Angharat Goch Verch Gwenhover Introduction to Alliterative Verse
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The Middle English "Pearl"
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects January 2014 Dreaming Of Masculinity: The iddM le English "Pearl" And The aM sculine Space Of New Jerusalem Kirby Lund Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Lund, Kirby, "Dreaming Of Masculinity: The iddM le English "Pearl" And The asM culine Space Of New Jerusalem" (2014). Theses and Dissertations. 1682. https://commons.und.edu/theses/1682 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. DREAMING OF MASCULINITY: THE MIDDLE ENGLISH PEARL AND THE MASCULINE SPACE OF NEW JERUSALEM by Kirby A. Lund Bachelor of Arts, University of North Dakota, 2011 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillment of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 2014 © 2014 Kirby Lund ii This thesis, submitted by Kirby Lund in partial fulfillment of the requirements for the Degree of Master of Arts from the University of North Dakota, has been read by the Faculty Advisory Committee under whom the work has been done and is hereby approved. ____________________________________ Michelle M. Sauer, Chairperson ____________________________________ Sheryl O’Donnell, Committee Member ____________________________________ Melissa Gjellstad, Committee Member This thesis is being submitted by the appointed advisory committee as having met all of the requirements of the School of Graduate Studies at the University of North Dakota and is hereby approved. -
Beowulf Themes
Wednesday, November 12, 2014 • Do now: In your notebooks, answer the following prompt: –What is a hero? Explain your definition and give examples. Thursday, November 13, 2014 • Do now: In your notebooks, answer the following prompt: –What is courage? How would most people today define courage? Beowulf Themes • Good vs Evil • Violence • Identity • Courage • Strength and • Mortality Skill • The • Wealth Supernatural • Religion • Traditions & Customs Beowulf Motifs/Symbols • Motifs • Symbols –Monsters –The Golden –The Oral Torque Tradition (Rewards) –The Mead –The Banquet Hall (Celebration) Beowulf Author • Very little is known about the author –Male –Educated –Upper Class –Anglo-Saxon / Christian Beowulf Information • Poem was composed (created) in the 8th century – Although it is English in language and origin, the poem does not deal with Englishmen, but their Germanic ancestors (Danes & Geats) – The Danes are from Denmark & the Geats are from modern day Sweden Beowulf Info (cont’d) • Some of the original poem was destroyed in the Ashburnham House Fire, causing a number of lines to be lost forever (1731) • The poem is circular in that it starts out with a young warrior, he grows old, another young warrior saves the day, etc. (comes full circle) Beowulf Info (cont’d) • Beowulf’s people are the Geats • Hrothgar’s people are the Danes • Beowulf reigned as king for 50 years • According to legend, Beowulf died at the age of 90 years old • Beowulf takes place in Scandinavia Beowulf’s Origin So why wasn’t it written down in the first place? This story was probably passed down orally for centuries before it was first written down. -
Heroic Register, Oral Tradition, and the Alliterative Morte Arthure
This article is one of a series of short essays, collectively titled “Further Explorations,” published as part of a special issue of Oral Tradition in honor of John Miles Foley’s 65th birthday and 2011 retirement. The surprise Festschrift, guest-edited by Lori and Scott Garner entirely without his knowledge, celebrates John’s tremendous impact on studies in oral tradition through a series of essays contributed by his students from the University of Missouri- Columbia (1979-present) and from NEH Summer Seminars that he has directed (1987-1996). http://journal.oraltradition.org/issues/26ii This page is intentionally left blank. Oral Tradition, 26/2 (2011): 603-610 Heroic Register, Oral Tradition, and the Alliterative Morte Arthure Rebecca Richardson Mouser The Middle English Alliterative Morte Arthure (the Morte henceforth) begins with an appeal by the poet for his audience to listen to him as he tells his tale, thus asking them to focus on the aurality of his words. The poet implies an audience that is present in the telling, using first-person plural pronouns and mentioning the need for silence while the tale takes shape. By doing so, the poet highlights the centrality of speech in the heroic narrative about to ensue and invokes a particular performance frame, one that will be “keyed” by various aspects familiar to an audience fluent in the tradition.1 Of primary importance to this framing are both the alliterative meter and the nature of character speech, and it is my contention that this performance frame marks the text as heroic in the same vein as Old English heroic poetry, signaling a way to “read”2 the text that gives meaning to events that might be confusing for a modern audience, such as the two deaths of the Roman Emperor Lucius. -
