From Literacy To Literature England 1300 1400

The first lessons we learn in school can stay with us all our lives, but this was nowhere more true than in the last decades of the fourteenth century when grammar-school students were not only learning to read and write, but understanding, for the first time, that their mother tongue, English, was grammatical. The efflorescence of Ricardian poetry was not a direct result of this change, but it was everywhere shaped by it. This book characterizes this close connection between literacy training and literature, as it is manifest in the fine and ambitious poetry by Gower, Langland and Chaucer, at this transitional moment. This is also a book about the way medieval training in grammar (or grammatica) shaped the poetic arts in the Middle Ages fully as much as rhetorical training. It answers the curious question of what language was used to teach Latin grammar to the illiterate. It reveals, for the first time, what the surviving schoolbooks from the period actually contain. It describes what form a 'grammar school' took in a period from which no school buildings or detailed descriptions survive. And it scrutinizes the processes of elementary learning with sufficient care to show that, for the grown medieval schoolboy, well-learned books functioned, not only as a touchstone for wisdom, but as a knowledge so personal and familiar that it was equivalent to what we would now call 'experience'.

The Routledge Companion to Medieval English Literature offers a new, inclusive, and comprehensive context to the study of medieval literature written in the English language from the Norman Conquest to the end of the Middle Ages. Utilising a Trans-European context, this volume includes essays from leading academics in the field across linguistic and geographic divides. Extending beyond the traditional scholarly discussions of insularity in relation to Middle English literature and ‘isolationism’, this volume: Oversees a variety of genres and topics, including cultural identity, insular borders, linguistic interactions, literary gateways, Middle English texts and traditions, and modern interpretations such as race, gender studies, ecocriticism, and postcolonialism. Draws on the combined extensive experience of teaching and research in medieval English and comparative literature within and outside of anglophone higher education and looks to the future of this fast-paced area of literary culture. Contains an indispensable section on theoretical approaches to the study of literary texts. This Companion provides the reader with practical insights into the methods and approaches that can be applied to medieval literature and serves as an important reference work for upper-level students and researchers working on English literature.

How to Read Middle English Poetry guides readers through poetry between 1150 and 1500, for study and pleasure. Chapters give down-to-earth advice on enjoying and analyzing each aspect of verse, from the choice of single words, through syntax, metre, rhyme, and stanza-design, up to the play of larger forms across whole poems. How to Read Middle English Poetry covers major figures?such as Chaucer, Langland, the Pearl Poet, and Robert Henryson?but also delves into exciting anonymous lyrics, romances, and drama. It shows, too, how some modern poets have drawn on earlier poems, and how Middle English and early Scots provide crucial standpoints from which to think through present-day writing. Contextual sections discuss how poetry was heard aloud, introduce manuscripts and editing, and lay out Middle English poetry's ties to other tongues, including French, Welsh, and Latin. Critical terms are highlighted and explained both in the main text and in a full indexed glossary, while the uses of key tools such as the Middle English Dictionary are described and modeled. References to accessible editions and electronic resources mean that the book needs no accompanying anthology. At once thorough, wide-ranging, and practical, How to Read Middle English Poetry is indispensable for students exploring Middle English or early Scots, and for anyone curious about the heart of poetry's history.

