And was the holy Lamb of God,
On Englands pleasant pastures seen!
- And did those feet, William Blake

mandag 16. april 2018

Tyco Brahe digitised - notes on a recent digitisation project at the library of University of Southern Denmark


Although I no longer work at the university library of University of Southern Denmark, I have a backlog of things to write and talk about regarding my work there, other projects, and of course the wonderful fragments and books from their special collections. This blogpost is one such blogpost, and it is more an announcement than a blogpost in itself.

 
RARA L 31
Syddansk Universitetsbibliotek


While I was finishing my own work at the library, there was another project that came to its close and was indeed finished. This was the digitisation of three books by Tyco Brahe that are found in the special collection, and one owned by Roskilde monastery. These books are Epistolarum astronomicarum libri primus, Historia coelestis, and, from Roskilde, De Nova Stella. This project was led and executed by astronomer Majken B. E. Christensen, research librarian Jakob Povl Holck, and astronomer and head librarian Bertil F. Dorch.

 
 
The project has made all these three books available for download in Pdf format, and an overview of the project can be found here (in Danish, but with links to the digitised copies) and also here (in Danish). This digitisation has allowed for primary sources to be freely available, and it has also served as a great first step in the digitisation of the material from the special collection, which will hopefully result in the digitisation of fragments and entire books from the throve of historically significant gems found in the library.

RARA L 31, col. 1
Syddansk Universitetsbibliotek
 
I was also able to contribute in a small way, since the fragment that was used as a binding to the edition of Epistolarum astronomicarum was one of the fragments I had been researching. I was asked to write a short description of the fragment, and this description (in Danish) can be found here. For those not fluent in Danish, I will summarise the key points of this manuscript here.


The fragment is cut vertically from a liturgical manuscript of uncertain date and provenance (though because it was printed and bound in Denmark it is likely that the manuscript has been used in either Denmark or Norway). The original manuscript was a breviary, and the fragment contains texts for the office for Sundays in the summer season. This can be seen from the indication in the picture above, which points to "in primo nocturno antiphoni", or the antiphons for the first nocturne. This is preceded by a hymn that has traditionally - though probably erroneously - been ascribed to Gregory the Great (d.604). This hymn has a complicated history, but that might be a subject for a future blogpost.  

 RARA L 31
Syddansk Universitetsbibliotek
 

lørdag 31. mars 2018

Holy Thursday - a poem by Geoffrey Hill


Since this is the paschal time, I present you one of Geoffrey Hill's early poems, taken from his first collection For the Unfallen from 1958, whose title is relevant for the season.


Holy Thursday

Naked, he climbed to the wolf's lair;
He beheld Eden without fear,
Finding no ambush offered there
But slep under the harbouring fur.

He said: 'They are decoyed by love
Who, tarrying through the hollow grove,
Neglect the seasons' sad remove.
Child and nurse walk hand in glove

As unaware of Time's betrayal,
Weaving their innocence with guil.
But they must cleave the fire's peril
And suffer innocence to fall.

I have been touched with that fire
And have fronted the she-wolf's lair.
Lo, she lies gentle and innocent of desire
Who was my constant myth and terror.'


fredag 30. mars 2018

The Disappearing Island - a poem by Seamus Heaney



Continuing on from previous blogpost's theme of islands, and keeping in tune with my abiding fascination with them, I here give you a short but haunting poem by Seamus Heaney, printed in his collection The Haw Lantern from 1987.


The Disappearing Island

Once we presumed to found ourselves for good
Between the blue hills and those sandless shores
Where we spent our desperate night in prayer and vigil,

Once we had gathered driftwood, made a hearth
And hung our cauldron like a firmament,
The island broke beneath us like a wave.

The land sustaining us seemed to hold firm
Only when we embraved it in extremis.
All I believe that happened there was a vision.








tirsdag 27. mars 2018

Islands - a poem by Derek Walcott


It is the Easter week and I am home, back in the house of my paternal grandparents where I spent so much of my childhood, and where - because it is close to the salt scents of the fjord and because it contains so much memorabilia from the outside world - I feel that I am both securely nestled in the homescape and also connected to the wider world. Here I read about distant lands, about islands - especially about islands - and here I keep going back to my favourite poet, Derek Walcott. I'm giving you this particular poem because it fits so well with the book I'm currently reading, the Atlas of Remote Islands by Judith Schalansky, a florilegium of islands that stokes the imagination and transports the mind far away.


