Anglo-Norman writer of Breton Lais. Her Lanval shows escapist fantasy in representing the attraction of a fairy-queen who rescues a socially stigmatized knight in Arthur's court. Our discussion played with the peek-a-boo imagery of description in this romance and the fun of Marie's occasionally intrusive narrative voice.
Julian's analysis of her sixteen mystical visions of Christ's suffering, His "maternity," and God's care of the soul develop in two versions of her Shewings. Repetition and associational connections are important devices of her prose writing. She has a strikingly close and "homely" sense of the relationship of God and humanity. Her images include vivid details of Christ's wounds (Middle Ages 357), the hazelnut as an expression of God's supporting the existence of even the smallest things (Middle Ages 358), and "the motherhood of God" (Middle Ages 363)
Mystic with intensely emotional reactions to her frequent visions. Her Book tells of her visions and the social and domestic reactions and problems they create. She is an intense practicer of affective piety (Middle Ages 368). Affective spirituality uses strong emotional appeal to foster a love of Christ. Unlike Julian, who meditates on visions, Margery Kempe often is moved to some kind of social or domestic action because of them. In answering charges before the Archbishop of York, she counters criticism of a priest by an allegorical exemplum of the bear and the pear tree (Middle Ages 376).
Narrative of a sequence of allegorical dream visions that mix analysis of Christian salvation history, moral theology, and social criticism. Vision of "fair field of folk" represents different occupations in their worldly business and laziness. Uses personification allegory to teach moral doctrine and encourage right conduct (Middle Ages 322). Central figure of Piers the Plowman puts the people to work in a Christian moral economy (Middle Ages 326). Details in narrative lead critics to identify author as William Langland; exists in three versions, A, B, and C, showing Langland's continued working out details and meanings of visionary imagination (Middle Ages 317).