From Midrashim to Merlin: the "Translation" of Jewish Commentaries in Heldris De Cornuälle's Le Roman De Silence

The Delta

Volume 2 Issue 1 Article 6

Spring 2007

From Midrashim to Merlin: the "Translation" of Jewish Commentaries in Heldris de Cornuälle's Le Roman de Silence

Renee Scherer '08 Illinois Wesleyan University

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Recommended Citation Scherer '08, Renee (2007) "From Midrashim to Merlin: the "Translation" of Jewish Commentaries in Heldris de Cornuälle's Le Roman de Silence," The Delta: Vol. 2 : Iss. 1 , Article 6. Available at: https://digitalcommons.iwu.edu/delta/vol2/iss1/6

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Works Cited From Midrashim to Merlin: the "Translation" of Jewish Commentaries in Heldris de Cornualle's Le iches to Carole Maso's AVA." A Roman de Silence ~ Maso 's A VA. Ed. Monica Berlin. Renee Scherer Archive Press, 2005. lIers. Helene Cixous : Live Theory. While there has been a great deal of investigation into the ks Ltd, 2004. sources of Arthurian legend, much ofthis has centered around ine Gagnon and Annie Leclerc. La the influence of Celtic legends and has depended upon a strictly Paris: Union Generale d'Editions, 1977. Christian catalogue of comparative imagery. Many ofthe tales latt. Helene Cixous : Writing the ofArthur contain allusions, however, to Jewish biblical ~iversity ofNebraska Press, 1984. commentaries and legends. These connections demonstrate the duction. The Newly Born Woman. By presence of a strong Jewish influence upon the development of Catherine Clement. Trans. Betsy Wing. medieval Arthurian romances. Critic Sarah Roche-Mahdi writes of Literature, vol 24. Minneapolis: that Heldris ofCornwall, the name used by the author of Le esota Press, 1986. ix-xviii. Roman de Silence, "delights in turning and twisting a word, in rmal, IL: Dalkey Archive Press, 1993. lifting a phrase, passage, motif, plot from its context, reversing, expanding or purposefully suppressing it" (7). Heldris makes significant use of Jewish source materials in this process. Heldris' romance traces the story ofthe English King Evan's decree against female inheritance, focusing on the young woman, Silence, who is raised as a male in order to circumvent the king's order. In the course of the Romance, Silence becomes a troubadour, a member of Evan's court, and an admirable example of knighthood. Silence's relative success as a male is challenged when he is exiled from court until he accomplishes the seemingly-impossible task of capturing Merlin, who can, according to the sorcerer's own prophecy, never be taken "except by a woman's trick" (5803). Merlin directs Silence to action and the plot to conclusion: it is because of Merlin's guidance and prophecy that Silence's gender is revealed to the court. The details ofthis Arthurian romance are not unique to Heldris: besides the many more traditional European and Christian influences that have been identified, Silence draws heavily upon the medieval Jewish tradition, including the Talmud and its commentaries. Merlin, particularly, is a translation of figures from Jewish legend. The wizard's image and function are similar to those of both the Talmudic king of demons, Ashmedai, and the often-mysterious visitor and helper of Jewish folklore, the Prophet Elijah. I argue that Merlin is a contemporary translation of figures from Jewish tradition, and 27 Published by Digital Commons @ IWU, 2007 1 The Delta, Vol. 2 [2007], Iss. 1, Art. 6

