This volume presents a unique collection of Middle English romances, each with a different view of society. One of the oldest English romances, Floris and Blancheflour, presents a tale of oriental wonders: a harem, an emir who never lacks a wife, eunuchs, and a garden housing a magical tree and spring. Sir Degrevant relates a tale of country nobility and marriage between the low and high ranks, while realistically illustrating their status and the ever-present issues of love and battle; The Squire of Low Degree is a poem about social mobility and the difference between reputation and wealth. The Tournament of Tottenham and its likely continuation, The Feast of Tottenham , are excellent examples of burlesque where the humor is inescapable: the bumpkin heroes in their stuffed sheepskins fighting with flails for the reeve's daughter, who is watching them with her pet hen on her lap, are a spectacle not easily forgotten. - from the Introduction

Popular romance was one of the most wide-spread forms of literature in the Middle Ages, yet despite its cultural centrality, and its fundamental importance for later literary developments, the genre has defied precise definition, its subject matter ranging from tales of chivalric adventure, to saintly women, and monsters that become human. The essays in this collection provide contexts, definitions, and explanations for the genre, particularly in an English context. Topics covered include genre and literary classification; race and ethnicity; gender; orality and performance; the romance and young readers; metre and form; printing culture; and reception.

New York Times bestselling novelist Jennifer Crusie combines fast-paced banter, sexy situations, and unforgettable characters in this delightful romance about two reluctant lovers who couldn’t be more wrong about being right for each other. TRUST ME ON THIS Dennie Banks is an investigative reporter chasing down the biggest story of her career. Alec Prentice is a government agent working undercover to catch an elusive grifter. When they meet by accident, it’s a case of mistaken identities at first sight. What they don’t mistake is the instant attraction they have for each other, an attraction they’ll do everything in their power to resist—because Dennie thinks that Alec is running interference for her interview subject, and Alec suspects that Dennie is linked to his swindler. As the confusion grows, so do their feelings for each other, and what begins as a romantic comedy of errors may just end in the love affair of a lifetime.

An examination of if and how medieval romance was performed, uniquely uniting the perspective of a scholar and practitioner. Although English medieval minstrels performed gestes, a genre closely related to romance, often playing the harp or the fiddle, the question of if, and how, Middle English romance was performed has been hotly debated. Here, the performance tradition is explored by combining textual, historical and musicological scholarship with practical experience from a noted musician. Using previously unrecognised evidence, the author reconstructs a realistic model of minstrel performance, showing how a simple melody can interact with the text, and vice versa. She argues that elements in Middle English romance which may seem simplistic or repetitive may in fact be incomplete, as missing an integral musical dimension; metrical irregularities, for example, may be relics of sophisticated rhythmic variation that make sense only with music. Overall, the study offers both a more accurate comprehension of minstrel performance, and a deeper appreciation of the romances themselves. Linda Marie Zaerr is Professor of Medieval Studies at Boise State University.

Virginity is of concern here, that is its utter messiness. At once valuable and detrimental, normative and deviant, undesirable and enviable. Virginity and its loss hold tremendous cultural significance. For many, female virginity is still a universally accepted condition, something that is somehow bound to the hymen, whereas male virginity is almost as elusive as the G-spot: we know it's there, it’s just we have a harder time finding it. Of course boys are virgins, queers are virgins, some people reclaim their virginities, and others reject virginity from the get go. So what if we agree to forget the hymen all together? Might we start to see the instability of terms like untouched, pure, or innocent? Might we question the act of sex, the very notion of relational sexuality? After all, for many people it is the sexual acts they don’t do, or don’t want to do, that carry the most abundant emotional clout. Virgin Envy is a collection of essays that look past the vestal virgins and beyond Joan of Arc. From medieval to present-day literature, the output of HBO, Bollywood, and the films of Abdellah Taïa or Derek Jarman to the virginity testing of politically active women in Tahrir Square, the writers here explore the concept of virginity in today’s world to show that ultimately virginity is a site around which our most basic beliefs about sexuality are confronted, and from which we can come to understand some of our most basic anxieties, paranoias, fears, and desires.

How to Read Middle English Poetry guides readers through poetry between 1150 and 1500, for study and pleasure. Chapters give down-to-earth advice on enjoying and analyzing each aspect of verse, from the choice of single words, through syntax, metre, rhyme, and stanza-design, up to the play of larger forms across whole poems. How to Read Middle English Poetry covers major figures?such as Chaucer, Langland, the Pearl Poet, and Robert Henryson?but also delves into exciting anonymous lyrics, romances, and drama. It shows, too, how some modern poets have drawn on earlier poems, and how Middle English and early Scots provide crucial standpoints from which to think through present-day writing. Contextual sections discuss how poetry was heard aloud, introduce manuscripts and editing, and lay out Middle English poetry's ties to other tongues, including French, Welsh, and Latin. Critical terms are highlighted and explained both in the main text and in a full indexed glossary, while the uses of key tools such as the Middle English Dictionary are described and modeled. References to accessible editions and electronic resources mean that the book needs no accompanying anthology. At once thorough, wide-ranging, and practical, How to Read Middle English Poetry is indispensable for students exploring Middle English or early Scots, and for anyone curious about the heart of poetry's history.

