A Catalogue of Manuscripts Known to Contain Old English Dry-Point Glosses E-Book
Dieter Studer-Joho
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- Herausgeber: Narr Francke Attempto Verlag
- Kategorie: Geisteswissenschaft
- Serie: Schweizer Anglistische Arbeiten (SAA)
- Sprache: Englisch
While quill and ink were the writing implements of choice in the Anglo-Saxon scriptorium, other colouring and non-colouring writing implements were in active use, too. The stylus, among them, was used on an everyday basis both for taking notes in wax tablets and for several vital steps in the creation of manuscripts. Occasionally, the stylus or perhaps even small knives were used for writing short notes that were scratched in the parchment surface without ink. One particular type of such notes encountered in manuscripts are dry-point glosses, i.e. short explanatory remarks that provide a translation or a clue for a lexical or syntactic difficulty of the Latin text. The present study provides a comprehensive overview of the known corpus of dry-point glosses in Old English by cataloguing the 34 manuscripts that are currently known to contain such glosses. A first general descriptive analysis of the corpus of Old English dry-point glosses is provided and their difficult visual appearance is discussed with respect to the theoretical and practical implications for their future study.
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Dieter Studer-Joho
A Catalogue of Manuscripts Known to Contain Old English Dry-Point Glosses
Narr Francke Attempto Verlag Tübingen
© 2017 • Narr Francke Attempto Verlag GmbH + Co. KG Dischingerweg 5 • D-72070 Tübingen www.francke.de • [email protected]
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Inhalt
To my Parents
Trudi and Sepp
Acknowledgements
This book would have never seen the light of day, if it had not been for the support and encouragement of a good number of people, and I would like to take the opportunity to express my heartfelt thanks to them.
Andreas Fischer is solely responsible for kindling my enthusiasm for historical linguistics in general and Old English philology in particular. I am profoundly grateful to him for backing my PhD project, even though it was already foreseeable that the office of President of the University would leave him precious little time for dry-point concerns.
I am deeply indebted to Elvira Glaser for being such a great boss to me for so many years. I very much enjoyed the time under her supervision, first as her student assistant (and personal book mule) and later as a research assistant at the Phonogrammarchiv der Universität Zürich. The perfectly nonsymbiotic combination of Swiss German dialectology and Old English dry-point glossography was only rendered possible by her boundless patience and unwavering confidence in my capabilities. Moreover, I am profoundly grateful to her for securing an extension to my assistantship for an additional year, which allowed me to finish my PhD thesis in perfect peace of mind and in financial security, too.
Andreas Nievergelt was an immeasurably important inspiration for my dry-point interests. He gave me advice and moral support on countless occasions. His unbelievable diligence and his knowledgeability have always been a tremendously motivating beacon during the often painfully slow progress of my PhD project.
I also wish to acknowledge the generous financial support of the Swiss National Science Foundation for this publication and I am grateful to the Narr Francke Attempto Verlag and to Andreas Fischer, Martin Heusser and Daniel Schreier, the editors of Schweizerische Anglistische Arbeiten, for givining me the opportunity to publish my work in their series. At the same time I would also like to thank Martin Heusser for his support in designing the title page and I am grateful to the British Library for their permission to reproduce a miniature from their holdings.
I am much obliged to Michael Schwarzenbach, Stephan Schmid and Camilla Bernardasci for being wonderful office colleagues and for making me continuously look forward to my working days at the Archives all those years. Annina and Ludwig Rübekeil Seiler encouraged me to keep up the good work so many times, and Christine Wallis gave me hope that I was not the only person on the planet working in this somewhat dusty corner of English philology.
I would also like to express my deepest gratitude to my family: I am eternally grateful to my parents, Trudi and Sepp Studer-Bänziger, for their unconditional love and wholehearted support through all those many years. Above all, however, I am indebted in uncountable ways to my dear wife and soulmate Nicole Studer-Joholove of my life, whose positive influence on me during our two decades of shared history so far defies any description: I cherish your company beyond measure and I take great pride and joy in sharing parenthood of our beautiful daughters Lisa and Michelle with you.
1.Introduction
It was for the mere fact that I had a digital camera that I actually ever got into contact with dry-point glosses. Back in 2006, a colleague of mine – Prof. Dr. Andreas Nievergelt – asked me to accompany him to the Zentralbibliothek Zürich to take some pictures of a MS that contained what he called Griffelglossen. He was making the final changes to his dissertation on the OHG dry-point glosses in a Bavarian MS, which was just about to be published (i.e. Nievergelt 2007), and he wanted to embellish it further with some additional crisp pictures of several OHG dry-point glosses from two MSS of the nearby Zentralbibliothek. My ignorance of dry-point glosses back then was nearly complete. I had heard him and Prof. Dr. Elvira Glaser – for whom I worked as a student assistant at the time – talk about the subject and I had written a term paper in my minor subject German on some OHG ink glosses from St. Gallen. However, I was not even sure whether dry-point glossing was an exclusively Continental practice or whether the phenomenon was known from Anglo-Saxon MSS, too. Needless to say, when we finally stood around the first MS and Andreas pointed the glosses out to me I was fascinated: In a seemingly empty spot of a 9th-c. MS of ALDHELM’s Carmen de virginitateAldhelmCarmen de virginitate, OHG letters started to appear as soon as the electric torch in his hand hit the MS surface at the right angle.Zürich, ZentralbibliothekMs. C 59Zürich, ZentralbibliothekMs. C 411
Having myself a keen interest in Old English philology, I tried to find out whether the phenomenon was known from Anglo-Saxon studies, too, and I soon had to realize that there was hardly any information available on the subject, apart from general references to the existence of such glosses in passing (e.g. Lendinara 1991: 273). The most detailed piece of information I could gather was printed in Mechthild Gretsch’s handbook entry on “Glosses” in the Blackwell Encyclopaedia of Anglo-Saxon England:
Glosses may be entered in ink or with a stylus; such ‘scratched’ or ‘dry-point’ glosses are often visible under special lighting conditions only, and their original purpose is difficult to define. Many of these scratched glosses have not yet been published; presumably many more still await detection. (Gretsch 1999b: 209)
What I had hoped to find, however, was a list of MSS or at least an estimate of how many MSS there were known to feature dry-point writing. Having been schooled in OHG glossography, with its impressive gloss collections, multivolume handbooks, exhaustive bibliographies and specialized gloss dictionaries, my expectations were admittedly naïve. That kind of information was simply not available in the Anglo-Saxonist literature.
