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The Carole: a Study of a Medieval Dance

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The Carole: a Study of a Medieval Dance THE CAROLE A STUDY OF A MEDIEVAL DANCE To my sister The Carole A Study of a Medieval Dance ROBERT MULLALLY First published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 Robert Mullally Robert Mullally has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Mullally, Robert. The carole: a study of a medieval dance. 1. Dance – England – History – To 1500. 2. Dance – France – History – To 1500. 3. Dance music – 500–1400. I. Title 793.3'1942'0902-dc22 Library of Congress Cataloging-in-Publication Data Mullally, Robert. The carole : a study of a medieval dance / Robert Mullally. p. cm. Includes bibliographical references and index. ISBN 978-1-4094-1248-9 (hardcover : alk. paper) 1. Carole (Dance) 2. Carole (Dance)– Social aspects. 3. Choreography. I. Title. GV1796.C17M85 2010 793.3–dc22 2010046652 ISBN 9781409412489 (hbk) Contents List of Plates vii List of Music Examples ix Acknowledgements xi List of Abbreviations xiii Introduction xv 1 The History of the Term Carole since c. 1400 1 2 The Etymology of the Word Carole 9 3 The Earliest Citations of the Term Carole and the Relationship of Carole to Chorus and Chorea 19 4 Theories about the Choreography 31 5 A Reconstruction of the Choreography 41 6 Carole, Bal, Danse, Tresche 51 7 The Lyrics 63 8 The Music 79 9 The Iconography 93 10 Carola in Italian 101 11 Carole in Middle English 111 Appendix A Music Examples 119 Appendix B Manuscripts Cited in Chapter 9 121 Appendix C ‘Maiden in the Mor Lay’ 123 Bibliography 125 Index 145 List of Plates The Plates are located between pages 80–81. 1 PBN, fonds fr. 25566 (1291–97), fol. 128v. Jacquemart Gielée, Renart le Nouvel, ‘Vous n’ales mie’. The first of the four short songs sung for the carole. 2 PBN, fonds fr. 25566, fol. 129r. The three remaining songs for the carole in Renart le Nouvel: ‘Ja ne serai sans amour’, ‘Tres douche dame jolie’, ‘Hé Dieus’. 3 OBL, MS Bodley 264 (1338–44), fol. 181v. Jean de Brisebarre, Le Restor du Paon, with the music for the song for the carole, ‘Ensi va’. 4 OBL, Additional MS, A. 22 (c. 1300), fol. 15r. Guillaume de Lorris and Jean de Meun, Le Roman de la Rose. The carole. 5 LBL, Additional MS, 10293 (c. 1316), fol. 292v. Anonymous, The Prose Lancelot. The carole. 6 OBL, MS Bodley 264, fol. 181v (detail). Le Restor du Paon. The carole. 7 LBL, Additional MS, 12042 (c. 1400), fol. 7r. Le Roman de la Rose. The carole. 8 Andrea di Bonaiuto (Andrea da Firenze). Detail of the fresco (c. 1365) in the Cappellone degli Spagnoli of the convent of Santa Maria Novella, Florence, Italy, showing girls dancing. 9 Ambrogio Lorenzetti, Gli effetti del buon governo. Detail of the fresco (1338–39) in the Sala della Pace of the Palazzo Pubblico, Siena, Italy, showing girls dancing. List of Music Examples 1 Jacquemart Gielée, Renart le Nouvel 119 (a) ‘Vous n’ales mie’ (ll. 2544ff) ‘Rois Nobles’ (male) 119 (b) ‘Ja ne serai sans amour’ (ll. 2548ff) ‘La roine’ (female) 119 (c) ‘Tres douche dame jolie’ (ll. 2552ff) ‘Renars’ (male) 119 (d) ‘Hé Dieus’ (ll. 2556ff) ‘Hersens’ (female) 120 2 Jean Brisebarre, Li Restor du Paon ‘Ensi va’ (ll. 1170–73) (Rondeau) ‘Elyot’ (female) 120 Acknowledgements The writing of an extensive work inevitably involves the help and co-operation of others. This is particularly true of a work such as this, which, because of its interdisciplinary nature, crosses many boundaries. It is therefore an agreeable task to record here my indebtedness to the individuals and institutions that made the completion of my project possible. In particular I should like to thank my sister, Evelyn, for her support and encouragement throughout the years that I have been engaged in writing this work. I should also like to take this opportunity to acknowledge the advice and suggestions of those who have helped to make my contribution to the study of medieval dance more accurate and informative than it otherwise might have been. First, I wish to express my gratitude to Karen Pratt, of the Department of French, King’s College London, for her keen observations and comments. Readers will be aware that my investigation entailed the examination of texts in several languages, and I would want to record here the advice and suggestions of Carlotta Dionisotti of the Department of Classics at King’s who read some of my translations from Latin. Likewise I