Search results for ""medieval institute publications""

Mankind is at once conventional in its adherence to morality and extraordinary in its effervescence and wit. The text is a morality play warning Mankind how it may be led astray by temptation, while simultaneously entertaining the audience with banter between the characters representing vice. In its small-scale staging, with a smaller number of actors and props, it was written for a theater troupe of the kind that foreshadows modern professional English drama. Presented with a gloss, notes, an introduction, and a glossary, this edition of the lively Middle English play is perfect for any level of Middle English instruction and invaluable to those who teach early drama.

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With the METS editions of Everyman (2008), Mankind (2010), and The Castle of Perseverance (2010), this volume completes the presentation of the five surviving Middle English morality plays. In addition to the texts of The Pride of Life (the earliest of the surviving morality plays) and Wisdom (which is unusual for the size of its cast and the fact that it survives in multiple copies), Klausner's edition includes two appendices which provide the texts of primary sources for the two plays as well as appropriate music (liturgical music, song, and dances) which may have accompanied performances, especially Wisdom.

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The essays in this collection honor Helen Damico's extensive interests in Old Norse and later medieval literatures as well as her primary focus on Anglo-Saxon studies, embracing Old English poetry, archaeology, art history, paleography, liturgy, landscape, and gender. Each of the essays contributes new interpretations, new evidence, even new technologies to further the study of some key medieval works.

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This book forms part of a longstanding project by numerous scholars to map the sources which influenced the literary culture of Anglo-Saxon England. It aims at a comprehensive, descriptive list of all authors and works known in Britain between c. 500 and c. 1100 CE. This volume brings up to date the entries on apocrypha first published in Sources of Anglo-Saxon literary culture: a trial version (1990).

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Robert Deshman wove together a dense and tightly structured nexus of Early Christian, Carolingian, Anglo-Saxon, and Ottonian manuscript illuminations, ivories, textiles, mosaics, and wall paintings on the one hand, and contemporary exegetical, liturgical, and political writings on the other. In so doing, he ultimately demonstrated the intrinsic connections among visual culture, theology, philosophy, political theory, and ecclesiastic doctrine and practice. Although he used the word only once in his own writings, at the very end of his career, Deshman was truly an interdisciplinary scholar of the first order. The thirteen articles collected in this volume were published between 1971 and 1997 (four posthumously) in six different journals and four edited books. Reprinting them is meant not only to make the articles more accessible but also to present a cohesive body of work (primarily on Anglo-Saxon art) that as a whole has yet to be surpassed or methodologically replaced in the scholarly literature.

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Filling today's religious book market are Apocalypse commentaries teaching that the seven seals of Revelation 5-8 describe tragedies that are to take place in the last days. Medieval Europeans, on the other hand, thought very differently about the seven seals. Some used the seven seals for catechetical purposes and associated them with seven major events in the life of Christ or seven gifts of the Holy Spirit. Other medieval writers taught that the seven seals contained symbols about life in the church between the first and second comings of Christ. Still others viewed the seals as milestones in the grand outline of salvation history. This book illustrates this vastness of medieval interpretive tradition on the seven seals. It includes fifteen texts from the sixth through the fifteenth centuries, which have been organized under three headings: those illustrating christological interpretations of the seven seals, those proposing ecclesiastical interpretations, and those giving historical interpretations.

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The Book of John Mandeville has tended to be neglected by modern teachers and scholars, yet this intriguing and copious work has much to offer the student of medieval literature, history, and culture. [It] was a contemporary bestseller, providing readers with exotic information about locales from Constantinople to China and about the social and religious practices of peoples such as the Greeks, Muslims, and Brahmins. The Book first appeared in the middle of the fourteenth century and by the next century could be found in an extraordinary range of European languages: not only Latin, French, German, English, and Italian, but also Czech, Danish, and Irish. Its wide readership is also attested by the two hundred fifty to three hundred medieval manuscripts that still survive today. Chaucer borrowed from it, as did the Gawain-poet in the Middle English Cleanness, and its popularity continued long after the Middle Ages.

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It is the purpose of this small book to offer to the reader selections from Stone's modest compilation of the internal life of his own monastic community—obituaries of monks, the celebration of the liturgy, even the weather—set against the wider events of the tumultuous fifteenth century in England.

