Justice And Mercy In Piers Plowman

Originally published by 1984 Justice and Mercy in Piers Plowman provides a clear and informative introduction to the complexities of Langland’s Piers Plowman. It identifies Langland’s major concerns and shows in detail, passus by passus, how these are developed by him in the first part of the poem – the Visio. It offers a close reading of the text and draws parallels where relevant with other medieval writings. There is a final brief chapter on the Vita which outlines the chief ways in which the themes of justice, mercy and law that have been followed through Visio continue to be of major importance in the rest of the poem. By concentrating on the philosophical core of the work, the climate of thought in which Langland wrote and the thematic integrity of the poem as a whole, the author makes a difficult, but unique and fascinating poem more accessible.

Rebecca Davis explores the relationship of divine creativity, poetry, and ethics in William Langland's fourteenth-century dream vision. By contextualizing Langland's poetics of kynde (or nature) within contemporary literary, philosophical, legal, and theological discourses, she opens up many of the poem's most perplexing interpretative problems.

This collection of newly written essays provides a fresh examination of some of the issues central to the study of this poem, including an exploration of its relevance to contemporary literary theory and to 14th century culture and ideology.

Conscience and the Composition of Piers Plowman provides a detailed account of one of the central personified figures in William Langland's Piers Plowman. Previous critical accounts of Conscience either focus on discussions of the faculty conscience in scholastic discourse, or eschew personification allegory as a useful category in order to argue for the figure's development or education as a character during the poem. But Conscience only appears to develop as he is re-presented, in the course of Piers Plowman, within a series of different literary modes. And he changes not only during the composition of the various episodes in different modes that make up the single version, but also during the composition of the poem as a series of three different versions. The versions of Piers Plowman form, this book argues, a single continuous narrative or argument, in which revisions to Conscience's role in one version are predicated upon his cumulative 'experiences' in the earlier versions. Drawing on a variety of materials in both Middle English and Latin, Sarah Wood illustrates the wide range of contemporary discourses Langland employed as he composed Conscience in the three versions of the poem. By showing how Langland transformed Conscience as he composed the A, B and C texts, Conscience and the Composition of Piers Plowman offers a new approach to reading the serial versions of the poem. While the versions of Piers Plowman have customarily been presented and read in parallel-text formats, Wood shows that Langland's revisions are newly comprehensible if the three versions are read in sequence.

By examining the various versions of the poem, Dr Goldsmith shows that the enigmatic Piers Plowman is a consistent figure despite many apparent contradictions.

Examination of key texts - Chaucer to Wyclif - sheds new light on medieval spirituality. The relationship between versions of the late medieval Church, faith, ethics and the lay powers, as explored in a range of late fourteenth- and early fifteenth-century texts written in England, is the subject of this book. It argues that they disclose strikingly diverse models of Christian discipleship, and examines the sources and consequences of such differences. Issues investigated include whether the Church could shape modern communities and individualidentities, and how it could combine its status as a major landlord and trader without being assimilated by the various networks of earthly power and profit. The book begins with Chaucer's treatment of received versions of faith,ethics and the Church, and moves via St Thomas, Ockham, Nicholas Love, Gower, the Gawain-poet and Langland (who pursues the issues with particular intensity and focus) to Wyclif's construal of Christian discipleship in relation to his projected reform of the Church. Interdisciplinary in approach, the book will be of interest to all those studying late medieval Christianity and literature. DAVID AERS is James B. Duke Professor of English and Professor of Historical Theology at Duke University.

A comprehensive study of the fascinating medieval poem Piers Plowman, consolidating the most enduring work with groundbreaking new research.

Engaging with four English poems or groups of poems-the anonymous medieval Crucifixion lyrics; William Langland's Piers Plowman, John Donne's Divine Poems, and John Milton's Paradise Lost-this book examines the nature of poetic encounter with God. At the same time, the author makes original contributions to the discussion of critical dilemmas in the study of each poem or group of poems. The main linguistic focus of this book is on the nature of dialogue with God in religious poetry, an area much neglected by grammarians and often overlooked in studies of literary style. It constitutes an important contribution to our understanding of the relationship between literature and theology.