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richthegreat's review against another edition
challenging
slow-paced
2.75
So I read this book with a supported book club, where we read things slowly and dissect them. That is absolutely the only way I would have completed the book. For me it was hard work, personification gone mad.
I realise this is an english "proto-novel", but for me the prose were so dense that it's just essentially a sermon. I think this type of novel is probably best appreciated in an English class.
Apparently this was seen as revolutionary at the time it was distributed and I think to appreciate that you really need to read the notes, and have a working understanding of the socio-political context of the time.
I realise this is an english "proto-novel", but for me the prose were so dense that it's just essentially a sermon. I think this type of novel is probably best appreciated in an English class.
Apparently this was seen as revolutionary at the time it was distributed and I think to appreciate that you really need to read the notes, and have a working understanding of the socio-political context of the time.
smcleish's review
4.0
Originally published on my blog here in July 1998.
Although I was able to read [a:Geoffrey Chaucer|1838|Geoffrey Chaucer|http://photo.goodreads.com/authors/1202588994p2/1838.jpg] in the original Middle English with only the help of a (fairly comprehensive) glossary, I'm glad I got hold of Piers Plowman in modern English. Judging by the excerpts given in this book, it is considerably more difficult to read, mainly because it is written in a Midlands dialect which didn't provide the basis for later literary English as Chaucer's language did.
The text of Piers Plowman is considerably more complicated than that of, say, the [b:The Canterbury Tales|2696|The Canterbury Tales|Geoffrey Chaucer|http://photo.goodreads.com/books/1261208589s/2696.jpg|986234]; there are three major manuscripts, known as A, B, and C. This translation is based on the B-text, though appendices give some parts of the C-text (which contains more information interpreted as autobiographical than the other manuscripts).
Piers Plowman is the story of a series of dreams, told in the first person by William (Langland). These dreams show in allegorical form what is wrong with the society he sees around him, and by contrast the perfect society which is to come under the rule of Piers Plowman, who stands for Jesus Christ.
One very sophisticated aspect of the allegory is that the dreams are spaced throughout the life of the narrator, and the nature and meaning of the visions changes as his spiritual understanding matures. Other than that, the book is also notable for the strong criticism of the abuses of the church current in the later middle ages. You need some understanding of medieval theology to get the most from the book, but anyone interested in the medieval world-view should find it fascinating.
Although I was able to read [a:Geoffrey Chaucer|1838|Geoffrey Chaucer|http://photo.goodreads.com/authors/1202588994p2/1838.jpg] in the original Middle English with only the help of a (fairly comprehensive) glossary, I'm glad I got hold of Piers Plowman in modern English. Judging by the excerpts given in this book, it is considerably more difficult to read, mainly because it is written in a Midlands dialect which didn't provide the basis for later literary English as Chaucer's language did.
The text of Piers Plowman is considerably more complicated than that of, say, the [b:The Canterbury Tales|2696|The Canterbury Tales|Geoffrey Chaucer|http://photo.goodreads.com/books/1261208589s/2696.jpg|986234]; there are three major manuscripts, known as A, B, and C. This translation is based on the B-text, though appendices give some parts of the C-text (which contains more information interpreted as autobiographical than the other manuscripts).
Piers Plowman is the story of a series of dreams, told in the first person by William (Langland). These dreams show in allegorical form what is wrong with the society he sees around him, and by contrast the perfect society which is to come under the rule of Piers Plowman, who stands for Jesus Christ.
One very sophisticated aspect of the allegory is that the dreams are spaced throughout the life of the narrator, and the nature and meaning of the visions changes as his spiritual understanding matures. Other than that, the book is also notable for the strong criticism of the abuses of the church current in the later middle ages. You need some understanding of medieval theology to get the most from the book, but anyone interested in the medieval world-view should find it fascinating.
chellyfish's review
3.0
If you have never read medieval literature in its Middle English form, I highly advise you to not start here. Who was it that said that no one should ever have to read Piers Plowman for the first time? I forget, because reading Piers Plowman for the first time melted my brain.
