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Culture of Memory in East Central Europe in the Late Middle Ages and the Early Modern Period

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Culture of Memory in East Central Europe in the Late Middle Ages and the Early Modern Period Culture of Memory in East Central Europe in the Late Middle Ages and the Early Modern Period Prace Biblioteki Uniwersyteckiej – nr 30 Rafał Wójcik (ed.) Culture of Memory in East Central Europe in the Late Middle Ages and the Early Modern Period Conference proceedings Ciążeń, March 12-14, 2008 Biblioteka Uniwersytecka Poznań 2008 Editor Rafał Wójcik Organizers Rafał Wójcik, University Library, Poznań Lucie Doležalová, Center for Theoretical Study, Prague Gábor Farkas Kiss, Eötvös Loránd University, Budapest Organizational Committee Artur Jazdon, Aldona Chachlikowska, Krystyna Jazdon, Aleksandra Szulc, Hanna Wieland, Rafał Wójcik Gratefully acknowledging support of the University Library in Poznań and International Visegrad Fund http://lib.amu.edu.pl www.visegradfund.org English Language Editor Tomasz Olszewski, University Library, Poznań German Language Editor Christian Myschor, Adam Mickiewicz University, Poznań Technical Proofreading Marlena Pigla Krystyna Sobkowicz © Copyright by University Library in Poznań Poznań 2008 ISBN 978-83-60961-00-1 ISSN 0860-1933 Front panel: Imagines agentes, ff . 206v-207r, Ms. 734, Zakład Narodowy im. Ossolińskich in Wrocław Printing preparation RHYTMOS, ul. Grochmalickiego 35/1, 61-606 Poznań, www.rhytmos.pl Printed and bound PPHU TOTEM SC, ul. Świętokrzyska 53, 88-100 Inowrocław, www.totem.com.pl All parts of this publication are protected by copyright. Any utilization outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfi lming, and storage and processing in electronic retrieval systems. Contents Preface (Rafał Wójcik) ............................................................................................................. 7 SABINE SEELBACH Wissensorganisation contra Gebrauchsfunktion? Zum Erkenntniswert von Überlieferungsgeschichte am Beispiel der Memoria-Handschriften der Staatsbibliothek Olmütz ............................................................................................. 11 CLAIRE NORTON Erasing Oral Residue and Correcting Scribal Error: Re-Interpreting the Presence of Mnemo-Technical Practices in Ottoman Manuscripts in the Early Modern Period .............................................................................................. 27 ALEXANDRU N. CIZEK Antike Memoria-Lehre und mittellateinische versus diff erentiales ................................. 43 GRETI DINKOVA-BRUUN Biblical Versifi cation and Memory in the Later Middle Ages ......................................... 53 KRZYSZTOF BRACHA Das Gedächtnis in der Praxis des mittelalterlichen Predigers .......................................... 65 MIECZYSŁAW MEJOR Ars versifi candi and ars memorativa. Geoff rey of Vinsauf on the Art of Memory (ars memoriae) ................................................................................................................. 79 BENEDEK LÁNG The Art of Memory and Magic (the ars memorativa and the ars notoria) ...................... 87 LUCIE DOLEŽALOVÁ Matouš Beran and his Wordplays: A Case Study on the Art of Memory in Late Medieval Bohemia ............................................................................................... 95 FARKAS GÁBOR KISS Valentinus de Monteviridi (Grünberg) and the Art of Memory of Conrad Celtis .......... 105 RAFAŁ WÓJCIK, WIESŁAW WYDRA Jakub Parkoszowic’s Polish Mnemonic Verse about Polish Orthography from the 15th Century ...................................................................................................... 119 WITOLD WOJTOWICZ Memoria und Mnemotechnik in der Chronica Polonorum vom Bischof Vincentius (ca. 1150-1223) ....................................................................... 129 6 Contents RYSZARD GRZESIK Did Two Models of the Memory about the Domestic Origins Exist in the Hungarian Medieval Chronicles? ......................................................................... 139 ADRIEN QUÉRET-PODESTA The Historical Conscience in the Annales Posonienses and in the Historical Notes of the Pray Codex and Their Place in the Hungarian Medieval Historiography ............ 149 BALÁZS NAGY Memories of the Self: The “Autobiography” of Charles IV in Search of Medieval Memories ................................................................................... 161 KRZYSZTOF RATAJCZAK The Dynastic Memory and the Role of Historical Books in the Education of the Piasts from the 10th to the 14th Centuries .............................................................. 167 LÁSZLÓ TAPOLCAI The Changes of the Figure of Piast, the Protoplast of the First Polish Royal Dynasty in the Historical Tradition from Gallus Anonymus to Marcin Bielski ........................... 