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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.

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.

Studies in the Harley Manuscript is the first comprehensive examination of a manuscript that is of supreme value to literary scholars of medieval English literature. In an Introduction and fifteen essays a team of scholars considers many aspects of the 140 folios of this trilingual miscellany that preserves 121 items (or 122 depending on how one counts) from which we get a strange and privileged glimpse into the rich literary heritage that existed in England prior to the flourishing of vernacular poetry in the Richardian era. As the Contents indicates, the history and composition of the manuscript are considered, as are the Anglo-Norman, English, and Latin compositions that it preserves. This is a companion volume to the three volume complete edition of Harley 2253.

Studies in the Harley Manuscript is the first comprehensive examination of a manuscript that is of supreme value to literary scholars of medieval English literature. In an Introduction and fifteen essays a team of scholars considers many aspects of the 140 folios of this trilingual miscellany that preserves 121 items (or 122 depending on how one counts) from which we get a strange and privileged glimpse into the rich literary heritage that existed in England prior to the flourishing of vernacular poetry in the Richardian era. As the Contents indicates, the history and composition of the manuscript are considered, as are the Anglo-Norman, English, and Latin compositions that it preserves. This is a companion volume to the three volume complete edition of Harley 2253.

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.

Ars musice, composed in Paris during the late thirteenth century, reflects Johannes de Grocheio's awareness of the complexity of the task of describing music. As the editors note in their introduction, "Grocheio is aware of the enormous range of types of music performed in different ways in different places. How can he impose order on this enormous subject matter? He decided to resolve this question by structuring his discussion around the practice of music that he observed in the city of Paris, organized into three main 'branches': music of the people (musica vulgalis), composite or regular, 'which they call measured music' (musica mensurata), and ecclesiastical music (musica ecclesiastica), which he claims derives from the other two (AM 6.2). The originality of Grocheio's treatise has attracted considerable scholarly interest. It has long been recognized as a unique source of information about musical life in medieval Paris. Through his treatise, Grocheio enables a modern reader to become aware of the complex auditory environment of that city in the late thirteenth century as well as of its intellectual vitality at a particularly vibrant moment in its history."

Ars musice, composed in Paris during the late thirteenth century, reflects Johannes de Grocheio's awareness of the complexity of the task of describing music. As the editors note in their introduction, "Grocheio is aware of the enormous range of types of music performed in different ways in different places. How can he impose order on this enormous subject matter? He decided to resolve this question by structuring his discussion around the practice of music that he observed in the city of Paris, organized into three main 'branches': music of the people (musica vulgalis), composite or regular, 'which they call measured music' (musica mensurata), and ecclesiastical music (musica ecclesiastica), which he claims derives from the other two (AM 6.2). The originality of Grocheio's treatise has attracted considerable scholarly interest. It has long been recognized as a unique source of information about musical life in medieval Paris. Through his treatise, Grocheio enables a modern reader to become aware of the complex auditory environment of that city in the late thirteenth century as well as of its intellectual vitality at a particularly vibrant moment in its history."

Music was central to the medieval church's public worship: it was the essential medium of the Mass and the Divine Office. In this new critical edition, T. J. H. McCarthy presents the Latin text and the first English translation of Aribo's musical treatise, De musica and Sententiae. Written between 1070 and 1078, it is concerned with the workings of the liturgical music that Aribo and his contemporaries called Gregorian chant, and builds off of and responds to several contemporary treatises by Abbot Bern of Reichenau and his pupil Herman, Abbot William of Hirsau, Frutolf of Michelsberg, and Theoger of Metz. In the first new edition of the treatise in over sixty years, McCarthy addresses not only new approaches to the study of music history but newly discovered manuscripts of the treatise, paying careful attention to the diagrams that are integral to the coherence of the treatise.

The Tractatus de tonis of Guy of Saint-Denis (written ca. 1300-10)differs from other treatises on plainchant in the depth of its analysis of thevarious tones into which chant was traditionally classified. The treatise ofGuy of Saint-Denis is preserved as the concluding item in an anthology of textsabout plainchant that Guy compiled (now London, British Library, MS Harley281), beginning with some writings of Guido of Arezzo and a Cistercian tonary,but also including the Ars musice ofJohannes de Grocheio and the Tractatus detonis of Petrus de Cruce. Guy's treatise presents itself as a syntheticoverview of both the theory and practice of plainchant in a way that combinesthe very practical reflection of Guido of Arezzo with ideas of more Aristoteleianinspired theorists such as Johannes de Grocheio and Peter of Auvergne.

