The Seafarer (poem)

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A stark depiction of the sea's beauty and instability Gustave Courbet - Waves - Google Art Project.jpg
A stark depiction of the sea's beauty and instability

The Seafarer is an Old English poem giving a first-person account of a man alone on the sea. The poem consists of 124 lines, followed by the single word "Amen". It is recorded only at folios 81 verso – 83 recto [1] of the tenth-century [2] Exeter Book, one of the four surviving manuscripts of Old English poetry. It has most often, though not always, been categorised as an elegy, a poetic genre commonly assigned to a particular group of Old English poems that reflect on spiritual and earthly melancholy.

Contents

Summary

Much scholarship suggests that the poem is told from the point of view of an old seafarer who is reminiscing and evaluating his life as he has lived it. The seafarer describes the desolate hardships of life on the wintry sea. [3] He describes the anxious feelings, cold-wetness, and solitude of the sea voyage in contrast to life on land where men are surrounded by kinsmen, free from dangers, and full on food and wine. The climate on land then begins to resemble that of the wintry sea, and the speaker shifts his tone from the dreariness of the winter voyage and begins to describe his yearning for the sea. [4] Time passes through the seasons from winter—"it snowed from the north" [5] —to spring—"groves assume blossoms" [6] —and to summer—"the cuckoo forebodes, or forewarns". [7]

Then the speaker again shifts, this time not in tone, but in subject matter. The sea is no longer explicitly mentioned; instead the speaker preaches about steering a steadfast path to heaven. He asserts that "earthly happiness will not endure", [8] that men must oppose "the devil with brave deeds", [9] and that earthly wealth cannot travel to the afterlife nor can it benefit the soul after a man's death. [10]

In its closing verses, the poems makes a series of gnomic statements about God, [11] eternity, [12] and self-control; [13] the poem then ends with the single word "Amen". [14]

Structure

Many scholars think of the seafarer's narration of his experiences as an exemplum, used to make a moral point and to persuade his hearers of the truth of his words. [15] It has been proposed that this poem demonstrates the fundamental Anglo-Saxon belief that life is shaped by fate. [16] In The Search for Anglo-Saxon Paganism (1975), Eric Stanley pointed out that Henry Sweet's Sketch of the History of Anglo-Saxon Poetry in W. C. Hazlitt's edition of Warton's History of English Poetry (1871), expresses a typical 19th century pre-occupation with "fatalism" in the Old English elegies. Another understanding was offered in the Cambridge Old English Reader, namely that the poem is essentially concerned to state: "Let us (good Christians, that is) remind ourselves where our true home lies and concentrate on getting there" [17]

As early as 1902, W. W. Lawrence had concluded that the poem was a "wholly secular poem revealing the mixed emotions of an adventurous seaman who could not but yield to the irresistible fascination for the sea in spite of his knowledge of its perils and hardships". [18]

The Seafarer has attracted the attention of scholars and critics, creating a substantial amount of critical assessment. Many of these studies initially debated the continuity and unity of the poem. One early interpretation, also discussed by W. W. Lawrence, was that the poem could be thought of as a conversation between an old seafarer, weary of the ocean, and a young seafarer, excited to travel the high seas. This interpretation arose because of the arguably alternating nature of the emotions in the text. [19]

Another argument, in "The Seafarer: An Interpretation" (1937), was proposed by O. S. Anderson, who plainly stated:

A careful study of the text has led me to the conclusion that the two different sections of The Seafarer must belong together, and that, as it stands, it must be regarded as in all essentials genuine and the work of one hand: according to the reading I propose, it would not be possible to omit any part of the text without obscuring the sequence. [20]

He nevertheless also suggested that the poem can be split into three different parts, naming the first part A1, the second part A2, and the third part B, and conjectured that it was possible that the third part had been written by someone other than the author of the first two sections. The third part may give an impression of being more influenced by Christianity than the previous parts. [21] However, he also stated that

the only way to find the true meaning of The Seafarer is to approach it with an open mind, and to concentrate on the actual wording, making a determined effort to penetrate to what lies beneath the verbal surface [22]

and added, to counter suggestions that there had been interpolations, that: "personally I believe that [lines 103–124] are to be accepted as a genuine portion of the poem". [23] Moreover, in "The Seafarer; A Postscript", published in 1979, writing as O. S. Arngart, he simply divided the poem into two sections. The first section represents the poet's life on earth, and the second tells us of his longing to voyage to a better world, to Heaven. [24]

