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Religious piety has rarely been animated as vigorously as in Old English Poems of Christ and His Saints. Ranging from lyrical to dramatic to narrative and showing great inventiveness, these ten anonymous poems vividly demonstrate the extraordinary hybrid that emerges when traditional Germanic verse adapts itself to Christian themes.
Other than his name, we have no biographical details of Cynewulf, not even where or when he lived. Yet his Old English poems attest to a powerfully inventive imagination, deeply learned in Christian doctrine and traditional verse-craft. He reveals an expert control of structure and a flair for extended similes and dramatic dialogue.
From the riddling song of a bawdy onion that moves between kitchen and bedroom to the thrilling account of Beowulf's battle with a treasure-hoarding dragon, from the heart-rending lament of a lone castaway to the embodied speech of the cross upon which Christ was crucified, from the anxiety of Eve, who carries "a sumptuous secret in her hands / And a tempting truth hidden in her heart," to the trust of Noah who builds "a sea-floater, a wave-walking / Ocean-home with rooms for all creatures," the world of the Anglo-Saxon poets is a place of harshness, beauty, and wonder. Now for the first time, the entire Old English poetic corpus—including poems and fragments discovered only within the past fifty years—is rendered into modern strong-stress, alliterative verse in a masterful translation by Craig Williamson. Accompanied by an introduction by noted medievalist Tom Shippey on the literary scope and vision of these timeless poems and Williamson's own introductions to the individual works and his essay on translating Old English poetry, the texts transport us back to the medieval scriptorium or ancient mead-hall, to share a herdsman's recounting of the story of the world's creation or a people's sorrow at the death of a beloved king, to be present at the clash of battle or to puzzle over the sacred and profane answers to riddles posed over a thousand years ago. This is poetry as stunning in its vitality as it is true to its sources. Were Williamson's idiom not so modern, we might think that the Anglo-Saxon poets had taken up the lyre again and begun to sing once more.
Reading Old English Biblical Poetry considers the Junius 11 manuscript, the only surviving illustrated book of Old English poetry, in terms of its earliest readers and their multiple strategies of reading and making meaning. Junius 11 begins with the Creation story and ends with the final vanquishing of Satan by Jesus. The study is framed by particular attention to the materiality of the manuscript and how that might have informed its early reception, and it broadens considerations of reading beyond those of the manuscript’s compiler and possible patron. As a book, Junius 11 reflects a rich and varied culture of reading that existed in and beyond houses of God in England in the tenth and eleventh centuries, and it points to readers who had enough experience to select and find wisdom, narrative pleasure, and a diversity of other things within this orany book’s contents.
Christ and Satan is the title of the last of four poems in the eleventh-century Junius XI manuscript of Anglo-Saxon poetry. This critical edition contains text, glossary, textual and explanatory notes, and an essay surveying former criticisms and setting forth the author’s ideas on the poem’s principle of unity. Of particular value to students and scholars of Old English, Christ and Satan makes an important contribution to the understanding of this fine and interesting poem.
In bringing together these scattered witnesses to the sustained brilliance of Anglo-Saxon artistic achievement across several centuries, ?amonn ? Carrag?in has produced a study of great significance to Anglo-Saxon history.
In the first book-length study of the whole lifespan in Old English verse, Harriet Soper reveals how poets depicted varied paths through life, including their staging of entanglements between human life courses and those of the nonhuman or more-than-human. While Old English poetry sometimes suggests that uniform patterns shape each life, paralleling patristic traditions of the ages of man, it also frequently disrupts a sense of steady linearity through the life course in striking ways, foregrounding moments of sudden upheaval over smooth continuity, contingency over predictability, and idiosyncrasy over regularity. Advancing new readings of a diverse range of Old English poems, Soper draws on an array of supporting contexts and theories to illuminate these texts, unearthing their complex and fascinating depictions of ageing through life. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.
Includes the Junius manuscript, Exeter book, Vercelli book, Beowulf and Judith, metrical psalms of Paris Psalter and the meters of Boethius, poems of the Anglo-Saxon chronicle, riddles, charms, and a number of minor additional poems.
The play was performed in Canterbury Cathedral in 1928. It was commissioned as part of the newly-instituted Canterbury Festival, and is said to have been the first attempt at reviving medieval mystery drama since the Middle Ages. The subject is the Nativity (though it was actually performed at Whitsun, on 28 May 1928), chiefly the adoration of the three kings and the shepherds. The kings are a capitalist, a tyrant and a mystical enthusiast, while the shepherds are cynical war veterans, who compare keeping watch over their sheep to their memories of night-watches in what sounds a lot like the trenches of the First World War.