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Journal articles on the topic 'Advent (Old English poem)'

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Published: 4 June 2021

Last updated: 2 February 2022

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1

Cieślak, Magdalena. "Adaptation in the digital era: The case of Robert Zemeckis’ Beowulf." Journal of Adaptation in Film & Performance 14, no. 1 (March 1, 2021): 41–51. http://dx.doi.org/10.1386/jafp_00041_1.

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From fidelity discourse, through medium specificity discourse, to intertextuality and remediation approach, adaptation studies have dynamically evolved and recently have responded with particular flexibility to the advent of the digital era. Even adaptations of classical literary texts, confronting the authority of their hypotexts, have daringly broken away from their fidelity constraints and ventured onto paths facilitated by the development of new media. This article discusses Robert Zemeckis’ 2007 adaptation of Beowulf and examines this film’s potential for illustrating the manifestations of digitality in adaptation discourses. A film that did not make it (in)to the box office, and an adaptation that makes literary fans cringe, it is still a fascinating cultural intertext: a radical reinterpretation of the Old English heroic poem, a star-studded special-effect cinematic extravaganza of an adventurous director, an illustration of adaptation going remediation and an inclusive transmedia hybrid.

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Roberts, Jane, O. D. Macrae-Gibson, and Michael Alexander. "The Old English Riming Poem." Modern Language Review 82, no. 2 (April 1987): 434. http://dx.doi.org/10.2307/3728443.

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3

BAILEY and CAMBRIDGE. "DATING THE OLD ENGLISH POEM 'DURHAM'." Medium Ævum 85, no. 1 (2016): 1. http://dx.doi.org/10.2307/26396467.

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4

Dickens, Charles. "Poem: The Fine Old English Gentleman." Critical Perspectives on Accounting 7, no. 1 (February 1996): 157. http://dx.doi.org/10.1006/cpac.1996.0020.

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Earl, James W. "Hisperic Style in the Old English "Rhyming Poem"." PMLA 102, no. 2 (March 1987): 187. http://dx.doi.org/10.2307/462547.

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6

O'Donnell, Daniel Paul. "Junius's knowledge of the Old English poem Durham." Anglo-Saxon England 30 (December 2001): 231–45. http://dx.doi.org/10.1017/s0263675101000096.

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Until recently, the late Old English poem Durham was known to have been copied in two manuscripts of the twelfth century: Cambridge, University Library, Ff. 1. 27 (C) and London, British Library, Cotton Vitellius D. xx (V). C has been transcribed frequently and serves as the basis for Elliott Van Kirk Dobbie's standard edition of the poem in the Anglo-Saxon Poetic Records. V was almost completely destroyed in the Cottonian fire of 1731. Its version is known to us solely from George Hickes's 1705 edition (H).In a recent article, however, Donald K. Fry announced the discovery of a third medieval text of the poem. Like V, the original manuscript of this ‘third’ version is now lost and can be reconstructed only from an early modern transcription - in this case a copy by Francis Junius no win the Stanford University Library (Stanford University Libraries, Department of Special Collections, Misc. 010 [J1]). Unlike V, however, Junius's copy is our only record of this manuscript's existence. No other transcripts are known from medieval or early modern manuscript catalogues.

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7

Clayton, M. "The Old English Poem Guthlac A, line 35a." Notes and Queries 59, no. 2 (March 29, 2012): 155–56. http://dx.doi.org/10.1093/notesj/gjs016.

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8

Stanley, E. G. "Old English Poetic Superlatives." Anglia 135, no. 2 (June 2, 2017): 241–73. http://dx.doi.org/10.1515/ang-2017-0025.

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AbstractThis paper is designed to show how difficult it is for us in the twenty-first century to establish a valid response to the superlative of adjectives as used in Old English verse. In contradistinction to the monochromatically excessive use of superlatives in modern advertising, the distribution of superlatives is very varied in the English verse of more than a thousand years ago. The first part of the paper consists of a general survey of Old English superlatives, chiefly in the vernacular verse of the Anglo-Saxons, but their prose has not been wholly neglected. The study is evaluative, more so than is usual in sober Linguistics; to this purpose the superlative degree and its statistics contribute to an understanding of the triumphant ending of Beowulf, and grammar is to be seen as the handmaiden of literature. The second part of the paper is more literary, and is based on the incidence of superlatives as presented in the first part. The density of superlatives in the opening of the minor poem Maxims II is observed, without any reasoning for that density. The density of rare superlatives in the last lines of Beowulf is admired for its aesthetic quality, brought out in Edwin Morgan’s poetic rendering of the poem. It is not forgotten that the rarity of a superlative in the extant verse may be because we cannot know if it would have been less rare had more verse survived. The reading of poetry must, if worthwhile, involve an aesthetic response. The paper, at the same time as exercising that response, stresses our insecurity when we respond to Old English poetry.

