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1
Pittman, Josh. "The Most Important Virtue?" Renascence 71, no. 1 (2019): 57–75. http://dx.doi.org/10.5840/renascence20197114.
Повний текст джерелаАнотація:
The narrator of the Middle English Cleanness states that God punishes sexual sin more harshly than any other sin. This essay argues that the rest of the BL Cotton Nero A.x manuscript continues to develop the virtue of temperance, which governs sexual behavior, as a central theme. Pearl uses temperance to bring home the dreamer’s sin and God’s justice, while Patience and SGGK employ the interrelation between temperance and fortitude in ways that make temperance foundational. Interrogating the interdependence of the virtues allows the poet to challenge the traditional hierarchy of virtues, in which temperance is the lowest, thus making the case that temperance is paradoxically foundational to other virtues, like justice and fortitude. In this way, the poems not only make a case for the value of temperance, but they also expose ambiguities in orthodox accounts of the virtues.
2
Stanley, E. G. "The Middle English Lyric and Short Poem." Notes and Queries 49, no. 1 (March 1, 2002): 113–14. http://dx.doi.org/10.1093/nq/49.1.113.
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3
Stanley, E. G. "The Middle English Lyric and Short Poem." Notes and Queries 49, no. 1 (March 1, 2002): 113–14. http://dx.doi.org/10.1093/nq/490113.
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4
Palti, K. "The Bound Earth in Patience and Other Middle English Poetry." Interdisciplinary Studies in Literature and Environment 20, no. 1 (February 6, 2013): 31–51. http://dx.doi.org/10.1093/isle/ist001.
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5
BURROW, J. A. "TWO NOTES ON THE MIDDLE ENGLISH PATIENCE , lines 56 and 329." Notes and Queries 36, no. 3 (September 1, 1989): 300–303. http://dx.doi.org/10.1093/nq/36-3-300.
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6
Smith, Ross. "J. R. R. Tolkien and the art of translating English into English." English Today 25, no. 3 (July 30, 2009): 3–11. http://dx.doi.org/10.1017/s0266078409990216.
Повний текст джерелаАнотація:
ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is of the anonymous 14th Century poem Sir Gawain and the Green Knight, which was published posthumously with two other translations from Middle English in the volume Sir Gawain and the Green Knight, Pearl and Sir Orfeo (Allen & Unwin 1975). The translation of Middle English texts constitutes the bulk of his output in this field, both in the above volume and in the fragments that appear in his lectures and essays. However, his heart really lay in the older, pre-Norman form of the language, and particularly in the greatest piece of literature to come down to us from the Old English period, the epic poem Beowulf.
7
Coleman, Janet. "The Owl and the Nightingale and Papal Theories of Marriage." Journal of Ecclesiastical History 38, no. 4 (October 1987): 517–68. http://dx.doi.org/10.1017/s0022046900023630.
Повний текст джерелаАнотація:
In English and American Studies in German, summaries of theses and monographs, a supplement to Anglia, 1983, there is a notice of Hans Sauer's edition of the Middle English poem the Owl and the Nightingale with a German translation. Sauer stresses ‘that no completely satisfactory interpretation of this fascinating poem has been suggested so far. At best, only some of the aspects of O & N are covered by the various allegorical explanations or by reading it as a burlesque-satirical poem - these interpretations by no means explain its significance as a whole.’ The present paper suggests that a knowledge of the papacy's changing attitude t o marriage in the twelfth century, as expressed in the development of canon law, as well as in the deliberations of English provincial synods, goes far to illuminating the scope and purpose of this Middle English satire/burlesque.
8
Morrison, Susan Signe. "Slow Practice as Ethical Aesthetics: The Ecocritical Strategy of Patience." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (September 17, 2020): 118–27. http://dx.doi.org/10.37536/ecozona.2020.11.2.3453.
Повний текст джерелаАнотація:
How can cultural works from the distant past –such as the Middle Ages—teach us ethical modes of behavior for today? One form of ecopoetics emerges through slow practice, making the reader collaborate in the measured process of co-creating the emotional impact of an imaginative text. Drawing on rich debates about slow cinema, this essay suggests how Chaucer’s The Clerk’s Tale—from his grand fourteenth-century poem, The Canterbury Tales—evokes a slow eco-aesthetics with ethical impact. The relative slowness of walking shapes how individuals respond to their environment. In turn, a deceleration of perception affects how travel comes to be written about, as seen in the tale of Patient Griselda. Introduced by Giovanni Boccaccio and adapted by such writers as Francesco Petrarch, Geoffrey Chaucer, and Christine de Pizan, she acts dynamically through her apparent silence and notorious patience. The environmental humanities offer paradigms for us to consider the strategies of slowness and patience. This essay shows how medieval pilgrimage literature evokes a slow aesthetic which is at the same time an ecocritical strategy. Slowness results in an enduring impact and heightened sensitivity to the ecological damage for which we all are culpable. Slower somatically inculcates key aspects of environmental awareness. Pilgrimage texts from the Middle Ages teach us slow ethical aesthetics, suggesting that the medieval moment—finally and a long time coming— is now.
9
TARVERS, JOSEPHINE KOSTER. "A HITHERTO UNNOTICED MIDDLE ENGLISH POEM IN UNIVERSITY OF PENNSYLVANIA MS ENGLISH 6 1." Notes and Queries 32, no. 4 (December 1, 1985): 447–49. http://dx.doi.org/10.1093/nq/32-4-447.
