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The Anglo-Saxon Transformations of the Biblical Themes in the Old English Poem the Dream of the Rood
Zeszyty Naukowe Towarzystwa Doktorantów UJ Nauki Humanistyczne, Nr 8 (1/2014) ALEKSANDRA MRÓWKA (JAGIELLONIAN UNIVERSITY) THE ANGLO-SAXON TRANSFORMATIONS OF THE BIBLICAL THEMES IN THE OLD ENGLISH POEM THE DREAM OF THE ROOD ABSTRACT The main aim of this article is to present the Old English poem The Dream of the Rood as a literary work successfully mingling Christian and Germanic tradi- tions. The poet very skillfully applies the pattern of traditional secular heroic poetry to Christian subject-matter creating a coherent unity. The Biblical themes and motifs are shaped by the Germanic frame of mind because the addressees of the poem were a warrior society with a developed ethos of honour and cour- age, quite likely to identify with a god who professed the same values. Although the Christian story of the Passion is narrated from the Anglo-Saxon point of view, the most fundamental values coming from the suffering of Jesus and his key role in God’s plan to redeem mankind remain unchanged: the universal notions of Redemption, Salvation and Heavenly Kingdom do not lose their pri- mary meaning. KEY WORDS Bible, rood, crucifixion, Anglo-Saxon, transformation ABOUT THE AUTHOR Aleksandra Mrówka The Department of the History of British Literature and Culture Jagiellonian University in Kraków e-mail: [email protected] 125 Aleksandra Mrówka __________________________________________________________________________________________________________________________________________________________________________________________________________________________________ The Dream of the Rood is a masterpiece of Old English religious poetry. Written in alliterative verse and maintained in the convention of dream allegory, this piece of early medieval literature is a mixture of Christian and Anglo-Saxon traditions. Although they seem to be contrasting, they are not antagonistic: these two worlds mingle together creating a coherent unity. -
The Cambridge Old English Reader
The Cambridge Old English Reader RICHARD MARSDEN School of English Studies University of Nottingham published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarc´on 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org c Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typeface Times 10/13 pt System LATEX2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Marsden, Richard. The Cambridge Old English reader / Richard Marsden. p. cm. Includes bibliographical references and index. ISBN 0 521 45426 3 (hardback) – ISBN 0 521 45612 6 (paperback) 1. English language – Old English, ca. 450–1100 – Readers. 2. Anglo-Saxons – Literary collections. 3. Anglo-Saxons – Sources. I. Title. PE137.M46 2003 429.86421–dc21 2003043579 ISBN 0 521 45426 3 hardback ISBN 0 521 45612 6 paperback Contents Preface page ix List of abbreviations xi Introduction xv The writing and pronunciation -
Outlaw: Wilderness and Exile in Old and Middle
THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested. -
Widsith Beowulf. Beowulf Beowulf
CHAPTER 1 OLD ENGLISH LITERATURE The Old English language or Anglo-Saxon is the earliest form of English. The period is a long one and it is generally considered that Old English was spoken from about A.D. 600 to about 1100. Many of the poems of the period are pagan, in particular Widsith and Beowulf. The greatest English poem, Beowulf is the first English epic. The author of Beowulf is anonymous. It is a story of a brave young man Beowulf in 3182 lines. In this epic poem, Beowulf sails to Denmark with a band of warriors to save the King of Denmark, Hrothgar. Beowulf saves Danish King Hrothgar from a terrible monster called Grendel. The mother of Grendel who sought vengeance for the death of her son was also killed by Beowulf. Beowulf was rewarded and became King. After a prosperous reign of some forty years, Beowulf slays a dragon but in the fight he himself receives a mortal wound and dies. The poem concludes with the funeral ceremonies in honour of the dead hero. Though the poem Beowulf is little interesting to contemporary readers, it is a very important poem in the Old English period because it gives an interesting picture of the life and practices of old days. The difficulty encountered in reading Old English Literature lies in the fact that the language is very different from that of today. There was no rhyme in Old English poems. Instead they used alliteration. Besides Beowulf, there are many other Old English poems. Widsith, Genesis A, Genesis B, Exodus, The Wanderer, The Seafarer, Wife’s Lament, Husband’s Message, Christ and Satan, Daniel, Andreas, Guthlac, The Dream of the Rood, The Battle of Maldon etc. -
