Could Medieval Women Read?

As a specialist in the study of women’s education and literacy in England in the Middle Ages, I’m asked this question a lot. I’ll cut to the chase: YES. 

How do we know this? 

Medieval England (on which I’ll focus this blog) was a multilingual nation.1 English had been its primary vernacular from the time of the Anglo-Saxons (about 450) until the Norman Conquest of 1066, when French became the language of the nobility, government, and diplomacy.2 By the mid-fifteenth century, though, English had reasserted dominance as the primary vernacular language, while the Church, clerics, and higher education continued to use Latin.3 Because medieval English people would have heard and used all three languages in daily life, children were taught to read and speak all of them.4 Whether children’s reading knowledge became advanced depended on the importance of reading in their lives and what socioeconomic station they attained. In fact, most of the evidence for literacy survives from the upper classes; uncovering the history of less privileged groups remains difficult. 

In infantia

Medieval scholars commonly thought of childhood in three divisions: infantia (birth to about 7 years), pueritia (about 7 to 14 years), and adolescentia (about 14 to 21 years).5 The teaching of reading began in infantia with parents and nurses, if the family could afford such help. 

Girls and boys began by learning the letters of the Latin alphabet and the sounds they made. In this way they acquired the basic skills of early reading, called contemporaneously sillibicare (sounding out syllables) and legere (sounding out words), even if they didn’t understand what those sounds or words meant.6 Singing might have been used as well to teach pronunciation, as sung Latin was used in church services. Because reading was important to promote spiritual instruction, and had indeed been cited at least as far back as Jerome in the fourth century as a reason girls should be taught to read, some of the earliest texts learned were the Pater Noster, the Ave, and the Creed. Alphabets and these simple prayers could be written out on a variety of surfaces: boards, painted walls, wooden trays covered in ash or sand, ceramic or metal vessels, or hand-held tablets made of materials such as slate, horn, or board covered in parchment (more on this below).

Beginning around 1300 in England, medieval parents had a model of teaching in St. Anne, the mother of the Virgin Mary. Depictions of her teaching Mary to read appeared in stained-glass windows, manuscript illuminations, wall paintings, and other artistic representations.7 One such survives today in the Church of St. Nicholas in Stanford-on-Avon, Northamptonshire, England.

Image of stained glass window of Saint Anne teaching the Virgin Mary to read
“Saint Anne teaching the Virgin to Read,” about 1330­–50, the Church of St. Nicholas, Stanford-on-Avon, Northamptonshire, England; south aisle, east window, farthest left panel. Image from Painton Cowen’s The Online Stained Glass Photographic Archive

In this window, Mary is shown sitting in Anne’s lap and holding a bound book with letters written on its pages. She holds the book open so the text is visible to the reader. Her mother Anne points upward, in a gesture both teacherly and pointing heavenward, perhaps emphasizing the importance of reading for spiritual development.8

This beautifully-painted miniature from a Book of Hours shows Anne and a young Mary holding a book together. With her right hand, Anne isolates text for Mary to examine.  

Saint Anne Teaching the Virgin to Read, a miniature painted by Master of Sir John Fastolf (French, active before about 1420–about 1450), in a Book of Hours created in France or England about 1430–1440. Tempera colors and gold ink on parchment. Los Angeles, Getty Museum, MS 5 (84.ML.732), fol. 45v

Other surviving representations show Anne using a hornbook (mentioned above) to teach Mary to read. This illustration comes from a Book of Hours that originated in England around 1325­–1300. 

Oxford, Bodleian Library, MS Douce 231, fol. 3 

This detail shows the hornbook more closely. 

Though the hornbook was at least a medieval invention (discussed recently by Erik Kwakkel and Trinity College, Cambridge, librarians), it survives only from early modern centuries, as in this example, created in London around 1625. The text is printed on sheepskin parchment and fixed to an oak paddle with a brass frame and iron nails; the handle is used for holding the hornbook. The parchment is laminated over with a processed animal horn (hence the name) to protect the text. 

“Aabc (English hornbook),” Washington, Folger Shakespeare Library, STC 13813.6 (dated 1625).

A text from the 1230s, written by a layman, Walter of Bibbesworth, also reveals much about how boys and girls learned, especially languages, in a gentry household. Bibbesworth was a wealthy English landowner and a knight who wrote this book for his neighbor and fellow member of the gentry, Dionisie de Munchensi. Dionisie had three young children to educate, and as part of the expectations of their class, they would have needed to learn a French more advanced than what they would have picked up through everyday living. The image below shows the opening leaf of Walter of Bibbesworth’s Tretiz

The opening leaf of Walter of Bibbesworth’s Tretiz. The manuscript dates from 1325. London, British Library, Additional MS 46919, fol. 2r. 

Walter addresses Dionisie in column 1, lines 10-20, identifying the purpose of his text: “Chere soer, pur ceo ke vous me / pryastes ke jeo meyse en ecsryst [sic] / pur vos enfaunz acune apryse / de fraunceys en breve paroles” (Dear sister, because you have asked that I put in writing something for your children to learn French in brief phrases). What follows is a narrative poem, beginning in column 1, line 21, that describes childhood, starting with birth and ending in young adulthood with a large household feast. In each scene, Walter presents French vocabulary for Dionisie’s children to learn.

Many clues in the text demonstrate that the physical book was shown to children so they could learn the reading of words on a page, not just the sounds of them. Walter gives many homophones, for example, that would only make sense in writing, rather than in pronunciation. Some of the vocabulary also has English translations written in between the lines of the main text. You can see this in the image above in the poem, which starts at column 1, line 21, and goes into column two. All the smaller words written between the lines give the English translation of the main text, which is written in French.

