Jane Toswell (University of Western Ontario, Canada) presents her research in this session of the Meetings with the Psalms and Psalters virtual lecture series, Series 2.
View the full schedule at https://nanovic.nd.edu/events/2024/01/25/meetings-with-the-psalms-and-psalters-series-2/
Hello and welcome to the meetings with the Psalms and Suter Series 2 my name is Monica palinska and I will be the host of today’s meeting together with Professor magdar harinavi who is co-organizer of the seminar series Magda is an Affiliated scholar with the nanovic Institute of for
European studies at the University of Norther Dame in Indiana and the John Paul II Catholic University in Lublin in Poland I am uh the founding member of siglum search group for the study of manuscripts in uh wo and I work at the in Institute of English studies at the University of also in
Poland um we launched uh together the meetings uh in January 2023 and the first series which comprised nine lectures ended in December the recordings of the previous sessions are now available at The nanovic Institute website um let me add that we are very grate ful to the team at The nanovic
Institute for the unfailing support in all the technicalities and help in organizing this seminar this series um continues from where the 2023 series left off we are going to meet once a month to talk about various aspects of the sounds and sus outside the usual conference rush so the
Format is the same as before a 60-minute lecture followed by a 30 minute discussion the 2024 series consists of six lectures as you can see and it ends in June before we move on to Professor Jane dwell’s talk let me express our gratitude to all the speakers for
Accepting our invitation to take part in the meetings and talk about the research into the sounds and suters we also thank all the participants for the presence and discussion which encouraged us to extend the original project by another six months and let me now introduce our inaugural speaker Professor Jane tosell
From the University of Western Ontario in Canada I have recently heard another medievalist say that Jane Towell Jane towell’s name is synonymous with the Anglo-Saxon Suter and I thought it was not only a Charming but also very adequate simil especially since her magnificent monograph the Anglo-Saxon
Suter was the winner of the 2015 best book award of the international Society for Rango saxist and I’m sure to many of you Jane is the unquestioned authority on the Suter and the use of the Sounds in Anglo Saxon England as well as on all the English literature and the Medieval World in
General Jane Towell was educated at MM University in Ontario where she received her honors degree in English and Spanish and at the University of Valencia in Spain she received her PhD at the University of Oxford worked as a tutor at Somerville College in Oxford and an assistant professor at the University of
New brby she’s currently employed as a professor at the department of English and writing studies at the University of Western Ontario she’s also an affiliate member at the department of women’s studies and feminist research and a co- member of a graduate program in faculty of theology at huran University College
Her research focus is on the biblical Book of Psalms Suter manuscripts especially the bilingual sorts in pros and poetry Psalm genes and a translation of Psalms she has been engaged in a collaborative project of editing the Paris sua and since 2020 in another International research project the age
Of Alfred which aims to re-evaluate English literary culture between 850 and 900 50 Jane has published numerous chapters and papers on early medieval literature Old English poems the editorial and translational aspects of medieval texts but also on the modern reception of medieval texts and the Middle Ages especially in Britain and Canada her
Works on Long Fellow Odin or bores for example uh boras the unacknowledged medievalist or her most recent contribution on bass and Kennings published in 2022 are good examples of this strand of her scholar scholarly research another recent accomplishment is her contribution to the new feminist studies of anglo-saxon culture entitled
The Lost Victorian women of anglosaxon studies published in 2022 the letter borders on yet another important area in Jane towell’s academic work work which is related to women’s studies and feminist research Jane has shared her expertise in a myriad of lectures Publications and reviews she has shared her passion for the Medieval
World also outside the Academia via public talks blogs and interviews she teaches and reads speculative fiction both Science Fiction and Fantasy and is engaged in the field of academic freedom and governance the scope with her work the range of topics she has explored is truly impressive and I cannot possibly
Do justice in a short introduction let me perhaps add that her current work in progress includes Research into the moral codes in universities and their medieval Origins and two monographs one on forms of the medieval in English Canada and the other on the 12th century Suter in England and
The letter happens also to be the topic of her talk today so without further suspense let me give Flor to Jane tosell Jane thank thank you for accepting our invitation the floor is yours wow thank you Monica I I I feel like I should turn around to
See who that person you’re talking about might be um oh it’s you see if I can get this up yes is that working it is okay there we go um all right so uh so yes so one of the Hallmarks of this series of papers um
Last year was uh was the brilliant and elegant organization of all of the papers and their wonderful delivery and so today you’re going to meet the opposite um because this is very much work that I’m sort of Jane uh your mic is off now I I accidentally muted myself sorry so maybe
That’s a kind of Hallmark of of how disorganized we’re going to be here so here is my my plan um you’ll be pleased to know that by the time we finish assembling the Corpus we’re nearly done um because uh I I I just I got disorganized in in balancing my sections
Um but I do want to start with this example um which is going to work better if I can get this to work there we go okay um because I want to demonstrate how various kinds of 12th century sutr Texs in England illuminate one another so I’m
Going to look at Psalm 1266 which is 1255 in the vul gates so I’m just looking specifically at this one verse they that sew in tears shall reap in Joy um it’s from one of the gradual Psalms and it provides my starting point and I’m going to start back early in the
Early medieval period jump a bit to Middle English and then settle down in the 12th century for a bit more extended analysis um The Vulgate has as you can see Quin La in exalent um those who sew in tears shall reap in Joy the earliest tradition of
The Psalms that we have in Old English um is the Vespasian Salter um it’s a straightforward careful literal gloss those who sew in tears reap in Joy it’s pretty simple pretty accurate rendition of the Latin text no flourishes no allegorical Renditions it follows the Latin word for word and
Makes syntact but it does make syntactic sense in English and in fact the implied subordinate clause in the first half of the verse is something that’s also there in the certis Salter in its version from very much later in Middle English so that sa in teris Al day in M glad rap sh
They this would translate is something like those who seow seed all day in tears shall reap in great happiness and now I have this sort of visual image of um a standard Canadian technique which is kids going up to the north to to plant trees um and uh it’s a miserable
Um existence up there with lots of rain and mosquitoes kind of working in competation with each other however they get to reap in happiness at the end of the day so that’s good um so the rhyme works here although it can be very strained elsewhere in the same Psalm um
My favorite is blissa rhyming with Isa which might strike you as an unusual variant of is um intriguingly the basic words of the text semant as sath sa lmis as terum teras gdio as Yan glad ship and metant ASA are firmly pretty similar between the old English and Middle English
Versions the only real difference between the two is that the common Old English word yaa becomes the compound glad ship which reinforces the I Amic to terameter the meter which was obscure in the first line of the verse the fact that the earliest Suter we have from Middle English is a versified Salter
That will happily condense and skip over large parts of the Latin Salter is strangely reminiscent of the Old English metrical Psalms known as the Paras alter which has for this verse and I just had to drag the Paras alter in somehow the those who hear so seed in sorrowful
