Critics have offered many views about the structure of Piers Plowman. Provided with few clues, they have tried to determine from the dominant features the poem's organizing factors. However, since 1926, when G. R. Owst suggested in Preaching in Medieval England that the meaning of Piers would become clear if the poem were compared in its thematic and artistic elements with sermon literature (295-296), only a few critics have discussed Langland's use of the sermon form. This present study argues that Langland structured his poem as a sermon to answer the Dreamer's question, "How I may saue my soule?" (B. I. 84), and to explain that salvation is attained by knowing and observing the love commandments, a Scriptural theme frequently treated in the sermons of the time. By comparing the structure of Piers with that of the sermon as Robert of Basevorn describes in Forma praedicandi (1322), I show that Langland forms his poem with the use of sermon "ornaments": invention of theme, antetheme/protheme, prayer concluding the antetheme, restatement of theme, division and confirmation of divisions, and concluding prayer. In addition, I show that the visions and passus, which are interrupted with the Dreamer's awakening, form subdivisions in each of the sections. I also show that Langland uses dream-allegory, dramatic-narrative, and satirical exempla to embellish his explanation of salvation. This parallel of the "art" in Langland's poem with the "art" of preaching shows that the poem has a definite structural and thematic unity and that the logical plan makes Christian belief concerning salvation understandable, instructive, and persuasive.

This edition presents the quatrain version of The Gast of Gy as found in MS Magdalen Pepys 2125 (folios 131('r)-139('r)) with variants incorporated from MS University of Leeds Brotherton 501 (folios 92('r)-99('v)) and MS Boies-Penrose 6 (folio 175('v)). The Pepys account was chosen as the copy text on the bases of accuracy, consistency, and completeness. The edited text is accompanied by an apparatus criticus; a full introduction describing the date, origin, authorship, and socio-historic background of the piece; textual-explanatory notes and glossary. This 1,546 line poem is a late fourteenth/early fifteenth century English translation of a Latin tract entitled De Spiritu Guidonis. The story is set in Alesen-Garde (Southern France) in 1323 and recounts a dialogue between a Dominican prior and a ghost from purgatory. The prior questions the ghost on a wide range of subjects related to the nature of purgatory, and the revenant gives authoritative replies based upon his personal experiences in the otherworld. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2868. / Thesis (Ph.D.)--The Florida State University, 1984.

Thirteenth-century verse romances are curious and complex works that are still largely misunderstood. Having been created in an epigonal era they closely imitate their twelfth-century models, borrowing themes and even entire passages from model texts. This extensive borrowing is what instigated most of the negative criticism that still affects these late verse romances. The recent developments in genre theory, however, enable us to better understand these epigonal poems. As we examine thirteenth-century verse romances along the lines of parody we find that many of these poems actually constitute a literary criticism, parodying the model texts in an effort to intragenerically question and update them. / La Vengeance Raguidel is such a parodic text. It embodies the questioning and the criticizing of the values and the codification of the generic system to which it belongs. The poet Raols's use of parody is one of carefully selecting various themes from different models belonging to different genres and successfully recombining them, after having reworked them to various degrees. Through this sophisticated use of parody Raols illustrates his critical view of the model text's ideology. This critical view of the Arthurian world and its code constitutes a strong thematic structure that links the different episodes of the poem together. The infusion of elements belonging to other literary genres has been devised in function of, and contributes directly to, the thematic structure of the poem. / Source: Dissertation Abstracts International, Volume: 53-10, Section: A, page: 3522. / Major Professor: Lori Walters. / Thesis (Ph.D.)--The Florida State University, 1992.

A wide discrepancy exists between fictional and non-fictional women in the fifteenth century. Creative authors present an extremely negative view of women, describing them as lusty, fickle, self-centered shrews. Historical writing presents women in a much more positive manner, showing them to be faithful, sincere and intelligent individuals. / Using history as the point of comparison, the imaginative literature exhibits a lack of contact with reality. Actual happenings such as the plague, wars, expansion of commerce and the changing society are not reflected in the fictional accounts of life. The depiction of women characters, then, is not realistic, but merely an imitation of past stereotypes, and have no connection with an actual fifteenth-century English woman. / In reality, women play an important role in the economic sector of society. The fifteenth-century witnessed a large amount of women entering the working world. Equally important, as evidenced by various family letters, many women have to act as their husbands' agents, often being required to hold courts, defend manors, or oversee the employees on the estates. Fifteenth-century English women found it necessary to be knowledgeable in a variety of subjects. / Such a discrepancy in the portrayal of women is quite evident. Creative authors such as Lydgate, Dunbar, Henryson and Malory present extremely unflattering depictions of women. Thomas Hoccleve, alone, is the only author of imaginative literature to establish himself as a supporter of women. A more truthful view of women, and one which negates the majority of creative authors, is found in such writings as the Paston, Stonor and Plumpton correspondences. / The existence of this disparity in women's depiction cannot be denied. Analysis indicates that the creative literature has lost touch with reality. Fictional literature has stagnated, while reality has been progressing forward. The result is that the fiction of fifteenth-century England presents women in a biased and unrealistic light. / Source: Dissertation Abstracts International, Volume: 44-06, Section: A, page: 1786. / Thesis (Ph.D.)--The Florida State University, 1983.

