in the middle_ will wonders never cease_ st

8/22/2014 In the Middle: Will Wonders Never Cease: St. Erkenwald with Claustrophilia

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In the MiddleT u e s d a y , N o v e m b e r 1 7 , 2 0 0 9

Will Wonders Never Cease: St. Erkenwald withClaustrophilia

by KARL STEEL

First! More zombies!

Second, thanks very much to our guest bloggers(and to Jeffrey's organizational moxie) for what'sbecome a brief history of large chunks of themedieval blogworld.

I'd like to think everyone at last Friday'sClaustrophilia seminar believed it a success. Thanksmuch to Jeffrey, George Washington University,and MEMSI for the chance to participate in it. Forthe interested, my paper follows:

The events of the late fourteenthcentury MiddleEnglish alliterative poem St. Erkenwald take place in seventhcentury London during the rededication ofEngland's pagan temples to Christianity. Deep in the greatest temple, which would become St. Paul's,workmen unearth a gothic tomb, carved with mysterious letters.1 Prying it open, they discover an immaculatebody, royally dressed. The bewildered citizens summon their bishop, Erkenwald, who speaks to the corpse,which confesses itself an ancient pagan judge, buried as a king for his righteousness, but barred as a paganfrom heaven. Erkenwald weeps, accidentally baptizing the corpse, which promptly rots while its spirit ascendsto paradise. Then Erkenwald and the crowds parade through London, while the bells of the city ring out aboutthem.

With few exceptions, criticism of Erkenwald splits into politicalhistorical or doctrinalhistorical explanations,which variously locate the poem within conflicts between the City of London and Richard II, or within debatesabout Pelagianism, Donatism, Wyclif, and so on.2 As necessary as such critical efforts are, they defer the'decision' of reading onto the text and its historical situation. Such efforts preserve the critic as just anobserver, watching the text do its work; they preserve the critic from responding to the poem. Let us have anirresponsible reading practice, in the sense of refusing to let the text and its history make our decisions forus, or, in a Derridean sense, let us have a responsible reading, in which we do not feel we've done our duty tothe poem by situating it in this or that historical struggle.3 Our response should seek to preserve the wonderthat drew us and still draws us to the poem; to be just, our response should not leave us untransformed; weshould be thrown by what we read.

Claustrophilia is among my allies in the hope that, in reading Erkenwald, we might not unlock it but ratherlock ourselves up with it, and to it, as hands or eyes lock together, fascinated and enraptured in theirmeeting. Howie decries the substitution of epistemology for phenomenology, and insists that we need notbe constrained by what he calls the cult of the evidentiary, which would separate 'imaginings' from'reflections' (15). Following Claustrophilia, let us intensify rather than explain,4 especially with Erkenwald,since there is perhaps no poem in Middle English that better offers itself to a Claustrophiliac reading.

Howie joins other thinkers who reconceive time as embedded instead of as a sequence in which the past isneatly and continuously swapped out for the present.5 For Howie, moments touch on one another and becomemoments through this touch; moments drag others behind them; they are in networks around each other inwhich no moment will ever quite be abandoned or ever simply be itself. In Erkenwald, we need not struggleto rethink time as topographical and interfoldedto recall Michel Serresrather than geometrical.6 Its time ispiled up, mixed, all moments touching:7 it takes place not fulle longe [not very long] (1) after thecrucifixion, yet somehow in the seventh century; the judge, asked when he had lived, answers enigmatically,interweaving dates,8 and the New Werke [New Work] (38) at St. Paul's took place in the thirteenth, not theseventh, century. The alliterative christening of London's temples preserves as much as it converts: although

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those of Jupiter and Juno become the churches of Jesus and James (22), the temples persist in or with thechurches poetically, through the stressed J that sustains the past as a point of contact, as an echo.9 In theircopresence and nonassimilative contact with the London of Erkenwald's day, the temples recall Howie'smetonymic understanding of poetics...in which contiguous terms come to participate, not just semanticallybut also in a sense ontologically, in one another without losing their distinctness (15).

