Emotions and the Ritual of a Nun's Coronation in Late Medieval Germany

CHAPTER 9 1

Emotions and the Ritual of a Nun’s 2

Coronation in Late Medieval Germany 3

Julie Hotchin 4

Ecce quod cupivi iam video quod speravi iam teneo 5 illi sum iuncta in celis quam in terris posita tota devotione dilexi. 6

Lo, what I desired, I now see; what I hoped for I now hold; 7 in heaven I am joined to him whom I loved with complete devotion when 8 I was on earth.1 9

Sung in joyous celebration by newly crowned nuns to conclude the ritual 10 of their coronation, the antiphon expresses the passionate desire for and 11 love of Christ that defined a nun’s spiritual role. These words, attributed 12 to the fourth-century virgin martyr Agnes, voice the multiple transitions 13 enacted by the liturgy of a nun’s coronation: from woman into virgin-mar- 14 tyr and heavenly bride, from longing desire to anticipated fulfilment and 15 from earthly love into heavenly union. According to the account of her 16 life by Ambrose of Milan (339–91), Agnes rejected a worldly suitor and 17 riches out of her desire for her heavenly lover.2 She thus offered a potent 18 spiritual and emotional model for religious women dedicated to Christ. As 19 reward for her sacrifice Agnes received the crown of martyrdom; nuns too 20

J. Hotchin (*) School of History, Australian National University, Canberra, ACT, Australia

21 offered a bloodless sacrifice of their virginity through their ascetic life in 22 the cloister, similarly anticipating the reward of a heavenly crown in their 23 afterlife. In northern Germany, this spiritual reward was given material 24 form; nuns received a linen band crown, worn over their veil, during their 25 coronation, as a symbol of their virginity and status as a sponsa betrothed 26 to Christ. The ritual of a nun’s consecration—or coronation (coronatio) as 27 it was known in northern German convents—was an evocative drama of 28 spiritual betrothal through which religious women acquired a privileged 29 status, spiritually and socially, as a bride of Christ. Participation in the 30 ritual, for individual coronands and the community, was an intensely emo- 31 tional experience that shaped how nuns, both individually and collectively, 32 created, affirmed and negotiated their identities. 33 As Robert Orsi has observed, ‘religious rituals, with their movements, 34 smells, sounds, and things, are privileged sites for rendering religious 35 worlds present’.3 Ritual practice is one means to make the ‘invisible vis- 36 ible’, such as through the relationships between people and things that 37 materialise the sacred.4 Attention to the emotional dimension within reli- 38 gious ritual is central to explaining how the experience of the sacred is 39 ‘conjured’ by arousing certain feelings through ritual performance, and 40 to our understanding of how ritual can have lasting effects upon partici- 41 pants.5 Emotions are social and relational; the feelings aroused in religious 42 ritual express and produce relationships between individuals, communities 43 and the sacred. As Joanna Bourke has argued, emotions also serve to align 44 people with others within social groups, thus subjecting people to power 45 relations.6 Emotional arousal in liturgical performance is therefore not a AU1 46 free expression of emotion, but a disciplined rehearsal of ‘right attitudes’. 47 Through the corporate experience of the liturgy individual feelings are 48 shaped and aligned to collective norms, generating an attitude or orienta- 49 tion to the sacred that permeates other aspects of religious life (see also the 50 discussion in Chap. 11).7 51 As a dramatic enactment of the betrothal of the loving soul with Christ, 52 the liturgy of a nun’s coronation provided a narrative model that shaped her 53 spiritual role and expressed her place within the social and power relations 54 of the convent, the church and with the divine. The significance of the rit- 55 ual of coronation for constituting religious women’s identities, the theo- 56 logical meanings of the nun’s crown and the deep emotional investment 57 of nuns in the symbol of their crown have been perceptively examined 58 by scholars such as Eva Schlotheuber, Evelin Wetter and Caroline Walker 59 Bynum.8 My interest here is to look more closely at how the narrative and EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 173

emotional arc of the ritual of a nun’s coronation provided a pattern for 60 the cultivation of feeling appropriate for a bride of Christ. Analysis of the 61 rich textual and visual evidence from convents in northern Germany offers 62 insight into how women interpreted and understood the coronation ritual 63 and its influence on their emotional and spiritual lives, and how emotional 64 stimulation in ritual performance articulated, affirmed and reproduced 65 religious women’s individual and collective identities. 66

Coronation and Convent Entrance Practices 67

Entrance rites transition new members into the group, mobilising material 68 forms including dress, imagery and shared practices, such as processions 69 and liturgical chants, to generate the feeling of participation in a shared 70 religious world.9 Convent entrance ceremonies with their rich symbolic 71 and dramatic enactment of spiritual marriage socialised girls into their 72 community, providing them with social, spiritual and emotional maps for 73 AU2 their future life as a nun (for a parallel discussion in a protestant context, 74 see Chap. 12). A girl was placed with a convent when she was very young, 75 usually around five years of age, in the practice of oblation.10 She then 76 spent around five to eight years in the convent school, where she received 77 instruction in Latin, scriptural and theological knowledge to comprehend 78 the liturgy, and training in practices of self-discipline through which she 79 learnt to ‘adhere to the norms of emotional expression’ of the convent.11 80 The girl received her monastic habit and veil in the rite of investiture, 81 marking her formal departure from her family and entrance into religious 82 life, when she was around 12–14 years old. By wearing monastic dress, 83 the girl was understood to be offering tacit consent to the decision of her 84 parents to offer her to religious life. Customarily, the girl then made her 85 profession once she reached the age of majority of 14 years, although it 86 was not uncommon for girls to profess their vows earlier.12 The future 87 nuns’ social and spiritual preparation to take their place in the convent 88 represents a form of emotional management through which the senior 89 nuns ensured the continuity of their community and reproduced their 90 religious world. 91 A nun’s coronation was the culmination of a sequence of entrance 92 rites that could extend up to a decade or more. Whereas profession was a 93 monastic ritual, subject to the requirements of the respective order, coro- 94 nation was not a requirement for monastic life and in theory could be 95 celebrated at any time. According to canon law, nuns were to be crowned 96 174 J. HOTCHIN

