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St Edward the Confessor: Shield's Redundancy (6/6)

Published by Carlos da Fonte, em 11.09.12
Edward the Confessor - Attributed Arms

This sixth and last semantic level was so inconspicuous that we've just found it at the very end of our analysis. One of the reasons was that it doesn't categorically affect any heraldic traces as colours or shapes and works as a redundancy for everything already treated. For this level we used the epithet of Edward  - the Confessor - which we may classify as an anthroponymic form of the corresponding referent's metonymy. It is interesting to observe that compared to the other descriptions we've used: King, Saint, Edward and Wintonian, this last is the most characteristic. The other four only make sense when together but “the Confessor” may evoke much faster our referent Edward when alone, for many kings, saints, Edwards and Wintonians existed.

 

As there was no heraldic effect resulting from this level we should doubt the adequacy of considering it in the analysis. A good advantage is to screen any incompatibilities among other levels. This, of course, would be much more favourable if detected during the initial analytical stages. The most difficult part of our studies is to achieve proper parophonies that fit well one to another inside a heraldic plot. In the beginning of every investigation, when we know nothing about the plot used, once a tendency is found, all the semantic levels must obey it.

 

Another benefit is to ascertain if such behaviour reproduces consistently in our corpus and eventually to discover other associations that will only be apparent by observing all occurrences as a whole. That's how we were able to identify most of the structures implicit in parophonies and later this helped us to develop several typologies in order to assist the establishment of relationships within distinct coats of arms.

 

The motivational scheme is quite peculiar in this example of St Edward's arms as the plot seems to have two different authors, set apart by hundreds of years. The early part, connected with the numismatic representation, refers Edward as a king; the late part depicts his glorification as a saint. If we didn't know the existence of the coins things would be much more difficult. The semantic examination may have diverted to other, presumably worse, solutions or simply stall because, for example, the most frequent Anglo-Norman word for king is rei and not roi.

 

The parophony we've found is Confessur (ano. Confessor) ~ Qu'hom fait sur (ano. that we make on). The modern form in French, qu'on, hides the origin of the word, linked with the impersonal hom (ano. man), acting as “someone” or “we”. The phrase is incomplete and we must look after the word that would accomplish a possible meaning. In the present context we may only find the substrate of the blazon as such a word. After deciding on the figurations and tinctures to be used all we need to do is draw and paint them on top of the shield. That's the subject that qu'om fait sur justifies.

 

The discretion index totals k = 0.14 and the average of the six levels is k = 0.08, an extremely low result, apparently indicating that most if not all proposed solutions cannot be improved regarding parophony. Note that this methodology doesn't supply proofs for any specific parophonic hypotheses we make. Only the whole proposition with its semantic levels, may be eventually regarded as coherent, therefore almost statistically impossible to result from chance. But even then we cannot guarantee that one or two of these levels aren't wrong. Finding other arms that repeat the same kind of association and visual behaviour is important for a sound justification, however the best would be to use plain historical evidence as documents and artefacts. This is not always easy and virtually impossible for attributed arms, as these we've finished studying now.

 

Note that we took the phonemes [Om] paired together with [Õ] which may look strange. In fact [O] and [m] are two different phonemes but they have necessarily to compare with a nasalized [Õ], which is a simple sound. If we followed the methodology blindly and used the formal pairing [Õ][_] ~ [O][m] the penalties used in the calculation would be excessively high and their numerical effect in the discretion index the same as, say,  [Õ][_] ~ [O][k], which is unacceptable. Note that this same criterion was applied before with [tS] and [S] for the parophony Itchen ~ I chenne.

 

We finished thus this analysis, one of the hardest we ever made with a record number of six semantic levels. That's the same number found in the primitive coat of arms of the kings of Portugal, which took most of our effort and time. Is it all true? We don't know, but remembering that all discretion indexes are quite low and that semantic levels interact coherently the answer will tend to be positive.

 

Let's introduce some ideas on a probabilistic proof. Take the parophony Seint  ~ Cinq as an example, and try to find other puns with Cinq or equivalents as V, B, quintet, etc. and pair them with other Old French words related in some consistent way with St Edward. To be comparable with our analysis the discretion index couldn't be higher than 0.2. For simplicity we're using a plain parophony with just one word. I guarantee that you won't find that many but suppose by exaggeration that you are able to discover ten viable parophonies. Then you must divide ten by the number of different words that existed in Old French which were able to be employed by an average speaker, let's say five thousand.

