A Thematic Approach to Old English Elegies* *

Total Page:16

File Type:pdf, Size:1020Kb

A Thematic Approach to Old English Elegies* * 현대영어영문학 제60권 3호 Modern Studies in English Language & Literature (2016년 8월) 23-39 http://dx.doi.org/10.17754/MESK.60.3.23 A Thematic Approach to Old English Elegies* * Jin, Kwang-hyun (University of Ulsan) Jin, Kwang-hyun. “A Thematic Approach to Old English Elegies.” Modern Studies in English Language & Literature 60.3 (2016): 23-39. This paper aims to study a group of representative Old English Anglo-Saxon poems classified as elegies. These poems (“The Wanderer,” “The Seafarer,” “The Ruin,” “The Wife’s Lament,” “The Husband’s Message,” “Deor” and “Wulf and Eadwacer” in the Exeter Book) share common thematic characteristics such as a pessimistic view of transitoriness, mutability of human efforts, exile, isolation from the loved ones, the ubi sunt motif and stoic endurance to hardship. However, Anglo-Saxon poetry is not only pessimistic and tragic, but also demonstrates substantial Christian influences such as the vision of Christian kingdom, eternal joy in God and spiritual growth in heavenly blessing. Such a weaving of opposite philosophical veins (Christianity and Teutonic paganism) offers the modern reader a rich and wide literary spectrum and cultural context in the understanding of the Anglo-Saxon elegiac poetry. For close analysis, this paper has carefully examined diverse aspects of the poems such as thematic unity, imagery, poetic structure, psychological depth, moral and religious vision, elegiac beauty and poetic realism. (University of Ulsan) Key Words: ubi sunt motif, Anglo-Saxon elegy, Teutonic paganism, mutability, Christianity I In Old English poetry based on the Teutonic tradition and history, there is a group of poems that are conveniently classified as elegies due to largely lamenting and melancholic overtones. Despite their unknown authorship and composition dates, their emotional appeal to the modern reader is so compelling that these poems have continuously incited the * This paper was funded by the University of Ulsan in 2016. 24 Jin, Kwang-hyun reader’s imagination and curiosity. But the obscurity of the poems’ origin has also caused a substantial controversy as to the theme, structure, style, poetic personae, and historical tradition. The split of the academic views has, nevertheless, not deterred our proper understanding of the poems, but rather broadened and sharpened our insight to them. Amid diverse possibilities of interpretation, this paper will focus on a single coherent thematic approach to the elegiac poems found in the Exeter Book: “The Wanderer,” “The Seafarer,” “The Ruin,” “The Wife’s Lament,” “The Husband’s Message,” “Deor” and “Wulf and Eadwacer.” The main focus of the paper will be the shifting perspectives of the poetic characters from the mutability of the world and subsequent isolation to the permanence and stability in the heaven of God. II As for the historical side of the poems, the Anglo-Saxon poetry was written by the Teutonic tribes that invaded Britain from the end of the fifth century on. At the time, Britain was already conquered and christianized by the Romans, and the Teutonic invaders began to be civilized by the Christian culture of the conquered. By the seventh century, the Angles, Saxons, and Jutes became partially civilized and settled down with such aspects of culture as law and agriculture, and Anglo-Saxon literature began to appear. Between the seventh and the eleventh centuries, the orally-transmitted stories were preserved in writing by Christian clergymen, and this fact explains the infusion of substantial Christian influence into Old English poetry. The Anglo-Saxon poetry extant at presents reveals both aspects of paganism and Christianity. At a time when the Anglo-Saxons came to A Thematic Approach to Old English Elegies 25 Britain, they brought their own oral tradition of heroic poetry which was purely pagan, and this aspect persisted in the Anglo-Saxon literary tradition despite the growing and later dominant Christian