Old English Poetry

This blog will focus on some aspects of the Anglo-Saxon epic that reflects certain rites that have to do with the loyalty and generosity of the protagonists involved in the literary works of this period. Feasting, banquets, gifts and drinking are elements of the pagan tradition of the Germanic peoples (in this case, the Geats).

This article critically reviews Mikki Kendall’s book Hood Feminism, arguing that its intersectional approach perpetuates the divisive and harmful aspects of feminism. Initially drafted two years ago and completed after encountering Muthoni Wahome’s LinkedIn review, I challenge Kendall’s focus on marginalized women’s struggles, asserting it reinforces victimhood and gender wars rather than dismantling feminism’s flawed framework. Drawing parallels with Chimamanda Ngozi Adichie’s We Should All Be Feminists and Susan Arndt’s The Dynamics of African Feminism, I contend that feminism, across its forms, ignores individual differences, vilifies men, and benefits an elite “cartel” while sowing discord in society. A cost-benefit analysis reveals feminism’s unintended consequences—anti-family sentiment, antisocial behavior, and manufactured disgruntlement—outweigh its gains. Rejecting the commenter’s “patriarchy” label, I defend a universalist stance rooted in objective morality, arguing that a Judeo-Christian worldview supports a patriarchal structure for societal stability. The article calls for abandoning feminism’s divisive ideology in favor of individual partnerships, asserting that men and women naturally thrive through love and cooperation, not conflict.

This article critically reviews Mikki Kendall’s book Hood Feminism, arguing that its intersectional approach perpetuates the divisive and harmful aspects of feminism. Initially drafted two years ago and completed after encountering Muthoni Wahome’s LinkedIn review, I challenge Kendall’s focus on marginalized women’s struggles, asserting it reinforces victimhood and gender wars rather than dismantling feminism’s flawed framework. Drawing parallels with Chimamanda Ngozi Adichie’s We Should All Be Feminists and Susan Arndt’s The Dynamics of African Feminism, I contend that feminism, across its forms, ignores individual differences, vilifies men, and benefits an elite “cartel” while sowing discord in society. A cost-benefit analysis reveals feminism’s unintended consequences—anti-family sentiment, antisocial behavior, and manufactured disgruntlement—outweigh its gains. Rejecting the commenter’s “patriarchy” label, I defend a universalist stance rooted in objective morality, arguing that a Judeo-Christian worldview supports a patriarchal structure for societal stability. The article calls for abandoning feminism’s divisive ideology in favor of individual partnerships, asserting that men and women naturally thrive through love and cooperation, not conflict.

"'Series of Life' perfectly encapsulates the essence of its title. Having had the privilege of witnessing the author's journey, I see reflections of him in every piece, and indeed, of many young people navigating life's complexities. The book candidly explores questions, adventures, self-discovery, and youthful turmoil, evoking a sense of nostalgia. What's more, it is a personal triumph for me as a teacher to see one of my learners excel in such a remarkable way -the nod to me in some of the pieces makes it all the more special. Kudos to Kirabo for crafting a truly exceptional work. I eagerly look forward to his future projects." Timothy Zziwa, Teacher of Literature and English Language. "The poetry in 'Series of Life' is powerful and moving. It captures poignant stories with great impact." Anne Buckley, UK Writer. "'Series of Life' is remarkably beautiful, with subtle meanings in each stanza adding layers of excitement and intrigue. The poetry's craftsmanship makes for a captivating read." Lisa Lukooya. "In our youthful days, my friend sowed his first seeds of verses. What was once a whisper of promise has now blossomed into 'Series of Life' ...a voice that speaks of love, spirit and the many seasons that shape life. Kirabo; gift-you penned down every heart as David played the harp so perfectly before Saul. I pray, you continue writing your great minds for the world. Write!" Kwesiga Johnson -Close friend/ OB/ Social Justice Advocate

