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Journal articles on the topic 'Old English poems'

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Published: 4 June 2021

Last updated: 10 February 2022

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1

Lacey, Eric, and Simon Thomson. "II Old English." Year's Work in English Studies 98, no. 1 (2019): 167–200. http://dx.doi.org/10.1093/ywes/maz012.

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Abstract This chapter has eleven sections: 1. Bibliography; 2. Manuscript Studies, Palaeography, and Facsimiles; 3. Cultural and Intellectual Contexts; 4. Literature: General; 5. The Poems of the Exeter Book; 6. The Poems of the Vercelli Book; 7. The Poems of the Junius Manuscript; 8. Beowulf and the Beowulf Manuscript; 9. Other Poems; 10. Prose; 11. Reception. Sections 1, 5, and 9 are by Simon Thomson and Eric Lacey; sections 2, 6, 7, and 8 are by Simon Thomson; sections 3, 4, 10, and 11 are by Eric Lacey.

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Neidorf, Leonard. "The Complete Old English Poems." English Studies 99, no. 6 (August 18, 2018): 705–11. http://dx.doi.org/10.1080/0013838x.2018.1497835.

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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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Harris, Joseph. "The Old English Catalogue Poems. Nicholas Howe." Speculum 62, no. 4 (October 1987): 953–56. http://dx.doi.org/10.2307/2851810.

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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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Bintley, Michael D. J. "On the Aesthetics ofBeowulfand Other Old English Poems." English Studies 92, no. 5 (August 2011): 576–77. http://dx.doi.org/10.1080/0013838x.2011.584438.

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Hartman, Megan E. "The Form and Style of Gnomic Hypermetrics." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 68–99. http://dx.doi.org/10.12697/smp.2013.1.1.05.

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Gnomic poems have often been noted for their unusual metrical style. One aspect of their style that stands out is the hypermetric usage, both because these poems contain a notably high incidence of hypermetric verses and because the verses are frequently categorized as irregular. This paper analyses hypermetric composition in Maxims I, Maxims II, and Solomon and Saturn in detail to illustrate the major stylistic features of gnomic composition. It demonstrates that, contrary to the conclusions of some previous scholars, the hypermetric verses basically follow the form for hypermetric composition that can be found in most conservative poems, but with the inherent flexibility of hypermetric metre pushed to a greater extent than in most narrative poems, making for lines that are longer, heavier, and more complex. This alternate style highlights the importance of each individual aphorism and characterizes the solemnity of the poems as a whole. By composing their poems in accordance with the trends of this specialized style, poets may have been marking their composition as separate from narrative poems and encouraging their audience to consider each individual poem in the larger context of Old English wisdom poetry.

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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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Davies, Joshua. "The Complete Old English Poems, translated by Craig Williamson." Translation and Literature 27, no. 1 (March 2018): 80–85. http://dx.doi.org/10.3366/tal.2018.0323.

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Colvin, J. Michael. "Beowulf and Other Old English Poems (review)." Comitatus: A Journal of Medieval and Renaissance Studies 43, no. 1 (2012): 161–62. http://dx.doi.org/10.1353/cjm.2012.0029.

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Kiernan, Kevin S. "Re-editing Old English Poems from Print to Script." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 4, no. 3 (July 1991): 139–43. http://dx.doi.org/10.1080/0895769x.1991.10542671.

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12

Kuhn, Tom. "BRECHT'S POEMS IN ENGLISH: THE OLD AND THE NEW." German Life and Letters 67, no. 1 (January 2014): 58–70. http://dx.doi.org/10.1111/glal.12031.

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Abdou, Angela. "Speech and Power in Old English Conversion Narratives." Florilegium 17, no. 1 (January 2000): 195–212. http://dx.doi.org/10.3138/flor.17.012.

