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51 posts categorized "Literature"

03 November 2020

The show must go on! Putting on a play in the 16th century

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The 16th century witnessed a huge revival of popular theatre, as playwrights and acting companies experimented with existing dramatic traditions, new literary techniques, and different approaches to performance. This artistic revival included the work of English writers such as William Shakespeare, Christopher Marlowe, and Ben Jonson, as well as playwrights throughout Europe, particularly in Germany, Italy, and France. Surviving manuscripts from this period can give us a real insight into not just how these plays were written, but also how they were performed.

One such volume, now housed in the Harley Collection of the British Library, contains a rare eye-witness account of the premier performance of a French play that took place in the city of Montbrison on 25 February 1588.

The opening page of the autograph manuscript of Loÿs Papon’s Pastorelle, showing the play’s title and date.
The title page from the autograph manuscript of Loÿs Papon’s Pastorelle. The name ‘Guise’ appears within a device of clouds and lightning, painted in watercolour (Harley MS 4325, f. 1r).

The work was written by Loÿs Papon (b. 1533, d. 1599), the canon of the Church of Notre-Dame-d'Espérance and later abbot of Marcilly, and is entitled Pastorelle sur la victoire obtenue contre les Allemands, Reytres, Lansquenets, Souysses et Francoys rebelles a Dieu et au Roy treschretien l'an 1587 (Pastoral on the victory won against the Germans, the Reiters, the Landsknecht, the Swiss, and the French Rebels by God and our most Christian King in the year 1587).

Written in five acts, the play is a celebration of the victories of Henry I (b. 1550, d. 1588), Duke of Guise, against the combined Huguenot, or Protestant, forces at Vimory on 26 October and Auneau on 24 November 1587, two major battles fought during the French Wars of Religion (1562-1598).

The plot of Papon’s play is simple. Rather than depict the conflict between the Catholic and Huguenot armies on stage, Papon’s narrative focuses on a small group of shepherds, whose lives in the French countryside have been in turmoil since the start of the war. In the first half of the play, the audience hears how the war has affected the shepherds during that time – how their crops have been blighted and their lands and possessions looted by invading armies – as they recount their struggles and voice their fears of new dangers that might affect them in the future.

During the third act, however, the shepherds learn about what has taken place during the battles at Vimory and Auneau, and in the course of Acts IV and V, buoyant at the news of Henry’s victories, they celebrate that their once peaceful lives will now be restored.

The upper cover of the autograph manuscript of Loÿs Papon’s Pastorelle, featuring a red velvet cover, with a number of symbols embroidered in silver, gold, and coloured thread.
The embroidered binding of the autograph manuscript of Loÿs Papon’s Pastorelle (Harley MS 4325, upper cover).

The manuscript (now Harley MS 4325) was written and illustrated by Loÿs Papon himself, who probably intended it as a presentation copy of the text. The work begins with a dedication from the author addressed to a certain ‘M[onsieur] le duc de Mayne’, who can be identified as Charles de Lorraine (b. 1544, d. 1611), Duke of Mayenne and brother of Henry, Duke of Guise, who led the victorious French army.

The volume also survives with its original 16th-century binding intact. Its red velvet covers feature a collection of different symbols, delicately embroidered with silver, gold and coloured thread, including two hands grasping a sword, a pair of chalices, a crown of thorns, and a single eye appearing above a cloud.

The account of the play’s first performance appears directly after the main text of the work in the manuscript and was also written by Papon. The ‘discours’ or account states that this took place on 25 February 1588 at the Salle de la Diana, in the city of Montbrison, the historic capital of the French region of Forez (now part of Central France), and the playwright’s birthplace.

Papon’s account provides details about all aspects of the production, from the actors and musicians, to the set and the props, and even the composition of the audience. He tells us, for example, that:

  • The windows of the Salle were completely covered over, so that the only light came from a collection of 90 torches, made from white wax, which were positioned around the hall.  
  • The backdrop was split up by three pieces of tapestry, decorated with 10 large paintings at the top, portraits of the French king and queen, and the princes of Guise, and below them another collection of smaller portraits of other important figures of the time: popes, princes and princesses, and members of the nobility.
  • The play’s musicians were placed on a scaffold constructed on the right hand side of the stage, and set above a doorway that the actors used to make their entrances and exits.
  • The shepherds were dressed in costumes made of taffeta and satin, wore straw hats, and carried shepherds’ crooks. The manuscript also features a series of painted portraits, showing how the central characters looked, dressed in full costume.
  • The audience was supposedly composed of between 1300-1400 people (though from the size of the hall that’s slightly hard to believe): ‘gentishomes, que Dames, demoyzelles, gens de Justice, d’Eglise, magistrats, bourgeois, Capitaines, marchandz, et touts pesonnes de qualité’ (gentlemen, ladies, young ladies, Justices, people of the Church, magistrates, the bourgeois, captains, merchants, and all people of quality).
A page from a 16th-century autograph manuscript of Papon’s Pastorelle, featuring a painted portrait of two shepherds, called Alexis and Cloris.
Portraits of two of the shepherds, Alexis and Cloris, in costume, from an autograph manuscript of Loys Papon’s Pastorelle (Harley MS 4325, f. 5r).

In addition, the volume includes a paper fold-out inserted at the end of Papon’s account, which opens to reveal a watercolour illustration of Act IV, Scene II of the Pastorelle, showing how this scene was staged in the Salle de la Diana. The image suggests that despite the simplicity of the narrative, the production itself was a real spectacle, ambitious in its scale. In the scene, the assembled shepherds, having learnt of the defeat of the Huguenot forces, decide to construct a pyramid on stage, light a fire at its base, sing songs, and dance around it to express their joy at the news.

A paper fold-out inserted into the autograph manuscript of Loÿs Papon’s Pastorelle, featuring a watercolour illustration of Act IV, Scene II of the play.
A paper fold-out inserted into the autograph manuscript of Loÿs Papon’s Pastorelle, featuring a watercolour illustration of Act IV, Scene II of the play (Harley MS 4325, f. 58r).

One of the most significant features of the watercolour is the Salle’s vaulted and vibrantly coloured ‘plafond’ or ceiling, tall enough to accommodate the pyramid’s spire (standing 18 feet high according to Papon’s account), and which is shown adorned with numerous compartments, each one bearing a small coat of arms.

