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Mae Kilker. "The Rune Poem and the Anglo-Saxon Ecosemiosphere: Identifying the Eolh-Secg in Man and Plant." Journal of English and Germanic Philology 116, no. 3 (2017): 310. http://dx.doi.org/10.5406/jenglgermphil.116.3.0310.
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Nash, Walter. "An Anglo-Saxon mystery." Language and Literature: International Journal of Stylistics 19, no. 1 (February 2010): 99–113. http://dx.doi.org/10.1177/0963947009356721.
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The Anglo-Saxon poem called Wulf and Eadwacer, a text so deeply embedded in ambiguity as to have achieved canonic status on that account alone, is the subject of this exercise, which reviews briefly the progress of interpretation from the late 19th century to the present time. It then considers methods of study, as orientated from the source-text, which begets translations, or, conversely from various translations leading back to the source. The pedagogic implications of ‘teaching a poem’ arise out of this discussion, which consequently questions the purpose and value of translation as an instructional and imaginative exercise.
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Rigaux, Maxim, and Stijn Praet. "Editorial Note." Journal of Latin Cosmopolitanism and European Literatures, no. 2 (November 26, 2019): iv—v. http://dx.doi.org/10.21825/jolcel.v2i0.15635.
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The image on the cover of this second issue of JOLCEL shows a detail from the so-called Franks Casket, an early eight-century Anglo-Saxon chest made out of whale’s bone, possibly designed to hold a psalter. This artefact constitutes a truly breath-taking nexus of cultural traditions, juxtaposing tableaus as varied as Romulus and Remus being suckled by the shewolf, the mythical Germanic Wayland the Smith at work on his anvil, and the Adoration of the Magi. The scene which has been reproduced here depicts the consequences of the Roman emperor Titus’ sacking of the city of Jerusalem. The inscription in the upper righthand margin starts out in the Latin tongue and script: “hic fugiant hierusalim” (“Here flee from Jerusalem…”). This phrase is then continued vertically, still in Latin but rendered in Anglo-Saxon runes: “ᚪᚠᛁᛏᚪᛏᚩᚱᛖᛋ,” which can be transcribed as “(h)abitatores” (“…its inhabitants”). If we also were to take a look at the left side of this panel (not included here), we would encounter further runic inscriptions in Anglo-Saxon that describe the ancient siege itself. Clearly, Latin and its cultural past are being represented here as being part of a larger and more complex whole, a whole in which, at first sight, they do not even seem to occupy a central position.
This leads us to the present volume’s overarching topic, ‘Latin on the margins’, which has its earliest origins in the Telling Tales Out of School-conference organised by RELICS in 2017. It might come as a surprise to the reader that, only having arrived at our second issue, we turn to the aspect of Latin on the margins. However, by placing these topics at the centre of our journal, and in dialogue with texts that are traditionally considered key texts of the Latin tradition, we seek to reconsider the aspect of centre versus margin in Latin literature, with a particular focus on how education in Latin played a crucial role in this.
Indeed, the three articles we present to the reader in this issue deal with texts that are generally viewed as examples of the use of Latin in the margins. The margins in question are either geographical ones (Tlatelolco in Mexico City) or chronological ones (nineteenthcentury Sweden). This issue hopes to show that what we have come to define as ‘marginal’ is only a question of perspective. In the formation of writers that we consider today to be at the margin of the Latin tradition, Latin education still was—or had recently become—a central element.
Andrew Laird (Brown University) and Heréndira Tellez Nieto (Cátedras Conacyt), in their respective articles, draw attention to the College of Tlatelolco, located in Mexico City. The use of Latin for the instruction of the Nahua peoples was never regarded as a ‘marginal’ phenomenon; on the contrary, Latin was a crucial medium to enhance mutual understanding, which in turn created a new and vibrant dynamic, far from Europe. This explains how Tlatelolco became a new centre for the study of the Latin language and its literatures, in interaction with the indigenous traditions of native Mexicans.
Chronologically and geographically, nineteenth-century Sweden is, undoubtedly, at the margin of the Latin tradition; but, as Arsenii Vetushko-Kalevich (Lund University) explores in his article, for someone like Carl Georg Brunius, author of the longest Latin poem ever written in Sweden, the attempt to rewrite Nordic mythology in classical Latin hexameters probably felt more like a natural reflex than as an anachronism. By reinterpreting the classical echoes in the epic De diis arctois as more than mere “metrical necessities,” Vetushko-Kalevich seeks to give new meaning to the poem.
Finally, in his illuminative response to the articles of this issue, Alejandro Coroleu (ICREA—Universitat Autònoma de Barcelona) reflects more deeply on the consequences of this thinking in terms of what he calls “beyond Europe, beyond the Renaissance, and beyond the vernacular.” He makes a plea for the inclusion of these texts that are usually left out of the picture, in order to get a better insight in the aspects which make the Latin tradition a cosmopolitan one.
The second issue of JOLCEL focuses on texts from the (early) modern period, but intentionally goes beyond those of the Italian humanist ideals. The articles analyse the use of Latin in contexts where the idea of translatio imperii is at first sight no longer a logical one: the Latin tradition has to impose itself on already existing traditions, such as the Nahua mythology or Nordic sagas. Interestingly, this imposition soon shifts to a renegotiation of the hierarchy of traditions. Latin, then, becomes a medium in which new traditions emerge.
