UNIQUE FEMALE MYSTICAL EXPERIENCES A number of female mystics had their own unique spiritual experiences. For them, fasting and receiving the Eucharist (the communion wafer that, according to Roman Catholic doctrine, contains the body of Jesus) became the mainstay of their religious practices. Catherine of Siena, for example, gave up eating any solid food at the age of twenty-three and thereafter lived only on cold water and herbs that she sucked and then spat out. Her primary nourishment, however, came from the Eucharist. She wrote: “The immaculate lamb [Christ] is food, table, and servant…. And we who eat at that table become like the food [that is, Christ], acting not for our own utility but for the honor of God and the salvation of neighbor.”15 For Catherine and a number of other female mystics, reception of the Eucharist was their primary instrument in achieving a mystical union with God.
Changes in Theology
The fourteenth century presented challenges not only to the institutional church but also to its theological framework, especially evident in the questioning of the grand synthesis attempted by Thomas Aquinas. In the thirteenth century, Aquinas’s grand synthesis of faith and reason was not widely accepted outside his own Dominican order. At the same time, differences with Aquinas were kept within a framework of commonly accepted scholastic thought. In the fourteenth century, however, the philosopher William of Occam (1285–1329) posed a severe challenge to the scholastic achievements of the High Middle Ages.
Occam posited a radical interpretation of nominalism. He asserted that all universals or general concepts were simply names and that only individual objects perceived by the senses were real. Although the mind was capable of analyzing individual objects, it could not establish any truths about the nature of external, higher reality. Reason could not be used to substantiate spiritual truths. It could not, for example, prove the statement “God exists.” For William of Occam as a Christian believer, this did not mean that God did not exist, however. It simply indicated that the truths of religion could only be known by an act of faith and were not demonstrable by reason. The acceptance of Occam’s nominalist philosophy at the University of Paris brought an element of uncertainty to late medieval theology by seriously weakening the synthesis of faith and reason that had characterized the theological thought of the High Middle Ages. Nevertheless, Occam’s emphasis on using reason to analyze the observable phenomena of the world had an important impact on the development of physical science by creating support for rational and scientific analysis. Some late medieval theologians came to accept the compatibility of rational analysis of the material world with mystical acceptance of spiritual truths.
The Cultural World of the Fourteenth Century
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FOCUS QUESTION: What were the major developments in art and literature in the fourteenth century?
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The cultural life of the fourteenth century was also characterized by ferment. In literature, several writers used their vernacular languages to produce notable works. In art, the Black Death and other problems of the century left their mark as many artists turned to morbid themes, but the period also produced Giotto, whose paintings expressed a new realism that would be developed further by the artists of the next century.
The Development of Vernacular Literature
Although Latin remained the language of the church liturgy and the official documents of both church and state throughout Europe, the fourteenth century witnessed the rapid growth of vernacular literature, especially in Italy. The development of an Italian vernacular literature was mostly the result of the efforts of three writers in the fourteenth century: Dante, Petrarch (PEE-trark or PET-trark), and Boccaccio. Their use of the Tuscan dialect common in Florence and its surrounding countryside ensured that it would prevail as the basis of the modern Italian language.
DANTE Dante Alighieri (1265–1321) came from an old Florentine noble family that had fallen on hard times. Although he had held high political office in republican Florence, factional conflict led to his exile from the city in 1302. Until the end of his life, Dante hoped to return to his beloved Florence, but his wish remained unfulfilled.
Dante’s masterpiece in the Italian vernacular was the Divine Comedy, written between 1313 and 1321. Cast in a typical medieval framework, the Divine Comedy is basically the story of the soul’s progression to salvation, a fundamental medieval preoccupation. The lengthy poem was divided into three major sections corresponding to the realms of the afterworld: hell, purgatory, and heaven or paradise. In the “Inferno”, Dante is led by his guide, the Classical author Virgil, who is a symbol of human reason. But Virgil (or reason) can lead the poet only so far on his journey. At the end of “Purgatory,” Beatrice (the true love of Dante’s life), who represents revelation—which alone can explain the mysteries of heaven—becomes his guide into “Paradise.” Here Beatrice presents Dante to Saint Bernard, a symbol of mystical contemplation. The saint turns Dante over to the Virgin Mary, since grace is necessary to achieve the final step of entering the presence of God, where one beholds “the love that moves the sun and the other stars.”16
PETRARCH Like Dante, Francesco Petrarca, known as Petrarch (1304–1374), was a Florentine who spent much of his life outside his native city. Petrarch’s role in the revival of the classics made him a seminal figure in the literary Italian Renaissance (see Chapter 12). His primary contribution to the development of the Italian vernacular was made in his sonnets. He is considered one of the greatest European lyric poets. His sonnets were inspired by his love for a married lady named Laura, whom he had met in 1327. Though honoring an idealized female figure was a long-standing medieval tradition, Laura was very human and not just an ideal. She was a real woman with whom Petrarch was involved for a long time. He poured forth his lamentations in sonnet after sonnet:
I am as tired of thinking as my thought
Is never tired to find itself in you,
And of not yet leaving this life that brought
Me the too heavy weight of signs and rue;
And because to describe your hair and face
And the fair eyes of which I always speak,
Language and sound have not become too weak
And day and night your name they still embrace.
