Polish Hussar half armor, 2nd half of the 17th century

Vinnie's North Sydney Australia

gerald of wales: The weasel also, when its young are dying from any hurt, recovers and restores them to life by the use of a yellow flower. We are told by persons who have witnessed the fact, having put the whelp to death to make the experiment, that the weasel brought the flower in its mouth, and first applied it to the wound, and then to the mouth, nostrils, and other orifices of the little animal, that it might inhale the odor, by which, through the efficacious touch of the plant, breath was restored, though life seemed extinct, some slight and imperceptible vestiges of it only having remained.

aberdeen bestiary: it is said, also, that they are skilled in healing, so that if by chance their young are killed, and their parents succeed in finding them, they can bring their offspring back to life.

thomas of cantimpré: Accordingly they are said to be expert in all the arts of medicine, so that, if they find their offspring dead, they make them naturally recuperate by means of a herb

also in marie de france's lai eliduc, guildeluec uses a flower she got from a weasel that was resurrecting its weasel friend to resurrect guilliadon

conclusion:

behold, a necromancer

For #InternationalDanceDay — pages from a 1700 dance manual depicting a revolutionary dance notation system invented at the court of Louis XIV.

What do a ladder, a group of monks, and a host of angels and demons reveal about medieval spirituality? Alice Isabella Sullivan explains the icon of The Ladder of Divine Ascent, one of the most influential images of the Byzantine Middle Ages.

Portrait Of An Enemy.

"One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918, all but one of my close friends were dead."

So, for example, Pilgrim's Progress is an allegory of Christian salvation. It's sort of a novel? There are characters who do stuff? but also they are very one-dimensional. The main character is a guy named Christian--yes, really!--who is journeying from his hometown ("the city of destruction") to the Celestial City (heaven). There is not much subtlety to it. It is pretty much what it is. There is no slippage, no playing around with the theme, no places where the symbolism is ambiguous. John Bunyan, the author, is hitting you over the head every step of the way with the Meaning That You Are Supposed To Be Getting From The Story.

Not all allegories are that crude or simplistic; the Narnia books are also allegory for Christianity. They have a lot more subtlety to them and a lot more nuance, and there's a lot of stuff in there that isn't allegorical, but on the crucial matters there is still a 1:1 correspondence. Aslan is Jesus. He's not like Jesus, he's not a character that has some similarities to Jesus or takes themes from the stories of Jesus, he is Jesus.

Tolkien is not doing allegory. Tolkien is taking the material of his life--his faith, his experiences in WWI, his linguistic and historical knowledge, his favorite books--and using them as the building blocks of his story. The themes and imagery and symbols draw heavily from all of that, the characters and settings draw heavily from all of that, but they are too complex to be allegorical. There's a lot of symbolism! It's not allegory.

So, for example, let's take the Dead Marshes referenced above. Does the experience of walking through this muddy wasteland with corpses all around that are rotting but still look like people draw from Tolkien's WWI battlefield experience of dead bodies in the trenches? Of course it does! but there are also a lot of differences. These dead are not from the current war, they are from a previous one--they are a reminder of old conflicts, of the ways the systems and powers of the current war have not come out of nowhere, there is history here. There is meaning that is not drawn from the Somme. And they are also drawing from literary references Tolkien was familiar with--primarily William Morris. Modern readers don't get the references because we have generally not read The House of the Wolflings, but that doesn't mean that the references aren't there.