would like to thank Janet Cowen of the Department of English who read a draft of my last chapter and gave me some pointers. The palaeography of medieval music is a field of research where resources do not abound. I was particularly grateful, therefore, to be able to enlist the help of several distinguished scholars: Daniel Leech-Wilkinson of the Department of Music at King’s who read an early draft of Chapter 8, and made some interesting comments and also Mark Everist of the Department of Music at the University of Southampton who read a later draft of the same chapter, and returned it to me with the expected magisterial observations. My thanks are also due to Nicolas Bell, Curator, Music Collections at the British Library, who checked my transcriptions of a number of medieval dance tunes. In connection with this chapter too, I would like to thank Daphne J. Harvey, who performed the indispensable function of répétitrice at a session when I tested the practicalities of performing the carole with a number of her fellow music students at King’s rounded up for the occasion, and whose help I acknowledge here. In the almost wholly uncharted waters of the iconography of the medieval dance, I am especially grateful to Susie Nash of the Courtauld Institute of Art (University of London), for her copious suggestions on possible sources of information. This is also the place to acknowledge the assistance of those people, too many to mention by name, who answered my diverse queries. It goes without saying that a large proportion of one’s time is spent in libraries. I would wish it to be known that the help and expertise in many fields of their members of staff has not gone unrecognized. Most notably I should like to thank Jim Sutton and Stuart Bond of Information Services and Systems at King’s for xii The Carole: A Study of a Medieval Dance their clarity, expertise and patience in dealing with my multifarious computer problems. Here, too, I want to mention in particular the librarians and assistants of the following libraries: the Bodleian Library, The British Library, the University of London Library, the Conway Library of the Courtauld Institute of Art, the library of Lincoln’s Inn, the Taylorian Institute, the Département des Manuscrits (Division Occidentale) of the Bibliothèque Nationale de France. For the inclusion of photographic reproductions in this work I wish to acknowledge permission granted to me by the following institutions and organizations: the Bodleian Library, University of Oxford (Plates 3, 4 and 6); The British Library, London (Plates 5 and 7); the Bibliothèque Nationale de France, Paris (Plates 1 and 2); the Servizio Musei Comunali di Firenze and ATS Italia Editrice srl, Rome (Plate 8); the Comune di Siena and Edizioni Lombardi, Siena (Plate 9). An undertaking such as this inevitably necessitates visits to libraries away from home with the consequent additional expenses. In my case such trips were facilitated by a number of small grants. I would like, therefore, to thank those funding bodies who made them: the University of London Central Research Fund for a grant for a short stay in Paris while I studied manuscripts at the Bibliothèque Nationale; the Humanities Research Committee of King’s College, London for a grant for the same purpose at the Bodleian Library, Oxford. Finally I would also like to thank the School of Advanced Studies of the University of London for bursaries to attend one-day seminars on aspects of palaeography. List of Abbreviations Battaglia Grande dizionario della lingua italiana. Ed. Salvatore Battaglia et al. 21 vols. Turin, 1961–2002 FEW Französisches etymologisches Wörterbuch. Ed. Walther von Wartburg. Bonn, 1928– Godefroy Dictionnaire de l’ancienne langue française et de tous ses dialectes du IXe siècle au XVe siècle. Ed. Frédéric Godefroy. 10 vols. Paris, 1880–1902 Huguet Dictionnaire de la langue française du seizième siècle. Ed. Edmond Huguet. 7 vols. Paris, 1925–67 Index The Index of Middle English Verse. Ed. Carleton Brown and Rossell Hope Robbins. New York, 1943 LBL London, The British Library MED Middle English Dictionary. Ed. Hans Kurath, Sherman Kuhn et al. 14 vols. Ann Arbor, MI, 1956–99 MGG 2 Die Musik in Geschichte und Gegenwart. 2nd ed. Ed. Ludwig Finscher. 9 vols. Kassel, 1994–98 New Grove 1 The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. 20 vols. London, 1980 New Grove 2 The New Grove Dictionary of Music and Musicians.
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