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Viljoen, L. "The Beowulf manuscript reconsidered: Reading Beowulf in late Anglo-Saxon England." Literator 24, no. 2 (August 1, 2003): 39–58. http://dx.doi.org/10.4102/lit.v24i2.290.
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This article defines a hypothetical late Anglo-Saxon audience: a multi-layered Christian community with competing ideologies, dialects and mythologies. It discusses how that audience might have received the Anglo-Saxon poem Beowulf. The immediate textual context of the poem constitutes an intertextual microcosm for Beowulf. The five texts in the codex provide interesting clues to the common concerns, conflicts and interests of its audience. The organizing principle for the grouping of this disparate mixture of Christian and secular texts with Beowulf was not a sense of canonicity or the collating of monuments with an aesthetic autonomy from cultural conditions or social production. They were part of the so-called “popular culture” and provide one key to the “meanings” that interested the late Anglo-Saxon audience, who would delight in the poet=s alliteration, rhythms, word-play, irony and understatement, descriptions, aphorisms and evocation of loss and transience. The poem provided cultural, historical and spiritual data and evoked a debate about pertinent moral issues. The monsters, for instance, are symbolic of problems of identity construction and establish a polarity between “us” and the “Other”, but at the same time question such binary thinking. Finally, the poem works towards an audience identity whose values emerge from the struggle within the poem and therefore also encompass the monstrous, the potentially disruptive, the darkness within B that which the poem attempts to repress.
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Neville, Jennifer. "Hrothgar's horses: feral or thoroughbred?" Anglo-Saxon England 35 (December 2006): 131–57. http://dx.doi.org/10.1017/s026367510600007x.
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AbstractThis article sets forth the contrast between the image of the horses in Beowulf and the image of Anglo-Saxon horses that can be derived from archaeology, historical narratives, wills, law codes and glossaries. It focuses particularly on the issue of colour, represented in the poem by the difficult word fealu and its derivative, æppelfealu. It argues that the horses described in Beowulf do not match up closely with Anglo-Saxon horses recorded in any century and that they would have struck the poem's tenth-century audience as very strange. This strangeness has implications for our understanding of Anglo-Saxon reception of the poem.
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Tatarkina, Svetlana Mikhailovna. "Concept “Weapon” in the Anglo-Saxon Poem “Judith”." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2020): 191–97. http://dx.doi.org/10.30853/filnauki.2020.2.38.
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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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Matyushina, Inna G. "ALFRED THE ÆTHELING AND THE ANGLO-SAXON CHRONICLE POEM." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 7 (2015): 83–121. http://dx.doi.org/10.28995/2073-6355-2015-7-83-121.
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Lundgreen-Nielsen, Flemming. "Grundtvig, angelsakserne og Sidste Digt." Grundtvig-Studier 50, no. 1 (January 1, 1999): 208–26. http://dx.doi.org/10.7146/grs.v50i1.16341.
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On Grundtvig and Anglo-Saxon Poetry, esp. Regarding his Last PoemBy Flemming Lundgreen-NielsenThe article discusses the degree of Anglo-Saxon influence on Grundtvig’s poetical imagery and on his conception of the transition from earthly life through death to eternal life and salvation. S.A.J. Bradley’s emphasis on Anglo-Saxon reminiscences in Grundtvig’s farewell poem, 1872 (in Heritage and Prophecy, 1993) is acknowledged as as a valuable contribution to the understanding of the text; yet his moderation of the influence from the poetical practice of Danish 18th century lyrical poets and from the Greek myth of Charon, the ferryman of death, is questioned in the light of Danish 19lh century reception of these recent writers and of Grundtvig’s own preoccupation with Greek myths and history in the 1840s. William Michelsen’s interpretation of Grundtvig’s last poem (in Grundtvig Studier 1995) is discussed in some detail, relating to the idea of the action as a reversal, i.e. Christianization, of the Charon or Valhal myth. Finally Merete Bøye’s attempt (in Grundtvig Studier 1998) to establish a dichotomy borrowed from Anglo-Saxon Christian poetry of Hall and Ocean (»Hal« and »Hav«) in Grundtvig’s writings, understood as symbolic locations in an eschatological perspective, is supplemented by information of the use of these words and terms in the literary universe of Grundtvig and his contemporaries. The article concludes with an 1832 quotation from Grundtvig to the effect that in true poetry and true prophecies, produced by skalds who are not professional soothsayers, ambiguity is the point, allowing each reader to make what he can of it. Therefore a comprehension of Grundtvig’s last poem should not be narrowed down to the con-sideration of only one pattern, in this case from Anglo-Saxon poetry.
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Smith, Scott Thompson. "The Edgar poems and the poetics of failure in the Anglo-Saxon Chronicle." Anglo-Saxon England 39 (December 2010): 105–37. http://dx.doi.org/10.1017/s0263675110000074.
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AbstractThe two poems dedicated to King Edgar in Anglo-Saxon Chronicle manuscripts ABC can be dated with some precision. This essay consequently reads the Edgar poems as contemporary products of two very different historical moments during the Benedictine reform. Written from a distinctly monastic perspective, the poem for 973 was one of many ideological texts and events from late in Edgar's reign committed to affirming the king's divinely-sanctioned sovereignty. The 973 poem realigns the function of verse in the Chronicle, adopting dynastic praise poetry to more ecclesiastical concerns. The poem for 975, however, breaks with the Chronicle precedent of panegyric verse and instead offers a critical complaint against the attacks on monastic landholdings in the wake of Edgar's death. The two Edgar poems can be best appreciated as historically-situated verse productions.
