Professor of Medieval German Literature and Linguistics at the Faculty of Medieval and Modern Languages, Fellow at St Edmund Hall, and Co-Director of Oxford Medieval Studies.
Dusty reading rooms are hardly the place where you’d expect to find cutting-edge technology — but AI researchers and libraries have formed an unlikely symbiosis in the field of Computer Vision, a technology that transforms images into geometrical data. You’ve probably come across this branch of AI in your daily life – e. g. when parking your car with park assist, or identifying a plant via an app, or trying to track down a pair of shoes with google lens. But Computer Vision is also a real gamechanger when it comes to unveiling the History of Books. Humans mostly open books because they want to read the text that’s inside. The absence of this intent in the computational gaze allows for a different focus: Each page becomes first and foremost an image, a surface consisting of shapes and lines that can be measured and compared. Even before the digital age, bibliographers were already looking for ways to see differences between seemingly identical pages: The McLeod Portable Collator for example is a wonderfully eccentric, mechanical device that overlaid two printed pages optically. (More information on library machines can be found on the Bodleian blog)
Today, those ingenious optical tools have digital descendants: Software such as ImageCompare, developed by Oxford’s Visual Geometry Group, can compare scans of bookpages and automatically highlight even the tiniest shifts in type, punctuation, or ink. What once required hours of eye-straining concentration can now be done in seconds. Funfact: The beloved “before- after” slide feature on Instagram is only one of several options ImageCompare offers to make it easier to “spot the difference”- for example in these title pages of reformation pamphlets from 1530:
Nevertheless, these tools are not magical “brains in a box” that spit out research results, as Dr Giles Bergel, Digital Humanities Researcher in the Visual Geometry Group Oxford, puts it. They just act as magnifiers that help spotting similarities and differences in material. It’s up to humans to interpret the data: Woodcuts, for example, were often reused across countless editions of books or manuscripts at different times and places. Paradoxically, the newer looking print can sometimes be the older one. Scotland Chapbooks (https://data.nls.uk/data/digitised-collections/chapbooks-printed-in-scotland/) is capable of searching a large dataset for illustrations and visually group them together, allowing researchers to trace how a single woodcut might have changed over time — a crack deepening, a border wearing thin, holes left by a bookworm.
Research Examples
Giovanna Truong, a former History of the Book student, used ImageCompare to identify identical illustrations in two different Yiddish Haggadot-uncovering a link between the two printers of the books based in Venice and Prague.
Blair Hedges, evolutionary biologist at Pennsylvania State University, studied the different patterns of wormholes which appear as white dots on prints and was able to attribute them to two different species of beetles. The holes in the woodcuts revealed how they were spread in Europe at the time, coincidentally strikingly in accordance to the distribution of Catholics and Protestants in Europe…
These examples show how the use of AI reveals formerly invisible patterns that can serve as clues to a book’s life and travels. And it might help to shift the image of dusty librarians and archivist trailing behind their time – as it is actually quite the reverse.
Friday, 28 November, 5-6.30pm Room 2 of the Taylor Institution Library
The launch featured a dramatised reading of the text and a display of the Taylorian holdings of German Peasants’ War pamphlets by a group of readers from across the University. The new edition comprises a historical and bibliographic introduction as well as the edition, translation, and facsimile. Open access volume here and a recording.
Introduction by Henrike Lähnemann and Lyndal Roper. Reader in the order of speaking: Henrike Lähnemann, Ryan Hampton, Rahel Micklich, Lyndal Roper, Eddie Handley, Marina Giraudeau, Ararat Ameen, Monty Powell, Georgia Macfarlane, Hannah Free, Victoria Speth, Emma Huber, Tamara Klarić, Timothy Powell
Practice recording of Martin Luther’s pamphlet ‘Against the Bands of Peasants’ by Henrike Lähnemann
1525 was a dramatic year in German politics. The Peasants’ War swept through South and East Germany and mobilised a large number of peasants in support of the movement, and an even larger number on the side of the princes and ruling classes opposing it. Martin Luther, dependent on the princes to realise his Reformation ideas, wrote one of the most vicious pamphlets of his life, attacking the ideas of the peasants, particularly their use of the term ‘freedom’. He defended his own use of the term as pertaining only to spiritual freedom and condemned insurrection in the strongest terms, calling on the princes to “slay, choke and stab” any rebel.
