What Kind of a Thing Is a Middle English Lyric? considers issues pertaining to a corpus of several hundred short poems written in Middle English between the twelfth and early fifteenth centuries. The chapters draw on perspectives from varied disciplines, including literary criticism, musicology, art history, and cognitive science. Since the early 1900s, the poems have been categorized as “lyrics,” the term now used for most kinds of short poetry, yet neither the difficulties nor the promise of this treatment have received enough attention. In one way, the book argues, considering these poems to be lyrics obscures much of what is interesting about them. Since the nineteenth century, lyrics have been thought of as subjective and best read without reference to cultural context, yet nonetheless they are taken to form a distinct literary tradition. Since Middle English short poems are often communal and usually spoken, sung, and/or danced, this lyric template is not a good fit. In another way, however, the very differences between these poems and the later ones on which current debates about the lyric still focus suggest they have much to offer those debates, and vice versa. As its title suggests, this book thus goes back to the basics, asking fundamental questions about what these poems are, how they function formally and culturally, how they are (and are not) related to other bodies of short poetry, and how they might illuminate and be illuminated by contemporary lyric scholarship. Eleven chapters by medievalists and two responses by modernists, all in careful conversation with one another, reflect on these questions and suggest very different answers. The editors’ introduction synthesizes these answers by suggesting that these poems can most usefully be read as a kind of “play,” in several senses of that word. The book ends with eight “new Middle English lyrics” by seven contemporary poets.

These studies of the theory and practice of translation in the middle ages show a wide range of translational practices, on texts which range from anonymous Middle English romances and Biblical commentaries to the writings of Usk, Chaucer and Malory. Included among them is a paper on a hitherto unknown woman translator, Dame Eleanor Hull; a paper which compares a draft translation with its fair copy to show how its translator worked; a paper which shows how the mystic Rolle sought to 'translate' his heightened spiritual experiences into words; and so on. In a medieval translation the general priority of meaning over form and style enabled, even obliged, the translator to act more like an author than like a scribe. Consequently, the study of medieval translation throws important light on contemporary, attitudes to, and understandings of, fundamental literary questions: for example, and most importantly, that of the role of the author.

These papers are the proceedings of the fourth international Exeter Symposium. They promote enquiry into, and understanding of, the medieval mystics and the cultural context to which they belong. Here, historians, literary critics, theologians, philosophers and bibliographical scholars explore ways in which the contemplative tradition was mediated and perceived in the very early and very late medieval period, and ask fundamental questions about the nature of contemporary understanding of this subject. CONTRIBUTORS: GEORGE R. KEISER, SUE ELLEN HOLBROOK, WILLIAM F. POLLARD, JAMES HOGG, SANDRA MCENTIRE, ANNE SAVAGE, PETER DINZELBACHER, NICHOLAS WATSON, PETER MOORE, ROBERT K. FORMAN

A new look at how reading was practised and represented in England from the seventh century to the beginnings of the print era, finding many kinships between reading cultures across the medieval longue duree. Even as it transforms human cultures, routines, attention spans, and the wiring of our brains, the media revolution of the last few decades also urges a reconsideration of the long history of reading. The essays in this volume take a new look at how reading was practised and represented in England from the seventh century to the beginnings of the print era, using texts from Aldhelm to Malory and Wynkyn de Worde, arguing that whether unpicking intricate Latin, contemplating image-texts, or participating in semiotically-rich public rituals, reading cultivated and energized the subject's values, perceptions, and attitudes to the world. Part I, "Practices of Reading", asks how writers, scribes and artists engaged readerly attention through textual layout, poetic form, hermeneutic difficulty, or images, while Part II, "Politics of Reading", explores how different textual communities manipulated the anxieties and opportunities for education, moral improvement or entertainment associated with reading; particular topics addressed include Bible translation and exegesis, page layout, literary form and readerly practice, fiction, hermeneutics, and performance. Although it understands reading as culturally and technologically localized, the book finds many kinships between reading cultures across the medieval longue duree and the literatures and literacies that proliferate today. Contributors: Amy Appleford, Michelle De Groot, Daniel Donoghue, Andrew James Johnston, Andrew Kraebel, Katherine O'Brien O'Keeffe, Catherine Sanok, Samantha Katz Seal, James Simpson, Emily V. Thornbury, Kathleen Tonry, Kathryn Mogk Wagner, Nicholas Watson, Erica Weaver, Anna Wilson.