A detail from a watercolour illustration of the staging of Papon’s Pastorelle, depicting the heraldic ceiling of the Salle de La Diana in Montbrison.
The heraldic ceiling of the Salle de la Diana, illustrated in the autograph manuscript of Loÿs Papon’s Pastorelle (Harley MS 4325, f. 58r detail)

Fortunately, the Salle de la Diana in Montbrison has survived to the present day and is now home to a library that holds over 30,000 books. Its elaborately decorated heraldic ceiling (featuring a total of 1728 coats of arms) was restored during the 19th century, and appears nearly identical to the design reflected in Papon’s illustration of the Pastorelle’s first performance.

A photograph of the Salle de la Diana, showcasing a vaulted ceiling, adorned with coats of arms and its walls lined with bookshelves, with a stone fireplace on the left-hand side.
The Salle de la Diana at Montbrison, showcasing a vaulted ceiling, adorned with coats of arms (image by Daniel Villafruela / Wikimedia Commons / CC BY-SA 3.0).

 

A photograph of the heraldic ceiling of the Salle de la Diana in Montbrison, decorated with compartments bearing coats of arms.
The heraldic ceiling of the Salle de la Diana, featuring 1728 coats of arms (image by Daniel Villafruela / Wikimedia Commons / CC BY-SA 3.0).

This manuscript’s catalogue record has recently been revised as part of the Harley Cataloguing Project. For more information about the project and other recent discoveries, check out our blogpost on cataloguing the Harley manuscripts.

Calum Cockburn
Follow us on Twitter @BLMedieval

Further Reading

Loys Papon, Pastorelle sur la victoire obtenue contra les Alemands, Reytres, Lansquenets, Souysses et Françoys rebelles à Dieu et au Roy treschr etien l'an 1587, texte établi, présenté et commenté par Claude Longeon (Saint-Etienne: Centre d'Études Foréziennes, 1976).

Frank Dobbins, 'Music in French Theatre of the Late Sixteenth Century', Early Music History, 13 (1994), 85-122 (pp. 115-21 with plates).

Margaret M. McGowan, 'The Arts Conjoined: A Context for the Study of Music', Early Music History, 13 (1994), 171-98 (pp. 179-80, especially n. 26).

 

29 October 2020

Byland Abbey ghost stories: a guide to medieval ghosts

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On an overcast day in October, the ruins of Byland Abbey in North Yorkshire seem just the place to meet a medieval ghost. Nestled beneath the towering crags of Sutton Bank, the crumbled walls are pensive with memories and secrets. The dramatic outline of a rose window gapes into the sky as though crying out from a past long distant but not wholly dead. Fittingly enough, it was here that a monk wrote down one of the most important collections of ghost stories to survive from medieval Europe.

A photograph of the ruins of Byland Abbey
The ruins of Byland Abbey, North Yorkshire, photo by Eleanor Jackson

The stories, twelve in total, were written in the early 15th century on the blank pages of a manuscript containing a collection of rhetorical and theological works, now British Library Royal MS 15 A XX (ff. 140v-143 and ff. 163v-164v). Despite being written in Latin, the language of the Church, the stories are mostly set among the rural communities of North Yorkshire. They are full of references to real local places, names of people and everyday details. Their clear local roots and lack of narrative structure gives them the feeling of folktales and hearsay.

A Latin edition of the stories was published by the great manuscript scholar and horror writer M.R. James in 1922, and English translations are available by A.J. Grant (1924), and Saint Anselm College (2014). But for anyone who hasn’t time to read the stories in full (or doesn’t dare), we’ve condensed the key points into this helpful guide to medieval ghosts. Perhaps it will come in handy this Halloween...

Medieval manuscript page written with ghost stories from Byland Abbey
A page from the Byland Abbey ghost stories, early 15th century: Royal MS 15 A XX, f. 141r

What are medieval ghosts?

The ghosts in the Byland stories are not the evil forces which seek to harm humanity in many modern horror tales. They are mostly people from the community who have died without confessing sins, righting wrongs or otherwise preparing for a ‘good death’. The ghosts cannot get to heaven until these issues have been resolved, so they rise from their graves to seek help from the living.

An illustration in a medieval manuscript of a man, lying in bed, being speared by the figure of Death, accompanied by a monk and Christ
An illustration of a medieval ‘good death’. A man in bed is struck by the figure of death, while a monk at his side urges him to ‘pray Christ thy soule to save’, and Christ promises ‘mercie thou shall have’. The Carthusian Miscellany, England (Yorkshire or Lincolnshire), 1460-1500: Add MS 37049, f. 38v

The sins in question tend to be relatively mundane. Story IX tells of a ghost whose crime is ‘a matter of a sixpence’. In Story VI, the ghost of a canon of Newburgh Priory is tormented for stealing silver spoons. In Story VII, a hired hand is punished for overindulging his oxen, feeding them on his master’s corn and letting them plough the land too shallowly.

The ghosts try a variety of tactics for persuading people to help. Story I tells of an enterprising ghost in the area of Rievaulx who helps carry a sack of beans in return for absolution. In Story III, the rather forlorn ghost of Robert of Kilburn wanders around the village at night, standing at windows and doors, waiting to see if anyone would come out and help. Eventually the priest hears his confession and he is able to rest in peace.

What do ghosts look like?

The Byland ghost stories include some wonderfully gruesome descriptions of the ghosts' appearances. They are clearly envisioned as decaying corpses, rather like modern zombies. In Story III, the ghost speaks not with his tongue but from the inside of his bowels, which are hollow and echoing like an empty cask. The shortest tale, Story V, tells of a man who witnesses a woman carrying a ghost on her back, when ‘he saw the hands of the woman sink deeply into the flesh of the ghost as though the flesh were rotten and not solid but phantom flesh’.

The appearance of these ghosts was clearly influenced by the art of the period. In Story II, the ghost appears ‘in the likeness of a man of great stature, horrible and thin, like one of the dead kings in pictures’—a reference to the popular imagery of the Three Living and the Three Dead Kings.