In pueritia and adolescentia

Once they moved into pueritia (about 7-14 years of age), girls of the upper classes would often transition into the care of a mistress (called at that time magistramagistrix, or maitresse). The mistress provided education in such things as deportment, embroidery, dancing, music, and reading.9 For any skills the mistress did not herself have, she could bring in other household members, such as the minstrel for musical training, the chaplain for more advanced reading and spiritual instruction, and the huntsman for hunting. Specialized academic tutors could teach girls more advanced academic subjects. Sometimes these well-to-do girls were sent to other households to be fostered, serving as ladies-in-waiting to upper-class women. Girls, especially those of the upper classes, could be sent to nunneries as well (sometimes beginning in infantia) for education. Not all girls sent to nunneries were meant for the vocation of nun.10

As their reading abilities progressed, girls and boys moved on to reading comprehension (intelligere) and began to read more sophisticated spiritual texts, such as prayer-books, books of hours, psalters, antiphonals, and saints’ lives. They also would continue on, as personal libraries grew in the thirteenth century, in reading romances, histories, poetry, classical authors, theology, philosophy, and more. It is most likely, given that women were not admitted to the university (unlike boys, who could progress from this stage to Latin grammar school and then on at a university level to the study of business, liberal arts, medicine, canon or civil law, or theology), that the reading of these last few would have been limited to girls whose families could afford private tutors.

Miscellany of religious, medical, and secular verse and prose in French, Latin and English. Oxford, Bodleian Libraries, MS Digby 86, fol. 68r. Produced in Worcestershire, England, c.1271–83, this “common-place book” contains French, Latin and eighteen English texts of various genres including fabliau, romances, devotional and didactic texts, prognostications, charms and prayers, among others written between 1271 and 1283. The manuscript was written by its owner and has amateurish scribal drawings and decoration. This image shows three sections of French text: the end of the hymn Veni Creator Spiritus (Come, Creator Spirit) (top 11 lines); a list of the unlucky days in the year (middle section of the text); and at the bottom a list of Arabic numerals 1 through 46. Three shields decorate the bottom. 

In adulthood

By the time they reached adulthood, women who were privileged enough to have obtained a sophisticated education and their own libraries could be avid readers. 

Gospel lectionary written in Latin, made in England c.1025–50, later owned by St. Margaret of Scotland. Oxford, Bodleian Libraries, MS. Lat. liturg. f. 5, fols. 21v–22r. This opening shows St. Luke with the start of his gospel reading. The Bodleian Libraries digital Treasures exhibition notes: “A compact selection of passages from the Gospels, this finely illustrated book was Margaret’s favourite, and one she read and studied closely, even when she travelled. A poem added at the front describes how this very book was dropped into a river but remained almost unharmed: this miracle contributed to her growing reputation for holiness.”

The historical and literary records provide examples of such sophisticated learning, primarily among the nobility. For example, the Norman monk and chronicler Robert of Torigni (c.1110–1186), praised the education of St. Margaret of Scotland (d. 1093) and her daughter Matilda (1080–1118), wife of Henry I, writing, “Quantae autem sanctitatis et scientiae tam saecularis quam spiritualis utraque regina, Margareta scilicet et Mathildis, fuerint” (Of how great holiness and learning, as well secular as spiritual, were these two queens, Margaret and Matilda).11

In a different Latin life, commissioned by Matilda about her mother Margaret, the biographer describes how Margaret from her childhood would “in Divinarum lectionum studio sese occupare, et in his animum delectabiliter exercere” (occupy herself with the study of the Holy Scriptures, and delightfully exercise her mind) and notes that her husband, King Malcom III, cherished the “libros, in quibus ipsa vel orare consueverat, vel legere” (books, which she herself used either for prayer or reading), even though Malcom himself could not read Latin.12

London, British Library, Harley MS 2952, fol. 19v. Book of Hours, made in France c.1400–1425. 

This image above shows the unidentified female patron of this Book of Hours kneeling on a prie-dieu, her prayer book open to the text “Maria mater gratiae” (Mary, mother of grace). This open book with its discernable text has several functions: it leads the reader into the  prayer; it demonstrates the piety of the patron, kneeling in prayer before both her spiritual book and the Blessed Virgin and Christ (illustrated on the facing leaf); and it shows one of the primary purposes of teaching children to read: being able to use spiritual texts in personal devotion. 

Even women who were not noble and who were not able to read much Latin possessed and used books such as the one pictured above. In the mid-fifteenth century Englishwoman Margery Kempe wrote through her scribe of a memorable time in her church of St. Margaret in King’s Lynn when a chunk of masonry fell from the ceiling down onto her as she was praying with her prayer book in hand.

The image below comes from her Book of Margery Kempe as preserved in London, British Library, Additional MS 61823. Lines 24-28 narrate, “Sche knelyd upon hir / kneys heldyng down hir hed. and hir boke in hir hand. / prayng owyr lord crist ihesu for grace and for mercy. Sodeynly fel / down fro þe heyest party of þe cherche vowte fro undyr / þe fote of þe sparre on hir hed and on hir bakke a ston / whech weyd .iii. pownd” (She knelt on her knees, bowing down her head and holding her book in her hand, praying to our Lord Christ Jesus for grace and mercy. Suddenly fell down from the highest party of the church out from under the foot of the rafter onto her head and her book a stone which weighed three pounds). She survived, for which she credited the mercy of Christ.

The Book of Margery Kempe, online facsimile and documentary edition hosted by Southeastern Louisiana University, project director Joel Fredell. London, British Library, Additional MS 61823, fol. 11r.

Finally, a note on those of the working classes. I have not discussed them in detail as it is unfortunately difficult, in fact nearly impossible, to say much about the reading skills of those who left few or no records behind: the great majority of women (and men) of the medieval population were laborers who left little trace in the written record. Yet as we see from the image here below, even for working women, especially in the last few centuries of the Middle Ages, possession and use of books was within the norm, provided those books could be afforded. 

A woman attendant reading a book, from La Bible historiale of Guyart des Moulins, c. 1470s. London, British Library, Royal MS 15 D I, fol. 18.

Conclusion

My focus here has been tightly on the teaching of reading to medieval English girls. Girls and boys alike were taught to read, and began their reading education in the same ways. Boys alone could attend the medieval university and reach the highest (and best educated) ranks of clerics, but if girls had access to the right resources, they too could be highly educated. The evidence demonstrates that the teaching of reading was not linked specifically to gender; rather, it was a function of both socioeconomic station and the usefulness of such skills for one’s life.

