This article describes a methodological experiment conducted during the 13th Annual (Virtual) Schoenberg Symposium on Manuscript Studies in the Digital Age, hosted by the University of Pennsylvania, November 18–20, 2020. The experiment consisted of a “relay style” event in which three teams transcribed, revised, and prepared for submission to this journal a full edition of the “Le Pèlerinage de Damoiselle Sapience” and other texts from UPenn Ms Codex 660, ff. 86r–95v within the three-day timespan of the conference. The project used methods typical of crowdsourcing and drew participants from all over the world and from all different stages of their careers. After one group completed its work, the results were passed into the hands of the next. The final result—in the form of a finished manuscript edition, ready for submission to Digital Medievalist—was presented on the last day of the conference. The main purpose of this experiment was to demonstrate how the work of the transcriber and editor might be structured as a short-term digital event that relied wholly on virtual interactions with both the source materials and among collaborators. This method also reveals the positive aspects of the many challenges posed by working simultaneously, remotely, and globally.
§1 For some, the year 2020 rivalled the entire fourteenth century in terms of calamity. The COVID-19 pandemic brought tragedy to countless families and fundamentally changed the way we lived and worked. In academia, many institutions of research and study closed, restricting physical access to most historically significant materials. Nevertheless, these challenges provided unique opportunities to capitalize on existing digital structures and build new communities of collaboration. Decades of work on the digitization of manuscripts, alongside other technological developments, were vindicated as we turned to the Internet to continue our research and teaching about the Middle Ages. The technological changes wrought by the pandemic also triggered a wider digital emancipation for many, precipitating greater collaboration and sharing of resources in some areas. While participating in an international academic community meant that many of us were already familiar with remote meeting applications such as Zoom and Microsoft Teams, these platforms became staples of our everyday interactions at every level. In darker moments, this digital distance produced fatigue, but it also sparked moments of inspiration and communal activity that have exceeded anything we have experienced before. The project we describe here is one such example.
§2 Eschewing both the twenty-first and fourteenth centuries for the fifteenth, our extraordinary international team of scholars came together over just three consecutive days to do something that had never before been attempted in quite this way: a full transcription, edition, and discussion of an entire text, “Le Pèlerinage de Damoiselle Sapience” (as well as three previously uncatalogued texts appended to it), witnessed in UPenn Ms Codex 660, ff. 86r–95v. This endeavour, which represents both an experiment and a method, is based upon three previous online transcription challenges, which had taken place between May and October 2020:
§3 In her 2015 reflection on crowdsourcing on the
§4 Laura Morreale, the event coordinator, saw the challenges posed by the pandemic as an opportunity to see the world in a new way and explore the way we use digital technologies. In her paper “Distant Gatherings,” presented to the
§5 Each team operated under its own Slack channel: #Team-Transcription, #Team-Revision, and #Team-Submission. Though this system helped keep our tasks separate and streamlined, the collaborative nature of Slack meant that we all had access to each other’s team discussions. For the transcription team, that facilitated in-the-moment confirmations of minim counts, tricky letterforms, and variant spellings. Revision editors could then double-check the chat logs of #Team-Transcription when they had a question, and members of the Submission Team could refer back to both when compiling the final document. As one team member put it, working together on Slack in this way was akin to living out a time-lapse photo. By collaborating simultaneously across time-zones and continents, we could see not only the “bones” of the edition and the invisible labour that it entails, but also imagine the final, completed product as a group. What started out as a perfunctory digital tool for teamwork instead enabled a meta-reflection on the editing process itself.
§6 The benefits of this challenge have been far greater than first imagined. Sharing a previously untranscribed text with the world greatly enhances extant scholarship, because this text adds not only to the quantity of Middle French texts available, but also to the diversity of medieval voices that we can research and share with our students. There was also an intense joy found in engaging with a text so deeply alongside so many other scholars, especially amidst a global and isolating pandemic. This collaborative edition represents a new way to think about the textual editing process, given that traditional models prioritize the lone scholar or a small group of scholars working asynchronously, and rarely stipulate that the work should be done over the course of only three days. One drawback of the time-crunch was that some elements of this edition are not as thorough as we would like in a traditionally edited text (for instance, we have barely scratched the surface regarding in-text theological references)—after all, we endeavoured to produce a rigorously prepared edition for publication in just seventy-two hours. This new style of work was not only productive but intellectually rejuvenating, and its success is thanks to the energetic collaboration of all involved. The online format of the challenge created a greater sense of community than many academic conferences (which are financially and logistically prohibitive for many scholars), while the communal atmosphere facilitated by Slack and email levelled the playing field between enthusiastic novices and seasoned researchers. Finally, this challenge provided a successful model for future editorial teams to use and adapt to their own needs.