The Tractatus de tonis of Guy of Saint-Denis (written ca. 1300-10) differs from other treatises on plainchant in the depth of its analysis of the various tones into which chant was traditionally classified. Guy's treatise presents itself as a synthetic overview of both the theory and practice of plainchant in a way that combines the practical reflection of Guido of Arezzo with ideas of more Aristoteleian inspired theorists such as Johannes de Grocheio and Peter of Auvergne.

This volume contains the first critical edition of The Honourable, Pleasant and Rare Conceited Historie of Palmendos (London, 1589), a chivalric romance translated into English by Anthony Munday. The original text, Primaleón de Grecia I (Salamanca, 1512), soon became a best-seller on the Spanish market and was translated into many continental languages. Munday’s translation derives from the French version by François de Vernassal (1550). It comprises the first thirty-two chapters of the French text and focuses on the adventures of Palmendos on his journey to Constantinople. This is an original-spelling edition that produces a text as close as possible to Munday’s original manuscript.

This is the first critical edition of The Honourable, Pleasant and Rare Conceited Historie of Palmendos (London, 1589), a chivalric romance translated into English by Anthony Munday. The original text, Primaleón de Grecia I (Salamanca, 1512), soon became a bestseller on the Spanish market and was translated into many continental European languages. Munday’s translation derives from the French version by François de Vernassal (1550). It comprises the first thirty-two chapters of the French text and focuses on the adventures of Palmendos on his journey to Constantinople. Anthony Munday died in 1633 at the age of seventy-three. He left behind a long career as a poet, playwright, author of civic pageantry, chronicle writer, pamphleteer and translator that made him one of the most versatile and prolific authors of his age. A controversial figure in his own time, he worked as a spy for Elizabeth’s government and wrote and translated works of religious controversy as well as pamphlets on contemporary European politics. This is an original-spelling edition that produces a text as close as possible to Munday’s original manuscript.

This volume presents the first widely available edition in English of the medieval romance Blandin de Cornoalha, accompanied by a translation and introduction to the work. Composed in the second half of the fourteenth century by an anonymous author, the story offers an early recording of the Sleeping Beauty folktale, incorporated into the adventures of two knights. Many elements in this romance from the south of France are comic, suggesting that Blandin is not simply a tale of knights in battle, but also a parody of medieval romance in general.

This volume makes available for the first time in English an edition of the medieval romance Blandin de Cornoalha, including the original Occitan text, a translation and an introduction to the work. Composed in the second half of the fourteenth century by an anonymous author, the story offers the first recording of the Sleeping Beauty folktale, incorporated into the adventures of two knights. Many elements in the romance are comic, suggesting that Blandin is not simply a tale of knights in battle, but also a parody of medieval romance in general.

The legend of Theophilus is a widely disseminated medieval miracle story. A good man gives in to Vain Glory, sells his soul to the Devil, has a terrible crisis of conscience, and is saved by the Virgin. The story is translated into most European languages and appears in stained glass, sculpture, and manuscripts. Gautier de Coinci writes the longest version of the legend; its colourful details reveal the medieval period's deep fear of hell and the Devil and its high hopes in the Virgin and the Church.Gautier de Coinci (1177–1236) was a French abbot and musical arranger, chiefly known for his devotion to the Virgin Mary.This is the first English translation of Gautier de Coinci's pre-Faustian version of the legend of Theophilus.  It is presented in a facing-page translation with the original Old French, along with a full introduction and notes.

The legend of Theophilus is a widely disseminated medieval miracle story. A good man gives in to Vain Glory, sells his soul to the Devil, has a terrible crisis of conscience, and is saved by the Virgin. The story is translated into most European languages and appears in stained glass, sculpture, and manuscripts. Gautier de Coinci writes the longest version of the legend; its colourful details reveal the medieval period's deep fear of hell and the Devil and its high hopes in the Virgin and the Church.Gautier de Coinci (1177–1236) was a French abbot and musical arranger, chiefly known for his devotion to the Virgin Mary.This is the first English translation of Gautier de Coinci's pre-Faustian version of the legend of Theophilus.  It is presented in a facing-page translation with the original Old French, along with a full introduction and notes.

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) Middle English poem, including its Latin verses and glosses.