Editing, Performance, Texts: New Practices in Medieval and by Jacqueline Jenkins, Julie Sanders

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By Jacqueline Jenkins, Julie Sanders

The essays during this quantity problem present 'givens' in medieval and early smooth study round periodization and editorial perform. They exhibit state of the art learn practices and techniques in textual enhancing, and in manuscript and function reviews to supply new methods of analyzing and dealing for college students and students.

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18 The author of the captions has not been identified, but whoever wrote them, they seem to express the perspective of the earl’s daughter Anne and others who may have known him, adding insider information to the pictures and slanting them towards a chivalric interpretation. In terms of their centrality to meaning, the captions are clearly ancillary, their chief function being to explain the pictures but not to intrude on them. The captions in the Beauchamp Pageant typically consist of just two to four lines and take up only a small amount of space at the top of the page, although they occasionally run longer, once reaching 15 lines.

13 Pagent was also, and more commonly, used to describe more explicitly theatrical events such as enactments and mimetic representations. The first meaning cited by the MED, in fact, is a play in a mystery cycle, with secondary meanings that included the wheeled platform on which a play was presented, or a scene in a triumph. Used with the word pleien, the word pagent could also refer to the acting of a part or the playing of a role, including the practice of deceiving someone. 14 What these definitions of the Middle English word pagent add up to is a blurring of representational media related in some fashion to sight.

Lawrence M. Clopper, Drama, Play, and Game: English Festive Culture in the Medieval and Early Modern Period (Chicago, IL: University of Chicago Press, 2001) 130. As V. A. Kolve noted in The Play Called Corpus Christi (Stanford, CA: Stanford University Press, 1966) 13. Meg Twycross, ‘Books for the Unlearned’, Drama and Religion, Themes in Drama 5, ed. James Redmond (Cambridge: Cambridge University Press, 1983) 89. See Chaundler, Liber Apologeticus, 21–3, for a discussion of the dramatic features of the play.

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