Relevant bibliographies by topics / Middle English; Homiletic poems

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Middle English; Homiletic poems'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Middle English; Homiletic poems"

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Moriya, Yasuyo. "Vertical Alliteration in Middle English Alliterative Poems." NOWELE Volume 48 (January 2006) 48 (January 1, 2006): 45–66. http://dx.doi.org/10.1075/nowele.48.03mor.

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Cataldi, Claudio. "Trinity Homily XXIX De Sancto Andrea between Tradition and Innovation." Anglia 135, no. 4 (November 10, 2017): 641–68. http://dx.doi.org/10.1515/ang-2017-0066.

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AbstractRecent scholarship has challenged the view of the late twelfth-century Trinity Homilies, and of the contemporary Lambeth Homilies, as two collections that merely continue the earlier Old English vernacular homiletic tradition. This study aims to contribute to the scholarly debate on the Trinity Homilies by considering the elements of tradition and innovation featured in the twenty-ninth sermon of the collection, De Sancto Andrea. Through a discussion on the passage on the ‘Soul’s Address to the Body’ preserved in this homily, I shall show that Trinity XXIX includes both elements of continuity with the ‘Soul and Body’ literature attested in Old English homiletic texts (like the antithetical rhetorical pattern developed in the damned soul’s speech) and new features (like the motif of the ‘Signs of Death’ and the theme of ‘neglectful friends’) which reflect early Middle English developments in the ‘Soul and Body’ theme. I shall argue that the Trinity XXIX homilist probably adapted and reworked a lost Latin source into a poetic passage metrically and thematically consistent with contemporary ‘Soul and Body’ poetry. In the Appendix, I shall discuss the sources for the Latin material embedded in Trinity XXIX.1
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Eayrs, Brock. "English 416G (Winter 2000) "Middle English Verse Romance: The Problem of Trust"." Florilegium 20, no. 1 (January 2003): 185–91. http://dx.doi.org/10.3138/flor.20.045.

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"For creatures with the properties of human beings the problem of trust today is no closer to the margins of practical life, no more narrowly domestic and personal than it was in the high Middle Ages." John Dunn's recent comment points directly to an issue at the heart both of many of the best Middle English romances and of latemedieval English society. Poems otherwise as diverse as Sir Gawain and the Green Knight, Amys and Amylion, or Chaucer's Knight's Tale, for example, use a vocabulary of trust centred in the terms trouthe and tresoun and incorporate incidents raising this and related issues. In this course we will explore the formal development of Middle English verse romance while at the same time examining the problem of trust both in the narratives and in the social context in which, and for which, they were written. Our goal will be to use linguistic, legal, and other evidence to formulate supportable connections between the romances and their social context which cast an explanatory light on the poems themselves.
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Warner, Lawrence. "Three Alliterative Saints' Hymns: Late Middle English Stanzaic Poems (review)." Parergon 22, no. 1 (2005): 248–50. http://dx.doi.org/10.1353/pgn.2005.0060.

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Furnish, Shearle. "Thematic Structure and Symbolic Motif in the Middle English Breton Lays." Traditio 62 (2007): 83–118. http://dx.doi.org/10.1017/s0362152900000544.

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The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.
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Hill II, Bracy. "Apocalyptic Lollards?: The Conservative Use of The Book of Daniel in the English Wycliffite Sermons." Church History and Religious Culture 90, no. 1 (2010): 1–23. http://dx.doi.org/10.1163/187124110x506518.

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AbstractToo frequently the biblical hermeneutics of the Lollards have been oversimplified and described as “sola scriptura” or “literal” for the purpose of comparison. Limited attention has been given to the hermeneutic of Scripture particularly that of the Old Testament, present in the Wycliffite homiletic tradition as espoused in the Middle English Wycliffite festial. Building on the work of Kantik Ghosh and Curtis V. Bostick, this study asserts that the Middle English Wycliffite sermons' focus upon the Old Testament prophetic literature as a source of figures fulfilled in the New Testament, the reluctance of the politically conservative Wycliffite movement to embrace a radical apocalyptic vision, and the overriding concern of Lollard hermeneuts to acquire certitude resulted in the limited use of the book of Daniel in Wycliffite sermonic literature. When compared to contemporary sermon cycles and later uses of Daniel by more radical English groups, it becomes obvious that the Wycliffite sermons did not utilize a radical critique of empire or maintain a radical apocalyptic vision that might have found greater use for Daniel.
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Feng, Wang, and Huang Hongxia. "An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan." International Linguistics Research 3, no. 3 (September 1, 2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.