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Conversion is perhaps the dominant topic of Old English texts. Not only do many of the poems of Anglo-Saxon England represent large groups of heathens being converted to the Christian way of life, but they also encourage individual listeners and readers to turn back towards God after having fallen briefly away through sin. These two types of conversion, macro and micro, are similar in that they both involve a negating of all that is not Christian. Because that negation is gradual and always in need of being re-accomplished, Karl Morrison describes conversion as always being a work in progress, rather than an instantaneous transformation. Morrison argues that conversion is as much process as it is a moment of stupendous insight or absolute discovery. Rather, conversion—especially as it is represented in conversion narratives—involves constant reappraisal, and remains "part of a strategy for survival."' The macro-conversion, the instantaneous moment in which often an entire group converts, occurs in such Old English poems as Andreas, while the micro-conversion, the individual process of constant re-evaluation and re-conversion, occurs in poems such as Guthiac. The goal of both types of conversion is unity with God, an "empathetic participation in which the and 'you' bec[o]me one" (Morrison 85). This unity has two dimensions: a divine and mystical union with God and the secular and political unity of people into a Christian community. The process of both conversions involved a negotiation between Christian belief and doctrine, as embodied in biblical texts, and the application of that belief in the lives of individuals throughout what would later be called Christendom. The Anglo-Saxon use of vernacular poetry as one site of that negotiation offers an opportunity to investigate the ways in which prophetical traditions are transposed and recreated in one early medieval group of kingdoms.

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Olesiejko, Jacek. "TREASURE AND SPIRITUAL EXILE IN OLD ENGLISH JULIANA: HEROIC DICTION AND ALLEGORY OF READING IN CYNEWULF’S ART OF ADAPTATION." Studia Anglica Posnaniensia 48, no. 2-3 (December 1, 2013): 55–70. http://dx.doi.org/10.2478/stap-2013-0007.

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ABSTRACT The present article studies Cynewulf’s creative manipulation of heroic style in his hagiographic poem Juliana written around the 9th century A.D. The four poems now attributed to Cynewulf, on the strength of his runic autographs appended to each, Christ II, Elene, The Fates of the Apostles, and Juliana are written in the Anglo-Saxon tradition of heroic alliterative verse that Anglo- Saxons had inherited from their continental Germanic ancestors. In Juliana, the theme of treasure and exile reinforces the allegorical structure of Cynewulf’s poetic creation. In such poems like Beowulf and Seafarer treasure signifies the stability of bonds between people and tribes. The exchange of treasure and ritualistic treasure-giving confirms bonds between kings and their subjects. In Juliana, however, treasure is identified with heathen culture and idolatry. The traditional imagery of treasure, so central to Old English poetic lore, is inverted in the poem, as wealth and gold embody vice and corruption. The rejection of treasure and renunciation of kinship bonds indicate piety and chastity. Also, while in other Old English secular poems exile is cast in terms of deprivation of human company and material values, in Juliana the possession of and preoccupation with treasure indicates spiritual exile and damnation. This article argues that the inverted representations of treasure and exile in the poem lend additional strength to its allegorical elements and sharpen the contrast between secular world and Juliana, who is an allegorical representation of the Church.

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Edwards, A. S. G. "Gavin Bone and his Old English Translations." Translation and Literature 30, no. 2 (July 2021): 147–69. http://dx.doi.org/10.3366/tal.2021.0461.

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This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the afterlife and subsequent neglect of Bone's translations.

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Fry, Doanld K. "Leoð: Six Old English Poems. A Handbook. Bernard James Muir." Speculum 67, no. 3 (July 1992): 730–31. http://dx.doi.org/10.2307/2863716.

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Neidorf, Leonard. "Direct Speech in Beowulf and Other Old English Narrative Poems." English Studies 99, no. 5 (July 2, 2018): 580–82. http://dx.doi.org/10.1080/0013838x.2018.1483635.

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Keefer, Sarah Larratt. "MUIR, Bernard James, ed.LeoÐ Six Old English Poems: A Handbook." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 4, no. 3 (July 1991): 144–46. http://dx.doi.org/10.1080/0895769x.1991.10542672.

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19

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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Torabi, Katayoun. "Asceticism in Old English and Syriac Soul and Body Narratives." Humanities 9, no. 3 (August 31, 2020): 100. http://dx.doi.org/10.3390/h9030100.

