Dissertation on Birds of Prey and the Sport - the Falconry Heritage ...

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chapter that consists entirely of a quotation from St. Gregory's Moralia in Job, in which Gregory comments allegorically on Job 39:26: Doth the hawk wax feathered by thy wisdom, spreading her wings to the south? St. Gregory tells of the hawk shedding feathers by spreading its wings to the warm south wind in order to grow new ones. He interprets the casting off of old and the growing of new feathers allegorically in variations on the general theme of casting off sinful ways, growing warm in the light of the Holy Spirit, and assuming new virtue. The next six chapters on the hawk, however, have a great deal of original material in them. Hugh parallels the life of the domestic hawk to the life of the monk, including God as the "falconer," in ways that are sometimes rather uncomfortable to read, but accurately portray falconry practices. Note his Chapter 17, which continues the contrast between wild and domesticated hawks: Duae sunt species accipitris, domesticus scilicet et silvestris. Idem tamen, sed diversis temporibus potest esse silvestris et domesticus. Silvestris rapere consuevit domesticas aves, et domesticus silvestres. Silvestris quas rapit continuo devorat; domesticus captas domino suo relinquendas servat. Porro dominus eius captarurn volucrum ventres aperit, et earum corda accipitri in cibum tribuenda sumit. Interiora ventris cum fimo eicit, qui intus remanens putredinem carnium cum fetore gignit. Moraliter silvestris accipiter captas volucres et rapit et devorat, quia quilibet perversus actus et cogitationes simplicium dissipare non cessat. Domesticus vero accipiter est quilibet spiritualis pater, qui totiens silvestres volucres rapit quotiens saeculares ad conversionem praedicando trahit. Captas occidit dum saecula mundo mori per carnis mortificationem cogit. Dominus autem eius, id est, Omnipotens Deus ventres earum aperit quia mollitiem carnalium per Scripturas increpando solvit. Corda vero extrahit dum cogitationes saecularium per confessionem manifestas facit. Interiora ventris cum fimo eicit quando memoriam peccati fetentem reddit. Ad mensam itaque Domini captae volucres veniunt, dum in corpus ecclesiae peccatores doctorum dentibus masticati sese convert~nt.~~ 39 Clark's translation: There are two forms of the hawk, namely, the tame and the wild. Nevertheless, they are the same, but sometimes the bird can be wild, and sometimes tame. The wild one is accustomed to prey on tame fowl, and the tame hawk on wild birds. The wild one immediately eats its prey; the tame one preserves the birds taken to be relinquished to its master. Afterwards its master opens the belly of the captured birds and takes their hearts to offer to the hawk as food. He throws away the gut with the
Indeed it was common practice to give the hawk the heart of the bird it had caught as reward, but to see that and the rest of the butchering of the prey as symbolizing the conversion of sinners is unusual to say the least. Hugh continues in this vein in the rest of the chapters on hawks. There is more on the casting aside of old feathers, then he discusses the method of carrying the hawk (on the left hand so that it may fly towards the right-from worldly goods towards the spiritual good). The hawk's perch and the cord that binds it to the perch have.meaning as well: the perch symbolizes the monastic life, and it is sustained by two walls-the active and contemplative life. The cord that binds the hawk to the perch is the mortification of the flesh, which holds lay-brothers to the monastic life (Chapters 19-22). If indeed Hugh wrote this text to instruct lay-brothers in the ways of living a Christian life by monastic rules, it stands to reason that he would employ images from contemporary life, to which these new brothers could easily relate, to achieve his goal. Falconry is an excellent source from which such examples could be mined, since it is highly likely that its practices were familiar to those brothers coming out of the secular world. Another clerical writer who demonstrates a very close familiarity with the sport of falconry is Albert the Great. His work, De animalibus, written in the mid-thirteenth excrement, which, if it remains within, produces a stinking rot of tissues. Interpreted allegorically the wild hawk both seizes and eats the birds taken, because any wicked person continually disturbs the actions and thoughts of simple folk. But the tame hawk is any spiritual father, who seizes the wild birds whenever he draws laymen to conversion through preaching. It kills the prey while he compels laymen to die to the world through the mortification of the flesh. Moreover, the