that, while this translation necessarily removes the characters speaking, personal relations betwe{ from a Jewish context, the cultural significance of the figures is friendly in Western Europe througt maintained: Merlin remains an archetypal "wise fool," even as century (79-80). Michelle Warren { the character blends details from multiple cultures. In this paper accommodation in eleventh and tw I will discuss the use ofJewish source materials in this included "relationships with rabbin Arthurian legend, beginning with an identification ofthe points Parisian theologians ...sought to de' of cultural transmission from Jewish sources to Christian biblical texts" (100 I). Scholars of( writers. I will then analyze Merlin's development from his discuss texts because ofthe close p midrashic precursors, and, through this association, identify a study and devotion. Medieval Franl corresponding association between Silence's King Evan and the Christian cloisters and abbeys, as '" biblical King Solomon. study: Paris itself was home to the. as to the Rashi school ofexegesis ( The Context of Cultural Transmission "famed as a center ofJewish learniJ In order to convincingly establish Merlin as an Anglicized century" (77), and the writings oftl Ashmedai, it is first necessary to explain how the presumably freely consulted by several monks c Christian authors of medieval Arthurian romances may have 76). The Jews consulted by the Chr come into contact with Jewish source materials. Most cultural Leviant concludes, "were doubtless transmission can be explained by early exchanges between academies of Paris" (77). The dialo Christian and Jewish biblical scholars, and by the frequent Christian and Jewish scholars parti~ intellectual, business, and social interaction between Jews and of midrashic material within Christ Christians in Western Europe. The status of Judaism in France Scholarly work was not the onl is of particular interest because many Arthurian legends were transmission between the Jewish an recorded by French authors. Because social and economic conta Jewish and Christian scholars of medieval Europe shared Christians were common (Warren I an interest in studying biblical commentary. From the time of can assume that unscholarly Christi the Church Fathers in the second-century C.E., early hear some Jewish legends" (80). H{ Christianity sought to maintain intellectual contact with Jews: Christian servants on the Sabbath v. early Christians studied Hebrew with Jewish teachers, showing visiting of neighbors, drinking wine that Christians could "learn from, and quote, the rabbinical holidays as the principle among the tradition." These scholars studied midrashic materials to the "ample opportunity for the Jew to e extent that "some legends and exegeses which appear in Jewish Christian friends and thus add to th. works for the first time in the seventh or eighth century had (80). already been transmitted as Jewish tradition by the Church A review ofthe historical relat Fathers from the third through fifth centuries" (Leviant 74). We Christians in Western Europe, espel may easily accept that nascent Christianity would maintain the era easily permitted the transmi: scholarly ties to Jewish intellectuals, but what might have cultural groups. Shared interest in b encouraged the much larger, stronger Church of medieval language, as well as intellectual anc Europe to continue this interaction? contributed to the dissemination of Proximity, as simple as it may sound, is a good and oral folklore to Christian neighl explanation. Jewish and Christian scholars and laymen lived together in medieval towns, and had ample opportunity to engage in intellectual and social exchanges. Generally https://digitalcommons.iwu.edu/delta/vol2/iss1/628 2 - Scherer '08: From Midrashim to Merlin: the "Translation" of Jewish Commentarie

:>0 necessarily removes the characters speaking, personal relations between Jews and Christians were he cultural significance ofthe figures is friendly in Western Europe through the end of the twelfth ains an archetypal "wise fool," even as century (79-80). Michelle Warren explains that cultural ails from multiple cultures. In this paper accommodation in eleventh and twelfth-century France Jewish source materials in this included "relationships with rabbinical scholars in which ning with an identification ofthe points Parisian theologians ...sought to deepen their knowledge of from Jewish sources to Christian biblical texts" (100 I). Scholars of different faiths were able to '{ze Merlin's development from his discuss texts because ofthe close proximity of their centers of ld, through this association, identiry a study and devotion. Medieval France was host to many on between Silence's King Evan and the Christian cloisters and abbeys, as well as centers of Jewish study: Paris itselfwas home to the Abbey of St. Victor, as well as to the Rashi school of exegesis (Leviant 75). The city was 'al Transmission "famed as a center of Jewish learning from the eleventh ingly establish Merlin as an Anglicized century" (77), and the writings of these Jewish scholars were :essary to explain how the presumably freely consulted by several monks of the St. Victor Abbey (75 dieval Arthurian romances may have 76). The Jews consulted by the Christian Parisian scholars, Curt Jewish source materials. Most cultural Leviant concludes, "were doubtless of the famous talmudic )Iained by early exchanges between academies of Paris" (77). The dialogues between these blical scholars, and by the frequent Christian and Jewish scholars partially explain the appearance nd social interaction between Jews and ofmidrashic material within Christian literature. ~urope. The status of Judaism in France Scholarly work was not the only source of cultural because many Arthurian legends were transmission between the Jewish and Christian populations. hors. Because social and economic contact between Jews and m scholars of medieval Europe shared Christians were common (Warren 100 I), Leviant tells that, "we )iblical commentary. From the time of can assume that unscholarly Christians also had opportunity to he second-century C.E., early hear some Jewish legends" (80). He cites the employment of naintain intellectual contact with Jews: Christian servants on the Sabbath within Jewish households, I Hebrew with Jewish teachers, showing visiting of neighbors, drinking wine, and exchanging gifts on earn from, and quote, the rabbinical holidays as the principle among these opportunities, creating il'S studied midrashic materials to the "ample opportunity for the Jew to exchange stories with his Ids and exegeses which appear in Jewish Christian friends and thus add to the stream of oral folklore" in the seventh or eighth century had (80). :d as Jewish tradition by the Church A review of the historical relationship between Jews and :hrough fifth centuries" (Leviant 74). We Christians in Western Europe, especially in France, shows that nascent Christianity would maintain the era easily permitted the transmission of ideas between I intellectuals, but what might have cultural groups. Shared interest in biblical scholasticism and arger, stronger Church of medieval language, as well as intellectual and social proximity, ; interaction? contributed to the dissemination of Jewish writings, legends, lIe as it may sound, is a good and oral folklore to Christian neighbors and intellectuals. d Christian scholars and laymen lived ,wns, and had ample opportunity to ll1d social exchanges. Generally