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10
Boffey, Julia, and Paula Simpson. "A Middle English Poem on a Binding Fragment: an Early Valentine?" Review of English Studies 67, no. 282 (July 20, 2016): 844–54. http://dx.doi.org/10.1093/res/hgw074.
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11
NEWHAUSER. "A MIDDLE ENGLISH POEM ON THE FLEETING NATURE OF MATERIAL WEALTH." Medium Ævum 71, no. 1 (2002): 74. http://dx.doi.org/10.2307/43630390.
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12
Easterling. "Ascetic Desire and the Enclosed Body in the Middle English Patience." Journal of Medieval Religious Cultures 40, no. 2 (2014): 144. http://dx.doi.org/10.5325/jmedirelicult.40.2.0144.
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13
Thomas D. Hill. "God's “Inquits” and Exegetical Speech Theory in the Middle English Patience." Journal of English and Germanic Philology 116, no. 2 (2017): 182. http://dx.doi.org/10.5406/jenglgermphil.116.2.0182.
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14
Williams, Mark. "Astrological Poetry in late medieval Wales: the case of Dafydd Nanmor’s ‘To God and the planet Saturn’." Culture and Cosmos 12, no. 02 (October 2008): 3–22. http://dx.doi.org/10.46472/cc.0212.0203.
Повний текст джерелаАнотація:
This paper examines the major astrological poem which survives from late medieval Wales, Dafydd Nanmor’s ‘Cywydd to God and the planet Saturn’. A close reading of the poem suggests that actual horoscopes, rather than just a vague knowledge of astrology, were accessible in Wales at the end of the Middle Ages. As a result, Dafydd Nanmor’s poem can now be dated to September 1479. This is set in the context of the sociology of English astrology at the end of the Middle Ages; by the middle of the 15th century, astrology was percolating down from the court an universities into the cultural life of the merchant classes, and it is argued that the spread of astrological material to Wales in the same period forms part of the same process.
15
Sutton, Peter. "Alliteration in Modern and Middle English: “Piers Plowman”." Armenian Folia Anglistika 10, no. 1-2 (12) (October 15, 2014): 54–62. http://dx.doi.org/10.46991/afa/2014.10.1-2.054.
Повний текст джерелаАнотація:
William Langland’s 8000-line fourteenth-century poem Piers Plowman uses an alliterative rhyme scheme inherited from Old English in which, instead of a rhyme at the end of a line, at least three out of the four stressed syllables in each line begin with the same sound, and this is combined with a caesura at the mid-point of the line. Examples show that Langland does not obey the rules exactly, but he is nevertheless thought to be at the forefront of a revival of alliterative verse. Further examples demonstrate that alliteration was never entirely replaced by end-rhyme and remains a feature of presentday vernacular English and poetry, even though the rhyme scheme is obsolete. It is deeply embedded in the structure and psyche of the English language.
16
Stolyarova, Anastasiya G. "Evolution of Middle English Alliterative Phrases in 15th-Century Scottish Poetry: New Forms and Functions." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 5 (October 10, 2020): 89–97. http://dx.doi.org/10.37482/2227-6564-v052.
Повний текст джерелаАнотація:
Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use of formulaic alliterative phrases as illustrated by two alliterative Scottish poems that were written nearly at the same time (second half of the 15th century) and belong to the same tradition, but to different genres: the romance Golagros and Gawain and the allegorical poem The Buke of the Howlat. Golagros and Gawain is a poem composed in the decline of the genre of romance, which glorifies the virtues of chivalry and the heroic world becoming a thing of the past. A characteristic feature of the poem is the extensive use of variation between the elements of set phrases typical of the tradition of alliterative revival. A large number of alliterative phrases in Golagros and Gawain are individual author variants describing an ideal chivalric hero. In The Buke of the Howlat, on the contrary, most phrases are fixed and stereotyped. The author of this poem prefers to exploit formulas as a satiric device, putting typical phrases in an unusual context and thus altering their meaning.
17
Metlitzki, Dorothee. "The Pearl Poem in Middle and Modern English ed. by William Vantuono." Studies in the Age of Chaucer 10, no. 1 (1988): 197–201. http://dx.doi.org/10.1353/sac.1988.0036.
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18
McDermott, Ryan. "The Ordinary Gloss on Jonah." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 424–38. http://dx.doi.org/10.1632/pmla.2013.128.2.424.
Повний текст джерелаАнотація:
THE ORDINARY GLOSS WAS THE MOST WIDELY USED EDITION OF THE BIBLE IN THE LATER MIDDLE AGES AND WELL INTO THE SIXTEENTH century. Medievalists know the commentary element as the Gloss to which theologians as diverse as Thomas Aquinas, Bonaventure, John Wyclif, and Martin Luther habitually referred. As the foremost vehicle for medieval exegesis, the Gloss framed biblical narratives for a wide range of vernacular religious literature, from Dante's Divine Comedy to French drama to a Middle English retelling of the Jonah story, Patience.
19
Gasse, Rosanne. "Dowel, Dobet, and Dobest in Middle English Literature." Florilegium 14, no. 1 (January 1996): 171–95. http://dx.doi.org/10.3138/flor.14.011.
Повний текст джерелаАнотація:
One of the bugbears of Piers Plowman criticism has always been the definition of Dowel, Dobet, and Dobest. The attempts to elucidate these terms have been many — the best known perhaps being those that have been based upon a critical desire to equate the triad of Dowel, Dobet, and Dobest with respectively the triads of the Active, Contemplative, and Mixed lives, or the unitive, purgative, and illuminative stages of mysticism. One immediate problem with the first in particular is Will’s explicit statement in the Ctext that there are “but tweyne lyves’ (XVIII.81) and Liberum Arbitrium’s explanation as to why then the Tree of Charity bears three kinds of fruit. Liberum Arbitrium does not contradict Will’s belief in the existence of only two Lives, even as he describes the three fruits of charity: another seemingly separate triad of marriage, widowhood, and virginity. In the end one is sorely tempted to agree with Mary Carruthers that attempts to relate Dowel, Dobet, and Dobest to ways of life or sections of the poem are based on fundamentally wrong assumptions (9).