97 only after they had made their profession; in practice, however, nuns in 98 northern German convents in the later fifteenth century frequently were 99 crowned before they professed their vows.13 The ceremonial performance 100 of a nun’s coronation marked her transition into a full member of the 101 religious community and dramatised the self-understanding of the nun 102 as a virgin bride of Christ. However, the spiritual marriage enacted by 103 the coronation ritual was conditional, as union with a heavenly spouse 104 could only be achieved after death. Nuns referred to their coronation as 105 a spiritual betrothal (desponsacio), an expression of their legal union with 106 Christ in this world that would be fulfilled as marital union with Him in 107 the afterlife. 108 The excitement and anticipation with which girls awaited their corona- 109 tion were amplified through these years of preparation. An account writ- 110 ten by a young future nun at the Benedictine monastery of Ebstorf in the 111 1480s conveys the urgent anticipation she and another four young sisters 112 felt about their impending coronation. She recounts how they yearned 113 to be crowned and had asked their provost to bring forward the date of 114 their profession. Their longing is expressed in the rapturous language of 115 spiritual union: ‘sighing daily we desire with the innermost desires of our 116 heart that longed for day on which we can be united and betrothed to 117 our most adored spouse … and have the red sign of His most holy cross 118 placed on our heads so that we can be called and become brides and wives 119 of Christ’.14 The impatient young nuns at Ebstorf were all below the stipu- 120 lated age of profession of 14 years, indicating that their coronation was 121 the result of a compromise whereby the provost and nuns adhered to the 122 monastic requirement that nuns be professed before they were crowned, 123 although at a younger age. The protracted period of a girl’s spiritual edu- 124 cation, punctuated by the sequence of entrance rituals, shaped her emo- 125 tional and religious identity as a loving bride of Christ, and taught her to 126 cultivate and express her love in communally authorised ways (for similar 127 phenomenon in marriage see Chap. 3).

128 The Nun’s Crown

129 The iconography and spiritual meaning of the nun’s crown provided a 130 focal point for a nun’s emotional cultivation as a loving bride of Christ.15 131 The crown had a long tradition in Christian iconography as a symbol of the 132 rewards of the faithful. The nun’s crown symbolised her dual espousals: 133 the first her betrothal in this world as a virgin bride of Christ and the sec- EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 175 ond the anticipated fulfilment of her union with her heavenly spouse in the 134 afterlife.16 Nuns also likened their crowns to the ‘aureola which [Christ] is 135 accustomed to grant to martyrs and virgins’.17 By the later Middle Ages, 136 the aureola was understood as a reward reserved to special categories of 137 the blessed.18 Nuns at Ebstorf envisaged themselves as meriting not one 138 but two such rewards—for their virginity as well as that due as martyrs for 139 their penitential sufferings within the cloister in a ‘bloodless martyrdom’. 140 The symbolism of the nun’s crown also echoed the Virgin’s heavenly 141 coronation, placing the nun in a special relationship to Christ’s mother. 142 These Marian associations are depicted in the striking iconography of an 143 extant nun’s crown (Fig. 9.1). This crown comprises overlapping bands 144 of twelfth-century gold silk brocade, joined to a circlet at the lower edge. 145 The silk bands are affixed to a more recent blue damask cap, which pro- 146 vides support for the crown.19 Embroidered medallions are appliqued 147 where the bands overlap, with images that elaborate on the crown’s litur- 148 gical and scriptural meanings of spiritual betrothal and heavenly reward. 149 They depict the Lamb of God as a reference to both Christ and the virgin 150 martyr Agnes; King Solomon with his associations to the nuptial ode of 151 the Song of Songs; and an angel holding a lily sceptre and a seraph as a 152 material reminder to the wearer about her future place among the angelic 153 choirs. 154

Fig. 9.1 Nun’s crown made from woven silk bands with embroidered medallions, France (?), twelfth century. Reproduced with per- mission © Abegg- Stiftung, CH-3132 Riggisberg, 2009 (photo: Christoph von Viràg) 176 J. HOTCHIN

155 As Evelin Wetter’s sympathetic analysis of the relation between mate- 156 rial form, symbol and liturgical performance has shown, the imagery of 157 this early crown assimilates the young nun who is crowned to the Virgin 158 Mary.20 The wearer’s coronation on earth parallels Mary’s coronation by 159 her son in heaven. In addition to generating a deep emotional identifica- 160 tion between the nun and the Virgin, the crown also conveyed moral- 161 ethical meanings. The reward of heaven would only be granted to those 162 who merited it, to those who ‘remained with Him’ as the liturgy states. 163 The crown is thus a reminder to the wearer about her conduct of life, as 164 likeness to the Virgin enjoined the nun to adapt her comportment and 165 inner disposition to the Virgin’s exemplar of compassionate love for her 166 Son. 167 Sources from northern German convents in the late fifteenth cen- 168 tury attest to how the symbolism of the crown was employed to shape a 169 future nun’s emotional disposition. Whereas the precious extant crown 170 from Riggisberg was most likely worn for ceremonial purposes, nuns in 171 northern German convents customarily wore the much simpler linen 172 band crown embroidered with five red crosses, symbolising the wounds 173 of Christ. The symbolic identification of the wearer with Christ’s suffering 174 and his mother’s compassion was strengthened by associating the nun’s 175 crown with the crown of thorns (Fig. 9.2). 176 A description of the spiritual meaning of the crown by a young nun 177 from Ebstorf writing in the 1480s demonstrates how future nuns were 178 instructed to meditate on the symbolism of their crown to arouse and 179 deepen their love for Christ. Likening the embroidered crosses to the 180 ‘wounds of our spouse at the crucifixion’, she urges her audience to 181 contemplate these symbols as a prompt to love, comparing them to 182 the lover in the Song of Songs, who declares: ‘you have wounded my 183 heart, my sister, my spouse, namely through love’ (Cant. 4,9). The nun AU3 184 interprets this invitation to cultivate love for Christ as a means through 185 which ‘our heart is transfigured by love to his side, seeing that all of our 186 actions and affections with our thoughts are directed towards how we 187 serve virginal purity inviolably in our hearts and bodies through humility 188 and chastity’. She exhorts her audience not to feel pride, for a ‘proud 189 virgin is not a virgin, and no chastity pleases God without humility nor 190 humility without chastity’, thus equating genuine love for Christ with 191 this central monastic virtue. ‘Inviolate virginity’, she concludes, ‘is the 192 sister of the angels’ and only those who ‘live this way are considered a 193 spouse of Christ’.21 EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 177

Fig. 9.2 Nun instruct- ing a girl (detail). Kloster Ebstorf, Hs V3, fol. 200v, c. 1480. Image courtesy of Kloster Ebstorf