If you’re interested in this topic, I cover the subject in much greater detail, with many other examples and suggested readings, in my article, “Women’s Education and Literacy in England, 1066–1540,” in the “Medieval and Early Modern Education” special issue of History of Education Quarterly, and the accompanying HEQ&A podcast.

Megan J. Hall, Ph.D.
University of Notre Dame

Twitter @meganjhallphd


[1] On languages in medieval England, see Amanda Hopkins, Judith Anne Jefferson, and Ad Putter, Multilingualism in Medieval Britain (c. 1066–1520): Sources and Analysis (Turnhout, Belgium: Brepols, 2012).

[2] W. M. Ormrod, “The Use of English: Language, Law, and Political Culture in Fourteenth-Century England,” Speculum 78, no. 3 (July 2003), 750–87, at 755; and William Rothwell, “Language and Government in Medieval England,” Zeitschrift für französische Sprache und Literatur 93, no. 3 (1983), 258–70.

[3] David Bell, What Nuns Read: Books and Libraries in Medieval English Nunneries (Kalamazoo, MI: Cistercian Publications, 1995), 57.

[4] On the complexities of a trilingual England, with a number of helpful citations therein for further reading, see Christopher Cannon, “Vernacular Latin,” Speculum 90, no. 3 (July 2015), 641–53. 

[5] A variety of frameworks were imposed upon the ages of humankind, though these major divisions for the stages of childhood were fairly commonly accepted. For a discussion, see Nicholas Orme, From Childhood to Chivalry: the Education of the English Kings and Aristocracy, 1066-1530 (London: Methuen, 1984), 5–7; and Daniel T. Kline, “Female Childhoods,” in The Cambridge Companion to Medieval Women’s Writing, ed. Carolyn Dinshaw and David Wallace (Cambridge, UK: Cambridge University Press, 2003), 13–20, at 13.

[6] Jocelyn Wogan-Browne, “‘Invisible Archives?’ Later Medieval French in England,” Speculum 90, no. 3 (July 2015), 653–73. For more on levels of reading Latin, see Bell, What Nuns Read, 59–60; and Malcolm B. Parkes, “The Literacy of the Laity,” in Scribes, Scripts, and Readers: Studies in the Communication, Presentation, and Dissemination of Medieval Texts1976 (London: Hambledon Press, 1991), 275–97, at 275.

[7] On the cult of St. Anne and the teaching of reading, see Nicholas Orme, Medieval Children (New Haven, CT: Yale University Press, 2001), 244–45; and Clanchy, “Did Mothers Teach their Children to Read?,” in Motherhood, Religion, and Society in Medieval Europe, 400–1400: Essays Presented to Henrietta Leyser, ed. Conrad Leyser and Lesley Smith (Farnham, UK: Ashgate, 2011), 129–53. For further examples and a detailed analysis of the Education of the Virgin motif, see Wendy Scase, “St. Anne and the Education of the Virgin,” in England in the Fourteenth Century: Proceedings of the 1991 Harlaxton Symposium, ed. Nicholas Rogers (Stamford, UK: Paul Watkins, 1993), 81–98.

[8] For a discussion of this window, see Orme, Medieval Children, 244–45.

[9] Boys (especially royal princes) typically followed the same path of moving from the nursery into the care of an educator-caretaker: pedagogus (a term used into the eleventh century) or magister or me[i]stre (terms in use from the twelfth century forward) (Orme, From Childhood to Chivalry, 19).

[10] Excellent reading on the education of girls in nunneries is found in Eileen Power, Medieval English Nunneries, c. 1275 to 1535 (Cambridge, UK: Cambridge University Press, 1922); Alexandra Barratt, “Small Latin? The Post-Conquest Learning of English Religious Women,” in Anglo-Latin and Its Heritage, Essays in Honour of A. G. Rigg on His 64th Birthday, ed. Siân Echard and Gernot R. Wieland (Turnhout, Belgium: Brepols, 2001), 51–65; and J. G. Clark, “Monastic Education in Late Medieval England,” in The Church and Learning in Late Medieval Society: Essays in Honour of R. B. Dobson; Proceedings of the 1999 Harlaxton Symposium, ed. Caroline Barron and Jenny Stratford (Donington, UK: Shaun Tyas/Paul Watkins, 2002), 25–40; and Dorothy Gardiner, English Girlhood at School: A Study of Women’s Education Through Twelve Centuries (Oxford, UK: Oxford University Press, 1929).

[11] Robert of Torigni [Robertus de Monte], Historia nortmannorum liber octavus de Henrico I rege anglorum et duce northmannorum, ed. J.-P. Migne, Patrologia cursus completus, series latina 149 (Paris, 1853), col. 886; translated in “History of King Henry the First, by Robert de Monte,” ed. Joseph Stevenson, The Church Historians of England vol. 2, part 1 (London, 1858), 10.

[12] Transcribed in Symeonis Dunelmensis Opera et Collectanea, ed. J. Hodgson Hinde, vol. 1 (London, 1868), at 238, 241, from the version preserved in London, British Library, Cotton MS Tiberius D iii, fols. 179v–186r (late twelfth century).

Guy of Warwick the Anglo-Norman Guthlac?

Prior to the twentieth century, Guy of Warwick ranked among the most popular heroes of the Anglophone world, even being placed at one point among the Nine Worthies. And it is not hard to imagine why, as there is something for everyone in his story, for he is shown to be a great warrior and a dragon-slayer who later becomes a pilgrim and, eventually, a hermit.

