By David Clark, Nicholas Perkins
`An first-class collection... breaks new flooring in lots of components. should still make a considerable influence at the dialogue of the modern impact of Anglo-Saxon Culture'. Conor McCarthy, writer of Seamus Heaney and the Medieval mind's eye Britain's pre-Conquest prior and its tradition keeps to fascinate sleek writers and artists. From Henry Sweet's Anglo-Saxon Reader to Seamus Heaney's Beowulf, and from excessive modernism to the musclebound heroes of comedian booklet and Hollywood, Anglo-Saxon England has been a robust and infrequently unforeseen resource of proposal, antagonism, and mirrored image. The essays right here interact with the ways that the Anglo-Saxons and their literature were obtained, faced, and re-envisioned within the glossy mind's eye. they give clean insights on tested figures, comparable to W.H. Auden, J.R.R. Tolkien, and David Jones, and on modern writers resembling Geoffrey Hill, Peter studying, P.D. James, and Heaney. They discover the interplay among textual content, snapshot and panorama in medieval and smooth books, the recasting of mythic figures comparable to Wayland Smith, and the metamorphosis of Beowulf into Grendel - as a unique and as grand opera. The early medieval emerges no longer as a domain of nostalgia or anxiousness, in sleek revisions, yet as an alternative presents an essential area for creativity, excitement, and creative scan. members: Bernard O'Donoghue, Chris Jones, Mark Atherton, Maria Artamonova, Anna Johnson, Clare A. Lees, Sian Echard, Catherine A.M. Clarke, Maria Sachiko Cecire, Allen J. Frantzen, John Halbrooks, Hannah J. Crawforth, Joshua Davies, Rebecca Anne Barr
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Additional info for Anglo-Saxon Culture and the Modern Imagination (Medievalism)
For a more recent introduction to Sievers’s metrical types, see Donald G. Scragg, ‘The Nature of Old English Verse’, in The Cambridge Companion to Old English Literature, ed. Malcolm Godden and Michael Lapidge (Cambridge, 1991), pp. 55–71. 6 Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound (San Francisco, 1936). C. com/view/ article/36385, accessed 30 September 2009. 8 Sweet, Preface to Reader, 7th edn (1894), p. v. 2010 15:27 Priming the Poets 33 Benjamin Thorpe, which he aimed to replace,9 and he partly followed Thorpe’s selection of texts, especially ‘The Voyages of Ohthere and Wulfstan’, ‘Alfred’s Translation of Orosius’, ‘Alfred’s Translation of Boethius’, ‘Ælfric on the Old Testament’, and Judith.
4 Sweet, Reader, 7th edn (1894), p. lxxxvi, §360. , p. lxxxix, §367. For a more recent introduction to Sievers’s metrical types, see Donald G. Scragg, ‘The Nature of Old English Verse’, in The Cambridge Companion to Old English Literature, ed. Malcolm Godden and Michael Lapidge (Cambridge, 1991), pp. 55–71. 6 Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound (San Francisco, 1936). C. com/view/ article/36385, accessed 30 September 2009. 8 Sweet, Preface to Reader, 7th edn (1894), p.
Sweet’s 1876 Introduction opens as follows : During the fifth and following centuries Britain was colonised by a variety of Teutonic tribes from Denmark and the shores of the North Sea, both north and south of the Elbe. A. 12 The above passage did not long survive the subsequent revision process, but it sums up well the ideological state of play when Sweet originally conceived his textbook. As for the literature itself, Sweet had this to say : Literature was first cultivated in the north of England, and the poems brought over from the Continent were first written down in the Northumbrian dialect.