J. Allan Mitchell, Ethics and Eventfulness in Middle English Literature. (The New Middle Ages.) New York: Palgrave Macmillan, 2009. Pp. xiv, 187. $85. ISBN: 978-1403974426.

Speculum ◽  
2012 ◽  
Vol 87 (1) ◽  
pp. 258-260
Author(s):  
Andrew Galloway
Author(s):  
Andrew Cole

A controversial idea associated with religious culture in the late Middle Ages is that anyone who considers himself a part of mainstream religion must know his difference from heretics. A religious writer in this period who does not hew closely to orthodox teachings may be accused of being a heretic in his lyrical or prosaic musings about Church hierarchies, the Scripture, or the sacraments. This notion has become a subject of considerable debate among some specialists in Middle English literature. This article considers other paradigms that may broaden our notions about religious literature in fifteenth-century England. In particular, it proposes a paradigm that includes bishops rather than heretics, in part because bishops are mainly responsible for innovations that are neglected in a focus on Wycliffism. It also explores the critically neglected innovations within what it calls ecclesiastical humanism, some of its features, and how it emerged during the fifteenth century. It argues that the prevailing cultural obsession with the Wycliffite heresy had largely disappeared between the 1430s and the 1480s and was replaced, in part, by attempts to promote ecclesiastical institutions as centers of patronage and humanist literary culture.


Author(s):  
Christopher Cannon

Plato and Aristotle offered contrasting definitions of “form.” According to Plato, a “form” was external to the material world, a notion or idea or thought that can properly exist only in a mind. For Aristotle, “form” was always a part of some material thing. In Troilus and Criseyde, Geoffrey Chaucer offers a description that does not use the word “form,” and yet it implies a process that could be summarized with the word “formation.” This article discusses the advantages of a literary analysis that embraces a uniquely comprehensive definition of form, particularly in the realm of Middle English literature. It argues that each element of a comprehensive theory of literary form encompasses both thinking and writing in the Middle Ages. It also considers key aspects of the form of two representative Middle English texts, Pearl and Robert Mannyng’s Handlyng Synne.


Sign in / Sign up

Export Citation Format

Share Document