The Phoenix: Glorious, Christlike, Self-destructive

Morgan Library, MS M.81, Folio 62v

Tale of the Phoenix

Etymology

As medieval bestiaries were shaped by the influences of Isidore of Seville’s Etymologies, we will begin with the origin of its name.

Latin: phoenīx

Reinforced, Anglo-Norman and French: fenix, fenis, phénix; the mythical bird

Source: Oxford Dictionary

The Phoenix is a mythical creature, and it is said that only one exists in the world at any time. Its place of origin and the details of life sometimes vary. However, one thing always remains true: after centuries, when the Phoenix senses it has grown old, it sets itself up to burn.

The mystical bird, described with feathers the color of Phoenician purple, is said to hail from Arabia. The Phoenix lives for five hundred years (Barber Bestiary, 142). When it begins to feel itself grow old, it builds itself an altar or chrysalis of frankincense, myrrh, and spices. It then enters or lays itself upon it, and spreads its wings. With the rays of the sun, the Phoenix catches fire. Heightening the flames with the beat of its wings, it burns to ash (Aberdeen Bestiary, Folio 55r). Although, this isn't the end for the lone– a worm is said to be found in the ashes. It undergoes a transformation, becoming a small bird once again (bestiary.ca). The Phoenix is anew. The length of the bird's rebirth cycle varies by source, however, the focus remains its rise from the ashes.

Bodleian Library, MS. Bodley 764, Folio 70r

Visualizing a Mythical Bird

Animals featured in the medieval bestiaries were never seen by the authors themselves. The habits and characteristics described were often fictitious (Davis). As a modern audience, we would be well aware that some of the animals featured, like the Phoenix, have never existed. This makes the images scattered throughout the medieval encyclopedias all the more interesting. The details in hand-drawn art reveal a lot about what the manuscript producers prioritized in terms of representation of the animal.

Whether drawn ornately or rudimentary, the Phoenix tends to be illustrated in two contexts: the period in which it collects materials for its "funeral pyre" or the climax of the bird's ceremonious death (Aberdeen Bestiary, Folio 55r). The visual repetition of this concept, as shown throughout several bestiaries, demonstrates that this was believed to be the most important ritual of the Phoenix. It is not the Phoenix's life that is the Bestiary's focus, but its death and resurrection. They sought to understand the meaning behind such self-destruction.

The illuminations extend the story even further, and provide insight into the medieval interpretations of the Phoenix. In the Aberdeen Bestiary, a circle encapsulates the bird, symbolizing the cycle of death and rebirth that is the distinguishable quality of the species. The circle is composed of the same colors used in the illuminations of Christ found on earlier pages of the manuscript, serving as a visible connection between the Phoenix and the Son of God that will later be explored. It is significant to note the gold coloring used in the illustrations of the bird in both the Bodley and Aberdeen Bestiaries. Bestiaries were luxury objects; they were meant to be consumed by the highest class of the Middle Ages. The images of these books needed to be on par in terms of aesthetics, which in turn influenced the animal's meaning. Cultural representations of animals were defined by visual elements (Davis). By dissecting every color, brush stroke, and adornment, we can begin to understand what these animals meant to people of the Middle Ages.

The medieval imagination is extremely different than the that of the modern thinker. We recognize the Phoenix as a fiery animal with red feathers and yellow plume, but those of the Middle Ages were much more traditional. I can imagine it would be very difficult for the typical manuscript creator to dream up such an intriguing mythical animal. Animals played a fairly serious role in their lives as means of food, transportation, and livelihood (Davis), so the formalities of these animal encyclopedias is expected. Nevertheless, the artistry shows through the different elements of the illustrations, as well as the animals' connections to biblical stories.

University of Aberdeen, The Aberdeen Bestiary 1200, Folio 55r

Bodleian Library, MS. Laud Misc. 247, Folio 144r

Bibliothèque Nationale de France, lat. 6838B, Folio 23v

Sancti Patris nostri Epiphanii, episcopi Constantiae Cypri, Ad Physiologum...

I wanted to take a second to acknowledge the more rudimentary drawings of the Phoenix. They demonstrate that not every bestiary was all flash and luxury. It was interesting to read about this mythical bird from the perspective of the medieval period because the differences in the contemporary interpretation become clear. From each bestiary photo I've seen so far, I have noticed that not many look like the Phoenix I would imagine today. We typically see them in films as fiery red birds who have magical powers, while the bestiaries seemed to dumb them down, making them seem just like every other member of their species. If the bestiary's interpretation of the Phoenix is how they truly looked and I saw one today, I probably wouldn't be aware that I was in the presence of such a rare bird.

