Following the successful Medieval Mystery Cycle 2.0, plans are underway for the third iteration of what has fast become an Oxford tradition. Please reserve the date of 22 April 2023 (Saturday before Trinity Term) and spread the word! We are looking for actors, directors, musicians, prop makers, and above all a graduate convenor who will take on the mantle of Eleanor Baker in masterminding the operation. Have a look at seh.ox.ac.uk/mystery-cycle for getting a sense of the scope and watching the plays performed in 2019 and 2022.
Please send expressions of interest for the Graduate Convenor by 30 June 2022 to Co-Directors Henrike Lähnemann and Lesley Smith under medieval@torch.ox.ac.uk
Proposals are invited for the second conference organised by the Oxford Medieval Commentary Network, following the successful launch of the Network last year. The one-day conference will take place at Christ Church, Oxford on 29 September 2022.
The Oxford Medieval Commentary Network is a multi-disciplinary network for research and discussion of medieval commentary culture and its long afterlife. OMCN aims to bring together research on traditional forms of commentary as well as research on commentaries in a broader sense, including interpretations of texts through visual art, performance, music, and drama. OMCN seeks to establish a conversation between scholars from a range of disciplines working on different languages and geographical areas. This includes the medieval period and post-medieval responses to the commentary tradition. The longer-term objective for OMCN is to become a nexus of research and discussion of medieval commentary culture and its expression in various textual and artistic forms. The network is open to everyone with an interest in these topics.
Proposals are invited for presentations of 15 minutes on all aspects of the medieval commentary tradition and its post-medieval responses. Topics can include, but are not limited to, biblical interpretation, commentaries on classical texts, forms of commentary, textual criticism, interplay between Latin and the vernacular, etc. Please submit your title and abstract (150-200 words) by 31 July 2022 via this form. If you wish to attend without giving a paper, please sign up via the same form, by 31 August 2022. The workshop is free for all participants and will include a sandwich lunch and wine reception.
For further information, see www.medievalcommentary.network, or contact Dr Cosima Gillhammer, cosima.gillhammer [at] chch.ox.ac.uk.
The Faculty of History and Oxford Medieval Studies are pleased to invite you to an informal meet and greet coffee morning with William Chester Jordan (Professor of Medieval History, Princeton University) on the occasion of his reception of an honorary degree of the University of Oxford. When? Thursday 23rd June, 10.30am-12 noon Where? The garden of Harris Manchester College (Mansfield Road), or in the Warrington Room in the case of rain. Coffee and croissants will be provided. For catering purposes, please register your attendance if possible: https://forms.gle/AkvPUsX2Ur1hbgTU7
Bill Jordan gave the 2021 Oxford Medieval Studies keynote lecture “A Thirteenth-Century Polymath Considers the Jews” – watch it here:
Friday, 10 June 2022, 5pm, in St Edmund Hall, Old Library
We often talk about Europe, but our traditional ideas about European culture are questionable. This is because we carry views from the colonial and romantic periods that distort our image of history and geography and may prove a burden for future coexistence on the continent. I would like to encourage us to think more openly about Europe, about its broad cultural roots and its intensive relations with its continental neighbours. This includes reflecting on medieval clichés: medieval Europe was not a “Christian land” as the Romantics Novalis and Chateaubriand dreamed it. It was much more than that.
If you would like to participate remotely, please contact Henrike Lähnemann to be added to a teams call.
Storyteller (meddah) at a coffeehouse in the Ottoman Empire. The first coffeehouses appeared in the Islamic world in the 15th century. Source: Wikimedia
The Oxford Medieval Society is pleased to announce our first event of Trinity Term 2022, a Roundtable Discussion with Professors Sara McDougall and Hannah Skoda.
We invite all interested parties to attend the event on Thursday 26th May at 13:00-14.30, in the New Seminar Room in St. John’s College. Participants will be able to ask questions and engage in discussion with Professor McDougall and Professor Skoda on a shared area of their research, Marriages, Unmarriages, and Subjectivities.
