Psalms in your pocket

First of all, I would just like to apologise for the lack of posts from me over the last 5 weeks or so. As some of you may know, I started my MA this October and unfortunately my deadlines rather got in the way of me being able to blog! Things settle down now for a couple of weeks, though, so I will do my best to make up for it.

This is just a quick post on an App that I happened to hear about via an academic discussion list that I thought some of you might be interested in / amused to hear about. Now, whilst I know that the idea of carrying a Psalm book around in your pocket is by no means a new idea (given the manner in which the book itself was usually published), someone has brought the Bay Psalm Book kicking and screaming into the twenty-first century by making an App!

The App is free to download, and you can either get to a Psalm by selecting your current mood (yes, really!), or you can just shake your iPhone to be given a random Psalm. There is also a short piece on the history of the Bay Psalm Book. I'm by no means suggesting that this is a new scholarly resource, but it is rather fun!

This is the link to the App, although you can just search 'Bay Psalm Book' in the App Store:

https://itunes.apple.com/us/app/baypsalmbook/id733258140

Photo courtesy of BBC website

© Jenna Townend 2013

Cutting and pasting: 'Mikrokosmographia', anatomy, and the tools of dissection

In just a slight contrast to last week's post on the art of courtship, today I am sharing some wonderful information on seventeenth-century anatomy, dissection and the necessary tools for which to perform the task. The extracts are taken from Helkiah Crooke's text, Mikrokosmographia (1615), who was the physician of James I.

Taken from the frontispiece of the 1615 edition

Mikrokosmographia certainly forms part of the increasingly large body of medical texts, with a particular focus on anatomy and dissection, that emerged during the late sixteenth- and early seventeenth- centuries. Anatomy and its study had finally becomes much less of a thorny religious or ethical issue (as it had been during the time that Leonardo Da Vinci was conducting his studies, for example), and had widely become accepted as an important component of medical study and practice. This is certainly evidenced in the following extracts, since Crooke sees it fit to even include meticulous detail about the tools needed to conduct anatomical investigation.

As ever, the text and its later editions can be found on EEBO, and I have preserved the early-modern spelling of the original text.

'Now there is amongest Physitians, a double acceptation of Anatomy; either it signifieth the action which is done with the hande; or the habite of the minde, that is, the most perfect action of the intellect. The first is called practicall Anatomy, the latter Theorical or contemplatiue: the first is gained by experience, the second by reason and discourse: the first wee attaine onely by Section and Inspection, the second by the living voice of a Teacher, or by their learned writings' (D1r).

'We may define anatomy thus: An Artificiall Section of the outward and inward partes. I call it Artificiall to distinguish it from that which is rash and at aduenture which Galen calleth Vulnerary Dissection. For oftentimes in great wounds we obserue the figure, scitua|tion, magnitude, and structure of the outward and inward parts; but that obseruation is but confused, for we cannot distinctly perceiue the branchings of the Nerues, the Serpentine and writhen Meanders of the Veynes, nor the infinite divarications of the Arteries' (D1r).

'This Section cannot artificially bee accomplished, unlesse the Ministers haue convenient Instruments, as are these; Razors of all sortes, great, small, meane, sharpe, blunt, straight, crooked, and edged on both sides; Sheares or Sizers; round and large long Probes of Brasse, Siluer, Lead; a Knife of Box or of Ivory, Pincers of all sorts; hooks, Needels bent rather then straite, Reeds, Quils, Glasse-trunkes or hollow Bugles to blowe up the parts, Threds and strings, Sawes, Bodkins, Augers, Mallets, Wimbles or Trepans, Basons and Sponges; the Figures of all which wee have heereunder delineated, together with a Table whereon to lay the dead, or binde the living Anatomy, with the rings, chains, cords, & perforations fit for that purpose' (D1r).

References:
Helkiah Crooke, Mikrokosmographia: a Description of the Body of Man (London: William Iaggard, 1615), in EEBO.

© Jenna Townend 2013

Freshers and 'The Art of Courtship'

It's freshers' fortnight here at Loughborough. I'm not entirely sure where the last year has gone, but here we are again! While things are settling down, and everybody is getting into their new routines, I thought I would share with you this rather lighthearted post.