Medieval Medievalisms in the Old English Ruin
• Via Rome: Medieval Medievalisms in the Old English Ruin Rory G. Critten University of Lausanne Lausanne, Switzerland The recent publication of The Cambridge Companion to Medievalism under the editorship of Louise D’Arcens marks a crowning moment in the history of a discipline whose institutional backing has not always been so strong.1 For some time now, medievalism studies have been enjoying increasing respect for the insights that they can offer into matters ranging from periodization, colonization, and nationalism, to the potentially mutual imbrication of good scholarship and good fun.2 Since the majority of the contributors to the new Cambridge Companion work both in what we might call traditional medieval studies as well as in medievalism studies, the volume also serves as evidence for the rapprochement between these two fields. A significant facilitating factor in this regard has been a willingness shared across the disciplines to conceive of time not solely in linear terms. Researchers in both camps have met over the recognition that the present, in Carolyn Dinshaw’s words, “is not a singular, fleeting moment but comprises relations to other times, other people, other worlds.”3 Viewed from this perspective, the procedures of both medieval and medievalist texts can be seen to correspond, and the distinc- tion between what is medieval and what comes afterwards is blurred. These intertwining ideas have a rich history of their own. Even in their earliest iterations, medievalism studies highlighted the extent to which paying attention -
Anglo-Saxon Literary Landscapes Literary Anglo-Saxon
ENVIRONMENTAL HUMANITIES IN PRE-MODERN CULTURES Estes Anglo-Saxon Literary Landscapes Heide Estes Anglo-Saxon Literary Landscapes Ecotheory and the Environmental Imagination Anglo-Saxon Literary Landscapes Environmental Humanities in Pre‑modern Cultures This series in environmental humanities offers approaches to medieval, early modern, and global pre-industrial cultures from interdisciplinary environmental perspectives. We invite submissions (both monographs and edited collections) in the fields of ecocriticism, specifically ecofeminism and new ecocritical analyses of under-represented literatures; queer ecologies; posthumanism; waste studies; environmental history; environmental archaeology; animal studies and zooarchaeology; landscape studies; ‘blue humanities’, and studies of environmental/natural disasters and change and their effects on pre-modern cultures. Series Editor Heide Estes, University of Cambridge and Monmouth University Editorial Board Steven Mentz, St. John’s University Gillian Overing, Wake Forest University Philip Slavin, University of Kent Anglo-Saxon Literary Landscapes Ecotheory and the Environmental Imagination Heide Estes Amsterdam University Press Cover illustration: © Douglas Morse Cover design: Coördesign, Leiden Layout: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 944 7 e-isbn 978 90 4852 838 7 doi 10.5117/9789089649447 nur 617 | 684 | 940 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The author / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
Treebeard's List – Maxims II
Pre-print extract from S. Lee and E. Solopova, The Keys of Middle-earth: Discovering Medieval Literature through the fiction of J. R. R. Tolkien (Palgrave, 2005). To purchase full book go to: http://www.palgrave.com/products/title.aspx?PID=27039 0. 4.9 Treebeard’s List – Maxims II (TT, ‘Treebeard’) 4.9.1 Plot Summary Merry and Pippin, having escaped the Orcs, flee into Fangorn’s forest, where they encounter Treebeard, the Ent. Treebeard is puzzled as to what the two Hobbits are and recites an ancient poem which lists the various flora and fauna of Middle-earth. Christopher Tolkien (Treason, pp. 411-21) notes that the character of Treebeard, and the Ents themselves, seem to have come late to Tolkien, and he puzzled over how they would fit into the story. 4.9.2 Medieval Text: Maxims II Maxims II is found in a British Library manuscript – Cotton MS Tiberius B.i (ff. 115r-v). It’s dating is troublesome, and the nature of the poem suggests ancient folklore passed down from generation to generation (as indeed Treebeard’s poem was). Cassidy and Ringler argue that it ‘probably reached its present form in the tenth century or slightly earlier, though some of the material in it may be much older’ (1974, p. 373). It is called Maxims II because a very similar poem (Maxims I) appears in ‘The Exeter Book’. A ‘Maxim’, according to the OED is: ‘A rule or principle of conduct. Also: a pithily expressed precept of morality or prudence (spec. occurring in Old English verse); such a precept as a literary form.’ Marsden (2004, p. -