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A great deal of scholarship on Old English soul-body poetry centers on whether or not the presence of dualist elements in the poems are unorthodox in their implication that the body, as a material object, is not only wicked but seems to possess more agency in the world than the soul. I argue that the Old English soul-body poetry is not heterodox or dualist, but is best understood, as Allen J. Frantzen suggests, within the “context of penitential practice.” The seemingly unorthodox elements are resolved when read against the backdrop of pre-Conquest English monastic reform culture, which was very much concerned with penance, asceticism, death, and judgment. Focusing especially on two anonymous 10th-century Old English poems, Soul and Body I in the Vercelli Book and Soul and Body II in the Exeter Book, I argue that that both body and soul bear equal responsibility in achieving salvation and that the work of salvation must be performed before death, a position that was reinforced in early English monastic literature that was inspired, at least in part, by Eastern ascetics such as fourth-century Syrian hymnologist and theologian, St. Ephraim.

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21

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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Drout, Kahn, LeBlanc, and Nelson. "Of Dendrogrammatology: Lexomic Methods for Analyzing Relationships among Old English Poems." Journal of English and Germanic Philology 110, no. 3 (2011): 301. http://dx.doi.org/10.5406/jenglgermphil.110.3.0301.

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Stanley, E. G. "Christopher Andrew Jones (ed. and trsl.),Old English Shorter Poems, I." Notes and Queries 62, no. 4 (December 2015): 598–602. http://dx.doi.org/10.1093/notesj/gjv190.

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Keefer, Sarah Larratt. "Respecting the Book: Editing Old English Liturgical Poems in their Manuscripts." Florilegium 11, no. 1 (January 1992): 32–52. http://dx.doi.org/10.3138/flor.11.004.

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"For early vernacular works (whether oral or written in origin), the transmitting manuscript does not merely ensure the survival of the work as a text through the operation of a technology of preservation; it actually determines conditions for the reception and transmission of the work" (O'Keeffe 1990, 5). This statement raises the critical issue that forms the focus of this discussion. The way in which we apprehend that which we call "text" when it is written down, is primarily governed by the manuscript versions in which it appears. This is particularly true for poetry, both because it frequently remains in only one copy, and because it has traditionally been respatialized into half-line pairs, emended to conform to our perception of alliteration rules, and in general "cleaned up" by editors throughout the twentieth century. Many of these editors have been inclined to disregard the physical evidence contained in the grubby, fire-damaged, ink-smudged, or scribally-imperfect page, and have instead sought to provide the scholarly world with the poems "as they should have appeared."

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Critten, Rory G. "Eleventh-Century Drag Acts? Three Old English Poems at Exeter Cathedral." Exemplaria 32, no. 4 (October 1, 2020): 346–67. http://dx.doi.org/10.1080/10412573.2020.1846348.

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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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Haft, Adele J. "Earle Birney’s “Mappemounde”: Visualizing Poetry With Maps." Cartographic Perspectives, no. 43 (September 1, 2002): 4–24. http://dx.doi.org/10.14714/cp43.534.

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This paper is about “Mappemounde,” a beautiful but difficult poem composed in 1945 by the esteemed Canadian poet Earle Birney. While exploring the reasons for its composition, we examine the poem’s debts to Old and Middle English poetry as well as to medieval world maps known as mappaemundi, especially those made in England prior to 1400. But Birney took only so much from these maps. In search of more elusive inspirations, both cartographic and otherwise, we uncover other sources: Anglo-Saxon poems never before associated with “Mappemounde,” maps from the Age of Discovery and beyond, concealed details of Birney’s personal life. Then we trace Birney’s long-standing interest in geography and exploration to show how he used maps, especially mappaemundi, as visual metaphors for his intellectual, spiritual, and personal life.

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Griffith, Mark. "Extra alliteration on stressed syllables in Old English poetry: types, uses and evolution." Anglo-Saxon England 47 (December 2018): 69–176. http://dx.doi.org/10.1017/s0263675119000024.

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AbstractThe article assesses the rhetorical uses of the main kinds of non-functional alliteration that are attested in Old English poetry, and gives complete lists of their incidence in all of the poems. Two main general types are isolated. Supererogatory alliteration does not depart from the known alliterative rules, and is deployed ornamentally with some freedom by at least some of the poets. Five sub-types are examined in turn: double alliteration in the a-verse, consonant cluster alliteration, alliteration which is continued across lines, patterned alternation of alliteration across lines, and enjambed alliteration (where the last stress of a line initiates the alliteration of the next). Secondly, licentious alliteration draws a line‘s final stress into alliteration in its own line. Four sub-types are considered: crossed, postponed, and transverse alliteration, and double alliteration in the b-verse. Whilst crossed alliteration appears quite freely, the primary alliteration of a line on the final stress is shown to be avoided almost completely. Most of the unusual uses of extra alliteration congregate in non-traditional or late poetry.