20
Spyra, Piotr. "Beyond the Garden: On the Erotic in the Vision of the Middle English "Pearl"." Text Matters, no. 3 (November 1, 2013): 13–26. http://dx.doi.org/10.2478/texmat-2013-0023.
Повний текст джерелаАнотація:
The Middle English Pearl is known for its mixture of genres, moods and various discourses. The textual journey the readers of the poem embark on is a long and demanding one, leading from elegiac lamentations and the erotic outbursts of courtly love to theological debates and apocalyptic visions. The heterogeneity of the poem has often prompted critics to overlook the continuity of the erotic mode in Pearl which emerges already in the poem’s first stanza. While it is true that throughout the dream vision the language of the text never eroticizes the relationship between the Dreamer and the Pearl Maiden to the extent that it does in the opening lines, the article argues that eroticism actually underlies the entire structure of the vision proper. Taking recourse to Roland Barthes’s distinction between the erotic and the sexual to explain the exact nature of the bond which connects the two characters, the argument posits eroticism as an expression of somatic longing; a careful analysis of Pearl through this prism provides a number of ironic insights into the mutual interactions between the Dreamer and the Maiden and highlights the poignancy of their inability to understand each other. Further conclusions are also drawn from comparing Pearl with a number of Chaucerian dream visions. Tracing the erotic in both its overt and covert forms and following its transformations in the course of the narrative, the article outlines the poet’s creative use of the mechanics of the dream vision, an increasingly popular genre in the period when the poem was written.
21
Schustereder, Stefan. "COMING TO TERMS WITH A PAGAN PAST: THE STORY OF ST ERKENWALD." Studia Anglica Posnaniensia 48, no. 2-3 (December 1, 2013): 71–92. http://dx.doi.org/10.2478/stap-2013-0008.
Повний текст джерелаАнотація:
ABSTRACT The poem of St Erkenwald and his encounter with the body of a pagan judge preserved in a tomb underneath St Paul's Cathedral has never provoked an intense scholarly discussion. During the past two decades, however, the poem has altogether lost the scarce attention it used to receive. This is surprising in regards to its outstanding quality but also because of a number of peculiar characteristics the text has in comparison with other works written during the Middle Ages. Arguing for the importance of the historical details provided by the poem, my article takes a number of these peculiarities into account and suggests a new reading of the poem. In this approach, I do not dismiss the major topics of the earlier scholarly discussions, mostly focused on the poem's theological and stylistic topics or its presumed sources. My article rather presents an additional reading from the perspective of a literary history, thus arguing that the poem of St Erkenwald can be placed within a discourse tradition to which a number of earlier authors contributed, the most famous among them being the Venerable Bede. While the poem addresses a variety of theological and stylistic topics and is of course influenced by its contemporary religious and social developments, it also contributes to one of the fundamental problems of English identity in the Middle Ages: coming to terms with a pagan origin.
22
Honegger, Thomas. "'A Fox is a Fox is a Fox... ' The Fox and the Wolf Reconsidered." Reinardus / Yearbook of the International Reynard Society 9 (December 31, 1996): 59–74. http://dx.doi.org/10.1075/rein.9.06hon.
Повний текст джерелаАнотація:
Abstract The Middle English The Fox and the Wolf is the first piece of evidence that 'Renart' had crossed the 'linguistic channel' which separated the Anglo-Norman nobility from their English subjects. The article argues that the poet tries to take into account his audience's likely unfamiliarity with the scurrilous beast-epic hero by linking his poem with the already familiar traditions of the beast tale, the beast fable, as well as The Physiologus and the bestiary.
23
Olesiejko, Jacek. "Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A." Studia Anglica Posnaniensia 45, no. 1 (January 1, 2009): 153–62. http://dx.doi.org/10.2478/v10121-009-0010-9.
Повний текст джерелаАнотація:
Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A Since the times of Antiquity, people have looked up to the sky and developed various conceptions of Heaven and Hell. Already in the ancient Egypt people developed the tripartite conception of universe with earth placed between the Heaven inhabited by gods above and Hell below. The Old English poetic text of Genesis (MS Junius 11; compilation dated to the 10th century) presents the earthly paradise, Hell and Middangeard (or the middle earth). Both Genesis A and B that comprise the poem indeed show a single and consistent descriptions of cosmos. The overt consistency may well seem as interesting as the tradition that the poem draws upon as well as distorts. The universe found in the poem is a fusion of the Christian religious learning as well as Germanic tradition. The idea that marries Heaven, earth and Hell in the poetic sequence of OE Genesis is the concept of hall and anti-hall, city and anti-city. The aim of the following paper is to investigate the modes of this presentation of these parts of the universe by the analysis of the clusters of meaning that are associated with hall and city.
24
Xenia, Tia. "Vowel Change Found in Geoffrey Chaucer�s The House of Fame: Great Vowel Shift." Journal of Language and Literature 15, no. 1 (April 1, 2015): 36–45. http://dx.doi.org/10.24071/joll.v15i1.371.
