King and Commoner tales were hugely popular across the late medieval and early modern periods, their cultural influence extending from Robin Hood ballads to Shakespearean national histories. This study represents the first detailed exploration of this rich and fascinating literary tradition, tracing its development across deeply politicized fifteenth-century comic tales and early modern ballads. The medieval King and Commoner tales depict an incognito king becoming lost in the forest and encountering a disgruntled commoner who complains of class oppression and poaches the king’s deer. This is an upside-down world of tricksters, violence, and politicized feasting that critiques and deconstructs medieval hierarchy. The commoners of these tales utilize the inversion of the medieval carnival, crowning themselves as liminal mock kings in the forest while threatening to rend and devour a body politic that would oppress them. These tales are complex and ambiguous, reimagining the socio-political upheaval of the late medieval period in sophisticated ruminations on class relations. By contrast, the early modern ballads and chapbooks see the tradition undergo a conservative metamorphosis. Suppressing its more radical elements amid a celebration of proto-panoptical kings, the tradition remerges as royalist propaganda in which the king watches his thankful subjects through the keyhole.

Originally published in 1993, The Medieval Charlemagne Legend is a selective bibliography for the literary scholar, of historical and literary material relating to Charlemagne. The book provides a chronological listing of sources on the legend and man is split into three distinct sections, covering the history of Charlemagne, the literature of Charlemagne and the medieval biography and chronicle of Charlemagne.

The first full-length examination of the medieval Charlemagne tradition in the literature and culture of medieval England, from the Chanson de Roland to Caxton. The Matter of France, the legendary history of Charlemagne, had a central but now largely unrecognised place in the multilingual culture of medieval England. From the early claim in the Chanson de Roland that Charlemagne held England as his personal domain, to the later proliferation of Middle English romances of Charlemagne, the materials are woven into the insular political and cultural imagination. However, unlike the wide range of continental French romances, the insular tradition concentrates on stories of a few heroic characters: Roland, Fierabras, Otinel. Why did writers and audiences in England turn again and again to these narratives, rewriting and reinterpreting them for more than two hundred years? This book offers the first full-length, in-depth study of the tradition as manifested in literature and culture. It investigates the currency and impact of the Matter of France with equal attention to English and French-language texts, setting each individual manuscript or early printed text in its contemporary cultural and political context. The narratives are revealed to be extraordinarily adaptable, using the iconic opposition between Carolingian and Saracen heroes to reflect concerns with national politics, religious identity, the future of Christendom, chivalry and ethics, and monarchy and treason. PHILLIPA HARDMAN is Readerin Medieval English Literature (retired) at the University of Reading; MARIANNE AILES is Senior Lecturer in French at the University of Bristol.

The popular genre of medieval romance explored in its physical, geographical, and literary contexts. The essays in this volume take a representative selection of English and Scottish romances from the medieval period and explore some of their medieval contexts, deepening our understanding not only of the romances concerned but also of the specific medieval contexts that produced or influenced them. The contexts explored here include traditional literary features such as genre and rhetorical technique and literary-cultural questions of authorship, transmission and readership; but they also extend to such broader intellectual and social contexts as medieval understandings of geography, the physiology of swooning, or the efficacy of baptism. A framing context for the volume is provided by Derek Pearsall's prefatory essay, in which he revisits his seminal 1965 article on the development of Middle English romance. Rhiannon Purdie is Senior Lecturer in English, University of St Andrews; Michael Cichon is Associate Professor of English at St Thomas More College in the University of Saskatchewan. Contributors: Derek Pearsall, Nancy Mason Bradbury, Michael Cichon, Nicholas Perkins, Marianne Ailes, John A. Geck, Phillipa Hardman, Siobhain Bly Calkin, Judith Weiss, Robert Rouse, Yin Liu, Emily Wingfield, Rosalind Field

The story combines the king-in-disguise motif popular in folklore with the conversion motif common in medieval romance. The hero of the tale is the Scottish collier Rauf who hosts Charlemagne and later challenges a Saracen to a duel. This edition includes the Scottish text of the tale, explanatory notes and a glossary. Introductory chapters treat the literary background of the poem relating it to the king-in-disguise motif, the alliterative tradition and the Charlemagne romances.

