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The methods employed by the Lancastrian usurpers in their attempts to legitimise their dynasty's hold in the English throne included the reburying of the murdered Richard II, the invention of chronicles, prophecies and genealogies, new methods of trial and punishment, the use of spies, and the radical redefinition of treason. Strohm uses both literary and historical analysis to explore this quest for legitimacy, and the importance of symbolic activity to Henry IV and V.
Surviving in 59 complete manuscript versions, few English texts of the late medieval period seem to have achieved the popularity of Nicholas Love's fifteenth-century translation and adaptation of the Latin Meditationes Vitae Christi - The Mirror of the Blessed Life of Jesus Christ. The Mirror has received surprisingly little scholarly attention and is often contextualized in terms of its role in the theological conflict between English ecclesiastical orthodoxy and the teachings of heresiarch John Wycliff. David Falls presents a new account of the text's history which de-centralises, but does not disregard, the influence of the Wycliffite controversy. Falls interrogates preconceptions and investigates new possibilities for understanding the composition, circulation, function and use of Love's Mirror by examining both the textual modifications and additions made by Love in his adaptation of the Latin, and places these alterations in context by examining individual copies of the Mirror. The manuscript copies are read as both sites of literary consumption and nexuses of textual transition, demonstrating that it was Love's ability to inscribe his work with "functional diversity" which explains the Mirror's popularity. This book presents a nuanced picture not only of the Mirror's production, circulation and function, but also the dynamic and flourishing devotio-literary culture of late medieval England in which Love's text operated.
Kingship and Masculinity in Late Medieval England explores the dynamic between kingship and masculinity in fifteenth century England, with a particular focus on Henry V and Henry VI. The role of gender in the rhetoric and practice of medieval kingship is still largely unexplored by medieval historians. Discourses of masculinity informed much of the contemporary comment on fifteenth century kings, for a variety of purposes: to praise and eulogise but also to explain shortcomings and provide justification for deposition. Katherine J. Lewis examines discourses of masculinity in relation to contemporary understandings of the nature and acquisition of manhood in the period and considers the extent to which judgements of a king’s performance were informed by his ability to embody the right balance of manly qualities. This book’s primary concern is with how these two kings were presented, represented and perceived by those around them, but it also asks how far Henry V and Henry VI can be said to have understood the importance of personifying a particular brand of masculinity in their performance of kingship and of meeting the expectations of their subjects in this respect. It explores the extent to which their established reputations as inherently ‘manly’ and ‘unmanly’ kings were the product of their handling of political circumstances, but owed something to factors beyond their immediate control as well. Consideration is also given to Margaret of Anjou’s manipulation of ideologies of kingship and manhood in response to her husband’s incapacity, and the ramifications of this for perceptions of the relational gender identities which she and Henry VI embodied together. Kingship and Masculinity in Late Medieval England is an essential resource for students of gender and medieval history.
John Gower's works examined as part of a tradition of "official" writings on behalf of the Crown. John Gower has been criticised for composing verse propaganda for the English state, in support of the regime of Henry IV, at the end of his distinguished career. However, as the author of this book shows, using evidence from Gower's English, French and Latin poems alongside contemporary state papers, pamphlet-literature, and other historical prose, Gower was not the only medieval writer to be so employed in serving a monarchy's goals. Professor Carlson also argues that Gower's late poetry is the apotheosis of the fourteenth-century tradition of state-official writing which lay at the origin of the literary Renaissance in Ricardian and Lancastrian England. David Carlsonis Professor in the Department of English, University of Ottawa.
Pastoral Care, the religious mission of the Church to minister to the laity and care for their spiritual welfare, has been a subject of growing interest in medieval studies. This volume breaks new ground with its broad chronological scope (from the early eleventh to the late fifteenth centuries), and its interdisciplinary breadth. New and established scholars from a range of disciplines, including history, literary studies, art history and musicology, bring their specialist perspectives to bear on textual and visual source materials. The varied contributions include discussions of politics, ecclesiology, book history, theology and patronage, forming a series of conversations that reveal both continuities and divergences across time and media, and exemplify the enriching effects of interdisciplinary work upon our understanding of this important topic.
This is an important collection of pioneering essays penned by the late Simon Walker, a highly respected historian of late medieval England. One of the finest scholars of his generation, Walker's writing is lucid, inspirational, and has permanently enriched our understanding of the period. The eleven essays featured here examine themes such as kingship, lordship, warfare and sanctity. There are specific studies on subjects such as the changing fortunes of the family of Sir Richard Abberbury; Yorkshire's Justices of the Peace; the service of medieval man-at-arms, Janico Dartasso; Richard II's views on kingship, political saints, and an investigation of rumour, sedition and popular protest in the reign of Henry IV. An introduction by G.L. Harriss looks back across Walker's career, and discusses the historiographical context of his work. Both the new and previously published pieces here will be essential reading for those working on the late medieval period.
Analyzes the political, theological and social dimensions of speech as depicted in late medieval English lyric poetry.
The first book to explore the importance of alchemy and its links to the occult in the period between 1320 and 1400. Alchemists didn't just try to turn metals into gold: they studied planetary influences on metals and people, refined plants and minerals in the search for medicines. This book illustrates how this branch of thought became more popular as the practical and theoretical knowledge of alchemists spread throughout England.
A study of the prophetic tradition in medieval England brings out its influence on contemporary politics and the contemporary elite.
Little remains of the rich visual culture of late medieval English piety. The century and a half leading up to the Reformation had seen an unparalleled growth of devotional arts, as chapels, parish churches, and cathedrals came to be filled with images in stone, wood, alabaster, glass, embroidery, and paint of newly personalized saints, angels, and the Holy Family. But much of this fell victim to the Royal Injunctions of September 1538, when parish officials were ordered to remove images from their churches. In this highly insightful book Sarah Stanbury explores the lost traffic in images in late medieval England and its impact on contemporary authors and artists. For Chaucer, Nicholas Love, and Margery Kempe, the image debate provides an urgent language for exploring the demands of a material devotional culture—though these writers by no means agree on the ethics of those demands. The chronicler Henry Knighton invoked a statue of St. Katherine to illustrate a lurid story about image-breaking Lollards. Later John Capgrave wrote a long Katherine legend that comments, through the drama of a saint in action, on the powers and uses of religious images. As Stanbury contends, England in the late Middle Ages was keenly attuned to and troubled by its "culture of the spectacle," whether this spectacle took the form of a newly made queen in Chaucer's Clerk's Tale or of the animate Christ in Norwich Cathedral's Despenser Retable. In picturing images and icons, these texts were responding to reformist controversies as well as to the social and economic demands of things themselves, the provocative objects that made up the fabric of ritual life.