Probably the only common ground shared by virtually all scholars who have commented on or even have edited OE dry-point glosses is the suspicion that there are many more OE dry-point glosses yet to be found.
In the case of [Cambridge, CCC285Cambridge, Corpus Christi CollegeMS 285[6/K:54]2] I have, I believe, included all these [=dry-point] glosses, but in the case of the other MSS I gave up the attempt: the deciphering of the scratched glosses was so trying to the eyes, moreover it was so frequently impossible to read them with certainty, that I preferred to confine myself to the properly written glosses. (Napier 1900: xxxiii)
[I]t seems not at all unlikely that other manuscripts with large numbers of legible scratched glosses will yet come to attention. (Meritt 1945: viii)
The fact that they [the dry-point glosses in Cambridge, CCC57Cambridge, Corpus Christi CollegeMS 57[3/K:34]] were not spotted earlier shows how chancy finding such glosses is and how unlikely it is that our corpus of them is anything like complete. (Page 1979: 30)
In several articles, R.I. Page calls for scholars to pay more attention to dry-point glosses, which, as Beinecke 401New Haven, Yale University Beinecke LibraryMS 401[24/K:12] shows, can still be found in large numbers even in well-known and well-studied manuscripts. I would like to add encouragement for such study. A large body of Old English remains hidden and unexplored which will add to our knowledge of both the Old English lexicon and the workings of the Anglo-Saxon classroom. (Rusche 1994: 203)
More than 100 years after the publication of the first major edition of OE dry-point glosses by A.S. Napier (1900), it seemed to me in order to establish a first comprehensive view of this particular subject by compiling the information that is presently available in the literature. I decided to collect everything I could find on the subject of OE dry-point glosses in order to establish a list of MSS known to contain OE dry-point glosses, which could form a first reference point for the comprehensive study of these glosses.3 I asked Prof. Dr. Andreas Fischer – who had sparked my interest in Old English in the first place back in my undergraduate studies – whether I could write a Ph.D. thesis under his supervision on the topic and he was so kind to support my plans.
Probably the one property of dry-point glosses that has the most wide-reaching consequences for their study is their bad visibility. The extremely low contrast that is provided by the mere deformation of the parchment surface is quite markedly different from the sharp contrast that even the poorest of inks will produce. Consequently, since dry-point glosses are usually anything but conspicuous, even previously published glosses may be overlooked by new generations of philologists. This seems to have happened with the dry-point glosses in Salisbury, Cathedral 38Salisbury, Salisbury Cathedral LibraryMS 38 [31/K:378], for instance. Although edited by Napier (1893), they were overlooked by Gwara (2001a, 2001b), who was apparently not aware of Napier’s additions to Logeman’s (1891) first edition of many of the glosses in that MS. Against the backdrop of Gwara’s continued (1993–2001), thorough and awe-inspiring work on ALDHELM glosses – with a pronounced focus on dry-point glosses – it is beyond doubt that his failure cannot be considered a mere slip, but must be seen as a structural failure in this field of research: The lack of a centralized and regularly updated catalogue of relevant MSS tends to leave the researcher in doubt whether all the relevant secondary sources have been identified. Furthermore, in the absence of a bibliography or a register documenting the state of research, what appears to be a discovery may turn out to have been edited before, as is the case with the dry-point glosses edited by McGowan (1998) from London, BL Royal 5. E. xiLondon, British LibraryRoyal 5. E. xi [19/K:252], which had already been edited by Gwara (1993; 1996b), though with partly differing results. The present compilation is faced with that same difficulty and it is easily possible that important resources have not been identified. Therefore, the resulting Catalogue may serve as a point of reference against which new finds can be compared.
It would be highly desirable for the advancement of the study of OE glossography to have a Catalogue of Old English Gloss Manuscripts at disposal, analogous to Bergmann and Stricker’s Katalog der althochdeutschen und altsächsischen Glossenhandschriften (BStK). The study of OE glossography as a scholarly field, however, seems much further away from such an achievement than it was in 1986, when the leading OE gloss scholars met in Brussels, and a comprehensive approach to the study of OE glosses was felt to be on the verge of the possible.4 The plans discussed there have not materialized, so my Catalogue is also meant as a specialized contribution towards such a co-ordinated Catalogue of Old English Gloss Manuscripts.
In some respects, the Catalogue given here represents an enhanced subset of Vaciago’s (1993) little-known Old English Glosses to Latin Texts: A Bibliographical Handlist, which lists 157MSS and which, in turn, represents a subset of Ker’s (1957) magisterial Catalogue of Manuscripts Containing Anglo-Saxon. The rather specialist Catalogue presented here, however, has a much narrower depth of field than both Vaciago’s and Ker’s directories: it focuses on a specific way of adding writing to a MS, namely without any colouring matter. Such writing is easily overlooked, both in the MSS and in the secondary literature, so the Catalogue given here aims at giving Old English dry-point glosses additional profile by appreciating them as a materially (albeit not directly) related group in the hope that this approach may raise awareness both with gloss scholars and with palaeographers of the fascinating possibilities that are hidden in this particular kind of written data with its characteristic peculiarities and difficulties.