Medieval miniature of three living kings confronted by three dead kings
A miniature of the Three Living and the Three Dead Kings, from the De Lisle Psalter, England (East Anglia), c. 1308–c. 1340: Arundel MS 83, f. 127v (detail)

However, the Byland ghosts are also able to shape-shift and they appear in such assorted forms as: a horse, a revolving hay-cock with a light in the middle, a raven with sparks of fire shooting from its sides, a dog, a she-goat, a bullock without a mouth or eyes or ears, and a revolving piece of canvas (perhaps a precursor to the classic white sheet?).

What should you do if you meet a ghost?

The best thing to do in this situation is to talk to the ghost and find out what it wants. Ghosts aren’t able to speak to living people unless someone conjures them, which involves calling them to speak in the name of God. But if you are planning on meeting with ghosts, you may wish to bring protection. In Story II, when Snowball the tailor goes to keep an appointment with a ghost, he draws a magic circle around himself and uses an array of amulets.

A medieval picture of a necromancer in a magic circle
A picture of a necromancer in a magic circle, from John Lydgate’s The Pilgrimage of the Life of Man, England, 2nd quarter of the 15th century: Cotton MS Tiberius A VII/1, f. 44r (detail)

The worst thing you can do if you meet a ghost is to try to resist it. Snowball the tailor finds that his attempts to repel the ghost with his sword are completely ineffectual: it just feels like he’s striking a peat-stack. In Story IX, a ghost follows a man for 80 miles, throws him over a hedge and catches him on the other side. When the man finally speaks to the ghost, it tells him ‘If you’d conjured me in the first place, I wouldn’t have hurt you’.

How do you get rid of a ghost?

The best way to get rid of a ghost is to help it out. In most of the stories, the ghosts will quietly rest in peace once their unfinished business has been resolved. However, some ghosts are more troublesome. Story IV tells of the particularly malevolent ghost of James Tankerlay, rector of Cold Kirby, who walks from his grave at night and blows out the eye of his former mistress. The monks of Byland Abbey take action by having his corpse exhumed and cast into the present-day popular wild swimming spot, Lake Gormire.

Several other stories also hint that ghosts are averse to water: in Story I, the ghost will not cross the river, and in Story II, the ghost screams at the suggestion of meeting by Hodge Beck. This trope of supernatural creatures being unable to cross water has persisted into modern literature such as Dracula and Lord of the Rings.

A medieval miniature of a lady encountering the figure of death in a graveyard
A miniature of Death and the lady, from a Book of Hours, France, c. 1480-90: Harley MS 2865, f. 86r

The Byland ghost stories give us a glimpse of the kinds of tales that were probably once widespread but were rarely written down. They reveal medieval people’s very real fear of death and the uncertainties of what lay beyond, but also a surprising compassion for the undead.

So next time you hear something go bump in the night, don’t be afraid. Chances are the ghost won’t try to throw you over a hedge or do anything more sinister—it just needs a willing ear and a helping hand.

Eleanor Jackson

Follow us on Twitter @BLMedieval


Further reading

For the Latin text, see:

M.R. James, 'Twelve Medieval Ghost-Stories', The English Historical Review, 37 (1922), pp. 413-22.

For English translations, see:

A.J. Grant, 'Twelve Medieval Ghost Stories', The Yorkshire Archaeological Journal, 27 (1924), pp. 363-79.

Byland Abbey ghost stories project, Saint Anselm College.

09 July 2020

Shakespeare's only surviving playscript now online

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One of the most iconic literary manuscripts by one of the world's most famous playwrights, William Shakespeare (1564–1616), can now be viewed in full online on the British Library's Digitised Manuscripts site.

The Booke of Sir Thomas Moore does not immediately spring to mind as among Shakespeare's masterpieces. This late 16th or early 17th-century play is not always included among the Shakespearean canon, and it was not until the 1800s that it was even associated with the Bard of Avon. So what is the connection with William Shakespeare, the author of the more distinguished Hamlet, Macbeth and Romeo and Juliet?

A page of The Booke of Sir Thomas Moore, arguably in Shakespeare's handwriting

In 1871, William Shakespeare's handwriting was identified on this page of The Booke of Sir Thomas Moore: Harley MS 7368, f. 9r

A clue is presented by the handwriting of the surviving manuscript (Harley MS 7368). There are 22 leaves in question, 13 of which are original, 7 are inserted leaves, and 2 are pasted slips. What is immediately apparent is that Thomas Moore was the work of several dramatists. The primary hand is that of Anthony Munday (d. 1633), and he was possibly assisted by the printer, Henry Chettle (d. 1603–07), with further contributions by Thomas Dekker (d. 1632), and perhaps by Thomas Heywood (d. 1641). The handwriting of yet another scribe in the manuscript, known by scholars as the unspectacularly named 'Hand D', is possibly none other than Shakespeare himself. Finally, the manuscript is known to have been censored in turn by Edmund Tilney (d. 1610), Master of the Revels.

The division of the handwriting can be set out as follows. 'Hand D' (probably Shakespeare) contributed an addition on ff. 8r–9v, supplying lines 1–165 of Scene 6. 

  • ‘Hand S’: Anthony Munday
  • ‘Hand A’: probably Henry Chettle
  • ‘Hand B’: probably Thomas Heywood
  • ‘Hand C’: an unidentified professional scribe
  • ‘Hand D’: probably William Shakespeare
  • ‘Hand E’: probably Thomas Dekker

It was not at all unusual for early modern dramatists to collaborate in this way. William Shakespeare is known to have written in partnership with John Fletcher (d. 1625) and others, and it would have been logical for Munday to have turned to his fellow playwrights to advise and assist him when revising his play about Sir Thomas More (1478–1535), the early Tudor Lord Chancellor, humanist and martyr. What is exceptional here, of course, is that Harley MS 7368 is the only identifiable example of Shakespeare's contribution to a playscript surviving in manuscript. None of his other plays have been transmitted to us in this way. What is more, in these pages we can perhaps see the master playwright at work, musing, composing and correcting his text: a window into Shakespeare's dramatic art, as it were. 

Shakespeares-handwriting-in-The- harley_ms_7368_f008v

Another page from Shakespeare's probable contribution to The Booke of Sir Thomas Moore: Harley MS 7368, f. 8v

There is a remarkable sub-text to William Shakespeare's contribution to Thomas Moore. Andrew Dickson, in an article ('Wretched Strangers') for the British Library's Discovering Literature site, has noted how William Shakespeare was presumably called upon by Munday to write the most emotional passage in the play, known as the 'insurrection scene'. Drawing upon events in 1517, when rioting Londoners demanded that immigrants be expelled from England, Shakespeare portrayed Sir Thomas More, as mayor of London, pleading with the crowd to accept the asylum seekers.

