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Deborah Youngs

. Significantly, women formed part of this literary coterie. Anne Harling ( c . 1426–98), Fastolf’s great-niece and ward, borrowed John Paston II’s copy of Troilus and shared an interest in the Epistle of Othea. Moreover, a collection of Middle English religious treatises commissioned by Anne in the 1460s was written by the scribe who had previously penned a number of letters on

in Gentry culture in late-medieval England
Abstract only
Eyal Poleg

Sunday, placing this Bible at the heart of liturgical celebration. The joining of media is evident in other places as well. Middle English texts were an important means of transmitting biblical knowledge to less-Latinate audiences. These literary narratives convey liturgical traits alongside preaching techniques, demonstrating how different forms of biblical aesthetics came together. Thus, in Piers Plowman the latter is evident in the divisions of the Tower of Truth and the Castle of Care (Passus 1 and 5), as in the portrayal of biblical events in their medieval

in Approaching the Bible in medieval England
Cathy Shrank

James Simpson, Reform and Cultural Revolution: The Oxford English Literary History, Vol. 2: 1350–1547 (Oxford: Oxford University Press, 2002), pp. 335–6, 391. 18 Clifford Davidson, Martin W. Walsh, and Ton J. Broos (eds), Everyman and its Dutch Original, Elckerlijc (2007), Teams Middle English Texts , http://d.lib.rochester.edu/teams (accessed 11 April 2019

in Enacting the Bible in medieval and early modern drama
Jennifer L. Sisk

example Catherine Sanok, ‘Reading Hagiographically: The Legend of Good Women and its Feminine Audience’, Exemplaria 13 (2001), pp. 323–54, at p. 341; Katherine J. Lewis, ‘History, Historiography and Re-writing the Past’, in Sarah Salih (ed.), A Companion to Middle English Hagiography (Cambridge: D.S. Brewer, 2006), pp. 122–40, at p. 123.   3 Chaucer refers to the ‘lyf … of Seynt Cecile’ in the F Prologue to the Legend of Good Women (l. 426), indicating that he wrote it sometime before 1386–7. All quotations of Chaucer’s poetry follow Larry D. Benson (ed.), The

in Sanctity as literature in late medieval Britain
Reading the virtue of soldier-saints in medieval literary genres
Andrew Lynch

N-Town Play, pp. 337–41. 16 N-Town Play, p. 358/261–2. 17 N-Town Play, p. 359/303. 18 Martin Stevens and A.C. Cawley (eds), The Towneley Plays II, EETS S.S. 14 (Oxford: Oxford University Press, 1994), pp. 194/400, 195/423, 198/531. (Hereafter Towneley Plays II.) 19 Towneley Plays II, p. 201/654–5. 20 Middle English Dictionary, ‘knight’, 2(a). 21 Middle English Dictionary, ‘knight’, 1(a). 22 Richard Hamer (ed.), Gilte Legende, 2 vols, EETS O.S. 327–8 (Oxford: Oxford University Press, 2006–7), Vol. 2, pp. 697/77–698/81. (Hereafter Gilte Legende.) 23 Gilte

in Sanctity as literature in late medieval Britain
E.A. Jones

enduringly influential works of guidance for English anchorites. Two separate translations into Middle English survive, though only one of them is complete. This excerpt is from the longer version which was made around the middle of the fifteenth century in the south of England, with the title ‘A Treatise that is a rule and a form of living pertaining to a recluse’. Translated from the Middle English, chapter 3 of MS Bodley 423

in Hermits and anchorites in England, 1200–1550
Open Access (free)
Thomas of Erceldoune’s prophecy, Eleanor Hull’s Commentary on the penitential Psalms, and Thomas Norton’s Ordinal of alchemy
Heather Blatt

customize the text to the individual reader’s needs and interests. Yet temporal reading does not promote only the ability to customize reading pace and frequency in order to achieve ‘bisye’ reading. An interpretation of how temporal reading functions that contrasts with the view of the translator of the Orcherd emerges in the Middle English translation of the Pseudo-Augustinian soliloquies. In it, the translator notes instead that temporal reading offers an opportunity for refreshment of the reader. To this translator, the divisions of the text facilitate readers

in Participatory reading in late-medieval England
Elisabeth Salter

is found in the Middle English Miscellany examined in Chapter 5 as well as, formerly, on the wall of the Chapel of the Trinity in Stratford-upon-Avon.86 Pre-Reformation readers probably had a fairly fluid perception of the connections between texts on walls and texts in books, perhaps particularly where moral, didactic and religious text is concerned. Stories 25 and 39 also seem to rehearse or mimic a process of reading and marking inscribed texts of moral import within their stories. In each case, a character within the tale is described as studying or reading the

in Popular reading in English c. 1400–1600
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The last shall be first
J. J. Anderson

himself to conventional adjectives of general import ( rounde, reken ‘beautiful’, smal, smothe ). Moreover, the adjectives belong to a vocabulary used for the description of courtly ladies in Middle English literature, and one phrase in particular ( so smothe her sydes were , line 6) suggests a woman rather than a jewel. This meaning seems to be corroborated by the fourfold use of the feminine pronoun in the first nine lines. In line 10 the neuter pronoun appears instead of the feminine pronoun, but then in lines 11–12 the dreamer seems to be confirming the hint in

in Language and imagination in the Gawain-poems
Tamsin Badcoe

’ see Elizabeth Mazzola, The Pathology of the English Renaissance: Sacred Remains and Holy Ghosts (Leiden: Brill, 1998), p. 39. 17 See Rosalie Vermette, ‘Terrae Incantatae: The Symbolic Geography of Twelfth-Century Arthurian Romance’, in Geography and Literature: A Meeting of the Disciplines , ed. William E. Mallory and Paul Simpson-Housley (Syracuse: Syracuse University Press, 1987), pp. 145–60. 18 See Stevens, Medieval Romance , p. 277. See also Carol Fewster, Traditionality and Genre in Middle English Romance (Cambridge: D.S. Brewer, 1987). 19 See

in Edmund Spenser and the romance of space