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Temporal Detachment and the Shaping of History in the Fineshade Manuscript

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Temporal Detachment and the Shaping of History in the Fineshade Manuscript The Untouchable Past and the Incomprehensible Present: Temporal Detachment and the Shaping of History in the Fineshade Manuscript. Hannah Kilpatrick supervised by Andrew Taylor Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for the MA degree in English Literature with Specialisation in Medieval and Renaissance Studies September 2011 Department of English, University of Ottawa © Hannah Kilpatrick, Ottawa, Canada 2011 ii Abstract. This thesis undertakes a close study of a single manuscript of the early 1320s, written at the priory of Fineshade, Northamptonshire. The manuscript contains a short chronicle and several documents related to the failed baronial rebellion of 1321-22. I argue that, in collaboration with the priory’s patrons, the Engayne family, the chronicler responds to the current situation with an attempt to create meaning from a time of crisis. In the process, he attempts to shape his material through patterns of style and thought inherited from both chronicle and hagiographical traditions, to make the present conform to the known and understood shape of the past. His success is limited by his inability to establish sufficient distance from traumatic events, a difficulty that many chroniclers seemed to encounter when they attempted to turn current events into meaningful historical narrative. iii Contents list. Abbreviations. iv Introduction. v PART I. Chapter 1: Context, Collaboration, and Composition. National Context. 1 Fineshade and the Engaynes. 19 Chapter 2: Historicising the Present. 36 Chapter 3: Chronicles and Time-bound Narrative Structuring. 60 Chapter 4: Truth and Memory: the Hagiographical Legacy. 88 PART II. Codicology. The Codex. 116 The Fineshade Manuscript. 123 Transcription. 139 Letters. 141 Doncaster Petition. 144 Chronicle. 148 Notices. 161 Judgement. 163 Translation. Letters. 165 Doncaster Petition. 167 Chronicle. 170 Judgement. 178 Works Cited. 180 iv Abbreviations. Anonimalle: The Anonimalle Chronicle. AP: Annales Paulini. BL: London, British Library. Bodl.: Oxford, Bodleian Library. CChR: Calendar of Charter Rolls. CClR: Calendar of Close Rolls. CCW: Calendar of Chancery Warrants. CIMisc: Calendar of Inquisitions Miscellaneous v. 2. CIPM: Calendar of Inquisitions Post Mortem. Cleo.: BL Cotton Cleopatra. CPapR: Calendar of Entries in the Papal Registers. CPR: Calendar of Patent Rolls. CPW: Parliamentary Writs. EETS: Early English Text Society. EHD: English Historical Documents v. III. Fineshade manuscript: MS BL Cotton Cleopatra D. IX, ff. 84–90. Foedera: Rymer, Thomas, ed. Foedera, Conventiones, Litterae. NatArch: London, National Archives. ODNB: Oxford Dictionary of National Biography. Vita: Vita Edwardi II, ed. and trans. Childs. v Introduction. Sometime in late 1322 or early 1323, a canon in a minor Northamptonshire priory sat down to write of the reign of King Edward II. The priory was Fineshade, near Blatherwycke; the immediate impetus for composition was the baronial rebellion of 1321–22, and its culmination in royal victory at Boroughbridge, North Yorkshire, together with the execution of the rebellious Earl of Lancaster. The Fineshade manuscript, which is now Cotton Cleopatra D. IX ff. 84–90, contains a chronicle and several documents related to the rebellion. It appears to reflect the interests of the priory’s patrons, a family of minor barons by the name of Engayne, and to attempt to make sense of recent traumatic events in the light of Edward II’s reign as a whole.1 At the time this manuscript was written, England was in a state of turmoil. Civil war and gang violence among the élite came on the heels of famine, widespread disease, and economic downturn throughout Europe, making daily life difficult and unpredictable across all levels of society. Michael Prestwich says of this phase of Edward II’s reign that “[i]t is impossible to quantify the breakdown of law and order … but it is plain that the whole equilibrium of society was fragile in this period” (The Three Edwards 97). The Fineshade chronicler responds to the current situation with an attempt to create orderly meaning from chaotic crisis, in collaboration with and possibly at the instruction of men who had participated actively in the civil wars. In my approach to the the text of this manuscript I have to a certain extent disregarded boundaries between literary criticism and traditionally “historical” studies. I do this in the context of an encouraging rise over recent years in studies that consider chronicles not merely 1 Several of the items in the manuscript, including the chronicle, were published by George Haskins in the 1930s, although he did not identify the manuscript’s origin and valued it chiefly for its contribution to English political history. vi as a mine of historical facts, but as texts worthy of literary consideration in their own right. For example, Ruth Morse and Monika Otter have