Professor Sara McDougall is Associate Professor of History at John Jay College of Criminal Justice (City University of New York) and coordinator of the Medieval Studies Certificate Program at the CUNY Graduate Center. Specialising in legal history, her research focuses primarily on women and crime in medieval France and explores topics such as gender, marriage, religion and illegitimacy. Her publications include Royal Bastards: The Birth of Illegitimacy, 800-1230 (Oxford University Press, 2017) and Bigamy and Christian Identity in Late Medieval Champagne (University of Pennsylvania Press, 2012). Professor McDougall is in Oxford this term as an Astor Visiting Lecturer.
Professor Hannah Skoda is Fellow and Tutor in Medieval History at St. John’s College, Oxford, and specialises in the cultural and social history of the later Middle Ages. She has particular interests in education, conflict, ownership, slavery and constructions of deviance in late medieval Europe. Her monograph Medieval Violence: Physical Brutality in Northern France, 1270-1330 (Oxford University Press, 2013) won the Society for Medieval Feminist Scholarship’s 2014 Best First Book Prize, in which year she was also awarded a Philip Leverhulme Prize to explore nostalgia in the fourteenth century.
The TORCH Oxford Medieval Studies Programme invites applications for small grants to support conferences, workshops, and other forms of collaborative research activity organised by researchers at postgraduate (whether MSt or DPhil) or early-career level from across the Humanities Division at the University of Oxford.
The activity should take place between June 2022 and January 2023. The closing date for applications is Friday of Week 5 of Trinity Term (27 May 2022).
Grants are normally in the region of £100–250. Recipients will be required to supply a report after the event for the TORCH Medieval Studies blog. Recipients of awards will also be invited to present on their events at the next Medieval Roadshow.
Applicants will be responsible for all administrative aspects of the activity, including formulating the theme and intellectual rationale, devising the format, and, depending on the type of event, inviting speakers and/or issuing a Call for Papers, organising the schedule, and managing the budget, promotion and advertising. Some administrative and organisational support may be available through TORCH subject to availability.
The Oxford Medieval Society is pleased to announce a public lecture by Dr Charlotte Cooper-Davis on Thursday 9th June 2022.
Dr Cooper-Davis will speak on the topic of “Christine de Pizan: Guilty Feminist?”.
The lecture will take place in the New Seminar Room in St. John’s College, 13:00-14.30.
About the speaker: Dr Charlotte Cooper-Davis is an Honorary Research Fellow of the Faculty of Medieval and Modern Languages at the University of Oxford, and the author of Christine de Pizan: Life, Works, Legacy (Reaktion Press, 2021). Her DPhil thesis explored text-image relations in de Pizan’s works, and a resulting monograph is currently under contract with ARC Humanities Press.
Please direct any queries to oxfordmedievalsociety@gmail.com.
Image credit: British Library MS Harley 4431, f.259v (courtesy of Wikimedia Commons).
Following a two-year pandemic break, it was a joyous occasion for all to be able to attend in-person the second annual performance of the Oxford Medieval Mystery Plays hosted by St Edmund Hall on 23 April last week. The production was led by Professor Henrike Lähnemann, St Edmund Hall Fellow and Professor of Medieval German Literature and Linguistics, and Professor Lesley Smith, Fellow and Tutor in Politics and Senior Tutor at Harris Manchester College, and expertly managed by Dr Eleanor Baker, Project Support Officer for the Post-GCSE Inspire Programme at St John’s College and medieval literature specialist. The full cycle was live-streamed by Natascha Domeisen and is available for watching on the St Edmund Hall Youtube Channel and also linked in to the website dedicated to the Oxford Medieval Mystery Plays.
We’ll be your guide to every play: Mystery Cycle organisers (left) and Jim Harris as Master of Ceremonies (right)
Featuring 11 plays in 6 languages (Middle and Modern English, Spanish, French, German and Latin), the ‘spectaculum’ opened with a performance of period music by the Anonymous Minstrels before The Revd Dr Zachary Guiliano rang the Chapel bell to mark the opening of the Mystery Cycle. We were introduced to each play through prologues prepared by the linking verses creator, Prof David Maskell, and wonderfully performed by our Master of Ceremonies, Dr Jim Harris, who guided attendees across college to each play location. These prologues were essential not only to the day’s enjoyment, but also to making the medieval materials accessible to a modern audience providing plot summaries and descriptions of what we were about to see through rhyming verse!
