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Journal articles on the topic 'Piers Plowman (Langland, William)'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

Levey, D. "Theology and practice in Piers Plowman." Literator 16, no. 2 (1995): 179–94. http://dx.doi.org/10.4102/lit.v16i2.629.

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The fourteenth-century English poem Piers Plowman, by William Langland, tells of a quest for and pilgrimage to Truth, or God. The poem is lengthy and diffuse, and evidences Langland’s keen interest in philosophy, theology, politics, social conditions and apocalyptic literature, to mention only some areas. Underlying all, however, is a concern with the practical living-out of abstruse doctrinal concepts in everyday life. This essay explores certain characters and concepts which embody the doctrine and practice of charity, in order to demonstrate the interweaving of theory and practice which characterizes Langland at his best.

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2

STEINER, EMILY. "Piers Plowman, Diversity, and the Medieval Political Aesthetic." Representations 91, no. 1 (2005): 1–25. http://dx.doi.org/10.1525/rep.2005.91.1.1.

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ABSTRACT This essay argues that later medieval English poetry, and William Langland's Piers Plowman in particular, developed strains of political thought that originated with Continental legal scholars. More specifically, Langland, in concert with other fourteenth-century alliterative poets, helped shape political thought about diversity, an ““unfinished”” project of earlier Continental philosophers and jurists, through radical experiments in poetic form.

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3

Galloway, Andrew. "Langland and the Reinvention of Array in Late-Medieval England." Review of English Studies 71, no. 301 (2019): 607–29. http://dx.doi.org/10.1093/res/hgz123.

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Abstract Tradecraft lurks throughout the allegories of cloth-making in William Langland’s Piers Plowman, more fully and sympathetically expressed than scholars have realized. But in spite of the depth of lore there, the poem continually examines the problem of supervising such craft production and producers. Assessing this double perspective adds a distinctive chapter to understandings of how Piers Plowman invokes and requires wide economic and social contexts, specifically those focused on cloth production, a topic more amenable to ‘thing theory’ than the ‘costume rhetoric’ often applied to the presentations of array in Chaucer and other poets. All writers in the period were confronted with major changes in how clothing was made, sold, and worn, but Piers Plowman’s concerns differ significantly from contemporary writings both in how intricately the poem invokes the cloth industry yet how frequently it indicates the need for its punctilious governance (and that of craft and labour in general). Langland’s presentations of array offer not only an original and highly informed contribution to a central instance of late-medieval social and allegorical signification but also a contradictory response to its changing social, industrial, and institutional dimensions. Langland uses array and its making and remaking to affirm craft, process, and aesthetics in general while imagining new forms of governance, religious and political, that might contain its social and ethical disruptions.

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Wittig, Joseph S. "William Langland's "Piers Plowman": The C Version. William Langland , George Economou." Speculum 75, no. 4 (2000): 955–56. http://dx.doi.org/10.2307/2903583.

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5

Beal, Jane. "Justin M. Byron-Davies, Revelation and Apocalypse in Late Medieval Literature: The Writings of Julian of Norwich and William Langland. Cardiff: University of Wales Press, 2020. P. 211." Mediaevistik 34, no. 1 (2021): 468–70. http://dx.doi.org/10.3726/med.2021.01.118.

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Abstract: Justin M. Byron-Davis, who completed his doctorate under the direction of Professor Diane Watts at the University of Surrey, has written a literary and theological study of the influence of the biblical Apocalypse on the Revelations of Julian of Norwich and The Vision of Piers Plowman of William Langland. His work follows in the academic footsteps of Morton Bloomfield (Piers Plowman as Fourteenth-Century Apocalypse, 1962), Richard K. Emmerson (Antichrist in the Middle Ages, 1981; and Emmerson, edited with Bernard McGinn, The Apocalypse in the Middle Ages, 1992), and Kathryn Kerby-Fulton (Reformist Apocalypticism and Piers Plowman, 2007), among others. He builds on a firm scholarly foundation and shares new insights about biblical apocalypticism in late-medieval English literature.

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Bude, Tekla. "Piers Plowman: The A Version by William Langland." Digital Philology: A Journal of Medieval Cultures 11, no. 1 (2022): 215–17. http://dx.doi.org/10.1353/dph.2022.0001.

