{"id":3378,"date":"2019-02-15T11:39:31","date_gmt":"2019-02-15T11:39:31","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/specialcollections\/?p=3378"},"modified":"2019-02-01T12:09:50","modified_gmt":"2019-02-01T12:09:50","slug":"a-dialogue-between-experience-and-a-courtier-of-the-miserable-state-of-the-worlde-by-david-lindsay","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/specialcollections\/2019\/02\/15\/a-dialogue-between-experience-and-a-courtier-of-the-miserable-state-of-the-worlde-by-david-lindsay\/","title":{"rendered":"\u2018A Dialogue between Experience and a Courtier, of the miserable state of the worlde\u2019 by David Lindsay."},"content":{"rendered":"

Written by Eleanor Barrell, student on HI6062: Dynasty, Death and Diplomacy \u2013 England, Scotland & France 1503 \u2013 1603<\/strong><\/p>\n

\u2018Musing and marveling on the miserie that doth on earth from day to day increase\u2019. This is a serious and lengthy didactic poem titled; A Dialogue between Experience and a Courtier, of the miserable state of the worlde<\/em> (1581) by the Scottish herald and court poet, Sir David Lindsay of the Mount (1490-1555).<\/p>\n

\"Inserted<\/a>

Inserted title page dating from 18th\/19th century for this 1581 edition<\/p><\/div>\n

Most commonly known as The Monarche<\/em>, Lindsay\u2019s Dialogue between Experience and a Courtier<\/em> has been regarded by many historians, as his \u2018magnus opus\u2019. This is because he writes a world history in 6338 lines, beginning with Adam and Eve and concluding with the Last Judgement. He uses the classical literature technique of dialogue between the two characters called Courtier<\/em> who is \u2018tyred with travailing\u2019 and \u2018an aged man\u2019 who is Experience<\/em>, together with a narrative history of the world to answer questions presented by the Courtier<\/em> about the fulfilment of life and salvation.<\/p>\n

Lindsay\u2019s Monarche<\/em> reflects the knowledge that he would have had as herald about the religious and political issues in Scotland during the time. In \u2018The first booke of the Monarche\u2019, Lindsay introduces the Courtier<\/em> and Experience<\/em>. The Courtier <\/em>asks where he can live a \u2018quiet life\u2019 away from his unpleasant life at court. Experience<\/em> replies that the life he wants does not exist as the misery in this world developed from sin, he recounts the story of Adam and Eve to support his case. \u2018The second booke of the Monarche\u2019 is formed of Lindsay\u2019s attack on idolatry of saints images, pilgrimages and finishing with a call for reform to the Church. The third \u2018booke\u2019 condemns the Church for profiting from the creation of Purgatory and temporal lands, the clergy for living wealthily and unable to fulfil their roles of office, and Rome having control over secular rulers. In the last book, Lindsay discusses \u2018Death and the Antechrist, and of the generall judgment\u2019 with the Courtier<\/em> asking Experience<\/em> when the day will be. Experience dates the year \u2018Two thousand till the worldes ende\u2019 but before then, fifteen signs will appear as warning. Lindsay uses the Apocalypse as the reason for the early modern world being dismal but also as another plea for reform and repentance. By raising these problems within the context of the Biblical history of the world, the push for reform is presented as an integral part of God\u2019s scheme and the urgency to be ready for Jesus\u2019 coming.<\/p>\n

\"Quarter<\/a>

Quarter leather binding, impressed with gold.<\/p><\/div>\n

This particular book was originally \u2018Compiled in the Scottish tung\u2019 by David Lindsay in 1554, then \u2018first turned and made perfect English : And now the seconde time corrected and amended according to the first Copie\u2019 in 1581. The 1580s in Elizabethan England was briefly threatened by radical puritanism in response to a Catholic resurgence. Therefore, this timely publication (1581) could imply that there needed to be a revival of Protestant literature to communicate the original causes for condemning the Catholic Church and maintaining reform. The date also implies that the popularity of Lindsay\u2019s book had spread to England for it to be translated out of Scots into the English vernacular, many of his previous works had already been published in England before. This also coincides with Lindsay\u2019s opinion on vernacular which is seen in \u2018The first booke of the Monarche\u2019 where he criticises the Roman Church for not speaking in vulgar tongue during Mass as it would allow people to understand and learn what is being said. To support his argument, he uses the example of God giving the Ten Commandments to Moses not in Latin or Greek but in the \u2018language of the Hebrew\u2019 so that every man, woman and child would know the law. Lindsay is upholding his argument and deliberately writing in Scots so that his Scottish audience can clearly learn from his writing, it is easily accessible.<\/p>\n

\"Front<\/a>

Front cover of book recovered in marble paper. The measurements of the book are 191(l)x138(w)x127(d)mm which indicates that it would have been an easily portable book.<\/p><\/div>\n

