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sin, Gregory points out that "Eve would not have touched the forbidden tree if she had not first thoughtlessly looked at it." And so in the initial to this book, the ragged monk cuts the tree of temptation in accordance with the biblical injunction, "at the root" (Mat. 3:10, Lk. 3:9). That is, he cuts himself off from the sight of all such temptations by fleeing the world and seeking shelter in monastic
128:. The layman, in conceptual antithesis to the monk, cuts the tree branch by branch while perched precariously in its midst, ignoring his impending doom as implied in the inevitable fall of the tree. In other words, the pious lay person is contented with half measures by continuing to live "in the world" and will inevitably pay the price for that decision.
82:(that is part of the prefatory matter of the book), in particular, Gregory's demand that one "become" what one reads. In the same way that Gregory found it acceptable to analyze a line or even a word of text out of context, according to modern sensibilities, so the artist was quite willing to do the same, often with reference to the contemporary monastic
118:
is also busy cutting, but this time branch by branch. One of the main themes of Book Twenty-one is the importance of the avoidance of temptation. According to
Gregory, the senses of the body are the windows of the soul, and it is by thoughtlessly looking out through these windows that a person may
69:
is an exception, having been added later) to largely unique and textually based ones further on. This indicates a change in attitude toward the illuminated initial on the part of the artist only after production had begun, something that was not part of the original conception. More specifically,
123:
21:4-5). It is for this reason that such danger should be anticipated and the source of such temptation—in this passage, primarily women—be avoided, even if this only involves the sense of sight and nothing more. As an example of the seriousness of the role of the sense of sight in the process of
64:
Close analysis of these illuminations reveals a gradual transformation from the conventional and textually unrelated images that were common at the time and that are found at the beginning of the manuscript (the famous
113:
with his knife in his belt and his leggings slipping down, chopping away at the base of a tree that is unusually large for a medieval manuscript and that forms the body of the initial. Meanwhile, above, a
119:
fall into the pleasure of sin—especially lust—through desire, even though this was against the person's original intention and even though the person never actually acts upon that desire (
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work in a conventional and unexceptional manner in the illuminations in the beginning of the book, the artist gradually began to internalize the
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109:" to Book Twenty-one (Dijon, Bibliothèque municipale, ms 173:41). The initial depicts a tattered
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C. Oursel, Miniatures
Cisterciennes (1109-1134), (Macon: 1960) pp. 11ff, pls. XXI-XXXIV
86:
of reform. The end result was the exegetical spiritualization of the first generation
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147:"Violence and Daily Life: Reading, Art, and Polemics in the Cîteaux Moralia in Job"
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581:
146:
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721:
687:
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1033:
919:
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of the Middle Ages. The manuscript is housed at the municipal library in
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experience, the visual expression of
Gregory's exegetical method.
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around 1111. It is one of the most familiar but least understood
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An example of this may be found in the illuminated initial "
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23:Frontispiece and initial to the Letter to Leander,
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78:principals laid out by Gregory in the Letter to
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101:; Dijon, Bibliothèque municipale, ms 173:41.
27:; Dijon, Bibliothèque municipale, ms 168:4v.
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1040:12th-century illuminated manuscripts
61:(Bibliothèque municipale de Dijon).
16:12th-century illuminated manuscript
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70:after initially illuminating this
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938:Byzantine illuminated manuscripts
957:Illustrations of the Book of Job
45:made at the reform monastery of
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174:Cîteaux manuscript summaries
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153:. Princeton University Press
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35:is an illuminated copy of
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912:Job: A Comedy of Justice
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145:Rudolph, Conrad (1997).
702:Related religious texts
55:illuminated manuscripts
241:In rabbinic literature
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1019:World English Version
947:(Bronze sculpture by
493:Job's family members
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97:Initial to Book 21,
486:People and entities
1009:King James Version
864:A Masque of Reason
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859:(1939 radio play)
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994:Hebrew Bible
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761:Add MS 31031
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657:Teman (Edom)
637:Jordan River
169:Bibliography
155:. Retrieved
151:Google Books
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67:frontispiece
63:
40:
32:
31:The Cîteaux
30:
24:
978:Tomb of Job
949:Judith Shea
923:(2002 play)
907:(1981 play)
899:(1974 play)
891:(1958 play)
867:(1945 play)
564:(including
220:Book of Job
182:(in French)
1034:Categories
999:Septuagint
920:Job's Wife
872:Silverlock
840:Literature
500:Job's wife
474:Epilogue (
422:Verdicts (
275:Dialogue (
263:Prologue (
157:2020-03-16
132:References
88:Cistercian
76:exegetical
829:The Shift
821:Leviathan
587:Leviathan
577:Chaldeans
126:seclusion
72:patristic
632:Ethiopia
572:Behemoth
256:chapters
236:In Islam
84:polemics
51:Burgundy
987:Sources
771:Cîteaux
683:Shaddai
597:Sabeans
546:Eliphaz
176:168–170
121:Moralia
80:Leander
47:Cîteaux
832:(2023)
824:(2014)
816:(2011)
808:(2009)
800:(2005)
782:In art
766:of 945
625:Places
607:Tannin
562:Angels
555:Others
541:Zophar
531:Bildad
510:Keziah
505:Jemima
116:layman
971:Other
931:Other
789:Films
713:14:14
678:Eloah
647:Sheba
642:Ophir
602:Shuah
592:Rahab
566:Satan
536:Elihu
265:Job 1
253:Bible
59:Dijon
888:J.B.
736:5:11
726:49:9
693:Chol
688:YHWH
652:Tema
111:monk
944:Job
856:Job
848:Job
716:–20
612:Ziz
231:Job
180:173
49:in
39:'s
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662:Uz
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107:I
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