In this volume, Fein presents highly emotional Middle English lyrics to a new audience of students and teachers of the Middle Ages. These Middle English poems, drawn widely from two hundred years of literary tradition, lead readers in devotion to God by invoking an emotional response to God's love. In this meditative tradition, readers would be brought closer to intellectually understanding God through their affective responses. With its copious footnotes, introductions, and glosses, this volume is ideal for classes on medieval spirituality and English lyrical poetry alike.

In Singing the New Song, Katherine Zieman examines the institutions and practices of the liturgy as central to changes in late medieval English understandings of the written word. Where previous studies have described how writing comes to supplant oral forms of communication or how it objectifies relations of power formerly transacted through ritual and ceremony, Zieman shifts the critical gaze to the ritual performance of written texts in the liturgy—effectively changing the focus from writing to reading. Beginning with a history of the elementary educational institution known to modern scholars as the "song school," Zieman shows the continued centrality of liturgical and devotional texts to the earliest stages of literacy training and spiritual formation. Originally, these schools were created to provide liturgical training for literate adult performers who had already mastered the grammatical arts. From the late thirteenth century on, however, the attention and resources of both lay and clerical patrons came to be devoted specifically to young boys, centering on their function as choristers. Because choristers needed to be trained before they received instruction in grammar, the liturgical skills of reading and singing took on a different meaning. This shift in priorities, Zieman argues, is paradigmatic of broader cultural changes, in which increased interest in liturgical performance and varying definitions attached to "reading and singing" caused these practices to take on a life of their own, unyoked from their original institutional settings of monastery and cathedral. Unmoored from the context of the choral community, reading and singing developed into discrete, portable skills that could be put to use in a number of contexts, sacred and secular, Latin and vernacular. Ultimately, they would be carried into a wider public sphere, where they would be transformed into public modes of discourse appropriated by vernacular writers such as Geoffrey Chaucer and William Langland.

In the present work Professor Glendinning sets out to convey some idea of the richness of the Christian experience in the poetry-hymn lyrics and other verse forms-from Late Antiquity and the Middle Ages, CE 300-1300. It is the period sometimes called the Age of Faith, when the purpose of life was to prepare one's soul for eternity. The author selects 60 representative Latin poems and creates parallel English texts, accompanying them with explanatory notes and comment on cultural and historical background. The notes include short samples of the original Latin texts. All texts, as well as reference materials in the discussion of the texts, are meticulously documented. For those wishing to explore the matter further as to religious, social and cultural history, as well as the music of the hymns, a basic bibliography is included.

First published as a special issue of the journal Medieval Encounters (vol. 23, 2017), this volume, edited by Josefina Rodríguez-Arribas, Charles Burnett, Silke Ackermann, and Ryan Szpiech, brings together fifteen studies on various aspects of the astrolabe in medieval cultures. The astrolabe, developed in antiquity and elaborated throughout the Middle Ages, was used for calculation, teaching, and observation, and also served astrological and medical purposes. It was the most popular and prestigious of the mathematical instruments, and was found equally among practitioners of various sciences and arts as among princes in royal courts. By considering sources and instruments from Muslim, Christian, and Jewish contexts, this volume provides state-of-the-art research on the history and use of the astrolabe throughout the Middle Ages. Contributors are Silke Ackermann, Emilia Calvo, John Davis, Laura Fernández Fernández, Miquel Forcada, Azucena Hernández, David A. King, Taro Mimura, Günther Oestmann, Josefina Rodríguez-Arribas, Sreeramula Rajeswara Sarma, Petra G. Schmidl, Giorgio Strano, Flora Vafea, and Johannes Thomann.

Spiritual seekers throughout history have sought illumination through solitary contemplation. In the Christian tradition, medieval England stands out for its remarkable array of hermits, recluses, and spiritual outsiders—from Cuthbert, Godric of Fichale, and Christina of Markyate to Richard Rolle, Julian of Norwich, and Margery Kempe. In The Secret Within, Wolfgang Riehle offers the first comprehensive history of English medieval mysticism in decades—one that will appeal to anyone fascinated by mysticism as a phenomenon of religious life. In considering the origins and evolution of the English mystical tradition, Riehle begins in the twelfth century with the revival of eremitical mysticism and the early growth of the Cistercian Order in the British Isles. He then focuses in depth on the great mystics of the fourteenth and fifteenth centuries—Richard Rolle (the first great English mystic), the author of The Cloud of Unknowing, Walter Hilton, Margery Kempe, and Julian of Norwich. Riehle carefully grounds his narrative in the broader spiritual landscape of the Middle Ages, pointing out both prior influences dating back to Late Antiquity and corresponding developments in mysticism and theology on the Continent. He discusses the problem of possible differences between male and female spirituality and the movement of popularizing mysticism in the late Middle Ages. Filled with fresh insights, The Secret Within will be welcomed especially by teachers and students of medieval literature as well as by those engaged in historical, theological, philosophical, cultural, even anthropological and comparative studies of mysticism.