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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.
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Lee, Brian S. "Transforming the Vulgate: Comestor and the Middle English Genesis and Exodus." Mediaevistik 31, no. 1 (January 1, 2018): 133–52. http://dx.doi.org/10.3726/med.2018.1.08.

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The article studies the literary or rhetorical effects of the transformation into plain narrative of biblical material originally compiled from different and often incomplete sources. Avoiding allegorical interpretations of the Bible’s theocentric history, Comestor in his “Historia Scholastica” and the Middle English poems based upon it, “Genesis and Exodus” and “Cursor Mundi,” sought to clarify difficult passages for the instruction and entertainment, rather than moral exhortation, of their for the most part unlearned, or illiterate, audiences. One result of their work was to fill or paper over lacunae and ambiguities that pique the curiosity of readers wanting to know more of the human stories implicit in the incidents described. Key passages in these texts will be examined.
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JEFFERSON and PUTTER. "THE DISTRIBUTION OF INFINITIVES IN -E AND -EN IN SOME MIDDLE ENGLISH ALLITERATIVE POEMS." Medium Ævum 74, no. 2 (2005): 221. http://dx.doi.org/10.2307/43632732.

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Grennen, Joseph E. "The “O and I” refrain in middle English poems: A grammatology of judgment day." Neophilologus 71, no. 4 (October 1987): 614–25. http://dx.doi.org/10.1007/bf00636814.

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Dissertations / Theses on the topic "Middle English; Homiletic poems"

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Johnson, Eric Jerome. "'In dryz dred and daunger' : the tradition and rhetoric of fear in Cleanness and Patience." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14031/.

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This dissertation is a study of medieval theological interpretations of fear and their influence on the rhetorical and didactic discourses of two late-fourteenth century Middle English homiletic poems, Cleanness and Patience. In Chapter 1 I analyze the various medieval conceptualizations of dread (morally valueless timor naturalis, morally culpable timor libidinosus, and morally laudable timor gratuitus) as discussed by scholars such as Peter Lombard, St. Thomas Aquinas and St. Bonaventure and in works such as biblical exegesis and theological encyclopaedias. In the second chapter, I examine ways in which these formal, learned Latin interpretations of fear were disseminated to a wider, vernacular Middle English audience. I do so by discussing how medieval preaching theory and practice and vernacular didactic and devotional treatises actively employed rhetorical and exhortative discourses of fear in an effort to encourage their audiences to forsake sin and pursue virtue. In Chapters 3 and 4 I show how Cleanness and Patience incorporate and employ the various theological conceptualizations of dread discussed in Chapter I and the rhetorical and didactic discourses of fear analyzed in chapter 2. I examine fear's presence within the larger narrative, thematic, rhetorical, and didactic structures of each poem, discussing the poet's precise use of scholastic interpretations of fear in his representations of characters, his vivid descriptions of death and destruction, and the ways in which he both implicitly and explicitly confronts his audiences with a variety of fearful discourses. I argue that the poet utilizes fear to promote a specific rhetorical strategy, one based upon a well-developed understanding of dread which should inspire in his audience the desire to flee from sin and damnation and approach fear-inspired, reverent perfection. Cleanness and Patience illustrate the power of God and the threat of sin, exhorting their readers to embrace and learn from the senses of dread they utilize and promote. Both poems provide remarkable examples of how particular elements oflearned Latin thought were adopted and developed by Middle English vernacular traditions.
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Hughes, Christopher. "Five Middle English alliterative poems : their versification, rhetoric and authorship." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/111228/.

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The Awntyrs off Arthure (Awntyrs), The Knightly Tale of Gologras and Gawain (Gologras), Rauf the Collier (Rauf), The Pistel of Swete Susan (Susan) and The Buke of the Howlat (Howlat), five fourteenth and fifteenth-century alliterative poems in rhyming stanzas, are the subjects of a stylistic analysis using a novel methodology. The aims of the analysis are threefold: (i) to reappraise the structure of Awntyrs and provide more evidence than hitherto has been offered for the work originally to have been two poems by different authors; (ii) to provide more securely evidenced data to evaluate the various claims made in nineteenth and twentieth-century criticism for shared authorships between Awntyrs, Gologras, Rauf and Susan; (iii) to demonstrate how, and with what motives, Richard Holland composed his only known poem, Howlat. From the studies of the authorship claims, a proposal is developed that Gologras and specifically the second episode of Awntyrs are more closely related than hitherto described. The methodology considers such elements of literary style as attention to strophic paradigms, syntax, narrative technique and rhetoric. The study of rhetorical style in non-Chaucerian fourteenth and fifteenth-century poetry seems to have been neglected but proves to contribute significantly to an understanding of the stylistic characteristics of the poems that are the subjects this thesis. The rhetorical study of Howlat reveals the extent to which its author followed the teachings of a classical rhetorician when composing his fable and modelled its central panegyric on traditional praise poetry. The thesis demonstrates how the methodology exploits the complex versification of these poems to study the literary style and ability of their authors, and invites its future application to a study of all the extant alliterative thirteen-line stanza poems.
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Bakker, Nigel. "Nightingales never lose : forced closure and irresolution in some middle English debate poems." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/18258.

