Being Human is an annual festival in celebration of the humanities, organised by the School of Advanced Studies at the University of London. Exeter’s medieval studies community has a history of organising engaging events for this wonderful project, including last year’s memorable guided tour of Exeter Cathedral; sadly, however, events such as this were no longer viable in 2020 as a result of the coronavirus pandemic. This didn’t stop the organisers of the festival, however, who this year worked around the clock to put in place a virtual series of events that captured the breadth of humanities research up and down the UK. At the time of publication, the festival is still ongoing, and can be explored further on its website.
For us at ‘Learning French in Medieval England‘, the online format of this year’s event proved both a challenge and a unique opportunity. Having originally planned to run a workshop on our project in-person as part of the festival, we found ourselves having to reconsider the format and scale of what we were preparing at fairly short notice, as our venue shifted from Exeter Central Library to … well, Zoom. In-person interactivity was suddenly off the table, and our original plan of using paper slips to give attendees a chance to do digital editing for themselves – an idea adapted from Dr. Charlotte Tupman and Dr. Elizabeth Williamson’s introductory XML sessions in our Digital Humanities Lab – had to be replaced with a new format that would be suitable for audiences at a distance, and from across the world. Our challenge, in short, was to give our diverse audience members – many of whom had never seen a medieval manuscript before, let alone considered how one might be edited – an introduction to questions of medieval textuality, digital scholarship, and critical editing.
Our solution was to seek help from a certain well-known boy wizard. Specifically, we opened the workshop by giving participants a lightly-adapted version of the opening lines to Harry Potter and the Philosopher’s Stone, and asking them simply to copy it out by hand. What we didn’t tell them was that we had made a few subtle changes to the original text. Here’s our extract in full: how many can you spot? (Answers at the bottom of the page.)
Medievalists reading this page will likely have realised the point behind this exercise: the ‘errors’ that we introduced into the Harry Potter text in fact reflect many of the alterations that medieval texts underwent during the scribal copying process, from unwitting metathesis (alterations in word or letter order) to deliberate acts of editorial intervention. There was, of course, no single ‘right’ way for our participants to copy out the extract, and some participants retained the changes that we’d made, while others adapted them (most notably seen in the minority of participants who underlined the passage that was italicised) and others still simply ‘corrected’ them. In choosing a text that many audience members would be familiar with, we’d hoped to elicit precisely this range of responses, and we were thrilled to see how fascinated participants were as they came to realise the sheer range of decisions, both conscious and subconscious, that are made when copying a text by hand.
Of course, many of the key elements of our one-hour workshop didn’t require such a drastic degree of alteration for online delivery. Tom Hinton’s introduction to the editorial history of the Tretiz, and to critical editions more generally, provoked a great deal of interest, as did our joint exploration of how medieval manuscripts are represented in popular culture (via Disney films, Shrek, and notions of parody). Most excitingly, however, the online-only format allowed us to massively expand the capacity of the event, and we were delighted to welcome over eighty attendees from around the world. The event also generated a considerable amount of interest on Twitter, as you can see from the selection of Tweets provided below. A video recording of the event is available to watch in full on Vimeo.
Learning French in Medieval England is an AHRC-funded project at the University of Exeter’s Department of Modern Languages, and aims to produce the first digital critical edition of all extant manuscripts to Walter de Bibbesworth’s thirteenth-century rhyming French vocabulary, the Tretiz. More information about the project is available on its website and Twitter page; earlier blogs from project members are available here, here, here (external link), and here.
‘Alterations’ made to Harry Potter text
Full stop after ‘Mrs.’ removed, ‘Drive’ un-capitalised (l. 1); italics added to ‘thank you very much’ (ll. 2-3); ‘involved’ respelled to ‘invovled’, comma replaced with semicolon (l. 4); word order altered, with ‘just didn’t hold’ becoming ‘didn’t just hold’ (l. 5). Many other variants were also introduced, of course, most notably surrounding line-breaks (most did not respect line-breaks after ‘were’, ‘you’, and so on), the colour of the ‘ink’ (we’d chosen brown), and letter-forms (understandably, almost no-one attempted to replicate the distinctive shape of 16pt Arial).
Five months on from our previous post, work has been proceeding apace at the ‘Learning French in Medieval England’ project — or, as literally no-one is calling it, ‘Tretiz Towers’. Our primary focus at the moment remains the work that we’re doing on the project’s central strand: namely, producing a digital edition of the Tretiz‘s 17 extant manuscripts. The days of Word documents, however, are thankfully behind us: thanks to the sterling work of Dr. Charlotte Tupman, the project’s TEI consultant, we’re now getting to grips with XML encoding, and ‘marking up’ our earlier transcriptions into a machine-readable format that will be both dynamic and easily-searchable. As we’ve become more familiar with the ins and outs of XML, we’ve been asked on several occasions to clarify how exactly this strange new language works, and to that end, we’ve produced a brief introduction to XML, with particular reference to our project, over on the Modern Languages and Cultures blog. Encoding is certainly a rewarding experience, and one that forces us to think critically about our editing philosophies and methodologies; when making text machine-readable, everything has to be justified, and sidestepping difficult questions simply isn’t an option. The real reward, though, will be seeing the edition in its finished form, and making the first of the many discoveries that we anticipate it to enable.