In most later assessments, scholars have agreed with Anderson/Arngart in arguing that the work is a well-unified monologue. In 1975, David Howlett published a textual analysis which suggested that both The Wanderer and The Seafarer are "coherent poems with structures unimpaired by interpolators"; and concluded that a variety of "indications of rational thematic development and balanced structure imply that The Wanderer and The Seafarer have been transmitted from the pens of literate poets without serious corruption." With particular reference to The Seafarer, Howlett further added that "The argument of the entire poem is compressed into" lines 58–63, and explained that "Ideas in the five lines which precede the centre" (line 63) "are reflected in the five lines which follow it". By 1982, Frederick S. Holton had amplified this finding by pointing out that "it has long been recognized that The Seafarer is a unified whole and that it is possible to interpret the first sixty-three-and-a-half lines in a way that is consonant with, and leads up to, the moralizing conclusion". [25]

Themes

Scholars have focused on the poem in a variety of ways. In the arguments assuming the unity of The Seafarer, scholars have debated the interpretation and translations of words, the intent and effect of the poem, whether the poem is allegorical, and, if so, the meaning of the supposed allegory.

Wisdom

Thomas D. Hill, in 1998, argues that the content of the poem also links it with the sapiential books, or wisdom literature, a category particularly used in biblical studies that mainly consists of proverbs and maxims. Hill argues that The Seafarer has "significant sapiential material concerning the definition of wise men, the ages of the world, and the necessity for patience in adversity". [26]

In his account of the poem in the Cambridge Old English Reader, published in 2004, Richard Marsden writes, "It is an exhortatory and didactic poem, in which the miseries of winter seafaring are used as a metaphor for the challenge faced by the committed Christian". [27] If this interpretation of the poem, as providing a metaphor for the challenges of life, can be generally agreed upon, then one may say that it is a contemplative poem that teaches Christians to be faithful and to maintain their beliefs.

Religion

Scholars have often commented on religion in the structure of The Seafarer. Critics who argue against structural unity specifically perceive newer religious interpolations to a secular poem. [18]

Sweet's An Anglo-Saxon Reader in Prose and Verse (1894) ends the poem at line 108, not 124. [28] In Old English Poems (1918), Faust and Thompson note that before line 65, "this is one of the finest specimens of Anglo-Saxon poetry" but after line 65, "a very tedious homily that must surely be a later addition". Their translation ends with 'My soul unceasingly to sail o'er the whale-path / Over the waves of the sea', with a note below "at this point the dull homiletic passage begins. Much of it is quite untranslatable." [29] A number of subsequent translators, and previous ones such as Pound in 1911, have based their interpretations of the poem on this belief,[ citation needed ] and this trend in early Old English studies to separate the poem into two parts—secular and religious—continues to affect scholarship.

Disagreeing with Pope and Whitelock's view of the seafarer as a penitential exile, John F. Vickrey argues that if the Seafarer were a religious exile, then the speaker would have related the "joys of the spirit" [30] and not his miseries to the reader. This reading has received further support from Sebastian Sobecki, who argues that Whitelock's interpretation of religious pilgrimage does not conform to known pilgrimage patterns at the time. Instead, he proposes the vantage point of a fisherman. [31] However, the text contains no mention, or indication of any sort, of fishes or fishing; and it is arguable that the composition is written from the vantage point of a fisher of men; that is, an evangelist. Douglas Williams suggested in 1989: "I would like to suggest that another figure more completely fits its narrator: The Evangelist". [32] Marsden points out that although at times this poem may seem depressing, there is a sense of hope throughout it, centered on eternal life in Heaven. [27]

Literal view

Dorothy Whitelock claimed that the poem is a literal description of the voyages with no figurative meaning, concluding that the poem is about a literal penitential exile. [33]

Allegorical view

Pope believes the poem describes a journey not literally but through allegorical layers. [18] Greenfield, however, believes that the seafarer's first voyages are not the voluntary actions of a penitent but rather imposed by a confessor on the sinful seaman.[ page needed ]

Daniel G. Calder argues that the poem is an allegory for the representation of the mind, where the elements of the voyages are objective symbols of an "exilic" state of mind. Contrasted to the setting of the sea is the setting of the land, a state of mind that contains former joys. When the sea and land are joined through the wintry symbols, Calder argues the speaker's psychological mindset changes. He explains that is when "something informs him that all life on earth is like death. The land the seafarer seeks on this new and outward ocean voyage is one that will not be subject to the mutability of the land and sea as he has known". [34] John F. Vickrey continues Calder's analysis of The Seafarer as a psychological allegory. Vickrey argued that the poem is an allegory for the life of a sinner through the metaphor of "the boat of the mind," a metaphor used "to describe, through the imagery of a ship at sea, a person's state of mind". [30]