Повний текст джерелаАнотація:
It has already been understood that Great Vowel Shift (GVS) takes the major differences between the pronunciation in Middle English and Modern English. GVS is a change in pronunciation of vowel sounds in English language. The evidence of this change can be attained through written texts. It can be found by comparing Geoffrey Chaucers literary works to William Shakespeares works to see the differences. However, in this paper I focused only on analyzing the GVS in Geoffrey Chaucers poem entitled The house of Fame. The purpose of this study is to find out what kind of sound shift appears in The House of Fame and to explain in what phonological environment the vowel shift takes place. The result shows that there are seven kinds of sound shifts found in the poem. Those are [e:][i:], [i:][a?], [?:][o:], [?:][e:], [a:] [?:] [e?], [o:] [u:], and [u:] [au]. Besides, from this study, it can be concluded that there are three kinds of phonological environments employed in vowel shift.Keywords: Great Vowel Shift, Geoffrey Chaucer
25
Gardiner-Scott, Tanya. "The Missing Link: An Edition of the Middle English ‘Ypotis’ from York Minster MS XVI.L.12." Traditio 46 (1991): 235–59. http://dx.doi.org/10.1017/s0362152900004256.
Повний текст джерелаАнотація:
The Middle English Ypotis, a ‘wise child’ dialogue poem deriving from the third century A.D. Latin Altercatio Hadriani Augusti et Epicteti philosophi via the French L'Enfant sage versions, exists in fifteen texts. Fourteen of these are edited in scattered collections published in the late nineteenth and early twentieth centuries; the fifteenth, from the York Minster MS XVI.L.12 fols. 58r–69v (Yk), is the only one hitherto unavailable. Surprisingly enough, it has never been the subject of a full critical edition.
26
Spyra, Piotr. "The God of the Middle English Cleanness and His Erotic Exhortations of Purity." Studia Anglica Posnaniensia 47, no. 4 (December 1, 2012): 133–45. http://dx.doi.org/10.2478/v10121-012-0015-7.
Повний текст джерелаАнотація:
Abstract The Middle English Cleanness is a poem unique in the medieval context in that it couples its homophobic discourse with a powerful vindication of sexual pleasure and its role in relationships without referring to the procreative telos of marriage. In fact, Cleanness does not even stress that the only proper arena for erotic desire is the marriage bed, with the narrator emphasising the mutuality of pleasure instead. The article investigates the text’s rhetorical interplay between the vilification of homosexuals and the divine endorsement of heterosexual lovemaking. Going beyond the established critical consensus on the issue, it argues that the contrast between the two serves not only to allow the author to vent his homophobic prejudice but also connects with the epistemological concerns of Pearl, the text that precedes Cleanness in the Cotton Nero A.x manuscript.
27
Galloway, Andrew. "LaЗamon's Gift". PMLA/Publications of the Modern Language Association of America 121, № 3 (травень 2006): 717–34. http://dx.doi.org/10.1632/003081206x142841.
Повний текст джерелаАнотація:
LaЗamon's Brut, from a moment in English literary and cultural history whose sense of tradition is particularly difficult for us to comprehend–a century and a half after the Norman Conquest, at the beginnings of Middle English–has a notoriously complex relation to England's past and traditions. This essay focuses on how The Brut takes a traditional social and literary preoccupation in pre-Conquest England, the lordly gift exchange, and expands it to explore a new range of spiritual gifts (or deceptive claims to them), including professional knowledge, counsel to the powerful, and literary fame. This expansion of the gift corresponds to broad cultural shifts as well as to more topical matters in King John's reign, the probable period of the poem's composition. The poem fashions itself as a gift in these volatile terms, repeatedly embracing an unknown literary future while it accurately limns some fundamental new features of Middle English literature. (AG)
28
Spyra, Piotr. "Simul iustus et peccator: The Theological Significance of Shifts of Perspective in the Middle English Cleanness and Patience." Parergon 35, no. 1 (2018): 61–78. http://dx.doi.org/10.1353/pgn.2018.0003.
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29
McCrea, Adriana. "Reason's Muse: Andrew Marvell, R. Fletcher, and the Politics of Poetry in the Engagement Debate." Albion 23, no. 4 (1991): 655–80. http://dx.doi.org/10.2307/4050745.
Повний текст джерелаАнотація:
Andrew Marvell's “An Horatian ode upon Cromwel's return from Ireland” may not be the most famous seventeenth-century poem but it is perhaps the most enigmatic. Its elusive, haunting quality defies any strict interpretation, and, as Blair Worden has recently indicated, the poem refuses to fall neatly into any simple “royalist” or “Cromwellian” category. Rather, the “Horatian Ode” has the aspect of a cultural artifact, having captured and held the historical moment that tore asunder two ages: the pre-1649 past of hereditary monarchy with its confidence in the traditions bequeathed by time, and the immediate post-1649 future, when the English state was to be governed by brute strength and naked power. As such, it has become a testament to the “fundamental shift in English civilization, that when every reservation has been made, the middle of the seventeenth century brought about.” For Worden “An Horatian Ode,” with its ambivalent stance of neither approval nor condemnation of the rise of Cromwell, epitomizes the state of Renaissance poetry before T. S. Eliot's much lamented “disassociation of sensibility” took place.
30
Pons-Sanz, Sara M. "Norse-derived vocabulary in La estorie del evangelie." Folia Linguistica 55, s42-s2 (October 14, 2021): 461–91. http://dx.doi.org/10.1515/flin-2021-2032.
