The Middle English popular romances enjoyed a wide appeal in later medieval Britain, and even today students of medieval literature will encounter examples of the genre, such as Sir Orfeo, Sir Tristrem, and Sir Launfal. This collection of twelve specially commissioned essays is designed to meet the need for a stimulating guide to the genre. Each essay introduces one popular romance, setting it in its literary and historical contexts, and develops an original interpretation that reveals the possibilities that popular romances offer for modern literary criticism. A substantial introduction by the editors discusses the production and transmission of popular romances in the Middle Ages, and considers the modern reception of popular romance and the interpretative challenges offered by new theoretical approaches. Accessible to advanced students of English, this book is also of interest to those working in the field of medieval studies, comparative literature, and popular culture.

Before the 1760s -- with the major exception of Chaucer -- nearly all of Middle English literature lay undiscovered and ignored. Because established scholars regarded later medieval literature as primitive and barbaric, the study of this rich literary heritage was relegated to antiquarians and dilettantes. In The Making of Middle English, 1765-1910, David Matthews chronicles the gradual rediscovery of this literature and the formation of Middle English as a scholarly pursuit. Matthews details how the careers, class positions, and ambitions of only a few men gave shape and direction to the discipline. Mostly from the lower middle class, they worked in the church or in law and hoped to exploit medieval literature for financial success and social advancement. Where Middle English was concerned, Matthews notes, these scholars were self-taught, and their amateurism came at the price of inaccurately edited and often deliberately "improved" texts intended for a general public that sought appealing, rather than authentic, reading material. This study emphasizes the material history of the discipline, examining individual books and analyzing introductions, notes, glossaries, promotional materials, lists of subscribers, and owners' annotations to assess the changing methodological approaches of the scholars and the shifts in readership. Matthews explores the influence of aristocratic patronage and the societies formed to further the editing and publication of texts. And he examines the ideological uses of Middle English and the often contentious debates between these scholars and organizations about the definition of Englishness itself. A thorough work of scholarship, The Making of MiddleEnglish presents for the first time a detailed account of the formative phase of Middle English studies and provides new perspectives on the emergence of medieval studies, canon formation, the politics of editing, and the history of the book.

This new edition makes available to students of English romance and of the Matter of Britain two significant Middle English Arthurian romances: Lancelot of the Laik and Sir Tristrem. The former, a late fifteenth century romance, tells of the adventures of Lancelot, bearing many similarities to the Vulgate Prose Lancelot, but also includes a lengthy section of political advice. The latter is an uncourtly, parodic poem about the knight Tristrem. With its introductions, glosses, notes, and glossary, this accessible edition enables students to enrich their sense of the texture of English treatments of the vast body of legends that grew around the court of Arthur.

Reprint of the original, first published in 1883.

Fossil Poetry provides the first book-length overview of the place of Anglo-Saxon in nineteenth-century poetry in English. It addresses the use and role of Anglo-Saxon as a resource by Romantic and Victorian poets in their own compositions, as well as the construction and 'invention' of Anglo-Saxon in and by nineteenth-century poetry. Fossil Poetry takes its title from a famous passage on 'early' language in the essays of Ralph Waldo Emerson, and uses the metaphor of the fossil to contextualize poetic Anglo-Saxonism within the developments that had been taking place in the fields of geology, palaeontology, and the evolutionary life sciences since James Hutton's apprehension of 'deep time' in his 1788 Theory of the Earth. Fossil Poetry argues that two, roughly consecutive phases of poetic Anglo-Saxonism took place over the course of the nineteenth century: firstly, a phase of 'constant roots' whereby Anglo-Saxon is constructed to resemble, and so to legitimize a tradition of English Romanticism conceived as essential and unchanging; secondly, a phase in which the strangeness of many of the 'extinct' philological forms of early English is acknowledged, and becomes concurrent with a desire to recover and recuperate the fossils of Anglo-Saxon within contemporary English poetry. The volume advances new readings of work by a variety of poets including Walter Scott, Henry Longfellow, William Wordsworth, William Barnes, Walt Whitman, Ralph Waldo Emerson, William Morris, Alfred Tennyson, and Gerard Hopkins.