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7

Sutton, Peter. "Alliteration in Modern and Middle English: “Piers Plowman”." Armenian Folia Anglistika 10, no. 1-2 (12) (2014): 54–62. http://dx.doi.org/10.46991/afa/2014.10.1-2.054.

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William Langland’s 8000-line fourteenth-century poem Piers Plowman uses an alliterative rhyme scheme inherited from Old English in which, instead of a rhyme at the end of a line, at least three out of the four stressed syllables in each line begin with the same sound, and this is combined with a caesura at the mid-point of the line. Examples show that Langland does not obey the rules exactly, but he is nevertheless thought to be at the forefront of a revival of alliterative verse. Further examples demonstrate that alliteration was never entirely replaced by end-rhyme and remains a feature of presentday vernacular English and poetry, even though the rhyme scheme is obsolete. It is deeply embedded in the structure and psyche of the English language.

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8

Thomas, Arvind. "William Langland: Piers Plowman, The A Version by Michael Calabrese." Arthuriana 32, no. 4 (2022): 150–51. http://dx.doi.org/10.1353/art.2022.0047.

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9

Economou, George D. "Piers Plowman: An Introduction to the B-Text by James Simpson, and: Piers Plowman by William Langland." Studies in the Age of Chaucer 16, no. 1 (1994): 266–71. http://dx.doi.org/10.1353/sac.1994.0045.

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10

A., J. A. "Derek Pear sail, ed., William Langland. Piers Plowman. The C-Text." Yearbook of Langland Studies 08 (January 1994): 207. http://dx.doi.org/10.1484/j.yls.2.302854.

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11

Fletcher, Alan J. "The Essential (Ephemeral) William Langland: Textual Revision as Ethical Process in Piers Plowman." Yearbook of Langland Studies 15 (January 2001): 61–98. http://dx.doi.org/10.1484/j.yls.2.302657.

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12

Carlson, Paula J. "Lady Meed and God's Meed: the Grammar of ‘Piers Plowman’ B 3 and C 4." Traditio 46 (1991): 291–311. http://dx.doi.org/10.1017/s036215290000427x.

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When William Langland revised his poem Piers Plowman for the second time, he added a long, intricate analogy to the third passus. In all three versions of Piers, the dreamer, Will, finds himself in this early passus at a king's court and witnesses a debate between two figures, Lady Meed and Conscience, about the appropriateness of their possible marriage. The B text, the one scholars most often discuss, presents the would-be bride, Lady Meed, arguing that regardless of their nature the gifts she dispenses at court are integral to the smooth operation of society. These gifts, then, are honorable, and Lady Meed's nature need not prevent her marriage to Conscience. The reluctant Conscience, however, distinguishes between two kinds of meed, one holy and one corrupt. He holds that Lady Meed represents only the corrupt meed and so is intrinsically immoral. Her ‘gifts’ and ‘payments,’ he says, are not proportionate to desert, as she claims, but are instead bribes and payoffs. Rather than easing the functioning of society, they subvert it. On these grounds, Conscience refuses to marry Lady Meed. The king before whom Lady Meed and Conscience argue is initially torn about the nature of Lady Meed, as indeed readers of the poem have remained. In what appears to be an effort to clarify Conscience's argument, Langland adds almost a hundred lines to the debate in the C text.

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13

McDermott, Ryan. "Piers Plowman: The A Version by William Langland, and: Piers Plowman and the Reinvention of Church Law in the Late Middle Ages." Catholic Historical Review 108, no. 4 (2022): 808–9. http://dx.doi.org/10.1353/cat.2022.0101.

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14

Adams, Robert. "William Langland, Piers Plowman: The Z Version ed. by A. G. Rigg, Charlotte Brewer." Studies in the Age of Chaucer 7, no. 1 (1985): 233–37. http://dx.doi.org/10.1353/sac.1985.0030.

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15

Newman, Barbara. "The Burdens of Church History in the Middle Ages." Church History 83, no. 4 (2014): 1009–13. http://dx.doi.org/10.1017/s000964071400122x.