 

Then, also in a simplified manner, the probability that such a parophonic solution could result from luck is about 10/5,000 = 0.002 or 0.2% (with hypothetical equiprobable outcomes) .  If you extend this result to six different and independent semantic levels the odds for a simultaneous coincidence would be 0.002 × 0.002 × 0.002 × 0.002 × 0.002 × 0.002 = 0,000000000000000064 = 0,0000000000000064 %. Of course if you take composite parophonies, using more than one word, you must take into account all the combinations possible, two by two, three by three, etc. The result would be even smaller because the divisor is much bigger. Naturally, this is just an abridged approach that takes ideal and less complicated elements. But it's easy to understand and gives a reasonable picture on the orders of magnitude involved.

 

 

 Edward the Confessor - All
CLASSIFICATION DESCRIPTION
Attributed Arms R Edward the Confessor
Anthroponym M Confessor
Language of Conquest V Anglo-Norman
Denominant A Confessur
Graphemization A  C  |  O  |  N  |  F  |  E  |  S  |  S  |  U  |  R 
Phonemization A k  |  Õ  |  f  |  E  |  s  |  y  |  R\
Pairing A k  |  Õ  |  f  |  E  |  s  |  y  |  R\
A k  |Om|  f  |  E  |  s  |  y  |  R\
Coefficient of transposition A 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0
Coefficient of character A 0.0 | 0.5 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0
Coefficient of position A 0.0 | 1.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0
Addends A 0.0 | 0.5 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0
Discretion index A k = 0.14
Phonemization A k | Om | f | E | s | y | R\
Graphemization A Q| U' | H | O | M | | F | A | I | T | | S | U | R
Designant A qu'hom fait sur
Comprehensive E qu'hom fait sur
Simple monosemy, Redundancy S that we make on (the shield)
S qu'hom fait sur
Tincture H Azure
Number H a
Figuration H cross
Aspect H flory
Placement H cantoned with
Number H four
Figuration H martlets
Connective H and
Number H another
Placement H in base
Tincture H or

 

(next analysis in this blog is here)

Autoria e outros dados (tags, etc)

Published at 17:38

St Edward the Confessor: Tincture Azure (5/6)

Published by Carlos da Fonte, em 05.09.12
Edward the Confessor - Attributed Arms

The fifth semantic level present in the arms of St Edward the Confessor repeats the geographic inspiration of the previous referent's metonymy: Wincestrin. Besides the direct allusion to Winchester we may see now the verbal depiction of its river Itchen. Similarly, in an older analysis, we had applied the river Danube as a contiguity to Sagremor and Buda. It was impossible to find an Anglo-Norman name for this hydronym, therefore we used the English equivalent as a denominant. We don't even know if a specific Anglo-Norman word existed but seemingly it wouldn't be much more different than Itchen.

 

However, the second part of our parophony, the designant, keeps using Anglo-Norman and this type of language mix is usually called linguistic hybridization. In parophonies it results frequently from the ignorance on how to express both components adopting just one language, as it was the case here. But it may also appear with local words surviving in the vocabulary of a lingua franca. In Portuguese, for example, Gothic and Arabic terms arise simultaneously with Latin in order to build designants.

 

This parophony is built with Itchen ~ I chenne (ano. one pitcher), but the last component needs to be adjusted before we could compare all its phonemes with those appearing in the denominant. A first metonymy diverges from a common writing symbol “I”, easy to be acknowledged and sustained by other occurrences in our researching work. It's responsible for the transformation of “I” from a letter “i into a Roman numeral that stands for one.

 

I(chenne) < I (letter i) < I

I (chenne) < I (number 1) < I

 

Moreover, we observe the use of a pair of graphemes “ch with two possible sounds, conveniently adapted to assist the parophony. The first instance when Itchen must be compared with the similar sound of chenne, where “ch sounds as [S]. The second instance occurs when meaning is built and we need the word that signifies “one pitcher, that is, chenne, and “ch now sounds as [k], like other known forms - cane and canne - very near or equal to the modern pronunciation in French. A similar example takes place in the arms of the first kings of Portugal for their capital Coimbra. To denote that the same group of letters shape different sounds we baptized this recurring phenomenon a homographic heterophony.