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Ross, Margaret Clunies. "The Anglo-Saxon and NorseRune Poems: a comparative study." Anglo-Saxon England 19 (December 1990): 23–39. http://dx.doi.org/10.1017/s0263675100001587.

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It has been customary, since comparative scholarship in the field of Germanic literatures began, to explain perceived similarities between Old English and Old Norse poetry in terms of their derivation from common cultural roots and closely cognate languages. Similarities in the two poetic systems have been regarded as evidence of the conservation of ideas, figures of speech and poetic forms. Such similarities have then been used to reveal what the ‘original’ Germanic customs, ideas and literary expressions might have been before the various tribal groups dispersed to their historical medieval locations. This way of thinking assumes the persistence into early medieval times of archaic modes of thought and expression wherever cultural similarities are perceived. The Old English, Old Norwegian and IcelandicRune Poemshave usually been considered in this light. It is widely accepted that they reflect a shared cultural prototype. Moreover, their texts span a considerable period of time and yet show significant similarities. The Old EnglishRune Poemhas often been compared with its Scandinavian counterparts to reveal older forms of thought. Andreas Heusler offered a fairly typical assessment: ‘Die wenigen Anklänge an die nordischen Reihen … erklären sich unbedenklich aus einer alten Grundform der Wanderungszeit, als Angeln und Nordleute Nachbarn waren.’

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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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Conrad-O’Briain, H. "ELISE LOUVIOT. Direct Speech in Beowulf and Other Old English Narrative Poems." Review of English Studies 69, no. 289 (September 1, 2017): 370–72. http://dx.doi.org/10.1093/res/hgx096.

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Biggs, Frederick M. "Old English Enigmatic Poems and the Play of the Texts. John D. Niles." Speculum 83, no. 1 (January 2008): 225–27. http://dx.doi.org/10.1017/s0038713400012835.

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Hill, Joyce. "Old English Heroic Poems and the Social Life of Texts (review)." JEGP, Journal of English and Germanic Philology 108, no. 2 (2009): 250–52. http://dx.doi.org/10.1353/egp.0.0039.

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Wilkins, Katrina M. "Book Review: Elise Louviot, Direct Speech in Beowulf and Other Old English Poems." Language and Literature: International Journal of Stylistics 28, no. 1 (February 2019): 102–5. http://dx.doi.org/10.1177/0963947019827077.

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Griffith, M. "J. D. NILES, Old English Enigmatic Poems and the Play of the Texts." Notes and Queries 56, no. 1 (February 5, 2009): 94–95. http://dx.doi.org/10.1093/notesj/gjn275.

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Glenn Wright. "Old English Heroic Poems and the Social Life of Texts (review)." Parergon 27, no. 1 (2010): 272–73. http://dx.doi.org/10.1353/pgn.0.0193.

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Bolton, W. F. "A poetic formula inBeowulf and seven other old English poems: A computer study." Computers and the Humanities 19, no. 3 (July 1985): 167–73. http://dx.doi.org/10.1007/bf02259532.

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Furnish, Shearle. "Thematic Structure and Symbolic Motif in the Middle English Breton Lays." Traditio 62 (2007): 83–118. http://dx.doi.org/10.1017/s0362152900000544.

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The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.

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Niles, John D. "The trick of the runes in The Husband's Message." Anglo-Saxon England 32 (December 2003): 189–223. http://dx.doi.org/10.1017/s0263675103000097.

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The Old English poem known as The Husband's Message begins in the same minimalist style as is typical of a number of poems of the Exeter Book (Exeter, Cathedral Library, 3501). A first-person speaker, an ‘I’, begins speaking without any context for speech yet being established, without any self-introduction, and without as yet any known purpose: Nu ic onsundran þe secgan wille … As with the Exeter Book elegies known as The Seafarer, The Wife's Lament and Wulf and Eadwacer, just as with all fifty Exeter Book riddles that are put into the first person singular voice, there is an implied challenge for the reader to discover who the speaker is and to fill out his or her full story. The poem thus begins with a small enigma. It is easy to tell that we are in the midst of that part of the Exeter Book that consists of close to one hundred riddles interspersed by a small miscellany of other poems, several of which are riddle-like in their resistance to easy interpretation.