Imagine that you see the wretched strangers,

Their babies at their backs, with their poor luggage,

Plodding to th’ ports and coasts for transportation,

And that you sit as kings in your desires,

Authority quite silenced by your brawl ... 

This was all the more remarkable when one realises that similar xenophobic riots had occurred in London in the 1590s and 1600s. Was Shakespeare making a case in The Book of Thomas Moore for racial tolerance? By putting words into Thomas More's mouth, was he making a barbed attack upon the prejudice of his own day?

The Book of Thomas Moore was probably never performed in the time of its authors. The Elizabethan censor, Edmund Tilney, took serious dislike to the playscript, and it seems to have been banned from public performance. The manuscript instead passed into the Harley library and was then sold to the British nation in 1753; it might have remained in oblivion were it not that Shakespeare's style, and hence his own handwriting, was first recognised in the 'insurrection scene' in 1871. The playscript is now extraordinarily brittle, and it is difficult to put on display; but we are delighted to be able to make it available online for everyone to read and enjoy, and for you to determine for yourselves if was indeed William Shakespeare who wrote these lines, in his very own hand. You can gaze in wonder at it on our Digitised Manuscripts site.

 

Julian Harrison

Follow us on Twitter @BLMedieval

18 May 2020

Fabulous Mr Fox and other wise tales

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Early in the 1400s, Ulrich von Pottenstein (c. 1360–1417), a clerk and chaplain to Duke Albert IV of Austria, translated into German a collection of Latin fables. Known in their expanded version as Das Buch der natürlichen Weisheit ('The Book of Natural Wisdom'), these fables describe the interactions between animals, humans, plants and the natural elements in order to teach moral lessons to their readers. One of the finest illustrated copies of this work, found in Egerton MS 1121, has recently been digitised. This manuscript, containing more than 70 fables, can teach us much about wisdom, beginning with:

(1) Listen to your sense of reason.

When the animals gather to choose the wisest, they divide into two factions. The land animals nominate the Fox and the birds elect the Raven. But the Monkey intervenes, explaining that they have chosen not with reason but with carelessness and poor judgement. They have allowed themselves to be misled, mistaking the cunning of the Fox and Raven for wisdom.

The land animals gather around the brown Fox (left), and the birds around the black Raven (right).

The Fox and Raven are chosen as the wisest animals: Egerton MS 1121, f. 4v

(2) Question things that appear to be certain.

The Fox plays dead in order to catch the Raven, who is sitting in a tree. The scavenging bird comes closer but, knowing the Fox’s cunning, inspects the ‘carcass’ from a safe distance. When the Raven notices that the Fox’s heart is beating, he drops a stone on his head and calls him out as a deceiver. The Fox, in turn, drops his charade.

he brown Fox plays dead under the tree in which the Raven sits.

The Fox and the Raven: Egerton MS 1121, f. 7v

(3) Choose your company carefully.

The Fox has remorse for his sins and decides to go on a pilgrimage. En route, the Dog, Donkey, Bear, Lion, Wolf, Swine and Peacock try to join him, but the Fox considers them imprudent and shakes them off. Instead, he chooses wiser animals as his fellow pilgrims: the Ant, Tracking Dog, Ox, Hedgehog, Hare, Lamb, Monkey and (multi-coloured) Panther. The Fox explains that, if you keep company with the wise and holy, you will become wise and holy as well.

On the left, the Fox rejects animals as fellow pilgrims. From bottom to top they are: the Dog, Donkey, Bear, Lion, Wolf, Swine, and Peackock. On the right, the Fox invites other animals to join him on his pilgrimage. From bottom to top they are: the Ant, Weasel, Ox, Hedgehog, Hare, Lamb, Monkey, and Panther with multi-coloured spots.

The Pilgrim Fox chooses his company: Egerton MS 1121, f. 36r

(4) Listen to good advice.

The Monkey decides to follow a sailor into the mast of a ship. The Raven warns against it, but the Monkey ignores the advice, falls down and hurts himself. He then sits on a king's throne, ignoring the warning of the Fox. Only when he is thrown off and bitten by dogs does he realise that he should listen to sound advice.

On the left, the Monkey climbs into the mast of a ship while the Raven, to his left, warns him. On the right, the Monkey holds a golden sceptre and sits on the throne of a king while the Fox, below him (in the right lower corner), warns him. Below the boat and throne, the Monkey is being bitten by two white dogs.

The Monkey ignores the advice of the Raven and the Fox: Egerton MS 1121, f. 48v

(5) Don’t put yourself above others.

A Cloud, newly born from the Earth, leaps high up into the air. Her mother, Earth, implores her to return. But the Cloud answers that she wants to raise herself above all the things in the natural world. The Earth then teaches her that those who exalt themselves will fall deep. Even the Sun, which raises itself high into the sky, goes down. It is better to be humble. As a reminder of this, Nature has placed the human heart and feet, that keep the entire body going, below the head. The Cloud is persuaded and lets herself fall back to Earth.  

A blue undulating beam, representing the new-born Cloud, leaps up into the air from a green field with flowers, representing the Earth.

The new-born Cloud leaps up from the Earth: Egerton MS 1121, f. 58v

(6) Use your powers wisely.

A fish with razor-sharp teeth tells the Swordfish that he would like to have a sword as well, in order to rob others. The Swordfish replies that it would be best if the other fish doesn’t have a sword or even teeth: corrupted hearts always take the opportunity to use the good things they have for evil purposes, turning their own luck into unhappiness.

Two blue-grey fish with scales in a small pond. The fish on the left has razor sharp teeth (Toothfish), while the fish on the right holds a sword in its mouth (Swordfish).

The ‘Toothfish’ and the Swordfish: Egerton MS 1121, f. 67r

(7) Greed leads to more loss than gain.

Having devoured yet another prey, the gluttonous Crocodile lies sleeping with its jaws open. The bird ‘Scrofilus’ seizes its opportunity, crawls inside the Crocodile’s mouth, and mortally wounds him from the inside. The Crocodile wakes up and asks why the bird has injured him. Scrofilus explains that those who always desire more always lose more than they gain. Alexander the Great, who conquered the whole world, always wanted to possess more lands; he was never satisfied and became poor in heart as a result.