Identifying the girls as angelic citizens underscores their exalted sta- 194 tus and the positive, confident self-image that coronation conferred upon 195 nuns. This praise alludes to the prayer of consecration recited over the 196 girl in her coronation, in which she is reminded that ‘blessed virginity … 197 emulates angelic integrity’.22 At the Cistercian convent of Wienhausen, 198 religious women’s confident aspiration to become a sister of the angels 199 is given visual form in a depiction of the monastery’s first abbess Eveza, 200 painted on the upper vault in the nun’s choir (Fig. 9.3). She is shown 201 wearing her crown, seated next to the monastery’s founders and patrons, 202 partaking of the bridal banquet of the Lamb in the Heavenly Jerusalem. 203 Wienhausen’s nuns, who were crowned in the choir beneath this image, 204 were invited to identify with their predecessor as a conciva angelorum (fellow 205 citizen of the angels).23 This depiction within the communal space of the 206 nuns’ choir draws attention to the elite status of the entire community who 207 acquire a privileged social position as Christ’s brides. The image of Eveza 208 in the choir also shifts attention from the abbess as foundress to the com- 209 munity of nuns as her spiritual descendants, reinforcing the heavenly reward 210 that accrues to the individual nun who conforms to communal norms. 211 178 J. HOTCHIN

Fig. 9.3 Wienhausen, painting in nuns’ choir of the heavenly Jerusalem, detail with abbess Eveza and the convent founders, c. 1330. Image courtesy of Kloster Wienhausen

212 These examples bring into focus the crown’s ability to communicate 213 and modulate desired emotional dispositions. As an item of religious 214 dress, the crown brought into being what it signified; it promised heavenly 215 reward to those who loved appropriately. It was also invested with a mix 216 of emotions, including hope for salvation, anticipation, pride in the nun’s 217 self-consciously privileged status and perhaps also anxiety about being 218 worthy to merit divine love and its reward.

219 Ispi sum desponsata: The Liturgy of a Nun’s 220 Coronation

221 The coronation ritual followed the liturgy for the consecration of a vir- 222 gin, the Consecratio sacrae virginis, which originally developed in the 223 early medieval period. The earliest surviving text of the liturgy is in the 224 tenth-century Roman-German Pontifical, compiled in Mainz.24 The 225 rite was later expanded and given greater musical elaboration under EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 179 the direction of William Durand, Bishop of Mende (1285–96), who 226 added texts and musical elements from the passio of Agnes, and scripture 227 (chiefly the Song of Songs and parable of the Wise Virgins in Matthew 228 25) to augment its nuptial imagery and expressive elements.25 The musical 229 elements of the ceremony, many drawn from the chants for the feasts of 230 Agnes and other virgin martyrs, associate this ritual with liturgical worship 231 throughout the year, presenting the participants with an ‘audible roll call’ 232 of emotional models of the heroines of monastic life.26 233 The version of the liturgy preserved at the Benedictine monastery of 234 Lüne provides our most detailed record of its performance. This text forms 235 part of the so-called Ceremoniale, copied by a member of the convent after 236 the introduction of reform of the community in 1481 as a record of how 237 a nun’s entrance into the convent was to be celebrated here.27 The dating 238 and context of the manuscript’s production suggest that these texts for rit- 239 ual performance represent the outcomes of negotiation between nuns and 240 monastic authorities. It is worth noting that the text for the coronation 241 liturgy follows that for profession, indicating that the two rites were cel- 242 ebrated in the sequence required by canon law at Lüne. A textual record 243 of a rite cannot convey all of the dimensions of an actual performance; 244 nevertheless, it conveys a sense of the ceremony’s length and character, 245 rhythm and motifs, and the sound and solemnity of how a nun’s corona- 246 tion was enacted. Analysis of the ritual dynamics and especially the sung 247 components indicates how the ritual drama presented a nun with an inti- 248 mate script for how she was to feel as she assumed full membership of the 249 convent. The rite embodied elements of performance, the nun’s proces- 250 sion and gesture, alone and with the convent, and articulated her role and 251 place in relation to her community, church and divine spouse. 252 In contrast to the festivities that accompanied a girl’s investiture, her 253 coronation was celebrated as a private, communal event within the choir. 254 The ceremony commenced when the coronands, with hair uncovered and 255 holding candles as an embodiment of the Wise Virgins, processed towards 256 the altar while the bishop chanted the hymn Veni Sancte Spiritus to invoke 257 the Holy Spirit. In answer, the nuns collectively sang Regnum mundi (‘I 258 despised the kingdom of the world’), to express their renunciation of the 259 world out of love for Christ,28 followed by the coronands, who sang of 260 the joy in their hearts at the prospect of their heavenly union (‘My heart is 261 overflowing’;Eructavit cor meum; Psalm 44:2).29 Both of these sung texts 262 are drawn from the feast for the Common of Virgins, locating the drama 263 of this opening antiphonal exchange between the convent and its new 264 180 J. HOTCHIN

265 members within a broader frame of liturgical performance that cultivates 266 desire and rejoicing through identification with the Wise Virgins and their 267 joyous longing. 268 At the altar, a further sung exchange between the bishop and the coro- 269 nands evokes the similitude between the nuns and the Virgin’s nuptial 270 reception into heaven. The bishop sings ‘Quae est ista quae progreditur 271 sicut aurora consurgens’ (Who is she, who advances like the dawn, beau- 272 tiful as the moon?), an antiphon sung in the office for the Assumption 273 of the Virgin.30 The antiphon queries the identity of the newly arrived 274 woman and praises her beauty in the image of the dawn, moon and sun. 275 The text conveys a sense of erotic beauty from the Song of Songs, from 276 which it is drawn, while also alluding to the image of the Virgin as the 277 woman clothed in the sun from the Apocalypse of John. The liturgical 278 association with the feast of the Assumption of the Virgin also brings to 279 mind the assumption of the body, making an explicit metaphor: just as 280 Mary’s body was assumed into heaven so the nun’s body will be assumed 281 into another state of being.31 The script from Lüne records that the eldest 282 nun to be crowned led the procession to the altar carrying an image of the 283 Virgin, symbolising Mary as the leader of the wise virgins, further rein- 284 forcing the Marian parallels for the participants.32 The coronands respond 285 by singing together ‘Ista est speciosa’ (She is most beautiful among the 286 daughters of Jerusalem and Syon), another antiphon from the liturgy for 287 the Assumption of the Virgin that conveys the admiration of the angels 288 and daughters of Jerusalem at the arrival of the virgin bride. These chants 289 envelop the young nuns within a soundscape of praise and joy. 290 The bishop summons the girls to approach the altar to make their vow 291 by intoning the invocation Venite (‘Come’) three times, symbolising Christ 292 calling the virgins to His side. The convent sings a verse to instil confi- 293 dence in the young brides as they are about to approach the altar ‘Come 294 to him and be enlightened, and your faces shall not be confounded’,33 to 295 which the bishop responds with a verse of reassurance in the voice of the 296 heavenly groom: ‘Who follows me will not walk in the shadows’ (John 8, 297 12).34 As they advance, the coronands chant a verse expressing how they AU4 298 overcome their trepidation by arousing the strength of love within their 299 hearts and placing their trust in their heavenly groom: ‘And now we fol- 300 low with our whole heart and fear you and we seek your face Lord, so that 301 we are not confounded.’35 A final verse sung by the convent seeks to allay 302 the fear of the new members with a song of confidence, affirming that 303 trust in the Lord will not fail those who may be confused. EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 181

