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A comprehensive study of Old Saxon metre, based on close analysis of the Heliand. This is a comprehensive study of Old Saxon metre, with a particular emphasis on the Heliand, an alliterative epic of the Gospel story and the most extensive work of Old Germanic poetry. Through a detailed description of themetre in its own terms and a systematic comparison with the Old English alliterative tradition, especially Beowulf, this book shows how the Heliand poet introduced a wealth of metrical innovations, reorganising thetraditional scheme underneath an overarching principle of artistic design. After setting out the literary, metrical, linguistic, and practical bases, the author moves on to consider the Heliand metre in depth, looking at its properties; he identifies a set of metrical types, determines their distributional constraints, and establishes their paradigmatic and syntagmatic organisation. He also deals with resolution and alliteration, and the compositionof hypermetric verses and lines.Appendices cover the scansion of foreign names, and the metre of the Old Saxon Genesis.SEIICHI SUZUKI is Professor of Old Germanic Studies, Kansai Gaidai University, Japan.
This 'prosodical' syntax is intended to replace the famous syntactic laws of Hans Kuhn through its greater accuracy and wider range of application.
Heathen gods are hard to find in Old English literature. Most Anglo-Saxon writers had no interest in them, and scholars today prefer to concentrate on the Christian civilization for which the Anglo-Saxons were so famous. Richard North offers an interesting view of Anglo-Saxon and Scandinavian paganism and mythology in the pre-Viking and Viking age. He discusses the pre-Christian gods of Bede's history of the Anglo-Saxon conversion with reference to an orgiastic figure known as Ingui, whom Bede called 'god of this age'. Using expert knowledge of comparative literary material from Old Norse-Icelandic and other Old Germanic languages, North reconstructs the slender Old English evidence in a highly imaginative treatment of poems such as Deor and The Dream of the Rood. Other gods such as Woden are considered with reference to Odin and his family in Old Norse-Icelandic mythology. In conclusion, it is argued that the cult of Ingui was defeated only when the ideology of the god Woden was sponsored by the Anglo-Saxon church. The book will interest students interested in Old English, Old Norse-Icelandic and Germanic literatures, Anglo-Saxon history and archaeology.
Old English Metre offers an essential framework for the critical analysis of metrical structures and interpretations in Old English literature. Jun Terasawa's comprehensive introductory text covers the basics of Old English metre and reviews the current research in the field, emphasizing the interaction between Old English metre and components such as word-formation, word-choice, and grammar. He also covers the metre-related problems of dating, authorship, and the distinction between prose and verse. Each chapter includes exercises and suggestions for further reading. Appendices provide possible answers to the exercises, tips for scanning half-lines, and brief definitions of metrical terms used. Examples in Old English are provided with literal modern English translations, with glosses added in the first three chapters to help beginners. The result is a comprehensive guide that makes important text-critical skills much more readily available to Old English specialists and beginners alike.
Anglo-saxon poetry was circulated orally in a preliterate society, and gathered at last into books over some six centuries before the Norman Conquest ended English independence. Against the odds some of these books survive today. This anthology of prose translations covers most of the surviving poetry, revealing a tradition which is outstanding among early medieval literatures for its sophisticated exploration of the human condition in a mutable, finite, but wonderfully diverse and meaning-filled world.
Anglo–Saxon poetry is esteemed for its subtle artistry and for its wealth of insights into the artistic, social and spiritual preoccupations of the formative first centuries of English literature. This anthology of prose translations covers most of the poetry surviving in the four major codices and in various other manuscripts. A well–received feature is the grouping by codex to emphasize the great importance of manuscript context in interpreting the poems. The full contents of the Exeter Book are represented, summarized where not translated, to facilitate appreciation of a complete Anglo-Saxon book. The introduction discusses the nature of the legacy, the poet's role, chronology, and especially of translations attempt a style acceptable to the modern ear yet close enough to aid parallel study of the old English text. A check–list of extant Anglo-Saxon poetry enhances the practical usefulness of the volume. The whole thus adds up to a substantial and now widely–cited survey of the Anglo–Saxon poetic achievement.
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.
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