both, from different perspectives, undertaken detailed studies into the overlapping frames of reference between fiction and claims to historical truth in late-mediaeval historical writing. Peter Ainsworth’s work on Jean Froissart’s Chroniques is rich with his appreciation for the social context in which Froissart wrote and the influences that entailed, but it is also “self-consciously literary” (12). In England’s Empty Throne, Paul Strohm uses not only chronicles but a variety of other sources (such as legal and administrative documents and letters) to consider textual responses to one traumatic historical event, the deposition of Richard II (e.g., 8–9, 63–64, 116). I have used a similar range of sources to contextualise one particular narrative response to another traumatic event early in the same century. Strohm defined his subject of interest as not the event, but the meaning made of it: “not [so much] what he did or did not do, as time-bound, meaning-making structures [a given writer] employs” (129). Likewise, I am very little concerned with what happened at the Battle of Boroughbridge and its aftermath: my interest is rather in what was thought or said to have happened, and the imaginative strategies employed in the struggle to articulate it. Much of the re-reading of chronicles done by Middle English literature critics in recent years has aimed to recapture peasant and rebel voices from the official record (Aers 434–36; Justice, esp. 17; Strohm, Hochon’s Arrow ch. 2). While this work is undeniably important, it carries the risk of turning the chronicler into the literary historian’s enemy, the one who silences those voices that truly deserve to be heard and whose own voice must consequently be resisted. In this study, I aim instead to focus attention on the voices of chronicler, priory, and patron, and on this manuscript as their response to one moment of crisis. This thesis is divided into two parts, of which the first is argument and discussion. My first chapter explores the political and social context in which the Fineshade manuscript was written, so far as that can be ascertained. As the reign of Edward II provides both the subject vii and context for the chronicle, the first part of this chapter provides a summary of the years from Edward I’s death to 1330. My emphasis loosely follows that of the Fineshade chronicler, although I do cover some events that he omits (including the years after 1322) and occasionally dwell on contemporary reception and comprehension of crucial events as essential background to the discussions that follow. The second half of this chapter turns to archival sources to piece together the activities and loyalties of Fineshade Priory and of the Engayne family during Edward’s reign. I conclude this chapter by considering what this necessarily scanty sketch might suggest about the relationship between patron and author in the composition of the chronicle. My second chapter opens broader questions, examining the moral role of historical writing in the Middle Ages and the difficulties that many chroniclers seemed to encounter when they attempted to turn current events into comprehensible, meaningful narrative. Drawing on Mikhail Bakhtin’s model of epic time, I argue that this difficulty could arise as a result of a failure of temporal positioning: that is, from an inability to establish sufficient distance from traumatic events to enable the author to translate those events into traditional narrative patterns and to assign them meaning within that form. In my third and fourth chapters I return to a close study of the Fineshade manuscript, examining how the chronicler attempts to shape his material through patterns inherited from chronicles and hagiography respectively. I draw on the work of William J. Brandt for my discussion of chronicle style in the third chapter. In discussing the chronicler’s portrayal of the Earl of Lancaster, I respond to a substantial body of recent work on politicised saints of the period, and more specifically on the popular martyr-cult of “Saint” Thomas of Lancaster that emerged rapidly in the wake of his execution. Part II of this paper consists of a codicological description of the Fineshade manuscript and the codex into which it is now bound, followed by a transcription and translation of the Fineshade manuscript. Folio and line numbers are provided in the transcription, and more viii sparsely in the translation. In quoting the manuscript I quote my translation, unless specifically discussing the grammar of a phrase or passage. Acknowledgements. I am indebted to SSHRC for the opportunity to travel to the British Library to consult the manuscript, without which much of Part II would have been impossible or incomplete. I am deeply grateful to Andrew Taylor and Kathryn Warner, who both generously allowed me to read preparation and pre-publication copies of their articles, and to discuss their current work with them. Geoff Rector’s expertise with Anglo-Norman was also valuable in smoothing over several textual cruces in my reading of the manuscript.
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