500 years after its first publication, this edition with a new modern English translation, extensive linguistic and historical footnotes, and a comprehensive introduction contextualises the attack, both in terms of its historic significance and its afterlife. As in the previous volumes from the Reformation Series of the Taylor Editions, the text is based on pamphlets from the Taylorian collection which are also provided as facsimiles. The volume is published open access and with additional resources such as an audiobook and ‘fold-your-own-pamphlet’ for both of the copies held in the Taylorian. In the historical introduction, Rahel Micklich discusses in turn the historical background of the Peasants’ War (1), the underlying conflict with radical reformer Thomas Müntzer (2), and the ensuing pamphlet war with the Catholic adversaries of Luther, particularly Johann Cochlaeus. Timothy Powell then looks at the reception of the pamphlet in the GDR who were clearly taking the side of the peasants and of Thomas Müntzer against Luther’s polemic. A book historical chapter follows, examining the contemporary reception of all of Luther’s 1525 pamphlets on the topic as mirrored in the pamphlets held in the Taylorian and in the Bodleian Libraries in Oxford. The introduction is rounded off by a short explanation of the language of the pamphlet, the typographical conventions, and the principles guiding the edition by Henrike Lähnemann, with a comprehensive bibliography on the pamphlet.
Have a look at the digital editions of the two Taylorian copies of Martin Luther’s pamphlet against the peasants. No. 2 also includes the new English translation.
A full list of all Reformation pamphlets in the Taylorian with photographs of their title-pages is available on Taylor Editions website, and links to all published volumes in the three series ‘Treasures of the Taylorian’ is available on the publications website.
As part of the Italian Research Seminar, Ryan Pepin will speak on ‘Dietro la memoria non può ire’: Copyists’ Slips in the Textual Tradition of the Commedia.
Time and Place: Monday, November 10th (5th week), Taylorian, Room 2, 1-2:30 PM
Abstract: The enormous textual tradition of Dante’s Commedia – over 600 complete manuscripts – is a mine of data on how scribes worked in late medieval Italy. Thanks to the efforts of palaeographers and codicologists over the last twenty years, we have learned about the difference between professional and amateur milieux (Pomaro), the development of collaborative, serial book production in Florence (De Robertis, Ceccherini), copyists’ efforts to compare and correct their texts (Tonello) – even about the ‘habits’ of individual scribes (Marchetti).
This paper studies a type of error which to which Dante’s copyists were especially prone: errors that resulted from a good memory of the poem. By studying scribal innovations that ‘echo’ other lines in the text (Petrocchi), we come as close as we can to early readers’ ear for the poem: what they attended to, how they understood the poet’s style – and even, I will suggest, how they understood the poet’s own compositional practice.
Bio: Ryan is a British Academy Postdoctoral Fellow at the University of York. He is currently studying medieval Latin rhythmical poetry that circulated in Italy during the thirteenth and early fourteenth centuries.
Saturday 15 November | 14:00-19:00 | Chapel St Edmund Hall Open to all, whether singer, scholar, or curious listener. No singing experience required. Tickets: £15 (General) | £5 (Students & Concessions) | free for SEH staff, students & Fellows Register on Eventbrite
The historical wind and vocal ensemble In Spiritu Humilitatis joins the Choir of St Edmund Hall for an immersive exploration of Renaissance Vespers. Reading directly from original choirbooks in white mensural notation, and guided by the sound of cornetts, sackbuts, and voices, participants will rediscover the expressive freedom of improvised polyphony and the luminous sonorities of early sacred music.
While traditional musical education often relies on modern editions, working from original sources opens a world of interpretative freedom. It allows musicians to make their own informed choices about phrasing, accidentals, and flow, rather than relying on an editor’s interpretation. It’s a liberating process. Reading from the sources draws you closer to the composer’s voice, encouraging a more personal, heartfelt performance.
This workshop invites you to experience that process firsthand: to step into the world of a Renaissance choir and take part in the singing of Vespers for St Edmund, Archbishop of Canterbury. Together we’ll explore the structure of the service, learn how to sing psalms in monody and improvise around plainchant, and practise reading from original notation.
Open to all, whether singer, scholar, or curious listener, this participatory event is about discovery, connection, and the joy of music-making. There are no wrong notes, only the opportunity to let your musicianship lead the way.