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The fourteenth-century Siege of Jerusalem has been called by Ralph Hanna "the chocolate-covered tarantula of the alliterative movement" for its apparent anti-Semitism and is, as Livingston notes in his introduction, "simply difficult for twenty-first-century readers to like." The poem, which describes the destruction of the Second Temple by Roman forces in AD 70, is graphic in detail and unpleasant in its relish of the suffering of the Jews. But as Livingston points out, "Like the gritty violence of Alliterative Morte Arthure, the gore in Siege is perhaps best read as a grim awareness of the terrible realities of war, not as a bloodthirsty and berserk cry for further bloodshed. The poem chronicles a historical war, and it is this historical quality that must stand out: the poem not only has resonances of the bloodshed that battle inevitably brings, but it also is, in a very literal sense, history. This is to say, the war is over. The vengeance of Jesus has been accomplished. The Siege-poet's answer to the social-political-religious question of whether there is such a thing as a just war is that there was one: Titus and Vespasian's vengeance for the death of Christ. . . . Further efforts to avenge Christ were unnecessary. . . . That the poem is a call to action and to crusade, then, seems to be a claim that is far less sustainable than its opposite: a call to peace and to remembrance."

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This volume seeks to address the needs of teachers and advanced students who are preparing classes on the Middle Ages or who find themselves confounded in their studies by reference to the various liturgies that were fundamental to the lives of medieval peoples. In a series of essays, scholars of the liturgy examine "The Shape of the Liturgical Year," "Particular Liturgies," "The Physical Setting of the Liturgy," "The Liturgy and Books," and "Liturgy and the Arts." A concluding essay, which originated in notes left behind by the late C. Clifford Flanigan, seeks to open the field, to examine "liturgy" within the larger and more inclusive category of "ritual." "The essays are intended to be introductory but to provide the basic facts and the essential bibliography for further study. They approach particular problems assuming a knowledge of medieval Europe but little expertise in liturgical studies per se.

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Though our modern understanding of the medieval doctrine of Purgatory is generally shaped by its presentation by Dante in the Divine Comedy, there is a lengthy history of speculation about the nature of such a place of purgation. Through these fourteenth-century Middle English poems, readers can experience something of the controversies that surfaced and resurfaced even after Aquinas had articulated his doctrine of the Communion of Saints. The Gast of Gy, as Foster notes, puts a human face on the doctrine of Purgatory, not only in the amiable, logical, and patient person of the Gast of Gy himself, . . . but also in the careful and cautious dialogue between the Gast and the Pryor who questions him. Sir Owain and The Vision of Tundale present two accounts of the purgatorial journeys of living individuals who are offered a chance to see the torments they have brought upon themselves by their less-than-perfect lives along with the opportunity to return and amend those lives. All three poems were quite popular, as was the doctrine of Purgatory itself. And why not? As Foster notes in his general introduction, it the doctrine of Purgatory had everything: adventure and adversity, suffering and excitement, and, most importantly, a profound theological warning wrapped in the joyful solace of communion with the departed and hope for our own sinful selves.

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The book explores the beginnings of the continental European notarial tradition, acquainting readers with the format of notarial documents, the books containing notarial acts, and with the variety of notarial acts. Sample documents have been selected for their interest and their illustration of specific types of contracts. All are from the 1327-28 notarial registry of Jean Holanie, the royal public notary of Montpellier.

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These texts will be of interest because they represent a kind of writing - at the intersection of ecclesiastical and secular power, drawing on the whole range of medieval Latin learning, yet written in vernacular verse - that is not found elsewhere in the European Middle Ages. In addition, they may be of use in teaching since, although relatively short, they illustrate a great number of characteristic medieval ways of writing and can be linked to a number of quite remarkable historical figures.

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Ava is the first woman whose name we know who wrote in German. She wrote her poem - or poems - on the lives of John the Baptist and Jesus Christ sometime early in the twelfth century, no later than 1127. It seems certain that she was a layperson, and her work reflects a level of learning that raises all sorts of interesting questions about the education of the laity, especially the education of lay woman, and about the nature of authorship in the Middle Ages, generally and particularly in medieval Germany.