2.Terminology and Scope
2.1Vernacular Glossing in Anglo-Saxon England
2.1.1Additions in Anglo-Saxon Manuscripts
Many extant medieval MSS do not only feature a main text (or several main texts in sequence), but also additional written material that can range from a couple of dots in the margins to a complete poem added on a previously empty part of a page.glossesterminology In the traditional terminology of OE glossography, only a particular sub-group of additions is referred to as “glosses”, namely words or short phrases that directly translate or comment on a particular phrase of the (commonly L.) base text. The present study takes the traditional approach and restricts the use of the term “glosses” to additions that are themselves made up of linguistic material, thereby excluding prosodic marks, construe marks and doodles. These other additions are worthy of study, and codicologists, palaeographers and art historians ought to look out for them, but the present study does not deal with them.1 This approach is in line with the terminology of the traditional study of OE glossography (e.g. Napier 1900, Ker 1957, Meritt 1968, Page 1973, Gwara 2001) and it is in line with the usage of the term Glossen in German scholarly usage (BStK: 101–109; Henkel 2007: 727), summarized by Gretsch (1999b: 209) as “additions [to L. texts] of translations, synonyms or explanations (usually consisting of no more than a single word)”.
This traditional notion is somewhat at odds with the much more liberal approach to Anglo-Saxon glossing taken by Wieland’s (1983) influential study on the L. glossing in Cambridge, University Library Gg. 5. 35Cambridge, University LibraryGg. 5. 35 [K:16]. Wieland proposes a much broader definition of “glosses” that also includes non-linguistic additions, such as symbols and “anything on a page which is not text proper, but which is intended to comment on the text” (Wieland 1983: 7), explicitly including illustrations and drawings, too. Wieland’s more generous interpretation of the traditional notion of “glosses” to some extent reflects the needs of L. gloss scholars to subsume the many complex layers of additions that we encounter in many medieval MSS beside the L. main text under a convenient umbrella term. Wieland’s broad interpretation of the term “glosses” also seems to have been directly inspired by Robinson’s (1973) term “syntactical glosses”,glossessyntactical which Robinson applies to what I think would be more appropriately termed construe marks (cf. Wieland 1983: 2). Construe marks are symbols or letters that are added to words of L. texts to indicate a particular word order that is easier to parse by the reader. The symbols and letters do not represent linguistic material themselves, as their only function is the indexation of a particular word order, which in turn is linguistic in nature, of course. Wieland’s broad definition of “glosses” has gained currency in Anglo-Saxonist studies (cf. for instance Stork 1990) and at ISAS2013 in Dublin, several non-linguist Anglo-Saxonist colleagues expressed their surprise that I did not include dry-point doodles in my Catalogue.
I do not think, however, that this re-interpretation of the well-established term “glosses” is helpful from the point of view of glossography and I can only agree with Korhammer (1980: 22), who rejects the use of the term “glosses” in connection with construe marks.construe marks By broadening the definition of the term “gloss” to include non-linguistic additions, we lose an effective means of referring to the different types of additions in medieval MSS, such as marks (i.e. syntactic marks, compilation marks, individual marks of unclear functional status etc.), doodles, names, pen trials, scholia, glosses etc. There is no apparent need to re-interpret the term “glosses” to include all of them, as they are functionally and formally so different that the only property that they share is the fact that they were added later. Hence, “additions” is a more appropriate umbrella term if we want to refer to them all at once.
Among the additions that are themselves made up of linguistic material, glosses are functionally distinguished by representing an explanatory comment on the L. base text. Names, pen trials and compilation marks are not considered in the Catalogue given below: Names may have been meant as owner’s marks or as mere commemorative inscriptions featuring the writer’s or somebody else’s name; “pen trials” (or L. probationes pennae) is a somewhat misleading umbrella term for additional entries that cannot directly be connected to the base text; and compilation marks were added by the scribes during the preparation of the MS. They do all constitute important and interesting evidence for a MS’s history and may provide highly relevant data for onomastic, literary, historical, palaeographical or codicological studies, but their contributions to medieval MSS typically fulfil an arguably different role than glosses.
2.1.2Types of Old English Glosses
OE glosses are known to us from more than 200MSS and they are extant in three different settings, which have often been understood as stages in the accumulation of glossographic knowledge during the Middle Ages (cf. Gretsch 1999b: 209–210).
The first of these settings is the so-called occasional glossing. Occasional glossesglossesoccasional are individual OE interpretamenta added (sometimes seemingly randomly) to L. lemmata in a coherent L. text.1 The density of occasional glossing can vary quite considerably in between MSS: Some MSS were furnished with several thousand OE and L. glosses; from others we only know of a handful of OE glosses. Unfortunately, we cannot generalize about the scriptorial context in which such occasional glosses were added to MSS, as we know rather little about this process. For some occasional glosses, we can assume that they were added spontaneously by a reader who tried to overcome a certain linguistic difficulty in the L. text. Perhaps that reader, let us assume he was a monk for the moment as this seems to be the most likely setting,2 could ask a teacher or a fellow monk about the meaning of a particular word or phrase and after receiving that necessary piece of information decided to add it to the MS, perhaps as an aide-mémoire for himself or for the benefit of subsequent readers.