§7 And certainly, it was not only the conditions brought about by the pandemic that inspired the desire to gather around one particular source and to work collaboratively on it, since similar methodologies and the tools to carry them out have existed for some time. However, the specific occasion that brought these scholars together—that is, a conference focused on manuscript studies that was unexpectedly moved online due to the pandemic—inspired a manuscript-based event using the digital forum that aimed to stand in for or even replicate some of the interaction that often takes place at a scholarly event like a conference. What we produced over the course of seventy-two hours is a testament to the aggregation of smaller bits of communication—to the Slack messages, external emails, zoom calls, Google Doc comments—making up the event. And just as in-person conferences usually have a theme around which many conversations and ideas turn, and which often give way to new research and ways of thinking, so too did the digital event have a planned and executed theme. The UPenn MS Codex 660 was the theme, and the edition below is the outcome of all the conversations we had and thought-work the scholarly-themed meeting inspired. Keeping in mind, however, the ephemeral nature of most computer-based scholarship, participants have also taken the step of archiving all the digital objects and data created for the event in the Medieval Studies online repository BodoArXiv (
§8 Despite the event’s positive results, certain modifications might be adopted by future collaborative projects that look to the “Damoiselle Sapience” event as a prototype. Although the project’s website brought together all the digital tools used in the effort, participation assumed a comfort with many platforms that some team members might not have possessed. A short training session or introduction to the tools might have increased participant ease and added a pedagogical component to the event. Furthermore, the event’s experimental nature was predicated upon a certain skills-threshold among all participants and required a high level of vigilance from the event coordinator to provide encouragement or to problem-shoot. Particularly when choosing an appropriate text for collaborative transcription, organizers should be aware of the skills needed, and the event coordinator prepared to facilitate and support team members when necessary. Finally, the short time frame required several contributors to fulfill more than one kind of labour to produce our submission, which in turn complicated how credit was assigned. More so than other co-authored or team projects, all participants were instrumental in creating the final submission, if only through the enthusiasm and public-facing attention they brought to the event. Assigning credit for each person’s labour was therefore one of the most challenging aspects of the event’s positive outcomes, and we are therefore thankful to the editors of this journal, the
§9 The edition is based on the texts on ff. 86r–95v of UPenn Ms. Codex 660 (French 010) (
§10 The codex contains multiple pieces in Middle French written by a single hand. On ff. 1r–85v, there is “A copy of Frère Robert’s
§11 The linguistic characteristics of the text confirm its mid-fifteenth century provenance with little regional lexical or linguistic idiosyncrasies to pinpoint an exact geographical location for the scribe or the text itself. At a period of linguistic transition for the French language, it is not surprising to find inconsistencies in spelling and grammar, as was the case for many other manuscript exemplars of the time.
§12 A few isolated cases support though do not convincingly prove the previously mentioned vague French northern location. For instance, the substitution of the French ‘oi’ for an ‘e’ in words of Latin origin where this diphthong replaced the Latin ‘i’ as in ‘veez’ (f. 86r) for ‘voyez’ (from the Latin
§13 The inclusion of Latin citations in the “Pèlerinage de Damoiselle Sapience” that are visually distinguished from the surrounding Middle French but not translated word-for-word indicate a fair grasp of Latin, though the text as a whole is clearly aimed at a lay audience. It is possible that these Latin citations were intended as a prompt for further extemporaneous moralizing or exegesis. The Latin on f. 94v, contrarily, is literally translated and then expanded upon. This latter phenomenon has been connected to a specifically female lay readership in scholarship on another manuscript from the third quarter of the fifteenth century, Chantilly MS 140 (
§14 The “Pèlerinage de Damoiselle Sapience” is a very short prose text of 3.5 folios. It opens on the conceit laid out in the title, of the allegorical figure of Wisdom on pilgrimage to Bethlehem and the stable where Mary gave birth. There, she meets Truth, who explains the miracle of Christ’s lineage and the forthcoming miracles related to each part of the infant body of Christ. Indeed, the text is much more about the infant Christ, proper Catholic beliefs, and elements of the Passion than it is about Damoiselle Sapience’s pilgrimage, which receives only the briefest of mentions. Such explorations of the body are not new (think, for instance, of Nebuchadnezzar’s dream statue, so frequently referenced in medieval French literature); however, the text diverges from other such lists in that it begins at the feet and then the hands, rather than the head. The reference to the breast and breastfeeding (f. 88r) implies that this text’s author was conversant with the devotion to breastmilk, perhaps in the form of the Madonna Lactans and the Virgin’s breastmilk that St. Bernard received in a vision (
§15 The second text, “De l’ardent amour” [“On Fervent Love”], follows as a logical transition from Damoiselle Sapience’s declaration that “marvelous love enters into my heart and remains there forever” (f. 89r), which closes out the first text. Not even a full folio long, the text explains the concept of love as the rejection of worldly pleasures and the doing of good deeds, which love brings the soul up to the companionship of angels, martyrs, and virgins.