Nowhere is Erkenwald so available for Claustrophilia as in its architecture.10 First the people of London, andthen Erkenwald, penetrate into the foundations of St. Paul's. They are enclosed within a space that receivesthem. In the depths of the temple, a tomb emerges into their midst, drawn up from the ground.11 Borderedwith letters whose sense will never be deciphered, enclosing and giving up a judge whose name the poemnever reveals, the tomb reserves the fullness of its own being to itself. It is paradigmatically a space that, toquote Howie, resist[s] the gaze of its public even as it offers itself to this public (13).12 Erkenwald arrives and locks himself away to pray to kenne / e mysterie of is meruaile at men oponwondres [to know the mystery of this marvel that men wonder upon] (12425), and, his prayer granted, heleads a Spiritus Domini mass. His increasingly agitated questioning, however, suggests that Erkenwald has notin fact been granted knowledge; there is a miracle here, but it is not one of knowing. The miracle is like thisone, from the Acts of the Apostles, And suddenly there came a sound from heaven, as of a mighty windcoming, and it filled the whole house where they were sitting. And there appeared to them parted tongues asit were of fire, and it sat upon every one of them: And they were all filled with the Holy Ghost, and theybegan to speak with divers tongues, according as the Holy Ghost gave them to speak. For the Spiritus Dominiis a a Pentecost mass, or a Votive mass,13 associated with the visitation of the Holy Spirit, and the miraculoustraversal of linguistic difference. urghe sum lant goste lyfe [through some lent ghost life] (192),14 thecorpse can speak, and through the ghostly investment of Pentecost, Erkenwald can speak with the dead:speak with, become open to, know himself in the presence of, but only in the sense of knowing himself tohave been summoned...into a more concrete, ecstatic relation to what lies not just beyond but within theseboundaries (Howie 4). This is a figure for our responsible encounter with poetry, we might say, especially asErkenwald, having intended to know all by absorbing more and more about the judge's life and history, isinstead stricken with more intense wonder, and finally is brought to where he hade no space to speke sospakly he oskyd [had no space to speak so violently he sobbed] (312).

As for the crowd, they have already joined with the tomb itself. When the judge begins speaking, ersprange in e pepulle / In al is worlde no worde, ne wakenyd no noice / Bot al as stille as e ston stoden andlistonde / Wyt meche wonder forwrast, and wepid ful mony15 [there sprang in the people in all this world noword, nor wakened no noise, but they stood as still as stone and listened, seized with much wonder, and verymany of them wept] (21720). D. Vance Smith remarks that this apparently miraculous scene extendsandeven displacesthe crypt outwards to the site of the living, who gaze back at the judge's corpse with amarmoreal quiescence. The work of metaphor transforms the living into memorial stone. Yes, I say, to thecrowd enclosing the tomb with their own bodies, yes, as well, to the tomb itself joining with the crowd, yes Isay to what's implicit here, namely, that it is as if the crowd lends its speech and motion to the corpse, whoin turn lends his immense stillness to them; but, pace Smith, this is not a metaphoric substitution. This ismetonymy, as Howie writes, contamination by contiguity (19), catching, in both senses: grasping even themost rigorously exposed unlikeness, a stony and alien pagan tomb at the heart of frenetic Christian Londonand a speaking, singular, and honored corpse amid a motley assemblage of Londoners. To repeat, this ismetonymy, grasping even the most rigorously exposed unlikeness and making of it, of that momentarycontact with it, a new creature: a monster or a miracle (107). Not substitution, not assimilation, buttransformative contact. The tomb has emerged into their midst, emerged, not unconcealed.16 From Howieagain: In order for other people and things to 'emerge' we must in a sense 'merge with them: not in anappropriative fashion, nor in the sense of a reductio ad unum (33).17As Howie urges, drawing on thelanguage of Kaja Silverman, we must participate. The crowd has not only seen the tomb, marked its edges,wondered at its being while considering how it holds its mystery to itself. They are, in the heart of St. Paul's,within the tomb, stone themselves in the moment and space of this contact, where the tomb itself comes tospeak and move; they are, I must emphasize, within the tomb, at once with it and in it, around it and a partof it, enclosing it and being enclosed by it.

