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The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 5: Tumbling Into the Twentieth Century The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 5: Tumbling into the Twentieth Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ziolkowski, Jan M. The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 5: Tumbling into the Twentieth Century. Cambridge, UK: Open Book Publishers, 2018. Published Version https://www.openbookpublishers.com/product/821 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40880863 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Juggler of Notre Dame and the Medievalizing of Modernity VOLUME 5: TUMBLING INTO THE TWENTIETH CENTURY JAN M. ZIOLKOWSKI THE JUGGLER OF NOTRE DAME VOLUME 5 The Juggler of Notre Dame and the Medievalizing of Modernity Vol. 5: Tumbling into the Twentieth Century Jan M. Ziolkowski https://www.openbookpublishers.com © 2018 Jan M. Ziolkowski This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Jan M. Ziolkowski, The Juggler of Notre Dame and the Medievalizing of Modernity. Vol. 5: Tumbling into the Twentieth Century. Cambridge, UK: Open Book Publishers, 2018, https://doi.org/10.11647/OBP.0148 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/821#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers. com/product/821#resources ISBN Paperback: 978-1-78374-534-0 ISBN Hardback: 978-1-78374-535-7 ISBN Digital (PDF): 978-1-78374-536-4 ISBN Digital ebook (epub): 978-1-78374-537-1 ISBN Digital ebook (mobi): 978-1-78374-538-8 DOI: 10.11647/OBP.0148 Cover image: Illustration of the juggler performing before the Virgin. From Anatole France, Le Jongleur de Notre-Dame, illustrated by Maurice Lalau (Paris: A. & F. Ferroud, 1924), p. 23. Cover design: Anna Gatti All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), PEFC (Programme for the Endorsement of Forest Certification Schemes) and Forest Stewardship Council(r)(FSC(r) certified. Printed in the United Kingdom, United States, and Australia by Lightning Source for Open Book Publishers (Cambridge, UK) Contents Note to the Reader 3 1. Juggling across Print 5 Printed Books as Pseudomanuscripts 11 Image-Makers Go Mainstream 13 Missal Attack 37 Handwriting the Medieval 45 Typing a Translation 52 Medieval French for Amateurs 55 A One-Novel French Novelist 56 French Language-Study 59 2. Juggling across New Media 63 Making a Spectacle of Miracle 64 Sister Beatrice 71 Sister Angelica 86 Audio Recording 87 Silent Film 91 Charlie Chaplin: Tramp Meets Tumbler 92 3. Juggling across Faiths 95 The Ecumenical Juggler 95 The Hasidic Whistle-Blower 100 The Jewish Jongleur 104 The Catholic Juggler 108 The Juggler and the Paulines 114 Two Bills: Buckley Jr. and Bennett 116 The Lyric Juggler and Patrick Kavanagh 119 “The Chapel at Mountain State Mental Hospital” 124 4. The Yuletide Juggler 127 Easter Tumbling 127 The Commercial Aesthetic of “Ye Olde” 129 Noel Juggling: The Gift That Keeps on Giving 144 The Juggler in Holiday Books and Cards 154 Amateur Theater 161 Mass Radio 165 Mid-Century Medieval US Television 172 Postwar Britain 174 The French Connection 177 Juggler Film 179 Juggler Christmas Books Live On 180 Related Stories of the Season 183 5. Children’s Juggler and Child Juggler 193 Suitable for Children 193 Downsizing the Juggler 199 American Children’s Literature 204 European Children’s Literature 213 Global Children’s Entertainment 227 Folktale or Faketale? 229 Tomie dePaola’s The Clown of God 238 Notes 247 Notes to Chapter 1 247 Notes to Chapter 2 269 Notes to Chapter 3 280 Notes to Chapter 4 293 Notes to Chapter 5 321 Bibliography 345 Abbreviations 345 Referenced Works 345 List of Illustrations 369 Index 385 To Mary Carruthers Nothing that has ever happened should be granted as lost for history. Admittedly, only redeemed humanity inherits its past fully; that is to say, only redeemed humanity has its past in each of its moments become citable. —Walter Benjamin Note to the Reader This volume is the fifth of a half dozen. Together, the six form The Juggler of Notre Dame and the Medievalizing of Modernity. The book as a whole probes one medieval story, its reception in culture from the Franco-Prussian War until today, and the placement of that reception within medieval revivalism as a larger phenomenon. The study has been designed to proceed largely in chronological order, but the progression across the centuries and decades is relieved by thematic chapters that deal with topics not restricted to any single time period. This fifth installment, labeled “Tumbling through the Twentieth Century,” documents the explosion of interest in the story after the success of Massenet’s opera Le jongleur de Notre Dame in the early twentieth century. One manifestation of popularity comes to the fore in books, typescripts, and manuscripts. Another can be traced in performances, recordings, and films. A third category of evidence appears in the appropriation of the story by members of different faiths, especially but not solely as it is made into stock Christmas fare for theater, radio, television, and film. The final volume will follows the story of the story from the Second World War down to the present day. The narrative was put to an astonishing range of uses during the war years. In the fifties and sixties, it experienced what turned out to be a last hurrah in both high culture and mass culture. Afterward, it became the occasional object of playfulness and parody before slipping into at least temporary oblivion. The chapters are followed by endnotes. Rather than being numbered, these notes are keyed to the words and phrases in the text that are presented in a different color. After the endnotes come the bibliography and illustration credits. In each volume-by- volume index, the names of most people have lifespans, regnal dates, or at least death dates. One comment on the title of the story is in order. In proper French, Notre-Dame has a hyphen when the phrase refers to a building, institution, or place. Notre Dame, without the mark, refers to the woman, the mother of Jesus. In my own prose, the title is given in the form Le jongleur de Notre Dame, but the last two words will be found hyphenated in quotations and bibliographic citations if the original is so punctuated. All translations are my own, unless otherwise specified. 1. Juggling across Print In these times of plenteous knowledge and meager performance, if we do not study the ancient work directly and learn to understand it, we shall find ourselves influenced by the feeble work all round us, and shall be copying the better work through the copyists and without understanding it, which will by no means bring about intelligent art. Let us therefore study it wisely, be taught by it, kindled by it; all the while determining not to imitate or repeat it; to have either no art at all, or an art which we have made our own. —William Morris The first two and a half decades of the twentieth century turned over a new leaf in the story of the tumbler or jongleur. In both Europe and North America, the tale is attested first and foremost in what might be called high culture. The ground for this interest, and for this specific mode of making the medieval modern, was readied in more than one way. In the initial stage, philologists from within the Germanosphere participated, alongside peers from other European traditions, by establishing the text of the French poem from the Middle Ages after its discovery. Augmenting their work, Gaston Paris promulgated appreciation of the original to a larger public in France, through concise but glowing praise of Our Lady’s Tumbler in his lectures and literary histories. The next phase came thanks to the reception of Anatole France’s short story. His prose narrative would have been widely accessible to the educated, because French was the most esteemed language of culture in Europe and its colonies, both past and present. Beyond the cultured, the tale as translated into a host of other tongues was soon propagated to a worldwide readership. In due course, the musical drama of Jules Massenet arrived. It won a foothold through premieres in Monaco, Germany, and France, but attained runaway success only after Mary Garden became implicated. Her involvement coincided with the Golden Age of Opera in the United States when Oscar Hammerstein I ratcheted up the reach of such entertainment not only in a handful of major cities on the coasts, with Chicago added for good measure, but far beyond.
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