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GETTY, MICHAEL. "Differences in the metrical behavior of Old English finite verbs: evidence for grammaticalization." English Language and Linguistics 4, no. 1 (May 2000): 37–67. http://dx.doi.org/10.1017/s1360674300000137.

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This paper deals with the metrical behavior of a class of verbs in Old English whose descendants became the syntactically distinct auxiliaries of the modern period (have, be, may, will, shall, and associated forms). Contrasting two poems from the Old English period (Beowulf and The Battle of Maldon), I show that while the verbs in question show consistently stressed metrical placement in Beowulf, in Maldon they show a pronounced tendency to be placed in unstressed metrical positions, while verbs outside the eventual class of auxiliaries differ indiscriminately. In this way, the poetry suggests a phonological difference between pre-auxiliaries and other verbs perhaps centuries before corresponding morphological and syntactic differences fully emerged in the Middle and early Modern English periods.

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پیرۆت, بەرزان علی, and هێمن جاسم محمد. "ڕەنگدانەوەی سەبکی عێراقی لە شیعرەكانی حەریقدا." Journal of University of Raparin 6, no. 2 (October 23, 2019): 352–71. http://dx.doi.org/10.26750/vol(6).no(2).paper20.

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The title of the research is (The reflection of Iraqi Style on Hariq‌s poems) In Persian language the word (Sabk) stands for the word (Style) in English and (Shewaz) in Kurdish. Persian Literature stylistically is divided into (Khorasani Style, Iraqi style and Hindi style). style is the lingual, ideological and literary characteristics that is common in a certain period, and poets follow it. As Persian literature has had strong influence on Old Kurdish Literature, so in this research it has been tried to explain the lingual, ideological and literary characteristics that (Sirus Shamisa) has invented it of Iraqi style on Hariq. The content of the research consists of two parts, the first aspect is about (concept of style, definition of style and the reasons of coming out Iraqi style, the second aspect is about (The characteristics of Iraqi style in terms of (lingual, ideological and literary). The second part is about practicing Hariq‌s poems and determining the characteristics of Iraqi style with poetical examples.

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Goswami, Dr Karabi. "Radical Voices in Indian English Poetry: A Study of the Poetry of Kamala Das." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i12.10241.

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The creative genius of Kamala Das, one of the most prominent voices of protest in Indian English Literature is often compared to the American poet Sylvia Plath and Anne Sexton as both of them used the confessional mode of writing in their poetry. Kamala Das, born in 1934 in Thrissur district of kerela emerged as a distinctive poetic voice with the publication of the first volume of her poetry Summer in Calcutta. In her poems Kamala Das has always raised a voice against the conventionalized figure of a woman, seeking a more dignified and honourable position for woman as an entity. In fact her poetry addresses the most critical issue in the contemporary society-the need to awaken the women. Her poetry collections include- Summer in Calcutta (1965), The Descendents (1967), The Old Playhouse and Other poems (1973), Tonight, This Savage Rite (1979), The Collected Poems (1984). My Story published in 1976 is her autobiography

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Goswami, Dr Karabi. "Radical Voices in Indian English Poetry: A Study of the Poetry of Kamala Das." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 10, 2020): 9. http://dx.doi.org/10.24113/ijellh.v8i1.10322.

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The creative genius of Kamala Das, one of the most prominent voices of protest in Indian English Literature is often compared to the American poet Sylvia Plath and Anne Sexton as both of them used the confessional mode of writing in their poetry. Kamala Das, born in 1934 in Thrissur district of kerela emerged as a distinctive poetic voice with the publication of the first volume of her poetry Summer in Calcutta. In her poems Kamala Das has always raised a voice against the conventionalized figure of a woman, seeking a more dignified and honourable position for woman as an entity. In fact her poetry addresses the most critical issue in the contemporary society-the need to awaken the women. Her poetry collections include- Summer in Calcutta (1965), The Descendents (1967), The Old Playhouse and Other poems (1973), Tonight, This Savage Rite (1979), The Collected Poems (1984). My Story published in 1976 is her autobiography.

