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Word & Image Henry Suso's Horologium

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Word & Image Henry Suso's Horologium This article was downloaded by: [Rozenski, Steven] On: 27 October 2010 Access details: Access Details: [subscription number 928675093] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Word & Image Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t716100761 Henry Suso's Horologium Sapientiae in fifteenth-century France: images of reading and writing in Brussels Royal Library MS IV 111 Steven Rozenski Jr. Online publication date: 27 October 2010 To cite this Article Rozenski Jr., Steven(2010) 'Henry Suso's Horologium Sapientiae in fifteenth-century France: images of reading and writing in Brussels Royal Library MS IV 111', Word & Image, 26: 4, 364 — 380 To link to this Article: DOI: 10.1080/02666281003603146 URL: http://dx.doi.org/10.1080/02666281003603146 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Henry Suso’s Horologium Sapientiae in fifteenth-century France: images of reading and writing in Brussels Royal Library MS IV 111 STEVEN ROZENSKI, JR. The book is tripartite and symbolizes me alone. The parchment that encloses it betokens my pure, white, and just humanity that suffered death for you. The words betoken my tremendous divinity that flows from hour to hour into your soul from my holy mouth. The sound of the words betokens 1 my living spirit — and through it the truth is consummated. 1 – ‘Das bu˚ch ist drivaltig und bezeichent — Mechthild von Magdeburg (ca. 1210–1285), Das flie ende Licht der Gottheit alleine mich. Dis bermit, das hie umbe gat, bezeichent min reine, wisse, gerehte menscheit, die dur dich den tot leit. Du´ wort His presence is Enchantment — bezeichent mine wunderliche gotheit; du´ You beg him not to go — vliessent von stunden ze stunde in dine sele us Old volumes shake their vellum heads von minem go¨tlichen munde. Du´ stimme der And Tantalize — just so — worten bezeichent minen lebendigen geist — Emily Dickinson (1830–1886), Poem 371 und vollebringet mit im selben die rehten warheit’. Das flie ende Licht der Gotheit, ed. Tot sunt codices de vitiis et virtutibus magistraliter tractantes, tot sunt quaterni quaestiones Gisela Vollman-Profe (Frankfurt am: subtilissimas et propositiones diversas pertractantes, ut prius vita brevis deficiat, quam omnia Deutscher Klassiker Verlag, 2003), p. 136 (my studere, sed necdum perlegere contingat. translation). – Henry Suso, Horologium Sapientiae II.3 Henry Suso, despite the frustrated epigraph above, loved his books. The Swabian Dominican (ca. 1295–1366) was constantly immersed in textuality: reading con- templative and devotional texts, writing edifying vernacular and Latin treatises, and commissioning murals of scenes and sayings from the Vitae Patrum (a popular collection of the lives of the early Egyptian desert fathers) to decorate the walls of his cell. Visual input — both pictorial and textual — was similarly central to his spiritual life; sharing stories, pictures, and texts was the lifeblood of the pastoral Downloaded By: [Rozenski, Steven] At: 16:51 27 October 2010 role he played in his community. It is no wonder, then, that Brussels Royal Library MS IV 111, the illuminated mid-fifteenth-century manuscript containing a French translation of Suso’s wildly popular devotional treatise, the Horologium Sapientiae,containsnumerousrepresentations of reading and writing, equating 2 – The critical edition is edited by Pius Ku¨nzle, Horologium Sapientiae (Freiburg, these activities as part and parcel of Suso’s well-noted imagistic and visionary Switzerland: Universita¨tsverlag, 1977). See 2 devotional strategies. A close examination of the use of books and texts in the also Edmund Colledge’s English translation, iconographic program of the manuscript reveals the illuminator’s sophisticated Wisdom’s Watch Upon the Hours (Washington, D.C.: Catholic University of America Press, understanding of Suso’s concern with authority and textuality; the images of 1994). All quotations will be taken from banderoles and scrolls represent a nuanced portrayal of the interaction between Colledge’s edition and cited parenthetically speech and writing in the practice of devotional reading. by page number; the Latin quotation will be Vita Life of the Servant provided in the sidenotes with the corre- The or , first described by Richard Kieckhefer as Suso’s sponding page number from the Ku¨nzle edi- auto-hagiography, contains the most detailed descriptions of the mystical and tion. The most extensive work on Suso’s devotional practices engaged in by Suso and his devotees. Suso’s spiritual marriage relationship to images is Jeffrey Hamburger’s to the Goddess Sapientia [Eternal Wisdom] is described in unambiguously textual magisterial The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany (New terms: she presents herself only through sacred scripture and is most distinctly York: Zone Books, 1999), esp. pp. 197–278. 