The B-version of 'Piers Plowman', perhaps the only version authorised by Langland, is the one most frequently read today, and the most influential form of the poem. This catalogue of the extant medieval manuscripts, now locaed in Cambridge, London, Oxford, Tokyo, and San Marino, California, offers both individual manuscript descriptions and a record of the annotations. The new and detailed codicological descriptions include information on provenance and ownership, a full list of the contents, and a description of the physical make-up and the presentation of each manuscript. The first published accounts of the various textual annotations on each manuscript (whether produced by the original scribes or later readers) provides the best record available of how 'piers plowman' was understoon by its earliest audience. Professor C. DAVID BENSON teaches in the English Department at the University of Connecticut; Dr LYNNE BLANCHFIELD is an Associate Lecturer at the Open University.

William Langland's Piers Plowman is one of the major poetic monuments of medieval England and of world literature. Probably composed between 1372 and 1389, the poem survives in three distinct versions. It is known to modern readers largely through the middle of the three, the so-called B-text. Now, George Economou's verse translation of the poet's third version makes available for the first time in modern English the final revision of a work that many have regarded as the greatest Christian poem in our language. Langland's remarkable powers of invention and his passionate involvement with the spiritual, social, and political crises of his time lay claim to our attention, and demand serious comparison with Dante's Divine Comedy. Economou's translation preserves the intensity of the poet's verse and the narrative energy of his alliterative long line, the immediacy of the original's story of the quest for salvation, and the individuality of its language and wordplay.

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

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.

The first full commentary on Piers Plowman since the late nineteenth century is inaugurated with the publication of the first two of its five projected volumes.

"Public Piers Plowman is divided into two parts. The first is an extended essay on what Benson calls the "Langland myth." He traces the evolution of Piers scholarship and demonstrates the limitations of treating Piers as a direct expression of the poet's experience and intellectual views." "In the second part Benson offers an alternative history for the poem. Benson approaches it from a broader public context, using representative examples from vernacular writing, parish art, and civic practices. He argues that Piers reached a wide contemporary audience because, far from being an account only of the author's own life and opinions, it was securely rooted in the common culture of its time and place."--Jacket.

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.

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.

"Absolutely essential reading for anyone interested in a serious consideration of Piers Plowman and also for anyone planning critical or scholarly investigation on it—in other words, for all students of the poem, all readers of the poem, and all scholars of the poem."—Robert Worth Frank, Jr.