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Clark, Stephanie. "A more permanent homeland: land tenure in Guthlac A." Anglo-Saxon England 40 (December 2011): 75–102. http://dx.doi.org/10.1017/s0263675111000068.
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AbstractTo a greater extent than other saints' lives, Guthlac A is a poem about a land dispute. Through contextualizing the central ‘battle for the beorg’ within Anglo-Saxon practices of land tenure, this article shows that Guthlac A represents the spiritual conflict between Guthlac and the devils as a land dispute between unworthy tenants who have been given temporary tenure of the land and a warrior of God who is granted permanent tenure as his reward for faithful service. By portraying the devils' loss of the beorg and Guthlac's acquisition of it through the framework of Anglo-Saxon customs of land-holding, the poem dramatizes replacement doctrine, the teaching that the number of the saved would equal the number of fallen angels and replace them in the heavenly kingdom.
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Terry, John T. R. "Æthelwulf’s De abbatibus and the Anglo-Saxon Ecological Imagination." Journal of Medieval and Early Modern Studies 49, no. 3 (September 1, 2019): 479–500. http://dx.doi.org/10.1215/10829636-7724625.
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Modern scholarship on early medieval views of nature tends to rely too heavily on binary interpretations of positive and negative representations. This article uses an early ninth-century Anglo-Latin poem, Æthelwulf’s De abbatibus (“On the abbots” of an unknown Northumbrian monastic community), as a window into the ways in which early medieval people saw their natural world not as a passive space for human activity, but as an active participant in religious life. This reading comports with ecocritical interpretations of Æthelwulf’s poem alongside contemporary Anglo-Saxon stone sculpture. An understudied text, Æthelwulf’s De abbatibus provides an opportunity to understand how early medieval people could situate nature at a narrative’s center, crediting it with the capacity to shape religious behavior and belief. Æthelwulf’s work should be seen among a rich late antique and early medieval literary and artistic tradition of ecological imagination, in which nature was an interpretive key for articulating religious identity and community.
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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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Hiatt, Alfred. "Beowulf off the map." Anglo-Saxon England 38 (December 2009): 11–40. http://dx.doi.org/10.1017/s026367510999010x.
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AbstractThis essay uses maps that have illustrated Beowulf since Klaeber's edition as a starting point for an exploration of spatial representation in the poem. It is argued that modern maps do not offer particularly useful tools for understanding the poem, and that ‘chorography’, that is, the description of regional space, may be a more accurate term for analysis of Beowulf than ‘geography’. The poem presents a topography intimately connected to the interrelations of different peoples, and the frequent movement between past, present and future times. The final section of the article considers the postmedieval reception of spatial reference in Beowulf, disputes the presence of an Anglo-Saxon ‘migration myth’ in the poem, and raises some implications for genre that result from spatial analysis.
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Bueno-Alonso, Jorge L. "“Eorlas arhwate eard begeatan”." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 1 (April 19, 2011): 58–75. http://dx.doi.org/10.1075/babel.57.1.04alo.
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The poetic insert known as <i>The Battle of Brunanburh</i> (<i>Anglo-Saxon Chronicle</i> 937) constitutes by no means one of the most interesting texts for the building of the Old English heroic geography. Its author, as Marsden states (2005: 86), “builds a sense of national destiny, using style, diction and imagery of heroic poetry”. There are many interesting issues to deal with when you want to revise how the elements Marsden quotes are used in the construction of a poem that uses history as a narrative device to build the inner story of the poem experimenting with the topics (style, diction, imagery) of heroic poetry. If the poem constitutes such a crucial text, if its emphasis is on “English nationalism” in an historical perspective rather than on individual heroics, as Marsden points out (2005: 86), it seems most evident that a careful consideration of these topics has to be made when translating the text into other languages. The aim of this article is to revisit the poem and its topics and to see how that careful consideration has been accomplished in several important English (Treharne 2004, Hamer 1970, Rodrigues 1996, Garmonsway 1953, Swanton 2000) and Spanish (Lerate & Lerate 2000, Bravo 1998, Bueno 2007) translations that consider the poem in isolation, in the context of the Anglo-Saxon Chronicle or as an excuse for poetic inspiration, i.e. the case of Borges’ 1964 and 1975 poems and Tennyson’s 1880 text.
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Proskurina, A. V. "Phenomenon of Fasting in the Early Christian Anglo-Saxon Tradition." Bulletin of Kemerovo State University 24, no. 5 (November 7, 2022): 635–53. http://dx.doi.org/10.21603/2078-8975-2022-24-5-635-653.
