The abbreviated Psalms commentary by Honorius Augustodunensis (ca. 1070 - ca. 1140)-a redaction of his own, much larger commentary on the entire Psalter-participates in a long tradition of Christian interpretation of the Book of Psalms. A prolific author closely associated with Anselm of Canterbury, Rupert of Deutz, and Gilbert of Poitiers, Honorius wrote a massive commentary on the Psalms when the so-called "school of Laon" was at work on the Glossa ordinaria. Honorius's work shares the academic interest of that school, while simultaneously serving the devotion of the Benedictine Reform. His Exposition of Selected Psalms highlights a tripartite division of the Psalter, even as it discovers in the psalms an apocalypticism fitting to the Church in its last age.

Blanchardyn and Eglantine and Paris and Vienne were last edited in 1890 and 1957, respectively. The proposed edition incorporates recent scholarship and criticism, including new critical editions of French texts closely related to Caxton's sources for both romances. Other relevant scholarly traditions include: studies of the two romances and late medieval romance in England and France; gender studies, especially the role of women in these narratives; scholarship relating to the owners and readers of Caxton's romances and associated manuscripts; studies of courtesy literature and its relationship to romance; and scholarship on Caxton, his career, publications, prose style, and language.

This book is the first critical edition of two fascinating but overlooked devotional texts. Each shines its own light on medieval faith. The Holkham Prayers and Meditations (ca.1410) is a rare example of female authorship, written by an unnamed woman to guide a "religious sustir." Simon Appulby's Fruyte of Redempcyon (1514) is more popular in aim, composed by one of England's last anchorites to serve his urban community. Both texts are accompanied by extensive notes and introductory essays to aid students and specialists alike.

This collaboration by two esteemed evangelical scholars blends a verse-by-verse exposition of select psalms with a history of their interpretation in the church from the time of the apostles to the present. Bruce Waltke, who has been teaching and preaching the book of Psalms for over fifty years, skillfully establishes the meaning of the Hebrew text through the careful exegesis for which he is well known. James Houston traces the church's historical interpretation and use of these psalms, highlighting their deep spiritual significance to Christians through the ages. Waltke and Houston focus their in-depth commentary on thirteen psalms that represent various genres and perspectives or hold special significance for Christian faith and the life of the church, including Psalm 1, Psalm 23, Psalm 51, and Psalm 139. While much modern scholarship has tended to "despiritualize" the Psalms, Waltke and Houston's "sacred hermeneutic" listens closely to the two voices of the Holy Spirit heard infallibly in Scripture and edifyingly in the church's response. A masterly historical-devotional commentary, The Psalms as Christian Worship will deepen the church's worship and enrich the faith and life of contemporary Christians. - Publisher.

Reexamining the roles played by author, reader, scribe, and text in medieval literary practice, John Dagenais argues that the entire physical manuscript must be the basis of any discussion of how meaning was made. Medievalists, he maintains, have relied too heavily on critical editions that seek to create a single, definitive text reflecting an author's intentions. In reality, manuscripts bear not only authorial texts but also a variety of elements added by scribes and readers: glosses, marginal notes, pointing hands, illuminations, and fragments of other, seemingly unrelated works. Using the surviving manuscripts of the fourteenth-century Libro de buen amor, a work that has been read both as didactic treatise on spiritual love and as a celebration of sensual pleasures, Dagenais shows how consideration of the physical manuscripts and their cultural context can shed new light on interpretive issues that have puzzled modern readers. Dagenais also addresses the theory and practice of reading in the Middle Ages, showing that for medieval readers the text on the manuscript leaf, including the text of the Libro, was primarily rhetorical and ethical in nature. It spoke to them directly, individually, always in the present moment. Exploring the margins of the manuscripts of the Libro and of other Iberian works, Dagenais reveals how medieval readers continually reshaped their texts, both physically and ethically as they read, and argues that the context of medieval manuscript culture forces us to reconsider such comfortable received notions as "text" and "literature" and the theories we have based upon them.

In Cosmos, Liturgy, and the Arts in the Twelfth Century, Margot E. Fassler takes readers into the rich, complex world of Hildegard of Bingen’s Scivias (meaning “Know the ways”) to explore how medieval thinkers understood and imagined the universe. Hildegard, renowned for her contributions to theology, music, literature, and art, developed unique methods for integrating these forms of thought and expression into a complete vision of the cosmos and of the human journey. Scivias was Hildegard’s first major theological work and the only one of her writings that was both illuminated and copied by scribes from her monastery during her lifetime. It contains not just religious visions and theological commentary, but also a shortened version of Hildegard’s play Ordo virtutum (“Play of the virtues”), plus the texts of fourteen musical compositions. These elements of Scivias, Fassler contends, form a coherent whole demonstrating how Hildegard used theology and the liturgical arts to lead and to teach the nuns of her community. Hildegard’s visual and sonic images unfold slowly and deliberately, opening up varied paths of knowing. Hildegard and her nuns adapted forms of singing that they believed to be crucial to the reform of the Church in their day and central to the ongoing turning of the heavens and to the nature of time itself. Hildegard’s vision of the universe is a “Cosmic Egg,” as described in Scivias, filled with strife and striving, and at its center unfolds the epic drama of every human soul, embodied through sound and singing. Though Hildegard’s view of the cosmos is far removed from modern understanding, Fassler’s analysis reveals how this dynamic cosmological framework from the Middle Ages resonates with contemporary thinking in surprising ways, and underscores the vitality of the arts as embodied modes of theological expression and knowledge.