Ancrene Wisse introduced through a variety of cultural and critical approaches which establish the originality and interest of the treatise. The thirteenth-century Ancrene Wisse is a guide for female recluses. Addressed to three young sisters of gentle birth, it teaches what truly good anchoresses should and should not do, offering in its examples a glimpse of the real life women had in England in the middle ages. It is also important for its evidence for the continuation of the Anglo-Saxon tradition of prose writing, being produced in the West Midlands where Old English writing conventions continued to develop even after the Norman conquest. The Companion addresses the cultural and historical background, the affiliations of the versions, genre, authorship and language; the various approaches also includea feminist reading of the text. Contributors: ROGER DAHOOD, RICHARD DANCE, A.S.G. EDWARDS, CATHERINE INNES-PARKER, BELLA MILLETT, CHRISTINA VON NOLCKEN, ELIZABETH ROBERTSON, ANNE SAVAGE, D.A. TROTTER, YOKO WADA, NICHOLAS WATSON.

Julian of Norwich (ca. 1343-ca. 1416), a contemporary of Geoffrey Chaucer, William Langland, and John Wyclif, is the earliest woman writer of English we know about. Although she described herself as "a simple creature unlettered," Julian is now widely recognized as one of the great speculative theologians of the Middle Ages, whose thinking about God as love has made a permanent contribution to the tradition of Christian belief. Despite her recent popularity, however, Julian is usually read only in translation and often in extracts rather than as a whole.

This book presents a much-needed new edition of Julian's writings in Middle English, one that makes possible the serious reading and study of her thought not just for students and scholars of Middle English but also for those with little or no previous experience with the language.

- Separate texts of both Julian's works, A Vision Showed to a Devout Woman and A Revelation of Love, with modern punctuation and paragraphing and partly regularized spelling.

- A second, analytic edition of A Vision printed underneath the text of A Revelation to show what was left out, changed, or added as Julian expanded the earlier work into the later one.

- Facing-page explanatory notes, with translations of difficult words and phrases, cross-references to other parts of the text, and citations of biblical and other sources.

- A thoroughly accessible introduction to Julian's life and writings.

- An appendix of medieval and early modern records relating to Julian and her writings.

- An analytic bibliography of editions, translations, scholarly studies, and other works.

The most distinctive feature of this volume is the editors' approach to the manuscripts. Middle English editions habitually retain original spellings of their base manuscript intact and only emend that manuscript when its readings make no sense. At once more interventionist and more speculative, this edition synthesizes readings from all the surviving manuscripts, with careful justification of each choice involved in this process. For readers who are not concerned with textual matters, the result will be a more readable and satisfying text. For Middle English scholars, the edition is intended both as a hypothesis and as a challenge to the assumptions the field brings to the business of editing.

This is the first literary study of the career of Richard Rolle (d. 1349), a Yorkshire hermit and mystic who was one of the most widely-read English writers of the late Middle Ages. Nicholas Watson proposes a new chronology of Rolle's writings, and offers the first literary analyses of a number of his works. He shows how Rolle's career, as a writer of passionate religious works in Latin and later in English, has as its principal focus the establishment of his own spiritual authority. The book also addresses wider issues, suggesting a new way of looking at mystical writing in general, and challenging the prevailing view of the relationship between medieval and Renaissance attitudes to authors and authority.

Shortly after Morton Bloomfield's death in 1987, a number of his friends and colleagues sought a way to honor and preserve his memory. The result was a lecture of more than ordinary interest and more than ordinary prominence, signified by the fact that each would be published for individual circulation and then would be collected, as they are here, to appear in print for a wider audience. The lectures contained here reflect Morton Bloomfield's own wide and varied interests: literature, the history of philosophy, language studies, and Judaic studies. Morton W. Bloomfield's broad learning and personal popularity were unrivaled among his fellow medievalists, and this volume demonstrates the outpouring of those close to him and whom he influenced. The lectures contained within deal with a wide variety of topics, all a fitting tribute to a scholar who touched so many lives.