Tears they afterwards reap um but in the sense of to mow down or to cut or to Lance um to chop um to to carve or to yeah to cut beautiful Joys fum yon this versifier keeps tum saath and yaan from the literal version and uses snan
Instead of rath which would have fit the seed sense just as well um and uh but maybe wants the sort of parallel s’s it seems possible that the metrical versifier is aiming for a lot of poetic effects with sorrow and beauty though perhaps the poet was trying to imply
Fenon to Rejoice um with fum um tears and joys sewing and reaping with the alliteration and end Ryme of the two verbs the verse is a particularly striking one still today and it moves far from the close reading of the Vespasian Salter and even far from the CES Salter though metrical exigencies
Affect both versions many Interlinear versions in Old English followed in the vaspian tradition including in the 12th century but more interesting for my purposes here is an example of Salter X Jesus which combines the Scholastic approach from the Anglo Norman tradition with the vernacular originality of the Old
English and I don’t think I have time to read my way through this entire text this is a a short Treatise on the exegesis of Tears which appears both in the lambath homilies and the tri Trinity homilies the two most famous homolytic texts of the 12th century um the tretis
Interprets this Psalm verse though it focuses on issues of tears and weeping in the Bible Christ’s tears for Lazarus the tears of job and David in disgust at the world the tears of every righteous individual who wants to turn away from this wretched world and it then
Explicates the four kinds of Tears as four Waters in which we are commanded to wash um I’m only providing you with the first two here um so we’ve got the four kinds of tears and I’m going to jump to the translation with apologies um so we
Have the tear that one weeps for um one’s own sin is salt water and it’s therefore named sea water the tear that one sheds for the sins of his fellow Christian is called snow water for it melts from from the tender heart as does the snow against the sun this seems like
A good day for that tender heart um and then I have actually included on the slide the other two tear I find this really quite Charming this uh exog Jesus um a short Psalm verse then on sewing seeds with tears and reaping them with joy becomes a detailed exegesis of the
Kinds of tears that each Christian individual SWS in the world and in Hope of heaven without moving to the simple joy of the happiness that will be found after death in other words the hints and brief suggestions of the Old English Salter translators and exites flower here in very beautiful exegesis the
Exegesis obviously calls to mind the scholasticism of the Parisian schools and the early exegesis of what was to become the university in Paris most commentators on the homy describe it as new work perhaps contemporary with the manuscript and it might be but it also sounds distinctly like the exegesis of
The glossa ordinaria or of Petrus kestor or even Pope Gregory’s tears of snow water in Garner of St Victor as I’ve argued elsewhere there are two kinds of links between tears and water including well water and snow water and so perhaps we have here a new commingling of Anglo
Norman Scholastic thinking with an apparently new composition there are no surviving Old English antecedence for this text and no real hints of other sources in early middle English in the 12th century we also have this is a long example the adwin assaulter um and this is the image
In the adwin aalter um at the foot of one folio um and here is the actual bit from the adwin aalter which has this material you can see um the Roman version here Quant and lacis in gaudo metant um with its gloss which I have not transcribed cried um partly because
It’s just such bad Old English um you can see tha tha um sath um one useful thing here is you can actually see a win a thorn and right here a PE and and the the glossator does have those nicely separated um but this is a pretty close
Copy of the vaspian Salter version this is and since this is the adwin assaulter famously known as e and and known for its connection to um the a version the a tradition that’s not so surprising um what is a little bit surprising is that uh we don’t actually have the Anglo
Norman gloss um here in the Hebrew Salter on this side of the page um it’s just uh not there for this Psalm um and but finally my last example um is a little bit unusual Christine Haney’s exhaustive study of the pictorial cycle of the St Alban Salter is my last text
She suggests that the Salter initials in the manuscript were copied from a Canterbury prototype manuscript for Christina of marquet but were not designed for her the initial for Psalm 125 in this manuscript exactly pictures this verse showing a beardless figure in the lower third of the initial who
Reaches into a sack which is this guy down here in the middle section a beardless capped figure semi doed as she calls it Cuts wheat with a sithe and above a beardless capped um with a triangle and dots figure points to the text column um which for me is
Underneath my screen sharing bar but I’ll hope that you can see it um and holds an open book bearing the remainder of the caption on this side in except it says exal um rather than gaudo um which follows the Vulgate um so the tripartite initial demonstrates the sewing The
Reaping and the joy sewing reaping Joy it has a nice metatextual illusion as the top figure points to the first half of the verse written in red quantin lacis and then with the other hand holds open a book which has written on it not readily discernible though the noun does
Seem to be exal and not gaudo in gud om metant the pillar of the initial begins with sewing and ends with a joyish and bookish reaping of Joy interestingly there is no mention at all here of Tears Haney Compares other Illustrated Salters in detail drawing some comparisons to
The utr Salter to Harley 603 to the Corby veran and stutgart Salters there are parallels to all most intriguingly to using the book as an icon in the Wen Salter but the Stacked image is unique to this version the focus is on the gradual Psalm as a Psalm of rejoicing
Not on the Striking contrast between tears and joy which the column of the initial would have allowed for you could have had this guy crying down here and then arriving at Joy at the top um in other words the many Renditions textual and P pictorial of this Psalm verse in
The 11th and 12th centuries show great variation in approach it’s not clear whether that variation has to do with which of the three versions of the Latin Salter underlay a particular version or whether the burgeoning Salter commentary Traditions leading to the glossa ordinaria were in use for some of these
Renditions or whether a particular person or Monastery influenced one text what we can perceive is a fascinating mix of approaches but with unexpected cross connections and a deep concern with the literal text of the Psalms in recent sorry there’s the translation from Haney before you um in recent years our thinking has advanced
Considerably on the long 12th century in England and its antecedence and successors the simple argument that we tend to make about how old English went underground into an oral State until it reappeared nearly two centuries later somewhat changed with a greatly expanded vocabulary and ready to be a literary
Language of remarkable range and flexibility this argument is gradually being dispelled by various arguments about continuity not disruption and about collaboration and Community not wholesale eviction of monks from monasteries moreover there is more evidence of cooperation in the St Alban Salter for example the illustration is both a
Literal illustration of the Som verse reflecting a tradition as old as the utra alter but doing so in a very condensed and efficient way with a stacked Tower moving from that um The Sewing of the seed while to the joy of the faith while reaping and presenting
The literal truth as the eye ascends the tower while also enjoying the allegorical truth of the sewing and reaping of good works and indeed good words the words of the Suter which appear in the book held by that third beardless figure wearing a cap inside a book that eventually took the name of
Another beardless figure wearing a cap Christina of marate the layers and levels of meaning are particularly poignant and particularly helpful for my argument which involves several levels of layers and argument um I want to start with the definition an assembly of the Corpus under consideration
Um and then look a little bit at the genre and then I’m going to conflate the problem of the vernacular and its status with a historiography of Salter study in the 12th century but let me start or try to start with the definition of the Corpus for
