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The lump-child and its parents in The King of Tars

, Al mi©tful heuen king: As wis as he hir dere bou©t Of πat sweuening, in slepe sche πou©t, Schuld turn to gode ending. (A, 457–65) In Auchinleck’s version, the Princess responds to both the fearsome and the erotic qualities of the dream that prefigures her own trials in a heathen land and her bridegroom’s metamorphosis in the font. Her desire fits thematically with the poem’s emphasis on marriage as a pious woman’s vocation, yet it also exceeds that.29 Aroused by a mixture of cruelty and tenderness and by a cultural disorientation signified by the heathen clothes in

in Pulp fictions of medieval England
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The wall texts of a Percy family manuscript and the Poulys Daunce of St Paul’s Cathedral

’s Cathedral before Wren, 137. 60 The best resource for the transi-tomb itself is Kathleen Cohen’s Metamorphosis of a death symbol: the transi tomb in the late Middle Ages and the Renaissance (Berkeley: University of California Press, 1973), quoted here from p. 1. Schofield, in St Paul’s Cathedral Before Wren, also discusses a transi-tomb originally located in the middle of the choir of St Paul’s, the tomb of Dean Colet, which survives only in an engraving made by Wenceslaus Hollar from 1657, at 137–8; further study of the fragmentary survivals of other monuments at St Paul

in Participatory reading in late-medieval England