By showing how Langland transformed Conscience as he composed the A, B and C texts of Piers Plowman, Sarah Wood offers a new approach to reading the serial versions of the poem. While the three versions have customarily been read in parallel-text formats, she demonstrates that Langland's revisions are newly comprehensible if read in sequence.

The first full survey of crucial witnesses to the reception of Piers Plowman.

William Langland's Piers Plowman was written and read during a “golden age” of English preaching. The poem describes a world where sermons took many different forms and were delivered in many different contexts, from public events in the life of the realm to pastoral instruction in the parish. It dramatises preaching as part of its allegorical action, showing how sermons shaped their listeners' understanding of the world; it also includes polemical critique of corrupt, self-interested preaching, and offers radical prescriptions for its reform. This book argues that Langland's central insight into the way that sermons moved and engaged their audiences had to do with their characteristic use of narrative. Preachers in the poem address listeners who are absorbed in the concerns of their present moment, and encourage them to new forms of social and spiritual endeavour by locating that moment in a larger, interpreted plot: the story of an individual life, or an emergent community, or of salvation history as a whole. The book employs a critical vocabulary derived from Paul Ricoeur to describe the process by which these narratives are composed, and to show how they mediate and reconfigure their listeners' experiences.

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

The first full commentary on Piers Plowman since the late nineteenth century, the Penn Commentary places the allegorical dream-vision of Piers Plowman within the literary, historical, social, and intellectual contexts of late medieval England, and within the long history of critical interpretation of the poem, assessing past scholarship while offering original materials and insights throughout. The authors' line-by-line, section by section, and passus by passus commentary on all three versions of the poem and on the stages of its multiple revisions reveals new aspects of the work's meaning while assessing and summarizing a complex and often divisive scholarly tradition. The volumes offer an up-to-date, original, and open-ended guide to a poem whose engagement with its social world is unrivaled in medieval English literature, and whose literary, religious, and intellectual accomplishments are uniquely powerful. The Penn Commentary is designed to be equally useful to readers of the A, B, or C texts of the poem. It is geared to readers eager to have detailed experience of Piers Plowman and other medieval literature, possessing some basic knowledge of Middle English language and literature, and interested in pondering further the particularly difficult relationships to both that this poem possesses. Others, with interest in poetry of all periods, will find the extended and detailed commentary useful precisely because it does not seek to avoid the poem's challenges but seeks instead to provoke thought about its intricacy and poetic achievements. Volume 2, by Ralph Hanna, deliberately addresses the question of the poem's perceived "difficulty," by indicating the legitimate areas of unresolved dilemmas, while offering often original explanations of a variety of textual loci. Perhaps more important, his commentary indicates what has not always appeared clear in past approaches—that the poem only "means" in its totality and within some critical framework, and that its annotation needs always to be guided by a sense of Langland's developing arguments.

It is a medieval truism that the poet meddles with words, the lawyer with the world. But are the poet's words and the lawyer's world really so far apart? To what extent does the art of making poems share in the craft of making laws, and vice versa? Framed by such questions, Piers Plowman and the Reinvention of Church Law in the Late Middle Ages examines the mutually productive interaction between literary and legal "makyngs" in England's great Middle English poem by William Langland. Focusing on Piers Plowman's preoccupation with wrongdoing in the B and C versions, Arvind Thomas examines the versions' representations of trials, confessions, restitutions, penalties, and pardons. Thomas explores how the "literary" informs and transforms the "legal" until they finally cannot be separated. Thomas shows how the poem's narrative voice, metaphor, syntax and style not only reflect but also act upon properties of canon law, such as penitential procedures and authoritative maxims. Langland's mobilization of juridical concepts, Thomas insists, not only engenders a poetics informed by canonist thought but also expresses an alternative vision of canon law from that proposed by medieval jurists and today's medievalists.

The Penn Commentary on Piers Plowman, Volume 2, by Ralph Hanna, deliberately addresses the question of the poem's perceived "difficulty," by indicating the legitimate areas of unresolved dilemmas, while offering often original explanations of a variety of textual loci.

The detailed and wide-ranging Penn Commentary on "Piers Plowman" places the allegorical dream-vision of the poem within the literary, historical, social, and intellectual contexts of late medieval England, and within the long history of critical interpretation of the work, assessing past scholarship while offering original materials and insights throughout. The authors' line-by-line, section by section, and passus by passus commentary on all three versions of the poem and on the stages of its multiple revisions reveals new aspects of the poem's meaning while assessing and summarizing a complex and often divisive scholarly tradition. The volumes offer an up-to-date, original, and open-ended guide to a poem whose engagement with its social world is unrivaled in English literature, and whose literary, religious, and intellectual accomplishments are uniquely powerful. The Penn Commentary is designed to be equally useful to readers of the A, B, or C texts of the poem. It is geared to readers eager to have detailed experience of Piers Plowman and other medieval literature, possessing some basic knowledge of Middle English language and literature, and interested in pondering further the particularly difficult relationships to both that this poem possesses. Others, with interest in poetry of all periods, will find the extended and detailed commentary useful precisely because it does not seek to avoid the poem's challenges but seeks instead to provoke thought about its intricacy and poetic achievements. Covering passūs C.15-19 and B.13-17, Volume 4 of the Penn Commentary on "Piers Plowman" creates a complete vade mecum for readers, identifying and translating all Latin quotations, uncovering allusions, providing full cross-reference to other parts of the poem, drawing in relevant scholarship, and unraveling difficult passages. Like the other commentaries in the series, this volume contains an extensive overview and analysis of each passus, and the subdivisions within, large and small, and discusses all differences between the two versions. It pays careful attention to the poem at the literal level as well as to Latin texts that are analogues or even possible sources of Langland's thought and it emphasizes the comedy of the poem, of which these passūs offer a number of examples.

A lucid and comprehensive study of Piers Plowman, one of the most magnificent literary works of the Middle Ages.

Literary and cultural historians typically cite Thomas More's 1516 Utopia as the source of both a genre and a concept. Karma Lochrie rejects this origin myth of utopianism along with the assumption that people in the Middle Ages were incapable of such thinking. In Nowhere in the Middle Ages, Lochrie reframes the terms of the discussion by revealing how utopian thought was, in fact, "somewhere" in the Middle Ages. In the process, she transforms conventional readings of More's Utopia and challenges the very practice of literary history today. Drawing on a range of contemporary scholarship on utopianism and a broad premodern archive, Lochrie charts variant utopian strains in medieval literature and philosophy that diverge from More's work and at the same time plot uncanny connections with it. Examining works such as Macrobius's fifth-century Commentary on the Dream of Scipio, Mandeville's Travels, and William Langland's Piers Plowman, she finds evidence of a number of utopian drives, including the rejection of European centrality, a desire for more egalitarian politics, and a rethinking of the division between animals and humans. Nowhere in the Middle Ages insists on the relevance and transformative potential of medieval utopias for More's work and positions the sixteenth-century text as one alternative in a broader historical phenomenon of utopian thinking. Tracing medieval utopianisms forward in literary history to reveal their influences on early modern and modern literature and philosophy, Lochrie demonstrates that looking backward, we might extend future horizons of utopian thinking.