Posts Tagged ‘Poetry’

The Vagantendichtung: The Secular Latin Poetry of the Wandering Scholars of the Middle Ages

By David Zakarian

Master’s Thesis, Aristotle University of Thessaloniki (2009)

Introduction: The Middle Ages can undoubtedly be considered to be one of the most important stages in the formation of modern Western civilisation, since it is the very historical period when the national identity of virtually all the contemporary European nations is forged. Despite many a cultural difference, the common Christian religion and Latin – the universal language of education – created a fertile ground for the emergence of an extraordinarily rich literature (both religious and secular), which later, in conjunction with the vernacular tradition, laid the foundations for the national literatures of the Romano-Germanic peoples.

Unfortunately the ensuing turbulent centuries of various socio-political cataclysms, such as wars and revolutions, witnessed the destruction and disappearance of many manuscripts which were meant to keep the precious gems of medieval literature. As a result very scarce, as compared to the actual amount of the material, information is currently available to contemporary scholars who aspire to shed light on the centuries which are conventionally, though erroneously (to my mind), known as the “Dark Ages‟.

In 1927 Charles H. Haskins published one of his most influential studies of the Middle Ages under the title The Renaissance of the Twelfth Century, with the obvious intention to stir the minds of European scholars who connected the term “Renaissance‟ primarily with Italy of later centuries. Yet, without doubt, however provocative the title was, it had sound grounds to be applied to the particular period of time in history. Haskins describes this period as one that witnessed “great economic changes,” “the influx of the new learning from the East, the shifting currents in the stream of mediaeval life and thought,” “the mediaeval revival of the Latin classics and of jurisprudence, the extension of knowledge by the absorption of ancient learning and by observation”. All in all, a great social transition took place and it led to a more centralised type of government, the creation of a certain social and ecclesiastical hierarchy, as well as the establishment of a more powerful feudal rule. All these factors, in their turn, created favourable conditions for a spiritual resurgence thus leaving its imprint on the literature of the epoch, both Latin and the budding vernacular ones.

One of the most enchanting pages of the newly-emerged literature that has survived to some extent is the poetry attributed to the so-called “goliards‟ or clerici vagantes, otherwise known as the wandering scholars. The richness of topics and the freshness of the forms of expression that have survived in the manuscript of Cambridge University Library MS Gg. 5.35 of the eleventh century and the very famous thirteenth century Bavarian manuscript widely known as Carmina Burana or Codex Buranum allow us to speak about new peaks in Latin poetry.

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By Guy Gavriel Kay

Publisher: Penguin Group Canada, March 30, 2010

ISBN: 9780670068098

Guy Gavriel Kay is one of the best known writers of historical fiction, having penned novels set in worlds very similar to medieval places like Spain, Provence and Byzantium. In his twelfth novel, Under Heaven, he uses 8th century China as his inspiration in creating the country of Kitai.

This intricately written novel details a complex moment in fictional Kitai’s history as told through the experiences of its main character, Shen Tai. Tai, the son of a respected general, is thrust into the midst of political turmoil when he is given the staggering gift of 250 Sardian horses by the White Jade Princess for burying fallen soldiers of Tagur and Kitai in remote Kuala Nor. Tai’s father, Shen Gao has recently died and Tai decides to honour him by burying the dead as part of his two year mourning period. This distinction comes with a heavy price; it draws Tai into a world of danger, fraught with assassins, court intrigue, rival political factions, unexplained mystical forces, love and difficult choices.

The story starts off slowly with Shen Tai in Kuala Nor, burying the wailing, fallen dead and living a quiet, contemplative life far from politics and city bustle. It builds into a fascinating page turner once Tai receives a missive detailing the Princess’s generous gift forcing him to come out of this quiet existence to fight for survival against political plots and manipulation.

The characters are complex; even small characters play an interesting a role in the book’s plot (a beggar, an under-steward, a fallen poet, a mysterious man from the Steppes). Although the story focuses on Tai, there are many side stories within the greater story of Tai’s Sardian horse crisis; the fate of a past lover, events surrounding Tai’s sister, his brother’s rise in the ranks of the Imperial court and the implications surrounding it. Kay’s book is beautifully written. It brings “Kitai” to life with its vivid urban descriptions, wind swept-Steppes, and picturesque landscapes. It makes the reader forget that they are not reading about China, but a fantastical reflection of it.

I must admit that before I got this book, I was not remotely interested in stories about/set in China – it is an area of history with which I am not familiar. However, once I got Kay’s novel, I was hooked – he delivers a great story with memorable characters. The plot twists and story intricacy will capture the interest of various readers, even if they are not familiar with the Chinese-type back-story upon which it is based. Fans of Kay will not be disappointed by his latest work; and if you haven’t read anything from this author, you should definitely go out and begin your collection with a copy of Under Heaven.