Повний текст джерелаАнотація:
Abstract While the study of Norse-derived terms in medieval English has benefitted from recent etymological advances (e.g. the Gersum project), the exploration of their process of integration lags behind. The latter requires the analysis of the dialectal and semantic distribution of the terms, as well as their interactions with other members of their lexico-semantic fields. This paper offers a case study of this approach by presenting the first comprehensive account of the Norse-derived terms included in La estorie del evangelie, an early Middle English poem from south Lincolnshire/north Norfolk. Besides identifying and classifying the Norse loans on the basis of the Gersum typology and the Historical thesaurus of English, the paper examines the different layers of scribal reworking in its seven fourteenth- and fifteenth-century manuscripts from various dialectal areas to separate the Norse-derived terms that can be attributed to the original composition from those that represent later lexical substitutions, thus tracing the terms’ fate into the late Middle English period. This work shows that this understudied text offers valuable information on the interaction between native, Norse and French terms both in the early Middle English period of the original Fenland author and the later period of the surviving copies. Given that the methodology showcased here should not be restricted only to the analysis of Norse-derived terms, the paper’s significance transcends its immediate focus, as it also contributes to our understanding of medieval English lexicology more broadly.
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Pons-Sanz, Sara M. "Norse-derived vocabulary in La estorie del evangelie." Folia Linguistica 55, s42-s2 (October 14, 2021): 461–91. http://dx.doi.org/10.1515/flin-2021-2032.
Повний текст джерелаАнотація:
Abstract While the study of Norse-derived terms in medieval English has benefitted from recent etymological advances (e.g. the Gersum project), the exploration of their process of integration lags behind. The latter requires the analysis of the dialectal and semantic distribution of the terms, as well as their interactions with other members of their lexico-semantic fields. This paper offers a case study of this approach by presenting the first comprehensive account of the Norse-derived terms included in La estorie del evangelie, an early Middle English poem from south Lincolnshire/north Norfolk. Besides identifying and classifying the Norse loans on the basis of the Gersum typology and the Historical thesaurus of English, the paper examines the different layers of scribal reworking in its seven fourteenth- and fifteenth-century manuscripts from various dialectal areas to separate the Norse-derived terms that can be attributed to the original composition from those that represent later lexical substitutions, thus tracing the terms’ fate into the late Middle English period. This work shows that this understudied text offers valuable information on the interaction between native, Norse and French terms both in the early Middle English period of the original Fenland author and the later period of the surviving copies. Given that the methodology showcased here should not be restricted only to the analysis of Norse-derived terms, the paper’s significance transcends its immediate focus, as it also contributes to our understanding of medieval English lexicology more broadly.
32
Bryant, Brantley L., and Asa Simon Mittman. "Travels of the Blemmye-Folke’: A Previously Unknown Middle English Poem in the Collection of Miskatonic University." Listening 52, no. 3 (2017): 117–26. http://dx.doi.org/10.5840/listening201752314.
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Olesiejko, Jacek. "Nebuchadnezzar’s Mind and Memory in the Old English “Daniel”." Anglica Wratislaviensia 59 (December 28, 2021): 65–90. http://dx.doi.org/10.19195/0301-7966.59.5.
Повний текст джерелаАнотація:
As Mary Carruthers observes in her seminal Book of Memory, the cultivation of memory was considered a mark of superior ethics in the Middle Ages. She claims, for example, that “the choice to train one’s memory or not, for the ancients and medievals, was not a choice dictated by convenience: it was a matter of ethics. A person without a memory, if such a thing could be, is a person without moral character and, in a basic sense, without humanity” (Carruthers 14). In the present article, which aims to discuss the Old English biblical paraphrase Daniel, I argue that memory plays an important, if not essential, role in Nebuchadnezzar’s conversion. The poet expands on the biblical source, the Old Testament Book of Daniel, to depict the Babylonian king as commencing a process of rectification of the self by incorporating and internalizing the word of God, mediated in the poem by Daniel the prophet, as part of his self.
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Frantzen, Allen J. "The Disclosure of Sodomy in Cleanness." PMLA/Publications of the Modern Language Association of America 111, no. 3 (May 1996): 451–64. http://dx.doi.org/10.2307/463168.
Повний текст джерелаАнотація:
Cleanness, an alliterative Middle English poem attributed to the author of Sir Gawain and the Green Knight, contains a graphic account of the destruction of Sodom. Elaborating the theme of cleanness, the poet advocates not only sexual purity but also right conduct and respect for God's will. Exhortations to clean behavior are conventional; less expected are the poem's bold censure of “unclean” sexual acts, especially sodomy, and insistence that the clergy maintain vigilant surveillance of sexual wrongdoing. A poem with a salacious cast, Cleanness takes unusual risks in describing sodomy while denouncing it. Using Foucault's “rule of the tactical polyvalence of discourses,” I analyze Cleanness in relation to contemporary manuals of confession, which avoid mentioning sodomy for fear that the word might encourage the act. The poem's description of Sodom concludes with a construction of the feminine that serves as a corrective to the sins of male lust.
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Feng, Wang, and Huang Hongxia. "An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan." International Linguistics Research 3, no. 3 (September 1, 2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.
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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.
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Harty, Kevin J. "Notes Towards a Close Reading of David Lowery’s 2021 Film The Green Knight ." Journal of the International Arthurian Society 10, no. 1 (September 1, 2022): 29–51. http://dx.doi.org/10.1515/jias-2022-0004.
