The Poems and Fables of Robert Henryson
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Microfilms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
An Examination of the Role of Wealhtheow in Beowulf
Merge Volume 1 Article 2 2017 The Pagan and the Christian Queen: An Examination of the Role of Wealhtheow in Beowulf Tera Pate Follow this and additional works at: https://athenacommons.muw.edu/merge Part of the Other Classics Commons Recommended Citation Pate, Tara. "The Pagan and the Christian Queen: An Examination of the Role of Wealhtheow in Beowulf." Merge, vol. 1, 2017, pp. 1-17. This Article is brought to you for free and open access by ATHENA COMMONS. It has been accepted for inclusion in Merge by an authorized editor of ATHENA COMMONS. For more information, please contact [email protected]. Merge: The W’s Undergraduate Research Journal Image Source: “Converged” by Phil Whitehouse is licensed under CC BY 2.0 Volume 1 Spring 2017 Merge: The W’s Undergraduate Research Journal Volume 1 Spring, 2017 Managing Editor: Maddy Norgard Editors: Colin Damms Cassidy DeGreen Gabrielle Lestrade Faculty Advisor: Dr. Kim Whitehead Faculty Referees: Dr. Lisa Bailey Dr. April Coleman Dr. Nora Corrigan Dr. Jeffrey Courtright Dr. Sacha Dawkins Dr. Randell Foxworth Dr. Amber Handy Dr. Ghanshyam Heda Dr. Andrew Luccassan Dr. Bridget Pieschel Dr. Barry Smith Mr. Alex Stelioes – Wills Pate 1 Tera Katherine Pate The Pagan and the Christian Queen: An Examination of the Role of Wealhtheow in Beowulf Old English literature is the product of a country in religious flux. Beowulf and its women are creations of this religiously transformative time, and juxtapositions of this work’s women with the women of more Pagan and, alternatively, more Christian works reveals exactly how the roles of women were transforming alongside the shifting of religious belief. -
Entre Ombre Et Lumière : Les Voix Féminines Dans Les Métamorphoses
Entre ombre et lumière : les voix féminines dans les Métamorphoses Hélène Vial Fondée sur l’articulation entre les passions des âmes et les métamorphoses des corps, l’esthétique des Métamorphoses d’Ovide délivre à la fois une vision audacieuse du monde et une conception neuve de l’entreprise poétique, le texte ovidien étant investi d’une très forte dimension réflexive due notamment à la correspondance exacte entre son sujet, la métamorphose, et sa forme, une écriture de la variation1. Or, la densité métalittéraire du poème est particulièrement grande dans les passages où se trouvent associés deux motifs qui constituent le sujet même du présent volume : celui de la voix et celui de la féminité. D’une part, la question de la voix est centrale dans les Métamorphoses ; d’autre part, les mythes féminins y sont très nombreux et d’une grande richesse symbolique ; et quand le poète relie l’une aux autres, la voix féminine apparaît dotée d’une capacité particulièrement saillante « à être inductric[e] de poésie », comme le disait l’appel à communication du séminaire qui a donné naissance à ce livre2, autrement dit à faire signe vers l’écriture et à parler du projet poétique dans son entier. C’est cette capacité qui constitue l’objet de mon analyse : dans la foule des silhouettes mythiques qui traversent les Métamorphoses et dont la voix nous est donnée à entendre, y a-t- il une spécificité féminine ? Et plus précisément, que nous disent sur la conception ovidienne de la poésie les paroles prononcées par ces figures féminines de l’ombre et du mystère3 -
The Culture of Literature and Language in Medieval and Renaissance Scotland
The Culture of Literature and Language in Medieval and Renaissance Scotland 15th International Conference on Medieval and Renaissance Scottish Literature and Language (ICMRSLL) University of Glasgow, Scotland, 25-28 July 2017 Draft list of speakers and abstracts Plenary Lectures: Prof. Alessandra Petrina (Università degli Studi di Padova), ‘From the Margins’ Prof. John J. McGavin (University of Southampton), ‘“Things Indifferent”? Performativity and Calderwood’s History of the Kirk’ Plenary Debate: ‘Literary Culture in Medieval and Renaissance Scotland: Perspectives and Patterns’ Speakers: Prof. Sally Mapstone (Principal and Vice-Chancellor of the University of St Andrews) and Prof. Roger Mason (University of St Andrews and President of the Scottish History Society) Plenary abstracts: Prof. Alessandra Petrina: ‘From the margins’ Sixteenth-century Scottish literature suffers from the superimposition of a European periodization that sorts ill with its historical circumstances, and from the centripetal force of the neighbouring