Monstrous Fantasies asks why medieval romances reimagining the crusades ending in a Christian victory circulated in England with such abundance after the 1291 Muslim reconquest of Acre, the last of the Latin crusader states in the Holy Land, and what these texts reveal about the cultural anxieties of late medieval England. Leila K. Norako highlights the impact that the Ottoman victory and subsequent massacre of Christian prisoners at the battle of Nicopolis in 1396 had on intensifying the popularity of what she calls recovery romance. These two episodes inspired a sense of urgency over the fate of the Holy Land and of Latin Christendom itself, resulting in the proliferation of romances in which crusading English kings like Richard I and anachronistic legends like King Arthur not only reconquered Jerusalem but committed genocidal violence against the Muslims. These romances, which—as Norako argues—also influenced Geoffrey Chaucer's Canterbury Tales, conjure fantasies of an ascendant global Christendom by rehearsing acts of conquest and cultural annihilation that were impossible to realize in the late Middle Ages. Emphasizing the tension in these texts between nostalgia and anticipation that fuels their narrative momentum, Monstrous Fantasies also explores how the cultural desires for European and Christian hegemony that recovery romances versified were revived in the wake of the so-called wars on terror in the twenty-first century in such films as Kingdom of Heaven and American Sniper.

Romancing Treason addresses the scope and significance of the secular literary culture of the Wars of the Roses, and especially of the Middle English romances that were distinctively written in prose during this period. Megan Leitch argues that the pervasive textual presence of treason during the decades c.1437-c.1497 suggests a way of conceptualising the understudied space between the Lancastrian literary culture of the early fifteenth century and the Tudor literary cultures of the early and mid-sixteenth century. Drawing upon theories of political discourse and interpellation, and of the power of language to shape social identities, this book explores the ways in which, in this textual culture, treason is both a source of anxieties about community and identity, and a way of responding to those concerns. Despite the context of decades of civil war, treason is an understudied theme even with regards to Thomas Malory's celebrated prose romance, the Morte Darthur. Leitch accordingly provides a double contribution to Malory criticism by addressing the Morte Darthur's engagement with treason, and by reading the Morte in the hitherto neglected context of the prose romances and other secular literature written by Malory's English contemporaries. This book also offers new insights into the nature and possibilities of the medieval romance genre and sheds light on understudied texts such as the prose Siege of Thebes and Siege of Troy, and the romances William Caxton translated from French. More broadly, this book contributes to reconsiderations of the relationship between medieval and early modern culture by focusing on a comparatively neglected sixty-year interval — the interval that is customarily the dividing line, the 'no man's land' between well—but separately-studied periods in English literary studies.

Lybeaus Desconus (the Fair Unknown) is the mid-fourteenth-century Middle English version of the classic narrative of the handsome and mysterious young outsider who comes to the court of King Arthur to prove himself worthy of joining Arthur's knights. The young knight is tested in a variety of ways, and in the course of this testing he learns both chivalric codes of conduct and the truth of his parentage. Six extant manuscripts of the poem attest to its popularity, placing it in company with Guy of Warwick, Bevis of Hampton, and Sir Isumbras among the most popular of Middle English Romances. The current edition offers readers a chance to compare two manuscript versions of the poem, one preserved in Lambeth MS 306 and the other in the Biblioteca Nazionale in Naples.

This is the first book-length exploration of the type-scenes of western medieval literature from the ninth to the fifteenth centuries, spanning both the Latinate and Germanic traditions. Type-scenes are the recurring, stock scenes comprising the basic structure and cognitive guidance for narrative. These formulaic scenes enabled medieval poets to express originality while honoring tradition. Central to medieval poetic invention, type-scenes form the vital “internal organs” of narrative, each serving a specialized function while working in concert with other organs to create and sustain the story. This accessible and engaging guide to medieval type-scenes consists of three parts: Part I is a compendium of the type-scenes commonly found in medieval narrative, including analyses of examples from individual poems. Part II explores combinations of type-scenes within single works of literature for purposes of chronology, characterization, or virtuosity. Part III examines how a single type-scene manifests across multiple poems, adapting to a variety of settings and periods, while maintaining its original intent. This volume kindles in scholars, teachers, and students alike a new and refreshing awareness of the foundational narrative strategies of medieval literature.