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Thomas Hoccleve was born in 1367 and entered government service as clerk in the office of the Privy Seal in 1387, an office that he held until his death in 1426. His earliest datable poem (the "Epistle of Cupid," a free translation of Christine de Pisan's "Epistre au Dieu d'Amour") was completed about 1402. The Regiment of Princes, written about 1410–11, was composed at a time when England was still feeling the consequences of the deposition of Richard II. Essentially it is addressed to a prince on the subject of his governance, but it exhibits considerable generic instability and thus raises fundamental questions about how we should understand the tone of considerable portions of the poem. For all the problems it presents, The Regiment shows that Hoccleve has strengths as a poet. At times he could be a very talented prosodist. In autobiographical sections of the poem he creates a most interesting early-modern subjectivity. He has distinctive observations to make about his time, and, in his self-critical awareness, probes the limits of what is means to be a poet writing in the wake of Chaucer.

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The collection of essays in Romance Epic expertly examines the Romance epic as a genre, delving into its ever-changing period, audience, and region. The essays span across a wide range of different topics: the specificity of the Romance epic and how well it fits into the genre of epic at all, the structure of the chansons de geste, school influences on the Old French, the reconstruction of lost chansons de geste, the evolution of the genre through centuries, and topics specific to certain works, such as problems in the Chanson de Roland and the El Cantar de Mio Cid.

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Music has long been neglected by aestheticians, who tend to privilege discussions of visual arts and literature. In this volume, Herbert M. Schueller brings the aesthetics of music into the fold, tracing the development of the idea from classical antiquity through the medieval period. He writes in a manner accessible to scholars whose specialties lie outside of technical music theory, keeping in mind especially the aesthetician but also general medieval scholars, and even the general reader.

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Essays in this volume explore wide-ranging topics: Constantinople, Cloistered Women, Popes and Holy Images, Kingship, Pastoral Care, and Pilgrimages to the works or lives of Sidonius Apollinaris, Gregory of Tours, John Damascene, and Anselm of Havelberg. Like the scholarship of the man who inspired the essays (Richard Sullivan) the essays are broad and incisive.

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The medieval cycle plays from such cities as York and Chester culminated in a drama about the end of time, the Last Judgment. David Bevington and the other contributors to this book look at this final event of history as depicted in pre-modern times, and the result is a work of scholarly precision that, according to Bevington's introduction, attempts to see medieval drama in the context of other medieval art forms.

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Proceedings of the First International Interdisciplinary Conference on Medieval Prosopography (Bielefeld, Germany, December 1982).

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While the study of rhetoric has received a much-needed revival dating from about 1945, historical writing was not a favored object of scrutiny among the many studies of rhetoric's influence on medieval literature, education, and preaching (from the introduction). By 1978, some scholars had resolved to rectify this problem, and organized sessions at the thirteenth International Congress on Medieval Studies. This volume stands as a selection of works presented there, helping to fortify the strength of interest and inquiry directed toward rhetoric's symbiosis with historiography in centuries past (from the introduction).

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The publication of Sir Thomas Malory's Le Morte Darthur by William Caxton was a signal event in the history of English literature and printing. Compiled to mark the five-hundredth anniversary of that occasion, this volume contains critical studies of Malory's work, supplemented by essays that place that work in the larger context of Caxton's canon. The different approaches and methodologies in the essays reflect the variety of means through which an understanding of the Morte has been sought.

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Despite the paramount importance of confraternities (especially to males) in medieval European society, scholars have tended to neglect not only the social role they played but also the influence they had on the art, drama, music, and thinking of the society in which they not only existed but thrived. This collection of essays serves to illuminate this oft-ignored facet of medieval society, and each essay carefully examines some element of the influence of confraternities on society and its products.

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An asset to any study of gender in medieval England, this volume contains three poems that complement each other in their treatments of relations between the sexes. The Floure and the Leafe explores the courtly imagery of the flower and leaf, wherein the flower symbolizes the fickleness and shallow attraction characteristic of men, compared to the evergreen persistence of the leaf, likened to the long-suffering of women. Meanwhile, The Assembly of Ladies recounts the activities of a group of women while describing the differences between the sexes. Finally, the dream poem The Isle of Ladies tells of a male dreamer's interactions with the ladies of an all-female island. All of the poems include contextualizing introductions and helpful glosses; there is also an extensive glossary for the entire volume, rendering the volume useful to not only beginning students of Middle English but also to more advanced students of this topic.

