Introduction

The Text

This exhibit aims to look at the werewolf in medieval literature and mythology, with an exploration of the role and symbolism of the “wolf” in medieval times. The literature that will be used is Bisclavret, from Lais of the works of Marie de France, a pioneering woman in the 12^th century who stood as a significant figure in rich medieval literature. In the heart of her collection, stands Bisclavret, a tale not only about generic werewolves but also a story of betrayal and the complex nature of human and werewolf identity.

The Monster

Bisclavret is a nobleman who is able to transform into a werewolf and retain his human intellect at the same time. The catch is that Bisclavret only becomes a werewolf when his clothes are removed, but he can turn back into a human when he puts them back on. The story talks about how his wife betrayed him after finding out his secrets, she teamed up with a knight and stole his clothes, trapping him in his werewolf form and gave him a lot of troubles. The King however found his manners to be well and befriended him, later Bisclavret encountered his ex-wife and her new husband at the King’s court, which led to the king discovering the truth and helped him to retrieve his clothes.

The Passage

This is a crucial moment in the story, as Bisclavret reveals his secret to his wife after his wife’s constant inquiries. Although he knows the risks, he hesitates beforehand, but he eventually confesses his need for his clothes and how he is able to transform into a werewolf. The passage is the foreshadowing of the eventual betrayal down the line. As the tension rises, the wife’s plotting can be seen through the gaps between the conversation. Bisclavret 's reluctance to reveal his secrets shows his inner doubts about trust and vulnerability, which also further highlights the human aspect of his duality between his human and animalistic sides.

The Artefacts

The main artefact this exhibit will examine is a miniature from “Topographia Hibernica” by the Gerald of Wales, about an encounter between a monk and two respectful and humble werewolves seeking for help. This story offers a sense of mystery and highlights the era’s intricate views on werewolves, displaying them not just as physical beings but as creatures with deeper thoughts.

The first secondary artefact is the wood print artwork by Lucas Cranach the Elder, “The Werewolf or the Cannibal”. This artwork provides a contrast to the message from the first artefact and also shows the other side of werewolves, depicting them as fierce beasts through the lens of the Renaissance period, giving the audience the image of a darker interpretation of werewolves.

The second secondary artefact is a miniature from the Aberdeen Bestiary Manuscript, showing a wolf sneaking up on a sleeping shepherd’s dog and herd. The manuscript explains the connection between werewolves and the devil, showing the deep religious connections of these creatures back in the day.