Written by a fourteenth-century cleric, this spiritual allegory explores man in relation to his ultimate destiny against the background of teeming, colorful medieval life.

Centering her discussion on two historical "ways of reading"--Which she calls the Protestant and the lettered - Barbara A. Johnson traces the development of a Protestant readership as it is reflected in the reception of Langland's Piers Plowman and Bunyan's Pilgrim's Progress. Informed by reader-response and reception theory and literacy and cultural studies, Johnson's ambitious examination of these two ostensibly literary texts charts the cultural roles they played in the centuries following their composition, roles far more important than their modern critical reputations can explain. The reception of these two works, revealing as it does changing ideas concerning the nature and status of books as well as the stature of authors, documents the means by which a culture shapes and is shaped by texts. Johnson argues that much more evidence exists about how earlier readers read than has hitherto been acknowledged. The reception of Piers Plowman, for example, can be inferred from references to the work, the apparatus its Renaissance printer inserted in his editions, the marginal comments readers inscribed both in printed editions and in manuscripts, and the apocryphal "plowman" texts that constitute interpretations of Langland's poem. Conditioned more by religious, historical, and economic forces than literary concerns, Langland's poem became a part of the reformist tradition that culminated in Bunyan's Pilgrim's Progress. By understanding this tradition, Bunyan's place in it, and the way the reception of The Pilgrim's Progress illustrates the beginning of a new more realistic fictional tradition, Johnson concludes, we can begin to delineate a more accurate history of the ways literature and society intersect, a history of readers reading.

"A gifted poet has given us an astute, adroit, vigorous, inviting, eminently readable translation. . . . The challenging gamut of Langland's language . . . has here been rendered with blessed energy and precision. Economou has indeed Done-Best."—Allen Mandelbaum

It is a medieval truism that the poet meddles with words, the lawyer with the world. But are the poet's words and the lawyer's world really so far apart? To what extent does the art of making poems share in the craft of making laws, and vice versa? Framed by such questions, Piers Plowman and the Reinvention of Church Law in the Late Middle Ages examines the mutually productive interaction between literary and legal "makyngs" in England's great Middle English poem by William Langland. Focusing on Piers Plowman's preoccupation with wrongdoing in the B and C versions, Arvind Thomas examines the versions' representations of trials, confessions, restitutions, penalties, and pardons. Thomas explores how the "literary" informs and transforms the "legal" until they finally cannot be separated. Thomas shows how the poem's narrative voice, metaphor, syntax and style not only reflect but also act upon properties of canon law, such as penitential procedures and authoritative maxims. Langland's mobilization of juridical concepts, Thomas insists, not only engenders a poetics informed by canonist thought but also expresses an alternative vision of canon law from that proposed by medieval jurists and today's medievalists.

Originally published by 1984 Justice and Mercy in Piers Plowman provides a clear and informative introduction to the complexities of Langland’s Piers Plowman. It identifies Langland’s major concerns and shows in detail, passus by passus, how these are developed by him in the first part of the poem – the Visio. It offers a close reading of the text and draws parallels where relevant with other medieval writings. There is a final brief chapter on the Vita which outlines the chief ways in which the themes of justice, mercy and law that have been followed through Visio continue to be of major importance in the rest of the poem. By concentrating on the philosophical core of the work, the climate of thought in which Langland wrote and the thematic integrity of the poem as a whole, the author makes a difficult, but unique and fascinating poem more accessible.

Piers Plowman and the Books of Nature explores the relationship of divine creativity, poetry, and ethics in William Langland's fourteenth-century dream vision. These concerns converge in the poem's rich vocabulary of kynde, the familiar Middle English word for nature, broadly construed. But in a remarkable coinage, Langland also uses kynde to name nature's creator, who appears as a character in Piers Plowman. The stakes of this representation could not be greater: by depicting God as Kynde, that is, under the guise of creation itself, Langland explores the capacity of nature and of language to bear the plenitude of the divine. In doing so, he advances a daring claim for the spiritual value of literary art, including his own searching form of theological poetry. This claim challenges recent critical attention to the poem's discourses of disability and failure and reveals the poem's place in a long and diverse tradition of medieval humanism that originates in the twelfth century and, indeed, points forward to celebrations of nature and natural capacity in later periods. By contextualizing Langland's poetics of kynde within contemporary literary, philosophical, legal, and theological discourses, Rebecca Davis offers a new literary history for Piers Plowman that opens up many of the poem's most perplexing interpretative problems.

Reading 'Piers Plowman' is an indispensable scholarly guide to a magnificent - and notoriously difficult - medieval poem. With 'Piers Plowman', the fourteenth-century poet William Langland proved that English verse could be at once spiritually electrifying and intellectually rigorous, capable of imagining society in its totality while at the same time exploring heady ideas about language, theology and culture. In her study of Piers Plowman, Emily Steiner explores how Langland's ambitious poetics emerged in dialogue with contemporary ideas; for example, about political counsel and gender, the ethics of poverty, Christian and pagan learning, lordship and servitude, and the long history of Christianity. Lucid and comprehensive, Steiner's study teaches us to stay alert to the poem's stunning effects while still making sense of its literary and historical contexts.