Here’s how the afternoon will go:
2:00 pm – Welcome and introduction to the structure of Vespers 2:30–3:30 pm – Working on the psalms Break After the break – Exploring polyphonic pieces in white mensural notation 5:10 pm – Short break 5:30 pm – Performance of Vespers for St Edmund
It was an exciting time being one of this years MML History of the Book students as we met up for the second time this term to have a three hour introduction to medieval Latin Palaeography. Dr Laure Miolo and Dr Alison Ray set up a programme that not only gave a well-rounded overview (even though we know that we barely scratched the surface of what there is to uncover) over everything related to palaeography, but also allowed students to examine exactly what they had just learned on the actual books.
So why would I want to study old books and their handwriting, you might ask? This question seems a little unlikely regarding the fact that you seem to have found this blog and have started to read this very entry – but surely you live a busy life and might think to yourself: “This all seems interesting, but do I really need to concern myself with this?” So here are three of the many reasons, why Palaeography is absolutely worth your precious time:
First of all, there is a lot to do! You can find a wide range of different handwriting starting with the earlier handwritings like the Capital script and the Roman cursive script and ending with the Humanistic script in the 16th century. (Medieval) Latin palaeography presents the opportunity to uncover over a thousand years of written history. So let’s start the journey with an overview over about 700 years in under two minutes, presented by Dr Alison Ray
And let me assure you, there is a lot more to unpack here. How about a roll from the early 16th century (MS. e. Museo 245) for example, that is not only impressive due to its size but also is said to have magical powers. Or how about a so-called bat book (MS. Ashmole 6), that was probably owned by a physician and that could be attached to the belt. Why is it called a bat book? Have a look
But the journey doesn’t end here as Palaeography entails much more than just the different kinds of books and handwritings. Have you ever gotten tired of looking at letters and words all day long? Well, how about looking at pictures instead, because with Palaeography you can call this research now. And unsurprisingly there is a lot of fun to have with this. How about for example the Aspremont Psalter (MS. Douce 118), where you can find a miniature of one of the illuminators, thus: a medieval selfie (see the header image of the disabled scribe with a Jew’s hat who holds the scroll ‘Nicolaus me fecit qui illuminat librum’ on fol. 142r; it is very small indeed, but the word miniature actually comes from the word minium, which refers to the type of colour that was used to outline the different pictures by the illuminator). Or in case you have ever asked yourself what your urin should and shouldn’t look like, you may (or rather may not) refer to the urin wheel depicted in an Astronomical Calendar from the 14th century (MS. Ashmole 789)
Last but most certainly not least you will not only uncover history on a great scale and be able to look at pretty and fun miniatures, but you will also get to look behind the book and uncover its sometimes very individual story. For example if you shine light on the Liber mortis et vitae (MS. Rawl. D. 403) from the late 15th/ early 16th century with a flashlight, you will find a unicorn shining through the pages. Even though this is great just for any reason, the unicorn here actually serves a function: it is a medieval watermark. So, if you ever wondered why some books have holes in their bindings (see for example MS. Bodl. 192), who the poodlemaster was or how books could be protected during travel (see for example MS. Rawl. D. 403), Palaeography will be the answer to all of your questions
To sum up, a huge thank you to Dr. Laure Miolo and Dr Alison Ray for this wonderful introduction to Palaeography and for giving us so many reasons to study this inspiring subject!
A quick update in the middle of the summer break with a few notices which cannot wait for the start of term.
A very warm welcome to Elizabeth Crabtree, our new Social Media Officer. Read a short blogpost about her interests, and contact her for any news you would like to see spread via the numerous social media channels which OMS operates.
Apply by 12 September to take part in one of the numerous language classes offered by the Oxford Centre for Hebrew and Jewish Studies this Michaelmas for rare Jewish languages (OSRJL).
Attend on 12 September a conference in honour of Peggy Brown (in-person at UPenn or via Zoom). The event will also mark the official launch of the Elizabeth A. R. Brown Medieval Historians’ archive, a new initiative at Penn Libraries to collect the professional papers of scholars of the Middle Ages and of associated professional organizations.
