Comedy

Kendrick, Laura

doi:10.1002/9780470693469.ch6

Cited by 2 publications

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“…The land of flowering wands, for all its entertaining theatre, is far from the choirs of angels. 47 Second, the image plays a role similar to that of the miracle story in a medieval sermon. Such stories, Miri Rubin notes, served as 'the main tool for popular instruction' used to attract and sustain the audience's attention.…”

Section: Et Clamant Omnes 'Mercy! Mercy!'mentioning

confidence: 99%

‘Here may we se a merveyl one’: Miracles and the Psalter in the N-Town ‘Marriage of Mary and Joseph’

Napolitano

2015

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<p>A major theme of the N-Town ‘Marriage of Mary and Joseph’ is its characters’ ability to interpret religious truths by interacting with scripture or witnessing miracles. Mary’s reading of her psalter at the play’s ending comments upon the episode in which the miraculous ‘flowering wand’ identifies Joseph as Mary’s future husband. The play privileges scripture reading as a method of attaining knowledge as the psalter’s salvific power supplants the miracle of the flowering branch as a source of virtue and mercy; yet the play also affirms images like the wand flowering and Mary reading as devotional icons.</p>

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Section: Et Clamant Omnes 'Mercy! Mercy!'mentioning

confidence: 99%

‘Here may we se a merveyl one’: Miracles and the Psalter in the N-Town ‘Marriage of Mary and Joseph’

Napolitano

2015

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“…In short, many critics have tended to move away from seeing the texts as continuations of an earlier English tradition, arguing that they were instead following Chaucer's precedent by bringing these stories into English. It is generally agreed that Chaucer's experiments with the French genre were a ‘novelty in English’ (Kendrick 90), and the later texts were produced only ‘in the wake of Chaucer's example’ (Kean 2.85).…”

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confidence: 99%

The English Fabliau in the 15th and 16th Centuries

Parsons

2013

Literature Compass

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The English Fabliau in the Fifteenth and Sixteenth CenturiesIn the fifteenth and sixteenth centuries, the fabliau attained a belated vogue in English. This paper offers a review of existing criticism on the English fabliaux, outlining the main issues it addresses, as well as suggesting the future directions scholarship might take. In particular, it offers a detailed analysis of how English writers after Chaucer tried to bring the fabliau genre into line with fifteenth-century notions of orthodoxy, a project which caused them to confront the challenges of the Lollard heresy in subtle but pervasive ways. It also notes that the very tactics used by the fabliaux to uphold latemedieval orthodoxy against Wycliffism rendered them all the more popular after the Reformation, despite their obvious Catholic sympathies. It is concluded that these two elements in the texts merit closer study, as they resonate with recent assessments of the period and its culture.Since Joseph Bédier revived interest in them in the 1890s, the French fabliaux have attracted an increasingly large body of commentary. These brief comic narratives in verse, focusing on trickery, violence and adultery, have been the subject of numerous studies, editions and essay-collections: the last decade alone has seen work on them by Keith Busby, Norris Levy, Holly Crocker, and several others.1 However, such attention stands in marked contrast to the critical reception of the fabliaux in English.

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Comedy

Cited by 2 publications

References 2 publications

‘Here may we se a merveyl one’: Miracles and the Psalter in the N-Town ‘Marriage of Mary and Joseph’

‘Here may we se a merveyl one’: Miracles and the Psalter in the N-Town ‘Marriage of Mary and Joseph’

The English Fabliau in the 15th and 16th Centuries

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