The long 12th century which for my purposes here is going to be as inclusive as possible ranging from about 1050 through to 1220 first there are Salters from early medieval England um that stayed in use in the Anglo Norman period Rebecca rushforth has pointed to several Salters which received extensive 12th century
Latin glossing glossing which might best be termed Interlinear commentary rather than glossing some of these Salters also had Old English glossing some were Latin Salters originating in England and others were Latin Salters which came to England before or after the conquest Our dating difficulties on this front are
Compounded by Neil K’s General fuzziness about manuscripts dated anywhere between 1050 and 1100 since he seemed to think that if a manuscript had Old English in it it ought to be before the conquest but his natural intelligence and recognition of hands often suggested to him that a given script could be after
The conquest David dumville Peter Stokes David Gans and others have offered useful thoughts on this issue which seems particularly relevant to the Psalms texts that were always in demand the result as Rushford points out is that a significant number of manuscripts or glosses or commentary or all of the
Above really need to be redated without prejudice she looks closely at materials added in the mid or late 11th century and indeed in the 12th century to several Latin and bilingual Salters already in England um I’m just going to use three manuscripts as examples of what she’s talking about um and and move
A little bit away from uh from the uh work that she she did in sort of TW 2003 or four through to about 2011 um and just in case you’re curious um she left the field and she’s in the Met Office predicting weather in England
Um which uh I just ran into a a Blog that she’d written in which she says that’s a much happier world than that academic world she left behind which I think is sad because her work was just brilliant um but I guess she’s happy at the vet office anyway um so uh three
Manuscripts that I want to look at um the Sal Salter of count acade or aidus um and uh which is Corpus Christie College Ms 272 um probably written at or near ran quite specifically in 883 um the added Latin gloss dates to the middle two quarters of the 11th century
And it was added to the text by four insular scribes with two of them demonstrating particularly unmistakable insular scribal usage the gloss derives from a carolingian gloss Salter tradition of copies of Codorus commentary elucidated in detail by Margaret Gibson and applied to this manuscript by rushforth so we’re talking
About a very old carolan tradition um which is suddenly um appearing in in a very detailed form in uh this manuscript in in particular places for the gloss um Susan Irvin takes up the study of material materials added to manuscripts with a detailed study of four words
Scribbled on the last folio of the Regis Suter which is my second example a copy of the Psalms with Old English glosses and Latin commentary produced probably at Winchester around the middle of the 10th Century one scholar dates the addition this uh scribble that irin is talking about to the early 11th century
Another to the end of that Century Irvine connects the the scribble to a deep engagement with the atrical Psalms positing that it might be a kind of planned effort at preparing more alliterative verse based on the Psalms it was probably added to the manuscript at Christ Church Canterbury where this
Important copy of the Salter had migrated in the 11th century third in this group of early medieval Salters which attracted later medieval commentary and study just to be certain of the complications of the work to be done here is the Bosworth Salter here the addition of John makak for his
Dissertation at the University of Ottawa is of significant use he edits the Latin Salter its occasional Old English glosses in various specially chosen Psalms and the commentary added in the 12th century in one stretch of the Psalms makak finds close parallels to the commentary of Peter Lombard and in
General he compares the style of the commentary to that found in the glossa ordinaria and other words this Splendid Canterbury Salter with glossing of a kind that already suggests an educational and bilingual purpose when it was prepared in the 10th century was considered a very useful place to add
Several further sets of glossing and interpretation again to specific sets of Psalms mostly in the first half of this altar this is a multilingual and multifaceted manuscript in its usage even more so since the latter part of the manuscript has the fullest form of the new Hil available at this time in
England um hence it’s called The Canterbury Himel and edited as such next I want to look very briefly at the manuscripts elucidated by Richard gameson in his post-doctoral project for the British Academy this catalog I find deeply frustrating despite its Excellence um because of the fact that he stops at the year
1120 um which I find to be just right in the middle of all the really good stuff um but um moving onwards here um so it for example he he doesn’t include the Edwin assaulter which we already look briefly at which most Scholars do not date
Before 1140 and some date as much as 20 years after that he also um misses the sequence I would like to see of the grand 12th century Salters that the art historians find fascinating but that those of us interested solely in vernacular written texts tend to ignore
The Suter of St Albans does appear but it status as a kind of precursor for a sequel of other Salters does not however gamon does add to our Corpus the following sets of manuscripts um so here’s the first lot um this this opening one is very little studied which
Is a shame the Porta Forum of St wilon gets lots of attention um the St Alban Salter similarly lots of attention the next two famously the two Salters that uh seem to have had involvement by Ed we basan um and then l c tiberious C6 um which is uh like
Arendel I get my arendel confused um yes so arendel with 160 and C6 are two of the gloss Salters um and then my next slide has the rest of um gamon’s editions um or the ones that he would like to add this list does not include many Psalm related texts such as copies
Of August interion inos sorry Augustin if you’re on the European side of the world or some materials from the Salter ex aesus of Theodore of mwesa or even the prefatory text to the Psalms which are the main text of Durham Cathedral B27 written at Durham in the second
Quarter of the 12th century nor does it include suters which survive in copies of the Bible gameson includes 14 manuscripts of the Bible in this conspectus but many are parts of multivolume work of which the other volumes are now lost the Harford Bible the Rochester Bible the gundolf Bible
And a few are single Pages the only clearly relevant text is the Lincoln Cathedral Bible written before 1110 at Lincoln with a planned double Salter of which only one version appears on the right hand side of the folio students of the Old English Suter will have recognized three of the
Manuscripts in gamon’s list as among the standard Old English Salter manuscripts with glosses or or Interlinear translations a fourth of these would be the adwin aalter with its Interlinear gloss a very late but surprisingly faithful copy of a vpa type gloss never are the anglo-norman Salters enumerated alongside the Latin and
Bilingual Old English Latin suters surviving from England these texts are somewhat tricky to elucidate since many of the Manus of the materials are fragments only however two start points would be the relevant cataloges Ruth J Dean with the collabor of more collaboration sorry of Moren BM Bolton offers us Anglo Norman literature a
Guide to texts and manuscripts um and it’s funny the difference between Old English and Anglo Norman Scholars is a completely different layout um for U manuscript analysis which is fascinating but also so complicated so she includes her entries by genre with nine sub genres for secular literature and five for
Religious literature and her entries 445 through to 457 are all in some way Salter texts but rather oddly organized she includes all copies of one text as subentries under that text similarly complex is Maria carreri Christine Ruby and in short which includes fully 14 Salters in its 97 entries which are specifically um
French and oxitan of the 12th century Dean and Bolton do not have images in detailed analysis but their entries are somewhat easier to follow um so that’s where I’m starting and the first of these is um the Oxford Salter also called sometimes the monberg Salter um but there are 17 additional manuscripts
