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: Wives, Widows and Wimples
Theme 7: Education and Accomplishments
Document 1
WLC/LM/4, f. 57r: Robert of Gretham, 'Mirur, lines 1-36 (composed c.1250, Anglo-Norman)
Transcription by Kathryn Summerwill. Translation by Theresa Tyers
A sa trechere dame aline. Saluz en lauertu diuine. Ma dame bien lai oi dire. Ke mult amez oir e lire. Chancon de geste e destoire E mult i metez la memoire. M ais bien uoil que vus sachez. Q ue co est plus ke uanitez. Kar co nest rien fors controuure. E folie de uaine cure. S i lom i troue vn bon respit. T ut li altre ualdra petit. C o est en uair le tripot. D e chescun ki mentir uolt. P ur plus sourement mentir. A lcune rien dist apleisir. E dist alcune uerite. P ur feire oir sa falsete. E co nest pas chose creiable. Q ue tut seit uair kest dit en fable. N un est co uair quant kest escrit. D estoire ke lem en chancun dist. Kar cil ki chancuns controuerent. S ulum lur quiders les furmerent. E lom dist en respit pur uair. K e quidance nest pas sauair. V eez si co pot estre uair. Q ue vns enfes oust poair. C um dist la chancun de mainet. V del orfanin sansunnet. V de la geste dan tristram. V del bon messager balam. V eez les altres ensement N i ad celui ki trop ni ment. N e sunt pas forstrait descripture. M ais chascun fait sa controuure.To his much beloved Lady Aline, greetings in Divine Grace. My Lady, I have heard it said, is someone who loves to read and listen to epic poems and romances and commits many of them to memory. But I would like to you know that this is no more than empty vanity1, because these tales are nothing more than fiction and the foolishness of wasted occupation. If a man could find in them a good moral story then all others would be of little worth. These are, truthfully, trickery - as each one is a lie. For, by more plainly lying to make these tales more attractive to the listener, anything is said which pleases and says nothing truthful. Indeed, to hear his lies it is not believable that everything said in a fable is true, that all is truth which is in the fables; none is truth when it is written down. Nothing turns out to be true that is written down in the tales of the ballads because they are themselves a mere fabrication, as the writers concoct these tales in accordance with their imaginations. Indeed, as the man said in the moral tale, those who dream things up are not wise. Observe if this can be the truth when you see what some young nobles, still in training to become knights, have been able to do. As in the ballad of Mainet2, or of the orphan Sansunnet, or in the ballad of Tristram3 or of the good messenger of Balam4 and likewise there are others which recount similar tales. Amongst those you will not find any that have been drawn from scripture (the only source of truth), rather each one is produced from his imagination.
Could also mean foolishness
The Mainet Geste exists only in a late 12th century fragment. The story is based on the youth of Charlemagne (Mainet the diminutive form of Magne). Bertha, daughter of a Hungarian King, wife of Pepin, is the mother of Charlemagne. She is poisoned by a servant whose daughter resembles Bertha so much that she takes the place of her mother in the marital bed. She conceives Hendri and Ronfroi (who later poisons Pepin). Forced to flee, the young Charlemagne changes his name to Mainet and enters the service of the pagan king Galatre of Toledo. After helping him win a decisive battle he obtains the hand of the King's daughter who is baptised and becomes his wife.
Of Tristram and Iseult fame. They take a love potion intended for the King of Cornwall, Mark. In one version Tristram dies due to trickery on the part of his wife who confusingly is also called Iseult.
This could read also read 'angel' according to the Chanson.