364 WORD & IMAGE, VOL. 26, NO. 4, OCTOBER–DECEMBER 2010 Word & Image ISSN 0266-6286 # 2010 Taylor & Francis http://www.tandf.co.uk/journals/tf/02666286.html DOI: 10.1080/02666281003603146 present to Suso when the Wisdom Books are being read at mealtime. He is able to see her, for instance, ‘as far as he was able to imagine her through the explanatory examples of scripture with his inner eyes’ (‘als verr er si in den usgeleiten bischaften 3 3 – All quotations are from Heinrich Seuse. der schrift mit den inren ogen gesehen mohte’, B 14). Seeing and reading properly Deutsche Schriften, ed. Karl Bihlmeyer is at the heart of his mystical marriage to Eternal Wisdom. (Stuttgart: W. Kohlhammer, 1907) and will be cited parenthetically within the body of the His relationship with Elsbeth Stagel, his ‘spiritual daughter’, is also inten- 4 essay by page number preceded by ‘B’. All sely textual: he praises her compilation of a Schwesterbuch and encourages her translations from the Middle High German to confess to him by writing her sins on a wax tablet. One of his best- are mine, made in consultation with Frank remembered acts of devotion (and certainly the one that earned him the Tobin’s translation in Henry Suso: the Exemplar, with two German Sermons (Mahwah, NJ: Paulist most attention from scribes in the manuscript tradition) is the violent com- Press, 1989). pression of image and text, artist and author, in the scarred tissue spelling out 4 – A book of the pious lives of a community the divine monogram IHS that forms after he carves it into the flesh above his of nuns, often composed or compiled by sev- eral authors over a period of decades. heart. This takes place both in the German Vita and the Latin Horologium (II.7). Elsewhere, even the scarring of the flesh above his heart is seen as an inadequate textual relationship with Christ; Suso expresses a wish to gild his heart itself: ‘Owe herr, ko¨nd ich dich uf min herz gezeichen, ko¨nde ich dich in daz innigoste mins herzen und miner sele mit guldinen bu˚chstaben gesmel- zen, daz du niemer in mir vertilget wurdist! [O Lord, would that I could carve you on my heart, would that I could melt you into the innermost parts of my heart and soul with golden letters so that you could never be separated from me! {Tobin: erased in me!}]’ (B 228). His English contemporary, Richard Rolle (1290–1349), although strikingly similar to Suso, was content simply to imagine the wounds of Christ’s body as a text without imitating the bloody act of inscription on his own flesh: ‘swete Ihesu, þi bodi is lijk a book writen wiþ 5 5–Yorkshire Writers: Richard Rolle of Hampole, an reed enke: so is þi bodi al writen wiþ rede woundis’. English Father of the Church and his Followers, ed. Later on, Elsbeth Stagel imitates Suso’s authorship, albeit in a different C. Horstman (London: Swan Sonnenschein & Co., 1895), Vol. I, p. 97. medium: she embroiders the monogram in red silk on small pieces of cloth and shares them with others. By mimicking his authorship, she follows in his imitation of the suffering of Christ and his devotion to the Holy Name. But by changing the medium, she offers the reader a model of textual transmission — i.e. just as I shared this small monogram from Suso-the-exemplar with others, so you too might do the same with the bits of the Exemplar-text you find most 6 6 – For the best introduction to the value of useful or inspiring — that occludes the extremism of Suso’s bloody act. As sententiae and exempla to medieval readers, see Hamburger concludes, the ‘imitatio Christi is recast in ritualized, institutiona- Ernst Robert Curtius, European Literature and Downloaded By: [Rozenski, Steven] At: 16:51 27 October 2010 the Latin Middle Ages, trans. Willard R. Trask lized forms, governed by texts and enacted through images . Suso’s example (Princeton, NJ: Princeton University Press, mediates between Stagel and Christ; she reproduces his practice, without 1990), pp. 57–61. reenacting it’.7 Crucial to Suso’s concept of authorship in these passages, 7 – Hamburger, Visual and the Visionary, p.
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