Epithets, Epistles, and Erasmus, Oh my [most serene king of Britain]!

In his treatise on the writing of letters, the De Conscribendis epistolis,[1] Dutch humanist and prolific letter-writer Desiderius Erasmus emphasizes the importance of the opening section of the letter. Going wrong here in the salutatio, the writer will, he says,โ€œโ€ฆlike a poor helmsmanโ€ฆrun aground right in the harbour.โ€[2] ย His advice is to keep things simple, adopting the โ€œnewโ€ Ciceronian style:

I approve the simplicity of the ancients; I only wish that we could emulate it everywhere amid the corrupt practices of our age, so that we might greet one another by the mere mention of names, as in: โ€˜Pliny gives his Calvus greeting!โ€™ What could be truer or simpler? When you hear a manโ€™s name pronounced you hear all his good qualities in a nutshell.[3]

Here and throughout his treatise, Erasmus makes a point of attacking the โ€œcorrupt practices of our age,โ€ that is to say, medieval dictaminal practice. Erasmusโ€™ friend and correspondent, the younger scholar Juan Luis Vives, who wrote a De Conscribendis Epistolis of his own, agrees that in medieval practice the use of epithets had spiraled out of control. Vives suggests that they should instead be employed as sparingly as possible, their use restricted to legitimate titles derived from the office of the addressee: โ€œsenator, consul, quaestor, bishop, priest, curate.โ€[4] He underscores the fact that a badly placed epithet might tarnish honor instead of enhancing it, suggesting that a name like Erasmus of Rotterdam carries its own distinction with no need for titles:

Other titles, originating from a debased custom, produce laughter or annoyance rather than confer distinction. Is it not more flattering to be so highly thought of that there is no need of epithets, as in the case of Guillaume Bude, Erasmus of Rotterdam, or Thomas More? In the lustre of such names expressions like โ€œmost learned in both tongues,โ€ โ€œconsummate theologian,โ€ โ€œgentleman of greatest renownโ€ are superfluous.[5]

Detail, Two Studies of the Left Hand of Erasmus of Rotterdam; Study of the Right Hand Writing. Silverpoint, black crayon and red chalk on grey-primed paper, 20.6 ร— 15.3 cm, Louvre, Paris. Christian Mรผller; Stephan Kemperdick; Maryan Ainsworth; et al, Hans Holbein the Younger: The Basel Years, 1515โ€“1532, Munich: Prestel, 2006. Erasmus holds a pointed italic quill, suited to the purposes of his humanistic hand.

Erasmus ostensibly agrees, directly criticizing the customary pleonastic manner of addressing royals and nobles:

The king of the French alone is called โ€œmost Christian,โ€ the king of Spain alone โ€œCatholic,โ€ the king of England โ€œmost serene,โ€ the emperor alone โ€œever august,โ€ dukes โ€œmost illustrious,โ€ other members of the lesser nobility โ€œillustrious,โ€ and others โ€œmost noble.โ€ Who introduced this superstition about titles into the world? โ€ฆ By the constant repetition of phrases like โ€œmost reverend lordships,โ€ โ€œCatholic majesties,โ€ and โ€œmagnificent fatherhoodsโ€ we fill up a large part of a letter, and ruin the gracefulness of the Latin tongue. I pardon those who use them against their will; I do not pardon those who devise them, or who insist upon them as a serious matter.[6]

Despite this ideal, as with so many rules and regulations meant to govern the rules of prose, humanistic or otherwise, theory does not always accord with practice. Vives certainly uses flattering epithets in his own letters, despite his counsel to the contrary.[7] But although Erasmus begins by praising the โ€œmere mention of names,โ€ in practice his treatise goes on to linger on the salutatio for nearly a dozen sections, recommending the use of essential titles and the use of an aptโ€”but not sycophanticโ€”epithet (he suggests over 100 as suitable).[8]