Language and Text

Sylf

John C. Pope and Stanley Greenfield have specifically debated the meaning of the word sylf (modern English: 'self, very, own'), [35] which appears in the first line of the poem. [36] [37] They also debate whether the seafarer's earlier voyages were voluntary or involuntary. [18]

Anfloga and onwælweg

In Medium Ævum (1957–1959), G. V. Smithers drew attention to the following points in connection with the word anfloga, which occurs in line 62b of the poem: 1. The anfloga brings about the death of the person speaking. 2. It is characterized as eager and greedy. 3. It moves through the air. 4. It yells. As a result, Smithers concluded that it is therefore possible that the anfloga designates a valkyrie. [38] Smithers also noted that onwælweg in line 63 can be translated as "on the death road", if the original text is not emended to read on hwælweg, or 'on the whale road [the sea]'. [38] [39] In the unique manuscript of The Seafarer, the words are exceptionally clearly written onwæl weg. This may have some bearing on their interpretation. John R. Clark Hall, in the first edition of his Anglo-Saxon Dictionary (1894), translated wælweg as 'fateful journey' and 'way of slaughter', although he changed these translations in subsequent editions. The 'death-way' reading was adopted by C. W. M. Grein in 1857: 'auf den Todesweg'; by Henry Sweet in 1871: 'on the path of death', although he changed his mind in 1888; and A. D. Horgan in 1979: 'upon destruction's path'. Other translators have almost all favoured 'whale road'. In A Short Dictionary of Anglo-Saxon Poetry (1960), J. B. Bessinger Jr provided two translations of anfloga: 'attacking flier' (p. 3) and 'solitary flier' (p. 4); 'solitary flier' is used in most translations.

Unwearnum

In the Angelsächsisches Glossar, by Heinrich Leo, published by Buchhandlung Des Waisenhauses, Halle, Germany, in 1872, unwearn is defined as an adjective, describing a person who is 'defenceless, vulnerable, unwary, unguarded or unprepared'. This adjective appears in the dative case, indicating "attendant circumstances", as unwearnum, only twice in the entire corpus of Anglo-Saxon literature: in The Seafarer, line 63; and in Beowulf, line 741. In both cases, it can be reasonably understood in the meaning provided by Leo, who makes specific reference to The Seafarer. However, it has very frequently been translated as 'irresistibly' or 'without hindrance'.

Editions and translations

Editions

It is included in the full facsimile of the Exeter Book by R. W. Chambers, Max Förster and Robin Flower (1933), where its folio pages are numbered 81 verso – 83 recto. [1] 3

List of translations

The Seafarer has been translated many times by numerous scholars, poets, and other writers, with the first English translation by Benjamin Thorpe in 1842. Between 1842 and 2000 over 60 different versions, in eight languages, have been recorded. The translations fall along a scale between scholarly and poetic, best described by John Dryden as noted in The Word Exchange anthology of Old English poetry: 'metaphrase', or a crib; 'paraphrase', or 'translation with latitude', allowing the translator to keep the original author in view while altering words, but not sense; and 'imitation', which 'departs from words and sense, sometimes writing as the author would have done had she lived in the time and place of the reader'. [45]

