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Richard Coeur De Lion: an Edition from the London Thornton Manuscript

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Richard Coeur De Lion: an Edition from the London Thornton Manuscript Richard Coeur de Lion: An Edition from the London Thornton Manuscript 2 Volumes Maria Cristina Figueredo Submitted for the degree of Doctor in Philosophy VOLUME 1 University of York Centre for Medieval Studies December 2009 2 Abstract In the past decade, the Middle English romance Richard Coeur de Lion has attracted a great deal of scholarly attention; nevertheless, the studies have not been as abundant as its richness and complexity may merit. There are two reasons for this: first, Karl Brunner's 1913 edition, which has long been out of print, is virtually inaccessible. Second, even when Brunner's edition is available, its critical apparatus and scanty notes - in Gennan­ have long been out of date. This thesis provides an edition of Richard Coeur de Lion from the London Thornton Manuscript, which has never been edited before. The edited text is accompanied by side-glosses and a full critical apparatus, which includes an Introduction, Explanatory and Textual Notes, a complete Glossary, Index of Names, and Episode Chart. In addition, eight maps and fifty-four plates illustrate the edition. The Introduction to the edition is divided into five sections. The first of them, 'Manuscripts & Early Printed Editions', describes the manuscripts and the two early sixteenth-century printed editions in which Richard is extant, and then advances the scholarship with regard to the relationship between the manuscripts. The second section, 'Editing Middle English Texts', revises the methods of editing and their theoretical and pragmatic limits; it then focuses on the particular problems of editing Richard Coeur de Lion. The section ends with a brief account of the life and milieu of the scribe and compiler Robert Thornton. The following section, 'Date of Composition', takes issue with two nineteenth- and early twentieth-century assumptions. First, that the Middle English Richard is a translation of a (lost) Anglo-Nonnan romance and second, that there was an 'original' historical text later 'contaminated' by fictional additions. The third section, 'Sources', studies the 3 diversity of sources and influences that lie behind the composition of Richard to show the extent to which this romance has to be studied as the product of a poetic process of re­ utilization and re-creation of sources; this is illustrated by a case study. The final section of the Introduction, 'History versus Fiction', examines the tension - or lack of it - between the historical and the fabulous parts of the romance, contrasting the medieval self­ awareness of Richard as a romance with its modem reception. The section ends with a case study that exhibits Richard's textual wealth. 4 Author's declaration The work in this thesis was developed by the author between January 2006 and December 2009. It is the original work of the author except where acknowledged by reference. 5 Table of Contents VOLUME 1 Abstract 2 Author's Declaration 4 Table of Contents 5 Acknowledgements 8 Abbreviations 10 List of Illustrations 13 Synopsis 17 Preface 20 INTRODUCTION Manuscripts and Early Printed Editions 27 1. Description of the manuscripts containing Richard 28 1.1. A London, College of Anns MS HDN 58 29 1.2. Bd Gloucestershire, Badminton House, MS Badminton 704.1.16 31 1.3. C Cambridge, Gonville and Caius College Library, MS 175/96 32 1.3.1. Gonville & Caius Richard: Language 33 lA. D Oxford, Bodleian Library, MS Douce 228 34 1.5. E London, British Library, MS Egerton 2862 35 1.6. H London, British Library, MS Harley 4690 37 1.7. L The Auchinleck MS 39 1.8. B The London Thornton MS. British Library, MS Additional 31042 41 1.8.1. Collation 43 1.8.2. Contents 45 2. Geographical distribution of the manuscripts 55 3. Relationship between the manuscripts 56 Editing Middle English Texts 63 1. Editing Methods. 63 6 1.1. Theoretical and pragmatic limits of recension and the direct method 67 1.2. The editor's dilemma 70 2. Editing Richard Coeur de Lion 74 2.1. The Editions by Brunner and Schellekens 78 3. Editing the London Thornton Richard 81 4. Robert Thornton and the London Thornton Richard 84 4.1. Robert Thornton 84 4.2. The London Thornton Richard 87 4.2.1. Dialectal features 87 4.2.2. Versification and literary features 89 4.3. Dialectal and orthographical differences between the Thornton and the Gonville and Caius versions 90 4.4. Thornton's self-corrections 91 Date of Composition 95 1. Introduction 95 2. 'Historical' account of the Third Crusade 96 2.1. Longespee and Robynet 98 3. Interpolations 102 3.1. Multon and Doly 103 4. Conclusion 106 Sources 108 1. 'So says the hoke': Sources of Richard Coeur de Lion 108 1. 1. Chronicles of the Third Crusade 110 1.1.1. The Anonymous Short English Metrical Chronicle 112 1. 