There were two Bernards of Clairvaux. The first was the genuine Bernard who lived from 1090 to 1153, and wrote letters, sermons, and treatises that are of major consequence in the history of the twelfth century. The second is a host of writers, most of whom have not been identified, who wrote treatises attributed to the genuine Bernard, but that were not from his pen. This volume, the first complete translation in more than three-hundred years, presents one of the most important texts in the history of medieval Latin spirituality. Written between 1170 and 1190 by an unidentified Cistercian monk-priest, Meditationes piisimae, “Very Devout Meditations,” became one of the most popular and widely distributed pieces of spiritual literature in the whole of the Middle Ages. The work survives in at least 670 manuscripts with the complete English translation of the treatise published in 1701.

The late medieval and early modern period is a particularly interesting chapter in the development of meditation and self-reflection. Meditation may best be described as a self-imposed disciplinary regime, consisting of mental and physical exercises that allowed the practitioner to engender and evaluate his self-image, and thence to emend and refashion it. The volume aims at examining the forms and functions, ways and means of meditation from c. 1300 to c. 1600. It tries to analyze the internal exercises that mobilized the sensitive faculties of motion, emotion, and sense (both external and internal) and the intellective faculties of reason, memory, and will, with a view to reforming the soul, and the techniques of visualization that were frequently utilized to engage the soul’s mediating function as vinculum mundi, its pivotal position in the great chain of being between heaven and earth, temporal and spiritual experience. Contributors include Barbara Baert, Wietse de Boer, Feike Dietz, Jan Frans van Dijkhuizen, Karl Enenkel, Jan de Jong, Walter Melion, Wolfgang Neuber, Hilmar Pabel, Jan Papy, Paul Smith, Diana Stanciu, Nikolaus Staubach, Jacob Vance, and Geert Warnar.

In this book, David N. Bell explores what Cistercian writers and preachers have said about Mary from the time of the founding fathers of the Order to Armand-Jean de Rancé, who introduced the Cistercian Strict Observance and who died in 1700. This work is divided into three parts. The first part presents some selective background material on Mary that is necessary for understanding where the Cistercian writers are coming from and the sources and ideas they are using. The next eight chapters, the second part of the book, examine the Marian ideas of Cistercian writers from Bernard of Clairvaux to a number of visionaries, both male and female, who take us to the very end of the thirteenth century. There is then a gap of more than three centuries—the reasons are given at the end of chapter 12—before we arrive at the birth of Armand-Jean de Rancé in 1626. The final chapters—part 3 of the book—summarize the life of Rancé, examine the place of Mary at La Trappe, and present annotated translations of Rancé’s five conferences for three Marian feasts: the Nativity of Mary, the Annunciation, and the Assumption.

Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experiences. The authors included here study the provocation and the reactions associated with medieval and Renaissance art and architecture. These essays trace the impetus towards interactivity from the points of view of their creators and those who used them. Contributors include: Mickey Abel, Alfred Acres, Kathleen Ashley, Viola Belghaus, Sarah Blick, Erika Boeckeler, Robert L.A. Clark, Lloyd DeWitt, Michelle Erhardt, Megan H. Foster-Campbell, Juan Luis González García, Laura D. Gelfand, Elina Gertsman, Walter S. Gibson, Margaret Goehring, Lex Hermans, Fredrika Jacobs, Annette LeZotte, Jane C. Long, Henry Luttikhuizen, Elizabeth Monroe, Scott B. Montgomery, Amy M. Morris, Vibeke Olson, Katherine Poole, Alexa Sand, Donna L. Sadler, Pamela Sheingorn, Suzanne Karr Schmidt, Anne Rudloff Stanton, Janet Snyder, Rita Tekippe, Mark Trowbridge, Mark S. Tucker, Kristen Van Ausdall, Susan Ward.

This pioneering anthology of Middle English prologues and other excerpts from texts written between 1280 and 1520 is one of the largest collections of vernacular literary theory from the Middle Ages yet published and the first to focus attention on English literary theory before the sixteenth century. It edits, introduces, and glosses some sixty excerpts, all of which reflect on the problems and opportunities associated with writing in the &"mother tongue&" during a period of revolutionary change for the English language. The excerpts fall into three groups, illustrating the strategies used by medieval writers to establish their cultural authority, the ways they constructed audiences and readerships, and the models they offered for the process of reading. Taken together, the excerpts show how vernacular texts reflected and contributed to the formation of class, gender, professional, and national identity. They open windows onto late medieval debates on women's and popular literacy, on the use of the vernacular for religious instruction or Bible translation, on the complex metaphorical associations contained within the idea of the vernacular, and on the cultural and political role of the &"courtly&" writing associated with Chaucer and his successors. Besides the excerpts, the book contains five essays that propose new definitions of medieval literary theory, discuss the politics of Middle English writing, the relation of medieval book production to notions of authorship, and the status of the prologue as a genre, and compare the role of the medieval vernacular to that of postcolonial literatures. The book includes a substantial glossary that constitutes the first mapping of the language and terms of Middle English literary theory. The Idea of the Vernacular will be an invaluable asset not only to Middle English survey courses but to courses in English literary and cultural history and courses on the history of literary theory.