William Langland Books

This poem is very unique. Langland conveys many moral issues that will always be part of human existence. The poem is written in the beautiful, alliterative style. It is not quite a standard allegory and perhaps this is why I enjoyed it so much. It is masterfully composed and Piers' vision is accutely realized. Langland has an artistic touch that grabs hold of a reader and also manages to import a message. I would recommend a version that has both the original text, with all the idosyncratic spellings, and a modern English translation. Reading this is like reading Dante, Chaucer, or the Gawain Poet. A lot to chew on but well worth the trouble.

The poem of 'Piers the Ploughman' is often considered to be anonymously composed, as the name William Langland was less an authorial designation as it was an inscription on the back of a manuscript - it would be as if I would be assigned the authorship of the O.E.D. because, in some future time, the only remaining copy was missing the title pages, but still had the hard-cover with my 'ex libris' impression on it. Be that as it may, Langland is considered at least as likely an author as any other, and becomes a sort of stand-in, an 'everyman' for his time period. A few details of this Langland are known - he was a wanderer, a constant reviser (the poem goes through several revisions that scholars have designated as texts A, B, and C (and some argue for Z). This is not a spiritual autobiography, as J.F. Goodridge states in an essay about Langland in another edition, but there are no doubt autobiographical elements in the text. That the lead character is named 'Will' helps in this identification.

This poem stands alongside Chaucer's 'Canterbury Tales' as one of the great products of Middle English; this also has the character of being a different sort of Middle English than Chaucer's more courtly, continental influenced variety. Thus, it gives breadth to the history of the English language. Langland is often ranked as a great English poet on a par with Spenser, Milton, Wordsworth and Yeats, as representative of his age both in topics as well as language facility.

This epic poem deals with themes familiar for the time - like Dante and Milton, Langland deals with the grand ideas of the meaning of life and the destiny of humankind. However, unlike Dante and Milton, Will and Piers the Ploughman do not go through a mystical, otherworldly adventure or journey, but rather stays rooted to the earth. These are dream sequences, but these too need not be otherworldly - they are things that can happen to every person. The ideas of the seven deadly sins, the virtues, the church, and the images of heaven and hell are very much rooted to regular society images of the same. The discussion of the allegorical characters, aptly named Do-Well, Do-Better, and Do-Best, does much for the moral teaching of this poem, which would have been of primary concern to the author.

Langland's text is often more Old English than Chaucerian in ways. It is far more alliterative, a strong component taken from Old English. Also, it is less metrical in rhythm than Chaucer - there is a pause in each line akin to older English poetry, but the metre is less secure.

This translation is done in alliterative verse by E. Talbot Donaldson (the 'E' stands for the very olde Englishe sounding name of Ethelbert). There are notes, essays and other helpful material provided by Elizabeth Kirk and Judith Anderson. There are over 50 non-related texts of the poem that have survived the Middle Ages, that vary from minor to major changes throughout. Reconciling these is rather like attempting to reconcile the gospels of the Bible, and then adding to that task the discovery of other non-canonical gospels. It leads to rich discussion, but less agreement.

The introductory material helps set the stage for reading, and the appendix gives a more thorough development of 'The Dreamer' from the C text.

Perhaps one of the reasons I like this text so much is that the persons involved were known to me, or friends of friends. Donaldson was the founding editor of 'The Norton Anthology of English Literature', a broad, wide-ranging text. However, it was 'Piers Plowman' that was to be a continuing favourite study for him.

This is one of the classics of English literature, perhaps the least known among them.

This poem is one of the most beautiful things I have ever read. I am not a specialist in Middle English, so I cannot say what was lost in the translation into Modern English. I have a copy of the B-Text version which is in Middle English, and if you are like me and have no background therein, this is definitely the version to possess.

It was written circa 1380 and gives an excellent account of life in Plantagenent England and the behavior of the people. The money economy was relatively new, and he saw the negative effects that it had upon both the secular authorities and the Church. The poem is written as an allegory in which the author tries to reconcile the needs of human society with satisfying our Lord our God. Similar to Pilgrim's Progress, the author has a vision, in which he is encounters different aspects of humanity (Covetousness, Sloth, Soul, Knowledge, etc.) on his attempt to find Truth (or God). It is definitely not light reading, and there is so much deep thought that one has to spend a lot of time reading it slowly, as I am sure it was done in the 'Middle Ages'.

The author thought that End Times were near after the Black Death and the utter corruption amongst secular and clerical authorities at the time. The fact that something so penetrating and inspirational was written and found such an appreciative audience that it has survived till now shows that the society then was not so bad. Highly recommended.