That aside, I appreciated the modern english translation immensely, especially reading this text for the first time. Piers Plowman itself is like a knot that's impossible to untangle. I feel slightly validated by the general agreement on this matter.
That aside, I appreciated the modern english translation immensely, especially reading this text for the first time. Piers Plowman itself is like a knot that's impossible to untangle. I feel slightly validated by the general agreement on this matter.
arbieroo's review
4.0
After approximately a year of wading through Middle-English alliterative verse at an average rate of approximately one page per day, I have finally come to the end of The Vision of Piers Plowman. So was it worth it?
Yes! It is by some stretch my most ambitious undertaking in regard to reading Middle-English; I have not read two of the Canterbury Tales together and have only read about half of it (by number of lines - many fewer than half the Tales) and that's the limit of my Chaucer. I've never tackled Sir Gawain and the Green Knight in the original and although I have read most of Malory, it is prose and more recent and again, not read as one big lump. Piers Plowman is not merely longer, though - it is, despite Langland being contemporary with Chaucer, fundamentally more difficult because the dialect is not Chaucer's. The London dialect went on to become the dominant one in the development from Middle to Modern English and is therefore somewhat easier for the modern reader. The concentration required and necessary time spent reading glosses and notes was rewarded, however. (It is slow going when one can only tackle it before going to sleep - hence one year to do it justice.)
The Vision of Piers Plowman is a Christian allegory and a deeply serious, heart-felt as well as intellectual one. Langland uses the older Alliterative verse style rather than adopting the new-fangled rhyming, iambic schemes as Chaucer did. I am a fan of this approach to narrative verse as it adds colour and interest (makes the story poetic!) without the risk of the unvaried rhythm of iambic metre sending one to snooze-land prematurely. Alliterative verse forms have strict rules, just as iambic metres do and it takes considerable skill to compose in them.
The seriousness and evident profound feeling behind the poem stands in stark contrast to the Canterbury Tales (insofar as I've read them) even though there are some themes in common. No matter where one stands regarding the debate about whether Chaucer's "very parfit gentle knyght" is being satirised or not, it is clear that the Tales in general are full of satire and humour and the various types of clergy are presented as a corrupt, greedy, hypocritical lot. Chaucer seems not to have much anger behind his satire, though - the Tales seem something of a frivolous entertainment. When Langland tackles such folk as friers and pardoners they come in for a metaphorical roasting and it is plain that he expects most of them to experience a literal one after Judgement Day. The only other Middle English poem I've read (in Tolkien's translation) that competes for expressing deep feeling on the part of its author is Pearl - another dream-vision, about the author's grief at the loss of a young daughter. Piers Plowman is on an altogether bigger scale, though. In a series of dreams (and dreams within dreams, which can get tricky to keep track of at one page a day) not only is a Utopian society envisaged, but every major question of Christian theology is addressed as the spiritual progress of both Piers and the dreamer are chronicled right up to the final battle between good and evil forces within humanity...
The prologue starts things of with an exciting little story where rats, mice and a cat take the place of nobles, commoners and the King. Matters continue apace and rather wittily with the Marriage of Mede, which gets tangled up in legal battles and corrupt practice. Later Piers sets up his farm and barn, eventually to be the scene of the dramatic finale. Most of this is lively and the narrative helps drag one through the worst difficulties of the language. (One learns as one progresses - once you know that "ac" means "but" it isn't a problem at future encounters, for example.)
Piers wanders off on a pilgrimage at about the half-way point as he believes he needs to understand the Biblical message better. The proceeding third or so of the poem is easily the most dull and dry as it descends into a series of theological discussions usually expounded by various characters quoting liberal quantities of Latin at each other. These matters were evidently important to Langland (and to many intellectual Christians, I suspect) but the excitement of the initial quarter of the poem becomes a distant memory. Things pick up again with the appearance of the Actyf Man (I love that name) and steadily accelerate to an Apocalyptic conclusion worthy of a poem of such scale and ambition.