A marvellous boat will shortly appear: Scenes from the Killing of Abel (Left) and Noah’s Ark (right)
The Mystery Plays presented Biblical stories from Creation to the Resurrection, and were brought to life by an incredible cast of actors, academics and students with links to Oxford Medieval Studies. The Faculty of English kicked things off in the Old Dining Hall with the stories of Creation and the Fall, accompanied by a digital video featuring manuscript illustrations by Prof. Dan Wakelin. We were then led into the front quad to witness the Holloway Mystery Players perform the killing of Abel, followed by the story of Noah’s Ark by Medieval Studies students, which receives an honorary mention here for the best props of the event, including fabric waves and an inflatable parrot standing in for the dove (link to the recording). The morning concluded with the sung Magnificat in a play of the Visitation by Jasmine and the Kilnsians.
You’ll see a dog but it’s a sheep: Timmy waits for his cue (left) and James Howarth as King Herod (right)
Following a short tea break, the play cycle continued in the atmospheric churchyard of St Peter-in-the-East (now College Library). The Pastoral Players provided comic relief as grumpy shepherds and a thief in the Shepherd’s Play, with the Principal’s dog Timmy stealing the show as a reluctant ‘sheep’ and kindly supported by Prof Kathy Willis and her daughter Alice. The entertainment continued with the story of the Wise Men performed by the Wise Women in Spanish, and the Massacre of the Innocents with College Librarian James Howarth playing Herod the Great alongside the 5th Week Blues.
Now to a new location for John the Baptist’s decollation: A scene of the saint’s beheading (left) and the Lazari players (right)
The best special effects of the cycle featured in the playgroup Les Soeurs de Sainte-Hilde, with their version in French of St John the Baptist’s arrest and grisly beheading (read a reflection on the process of directing a play in French by Prof. David Wiles, the director of the play). This was followed by the English MSt students performing the story of Lazarus, with 6 players of Lazarus rising from the churchyard to great effect (here the recording). Undergraduate students then performed a Middle English depiction of the Crucifixion from the York Mystery Cycle dating from the 14th century. The Mystery Plays concluded with a delightful performance in Middle High German, Latin and English by the Mercantile Minstrels, with mischievous merchants, a fight scene, and a chorus of angels merrily announcing the miracle of Christ’s Resurrection (here the recording).
Christ ist erstanden: The Crucifixion (left) and the announcement of the Resurrection (right)
This year’s Mystery Play Cycle was incredibly fun and a fantastic opportunity to engage with medieval culture through the wide-ranging skills of staff and students of Oxford Medieval Studies. The day ended with an exhibition display of works relating to the Easter story in the Old Library. A filming crew worked hard throughout the day to provide a livestream of events for online viewers, that can now watched back on St Edmund’s Hall YouTube Channel (four streams: 1: Creation to Noah, 2: Visitation to Herod, 3: Herod ctd. and 4: John the Baptist to Resurrection). We’re excited to see the continuation of what surely now has become an Oxford tradition!
Dr Alison Ray is a medievalist and the archivist at St Peter’s College, Oxford.
The French play was part of the Oxford Medieval Mystery Cycle performed on 23 April 2022 in St Edmund Hall, University of Oxford. The Playgroup: Les Soeurs de Sainte-Hilde (avec la participation de quelques paysans d’Iffleï) had been formed for the occasion by director: David Wiles The play is part of a cycle, ‘Le mystère de la passion’, written in the mid C15th by Arnoul Gréban, organist at Notre Dame cathedral, and doubtless also choirmaster. Full text available open access.
People ask me: “Why did you decide to do a play in French?” Implication: it’s an English-speaking audience, and they won’t understand – middle-English bad enough. Three responses to this one. 1. Political: not good to live in a monoglot culture, and unlike modern scholarship the medieval world did not view life through the lens of the nation-state. 2. Theatrical: to communicate through action and the body is a challenge which forces actors to engage with language on a different level, and reach out to their audience. 3. Intellectual: venturing into Gréban’s text was a journey of discovery, as impenetrable hieroglyphs yielded slowly through rehearsal into recognisable speech patterns, with every phrase having its theatrical work to do. What looks like literary doggerel turns out to be theatrical gold.