Inevitably, during freshers' week, one will witness (whether one wants to or not) the blossoming romances in the new intake of first years. (Please note that I use the term 'romance' rather loosely!) Whilst I was doing some research and searches on EEBO in my department this afternoon, I had a moment of serendipity and stumbled across an anonymous work entitled The Art of Courtship, and this got me thinking about how much the idea of 'courtship' has morphed and altered over the centuries. Gone are the days of escorts, suitors, exchanges of letters, sequences of love poems, and in, at least during freshers' fortnight (although even that might be a little optimistic!), are the quick snogs over an alcho-pop in the Students' Union. 

Whilst I am certainly not looking back on seventeenth-century courtship with any sort of hazy nostalgia, seeing as there were certainly some pretty binding restrictions on women's conduct, I did think that tonight it would be fun to share with you all a few of my favourite extracts from this wonderful work! The text is essentially a compilation of poems, sequences of letters and short meditations on love and courtship, so below you'll find the three that I have picked out and transcribed. 

'Posies' (A7r)
My love shall be,
Forever free,
Naught shall devide,
The knot we've ty'd
By Death alone,
It is undone.

My joy thou art;
Till life is past,
My love shall last,
My love I place
On thy sweet face.
'Tis thou in me,
Shall happy be,
And hast my heart.

From 'The Delights of Marriage' (A8v)
How happy Celia is it, now we are
In wedlock joyn'd and made a happy pair
'Tis true, my Strephon, we have joys,
That few the like can find;
A passion that no time destroys,
Is fix'd in eithers mind

'Loves Power and Cruelty' (A8v)
Lightning is swifter then the glance, of charmin beauty, for 'tho seen by chance it penetrates the Soul, and fires the mind, that wretched Lovers no contentment find; but cruel torments, a tormenting grief, seizes the wretch that's void of a relief.

References:
Anon., The Art of Courtship: or, The School of Delight (London: I. Back, 1686), in EEBO.

© Jenna Townend 2013

EEBO-TCP Conference: Digital Methods and Methodologies

As some of my readers may know, last week I attended the 2013 EEBO-TCP conference at Lincoln College, Oxford. It was the first academic conference that I had attended (not counting the ones that I have worked at!), and it really was a fantastic experience. Everybody was so welcoming, and I learnt an awful lot! 

Apart from learning an awful lot about digital humanities that, as the old adage goes, I didn't know I didn't know, I also picked up a wealth of useful information that I will be able to use in the coming years. There was news of new and exciting databases that are up and running (what early-modern undergraduate knew that there was a vast electronic world outside EEBO?!), projects that will be completed in the next couple of years, and lots of incredible work that would not have even begun without the use of electronic databases. 

Not only that, but the two keynote talks from Dr Jane Winters and Professor Ian Gadd were incredibly interesting. It is thanks to Jane that I am about to start my MA armed with an enormous list of little-known early-modern databases that she has been involved in creating (I will cover some of these in another, separate post soon). And it is thanks to Ian that I will never look at the dog-eared corner of a book in the same way again. In his talk, he pointed out that, in the seventeenth century and earlier, dog-earing the corner of a text was considered the mark of a devout reader: fold over the page that interested you, and you were cementing a very personal and tactile relationship with your book that was unique to you. However, as is ever the case, the significance of this act morphed over the centuries. By the nineteenth century (and up to the present day - just look at the definition of dog-ear in the OED), dog-earing had become the hallmark of a clumsy and careless reader who handled their books too roughly. Really fascinating stuff.

If my little snippets of news from the conference have whet your appetite for all things digital, I would encourage you to go and have a look at the Storify feed from the conference to catch up on all the wonderful goings-on that I haven't covered! It can be found here:

http://storify.com/pipwillcox/early-modern-texts-digital-methods-and-methodologi?utm_content=storify-pingback&utm_source=t.co&utm_campaign=&awesm=sfy.co_fReo&utm_medium=sfy.co-twitter

Below I have just shared a few of my favourite tweets from the conference that were really valuable:

 © Jenna Townend 2013

Roman Relics Part 3: Pompeii

And, finally, we come to possibly the most famous of the three sites that I visited: Pompeii. 

I had been to Pompeii once before in 2003 but, I'll be honest, I didn't really appreciate what I was looking at. Yes, I knew it was nearly 2000 years old, but it wasn't until I visited this time that I had that 'WOW' moment where the significance of the site suddenly hit me. 

