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Introduction NOTES Introduction 1. Ovid, Metamorphoses VI.114, ed. and trans. Frank Justus Miller, Loeb Classical Library (London: William Heinemann, 1916, repr. 1984), p. 296. 2. Mary ]. Carruthers, The Craft of Thought (Cambridge: Cambridge University Press, 1998), p. 67. 3. Hesiod, Theogony, trans. Richmond Lattimore (Ann Arbor, MI: University of Michigan Press, 1959, repr. 1978), p. 127. 4. Hesiod, Theogony, trans. Lattimore, p. 128. 5. Plato, Phaedrus and Letters VII & VIII, ed. and trans. Walter Hamilton (Middlesex, England: Penguin Books, 1973), p. 96. 6. Daniel Schacter, Searching for Memory (New York: BasicBooks, 1996), p. vii. 7. Martha Banta, "Ifi Forget Thee, Jerusalem," PMLA 114.2 (March 1999): p. 175. 8. Schacter, Searching, p. 8. 9. Schacter, Searching, pp. 2-3, 48-9. 10. Schacter, Searching, p. 23. 11. Schacter, Searching, p. 47. 12. Schacter, Searching, p. 57. 13. Gail McMurray Gibson, The Theater of Devotion (Chicago: University of Chicago Press, 1989), p. 114. 14. The reference to plays as "quike bookis" occurs throughout the anony­ mous fifteenth-century "tretise of miraclis pleyinge," a tract against plays, ed. Clifford Davidson (Washington DC: University Press of America, 1981), p. 45 and elsewhere. The "tretise" is discussed in more detail later in the text. 15. Carruthers, The Book of Memory (Cambridge: Cambridge University Press, 1990), pp. 221-57. 16. Charles Pythian-Adams, "Ceremony and the Citizen: The Communal Year at Coventry, 1450-1550," in Crisis and Order in English Towns, 1500-1700, ed. Peter Clark and Paul Slack (London: Routledge and Kegan Paul, 1972), p. 58. 17. Pythian-Adams, "Ceremony," in Crisis and Order, p. 69. 148 NOTES 18. Kathleen Ashley, "Sponsorship, Reflexivity, and Resistance: Cultural Readings of the York Cycle Plays," in The Performance of Middle English Culture, ed. Kathleen Ashley (Cambridge, UK: D.S. Brewer, 1998), p. 9. 19. Ashley, "Sponsorship," in Performance of Middle English Culture, p. 9. 1 Medieval Culture and the Memory Arts 1. Quintilian states "Nee audiendi quidam, quorum est Albucius, qui tris modo primas esse partis volunt, quoniam memoria atque actio natura non arte contingant ... "in Institutio Oratoria (vol. 4) III. iii. 4, ed. H.E. Butler, Loeb Classical Library (Cambridge, MA: Harvard University Press, 1922, repr. 1936 ... 1961, 1968), p. 24. 2. Cicero writes in Book II of a man, "doctus ... atque in primis eruditus," who offered to teach Themistocles the art of memory [artem memo­ riae) "quae tum primum proferebatur" (De Oratore II. lxxiv. 299, ed. E.W. Sutton, 2 vols. [Cambridge, MA: Harvard University Press, 1942, repr. 1948, 1959, 1967), p. 426). In the later dialogue, Antony describes the subject of memory and its systems as "nota et pervulgata [well known and familiar)" in Cicero's day; see De Oratore II. lxxxvii. 358, pp. 468-70. 3. Cicero, De Oratore, I. xviii, p. 14. 4 ....et totus de quo diximus adhuc inanis est labor nisi ceterae partes hoc velut spiritu continentur (Quintilian, Insitutio Oratoria XI. 2. 1, p. 59). 5. Quintilian, Institutio Oratoria XI. 2. 1, p. 58. 6. Cicero, De Oratore II. lxxxvi. 351, p. 464. 7. .. hac tum re admonitus invenisse fertur ordinem esse maxime qui memoriae lumen afferret. Itaque esi qui hanc partem ingeni exercerent locos esse capiendos et ea quae memoria tenere vellent effingenda animo atque in eis locis collocanda: sic fore ut ordinem rerum locorum ordo conservaret, res autem ipsas rerum effigies notaret, atque ut locis pro cera, simulacris pro litteris uteremur (Cicero, De Oratore II. lxxxvi. 