Document 2
WLC/LM/7, f. 2v: Lestoire del Saint Graal (The History of the Holy Grail) (early 13th century, Anglo-Norman)
Transcription and translation by Theresa Tyers
Quant ilot lespee garnie del pont . e del fuerre einsi come uos oez . il mi . st lespee el fuerre . e commenca a regarder le fuerre . e lespee . et a paumoier . si uit cele espee sibele e si riche quil ni li estoit pas auis que onques por .i. chevalier . fust fez a pa relz . si riches . e si uertueus come cist esto it . si dift quil uoldroit molt se il pooit estre que iames hom ne la tresist fors del fuerre . dusqa tant que li bons chevaliers por qui ele estoit apareilliee imeist la main. e lors vint la uoiz qui autre foiz auoit par le alui e li dist Salemons$ ia nus ne la trera qui ne sen repente$ dusqua tant que li bons chevaliers por qui ele estoit apare illie la tendra. Quant Salemons oi ceste parole si en fu mult liez . e maintenant escrist de sa main letres teles come li contes a a deuisees . equant il ot ce fet il i uolt metre renges . teles a son escient come lespee couenist . mes sa feme ne voult. ainz en iaporta unes si ledes e si poures co me de chanure . si foibles par senblant queles ne poissent par lespee sostenir. que est ce fet salemons iuoler uos ce metre. oil fet ele . ia auostre tens ni aura autres . . mes encore se deu plest uen dra une heure que une damoisele les changera . e imetra porcestes unes si beles e si riches que ce sera merueilles auooir Si poez en ceste espee conoistre la senblan ce des .ii. femes dont ge uos ai oi parler quar tot ausi come la virge qui est a uenir si come uos medites . doit amen der ce que nostre premiere mere meffi st . tot ausi amemdera cele pucele ce que ge meffaz en ceste espee quar ele i me tra renges beles e riches . e de la chose de sus soi quele plus amera.When he had made the pommel and attached it to the sword he created a scabbard, as you hear, he put the sword into the scabbard and looking at them both he began to caress them. Thus, he saw the sword so beautiful and magnificent that it seemed that never had a sword as worthy and noble as this sword been made for one knight. So, he said, he would like very much that a man should not draw the sword until such a time came that the honourable knight for whom it was made put his hand to it. And then the voice that had spoken to him before came again and said, 'Solomon, never will anyone draw this sword without repenting it until such time that the good and loyal knight for whom it was created takes possession of it'.
When Solomon heard these words he was delighted and happy and now he himself wrote the words that recounted the story that had been told. When he had done this he wanted to attach a sword belt, one which he felt would be worthy of it but his wife did not want this. Thus, she brought him one that was so ugly and flimsy, such as one (that could be) made of hemp. It was of such an inferior quality it appeared that it would not hold the sword. 'What is this?' Solomon asked. 'Do you want me to put this on?' 'Yes', she replied. 'In your time there will be no other. But still, if it pleases God, there will come a time when a young maiden will change it and put, in place of this one, one which is so beautiful and so splendid that it will be wonderful to see. Thus, (she said) you can see in this sword the image of the two women of whom I have heard you speak. For as much like the virgin who is to come, as you told me, and put to right what our first mother did wrong, just like that this maiden will put right what I have done wrong with this sword: for she will fix a sword belt so beautiful and magnificent and of a kind that she herself loves best'.
Document 3
WLC/LM/8, f. 190v : John Gower, Confessio Amantis, Book 8, lines 1477-1497, The Tale of Apollonius ( c o m p o s e d c . 1 3 9 3 , E n g l i s h )
T r a n s c r i p t i o n a n d t r a n s l a t i o n b y P a m e l a D o o h a n
[ H ] e h a h i r f r o e b o r d e l t a k e B o t a t w a s n o g h t f o r g o d d e s s a k e B u t f o r e l u c r e a s s h e h i m t o l d e N o w c o m e n t o h i r a t c o m e n w o l d e O f w o m e n i n h i r l u s t y o u e T o h i r a n d s e what inge she koue She can e wisdome of a clerke She can of eny lusty werke Which to a gentil woman longe And somme of hem she vndrefonge To e Citol and to e herpe And whom it like for to carpe Prouerbes and demaudes slighe A noere suche neuer ei sighe Which at science so wele taught Wher of she grete i f t e s c a u g h t a t s c h e t o l e o n y n h a w o u n e A n d u s h i r n a m e i s s o b e g o n n e O f s o n d r y i n g e s a t s h e t e c h e a t a l l e l o n d e v n t o h i r s e c h e O f o n g e w o m e n f o r t o l e r e H e h a d h e r t a k e n f r o m t h e b r o t h e l , n o t f o r t h e s a k e o f G o d , b u t f o r p r o f i t , a s s h e told him (in her tale). Now, women in their youthful prime would come to her to see what she knew. She had the knowledge and learning of a scholar, and all the admirable skills that noble ladies required. And some of them she accepted (as students), and taught them to play the citol and harp, and those who liked to tell proverbs and clever riddles learnt new ones. She taught these sciences so well that she received great gifts which she acquired for Leonyns gain. And her name was established from the variety of things she taught, so that all the young women in the land wanted to learn from her.
Document 4
WLC/LM/6, f. 203r: Heldris de Cornulle, Le Roman de Silence, lines 2859-2869 (early 13th century, French)
Transcription by Kathryn Summerwill. Translation by Theresa Tyers
Auoec ces iogleors . iras Por cho que biel les seruiras Et que tu painne i uoelles rendre Poras des estrumens aprendre Selens ies encheualerie Si te ualra laioglerie Et sil auient que lirois muire Es cambres ten poras deduire Ta harpe . et ta viele auras Enliv decho que ne sauras Orfrois ne fresials manoierYou will go with these jongleurs
And because you will serve them well
And strive to be of service,
You will learn how to play instruments.