This is the first literary study of the career of Richard Rolle (d. 1349), a Yorkshire hermit and mystic who was one of the most widely-read English writers of the late Middle Ages. Nicholas Watson proposes a new chronology of Rolle's writings, and offers the first literary analyses of a number of his works. He shows how Rolle's career, as a writer of passionate religious works in Latin and later in English, has as its principal focus the establishment of his own spiritual authority. The book also addresses wider issues, suggesting a new way of looking at mystical writing in general, and challenging the prevailing view of the relationship between medieval and Renaissance attitudes to authors and authority.

Deeply embedded in the history of Latin Europe, the vernacular ("the language of slaves") still draws us towards urgent issues of affiliation, identity, and cultural struggle. Vernacular politics in medieval Latin Europe were richly complex and the structures of thought and feeling they left behind permanently affected Western culture. The Vulgar Tongue explores the history of European vernacularity through more than a dozen studies of language situations from twelfth-century England and France to twentieth-century India and North America, and from the building of nations, empires, or ethnic communities to the politics of gender, class, or religion.

The essays in The Vulgar Tongue offer new vistas on the idea of the vernacular in contexts as diverse as Ramon Llull's thirteenth-century prefiguration of universal grammar, the orthography of Early Middle English, the humanist struggle for linguistic purity in Early Modern Dutch, and the construction of standard Serbian and Romanian in the waning decades of the Austro-Hungarian empire. Here Latin, the "common tongue" of European intellectuals, is sometimes just another vernacular, Sanskrit and Hindi stake their claims as the languages of Shakespeare, African-American poetry is discovered in conversation with Middle English, and fourteenth-century Florence becomes the city, not of Dante and Boccaccio, but of the artisan poet Pucci. Delicate political messages are carried by nuances of French dialect, while the status of French and German as feminine "mother tongues" is fiercely refuted and as fiercely embraced. Clerics treat dialect, idiom, and gesture--not language itself--as the hallmarks of "vulgar" preaching, or else argue the case for Bible translation mainly in pursuit of their own academic freedom.

Endlessly fluid in meaning and reference, the term "vernacular" emerges from this book as a builder of bridges between the myriad phenomena it can describe, as a focus of reflection both on the history of Western culture and on the responsibilities of those who would analyze it.

Deeply embedded in the history of Latin Europe, the vernacular ("the language of slaves") still draws us towards urgent issues of affiliation, identity, and cultural struggle. Vernacular politics in medieval Latin Europe were richly complex and the structures of thought and feeling they left behind permanently affected Western culture. The Vulgar Tongue explores the history of European vernacularity through more than a dozen studies of language situations from twelfth-century England and France to twentieth-century India and North America, and from the building of nations, empires, or ethnic communities to the politics of gender, class, or religion.

The essays in The Vulgar Tongue offer new vistas on the idea of the vernacular in contexts as diverse as Ramon Llull's thirteenth-century prefiguration of universal grammar, the orthography of Early Middle English, the humanist struggle for linguistic purity in Early Modern Dutch, and the construction of standard Serbian and Romanian in the waning decades of the Austro-Hungarian empire. Here Latin, the "common tongue" of European intellectuals, is sometimes just another vernacular, Sanskrit and Hindi stake their claims as the languages of Shakespeare, African-American poetry is discovered in conversation with Middle English, and fourteenth-century Florence becomes the city, not of Dante and Boccaccio, but of the artisan poet Pucci. Delicate political messages are carried by nuances of French dialect, while the status of French and German as feminine "mother tongues" is fiercely refuted and as fiercely embraced. Clerics treat dialect, idiom, and gesture--not language itself--as the hallmarks of "vulgar" preaching, or else argue the case for Bible translation mainly in pursuit of their own academic freedom.

Endlessly fluid in meaning and reference, the term "vernacular" emerges from this book as a builder of bridges between the myriad phenomena it can describe, as a focus of reflection both on the history of Western culture and on the responsibilities of those who would analyze it.