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Before he suddenly passed away, John W. Robinson was working on a manuscript that he saw as effecting a marriage between the dramatic and the theatrical, as he felt there was too large a divide between literary scholars and practitioners of the theater. In it, Robinson stated that his "purpose it to expound as plays the New Testament plays of the Wakefield Master and some of the related York plays, including two by the York Realist. . . . hop[ing] to show that the meaning and effect of the Wakefield Master's and York Realist's plays will not appear unless they are approached with the understanding that they were performed, with some idea of how they were performed, and with some appreciation of what they meant to a medieval audience." That manuscript is presented here, a close study of eight plays and the elements Robinson considers essential to performance: playwright, sponsors, location, plot, script, players, and audience.

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In recent years, Gower's reputation has begun to evolve. Scholars and critics have opened his books once more to discover there a talent worthy of respect, rather than something to be viewed as tedious or dull. Recently it has seemed easier to understand Chaucer's good will toward the moral friend and fellow author into whose tutelary watchfulness he commended Troilus and Criseyde-and easier to assess the positive value Chaucer's adjective must have borne. The thirteen essays included here all represent a fresh approach, an effort by North American and European scholars to offer a representative sample of the many diverse directions taken by Gower studies today. The essays demonstrate the life still present in Gower's work and serve as both an excellent introduction and update on the state of Gower scholarship.

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Vernacular Poetics in the Middle Ages deals with the attitudes and assumptions about vernacular poetry from the eleventh to the fifteenth century. In contrast to most previous studies, the essays consider not only the formal poetics but, more importantly, the self-conscious examination of poetry which is increasingly evident in the poems themselves in this period as writers turn from Latin to the imperfect, mutable language of the vernacular. The approaches of the contributors to this volume represent a variety of methodologies and points of view, valid in their own right, and complementary in their visions. The conclusions, in many cases, qualify our assumptions about the body of vernacular literature and draw attention to issues we must now begin to address. Scholars considering the major European vernaculars and the development of vernacular poetics will take great interest in this collection of essays that range from broad surveys of the changing conceptions of poetry to close studies of the emerging literary languages in France, Germany, Italy, England, and Scotland and the significant contributions of individual poets.

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It is the artistic use of the female voice (as role, persona, or rhetorical stance) in particular lyrical traditions or by particular poets, that is of interest here. Woman's songs are found in all parts and periods of medieval Europe; the study of medieval woman's song is primarily the study of the image of a voice. This is not an attempt to completely cover the field but to offer an introduction and guide to those who are not familiar with woman's song, and a stimulation to those who are.

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"Sir Isumbras," "Octavian," "Sir Eglamour of Artois," and "Sir Tryamour" are important works in a major literary development of the fourteenth century: the flourishing of Middle English popular romance. These four narratives were among the most popular; all survive in multiple manuscripts and continued to circulate in prints through the sixteenth century. All were composed in the northeast Midlands in the fifty years between 1325 and 1375, and they appear together in several manuscripts. The tale the romances tell—of exiled queens, orphaned children, and penitent fathers—was one of the most prevalent medieval stories. Sometimes called the Constance/Eustace legend (after two well-known pious versions), its influence can be seen in numerous romances.

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John Gower's Confessio Amantis (The Lover's Confession) is one of the most important English works of the Fourteenth Century. Within its frame of the lovesick lover's confession are well over a hundred stories, mainly derived from classical mythology, the Bible, and history which exemplify the Middle Ages. Echoing the octosyllabic line of the original, this is the first translation of the entire (33,000-line) poem, including its Latin verses and glosses.

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Focusing on the ninth-century beginnings of Byzantine writings against the Latin addition of the Filioque to the creed, Inventing Latin Heretics illuminates several aspects of Byzantine thought-their self-definition, their theology, their uniquely constituted state-based both on what they had to say for themselves and on modern approaches to the study of group identity, religious conflict, and sociology of knowledge. The book introduces the concept of heresiology in general, defining terms, summarizing a vast body of secondary scholarship, and bringing the history of Byzantine antiheretical texts down to the ninth century. It discusses relations between Latin and Greek Christians before and into the time of Photios, as well as his knowledge of Latin customs. The next chapters examine the transmission, form, and contents of the three anti-Filioque texts attributed to Photios and other texts that exemplify what ninth-century Byzantines were saying about Latin errors, raising textual questions that cannot be ignored and ultimately providing a window onto Byzantine mentalities.

