Sarah Wood
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199653768
- eISBN:
- 9780191741678
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199653768.001.0001
- Subject:
- Literature, Early and Medieval Literature, Poetry
This book 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 ...
More
This book 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, this book 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, the book offers a new approach to reading the serial versions of the poem. While the versions of Piers Plowman customarily have been presented and read in parallel-text formats, the book shows that Langland's revisions are newly comprehensible if the three versions are read as a single, coherent compositional sequence, from end to end.Less
This book 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, this book 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, the book offers a new approach to reading the serial versions of the poem. While the versions of Piers Plowman customarily have been presented and read in parallel-text formats, the book shows that Langland's revisions are newly comprehensible if the three versions are read as a single, coherent compositional sequence, from end to end.
SARAH WOOD
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199653768
- eISBN:
- 9780191741678
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199653768.003.0007
- Subject:
- Literature, Early and Medieval Literature, Poetry
This chapter argues that each of Conscience's new appearances in the C text is not only related to other contemporary texts and discourses (such as those discussed in the previous chapter), but also ...
More
This chapter argues that each of Conscience's new appearances in the C text is not only related to other contemporary texts and discourses (such as those discussed in the previous chapter), but also to his compositionally earlier appearances in the B text. The changes to Conscience's role in C therefore make best sense if we simply read the versions of Piers Plowman attentively as a single compositional sequence, from end to end, rather than only in relation to the parallel passages in earlier versions. This chapter explores the wider implications of these observations about Conscience in the serial versions of the poem. The way the text of Piers Plowman has typically been presented in parallel-text format has hindered perceptions of the continuities between the versions which are most visible if they are read from end to end instead.Less
This chapter argues that each of Conscience's new appearances in the C text is not only related to other contemporary texts and discourses (such as those discussed in the previous chapter), but also to his compositionally earlier appearances in the B text. The changes to Conscience's role in C therefore make best sense if we simply read the versions of Piers Plowman attentively as a single compositional sequence, from end to end, rather than only in relation to the parallel passages in earlier versions. This chapter explores the wider implications of these observations about Conscience in the serial versions of the poem. The way the text of Piers Plowman has typically been presented in parallel-text format has hindered perceptions of the continuities between the versions which are most visible if they are read from end to end instead.
JOCELYN WOGAN-BROWNE
- Published in print:
- 2001
- Published Online:
- January 2010
- ISBN:
- 9780198112792
- eISBN:
- 9780191707599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112792.003.0008
- Subject:
- Literature, Early and Medieval Literature, Women's Literature
This chapter considers theological issues in hagiography and argues for women's composition in the genre as a mode of theological practice. It considers the response of Clemence of Barking to ...
More
This chapter considers theological issues in hagiography and argues for women's composition in the genre as a mode of theological practice. It considers the response of Clemence of Barking to Anselmian soteriology in her Life of St. Catherine and her use of a pagan role model, the Sibyl, as a legitimating didactic and prophetic female voice. It looks at how far female audiences could systematically study, debate, and place the doctrinal implications of saints' lives. It also considers whether insular culture is really as deprived in regard to women visionaries as is often suggested.Less
This chapter considers theological issues in hagiography and argues for women's composition in the genre as a mode of theological practice. It considers the response of Clemence of Barking to Anselmian soteriology in her Life of St. Catherine and her use of a pagan role model, the Sibyl, as a legitimating didactic and prophetic female voice. It looks at how far female audiences could systematically study, debate, and place the doctrinal implications of saints' lives. It also considers whether insular culture is really as deprived in regard to women visionaries as is often suggested.
Leonard Neidorf
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781501705113
- eISBN:
- 9781501708282
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501705113.003.0005
- Subject:
- Literature, Early and Medieval Literature
This chapter surveys linguistic regularities in Beowulf in order to gauge the extent to which the poem’s text might have been altered during its transmission. For the literary critics and cultural ...
More
This chapter surveys linguistic regularities in Beowulf in order to gauge the extent to which the poem’s text might have been altered during its transmission. For the literary critics and cultural historians who constitute the majority of scholars interested in Beowulf, no question pertaining to textual transmission is more consequential than that of the poem’s unity. The same metrical features that establish Beowulf as an archaic composition also provide firm indications that the poem is a unitary composition transmitted with minimal scribal interference. In addition, direct examination of the linguistic evidence is the most reliable method for determining the relative probability of competing hypotheses concerning the unity of Beowulf.Less
This chapter surveys linguistic regularities in Beowulf in order to gauge the extent to which the poem’s text might have been altered during its transmission. For the literary critics and cultural historians who constitute the majority of scholars interested in Beowulf, no question pertaining to textual transmission is more consequential than that of the poem’s unity. The same metrical features that establish Beowulf as an archaic composition also provide firm indications that the poem is a unitary composition transmitted with minimal scribal interference. In addition, direct examination of the linguistic evidence is the most reliable method for determining the relative probability of competing hypotheses concerning the unity of Beowulf.
