Vision of Tnugdalus

The 12th century saw a burgeoning of literature by figures whose names we actually know, like Marie de France and Chrétien de Troyes (mentioned here), Thomas of Britain and Hue de Rotelande. Then there were less clearly known names like Marcus, supposedly an itinerant Irish monk in the Regensburg, Germany, monastery called the Scots Monastery. The only item written by Marcus is the Visio Tnugdali, the "Vision of Tnugdalus," found in five 15th century copies, one of which is Cotton Caligula A.ii, found in the famous Cotton Library, that includes several other romances.

Written shortly after 1149, it is an account told to Marcus by a knight, Tnugdalus, called Tundale in English manuscripts. Marcus claims also to have translated the story from an Irish version. We are told that the story took place in Cork in 1148.

The story is of the wealthy Tnugdalus, who loved stealing, sex, and food and drink. He fought and gossiped and never did any good works. One day he goes to collect a debt owed to him. The borrower is unable to pay, and Tnugdalus flies into a rage. The borrower remains calm and talks Tnugdalus down, and invites him to a meal. While eating and drinking, however, Tnugdalus starts to feel ill, starting with his arm becoming paralyzed. When he tries to rise from the table, he collapses; he becomes cold as the proverbial stone, except for some slight warmth on his left side (where the heart is)?

This was on a Wednesday. The slight warmth leads those around him to keep him above ground. He regains consciousness on Saturday afternoon, upon which he has a story to tell.

He says his soul awakened in a dark place, and he wept, sure that his sins had caught up with him in the afterlife. A horde of foul and noisy creatures come rushing toward him, claiming that his sins confirmed his status as one of them! While he cowers before them, a point of light appears and grows closer, ultimately arriving and turning out to be his guardian angel, who asks him "What are you doing here?"

The angel tells him that he still has a chance to be saved. The horde freaks out about this, but the angel turns to Tnugdalus and says "Quick! Follow me!" The angel leads him through a dark tunnel, where the angel's light reveals the souls being tormented for different sins. This Dante-esque journey reveals more and more types of torment for different sins, some of which Tnugdalus experiences for a time, until the angel takes him on to the next experience. Ultimately, nearing the gates of hell, he sees Satan himself, a 150-foot tall human-shaped and thousand-armed creature chewing souls in his sharp teeth a thousand at a time.

Purgatory is also on the itinerary's. great relief to Tnugdalus, who wants to stay there, but the angel assures him that even better awaits, and takes him to Heaven. They stand on a wall in Heaven—seen in the illustration above—and Tnugdalus now grasps knowledge of everything, and can see anything, no matter how far away. Suddenly,

... Saint Ruadan approached them. He welcomed Tundale happily, took him into his arms and hugged him.

‘My son, your arrival here is blessed indeed,’ he said, and they stood together. ‘From now onwards, while you live in the world you can look forward to a good end to your life. I was once your patron saint and in your worldly life you should be willing to show me some generosity and to kneel, as you well know, in my presence.’

St. Patrick is also seen, as well, as several historical deceased Irish bishops. Tnugdalus asks to stay, but is told that is not possible unless someone has led a good life. Tnugdalus must return to his body and change his ways if he wants to see this place again. Tnugdalus re-awakens in his body, astonishes all the people surrounding him by that and by the promise to amend his life.

The story is reminiscent of the Irish immram (Irish "voyage"), a hero's journey, usually by sea, through fantastical and legendary places. Marcus wrote in Latin, although he says he translated an Irish-language account. The story was translated into several languages, at least into French, German, and Norse. The Cotton version is Middle English. You can read a Modern English version here.

I'm curious about the place where Marcus wrote. What was a Scots Monastery doing in Germany? Tomorrow I'll tell you about the Schottenkirche.

The Mouse Takes a Wife

Marie de France's collection of 102 fables written in the late 12th century mostly come from Aesop and Avianus, but there are a few she seems to have made up herself, and at least one not seen before in western literature but has a source in the east. One wonders how she learned of it. Today we take a closer look Marie called it "The Mouse Takes a Wife," a cautionary tale against trying to marry above your station.

It mirrors "The Mouse Turned into a Maid." This original is found in the Panchatantra, a collection of Indian fables from. about 200 BCE. The story goes...

...a mouse drops from the beak of a bird of prey into the hands of a holy man, who turns it into a girl and brings her up as his own. Eventually he seeks a powerful marriage for her but discovers at each application that there is one more powerful: thus the cloud can cover the sun, the wind blows the clouds about but is resisted by the mountain; the mountain, however, is penetrated by mice. Since the girl feels the call of like to like in this case, she is changed back to her original form and goes to live with her husband in his hole. [link]

A Romanian folk variant shows a rat setting out to pay a visit to God, but gets thrown through the same succession of sun and clouds and wind which finally dumps him on an ant heap, where he "belongs."

That the mouse or rat has aspirations but cannot rise above its birth station (even if it is magicked into a human being) makes a strong case for nature over nurture. Although many think of this debate as a modern one, prompted by Darwin's theory of evolution, it was a question raised long before. Next I'll talk about the Nature vs. Nurture debate in the Middle Ages.

Some Fables

People love fables. Brief stories that offer a lesson or moral can be instructive as well as fun. A Castilian version of Arabic fables was mentioned here. And another fable was told here. Marie de France translated a large collection of fables, some from Aesop (c. 620–564 BCE), some from Avianus (fl. 400 CE), some from unknown sources.