The Latin Hymn as Scriptural Exegesis – from Late Antiquity to the Middle Ages. 25–26 September 2025, Ioannou Centre for Classical & Byzantine Studies, 66 St Giles’, Oxford, OX1 3LU. Registration is free but compulsory. The Latin hymnic tradition is one that spans over a millennium from Late Antiquity through the Middle Ages to the Reformation (and beyond). In that period, there are aspects of it that have remained in many ways stable and enduring, but individual and local contexts and usages at various junctures in its long-lived history have required it to change and to adapt. The corpus also represents a group of texts that would, in many cases, have been very well known beyond the narrow confines of the intellectual and social elite who operated at the highest levels of Latinity and – even if largely penned by incredibly adept Latinists – had a much wider reach than many other Latin texts because of the performed nature of hymns. The relationship of hymns to other exegetical traditions and to the liturgical and para-liturgical contexts in which they were used is also noteworthy.
Call for Papers for Ars Inquirendi, a multi-day joint conference to be held on 4-7 December 2025 (online, with in-person workshops in Stockholm and Oxford), invites demonstrations of all aspects of the nascent art of using LMMs to query the pre-modern – by which we mean, broadly, any Old World cultures before their domination by movable-type print – from pre-modernists already using LMMs, and computer scientists building them, to philosophers and historians of knowledge. Submissions deadline of 30th September. https://medieval.ox.ac.uk/ars-inquirendi-querying-cfp/
Presenting the Guild of Medievalist Makers, co-founded by Eleanor Baker, Kristen Haas Curtis, and Laura Varnam. The Guild was the recipient of an Oxford Medieval Studies Small Grant in Trinity Term 2025 to support the launch of their website and to assist with publicity materials for their first two conference appearances this summer. In this blogpost, Oxford co-founders Eleanor Baker and Laura Varnam introduce the Guild and its activities.
Researcher position: ‘A Quiet Revolution’: Exploring West Horsley Place’s Pre-Modern Landscape. The West Horsley Place Trust has recently received a National Lottery Heritage Fund award for a project titled ‘A Quiet Revolution’, for which they are partnering with the University of Oxford to understand more about the site and its history. We are looking for a skilled and motivated researcher to conduct 239 hours (approximately 30 days) of research on the pre-modern landscape of West Horsley and its historical communities. The role combines desk-based and on-site archival research to produce high-quality outputs in support of a collaborative heritage project. If you are a late stage doctoral or postdoctoral researcher with expertise in medieval and/or early modern landscape history and an interest in working with or in the heritage sector, we’d love to hear from you. More details on how to apply. Deadline: Friday 19th September 2025. Prospective applicants are welcome to direct informal enquiries about the opportunity to Dr Rachel Delman, Heritage Partnerships Coordinator in the Humanities Division (Rachel.delman@humanities.ox.ac.uk)
Call for Leeds panel on Writing the Past and Shaping the Future in Thirteenth-Century Norway. In this session we invite papers which address any aspect of the political, legal, cultural, and literary life of the Norwegian court in the thirteenth century. We particularly welcome inter-disciplinary approaches which highlight the intersection of historical and literary trends shaping the political and milieu of the thirteenth century Norwegian court. Please submit an abstract of no more than 250 words by Friday 19 September and a brief biography to both Jonas Zeit-Altpeter and Mary Catherine O’Connor.
I hope you have a good summer and remember that it is never too early to send seminar or event announcements to Tristan Alphey under the Oxford Medieval Studies email!
Colin Matthew Room, Radcliffe Humanities, Radcliffe Observatory Quarter Woodstock Road, Oxford, OX2 6GG Register via Eventbrite.
Registration is required only for those who would like lunch. In order to prevent food waste, PLEASE cancel your registration at least 72 hours in advance if you are unable to attend.
A roundtable with Ling Zhang (Asian and Middle Eastern Studies, University of Cambridge); John Sabapathy (History, University College London); and Amanda Power (History, University of Oxford)
Scripture suggests that the Christian apocalypse will only happen once. OMS, however, has so far seen two in Hilary Term, both in preparation for the Medieval Mystery Plays 2025 on 26 April 2026 (programme here, and more below), with one now available to stream in perpetuity for HistoryHit’s new documentary The Medieval Apocalypse, presented by Dr Eleanor Janega.
A shorter version of the performance for HistoryHit, composed from the outtakes (thanks to Laura McMillen who sent over the edited clip!)