An interesting research question follows – what are the cultural continuities that make Gréban’s mighty four-day passion play recognisably French, when set alongside the familiar English cycles? Centralisation is one feature – responsibility not subdivided to autonomous guilds, but a single integrated work for an urban community to mount. Another is the French ability to listen and maintain concentration upon the word. In the English texts, action typically takes place between stanzas, but in the French text couplets conjoin speeches, so each new speaker has a rhyme to echo in order to come in on cue, a feature we found invaluable. The sustained rhythmic flow ratchets up the tension, with enough variety of register and poetic form to hold the spectator’s attention. Like the alexandrines of Racine, the eight-syllable medieval line has a lilt that asks to be animated by the arms, so different from English metres which asked to be stamped with the feet.
After seeing the performance, a friend asked me: “What lesson was the play is supposed to impart?” Implication: medieval theatre was didactic, a case of the church telling the peasants what to think. There is no simple moral to the John the Baptist sequence. In the artistic structure John’s martyrdom is there because it foreshadows Christ’s. People didn’t need telling that tyrants are venal, rather, it’s the recognisable social reality upon which a drama is built. Herod has his reasons for acting, and he washes his hands like Pilate. The medieval Salome is an enigma – we are free to draw our own conclusions, not told what to think. The urge to create theatre or art is a human constant, responding to the sensation of life as a cosmic mystery. The idea that medieval theatre is ‘didactic’ is a handy modernist cliché, serving the narrative of progress, and all the cultural arrogance which that narrative commonly instils. My preferred picture of the longue durée is one of progressive fragmentation, and I find in medieval theatre a holistic model of how theatre used to embrace and address a complete community in all its diversity, along with the gamut of human experience – comic and tragic, bestial and sublime – before dedicated theatre buildings and professionalism in acting and penmanship locked theatre into its lonely compartment.
David Wiles is Emeritus Professor of Drama at the University of Exeter, and lives in Iffley. He is a theatre historian whose main specialisms have been Greek and Shakespearean drama. He wrote the entry on medieval theatre for the Oxford Illustrated History of the Theatre. His medieval CV includes a student production of the plays of the Wakefield Master in the gardens of Westminster Abbey, Mankynde in the Burton Taylor rooms, a crucifixion on a farmer’s trailer in Buckingham marketplace, staging three plays by the C10th nun Roswitha, and a community production of the N-Town Creation/Fall and York Noah in Iffley.
Repeat performance of the play at Iffley Church on 24 April 2022. Cast: John the Baptist – Laurence Nagy Manasses (disciple) – Alice Hawkins Sophonias (disciple) – Laura Laube Herod – Alex Marshall Herodias – Irina Boeru Salome – Alice Hawkins Groignart A (servant) – Kate Bunn Groignart B (servant) – Andrew Stilborn Amphiarus (noble) – David Wiles Radigon (noble) – Laura Laube God – Henrike Lähnemann Crew: Director: David Wiles Consultant: Sebastian Dows-Miller Head Creator: Andrew Stilborn Filmed by Isabel Reichenbach
Apollonia von Freyberg was a Poor Clare nun living in the medieval village of Mülhausen (today, Mulhouse, France). We know of Apollonia through an artefact housed at the National Gallery of Art in Washington, DC – a colored woodcut by Lienhart Ysenhut (1959.16.15) which is housed inside a box made, in part, of recycled materials. Among these materials is the fragment of a letter addressed to Apollonia. Apollonia enriched her convent with manifold gifts and subsequently experienced the dissolution of her cloistered home during the Protestant Reformation. Beginning with Ysenhut’s print and the clues hidden in its enclosure, learn more about Apollonia’s family, wealth, and fate following her departure from Mülhausen in the early 16th century.
Caroline Danforth holds an MFA in painting from The George Washington University and a BA in German, Art History, and Fine Arts from Mary Washington College. She also studied art history in Germany for two years, in Munich and Tübingen. Since 2008, she has worked as a preservation framer of prints, drawings, and photographs at the National Gallery of Art in Washington, DC. Her research interests include the history and manufacture of parchment, German to English translation, and the Poor Clares of late medieval Germany. Most recently, Caroline served as guest editor for a special issue on parchment for Art in Translation and co-authored Letters for Apollonia for Franciscan Studies.
