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Jill Fitzgerald

with a necklace of gemstones, Lucifer conceives his crimes by saying that ‘he might be equal to the Lord with his own powers’. Aldhelm proposes that chastity means little if one succumbs to pride and vanity, which he often figures as a fierce, tyrannical queen. 3 Aldhelm’s theory of the fall reveals the narrative’s capacity for reaching a wide audience, even an exclusively female community. And he was not alone. The twelfth-century Ancrene Wisse – a handbook also intended for women – similarly places emphasis on the inherent dangers of vanity and sight. The author

in Rebel angels
The role of Noah’s wife in the Chester play of Noah’s Flood
Lawrence Besserman

the wood of Cross, a typological layering of implicit meaning is subtly at work, as the contextually anomalous verb leap evokes the leaping in Song of Songs 2:8: ‘The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills.’ The leaping of the beloved in this verse was interpreted typologically de bono and de malo by Ambrose, Gregory the Great, and other exegetes and poets, in numerous Latin commentaries, vernacular sermons, and homiletical, mystical, and devotional texts such as the Ancrene Wisse and The Wooing of Our

in Enacting the Bible in medieval and early modern drama
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Eyal Poleg

: Studies in Ancient and Mediaeval Rhetoric , ed. Anne King and Helen North, Ithaca and London, 1970, pp. 93–104); William J. Courtenay, ‘The Bible in the Fourteenth Century: Some Observations’, Church History 54:2 (1985), 176–87; Pim Valkenberg, ‘Readers of Scripture and Hearers of the Word in the Mediaeval Church’, in The Bible and Its Readers , ed. Wim Beuken, Sean Freyne, and Anton Weiler, Concilium 233:1 (London, 1991), pp. 47–57. For the Bible in medieval literature: Nicholas Perkins, ‘Reading the Bible in Sawles Warde and Ancrene Wisse’, Medium Aevum 72

in Approaching the Bible in medieval England