An In-Depth Look at the Original Production of Ordo Virtutum by Hildegard of Bingen

Total Page:16

File Type:pdf, Size:1020Kb

An In-Depth Look at the Original Production of Ordo Virtutum by Hildegard of Bingen An In-Depth Look at the Original Production of Ordo Virtutum by Hildegard of Bingen “Daughters of Israel, God raised you from beneath the tree, so now remember how it was planted.” –Humility from Ordo Virtutum Introduction Hildegard of Bingen (1098-1179) was a German abbess in medieval times. She has been a saint of the Catholic church only since 2012, but she was a genius of her time. A woman of many talents, she was a composer, a theologian, an early scientist, writer, and so on. In her lifetime, she only wrote one play, Ordo Virtutum (or The Order of the Virtues), which was performed in 1152. This project sought to seek as much information as possible on why she created this play and its place in the history of theatre. Methodology Finding out what I needed to know was fairly straight forward: read and make conclusions from those readings. Thirteen sources were used for this project. This included biographies on Hildegard of Bingen’s life, other research written on medieval theatre, and an English translation of the original text. Major Conclusions • There is a strong possibility that this was the first performance of a play written by a woman with a cast of women in Western theatre history. • The performance of this work gave Hildegard a loophole to preach in the Christian church where women weren’t allowed to. • Ordo Virtutum gives present readers a greater understanding of what Christians valued in the 12th century, particularly with its emphasis on humility and the virtue of contempt for the world. • This play provided closure for the qualms Hildegard had with her close friend Richardis of Stade. • This play marks the transition between the writing of morality plays from liturgical dramas. The plot is structured like a morality play, but the form it’s written in more closely resembles a liturgical play. It’s essentially a morality play written like a liturgical drama. Research by Marie Phillips SFA Theatre With Special Thanks to Faculty Sponsor: Dr. Rick Jones.
Recommended publications
  • The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H.
    [Show full text]
  • Jonson's Use of the Morality of Vice in Volpone and the Alchemist
    JONSON'S USE OF THE MORTALITY VICE IN VOLPONE AND THE ALCHEMIST JONSON'S USE OF THE MORALITY VICE IN VOLPONE AND THE ALCHEMIST By JANE CHRISTINE GARRETT A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jane Christine Garrett, September, 1990 MASTER OF ARTS (1990) McMaster University (English) Hamilton, Ontario TITLE: Jonson's Use of the Morality of Vice in Volpone and The Alchemist AUTHOR: Jane Christine Garrett, Hons. B.A. (McMaster University) SUPERVISOR: Dr. Anthony Brennan NUMBER OF PAGES: vi, 98 11 ABSTRACT This thesis is an attempt to demonstrate the ways in which Ben Jonson incorporates some of the qualities of the Morality Vice into the lead characters of Volpone and The Alchemist. While critics have often ignored Jonson's Morality heritage, the similarity between his lead cozeners and the Vice is often striking. Face and Mosca's overwhelming love of the theatre manifests itself in their superior ability to create a drama in which their scheming partners and ambitious clients expose the faults to which all humanity is prone. Certainly, as it strives to rule the dramatic world, the Vice forms a precarious bond with the audience. Its Morality traits underscore its evil nature and therefore alienate us from the Vice to some degree. However, this figure could imitate humanity and thus invites the audience into an uncomfortable camaraderie which exposes the spectators' own attraction to greed. The first chapter of my thesis examines many of the Vice's central characteristics, such as his love of masks and his ability to create and sustain anarchy.
