The Queen and the Saint: two royal women of Kent

The Archives and Old Library at Trinity Hall

One of the great treasures of the Old Library is an early fifteenth century manuscript, Historia Monasterii S. Augustini Cantauriensis, by Thomas of Elmham, a medieval monk and historian. Elmham’s history of St Augustine’s Abbey and its lands contains elaborate chronological tables and facsimiles of many lost Anglo-Saxon charters. Amongst these pages recording the deeds of clerics are two magnificent full page illustrations which reveal the presence of two high status women!

The women who were so important to the history of St Augustine’s Abbey were Domme Eafe and her daughter Mildrith. Domme Eafe had impeccable royal lineage – she was descended from King Æthelberht of Kent and was married to King Merewalh of Magonsaete (a sub-kingdom of Mercia). This remarkable queen founded the abbey of Minster-in-Thanet and all three of her daughters, Mildburh, Mildgytha and Mildrith, were saints.

220px-Mildred_von_Minster Saint Mildrith (image from Wikipedia)

The most notable of…

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St Augustine Gospels and the Enthronement of the Archbishop

St Augustine Gospels and the Enthronement of the Archbishop

St Augustine Gospels and the Enthronement of the Archbishop

Our oldest and most precious book, the St Augustine Gospels (CCCC MS 286) will be playing an important role on Thursday in the enthronement of the new archbishop of Canterbury, Justin Welby.

This copy of the four gospels was made in Italy in the late sixth century. It’s believed to have been brought to Canterbury as part of the mission of St Augustine who was sent by Pope Gregory the Great in AD 597 to (re)christianise the English.

Augustine was successful in converting Æthelbert, King of Kent, and many of his people and was consecrated as the first archbishop of Canterbury.

Throughout the Middle Ages, the gospel book was kept at St Augustine’s Abbey and venerated as a relic of the saint.

After the closure of the abbey as part of the dissolution of the monasteries in 1538, the book entered the collection of  Matthew Parker, the 70th archbishop, and was one of the manuscripts he gave to his old college in 1574.

 

Portrait of St Luke (CCC MS 286, f. 129v)

Portrait of St Luke (CCC MS 286, f. 129v)

The most distinctive elements of the St Augustine Gospels are the illustrated pages, extremely rare in such an early manuscript. The book seems originally to have had 8 full-page pictures but only two survive.

The first is an author portrait of St Luke and it’s likely that there were similar portraits of the other evangelists.

The other illustrated page is a grid with images of various events from the Passion, including this depiction of the Last Supper.

The Last Supper (CCC MS 286, f. 125r)

The new archbishop will be the 105th in succession to Augustine. It’s appropriate that he should swear his oath of office on the gospel book which has such a strong connection with the office and with Canterbury.

 

РИФМА КАК ФЕНОМЕН МАГИЧЕСКОЙ АРХАИКИ

несториана/nestoriana

2014-09-16 07-42-22  Древности Старой Ладоги. Находки с волховского берега

Литературоведы слепили и не различают два понятия: рифмовку (закрепленный в композиции стихотворения фонетический повтор) и рифму

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АНДРЕЙ ЧЕРНОВ ЧИТАЕТ “СЛОВО О ПОЛКУ ИГОРЕВЕ”. Древнерусский текст и свой перевод

несториана/nestoriana

Запись сделана в 2006 году издательством “Вита Нова”. Является приложением к изданию: “Слово о полку Игореве” и “Хроники изнаночного времени” (Вита Нова, СПб., 2006)

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А. Ю. Чернов. ФЕНОМЕН РИФМЫ И «СЛОВО О ПОЛКУ ИГОРЕВЕ»

несториана/nestoriana

Сорок лет назад в журнале «Литературная учеба» моей публикацией «Штрихи к двум портретам рифмы» (1978, № 5. С. 176–184) была открыта полемика о феномене русской рифмы и рифмы как таковой. Перчатку поднял Михаил Гаспаров («К автопортрету рифмоведения». С. 185), а в № 6 появились отклики Давида Самойлова («Что такое рифма?» С. 162), Юрия Минералова («Эта классическая современная рифма». С. 164) и Д. С. Лихачева («О статье Андрея Чернова». С. 168).

Я попытался развести два понятия, традиционно не различаемых стиховедением – рифмовки и вербальной рифмы, состоящей из пары созвучных слов (кровь–любовь). При этом рифмовку я понимал так, как понимают ее стиховеды – как звуковой повтор, закрепленный в композиции стихотворения на определенном месте, а вот в рифме предложил видеть психо-эстетический феномен метаморфозы образа при сходстве звучания.

Рифмовка в стихе может быть начальная, внутренняя или конечная. Она может реализовываться не только путем использования вербальных рифм или рифмоидов, но и при помощи простейших звуковых…

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