Rita Copeland and Ineke Sluiter (eds)
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199653782
- eISBN:
- 9780191803628
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199653782.001.0001
- Subject:
- Literature, Criticism/Theory, Early and Medieval Literature
This book contributes to two fields, the history of the language arts and the history of literary theory. It brings together sources in the disciplines of grammar and rhetoric which were used to ...
More
This book contributes to two fields, the history of the language arts and the history of literary theory. It brings together sources in the disciplines of grammar and rhetoric which were used to understand literary form and language and teach literary composition. Grammar and rhetoric, the language disciplines, formed the basis of any education from antiquity through the Middle Ages, no matter what future career a student would want to pursue. Because literature was also the subject matter of grammatical teaching, and because rhetorical teaching gave great attention to literary form, these were also the disciplines that would prepare students for an understanding of literary language and form. These arts constituted the abiding theoretical toolbox for anyone engaged in a life of letters. The book brings together primary texts from the medieval history of grammar and rhetoric. The volume establishes the ancient traditions on which the medieval arts are based, and gives substantial selections from the late antique source texts. All texts are presented in their historical and theoretical contexts, and carefully annotated in order to make them useful to readers, both specialists and non-specialists.Less
This book contributes to two fields, the history of the language arts and the history of literary theory. It brings together sources in the disciplines of grammar and rhetoric which were used to understand literary form and language and teach literary composition. Grammar and rhetoric, the language disciplines, formed the basis of any education from antiquity through the Middle Ages, no matter what future career a student would want to pursue. Because literature was also the subject matter of grammatical teaching, and because rhetorical teaching gave great attention to literary form, these were also the disciplines that would prepare students for an understanding of literary language and form. These arts constituted the abiding theoretical toolbox for anyone engaged in a life of letters. The book brings together primary texts from the medieval history of grammar and rhetoric. The volume establishes the ancient traditions on which the medieval arts are based, and gives substantial selections from the late antique source texts. All texts are presented in their historical and theoretical contexts, and carefully annotated in order to make them useful to readers, both specialists and non-specialists.
Rita Copeland and Ineke Sluiter (eds)
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199653782
- eISBN:
- 9780191803628
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199653782.003.0032
- Subject:
- Literature, Criticism/Theory, Early and Medieval Literature
This chapter discusses prologues to commentaries on Horace's Ars poetica, written around 1150. Two anonymous texts are considered. The first, known as the ‘Materia’ commentary, deals with the ...
More
This chapter discusses prologues to commentaries on Horace's Ars poetica, written around 1150. Two anonymous texts are considered. The first, known as the ‘Materia’ commentary, deals with the medieval arts of poetry as well as the ‘six rules’ doctrine. The second text focuses on the use of Horace's work for the teaching of composition and assigns his work to logic rather than to ethics. It also looks at the verbal arts of the trivium.Less
This chapter discusses prologues to commentaries on Horace's Ars poetica, written around 1150. Two anonymous texts are considered. The first, known as the ‘Materia’ commentary, deals with the medieval arts of poetry as well as the ‘six rules’ doctrine. The second text focuses on the use of Horace's work for the teaching of composition and assigns his work to logic rather than to ethics. It also looks at the verbal arts of the trivium.
Rita Copeland and Ineke Sluiter (eds)
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199653782
- eISBN:
- 9780191803628
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199653782.003.0037
- Subject:
- Literature, Criticism/Theory, Early and Medieval Literature
This chapter discusses Ars versificaria (Art of Versifying), a treatise written by Gervase of Melkley around 1215–1216. Ars versificaria focuses on style and is comprised of three sections dealing ...
More
This chapter discusses Ars versificaria (Art of Versifying), a treatise written by Gervase of Melkley around 1215–1216. Ars versificaria focuses on style and is comprised of three sections dealing with rules common to any kind of discourse, rules pertaining to verse composition, and rules pertaining to prose composition. The section on rules pertaining to any kind of discourse is further divided into several parts that articulate Gervase's theoretical framework for classifying figures and tropes and are grouped under the headings of identity (identitas), similitude or likeness (similitudo), and contrariety (contrarietas). There are also short chapters on proverbs, stylistic elegance, and the embellishment of arguments through topics.Less
This chapter discusses Ars versificaria (Art of Versifying), a treatise written by Gervase of Melkley around 1215–1216. Ars versificaria focuses on style and is comprised of three sections dealing with rules common to any kind of discourse, rules pertaining to verse composition, and rules pertaining to prose composition. The section on rules pertaining to any kind of discourse is further divided into several parts that articulate Gervase's theoretical framework for classifying figures and tropes and are grouped under the headings of identity (identitas), similitude or likeness (similitudo), and contrariety (contrarietas). There are also short chapters on proverbs, stylistic elegance, and the embellishment of arguments through topics.