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9

Wehlau, Ruth. "Rumination and Re-Creation: Poetic Instruction in The Order of the World." Florilegium 13, no. 1 (January 1994): 65–77. http://dx.doi.org/10.3138/flor.13.005.

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The Old English poem The Order of the World contains another poem within itself, a poem that is offered to the reader with the specific purpose of providing a sample or model of good poetry. Although this sample poem is to some extent based on Psalm 18, it is neither a translation nor a paraphrase of the psalm. Rather, it is a reconstruction of the psalm in an Old English idiom.

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10

Sorrell, Paul. "Oaks, ships, riddles and the Old English Rune Poem." Anglo-Saxon England 19 (December 1990): 103–16. http://dx.doi.org/10.1017/s0263675100001629.

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The Holme Riddles are a collection of 144 English riddles preserved in London, British Library, Harley 1960. Although the manuscript dates from the mid-seventeenth century, some of these riddles are apparently rooted in ancient Germanic tradition. One of these, an ancient ‘world-riddle’ according to the editor, is a version of the ‘oak-ship’ riddle:Q. wn j lived j fed the liveing now j am dead j beare the live[in]g & with swift speed j walk our the liveingA. a ship mad[e] of oake groweing feeds hogs with acorns now b[e]ars men & swims our fishes.

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11

Bammesberger, A. "Asyndetic Parataxis in the Old English Poem The Ruin." Notes and Queries 60, no. 2 (March 27, 2013): 190–93. http://dx.doi.org/10.1093/notesj/gjt022.

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12

Osborn, Marijane. "Tir as Mars in the Old English Rune Poem." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 1 (January 2003): 3–13. http://dx.doi.org/10.1080/08957690309598179.

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13

Huisman, Rosemary. "Facing the Eternal Desert: Sociotemporal Values in Old English Poetry." KronoScope 17, no. 2 (September 6, 2017): 231–53. http://dx.doi.org/10.1163/15685241-12341385.

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Abstract Time is a singular noun, but includes a multiplicity of temporalities, including what J. T. Fraser has termed sociotemporality. In this paper, I discuss facing the urgency of time in a narrative dominated by sociotemporality, that of the Old English poem Beowulf, and suggest how criticism of the narrative structure of Beowulf has derived from a monovalent understanding of narrative time. Moreover, in recognizing sociotemporality as dominant in the organization of the poem, the modern reader can gain greater access to what was valued in the social context of its response to “the urgency of time.”

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Sobol, Helena W. "In Defence of the Textual Integrity of the Old English Resignation." Studia Anglica Posnaniensia 50, no. 1 (March 1, 2015): 71–93. http://dx.doi.org/10.1515/stap-2015-0017.

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Abstract Bliss & Frantzen’s (1976) paper against the previously assumed textual integrity of Resignation has been a watershed in research upon the poem. Nearly all subsequent studies and editions have followed their theory, the sole dissenting view being expressed by Klinck (1987, 1992). The present paper offers fresh evidence for the textual unity of the poem. First examined are codicological issues, whether the state of the manuscript suggests that a folio might be missing. Next analysed are the spellings of Resignation and its phonology, here the paper discusses peculiarities which both differentiate Resignation from its manuscript context and connect the two hypothetical parts of the text. Then the paper looks at the assumed cut-off point at l.69 to see if it may provide any evidence for textual discontinuity. Finally the whole Resignation, seen as a coherent poem, is placed in the history of Old English literature, with special attention being paid to the traditions of devotional texts and the Old English elegies.

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Bjork, Robert E. "The reception history of Beowulf." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 25, no. 1 (September 29, 2020): 1–19. http://dx.doi.org/10.17811/selim.25.2020.1-19.

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This paper traces both the scholarly and popular reception of the Old English epic Beowulf from the publication of the first edition of the poem in 1815 to the most recent English novel based on it from 2019. Once the work was first made available to the scholarly community, numerous editions in various languages began to appear, the most recent being in English from 2008; once editions were published, Old English scholars around the world could translate the text into their native languages beginning with Danish in 1820. Translations, in their turn, made the poem available to a general audience, which responded to the poem through an array of media: music, art, poetry, prose fiction, plays, film, television, video games, comic books, and graphic novels. The enduring, widespread appeal of the poem remains great and universal.