Some rare examples of such a process can be gleaned from the Leiden family of glossariesLeiden family of glossaries. The glossary preserved in St. Gallen, Stiftsbibliothek 913St. Gallen, StiftsbibliothekMS 913 [K:A29], p. 143, for instance, reads: “larum hragra adrianus dicit meum esse”, which might be translated as: ‘larum [that is in OE] a heron; Hadrian says it is a seagull’. Bischoff & Lapidge (1994: 288) demonstrate convincingly that this reference can only be to Bishop Hadrian,Hadrian of Canterbury who taught in CanterburyCanterbury around AD700. He hailed from North Africa and was more closely familiar with the Mediterranean fauna as described in Leviticus 11:16, where this particular piece of L. vocabulary occurs. It may be inferred that Hadrian passed his first-hand knowledge of what L. larus exactly referred to on to his pupils in Canterbury. One of them perhaps noted this down, most likely directly into a copy of the Bible from where it was later culled and incorporated into the Leiden family of glossaries.
For other occasional glosses, however, it can be shown that they were copied wholesale from other MS witnesses of the same text. A well-studied group of MSS where this can be demonstrated is the so-called “Digby Group” (cf. Gwara 1998b)Digby Group. Occasional glosses in a MS, therefore, do not necessarily represent the spontaneous interaction of a reader with the text.
A second setting for OE glosses can be seen as an intensification of occasional glossing. In some MSS, glossing was undertaken more consistently, so that for some passages or even for most parts of the MS every or nearly every L. word was supplied with an interlinear translation. These so-called continuous interlinear glossesglossescontinuosglossesinterlinear formed a kind of text themselves, which was, however, heavily influenced by the original L. syntax. Continuous interlinear glosses are especially frequently found in psalters (cf. Pulsiano 2001), but they are also known from other texts, such as BOETHIUS, De consolatione philosophiae or BENEDICT’s RegulaBoethiusDe consolatione philosophiaeBenedict of NursiaRegula. So far, no dry-point glosses have been discovered in the context of continuous glosses. It may well be that dry-point writing was never used for this purpose.3
A third setting, the glossary,glossaries represents the abstraction of the occasional or continuous OE glosses from the context of the original L. text. The “Épinal Glossary”,Épinal, Bibliothèque municipale 72 which is dated to AD700 (cf. Bischoff et al. 1988: 13), shows that from an early date both L. and vernacular glosses were culled from occasionally or continuously glossed Anglo-Saxon MSS and compiled in lists of lemma/interpretamentum pairs. These glossaries must have been reworked repeatedly, presumably to improve their usability as reference books (cf. Lendinara 1999b: 207). In some glossaries, we can still see the original order in which they were culled from the base text, forming so-called “batches”. In others, so-called “alphabetical glossaries”, the lemmata are sorted according to their first letter or first few letters, which probably indicates that an existing glossary was reworked by culling in succession all glosses whose first letters matched the right combination.4 In a third group of glossaries, the so-called “class glossaries”, the lemmata from a semantic field were arranged as groups of glosses. This may have been useful for teaching purposes. Class glossaries do not seem particularly apt to serve as reference books, because the reader would have to know the word field of a particular word before he would be able to look it up in a class glossary.
No OE dry-point glosses have been discovered in the context of glossaries. There is some evidence from OHG glossography, though, that dry-point glosses were added as occasional supplements to existing glossaries in rare instances. Therefore glossaries should not be ruled out categorically as candidates for further dry-point finds, but there is no evidence at the moment that the use of dry-point writing was customary in Anglo-Saxon glossaries.
2.1.3The Form of Occasional Glosses in Anglo-Saxon Manuscripts
In casual usage, the term “gloss” often only refers to the added L. or vernacular element itself. Typically, however, a gloss consists of two constituting elements: Firstly, the added piece of information itself, which is referred to as the interpretamentuminterpretamentum, and secondly, the word or phrase of the L. text that is being commented on or translated by the interpretamentum, the so-called lemmalemma. Both the interpretamentum and the lemma may consist of a single word form or a short phrase. Inked interpretamenta are often easily spotted, as they are usually placed above the line of the base text as an interlinear glossglossesinterlinear or outside the text block in the margins of the MS page as a marginal gloss. The identification of the corresponding lemma, on the other hand, is not always straightforward: If the interpretamentum is added interlinearly, it is usually placed right above its lemma. However, if the interpretamentum is added marginally,glossesmarginal the connection between the interpretamentum in the margin and the lemma in the text block is not always directly indicated by the physical proximity on the MS page. While marginal interpretamenta added to the inner or outer margin of the MS are often added at about the same height on the page as the line in which the lemma is to be found, interpretamenta placed in the top or bottom margin do not offer similar clues. It is sometimes possible to guess the corresponding lemma on account of semantic considerations (especially if the gloss represents a synonymous lexical gloss), but this is not directly possible if the attribution to several lemmata on the same page would make equal sense.
Marginal glosses can sometimes fall prey to the cutting of the book blocks during post-Anglo-Saxon re-binding of the codex. If the interpretamenta are not cut off completely, those in the left outer margin will lose letters at the beginning of the interpretamentum and those in the right outer margin will lose letters at the end of it, accordingly. Interpretamenta in the top and bottom margin may be cut in half, sometimes still allowing for educated guesses. Those in the inner margin are usually safe from such procedures; however, if the binding is very tight and the opposing page partly obstructs the view of the glosses, they can be difficult to autopsy.
Sometimes the reader is guided by so-called signes-de-renvoisignes-de-renvoi, characteristic symbols made up of strokes and dots, which are added next to both the interpretamentum and the lemma to render their connection explicit. As far as I could establish, this has not yet been reported for OE dry-point glosses, though. Signes-de-renvoi are often not recorded in lexically orientated gloss editions since they do not convey any meaning of their own. However, from the point of view of more recent approaches to glossography, they should always be specified in editions.
In general dry-point glosses are not fundamentally different from their inked relatives. They, too can be added interlinearly or marginally with the same difficulties of association with the correct lemma of the L. base text. One property, however, that results from the manner in which they are added to the MSS, namely without ink, sets dry-point glosses off from ink glosses quite markedly.