Moreover, for the 1515 dedication to his Senecae Lucubrationes, Erasmus composes a salutation that hardly appears to follow his own advice: โ€œTo the most distinguished Father D. Thomas Ruthall,โ€ he writes, โ€œBishop of Durham, Secretary of State of the Most Serene King of Britain, Erasmus of Roterdam sends greeting.[9] Though he does give himself merely his two names Erasmus Roterodamus, he is not content to give his friend Ruthall the single epithet amplissimoโ€”he goes on to add his titles as well as those of Ruthallโ€™s master, the โ€œMost Serene King of Britain.โ€ Leaving aside the elevated diction Secretarius Magnus and the choice of Britanniae instead of Angliae, Erasmus appears to fall right into the very โ€œsuperstition about titlesโ€ he criticized above: calling the king of England โ€œmost serene.โ€ As Erasmus cannot be imagined to here use epithets โ€œagainst [his] will, in our charity we must conclude that he simply does not โ€œinsist upon them as a serious matter.โ€ Indeed, we might imagine this apparent โ€œdo as I say, not as I doโ€ as part of a game among friends. A glance at the letters of another friend of Erasmus, fellow correspondent Sir Thomas More, reveals that More uses titles only rarely in his salutationsโ€”rare exceptions include the high-flung salutation of Henry (that same most serene king of Britain) as Britanniae Galliaeque Regi and a 1506 letter addressed to Regio apud Anglos Secretario, our very own Thomas Ruthall. In the year 1506, Erasmus was staying in Moreโ€™s house at Bucklersbury, and the two were engaged in the translation of Lucianโ€™s dialogues. Moreโ€™s almost overly learned letter to Ruthall offers some โ€œfirst fruitsโ€ of these Greek studies. More and Erasmus engage here in a game of language and words, breaking their own rules, offering their efforts to a mutual humanist friend they knew would delight in their linguistic play.

Despite living the most fruitful parts of his adult career after the conclusion of what is generally considered the medieval period, Desiderius Erasmus never really attempted to avoid or evade the Middle Ages. Both in his return to the Classics and his agitations for a new humanistic approach to writing and scholarship, Erasmus continues to engage with medieval thinkers and medieval ways of thinking. In responding to and helping drive the dramatic shift away from the centuries-old medieval dictaminal tradition designed for the mass production of documents essential to the court of every Christian kingdom to a humanistic model grown out of the fourteenth-century Renaissance and Francesco Petrarchaโ€™s rediscovery of the personal letters of Cicero to his friend Atticus, Erasmus engages in a humanistic game that plays off of tension with the near medieval past.

Rebecca West, PhD
Literature Core Faculty
University of Dallas


[1] Erasmus was already writing an early version of this text for his student Robert Fisher by about 1498 (Epistularum scribendarum ratio).โ  A pirated version of his treatise was published at Oxford in 1521 by Siberch,โ  more or less forcing Erasmus to come out with an expanded, corrected official version in 1522. The standard edition of the treatise is Charles Fantazzi, ed., โ€œOn the Writing of Letters / De Conscribendis Epistolis,โ€ in The Collected Works of Erasmus: Literary and Educational Writings, 3 and 4, by J. K. Sowards, ed., 25 (University of Toronto Press, 1985). Hereafter abbreviated as CWE 25/3.

[2] CWE 25/3:50. The ars dictaminis aimed at organizing the letterโ€”a form largely meant for public declamation of official communicationsโ€”according to standardized models following a set of rules derived from ancient Ciceronian oratory. Erasmus devotes significant portions of his treatise to the proper way to frame the opening of a letter, the portion corresponding to the salutatio and captatio benevolentiae of a letter written according to the terminology of the medieval dictaminalmodel.

[3] CWE 25/3:51

[4] Charles Fantazzi, ed., J.L. Vives: De Conscribendis Epistolis: Critical Edition with Introduction, Translation and Annotation, trans. Charles Fantazzi (Leiden: Brill, 1989), 47.

[5] Vives: De Conscribendis Epistolis, 47.

[6] CWE 25/3:61.

[7] See the introduction to Fantazziโ€™s edition for the use of flattering epithets in Vivesโ€™ own corpus of letters.

[8] CWE 25/3:50-62.

[9] Amplissimo patri D. Thomae Ruthallo Episcopo Dunelmensi Serenissimi Britanniae Regis Secretario Magno Erasmus Roterodamus S. D. Text from Elizabeth Frances Rogers, ed., The Correspondence of Sir Thomas More, (Princeton: University Press, 1947), letter 5.Translation from Clarence H. Miller, Leicester Bradner, Charles A. Lynch, and Revilo P. Oliver, eds., The Complete Works of St. Thomas More, Volume 3, Part II (New Haven: Yale University Press, 1984), 1:2โ€“8.

Ivo of Chartres, De nativitate

Following the liturgical calendar, the second installment in the festal homilies of Ivo of Chartres pertains to the celebration of the Nativity of Christ (De nativitate). For a short discussion of the context of this work, please see my previous post about his homily on Advent (De adventu Domini).

Emmanuel Tzanes, Christ Healing the Blind (1686). Public domain.