The Intertextuality of Beowulf, Cynewulf and Andreas1
The departure of the hero in a ship: The intertextuality of Beowulf , Cynewulf and Andreas 1 Francis Leneghan University of Oxford 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 1. Introduction Scholars have identified a number of ‘motifs’, ‘themes’ or ‘type scenes’ in Old English poetry. Two of the best-known such motifs are ‘the beasts of battle’, typically featuring the carrion eagle, wolf and raven, anticipating or rejoicing in slaughter (Magoun 1955, Bonjour 1957, Griffith 1993), and ‘the hero on the beach’, wherein a hero is depicted with his retainers in the presence of a flashing light, as a sea-journey is completed (or begun), usually at dawn 1 I would like to thank Daniel Anlezark, Hugh Magennis, Richard North, Andy Orchard, Rafael Pascual and Daniel Thomas for their helpful comments on earlier versions of this article. Francis Leneghan, Selim24 (2019): 105 –132. ISSN 1132-631X / DOI https://doi.org/10.17811/selim.24.2019.105-134 106 Francis Leneghan (Crowne 1960: 368; Fry 1966, 1971).2 Broadening the focus to consider both Old English verse and prose, Mercedes Salvador Bello identified the ‘leitmotif’ of ‘the arrival of the hero in a ship’ in the Anglo-Saxon Chronicle and Beowulf , featuring “a recurrent thematic pattern which presents the story of the heroes (or the hero) who arrive from northern lands in a boat and become the ancestors of Anglo-Saxon dynasties” (1998: 214). -
Richard Wilbur's 'Junk'
15 Recycling Anglo-Saxon Poetry: Richard Wilbur’s ‘Junk’ and a Self Study Chris Jones University of St Andrews Ever since scraps, both literal and metaphorical, of Anglo-Saxon (also called Old English) verse began to be recovered and edited in more systematic fashion, modern poets have tried to imagine and recreate its sounds in their own work.1 Often the manuscript materials in which Anglo-Saxon poetry survives show signs of having been uncared for and even mistreated; the tenth-century Exeter Book of poetry, for example, which preserves many of the texts now taught in universities as canonical, is scarred with the stains of having had some kind of vessel laid on it, as if it were a drinks mat, with knife-scores, as if it were a chopping board, and with singe marks, as if some red-hot object was temporarily rested on its back (Muir 2000: II, 2). Such treatment is scarce wonder, given that changes in both language and handwriting must have made such manuscripts unintelligible to all but a few until the studies of sixteenth- and seventeenth-century antiquarians began to render them legible again. But it is salutary to remember that fragments of the past which we hold valuable now have often been the junk of intervening ages, waste materials for which only some alternative function might save them from disposal. Recycled, however, fresh uses may be found for Anglo-Saxon poetry, uses that generate for it new currency, in addition to whatever independent value its stock possesses. This essay sets out to examine some of the generative possibilities of recycling Anglo-Saxon poetry, both from a critic’s perspective and a practitioner’s. -
University of California, Los Angeles Invisible Labor In
UNIVERSITY OF CALIFORNIA, LOS ANGELES INVISIBLE LABOR IN THE MEDIEVAL WORLD A THESIS SUBMITTED TO THE DEPARTMENT OF ENGLISH IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS BY ANGIE RODRGUEZ ADVISOR: MATTHEW FISHER LOS ANGELES, CA MARCH 11, 2020 ABSTRACT INVISIBLE LABOR IN THE MEDIEVAL WORLD BY ANGIE RODRIGUEZ This thesis explores invisible labor, which is a conteMporary term, as written in Old English literature. This thesis contends that invisible labor refers to labor that is ignored, underpaid, oftentiMes spans across social hierarchies and is socially constructed. The first part of this thesis goes into the conteMporary understanding of invisible labor, how this understanding leads to recognition of invisible labor in Old English literature and shows that this labor is not gender specific. The second part of this thesis goes into peace-weaving as invisible labor, which had been culturally considered women’s work and economically devalued, as depicted by the actions