Or fragments running from the 12th through to the 14th century which include this text in a huge variety of layouts and I’m going to jump to showing you one of those layouts here sorry hang on going there um this is um obviously bi Tech Nel um
New acquisition 1670 this is one of the copies of the Oxford Salter after the year 1173 and it’s nice to be able to date some of these 12 Century manuscripts as after the martyrdom of Sir Thomas of St Thomas Becket um uh so this one is definitely after it’s from Christ Church
Canterbury and if you look at it you can see it is um a uh a a a a a facing page translation with the Latin down the left hand side of the the page and the Anglo Norman down the right hand side of the page verse for verse so to somebody like
Me this looks like the Paras Salter but to somebody else it will look like something quite different um but it’s uh um and I also decided that the proper thing to include here was my my Psalm verse 125.5 so you can see coming down the left on the Latin Quant in lais and
Uh the translation Sil on L small qu so they sew in tears and in a state of happiness and peace lay small um they will um reap or they will uh they will recover back um their crops um so um now let’s see if I can go backwards that could be very
Complicated I guess maybe not that complicated okay so here’s my second example um this is the arendel Salter um which is London British Library arendel 230 um and you can see oh hang on I didn’t go back far enough now there I am um so this one you can see is an
Interlinear gloss um not terribly pretty looking I have to admit um but also lots of additional um annotation as well in Latin um but you can see it’s uh it doesn’t look distinct very distinctly different um from an old English gloss Salter um and you’ve got uh the same
Kind of um opening line written in sort of rustic caps um and then shifting into the regular um Caroline minuscule but with um here uh I think it’s this is a much later gloss um but uh yeah um this one is seen um by some Scholars as a different text from the
Oxford Salter um and indeed um in this listing by Dean and Bolton it’s listed as a separate um text but other Scholars consider it to be so close to the Oxford Salter that it belongs in that package of 17 additional manuscripts um but notice that the the huge variety of
Layouts of those manuscripts Interlinear parallel to the Latin there’s also manuscripts with alternating Latin and Anglo Norman verses and then there are manuscripts with as glosses but with a following anglo-norman translation of each Psalm at the end of each Latin Psalm um and then there’s uh and that
One the translation does not reflect the alter the the Oxford Salter but the glosses do um so there’s some really kind of interesting textual material going on um the Orin Salter is a is a different Interlinear Pros translation so it’s taken as separate and then um
The one that I find most distressing in some ways um what we would call the Edwin assaulter in the world of Anglo Norman is called the Cambridge Salter um and described as an Interlinear Pros translation of he of the hebraic version and as you can see dated at what to Old
English Scholars would be the outer limits of their possible dates for the Edwin assaulter um because Old English Scholars would more commonly date that to the 1140s um or maybe early 1150s um so this is the second set of uh materials that they suggest um and I’ve
Tried for each one to give you a sense that uh that we have two manuscripts for example of this verse Salter which is in tail rhymed hexos salab Cen rhyming aab aab and there are Clause by Claus paraphrase um and the prologue to this text is bound in with the arendel Salter
Above so there’s again interlinking amongst these manuscripts um and then there’s uh sets of uh penitential Psalms um and then a very large um subcategory is this Lorette Dess commentary um made in the second half of the 12th century um with 10 manuscript copies and then also an interesting
Subset apparently French glosses to five Hebrew Salters so the Anglo Norman seems to a little bit to Hebrew Salter versions which is uh fascinating but so fascinating that I’m going to skip past it um okay so even as sketched out here um and even though I’ve included Anglo Norman
Song versions through the 13th and into the 14th century this is a rich panoply of P engagement in the insular World many of these manuscripts are quite practical and straightforward such as the Oxford Salter itself um which is the only one I’ve actually looked at in person the manuscript is for reading
Particularly for reading aloud it’s well spaced it’s clearly presented it’s got very few corrections but those that are there are for clarity of expression the only decoration is that the first word of each Psalm verse is in small capitals with some occasional use of a display script um generally marking the
Beginning of a new Psalm each Psalm is written in a paragraph with each each verse following on as if a sequence of sentences um the layout is efficient it’s very neatly organized the pros of the Salter is well presented um but it’s not a fancy manuscript it’s not an
Elegant manuscript other versions of the same text are not so neatly presented um but some are considerably more elegant lastly um as my opening anecdote will have signaled I dislike separating the Latin Salters which are Splendid and elegant manuscripts as if these materials are only of interest to Art
Historians um I would also like to include the scruffy copies of the Psalms intended for daily use but not very many of those survive sadly um but this does add many manuscripts um but it’s actually kind of hard to figure out which ones they are um there are some
Good um cataloges but uh sometimes they just skip past a bunch of them so just in case you’re curious we have for example the Copenhagen Salter possibly made for canuk I 6 when he was uh young since there’s a pattern Oster preceded by an alphabet in that one um then
There’s a hunterian Salter the edw ass Salter comes back into here um and of course the last copy of uh the utre Salter from Canterbury the great Canterbury Salter as it’s sometimes called or the Anglo Catalan Salter um this also could does appear in in that list of Anglo Norman Salters because
There’s a few um glosses in Anglo Norman in that manuscript and the St Alban Salter comes back here the Winchester Salter which I’m coming back to um and the lambath Bible um volume one in lambath Palace library and uh volume two in the Maidstone Museum the Maidstone
Volume is the one that has the Psalms um okay so there are many more such manuscripts with Splendid and illuminated copies of the Psalms um important for how the illustration is or perhaps is not a literal rendering of the text in the earlier insular tradition and for what extent a
Particular insular sensibility could be discerned in the presentation of the material in short to finish this section off I am straining the meaning of the word vernacular perhaps as far as insular since my concern is to identify the ways in which the Salter as a text in England demonstr at the interplay
Amongst three languages and possibly several different approaches through commentary and highly sophisticated study or through educational training or monastic usage or other vectors of copying and use of the Psalms in the long 12th century in three languages so I we move on briefly to genre some of the materials already
Described make the difficulty here obvious we have active in this period three different Latin versions of the song s although the gacan is gradually overtaking the Roman um but then there’s this odd side interest in the Hebrew um in and Anglo Norman the evidence of the bilingual and trilingual suters of the
Period is that knowledge of the different versions was fairly extensive Latin commentaries appear in some manuscripts throughout the text often written written in the top side or bottom margins of the folio and in other manuscripts more sporadically next are the suters with Interlinear are glosses in a vernacular language of which we
Have Salters at close to the same time with glossing in Anglo Norman and other Salters with glossing in Old English and at least one Salter with full sets of glosses in both the problem of genre that really complicates the assessment of these materials from the point of
View of modern Scholars more than the medieval users of the manuscripts is that we have both Pros versions of the Psalms and poetic ones moreover the evidence that the anglo-norman versions of the Psalms were as little con concerned with precise accuracy As Old English versions is pretty obvious to
Aduce one famous example at least I have a feeling it’s famous in the world of angelan Norman Scholars but I don’t know for sure um the Winchester Salter is a bilingual presentation in two columns this is the Salter that we tend to associate with Henry of blis um who has