philosophy. As for Old English elegies, these two contrasting ideas of Christian and heroic ideals coexist passage after passage in alternating imagery and structural patterns. And yet the pagan elements were later substantially curtailed and retouched by Christian clerks while the stories were transcribed for preservation. The Old English poetry is largely classified in two groups, Christian and pagan or Teutonic. This classification is, to some extent, arbitrary, and the borderline is not clear between the two groups. But it is useful in putting Anglo-Saxon elegies in historical and literary perspectives. The Christian poetry is the one whose subjects are drawn from Biblical and ecclesiastical traditions and simultaneously from the religious view of Christian origin, and the Teutonic poetry deals with the Teutonic history or tradition and at the same time the customs and conditions of English life. In “Early National Poetry,” H. Monro Chadwick labeled the second group of poetry as the “national poetry” and sub-classified it into the epic and the elegy (21-23). As implied in the classification, the elegy is less Christian with a substantial amount of Teutonic and pagan elements in comparison to the purely Christian poetry. The elegiac poems, however, still demonstrate the prominent influence of Christianity in imagery and theme. The Anglo- Saxon elegies are generally taken as the works of minstrels rather than literary men, and their subjects were drawn from typical characters and situations. Among about ninety Anglo-Saxon manuscripts in existence, there are only six that are of any substantial length, and four manuscripts are of great importance: the Junius Manuscript, the Vercellic Book, the Exeter Book, and the Beowulf Manuscript. The Old English elegies are in the Exeter Book which is, according to Michael Stapleton in The Cambridge 26 Jin, Kwang-hyun Guide to English Literature, a collection of Old English poetry donated to the Exeter Cathedral library by Bishop Leofric in the eleventh century: “The manuscripts were executed some time during the latter half of the tenth century but the poems themselves are much older, some possibly as old as the sixth century and originating in minstrelsy” (293). The book contains about 117 poems, but the number is not definitive because of the uncertainty as to where one poem begins and another leaves off. A brief overview of the book is made by T. A. Shippey: “Many of the poems are neither saints’ lives nor Biblical paraphrase, but undeniably secular, ranging from obscene riddles to the heroic consolation of ‘Deor’ and the minstrel’s catalogue of ‘Widsith’” (82). The Old English elegy is the relatively short reflective or dramatic poems describing a sense of loss and isolation, and frequently a contrasting sense of consolation. In “The Old English Elegies,” Stanley B. Greenfield explains that: the elegies “treat of universal relationships, of those between man and woman [and] between eternity and time [in] a hauntingly beautiful way . They, moreover, call attention in varying degrees to the transitory nature of the pleasures and security of this world.” (142) The insightful but succinct statement needs further elaboration for better understanding. First of all, the phrase “a hauntingly beautiful way” seems to suggest an elegiac strain, beautiful and universal, but poignant. The emotional appeal of the elegiac strain is strong because the beauty and poignancy of the elegy are so original and true to universal minds. The tragic view of life and the contrasting stoic fortitude also give a growing aesthetic sense to poetic overtone as clearly seen in “The Seafarer” and “The Wanderer.” The stoic attitude is essential in maintaining the aesthetic of the elegy by preventing the emotional intensity from degrading into A Thematic Approach to Old English Elegies 27 sentimentalism and by allowing the stoic acceptance of a moral destiny. One prominent theme of the Old English elegies are the stoic and religious endurance in pursuit of the Christian ideal of immutability, eternity and