The idea of the natural recurs throughout Piers Plowman. This book seeks to show that the idea holds a central place in Langland's understanding of the way in which man is saved. This understanding develops over the course of the poem under the kynde wit and kynde knowing, his presentation of Kynde as God, and his understanding of what is involved in being kynde. It shows how, for all the difficulties he finds with it, Langland remains faithful to the idea of the naturaland how that idea repays this faith, enabling profound meditation on the roles of man and God in respect of man's salvation and, more broadly, on the relationship between God and man.

Piers Plowman and the Books of Nature explores the relationship of divine creativity, poetry, and ethics in William Langland's fourteenth-century dream vision. These concerns converge in the poem's rich vocabulary of kynde, the familiar Middle English word for nature, broadly construed. But in a remarkable coinage, Langland also uses kynde to name nature's creator, who appears as a character in Piers Plowman. The stakes of this representation could not be greater: by depicting God as Kynde, that is, under the guise of creation itself, Langland explores the capacity of nature and of language to bear the plenitude of the divine. In doing so, he advances a daring claim for the spiritual value of literary art, including his own searching form of theological poetry. This claim challenges recent critical attention to the poem's discourses of disability and failure and reveals the poem's place in a long and diverse tradition of medieval humanism that originates in the twelfth century and, indeed, points forward to celebrations of nature and natural capacity in later periods. By contextualizing Langland's poetics of kynde within contemporary literary, philosophical, legal, and theological discourses, Rebecca Davis offers a new literary history for Piers Plowman that opens up many of the poem's most perplexing interpretative problems.

This book examines William Langland’s late medieval poem, The Vision of Piers Plowman, in light of contemporary intellectual thought. David Strong argues that where the philosophers John Duns Scotus and William of Ockham revolutionize the view of human potential through their theories of epistemology, ethics, and freedom of the will, Langland vivifies these ideas by contextualizing them in an individual’s search for truth and love. Specifically, the text ponders the intersection between reason and the will in expressing love. While scholars have consistently noted the text’s indebtedness to these higher strains of thought, this is the first book-length study in over thirty years that explores the depth of this interconnection, and the only one that considers the salience of both Scotus and Ockham. It is essential reading for medieval literary specialists and students as well as any cultural historian who desires to augment their knowledge of truth and love.

William Langland wrote three distinct versions (A, B, and C) of Piers Plowman. Scribes and early editors produced several more combined versions of A and C. Of the fifty-four more or less complete surviving manuscripts of the poem, seventeen are of the B version, which is now the most widely read, and also the version with the most complex textual history. All the surviving witnesses are full of errors, some the result of incompetence, others the product of sophisticated re-writing. This book looks at this in the context of understanding poverty, which the poem famously addresses. The book should be of interest to scholars in the field of medieval literature in general, and Piers Plowman in particular, as well as to cultural historians of poverty. It surveys the medieval understanding of poverty in its many manifestations, reviews modern historians' research into the experience of poverty and poor relief in the late fourteenth century, and shows, by close readings of Piers Plowman, how Langland both responds to and reflects his contemporary culture and ideology. Contrary to previous scholarship, it suggests that Langland never underestimates the realities of material poverty by offering only religious consolation for the poor. For him, care for the poor is the index of how a society shapes itself ethically. This book's subtle and penetrating account of the moral predicaments of both rich and poor is fully and freshly contextualized within accounts of medieval poor relief. This scholarly, compelling and humane study demonstrates that understanding the historical poor and the various religious and secular attitudes to medieval poverty, are crucially important in deepening a reader's understanding of this complex poem.

A fresh approach to ambiguities of language in Piers Plowman. Starting from a consideration of medieval definitions of the word as both logos and verbum, this reading of Piers Plowmanshows that both scholastic and mystic attitudes to language are at play within the poem.Concepts of authority, authorship, interpretation and translation are explored and it is made clear that these are inextricably linked, both in critical debates and in the text itself. The study progresses towards a conclusion that the full potential of language can be realised only when the desire to express things unambiguously is abandoned and ambiguity itself is allowed to be a power and a way of understanding. The rich fabric of Langland's text thusbecomes something to enjoy and participate in, rather than battle with or seek to control. Furthermore, it proves to be a meeting point for medieval and modern theories of text and reading, which are themselves enlivened by this complex and vivid poem. G.A. RUDD lectures in English at the University of Liverpool.

'Piers Plowman' inspired a tradition of medieval poems as vehicles for popular criticism. The four full-length works collected here cover vital issues of their day.

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

Crasson examines the status of poverty in late medieval England as both a sacred imitation of Christ and a social stigma.