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Trends in Cultural Translation entire sections of Christian matter a: While Jewish populations enjoyed literacy rates Lecelot's visit to say Mass, and the considerably higher than those of their Christian neighbors, the holiday (59), while other Christian f two populations held somewhat disparate cultural views culturally meaningful and acceptabL regarding the written word. Accepted literature among take on different names and meanin_ Ashkenazic Jews consisted mainly ofthe Jewish Bible, the while the Christmas feast of Uter, tt Talmud, and the commentaries (midrashim). Literature among biblical illusions, can be interpreted Christian courts and churches of Western Europe, however, This very clear example ofthe "jude supported not only scholars ofthe Bible and law, but writers of evidence ofa strong tradition ofcuh secular poetry and, of course, romances. Medieval Jews and Christians; it is I France ofthe early twelfth-century developed a much more that Christian writers and translator.;; restricted attitude towards its Jewish population: Jews were first cultural material into their work, jus. expelled in 1182, and by the mid thirteenth-century faced a Christian tales. "radically reconfigured" French society. The destruction of Hebrew books and the burning ofthe Talmud in Paris The Curious Case ofSilence demonstrate the antagonistic attitude towards non-Christian Heldris' own romance adopts th texts. It is this social context that has been used as evidence in and incorporates them into an Arthll '''judaizing' interpretations" ofChretien de Troyes' works, not blindly introduce these themes, I including Conte de graal (Warren 1002). between the characters and circumst It is also in this time, coincidentally, that Jewish romances, those ofthe Jewish source materials written in Hebrew, appeared in France and Italy. Few ofthese Silence's depictions ofthe character romances remain, but evidence oftheir prevalence may be owe many details to the talmudic le~ guessed by the necessity of a rabbinical decree against them by Ashmedai presented in Gittin 68.a. C Rabbi Judah of Paris, who prohibited "both on Sabbath and knowledge ofthis is unlikely, I wou: weekdays the reading of 'those tales of battles written in the Ashmedai episode appears in a tract vernacular'" (Leviant 56). A similar sentiment was made by for requesting a divorce. This correl. Maimonides to Sephardic Jews, cautioning readers "that it was appropriate for adulterous Eufeme, l: a 'sheer waste oftime'" to read such stories (57). These dispirited Silence.) This tale was exe prohibitions against romances and other secular literature were appearing in midrashim as well as SL rooted in a social tradition that upheld only religious texts, and oral folklore. The 1602 Mayse Bukh some scholarly works, as worthy of study. the tale in its most popular form. Such decrees are, we may presume, reactionary measures "Solomon and Ashmedai" seem: against popular texts. Hebrew writers did, in fact, translate and final events in Silence: Solomon is tc circulate forms of popular Christian texts, folklore, and legend; capture the King of the Demons, As' Jewish writers made these Christian source materials more the powerful shamir, a tool with whL appealing and acceptable to their largely Jewish audience build the holy temple. Solomon send through an editing process that effectively "judaized" the Benaiah, to capture Ashmedai. Bena material. These writers attempted to recast otherwise banned drinking wine, then captures the slee romances in acceptable forms to an appeal to their pious, Merlin's first sequence oflaughs (61 Ashkenazic audience. The writer ofthe 1279 Hebrew Arthurian actions ofthe captured Ashmedai: tit legend King Artus, translated by Leviant, participated in this requesting shoes that will last for se... cultural translation. In this text-itself an Arthurian legend- digging for treasure. Heldris' characl https://digitalcommons.iwu.edu/delta/vol2/iss1/630 4 Scherer '08: From Midrashim to Merlin: the "Translation" of Jewish Commentarie

