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Wounds, Words, Worlds: Injury in Middle English Satire, C.12S0-1S34

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Wounds, Words, Worlds: Injury in Middle English Satire, C.12S0-1S34 Wounds, Words, Worlds: Injury In Middle English Satire, c.12S0-1S34 Ben Parsons Thesis submitted for the degree of Doctor in Philosophy at the University of Sheffield Department of English Literature, Language and Linguistics University of Sheffield May 2007 Abstract The thesis explores the role of violence and wounding in English satire before the Reformation. From the analysis of medieval commentary on Juvenal and Horace, and depictions of wounding in medieval culture, a new understanding of satiric aggression is derived. It is suggested that satire and mutilation are connected by their common sense of ambivalence. During the Middle Ages both were invested with two distinct functions: each could enforce a given system of standards and definitions, or be used to dissolve such a system. While this dualism makes disfigurement a natural emblem for satire, it also means that wounding invariably brings to light discrepancies when it is portrayed in satiric texts. Its flexibility serves to exacerbate the tensions present in the mode. The thesis thus treats injury not only as a central motif in satire, but as a point at which implicit conflicts emerge most clearly. Wounding is used as a means of distinguishing points of friction in the literature. These ideas are applied to the two main traditions of Middle English satire, anticlericalism and antifeminism. In both cases, the ruptures in texts are closely analysed. These in tum are used to identify inconsistencies in medieval culture more widely. The thesis seeks to redress two critical oversights. Firstly, the dual nature of medieval satire has never been explicitly theorised. While the genre's two facets have been examined individually, their coexistence has never been fully investigated. Secondly, vernacular satire is itself an under-explored field. Although several studies of Middle English satire exist, these often conflate the literature with unrelated types of text, or reduce English works to echoes of twelfth-century Latin satire. This study treats medieval vernacular satire as an art-form in its own right, with its own unique concerns and complexities. Acknowledgements I would first like to thank the English departments at the universities of Sheffield and Leicester for providing such stimulating environments for work and study. lowe a special debt of gratitude to my supervisors, Dr Hamish Mathison and Dr Jayne Carroll, for their support, their advice, and most of all for their patience, given the erratic and eccentric ideas they have been forced to humour. I am also grateful to the Arts and Humanities Research Council for generously funding my research. The financial assistance they have supplied has been most invaluable. Lastly I would like to thank Nina, vera mei mundi lumina. Contents Laughter And Bloodletting: Introduction 1 'Satyra Percussit': Theories Of Medieval Satire 8 Do Not Forget Your Whip: Violence In Antifeminist Satire 91 Church and Destroy: Violence In Anticlerical Satire 150 Reopening Old Wounds: Summary And Conclusion 231 Bibliography 236 Laughter And Bloodletting: Introduction There is no feast without cruelty, as man's entire history attests. Punishment, too, has its festive features. I Lett ws be mery wyll we be here! [ ... ] Xall I breke my neke to schew yow sporte?2 Over forty years ago, Robert Elliot published The Power of Satire, a work which outlined a new framework for the analysis of satire':' Drawing on earlier studies by Fred Norris Robinson and Mary Claire Randolph, Elliot proposed that literary satire had its roots in ritual 'incantational verse' designed to inflict 'facial disfigurement' on an enemy.4 As Elliot himself states, 'my aim is [ ... ] to elucidate an early connection of satire with magical power and to show how that magical connection survives, in underground and distorted ways,.5 More recently, a different but comparable theory has been offered by Alvin Kernan, who suggests that satire should be regarded as a biological 'inhibitory mechanism' evolved by humanity to neutralise violent impulses, shaping 'the energy of aggression in a socially acceptable way,.6 Kernan considers that the chief purpose of satire is to render 'useful the enormous powers of militant anger,.7 Despite their differing explanations, both Kernan and Elliot offer much the same comprehension of satire. Both see it as a mode which is clandestinely motivated by an intent to wound and damage. For both of these commentators, injury occupies a central place in satirical literature, acting as its very stimulus. While Elliot and Kernan's approach may not ultimately convince - both assume that I Friedrich Nietzsche, The Birth of Tragedy and the Genealogy of Morals, trans. by Francis Golffing (New York and London: Doubleday, 1956), p.198. 