These antiphonal exchanges illustrate how liturgical singing accompa- 304 nied a transition; the timorous coronand receives reassurance from her 305 community and gains confidence to advance towards the presence of 306 the divine at the altar. Alternatively, this sung exchange may also have 307 moderated the excitement of young nuns eager to be crowned, the wel- 308 come reassurance sung by the senior nuns of the convent modelling the 309 restraint expected of its members. The convent’s sung texts enact a col- 310 lective self-understanding as welcoming, trusting and reassuring to ease 311 the new member’s transition. The sung exchange between the convent 312 and the coronands also evokes memories of shared liturgical performance, 313 reminding the coronands of their role and spiritual purpose as a member 314 of the community, and their conformance to communal norms that this 315 membership entailed. 316 The provost in his capacity as male guardian of the young nuns pre- 317 sented them to the bishop as the embodiment of their bridegroom, Christ, 318 and attested to their worthiness to be His brides. The exchange of the nun 319 from provost to bishop as her spouse mirrors the transfer of authority of 320 a woman from her father or male guardian to her husband in secular mar- 321 riage. This gesture underlines the parallels between a woman’s entrance 322 into religious life and property exchange, reinforced for nuns by the finan- 323 cial arrangements concerning their dowry upon entering the monastery.36 324 The bishop then asks each nun whether they wish to persevere in their 325 vows of perpetual virginity and to wed Christ. Each responds with volo/ 326 promitto (I do, I promise). The nuns are then questioned about their will- 327 ingness to preserve their virginity and to embody the attributes that the 328 ring, veil and crown represent. Once more the nuns affirm their intention 329 to do so, after which the bishop takes their right hand in the dextrarum 330 iunctio, the legally performative gesture of marriage, and pronounces 331 the marriage vow.37 Exulting in their new status, the coronands chant in 332 unison an antiphon of joyous praise from the liturgy of St Agnes: ‘I am 333 betrothed to the one whom the angels serve, whose beauty is admired 334 by the sun and moon’ (‘Ipsi sum desponsata cui angeli serviunt, cuius 335 pulchritudinem sol et luna mirantur’). This is both a poetic expression of 336 the nun’s change in status and a statement of fact; she is now betrothed. 337 The bishop then recites the prayer of consecration over the nuns pros- 338 trate before him. Finally, he invokes divine aid to protect her from evil 339 and to preserve her physical integrity for her spouse.38 After a prayer of 340 blessing, the rite moves to its highpoint—when the young nun receives 341 the consecrated veil, crown and ring from the bishop. After receiving each 342 182 J. HOTCHIN

343 object, the coronands sing further antiphons in which they vocalise the 344 words of the virgin martyr Agnes, amplifying and deepening their emo- 345 tional identification with the girl who preferred death rather than accept a 346 worldly suitor.39 Each antiphon strengthens the associations between lov- 347 ing devotion and the material items of her spiritual betrothal. After the veil 348 is placed on her head, the nun chants: ‘Clothe me, Lord, in a robe woven 349 in gold and adorn me with innumerable jewels’ (‘Induit me dominus 350 cyclade auro et textus immensis monilibus ornavit me’). Once the crown 351 is placed atop her veil, she exclaims: ‘He placed a sign on my face so that I 352 may receive no other lover than Him’ (‘Posuit signum in faciem meam ut 353 nullam praeter eum amatorem admittam’). And after receiving her ring, 354 the nun proclaims: ‘With His ring my Lord, Jesus Christ, has betrothed 355 me, and like a spouse he has adorned me with a crown’ (‘Annulo suo sub- 356 arravit me dominus meus Ihesus Christi et tamquam sponsam decoravit 357 me corona’). The bishop then entrusts the nuns back to the provost and 358 the rite concludes with the celebration of communion. 359 Through antiphonal singing, the nuns pledge themselves individually 360 and collectively to their heavenly spouse. The sung exchanges also affirmed 361 and reaffirmed the nuns’ love for Christ that lent shape to their life within 362 the cloister.40 The singing of individual coronands expressed the vows and 363 declaration of love of individual nuns, while at the same time also repre- 364 senting the shared experience of her community. The feelings of individual 365 nuns were amplified through emotional exchange and were reflected in 366 the feelings of others, instilling a deeper sense of belonging and cohesion. 367 Collective singing also focused devotion on the veil, crown and ring worn 368 by all members of the convent, enhancing the sense of solidarity. The con- 369 vent’s sung expression of welcome and trust to facilitate the integration of 370 the newly crowned nun may also have enhanced feelings of inspiration and 371 approval, thereby ordering and reinforcing how a newly crowned nun now 372 identified herself as one among theconcives angelorum. This also served 373 as a subtle reminder of the self-discipline and comportment required of 374 the convent’s members: the loving bride was also a humble bride who 375 submitted to higher authority. The emotional performance through song 376 thus affirmed the coronand’s status as a sponsa and her commitment to 377 religious life, while she also served as an affective exemplar for the convent 378 and their values. Through singing her commitment to religious life, the AU5 379 young nun also embodied her incorporation into the convent for which 380 she had been nurtured since a child. EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 183

