Summary

The werewolves in Bisclavret and the Topographia Hibernica are examples of the virtuous nature of 12^th century werewolves and how they test the virtues of others. In Bisclavret, the titular character is a virtuous werewolf, whose noble nature and virtues are unchanged by his wolf form. He demonstrates his virtues of faith, temperance, fortitude, prudence, and justice throughout his ordeal when trapped in his wolf form. This monstrous form tests the virtues of his wife and king. His wife fails to see beyond his monstrous form and betrays him as she falls to the vices of anger and lust. The king passes this test and sees the unchanged noble nature and virtues of Bisclavret. The king responds to Bisclavret’s monstrous form with the virtue of charity and provides him with shelter, food, security, and love. The king’s charity rewards him with the return of Bisclavret’s human form and Bisclavret’s wife is punished for her vices.

The Topographia Hibernica depicts the werewolves of Ossory as faithful Catholics, whose monstrous form tests the virtue of the priest of Ulster. The three miniatures illustrate the werewolves with their humanity. They are drawn without threatening monstrosity in their wolf forms and are depicted as carrying the virtue of faith. The priest of Ulster passes the test of virtue and sees the werewolves as faithful Catholics, whose wolf forms do not diminish their virtues. The priest performs the last rites and communion of the dying female werewolf, which proves his charity towards others. The Topographia Hibernica’s depiction of humanity in werewolves is and their role as a social metaphor is not unusual, for similar depictions are represented by artifacts like the displayed woodcuts.

Throughout this exhibit, the virtuous nature of werewolves and their role as a social metaphor has been displayed by texts and by artifacts. As werewolves remain a part of our imagination, they are a reminder that monsters are not inherently monstrous in character.