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Nota Bene

Making Digital Marks on Medieval Manuscripts

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Edited By Tamsyn Mahoney-Steel

We stand at the cusp of an exciting moment in digital medieval studies. The advent of ubiquitously available digitized manuscripts alongside platforms that host encoded medieval texts has democratized access to the cultural heritage of the Middle Ages, and gives us the potential for greater understanding of that era. Seen through the lens of late medieval French literature, in particular the Roman de la Rose and the works of Guillaume de Machaut, this book exhorts us to be optimistic about what we can achieve. Challenging the pessimism inherent in views that see our historical situatedness as a barrier to truly understanding the medieval era, Tamsyn Mahoney-Steel argues that digital networks of manuscript images, texts, and annotations, can not only aid us in comprehending medieval literary culture, but are, in fact, complementary to medieval modes of thought and manner in which manuscripts transmitted ideas. Using her teaching of Guillaume de Machaut and her work with the Roman de la Rose Digital Library, Mahoney-Steel envisages a future in which the digital humanities can enable us to build transhistorical relationships with our medieval objects of study.
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Chapter 5. Envisioning an Annotated Environment: The Roman de la Rose Digital Library

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ENVISIONING AN ANNOTATED ENVIRONMENT

The Roman de la Rose Digital Library

In the Roman de la Rose the Lover describes the two crystals he saw on the bed of the Spring of Narcissus (see Figure 5.1). Here is the description of them as translated by Frances Horgan:

Down at the bottom of the spring were two crystals, which I gazed at most attentively. And I shall tell you something that will, I think, seem marvellous to you when you hear it. When the all-seeing sun sends down its rays into the spring, and light descends into its depths, more than a hundred colours appear in the crystal, which turns blue and yellow and red in the sunlight. The crystal is so marvellous and has such power that the whole place, with its trees and flowers and everything adorning the garden, is revealed there in due order. To help you understand the phenomenon I shall give you an illustration. Just as things placed in front of a mirror are reflected in it, and their appearance and colour are seen quite plainly, exactly so, I assure you, does the crystal truly disclose the whole of the garden to him who gazes into the water. For whichever side he is on, he can always see half of the garden, and by turning he is at once able to see the remainder. And so there is nothing so small, so secret,...

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