 

ch(enne) > [k(@n)]

ch(enne) < [S(@n)]

 

After the conclusion of accommodation and pairing we calculate a discretion index, k = 0.19. The procedure had to apply a longer formula, used to compensate the scarce number of phonemes and consequent unbalance (see Formula 3.1 at p. 51 in the thesis). To obtain it we additionally considered the total number of transformations (j = 1) divided by the square of the maximum value between the denominant and designant, max (D, d)2 = max (4, 4)2 = (4)2 = 16. Therefore we subtracted 1/16 = 0.0625 from our main formula to produce 0.250 - 0.0625 and the value of k = 0.19.

 

A second metonymy will justify the blue in the heraldic plot of St Edward's arms. We had already mentioned that the application of the said tincture wasn't compatible with a sky, in this blazon at least. It's a fact that crosses and birds would fit perfectly in such a background but it's again a fact that the martlets aren't flying in the shield of St Edward. Blue is doubtlessly used for water in heraldry; however, five martlets floating around a sinking cross seem an appalling concept. What then?

 

The designant chenne (ano. pitcher) was also understood as a measure of capacity for liquids, a meaning reinforced by the Roman numeral I that precedes it. A measure largely employed with water and wine and with bulk solids likewise. The next transformation uses whatever could be inside the pitcher as a defining idea, instead of the pitcher itself. In a similar but reversed manner we say: “I've drank a glass of milk and not “I've drank the contents of a glass of milk. But the contents we're talking about are effectively water for a few good reasons.

 

The most obvious motivation should be that azure is the colour of water in heraldry, whereas purpure would be proper for wine, argent for milk and so on. Secondly, the relatively small quantity of a pitcher was just enough to “wet the field, allowing the birds and the cross to be supported by the ground. Thirdly, although being represented by blue, water is transparent and if used on top of everything no staining would be perceived. Fourthly, we could say that, to begin with, it also represents a river, no need to mention what is it made of. Finally, we must answer the question - What kind of liquid would be respectable enough to match the five birds representing the sanctity of Edward and the symbol of Christ Himself? It shouldn't spoil, foul or in any way desecrate the plot already organized.

 

The answer could only be holy water, a perfect match for the sanctified flock of birds and for the cross. Incidentally it's commonly spread by aspersion, meaning that maybe it rests on top of all charges, still considering the aforesaid transparency. Note that the expression in Anglo-Norman is euwe benette, but it may be easily admitted for the end of the 14th century that English could affect the metonymy. But it wouldn't even be needed in its strictest form, due to the extended religious environment of the blazon. Without a doubt the whole is influenced by the status of Edward as a saint. Formally, we have another converging metonymization:

 

Edward > St Edward > saint > holy

one pitcher > contents > holy water > holy

 

Furthermore we need to justify the blue convention for water. The perception of this colour in shallow extensions is normally seen as caused by reflection and scattering of sky light, but it doesn't suit well a generalization. Supplementary the sea is intrinsically blue even during a thunderstorm when the sky has tones of grey. This blue is faintly seen in snow and ice, all resulting from the same physical phenomenon. Those were probably the shades of blue inspiring heraldry and also many other representations of water too. Still, as oceans are its most powerful, large and majestic expression, the mechanism of sublimation emerged to paint any form or amount of water blue; a triple converging metonymy:

 

sea > bluish

seawater > bluish

any water > bluish

 

That should end our comments on the arms of St Edward the Confessor, but we just happened to find a sixth semantic level, so this series isn't finishing now as stated before. Luckily enough it won't harm the sequence of presentation within the prior levels; instead it's more like a complement enclosing everything we've already said.

 

 

 Edward the Confessor - Azul
CLASSIFICATION DESCRIPTION
Attributed Arms R Edward the Confessor
Hydronym M River Itchen
Linguistic Hybridization V English ~ Anglo-Norman
Denominant A Itchen
Graphemization A  I  |  T  |  C  |  H  |  E  |  N 
Phonemization A i  |  tS  |  @  |  n
Pairing A i  |  tS  |  @  |  n
A i  |  S  |  @  |  n
Coefficient of transposition A 0.0 | 0.0 | 0.0 | 0.0 
Coefficient of character A 0.0 | 0.5 | 0.0 | 0.0 
Coefficient of position A 0.0 | 1.0 | 0.0 | 0.0 
Addends A 0.0 | 0.5 | 0.0 | 0.0 
Discretion index A k = 0.19
Homographic heterophony A ch(enne) > [k(@n)]
A ch(enne) < [S(@n)]
Phonemization A i | S | @ | n
Graphemization A I | | C | H | E | N | N | E
Designant A I chenne
Other nouns E une chenne
Diverging metonymy S I(chenne) < I (letter i) < I
S I (chenne) < I (number 1) < I
Simple monosemy S azure
S I chenne
Converging metonymy S Edward > St Edward > saint > holy
S 1 pitcher > contents > holy water > holy
Tincture H bluish Azure
Immanence C water
Contrast C or
Converging metonymy, Sublimation S sea > bluish
S seawater > bluish
S any water > bluish
Number H a
Figuration H cross
Aspect H flory
Placement H cantoned with
Number H four
Figuration H martlets
Connective H and
Number H another
Placement H in base
Tincture H or

