Theme as Ornament in Anglo-Saxon Poetry

PMLA ◽  
1961 ◽  
Vol 76 (5) ◽  
pp. 461-468 ◽  
Author(s):  
Robert E. Diamond
Keyword(s):  
Old English ◽  
Oral Poetry ◽  
English Poetry ◽  
Modern Poetry ◽  
Focus Attention ◽  
Anglo Saxon ◽  
Basic Study ◽  
Narrative Poetry ◽  
History Of ◽  
Verse Form

It Seems now to be generally agreed that Anglo-Saxon poetry is different from modern poetry not only in verse form and subject matter but is an entirely different kind of poetry. The basic study in the re-evaluation of Old English poetic technique is Francis P. Magoun, Jr's “Oral-Formulaic Character of Anglo-Saxon Narrative Poetry,” which applies to Old English poetry the discoveries of Milman Parry and Albert Lord about formulaic diction in Homeric poetry and in the oral poetry of Jugoslavia. Subsequent studies which further explore formulaic diction in Anglo-Saxon poetry are Magoun's “Bede's Story of Caedman: The Case History of an Anglo-Saxon Oral Singer” and an earlier paper of my own, “The Diction of the Signed Poems of Cynewulf.” These articles focus attention chiefly on the formula, which usually occupies the space of one verse or one measure of a verse. Professor Magoun also opened up the problem of the theme as a larger formulaic unit in “The Theme of the Beasts of Battle in Anglo-Saxon Poetry,” suggesting that the theme is essentially a convention, which the poet might call upon when he had a battle to narrate. The wolf, eagle, and raven do not advance the action: they are essentially ornament. It seems likely that such poets depended less on what moderns usually think of as inspiration than on a large stock of formulaic diction and of set pieces or themes.

On Translating Anglo-Saxon Poetry

PMLA ◽  
1898 ◽  
Vol 13 (2) ◽  
pp. 286-296
Author(s):  
Edward Fulton
Keyword(s):  
Old English ◽  
English Literature ◽  
Final Conclusion ◽  
English Poetry ◽  
Anglo Saxon ◽  
English Verse ◽  
History Of ◽  
The Subject ◽  
Early English

What verse to use in translating Anglo-Saxon poetry is a question, which, ever since Anglo-Saxon poetry has been thought worth translating, has been discussed over and over again, but unfortunately with as yet no final conclusion. The tendency, however, both among those who have written upon the subject and those who have tried their hand at translating, is decidedly in favor of a more or less close imitation of the original metre. Professor F. B. Gummere, in an article on “The Translation of Beowulf and the Relations of Ancient and Modern English Verse,” published in the American Journal of Philology, Vol. vii (1886), strongly advocates imitating the A.-S. metre. Professor J. M. Garnett, in a paper read before this Association in 1890, sides with him, recanting a previously held belief in the superiority of blank verse. Of the various translations which imitate the A.-S. metre, the most successful, undoubtedly, is the Beowulf of Dr. John Leslie Hall, which appeared in 1892. Stopford Brooke, in his History of Early English Literature, also declares his belief in imitations of the original metre, though in his translations he does not always carry out his beliefs. He lays down the rule—and a very good rule it is—that translations of poetry “should always endeavour to have the musical movement of poetry, and to obey the laws of the verse they translate.” For translating A.-S. poetry, blank verse, he thinks, is out of the question; “ it fails in the elasticity which a translation of Anglo-Saxon poetry requires, and in itself is too stately, even in its feminine dramatic forms, to represent the cantering movement of Old English verse. Moreover, it is weighted with the sound of Shakspere, Milton, or Tennyson, and this association takes the reader away from the atmosphere of Early English poetry.”

Old English poetry, verse by verse

2015 ◽  
Vol 44 ◽  
pp. 95-130
Author(s):  
Eric Weiskott
Keyword(s):  
Old English ◽  
Half Line ◽  
English Poetry ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
Critical Editions ◽  
History Of ◽  
New Interpretation ◽  
Poetic Texts ◽  
State Of Affairs

AbstractCertain syntactical ambiguities in Old English poetry have been the focus of debate among students of metre and syntax. Proponents of intentional ambiguity must demonstrate that the passages in question exhibit, not an absence of syntactical clarity, but a presence of syntactical ambiguity. This article attempts such a demonstration. It does so by shifting the terms of the debate, from clauses to verses and from a spatial to a temporal understanding of syntax. The article proposes a new interpretation of many problematic passages that opens onto a new way of parsing and punctuating Old English poetry.In this essay in the history of poetic style, I demonstrate that the sequence in time of Old English half-lines sometimes necessitates retrospective syntactical reanalysis, a state of affairs which modern punctuation is ill-equipped to capture, but in which Anglo-Saxon readers and listeners would have recognized specific literary effects. In the second section, I extrapolate two larger syntactical units, the half-line sequence and the verse paragraph, which differ in important ways from the clauses and sentences that modern editors impose on Old English poetic texts. Along the way, I improve the descriptive accuracy of Kuhn's Laws by reinterpreting them as governing half-line sequences rather than clauses. I conclude with a call for unpunctuated or minimally punctuated critical editions of Old English verse texts.