And tired because my feet do not yet fail
After following you in every part,
Wasting so many steps without avail,
From whence derive the paper and the ink
That I have filled with you; if I should sink,
It is the fault of Love, not of my art.17
In analyzing every aspect of the unrequited lover’s feelings, Petrarch appeared less concerned to sing his lady’s praise than to immortalize his own thoughts. This interest in his own personality reveals a sense of individuality stronger than in any previous medieval literature.
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Dante’s Vision of Hell
The Divine Comedy of Dante Alighieri is regarded as one of the greatest literary works of all time. Many consider it the supreme summary of medieval thought. It combines allegory with a remarkable amount of contemporary history. Indeed, forty-three of the seventy-nine people consigned to hell in the “Inferno” were Florentines. This excerpt is taken from canto 18 of the “Inferno,” in which Dante and Virgil visit the eighth circle of hell, which is divided into ten trenches containing the souls of people who had committed malicious frauds on their fellow human beings.
Dante, “Inferno,” Divine Comedy
We had already come to where the walk
crosses the second bank, from which it lifts
another arch, spanning from rock to rock.
Here we heard people whine in the next chasm,
and knock and thump themselves with open palms,
and blubber through their snouts as if in a spasm.
Steaming from that pit, a vapor rose
over the banks, crusting them with a slime
that sickened my eyes and hammered at my nose.
That chasm si
nks so deep we could not sight
its bottom anywhere until we climbed
along the rock arch to its greatest height.
Once there, I peered down; and I saw long lines
of people in a river of excrement
that seemed the overflow of the world’s latrines.
I saw among the felons of that pit
one wraith who might or might not have been tonsured—
one could not tell, he was so smeared with shit.
He bellowed: “You there, why do you stare at me
more than at all the others in this stew?”
And I to him: “Because if memory
serves me, I knew you when your hair was dry.
You are Alessio Interminelli da Lucca.
That’s why I pick you from this filthy fry.”
And he then, beating himself on his clown’s head:
“Down to this have the flatteries
I sold the living sunk me here among the dead.”
And my Guide prompted then: “Lean forward a bit
and look beyond him, there—do you see that one
scratching herself with dungy nails, the strumpet
who fidgets to her feet, then to a crouch?
It is the whore Thäis who told her lover
when he sent to ask her, ‘Do you thank me much?’
’Much? Nay, past all believing!’ And with this
Let us turn from the sight of this abyss.”
How does Dante’s vision of hell reflect medieval religious thought? Why were there Florentines in hell? What lessons do you think this work was intended to teach its readers?
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BOCCACCIO Although he too wrote poetry, Giovanni Boccaccio (1313–1375) is known primarily for his prose. Another Florentine, he also used the Tuscan dialect. While working for the Bardi banking house in Naples, he fell in love with a noble lady whom he called his Fiammetta, his Little Flame. Under her inspiration, Boccaccio began to write prose romances. His best-known work, the Decameron, however, was not written until after he had returned to Florence. The Decameron is set at the time of the Black Death. Ten young people flee to a villa outside Florence to escape the plague and decide to while away the time by telling stories. Although the stories are not new and still reflect the acceptance of basic Christian values, Boccaccio does present the society of his time from a secular point of view. It is the seducer of women, not the knight or philosopher or pious monk, who is the real hero. Perhaps, as some historians have argued, the Decameron reflects the immediate easygoing, cynical postplague values. Boccaccio’s later work certainly became gloomier and more pessimistic; as he grew older, he even rejected his earlier work as irrelevant. He commented in a 1373 letter, “I am certainly not pleased that you have allowed the illustrious women in your house to read my trifles…. You know how much in them is less than decent and opposed to modesty, how much stimulation to wanton lust, how many things that drive to lust even those most fortified against it.”18
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Geoffrey Chaucer, Canterbury Tales: Prologue
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CHAUCER Another leading vernacular author was Geoffrey Chaucer (c. 1340–1400), who brought a new level of sophistication to the English vernacular language in his famous Canterbury Tales. His beauty of expression and clear, forceful language were important in transforming his East Midland dialect into the chief ancestor of the modern English language. The Canterbury Tales is a collection of stories told by a group of twenty-nine pilgrims journeying from the London suburb of Southwark to the tomb of Saint Thomas à Becket at Canterbury. This format gave Chaucer the chance to portray an entire range of English society, both high- and low-born. Among others, he presented the Knight, the Yeoman, the Prioress, the Monk, the Merchant, the Student, the Lawyer, the Carpenter, the Cook, the Doctor, the Plowman, and, of course, “A Good Wife was there from beside the city of Bath—a little deaf, which was a pity.” The stories these pilgrims told to while away the time on the journey were just as varied as the storytellers themselves: knightly romances, fairy tales, saints’ lives, sophisticated satires, and crude anecdotes.
