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THE CATHOLIC UNIVERSITY of AMERICA Staging Corpus Christi THE CATHOLIC UNIVERSITY OF AMERICA Staging Corpus Christi: The Eucharistic and Cyclic Aesthetics of the York Cycle and Pearl A DISSERTATION Submitted to the Faculty of the Department of English School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Marcel Antonio Brown Washington, D.C. 2013 Staging Corpus Christi: The Eucharistic and Cyclic Aesthetics of the York Cycle and Pearl Marcel Antonio Brown, Ph.D. Director: Stephen K. Wright, Ph.D. Over the past fifty years, a handful of studies have looked at the influence of Eucharistic piety on the York Cycle and the Middle-English poem Pearl. In the most important such study on the York Cycle to date, Pamela King has argued that the plays of the York Cycle have a liturgical principle of selection, a thesis founded on the late medieval liturgical calendar’s correlations to the choice and arrangement of plays in British Library Additional MS 35290. Nonetheless, there remains some doubt about precisely how the York Cycle constituted, to quote King, a “customised celebration” of Corpus Christi. Would the typical audience in late medieval York have been familiar enough with the intricacies of the liturgical calendar to perceive a connection between the plays’ narrative arc and the feast which they ostensibly commemorated? Is it possible that the York Cycle’s celebration of the Feast of Corpus Christi might thus have been expressed through the plays’ staging? While the debate about the York Cycle’s Eucharistic allusions continues even today, the debate about the devotional character of the late medieval Pearl is largely settled. Heather Phillips has convincingly argued that Pearl is an essentially Eucharistic work, thereby laying to rest a decades-old debate about the poem’s central image—the Lamb of God upon an altar of sacrifice (Rev. 8:3-5) as it relates to late medieval Eucharistic devotion. The outcome of the critical debate about Pearl has important implications for scholars of the York Cycle, especially given the close correspondence between the last stanza of Pearl and the moment of sacrifice in the York Abraham and Isaac (York X). This dissertation seeks to show how several of the York Cycle’s pageants give literary and dramatic expression to the theology of the Feast of Corpus Christi, and it examines furthermore the literary and historical causes of the Eucharist’s hiddenness in not just one but two masterpieces of late medieval English invention—the York Cycle and Pearl. By exploring all available evidence from cultural milieu—liturgical texts and accoutrements, stained glass, painted glass, wood carving, stone sculpture, ivory carving, embroidery, xylographic books, and historical records—this dissertation seeks to demonstrate that the York Cycle sustains in textual and contextual analysis the notion that the plays were crafted specifically to celebrate the Feast of the Body of Christ. The Infancy Plays in particular—the Nativity (XIV), the Shepherds (XV), and the Magi (XVIb)—form a coherent Eucharistic sequence, while the Baptism (XXI) sets the stage for the Passion. Another Eucharistic series is comprised of Christ’s Appearance to Mary Magdalene (XXXIX), Emmaus (XL), and The Incredulity of Thomas (XLI). The fourteenth- century Pearl’s treatment of its Eucharistic theme is accomplished through a similar artistic strategy, and this observation becomes especially significant in light of a parallel between the York Abraham and Isaac (X) and the closing stanza of Pearl, whose last lines are generically modeled on lay-devotional elevation prayers commonly recited at Mass. Such homage to the Eucharist, tucked away within the layered intricacy of an aesthetic of hiddenness, has been articulated best of all, perhaps, by the words of a hymn of St. Thomas Aquinas—Adoro te devote latens Deitas. This dissertation by Marcel Antonio Brown fulfills the dissertation requirement for the doctoral degree in English approved by Stephen K. Wright, Ph.D., as Director, and by Lilla Kopár, Ph.D., and Daniel R. Gibbons, Ph.D. as Readers. _______________________________________ Stephen K. Wright, Ph.D., Director _______________________________________ Lilla Kopár, Ph.D., Reader _______________________________________ Daniel R. Gibbons, Ph.D., Reader ii To Marlene iii The first act of the divine drama was enacted, not only on no stage set up above the sightseer, but on a dark and curtained stage sunken out of sight; and that is an idea very difficult to express in most modes of artistic expression. It is the idea of simultaneous happenings on different levels of life. Something like it may have been attempted in the more archaic and decorative medieval art … perhaps it could have been best conveyed by the characteristic expedient of some of the medieval guilds, when they wheeled about the streets a theatre with three stages one above the other, with heaven above the earth and hell under the earth. — G. K. Chesterton, The Everlasting Man iv Table of Contents List of Illustrations . vi Acknowledgements . viii Chapters 1. Introduction . 