entire sections ofChristian matter are omitted, including IDslation lations enjoyed literacy rates Lecelot's visit to say Mass, and the presence of the Christmas holiday (59), while other Christian elements are retold in more 1 those oftheir Christian neighbors, the mewhat disparate cultural views culturally meaningful and acceptable ways. The grail and sword lrd. Accepted literature among take on different names and meanings through biblical illusions, ted mainly ofthe Jewish Bible, the while the Christmas feast of Uter, through similar use of biblical illusions, can be interpreted as a Purim celebration (60). ~ntaries (midrashim). Literature among lrches of Western Europe, however, This very clear example ofthe 'judaizing" of a Christian text is lars ofthe Bible and law, but writers of evidence ofa strong tradition ofcultural exchange between Medieval Jews and Christians; it is reasonable, then, to assume mrse, romances. twelfth-century developed a much more that Christian writers and translators would incorporate Jewish ds its Jewish population: Jews were first cultural material into their work, just as Jewish writers adopted y the mid thirteenth-century faced a Christian tales. , French society. The destruction of mrning ofthe Talmud in Paris The Curious Case of Silence listic attitude towards non-Christian Heldris' own romance adopts themes from Jewish sources ntext that has been used as evidence in and incorporates them into an Arthurian legend; the author does ons" ofChretien de Troyes' works, not blindly introduce these themes, however: the correlations between the characters and circumstances of the romance and 1/ (Warren 1002). e, coincidentally, that Jewish romances, those ofthe Jewish source materials are subtle and meaningful. Silence's depictions ofthe characters Merlin and King Evan ~ared in France and Italy. Few ofthese vidence oftheir prevalence may be owe many details to the talmudic legend of King Solomon and y ofa rabbinical decree against them by Ashmedai presented in Gittin 68.a. (Though the author's rho prohibited "both on Sabbath and knowledge of this is unlikely, l would like to point out that the f 'those tales of battles written in the Ashmedai episode appears in a tract outlining suitable reasons 6). A similar sentiment was made by for requesting a divorce. This correlation is tragically lic Jews, cautioning readers "that it was appropriate for adulterous Eufeme, and bitterly ironic for a , to read such stories (57). These dispirited Silence.) This tale was exceedingly popular, nances and other secular literature were appearing in midrashim as well as surfacing independently in ion that upheld only religious texts, and oral folklore. The 1602 Mayse Rukh ("book of tales") preserves the tale in its most popular form. as worthy of study. ve may presume, reactionary measures "Solomon and Ashmedai" seems a very clear parallel of the lebrew writers did, in fact, translate and final events in Silence: Solomon is told by demons that he must lIar Christian texts, folklore, and legend; capture the King of the Demons, Ashmedai, in order to locate ese Christian source materials more the powerful shamir, a tool with which he might cut stone to ,Ie to their largely Jewish audience build the holy temple. Solomon sends his trusted advisor Benaiah, to capture Ashmedai. Benaiah tricks Ashmedai'into :ess that effectively "judaized" the attempted to recast otherwise banned drinking wine, then captures the sleeping demon. In Silence, Merlin's first sequence oflaughs (6195-6224) mirrors the : forms to an appeal to their pious, rhe writer of the 1279 Hebrew Arthurian actions ofthe captured Ashmedai: the demon laughs at a man Islated by Leviant, participated in this requesting shoes that will last for seven years and at a man digging for treasure. Heldris' character laughs at a peasant this text-itself an Arthurian legend- 31 Published by Digital Commons @ IWU, 2007 5 The Delta, Vol. 2 [2007], Iss. 1, Art. 6

