
Black Death in medieval culture

The Black Death in medieval culture includes the effect of the Black Death (1347–1350) on art and literature throughout the generation that experienced it.
Although contemporary chronicles are often regarded by historians as the most realistic portrayals of the Black Death, the effects of such a large-scale shared experience on the population of Europe influenced poetry, prose, stage works, music and artwork throughout the period, as made evident by writers such as Chaucer, Boccaccio, and Petrarch, and artists such as Holbein.
Chronicles.
Much of the most useful manifestations of the Black Death in literature, to historians, comes from the accounts of its chroniclers; contemporary accounts are often the only real way to get a sense of the horror of living through a disaster on such a scale. A few of these chroniclers were famous writers, philosophers and rulers (like Boccaccio and Petrarch). Their writings, however, did not reach the majority of the European population. For example, Petrarch's work was read mainly by wealthy nobles and merchants of Italian city-states. He wrote hundreds of letters and vernacular poetry of great distinction and passed on to later generations a revised interpretation of courtly love. There was, however, one troubadour, writing in the lyric style long out of fashion, who was active in 1348. Peire Lunel de Montech composed the sorrowful "sirventes" "Meravilhar no·s devo pas las gens" during the height of the plague in Toulouse.
Although romances continued to be popular throughout the period, the courtly tradition began to face increasing competition from ordinary writers who became involved in producing gritty realist literature, inspired by their Black Death experiences. This was a new phenomenon, made possible because vernacular education and literature, as well as the study of Latin and classical antiquity, flourished widely, making the written word steadily more accessible during the fourteenth century. For example, Agnolo di Tura, of Siena, records his experience:
The scene di Tura describes is repeated over and over again all across Europe. In Sicily, Gabriele de' Mussi, a notary, tells of the early spread from the Crimea:
Friar John Clyn witnessed its effects in Leinster, after its spread to Ireland in August 1348:
In literature.
In addition to these personal accounts, many presentations of the Black Death have entered the general consciousness as great literature. For example, the major works of Boccaccio ("The Decameron"), Petrarch, Geoffrey Chaucer ("The Canterbury Tales"), and William Langland ("Piers Plowman"), which all discuss the Black Death, are generally recognized as some of the best works of their era.
"La Danse Macabre", or the "Dance of death", was a contemporary allegory, expressed as art, drama, and printed work. Its theme was the universality of death, expressing the common wisdom of the time: that no matter one's station in life, the dance of death united all. It consists of the personified Death leading a row of dancing figures from all walks of life to the grave – typically with an emperor, king, pope, monk, youngster, beautiful girl, all in skeleton-state. They were produced under the impact of the Black Death, reminding people of how fragile their lives were and how vain the glories of earthly life. The earliest artistic example is from the frescoed cemetery of the Church of the Holy Innocents in Paris (1424). There are also works by Konrad Witz in Basel (1440), Bernt Notke in Lübeck (1463) and woodcuts by Hans Holbein the Younger (1538). Israil Bercovici claims that the "Danse Macabre" originated among Sephardic Jews in fourteenth century Spain (Bercovici, 1992, p. 27).
The poem "The Rattle Bag" by the Welsh poet Dafydd ap Gwilym (1315–1350 or 1340–1370) has many elements that suggest that it was written as a reflection of the hardships he endured during the Black Death. It also reflects his personal belief that the Black Death was the end of humanity, the Apocalypse, as suggested by his multiple biblical references, particularly the events described in the Book of Revelation.
Thomas Nashe wrote a sonnet about the plague entitled "A Litany in Time of Plague" which was part of his play "Summer's Last Will and Testament" (1592). He made countryside visits to remove himself from London in fear of the plague.
<poem> Rich men, trust not in wealth,
 Gold cannot buy you health;
 Physic himself must fade.
 All things to end are made,
 The plague full swift goes by;
 I am sick, I must die.
   Lord, have mercy on us!
 Beauty is but a flower
 Which wrinkles will devour;
 Brightness falls from the air;
 Queens have died young and fair;
 Dust hath closed Helen’s eye.
 I am sick, I must die.
   Lord, have mercy on us!</poem>
Influence on European folklore.
The Black Death quickly entered common folklore in many European countries. In Northern Europe, the plague was personified as an old, bent woman covered and hooded in black, carrying a broom and a rake. Norwegians told that if she used the rake, some of the population involved might survive, escaping through the teeth of the rake. On the other hand, if she used the broom, then the entire population in the area were doomed. The Plague-hag, or "Pesta", were vividly drawn by the painter Theodor Kittelsen.
Women during and after the Black Death also benefited from the growing importance of vernacular literature because a broader cultural forum became available to them which had previously been restricted to men by the Latin church. And so, they began writing and fostering through patronage the writings and translations of others. For example, in France, Christine de Pizan (1364–1430) became the first woman in Europe to support herself by writing. She wrote in many different literary forms, such as an autobiography and books of moral advice for men and women, as well as poetry on a wide range of topics. In her treatise "The Letter to the God of Love", she responded to Jean de Meun's anti-woman writings found in his conclusion of "Romance of the Rose". Her treatise marked the first instance in European history where a woman was able to respond to such diatribes in writing. It also led to a debate among de Meun and Pizan sympathizers which lasted until the sixteenth century.
Celebrations.
Some communities put on dances or other celebrations, either to cheer people up in dire times, or in a superstitious attempt to ward off the disease. According to tradition in Munich, these included the Schäfflertanz (barrel-maker's dance, dating to 1517) and the Metzgersprung (butcher's jump), which are still performed there and in other cities.