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We live in apocalyptic times. But, for a chilling sense that the end is at hand, one cannot beat the Middle Ages. So when I reflect on “the burdens of church history” as a medievalist, I find it bracing to ponder some ways that the era's most thoughtful prophetic writers brooded on church history. They were at least as concerned as we about complicity in an institution they saw as compromised at best, and at worst, in the service of Antichrist. St. Hildegard (1098–1179), though orthodox enough to have been declared a Doctor of the Church in 2012, wrote scathing letters to the most powerful prelates of her day and preached sermons against their negligence. No less scathing was William Langland (fl. 1365–1385), author of the sprawling allegorical vision of Piers Plowman. Langland decided to revise his poem after its prophecies about the dispossession of clergy played a role in the Great Rising of 1381, in which the archbishop of Canterbury was murdered. Wisely, he concealed his identity; we know his name almost by accident.

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16

Weiskott, Eric. "Early English meter as a way of thinking." Studia Metrica et Poetica 4, no. 1 (2017): 41–65. http://dx.doi.org/10.12697/smp.2017.4.1.02.

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The second half of the fourteenth century saw a large uptick in the production of literature in English. This essay frames metrical variety and literary experimentation in the late fourteenth century as an opportunity for intellectual history. Beginning from the assumption that verse form is never incidental to the thinking it performs, the essay seeks to test Simon Jarvis’s concept of “prosody as cognition”, formulated with reference to Pope and Wordsworth, against a different literary archive.The essay is organized into three case studies introducing three kinds of metrical practice: the half-line structure in Middle English alliterative meter, the interplay between Latin and English in Piers Plowman, and final -e in Chaucer’s pentameter. The protagonists of the three case studies are the three biggest names in Middle English literature: the Gawain poet, William Langland, and Geoffrey Chaucer.

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17

Aers, David. "What Is Charity? William Langland’s Answers with Some Diachronic Questions." Religions 10, no. 8 (2019): 458. http://dx.doi.org/10.3390/rel10080458.

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Charity turns out to be the virtue which is both the root and the fruit of salvation in Langland’s Piers Plowman, a late fourteenth-century poem, the greatest theological poem in English. It takes time, suffering and error upon error for Wille, the central protagonist in Piers Plowman, to grasp Charity. Wille is both a figure of the poet and a power of the soul, voluntas, the subject of charity. Langland’s poem offers a profound and beautiful exploration of Charity and the impediments to Charity, one in which individual and collective life is inextricably bound together. This exploration is characteristic of late medieval Christianity. As such it is also an illuminating work in helping one identify and understand what happened to this virtue in the Reformation. Only through diachronic studies which engage seriously with medieval writing and culture can we hope to develop an adequate grasp of the outcomes of the Reformation in theology, ethics and politics, and, I should add, the remakings of what we understand by “person” in these outcomes. Although this essay concentrates on one long and extremely complex medieval work, it actually belongs to a diachronic inquiry. This will only be explicit in some observations on Calvin when I consider Langland’s treatment of Christ’s crucifixion and in some concluding suggestions about the history of this virtue.

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18

Classen, Albrecht. "William Langland, Piers Plowman: The A Version. A New Translation with Introduction and Notes by Michael Calabrese. Washington, DC: The Catholic University of America Press, 2020, xlvii, 160 pp." Mediaevistik 34, no. 1 (2021): 509–10. http://dx.doi.org/10.3726/med.2021.01.139.

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Abstract: One of the main criteria to determine the true status and quality of a literary work easily proves to be the number of translations into various languages. Of course, there are also some literary masterpieces both in the past and the present which remain in the shadow of public awareness, tend to be forgotten, or are simply not understood. But when a work like William Langland’s Piers Plowman attracts ever new editors and translators, we can be certain that it is determined by considerable meaningfulness and relevance. Piers is a wanderer in dream visions, and thus could easily be compared with the pilgrim Dante Alighieri in the Divina Commedia or Guillaume de Deguiville in his Le Pèlerinage de la Vie Humaine. As the translator Michael Calabrese beautifully formulates in the introduction, “The poem asks eternal questions that pertain not only to Christians but to all communities. Readers of different world faiths, or no faith at all, will engage with its ethical challenges” (xvii).

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19

Bowers, John M. "Piers Plowman's William Langland: Editing the Text, Writing the Author's Life." Yearbook of Langland Studies 09 (January 1995): 65–102. http://dx.doi.org/10.1484/j.yls.2.302819.

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20

Sergeeva, Valentina. "The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman." Dostoevsky and World Culture. Philological journal. 3, no. 1 (2020): 146–75. http://dx.doi.org/10.22455/2619-0311-2020-1-146-175.