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: The Old English poem Seasons for Fasting was written in the X century and consists of 230 lines. This article describes it through the prism of fasting in the Old English tradition. Like any other Old English Christian sermon, Seasons for Fasting focused on the moral rules of Christian life. It represented the first procedures for seasonal fasts. The author translated the poem and performed an interdisciplinary study of the phenomenon of fasting against the background of the indisputable position of faith in the Anglo-Saxon culture. The Old and New Testaments, as well as the Indo-European myths, showed the deep cultural interconnection of archaic traditions. A detailed idea of divinely revealed truth was reflected already in the earliest Christian texts where references to commandments from the Old Testament intertwined with the moral principles of the New Testament. The goal of the study was to determine the complex nature of the traditional methods used for philological analysis of texts and the semiotic approach to texts. The view of food as sacred and profane was manifested already at the early stages of the religious consciousness development. Traditionally, fasting issues were considered as part of prayer appeals. Seasons for Fasting stressed the New Testament idea that sinners could not enter the Kingdom of God without repentance and awareness of their unrighteous life. The paper highlights the symbolism of fire, mountains, cosmos, sacrifice, submersion, burial, and the Kingdom of Heaven. The article also provides a list of variant addresses to God used in the poem: the Old English period saw a well-developed Christian tradition, which had no direct naming for the devil.
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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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Killilea, Alison Elizabeth. "The Grendel-kin: From Beowulf to the 21st century." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 97–101. http://dx.doi.org/10.33178/boolean.2015.20.
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Since the 19th century, the Anglo-Saxon poem Beowulf has received sustained critical attention; first transcribed and translated in the early 1800’s, Beowulf was at a focus point in scholarly study, albeit not on the merit of its literary or poetic achievement. The text was valued more as an interesting linguistic document until what has been described as one of the most important turning points in criticism of the poem, J.R.R Tolkien’s study Beowulf: The Monsters and the Critics, delivered in 1936. In this essay, Tolkien argued for the integrity of the poem in and of itself and for the central place of what are now often seen as the defining aspects of the poem: the monsters, who Tolkien argued held symbolic significance in the poem, and elevated it to more than just an exciting epic concerning the feats of the hero Beowulf against Grendel, Grendel’s mother, and the dragon. Since ...
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MILLER, ANDREW. "Favoring Nature: Herman Melville's “On the Photograph of a Corps Commander”." Journal of American Studies 46, no. 3 (May 9, 2012): 663–79. http://dx.doi.org/10.1017/s0021875811001381.
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This paper involves a close reading of Herman Melville's poem “On the Photograph of a Corps Commander,” published in Melville's 1866 collection Battle-Pieces. Realizing that Melville's poem is one of the first descriptions (ekphrases) of a photograph in verse, the paper explores how Melville's poem uses physiognomy to describe the subject of the photograph: an American Civil War general, who is only identified as “the Corps Commander.” In this way, Melville's poem reflects the nineteenth-century philosophical and popular notions of photography. These notions came to regard photography as a Neoplatonic medium capable of recording and revealing the inner character of its subjects. Relying on these conceptions of photography, Melville's poem describes the photograph of the Corps Commander as having the power to reveal the Platonic absolute of American masculinity, and thus it comes to hail the photograph as a semi-sacred image that has the power to draw Anglo-Saxon American men into a common brotherhood.
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Porck, Thijs, and Sander Stolk. "Marking Boundaries in Beowulf: Æschere’s Head, Grendel’s Arm and the Dragon’s Corpse." Amsterdamer Beiträge zur älteren Germanistik 77, no. 3-4 (October 19, 2017): 521–40. http://dx.doi.org/10.1163/18756719-12340090.
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Abstract In the Old English poem Beowulf, several body parts are put on display, including Grendel’s arm at Heorot and Æschere’s head on top of a cliff. The first instance has been widely discussed by various scholars, who have tried to find out why and where the arm was hung. By contrast, scholarly treatments of the second instance are relatively scarce. This article places the exhibition of Æschere’s head by Grendel’s mother in the context of similar practices of decapitation and display in Anglo-Saxon England. It will be argued that the placement of the head of Æschere on top of the cliff towering over Grendel’s mere resembles the Anglo-Saxon heafod stoccan, ‘head stakes’, which acted as boundary markers. The monster’s act, therefore, would not strike as foreign to the Anglo-Saxon audience, but would be familiar. As we will show, the identification of Æschere’s head as a boundary marker, placed at the edge of the monsters’ domain, also has some bearing on the interpretation of other potential boundary markers in the poem, including Grendel’s arm and the dragon’s corpse. Lastly, we will argue for a new reading of two textual cruces in Beowulf’s speech prior to his fight with Grendel.
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Baeva, Maria P. "THE PECULIARITIES OF TRANSLATION OF KENNINGS IN ANGLO-SAXON POEM “BEOWULF”." Bulletin of the Moscow State Regional University (Linguistics), no. 4 (2016): 110–18. http://dx.doi.org/10.18384/2310-712x-2016-4-110-118.
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DeAngelo, Jeremy. "Discretio spirituum and The Whale." Anglo-Saxon England 42 (December 2013): 271–89. http://dx.doi.org/10.1017/s0263675113000136.
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AbstractThis piece identifies an extension to the lesson of the Exeter Book poem The Whale. The work not only admonishes its audience to guard against temptation masquerading as virtue, but also indicates how one may go about doing so. The selection of the whale as a subject places the poem within an extensive biblical and patristic tradition concerning sea creatures that was well represented in Anglo-Saxon England. Specifically, the allusions present in The Whale identify discretio spirituum as the essential skill needed to avoid disguised temptation, and point to Pride as the weakness most capable of leading Christians astray.
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Chaganti, Seeta. "Vestigial Signs: Inscription, Performance, and The Dream of the Rood." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 48–72. http://dx.doi.org/10.1632/pmla.2010.125.1.48.