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16

Appleton, Helen. "The Insular Landscape of the Old English Poem The Phoenix." Neophilologus 101, no. 4 (August 7, 2017): 585–602. http://dx.doi.org/10.1007/s11061-017-9531-y.

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17

Bammesberger, Alfred. "A Doubtful Reconstruction in the Old English Ruthwell Crucifixion Poem." Studia Neophilologica 74, no. 2 (January 2002): 143–45. http://dx.doi.org/10.1080/003932702321116163.

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18

Gvozdetskaya, Natal'ya Yu. "BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 226–39. http://dx.doi.org/10.28995/2686-7249-2020-9-226-239.

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The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.

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19

Proskurina, A. V. "The Concept of Body and Soul in the Old English Tradition." Critique and Semiotics 38, no. 2 (2020): 237–55. http://dx.doi.org/10.25205/2307-1737-2020-2-237-255.

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The author examines the 10 th century ancient English poem Soul and Body through the prism of the soul, spirit and body in the Old English tradition, which has survived in two versions. The first, which was part of the poetry book Exeter Book, is a short version of the conversion of the unfortunate soul to the flesh. The second version is an expanded version of the poem, listed in the Vercelli Book along with Christian sermons and poems, also represents the con- version of the tormented soul to the flesh, as well as a monologue of the saved soul. However, unfortunately, the speech of the redeemed soul was not fully preserved due to damage to the Vercelli Book collection. This article provides an author's translation of the second version of the poem. The article focuses on the dualism of René Descartes. Thus, an extended version of the Old English poem Soul and Body precedes the dualism of René Descartes, whose main ideas are the duality of the ideal and the material, the independence of the soul and body. The philosophy of René Descartes is to accept a common source – God as the creator who forms these two independent principles that we find in this poem. The spirit, as shown in the work, is the divine principle in man, created in the image and likeness of God, and appears as the highest part of the soul, and the soul, in turn, is the immortal spiritual principle. In the framework of the Judeo- Christian culture, a central doctrine of the presence of the soul arose, suggesting the elevation of man over all other living beings due to the presence of it. According to religious ideology, a person’s position in the dolly and mountain worlds directly depends on the purity of the believer’s soul, on his refusal from sinful thoughts and deeds. As soon as the Judeo-Christian teaching is fixed as the main religion, a person endowed with a soul is considered as the only ration- al creature created in the image and likeness of God. The existence of the soul is not limited only to the Judeo-Christian idea of the world around us, for example, the Quran also contains the idea of the unity of man and soul, and, undoubtedly, the soul of a righteous Muslim ascends to heaven after death.

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20

Astell, Ann W. "Holofernes's head:tacenand teaching in the Old EnglishJudith." Anglo-Saxon England 18 (December 1989): 117–33. http://dx.doi.org/10.1017/s0263675100001460.

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Ælfric'sOn the Old and New Testamentincludes a brief synopsis of the story of Judith, the Hebrew widow who decapitated the Assyrian general, Holofernes. In it, Ælfric refers his friend Sigeweard to an English version of theLiber Judithwhich has been written ‘eow mannum to bysne, þæt ge eowerne eard mid wæmnum bewerian wiþ onwinnendne here’. Ælfric thus defines the tropology or moral lesson of the Judith story as a timely call to men such as Sigeweard to resist the invading army of Danes. Most scholars agree that Ælfric is alluding to his own homily about Judith (‘on ure wisan gesett’), not the Old English poem celebrating the same heroine. Nevertheless many have held that Anglo-Saxon auditors of the poem derived the militaristic moral from it that Ælfric draws from the poem's biblical source.

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21

Grytsenko, Svitlana. "THE POEM "BEOWULF": NEW HORIZONTS OF STUDYING." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 29 (2021): 47–50. http://dx.doi.org/10.17721/1728-2659.2021.29.12.

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22

Glaeske, Keith. "Eve in Anglo-Saxon Retellings of the Harrowing of Hell." Traditio 54 (1999): 81–101. http://dx.doi.org/10.1017/s0362152900012204.