Hopefully the post below can shed some light onto the process of mounting a medieval performance-text, and offer some insight into the dramaturgs hard at work for their performances on the 26th April. We hope if you watch both your appetites for the Plays might be whetted—especially for those hankering for the Judgement-narrative, of which another staging is forthcoming by the MSt English 650–1550 cohort on the 26th!
Choosing the text
Though Middle English versions of the Last Judgement exist across the gamut of post-Conquest literature (in poetry and prose as well as drama), Henrike Lähnemann chose an excerpt from so-called ‘Towneley’ collection of mystery plays as our performance text since a) there was already a text available from the preparation for the 2019 cycle, b) (more importantly) it starts with the reference to a horn!
our company (Professor Henrike Lähnemann, Dr Andrew Dunning, Timothy Powell, Michael Angerer, Shaw Worth, Monty Powell, and the Revd Andreas Wenzel)
Like most religious medieval English drama, we ultimately know very little about the provenance and assembly of the texts that come together in their unique sixteenth-century witness (San Marino, California, Huntington Library, MS HM 1). Unlike the York and Chester cycles, it’s not clear when, or by whom the plays were commissioned; as I’ll discuss below, they show marks of major internal revision, suggesting their transmission over an extended period. That would fit with our idea of English dramatic cycles taking place around the Feast of Corpus Christi in the summer: on one day, different guilds re-staged episodes from the Bible from Genesis through to Revelation, at least some of the time on mobile wagons in civic centres between which spectators could move.
The cycle takes its name from the prominent Lancashire family in whose library the manuscript containing the plays was held until the nineteenth century; the dialect of the plays themselves, however, suggests a West Yorkshire origin, and has long been associated with Wakefield in the West Riding, though debate around that attribution rages on. The Last Judgement is a particular gem from the Towneley plays insofar as it bears the distinctive nine-line stanza used by one (hypothetically reconstructed) contributor to the cycle usually called the ‘Wakefield Master’, whose naturalism and comedy elevates what are otherwise completely pedestrian reiterations of doctrinal tropes into rich dramas. (For an accessible introduction to the Master’s verbal tricks, check out the London Review of Books’ Medieval LOLs podcast episode on the Second Shepherds’ Play, hosted by Drs Mary Wellesley and Irina Dumitrescu — link here! – and watch the play in the 2019 performance).
The story as we cut it is very simple—and I’ll avoid ‘spoilers’ to keep you entertained—but the play sees two souls, Bonus and Malus (Monty Powell and Michael Angerer), called to attest to their earthly deeds before Christ seated in majesty and accompanied by three (non-speaking, but singing) helper-angels (Henrike Lähnemann, Andrew Dunning, Tim Powell), and Jesus’ (me) replies to them both. By Malus he is less than impressed…
Putting the play together
Then came the issue of how to stage it. To call any contemporary performance of Middle English (religious) plays ‘historical reconstructions’ is hard to justify, though the situation varies from text to text. Almost no information regarding the staging of the four major cycles survives (beyond some rather opaque, and certainly guild-manipulated registers from York), to say nothing of the fact that the (Tudor!) witnesses to Middle English cycle drama postdate their first performances in most cases by almost two centuries. The Towneley manuscript more likely emerges from sixteenth-century antiquarianism, in other words, rather than from active use. As a substitute, with Henrike’s help and direction, we used stage directions from fifteenth-century German dramatic records, like those surrounding the Bordesholm Marienklage, which leaves rich prefatory details in Latin of players, costumes, and props down to individual textile-types. As Christ I wore a paper crown and (real) liturgical vestments, provided by Andreas Wenzel from the St Edmund Hall chapel (including the right preparatory prayers); stigmata were ably provided by Alison Ray of the Bodleian, whose Burt’s Bees tinted lip balm (sponsorship pending) lent a rather septic sheen to Christ’s woundys, smeared on Boots own-brand cotton gloves. Malus and Bonus wore academic gowns over black; the angels wore surplices and wings from the St Edmund Hall costume store, along with—long-term OMS fans can be reassured—Henrike’s bannered horn invoked by Malus in the opening lines.
