To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/805 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. The Juggler of Notre Dame and the Medievalizing of Modernity VOLUME 2: MEDIEVAL MEETS MEDIEVALISM JAN M. ZIOLKOWSKI THE JUGGLER OF NOTRE DAME VOLUME 2 The Juggler of Notre Dame and the Medievalizing of Modernity Vol. 2: Medieval Meets Medievalism Jan M. Ziolkowski https://www.openbookpublishers.com © 2018 Jan M. Ziolkowski The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). 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In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/805#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All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at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/805#resources ISBN Paperback: 978-1-78374-506-7 ISBN Hardback: 978-1-78374-507-4 ISBN Digital (PDF): 978-1-78374-508-1 ISBN Digital ebook (epub): 978-1-78374-509-8 ISBN Digital ebook (mobi): 978-1-78374-510-4 DOI: 10.11647/OBP.0143 Cover image: John Everett Millais, Mariana (1851), oil on mahogany, 59.7 x 49.5 cm, T07533, Tate Britain, London. Cover design: Anna Gatti. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative) and PEFC (Programme for the Endorsement of Forest Certification Schemes) 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. Tumbling Back into France, by Way of Philology 5 A Medieval Poem Comforts a Modern Nation 5 The Simple Middle Ages 7 The Primitive and the Gothic 10 The Oriental and the Gothic 12 The Sacramental Middle Ages 16 The Franco-Prussian War 21 The Virtue of Old French 27 Gaston Paris and the Dance of Philology 30 Gaston Paris and Our Lady’s Tumbler 42 German Philologists 46 2. Notre Dame: The Virgin in Nineteenth-Century France 51 The Age of Mary 51 The Fleur-de-Lis 57 The Apparitions of the Virgin 61 The Reactionary Revolution 69 Cathedralomania 72 Notre-Dame Cathedral and Eiffel Tower 87 3. Franglais Juggling 97 The Anglicizing of the Tumbler 97 Thomas Bird Mosher and Reverend Wicksteed 104 Isabel Butler and Her Publisher 111 Reverend Cormack, Alice Kemp-Welch, and Eugene Mason 116 Katharine Lee Bates and Gothic Wellesley 121 Nostalgia for the Middle Ages 134 4. Anatole France 137 The Local Historian Félix Brun 137 The Poetaster Raymond de Borrelli 149 The Hungarian Dezsö Malonyay 156 Anatole France and Gaston Paris 158 Mayday, Mayday 163 The Little Box of Mother-of-Pearl 164 The Golden Legend and the Irony of Philology 167 5. Le Jongleur de Notre Dame 177 Bricabracomania 177 Saints and Miracles 188 Fantasy and Humility 196 Why Compiègne? 198 Why Barnaby? 201 Jongleur as Juggler 204 Anatole France as Juggler 210 Edwin Markham’s Working-Class Juggler 218 Notes 223 Notes to Chapter 1 223 Notes to Chapter 2 241 Notes to Chapter 3 252 Notes to Chapter 4 269 Notes to Chapter 5 283 Bibliography 297 Abbreviations 297 Archives 297 Referenced Works 297 List of Illustrations 325 Index 337 To Elizabeth Emery I like the Joan of Arc best of all my books; and it is the best; I know it perfectly well. And besides, it furnished me seven times the pleasure afforded me by any of the others: twelve years of preparation, and two years of writing. The others needed no preparation and got none. —Mark Twain Note to the Reader This volume is the second 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 cultural 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 second installment, called “Medieval Meets Medievalism,” examines the reemergence of the medieval narrative after its edition in 1873, its translation into English, and its recasting as a short story by Anatole France. The third in the series, entitled “The American Middle Ages,” explores the reasons why the American not-so- public intellectual Henry Adams was drawn to the story and more largely why many of his compatriots in the Gilded Age found relief and relevance in the literature and architecture of the Middle Ages. Later volumes trace the story of the story down to the present day. 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. Tumbling Back into France, by Way of Philology Edit indeed; Thank God they do. If it had not been for scholars working themselves blind copying and collating manuscripts, how many poems would be unavailable… and how many others full of lines that made no sense?… only the scholar with his unselfish courage to read the unreadable will retrieve the rare prize. —W. H. Auden A Medieval Poem Comforts a Modern Nation The poetry of the Middle Ages definitely offers genuine pleasures even to the most sensitive and cultured souls, provided that they do not refuse out of bias to accept them. —Gaston Paris There is a saying that “books have their destiny.” The Latin of this hallowed aphorism has been chopped in half and wrenched from its original context, which was in a grammar book from the second century of the common era. The full verse reads: “In proportion to the understanding of the reader” and so forth. Let us do our utmost to make sense of what happened to Our Lady’s Tumbler after the Renaissance and Reformation beat down the jongleur and left him in the crypt for dead for approximately four centuries. Yet he and his tale declined to stay deceased. Medieval stories have leached into modern and postmodern Western culture at multifarious moments and in manifold manners. Innumerable ones have led nearly unruptured lives, even if © 2018 Jan M. Ziolkowski, CC BY 4.0 https://doi.org/10.11647/OBP.0143.01 6 The Juggler of Notre Dame and the Medievalizing of Modernity: Volume 2 they have passed in and out of vogue from one century to another. Romances from the Middle Ages have mutated into early modern chapbooks, those pamphlets have in turn been rearranged into ballads from the late medieval period to the nineteenth century, and all these materials and more have been readapted in novels since the nineteenth century. Some of these narratives have welled to the surface again since then, even down to the present day, in children’s books, fantasy films, and video games. Others have not benefited from such unoccluded trajectories, but instead attracted the glare of renewed attention first during the romantic era. Our Lady’s Tumbler stands out as an exception to the usual timeline of the reception in modern culture for major works of literature from medieval France. The last date at which the French piece is confirmed to have been consulted is in the waning years of the fifteenth century. Thereafter the story trickles into oblivion. German terms are sometimes used to characterize the destinies of cultural artifacts after their initial production. One is Nachleben, literally “afterlife.” The seeming death after life of our poem would run through 1872. After being printed in 1873, the text begins its Weiterleben.