Jennifer Lorden reveals the importance of affective devotion in the hybrid poetics of the earliest English poetry. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Julian of Norwich (ca. 1343&–ca. 1416), a contemporary of Geoffrey Chaucer, William Langland, and John Wyclif, is the earliest woman writer of English we know about. Although she described herself as &“a simple creature unlettered,&” Julian is now widely recognized as one of the great speculative theologians of the Middle Ages, whose thinking about God as love has made a permanent contribution to the tradition of Christian belief. Despite her recent popularity, however, Julian is usually read only in translation and often in extracts rather than as a whole. This book presents a much-needed new edition of Julian&’s writings in Middle English, one that makes possible the serious reading and study of her thought not just for students and scholars of Middle English but also for those with little or no previous experience with the language. &• Separate texts of both Julian&’s works, A Vision Showed to a Devout Woman and A Revelation of Love, with modern punctuation and paragraphing and partly regularized spelling. &• A second, analytic edition of A Vision printed underneath the text of A Revelation to show what was left out, changed, or added as Julian expanded the earlier work into the later one. &• Facing-page explanatory notes, with translations of difficult words and phrases, cross-references to other parts of the text, and citations of biblical and other sources. &• A thoroughly accessible introduction to Julian&’s life and writings. &• An appendix of medieval and early modern records relating to Julian and her writings. &• An analytic bibliography of editions, translations, scholarly studies, and other works. The most distinctive feature of this volume is the editors&’ approach to the manuscripts. Middle English editions habitually retain original spellings of their base manuscript intact and only emend that manuscript when its readings make no sense. At once more interventionist and more speculative, this edition synthesizes readings from all the surviving manuscripts, with careful justification of each choice involved in this process. For readers who are not concerned with textual matters, the result will be a more readable and satisfying text. For Middle English scholars, the edition is intended both as a hypothesis and as a challenge to the assumptions the field brings to the business of editing.

What was the medieval English lyric? Moving beyond the received understanding of the genre, The Voices of Medieval English Lyric explores, through analysis, discussion, and demonstration, what the term "lyric" most meaningfully implies in a Middle English context. A critical edition of 131 poems that illustrate the range and rich variety of lyric poetry from the mid-twelfth century to the early sixteenth century, The Voices of Medieval English Lyric presents its texts - freshly edited from the manuscripts - in thirteen sections emphasizing contrasting and complementary voices and genres. As well as a selection of religious poetry, the collection includes a high proportion of secular lyrics, many on love and sexuality, both earnest and humorous. In general, major authors who have been covered thoroughly elsewhere are excluded from the edited texts, but some, especially Chaucer, are quoted or mentioned as illuminating comparisons. Charles d'Orléans and the Scots poets Robert Henryson and William Dunbar add an extra-national dimension to a single-language collection. Textual and thematic notes are provided, as well as versions of the poems in Latin or French when these exist. Adopting new perspectives, The Voices of Medieval English Lyric offers an up-to-date, accessible, and distinctive take on Middle English poetry.

This book offers a comparative study of emotion in Arabic Islamic and English Christian contemplative texts, c. 1110-1250, contributing to the emerging interest in ‘globalization’ in medieval studies. A.S.Lazikani argues for the necessity of placing medieval English devotional texts in a more global context and seeks to modify influential narratives on the ‘history of emotions’ to enable this more wide-ranging critical outlook. Across eight chapters, the book examines the dialogic encounters generated by comparative readings of Muhyddin Ibn ‘Arabi (1165-1240), ‘Umar Ibn al-Fārid (1181-1235), Abu al-Hasan al-Shushtarī (d. 1269), Ancrene Wisse (c. 1225), and the Wooing Group (c. 1225). Investigating the two-fold ‘paradigms of love’ in the figure of Jesus and in the image of the heart, the (dis)embodied language of affect, and the affective semiotics of absence and secrecy, Lazikani demonstrates an interconnection between the religious traditions of early Christianity and Islam.

The author explores the work of fourteenth-century writers who discussed the intellectual implications of the religious idea of Incarnation in poetical and rhetorical forms. The book then goes on to discuss how the Incarnation of Christ allowed writers to meditate on the nature of language and form.