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Journal articles on the topic 'Didactic poetry, English (Old)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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 And studies — largely unpublished dissertations — have indisputably shown that Junius’s appellation Paraphrasis does not adequately describe the poem.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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Buniyatova, Isabella, and Tetiana Horodilova. "THE INTERPLAY OF ANGLO-SAXON HOMILETIC DISCOURSE AND GRAMMAR." Studia Linguistica, no. 22 (2023): 34–47. http://dx.doi.org/10.17721/studling2023.22.34-47.

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The article is devoted to the interplay of discourse and grammar in the formation of sentential units in the Anglo-Saxon homilies of the 9th-11th centuries, created by notable homilists, namely, Ælfric (955-1020 сa.), Wulfstan (death date 1023 ca.), as well as anonymous authors in the miscellany “The Blickling Homilies”. The material under consideration helped us offer two prior assumptions. Firstly, the body of homilies in the specified historical period (total number – 28 units) constitutes a distinct variety of performative texts, which share a set of specific features, and which, in aggregate, make up a homiletic type of discourse. Secondly, foregrounding of finite verb in Old English sentence is a genre-dependent phenomenon that has been attested in the preaching texts and the epic poetry. In this article, the term homily (sermon) is unfolded as a discursive phenomenon that establishes a close link between preacher and congregation, and, as such, serves as a medium of communication. This type of communication involves the dynamic interdependence of participants, the constant tension and continuity of the process, which results in the consolidation of spiritual and didactic principles of believers. Linguistically, it is represented by a number of grammatical phenomena shared by the homilies in question, which include formulaic initial addresses of the preacher to the audience, numerical tautological or parallel phrases, alliterative constructions, deictic elements, etc. Anglo-Saxon priest’s “fatherly conversation” can be described in didactic and Christian dogmatic terms, the spirit and letter of which were especially relevant in the context of the old Germanic ethnic groups’ existentia at the beginning of the second millennium.

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3

Phillips, Helen, and Takami Matsuda. "Death and Purgatory in Middle English Didactic Poetry." Modern Language Review 95, no. 3 (July 2000): 792. http://dx.doi.org/10.2307/3735505.

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4

Alexander, M. J. "Old English Poetry into Modern English Verse." Translation and Literature 3, no. 3 (May 1994): 69–75. http://dx.doi.org/10.3366/tal.1994.3.3.69.

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5

Omar, Mohsin Ahmed. "The poetry of teaching poetry as an experience in Kurdish literature." Twejer 4, no. 2 (December 2021): 241–76. http://dx.doi.org/10.31918/twejer.2142.6.

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Abstract The main theme of this research discusses the poetic of didactic poetry in Kurdish literature. We try to enhance the Kurdish experience in this field, specifically the place didactic poetry in this kind of literature. It dates back to the preceding centuries. In this research, we attempt to answer several essential questions which are deeply addressed, such as: what is didactic poetry? Is it a separate literary genre or is it a kind of poetry? We compare this Kurdish experience to that of the Greco-French. In the last chapter we try to determine the poetic characteristic of this kind of poetry, by asking an urgent question. What is the use of this kind of poetry today? Is it still productive or is it some sort of old-fashioned poetry?

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6

Carlson, David. "Procopius’s Old English." Byzantinische Zeitschrift 110, no. 1 (January 27, 2017): 1–28. http://dx.doi.org/10.1515/bz-2017-0003.

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AbstractBy the middle of the sixth century, in Byzantine perspective, Britain had so long since ceased to be part of the empire of the Romans as to have become a kind of never-land, some part of the known world, but also the sort of place of which it was possible to credit the fabulous. Information was scarce. Nevertheless, the chief source for the sixth-century east-Roman regime in Constantinople, Procopius (c. 500 -565 CE), met a group of Anglo-Saxons c. 540, who were contemporaries of Beowulf’s king Hygelac; and Procopius may have learned from hoi Angiloi something about the Old English poetry, at a particularly important point in its formation, before the beginning of the conversion of the English to Christianity in 597 CE. Procopius’s English informants told him a tale (of the vengeful Anglo-Saxon bride of a Frisian basileos named Radigis) of a type consonant with later examples of Old English poetry; also, with an historical basis that coincides with the historical milieu to which the earliest Old English heroic poetry also refers, including Beowulf.

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7

Cavill, Paul, and Kathryn A. Lowe. "Maxims in Old English Poetry." Nottingham Medieval Studies 44 (January 2000): 204–6. http://dx.doi.org/10.1484/j.nms.3.315.