Guy of Warwick as a Knight. Introductory illustration to a copy of Le Rommant de Guy de Warwik et de Herolt d’Ardenne (an abridged continental French prose version). London, British Library, MS Royal 15. E. VI, ff. 227r-272r (15th Century)

Guy of Warwick Slays the Dragon, Saving the Lion. The Taymouth Hours, London, British Library, MS Yates Thompson 13, f. 14r (c. 1331)

The narrative was first written in Anglo-Norman shortly before 1204 A.D. (Weiss, “Gui de Warewic” 7). Attesting to the lengthy story’s success, nine manuscripts and seven fragments survive in Anglo-Norman. The earliest complete copy that we have in Middle English can be found in the Auchinleck Manuscript, Edinburgh, National Library of Scotland, MS Advocates 19.2.1, dated to c. 1330-1340. Two other, much later versions exist in Cambridge, Gonville and Caius College, MS 107/176 (c. 1470s) and Cambridge, University Library, MS Ff.2.38 (c. 1479-1484) (Wiggins, “The Manuscripts and Texts” 64). And there are an additional two sets of fragments in Middle English. One thing interesting about the layout of the text in the Auchinleck Manuscript is that it is separated into a sort of trilogy, consisting of what is known as the couplet Guy of Warwick, covering Guy’s early exploits (ff. 108r-146v), the stanzaic Guy of Warwick, recounting his later life events (ff. 146v-167r), and Reinbroun, which deals with the feats of Guy’s son (ff. 167r-175v). The Auchinleck Manuscript also includes a text called the Speculum Gy de Warewyke, a homiletic treatise that uses Guy’s narrative as a frame to discuss the sins and the importance of contrition and penance.

The entire Auchinleck Manuscript, as well as a treasure trove of information, is available online here: https://auchinleck.nls.uk/.

Guy’s cultural importance extended beyond England and France and also into the early modern period. A now lost Middle English version likely served as the basis for the fifteenth-century Irish Beathadh Sir Gyi o Bharbhuic, copied in Dublin, Trinity College Library, MS 1298B, pp. 300-347. What is most remarkable about this version is that it incorporates material from the Speculum. It is furthermore no secret, for example, that Edmund Spenser’s Guyon from Book II of The Faerie Queene is modeled on Guy of Warwick, and we can also see reflections of Guy in the Redcrosse Knight of Book I (Cooper, “Romance after 1400” 718-719 and The English Romance in Time 92-99). In fact, as Helen Cooper demonstrates, the popularity of the Guy narrative continued unabated up through the Victorian era (“Romance after 1400” 704-706).

For more on the later life of the Guy of Warwick legend, see Dr. Siân Echard’s page: http://faculty.arts.ubc.ca/sechard/GUY.HTM.

So what, you might be asking, is this blockbuster story all about? Well, the narrative tells of Guy, a steward’s son, who falls in love with Felice, the Earl of Warwick’s daughter, and is compelled to climb the social ladder through heroic acts in order to prove himself. Guy has many battles and adventures on the Continent, winning fame and admiration abroad. While in Constantinople, he rescues a lion from a dragon. He also makes a bosom companion in the person of Terri of Worms. On his way back to England, Guy slays the villainous Otun, Duke of Pavia, but he also gets caught up in a confrontation in which he rashly kills the son of Count Florentine. Before returning home to Warwick, Guy helps King Athelstan by slaying a dragon that is ravaging Northumberland. He then marries Felice and fathers a child, Reinbroun. The trajectory is not unlike other romans d’aventure. But once he has fulfilled all of his desires, Guy is suddenly overcome by deep inner turmoil while gazing at the stars one evening, realizing that, as yet, God has had no place in his life. With this, he vows to dedicate himself to holy pursuits and become a pilgrim, expiating by means of his body, as he says, those sins committed by his body, namely the lives of others destroyed and lost through his reckless longing for glory. Upon departing, he gives Felice his sword, and Felice, in turn, gives him a ring to remember her by. (They halve the ring in later versions.) Their parting is a tearful one. In his subsequent travels, Guy, always incognito, makes his way to the Holy Land, aiding and rescuing others, Christian and “Saracen” alike, in many martial exploits. He assists the Saracen King Triamour by vanquishing the giant Amoraunt and, in the process, helps the Christian Earl Jonas and his sons. He also eventually saves his friend Terri by defeating Berard, the likewise treacherous nephew of Otun. Though comparatively little space is given to Felice, she devotes herself to serving her community in Warwickshire through charitable deeds. When Guy makes his final return to England, he aids King Athelstan again, this time preventing a Danish invasion by defeating the giant Colbrond and thus becoming the savior of England. However, he retreats unnoticed to the woods outside of his estate in Warwick. Guy’s desire is to receive religious instruction from another hermit and to live out the rest of his days in contemplation. Guy eventually learns from the Archangel Michael that he has a week left to live (he will die on the eighth day), and so he sends word to Felice as well as his ring (or half-ring) for identification purposes. She comes to him on the point of death, and his soul is soon borne to Heaven by angels. A sweet fragrance issues forth from his body, which (in all versions of the text) is said to be so heavy that it cannot be removed from his hermitage. Felice herself dies soon afterwards. The two are buried together in the hermitage (at least at first) and are said to be reunited in Heaven. The narrative thus shifts from being something like a chanson de geste to something much more hagiographical.

The two halves of Guy’s life are clearly displayed in the Rous Roll, which depicts and gives a brief history of each significant family member (historically real or otherwise) of the Beauchamp Earls of Warwick.

Guy of Warwick in the Rous Roll. Pictured from left to right are Felice’s father, Felice and her son Reinbroun, Guy of Warwick as a knight with the lion, then Guy of Warwick as penitent pilgrim and vanquisher of Colbrond, then the adult Reinbroun. London, British Library, MS Additional 48976, f. 3ar (c. 1483)

Guy’s later life is also the likely subject of two misericords in English cathedrals.