1 2. Critical and Cultural Context . 29 3. The Infancy Plays, Part One: The Nativity . 52 4. The Infancy Plays, Part Two: The Gifts of the Magi . 84 5. The Baptism of the Lord, and Some Post-Resurrection Plays . 112 6. The Sacrifice of Isaac, Pearl, and þe lande of vyssyon . 153 7. Conclusions . 183 Bibliography . 189 v List of Illustrations 1. Clifford Davidson, The Processional Pageant Route of the York Cycle in 1399 . 3 2. The Typological Scheme of Cyclic Form, adapted from V. A. Kolve . 4 3. The Toppes Nativity and Adoration of the Shepherds, Norwich, ca. 1453-5 . 55 4. The Barby Nativity Window, Northants., ca. 1300-10 . 64 5. Saint Anthony and the Miracle of the Mule, Très Riches Heures du Duc de Berry . 73 6. The Swinburne Pyx, Midlands of England, ca. 1310-25 . 81 7. The Epiphany, BL Blockbook C.9 d.2, Netherlands, ca. 1460 . 98 8. The Queen of Sheba Visits Solomon, BL Blockbook C.9 d.2. 99 9. The Gifts of the Magi, BL Blockbook C.9 d.2. 99 10. Eucharistic Vessels, Monstrance, Pyx, Ciborium, Busch Reisinger Museum . 99 11. The Chichester-Constable Chasuble, England, ca. 1330-50 . 102 12. The Vic Cope, England, ca. 1350-75 . 102 13. The Butler-Bowdon Cope, England, ca. 1330-50 . 102 14. The Gifts of the Magi, detail, Chichester-Constable Chasuble . 104 15. The Gifts of the Magi, detail, The Vic Cope . 104 16. The Gifts of the Magi, detail, The Butler-Bowdon Cope . 104 17. Adoration of the Magi and Shepherds, Leicestershire, ca. 1490 . 110 18. The Baptism of the Lord, Très Riches Heures du Duc de Berry, France, ca. 1411-42 . 114 vi List of Illustrations (cont’d) 19. Angels Holding Garment, detail, Très Riches Heures du Duc de Berry . 119 20. Wynkyn de Werde, The Baptism of the Lord, English Woodcut, 1525 . 119 21. The Christmas Mass, detail, Très Riches Heures du Duc de Berry . 123 22. Acolyte with Communion Linen, detail, The Christmas Mass, Très Riches Heures . 125 23. Angels Await the Eucharist, detail, The Christmas Mass, Très Riches Heures . 125 24. Adoration of the First King, detail, The Magi, Très Riches Heures . 125 25. Acolytes with Communion Linen, detail, Sherborne Missal, ca. 1399-1407 . 125 26. John the Baptist and The Adoration of the Magi, detail, Butler-Bowdon Cope . 135 27. Baptist with Ecce Roundel, Stained glass, Hardwick, Northants., ca. 1280-1310 . 137 28. Baptist with Ecce Roundel, The Grandisson Diptych, England, ca. 1340 . 137 29. Baptist with Ecce Roundel, Butler-Bowdon Cope, England, ca. 1330-50 . 137 30. Baptist with Ecce Roundel, Stone sculpture, Hereford, ca. 1450 . 137 31. Thomas and Deus, detail, Syon Cope, London, ca. 1300-20 . 151 th 32. Abraham and Isaac, Christ and Simon of Cyrene, France, 13 century . 158 33. Historiated initial of the Te Igitur, detail, Sarum Missal, England, ca. 1430 . 160 th 34. Isaac in Cassock with Cruciform Faggots, Misericord, Worcester Cathedral, 14 c. 162 35. The Lamb of Revelation 8:3-5, York Minster, Great East Window, ca. 1408 . 166 vii Acknowledgements My first and greatest thanks I owe to my wife, Marlene, whose gracious support has been indispensable for the success of this dissertation project. Her love and encouragement have kept me writing and researching these many years: more than anyone, perhaps, she has believed in this project from its inception to now, the day of its initial publication. Our lovely children deserve no small degree of my gratitude as well: for much of the writing of this dissertation— they were never more than a room or two away—their presence has been for me a constant reminder of why I have embraced this sometimes difficult life of scholarship in the service of teaching, and ultimately in the service of my wife, our children, and the Roman Catholic faith which we are happy to profess. There are certain individuals, moreover, whose inspiration and help along the way have ensured that this dissertation project would one day be brought to completion. Rev. Paul D. Scalia I credit with having first inspired me with a deep and authentic devotion to the Holy Eucharist, which is ever at the center of my life. I am especially grateful to Dr. Stephen K. Wright, who generously directed this dissertation from beginning to end, and I am likewise grateful to this dissertation’s two readers, Dr. Lilla Kopar and Dr. Daniel Gibbons, whose careful analysis improved this dissertation in many ways. Brilliant and supportive teachers at The University of Dallas, my undergraduate alma mater—Bernadette Waterman-Ward, Eileen Gregory, Gregory Roper, Gerard Wegemer, and Scott Crider—I heartily thank for inspiring me, through word and work, to pursue a doctoral degree in English.
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