Understanding Poetry Are Combined to Unstressed Syllables in the Line of a Poem
Poetry Elements Sound Includes: ■ In poetry the sound Writers use many elements to create their and meaning of words ■ Rhythm-a pattern of stressed and poems. These elements include: Understanding Poetry are combined to unstressed syllables in the line of a poem. (4th Grade Taft) express feelings, ■ Sound ■ Rhyme-similarity of sounds at the end of thoughts, and ideas. ■ Imagery words. ■ The poet chooses ■ Figurative ■ Alliteration-repetition of consonant sounds at Adapted from: Mrs. Paula McMullen words carefully (Word the beginning of words. Example-Sally sells Language Library Teacher Choice). sea shells Norwood Public Schools ■ Poetry is usually ■ Form ■ Onomatopoeia- uses words that sound like written in lines (not ■ Speaker their meaning. Example- Bang, shattered sentences). 2 3 4 Rhythm Example Rhythm Example Sound Rhythm The Pickety Fence by David McCord Where Are You Now? ■ Rhythm is the flow of the The pickety fence Writers love to use interesting sounds in beat in a poem. The pickety fence When the night begins to fall Give it a lick it's their poems. After all, poems are meant to ■ Gives poetry a musical And the sky begins to glow The pickety fence You look up and see the tall be heard. These sound devices include: feel. Give it a lick it's City of lights begin to grow – ■ Can be fast or slow, A clickety fence In rows and little golden squares Give it a lick it's a lickety fence depending on mood and The lights come out. First here, then there ■ Give it a lick Rhyme subject of poem. -
1 Social and Linguistic Setting of Alliterative Verse in Anglo-Saxon and Medieval England
Cambridge University Press 0521573173 - Alliteration and Sound Change in Early English - Donka Minkova Excerpt More information 1 Social and linguistic setting of alliterative verse in Anglo-Saxon and Medieval England The primary goal of this study is to establish and analyze the linguistic prop- erties of early English verse. Verse is not created in a vacuum; a consideration of some non-structural factors that could influence the composition of poetry is important for our understanding of its linguistic dimensions. This chapter presents a brief overview of the social and cultural conditions under which alliterative verse was produced and enjoyed in Anglo-Saxon and Medieval England. 1.1 The Anglo-Saxon poetic scene Verse composition was a foremost outlet of creativity and a cherished form of entertainment, moral edification, and historical record keeping for the Anglo- Saxons. When the Northumbrian priest and chronicler Bede (b. 672/673– d. 735) wrote his Ecclesiastical History of the English People in Latin, the poetic rendition of important themes and events in the vernacular must have already been a highly prestigious undertaking. Bede tells us how Cadmon, an illiterate shepherd, found his inability to sing in company shameful. In a dream a stranger appeared urging him to sing the song of the Creation and he uttered “verses which he had never heard.” He was then taken to the monastery at Whitby where his divine poetic gift was tested and confirmed. He spent the rest of his life as a layman in the monastery, enjoying the fellowship of the abbess and the learned brethren, and composing more religious poetry. -
A Close Look at Two Poems by Richard Wilbur
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 4-16-1983 A Close Look at Two Poems by Richard Wilbur Jay Curlin Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Comparative Literature Commons, and the Poetry Commons Recommended Citation Curlin, Jay, "A Close Look at Two Poems by Richard Wilbur" (1983). Honors Theses. 209. https://scholarlycommons.obu.edu/honors_theses/209 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. A CLOSE LOOK AT TWO POEMS BY RICHARD WILBUR Jay Curlin Submitted in partial fulfillment of the requirements of the University Honors Program Ouachita Baptist University The Department of English Independent Study Project Dr. John Wink Dr. Susan Wink Dr. Herman Sandford 16 April 1983 INTRODUCTION For the past three semesters, I have had the pleasure of studying the techniques of prosody under the tutelage of Dr. John Wink. In this study, I have read a large amount of poetry and have studied several books on prosody, the most influential of which was Poetic Meter and Poetic Form by Paul Fussell. This splendid book increased vastly my knowledge of poetry. and through it and other books, I became a much more sensitive, intelligent reader of poems. The problem with my study came when I tried to decide how to in corporate what I had learned into a scholarly paper, for it seemed that any attempt.to do so would result in the mere parroting of the words of Paul Fussell and others. -
Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected]