If I could, I would freeze the poem here, stop reading, arrest its and my progress amid the crowd and thetomb; this would be a sacred without a telos, an apocalypse without an eschaton. But the poem moves on; thejudge is baptized; and sodenly his swete chere swyndid and faylide / And all the blee of his body wos blakkeas e moldes / as rotten as e rottok at rises in powdere [and suddenly his sweet face wasted away andfailed, and all the color of his body was black as gravedirt, as rotten as decayed matter that rises in powder](34244). London, faced with a gap in the foundation of its civic consciousness, assimilates the threat; but thehorror of the judge's transformation suggests that London, having satisfied its desire, has arrived inevitably atthe nauseating Real. Is this what their desire wants? Perhaps, if it is a grasping desire, an explaining desire,driven by lack. But Howie gives us another model: Between mine and not mine, what intervenes is close tomine, neither appropriable nor wholly other: within reach, without ever being fully grasped (15). With this,we might ask what the crowd lost by gaining its desire's object, when it ceased to remain with it, where itmight have let itself be and be had in its desire. With the judge gone, the crowd goes out, and mechemournynge and myrthe was mellyd togeder [much mourning and mirth mingled together] (350): in closing,we might ask what they are mourning, when, happy to believe that they know what has happened, thinkingthat the past is finally shut up, they leave nothing behind in St. Paul's except an empty tomb.

Works Cited

Bugbee, John. 2008. Sight and Sound in St. Erkenwald: On Theodicy and the Senses. Medium Aevum 77, no. 2:

E. Jane Burns, Sea of Silk

Flash Review: King Artus

Turkeys and so forth

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Blogging the Middle Ages: ABrief and Personal His...

Claustrophilia Seminar earchive

Blogging the Middle Ages:Medievalists.net

Postcolonial Medieval Studies:Simon Gaunt's Accou...

Cinematic Illuminations

Will Wonders Never Cease: St.Erkenwald with Claus...

My Next Movie Project

Blogging the Middle Ages:Muhlberger's Early Histo...

Blogging the Middle Ages:Unlocked Wordhoard

Blogging the Middle Ages: TheRuminate, or iSwain

Blogging the Middle Ages:Quod She

Blogging the Middle Ages: ACorner of TenthCentur...

Blogging the Middle Ages:Blogenspiel

Blogging the Middle Ages:Modern Medieval

Blogging the Middle Ages:Humanities Researcher

Blogging the Middle Ages,cont'd

PostApocalyptic CanterburyTales

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20221.Chaganti, Seeta. 2008. The Medieval Poetics of the Reliquary: Enshrinement, Inscription, Performance. New

York: Palgrave Macmillan.Chism, Christine. 2002. Alliterative Revivals. Philadelphia: University of Pennsylvania Press.Derrida, Jacques. 1990. Force of Law: The 'Mystical Foundation of Authority'. Cardozo Law Review 11: 921

1045.. 1995. 'Eating Well,' or The Calculation of the Subject. In Points: Interviews, 19741994, ed.

Elisabeth Weber, trans. Peter Connor and Avital Ronell, 25587. Stanford: Stanford University Press.Grady, Frank. 1992. Piers Plowman, St. Erkenwald, and the Rule of Exceptional Salvations. The Yearbook of

Langland Studies 6, no. 1: 6388.. 2000. St. Erkenwald and the Merciless Parliament. Studies in the Age of Chaucer 22: 179211.Harris, Jonathan Gil. 2009. Untimely Matter in the Time of Shakespeare. Philadelphia: University of

Pennsylvania Press.Howie, Cary. 2007. Claustrophilia: The Erotics of Enclosure. New York: Palgrave Macmillan.Niss, Ruth. 1998. ' A Coroun Ful Riche': The Rule of History in St. Erkenwald. ELH 65, no. 2: 277295.Otter, Monika. 1994. 'New Werke': St. Erkenwald, St. Albans, and The Medieval Sense of the Past. Journal of

Medieval and Renaissance Studies 24, no. 3: 387414.Scattergood, John. 2000. St. Erkenwald and the Custody of the Past. In The Lost Tradition: Essays on Middle

English Alliterative Poetry, 17999. Dublin: Four Courts Press.Schwyzer, Philip. 2006. Exhumation and Ethnic Conflict: From St. Erkenwald to Spenser in Ireland.

