completed by 1387, as Thomas Usk, who was executed
in 1388, cites it in his Testament of Love. Recently, two
scholars have posited the existence of a so-called Z-
text, which is a short fragment predating all three other
versions but containing elements of each. This fi nding
is, however, very much disputed.
In all three versions, the text is divided into two dis-
tinct parts: Visio Willelmi de Petrus Plowman (William’s
Vision of Piers the Plowman) and the Vita de Dowel, Dobet
et Dobest (Life of Dowell, Do-better, and Do-best). Mod-
ern editions almost universally retain the title Piers
Plowman for both parts. The fi rst part concerns the
dreamer’s search for the answer to humanity’s salva-
tion, presented as an allegory, with personifi ed (see
PERSONIFICATION) characters. The second part concerns
the search for individual faith. All versions begin with
a prologue and proceed to the various PASSUS.
In its most complete form, Piers Plowman encom-
passes eight visions and 20 passus. Vision 1 (Prologue
and Passus 1–4) determines the course of the narrative
and introduces Will, the Dreamer, to the “fair fi eld of
folk” (society). The prologue sets the tone—though peo-
ple’s sins are many, the worst offense is greed and obses-
sion with wealth. The passus set out to undo this by
demonstrating the true purpose of life: Christian love.
Passus 1 provides explanation. Holy Church answers
Will’s initial questions and criticizes humanity for pur-
suing transitory earthly treasure while ignoring spiritual
treasure (truth). Passus 2–4 are set up as a trial. Lady
Meed (false reward) is on trial with Holy Church prose-
cuting. Holy Church wins a provisional victory over
Lady Meed with the assistance of Reason and Con-
science. Thus, this vision is shaped as a debate.
Vision 2 (Passus 5–7) considers the broader picture
of humanity as a whole and the concept ofjustice. This
is accomplished through four distinct actions: the ser-
mon, the confession, the pilgrimage, and the pardon.
Although this vision opens with Will’s repentance, he
is not the main character; instead, Piers Plowman is.
He is presented as an ideal Christian, who avidly
desires truth (not Meed). He proceeds to show every-
one how to work well and earn heaven—actions that
earn him Truth’s pardon. He promptly tears this up,
however, in an action that has incited much scholarly
debate.
Vision 3 (Passus 8–12) shows Will, a clerk, choosing
the intellectual path towards dowel, or “salvation.” He
meets Knowledge, Wit, Clergy, and Scripture but is
continuously appalled by the hypocrisy he encounters.
Clergy even foretells the church’s reform at the hands of
rulers. Voicing his concerns, Will is rebuked by Scrip-
ture and sent into an inner dream (a dream within a
dream). There he witnesses the emperor Trajan, who
avoided hell by living in truth, and thus begins to see
God’s justice. Still, Will questions the workings of God,
earning him another rebuke—this one from Reason—
and he returns to the outer dream. There he learns from
Imaginative and fi nally comes to realize that he has
been confl ating knowing truth with living it, and once
this distinction is made, Will becomes more settled.
Vision 4 (Passus 13–14) is more action-fi lled. A pro-
logue that summarizes the third vision precedes Passus- In the passus itself, Will encounters Doctor of
Divinity and Active Man, both gluttons, who are set in
constant opposition to Patience, who lives a balance
between activity and contemplation. Everyone has din-
ner with Conscience, where it is revealed that dowel is
an active virtue (charity) achieved through a passive
approach (patience). Active Man feels he offsets the
Doctor of Divinity through virtue of his humility; how-
ever, he must then learn true humility, and he is intro-
duced to Confession, the remedy for sin.
Vision 5 (Passus 15–17) contains another inner
dream. It opens with Will encountering Anima (soul),
who demonstrates how God’s grace operates. Anima
fi rst reproaches Will for loving science more than holi-
ness. Next, she attacks the institution of the church
(not the church itself), especially as evidenced through
corrupt and hypocritical clergy. In order to clarify her
point, Anima uses an image of a tree (Passus 15)—a
bad root spreads poison throughout the branches. Will
asks Anima if charity is possible for the wealthy. She
answers in the affi rmative, though she also emphasizes
the necessity of being detached from the world. Passus
16 introduces the inner dream of Vision 5 in response
to Will’s question, “what does charity mean?” The
ensuing discussion gives way to two central images of
the poem, the Tree of Charity and Christ as jousting
knight. By Passus 18, Jesus’ quest for Hope and Faith
becomes fused with Will’s quest for Piers. Both quests
PIERS PLOWMAN 321