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Anglo‐Saxonists often explore connections between The Dream of the Rood and two ritual objects, the silver Brussels cross and the sandstone Ruthwell monument, inscribed with verses related to the poem. This essay offers a new perspective on these artifacts, elucidating not a historical narrative linking them but rather an Anglo‐Saxon poetics made visible in their juxtaposition. It argues that these three manifestations reveal a dialectic of inscription and performance in Anglo‐Saxon poetics. Reading the familiar Old English text through J. H. Prynne's “A Note on Metal” (1968), which imagines dialectics both of metal and stone and of inscription and performance, the essay also interrogates certain divisions between premodern and modern aesthetic traditions. Theories of media, performance, and inscriptionality help to stage an interdisciplinary analysis of The Dream of the Rood and to show that its poetics originate in the formal frameworks of Anglo‐Saxon material culture. (SC)
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Quadri, Kahkasha Moin, Haseeb Ahmed, and Mohammed Osman Abdul Wahab. "Emotional Analysis of G. M. Hopkins’ Spring and Fall." International Journal of Linguistics, Literature and Translation 4, no. 9 (September 30, 2021): 50–55. http://dx.doi.org/10.32996/ijllt.2021.4.9.6.
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This article critically focuses on the emotions created in the poetry of Gerard Manley Hopkins. It explores the various features responsible for creating feelings in poetry. Among them are word choice, sound choice and imagery. Moreover, it delves into the poem to anayse how devices such as alliteration, simile, metaphor, diction, and symbolism play a vital role. Appropriate implementation of these features create strong emotions in poetry. In most of his poems, Hopkins employed coinage words. In “Spring and Fall”, he doubly used coinage words in a single – line. In the second line of the poem, he coined ‘Goldengroove’ and ‘unleaving’ and in the eighth line ‘wanwood’ and ‘leafmeal’. The word ‘Goldengroove’ is not used for a place in reality yet, and it is a place that represents autumn’s beauty. ‘Golden groove also refers to the ‘Garden of Paradise’. It indicates the four seasons of the year and the chronological phases of human life too. The words ‘golden’ and ‘groove’ are combined to form a single word. The word ‘unleaving’ encapsulates the noun ‘leaf’ employed as a verb possessing a negative prefix ‘un’, which means ‘leaving leaves’. The coinage word ‘unleaving ' is an Anglo-Saxon and comes in the category of pun. Another word, 'wanwood', is also a compound word. ‘Wanwood’ explains the pale condition of trees that have shed their leaves, so they seem to become ‘wan’ or pale. Initially, the word ‘leafmeal’ appears to be ambiguous, yet this ambiguity is expelled immediately.’Leafmeal’ refers to the phrase ‘leaf by leaf’. The two words ‘wanwood’ and ‘leafmeal’ are originated from Anglo- Saxon ring. Hopkins entitled the poem” Spring and Fall”, which itself enhances strong emotion. The rhyme scheme's alteration in this innovative poem, “Spring and Fall”, exhibits the speaker's feelings.
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Monk, Christopher. "A context for the sexualization of monsters in The Wonders of the East." Anglo-Saxon England 41 (December 2012): 79–99. http://dx.doi.org/10.1017/s0263675112000105.
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AbstractThe belief that monsters had a human genealogy originating at a point of transgressive sexual behaviour is something attested to in early medieval texts that either circulated or were written in Anglo-Saxon England. The Hiberno-Latin Reference Bible, a widely known text of the period, and the Old English poem Genesis A both suggest that the sexual deviancy of the progenitors of monsters is perceivable as reiterated stigmata on the monstrous bodies of their progeny. It is within this context of theological exegesis and poetic imagination that the Anglo-Saxon drawings of monsters in The Wonders of the East were produced. What one sees in the depiction of monsters therein is a performance of sexual monstrosity that links monsters to their human forbears; but also, by means of the illustrated interaction of monster and human, the monster is brought perilously close to the here-and-now of the Anglo-Saxon reader-viewer's imagined world.
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Greenfield, Stanley B. "Wulf and Eadwacer: all passion pent." Anglo-Saxon England 15 (December 1986): 5–14. http://dx.doi.org/10.1017/s0263675100003665.
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The nineteen-line Old English poem known as Wulf and Eadwacer has proved a notorious lodestone and analytical trap for critics; and still another interpretation of it may seem futile, if not presumptuous. Nevertheless, I believe no more firmly in my interpretation than others have believed in theirs: that is, I am no less confident that it will clear up most of the verbal and situational mysteries the poem presents; that it will enable us to see the lyric as structurally whole; that it will help us appreciate even more its aesthetic qualities; and that it will gain a critical consensus. To achieve such modest goals, I shall have to consider assumptions about the mind-set of the Anglo-Saxon audience as well as the poem's structure, diction, tone and imagery. It will thus be well to have the poem before us, and I venture a poetic translation which I shall comment on in due course.
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Baeva, Maria P. "ETYMOLOGY AND CHARACTERISTICS OF TRANSLATING ANTHROPONYMS AND TOPONYMS IN ANGLO-SAXON POEM “BEOWULF”." Bulletin of the Moscow State Regional University (Linguistics), no. 2 (2017): 56–66. http://dx.doi.org/10.18384/2310-712x-2017-2-56-66.
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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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Lewis, David J. G. "The metre of Genesis B." Anglo-Saxon England 16 (December 1987): 67–125. http://dx.doi.org/10.1017/s0263675100003860.
