From the Palestinian Desert to Medieval France: Rhymed Offices and the Liturgy for Saint Mary of Egypt

The legend of St. Mary of Egypt, a monastic tale from the Desert Fathers, narrates the story of a repentant prostitute who sought penance as a hermit in the desert for over forty years. Originally composed in Greek, this story was later transmitted in numerous Latin and vernacular versions, both in prose and poetry, gaining significant prominence in Western Europe, particularly after the tenth century, when the veneration of St. Mary of Egypt spread widely across the continent. This dissertation offers the first examination of the Latin liturgies dedicated to St. Mary of Egypt, shedding light on aspects of her cult that have previously remained unexplored. It aims to reveal how the liturgy contributed to shaping the understanding of her figure in the late Middle Ages, providing an original contribution to contemporary scholarship on the significance of the hagiographies of St. Mary of Egypt and other repentant prostitutes. Focusing on four case studies, this work traces how the liturgical veneration of the saint was established in the Diocese of Paris, at the Royal Court, and at the Benedictine Abbeys of Saint-Thierry in Reims and Saint-Gerard in Brogne. The analysis combines musicological, liturgical, and literary approaches to study liturgical manuscripts, texts, and chants from these locations, as well as historical documents from the relevant institutions. Central to this study are the rhymed offices—cycles of liturgical chants composed in verse for the saint—created locally at these centers. This genre, situated at the crossroads of poetry and music, flourished particularly in the late Middle Ages, emerging as one of the most original medieval liturgical forms and yet remaining largely unstudied. This research led to two major conclusions: first it demonstrates that each rhymed office and local liturgy offers a unique interpretation of the saint’s story, deeply intertwined with the local history and interests of the communities for which they were composed. Second, it shows that rhymed offices represent highly experimental poetic forms, engaging not only with the hagiographical tradition of the saint but also with the broader Latin literary tradition. Thus, this work lays the foundation for further explorations, particularly in examining additional liturgies and rhymed offices dedicated to St. Mary of Egypt. This will enhance understanding of how her cult was received and adapted in various medieval contexts. Moreover, it will offer valuable insights into the poetics and creative processes behind the composition of rhymed offices, shedding light on the intricate relationship between liturgy, music, and poetry during the late Middle Ages. Finally, this research establishes a methodology for identifying and analyzing large numbers of surviving liturgical sources within specific locales. When properly studied, the sources can offer a framework for understanding how regional liturgical practices and historical situations influenced the development and transmission various kinds of texts and music.