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21

Hanna III, Ralph. "F. R. H. Du Boulay, The England of Piers Plowman: William Langland and His Vision of the Fourteenth Century." Yearbook of Langland Studies 06 (January 1992): 145–46. http://dx.doi.org/10.1484/j.yls.2.302883.

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22

Arn, Mary-Jo. "The England of Piers Plowman: William Langland and His Vision of the Fourteenth Century by F. R. H. Du Boulay." Studies in the Age of Chaucer 15, no. 1 (1993): 185–88. http://dx.doi.org/10.1353/sac.1993.0016.

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23

Vaughan, Míċeál F. "William Langland’s Piers Plowman: The C Version: A Verse Translation by George Economou." Studies in the Age of Chaucer 20, no. 1 (1998): 243–46. http://dx.doi.org/10.1353/sac.1998.0012.

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24

Wittig, Joseph S. "Kathleen M. Hewett-Smith, ed., William Langland's Piers Plowman: A Book of Essays." Yearbook of Langland Studies 17 (January 2003): 214–21. http://dx.doi.org/10.1484/j.yls.2.302636.

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25

Barnes, Dick. "George Economou, trans., William Langland's Piers Plowman: The C Version: A Verse Translation." Yearbook of Langland Studies 12 (January 1998): 194–99. http://dx.doi.org/10.1484/j.yls.2.302771.

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26

Aers (book author), David, and Angela Ranson (review author). "Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity." Renaissance and Reformation 40, no. 2 (2017): 161–63. http://dx.doi.org/10.33137/rr.v40i2.28506.

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27

Walter, Katie L. "Book Review: Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity." Irish Theological Quarterly 82, no. 3 (2017): 249–51. http://dx.doi.org/10.1177/0021140017711071c.

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28

Warren, Nancy Bradley. "Beyond Reformation? An Essay on William Langland’s “Piers Plowman” and the End of Constantinian Christianity by David Aers." Studies in the Age of Chaucer 38, no. 1 (2016): 309–12. http://dx.doi.org/10.1353/sac.2016.0014.

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29

Calabrese, Michael. "Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity by David Aers." Comitatus: A Journal of Medieval and Renaissance Studies 47, no. 1 (2016): 240–42. http://dx.doi.org/10.1353/cjm.2016.0012.

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30

Turville-Petre, Thorlac. "Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity by David Aers." Catholic Historical Review 103, no. 1 (2017): 127–28. http://dx.doi.org/10.1353/cat.2017.0025.

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31

Wood, Sarah. "Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity, by David Aers." English Historical Review 132, no. 555 (2017): 353–55. http://dx.doi.org/10.1093/ehr/cew425.

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32

Gruenler, Curtis. "Beyond Reformation? An Essay on William Langland’s ‘Piers Plowman’ and the End of Constantinian Christianity (by David Aers)." Yearbook of Langland Studies 31 (January 2017): 310–13. http://dx.doi.org/10.1484/j.yls.5.114183.

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33

Proud, Rebecca L. ":Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity." Sixteenth Century Journal 49, no. 4 (2018): 1251–53. http://dx.doi.org/10.1086/scj4904161.

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34

Galloway, Andrew. "William Langland, Piers Plowman: A Parallel-Text Edition of the A, B, C, and Z Versions,ii:Introduction, Textual Notes, Commentary, Bibliography and Indexical Glossary (ed. by A.V.C. Schmidt)." Yearbook of Langland Studies 24 (January 2010): 223–32. http://dx.doi.org/10.1484/j.yls.1.102119.

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35

Lawler, Traugott. "Elizabeth Robertson and Stephen H.A. Shepherd, eds. William Langland: Piers Plowman. A Norton Critical Edition: The Donaldson Translation, Middle English Text, Sources and Backgrounds, Criticism. New York: Norton, 2006. Pp. xxviii, 644." Yearbook of Langland Studies 22 (January 2008): 249–53. http://dx.doi.org/10.1484/j.yls.1.100330.

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36

Zeeman, Nicolette. "Julian Reads Langland." Chaucer Review 58, no. 3-4 (2023): 468–80. http://dx.doi.org/10.5325/chaucerrev.58.3-4.0468.