Bēowulf (1000 [2002]) rings true in both Christian context and Norse thought because it accommodates principles and ethical pillars of both societal forms of the time. The Bēowulf-poet —an Anglo-Saxon Christian Briton— carefully married Christian ethos and Norse Scandinavian tradition, synthesizing novice doctrine and mythological antiquity. What renders the Bēowulf-poet’s work unique is the strict departure from the overt conservatism held by the Anglo-Saxons at the time and the Bēowulf-poem’s (1000 [2002]) lack of hostility towards Norse and Germanic antiquity, perhaps also suggesting that the Bēowulf-poet held extensive knowledge of Nordic and Germanic heroic legends preserved in Old Norse-Icelandic and Middle High German. And, what is perhaps observed in the Bēowulf-poet’s writing is an acute awareness —and not a complete inability to acknowledge— of his nation’s and his own individual Germanic pagan past. Departing from texts such as Bede’s Historia Ecclesiastica (731 AD) which largely ignores pagan Anglo-Saxons, Bēowulf’s (1000 [2002]) elusive identity reflects an acute and intelligent sensitivity towards the transpositionality created by the alchemy of conversion. The resulted writing of the Bēowulf-poet is thus a Historical Document as the text remains canon to English literature today and the central symbolism and signification of Bēowulf (1000 [2002]) as narrative and Bēowulf as character remains as intricately woven into the fabric of modern society today as the origin of the initial signifier. A furthering of Christian conversion is prioritized by the Bēowulf-poet in his establishment of an ideological basis for religious unity in the alchemy of societal change. Bēowulf is on a quest for piety and religious purpose, seeking God’s divinity in a narrative that accommodates Nordic and Germanic heroic values within a Christian framework. And, an intelligent understanding of the Christian purpose —hunting for God’s divine wisdom— is created through an allegorization of the Nordic and Germanic heroic code. The Bēowulf-poet uses the antiquated established Nordic and Germanic tradition —as well as the centuries-old understanding and acceptance of the Nordic and Germanic framework— to introduce the Christian purpose of seeking God’s divinity. Bēowulf is, by the close of the poem “[heaven] swallowed” (Bēowulf, 1000 [2002]: l. 3155) and is inscribed into history as a “man most gracious and fair-minded” (Bēowulf, 1000 [2002]: l. 3181). The ‘bee wolf’ or ‘bee hunter’ is fated to be remembered as a keen hunter for something greater than himself and in his quest for fame, he fulfils his wyrd of death as an honourable hero-leader in defense of his people. His sacrifice lives on in legend and his bravery is inscribed into Anglo-Saxon mythology as a continuous hunt for God’s wisdom, rendering him a paragon of the tenth-century Christian purpose.

Like a ship navigating shifting tides, the word Anglo-Saxon has been carried across time and space by the currents of history, ideology, and cultural interpretation. This collection of essays explores the evolving significance of the term, revealing how it has been constructed, contested, and reimagined from the early medieval period to the present day. Bringing together perspectives from history, literature, archaeology, and political thought from a non-Anglophone perspective, the contributors examine how Anglo-Saxon has been used to shape national identities, scholarly traditions, and social narratives across Europe.

From medieval chronicles to modern political discourse, this volume uncovers the many lives of a term that continues to spark debate. Addressed to scholars, students, and anyone interested in the power of historical narratives, this work invites us to reconsider not just a label, but the broader questions of heritage, identity, and belonging that it represents.

Cet article propose une exploration approfondie de plusieurs formes poétiques dites « oubliées » ou marginalisées dans la pratique contemporaine : la Villanelle, la Sapphique, le Pantoum, le Haïku et le Limerick. En examinant leur histoire, leur structure et leur réception, tout en intégrant des perspectives issues de la psychologie cognitive et des études littéraires, nous cherchons à montrer comment ces formes anciennes demeurent pertinentes pour stimuler l'imagination poétique d'aujourd'hui. L'analyse s'appuie sur des exemples poétiques entiers, laissés en langue originale, et sur une bibliographie critique réelle.