Tudor culture. Thus, in the perception of literary historians, it is often reduced to a marginal phenomenon, that draws its force solely from its powers of receptivity and imitation. Yet, as Philip Sidney writes in his Apology for Poetry, imitation can be transformed into creative appropriation: ‘the diligent imitators of Tully and Demosthenes (most worthy to be imitated) did not so much keep Nizolian paper-books of their figures and phrases, as by attentive translation (as it were) devour them whole, and made them wholly theirs’. The often lamented marginal position of Scottish early modern literature was also the key to its insatiable exploration of continental models and its development of forms that had long exhausted their vitality in Italy or France. -
Herjans Dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age
Herjans dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age Luke John Murphy Lokaverkefni til MA–gráðu í Norrænni trú Félagsvísindasvið Herjans dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age Luke John Murphy Lokaverkefni til MA–gráðu í Norrænni trú Leiðbeinandi: Terry Gunnell Félags- og mannvísindadeild Félagsvísindasvið Háskóla Íslands 2013 Ritgerð þessi er lokaverkefni til MA–gráðu í Norrænni Trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Luke John Murphy, 2013 Reykjavík, Ísland 2013 Luke John Murphy MA in Old Nordic Religions: Thesis Kennitala: 090187-2019 Spring 2013 ABSTRACT Herjans dísir: Valkyrjur, Supernatural Feminities, and Elite Warrior Culture in the Late Pre-Christian Iron Age This thesis is a study of the valkyrjur (‘valkyries’) during the late Iron Age, specifically of the various uses to which the myths of these beings were put by the hall-based warrior elite of the society which created and propagated these religious phenomena. It seeks to establish the relationship of the various valkyrja reflexes of the culture under study with other supernatural females (particularly the dísir) through the close and careful examination of primary source material, thereby proposing a new model of base supernatural femininity for the late Iron Age. The study then goes on to examine how the valkyrjur themselves deviate from this ground state, interrogating various aspects and features associated with them in skaldic, Eddic, prose and iconographic source material as seen through the lens of the hall-based warrior elite, before presenting a new understanding of valkyrja phenomena in this social context: that valkyrjur were used as instruments to propagate the pre-existing social structures of the culture that created and maintained them throughout the late Iron Age. -
Tradition and Transformation in the Poetry of Robert Henryson Evelyn S
Studies in Scottish Literature Volume 18 | Issue 1 Article 4 1983 Tradition and Transformation in the Poetry of Robert Henryson Evelyn S. Newlyn Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Newlyn, Evelyn S. (1983) "Tradition and Transformation in the Poetry of Robert Henryson," Studies in Scottish Literature: Vol. 18: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol18/iss1/4 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Evelyn S. Newlyn Tradition and Transformation in the Poetry of Robert Henryson The predilection in the Middle Ages for a rigid structuring of reality appears in every aspect of medieval culture, including medieval poetry; poetic conventions exerted, in fact, an al most prescriptive power over the poet, so that one important measure of the truly distinctive medieval poem is its ability to transcend the limitations of traditional forms and sub jects. This ability to transform conventional poetic modes and themes is, for example, one of the principal bases of Chaucer's creative genius. Although Chaucer influenced very considerably the poetry which appeared in the century after his death, paradoxically that influence worked merely to pro vide a newer sort of prescription as poets frequently attempt ed not to emulate Chaucer's inventiveness in using tradition, but instead to mimic his very forms, subjects, and treatments. -
Tracts and Other Papers Relating Principally to the Origin, Settlement
