The Birth of the Author: Pictorial Prefaces in Glossed Books of the Twelfth Century
Caroline Walker Bynum
To those who know little about the Middle Ages, copying of manuscripts “the ancients” (whether classical, such as Roman poet Horace, or Christian, Saints Jerome Augustine) often seems either a laudable act preserving past an unfortunate fixation on repeating words others rather than penning new and original compositions. Even scholars Ages appear sometimes more interested in types works fabliaux courtly romances written vernacular; when they study practice copying, concentrate identifying prototypes legacies. Finding old wine bottles has been fairly constant theme medieval studies; sometimes, we must admit, medievalists have just thrown out moved to something completely new. In this context, it may seem strange find work Latin manuscript commentaries titled “The Birth Author,” responding Roland Barthes's well-known essay Death published 1984 cited repeatedly since. What can mean see new, self-conscious awareness personal creation that are copies by scribes other themselves comment yet earlier works, certain age canonicity? Yet intelligent, engaging, beautifully produced book, art historian Jeffrey Hamburger not only shows how wrote came suggest anyone composes (even scribe it) could be considered creator meaning but also images make statements—indeed, statements radical text—about author being illustrated. Long known one relatively rare historians equipped with wide knowledge theology hence respond reflect text, here himself possessed shrewd eye for image itself. He studies illuminated prefaces to, among texts, prose poetic Horace used classroom, major biblical commentary High Glossa ordinaria, Rupert Deutz's erotically charged Song Songs. Changing lens through which usually viewed argues authors go beyond anything text assert authority commented commentator occasionally even scribe.The Author is complicated analysis, its full power demands close attention. Understanding construct claims involves good deal careful looking. patient clear guide, reader prepared flip back forth between magnificent colored publisher provides follow what painstaking arguments from comparison small visual differences puzzling identifications seemingly details. The result doing so is, however, gain reward Hamburger's ingenious conclusions lesson look. For example, discussion Gilbert Universalis's Lamentations Hebrew prophet Jeremiah, identifies Jeremiah “divine rhetorician” assimilates his own authorship Jeremiah's prophetic speech. extant copy Gilbert's program illustrations, artist constructs both speech interpretation similar acts framing parallel architectural evoke Old Testament temple Christian church. Or give final example interpretive reach: book concludes another preface far less usual epilogue. Here commentator, scribe, illustrator themselves. Reception becomes interpretation, illustration construction. Carolingian figure Sedulius Scotus (fl. 840–60) grammarian Donatus (mid-fourth century), depicts (thus assimilating into copier vice versa). On same folio, later reader/author charming marginal doodle entrap sort hangman's noose. Thus, bit wryly perhaps, Hamburger—himself teacher, consummate scholar—seems frustrated students interpreters and, yes, authors. Behind seeming repetition backward glance lies forward-looking self-awareness authoring, interpreting, reading, imagining. most conventional genres—the texts others—is locus birth self-expressive reader.
Common Knowledge