Journal of Tolkien Research Volume 5 | Issue 1 Article 6 2018 Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Literature in English, British Isles Commons Recommended Citation Shelton, James (2018) "Eomer Gets Poetic: Tolkien's Alliterative Versecraft," Journal of Tolkien Research: Vol. 5 : Iss. 1 , Article 6. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol5/iss1/6 This Conference Paper is brought to you for free and open access by the Library Services at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Shelton: Eomer Gets Poetic: Tolkien's Alliterative Versecraft The fact that Tolkien had an affinity for Old English and, therefore, Old English impacted his writing style are two contentions which are variously argued and proven throughout Tolkien scholarship. They are well supported enough that they need not be rehashed here, see Shippey, Flieger, Higgins, et passim. It is enough for this investigation into Tolkien's use of Old English alliterative verse to note his penchant for leaning heavily on such forms as he enjoyed, and had a professional interest in, is widely accepted in Tolkien scholarship. Additionally, it should be mentioned that Tolkien's use of Old English seems to be at its peak with the Riders of Rohan. In fact, to paraphrase Michael Drout, the Riders of Rohan are Anglo-Saxons except they have horses.1 Additionally, it has been stipulated that the Riders of Rohan use a specific dialect of Old English known as Mercian. -
The Walrus and the Carpenter
R E S O U R C E L I B R A R Y A RT I C L E The Walrus and the Carpenter National Geographic photographs illustrate Lewis Carroll's "The Walrus and the Carpenter," and instructional material provides a guide through the poem's literary devices. G R A D E S 7 - 12+ S U B J E C T S English Language Arts C O N T E N T S 1 Interactive For the complete geostories with media resources, visit: http://www.nationalgeographic.org/media/walrus-carpenter-natgeo/ "The Walrus and the Carpenter," a silly and surprisingly morbid poem by Lewis Carroll, was published in 1865. It was a part of the book Through the Looking Glass, and What Alice Found There, a sequel to Alice's Adventures in Wonderland. The poem is a narrative, or story, told by the annoying twins Tweedledum and Tweedledee. The GeoStory "The Walrus and the Carpenter . And National Geographic", above, provides the entire text of the poem. It also includes a walk through the poem, with an image and map accompanying each stanza, and in many cases individual lines. The images are either literal representations or metaphors of a line in the stanza. Use the GeoStory to better understand metaphors and other literary devices. Metaphors are figures of speech or visual representations in which a term is applied to something it could not possibly be. "Students have an appetite for learning," for example, is a metaphor. Students don't actually have an appetite for anything except food! Carroll uses a number of other literary devices in "The Walrus and the Carpenter." A series of possible discussion questions about the literary devices used in the poem is provided in the following tab, "Questions." The discussion topics progress from the simplest to the most difficult. -
Sir Gawain and the Green Knight
A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF SIR GAWAIN AND THE GREEN KNIGHT BY KELLI McCALL SELF TEACHER’S GUIDE TEACHER’S DR Gawain TG 100912a.indd 1 10/24/12 4:55 PM 2 A Teacher’s Guide to Sir Gawain and the Green Knight TABLE OF CONTENTS INTRODUCTION ........................................................................................................................3 LIST OF CHARACTERS .............................................................................................................3 SYNOPSIS OF THE POEM .......................................................................................................4 PREREADING ACTIVITIES .......................................................................................................6 I. BUILDING BACKGROUND KNOWLEDGE IN HISTORY AND LITERATURE ................................................................................6 II. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES ............................................10 DURING READING ACTIVITIES..........................................................................................13 I. DISCUSSION QUESTIONS ..................................................................................13 II. ACTIVITIES TO GENERATE RESPONSE AND EXPLORATION OF THE TEXT ......................................................................15 AFTER READING ACTIVITIES .............................................................................................16 I. TEXTBASED TOPICS FOR ESSAYS AND DISCUSSIONS ..........................16 -
ENGL 2332 Dr. Varghese Notes for Sir Gawain and the Green Knight 1