Stylistically, there are many similarities between Ivo’s homilies on Advent and on the Nativity. Perhaps most notable is the ongoing use of parallel structure. While a bit less noticeable than in the homily on Advent, Ivo regularly contrasts human and godly nature, the Mosaic and Christian laws, Eve and Mary, etc. Throughout, the focus in the text is the economy of salvation, that is, how the life of Christ has made possible the rewards of heaven and eternal life for his listeners.

Some passages in this homily merit further reflection. The first half of the text is dominated by a meditation on Christ as the Great Physician, based on the miracle of the healing of the man born blind in the Gospel of St. John (9:6) and further echoing, although never directly citing, a passage in the Gospel of Luke (5:31, “They that are whole, need not the physician: but they that are sick”). For Ivo, in a spiritual sense, Christ applies both homeopathic and heteropathic remedies. In order to confer health “through similar things” (“sanitatem contulit aegrotis per similia”), Christ endured and overcame the physical aspects of human life – birth, suffering, and death – in order that humanity might enjoy the spiritual counterparts of each – rebirth (in baptism), the avoidance of eternal torture, freedom from eternal death. Conversely, Christ the Physician also effected a cure through opposite means (“quibus contrariis contrarios morbos evacuaverit”): he granted freedom as a servant; he overcame pride through humility; he corrected our disobedience though his own obedience.

The second half of the text settles into a style of typological commentary very typical of Ivo’s other homilies, especially his liturgical commentaries, in which he contrasts the historical accounts in Genesis and the requirements of the Mosaic Law with their Christian and New Testament parallels. The sacrificial lamb of the original Passover is a forerunner of the true Lamb. Instead of doors being marked with the blood of the sacrifice, the foreheads of the faithful are marked with the sign of Christ’s sacrifice, i.e., the Cross. In place of the Old Testament priesthood, Christ himself is the priest who offers himself, since no other priest would be worthy to make such a sacrifice. In a similar way, Eve is contrasted with Mary: the curse of Eve, to bear children in pain, is revoked in the person of Christ’s mother, who received instead a blessing (“Benedicta tu in mulieribus”).

Ivo concludes with an emphasis on the incomplete knowledge of the divine afforded to us who are still making our pilgrimage, as it were, on earth, and exhorts us to be mindful of the salvific works of Christ as a means of easing the burden of the present life.

โ€œDressing Upโ€: Medieval Fables, Fashion, and Social Instability

Woodcut of The Ass and the Lion Skin, from a 1479 incunabulum of Heinrich Steinhรถwelโ€™s Fables of Aesop

The tradition of dressing in costumes for Halloween is relatively recent, and regionally limited as well. Such costumes are not intended to convince anyone that they are genuineโ€”no one is supposed to think the person dressing up is really a witch, a superhero, etc.โ€”nor are they meant to be worn for more than an evening. No doubt much of the appeal of Halloween costumes is in how they allow us to playfully assume and express a new, temporary identity. In honor of Halloween, Iโ€™d like to consider medieval fables about animals who assume a new identity by โ€œdressing upโ€ as another species. These fables all attempt to promulgate the message that oneโ€™s identity cannot be changed, and that trying only leads to disaster. Read against the grain, however, such stories in fact reveal that human identity is unlike species differenceโ€”that our identities are mutable and contextual, and that this is a source of anxiety for those invested in social hierarchies.

I can think of at least four fables where an animal uses another animalโ€™s skin (or feathers) to represent themselves as a different species. These fables include The Ass and the Lionโ€™s Skin (Perry Index 188/358); The Dog, the Wolf and the Ram (Perry Index 705); The Rook among the Peacocks (Perry Index 472); and The Wolf that Dressed in a Sheepskin (Perry Index 451). The animalsโ€™ motivations differ, but in attempting to take up their new role, they start to behave differently than before as well. In the first three fables mentioned, the disguised animal aims to represent themselves as โ€œbetterโ€ than they really areโ€”stronger, more intimidating, more beautifulโ€”and begins to not only look but act the part. By โ€œdressing upโ€ they are trying to move up as well, in a sense.

Woodcut of The Rook and the Peacock, from Steinhรถwelโ€™s Aesop (1479).

The donkey in The Ass and the Lion Skin runs around frightening other livestock in his lion pelt; the sheep in The Dog, the Wolf and the Ram dons the skin of his masterโ€™s deceased sheepdog and aggressively pursues the wolf who would harm his flockmates; and the rook adorns himself with peacock feathers and joins the peacocks, strutting around proudly. In The Wolf that Dressed in a Sheepskin (known in proverb form as the โ€œwolf in sheepโ€™s clothingโ€), the wolfโ€™s intentions are more sinister, as he feigns harmlessness in order to insinuate himself amongst his would-be victims, before he is slaughtered for dinner by the unwitting shepherd. The other three fables conclude with the animals being recognized for what they โ€œreallyโ€ are, and then hurt or killed as a consequence.