Misericord Showing Guy Fighting Colbrond (S03) (c. 1350-1360), Gloucester Cathedral, Gloucester, England

Misericord with Felice Giving Alms to the Hermit Guy (SH-16) (c. 1330s), Wells Cathedral, Wells, England

A number of literary antecedents to the figure of Guy have been posited. Many scholars, like Judith Weiss, point to the twelfth-century Le Moniage Guillaume (part of the William of Orange cycle) whose main character, Guillaume d’Orange (otherwise known as Guillaume au Court Nez), is a warrior who battles “Saracens” and later becomes a monk and then hermit, fearful for the state of his soul after having killed so many people (“The Exploitation” 44-46). As Angus Kennedy points out, it is also not uncommon in Arthurian romances, for example, for hermit-saints to have previously been members of the chivalric class (72). Both verse and prose French romances alike show a host of knights who choose to retreat from the world and end their days as hermits: the protagonist of Escanor; Perceval in Manessier’s Continuation and in the Queste del Saint Graal; at least thirteen knights in the Perlesvaus; Mordrain and Nascien, King Urien, Girflet, Bors and Hector, and even Lancelot in the Vulgate Cycle; Guiron and his ancestors in Palamède; and Pergamon in Perceforest (74-75). References to aristocratic hermits exist in many other texts, particularly Arthurian, but these hermits, as they are presented, are not entirely separated from the world. In fact, they very often still play a role in their societies (think of all of the other hermits in the Queste del Saint Graal) (77-78).

To my mind, however, there is an as yet unnoticed parallel with the late-eighth-century Old English lives of St. Guthlac in that invaluable repository of Anglo-Saxon poetry, the Exeter Book (Exeter, Cathedral Library, MS 3501). (For some images, go here. The lives are based, at least in part, on the Latin Vita sancti Guthlaci (between 730 and 749 A.D.) written by a man named Felix, likely a monk, about whom next to nothing is known. Guthlac, though, was born around 673 A.D. into a royal Mercian family and had a military career before becoming a monk at Repton Abbey and then two years later a hermit in the Lincolnshire fens at what is now Crowland (Croyland in the Middle Ages). He died there in 714, and a shrine was erected to commemorate him. Around this eventually grew Crowland Abbey and around this the town (Bradley 248-249).

Crowland Abbey, Lincolnshire

Quatrefoil Portraying Scenes from St. Guthlac’s Life, Crowland Abbey, Lincolnshire

In the Exeter Book’s Guthlac A (ff. 32v-44v), the saint is said to be attacked by demons who try to tempt him into abandoning his hermitage by making him feel guilty for leaving his family. They also seek to make him feel lonely, to crave human company. Guthlac ultimately resists, but we have here the same tensions that we see exhibited in later works like the legend of St. Alexis and Guy’s narrative. The events that are most reminiscent of Guy’s story, however, are those found in Guthlac B (ff. 44v-52v). Guthlac has a servant who attends to him, much as Guy the hermit does as well, and it is to this person that Guthlac makes a prediction, told to him by an angel, that he has eight days left to live (ll. 1034b-1038a). Shortly before his death, Guthlac has the servant boy prepare to seek out his most cherished virgin sister, “wuldres wynmaeg,” to tell her that he has kept apart from her for so long so that he could attain an eternal life, free from imperfections, with her in Heaven (l. 1345a; ll. 1175a-1196a). Guthlac dies before his sister, who is to bury him in his hermitage, comes; sweet odor issues forth (ll. 1271b-1273a); and his soul is borne to Heaven by angels (ll. 1305a-1306a). We see the same knowledge of impending death delivered by an angelic presence in Gui de Warewic and later versions, many of the very same details regarding Guy’s death, and the sister’s role is easily replaced by the wife’s—which also acts to make familial tensions that much greater. So then, is Guy meant to be a saint? That, dear reader, is a question for another post…or a book.

Hannah Zdansky, Ph.D.
University of Notre Dame

Bibliography (Cited and/or Suggested):

N.B. This list is not exhaustive.

Primary Sources (with introductions, notes, and commentary) 

Boeve de Haumtone and Gui de Warewic: Two Anglo-Norman Romances. Trans. Judith Weiss. Tempe: Arizona Center for Medieval and Renaissance Studies, 2008. 97-243.

Cambridge University Library MS Ff.2.38. Ed. Frances McSparran and P. R. Robinson. London: Scolar Press, 1979.

Felix’s Life of Saint Guthlac. Ed. and Trans. Bertram Colgrave. Cambridge: Cambridge University Press, 1956.

Gui de Warewic: Roman du XIIIe Siècle. Ed. Alfred Ewert. 2 vols. Paris: Champion, 1932-1933.

“Guthlac A.” Anglo-Saxon Poetry. Trans. S. A. J. Bradley. London: Everyman, 1982. 248-268.

“Guthlac A.” The Exeter Book. Anglo-Saxon Poetic Records. vol 3. Ed. George Philip Krapp and Elliott van Kirk Dobbie. New York: Columbia University Press, 1936. 49-72.

“Guthlac B.” Anglo-Saxon Poetry. Trans. S. A. J. Bradley. London: Everyman, 1982. 269-283.

“Guthlac B.” The Exeter Book. Anglo-Saxon Poetic Records. vol 3. Ed. George Philip Krapp and Elliott van Kirk Dobbie. New York: Columbia University Press, 1936. 72-88. 

Speculum Gy de Warewyke. Ed. Georgiana Lea Morrill. Early English Text Society. e.s. vol. 75. London: Kegan Paul, Trench, Trübner & Co., 1898.

Stanzaic Guy of Warwick. Ed. Alison Wiggins. Kalamazoo: Medieval Institute Publications, 2004. 

The Auchinleck Manuscript: National Library of Scotland Advocates’ MS. 19.2.1. Ed. Derek Pearsall and I. C. Cunningham. London: Scolar Press, 1977. 

The Guthlac Poems of the Exeter Book. Ed. Jane Roberts. Oxford: Oxford University Press, 1979.

“The Irish Lives of Guy of Warwick and Bevis of Hampton.” Ed. and Trans. F. N. Robinson. Zeitschrift für celtische Philologie 6 (1908): 9-338.

The Romance of Guy of Warwick. Edited from the Auchinleck MS. in the Advocates’ Library, Edinburgh, and from MS. 107 in Caius College, Cambridge. Ed. Julius Zupitza. Early English Text Society. e.s. vols. 42, 49, 59. London: N. Trübner & Co., 1883, 1887, 1891.

The Romance of Guy of Warwick. The Second or 15th-Century Version. Edited from the Paper MS. Ff.2.38 in the University Library, Cambridge. Ed. Julius Zupitza. Early English Text Society. e.s. vols. 25-26. London: N. Trübner & Co., 1875-1876.