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8

Howe, N. "Maxims in Old English Poetry." Notes and Queries 49, no. 4 (December 1, 2002): 506–7. http://dx.doi.org/10.1093/nq/49.4.506.

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Howe, Nicholas. "Maxims in Old English Poetry." Notes and Queries 49, no. 4 (December 1, 2002): 506–7. http://dx.doi.org/10.1093/nq/490506.

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10

Dance, Richard, and H. Momma. "The Composition of Old English Poetry." Modern Language Review 94, no. 4 (October 1999): 1067. http://dx.doi.org/10.2307/3737239.

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11

Liuzza, R. M., and Peter Orton. "The Transmission of Old English Poetry." Modern Language Review 98, no. 1 (January 2003): 154. http://dx.doi.org/10.2307/3738184.

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12

Allen, Rosamund S., Carol Braun Pasternack, and Peter Clemoes. "The Textuality of Old English Poetry." Modern Language Review 92, no. 3 (July 1997): 682. http://dx.doi.org/10.2307/3733397.

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13

Robinson, F. C. "The Transmission of Old English Poetry." Notes and Queries 49, no. 2 (June 1, 2002): 262–63. http://dx.doi.org/10.1093/nq/49.2.262-a.

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Robinson, Fred C. "The Transmission of Old English Poetry." Notes and Queries 49, no. 2 (June 1, 2002): 262–63. http://dx.doi.org/10.1093/nq/490262a.

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15

Cronan, Dennis. "Alliterative rank in Old English poetry." Studia Neophilologica 58, no. 2 (January 1986): 145–58. http://dx.doi.org/10.1080/00393278608587940.

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16

Lutz, Angelika. "Æthelweard's Chronicon and Old English poetry." Anglo-Saxon England 29 (January 2000): 177–214. http://dx.doi.org/10.1017/s0263675100002453.

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The author of the Chronicon Æthelweardi is commonly identified with the ealdor-man of the western shires who signed charters from 973–98 and played an important political role particularly in King Æthelred's England. Ealdorman Æthelweard is also known as the patron of Abbot Ælfric, as the addressee of Ælfric's famous preface to his translation of Genesis and of his Old English preface to his Lives of Saints; that is, we know him as a person who took great interest in religious texts written in or translated into the vernacular. The Chronicon was written in Latin, although it was mainly based on the Anglo-Saxon Chronicle. The reason for his choice of language may be determined from the prologue to his Chronicon, from which it becomes clear that he wrote it for his kinswoman Mathilda (949–1011), abbess of Essen, whose grandmother Eadgyth, daughter of King Edward the Elder, had been married to Emperor Otto I. We may assume that Mathilda's native tongue was Old Saxon, a variety of Low German that was closely related to West Saxon English.

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17

Weiskott, Eric. "Old English poetry, verse by verse." Anglo-Saxon England 44 (December 2015): 95–130. http://dx.doi.org/10.1017/s0263675100080078.

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AbstractCertain syntactical ambiguities in Old English poetry have been the focus of debate among students of metre and syntax. Proponents of intentional ambiguity must demonstrate that the passages in question exhibit, not an absence of syntactical clarity, but a presence of syntactical ambiguity. This article attempts such a demonstration. It does so by shifting the terms of the debate, from clauses to verses and from a spatial to a temporal understanding of syntax. The article proposes a new interpretation of many problematic passages that opens onto a new way of parsing and punctuating Old English poetry.In this essay in the history of poetic style, I demonstrate that the sequence in time of Old English half-lines sometimes necessitates retrospective syntactical reanalysis, a state of affairs which modern punctuation is ill-equipped to capture, but in which Anglo-Saxon readers and listeners would have recognized specific literary effects. In the second section, I extrapolate two larger syntactical units, the half-line sequence and the verse paragraph, which differ in important ways from the clauses and sentences that modern editors impose on Old English poetic texts. Along the way, I improve the descriptive accuracy of Kuhn's Laws by reinterpreting them as governing half-line sequences rather than clauses. I conclude with a call for unpunctuated or minimally punctuated critical editions of Old English verse texts.

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18

Niles, John D. "Sign and Psyche in Old English Poetry." American Journal of Semiotics 9, no. 4 (1992): 11–25. http://dx.doi.org/10.5840/ajs1992943.

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Blake, N. F., Magaret Enid Bridges, and Saara Nevanlinna. "Generic Contrast in Old English Hagiographical Poetry." Yearbook of English Studies 18 (1988): 249. http://dx.doi.org/10.2307/3508203.