timelessness. Second, the “universal relationship” suggests one of the key themes in the Old English elegy--exile and isolation. The personal elegy whose subject is the death of an individual differs in mood and scale from old English elegy in which the concern is rather social and public than personal. In The Old English Elegies, Martin Green explicates the theme of isolation and exile in the Anglo-Saxon social context: In that picture the comitatus, the complex structure of relationships of a warrior to this companions and his lord that defined each man’s identity, obligations, and responsibilities, was the source of all value and the locus of all positive emotions. Separation from the comitatus [would] be the greatest of sufferings. (15) As in “The Wanderer,” the image of exile in the sea is directly contrasted with that of the tribal hall which is representative of joy and stability, deepening a sense of grief and suffering. Third, the “transitory nature” of the world immediately translates into a deep sense of the tragedy of life. The ubi sunt theme is the central feature of the Anglo-Saxon elegy, that evokes a consciousness of the mutability of the world and of the fleeting glory of human efforts. In A Critical History of Old English Literature, Greenfield says: Although they [the elegies] are to differing degrees secular or Christian in their content and attitudes, they have in common two overlapping concerns: (1) a contrast between past and present conditions, and (2) some awareness of the transitory nature of earthly splendor, joy and security. (214) 28 Jin, Kwang-hyun The sense of irrevocable loss central to the ubi sunt theme leads the poet or a man in general to the awareness of transitoriness and of the lack of stability, as in “The Ruin.” In the elegies, the ubi sunt motif carries the thematic focus from which come other themes such as exile, isolation, stoic and/or religious endurance. Just as the theme of transitoriness is the preoccupation of “The Ruin,” the manuscript of the poem itself was partially damaged by fire; as a result, two parts--lines 12-19a and 42b-49--are fragmentary.
Recommended publications
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Violence, Christianity, and the Anglo-Saxon Charms Laurajan G
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1-1-2011 Violence, Christianity, And The Anglo-Saxon Charms Laurajan G. Gallardo Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Gallardo, Laurajan G., "Violence, Christianity, And The Anglo-Saxon Charms" (2011). Masters Theses. 293. http://thekeep.eiu.edu/theses/293 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. *****US Copyright Notice***** No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. The user should review the copyright notice on the following scanned image(s) contained in the original work from which this electronic copy was made. Section 108: United States Copyright Law The copyright law of the United States [Title 17, United States Code] governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the reproduction is not to be used for any purpose other than private study, scholarship, or research. If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that use may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law.
    [Show full text]
  • The Summons of Death on the Medieval and Renaissance English Stage
    The Summons of Death on the Medieval and Renaissance English Stage The Summons of Death on the Medieval and Renaissance English Stage Phoebe S. Spinrad Ohio State University Press Columbus Copyright© 1987 by the Ohio State University Press. All rights reserved. A shorter version of chapter 4 appeared, along with part of chapter 2, as "The Last Temptation of Everyman, in Philological Quarterly 64 (1985): 185-94. Chapter 8 originally appeared as "Measure for Measure and the Art of Not Dying," in Texas Studies in Literature and Language 26 (1984): 74-93. Parts of Chapter 9 are adapted from m y "Coping with Uncertainty in The Duchess of Malfi," in Explorations in Renaissance Culture 6 (1980): 47-63. A shorter version of chapter 10 appeared as "Memento Mockery: Some Skulls on the Renaissance Stage," in Explorations in Renaissance Culture 10 (1984): 1-11. Library of Congress Cataloging-in-Publication Data Spinrad, Phoebe S. The summons of death on the medieval and Renaissance English stage. Bibliography: p. Includes index. 