353-55, p. 467). 8. etenim corpus intellegi sine loco non potest (Cicero, De Oratore II. lxxxvii. 358, p. 468). 9. Cicero, De Oratore II. lxxxvii. 358, pp. 470-1. 10. Cicero, De Oratore II. lxxxvii. 358, p. 470. 11. Cicero, De Oratore II. lxxxvii. 357, pp. 468-9. 12. uterque tanquam litteris in cera sic se aiebat imaginibus in eis locis quos haberet quae meminisse vellet perscribere (Cicero, De Oratore II. lxxxviii. 360, p. 470). 13. According to Quintilian, "Memoriam quidam naturae modo esse manus existimaverunt," Institutio Oratoria III. iii. 4, p. 25 14. videtur iuvari memoriam signatis animo sedibus, Quintilian, Institutio Oratoria XI. ii. 17, p. 66. NOTES 149 15. incipiunt ab initio loca haec recensere, et quod cuique crediderunt repos­ cunt, ut eorum imagine admonentur, Quintilian, Institutio Oratoria XI. ii. 20, p. 68. 16. Quintilian, Institutio Oratoria XI. ii. 21, p. 69. 17. Opus est ergo locis, quae vel finguntur vel sumuntur, et imaginibus vel simulacris, Quintilian, Institutio Oratoria XI. ii. 21, p. 68. 18. locis est utendum multis, inlustribus, explicates, modicis intervallis: imag­ inibus autem agentibus, acribus, insignitis, quae occurrere celeriterque percutere animum possint. Quintilian, Institutio Oratoria XI. ii. 22, p. 68. 19. For Frances Yates' comments on the importance of the Ad Herennium, see The Art of Memory (Chicago: University of Chicago Press, 1966), pp. 4-5. 20. Rhetorica Ad Herennium, ed. Harry Caplan, Loeb Classical Library (Cambridge, MA: Harvard University Press, 1954, repr. 1977), p. xii. 21. Ad Herennium III. xvi. 29, p. 208. 22. Locos appellamus eos qui breviter, perfecte, insignite aut natura aut manu sunt absolute, ut eos facile naturali memoria conprehendere et amplecti queamus: ut aedes, intercolumnium, angulum, fornicem, et alia quae his similia sunt (Ad Herennium III. xvi. 29, p. 208). 23. See Yates, Art of Memory, p. 3; Carruthers, Craft, p. 16. 24. Nam loci cerae aut chartae simillimi sunt, imagines litteris, disposition et conlocatio imaginum scripturae .. .(Ad Herennium III. xvii. 30, p. 209). 25. Ad Herennium III. xxi. 36, p. 218. 26. si non multas nee vagas, sed aliquid agents imagines ponemus; si egre­ giam pulcritudinem aut unicam turpitudinem eis adtribuemus; si aliquas exornabimus, ut si coronis aut veste purpurea, quo nobis notatior sit similitude; aut si qua re deformabimus, ut si cruentam aut caeno obli­ tam aut rubrica delibutam inducamus, quo magis insignita sit forma, aut ridiculas res aliquas imaginibus adtribuamus, nam ea res quoque faciet ut facilius meminisse valeamus (Ad Herennium III. xxii. 37, pp. 220-1). 27. Yates, Art of Memory, p. 57. 28. L.D. Reynolds and N.G. Wilson, Scribes and Scholars: A Guide to the Transmission of Greek and Latin Literature, 3rd edn. (Oxford: Clarendon Press, 1991), p. 98. 29. Reynolds and Wilson, Scribes and Scholars, p. 101. 30. Geoffrey of Vinsauf, Poetria Nova, ed. and trans. Margaret F. Nims (Toronto: Pontifical Institute, 1967), p. 89. 31. Bradwardine's treatise, "De Memoria Artificiale," in an excellent transla­ tion by Mary Carruthers, is available as Appendix C, pp. 281-88, of her Book. I borrow from that translation. 32. Bradwardine, "De Memoria Artificiale," in Carruthers, Book, p. 281. 