Although Pompeii is, of course, just as busy as many of the central sites in Rome, there were still plenty of moments during the day where you are suddenly and startlingly reminded of the miracle of the city that you are looking at. Nowhere did this hit me more than when I was stood in one of the quiet side streets near the House of the Faun, gazing up the street to the peak of Vesuvius. That night in 79AD must have been genuinely terrifying, and it came to life for me more in that moment than it has in any of the dramatisations that I've watched over the years.

2000 year old cart tracks running through the streets

Takeaway food, Pompeii style: storage containers in the counter

A lion painted onto a wall fresco

Mythical beast painted onto the same fresco

The rather extravagant entrance steps to the House of Julia Felix. They were built up over the usual pavement to illustrate her wealth to passersby

The atrium of the House of Julia Felix (sadly closed to the public currently)

Another angle on the atrium

View through one of the house's rooms into the courtyard beyond

The beautifully preserved black and white mosaic floor

The mosaic sign on the street outside the House of the Faun. 'Have' means 'greetings' (see also the new header of my personal Twitter page!)

The ubiquitous 'beware of the dog' mosaic at the House of the Tragic Poet': 'Cave Canem'

I was trying to find a quotation on which to finish the last of these three blog posts that would sum up the awe-inspiring power of Pompeii and Vesuvius, and found this incredibly moving extract from Statius's Silvae, written in the AD 90s:

'In a future generation, when crops spring up again, when this wasteland regains its green, will men believe that cities and people lie beneath? That in days of old their lands lay closer to the sea? Nor has that fatal summit ceased to threaten' (4.4.78).

 © Jenna Townend 2013

Roman Relics Part 2: Ostia Antica

Next stop on my tour of the key Roman sites of Rome and its surrounding countryside was Ostia Antica. This is, without a doubt, my new favourite archaeological site.

Only discovered and excavated in the last century, the site is yet to be over-run by tourists and site-seeing tours. Because of this, the whole area is still virtually totally un-fenced and, although there is a free basic map and a visitor centre, you are still free to go and explore wherever you choose in relative peace and quiet. Provided you have a reasonable working knowledge of the layout of Roman towns (if you don't, all you need to do is watch Mary Beard's 'Meet the Romans'), you can spend, as I did, an entire day wandering around and stumbling across some truly magnificent finds.

If anyone is taking a trip to Rome in the near future, I would definitely recommend Ostia to you. It really is the most incredible place.

Roman takeaways: produce display area in a shop selling hot and cold food just off the forum

Counter facing out onto the street at this shop

Part of a beautiful fresco in a private residence 

The street that many of the food shops and stalls face onto

The infamous 20-seat public latrine!

Me with the forum in the background

The entrance to a family's mausoleum, where the urns of both family members and their slaves were kept

One of the rooms of this mausoleum. Significant family members, such as the husband and wife, would have been placed in the larger alcoves, with children and slaves taking up the smaller alcoves

A mosaic advert for a stall dealing in exotic animals. This is in the marketplace that lay behind the ampitheatre (see below)

The beautiful ampitheatre

 © Jenna Townend 2013

Roman Relics Part 1: Gladiatorial scrawls

If you are a reader of my blog that is unyielding in terms of what 'early modern' means, then I'm afraid that you will have to excuse the content of the next few blog posts! Before I get back into my normal early-modern-themed posts, we are taking a brief trip back to around 50-80AD...

As some of you may know, I recently went on holiday to Italy: Rome and Sorrento to be precise. Now, apart from eating my own body weight in pasta, pizza, and gelato, I did actually manage to fit in a fair bit of sight-seeing. First on the list was the Rome's Colosseum. 

Rather than bore you with the standard photos of its exterior and interior (which are, nonetheless, absolutely stunning!), I wanted to share with you a little collection of photos that I took of some sections of marble that have been removed from the walls of the Colosseum's 'corridors' - for want of a better word - and have been placed as part of the exhibition that sits on the upper floors.

I really can't get these images out of my head. They are something that at once struck me as unmistakably antiquarian (they are, after all, accompanied by a card telling you the likely date that they were engraved), but also incredibly modern. Engravings and scrawlings in stone, wood, even modern school tables, are surely as common now as they were around 80AD.

A gladiator, with armour, spear and shield

A big cat used in gladiatorial competitions

Two gladiators fighting. Both wearing armour, with the left-hand gladiator holding a shield, and the right-hand gladiator brandishing a sword

Gladiator with wonderfully detailed armour on his lower body, carrying a spear

 © Jenna Townend 2013