This week, we’re looking back at an earlier episode of “Meeting in the Middle Ages.” In late 2022, we chatted with Dr. Rachel Koopmans, Associate Professor of History at York University Toronto, and Notre Dame alum. We talked with her about her work on the stained glass of Canterbury Cathedral, the preconceptions of ‘medieval’ that students bring to their first medieval history classes, and gratitude for antiquarians of the past.
We tend to think of humanities research as a solitary pursuit; lone scholars in dusty archives, poring over ancient manuscripts. But Dr. Koopman’s experiences researching the glass of Canterbury Cathedral was a reminder that our work is built upon generations of previous scholars. We are, in a real sense, in a conversation with researchers of the past and future. For Dr. Koopmans, this seems to have been a blessing and a curse. On the one hand, it is thanks to the tireless efforts of past antiquarians, librarians, and lovers of history that materials survive to us at all. We also rely on their work to be able to chart the history of an object over the years. But there are also those who have been motivated by other forces. They might have falsified documents, forged artworks, or simply altered a narrative to suit their own ends. Dr. Koopman’s own experiences with past custodians of Canterbury who fabricated stained glass and inserted it into the beautiful cathedral windows tell us that we should not uncritically accept the work of those who have gone before us.
Students come to medieval literature or history courses for all sorts of reasons. Many have an idea of what the Middle Ages were firmly planted in their heads. The ‘Dark Ages’ is still thrown about in public discourse, so students are usually surprised when they discover that the period was filled with innovation, art, and freethinkers. It was wonderful to hear of how Dr. Koopmans tries to challenge their notions of what it is to be ‘medieval.’ Modern scholarship takes ‘medieval’ to be a far broader term than in the past; our research spreads beyond the confines of Europe to Africa, across Asia, and beyond. We hope that when listening to this episode, you’ll be surprised or inspired to find out more about the everyday lives of medieval people.
Thanks for listening. See you next time in the Middle Ages.
Will Beattie & Ben Pykare Medieval Institute University of Notre Dame
Medieval bestiaries, which flourished during the twelfth and thirteenth centuries, particularly in England, are compendia of brief descriptions of various animals (sometimes plants and stones are included as well), which offer moral or allegorical lessons, and are often colorfully illustrated.
Basic modern definitions often suggest a sort of binary, ontological taxonomy for the creatures in these texts: bestiaries feature “real” animals (or “actual” or “factual” ones, such as dogs, crocodiles, beavers, and elephants), but also “imaginary” ones (or “mythical,” “legendary,” or “fabulous” ones, etc., such as unicorns, phoenixes, and manticores).
Unicorn from Aberdeen Bestiary (Aberdeen, Aberdeen University Library MS 24, f15r).
Bestiaries themselves don’t appear to distinguish between “real” and “imaginary” animals, in terms of the arrangement of entries or the way that creatures from these two categories are verbally described or artistically depicted;[1] the distinction is a modern and anachronistic one. Furthermore, bestiaries’ inclusion of hard-to-believe anecdotes about well-known creatures who actually do exist (e.g., the stag’s alleged habit of drowning snakes) renders the boundary between “real” and “imaginary” animals, as we might consider it, less firm in these texts. At stake in the discourse of the “real” versus the “imaginary” in bestiaries is our view of medieval thinkers.
One approach to the “imaginary” animals in bestiaries—a very old approach to interpreting mythical creatures, in fact—is rationalistic: positing that even the legends have some basis in reality, and that real animals were, through a combination of misunderstanding and literary transmission, rendered (almost) unrecognizable. Notable proponents of this view in modern times have included T. H. White (1954), and more recently, zoologists Wilma George and Brunsdon Yapp (1991).
Phoenix from Ashmole Bestiary (Oxford, Bodleian Library, MS Ashmole 1511, f68r).
Bestiaries, for these scholars, can be read as works of natural history, albeit flawed ones, and we should perhaps extend some generosity to their creators, in light of the limitations of their knowledge. George and Yapp characterize the bestiary as “an attempt, not wholly unsuccessful or discreditable for the time at which it was produced, to give some account of some of the more conspicuous creatures that could be seen by the reader or that occurred in legends.”[2] They suggest, for instance, that the manticore—described in bestiaries as a creature with a man’s face, a lion’s body, three rows of teeth, and a tail like a scorpion stinger—was based on the cheetah; that the unicorn could actually be an oryx; and that the half-human, half-fish siren could be a Mediterranean monk seal.
Reading bestiaries as genuine, sometimes highly faulty attempts at something comparable to modern natural history is not a popular position amongst medievalist scholars of bestiaries. However, the idea of bestiaries as failed pre-modern zoology lingers in some sources aimed at popular audiences. The entry on bestiaries in the Encyclopaedia Britannica, for example, claims that the “frequently abstruse stories” in these works “were often based on misconceptions about the facts of natural history.”