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A spate of recent articles attests to a growing interest in Eve in criticism of Old English literature. However, these same articles demonstrate the narrowness of this interest, as they all focus on Eve in one poem — Genesis B — which is not even an entire poem, but rather a small (albeit significant) interpolation into another poem. Other Old English writings have been little studied: in particular, several prominent occurrences of Eve during the Harrowing of Hell survive in the Old English Martyrology; Blickling Homily 7; a homily De descensu Christi ad inferos in Oxford, Bodleian Library, MS Junius 121; and the poem Christ and Satan, but have received little comment. In each of these texts Eve supplicates Christ when he descends into hell to free the souls of the biblical patriarchs and prophets after his crucifixion; furthermore, six Old English homilies record Eve's appearance during the Harrowing, although not her active involvement. The Evangelium Nicodemi most fully describes the Harrowing of Hell; Eve's appearance within these texts, however, does not derive from this apocryphon. Moreover, while these episodes incorporate ideas drawn from patristic exegesis, they do not derive directly from patristic writings either; nevertheless, Eve's role in these texts may be an Anglo-Saxon modification of the patristic contrast between Eve and Mary, whereby Eve is portrayed as a type of Mary instead of as her antithesis.

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23

Bradley, Daniel J. "The Old English Rune Poem: Elements of Mnemonics and Psychoneurological Beliefs." Perceptual and Motor Skills 69, no. 1 (August 1989): 3–8. http://dx.doi.org/10.2466/pms.1989.69.1.3.

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Some rune verses are, apparently, thematically derived from Chinese Radical sequences. The 33 runes are, like the Sanskrit letters, mnemonically valenced and formally associated with the nervous system.

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24

Palmer, James M. "Compunctio and the Heart in the Old English Poem The Wanderer." Neophilologus 88, no. 3 (July 2004): 447–60. http://dx.doi.org/10.1023/b:neop.0000027476.71092.9d.

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25

O'Camb, Brian. "George Hickes and the Invention of the Old English Maxims Poem." ELH 85, no. 1 (2018): 1–31. http://dx.doi.org/10.1353/elh.2018.0000.

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Simms, D. P. A. "Reevaluating Emendations to the Old English Riming Poem LL. 17-18." Notes and Queries 57, no. 3 (June 29, 2010): 301–5. http://dx.doi.org/10.1093/notesj/gjq068.

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27

Soper, Harriet. "The Light in the Old English Rhyming Poem, Lines 1–2*." Notes and Queries 66, no. 1 (January 30, 2019): 20–24. http://dx.doi.org/10.1093/notesj/gjy188.

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28

Smith, Ross. "J. R. R. Tolkien and the art of translating English into English." English Today 25, no. 3 (July 30, 2009): 3–11. http://dx.doi.org/10.1017/s0266078409990216.

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ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is of the anonymous 14th Century poem Sir Gawain and the Green Knight, which was published posthumously with two other translations from Middle English in the volume Sir Gawain and the Green Knight, Pearl and Sir Orfeo (Allen & Unwin 1975). The translation of Middle English texts constitutes the bulk of his output in this field, both in the above volume and in the fragments that appear in his lectures and essays. However, his heart really lay in the older, pre-Norman form of the language, and particularly in the greatest piece of literature to come down to us from the Old English period, the epic poem Beowulf.

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Yeutukhou, Ihar A. "Old English poem «Judith» as a reflection of Anglo-Saxon early medieval mentality." Journal of the Belarusian State University. History, no. 1 (January 31, 2020): 62–68. http://dx.doi.org/10.33581/2520-6338-2020-1-62-68.

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The article analyzes the reflection of the Western European early medieval mentality in the Оld English poem «Judith». The following research methods were used: clustering (formation of a cluster of verbal reflections of mental attitudes) and historical-semantic analysis of objects included in the cluster. Poem «Judith» information, connected with the mentality, concerns two lines: the motivation to participate in the battle, and the posthumous punishment of the main antagonist of Holofernes. The analysis allowed the author to draw the following conclusions. Firstly, the poem «Judith» is not a direct poetic paraphrase of the eponymous book of the Оld Testament. The text contains a number of additions that carry completely new information, revealing in particular problems associated with the mentality (Judith speech, the posthumous fate of Holofernes). Secondly, the poem «Judith» allows us to distinguish two levels in the mentality of Anglo-Saxon society – basic one and emerging. The first of them is represented by the concept of «glory» (wuldor and tir). The use of the word wuldor indicates a significant stability of structures associated with the foundations of the mentality of society. For Anglo-Saxon society such a basis was war and glory. The glory had been denoted by the word, rooted in the days of the Old German community (linked to the Gothic language), and unknown to the Vikings. The same stability shows respect for the leader of the enemy troops. The second level is represented by the image of «snake hall» (wyrm-sele), which was formed during the wars with the Vikings in the 10th century for the liberation of the occupied territories. Thirdly, the presence of two levels in the mentality allows author to consider the period of its formation as open. Thus the innovation, arised under Scandinavian influence, was not entrenched in mentality.