33. Bradwardine, "De Memoria Artificiale," in Carruthers, Book, p. 281. 34. Bradwardine, "De Memoria Artificiale," in Carruthers, Book, p. 281. 35. Bradwardine, "De Memoria Artificiale," in Carruthers, Book, p. 281. 36. Bradwardine, "De Memoria Artificiale," in Carruthers, Book, p. 282. 37. Bradwardine, "De Memoria Artificiale," in Carruthers, Book, p. 282. 150 NOTES 2 The Position of Theater in the Thought of Augustine of Hippo 1. A reference dated 1376 in the York records is generally taken as the first clear documentation of a Corpus Christi performance, though it seems to hint at a cycle fairly well developed by that time. See, for example, V.A. Kolve, The Play Called Corpus Christi (Stanford: Stanford University Press, 1966), p. 33. 2. For the difficulties of the evolutionary hypothesis, see, for example, O.B. Hardison, Christian Rite and Christian Drama (Baltimore: Johns Hopkins Press, 1965), p. 12; and Kolve, Play, p. 41. 3. This phrase recurs in the anonymous fifteenth-century "tretise," ed. Davidson, p. 45. 4. Augustine, Confessions IV. 1, trans. R.S. Pine-Coffin (Middlesex, England: Penguin, 1961, repr. 1970), p. 71. Unless otherwise indicated, translations from the Confessions are taken from this fine translation of R.S. Pine-Coffin; Latin passages are taken from the two-volume edi­ tion in the Loeb Classical Library, ed. William Watts (London: William Heinemann, 1912). 5. These events are detailed in Augustine, Confessions VIII. 12; IX. 3, ed. Pine-Coffin, pp. 177-9, 183-5. 6. sane me iam theatra non rapiunt (Confessions X. 35, ed. Watts, p. 178) 7. See Peter Brown, Augustine of Hippo (New York: Dorset Press, 1967, repr. 1986), pp. 19, 21. 8. Misc. Agostin. 1. 153 as printed in Brown, Augustine, p. 297. 9. Veniebamus etiam nos aliquando adulescentes ad spectacula ludibri­ aque sacreligiorum, spectabamus arrepticios, audiebamus symphonia­ cos, ludis turpissimis, qui diis deabusque exhibebantur, oblectabamur, Caelesti virgini et Berecynthiae matri omnium (Augustine, De Civitate Dei Contra. Paganos II. 4, ed. and trans. George E. McCracken, Loeb Classical Library (London: William Heinemann, 1957), p. 154. Translations from De Civitate Dei are from the Modern Library edition, The City of God, trans. Marcus Dods (New York: Random House, 1950); Latin text is from the Loeb Classical Library edition, ed. McCracken, above. 10. There are several references to going to plays [ad theatrum] in the discus­ sion of the will in this chapter-for example, "utrum ad circum pergat an ad theatrum, si uno die utrumque exhibeatur" (Confessions VIII. 10, ed. Watts, p. 454). 11. On Scipio see De Civitate II. 5, p. 158; on Cicero II. 14, p. 192, ed. McCracken. 12. Augustine, Confessions, VIII. 10, trans. Pine-Coffin, p. 174. 13. De Civitate Dei II. 8, ed. McCracken, p. 168. 14. quas etiam inter studia, quae honesta ac liberalia vocantur, pueri Iegere et discere coguntur a sensibus (De Civitate Dei II. 8, ed. McCracken, p. 168). NOTES 151 15. hinc verba discuntur, hinc adquiritur eloquentia, rebus persuadendis sen­ tentiisque explicandis maxime necessaria (Confessions I. 16, ed. Watts, p. 48). 16. De Civitate Dei II. 12, ed. McCracken, p. 182. 17. et histriones omnium membrorum motibus dant signa quaedam sci­ entibus et cum oculis eorum quasi fabulantur (Augustine, De Doctrina Chrsitiana II.
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