The Literary Character of Anglo-Saxon Formulaic Poetry

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 334-341 ◽  
Author(s):  
Larry D. Benson
Keyword(s):  
Old English ◽  
Literary History ◽  
English Poetry ◽  
English Studies ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
English Verse ◽  
Literary Character ◽  
History Of ◽  
Exciting Development

Perhaps the most fruitful and exciting development in Old English studies in recent years has followed from F. P. Magoun's discovery that the Parry-Lord theory of oral verse-making can be applied to Old English poetry. This theory has caught the imagination of critics and has produced a “kind of revolution in scholarly opinion” not simply because it shows us that the style of this poetry is traditional—that has been known for many years—but because it offers a new and useful way of approaching the problems raised by this style, because it provides a new way of considering some of the relations between these poems, and because it casts light on an area that we thought was forever darkened, the pre-literary history of Germanic and Old English verse.

The probable derivation of most of the illustrations in Junius II from an illustrated Old Saxon Genesis

1976 ◽  
Vol 5 ◽  
pp. 133-148 ◽  
Author(s):  
Barbara Raw
Keyword(s):  
Middle Ages ◽  
Old English ◽  
Ninth Century ◽  
Bodleian Library ◽  
English Poetry ◽  
Anglo Saxon ◽  
Early Middle Ages ◽  
Old Saxon ◽  
Old English Poetry ◽  
History Of

Junius II in the Bodleian Library, Oxford, is the only one of the four principal manuscripts of Old English poetry to be illustrated. The pictures are important not only because they form one of the most extensive sets of Genesis illustrations of the early Middle Ages but also because the text which they illustrate is a composite one, 600 lines of which were translated into Old English from an Old Saxon poem probably of the second quarter of the ninth century. By tracing the sources of these illustrations one can throw light on the history and transmission of the text as well as on the history of manuscript art in the late Anglo-Saxon period.

The Anglian collection of royal genealogies and regnal lists

1976 ◽  
Vol 5 ◽  
pp. 23-50 ◽  
Author(s):  
David N. Dumville
Keyword(s):  
Old English ◽  
British Library ◽  
Anglo Saxon ◽  
Corpus Christi ◽  
History Of ◽  
The Subject

This collection of Old English royal records is found in four manuscripts: London, British Library, Cotton Vespasian B. vi; London, British Library, Cotton Tiberius B. v, vol. 1; Cambridge, Corpus Christi College 183; and Rochester, Cathedral Library, A. 3. 5. The present paper aims both to provide an accurate, accessible edition of the texts in the first three of these manuscripts and to discuss the development of the collection from its origin to the stages represented by the extant versions. We owe to Kenneth Sisam most of our knowledge of the history of the Anglo-Saxon genealogies. Although his closely argued discussion remains the basis for any approach to these sources, it lacks the essential aid to comprehension, the texts themselves. It is perhaps this omission, as much as the difficulty of the subject and the undoubted accuracy of many of his conclusions, that has occasioned the neglect from which the texts have suffered in recent years.

XVII.—Recent Translations of Old English Poetry.

PMLA ◽  
1903 ◽  
Vol 18 (3) ◽  
pp. 445-458
Author(s):  
James M. Garnett
Keyword(s):  
Old English ◽  
Subject Matter ◽  
The Other ◽  
English Poetry ◽  
William Morris ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
The Past

The desire was expressed some years ago that we might soon have in English a collection of translations of Old English poetry that might fill the place so well filled in German by Grein's Dichtungen der Angelsachsen. This desire is now in a fair way of accomplishment, and much has been done during the past ten years, the period embraced in this paper. As was naturally to be expected from the work previously done in criticism of both text and subject-matter, Beowulf has attracted more than ever the thoughts and efforts of translators, for we had in 1892 the rhythmical translation of Professor J. Lesslie Hall and the prose version of Professor Earle; in 1895 (reprinted in cheaper form in 1898) the poetical translation of William Morris and A. J. Wyatt, the editor of Beowulf; in 1901 the prose version of Dr. J. R. Clark Hall, author of A Concise Anglo-Saxon Dictionary; and only the other day, in 1902, the handy prose version of Professor C. B. Tinker.