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Anlezark, Daniel. "Poisoned places: the Avernian tradition in Old English poetry." Anglo-Saxon England 36 (November 14, 2007): 103–26. http://dx.doi.org/10.1017/s0263675107000051.

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AbstractScholars have long disputed whether or not Beowulf reflects the influence of Classical Latin literature. This essay examines the motif of the ‘poisoned place’ present in a range of texts known to the Anglo-Saxons, most famously represented by Avernus in the Aeneid. While Grendel's mere presents the best-known poisonous locale in Old English poetry, another is found in the dense and enigmatic poem Solomon and Saturn II. The relationship between these poems is discussed beside a consideration of the possibility that their use of the ‘Avernian tradition’ points to the influence of Latin epic on their Anglo-Saxon authors.

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Fulk, R. D. "The origin of the numbered sections in Beowulf and in other Old English poems." Anglo-Saxon England 35 (December 2006): 91–109. http://dx.doi.org/10.1017/s0263675106000056.

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AbstractMost observers now agree that the fitt numbers in Beowulf were not in the scribes' exemplar. A question less frequently addressed is whether the sectional divisions themselves are authorial or whether the poem was divided in the course of manuscript transmission. Several of the divisions in the portion of the poem copied by the second scribe make little narrative sense, while the divisions in the first scribe's work are sufficiently rational. The difference suggests that it is these scribes who are responsible for having introduced the divisions. A consideration of sectional divisions in other poems demonstrates that many of these divisions, too, are unlikely to be authorial.

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Mukhin, Sergey V., and Darya A. Efremova. "LINGUOSTYLISTIC MEANS OF CONTEXTUAL SEGMENTATION OF THE OLD ENGLISH POEM THE SEAFARER." Theoretical and Applied Linguistics 5, no. 2 (2019): 115–27. http://dx.doi.org/10.22250/2410-7190_2019_5_2_115_127.

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Mukhin, Sergey V., and Darya A. Efremova. "LINGUOSTYLISTIC MEANS OF CONTEXTUAL SEGMENTATION OF THE OLD ENGLISH POEM THE SEAFARER." Theoretical and Applied Linguistics, no. 2 (2019): 115–27. http://dx.doi.org/10.22250/24107190_2019_5_2_115_127.

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The article is concerned with the analysis of the linguostylistic means used to effect contextual segmentation of the Old English elegy The Seafarer. It is hypothesized that discourse types of the poem including narration with some elements of description, reasoning and implicit dialogue are the key means to convey the author’s main idea. The focus of the study is on the use of the principal lexical and grammatical markers indicating the change of discourse types: personal pronouns of the 1st and 3rd person, finite verb forms and connotationally diversified vocabulary. In the narrative part, the emphasis is made on the extensive use of pronominal and verb forms of the 1st person singular as well as on the prevalence of emotive lexical units with negative meaning. Reasoning was discovered to be characterized by the domination of the 3rd person forms and balanced use of lexical units with negative and positive semantics. Implicit dialogue was found to be notably rich in pronominal forms of the 1st person plural and causative modality expressed by lexical and grammatical means. We conclude that the poem under study features a triform composition built by various linguistic means on the grammatical, lexical and stylistic levels.

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34

McKill, Larry N. "Patterns of the Fall: Adam and Eve in the Old English Genesis A." Florilegium 14, no. 1 (January 1996): 25–41. http://dx.doi.org/10.3138/flor.14.002.

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No serious scholar would argue that an Old English poem deserves critical attention simply because it constitutes such a large percentage of the surviving corpus of OE poetry. Nonetheless, I find it curious, at least, that Genesis A should receive such scant critical attention at a time in which OE scholarship on many minor works has flourished. The reason for this neglect cannot be attributed to its fragmented state, moreover, for such is the condition of many OE poems. Nor can its religious subject-matter, out of fashion for many readers, be singled out, for most OE poetry has a distinctly Christian outlook and is similarly didactic. And studies — largely unpublished dissertations — have indisputably shown that Junius’s appellation Paraphrasis does not adequately describe the poem. Furthermore, because of its length and less immediate appeal than Genesis B (which continues to receive regular scholarly attention), Genesis A is seldom taught to undergraduates and rarely to graduate students, further reducing its exposure to critical analysis.

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Olesiejko, Jacek. "Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A." Studia Anglica Posnaniensia 45, no. 1 (January 1, 2009): 153–62. http://dx.doi.org/10.2478/v10121-009-0010-9.