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Abstract This essay offers a close reading of David Lowery’s 2021 film The Green Knight suggesting that the director has consciously subverted the text of his source to produce an always intriguing film whose debts to the medieval are many. Unlike previous directors whose ‘Gawain’ films failed even to engage with their medieval source, Lowery follows details in his source when it suits his purpose, but, more often than not, he adds scenes to, or deletes scenes from, the fourteenth-century Middle English poem. His additions are especially noteworthy in how they offer an alternate, perhaps even a queer, reading of the poem. Lowery’s goal seems to be to retell a basically linear tale in a more convoluted and circular manner thereby calling into question viewers’ thematic and narrative expectations. At the same time, Lowery’s film can be read as an antidote to the toxic masculinity found in so many other Arthurian texts across multiple genres.
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Alaiyed, Majedah A. "Code-switching between English and Arabic in Vernacular Poetry." World Journal of English Language 12, no. 8 (October 6, 2022): 113. http://dx.doi.org/10.5430/wjel.v12n8p113.
Повний текст джерелаАнотація:
This descriptive qualitative study investigates the types and functions of code-switching between English and vernacular Arabic in eight vernacular poems. In order to do this, eight published audio and video recordings of poems obtained from YouTube are analysed using a qualitative method of data analysis. The content analysis reveals two main types of code-switching: code-switching between sentences (inter-sentential) and code-switching within sentences (intra-sentential). Its possible functions are humour, reporting a conversation between the poet and an English speaker, quoting an English speaker or imagining a conversation with them, and attempting to be innovative. Intra-sentential code-switching is found to occur either at the beginning, middle or end of the line in a poem. However, it could occur in more than one place in the same line. Moreover, the poems follow grammatical constraints and code-switching is systematic, except in one instance where the poet aims to keep the same rhyme. In almost all of the poems analysed in this study, intra-sentential code-switching occurs more frequently than inter-sentential code-switching.
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Cornelius, Ian. "The Text of the ABC of Aristotle in the ‘Winchester Anthology’." Anglia 139, no. 2 (June 1, 2021): 400–418. http://dx.doi.org/10.1515/ang-2021-0026.
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Abstract The Middle English ABC of Aristotle is an alliterative abecedary poem that survives in fifteen manuscript copies dating between the mid-fifteenth and early sixteenth centuries. The most eccentric copy, bearing the greatest number of unique textual variants, is in London, British Library, Additional 60577, a commonplace book and miscellany of verse and prose known today as the ‘Winchester Anthology’. The Winchester copy of the ABC of Aristotle is distinguished from all others by changes to vocabulary, idiom, and prosody. The result is a unique redaction, illustrating the kind of literary composition that could be expected to grow out of late medieval English grammar schools. The Winchester redaction also expresses a shift in prosodic allegiance. The traditional alliterative line is subtly reshaped into an accentual-syllabic form.
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Philippovsky, German Y. "The legacy of the European Romantics and the motif of a traveler in the night (A. S. Pushkin and M. Y. Lermontov)." Verhnevolzhski Philological Bulletin 1, no. 28 (2022): 8–16. http://dx.doi.org/10.20323/2499-9679-2022-1-28-8-16.
Повний текст джерелаАнотація:
This article examines European origins of Pushkin's and Lermontov's romantic motif 'wandering in the night' in the works of German and English Romantic poets. The image of the night as an «echo» of the day held an important place in the hierarchy of «universal empathy» in the Romanticist poetic thinking («the light also shines in the night», interpret-ing the biblical text: «and the light shines in darkness, and darkness has not embraced it» (John 1:5). In the famous works by Pushkin and Lermontov, «The Winter Road», «The Possessed», and «I Go Out Alone on the Road...», wander-ing in the night is immersed in an atmosphere of romantic dual reality. The motif of communication in poetic texts is by no means the property of our global communication age alone, but goes back to earlier eras: Antiquity (Homer's Odys-sey), the Middle Ages and the Renaissance (the poetry of Dante and Chaucer), Pre-Romanticism and Romanticism (the poetry of Goethe, Eicheldorf, and Hölderlin). Pushkin's later poem «The Wanderer» (1835) goes back to John Benja-min's poem «The Way of the Pilgrims» (1678). Pushkin's poetic quest of the 1830s turned to the motifs of Salvation and Light, the search for the Right Way (the image of a young man reading a book (the Bible) in «The Wanderer», showing the traveler the Right Way and the narrow gate of Salvation). Lermontov, in his famous nocturne «I go out alone on the road...» (1840s), creates an image of a traveler in the night, which is closely related to the tradition of the German Romantics: Goethe, Eichendorff, and Hölderlin. Pushkin's «night inquiries» in 1830 and 1835 texts, with refer-ences to John Benjamin's English poem and to the Lake School poets W. Wordsworth and R. Southey, are a striking proof of F. M. Dostoyevsky's thoughts on the «universal empathy» of our great poet.
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Yujie, Li, and Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”." English Literature and Language Review, no. 55 (May 15, 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.
Повний текст джерелаАнотація:
Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global, which has unprecedented contemporary significance.
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Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (November 2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.
Повний текст джерелаАнотація:
This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the traditions of scholarship and the figure in the popular imagination. My account of the impact of both text and myth shows a development through the mid-twentieth century and into the twenty-first, in the work of poets writing in both Irish and English. In recent decades the work of women poets has engaged with the myths of the Cailleach as Goddess, and they have thus confronted questions of the legitimacy of treating the past, and especially mythology and folk beliefs, as a source for poetry. I believe it would be foolish for a poet who has the knowledge and critical intelligence to do it properly to ignore such a resource.
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Pattwell, Niamh. "‘I heard him in that ancient poem’: An Interview with Frank McGuinness on the Influence of Old and Middle English Literature on his Writing." Irish University Review 45, no. 2 (November 2015): 215–28. http://dx.doi.org/10.3366/iur.2015.0173.