Library of Congress Tracts and other papers relating principally to the origin, settlement, and progress of the colonies in North America from the discovery of the country to the year 1776. Collected by Peter Force. Vol. 3 TRACTS AND OTHER PAPERS, RELATING PRINCIPALLY TO THE ORIGIN, SETTLEMENT, AND PROGRESS OF THE COLONIES IN NORTH AMERICA, FROM THE DISCOVERY OF THE COUNTRY TO THE YEAR 1776. 2 219 17?? Oct13 COLLECTED BY PETER FORCE. Vol. III. WASHINGTON: PRINTED BY WM. Q. FORCE. 1844. No. 2 ? Entered according to Act of Congress, in the year 1844, By PETER FORCE, In the Clerk's Office of the District Court of the District of' Columbia. 7 '69 CONTENTS OF THE THIRD VOLUME. 3 390 ? 62 I. A Trve Declaration of the estate of the Colonie in Virginia, with a confutation of such scandalous reports as haue tended to the disgrace of so worthy an enterprise. Published Tracts and other papers relating principally to the origin, settlement, and progress of the colonies in North America from the discovery of the country to the year 1776. Collected by Peter Force. Vol. 3 http://www.loc.gov/resource/lhbcb.7018c Library of Congress by aduise and direction of the Councell of Virginia. London, printed for William Barret, and are to be sold at the blacke Beare in Pauls Church-yard. 1610.—[28 pages.] II. For the Colony in Virginea Britannia. Lavves Diuine, Morall and Martiall, &c. Alget qui non Ardet. Res nostrœ subinde non sunt, quales quis optaret, sed quales esse possunt. Printed at London for Walter Burre. -
SCOTTISH TEXT SOCIETY Old Series
SCOTTISH TEXT SOCIETY Old Series Skeat, W.W. ed., The kingis quiar: together with A ballad of good counsel: by King James I of Scotland, Scottish Text Society, Old Series, 1 (1884) Small, J. ed., The poems of William Dunbar. Vol. I, Scottish Text Society, Old Series, 2 (1883) Gregor, W. ed., Ane treatise callit The court of Venus, deuidit into four buikis. Newlie compylit be Iohne Rolland in Dalkeith, 1575, Scottish Text Society, Old Series, 3 (1884) Small, J. ed., The poems of William Dunbar. Vol. II, Scottish Text Society, Old Series, 4 (1893) Cody, E.G. ed., The historie of Scotland wrytten first in Latin by the most reuerend and worthy Jhone Leslie, Bishop of Rosse, and translated in Scottish by Father James Dalrymple, religious in the Scottis Cloister of Regensburg, the zeare of God, 1596. Vol. I, Scottish Text Society, Old Series, 5 (1888) Moir, J. ed., The actis and deisis of the illustere and vailzeand campioun Schir William Wallace, knicht of Ellerslie. By Henry the Minstrel, commonly known ad Blind Harry. Vol. I, Scottish Text Society, Old Series, 6 (1889) Moir, J. ed., The actis and deisis of the illustere and vailzeand campioun Schir William Wallace, knicht of Ellerslie. By Henry the Minstrel, commonly known ad Blind Harry. Vol. II, Scottish Text Society, Old Series, 7 (1889) McNeill, G.P. ed., Sir Tristrem, Scottish Text Society, Old Series, 8 (1886) Cranstoun, J. ed., The Poems of Alexander Montgomerie. Vol. I, Scottish Text Society, Old Series, 9 (1887) Cranstoun, J. ed., The Poems of Alexander Montgomerie. Vol. -
Saturn As the “Sun of Night” in Ancient Near Eastern Tradition ∗
Saturn as the “Sun of Night” in Ancient Near Eastern Tradition ∗ Marinus Anthony van der Sluijs – Seongnam (Korea) Peter James – London [This article tackles two issues in the “proto-astronomical” conception of the planet Saturn, first attested in Mesopotamia and followed by the Greeks and Hindus: the long-standing problem of Saturn’s baffling association with the Sun; and why Saturn was deemed to be “black”. After an extensive consideration of explanations offered from the 5th century to the 21st, as well as some new “thought experiments”, we suggest that Saturn’s connection with the Sun had its roots in the observations that Saturn’s course appears to be the steadiest one among the planets and that its synodic period – of all the planets – most closely resembles the length of the solar year. For the black colour attributed to Saturn we propose a solution which is partly lexical and partly observational (due to atmospheric effects). Finally, some thoughts are offered on the question why in Hellenistic times some considered the “mock sun” Phaethon of Greek myth to have been Saturn]. Keywords: Saturn, planets, Sun, planet colour. 1. INTRODUCTION Since the late 19th century scholars have been puzzled by a conspicuous peculiarity in the Babylonian nomenclature for the planet Saturn: a number of texts refer to Saturn as the “Sun” ( dutu/20 or Šamaš ), instead of its usual astronomical names Kayam ānu and mul UDU.IDIM. 1 This curious practice was in vogue during the period c. 750-612 BC 2 and is not known from earlier periods, with a single possible exception, discussed below. -
On the Months (De Mensibus) (Lewiston, 2013)