This study investigates the frequency and the usage of the term ‘Anglo-Saxon’ on social networks and the website of the English black metal one-man band Æþelruna. The band is meant to represent the English extreme metal scene, in which the early Middle Ages are often read and rewritten as a sort of ‘lost English Golden Age’ in the wake of precise socio-political ideologies. For this reason, in order to provide a more complete and clearer overview, in addition to ‘Anglo-Saxon’, the study also examines the use of words such as ‘Old English’, as well as the extensive appeal to medieval English literary sources like Bede.

MS Bodley 343, the Bodley Homily, is an English and Latin homiletic manuscript. At some stage of its life the manuscript attracted the attentions of an unknown scribe who added a poem to the manuscript’s pages. This poem, known colloquially as The Grave, has no verse division, covers around half a page in the manuscript, and is bookended by sermons. It discusses the physical experience of being in the grave, the decomposition of the body and the transition, to the next life, of the eternal soul.

The Grave has been re-examined by researchers who now consider it an important addition to the medieval record. Indeed, far from being a piece of ‘slavish copying’, as Susan Irvine suggested, it becomes ‘as good as many other shorter poems from the longue durée of English literary history’ (Treharne, 2021), and is well placed to comment upon the treatment of non-canonical items when subject to institutional digitization strategies.

The Grave is also something more. From its liminal space, the strange new world between life and death, The Grave expands our understanding of materiality. It creates a space (a house was built for you, before you were born) within which we can examine the embodied revenants of both religious and non-secular manuscripts within the Western manuscript tradition and allows us to consider the tantalizing proposition that the digitization of such manuscripts fulfils the medieval idea of bodily resurrection as espoused within medieval Western Christian belief.

This thesis explores Beowulf as a literary critique of the heroic code, challenging the traditional view that heroism guarantees lasting societal stability. While the poem highlights Beowulf's bravery and accomplishments, it also reflects on the fragility of individual legacy and the transience of glory. Through an analysis of Beowulf's pursuit of fame and the roles of supporting characters like Hrothgar, Wiglaf, and the dragon, the study reveals how heroism, though admired, ultimately fails to protect society from collapse. Symbolic elements such as burial mounds, treasure, and death imagery underscore this critique. Drawing on both the original text and scholarly interpretations, the thesis argues that Beowulf serves as both a celebration of heroism and a somber reflection on its limitations.

This article considers a particular poetic form, historically known as macaronic verse. Surveying the three extant examples of verse of this type in Old English, this article argues that there was an established macaronic verse form known in early medieval England. This genre of verse appears to have been used primarily as a framing device where its conspicuous mixed-language style likely encouraged close reading and drew attention to the constructed nature of the text. The extant examples also suggest that this form was used especially to emphasize the importance of piety for salvation and where a broader message was personalized to an individual reader. Finally, the article considers whether this form of verse could have arisen alongside or in response to a mixed-language Old English prose tradition.

Este artigo explora o contexto cultural e religioso da Inglaterra do período anglo-saxônico. Argumenta-se que uma compreensão mais profunda das fontes materiais é essencial para captar a complexidade do “universo espiritual da Inglaterra Anglo-Saxônica”. Nesse sentido, o tesouro encontrado no sítio arqueológico de Sutton Hoo é fundamental para revelar aspectos cruciais da cosmovisão dessa sociedade. Por meio da análise detalhada desses artefatos, podemos explorar como as crenças e mentalidades do período se refletem na Cultura Material, oferecendo uma janela única para a espiritualidade e a visão de mundo dos anglo-saxões dos séculos VI – VII.

This article explores the patrilineal origins of families bearing the Terry surname, particularly those settled in Counties Cork and Waterford, Ireland. Genetic evidence identifies two distinct lineages with continental European roots, dating back to the Bronze Age and early centuries of the Common Era (CE). The article centres on where these ancestors may have lived around 250 CE, with a focus on the Roman frontier (Limes), locations of surrounding Germanic tribes, and early naming traditions for one of these tribes. The findings cannot be said to challenge traditional genealogies that assert Norman or Merovingian descent but offer new perspectives rooted in genetic and historical analysis.