2.2Writing without Ink in Anglo-Saxon England
2.2.1Stylus and Wax Tablets in Britain
The notion of hand-writing taking place without a colouring agent in the MS context would seem foreign from a modern perspective. While it is possible to apply dry-point writing to present-day paper, it is not a form of writing that we are accustomed to. Hence, most people will not take notice of dry-point writing on a piece of paper, unless it is pointed out to them explicitly. As a consequence, it is not readily clear to the modern mind why writing should take place without any pigment left behind on the page. Non-colouring writing implements have seen a revival ever since hand-held personal digital assistants started to be furnished regularly with plastic-tipped styli in the late 1990s. However, those styli were never intended to be used on paper. It can be assumed that the presence of the styli in the office world may have led to the spontaneous creation of such writing, and especially doodles, in isolated cases, but I am not familiar with any reported systematic use of non-colouring writing in the present era. In that respect, the medieval situation was markedly different. Bischoff (BMS1: 88) points out that the medieval stylus had similar functions as today’s pencil: it was used for taking notes by professionals and students alike, it was used for ruling the MS page and it was used by illuminators to make first draughts on the MS page. The main writing medium of the stylus, however, was not parchment, but wax.
Wax tabletswax tablets were one of the many cultural imports introduced to Britain after the Roman invasion in the 1st c. AD, and extant Romano-British wax tablets have been found in more than twenty archaeological sites throughout Britain so far, despite the fact that their organic material could only endure in favourable, i.e. water-logged, conditions.1 Some of these finds are of remarkable size, such as those from Vindolanda, a Roman fort near Hadrian’s Wall,Vindolanda where fragmentary and completely intact specimens of more than 1,400 writing tablets have been unearthed since the 1970s. Editions of the remaining legible text of more than 750 of these tablets have been published since the early 1980s (cf. most recently in Bowman et al. 2010). There is no archaeological evidence that the writing tablet continued to be in use after the Romans withdrew from Great Britain in the 5th c., although the notion seems likely. Certainly after the re-establishment of Christianity in Great Britain, both from Ireland and the Continent, in the late 6th c., stylus and wax tablets must have been household items again, at least in the monastic context. The Rule of St Benedict, for instance, while condemning the personal possession of styli and wax-tablets (Ch. 33), places the abbots under the obligation to provide their brethren with stylus and wax-tablet (Ch. 55) – “ut omnis auferatur necessitatis excusatio” – that is in order to keep the monks from claiming that they were not able to do God’s service for lack of appropriate tools. It is reasonable to assume then that most monks, even those who did not adhere to Benedict’s Rule, either had styli on them at all times or did not have to look far to get hold of a stylus. The presence of styli in the scriptoria is also well-established by their manifest use in the process of preparing the MS page for later writing, and the details of pricking and ruling (commonly in dry-point) are usually studied with great care by codicologists.
The active use of the stylus must have been familiar to all literate members of an Anglo-Saxon monastic institution, as their first writing lessons were confined to the use of the writing tablet during their trivium studies (cf. Savage 2006 [1911]: 63–64; Brown 1994; Brown 2008: 179). The use of stylus and wax tablet is well documented in Anglo-Saxon and early Irish literature, too (cf. Wattenbach 1896: 51–89 and Fisher 1921: 194). ALDHELMAldhelmRiddle 32, for instance, composed a riddlic poem on the wax tablet around AD700, from which we can gather the interesting information that the tablets were commonly bound in leather.2 The “Benedictional of St Æthelwold”, London, British Library Additional 49598London, British LibraryAdditional 49598 [G:301], written in the late 10th c., features a miniature of Zechariah writing in a large wax tablet using a stylus (cf. Brown 1994: 9 [Fig. 6]).3 And from Anselm’s (Archbishop of Canterbury from 1093 until 1100) biographer EADMER, we know that it was Anselm’s custom to compose his treatises on wax tablets before they were committed to parchment (cf. Southern 1962: 30–31; Clanchy 1993: 119).
Archaeological finds from the Anglo-Saxon period attesting to the use of wax tablet and stylus are also numerous.4styliSpringmount Bog TabletsMaghera Bog Tablet Styli, ranging in material from bone to silver, have been found in various archaeological contexts.5 From the site of the former priory at BlythburghBlythburgh in Suffolk, a fragment of a writing-tablet made from bone is preserved in the British Museum, dated to sec. viii. While the wax has perished, both the upper surface and the surface of the recess that contained the wax show runic lettersrunes see dry-point runes, which are set in irregular rows. They are assumed to be “trial letter forms not intended to make much sense”, perhaps added by a person “attempting Latin verbal forms” (Webster & Backhouse 1991: 81 [no. 57]). The 14th-c. York TabletsYork Tablets (cf. Brown 1994), featuring both L. and ME writing in anglicana cursive, on the other hand, provide an example of physical evidence for the continued use of the wax tablet in the later phases of the Middle Ages.6
We find a very detailed 11th-c. French description of a wax tablet by BALDRICUS OF BOURGEUIL (edited in Mabillon 1709: 51),Baldricus of Bourgeuil in which the wax tablet is said to accommodate about eight hexameters – with the wax tablet held in landscape orientation. The French author emphasizes the fact that his wax tablet features green wax, as opposed to black wax, to help his eyes. From this description Todd (1846: 10) concludes that black must have been the common colour of the wax.7What we can also conclude from BALDRICUS’s description, however, is that notes written on a wax tablet were not generally considered easy to read. A few simple experiments I made with a modern-day replica of a Roman wax tablet could confirm the crucial role that light plays with regards to the legibility of the wax grooves.8 The stylus does not leave easily visible traces in the dark wax, and Brown (1994: 1) describes her reading of the York Tablets as relying on “a battery of photographs taken under every conceivable angle of raking light.” There is an interesting parallel to dry-point writing in that respect and the training acquired during the many years of experience learning to write on wax tablets and, perhaps more importantly, learning to read from wax tablets may well have schooled the medieval eye to cope more easily with dry-point writing in MSS.