Filming and reperformance
Filming for the HistoryHit documentary took place in January. Following a quick review of the text and a rundown on mid-Yorkshire vowels circa 1450, we set up to film in the extraordinary Romanesque crypt (under the medieval church of St Peter-in-the-East, now in use as the college library; the crypt itself has been largely unaltered since the twelfth century). There we met Eleanor, the HistoryHit camera team, and the English Faculty’s own Professor Laure Ashe, who also features in the documentary as an interviewed expert. Laura, Eleanor, and Alison provided our ‘audience’, providing boos, cheers, and some less-than-pious (and probably more historically accurate) snickers; with some B-roll taken by the team, and coffee enjoyed afterwards, the documentarians vanished away to some of their other treats (if these delights weren’t enough, also see Alison introducing the Douce Apocalypse in the film as well!)
In Eighth Week we then reperformed the same extract in the Visiting Scholars’ Centre in the Weston for full term’s final Medieval Coffee Morning as a kind of live ‘ad’ for the Mystery Plays.
Performing in the library allowed us the particular treat of presenting one of the Bodleian’s lesser-appreciated treasures, namely the roll containing the pseudo-dramatic Middle English fragment known as the Dux Moraud (Bodleian Library, MS. Eng. poet. f. 2). If it is indeed an ‘actor’s roll’, as some critics have been eager to suggest, then this rather slender piece of parchment is a vanishingly rare gateway into the performance culture that flourished in East Anglia in the mid-late fifteenth century, including plays like Wisdom, The Castle of Perseverance, the Digby Mary Magdalene, and the N-Town cycle. Like other extant Anglian plays extant, the Moraud is distinctively racier than other regions of Middle English cycle drama; we won’t tell if you look it up.
Despite the fact that they feature the same actors using the same text, these two versions of the Towneley Judgementdemonstrate very neatly the huge potential value of experimental reperformance—of music, mime, liturgy, and dance as well as drama—as a means of engaging with medieval media at large. The HistoryHit documentary brings up interesting questions: with the intervention of the camera, the viewer is no longer free to observe different aspects of the performance going on at once; modern English subtitles ‘remediate’ the frequently alliterative Middle English text, dropping another kind of information into the mix; narration, rather like the long German prefaces mentioned above, will set audiences looking to correlate what they’ve previously heard with what they’re seeing. The Weston performance, on the other hand, makes fewer modernization attempts, but prompted a fair few audience questions on what had actually been said!
All that’s to say that reasons are very few that medievalists shouldn’t find themselves at Teddy Hall on the 26th to watch the Mystery Plays. The day will bring together a huge range of religious drama and promises to alchemize some cross-discipline work as always.
Cast
Jesus (Shaw Worth) – MSt. Medieval Studies Malus/Evil Soul (Michael Angerer) – DPhil. candidate in Medieval English Bonus/Good Soul (Monty Powell) – MSt. Modern Languages Singing Angel (Andrew Dunning) – Curator of Medieval Manuscripts Trumpet angle (Henrike Lähnemann) – Professor of Medieval German Literature and Linguistics
Malus: Alas I harde that horne / that callys vs to the dome, 3 All that euer were borne / thider behofys theym com. 4 May nathere lande ne se / vs from this dome hide, 5 ffor ferde fayn wold, I fle / bot I must nedys abide; […] 6 Alas, that I was borne! 11 I se now me beforne, 12 That lord with Woundys fyfe; 13 how may I on hym loke, 14 That falsly hym forsoke, 15 When I led synfull lyfe? 16
Jesus: The day is commen of catyfnes, 394 all those to care that ar vncleyn, 395 The day of batell and bitternes, 396 ffull long abiden has it beyn; 397 The day of drede to more and les, 398 of Ioy, of tremlyng, and of teyn. 399 Ilka wight that wikyd is 400 may say, alas this day is seyn! 401 here may ye se my Woundys wide 402 that I suffred for youre mysdede, 403 Thrugh harte, hede, fote, hande and syde, 404 not for my gilte bot for youre nede. […] 405 All this suffred I for thi sake. 432 say, man, What suffred, thou for me? 433 Mi blissid barnes on my right hande, 434 youre dome this day thar ye not drede, […] 435 When I was hungre ye me fed, 442 To slek my thrist ye war full fre; 443 When I was clothles ye me cled, 444 ye Wold, no sorowe on me se; […] 445 Therfor in heuen shall be youre rest, 456 In ioy and blys to beld, me by. 457
Bonus: lord, When had thou so mekill nede? 458 hungre or thrusty, how myght it be? 459 When was oure harte fre the to feede? 460 In prison When myght We the se? 461 When was thou seke, or wantyd wede? 462 To harbowre the when helpid we? 463 When had thou nede of oure fordede? 464 when did we all this dede to the? 465
Jesus: Mi blissid barnes, I shall you say 466 what tyme this dede was to me done; […] 467 My blessed bairns, I shall you say What time this deed was to me done; … ye cursid, catyfs of kames kyn, 474 That neuer me comforthid, in my care, 475 Now I and ye for euer shall twyn, 476 In doyll to dwell for euer mare; […] 477 Catyfs, ye chaste me from youre yate; 483 when ye were set as syres on bynke 484 I stode ther oute wery and Wate, 485 yit none of you Wold, on me thynke, 486 To haue pite on my poore astate; 487 Therfor to hell I shall you synke, […]!