Beowulf As a work of Old English epic poetry, "Beowulf" is one of the most important works of Anglo-Saxon literature written during the 8th-11th centuries. The poem recounts the heroic deeds of Beowulf, a Geatish hero, as he battles monsters such as Grendel and

As a work of Old English epic poetry, "Beowulf" is one of the most important works of Anglo-Saxon literature written during the 8th-11th centuries. The poem recounts the heroic deeds of Beowulf, a Geatish hero, as he battles monsters such as Grendel and

Literature and birds have long been intertwined, forming an integral part of shared narratives across cultures. These flying machines have inspired bards throughout the ages. Take, for instance, Edgar Allan Poe's iconic poem The Raven, where the titular bird becomes a celebrated symbol of mournful remembrance. Ode to a Nightingale by John Keats is another example, where Keats explores impermanence and permanence through the eternal song of the nightingale. This theme continues in To a Skylark by Percy Bysshe Shelley, where the song of the bird serves as a profound metaphor for divine and creative inspiration. William Blake's robin redbreast is one of the most significant birds representing innocence, helplessness, and purity, most notably featured in Songs of Innocence. Even Alfred, Lord Tennyson vividly describes the solitary majesty of the eagle. These birds have added feathers to the wings of classical literature through the profound philosophies they embody. It seems that poets of all ages have discovered their inner voice reflected in the birds' native to their landscapes and surroundings. The birdsong-and the echoes of wishful hearts, forlorn spirits, and brief moments of joy amid human suffering-appears to harmonize with the poet's physical station and emotional state. The list is too long to mention in full, but what captures the bard's attention is not the feeble frames of these flying creatures, but their songs.

Brussels, Koninklijke Bibliotheek van België, ms. 1828–30 is a composite codex comprised of two parts of differing date and origin: fols 1–35 and fols 36–109. The first part, whose main content is the Historia apostolica of Arator, dates to the tenth century and was written on the Continent. The latter part (fols 36–109) is thought to have been copied in England during the first half of the eleventh century and then moved to the Continent, where it received additions, to be eventually bound to the first part of the manuscript. Before the two parts of the codex were bound together, one – or more – twelfth–century Continental hands copied poetic  compositions, sometimes fragmentary, on fols 1r and 35r–v, which mark the beginning and the end of the first part of the manuscript. The main contents of these two folios are eight Latin poems, which are somehow connected in content and tone. Five of these poems celebrate the song of the nightingale, while the other three have different subjects but share a riddling quality

Using four major case studies in English and Latin--The Letter of Eadwine (c. 1150), Ralph D'Escures' Homily on the Assumption of the Virgin Mary, The Grave, and the Salisbury Magna Carta--this book asks how scholars work both with and within categories in modern research. Challenging periodicity, disciplinarity, and scholarly aesthetics, I seek to show what might result from working beyond assumed categories. In so doing, I highlight the issues of dating and localising manuscripts (and provide substantial new work on the Tremulous Hand); I ask why the 'original' is so privileged; I question issues around the emphasis on 'authenticity'; and I raise the importance of 'everyday' scribes, whose work is a counterpoint to received ideas about script and manuscripts in the medieval period.

This article, in a special issue of Exemplaria on Trauma published in 2025, examines the Early English lyrics, The Wanderer and The Grave, to show how trauma (in the modern definition of that phenomenon) functions in both poems. Working with Maurice Merleau-Ponty and Cathy Caruth on dreams, loss, and absence, this paper opens up new ways of seeing old poetry--especially in the light of the author's own aging, experiences of others' deaths, and changing responses to familiar texts taught through many decades.

This text is independent scholarly and interpretive work it is not associated with any museum, institution, or custodial body responsible for battlefields or related artifacts. All interpretations, analyses, and hypotheses presented herein especially those relating to Egil´s Saga, the Eddic Poems, or old English poems, reflect the author's academic perspective and are intended to stimulate further research and discussion. While every effort has been made to ensure the accuracy of historical information, this work includes reconstructions that represents the author view of how the events may have evolved.