1. English drama—Early modern and Elizabethan, 1500-1700—History and criticism. 2. English drama— To 1500—History and criticism. 3. Death in literature. 4. Death- History. I. Title. PR658.D4S64 1987 822'.009'354 87-5487 ISBN 0-8142-0443-0 To Karl Snyder and Marjorie Lewis without who m none of this would have been Contents Preface ix I Death Takes a Grisly Shape Medieval and Renaissance Iconography 1 II Answering the Summon s The Art of Dying 27 III Death Takes to the Stage The Mystery Cycles and Early Moralities 50 IV Death
    [Show full text]
  • From Address to Debate: Generic Considerations in the Debate Between Soul and Body
    FROM ADDRESS TO DEBATE: GENERIC CONSIDERATIONS IN THE DEBATE BETWEEN SOUL AND BODY by J. Justin Brent Although many scholars think of debate as a distinctively medieval genre,1 just about every culture known to man has composed verbal contests of wit that might be termed debates.2 Their universal appeal results at least in part from two inherent features. One is the excitement and suspense that comes from observing a contest between two skillful opponents. Like spectator sports, verbal contests provide a vicarious pleasure for the audience, which shares the suspense of the contest with the two or more opponents. The second aspect, more frequently dis- cussed by students of medieval debate, is the tendency towards opposi- tion. Because a contest cannot take place without opponents, verbal contests tend to produce philosophical perspectives that are both op- 1Thomas Reed, for instance, claims that debate is “as ‘distinctly medieval’ as a genre can be” (Middle English Debate Poetry [Columbia 1990] 2); and John W. Conlee sug- gests that no other age was more preoccupied with “the interaction of opposites,” which furnishes the generating principle of debates (Middle English Debate Poetry: A Critical Anthology [East Lansing 1991] xi–xii). The medieval poets’ intense fascination or spe- cial fondness for debate poetry often receives mention in studies of this genre. 2As evidence of their existence in some of the earliest writing cultures, scholars have pointed out several debates in ancient Sumerian culture. See S. N. Kramer, The Sumer- ians (Chicago 1963) 265; and H. Van Stiphout, “On the Sumerian Disputation between the Hoe and the Plough,” Aula Orientalis 2 (1984) 239–251.
    [Show full text]
  • Anglo-Saxon Magic
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/107198 Please be advised that this information was generated on 2021-10-09 and may be subject to change. ANGLO-SAXON MAGIC DOOR G. STORMS 'i-GRAVENHAGE MARTINUS NIJHOFF 1948 ANGLO-SAXON MAGIC Promotori Dr. A. POMPEN Ο J.M. CENTRALE DRUKKERIJ N.V. - NIJMEGEN ANGLO-SAXON MAGIC ACADEMISCH PROEFSCHRIFT TER VERKRIJGING VAN DE GRAAD VAN DOCTOR IN DE LETTEREN EN WIJSBEGEERTE AAN DE R.K. UNIVERSITEIT TE NIJMEGEN, OP GEZAG VAN DE RECTOR MAG­ NIFICUS Mgr. Dr. R. R. POST, HOOGLERAAR IN DE FACULTEIT DER GODGELEERDHEID, VOLGENS BESLUIT VAN DE SENAAT IN HET OPENBAAR TE VERDEDIGEN OP VRIJDAG 4 JUNI 1948 DES NAMIDDAGS 3 UUR DOOR GODFRID STORMS GEBOREN TE SITTARD MARTINUS NIJHOFF - s-GRAVENHAGE 1948 Voor mijn Vader en mijn Vrouw TABLE OF CONTENTS PART I. CHAPTER I. Introduction 1-11. Characteristics of magic 1. Tendency to pre­ serve secrecy 2. Examples from O.Icel. literature 2-5. The A-S. charms reveal much more 5. The magic means consist of verbal formulas and of practices 6. Close connection between original Α-S. magic and pre-Christian religious conceptions, especially the worship of the sun 6-10, the moon 10, and the earth 11. CHAPTER II The Manuscripts 12-26. § 1. The Leechbook 12-16. § 2. The Lac­ nunga 16-24. Parallel passages 18-23. Anglian origin of both books 23. The Lacnunga is a very mixed collection 24.