2 Mankind, from The Macro Plays, ed. by Mark Eccles (London, New York & Toronto: Oxford University Press, 1969), p.156; I, 11.78-9. 3 Robert C. Elliott, The Power of Satire: magic. ritual, art (Princeton: Princeton University Press, 1960). Elliott's critical legacy is assessed in the introduction of English Satire and the Satiric Tradition, ed. by Claude Rawson (New York and London: Basil Blackwell, 1984), pp.I-5. 4 Fred Norris Robinson, 'Satirists and Enchanters in Early Irish Literature', in Satire: modem essays in criticism, ed. by Ronald Poulson (Eagleton Cliffs: Prentice-Hall, 1971), pp.I-36; Mary Claire Randolph, 'The Medical Concept in English Renaissance Satire: its possible relationships and implications' , Studies in Philology 38 (1941), pp.125-57. 5 Elliott, Power of Satire, p.vii. 6 Alivin Kernan, 'Aggression and Satire: art considered as a form of biological adaptation', in Literary Theory and Structure, ed. by Frank Brady and others (New Haven: Yale University Press, 1973) ~p.118-9. Alvin Kernan, 'Satire', in The Dictionary of the History of Ideas: studies of selected pivotal ideas, ed. by Philip P. Wiener (New York: Charles Scribner's Sons, 1973-74), IV: Psychological ideas in antiquity to zeitgeist (1974), p.212. 1 written works are not artefacts of particular cultural or historical circumstances, but reflections of 'ineradicable human samenesses' and 'primitive' forces - their central observation remains true.8 These two critics do raise an important and valid point about their subject matter. There is indeed an extraordinary and persistent affinity between satire and corporeal mutilation, between the literature of mockery and the 'slash of the fang or the claw,.9 Satire certainly demonstrates a firm proclivity for violence, drawing on wounding with a frequency that implies a kinship between its own projects and physical injury. Perhaps nowhere is this more apparent than in the satire of the Middle Ages, 'one of the great ages of satire' according to John Yunck.1O Medieval English asserts the alliance between injury and ridicule with particular vehemence, as disfigurement proves to be a recurrent symbol or device in 'the vast medieval literature of reproof. 11 To cite a handful of examples, wounding is a conspicuous presence in the climactic battle of the Wife of Bath's Prologue, in the anonymous lyrics that call for friars to be 'brent' and women to be 'beten', and in the entire framework of Wynnere and Wastoure. The same connection is no less apparent in the grotesque distortions of mock-blazons, or in the sanguinary punishments of mystery-play devils. The purpose of the present study is to account for this peculiar preoccupation. Its aim is to determine the reason for this association, as well as to explore what the link can reveal about the practices of vernacular satire in the Middle Ages, and about the culture in which this literature operated. It will interrogate the relation between Middle English satire and wounding by examining the range of meanings and functions that satirical texts ascribe to injury. Throughout the study, the approach will be theoretical. The focus will be on the common ideas that govern episodes of mutilation in satirical texts. Such principles will be used as the basis of analysis. However, this should not be taken to mean that the texts will be treated in a purely abstract and hermetic manner, as self-contained 8 Elliott, Power of Satire, pp.66-7. For a critical examination of both Kernan and Elliott, see Dustin Griffin, Satire: a critical reintroduction (Lexington: University Press of Kentucky, 1994), pp.28-34. Further problems with this approach are discussed in the following chapter. 9 Kernan, 'Aggression and Satire', p.122. 10 John A. Yunck, The Lineage of LAdy Meed: the development of medieval venality satire (Notre Dame: University of Notre Dame Press, 1963), p.1. II John Peter, Complaint and Satire in Early English Literature (Oxford: Clarendon Press, 1956), p.3. 2 systems of rules with no connection to wider ideologies, traditions, or sets of beliefs. 12 On the contrary, particular attention will be paid to how the forms of medieval satire are conditioned by the conceptions and circumstances of medieval society, and what satire in tum can disclose about such factors. Owing to this, twentieth-century interpretive models have been invoked sparingly, in favour of works either originating from the Middle Ages or directly addressing the period. In spite of the fruitful deployment of modem theory in a medieval context by the likes of Paul Strohm and Glenn Burger, an awareness has been retained of the objections raised by AJ. Minnis, who argues that current critical models can only produce readings with 'no historical validity as far as medieval literature is concerned', imposing
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