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Genesis B has been almost completely ignored in studies of Old English prosody, most notably by the modern ‘schools’ of Alan Bliss and John C. Pope. Bliss regarded the work, a 617-line interpolation in the Old English Genesis, as ‘untrustworthy’ for the purpose of metrical examination, while Pope excluded it from his examination of Old English hypermetric verse ‘because it is translated from Old Saxon, and retains some of the peculiarities of the latter’. E. G. Stanley expressed similar doubts: ‘Old Saxon verse and the verse of Genesis B (which appears to be an Anglo-Saxon offshoot of it) are only with difficulty to be accommodated within any4 set of rules derived from the metrical practice of the vast majority of the Anglo-Saxon poets’. In his edition of the poem Timmer believed that a metrical comparison of lines 790–817a and the corresponding lines of the Old Saxon Genesis corroborated his view that the interpolation was the work of a continental Saxon who had transliterated the original Old English with minor adjustments, a view supported by a more recent syntactic study.
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Crick, Julia. "An Anglo-Saxon fragment of Justinus's Epitome." Anglo-Saxon England 16 (December 1987): 181–96. http://dx.doi.org/10.1017/s0263675100003896.
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In 1910, Samuel Brandt published a description and photograph of a fragment of Justinus's Epitome of the Historiae Philippicae of Pompeius Trogus. The leaf, whose present location is unknown, belonged at that time to the collection of Ernst Fischer at Weinheim. Fischer dated its script, an Anglo-Saxon minuscule, to about AD 800, which, as Brandt observed, would mean that it antedated the earliest known manuscripts of the text, which are ninth-century. Although E. A. Lowe indicated in his Codices Latini Antiquiores that the fragment was lost, it has continued to attract scholarly attention. Professor Bernhard Bischoff suggested that the fragment could be identified with a copy of Justinus listed among the books of Gerward, palace librarian of Louis the Pious. This implied connection with the Carolingian court, taken together with Alcuin's naming of Justinus's work among the books described in the poem on York and his later association with the Carolingian court, has raised the possibility of an English origin for the Weinheim manuscript and therefore also for the earliest known branch of the text. As L.D. Reynolds remarked, ‘This fragment has a significance quite out of keeping with its size.’
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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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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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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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Lendinara, Patrizia. "The Abbo glossary in London, British Library, Cotton Domitian i." Anglo-Saxon England 19 (December 1990): 133–49. http://dx.doi.org/10.1017/s0263675100001642.
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The process through which glossaries came into being can sometimes still be seen and studied in surviving manuscripts, and in such cases it provides a valuable index to the way in which Latin texts were studied in medieval schools. This is the case with an unprinted glossary in London, British Library, Cotton Domitian i. The glossary is mainly made up of words taken from bk III of the Bella Parisiacae urbis by Abbo of Saint-Germain-des-Prés, a work which was widely studied in English schools in the tenth and eleventh centuries, above all because of its unusual vocabulary. We know that Abbo drew the unusual vocabulary in his poem from pre-existing glossaries such as the Liber glossarum and the Scholica graecarum glossarum; but he also took from these works the interlinear glosses which he provided for the difficult words in bk III of his poem, and these in turn are found, with little variation, in all of the manuscripts which preserve the poem. Now under the rubric ‘Incipiunt glossae diversae’ in Cotton Domitian i are collected some two hundred lemmata from bk III of the poem, followed in each case by one or more glosses; on examination these glosses are found to be identical with those which accompany the text in other manuscripts. The glossary in Domitian i thus provides a working model of how a glossary was compiled, and is a further witness to the popularity of Abbo's poem in Anglo-Saxon England.
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Metlitskaya, Zoya Yu. "The situation of conflicting loyalties and the Old English Genesis’ version of the story of the Fall." Russian Journal of Church History 1, no. 2 (July 8, 2020): 35–44. http://dx.doi.org/10.15829/2686-973x-2020-2-26.
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The paper addresses the idiosyncratic version of the story of the Fall presented in the Old English poem Genesis from the perspective of religious and political moral of Early Medieval Society. The methodology of the research bases on the analysis of the social functions of texts. To understand the didactic message of the poem the poet’s conception of “fall” should be looked attentively. “The Fall” of angels and men is presented in the text as the failure of choice, due to overconfidence or the appellation to the wrong authority. As could be seen from historical sources the problem of choice in the situation of conflicting loyalties was essential for Anglo-Saxon society. Person’s behavior in this situation was judged according to the results of his or her actions, not according to his or her initial reasons.
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Noack, Bent. "Den oldengelske digtning og Grundtvig." Grundtvig-Studier 41, no. 1 (January 1, 1989): 141–56. http://dx.doi.org/10.7146/grs.v41i1.16025.