John Lydus On the Months (De mensibus) Translated with introduction and annotations by Mischa Hooker 2nd edition (2017) ii TABLE OF CONTENTS Abbreviations .......................................................................................... iv Introduction .............................................................................................. v On the Months: Book 1 ............................................................................... 1 On the Months: Book 2 ............................................................................ 17 On the Months: Book 3 ............................................................................ 33 On the Months: Book 4 January ......................................................................................... 55 February ....................................................................................... 76 March ............................................................................................. 85 April ............................................................................................ 109 May ............................................................................................. 123 June ............................................................................................ 134 July ............................................................................................. 140 August ........................................................................................ 147 September ................................................................................ -
The Dit Amoureux and the Makars: an Essay on the Kingis Quair and the Testament of Cresseid
The dit amoureux and the Makars: An Essay on The Kingis Quair and The Testament of Cresseid William Calin Although less pervasive in Scotland than in England, and with major Scottish writ- ing coming under a strong English influence, French maintained its presence and its seminal impact on literature in the Scots vernacular, in both the Middle Ages and the Renaissance.1 This is especially true for what is, arguably, the most important single genre in late medieval Scotland, high courtly narrative — what C. S. Lewis called the allegory of love. Late medieval Scottish poetry can benefit from renewed scrutiny in light of the analogous French tradition of the dit amoureux (tale of love). In this article, I hope to situate Scottish books in a larger intertextual context, one that is international and European. Instead of the microanalysis of Scots texts and their French sources, this essay is concerned primarily with the broader issues of genre, mode, structure, and style. The first two major tales of love in the grand manner in Scots are The Kingis Quair, attributed to James Stewart (King James I), and The Tes- tament of Cresseid by Robert Henryson. These two poems relate to Chaucer, of course, but also to well-known works by Guillaume de Machaut, Jean Froissart, and, in Hen- ryson’s case, Alain Chartier. They are admirable test cases demonstrating how greater attention to the French can help situate James’s and Henryson’s texts in their cul- tural milieu and also help account for their extraordinary complexity and maturity as works of art. -
Thor's Return of the Giant Geirrod's Red-Hot Missile Seen in a Cosmic Context
Thor’s Return of the Giant Geirrod’s Red-Hot Missile Seen in a Cosmic Context EMILY LYLE University of Edinburgh Abstract Discussion of the specific episode is preceded by a brief presentation of current theory concerning Indo-European myth in its cosmological framework to provide context. In the cosmological view sketched by Michael Witzel inThe Origins of the World’s Mythologies, the hero/young god must engage in a series of feats to create the conditions for human life to flourish. I have suggested that the conditions before the hero’s actions in the Indo-European context are envisaged as the extremes: too close; too hot; too dry; and too wet. It is argued that this particular threat is ‘too hot’ and comes from a giant figure who is one of the old gods, probably identifiable as Odin. When Geirrod throws a red-hot missile at Thor, Thor catches it and kills the giant when he sends it back. The related stories of Thor’s visit to Utgarthaloki and Thorstein’s visit to Geirrod are also treated, and attention is drawn to Welsh and Irish parallels which make an equivalence between thrown weapon and destructive gaze. It is suggested that the story may culminate in the motif of eye as star found separately. Keywords: Edda, giants, Indo-European cosmology, Odin, Old Norse mythology, Thor In order that the proposed cosmic interpretation of the specific episode of Thor’s return of Geirrod’s missile can be received and considered, it may be helpful to provide preliminary notes on the whole cosmological approach now available to scholars.