The morals of these medieval fables often draw comparisons between species and social position, particularly classโ€”you shouldnโ€™t aim at too much upward mobility, or wish for what others have, lest it backfire, with you ending up in a worse position than before. For example, the moral to late medieval Scottish poet Robert Henrysonโ€™s version of The Dog, the Wolf and the Ram (The Wolf and the Wether) asserts:

Heir may thow se that riches of array
Will cause pure men presumpteous for to be;
Thay think thay hald of nane, be thay als gay,
Bot counterfute ane lord in all degre.
Out of thair cais in pryde thay clym sa hie
That thay forbeir thair better in na steid
Quhill sum man tit thair heillis ouer thair heidโ€ฆ
(lines 2595โ€“2601)

Thairfoir I counsell men of everilk stait
To knaw thame self and quhome thay suld forbeir,
And fall not with thair better in debait,
Suppois thay be als galland in thair geir:
It settis na seruand for to vphald weir,
Nor clym sa hie quhill he fall off the ledder:
Bot think vpon the wolf and on the wedder.
(lines 2609โ€“2616)1

Here you can see that rich attire will cause poor men to be arrogant; they think they have no superior, if they are dressed as fine, but they imitate a lord in every way. Out of their condition, in pride, they climb so high that they donโ€™t refrain anywhere from injuring their superiors, until someone tips their heels over their headsโ€ฆ

Therefore, I advise men of every rank to know themselves and whom they should refrain from injuring, and fall not into contention with their superior, even if they are as stylish in their dress: it suits no servant to keep up strife, nor to climb so high that he falls off the ladder: just think of the wolf and of the wether.

Woodcut of The Wolf and the Wether, from Steinhรถwelโ€™s Aesop (1479).

The narratorโ€™s โ€œcounsellโ€ did not just reflect a private opinion. From 1429/30, James I had imposed sumptuary legislation in Scotland, which limited expensive textiles such as silks and some kinds of furs to upper social strata.2 Such legislation was not exclusive to late medieval Scotland, but could be found in many regions across the world, through the eighteenth century.3 โ€œIn the case of medieval and early modern Europe,โ€ says historian Lorraine Daston, โ€œover a period of five hundred years (c. 1200โ€“1800), these regulations not only failed to stamp out excess (or what might now be called conspicuous consumption), they arguably exacerbated the very ills they were meant to remedy.โ€ In other words, not only did people not abide by these regulations, the regulations themselves could spur a sort of sartorial โ€œarms race,โ€ inspiring clothesmakers to come up with novel extravagances that were not yet forbidden,4 and consumers to keep up with the newest fashions.

Clothing can visually signify so many aspects of identity (such as class, gender, occupation, religion, and political affiliations), yet the details are inconstant over time and from one place to the next, and clothing can easily be taken on and off. The abovementioned fables, admonitory as they are, express unease with the instability of human social categories as expressed through clothing. Fables often map social hierarchy onto species, and in doing so, they suggest that there is something โ€œnatural,โ€ something immutable, about these hierarchiesโ€”that a poor man and a lord are as distinct from one another as a sheep and a dog, or a rook and a peacock. But if these hierarchies were really so natural and immutable, the fables wouldnโ€™t have cautionary morals that tell people not to โ€œforget their place.โ€ There would be no need for the admonition, just as there would be no impetus to create (and update) sumptuary regulations, were it not for people constantly breaking boundaries in their fashion choices.

Linnet Heald
PhD in Medieval Studies
University of Notre Dame

  1. Denton Fox, ed., The Poems of Robert Henryson (Clarendon Press, 1981), pp. 96โ€“7. Modern English translations are my own. โ†ฉ๏ธŽ
  2. Maria Hayward, โ€œโ€˜Outlandish Superfluitiesโ€™: Luxury and Clothing in Scottish and English Sumptuary Law from the Fourteenth through the Seventeenth Century,โ€ in The Right to Dress: Sumptuary Laws in a Global Perspective, c. 1200โ€“1800, ed. Giorgio Riello and Ulinka Rublack (Cambridge University Press, 2019), p. 97. โ†ฉ๏ธŽ
  3. For a global history of sumptuary legislation, see The Right to Dress: Sumptuary Laws in a Global Perspective, c. 1200โ€“1800, ed. Giorgio Riello and Ulinka Rublack. โ†ฉ๏ธŽ
  4. Lorraine Daston, Rules: A Short History of What We Live By (Princeton University Press, 2022), p. 156. โ†ฉ๏ธŽ