Offers a comprehensive new reading of the most important English work of Chaucer's best-known contemporary

Confessio Amantis, the principal work in English by John Gower, friend of Chaucer, by whom he was influenced, has always been read as a conventional poem about the seven deadly sins. Here, paying particular attention to the poem's language and style, Peck gives a brilliant new reinterpretation which not only illuminates the poem's elegant beauty but provides a profound moral purpose as well. Gower's Confessio, according to Peck, is a restatement of late fourteenth-cen­tury ideas of good and bad behavior, and is designed to illuminate and re­shape the minds and hearts of men. Peck sees the concepts of "kingship"--the governance of souls as well as king­doms--and "common profit"--the mutual enhancement of such king­doms--as the poem's unifying ideas. Peck's discussion further shows how the various tales hold together and support the poem's loose plot and the poet's strongly moral intention.

The Mirour de l'Omme (The Mirror of Mankind) is an encyclopedia of moral topics, including a vivid allegory of the Seven Deadly Sins. Author John Gower (1330-1408) was a poet, personal friend of Chaucer, and the most prominent member of his literary circle.

Gower's use of the persona, the figure of the writer implicated in the text, is the main theme of this book. While it traces the development of Gower's voice through his major works, it concentrates on the dialogue of Amans and Genius in the Confessio Amantis. It argues that Gower negotiates problems of politics and problems of love by means of an analogy between political ethics and the rules of fin amour; Amans and Genius are both drawn from and occupied with amatory and ethical traditions, and their discourse produces a series of attempts to find a coherent and rational union of lover and ruler. The volume also argues that Gower's goal is poetic as well as political: through the personae, Gower's readers experience the pains and pleasures of erotic and social love. Gower's personae voice potential responses to exemplary experience, prompting readers to feel and to judge, and moving them to become better lovers and better rulers. Gower's analogy between fin amour and politics brings the affects of the lover to the action of government, and suggests for both love and rule the moderation that brings peace and joy. Matthew W. Irvin is Assistant Professor in the Department of English and Chair of the Medieval Studies Program at Sewanee.

A Handbook to the Reception of Ovid presents more than 30 original essays written by leading scholars revealing the rich diversity of critical engagement with Ovid’s poetry that spans the Western tradition from antiquity to the present day. Offers innovative perspectives on Ovid’s poetry and its reception from antiquity to the present day Features contributions from more than 30 leading scholars in the Humanities. Introduces familiar and unfamiliar figures in the history of Ovidian reception. Demonstrates the enduring and transformative power of Ovid’s poetry into modern times.

Eleven essays by influential scholars (from C.S. Lewis to A.J. Minnis] provide an introduction for students to Gower's Confessio Amantisand its important criticism.

Despite the persistence and popularity of addressing the theme of eating in Paradise Lost, the tradition of Adam and Eve’s sin as one of gluttony—and the evidence for Milton’s adaptation of this tradition—has been either unnoticed or suppressed. Emily Stelzer provides the first book-length work on the philosophical significance of gluttony in this poem, arguing that a complex understanding of gluttony and of ideal, grateful, and gracious eating informs the content of Milton’s writing. Working with contextual material in the fields of physiology, philosophy, theology, and literature and building on recent scholarship on Milton’s experience of and knowledge about matter and the body, Stelzer draws connections between Milton’s work and both underexamined textual influences (including, for example, Gower’s Confessio Amantis) and well-recognized ones (such as Augustine’s City of God and Galen’s On the Natural Faculties).

'Nature' is a highly important term in the ethical discourse of the Middle Ages and, as such, a leading concept in medieval literature. This book examines the moral status of the natural in writings by Alan of Lille, Jean de Meun, John Gower, Geoffrey Chaucer, and others, showinghow-particularly in the erotic sphere-the influences of nature are not always conceived as wholly benign. Though medieval thinkers often affirm an association of nature with reason, and therefore with the good, there is also an acknowledgement that the animal, the pre-rational, the instinctivewithin human beings may be validly considered natural. In fact, human beings may be thought to be urged almost ineluctably by the force of nature within them towards behaviour hostile to reason and the right.

Literary scholars often avoid the category of the aesthetic in discussions of ethics, believing that purely aesthetic judgments can vitiate analyses of a literary work’s sociopolitical heft and meaning. In Practicing Literary Theory in the Middle Ages, Eleanor Johnson reveals that aesthetics—the formal aspects of literary language that make it sense-perceptible—are indeed inextricable from ethics in the writing of medieval literature. Johnson brings a keen formalist eye to bear on the prosimetric form: the mixing of prose with lyrical poetry. This form descends from the writings of the sixth-century Christian philosopher Boethius—specifically his famous prison text, Consolation of Philosophy—to the late medieval English tradition. Johnson argues that Boethius’s text had a broad influence not simply on the thematic and philosophical content of subsequent literary writing, but also on the specific aesthetic construction of several vernacular traditions. She demonstrates the underlying prosimetric structures in a variety of Middle English texts—including Chaucer’s Troilus and Criseyde and portions of the Canterbury Tales, Thomas Usk’s Testament of Love, John Gower’s Confessio amantis, and Thomas Hoccleve’s autobiographical poetry—and asks how particular formal choices work, how they resonate with medieval literary-theoretical ideas, and how particular poems and prose works mediate the tricky business of modeling ethical transformation for a readership.