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At the end of the fifteenth century, Gavin Douglas devised his ambitious dream vision The Palyce of Honour in part to signal a new scope to Scottish literary culture. While deeply versed in Chaucer's writings, Douglas identified Ovid's Metamorphoses as a particularly timely model in the light of contemporary humanist scholarship. For all its comedy, The Palyce of Honour stands as a reminder to James IV of Scotland that poetry casts a powerful light upon the arts of rule. A new edition of David Parkinson’s 1992 book The Palis of Honoure. Medieval Institute Publications at Western Michigan University publishes the TEAMS Middle English Texts series, which is designed to make available texts that occupy an important place in the literary and cultural canon but have not been readily obtainable in student editions. The focus of Middle English Texts is on Middle English literature adjacent to such major authors as Chaucer or Malory. The editions include glosses of difficult words and short introductions on the history of the work, its merits, points of topical interest and brief bibliographies.

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Three lectures, initially presented before the University of Cambridge and now collected here, examine Matthew Parker as a noted collector of books, an avid annotator, and a keen student of Old English. In these lectures Dr. Page assesses the evidence for Parker's use of his manuscripts and printed books by drawing upon varied sources, including Parker's very numerous annotations upon their pages, and surveys the archbishop's role in the early-modern rediscovery and recovery of Old English and other medieval sources. Plates accompany the text to illustrate many characteristic aspects of Parker's interventions in his books.

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Beginning in 1987, the yearbook was the preeminent venue for scholarship on "Piers Plowman"; on related poems in the tradition of didactic alliterative verse and on the historical, religious, and intellectual contexts in which such poems were produced in late medieval England. Each volume contains essays, reviews and an annotated bibliography.

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In a series of essays readers will find information about modern scholarship on the subject of chivalry and various suggestions for ways to teach some familiar and unfamiliar chivalric materials. Short bibliographies are provided for teachers' further use.

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The disparate texts in this anthology, produced in England between the late thirteenth and the early sixteenth centuries, challenge, and in some cases parody and satirize, the institution of marriage. In so doing, according to the Introduction, they allow us to interrogate the traditional assumptions that shape the idea of the medieval household. The trials of marriage seem to outweigh its joys at times and, as some of these texts suggest, maintaining a sense of humor in the face of what must have been great difficulty could have been no easy task. The texts bridge generic categories. Some are obscure, written by anonymous authors; others are familiar, written by the likes of John Lydgate, John Wyclif, and William Dunbar. Taken together they suggest that, despite the fact that marriage had become a sacrament in the twelfth century and was increasingly recognized by ecclesiastical and secular authorities as a valuable social institution, it was not always a stabilizing and orderly social force.

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Although it seemed in the mid-1970s that the study of the troubadours and of Occitan literature had reached a sort of zenith, it has since become apparent that this moment was merely a plateau from which an intensive renewal was being launched. In this new bibliographic guide to Occitan and troubadour literature, Robert Taylor provides a definitive survey of the field of Occitan literary studies - from the earliest enigmatic texts to the fifteenth-century works of Occitano-Catalan poet Jordi de Sant Jordi - and treats over two thousand recent books and articles with full annotations. Taylor includes articles on related topics such as practical approaches to the language of the troubadours and the musicology of select troubadour songs, as well as articles situated within sociology, religious history, critical methodology, and psychoanalytical analysis. Each listing offers descriptive comments on the scholarly contribution of each source to Occitan literature, with remarks on striking or controversial content, and numerous cross-references that identify complementary studies and differing opinions. Taylor's painstaking attention to detail and broad knowledge of the field ensure that this guide will become the essential source for Occitan literary studies worldwide.

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In this new edition of the poems of Robert Henryson, David Parkinson offers editions of Henryson's "Fables," "The Testament of Cresseid," "Orpheus and Eurydice" and twelve shorter poems, grouped according to the strength of their attribution to Henryson, as well as the glosses and explanatory and textual notes characteristic of Middle English Texts Series volumes. Henryson was a prominent Scottish poet writing in the late fifteenth and early sixteenth century. This edition serves as an excellent addition to the Scots language and late medieval Scottish poetry.

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The first of two volumes dedicated to the memory of Paul Remy and having as theme the scientific domain to which he had dedicated his research for nearly forty years: the Occitan literature and language.