  • Thorpe, Benjamin (1842), Codex Exoniensis: A collection of Anglo-Saxon poetry, London: Society of Antiquaries, pp. 306–313.
  • Merry, George R. (9 February 1889), "The Seafarer, translated from Old English", The Academy, 35 (875), London: 92–3.
  • Merry, G. R. (8 February 1890), "The Seafarer: translated from the Anglo-Saxon", The Academy, 37 (927), London: 99–100, hdl:2027/pst.000019066073 .
  • Brooke, Stopford Augustus (1898), English literature from the beginning to the Norman conquest, Macmillan, pp. 312–313. He writes the poem as a dialogue between an Old and Young Man. He ends at l. 64a, ofer holma gelagu with no indication on the page of remaining lines.
  • LaMotte Iddings, Lola (1902), Cook, Albert; Tinker, Chauncey (eds.), Select Translations from Old English Poetry, Ginn and Company, pp. 44–49. The poem is translated in its entirety, with a brief explanatory note on different theories.
  • Pound, Ezra (1911), "I Gather the Limbs of Osiris, I: The Seafarer", The New Age, 10 (5): 107, retrieved 10 August 2016.
  • Faust, Cosette; Thompson, Stith (1918), Old English Poems, Chicago: Scott, Foresman, pp. 68–71. Introduction notes the book is designed to "meet the needs of that ever-increasing body of students who cannot read the poems in their original form, but who wish nevertheless to enjoy to some extent the heritage of verse which our early English ancestors have left for us" (p. 5).
  • LaMotte Iddings, Lola (1920). Poems. Privately printed at Yale University Press, New Haven, pp 109–116. The poem is translated in its entirety in this collection. A post-Pound publication.
  • Spaeth, John Duncan (1921), Early English Poems, Princeton: Princeton University Press, pp. 68–71. The poem is explained as a dialogue between The Old Sailor and Youth, and ends at line 66.
  • Kershaw, N. (1922), Anglo-Saxon and Norse Poems, Cambridge: Cambridge University Press, pp. 20–27.
  • Mackie, W. S. (1934), The Exeter Book, Part II: Poems IX–XXXII, Early English Text Society, vol. 194, London: Oxford University Press, pp. 1–9, OCLC   222637251 .
  • Scott, Alexander (1949), Seaman's Sang (frae the West Saxon) (The Latest in Elegies ed.), Caledonian Press. Translation into Scots. [46]
  • Gordon, R. K. (1954), Anglo-Saxon Poetry (Revised ed.), Everyman, pp. 84–86, OCLC   890839 .
  • Morgan, Edwin (1954), The Seafarer (Collected Translations ed.), pp. 246–48. Published 1954. [47]
  • Raffel, Burton (1964), Poems from the Old English, University of Nebraska Press, OCLC   351287 .
  • Crossley-Holland, Kevin (1965), The Battle of Maldon and Other Old English Poems, ISBN   9780333036037 .
  • Alexander, Michael (1966), The Earliest English Poems, Penguin, ISBN   9780520015043 .
  • Hieatt, Constance B. (1967), Beowulf and Other Old English Poems, Toronto: Odyssey Press, pp. 117–124, ISBN   9780672630125 .
  • Hamer, Richard (1970), A Choice of Anglo-Saxon Verse, Faber & Faber, ISBN   9780571087648 .
  • Bradley, S. A. J. (1982), Anglo-Saxon Poetry, Everyman, ISBN   9780460107945 .
  • Scott, Tom (1993), The Seavaiger (The Collected Shorter Poems of Tom Scott ed.), pp. 83–84. Translation into Scots, c. 1960. [48]
  • Harrison-Wallace, Charles (1996), "The Seafarer", ARTES International, 4: 21–25, ISBN   9781562790868 .
  • Treharne, Elaine (2003), Old and Middle English c. 890 – c. 1400: an anthology (2nd ed.), Barnes & Noble, pp. 17–23, ISBN   0631230742 .
  • Riach, Amy Kate (2010), The Seafarer, London: Sylph, ISBN   9781909631052 .
  • Williamson, Craig (2011), Beowulf and other Old English Poems, Philadelphia: University of Pennsylvania Press, pp. 150–155, ISBN   9780812243451 .
  • Salter, Mary Jo (2011), Matto; Delanty (eds.), "The Seafarer", The Word Exchange, Norton, pp. 27–39, ISBN   9780393342413 .

Creative adaptations and interpretations

Ezra Pound, 1911

American expatriate poet Ezra Pound produced a well-known interpretation of The Seafarer, and his version varies from the original in theme and content. It all but eliminates the religious element of the poem, and addresses only the first 99 lines. [49] However, Pound mimics the style of the original through the extensive use of alliteration, which is a common device in Anglo-Saxon poetry. His interpretation was first published in The New Age on November 30, 1911, in a column titled 'I Gather the Limbs of Osiris', and in his Ripostes in 1912. J. B. Bessinger Jr noted that Pound's poem 'has survived on merits that have little to do with those of an accurate translation'. [50] Pound's version was reprinted in the Norton Anthology of Poetry (2005).

Jila Peacock, 1999

Painter and printmaker Jila Peacock created a series of monoprints in response to the poem in 1999. [51] She went on to collaborate with composer Sally Beamish to produce the multi-media project 'The Seafarer Piano trio', which premiered at the Alderton Arts festival in 2002. Her prints have subsequently been brought together with a translation of the poem by Amy Kate Riach, published by Sylph Editions in 2010. [52] [53]

Sally Beamish, 2001

Composer Sally Beamish has written several works inspired by The Seafarer since 2001. Her Viola Concerto no. 2 was jointly commissioned by the Swedish and Scottish Chamber Orchestras, and first performed by Tabea Zimmermann with the Scottish Chamber Orchestra, at the City Halls, Glasgow, in January 2002. [54] Another piece, The Seafarer Trio was recorded and released in 2014 by Orchid Classics. [55] [56]