A green crocodile with a large curled tail sleeps with its jaws open. A grey bird that sits in a tree above him flies down and wounds him inside his mouth.

Scrofilus mortally wounds the sleeping Crocodile: Egerton MS 1121, f. 97v

(8) Wealth always comes with a price.

The Monkey wants to grow a long tail like that of the Fox. But he then meets the Elephant who has removed his tusks to avoid being used in battle; the Swallow whose stomach has been cut open for the precious ‘swallow stone’ (Chelidonius); the Beaver who has removed his testicles to escape hunters looking for his castoreum; and the Peacock whose shiny tail has been cut off. The Monkey realises that wealth always comes with suffering and forgets about the tail. 

A brown monk talks with a brown Fox. Behind them stands the Elephant without tasks and with a castle on his back.

The Monkey with the Fox and the tuskless Elephant: Egerton MS 1121, f. 102r

(9) Good things take time.

The Gourd is proud to have reached the same height as the 100-year-old Palm within only a few summer days. The plant thanks Nature for allowing him to grow so quickly. But the Palm hears the Gourd’s boast and replies that what grows quickly will also wither quickly. The Palm gives the example of the quick-growing fish ‘Effimer’ (Ephemeral) that only lives for one day, and the slow-growing elephant that lives for 300 years.

On the left stands a palm tree with green foliage. Next to it, on the right, stands a Gourd with large green fruits and lobed leafs.

The Palm Tree and the Gourd: Egerton MS 1121, f. 121v

(10) Seek treasure inside yourself.

A Youth wants to get rich by visiting the ‘Golden Mountains’ in India. Upon reaching the emerald-covered mountains of pure gold, an Old Man warns him that all visitors are killed by griffins, fabulous creatures with the body of a lion and the head and wings of an eagle. The Youth is downcast but the Old Man explains that he already carries the greatest treasure inside his own heart. If he listens to his heart — and not greed — he will only seek pure goodness and not gold. Because gold only leads to vice, the peaceful Brahmani (‘Bragmani’) dispose of their gold in deep lakes and Nature hides it from mankind deep inside the Earth. The Youth thanks the Old Man for helping him find true treasure and no longer desires material wealth.

A Youth, wearing a pink robe with blue tights, is warned by an Old Man, with a beard and wearing a purple robe. In the right upper corner are the Golden Mountains with griffins flying around them.

The Old Man warns the Youth about griffins in the Golden Mountains: Egerton MS 1121, f. 114v

Follow your voice of reason, avoid bad company and tricksters, listen to good advice, stay humble, live a measured life, take time to grow, and look inside your own heart. That’s the path to Natural Wisdom.

 

Clarck Drieshen

Follow us on Twitter @BLMedieval

06 May 2020

The legend of Alexander in late Antique and medieval literary culture: PhD studentship at the British Library

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The British Library is collaborating with Durham University to offer a fully-funded full-time or part-time PhD studentship via the AHRC Collaborative Doctoral Partnership scheme. The student’s research will focus on the legend of Alexander the Great, and the successful applicant will be supervised by Dr Venetia Bridges (Durham) and Dr Peter Toth (British Library).

Detail of a miniature of Alexander and the Wheel of Fortune

Alexander the Great on Fortune’s Wheel, in a French chronicle of the ancient world (France, 3rd quarter of the 15th century): Harley MS 4376, f. 271r (detail)

Alexander the Great is one of the most fascinating figures of the ancient world. He conquered the world from Greece to India in less than 10 years. Although he died in 323 BC when he was only 33, Alexander's legacy continues to influence European, Middle Eastern and Asian cultures.

A drawing of Alexander the Great holding an orb and sceptre, with Philosophy holding a pot and brush

Alexander the Great, anointed by the personification of Philosophy, in a Latin version of the Alexander Romance (England, last quarter of the 11th century): Royal MS 13 A I, f. 1v

In the last two millennia, Alexander the Great has been represented as a magician, a scientist, a statesman, a philosopher and as one of the greatest explorers of humankind. The British Library’s collection of materials relating to the legend of Alexander provides an exceptional opportunity for PhD research into his immense impact on European literary culture from a transnational and multilingual perspective. As a student at Durham but working on the British Library’s collections, the successful applicant will have a unique opportunity to study the fascinating Alexander legends in their primary sources. This studentship will coincide with an exhibition about the legends of Alexander to be held at the British Library in late 2022. 

Miniatures of Alexander the Great and his army fighting blemmyae

Alexander the Great fighting the headless blemmyae in a French version of the Alexander Romance (Flanders 1st quarter of the 14th century): Harley MS 4979, f. 72v (detail)

Legends of Alexander’s life and conquests were combined into a narrative, known as the Alexander Romance, soon after his death. This compilation quickly became a ‘best-seller’, with translations in almost every language of the medieval Mediterranean, including Latin, Armenian, Syriac, Ethiopic, Arabic, Persian, English, French and German. Moreover, many of these texts are lavishly decorated with fascinating combinations of ancient and medieval imagery.

Applicants are invited to propose a multilingual and comparative project on Alexander’s reception from Late Antiquity to the close of the Middle Ages in European contexts, with a particular focus on the Alexander Romance. The proposal should focus on texts in more than one language, and include manuscripts in the Library’s collections. Possible topics include, but are not limited to, the following:

  • the Alexander Romance’s influence upon high medieval literature (11th-13th centuries);
  • the Alexander Romance’s influence on travel and scientific literature and geographical exploration;
  • the Alexander Romance’s dissemination in the later Middle Ages (14th-15th centuries) in translations, adaptations and material witnesses;
  • a comparative study of the Alexander Romance in Western (European) and Eastern (Byzantine and Slavonic) versions;
  • the role of Alexander in royal and religious propaganda, including ‘nationalist’ historiographies and Crusader literature;
  • a study of key medieval manuscripts and/or texts related to the Alexander Romance that demonstrate aspects of Alexander’s appropriation in different cultures;
  • the Late Antique beginnings of the Alexander Romance’s textual histories.