ENGL 2332 Dr. Varghese Notes for Sir Gawain and the Green Knight 1. Not much is known about the author of Sir Gawain and the Green Knight (SGGK), which was written some time in the late 1300s in Middle English. It is commonly accepted that the author of this poem is also the author of Pearl, Patience, and Cleanness, all of which are bound together in one manuscript. For this reason, this author is known as the Gawain Poet or the Pearl Poet. 2. SGGK is written in long stanzas and short, metered, and rhymed couplets called the bob-and-wheel at the end of each verse. That is, the main stanza concludes with five lines that rhyme—ababa. The first line of these five lines, called the “bob,” is usually only two syllables; the “bob” serves as the bridge between the long series of alliterative lines and the concluding four rhyming lines, which are the “wheel.” The bob maintains both the alliteration of the previous lines while it also begins the rhyme scheme of the concluding bob-and-wheel. The alliteration, free from rhyme and rhythm, in the long stanzas is influenced by Old English (think Beowulf), while the bob-and-wheel signifies a Middle English influence. 3. SGGK combines two stories that were well-known to its medieval audiences under the umbrella story of Arthur's round table and his feud with his half-sister Morgan le Fay. The first story is a beheading tale which becomes the reason for Gawain's quest. The second is Bertilak's test of Gawain's honor. -
WHEATON COLLEGE This Is to Certify That Audrey Dubois Has Fulfilled The
WHEATON COLLEGE Norton, Massachusetts This is to certify that Audrey Dubois has fulfilled the requirements for graduation with Departmental Honors in English. The degree of Bachelor of Arts was awarded on May 20, 2017. Registrar Credit: 2 Director: Professor Drout 2 Meter? I barely even KNOW ‘er! Encoded Information in the Formal Qualities of Poetry by Audrey Dubois A Study Presented to the Faculty of Wheaton College in Partial Fulfillment of the Requirements for Graduation with Departmental Honors in English Norton, Massachusetts May 15, 2017 3 TABLE OF CONTENTS AcKnowledgements … 4 Introduction … 5 Ancient GreeK … 8 Art Versus Artifice … 13 The Music of Meter … 20 Old English Poetry … 26 Early Middle English Poetry … 34 Later Middle English Poetry … 41 Modern English Poetry … 60 The Swerving of Emily Dickinson… 68 Meter’s Ghost Haunts us All … 73 Conclusion … 76 Envoy de Dubois … 78 Works Cited … 79 4 ACKNOWLEDGEMENTS Thanks to: Professor Drout, whom I both blame and thank for being here in the first place; Geoffrey Russom, the optimal A-verse type to my hypermetrical line; The Dimple Divers, whose craziness paradoxically Kept me sane; Emily DicKinson, the slantiest girl I Know; and Jimmy Russel, my poetic muse. “I am loved and it's oKay for me to Know it.” 5 INTRODUCTION Even when we are not consciously trying to fit words into a metrical form, we are influenced by meter– sometimes more than anything else– to use certain words. We choose our children’s names based on the cadence of the syllables flowing in a natural way. There is a reason it’s called The Lion, the Witch, and the Wardrobe rather than The Wardrobe, the Lion, and the Witch. -
California State University, Northridge the Middle
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE MIDDLE ENGLISH PEARL: A TRANSLATION AND COMMENTARY A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Anne Elaine Kellenberger August, 1982 The Thesis of Anne Elaine Kellenberger is approved: David M. Andersen III, Chairman California State University, Northridge .ii FOR THE DANDIEST OF ALL iii CONTENTS Dedication . iii Abstract . v Historical and Critical Background 1 A Note on Pearl's Form .. 10 A Personal Interpretation: Kynde in Pearl 16 A Note on the Translation. 24 Text of Pearl. 29 Commentary 80 Notes . 113 Bibliography • 118 iv ABSTRACT THE MIDDLE ENGLISH PEARL: A TRANSLATION AND COMMENTARY by Anne Elaine Kellenberger Master of Arts in English Pearl, a twelve hundred line poem, is recognized as one of the most important products of the Alliterative Revival which took place in England during the fourteenth century. Yet, its obscure dialect and the changes that have occurred in the English language over the intervening six hundred years make the poem unavailable to an un trained modern reader. This paper is a translation into Modern English of the Middle English Pearl, with a critical introduction and commentary. The opening essay and the commentary serve as an introduction to the critical and linguistic issues that make up the large body of scholarship on the poem. Questions concerning the nature of Pearl, the significance of its imagery, its relationship to other poems, and the identity and orthodoxy of its author have been raised and debated since Pearl was first published in 1864. The commentary in particular addresses textual matters such as v the derivation of a debatable word or the effect a particu lar passage has on the interpretation of the poem as a whole.