 

(next article in this series is VI/VI)

Autoria e outros dados (tags, etc)

Published at 00:24

St Edward the Confessor: Tincture Or (4/6)

Published by Carlos da Fonte, em 23.08.12
Edward the Confessor - Attributed Arms

We finally arrived at the point where tinctures are considered. How sure are we that this kind of colourful parophonic supposition is reasonable enough to be accepted? Why tinctures aren't always attributed to a natural property of the entities we see outlined in blazons? Well, unfortunately things are not that simple. Nobody can be sure that such or such representation is canting, for example. Even “obvious” representations as the arms used by the King of León (Argent a lion purpure) have been denied their canting status. Some authors say that this lion may well represent the strength and character of the king, instead of a pun that remembers the name of the kingdom: Llion ~ llion (leo. lion). It's a matter of personal interpretation, which will coincide or not with the primitive intentions.

 

It is perfectly admissible that colours may be canting, even in a conservative view. They normally arise as plain tinctures like in Rossi ~ Rossi (ita. reds), where the full red of the shield turns this evidence into an unavoidable explanation. The parophonic methodology allows a richer domain of interpretation, even explaining small chromatic details, otherwise disdained. Contrarily, what seems to be a natural and well-behaved blue tincture may hide a surprising unsuspected signification, as the blue field used in the arms of the kings of France. Of course, most of the time figurations show their proper colours in heraldry.

 

What makes the denial of this kind of phenomenon somewhat unreasonable is that canting arms are perceived as a general and acknowledged manifestation in heraldry. Therefore, if it occurs in other instances, it should occur in this particular case too. The same may be said about parophony, with the difference that here the circumscribed universe is much larger. It may reach every aspect of emblazonment: figurations, separations, attitudes, tinctures, etc.

 

There is almost nothing left for an arbitrary choice, each heraldic trace seem to be prone to a deliberate parophonic intention or result from an immanence of the other elements already represented. But if you see blue lions, pink eagles or green skies, believe me, there is more than simple aesthetical choice there. Medievals were not fools or naïve, as some may comfortably like to think, perhaps to justify the insanity and senselessness of our own time.

 

But we must leave our generalizations and recall the cross and birds of St Edward. We noted before that “or” could be an appropriate tincture for our cross. Wood, gold, brass or bronze suited perfectly the artefact and could indeed be the reason behind the colour. Besides, we already proposed that the four fleurs-de-lis at the limbs would be the same present in St Edward's Crown. Couldn't it be assumed that the rest of the material of the cross was gold, a sort of yellow - case closed - or maybe not? Yes and no. We do accept that the cross appearing in the arms of St Edward was made in gold. But we shouldn't refuse other contributions from parophonies encompassing this property of the heraldic cross as long as they don't conflict. That's precisely the case and we'll see it next.

 

After these considerations on the cross we must now turn our attention to the birds. Martlets were inspired on swallows, a well known gregarious bird, with a small beak and tiny legs, so that we hardly can't see them, both in real life and in the simplified drawings of heraldry. Still, there are no yellow swallows and even birds with this full colour are hard to find in Europe.

 

The fact that martlets stand for birds in general doesn't help much, they appear in all available tinctures. The attributed arms of Sussex that include six of them - three, two and one - appear in late documents and it's difficult to draw definite conclusion from there. It looks like they were inspired by the attributed arms studied in this post, and we mention the parophony Sussex ~ Suos (lat. his) sex (lat. six), that seems to refer someone in particular. Maybe the author didn't know or ignored the parophony - Seint ~ Cinc - applied to Edward and conveniently admitted six birds in the flock, using Latin as an archaising tool. Agreeing with this inspiration, these arms should be created after the end of the 14th century. The remaining aspects we must leave for further research.