Sylph Editions with Amy Kate Riach and Jila Peacock, 2010

Independent publishers Sylph Editions have released two versions of The Seafarer, with a translation by Amy Kate Riach and Jila Peacock's monoprints. A large format book was released in 2010 with a smaller edition in 2014. [57]

Caroline Bergvall, 2014

Caroline Bergvall's multi-media work 'Drift' was commissioned as a live performance in 2012 by Grü/Transtheatre, Geneva, performed at the 2013 Shorelines Literature Festival, Southend-on-sea, UK, and produced as video, voice, and music performances by Penned in the Margins across the UK in 2014. [58] 'Drift' was published as text and prints by Nightboat Books (2014). 'Drift' reinterprets the themes and language of 'The Seafarer' to reimagine stories of refugees crossing the Mediterranean sea, [59] and, according to a review in Publishers Weekly of May 2014, 'toys with the ancient and unfamiliar English'. [60]

See also

Notes

  1. 1 2 Chambers, R W; Förster; Flower (1933). The Exeter book of Old English poetry. London: Printed and pub. for the dean and chapter of Exeter cathedral by P. Lund, Humphries & co., ltd.
  2. ↑ Fell, Christine (2007). "Perceptions of Transience". In Godden, Malcolm; Lapidge, Michael (eds.). The Cambridge Companion to Old English Literature. Cambridge University Press. pp. 172–89. ISBN   978-0-521-37794-2.
  3. ↑ lines 1-33a
  4. ↑ lines 33b-66a
  5. ↑ line 31b
  6. ↑ line 48a
  7. ↑ line 53a
  8. ↑ line 67
  9. ↑ line 76
  10. ↑ lines 97–102
  11. ↑ lines 101–108, 115–116, 121–124
  12. ↑ lines 106-7, 117-122a
  13. ↑ lines 106–112, 118–120
  14. ↑ line 125
  15. ↑ Rosteutscher and Ehrismann, cited in Gordon, I. L. (1 January 1954). "Traditional Themes in The Wanderer and The Seafarer". The Review of English Studies. New Series. 5 (17): 11. JSTOR   510874.
  16. ↑ Stanley, E. G. (2000). Imagining the Anglo-Saxon Past (1st ed.). Woodbridge, England: DS Brewer. p.  94. ISBN   0859915883.
  17. ↑ Marsden, p. 222
  18. 1 2 3 4 Pope, John C. (1994). "Second Thoughts on the Interpretation of The Seafarer". In O'Brien O'Keefe, Katherine (ed.). Old English Shorter Poems: Basic Readings. New York: Garland. p. 222. ISBN   978-0815300977.
  19. ↑ Lawrence, William Witherle (1902). "The Wanderer and the Seafarer". The Journal of Germanic Philology. 4 (4): 460–480. JSTOR   27699192.
  20. ↑ Anderson, O. S. (1937). "The Seafarer: An Interpretation". K. Humanistiska Vetensskapssamfundets I Lunds Årsberättelse (1): 6.
  21. ↑ Anderson, 12
  22. ↑ Anderson, 5
  23. ↑ Anderson, 34
  24. ↑ Arngart, O. S. (1979). "The Seafarer: A Postscript". English Studies. 60 (3): 249–253. doi:10.1080/00138387908597967.
  25. ↑ Holton, Frederick S. (1982). "Old English Sea Imagery and the Interpretation of The Seafarer". The Yearbook of English Studies. 12: 208–217. doi:10.2307/3507407. ISSN   0306-2473. JSTOR   3507407.
  26. ↑ Hill, Thomas D. (1998). "Wisdom (Sapiential) Literature". In Szarmach, Paul E.; Tavormina, M. Teresa; Roesenthal, Joel T. (eds.). Medieval England: an Encyclopedia. New York: Garland. p. 806. ISBN   978-0824057862.
  27. 1 2 Marsden, Richard (2004). The Cambridge Old English Reader. Cambridge: Cambridge UP. p. 221. ISBN   978-0521456128.
  28. ↑ Sweet, Henry (1894). An Anglo-Saxon Reader in Prose and Verse (7th ed.). Oxford: Clarendon. pp. 171–174.
  29. ↑ Faust, Cosette; Thompson, Stith (1918). Old English Poems. Chicago: Scott, Foresman & Co. pp. 68–71.
  30. 1 2 Vickrey, John F. (1994). "Some Hypotheses Concerning The Seafarer". In O'Brien O'Keefe, Katherine (ed.). Old English Shorter Poems: Basic Readings. New York: Garland. pp. 251–279. ISBN   978-0815300977.
  31. ↑ Sobecki, Sebastian I. (2008). "The Interpretation of The Seafarer: A Re-examination of the Pilgrimage Theory". Neophilologus. 92 (1): 127–139. doi:10.1007/s11061-007-9043-2.
  32. ↑ Williams, Douglas (1989). "The Seafarer as an Evangelical Poem". Lore & Language. 8 (1). ISSN   0307-7144.[ page needed ]