Devotional Singing 381

The joyous singing of the coronands breaks across the solemn intonation 382 of the bishop, contrasting ‘rhapsodic’ melodies to lend melodic expression 383 to the sung quality of the bride’s joy at her betrothal.41 The antiphons 384 from the liturgy and Passio of Agnes were well suited to the ritual’s design, 385 purpose and symbolism. Each expresses nuptial themes: betrothal, gift- 386 exchange and the love of Christ as spouse. These sung texts performed 387 an important function in the sequence and staging of the ritual to arouse 388 affective response. The use of the first person encouraged closer identifica- 389 tion with Agnes, and in singing them each woman embodied the virgin 390 martyr, proclaiming her love—in the face of death—for Christ and her 391 joy at its impending fulfilment. These song texts function as emotives in 392 the sense articulated by William Reddy, singing into presence the nun’s 393 AU6 intense feeling of love that they express.42 In singing the words of Agnes, 394 each nun was for a moment at one with her, the embodied performance 395 of song encouraging her to feel the emotion conveyed in the words she 396 uttered, to give voice to the impassioned declaration of the virgin martyr.43 397 As Ulrike Hascher-Burger has observed, devotional singing was 398 thought to awaken the proper affectio or emotion in the soul.44 The affec- 399 tio was cultivated over time through reading and meditation intended to 400 kindle emotion that could then be directed into prayer towards God.45 401 The importance of singing with fully aroused affectio so as to engender a 402 truly loving soul before God can be seen clearly in the instructions for a 403 young nun at Wienhausen on how to sing the antiphons to imitate Agnes. 404 This manuscript, now badly damaged, presents the young reader with a 405 gloss on the spiritual meaning of the coronation liturgy. Of interest for 406 our purposes here is how she is instructed to sing her responses after she 407 has received the symbols of newly betrothed state. After receiving the ring, 408 she is urged to sing Annulo suo ‘with all your heart in all love and desire 409 with the lover St Agnes’.46 Similarly, after the veil, the symbol of ‘pure vir- 410 ginal chastity’, is placed on her head, she is instructed to chant Induit me 411 dominus ‘with full love and desire’.47 The instructions encourage a deeper 412 affective response after she becomes Christ’s bride and wife (‘brud unde 413 syn husfrowe)’. When she receives the crown, she is instructed to always 414 think about it with ‘full devotion’ (gantzem andacht) and to remember 415 that this earthly crown signifies the golden aureola granted to virgins in 416 heaven. Moreover, the red crosses embroidered on the crown are inter- 417 preted as the signs of the ‘suffering of Jesus Christ’, which all people 418 184 J. HOTCHIN

419 ‘should contemplate within their heart’. So the reader is guided to prog- 420 ress from loving desire to meditate on the redemptive suffering and pain 421 of Christ, symbolised by their newly granted crown. The emotional shift 422 is reinforced when she is urged to sing ‘Posuit signum in faciem meam’ 423 with ‘all the groans of your soul’.48 This guidance for nuns about how to 424 arouse the desired and proper emotion at central moments of their spiri- 425 tual betrothal illustrate how individual emotional response was shaped by 426 and encouraged to conform to collective norms. 427 A nun’s identification with Agnes’ loving desire was scripted at the 428 moments in liturgy when she actively sings her commitment. It is instruc- 429 tive to consider the purpose of the emotional expressiveness of these 430 antiphonal chants at spiritually significant moments. The dramatic arc 431 of the rite and in particular the exchange of marriage vows granted the 432 religious woman fictive agency.49 In pronouncing her vows and singing 433 the loving desire of Agnes, the nun expressed her will and desire in an 434 agentic sense, whereas in reality her choice had been determined for her. 435 Presented as an oblate by her parents, her tacit profession at investiture 436 was confirmed by her vows of profession. By the time of her coronation, 437 she had been nurtured within the convent for many years with her spiritual 438 and emotional formation directed towards her membership of the convent 439 after her coronation. The nun’s participation in her coronation performed 440 an intimate script for feeling to kindle and nurture her love for her spouse, 441 and through it her passion for the life of the monastery that she has fic- 442 tively chosen. Musical performance, conditioned and informed by appro- 443 priate reading (lectio) and meditation, was thought to arouse the affectus 444 or emotion of the soul towards God. The nun’s impassioned singing as 445 Agnes aroused love, shaped her identity and engendered her commit- 446 ment to the life for which she was given. The emotional dimension of the 447 nun’s antiphonal chant transformed her diminished agency about choice 448 to enter religious life into an active expression of her commitment to it. 449 The incorporation of the antiphons from the liturgy of St Agnes and the 450 Common of Virgins into the coronation rite connected these celebrations 451 of a nun’s desire for her spouse at regular intervals throughout the year. 452 Nuns were likely to have called to mind Agnes’ legend when they sung 453 texts attributed to her at their coronation; similarly, when she sang these 454 same antiphons for the feasts of virgin martyrs during the year, she would 455 have recalled their loving communion with Christ at their coronation. 456 The four antiphons have a similar musical profile, enhancing their close 457 association and creating ‘aural memories’ that linked liturgical occasions EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 185

on which a virgin martyr’s passionate commitment to her heavenly groom 458 was celebrated.50 These liturgical events thus became a regular, repeated 459 emotional practice through which nuns were encouraged to cultivate an 460 emotional arc of anticipation, compassion, sorrow, love and joy on occa- 461 sions of greatest spiritual import to their role as a bride (see also the discus- 462 sion in Chap. 3). The nun’s participation in the liturgy, both individually 463 and collectively, in repeated performances over time created a ‘cumulative 464 emotional legacy’ which formed her inner disposition and through which 465 she learned how to arouse her affections rightly.51 Liturgical celebration 466 AU7 propelled the nun both backward in time, to the events of a virgin martyr’s 467 passio, while at the same time projecting her forward in anticipation of her 468 own reception before the throne of heaven. The models of the Virgin and 469 female martyrs offered emotional and spiritual templates against which 470 young nuns patterned their own responses and practices so as to be wor- 471 thy loving brides. 472