§16 This is followed on f. 89v by “Auctorités de pluseurs docteurs” [“Writings of Several Doctors”], which contains paraphrases from the works of notable theologians and other patristic figures, including Saints Augustine, Ambrose, Jerome, Nicasius, Gregory, and Bernard. While the text is generally aimed at promoting virtuous behaviour and thought, it does seem to be a bit of a hodge-podge, combining metaphor with specific examples of bad behaviours to avoid (and types of people to avoid becoming) and devoting uneven attention to its various sources as it moves between them. It does not seem to be aimed specifically at a male versus female audience, though the emphasis on worldly concerns (like paying a person when they have earned their “loyer” [“financial compensation”] [f. 90r]) does imply a secular audience.
§17 The final text, which spans ff. 90v–95v, is entitled “Pluseurs auctorités” [“Many Writings”] (making it unclear whether it is truly a separate text from the preceding “Auctorités de pluseurs docteurs”) and comprised of didactic aphorisms, including a version of the classic “spare the rod and spoil the child.” Touching on subjects such as charitable giving, passing judgment, pride, envy, and other sins of the flesh, as might be expected, it also warns against excessive asceticism born of pride, and deliberate ignorance. Given the abrupt shift on f. 94v to a Latin citation, its literal translation, and an explanation of it, followed shortly by a paraphrase of Pseudo-Seneca and other paraphrases akin to those found in the “Auctorités de pluseurs docteurs,” it seems unlikely that this text was originally composed all at once. That is, it appears to be a re-writing of the author’s collection of inspirational sayings taken at various points from a variety of texts. While this would seem to point to a male author (more likely to be delivering sermons inspired by such proverbs), it is worth pointing out the use of the female form ‘cellez’ [“those women”] at two points, which implies the inclusion of women among the listeners of the work or any oral version of it.
§18 Taking into account that, in the case of our manuscript, we are dealing with a single text (or, as we discovered, text
§19 Expanded abbreviations are indicated with italics. These include, but are not limited to:
macrons or suspension marks over vowels to indicate elided /m/ or /n/ (e.g., 95v.05, word 8:
superscript /9/ to indicate /-us/ (e.g., 86r.20, word 4:
/p/ with a stroke through the descender (
/p/ with a suspension mark above to indicate /pri-/ (e.g., 91r.02, word 8:
Tironian et (
low punctus with superscript /r/ to indicate /-ur/ (e.g., 95r.22, word 4:
/s/ with an oblique stroke to indicate /ser/ (e.g., 90r.16, word 3:
§20 We preserved original capitalizations throughout (also see “Letter forms,”
§21 Throughout, we preserved /y/ wherever it occurs, regardless of modern French orthographic convention, preserving, for example, ‘luy’ (86r.19, word 4) and ‘ny’ (86r.21, word 4). We normalized all instances of long /ſ/ to short /s/, transcribing, for instance, ‘ſans’ as ‘sans’ (86r.10, word 2).
§22 In the cases of /u/ versus /v/ and /i/ versus /j/, we adopted modern letter forms where warranted by context. That is, where the target letter denoted a consonant, we recorded it as a consonant; for instance, we transcribed
‘merueilles’ as ‘merveilles’ (86r.21, word 6);
‘Iuda’ as ‘juda’ (86r.03, word 8).
Similarly, where the target letter denoted a vowel, we recorded it as a vowel; for instance, we transcribed
‘vne’ as ‘une’ (86r.02, word 8).