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Melick, Elizabeth H. "Four Middle English Roland Romances: An Edition of Poems Drawn from Medieval Manuscripts." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523367850331762.

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Cernik, Tessa Madeleine. "Dreams and lovers: the sympathetic guide frame in Middle English courtly love poems." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54598.

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When is a dream not a dream? The Middle English convention of the ‘dream vision’ has been read by modern scholars as a genre that primarily reveals the medieval understanding of dreaming and dream theory, so that events and stories presented within a dream frame are necessarily read through that specific hermeneutic. But what might reading ‘dream visions’ without this theoretical framework do to our understanding of the text? Can removing this default mode of interpretation inspire cross-genre comparisons between narratives that present themes of courtly love? My thesis embraces this ‘genre-blind’ standpoint and traces the development of rhetorical frames through texts of the fourteenth century and into the fifteenth century. Beginning with Chaucer’s Book of the Duchess as a ‘dream vision’, which takes inspiration from the highly popular Romance of the Rose, I move to Lydgate’s two ‘dream visions’ A Complaynte of a Lovers Lyfe and The Temple of Glas, and then finally into the realm of ‘romances’ with Chaucer’s Knight’s Tale, The Tale of Sir Thopas, and the anonymous Squire of Low Degree. All six texts contain a lover’s complaint within their narrative bodies that is uniquely encased by what I have termed the sympathetic guide frame. The progression of this frame from Chaucer’s writings and beyond shows the sympathetic guide frame as an increasingly conventional device in courtly love texts due to its ability to effectively present and intensify emotion. Without the constraints of genre expectations, the modern reader can focus on the literary and emotional importance of a text, guided by a character specifically created by the author to witness a lover’s complaint and then respond emotionally to it. The identification of this kind of development of a rhetorical device would not be possible if one is hesitant to compare any texts that do not share the same genre classification. I advocate for a renewed understanding of ‘dream visions’ as more than just a dream.
Arts, Faculty of
English, Department of
Graduate
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Parker, Cynthia Margaret. "Contentious Birds: The Owl and the Nightingale and Other Poems in a Singular Middle English Verse Tradition." Thesis, University of Auckland, 2002. http://hdl.handle.net/2292/1640.

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This thesis considers the use of birds in medieval English poetry as reflections of humans and human society. I look especially at some of the ways in which medieval animals are used to comment satirically on the frailties and foibles of the human animal, man. Birds and beasts configured as humans present particular problems of identity and alterity that lend themselves well to the composition of recreational verse, and the fact that they are both so similar to humans and so different is particularly conducive to their use as vehicles of parody and satire. Also considered here are some of the early works in which animals are studied both as themselves and in comparison with humans, especially the texts of such classic natural historians as Aristotle and Pliny. I also glance, if only briefly, at the second-century Physiologus, which incorporates the work of Pliny and his followers together with biblical texts and Christianized moralizations. This seminal work, in the form of its direct descendants the medieval bestiaries, is a major source for writers of animal narrative in the Middle Ages. My study is organized in two parts. Part One contains the material outlined above together with some discussion on different kinds of satire—in particular, the satire of incongruity, so important in the context of animal impersonation of humans. It also considers the use of birds in various comic-satiric genres, especially in recreational texts such as the clerk and knight débats, liturgical parodies and, above all, the peculiarly English genre of bird debate. The vernacular literary tradition represented in the eight bird poems in this section—ranging from the thirteenth to the early sixteenth century, some dialogic, some not—virtually constitutes a minor genre in which even a major poet like Chaucer was happy to work. Part Two contains four chapters devoted to a close reading and textual analysis of a single poem, The Owl and the Nightingale, probably the earliest and certainly the best of all the Middle English two—party bird debates. (My title—Contentious Birds–is derived from the descriptive title of thirteenth century poems in this particular debate tradition: The Thrush and the Nightingale, for example, appears in MS Digby 86 under the heading, "Ci commence la cuntent parente le Mauuis & la russinole”). A spirited dispute of nearly eighteen hundred lines, The Owl and the Nightingale dates from the late twelfth or thirteenth century, and is remarkable above all for its freshness and originality, and its sheer, delightful ease of writing. A final chapter looks at conclusions in the debates and other poems in this study; at the question of the disputants' usefulness to man, particularly in The Owl and the Nightingale, and at the fluctuating nature of the boundaries that separate human from animal. Principal concerns in my thesis are the nature and the variety of the literary relationships constructed in the Middle Ages around these dividing lines between humans and birds or beasts (in this case, birds), and the ways in which these precarious lines of demarcation can be put especially, to recreational literary use.
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Shepherd, Stephen Henry Alexander. "Four Middle English Charlemagne romances : a revaluation of the non-cyclic verse texts and the holograph Sir Ferumbras." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:512b868f-d431-45e0-93ea-fc8f6613b816.

