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The article focuses on Middle English prose, print and provenance in Trinity College Dublin MS. 352, highlighting the discovery of unrecorded copies of Middle English verse and prose and extracts from works such as Walter Hilton's Scale of Perfection, and William Flete's Remedies Against Temptation. It explores how MS. 352, a commonplace book possibly owned by a sixteenth-century recusant, offers insights into the reception of late medieval literature and the dissemination of Recusant ideas.

The changes Geoffrey Chaucer made in his translation of Oton de Graunson's French poem 'Cinq Balades' reflects his view that the translation's simpler structure does not downgrade the value of the original. Chaucer does not retain the structural intricacies or 'curiosites' of Graunson's poem in his translated version, 'Complaint of Venus,' which conveys a meaning different from the original.

Alain de Lille's 'De Arte Praedicatoria,' dating from the 12th century, is a likely source for the opening lines of the Middle English poem 'Patience.' The treatise by Alain describes seven kinds of patience which are associated with the Beatitudes, and a similar association occurs in the poem. The poem has other features suggestive of a sermon which may be related to Alain's work, which was intended as an aid to the composition of sermons.

The article focuses on comprehensive catalogue of 1967 John Skelton: Canon and Census, Robert S. Kinsman and Theodore Yonge categorize the poem ‘On Time' among the ‘doubtful pieces.' It mentions Trinity College Dublin MS 661 is not well known and small sixteenth-century paper manuscript of 154 pages. It also mentions number of pieces, both prose and verse, which were current in the late Middle Ages and are registered in the standard indexes.

Four poems that were thought to be possibly by the same author, namely, Kyng Alisaunder, Of Arthour and of Merlin, Richard Coeur de Lion and The Seven Sages of Rome, written around 1300, in the London area or in the south-east of England have common dialectal features. They represent a local tradition of Roman writing and share common narrative procedures and similarities of phrasing.

Egle offers instructions on lifestyle, traveling of sound, and constellions to Chaucer with reference to his 'House of Fame'.

Geoffrey Chaucer's 'Parliament of Fowls' describes the making of Cupid's arrows, and the word 'couchede' in line 216 has been interpreted as 'arranged' or 'placed.' Similar description in Boccaccio's 'Tesida' suggests 'couchede' is more appropriately read as cutting a notch with a file in the end of the shaft, a meaning also supported by Modern French's 'cocher,' cutting a groove or notch, and by archaeological evidence.

Stephen Knight, Robin Hood: A Mythic Biography (Ithaca, NY: Cornell University Press, 2003), xxi + 229 pp. ISBN 0-8014-3885-3. $25.00. In Piers Plowman B, XIX.246-7, Grace, a messenger of God, [...]

Jay Ruud's book is the first full-length study of Chaucer's lyrics and as such it is to be welcomed. It is good that this part of Chaucer's output is getting [...]

A dramatic criticism of the theatrical production “Magnyfycence,” by John Skelton is presented. The article presents an overview of the plot, characters, and provides a modern interpretation of the text. Excerpts from the script are provided to illustrate points in the article. Lines in the written work are evaluated by modern historians and interpreters to define the meaning of the text. Specifically evaluated is the interpretation of "Magnyfycence," by Tudor chronicler Edward Hall.

Examines the influence of Oton de Graunson's ballades on Geoffrey Chaucer's poem `The Complaint of Venus.' Significance of a real-life court scandal revealed by John Shirley; Chaucer's method of incorporating complaint characteristics; Implications on classical and medieval conceptions of memory and remembrance; Hermeneutics; Poetic composition.

The article focuses on the traditional motifs about death in the graveyard scene in English drama. According to the author, the question and answer session sequence between Hamlet and the gravedigger is also traditional, though William Shakespeare uses for comic purposes something which is normally treated seriously. The dialogue deals with the identity of the person buried. Epitaphs were sometimes used for blame not praise and satiric potential of this formula is exploited by Selton in his epitaph for John Clark.

This article reports that "Trinity College Dublin," is a vellum book of 90 folios, the last of which appears to have been used for binding purposes and is not related to the rest of the material in the volume. This memorandum is perhaps the single most important piece of evidence on the vexed question of the authorship of Piers Plowman, and is frequently drawn upon. Perhaps because of the compelling interest of these items and because of the light they throw on Piers Plowman, two other pieces appear to have been overlooked, or ignored.