For roman numerals, we regularized the final
‘xxiiij’ as ‘‘xxiiii’ (97v.11, word 5).
Our scribe occasionally used inconsistent variants of /s/, /d/, /r/, and /j/ mid-sentence (e.g., 95r.11, word 8; 95r.11, word 9). Since they did not adhere to how majuscules were used elsewhere in the text, we transcribed them as lower-case forms.
§23 Throughout, we preserved the original punctuation, rendering the punctus as /·/, and transcribing paraphs with a pilcrow (i.e. ¶). Where warranted, we indicated colour via markup; for example
§24 Where scribal corrections or insertions were made via superscription, we tagged the additions accordingly, for example,
We transcribed marginal additions at their designated places in-line with insertion tags and underscored them, for example,
We rendered scribal deletions—whether via strikethrough or erasure—with strikethrough; for example,
merveille (86v.11);
[de dieu] (92v.17).
We transcribed interlinear additions where they appear, using superscript tags, for example,
§25 Rather than consistently adding or eliminating spaces between words to more closely correspond with modern orthography, we left word segmentation to the discretion of individual transcribers. Where letters were elided between words, we declined to add apostrophes.
If a word spanned a line break, and this rupture was marked by the scribe, the division was indicated by a hyphen /-/, for example, at 89r, ‘de-mourez’ (spanning lines 10–11).
§26 We followed our manuscript’s original spelling, transcribing unusual or atypical spellings without comment; for instance, terminal /z/ on words spelled with a terminal /s/ in modern French were left as-is (e.g., ‘filz’ [89r.25, word 2]). As above, we modernized certain letter forms for ease of reading.
We used square brackets to denote uncertain readings (e.g., [de dieu] [92v.17]).
§27 Our folios lack catchwords and include but one set of foliation. Rendered in Hindu–Arabic numerals, in black ink, in a modern hand, it appears on each folium at the upper right hand recto. We declined to transcribe this feature.
§28 Due to constraints of the format, marginalia are listed below instead of being incorporated into the edition.
§29 Our scribe copied in a single column throughout. We preserved line breaks as they appear in the manuscript, indicating each break with a single return.
§30 Our scribe centred one header. We followed his lead using mark-up, thus:
§31 We described the sole addition—an institutional stamp centred at
§32 We marked up enlarged decorative initials, indicating their colour and relative size; for instance,
Similarly, we marked up smaller, in-line coloured initials as follows,
§33 Throughout the manuscript, majuscules are heightened by addition of a stroke of ink, now often brown, but likely originally plain yellow, which has oxidized. We transcribed these as bolded majuscules, thus,
Headings and some passages of text are sublineated in red or blue. We marked up these stretches of text accordingly; for example,
Two words on 87r are struck through heavily with red. The intention—whether heightening, cancellation, or something else—remaining unclear, struck through as follows,
dei p<i>at</i>ris (87r.26).
en pelerinage par devotio
cite q
vit une maison ou mo
p
maiselle sadressa a celle maison et entra dedens
et vit en une p
estable · dede
apoyee a celle cresche qui regardoit dede
e
se
luy dema
celle saprouche p
en la cresche sur ung peu de fain e
drapeletz ·
ny apparoit ·
moiselle co
no
quel merveille veez vo
cy ·
plus que
les merveilles qui sont en le
dites car tant en ya q
merveilleux sico
ei
ap
en cest enfant petit qui napere
dist q
pience dist je desire a savoir de quel lignage
lenfant est et de quel p
jetta v
elle qui pourra son lignage et sa g
raconter ·