    [Show full text]
  • Ph.D. THESIS Ewa Błasiak
    UNIVERSITY OF WROCŁAW Faculty of Letters Ph.D. THESIS Ewa Błasiak The Return of the Morality Play in Anglophone Drama of the First Half of the Twentieth Century Supervisor prof. dr hab. Ewa Kębłowska-Ławniczak Co-supervisor dr Marcin Tereszewski Wrocław 2020 2 ACKNOWLEDGEMENTS I wish to express my gratitude to my supervisor, Professor Ewa Kębłowska-Ławniczak, for her mentorship, guidance and constant support throughout the writing process. I am grateful for her patience, encouragement and the time she devoted to helping me develop this project. I would also like to thank her for being an extraordinary academic teacher, for it was the intellectual challenge of her English Literature classes which I attended as a first-year undergraduate student that inspired me to undertake further studies in this direction. I wish to extend my gratitude to my co-supervisor, Doctor Marcin Tereszewski, for the attention he gave to this thesis and for his invaluable suggestions. I am also grateful to the entire Institute of English Studies at the University of Wrocław for providing me with a stable and stimulating academic environment during all the years I spent there as an undergraduate and postgraduate student. I wish to thank all my teachers and lecturers for instilling in me curiosity and equipping me with skills which proved indispensable in working on this thesis. 3 4 Contents Introduction: Within and Beyond the Middle Ages ........................................ 7 Modern reception and assessment of the Middle Ages .................................................... 12 The notion of medievalism ............................................................................................... 18 Part I: The Return of the Morality Play Tradition to Contemporary British, European and American Drama and Its Reception .......................
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures
    CB WSf University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS PhD THESIS Submitted by Agnes MATUSKA Supervisor Dr. Attila KISS Szeged 2005 THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS INTRODUCTION 3 1. THEORETICAL BACKGROUND, METHODOLOGY 11 1. L THE QUESTION OF EPISTEMOLOGICAL CRISIS 12 1.2 DIALECTICAL TRAGEDY: EPISTEMIC CHANGE IN THEATRE 21 1.3 "IF ACODE IS CRUMBLING..." 25 1.4 REPRESENTATIONAL CRISIS IN SHAKESPEARE 28 2. HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY 35 2. L PROBLEMS OF DEFINITION 35 "YOU WILL LEARN TO PLAYE THE VICE": PROBLEMS OF INTERPRETATION 37 2.2 VICES 48 Merry Report 49 Ambidexter 52 Haphazard 56 Punisher or punished? 60 The Fool in the Vice 66 2.3. VICE-SUCCESSORS AND FOOLS 72 Intriguer villains 73 Sir John Falstaff: The Vice-Fool 77 The "corrupter of-words": Feste 81 Deceiver among deceivers: Parolles 85 Afterlife of post-vices and the common life of lago and the Fool 87 2.4. THE VICE-CLOWN ON THE SHAKESPEAREAN STAGE 91 3. METADRAMA 97 3. L METADRAMA AND THE VICE, A DEFINITION OF THE TERM 97 3.1.1 The Vice as mediator 97 3.1.2 Metadrama in Shakespeare-criticism 102 3.2 MEANING AS AN EVENT - IAGO AND METADRAMA IN OTHELLO 107 3.2.1 Commenting on drama, involving the audience 109 3.2.2 Iago's book of identity and role-playing 110 3.2.3 Plays -within - Iago as director 117 3.2.4 Representation as fiction 121 3.2.5 Iago's metadramatic effect—summary 122 3.3 METADRAMATIC ASPECTS OF THE FOOL 124 3.3.1 The Fool and his audience 125 3.3.2 "All thy other titles " 127 3.3.3 Plays of the fool -within and without.
    [Show full text]
  • Comparison of the Two Plays
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Eliška Poláčková Everyman and Homulus: analysis of their genetic relation Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eliška Poláčková Acknowledgement I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his patient and kind help, Prof. PhDr. Eva Stehlíková for useful advice, and Mgr. Markéta Polochová for unprecedented helpfulness and support. Table of Contents Introduction ....................................................................................................................... 1 1 Morality Play and Its Representatives ........................................................................... 3 1.1 Morality Play .......................................................................................................... 3 1.2 Everyman ................................................................................................................ 5 1.3 Homulus .................................................................................................................. 7 2 Concept of Translation in The Middle Ages ................................................................. 9 3 Comparison of Everyman and Homulus ...................................................................... 11 3.1 Composition .........................................................................................................
    [Show full text]
  • ENGUSH MORAL INTERLUDE Douglas William Hayes A
    RHETORICAL SUBVERSION 1s THE ENGUSH MORAL INTERLUDE Douglas William Hayes A dissertation submitted in conformity with the requirernents for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Douglas William Hayes 2000 National Library Bibliothèque natior\ale 1+1 ofhnacîa du Canada Acquisitions and Acquisitions et Bibliographic Services senrices bibliographiques 395 Wellington Street 395. tue WeWmgton OltawaON K1AW WONK1AW CanaQa CMada The author has granted a non- L'auteur a accordé une licence non exclusive Licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in rnicrofonn, vendre des copies de cette thèse sous paper or electronic fonnats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Rhetorical Subversion in the English Moral Interlude Doctor of Phitosophy, 2000 Douglas William Hayes Department of Eaglish, University of Toronto My focus of study is the popular English moral interlude and later relateci plays, frorn The Castle of Perseverance (circa 1425) to the end of the Tudor period. 1 view these plays froma a perspective that centers on the use of rhetoric as a means of persuasion, and the ways in which that means of persuasion is placed in the service of good and evil ends--often simultaneously.