There is evidence that the use of stylus and wax tablet continued to be widespread until early modern times both in the British Isles and on the European mainland. In France, for instance, wax tablets remained in active use at the fish market of Rouen until ca. 1862 (cf. Büll 1977: 786 and 845 [Ill. 619 and Ill. 620]).
2.2.2Dry-Point Writing in Medieval Manuscripts
We do not know when the practice of writing in dry-point in MSS developed, but a number of Anglo-Saxon MSS are known to contain dry-point glosses in OE that are dated to the 8th c. In the case of the “Maihingen Gospels” [1/K:287*], the dry-point glosses may perhaps even be dated to the first half of that century.dry-point writingmedieval practice With the “Épinal Glossary” marking the beginning of extant OE literacy in the MS context around AD700 (cf. Bischoff et al. 1988: 13; Toon 1992: 427), we can assume that dry-point writing was part of vernacular literate culture from an early date on.
Dry-pointdry-pointdefinition of the term glosses form a sub-group within the wider field of glosses and they are set apart from other glosses only by the manner in which they were physically entered on the writing medium. In medieval MSS – as well as in the case of most present-day writing that we encounter on a daily basis – writing usually consists of letters that are formed on a suitable writing surface by depositing coloured particles. The most common agent that was used to apply such particles to the parchment surface of Anglo-Saxon MSS was ink, a water-based suspension of ground carbon or iron salts, which was applied by means of a quill by a trained scribe. After the water had evaporated, the dark-coloured particles remained in place and allowed the reader to distinguish the individual letter forms by forming a strong contrast with the surrounding pale yellowish parchment.
In dry-point writing no such colouring particles are deposited on the parchment, instead the letters are formed by deforming or bruising the parchment surface by means of a stylus or some other non-colouring hand-held device, such as an awl or a knife. Glosses written in this fashion are sometimes referred to as “scratched glosses”1scratched glosses or “stylus glosses”stylus glosses,2 but the majority of the publications concerned with the topic prefers “dry-point glosses”. It can be argued that the term “dry-point gloss” is more precise than the other two in that the term “stylus gloss” implies that dry-point writing could only be created by means of a stylus, but there is the possibility that other handheld objects (e.g. knives) may have been in use as well for the same purpose, and the term “scratched glosses” in turn implies that the deformation left behind by the writing instrument always consists of a “scratch” – that is a tear or rupture of some kind. As Nievergelt (2007: 48) and Ernst (2007: 52), however, convincingly argue with regard to OHG dry-point writing, it is useful and necessary to distinguish between dry-point writing that consists of a mere indentation of the parchment surface and dry-point writing that effectively tears the uppermost layers of the parchment surface apart. The neutral term “dry-point gloss” seems to be the lowest common denominator by merely stating that some sort of pointy writing utensil was used that did not leave any visible deposit on the parchment surface, but merely a three-dimensional change in the parchment itself.3
Bearing in mind how common the use of the stylus must have been in the monastic context – with the stylus both in use as a wax tablet writing instrument and a MS preparation tool – the stylus is admittedly the most likely candidate responsible for the extant dry-point writing that we know of. Since the material used in the fabrication of Anglo-Saxon styli ranges from relatively soft materials (such as ivory or bone) to rather hard materials (such as iron and brass) the impressions left behind by the various writing implements do not constitute a visually uniform appearance. Moreover, in addition to the stylus, other pointy or sharp utensils could potentially have been used for writing – such as awls (used for punching the prick-marks), quill-knives (used for preparation and repair of the writing quills) and pen-knives (used for all kinds of everyday and MS-related purposes). Meritt (1945: viii) already points out that dry-point glosses could be classified into two groups, namely “those in which the point of the writing implement merely indented the surface of the parchment and those in which it tore the parchment.” Thus, a detailed characterization of the dry-point writing becomes an important tool for the dry-point gloss researcher.
Nievergelt (2007: 47–60), working on OHG dry-point material,dry-point writingclassification of physical appearance presents a classification based on the physical properties of writing in MSS that allows for a differentiated categorization by taking the various types of dry-point writing into account, too. His most basic distinction is that between conventional ink or pencil writing, on the one hand, and dry-point writing, on the other hand; that is between writing that consists of some sort of discolouration of the MS surface (termed type “A”) and writing that merely deforms the MS surface three-dimensionally without any residue of a colouring agent (termed type “B”). In addition to these two broad categories, he defines a third group that shows both characteristics (termed type “AB”), both discolouring and deforming the MS surface. Deformational writing (i.e. type “B”) can be distinguished further according to the physical property of the dry-point writing utensils. Cutting tools and sharp styli will tend to cut the parchment surface (termed type “B.1” in Nievergelt’s taxonomy) and blunt styli will tend to deform the parchment surface without cutting it (termed type “B.2”). Dry-point traces left behind by different writing utensils often show markedly different visual characteristics. Ernst (2007: 52) suggests that glosses that are easily visible to the naked eye are usually of the cutting type (i.e. type “B.1”), while the deforming type (“B.2”) often requires beneficial lighting conditions for the writing to be set off visually on the parchment surface.
