I begin the official portion of my exam reading with a seminal book by a man whose name is one of the most magnificent in all of medieval studies: Thorlac Turville-Petre. His 1977 volume titled The Alliterative Revival aims to introduce the alliterative poetic movement of the fourteenth century as well as make it clear to his readers that there is one thing that this alliterative revival lacks – homogeneity. According to Turville-Petre, many readers have assumed for one reason or another that the poems of this period (including Langland’s Piers Plowman, the works of the Gawain-Poet, The Alliterative Morte Arthure, and a number of other romances, histories, and moral poetry) are stylistically uniform. He goes as far to refer to an early twentieth century theory that many of these texts were written by the same man “one of the most absurd literary hypotheses of all time” (28), which fell out of vogue when “it was pointed out that none of the proofs adduced in favour of the hypothesis had any substance and that the poems, being written in a variety of styles, with different metrical patterns and different dialects, could hardly be the work of one man” (28). While Turville-Petre rejects this theory as utterly ridiculous, he is slightly more patient, but still in disagreement, with those that assume an unbroken oral connection between that alliterative style of the Anglo-Saxon poets and the alliterative revival several centuries later. Overall, his argument depicts the poems of the alliterative revival as a movement of great creativity and diversity whose works resist any attempt to be reduced to derivatives of Anglo-Saxon poetry or one another.
One of the more intricate parts of Turville-Petre’s argument is his assertion that there is no good reason to believe that there was an unbroken line of oral alliterative tradition between the Anglo-Saxons and the alliterative poets of the fourteenth century. While there are many similarities between the poetry of the alliterative revival and Anglo-Saxon poetry, a closer examination of the English poetry of the intervening centuries, which has oft been neglected in literary studies (See Elaine Treharne’s Living Through Conquest), suggests that this sense of continuity may be misleading. Turville-Petre reasons that if such an oral tradition was in existence all along with no written trace, it would be difficult to reconcile this with the distinct and “loose” (8) style of Early Middle English alliterative works like Laȝamon’s Brut. Instead, he offers an alternative explanation for the most striking similarity between Anglo-Saxon alliterative verse and that of the fourteenth-century – the fact that the standard pattern of lines is based on the alliteration of all stressed syllables except for the last of the line. Turville-Petre argues that the reason that two different (albeit related) traditions might land upon this same practice is that the alliteration is a functional element designed to mark out the stressed syllables, and that “the last stressed syllable of the line is very seldom in an ambiguous position” (17). In addition, maintaining a difference between the last stress and other stresses allows it to “signal[…] the completion of a metrical unit” (17). While the author makes a convincing case both for the lack of evidence for an invisible oral tradition and the logical functionality of the alliterative style, the reader is still required to make a leap of faith to assume that two heterogeneous groups of poets separated by centuries might independently realize the efficiency of such a pattern. It seems more prudent to posit a more moderate view that the fourteenth century poets managed to revive some distantly version of alliterative verse, without necessarily requiring a robust oral tradition.
After establishing diachronic heterogeneity between Anglo-Saxon and fourteenth-century alliterative verse, Turville-Petre turns to celebrate the synchronic diversity of the later movement. His sentiments are echoed by Greg Delanty in the preface to the 2010 anthology of Anglo-Saxon poetry in translation titled The Word Exchange: Anglo-Saxon Poems in Translation, in which Delanty muses that “we tend to think of Anglo-Saxon poetry as issuing from the uniform voice of the great poet Anonywulf” (Delanty xv). In reality, the poetry of both traditions is full of diversity and originality, as Turville-Petre notes in prose worth quoting in its entirety:
It is the flexibility of the alliterative line that makes it so valuable to a writer of a long and diverse narrative poem full of action, description, argument, reflection and any number of topics demanding variations of pace and emphasis. In Morte Arthure and The Wars of Alexander the form proves suitable for the excitement and turmoil of the careers of those two great heroes; in Piers Plowman and Wynnere and Wastoure it can accommodate the niceties of theological discussion and political debate; in Patience and Purity it can re-vivify Old Testament history. Nothing is more mistaken than the belief that alliterative style is a homogenous one. (Turville-Petre 50)
Despite the richness of the tradition extolled by Turville-Petre and several others since, many poems of the alliterative revival have not reached the ‘mainstream’ of Middle English literary studies in the same way as the work named authors such as Chaucer, Gower, Langland, and Malory. Turville-Petre ends his book by musing on the beauty and suitability of alliterative verse for a variety of topics, and ventures that “it may be time for a second alliterative revival” (128). Though it may be some time before contemporary poets take up the call to write in alliterative verse, it is certainly time for a revival of the study and teaching of this work.
 Purity is more commonly known today as Cleanness, the second poem in the Cotton Nero A.x manuscript. None of the poems in this manuscript have original titles, but have been given the names Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight by modern editors. It was once pointed out to me by Dr. David Coley that if one retains the title of Purity, the four titles make up an alliterative line, with the first three titles alliterating and the fourth differing.