m
soit en t
et des p
pience · merveille mesmerveille co
de si hault lignage est mis en si bas lieu co
en une estable ·
a sa m
oncq
chies ·
dist ·
elle le co
maniere co
p
vierge lenfanta ·
lano
roys laourere
qua
po
lesmerveilleux ·
dit m
oyr car merveille en aves ja touchie ·
respont p
treshault roy sico
altissimi vocabitur ·
oysse les conditio
celles sont m
ce q
de lenfant ·
en petis drapiaux co
le pl
ciel et en terre ·
soru
simple ·
mo
e
deur et la beaute de dieu ·
et fig
ung aultre et si est il p
celuy q
o
en pechie co
et netoye de pechie to
pe[?] esta-
ble mo
a la dextre de dieu le p
ad dext
dist · oncq
il est tout e
et si sage · si obscur et si bel · si fiebles et si fort
si petit et si hault · et si grant et si bas ·
dist bie
rite respond plus ya ·
p
v
v
veez ·
port
doulceur sont plains ·
foy p
leur pechies aussi co
les doit on e
tel dignite et de tel doulce
p
co
leur v
de tel v
ta
gariro
plus les mesiaulx netieront · si larges sont et
si plantereuses q
pains mo
gnes de baisier telles mains et telz pies ce mest
advis ·
mais le crucifiro
de loir · et du faire ·
savoureuse qui mai
mo
je le te diray car il app
si est sur toutez aultres et sera gracieuse v
savoureuse ·
gracieuses p
nul ho
miraba
et s
ra · la tempeste de la mer et les vens cesseront ·
les mors resusciteront · les anemis senfuyront ·
et doulce ·
ront et les muez la p
de sa bouche les apostres le saint esp
fiance de feu recepvero
bien euree la mere qui telle bouche alaite ·
qui souve
et qui baisier peult ceste doulce bouchette sa-
voureuse qua
chette aura fain et soif et si sera abrevee de
trois amers brevages ·
bien digne que on luy porte ho
dieu dites moy des yeulx joesnes et plaisa
v
vertiro
respexit d
point de co
fois les aultres co
pitie · mais de la face saroye voulentiers que
ce sera ·
plaine de larmes ·
son vivant aussi come est le solail et aussi belle ·
Les angres de p
de cest enfant ·
pourta
a crachier a icelluy visage q
chier ·
sur to
po
voule
e
le deveroit aourer et servir ·
offrendre a la justice de dieu de soy mesm
recorder ses eslis · La q
deva
gra
refuser ·
lonne
il souffrera voule
e
dist dont s
et a ceulx quil a eslis de lumain lignage ·
rite dist par amours souffrera il ·
voy bien que cest enfa
a amerveilles a amer ·
en son ce
dist par telles penseez le met on en son ce
me
amoureux entres dedens mo
mourez tousjours ·
seme
de
le monde · fuians vanitez · souffrans mesaises ·
co
te la t
Il est amy aux angres · co
fr
et les v
lame benoiste et b
de quoy dieu le p
en est amo
avec lumiere · la est oude
dep
manne qui to
tissier la est rassasiee lame de toutes choses
en regardant la majeste divine qui e
seme
garder celuy qui est le tresbel peu co
doulx mal assavoure · le riche mal servi · le sage
mal creu · le trespuissa
ho
le tres misericors peu prises · le loyal peu loes ·
le debo
en desira
delictant sesjoiroit · en esjoissa
la
mourroit · mort adieu · si se reposeroit ·
¶Auctorites de pluseurs docteurs ·
qua
toutes les chos
mieulx vault ung ceur doux et debo
que ne fait vestir ne sac ne haire ·
puet estre abel se il na cayn a frere ·
e
du co
ung net ceur est apparlie a tout souffrir ·
a
estainte en la mer sont to
pecheur pourroit faire p
repentant ·
de gens sont qui mo
p
ausmone ·
ne sans obedience ·
quoy dieu rescoit les siens de ce mo
si est po
seconde po
veult mye q
rite ·
estre avecq
disoit · Je desire q
mo
de leur loyer ·
qua
p
bernard co
se peult enbesongnier fors q
vo
estoient surjons
fontaines ne me souffiroit il mye que je peus-
se asses plorer ·
ceme
en taisant et en pe
livres lisant ·
pechie aux paines denfer ·
est courcer la majeste de dieu ·
q
se do
de vaincre son courage q
car par pacience est co
goire dit q
q
sissons ·
tribulatio
plation ·
lite ·
dens luy p
compre
nulz ne y scet trouver ava
muert jenne q
