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The concept of Purgatory in Middle English didactic writings is explored through examination of visions of the afterlife, sermons, homiletic treatises, and lyrics.
"Book and Verse is guide to the variety and extent of biblical literature in England, exclusive of drama and the Wycliffite Bible, that appeared between the twelfth and the fifteenth centuries. Entries provide detailed information on how much of what parts of the Bible appear in Middle English and where this biblical material can be found."--BOOK JACKET.
This volume presents a selection of essays undertaken by participants in an NEH Summer Seminar in 2004 on the topic of the seven deadly sins, viewed individually and as a whole, as part of the Begriffsgeschichte of the Middle Ages and beyond in which concepts are constructed within the cultural milieus in which they function. The essays in the first part study the political and social ethics of medieval communities. In the second part, the institutional imperatives within the Church of formulating and teaching about the capital vices are the focus of research. In the final section, the contributions deal with ways in which secular artists and authors (in particular, Dante) contribute to the cultural construction of the vices. Contributors include: Dwight D. Allman, Bridget K. Balint, V. S. Benfell III, Dallas G. Denery II, Laura D. Gelfand, Susan E. Hill, Holly Johnson, Hilaire Kallendorf, John Kitchen, Rhonda L. McDaniel, Richard Newhauser, Thomas Parisi, and Derrick G. Pitard.
Intro -- Contents -- List of Illustrations -- Acknowledgments -- Abbreviations -- Introduction -- 1. The English Lives of Mary -- 2. John of Garland, Gram/Marian -- 3. The Musical Mother Tongue in Anglo-Latin Poetry for Meditation -- 4. Chaucer and Dame School -- 5. Mary's Mild Voice in the Middle English Lyrics -- 6. Margery Kempe and the Virgin Birth of Her Book -- Conclusion -- Selected Bibliography -- Index.
Published in 1998. John Shirley’s importance as a scribe of late fourteen-and early fifteenth-century vernacular poetry (in particular the works of Chauncer and Lydgate) has long been recognised. Not only did Shirley bring these works to the attention of a wider audience in his own time, but the survival of some if his manuscripts has perpetuated these texts for future generations of readers. Indeed, some of these poems are now only known through his manuscripts. In this meticulously researched survey, Margaret Connolly makes a thorough examination of all extent documents relating to Shirley’s life and carefully scrutinises the physical characteristics of his manuscripts. In so doing she dispels many of the false interpretations that have arisen from speculation about the nature of Shirley’s scribal activities. The book concludes that there is no evidence to suggest that Shirley acted as a bookseller, but plenty to indicate that he lent his books extensively. This book’s survey of volumes owned or used by Shirley provides general insights into the availability and circulation of literary texts in the fifteenth century. Palaeographers and those with a general interest in the history of the book will find this studying fascinating.
In Lyric Tactics, Ingrid Nelson argues that the lyric poetry of later medieval England is a distinct genre defined not by its poetic features—rhyme, meter, and stanza forms—but by its modes of writing and performance, which are ad hoc, improvisatory, and situational.
Simple Forms is a study of popular or folk literature in the medieval period. Focusing both on the vast body of oral literature that lies behind the written texts which have survived from the medieval period and on the popular literature provided by literate authors for audiences of hearers or readers with varying degrees of literacy, Douglas Gray leads new readers to a productively complicated understanding of the relationship between medieval popular culture and the culture of the learned. He argues that medieval society was stratified, in what seems to us a rigid way, but that culturally it was more flexible. Literary topics, themes, and forms moved; there was much borrowing, and a constant interaction. Popular tales, motifs, and ideas passed into learned or courtly works; learned forms and attitudes made their way in into popular culture. All in all this seems to have been a fruitful symbiosis. The book's twelve chapters are principally organised genre, covering epics, ballads, popular romances, folktales, the German sage, legends, animal tales and fables, proverbs, riddles, satires, songs, and drama.
Includes Part 1, Number 2: Books and Pamphlets, Including Serials and Contributions to Periodicals
Although medieval English music has been relatively neglected in comparison with repertoire from France and Italy, there are few classical musicians today who have not listened to the thirteenth-century song ‘Sumer is icumen in’, or read of the achievements and fame of fifteenth-century composer John Dunstaple. Similarly, the identification of a distinctively English musical style (sometimes understood as the contenance angloise) has been made on numerous occasions by writers exploring the extent to which English ideas influenced polyphonic composition abroad. Angel song: Medieval English music in history examines the ways in which the standard narratives of English musical history have been crafted, from the Middle Ages to the present. Colton challenges the way in which the concept of a canon of English music has been built around a handful of pieces, composers and practices, each of which offers opportunities for a reappraisal of English musical and devotional cultures between 1250 and 1460.