carrying new shoes (6190-1), a leper begging for alms (6203-4), Again, Merlin appears in the role of and a priest weeping at a funeral (6214-5). Once Ashmedai is 'friendly helper'" (Roche-Mahdi 9). brought to the king, he eventually tells Solomon the Lorraine Stock's observation th information he desires ("Solomon" 371-6). The following ofthe story about Wild Man Merlin sections will investigate Heldris' use ofthis popular Jewish seems to be connected more with thl legend. Silence than with Merlin himself' (: ofthe role that Merlin actually play~ Merlin's Jewish Ancestors materials regarding Prophet Elijah 0 While scholars have identified the "Ashmedai" legend as a messenger or have him playa simil2 possible source for the "taming ofthe Wild Man" sequence in never a real character in midrashim Arthurian romances-Lucy Paton identifies the motif within the device ofthe plot. Merlin's own lad 'Grisandole' tale (246~ritics Helen Adolfand Sarah Roche is consistent with the Jewish depictic Mahdi, analyzing Heldris' Merlin through a Jewish cultural Roche-Mahdi argues that "the el context, do introduce discussion ofthe similarities between reader [Merlin] is a genuinely 'frienl Merlin and the Prophet Elijah. Evidence for this argument much is added that reinforces the im abounds: Merlin and the Jewish prophet share many physical malicious game" (17). This suspicio: attributes; they also commonly fulfill simplistic roles as the is likely due to Merlin's seemingly c characters both appear as humble/old men (184), they are both how could a character who seems to prophets ofsorts, and neither figure has a traditional, literal after all, be seen as innocent or even death (183). seem to appear in disparate depictior It is in the guise ofan old man that Elijah roams among the transformed into something semi-hu, people, directing them along their correct paths and lending his operates outside of civilization's ruh assistance where he may. Just like Elijah, though, Merlin "is a humanity is very visual. He appears ; master of impersonation" (Stock 26). Heldris' Merlin appears a man all covered with hair, twice in the romance as an old man offering assistance before as hairy as a bear. he is seen as the Wild Man. The first time he is seen in "the He is as fleet as a woodland guise of the wise old man at Cador's court" and the second time Herbs and roots are his food he is the old man who tells Silence how to capture Merlin The contradictory nature of Merlin (Roche-Mahdi 9). In his first appearance, Merlin convinces fool-is a reflection ofthe nature of Cador that the errant youth returned to court is really his "son," Ashmedai. The king of demons, whe Silence: servant Benaiah, does more than lau; A certain old man examined the youth closely inappropriate moments: he also guid and saw what he was up to. correct path, and cries when the pair He spoke his mind to the count: ("Solomon" 373). These behaviors 31 'That is your son Silence, audience does not expect a demon tc he has learned the minstrel's art. (3559-63) the audience cannot reconcile why tl: Merlin/the old man functions in this instance as a "mysterious for the new bride who, he says, will helper" in much the same way as the Prophet Elijah does in instances, however, demonstrate the talmudic legends. In his second appearance as the old man, demon, like Merlin, appears to have Merlin tells Silence how to capture the famous wizard, actions, but each ofthese figures use instructing, "Ifyou want to trap him / do as I tell you" (5968-9). (Stock 26) to effect solutions. https://digitalcommons.iwu.edu/delta/vol2/iss1/632 6 - Scherer '08: From Midrashim to Merlin: the "Translation" of Jewish Commentarie

~O-l), a leper begging for alms (6203-4), Again, Merlin appears in the role of"what folklorists call a a funeral (6214-5). Once Ashmedai is 'friendly helper'" (Roche-Mahdi 9). Lorraine Stock's observation that "Heldris' incorporation ~ventually tells Solomon the ,"Solomon" 371-6). The following ofthe story about Wild Man Merlin from the Vulgate Cycle ~ Heldris' use ofthis popular Jewish seems to be connected more with the ultimate transformation of Silence than with Merlin himself" (25) is a valuable assessment ofthe role that Merlin actually plays. The Jewish source ,tors materials regarding Prophet Elijah often show him as a e identified the "Ashmedai" legend as a messenger or have him playa similarly passive role. Elijah is ''taming ofthe Wild Man" sequence in never a real character in midrashim or talmud; he is, instead, a ,ucy Paton identifies the motif within the device ofthe plot. Merlin's own lack ofcharacter development -----<:ritics Helen Adolf and Sarah Roche is consistent with the Jewish depiction of the figure. ns' Merlin through a Jewish cultural Roche-Mahdi argues that "the elements that persuade the iscussion ofthe similarities between reader [Merlin] is a genuinely 'friendly helper' are absent, and Elijah. Evidence for this argument much is added that reinforces the impression that he is playing a e Jewish prophet share many physical malicious game" (17). This suspicion on the part of the reader nmonly fulfill simplistic roles as the is likely due to Merlin's seemingly contradictory depictions: as humble/old men (184), they are both how could a character who seems to purposefully trick himself, ,either figure has a traditional, literal after all, be seen as innocent or even sympathetic? Merlin does seem to appear in disparate depictions: the old man is 'an old man that Elijah roams among the transformed into something semi-human, something that along their correct paths and lending his operates outside of civilization's rules. Merlin's withdraw from IY. Just like Elijah, though, Merlin "is a humanity is very visual. He appears as: n" (Stock 26). Heldris' Merlin appears a man all covered with hair, »an old man offering assistance before as hairy as a bear. ~an. The first time he is seen in ''the He is as fleet as a woodland deer. Ian at Cador's court" and the second time Herbs and roots are his food. (5929-32) :ells Silence how to capture Merlin The contradictory nature of Merlin-his apparent role as a wise fool-is a reflection ofthe nature of his Jewish forefather IS first appearance, Merlin convinces Solom~n's )uth returned to court is really his "son," Ashmedai. The king ofdemons, when captured by servant Benaiah, does more than laugh at seemingly nan examined the youth closely inappropriate moments: he also guides a blind man to his he was up to. correct path, and cries when the pair pass a happy wedding nind to the count: ("Solomon" 373). These behaviors are odd because, 1) the :on Silence, audience does not expect a demon to help those in need, and 2) the minstrel's art. (3559-63) the audience cannot reconcile why the demon feels compassion Ictions in this instance as a "mysterious for the new bride who, he says, will soon be widowed. These me way as the Prophet Elijah does in instances, however, demonstrate the wisdom of Ashmedai. The s second appearance as the old man, demon, like Merlin, appears to have ulterior motives for his w to capture the famous wizard, actions, but each ofthese figures use "his brains, not his brawn" nt to trap him / do as I tell you" (5968-9).. (Stock 26) to effect solutions.