Nievergelt (2007: 47–59) convincingly shows that we have to understand dry-point writing as a tiny yet three-dimensional object in the semi-soft parchment surface. This three-dimensional object can have a range of optical properties depending on the nature of the deformation it represents. A tiny ridge may or may not be formed along the movement of the indentation, depending on the pressure applied by the writer, on the physical properties of the parchment itself and on the sharpness of the writing implement. By using an appropriate light source held at the right angle, the upper parts of the grooves created by the stylus or the knife may cast a tiny shadow onto the surrounding parchment and thus offer the eye a visible object, whereas diffuse light tends to blur out the edges and effectively prevents the eye from perceiving individual letter forms. Some dry-point glosses are even on the verge of being invisible in normal light conditions that one encounters in the library reading rooms. Especially type “B.2” writing offers very little contrasting contours in diffuse light and since the visibility of dry-point glosses depends so heavily on the nature of the deformation or the physical tearing of the writing surface by the writing implement, there is no single-best way to make dry-point writing visible on the MS surface. While some dry-point glosses are easily visible in normal, ambient light, others can only be detected during careful autopsy of the MS surface with changing light angles.
Unfortunately, researchers working in a typical MS reading room are rather limited in their possibilities to change the angle of the incident light.dry-point writingdecipherment For practical and conservational reasons the MSS have to rest firmly on the designated foam wedges. Holding a weak, yet focussed electric torch in one hand and wielding it carefully around the MS surface at a low angle often produces a considerable improvement in the legibility of dry-point writing. However, the diffuse artificial light of the reading room can interfere disadvantageously with the light emitted by the handheld torch. Depending on the reading room, it may then be helpful to find a spot near a natural daylight window or to find a comparatively dark corner of the room where the adverse artificial light is the least disruptive. Dry-point glosses that are added to the inner margin of the MS page often turn out to be especially difficult to autopsy, because the researcher is limited in modifying the incidence of light during decipherment due to the physical obstruction presented by the opposing MS page. Dry-point writing in the inner margin of MSS is therefore even more likely to go unnoticed (cf. Nievergelt 2007: 76–78).
The sketchiness of our understanding of OE dry-point glossing has also been severely aggravated by the fact that dry-point writing is usually not readily visible during casual perusal of a MS. Unless a researcher specifically looks out for dry-point writing, there is a good chance that most of the dry-point writing will go unnoticed. The strong contrast offered by ink writing automatically causes the human perception to mask out less extreme contours. As soon as researchers are prepared to see dry-point writing and know what to expect visually, chances of seeing such material increase dramatically.
2.2.3Deformational Writing Outside the Manuscript Context
Outside the MS context, a sizable corpus of deformational writing from the Anglo-Saxon period has come down to us in the form of inscriptions. Both letters of the Roman alphabet and runes were carved into physical objects made of rock, metal, bone or wood throughout the Anglo-Saxon period.1 However, I have not been able to establish a direct link between that type of epigraphic deformational writing and dry-point writing in Anglo-Saxon MSS. An indirect reflex of the Anglo-Saxon practice of inscribing runic letters onto objects may be present in runic dry-point additions to Anglo-Saxon MSS, though. It is striking to see that a number of dry-point additions from different Anglo-Saxon MSS are in fact composed of runes (cf. below). It is conceivable that at least some of these short inscriptions may have been added in imitation of the Anglo-Saxon practice of inscribing objects in runes, especially since several of the MS specimens seem to represent personal names, which is reminiscent of a whole number of Anglo-Saxon runic inscriptions, such as the Hartlepool name-stones, the Chester-le-Street stone or the Thames scramasax, in which personal names are added without any explicit description of the role that the named person plays with respect to the object itself (cf. Page 1999: 50, 58 and 113). It is to be hoped that further discoveries of similar runic entries in Anglo-Saxon MSS will allow us to arrive at a clearer picture of this phenomenon; for OHG dry-point runic writing in continental MSS, see Nievergelt (2011a).
An interesting example of Insular deformational writing outside MSS, whose purpose was probably not epigraphic but veritably practical, is presented by the Derrynaflan Paten inscriptions (cf. Brown 1993)Derrynaflan Paten. The Derrynaflan Paten – a large decorated silver dish used for holding the bread in eucharistic services – was found during metal-detecting activities at the ecclesiastical site of Derrynaflan, County Tipperary (IE) in 1980. It forms part of a hoard of valuable liturgical metalwork, now kept in the National Museum of Ireland in Dublin. During conservation works on the Paten, a series of half-uncial letters was discovered on the rim, on the rivet-stud cups and on the frames carrying the filigree panels set upon the rim. They are believed to have served as assembly marks for the 8th-c. artisan or artisans that built it. Interestingly, the lettering on the rim and on the (remaining) rivet-stud cups match, but the letters on the frames “do not conform in a straightforward fashion, entailing ambiguity as to the proposed original assembly” (Brown 1993: 162). A detailed palaeographical analysis of the letter forms allowed for a dating to the second half of the 8th c. Surprisingly, the rim also features a tiny L. inscription, which is only approximately 1 mm high. Brown (1993: 165) assumes that “[t]he scribe must, presumably, have been working blind at that scale”, but the writing even features wedges, giving the minute inscription a “degree of formality”. Brown’s reading is only partly successful and the microscopic enlargements that she provides (Brown 1993: 166) make one wonder whether the inscription was ever intended to be read; she deciphers omne et ig(itur) or omne et g(ratia) and O creator … n … omnium. Brown (1993: 165) finds some parallels in Bald’s Leechbook and in Lacnunga, where the writing of religious texts on patens is advised in spells against “fever”, “elfin tricks” and “temptations of the devil”, respectively. If the Derrynaflan Paten inscriptions are considered in this context, the legibility of the inscription may not have been considered necessary by the scribe; instead, the spiritual gesture alone may have served his or her purpose. Apart from two photographic details of the L. inscription, Brown (1993: 166) supplies a hand-drawn facsimile of the L. inscription as well as hand-drawn facsimiles of the letter forms and symbols found on the rim, the frames and the cups (Brown 1993: 162–163).
