ACTA NEOPHILOLOGICA 49. 1-2 (2016) Acta_Neophilologica_2016_FINAL.indd 1 17.11.2016 8:55:55 ACTA NEOPHILOLOGICA ISSN 0567-784X Editor-in-Chief / Glavni in odgovorni urednik: Igor Maver Editorial Board / Uredniški odbor: Anton Janko, Jerneja Petrič, Miha Pintarič, Frančiška Trobevšek-Drobnak Advisory Committee / Svet revije: Henry R. Cooper, Jr. (Bloomington, Ind.), Renzo Crivelli (Trieste), Maria Renata Dolce (Lecce), Kajetan Gantar (Ljubljana), Meta Grosman (Ljub ljana), Angelika Hribar (Ljubljana), Branka Kalenić Ramšak (Ljubljana), Tom Ložar (Montreal), Mira Miladinović-Zalaznik (Ljubljana), Genaro M. Padilla (Berkeley), Tom M. S. Priestley (Edmonton, Alb.), Margarete Rubik (Wien), Naomi Segal (London), Neva Šlibar (Ljubljana), Wolfgang Zach (Innsbruck). Published by / Založila: Znanstvena založba Filozofske fakultete Univerze v Ljubljani / Ljubljana University Press, Faculty of Arts Issued by / Izdal: Department of English / Oddelek za anglistiko in amerikanistiko For the publisher / Za založbo: Branka Kalenić Ramšak, dekanja Filozofske fakultete / Dean of the Faculty of Arts Design and layout / Oblikovanje in prelom: Jure Preglau Printed by / Tisk: Birografika Bori d.o.o. Number of copies printed / Naklada: 300 Price / Cena: 15,00 EUR Indexed in: Directory of Open Access Journals (DOAJ), Emerging Sources Citation Index, Internationale Bibliographie der Zeitschriftenliteratur, MLA International Bibliography, ERIH PLUS This publication was supported by / Publikacija je izšla s podporo: Slovenian Research Agency / Javna agencija za raziskovalno dejavnost RS Address / Naslov urednštva: Filozofska fakulteta Univerze v Ljubljani (Department of English) Aškrečeva 2, SI- 1000 Ljubljana, Slovenia Phone / Tel.: + 386 1 241 1334 E-mail: [email protected] http://revije.ff.uni-lj.si/ActaNeophilologica/ This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. / To delo je ponujeno pod licenco Creative Commons Priznanje avtorstva-Deljenje pod enakimi pogoji 4.0 Mednarodna licenca Acta_Neophilologica_2016_FINAL.indd 2 17.11.2016 8:55:55 Contents 3 Contents Cloud and Clothe. Hildegard of Bingen’s Metaphors of the Fall of the Human Soul . 5 Sonja Weiss Celebrating Downward Mobility in Selected Australian Texts. 19 Margarete Rubik Topicality and Conceptual Blending in Shakespeare’s Henriad – The Case of the Earl of Essex . 29 Elke Mettinger The Maori and the Pakeha in C. K. Stead’s Novel Talking About O’Dwyer . 53 Igor Maver Heinrich Mann’s Small Town Tyrant: The Grammar School Novel as a German Prototype of Academic Fiction . 63 Dieter Fuchs “Border Gothic” – History, Violence and ‘The Border’ in the Writings of Eugene McCabe. 73 Éamonn Ó Ciardha Gerard Manley Hopkins and Walter Pater: The Labyrinths of Transience. .85 Mirko Starčević The Importance of Being Earnest: Strategies for Translating Irony from English into Macedonian. 109 Sonja Kitanovska-Kimovska Silvana Neshkovska Die Reporterin Alice Schalek an der Adria . 127 Mira Miladinović Zalaznik Der Kulturtransfer und die Lesekultur in Laibach (Ljubljana) Ende des 19. Jahrhunderts . 139 Tanja Žigon L’Équilibre de la chute : La Porte de L’Enfer et ses sources . 155 Boštjan Marko Turk Mémoires d’Hadrien entre fiction et autobiographie . 167 Tina Osterman Acta_Neophilologica_2016_FINAL.indd 3 17.11.2016 8:55:55 Acta_Neophilologica_2016_FINAL.indd 4 17.11.2016 8:55:55 Cloud and Clothe. Hildegard of Bingen’s Metaphors of the Fall of the Human Soul 5 ACTA NEOPHILOLOGICA UDK: 821.124.09sv. Hildegarda DOI: 10.4312/an.49.1-2.5-18 Cloud and Clothe. Hildegard of Bingen’s Metaphors of the Fall of the Human Soul Sonja Weiss Abstract The paper examines Hildegard’s use of metaphors in her visions of the human fall, and the way she combined the biblical motif of Original Sin with the philosophical question of a soul’s embodiment, particularly in her moral play, Ordo virtutum, but also in her medical and visionary writings. The metaphor of the cloud sometimes blends with the metaphor of clothing (as in, “to clothe”), since the corporeal vestment of the soul before the Fall is said to resemble a cloud of light. Both metaphors are present in Hildegard’s other works, particularly the image of the cloud, which is frequently used to illustrate cosmological im- plications of Original Sin. The metaphor of clothing, on the other hand, reveals parallels with certain Christian Gnostic revelations, blended with the Neo-Platonic doctrine of the soul as enslaved to the body. Key words: Hildegard, Ordo virtutum, cloud, metaphor, original sin, Adam and Eve, soul. Acta_Neophilologica_2016_FINAL.indd 5 17.11.2016 8:55:55 6 SONJA WEIss 1 THE CLOUD OF DIVINE WISDOM AND GLORY Hildegard’s perception of Original Sin is reflected in the passages which refer to Adam and Eve, sometimes together and sometimes separately. References to Adam are usually depicting the human prototype rebelling against God, without