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Grundtvig and Anglo-Saxon PoetryBy Bent NoackGrundtvig’s work on Anglo-Saxon poetry and his use of it is, in many respects, an important part of his legacy to his people and his church. It was the historian Grundtvig who, at the beginning of his career, used the Beowulf Poem in his mythological studies and both welcomed and criticized Thorkelin’s 1815 edition of it. His work on Beowulf went on, almost till the end of his life, with translations, reproduction and, finally, an edition in 1861.His journeys to England in 1829 to 1831 also had historical and mythological studies as their main purpose. But soon Grundtvig became aware that England possessed an important group of manuscripts of biblical and religious poetry, the Exeter Book being the most outstanding. He planned an edition, in England, of ’the most valuable Anglo-Saxon manuscripts’, as he said in his ’prospectus’ for a subscription. Part of the plan was eventually carried out by Benjamin Thorpe, but Grundtvig’s work was not done for nothing: many of his readings and emendations are still maintained. In 1840, he published an edition of the ’Phoenix’ with introduction and translation.As a hymn writer Grundtvig reproduced pieces of Anglo-Saxon poetry; his collected hymns contain eight reproductions, and two of them are still among the most cherished of his hymns.
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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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Proskurina, Anna. "Eschatological Expectations in the Early Christian Anglo-Saxon Tradition." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (March 2022): 95–109. http://dx.doi.org/10.15688/jvolsu2.2022.1.8.
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This article is devoted to the problem of interdisciplinary study of linguacultural transfer based on the material of the Old English poem Judgment Day (I), included in the Exeter manuscript dating back to the 10 th century, considered in the aspect of eschatological expectations in the early Christian Anglo-Saxon tradition. The comprehensive understanding of the end of the world, as shown in the work, is reflected already in the early written tradition. The reference to natural disasters, which lead to the apocalypse, is inherently characteristic of Christian texts. Linguacultural transfer is understood in this article as the transfer of information in time, which is considered in two ways: the momentary transfer of information is communication, while handing the information down the generations is a transfer. The article deals with the issues of information transfer in time and space. As an example of rethinking the values of one culture in the tradition of another, the author cites the memetic theory of religion. The article also shows that the theory of linguacultural transfer can be considered and described from the standpoint of cultural matrices, as well as memes (and memetic complexes). The author emphasizes that the vitality of religious beliefs is precisely due to the linguacultural transfer of information within one generation or through the generations.
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van Wanrooij, Tommie. "Van boerderij tot buitenhuis : Identiteitsvorming en machtsverhoudingen in het achttiende-eeuwse stroomdicht." Nederlandse Letterkunde 25, no. 3 (December 1, 2020): 253–74. http://dx.doi.org/10.5117/nedlet2020.3.002.vanw.
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Abstract Dutch literary historians have nearly always regarded the genre of the river poem (in Dutch: stroomdicht) as uninteresting. When river poetry is discussed, it is usually discussed in the context of odes to cities. Anglo-Saxon literary historians have paid more attention to the genre of river poetry and interpreted the early-modern river poem in the context of both the search for national and regional identity and the confirmation or refutation of male, upper-class authority. In this article, it is demonstrated that these frameworks of interpretation can be of use in the analysis of two (once) well-known exponents of Dutch eighteenth-century river poems: Dirk Smits’s De Rottestroom (1750) and N.S. van Winter’s De Amstelstroom (1755). Both river poems establish and justify male, upper-class authority; Smits constructs a predominantly regional identity through images of the Rotte basin, while Van Winter cultivates a national identity through the image of Amsterdam as centre of the Dutch Republic.
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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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Busbee, Mark Bradshaw. "A Few Words about the Recently Published Anglo-Saxon Poem, the First Edition of Beowulf." Grundtvig-Studier 66, no. 1 (August 6, 2017): 7–36. http://dx.doi.org/10.7146/grs.v66i1.26302.
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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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Gogenko, Victoria Vladimirovna, and Irina Vladimirovna Palashevskaya. "Linguistic Representation of Religious Power in the Early Medieval Anglo-Saxon Linguoculture (by the Material of the Poem “Beowulf” and the “Anglo-Saxon Chronicle”)." Filologičeskie nauki. Voprosy teorii i praktiki, no. 10 (October 2022): 3249–54. http://dx.doi.org/10.30853/phil20220515.
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Thornbury, Emily V. "Aldhelm's rejection of the Muses and the mechanics of poetic inspiration in early Anglo-Saxon England." Anglo-Saxon England 36 (November 14, 2007): 71–92. http://dx.doi.org/10.1017/s0263675107000038.
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AbstractIn the metrical preface to his Enigmata, Aldhelm of Malmesbury denies that he has had anything to do with the Muses. While this gesture connects him to his Christian Latin predecessors (and, less directly, to the pagan poets as well), the unique elements of Aldhelm's poem suggest that he is also drawing upon a native tradition of poetry that valued technical skill above lofty subject-matter. By portraying the Muses within this Germanic framework as useless, rather than dangerous, Aldhelm's rejection enabled his successors to employ the Muses, and other Classical allusions, as harmless decorative elements in their verse.
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Joyce, Steve. "A New Source for mons Badonicus? Returning to the Irish life of Finnian of Clonard." Journal of the Australian Early Medieval Association 15 (November 1, 2019): 31–46. http://dx.doi.org/10.35253/jaema.2019.1.2.
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This paper examines a report describing conflict between Saxons and Britons in the Irish life of Finnian of Clonard. It connects this report to the battle at Llongborth, remembered in an early medieval Welsh poem, and to the siege of 'mons' Badonicus, reported by a variety of early medieval insular historians. Both battles have been linked to the legendary King Arthur. In connecting these battles to an entry in 'Anglo-Saxon Chronicle' and to the immediate context of Gildas' 'De excidio Britanniae', this article offers a date for 'mons Badonicus' in the early 480s and conjectures that the 'Age of Arthur', if historical, postdates the publication of 'De excidio'.