Applicants

The successful applicant will have multilingual interests in medieval and/or late Antique literature and culture with reading fluency in at least two European languages. Applicants should have received a first or high upper-second class honours degree and a master’s either achieved or completed by the time of taking up the doctoral study, both in a relevant discipline. Applicants must satisfy the standard UKRI eligibility criteria.

Stipend

For the academic year 2020-21 the student stipend will be £16,885, consisting of £15,285 basic stipend, a maintenance payment of £600 and an additional allowance of £1,000. The British Library will also provide a research allowance to the student for agreed research-related costs of up to £1,000 a year.

Duration

The studentship is fully funded for 3 years and 9 months full-time or part-time equivalent, with the potential to be extended by a further 3 months to provide additional professional development opportunities.

For full details and how to apply, please visit https://www.dur.ac.uk/english.studies/postgrad/support/

The deadline for applications, including references, is 5pm on 29 May 2020.

 

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27 February 2020

Clever cats and other swashbuckling tales

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We have recently published a new selection of manuscripts online. They contain a variety of swashbuckling tales, mischievous furry creatures, and ever more glorious images. Which is your favourite?

 

Petit Jean de Saintré and Floridan and Elvide (Cotton MS Nero D IX)

This book contains two little-known romances. The first, by Antoine de La Sale, tells the adventures of the hero, Jean, at the court of King John of France. His lady, the Dame des Belles Cousines, teaches him how to become the perfect knight. Following this is the tragic story of Floridan et Elvide, a French prose romance about a young couple who elope in order to avoid an arranged marriage. They are waylaid at an inn by a group of rascals, who first murder Floridan, then attack Elvide, who is forced to take her own life to avoid dishonour. A not so happy ending.

A knight kneeling at court, while a group of ladies look on

A knight kneeling at court, from Petit Jean de Saintré: Cotton MS Nero D IX, f. 2r

A miniature showing Floridan being attacked while Elvide watches

Floridan is attacked while Elvide watches, from Floridan and Elvide: Cotton MS Nero D IX, f. 109r

 

Le Roman de Renart (Add MS 15229)

We recently blogged about this collection of tales of one of the world’s most famous tricksters. Tibert the cat is the only one of the animals who is the match of the cunning fox, Renard, and manages to avoid falling victim to his wicked schemes.

enard and Tibert the cat, seated, looking at the moon

Renard and Tibert the cat, seated, looking at the moon: Add MS 15229, f.  53r

 

Dante Alighieri, Divina Commedia (Add MS 19587)

This manuscript, with coloured drawings showing Dante on his remarkable journey, was copied in Naples around 1370. It has the coats of arms of the Rinaldeschi family and the Monforte family, Counts of Biseglia (Naples), with on the final page are found entries of births and deaths in the family between 1449 and 1483.

Dante and Virgil are in a barren wood, with the harpies perched on top of thorny trees, representing the souls of suicides; hounds tear the bodies of the profligates; Virgil breaks off a twig and the wounded tree drips blood

Dante and Virgil are in a barren wood, with the harpies perched on top of thorny trees, representing the souls of suicides; hounds tear the bodies of the profligates; Virgil breaks off a twig and the wounded tree drips blood, from Inferno, Canto 13: Add MS 19587, f.  21r

 

The Pilgrimage of the Soul (Egerton MS 615)

This allegory of life as a pilgrimage was translated from the French work by Guillaume de Deguileville. As in the well-known Pilgrim’s Progress, the protagonist, assisted by his guardian angel, undergoes various trials and overcomes temptation on a long journey that ends in Paradise. This manuscript was copied and illustrated somewhere in eastern England.

The pilgrim and his guardian angel, unbaptized souls in a band of darkness, devils torturing a soul and a mock court scene with Satan and a devil

The pilgrim and his guardian angel, unbaptized souls in a band of darkness, devils torturing a soul and a mock court scene with Satan and a devil: Egerton MS 615, f. 46v

 

The Mirror of Human Salvation, made for a royal owner (Harley MS 2838)

The Mirror of Human Salvation draws parallels between episodes and prophesies in the Old and New Testaments, historical and natural events, and saints' Lives. This copy was made for King Henry VII (1485–1509), founder of the Tudor dynasty. The royal arms of England with the motto 'Honi soit qui mal y pense' are found on the first folio.

The Virgin Mary, holding the instruments of the Passion, banishes the devil; Judith holds the head of Holoferne

The Virgin Mary, holding the instruments of the Passion, banishes the devil; Judith holds the head of Holofernes: Harley MS 2838, f. 32v

 

Aldobrandino of Siena, Le Régime du corps; Gautier of Metz, L'Image du monde (Sloane MS 2435)

This 13th-century volume contains Aldobrandino’s handbook on health, composed for Beatrice of Savoie (1220–1266). Its contents are based mainly on Latin translations of Arabic medical texts. It is followed by a poem by Gautier of Metz about the Earth and the universe. The first text includes a section on sleep as part of a healthy lifestyle, with an illustration of a situation that is all-too-familiar. 

Above, a person is sleeping peacefully; below, two people absorbed in a game that is keeping them awake

Illustration of a treatise on sleeping and waking; above, a person is sleeping peacefully; below, two people absorbed in a game that is keeping them awake: Sloane MS 2435, f. 7r

 

The Romance of the Three Kings’ Sons (Harley MS 326)

This Middle English romance concerns three young princes, Philip of France, Humphrey of England, and David of Scotland, who set off to battle the Turks. The illustrations in this manuscript are unique, as it is a rare surviving illustrated copy of the story.

The coronation of the Emperor

The coronation of the Emperor: Harley MS 326, f. 98v

 

Fribois, Abrege de Croniques de France (Add MS 13961)

This 15th-century manuscript contains an abbreviated chronicle of France, from the destruction of Troy to the death of Louis de Mâle, Count of Flanders, in 1383. It was composed in 1459 by Noel de Fribois, counsellor to King Charles VII of France, and was written and painted for Etienne Chevalier, secretary to the king.

The decorated opening page of the chronicle

The decorated opening page of the chronicle: Add MS 13961, f. 2r

 

You can explore all these manuscripts in full on our Digitised Manuscripts site, alongside other gems from the British Library's collections.