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In this interview, conducted in the Summer of 2014, Frank McGuinness talks about his introduction to Old and Middle English as a student in University College Dublin and its influence on his writings. Particular attention is given to his enormously successful play, Someone Who'll Watch Over Me, which was nominated for two New York Critics awards in 1993. In the interview, Mc Guinness addresses the place of earlier literature on the university curriculum and how we might continue to assert its value. His remarks on the importance of allowing students access to the whole range of literature of a particular culture, alongside his observations on his own teachers, and the texts he studied as an undergraduate and postgraduate student are reflective of the breadth and depth of his immersion in the texts of the Old and Middle English period and his commitment to teaching. In the explorations on Someone Who'll Watch Over Me, McGuinness addresses the centrality of music, the difference between heroism and courage, as well as the ways in which the play enabled him to both distance himself from and to engage with the key themes of loneliness, isolation, and endurance that are at the centre of the play.
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Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.
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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins” (Cant. of Cant. 4:5). Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross.
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Runstedler, Curtis. "The Benevolent Medieval Werewolf in William of Palerne." Gothic Studies 21, no. 1 (May 2019): 54–67. http://dx.doi.org/10.3366/gothic.2019.0007.
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This article argues that the werewolf of the medieval romance displays behaviour comparable with modern studies of the wolf. In the dualistic medieval world of nature versus society, however, this seems inconsistent. How does the medieval werewolf exhibit realistic traits of the wolf? I examine the realistic lupine qualities of the werewolf Alphouns in the Middle English poem William of Palerne to justify my argument. Citing examples from his actions in the wilderness, I argue that Alphouns's lupine behaviour is comparable to traits such as cognitive mind-mapping and surrogate parental roles, which are found in contemporary studies of wolves in the wild. Recognising the ecology of the (were)wolf of the medieval romance helps us to understand better the werewolf's role as metaphor and its relationship to humans and society.
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Haft, Adele J. "Earle Birney’s “Mappemounde”: Visualizing Poetry With Maps." Cartographic Perspectives, no. 43 (September 1, 2002): 4–24. http://dx.doi.org/10.14714/cp43.534.
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This paper is about “Mappemounde,” a beautiful but difficult poem composed in 1945 by the esteemed Canadian poet Earle Birney. While exploring the reasons for its composition, we examine the poem’s debts to Old and Middle English poetry as well as to medieval world maps known as mappaemundi, especially those made in England prior to 1400. But Birney took only so much from these maps. In search of more elusive inspirations, both cartographic and otherwise, we uncover other sources: Anglo-Saxon poems never before associated with “Mappemounde,” maps from the Age of Discovery and beyond, concealed details of Birney’s personal life. Then we trace Birney’s long-standing interest in geography and exploration to show how he used maps, especially mappaemundi, as visual metaphors for his intellectual, spiritual, and personal life.
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Bledsoe, Jenny C. "Women’s Work and Men’s Devotions: The Fabrics of the Passion in “O Vernicle”." Medieval Feminist Forum 57, no. 1 (2021): 49–77. http://dx.doi.org/10.32773/hiij3544.
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This article explores how male Cistercians producing an early fifteenth-century miscellaneous manuscript made devotional use of images representing women’s textile labor. An early manuscript copy of “O Vernicle,” a Middle English arma Christi poem, appears in Royal 17 A. xxvii, likely produced at Bordesley Abbey. The Royal version of “O Vernicle” features a unique marginal illumination of two women of Bethlehem and Jerusalem wearing green and red dresses. The woman in green holds a baby swaddled in a green and blue cloth with red stripes, similar to a Scottish tartan. Three other examples demonstrate the illuminator’s careful attention to fabric’s texture and encourage the user to imagine touching Christ’s clothing. These include the Veronica; the translucent white blindfold before Christ’s eyes; and his two tunics, one of which “hade sem none.” The Royal manuscript’s illuminations incorporate multiple textiles and human figures both to customize the poem to the local Cistercian, Worcestershire context and the abbey’s and region’s role in cloth production and also to create scripts for readers’ affective devotions. These female figures and their fabrics fashion a tactile-affective devotional approach to the Passion story. In the Royal manuscript’s text and images, women’s textile work functions as a hermeneutic lens and sensorial-affective prompt within both male monastic and lay devotional culture.
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Classen, Albrecht. "The Nibelungenlied with the Klage, ed. and trans. with an intro. by William Whobrey. Indianapolis, IN, and Cambridge: Hackett, 2018, xxv, 282 pp." Mediaevistik 31, no. 1 (January 1, 2018): 417. http://dx.doi.org/10.3726/med012018_417.
Повний текст джерелаАнотація:
One of the indicators for the global importance of the anonymous Nibelungenlied certainly proves to be the great interest to develop new translations into modern languages, here English. William Whobrey, who used to teach at Yale University, endeavors to render this major epic poem, along with the sequel, the Klage, once again into an updated English version. He is fully aware of the many previous efforts and acknowledges them, but he insists that his translation deserves particular attention especially for three reasons. First, he worked hard to offer a maximum level of clarity particularly for the modern student reader, without moving too far away from the original Middle High German. Overall, Whobrey has achieved that goal, as numerous spot checks have confirmed. One can always quibble somewhat, so when he renders, for instance, “der Nibelungen nôt” in the very last line as “the downfall of the Nibelungen” (199). Moreover, there are many small issues that make me wonder, so when in stanza 208 it clearly says that “the warrior Hagen spoke,” which here is rendered as “commanded Hagen” (168). Hagen emphasizes that he and his companions (pl.) will keep watch, which Whobrey makes into the singular “My companion and I.” This could make sense, but it should have been annotated.