Islands

Merely to name them is the prose
Of diarists, to make you a name
For readers who like travellers praise
Their beds and beaches as the same;
But islands can only exist
If we have loved in them. I seek
As climate seeks its style, to write
Verse crisp as sand, clear as sunlight,
Cold as the curled wave, ordinary
As a tumbler of island water;
Yet, like a diarist, thereafter
I savour their salt-haunted rooms
(Your body stirring the creased sea
Of crumpled sheets), whose mirrors lose
Our huddled, sleeping images,
Like words which love had hoped to use
Erased with the surf's pages.

So, like a diarist in sand,
I mark the peace with which you graced
Particular islands, descending
A narrow stair to light the lamps
Against the night surf's noises, shielding
A leaping mantle with one hand
Or simply scaling fish for supper,
Onions, jack-fish, bread, red snapper;
And on each kiss the harsh sea-taste,
And how by moonlight you were made
To study most the surf's unyielding
Patience though it seems a waste.

From In a Green Night (1962)

mandag 12. mars 2018

Working with liturgical manuscripts, part 10 - Breviary or Missal?



One of the primary tasks of my research of the fragments at Syddansk Universitetsbibliotek, is to assess - as far as possible - what type of books these fragments once belonged to. This is sometimes a frustratingly difficult question, as there is a wide variety of books used for the various liturgical services. As I have mentioned in a previous blogpost, there are some books that contain material for the mass, such as graduals and missals, and books that contain material for the office, such as breviaries and antiphonaries. With some fragments it is easy enough to assess whether a fragment belongs to the office or the mass, as there are some types of chants that are used exclusively for one type of celebration. In other cases, however, the fragment simply does not contain enough information to be certain. For instance, although text types such as antiphons and responsories are primarily chants belonging to the office cycle, they do also appear in masses.


RARA M 28
Syddansk Universitetsbibliotek


One such challenge was posed by the fragment shown above, an apparently single-column folio page with water damage and wormholes. Rubrics and some chants made it easy enough to ascertain that the fragment contains texts for the feasts of the birthday of John the Baptist (June 23) and the feast of Peter and Paul (June 29). Due to the large script of the fragment, the page does not contain much information despite its size, and what does appear are texts that are in some cases too general to allow for any conclusion as to whether fragment comes from a missal or from a breviary (or any of the other options). This question was also made difficult by the fact that I was for a long time working only from pictures, and it was not until relatively recently that I had a chance to see the fragment for myself and take a few pictures of my own. 
 

RARA M 28
Syddansk Universitetsbibliotek


It was then that the question could be answered. I had taken a few pictures but without paying very much attention to the fragment itself, because I had other priorities at the time. But when I had uploaded my pictures and as I was looking through them, I noticed that the texts for the vigil were easier to read than I had thought, and I could even make out a few of the incipits. I also saw that one rubric that I had failed to identified earlier could be read as GR, a responsory for the gradual, a type of chant uniquely belonging to the missal (as seen below just before the blue A). I looked further at the texts for the vigil, and I was able to make out indications for the offertorium, another chant exclusively for the mass, and then a "co" which belongs to the communion, also only found in the celebration of the mass.


RARA M 28
Syddansk Universitetsbibliotek


It turned out that the answers had been there all along, and I only needed to come closer to the fragment to take some more detailed pictures. It also reminded me how necessary it is to continuously return to the fragments to check and check again, because there are sometimes details that are unclear or difficult to identify at first, but which can appear more clearly the second or third time around. One reason for this hermeneutics of fragments, as it were, is due to a very basic but very important point: In some fragments, certain items might be difficult to identify, especially if you have not encountered them before. Later on, however, as one progresses in the studies of other fragments, one might come across this item in such a condition that it can be identified with greater ease, and it is then possible to return to earlier investigations and fill in the gaps. This is why I have been working on around thirteen different fragments over and over again for four months.