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Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A Since the times of Antiquity, people have looked up to the sky and developed various conceptions of Heaven and Hell. Already in the ancient Egypt people developed the tripartite conception of universe with earth placed between the Heaven inhabited by gods above and Hell below. The Old English poetic text of Genesis (MS Junius 11; compilation dated to the 10th century) presents the earthly paradise, Hell and Middangeard (or the middle earth). Both Genesis A and B that comprise the poem indeed show a single and consistent descriptions of cosmos. The overt consistency may well seem as interesting as the tradition that the poem draws upon as well as distorts. The universe found in the poem is a fusion of the Christian religious learning as well as Germanic tradition. The idea that marries Heaven, earth and Hell in the poetic sequence of OE Genesis is the concept of hall and anti-hall, city and anti-city. The aim of the following paper is to investigate the modes of this presentation of these parts of the universe by the analysis of the clusters of meaning that are associated with hall and city.

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Dockray-Miller, Mary. "The Maternal Performance of the Virgin Mary in the Old English Advent." NWSA Journal 14, no. 2 (2002): 38–55. http://dx.doi.org/10.1353/nwsa.2002.0031.

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37

Walton, Audrey. "The Seafarer, Grammatica, and the making of Anglo-Saxon textual culture." Anglo-Saxon England 45 (December 2016): 239–64. http://dx.doi.org/10.1017/s0263675100080285.

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AbstractDespite the popularity of The Seafarer within Old English scholarship, the poem's governing logic remains unclear, in large part because of the enduring mystery surrounding the poem's use of the compound expression forþon. This study will argue that the repeated use of forþon in The Seafarer reflects the anaphoric repetition of causatives in the Psalter. Moreover, through its repetition of forþon clauses, the poem invites the reader to approach the text using interpretive strategies commonly associated with the Psalms. Especially in the commentaries of Augustine, Cassiodorus and Origen, allegorical interpretation of the Psalms is linked to theories of subjectivity: different levels of the Psalms’ meaning often reflect different interpretations of the Psalms’ first- person speaker. Drawing on this link between biblical allegory and patristic theories of the self, The Seafarer uses the Old English Psalms as a backdrop against which to develop a specifically Anglo-Saxon model of Christian subjectivity and asceticism. In the layered complexity of its imagery, the poem offers more than vernacular glossing of originally Latin allegory: it creates allegorical figures within the medium of Old English. Implicitly, the poem makes claims for the medium of the vernacular, as well as for the model of subjectivity belonging to it, as a vehicle for reflection and contemplation.

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Lendinara, Patrizia. "The third book of theBella Parisiacae Urbisby Abbo of Saint-Germain-des-Prés and its Old English gloss." Anglo-Saxon England 15 (December 1986): 73–89. http://dx.doi.org/10.1017/s0263675100003690.

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A certain ‘Descidia Parisiace polis’, which can safely be identified with the work of Abbo of Saint-Germain-des-Prés now commonly known as theBella Parisiacae Urbis, is listed among the books given by Æthelwold to the monastery of Peterborough. We shall never know if Æthelwold's gift corresponds to any of the surviving manuscripts of Abbo's poem – though probably it does not – but the inventory gives evidence of the popularity of his work in England. In the following pages I shall consider the genesis and successive fortune of Abbo's poem and provide a new assessment of the value of theBella Parisiacae Urbis. This assessment is a necessary first step to the understanding of the reasons for the success of his poem – and specifically of its third book – in England, as is witnessed by the number of English manuscripts containing the Latin text and by the Old English gloss which was added to this small, intriguing work.

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Maddock. "The Composite Nature of Andreas." Humanities 8, no. 3 (July 31, 2019): 130. http://dx.doi.org/10.3390/h8030130.

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Scholars of the Old English poem Andreas have long debated its dating and authorship, as the poem shares affinities both with Beowulf and the signed poems of Cynewulf. Although this debate hinges on poetic style and other internal evidence, the stylistic uniformity of Andreas has not been suitably demonstrated. This paper investigates this question by examining the distribution of oral-formulaic data within the poem, which is then correlated to word frequency and orthographic profiles generated with lexomic techniques. The analysis identifies an earlier version of the poem, which has been expanded by a later poet.

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Olesiejko, Jacek. "The Tension between Heroic Masculinity and the Christian Self in the Old English Andreas." Anglica Wratislaviensia 56 (November 22, 2018): 87–107. http://dx.doi.org/10.19195/0301-7966.56.7.