Page 1 and 2: Birds of Prey and the Sport of Falc
Page 3 and 4: O Copyright by Teresa Flora Lucia G
Page 5 and 6: Birds of Prey and the Sport of Falc
Page 7 and 8: TABLE OF CONTENTS ACKNOWLEDGEMENTS
Page 9: This dissertation is dedicated to m
Page 12 and 13: medieval Italian literature is the
Page 14 and 15: poetry. The Sicilians adopt quite a
Page 16 and 17: CHAPTER 1 : Falconry as symbols bef
Page 18 and 19: The ancient Greeks and Romans did n
Page 20 and 21: hawk. The hawk responds that it is
Page 22 and 23: If a falcon sees the dead body of a
Page 24 and 25: The popularity of falcons and hawks
Page 26 and 27: animali, including a section on fal
Page 28 and 29: Hrabanus Maurus, in his eighth cent
Page 30 and 31: earlier; second, that there is a pe
Page 32 and 33: evolution of the late medieval view
Page 36 and 37: century, is not spiritual, but a vo
Page 38 and 39: conveying the idea of Caesar's fier
Page 40 and 41: on falcons and hawks, telling about
Page 42 and 43: it is made typically of something t
Page 44 and 45: Having established the popularity o
Page 46 and 47: circle of acquaintances to illustra
Page 48 and 49: C'una noch sornnav' en pascor Tal s
Page 50 and 51: Amors o fai si com lo bons astors q
Page 52 and 53: chosen a mate so far above him in e
Page 54 and 55: Inferno, Chaucer is in this place t
Page 56 and 57: tercel eagle states that she should
Page 58 and 59: she gave in for fear that he might
Page 60 and 61: CHAPTER 2: Falconry in Duecento and
Page 62 and 63: nonexistent in the poetry of the sc
Page 64 and 65: da c'omo vene tosto a compimento. B
Page 66 and 67: It seems as if the text were meant
Page 68 and 69: We find here the image of the nibbi
Page 70 and 71: to be forceful like the sparrowhawk
Page 72 and 73: 10 va' vedere, e par tenere, lo suo
Page 74 and 75: e disleale, larone e traito, che wo
Page 76 and 77: volgesi a1 grido, quand' egli e sta
Page 78 and 79: the hunter. In the stanza in which
Page 80 and 81: practice of falconry does not carry
Page 82 and 83: celebrates throughout his corona-in
Page 84 and 85:
These crows and vultures, disagreea
Page 86 and 87:
previous ladies who inspired poets,
Page 88 and 89:
y Guido Cavalcanti. Matteo Correggi
Page 90 and 91:
who far from being beyond the reach
Page 92 and 93:
- I' mi son qui selvaggia pasturell
Page 94 and 95:
The ladylfalcon is much less hostil
Page 96 and 97:
la carta de le regole d'amore, dove
Page 98 and 99:
The ways in which falcons and crane
Page 100 and 101:
crane" among poets, Dante feels a f
Page 102 and 103:
hitless.* Like the other servants o
Page 104 and 105:
esponsibility and order, is, howeve
Page 106 and 107:
Unlike the birds in Inferno, the fa
Page 108 and 109:
Bastiti, e batti a terra le calcagn
Page 110 and 111:
Bonagiunta portrays Dante's being i
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(Purgatorio XXVI, 133-5) The crane
Page 114 and 115:
compared to them have reached the g
Page 116 and 117:
source of the formation of letters,
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a me medesima uscita di mente, non
Page 120 and 121:
E la madre questo vedendo vuole mor
Page 122 and 123:
Upon hearing that it was an old man
Page 124 and 125:
tal es mon talens, Ke m'inervia d'o
Page 126 and 127:
expectation of the class status of
Page 128 and 129:
Ardito avendo uno suo figliuolo nom
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"'tua figliuola B stata si vaga del
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Monna Giovanna re-enters his life w
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a "miglior massaio" in a society co
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domestication or training of the fa
Page 138 and 139:
BIBLIOGRAPHY Aelianus, Claudius. De
Page 140 and 141:
Consoli, Joseph P., ed. The Novelli
Page 142 and 143:
Lewis, C. S. Allegory of Love: a St
Page 144:
. Transcription and Visual Poetics
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