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ABSTRACT Between writing the “Short” and the “Long” versions of the Revelations of Divine Love, Julian of Norwich might have read Piers Plowman. This article argues that Julian learned from Langland something about how to use narrative as part of her exploration and reformulation of the complex and seemingly contradictory theology of the Fall and redemption, focusing on the remarkably similar ways in which Langland and Julian narrate the Fall in, respectively, the tree of charite sequence and the lord and servant example. In each case, a narrative of eager, loving desire leads seemingly accidentally, and yet apparently inevitably, to a disastrous “fall.” Julian may have discovered in Piers Plowman a method of engaging with the conceptual challenges posed by the problematic relationship between the human will and recuperative divine love.

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37

Cervone, Cristina Maria. "Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity. David Aers. Notre Dame, IN: University of Notre Dame Press, 2015. Pp. ix+256." Modern Philology 115, no. 2 (2017): E146—E148. http://dx.doi.org/10.1086/693158.

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38

Shuffelton, George. "William Langland, The Piers Plowman Electronic Archive, 6: San Marino, Huntington Library Hm 128 (Hm. Hm2)., ed., Michael Calabrese, Hoyt N. Duggan, and Thorlac Turville-Petre. (SEENET, A.9.) Woodbridge, Eng., and Rochester, N.Y.: Boydell and Brewer, for the Medieval Academy of America and SEENET, 2008. CD-ROM." Speculum 85, no. 4 (2010): 984–86. http://dx.doi.org/10.1017/s0038713410003441.

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Perry, R. D. "Beyond Reformation? An essay on William Langland's Piers Plowman and the end of Constantinian Christianity. By David Aers . Pp. xix + 257. Notre Dame, In: University of Notre Dame, 2015. $35 (paper). 978 0 268 02046 0." Journal of Ecclesiastical History 68, no. 3 (2017): 614–16. http://dx.doi.org/10.1017/s002204691700001x.

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40

Wood, Sarah. "A scribal edition of Piers Plowman C in Cambridge, Corpus Christi College, 293." Scriptorium 72, no. 1 (2018): 93–106. http://dx.doi.org/10.3406/scrip.2018.4463.

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Cet essai examine la forme originale de la version finale, «C » , de Piers le laboureur, contenue dans le manuscrit Cambridge, Corpus Christi College, 293 (XVe s.). Ce manuscrit fait partie des nombreux manuscrits décrits par les éditeurs de l’édition critique standard de Piers le laboureur comme caractérisés par de graves lacunes textuelles, bien qu’aucune autre copie ne contienne les mêmes lacunes textuelles. La forme matérielle et la décoration du manuscrit donnent une présentation particulièrement modeste du poème, même selon les normes des manuscrits généralement peu décorés de l’oeuvre de Langland. Il y manque les qualités supérieures de la décoration et l’annotation extensive trouvée dans dans certaines copies plus connues de Piers. Malgré son humble forme materielle, le manuscrit est cependant d’un intérêt potentiellement important pour les quatre omissions majeures de texte qu’il présente. Deux de ces lacunes textuelles peuvent être attribuées à des accidents courants, qui se sont probablement produits pendant la réalisation de la présente copie. Les deux autres sont davantage susceptibles de provenir d’un exemplaire antérieur, et j’affirme qu’elles peuvent refléter une rédaction délibérée du poème, une forme de texte qui élimine certains aspects du travail de Langland afin d’en mettre d’autres en avant. Les lacunes (délibérées) du texte du Corpus en font un témoin important des différentes formes, parfois excentriques, que le poème a prises dans les années qui ont suivi sa composition originale.

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41

Warner, Lawrence. "David Aers, Beyond Reformation? An Essay on William Langland’s “Piers Plowman” and the End of Constantinian Christianity. Notre Dame, IN: University of Notre Dame Press, 2015. Paper. Pp. xx, 256. $35. ISBN: 978-0-268-02046-0." Speculum 92, no. 4 (2017): 1144–45. http://dx.doi.org/10.1086/693659.

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42

Pearsall, Derek. "William Langland, Piers Plowman: A Parallel-Text Edition of the A, B, C and Z Versions, 2: Introduction, Textual Notes, Commentary, Bibliography and Indexical Glossary., ed., A. V. C. Schmidt. Kalamazoo, Mich.: Medieval Institute Publications, Western Michigan University, 2008. Pp. xiii, 948; black-and-white frontispiece and black-and-white figures." Speculum 85, no. 3 (2010): 701–3. http://dx.doi.org/10.1017/s0038713410001752.