Representations 95, no. 1: 126.Sisk, Jennifer. 2007. The Uneasy Orthodoxy of St. Erkenwald. ELH 74, no. 1: 89115.Smith, D. Vance. 2002. Crypt and Decryption: Erkenwald Terminable and Interminable'. New Medieval

Literatures 5: 5985.TurvillePetre, Thorlac. 2005. St. Erkenwald and the Crafty Chronicles. In Studies in Late Medieval and Early

Renaissance Texts in honour of John Scattergood: 'The Key of all Good Remembrance', ed. AnneD'Arcy and Alan J. Fletcher, 36274. Dublin: Four Courts Press.

Whatley, Gordon. 1985. The Middle English St. Erkenwald and Its Liturgical Context. Mediaevalia 8: 277306.. 1986. Heathens and Saints: St. Erkenwald in Its Legendary Context. Speculum 61, no. 2: 330363.

1 MED s.v. rnish, (a) mysterious, strange. TurvillePetre 2005 at 373 ingeniously suggests that the tomb might correspond either to the StPaul's Rune Stone, discovered in the 19th century, or some earlier find of the same sort (for image, see here); at 371, he also observes that theMED correctly suggests that the meanings of renish and runish have here become confused, for in these quotations the sense is that derived fromthe common Middle English noun roun (from Old English run), which has a semantic range that includes 'voice, utterance, secret' as well as'written character.

2 The better examples of such readings include Bugbee 2008; Chism 2002; Grady 1992; Grady 2000; Niss 1998; Sisk 2007; and Whatley 1986.Otter 1994 and Smith 2002 are rare exceptions to closed readings of Erkenwald. For example, at 408, Otter writes that The searching anddigging, the guessing, deciphering, and questioning, begin to stand all by themselves, and even for themselves: the poem, itself part of thequestioning and deciphering of the past, at one level mirrors itself.

3 Derrida 1995, 286, responsibility is excessive or it is not a responsibility. A limited, measured, calculable, rationally distributedresponsibility is already the becomingright of morality; it is at times also, in the best hypothesis, the dream of every good conscience, in theworst hypothesis, of the petty or grand inquisitors; also Derrida 1990, 252, A decision that would not go through the test and ordeal of theundecidable would not be a free decision; it would only be the programmable application or the continuous unfolding of a calculable process. Itmight perhaps be legal; it would not be just.

4 Intensify and intensification appear frequently in Claustrophilia; for example, at 18, This ethics of intensification has distinct ontologicalconsequences: intervention within the compromised appearance of enclosed bodies and texts amounts to participating in these appearancesbeingapparent. Interpretation, or aesthetic reception, is thus not entirely discrete from aesthetic production: it reaches across the aporiabetween seer and seen, to make something more visible, contingently, approximately, and thereby also offers itself to sight. This movement alsomakes something more hidden, deepening the artworks depths even as it intensifies the surface. Claustrophilia thus, beyond readerly responseand deconstructive supplementarity, makes singularity more apparent through participative intensification."

5 Among others, see especially of Harris 2009, 2, which critiques the national sovereignty model of temporality, where each moment [has] adetermining authority reminiscent of a nationstate's: that is, firmly policed borders and a shaping constitution; Harris writes against the notionof a moment as a selfidentical unit divided from other moments that come before and after it (5) to disrupt the old binary of synchronicversus diachronic study (10).

6 At 174, Harris 2009 quotes Michel Serres' Conversations on Science, Culture, and Time (with Bruno Latour), Classical time in related togeometry, having nothing to do with space, as Bergson pointed out all too briefly, but with metrics. On the contrary, take your inspiration fromtopology, and perhaps you will discover the rigidity of those proximities and distances you find arbitrary. And the simplicity, in the literal senseof the word pli: it's simply the difference between topology (the handkerchief is folded, crumpled, shredded) and geometry (the same fabric isironed out flat).