I read this years ago for a college English class. Sure wish I'd had an edition like this to help me comprehend it better.
Notes from the Penguin Classics website: "Piers the Ploughman, a blending of prophecy and satirical comedy, is the great representative English poem of the late Middle Ages.
The work of an obscure fourteenth-century cleric, Piers the Ploughman is concerned with the largest of all poetic themes, the meaning of man's life in relation to his ultimate destiny. This spiritual allegory is set against a colorful background of teeming medieval life between the 'Tower of Truth' and the 'Dungeon of Falsehood'. With an Introduction, Notes and a book-by-book Commentary on the allegory, J.F. Goodridge's modern translation of the poem captures the flavour of Langland's vivid pictures and vernacular expressions."

Langland's masterpiece, "Piers Plowman", is Middle English poetry that uses language that is more opaque that that of Chaucer, while expression ideas that are at the same time less translucent than Chaucer's. Whereas Chaucer writes to entertain and incidentally edify, Langland's writing aims squarely at the reform of society: his poetic genius is ever bent on conveying his message in the most effective ways it can devise. That those ways are diverse, and that the poem entwines itself around the reader's mind with a fine webbing of delicate strands, makes a first acquaintance with this work for the student of Middle English a potent, provocative, but somewhat overpowering experience. Help is needed. Goodridge's translation into modern English beautifully renders the sense of the poem in a direct and lyrical way. This may be contrasted with most verse translations that tend to be glosses rather than translations. Consider one fragment from the prologue: "Ac of the cardinales atte courte that caught of that name / And power presumed in hem a pope to make, / To han that power that Peter hadde inpugnen I nelle: / For in loue and letterure the eleccioun bilongeth -- / Forthi I can and can naught of courte speke more." What are we to make of "can and can naught"? A verse translation by Donaldson renders this as follows: "But as for the cardinals at court that thus acquired their name / And presumed they had power to appoint a pope / Who should have the power that Peter had -- well I'll not impugn them. / For the election belongs to love and to learning: / Therefore I can and cannot speak of court further." No doubt this has merit as poetry, but of what value is it as a translation? Any student could replace the Middle English words with the modern equivalent, and be no better off in understanding the sense of the piece. Consider, on the other hand, Goodridge's prose translation: "But as to those other cardinals at Rome who have assumed the same name, taking upon themselves the appointment of a Pope to posses the power of St. Peter, I will not call them in question. The election of a pope requires both love and learning. There is much more I could say about the Papal Court, but it is not for me to say it." While one may disagree with Goodridge's interpretations, one is never in doubt as to what they are. His prose is perfectly lucid, and often poetic. This is a wonderful introduction to Piers Plowman, and the notes and commentary that accompany the translation further enhance the value of this book, and serve even more as a key to unlocking the gates to this magical poem.

The poem of 'Piers the Ploughman' is often considered to be anonymously composed, as the name William Langland was less an authorial designation as it was an inscription on the back of a manuscript - it would be as if I would be assigned the authorship of the O.E.D. because, in some future time, the only remaining copy was missing the title pages, but still had the hard-cover with my 'ex libris' impression on it. Be that as it may, Langland is considered at least as likely an author as any other, and becomes a sort of stand-in, an 'everyman' for his time period. A few details of this Langland are known - he was a wanderer, a constant reviser (the poem goes through several revisions that scholars have designated as texts A, B, and C (and some argue for Z). This is not a spiritual autobiography, as J.F. Goodridge states in his introduction, but there are no doubt autobiographical elements in the text. That the lead character is named 'Will' helps in this identification.

This poem stands alongside Chaucer's 'Canterbury Tales' as one of the great products of Middle English; this also has the character of being a different sort of Middle English than Chaucer's more courtly, continental influenced variety. Thus, it gives breadth to the history of the English language. Goodridge ranks Langland as a great English poet on a par with Spenser, Milton, Wordsworth and Yeats, as representative of his age both in topics as well as language facility.

This epic poem deals with themes familiar for the time - like Dante and Milton, Langland deals with the grand ideas of the meaning of life and the destiny of humankind. However, unlike Dante and Milton, Will and Piers the Ploughman do not go through a mystical, otherworldly adventure or journey, but rather stays rooted to the earth. These are dream sequences, but these too need not be otherworldly - they are things that can happen to every person. The ideas of the seven deadly sins, the virtues, the church, and the images of heaven and hell are very much rooted to regular society images of the same. The discussion of the allegorical characters, aptly named Do-Well, Do-Better, and Do-Best, does much for the moral teaching of this poem, which would have been of primary concern to the author.

Langland's text is often more Old English than Chaucerian in ways. It is far more alliterative, a strong component taken from Old English. Also, it is less metrical in rhythm than Chaucer - there is a pause in each line akin to older English poetry, but the metre is less secure.

There is much to dispute in Goodridge's introductory essay and notes, because this is that kind of text that invites such disputation. There are over 50 non-related texts of the poem that have survived the Middle Ages, that vary from minor to major changes throughout. Reconciling these is rather like attempting to reconcile the gospels of the Bible, and then adding to that task the discovery of other non-canonical gospels. It leads to rich discussion, but less agreement.