 

For the general case we could admit that brown swallows were transformed into gold, a pertinent assumption, or that the glow of the cross in gold would tint the martlets. This could also be understood by some to derive from a cruciform nimbus at the circular rim around the coin and the cross, the whole spreading its light to the doves; but there are no colours in coins and Edward wasn't recognized as a saint at this time.

 

Let us remark one more thing about our parophonic methodology. The vast majority of the referent's metonymies are geographical and we still haven't applied none. Why is that? Probably because the arms were based on a numismatic representation and these would demand a different inspiration. Remember that the three metonymies we've already found were based on anthroponymy - Edouard ~ Et due harde - and status - Seint ~ Cinc along with C(e) roi ~ Crois. This is decidedly puzzling compared to the average, the more so if no additional parophonies existed and any geographical metonymies weren't allowed consequently.

 

The capital of Edward the Confessor was Winchester and only later with the Norman rule it would move to London. We saw in the arms of Sagremor - Aquincenses ~ Ac quini sentes - that demonyms may play a part in translating the referent into pictures. This is also the case for King Edward, not in the plural form used for the fictive Hungarian knight but as another circumstance of his life: someone that lived in Winchester. Notice that Edward wasn't born there; the parophony is linked to the city as the capital of the Kingdom, not as the King's birthplace.

 

The parophony is built using J' Wincestrin (ano. I Wintonian) ~ Juints cestrins (ano. together lemon yellow). We weren't able to find this specific Anglo-Norman word Wincestrin, or any other, for the inhabitants of Winchester. It is possible, however, to find Wincestre for the name of the city and then compare it with other known demonyms like Parisin, and infer the necessary conclusions. “Together” refers to anything that can be counted inside the shield, obviously excluding the uncountable field, needed for contrast, moreover.

 

Also note that Je (ano. I) is transformed into J' when preceding vocalic sounds but even before consonants in the oral practice and that the plural endings in “s” are silent. The pronunciation of the first syllable of Wincestrin could well be [win] instead of [wẼ], according to the local nature of the word. The discretion index would be slightly changed from k = 0.0 to k = 0.30, nothing to be alarmed, but we preferred to accompany the obvious intention to equalize sounds, maybe being a bit too much enthusiastic on the Frenchy aspects of Anglo-Norman.

 

Both the denominant and the designant see their meaning limited by metonymization. The former as two converging metonymies:

 

I > the coat of arms > the bearer > Edward

Wintonian > living in Winchester > the king > Edward

 

The latter as two simple distinct metonymies:

 

together > everything > figurations > cross and martlets

lemon yellow > yellowish > or

 

We might have classified the last metonymy as a sublimation, where the golden tone would reflect the most flattering choice among any yellow hues. But note that we already have a chromatic pretext founded on the fleurs-de-lis and further that anything yellowish would inevitably be described as or. Therefore the colour of the cross and birds must be understood not as lemon yellow but as gold, transformed and described by the emblazonment practices. This doesn't happen always, some figurations do need to keep their yellow identity in order to improve consistency. Chromatic metonymizations don't take place then, contrarily to their description in blazoning, a conventional language.

 

But we also need to justify why the birds are gold in the plot of the arms as a drawing. It seems insufficient to state that their colour derive from the lemon yellow parophony. This coherence keeps the whole together and helps us to assert that it would be quite difficult to emerge from other reason than intention. Cestrin is often linked with the description of precious stones. At that period, all that we could imagine would be some gems set on the cross, but they are not. Additionally, there was to technical capacity to manufacture the cross or the martlets as entirely cut from such stones.

 

We must look for another explanation. Let's come back to the identification of these five martlets with the sanctity of Edward through their number, Seint ~ Cinc and condition as a flock, Edouard ~ Et due harde. It's legitimate to think that the colour could be associated with this condition. They shouldn't reflect then the glow of the golden cross, as guessed before, but an inner glow of sanctity.

 

The glow is conventionally represented by a halo around the heads of saints when depicted as human figures. Regarding birds, the dove of the Holy Ghost normally appears as entirely white with a yellow splendour around it which comes from within. We will learn in the fifth semantic level that also the blue tincture is “holy” so there was no semantic advantage to mingle the field with a halo. That would appear an odd technique for the emblazonment of this period anyway. What happened is that the author of the blazon just simplified the glowing halo through the tincture of the martlets changed from inside. In the same manner a star was covered by a cloud and changed from yellow to black in the arms of Sagremor. A realistic technique would paint all the cloud white, but that wouldn't carry the hidden semantic component, ignoring the presence of the star. All we need is a feasible construction, that may “excuse” the determinative aspects of the parophony upwards, unusual as it may be, deriving from chance.