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Four Middle English Charlemagne Romances are examined with the intention of disproving conventional claims that English romances of the 'Matter of France' are typically undistinguished. The manuscript of the Ashmole Sir Ferumbras is a holograph; preserved with it, on sheets which originally formed the binding, is a portion of the poem's rough draft. Comparison of the draft with the fair copy reveals something of the romancer's translational and compositional method, and illustrates well his enthusiasm for, and ability occasionally to improve upon, his French source. The fragment of The Song of Roland displays some sensitivity to the heroic essence of its famous French model. The poem also displays, however, a free, sensitive, sometimes eloquent and technically complex, adaptation of notable features of that model. The Sege of Melayne has been recognized for its energy; but extensive studies of the poem appear to have been prevented by an inability to account for the poem's lack of known sources and its use of extraordinary episodes and unusual narrative techniques. Analogues and possible influences do, however, exist; and most reveal the poem's remarkable affinity with propagandistic crusading literature. This affinity goes some way toward explaining, and allowing us to appreciate, the poem's unusual features. Rauf Coilyear is unusually described as a competent and straightforwardly humorous tale similar in spirit to its analogues. A closer look, however, shows the humour to be complicated by the seriousness of a social critique; at times the hero's experiences is far from laughable. There is, in fact, some similarity, both of incident and theme, with the best poems of the 'Gawain-group'. That a comparison with such poems (and, indeed, with 'serious' elements in the other Charlemagne romances) can convincingly be made suggests that our expectations of the poem's literary significance should be revised accordingly.
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Stimpson, Shannon Melee. ""The River Duddon" and William Wordsworth's Evolving Poetics of Collection." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3541.

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Despite its impact in generating a more positive reception toward Wordsworth's work among his contemporaries, The River Duddon volume has received comparatively little critical attention in recent scholarship. On some level, this is unsurprising given the relative unpopularity of Wordsworth's later work among modern readers, but I believe that the relative shortage of critical scholarship on The River Duddon is due, at least in part, to a symptomatic failure to read the volume in its entirety. This essay takes up the challenge of following Wordsworth's directive to read The River Duddon volume as a unified whole. While I cannot account for every inclusion, I set out to explore how the idea of collection functions as the unifying force governing the volume's organizational and thematic structure. I argue that although the individual pieces that make up the collection are distinct from each other in their style, subject matter, and date of composition, together they constitute an exploration of the beauty of Wordsworth's native region and his interest in harmonizing aesthetic principles of variety and unity. When read as parts of a dialogical exchange rather than as self-contained units, the individual texts in The River Duddon collectively present an array of perspectives through which Wordsworth not only celebrates the rich diversity of the Lake District's local customs and landscapes, but also theorize a sophisticated poetics of collection which he hoped would help justify his poetic program and reinforce the literary and cultural weight of his future work.
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Pelle, Stephen Anthony. "Continuity and Renewal in English Homiletic Eschatology, ca. 1150–1200." Thesis, 2012. http://hdl.handle.net/1807/34840.

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This study examines English eschatological homilies of the later twelfth century and their adaptation of both Anglo-Saxon traditions and sources introduced after the Norman Conquest. Later and non-homiletic texts are also discussed when these give clues to the continued prevalence of Anglo-Saxon and twelfth-century eschatological traditions in the later Middle Ages. Chapter 1 introduces the eschatology of the Anglo-Saxon homilists, describes English homily manuscripts written ca. 1150–1200, summarizes scholarly opinions on these texts, and details the author’s approach to the texts’ eschatological ideas. Chapter 2 examines the ‘Visit to the Tomb’ motif, which deeply influenced Anglo-Saxon depictions of individual mortality. Two early Middle English texts––Lambeth III and a treatise on the vices and virtues––contain versions of the motif that indicate a familiarity with the earlier homilies, though they also adapt the ‘Visit to the Tomb’ in new ways. The Old English texts in British Library, Cotton Vespasian D. xiv are the focus of Chapter 3. These include a description of the coming of Antichrist, the first English text of the ‘Fifteen Signs before Doomsday,’ and a typological interpretation of the Babylonian captivity. These pieces draw on both the Old English homilists and works unknown in England until ca. 1100, suggesting that twelfth-century English homilists did not sense any tension in combining ideas from pre- and post-Conquest traditions. Chapter 4 describes the Middle English reflexes of two Doomsday motifs common in the Old English homilies––the ‘Three Hosts of Doomsday’ and the ‘Four Angels of Judgment.’ The persistence of such motifs in later medieval England raises the possibility of a significant influence of Old English works on Middle English homiletic eschatology. The Conclusions section addresses this issue in further detail and suggests avenues of future research, while restating the importance of the twelfth-century homilies for the study of medieval English religious literature.
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Books on the topic "Middle English; Homiletic poems"