Readers of Icelandic travel literature and visitors to Snæfellsnes are regaled with assertions that Columbus wintered near present-day Hellissandur in 1476-77 and that the memory of his stay has been passed on by oral tradition. However, there's good reason to believe that this lore is a 20th-century phenomenon, based on an 1886 short story by Danish author Sophus Bauditz, "Den fremmede I Rif," which first appeared in Icelandic as "Kólumbus á Íslandi" in the Winnipeg newspaper "Heimskringla" in 1889. A careful exploration of the evolution of the legend reveals that the story told today is almost certainly a case of fiction historicized.

This translation from the original Danish was done by Stefan Jonasson, editor of Lögberg-Heimskringla, in 2021 with cross comparisons to the Swedish and Icelandic versions. This is believed to be the story's first translation into English.

Following its original publication in Sophus Bauditz’s collection, Klokkestøberen og andre noveller (Copenhagen: C.A. Reitzels Forlag, 1886), the story appeared in Swedish translation as “Columbus på Island” in Svenska Tribunen (Chicago, 1889) and was then translated from Swedish into Icelandic as “Kólumbus á Íslandi” for Heimskringla (Winnipeg, 1891).

It subsequently appeared in the Danish American magazine Dagen (Minneapolis, 1901) and then in a fresh and fuller translation into Icelandic as “Gesturinn á Ingjaldshóli” in Haukur (Reykjavík, 1901-1902). A translation by Jón Jónsson frá Sleðbrjót, “Gesturinn í Rifi,” appeared in Syrpa (Winnipeg, 1913), a periodical published by Ólafur S. Thorgeirsson.

The concept "road" as a multivalent symbol is widely encountered in world literature since ancient times and depending on the context is not always used in its direct meaning. However, in all cases the road is a metaphor of movement, change and progress. In literary works, the road mainly acts as a symbol of spiritual journey, efforts of self-discovery and new beginnings. In medieval English literature, the road as a multivalent concept representing both physical and symbolic journey symbolises the path to truth, enlightenment and salvation. This article examines philosophical, religious, spiritual and other aspects of the concept of "road" in the context of analysing two literary monuments of medieval English literature-the epic "Beowulf" and "The Canterbury Tales" by G.Chaucer. In the context of the characters' fates, the concept of the road is analysed as a multilayered symbol uniting the physical and spiritual dimensions of human existence.

Abstract
I contend that the collective output of Romanticism, its Gothic offshoots, and feminist reinterpretations constitutes a labyrinthine inquiry into the fractured human condition—bridging trauma, memory, power, myth, and revolt. I assert that this literary constellation, spanning Coleridge's spectral ballads, the Brontës' psychological wilderness, Borges’ infinite mirrors, and Woolf’s rooms of one’s own, resists categorization because it was never merely about text. It was always about voice. I claim that these voices—repressed, raving, resurrected—did not seek resolution, but recognition. They speak from attics and oceans, from revolutions external and internal, inviting no judgment, but endless construction of meaning.
📜 Refined Abstract
I contend that the evolution of English literature—traced from the oral brawn of the Beowulf poet to the internal storms of Romanticism—reflects not a linear progression of taste, but a deepening excavation of the human psyche. I assert that the Heroic Age, with its war-hardened scops and epic elegies, laid the mythic scaffolding upon which later writers constructed increasingly introspective ruins. Chaucer’s laughter, emerging in the Middle Ages, was not mere levity but structural irony—a tool to frame social satire in a world still shadowed by faith and feudalism.
I claim that the Renaissance cracked open this world with theatrical daring. Marlowe’s Faustus burned for cosmic knowledge, while Shakespeare folded tragedy and comedy into a single human breath. These were not just plays—they were ontological experiments dressed in velvet. Romanticism followed, not as a gentle retreat but as a storm: Coleridge, Dickinson, and the Brontës pursued the unsayable where reason could not follow. And when women’s voices were barred from the center, they returned through ballads, locked attics, and Gothic groans—writing what patriarchy could not pronounce.
This continuum of literature does not teach the past. It performs the timeless ritual of asking: What does it mean to be human when you are powerless, visionary, or simply unheard?
Let me know if you'd like a matching epigraph, title, or visual metaphor to accompany it—this tapestry still has threads to pull.
I contend that the liberation of South America was not a series of isolated uprisings, but a continental vision forged by a handful of extraordinary individuals—many of them Argentine. I assert that General José de San Martín, who led the audacious Crossing of the Andes in 1817, did not merely free Argentina, Chile, and Peru—he redefined the geography of freedom itself.
I claim that the Army of the Andes, composed of Argentine soldiers and Chilean exiles, achieved one of the greatest military feats in history: navigating 3,000-meter peaks over 21 days to defeat Spanish royalist forces and liberate Chile. This was not conquest—it was continental emancipation.
Yet, the currency of many South American nations still bears the faces of colonial administrators, European monarchs, or local elites. I contend that this is a missed opportunity to honor the shared liberators who bled across borders. San Martín, Belgrano, Güemes, and Saavedra are not just Argentine heroes—they are continental architects. Their legacy belongs on every bill, every monument, every civic square from Santiago to Quito.
I assert that all countries  should place the  faces of our heroes  on their currency is not nationalism—it is historical justice. It is a reminder that the Andes were not a wall, but a bridge. That the dream of independence was not provincial, but pan-American.
And never forget that they all died for thee, South American countries howls Argentina.Review questions and games for Literature I' students and professors with answers and some not with answers