Goodridge does a good job at introducing the text and translating the text into a prose style. The one drawback of this is that the sense of the poem is lost. However, as an introduction and student/study version of the epic, it is a good text. The notes are generous and useful.

This is one of the classics of English literature, perhaps the least known among them.

The poem of 'Piers the Ploughman' is often considered to be anonymously composed, as the name William Langland was less an authorial designation as it was an inscription on the back of a manuscript - it would be as if I would be assigned the authorship of the O.E.D. because, in some future time, the only remaining copy was missing the title pages, but still had the hard-cover with my 'ex libris' impression on it. Be that as it may, Langland is considered at least as likely an author as any other, and becomes a sort of stand-in, an 'everyman' for his time period. A few details of this Langland are known - he was a wanderer, a constant reviser (the poem goes through several revisions that scholars have designated as texts A, B, and C (and some argue for Z). This is not a spiritual autobiography, as J.F. Goodridge states in his introduction to another edition, but there are no doubt autobiographical elements in the text. That the lead character is named 'Will' helps in this identification.

This poem stands alongside Chaucer's 'Canterbury Tales' as one of the great products of Middle English; this also has the character of being a different sort of Middle English than Chaucer's more courtly, continental influenced variety. Thus, it gives breadth to the history of the English language. Goodridge ranks Langland as a great English poet on a par with Spenser, Milton, Wordsworth and Yeats, as representative of his age both in topics as well as language facility.

This epic poem deals with themes familiar for the time - like Dante and Milton, Langland deals with the grand ideas of the meaning of life and the destiny of humankind. However, unlike Dante and Milton, Will and Piers the Ploughman do not go through a mystical, otherworldly adventure or journey, but rather stays rooted to the earth. These are dream sequences, but these too need not be otherworldly - they are things that can happen to every person. The ideas of the seven deadly sins, the virtues, the church, and the images of heaven and hell are very much rooted to regular society images of the same. The discussion of the allegorical characters, aptly named Do-Well, Do-Better, and Do-Best, does much for the moral teaching of this poem, which would have been of primary concern to the author.

Langland's text is often more Old English than Chaucerian in ways. It is far more alliterative, a strong component taken from Old English. Also, it is less metrical in rhythm than Chaucer - there is a pause in each line akin to older English poetry, but the metre is less secure.

There are over 50 non-related texts of the poem that have survived the Middle Ages, that vary from minor to major changes throughout. Reconciling these is rather like attempting to reconcile the gospels of the Bible, and then adding to that task the discovery of other non-canonical gospels. It leads to rich discussion, but less agreement.

George Economou, who has translated ancient and medieval poetry from many different langauges, has taken as his base text the lesser-used C text for this translation. Economou includes a good introductory essay, a selected bibliography, and a good verse translation that preserves many elements of the original, such as alliteration.

This is one of the classics of English literature, perhaps the least known among them.

Though a difficult work, Piers Plowman is definitely worth reading for anyone studying English literature. This allegorical dream-vision follows the narrator, Will, on his journey though the world and into the depths of the human consciousness. Always vivid and imaginative, sometimes even humorous, this poem is a fascinating glimpse into mid fourteenth century England. Economou's translation of the lesser-read C text is often poetically quite beautiful and always easy for a modern reader to understand.

I took Ernie Kaulbach's Medieval Lit. class at the University of Texas. He is greatness. I still have my copies of "Parzival" and "Njal's Saga" from that class. I have no idea about this book, but the author is a really good guy.

Hookem Horns.

The long-recognized need for an edition of Piers the Plowman based on modern methods of textual criticism was met by the publication of this book in 1952. The present reissue of that edition in a paperbound version meets yet another need. It provides an authoritative and easily obtainable edition for the student of the work. Containing a historical introduction, explanatory notes, and a glossary, the book is a full-bodied presentation of the A-version of the poem and is invaluable for students and scholars alike.
--- frombook's back cover

That is, compared to, say, Skeat's multi-volume monstrosity. PP is a great text, but, as an earlier unfortunate reviewer noted, this is not an edition (or really a text, whether it's translated or not) to tackle without at least an introductory class on Middle English literature. If you haven't had any experience with MidE, don't beat yourself up if you can't deal with Schmidt's edition. If you have a little MidE and you want a decent basic text, this is the most affordable and accessible way to go. Just take notes in pencil-- the paper's not of the best quality.

