Dr%20Daniel%20Sawyer: List of publications

The notorious divergence between the three extant texts of Sir Orfeo has tripped up some past studies and seemingly makes the poem forbidding ground for literary criticism. Yet study of those texts informed by Paul Eggert’s recent revitalization of the concept of the ‘work’ reveals that some aspects of form and versification persist surprisingly well across the three known copies. Criticism has frequently noted the two points in Sir Orfeo which use descriptive comparisons to Paradise. The standard referencing edition, however, presents the first paradisiacal comparison with deceptively little information about its textual state. Scholars, even those alert to manuscripts, have consequently erred when discussing the relevant passages. Attention to aspects of the poem’s versification such as through-rhyme, rhyme-pairing, and rhyme-breaking can offer a partial solution to the problem. This insight opens up a broader approach to reading the verse-craft of Orfeo across its extant witnesses. A study of the poem’s use of comparison offers a trial of that approach. Though individually formulaic, the poem’s comparisons would have had a significant cumulative effect on readers. This effect has implications for scholarship’s understanding of the figure of Orfeo and of the poem as a whole. Future research on this text might fruitfully attend more closely to textual problems, to verse form, and to the relationship between the two; future studies of Middle English texts in general might benefit from the concept of the work.

<p>This volume offers the first book-length history of reading for Middle English poetry. Drawing on evidence from more than 450 manuscripts, it examines readers’ choices of material, their movements into and through books, their physical handling of poetry, and their attitudes to rhyme. It provides new knowledge about the poems of known writers such as Geoffrey Chaucer, John Lydgate, and Thomas Hoccleve by examining their transmission and reception together with a much larger mass of anonymous English poetry, including the most successful English poem before print, The Prick of Conscience. The evidence considered ranges from the weights and shapes of manuscripts to the intricate details of different stanza forms, and the chapters develop new methods which bring such seemingly disparate bodies of evidence into productive conversation with each other. Ultimately, this book shows how the reading of English verse in this period was bound up with a set of habitual but pervasive formalist concerns, which were negotiated through the layered agencies of poets, book producers, and other readers.</p>

Manuscripts underpin the study of the Middle Ages, but the numbers which survive are thought to be a small proportion of those once produced. These missing books can be studied through the physical descriptions in medieval records, texts which I frame as a form of ‘folk codicology’. A survey of 1511 such descriptions from later medieval England extends our knowledge of the appearance and handling of books. Through their practical taxonomies these descriptions also show how readers sometimes thought about the age, quality and beauty of manuscripts. At other times, however, readers were not interested in the physicality of books, or found that physicality to be a hindrance.