Rebirth and Resurrection: The Phoenix as a Christ Figure

Alongside the information presented on medieval animals, bestiaries were composed of moral and spiritual messages. After each animal followed a connection to a biblical story or figure. Each beast and their corresponding stories were meant to teach people of the middle ages important moral and theological lessons. Medieval Christians believed that to understand nature was to understand God and divinity (Davis). These concepts illustrate that the primary intention of these animal encyclopedias was not to provide information on beasts or fictitious creature, but to provide insight on human concerns, revealing its anthropocentric focus.

The beloved Phoenix was no exception. In fact, the mythical bird would have been analyzed by Christians with the utmost significance. The bird's cycle of life and death is allegorical to the resurrection of Christ. The ability for the Phoenix to ignite flame and takes its life represents the Lord's power to take his own (Barber Bestiary, 141). The bird dies on its altar, just as Christ died on the cross. Depending on the manuscript, the Phoenix is said to rise once more after three days have passed, identical to the famous story (bestiary.ca).

The visual text is just as revealing as the elements of the story. In the Aberdeen Bestiary, both Christ and the bird are adorned with gold, which signified innocence, virtue, and purity (segmation.com). This not only connects to the two, but speaks to their divinity and elegance within the natural world. The illumination of the Phoenix upon the altar (Folio 55v), as well as "Christ in Majesty" (Folio 4v) are both painted with blue and orange. Blue signifies heavenly grace, while orange represents courage and strength. The color of the bird as described in the bestiary, Phoenician purple, was symbolic of royalty (segmation.com). The symbolism behind these colors reveal the Christian reverence for Christ's sacrifice, as well as for the Phoenix itself upon its reflection of the Lord.

The Phoenix's actions and traits, however, were not only a vehicle for Christ's resurrection. As explained by the Aberdeen Bestiary, "The phoenix can also signify the resurrection of the righteous." The spices, of which the Phoenix builds its pyre, signify virtue and goodness. The chrysalis is the faith that man is meant to immerse himself in, as well as the protection of Christ (Barber Bestiary, 143). It is when man approaches death that he knows he has led a good life, just as the Phoenix senses it has grown old. By relating the rebirth of the bird to acting with moral principles, the creator of the bestiary calls for man to turn to God and fill his life with virtue.

The bestiaries, on the surface, were animal encyclopedias with biblical references. Dig deeper and it is soon realized that they were an attempt to understand nature as a doorway to divinity. These animals, in the eyes of medieval people, hid meaning inside of their actions, traits, and characteristics. Real or works of legend, they sparked curiosity and inquisition. They served a greater purpose beyond a spot in the food chain or means of transportation. These ideas were influenced by theology, and help modern audiences understand the overarching importance of Christianity in the lives of people during these times. Those of the Middle Ages attempted to understand their place in the world in relation to animals. Although they tried to prove their superiority over these creatures by exploring these relationships, comparing certain "beasts" to biblical figures such as Christ contradicted the concept. The hierarchy is further muddled by the virtuous qualities of certain animals that man is meant to take after: "for the birds are there to teach man, not man to teach the birds." (Barber Bestiary). Nevertheless, the "book of beasts" reveals the consumption of medieval animals– not just as a meal for hungry bellies, but as objects of study for hungry minds.

Medieval Ideas in Contemporary Contexts

Disclaimer: contains spoilers

The symbolic nature of the Phoenix remains active in contemporary culture, its rebirth still the central focus. However, the representations that stem from the mythical bird have seemed to grow and change as time progressed. From Harry Potter to the Chronicles of Narnia, the Phoenix serves as not only a symbol for transformation, but a saving grace in the time of need.

Maleficent: Mistress of Evil utilizes an intriguing combination of the two. The Phoenix is regarded as the ancestor of a powerful species, the Dark Fey. They hold the power of "life, death, destruction, and rebirth." What marks this specific representation of the bird as interesting to me is the use of the word "destruction." In the Middle Ages, the Phoenix's ability to dictate the end of its own life was viewed as a divine power, for it was a representation of Christ. In the film, it is implied that harm could come from the bird's powers, and it was up to the wielder to decide.

Audiences witness Maleficent's transformation at the end of the film. When she is struck, and seemingly defeated, she rises from the ashes in the form of the powerful bird. Instead of making a move towards her enemy, she elects to save Aurora. The transformation is not only physical, but spiritual: Maleficent's focus shifts from vengeance to protecting the ones that she loves.

The Phoenix, whether you view it from a modern or medieval perspective, is an example that we are all capable of transformation– you may just need to be the one to initiate it.

Sources

The Aberdeen Bestiary
Phoenix - bestiary.ca
"Color Symbolism in Medieval Christian Art" - segmation.com
Barber, Richard W. Bestiary: Being an English Version of the Bodleian Library, Oxford M.S. Bodley 764 with All the Original Miniatures Reproduced in Facsimile. Boydell Press, 2006.
Davis, Rebecca. "Reading Animals, Reading Nature." University of California, Irvine. 9 October 2020

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