Perspicuity, Acuity, and Illuminating Vision: Medieval and Early Modern Optics, Religion, and Literary Reflections of the Gaze in Hrotsvit of Gandersheim, Walter Map, Hartmann von Aue, the Melusine Romances (Jean d’Arras), and Froben Christoph von Zi

Medieval literature often seems to be a remote, irrelevant, incomprehensible world of narrative texts lost in heroic, religious, or courtly themes, limited to stories about King Arthur, courtly lovers, military heroes, and religious martyrs, saints, and prophets. In reality, as any expert can easily confirm, when we turn our full attention to pre-modern literature from across Europe (and also other parts of the world), we can often recognize the true extent to which poets utilized their narratives for spiritual, philosophical, religious, scientific, and medical explorations that have much to tell us today and prove to be deeply meaningful in a timeless manner. One key aspect, which was shared among virtually all medieval artists, poets, and theologians, consisted of the unique experience by an individual who is entitled through a physical opening to see into the depth or the height of all existence and can thus discover a wholly different world. Through this motif of the gaze, an entire epiphanic realization can set in, which thus quickly transforms the purely entertaining narrative medium into a narrative catalyst of profound spiritual experiences, helping the individual to gain inspiration from the Godhead (e.g., mysticism). Indeed, numerous times, medieval poets employed the motif of the visionary gaze, developed in very concrete terms, to trace and explain the process of perspicuity and accompanying acuity which ultimately leads to new intellectual, emotional, and religious understandings and experiences. While many intellectuals already embraced this notion of a visionary concept of spiritual comprehension, it might come as a surprise that secular and religious poets also operated quite intentionally with the concept of a hole in the wall or some other opening as a springboard for intellectual and spiritual experiences, directly drawing from the concepts of the optical sciences as understood at that time. Oddly but highly significantly, Christian and pagan notions tend to intersect in those narrative moments, particularly in late medieval literature, merging the visionary experience with the monstrous within human society, associating the gaze with the erotic and religious dimension.