
Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgements
- Abbreviations
- Introduction: Sacred Spaces and Places: Constructing the Virgin Mary in Hispanic Literature
- Liturgy and Place
- 1 A Feast of Miracles: Foreign Places, Foreign Spaces in Hispanic Miracle Collections
- Places of Growth and Irrigation
- 2 Hortus conclusus? Virginity and Fruitful Space in Gonzalo de Berceo’s Los Milagros de Nuestra Señora
- 3 Holding and Reflecting the Water of Life in Gonzalo de Berceo’s ‘fuent’: Wellsprings and Fountains as a Figure of the Virgin
- 4 Fountains and their Architecture: Situating Fountains in the Poetry of the Marqués de Santillana and Other Fifteenth-century Poets
- Places of Entry and Exit
- 5 The Temple Gate, the Lions’ Den, and the Furnace: Liminal Spaces in Gonzalo de Berceo’s Marian Poetry
- 6 The Sacred Temple, the Tabernacle, and the Reliquary in the Poetry of Pedro de Santa Fé, Fernán Pérez de Guzmán, Juan Tallante, and Other Late Medieval Poets
- 7 Home is where the Heart is: Christ’s Dwelling Place from Gonzalo de Berceo’s Loores de Nuestra Señora to the Vita Christi of Isabel de Villena
- Spaces of Protection
- 8 Mary as a Strong Defence: The Protective Space of the Virgin from Alfonso X’s Cantigas de Santa Maria to Jaume Roig’s Siege Engine
- 9 ‘Más olías que ambargris’: Perfumed Spaces of the Virgin in Fray Ambrosio Montesino’s Poetry
- Afterword
- Appendix: Peninsular Hymns to the Virgin
- Bibliography
- Index of Places as Marian Figures
- Index of Objects and Containers
- Index of Plants, Medicinal Substances and Perfumes
- General Index
2 - Hortus conclusus? Virginity and Fruitful Space in Gonzalo de Berceo’s Los Milagros de Nuestra Señora
Published online by Cambridge University Press: 20 August 2020
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgements
- Abbreviations
- Introduction: Sacred Spaces and Places: Constructing the Virgin Mary in Hispanic Literature
- Liturgy and Place
- 1 A Feast of Miracles: Foreign Places, Foreign Spaces in Hispanic Miracle Collections
- Places of Growth and Irrigation
- 2 Hortus conclusus? Virginity and Fruitful Space in Gonzalo de Berceo’s Los Milagros de Nuestra Señora
- 3 Holding and Reflecting the Water of Life in Gonzalo de Berceo’s ‘fuent’: Wellsprings and Fountains as a Figure of the Virgin
- 4 Fountains and their Architecture: Situating Fountains in the Poetry of the Marqués de Santillana and Other Fifteenth-century Poets
- Places of Entry and Exit
- 5 The Temple Gate, the Lions’ Den, and the Furnace: Liminal Spaces in Gonzalo de Berceo’s Marian Poetry
- 6 The Sacred Temple, the Tabernacle, and the Reliquary in the Poetry of Pedro de Santa Fé, Fernán Pérez de Guzmán, Juan Tallante, and Other Late Medieval Poets
- 7 Home is where the Heart is: Christ’s Dwelling Place from Gonzalo de Berceo’s Loores de Nuestra Señora to the Vita Christi of Isabel de Villena
- Spaces of Protection
- 8 Mary as a Strong Defence: The Protective Space of the Virgin from Alfonso X’s Cantigas de Santa Maria to Jaume Roig’s Siege Engine
- 9 ‘Más olías que ambargris’: Perfumed Spaces of the Virgin in Fray Ambrosio Montesino’s Poetry
- Afterword
- Appendix: Peninsular Hymns to the Virgin
- Bibliography
- Index of Places as Marian Figures
- Index of Objects and Containers
- Index of Plants, Medicinal Substances and Perfumes
- General Index
Summary
She is a garden enclosed
My sister, my promised bride;
A garden enclosed,
a sealed fountain. (Song 4.12)
This chapter examines two horticultural metaphors, the garden and the field, both symbolizing the body of the Virgin. I will begin by situating them in one of the scriptural sources most often mined for images of the Virgin, the Song of Songs. I will then study the works of Gonzalo de Berceo, one of the poets most studied by Hispano-medievalists, reassessing his famous verdant space in the light of liturgical and theological sources.
In the Song of Songs, a garden symbolizes the young woman three times (4.12, 4.15, 5.1). She is also compared to other green and verdant spaces. She is a mountain of myrrh and her shoots form an orchard (4.13). She is also a flower of the field (2.1). The Song of Songs eulogy of the Shulamite, the beloved bride, compares her to an Eastern paradise teeming with lush vegetation, filled with exotic plants, releasing beautiful perfumes into the air, and providing shade and recreation to those inside. The lover's metaphor for his bride, an enclosed and planted space, reveals that, from time immemorial, verdant places have symbolized womanhood. The earth is tilled by the gardener, seeds are sown, and the garden is watered. The seeds sown there bloom and flourish, just like the male seed sown in a woman's womb in procreation. Both women and gardens are fertile and bear new life. Woman, like the land, can be fruitful or barren. Woman, like the earth, can be ploughed, dug, and watered in the sexual act. From ancient times to the Middle Ages, when theologians still associated women with the earth, gardens provided a powerful metaphor of two states of womanhood: land untilled represents virginity and cultivated land, fertility. Earth was the essential element of the Creation story, with man, Adam, created from the earth.
Along with many other objects and places in the deeply erotic symbolism that the Song provides in its various translations, gardens became the paradigm of human love in vernacular poetry.5 The garden and its fountain are closed to outsiders. They are sealed, yet redolent of the promise that they will eventually open.
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- Information
- The Sacred Space of the Virgin Mary in Medieval Hispanic Literaturefrom Gonzalo de Berceo to Ambrosio Montesino, pp. 73 - 118Publisher: Boydell & BrewerPrint publication year: 2019