In the Templeman Library\u2019s copy, the cover is recovered in marble paper which dates to around the late eighteenth and nineteenth century and would have been a cheap covering. The original binding of the book from 1581 has been replaced by a quarter leather binding, impressed with a simple gold design and lettering. This could indicate that The<\/em> Monarche<\/em> was a sought after book and in need of repair or possibly the owner wanted a uniform look for their bindings when displayed on a bookshelf. Furthermore, it is clear to see that the book has been amended as the pastedown and flyleaf are at the front and back of the book are on different paper which is intact and only slightly discoloured, indicating that it is newer addition to the original text. The most fragile pages of the book have been stuck down onto a new sheet of paper. The book lacks \u00a0any decorative element to it as there are no woodcuts or ornate patterns, only a decorative border around the first letter of each book, known as factotums<\/em>. This might suggest that the book was made to be produced quickly and cheaply.<\/p>\n

\"A<\/a>

A factotum of the letter W.<\/p><\/div>\n

The title page, which has been reprinted on new paper and inserted into this 1581 published book, helpfully declares that the book is \u2018very pleasant and profitable for all Estates, but chiefly for Gentlemen, and such as are in aucthoritie\u2019. This is further supported by Lindsay explicitly showing in his fourth book, where he writes small segments for the people in authority, \u2018to the Prelates\u2019 and \u2018brethren Princes\u2019, that they may read his words and take guidance from them. This section is what the English publisher possibly had in mind when writing the title page. However, a more subtle indication that this book is aimed at a wider audience, is that not only is it written in the vernacular so that all can read but Lindsay deliberately incorporates a written world history and the Christian teachings surrounding death and the Last Judgement so that more common people could access them whilst the vernacular Bible was circulating. In Scotland, the Earl of Arran had legalised the English Bible in 1543 which enabled all men to read the bible in English or Scots but it was not printed in Scotland at all until 1579 and so the imported bibles came from England.<\/p>\n

\"\u2018David<\/a>

\u2018David Hall 1724 Eius Liber\u2019 penned on the edge of the page.<\/p><\/div>\n

Significantly, on the back of page 13 (13b), there is the inscription that reads; \u2018David Hall 1724 Eius Liber\u2019 which is Latin for \u2018his book\u2019. Was this the David Hall (1683-1756) who was a \u2018schoolmaster \u00a0and Quaker minister\u2019 from Skipton in Craven, Yorkshire? There is no other significant marginalia within the book but on a couple of pages near the back, especially noticeable on the separate poem published within the Monarche<\/em>; \u2018The complaynt and publique confession of the Kings olde Hounde called Bagshe, <\/em>directed to Bawty <\/em>the Kings best beloved Dog, and his companions\u2019 on page 119 in the \u2018The fourth booke\u2019, and also page 64, there are pen trials. This indicates that the reader was possibly making notes on a separate page whilst reading this book or the markings could be the reader\u2019s own symbols to draw attention to important parts of the text. This shows that Lindsay\u2019s poem was fulfilling its function of teaching his audience, may it be his intended or unintended audience.<\/p>\n

Bibliography <\/u><\/strong><\/p>\n

Primary Source:<\/u><\/p>\n

A Dialogue between Experience and a Courtier, of the miserable state of the worlde<\/em> by David Lindsay (London: Thomas Purfoote, 1851). Special Collections & Archives, Pre-1700 Collection: C 581 LIN<\/p>\n

Secondary Sources:<\/u><\/p>\n

Collinson, Patrick., ed. Guy, John. 1995. \u2018Ecclesiastical vitriol: religious satire in the 1590s and the invention of puritanism\u2019 in The reign of Elizabeth I: Court and culture in the last decade\u2019<\/em>, (Cambridge: Cambridge University Press).<\/p>\n

Edington, Carol. 1994. Court and Culture in Renaissance Scotland: Sir David Lindsay of the <\/em>Mount<\/em>, (USA: University of Massachusetts Press).<\/p>\n

Harland, Richard. \u2018Hall, David (1683-1756), schoolmaster and Quaker minister\u2019 in Oxford\u00a0<\/em>Dictionary of National Biography<\/em> https:\/\/doi.org\/10.1093\/ref:odnb\/68171<\/a><\/u> [accessed 26\/10\/2018].<\/p>\n

McGinley, J,. K. \u2018Lyndsay [Lindsay], David (c. 1486-155), writer and herald\u2019 in Oxford\u00a0<\/em>Dictionary of National Biography<\/em> https:\/\/doi-org.chain.kent.ac.uk\/10.1093\/ref:odnb\/16691<\/a> [accessed 22\/10\/2018].<\/p>\n

Pearson, David. 2011. Books as History: The importance of books beyond their texts\u00a0<\/em>(London: The British Library).<\/p>\n

Wormald, Jenny. 1981. Court, Kirk, and Community: Scotland 1470-1625<\/em>, (London: Edward Arnold Ltd).<\/p>\n