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Cooper, Helen. “Romance after 1400.” The Cambridge History of Medieval English Literature.  Ed. David Wallace. Cambridge: Cambridge University Press, 1999. 690-719.

Cooper, Helen. The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare. Oxford: Oxford University Press, 2004.

Crane, Ronald S. “The Vogue of Guy of Warwick from the Close of the Middle Ages to the Romantic Revival.” PMLA 30 (1915): 125-194.

Crane, Susan. “Anglo-Norman Romances of English Heroes: ‘Ancestral Romance’?” Romance Philology 35 (1981-1982): 601-608.

Crane, Susan. “Guy of Warwick and the Question of Exemplary Romance.” Genre 17 (1984): 351-374.

Crane, Susan. Insular Romance: Politics, Faith, and Culture in Anglo-Norman and Middle English Literature. Berkeley: University of California Press, 1986.

Djordjević, Ivana. “Guy of Warwick as a Translation.” Guy of Warwick: Icon and Ancestor. Ed. Alison Wiggins and Rosalind Field. Woodbridge: Boydell and Brewer, 2007. 27-43.

Djordjević, Ivana. “Nation and Translation: Guy of Warwick between Languages.” Nottingham Medieval Studies 57 (2013): 111-144.

Dyas, Dee. Pilgrimage in Medieval English Literature, 700-1500. Woodbridge: D. S. Brewer, 2001.

Echard, Siân. “Of Dragons and Saracens: Guy and Bevis in Early Print Illustration.” Guy of Warwick: Icon and Ancestor. Ed. Alison Wiggins and Rosalind Field. Woodbridge: Boydell and Brewer, 2007. 154-168.

Edwards, A. S. G. “The Speculum Guy de Warwick and Lydgate’s Guy of Warwick: The Non-Romance Middle English Tradition.” Guy of Warwick: Icon and Ancestor. Ed. Alison Wiggins and Rosalind Field. Woodbridge: Boydell and Brewer, 2007. 81-93.

Fellows, Jennifer. “Printed Romance in the Sixteenth Century.” A Companion to Medieval Popular Romance. Ed. Raluca L. Radulescu and Cory James Rushton. Cambridge: D. S. Brewer, 2009. 67-78.

Field, Rosalind. “From Gui to Guy: The Fashioning of a Popular Romance.” Guy of Warwick: Icon and Ancestor. Ed. Alison Wiggins and Rosalind Field. Woodbridge: Boydell and Brewer, 2007. 44-60.

Frankis, John. “Taste and Patronage in Late Medieval England as Reflected in Versions of Guy of Warwick.” Medium Aevum 66 (1997): 80-93.

Gordon, Sarah. “Translation and Cultural Transformation of a Hero: The Anglo-Norman and Middle English Romances of Guy of Warwick.” The Medieval Translator. Traduire au Moyen Âge. Ed. Jacqueline Jenkins and Olivier Bertrand. Turnhout: Brepols, 2007. 319-331.

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Griffith, David. “The Visual History of Guy of Warwick.” Guy of Warwick: Icon and Ancestor. Ed. Alison Wiggins and Rosalind Field. Woodbridge: Boydell and Brewer, 2007. 110-132.

Hanna, Ralph, III. “Reconsidering the Auchinleck Manuscript.” New Directions in Later Medieval Manuscript Studies: Essays from the 1998 Harvard Conference. Ed. Derek Pearsall. York: York Medieval Press, 2000. 91-102.

Hopkins, Andrea. The Sinful Knights: A Study of Middle English Penitential Romance. Oxford: Clarendon Press, 1990.

Kennedy, Angus J. “The Portrayal of the Hermit-Saint in French Arthurian Romance: The Remoulding of a Stock-Character.” An Arthurian Tapestry: Essays in Memory of Lewis Thorpe. Ed. Kenneth Varty. Glasgow: French Department of the University of Glasgow, 1981. 69-82.

King, Andrew. “Guy of Warwick and The Faerie Queene, Book II: Chivalry through the Ages.” Guy of Warwick: Icon and Ancestor. Ed. Alison Wiggins and Rosalind Field. Woodbridge: Boydell and Brewer, 2007. 169-184.

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What’s in a line?: Harley’s Horn and the significance of mise-en-page, Part 2

This entry picks up from my last, in which I reflected on the potential of mise-en-page to communicate something about the genre or tenor of a text, and on the oddity of King Horn in Harley MS 2253 being written uniquely in aabb rhyming long lines. Below are my thoughts on what the poem gains from such mise-en-page:

Klein Harley 2253 f.83
BL Harley MS 2253, fol. 83r, King Horn, aabb, two verses to a line

While it could never be said that King Horn is a strictly alliterative poem, it undeniably exhibits a conscious amount of alliteration throughout, frequently to great effect,[1] putting it in good company with the majority of the English lyrics in the Harley manuscript which characteristically alliterate to some degree, some very strongly. In fact Henry West, in an old study, bases his entire theory of a two-stress scansion for Horn on the poem’s alliterative qualities.[2] Because of its particularly English reliance on heavy stresses, reminiscent of Horn’s Anglo-Saxon predecessors, one can effectively hear even the slight alliteration of the short lines that form the poem’s couplets. Horn is usually considered the earliest Middle English romance we have, and it is likely that the original composer of the poem, working from their probable Anglo-Norman source material, was an early adapter of the new genre into English, experimenting with a combination of the inherited rhymes of French romance and with the alliterative line of Anglo-Saxon and early Middle English poetry.[3] Moreover, in its Harley context, with its somewhat sporadic alliterative techniques and rhythms with simple rhymes, the poem falls nicely alongside the lyrics attempting a marriage between rhyme and alliteration in precisely the same way, all the while clearly drawing from a continental lyrical tradition as well.[4]

If we take into account the preceding, and thus if we see the line as our scribe did or–rather–hear it as its audience would have, it bears some small resemblance to the traditional four-stress line. The following “four” lines from Horn, arranged as they are in Harley, demonstrate this tendency at its strongest:

swerd hy gonne gripe // & to gedere smyte
hy smyten vnder shelde // þat hy somme yfelde
(ll. 55-58) [5]