 

 Edward the Confessor - Flock
CLASSIFICATION DESCRIPTION
Attributed Arms R Edward the Confessor
Demonym M Wintonian
Language of Conquest V Anglo-Norman
Denominant A j' Wincestrin
Converging metonymy S I > the coat of arms > the bearer > Edward
S Wintonian > lives in Winchester > king > Edward
Graphemization A  J'  |    |  W  |  I  |  N  |  C  |  E  |  S  |  T  |  R  |  I  |  N 
Phonemization A Z  |  w  |  Ẽ  |  s  |  E  |  s  |  t |  R\  |  Ẽ
Pairing A Z  |  w  |  Ẽ  |  s  |  E  |  s  |  t |  R\  |  Ẽ
A Z  |  w  |  Ẽ  |  s  |  E  |  s  |  t |  R\  |  Ẽ
Coefficient of transposition A 0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0
Coefficient of character A 0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0
Coefficient of position A 0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0
Addends A 0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0|0.0
Discretion index A k = 0.0
Phonemization A Z | w | Ẽ | s | E | s | t | R\ | Ẽ
Graphemization A J | U | I | N | T | S | | C | E | S | T | R | I | N | S
Designant A juints cestrins
Coloration E lemon yellow
Simple monosemy S or
S lemon yellow
Tincture H Azure
Number H a
Figuration H cross
Aspect H flory
Placement H cantoned with
Number H four
Figuration H martlets
Connective H and
Number H another
Placement H in base
Simple metonymy S together > everything > figurations > cross & martlets
Simple metonymy, Redundancy S lemon yellow > yellowish > or
Tincture H lemon yellow or
Immanence, Redundancy C gold (fleurs-de-lis)
Contrast C azure

 

(next article in this series is V/VI)

Autoria e outros dados (tags, etc)

Published at 16:53

St Edward the Confessor: Five Martlets (3/6)

Published by Carlos da Fonte, em 16.08.12
Edward the Confessor - Attributed Arms

This is a very brief and simple post. Our third semantic level deals with the change from four doves in the coin of King Edward to five martlets in his attributed arms. For the second time in all our analyses, like in the first semantic level, C(e) roi ~ Crois, the referent's metonymizes Edward with his status; then as a king, now as a saint. Maybe these examples were just another method to build the metonymy of the referent but the fact is that we were able to identify only a few. The overwhelming majority use geographical metonymizations.   

                  

It's also the first time during this analysis that we (slightly) changed the verbalizing agent, Old French, to the language of conquest then still used in England, Anglo-Norman. Even despite almost three hundred years of coexistence since William the Conqueror crossed the Channel.

 

Hence, the parophony is achieved with Seint (ano. saint) ~ Cinc (ano. five); its discretion index is k = 0. Don't let the writing mislead you, the sounds are effectively [sẼ] ~ [sẼ]. Observe that cinc alone is pronounced [sẼk], but it has the sound of [sẼ] if placed before merlés (ano. martlets) or any other substantive plural starting with a consonantal sound in modern French.

 

Now we are able to understand that, as the coins were minted in the lifetime of the king, there was still no reason for describing his status as a saint. The doves, however, previously performed the parophony Edouard ~ Et due harde, as appears in his silver penny. Their number was then just an adaptation of the idea of a flock to the available “slots” around the cross.

 

But now we have a straightforward specification: five birds must be seen. The arrangement used for this purpose was an extra space at the base of the shield, unavailable at the coin, in order to place the fifth martlet. There is nothing more to be said. The idea of “five” follows the emergence of the designant until its accomplishment as five birds. There is no room for misinterpretations on the way.

 

 

 Edward the Confessor - Flock
CLASSIFICATION DESCRIPTION
Attributed Arms R Edward the Confessor
Status M Saint
Language of Conquest V Anglo-Norman
Denominant A Seint
Graphemization A  S |  E  |  I  |  N  |  T 
Phonemization A s  |  Ẽ 
Pairing A s  |  Ẽ 
A s  |  Ẽ 
Coefficient of transposition A 0.0 | 0.0 
Coefficient of character A 0.0 | 0.0 
Coefficient of position A 0.0 | 0.0 
Addends A 0.0 | 0.0 
Discretion index A k = 0.0
Phonemization A s | Ẽ
Graphemization A C | I | N | C
Designant A cinc
Quantity E five
Simple monosemy S five
S five
Tincture H Azure
Number H a
Figuration H cross
Aspect H flory
Placement H cantoned with
Number H 4 four
Figuration H martlets
Connective H four + another and
Number H 1 another
Placement H in base
Tincture H or