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20

North, Richard, and Hugh Magennis. "Images of Community in Old English Poetry." Modern Language Review 94, no. 1 (January 1999): 152. http://dx.doi.org/10.2307/3736007.

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21

Brookman, Helen, and Olivia Robinson. "Creativity, Translation, and Teaching Old English Poetry." Translation and Literature 25, no. 3 (November 2016): 275–97. http://dx.doi.org/10.3366/tal.2016.0259.

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This article explores the benefits to undergraduate learning, and the broader critical significance of, the ‘creative translation’ of Old English literature. First-year students of English language and literature at Oxford University were encouraged to inhabit and understand poetic texts by producing creative, free modern versions that responded to the content, form, style, and sound of the source text. How far this approach helps students is analysed through their own perspectives on the process, gathered via interviews. Their writing is explored as a visible product of their learning, and as a creative-critical response to medieval texts: in particular, did the process of collaborative composition give the students a uniquely experiential insight into Old English poetic practice? Thus some broader conceptual issues in the fields Old English literary studies and translation studies are approached through teaching, learning, and creative-critical practice.

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22

Jun Terasawa. "The Weak Man in Old English Poetry." Journal of English and Germanic Philology 109, no. 1 (2010): 22. http://dx.doi.org/10.5406/jenglgermphil.109.1.0022.

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23

Trilling, Renée R. "Ordering Chaos in Old English Wisdom Poetry." Journal of Medieval and Early Modern Studies 52, no. 1 (January 1, 2022): 69–92. http://dx.doi.org/10.1215/10829636-9478482.

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The Old English poem known as The Fortunes of Men offers a catalogue of potential fates, both good and bad, that can befall a person in the early medieval world, from being eaten by a wolf to thriving as a poet. Straining against the limits of human knowledge about the future, the poem contains its existential anxiety within the strict metrical forms of the alliterative long line. Its structure balances assorted visions of death with images of joy, but traditional Old English formulas afford very specific ideas of joy that describe an idealized heroic male world. By reading social context as a variety of form, this article articulates a reciprocal relationship between aesthetics and the social world that reveals the limitations of The Fortunes of Men's attempts at consolation. It attends to the questions of what and who is excluded by the social forms of Old English verse.

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24

Robinson, Fred C. "Old English Poetry: The Question of Authorship." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 3, no. 2 (April 1990): 59–64. http://dx.doi.org/10.1080/19403364.1990.11755240.

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25

Terasawa, Jun. "The Weak Man in Old English Poetry." JEGP, Journal of English and Germanic Philology 109, no. 1 (2010): 22–32. http://dx.doi.org/10.1353/egp.0.0090.

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26

Savage, Anne. "Old and Middle English, Poetry and Prose." Studies in the Age of Chaucer 23, no. 1 (2001): 503–11. http://dx.doi.org/10.1353/sac.2001.0050.

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27

Ward, Mary. "The wooded landscape of Old English poetry." Landscape History 34, no. 1 (May 2013): 23–32. http://dx.doi.org/10.1080/01433768.2013.797185.

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28

Ryan, J. S. "Old English Wisdom Poetry (review)." Parergon 17, no. 1 (1999): 261–64. http://dx.doi.org/10.1353/pgn.1999.0022.

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29

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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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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JABAK, Omar. "Contrastive Analysis of Two English Translations of an Old Arabic Poem." Journal of Translation and Language Studies 4, no. 1 (March 19, 2023): 36–48. http://dx.doi.org/10.48185/jtls.v4i1.565.

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The present study aimed to provide a contrastive analysis of two English translations of the famous Arabic poem known in English as “Let days do what they will” by Mohammad ibn Idris al-Shafi’i. The two English translations were produced by two different translation scholars in the language pair Arabic and English. The analysis focused on how the translators dealt with the most important features of poetry when translating the Arabic poem into English. Such features included form, meaning, sound and imagery. The findings revealed some similarities and differences in both translations with reference to the above-mentioned features. It is recommended that more research be conducted on either Arabic-English translation of poetry or English-Arabic translation of poetry as this kind of research seems to be relatively scarce.

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32

Hill-Vasquez, Heather, and G. A. Lester. "The Language of Old and Middle English Poetry." Rocky Mountain Review of Language and Literature 51, no. 1 (1997): 96. http://dx.doi.org/10.2307/1348087.

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33

Morgan, Gerald, and Richard J. Schrader. "Old English Poetry and the Genealogy of Events." Modern Language Review 90, no. 2 (April 1995): 404. http://dx.doi.org/10.2307/3734555.