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43

Stenroos, Merja. "The pronoun of address in Piers Plowman." Journal of Historical Pragmatics 11, no. 1 (2010): 1–31. http://dx.doi.org/10.1075/jhp.11.1.01ste.

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This paper is a study of the singular pronoun of address in Piers Plowman. Previous studies have held that Langland’s use of second-person pronouns conformed to the Old English system where the distinction between the thou and ye type pronouns was strictly based on number. This view has accorded with the assumption that singular ye in the late fourteenth century was restricted to “courtly” genres (Burnley 2003: 29). The appearance of singular ye in the manuscripts has mainly been explained by scribal interference; at best, Samuels (1988: 214) states that authorial usage is impossible to define. The present study is based on a detailed analysis of scribal variants in all three versions of Piers Plowman. It suggests that the use of ye comes no less naturally to Langland than to Chaucer, and that it forms an integral part of the language of Piers Plowman. The extent of scribal alteration with regard to this feature was modest, and there seems to be no reason to interpret the shared usage as anything but authorial. Finally, it is suggested that the choice between thou and ye in this period was not merely a question of authorial creativity but an obligatory choice for the speaker, with real social and pragmatic implications.

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44

Weldon, James. "Sabotaged Text or Textual Ploy?: The Christ-Knight Metaphor in Piers Plowman." Florilegium 9, no. 1 (1987): 113–23. http://dx.doi.org/10.3138/flor.9.006.

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Piers Plowman offers its students difficult reading, seeming at times almost impenetrable. C.S.Lewis gave popular expression to this common reaction with his remark th a t Langland was “confused and monotonous, and hardly makes his poetry into a poem.” Naturally, not all scholars agreed, and the apologists for unity and coherence have been many. Yet, regardless of how astute the analyses or how convincing the arguments put forth by the “unitarians,” many readers continue to share the experience articulated by Mary Carruthers:

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45

Steiner, Emily. "Interpretation in "Piers Plowman". William Elford Rogers." Speculum 79, no. 4 (2004): 1131–33. http://dx.doi.org/10.1017/s0038713400087261.

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46

Paxson, James J. "William Elford Rogers, Interpretation in "Piers Plowman"." Yearbook of Langland Studies 18 (January 2004): 172–75. http://dx.doi.org/10.1484/j.yls.2.302616.

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47

Benson, C. David. "What then does Langland Mean? Authorial and Textual Voices in Piers Plowman." Yearbook of Langland Studies 15 (January 2001): 3–13. http://dx.doi.org/10.1484/j.yls.2.302654.

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48

Adams, Robert. "Piers Plowman: The C Version. Will's Vision of Piers Plowman, Do-Well, Do-Better and Do-Best.William Langland , George Russell , George Kane." Speculum 74, no. 4 (1999): 1082–85. http://dx.doi.org/10.2307/2887012.

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Bowers, John M. "Piers Plowman and the Police: Notes Toward a History of the Wycliffite Langland." Yearbook of Langland Studies 06 (January 1992): 1–50. http://dx.doi.org/10.1484/j.yls.2.302875.

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Sergeeva, Valentina S. "Food Symbolism in the World of Vision of Piers Plowman." Studia Litterarum 6, no. 2 (2021): 28–49. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-28-49.

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Abstract:

W. Langland’s allegorical poem Vision of Piers Plowman is one of the key works of the medieval religious literature. Scenes of eating or drinking are among its most important episodes. The sacral meaning of food in the poem originates in the context of medieval theology appearing around certain evangelic images (“I am the bread of life,” etc.) Each time when the characters eat or drink the realization of Christian dogmas is having place, or, on the contrary, they are refused, because the abundance of “daily bread” leads to spiritual deafness. Gluttony goes hand in hand with hypocrisy, and in the world of the poem it appears not only as over-eating but also as rejecting any real Christian practice. A glutton wastes goods he could give out to the needy, as well as the treasures of his soul; and if he is of the learned, he deprives the “little ones” of their spiritual repast, too. W. Langland includes everyday events and doings into the supertemporal Bible narrative, thus actualizing them for all his Christian readers. As the result of such text organization, food-related episodes appear to be linking spots for the main themes of the poem (Christian life, charity, love, knowledge).

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