Novel: February, 1901: Jan Cichy, a Polish inventor, sets out from Snowshill, England on a latitudinal circumnavigation of the globe. A few weeks later, disheveled and on the brink of insanity, he returns to London, but quickly departs for the European continent. Months pass, and Prof. Michał Nowak, Cichy's friend, receives a package from Oman. Inside the parcel are several bone fragments, a small bag of sand, and an exhaustive manuscript outlining what had happened to Cichy during his voyage. Jan Cichy is never seen or heard from again. His text sits unread at the Jagiellonian University Library in Poland, but disappears during the horrific turmoil of World War II. Decades later, the manuscript resurfaces at a secret home of a high-ranking Nazi officer. Along with hundreds of texts, works of art, and national treasures, Jan Cichy’s manuscript returns to Poland from Germany. This is the first and only English translation of Jan Cichy’s chilling, The Eye of Eyes.

Este artículo consiste en un análisis de la traducción de Beowulf realizada por Tolkien en 1926. El objetivo es explorar las modificaciones que su proceso traductológico aplica a la aliteración, los kennings y los arcaísmos, rasgos estilísticos esenciales en la poesía anglosajona. Estos cambios resultan inevitables dadas 1) las diferencias entre las convenciones poéticas anglosajonas y el habla y la literatura inglesa contemporánea, y 2) las necesidades de la audiencia meta de Tolkien, sus alumnos en Oxford. Aun así, dichos cambios persiguen el propósito principal de Tolkien, que, influido por las ideas del New Criticism y el Modernismo, pretende mantener en la traducción el valor estético de los tres rasgos estilísticos mencionados. Seguimos la perspectiva teórica de Bassnett (1998) para indicar que la definición tradicional de ‘traducción’ como ‘copia’ del original no es suficiente para calificar la traducción de Tolkien: las innovaciones aplicadas convierten la traducción en un n...

This paper examines Beowulf, the oldest surviving epic poem in Old English, as a cornerstone of English literary heritage. Composed in Anglo-Saxon England between the 8th and 11th centuries, Beowulf reflects the cultural, religious, and historical dynamics of its time, despite its Scandinavian setting. Through an analysis of its historical context, themes, manuscript history, and enduring influence, this study explores how Beowulf illuminates the values and society of early England. The poem's blend of pagan and Christian elements, its portrayal of heroic ideals, and its survival through a single manuscript underscore its significance as both a literary masterpiece and a historical document.