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34

Stévanovitch, Colette. "The expression of joy in Old English poetry." Bulletin des anglicistes médiévistes 48, no. 1 (1995): 11–22. http://dx.doi.org/10.3406/bamed.1995.1953.

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35

Hee-Cheol Yoon. "Diachrony of Inflected Possessives in Old English Poetry." English Language and Linguistics 25, no. 2 (August 2019): 25–42. http://dx.doi.org/10.17960/ell.2019.25.2.002.

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36

Griffith, M. "ANTONINA HARBUS. Cognitive Approaches to Old English Poetry." Review of English Studies 64, no. 267 (February 21, 2013): 878–79. http://dx.doi.org/10.1093/res/hgt010.

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37

Griffith, Mark. "Whole-verse Compound Placement in Old English Poetry." Notes and Queries 53, no. 3 (September 1, 2006): 253–62. http://dx.doi.org/10.1093/notesj/gjl062.

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38

Thormann, Janet. "The Jewish Other in Old English Narrative Poetry." Partial Answers: Journal of Literature and the History of Ideas 2, no. 1 (2004): 1–19. http://dx.doi.org/10.1353/pan.0.0081.

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39

Harbus, Antonina. "Maxims in Old English Poetry (review)." Parergon 17, no. 2 (2000): 190–92. http://dx.doi.org/10.1353/pgn.2000.0047.

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40

Dr. Shabir Parmar. "Aesthetic Beauty of Old English Poetry: A Critique." International Peer Reviewed E Journal of English Language & Literature Studies - ISSN: 2583-5963 2, no. 1 (June 10, 2020): 88–114. http://dx.doi.org/10.58213/ell.v2i1.22.

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An examination of 23 Old English expressions of good aesthetic feelings is the subject of this essay. These expressions have to do with looks, character traits, and pleasant memories. In order to have a better understanding of how Anglo-Saxon English people saw aesthetics, this research is being undertaken. Here's how I went about creating one: The database was built using a variety of software and lexical tools, as well as a variety of corpora. I used a variety of sociolinguistic criteria to annotate the evidence in the corpus. After analysing these pieces in detail, it became clear that the Old English poets used two distinct approaches to describing beauty: one focused on the object's objective aesthetic features, while the other emphasised the subject's subjective experience of it. In religious writings, these two alternatives were often combined.

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41

Lanseros Sánchez, Raquel. "Aprovechamiento didáctico de los recursos literarios bilingües: Lectura original y traducida de la poesía de Lewis Carroll." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 7–18. http://dx.doi.org/10.37132/isl.v0i5.105.

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This paper seeks to enhance the promotion of reading from the area of English as a foreign language, as well as to raise awareness of the cultural richness of literature written in the English language. It aims to delve into the classroom applicability of English literary works translated into Spanish and their didactic exploitation. In order to do this, we will exemplify with the poetry of Lewis Carroll and its translation into Spanish. The objectives are to expand the vocabulary of the students of English as a foreign language, to approach poetry in the English classroom through various means which help us overcome the challenge and to help students improve their skills in the field of literacy in the foreign language, by using translated versions of the poetic texts. Target key competencies in this paper are linguistic competence and learning autonomy or learning to learn. Some models of Didactics of Literature followed by literary workshops with beginners, intermediate and advanced students will be presented. We will work withthe poetry of Lewis Carroll in order to exemplify way the educational possibilities of literature in the English classroom.

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Lanseros Sánchez, Raquel. "Aprovechamiento didáctico de los recursos literarios bilingües: Lectura original y traducida de la poesía de Lewis Carroll." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 7–18. http://dx.doi.org/10.24310/revistaisl.vi5.11086.

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This paper seeks to enhance the promotion of reading from the area of English as a foreign language, as well as to raise awareness of the cultural richness of literature written in the English language. It aims to delve into the classroom applicability of English literary works translated into Spanish and their didactic exploitation. In order to do this, we will exemplify with the poetry of Lewis Carroll and its translation into Spanish. The objectives are to expand the vocabulary of the students of English as a foreign language, to approach poetry in the English classroom through various means which help us overcome the challenge and to help students improve their skills in the field of literacy in the foreign language, by using translated versions of the poetic texts. Target key competencies in this paper are linguistic competence and learning autonomy or learning to learn. Some models of Didactics of Literature followed by literary workshops with beginners, intermediate and advanced students will be presented. We will work withthe poetry of Lewis Carroll in order to exemplify way the educational possibilities of literature in the English classroom.