scholarly journals The departure of the hero in a ship: The intertextuality of Beowulf, Cynewulf and Andreas

2019 ◽  
Vol 24 (1) ◽  
pp. 105
Author(s):  
Francis Leneghan
Keyword(s):  
Old English ◽  
English Poetry ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
The Church

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

Histories and surveys of Old English literature: a chronological review

1981 ◽  
Vol 10 ◽  
pp. 201-244 ◽  
Author(s):  
Daniel G. Calder
Keyword(s):  
Old English ◽  
Literary History ◽  
English Literature ◽  
Whole Body ◽  
English Poetry ◽  
Old English Literature ◽  
Anglo Saxon ◽  
Main Tendency ◽  
Special Quality

Literary history emerges when critical readers in sufficient number move beyond primary recognition of individual texts into a secondary awareness of a scheme, a sense of the connections that exist between these texts.1 Literary history considers the development of a whole body of literature, tracing multifarious influences and innovations through time. In the course of Anglo-Saxon studies the slow and sporadic reappearance of the literary remains resulted in the late nourishing of a schematic or historical overview. As Wellek reminds us, ‘the antiquarian study of Anglo-Saxon remained…outside the main tendency towards literary history’2 that occurred in late-seventeenth- and early-eighteenth-century England. So, too, the special quality of Old English poetry itself contributed to the laggard creation of a history. It is difficult to map the path of a literature in which all dating is only good guessing and in which a tenaciously conservative oral—formulaic style makes attempts at suggesting influence hazardous.

Edgar the Ætheling: Anglo-Saxon prince, rebel and crusader

1985 ◽  
Vol 14 ◽  
pp. 197-214 ◽  
Author(s):  
Nicholas Hooper
Keyword(s):  
Old English ◽  
Special Interest ◽  
Large Contribution ◽  
Anglo Saxon ◽  
Political Climate ◽  
Norman Conquest ◽  
History Of ◽  
Insight Into ◽  
William Of Malmesbury

In the years which followed the Norman Conquest, the Old English aristocracy was largely deprived of its lands and offices, both lay and ecclesiastical. The resistance of the English nobility to the Norman Conquest made a large contribution to its own eclipse, but it is rarely that we are afforded a glimpse of the fortunes of an individual. The historian may, however, dwell in some detail on the career of one man, Edgar the Ætheling. Episodes from his life are preserved in a variety of works composed in the eleventh and twelfth centuries. The Anglo-Saxon Chronicle contains several entries relating to his activities after 1066, and the D version shows a special interest in Edgar and his family. Among Latin histories, those of John of Worcester, William of Malmesbury and Orderic Vitalis follow his activities, although none of these authors was well informed about his life. Edgar appears not to have made a strongly favourable impression upon any of them: to the anonymous compilers of the Anglo-Saxon Chronicle he was the rightful heir to the throne of England, but to both William and Orderic he was indolent. There is little difficulty involved in bringing together the known episodes of his life, and although his royal blood makes him a far from typical example the picture that emerges gives a useful insight into how one Englishman fared in the unstable political climate of the years immediately preceding the Norman Conquest, and in its aftermath. It is intended here to assemble the evidence for the life of Edgar and to treat him not as a footnote to history, which is how he has often fared at the hands of historians, but as a character of no small importance in the history of the Norman Conquest of England.

Poisoned places: the Avernian tradition in Old English poetry

2007 ◽  
Vol 36 ◽  
pp. 103-126 ◽  
Author(s):  
Daniel Anlezark
Keyword(s):  
Old English ◽  
English Poetry ◽  
Latin Literature ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
Latin Epic ◽  
The Relationship ◽  
Solomon And Saturn Ii

AbstractScholars have long disputed whether or not Beowulf reflects the influence of Classical Latin literature. This essay examines the motif of the ‘poisoned place’ present in a range of texts known to the Anglo-Saxons, most famously represented by Avernus in the Aeneid. While Grendel's mere presents the best-known poisonous locale in Old English poetry, another is found in the dense and enigmatic poem Solomon and Saturn II. The relationship between these poems is discussed beside a consideration of the possibility that their use of the ‘Avernian tradition’ points to the influence of Latin epic on their Anglo-Saxon authors.

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