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-Sandra Sadowski

Troubador

By Mary Hoffman

Publisher:Bloomsbury USA, September 1, 2009

ISBN:9781599903675

A story of persecution and poetry, love and war set in 13th century Southern France. As crusaders sweep through the country, destroying all those who do not follow their religion, Bertrand risks his life to warn others of the invasion. As a troubadour, Bertrand can travel without suspicion from castle to castle, passing word about the coming danger. In the meantime Elinor, a young noblewoman, in love with Bertrand, leaves her comfortable home and family and becomes a troubadour herself. Danger encircles them both, as the rising tide of bloodshed threatens the fabric of the society in which they live.


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Medievalism and Joan Grigsby’s The Orchid Door

Brother Anthony

Medieval and Early Modern English Studies, Volume 17 No. 1 (2009)

Abstract

The Celtic revival of the 1890s and the opening years of the 20th century was marked by a series of works, poems, fiction and dramas, published under the name of Fiona MacLeod, supposedly a peasant woman living in the Hebrides. In 1905 it was revealed that the author had in fact been William Sharp, a Scottish writer with no Celtic credentials. Joan Rundall, who grew up in the Scottish Lowlands, published poems in her Peatsmoke volume of 1919 that seem clearly to have been influenced by the works ascribed to Fiona MacLeod. Moving to Japan, then to Korea, she published further volumes as Joan S. Grigsby, first a collection of poems in part inspired by a medieval Japanese legend and finally a collection of medieval Korean poems. She was not the translator of these latter, but had adapted translations made by James Gale. Joan Grigsby’s poems show a clear relationship with Celtic medievalism, and at the same time they demand to be approached in a feminist perspective. There proves to be a close relationship between the two categories.

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Korean Translation of Beowulf: Variety and Limitation of Archaic Words

Lee, Dong-Ill

Medieval and Early Modern English Studies, Volume 16 No. 1 (2008)

Abstract

My Korean translation of Beowulf was primarily designed to introduce Korean readers to 1) the world of western epic in which heroism is highly praised 2) the beauty and subtlety of ‘winged words’ which are embedded in compound nouns, epithet, formulaic expression, and appositive style. In this paper, whilst focusing on some key words and expressions, I will demonstrate how such definitions and meanings can be drawn out and can be translated into their appropriate Korean equivalents.

I strongly believe that the poem Beowulf is based on the heroic ideology. The precise meaning and full significance of archaic words are not always easy to define. That is quite true. However I felt during the preparation of my Ph. D thesis that many words and phrases are mistakenly rendered by modern English translators simply because they appeared to overlook the heroic ideology, and conducted insufficient philological research. I believe many words and formulaic expressions such as heard under helme, wlenco, oferhygd, dolgilp, maþelian can be accurately defined with the aid of philological examination and close textual reading in accordance with this heroic ideology.

Considering the implication of the situation, the word combination and the emphatic use of alliteration I feel the rendering heard under helme as ‘hard under helmet’ seems insufficient in bringing its real meaning alive. The true interpretation of heard under helme should be more than literal translation ‘hardy under helmet’. Maþelian shares the same root as mæþel, which has the meanings ‘assembly, council, judicial meeting, speech, address, conversation’, according to BT. With regard to public meetings, speeches made there may be assumed to be formal and to have eloquence and ceremonial dignity.

Maþelian is characterized by its frequent use in public speech with a high degree of formality in Old English poetry. This form of publicity is fairly typical of Beowulf, in which speeches delivered at court and before a public audience are introduced by maþelode in Beowulf 499, 529.

On the surface a series of words seems to be used to increase the sense of rashness and foolhardiness in Beowulf’s seimming-contest: for wlence, for dolgilpe. Beowulf’s dolgylp, ‘audacious boasting’ can hardly be understood as foolish declaration, since it was originally conceived to express his heroic willingness to take on an exploit. Such a boasting speech in a heroic society can act as a binding verbal commitment to act in a heroic manner. In the context of Unferth’s narrative, the neutral meaning of wlenco as high-spiritedness fits well into the progression of Unferth’s narrative.

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Between Guinevere and Galehot: Homo/eroticism in the Lancelot-Grail Cycle

Kim, Hyonjin

Medieval and Early Modern English Studies, Volume 15 No. 2 (2007)

Abstract

A homoerotic reading of the thirteenth-century Prose Lancelot, arguably the best and most sophisticated of all medieval romances ever written, lays bare a hitherto-disregarded ideological stance of courtly love. Through the first half of the Prose Lancelot, which is known as “Lancelot without the Grail,” Lancelot’s love for Guinevere is counterbalanced by Galehot’s equally passionate infatuation with Lancelot. While exploiting the well-established romantic rivalry between love and friendship to the fullest extent, this juxtaposition of seemingly incompatible erotic orientations, at the same time, points towards ideological proximity between the quasi-religious cult of erotic love and the celebration of male-male bonding in chivalric society. Although both love and friendship appear to be sensationally erotic and disturbingly antisocial in the Prose Lancelot, they eventually prove to be conducive to the patriarchal and feudal status quo since they urge the involved to sacrifice all worldly desires and ambitions for the sake of purely psychological reward, thus endorsing a curious lifestyle that might be dubbed as “erotic asceticism.” This eroticized ideal of asceticism objectifies and marginalizes not only the object of erotic desire (i.e. the lady) but also its seeming subject (i.e. the knight-lover), who, in turn, becomes the object of his friend’s erotic desire. What is “subverted and mystified,” therefore, is not female desire alone; male desire is also subverted and mystified. As “the female subject vanishes,” so does the male subject of romantic adventure, which Georges Duby has identified with the juvenes, the group of landless bachelor knights in feudal society who were “condemned to a prolonged ‘youth’” by the law of primogeniture. It is arguable, therefore, that a “well-wrought urn” of courtly romance creates a safely contained world of fantasy for both aristocratic women and “young” bachelors, who are institutionally excluded from patriarchal and feudal resources and privileges.