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The laughter of both Merlin and Ashmedai is powerful. man had come "with socks on his fi This is perhaps because it is an abuse of the great wisdom held question alludes to a popular signal by Merlin/Elijah/Ashmedai. While the laughter of Ashmedai for whatever reason, have feet like I can be excused-he is a demon-Merlin's laughter is harder to precise species varies). Because the excuse. Merlin was only briefly depicted as a Wild Man, while was wearing socks, it is assumed th Ashmedai is understood to permanently exist in his demon like feet from her. Merlin, whose m form. As a composite ofthe Jewish figures of the prophet and is encompassed by these Jewish e1e the demon, Merlin is expected to maintain, in some way, the gathering place of souls, the domair "good helper" tradition of Elijah. Merlin's judicial skill at the relates directly to Merlin's natural v denouement may be similar to the arguments Elijah makes on connection to the bird-footed Ashm the behalf of troubled Jews, but the goals of Merlin's condemns hi m to the role ofan upst maneuvers are unclear. Roche-Mahdi describes Merlin's laughter as "the distancing laughter of a supernatural being who As Ashmedai, So Solomon... mocks mortals for their blindness and their futile attempts to Heldris' adoption ofthese Jewh escape their destiny" and says his laughter is "the spiteful complexity ofSilence: by understan laughter of one who takes particular pleasure in revealing translation of Elijah and Ashmedai, women' s secrets" (17). understand that Evan may be a trans failing rule of Evan could correspon A Last Argument for the Composite Character Solomon faces when he is deposed I There is a strange and oft-overlooked image that clearly with his many deficiencies, to at lelt connects the medieval French Merlin with the Jewish prophet particularly gullible Solomon, who i and demon: birds. Merlin's name, of course, alludes to a legend, into giving the symbols ofh specific bird; the character himself, as well as his talmudic What critic Roche-Mahdi refers to a ancestors, is meaningfully connected to avian imagery. Adolf potential" (17)-the importance of ~ describes the work of scholars to attempt to identifY the especially at and following the deno meaning of"esplumoir Merlin" in Robert de Boron's Perceval too, of a Jewish element. The shamil story, stating that the esplumoir has, thus far, been found to male connotation through its associa signal "an abode for a bird" (174). She tells that this link Silence's femininity may be an inve: between a prophet (Merlin) and home for a bird ("esplumoir") is paralleled by the promised prospe has Jewish origins: "Robert had access to some Jewish shamir is obtained-principally, the sources...there do we find an Otherworld Abode, called the and symbolic assertion ofthe securil Bird's Nest" within both the Zohar and Seder Gan Eden (175). This heavenly Bird's Nest is associated with the Jewish The Universality of Carnival Criti Messiah, and, through the Messiah, it is linked to Elijah, who The success ofthis cultural tran "We must expect.. .to be present wherever the Jewish Messiah the shared carnival nature of the me. is mentioned" (182). Elijah and Merlin are both linked, then, to Merlin and Ashmedai both laugh at what is probably a very figurative, pious location that is normal social order, thus introducin; associated with the soul's home or gathering place. respective plots. Silence discusses 8.1 Ashmedai, though, has a very profane link to bird imagery. shows Evan to be an inversion ofa ~ At the end ofthe Ashmedai tale, Solomon's wife reveals that a Merlin who, above all, displays a I the imposter already slept with' her; the king's advisors ask her attributes. Roche-Mahdi writes that "Did you look at his [the demon's] feet?" She replies that the and an example "ofthat subversive, https://digitalcommons.iwu.edu/delta/vol2/iss1/634 8 Scherer '08: From Midrashim to Merlin: the "Translation" of Jewish Commentarie