Manticore from Ashmole Bestiary (Oxford, Bodleian Library, MS Ashmole 1511, f22v).
As for the ontological status of “imaginary” bestiary creatures to medieval readers, i.e., whether they believed unicorns, etc. actually existed, this is hard to ascertain, and perhaps of less interest to many scholars than the prospect of examining the messages these rich works articulate on their own terms. Still, the unsupported assertion that bestiary stories were “generally believed to be true” in the Middle Ages, as the Wikipedia page for bestiaries claims, is very much in line with widespread perceptions of the period.
It is an appealing contemporary fantasy, not so much to believe in dragons or unicorns, but to believe that people really believed in them, once—a sort of vicarious experience of enchantment, accomplished not simply by imaginatively engaging with medieval works that depict fantastic animals, but by imagining more credulous medieval readers, and perhaps even by imagining oneself in their place.
Dragon from Aberdeen Bestiary (Aberdeen, Aberdeen University Library MS 24, f65v).
To take both “real” and “imaginary” bestiary creatures as the texts present them—not seeking to sieve the factual from the fabulous, not seeking an ordinary, well-known animal behind the remarkable verbal and visual depictions that bestiaries offer—allows for, amongst other things, a certain defamiliarization of the natural world we inhabit.
Playing on the fertile ambiguities of bestiary accounts is a project by The Maniculum (a podcast series which brings together medieval texts and modern gaming, co-hosted by E. C. McGregor Boyle, a PhD Candidate at Purdue University, and Zoe Franznick, an award-winning writer for Pentiment). On the Maniculum Tumblr, readers are offered “anonymized” selections from the Aberdeen Bestiary (i.e., the name of the animal being described is replaced with a nonsense-word to disguise its identity). Contributors are invited to create artwork inspired by the bestiary description itself, rather than their knowledge of what the animal is “supposed” to look like. The results are diverse; the “hyena” entry, for instance, yielded representations of creatures resembling everything from pigs to predatory snails, in a wide range of styles.
Hyena from Aberdeen Bestiary (Aberdeen, Aberdeen University Library MS 24, f11v).
Bestiaries continue to fascinate and inspire, centuries after their creation. Below are some medieval bestiary facsimiles and related resources to explore:
The Aberdeen Bestiary (Aberdeen, Aberdeen University Library MS 24), written and illustrated in England ca. 1200. Digital facsimile, accompanied by commentary, and Latin transcriptions and modern English translations of each folio.
The Ashmole Bestiary (Oxford, Bodleian Library, MS Ashmole 1511), early 13th century, England, possibly derived from the same exemplar as the Aberdeen bestiary. Digital facsimile.
The Worksop Bestiary (New York, Pierpont Morgan Library, MS M.81), ca. 1185, England. Digital facsimile.
The Medieval Bestiary: Animals in the Middle Ages, a website on bestiaries by independent scholar David Badke. Includes indices of bestiary creatures, cross-referenced with manuscripts and relevant scholarship, as well as galleries of medieval illustrations.
Emily Mahan PhD in Medieval Studies University of Notre Dame
[1] Pamela Gravestock, “Did Imaginary Animals Exist?” in The Mark of the Beast: The Medieval Bestiary in Art, Life, and Literature, ed. Debra Hassig (New York: Garland, 1999), 120.
[2] Wilma George and Brunsdon Yapp, The Naming of the Beasts: Natural History in the Medieval Bestiary (London: Duckworth, 1991), p. 1.
This week, we’re looking back at one of our earlier episodes of “Meeting in the Middle Ages.” In 2022, we sat down with Eleonora Celora, a graduate student at the University of Notre Dame. We spoke to her about liturgical manuscripts as works of art, moving to France without knowing French, and creating a tool to help others understand medieval liturgical texts.
Eleonora’s journey to Notre Dame has taken her across the world. Moving from Italy to France and then to South Bend, Indiana, she is someone who jumps in feet first and overcomes challenges through determination and passion for her work. It was eye-opening to hear about her experiences shifting between languages and cultures. Being an international student is never easy—you are exposed to new foods, new ways of doing things, new social etiquette—but it can be really rewarding.
Ele’s experiences also provide unique insights into the strengths and weaknesses of the American PhD programme. During her undergraduate degree she developed an interest in music and manuscripts that led to her study the Middle Ages in more and more detail. But as she tells us, studying in Italy and the United States are two very different things. She has seen firsthand how different educational environments shape your research, subtly directing you to ask some questions and not others. For Ele, the solution has been to seek an international career as much as possible. In this increasingly interconnected, global academic world, we can all stand to benefit from collaborating with international researchers when we can. Working with scholars trained in other university systems can help us to see our fields in new ways and maybe ask the questions we’d never thought to ask.
Thanks for listening. See you next time in the Middle Ages.
Will Beattie & Ben Pykare Medieval Institute University of Notre Dame