The poem of 'Piers the Ploughman' is often considered to be anonymously composed, as the name William Langland was less an authorial designation as it was an inscription on the back of a manuscript - it would be as if I would be assigned the authorship of the O.E.D. because, in some future time, the only remaining copy was missing the title pages, but still had the hard-cover with my 'ex libris' impression on it. Be that as it may, Langland is considered at least as likely an author as any other, and becomes a sort of stand-in, an 'everyman' for his time period. A few details of this Langland are known - he was a wanderer, a constant reviser (the poem goes through several revisions that scholars have designated as texts A, B, and C (and some argue for Z). This is not a spiritual autobiography, as J.F. Goodridge states in an essay about Langland in another edition, but there are no doubt autobiographical elements in the text. That the lead character is named 'Will' helps in this identification.

This poem stands alongside Chaucer's 'Canterbury Tales' as one of the great products of Middle English; this also has the character of being a different sort of Middle English than Chaucer's more courtly, continental influenced variety. Thus, it gives breadth to the history of the English language. Langland is often ranked as a great English poet on a par with Spenser, Milton, Wordsworth and Yeats, as representative of his age both in topics as well as language facility.

This epic poem deals with themes familiar for the time - like Dante and Milton, Langland deals with the grand ideas of the meaning of life and the destiny of humankind. However, unlike Dante and Milton, Will and Piers the Ploughman do not go through a mystical, otherworldly adventure or journey, but rather stays rooted to the earth. These are dream sequences, but these too need not be otherworldly - they are things that can happen to every person. The ideas of the seven deadly sins, the virtues, the church, and the images of heaven and hell are very much rooted to regular society images of the same. The discussion of the allegorical characters, aptly named Do-Well, Do-Better, and Do-Best, does much for the moral teaching of this poem, which would have been of primary concern to the author.

Langland's text is often more Old English than Chaucerian in ways. It is far more alliterative, a strong component taken from Old English. Also, it is less metrical in rhythm than Chaucer - there is a pause in each line akin to older English poetry, but the metre is less secure.

This is a translation of the B-text, a text that is a revision of Langland's own (most likely). Translator and editor A.V.C. Schmidt provides an introduction and chronology, with lots of detail about the manuscript variations and textual issues. Schmidt gives examples of the original language for the student to compare the modern translation with a snapshot of the original.

This is one of the classics of English literature, perhaps the least known among them.

Personally I don't see the point of translating English into English, so if you want to read The Vision of Piers Plowman as it was written (well, one version anyway!), this is the edition to get. However, I do concede that our language has changed to the extent that reading such a text is difficult without aids - of which this book is chock full. You have (a) footnotes and translations of the Latin quotes (b) notes on lexical elements of the text (c) notes notes on the meaning of the text. (a) is presented alongside the text whilst (b) and (c) are at the back, which does mean flicking to and fro as you read, but the rewards are worth it! This is the standard to which all modern print editions of medieval manuscripts should aspire. Outstanding work.

I remember having to recite the prologue of the Canturbury Tales in Middle English in high school but this is a couple hundred pages. I have read some 'Middle English' books where it wasn't difficult to understand at all, only the spelling was slightly off. THIS IS NOT THE CASE HERE!

For example:

But of coket or clermatyn or ellis of clene whete

That sentence is translated as follows:
But only loaves made of fine wheat flour, or at least only out of wheat unmixed.

There is a lot of latin thrown in as well, so if you are a curious reader who has no background in germanistics or medieval literature, this might not be the book for you. You will probably understand 60-70 percent of what is going on, but a modern English translation might be better.

The story itself is awesome and far superior to Pilgrim's Progress. Like that story, the narrator has a vision and encounters various aspects of human nature in his quest for salvation. The characters are more complex than in Pilgrim's Progress and you have a beautiful tale of a man trying to adhere to his Christian faith amidst clerical and secular corruption.
Highly recommended.

In his rethinking of chronicled history, Justice takes his reader on a journey through both high and low "literature" and reconfigures the images, motives, and voice of England's Peasant's Rebellion of 1381. He beautifully argues that the peasants rebelled not to tear down the English monarchy (in fact, many maintained their loyalty throughout), but to enable equal access to textual culture, written history, and a cultural voice. By mentioning the influence of Langland, Gower, and Chaucer's writings in the Rebellion, Justice demonstrates that the peasants did not wish to eliminate written culture because they did not understand it, but to re-write (or re-evaluate) it because they could identify with it. For any reader who enjoys a discussion that tears the Middle Ages away from crusty historians and views the period through several perspectives, Justice truly does justice to the degree of social dynamism and movement during the turbulent fourteenth century.

Steven Justice begins by examining a handful of documents representing the views of the peasant rebels who tried to depose corrupt officials and destroy land records. From the letters themselves (which he concludes were early broadsheets), Justice reasons and writes beautifully to reanimate daily life at the time of the rebellion (land use and functional literacy among the peasants who rebelled). He also identifies echoes of the rebellion in Chaucer and of Langland in the rebellion, as well as an analysis of John Wyclif's possible motivation of the rebels. Thought-provoking, vivid history. A map would be a nice addition if the book is reprinted.