2. Romance connections 1 16 1. 3. Warfare and military manuals 117 2. Sources in practice: Hybrid episodes 118 3. Case study 1: Richard's demon-mother 121 3.l. Cassodoren's fabulous ship 122 3.2. Portrait of a demon-lady 126 7 3.2.1. Gervase ofTylbury's 'Lady of the Castle ofL'Eparvier' 127 3.2.2. Gerald of Wales's 'Demon Countess of Anjou' 128 3.2.3. The fourteenth-century revival: Cassodoren and Melusine 130 3.3. Conclusion 133 History versus Fiction 135 1 . Introduction 135 2. Medieval generic self-awareness 136 3. Scholarly reception of Richard 143 4. Case study 2: Make-believe through warfare 149 4.1. Acre 149 4.2. Siege warfare and nationalistic diatribe 153 4.3. Single combat 158 4.4. Conclusion 161 Appendix 1: Episode Chart 162 Illustrations 169 Bibliography 191 Index of Names 214 VOLUME 2 Table of Contents 2 This Edition 3 Richard Coeur de Lion 5 Explanatory Notes 148 Textual Notes 197 Appendix 2 227 Glossary 234 8 Acknowledgements I would like to thank my supervisors, Nicola McDonald and Catherine Batt, for their support, advice and dedication. I will never thank them enough for the marathon-like meetings they endured stoically, nor can I express my gratitude to them for always challenging me to go further; their efforts have made this thesis much better than it could have been. I am also in debt to Alfred Hyatt, for his support and for believing in the value of this project even though he had not taken part in the initial stages. I would also like to thank my Thesis Advisory Panel advisor, Linne Mooney, for her guidance and encouragement, and for being always ready to help. I am grateful to the White Rose University Consortium for funding this project and to the Overseas Research Student Award Scheme for the financial assistant toward the completion of this thesis; without their support, I could not have undertaken my PhD. I am also grateful to the Centre for Medieval Studies (University of York) and the Center for Medieval Studies (University of Fordham), for financing my research trip to New York; and to the staff of Fordham University, for their hospitality during my stay. I am also in debt with the Elizabeth Salter Fund and the Research Priming Fund for their financial assistance. I wish to express my gratitude to the staff at the Bodleian Library (especially to Martin Kauffinann), to the librarians at Merton College Library, Gonville & Caius College Library, the College of Arms, and the British Library, for making the various manuscripts available to me. Special thanks must go to the members of the Centre for Medieval Studies: to Louise Harrison and Gillian Galloway, for their friendly and efficient help through the years; to the academic staff of the CMS, especially Nick Havely, Ann Rycraft, Mark 9 Onnrod and Jocelyn Wogan-Browne, for their support and assistance (academic and otherwise); to the students of the eMS, especially to Lisa Benz, Luisa lzzi, Pragya Vohra and Grace Woutersz, for their affectionate support over the years; to Wanchen Tai, Chloe Morgan and Kate McLean, for many unforgettable 'Chaucerian' afternoons; and to Christine Maddern for proofreading parts of this thesis, and for her invaluable friendship. I am very grateful to the students Myfanwy Reynolds (Leeds) and Ben Poore (York), who read and commented on the first draft of the edited text, glossary and explanatory notes; their suggestions have undoubtedly improved this edition. I am grateful to my family, whose unconditional love and understanding have supported me through the years; and to Ian, for lovingly enduring - and even encouraging - the chaotic routines my research required, and for making me laugh. And I thank Laura Cerrato, who has been my inspiration for fifteen years. This thesis is dedicated to her. 10 Abbreviations Versions of Richard Coeur de Lion A London, College of Anns, MS HDN 58. B London Thornton MS: London, British Library, MS Additional 31042. Bd Gloucestershire, Badminton House, MS Badminton 704.1.16. c Cambridge, Gonville and Caius College, MS 175/96. D Oxford, Bodleian Library, MS Douce 228. E London, British Library, MS Egerton 2862. H London, British Library, MS Harley 4690. L Auchinleck MS: Edinburgh, National Library of Scotland, MS Advocates 19.2.1 W 1509 & 1528 Wynkyn de Warde printed editions. Ambroise The History of the Holy War. Ambroise's Estoire de fa Guerre Sainte. Edited & translated by Marianne Ailes & Malcolm Barber. 2 vols, voU, Text, vol. 2, Translation. Woodbridge: Boydell Press, 2003. AN Anglo-Nonnan Arhtour & Merlin OfArthour and ofMerlin. In The Auchinleck Manuscript. Edited by David Burnley & Alison Wiggins, National Library of Scotland http://www.nls.ukJauchinleckJ Baha' aI-Din Baha' aI-Din Ibn Shaddad. The Rare and Excellent History of Saladin. Translated by D. S. Richards. Aldershot: Ashgate, 2002. Brut The Brut or the Chronicles ofEngland.
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