William Langlands Poem Piers Plowman

William Langlands verse Piers PlowmanThe vision of William concerning Piers the Plowman is an allegorical poem written in alliterative verse in the form of a dream vision, which depicts in great detail the structure and moral values of the face nightclub during the fifteenth century. It provides a perspective on the affectionate matters during that period and poses questions concerning the weird life and moral values of the various social classes, offering big(p) insight into the problematic issues of the time. The indicant of its narrative lies in the gruelling ridicule directed at the corruptness and depravity of the social system which stems from the individuals deprivation of true understanding of the moral values represented in the biblical text. The poem states the authors indignation and discontent with the immoral practices on all levels of social hierarchy, criticizing the corruptive nature of all classes, including the peasantry, the merchants and above all the c lergy, and exposing their representatives as lacking the basic human morality and whose founding is deprived of any spectral value.The normality of the poem during the fourteenth century accounts for the power of its moral and political mockery. It remained popular end-to-end the fifteenth century and it was regarded in the sixteenth by the leadership of the reformation as an inspiration and a prophecy, and, in modern times, has been quoted by every historian of the fourteenth century as the close to lustrous and trustworthy source for the social and economic history of the time (The Cambridge narrative of English and American Literature). This has often led to its misinterpretation as a call for social reformation and an expression of overall dissatisfaction with the social brass instrument of the time. The poem, though subroutined for the rebels propaganda during the peasant revolts, is non revolutionary in its essence. It does non suggest a reorganization of the soc ial structure but alternatively expresses criticism of the existing conditionsand condemnation of the life led by practically all the classes blame of friars, of lawyers, of the clergy, of bishops, of nobles, of the poor who will not organise (Mincoff, 126). passim the narrative we encounter multiple references to the inadequate performance of their individual duties and the unfitness to fulfill their social role. The social corruptness is a direct outcome of mans moral depravity, which is at the bottom of all misfortunes and the primary cause for the break of the social system as a wholly (Mincoff, 126).A birds-eye view of the English medieval nine is offered in the very offset printing part of the poem, the Prologue. It offers a general description of the major class representatives, frankincense providing the reader with a holistic perspective on the English society. at that taper is a certain irony in this initial description which sets the satiric tvirtuoso that can be felt later on throughout the text of the poem. Many of those in the crowd walking through the valley are subjected to the satire and moral condemnation of the author, regardless of their social status. The loaded and the poor are criticized every bit beggars, friars, the pardoner, the priest and the lawyers Bidderes and beggeres faste aboute yedeTil plight bely and hire bagge were bredful ycrammed,Faiteden for hire foode, foughten at the ale I fond there freres, alle the foure ordres,Prechynge the peple for profit of the wombeGlosed the gospel as hem good likedFor coveitise of copes construwed it as thei wolde that many others deserve praising and they are praised equally regardless their class or wealthiness the ploughmen, the nuns and hermits, the reasonable merchants and the minstrels (The Cambridge History of English and American Literature). The authors criterion for evaluation is not the social class, the possession or lack of wealth, but the fulfillment of ones dut ies and ones honest life. There is no fault in the hierarchical structure of society, what is wrong is man who has lapsed into idleness and vice, therefore the change should take place within mans heart first. The recipe is simple and its given to the dreamer in the form of advice by the Holy Church (Mincoff, 127)Love is leche of lif and next Oure superior selve,And also the graithe gate that goth into hevene.Forthi I seye as I seide er by sighte of the textesWhan alle tresors ben tried, Treuthe is the beste.The authors satire can be felt particularly strong through the acquisitionful use of the grotesque in the depiction of the union company setting off for Westminster. The journey of the laughable fellowship is by no means an exception to the poem, it is altogether one of the numerous episodes where extravaganza is used to convey the authors strong disapproval and discontent. Due to the lack of horses the party rides on the backs of saddled sheriffs, assessors, notaries and all sorts of officials (Mincoff, 127).And Favel fette forth thanne foles ynoweAnd sette Mede upon a sherreve shoed al newe,And Fals sat on a sisour that softeli trottedAnd Favel on a flaterere fetisly atired.Some of the most impressive examples of this characteristic use of the grotesque we find in the confessions of the seven-spot Deadly Sins (Mincoff, 128). They are described with such a great skill that their appearance speaks more than their words.And thanne cam Coveitise, I kan hym naght discryveSo hungrily and holwe Sire Hervy hym loked.He was bitelbrowed and baberlipped, with two blered eighenAnd as a letheren purs lolled hise chekesWel sidder than his chyn thei chyveled for eldeAnd as a bondeman of his bacon his berd was bidraveledWith an hood on his heed, a lousy hat above,In a torn tabard of twelf wynter ageBut if a lous couthe lepe the bettre,She sholde noght wandre on that Welche, so was it thredbareMeed is the character who embodies to the greatest degree the authors satire. She brings bewilderment and corruption to the world and the love for Meed is spread through all classes of society and is deeply rooted in the viciousness of mans nature. There are no satirical attacks against any class in particular, because they are all equally poisoned by the love of Meed. The power of the satire lies in the skillful use of allegory. The personified characters are not mere one-dimension abstractions employed to speak the authors mind, they are richly fledged characters, vividly depicted, moving and breathing, participating in various situations and characterized by a distinctive speech manner. The author very rarely interferes immediately to criticize or moralize, which makes the poem more objective. We may say that the poems satire works on subconscious level, influencing the reader through powerful and unforgettable images and the portrayal of colourful characters instead of imposing his views and ideas directly (The Cambridge History of English an d American Literature). His satire is almost exclusively conveyed through the speech of his characters and the fundamental interaction between them. In that sense, its implicit rather than explicit, more subtle and out-of-the-way(prenominal) more effective.The evil-doers in society are not the only ones subjected to the authors satire, the wasters who flatten all their lives in idleness and who are not willing to work are also severely criticized for they all fail in execute their social roles. The passive existence of the idlers is as unacceptable as the existence of those who do harm and indulge in immoral activities. The authors view on the labour organization within society is clearly stated by Piers refusal to feed those who do not work, except for those who are physically disabled. all(prenominal) part of the society has to make its contribution and perform its duties. The only possible solution is Hunger, who is the only one capable of forcing the wasters to work. The a uthor of the poem is salubrious aware that the beggars and all the rest who refuse to work disrupt the sense of balance is society and pose a threat to the social order. One should not rely on others effort and hard work. Decisive measures should be undertaken in order to compel them to earn their living. The idlers must be refused any gracious of food except for bread and water.But the author seems rather loath to accept hard work as a primary rectitude as it is evident from the pardon that Piers receives.-Do wel and have wel. and God shal have thi soule,And Do yvel and have yvel, and hope thow noon ootherThat after thi deeth day the devel shal have thi soule eitherthing should be applied in moderation. Excess is the actual subject to his fierce criticism. Every man should dedicate sufficient amount of his time not only to work but to prayer and penance, and to spiritual contemplation, or, as Mincoff put it, it is a warning not to let oneself be carried away too all by world ly cares, to remember that there is the spiritual life as well (132).The ultimate moral lesson of the poem is that those who are guided by their conscience have a chance for salvation. Conscience is the only one who stays to guard the Church of Unity and search for Christ in the person of Piers at the end of the poem. Conscience appears in the poem as early as in the first vision when the author clearly states his views concerning the government of the country which should be based on Conscience and Reason. Therefore, we may conclude that both the moral growth of the individual and the well-being of the whole society are rooted in human conscience, which is the guiding article of belief for a good honest life as well as prosperous society while the allegoric treatment of the matter increases the power of suggestion and contributes to the authors trenchant satire.