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The Medieval Poetics of Pilgrimage and Multiple Voices

Kim, Uirak

Medieval and Early Modern English Studies, Volume 15 No. 2 (2007)

Abstract

Scholars have long sought to identify the sources of T. S. Eliot’s poetic development, a search that seems invited by th poet’s essays on such as Dante, Spenser, Shakespeare, and Pope. However, occasionally obscure those ties which are less explicitly referenced. Eliot’s poetry “modifies” our understanding of Chaucer’s verse, and thus the works of these poets can be understood as exerting a reciprocal “influence” on one another. Moreover, it cannot be overlooked that Eliot had the particular advantage of studying Chaucer’s poetry prior to embarking on his own poetic career, and this advantage is clearly intimated in Eliot’s early verse. Eliot never discussed his debts to Chaucer, nor is Chaucer included among the dozens of writers cited in Eliot’s Notes to The Waste Land. However, in his 1926 review of Root’s Troilus and Criseyde, Eliot argued that “the whole stock of critical commonplaces about Chaucer must be reinventoried “reinventory” of “critical commonplaces about Chaucer” in his 1909 course at Harvard. It has been the intent of this study to “measure” Eliot’s own poetry against that of Chaucer’s, without privileging the work of either. Such a comparison yields insight into both poets’ works.

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“A Nature Interlude in the Vita Merlini”

Skupin, Michael

Medieval and Early Modern English Studies, Volume 15 No. 1 (2007)

Abstract

The author of the 1,529-line Vita Merlini based three long sections of his work on passages from the Etymologies of Isidore of Seville. Transferring Isidore’s Latin prose to Latin poetry was a demanding task, especially considering the difficulties inherent in the dactylic hexameter rhythm. This paper will consider the passage involving bodies of water. The first thing to be considered is Isidores original, a list of bodies of water that have unusual properties. Minor corrections are proposed to two of the toponyms that Isidore gives. After this, there is a discussion and translation of the corresponding passages in the Vita Merlini. It will be seen that the Vita Merlini poet was resourceful and creative in his transformation of good Latin prose into excellent Latin poetry.

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“Cain’s Fratricide: Original Violence as ‘Original Sin’ in Beowulf”

Hodges, Horace Jeffery

Medieval and Early Modern English Studies, Volume 15 No. 1 (2007)

Abstract

The poem Beowulf emphasizes the importance of kinship, deplores kinslaying, traces violence to the original fratricide in which Cain slew Abel, and sees Grendel’s attacks as a continuation of that original kinslaying. The disreputable Unferth is condemned to hell for kinslaying, whereas the upstanding Wiglaf is commended for coming to the aid of his kinsman, Beowulf. Five times, the poem thematizes fratricide, the most extensive discourse on this theme occurring just prior to Beowulf’s confrontation with the dragon. Moreover, shortly before his death from the dragon’s poison, Beowulf states that he has no fear of reproach when meeting God, for he has killed no kinsmen. Interestingly, although the poem summarizes the creation story from Genesis, it says nothing about the original sin by Adam and Eve, nor does it even mention the first couple. Instead, Cain’s murderous action in killing Abel is treated as the origin of evil in the world, thereby making this original violence a kind of ‘original sin.’ Intriguing parallels to this view of Cain’s crime can be found in Genesis A, B and Maxims I.

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“Space and Feasting Hall in the Heroic Poetry”

Lee, Dongill

Medieval and Early Modern English Studies, Volume 14 No. 2 (2006)

Abstract

The feasting hall in heroic poetry has special meanings since it contains both physical and moral dimensions. In heroic poetry such as Beowulf the most important concept, the binding force of society, was the comitatus, the mutual loyalty between lord and his chosen warriors. The lord gave legal and economic protection in return for military services. The central location for the comitatus society was the hall, called goldsele (gold-hall), meduseld (mead-hall), hringsele (ring-hall) or gifhealle (gift-hall) in Beowulf. Here vows of allegiance were interchanged, heroic boasts made and feasting and mead-drinking carried out. In this context hall functions not only as a space for entertainment but also as a place where heroic ethos is formed. The beer (mead)-drinking at the feasting hall implies not only the literal act of consumption, but also the ritual swearing of vows. This drinking custom at the mead-hall is especially important in clan society, since it is understood as a symbol and a confirmation of mutual social obligation. A successful lord means the one who secures a consistent binding force based on complete loyalty. Since this binding force is directly related to the existence of the heroic society, the distribution of wine and a pledge from warriors contain more significant symbolic meaning than the mere formality of a banquet hall.

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