Shows how English responses to the Black Death were hidden in plain sight--as seen in the Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight poems.

One of the earliest great stories of English literature after ?Beowulf?, ?Sir Gawain? is the strange tale of a green knight on a green horse, who rudely interrupts King Arthur's Round Table festivities one Yuletide, challenging the knights to a wager. Simon Armitrage, one of Britain's leading poets, has produced an inventive and groundbreaking translation that " helps] liberate ?Gawain ?from academia" (?Sunday Telegraph?).

The plague first arrived in the English port of Weymouth in the summer of 1348. Two years later, half of Britain was dead, but the Black Death was just beginning. In the decades to come, England would suffer recurring outbreaks, social and cultural upheaval, and violent demographic shifts. The pandemic was, by any measure, a massive cultural trauma; however, within the vernacular English literature of the fourteenth century, the response to the disease appears muted, particularly compared to contemporaneous descriptions emerging from mainland Europe. Death and the Pearl Maiden: Plague, Poetry, England asks why one of the singular historical traumas of the later Middle Ages appears to be evoked so fleetingly in fourteenth-century Middle English poetry, a body of work as daring and socially engaged as any in English literary history. By focusing on under-recognized pestilential discourses in Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight-the four poems uniquely preserved British Library MS Cotton Nero A.x -this study resists the idea that the Black Death had only a slight impact on medieval English literature, and it strives to account for the understated shape of England's literary response to the plague and our contemporary understandings of it.

This major new literary study offers a fresh view of the significance of a famous group of fourteenth-century poems, 'Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight'. It is written in a jargon-free style designed to appeal to specialist, non-specialist and student readers alike.

Between 1347 and 1350, the Black Death killed at least one third of Europe's population. Philip Ziegler's classic account traces the course of the virulent epidemic through Europe and its dramatic effect on the lives of those whom it afflicted. First published nearly forty years ago, it remains definitive. 'The clarity and restraint on every page produce a most potent cumulative effect.' Michael Foot

Medieval literature contains many figures caught at the interface between life and death - the dead return to place demands on the living, while the living foresee, organize or desire their own deaths. Jane Gilbert's original study examines the ways in which certain medieval literary texts, both English and French, use these 'living dead' to think about existential, ethical and political issues. In doing so, she shows powerful connections between works otherwise seen as quite disparate, including Chaucer's Book of the Duchess and Legend of Good Women, the Chanson de Roland and the poems of Francois Villon. Written for researchers and advanced students of medieval French and English literature, this book provides original, provocative interpretations of canonical medieval texts in the light of influential modern theories, especially Lacanian psychoanalysis, presented in an accessible and lively way.

Winner • PEN Award for Poetry in Translation From the acclaimed translator of Sir Gawain and the Green Knight, a spellbinding new translation of this classic allegory of grief and consolation. One of our most ingenious interpreters of Middle English, Oxford Professor of Poetry Simon Armitage is celebrated for his “compulsively readable” translations (New York Times Book Review). A perfect complement to his historic translation of Sir Gawain and the Green Knight, Pearl reanimates another beloved Medieval English masterpiece thought to be by the same anonymous author and housed in the same original fourteenth-century manuscript. Honoring the rhythms and alliterative music of the original, Armitage’s virtuosic translation describes a man mourning the loss of his Pearl—something that has “slipped away.” What follows is a tense, fascinating, and tender dialogue weaving through the throes of grief toward divine redemption. Intricate and endlessly connected, Armitage’s lyrical translation is a circular and perfected whole, much like the pearl itself.