Marie claims she made the collection for a Count William from an English version by "li reis Alvrez" (King Alfred, who did have an interest in history and literature), but no evidence exists for such a source work).

Many of the fables are recognizable from what we know of Aesop and Avianus, though some have small changes. Aesop's fable of the dog that sees its reflection while carrying a bone or piece of meat, and ultimately opens its mouth to attack the "other" dog and get its treat, loses what the dog had. Marie has the dog carrying a piece of cheese. The moral is the same, but did Marie originally hear the story her way, or did she change the dog's mouthful for a specific purpose. It is not clear.

Marie includes several previously unknown ones involving human characters, many of them with married couples. The story of "The Man and the Wife Who Quarreled" is a little gruesome while being funny. A husband cuts his wife's tongue out to stop her from quarreling, only to have her continue in sign language. Marie flips the gender of the moral, however, by saying "This fable shows what one can often see: if a fool talks foolishness and someone else comes along and speaks sense to him, he won't believe it but gets angry instead. Even when he knows he is absolutely in the wrong, he wants to have the last say, and no one can make him shut up."

One of her fables, "The Mouse Takes a Wife," is unique in western literature, though it has analogues from India and the Far East. It sets up a discussion about nature vs. nurture, and is worth a closer look, which we can do next time.

Marie de France

Marie de France (c.1160 - 1215) is called that because of one line from her writing: "Marie ai num, si sui de France." It means "My name is Marie, and I am from France." If that is not a pseudonym, then it sums up all we know factually about her life.

The desire to pin down who she was (and the fact that Marie was a very common name) has led to numerous guesses regarding her identity, none of which would make a difference in the study of her writings. (If Shakespeare's plays were written by the Earl of Oxford, how would that change our enjoyment of them? Not a bit.)

Those who have heard of her know of The Lais of Marie de France, a collection 12 lais. A lai (English lay) was a lyric poem in octosyllabic couplets, popular in France and Germany in the 13th and 14th centuries, dealing with adventure and romance. The 12 are written in Anglo-Norman and often focus often on courtly love. A few of the stories exist separately in manuscripts, but there is one manuscript in the British Library that has all 12. That manuscript, Harley 978, presents them in what may be a deliberate order: the odd numbers show positive results for characters who love others; the even lais show the negative results of love that is imperfect. (Bisclavret is number four, an even number.)

Harley 978 also has a prologue in which we gain some insight into Marie. She writes that she wanted to create something that would be entertaining and morally instructive in the style of Greco-Roman literature. She therefore is recording Breton tales that she has learned. The prologue also dedicates the lais to a "noble king." From the time period in which they seem to be written, and her knowledge of Anglo-Norman and Middle English, the assumption is that she was known in the court of Henry II or possibly even his son.

A few other works are also attributed to her. She is credited with a retelling of the Legend of the Purgatory of St. Patrick, a French translation of a latin poem. "Purgatory" in this case is not a cosmic status between Heaven and Hell; it is a pilgrimage site in Northern Ireland, a cave that Christ showed to St. Patrick and explained was an entrance to Purgatory.

She also produced a re-telling of Aesop's Fables called Ysopet ("Little Aesop"), which has some fables not seen in Aesop. Many of her fables are about humans, and in many of those she presents tales of female cunning over male ignorance or foolishness.

Her fables would make a good topic on their own, so that's what we will look at next.

Bisclavret, the Werewolf

Just as there is a difference between the medieval werewolf and the modern, in medieval literature we can see distinctions between types of werewolf. One such distinction is made in the story Bisclavret by Marie de France. The word "bisclavret" means "werewolf" in Breton, and the character is clearly a werewolf. The author, however, distinguishes him by referring to other werewolves by the Norman French word for werewolf, garwaf.

Baron Bisclavret of Brittany disappears every week for three days. His wife begs him to tell her why, and he finally relents, explaining that he turns into a wolf. He tells her he hides his clothes so that he can find them after three days and turn back into a human.

His wife is a little freaked out by this revelation, and doesn't want to be with him any more. She tells a knight who has loved her top follow him and steal his clothes so that he cannot return to human form. The baron fails to return to his people, a search for him is to no avail, and the "widow" marries the knight.

A year later, while hunting, the king comes upon a wolf that rushes at the king and kisses his foot and leg. Amazed at the behavior, the king decides to bring the wolf back to the castle. The wolf's gentleness is remarkable, until...

...at a large celebration, the knight who married Bisclavret's wife arrives and is attacked by the wolf. The king threatens Bisclavret, who backs down. The court assumes that the knight has somehow wronged the wolf.

Later, the king is visiting Bisclavret's former barony, and takes the wolf along. Bisclavret's "widow" comes to the king bearing gifts, but when the wolf sees her, he rushes at her and tears off her nose. A wise man links this unusual attack with the first attack: that the two are married, and the woman was married to the missing baron. The king has the woman tortured, whereupon she confesses what she did to her husband. The produce the baron's clothing, and he becomes the baron Bisclavret once more. The king restores his lands and exiles the baroness and her knight. Her descendants are born nose-less afterward.

Marie de France claims she heard this performed snd translated it from Breton, along with a collection of other stories. We have several stories from her, and I'll tell you more about her tomorrow.