  33. ↑ Whitelock, Dorothy (1968). "The Interpretation of The Seafarer". In Bessinger, Jess. B. Jr.; Kahrl, Stanley J. (eds.). Essential Articles: Old English Poetry. Hamden: Shoe String Press. pp. 442–457. ISBN   978-0208001535.
  34. ↑ Calder, Daniel G. (1971). "Setting and Mode in The Seafarer and The Wanderer". Neuphilologische Mitteilungen. 72: 268.
  35. ↑ "Self". Bosworth–Toller Anglo-Saxon Dictionary. Retrieved 12 August 2016.
  36. ↑ Greenfield, Stanley B. (1969). ""Mīn", "Sylf", and "Dramatic Voices in "The Wanderer" and "The Seafarer"". The Journal of English and Germanic Philology. 68 (2): 212–220. JSTOR   27705678.
  37. ↑ Greenfield, Stanley B. (1980). "Sylf, seasons, structure and genre in The Seafarer". Anglo-Saxon England. 9: 199–211. doi:10.1017/S0263675100001174.
  38. 1 2 Smithers, G. V. (1959). "The Meaning of The Seafarer and The Wanderer: Appendix". Medium Ævum. 28 (2): 99–104. doi:10.2307/43631136. JSTOR   43631136.
  39. ↑ Smithers, G. V. (1957). "The Meaning of The Seafarer and The Wanderer". Medium Ævum. 27 (3): 137–153. doi:10.2307/43626692. JSTOR   43626692.
  40. ↑ Krapp, George P.; Dobbie, Elliot V. K., eds. (1936). The Exeter Book. Anglo-Saxon Poetic Records. Vol. 3. Routledge and Kegan Paul. ISBN   0231087675.
  41. ↑ Gordon, I. L., ed. (1979). The Seafarer. Old and Middle English Texts. Manchester: Manchester University Press. ISBN   978-0-7190-0778-1.
  42. ↑ Klinck, Anne L., ed. (1992). The Old English Elegies: A Critical Edition and Genre Study. Montreal: McGill-Queen's UP. ISBN   978-0773522411.
  43. ↑ Muir, Bernard J. (2000). The Exeter Anthology of Old English Poetry. Exeter Medieval Texts and Studies. Liverpool University Press. ISBN   0859896293.
  44. ↑ Foys, Martin K., ed. (2023). Old English Poetry in Facsimile. Madison: Center for the History of Print and Digital Culture. doi:10.21231/t6a2-jt11.
  45. ↑ Delanty, Greg (2010). The Word Exchange. W W Norton.
  46. ↑ John Corbett, 'The Seafarer: Visibility and the Translation of a West Saxon Elegy into English and Scots', Translation and Literature, 10 (2001), 157–73.
  47. ↑ Monika Kocot, Playing Games of Sense in Edwin Morgan's Writing, Mediated Fictions, 12 (Peter Lang, 2016), p. 23.
  48. ↑ L. Moessner, 'A Critical Assessment of Tom Scott's Poem The Seavaiger as an Exercise in Translation', Scottish Language, 7 (1988): 9-21.
  49. ↑ Pound, Ezra (1998). Lancashire, Ian (ed.). "The Seafarer". Representative Poetry Online. U of Toronto Libraries. Retrieved 9 March 2015.
  50. ↑ "The oral text of Ezra Pound's The Seafarer", Quarterly Journal of Speech (1961), p. 177.
  51. ↑ "Publications | Jila Peacock". www.jilapeacock.co.uk. Retrieved 29 July 2016.
  52. ↑ "Sylph Editions | The Seafarer". www.sylpheditions.com. Archived from the original on 15 August 2016. Retrieved 29 July 2016.
  53. ↑ "Jila Peacock's Seafarer Project". www.jilapeacock.co.uk/the-seafarer/. Retrieved 6 July 2023.
  54. ↑ Beamish, Sally (January 2014). "'The Seafarer', Concerto for Viola No 2". Archived from the original on 25 September 2015. Retrieved 17 August 2016.
  55. ↑ Beamish, Sally (2015). "Sally Beamish Discography". Archived from the original on 15 September 2016. Retrieved 17 August 2016.
  56. ↑ Trio Apaches (October 2014). The Seafarer (CD). Orchid Classics.
  57. ↑ "Sylph Editions | The Seafarer/Art Monographs". www.sylpheditions.com. Archived from the original on 15 August 2016. Retrieved 29 July 2016.
  58. ↑ Chivers, Tom. "Penned in the Margins | Caroline Bergvall: Drift". www.pennedinthemargins.co.uk. Retrieved 29 July 2016.
  59. ↑ Áine McMurtry, 'Sea Journeys to Fortress Europe: Lyric Deterritorializations in Texts by Caroline Bergvall and José F. A. Oliver', The Modern Language Review, 113 (2018), 811–45.
  60. ↑ "Fiction Book Review: Drift by Caroline Bergvall" . Retrieved 29 July 2016.