Malus: 488 lorde, when had thou, that all has, 504 hunger or thriste, sen thou god is? 505 When was that thou in prison was? 506 When was thou nakyd or harberles? […] 507 Alas, for doyll this day! 512 alas, that euer I it abode! 513 Now am I dampned for ay, 514 this dome may I not avoyde. 515
Jesus: Mi chosyn childer, commes to me! 524 With me to dwell now shall ye weynde, 525 Ther ioy and blys euer shall be, 526 youre life in lykyng for to leynde! 527 Jesus turns to Malus and sends him out howling ye warid Wightys, from me ye fle, 528 In hell to dwell withoutten ende! 529 Ther shall ye noght bot sorow se, 530 And sit bi sathanas the feynde. 531
Bonus: We loue the, lorde, in alkyn thyng, 613 That for thyne awne has ordand thus, 614 That we may haue now oure dwellyng 615 In heuen blis giffen vnto vs. 616 Therfor full boldly may we syng 617 On oure way as we trus; 618 Make we all myrth and louyng 619 With te deum laudamus.
From the Editor-in-Chief: We invite contributions to The Explicatoron any work of medieval literature that is conventionally considered (or should be considered) an epic. Eligible works include Beowulf, Waltharius, the Song of Roland, the Nibelungenlied, and other works traditionally associated with them. Less prominent works, such as bridal-quest epics (e.g., König Rother, Salman und Morolf) or epics pertaining to Dietrich von Bern, are likewise eligible for the issue. Contributions on German material are particularly welcome; they need not address whether the work being studied should be considered an epic. Each contribution needs only to put forward an original interpretation of a passage (or passages) in the work under scrutiny. Papers published in The Explicator should contain fewer than 2500 words.
Papers intended for this special issue should be uploaded directly through the Submission Portal on the website of The Explicatorprior to 1 October 2025.
When? 28 March, 18:30–20:15 Where? Research Centre, Thatched Barn, Christ Church Meadow
The anonymous English Enterlude of Godly Queene Hester (c. 1529) is a fascinating play, unperformed since the 16th century. Ostensibly in praise of Esther, heroine of Jewish history, the play is actually a political satire about the demise of Cardinal Wolsey. The fall of Wolsey, who had been the monarch’s right-hand man, was a key moment in the reign of Henry VIII. Assuerus, King of Persia, stands for Henry, while Aman, the model of the evil counsellor, for Wolsey. Henry’s wife, Katherine of Aragon, is idealised in the figure of Hester, who fills a traditional role for virtuous royal women by interceding with her husband, but also boldly argues that queens should exhibit the same virtues as kings and can perfectly well govern kingdoms when their husbands are away fighting wars! She thus anticipates the strong secular heroines of Shakespearean comedy.
Originally, the play would have been performed by a boys’ company so it is appropriate that it will be staged by Edward’s Boys. This company, from King Edward VI School, Stratford-upon-Avon, has, over the last two decades, revolutionised our understanding of the early modern repertoire. Alongside the English Enterlude, they will also present a short purimshpil, a Jewish folk play. The purim plays (still a living tradition in Yiddish) tell the story of Esther in a very different mode, celebrating the rescue of the Jewish people by their heroine in farcical style. The production is part of the WOMARD project, which explores connections between Jewish, Christian and Islamic Theatre and is sponsored by the SNSF.
