Category Archives: Tale/Collection of Tales

Golden Legend: St. Nicholas

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About the scene and clip:
The solo performer tells about St. Nicholas, projecting onto a screen drawings she has done of the saint’s life and miracles.

About the work:
The work known as the Legenda Aurea (The Golden Legend) is a massive compilation of stories about the saints by an Italian Dominican, Jacobus of Voragine (or Varazze), Archbishop of Genoa, writing around 1260. Organized around the Catholic liturgical year, The Golden Legend tells the lives and stories of many important saints, as well as of Christ and the Virgin Mary. It was very widely known; preachers and storytellers often told stories from The Golden Legend, and it inspired much medieval art. The work as a whole and stories drawn from it were translated into many vernacular languages. About 900 manuscripts of the The Golden Legend survive, and at the end of the Middle Ages it was even more frequently printed than the Bible.

About the genre:
Stories about the saintly wisdom, heroism, or miracles of remarkable men and women exist in many religious traditions, such as Buddhism, Christianity, Islam, and Judaism. Such stories are termed “hagiography.” In medieval Europe, the saint’s life or legend was an extremely popular type of work. A great many stories (and plays) about male and female Christian saints exist in Latin and in all the vernacular languages. These works may focus on the saint’s dramatic death by martyrdom, or recount the remarkable miracles performed by the saint, or may relate the entire life of the holy man or woman. Among the most important collections of saints’ lives and legends is The Golden Legend by Jacobus of Voragine. Chaucer’s “Prioress’s Tale” in The Canterbury Tales is a tale of martyrdom. Miracle and pious tales about the Blessed Virgin Mary, the mother of Jesus, constitute a special, and highly important, category of saintly legends.

This story also belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
From The Golden Legend or Lives of the Saints, Compiled by Jacobus de Voragine, Archbishop of Genoa, 1275, first edition published 1470. English edition by William Caxton, first edition 1483, ed. F.S. Ellis, Temple Classics, 1900 (reprinted 1922, 1931), p. 49. Latin: Iacopo da Varazze, Legenda Aurea, ed. Giovanni Paolo Maggioni, 2nd ed., Firenze, SISMEL, Edizioni del Galluzzo, 1998, 2 vols.

About the performer/ensemble:
Jenn Jordan is completing a MA in the Draper Program at New York University (2008).

About the production:
This clip was created for this website, for pleasure. It was videoed in a meeting room at New York University in spring 2008. Nitzan Rotschild was the videographer.

Jataka: Three tales

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About the scene and clip:
The performer reads aloud and acts out three stories from the Indian Jataka: He tells about a foolish tortoise that falls to its death because it cannot keep its mouth shut (the Bodhisattva, as king’s adviser, tells this tale to the overly-talkative king); he tells about a man who cleverly recovers property that had unjustly been taken from him (here, the Bodhisattva is the Lord Justice); and he tells about a foolish crow and jackal, with the Bodhisattva as wise tree-sprite.

About the work:
The Indian tales of the Jataka are part of a large body of folklore and literature concerning the previous births of the Buddha as Bodhisattva (one seeking or revealing Buddha-hood). The tales generally show the Bodhisattva, who has taken some particular human or animal form, displaying and teaching his wisdom to those around him, and sometimes performing miracles. The tales survive in various forms and collections in Pali (a vernacular dialect of Sanskrit), Sanskrit, and other languages, and influenced storytelling in many parts of the world—in particular, stories involving animals, from Aesop’s fables to the medieval fabliaux, and beyond. Though some tales from the Jataka go back to before the 3rd century BC, the Pali text may date from around the 5th century AD.

About the genre:
This story belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

This story also belongs to the genre of hagiography. Stories about the saintly wisdom, heroism, or miracles of remarkable men and women exist in many religious traditions, such as Buddhism, Christianity, Islam, and Judaism. Such stories are termed “hagiography.” In medieval Europe, the saint’s life or legend was an extremely popular type of work. A great many stories (and plays) about male and female Christian saints exist in Latin and in all the vernacular languages. These works may focus on the saint’s dramatic death by martyrdom, or recount the remarkable miracles performed by the saint, or may relate the entire life of the holy man or woman. Among the most important collections of saints’ lives and legends is The Golden Legend by Jacobus of Voragine. Chaucer’s “Prioress’s Tale” in The Canterbury Tales is a tale of martyrdom. Miracle and pious tales about the Blessed Virgin Mary, the mother of Jesus, constitute a special, and highly important, category of saintly legends.