You probably all know is the younger or the brother of um Steven King Steven um I think half brother but uh but it said brother in the text I read last night um so here’s the bishop of Winchester’s personal Salter it would appear it’s a bilingual presentation in two columns
The Anglo Norman Pros is on the inside Columns of each folio um and uh so it’s this column and the Latin is on the outside column of each folio so it it shifts back and forth um the opening of this this is the opening of uh obviously
The Psalms um uh translating beatus we Quon Abid and consilio imp prum blessed is the man who does not walk in the Council of the unrighteous in the Anglo Norman over here um and I’m going to jump to my next image which is not as clear but you can probably see it it
Actually has Ben so you can see El so this is not blessed is the man who does not walk in the Council of the righteous this is blessed be the baren who does not follow the Council of criminals it’s a whole new interpretation of the Bible for you
There um it’s a You could argue a class-based reinterpretation of the blessed that might have the person who first said blessed are the meek spinning somewhere clearly although the Winchester Salter version of the Anglo Norman Psalms is categorized as a copy of the Oxford Salter it does take its
Own path and it has not to my knowledge been edited that is one set of generic issues since in the modern era we so often teach Pros quite separately from poetry too it seems clear that using Pros or poetry was a relatively individual choice in these manuscripts furthermore
We have the complex situation of the psalm manuscript not really lurgical but not really not lurgical either often Salters do not find themselves enumerated amongst the lurgical books which can make it difficult to discern their utility for the claricy I argued a long time ago that the Salter
Manuscripts of this period were the forerunners of the books of ours that started to become the personal and elegant manuscripts of individual Pious persons in the later Middle Ages this still makes some sense to me as the hybrid nature of these suters with additional prayers prefaces readings sometimes other offices himels and other
Materials this hybrid nature certainly suggests a developing desire for a One-Stop manuscript to help with private devotion and to focus the mind for meditation and spiritual engagement that sulter manuscript could so easily Encompass facing Pros translations vernacular poetic versions Interlinear Pros or even poetic versions suggests that what interested the compilers was
Providing what the patron or commissioning agent want wanted presented as exactly and carefully as could be done with or without decoration or illumination or additional texts which takes me to my last Point um traditionally there have been two quite strikingly opposed approaches to issues of language in early medieval England
And one quite different analysis of England in the three generations after the conquest all three positions now need an extensive overhaul the first that espoused but the this one I heard when I was a very young student espoused by Scholars of latinity in the Middle Ages finds perplexing and rather odd the
Obsession that a bunch of English professors have with the use of the vernacular in England from 500 to 1100 thereabouts patronizing comments for common about how old English was a very small tributary in the Broad River that was Latin and Anglo Latin the second was that espoused by those English
Professors and maybe a few others seeing the interest in the vernacular that arose in the 9th century and resulted in law government land boundaries trade and even religious materials being carried out in Old English rather than Latin um and that that that group tended to prioritize the old English and the third
Position of course is the common notion that with the arrival of William the Conqueror and especially that knife he famously laid on a charter to point out that he did not need to know Old English because he has succeeded in the language of War Old English went underground failed as a
Written language and reemerged between two and three centuries later ready to be not just a cotidian and pragmatic language but a language of literary excellence and subtlety recent scholarship some of it very fully grounded grounded and some of it not quite so based on evidence sometimes has
Proposed that in fact the early medieval period in England was always multilingual and that multilingualism carried through into the Anglo Norman period as a Perfectly Natural Al development there’s even some suggestion that the anglo-normans arrived were pleasantly impressed by the amount of multilingualism already available in
England chose to keep some parts of this multilingualism such as details of ownership of land in the domesday book and for local Justice and perhaps even chose to adopt this multilingualism as a good thing going forward Mark Falkner in a recent and very well-received book argues that although the initial
Reaction of William conquerors Norman guards to hearing English might have been brutal they rapidly grew used to English in the ensuing century and a half during which the language could be found and I’m quoting fulfilling a wide range of textual roles from guarantor of historical authenticity to Pathway to
Salvation heard read and written by those of both English and foreign extraction falkner’s book focuses on English as a language for writing documents history and sermons Elizabeth Tyler similarly discusses what she calls the remarkable overlap between late Anglo-Saxon and early anglo-norman literary cultures arguing that from the 10th Century onward England was a
Cosmopolitan and Multicultural location one pushing the continent in the direction of rethinking the classical tradition rather than being a location slow to pick up new historical directions from Europe England was Tyler argued in the Forefront of developing new historical models new modes of expression and doing so in a wholly
Multicultural and multilingual way Tyler points out that the court of harut in the early 11th century used four languages simultaneously Old English Old Norse Anglo Norman because of his Queen and various family relations and Latin Latin she argues was the lingua franka understood by all a similar belief in
Multiculturalism is to be found in Lindy Brady’s recent short monograph for the new Cambridge elements Series multilingualism in early medieval Britain in fact it might be argued that early medieval England has gone in the past 20 years from a location with Rising interest in Old English and
Standard European usage of Latin as a principal language now to being perceived as a multilingual and Multicultural World leading Europe in vernacularization and in rethinking attitudes to his history and Heritage in short recent scholarship is rewriting The Narrative both of the 10th and 11th centuries in England arguing for real
Connections to at least Norman France but also to Scandinavia and Flanders a surprising number of Flemish monks seem to have done translations or draft texts for English patrons that connection carries over into the anglo-norman period according to this argument and changes utterly the standard notion about the use of English after the
Conquest strikingly the Psalms do not appear anywhere in this narrative Mark Falkner has published noteworthy work on the Edwin ass alter but he mentions this text only once and in passing dur a discuss during a discussion of the confirmations Henry II made for tibold and the monks of
Christ Church Canterbury his concern is directed wholly at the documentary and pical texts of the long 12th century fuler is certainly well aware of the multilingual nature of Salter study in this period having reviewed Ian Short’s edition of the Oxford Salter however he chose not to include any evidence from
Psalm Tex in his book this might well be as I’ve learned because the sheer amount of material for study is staggering it may well be because the cross connections are also extensive and difficult to Think Through Ian short along with Maria carreri and Christine Ruby published a paper in Romania in
2010 offering advaned information about their forthcoming catalog and specifically looking at the links between the Oxford Salter and the St Alban Salter they note among other connections that the anglo-norman version in the Oxford Salter was translated from the Latin of the St Alban Salter they point out that the St Alban
Salter is now dated to 11:30 to 1150 while the Oxford manuscript is rather simply dated to the first first half of the 12th century so a direct link between the two would indeed be possible the difficulty is that both the Latin of St Albin and the Anglo Norman of Oxford