7 This is not an uncommon observation about the poem: Schwyzer 2006, for example, writes "Wreaking havoc with the temporal equivalent ofdepth perception, the queasy fascination of the preserved body consists not only in making what is far away seem near, but also in robbing thenear of its wonted security and familiarity. Thus, the Londoners in the poem experience not simply the simultaneous failure of living andhistorical memory but also a collapse of the distinction between these two modes of memory" (7).

8 Hit is to meche to any mon to make of a nombre. / After at Brutus is burgh had buggid on fyrste, Not bot fife hundred ere er aghtenewontyd / Before at kynned our Criste by Cristen acounte: / A ousand ere and ritty mo and 3 thren aght (205210). Scattergood 2000, 196,provides a model from 1269 shrine of Edward the Confessor in Westminster abbey, made by Peter of Rome, 'ANNO MILENO DOMINI CVMSEPTVAGENO ET BIS CENTENO CVM COMPLETO QVASI DENO HOC OPVS EST FACTUM QUOD PETRVS.

9 Other commentators have also noticed the effect of alliteration, but have read it as either an anxious inability to suppress the past or asmetaphoric substitution. Chaganti 2008, 67, is a rare exception: Particularly in this visual and material sense, alliteration reinforces a pattern ofvestigiality: letters are repeated in pagan and Christian names, so that the past not only prefigures the present, but it also leaves behind piecesletters, like statues and buildingswhich are adapted in the present and incorporated into newly cleansed Christian structures and words. Thepoem uses the narrative capacities of material objects and the material capacities of letters and language to demonstrate the trope ofvestigiality, the reliquiae, that which is left behind. The inscriptional aspect of alliteration thus provides a defining temporality for the poem;the recursive return to what has been left behind, so suggesting ceremonial temporality.

10 To a different end, Chaganti 2008, 69, also finds the poem interested in enclosure, At the level of the poem's explicit narrative...exist manyselfenfolding layers of enclosure, establishing the role of enshrinement in the text's imagery.

11 I echo Otter 1994, 410, where the tomb unexpectedly surfacesliterallyand is simply there, a fait accompli, 'fourmit on a flore,' as thepoem solidly puts it.

12 See also Chaganti 2008, 56, where the runes both embellish and obscure the meaning of an enshrined object. And in this capacity, theirillegibility symbolizes the mystified nature of the latemedieval shrine in English churches and cathedrals. The runes speak through their veryimpenetrability, their resistance to being read as language, about the nature of ceremonial encounters with shrines as decorated objects, a

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Posted by Karl Steel at 7:51 AM

mystery at once challenging and suggestive.

13 Whatley 1985, especially 295 n10.

14 Note that I follow the manuscript reading here rather than Peterson's tendentious emendation to urghe sum Ghoste lant lyfe. See Whatley1982, 294 n9.

15 Smith 2002, 66. Vance's reading is, in essence, an epistemological one, concerned with our inability to know, whereas mine concerned with ourability to be touched: in sum, the very fact of being moved by the tomb is itself a presence. Other critics have remarked on the stone image:Niss 1998, 289, In this way, the memory of the Trojan past is reinscribed in a collective historical consciousness: 'Bot al as stille as e stonstoden and listonde'; Chaganti 2008, 53, The poem defines the judge not only as a bounded material object, but also as an occasion ofperformance and performative selfconstitution. In the above simile, 'as stile as the ston,' the transfer of the stone's materiality from the judge'stomb (and static body) to the people looking at it makes them interactive participants in a scene of performance blending spectacle, ceremony,and architecture....the language of the poem renders indeterminate the boundary between the stone tomb and the astonished audience, so thatboth fill the positions of either a material thing or an occasion of spectacle.

16 Howie 2007, 33, which explains his preference for emergence over unconcealment: I prefer the latter term inasmuch as it consolidates bothmoments better than 'unconcealment' can. To be sure, 'unconcealment' presents itself as the constitutive negation of the hidden, but 'emergence'speaks forth an even greater, and more spatial, paradox: literally emergere, emergence plunges, immerses, engulfs not into but out of: it isenclosure figured as disclosive opening, approximation as distance.

17 See also Sara Ahmed Queer Phenomenology, What touches is touched, and yet 'the toucher' and 'the touched' do not ever reach each other;they do not merge to become one, quoted in Harris 2009, 149.