Rita Copeland and Ineke Sluiter (eds)
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199653782
- eISBN:
- 9780191803628
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199653782.003.0039
- Subject:
- Literature, Criticism/Theory, Early and Medieval Literature
This chapter discusses Parisiana poetria, a treatise on grammar and rhetoric written by John of Garland around 1231–1235. A consummate work on the grammatical and rhetorical curricula, Parisiana ...
More
This chapter discusses Parisiana poetria, a treatise on grammar and rhetoric written by John of Garland around 1231–1235. A consummate work on the grammatical and rhetorical curricula, Parisiana poetria deals with all kinds of written composition and the canons of rhetoric. It uses the system of the ‘vices’ or faults of style to describe a more comprehensive theory of style, represented in the figure of the ‘Wheel of Virgil’ in which Virgil's three works — the Eclogues, Georgics, and Aeneid — are used to differentiate literary character types, subject matters and settings, and levels of style.Less
This chapter discusses Parisiana poetria, a treatise on grammar and rhetoric written by John of Garland around 1231–1235. A consummate work on the grammatical and rhetorical curricula, Parisiana poetria deals with all kinds of written composition and the canons of rhetoric. It uses the system of the ‘vices’ or faults of style to describe a more comprehensive theory of style, represented in the figure of the ‘Wheel of Virgil’ in which Virgil's three works — the Eclogues, Georgics, and Aeneid — are used to differentiate literary character types, subject matters and settings, and levels of style.
Rita Copeland and Ineke Sluiter (eds)
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199653782
- eISBN:
- 9780191803628
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199653782.003.0041
- Subject:
- Literature, Criticism/Theory, Early and Medieval Literature
This chapter discusses Tria sunt (‘There are three things...’), a comprehensive treatise on the Latin arts of prose and poetry. In addition to different kinds of poetry and prose, Tria sunt deals ...
More
This chapter discusses Tria sunt (‘There are three things...’), a comprehensive treatise on the Latin arts of prose and poetry. In addition to different kinds of poetry and prose, Tria sunt deals with the beginnings and endings of compositions, amplification and abbreviation of the subject matter, stylistic ornamentation and vices of style, and attributes of persons and actions. It was probably used as a main text within the advanced grammar courses offered in universities.Less
This chapter discusses Tria sunt (‘There are three things...’), a comprehensive treatise on the Latin arts of prose and poetry. In addition to different kinds of poetry and prose, Tria sunt deals with the beginnings and endings of compositions, amplification and abbreviation of the subject matter, stylistic ornamentation and vices of style, and attributes of persons and actions. It was probably used as a main text within the advanced grammar courses offered in universities.
Rita Copeland and Ineke Sluiter (eds)
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199653782
- eISBN:
- 9780191803628
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199653782.003.0051
- Subject:
- Literature, Criticism/Theory, Early and Medieval Literature
This section focuses on the diffusion of grammatical and rhetorical theory in Latin teaching and especially in English vernacular writing. It presents texts that represent aspects of this diffusion ...
More
This section focuses on the diffusion of grammatical and rhetorical theory in Latin teaching and especially in English vernacular writing. It presents texts that represent aspects of this diffusion and approaches them through related developments in the language arts where new critical interests and cultural values were accommodated by old frameworks. It also considers the continuity with older practices and outlooks, especially with respect to the teaching of Latin language and composition, by citing key ancient and medieval preceptive works in grammar and compositional rhetoric. Finally, the extension of grammatical pedagogy into non-traditional areas is discussed.Less
This section focuses on the diffusion of grammatical and rhetorical theory in Latin teaching and especially in English vernacular writing. It presents texts that represent aspects of this diffusion and approaches them through related developments in the language arts where new critical interests and cultural values were accommodated by old frameworks. It also considers the continuity with older practices and outlooks, especially with respect to the teaching of Latin language and composition, by citing key ancient and medieval preceptive works in grammar and compositional rhetoric. Finally, the extension of grammatical pedagogy into non-traditional areas is discussed.