of Wealhtheow when she serves mead and speaks up for her sons in Beowulf and heroic actions of killing Holofernes by Judith in Judith. The third part of this thesis explores peaceMaker as invisible labor, as depicted by Wiglaf serving “water” in Beowulf, Widsith taking Ealhhild to her new king in Widsith, Constantine taking advice from the Angel as depicted in Cynewulf’s Elene, the soldiers standing by King Athelstan and defeating the Scots in “The Battle of Brunburgh,” and the men being faithful to AEthelred against the Vikings in “The Battle of Maldon.” In analyzing invisible labor as depicted in Old English literature, what may be viewed in conteMporary terms as “ordinary” work of service that is easily disMissed and unrecognized, will bring insight into how invisible labor was seen in Old English literature. -
Cynewulf's Juliana
CYNEWULF’S JULIANA: AN ANNOTATED MODERN ENGLISH TRANSLATION BY Rosetta M. Berger 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 11, 2015 i Ic wille secgan ealles þonc, eow þe me geholpen hæfdon geara gongum, þæt ic æfre stande æghwæs onsund: To my parents: Mom and Dad, for always being there and supporting me every step of the way; To my siblings: Sara and Lewis, for love, laughs, and lifelong friendship; To my heorðgeneatas: Nina Forrest, for every day of making the world a better place together; Namiko Hitotsubashi, for many late nights and every paper written together; To all of my friends and family who have given me love and support along the way—you have all of my love and gratitude; To my fellow thesis writers: Elizabeth Peterson, for all the times we’ve shared from Young 3rd to Meneely 2nd; Jonathan Gerkin, for his theological contributions; And to my thesis committee: Professor Thomas Dolack, за четыре года поддержки и отличного преподавания; Professor Sam Coale, for his love of his students and of life; And last, but most certainly not least, Professor Michael Drout, for being an incredible, supportive, and inspiring professor, mentor, colleague, and friend throughout my college career. Wesað ge ealle hale. ii Contents Introduction 1 The Legend of Juliana ............................... 2 Manuscript and Text ............................... 7 Dialect ....................................... 8 Notes on Translation ............................... 10 1 Cynewulf’s Juliana: A Modern English Translation 17 Modern English .................................. 18 Old English .................................... 45 Bibliography 73 iii Introduction Although there has been and continues to be much scholarship on the relationship between Old English and Middle English literature, there has been very little discussion about the relationship between the Old English and Middle English versions of the saint’s life of Juliana. -
Intertextuality of Deor
Vol. 4(8), pp. 132-138, October, 2013 DOI: 10.5897/JLC11.080 Journal of Languages and Culture ISSN 2141-6540 © 2013 Academic Journals http://www.academicjournals.org/JLC Review Intertextuality of Deor Raimondo Murgia Tallinn University, Narva mnt 25, 10120 Tallinn, Estonia. Accepted 22 November, 2012 The Deor is a poem found in the Exeter Book and included in the Old English elegies. The main purpose of this contribution is to highlight the possible intertextual links of the poem. After an outline of the old English elegies and a brief review of the most significant passages from the elegies, this short poem will be analyzed stanza by stanza. An attempt will be made to demonstrate that the various interpretations of the text depend on particular keywords that require that the readers to share the same time and space coordinates as the author. The personal names are the most important clues for interpretation. The problem is that they have been emended differently according to the editors and that the reader is supposed to know the referent hinted by those particular names. Key words: Old English elegies, Exeter Book, Deor, intertextuality. INTRODUCTION OF THE OLD ENGLISH ELEGIES It must be underlined that the term „elegy‟ applying to old definition of Old English elegy is Greenfield‟s (1965): “a English (hereafter OE) poetry could be misleading since relatively short reflective or dramatic poem embodying a one would expect the meter of such poetry to be the contrastive pattern of loss and consolation, ostensibly same as the Greek and Latin Elegies, in which their based upon a specific personal experience or observa- elegiac distich (Pinotti, 2002) points out that in the fourth tion, and expressing an attitude towards that experience”.