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7 comments:tenthmedieval said...

I didn't know this poem but I'm very struck with how the poet seems to be inverting olderhagiographical motives. Maybe you know this, but the causing of a noble pagan corpse to confess itsdamnation is in one of the Patrician livesPatrick always prays when he passes graves marked with across in his wanders round Ireland, but he misses one one day and his amanuensis asks why; Patricksays he didn't spot it and raises the occupant to find out why, hears his confession, baptises him andputs him back, savedbut there the baptism is deliberate and canonical, here it's accidental and amiracle itself, outside the usual operation of the sacraments even though it's in a church. The sacredspace is turned inside out by the old tomb's presence in a church.

Also, more obviously, there's the old miraculous preservation of the body; for Cuthbert or Audrey orwhoever, the preservation is because of their sanctity, but this character loses his preservation oncehe becomes Christian. It's like Erkenwald is banishing the undead with his tears but the fact that hedoes so by overturning that motif is really sharp, I think. This is a wrong preservation and has to beundone. All kinds of subtexts here, and someone else has probably spotted all of those already, butthey rose unbidden and so forth...

8:36 AM

Karl Steel said...

You know, I haven't read Cindy Vitto's foundational 'Virtuous Pagan in Medieval Literature,' Transactionsof the American Philosophical Society, New Series, 79.5 (1989): 1100, but I have it on hand, and shecites another such story about Patrick, this time concerning a giant swineherd, at 37, pointing me tohere:

Once, as Patrick as travelling in the plains of the son of Erc, namely in Dichuil and Erchuil,he beheldtherein a huge grave, to wit, a hundred and twenty feet in length. The brethren asking utsuscitaretur, Patrick then broughtto life the dead man who was biding in the grave, and asked tidingsof him, namely, when and how he got there, and of what race and of what name he was. He answeredPatrick,saying:"I am Cass, son of Glass;and I was the swineherd of Lugar, king of Iruata,and Macc Con'ssoldiery slew me in the reign of Coirpre Niafer. A hundred years have I been here today." Patrickbaptized him, and he went again into his grave."

I knew neither one of those Patrick stories until just now. Thanks much for sharing. Typically, theErkenwald legend is connected to the story of Gregory the Great and Trajan. The Erkenwald versiondiffers in several regards though, including: a) it's a judge, not a king/emperor; b) Erk doesn't pray thatthe pagan dead should be saved, but only asks that he have time to baptize it: while saying this, hesays the baptism formula, albeit in the conditional ("if I could get back in time, I would say..."), whilecrying, and liquid applied to the head, as it is here, is perfectly acceptable (although it should berememberedper O'Loughlin and ConradO'Briain 'The "baptism of tears" in early AngloSaxon sources'.AngloSaxon England, 22 (1993), 6583that "baptism of tears" is a Western literalizing misunderstandingof a Greek metaphoric term meaning penance); c) Erkenwald does what he does accidentally (whichdoesn't make the baptism any less canonical; in fact, most commentators see the accidental, butwholly efficacious, quality of the baptism as an orthodox answer to Lollards, who stressed, in a neoDonatist fashion, that the moral quality (and, by implication, intent) of the priest affected the qualityof the sacrament); d) Erkenwald isn't punished for saving a pagan (Gregory, for example, suffers somekind of intestinal disorder for the rest of his days): no doubt this is because of the baptism being only

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accidental.9:30 AM

Karl Steel said...