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The article’s aim is to elucidate the religious transformations of the secular notions of identity and masculinity in Andreas. Andreas is a religious poem composed in Anglo-Saxon England around the ninth century. It is an adaptation of the Latin recension of the Acts of the Apostle Andrew, but the poet uses heroic diction borrowed from Old English secular poetry to rework the metaphor of miles Christi that is ubiquitous in Christian literature. The poet uses the military metaphor to inculcate the Christian notion of masculinity as the inversion of the secular perception of manliness. He draws upon a paradox, attested in the early Christian writings, that spiritual masculinity is true manliness, superior to military masculinity, and that it is expressed through patient suffering and the acknowledgment of defeat. The poem inverts the notions of war and victory to depict the physical defeat of the martyr as a spiritual victory over sin and the devil.

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Senra Silva, Inmaculada. "A note on the meaning of os in the Old English Rune Poem." Epos : Revista de filología, no. 22 (January 1, 2006): 393. http://dx.doi.org/10.5944/epos.22.2006.10523.

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El objetivo de este artículo es contribuir a un mejor entendimiento del nombre de la runa os en inglés antiguo, además de reflexionar sobre la etimología y el significado que tradicionalmente se le han atribuido. Durante mucho tiempo los runólogos han mantenido que os en el Poema Rúnico Anglosajón significa «boca» y que este significado podría haberse tomado de la palabra latina os como un intento de la iglesia por evitar cualquier connotación pagana. Este artículo muestra los resultados preliminares de un proyecto de mayor envergadura que examina las fuentes textuales de los nombres de las runas y cómo estos nombres se han transmitido durante siglos en las tradiciones nórdica y anglosajona. Comienza este artículo con una breve introducción a las runas y a sus nombres, para centrarse más adelante en las fuentes manuscritas de os, especialmente en los poemas rúnicos (los textos en antiguo inglés, en antiguo nórdico, en antiguo islandés y en antiguo sueco), que son las fuentes textuales más importantes para el estudio del significado de los nombres de las runas. Finalmente, y después de un análisis de los datos recopilados, se ofrecen algunas soluciones alternativas para la interpretación del nombre de la runa os.

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RONALDS, CRAIG, and MARGARET CLUNIES ROSS. "THURETH: A NEGLECTED OLD ENGLISH POEM AND ITS HISTORY IN ANGLO-SAXON SCHOLARSHIP." Notes and Queries 48, no. 4 (2001): 359—b—370. http://dx.doi.org/10.1093/nq/48.4.359-b.

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Karasawa, K. "A Note on the Old English Poem Menologium 3b on thy Eahteothan Daeg." Notes and Queries 54, no. 3 (September 1, 2007): 211–15. http://dx.doi.org/10.1093/notesj/gjm127.

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Griffith, M. "A Possible Use of Pliny's Historia naturalis in the Old English Rune Poem." Notes and Queries 57, no. 1 (January 7, 2010): 1–3. http://dx.doi.org/10.1093/notesj/gjp246.

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Kerr, Heather. "The Written Poem: Semiotic Conventions from Old to Modern English (review)." Parergon 18, no. 2 (2001): 176–77. http://dx.doi.org/10.1353/pgn.2001.0000.

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Cronan, Dennis. "Poetic words, conservatism and the dating of Old English poetry." Anglo-Saxon England 33 (December 2004): 23–50. http://dx.doi.org/10.1017/s026367510400002x.

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Although the lexicon has frequently been used in discussions of the dating of Old English poetry, little attention has been paid to the evidence that poetic simplexes offer. One exception is an article by R. J. Menner, who noted that Beowulf and Genesis A share three poetic words, apart from compounds, that are not found elsewhere: freme ‘good, valiant’, gombe ‘tribute’, and secg ‘sword’. Menner used these words as part of an argument for an early date of Genesis A, an argument which hinged, in part, on lexical similarities between this poem and Beowulf, which he assumed was early. Although such an a priori assumption is no longer possible, evidence provided by the limited distribution of certain poetic simplexes is nonetheless useful for demonstrating the presence of a connection between two or more poems. Such a connection may be a matter of date or dialect, or it may indicate that the poems were the products of a single poetic school or subtradition. Unfortunately, we know little, if anything, about poetic subtraditions, and the poetic koiné makes the determination of the dialect of individual poems a complex and subtle matter that requires a much wider variety of evidence than poetic words can provide. However, the limited distribution of certain poetic simplexes can serve as an index of the poetic conservatism of the poems in which these words occur. This conservatism could be due to a number of factors: genre, content (that is, heroic legend vs biblical or hagiographical), style, or date of composition. As will emerge in the course of this discussion, the most straightforward explanation for this conservatism is that the poems which exhibit it were composed earlier than those which do not. Other explanations are, however, possible, and the evidence of poetic words is hardly sufficient by itself to determine the dating of Old English poems. But by focusing on patterns of distribution that centre upon Beowulf, we can examine what certain words may tell us about the conservatism of this poem and of those poems which are connected to it.