tirsdag 27. februar 2018

Dies Irae - by Edward Kamau Brathwaite




It is a near-quotidian occurrence here at work, that at the beginning of sunset the great flocks of crows and jackdaws and rooks that inhabit the woods and fields around the university rise up in their entire numbers and seem to wage war on one another. I caught this image of them as they were flying across the campus buildings, and it appears as if they are rising out of the very earth itself. There is always a certain apocalyptic undercurrent, despite its daily repetition, and it also gives me a very good excuse to present to you the poem Dies Irae by Barbadian poet Edward Kamau Brathwaite, printed in his 1983 poetry collection Third World Poems.







Dies Irae

Dies irae dreadful day
when the world shall pass away
so the priests and shomen say

what gaunt phantoms shall affront me
mi lai sharpville wounded knee
arthur kissorcallatme

to what judgement meekly led
shall men gather trumpeted
by Louis Armstrong from the dead

life and death shall here be voice
less rising from their moist
interment hoist-

ing all their flags before them
poniard poison rocket bomb
nations of the earth shall come

and his record page on page
forever building he shall scan and give each age
sentences of righteous rage

if the pious then shall shake me
what reply can merchants make me
what defences can they fake?

mighty and majestic god-
head saviour of the broken herd
grant me mercy at thy word

day of fire dreadful day
day for which all sufferers pray
grant me vengeance with thy sword








søndag 25. februar 2018

Working with liturgical manuscripts, part 9 - Terribilis est locus iste


One of the many challenges of working with liturgical sources - not only fragments but also complete survivals - is the condensation of information that takes place on the liturgical page. Books containing liturgical material were intended to provide the texts for a wide range of feasts with various degrees of completion. Certain types of books contained only certain chants, such as the antiphonary, so named for its predominant focus on the antiphons, a text sung before and/or after the psalms and, in the case of a saint's feast, often containing material specific to the saint of the day. In other cases, books that contained several types of texts, such as breviaries, could be divided so that one breviary contained the material for the summer season and the other contained the material for the winter season.

Another type of challenge that comes with the compression of information on the liturgical page, is to be able to identify a text when the only identifying feaure is the first word, the so-called incipit. Thanks to the work of numerous academics, there are great databases in place to help identifying chants, such as cantusindex.org and cantus.uwaterloo.ca. Even when the chant is identified, however, there sometimes remains a question of the chant's intertextuality: What does the chant point to, what texts are it meant to invoke?


RARA Musik M 4
Syddansk Universitetsbibliotek


One example of such intertextuality can be found in the fragment RARA Musik M 4, as seen above. The picture shows a section from the office for the feast of the dedication of a church. This was a feast held on the anniversary of the church's dedication, and the date itself therefore varies from church to church, but the texts were for the most part common to all Latin churches.

The picture shows a responsory, a text which follows the lesson and serves as a response to the theme of the lesson, hence the name. Only the incipit is recorded, but this is also all that is needed, as this is a case of biblical intertextuality that would be well known to most of the literate members of the clerical community. The incipit refers to the exclamation of Jacob after he has wrestled the angel in Genesis 28:17, saying "terribilis est, inquit, locus iste, non est hic aliud nisi domus Dei, et porta caeli", which in the Douay-Rheims edition is translated as: "he said: How terrible is this place! this is no other but the house of God and the gate of heaven". Jacob then takes the stone that served as his pillow during the night, sets it erects, pours oil on it, and renames the place Bethel (previously called Luza).

This quotation should also indicate very clearly why this text is used in chant for the feast of the dedication of a church: When Jacob utters his exclamation, he locates on earth a locality that serves as the house of God, a place where the divine presence is particularly strongly felt. In Christianity, the church is exactly such a place, a house of God where mankind can more easily contemplate and become aware of God and the divine mystery. In this way, Jacob's words, as well as his dedication of Bethel onto God, becomes a typological forerunner for every single church in Christendom, and in singing the responsory Terribilis est, the clerical community binds its own church typologically to Bethel, to the proto-church of the Old Testament, and in this way makes itself a part of the long history of Christendom.