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Jackson, Elizabeth. ""Not Simply Lists": An Eddic Perspective on Short-Item Lists in Old English Poems." Speculum 73, no. 2 (April 1998): 338–71. http://dx.doi.org/10.2307/2887156.

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Machan, Tim William. "Old English Heroic Poems and the Social Life of Texts by John D. Niles." Arthuriana 17, no. 3 (2007): 108–9. http://dx.doi.org/10.1353/art.2007.0029.

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Leneghan, F. "JOHN M. HILL (ed.) On the Aesthetics of Beowulf and Other Old English Poems." Review of English Studies 62, no. 254 (December 23, 2010): 296–98. http://dx.doi.org/10.1093/res/hgq118.

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Thomas, Daniel. "John M. Hill (ed.), On the Aesthetics of Beowulf and Other Old English Poems." Notes and Queries 59, no. 3 (June 28, 2012): 447–48. http://dx.doi.org/10.1093/notesj/gjs070.

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Hill, Thomas D. "The ‘Variegated Obit’ as an Historiographic Motif in Old English Poetry and Anglo-Latin Historical Literature." Traditio 44 (1988): 101–24. http://dx.doi.org/10.1017/s0362152900007029.

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The object of this paper is to identify a particular stylistic feature in the Old English Genesis A, to point out its affinities in Anglo-Latin historical literature (particularly in the historical writings of Byrhtferth of Ramsey), and to discuss the implications of those affinities. In conclusion I propose to discuss the literary history of this motif and some occurrences in other Old English poems — notably in Beowulf. I will thus move from fairly mechanical problems of source-study and stylistic affinity to some important ideological and literary issues, but unfortunately the more important issues are also more difficult to resolve.

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Buivytė, Giedrė. "The Manifestations of Fate in Medieval Germanic Poetry and Lithuanian Folk Songs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 8–21. http://dx.doi.org/10.37384/aplkp.2021.26-2.008.

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Reflections of mythical worldview are embedded in traditional oral poetry, viz. Old Icelandic collection of poems Poetic Edda, Old English poem Beowulf, and Lithuanian folk songs. Archaic motifs and archetypal imagery are conveyed by means of poetic grammar (alliteration, kennings, epithets, etc.). Through interpretation, the hidden (symbolic) meaning of the poetic grammar is unveiled, and the connection between the two worlds, the sacred (the divine) and the profane (the human) (Eliade 1959), is exposed. To advance the analysis of poetic narrative, the methodology employed in the paper combines comparative Indo-European poetics (Watkins 1995) and oral-formulaic theory (Kiparsky 1976; Foley 1996). The paper focuses on the poetic narrative’s motifs that encode the archetypal image of the goddess(es) of fate in the Germanic and Baltic traditions. Selected passages from Old Icelandic, Old English, and Lithuanian poetic texts reveal the motif of fate in the following contexts: the establishment of the laws governing human life, the courtship and wedding narrative, the inescapable decrees of misery and death, the warrior’s fame and fate, and the connection between the goddess of fate and the cuckoo bird (in the Lithuanian tradition). The poetic grammar and poetic formulas, in particular, reveal the prototypical characteristics of the supernatural beings who rule fate – Norns, Wyrd, and Laima – and present them as an integral part of the Indo-European mythological system.

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Leneghan, Francis. "The departure of the hero in a ship: The intertextuality of Beowulf, Cynewulf and Andreas." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 24, no. 1 (September 12, 2019): 105. http://dx.doi.org/10.17811/selim.24.2019.105-132.

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This article identifies a new Old English poetic motif, ‘The Departure of the Hero in a Ship’, and discusses the implications of its presence in Beowulf, the signed poems of Cynewulf and Andreas, a group of texts already linked by shared lexis, imagery and themes. It argues that the Beowulf-poet used this motif to frame his work, foregrounding the question of royal succession. Cynewulf and the Andreas-poet then adapted this Beowulfian motif in a knowing and allusive manner for a new purpose: to glorify the church and to condemn its enemies. Investigation of this motif provides further evidence for the intertextuality of these works.Keywords: Old English poetry; Beowulf, Cynewulf; Andreas; Anglo-Saxon literature

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