Resumo: A mudança de estatuto social não é um fenômeno amplamente registrado na Idade Média. Durante o longo século VIII, na Nortúmbria, dois casos podem iluminar esta discussão. Estes casos também são exemplares no que diz respeito à consciência histórica de sua posição social. Estes casos são: a) Cadmon, um estabulário que se tornou santo através de um milagre; b) Imma, um aristocrata que, ao ser derrotado em uma batalha, fingiu ser uma pessoa de baixa extração social para evitar ser morto, mas cujos captores não conseguiam mantê-lo amarrado e acorrentado como outros escravos. O objetivo deste artigo é demonstrar como os casos de mobilidade social são vistos como virtualmente impossíveis, tornando a diferenciação social naturalizada entre a aristocracia.

In a distant, lifeless future, a couple discovers a young girl hidden behind waterfalls
she is the last breath of Earth.

As she awakens, her words echo like a warning:

Have you come to heal me… or to finish what they began?



A poetic and symbolic tale about the environment, loss, and the fragile hope that still remains

While the living conditions of the Anthropocene pose dangerous consequences for humanity, they have also heightened our attention and sensitivity to nature, that is, our natural environment, even when looking back into the past. Scientists and literary scholars have discovered that ecocriticism strongly contributes to a deeper, refined insight into the interaction between human actors and natural agents. Many medievalists have thus begun to focus on how pre-modern poets reflected on water, the forest, mountains, animals, and plants as they impacted human life. This paper reviews a range of medieval heroic epics where specific aspects of nature matter extensively in shaping the protagonists' characters, experiences, and struggles. Activities, such as crossing a body of water, traveling through forests, climbing mountains, staying in caves, landing and fighting on islands, or living in wilderness areas assume critical functions in narrative development. Although the ecological concerns in these medieval texts may differ from those found in post-modern literature, close readings of major representatives of this genre indicate that medieval poets already demonstrated significant awareness of the close connections between humans and their natural environment.

Adapted and expanded by Stephen Rojcewicz, with permission, from a transcription by James L. Foy, M.D. (1926-2014) from the Irish oral tradition by the seanchaí [oral storyteller] and máistir, Michael O’Dubhshlaine of Dún Chaoin, Corca Dhuibhne [Dingle Peninsula], County Chiarraí, Éire. My poetic format, not part of the oral story, is an approximation of the Old English alliterative verse, emphasizing three alliterations per line.

Este artigo tem por objetivo compreender o papel que as fábulas retratadas nas ilustrações marginais da Tapeçaria de Bayeux desempenham em relação à narrativa principal. Apresentamos o contexto histórico da criação desta fonte referente à Batalha de Hastings de 1066, as relações entre a narrativa e seu contexto, com as fábulas. Dessa forma, observamos que estas exercem um papel auxiliar para a compreensão da narrativa principal, apresentando histórias exemplares e moralistas que interagem diretamente com as imagens centrais.This article’s objective is to comprehend the role that the fables depicted in the marginal illustrations of the Bayeux Tapestry perform towards the main narrative. We present the historical context of the source’s creation, concerning the Battle of Hastings of 1066, the relations between the narrative and its context, with the fables. Thus, we have observed that these perform an auxiliary role for the comprehension of the main narrative, presenting exemplary and...

This paper explores the appropriation of the Old English poem Beowulf by such a distinctive 20th-century art-form as the comic book. Since 1941 to present day, the text has been revisited by several authors at different stages of the development of the comic as an independent genre in a process parallel to its legitimation as a central part of the English literary canon. In the context of the modern commodification of the Middle Ages, the Beowulfs in comic book become a territory of negotiation between high and low culture as they revisit early Germanic epic to render it suitable for the taste of wider, contemporary audiences.

Among the cultural images of the Dark Ages one that has drawn much attention on the part of literature is that of the Viking. Conventionally accepted as the embodiment of Germanic racial heroism since the Romantic Period, the popularity of this character is attested in numerous poems as well as in historical and adventure novels. This paper explores how late 20 th -century popular fiction takes this process of cultural appropriation a step further as the genre of the «hot historical» romance relocates the Norseman as object of feminine erotic desire. The archetypal Noble Barbarian is thus transformed into a peculiar Sensitive New Man, and sentimental narrative becomes a territory of negotiation for the contemporary discourses of feminism and the new masculinities.