I noticed that odd thing about the 'sacred' body turning to rot too: thanks much for your comment, and,no, in fact, this hasn't really been talked about enough in the criticism (so far as I know: I haven't readeverything yet). John Scattergood (cited above) connects the disintegration of the corpse to otherstories in which relics of the past disintegrate once they've served their purpose. Gerald of Waleswrites about the 'discovery' of the tomb of Guinevere and Arthur at Glastonbury (very convenient forHenry II's antiWelsh policies!), and a tress of Guinevere's blond hair ["tricam muliebram flavam etformosam" means "a beautiful and blond womanly tress [or trifle, but I think tricam means 'tress' here],quoted in W. A. Nitze, 'The Exhumation of King Arthur at Glastonbury.' Speculum 9 (1934): 35561). Frommy notes on the article: Another story by Matthew Paris Gesta Abbatum Monasterii Sancti Albani,where during time of Abbot Eadmar workmen in foundations of city of St Albans find a building, and in ithollow wall, and in that a small chest, and in that books rolls and large unknown book. Large bookwritten in strange language, and then old man, Unwona, who knows various language, who reads andexplains book, which contains life of St Alban, and other books are incantations and so forth to pagangods, Phoebus, Mercury, and Alban book preserved and rest burnt (187). And when old book writtendown into Latin, it crumbled to nothing. Also Northern Alliterative Thomas a Becket's Prophecies, 2fragments, see EETS OS 42 (1870), where workmen find a "fayr letter" in stone, which tells a propheticstory when correctly interpreted. Becket prays for divine guidance, and VM explains it to him by givinghim a holy book, which is taken back once he reads it correctly. As in Erk "the political triumphalismand wishfulness are mediated through a saint and martyr, and, by means of a miraculous revelation,through the Virgin Mary. And again, all physical evidence of the marvellous disappearsthe inscribedstone into deep water, the Virgin Mary's 'boke' back to heaven" (189).

Philip Schwyzer (cited above), by extrapolating from the Gerald story, takes this a step further andsees the disintegration of the past as a programmatic elimination of the past in the serve of presentpolitical dominance. It's a convincing article, but I findas you could guess from my essaythat itsemphasis on anxiety and political coercion doesn't get at all that's happening in the poem.

Scattergood and Schwyzer don't really account for what makes the Erk story unusual, namely, that it'sa story that (roughly) ends with the horrific disintegration of a beautiful corpse, which is, I think, a verydifferent kind of object than a tress or a book.

9:31 AM

Jeffrey J. Cohen said...

It was a terrific presentation, Karl and reading it as text now it is impossible for me not to hear yourvoice as you performed last Friday.

About a year ago we had a discussion of letters to the future in which Rick Godden brought upErkenwald, and in reply I mentioned a somewhat similar figure from Mandeville's Travels: the cadaverof the pagan Hermogenes the Wise, discovered when Saint Sophia is being built in Constantinople. Hedoesn't come back to life, but speaks through a letter written in Hebrew, Latin and Greek thatproclaims Jesus the son of God. And there was much rejoicing.

No big story to tell about Hermogenes, though; nothing like the pagan judge about whom, many of usremember, you've blogged before.

To bring the discussion around to Claustrophilia, what I like about this post is that it takes the book'sinvocation of metonymy seriously, and executes a metonymic reading that transforms the relationshipswe can have with the pagan body, at least before it disintegrates.

As I side note, I like this definition: "this would be a sacred without a telos, an apocalypse without aneschaton." That's a sacred I can grasp.

2:06 PM

tenthmedieval said...

I should note that I got my Patrick story off Usenet a long time ago and it was someone else's `if Iremember right...' then, so although the Patrician vitae are a mess of duplication generally, it's quitepossible that there is only the one story that you reference.

Stupidly, I hadn't made the obvious connection to 'baptism of tears'. I need more sleep. Thanks for allthe responses, I'm learning a lot from all this.

4:50 AM

Karl Steel said...

JJ, regardless of whether you were misinformed abt Patrick's miraclesand I'm inclined to think youweren'tI'm struck by the fact that Erk criticism tends to concentrate on the Gregory/Trajan story.Certainly (?), by the 14th century, Irish hagiography is far afield from the dominant mainstream ofmedieval Xianity, but Erk's written in Cheshire English, and Cheshire's a great deal closer to Irelandthan most parts of England. I wouldn't be surprised, then, if the story is one of the stories behind theErk miracle, but I am surprised that the story hasn't been mentioned in the Erk criticism I've read.

JJC, thanks much for your comments, and for the reminder abt the Mandeville story. Of course, he



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remembers my presentation only because of my ridiculous French accent....

10:09 AM

Eileen Joy said...

Thanks again for this paper, Karl, which I thought was quite beautiful when you read it at GW lastweek. I was especially enamored by your idea of allowing ourselves to be "thrown" by what we read.

12:32 PM

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