In these lines we have three alliterative staves over a traditional four stress line. Detecting such examples suggests a conception of Horn in which the features of alliteration and the long line layout mutually affirm the poem’s indebtedness to and are evocative of an earlier English tradition. Of course, if we read Horn in the Harley manuscript, we can see that the scribe at least felt that the poem was suited to the long line and wrote it in that way, seeing Horn in much the same light that we now see Laȝamon’s Brut, perhaps its closest true poetic precursor. Let us take a few exemplary lines from the Brut:

And seoððen, vmbe stunde, // he ferde to Lunden;
he wes þere an Æstre // mid aðele his uolke;
bliðe wes þe Lundenes tun // for Vthere Pendragun.
He sende his sonde // ȝeond al his kinelonde;
he bæd þa eorles, // he bæd þa cheorles,
he bæd þa bischopes, // þa boc-ilærede men
þat heo comen to Lunden // to Vðer þan kingen,
into Lundenes tun // to Vðer Pendragun.
(ll. 9229-36)[6]

So we have in the above example, in eight long lines, six lines with internal rhyme (or near-rhyme), and six with alliteration of an irregular sort. The erratic rhyme and alliteration here is somewhat surprising, given that Laȝamon is often thought to be writing in a way intended to be evocative of his Anglo-Saxon forebears, but Elizabeth Salter suggests such surprise at Laȝamon’s prosody ignores the historic context of the poet, a context which “allowed for the coming-together of diverse but essentially traceable literary influences: French, Anglo-Norman, English and Latin.”[7] In some ways, then, editors of Laȝamon overemphasize the poet’s dedication to old forms in their choice to lay Laȝamon out in long line—no extant manuscript of poem does so. Instead, in manuscripts, the poem is written in block columns with verses separated by virgules.

The choice to print the text in long lines merely emphasizes the shakily consistent alliterative qualities of the poem over its similarly consistent leonine rhyming. One could print the poem as successfully in rhyming couplets. Recognizing that the layout of a poem’s lines can alter on which literary tradition emphasis falls, I see modern editors of Horn and Laȝamon struggling with the very same choices as medieval scribes regarding mise-en-page. The problem is, with the emphasis on silent reading today, what we see on the page crystalizes a poem’s form in a way which the medieval listener would not have experienced.

W.R.J. Barron and S.C. Weinberg describe Laȝamon’s prosody, his “constant variation,” thusly:

For [Laȝamon] alliteration seems no longer an essential organizational principle; in nearly one line in three it is entirely absent. Yet it is too frequent to be merely ornamental and, in some passages, so regularly associated with stress as to echo its classical usage. Similarly, though the majority of half-lines are of two stresses only, some have three or even four; others half-lines are rhythmically so uncertain as to leave the determination of the stress pattern to the individual reader. (xlix-l)

Barron and Weinberg, not to mention Salter, might as well be describing Horn. In its sporadic, yet persistent alliteration, its constant, though clumsily regulated two-stress line, its semi-competent rhyme scheme, and its obvious indebtedness to multilingual literary traditions, Horn is the near twin to the Brut.[8] And yet, modern editors are not alone in uncertainty regarding Horn’s metrical status. Our medieval compilers too must have struggled with how to present Horn in a manuscript, as the other two manuscripts of the poem suggest. While Oxford Bodleian MS Laud, Misc. 108 maintains a regular, if cramped, short-line throughout, Cambridge MS Gg. 4.27.2 tells a different story, with two short lines frequently written as one, with no discernible agenda—the long lines emphasize nothing special in alliteration, rhythm, or rhyme—as though copied by a scribe who could not make up his mind, or who habitually and unconsciously heard the long line in his copying only to be set straight by his short-line exemplar upon glancing back. Horn in Harley 2253 (see figure), however, is written in long line, a choice that consciously sets Horn back into an English tradition all the more emphasized by its manuscript’s co-inhabitants, many of which were consistently written in alliterative long lines with rhymes at their caesura.[9]

Klein Bodleian_LaudMisc108_f219v
King Horn; Oxford, Bodleian, MS Laud. Misc 108, f.219v

Additionally, there is little reason to suppose that, as Elizabeth Solopova suggests, “the reason for [the use of the long line in Horn] could have been the scribe’s wish to save space through an economic layout of a long text.”[10] As I observed in my last post, the Harley scribe used a variety of ordinatio in his manuscript, writing pages of one, two, or three columns, and at times his choices in mise-en-page were guided by artistic rationale.[11] If the Harley scribe were really intent on saving space, writing in short line would have been ideal,[12] as it would have allowed for the writing of a three-column page, which was in fact precisely what the scribe did only a page earlier (fol. 82) when copying “Maximian.” Furthermore, while Ker supposes that Horn may have been copied this way because of the scribe’s exemplar,[13] the scrupulous care with which the Harley scribe is often thought to have set out his texts suggests a motive behind the rare exception.[14] The inclusion of Horn in long line form allows the poem to inhabit the manuscript in a way that is less intrusive to its surrounding texts and more meaningful in establishing Horn as a particularly English brand of literature drawn from a pool of influence as varied as that from which Salter would have the Brut drawn.

Despite the suggestiveness of its mise-en-page in Harley, Horn is invariably edited as a short-line poem in all of its editions excepting its 1901 EETS publication,[16] even Hall’s parallel one, an editorial decision that unavoidably pushes aside associations with certain types or genres of poetry and foregrounds the poem’s associations with other genres. The end result of editions like Hall’s[17] is to create the illusion of stasis for a poem that can be looked to as a fascinating example of the transitional nature of the developing English poetic tradition, an instability highlighted by the poem’s gestures to orality and older traditions. By the time the Harley scribe copied Horn (1331-41), after all, the poem was quite old.[18] Perhaps our scribe signified, in his mise-en-page, that he saw in Horn a poem of a more historical, ancient, and epic character than those of the romance boom being copied contemporaneously in volumes like the Auchinleck manuscript, coming out of the flourishing book industry in London.