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The Play of Daniel from Beauvais was the first medieval music-drama to be staged in a popular modern production by the legendary Noah Greenberg's New York Pro Musica. This book provides for the first time a critical introduction to the staging and production, music, and setting of the play in its architectural and historical context. It also reproduces the pages in the manuscript which contain the play in facsimile, and it provides a new and faithful transcription of the music as well as a fresh translation of the text by A. Marcel J. Zijlstra of the Schola Cantorum "Quem Quaeritis" of the Netherlands, a group which performs regularly at the Utrecht Festival.

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Translation and the Transmission of Culture between 1300 and 1600 is a companion volume to Medieval Translators and their Craft (1989) and, like Medieval Translators, its aim is to provide the modern reader with a deeper understanding of the early centuries of translation in France. This collection works from the premise that translation never was, and should not now be, envisaged as a genre. Translatio was and continues to be infinitely variable, generating a correspondingly variable range of products from imitatively creative poetry to treatises of science. In the exercise of its multi-faceted set of practices the same controversies occurred then as now: creation or replication? Literality or freedom? Obligation to source or obligation to public? For this reason, the editors avoided periodization, but the volume makes no pretense at temporal exhaustiveness-the subject of translation is too vast. The contributors do, however, aim to shed light on several aspects of translation that have hitherto been neglected and that, despite the earliness of the period, have relevance to our understanding of translation whether in France or generally. Like its companion, this collection will be of interest to scholars of translation, textual studies, and medieval transmission of texts.

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The material contained here derives from a wide variety of printed and manuscript sources, chosen to give some idea of the rich diversity of evidence available to the historian of English medicine and its place in society during the fourteenth, fifteenth, and early sixteenth centuries. Latin and French have been translated into modern English, while vernacular texts have been slightly modified, and obsolete or difficult words explained. Middle English has otherwise been retained to give the past an authentic voice and to emphasize the similarities as well as the differences between the experience of modern readers and that of the inhabitants of late medieval England

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Studies of late medieval Tuscany have traditionally relied on historiographical premises derived from the experience of its intensely investigated capital city. Specifically, normative and quantitative data from Florentine sources have been employed to chart demographic, social, and economic trends during the communal age and across the period of the Black Death and its aftermath. The results have invited instructive comparisons with other regions of Italy, as well as other parts of Europe. At the same time, however, the focus on Florence in its role as a metropolitan center belies the conceptual problems inherent in the modern definition of “region,” applicable only with hindsight to medieval juridical and topographical boundaries. The essays in this volume offer non-Italian scholars a representative sample of current European research and a summary of recent debates regarding the historical evolution of those republics that posed the most formidable obstacles to the extension of Florentine hegemony. While they cover a range of topics, they all provide evidence of the important resources available to scholars working in provincial Tuscan archives and the volume offers an excellent sampling of the state of scholarship on these Italian communities.

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This collection of essays was released in honor of John Leyerle, a scholar to whom all medievalists in North America, and many beyond, owe a great debt. As a teacher, scholar, and administrator, Leyerle has been a leader in the rise and renewal of medieval studies on this continent in the past thirty years. The essays in this volume encompass his broad academic interests and interdisciplinary approach to scholarship, with a range of contributors from Canada, the United States, and abroad.

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Eighteen essays by some of the most prominent British and North American students of heroic poetry, plus two poems and a bibliography, are gathered here to honor Jess B. Bessinger Jr., whose innovative studies of heroic poetry have instructed a generation of scholars and whose performances of Anglo-Saxon poems are legendary.

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This volume is the first part of Rosenthal's cataloging of historical scholarship on Ricardian, Lancastrian, and Yorkist England, and covers categories from political and legal history to social and intellectual history and the arts. This volume is a must for any scholar of the period.

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It is fast becoming dogma that French prose emerged out of poetry by a process of deversification in the thirteenth century. Since the earliest extant example of written French prose dates back to the eighth century, this premise cannot be taken at face value. Prose had been the medium of the clercs for many centuries before the thirteenth. It had been honed by constant use to all manner of functions whether legal, diplomatic, epistolary, or edificatory (to name only those exemplified in this study). Early Prose in France is above all a reevaluation, an attempt to call into question the assumption that deversification could have been responsible for the emergence of such lengthy prose works as the crusading chronicles and the encyclopedic translations of the early thirteenth century. In this volume Beer demonstrates the sophisticated stylistic propensities of Early French prose, an effort long needed that does a great service to all French literary scholars.

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