This study attempts to show that women play an important role in the French chanson de geste, that literary form traditionally considered to be dominated by men. For this purpose, we focus upon the seven French versions (Oxford, Venise IV, Venise VII, Chateauroux, Cambridge, Paris, Lyon), the French fragments (Lorrains) and two foreign adaptations (Conrad and Ronsasvals) of the most famous of all French epics, the Song of Roland. The study is based on the manuscripts transcribed by Raoul Mortier, Les Textes de la Chanson de Roland. / Although present-day criticism is turning more and more to the epic woman, this is the first overall study of the subject with regards to the Song of Roland. It compares the evolution of the role of the four women characters named in the various versions (Aude, Bramimonde, Guibourc, Berte-Gille) and the group of anonymous women. / We find that the women characters do indeed play a role in the structure of the Song of Roland and that their increasing presence in it reflects not only the evolution of the genre itself, but also the literary tastes of a society which was becoming courtoise. / Drawing a parallel between the Roland's Aude and Anouilh's Antigone, we point out in conclusion that it is because of the role played by women in this French masterpiece that the work itself attains that universal quality which transcends time and geography. It is partly for this reason--the camouflaged yet considerable role of women--that the Song of Roland has remained not merely a work of the medieval period but continues to live today. / Source: Dissertation Abstracts International, Volume: 43-12, Section: A, page: 3905. / Thesis (Ph.D.)--The Florida State University, 1982.

William Caxton's prose style, when judged by fifteenth-century standards and a descriptive analysis of his syntax, shows that Caxton was consistent in his work. His syntax is associational rather than grammatical, one clause building on another through thematic associations. The prime compositional pattern though is the use of medieval rhetorical figures, especially those which lend themselves to the reinforcement of themes. / Caxton as a stylist was involved in three different activities: as an editor, a translator, and a writer of original compositions--prologues and epilogues to his publications, each of them an essay on a theme. In his translations and edited works, the same stylistic principles are operative. First, Caxton followed as closely as possible the original when it was in the courtly (high) style emphasized by the ethos of the Burgundian Renaissance. This "stencil" activity accounts for much of what critics call Caxton's unidiomatic language. However, this style was deliberate on Caxton's part; he hoped through emulation of the courtly French texts to ennoble English prose. Second, he would alter some details in order to fit his thematic preoccupations. Third, he would occasionally rewrite passages to fit better the courtly style. Radical changes were made only in those texts which were uncourtly: part of the Morte D'Arthur and all of Reynard the Fox. Generally though, he tried to capture the style of the original, changing it only to meet the needs of his readers (through modernization of syntax and vocabulary). / His own prose lies in the middle style, having a familiar and engaging tone. Most of the prologues and epilogues present one dominant theme each, supported and enhanced by satellite themes which recur throughout his works. The most popular themes emphasize chivalric ideals, the commonweal, moral/religious concerns, and the importance of the written word. These themes are reinforced by two devices: doublets, long considered a tautology by many critics; and rhetorical figures, the most popular being character delineation, antithesis, understatement, and frankness of speech. Character delineation usually focuses on those who are chivalric or who are supporters of the commonweal. Antithesis focuses on moral issues. Understatement and frankness of speech usually relate to the author's role and the importance of the written word in inculcating those virtues which Caxton sees as civically desirable. / Caxton's self-deprecation should not be taken too seriously. An examination of his prologues and epilogues shows that he was an extremely conscientious craftsman with definite goals in mind. His prose shows a care and polish which secures his place as one of the progenitors of good English prose style. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 1051. / Thesis (Ph.D.)--The Florida State University, 1980.

Medieval sermon literature from the tenth to the fifteenth century exhibits changes in thematic emphasis, style, and structure. These changes are visible in the manner in which the preachers from the Anglo-Saxon period to the later Middle Ages use animal lore as an aspect of their sermons and homilies. / Animal lore in the Middle Ages represents two traditions, one figurative, the other "scientific." The figurative tradition owes its character to the Bible and the writings of the Church Fathers, manifesting itself in the medieval bestiaries. The "scientific" branch of animal lore may be traced back to Aristotle and finds its medieval expression in the encyclopedias. / Preaching discourses from the Anglo-Saxon period are largely homiletic in character, dealing with the explication of Scripture. The thematic emphasis is figurative and this emphasis is visible in the Anglo-Saxon preacher's handling of animal lore. Both the Blickling Homilist and Aelfric confine their use of animal lore to those animals mentioned in Scripture, or those discussed by the Fathers. Both the Blickling Homilies and the Sermones Catholici are loosely structured and embellished according to the devices outlined in the classical manuals of rhetoric. / Preachers of the twelfth and thirteenth centuries favor the pithy moral sermon. Their use of animal lore is "naturalistic"--drawn from common everyday experience for the purpose of exemplification. They no longer make widespread use of the ornaments of style: their sermons are characterized by the micro-structural principle of division. / Preachers of the fourteenth and fifteenth centuries favor a far more elaborate sermon form, growing out of the ars praedicandi. They use animal lore chosen eclectically from the medieval encyclopedias for the purpose of providing entertaining anecdotes. This animal lore is incorporated into the sermon at the macro-structural level as the preacher organizes his material according to an elaborate system of division and sub-division. / Source: Dissertation Abstracts International, Volume: 41-10, Section: A, page: 4392. / Thesis (Ph.D.)--The Florida State University, 1980.