Andrew Klein
PhD Candidate
Department of English
University of Notre Dame

Notes:

[1] Henry S. West, The Versification of King Horn: A Dissertation (Baltimore: J.H. Furst Company, 1907), 33, 36.
[2] West’s theory, in turn, finds much of its impetus in Theodor Wissmann’s 1881 critical edition of Horn. Wissmann uses the Cambridge MS as his base text, using alliteration and metre to restore an original reading of Horn. See Theodor Wissman, ed., Das Lied von King Horn (Strassburg: K.J. Trübner, 1881) and for introductory material see Theodor Wissman, Untersuchungen zur mittelenglischen sprach- und litteraturgeschichte (Strassburg: K.J. Trübner, 1876
[3] Barron, Romance, 67.
[4] A fine example of this is the lyric traditionally called “The Lover’s Complaint,” in which the lyricist combines English alliterative technique and tail-rhyme form with the love-longing of French trouvères like Gace Brulé:

Wiþ longyng y am lad,
on molde y waxe mad,
a maide marreþ me;
y grede, y grone, vnglad,
for selden y am sad
þat semly forte se. (1-6)

Many examples of such blending exist in Harley. Poems frequently play with English forms while relying on the French tradition for themes and motifs.
[5] While Cambridge MS Gg. 4.27 (2) is usually the preferred text for editors of King Horn, I have opted to use the text found in Harley 2253 for obvious reasons. All line references, therefore, are to the old text edited by Joseph Hall: King Horn (Oxford: Clarendon P), 1901, a parallel edition of all three versions of King Horn. I have here arranged four lines from Hall as two, adding the caesural markers. The 1901 EETS parallel text edition of Horn does arrange its Harley text in long line, but Hall’s is universally preferred as the more accurate text.
[6] Layamon’s Arthur: the Arthurian section of Layamon’s Brut, ed. W.R.J. Barron and S.C. Weinberg (Exeter: U of Exeter P, 2001).
[7] Elizabeth Salter, English and International: Studies in the Literature, Art, and Patronage of Medieval England, ed. Derek Pearsall and Nicolette Zeeman (New York: Cambridge UP, 1988), 61. We might recall as well the macaronic character of the Harley MS as a whole, which suggests our scribe was drawing from a similarly diverse cultural background as Laȝamon.
[8] Though it is not usually remarked upon today, the earliest editors and scholars of Horn often drew attention to a developmental relationship between the Brut and Horn. See, for instance, George H. McKnight, King Horn, Floriȝ and Blauncheflur, The Assumption of our Lady (New York: Oxford UP, 1901), xx-xxii; see also Hall, King Horn, xlv-xlvi.
[9] Elizabeth Solopova, “Layout, Punctuation, and Stanza Patterns in the English Verse,” in Studies in the Harley Manuscript: The Scribes, Contents, and Social Contexts of British Library MS Harley 2253, ed. Susanna Fein (Kalamazoo, Michigan: Medieval Institute Publications, 2000), 377-89. Solopova asserts that long lines in Harley “never have leonine rhyme” (378), but this is only because she refuses to grant that Horn’s long line counts as such.
[10] Ibid., 387. This is an echo of Ritson’s very early suggestion: “The present poem, for the salvation of parchement, is writen with two lines in one” (264). Joseph Ritson, ed., Ancient Engleish Metrical Romanceës, vol. 3 (London: W. Bulmer and Co., 1802).
[11] A well-known example can be found on fol. 128r, where the Harley scribe places two poems, “The Way of Woman’s Love” and “The Way of Christ’s Love,” in clear juxtaposition. See Fein, “A Saint ‘Geynest under Gore,’” 351; Michael P. Kuczynski, “An ‘Electric Stream’”: The Religious Contents,” in Studies in the Harley Manuscript: The Scribes, Contents, and Social Contexts of British Library MS Harley 2253, ed. Susanna Fein (Kalamazoo, Michigan: Medieval Institute Publications, 2000), 154-55.
[12] In reference to Horn’s spacing, Rosamund Allen notes, “Usually the scribe writes short lines in two columns.” See Rosamund Allen, ed., King Horn: An Edition Based on Cambridge University Library MS Gg.4.27 (2) (New York: Garland, 1984), 13. For an example of how closely our scribe paid attention to arrangement of texts in Harley, see Kathryn Kerby-Fulton, “Major Middle English Poets and Manuscript Studies, 1300–1450,” in Opening Up Middle English Manuscripts (Ithaca: Cornell UP, 2012), 50-54. Kerby-Fulton observes that the apparent cramming in of two poems next to one another, “In the Ecclesiastical Court” and “The Labourers in the Vineyard” over three pages in fact sets the poems in a juxtaposition that allows the latter poem to comment upon the first.
[13] N.P. Ker, Facsimile of British Museum MS. Harley 2253 (New York: Oxford UP, 1965), xvii; Solopova, “Layout, Punctuation, and Stanza Patterns,” 378, also draws attention to scribe’s “highly conscious approach to [the manuscripts] layout and punctuation.”
[14] Ibid., xviii.
[15] Stemmler, “Miscellany or Anthology?,” 121.
[16] This parallel EETS edition, “now re-edited from the manuscripts” (iii) by George H. McKnight, displays all three manuscript transcriptions on a page, with the Harley edition in long-line form. Unfortunately, Hall’s edition was published that same year and, having been deemed the superior parallel text, quickly overshadowed McKnight’s. Hall’s parallel text regularized Harley with the other two manuscripts, formatting it in short lines.
[17] By this I mean parallel editions especially, but all editions of Horn (of which there are eleven, and many more selections for anthologies) other than the 1901 EETS print Horn in short lines, a tradition inaugurated by Ritson in the earliest edition of Horn. Ritson printed Horn exclusively from the Harley manuscript in 1802, and, while he adopted the title from that manuscript (“The Geste of Kyng Horn”), he did not follow the lineation.
[18] The poem has been dated between 1225-75, though the story itself was told in Anglo-Norman even earlier (late twelfth century).