Tweet, Tweet: ‘Twitter’ in the Medieval World
By Dr. Mary Wellesley
Independent Scholar of Ancient and Medieval Manuscripts
Does Twitter have its origins in the medieval period? Well, in a literal sense, no. As far as we are aware, no medieval ships came close to being named BoatyMcBoatFace as a result of a ‘campaign’ of parchment scraps. Medieval people did not write 280-character messages on pieces of parchment or paper, send them to each other or re-send the messages of others. But the imagery of ‘twitter’ and ‘tweet’ does have its origins in the Middle Ages. The modern name ‘Twitter’ was clearly chosen because there is something joyous about chattering birdsong. It implies something playful and social, and perhaps also lively, raucous debate. We can only speculate on whether Twitter’s creators knew that there is a now obsolete meaning of the word ‘twitter’ in English, which means a person who ‘reproaches or upbraids’.
With their restless desire to anthropomorphise, humans have long heard birdsong and understood its rhythms and patterns to be akin to human speech. The idea that birds like to get into lively debates is very old. The early Middle English poem, The Owl and the Nightingale, tells the story of a bad-tempered debate between an owl and a nightingale. Each bird is horrified by the other, pouring scorn on their counterpart’s song, nesting habits and appearance. But the poem is also a meditation on how to debate. In a revealing passage, the nightingale pauses before she speaks:
An sat sumdel & heo bi þohte
An wiste wel on hire þohte
Þe wraþþe binimeþ monnes red.
(‘She sat awhile and thought,
Reflecting on her thoughts,
Knowing that wrath robs a man of reason. ‘)[ll. 939–41]
This poem was written at some point between 1189 and 1216. Although it is anonymous, in the poem the birds resolve to seek the counsel of ‘Maister Nichole of Guldeforde’ (Master Nicholas of Guildford). This little in-joke may indicate that Guildford was the author or was known to them.
While The Owl and the Nightingale imagines the birds as tetchy and sometimes downright rude, they are not always depicted in this way in medieval poetry. At around the time that the Owl and the Nightingale was composed, Farīd al-Dīn Aṭṭār (d. c. 1230) was at work thousands of miles away on The Conference of the Birds منطق الطیر, (Manṭiq-uṭ-Ṭayr). This poem is a work of Sufi mysticism and has a contemplative tone by comparison with The Owl and the Nightingale. It tells the story of a group of birds who gather together to choose a new sovereign. The hoopoe is the wisest of the birds and acts as their leader and guide. He tells them that they must travel on an arduous journey through seven valleys to find their new king. The conclusion of the poem (which we won’t give away) is a moment of realisation for the birds, and it involves a pun … (You can read more about this manuscript on our Asian and African Studies Blog.)
Perhaps one of the most delightful descriptions of avian debate is Geoffrey Chaucer’s Parliament of Fowls, which was written in the late 14th century. It describes a group of birds gathering together in the early spring — on ‘seynt valentynes day’ — to choose their mates for the year. The poem appears to be the beginning of the tradition that associates Valentine’s Day with lovers. There is nothing in the hagiography (the Life) of St Valentine to suggest an association with lovers. The narrator describes the riot of sound made by the birds:
For this was on Saint Valentines day,
Whan every brid [bird] cometh ther to chese [choose] his make [mate],
Of every kinde that men thinke may;
And that so huge a noise [did] they make,
That erthe and air and tree and every lake
So ful was that unnethe [hardly] was ther space
For me to stonde, so ful was al the place.[ll. 316–22]
The noble birds — the eagles — are allowed to make their selections first. Three male eagles (tercels) eagerly vie for the hand of the formel (female) eagle, but the other birds soon interrupt, complaining that this is all taking too long. A cacophonous semi-debate ensues.
Originally published by the British Library, 08.29.2019, under the terms of a Creative Commons Attribution 4.0 International license.