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Shiels, Ian. "Wulf and Eadwacer Reloaded: John of Antioch and the Starving Wife of Odoacer." Anglia 140, no. 3-4 (December 1, 2022): 373–420. http://dx.doi.org/10.1515/ang-2022-0056.
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Abstract This study re-examines the idea that Eadwacer in the short Old English ‘Elegy’ Wulf and Eadwacer is a literary representation of the historical Odoacer, a fifth-century Germanic king of Italy, and Wulf is his historical and traditional literary opponent, Theoderic the Ostrogoth. The text of the poem is compared for the first time with the historical records of the contention between Odoacer and Theoderic, and particularly of the siege of Ravenna (490–493). A new and revealing analogue is identified in a seventh-century chronicle of this event by John of Antioch, which introduces Odoacer’s wife as a woman who is starved to death, mirroring a puzzling detail in the poem. It is argued that the historical record (itself featuring literary influence) explains the characters and scenario of Wulf and Eadwacer, which can thus be re-interpreted as a linguistically highly adept and bitter lyric spoken by Eadwacer’s wife, lamenting her marriage to him and longing for her outlaw love, Wulf, set in the landscape of northern Italy. It is argued that it is a unique example of a poem in the (possibly Continental-derived) Anglo-Saxon Theoderic tradition, which was otherwise lost save for a few brief allusions in other poems. It is also suggested that the importance of its speaker and her feminine viewpoint ought to be incorporated into our concept of “heroic” poetry, as it existed in England by the latter tenth century.
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Kalaba Karlica, Jovanka D. "PREGLED MOGUĆIH TUMAČENjA I PREVODNIH REŠENjA STAROENGLESKE ELEGIJE „ŽENINA TUGOVANKA”." Nasledje Kragujevac XIX, no. 52 (2022): 161–73. http://dx.doi.org/10.46793/naskg2252.161k.
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The paper offers a translation of the Old English elegy ‘The Wife’s Lament’ or ‘The Wife’s Complaint’ into Serbian, as well as the explanations of translation solutions based on different interpretations of the poem, which arose from grammatical ambiguities of the Old English language and the composition of the elegy. Given the inevitable speculation that the inter- pretation of such a poem entails, the paper also attempts to move away from the speculation about the concrete events in the poem and focuses on the stylistic and formal aspects of the elegy and the atmosphere it produces, as well as the ideological significance of revisiting a piece of literature such as ‘The Wife’s Lament’ in contemporary literary research. This elegy is a rare example of Old English poetry in which a female voice speaks of human suffering and the transience of earthly things, which raises the question of a ‘female’ standpoint as well as the sexuality and spiritual nature of women, which certain critics see as extremely important and insufficiently emphasized in the overall study of the Old English literature. Regardless of the number of possible translations and thus more interpretive options, the touching lyricism that permeates ‘The Wife’s Lament’ is a strong critique of a heroic society in which a deprived woman manages to articulate her rebellion as a muffled voice of an antihero and outcast from a warrior community. In such circumstances, the essentially passive Anglo-Saxon woman in captivity affirms her own personality, thoughts and feelings with her uninhibited speech.
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Frank, Roberta. "A taste for knottiness: skaldic art at Cnut’s court." Anglo-Saxon England 47 (December 2018): 197–217. http://dx.doi.org/10.1017/s0263675119000048.
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AbstractDuring Cnut’s two decades on the throne, his English court was the most vibrant centre in the North for the production and performance of skaldic praise poetry. Icelandic poets composing for earlier Anglo-Saxon kings had focused on the predictive power of royal ‘speaking’ names: for example, Æthelstan (‘Noble-Rock’) and Æthelred (‘Noble-Counsel’). The name Cnut presented problems, vulnerable as it was to cross-linguistic gaffes and embarrassing associations. This article reviews the difficulties faced by Cnut’s skalds when referring in verse to their patron and the solutions they devised. Similar techniques were used when naming other figures in the king’s vicinity. The article concludes with a look at two cruces in an anonymous praise poem celebrating Cnut’s victory in battle in 1016/17 against the English. Both onomastic allusions — to a famed local hero and a female onlooker — seem to poke fun at the ‘colonial’ pronunciation of Danish names in Anglo-Scandinavian England. Norse court poetry was nothing if not a combative game.
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Ruszkiewicz, Dominika. "“The Flyting of Dumbar and Kennedie” as an Inverted Litany: The Scottish Perspective on a Poetic Agon." Prace Filologiczne. Literaturoznawstwo, no. 10 (13) (April 26, 2020): 293–305. http://dx.doi.org/10.32798/pflit.575.
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This article is composed of two parts. In the first, the Scottish genre of flyting, whose main purpose was to humiliate the opponent, is situated in the context of the Anglo-Saxon cultural and literary tradition. The second offers a stylistic analysis of “The Flyting of Dumbar and Kennedie”, arguing that the poem shows thematic affinity with satiric verse while bearing formal resemblance to litanic verse. “The Flyting” not only displays certain features that are characteristic of the litanic form, but also shares the litanic worldview, with God as the mediator of the poetic agon. Seen from this perspective, the poem’s hostile exchanges of insults do not represent a negation, but merely a reversal of the litanic tradition, and “The Flyting” may be seen as an example of an inverted litany
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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.