A genre that does not fit easily into the categories already mentioned is political verse, of which a good deal was written in the 15th century. Much of it was avowedly and often crudely propagandist, especially during the Wars of the Roses, though a piece like the Agincourt Carol shows that it was already possible to strike the characteristically English note of insular patriotism soon after 1415. Of particular interest is the Libel of English Policy (c. 1436) on another typically English theme of a related kind: “Cherish merchandise, keep the admiralty, / That we be masters of the narrow sea.” Later Middle English prose
The continuity of a tradition in English prose writing, linking the later with the early Middle English period, is somewhat clearer than that detected in verse. The Ancrene Wisse, for example, continued to be copied and adapted to suit changing tastes and circumstances. But sudden and brilliant imaginative phenomena like the writings of Chaucer, Langland, and the author of Sir Gawayne are not to be found in prose. Instead came steady growth in the composition of religious prose of various kinds and the first appearance of secular prose in any quantity. Religious prose
Of the first importance was the development of a sober, analytical, but nonetheless impressive kind of contemplative or mystical prose, represented by Walter Hilton’s Scale of Perfection and the anonymous Cloud of Unknowing. The authors of these pieces certainly knew the more rugged and fervent writings of their earlier, 14th-century predecessor Richard Rolle, and to some extent they reacted against what they saw as excesses in the style and content of his work. It is of particular interest to note that the mystical tradition was continued into the 15th century, though in very different ways, by two women writers, Julian of Norwich and Margery Kempe. Julian, often regarded as the first English woman of letters, underwent a series of mystical experiences in 1373 about which she wrote in her Sixteen Revelations of Divine Love, one of the foremost works of English spirituality by the standards of any age. Rather different religious experiences went into the making of The Book of Margery Kempe (c. 1432–36), the extraordinary autobiographical record of a bourgeoise woman, dictated to two clerks. The nature and status of its spiritual content remain controversial, but its often engaging colloquial style and vivid realization of the medieval scene are of abiding interest.
Another important branch of the contemplative movement in prose involved the translation of Continental Latin texts. A major example, and one of the best-loved of all medieval English books in its time, is The Mirror of the Blessed Life of Jesus Christ (c. 1410), Nicholas Love’s translation of the Meditationes vitae Christi, attributed to St. Bonaventure. Love’s work was particularly valued by the church as an orthodox counterbalance to the heretical tendencies of the Lollards, who espoused the teachings of John Wycliffe and his circle. The Lollard movement generated a good deal of stylistically distinctive prose writing, though as the Lollards soon came under threat of death by burning, nearly all of it remains anonymous. A number of English works have been attributed to Wycliffe himself, and the first English translation of the Bible to Wycliffe’s disciple John Purvey, but there are no firm grounds for these attributions. The Lollard Bible, which exists in a crude early form and in a more impressive later version (supposedly Purvey’s work), was widely read in spite of being under doctrinal suspicion. It later influenced William Tyndale’s translation of the New Testament, completed in 1525, and, through Tyndale, the King James Version (1611). Secular prose
Secular compositions and translations in prose also came into prominence in the last quarter of the 14th century, though their stylistic accomplishment does not always match that of the religious tradition. Chaucer’s “Tale of Melibeus” and his two astronomical translations, the Treatise on the Astrolabe and the Equatorie of the Planets, were relatively modest endeavours beside the massive efforts of John of Trevisa, who translated from Latin both Ranulf Higden’s Polychronicon (c. 1385–87), a universal history, and Bartholomaeus Anglicus’s De proprietatibus rerum (1398; “On the Properties of Things”), an encyclopaedia. Judging by the number of surviving manuscripts, however, the most widely read secular prose work of the period is likely to have been The Voyage and Travels of Sir John Mandeville, the supposed adventures of Sir John Mandeville, knight of St. Albans, on his journeys through Asia. Though the work now is believed to be purely fictional, its exotic allure and the occasionally arch style of its author were popular with the English reading public down to the 18th century.
The 15th century saw the consolidation of English prose as a respectable medium for serious writings of various kinds. The anonymous Brut chronicle survives in more manuscripts than any other medieval English work and was instrumental in fostering a new sense of national identity. John Capgrave’s Chronicle of England (c. 1462) and Sir John Fortescue’s On the Governance of England (c. 1470) were part of the same trend. At its best, the style of such works could be vigorous and straightforward, close to the language of everyday speech, like that found in the chance survivals of private letters of the period. Best known and most numerous among letters are those of the Paston family of Norfolk, but significant collections were also left by the Celys of London and the Stonors of Oxfordshire. More-eccentric prose stylists of the period were the religious controversialist Reginald Pecock and John Skelton, whose aureate translation of the Bibliotheca historica of Diodorus Siculus stands in marked contrast to the demotic exuberance of his verse.
The crowning achievement of later Middle English prose writing was Sir Thomas Malory’s cycle of Arthurian legends, which was given the title Le Morte Darthur by William Caxton when he printed his edition in 1485. There is still uncertainty as to the identity of Malory, who described himself as a “knight-prisoner.” The characteristic mixture of chivalric nostalgia and tragic feeling with which he imbued his book gave fresh inspiration to the tradition of writing on Arthurian themes. The nature of Malory’s artistry eludes easy definition, and the degree to which the effects he achieved were a matter of conscious contrivance on his part is debatable. Much of Le Morte Darthur was translated from prolix French prose romances, and Malory evidently selected and condensed his material with instinctive mastery as he went along. At the same time, he cast narrative and dialogue in the cadences of a virile and natural English prose that matched the nobility of both the characters and the theme. Middle English drama