h Merlin and Ashmedai is powerful. man had come "with socks on his feet" ("Solomon" 375). This :it is an abuse ofthe great wisdom held question alludes to a popular signal in Jewish folklore: demons, edai. While the laughter ofAshmedai for whatever reason, have feet like birds (often chickens, but the precise species varies). Because the man who came to the queen l demon-Merlin's laughter is harder to y briefly depicted as a Wild Man, while was wearing socks, it is assumed that he was hiding his bird :J to permanently exist in his demon like feet from her. Merlin, whose name already alludes to birds, fthe Jewish figures ofthe prophet and is encompassed by these Jewish elements: the peaceful lpeeted to maintain, in some way, the gathering place of souls, the domain of the Messiah and Elijah, of Elijah. Merlin's judicial skill at the relates directly to Merlin's natural wisdom, while his nilar to the arguments Elijah makes on connection to the bird-footed Ashmedai simultaneously ews, but the goals of Merlin's condemns him to the role of an upstart and fool. Roche-Mahdi describes Merlin's :ing laughter ofa supernatural being who As Ashmedai, So Solomon... :blindness and their futile attempts to Heldris' adoption ofthese Jewish motifs adds to the ld says his laughter is "the spiteful complexity of Silence: by understanding Merlin as a combined ces particular pleasure in revealing translation of Elijah and Ashmedai, the audience can also understand that Evan may be a translation of Solomon. The failing rule of Evan could correspond to the years of exile that the Composite Character Solomon faces when he is deposed by Ashmedai; Evan seems, il.I1d oft-overlooked image that clearly with his many deficiencies, to at least be a likely parallel to a French Merlin with the Jewish prophet particularly gullible Solomon, who is tricked, according to lin's name, of course, alludes to a legend, into giving the symbols of his office to the demon king. cter himself, as well as his talmudic What critic Roche-Mahdi refers to as Silence's "reproductive lily connected to avian imagery. Adolf potential" (17)-the importance of Silence's femininity :cholars to attempt to identify the especially at and following the denouement-may be a parallel, . Merlin" in Robert de Boron's Perceval too, of a Jewish element. The shamir sought by Solomon has a splumoir has, thus far, been found to male connotation through its associated with "stones." While bird" (174). She tells that this link Silence's femininity may be an inversion ofgender, her fertility :rlin) and home for a bird ("esplumoir") is paralleled by the promised prosperity that will occur once the obert had access to some Jewish shamir is obtained-principally, the construction of the temple find an Otherworld Abode, called the and symbolic assertion of the security of the old Jewish faith. th the Zohar and Seder Gan Eden (175). ~est is associated with the Jewish The Universality of Carnival Critique the Messiah, it is linked to Elijah, who The success of this cultural transmission is due, perhaps, to be present wherever the Jewish Messiah the shared carnival nature ofthe medieval source materials. :Iijah and Merlin are both linked, then, to Merlin and Ashmedai both laugh at and cause inversions of y figurative, pious location that is normal social order, thus introducing the carnival into their d's home or gathering place. respective plots. Silence discusses an inversion of gender, ,has a very profane link to bird imagery. shows Evan to be an inversion of a prosperous king, and depicts ledai tale, Solomon's wife reveals that a Merlin who, above all, displays a multitude of contradictory .ept with her; the king's advisors ask her attributes. Roche-Mahdi writes that Silence is an antiromance, he demon's] feet?" She replies that the and an example "ofthat subversive, secularizing literature that