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Cædmon is the earliest English poet whose name is known. A Northumbrian cowherd who cared for the animals at the double monastery of Streonæshalch during the abbacy of St. Hilda, he was originally ignorant of "the art of song" but learned to compose one night in the course of a dream, according to the 8th-century historian Bede. He later became a zealous monk and an accomplished and inspirational Christian poet.

<i>The Dream of the Rood</i> Old English alliterative poem

TheDream of the Rood is one of the Christian poems in the corpus of Old English literature and an example of the genre of dream poetry. Like most Old English poetry, it is written in alliterative verse. Rood is from the Old English word rōd 'pole', or more specifically 'crucifix'. Preserved in the 10th-century Vercelli Book, the poem may be as old as the 8th-century Ruthwell Cross, and is considered one of the oldest works of Old English literature.

"Deor" is an Old English poem found on folio 100r–100v of the late-10th-century collection the Exeter Book. The poem consists of a reflection on misfortune by a poet whom the poem is usually thought to name Deor. The poem has no title in the Exeter Book itself; the title has been bestowed by modern editors.

"Widsith", also known as "The Traveller's Song", is an Old English poem of 143 lines. It survives only in the Exeter Book, a manuscript of Old English poetry compiled in the late-10th century, which contains approximately one-sixth of all surviving Old English poetry. "Widsith" is located between the poems "Vainglory" and "The Fortunes of Men". Since the donation of the Exeter Book in 1076, it has been housed in Exeter Cathedral in southwestern England. The poem is for the most part a survey of the people, kings, and heroes of Europe in the Heroic Age of Northern Europe.

<span class="mw-page-title-main">Exeter Book</span> 10th-century book of Anglo-Saxon poetry

The Exeter Book, also known as the Codex Exoniensis or Exeter Cathedral Library MS 3501, is a large codex of Old English poetry, believed to have been produced in the late tenth century AD. It is one of the four major manuscripts of Old English poetry, along with the Vercelli Book in Vercelli, Italy, the Nowell Codex in the British Library, and the Junius manuscript in the Bodleian Library in Oxford. The book was donated to what is now the Exeter Cathedral library by Leofric, the first bishop of Exeter, in 1072. It is believed originally to have contained 130 or 131 leaves, of which the first 7 or 8 have been replaced with other leaves; the original first 8 leaves are lost. The Exeter Book is the largest and perhaps oldest known manuscript of Old English literature, containing about a sixth of the Old English poetry that has survived.

<i>Wulf and Eadwacer</i> Old English poem

"Wulf and Eadwacer" is an Old English poem in alliterative verse of famously difficult interpretation. It has been variously characterised, (modernly) as an elegy, (historically) as a riddle, and as a song or ballad with refrain. The poem is narrated in the first person, most likely with a woman's voice. Because the audience is given so little information about her situation, some scholars argue the story was well-known, and that the unnamed speaker corresponds to named figures from other stories, for example, to Signý or that the characters Wulf and Eadwacer correspond to Theoderic the Great and his rival Odoacer. The poem's only extant text is found at folios 100v-101r in the tenth-century Exeter Book, alongside other texts to which it possesses qualitative similarities.

<i>The Wanderer</i> (Old English poem) Old English poem

The Wanderer is an Old English poem preserved only in an anthology known as the Exeter Book, a manuscript dating from the late 10th century. It comprises 115 lines of alliterative verse. As is often the case with Anglo-Saxon verse, the composer and compiler are anonymous, and within the manuscript the poem is untitled.

