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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?).
Winner • PEN Award for Poetry in Translation From the acclaimed translator of Sir Gawain and the Green Knight, a spellbinding new translation of this classic allegory of grief and consolation. One of our most ingenious interpreters of Middle English, Oxford Professor of Poetry Simon Armitage is celebrated for his “compulsively readable” translations (New York Times Book Review). A perfect complement to his historic translation of Sir Gawain and the Green Knight, Pearl reanimates another beloved Medieval English masterpiece thought to be by the same anonymous author and housed in the same original fourteenth-century manuscript. Honoring the rhythms and alliterative music of the original, Armitage’s virtuosic translation describes a man mourning the loss of his Pearl—something that has “slipped away.” What follows is a tense, fascinating, and tender dialogue weaving through the throes of grief toward divine redemption. Intricate and endlessly connected, Armitage’s lyrical translation is a circular and perfected whole, much like the pearl itself.
This third edition of The Poems of the Pearl Manuscript has been newly revised and updated, taking account of some of the more important textual and interpretative notes and articles published on the poems since the appearance of the first edition in 1978.
Shows how English responses to the Black Death were hidden in plain sight--as seen in the Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight poems.
The anonymous author of the poem Pearl is rated with Langland and Chaucer as one of the greatest Middle English poets. And, while a number of editions of this poem have been published, including E. V. Gordon's 1953 edition and Marie Borroff's 1977 verse translation, no edition until now has included a verse translation, Middle English text, and commentary in one volume. William Vantuono's edition of Pearl is certain to become a classroom standard because it contains for the first time a Middle English text with a facing-page Modern English verse translation as well as extensive scholarly apparatus. Pearl is the first of four poems in a manuscript dated around 1400 A.D. The other three poems in this manuscript are Cleanness, Patience, and Sir Gawain and the Green Knight. According to Vantuono's introduction, it is conceivable that Pearl was written for a nobleman, perhaps the poet's patron, who had lost a young daughter. However, many unanswered questions remain about the circumstances surrounding the poet and his writing of Pearl Was he a layman or a priest? Is Pearl primarily elegy or allegory? Was the pearl-maiden his daughter, and if she was, can that fact be reconciled with the possibility that the poet was a clergyman? This volume contains an extensive commentary covering all matters from minute textual problems to the various debates about the poem's theme and genre. Appendices discuss versification, dialect and language, and sources and analogues; two bibliographies list over 500 items through the early 1990s; and the book concludes with a full glossary. Pearl: An Edition with Verse Translation will appeal to scholars confronted with the tasks of studying and teaching medieval literature to students in college and university classrooms. It is a book designed for specialists and non-specialists, students, and general readers.
The fourteenth-century Middle English poem Pearl is one of the best dream vision poems ever written, yet its language (the Northwest Midlands dialect of late-medieval England) and literary allusions (to biblical, mythological, and medieval works) make it difficult for modern readers to understand. This new dual-language edition of Pearl provides the original Middle English with a facing-page modern English translation. It includes a comprehensive introduction, annotations of key words and ideas, reproduction of the four manuscript illustrations, a literary sourcebook, and lists of biblical sources, significant liturgical dates, and the concatenation words. Literary and biblical sources for the poem are provided as appendices.
Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton's library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century--the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight. All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream.
This 1976 book is a study of the medieval English dream-poem set against classical and medieval visionary and religious writings.
Contains stories from the age of chivalry, knights and holy quests.