Conclusion 473

A nun’s coronation was the culmination of an extended period of education 474 and formation that prepared new nuns spiritually, socially and emotionally 475 to perform their role in the convent. The future nun’s formation not only 476 moulded her spiritual disposition, but that of older nuns too, as adults also 477 experience their religious beliefs through children. Convent entrance rituals 478 of investiture, profession and in particular coronation provided occasions 479 on which the whole community enacted their conception of their religious 480 world and their spiritual and hierarchical place within it. The performance 481 of a nun’s spiritual betrothal in the coronation ritual served to make the 482 world of the convent and the role of the nun as sponsa emotionally salient 483 for the young nuns as coronands, as well as the senior nuns who laboured 484 to represent and embody this world and its values for their junior sisters.52 485 Entrance rites are one way through which nuns rendered the interiority of 486 and understanding of their role as brides of Christ and their place in the 487 world visible and materially substantive—for new members, themselves as 488 a community, and for families, clerics and patrons. What was being formed 489 was not only the young nun’s religious disposition, but also the distinctive 490 quality of the convent’s spiritual and emotional understanding, and the 491 social relations through which it was expressed. 492 The arousal and circulation of emotion within the performance of a 493 nun’s spiritual betrothal implied a high degree of alignment of individual 494 186 J. HOTCHIN

495 emotional dispositions with the affective norms of the monastic commu- 496 nity. The long years of preparation for and performance of the ritual script 497 structured individual experiences into communally acceptable emotional 498 attitudes, through which nuns were encouraged to internalise feeling rules 499 and shared practices of emotional expression and performance. As the 500 instructions for the young nun at Wienhausen on how to modulate her 501 antiphonal singing in the coronation ritual shows, a nun’s interior prepa- 502 ration for and participation in her coronation was intended to structure 503 her emotions into the ‘right’ attitudes for ritual participation through spe- 504 cific textual and emotional practices. Prayerful devotional reading directed 505 nuns to meditate on the meaning of the ritual for her life, to arouse an 506 experience of liturgical participation that amplified the emotional meaning 507 and interpretation of the event in personal spiritual terms. A nun’s interior 508 preparation to participate in her coronation, or to celebrate its anniversary 509 then, was intentionally structured to cultivate the particular emotions that AU8 510 would be stimulated through ritual performance. In doing so, they dem- 511 onstrate how the ‘personal and communal were not separate realms but 512 dialogic: each had the power to and potential to inflect emotional experi- 513 ences in the other’.53 514 The ritual of a nun’s coronation illustrates how communities are ‘devel- 515 oped in and through rituals and the emotions created in them’.54 The enact- 516 ment of a nun’s spiritual betrothal was a ceremony of intense emotional 517 significance through which the community regenerated itself socially and 518 emotionally. Young nuns were integrated as full members of the convent as 519 brides of Christ, while the collective performance of the ritual, in particular 520 its sung components, educated all participants in the particular emotional 521 norms and patterns of expression through which the community created 522 their religious world. The specific emotions aroused through performance 523 and their intensity of arousal were key to achieving the social functions of 524 the ritual. The opening exchanges sung between the coronand and convent 525 as the young nun approached the altar communicated the convent’s atti- 526 tude of welcome and trust, intended to ease her transition and overcome 527 any trepidation. This articulation of collective unity and self-expression also 528 subtly reinforced social power relations and expectations; to be welcomed 529 into the convent required the coronand to be like them, modelling her 530 disposition and behaviour in alignment with communal models. 531 At the highpoint of the ritual, the coronand’s impassioned declaration 532 of love strengthened her identification with the virgin martyr Agnes as an 533 exemplar of emotional comportment to mould her future life within the EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 187

cloister as a loving bride. The intentional scripting of emotional arousal in 534 texts to prepare the nun for this performance underscores its significance 535 at this moment in the ceremony. By singing her love for Christ, the coro- 536 nand also actively committed herself to the religious life for which she was 537 chosen, in an act of fictive agency through which she assumes her place 538 within the convent for which her long years of education and spiritual for- 539 AU9 mation have prepared her. The coronand’s voice expresses her emotional 540 commitment and was also emblematic for the convent. The young nun’s 541 exultant expression of joyous love sung at the highpoint of the ceremony 542 facilitated the effects of emotional exchange and circulation among all 543 participants, enhancing feelings of belonging and group cohesion. For 544 older nuns, their participation evoked emotional memories of their own 545 coronation and other liturgical performance, bringing past emotions into 546 the present and affirming their relevance for the future. The ritual of a 547 nun’s spiritual betrothal articulated and reaffirmed the emotional patterns 548 and values of the convent, educating and reminding all members of the 549 community’s affective norms and their expression so as to enhance order, 550 control and integration. 551

Notes 552

1. Antiphon for the Feast of St Agnes (21 January); René-Jean Hesbert, 553 Corpus antiphonalium Officii, 6 vols (Rome: Herder, 1963–79), vol. 554 3 (1968), no. 2539. Research for this chapter was funded by the 555 Australian Research Council Centre of Excellence for the History of 556 Emotions, 1100–1800 (project number CE110001011). 557 2. Agnes’ legend and passio forms the introductory section of Ambrose’s 558 De virginitate; see ‘Agnes’ in David Hugh Farmer, The Oxford 559 Dictionary of Saints (Oxford: Oxford University Press, 1996), 7–8. 560 3. Robert A. Orsi, Between Heaven and Earth: The Religious Worlds 561 People Make and the Scholars Who Study Them (Princeton: Princeton 562 University Press, 2005), 74. 563 4. Ibid., 5–6, 73–4. For orientation to and discussion of the emerging 564 field of material religion, see David Morgan (ed.),Religion and 565 Material Culture: The Matter of Belief (London: Routledge, 2010); 566 and John Kieshnick, ‘Material Culture’, in The Oxford Handbook of 567 Religion and Emotion, ed. John Corrigan (Oxford: Oxford University 568 Press, 2007), 223–37. 569 188 J. HOTCHIN