mis
serez ja jugies ·
ne tart qui do
est le donneur · q
te se dieu ne leust ainchois soufferte nous ne
la vousissemes souffrir ·
b
est a aultry malvais et a luy p
doit estre co
leuse deffaulte ·
qui a la fois soy mesmes ne se juge ·
est lo
a mains de malice ·
povrete tresgrans grietez est avoir este riches ·
ne suffit ·
q
est negligence ·
le diable legiereme
me ·
feust en pais sans labeur ·
est q
estre miens ·
mauvais doumage ·
ver les e
de v
satrempe p
vive co
de char se il nya doulce
ceur ·
mais ilz ont mo
de to
mais il est ou est paix · et paix est son testa-
me
il na mye dieu ·
et a son maistre est p
blable mauvaistie ·
Il nest rien si se
charite · qui est m
fuir en soy taisant q
respo
au jugeme
quoy ung povre a grant disete ·
des pre
via
la jeune bo
pechie ·
bien tu saules ung povre · Jeune sans cha-
rite est lampe sans clarte ·
no
plus ardaume
temps que tu ne pe
p
le mieulx q
pourras ·
ne tempte de luxure ·
son anemy il maudit sa p
chose qui advie
q
Lamour du mo
ayme le mo
qui la riens ne luy fault ·
de viandez mat
chose ne bo
char no
a p
sa
p
ayme son amy en dieu · et son annemy pour
dieu ·
mes est abhominable deva
faite pensee desire dieu sans doubte il a ce
ayme ·
leurs ceurs sont muyaulx ·
et leur penseez crient hault deva
qui ne doubtes rien sur terre ·
toutes chos
vaise mil mal a faire ne redoubte ce dit Sai
gregoire ·
bien amer ·
p
riche ou le saint esp
mais la larme le point ·
repe
tu mues ung tel juge en doulx p
plain de vin et de viande de legier se met a
luxure ·
oste les tysons des viandez ·
font les ho
de dieu ne fure
sans don · ou le ceur est plain de bo
gens q
do
qui a bien vescu et garde les co
de dieu et de leglise a son povoir ·
ou tu hebergeras la premiere nuyt de ton tres-
pas ·
ton salut ·
quel paine aura celuy qui toust p
aultruy ·
faire tous biens et escheur to
voye ton ame dieu pourvoyra ton corps · car
le reaulme du ciel et les biens temporelz sont to
siens · Apren toy mesmes a congnoistre de
tant co
q
seroient tourme
elle pugnist et tourme
qui veullent estre vaincus ·
qui ne laisse nulluy estre tente oultre ce q
puet souffrir ·
tentation · car qua
couro
no
no
ou on ne fait justice h
rons · tu es roy et bailly de toy mesmes ·
beste doubte ho
plaine de venin mortel et du feu denfer · La
cause et la racine de to
trop amer ·
se tu heez adroit tu aimes ·
co
dieu ce que tu fais · co
aucune chose pour son prouffit il lamera ta
q
que je nay veu abstinent ·
du bos · et sobresce chasse lennemy hors du corps ·
me
me ou il ya plante de richesses ·
milleur chose en terre q
faire ·
tu ne scez co
ne nully de b
ton pouvoir ·
co
p
povoir sur luy ·
et discretion ·
ensuit aucune fois grant povrete ·
ayme mye Dieu qui ne garde ses co
et qui ny met toute son entente et qui ne le
craint et doubte · en ce monde il craindera en lautre
on acquerir mais on ne puet eschever les tribu-
lations de ce monde ·
soies plus hu
toutes chos
muce les ·
son avoir en app
ainsi q
est consid
siens ·
jugier ·
ce q
n
ne de saintes ne pour auoir ·
sont mye a desdaignier co
a honorer co
povre qui a peu mais qui mo
ceur du
le mo
noble et si grant q
dieu ·
plus p
en oroison entent a vanite ·
tout chasteme
bleme
vera ja bien lautre ·
bien a son ame ·
to
dis sont povres ·
aura vng pecheur ·
dieu tarde nul de pechie ne se garde · Repren le
sage il te aymera · Repren le fol il te haira ·
bouche qui ment occit lame ·
est estre juste en abonda
juste sacusera p
se faire a sa volente courcera p
p
ayme vin et morsiaulx ne sera ja riches ·
vault bonne reno
prent don dautruy il est son serf ·
point la verge a lenfant tu osteras son ame
denfer ·
ne contredis au mains de ceur ·
est de dire je pechie et sy oeuvre p
mo
qu
descendre ·
met tout le monde desoubz tes pies ·
achopper ne puet en terre qui en allant lieve
ses pieds jusq