About the edition/translation:
The Jataka; or, Stories of the Buddha’s Former Births. Translated from the Pali by various hands under the editorship of Professor E. B. Cowell, London, Published for the Pali Text Society by Luzac & Comp., 1969, 6 v.; Vol. II translated by Robert Chalmers (1895), pp. 123ff; 127ff; 299ff.

About the performer/ensemble:
Dave Perlow is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for a group independent study with Prof. Timmie (E.B.) Vitz in fall 2005; it was a final performance for the course, and was videoed in December 2005 at the Maison Française of New York University by Nick Spangler.

Igor: Tragic campaign begins

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About the scene and clip:
The solo performer recounts dramatically the opening part of Igor’s heroic, but ill-omened and doomed, raid against the Kumans.

About the work:
The Russian Lay, or Song, of Igor’s Campaign, probably dates from the late 12th century. It tells of the tragically unsuccessful military campaign that Prince Igor of Novgorod-Seversk led against Turkic nomads, the Kumans, in 1185.

About the genre:
Despite the title “Lay” which is sometimes given it in translation, this unusual work is a blend of several genres: epic, tale, lament, and song.

The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative which tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

This story also belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
Medieval Russia’s Epics Chronicles, and Tales, ed. Serge A. Zenkovsky, New York, Dutton, 1973, rev. ed., pp. 170ff. Original text: One edition of this frequently-edited text is in Dmitry S. Likhachev,Literaturnye pamiatniki, Moscow-Leningrad, 1950.

About the performer/ensemble:
Nick Robbins is a Drama student in The Meisner Studio at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for an Independent Study with Prof. Timmie (E.B.) Vitz in fall 2005; it was a final performance for the course, and was videoed in December 2005 at the Maison Française of New York University by Nick Spangler.

Tahkemoni: Of seven maidens and their mendacity, 2

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About the scene and clip:
In this clip, a performer tells part of the story of the “Seven Maidens and their Mendacity” with strong emphasis on the rhymes and the humor, and with guitar accompaniment; his side-kick holds the book and also participates.

About the work:
Tahkemoni is a collection of tales written in Hebrew by a Spanish Jewish writer, Judah Al-Harizi (or Alharizi), around 1220. The tales belong to the medieval Arabic “maqama” tradition: witty episodes, full of satire and extravagance, written in strongly rhymed prose with poetic inserts. Tahkemoni tells of many adventures and conversations of Heman the Ezrahite and a highly comic trickster figure, Hever the Kenite. The work contains many references to Hebrew Scripture and Jewish tradition, as well as to Al-Harizi’s own travels in the Middle East.

About the genre:
The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
Judah Al-Harizi, The Book of Tahkemoni: Jewish Tales from Medieval Spain, tr. David Simha Segal, Oxford, The Littman Library of Jewish Civilization, 2003; from Gate 20, pp. 199ff. Original Tahkemoni, Judah Al-Harizi, eds. Y. Toporovski and I. Zmora, Tel Aviv, Mahbarot le-sifrut, 1952.

About the performer/ensemble:
James Mackey is a Drama student in the Stonestreet Studio at New York University’s Tisch School of the Arts; Theo Stockman is a Drama student in the Experimental Theatre Wing at New York University’s Tisch School of the Arts (2006).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. E.B. Vitz at New York University in fall 2006.

Helen Queen of Sparta: Scenes

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About the scene and clip:
The clips are taken from scenes of Theodora Skipitares’s production of Helen Queen of Sparta. Puppets of various kinds, storyboards, and other multi-media approaches to performance are used in this representation of material drawn from classical Greek epic, drama, and myth. We have included this clip as part of our concern with analogous traditions. It offers an innovative handling of important material drawn from Ancient Greek narrative and drama.