Chaucer also used some of his characters to criticize the corruption of the church in the late medieval period. His portrayal of the Friar leaves no doubt of Chaucer’s disdain for the corrupt practices of clerics. Of the Friar, he says:
He knew the taverns well in every town.
The barmaids and innkeepers pleased his mind
Better than beggars and lepers and their kind.19
And yet Chaucer was still a pious Christian, never doubting basic Christian doctrines and remaining optimistic that the church could be reformed.
CHRISTINE DE PIZAN One of the extraordinary vernacular writers of the age was Christine de Pizan (c. 1364–1430). Because of her father’s position at the court of Charles V of France, she received a good education. Her husband died when she was only twenty-five (they had been married for ten years), leaving her with little income and three small children and her mother to support. Christine took the unusual step of becoming a writer in order to earn her living. Her poems were soon in demand, and by 1400 she had achieved financial security.
Christine de Pizan. Christine de Pizan was one of the extraordinary vernacular writers of the late fourteenth and early fifteenth centuries. In this fifteenth-century French illustration, she is shown giving instructions to an assistant from the Works of Christine de Pizan.
©British Library, London//HIP/Art Resource, NY
Christine de Pizan is best known, however, for her French prose works written in defense of women. In The Book of the City of Ladies, written in 1404, she denounced the many male writers who had argued that women needed to be controlled by men because women by their very nature were prone to evil, unable to learn, and easily swayed. With the help of Reason, Righteousness, and Justice, who appear to her in a vision, Christine refutes these antifeminist attacks. Women, she argues, are not evil by nature, and they could learn as well as men if they were permitted to attend the same schools: “Should I also tell you whether a woman’s nature is clever and quick enough to learn speculative sciences as well as to discover them, and likewise the manual arts. I assure you that women are equally well-suited and skilled to carry them out and to put them to sophisticated use once they have learned them.”20 Much of the book includes a detailed discussion of women from the past and present who have distinguished themselves as leaders, warriors, wives, mothers, and martyrs for their religious faith. She ends by encouraging women to defend themselves against the attacks of men, who are incapable of understanding them.
Art and the Black Death
The fourteenth century produced an artistic outburst in new directions as well as a large body of morbid work influenced by the Black Death and the recurrences of the plague. The city of Florence witnessed the first dramatic break with medieval tradition in the work of Giotto (JOH-toh) (1266–1337), often considered a forerunner of Italian Renaissance painting. Born into a peasant family, Giotto acquired his painting skills in a workshop in Florence. Although he worked throughout Italy, his most famous works were done in Padua and Florence. Coming out of the formal Byzantine school, Giotto transcended it with a new kind of realism, a desire to imitate nature that Renaissance artists later identified as the basic component of Classical art. Giotto’s figures were solid and rounded; placed realistically in relationship to each other and their background, they conveyed three-dimensional depth. The expressive faces and physically realistic bodies gave his sacred figures human qualities with which spectators could identify. Although Giotto had no direct successors, Florentine painting in the early fifteenth century pursued even more dramatically the new direction his work represents.
The Black Death made a visible impact on art. For one thing, it wiped out entire guilds of artists. At the same time, survivors, including the newly rich who patronized artists, were no longer so optimistic. Some were more guilty about enjoying life and more concerned about gaining sa
lvation. Postplague art began to concentrate on pain and death. A fairly large number of artistic works came to be based on the ars moriendi (AHRS moh-ree-EN-dee), the art of dying. A morbid concern with death is especially evident in Francisco Traini’s fresco The Triumph of Death in Pisa. On the left side of the fresco, several young nobles encounter three coffins containing decomposing bodies, while on the right young aristocrats engage in pleasant pursuits but are threatened by a grim figure of Death in the form of a witch flying through the air swinging a large scythe. Beneath her lie piles of dead citizens and clergy cut down in the prime of life.
Western Civilization: Volume B: 1300 to 1815, 8th Edition Page 13
