Originally published in 1981, The Later Middle Ages bridges the gap between modern and medieval language and literature, by introducing the social and intellectual milieu in which writers like Chaucer, Malory and Margery Kempe lived. It provides a unified and coherent account of the culture of late medieval England, and of the problems involved in viewing it, in relation to English literature. The book covers the history of ideas and education, art and architecture, and changes in the social, economic and political structure.

The Spirit of England: Selected Essays of Stephen Medcalf

Originally published in 1981, The Later Middle Ages bridges the gap between modern and medieval language and literature, by introducing the social and intellectual milieu in which writers like Chaucer, Malory and Margery Kempe lived. It provides a unified and coherent account of the culture of late medieval England, and of the problems involved in viewing it, in relation to English literature. The book covers the history of ideas and education, art and architecture, and changes in the social, economic and political structure.

Stephen Medcalf (1937-2006) was an essayist, in the best traditional sense of that calling: a writer not of books but of substantial and justly celebrated essays, widely read in the Times Literary Supplement and elsewhere. Medcalf's abiding question to the world was the Psalmist's: 'What is man that thou art mindful of him?' His was a Blakean sense of Englishness, far from the chocolate-box painting or the television adaptation, and for him the strongest writers were those keenly aware of their roots in the classical, Anglo-Saxon or Celtic past. By gathering together Medcalf's most important work, this volume shows the coherence of his thinking, and of the elusive, complicated literary heritage he celebrated, one which acknowledges the Greco-Roman strain, the Christian strain, the down-to-earth humour and the sly irony. Thirteen substantial essays cover Virgil, the Bible, the English translation of Alfred, Piers Plowman, the 'half-alien culture' of the high Middle Ages, Chaucer's contemporary Thomas Usk, Shakespeare's images of resurrection, Horace and Kipling juxtaposed, G. K. Chesterton, T. S. Eliot's use of Ovid, P. G. Wodehouse, William Golding, John Betjeman, Geoffrey Hill and other writers. The book concludes with perhaps Medcalf's most personal article of all: his account of finding a baby in a phone box on a cold winter's night, which first appeared in the Guardian Christmas Supplement in 2002.

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.

Ambrogio Maestri leads the cast in Stephen Medcalf's 2011 production of Verdi's opera, recorded live at the Teatro Regio di Parma. Other cast members include Luca Salsi, Antonio Gandia, Barbara Bargnesi and Romina Tomasoni. The conductor is Andrea Battistoni.

Ambrogio Maestri leads the cast in Stephen Medcalf's 2011 production of Verdi's opera, recorded live at the Teatro Regio di Parma. Other cast members include Luca Salsi, Antonio Gandia, Barbara Bargnesi and Romina Tomasoni. The conductor is Andrea Battistoni.