Essays on a variety of topics in late medieval literature, linked by an engagement with form. The insight that "the implications of textuality as such" can and must underlie our interpretations of literary works remains one of A.C. Spearing's greatest contributions to medieval studies. It is a tribute to the breadth and significance of his scholarship that the twelve essays gathered in his honour move beyond his own methods and interests to engage variously with "textuality as such," presenting a substantial and expansive view of current thinking on form in late medieval literary studies. Covering a range of topics, including the meaning of words, "experientiality", poetic form and its cultural contexts, revisions, rereadings, subjectivity, formalism and historicism, failures of form, the dit, problems of editing lyrics, and collective subjectivity in lyric, they offer a spectrum of the best sort of work blossoming forth from close reading of the kind Spearing was such an early advocate for,continues to press, and which is now so central to medieval studies. Authors and works addressed include Chaucer (The Canterbury Tales, Troilus and Criseyde, The Legend of Good Women, "Adam Scriveyn", "To Rosemounde", "TheComplaint Unto Pity"), Langland (Piers Plowman), the Gawain-poet (Cleanness), Charles d'Orleans, Gower (Confessio Amantis), and anonymous lyrics. Cristina Maria Cervone teaches English literature and medieval studies at the University of Memphis; D. Vance Smith is Professor of English at Princeton University. Contributors: Derek Pearsall, Elizabeth Fowler, Claire M. Waters, Kevin Gustafson, Michael Calabrese, David Aers, Nicolette Zeeman, Jill Mann, D. Vance Smith, J.A. Burrow, Ardis Butterfield, Cristina Maria Cervone, Peter Baker.

The Text in the Community brings together essays by a diverse group of medievalists to consider the multiple ways in which readers approach texts and manuscripts as part of various communities of readers, authors, scribes, and scholars. The central premise of this volume is that texts do not exist in isolation. Each written work is embedded in a wide variety of contexts - literary, historical, geographical, social, political, and religious - and derives its meaning in part from the intersection of those contexts in the reader's experience of the text. This collection is distinguished by a variety of approaches to the study of medieval texts and manuscripts and by the capacious time frame in which they are located, extending from the Anglo-Saxon period to the fifteenth century. Contributors demonstrate ways in which the insights gained from careful attention to the multiple dimensions, material as well as verbal, of medieval texts can extend and complicate our notions of the literary tradition, medieval reading practices and audiences, and modes of composition.

This revised edition is based on the first edition which has become a classic in Chaucer studies. Important material has been updated in the text, and its contributions cover recent trends in literary theory as well as in studies of Chaucer's works. The bibliography has been completely revised to provide an indispensable guide for today's student of Chaucer. First Edition Hb (1986): 0-521-30422-9 First Edition Pb (1986): 0-521-31689-8

An investigation of Chaucer's thinking about women, assessed in the light of developments in feminist criticism. Women are a major subject of Chaucer's writings, and their place in his work has attracted much recent critical attention. Feminizing Chaucer investigates Chaucer's thinking about women, and re-assesses it in the light of developments in feminist criticism. It explores Chaucer's handling of gender issues, of power roles, of misogynist stereotypes and the writer's responsibility for perpetuating them, and the complex meshing of activity and passivityin human experience. Mann argues that the traditionally 'female' virtues of patience and pity are central to Chaucer's moral ethos, and that this necessitates a reformulation of ideal masculinity. First published [as Geoffrey Chaucer] in the series 'Feminist Readings', this new edition includes a new chapter, 'Wife-Swapping in Medieval Literature'. The references and bibliography have been updated, and a new preface surveys publications in the field over the last decade. JILL MANN is currently Notre Dame Professor of English, University of Notre Dame.

This revised edition is based on the first edition which has become a classic in Chaucer studies. Important material has been updated in the text, and its contributions cover recent trends in literary theory as well as in studies of Chaucer's works. The bibliography has been completely revised to provide an indispensable guide for today's student of Chaucer. First Edition Hb (1986): 0-521-30422-9 First Edition Pb (1986): 0-521-31689-8

An edition and English translation of the Speculum Stultorum (The Mirror for Fools), a long Latin beast epic written near the end of the twelfth century by a monk of Christ Church, Canterbury. This was one of the most popular works of the Middle Ages, a favourite of Chaucer, Gower, and Henryson, and was copied for over three centuries, with a circulation extending as far as eastern Europe. It is not only a milestone in the history of medieval beast epic, but a rich source of information about contemporary life and events at Canterbury. The work is dedicated to William Longchamp, who was Richard I's chancellor, and the significance of this fact is shown. This is a highly entertaining narrative about a donkey who longs to have a longer tail and journeys to Salerno to buy some (imaginary) medicines which will provide it. When his medicines are destroyed in an accident, he decides to become learned instead, and goes off to study at the university of Paris for seven years, but can still say only 'heehaw'. Interwoven into this simple narrative are other stories and long rhetorical set-pieces which satirise the distorted values of contemporary religious life or the corruption of the papal curia, and describe the qualities of an ideal bishop (which the donkey hopes to become).

