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One of the earliest great stories of English literature after ?Beowulf?, ?Sir Gawain? is the strange tale of a green knight on a green horse, who rudely interrupts King Arthur's Round Table festivities one Yuletide, challenging the knights to a wager. Simon Armitrage, one of Britain's leading poets, has produced an inventive and groundbreaking translation that " helps] liberate ?Gawain ?from academia" (?Sunday Telegraph?).
Alliterative Revivals is the first full-length study of the sophisticated historical consciousness of late medieval alliterative romance. Drawing from historicism, feminism, performance studies, and postcolonial theory, Christine Chism argues that these poems animate British history by reviving and acknowledging potentially threatening figures from the medieval past—pagan judges, primeval giants, Greek knights, Jewish forefathers, Egyptian sorcerers, and dead ancestors. In addressing the ways alliterative poems centralize history—the dangerous but profitable commerce of the present with the past—Chism's book shifts the emphasis from the philological questions that have preoccupied studies of alliterative romance and offers a new argument about the uses of alliterative poetry, how it appealed to its original producers and audiences, and why it deserves attention now. Alliterative Revivals examines eight poems: St. Erkenwald, Sir Gawain and the Green Knight, The Wars of Alexander, The Siege of Jerusalem, the alliterative Morte Arthure, De Tribus Regibus Mortuis, The Awntyrs off Arthure, and Somer Sunday. Chism both historicizes these texts and argues that they are themselves obsessed with history, dramatizing encounters between the ancient past and the medieval present as a way for fourteenth-century contemporaries to examine and rethink a range of ideologies. These poems project contemporary conflicts into vivid, vast, and spectacular historical theaters in order to reimagine the complex relations between monarchy and nobility, ecclesiastical authority and lay piety, courtly and provincial culture, western Christendom and its easterly others, and the living and their dead progenitors. In this, alliterative romance joins hands with other late fourteenth-century literary texts that make trouble at the borders of aristocratic culture.
This book traces the evolution of traditional English verse structures from their Old and Middle origins to the Modern English period.
If a literary movement arises but no one notices, is it still a movement? In Speculative Poetry and the Modern Alliterative Revival: A Critical Anthology, Dennis Wilson Wise argues that the answer is “yes.” Over the last ten decades, poets working in fantasy, science fiction, and horror have collectively brought forth a revival in alliterative poetics akin to what once happened in the mid-fourteenth century. Altogether, this anthology collects for the first time over fifty speculative poets—several of whom are previously unpublished—from across North America and Europe. Alongside such established names as C. S. Lewis, Patrick Rothfuss, Edwin Morgan, Poul Anderson, Jo Walton, P. K. Page, and W. H. Auden, this anthology includes representative texts from cultural movements such as contemporary neo-Paganism and the Society for Creative Anachronism. A lengthy critical introduction by the editor—written accessibly for a general audience—explains and contextualizes the Modern Revival for critics and readers alike, and extensive footnotes offer aids to anyone new to medieval history or Norse mythology. Overall, this indispensable anthology—the first major academic book to focus on speculative poetry—establishes where the medieval meets the modern in the hitherto unrecognized Modern Alliterative Revival.
The most important poetry reference for more than four decades—now fully updated for the twenty-first century Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets More than 250 new entries cover recent terms, movements, and related topics Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages Expanded coverage of poetries of the non-Western and developing worlds Updated bibliographies and cross-references New, easier-to-use page design Fully indexed for the first time
The Oxford History of Poetry in English is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. The series both synthesizes existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the fourteen volumes. This volume explores the developing range of English verse in the century after the death of Chaucer in 1400, years that saw both change and consolidation in traditions of poetic writing in English in the regions of Britain. Chaucer himself was an important shaping presence in the poetry of this period, providing a stimulus to imitation and to creative expansion of the modes he had favoured. In addition to assessing his role, this volume considers a range of literary factors significant to the poetry of the century, including verse forms, literary language, translation, and the idea of the author. It also signals features of the century's history that were important for the production of English verse: responses to wars at home and abroad, dynastic uncertainty, and movements towards religious reform, as well as technological innovations such as the introduction of printing, which brought influential changes to the transmission and reception of verse writing. The volume is shaped to include chapters on the contexts and forms of poetry in English, on the important genres of verse produced in the period, on some of the fifteenth-century's major writers (Lydgate, Hoccleve, Dunbar, and Henryson), and a consideration of the influence of the verse of this century on what was to follow.
The scribes of early medieval England wrote out their vernacular poems using a format that looks primitive to our eyes because it lacks the familiar visual cues of verse lineation, marks of punctuation, and capital letters. The paradox is that scribes had those tools at their disposal, which they deployed in other kinds of writing, but when it came to their vernacular poems they turned to a sparser presentation. How could they afford to be so indifferent? The answer lies in the expertise that Anglo-Saxon readers brought to the task. From a lifelong immersion in a tradition of oral poetics they acquired a sophisticated yet intuitive understanding of verse conventions, such that when their eyes scanned the lines written out margin-to-margin, they could pinpoint with ease such features as alliteration, metrical units, and clause boundaries, because those features are interwoven in the poetic text itself. Such holistic reading practices find a surprising source of support in present-day eye-movement studies, which track the complex choreography between eye and brain and show, for example, how the minimal punctuation in manuscripts snaps into focus when viewed as part of a comprehensive system. How the Anglo-Saxons Read Their Poems uncovers a sophisticated collaboration between scribes and the earliest readers of poems like Beowulf, The Wanderer, and The Dream of the Rood. In addressing a basic question that no previous study has adequately answered, it pursues an ambitious synthesis of a number of fields usually kept separate: oral theory, paleography, syntax, and prosody. To these philological topics Daniel Donoghue adds insights from the growing field of cognitive psychology. According to Donoghue, the earliest readers of Old English poems deployed a unique set of skills that enabled them to navigate a daunting task with apparent ease. For them reading was both a matter of technical proficiency and a social practice.