    [Show full text]
  • 31295003784336.Pdf (7.278Mb)
    Copyright 1984 by Nancy Gayle Myers Allen A CRITICAL EDITION OF TWO TUDOR INTERLUDES: NICE WANTON AND THE DISOBEDIENT CHILD by NANCY GAYLE MYERS ALLEN, B.S. in ED., M.A DISSERTATION IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted uec^jiber, .iy»^ ^(3 1 ACKNOWLEDGMENTS I wish to express my deep appreciation to Professor Donald W. Rude, Chairman of my Committee, for his direction of this study and for his support and guidance during my years at Texas Tech. I want to thcuk Professor Ernest W. Sullivan for his careful readings and helpful criticisms of this study. My thanks also to Professors Joseph Mogan, Richard Crider, and Constance Kuriyama for their comments. T. also wish to thank Norma McDougal, a gracious friend, for her help in ide;-!f ifyin^ Biblical allusions and their sources. Special thanks to The University Quarterly Club for financial assistance in completing this work jnd t- the Carl H. Pforzheimer Library for permission to use microfilr.i of The Disobedient Child. In addition, I want to thank my typist and friend Juanita Ramirez; who worked with such speed and accuracy under the most trying circumstances. Finally, I owe my greatest debt to my husband, Jim, whose support and encouragement have helped make my dream a reality. This work is dedicated to him. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii INTRODUCTION iv TEXT OF NICE WANTON 1 GLOSS AND EXPLANATORY NOTES 28 HISTORY OF THE TEXT 36 RATIONALE OF THE COPY-TEXT 58 TEXTUAL APPARATUS 78 TEXT OF THE DISOBEDIENT CHILD 94 GLOSS AND EXPLANATORY NOTES 167 HISTORY AND RATIONALE 178 BIBLIOGRAPHY I94 iii INTRODUCTION IV INVilODUC'IION The English prodigai-son plays of the early -sixteenth century resulted from the blending of two literary traditions, oae foreign and one domestic.
    [Show full text]
  • Theatre and Reality in the Novel by Barry Unsworth “Morality Play” Revista Publicando, 5 No 16. (1). 2018, 421-428. ISSN 1390-9304
    Theatre and reality in the novel by barry unsworth “morality play” Revista Publicando, 5 No 16. (1). 2018, 421-428. ISSN 1390-9304 Theatre and reality in the novel by barry unsworth “morality play” Olga A. Baratova1, Vera B. Shamina1, 1 Kazan Federal University, Institute of Philology and Intercultural Communication, [email protected] Abstract The purpose of this essay is to analyze the novel by the British writer of the late 20th – early 21st century Barry Unsworth – "Morality Play" (1995), which takes place in the late Middle Ages, in terms of its theatricality. Theatricality in the English literature of this period becomes the significant art category. In this work the concept of theater permeates all levels of the novels’ structure – thematic, lexical, psychological and philosophical, resulting in the ultimate theatralization of the text. Theatricality becomes its fundamental principle, which reflects itself in visualization, dialogization, attempts to orchestrate individual lives and life at large, etc. In Barry Unsworth’s novel it contributes to the creation of a metatheatrical picture of the world, when the border between theater and reality is completely blurred – life and theatre are interchanging and eventually theatricality increasingly develops into a postmodern carnival, which is characterized by multiplicity, lack of clear ideological orientation, mixture of high and low, overlapping game nature. Keywords: postmodernism, metaphor, theatricality, theatralization, metatheatre 421 Received 19/05/2018 Approved 30/06/2018 Theatre and reality in the novel by barry unsworth “morality play” Revista Publicando, 5 No 16. (1). 2018, 421-428. ISSN 1390-9304 Introduction Diverse palette of drama techniques has been repeatedly used in literature introducing them into the semantic field of the works of fiction.
