• Richard the Redeless

after Henry's return from exile. Bolingbroke, along with the Percies of Northumberland, the Earl of Westmoreland, and the Duke of York (whom Richard had appointed as Regent when he went to Ireland), trapped Richard's favorites and advisors - William Scrope,

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Book of Judges

French Paraphrase, British Library, MS Egerton 2710, cited by folio and column; Whiting: Whiting, Proverbs, Sentences, and Pro­verbial Phrases; York:York Plays, ed. Beadle. For other abbreviations, see Textual Notes. 3165–67 The cyté of Salem . . . Sythen cald

• Book of Job

French Paraphrase, British Library, MS Egerton 2710, cited by folio and column; Whiting: Whiting, Proverbs, Sentences, and Pro­verbial Phrases; York:York Plays, ed. Beadle. For other abbreviations, see Textual Notes. The book of Job is omitted by Comestor, who turns

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• The Awntyrs off Arthur

give peculiar resonance to the queen's encounter with the blackened ghost of her mother. See The Lyre of Orpheus (New York: Viking, 1989), p. 137. Kenneth G. T. Webster, in his Guinevere: A Study of Her Abductions (Milton, Massachusetts: Turtle

• Wimsatt, Chaucer and MS French 15 (Penn)

after 1385; lyrics that he perhaps composed for Isabel of York could be presented a second time to Isabel of Bavaria. For identification of Granson’s Isabel as Isabel of York, see Braddy, Chaucer and the French Poet Granson, pp. 73–80.

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi

• Mary at the Foot of the Cross

early example of English polyphony, appears in Woolridge, p. 308, and in Gustave Reese, Music in the Middle Ages, (New York: Norton, 1940) p. 389. Commentary: Weber, pp. 139-45. The poem is a paraphrase of the sequence Stabat juxta Christi