We are lucky to have as much Middle English literature as we do and this work is a fine example of it: read it if you are a Christian, or if your interest in poetry will withstand 362 pages requiring total focus.
Yes! It is by some stretch my most ambitious undertaking in regard to reading Middle-English; I have not read two of the Canterbury Tales together and have only read about half of it (by number of lines - many fewer than half the Tales) and that's the limit of my Chaucer. I've never tackled Sir Gawain and the Green Knight in the original and although I have read most of Malory, it is prose and more recent and again, not read as one big lump. Piers Plowman is not merely longer, though - it is, despite Langland being contemporary with Chaucer, fundamentally more difficult because the dialect is not Chaucer's. The London dialect went on to become the dominant one in the development from Middle to Modern English and is therefore somewhat easier for the modern reader. The concentration required and necessary time spent reading glosses and notes was rewarded, however. (It is slow going when one can only tackle it before going to sleep - hence one year to do it justice.)
The Vision of Piers Plowman is a Christian allegory and a deeply serious, heart-felt as well as intellectual one. Langland uses the older Alliterative verse style rather than adopting the new-fangled rhyming, iambic schemes as Chaucer did. I am a fan of this approach to narrative verse as it adds colour and interest (makes the story poetic!) without the risk of the unvaried rhythm of iambic metre sending one to snooze-land prematurely. Alliterative verse forms have strict rules, just as iambic metres do and it takes considerable skill to compose in them.
The seriousness and evident profound feeling behind the poem stands in stark contrast to the Canterbury Tales (insofar as I've read them) even though there are some themes in common. No matter where one stands regarding the debate about whether Chaucer's "very parfit gentle knyght" is being satirised or not, it is clear that the Tales in general are full of satire and humour and the various types of clergy are presented as a corrupt, greedy, hypocritical lot. Chaucer seems not to have much anger behind his satire, though - the Tales seem something of a frivolous entertainment. When Langland tackles such folk as friers and pardoners they come in for a metaphorical roasting and it is plain that he expects most of them to experience a literal one after Judgement Day. The only other Middle English poem I've read (in Tolkien's translation) that competes for expressing deep feeling on the part of its author is Pearl - another dream-vision, about the author's grief at the loss of a young daughter. Piers Plowman is on an altogether bigger scale, though. In a series of dreams (and dreams within dreams, which can get tricky to keep track of at one page a day) not only is a Utopian society envisaged, but every major question of Christian theology is addressed as the spiritual progress of both Piers and the dreamer are chronicled right up to the final battle between good and evil forces within humanity...
The prologue starts things of with an exciting little story where rats, mice and a cat take the place of nobles, commoners and the King. Matters continue apace and rather wittily with the Marriage of Mede, which gets tangled up in legal battles and corrupt practice. Later Piers sets up his farm and barn, eventually to be the scene of the dramatic finale. Most of this is lively and the narrative helps drag one through the worst difficulties of the language. (One learns as one progresses - once you know that "ac" means "but" it isn't a problem at future encounters, for example.)
Piers wanders off on a pilgrimage at about the half-way point as he believes he needs to understand the Biblical message better. The proceeding third or so of the poem is easily the most dull and dry as it descends into a series of theological discussions usually expounded by various characters quoting liberal quantities of Latin at each other. These matters were evidently important to Langland (and to many intellectual Christians, I suspect) but the excitement of the initial quarter of the poem becomes a distant memory. Things pick up again with the appearance of the Actyf Man (I love that name) and steadily accelerate to an Apocalyptic conclusion worthy of a poem of such scale and ambition.
We are lucky to have as much Middle English literature as we do and this work is a fine example of it: read it if you are a Christian, or if your interest in poetry will withstand 362 pages requiring total focus.
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