The Encyclopedia of Medieval Literature in Britain vereint erstmals wissenschaftliche Erkenntnisse zu Multilingualität und Interkulturalität im mittelalterlichen Britannien und bietet mehr als 600 fundierte Einträge zu Schlüsselpersonen, Zusammenhängen und Einflüssen in der Literatur vom fünften bis sechzehnten Jahrhundert. - Einzigartiger multilingualer, interkultureller Ansatz und die neuesten wissenschaftlichen Erkenntnisse. Das gesamte Mittelalter und die Bandbreite literarischer Sprachen werden abgedeckt. - Über 600 fundierte, verständliche Einträge zu Schlüsselpersonen, Texten, kritischen Debatten, Methoden, kulturellen Zusammenhängen sowie verwandte Terminologie. - Repräsentiert die gesamte Literatur der Britischen Inseln, einschließlich Alt- und Mittelenglisch, das frühe Schottland, die Anglonormannen, Nordisch, Latein und Französisch in Britannien, die keltische Literatur in Wales, Irland, Schottland und Cornwall. - Beeindruckende chronologische Darstellung, von der Invasion der Sachsen bis zum 5. Jahrhundert und weiter bis zum Übergang zur frühen Moderne im 16. Jahrhundert. - Beleuchtet die Überbleibsel mittelalterlicher britischer Literatur, darunter auch Manuskripte und frühe Drucke, literarische Stätten und Zusammenhänge in puncto Herstellung, Leistung und Rezeption sowie erzählerische Transformation und intertextuelle Verbindungen in dieser Zeit.

In this elegantly written study, Nancy Mason Bradbury situates Chaucer’s last and most ambitious work in the context of a zeal for proverbs that was still rising in his day. Rival Wisdoms demonstrates that for Chaucer’s contemporaries, these tiny embedded microgenres could be potent, disruptive, and sometimes even incendiary. In order to understand Chaucer’s use of proverbs and their reception by premodern readers, we must set aside post-Romantic prejudices against such sayings as prosaic and unoriginal. The premodern focus on proverbs conditioned the literary culture that produced the Canterbury Tales and helped shape its audience’s reading practices. Aided by Thomas Speght’s notations in his 1602 edition, Bradbury shows that Chaucer acknowledges the power of the proverb, reflecting on its capacity for harm as well as for good and on its potential to expand and deepen—but also to regulate and constrict—the meanings of stories. Far from banishing proverbs as incompatible with the highest reaches of poetry, Chaucer places them at the center of the liberating interpretive possibilities the Canterbury Tales extends to its readers. Revelatory and persuasive, this book will appeal to scholars and students of medieval and early modern English literature as well as those interested in proverbs and the Canterbury Tales.

Fresh approaches to one of the most important poems from medieval Scotland. John Barbour's Bruce, an account of the deeds of Robert I of Scotland (1306-29) and his companions during the so-called wars of independence between England and Scotland, is an important and complicated text. Composed c.1375 during the reign of Robert's grandson, Robert II, the first Stewart king of Scotland (1371-90), the poem represents the earliest surviving complete literary work of any length produced in "Inglis" in late medieval Scotland, andis usually regarded as the starting point for any worthwhile discussion of the language and literature of Early Scots. It has also been used as an essential "historical" source for the career and character of that iconic monarch Robert I. But its narrative defies easy categorisation, and has been variously interpreted as a romance, a verse history, an epic or a chivalric biography. This collection re-assesses the form and purpose of Barbour's great poem. It considers the poem from a variety of perspectives, re-examining the literary, historical, cultural and intellectual contexts in which it was produced, and offering important new insights. Steve Boardman is a Reader in History at the University of Edinburgh. Susan Foran, currently an independent scholar, researches chivalry, war and the idea of nation in late medieval historical writing. Contributors: Steve Boardman, Dauvit Broun, Michael Brown, Susan Foran, Chris Given-Wilson, Theo van Heijnsbergen, Rhiannon Purdie, Biörn Tjällén, Diana B. Tyson, Emily Wingfield.

In The Lily and the Thistle, William Calin argues for a reconsideration of the French impact on medieval and renaissance Scottish literature. Calin proposes that much of traditional, medieval, and early modern Scottish culture, thought to be native to Scotland or primarily from England, is in fact strikingly international and European. By situating Scottish works in a broad intertextual context, Calin reveals which French genres and modes were most popular in Scotland and why. The Lily and the Thistle provides appraisals of medieval narrative texts in the high courtly mode (equivalent to the French “dits amoureux”); comic, didactic, and satirical texts; and Scots romance. Special attention is accorded to texts composed originally in French such as the Arthurian “Roman de Fergus,” as well as to the lyrics of Mary Queen of Scots and little known writers from the French and Scottish canons. By considering both medieval and renaissance works, Calin is able to observe shifts in taste and French influence over the centuries.