Martin Le Franc's long neglected Le Champion des Dames has received new attention coincidental with the Women's Liberation Movement of the twentieth century due to its defense and illustration of women's intrinsic worth. However, its length (five books comprising over 24,000 octosyllabic verses) has discouraged the appearance of a modern critical edition. Approximately one-third of the entire work was edited uncritically by Arthur Piaget and published posthumously at Lausanne in 1968. / Continuing the work of Piaget and profiting from a study by Jerry Carroll Brooks on the filiation of the manuscripts of Le Champion des Dames which established eloquently MS BN 12476 as the base manuscript, we have edited Book III with a three-fold purpose: to make accessible more of the text, to illustrate its rich corpus of proper names and, especially, to define many words, some of which are found in no dictionary. / The transcribed text complete with marginal rubriques is preceded by a short introduction containing a resume of the life and works of the poet, a summary of Book III, and a description of the manuscript. The text is followed by a complete index of proper names and a selected glossary. / It is intended that this dissertation serve as a major step in the preparation of a definitive critical edition of the entire work and provide students of medieval French access to an important historical and literary work. / Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2663. / Thesis (Ph.D.)--The Florida State University, 1981.

This is a transcription of the codex unicus, apparently, of a Renaissance dialogue, in Latin, among three nuns, a mother and her twin daughters. The Anulus nuptialis is in the tradition of exhortation literature of the Middle Ages, here directed to the brides of Christ, encouraging them to persevere in monastic life. / The dialogue constists of an agreed upon topic (the love of the heavenly bridegroom), with questions from the daughters addressed to their mother. The questions allow the mother to discuss monastic love as the middle of three stages, superior to the world, inferior to heaven. The Anulus nuptialis, then, also belongs to the tradition of didactic literature on the mystical marriage. The rhetoric and spirituality closely follow the works of Bernard and Bonaventure, and Bernard is represented significantly among the authorities the mother calls upon. Other sources include the works on marriage and virginity by Augustine, Jerome, and Gregory. Cicero is the only named classical authority. / The subject and exempla of the Anulus nuptialis, and its apparent, pervasive normative consciousness of a mother who has raised children, suggest that the author was a woman. All marks of authorship and ownership have unfortunately been cut from the codex. An unpolished, rough draft of one of the text's pages was discovered as the front end folio; as it is in the same fine humanist hand as the final text, the sciptor may also have been the auctor. The page does allow us a glimpse at the compositional process behind the making of the Anulus nuptialis. / For its light on the sociology of 15th century monastic life, on the education of young women in the convent, and on the status of the mystical marriage motif immediately preceding the Reformation, the Anulus nuptialis is a valuable primary source. / An English translation follows the Latin transcription; notes thereto identify the sources and offer limited and brief commentary. I have included indices on scriptural and non-scriptural citations, and on proper names in the codex. The bibliography serves to direct further study on issues the Anulus nuptialis raises, both as an unrecorded manuscript and as late medieval didactic literature related to the mystical marriage theme. / Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2664. / Thesis (Ph.D.)--The Florida State University, 1981.

This dissertation provides a modern critical edition of Les Proverbes au conte de Bretaigne. Previous published versions are uncritical; lacking the rigor of twentieth century scientific editions, any linguistic study, conventional diacritics, and textual clarification. These proverbs (or, more exactly, sententia) are so original they deserve a surer basis for further study. / First the scholarship already devoted to this corpus of gnomic material is reviewed. Then relevant features of the scribal and authorial language are isolated to indicate the approximate date of copy and composition, and the region of France wherein copyist and poet originated. Versification is discussed in a separate chapter. / The text, fifty-four strophes, each consisting of two tercets which introduce a current pithy saying, is here edited according to texual principles and supplemented by a rendition into modern French. Appended are photographic reproductions of the unique manuscript, BN 19152. / Source: Dissertation Abstracts International, Volume: 49-07, Section: A, page: 1796. / Major Professor: Joseph L. Allaire. / Thesis (Ph.D.)--The Florida State University, 1988.