 

Chantry Westwell

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13 February 2020

In Praise of the Psalms

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When we were cataloguing a Psalter manuscript as part of the Polonsky Foundation England and France digitisation project, we identified a previously unrecognised copy of the text known as De laude psalmorum ('In praise of the Psalms'). This short Latin treatise explains why saying the Psalms was considered spiritually beneficial, and which Psalms were good for which purposes. It opens a window onto how medieval people understood one of the most important liturgical and devotional books of the Middle Ages, the Psalter.

A damaged miniature of the Lapidation of St Stephen
A damaged miniature of the Lapidation of St Stephen: Harley MS 2928, f. 13v

Harley MS 2928 was made in 12th-century Aquitaine (now in southern France). The main part of this book is a copy of the book of Psalms, with four now quite damaged miniatures, an exposition of Christian hymns, and a copy of part of the Gospel of John in the Old Occitan language. As was typical for Psalters in this period, a number of prayers and texts related to prayers have been included in the manuscript, including De laude psalmorum on ff. 192v-194r.

This text, which some scholars believe to be the work of Alcuin of York, was extremely popular in medieval Europe. The scholar Jonathan Black has identified 193 copies of De laude psalmorum, or of parts of it, from all over Europe and dating from the 9th to the 16th centuries, including five at the British Library (Add MS 37768, Royal MS 5 E IX, Add MS 36929, Cotton MS Tiberius C VI, and Royal MS 2 A XXII) (Jonathan Black, Mediaeval Studies (2002)). As this work was not an official part of church liturgy, but instead something to be undertaken because the reader him- or herself personally wanted to pray and praise God, its readers and copyists must have believed it to be particularly useful.

A damaged miniature of a three saints including an archbishop
A damaged miniature of a three saints including an archbishop: Harley MS 2928, f. 18r

In its full version, which is found in Harley MS 2928, De laude psalmorum offers eight reasons why the reader might wish to say the Psalms, and a selection of Psalms which are good for those purposes. For example, if you are afflicted by trouble and spiritual temptation, you are told to sing Psalms 21, 63 and 68 . Other reasons for singing the Psalms include the desire to praise God, the confession of sins, and the feeling of having been abandoned by God. Throughout the text, a great deal of importance is placed on the reader's inner state of mind, and his or her own wish to pray: each of the eight sections begins with the words 'si vis' ('if you wish') or similar, and the reader is told to sing the Psalms 'intima mente' ('in your innermost mind') or 'compuncto corde' ('with a goaded heart').

Harley MS 2928 is not an especially high-status manuscript. Folio 193 is a little misshapen, and there is a hole in it, through which – completely coincidentally – we can see the word 'gratiam' ('grace').

A hole in the parchment, through which the word 'gratiam' ('grace') is visible
A hole in the parchment, through which the word 'gratiam' ('grace') is visible: Harley MS 2928, f. 193r

But Harley MS 2928 is not the only manuscript digitised for the Polonsky Foundation England and France project which contains part of De laude psalmorum. Cotton MS Titus D XXVI, half of an 11th-century manuscript known as Ælfwine's Prayerbook, includes a brief list, written in Old English, of devotions to perform first thing in the morning, including singing Psalm 66 (see Kate Thomas, Notes & Queries (2012)). The author of this text comments:

'Ne mæg ænig mann on his agen geþeode þa geswinc 7 þara costnunga nearonessa, þe him onbecumað, Gode swa fulfremedlice areccan, ne his mildheortnesse biddan, swa he mæg mid þillicum sealmum 7 mid oþrum swilcum'

('No man can tell God so effectively, in his own language, of the hardship and oppression of the temptations which come to him, nor ask his mercy, as he can with these psalms and with other such').

This is closely adapted from the advice given in De laude psalmorum:

‘nullatenus potest tua propria lingua nec humano sensu tam perfecte miseriam tuam ac atribulacione angustiamque diversarum tribulacione explicare et illius misericordiam implorare quam in his psalmis et ceteris his similibus’

('You cannot in any way, in your own language, nor in human thought, so perfectly explain your suffering, and the trouble and constriction of various temptations, and ask his mercy as in these psalms and in others similar to them').

Medieval manuscript with text of devotions to perform first thing in the morning
Text of devotions to perform first thing in the morning: Cotton MS Titus D XXVI f. 2v

This quotation, short though it is, shows how a popular text could be copied by scribes in different places, and in different languages, across the centuries. One of the exciting things about the Polonsky Foundation England and France 700-1200 project has been the discovery of new copies of texts and of the common interests which bring manuscripts from England and France together.

Kate Thomas 

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09 February 2020

Middle English manuscripts galore

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What do The Vision of Piers Plowman, The Canterbury Tales and The Master of Game have in common?

They are all found in British Library manuscripts which have recently been digitised and are now available to view online. Thanks to a generous grant by The American Trust for the British Library, forty-one of our priceless Middle English manuscripts have been conserved, digitised and catalogued and uploaded to our Digitised Manuscripts site. You can download the full list of Middle English manuscripts (in the form of an Excel spreadsheet). The full list is also found below.

So which manuscripts can you explore from the comfort of your office/living room/bed [delete as appropriate], thanks to the wonders of modern technology? If the Chester Cycle of plays is your thing, copied by the scribe George Bellin in 1600, why not look up Harley MS 2013? If you're a fan of the poetry of John Lydgate (who isn't?), you have lots of new manuscripts to choose from, including Harley MS 116, Harley MS 629 and Harley MS 1245. It was a difficult task to select which manuscripts to digitise (we estimate that we hold at least 600 volumes containing Middle English, the largest such collection in the world), but we were able to include The Seege of Troy (Harley MS 525), the poems of Charles of Orléans (Harley MS 682) and the South English Legendary (Harley MS 2277). Which are your favourites? A Myrour to Lewde Men and Wymmen, anyone (Harley MS 45)?