2.2.4Ink, Pencil, Dry-Point
The extant amount of dry-point writing in Anglo-Saxon MSS that we know of clearly indicates that dry-point writing enjoyed a different status than ink writing in Anglo-Saxon England. No passages of any sizeable length in dry-point writing have been discovered so far in Anglo-Saxon MSS. The only sizeable amount of dry-point writing that we know from medieval MSS can be associated with the practice of glossing L. texts in L. or in a vernacular language. However, even in this context, dry-point writing clearly is not used to the same extent as ordinary ink writing: Even the MSS with the largest number of edited dry-point glosses feature no more than ca. 600 dry-point glosses, while some Anglo-Saxon MSS feature more than 5,000OE ink glosses and many thousand L. ink glosses on top of that. Clearly, dry-point writing was the exception, writing in ink the rule.
Motivations behind dry-point writing remain something of a puzzle: Why should glossators choose to write without ink and produce writing that is so difficult to see?dry-point writingmotivation As pointed out above, there is no documented example of a continuous OE gloss in dry-point, nor are there examples of glossaries written in dry-point. The observation that dry-point writing in connection with OE glosses was restricted to the domain of the occasional gloss points to the possibility that glossing in dry-point may have been more of a spontaneous activity whereas a dedicated or planned activity, such as writing a continous interlinear gloss or a glossary, would by default have been carried out in ink. Since our knowledge of dry-point writing is still highly incomplete, however, we have to be careful about drawing too general conclusions as long as we cannot even estimate what fraction of the overall picture we have uncovered so far.
It has been argued that dry-point writing may have been employed to preserve the neatness of the costly MSS, e.g. in the “Maihingen Gospels”Augsburg, Universitätsbibliothek Cod. I.2.4° 2 [1/K:287*], produced in 8th-c. Echternach:
Bei der Lektüre einzelner lateinischer Passagen müssen Echternacher Mönche auf sprachliche Schwierigkeiten gestoßen sein. Um sich den Sinn dieser Stellen besser einprägen zu können, taten sie, was auch heute noch jeder Schüler tun würde: sie schrieben die Übersetzung schwieriger Ausdrücke in ihrer Muttersprache unauffällig in das Buch hinein. Da sie sich scheuten, den kunstvoll kalligraphierten und überdies als heilig betrachteten Text durch ihre Zutaten zu entweihen, nahmen sie den Griffel und ritzten die Wörter als Blindglossen unmerklich in das Pergament ein. (Schroeder 1979b: 397)1
If so, the preference of the stylus over the quill would have been motivated by the great respect that the glossators had for the aesthetic integrity of the written L. text. A similar interpretation is discernible in Meyer (1966: 224): “als Beschreibstoff diente der Griffel auch […] zum Eintrag von Notizen u[nd] Glossen, die nicht besonders hervortreten sollten”,2 or in Graham (2009: 17): “Possibly the drypoint glossator sought to avoid having the gloss interfere with or distract attention from the main text, as an ink gloss might.” In opposition to such conclusions, Rusche (1994: 196) argues that “this is refuted by the prevalence of ink glossing in Anglo-Saxon manuscripts, even those considered works of art such as the Lindisfarne Gospels.” Rusche’s observation is correct, insofar as Aldred’s glossing of the “Lindisfarne Gospels”London, British LibraryCotton Nero D. iv[K:165] was indeed carried out boldly in ink. However, we must be careful when we consider Anglo-Saxon motivations, as they are not readily available and understandable to us. What may be one monk’s conviction in 8th-c. Echternach does not have to be shared by Aldred in 10th-c. Durham. It must be assumed that Aldred deliberately added his continuous OE gloss in ink, as he was most definitely convinced that he proceeded with God’s and St Cuthbert’s approval, as he states in his colophon: “⁊ Aldred presbyter indignus et misserrimus mið godes fultu’mæ ⁊ sancti cuðberhtes hit of’ glóesade ón englisc.”3 Aldred’s glossing in ink, however, cannot be taken as evidence for the attitude of every Anglo-Saxon glossator from the 8th through to the 11th c., either. It may well be that in some cases considerations of concealment really played a role when writing in dry-point, but it would have to be argued for individual gloss hands in individual MSS.
Another strand of argument is centred on practical considerations. The mere availability of the stylus as a writing implement may have been reason enough to use it in a MS context, too, even if it was not as easily readable as ink, or as Page puts it: “In a society where ink was not readily available, it was easier to make notes with dry-point” (2001: 241). Rusche suggests that dry-point writing perhaps predominantly took place outside the scriptorium (where quill and ink would have been ready to use):
Ink was neither rare nor expensive in the Middle Ages, but it had to be mixed before use, and any surplus would soon dry out. Also necessary was an inkhorn or some other vessel to hold the ink, a quill and a knife for sharpening the nib. While these materials were readily available in the scriptorium, a monk in another part of the monastery, such as the library, classroom or cell, had to rely on the only writing instruments that were always at hand: a wax tablet and a stylus. (Rusche 1994: 196)
This is an interesting thought experiment and I cannot think of a way to falsify the ideas behind it, but there is no way to corroborate them, either. We do not know when and where dry-point glossing was practiced during the daily routine of the monastery. We also do not know what the profile of the typical dry-point glossator might have been. Rusche surmises that the predominance of lexical dry-point glosses might be in line with a student “struggling to understand the Latin text” (1994: 199). The hypothesis that practical notions may have played a role in the choice of the stylus as writing implement seems plausible to me, yet the extant corpus of dry-point glosses would have to be investigated carefully for patterns of functional tendencies in the extant dry-point glossing first. Studies that consistently classify a specific corpus of dry-point glosses according to functional criteria remain yet to be published.
A model for such functional criteria is presented by Richter (1996: liv–lv) who classifies the OE ink glosses of London, British Library Royal 6. B. vii