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Anderson, Earl R. "The uncarpentered world of Old English poetry." Anglo-Saxon England 20 (December 1991): 65–80. http://dx.doi.org/10.1017/s0263675100001757.

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Cultural archaism is often thought of as a natural concomitant of oral tradition, and by extension, of a literature that is influenced by oral tradition. In the case of Old English poetry, archaism might include residual pagan religious beliefs and practices, such as the funeral rites inBeowulfor the use of runes for sortilege, and certain outmoded aspects of social organization such as the idea of a state dependent upon thecomitatusfor military security. An example often cited is the adaptation of heroic terminology and detail to Christian topics. The compositional method in Cædmon's ‘Hymn’, for instance, is regarded by many scholars as an adaptation of panegyric epithets to the praise of God, although N. F. Blake has noted that heroic epithets in the poem could have derived their inspiration from the psalms. InThe Dream of the Rood, the image of Christ mounting the Cross as a warrior leaping to battle has been regarded variously as evidence of an artistic limitation imposed by oral tradition, or as a learned metaphor pointing to the divine and human nature of Christ and to the crucifixion as a conflict between Christ and the devil. The martyrdom of the apostles is represented as military conflict in Cynewulf'sFates of the Apostles, Christ and his apostles as king andcomitatusin Cynewulf'sAscension, and temptation by devils as a military attack inGuthlac A; these illustrate a point made by A.B. Lord concerning the nature of conservatism in oral tradition: ‘tradition is not a thing of the past but a living and dynamic process which began in the past [and] flourishes in the present’.

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Braček, Tadej. "Fact, Myth and Legend in Matthew Arnold’s Westminster Abbey." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 99–106. http://dx.doi.org/10.4312/elope.4.1-2.99-106.

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The paper deals with the multilayered elegy “Westminster Abbey;” which was not given a lot of attention by Matthew Arnold’s critics. The poem is dedicated to Arnold’s life-long friend Dean Stanley; who was; like Arnold himself; “a child of light.” The term refers to their common fight against Philistinism in the English society of the time. As the poem is about a real person; it contains real data; such as excerpts from Stanley’s life; described in the form of praise. However; the poem also introduces the old Saxon legend of consecration of the Abbey; namely the consecration by the light; performed by the First Apostle (St Peter) himself. In addition to the legend; Arnold also used some classical Greek allusions to depict the late Dean’s character. In one of the allusions; Stanley is associated with Demophon; whose immortality was never achieved due to the fault of another human; and in the second he is transformed into an everlasting oracle of the Abbey using the Trophonius; a builder of Delphi; metaphor. All elements of the poem form a homogenous eulogy; making it worthwhile reading for English scholars and students; and possibly a candidate for the English poetic canon.

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Remley, Paul G. "The Latin textual basis of Genesis A." Anglo-Saxon England 17 (December 1988): 163–89. http://dx.doi.org/10.1017/s0263675100004063.

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Received scholarly opinion regards Genesis A as an Old English versification of the Latin text of Genesis in Jerome's Vulgate revision of the bible. This view has prevailed in modern editions of the poem, which normally print a critical text of the Vulgate Genesis in their apparatus. The textual basis of Genesis A is perhaps ‘vulgate’ in character in so far as the poem renders Genesis readings that were commonly known in Anglo-Saxon England, but the identification of this base text with that of the Hieronymian Vulgate remains an untested hypothesis. Ten years ago A. N. Doane printed a list of readings in the Old English text which show affinity with the ancient versions of Genesis that emerged before the completion of Jerome's translation, readings associted with the Vetus Latina or Old Latin bible. Doane did not, however, challenge the long-standing belief that Genesis A follows a single, lost exemplar that contained in all essentials the text established by Jerome. The present study attempts to survey, without any preconceptions, all the details in the poem that might derive from Latin sources; its intention is to make a first step towards the recovery of the Latin textual basis of Genesis A.

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Williams, David J., and Hans Erik Andersen. "'The Battle of Maldon': The Meaning, Dating and Historicity of an Old English Poem." Modern Language Review 89, no. 4 (October 1994): 959. http://dx.doi.org/10.2307/3733906.

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