570 5. Ole Riis and Linda Woodhead, A Sociology of Religious Emotion 571 (Oxford: Oxford University Press, 2010), 92. 572 6. Joanna Bourke, ‘Fear and Anxiety: Writing about Emotion in 573 Modern History’, History Workshop Journal 55(1) (2003): 125. 574 7. Judith Marie Kubicki, Liturgical Music as Ritual Symbol: A Case 575 Study of Jacques Berthier’s Taizé Music (Leuven: Peeters, 1999), 124. 576 8. Eva Schlotheuber, Klostereintritt und Bildung. Die Lebenswelt der 577 Nonnen im späten Mittelalter. Mit einer Edition des ‘Konventstagebuchs’ 578 einer Zistzersienserin von Heilig-Kreuz bei Baunschweig (1484–1507) 579 (Tübingen: Mohr Siebeck, 2004); Evelin Wetter, ‘Von Bräuten und 580 Vikaren Christi. Zur Konstruktion von Ähnlichkeit im sakralen 581 Initiationsakt’, in Similitudo: Konzepte der Ähnlichkeit in Mittelalter 582 und Früher Neuzeit, ed. Martin Gaier, Jeanette Kohl and Alberto 583 Saviello (Munich: Wilhelm Fink, 2012), 129–46; and Caroline 584 Walker Bynum, ‘“Crowned with Many Crowns”. Nuns and their 585 Statues in Late Medieval Wienhausen’, Catholic Historical Review 586 101(1) (2015): 18–40. 587 9. David Morgan, ‘The Material Culture of Lived Religion: Visuality and 588 Embodiment’, in Mind and Matter Selected Papers of NORDIK 2009, 589 Conference for Art Historians, Jyväskylä, September 17.–19.2009, ed. 590 J. Vakkari (Helsinki: Society of Art History, 2010), 14–31. 591 10. Schlotheuber examines oblation as practised by northern German 592 convents in detail: Klostereintritt und Bildung, 175–263. 593 11. Barbara H. Rosenwein, Emotional Communities in the Early Middle 594 Ages (Ithaca, NY: Cornell University Press, 2006), 2. 595 12. For a detailed overview and discussion of investiture and profession 596 as practised in northern German convents, see Schlotheuber, 597 Klostereintritt und Bildung, 134–55. 598 13. Schlotheuber discusses the coronation rite in ibid., 156–74. 599 14. Conrad Borchling, ‘Litterarisches und geistiges Leben in Kloster 600 Ebstorf am Ausgang des Mittelalters’, Zeitschrift der Historisches 601 Verein Niedersachsens (1905), 361–407 (at 395–6): ‘Set et cotidie 602 suspirando desideramus cum intimis desiderijs codis nostri illum 603 desideratum diem, quo possimus uniri ac desponsari amabili sponso 604 nostro … eiusque sanctissime crucis rubeum signum capitibus nos- 605 tris imponi, ut sponse Christi ac uxores dici possimus et esse.’ 606 15. For the nun’s crown, see Schlotheuber, Klostereintritt und Bildung, 607 156–74; Julie Hotchin, ‘The Nun’s Crown’, Journal of Early 608 Modern Women: An Interdisciplinary Journal 4 (2009): 187–94; EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 189

Wetter, ‘Von Bräuten und Vikaren Christi’; and Bynum, ‘“Crowned 609 with Many Crowns”’. 610 16. For the symbolic associations of virginity and the nun’s crown, see 611 Eva Schlotheuber, ‘Klostereintritt und Übergangsriten. Die 612 Bedeutung der Jungfräulichkeit für das Selbstverständnis der 613 Nonnen der alten Orden’, in Kloster—Frauen—Kunst. Neue 614 Forschungen zur Kulturgeschichte des Mittelalters, Beiträge zum 615 Internationalen Kolloquium vom 13. bis 16. Mai 2005 anlässlich der 616 Ausstellung ‘Krone und Schleier’, ed. Jeffrey F. Hamburger, Carola 617 Jäggi, Susan Marti and Hedwig Röckelein in cooperation with the 618 Ruhrlandmuseum Essen (Turnhout: Brepols, 2007), 43–55. 619 17. Borchling, ‘Litterarisches Leben’, 400: ‘coronemur cum aureola 620 que solet martiris dari ac virginibus’. 621 18. Edwin Hall and Horst Uhr, ‘“Aureola super Auream”: Crowns and 622 Related Symbols of Special Distinction for Saints in Late Gothic and 623 Renaissance Iconography’, Art Bulletin 67(4) (1985): 567–603, 624 esp. 568. 625 19. For a detailed description of the crown, including dating and analy- 626 sis of textiles and stitching, see the catalogue entry by Evelin Wetter, 627 Mittelalterliche Textilien III: Stickerei bis um 1500 und figurlich 628 gewebte Borten (Riggisberg: Abegg Stftung, 2012), Cat. no. 1, 41–7. 629 20. Wetter, Mittelalterliche Textilien, 43–7, and in more detail in 630 ‘Bräuten und Vikaren Christi’. 631 21. Borchling, ‘Litterarisches Leben’, 400. 632 22. Lüne, Klosterarchive, HS 14, fol. 42v. The idea that professed reli- 633 gious lived a life akin to the angels derives from early Christian tradi- 634 tions; John Bugge, Virginitas: An Essay in the History of a Medieval 635 Ideal (The Hague: Martinus Nijhoff, 1975), 30–5. 636 23. June Mecham. ‘A Northern Jerusalem: The Transformation of 637 Space at the Convent of Wienhausen’, in Defining the Holy: Sacred 638 Space in Medieval and Early Modern Europe, ed. Sarah Hamilton 639 and Andrew Spicer (Farnham: Ashgate, 2006), 139–60. 640 24. Nikolaus Gussone, ‘Die Jungfrauenweihe in ottonischer Zeit nach 641 dem Ritus im Pontificale Romano-Germanicum’, in Kloster— 642 Frauen—Kunst, ed. Hamburger et al., 25–40. 643 25. Anne Bagnall Yardley has examined how the rite acquired greater 644 musical elaboration in the later period in Performing Piety. Musical 645 Culture in Medieval English Nunneries (New York: Palgrave 646 Macmillan, 2006). 647 190 J. HOTCHIN