If it takes time for you to master knightly skills
(Then) minstrelsy will serve you well,
And in the future when the King should die
In the (bed)-chamber you will, with your music, be able to entertain.
You will have (with you) your harp and your viol,
(And) these will take the place of the skills you will lack,
Of how to embroider with golden thread1 or embellish woven braids and ribbons 2.
Orfrey, very high class embroidery using gold thread
Galloons, braids or decorative ribbons would fit with the style of clothes of the period.
Document 5
WLC/LM/8, f. 53v: John Gower, Confessio Amantis, Book 3, lines 783-817, The tale of Phebus and Cornide (composed c.1393, English)
Transcription and translation by Pamela Doohan
%%hebus which make e daies light A loue had which o hi g h t C o r n i d e w h o m e a b o u e a l l H e p l e s e . B o t w h a t s h a l f a l l O f l o u e e r i s n o m a n k n o w e B u t a s f o r t u n e h i r h a p p e s r o w e S o i t b e f e l l v p o n a c h a n c e A o n g e k n y g h t t o k e h i r a q u i e n t a n n c e A n d h a d o f h i r a l a t h e w o l d B u t a f a l s b r i d w h i c h s h e h a h o l d A n d k e p t e i n c h a m b r e o f p u r e o u e D i s c o u e r e a l l a t e u e r h e c o u e i s b r i d d e s n a m e w a s a s o C o r u u s e w h i c h w a s a n a l s o W e l e m o r e w h i t e a n e n y s w a n n e A n d h e a t s h r e w e a l l a t h e c a n n e O f h i s l a d y t o P h e b u s s e i d e A n d h e f o r w r a e h i s s w e r d e o u t breide Wi which Cornide anon he sloghe But after . him was wo ynoghe And toke a full grete repentance Wher of in token and remembrannce Of hem which vsen wicke speche Vpon is bridde he toke is wreche at er he was snowe white to fore Euer afterward col blak erfore He was transformed as itt shewe And many a man i t h i m b e s h r e w e A n d c l e p e n h i m i n t o i s d a y A r a u e n b e w h o m i t m e n m a y T a k e e u i d e n c e w h a n h e c r o y e a t s o m m i s h a p p e i t s i g n i f i e B e w e r e r f o r e a n d s e i e b e s t e I f o u w o l t b e i s e l f i n r e s t e M y g u d e s o n n e a s I e r e d e P h e b u s , w h o m a k e s t h e d a ! # @ A B M x z
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& F $If gdC l $If gdC l $If gd l % $If gd l $If gd|`m l gd|`m 9 9 9 9 : : : : &; *; 4; :; ; ; ; < X qX sX {X X WZ XZ Z Z Z Z Z :[ M[ #\ $\ E\ \ \ \ \ \ \ \ \ \ \ \ \ | h7/? CJ OJ QJ aJ hC j hC U h|`m h|`m CJ OJ QJ aJ hC h CJ OJ QJ aJ hC h CJ H*OJ QJ aJ h U h|`m h hC h CJ OJ QJ ^J aJ hC h CJ OJ QJ aJ hC h 0J' CJ OJ QJ aJ , ys light, had a love called Cornide, whom he loved above all others. But what will happen in love no man knows, as Fortune casts lots. So it befell upon a chance that a young knight took her acquaintance and had of her all that he desired. But a deceitful bird, that she had and kept in her chamber since it was very young, revealed everything that he knew [to Phebus]. This bird, whose name was Corvus, was also then much whiter than any swan. And he, that scoundrel, told Phebus all that he knew of his lady. And he [Phebus] unsheathed his sword in anger, with which he soon killed Cornide.
But afterwards he was extremely woeful and repented of his actions. As a reminder to those who use wicked speech, he took vengeance on this bird. He that was snow-white before, was transformed for ever afterwards to coal-black, as can be seen.
And many men still curse him and call him to this day a raven, by whom men may take as evidence, when he crows, that it signifies some misfortune. Beware, therefore, and speak only the best if you would be yourself1, my good son, as I advise you.
possibly meaning at peace with yourself, or, want a peaceful or quiet life
Wives, Widows and Wimples. Theme 7: Education and Accomplishments
(c) Manuscripts and Special Collections, The ԭ, 2010
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