specific allusions to Gen 3. It is different when the argument touches on the role of Eve, who was seen differently by different interpreters, Jewish and Christian: as Satan’s instrument of temptation by some and as victim of his snares by others.1 Woman was considered weaker than man, and this weakness predisposed Eve to be the first to break God’s commandment, and to lead her husband astray. The interpretative tradition frequently dwells on the moral aspect of the biblical sto- ry. This aspect, however, clearly does not come first for Hildegard,2 who is more interested in the physiological and cosmological consequences of the first sin.3 Moreover, she points out purely physiological reasons for woman’s weakness: her nature is “aereal,” less resistant than Adam’s who, by nature, is directly linked to the clay of which he has been made.4 Even though Hildegard has adopted the tra- ditional concept of Original Sin being transmitted and manifested through sexual desire, her views tend to be morally neutral. Original Sin resulted in psycho-phys- ical disorder of all men, and has disturbed the natural order.5 The physical changes following the Fall are described in detail in Hildegard’s medical work, Causae et Curae (=CC), which gives full credit to her holistic vision of the cosmos and of man, a vision rooted in the ancient analogy between the world’s order (macrocos- mos) and human microcosmos.6 Hildegard’s holism is most palpable in her medical writings, which show us that she was familiar with the works of 11th century medical writer and translator, Constantine the African.7 Another source of inspiration for monastic medicine is said to have been the writings of the medical school of Salerno, which not only offered practical precepts against diseases, but also tried to identify their causes. The title of Hildegard’s own work, Causae et Curae, points out the knowledge of 1 Christian (and particularly Western) tradition regarded Eve as the principal culprit in Man’s Fall (see, Kvam, Schearing and Ziegler, 1999, 116, 131–133, 135–141 in 147–155). 2 Newman: 1987, 107. 3 Cadden: 1993, 73–77. 4 Rabbinic tradition contrasted man’s provenance from earth with woman’s birth from flesh (see, Newman: 1987, 114). 5 On the connection between Original Sin and human illnesses, see Lautenschläger: 1993, 207–211; on Hildegard’s perception of her own disease, see Stoudt: 2014, 262–264. 6 Wetherbee: 1973, 3. 7 Glaze: 1998, 139s. Acta_Neophilologica_2016_FINAL.indd 6 17.11.2016 8:55:55 Cloud and Clothe. Hildegard of Bingen’s Metaphors of the Fall of the Human Soul 7 the causes of a disease as a key to its cure.8 She displays the same approach to moral depravity and psychic ailments. She also believes that the consideration of the original, uncorrupted state is crucial to the recognition of causes of suffer- ing.9 The pristine human condition is very important in Hildegard’s eyes, since she considers that Original Sin is the cause of all bodily disorders. In this primal state, we observe the bond between the first man and woman, a bond so close that it reminds us of the androgynous archetype which played an important role in pagan Platonism, as well as in Hermetic and Gnostic literature.10 This bond is highlighted in some of the Gnostic gospels,11 which actually refer to the biblical story representing Eve as flesh of Adam’s flesh. Hildegard herself observes this mutual involvement of man and woman with each other: “Vir itaque et femina sic ad invicem admixti sunt, ut opus alterum per alterum est; quia vir sine femina vir non vocaretur, nec femina sine viro femina vocaretur. […] et neuter eorum absque al- tero esse potest.” (Liber Divinorum operum = LDO I.4.100). Eve is, after all, a vira- go (Gen. 2.23),12 made from vir (a she-man). Man and woman define, complete and express each other.13 They are united in God, each representing one side of the Son of God’s nature: his divinity (man) and his humanity (woman): “Et vir divinitatem, femina vero humanitatem filii Dei significat.” (Ibid.) The Son of God is the Son of Man as well, which means that he is at the same time God and Man. Since God created man in His image, the first man, too, shares His nature. How did this nature manifest itself? Though Adam “never managed to grasp her [sc. wisdom]” (Eccl. 24.28), he was nevertheless regarded as a sort of human ideal, until the biblical tradition started to view him primarily as the first sin- ner. Still, he was wise: in the 10th chapter of the Book of Wisdom, we read that Wisdom “delivered him from his fault” and that “she gave him the strength to 8 On Hildegard’s medical sources and medicine as a sort of philosophical art in the 12th cent., see Glaze: 1998, 131s. The medicine in Hildegard’s time was also stimulated by the translations of Greek and Arabic philosophical and scientific texts, spreading northward (see Stoudt: 2014, 25ss.).