Are hybrid texts very mixed texts to add to my own uncertainty about all this certainty they also use um um short and carreri and Ruby also use the Latin versions found in the adwin aalter dating more or less to the same period of time to check against the other texts
Their conclusion usion is that the connections between s albins and Oxford are very close they say and team intimate very tight moreover they add a further half dozen manuscripts to the mechs and conclude linking the new anglo-norman version to the french-speaking sisters alongside Christina of marate who would want a
Vernacular version of the Psalms as quickly and as usefully as possible the the Oxford Salter is a clean and neat copy well able as I’ve already pointed out to be read aloud few or no abbreviations that would slow down someone reading the text at the colao as
Required by the rule of St Benedict it might have been read to a small company of like-minded individuals but this manuscript certainly could have easily been read and particular Psalms would not be difficult to find many paths lead ahead assembling a good list of Salters from The Middle
11th century through at least the end of the 12th century investigating the generic slipperiness of the Salter in the vernacular in both Old English and Anglo Norman thinking about links back to earlier Salter glossing and translation and forward to later M Middle English and Anglo Norman versions
For which we have um both Magda and Kinga to thank for all kinds of work in that field considering what further connections exist among these texts and generally putting together a clearer picture of the Psalms that work in the 12th century after that maybe we’ll be able to entice our colleagues who work
On other kinds of texts and manuscripts in the period to pay more attention to the Psalms thank you very much I’m letting the Applause sound or show I’ve just realized I’m I’m sorry I’m I just realized I got the worst part of the job for today because I’m
Supposed to speak when I’m speechless thank you Jane this was this was amazing well you started by quoting Psalm 125 those who SE in tears shall reap in Joy well we did not sew in tears but we certainly reaped in Joy um um this was extremely Pleasant um but also Illuminating and um
Inspiring and also I think it was very humbling um at least for me not only did it broaden my knowledge but also it well certainly broaden the knowledge of my own ignorance I thought I knew things but now I know that there things were many more things I didn’t know that than
I thought I did let me quote you again um I’m more certain about my uncertainties now so thank you thank you thank you for this talk and thank you for opening so many new paths and for those of you who might not know that I would like to thank Jane for more than
This amazing talk because she was actually the inspiration behind the whole series both series one and well as the opening speak speaker of Series 2 also behind uh behind the second series um well you said at some stage about one of the catalogues that it was um deeply frustrating despite its Excellence um
Because it ended to too short and I need to repeat and quote you on that again your talk was deeply frustrating despite its Excellence precisely because it ended um too fast well I just hope we will be able to hear more of you in in the future but in
Um right now I think the floor is um open for discussion and whatever you have sown uh I think you will now be able to reap in Joy so please everybody the floor is open for discussion if you want to ask a question or make a comment
You can signal your willingness to do so uh by pulling out the uh the signal of this little raised hand um if I can’t see that just um unmute your mic and and speak but I’ll try to be to be careful if you have a problem with your mic or
For some reason you do not want to pose the question you you can also write it in the in the chat I can see the first question from an basov Vil uh an the floor is is yours please hello everyone it’s um lovely to be here thank you so
Much Jane just um really I don’t have a question um other than just appreciation uh for those of you who don’t know me or haven’t chatted with before I’m I’m a PhD candidate um at Trinity College Dublin and the working title of my project is landscape place and space and
The mind in the Old English Psalms a study center Ed on the Paris Suter bibl National the France 8824 um so I am I describe myself as a novice um Anglo-Saxon um uh Old English Psalm scholar and um yeah what what is just like got my uh juices flowing is I
Had didn’t know about the these Anglo Norman suls not much about them other than the UA sulter so to see the parallel text in the Oxford sulter and the wichester sulter has gotten me very excited because that’s one of the things I I’ve been kind of trying to unpack is
How um you know what you know what what this difference you know that the parallel text versus the Interlinear text of the other gloss alters and so on I could I could go on and on I don’t want to dominate just to say um I really appreciate to Jane would love to share
More more of my passion with of about the parasa with you maybe at another stage but um thank you that was so so interesting and I and I completely agree that um the the Psalms the suters need to take their place among the investigation into um the long 12th
Century so thank you thank you thank you well thanks an and and I owe you an apology because we were supposed to chat this month but I was I was l in all of these manuscripts I I completely understand and I I felt because you actually
Emailed me back and it went into my spam folder this is we don’t nobody need but I was like so delighted to to find your response and we will chat eventually but it’s just thank you again okay Samira it’s your turn it will be Anglo Norman very Ang Norman can you please
Speak English for a change I mean obviously you could do that in Anglo Norman but for the sake of I mean I could but let’s try speaking 700 years out of date let’s not do that okay so I have two questions for that talk which is incredible and which
Was very help ful for my own monograph on prayer in the long 12th century um my first question is would you mind you had a picture on the slide um of Arendelle 230 the opening folio where you had the Interlinear Anglo Norman gloss would you mind showing that
Again um from your SL cry one second sorry oh that’s okay because I think I noticed something that’s probably already been noticed before but I found it quite interesting hang on um now I’ve lost my sorry about this everyone there we go well that’s the beauty of this format we
Don’t have to rush there is no rush there’s no hurry we don’t have to always say there’s not enough time there is enough time this time I I have too many windows open that is my problem um there we go found it okay and you want the arendall yes
Please no hang on there we are all right yes so if you look at the hand that adds the glosses isn’t that the same hand that adds the 16 Century node at the top yes yes it is and I was uh seriously annoyed it myself and I almost said it and
Didn’t that I clearly I just pulled the wrong page off the oh that’s okay yeah um because then my question is if this is indeed um a text of the Oxford Suter which you can tell it is by um by the use of the part the um articles like El
Con which you don’t find in later French of course yeah um my question is would that say something about the 16th century uses and readerships of this Glo the fact that they’re adding a gloss in what is very much 12th century French to the Suter um whether that shows what they
Thought about its date or whether it was just what they had handy because that kind of French is not really used in the 13th century let alone the 16th true and it I mean what it looks like to me is the Winchester Salter um version um and so maybe that’s what they
Were copying over just for the fun of it um but I know I just pulled the wrong example Samira um later in the arendel Salter it is very much in the 12th century hand um okay yeah so that’s like finishing it but do you also run into the problem I
Mean the Stow alter has this problem um again with 16th century people sort of scraping off the the gloss and then writing in a different gloss um Spelman seems to have done that in that particular man manuscripts so there’s some of it is that they’re playing with
The manuscripts and I have not looked at this one so I can’t speak to whether that’s you know whether that’s written in over over something scraped out because sometimes it looks like it might be and sometimes it doesn’t when I’m glancing at that at that image um but I
