Reviewed by: Introducing the Medieval Ass by Kathryn L. Smithies Gwendolyn Inocencio Kathryn L. Smithies, Introducing the Medieval Ass ( Cardiff: University of Wales Press, 2020), 163 pp., 7 ills. Kathryn L. Smithies, a medieval historian at the University of Melbourne, presents a concise history of the medieval ass as the second book in the University of Wales Press series on Medieval Animals edited by Diane Heath and Victoria Blud. The series touts itself as the first to mine the "roles and perceptions of individual animals during the Middle Ages" (viii). Smithies follows Thomas Honegger, who contributed the first book in the series, Introducing the Medieval Dragon (2019), and precedes Natalie Jayne Goodison's Introducing the Medieval Swan (2022). Like Honegger and Goodison, Smithies performs the goal of the series, which is to locate a specific animal from the fifth to sixteenth centuries, follow its rich historical and cultural influences, and explore its presence in various theological, philosophical, and political moments. Additionally, she notes the important role that asses play within the tensions of such moments and how they suffuse, deflate, or highlight nuances within cultural frames. Smithies charts lasting resonances and refines and builds knowledge of animals as persuasive symbols, metaphors, and teachers through their illustrative use in a range of textual contexts. Ultimately, this series and Smithies's work on the ass contribute to the "animal turn" in critical theory and humanities scholarship, animality studies, and animal studies. As a result, the ubiquity of animals in the history of rhetoric emerges. In her introduction, Smithies names the paradoxical rhetoric and the "contesting reputations" of the ass featured in four sections that highlight various medieval beast genres (6). She also defines her terms. Though English speakers know the ass as a donkey, "the medieval world knew the ass by its Latin name—asinus" (8). Using this rationale for the term, she then lists the multiple iterations of [End Page 274] the ass for discussion: the domestic ass, the wild ass (onager), the hybrid ass (mule), and the mythical ass (onocentaur). Smithies's first section, "The Natural World of the Ass," situates the ass in nature, showing it removed from the wild and placed within human culture to perform, accompany, and serve. When medieval authors then transfer the domesticated ass into the symbolic structure of communication, its symbolism carries strong cultural resonances. As a result, medieval people knew asses two ways, literally in daily life and theoretically as depicted in encyclopedias and bestiaries (books of beasts) inherited from the classical world. Both genres show medieval authors with an interest in the natural world because medieval culture saw the natural world as arranged by a Christian God, with animals exemplifying "a morally correct life" (21). The first section logically leads to "The Religious Ass" and the ass's natural characteristics—dutiful, humble, hardworking—symbolically linking to the ideal Christian. When associated with Christ, the ass becomes a sign of peace. When it is sometimes gifted with language, it further functions as a didactic exemplar that reflects ideal Christian behavior. However, some examples conversely and paradoxically show wild asses both representing monks voluntarily sequestered from the world as well as the embodied Devil. Their incessant braying ties to the spring equinox, which shortens daylight, increases darkness, and is associated with evil. Thus, the ass closely relates to the medieval vice-virtue cycle, easily accommodating any author-mediated characterization via their versatile nature, wild or domesticated. Ultimately, all framing of the religious ass—biblical, bestial, hagiographical, or festival—evokes "an emotional audience within a Christian paradigm" (59). The third section, "The Scholastic Ass," proves valuable to the history of animal studies and illustrates a prevailing postmodern concern, the arbitrary line drawn between humans and animals. Taking the concept of the ass as a "powerful prop" that enables "medieval Christians to engage with the divine" (61), it introduces "the emerging uncertainty over the animal-human divide" (68). As a powerful example of the ass's mutable nature applied to humans, the figure of the "Ass Playing a Lyre" gives life to both human passivity and bold action. From a Christian perspective, the figure represents the simple Christian. Additionally, from a scholastic and philosophical perspective, it...