    [Show full text]
  • Medieval Drama Teaches the Spectators What They Already Know; It Therefore Lacks Excitement, Surprise and Alienation.” Discuss, with Reference to the Morality Plays
    Alistair Welch for Katie Walter Girton College King’s College, 558 “Medieval drama teaches the spectators what they already know; it therefore lacks excitement, surprise and alienation.” Discuss, with reference to the morality plays. There appears to be some critical debate concerning the number of extant morality plays available to the modern reader. Pamela M. King asserts authoritatively: “only five medieval English morality plays survive”1, whereas Robert Potter suggests a number close to twenty2. However, this essay deals with the three examples published in the New Mermaid3 edition edited by G.A Lester, namely Mankind, Everyman and Mundus et Infans. As such my reading is admittedly confined to a selection of texts canonically recognised and consciously labelled as examples of morality play. If such a dull opening paragraph has a purpose it is to suggest that the very definition of a text as a morality play is problematic. It suggests that the plays operate as a coherent group and, more significantly, encourages a reading of the texts within the received limitations of their genre. The OED defines morality play as follows: “morality play now chiefly hist., a kind of drama popular in the 15th and early 16th centuries, intended to inculcate a moral or spiritual lesson, in which the chief character are personifications of abstract qualities.” So, according to the OED, morality play as a genre is tied to a notion of teaching and moralizing through stock allegorical technique. By definition, therefore, its dramatic potential might be understood to be limited. Indeed, the terms of the question and the OED’s definition might appear to be corroborated by the closing speeches, essentially the epilogues, of Mankind and Everyman: “Thynke and remembyr the world ys but a wanite As yt ys prowyd daly by diverse transmutacyon.” (Mankind, 908-09) “Ye hearers take it of worth olde and yonge.
    [Show full text]
  • Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected]
    University of San Diego Digital USD English Faculty Publications Department of English 2009 The inS ging 'Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected] Follow this and additional works at: http://digital.sandiego.edu/english_facpub Digital USD Citation Giles-Watson, Maura, "The inS ging 'Vice': Music and Mischief in Early English Drama" (2009). English Faculty Publications. 2. http://digital.sandiego.edu/english_facpub/2 This Article is brought to you for free and open access by the Department of English at Digital USD. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital USD. For more information, please contact [email protected]. Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher.
    [Show full text]
  • The Mirror of Salvation
    BIBLIOTHECA NEERLANDICA EXTRA MUROS Published under the auspices of the International Association for Dutch Studies (formerly Working Committee of Professors and Lecturers of Dutch Language and Literature at Universities outside the Netherlands and Belgium) II THE MIRROR OF SALVATION A MORAL PLAY OF EVERYMAN translated from the Dutch by ADRIAAN J. BARNOUW Editorial board: Dr. P. Brachin (Paris), Dr. J. M. Jalink (formerly Bonn), Dr. J. E. Loubser (Port Elizabeth), Dr. L. E. Schmitt (Marburg), F. P. Thomassen (The Hague), Dr. W. Thys (Lille) , G. de Vries (Copenhagen), Dr. Th. Weevers (London). THE MIRROR OF SALVATION The Mirror of Salvation AMoral Play of Everyman c. 1490 translated from the Dutch by ADRIAAN ]. BARNOUW MARTINUS NI]HOFF / THE HAGUE / 1971 © I97I by Martinus Nijhoff, The Hague, Netherlands All rights reserved, including the right to translate 01' to reproduce this book 01' parts thereof in any form ISBN 978-90-247-5095-5 ISBN 978-94-011-7530-2 (eBook) DOl 10.1007/978-94-011-7530-2 TABLE OF CONTENTS ACKNOWLEDGMENT VII INTRODUCTION by Adriaan J. Barnouw IX THE MIRROR OF SALVATION A Moral Play of Everyman c. 1490 I V ACKNOWLEDGMENT The late professor Barnouw devoted the greater part of his life to the promulgation of Dutch language and culture abroad. Numerous are the books, articles, and addresses in which he, from New York, as a Queen Wilhelmina Professor at Columbia University, pointed out the richness of his homeland by the North Sea. This posthumously appearing translation of the 15th century Dutch morality play Elckerlijc may prove to be the most precious of them all.
    [Show full text]