"The Wife's Lament" or "The Wife's Complaint" is an Old English poem of 53 lines found on folio 115 of the Exeter Book and generally treated as an elegy in the manner of the German frauenlied, or "women's song". The poem has been relatively well preserved and requires few if any emendations to enable an initial reading. Thematically, the poem is primarily concerned with the evocation of the grief of the female speaker and with the representation of her state of despair. The tribulations she suffers leading to her state of lamentation, however, are cryptically described and have been subject to many interpretations. Indeed, Professor Stephen Ramsay has said, "the 'correct' interpretation of "The Wife's Lament" is one of the more hotly debated subjects in medieval studies."

"The Rhyming Poem", also written as "The Riming Poem", is a poem of 87 lines found in the Exeter Book, a tenth-century collection of Old English poetry. It is remarkable for being no later than the 10th century, in Old English, and written in rhyming couplets. Rhyme is otherwise virtually unknown among Anglo-Saxon literature, which used alliterative verse instead.

<span class="mw-page-title-main">The Ruin</span> Old English poem, probably 8th–9th century

"The Ruin of the Empire", or simply "The Ruin", is an elegy in Old English, written by an unknown author probably in the 8th or 9th century, and published in the 10th century in the Exeter Book, a large collection of poems and riddles. The poem evokes the former glory of an unnamed ruined ancient city that some scholars have identified with modern Bath, juxtaposing the grand, lively past with the decaying present.

<i>Christ I</i> Anonymous Old English poem about the coming of Jesus Christ

Christ I is a fragmentary collection of Old English poems on the coming of the Lord, preserved in the Exeter Book. In its present state, the poem comprises 439 lines in twelve distinct sections. In the assessment of Edward B. Irving Jr, "two masterpieces stand out of the mass of Anglo-Saxon religious poetry: The Dream of the Rood and the sequence of liturgical lyrics in the Exeter Book ... known as Christ I".

"The Husband's Message" is an anonymous Old English poem, 53 lines long and found only on folio 123 of the Exeter Book. The poem is cast as the private address of an unknown first-person speaker to a wife, challenging the reader to discover the speaker's identity and the nature of the conversation, the mystery of which is enhanced by a burn-hole at the beginning of the poem.

<i>Ripostes</i>

Ripostes of Ezra Pound is a collection of 25 poems by the American poet Ezra Pound, submitted to Swift and Co. in London in February 1912, and published by them in October that year. It was published in the United States in July 1913 by Small, Maynard and Co of Boston.

Christ III is an anonymous Old English religious poem which forms the last part of Christ, a poetic triad found at the beginning of the Exeter Book. Christ III is found on fols. 20b–32a and constitutes lines 867–1664 of Christ in Krapp and Dobbie's Anglo-Saxon Poetic Records edition. The poem is concerned with the Second Coming of Christ (parousia) and the Last Judgment.

<i>Exodus</i> (poem)

Exodus is the title given to an Old English alliterative poem in the 10th century Junius manuscript. Exodus is not a paraphrase of the biblical book, but rather a re-telling of the story of the Israelites' flight from Egyptian captivity and the Crossing of the Red Sea in the manner of a "heroic epic", much like Old English poems Andreas, Judith, or even Beowulf. It is one of the densest, most allusive and complex poems in Old English, and is the focus of much critical debate.

<span class="mw-page-title-main">Battle of Brunanburh (poem)</span> Old English poem

The "Battle of Brunanburh" is an Old English poem. It is preserved in the Anglo-Saxon Chronicle, a historical record of events in Anglo-Saxon England which was kept from the late ninth to the mid-twelfth century. The poem records the Battle of Brunanburh, a battle fought in 937 between an English army and a combined army of Scots, Vikings, and Britons. The battle resulted in an English victory, celebrated by the poem in style and language like that of traditional Old English battle poetry. The poem is notable because of those traditional elements and has been praised for its authentic tone, but it is also remarkable for its fiercely nationalistic tone, which documents the development of a unified England ruled by the House of Wessex.

John D. Niles is an American scholar of medieval English literature best known for his work on Beowulf and the theory of oral literature.

The Anglo-Saxon Poetic Records (ASPR) is a six-volume edition intended at the time of its publication to encompass all known Old English poetry. Despite many subsequent editions of individual poems or collections, it has remained the standard reference work for scholarship in this field.

De creatura is an 83-line Latin polystichic poem by the seventh- to eighth-century Anglo-Saxon poet Aldhelm and an important text among Anglo-Saxon riddles. The poem seeks to express the wondrous diversity of creation, usually by drawing vivid contrasts between different natural phenomena, one of which is usually physically higher and more magnificent, and one of which is usually physically lower and more mundane.

References

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