This volume provides a detailed overview of the Towneley cycle of plays, which were written c. 1500. The plays begin with the fall of Lucifer and end with the Last Judgement. Peter Happé examines the cycle's textual and manuscript history and discusses issues of language and style, the structure of the cycle, and its possible sources and analogues. He also addresses the historical and religious context of the cycle and its performance history.

The Towneley plays are a collection of biblical plays in the Huntington Library's MS HM 1, a manuscript once owned by the Towneley family of Towneley Hall, Lancashire. Once thought to constitute a cycle of plays from the town of Wakefield in Yorkshire's West Riding, the collection includes some of the best-known examples of medieval English drama, including the much-anthologized Second Shepherds Play.

The complete cycle of thirty-two plays.

The drama of the English Middle Ages is perennially popular with students and theatre audiences alike, and this is an updated edition of a book which has established itself as a standard guide to the field. The Cambridge Companion to Medieval English Theatre, second edition continues to provide an authoritative introduction and an up-to-date, illustrated guide to the mystery cycles, morality drama and saints' plays which flourished from the late fourteenth to the mid-sixteenth centuries. The book emphasises regional diversity in the period and engages with the literary and particularly the theatrical values of the plays. Existing chapters have been revised and updated where necessary, and there are three entirely new chapters, including one on the cultural significance of early drama. A thoroughly revised reference section includes a guide to scholarship and criticism, an enlarged classified bibliography and a chronological table.

A study of medieval drama, divided into two parts: part I, Mystery Plays, is the work of Christine Richardson and part II, Moralities and Interludes, is the work of Jackie Johnston. The general introduction was written jointly.

The feast of Corpus Christi, celebrated annually on Thursday after Trinity Sunday, was devoted to the Eucharist, and the normal practice was to have solemn processions through the city with the Host, the consecrated wafer that was believed to have been transformed into the true body and blood of Jesus. In this way the "cultus Dei" thus celebrated allowed the people to venerate the Eucharistic bread in order that they might be stimulated to devotion and brought symbolically, even mystically into a relationship with the central moments of salvation history. Perhaps it is logical, therefore, that pageants and plays were introduced in order to access yet another way of visualizing and participating in those events. Thus the "invisible things" of the divine order "from the creation of the world" might be displayed. The York Corpus Christi Plays, contained in London, British Library, MS. Add. 35290 and comprising more than thirteen thousand lines of verse, actually represent a unique survival of medieval theater. They form the only complete play cycle verifiably associated with the feast of Corpus Christi that is extant and was performed at a specific location in England.

A storybook princess breaks the fourth wall and incites a new kind of adventure in this imaginative middle grade fantasy perfect for fans of Chris Colfer and Gail Carson Levine. Sylvie had an amazing life, but she didn’t get to live it very often. Sylvie has been a twelve-year-old princess for more than eighty years, ever since the book she lives in was first printed. She’s the heroine, and her story is exciting. But that’s the trouble: it’s always exciting in the same way. So when a new Reader opens the book at long last, Sylvie breaks the cardinal rule of all storybook characters: she looks up. And sets into motion a new story all her own. Now, Sylvie is in for an adventure beyond any she could have imagined. As her journey takes her from the pages of a book to the landscape of dreams, Sylvie must summon all her courage to save her kingdom, find her way home, and figure out what it really means to do a Great Good Thing.