By the early sixteenth century, the agrarian landscape changed to more pastoral land, more enclosures, and a decrease in (or a rearrangement of) manorial lands. Increased population and an abundance of labor created economic tensions that caused moralizers to cry out for reform, but there is no evidence pastoral lands decreased even by the end of the century. In literature, the plowman tradition continued to exist in such forms as the remarkable sermon by Bishop Latimer, but more often than not it was viewed nostalgically as part of the past, and used to address the problems brought about by the pastoral economy of the sixteenth century. The plowman can be identified even as late as Spenser's Faerie Queene where he assumes the moral associations of the fourteenth-century type, and in Sidney where the plowman becomes the unsympathetic buffoon.
God's Ploughman, provides a unique study of the life and ministry of one of early modern England's most significant preachers. Rather than offering a biography or analysis of sermons, the author creates a new genre, the 'preaching life.' The result is an integrative study that situates Latimer's life and ministry within the rapidly changing religious, cultural, and political environment of Tudor England. COMMENDATION "Mike Pasquarello, well-versed in homiletics and historical theology, is perfectly positioned to repossess one of the most significant sixteenth-century English preachers and prelates, Hugh Latimer. Letting Latimer speak can only deepen our understanding of the great age of religious reform and the resistances reformers encountered." - Peter Iver Kaufman, University of Richmond, USA
What is the status of visual evidence in history? Can we actually see the past through images? Where are the traces of previous lives deposited? Michael Camille addresses these important questions in Mirror in Parchment, a lively, searching study of one medieval manuscript, its patron, producers, and historical progeny. The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real. In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
Food and the Literary Imagination explores ways in which the food chain and anxieties about its corruption and disruption are represented in poetry, theatre and the novel. The book relates its findings to contemporary concerns about food security.
This volume draws on emerging scholarship at the intersection of two already vibrant fields: medieval material culture and medieval sensory experience. The rich potential of medieval matter (most obviously manuscripts and visual imagery, but also liturgical objects, coins, textiles, architecture, graves, etc.) to complement and even transcend purely textual sources is by now well established in medieval scholarship across the disciplines. So, too, attention to medieval sensory experiences—most prominently emotion—has transformed our understanding of medieval religious life and spirituality, violence, power, and authority, friendship, and constructions of both the self and the other. Our purpose in this volume is to draw the two approaches together, plumbing medieval material sources for traces of sensory experience - above all ephemeral and physical experiences that, unlike emotion, are rarely fully described or articulated in texts.
Pastoral poetry has long been considered a signature Renaissance mode: originating in late sixteenth-century England via a rediscovery of classical texts, it is concerned with self-fashioning and celebrating the court. But, as Katherine C. Little demonstrates in Transforming Work: Early Modern Pastoral and Medieval Poetry, the pastoral mode is in fact indebted to medieval representations of rural labor. Little offers a new literary history for the pastoral, arguing that the authors of the first English pastorals used rural laborers familiar from medieval texts—plowmen and shepherds—to reflect on the social, economic, and religious disruptions of the sixteenth century. In medieval writing, these figures were particularly associated with the reform of the individual and the social world: their work also stood for the penance and good works required of Christians, the care of the flock required of priests, and the obligations of all people to work within their social class. By the sixteenth century, this reformism had taken on a dangerous set of associations—with radical Protestantism, peasants' revolts, and complaints about agrarian capitalism. Pastoral poetry rewrites and empties out this radical potential, making the countryside safe to write about again. Moving from William Langland’s Piers Plowman and the medieval shepherd plays, through the Piers Plowman–tradition, to Edmund Spenser’s pastorals, Little’s reconstructed literary genealogy discovers the “other” past of pastoral in the medieval and Reformation traditions of “writing rural labor.”
Newest research into drama and performance of the Middle Ages and Tudor period. Medieval English Theatre is the premier journal in early theatre studies. Its name belies its wide range of interest: it publishes articles on theatre and pageantry from across the British Isles up to the opening of the London playhouses and the suppression of the civic religious plays , and also includes contributions on European and Latin drama, together with analyses of modern survivals or equivalents, and of research productions of medieval plays. The papers in this volume explore richly interlocking topics. Themes of royalty and play continue from Volume 43. We have the first in-depth examination of the employment of the now-famous Black Tudor trumpeter, John Blanke, at the royal courts of Henry VII and Henry VIII. An entertaining survey of the popular European game of blanket-tossing accompanies the translation of a raucous, sophisticated, but surprisingly humane Dutch rederijkers farce. The Towneley plays remain fertile ground for further research, and this blanket-tossing farce illuminates a key scene of the well-known Second Shepherd's Play. New exploration of a colloquial reference to 'Stafford Blue' in another Towneley pageant, Noah, not only enlivens the play's social context but contributes to important current re-thinking of the manuscript's date. Two papers bring home the theatrical potential of food and eating. We learn how the Tudor interlude Jacob and Esau dramatises the preparation and provision of food from the Genesis story. Serving and eating meals becomes a means of social, theological, and theatrical manipulation. Contrastingly, in the N. Town Last Supper play and a French convent drama, we see how the bread of Passover, the Last Supper, and the Mass could be evoked, layered and shared in performance. In both these plays the audiences' experiences of theatre and of communion overlap and inform each other.
The medieval clergy, aristocracy, and commercial classes tended to regard peasants as objects of contempt and derision. In religious writings, satires, sermons, chronicles, and artistic representations peasants often appeared as dirty, foolish, dishonest, even as subhuman or bestial. Their lowliness was commonly regarded as a natural corollary of the drudgery of their agricultural toil. Yet, at the same time, the peasantry was not viewed as “other” in the manner of other condemned groups, such as Jews, lepers, Muslims, or the imagined “monstrous races” of the East. Several crucial characteristics of the peasantry rendered it less clearly alien from the elite perspective: peasants were not a minority, their work in the fields nourished all other social orders, and, most important, they were Christians. In other respects, peasants could be regarded as meritorious by virtue of their simple life, productive work, and unjust suffering at the hands of their exploitive social superiors. Their unrewarded sacrifice and piety were also sometimes thought to place them closest to God and more likely to win salvation. This book examines these conflicting images of peasants from the post-Carolingian period to the German Peasants’ War. It relates the representation of peasants to debates about how society should be organized (specifically, to how human equality at Creation led to subordination), how slavery and serfdom could be assailed or defended, and how peasants themselves structured and justified their demands. Though it was argued that peasants were legitimately subjugated by reason of nature or some primordial curse (such as that of Noah against his son Ham), there was also considerable unease about how the exploitation of those who were not completely alien—who were, after all, Christians—could be explained. Laments over peasant suffering as expressed in the literature might have a stylized quality, but this book shows how they were appropriated and shaped by peasants themselves, especially in the large-scale rebellions that characterized the late Middle Ages.