 

(next article in this series is IV/VI)

Autoria e outros dados (tags, etc)

Published at 12:43

St Edward the Confessor: Martlets (2/6)

Published by Carlos da Fonte, em 10.08.12
Edward the Confessor - Attributed Arms

This second part of our analysis will try to justify the existence of birds in the shield of St Edward the Confessor. As with the cross, the drawing has been influenced by the previous numismatic representation, which included only four birds looking like doves. There should be some reason for adding an extra figuration to the shield.

 

Despite the heraldic arrangement with an implied space under the cross, able to explain the five birds, this could be easily changed by the extension of the lower limb, keeping the original quantity. According to the analysis made in St Edward the Confessor: C(e) roi ~ Crois, only a plain cross is needed, whether it would be Greek, adequate to the circular symmetry of a coin, or Latin, fit to the triangular shape of the shield. Something happened meanwhile, which forced the growth in number. The motivation, however, will only be completely understood with the following article.

 

Edward, our referent, almost certainly would be metonymized through his own name. All the examples we observed in medieval coins used this resource as a parophonic tool, conjectured to be an unsuspicious source of inspiration for the development of the heraldic language, along with seals. By inheriting this semantic feature the arms also inherited the corresponding language of verbalization, Old French, in particular the French spoken in Normandy. We see therefore the King-Saint shaped by the parophony Edouard (fra. Edward) ~ Et due harde (fra. and corresponding flock). The denominant, at the first part, has no particular difficulty but the designant, at the second, deserves a few comments.

 

We've already spotted a first parophony so it wouldn't be unreasonable to get both together in a phrasal sequence: Crois et due harde, or even to mix the denominant with the designant: Ce roi et due harde. The function of et (fra. and) is merely additive, connecting the pair of parophonies and justifying its existence. Although the word due, (fra. corresponding) doesn't keep its meaning in modern French but quite specifically, could indeed be interpreted in the past as: “due”, “respective” or “corresponding”. Therefore, a link is made between the cross (or the king) and harde (fra. flock). This last word also has lost some of its older meaning; still, we are only interested in medieval times where, without any hesitation thanks to many examples, it had the meaning of a flock of birds.

 

In conclusion, the phrase “cross and corresponding flock of birds” appears to be perfectly consistent with the images seen in the coins of Edward the Confessor. It doesn't mean that we don't need to investigate the consistency in the opposite direction, among other things, nor that other alternatives or maybe better solutions couldn't exist, which we very much doubt. We still refer the impossibility of developments like ait un harde or et du harde because harde was a feminine substantive in French.

 

The semantic convergence of a generic flock of animals into a particular flock of birds is achieved by a metonymization, emulating the designer's choice. A flock of sheep could have been preferred instead but the reason for the drawing choice would be due to the relative size of the four animals to the cross. A flock of quadrupeds, even smaller than sheep, would demand a huge cross, excluding any conventional artefacts, whereas a flock of birds would imply an acceptable dimension, as for a processional cross. Then, a second metonymization transforms the birds into martlets by request of the designant “flock”, which doesn't specify any particular species but recurrent in heraldry:

 

flock of animals > flock of birds

birds > martlets

 

What would be the reason for the birds to be doves initially, or equivalent, and later being transformed into martlets? The answer is given by the time gap between the representations. Whereas the coin took indifferently a common gregarious bird, the arms abode by the heraldic rules already in force, adopting a figuration that would represent birds generally: the martlet.

 

Thus we may see the second modification of the original design, after the introduction of flory endings at the cross limbs. These recalled the royal condition of Edward.  Would it be possible to attach a specific meaning for the martlets? We think otherwise; they would be only due to the need of consistency in the armorial language. It's also unfeasible to ascribe any connection with the sanctity of the king, subsequent to the coining, or with his royalty, already stressed by the cross flory. Furthermore, as the dove symbolizes the Holy Ghost, it is quite likely that the sole presence of a cross would be enough to inspire the resort to that figuration, but the presence of four birds dissuades taking them with such semantic specifity.

 

A point deserving our attention is the attitude of the birds. Even though we didn't reach the stage of chromatic analysis, it's patent that the field where the birds rest is blue. It would be comfortable to assume a sky as an appropriate background either for the martlets or the cross. There is a detail that undermines this reasoning: the birds fold their wings in the coin and in the shield, indicating that they couldn't be flying, at least in a strict interpretation.