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Shahabuddin. "VENUGOPAL'S SELF-CONFESSION AND POETRY." International Journal of Research -GRANTHAALAYAH 6, no. 8 (August 31, 2018): 179–88. http://dx.doi.org/10.29121/granthaalayah.v6.i8.2018.1423.
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English: Venugopal has a distinct identity in Hindi poetry. The atmosphere of disillusionment and the social status quo had an effect on your poem. Oriented towards Akavita. But soon you realized his regression. As a result, progressives were oriented towards the stream. The land of reality shaped beautiful dreams of the future. Your poem conveys the hopes, dreams, feelings, sensations of the common man. It also exposes the middle class weaknesses while being sympathetic towards the neglected workers and is a proponent of action against the power. It shares the golden dreams of the future, in retaliation for its oppression-exploitation-violence. It has the content of strategy and tactics for the youth taking action from the power. Sometimes it is very suggestive and expresses socio-political reality in an interesting way. Where the dialogue style is present in it, its symbolism is multidimensional. This poem also questions the role of media by taking a sarcastic pose.
Hindi: वेणुगोपाल हिन्दी कविता में विशिष्ट पहचान रखते हैं। मोहभंग के वातावरण और सामाजिक यथास्थिति का आपकी कविता पर प्रभाव पड़ा। अकविता की ओर उन्मुख हुए। परंतु शीघ्र ही आपको उसकी प्रतिगामिता का बोध हुआ। परिणामस्वरूप प्रगतिशील धारा की ओर उन्मुख हुए। यथार्थ की जमीन ने भविष्य के सुन्दर-सुखद स्वप्नों को आकार दिया। आपकी कविता साधारणजन की आशाओं, स्वप्नों, अनुभूतियों, संवेदनाओं को रूपाकार देती है। यह उपेक्षितों-श्रमिकों के प्रति संवेदना रखते हुए भी मध्यवर्गीय कमजोरियों को उजागर करती है और सत्ता के विरुद्ध मोर्चेबन्द कार्रवाही की प्रस्तावक है। यह उसके दमन-शोषण-हिंसा का प्रतिकार करते हुए भी भविष्य के सुनहरे स्वप्न बाँटती है। इसमें सत्ता से मोर्चेबन्द कार्रवाही करते युवाओं हेतु रणनीति और रणकौशल की सामग्री मौजूद है। कहीं-कहीं यह बहुत विचारोत्तेजक है और सामाजिक-राजनीतिक यथार्थ को रोचक ढंग से अभिव्यक्त करती है। इसमें जहाँ संवाद-शैली मौजूद है वहीँ इसकी सांकेतिकता बहुआयामी है। यह कविता व्यंग्यात्मक मुद्रा लेकर मीडिया की भूमिका को भी प्रश्नांकित करती है।
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Zhang, Tingting. "Chiński przekład "Pana Tadeusza". Historia, fenomen, problemy i inspiracje." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, no. 2 (November 4, 2022): 235–50. http://dx.doi.org/10.36770/bp.703.
Повний текст джерелаАнотація:
The aim of this paper is to describe the reception of the literature of Polish Romanticism in China, as well as its long and winding road to the Middle Kingdom. The article addresses the ideological beginnings of the existence of Adam Mickiewicz’s works in the consciousness of Chinese people. The author analyses two translations of Pan Tadeusz into Chinese, made during the first half of the 20th century. Information about Polish Romanticism and the works of its most eminent representatives reached China at a very crucial historical moment for the Middle Kingdom, almost immediately arousing the interest of the elites. However, the same historical causes that triggered the fascination with the works of the Polish Romanticists also led to a distortion and ideologization of its reception, which persisted until 1955, when the first translation of Pan Tadeusz appeared in Chinese. However, that translation was made from English and written in prose. This changed at the end of the 20th century, when a second translation of the poem, written in verse, appeared. Despite the passage of time and the efforts of translators, the reception of the literature of Polish Romanticism and the knowledge of Adam Mickiewicz's biography is still incomplete. On the other hand, this can be an impulse for further research in translation and literary studies.
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Classen, Albrecht. "Huon of Bordeaux: First Modern English Translation by Catherine M. Jones and William W. Kibler. Medieval & Renaissance Text Series. New York and Bristol: Italica Press, 2021, xxiii, 329 pp." Mediaevistik 34, no. 1 (January 1, 2021): 429–30. http://dx.doi.org/10.3726/med.2021.01.99.
Повний текст джерелаАнотація:
Abstract: William Shakespeare’s A Midsummer Night’s Dream (1595 or 1596) was based to some extent on the English translation of the Old French Huon of Bordeaux by John Bourchier, 2nd Baron Berners (1467–19 March 1533) from 1513 (not 1533, as Jones and Kibler state, xxi). Already before Shakespeare, a play with the title Hewen of Burdocize had been performed in 1593. A Middle Dutch translation had also made this text available to the non-French audience. Huon continued to be highly popular throughout the following centuries, apart from Shakespeare’s play, if we think, for instance, of Christoph Martin Wieland’s epic poem Oberon of 1780 or Goethe’s Faust I (1808). André Norton produced a free translation in 1951. After all, the text deals with the king of the fairies, with numerous secrets, magic, heroic adventures, a love affair with a Muslim princess who later converts to Christianity (of course), the conflict between Christians and Saracens, and criminal charges against the young protagonist and thus his conflict with Charlemagne.