648 26. Ibid., 159. 649 27. Lüne Klosterarchiv, Hs 14. Schlotheuber introduces the manuscript 650 content and context in Klostereintritt und Bildung, 121–7. 651 28. Regnum mundi, et omnem ornatum saeculi contempsi propter 652 amorem Domini mei Jesu Christi: quem vidi, quem amavi, in quem 653 credidi, quem dilexi (‘I despised the kingdom of the world, and all 654 the beauty of the world, for love of the Lord Jesus Christ: whom I 655 saw, whom I loved, in whom I have believed, in whom I have 656 delighted’). See CANTUS Database for Latin Ecclesiastical Chant, 657 no. 007524, http://cantusdatabase.org/id/007524 (accessed 14 658 October 2016). 659 29. Eructavit cor meum verbum bonum dico ego opera mea regi (‘My 660 heart is flowing over with good things; my words are of that which 661 I have made for a king; my tongue is the pen of a ready writer’); 662 CANTUS Database, no. 007524a, http://cantusdatabase.org/ 663 id/007524a (accessed 14 October 2016). 664 30. The text in the Lüne Ceremoniale uses the word progreditur 665 (advances) instead of the original ascendit (rises) to emphasise the 666 exemplary character of the Virgin for the nuns. Lüne Klosterarchiv, 667 Hs 14, fols 34v–35r. CANTUS database no. 004425, http://can- 668 tusdatabase.org/node/377878 (accessed 14 October 2016). 669 31. I draw here on Alison Altstatt’s interpretation of this antiphon in 670 ‘The Music and Liturgy of Kloster Preetz. Anna von Buchwald’s 671 Buch im Chor in its Fifteenth-Century Context’ (PhD thesis, 672 University of Oregon, 2011), 155–6. 673 32. Lüne Klosterarchiv, Hs 14, fol. 35r: ‘Tunc senior de coronandis por- 674 tans ymaginem beate virginis incipiatur hanc antiphonam.’ 675 33. Psalm 33:6: ‘Accedit ad eum et illuminamini et facies vestre non 676 confundentur’ (‘Come to him and be enlightened; and your faces 677 shall not be confounded’). 678 34. Qui sequitur me non ambulat in tenebris sed habebit lumen vitae 679 (‘He who follows me walks not in darkness but in the light said the 680 Lord’; CANTUS database, http://cantusdatabase.org/ 681 node/377953 (accessed 14 October 2016); also sung in the fourth 682 week of Lent). 683 35. Et nunc sequimur in toto corde et timemus te et quaerimus faciem 684 tuam domine ne confundas: Dan. 3:41. 685 36. On the gender dynamics of a nun’s transfer into the monastery, see 686 Katharine O’Brien O’Keeffe, Stealing Obedience: Narratives of EMOTIONS AND THE RITUAL OF A NUN’S CORONATION IN LATE MEDIEVAL... 191

Agency and Identity in Later Anglo-Saxon England (Toronto: 687 University of Toronto Press, 2009), 185–209. 688 37. Lüne, Klosterarchiv, Hs 14: fols 38v–39r: ‘Desponso te Ihesu 689 Christo filio sumi patris, qui te illesam custodiat et ab omni malo 690 defendat’ (‘I betroth you to Jesus Christ, the son of the highest 691 Father, who will guard you from danger and defend you from all 692 evil’). 693 38. The ‘great prayer of consecration’ (Deus castorum corporum); Lüne, 694 Klosterarchive, Hs. 14, fols 41v–43v. For this prayer, see O’Keeffe, 695 Stealing Obedience, 199–201. 696 39. James Borders discusses the sources for the antiphons from the lit- 697 urgy of Agnes and their rhetorical force in liturgical action in ‘Music, 698 Performativity, and Allusion in Medieval Services for the Consecration 699 of Virgins’, in The Oxford Handbook of the New Cultural History of 700 Music, ed. Jane F. Fulcher (Oxford: Oxford University Press, 2011), 701 17–38. 702 40. Yardley, Performing Piety, 177. 703 41. Ibid., 161–77, which includes a musical description of the several of 704 the antiphons in the consecration rite. 705 42. William M. Reddy, The Navigation of Feeling: A Framework for the 706 History of Emotions (Cambridge: Cambridge University Press, 707 2001), 96–107. 708 43. Borders, ‘Music, Performativity, and Allusion’, 25. 709 44. Ulrike Hascher-Burger, ‘Religious Song and Devotional Culture in 710 Northern Germany’, in A Companion to Mysticism and Devotion in 711 Northern Germany in the Late Middle Ages, ed. Elizabeth 712 A. Anderson, Heinrike Lähnemann and Anne Simon (Leiden: Brill, 713 2013), 261–83. 714 45. Niklaus Largier, ‘The Art of Prayer. Conversions of Interiority and 715 Exteriority in Medieval Contemplative Practice’, in Rethinking 716 Emotion: Interiority and Exteriority in Premodern, Modern, and 717 Contemporary Thought, ed. Julia Weber and Rüdiger Campe (Berlin: 718 De Gruyter, 2014), 58–71. 719 46. Hannover, Landesbibliothek, MS I 79, f. 58r: ‘Und schult denne 720 mit den liefhebberinne sunte Agneten in gantzen[?] leue und beger- 721 inge singen mit alle iuwen herten Annulo suo subarravit me domi- 722 nus meus Ihesus Christus et tamque sponsam decoravit me corona.’ 723 47. Hannover, Landesbibliothek, MS I 79, f. 59v: ‘unde schult syngen 724 mit gantzen leue unde begeringe Induit me dominus’. 725 192 J. HOTCHIN

726 48. Hannover, Landesbibliothek, MS I 79, 63r. 727 49. O’Keefe discusses the religious woman as both a passive object of 728 transfer between men and an ‘agent of her own dedication’; Stealing 729 Obedience, 197–203. 730 50. Yardley, Performing Piety, 166. 731 51. Fred P. Edie, ‘Liturgy, Emotion, and the Poetics of Being Human’, 732 Religious Education 96(4) (2001): 474–88 (at 485). 733 52. Orsi, Between Heaven and Earth, 73–109, esp. 73–9, 107–9. 734 53. Susan Broomhall, ‘Introduction: Destroying Order, Structuring 735 Disorder: Gender and Emotions’, in Gender and Emotions in 736 Medieval and Early Modern Europe: Destroying Order; Structuring 737 Disorder, ed. Susan Broomhall (Farnham: Ashgate, 2015), 8. 738 54. Christolph Wulf, ‘Memory, Mimesis and the Circulation of Emotions 739 in Rituals’, in Emotions in Rituals and Performances, ed. Axel 740 Michaels and Christolph Wulf (Abingdon: Routledge, 2012), 79. Author Queries Chapter No.: 9 0002860858

Queries Details Required Author’s Response AU1 AU: is full page range required for Bourke article cited in n 6? AU2 AU: capitalise this word? AU3 AU: will it be clear to the reader what this citation signifies? If this is a biblical citation, normal style is to use colon rather than comma between chapter and verse citations AU4 AU: are these both chapter citations or chapter and verse? If the latter, change to 8: 12 AU5 AU: is text OK here or should it be ‘singing of’? AU6 AU: nuns’ (sentence later uses ‘they’ rather than ‘she)? AU7 AU: back? AU8 AU: is placement of this word correct in sentence? Reads a bit oddly at present AU9 AU: there is change in tense in this sentence from past tense to present tense—probably better to use the same tense throughout this section