Know yeah I I should have pulled something from later in the text I just I got you know sometimes you just grab the first page because it’s easy yes so sorry um and then my second question is you mentioned that the Winchester Suter had a sort of unique
Adaptation in its translation like is that the one with like benon Etc um yes this one was that hadn’t been edited I don’t think it has no but the Oxford alter has but yeah but this one is seen as one of the close copies and and yet I don’t think
It’s that close um well if you want to edit it just drop me an email I’m I like editing it’s what I do always interested in editing stuff for you anyway thank you and sorry for the confusion about the no that’s that was my fault um the
Anglo Norman Tech Society is is doing a lot these days and um they really seem to be sort of advancing quite rapidly through texts at the moment um so they may well have this under commission um but it’s true the the Oxford Salter one I think that’s 20 15 it’s it’s
Fairly recent yeah in short isn’t it yeah yeah and I have a copy but it’s in Bergen so yeah I’ve noticed that my my copy of uh Rebecca rushford’s art article is somewhere in my office um I know I have at least three different copies of that article and they are all
Somewhere in my office including the original book that it came from which is somewhere in my office but that that place has not identified itself so okay um I should stop sharing all right are there any other questions because um for some reason I don’t see any raised hands but that
Might be um that might be a problem a technical problem on my uh side there’s some there’s some comments in the in the chat thank you it was a real pleasure listening to you Professor tosell um somebody who had to leave um earlier but didn’t Samir said that she had two
Questions she did she she got them my second question was if you want to do something on the Winchester saled together oh I see I see sorry sorry if I may I can ask another question if if no one else as any and they don’t mind me hogging the entire thing go ahead
Samir right well um this is more of a a general question and not necessarily related to Anglo Norman again I’m going to try to speak not 700 years out of date um and that’s just one of terminology um because often when you see things added inter linearly they’re
Called a gloss however a gloss can have many different functions it can be like a verbaan word for word translation it can be exegetical like you know short words you know um penitent you know um laccrimas is s penitencia I don’t know something like that or it could be like
A longer commentary as you get in the glossa ordinario which is the marginal commentry and so I wonder in these different Alters are the glosses always the same kind of thing are they always functioning similarly are they always direct translations or are they always more glosses in the explan explanation
Sense I’m I’m working on that um I actually tried in in my book a while ago I tried to make the argument that when it’s syntactically correct even if a little bit awkward that we should stop calling them um glosses and start calling them Interlinear
Translations um and but I I didn’t get a whole lot of traction with that um the the person who’s really worked out a taxonomy I think is Alder Blom and so luckily we’re gonna hear him next month and uh that’s a good question for him I think more than for me
Um because he’s better with taxonomy I um in in the because I’ve had to search online for most of these manuscripts the Anglo Norman ones some of them some of them do look like they are simply glosses for meaning um sort of what you would think of as the traditional sort
Of word for word getting a substantive correct as you’re suggesting um and uh and and actually Dean and Bolton do a fairly nice job I think of carving out that group and calling them separate from the Oxford Salter materials um but the the piece that worries me is that
The those 17 manuscripts of the Oxford Salter do seem to have both parallel translations and what I would call Interlinear translations so they just written the full version in in Interlinear um so yeah I I I agree with you that there’s a lot to be done in
Terms of assessing these texts as texts or as glosses or as part glosses part way to texts and figuring out what exactly is going on yeah yeah it it seems that this is quite a like Lively discussion and a big uh terminological problem I think we had
That talk with lorine and L quite recently and I think a lot of people feel um sort of intimidated by not knowing the straightforward answer to the question actually what is the difference between a translation and a gloss just the positioning um on the on the page the Mison determines that or
Something else and it might seem to be well the answer might be not binary yes no or a little bit of this a little bit of that we are on the kind of scale rather than a binary kind of um situation but well I think when Jane
Towell says that or Jane Robert says that or Susan Gillingham they say that that well we all bow to them and we know that they are right but sometimes when um well all of us are asked this question we feel embarrassed that we don’t always know the answer so I think
This is a perfect Forum to um to discuss that sort of thing um also there’s a comment there a question from um Professor um Jane Roberts can we draw you on the bad Old English of the Edwin alter or do we have examples of Middle English um and there’s also yeah okay so
Sorry there’s also a comment from Professor Gillingham saying sorry to be an hour late yes I thought it started at 6: pm and I should have read the rubrics more carefully the good news is that there will be a recording which you would be able to um to listen to any
Time but going back to uh Jane Roberts um question in the in the chat yes well that allows me to point out I should have quoted Jane Robert’s piece in the in the Francis Lenahan tomorrow Aken volume that she has This brilliant layout of thinking through glosses and
What they what they what purposes they serve and how they how they work out with complete with all kinds of really detailed manuscript examples it’s seriously cool um okay so you want me to talk about the bad Old English of the Edwin assaulter I I don’t I haven’t looked at
That that text really closely Jane um I I went and looked at the manuscript for about a week um and that’s not nearly enough for that manuscript you need like months I think um and I was really looking more at the Mison page and trying to get my head
Around just how those scribes managed to produce that incredibly complicated manuscript with the full images for each um Psalm and then the detailed gloss which they managed the Latin gloss which they managed to make it fit and then the sorry the the U Roman and the gacan and
The Hebrew versions um I read an article yesterday that argued that um Whenever there was a conflict between the old English gloss and the anglo-norman gloss trying to get them both in um the Anglo Norman gloss one out and so now I want to go back and look at that um but this
Question on the bad Old English of the Edwin assaulter I think I’m inclined to agree with you I think we maybe actually should stop calling it that and start thinking about it more as they’re they’re writing their version of the language the way that the language they speak sounds yeah so maybe
It’s early middle English yeah I think that settles it uh Prof well no I don’t think it settles it I think there’s a lot more to be done by people who do language I mean I mean we need to ask Professor Jane Roberts to give a talk about
That well yes so that’s that’s the thing that is settled we need to return to the topic I hope you will accept the invitation I think it’s a the invitation should go to Mark Faulkner who has worked closely on this okay so there are two invitations to be made thank you I’m
Making a list for the next series I I have moved elsewhere at the moment I’m more deeply into L’s brute so I think for that topic you should go to Mark fulna who has worked closely on it Mark’s starting up some really cool new projects in digital Big Data
Stuff that’s that’s really neat um I have to admit I was surprised when I read his book and discovered that he wasn’t talking about the Psalms in the in the long 12th century um but I I suspect he he he took the knowledge that he already had about the Edwin assaulter
And realized that if he was going to talk about the Psalms that was going to overwhelm the book and he wanted to make a different argument so so yeah it’ be good to draw him back to the Psalms but I don’t know if he was going to be
Willing to be drawn because when I saw him in the summer at uh IAM he was very involved in big data and early middle English well there’s no there’s no conflict because you can study the Psalms through the Big Data uh thing that’s true Jane you said that is it
