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“The Living Witnesses of Our Redemption”: Martyrdom and Imitation in the Prioress’s Tale

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Temporal Circumstances

Part of the book series: The New Middle Ages ((TNMA))

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Abstract

In late fourteenth-century England a Christian writer allows to be retold an antisemitic tale that first appeared in the twelfth century, but whose immediate historical origins lie in events at the end of the eleventh century and whose deep origins go back almost to the beginning of historical time, to the story of Abraham and Isaac. The reteller Chaucer chooses for this performance is a superior member of contemporary English female monasticism, but one who is unable to distinguish between present events and those, like the murder of little Hugh of Lincoln, which she thinks occurred only “a litel while ago” (686)—while the story of Hugh’s “martyrdom” in fact emerged almost 150 years earlier, in a mid-thirteenth century England that still had a Jewish community.1 Far from irrelevant, this historical layering is central to the meaning of the tale that is now retold. For the dynamic that controls the Prioress’s Tale is created by a tension between two extremes. On the one hand is an absolutist desire for purity, on the other the obstinate historicity to which these temporal strata witness.

The Jews are for us the living words of Scripture. They are dispersed all over the world so that by expiating their crime they may be everywhere the living witnesses of our redemption. …It is an act of Christian piety both to “vanquish the proud” and also “to spare the subjected,” especially those from whom we have a law and a promise, and whose flesh was shared by Christ Whose name be forever blessed.

Bernard of Clairvanx

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Notes

  1. All citations from Chaucer are from Larry D. Benson, gen. ed., The Riverside Chaucer, 3rd ed. (Boston: Houghton Mifflin, 1987).

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  4. All biblical citations are from the Douay-Rheims version. The Vulgate reads: Et vidi: et ecce Agnus stabat supra montem Sion, et cum eo centum quadraginta quatuor millia, habentes nomen eius, et nomen Patris eius scriptum in frontibus suis. Et audivi vocem de caelo, tanquam vocem aquarum multarum, et tanquam vocem tonitrui magni: et vocem, quam audivi, sicut citharoedorum citharizantium in citharis suis. Et cantabant quasi canticum novum ante sedem, et ante quatuor animalia, et seniores: et nemo poterat dicere canticum, nisi ilia centum quadraginta quatuor millia, qui empti sunt de terra. Hi sunt, qui cum mulieribus non sunt coinquinati: virgines enim sunt. Hi sequuntur Agnum quocumque ierit. Hi empti sunt ex hominibus primitiae Deo, et Agno: et in ore eorum non est inventum mendacium: sine macula enim sunt thronum Dei. The relevance of the liturgy to the Tale was first explained by Marie Padgett Hamilton, “Echoes of Childermas in the Tale of the Prioress,” Modern Language Review 34 (1939): 1–8.

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© 2006 Lee Patterson

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Patterson, L. (2006). “The Living Witnesses of Our Redemption”: Martyrdom and Imitation in the Prioress’s Tale. In: Temporal Circumstances. The New Middle Ages. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-08451-4_7

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