The project’s outreach and communication arm has also stepped up a gear over the past few months, with both Tom and I speaking at multiple events to academic audiences and the broader public. I kicked things off in May with a presentation at Academics in Quarantine, an online conference series, while Tom, fresh from an appearance on BBC Radio Devon, gave a fascinating talk on French in Medieval England as part of a round of public engagement events organised by the team at Agile Rabbit (available to watch online). More recently, Tom has also presented at the online Medieval French Seminar series organized by academics in the UK, where he explored questions of Latinity in the Tretiz, investigating links between Bibbesworth and Latin word-books and nominalia. We’ve also produced guest posts for various other outlets, with Tom investigating two British Library manuscripts of the text over on the Values of French project blog and Edward producing the introduction to XML mentioned at the start of this post. The project’s Twitter account (@MedievalFrench) remains a hive of activity, with regular #TretizTuesday posts (highlighting intriguing or unusual aspects of the text) pushing us towards a respectable 350 followers.
The coming months will be crucial to the project’s success, as we look towards completion of our encoding and the subsequent investigation of broader questions that underpin the Tretiz‘s composition and reception. We hope you’ll join us for the journey, whether on our Twitter page or on our project website, and look forward to bringing you another update soon.
Research Associate, ‘Learning French in Medieval England’
Vestez vos dras, biau douz enfaunz,
Chaucez vos brais, soulers, et gaunz.
De une corroie vous ceintez —
Ne di pas ‘vous enceintez‘,
Car femme est par home enceinte
Et de une ceinture est ele ceinte.
Put on your clothes, my sweet child: don your breeches, shoes, and gloves. Lock up your belt-buckle — but do not say ‘knock up’, for a woman is knocked up by a man, but is locked up within a belt.
This somewhat risqué passage of French verse, written by Walter de Bibbesworth in mid-thirteenth-century England, would no doubt have provoked a few giggles among its audience. Its humour is difficult to capture in translation, but is clear even to those of us whose French is more than than a little rusty: punning on the near-homophonic Middle French verbs ceinter (‘to do up a belt’) and enceinter (‘to impregnate’), the author offers a cautionary tale in how even the smallest of phonetic alterations can have a major (and often-unintended) impact on the meaning of a phrase.
The passage in question is from the longest of three medieval French texts attributed to Bibbesworth: the Tretiz. The Tretiz is an unusual text in many ways, presenting itself as a rhyming vocabulary that offers one-stop-shop for all your advanced French vocabulary needs, from brewing beer to describing one’s own body. Walter de Bibbesworth promises at the outset that he will not teach ‘le fraunczois qe cheascun siet dire’ (‘the French that everyone knows’), but instead claims that his text was written ‘pur gentyls home ou pur fyz de gentyls home enfourmer de langgage’ (‘to teach nobles or their sons language’). Despite this rather unexciting opening statement it soon becomes clear — partly through Bibbesworth’s aforementioned obsession with homophones and wordplay — that the Tretiz is no ordinary phrasebook or dictionary. Instead, the reader is treated to a 1,000-line rambling tour of all manner of scenarios, ranging from a detailed list of the noises made by assorted wild animals to an odd little anecdote about a dwarf whose attempts to fish in the river Seine are constantly frustrated by inclement weather.
Despite these strange digressions — or, perhaps, because of them — the Tretiz has become something of a touchstone for scholars working on language use in medieval Britain. Over the years, it (along with its remarkably varied tradition of Middle English glosses) has been referenced in research on subjects as varied as lexicography, social history, and language change, often with respect to both English and French. Much of this valuable work has, however, been limited by an incomplete editorial tradition: the latest critical edition of the Tretiz, produced by William Rothwell in 2009, offers a superb insight into the text’s glosses but is limited in scope to two of the text’s 17 witnesses. With previously-unknown manuscripts of the Tretiz emerging as recently as 2011, it has become clear that, as Rothwell himself noted as early as 1990, ‘The whole corpus of Bibbesworth manuscripts needs to be made available eventually in a full critical edition for use in lexicographical work on the development of both English and French.’
It is therefore very exciting to announce that, over the next 15 months, the work of producing the first complete edition of the Tretiz will be carried out in the Centre for Medieval Studies here at Exeter! Dr. Thomas Hinton (Senior Lecturer in French) has received funding from the UK’s Arts and Humanities Research Council Leadership Fellows scheme to develop a digital critical edition of all 17 known manuscripts of this challenging and fascinating text. I’m writing this blog post as the second member of the project team: for the next 15 months, I’ll be working alongside Dr. Hinton as the project’s Postdoctoral Research Associate. Dr. Hinton and I will be collaborating with the University’s own Digital Humanities team to ensure that our edition becomes a vital resource for researchers from various disciplines, as well as one that makes full use of the flexibility and connectivity offered by the standards of the Text Encoding Initiative.
However, our project also has a broader aim: to raise awareness of the importance, both historically and in the present day, of multilingualism and language-learning. While much of our research as medievalists is built on the ability to read more than one language, there is a growing concern that language uptake in UK secondary schools is in decline, with students increasingly denied the opportunities to explore other languages and cultures. A medieval rhymed vocabulary might seem an unlikely solution to this very modern problem, but we’re keen to stress that, as the Tretiz itself shows, Britain has never been monolingual, and that understanding the complex connections between languages can only make our work — and, indeed, our lives — better.
We’re looking forward to providing several updates on this blog over the coming months as our work on the Tretiz starts to take shape. In the meantime, we warmly invite anyone with an interest in the project to follow us on Twitter, where we’ll be sharing shorter snippets from our investigations — and, once a week, some very special #TretizTuesday excitement!
Research Associate, Learning French in Medieval England project