Sorry I just wanted to add to what what Professor Roberts and chain said a moment ago isn’t it the case that actually uh that was Mark Faulkner’s argument um uh about the ad winner Suter that the English is the kind of transition language in that Suter and that was
Uh what he was arguing for in the uh Francis Lan’s uh volume that you mentioned earlier I think if I remember correctly yeah I I think that’s right um yeah it’s it’s been a while since I looked closely at that but yes and he’s he’s got a couple of other pieces on the
Edwi assaulter too so you have to sort of assemble them all I think that does sound right just to chime in I actually Mark is a lovely guy and he um I I work with well not work with him but I’m on a committee
With him so I don’t know if I could put a plug in um um anyway but yes I that was when I read that article Monica that’s that’s how I understood the argument but that I read that a a little while ago as well
So um anyway I can I can ask okay please do please do um Jane you said that there’s there’s this argument about the competition of the glosses and the competition for the space and whenever there’s this competition the Anglo Norman wins over i’ I’ve seen that argument repeated over and over again
But nobody has ever given any example and I don’t think it actually I I looked through searching for it but the the way the the page is constructed and designed doesn’t seem to really allow for that and it seems to relate to the nonsense IC material some other material I don’t
Remember right now what it is but I don’t think it actually this is so beautifully and so carefully designed and I don’t think there’s any maybe this is heresy but then I will be challenged um I don’t think I’ve seen a place where there the uh Anglo Norman actually encroaches upon the
Anglo-Saxon um as as far as the the gloss is concerned or the text not in this in the part with the Psalms well anyways I think would just need to to to see into that more more carefully it it’s interesting isn’t it how somebody publishes something and
Then it gets taken up and you know I I admit when I was reading it I was thinking that doesn’t make sense to me but but maybe um so it’s an excuse to go back and look at the manuscript so you and I can meet up in Trinity College
Cambridge that’s a very good idea let’s do that plenty of good ideas today okay are there any any further questions or comments it’s it’s a rare occasion to be able to discuss these things without the pressure of either time or um oh yes Kinga Kinga please go ahead yes so um
Thank you very much Jane for the for the talk it was very very very stimulating for me actually managed to forget quite a lot of things from the stuff that I was saying in leads in July and you kind of brought them back to me um for which
I also thank you so thank you very much for that and I’m wondering perhaps this is like a very um kind of um a sophisticated question or perhaps I’m very ignorant but um could you please tell me what’s the project with like uh so now you’ve compiled or you gathered
Together the copies of the data you’re going to work cor and what’s the idea so what exactly are you going to do with the Corpus in your book for which I’m now waiting gosh I wish I knew um it it just seemed to me that we have
We have this wonderful ferment going on um and it’s a ferment that’s that’s probably much more broadly based than we realize um you know it’s not just in the monasteries who’s copying what or amongst the upper class with people getting their hands on very elegant manuscripts which were certainly
Starting to happen of the Psalms in the 12th century um but it’s also that they’ve you’ve got these manuscripts which I I hadn’t realized there were quite so many scruffy looking Anglo Norman uh ssongs and and so that tells you that this is sort of spreading much more broadly
Through um the range of people that you have available in Anglo Norman England um and then I I mean I’ve always been a bit distressed by the fact that we just sort of finished talking about Old English at the conquest um whereas most of the Old English Salters
Really hover in terms of their dating right around the conquest even the you know the very cool one that Monica and and tyer working on the end Salter it’s sort of right around that same period um and then it it I didn’t want to talk
About it but it sort of falls into my my argument about the Psalms moving around the world the old English and um other other Multicultural versions so um so do I have a plan for this book not yet um partly this paper was sort of trying to
Wrap my head around kind of an introduction to to it um and then it it did fall into this distinction of the Corpus genre and historiography and it it might develop that way but I’m I’m not sure at this moment whether that’s going to be the direction it goes um the
Part of the and and it is a big part of the difficulty that um that I also ran into with the earlier book on the Psalms in early medieval England that you spent a lot of time just defining the material and talking about what’s going on in the
Manuscripts um and I I think that I could run into the same problem here well I’ll I’ll I’ll still be looking forward to the book and to kind of getting to know whatever you come to what whatever your conclusions might be um and really once again I’m very very
Grateful for everything you’ve said today well I’m grateful I’ve got a stack about three inches thick over there of articles by Kinga that I am in the middle of reading um learning about the Middle English Psalms and and I mean you you do angon Norman and Middle English
It’s seriously cool work um and so does Magda so I have I’m I’m I’m about halfway through all of the work you guys have done and and just filled with admiration too Monica so following up um on kinga’s question um are you thinking also on about
Including um you know um the the part um the additions the annotations that come from let’s say the 16th century because that’s also one of the areas that you are interested in like um so U earlier on you said that by mistake you included one of the slides that you know looked
At the wrong page from um from the Suter so um and you mentioned that you you know um Spellman erased the Interlinear glosses from sto 2 and if I remember correctly um unfortunately I can’t uh look it up right now because St to is inaccessible uh from from the British
Library right now but um if I remember correctly the the way he um um supplied the glosses after the Eurasia was in uh in a way that he tried to um adjust his handwriting he tried to imitate the Anglo well the old English at script right so that would be
Different and it’s possibly yet another area that you know you might pursue uh are you are you thinking about that as well you know in the context of this um of this book that you’re planning I’m not because I think that’s it’s another whole set of issues but but
Yes you’re right and I I wish somebody would do some work on what Spelman did in the Stow alter because he you’re right he raised my recollection is it’s the first page and then a few lines of the second but then also randomly a few lines here and there through the rest of
The manuscript um and yes the first choir I think is it the whole choir okay well you you you have a better memory than I do um yeah it I wish somebody would go back and have a long look at that um to see what he was doing and see whether it
Was actually Spelman himself or whether it was you know one of those faceless um researchers who never got credit thank you okay are there any any more questions if there are not let me thank you Jane once again for this really wonderful talk and and um thank everybody I would like to thank
Everybody for for being with us here um today and for sharing our passion for knowing that this is a good idea for so many people to spend the four Thursday um in in in a month talking about the Psalms and in from very many different directions and um this in in from
Different perspectives sorry so we’re meeting in a month’s time and our next meet is um yes we’re going to talk about the Irish saled so Alder Bloom Blom is going from the University of maruk is going to talk about uh reading the Psalms in early medieval Island and this is going
To be on the old Irish treaties on the Suter everybody is is cordially invited to join in same place same time different topics but still meeting uh with the Psalms and suters and people who are passionate about them thank you all very very much thank you Jane I
Think we will have enough word for thought for the next month and then um and then we’ll start thinking Irish thank you very much and have a very lovely whatever part of the day is coming up in where you are Jane this is to you thank you everyone