About the work:
Helen Queen of Sparta is based on the Iliad (attributed to Homer), Euripides’ play Helen, and other classical texts.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative which tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Text written by Theodora Skipitares (based on the Iliad, Euripides’ Helen, and other classical texts); music and sound design by Tim Schellenbaum.

About the performer/ensemble:
Theodora Skipitares is a visual artist and theater director who examines social and historical themes using many types of puppet figures. These puppets are the “performers” in large-scale works that include live music, film, video, and documentary texts. Among her works are “Age of Invention,” an examination of three centuries of American invention featuring 300 puppets, and “Optic Fever,” an exploration of Renaissance artists and their new way of seeing. The performers are collaborators of Theodora Skipitares.

About the production:
This video is an abridged version of a film made during a performance of Helen Queen of Sparta at La Mama Theatre in New York in February 2003. The video was produced by Kay Hines.

St. John: Sins and miraculous forgiveness

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About the scene and clip:
The solo performer tells—and acts out—the second part of the remarkable legend about the hermit St. John Chrysostom: his great sins and his miraculous forgiveness by God.

About the work:
This legend, recounted in medieval Croatian Church Slavonic, tells the story of a friar named John who leaves his monastery because he deplores the low morality of his brethren. He goes to the desert where he lives as a hermit and writes prayers in honor of the Virgin Mary. The devil steals his inkpot, so John uses his saliva as ink—which miraculously turns into gold, hence his name “Chrysostom,” or “golden mouth.” John prays to be delivered from great sins, thinking that he can defend himself from small sins, such as drunkenness. But his belief in his own moral strength is an error, an angel tells him—and prophesies that John will commit both murder and rape in a drunken state.

A new storyline opens at this point: A princess gets lost in a bad storm during a hunt and finds refuge in John’s humble hut. She offers him wine, and—as the angel had predicted—after the third glass he gets drunk, rapes her, and then kills her; he hides her body. Horrified by his transgression, he vows to crawl on all fours like an animal until God has forgiven him. Time passes, and the king, the princess’s father, organises another hunt to celebrate the birth of a son and heir. In the desert the huntsmen come across a strange creature and bring it to the court. It is John—and the king’s baby son shouts out that John is now forgiven. John praises the Lord, and tells his whole story to the king and courtiers. They go to find the grave of the princess—but discover her alive and well. Everyone is happy and praises the greatness of “John’s God”.

The Croatian Legend of St. John Chrysostom (Hermit) survives in the so-called Zgombic Miscellany, now in the Archive of the Croatian Academy of Sciences and Arts in Zagreb. Although compiled in the early 16th c., this miscellany (a collection of a wide variety of texts) is part of an older medieval tradition. The Croatian tale draws on several European sources, but only this version has John’s lengthy monologue.

About the genre:
Stories about the saintly wisdom, heroism, or miracles of remarkable men and women exist in many religious traditions, such as Buddhism, Christianity, Islam, and Judaism. Such stories are termed “hagiography.” In medieval Europe, the saint’s life or legend was an extremely popular type of work. A great many stories (and plays) about male and female Christian saints exist in Latin and in all the vernacular languages. These works may focus on the saint’s dramatic death by martyrdom, or recount the remarkable miracles performed by the saint, or may relate the entire life of the holy man or woman. Among the most important collections of saints’ lives and legends is The Golden Legend by Jacobus of Voragine. Chaucer’s “Prioress’s Tale” in The Canterbury Tales is a tale of martyrdom. Miracle and pious tales about the Blessed Virgin Mary, the mother of Jesus, constitute a special, and highly important, category of saintly legends.

This story also belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
English translation by Marija-ana Dürrigl. Original text: critical edition in Stjepan Ivsic, “Iz hrvatske glagolske knjizevnosti: Legenda o Ivanu Zlatoustom,” Prilozi za knjizevnost, jezik, istoriju i folklor 11 (1931): 59-83, 1931. We express here our particular gratitude to Dr. Dürrigl for bringing this remarkable text to our attention, and for providing an English translation of it.