English Humanism and the Reception of Virgil c. 1400-1550 reassesses how the spread of Renaissance humanism in England impacted the reception of Virgil. It begins with the first signs of humanist influence in the fifteenth century, and ends at the height of the English Renaissance during the mid-Tudor period. This period witnessed the first extant English translations of Virgil's Aeneid, by William Caxton (1490), Gavin Douglas (1513), and the Earl of Surrey (c. 1543). It also marked the first printings of Virgil's works in England by Richard Pynson (c. 1515) and Wynkyn de Worde (1510s-1520s). Through a fine-grained analysis of surviving manuscripts and early printed editions, Matthew Day questions how and to what extent Renaissance humanism impacted readers' and translators' approaches to Virgil. Building on current scholarship in the fields of book history, classical reception, and translation studies, it draws attention to substantial continuities between the medieval and humanist reception of Virgil's works. Humanist study of Virgil, and indeed of classical poetry more generally, continued to draw many of its aims, methods, and conventions from well-established medieval traditions of learning. In emphasizing the very gradual pace of humanist development and the continuous influence of medieval scholarship, the book comes to a more qualified view of how humanism did and (just as importantly) did not affect Virgilian reading and translation. While recognizing humanist innovations and discoveries, it gives due attention to the understudied, yet far more numerous examples of consistency and traditionalism.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Middle English Medical Recipes and Literary Play, 1375-1500 is the first detailed, book-length study of Middle English medical recipes in their literary, imaginative, social, and codicological contexts. Analysing recipe collections in over seventy late medieval manuscripts, this book explores how the words and structures of recipes could contribute to those texts' healing purpose, but could also confuse, impede, exceed, and redefine that purpose. The study therefore presents a challenge to recipes' traditional reputation as mundane, unartful texts written and read solely for the sake of directing practical action. Crucially, it also relocates these neglected texts and overlooked manuscripts within the complex networks forming medieval textual culture, demonstrating that—though marginalized in modern scholarship—medical recipes were actually linguistically, formally, materially, and imaginatively interconnected with many other late medieval discourses, including devotional writings, romances, fabliaux, and Chaucerian poetry. The monograph thus models for readers modes of analysis and close reading that might be deployed in relation to recipes in order to understand better their allusive, fragmentary, and playful qualities as well as their wide-ranging influence on medieval imaginations.

What would medieval English literature look like if we viewed it through the lens of the compendium? In that case, John Trevisa might come into focus as the major author of the fourteenth century. Trevisa (d. 1402) made a career of translating big informational texts from Latin into English prose. These included Ranulph Higden's Polychronicon, an enormous universal history, Bartholomaeus Anglicus's well-known natural encyclopedia De proprietatibus rerum, and Giles of Rome's advice-for-princes manual, De regimine principum. These were shrewd choices, accessible and on trend: De proprietatibus rerum and De regimine principum had already been translated into French and copied in deluxe manuscripts for the French and English nobility, and the Polychronicon had been circulating England for several decades. This book argues that John Trevisa's translations of compendious informational texts disclose an alternative literary history by way of information culture. Bold and lively experiments, these translations were a gamble that the future of literature in England was informational prose. This book argues that Trevisa's oeuvre reveals an alternative literary history more culturally expansive and more generically diverse than that which we typically construct for his contemporaries, Geoffrey Chaucer and William Langland. Thirteenth- and early fourteenth-century European writers compiled massive reference books which would shape knowledge well into the Renaissance. This study maintains that they had a major impact on English poetry and prose. In fact, what we now recognize to be literary properties emerged in part from translations of medieval compendia with their inventive ways of handling vast quantities of information.

What is literature made from? During the fourteenth, fifteenth, and sixteenth centuries, this question preoccupied the English court poets, who often claimed that their poems were not original creations, but adaptations of pre-existing materials. Their word for these materials was 'matter,' while the term they used to describe their labor was 'making,' or the act of reworking this matter into a new – but not entirely new – form. By tracing these ideas through the work of six major early poets, this book offers a revisionist literary history of late- medieval and early modern court poetry. It reconstructs premodern theories of making and contrasts them with more modern theories of literary labor, such as 'authorship.' It studies the textual, historical, and philosophical sources that the court tradition used for its matter. Most of all, it demonstrates that the early English court poets drew attention to their source materials as a literary tactic, one that stressed the process by which a poem had been made.

This title provides a new account of the literary history of fourteenth-century England, arguing that many of this period's most distinctive literary experiments emerge through a productive dialogue with the 'Romance of the Rose', a jointly-authored medieval French poem.