    [Show full text]
  • Ubi Sunt Dracones? the Inward Evolution of Monstrosity from Monstrous Births to Iain Banks’ the Wasp Factory
    Master’s Degree in European, American and Postcolonial Languages and Literatures Final Thesis Ubi Sunt Dracones? The Inward Evolution of Monstrosity from Monstrous Births to Iain Banks’ The Wasp Factory Supervisor Ch. Prof. Flavio Gregori Assistant supervisor Ch. Prof. Shaul Bassi Graduand Martina Nati 857253 Academic Year 2019 / 2020 CONTENTS Introduction 1 Chapter 1 – Monstrous Bodies 12 1.1 Monstrosity and Deformity from the Middle Ages to the 12 Enlightenment 1.2 The Abnormal Body in the 18th and 19th Centuries 36 Chapter 2 – Monstrous Minds 41 2.1 Monstrous Anxiety at the Turn of the 20th Century 41 2.2 The Monster Within 57 2.3 A Contemporary Monster: the Serial Killer 63 Chapter 3 – The Monstrous in Iain Banks’ The Wasp Factory 70 3.1 Frank’s Monstrous Body 73 3.2 Frank as a Moral Monster 81 3.3 Frank’s Uncanny Double 88 3.4 Monstrous Beliefs 91 Conclusion 96 Acknowledgements 104 Bibliography 105 “if you gaze long enough into an abyss, the abyss will gaze back into you” Friedrich Nietzsche INTRODUCTION There is something fascinating about the aesthetics of monstrosity, which is not always understandable but undeniably universal. It is something dark, twisted and daunting which, nevertheless, lures us into its depths. Monsters scare, petrify and make one feel vulnerable and exposed; yet, they never disappear, they can never truly be annihilated. They lurk in the most obscure corners of one‘s mind, festering, dormant until summoned, and then they emerge from the shadows ready to wreak havoc. They embody terrific possibilities, violation, transgression and liminality: all that is dangerous, yet all that is unavoidable.
    [Show full text]
  • 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”.
    [Show full text]
  • 13 Reflections on Tolkien's Use of Beowulf
    13 Reflections on Tolkien’s Use of Beowulf Arne Zettersten University of Copenhagen Beowulf, the famous Anglo-Saxon heroic poem, and The Lord of the Rings by J.R.R. Tolkien, “The Author of the Century”, 1 have been thor- oughly analysed and compared by a variety of scholars.2 It seems most appropriate to discuss similar aspects of The Lord of the Rings in a Festschrift presented to Nils-Lennart Johannesson with a view to his own commentaries on the language of Tolkien’s fiction. The immediate pur- pose of this article is not to present a problem-solving essay but instead to explain how close I was to Tolkien’s own research and his activities in Oxford during the last thirteen years of his life. As the article unfolds, we realise more and more that Beowulf meant a great deal to Tolkien, cul- minating in Christopher Tolkien’s unexpected edition of the translation of Beowulf, completed by J.R.R. Tolkien as early as 1926. Beowulf has always been respected in its position as the oldest Germanic heroic poem.3 I myself accept the conclusion that the poem came into existence around 720–730 A.D. in spite of the fact that there is still considerable debate over the dating. The only preserved copy (British Library MS. Cotton Vitellius A.15) was most probably com- pleted at the beginning of the eleventh century. 1 See Shippey, J.R.R. Tolkien: Author of the Century, 2000. 2 See Shippey, T.A., The Road to Middle-earth, 1982, Pearce, Joseph, Tolkien.
    [Show full text]
  • The Meeting of the Three Living and the Three Dead
    THE MEETING OF THE THREE LIVING AND THE THREE DEAD The meeting of the three living and the three dead shows an occasional meeting of three carefree very relevant men (normally three kings or a priest, a nobleman and a member or the upper-middle class) who enjoy life in their adulthood. These three men, apparently not acquainted with pain, go hunting and, on turning a curve or reaching a crossroads marked by a landmark, come up against three dead whose corpses are rotten and eaten by maggots. In some versions the dead ones regain consciousness for a moment to warn the living ones, we once were as you are, as we are so shall you be. However, in others the dead ones lie lifeless inside their coffins and it is a hermit that warns the living ones about the expiry of earthly goods. The living ones, impressed by the vision, change their existential attitude and, from that moment on, look after their souls, afraid of death’s proximity. The topic comes from the Buddhist sapiential literature by which the Prince Siddhartha Gautama had four meetings, one of them with a dead, before becoming Buddha. It must have passed to both the Persian and Abbasid literature through the trading routes and it reached the West deeply transformed, with the main characters tripled to gain dramatic intensity. Keywords: Dead, living, skeletons, hermitage, hermit, hawk, hunter, harnessed horses, noblemen, princes, kings, crossroads, landmark, cemetery, crown. Subject: The meeting of the three living and the three dead is found in French literature and bibliography under the expression: le dit des trois morts et des trois vifs or les trois vivant et trois mortis.