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Poems of the Middle Marches. Hereford, England?]: [Harley Millichap], 1988.

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Audelay, John. The poems of John Audelay. Millwood, N.Y: Kraus Reprint, 1988.

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Lydgate, John. Lydgate's minor poems: The two nightingale poems. Millwood, N.Y: Kraus Reprint, 1987.

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John, Clare. Poems of the middle period, 1822-1837. Edited by Robinson Eric 1924-, Powell David 1925-, and Dawson P. M. S. Oxford: Clarendon Press, 1996.

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Emblom, Margaret. Middle English O-and-I poems: their texts and contexts. Ann Arbor, MI: University Microfilms International, 1988.

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Greer, Fein Susanna, and Bodleian Library, eds. Poems and carols: (Oxford, Bodleian Library MS Douce 302). Kalamazoo, Mich: Published for TEAMS (the Consortium for the Teaching of the Middle Ages) in Association with the University of Rochester by Medieval Institute Publications, 2009.

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Muir, Bernard James. Leođ: Six Old English poems : a handbook. New York: Gordon and Breach, 1989.

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Duncan, Bonnie Israel. Middle English poems in Harley MS. 2253 : semiosis and reading scribes. Ann Arbor, MI: University Microfilms International, 1989.

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Lydgate, John. The minor poems of John Lydgate. Millwood, N.Y: Kraus Reprint, 1988.

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Malcolm, Andrew, ed. The Gawain poems: A reference guide, 1978-1993. Albany, N.Y: Whitston Pub. Co., 2000.

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Book chapters on the topic "Middle English; Homiletic poems"

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Crane, Christopher. "Superior Incongruity: Derisive and Sympathetic Comedy in Middle English Drama and Homiletic Exempla." In Profane Arts of the Middle Ages, 31–60. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.pama-eb.3.865.

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Chism, Christine. "Winning Women in Two Middle English Alexander Poems." In Women and Medieval Epic, 15–39. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-06637-4_2.

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Conner, Patrick W. "Four Contiguous Poems in the Exeter Book: A Combined Reading of Homiletic Fragment III, Soul and Body II, Deor, and Wulf and Eadwacer." In Studies in the Early Middle Ages, 117–36. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sem-eb.1.100479.

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Nuttall, Jenni. "Household Narratives and Lancastrian Poetics in Hoccleve’s Envoys and Other Early-Fifteenth-Century Middle English Poems." In International Medieval Research, 91–106. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.imr-eb.3.711.

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"The Case of Poema Morale: Old English Homiletic Influence in Early Middle English Verse." In Remembering the Medieval Present: Generative Uses of England’s Pre-Conquest Past, 10th to 15th Centuries, 215–43. BRILL, 2019. http://dx.doi.org/10.1163/9789004408333_010.

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Wilson, R. M. "The Continuity of the Homiletic Tradition." In Early Middle English Literature, 106–27. Routledge, 2019. http://dx.doi.org/10.4324/9780429261343-5.

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Boffey, Julia. "Poems that Speak Volumes:." In Middle English Lyrics, 189–200. Boydell & Brewer, 2018. http://dx.doi.org/10.2307/j.ctvc16hdd.20.

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Pearsall, Derek. "Anglo-Saxon religious poems." In Old English and Middle English Poetry, 25–56. Routledge, 2019. http://dx.doi.org/10.4324/9780429200076-2.

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Boffey, Julia. "Poems that Speak Volumes: Lydgate's Thoroughfare of Woe, and Lyric as Epitome." In Middle English Lyrics, 189–200. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787442993.014.

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"Fifteenth- and Early Sixteenth-century Poems." In Women's Writing in Middle English, 296–331. Routledge, 2013. http://dx.doi.org/10.4324/9781315833903-36.

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