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bursts forth in the twelfth-century and is an endangered species Works Cor by the later 1200s" (19). If Silence "subverts earlier romance" (19), it does so because Heldris transforms the stock "fool" Adolf, Helen. "The Esplumoir Me character ofMerlin into a complex jester: while the fool of Sources." Speculum 2 \.2 (194 folklore provokes laughter to demonstrate social wrongs, the Heldris de Cornualle. Silence: A 'l presence oflaughter and carnival in Silence illuminates not only Romance. Ed. and trans. Sarai' social inequities themselves, but the faulty reasoning that MI: Michigan State UP, 1999. causes social distress. Merlin's ability to form this critique of Leviant, Curt. "Jewish Aspects of Evan and his rule is analogous to Ashmedai's own carnival King Artus: A Hebrew Arthuri disposition of Solomon. trans. Curt Leviant. Syracuse, Just as Hebrew translations ofArthurian romances were 107. used by Hebrew poets to transmit moral and political concepts ---. "Literary Background ofthe H to the Jews of Western Europe, Christian writers used Jewish King Artus: A Hebrew Arthuri materials to introduce moral and political commentary. Heldris' trans. Curt Leviant. Syracuse, gendered inversion of romance conventions is enhanced by the 60. introduction ofJewish motifs. These motifs allow Heldris to Paton, Lucy A. "The Story of Oris: manipulate a preexisting allegorical world tradition that was Legend of Merlin." PMLA 22: deeply rooted within both Jewish and Christian contemporaries. Roche-Mahdi, Sarah. "A Reapprai: The result of this manipulation is a timeless commentary that the Roman de Silence." Arthur takes full advantage ofthe ability ofcarnival oppositions to "Solomon and Ashmedai." Great 1 illustrate social criticism. and the Occult. Ed. and trans. , Woodstock, NY: Peter Mayer Stock, Lorraine Kochanske. "Civil Cultural Primitivism and Mer! Roman de Silence." Arthurianc Warren, Michelle R. "Memory Ow in the Roman de Brut and Mer. 1014.

https://digitalcommons.iwu.edu/delta/vol2/iss1/636 10 Scherer '08: From Midrashim to Merlin: the "Translation" of Jewish Commentarie th-century and is an endangered species Works Consulted I. IfSilence "subverts earlier romance" Heldris transforms the stock "fool" Adolf, Helen. "The EspJumoir Merlin: A Study in its Cabalistic Sources." Speculum 21.2 (1946): 173-193. I a complex jester: while the fool of Iter to demonstrate social wrongs, the Heldris de Cornualle. Silence: A Thirteenth-Century French d carnival in Silence illuminates not only Romance. Ed. and trans. Sarah Roche-Mahdi. East Lansing, ~lves, but the faulty reasoning that MI: Michigan State UP, 1999. v1erlin's ability to form this critique of Leviant, Curt. "Jewish Aspects of Some Arthurian Motifs." ilogous to Ashmedai's own carnival King Artus: A Hebrew Arthurian Romance of1279. Ed. and trans. Curt Leviant. Syracuse, NY: Syracuse UP, 2003. 73 I. Ilslations ofArthurian romances were 107. to transmit moral and political concepts ---. "Literary Background ofthe Hebrew Arthurian Romance." Europe, Christian writers used Jewish King Artus: A Hebrew Arthurian Romance of1279. Ed. and noral and political commentary. Heldris' trans. Curt Leviant. Syracuse, NY: Syracuse UP, 2003. 50 romance conventions is enhanced by the 60. motifs. These motifs allow Heldris to Paton, Lucy A. "The Story of Grisandole: A Study in the 19 allegorical world tradition that was Legend of Merlin." PMLA 22: 234-76. oth Jewish and Christian contemporaries. Roche-Mahdi, Sarah. "A Reappraisal ofthe Role of Merlin in pulation is a timeless commentary that the Roman de Silence." Arthuriana 12.1 (2002): 6-21. 'the ability ofcarnival oppositions to "Solomon and Ashmedai." Great Tales ofthe Jewish Fantasy m. and the Occult. Ed. and trans. Joachim Neugroschel. Woodstock, NY: Peter Mayer Publishers, 1987.371-376. Stock, Lorraine Kochanske. "Civilization and its Discontents: Cultural Primitivism and Merlin as a Wild Man in the Roman de Silence." Arthuriana 7.2 (1997): 7-34. Warren, Michelle R. "Memory Out of Line: Hebrew Etymology in the Roman de Brut and Merlin." MLN 118 (2003): 989 1014.

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