Dumbarton Oaks Medieval Library

Producing books of original medieval and Byzantine texts with facing-page translations.

by

Saints’ Lives, Volume II: Henry of Avranches

The artistry, wit, and erudition of medieval Latin narrative poetry continued to thrive well into the middle of the thirteenth century. No better evidence of this survives than in the long and brilliantly successful career of Henry of Avranches (d. 1262). Professional versifier to abbots, bishops, kings, and at least one pope, Henry displays a pyrotechnical verbal skill and playfulness that rivals that of the Carmina Burana and similar collections of rhymed secular verse. Yet he also stands as self-conscious heir to the great classicizing tradition of the twelfth-century epic poets, above all of Walter of Châtillon. Henry entwines these two strands of his literary inheritance in what might surprise modern readers as an improbable genre. The bulk of Henry’s known output is a series of versified saints’ lives, including those of Francis of Assisi, King Edmund, and Thomas Becket, nearly all of which are based on identified prose models. These two volumes present most of his work in the genre, as witnessed in the English manuscript that remains the linchpin of our knowledge of this remarkable poet’s career.

Related Titles
Saints’ Lives, Volume I, by Henry of Avranches

by

Saints’ Lives, Volume I: Henry of Avranches

The artistry, wit, and erudition of medieval Latin narrative poetry continued to thrive well into the middle of the thirteenth century. No better evidence of this survives than in the long and brilliantly successful career of Henry of Avranches (d. 1262). Professional versifier to abbots, bishops, kings, and at least one pope, Henry displays a pyrotechnical verbal skill and playfulness that rivals that of the Carmina Burana and similar collections of rhymed secular verse. Yet he also stands as self-conscious heir to the great classicizing tradition of the twelfth-century epic poets, above all of Walter of Châtillon. Henry entwines these two strands of his literary inheritance in what might surprise modern readers as an improbable genre. The bulk of Henry’s known output is a series of versified saints’ lives, including those of Francis of Assisi, King Edmund, and Thomas Becket, nearly all of which are based on identified prose models. These two volumes present most of his work in the genre, as witnessed in the English manuscript that remains the linchpin of our knowledge of this remarkable poet’s career.

Related Titles
Saints’ Lives, Volume II, by Henry of Avranches

by

On Difficulties in the Church Fathers: The Ambigua, Volume II

Maximos the Confessor (580–662) occupies a unique position in the history of Byzantine philosophy, theology, and spirituality. His profound spiritual experiences and penetrating theological vision found complex and often astonishing expression in his unparalleled command of Greek philosophy, making him one of the most challenging and original Christian thinkers of all time. So thoroughly did his thought come to influence the Byzantine theological tradition that it is impossible to trace the subsequent history of Orthodox Christianity without knowledge of his work. The Ambigua (or “Book of Difficulties”) is Maximos’s greatest philosophical and doctrinal work, in which his daring originality, prodigious talent for speculative thinking, and analytical acumen are on lavish display. In the Ambigua, a broad range of theological topics—cosmology, anthropology, the philosophy of mind and language, allegory, asceticism, and metaphysics—are transformed in a synthesis of Aristotelian logic, Platonic metaphysics, Stoic psychology, and the arithmetical philosophy of a revived Pythagoreanism. The result is a labyrinthine map of the mind’s journey to God that figured prominently in the Neoplatonic revival of the Komnenian Renaissance and the Hesychast Controversies of the Late Byzantine period.

This remarkable work has never before been available in a critically based edition or English translation.

Related Titles
On Difficulties in the Church Fathers: The Ambigua, Volume I

by

On Difficulties in the Church Fathers: The Ambigua, Volume I

Maximos the Confessor (580–662) occupies a unique position in the history of Byzantine philosophy, theology, and spirituality. His profound spiritual experiences and penetrating theological vision found complex and often astonishing expression in his unparalleled command of Greek philosophy, making him one of the most challenging and original Christian thinkers of all time. So thoroughly did his thought come to influence the Byzantine theological tradition that it is impossible to trace the subsequent history of Orthodox Christianity without knowledge of his work. The Ambigua (or “Book of Difficulties”) is Maximos’s greatest philosophical and doctrinal work, in which his daring originality, prodigious talent for speculative thinking, and analytical acumen are on lavish display. In the Ambigua, a broad range of theological topics—cosmology, anthropology, the philosophy of mind and language, allegory, asceticism, and metaphysics—are transformed in a synthesis of Aristotelian logic, Platonic metaphysics, Stoic psychology, and the arithmetical philosophy of a revived Pythagoreanism. The result is a labyrinthine map of the mind’s journey to God that figured prominently in the Neoplatonic revival of the Komnenian Renaissance and the Hesychast Controversies of the Late Byzantine period.

This remarkable work has never before been available in a critically-based edition or English translation.

Related Titles
On Difficulties in the Church Fathers: The Ambigua, Volume II

by

Old English Poems of Christ and His Saints

Religious piety has rarely been animated as vigorously as in Old English Poems of Christ and His Saints. Ranging from lyrical to dramatic to narrative, the individual poems show great inventiveness in reimagining perennial Christian topics. In different poems, for example, Christ expels Lucifer from heaven, resists the devil’s temptation on earth, mounts the cross with zeal to face death, harrows hell at the urging of John the Baptist, appears in disguise to pilot a ship, and presides over the Last Judgment. Satan and the fallen angels lament their plight in a vividly imagined hell and plot against Christ and his saints.

In Andreas the poet relates, in language reminiscent of Beowulf, the tribulations of the apostles Andrew and Matthew in a city of cannibals. In The Vision of the Cross (also known as The Dream of the Rood), the cross speaks as a Germanic warrior intolerably torn between the imperative to protect his Lord and the duty to become his means of execution. In Guthlac A, an Anglo-Saxon warrior abandons his life of violence to do battle as a hermit against demons in the fens of Lincolnshire. As a collection these ten anonymous poems vividly demonstrate the extraordinary hybrid that emerges when traditional Germanic verse adapts itself to Christian themes.

Old English Poems of Christ and His Saints complements the saints’ lives found in The Old English Poems of Cynewulf, Dumbarton Oaks Medieval Library 23.

by

Ysengrimus

The twelfth-century Latin beast epic Ysengrimus is one of the great comic masterpieces of the Middle Ages. This long poem, composed in what is today Belgium, recounts the relentless persecution of the wolf Ysengrimus by his archenemy Reynard the fox, in the course of which the wolf is beaten to a pulp, flayed (twice), mutilated, and finally eaten alive by sixty-six pigs. The cartoon-like violence of the narrative is not motivated by a gratuitous delight in cruelty but by a specific satiric aim: the wolf represents the hybrid ecclesiastic who is both abbot and bishop, whose greed is comparable to the wolf’s. The details of the narrative are carefully crafted to make the wolf’s punishment fit the abbot-bishop’s crime, creating a topsy-turvy world in which the predator becomes prey. In the elaborate rhetorical fantasies that accompany the narrative, the wolf’s tortures are represented as honors (for example, his flaying is mockingly represented as an episcopal consecration). This poem gave rise to a whole body of narratives, beginning with the earliest branches of the Romance of Renard and extending into most of the European vernaculars, so influential that the name Renard eventually became the standard word for fox in French.