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Satanas Introiuit in Illos Principes Sacerdotum Et Coeperunt Ad Alterutmm Dicere

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Satanas Introiuit in Illos Principes Sacerdotum Et Coeperunt Ad Alterutmm Dicere THE ROLE OF THE DEVIL IN OLD ENGLISH NARRATIVE LITERAm Peter J. Dendle A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department cf English University of Toronto @ Copyright by Peter J. Dendle (1998) National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, nie Wellington Ottawa ON KIA ON4 OttawaON K1AON4 Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/£%n, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels rnay be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Peter J. Dendle. The Role of the Devil in Old English Narrative Literature. PhD, 1998. University of Toronto (Department of English). Abstract The thesis presents a holistic overview of the drarnatic, didactic, and allegorical possibilities presented by the figure of the Christian devil to Anglo-saxon authors, poets, hornilists, and translators. Certain narrative inconsistencies charactenstically accompany the nebulous devil of early medieval narrative literature-he is simultaneousiy bound in hell and yet roarning the earth; he is at one point identified as the chief of demons, while at another point taken as a collective term for the totality of demons; he is a physical enemy to be encountered in the natural world, and yet a metaphoric ernblem invoked as the principle of sin or evil. Such critical moments reveal the devil's protean vitality as a literary symbol, which authors were free to manipulate in a varïety of ways to create literary effect or even to encode cultural anxieties. The study covers Old English charm literature and Solomon and Satum 1, the translations of the reign of Alfred (especially Wærferth's Dialornies and the Old English Bede), select vernacular prose homilies and saints' lives (especially Ælfric and the Life of Margaret), and the major poetic corpus (Juliana, Elene, Andreas, and Guthlac A). Ultirnately the thesis constnicts an ontology of hagiographie demonology, that is, a means of reading saints' lives that unpacks certain anxieties inscribed in narrative about the foundations of reality. These texts are penneated by signals that the demonic is far less remote and weak than is openly asserted in these works or in the orthodox theology of the time; it is interesting to observe precisely how diverse authors attempt to confront or circumvent the implications of these signals. For a wmwelcome in a cold climate, thanks are due first and foremost to the members of my cornmittee and the Dictionary of Old English staff. I am grateful to David Townsend, for continually helping me push ideas further, for treating my penods of panic and abeyance with equal wisdom, and for encouraging me to learn more Latin than the human sou1 is Iikely to Iearn, left to its own devices; to Toni Healey, for her very close reading of drafts, and for not settiing for work of merely adequate quality; to Roberta Frank, whose ear for style and whose eye for accuracy have Iefi their mark on al1 of these pages; and to David McDougall and Ian McDougall, for keeping civilized hours, and for making so many of them available to me. 1 am also grateful to Paul Szarmach for engaging my ideas closely and seriously; future versions of these discussions will reveal his profitable influence. "on ælcurn treowo ic geseah hw;ethwugu pæs be ic æt ham beborfte. " -Preface to Alfred's Solilociuies It is also my pleasure to thank my father Brian, my mother Catherine, and my brother Mark for continued support and encouragement throughout my studies, at Toronto and elsewhere. Finally, 1would Iike to thank Sharon Walton and Cecilia Martino, for getting me from one end of the graduate program in English to the other painlessly, and for making the department an enjoyable environment. Table of Contents Ab breviations ................................................................... vi .. List of Figures ................................................................ .vil Introduction..................................................................... -1 Part 1. Background 1 . The concept of the devil ........................................... 10 2 . The devil and human sin.......................................... 17 3 . The location of the devil .......................................... 24 4 . The multiplicity of demons .......................................36 5 . The liturgical devil ................................................ -39 6. The devil and demoris ............................................ -45 7. Exterior evil and Old English Iiterature ........................55 Part II . Prolegomena: Charms and Solomon and Saturn 1............. 61 Part IIK . Old English Rose Literature A . 9th.c . prose of the reign of Alfred ............................. 74 B . I0th.c . vernacular homilies...................................... 91 C . Elfric .............................................................. 106 D . Vernacular saints' lives ........................................ 120 Part TV . Old English Poetry Introduction ............................................................ -144 A . Juliana ................... .... .................................... -154 B . Elene ................................................................. 166 C . Andreas .............................................................. 181 D . The Guthlac cycle ................................................. 200 Part V . Condusions ........ .. ................................................ 227 Appendix: The devil as idiom ............................................. -242 Figures ............................. .... Works Consulted............................................................. 249 -ASE: Anglo-saxon- England ASPR: Anglo-saxon Poetic Records CCSL: Cornus Christianorum. Series Latina CSEL: Comts Scriptorum Ecclesiasticomm Latinorum EETS: Earlv English Text Society JEGP: Journal of English and Germanic Philoloa MGH: Monumenta Gemaniae Historica -NM: Neu~hi1olog;ischeMitteilun~en -PL: Patrologia Latina PMLA: Publications of the Modem Lanmage Association of America -RES: Review of English Studies List of Figures Figure 1: Cotton Caligula A.XIV, fol. 29 Figure 2: Bodley 579, fol. 5(Y Figure 3-5: Junius 1 1, pp. 9ff. Introduction This study is an attempt to define and articulate the precise significance of the devil as a recumng character in Old English narrative literature. The devil is among the most Frequently appearing characters in the corpus, reflecting a pervasive interest on the part of Old English authors, poets, and translators to sustain reified representations of evil as an integraI component of mythological narrative, especially hagiography. Understanding the responses of Anglo-Saxons to the devil of the Latin source texts, as well as recognizing the innovative uses of the devil in original insular literature, allows us more fully to understand these enigmatic, and often quite alien, literary forms. It is a cornmonplace of Old English criticism that the devil instigates sin. It is curious, therefore, that no one has asked in any systematic or comprehensive rnanner exactly how the devil does this. I will offer a wide-ranging look at the various manifestations of the devil in an attempt to characterize the disparate attitudes toward his precise role in the initiation and progression of hurnan sin. But it becornes immediately apparent that the devil does more than instigate sin: he performs a range of narrative and thematic functions that 1 will also attempt to illuminate. Certain arnbiguities and tensions in the conceptualization of the devil were left unresolved in the orthodox traditions of the early Middle Ages, representing crucial loci of conflicting demonological paradigms, loci which allowed poets, hornilists, and authors certain latitude in which to construct a variety of acceptable portraits of demonic participation in the human realm, and with which to articulate the precise significance of the devil in history as well as in hurnan 2 psychology. Perhaps these tensions were never satisfactorily resolved in early orthodox tradition specifically because they allowed a flexible range of explorations of the interaction between the human and the demonic. The Old English writers, in any event, worked largely with the same range of demonological conceptual frameworkç as the writers of the first centuries C.E., and dong with these frameworks, the same range of conceptual lacunae and the artistic freedom resulting from those lacunae. 1 hope to show that the Old English composers-especially poeb-in many cases exploited these oppomuiities for creative demonology, psychology, and even ontology above and beyond the precedents found in the source works. To illustrate this thesis, 1 will work systematically through a cross-section of the corpus of Old English narrative
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