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43

Jones, Chris. "New Old English: The Place of Old English in Twentieth- and Twenty-first-Century Poetry." Literature Compass 7, no. 11 (November 2010): 1009–19. http://dx.doi.org/10.1111/j.1741-4113.2010.00760.x.

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44

Prasantham, Dr P. "MANUSCRIPTS OF ANGLO-SAXON PROSE AND POETRY." Journal of English Language and Literature 09, no. 02 (2022): 100–107. http://dx.doi.org/10.54513/joell.2022.9214.

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There are actually four manuscripts in which Old English or Anglo-Saxon poetry is preserved. The vast majority of all extant Old English poetry is contained in these four books. Though damaged partially, they are safe today at various places. These manuscripts are mainly known as The Exeter Book, Junius Manuscript, Nowell Codex and Vercelli Book. These books are unique in their own way. These manuscripts are the only sources by which we would know something of Old English poetry or prose today. In this paper, I would try to give brief explanation of how significant these manuscripts are in connection with Old English literature. The Old English Period or the AngloSaxon Period begins from the fifth century till 1066 i.e. from the arrival of Jutes, Angles and Saxons into England around 450 AD until the Norman Conquest in 1066. During this period, lot of literature was written anonymously; most of the poems were not titled; lot many works were burnt; some works were also lost due to invasions; everything had to be written manually due to lack of printing press; until first printing press was introduced in England by William Caxton in 1476, there was hardly any guaranty for the survival of any work; so survival of any text should be treated as a ‘luck’. Despite all these problems, there are some important works which could survive and are preserved in four manuscripts, which I will discuss in this paper.

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45

Goering, Nelson. "The Fall of Arthur and The Legend of Sigurd and Gudrún : A Metrical Review of Three Modern English Alliterative Poems." Journal of Inklings Studies 5, no. 2 (October 2015): 3–56. http://dx.doi.org/10.3366/ink.2015.5.2.2.

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J.R.R. Tolkien produced a considerable body of poetry in which he used the traditional alliterative metre of Old Norse and Old English to write modern English verse. This paper reviews three of his longer narrative poems, published in The Legend of Sigurd and Gudrún and The Fall of Arthur, examining Tolkien’s alliterative technique in comparison to medieval poetry and to the metrical theories of Eduard Sievers. In particular, the two poems in The Legend of Sigurd and Gudrún, which are adapted from Old Norse material, show a number of metrical and poetic features reminiscent of Tolkien’s sources in the Poetic Edda. The Fall of Arthur, on the other hand, is in a style that is, in detail and in general, strongly reminiscent of Old English poetry. Throughout all these compositions, Tolkien employs a distinctive alliterative style, closely based on medieval and philological models, but adjusted according to the linguistic needs of modern English and to his own preferences.

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Griffith, Mark. "Old English poetic diction not in Old English verse or prose – and the curious case of Aldhelm's five athletes." Anglo-Saxon England 43 (November 26, 2014): 99–131. http://dx.doi.org/10.1017/s0263675114000040.

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AbstractThree contexts characterized by the occasional appearance of Old English poetic diction outside of Old English poetry — debased verse, rhythmical prose, and prose passages with rhetorical heightening — have been surveyed by previous scholars, but no serious consideration has been given to the use of poetic lexis to be found in the surviving glosses and glossaries. The article first looks at some examples in these non-poetic texts of poetic words used as markers of the heroic, the elegiac, the sublime, the exotic and the monstrous, before moving on to a detailed analysis of a significant discovery. The glosses and glossary batches to Aldhelm's extended simile in De Virginitate comparing the educational development of Christian nuns to the exertions of various athletes display (when taken together) a unique cluster of poetic diction, comparable in density (and perhaps also in motivation) to that found only in the most enriched passages of traditional heroic poetry.

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Ibragimova, Karina. "Translation as Interpretation: Ezra Pound and Old English Poetry." Literature of the Americas, no. 7 (November 2019): 332–38. http://dx.doi.org/10.22455/2541-7894-2019-7-322-338.

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Wawn, Andrew, and Elaine Tuttle Hansen. "The Solomon Complex: Reading Wisdom in Old English Poetry." Yearbook of English Studies 22 (1992): 257. http://dx.doi.org/10.2307/3508393.

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Conde Silvestre, Juan Camilo. "New Verse Translations of Old English Poetry into Spanish." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 1 (June 28, 2020): 235–47. http://dx.doi.org/10.28914/atlantis-2020-42.1.12.

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Momma, Haruko. "The Textuality of Old English Poetry. Carol Braun Pasternack." Speculum 75, no. 3 (July 2000): 721–23. http://dx.doi.org/10.2307/2903431.

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