John of Garland

John of Garland (c.1180 - c.[at least] 1252) was an English grammarian and poet. (He wrote a poem about a recording demon.) Despite his English origin, he spent most of his life in France, first in Paris in 1202 to study, then at the University of Toulouse.

He left Toulouse around 1232 when the Cathars re-asserted themselves and university professors stopped being paid. He fled to the University of Paris, where Roger Bacon heard him lecture. It was this time in Paris that gave him his surname: he explains it is from the Rue Garlande in the neighborhood of the University.

There are over two dozen of his writings known (there are a few titles we know of, but have no extant copies). One was his Dictionarius (shown here), which was not a dictionary as we know it, but a textbook that attempted to teach Latin to French students at the University of Paris. Some credit Garland for the origin of the modern word "dictionary."

Besides works of instruction, he wrote poetry such as the Epithalamium beatae Mariae Virginis (“Bridal Song of the Blessed Virgin Mary”) and his account of the crusade against the Cathars, De triumphis ecclesiae (“On the Triumphs of the Church”). His hostility toward heresy was extended to Jews. To quote an author who wrote about this topic:

Although he never denied the possibility that conversion to Christianity could redeem the Jews, he thought it unlikely they would come over to the Catholic faith or remain steadfast in the religion. His invective was extreme by the standards of the time but was influential in that it appeared in many of his pedagogical works for adolescents and young men at the universities. [Journal of Medieval History, Vol.48, Issue 4]

Despite his time in France, his numerous writings were very popular in England, and were printed and re-printed in the 14th and 15th centuries.

Curiously, there was a second John of Garland who lived and wrote about the same time; this one was a music theorist, and will be our next topic. 

The Recording Demon

Here's a story: during a church service, a deacon burst out laughing. Afterward, the priest admonishes the deacon. The deacon explains the outburst: during the service, he saw a demon writing down snatches of conversation between parishioners in the pews. The parchment was quickly filled with these idle comments, and the demon tried to stretch the parchment by biting on the top end and pulling. The parchment tore, and the demon fell over backwards. This made the deacon laugh. The priest used this information in a later sermon, warning the congregation that their idle chatter is recorded by a demon to be used against them when they die and are judged.

The notion of a "recording demon" was popular in the Middle Ages, and went from sermons to physical representations quickly. Here we see two men gossiping (from St. James' Church, Cristow, Devon), and no matter how close and secretive they are trying to be, right above their heads you can see the recording demon taking notes on what they are saying, to be used against them on Judgment Day.

The idea of a recording demon was known in Egyptian monasteries of the 4th century, and was said to visit churches and monasteries and write down the sins that he observed.  This demon was ultimately given a name, Titivillus, and he became responsible to some for causing scribal errors. He was used in sermons about acedia, "spiritual sloth": churchgoers who engaged in idle chatter during the service, and priests who mumbled swiftly through the words of the service in order to get done faster.

Another representation of a demon collecting people's words is the "sack-filling demon" or simply "sack demon." Caesarius of Heisterbach mentions this one: a devil in a high place catching the words of people and putting them in a sack. Jacques de Vitry in his sermons mentions the sack demon with an over-filled sack, difficult to handle with the enormous number of inappropriate things said by folk.

The story of the deacon laughing in church was repeated and embellished over time. One version has the deacon criticized by the priest, who does not believe his story. Later, while asleep, he is exonerated when the Virgin Mary places the scroll of the demon's writings on his chest. The scroll proves to the priest that the deacon was telling the truth.

This is told in a poem by John of Garland, of whom I will say more tomorrow.

Anonymous IV

[DailyMedieval is on semi-hiatus for the holidays, and I am re-cycling some older posts. Today's is new, however, inspired by a music CD I received: Secret Voices by the female a capella group Anonymous 4.]

In the post on the Las Huelgas Codex I mentioned that many of the pieces in the codex were new to scholars, but some were familiar. Where else had they been seen?

Notre Dame Cathedral

The collection of recorded polyphonic music produced by composers working at Notre Dame Cathedral from c.1160-c.1250 is referred to as the Notre Dame School of Polyphony. A majority of medieval polyphonic music up to this time was committed to parchment by the Notre Dame School.

This does not man, sadly, that we can set a manuscript in front of a modern musician and have the notes played as they were intended to be heard. Differences in musical notation and rhythm make it close to impossible to know precisely how these pieces were performed centuries ago. For us to make an attempt is only feasible because of analyses of music written by a handful of people. Franco of Cologne was one, John of Garland another (best estimates are that he was keeper of a bookshop in Paris who edited two treatises on music), and the later writing of the industrious student known only as Anonymous IV.*

The "Alleluia nativitatis" by Pérotin

Thanks to Anonymous IV, we have contemporary definitions of what is meant by organum (a plainchant melody with one voice added to enhance harmony), discantus ("singing apart"; a liturgical style of organum with a tenor plainchant and a second voice that moves in "contrary motion"), the rules for consonance and dissonance, and other terms and rules of polyphony.

One "ironic" result of the writing of Anonymous IV is that. through him, we know the names of two composers who would otherwise have been lost to obscurity. He writes about Léonin and Pérotin with such detail and feeling that, although Anonymous would have lived several decades after they lived and composed, they were presumably so famous that their reputations lived on in the school. Léonin and Pérotin are some of the earliest names of artists that we can actually link to their works.

As much as we have been given by the treatise of Anonymous IV, his own identity and details of his life are unknown. Two partial copies of his work survive at Bury St. Edmunds in Suffolk, England; one is from the 13th century, and one from the 14th. Clearly, his work was considered important enough to copy and preserve—but not his name. He was likely an English student who was at Notre Dame for a time in the late 13th century. Thanks to his interests, we understand more about the development of medieval polyphonic music than we otherwise would have.

*His name is the inspiration for a modern female a capella group.