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Megan Cavell, Jennifer Neville, and Victoria Symons

R. D. Fulk, Robert E. Bjork, and John D. Niles, eds, Klaeber’s Beowulf and the Fight at Finnsburg , 4th edn (Toronto: University of Toronto Press, 2008). 4 Heinrich Leo, Commentatio quae de se ipso Cynevulfus, sive Cenewulfus, sive Coenevulfus poeta Anglo-Saxonicus tradiderit (Halle: Hendel, 1857). 5 Frederick Tupper Jr, ed., The Riddles of the Exeter Book (Boston: Ginn, 1910). 6 For a bibliography of the field up to 1992, see Russell G. Poole, Old English Wisdom Poetry , Annotated Bibliographies of Old and Middle English Literature, 5 (Cambridge

in Riddles at work in the early medieval tradition
Frank Grady

celebration of courtly virtues and practices can evidently have an apotropaic effect, provided those elements are arranged with a certain degree of tact. Heavy atmosphere Hunting and fortune in the Duchess and Gawain 121 Notes  1 Stephanie Trigg, ‘The romance of exchange: Sir Gawain and the Green Knight’, Viator, 22 (1991), 251–66 (p. 264).  2 Anne Rooney, Hunting in Middle English Literature (Cambridge: D. S. Brewer, 1993), describes this ‘alliterative mortality tradition’ (p. 188); she and William Marvin conveniently and thoroughly survey the extensive critical

in Contemporary Chaucer across the centuries
Thomas A. Prendergast

. After these too bretheren, Romulus and Romus, Julius Cezar was Emperour, that rightfull was of domus. (Bowers [ed.], Canterbury Tales: Continuations, p. 80, lines 757–66). But, given the scribe’s extensive alterations elsewhere in the manuscript, it very well could have been inserted by the scribe himself, as line 765 could easily follow line 760. 37 Elizabeth Allen, False Fables and Exemplary Truth in Later Middle English Literature (New York: Palgrave, 2015), p. 128. 38 See David Lorenzo Boyd, ‘Social texts: Bodley 686 and the politics of the Cook’s Tale

in Contemporary Chaucer across the centuries
The expressive face of Criseyde/ Cressida
Stephanie Trigg

medieval England: some lexical problems’, in R. F. Green and L. R. Mooney (eds), Interstices: Studies in Late Middle English and Anglo-Latin Texts in Honour of A. G. Rigg (Toronto: University of Toronto Press, 2004), pp. 44–54 (p. 44). See also J. A. Burrow, ‘Alterity and Middle English literature’, Review of English Studies , 50 (1999

in Love, history and emotion in Chaucer and Shakespeare
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Chaucer and romance in the manuscript tradition
Gareth Griffith

); Derek Brewer , ‘The Popular English Metrical Romances’, in A Companion to Romance: Classical to Contemporary , ed. Corinne Saunders (Malden: Blackwell, 2004 ), 45–64; Susan Crane , Insular Romance: Politics, Faith and Culture in Anglo-Norman and Middle-English Literature (Berkeley and Los Angeles: University of California Press, 1986 ); Roberta Krueger , ed., The Cambridge Companion to Medieval Romance (Cambridge: Cambridge University Press, 2000 ); K.S. Whetter , Understanding Genre and Medieval

in Rereading Chaucer and Spenser
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The narrator in the Scottish Legendary
Eva von Contzen

’, in Elaine Treharne and David Johnson (eds), Readings in Medieval Texts: Interpreting Old and Middle English Literature (Oxford:  Oxford University Press, 2005), pp.  288–305, at pp. 297–8. In the course of the Prologue, though, it becomes obvious that the text also contains unusual, creative elements, which may point in the direction of a literary, albeit not autobiographical, prologue. 15 See his prologue to the Legendys of Hooly Wummen, 1–9. 16 Scottish Legendary, Prol. 1–5. 17 See Scottish Legendary, Prol. 24–6. 18 See Regina Scheibe, ‘ “Idilnes Giffis

in The Scottish Legendary
Time, space, and the Scottishness of the Scottish Legendary
Eva von Contzen

remarkably well with Middle English literature. To correspond to the English Legendaries there is the Scots Legends of the Saints …’. Even though their dialect is Scottish, Fox continues, and at least the chronicles deal with specifically Scottish subjects, ‘they can be accounted for without any need to hypothesise a specifically Scots literary tradition’.31 R. James Goldstein rightly criticises this view, which perpetuates ‘centuries of English cultural and political hegemony’.32 Yet there seems to be another equally hegemonic attitude at stake, also visible in Goldstein

in The Scottish Legendary
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Greeks and Saracens inGuy of Warwick
Rebecca Wilcox

; the real danger here is not that the Emperor plots against him, but that the Emperor has no control over his ranks, rendering him ineffective against MUP_McDonald_11_Chap10 224 11/18/03, 17:06 Guy of Warwick 225 internal as well as external threats. The Emperor’s crime is incompetence rather than malevolence. Though Christian knights fighting with Saracens against other Christians is not unheard of in medieval history, it is uncommon in Middle English literature; in Guy’s case, I would argue, Guy’s near defection implies that the hero has been lured off course

in Pulp fictions of medieval England
Sarah Stanbury

Tongue’. 7 Christopher Cannon, ‘The Language Group of the Canterbury Tales’, in Christopher Cannon and Maura Nolan (eds), Medieval Latin and Middle English Literature:  Essays in Honour of Jill Mann (Cambridge: D. S. Brewer, 2011), pp. 25–​40 (28). 8 As the Riverside Chaucer notes, with reference to IX. 139, ‘wyf’ can mean wife or lover (p.  953). In Chaucer’s sources, Phebus’s lover is named (Coronis), and there is no indication that the two are married. 9 According to Borch, the tale offers a ‘disillusioned view of beautiful rhetoric as a façade covering up a

in Household knowledges in late-medieval England and France
The parable of the Labourers in the Vineyard
Mary Raschko

Middle English literature are far more likely to encounter the rendition in Pearl. This singular poem, which survives in only one manuscript and boasts uniquely ornate aesthetics, embeds richly intellectual, theological discourses in an emotional tale of loss and mourning.7 Some have described the maiden’s speech featuring the parable as homiletic, but I argue that the poet does not so much represent as refute sermon discourse in this portion of the poem. The parable appears in an intensely personal dialogue between the Dreamer and his deceased daughter, but their

in The politics of Middle English parables