What do stories about animals have to tell us about human beings? This book analyzes the shrewd perceptions about human life - and especially human language - that emerge from narratives in which the main figures are 'talking animals'. Its guiding question is not 'what' but 'how' animals mean. Using this question to draw a clear distinction between beast fable and beast epic, it goes on to examine the complex variations of these forms that are to be found in the literature of medieval Britain, in English, French, Latin, and Scots. The range, variety, and brilliant inventiveness of this tradition are demonstrated in chapters on the fables of Marie de France, the Speculum stultorum of Nigel of Longchamp (the comic adventures of a donkey), the debate poem The Owl and the Nightingale, Chaucer's Parliament of Fowls and the tales of the Squire, Manciple and Nun's Priest, the Reynardian tale of The Fox and the Wolf, and the Moral Fabillis of Robert Henryson. English translations provided for all quotations make the works discussed accessible to the modern reader.

The twelfth-century Latin beast epic Ysengrimus is one of the great comic masterpieces of the Middle Ages. This long poem, composed in what is today Belgium, recounts the relentless persecution of the wolf Ysengrimus by his archenemy Reynard the fox, in the course of which the wolf is beaten to a pulp, flayed (twice), mutilated, and finally eaten alive by sixty-six pigs. The cartoon-like violence of the narrative is not motivated by a gratuitous delight in cruelty but by a specific satiric aim: the wolf represents the hybrid ecclesiastic who is both abbot and bishop, whose greed is comparable to the wolf's. The details of the narrative are carefully crafted to make the wolf's punishment fit the abbot-bishop's crime, creating a topsy-turvy world in which the predator becomes prey. In the elaborate rhetorical fantasies that accompany the narrative, the wolf's tortures are represented as honors (for example, his flaying is mockingly represented as an episcopal consecration). This poem gave rise to a whole body of narratives, beginning with the earliest branches of the Romance of Renard and extending into most of the European vernaculars, so influential that the name Renard eventually became the standard word for fox in French.

One of the greatest and most ambitious works in English literature, The Canterbury Tales depicts a storytelling competition between pilgrims drawn from all ranks of society.

The tales are as various as the pilgrims themselves, encompassing comedy, pathos, tragedy, and cynicism. The Miller and the Reeve express their mutual antagonism in a pair of comic stories combining sex and trickery; in "The Shipman's Tale," a wife sells her favors to a monk. Others draw on courtly romance and fantasy: the Knight tells of rivals competing for the love of the same woman, and the Squire describes a princess who can speak to birds. In these twenty-four tales, Chaucer displays a dazzling range of literary styles and conjures up a wonderfully vivid picture of medieval life.Freshly established Middle English text with standardized spelling and punctuation and on-page glossingFeatures an introduction, a chronology of Chaucer's life and works, detailed explanatory notes, suggestions for further reading, a full glossary, and a bibliographyCompanion to the Penguin Classics original-spelling edition of Troilus and Criseyde

This volume collects fifteen landmark essays published over the last three decades by the distinguished medievalist Jill Mann. Bringing together her essays on Chaucer, the Gawain-poet, and Malory, the collection foregrounds the common interest in the semantic implications of key vocabulary such as "authority," "adventure," and "price" that links them together. Mann, one of the finest critics of Middle English literature in her generation, uses the concepts suggested by the language of medieval literature itself as a way into the masterpieces of Middle English, including The Canterbury Tales, Troilus and Criseyde, Sir Gawain and the Green Knight, and the Morte Darthur. An extended introduction by Mark Rasmussen brings out the nature of the themes that run through the collection, analyses the critical methods in play, and assesses their significance in the context of Middle English studies over the last thirty years.

This volume collects fifteen landmark essays published over the last three decades by the distinguished medievalist Jill Mann. Bringing together her essays on Chaucer, the Gawain-poet, and Malory, the collection foregrounds the common interest in the semantic implications of key vocabulary such as "authority," "adventure," and "price" that links them together.

Mann, one of the finest critics of Middle English literature in her generation, uses the concepts suggested by the language of medieval literature itself as a way into the masterpieces of Middle English, including The Canterbury Tales, Troilus and Criseyde, Sir Gawain and the Green Knight, and the Morte Darthur.

An extended introduction by Mark Rasmussen brings out the nature of the themes that run through the collection, analyses the critical methods in play, and assesses their significance in the context of Middle English studies over the last thirty years.

The Text in the Community brings together essays by a diverse group of medievalists to consider the multiple ways in which readers approach texts and manuscripts as part of "communities" of readers, authors, scribes, and scholars. The central premise of this volume is that texts do not exist in isolation. Each written work is embedded in contexts-literary, historical, geographical, social, political, and religious-and derives its meaning in part from the intersection of those contexts in the reader's experience of the text. This collection is distinguished by a variety of approaches to the study of medieval texts and manuscripts and by the capacious time frame in which they are located, extending from the Anglo-Saxon period to the fifteenth century. Contributors demonstrate ways in which the insights gained from careful attention to the multiple dimensions, material as well as verbal, of medieval texts can extend and complicate our notions of the literary tradition, medieval reading practices and audiences, and modes of composition.