About the performer/ensemble:
Nick Spangler is a Drama student in the CAP21 Studio at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for a group independent study with Prof. Timmie (E.B.) Vitz in fall 2005. It took place on December 15, 2005, as part of an event titled “Making It Real: Performing the Middle Ages,” at an Off-off-Broadway venue in New York City—The American Place Theatre, 266 West 37th St (22nd floor). The performance was also sponsored by “Storytelling in Performance,” a workshop funded by the Humanities Council of New York University and co-directed by Profs. Timmie Vitz, Nancy Regalado and Martha Hodes. Gina Guadagnino was the videographer.

Moor of Venice: Shakespeare’s source for Othello

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About the scene and clip:
The solo performer tells the end of the tragic Italian story of Othello, the Moor of Venice, and his wife Desdemona.

About the work:
The tale of Othello—The Moor of Venice—was originally told by the Italian author Giambattista Cinthio (or Cinzio) Giraldi. It was part of a tale collection published in 1565, titled Gli Hecatommiti ovvero cento novella, similar in concept to Boccaccio’s Decameron (stories told by ten characters, over the course of ten days, on fixed themes). Shakespeare drew heavily from this tale in his tragedy Othello.

About the genre:
This story belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
English translation in Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare, 8 vols; Vol. 7 (1973), pp. 241-52. Original text: Gli Hecatommiti di Giambattista Giraldi Cinthio, ed. Giovanni Bertino, Sassari, G. Galliozzi & Co, 1903.

About the performer/ensemble:
Elyse Beyer is a Drama student in the Stella Adler Studio of Acting at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for a group independent study with Prof. Timmie (E.B.) Vitz in fall 2005. It took place on December 15, 2005, as part of an event titled “Making It Real: Performing the Middle Ages,” at an Off-off-Broadway venue in New York City—The American Place Theatre, 266 West 37th St (22nd floor). The performance was also sponsored by “Storytelling in Performance,” a workshop funded by the Humanities Council of New York University and co-directed by Profs. Timmie Vitz, Nancy Regalado and Martha Hodes. Gina Guadagnino was the videographer.

Jataka: Two tales

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About the scene and clip:
The performer reads aloud and acts out two stories from the Indian Jataka. He does the tale of the Bodhisattva born as an acrobatic elephant; and he tells the story of the widowed husband whom the Bodhisattva heals of his excessive grief for his dead wife: the husband is cured when he learns that his late queen, Ubari, is now a dungworm.

About the work:
The Indian tales of the Jataka are part of a large body of folklore and literature concerning the previous births of the Buddha as Bodhisattva (one seeking or revealing Buddha-hood). The tales generally show the Bodhisattva, who has taken some particular human or animal form, displaying and teaching his wisdom to those around him, and sometimes performing miracles. The tales survive in various forms and collections in Pali (a vernacular dialect of Sanskrit), Sanskrit, and other languages, and influenced storytelling in many parts of the world—in particular, stories involving animals, from Aesop’s fables to the medieval fabliaux, and beyond. Though some tales from the Jataka go back to before the 3rd century BC, the Pali text may date from around the 5th century AD.

About the genre:
This story belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

This story also belongs to the genre of hagiography. Stories about the saintly wisdom, heroism, or miracles of remarkable men and women exist in many religious traditions, such as Buddhism, Christianity, Islam, and Judaism. Such stories are termed “hagiography.” In medieval Europe, the saint’s life or legend was an extremely popular type of work. A great many stories (and plays) about male and female Christian saints exist in Latin and in all the vernacular languages. These works may focus on the saint’s dramatic death by martyrdom, or recount the remarkable miracles performed by the saint, or may relate the entire life of the holy man or woman. Among the most important collections of saints’ lives and legends is The Golden Legend by Jacobus of Voragine. Chaucer’s “Prioress’s Tale” in The Canterbury Tales is a tale of martyrdom. Miracle and pious tales about the Blessed Virgin Mary, the mother of Jesus, constitute a special, and highly important, category of saintly legends.

About the edition/translation:
The Jataka, or Stories of the Buddha’s Former Births. Translated from the Pali by various hands under the editorship of Professor E. B. Cowell. London, Published for the Pali Text Society by Luzac & Comp., 1969, 6 v.; Vols. I-II translated by Robert Chalmers (1895); I, pp. 269ff; II, pp. 108ff.

