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Then: Fetheren he nom mid fingren, ond fiede on boc-felle, Ond tha sothere word sette to-gadere, Ond tha thre boc thrumde to are. (Caligula, 26–8) He took feathers in his fingers and applied them to book-skin and set down together the truer words and compressed those three books into one. Not every line of Middle English verse, of course, was composed with quill or stylus in hand. Then as now poets could compose songs and ballads in their heads; and longer works, though nearly always written in the first instance, might undergo a degree of recomposition or decomposition in the heads of those who, as they recalled them, would cut, and change, and add lines and passages.

Bonaventure’s scheme combines into a single continuum two functions which seem fundamentally different to us: composition and the making of copies. Both were functions of the physical act of writing, and a writer could easily combine them. Indeed, the possible combinations were more various and complex than Bonaventure’s formal scheme allows. The description of the scriptor as one who ‘writes others’ words, adding nothing and changing nothing’, for instance, implies that the medieval scribe was like the modern compositor; but in practice he often behaves quite differently.

Like medieval sculpture and architecture, in fact, medieval literature is supposed to be public, impersonal, monumental. These large generalizations have as much truth as can reasonably be expected of them. Certainly much medieval writing is anonymous, both in the formal and in the deeper sense; and it has been necessary for the modern reader to be thoroughly alerted to this anonymity, which he or she tends to find alien and disturbing, especially in poetry. However, well-intentioned scholarly warnings and explanations have proved so effective that many people now have a greatly exaggerated conception of the anonymity and impersonality of medieval literature, as if it were all, with trifling exceptions, quite faceless.

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