A page of Lydgate's Life of Our Lady, with a decorated border

The opening page of John Lydgate's Life of Our Lady, beginning 'This booke was compilid by Iohn lidgate monke of Bury at the excitacion and steryng of oure worshipful Prince kyng herry the fifthe, in the honour glorie and worshippe of the birthe of the most glorious maide wife and moder of oure lord ihesu criste chapitrid and markyd after this table': Harley MS 629, f. 2r

 

The opening page of A Mirror to Lewd Men and Women

This copy of A Myrour to Lewde Men and Wymmen was owned by Margaret Bent in the 15th century: Harley MS 45, f. 1r

 

The opening page of the Chester Cycle

The opening page of the Chester Cycle: Harley MS 2013, f. 4r

 

The Seege of Troye, with Robert Cotton's signature in the upper margin

This manuscript of The Seege of Troye once belonged to the famous collector Sir Robert Cotton: Harley MS 525, f. 1r

 

Drawings of four types of fish

Drawings of four types of fish (a trout, a pike, a minnow, a porpoise) on a formerly blank page of The Vision of Piers Plowman: Harley MS 6041, f. 96v

 

Once again, we are extremely grateful to The American Trust for the British Library for providing the funding that supported this project. We feel a little like Chaucer's pilgrims: there is a long journey ahead of us, but plenty to keep us occupied along the way.

Shelfmark Title Digitised Manuscripts URL
Harley MS 0024 Prose Brut http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Harley_MS_24  
Harley MS 0045 A Myrour to Lewde Men and Wymmen http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_45
Harley MS 0116 An English miscellany including Thomas Hoccleve, The Regiment of Princes; The Short Charter of Christ; Benedict Burgh, Parvus Cato and Cato Major; anonymous Middle English poems and poems by John Lydgate; Gottfried von Franken, Godfridus Super Palladium (Middle English translation); Nicholas Bollard, The Book of Planting and Grafting http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_116
Harley MS 0172 A devotional miscellany of Middle English prose and verse http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_172
Harley MS 0271 The true processe of Englysh polecie; Benedict Burgh, Parvus Cato, Cato Maior http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_271
Harley MS 0525 The Seege of Troy; Robert of Cisyle; Speculum Gy de Warewyke http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_525
Harley MS 0565 Chronicle of London; an English poem on the expedition of Henry V into France; John Lydgate, King Henry VI's Triumphal Entry into London http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_565
Harley MS 0614 Bartholomaeus Anglicus, De Proprietatibus Rerum, in the English translation by John Trevisa http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_614 
Harley MS 0629 John Lydgate, Life of Our Lady http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_629
Harley MS 0661 John Hardying, Chronicle in verse (second version) http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Harley_MS_661 
Harley MS 0682 Charles of Orléans, Collected poems http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_682
Harley MS 0875 William Langland, Vision of Piers Plowman http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_875
Harley MS 0913 The Kildare Lyrics http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_913
Harley MS 1239 Geoffrey Chaucer, Troilus and Criseyde; a selection from The Canterbury Tales http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1239
Harley MS 1245 John Lydgate, The Fall of Princes; Defence of Holy Church http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1245
Harley MS 1304 John Lydgate, Life of Our Lady http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1304
Harley MS 1568 The Prose Brut Chronicle http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1568
Harley MS 1671  The Weye of Paradys (unfinished) http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1671
Harley MS 1701 Robert Mannyng, Handlyng Synne; Meditations on the Supper of Our Lord and the Hours of the Passion; King Robert of Sicily; a mass against the plague http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1701
Harley MS 2013 The Chester Cycle http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Harley_MS_2013
Harley MS 2250 Miscellany of Middle English poems on the life of Christ; John Watton, Speculum Christiani; Pseudo-Bonventura, Dieta Salutis (excerpts); catechetical teachings; saints' lives; John Mirk, Festial (extracts); Middle English tracts on the reckoning of time; anonymous theological tract on the Ten Commandments, vices and virtues; Robert of Winchelsey, Constitutio de Juramento ac Obedientia http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2250
Harley MS 2255 A collection of poems by John Lydgate http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2255
Harley MS 2277 South English Legendary http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Harley_MS_2277 
Harley MS 2280 Geoffrey Chaucer, Troilus and Criseyde http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2280
Harley MS 2338 The Meditations of the Supper of Our Lord (abridged version); a Merlin prophecy (imperfect) http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2338
Harley MS 2376 William Langland, Piers Plowman http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2376
Harley MS 2382 Middle English verse collection including Lydgate's Life of Our Lady and Chaucer's Prioress' Tale and Second Nun's Tale http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2382
Harley MS 2392 Geoffrey Chaucer, Troilus and Criseyde http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_2392
Harley MS 372 John Lydgate, The Life of St Edmund and St Fremund; Advice to an old gentleman who wished for a young wife; John Lydgate, The Kings of England; John Lydgate, Complaint þat Crist maketh of his Passioun; Geoffrey Chaucer, Anelida and Arcite; Sir Richard Roos, La Belle Dame sans Mercy; John Lydgate, Prayer on the Five Joys of the Virgin Mary; Thomas Hoccleve, Regiment of Princes; anonymous prayers and poems http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_372
Harley MS 3862 John Lydgate, Life of Our Lady http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_3862
Harley MS 3943 Geoffrey Chaucer, Troilus and Criseyde http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_3943
Harley MS 4011 An English miscellany including poems by John Lydgate; Craft of Dying; Duodecim Gradus Humilitatis; Counsels of Isidore; The Libel of English Policy; Osbern Bokenham, Mappula Anglie; John Skelton, Of the Death of the Noble Prince, Kynge Edwarde the Forth; John Russell, Book of Nurture http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_4011
Harley MS 4203 John Lydgate, The Fall of Princes http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_4203
Harley MS 4260 John Lydgate, Life of Our Lady http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_4260
Harley MS 4789 Bartholomaeus Anglicus, De Proprietatibus Rerum, in the English translation by John Trevisa http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Harley_MS_4789  
Harley MS 4912 Geoffrey Chaucer, Troilus and Criseyde http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_4912
Harley MS 5086 Edward of Norwich, The Master of Game; The Babees’s Book; The ABC of Aristotle; Dietary for King Henry V; Treatise on equine medicine http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_5086
Harley MS 5272 John Lydgate, Life of Our Lady; The Life of St Dorothy; The Abbey of the Holy Ghost http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_5272
Harley MS 6041 William Langland, Vision of Piers Plowman http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_6041
Harley MS 7333 Geoffrey Chaucer, The Canterbury Tales, and other Middle English poetic works by Benedict Burgh, John Lydgate, Richard Sellyng, Charles d'Orléans, John Gower and Thomas Hoccleve http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Harley_MS_7333 
Harley MS 7335 Geoffrey Chaucer, The Canterbury Tales http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_7335

 

Julian Harrison

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