About the performer/ensemble:
Dave Perlow is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for a group independent study with Prof. Timmie (E.B.) Vitz in fall 2005. It took place on December 15, 2005, as part of an event titled “Making It Real: Performing the Middle Ages,” at an Off-off-Broadway venue in New York City—The American Place Theatre, 266 West 37th St (22nd floor). The performance was also sponsored by “Storytelling in Performance,” a workshop funded by the Humanities Council of New York University and co-directed by Profs. Timmie Vitz, Nancy Regalado and Martha Hodes. Gina Guadagnino was the videographer.

Disciplina: Little bird

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About the scene and clip:
The solo performer reads aloud the story of a little bird—a puppet is the bird—and a peasant.

About the work:
This tale comes from the Disciplina clericalis, a collection of tales by a 12th-century Spanish writer, Pedro Alfonso (or Petrus Alphonsus); like many stories in the volume, it is close to the fable tradition since its purpose is to teach wisdom and make fun of foolishness. Recourse to the animal world—here, the wise little bird—also draws it close to the fable tradition. Many medieval versions of this story exist in French and other vernaculars.

About the genre:
Despite the title “lay,” which is sometimes given to it, this story is part of the tale and fable traditions; this sort of story is also called in Latin an “exemplum” because it teaches by example.

This story belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’sMetamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

A fable is a short tale, frequently featuring animals; most fables have a clear moral point, often stated explicitly at the beginning or end. Medieval European fables generally draw heavily on those of Aesop, who in turn was influenced by Indian and other Eastern fables and moral tales.

About the edition/translation:
The Scholar’s Guide: A Translation of the Twelfth-Century Disciplina Clericalis of Pedro Alfonso, tr. Joseph Ramon Jones and John Eston Keller, Toronto, Pontifical Institute of Mediaeval Studies, 1969, pp. 86-7. Original: Petri Alfonsi Disciplina Clericalis, I. Lateinische Text, ed. Alfons Hilka and Werner Söderhjelm, in Acta Societatis Scientiarum Fennicæ 38/4, Helsinfors, 1911.

About the performer/ensemble:
Tiffany Brown is a Drama student in the Stella Adler Studio of Acting at New York University’s Tisch School of the Arts (2006).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie ( E.B.) Vitz at New York University in fall 2006.

Our Lady’s Tumbler

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About the scene and clip:
A solo performer tells the story of Our Lady’s Tumbler.

About the work:
Our Lady’s Tumbler is among the best-loved tales of the Middle Ages. It tells how an acrobat, weary of life in the world, entered a monastery. Ashamed at not knowing how to read, chant, or pray like the other monks, he began to do his tumbling acts before a statue of the Virgin, as loving service to her. The abbot learns of this unusual behavior and, going to witness it for himself, he sees the Virgin come down in person to wipe the brow of the tumbler, exhausted from his labors of love.

About the genre:
This story belongs to the genre of hagiography – that is, lives and legends of the saints and other holy people. This genre was particularly popular in the European Middle Ages, but in one form or another tag heuer carrera 43mm cbn2a10 ba0643 men stainless steel it exists almost everywhere in the world, since the lives, deeds, and miracles of holy men and women are widely appreciated. Stories about the saints 0 nicotine vape exist in Latin – and in other sacred languages, such as Greek, Hebrew, and Arabic – and in virtually all the vernaculars.

About the edition/translation:
Our Lady’s Tumbler, in Aucassin & Nicolette and Other Medieval Romances and Legends, tr. Eugene Mason, New York, E.P. Dutton & Co, 1958, pp. 59-73 [abridged and slightly modified]. French: Del Tombeor Nostre Dame/ Du jongleur de Notre-Dame, in Vierge et merveille: Les miracles de Notre-Dame narratifs au Moyen Age, ed./trans. Pierre Kunstmann, Paris, Bibliothèque mediévale, 10/18, pp. 142-177.

About the performer/ensemble:
Sasha Orr is an Economics Major in the College of Arts and Science at New York University (2005). She was a student in “Storytelling,” taught by Vitz, spring 2005.

About the production:
This performance was given at an event sponsored by the Medieval and Renaissance Center of New York University on “Mary: Mediterranean, European, Global,” held at St. Joseph’s Church in April 2005. Videography by NYU-TV.