whereas the headings are written in mixed
uncial, often in red. There are very few ligatures, and some abbreviations,
most of which are ‘standard’. Usually a medial point denotes a short pause,
and a semicolon a long one. There are no illustrations or decorated initials,
and it seems that the text was corrected by a different (although very similar)
hand shortly after it was copied. On account of its palaeography and codicology, it is possible to date the Brussels manuscript to the first third of the
ninth century (c. 830), and to
required the study of paleography, languages and codicology and so
offered medieval studies a way to legitimate its own existence as a form
of scientia .
The subordination of interpretation to caritas has
been widely criticised as assuming the reading that is to be produced
before one even approaches the text to be interpreted. The totalising
effects of such a circular hermeneutic have been laid out most
Punctuation and the voicing of late medieval devotional literature
from palaeography and codicology in ways that attend to the local
typography without succumbing to their particularity’. 3 Such syntheses
require that a productive balance be attained between recognising
the individual complexity of the manuscript witness and evaluating
trends in evidence across numerous witnesses. I suggest that the
study of medieval punctuation would
the host from a spell. This scenario has been dubbed ‘disenchantment by
decapitation’ and occurs also in a slightly different guise in Sir Gawain
and the Green Knight.71 This dramatic part of the bargaining is missing
from the version of Carle in the Brogyntyn manuscript in favour of what
seems on the surface the much milder promise by the Carle not to continue
in his ways.72 This difference is interesting in relation to the manuscript
context of the Brogyntyn Carle, as I hope to demonstrate below.
Codicology and the evidence for reading
: medicine, astrology, and written
records’, Bulletin of the History of Medicine, 88:4 (2014), 595–625.
26 J. Le Neve, ‘Vindicta astrologiae judiciariae’, 1642, CML, fMS 1939.002. For a codicology,
see M. S. Dawson, ‘The fate(s) of an astrological manuscript: Le Neve’s Vindication and MS.
Ashmole 418’, Bodleian Library Record, 27:1 (2014), 105–12.
DAWSON 9781526134486 PRINT.indd 60
Nativities established 61
Le Neve routinely verified his clients’ nativities, and therefore the corresponding accuracy of his calculations, by assessing complexions and