179 MICHAEL SCHULTE Recollecting the Runes: Memory Culture in the Viking Age ......................................... 187 JOLANTA RZEGOCKA Mnemotechnical Strategies at Play: Early Modern Polish Theatre and Its Manuscripts ......................................................... 205 ALICJA BORYS Ich [...] habe diese Figur, als ich zu Konstantinopel gesehen, meinem lieben Bruder […] zum freundlichen Gedächtnis malen lassen. Erinnerungen an die Reise in die Türkei in einigen der ältesten Stammbüchern aus dem deutschen Kulturraum ...................................................................................... 213 RAFAŁ T. PRINKE Memory in the Lodge. A Late 18th Century Freemasonry Mnemonic Aid .................... 227 JEANNIE J. ŁABNO Remembering the Polish Renaissance Child – in memoria ............................................ 239 KATEŘINA HORNÍČKOVÁ Bishop Phillibert of Coutance’s Catholic Restoration in Hussite Prague ...................... 255 S. ADAM HINDIN Civic Ritual and memoria in the Gelnhausen Codex ..................................................... 265 SNEZANA FILIPOVA Medieval Paintings in Macedonian Churches and Applied Arts as the Echo of the Heraldic Society ................................................................................................... 277 Notes on Contributors .......................................................................................................... 289 List of Illustrations ............................................................................................................... 295 Farkas Gábor Kiss (Budapest) Valentinus de Monteviridi (Grünberg) and the Art of Memory of Conrad Celtis Thomas Klorbius, a fi ctional theologian of the early 16th century, is credited with a letter by the unknown publisher of the second part of the Letters of Obscure Men (1517), in which the art of memory is mentioned as a important element of late medi- eval scholastic culture, and parodied along with the typical targets of this sarcastic letter collection (scholasticism, Scotism, rudimentary knowledge of grammar): “You have recently mentioned in a letter our theologian as being well-lettered, and a Doctor of long standing, and a profound Scotist, and deeply versed in the Book of Sentences. You also averred that he had conned by rote the whole book of the Holy Doctor Of Entity and Essence, and that he knew The Fortress of Faith like his paternoster, and that by memorative art he had impressed the Formalities of Scotus upon his mind like so much wax; and fi nally, you alleged that he was a member of ten universities.”1 Ulrich von Hutten, the most probable candidate for the authorship of the second part of the letters, considered art of memory as a characteristic accessory of scholastic learning, and his attitude can be easily paralleled to Erasmus’ rejection of this tech- nique.2 Although the art of memory was ridiculised by the most prominent humanists of the second decade of the 16th century, still it was a popular subject that even the “German arch-humanist” Conrad Celtis deigned to put his his attention to it a few decades earlier. 1 Epistolae obscurorum virorum: the Latin text with an English rendering, ed. Francis Stokes (London: Chatto & Windus, 1925), 426. Vos nuper scripsistis in uno dictamine de uno Magistro nostro, quod est valde doctus, et est Doctor multorum annorum, et est profundus Scotista: et est valde cursivus in libris sententiarum: etiam scit mentetenus totum librum Doctoris sancti de ente et essentia, et Fortalitium fi dei est ei sicut pater noster, et per artem memorativam impressit sibi formalitates Scoti, sicut ceram, et ultimo scribitis, quod est membrum decem Universitatum. 2 See e.g. Paolo Rossi, Logic and the Art of Memory. The Quest for a Universal Language, transl. by Stephen Clucas (London: Athlone Press, 2000), 2-6. 106 FARKAS GÁBOR KISS Figure 1. Conrad Celtis: Epitoma, Ingolstadt, Kachelofen, 1492, c2r By the end of the 15th century, the Ciceronian method of the art of memory, based on images and places, was so widely popularised by various treatises that critics appeared who tried to gain audience by formulating their own memory doctrines. One of the most interesting new treatises is contained in the Epitoma in utramque Cic- eronis rhetoricam of Cornad Celtis, the ‘German archhumanist’ (fi gure 1).3 As it is well known, the fi rst published books of Celtis were practical handbooks for teach- ing poetry and rhetoric at university level. In 1486, he published the Ars versifi candi et carminum in Leipzig, which was a compilation for teaching metrics based on the previous such works of Jacobus Wimpheling, Niccolò Perotti, Leonigo da Ognibene, and, to a lesser extent, on the Doctrinale of Alexader de Villa Dei and anonymous medieval texts.4 When
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