 

Another possibility is to assign blue to water, where the five little birds would drift. But it's obvious that they aren't any water birds and that the cross, eventually considered in wood and allowed to float, already has the metallic elements of the Crown of St Edward, so that the remainder is also assumed in the same material. It would then be expected that the cross was in gold and that the condition of our referent as a saint would require a more glorifying plot, including the escorting figurations. Once again we must postpone the answer to our inquiries, this time in what refers the analysis of the blue tincture, provided with a semantic level of its own and conditioned by a particular referent's metonymy.

 

The syntactical arrangements were conditioned by the presence of the cross, allowing the necessary space for the introduction of four birds. It's not easy to tell which of the two numismatic parophonies was conceived first. Edward, through the martlets, is more obvious as a determinative linguistic expression. As to the cross, generated by his royal capacity, adjusts better to the visual practices usually reproduced in coins. Anyway, the gathering of the two ideas could only be consistently exhibited as it is. The introduction of a supplementary martlet, implied to maintain the Greek cross, as already seen, fitting the fifth figuration in the space between the lower limb of the cross and the end of the shield. A virtual square outline is defined by the cross, very well adapted to the sides and top edge of the shield, leaving the base as only possible region to place the said martlet.

 

Agreeing that there is in fact an association of the number of martlets with the cross, it is quite obvious that the quantity is determined upstream, not by the four slots of the cross but by the specification provided by “flock”. If hypothetically the parophony described the designant as two or three it would only be needed to make the corresponding adjustments. Nevertheless, by stating a flock, we couldn't imagine only two or even three birds. Maybe four is a feasible quantity, if we remember “cuadrilla”, a similar idea, embodying this number in its etymology. It constitutes what we may call a third metonymization, simple as the others - flock > four (five) birds - assisting the change from a nebulous numerical concept into a precise specification, in spite of two distinct versions of four and five units, by the additional influence of distinct semantic levels.

 

Centralities are harder to define. The drawing of each martlet is entirely asymmetrical preventing the homogeneity of the residual spaces, even with the eventual correct location of the geometrical centres. On top of this the five birds are turned to the dexter of the shield, impairing the axial symmetries regarding the cross and the shield, despite a strict compliance to the implicit rules demanded by the emblazonment. We must look after a balance among the shapes of all figurations and the corresponding spaces in-between; this will vary from one interpreter to another, ourselves included. Besides, this will contribute little or nothing to the semantic subjects that interest us primarily.

 

 Edward the Confessor - Flock
CLASSIFICATION DESCRIPTION
Attributed Arms R Edward the Confessor
Anthroponym M Edward
Language of Influence V French
Denominant A Edouard
Graphemization A  E |  D  |  O  |  U  |  A  |  R  |  D 
Phonemization A e  |  d  |  u  |  a  |  R  |  d 
Pairing A e  |  d  |  u  |  a  |  R  |  d 
A e  |  d  |  y  |  a  |  R  |  d 
Coefficient of transposition A 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0
Coefficient of character A 0.0 | 0.0 | 0.5 | 0.0 | 0.0 | 0.0 
Coefficient of position A 0.0 | 0.0 | 1.0 | 0.0 | 0.0 | 0.0 
Addends A 0.0 | 0.0 | 0.5 | 0.0 | 0.0 | 0.0 
Discretion index A k = 0.17
Phonemization A e | d | y | a | R | d
Graphemization A E | T | | D | U | E | | H | A | R | D | E
Designant A et due harde
Zoology E and corresponding flock
Simple monosemy S flock
S martlets
Tincture H Azure
Number H a
Figuration H cross
Aspect H flory
Placement H at the quarters cantoned with
Number H 4 four
Simple metonymy S flock of animals > flock of birds
Simple metonymy S birds > martlets
Figuration H flock martlets
Orientation C turned to the dexter
Disposition C 2 and 2
Centrality C shape balance
Connective H martlets + martlet and
Simple metonymy S flock > 5 (4) birds
Number H 1 another
Placement H under the lower limb of the cross in base
Orientation C turned to the dexter
Symmetry C halfway the martlets at each side
Centrality C halfway the placement
Tincture H or

 

(next article in this series is III/VI)

Autoria e outros dados (tags, etc)

Published at 17:50

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© Carlos Carvalho da Fonte 2009-2017


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