Holst's Five Part-Songs (opus 12, 1903): programme notes on settings and texts ('Dream Tryst’ by Francis Thompson, ‘The Message’ by Thomas Heywood, ‘The Night Piece, to Julia’ by Robert Herrick, ‘Now Is the Month of Maying’ by Thomas Morley, and ‘Echo’ by Christina Rossetti

Resignation (A+B) is still a subject of debate as to its textual unity and classification. Though it is usually partnered to the Old English elegies, Resignation A (ll. 1-70) bears more affinities with penitential poetry. The poem also echoes death liturgy. The invocation geoca mines gaestes ('save my soul', 46a) anticipates the soul's longing not to be captured by demons (49b-53). The plea for angels to lead her at the transitus recurs in antiphons, responsories, and prayers in the Agenda mortuorum of pre-Conquest manuscripts such as the Leofric Missal, the Missal of Robert of Jumièges, the Red Book of Darley, and the Winchcombe Sacramentary. The paper aims to confirm that Resignation A is a penitent's prayer, whose poet is well learned both in liturgy and theology.

Songs of the African Plight" is a work focused on African experiences, particularly the challenges and resilience of its people. The phrase "Crown of Dust and Stars" evokes a duality: "dust" symbolizes hardship, struggle, or the earthiness of African life, while "stars" represent hope, aspiration, or celestial connection, reflecting the resilience and dreams of African communities. The subtitle "Songs of the African Plight" further indicates a focus on the difficulties faced by Africans.

This study has aimed at constituting harmony between the syntactical rule and the semantical meaning of every issue that appeared in a given verse. Researchers relied on such semantical cases when analyzing the speech structure in order to fully absorb its implicit significance. So the role of the researcher here is to explore the meanings to follow up the poets aim and to look for the indications of his syntactical issues employed in the Divan-such indications which added a soul to the body of the word articulating the shafi'i wisdom manners religion and piousness. The syntactical meaning explicitly manifested itself in the utmost poetic uniform indeed the syntactical issues employed here in this study are considered as genuine patterns of the syntactical matters that are worth urging the researcher to dive into AL-Shafi'i "seas" of poems to come up with his pearls of hidden content and eloquence. The framework of this research in based upon an introduction, a preface, two chapters, a conclusion and technical indices. In the introduction, the researcher tackled the significance of this study and is framework as well as the main sources that she had relied on, the relevant previous studies in addition to the style of this work and the conclusions reached. In the preface, the researcher presented Al-Shafi'i biography along with semantics. In the first chapter she discussed the subject of deletion : it's definition, conditions, causes and it's eloquent goals and it's kinds as well. In the second chapter, she raised three issues addition of extra letters, advancement and delaying in addition to separation and parenthesis . In the conclusion, she introduced the most significant findings and recommendations followed by technical indices: Quranic verses index, prophetic Hadith/traditions index and an index of poems. The researcher employed the integrative style: the historical style of presenting the Shafi'i biography and the history of semantics. In addition, she followed both the descriptive and analytic styles in studying the poetic stuff in an indicative-syntactical method. The researcher concluded that the Shafi'i brought to you by CORE View metadata, citation and similar papers at core.ac.uk

The aim of this research is to analyze Chaucer's use of idealism in the "General Prologue" to The Canterbury Tales. Idealism is defined as a belief that ideals are the only true reality. Therefore, it stresses the mental or spiritual over the material objects. Idealism is widely used during the Middle Ages, especially by Geoffrey Chaucer, who is England's most famous poet. The Canterbury Tales is his masterpiece. This Research analyzes ideals in the "General Prologue" to The Canterbury Tales. The conclusion of the present research shows that Chaucer uses idealism to criticize the follies and weaknesses of his age. Besides, he finds that adherence to ideal values is a means to cultivate morality leading to perfection.

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