    [Show full text]
  • Abstract Old English Elegies: Language and Genre
    ABSTRACT OLD ENGLISH ELEGIES: LANGUAGE AND GENRE Stephanie Opfer, PhD Department of English Northern Illinois University, 2017 Dr. Susan E. Deskis, Director The Old English elegies include a group of poems found in the Exeter Book manuscript that have traditionally been treated as a single genre due to their general sense of lament – The Wanderer, The Seafarer, The Riming Poem, Deor, Wulf and Eadwacer, The Wife’s Lament, Resignation, Riddle 60, The Husband’s Message, and The Ruin. In this study, I conduct a linguistic stylistic analysis of all ten poems using systemic functional linguistics (SFL) and a variety of computational and linguistic tools: Lexomics, Voyant, and Microsoft Excel. My results focus on three characteristics of the poetry: (1) the similarity of the linguistic style within the poems, measured by Lexomics; (2) an oscillation between first- and third-person clausal Themes, measured using SFL analysis; and (3) themes in the lexical categorization, measured through detailed lexical analysis. In the end, my methodology creates a new and more nuanced definition of the elegy: a relatively short reflective or dramatic poem, similar in style and content to other elegiac poems, that alternates between first- and third-person perspectives and includes (1) themes of exile; (2) imagery of water or the sea, the earth, and/or the weather; and (3) words expressing both joy and sorrow. Ultimately, I argue for a recategorization of only five poems as “Old English elegies”: The Wanderer, The Seafarer, Wulf and Eadwacer, The Wife’s Lament, and The Riming Poem. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS MAY 2017 OLD ENGLISH ELEGIES: LANGUAGE AND GENRE BY STEPHANIE OPFER ©2017 Stephanie Opfer A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Doctoral Director: Dr.
    [Show full text]
  • Danse Macabre in Text and Image in Late- Medieval England Oosterwijk, S
    'Fro Paris to Inglond'? The danse macabre in text and image in late- medieval England Oosterwijk, S. Citation Oosterwijk, S. (2009, June 25). 'Fro Paris to Inglond'? The danse macabre in text and image in late-medieval England. Retrieved from https://hdl.handle.net/1887/13873 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/13873 Note: To cite this publication please use the final published version (if applicable). CHAPTER 3 ‘Owte of the frensshe’: John Lydgate and the Dance of Death John Lydgate’s poem The Dance of Death was a translation ‘Owte of the frensshe’, as the author himself stated in his translator’s ‘Envoye’ at the end of the poem, yet ‘Not wordebeworde / but folwyng the substaunce’ (E:665-66) – an ancient topos.1 Even so, Lydgate’s poem was indeed no slavish imitation but an adaptation of a French poem that had been attracting attention since its incorporation in a wall-painting at the cemetery of Les Innocents in Paris not long before Lydgate’s presumed visit in 1426. Despite being an early adaptation of a popular French text, Lydgate’s Middle English Dance of Death has received less notice than it deserves, due to a number of factors. First of all, Lydgate’s reputation greatly declined after the sixteenth century and his ‘aureate’ style is no longer admired, which has affected the study of his work, although there has recently been a revival of Lydgate studies.2 Secondly, the poem is only a minor work in Lydgate’s huge oeuvre of well over 140,000 lines, and its didactic character has not endeared it to many literary scholars.
    [Show full text]