The sea stirs once: how the sounds of waves became a symbol of the spiritual quests of medieval pilgrims.

Assistant Professor of the Faculty of Languages and Cultures at Kyushu University, Britton Elliot Brooks, explores how the sounds that shaped the historical world enabled humans to communicate with nature, focusing on the depiction of the open sea in early medieval English literature. During this period, the sea was not only a visual symbol but also an auditory one, resonating in the works of medieval authors, writes Phys.org.

In the early Middle Ages, while short coastal journeys were common, crossing vast waters like the North Sea or the English Channel was regarded as both dangerous and rare. Most people experienced the open sea during storms, when waves violently crashed against one another.

Literature of that time often described the auditory intensity of the sea, using sound as a key descriptor. Brooks notes the use of "undisonus," a rare Latin adjective combining "unda" (wave) and "sonus" (sound), to depict the raging sea in early medieval texts. These auditory elements allowed authors to vividly portray the uncontrollable and divine nature of the ocean.

Brooks's study, published in "The Review of English Studies," delves into how sound shaped literary landscapes. Poems like "The Life of Saint Cuthbert" by Bede and the Old English "Andreas" employed the sounds of waves to create an isolated spiritual environment.

These were places where saints sought divine connection, far removed from daily life. For instance, the continuous noise of the sea symbolized its immense, divine power, beyond human control. In these texts, soundscapes often tested the faith of pilgrims, confronting them with both physical danger and spiritual awe.

For medieval writers, sound was seen as a direct pathway to the soul. Unlike Christian desert narratives from regions like Egypt, where saints wandered through arid landscapes, British and Irish authors found their spiritual space in the vast, mysterious seas. The sound of waves replaced the imagery of burning sands, providing a unique marine lens for divine exploration.

The interplay of faith and nature is particularly evident in verses like "Andreas," where divine intervention calms the stormy sea in response to prayer. These moments illustrate how faith can metaphorically and literally "still the waters," symbolizing spiritual triumph. Brooks suggests that such poetic imagery reveals the connection between humanity and nature, where both unite in acts of worship.

Brooks argues that understanding the historical sound environment can transform our perception of the role of sound in shaping awareness and emotions. Although we may never truly hear the past, exploring these literary soundscapes allows us to grasp how medieval people felt and interpreted the world around them.

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