croist qua
nul ne peche malgre luy ·
avoir despit des pechies mais pitie ·
on ayme ramentoit on v[o]ulentiers en p
Jh
il mie dieu qui hait ho
a tous fais no
no
pour justice ·
regne du ciel est leur sans plus acheter se
ilz seuffrent en pacie
vres se ilz prenne
en aultre lieu dit il ·
fait il vo
seront et diront tout le mal de vo
po
loyer en est grant ez cieulx ·
bon clerc dit ·
fois q
verses estimations q
loenge ·
cremes mie les mesditz des gens mes les loe
ges ·
fuient et escheve
q
du mo
de dieu toutes les chos
po
arda
po
q
sont co
ble ceulx et cellez qui dieu ayme
pourchasse
n
il dit a ses disciples ·
se le monde vo
nestes mye du monde ains vo
monde ·
fiance en moy car jay vaincu le mo
cremes mye ceulx qui le corps occisent car
ilz ne puent occire lame ·
a povoir de mettre le corps et lame eu feu
p
qui no
mains devo
puest fors menacer ou de no
meme
q
nully tente oultre ce quil puet souffrir ·
beaux doux jh
le mo
vousist faire du pis q
avoye en aide ·
qui ne vo
il me souffira · [tout si me donnes vous seul et]
Marginalia, in left margin: at line 3, in black ink, in a later hand: three parallel lines, same size “///”
Marginalia, in left margin: at line 4, in black ink, in a later hand: “Geb”
Marginalia, in left margin: at lines 5–6, in black ink, in a later hand: “Cl”
Marginalia, in left margin: at line 8, in black ink, in a later hand: two parallel lines, same size “//”
Marginalia, in left margin: at line 13, in black ink, in a later hand, “s” shape
Marginalia, in left margin: at line 17, in black ink, in a later hand: “s” shape
Marginalia, in left margin: at line 19, in black ink, in a later hand: “s” shape
Marginalia, in left margin: at line 15, in black ink, in a later hand, “No
Marginalia, bas de page, at left edge of text, in an early hand, in grey ink: “quel pa[in]”
Marginalia, in left margin: at line 1, in light brownish-grey ink, in an early hand: “amon bon amy”
Marginalia, in left margin: at lines 2–13, in pale brown ink, in an early hand: “hay ava
Marginalia, in left margin: at lines 21–22, in light brownish-grey ink, in an early hand: “ [sonss] ”
Addition: Bas de page, centre, institutional stamp in dark blue ink, consisting of an ellipse within a slightly larger ellipse; between the two: (label: VICTOR ADVIELLE · ARRAS·)
The authors declare that they have no competing interests.
Authorship is alphabetical after the drafting author and principal technical lead. Author contributions, described using the CASRAI CredIT typology, are as follows:
The corresponding author is: Laura Morreale (LM2)
Toby Baldwin: TB
Estelle Champeau: EC
Piergiorgio Consagra: PC
Debora Dameri: DD
Anna de Bakker: AB
Chris Fadel: CF
Kersti Francis: KF
Scott Francis: SF
Charlotte Gauthier: CG
Elizabeth Hebbard: EH
Lisa D. Iacobellis: LI
S.C. Kaplan: SK
Benjamin Kozlowski: BK
Nathalie Lacarrière: NL
Stephanie J. Lahey: SL
Nicolás A. Lázaro: NL
Tamsyn Mahoney-Steel: TM
Jagoda Marszałek: JM
Louis Meiselman: LM
Laura Morreale: LM2
Frederick Pedersen: FP
Lea D. Pokorny: LP
Caitlin Postal: CP
Sara Powell: SP
Gerardo Sánchez Argüelles: GA
Anna Siebach-Larsen: AL
Shannon Strinati: SS
Ebba Strutzenbladh: ES
Tristan B. Taylor: TT
Conceptualization: LM2
Editing: KF, LI, SK, SL, TM, JM, LM2, TT
Investigation: GA, TB, PG, MC, DD, CF, CG, EH, RJ, BK, NL, CP, JR, SS, ES
Methodology: LM2
Project Administration: KF, CG, SL, TM, LM2
Supervision: LM2
Validation: EC, DD, AB, SF, SL, LM, FP, LP, SP
Writing: CF, KF, LI, SK, NL, SL, TM, JM, LM2, AS, TT
Mike Kestemont, University of Antwerp, Belgium
Dirk Schoenaers, Leiden University, Netherlands
Wouter Haverals, University of Antwerp, Belgium
Shahina Parvin, The Journal Incubator, University of Lethbridge, Canada
Christa Avram, The Journal Incubator, University of Lethbridge, Canada